DECAYCAST Reviews: Choisir Le Pire “-” (LE TOMBEAU DES MUSES, 2018)

DECAYCAST Reviews: Choisir Le Pire “-” (LE TOMBEAU DES MUSES, 2018)

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Choisir Le Pire is a newer project out of Metz, France  focusing on  harsh noise / harsh noise wall and this  new  cassette release is no  exception. Released on the newly formed LE TOMBEAU DES MUSES imprint also out of France. “-” as it’s  titled wastes no  time slicing the listener with  sharp, grating, alienating plumes of  static  filled gut  wrenching harsh noise with some  HNW and  even Power  Electronics sections to boot.

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The strongest track on this release, “De Charybde en Scylla.“, which is also the  opening track on the  A side offers  the most interesting and  dynamic work on the album,  featuring an ominous sludgy, fuzzed out  thick  droning intro  which is  quickly and  swiftly encapsulated by violent throbbing stabs of  sonic mayhem; grating, dark, and  uncertain. This tape is the  perfect soundtrack to a nauseating feeling that comes  moments before  leaping off  a  cliff into the  black abyss. The closing track, Ce qu’il en rester. is another favorite with it’s  blistering  shuttering fast paced dynamic  stabs and wells, peaks and  troughs of a  chaotic land, Choisir Le Pire wastes no  time and no sound, it’s all said and nothing is said  except for the  blood running slowly down the  side of the  listeners neck out of their ear. Focused, sharp and  agitated harsh noise release with  beautiful design and packaging to boot. Check out more from the  label and  artist via the links  above.

– malo

 

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DECAYCAST Reviews: ZSA ZSA GABOR “Left Skull Bank” Cassette (Stay Strange, 2017)

DECAYCAST Reviews: ZSA ZSA GABOR “Left Skull Bank” Cassette (Stay Strange, 2017)

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“ZSA ZSA GABOR is dead” but the  sounds, voice, and pulses in a ritual are anything and everything but that. ZSA ZSA GABOR is one of the artists and founders of the Stay Strange SD Crew who boast a new label imprint, show collective and all creative force led by San Diego stalwart Sam Lopez aided in sound and  words from Ariel Irbe, Esteban Flores and Micheal Zimmerman, allwith their  own projects to boot under the  collective umbrella. Irbe performs and records  under the  S O L V  moniker, while Flores work as  Monochromacy represents  powerful, thick, radicalized  guitar  forward drone/noise works.  

“Left Skull Bank I” opens up the cassette after a brief intro with a dark, smudged, thick drone which slowly encapsulates the listener and then drops them in a voice cell of terror, confusion, disorientation, The time to talk isn’t now or maybe again for an hour  or even a year. Seal your lips shut for it’s  time for the  hymn of ZSA ZSA GABOR. This release is relentlessly and refreshingly diverse in its sonic character and nuance of sound and style; oscillation between spoken texts , drone, ambient, field recordings, distant screams that  ring like a hammer  smashing an ancient bell,  and  string based  swells ZZG has something for everyone , but at the sane time NOTHING FOR YOU. They owe you nothing and owe  everything to the void. Full tilt  sonic mayhem engulfs your  last thought and hope as your skull is  cast aside like an extra, misshaped, unneeded brick into the  ever-growing pile of death.

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“Left Skull Bank 2” picks up close to  where part 1 left off, with a thick, buzzing,  shaking vibrato of  stringed chaos while a monotone, anxious, realistic voice reads and  breathes upon every swelling  stringed drone of death, and after a “brief  demonic interlude” the listener is  cast once again into the  chaotic experiments of death with Part three, twisting and  tangling the  false hope that we once had  with harsh stabs, angry, dissonant, atonal swells through a purgatory nobody wants to  even pass by for a minute. This  cassette runs the  full scope of experimental sounds but in a a unique and refreshing way, no rehashing, no redux, this is simply top notch experimental music,  get about it, be about it. .ZSA ZSA  GABOR  is a thick, swollen, controlled  anger, which is more or less the  sound of  a  decaying  future; you’re dead long after you  found out when you’re  going  to die, and if you’re worthy this  might make an appearance at the funeral to help shovel your lifeless  corpse to  rest eternally and be consumed by the  wormed earth. Follow  ZSA ZSA GABOR HERE and HERE.

