We’re excited to premiere “Still Coming Of Age” from Grimalkin collective member Elizabeth Owens. On this four song acoustic/unplugged, Owens offers four serene, morose, compositions accented by lush vocal layerings which blend with the strings perfectly. Owens at once crafts a warming mix of voice, strings and piano for a enchanting effect on the listener. Somewhere between modern classical and neo-folk, Owens stripped down compositions offer a glimpse into a distant unknown land we aren’t quite familiar with yet. Owens holds a dramatic tension between the different elements, perhaps most effectively in favorite track Growing Pain (unplugged) where Owens begins to channel a Meredith Monk esque vibe, between voice and keys which is no small feat, nor familiar territory for most. A splendid ending to a starkly minimal and strong EP. Listen now in full below and pick up the album today .
Elizabeth Owens (they/them)lives in Richmond, VA and is a Grimalkin collective member.Still Coming of Age is the unplugged baby sister of Elizabeth Owens’ debut record, Coming of Age, released in September 2018. Available digitally and on limited edition lathe cut and cassette, this 4 track release includes unique, unplugged versions of songs from the original album and a new track titled “Rabbits.” Arranged for piano, Celtic harp and voice, “Still Coming of Age” offers a glimpse of the musical direction Owens is taking next, while thematically symbolizing Elizabeth’s personal saga with alcohol abuse and recent recovery. A purchase of Still Coming of Age on lathe or cassette includes the full debut record, Coming of Age, as a bonus download. Still Coming of Age will be available on limited edition cassette and 10″ lathe cut. Proceeds from cassettes and digital only will go to the Virginia Anti-Violence Project.
DECAYCAST Premieres: Bay Area Funk Wizard CHAKI Releases New Video “Water” – WATCH NOW!
If you’re in the Bay Area and you don’t know the work of CHAKIThe Funk Wizard than you must hate fun, funk, horror movies, and capes, in which case, why are you even reading our blog? On his newest song and video, “Water”, CHAKI offers a masterfully crafted, yet slightly dystopian blend of self reflective cosmic brain altering funk! Blending astute musicianship, top notch arranging and production, and a dark sense of humor, like a soldier of Funk, Chaki covers all of the bases himself, performing nearly all the instrumentation solo with wonderfully nuanced results. Warm organ, marching bass lines, swirling screaming synths, hard hitting, tightly would drums, and the voice of an angelic maniac to create a funkily unique and dirty swim through the history of Funk music. “Water” gushes into your face and soaks you head to toe with cosmic funk liquid from the place of Chaki’s origin, a true assault to those refusing to feel the rhythm, or maybe a hymn for those who feel the late night wrath of a post dance party Taco Bell excursion, whatever it is, we’re here for it. With it’s acid peaking level energy, driving in the pocket beats, “Water” is no doubt channeling the bombastic low end of genre-pioneering giants, Cameo, the glossy, psychedelic, and often flawless production of Prince with a dash of Blowfly-esque absurdist humor and what do you have? “Water”, which is to be released as a black vinyl 7” by Who Can You Trust? Records.
It’s a silly video for probably the most personal song I ever made. I was trying to channel my heroes like Cameo and Prince while in the studio.” – Chaki
“The concept came to Chaki in a reoccurring dream and scribbled onto a bar napkin. The vision was brought to life by the local Oakland filmmaker team Han Hale (director) and Dean Snodgrass (director of photography).
CHAKI has brought his dynamic stage show to festivals such as Noise Pop and The Offbeat Fest. This funky alien has gained a cult-like following over the past few years, playing shows with like-minded weirdos Shannon and the Clams, El Vez, Peelander Z, Bob Log III, Captured By Robots, The Space Lady, and Flipper.
DECAYCAST Guest List: We asked some followers and co conspirators to round up their favorite music and art from 2019. Here’s the first installment with Bay Area artist and producer Gremlins2Movie
2019 was a year, big year, very big year and after a hiatus from listening to music entirely, these are the songs that held my attention during this further plunge into the hellscape we know as planet earth.
