DECAYCAST Reviews : Witowmaker “Feather” Cassette (Sleep On Dreams, 2018)

DECAYCAST Reviews : Witowmaker “Feather” Cassette (Sleep On Dreams, 2018)

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Witowmaker is the project of Bay Area electronic producer and internet cult personality Christopher Danko, also of Stable imprint/collective, and Religious Girls fame. On “Feather”, Danko crafts ten lush, dynamic,  emotionally present, fun and heavy electronic “dance” tracks which float the listener to an oscillating plane of lush tone poem arpeggiations, thick walls of decaying synthesizers, heavy, dynamic drum programming, atmospheric flutterings, and concisely layered, and intricately mapped vocal samples. The overall sound of Witowmaker is, at times,  surprisingly warm and ‘positive’, with a tinge of sarcasm, and at other times, darker, more dissonant, and even emotionally confusing in an interesting and uncontrived manner. Tension is sonically available throughout the wide range of aural moods on “Feather”, one track is accentuating the bent light sunshine across crashing waves, while the next track descends into another layer of cosmic hell, unsure of the outcome. Refreshing; this is a fun and important release in the arch of bay area electronic musings.

“Feather” offers complex, lush, delicate sonic textures while still retaining a pounding, thick, four to the floor heaviness which pulls from Acid, Dub, IDM and a dense warped version of straight-up dance music. Remnants of influence from Aphex Twin, FKA Twigs,  DJ Spooky, Art Of Noise, and later Carl Cox can be heard in the glistening, bright, affront production, yet Witowmaker offers a unique style of dance based electronic music all their own! The B side begins with a fast tempo, funky bass arp track titled “Trick Me Twice” which rings back to 90’s NRG/bass music with an experimental flare all it’s own. A classically trained arp machine spits out climbing cascading  rhythms while lush pads provide a warm backbone for chopped and glued vocal slices, offering a dense, warm, funky dance floor banger. Plug my ears with a drill to extract the earplugs that have been stuck for centuries at the club, ‘cause this is the high tempo, low bullshit dance music I’ve been waiting for.

This little tone machine gets funkier and more dynamic with each spin!  Other tracks like the B side’s “Contamination” offer a darker, more evil-grin means of electronic stylings, which perhaps might be the  darkest and most warped track on the album, pleasing the listener as the acid kicks in and everything changes. Witowmaker is refreshingly honest, dark and delicately crafted dance music for the jokester in all of us laughing to the trap door of life  until the doors spin open and we’re left wandering through a world of confusion not knowing what we’ve seen nor heard. Look for more from this project, we will be. Side note: this is one of the best sounding and best LOOKING tapes we have received in some time, and it’s refreshing when the visual look and sound unite to create a beautiful package of lush electronic presentation.  Order this tape, now!

 

Here’s also some free bandcamp download codes for the album:  redeem at http://www.bandcamp.com/yum

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DECAYCAST Reviews: Andorkappen “Temples Of The Unvirtuous” (Oxen, 2018)

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Andorkappen, LA  based noise/ drone maestro and also honcho at Underground Tape Review is back with “Temples Of The Unvirtuous”, on one of our  favorite labels, OXEN, also an LA based imprint. “Temples Of The Unvirtuous” begins with a slow, low, hollow  drone which barely is able to escape the speakers, however this distant  drone steadily becomes a thick, warm, comforting,  whirring sawtooth buzz accented by a steadily rising sine  wave pitch poem, steadily climbing the ladder or  alienation and confusion. This is the style of  synthesizer drone music i have been waiting for,  stripped, raw, warm, an a-tonal  form to atone to.  The bass  forward drone, and the high pitched ring, engrosses the hearing until the  sound is like a shaking, microscopic robotic insect drone which has  entered the brain via the ear canal.  You now have become rather UNcertain of what the future may hold.