 

 

 

DECAYCAST Reviews: JASMINE INFINITI “Y1” (Self Released/NWD, 2018)

DECAYCAST Reviews: JASMINE INFINITI “Y1” (Self Released/NWD, 2018)

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Jasmine Infiniti comes  correct with this original production track, titled “Y1” Everything about this track hits in just the right way for an industrial danceclub bomb on the  unsuspecting audience. The track opens with just a thudding drum but slowly gains speed  and chaos with glitched-out industrial polyrhythms, in the pocket blown out synthesizers, churning bodies melting in the smoke filled room. Jasmine Infiniti is known for her uncanny, heart pounding, leg  twisting, room shaking,surrealist sound sorceried mixed genre DJ sets, but these  original productions, while informed by her DJ aesthetic take things to a whole different level of body moving bangers; alien voice transmissions and thudding electronic breakdowns, blending sharp, swift vocal stabs, chopping dicing synths, and heavy, funky, abrasive four to the floor clanging percussion,  Infiniti creates a  sound and  aesthetic thats unique,  different, important and all her own. Look out for an EP and follow her  collective NEW WORLD DYSORDER. Infiniti takes her knowledge of  mixing, turntablism, rhythm and density and amplifies it  across these original compositions with unique, heavy and promising results.

Infiniti has been setting trends in sound and  image long before this track and will be doing so long after, support this important in groundbreaking, unique artist any way you can!

“The Queen of Hell, Jasmine Infiniti is a New York Native whose dj roots started in Oakland, CA. A long time member of the House of Infiniti, Jasmine became the mother of the Bay Area Chapter, though she now resides in Brooklyn, New York. She blends dark and sometimes ambient techno and industrial sounds with break beats and cunty tracks creating a unique soundscape glimpsing into the future.”

bookings@jasmineinfiniti.com
jasmineinfiniti.bandcamp.com/
www.jasmineinfiniti.com

 

 

 

DECAYCAST Reviews: PBK & John Wiggins “Where Pathways Meet” CDr (Acousmatique, 2018)

DECAYCAST Reviews: PBK & John Wiggins “Where Pathways Meet” CDr (Acousmatique, 2018)

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PBK & John Wiggins take a  far  out ride to the  depths of  sound  design collaboration. “Where  Pathways Meet” on newly formed San Francisco label Acousmatique Recordings,  is two top notch sound artists/designers smashing into  one and other basement studio style for a warm, complex journey through a myriad of minimalist, orchestral, and cinematic takes on experimental music.

DONE #2 (4-01) is blends lush strings, new age droned chirping caked with gently fluttering synthesizers, ringing shimmers of decaying sine ways, and subtle string groans into a soothing, pulsing ambient/drone work. Other tracks such as UNTITLED #1 (9-98) are much more diverse in their approach and sonic characters. This longform collage blends crunchy digital noise sources, churning, bubbling square wave synth grumblings atop psychedelic swashes of lo fi static for a disorienting, dense, and compelling ride through the designers mind. Bubbling distortions of  memory fizzle, pop, decay and a new sound is born. Uniquely indescribable sounds, a chattering humming bell, a sqwaking, choking robotic bird belches out a sonic buzz of disorientation ringing in the inner ear. Field recordings cough ancient  stories of a forgotten room where an ancient sonic experiment has died.  

