Decaycast Essential Listening : Grimalkin Records Statement Of Solidarity + Resources + Micro Reviews

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Grimalkin Records or GR has released a collective statement of solidarity with the global uprising in support of All Black Lives and ways folks can contribute to fighting anti Black racism, transphobia, and xenophobia and all forms of oppression through music, art, poetry, fundraising projects, transparency, compilations and performance. GR boasts an impressive roster of artists working at the forefront of everything from rap to bedroom folk, with social justice projects and grassroots fundraising campaigns rooted in anti oppression at the core of their beliefs and conceptual underpinnings. Check out a few releases we’ve selected below from their Bandcamp page  as well as some infographics provided by the label’s collective members.
A few of our favorite releases:
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ABSOLUTE LEGEND IN THE MAKING. Backxwash is one of the most forefront artists of our time, do not sleep on her, this album goes into so many different places, a true tour de force of modern Rap, industrial,  and experimental.
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Fantastic sampler spanning all of the unique genre bending hits of the GR family, another essential release in the catalog which you should not miss, a little something for everyone on here, plus many exclusives as well.  From the somber, blissful  acoustics of Elizabeth Owens , to the funky, Prince inspired, experimental R&B from Quinton Barnes, this is a beautifully curated eclectic mix and showing of the sonic diversity of the collective.
Here’s a few infographics provided by the collective to elaborate on ways folks can practice anti racism in music and art communities and grassroots organizing efforts, something that is much needed, and long overdue,
Gr Statement 1Gr Statement 2Gr Statement 3Gr Statement 4Gr Statement 5
“Grimalkin  is music & zine collective & record label comprised of artists from all over the world to raise money and support social justice & civil rights organizations locally in Richmond, Virginia, USA & worldwide”

Preview YouTube video Cardinality – At the Dinner Table

Noisy Experiment: Rodriguez and Soliday’s PONIIA Series Encourages Real-Time Collaboration Between Artists Trapped In Self Isolation

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Live Video synth Screenshot from PONIIA  (Courtesy. J. Rodriguez)

Like many, the pandemic has all but uprooted underground arts communities, music and activist scenes alike with no clear direction ahead.  Sound Artists, experimental music creators, composers  Bran (…) Pos and J. Soliday have been feeling the effects of quarantine in their own ways, like many,  their lives were rapidly altered by the Covid-19 pandemic. Nobody really knows where this is heading, but the only thing that everyone can seem to agree upon is that the world is drastically different now. Despite shaky, shifting times, and a worsening political climate, music (and collaboration) remain a consistent grounding force,  which, for many,  provides a temporary reprieve from an apocalyptic news cycle with seemingly no end in sight made exponentially worse by Neo Con death cult racist responses. But there is respite, at least briefly. Adventurous, wild, chaotic, sound, maybe, at least for a few hours, can save us from the mental anguish of the unknown engulfing  right outside our  very studio window. What began as simple “online jam session” between friends and  longtime collaborators has now turned into a weekly experimental series, with it’s own twists and turns,  technology. and a dedicated following  The new collaborative online series Principles Of Non Isolation Audio, or PONIIA for short, separates it distinctly from most of the other online concerts and perf-

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Cleav’d Cleaver (L-R: J. Soliday , J. Rodriguez

ormances. PONIIA boasts co founders,  Jake Rodriguez  (SF/Richmond, CA) and Jason Soliday (Chicago, IL) who accepted the challenge of creating a more intimate experience for both their participating artists and audience alike. The series has since blossomed into something bigger and more important than the artists seem to admit with their  casual discussions of it’s origin, however it’s clear that they understand the importance of a more inclusive experience that their series creates, even for folks who maybe couldn’t access live music performances for a number of  different reasons . All these things make  “Principles Of Non Isolation In Audio” special and unique, We’ve tuned in for three of the streaming events so far, and without a doubt this series has captured both the isolation that folks are feeling, as well as the necessity of real-time collaboration, something mere months again, for most, wasn’t such a life or death situation. Although musicians cannot be in the same room due to social distancing, real time audio (and video) collaboration regenerates the feeling of intimacy coupled with the magic of improvisation. complete with all of it’s rewards and risks; magnified through the online performances.  PONIIA has granted something that was once taken for  granted, maybe lost, and now once again, turned streaming into a very familiar feeling for both audience and performers alike. We sat them down from a safe distance over chat, to talk about the origins of their history of collaboration and the series itself.

 

You two have a long history of collaboration, when did this all begin?

JS: Jason Soliday
JR: Jake Rodriguez

JS: When did we meet first?

JS: Not sure if it was in Chicago at Deadtech, and you were on tour or if it was that first tour I took out west, sometime around 2000-01. Either way blame it on Blake Edwards.

JR: I also remember going bowling with you and Blake, and you guys got really competitive about it and then my bandmate Mike Guarino who didn’t want to come ended up slaying all of us.

JS: Ha! Yeah,  did we drag you guys out at like 6AM too?

JR: Real early. I was def not feeling it. We first played together at yr place maybe when i was on tour with Angie?

JS: I’d have to check the archive. My friend Amelia made a zine a few years back listing every show we did at Enemy, or at least all the ones we could document, though probably a few slipped through.

JR: So Jason curated Enemy for a number of years and I have had on and off relationship with running some kind of series as well

JS: Enemy existed from 2005 through 2012-ish (Enemy site/archive: http://www.enemysound.com)

JR: I started doing soundcrack broadcasts around 2007 or at least that’s when i started documenting them, sometimes regular, sometimes in fits and starts. At one point i started up the Crackscape project where I collected long form soundscapes from folks and made some myself and would randomly grab 4 of them and play them up against each other with some kinda realtime visualizer. Crackscape ran on the site 24/7 for several years.

JS: The Institute for Implied Imperfection was an improvisational streaming radio show I produced and performed in every other Sunday afternoon from September 2015 through March 2016, 23 broadcasts. Format was simple, I’d invite a friend or two over to my studio and we’d improvise live to stream for two hours, mostly unplanned, whatever happened happened. Most of the session recordings were also archived on my SoundCloud, but they’ve been down for a while now.

So this  blossomed like many experimental music friendships do, by touring?

JS: Yeah more or less. We’d run into each other every few years. I think mostly Bran(…) Pos (JR)  coming through Chicago, I didn’t make it out west too often.  2012 or so was the first tour I came out west?

JR: I think that was both of us solo till the last show or two? We played at Alice Coltrane Memorial Coliseum in Portland, OR (as Cleved Cleaver)

JR: That was JS on cut-up modular synth and me on microphone (as Cleved Cleaver)

So that was the first official collaboration, Essentially touring together?

JS: No, Jake  came through Chicago on a job maybe 6 months before that and we played our first duo gig at Enemy. Checking the Enemy archive, I’ve got that first Cleav’d Cleaver show happening at Enemy, July 26 2013. After that was the tour with the ACMC show Jake just mentioned, and then in 2015 we did the one and only official Cleaver tour so far. That tour was a trip… we slowly devolved over that tour. The tour started all chill free improv long sets by the end it was 5 minutes of full on noise, and gum.

So it began as more long-form improv and ended in five minute blasts of noise, What  changed on that tour that often leaves the final sets being the shortest but often times, the most intense, or maybe  this isn’t your experience?

JR: I don’t know. I’m not sure i remember it exactly like that but I’m sure you’re right. Was our last show in LA at Human Resources? That was a weird one for sure.

