DECAYCAST #026 Guest Mix : DJ MICOSE

DECAYCAST #026 Guest Mix : DJ MICOSE

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“It was in the vein of my Expatriate Transmissions KUSF days where I just mixed some stuff into others and played excerpts of longer tracks at times. “

Broadcast – The Game’s Up

Anakrid – Exiting The Yealm Of Legitimacy

JASSS – We Solve This By Talking

Borful Tang – Herd and Unheard

Haxan Cloak – Excavation (Part 2)

Grischa Lichtenberger – 0811_09_Re_0211_08

Arca – Entrañas (Excerpt)

Andrew Douglas Rothbard – Theta Cloud

Andrew Liles – Dissolved (Te Whare Ao Aitu)

Demdike Stare – Violetta

Joseph Taylor – Sprig O’Thyme

Potions – Woozy Night

oOoOO – Crossed Wires

Bromp Treb – Self Sacrifice

Muep Etmo – ]__changeable__[

Bruckmann/Diaz-Infante/Shiurba/Stackpole – Nervous Tick

Duplexx – Fios

M83/Anthony Gonzalez/Joseph Trapanese – Temples Of Our Gods

Gesaffelstein – Piece Of Future

Buddhist Monks Of Maitri Vihar Monastery – Three Monks With Bowls And Cymbals

Bromp Treb – Self Sacrifice (Reprise)

 

DECAYCAST #025 Guest Mix : Strategic Tape Reserve “STR Cologne Mix”

DECAYCAST #025 Guest Mix : Strategic Tape Reserve

We asked our friends at  Strategic Tape Reserve to bust off a mix for us for these wild times and here’s what they came up with. Make sure to check out their bandcamp and website linked below.  from the label.

“I moved to Cologne in 2012 and started Strategic Tape Reserve shortly after that. I honestly didn’t love the city when I first got here, but I think it’s the kind of place that only reveals itself over time – things to explore and appreciate that aren’t obvious at first, and it feels like home now. The tracks on this mix are all from Cologne – either by people for Cologne, or people from elsewhere but recorded in Cologne, or both. It’s not intended to be any kind of definitive Cologne survey – it’s mostly what was on my hard drive – but hopefully it presents a varied, disorienting, unrefined world that, geographically and sonically, STR might sit within.”

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STR Cologne Mix for Decaycast

1. Willy Millowitsch – Ich bin ene kölsche Jung

2. Moebius & Plank – Solar Plexus

3. Senking – Bones

4. Nils Quak – No Significance

5. Pluramon – Flageolea

6. Von Spar – Metaxourgío

7. Severino Pfifferling – Geschirr und Besteck einordnen

8. Studio 1 – Red

9. Anthony Moore – Jam Jem Jim Jom Jum

10. Marcus Schmickler – Discordance Axis

11. Karlheinz Stockhausen – Kontakte

12. Nico – Mutterlein

13. Datashock – Hullu Gullu, wir liefern Shizz

14. Achim Mohné – L’Inertie Polaire

15. The Tuesday Night Machines – Ritual

16. Can – I’m So Green

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Follow Strategic Tape Reserve here:

strategictapereserve.bandcamp.com

strategictapereserve.de/?m=1

DECAYCAST #030 :Guest Mix – SHIZATIN – Vapid Angel Mix for Decaycast

On “Vapid Angel Mix” Shizatin provides some  sonic relief for shut in times.

Multi-diciplinary artist and DJ SHIZATIN is back at it at with a  quarantine mix for Decaycast, this one focuses more on synth pop, hi energy electronic offerings, some dubstep, a little  bit of everything. This is the perfect mix for your day in quarantine that’s  started slow and needs a little jolt. Tune in below.   Shizatin also performs under the name GOLDEN CHAMPAGNE FLAVORED SWEATSHIRT, and has  an album forthcoming on Ratskin Records in 2020.

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Golden Champagne Flavored Sweatshirt is a multidisciplinary electronic music producer/DJ/ cultural contributor to many things pro Black , pro femme and pro heaux. GCFS works with the RATSKIN Records collective and has performed at numerous underground events in the Bay Area and beyond and is currently recording a full length for the Ratskin imprint slated for release in 2020.

