DECAYCAST Premieres: mrscientificterms “the mathematics of defeat” video (Verses Records, 2019)
Verses Records is a D.C. based imprint who just today along with this video released their Verses Records Sampler Vol. 3 on November 29th. It is mostly artists from DC and Asheville NC, with pepperings of Nashville, Memphis, Seattle, UK. mixing varied electronic styles, neo-classical, some ambient/dark ambient to boot. “the mathematics of defeat” is a visually intense tour de force of contemporary capitalist culture and structure, with quickly paced editing, jump cuts galore, and a visually pulverizing style fitting the chaotic and noisy track perfectly, “the mathematics of defeat” tells a dark, cluttered, alienated and somber tale about society on the brink of collapse, enacted by violent, racist and sexist power structures that are slowly eroding the planet and the varied species that inhabit said planet with reckless abandon for pretty much anything with a pulse. Watch the video here , directed by Asheville artist Aaron Wackenhut, and make sure to pick up this Verses sampler or something else from their bandcamp page
“being born to lose . . . we are told that wecan transcend that, and often realize that is BS, that a capitalist society will try to crush you, to holdyou down . . . that you are basically screwed. Constant attempts at control, at divisionism . . . it’s themath laid out by those that hold the puppet strings, ‘The Mathematics of Defeat’. You learn to live with it, maybe you ascend . . . maybe you don’t. It’s garbage time for humanity.”
Naoko is named after the beautiful and somber character
from Murakami’s book Norwegian Wood.
Here is the first single from Norway based producers NAOKO, who bring a thick, dense, percussion style, hypnotic and catchy loops, sputtering shifting hi hats and snares, throbbing bass and a creative mix of production style to their new single “Bloom”, off their upcoming EP, which you can listen to for the first time, right here, below:
“Bloom” blends heavy, synthetic beats with lush, slowly melting vocals in contrast to the dark, creeping bass and plucky strings and hoover style synths that create a warm, thick backdrop to showcase the vocal delivery. Referencing American producers like ABRA and FKA TWIGS, NAOKO spins a haunting sonic tale for listeners to get lost on a late night road. Take a listen to this heavy and lush done poem anthem of touch and change and be on the lookout for more from NAOKO.
Here’s some download codes for the single which can be redeemed at:
WAXY TOMB is the work of multimedia artist Jules Litman-Cleper. We’ve been following the work of WAXY TOMB here at Decaycast for many years and after a splatter of homemade CDR’s over the years it’s nice to see her work presented in proper LP format, as well as adorned with the nuanced, futuristic, cyberpunk influenced digital art that they have come to be known for through video, live performances and 2D works. The LP is also accompanied with an art book containing expanded variations on a theme of the cover art. The other-worldly visuals are the perfect compliment for the music; dark, nuanced, intricate, alien, and complicated.
The sound of “Imminent Fold”continues where previously homemade releases have left off, with conceptually dense, yet structurally often minimal and stripped down electronic compositions, though there is structure; these exist as “songs” in the traditional sense, however they gel and mutate within the lexicon of Waxy Tomb’s visual and aural landscape to continue to tell a part of a larger story. The voice has always been an important aspect of Litman-Cleper’s work, and this LP is no exception, pushing her extended vocal techniques in effected ways further than they have existed before; blending beautifully with the dark, throbbing chirps of synthesizer explorations and static noise crumblings. Litman-Cleper’s sound is at once alien, and robotic, yet natural and “comforting” in a way. She is able to ride the tension of creating simultaneously a record, that, in a sense is both an experimental electronic record and an electronic pop record, and one pinned together through the visual and aural alien language that the artist has come to define within her aesthetic set. Pulling from assumed influences such as Laurie Anderson, Cosey Fanni Tutti, Tara Cross, and Bjork, Litman-Cleper creates a style of experimental electronic , left-field music all her own which speaks an alien language that with “Imminent Fold”, we just begin to understand and are all the more rewarded for it. Highly recommended.