The  drone remains omnipresent, now navigating the innards of your  nervous  system with its sweating,  pulsing, reverberations of mechanical hell, yet somehow this hell is soothing and relaxing, like the  warm hum of distant machines that will eventually come to end our life, but for now have  taken respite across the desert, gently vibrating and breathing, not  quite ready to attack yet. The high pitched buzz has gently, yet in a fixed, determined manner become the musical  crescendo and de-crescendo  of the A side, and of course the bass for the B side, but rest assured, no matter how your body takes it’s  new  implanted oscillations, things will be different. Even though this evil sound appears distant it  will slowly, steadily and eventually forcefully remap the sonics of your nervous system until you  are violently, shaking uncontrollably in a pile of confusion and as you collapse onto the floor, the buzzes  cease to exist, and all that’s left is a tiny mechanical bee buzzing  against a dark, barren, abandoned landscape, ominously and microscopicly floating in limbo, waiting for it’s next unknown victim.

You can order the cassette from OXEN Label HERE! 

DECAYCAST Premieres : Mathieu St-Pierre ” These Elephants”

 

DECAYCAST Premieres : Mathieu St-Pierre ” These Elephants”

Slow, bubbling, long-form settle yet creatively present aural shifts of ambient swells from Canadian visual and  audio artist Mathieu St-Pierre.Lush, warm  tones  slowly pulsate to give the listener an soft  and gentle tone poem, displacing place, space, and  sonic orientation. St-Pierre paints lush  portraits of barren Canadian landscapes losing the listener over and over and over into a foggy, shimmeringly vibrant yet thick sonic haze. Chirping arpeggios give breath to layers of buried, shimmering, textured  sound  explorations. Phase out and take a deep listen. Also don’s sleep on their  extensive array of expended glitch art here : http://www.mathieustpierre.com

“Mathieu St-Pierre is a Canadian experimental visual artist, specialized in the fields of video art and photography and more specifically in glitch art. His passion for experimentation within a multitude of video manipulations stemmed from a lifelong passion of cinema. Since, he has refined his passion for visual art to focus on the creative medium of digital glitches, generative art and net art”

‘This is the first album by visual artist Mathieu St-Pierre. In this musical venture he explores the relationship of ambient sounds with the medium of the internet. More specifically by incorporating Google Maps’ Street View to his musical vision and therefore creating a new interactive experience.’

DECAYCAST Track Reviews: Forests 森林 “Disarray” from ‘Idol Collapse’ LP (Left Hand Path, 2018)

DECAYCAST Track Reviews: Forests 森林 “Disarray” from ‘Idol Collapse’ LP (Left Hand Path, 2018)

Forests 森林 crafts dark, heavy, funky, and  occasionally sludgy, a-tonal industrial music for generations spanning many wars and technological shifts, collapses included.  On the track “Disarray” of their new 12” LP “Idol Collapse” on the rapidly accelerating  San Francisco Left Hand Path imprint,  Forests 森林 begin with an ancient howling metal percussion style clamoring as a distressed alarm-style sine wave bleeds your ears into a dark, thudding, hammering bass  riff.  “Disarray”  angrily and violently pounds forward  with thudding, unsettling cavernous percussion. An angular,  fuzzed out, monotone bass eventually gives breath to distantly haunted chanting/moaning style vocals. Words, and these worlds are unintelligible to my damaged, ramsacked, and now funky bassed-out,  puss-filled ears, but the tone of the story tells of an old, abandoned structure who’s walls are being slowly expanded upon by the  cavernous reverb,  pulsing bass tracks and churning hum of far away synthesizers and mutilated electronics,  Forests 森林  will lock you in a room and expand upon its  structure through sound, until you lie motionless on the  floor of  a place that once  contained  the form, now you have nothing but an old mangled, half  erased Front242 tape playing at a  third of the speed with  twice the  intensity and four times the  dynamics, whoops that’s actually the Forests 森林 tape i just dubbed as  I was  laying  there gasping for my last breath, i reach for the record  to button to  replicate these hellish,  booming sounds just one more time as my  turntable wont fit in this tightly bound coffin. Order the record HERE

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– Maniere Zappone

DECAY CAST Interviews : STATIC AND SOUND; An Interview with DEREK PIOTR

Sound artist Derek Piotr is releasing a new  record coming out in late September on the DSPR imprint, titled “Grunt”, so we decided to have a short conversation about Piotr’s work as “Grunt”, specifically on their new record.

