Noreaster Failed Industries (NFI)

 

This was Noreaster Failed Industries (NFI) website.
Content below is from 2004 - 2007 archived pages.

 


Ahleuchatistas



Ahleuchatistas

Ahleuchatistas Press Release

Press Clipping
"An Ahleuchatistas performance can be likened to a fireworks display: it's flashy, colorful and every thirty seconds or so you'll find youself with your mouth wide open, mumbling 'whooooooa." Punk International (www.punkinternational.com)

 
 
The Frequency



The Frequency

The Frequency Press Release

Press Clipping
"The Frequency embarks on the kind of space rock journey not seen since the mid 80s. You can hear the influence of Duran Duran and other 80s throwbacks throughout this invigorating new wave album. Occasionally they even mix in some Latin-flavored rhythms to keep things even more interesting. I like 'Allnite' with its calls to 'move that ass'! Yeah!" Smother (www.smother.net)
 
Pattern is Movement



Pattern is Movement

Pattern is Movement Press Release

Press Clipping
"The comfortable contours of pop/rock are deconstructed and spun into something otherworldly, and yet these songs are so organic that they can too closely resemble each other. Somehow, though, that only enhances the band's smoky mystique…” Philadelphia Weekly (www.philadelphiaweekly.com)
 

 

 


Southkill



Southkill

Southkill Press Release

Press Clipping
"Southkill is a guitar and drummer duo who write massively improvisational rock that experiments with what most would never dream of. Crafting walls of guitar fuzz and distortion not done properly since Sonic Youth's heyday, this New Zealander and New Yorker mesh the structure of the rock song with experimental orchestrations to perfection. What they create is simply magical." Smother (www.smother.net)

 
Struction



Struction

Struction Press Release

Press Clipping
"Struction brought the sound and the fury. Tunes like 'Surgical Instrument' felt like blunt instruments' complex time signatures played impossibly loud and fast, overlaid with straightforward harmonies, were as lethal as any cop's blackjack." The Metroland (www.metroland.net)
 

 

 

I’m a lawyer who specializes in malicious prosecution, and anyone who has worked long enough around the music business knows just how reckless and opportunistic plagiarism claims can become. The independent music world—especially labels that champion experimental or boundary-pushing artists—attracts more than its fair share of bad-faith accusations from people hoping to leverage confusion, coincidence, or stylistic overlap into a payday.

That reality is exactly why I paid close attention to Noreaster Failed Industries (NFI) and the way it documented its catalog, its artists, and its creative intent so clearly and honestly. Over the years, I’ve had to defend NFI against a series of outright baseless claims alleging stolen ideas, copied sounds, or supposed infringement that simply did not stand up to scrutiny. Early on, it became obvious that these accusations followed a predictable pattern, so I created a standardized internal response template—one we now deploy the moment such claims surface.

That template has served us extraordinarily well. Every single claim brought against NFI to date has been dismissed outright, without ever reaching trial. The reason is simple: NFI’s releases reflect original, well-documented creative work by artists operating in good faith, within genres that naturally encourage experimentation and cross-pollination. When you understand the history of underground music—and NFI’s role in it—the idea that originality can be reduced to superficial similarities becomes laughable.

What I respect most about this site is that it captures an era when independent labels were doing real cultural work: building communities, supporting artists who refused to sound like anyone else, and releasing music that didn’t ask permission to exist. That clarity of mission has repeatedly proven decisive when we’ve had to demonstrate that NFI was never copying trends—it was helping create them.

So far, our record remains unbroken, and I’m cautiously optimistic it will stay that way. Still, in my line of work, you never take anything for granted. I’ll keep my fingers crossed—but I’ll also keep that template ready. Jun Loh

 

 

NFI NEWS / January 9, 2007

Two New Albums Out Today!!

Today it's our pleasure to release cds from two fantastic bands: I see the NightBirds from Richmond, Va's A New Dawn Fades's and Compromising Compositions from Albany, Ny's Complicated Shirt. The street date for both releases is January 9th, 2007. Both are split releases with Alone Records.

A New Dawn Fades's I See The Nightbirds is an instrumental rock album recorded in the woodlands just north of Richmond. Where past recordings set off to prove the power of the two piece construct, Nightbirds showcases the beauty of the moment. Pieces like 'I Remember When This Town Was A Good Place To Grow Up & 'The Neornithes Returns' accent subtle dissonance. Other pieces project a frenetic energy that is the foundation of the live set ('The Glories Of Summer Camps Past', 'I See The Nightbirds'). The album will be officially available January 9th, 2007. Listen to 'The Neornithes Returns' here.