JS: Wasn’t a bad tour or anything that I remember. Yeah with you crooning to the passed out dude, and his phone going off mid show.

JR: That’s right there was maybe 4 people in a giant white reverberant void and one of them was asleep snoring.  I think it was just a process of figuring out what we wanted to be over the course of the tour.

JR:  Ya know i think what we do this kind of improv experiential dirge-digging you get into a deeper sorta groove with the digging as you get more comfortable — also and especially in a duo. my experience. duos go deep.

JS: I definitely started thinking of it as a “band” once Jake went vocals only, I think that sped up our sets too

JR: I had those chunky hydrophones i would shove into each cheek — stereo sucking sounds.

JS:  I was sampling Jake’s voice/mouth sounds in real time, looping & shredding them

JR: If you’ve never seen Jason (Soliday)  play modular synth — he’s amazing — and even more amazing to me — he sets up his patch at the venue every night. On tour we get to the venue and he just goes into the back of the room and starts setting his patch up.

JS: Maybe that’s why it was different every time,  I generally remember my patches, though I’ll switch things around here and there, just to keep myself entertained.

This idea  of thinking about it as a band is an important  distinction, improv is one thing, and it’s great, but i think the notion of a band, even if it’s two people, to me, can be different than just two people improvising, do you find this to be the case?

JS: We were still improvising the whole time, there weren’t songs. I tend to use words like band to focus my thinking about various projects, but that doesn’t meant it followed the rules of “band”

JR: If you play together twice in the same format with some kinda similar intentions, to me that’s a band, and then  that gets deeper in repetition.

JS: True. band is one unit.. as opposed to the improv grouping that exists for a single show, that same route as naming a thing, it’s not just jamming, now there’s a mission or something of the sort

JS: I think me calling anything we did a “song” is more about being concise. Like we’re going to say what we have to say in a small amount of time, and move on to the next statement.

JR: There were lyrics

JS: You learn something new every day. Not sure I knew that..I mean,  I had suspicions.

JR: I think we were basically a hardcore band

JS: I’d agree with that, though I think it’s still loose. I mean  we’re also talking about a band that has existed for a decade and has played 10? 11 shows? Me personally, I have a vaguely idealized “band” in my head that looks sort of like Ohne (the Dave Phillips/Tom Smith/etc. project), and I‘m always  aiming for something in that vein something that falls somewhere in the middle of hardccore/noise/actionist performace art, or at least that influence comes into play as an idealized form rather often when I start thinking of something as a “band”

JR: There’s always a disparity in perception between folks working on something i think. A former band i played in for a decade i found out at the very end that my partner, a drummer would every show take the address of the venue and turn it into a number sequence and thus a riff we would get into during the set

JS: well if we saw it the same way, it would get dull fast

Bringing it back to soundcrack radio show, Jake you mentioned you cued it up to produce these sort of collaborations between artists who may have not even known their  pieces were being played together, over each other etc?

JR: That was the concept, I semi-curated it actually so it wasn’t totally random. I had folks choose a time of day that their piece represented and i think i then interpreted that into a color-descriptor for the track, and then grouped them in smaller groups of similar colors, and then randomly grabbed one from each color group till there were four playing, as one ended a new group would cross fade in. I even had it so the visualizer had the names of the artists fade in when their piece faded in. i know, not rocket science, but I’m no rocket scientist.

I’m actually basing some of the visualizers for this series on those patches i used before.

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So how did the new  series come  about, and do you see this as a continuation of these  early soundcrack experiments?

JR: I moved to Richmond, CA on March 1 after living in SF for almost 30 years. it was sorta in the planning for awhile, but also came together all of a sudden. i had the itch to do some pirate radio when i moved. we moved, got quarantined, all my work went away in an instant. i suddenly had some creative time on my hands. Jason you lost your work before all of us huh?

JS: Yeah, I was already out for a bit before all this got in the way

So, working with JS was just sort of a natural choice for the project?

JS: It was me tweeting about looking for something like Ninjam, right? I think I had seen the first couple of ESS streams and started thinking about how that was cool, but real-time collaboration would be more interesting, to me from a playing standpoint

JR: Exactly. Jason mentioned “would anyone like to set up a Ninjam server?” and i didn’t know what that was and looked it up. a quirky realtime internet audio jamming protocol that works right inside Reaper, a free DAW.

JS: I remembered this program called NINJAM from a decade ago when my old group I<3Presets would use it from time to time

JR: It was not hard to install and set up the server. i texted Jason and said “I think i have a Ninjam server working.  “Wanna try it out sometime?”

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We hadn’t seen each other or played together in 5 years, and within 20 minutes, Jason and I were making noise together and it was super fun and intuitive.

JS: At that point I don’t know if I was thinking about doing a series, or just looking for a way to play and get out of the house without getting out of the house, But the series idea came pretty naturally once we got it rolling and found out  how easy it was, and I’m all for the we’ve got a thing lets share it idea.

I think that’s a key interest of the  series, is that it sort of breaks down the  ego/individuality in a  way that’s really refreshing, opening up this technology for more folks to find out about it and be able to use it, in a  time when and where it’s really needed

JR: there are several “realtime” internet jamming things out there–they are all booming right now. they are all weirdly quirky, but Ninjam is particularly quirky about dealing with latency. instead of trying to make it shorter, it makes it longer and sorta predictable and tries to lock everyone down to a bpm

2020-05-06 11.46.51

JS: I hate that metronome

JR: and then delays everything you hear by a “measure” so everyone is playing “in time” but a measure behind what they are hearing, we just all turn off the metronome. It feels very natural while you are playing, but really nobody is hearing exactly the same thing, but i never think about that while i’m playing. obviously, playing a tight song would be impossible, but for our freeform kinda stuff, it works out more than not.

JS:  Yeah, that’s the first thing I tell people. it’s weird if you start thinking about it, but if you just run with it, that weirdness disappears quickly

JR: if you try and get really syncd up out of time with your partners, it comes off like a call and response, because whoever is delayed (and i have no idea how Ninjam determines who comes “first”) responds after the initial event.

JS: I think like a lot of things though, it’s just figuring out the parameters you can’t control and then rolling with/against it… maybe I don’t notice it because I’m so used to working/playing with patches and systems that somewhat play themselves.. for me it’s just another factor of “oh, so that’s where we’re going now?”

Just another slightly chaotic control parameter. Any thought of releasing  any of the perforamces  as an actual release? do they get  recorded into reaper as well? or can they?

JS: Yeah, each person’s local session can record a version, and it’s all multi-tracked. We haven’t yet, but I’m curious to compare recordings from two different locations to see if they differ.

JR: We’re archiving them and putting them up on soundcrack.net If you feed em water at night they become podcasts.

JS: In general,  Jake and I still are thinking of this as radio, so the podcasts on soundcrack are the definitive versions, if there is such a thing.  Also of note, In the background here between shows, Matt Taggart and I used the server to record our debut duo record last week.  Also, in a way we’re enabling collaboration at a time when that’s more difficult.

Can you talk about when and who of the next few weeks?

JR: We don’t have dates yet for a bunch of folks but Headboggle, Demon Sleeper, Malocculsion, Tom Djll, Canner Mefe, Thomas Day, Anti-Ear,  all on the coming docket

JS:  Sug, Anthony Janas, Carol Genetti, Billie Howard, Neil Jendon… the list is growing

Lets talk about the ways this  series is connecting people in pretty morbid times?

