As  Voltage  Drop  returns for  its  first outing in 2017, it brings together a  fully stacked lineup of some of the  best the  bay has to offer in esoteric, intentioned, radical electronic music and sound.   In just one year VOLTAGE DROP has presented almost a dozen events, all help exclusively at The Legionnaire Saloon, climb about  twenty steps, drop a crumpled up  five dollar bill (or  more, since its  also a  benefit for the  Oakland Immediate Fire  Relief  Fund ),  on the table and you are  quickly transported into the  sights and  sounds of  VOLTAGE  DROP.  Aside from the  regular residents, VOLTAGE DROP is  excited to  have two  really special guests for this offering  which include bay area gabber/hardcore/hip  hop/noise/bicycle/MPC/Body Count  head and  label owner of the  MSET imprint , VICTOR VANKMEN, and back for the  second time, of of the best kept  secrets in the  BAY AREA  dance music  scene, SHIZATIN!. SHIZATIN has been supporting VOLTAGE DROP  from day one and we are beyond honored to  welcome her into the  crew. You’d never know she  wasn’t a ten year veteran in this game by listening to  these  masterfully crafted and  necessary femme fronted trap / dance / hip hop mixes.  With the  impending doom of the  new  president and the  worsening conditions all around SHIZATIN comes as a wave of  fresh air  condensed into a  hurricane of healing and pro Blackness into the  scene! – be on the lookout for  mixtapes  from both SHIZATIN and VICTOR VANKMEN in the  coming weeks from the  VD imprint.

Stylistically VOLTAGE DROP  began as an opportunity  to  focus on DJ sets from it’s  residents and  founders,  BONUS BEAST  (who has a pretty fantastic archive of mixes online HERE  which you should check out asap) , KOZI, FLOWER PATTERN, DEMONSLEEPER, AND  MALO (Malocclusion), but  soon DEMONSLEEPER aka Sandy Sleeper aka  FUNKY V, moved to Puerto Rico to help run family restaurant, and now noise  venue  La  Boveda!, and they were left  with four, and  slowly but steadily shifted the lens to more live acts  with DJ”s interspersed. . If you come out , you’ll see realtime  live camera   analog  visuals  being mixed and  synthesized with  ease, care, and  great articulation  from VD resident, and analog video synth maestro  FLOWER PATTERN (aka Adrian Saenz).  Tonight will open up  with introduction sets  from KOZI (Malditos/International Freak Out A Go Go / Where It’s At /) and  MALO  (Ratskin Records) at 9pm sharp playing tribute sets  to  some  friends  we  lost in the  Oakland Ghostship tragedy,

Opening the  show  will be  first time VOLTAGE DROP  performer , but  NO newcomer to the scene,SPELLLING  .  I  first saw  this project  perform at Oakland  Secret, and if   tonight’s set is anything like  that you can  expect a dark, hauntingly  esoteric, lush set of musical offerings, effortlessly, simultaneously speaking to the past and future.  SPELLLING blends synths, keys, voice and  occasional beats to  create a  lush, textured, esoteric blend of  electronic sounds. Check the  cuts below off their  soundcloud.

Slotted to  perform second is, MAYA SONGBIRD.  Maya, who was  born and  raised in the  infamous Castro District of san Francisco  lives and  produces in Oakland, and is fresh off a  new  cassette/CD release on RATSKIN RECORDS, called  “Welcome To The Darkside”, her  follow up to  2015’s EP


on the same  la
bel titled “Queen of Darkness” Songbird offers fun, energetic, and empowering performances for herself and her  audience but don’t  let  her positive, empowering presence fool you, she is watching you and taking notes and ready to  destroy the  patriarchy and  white supremacist tendencies of the music and  art  industry through song, performance, and recordings.  Check her soundcloud for  an endlessly  deep well of musical offerings in everything from disco, EDM, rock and  experimental.

Also on the bill are  two of the  bay area’s  hardware synthesizer  masters GROUP RHODA,  and  RUSSELL E.L. BUTLER.

First  up, bay area modular wizard, activist, and artist RUSSELL E.L. BUTLER offers their unique, honed in style of body music, which inherently fights against the whitewashing and male dominated dance and beat scenes.avatars-000269412838-azbtrf-t500x500

BUTLER seems to perform, DJ, and record and a seemingly maddening pace over the last year and has gained notable recognition, and rightfully so from all of the hottest blogs and magazines from THE FADER for their  new track “Without Fear”, an empowering anthem for all marginalized communities,  FACT MAG, in which they talk about their newest batch of recordings, “Dropping Out Of Life”  and many more , and recently has opened for the TEXAS synth pioneers SURVIVE as well as SOFT METALS. Butler continues to  craft beautiful, necessary works for  a  myriad of labels including OPAL TAPES, JACKTONE RECORDS, and many more.  Check a  track or  two off your  to do list here   where  VICE  talks about the  new  EP dedicated to the  Ghostship Tragedy.