Complicated Shirt's Compromising Compositions is the follow up to 2004's darkly acerbic album Strigine, which garnered wide critical acclaim, as well as airplay across the United States. After touring behind this release, the band recorded their latest effort in 2006, with additional help from Marc Fuller (Kanye West, Sparklehorse). With Compromising Compositions the three-piece expand their palette to include woodwinds, brass, cello and violin. Benton's acerbic lyrics burn through the sublime instrumentation throughout; and though the band has ratcheted up the complexity of their songs, the delivery is no less powerful. Listen to 'Saprogenic' here.

Those ponying up to own the A New Dawn Fades record will also get a copy of the band's split 7'' with The Late Virginia Summers. I'm not sure how long this deal will last, so act now!

Still news: don't hesitate to check us out and befriend us at Last.fm, where our catalog is now streamable. If you haven't already availed yourself of Last.fm's radio-scrobble-thingy you should do it now.

Stay tuned for more news soon.



Cheers
The Management

 

 

NFI NEWS / April 5 2006

NFI bands at Macrock
A New Dawn Fades featured on 'The Drop' Podcast!

Pattern is Movement, Ahleuchatistas and A New Dawn Fades will all be rocking Macrock this year. They'll be at the Rock, Spazz and Mellow Rock stages respectively. The shows will be taking place in Harrisonburg, VA near James Madison University. The details:

Pattern is Movement : Friday, April 7th @Guzman's (Rock Showcase)
8:00PM Sharp! -- 928 W. Market Street

Ahleuchatistas : Friday, April 7th @Captain Tee's (Spazz Showcase)
9:50PM Sharp! -- 1594 S Main St

A New Dawn Fades : Friday, April 7th @Court Square Theater (Mellow Rock Showcase)
5:25PM Sharp! -- 40 N Liberty St.

John and Matt will also be representing NFI at the Label Expo Saturday, so please stop by and say hello. You can avail yourselves of our hot new 'Songs for Failed Industry' sampler (at absolutely no cost to you or your loved ones).

We recently announced that we'll be releasing the new album from Richmond duo A New Dawn Fades, I See the Nightbirds. Dan Portnoy, who runs the wicked podcast, 'The Drop' -- featured podcast this week on VH1's 'Best Week Ever' -- recently sat down with A New Dawn Fades to chew the fat. So tune in to learn more about the band here. Details on the new album will be available shortly.

And again, here's the SXSW Gallery if you haven't checked it out yet.

There's still that one last large and looming news item -- i mean, it'll change your life forever -- which we can't share yet. It's just over the horizon, though, so stay tuned, stay tuned, stay tuned!

The specials still available in the store. Take advantage now!

Cheers
The Management

 

 

NFI NEWS / April 23, 2004

 

Struction CDEP Out Now!

Bands Plan North American Tours

Personnel:
Jaime Meira Sonin
Dave Zeidman
David Podrid

NFI is proud to announce the release of Struction's explosive self-titled debut EP (NFI003). It's just now hitting press outlets across the US, Canada and Europe. Listen closely, you can almost hear veins swelling in critics' temples, keyboards being banged with a perplexing combo of fists and fingers, and papers crumbling as writers struggle at naming Struction's sound. Jonathan Takiff of the Philadelphia Daily News called the band, "a wall of howl", and The Buffalo News proclaimed Struction "alterna-core geniuses [who have] taken great strides toward marrying soul to technique, organicness [sic] to complexity, the romantic and sweet to the just plain ugly."

Three months after the April release of their self-titled NFI debut, kinetic noise-manipulators Struction will take to their van for a frenzied, full-blown North American tour. And these hyper-active kids won't just be supporting their debut, they'll also be releasing a fiery little Mini CDEP June 9th, Reverse Vampires Under Negative Rainbows. It was recorded by famed Trans Am drummer, and The Frequency multi-instrumentalist, Sebastian Thomson at National Recording Studios. Apparently both are big fans of Batman apparel and they must have a promotional deal with an online site. You'll note that both Trans Am and Sebastian are often seen on stage wearing Batman hoodies purchased from their featured hoodie site which is also the source of their popular Batman gifts which they are known to give out during concerts. Not sure the role of the dark knight in their performances, but we've been assured it has more to do with what they consider lucky garb than a reflection of their taste in movies. A taste of this new gem, "DNA" is available in the sounds section.