JR: When Jason and I first tried this out, privately, we just had a blast. it really sort of felt like playing together in person, and  this experience was clearly something that each of us were missing–not getting right now. Like a random hookup.
(not that i know what that’s like)

We invited Matt Taggart to join us in another private session and he was obviously feeling the same. and then i played privately with Fletcher Pratt and it was a similar feeling.

JR: And ya know, there’s a bit of a tech hurdle to do this. It’s not super complicated if you have a computer and know your way around any DAW, and that’s not everyone unfortunately, but for folks that can get over learning a new bit of pretty simple kit it can be a remarkable stand-in for playing together in person. It checks off many of the same emotional/intellectual boxes.

With the added kick of us all collectively not getting it any other way.

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Do you see yourselves continuing the series after  quarantine in some capacity?   To me, i think it  has a lot of impact and creative potential even outside of a quarantine type situation.

JS: It has an appeal outside sure. The idea has been mentioned between us, but I think we’re still mostly rolling with it as it goes. Though the last week or so we have really leaned into planning more than a week or two out so.

I do like that although it was the current situation that kicked this off, it still feels like something I’d be doing anyway… just maybe not in this form. There’s always a slight muttering from everyone involved of “next time for real” after these gigs.

JR: Yeah I love the radio thing tho i know when the real world returns there will be different attention challenges and i don’t expect a weekly commitment will last but who knows

JS: Hahaha I think I might have hit that point where I don’t know what the real world is any more! Yeah, not really, but it’s a pretty abstract concept at this point, isn’t it?

It does feel a little different, & that’s nice to hear from someone who’s has just been in the audience role.. since Jake and I also have a view of backstage, I sometimes wonder if that influences my perception of it.. from what you’re saying though perhaps not that much

JR: Truly I’ve been wondering also about folks that can’t come to typical shows for some reason, from social anxiety disorder to brain surgery

Exactly. That’s one of the reasons I think it has a lot of potential for continuation “after” the quarantine.

JS: I think actually physical shows are already not accessible To a certain percentage of people that would def be able to enjoy them or at least enjoy the music / sounds I’d they were able to physically be there for a number of different reasons.

JR: Distance and money too.

JR: We have a show coming with Demonsleeper (Oakland, CA) in duo with her pal Calnepuelco from Miami, FL. Long bullshit distances defeated,  that’s OK by me.

JS: I also recently saw someone mention at another live twitch stream I was at something about how they couldn’t go to loud shows anymore, but now they could because they could control the volume. So there’s definitely a place for this – theres  a lot of good reasons to carry on.

JR: Yeah,  I’d love to write a grant for this,  so we could guarantee funds for the participating artists, by that i mean all the musicians, the DJs, the video artists, maybe even the organizers. And by “love to write a grant” I mean “love it if someone else wrote a grant for me”

Can you remember any sonic moments that really stood out to either of you from the series?

JR: In the PONIIA with Danishta, Jacob, Greg, and Chris (dunno #4?) there’s a point where they all cycle through making the bass throb/riff, like this persistent pulse. and they each do it in their own way. greg on trumpet fart lips, Jacob by rubbing something, not sure between danishta chris who was doing what when. and they even all do the same note. and it cycles weirdly in and out of time because of the Ninjam delay and just works in the weirdest way and very much an interaction i would expect from seeing this group in person live (which i have).

In the last one, there were moments that Zach took it to another level

JS: Todd’s piano coming in at the end of his set with Albert on Sunday.. things were zoning along quietly, I was spacing out a bit here and then that piano hits and it was like yeah now this is serious.. it just got real heavy in here

JR: Ya–that piano was awesome i agree.

vsynth2515853

JR: when DJ LUCY first joined us, I gave her one direction which was “maybe pick music that doesn’t sound just like the performers since there’s little visual cues as to what’s happening when” and then Wobbly and pals all got so excited about her choices that they just started playing with her and imitating her sounds and it was exactly the opposite of what i was worried about it became THE THING.

Also getting text-bombed by a blown away Hans Grusel during the Soliday/Pratt duo in the first show was a major highlight

JS: That whole show worked so great.. knew that combo of players was going to be sick, but went way wilder than I expected..

What was the single most impactful sonic event you’ve  ever  experienced?

JR: Hearing the neighborhood cats all gather in mourning the night my cat Jennifer Kitty got hit by a car when i was a kid.

(PAUSE)

Oh I’m just fucking with you MERZBOW SF 1998

JS: Haha there was no way I was gonna top kitty funeral

JR: My babysitter and her friend went out to look if it was her and then they brought me out to see her. It was horrifying, and the cats sang on all night long. And it was beautiful. We lived on this weird block in Burbank “Keystone” that, like, animals were constantly being hit by cars there. It was a complete horror movie. I witnessed some of the most intense animal-related trauma on the street.

051720 flyer
5/17 PONIIA coming up this Sunday

What have y’all seen, heard,watched,read that you’ve been excited about recently in quarantine?

JR: I listened to War of the Worlds maybe for the first time dope
on the same tip–Porest “Abject Mirror”

JS: Watched Born of Fire yesterday on the recommendation of Mr. Matthews, That was a trip, need to go back and watch it again.

JR: Watched Southland Tales a few weeks ago. never even heard of it before.

JS: The new Prants record – Axion Ladder, pretty much my idea of a perfect noise record, covers so much ground, and the transition between tracks 2 & 3…

JR: Aaron Dilloway, Lea Bertucci, Headboggle, Bonnie Baxter all have done livestreams in the past weeks that blew my lid

JS: S: Andrea Pensado  her set on ESS a couple weeks ago was so good. She really took advantage of the fact that it was video. Her performance really made it more theater than the usual concert stream    WATCH HERE:
https://youtu.be/V9k1Vag16Nw

and there’s this great Mukqs ESS set from last Saturday’s virtual VOV:

 

Then there’s this bit from later in that same ESS VOV stream that starts with Jeff Host, but then his set gets uh.. Cock bombed by the Moth boys:

Thanks! Don’t forget the next PONIIA is this Sunday! Tune into: www.soundcrack.net 

 

 

DECAYCAST : ESSENTIAL ListEning: Albums to Buy On Bandcamp Today -Part 1

Every #BandcampFriday, we’re here, picking releases for you to buy. We’re in the middle of a global pandemic, and art must survive. See our list for last month here.

Please, dig and do your  own research as well there is so much amazing art, music, and activism just below the surface, we just have to dig a little, feel free to email us with recommendations also or to submit your own list.

Club Chai co founders and  dynamic sonic duo 8ULENTINA and Lara Sarkissian are at it again with another  stellar release from their Club Chai Imprint, this one a split between the two producers, and it does NOT  dissapoint, as it brings together their  complex rhythmic arrangements, dense whirring pads and dynamic and tense programming and masterful production for heavy and danceable electronic offerings.

Dreamcrusher “Panopticon”

Newest release from one of the most innovative contemporary producers working right now. Intense, present, nuanced, like no other. Dreamcrusher  once again surpasses their own legacy with another pinnacle of contemporary heavy electronics from PTP, one of the most innovative labels going right now, solidarity to NYC.

Pu22L3 “Virus In The Sky”

Pu22L3 plays in The Edomites, Secret Sidewalk as well as a slew of other projects and is always  crafting nuanced deep modular synth and  beat textures with soul and tension, and “Virus In The Sky” is no different, pick it up for  name your price today, apparently Puzzle was  given a sound pack from the legendary Mr. Dibbs and they will be donating any money raised from this single.
“mrdibbs.com/product/a-p-s-o-plandemic-pack/

ITS FREE, he’s a cool cat and if you need an introduction to his work, there is this oracle named “google” that could totally help you out with explaining his body of work. So here, DL the pack, WASH YOUR DAMN HANDS and make some cool music with it. Its a really cool sound pack.