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The John Wiggins track JW BED #7 (2-98) creates a highly tense situation with it’s long-form, nearly silent, digital  waves decaying upon a shore which is  sure to slice and dice the  throat of  any and all in the  wake of the crescendo, early sun distortions bleed the ear  until the  quietest big becomes amplified into a cacophony of  uncertainty and virus, while the  PBK solo track PBK UNTITLED SOURCE (10-98)  closing out the download leaves us  with a stringed morose background for a nightmare of loss and a question never to be asked, cause the  ear and brain has  faded away with the very last note.

from the  artists…

“John Wiggins is best known as an Emmy winning film and television sound designer, working for HBO and his own production company, Wonderland Sound. Wiggins is a master of the techniques of musique concrete, his experimental work often consists of painstakingly arranged synthetic and natural sounds that create extraordinary “living” audio environments. In 2017 Wiggins was one of the distinguished winners of “PRESQUE RIEN” Luc Ferrari Prize.

Phillip B. Klingler is considered a pioneer of noise in the U.S., but has also been recognized for his work in the areas of ambient, drone and glitch music. He uses samples, turntable, analog and digital synthesizers to create dense structures of bizarre sonic origin. He has had numerous albums released and collaborated with the likes of Jim O’Rourke, Wolf Eyes, Dirk Serries, etc.

Acousmatique is a record label from San Francisco, California that is focused on publishing and promoting the best contemporary music by artists from around the world. Follow the label for new publications in the Acousmatic, Electroacoustic, Immersive Audio, Musique Concrete, and West Coast music genres. Check out the full catalog at
acousmatique.bandcamp.com

 

DECAYCAST Reviews: MOIRA SCAR “Wound World Part 1” (Near Dark, 2018)

 

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Bay Area queer deathrock stalworts MOIRA SCAR are back with their new full length on CD/CS/ and  digital via Oakland’s NEAR DARK imprint, which is run by dark gothic outfit, OTZI whose newest offerings, “Ghosts” was  covered HERE a few weeks ago. Moira Scar currently is in trio form with their latest offering  with Roxy Monoxide: guitar, sax, vocals, LuLu Gamma Ray: synthesizers, vocals, and Aimee S: drums. Moira Scar’s newest full length, “Wound World Part 1” boasts seven snappy, punchy, femme forward dark punk/death rock cuts,  intentionally building upon their unique, sought after, indimable sound of their previously released full lengths, “Psychoid”  and “Scarred For Life”. With an augmented lineup, and a slightly darker and more rock forward sound, “Wound World Part 1” might be the most intentionally straight forward, intense  and focused sound the outfit has  concocted yet, and the  recording production suits the  sound perfectly. Thick pummeling percussion, wailing, screaching vocals, fuzzed-out chugging, angular guitar riffs and the staple walls of  reverb’d saxophone.

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Snap Back” might be the most traditionally “Moira Scar” sounding cut on here blending heavy bass riffs, walls of  sax with driving punk inspired hard hitting  drumming and the signature  layered vocal efx stylings which could take the  sonic shape of anything from low  distorted  growls to high pitched shrieks of intense washes,  utilized to great success on the track “Chrysalis Skull” The operatic style walls of  vocals blend perfectly over the frantic, manic heavy  drumming and thick slabs of  guitar and  bass work. Slower, more  post rock inspired track “Zeta Rainbow” offers chugging, blown up guitar riffs with dragging slagged out bass lines with more  traditional breakdowns where the guitar and  dual vocal  processions shine brightest.

Moira Scar’s  sound is  thick, violent,  present, and demanding of the space it requires and  deserves. Death rock, like any “sub-genre” can be formulaic, boring, and  predictable, but “Wound World Part 1” is the complete opposite; fierce, unique, cathartic, and nasty!. In a time where we need it most,  Moira Scar once again, and perhaps with more force than ever proves they are  here to stay with some of the most forward thinking and necessary sonic offerings within the contemporary rock scope. This record rallies against the dying, boring, overdone and under thought  droves of CIS white-male “dominated”capitalistic rock scenes, by raising the bar and  flushing the  boring and  inspired rock trends down into the sewer where they have belonged this entire time, and serve as an assault on the  normative, re-hashed, uninspired music that often fills the  airwaves. Moira Scar is a weapon against a  violent, patriarchal system of despair, confusion, and  entanglement and  “Wound World Part 1” is the next logical step in the bands seemingly endless progression of reinvention. One of the most important contemporary dark rock acts going, period. This record is not to be overlooked.

