Who is NAVASA?

NAVASA is an Electronica/Altrock duo featuring Tammy Sue Everett and Gregory T. Biribauer, formed in 2014. Tammy grew up in the heart of Pennsylvania and Greg is originally from Toronto, Canada. The pair met in Denver, CO, but are now based out of the Delmarva Peninsula on the US Eastern Shore. “We attempt to make music that can let a listener travel without moving,” says Everett.

Both members contribute to the creative process, with Tammy handling vocals, drums, percussion and keyboards while Greg focuses on guitars, bass, synthesizers, programming and mixing. Influences range from Massive Attack and How to Destroy Angels to Ladytron and TV On the Radio. A fan of theirs once dubbed them “TV on the Carpenters” since Tammy plays drums and sings while Greg plays guitar surrounded by electronica elements.

The pair’s first available recordings were two 5-track EPs entitled Sensurreal and On And On, released through the now defunct Ralenteer Records NYC. Lauded for their meticulous use of space and structure, NAVASA gained a foothold in the underground downtempo/ambient scene that was emerging around the world. Those EPs are now out of circulation.

At the beginning, NAVASA was mainly an instrumental project, but as time went on, they started to explore other musical forms and incorporating more of Everett’s vocals.

2015 saw the duo release two vocalized singles, “Escape From You” and “Lazy Dayz” through Tiefhaus/Nikita Digital based out of San Francisco and Berlin. These tracks incorporated experimental pop and rock sensibilities rarely heard in electronica. Later that year the duo released the full album Dustification through Nodeski/Datablender, based out of the UK. A number of these tracks were included on a series of compilations.

In 2017, NAVASA formed their own label Abraca Pocus, releasing the album 1963, showing an even broader range of influences that spanned altrock and jazz to long-form space-rock alongside their ambient and experimental roots. Abraca Pocus now handles all the duo’s publishing rights.

On April 21, 2020, the electronica duo released Redusted through 1939521 Records DK, an album that sees them broadening their scope even further, incorporating deeper soundscapes, heavy altrock and deep lyrical messages. The singles “Omnipresent” and “Don’t Own Me” have accompanying videos that show a dystopian future with a modern take on what’s going on in the world today.

Maryland-based Psytronica Duo NAVASA Gets Down & Dirty About Power Elites, Narrative Control

TIMES-RECORD   May 24, 2020

Here comes NAVASA, a Delmarva-based Psytronica duo that is not afraid to speak to truth and say it like it is. On their just-released album Redusted, they feature a track called “Omnipresent”, a song containing a lyric warning people that the world’s power elites have invaded everyone’s lives, that the 1% are maintaining strict control over a very narrow narrative, and how these destructive actions can pit people against each other. Considering they wrote “Omnipresent” back in early 2019, it seems like NAVASA uncannily predicted what the world would be going through in 2020. A video for the track shows a robot-war thriller-mystery with drum blips, high bass and swirling synths leading the way in a glorious centrifuge of imagination. Hard to beat.

The rest of the pair’s Redusted album takes a journey through indie altrock, ambient soundscapes, pressing inner-vision lyrics, giant chunks of guitar fuzz and a blatant embrace of art with a sensibility that doesn’t deny the hooks. Tammy Sue Everett plays drums and sings while Gregory Thomas Biribauer plays guitar surrounded by electronic elements. “We attempt to make music that can let a listener travel without moving,” says Everett, “but we also like people to think for themselves”. Biribauer adds, “We are strong supporters of press and media that are striving to tell the truth and not just go along with a scripted fiction.”

NAVASA calls Sharptown, MD home, (pop. 651), and could not be happier about it. “Most successful bands are based out of big cities like New York, Los Angeles and London, but we feel lucky to not be stuck in a giant megalopolis, especially now that most of them have been torn apart by violent protests,” explains Everett. “The wide-open spaces are an inspiration, keeping our minds clear to come up with the best music we possibly can,” says Biribauer.