Closing our the  night will be GROUP  RHODA offers up a sound thats hard  to define but  references early CHRIS and  COSEY, C.T.I. , TARA CROSS , MENTAL CODE, and many of the greats from the early 80’s  synth / ebm / body music scene , while offering  her  own quirky, warm,  contemporary, beautiful  versions of  esoteric dance numbers.  Self described as “Oakland. tropical darkwave, light industrial, dust…..analog synth medium super live style, negating the sound of conformity, control, and wastefulness through imagination development techniques and well considered destructiveness”

Lush  synths skate on top of masterfully and  articulately  programmed drum machines and  synthesizers, and her  voice tells tales of  psychedelic and  psychic spaces, journeys, political unrest and personality. GR  has  produced records for  the NOT NOT FUN and  NIGHT  SCHOOL labels. but  check their  soundcloud for  newer recordings.

This  event is a new model for shows where  50% of the money raised  after the door  cut  goes to the  artists and  50%  goes to a specific cause. In this case, VOLTAGE DROP will be donating to the Oakland  Immediate Fire Relief fund which has been assisting blood and  chosen family and  close  friends, roommates, etc from those  directly affected by the  Ghostship Tragedy in Oakland on Dec 2, 2016. If  you can’t make the show tonight, please  consider  donating to the  Immediate  Fire  Relief  Fund here!



screen-shot-2017-01-05-at-12-15-37-pmHello, and  if you’re reading this, you’re  probably one of the  few  loyal followers of  Decaycast over the  years,  we have been sporadicly posting over the last few years, and  this year its  time to  finally take it to the next level. We  announce  with  heavy hearts that the  original founder of  DECAYCAST, Jsun Adrian McCarty is no longer with us  as  they have passed in the  Oakland Ghostship tragedy, as well as many other  close  family and  friends. It  is  with a  heavy heart and  watery eyes that we announce  this to  the  Decaycast community, and  a re-shaping of Decaycast  with more inclusion, more  community centered, less standard review  topics and  a  myriad of other things is going to be the  next step.  Before Jsun passed we were  talking of  finally getting  this  thing off the  ground again, with a possible hardcopy zine as well which we are looking into as well for the future.  One thing we have learned from the  tragic Oakland fire was that we  need to  control the  discourse around our  own work as artists, musicians, historians and  the like, and  Decaycast  will attempt to serve  just as  this.  The mainstream media, just like the  city, stare, and federal apparatus is not here for artists, its not here for the  disenfranchised, it’s only there for  itself  and to uphold the  racist, sexist, and  xenophobic belief systems which reinforce and stem from, capitalism. I want to make  Decaycast an open platform for bay area  disenfranchised artists and musicians to  help control the  discourse around their own work, and  do it  right, With this in mind, if  you’d like to  contribute (reviews,  interviews,  brief  writeup’s etc)- please  email  decaycast(at)gmail.com and  lets  talk  some ideas.  We leave you with this  image  commemorating all of the brave and  powerful souls we lost in the Oakland fire as well as a link for the  Immediate  Fire  Relief  Fund which has been providing funds and  access to  chosen family of those  we  lost on the  tragic  day of December 2, 2016.

Thank you for reading and we hope you will join us on the next stages of this  literary journey…



BOTCHED FACELIFT “s/t”c30 (Obfuscated Records , 2015)

BOTCHED  FACELIFT “s/t”c30 (Obfuscated Records , 2015)a3315846424_16


BOTCHED  FACELIFT  may be some of the  most demented, damaged,  abrasive, and  guttural noise / power electronics that  has  come into the  DECAYCAST  review  bin in quite some time.  Botched Facelift is  the solo  brain child of  may area multi instrumentalist Dario Puga  who can be  seen playing anything from a sitar, to piles of home-brewed electronic synths and oscillators, contact microphones, synthesizers, and everything in between. Puga is a longtime  player in the  game  and projects have always been  top notch, yet remained in the  esoteric circles of dedicated lifers, this new release  sounds and looks  beautiful, as  all of the releases from Adrian Dimond’s  Obfuscated Records  do!


BOTCHED FACELIFT crafts  harsh, industrial noise, blending layers of  warm, screeching synths, distorted screamed  vocals, and homemade noise devices into   cut up layers  of destructive systems of harsh noise, bloated, pounding, industrialized rhythms;   buzzing oscillators, robotic like abrasion, spastic, jittery styled cut up pillars of hell,. The  first side is a tour  de force of a complex, dense, dank landscape, articulated with  peaks and  troughs of  analog fuzzing insanity, This tape  just kept bleeding out of the sound system,   banging my head  against the speaker with its  vile, magnetic hands,  a  caucaphanous, nauseating, distorted, jarring experience of  movement and sound,  all the while  losing orientation and  caught in a loop of  confusion and fear, my favorite place!.