Order the  New record HERE and  HERE

MOIRA SCAR

NEAR DARK RECORDS

DECAYCAST Reviews : TODD ANDERSON – KUNERT “A Good Time To Go” (This Is Non Linear,2018)

DECAYCAST Reviews : TODD ANDERSON – KUNERT “A Good Time To Go” (This Is Non Linear,2018)

This little unassuming tape arrived in our mailbox all the way from NZ, where the artist Todd Anderson – Kunert is based. This work titled “A Good Time To Go” boasts the sonic equivalent of finding that perfect moment to ditch out on the show or event or interaction that you’re probably enjoying (or maybe not ) but are suddenly met with that harsh and disorienting wave of uncertain feelings, emotions and sense of space or lack thereof. This album is very much that. the albums opener “No” starts with a slow quiet drone which ascends into a loud, shuttering thud, and steadily breaks up into a more distorted, disorienting, confusing version of itself until the listener is left with their own feelings of confusion about confusion. Dark, crumbling noise swashes give way to more rhythmic patterns which oscillate moments between disappearance and uncertainty while bathing the listener in a sharp bath of loud and overwhelming sounds all to build to a climax and erase themselves to the point where only the distant hum of a sharp bell remains, a single alienating tone tuning and ringing inside the brain of the unsuspecting listener. The overall vibe is dark , disorienting , haunting with spurts of beautiful articulate decay.

The albums strongest track “It’s Taking Forever” is an honest, heavy take on what could be best described as digital power drone. Lots of dark and articulate textures exist throughout, crawling and wringing out dark, alienating slime into the ear, especially on this second stand out track which really carves out a lonely and confusing sonic space, oscillating between traditional takes on drone, ambient noise, “power ambient” some might say.  Overall a solid release with a wide interpretation on what could be considered psychoacoustic drone music.

TODD ANDERSON-KUNERT

DECAYCAST Reviews : PROUD FATHER “Creations for Electric Guitar” Cassette (Reserve Matinee, 2018)

Proud Father offers up a solid guitar based drone / ambient album on the “Reserve Matinee” imprint, titled “Creations for Electric Guitar” The album opens up softly with distant sonic sine wave synth swells caked in the reverb of an ancient sonic event. Beginning like an unsure creature taking its first steps, the first track, “Kokoro no jiin de no tomin” starts with a slow crawling distant hum which begrudgingly builds with character and intensity until it’s rolling wave of psychedelic noise. Lots of patterns of stretching, loss, reaching and long swells breathe through each other to create a lush, multi timbre stew of chaos. The artist slowly and subtly builds up to a noisy chaotic crescendo via walls of fluttering guitar , ringing drones and crawling warm, decaying synths, however the work never veers too far off course for confusion.; the major drone remains omnipresent and always pulsing as the spine of the entire album.

Dispite the lack of sonic dispute between many of the sounds a rather large scope of styles within drone and minimalistic electronic music are indeed explored. One minute we’re caught in a thick fog and several minutes later the fog lifts to an arping sun of synth patterns paying homage to acts like Heldon /Richard Pinhas (who the second side of the cassette is indeed for according to the artist’s writeup on the performance which this is from) , and early Tangerine Dream / Edgar Forese. With or without that information and point of reference, Proud Father offers up their own unique twist on guitar forward electronic music . Sounds blend and give birth to new events in a ping pong of hazy tones resonating the inner ear cochlear of the listener. These aren’t songs but they are ? Is it one big song?! either way it’s more a plentiful offering for the drone fan than the one looking for a quick fix; the sonic payoff is the crescendo and the reoccurring descent from that back into a distant lost ships last cry for communication to shore or anywhere for that matter.

Two tracks on either side of the cassettes however things blend rather nicely throughout offering a consistent wash of tripped out meditative drone for us to lose the day and the grip in. Fun and unique listen overall.

Proud Father on Bandcamp