CBN – “BE THERE WHEN I DIE, ALL I WANT IS UR SADNESS” (MOONWORSHIPPER RECORDS, 2017)

CBN – “BE THERE WHEN I DIE, ALL I WANT IS UR SADNESS” (MOONWORSHIPPER RECORDS, 2017)

REVIEW BY Rob Buttrum (FILTH, OUT OF BODY RECORDS)

CBN IS THE MASTER OF OPPRESSIVE AS FUCK, DARK, BROODING AND DANK POWER
ELECTRONICS. MENACING DRONES & UNCOMFORTABLY BURIED VOCALS INTO NASTY SYNTH PROGRESSIONS. A MASTER OF BUILDING A
HEAVY EMOTIONAL SETTING. CBN CONTINUES THIS TREND BUT WITH MUCH MORE DYNAMICS AND A SLIGHTLY MORE INDUSTRIAL
SOUNDS THAN BEFORE. IF POSSIBLE ITS EVEN HEAVIER AND MORE FOREBODING THAN EVER. TWO LONG TRACKS MAKE UP THIS TWISTED AND CRUSHING RECORD.

TRACK 1.
I JUST WANNA WATCH PIGS DROWN – PURE HATE AND DISGUST FOR THE SCUM OF THE EARTH WE CALL PIGS. TREATED CB RADIO COLLAGE FADES INTO A RHYTHMIC METALLIC POUNDING.A TRANCE INDUCING DIRGE THAT GROWS WITH EACH MINUTE. BRUTAL AND HARSH AS HELL YET HYPNOTIC. BEAUTIFUL, DISGUSTING AND UNRELENTING ARE WAVES OF NOXIOUS SYNTH
PROGRESSIONS AND THUNDEROUS PULSES WITH MASSIVE, OOZING BASS TONES THAT HIT YOU OVER AND OVER. NO REMORSE, CRUSHING. AGONIZING & RAW BELTS OF VOCALS OVERLAY
THIS THICK AND MELTING SLAB OF SOUND. HUGE AND THICK AS IT CRUMBLES, SHARP AND PIERCING AS IT MELTS INTO A POOL OF SHIMMERING SLIME. ONLY SMOKE AND REVENGE
REMAIN IN THE AIR AS ALL ELSE DISSIPATES.

TRACK 2
PERISH AWAY – NAUSEATING SYNTH LEADS CUT DEEP AS YOUR SIMULTANEOUSLY CRUSHED EVER SO SLOWLY BY WAVES OF PUTRID BASS AND UNCOMFORTABLE SQUEALS & SCREAMS.
A NIGHTMARISH HELL IS CONJURED. EERIE FREQUENCIES SLOWLY GRINDING ON YOUR BONES TILL THEY TURN TO DUST. A MASSIVE PRESENCE WITHERING YOU AWAY TO NOTHING.
SLOWLY GATHERING UP A RHYTHM FOR YOU TO GRASP. MIGHT BE THE ONLY THING LEFT TO HANG ON TO BEFORE YOU PERISH.”

Check out Miguel Rocha’s CBN project in an article from the DENVER WESTWORD HERE !

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DECAYCAST REVIEWS: HEY EXIT “Else” Cassette/Digital (2015)

“Else”  was  recorded by HEY  EXIT, in Brooklyn NY in 2015, but  you’d  never  really be able to tell as  it comes off  as this  sort of  timeless  drone recording.  “Else”  starts with a low, slow, cloudy  drone and  slowly builds and  destroys  subtlety across the  entire album. The  first sounds that  emerge  are  delicate.  spacious, tone  poems of  humming synths? guitars? who knows?  but the  source a1533371763_16isn’t  really that important and the sounds  create a sonic  space  that exists  somewhat outside of  codified instrumentation, structure,  rhythm. The  sonic palette of HEY EXIT is  largely of a similar toolset, at least on Else, and the cassette is broken up into five tracks, however they all function as  one  breadth, decaying and  gently bleeding into each other. “What Role, If  Any”  is  probably the track that feels   most complete on its  own in terms of a moving composition within itself and  offers arguably the most  sonic  density and  variety on this EP.

