Trippers & Askers Release Stunning New Video for “Pulsing Place” Ahead of New Album Out This July

“Pulsing Place” is the brand new single and video, which you can watch here for the first time, from Trippers & Askers ahead of their new full length album, “Acorn” . The song begins with distant acoustic guitar and voice which tells a complicated tale with deep underpinnings. The track, much like the video feels very very close; morose and present, laying it all on the line, earnestly connecting with the listener in a very up front and personal style lyrically and recording wise which really serves to draw us in to this soon to be modern folk/jazz classic. I often felt like I was in the room with Trippers & Askers, being sung directly to, almost as if in question form, and the video is a beautiful, cinematic representation of this closeness and humanness that seems to be such an important part of the music of “Acorn” and this track specifically. Pulling equally from Modern Americana Folk traditions as well as modern jazz and literary worlds, “Pulsing Place” is a complex and meaningful investigation through song.

The video itself is a visually arresting story of a fluttering gold being navigating uncertainly throughout the world as the band plays on. The churning of a tide, the gentle flutter of a gust of wind from an undefined direction, the gentle crinkling of dried leaves as we search for meaning and a way out, a way forward all paint a picture of the hope of discovery of something better, of something to take us forward.

“Inspired by the world building, Afrofuturist radicalism of the novel “Parable of the Sower” by Octavia Butler, the latest Trippers & Askers LP “Acorn” blends spiritual jazz and traditional styles in ways that pose fundamental questions about the nature of “American” music…..

“Parable of the Sower was written in the 1990’s and set in 2020’s U.S. when society has collapsed for everyone but the super wealthy due to climate change, wealth inequality, religious fundamentalism, and corporate greed. The protagonist – a woman named Lauren Olamina – embodies a kind of radical hope that has nothing to do with denial. In fact, it’s a kind of hope that can only spring from the fact that she understands the severity of her and her community’s situation better than anyone else.”

Make sure to pre oder “Acorn” from Sleepy Cat Records ahead of it’s July 16th release date! And we leave you with these parting lyrics from the single/video here:

“Grab the car and pull around the side

We’ll peel and steal away

All the time we’ve been afraid to take” – Trippers & Askers

TWO NEW RELEASES OUT TOMORROW ON DECAYCAST MAGAZINE!

TWO NEW RELEASES OUT TOMORROW ON DECAYCAST MAGAZINE!

Thanks all for following Decaycast! DECAYCAST is a sub label of Ratskin Records and specializes in small edition handmade cassettes, CDr’s, digital releases and small edition art objects as well as a Online Fanzine (decaycast.wordpress.com)

we’re really excited to present two new albums for release tomorrow both on limited edition CDR with handmade card stock slipcases.

Thank you so much to everyone that preordered! All pre orders have been shipped and any orders placed for Bandcamp Friday or over the weekend will ship out this coming Monday!

HAURAS “Chant For A broken Chalice” CDR/DL

decaycastoakland.bandcamp.com/album/chant-for-a-broken-chalice

AURAS has crafted a lush and foreboding sonic landscape with “Chant For A Broken Chalice”, their first release for Oakland based imprint DECAYCAST. On “Chant For A Broken Chalice” intentional and otherworldly sounds envelop into a whirlwind of a slow churning concoction of beauty and anxiety. Dense choral envocations pulse over a sea of strings, keys, percussion and voice. HAURAS crafts tense and delicate music concerned with the rapid decline of empathy as intensified through the violent throes of capitalism. Both meditative and a warning, like a distant pulse of a lighthouse gently peaking over the fog as a distant warning of impending doom and collapse, scary and at this point completely unavoidable, but wow the beauty and elegance of the message is not something to soon be forgotten.

“My work is concerned with the psychology of society at the end of Civilization.” – HAURAS

The first single “Hold My Hand” takes a psychedelic dubbed out industrial approach to transport the mood and psyche of the listener to a blissful yet slightly unnerving underworld. The vocals glide through the mix like a robotic worm infecting an unknown host. Like most of Hauras’s work; “Chant For A Broken Chalice” holds the listener in an hourglass where time is rapidly and chaotically slipping away. Intentional, heartfelt, and intense.