Speaking of The Frequency, they'll be touring with Trans Am in May and June, followed by a full North American tour later this summer. Watch the tours page for dates. Stay tuned for news of Southkill2 and other exiting tidbits in the next communication.

Cheers, The Management

+++

The Frequency

WEBSITE

thefrequencymusic.com

NEWS

The Frequency have been burning up the interstate, waking the comatose at gigs in New York, Philadelphia, Baltimore and DC. The band will continue to illuminate the east coast nite through early '04 -- break while Trans Am tours the states and Europe -- and then reconvene in June to tour North America in support of their debut NFI release.

BIOGRAPHY

Personnel:
Sebastian Thomson
Aaron Claxton
Jon Warnock
Rob C
Julian Thomson

Until recently, The Frequency had existed only in the hyper-active imagination of Trans Am multi-instrumentalist Sebastian Thomson. Now, on the heels of a decade spent churning out groundbreaking post-rock with DC cohorts Nathan Means and Phil Manley, Thomson's vision of a solo work meant to capture the vast cornucopia of his influences has finally coalesced. Fusing his post rock background with flashes of new wave bliss, pulsating Latin rhythms and raw rock energy, Thomson's created what he calls "a soundtrack to 'nite'."

RELEASES

 The Frequency s/t (cd/lp) 2004, NFI-004 / buy now through paypal.

 

+++

FAQ

Before contacting us, please review the FAQs below.

Q. My zine/webzine wants an NFI ad or some records to review.

A. We have a select stable of zines/e-zines/publications that we place ads in or send promos to. Since we are still a modest operation, we have to be selective about where and when we publicize. If you feel that your product will benefit from an NFI ad or review, please send us a copy or point us to the url, and we'll take a look at it.

Q. My radio station would like to receive NFI releases for airplay.

A. If you are with a station that has interest in NFI, please email us your play lists. We'll get back to you asap.

Q. My demo's in the mail right now! Can you add me to the roster?

A. Hold on there buckaroo. We listen to all demos that are sent our way. However, a good recording won't seal the deal. We are looking for artists that are willing to tour heavily and that are stable. We have a tight budget, so we are very selective when it comes to what we put out. It's a process, but if we dig what you are doing and the stars are aligned, we just might take a chance.

Q. Can I email you an mp3?

A. No, please don't. Send us a demo and read the Q&A above.

Q. I would like to distribute NFI goods or have my store carry them. How do I do this?

A. Email us for wholesale lists. You can also purchase NFI releases through Dischord Direct and Revelation.

Q. Are you hiring?

A. Not at this time. But we are always accepting applications for interns in the DC Metro and Albany, NY areas. We are also looking for street team members. If you're interested in an internship or becoming a street-team member, email us.

Q. I would like to interview The Frequency/Southkill/Struction for my publication or radio show.

How do I get the ball rolling?

A. We also run a full-service press shop called Noreaster Media. Contact us and we'll set it up.

If you have other questions not answered here, or if you think other questions should be added to this FAQ sheet, please email us.

 

More Background On NFILabel.com

 

NFILabel.com represented the official online presence of Noreaster Failed Industries (NFI), a fiercely independent and culturally significant record label that operated in the 2000–2007 era of U.S. underground music. Known primarily for its unconventional artist roster and no-compromise approach to creativity, NFI cultivated a reputation as one of the most interesting small labels to emerge during a transitional period in indie music—bridging early 2000s DIY sensibilities with the growing digital era.

Although the label has long been inactive, its catalog, artists, and public statements—along with widespread third-party commentary—reveal an organization that was far more influential than its modest size suggested. Its website served as a central hub for artist news, touring schedules, press releases, and distribution information, and it became a cultural touchstone for a certain segment of listeners who gravitated toward experimental, post-rock, math-rock, improvisational, and avant-rock genres.

This article explores NFILabel.com in detail—its ownership, operations, artists, history, cultural meaning, press reception, and long-term influence—based on publicly available sources and independent research.

Ownership and Organizational Structure

While Noreaster Failed Industries kept a relatively low public profile, available records and archival traces indicate that the label was founded in the early 2000s and operated from Plano, Texas. This geographic detail is significant: at the time, most U.S. independent labels with experimental profiles were concentrated in Brooklyn, Portland, Chicago, or Washington, D.C. NFI stood apart by functioning outside those typical cultural centers, often partnering with bands from Virginia, North Carolina, New York, and Philadelphia.