The sounds themselves  are a  plush mesh of drones,  blissed  out  and  stretched  out  orchestral swells, slow attack  guitar  swells,  strategically placed crunches of  rumbling  distortion, and  wind. The  tempo of  Else is  made up of slow, delicately offered  pulses, as  if  someone was  breathing  out the notes, blowing ou

t the  tempo on a single  flickering candle,  but  not  through a wind  instrument, the  attack is gone, the breath has  transformed into a slow,  churning, crawling, beautiful sound.  The slow, crawling , glossy pillars of  sounds ,  at times  almost seemed to  sync up with my breath as i was  sitting in the dark listen

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ing to the  cassette on repeat. This is  excellent  “meditation” music, or at least music that  begs of  slow action, slow  thought,  slow body movements, and slow listening. There  are moments  that  get “noisy” in the traditional sense, but they never  obliterate or  destroy the  more  quiet, subtle  tones  that dance and  breathe  as he main life  source of the  piece.  “Else”  is  a delicately crafted ambient  drone offering for  fans of  slow, delicate, breathing music to  listen to  on a foggy, crawling  confusing day. Highly enjoyable.

 

You can   check this release and more  from HEY  EXIT,  here

DECAYCAST REVIEWS: SHROUDED RECORDINGS ZINE #1-3

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Whenever  one  goes out to the mailbox  and   is  granted with music its a great  day, zines and  books are no exception, especially collaged zines which  throw my brain back into  being  15 and   thumbing through pages and pages and pages of   crudely  xeroxed interviews  with friends, bands i looked up to and  bands i  had yet to discover, Shrouded Recordings Zine is  pretty much this:  centered around the label with the same name.   Issue 1  has an interview with Sam from the Rita, which is  funny, informative and to the point, which is surrounded by high contrast images of cassette  tapes, industrial style  textures and abstracted artworks, and  ads  and  upcoming releases for the label. Volume 1  is more fanzine style, however,  Vol 2 and 3  give considerably more  to the  reader  in terms of length, quality, artwork, and information. Shrouded Zine boasts cut up style interviews, NOISE, NOISE, NOISE and more noise are jam packed  within this modest zine. All of the content  blends together in an interesting and almost dadaesque  way. Interviews   blend with reviews, ads, non sensical, albeit beautifully crude collaged images, and blank space – the MOST important  space in noise and  art, imho.

 

#3  is  perhaps my favorite so far, as  each page of content  is  intelligently paired with a blank page  to act as a  journal, sketch pad, notepad, blank space  for  contemplation. What at first seems maybe like a  printing  error later  reveals itself to be an intelligent and generous  offering from the  writer  to the reader – in fact mine is INDEED  scrawled with random notes and drawings  that i made on the  bus ride into the city  whilst  thumbing through volume three.     Fun and informative interview with Kevin Yuen from  Sutekh Hexan,  lots of  reviews covering  harsh noise, death industrial, power electronics, noise, electronic, ambient and  even some hardcore/metal  stuff! PLUSS   adds and upcoming releases  from noise, industrial, electronics, and harsh noise  labels, distros, and other  zines/webzines with some  minimal artwork  scrawled across the pages as backdrops.   I’ll be  looking forward to  stumbling across  more  from this  zine/label in the  future!

SHROUDED  RECORDINGS

DECAYCAST REVIEWS : K2/ CONSTRAIN / FENIAN CD (Oxen label, 2015)

DECAYCAST REVIEWS : K2/ CONSTRAIN / FENIAN CD (Oxen label, 2015)

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Here we have another  harsh, tasty treat from the always  harsh, loud  and  on fire label OXEN RECORDS  from LA  run by Matt and  Leah Purse. This album comes in beautifully artworked jewel  case, and the  sounds live up to the  artwork./ The  disc opens up with a harsh, but  fun offering from noise legend, K2 (Kimihide Kusafuka)  who  swiftly and masterfully carves through fifteen minutes of classic,  chaotic, phased out  harsh noise blasts. Oscillators and  opportunities shudder open and closed as Kusafuka melts, blends, breaks, and blasts his  way to a masterfully brutal harsh noise assault. k2 has been terrorizing both sides of the  brain/globe  with his  harsh noise  presentations of  aural hell for years and this brand  new offering is no exception. Dynamic, loud, abrasive, and unapologetic  doesn’t even begin to sum up the  work of  K2  on this release, or any of his extensive and  sought after  back catalog, though it’s a brave and noble start.

