DECAYCAST Premieres: Bryce Hample’s Hedia – untitled 3 {VIDEO PREMIERE}

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.

 

video, by Bryce Hample

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.

 

DECAYCAST Premieres: Ezra Feinberg “Castle and Sand” & John Kolodij “Beyond the Fragile” streaming now! (Whited Sepulchre Records, 2020)

Ezra Feinberg & John Kolodij share the first two tracks off of new LP on Whited Sepulchre Records. , 

The preorder is live now and the LP comes out August 28, 2020.

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Ezra Feinberg shares “Castle and Sand”A beautiful, warm, introduction to a slowly shifting, bending, humming soundscape, unfolding inside the ear, setting off a trigger of washed out humming strings, a caucophanous silence, a briightly lit star millions of miles away, these. tones escape the source and paint a distant hum that grows brighter, and quieter. John Kolodij’s “Beyond the Fragile” escalates the listener to fever pitch psychedelic hums of bending light across a plush, dimly lit, mist cloaked forest.

On his side Feinberg compliments Kolodij perfectly with warm strings resonating and shaking across a barren sea. drenched in reverb, archaic strums pluck broightly across a sea of glass. Friction like a creaking ice tray about to crack Feinberg’s music is relaxing bt holds an intensity that could erupt at any moment but never quite does, leaving us on the edge of bliss and loneliness.

from the label:

“Bless whatever cosmic winds brought together this split between NYC guitarist and composer Ezra Feinberg and multi-instrumentalist John Kolodij. Traveling deep blue highways of the mind, their split LP opens up the stunning vistas that link these two artists in sound and texture.”

Preorder the LP HERE,  scope out W S R  vast and eclectic discography  HERE

DECAYCAST Reviews: VYLTER Industries “I” (Holojamz, 2o2o)

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Vylter Industries ( VYLTER, Serotonin Jackalope et al )  creates at a seemingly unimaginable pace, so much so that it’s often hard to get a full grasp of the previous work before the next one drops, though with “I” the project now known as Vylter Industries) is back with one of the heaviest and darkest offerings from the project to date;  smoggy, dense sonic explorations to take us into a narrowed hallway encapsulated with the spilling blood-purple haze of an unknown space in reverse.

 

“I” is cavernous riffs bleeding into each other like a sonic hurricane. Slow motion controlled chaos.  Blending chopped and screwed, doom, vaporwave, and ambient styles “I”  never strays too far away from a defined sound, while at the same time weaponizing a wide range of sonic modes to wage a psychedelic trap against monotony. “I’  casts thick doom-ridden clouds into a crowded space where the listener spirals into a psychedelic frenzy. Heavy, distorted waves crash in like a digital sea, enveloping sight, and screen before a grasp of reality occurs, just for a second. Distant strums become closer and more menacing as “I” pulls you into an uncontrolled acceleration, spinning against the walls of time, a life and death sonic vortex. Powerful powerful sounds.   Highly recommended.

BUY “I” HERE!

DECAYCAST Reviews : Graham Dunning “Panopticon” (Every Contact Leaves A Trace, 2020)


 

 

 

 

 

 

 

Experimental music stalwart Graham Dunning‘s newest release via the  Every Contact Leaves a Trace imprint   Panopticon  is conceptually interesting as it is sonically, and this is a tough crosshairs to hit, but once again, Dunning does this effortlessly. Dunning reverse engineered and then replaced video game sounds with his own sounds and used the gameplay triggers as a compositional tool as we understand it, with some really interesting and rhythmic results. Panopticon starts off with mid to mid-fast tempo jarring, hammering beats, ala Pan Sonic reel to reel demos 300% sped up and progresses into more delightful sonic madness from there. Dunning’s beats and rhythmic structures are complex; alienating, cold, and yet delicate and nuanced. Oscillating between glitched out, hammering beats, to more distorted, churning,  slower-moving sections, the sound and structure of Panopticon is always changing, and always refreshing and building upon it’s previous iterations.

“The research consists of four main phases: The first phase involves extraction of the silhouette of an individual. Calculating the gait period or gait cycle of the individual follows this. Finding the sum of silhouettes is the next step. Finally, similarity score computation and matching process is performed for recognition. Any two images when compared using root mean square value are said to be similar if the value falls under the given threshold.”

Like the eye in the sky it can see you but it can also control you from all sides, slowly reeling you into a violent, repetitive system that slowly encapsulates you and rapidly shoots your flailing body down the robotic assembly line into the center of sound itself. Complicated and dense, Panopticon is one for the sonic adventurer delving into the sonics of cybernetics cast across a futuristic, barren, wasteland.

Recommended listening!

Purchase HERE

 

DECAYCAST Reviews: Tristan Welch “Asset / Defect” (Self Released, 2020)

 

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On his newest EP, “Asset / Defect”  Tristan Welch explores a timeless dichotomy  of positive and negative expansions and contractions through space, silence, time and sound. Through glassy, shifting drones and tone poem movements ringing present, like a warm blanket after a cold night adrift on the nights moon last beam.  The album opens up with beautifully articulated  mid tempo oscillating synth pulses,  a faint buzzing underscored with a warm bath of tones; a calm yet slightly unnerving  respite; a rest for the restless, for the anxious, and for the forgotten.  This is slow patient, music, for one in a process of uncertainty, as well as one of discovery knows  that things can change, and every once in a great while, for the better, and maybe this time they will, that is the question this music asks, what is  change,  and when will it be cast upon us?