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“A grunt. That most primal and animalistic of utterances. The new project by Derek Piotr, his eighth solo record and a set of short-form brutalist shards of human-digital noise, is

named for this sound. Had Xenakis bought a laptop in 1999, he may have produced something comparable to Grunt and its post-human #voicenoise aesthetic. Yet this is a wholly unique piece of work. As with Xenakis, Piotr takes recognisably analogue sounds – particularly the voice, but also drawing on acoustic instrumentation and found-sounds from nature – and reconstructs them into 21 intricate ‘electroacoustic’ miniatures. Yet

Piotr is less interested in dissolving these boundaries between electric and acoustic than he is in hybridising the organic and the digital. Grunt is subversively queer in its post-human composition”

 

Dr. Decaycast:  “A grunt. That most primal and animalistic of utterances” would you say that this  quote sums up the Ethos of the Grunt project perfectly?

Derek Piotr: Grunt has a separate meaning in Polish which is “earth” or “ground”. In general this project is trying to remind people of awareness of the physical body and reconnecting with nature in a really direct, almost clumsy way. I feel society has totally gone ethereal with apps and phones and I wanted to hit listeners lightly over the head with this project.

DD:   Can you talk a little bit about the strategies of creating the sounds on this new record?

Piotr: Granular synthesis and heavy edits. In my earlier work i did a lot of very klobig cut and pastes, just lines and lines of small repeated glitches, then got further and further away from that idea as I moved on in my work. I wanted to return to some of the earliest ideas I had about sound, but in a way that is closer to my own vision than it was before…it always takes many tries circling around something before you reach the center.

DD: Would you consider yourself a concept based artist? If so, How does this record differ in concept from your previous seven full length albums, if at all?

Piotr: I think every record does fit into a concept. Drono was about drone music, Forest People Pop was of course more of a Pop record. I think I need a fence to work in or I would just be utterly lost. It would be interesting to me to create an album with no borders, every track a different flavour or feeling, but I feel ultimately that may result in a very uneven album. Something close to this happened with my fourth record Tempatempat. I tried many different sonic environments and, to me, that effort is my weakest. Consistency is important. I think grunt may be my most thematically consistent record. Most of the tracks are within the same parameters of length, and very similar processing is applied to the sounds across the entirety.

DD: Xenakis was mentioned in reference to this album. Can  you talk a little bit  about the impact his work has had on your  process and  aesthetics, if any?

Piotr: Xenakis is amazing, the press release was not written by me, but I definitely suggested that visual “if Xenakis had a laptop” to the PhD who wrote the liner notes. I think a lot of Xenakis’ work is very rough and direct in a way I tried to be on this album. I was not thinking of Xenakis when writing, more after I had the record done I tried to tie touchstones to it. Some of the work on this record sounds like Xenakis chamber music. Some of it sounds like Stockhausen. Some of it sounds like Pita. Some of it sounds like Kit Clayton. But I only drew those threads together after.

DD: The last track on this record is a reworking of a Kevin Drumm track. Can you talk a little bit about that collaboration and how that came about?

Piotr: I’ve known Kevin for years and we’ve emailed back and forth. We’re on the same label with some of our stuff. As I did with Drono (where I collaborated with Thomas Brinkmann for the last track), I invited Kevin to edit some of the material I was working on for this noise album. I sent him a bunch of demos and he chose Redirect to work with.

DD: Any collaborations planned for the  future?  Did you learn anything from that particular collaboration with Drumm?