“You’ve heard of the Music of Tomorrow? This is the Music of the Day After
Tomorrow.” – Chris Ryan (Composer, Cerddorion Ensemble,, Tzadik)

“The sonic equivalent of expired film in my Holga.” – Richard Youngs 

BONUS BEAST “Live at Lewcid Joosebox” CDR/DL

decaycastoakland.bandcamp.com/album/live-at-lewcid-joosebox

BONUS BEAST (Ratskin Records, Coral Remains, Ryan King, et al) always brings a new and modified sonic whirlwind to the table and this recently unearthed board recording of live from Lewcid Joosebox is no different. A complex and psychedelic spattering of amalgamated synths, blasting and curdling mangled beats, with the occasional and sporadic transmission twisted warped vocals patterings peak out ever so slightly from the sampler, but this is no dance party, this is blasted out sonic destruction, controlled chaos, collapsing towers, the rhythms of the machines of the city clang and hammer against each other like a seizing engine about to blow. their first release for Oakland based imprint DECAYCAST and ir is not to be missed. One of the masters in the game. Very very limited

Nearly twenty minutes of blown out acid noise, crunched beats, signwave radio interference, mental decayed sprayed on the walls of the box as BOBUS BEAST blasts forth a sonic mayhem like no other. In the realm of early Robert Turman, MB, Esplendor Gemoetrico, etc

Please consider picking something up as it helps us sustain the project (both the imprint and fanzine) side of things.

Thank you so much for your support.

DECAYCAST Guest Mix: DJ MICOSE “Digesting 2020: Decaycast Edition.

We’re back with another installment of DECAYCST Guest Mixes, this one from frequent mixer and digger DJ MICOSE.

This is a continuation of the “Digesting 2020” series I’ve been posting on the ploque Mixcloud, featuring only music that was released in 2020. It’s a free-form mix with abstract ambient sounds, industrial-influenced electronic songs, plus a variety of loud and repetitive rhythmic tracks. Features artists from Brazil, Canada, France, Germany, Peru, Poland, Norway, and the US.

The Soft Pink Truth – Go

Racine – Geranium

Ale Hop – La Procesíon

Sébastien Brun – Empty

Tantão e os Fita – Ich Bin Der Fluss

Thoom – Large Fly

Negro Leo – Absolutíssimo Lacrador

Eartheater – Burning Feather

SIKSA – Proste Hasło

Jonquera – Artisou

Golden Oriole – The Granitoid Panics

The End – Allt Är Intet

Arrington de Dionyso – The Mani Malaikat Awakening

Mit Mir Kann – Loop It Yourself

V.E.X./Moira Scar – Dancing At The End Of Time

DECAYCAST Announces Preorder For HAURAS 4/9/21  “Chant For A Broken Chalice” OUT 5/7/21

DECAYCAST Announces Preorder For HAURAS 4/9/21  “Chant For A Broken Chalice” OUT  5/7/21

HAURAS has crafted a lush and foreboding sonic landscape with “Chant For A Broken Chalice”, their first release for Oakland based imprint DECAYCAST. On “Chant For A Broken Chalice” intentional and otherworldly sounds envelop into a whirlwind of a slow churning concoction of beauty and anxiety. Dense choral envocations pulse over a sea of strings, keys, percussion and voice. HAURAS crafts tense and delicate music concerned with the rapid decline of empathy as intensified through the violent throes of capitalism. Both meditative and a warning, like a distant pulse of a lighthouse gently peaking over the fog as a distant warning of impending doom and collapse, scary and at this point completely unavoidable, but wow the beauty and elegance of the message is not something to soon be forgotten. 

