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
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,
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
Morose and warm new visual from Hedia – “Untitled 3” from the Quartets cassette that came out in July.
A beautiful union of enveloped, undulation machine of reverberated moods; a warm refreshing breath in cinematic neo-classical minimalism. Pinched tones, crawling, yearning for a new breath, a new beginning, Hedia works the space of decaying sound in a beautiful and nuanced treatment of the sounds themselves bringing the space to live in a tremendously rich pattern.
With hedia, I hope to create a blank space for the listener to enter and find stillness for a moment, unfocus your eye, escape from the desert heat.” – Bryce Hample
Microscopic sonic events washing ashore fade into arpeggiated synths, but only for a few seconds as envelopes of sound and vision open and close on the viewer to create a somber distortion in both time, place, and vision. A blurry fade into an unknown place, loss, grief, strings, sadness, hope all sputter past each other like blurred pedestrians buzzing through a rush-hour rain station. For a few moments, we have some peace.
Hedia is the music of multi-instrumentalist Bryce Hample. Hedia is spacial music, creating a place to inhabit, if only temporarily. Musical spaces to encompass the listener, unfolding organically and spaciously, in a blanket of drifting piano chords, viola da gamba, brass, subdued guitar, and tape manipulations.
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:
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.
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,
“Grimalkin is music & zine collective & record label comprised of artists from all over the world to raise money and support socialjustice & civil rights organizations locally in Richmond, Virginia, USA & worldwide”
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 (…) Posand 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-
ormances. PONIIAboasts 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
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 playedour 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 in2015 we did the one and onlyofficial 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 offull 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, orat leastthat influence comes into play as an idealized form rather oftenwhen 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.
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?”
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
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.
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.
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.
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.
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…
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 greatMukqs 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:
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.
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.”
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
fractals of breath
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 )
A PLACE TO WRITE IF YOU ARE MOVED TO
GLASS OF WATER
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.
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.
On “Vapid Angel Mix” Shizatin provides some sonic relief for shut in times.
Multi-diciplinary artist and DJ SHIZATINis 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.
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!
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!
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.
Billington says “The 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. .
“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.”
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.
Bay Area artist and curator Karl Evangelista (and one half of the duo Grex is producing the Lockdown Festivalhappening 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 stalwartsDeathbomb 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 andThey 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.
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:
We have the capability to do remote streams without having our team present.
We will teach you how to stream while providing technical support
We can provide Stream-Kits (limited)
We will feature your set on our archive (Youtube, SoundCloud & website).
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.
As 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”
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.
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”
“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. “
“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. ”