This cassette work  is a  dizzying, wild, dark, rollercoaster  ride  though a hailstorm of  analog  machine, pulsing, pushing, marching in circles avoiding  their own aural deaths whilst  occasionally and impactfully colliding with  and amplifying all of the  subtle layers of  evil and confusion constructed within the  soundscapes articulated by Botched Facelift.  There’s melody, there’s rhythms, occasional beats even, but the listener is  never placed in a  familiar  zone for too long as the sonic landscape is  forever in earthquake brain mod  status and Puga never lingers in any one aspect of the  structure nor the  instrumentation  for very long, as we   rip,  curl, and  dredge through the  swampy  trenches of  aural  discomfort and  negativity. The standout track “Eye of the  Jackyl” is  dark, brooding, fast  paced tour  through a sonic hell of  despair, anger, and even  articulation. Lyrics are  somewhat  unintelligible but  I won’t  attempt transcription here, but let the listener  construct their  own thoughts! BOTCHED FACELIFT offers u a stellar  thirty minute presentation of  some of the  darker and more insane sounding noise/industrial we’ve heard in a minute, 10/10 would  torture myself again!





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


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

VOLTAGE DROP Party Pays Tribute to Damaged Beats and the Esoteric Side of Electronic Music with KID606 & RUSSELL E.L. BUTLER – This Friday in Oakland!



VOLTAGE DROP is a new  collective of  Oakland  based  artists, DJ’s, musicians, promoters, and music  collectors with a deep seated interest in preserving the  rich legacy of experimental, beat oriented electronics and industrial music in the  Bay Area and  beyond. Voltage Drop specifically focuses on  the crossroads  between early hip hop/electro/beat driven electronics, and industrial/body music. VD  boasts influences as  vast as Throbbing  Gristle / Industrial Records, Cybotron/Juan Atkins, SPK, J Dilla, Coil, Tesco UK,  Pierre Henry, DJ Rashad, and a myraid of local and international  contemporary, yet  esoteric artists, labels, and parties,  in which the bay area has  such a rich history in. Voltage Drop aims to throw events  merging  local and international performers, artists, DJs, and  VJ’s , and  also has a vested interest  in attempting to synthesize  often fragmented sub scene clicks within the oh so  spoiled bay area. The bay area has  a rich, bright, and  complicated tradition of  experimental electronics and  industrial music,  Voltage  Drop is here to cast their  own unique  archival lens on the  history, present, and  future of the arc of influence and collective consciousness of  sound.

One part of that  history is  KID606 and  Tigerbeat6 Records, run by Miguel Del Pedro of Perpetual Dawn LA, a monthly  Berlin inspired, rave/nightclub.kid606_030315


KID606 has  been hosting, booking, performing , and  archiving and releasing  his damaged and unique styles of  techno, body music, ambient, remixes,  breakbeat and just about  every other style of beat driven electronics  all throughout the world over the  last two decades and Voltage Drop is  some proof that there’s still room in the bay to present this  always captivating  and  engaging artist in a somewhat  fresh platform! Voltage Drop brings KID606  and  their complex, classy,    eclectic   electronic stylings to the  fourth installment of Voltage  Drop tomorrow in Oakland with an exclusive live set,  at the  Legionnaire  Saloon, the new monthly home of the  Voltage Drop party. The  nights opener, Russell E.L. Butler (formerly of Black jeans) , who is no newbie in the scene either opens the  gig with a live hardware set, boasting  a new cassette release on SF/Berlin based, Jacktone Records.  You can stream Russell’s new  tape, titled “Visions of The  Future”  here 



The space in between will be filled by Voltage Drop Resident DJ‘s, KOZI, BONUS BEAST, MALOCCULSION, AND FUNKY V and FLOWER PATTERN on the visuals as always. Come out, it’s not to be missed! Vital info for the party below!  SF Weekly seems  to  think you  should too, as they  just named  VOLTAGE  DROP in the  Top % Parties To Goto This  Weekend! 

“KID606 (Tigerbeat6 / Perpetual Dawn / L.A.) A native of Venezuela, the Kid (aka Miguel Trost De Pedro) moved to San Diego early in life. After becoming interested in samplers, he began recording and released some material with Spacewurm, Ariel, and Disc (a collaboration with Lesser and Matmos), three acts associated with the Southern California label Vinyl Communications. Kid606 debuted on his own with a full-length for VC, 1998’s Don’t Sweat the Technics. A split CD with Lesser gained release later that year, as well as the VC EPs Unamerican Activity and Dubplatestyle. De Pedro kicked off his Tigerbeat6 label in 2000 with the release of Kid606 and Friends, Vol. 1, an album of remixes and collaborations.”

“RUSSELL E.L. BUTLER (Opal Tapes / Jacktone Records / Oakland) Russell has been making waves in the Bay Area music scene for years. His project Black Jeans evoked the emotional and physical qualities of minimal synth and electronic body music to transport listeners to hidden and forgotten sonic landscapes. For the past few years he has been making a brand of stripped down machine techno that has evolved rapidly with each successive release. It is fitting that transplantation and adoption are themes in Russell’s music, as he based his 2015 album, “God is Change” on Octavia Butler’s Parable series of novels, in which these are central tenets of the philosophy that the books explore. Since its release “God is Change” has received major acclaim, with NPR naming it one of their top 10 favorite electronic albums of 2015.”



free mixtape/cd to the first 25 through the door.




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!





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.



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.



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



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



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)