‘Given the inherently political nature of most of his music, “Asset / Defect” is a rare turn inward for Welch. As a person in recovery, “Asset / Defect” is an audio/visual accounting of sorts, a result from tallying up the ledger of negative character defects and positive assets. An accounting feat that is musically reflected in the clear balance between beautiful, ebullient tones and grainy distortion held at tension within the work.”

The A side  “Asset / Defect” seems a bit brighter in sound presentation overall but across the twenty minute EP, Welsh offers two movements which compliment each other in a dichotomy of undulation.  Wet delays and thick intertwined braids of reverberated strings cast doubt to those casting doubt, give hope to those giving hope, and push us all to look inward to a change of fresh air and relief.  The B side offers a similar, more contemplative, introspective place where the listener can identify with these living breathing wave manipulations, like a warm bath, tingling the skin, but never fully encapsulating the full dynamic of touch and pressure. Beautiful music for complicated times.

 

Highly recommended.

 

-Dr. Decaycast

 

 

DECAYCAST Reviews: Corsica Annex “Doors Outside” (Ingrown Records, 2020)

Corsica Annex from Brooklyn creates delicate washes of ambient hum that will aide to calm even the most nervous and pent up listener.  Beginning  with wishing, weeping waves of  encapsulated warmth; a homely and resounding analog synthesizer din. The  psychedelic sound of “Doors Outside” slowly envelops and drifts away to a different place. Fuzzy, dream like tones gently lift light into the barren, lost eyes like the morning sun’s cast across a frozen, unsuspecting rose from the night before.

The mossy vibe slowly shifts into a repetitive string piece, undulation coupled with a morose progression that leaves the listener in the unknown. Warm organ like tones pulse uncertainty like a shifting leaf lost in the wind. Steve Reich style  string arpreggiations gloss over even more dense patterns of organic sounding  water-grown, nano bots, sonically somewhere connecting  Cloudland Canyon , Tim Hecker “Radio Amor” and later era Tangerine Dream, Corsica Annex have concocted a heartfelt electronic mood  bound to resonate with even the most passive listener.

Buy ‘Doors Outside”from the Ingrown Records bandcamp page, and check out the rest of the tapes from the batch here

 

-Dr. Decacast

DECAYCAST Reviews : Jordan Reyes “Closer” (American Dreams, 2020)

On “Closer” Chicago artist Jordan Reyes taps into the unconscious of sound.

 

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Chicago’s Jordan Reyes is no stranger to sound, or stage, or production, or fitness, or  running a distro, or running. In fact , there doesn’t seem to be much he doesn’t have a passion for, except maybe standing idle. Between documenting music through writing for Bandcamp and his own blog,  as well as a slew of other outlets, running a label (American Dreams) , and a myriad of other projects, including performing in Afro-Futurist Avant Gospel ensemble ONO, whose  brand new record “Red Summer”  Reyes released on his own imprint.  Reyes seemingly lives and breathes sound . and his newest record “Closer” released on  American Dreams, is nothing short of a  stellar dive into atmospheric, minimalist synth compositions that are as mysterious as they are present for the listener. Reyes songs are deep explorations into the unconscious, sub layers of warbling droning howls topped with crisp and  crumbly textures. Sometimes rhythmic, sometimes sparse and stripped down, Reyes blazes his  own path of experimentation without using more than the sounds require.  A study in presence, something this music just bleeds is it’s presence and honesty.

On “Closer” Reyes sounds aren’t over produced or layered into confusion, but rather delicate, conscientious., and open; traits perhaps more needed in the often stale, contrived,  meanderings of huge modular systems, often devoid of their own identity or soul, dare we say. “Closer” sings to the listener in a way that is simultaneously  refreshing , and yet somehow nostalgic, it could even be said that his sounds reference certain “folk-like”  qualities to both their presentation,  and relationship to each other. Even the cover art reads like an old idiosyncratic map, inscribed with traditions of past and glimpses into  unknown futures.

 

“Closer” uses a variety of sonic strategies and compositional tools to tell it’s story, a personal story, a unique story, a familiar yet original story, and we can’t wait to read the next chapter.  The titles give us a clue into the  discovery that Reyes seeks with these compositions “Lost Man” ,  “Slow Walk” , “Stumbling Home”  could all be cues for dramatic turns in a film yet to be produced, or cues for self reflection, a strategy to decipher meaning our of the void we all know is there.  Are we closer to death, closer to a new  discovery? Odds are, it’s both, and Reyes music seems to  embrace  at once both the complexities and simplicities of life. The vibe is present, deep and nuanced as  get closer inside the mind of someone on an uncharted path using sound as the flashlight. Relevant and real music for  very unreal  times.