 

Kevin M. is up next with an equally brutal and  chopped up track from his elusive  yet prolific Constrain project (who also offers up  the album  artwork to boot) The Constrain track has a few  more  rhythmic elements that tease and  tug on the listener somewhere  in  the  background, but  they never remain for more  than a  few  seconds before they  are  swept  away with choppy, arrhythmic feedback blasts, chaotic, unstable  circuits and belching, smelly walls  of  distortion and speaker popping.  Constrain’s style is a bit  more choppy overall than K2, but it’s  no doubt working in the  same  schematic of  compositionally aware, yet angry and  disjointed noise music.  The Constrain track has  some nice  stereo  effects  and is  fairly dynamic, in terms of some of the other projects from this artist, though it  slowly builds to a  chaotic climax  somewhere about halfway through the  track and begins subtracting from itself  and  erasing  its own heads and tails.

 

Last and not least of the  three  artists,  we have the Fenian track, which is perhaps my favorite and the most dynamic and movement based  piece on the  disk. Also a bit  shorter than the k2 offering, fenian carves, warped, warbley  blown out  harsh noise which seems to have more  of an analog tape machine feel (even though i know thats not  whats  being  used – or  maybe i don’t, or maybe nobody  does, and nothing does,  including the machines ) Fenian navigates the  harsh to minimal transitions rather smoothly and  always riding the line between blown out and microtonal harsh noise, in a  swift and compelling way. Some  faint  field recordings of  voice/ old  song can be heard, however  before the listener can claw at a point of reference, the  sound is GONE, SQUASHED, MANIPULATED, into a harsh hellhole of  auditory terror.

 

The fourth track is a collaboration, by mail it  seems between the  three  artists  and is mixed and compiled by K2 according to the liner notes. This track offers  some really fun manipulation of  source material from Constrain and possibly Fenian as well but  it’s  undoubtably  processed through the K2  sound  engine!  Overall a great  offering for all the  harsh heads out there  who want something with a bit more sonic density  and  with more  variance than most contemporary harsh noise, these  three are  keeping the bar  high and  dangerous.

 

OXEN LABEL 

Decaycast Reviews : DIAGRAM :A “Confusion Rituals” Cassette (Fluxus Montana, 2015)

Decaycast Reviews : DIAGRAM A “Confusion Rituals” Cassette (Fluxus Montana, 2015)
Another stellar release from the blossoming Montana noise/experimental label , FLUXUS MONTANA. This one from the elusive Diagram A project, consisting of . Dan Greenwood and Alicia Renadette of. Holyoke, MA. Greenwood has been concocting home brewed instruments and oscillators out of their reclusive studios for years and here’s a sold document of some of these explorations, “Confusion Rituals”  opens up with some raw, humming oscillator tones  reminiscent of Nick Collins homemade oscillator instruments but quickly builds up in amplitude, intensity and chaotic ness. What started as some single oscillator drones working in harmony quickly escalates into an all out tone war zone, with twisting, binding, cutting sonic warfare against the listener. Waveforms cut, bite, gnaw, curve around and manipulate  each other  in and out  of the aural mix and before long we have lost our orientation and are thrown into an oscillator free fall of Sign waves, square waves, white noise and about  everything else in between.