Also, if you end up donating money for this album, I’m trying to figure out along with Mr. DIbbs if there is some sort of non profit or organization that helps feed front line workers in Cincinnati because in times like these we gotta take care of each other and his base of operations is in Cincinnati.”

Yatta “Wahala”

Absolute essential listening from one of  NYC’s best  imprints PTP, curated by GENG aka King Vision Ultra.

“/this year, they released their sophomore album, WAHALA, via PTP ++ a theatrical production (An Episode: Ricky’s Room) commissioned by the The Shed.

//YATTA has shared the stage with musicians like Cardi B, William Basinski, and The Sun Ra Arkestra, creating multimedia performances that tour nationally and globally. ”

Moor Mother “CLEPSYDRA”

from the  text from the release on bandcamp”

soundscapes to another other
painting eternity
fractals of breath
unknown
archival genesis

A COLLECTION OF SOUNDS FOR WRITERS ( my intended experimental audience but it may be helpful to other creators ) AND CREATORS EXPERIENCING BLOCKAGES
FOR THOSE TRYING TO BREAKTHROUGH CREATIVE BLOCKS AND FOR THOSE HAVING TROUBLE DREAMING
WHAT DO YOU NEED:

PENCIL AND PAPER ( NO SCREENS )

HEADPHONES

A PLACE TO WRITE IF YOU ARE MOVED TO

GLASS OF WATER
INSTRUCTIONS:

MUST LISTEN WITH HEADPHONES

FIND A QUIET AND SOMEWHAT COMFORTABLE SPACE

ALLOW YOUR MIND TO WANDER

VISIT AS MANY PLACES AS POSSIBLE

THANK YOU FOR EXPERIMENTING
Limited Release for the Month of May
Honor Mothers Every Day”

The Noriegas “Trans Noriega Express”

Bay Area  Startup bleeds avant-noise rock unit and general agitators of splendor and  tech gone  away, wrong side of the ballad  fusion between harsh noise, kraut, with a spoof of a  cover that will wrap the brain in circles, pick this up for  name your price today.

ONO “Red Summer”

ESSENTIAL new album “Red Summer” from Chicago Avant-Gospel , Industrial legends ONO, forty years of politically charged radical Black conceptual art, one of the most important acts alive today and one of the most important albums of the decade period, expect a feature soon here on this album. ONO can do no wrong.

Donald Anderson “Holed In One”

Tripped out and  twisted mellow mood elixer, ambient wash from this Oakland producer. Sprinkled keys and  false start funk intro.

Solarized “Thermo dynamics of Life”

Philly-based psychedelic acid punk like no other, one of my favorite discoveries this year, seems like would be even heavier and more intense live, pick this up today. True outsider cosmic sounds for other worlds, the stunning cover art represents the sound perfectly.

Headboggle “Polyphonic Rehearsals”

Rehearsal extrapolations from Bay Area synth mangler from two recently cancelled bay area performances, similar to Polyphonic Demo, but  expanded with even heavier synth washes, blips of time expand beyond the horizon.  Grab it now, essential artist, mucking trough through the unknown for too long, Mort Garson on acid and  study for  our generation, all praise to Boggle!

Z.O. Voider “Perdendicular Groove”

Classic sounds from another living legend of outsider sounds and art. Z.O. Voider / Turman never lets us down, be it, blown out industrialized rhythms, or deep meditative explorations, the sounds are always powerful and other-worldly. Mechanical, dark, menacing, omnipresent intensity.

Aaron Dilloway “USS Orgo”

Droning locked key synth organ extended from one of the masters of all time. Recently released from his archives for the first time on Bandcamp. Dense, shuttering, thick and panic -stricken amazingness, classic Dilloway deep dive.

Compactor “Temporary State”

NYC’s Compactor returns again with more long-form industrial -based rhythms and soundscapes; textural, heavy, dissonant, pressing, Derek Rush’s projects never fall short on both concept an execution. Temporary insanity for labor left uncertain of a future. Pressing release, pick it up today and check his Social Distancing Shirt Fundraiser on the CS page.

DJ Rashad “Double Cup”

You know  what to do. RIP Always.

Bob Bellerue “Essential Work”

Another deep, leveled work from Bellerue, just released. Haunting, big, and small; wide scope of techniques and sonic worlds.

Moor Jewelry “True Opera”

Heavy/improv madness from Moor Mother x Mental Jewelry channeling psychedelic punk infused sonic walls of  chaos, but it’s so tight and locked and chaotic and just perfect for the moment really, the  record we all need right now to  fight this madness of  isolation, anxiety, fight, and dread.

Otzi “Storm”

New album from Oakland Goth/Post Punk legends Otzi, out mid May, channeling The Cure from the  future and other worlds beyond known lands. Masters of the genre,  hands down.

 

Experimental Housewife “DigitalBeach”

Maddening and beautiful assortment of tone poem electronic madness from this Bay Area project whi8ch has been making waves for a minute now. Deep deep electronic, explorations, beat extractions for every mood, beautiful beautiful discovery.  Now i know why this  project has built up such a cult following in the underground Bay Area experimental  dance  community

Monochromacy “What Has Been Will Be Again, There is Nothing New Under The Sun”

Heavy, dense, thick psychedelic guitar explorations from one of  Southern CA’s most innovative guitar/heavy drone/ experimentalists. Exceptionally beautiful and nuanced take on the style, follow this project without doubt.

J. Soliday “Music For  Speech Synthesis”

New one from one of the harsh.cut up masters, this new one delves into some more  digital crunch with an undeniable human control feedback system, nuanced and complex, fractured yet soulful, outsider sound undeniable.

Chaki “The Water”

Proto Prince inspired funk worship from Bay Area troublemaker Chaki, check a lifestream to see this in “person” – he does it all folks, and with respect and humor to the originators, Chaki blends his  own stew of funk and humor. A+

braingoat/jK/>XTINGUISHER> – “ESSTENTIAL”

Three way split from new  Oakland Label/Collective Every Living Thing Is Weird. harsh, varied, refreshing, pick up for pay what you want. Satisfy that harsh itch of innovative tongue in cheek harshest!

Spellling “Mazy Fly”

Another essential from Oakland’s psychedelic, enchanting, haunting, post-disco king, SPELLLING. Patrick Cowley and Donna Summer haunt the  twisted  airwaves of her  transmissions from another place.

 

 

 

 

 

 

 

 

DECAYCAST #030 :Guest Mix – SHIZATIN – Vapid Angel Mix for Decaycast

On “Vapid Angel Mix” Shizatin provides some  sonic relief for shut in times.

Multi-diciplinary artist and DJ SHIZATIN is back at it at with a  quarantine mix for Decaycast, this one focuses more on synth pop, hi energy electronic offerings, some dubstep, a little  bit of everything. This is the perfect mix for your day in quarantine that’s  started slow and needs a little jolt. Tune in below.   Shizatin also performs under the name GOLDEN CHAMPAGNE FLAVORED SWEATSHIRT, and has  an album forthcoming on Ratskin Records in 2020.