Xque – Torn Natalie Imbruglia
We will begin this yearly round up of my favorite songs of the year with a song that didnt come out this decade. I think everyone should hear this at least once.
Star Searchers – Previsual Avatar Blue
While this is just a lead up track to what is my favorite concept for an album all year, Spencer Clark sets you up with some information regarding the basis for his soundtrack to the still unreleased Avatar sequel, Avatar 2. If text to speech for 9 minutes and 19 seconds isnt your cup of tea well i suppose you could just not listen to anything.
100 gecs – 745 sticky (Mikey Joyce Still Stuck Remix)
Well first off if you arent aware of 100 gecs im sorry to hear that you must need help immediately,. Now there was alot of 100 gecs remixes this year some might say there was…. 1000 of them. But this stands as one of my favorites of the year. One of my favorite remixes using a beep beep horn.
Not only is Tyler one of my favorite artists, singer and songwriter, she consistently puts out music that will make you smile and cry at the same time and puts on a lovely intimate live performance that is not to be missed. I urge you to listen to the full release, Devil, and would be hard pressed to find anyone who doesn’t fall in love with it.
Charli XCX – Thoughts
Now for something completely different, Say or think what you want about charli or pop music in general(you may be right but probably not), but i really think she did something great with her latest release simply titled Charli. I went with thoughts mostly because im keeping with the theme of songs ive cried to this year. Everything from the simple but effective drum part, those autotuned “oooo’s”, something about ballad that isnt afraid to touch on the fact that everything around you is literally fucked speaks to me. (second choice is: official)
Staying with the theme of songs ive cried to multiple times this year, we arrive at my favorite 100 gecs song of the year, spawning the now infamous phrase : I Might Go Throw My Phone Into The Lake, Yeah. And possibly being one of the only songs of the year futuring autotune and grindcore vocals. I really cant just pick one song off this album so just listen to the whole things 1000 Times.
DJ DJ Booth – make u levitate (closer to god)
DJ DJ BOOTH does “it” again with this song that was stuck in my head for a good month or two after hearing it, probably my favorite piano part in a song this year. Its just simply fucking good. And should be on any uhhh playlist that you listen to before going to church.
I spent years ignoring the output of Burial but this was the track that made me actually listen to and fall in love with Burial. No one wants to hear anyone wax poetic about burial, but this song fucks big time.
Lighght – The Temple (Libretto)
When i read a tweet about this song on twitter dot com i was like oh hell fucking yeah and it really paid off, this year we have learned that i really fucking love just straight up wall of texts on a nice track. Another example of a track and album that just simply goes the fuck off. Towing a line between music that might ask you what your major is and if you have any more drugs.
Just the whole damn thing, it is a touching tribute to a friend who has since passed away and its keeping with the theme of music i have cried to or have made me cry. This release was featured on fact dot com according to tweets.
DECAYCAST Premieres: mrscientificterms “the mathematics of defeat” video (Verses Records, 2019)
Verses Records is a D.C. based imprint who just today along with this video released their Verses Records Sampler Vol. 3 on November 29th. It is mostly artists from DC and Asheville NC, with pepperings of Nashville, Memphis, Seattle, UK. mixing varied electronic styles, neo-classical, some ambient/dark ambient to boot. “the mathematics of defeat” is a visually intense tour de force of contemporary capitalist culture and structure, with quickly paced editing, jump cuts galore, and a visually pulverizing style fitting the chaotic and noisy track perfectly, “the mathematics of defeat” tells a dark, cluttered, alienated and somber tale about society on the brink of collapse, enacted by violent, racist and sexist power structures that are slowly eroding the planet and the varied species that inhabit said planet with reckless abandon for pretty much anything with a pulse. Watch the video here , directed by Asheville artist Aaron Wackenhut, and make sure to pick up this Verses sampler or something else from their bandcamp page
“being born to lose . . . we are told that wecan transcend that, and often realize that is BS, that a capitalist society will try to crush you, to holdyou down . . . that you are basically screwed. Constant attempts at control, at divisionism . . . it’s themath laid out by those that hold the puppet strings, ‘The Mathematics of Defeat’. You learn to live with it, maybe you ascend . . . maybe you don’t. It’s garbage time for humanity.”