 

 

DECAYCAST 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 #030 : Diego Aguilar-Canabal Presents Farm To Tape 8

Back at it again, we’re hosting the “Farm To Tape” Series from friend and Decaycast writer Diego Aguilar-Canabal. Newest episode is a freaky, sonic aquarium of discovered and undiscovered audio species perfect for the quarantine days ahead.

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1. Enigmatic Ocean, Part III – Jean-Luc Ponty
2. What It Is – Derek Bailey / Jamaaladeen Tacuma / Calvin Weston
3. Get Down With Your Get Down – Trouble Funk
4. Telillite – Les Filles de Illighadad
5. Derbabe – Gzate Guelay
6. [untitled 05] – Keiji Haino & KK Null
7. Bừng Sáng (Dawn) – Thai Thanh
8. Shapeshifter -VITAMINS
9. Vulgar Yesness – Siobhan
10. Callous Hysteria– Caboladies
11. Circles On Circles – Bitchin Bajas
12. To (a) Certain Extent (β) – Keith Fullerton Whitman
13. hb2 – Koobaatoo Asparagus
14. winds – multa nox
15. Evening Has Arrived – Cheewei
16. I Told Him No – Madeline Darby
17. Dancing in the Dark – Diamanda Galás

Enjoy!

DECAYCAST Premieres: Listen to Avant-pop artist mynameisblueskye “Awkward Grace” now!

DECAYCAST Premieres: Listen to Avant-pop artist mynameisblueskye “Awkward Grace ” now!

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East Coast bedroom avant-pop producer mynameisblueskye shares his newest track “Awkward Grace” for an exclusive stream with Decaycast, and we couldn’t be happier to share this morose, avant pop offering. “Awkward Grace”   blends undulation droning synth chords  below the artists honest and open vocal deliveries, which seem to be the main emphasis sonically and conceptually.

The vocals tell the story of triumph, overcoming fears, and all the the insecurities and uncertainties that come along with that. The timbre of both the  vocal delivery and  backing synth (which has a rather organ like character to it, which adds a layer of wonder and nostalgia), represent the process and journey the track articulates quite nicely.  The title itself references a  duality of process, a complexity of discovery, mynameisblueskye states:
“Ten years ago, I worked on a collection of songs and I named it Awkward Stage. The title was referring to the very fact that when I was younger, I wanted to write songs and make music, …but I had crazy performance anxiety. I would always sing in a way that was hushed yet audible due to performance shyness. Ten years later, I released albums, EPs and have not only worked out my singing voice, I gained a little more confidence. This confidence should show in my recent recordings.”

 

All in all, a to the point, powerfully honest track, hopefully the full EP carries this  vibe throughout, we will be  checking back soon to pick it up. Take a listen to the blissful track below and make sure to pick up the EP “Awkward Grace”  when it comes out!

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 Guest Mix : FLETCHER PRATT “Experimental Dub Mix”

For this round we welcome multi instrumentalist, video artist and synthesist Fletcher Pratt. Fletcher shaves off an inspiring  hour-long experimental, decayed in, dubbed out, cosmically dense slap to tune out to for our guest mix series. Fletcher also runs the Midori Records imprint which you can check out and support here

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“Experimental Dub Mix” Track Listing:

1. Quiet Flash by 7FO
2.  Zweimal Steppers by Beam Up
3. Kufic Dub  Alter Echo & E3
4. DubRitual Vol. 3 Side A by  Crabskull
5. Priceless Wipe by  Three Legged Race
6. Welcome to Dog Heart City by Roger Robinson
7. String Dub by Jay Glass Dubs & Guerilla Toss
8. Jah Way by Hebbe
9 Masters of War (Dub) by Anika
10. Dub Voyage by Twilight Circus Dub Sound System
11. Air Walk by  Mondo Lava
12. Käfer by Pole
13. Hedi Dodici Luglio by Sea Urchin
14. Outro Tapes
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image courtesy of the artist

Fletcher Pratt is a Canadian experimental composer/musician currently living in Oakland, CA. He holds an MFA in Electronic Music from Mills College. Rhythms, dub and musique concrete intersect throughout his work. He produces music for an ongoing tape series called Dub Sessions and plays in a duo called Map Collection.