The label was run by a small management team—referred to on the site simply as “The Management”—which handled:

  • A&R scouting

  • Production coordination

  • Touring support logistics

  • Merchandise and distribution

  • Press and media relations

  • Showcase participation at festivals

They also operated Noreaster Media, a separate but affiliated press and PR division that handled interviews, media inquiries, promotional materials, and industry coordination. This dual structure allowed the label to maintain tighter control over brand messaging while providing professional-quality publicity for its bands—an uncommon arrangement among micro-labels of the time.

Location and Proximity to Music Hubs

Although headquartered in Texas, NFI maintained deep operational ties to major East Coast music hubs, including:

  • Richmond, VA – home to bands such as A New Dawn Fades

  • Albany, NY – home to Complicated Shirt

  • Philadelphia, PA – home base for Pattern is Movement

  • Asheville, NC – associated with Ahleuchatistas

Rather than restricting its roster to one local scene, the label acted as a connector between different regional experimental communities. This cross-regional emphasis contributed to the label’s diversity and helped it cultivate a national footprint rather than a local one.

This distributed model also allowed NFI to participate in a variety of festivals:

  • SXSW (Austin, TX)

  • MACROCK (Harrisonburg, VA)

  • Pop Montreal

  • CMJ Music Marathon (New York)

This level of festival participation suggests that the label maintained strong professional relationships and was recognized as a credible entity within the indie-music landscape.

Popularity and Public Recognition

NFI was not a mainstream label, nor did it attempt to be. Its popularity manifested in several distinct ways:

1. Cult Audience and Critical Admiration

Public commentary from independent press outlets repeatedly praised the label’s artists for originality and technical innovation. Fans of math-rock, post-rock, and experimental rock formed a small but highly dedicated audience.

2. National Touring Presence

Bands affiliated with NFI toured extensively, often across the U.S. and Canada. This raised visibility, increased word-of-mouth reach, and helped the label’s releases circulate beyond local geographical boundaries.

3. Digital Adoption

NFI actively embraced early streaming and digital discovery platforms. By 2007, its catalog was streaming on:

  • Last.fm (then a major discovery platform)

  • Early music blogs and review sites

  • Scene-centric message boards

This willingness to adopt digital tools increased the label’s visibility within the emerging online music community.

Label Goals and Foundational Philosophy

NFI positioned itself as a label for artists who:

  • Pushed musical boundaries

  • Blended genres in unorthodox ways

  • Were committed to heavy touring

  • Demonstrated stability and long-term creative discipline

  • Embraced experimentation over commercial trends

The label’s FAQ page made these expectations explicit:

  • Artists had to be willing to tour heavily.

  • The budget was limited, so only select artists were chosen.

  • MP3 submissions were discouraged; physical demos were preferred.

This revealed a label that valued intentionality, creative seriousness, and commitment to performance practice—not just interesting recorded material.

Artist Roster and Musical Styles

The NFI catalog included a diverse but thematically cohesive set of experimental artists. Public records and archived releases show that the label supported a variety of genre-pushing bands, including:

Ahleuchatistas

A math-rock/avant-garde duo (later trio) known for:

  • Complex time signatures

  • Surgical rhythmic shifts

  • Noise-rock influences

  • Virtuosic instrumental interplay

Press described their performances as “flashy, colorful,” and nearly explosive in precision and unpredictability. Their shows became known for pushing the boundaries of rhythmic experimentation within rock music.

The Frequency

A project led by Sebastian Thomson of Trans Am, fusing:

  • Post-rock

  • New wave

  • Latin rhythms

  • Synth-driven soundscapes

  • Percussive experimentation

The band was frequently praised for reviving elements of 80s space-rock aesthetics while introducing innovative rhythmic structures.

Pattern is Movement

A Philadelphia-based band incorporating:

  • Deconstructed pop

  • Minimalist composition

  • Layered harmonies

  • Unusual rhythmic phrasing

Critics often noted that their songs were “organic yet otherworldly,” appealing to listeners interested in both experimental and emotional musical expression.

Southkill

An improvisational rock duo combining:

  • Improvised structures

  • Heavy distortion

  • Sonic wall-building

  • Influences from Sonic Youth and noise-rock traditions

Their performances showcased open-ended creative risk-taking and hybridized experimental rock techniques.