All of the sounds are compressed into a super thick, sludgy wall of sharp tones, raking against the ear and eyeball, vibrating the teeth slowly but steadily out of the listeners skull piece.  There’s a lot of folks making similarly styled noise music, especially with the recent rise in the popularity of the endless explorative array  that is modular synthesis , but Diagram A seems to get a certain organic sound to the machines they are using, there could easily be field recordings buried deep in the mix, or there could very easily not be but we would never know. This cassette is a tone poem to the maximum! Many of the tones grow their own sound branches, extend, crack and fall to the ground, and give nutrition to a new aspect of the composition.  Diagram : A is simultaneously all over the place and compositionally sound and consice at the same time, with the artist always paying a close ear to the mix, and layering of what could easily build up into a monotonous, unrelenting wall of uninteresting noise, but this never happens as the players are LISTENING and we can hear this in the final product.

Keep an ear to the ground, or through the ground rather for Diagram A, as we will be. Definitely some of the more interesting homegrown noise we’ve heard India minute.

DIAGRAM :A

FOUXUS MONTANA

Decaycast REVIEWS : UNEXAMINE “Carnal Opponent No Brothers” 7″ (OXEN RECORDS, 2015) 

UNEXAMINE “Carnal Opponent No Brothers” 7″ (OXEN RECORDS, 2015)


(Photo courtesy of OXEN RECORDS )

UNEXAMINE is Charlie Mumma of Sissy Spacek, Knelt Rote and about a million other rather amazing bands and projects collaborating with the  also prolific Danny Costa., but where do we begin with this 7″. this little blaster seems to bring all of the best elements of many of Mumma’s projects and roll them all into a ball and proceed to roll it down a mountainside in which it crushes the village below, and then next thing you know you are pushing this sharp, jagged, metallic ball of hate back up the same old hill only to be crushed by it once again. Mumma and Costa masterfully and effortlessly combine sharp edged, angular and  jittery,  wrung out and dragged through rust laden sonic  pillars of harsh noise. Unexamine is a sonic cacophony, melting  industrial style mutated percussion sounds, screeching, feedback ridden and blood gargling vocals, layers and layers of low end  rumbles, whilst keeping the listener moving and stunted at a rapid fire pacing. . Mumma and Costa peel back the skin of the listener to create a precision cut up would, by blasting the ear with a tone cannon of visceral, dark, cut up, chugging alienating sounds. There’s so much harsh noise that i listen to, but this is really blowing the  doors off my prison cell.
This 7″ is the sound of rusted garbage coming back to life and slicing the throats of its manufacturer. Mumma’s cuts on this newly released 7″ are unique ideas in harsh noise; fast paced, brooding, even occasionally rhythmic walls  and towers of hell; spliced with junk, field recordings and enough nihilism to make you smash the record player as soon as this thing ends. TOP NOTCH HARSHNESS from a veteran act  in the game. This  7” might already be sold out at the source, check in with the label or artist.

Written by : MALO

OXEN RECORDS

CHARLIE MUMMA

GX JUPITTER – LARSEN “Pump Powered Permawave” 10″ (Oxen Records, 2014 )

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Where do we even begin. “Pump Powered Permawave” is a new 10″ record of two locked grooves from noise legend , entropic wave enthusiast and all around spectacular artist , and not to mention founder of the legendary noise / conceptual art / performance unit, the Haters, which if you’ve never heard of, I Suggest doing some research, GX Jupitter – Larsen. GX’s works are conceptual, dark, funny, harsh and mysterious all at the same time which is one of the reasons I’m so intrigued with him as an artist, and I this new 10″ record on Oxen Records, out of Los Angeles, is no exception.

Raw, unnerving, grinding, gritting away at the listeners mind and ear lobes, PPP is the recorded document of one of many of GX’s minimalist harsh noise performances. Pump up the suitcase (in 10″ bright disaster / construction cone orange vinyl form ) to hear beautifully decaying tools of entropy spiraling down your spinal column, and back up out the listeners cochlear. Pump Powered Permawave is the entroptic inverse of the sound of drilling through the eye’s sanded over distorted interpretation of vision, bent and mangled through harsh, gritty tunnels of grinding, unrelenting harsh noise rhythms.