“My work is concerned with the psychology of society at the end of Civilization.” HAURAS

 The first single “Hold My Hand” takes a psychedelic dubbed out industrial approach to transport the mood and psyche of the listener to a blissful yet slightly unnerving underworld. The vocals glide through the mix like a robotic worm infecting an unknown host. Like most of Hauras’s work; “Chant For A Broken Chalice” holds the listener in an hourglass where time is rapidly and chaotically slipping away.  Intentional, heartfelt, and intense. 

You’ve heard of the Music of Tomorrow? This is the Music of the Day After

Tomorrow.” – Chris Ryan (Composer, Cerddorion Ensemble,, Tzadik)

The sonic equivalent of expired film in my Holga.” – Richard Youngs

RIYL: COIL, Psychic TV, The Residents, Snickers 

“Hold My Hand” Public Stream

Tracklisting:

1.  Somnia

2.  On The Morning

3.  Rotagivan

4.  Hold My Hand

5,   Chant For A Broken Chalice

6.   Standing At The Entrance

HAURAS has shared bills with:

Sarah Davachi, Laaraji, Father Murphy, Low, Tom Carter, Common Eider King Eider, Mary Lattimore, Tom Weeks, Lee Noble, Louise Bock, Clarice Jensen, Jonas Reinhardt, Carl Hultgren, John King, Lea Bertucci,

Saariselka, Nels Cline, Jessica Moss

ARTIST PHOTO:

More info / questions / press requests: decaycast@gmail.com

http://decaycastoakland.bandcamp.com

DECAYCAST Reviews : Marsha Fisher “New Ruins” (Full Spectrum Records, 2021)

Beautiful new sonic offering from Minnesota-based sound artist Marsha Fisher titled “New Ruins” from the wonderful Full Spectrum Records which released Feb 15, 2021. “New Ruins” plunders a bun of discarded thrift store cassettes mined across the midwest to blissful and conceptually and sonically rewarding looping gifts. “New Ruins” shifts between hypnotic loops and drones done in an almost new age breath of exploration. The intro track is beautiful, crumbling voice textures, like ancient hymns broadcast through a ham radio- crackling as the wind. arrests their sounds and buries them under inches of gravel. On “New Ruins” Fisher acts like a sound archaeologist, pulling disparate loops from the earth and presenting them in a larger delicate breath of sound. Beautiful tones float on the surface as time warps and folds on itself, undecided on it’s. future like a plastic bag adrift in the wind. Sonically evocative of Phaedra era Tangerine Dream, but where the Dream dies Fisher digs deeper into an ambient palette of creation and destruction. Transmissions act like slow warnings to a future civilization, echoed from an uncertain present, the last communication beacon drains the last pulse from it’s batteries as it casts out it’s last bleep of a signal, praying to be discovered.

What could be lazily discarded as “radio static” and “chirping electronics” fade in and out, enacting the listener into a blissful hypnotic style, but n ever completely untethered from their reality, just temporarily detached and floating through a very different and unfamiliar world, that Fisher lays forth droplets of information for that makes this unknown world that much more mysteriously welcoming and desired. Fishers sound. sources appear to vary widely, and sampled of forgotten dust collecting christian alt rock tapes are sampled and manipulated seemingly beyond recognition, another conceptual element speaking to the dichotomies present throughout “New Ruins” .

From the label: “One of the tapes sampled here was a jazz fusion record, another featured instrumental soft rock – conceptually dry and inoffensive cultural documents created by Christian record labels for consumption by God-fearing men and women who perhaps did not want to associate with outlets like Windham Hill or Nadara Productions, who might have been slipping blasphemous ideas into their record, what with their eastern religious iconography and casual dips into spiritual mysticism.