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Golden Champagne Flavored Sweatshirt is a multidisciplinary electronic music producer/DJ/ cultural contributor to many things pro Black , pro femme and pro heaux. GCFS works with the RATSKIN Records collective and has performed at numerous underground events in the Bay Area and beyond and is currently recording a full length for the Ratskin imprint slated for release in 2020.

 

 

DECAYCAST Premieres: Listen to Avant-pop artist mynameisblueskye “Awkward Grace” now!

DECAYCAST Premieres: Listen to Avant-pop artist mynameisblueskye “Awkward Grace ” now!

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East Coast bedroom avant-pop producer mynameisblueskye shares his newest track “Awkward Grace” for an exclusive stream with Decaycast, and we couldn’t be happier to share this morose, avant pop offering. “Awkward Grace”   blends undulation droning synth chords  below the artists honest and open vocal deliveries, which seem to be the main emphasis sonically and conceptually.

The vocals tell the story of triumph, overcoming fears, and all the the insecurities and uncertainties that come along with that. The timbre of both the  vocal delivery and  backing synth (which has a rather organ like character to it, which adds a layer of wonder and nostalgia), represent the process and journey the track articulates quite nicely.  The title itself references a  duality of process, a complexity of discovery, mynameisblueskye states:
“Ten years ago, I worked on a collection of songs and I named it Awkward Stage. The title was referring to the very fact that when I was younger, I wanted to write songs and make music, …but I had crazy performance anxiety. I would always sing in a way that was hushed yet audible due to performance shyness. Ten years later, I released albums, EPs and have not only worked out my singing voice, I gained a little more confidence. This confidence should show in my recent recordings.”

 

All in all, a to the point, powerfully honest track, hopefully the full EP carries this  vibe throughout, we will be  checking back soon to pick it up. Take a listen to the blissful track below and make sure to pick up the EP “Awkward Grace”  when it comes out!

In The Midst Of Upheaval, Artists Are Curating Online Festivals To Keep The Music and Art Flowing

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One thing is clear, the news is changing everyday surrounding, COVID-19, the newest and deadliest manifestation of a set of viruses known as Coronavirus, Although many were, and are still slow to adapt to the strategy of social distancing, a strategy recommended by many simply to flatten the curve of transmission in the US and across the world, to save lives but more importantly to ease the massive burden put in place within a “healthcare system” which was already on the brink of collapse. In a world already in social and political upheaval with racism and capitalism driving profits over people, artists and other marginalized members of society such as service industry,  social and hospitality workers not to mention the inhumane and rapid growth of  house less populations across the country and especially here in the Bay Area, visibility, resources and support systems  for art, music and social practice were already practically non-existent, and for underground experimenatalists and activists alike, even less so. But in the true spirit of underground art and culture, artists and creators  are adapting quicker than any of us expected, out of a necessity of  survival. In a time when the day to day changes our  reality in a way perhaps never experienced by this mass scope of the population at once, uncertainty is the only certainty. We talked to a  few artists who are beginning to  adapt new models to  support artists almost immediately.

Chicago, IL musician and curator Ben Billington, who is one of the founders of the The Quarantine Concerts series based out of Chicago spoke with us briefly about the newfound series and how they are adapting to this unexpected shift in the arts and performance.

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Billington saysThe Quarantine Concerts are a collaborative multi-city endeavor meant to provide artists in our community a space to share their work and continue to earn a living during this time when most live performance opportunities have been cancelled due to COVID-19. By centralizing streaming efforts, we hope to drive larger audiences to the artists performing, with the aim of helping them earn more money in the process. The idea was formed by the collective minds of Experimental Sound Studio, Daniel Wyche, me, and Carrie Cooper — Daniel had planned an online concert himself since his tour was cancelled, and we all saw his post and sort of jumped at the opportunity to collaborate on something bigger.”

As a curator myself one of the inherent obstacles I can see with  suddenly switching the majority of live performances and events to streaming/online is an over-saturation / lack of organization/scheduling which can lead to the audience or viewer  simply being overwhelmed with content, without any actual direction. One friend is streaming here, another over here at the same time and we almost don’t know where to look. Through collaboration and selected curation, The Quarantine  Concerts seems to begin to address this issue through mutual aid and collaboration in  a way that individual artist streams or presentations fall short. Since Billington doesn’t solely rely on music/curating as a sole  source of income, he is able to dedicate more time and resources to promoting the work of others. The series solicits donations for each event and 100% of the proceeds are split between the artists at the end of each night. A truly generous and radical act.

Luckily I don’t rely on my art or event curation to make a living, so my time has mostly been spent trying to support others to get their art out there (and make some scratch) for as long as I can remember. That’s still very much my mentality while we’re on lock down”

Dr. Decaycast: What has been the biggest obstacle of the series and what are some valid critiques people have expressed thus far?

“So far, the biggest obstacle has been YouTube — our live stream was repeatedly being flagged for “inappropriate content”. So, the first hour of our first concert was us troubleshooting, and then making a last minute decision to switch over to Twitch. Luckily, it worked out and the whole concert happened, albeit 1.5 hours later than planned”

“I think the main critique is that not every art medium can translate well to the streaming format, and also, as soon as we announced the project, everyone wanted to be involved. Unfortunately there’s only so much time and bandwidth as a lot of us have day jobs on top of this fun project, so it’s day-by-day progress.”

Can you talk about what the series have coming up, performance wise, and how the curation works and how people can support?

“Tonight ESS is curating, Friday there’s a Chicago series called ACORN that had a bunch of shows cancelled, Saturday we have electronic music label Hausu Mountain curating a night. Next week we have Ithaca Underground curating a gig, Homeroom doing one, some others and many more to confirm. We’ve had curators approach us and we’re reaching out to some as well — curation of curation, for sure. Definitely not a free-for-all. Once a curator is confirmed, they pick an open date and we start the process of getting them the tech how-tos and other suggestions/guidelines”

Make sure to check out TQC  website and schedule  here and scope a performance.

Denver, CO based  artist Kevin Richards, who  performs under the moniker Equine is hosting PLAGUE FEST out of their underground Denver, CO based venue  Glitter City, but as many as the events over the last week, it will be without attendees. From the  Plague Fest event page:

“Since we (and many other venues) have shuttered their doors, I have decided to attempt some online actions such as this to help pass the time. In addition I am hoping this will be a way for me to offset the costs of keeping glitter city going. Any funds you want to donate to this end, please send via venmo to @glitter-city Please be sure to donate to the artists performing via the means they provide, and of course, buy merch!”

Plague Fest begins today and runs through March 27th. Artists interested in getting involved should follow the link above for  submission instructions.

Nima Dehghani,  an interdisciplinary artist based in San Francisco and Tehran has relaunched his Netformance series as a way of connecting artists across various disciplines and continents shortly after COVID-19 began to rapidly spread. We got the chance to talk with Nima briefly about the Reconnect Festival.  .

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“Well, I had a project called: Netformance which was dedicated to internet-based performances, I stopped this project 3 years ago, but after the strange coronavirus crisis, and seeing all my artists and non-artists friends stuck at their homes in quarantine, I thought that I can restart that idea, so contacted two of my friends in Iran (Fariborz and Sepehr) to see how we can come up with a creative idea to, first: entertain the people while they are bored at their homes!  Second: engage our artist friends whom their shows or artistic projects are canceled or postponed.

Also how we can unite artists from all around the world, who for the first time are facing the same problem and experiencing the same critical situation at the same time? The idea of online performances is not something super novel, but we thought at this point providing a solid platform for this kind of art, would be helpful to re-connect people and increase the empathy and human connection and to help people go through these tough days with the help of art, together.”