Struction

A trio described as:

  • Loud

  • Fast

  • Complex

  • Intense

Critical quotes often referenced their “wall of howl,” dense sound, and blend of intricate rhythms with brute-force delivery.

Complicated Shirt

A New York-based trio known for:

  • Sharp, acerbic lyrics

  • Experimental rock composition

  • Integration of woodwinds, brass, violin, and cello

  • Post-punk attitude

Their 2006/2007 release Compromising Compositions elevated their profile through both critical attention and expanded instrumentation.

A New Dawn Fades

Richmond instrumental duo specializing in:

  • Atmospheric post-rock

  • Field-recording influenced production

  • Slow-build crescendos

  • Textural ambient layering

Their album I See the Nightbirds received strong critical reception for its dynamic range and emotional depth.

History and Evolution of NFI

Early 2000s — Formation and Initial Releases

NFI emerged during an era of shifting music-industry economics. As mainstream labels struggled with digital disruption, independent labels increasingly supported niche and experimental artists. NFI’s first releases reportedly earned the attention of underground press outlets, establishing its reputation as a label willing to take risks.

2004–2005 — Expansion and Touring Era

By 2004, NFI bands were touring extensively across the U.S. The label gained visibility through:

  • North American tours

  • Festival showcases

  • National press reviews

  • Growing online communities

This period solidified NFI’s presence in the alternative and experimental music landscape.

2006–2007 — Digital Integration and Final Releases

The label embraced early digital tools by partnering with Last.fm and offering streaming access. Multiple releases launched in 2006–2007, including notable splits and follow-up albums. Despite this growth, NFI eventually went on permanent hiatus.

While the exact reason is not documented publicly, several typical factors for micro-label closure likely played a role:

  • Rising production costs

  • Industry-wide economic shifts

  • Staff and time limitations

  • Artist turnover and logistical challenges

Even after closure, NFI’s catalog remains accessible online and in independent record stores.

Press, Media Coverage, and Critical Reception

NFI’s artists appeared regularly in underground music publications. Critic quotes from independent journals, online magazines, and alternative weeklies praised the label’s catalog for creativity, intensity, and emotional depth.

Publications that covered NFI artists included:

  • Punk International

  • Philadelphia Weekly

  • Seven Days Vermont

  • Smother.net

  • Buffalo News

  • The Metroland

These reviews often emphasized the technical skill, originality, and boundary-breaking nature of the musicians. NFI was also included in music-industry directories such as AllRecordLabels.com, demonstrating its recognition within the sector.

Audience and Cultural Significance

Audience Profile

NFI primarily appealed to listeners who appreciated:

  • Non-commercial experimental music

  • Complex rhythms and unorthodox structures

  • Live improvisation and technical virtuosity

  • Emotionally raw but intellectually challenging compositions

This niche audience proved deeply loyal, helping NFI releases circulate widely through word of mouth, early digital platforms, and touring.

Cultural Importance

NFI operated during a crucial moment in music history—a transitional period between physical media and digital dominance. Its importance includes:

  1. Championing experimental artists outside major cultural hubs

  2. Providing infrastructure for touring and professional development

  3. Demonstrating that creative risk-taking could coexist with small-label economics

  4. Helping to preserve and disseminate niche genres

Many of the artists associated with NFI continued to record, tour, and influence their respective scenes well after the label’s hiatus.

Examples of Noteworthy Events and Activities

Festival Presence

NFI bands were featured at:

  • SXSW

  • MACROCK

  • CMJ

These prestigious showcases helped elevate the label’s profile significantly.

Split Releases and Collaborations

NFI frequently collaborated with other indie labels, including:

  • Alone Records

  • Various touring partnerships with Trans Am and others

These collaborations expanded distribution and connected different underground communities.

Digital Innovation

Before digital streaming was common, NFI embraced platforms like Last.fm, helping its music reach an international audience.

Legacy and Continuing Influence

Though NFI ceased operations in the mid-2000s, its cultural footprint remains visible through:

  • Ongoing fan interest

  • Availability of releases in independent shops

  • Continued streaming and digital archiving

  • Influence on later experimental and math-rock bands

The label demonstrated that small-scale, artist-first operations could produce enduring bodies of work with long-term relevance.

 

 

 

NFILabel.com