DECAYCAST Reviews RXM Reality “Blood Blood Blood Blood” (Hausu Mountain, 2020)

DECAYCAST Reviews RXM Reality “Blood Blood Blood Blood” (Hausu Mountain, 2020)

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Midwest mind bender juggernauts Hausu Mountain are at it again with a seemingly endless stream of twisted cuts and RXM Reality “Blood Blood Blood Blood” is no exception.  Splattering Synth, pummeling percussion fly around the room, ricochet roadblocks inside the mind rattle around like drum sets crashing down an endless stairway. For his third Hausu cassette, RXM Reality explodes into dense layers of break core madness,  using sputtering percussion,  accelerated synth tone poem destruction,   alien death accelerated.  Time compresses and expands in a never-ending array of spastic shuttering, clipping, squeezed rhizomes of inexplicable sound. BBBB is an anxious,  rattling machine shedding  it’s parts like cyborg gone awry. Bass drum explosion sets a sudden pressure change inside the skulls abandon, hollow cave, and you feel things begin to crack. Voices undulate to  short sputtered screams truncated by  delayed pitch shifting schizophrenic madness. The sound of  “Blood Blood Blood Blood” is textured and layered in a way that resonates with many of the other  Haus Mo releases, fitting into the labels sonic archeology quite nicely.  At times, referencing a  distorted, acid fueled take on footwork, other times, on “Queen Tiki” – twisted  and turning, mangled interpretations of  trap, and yet again, at other times (seconds later)  frantic  truncated noise walls cascade upon layers of warm tone poem backings referencing early Wobbly,  Autechre on acid in reverse, is that  something that can be referenced, we don’t know, but we do know that we love this tape.  Throughout the entirety of BBBB the  sound continued as the perfect mix of insane, chaotic, pleasing, and indescribable;  a maximalist sonic gem, Haus Mo can seemingly do no wrong. Pre order the album here:

 

DECAYCAST Reviews: Golden Donna “Hush” (Last Faith Studios, 2020)

DECAYCAST Reviews: Golden Donna “Hush” (Last Faith, 2020)

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Electronic stalwart producer and ambassador to the underground Joel Shanahan, aka Golden Donna is  back at it again with a stunning full length for David Last’s Last Faith Studios imprint, titled “Hush”. Shanahan’s  different projects all have their own unique identity however, somehow he is always  able to stitch together these  through lines through all of the  different projects that give the listener a sense of familiarity, belonging, and discovery all at the time time. “Hush” sounds both nostalgic and futuristic, at the same time, oscillating the line of new production techniques, idiosyncratic production and composition techniques, and tried and true pallets of sound and memory. These songs are cinematic, driving, at times tense, but also very euphoric, uplifting, hopeful in way that is both rare and needed.

The lush and symphonic pads of “Without You” create a sound and vibe that is both morose, slightly intensified by the sharp arpeggiated synths skating  underneath the clouds of pads, but also confident, present, it’s living in the moment with whatever that moment brings, charging into meaning and splitting it into a thousand fragments, which will grow together in new ways, to create a rhizome of sound, meaning, and  experience.  Honesty is a feeling that rings through Shanahan’s dance floor staples, and practically every track on “Hush” is exactly that and so much more.

“Transplant” offers a similar array of lush pads , shifting , spattering percussion, waves of washing change, uncertainty, sonic travel into the subconscious of the dream state, exploding sounds of new beginnings, capped with entrails of a  nearly forgotten past- Shanahan’s music is about time and space, and the elasticity of the convergence, at least this is what i feel when I’m immersed in the pulses of “Hush”. Shanahan might be one of the most important and innovative producers of our time, and this album proves it time and time again, absolutely essential 2020 listening, please go buy “Hush” rn.

 

DECAYCAST Reviews : MATT ROBIDOUX “Brief Candies” CS (NULL ZONE, 2020)

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MATT ROBIDOUX “Brief Candies”  is at  first a confusing listen, as it oscillates between several seemingly unrelated strategies but as the cassette spins on, the listener begins to gain an understanding of the nuanced and complex compositional worlds that Robidoux and his band are constructing across “Brief Candies”. Shifting between reed-based post-folk ballads, what can almost at times be described as minimalist-americana,  Robidoux connects the compositional and sonic dots to highly enjoyable effects. The humming, morose minimalism of tracks such as “Little Wall” harkin to early A Silver Mount Zion  with it’s  lush strings planted atop morose and distant  drones.

 

Lush string and piano arrangements compliment the minimalist background events which  give these recordings sort of a timeless aura. Without the press release, one can’t quite place the date and context for these recordings, which personally makes them that  much more exciting.0018786976_10

The tension and breath of the dynamic between the  different voices really brings these recordings to another level for me, at times, hitting on a Merideth Monk “Turtle Dreams” vibe, which we all universally understand as a masterwork in minimalism, correct?  Horns beckon an ancient message  which can not  be decoded, without being slowly and subtly submerged into the crashing waves of an unknown loss, a subtle but omnipresent uneasiness  in the background keeps you relaxed, warm, but slightly on edge,  like the perfect rainy Sunday cassette. The B side offers a more high energy, Kraut-fueled ripper which kicks things up but still keeps the morose and experimental vibe rolling. Highly recommended.