In The Midst Of Upheaval, Artists Are Curating Online Festivals To Keep The Music and Art Flowing

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One thing is clear, the news is changing everyday surrounding, COVID-19, the newest and deadliest manifestation of a set of viruses known as Coronavirus, Although many were, and are still slow to adapt to the strategy of social distancing, a strategy recommended by many simply to flatten the curve of transmission in the US and across the world, to save lives but more importantly to ease the massive burden put in place within a “healthcare system” which was already on the brink of collapse. In a world already in social and political upheaval with racism and capitalism driving profits over people, artists and other marginalized members of society such as service industry,  social and hospitality workers not to mention the inhumane and rapid growth of  house less populations across the country and especially here in the Bay Area, visibility, resources and support systems  for art, music and social practice were already practically non-existent, and for underground experimenatalists and activists alike, even less so. But in the true spirit of underground art and culture, artists and creators  are adapting quicker than any of us expected, out of a necessity of  survival. In a time when the day to day changes our  reality in a way perhaps never experienced by this mass scope of the population at once, uncertainty is the only certainty. We talked to a  few artists who are beginning to  adapt new models to  support artists almost immediately.

Chicago, IL musician and curator Ben Billington, who is one of the founders of the The Quarantine Concerts series based out of Chicago spoke with us briefly about the newfound series and how they are adapting to this unexpected shift in the arts and performance.

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Billington saysThe Quarantine Concerts are a collaborative multi-city endeavor meant to provide artists in our community a space to share their work and continue to earn a living during this time when most live performance opportunities have been cancelled due to COVID-19. By centralizing streaming efforts, we hope to drive larger audiences to the artists performing, with the aim of helping them earn more money in the process. The idea was formed by the collective minds of Experimental Sound Studio, Daniel Wyche, me, and Carrie Cooper — Daniel had planned an online concert himself since his tour was cancelled, and we all saw his post and sort of jumped at the opportunity to collaborate on something bigger.”

As a curator myself one of the inherent obstacles I can see with  suddenly switching the majority of live performances and events to streaming/online is an over-saturation / lack of organization/scheduling which can lead to the audience or viewer  simply being overwhelmed with content, without any actual direction. One friend is streaming here, another over here at the same time and we almost don’t know where to look. Through collaboration and selected curation, The Quarantine  Concerts seems to begin to address this issue through mutual aid and collaboration in  a way that individual artist streams or presentations fall short. Since Billington doesn’t solely rely on music/curating as a sole  source of income, he is able to dedicate more time and resources to promoting the work of others. The series solicits donations for each event and 100% of the proceeds are split between the artists at the end of each night. A truly generous and radical act.

Luckily I don’t rely on my art or event curation to make a living, so my time has mostly been spent trying to support others to get their art out there (and make some scratch) for as long as I can remember. That’s still very much my mentality while we’re on lock down”

Dr. Decaycast: What has been the biggest obstacle of the series and what are some valid critiques people have expressed thus far?

“So far, the biggest obstacle has been YouTube — our live stream was repeatedly being flagged for “inappropriate content”. So, the first hour of our first concert was us troubleshooting, and then making a last minute decision to switch over to Twitch. Luckily, it worked out and the whole concert happened, albeit 1.5 hours later than planned”

“I think the main critique is that not every art medium can translate well to the streaming format, and also, as soon as we announced the project, everyone wanted to be involved. Unfortunately there’s only so much time and bandwidth as a lot of us have day jobs on top of this fun project, so it’s day-by-day progress.”

Can you talk about what the series have coming up, performance wise, and how the curation works and how people can support?

“Tonight ESS is curating, Friday there’s a Chicago series called ACORN that had a bunch of shows cancelled, Saturday we have electronic music label Hausu Mountain curating a night. Next week we have Ithaca Underground curating a gig, Homeroom doing one, some others and many more to confirm. We’ve had curators approach us and we’re reaching out to some as well — curation of curation, for sure. Definitely not a free-for-all. Once a curator is confirmed, they pick an open date and we start the process of getting them the tech how-tos and other suggestions/guidelines”

Make sure to check out TQC  website and schedule  here and scope a performance.

Denver, CO based  artist Kevin Richards, who  performs under the moniker Equine is hosting PLAGUE FEST out of their underground Denver, CO based venue  Glitter City, but as many as the events over the last week, it will be without attendees. From the  Plague Fest event page:

“Since we (and many other venues) have shuttered their doors, I have decided to attempt some online actions such as this to help pass the time. In addition I am hoping this will be a way for me to offset the costs of keeping glitter city going. Any funds you want to donate to this end, please send via venmo to @glitter-city Please be sure to donate to the artists performing via the means they provide, and of course, buy merch!”