They’ve worked in the past with such notables as Queens of the Stone Age, Nine Inch Nails, The Vines and Julian Lennon, all the while developing their own unique musical sound. Influences such as Massive Attack, Battles, Stereolab and Ladytron guide their productivity, but do not control it. “We love a lot of music,” mentions Biribauer, “but our favorite artists are the ones that broke the mold and developed their own thing.” Everett chimes in, “The tricky thing for us is the balance between our artistic vision and a strong message. It’s a harder road to travel, but ultimately satisfying.”

“We got the name NAVASA from Navassa Island, just off the coast of Haiti. The concept of a deserted island resonated with us since Sharptown seems so isolated from the rest of the world,” says Biribauer. “We also gravitated towards the notion of, ‘What kind of music would be on my Desert Island Disk?’,” says Everett, “so that’s how we defined our writing… to be eclectic, moody, poignant, to go from one extreme to the other and to not be bound by any preconceived notions.”

Despite not being on a major record label, the pair’s resumé, quality of production and strong musicianship have them growing a loyal organic following. “Our numbers aren’t huge, but they’re real. We don’t buy views or likes or anything like that. Other bands dole out a lot of money for that stuff, only to have it implode because it doesn’t reflect reality,” says Biribauer. “Our growth is slow but steady. That’s all we can ask for since we don’t have a major label pushing us. The cool thing is that our message doesn’t get diluted by a bunch of numbers-crunching executives,” adds Everett.

The Sharptown Fireman’s Carnival in lower Maryland may be canceled this year due to Covid-19, but there seems to be a strong voice from within the small town that is now being heard around the world.


by Jonathan Robinson for Music Gateway

From the second it begins; the track is achingly demanding of your time. Sci-fi flitting pitches, Battles-esque pad tones and a pristine production value.
The minimal repeating bass line in the opening section of the piece brings forth thoughts of modern soul or R&B performance delivered with a classical sense of discipline within the mix. Mirrored perfectly in the percussive accompaniment, this oddly flowing-yet-rigid rhythmic technique gives the work a feeling of intense pace without sacrificing the articulation of its present moment.
‘…no matter what you think about the dirty truth…’ words spread across the mix with monotone delivery, cueing the instrumentation to alter its course. In some areas becoming sparser, in others developing into a glissando of tension and summary. Modulation increases and a deafening lack of pushing instrumentation creates a feeling of static weight in the track. Quickly joined by delayed and sporadic percussive strikes – a precursor to the left turn brought in by effected lead vocals.
‘…is it real…’ calls out in gritty harmony from the silence, reinforced by rolling snare and syncopated hits. The track lifts and pushes, absorbing every motif presented before while a droning distorted synth bass adds a devastating gravity to the swaying vocal melody.
Just as quickly as it entered, the mix is dropped and replaced by piano and acoustic guitar portrayal. Using such traditional acoustic instrumentation immediately drags the piece back towards a feeling of classic musicality. Its dystopian spoken word and Shepard tone bed tossed aside for a moment of harmonic duality. Leaning heavily on the qualities of each chord tone the two work together to pass through a range of progressing voices. Lacking any embellishment or decorative additions, this section pushes on with its weighty intentions, emphasized by the returning percussion.
A finale displaying the deterioration of meter and pitch sees us played out of the work as delicately as the track was introduced. Maintaining musicality and intrigue with passing reversed notes calling out of the distance, as if the work was leaving us behind. Satisfyingly ending with an audible trail of filtered delays, Omnipresent comes to a grand close.
Excellent from beginning to end, NAVASA brings us one of the best contemporary electronic tracks of the year. Never staying in place too long, Omnipresent is a short tour of compositional prowess.

Rating: 9/10


The Sharptown Carnival may be canceled this year due to Covid-19, but that hasn’t stopped home-towners Gregory T. Biribauer and Tammy Sue Everett of Electronica/Altrock duo NAVASA from sending their message out around the world.
We wrote the lyrics to “Omnipresent” about how the world’s power elites have invaded our lives while controlling a very narrow narrative. Not cool. 
NAVASA: Gregory T. Biribauer & Tammy Sue Everett