 

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Here’s a Google Doc to Submit to the festival, which begins April 5-12th (FIRST EDITION)  and will be held on instagram live An Austin, TX collective, seemingly inspired by the monumental cancellation of SXSW, started The Social Distancing Festival.

The festival like others above, has an open submission policy but is focusing on works that we’re specifically cancelled or drastically altered due to Covid-19. from the festivals website,  “Check out the LIVE-STREAMS page, or click through the calendar to find out about streamed events from all over the world! Have an event coming up? Let me know about it through the SUBMISSIONS page!” One thing that;s quite unique and  exciting about these festivals is their seemingly open submission policy, which is often a hurdle for underground or undiscovered artists. Here’s hoping these festivals will birth new collaborations and projects which may have not even been possible, or have an audience previously.

40203202_10156204124071693_7594413970820169728_oBay Area artist and curator Karl Evangelista (and one half of the duo Grex is producing the Lockdown Festival happening April 4th,  and features performances from heavy hitters Marshall Trammell, Oakland Art-Rock emsemble Grex, and the  dark whirring sonic spirals of Oakland’s own Voicehandler, Submissions are  currently open. Evangelista states The purpose of the festival was to consolidate some of the effort I saw going into both community advocacy and music making in the face of quarantine. I just thought it might be nice to see that collective action is possible (and in some ways easier) via all these technological innovations that we’ve been forced to interface with these past few weeks.”

Aside from open submission festivals,  many underground and small indie labels are doing online versions of their festivals and artist showcases. Erstwhile Records is planning an online version of their AMPLIFY Festival, you can join the Facebook group here. Also  Southern, CA  stalwarts Deathbomb Arc are  supposedly planning an online version of their showcase as well.  They recently had showcases booked in Oakland and in LA featuring Cooling Prongs, SARN, DIS Fantasy and They Hate Change, a queer rap duo from the swamps of FL taking the underground by storm.

While some are booking online festivals , others are sharing their own resources and encouraging to learn new tools and methods of sharing and promoting their work in times of extreme isolation. Bay Area collective Fault Radio, who already had a dizzying stream of online DJ performances ala Boiler Room has released an article on how to expand your practice in the time of quarantine.

Fault Radio’s Broadcast from Home . Details below:

Are you an artist or DJ who is self-isolating at home? Do you want to know how to stream your sets? Fault Radio is looking to host DJs who want to live stream from their house!

We will be providing the following:

  1. We have the capability to do remote streams without having our team present.

  2. We will teach you how to stream while providing technical support

  3. We can provide Stream-Kits (limited)

  4. We will feature your set on our archive (Youtube, SoundCloud & website).

  5. We will open an online event where people can donate. Revenues from the event will be divided between participating artists and Fault Radio/

Lastly, we figured we’d announce a new project related to all of this melee, a YouTube  Playlist Series of themed mixes titled #StayTheFuckHome Mix Series with themes ranging from bay Area Experimental Music to Underground Electro, to In Home Workout Mixes, Cooking Mixes, and more. Here;’s the first one, and please support all of the artists in this mix by going to their respective bandcamp pages and buying directly.

 

Thirty + More Releases to Buy On Bandcamp Today – Experimental, Beats, Warped Pop & More

cropped-solar_electric_propulsion_0.jpgAs always, the world is in chaos, so last Friday,  Bandcamp  waived it’s revenue share for artists .  Decaycast sounds off thirty MORE releases that are essential from 2018-2020 spanning noise, experimental, rap, neo-soul, black metal, post-punk, and more. Make sure to buy these records and support the artists. In times of chaos, artists, cultural producers, and activists are often left in the dust to fend for themselves. Here’s some of the music  that got us through the last few years. This is by no means a complete list, more so what we’ve been listening to the last few months on heavy rotation. SUPPORT THESE ARTISTS! Please see part one here.

Lara Sarkissian “Disruption”

“DISRUPTION is Lara Sarkissian’s debut EP release via CLUB CHAI. The project is an electronic soundtrack to an imagined fictional film inspired from stories of Armenian mythology, the transition from the worship of nature to the roles of gods and goddesses and tying these narratives to encounters with familial spirits. The soundtrack uses electronic composition, instruments with roots in the Armenian Highlands, sounds shaped from plateaued landscapes and geography, samples from old cartoons, and distorted narrations of rituals. “

Black Quantum Futurism “The Afterlife Of Events”

Luke Stewart “No Tresspassing”

King Vision Ultra “Pain Of Mind”

Nihar  “Chrysalis”

Dense, and  nuanced electronic stylings from Nihar of  TVOD / Left Hand Path /  Surface Tension SF etc. Highly recommeded for  dark and hazy dancefloor nights.

Doc Sleep “Your Ruling Planet”

The Modern Folk & Andrew Weathers “Five Remote Duos”

Ritmos Tropicosmos “Tumba de la Momia / Beso de Muerte”

Cumbia  from hell / or  halloween, or helloween. Heard they’re a ruse live, but this electro-cumbia  banger is a must spin for hallows eve.

8ulentina “Venom”

Kohinoorgasm “Chalo EP”

Otzi “Storm”

Gayphextwin “Spiro”

Deena Abdelwahed “Khonnar”

The Creatrix  “Approaching An Abandoned Helm”

Bran (…) Pos “Cosmic Mushmouth”

Metal Prayers  “Metal Preyers”:

Snake spit defenders , slither drippers , screwed metallic preyers , helicopter drums , pulsing incinerator sounds .’

London producer Jesse Hackett ( Ennanga Vision / Owiny Sigoma band) and Chicago based artist Mariano Chavez team up with Nyege Nyege Tapes for NNT18 music and art collaboration METAL PREYERS . Hackett and Chavez have been working together for two years on their audio visual project Teeth Agency. Together a plan was conceived to invite London underground music veteran Lord Tusk to Nyege Nyege’s head quarters Uganda to work on the project Metal Preyers .

Metal Preyers turned into six weeks of music , art making, directing night shoots, and gin fueled hell rides into the Kampala night world. Hackett had dreamt of making an industrial / ambient film sound track to accompany the collection of Mariano’s striking visuals and pairing it with Lord Tusks tough sound system sensibilities.

Featuring an all start cast of Ugandan musicians including Acholi singing star Otim Alpha, multi instrumentalist Lawrence Okello and drummer Omutaba . Slow chopped screwed slabs of sound, fast paced to oozing sludge the LP moves between syncopation’s with a cut and paste type feel that nods to DIY cassette tape post punk-ism era and machine-esqe drone ambience.

Voicehandler “light from another light”

Cosmic Surveillance “Live At Visions Of A New World”

They Hate Change “Now, and Never Again”

Hiro Kone “A Fossil Begins To Bray”

Lingua Ignota “Above Us Only Sky”

 

Demonsleeper “Dream Sequence I”

Debby Friday & DJ Haram “Searching”

Marlo Eggplant “Loose Footing”

Conscious Summary “Fathers Day In The Park”

Clipping “There existed An Addiction To Blood”

V/A: “Sacred Spells” Compilation

Yugen Blakrok “Anima Mysterium”

“Five years after releasing Return of the Astro-Goth, Yugen Blakrok descends from the vast cosmos and delivers to the world an impressive lesson in style, with her second album Anima Mysterium. Far from the stars but heavy with their radiant wisdom; it’s towards Earth, humanity and the obscurity at its core that the South African rapper directs her incantations.
Accompanied by Kanif the Jhatmaster’s beats, Yugen’s flow sows the frontiers of a world where the subconscious frees itself and confronts man with his most hidden secrets. Yugen’s poetry has something Ovidian, depicting her as an agent of Metamorphosis, a reincarnated goddess in terrestrial form calling humanity to itself.