Plague Fest begins today and runs through March 27th. Artists interested in getting involved should follow the link above for  submission instructions.

Nima Dehghani,  an interdisciplinary artist based in San Francisco and Tehran has relaunched his Netformance series as a way of connecting artists across various disciplines and continents shortly after COVID-19 began to rapidly spread. We got the chance to talk with Nima briefly about the Reconnect Festival.  .

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“Well, I had a project called: Netformance which was dedicated to internet-based performances, I stopped this project 3 years ago, but after the strange coronavirus crisis, and seeing all my artists and non-artists friends stuck at their homes in quarantine, I thought that I can restart that idea, so contacted two of my friends in Iran (Fariborz and Sepehr) to see how we can come up with a creative idea to, first: entertain the people while they are bored at their homes!  Second: engage our artist friends whom their shows or artistic projects are canceled or postponed.

Also how we can unite artists from all around the world, who for the first time are facing the same problem and experiencing the same critical situation at the same time? The idea of online performances is not something super novel, but we thought at this point providing a solid platform for this kind of art, would be helpful to re-connect people and increase the empathy and human connection and to help people go through these tough days with the help of art, together.”

 

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Here’s a Google Doc to Submit to the festival, which begins April 5-12th (FIRST EDITION)  and will be held on instagram live An Austin, TX collective, seemingly inspired by the monumental cancellation of SXSW, started The Social Distancing Festival.

The festival like others above, has an open submission policy but is focusing on works that we’re specifically cancelled or drastically altered due to Covid-19. from the festivals website,  “Check out the LIVE-STREAMS page, or click through the calendar to find out about streamed events from all over the world! Have an event coming up? Let me know about it through the SUBMISSIONS page!” One thing that;s quite unique and  exciting about these festivals is their seemingly open submission policy, which is often a hurdle for underground or undiscovered artists. Here’s hoping these festivals will birth new collaborations and projects which may have not even been possible, or have an audience previously.

40203202_10156204124071693_7594413970820169728_oBay Area artist and curator Karl Evangelista (and one half of the duo Grex is producing the Lockdown Festival happening April 4th,  and features performances from heavy hitters Marshall Trammell, Oakland Art-Rock emsemble Grex, and the  dark whirring sonic spirals of Oakland’s own Voicehandler, Submissions are  currently open. Evangelista states The purpose of the festival was to consolidate some of the effort I saw going into both community advocacy and music making in the face of quarantine. I just thought it might be nice to see that collective action is possible (and in some ways easier) via all these technological innovations that we’ve been forced to interface with these past few weeks.”

Aside from open submission festivals,  many underground and small indie labels are doing online versions of their festivals and artist showcases. Erstwhile Records is planning an online version of their AMPLIFY Festival, you can join the Facebook group here. Also  Southern, CA  stalwarts Deathbomb Arc are  supposedly planning an online version of their showcase as well.  They recently had showcases booked in Oakland and in LA featuring Cooling Prongs, SARN, DIS Fantasy and They Hate Change, a queer rap duo from the swamps of FL taking the underground by storm.

While some are booking online festivals , others are sharing their own resources and encouraging to learn new tools and methods of sharing and promoting their work in times of extreme isolation. Bay Area collective Fault Radio, who already had a dizzying stream of online DJ performances ala Boiler Room has released an article on how to expand your practice in the time of quarantine.

Fault Radio’s Broadcast from Home . Details below:

Are you an artist or DJ who is self-isolating at home? Do you want to know how to stream your sets? Fault Radio is looking to host DJs who want to live stream from their house!

We will be providing the following:

  1. We have the capability to do remote streams without having our team present.

  2. We will teach you how to stream while providing technical support

  3. We can provide Stream-Kits (limited)

  4. We will feature your set on our archive (Youtube, SoundCloud & website).

  5. We will open an online event where people can donate. Revenues from the event will be divided between participating artists and Fault Radio/

Lastly, we figured we’d announce a new project related to all of this melee, a YouTube  Playlist Series of themed mixes titled #StayTheFuckHome Mix Series with themes ranging from bay Area Experimental Music to Underground Electro, to In Home Workout Mixes, Cooking Mixes, and more. Here;’s the first one, and please support all of the artists in this mix by going to their respective bandcamp pages and buying directly.