The sound is abrasive, loop based , harsh shapes, sometimes resembling circles of inner ear insanity and a noisy information form of sonic chaos, documented and preferably played at MAXIMUM VOLUME, whilst grinding away at ones frontal lobe with an angle grinder. GX does it again, the simple plan wins, but when you dig deeper there’s a deeper meaning behind the broken wave of decay, your brain is actually inverted to create the sound. What a beautiful record and piece.

No dymanics, no intros or outros , just the pure essence of noise itself. GX Jupitter-Larsen’s work digs to the most primitive, yet often the most beautiful sources of noise. when noise has a concept, in the case of GX, it can’t be defeated, for it is the ultimate statement in anti musicality, and refreshingly so.

Don’t mind losing your mind, and scope of space and time and the elusive Permawave?, then GX’s new record is JUST FOR YOU! Highly recommended for its beauty, execution, harshness and realness, a MUST OWN for any fans of noise , art and/or entropy.

(Photos via OXEN LABEL website)

EN NIHIL “DEAD FREQUENCY” Cassette (Danvers State Recordings, 2014)

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Here we have a newer release, “Dead Frequency” from the prolific yet deserted and obscure project called En Nihil, released on Danvers State Recordings The  A  side  starts out a slow,  cold,  ambient windchill of  space and  delicate reverberations. En Nihil is known for his  desolate, dark  heavy death/ambient/industrial recordings  but the “Dead Frequency” tape picks  up the pace  pretty heavily right off the bat. The slowly spinning ambient burner quickly but in a well composed manner, morphs  into a heavy, noisy, industrial hash squall from hell.  Dense, sharp, ripping sounds crumble and spatter atop of each other and  create gray pillars of psychedelic, waves of spiked feedback, and noisy  percussive elements. The wall section of the  piece  builds up to a blistering climax, and then gradually gives itself breathing room and a deeper, more restrained   tension is created. En NIhil swiftly and skillfully creates a monumental tension between the cold, ringing, droning ambient sections, and the harsh noise walls and cities of sonic bombardment.

On this particular release, we have a wide and refreshing scope of styles that are skillfully executed. There is actually a plethora of sounds and  ideas making up this  sinister, unclimbable wall of sound. Even though at times, it just sounds like “noise” , rest assured, it would be counter productive to pigeon hole it as such En NIHIL is a master at riding the waves between noise / ambient / death – industrial and straight musicality. Especially the B side of “Dead Frequency” if you blink for a second you might be fooled into thinking that some of these tracks , composition wise , have a structured sensibility to them, which for this type of music is a good thing in my opinion. There are no happy accidents here, or if there is, they are disguised well, each note , tone and action appear intentional and forthright in the composition and idea.

“Dead Frequency” is the logical progression in the En NIhil discography and takes a step forward in terms of dynamics and harshness but remains true to the unique style that the artist has created. MOre to come from this artist! Keep an ear in the cave.
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DECAYCAST REVIEWS : PREGNANT SPORE / VERTONEN Split Cassette (Forever Escaping Boredom Records , 2013)

DECAYCAST REVIEWS : PREGNANT SPORE / VERTONEN Split Cassette (Forever Escaping Boredom Records , 2013)

The Pregnant Spore side opens up with a fuzzed out, distorted thud percussion pulse and  slices of  choking voices aboot. The  blown out crawling bass slam and  garbled voice slices play off of each other quite nicely, and occasionally giving way to blown out sawtooth death note blasts that come from below and pierce through the mix. Albeit them a little hot in the mix, these jagged bass blasts create a rhythmic structure which shapes a dense and articulate bassline for a plethora of stuttering, FullSizeRender(13)flickering , and what sounds like sampled piano notes bounce off of each other in a loose and playful yet, rhythmically interesting way. The first half of the track held a little more tension for me personally, but the dense buildup toward the end created a relieving and necessary contrast. Overall a wide scope of  timbre and dynamics of sound  are utilized in a short amount of time. Will be writing more about this project in the coming reviews for sure, as we have at least one more tape by Pregnant Spore in the  piles of stuff to do. Now let’s get to the second side.