Piotr: Didn’t really learn anything from Kevin, we work pretty similarly…that said I do have more collaborations coming in the next few months…

DD: What is some of the best new music (noise or other that you have heard)

Piotr: AGF – Dissidentova

Dirty Projectors – Lamp-Lit Prose

anything from Don’t DJ

but i am bad to talk about “new” music, I mostly lately listen to Jean Ritchie and old Thai music on youtube.

DD: Do you think queerness plays a  big enough role in noise?

Piotr: No. It’s very much a boys club still. I wanna wag my finger a bit: many successful noise artists feed into boys club energy; use guitar and have kind of a postrock shoegaze situation going on. I think it pulls in people and feels like stretched out major power chord business, just made slightly weirder or dilute. Then you have harsh noise which is almost mosh-state sometimes. Definitely macho-ness going on, at least with some of the noise scene figureheads. I wish for more alertness sonically, use of differing tonal systems, general freakiness, softness and sensuality.

DD: What are the next plans for your project?

Piotr: Tour and remixes and videos…

 

You can Pre order  Piotr’s new  album, Grunt, here:

 

DECAYCAST MIXES : Farm To Tape : Episode 5

DECAYCAST MIXES : Farm To Tape : Episode 5

Next mix from the Farm To Tape series combining experimental, jazz, metal, noise, avant garde, neo-soul, hip hop and other interpretations  of experimental sonic musings.

 

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1. John Coltrane – Untitled Original 11383
2. Wizard Apprentice – I Am Invisible
3. The Fathers – B1 (Sound Advice)
4. Willie Dunn – Son of the Sun
5. Jess Sa Bi & Peter One – Apartheid
6. Sinkane – U’Huh
7. Maya Songbird – Merry Me
8. Signor Benedick the Moor – Belladonna
9. Spellling – Place Without a Form
10. Gnawed – In Ill Wake
11. Developer – Live @ Smiles for Miles in Dayton, OH 7/25/13
12. Beauty School – A1 (Crust Immersed)
13. Okkyung Lee – Hollow Water
14. Ilsa – Nasty, Brutish
15. Thou – The Changeling Prince
16. Drakkar – Crazy Loving You
17. Gita Pon Yeik – Ah Chit Yae
18. Zoe Keating – Hello Night

 

mixed by: Diego Aguilar-Canabal

DECAYCAST REVIEWS Petridisch – “A Fixed Point” CD/Cassette (I Heart Noise, 2017)

DECAYCAST REVIEWS Petridisch – A Fixed Point” CD/Cassette (I Heart Noise, 2017)

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Petridisch”A Fixed Point” CD/Cassette are already sold out in physical form (both CD and  cassette) but you can get a free download over there at the  I Heart Noise Bandcamp Page , which is a label and multimedia platform hosting a rather active blog of the same name. Petridisch’s  vocal and  percussion forward offerings of multi-layered, slow  ambient sonic explosions and chants of densely layered synths, build a wide variety of complex timbral experiments and densely articulated specimens. On “A Fixed Point”, Petridisch begins with slow shimmering waves of  ambient, buzzing waves, decaying, cavernous claps  and slowly and  steadily builds  layers of washed over plumes of texture and memory while structures of rhythm and  percussion begin to take form. Synthesizers slowly and  craftily edge  their way in with soft, present  swells,  mid  tempo arpeggiated sines, and layers of  ambient noise sustaining bright,  shimmering, articulate sonic  events.

The voice is an important part of this record and it adds a beautiful cloak around the various  track elements and really does gel all of the different  elements together as a compositional superglue.  Four short, ambient explorations pull equally from The Cocteau Twins, Boards Of  Canada, early Eno and  so much more, and so much less in the best way  possible, as Petridisch truly has cast their own unique sound into the  ethos of the word of endless sonic discovery and invention.  For fans of ambient, drone, early Tangerine Dream,  Terry Riley, and early synthesizer music, Petridisch packs a huge arsenal of sonic weapons in a  release that  is barely twelve minutes long, Highly recommended.

 

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