Output 1:1:1 is currently preparing for the release of his upcoming EP “Retroactive Rock Record”, due out on November 1, 2019, and has been kind enough to share with us the premiere of the second video, Directed by Elias Campbell and single from the album under the same name, “Retroactive Rock Record”. The track blends slow moving hypnotic vocals, dark plucked ethereal synthesizers and strings, and lush, ominous and lonesome sounding electronic background sounds. The sound of “Retroactive Rock Record” tells a dark and confusing story about confusion, loss, the unknown. The tones blend together perfectly to create at once a hopeful, albeit slightly unsettling sonic vibe. Take a look at the video below and make sure to pick up the album on November 1.
: “Writing this song was incredibly freeing, despite the central idea of it being a complete lack of control. I wrote the lyrics of the song the night of the 2016 US election. I felt a sense of helplessness swell as Trump’s election became inevitable-Canada seems to follow US election cycles pretty closely. I think helplessness can really encourage shame-the sense that I’m terrible and I am in this mess because I deserve this. It takes a lot more than reinforced positive thinking to work through, and writing this song was an attempt to redirect my helplessness into creating something.
If “True False” doesn’t destroy the world, it might just save it. I’m not one bit sure which would be worse. I dare anyone to listen on headphones walking through San Francisco’s Twitternob at twilight as socialmedia workers disperse and sidewalk-blanket markets roll out. Embracing the eviscerated stupidities of consumer society and then fighting to get free of those same idiot entrails now draped across your brain could make Negativland your solo silentdisco dance craze. Inside your head will be not only the sounds of marketforce lunacy, but the ghost traces of three Negativland members who’ve already shuffled off this mortal coil, Ian Allen, Don Joyce, Richard Lyons, kicking their heels at the Earth, the butterfly’s butterfly effect, and members still enfleshed, Mark Hosler, David Wills, Peter Connheim and Jon Leidecker with contributions from Ava Mendoza, Nava Dunkleman, M.C. Schmidt and Prairie Prince but their work is swept into a torrent of sampled language and sound, the electrocuted-elephant effect.
Since we’re all of us asleep all the time and find ourselves only occasionally awake on top of that, it occurs to me Negativland works the same way the human subconscious does. Both are made of always-on memory and an involuntary urge to chew up whatever isnt already pink slurry, gnawing in search of that single calorie of nourishment. The transcendental moment may be when you recognize it’s all going down the hatch anyway, out of sight, out of conscious mind. Like the gut, the subconscious isn’t built to chuck things back up for inspection. But barfing is underrated. Like food industry slurry, the ideology industry perfected its methods, designed to evade inspection, no eyes on the kill line, packaged for volume consumption. Negativland is underrated, their music serves as spectacular emetic, geysering your feed to sandblast the monolith of fiat happiness.
“It is Californians’ God-given right to water their lawnsYou know, there is no way to argue with thatPrint the manifesto print the manifestoDo you own research.No way to argue with that.Except with explosives.”
Of the multiple contexts Negativland evokes, mid-20th century ad-man polish has become their arch brand. The smiling voice that locates us in inert collective conscience, situating us in the vacuum space of capitalism’s dominant cultural mode: the con. Having seized pop music and advertising’s means of production, Negativland have long been masters of the weaponized ear worm. Each wriggler is impaled on a barbed hook of dense wordplay, segmented samples sourced from the mediasphere are always-already persuasive, wriggling mashups that compel close-reading at first just to hear the slogan, but then to anchor the preposterous and political contexts from which each source has been sampled. Unabashed about dense language and conceptual complexity, those who refuse to listen will still find their minds on the hook. They may suffer, commercial jingles rendered undigestible by semantic clusterbombs, their preferred identities and rationalizations perpetually stranded between disbelief and stalled rebellion. Close listening requires a doubling of cognitive dissonance, the line, the sources of the line, infrasectionality with the world before you. This doubling is itself a survival strategy for life under late capitalism, to ditch habituated scripts and act in the incomparable present.
“My life in the woods has been ruinedStand by.Pending final test.This noise!Wonderful isn’t it.The sound of American inventiveness.I may go mad.But think of the future you have. Isn’t it our responsibility to bring that about? Stand by. The question is lost in the sound of the explosion. Unfortunately. We. You. We are not destroying anything. We. And the creatures that assemble your phone. It’s easy to imagine the end of the world.”