“Why in the deepest darkness my soul beams like a lantern
Engineered in female form…silent carrier of the force
I’m a sandstorm in desert dunes, a shadow with a torch”
Land of Gray, Yugen Blakrok

The osmosis between Yugen’s words and Kanif’s instrumentals comes across from the first listen. On Return of the Astro-Goth, the astrological ideas covered by the rapper found a perfect canvas in the mix of wind instruments, dub and electronic echoes from the beatmaker. Here, Yugen lays hers flow over instrumentals of rock, jazz and even at times something that sounds close to witch-house. The project, released under French label I.O.T Records, extracts the essential oils from hip-hop as seen by the two artists, whose creative freedom and artistic integrity contrast with the current rigid codes of the genre. At their sides they have rallied to their musical odyssey artists from South Africa and the US, including hip-hop legend Kool Keith himself.

Headboggle “Live At Stasis”

Cel Genesis “Entropy Vain”

Saariselka The Ground Our Sky”

 

Quinton Barnes “AARUPA”

Watkins  / Peacock “Acid Escape 2”

The Caretaker “Everywhere At The End Of Time”

“When work began on this series it was difficult to predict how the music would unravel itself. Dementia is an emotive subject for many and always a subject I have treated with maximum respect.  Stages have all been artistic reflections of specific symptoms which can be common with the progression and advancement of the
different forms of Alzheimer’s.  Thanks always for your support of this series of works
remembered by The Caretaker.

STAGE 1 – (A+B)
Here we experience the first signs of memory loss.
This stage is most like a beautiful daydream.
The glory of old age and recollection.
The last of the great days.

STAGE 2 – (C+D)
The second stage is the self realisation and awareness that something is wrong with a refusal to accept that. More effort is made to remember so memories can be more long form with a little more deterioration in quality. The overall personal mood is generally lower than the first stage and at a point before confusion starts setting in.

STAGE 3 – (E+F)
Here we are presented with some of the last coherent memories before confusion fully rolls in and the grey mists form and fade away. Finest moments have been remembered, the musical flow in places is more confused and tangled. As we progress some singular memories become more disturbed, isolated, broken and distant. These are the last embers of awareness before we enter the post awareness stages.

STAGE 4 – (G+H+I+J)
Post-Awareness Stage 4 is where serenity and the ability to recall singular memories gives way to confusions and horror. It’s the beginning of an eventual process where all memories begin to become more fluid through entanglements, repetition and rupture.

STAGE 5 – (K+L+M+N)
Post-Awareness Stage 5 confusions and horror.
More extreme entanglements, repetition and rupture can give way to
calmer moments. The unfamiliar may sound and feel familiar.
Time is often spent only in the moment leading to isolation.

STAGE 6 – (O+P+Q+R)
Post-Awareness Stage 6 Is without description. ”

Abdu Ali “F.U.F.M.”

Moira Scar “Wound World, Part 1”

Jonathyan Snipes – “Excess Flesh”

 

 

 

 

 

 

 

Forty + Essential Releases of 2018-2020 on Bandcamp To Buy this Friday As Bandcamp Waives Their Fees

 

As always, the world is in chaos, so this Friday Bandcamp is waving it’s revenue share for artists  Decaycast sounds off fifty releases that are essential from 2018 on  spanning noise, experimental, rap, neo soul, black metal, musique concrete and more. Make sure to buy these records and support the artists. In times of chaos, artists, cultural producers, and activists are often left in the dust to fend for themselves. Here’s some of the music  that got us through the last few years. Here we have  choosen to focus on Black, Brown, Indigenous and queer artists, who are  always under represented in music media, because of white supremacy, erasure, which come as by products of capitalism. This is by no means a complete list, moreso what we’ve been listening to the last few months on heavy rotation. SUPPORT THESE ARTISTS!

 

1. Moor Mother – Analog Fluids Of Sonic Black Holes

2.Abdu Ali – FIYAH

3. SB The Moor – Spirit Realm . Final

4. Debby Friday – Death Drive

5. The Bedroom Witch – Diaspora

6. Backxwash – Deviancy

7. Spellling – Mazy Fly

8. Jasmine Infiniti – Art & Performance

9. Forest Management – After Dark

10. Mourning {A} BLKstar – Reckoning

11. Georgia Anne Muldrow WVETO II

12. Dj Haram – Grace

13. Yatta – Wahala

14. Kaleta + Super Yamba BandMedaho

15. The Uhuruverse – Who killed Kenisha?!

16. Anna Luisa – Green Remixed

17. Harlem Gospel Travelers – He’s On Time

18. LSDXOXO ft. Bbymutha – Blackwidow

19. Kel Assouf – Black Tenere

20. Laura Ortman “Elevator – *​+​*​+​+​*​* *​(​for Layli)”

21. Elisa Harkiss “Mvkerrv (Deceitful One)”

22. Edgeslayer “She Don’t Text Back / Spell Check”

23. DONormaal

24. Death Convention Singers “s/t”

25.  Kepla & DeForrest Brown Jr “The Wages of being Black Is Death”

via the label: “‘The Wages of Being Black is Death’ is an exhausted and defeated audio documentation of the alienation – and eventual distillation – of the Black Body as a subject and content of the social sphere by Kepla & DeForrest Brown, Jr. Written and recorded in a week’s time between file-sharing and overnight home studio binges, the mixtape is framed as a deadpan comedy that follows a slothful and downtrodden Black Body as it drifts amongst the ambient commons of the Whites. Artist Ryan Kuo states that, “Whiteness acts by dictating the terms and categories that describe everything in the universe except itself.” ‘The Wages of Being Black is Death’ in turn serves as a reversal of the nominal gaze of categorization, a paranoid disavowal of an uneven and silent social contract as well as an intimate encounter with the daily, incessant slights and traumas felt by the Black Body in everyday life. “

26. Secret Sidewalk “Primal Dap”

27. King Vision Ultra “Archive 011018 (KVUmix01)”

28. William Winant / Marshall Trammell “s/t”

29. Guayaba “Guayaba Presents: Fantasmagoría”

30. Beast Nest “A History Of Sexual Violence”

31. ONO “Red Summer”

from the artist/label:

“It’s been “Red Summer” for over a hundred years. While the term “Red Summer” typically refers to the race-driven violence in the Summer of 1919 across the United States, its repercussions, its vocabulary can be felt or heard on every corner of every street. In Chicago, it has a special significance, as Chicago was one of two catalysts for that era’s violence, exploded by invisible racial borders along the South Side, a phenomenon that exists today, constantly considered by long-running gospel industrial band ONO.

ONO bandleader P Michael Grego and frontperson travis had met before 1980, sharing a love for written and spoken word, the transcendent, and the genuine. Through continual poking and prodding, P Michael convinced travis to join him in ONO, the name coming from shortening “onomatopoeia,” and underscoring a desire to create “noise not music.” P Michael would handle the audio. travis the words. Since January 5, 1980, ONO’s roster has changed drastically, but always fiercely defended a singular construct: “The ONO STATEMENT OF PURPOSE: Experimental Performance, NOISE, and Industrial Poetry Performance Band; Exploring Gospel’s Darkest Conflicts, Tragedies and Premises.”