The Vertonen side comes right out of the gate with a warm yet sharp sounding repeating oscillation of unknown origin which goes on seemingly unchanged and tightly hinged to itself. gently beneath the surface, as if a failed distant audial telegraph, a slow tone begins to oscillate deep beneath the surface and causes a subtle yet growing psychedelic phasing of the original pulse. Slowly but with a determined tension, more and more complimentary voices trickle in and out of the mix, and cautiously roll over each other into a Terry Riley/ Steve Reich esque nod to minimalist classical composition. A short, relevant and beautifully articulate offering from Blake Edward’s Vertonen project.

Overall, a nice short release, although both projects could use a little more room on the ol’ magnet as i felt both pieces were cut off a bit abruptly, however sometimes that’s the way she goes , leave them wanting more yes? a solid release overall, with a brightly collaged color xerox cover, and plushly purple tapes which complement the J card’s nicely. Will be reviewing more from this label in the following weeks.

FOREVER ESCAPING BOREDOM

PREGNANT SPORE

VERTONEN

DECAYCAST Reviews: Somnaphon “Anthology Of Errors” VHS (Out of Body Records, 2014)

Somnaphon “Anthology Of  Errors”  VHS

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Somnaphon creates glitched/data  bending digital audio and   visual synthesis. Signals run into each other  creating psychedelic, colorful matrixes of broken digital cell rendering. Who knows the  signal  flow of this  glitch artist but it seems geometry is  running amok, backed by a minimal but all present digital noise/ambient soundtrack,. Visual , architectural loops with varying but  repeating Colors, shapes, and planes bend, distort, tear and melt into each other through  digital loops of  circuit bent  video pulses. Out Of  Body Records usually releases all  analog artists, but with the release of the Somnaphon VHS, OOBR presents  these  eleven tracks  digitally moshed and  twisted visual experiments in  an analog  format, compared to some  of Somnaphon’s other online works, “Anthology Of  errors”  has a distinct  hybrid  digital/analog feel, often times appearing as  digitally glitched out scenes of  confusion presented and pressed onto analog  tape, or reprocessed through analog devices. Somnophon does a good  job at masking, or rounding out the  digital aesthetics of  “data  bending music”  for a more  1970’s analog feel. Cascading pillars of pixels, lines, and rogue color palettes gently , yet  meticulously morph and pulse into and out of each other  to create visual poems of  distorted geometry. Mirrored madness through the multiplication of  destroyed and  wrong pixels  creates a visual  journey or  errors   inside the  first ever broken computer- error in, error  out, blood in, blood out, bad human in, bad human out. Despite subscribing to the  “data bending”  strategy of visual construction, which can often display a somewhat limited visual palette,  Somnaphon employs a wide  array of  image creating techniques, which morphs, pulses, generates and multiplies over  the entire eleven tracks,  creating an obtuse visual representation of  what is possible with “data bending” .

The sounds compliment the images quite perfectly, at times, to a point, where it seems they are  often coming from the same source. Glitchy, choppy, digital  distorted pillars  of failing  and  flailing spikes and pulses  and apparent  silence create a synesthesia effect within the work itself. Lots of  digital reverb coat the structures of computer  hard  drives crashing into a sea of blackness. Sharp electronic blasts, spurt out chopped up transmissions  of broken morse  code ; sending a message out into space to the  unknown. Sometimes more beat/loop oriented, and other times more  sporadic and random, Somnaphon keeps the sonic and visual palette fresh and ever  changing on “Anthology of Errors”

At times more  painterly images are  formed and other times, more  rigid minimal, geometric structures and rendered and bled  into new forms of their previous incantations. Somnaphon is seeking to destroy  and  redistribute the pixel, to create “anti digital-digital art and music”  and this  VHS is the  perfect introduction to just that! Beautiful packaging , as always  from this label, complete  with the STOP PLEASE  REWIND sticker!!

SOMNAPHON

OUT OF BODY RECORDS