“New Ruins” is out now via Full Spectrum Records

DECAYCAST Reviews: Pay Dirt – “Error Theft Disco”

Pay Dirt “Error Theft Disco” is a collaboration between Victoria Shen and Bryan Day released on Shanghai based imprint Bluescreen. The sounds on “Error Theft Disco” escape rigid classification by all traditional methods. These are new and futuristic sounds stemming from what has obviously manifested as a highly effective collaborative process between these two prolific and renowned solo artists exploring a wide range within harsh / noise and experimental compositions. The pieces on “Error Theft Disco” hold a unique tension and create plenty of space for the listener to enter, but enter at their own risk, as their. sounds move and shake like a gauntlet made of swords the listener must navigate to a safe completion. Pregnant pauses of 60hz hum give way to explosions of feedback and chaos, but there’s also smaller and more delicate sounds to boot as well.

DECAYCAST Premieres: Home Learning Shares New Video “Let Us Know You Are Here” – Watch Now!

Home Learning has shared their newest video and song “Let Us Know You Are Here” from their new album released this past December, “The Case for Final” via Healing Sound Propagandist. “Let Us Know You Are Here”– is a beautiful ambient, soothing A/V tone poem exploring slow undulating shifting spaces within a beautiful marriage between image and sound. The track is evocative of sadness, unknowing, maybe even discovery, but within a paused and pregnant framework and the slow moving psychedelic visual eruptions are constantly birthing something new to be contemplated.

“This video for the first track off of Home Learning’s album “the case for final” was put together during the COVID 19 pandemic. It combines footage of suburban mall-sprawl, crowded with shoppers in spite of the health risks, with abstract visuals that evoke chemicals, fire, and a gradual build up of distortion/disintegration. Not everything is bleak…the colors and sounds also bring metamorphosis, slow but significant change, and eventually, light sifts in. “

Ethereal washes of sound and shape blend together like flickering bacteria under a microscope excited by a newfound chemical reaction. Gentle explosions are what come to mind visually, and the track itself brings thoughts of time collapsing between unknown worlds. Sounds delicately drone slightly in the red which gives the recording a slight bit of intensity without compromising the vibe or intent of the morose, and often times blissful offering that is “Let Us Know You Are Here”. Smoke dances across the failed architecture of a forgotten society and we dream and try to dream of a land almost totally forgotten. Very beautiful marriage of parallel moods to create an evocative and intriguing visual representation of the track bringing to the table both uncertainty and emotional resolution. WATCH BELOW NOW!

Home Learning is a long distance collaboration between Tom Schmidlin (Pagination) located in Bentonville, Arkansas. and Edmund Osterman (Screener) in Covington, KY

DECAYCAST { New Track} Reviews : Wobbly “Lent Foot” (Hausu Mountain, 2021)

WOBBLY Popular Monitress“to be released on cassette, CD, and digitally on 2/5/2021

Brand new high intense edit explosion from Negativland member, longtime radio show plunder-host/criminal, collaborator of hundreds near and far from People Like Us to Matmos to Thurston Moore, to now an army of touchscreen IOS nano bots- Wobbly aka Jon Leidecker. “Lent Foot” from his forthcoming album on Hausu Mountain, out 2/6/2021 titled Popular Monitress . the album’s lead single, is an explosive electronic sandstorm fused together with textbook Wobbly-esque precision maneuverings amidst controlled chaos. Bloop alien-explosion tone poem comes etched into frantic speaker cones channeling an army of puzzling and buzzing IOS midi war-machine events from the future. “Lent Foot” then blasts into hyperdrive 8-Bit Stevie Wonder bass collapsing down the rear stairwell, as arches of folding warped cartoon glitched foley pillars roughly and jitterly try to prevent the full tumble all the way down the mental metal twisted staircase of synth and beat chaos. A perfect express of the Haus Mo sound and ethic-electronic explosion of the highest and densest order. Once again Wobbly does not disappoint for the maximalist sound-horder and psychedelic ear fiend

San Francisco-based multimedia artist, composer, and improviser Jon Leidecker makes music under the pseudonym Wobbly. He is an active member of both the seminal experimental group Negativland, and with the Thurston Moore Ensemble. Over the course of a varied musical practice that began in the mid-1980s, Wobbly has collaborated with artists including Matmos, Dieter Moebius (Cluster), Tania Chen, Fred Frith, Tim Story, David Toop, Zeena Parkins, and People Like Us. 