32.  Russell E.L. Butler “The Home I’d Build For Myself And All My Friends”

33. Tyler Holmes “Her Is”

34.  San Cha “La Luz de la Esperanza”

35. V.E.X. “Between Worlds”

36. White Boy Scream “Remains”

37. Lexagon “Electric Meats”

38. Maria Chavez “Plays”

“Turntablist and sound artist Maria Chávez turns in her first continuous full length audio work. “Plays” is a DJ mix CD that doesn’t feature any tracks. It is a remix of a work whose original doesn’t feature recorded sound. It is a minimalistic yet complex electroacoustic work, literally built from scratch, bootstrapping sound out of sheer silence: creatio ex nihilio.

The story of this album starts with a record given to Chávez as a birthday present. It is Stefan Goldmann’s ‘Ghost Hemiola’, a double vinyl set of empty locked grooves. The record contains no sound whatsoever other than the vinyl’s own surface noise.
Chávez’s work with records and turntables usually features a rich layer of recorded audio which is transformed, cut up and
rearranged by a wide range of fearless physical manipulations. By contrast ‘Ghost Hemiola’ is a blank canvas, unveiling her craft in its purest form, unobstructed by any audio content other than the sounds of the medium itself.
Breaking up the medium is happening both ways here, literally as well as figuratively. Unlike with her live performances, for “Plays” Chávez employs digital processes extensively, zooming into minute details of sound and the artifacts of both mediums, the tangible vinyl record and disembodied digital audio. Narrowing down shards of sound to extremely short frames creates metallic timbres, reverberating quasispaces and percussive layers. Slowing down the tempo until sound halts at one sample of its digital representation brings forth emergent frequencies, which Chávez then uses to play melodies – vaguely resembling her analog technique of playing melodies by skipping a stylus back and forth across a test tone record.

39. JLin “Autobiography (Music from Wayne McGregor’s Autobiography)”

40.  Irreversible Entanglements “Who Sent You?”

41.  Solarized “A Ghost Across Hell from Me”

42. Maya Songbird “80/90”

43. Ed Balloon “Flourish”

 

Please consider picking one or more of these up today (or any day really) Support the artists by sharing their work with your friends and on your social media. These  are excrusiating times for all and eollective support and empathy are the only way through.

 

DECAYCAST News: Experimental Pop Artist Dani Lee Pearce Shares Her Video Triptych Single; Watch Now

Grimalkin Records  Artist Dani Lee Pearce Shares Her  complex and vibrant  Triple Video Single from new album “For As Briefly As I Live”

Nor a premiere in the traditional sense but we wanted to present these three works from Dani Lee Pearce which range from hi energy experimental pop/rock to lush, serene, symphonic minimalist ballads- released on Grimalkin Records.

The complex first single “I’m Gonna See My Abuser Again”  tackles a character questioning their own experiences,  and how they can possibly free the mental grip of a negative relationship and break free from a cycle of abuse through seemingly upbeat experimental pop strategies, but open the second and third listen, the nuance and complexities of this track come out for all to see.  The  high energy synth, percussion, and vocal production puts the listener in a state of hope, a little anxiety, and wonder, wishing for the protagonist to escape the violent clutches of an abuser

“Deep Red”  is a funky, whimsical, yet dark animation /live-action mashup which captures the breadth of Pearce’s work in an elegant and astonishing way.

“When All Things Are Well”, the third single is the most serene and morose of the three in both visual and aural presentation. Lush symphonic synth lines are encapsulated by Pearce’s stunning vocal delivery.  Pulling from Bjork, Elton John, and Spellling, Pearce has created a lush and dynamic sound all her own.   You can also subscribe to the artists Patreon Page here.

“Commitment has the ability to intertwine such mutually opposite but attracted things like love and death in ways often unexplained or unexplored. The two are either separate or complimentary, never in between. This album is a collection of songs that explores this from the perspective of a frequently shy, nervous, and lonely trans woman; Someone in a period of processing the implications of her own mortality in an unstable time, while at the same time, being absolutely smitten with a devotion that’s made for a timely antidote which makes living worth its rough and complicated while.”

from the label:
Proceeds from cassette purchases of this album, “For As Briefly As I Live” go to Critical Resistance in Portland, OR. “Critical Resistance seeks to build an international movement to end the Prison Industrial Complex by challenging the belief that caging and controlling people makes us safe. We believe that basic necessities such as food, shelter, and freedom are what really make our communities secure. As such, our work is part of global struggles against inequality and powerlessness. The success of the movement requires that it reflect communities most affected by the PIC. Because we seek to abolish the PIC, we cannot support any work that extends its life or scope.”
criticalresistance.org

 

Grimalkin Records

Vortex Empath Xen (V.E.X.) Share First Two Singles – “Demon Dimension” & “Split Orb” from New album Out on Psychic Eye 3/27

The post-punk, industrial-inspired queer duo V.E.X. is at it again with their new full length.

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Vortex Empath Xen plays Oakland 3/27 w/ False Figure @ Elbo Room Jack London. Oakland

 VORTEX EMPATH XEN “Between Worlds”,  which comes out 3/27 on Oakland’s own Psychic Eye. Here we bring you an exclusive stream of the first two singles, “Split Orb” and “Demon Dimension” V.E.X. further develops their ever-evolving sound with dark these two powerful post-industrial / post-rock tracks, utilizing all of their signature sonic elements;  arpeggiated bass and synth lines, funky, chaotic melodies, complex arranging, pummeling drum machines, buzzing horns, mangled samples, angular, distorted, blown-out guitar, and everything gelled together with the duo’s iconic evocative vocal styles, which skate atop the cauldron of twisted sounds perfectly and solidify their art as one of the hardest to quantify into a single genre, V.E.X can simply not be defined in this way.  If you remember, we reviewed the duo’s other project MOIRA SCAR “Wound World Part 1” (also released by Psychic Eye) and you can read that here and order the CD, at the same time your hopefully ordering this one, which held a similar complexity, however “Between Worlds” takes the creativity to another undiscovered level. Sonically, the duo is at times more post-punk, at times, more experimental and always pulling from a queer, post-industrial framework, VE.X. is constantly shifting and re-adapting their sound and visions to the cutting edge of a  violent world. From the band:

Demon Dimension is a Deep Delve into Depressive Paranoiac Mind traps Human brain like hamster on wheel spinning around it’s cage for eternity.Discordant screams waking in a nightmare.”     – Lucifer Gamma Ray  & Roxzan Zatan

Lucifer Gammaray and Roxzan Zatan split vocal duties on this pair of singles, undulating between a more operatic style such as found on the break of “Split Orb” or like the orator of controlled chaos, the singing/screaming dichotomy on  “Demon Dimension” increases the intensity in a very real and visceral way. After only hearing the first two tracks, we know “Between Worlds” is going to be an underground queer staple of post-rock/post-industrial.

“Split Orb is a journey across time and space from within/outsider/multiplxpersonaliti cell/root/complex, we are growing into new beings, what we have been what we are becoming, change is the moment, hybrid hubris, we are flesh channels for source/spirit, we are unbecoming.” –  Roxzan Zatan & Lucifer Gamma Ray

 

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PREORDER NOW from: Psychic Eye Records

LISTEN LIVE: V.E.X. Plays Elbo Room Jack London 3/27 with Mystic Priestess,  False Figure &  more.