Naoko is named after the beautiful and somber character
from Murakami’s book Norwegian Wood.
Here is the first single from Norway based producers NAOKO, who bring a thick, dense, percussion style, hypnotic and catchy loops, sputtering shifting hi hats and snares, throbbing bass and a creative mix of production style to their new single “Bloom”, off their upcoming EP, which you can listen to for the first time, right here, below:
“Bloom” blends heavy, synthetic beats with lush, slowly melting vocals in contrast to the dark, creeping bass and plucky strings and hoover style synths that create a warm, thick backdrop to showcase the vocal delivery. Referencing American producers like ABRA and FKA TWIGS, NAOKO spins a haunting sonic tale for listeners to get lost on a late night road. Take a listen to this heavy and lush done poem anthem of touch and change and be on the lookout for more from NAOKO.
Here’s some download codes for the single which can be redeemed at:
WAXY TOMB is the work of multimedia artist Jules Litman-Cleper. We’ve been following the work of WAXY TOMB here at Decaycast for many years and after a splatter of homemade CDR’s over the years it’s nice to see her work presented in proper LP format, as well as adorned with the nuanced, futuristic, cyberpunk influenced digital art that they have come to be known for through video, live performances and 2D works. The LP is also accompanied with an art book containing expanded variations on a theme of the cover art. The other-worldly visuals are the perfect compliment for the music; dark, nuanced, intricate, alien, and complicated.
The sound of “Imminent Fold”continues where previously homemade releases have left off, with conceptually dense, yet structurally often minimal and stripped down electronic compositions, though there is structure; these exist as “songs” in the traditional sense, however they gel and mutate within the lexicon of Waxy Tomb’s visual and aural landscape to continue to tell a part of a larger story. The voice has always been an important aspect of Litman-Cleper’s work, and this LP is no exception, pushing her extended vocal techniques in effected ways further than they have existed before; blending beautifully with the dark, throbbing chirps of synthesizer explorations and static noise crumblings. Litman-Cleper’s sound is at once alien, and robotic, yet natural and “comforting” in a way. She is able to ride the tension of creating simultaneously a record, that, in a sense is both an experimental electronic record and an electronic pop record, and one pinned together through the visual and aural alien language that the artist has come to define within her aesthetic set. Pulling from assumed influences such as Laurie Anderson, Cosey Fanni Tutti, Tara Cross, and Bjork, Litman-Cleper creates a style of experimental electronic , left-field music all her own which speaks an alien language that with “Imminent Fold”, we just begin to understand and are all the more rewarded for it. Highly recommended.
Output 1:1:1 is currently preparing for the release of his upcoming EP “Retroactive Rock Record”, due out on November 1, 2019, and has been kind enough to share with us the premiere of the second video, Directed by Elias Campbell and single from the album under the same name, “Retroactive Rock Record”. The track blends slow moving hypnotic vocals, dark plucked ethereal synthesizers and strings, and lush, ominous and lonesome sounding electronic background sounds. The sound of “Retroactive Rock Record” tells a dark and confusing story about confusion, loss, the unknown. The tones blend together perfectly to create at once a hopeful, albeit slightly unsettling sonic vibe. Take a look at the video below and make sure to pick up the album on November 1.
: “Writing this song was incredibly freeing, despite the central idea of it being a complete lack of control. I wrote the lyrics of the song the night of the 2016 US election. I felt a sense of helplessness swell as Trump’s election became inevitable-Canada seems to follow US election cycles pretty closely. I think helplessness can really encourage shame-the sense that I’m terrible and I am in this mess because I deserve this. It takes a lot more than reinforced positive thinking to work through, and writing this song was an attempt to redirect my helplessness into creating something.