The album includes a booklet that warns “Play twice before reading.” Inside, the crafted lines are transcribed as lyrics so reading without listening separates each verse from the aural context of each sample. Pulling sources out of context is the most basic method of propaganda, but Negativland makes poetry from propaganda inviting us to another possibility entirely. The poetry of “True False” asserts a politics that doesn’t need to preach or cancel when it can surpass by wide margins of wit and a call to run, hide, then fight back. “True False” bears vital witness to floundering habitually disingenuous simplistic cons that paralyze collective action. Desire and derision may yet survive the slurry to congeal again, the Golem of post-consumer conscience.
Listen To THE BEDROOM WITCH hauntingly nuanced and beautiful new album “DIASPORA” out this Tuesday 10/15 on Oakland’s Psychic Eye. Full stream and preorder link below.
We’re proud to bring you the full album stream of Diaspora from LA recording and multimedia artist Sepehr Mashiahof‘s BEDROOM WITCH project, coming out on Psychic Eye this Tuesday, October 15th. Diaspora elegantly blends, lush, haunting synths, big ethereal swells and intricate percussion all coalesced through Mashiahof’s beautifully haunting and complex vocal delivery. Diaspora invites the listener on a foggy, dimly lit path through orchestral-like passages of a journey to an unknown land. Warm, mid-tempo plucking synth arpeggios create a driving yet ethereal background for the artist’s voice to shine through a distant dream haze. Channeling sonic references from Kate Bush to Alice Coltrane and Iranian folk music, The Bedroom Witch creates a sonic conceptual journey into another world.
In the melancholy of the new album’s narrative, each song weaves together messages from ultra-dimensional entities that describe a way to overcome the core struggle in the first generation immigrants’ experience—alienation in a new world. Recorded and mixed by Mashiahof and released by Psychic Eye Records, Diaspora investigates the Bedroom Witch’s origin story as an Iranian-American Trans Woman.
“I kept seeing visions of women in veils obscured by cool lights hovering over me to a point where it really started to click that there was this other part of myself that I had abandoned through the diaspora. So, I wanted to tell an epic-style story that spoke to the immigrant experience.” – The Bedroom Witch
Make sure to head over to the Psychic Eye Bandcamp page and order your copy today. Highly recommended. The album release show happens 11/9 at Pro Arts Gallery & Commons w/ Mystic Pristess, V.E.X., Scissoring, & Dès Vu. 150 Frank H Ogawa Plaza. Oakland, CA 9pm $10
Ok so once in a while something so twisted, mutated, alien and sinister lands in the inbox and what a rare joy this situation is, and that’s exactly how we would describe the new album “AXIS” from Brooklyn based producer Bonnie Baxter, which, by the way is out NOW on the esteemed and never disappointing Hausu Mountain imprint, and you should go buy it right now! On “AXIS”, Baxter blends chaotic electronic blasts of sputtering, broken IDM rhythms with chopped and mutated alien vocal transmissions. The pacing and intensity are both set on high as Baxter belts forth a scattering array of tempo, time, and timbre changes seemingly on the neckline of a dime, all while creating a dark, unsettling yet unifying and coherent collection of tracks. This is maximalist music for an alien invasion where the beings slice open the ear, amplify it and reconfigure the soud intake structure; it is now inverted and begins omitting violent, brooding, and cynical laugh tracks for the apocalypse. Some tracks such as, “Spirit Enema” focus on more minimalist, albeit twisted takes on IDM/House music percussion with ominous shifting tones backing childlike vocal tone poems. Despite the often whimsical yet twisted vocal presentation, the electronics hold their own and never stalemate, every sound within every track is a now sonic discovery that adds depth and complexity to the album overall and the track within itself.
Other tracks like the later “Celestite” offer lush undulating muffled brass like textures which give breadth to complex yet minimal percussion tom lines as well as wells of elegantly placed reverb and delays, all sitting beautifully and elegantly in the mix. The sheer range of sonic explorations sound wise, percussion and vocal wise is impressive in itself , but the fact that composition wise, this album flows so well, despite it’s wide chaotic reach and conceptual points of entry, drops it in the highly recommended category for us, don’t sleep on this, A+ twisted electronic jams!