Highly recommended.

PS. While you’re here check out this GUEST MIX Hausu Mountain busted for us last year. Ripe for a new listen.

Preoder Order Popular Monitress now from the Haus Mo bandcamp page.

DECAYCAST Reviews: Electric Sound Bath “Of This World” (Moon Glyph, 2020)

Electric Sound Bath is the new age / ambient duo of Angela Wilson & Brian Griffith. Their newest, “Of This World” is out now via the mighty Moon Glyph Records. Large, swelling synths, rumbling sub bass undulations slowly bubble up through ambient swells on forgotten tones, a warm but slightly unsettling and unresolved tension. Electric Sound Bath is the perfect conceptual and sonic reference for this work, as the tones eclipse the listening space in a spacious and breath-like eclipse of sound. Channeling early Eno and Godspeed You Black Emperor, ESB’s tones slowly peak and dip with a graceful ease, a constantly shifting tone poem enacted with grace and precision. relaxing, calming, and blissful despite holding a tight intensity at times, never fully resolving to “background sounds” but engaging movements of pressure and movement.

The duo’s sounds have room to undulate within controlled structures, allowed to breathe on their own without much chaotic interference. Like an old ham radio beckoning into an empty sky, with hope of contact returned. Bordering on psychedelic ambient, and new age, the sound switches gears occasionally but slowly and carefully, dark and low string sounds guide the work like a distant light ahead, while warmer and more glassy synth voices continue to pulse – shimmering ever so steadily through the thick fog of the sonic space.

“This long-form creative process mirrored the duo’s own life trajectory and experiences ‘of this world’. The result is a celestial wash of MIDI-driven modular synthesizers crafting slow, unfurling caverns of sound. The type of deep, meditative tones that reward loud and close listening. Allow this music to patiently flow over you, reveling in the crystalline details and heavenly peace.”

Order now via Moon Glyph Records

DECAYCAST Reviews: Laura Luna Castillo “Tuberose” (Whited Sepulchre Records, 2020)

DECAYCAST Reviews: Laura Luna Castillo “Tuberose” ((Whited Sepulchre Records, 2020)

Ohio’s Whited Sepulchre Records brings us another underground gem with the hauntingly moving and inspirational new album from Laura Luna Castillo exploring themes of time/place, fragrance and experience, and the sound waves a wonderfully complicated line between all of these. The sounds present on “Tuberose” evoke unknown histories as worlds with a dash of familiarity, like a distant world buried deep within the subconscious rhizome. The sound is both ethereal and cinematic, often holding a powerful tension both compositionally and within the sounds themselves. It’s the music for a slow growing tree; it stretches only inches between the time we are born and when we die, yet we can still be transfixed on it’s beauty, power and growth.

The natural world. and it’s sights and sounds, isn’t something foreign to the artist and her practice. Castillo states, ““I was inspired by the book “The art of perfumery, and method of obtaining the odors of plants” by G.W. Septimus Piesse from 1857 in combination with the exploration of the study of time, memory loops, ephemeral and elusive memories.

Oscillating in sonic zones akin to Terry Riley, Meredith Monk, A Silver Mount Zion/GYBE, the ambient sections of Neurosis, and early Wendy Carlos, Castillo blends experimental compositional techniques with stunning epic, over-arching movements in sound and space. These compositions hold great tension in many different moods, which Castillo stitches together flawlessly, as they shift between haunting, and reaffirming, morose, and explosive. Huge moments happen with the space of a few seconds, and yet, we have to dedicate our mind and ear to the entire journey and it’s slower changing moments as well, as they necessitate their own timelines of experience. A vastly complex and interesting album for so many different reasons which are better heard than read about . Castillo’s sounds, like nature, are complex, complex in detail in the most rewarding ways, at times unsettling even, but overall present as an abundance of sonic beauty. Powerful powerful music, hard to classify, and what’s even the point, just go buy it here.

Highly highly recommended.