DECAYCAST News: Experimental Pop Artist Dani Lee Pearce Shares Her Video Triptych Single; Watch Now

Grimalkin Records  Artist Dani Lee Pearce Shares Her  complex and vibrant  Triple Video Single from new album “For As Briefly As I Live”

Nor a premiere in the traditional sense but we wanted to present these three works from Dani Lee Pearce which range from hi energy experimental pop/rock to lush, serene, symphonic minimalist ballads- released on Grimalkin Records.

The complex first single “I’m Gonna See My Abuser Again”  tackles a character questioning their own experiences,  and how they can possibly free the mental grip of a negative relationship and break free from a cycle of abuse through seemingly upbeat experimental pop strategies, but open the second and third listen, the nuance and complexities of this track come out for all to see.  The  high energy synth, percussion, and vocal production puts the listener in a state of hope, a little anxiety, and wonder, wishing for the protagonist to escape the violent clutches of an abuser

“Deep Red”  is a funky, whimsical, yet dark animation /live-action mashup which captures the breadth of Pearce’s work in an elegant and astonishing way.

“When All Things Are Well”, the third single is the most serene and morose of the three in both visual and aural presentation. Lush symphonic synth lines are encapsulated by Pearce’s stunning vocal delivery.  Pulling from Bjork, Elton John, and Spellling, Pearce has created a lush and dynamic sound all her own.   You can also subscribe to the artists Patreon Page here.

“Commitment has the ability to intertwine such mutually opposite but attracted things like love and death in ways often unexplained or unexplored. The two are either separate or complimentary, never in between. This album is a collection of songs that explores this from the perspective of a frequently shy, nervous, and lonely trans woman; Someone in a period of processing the implications of her own mortality in an unstable time, while at the same time, being absolutely smitten with a devotion that’s made for a timely antidote which makes living worth its rough and complicated while.”

from the label:
Proceeds from cassette purchases of this album, “For As Briefly As I Live” go to Critical Resistance in Portland, OR. “Critical Resistance seeks to build an international movement to end the Prison Industrial Complex by challenging the belief that caging and controlling people makes us safe. We believe that basic necessities such as food, shelter, and freedom are what really make our communities secure. As such, our work is part of global struggles against inequality and powerlessness. The success of the movement requires that it reflect communities most affected by the PIC. Because we seek to abolish the PIC, we cannot support any work that extends its life or scope.”
criticalresistance.org

 

Grimalkin Records

Vortex Empath Xen (V.E.X.) Share First Two Singles – “Demon Dimension” & “Split Orb” from New album Out on Psychic Eye 3/27

The post-punk, industrial-inspired queer duo V.E.X. is at it again with their new full length.

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Vortex Empath Xen plays Oakland 3/27 w/ False Figure @ Elbo Room Jack London. Oakland

 VORTEX EMPATH XEN “Between Worlds”,  which comes out 3/27 on Oakland’s own Psychic Eye. Here we bring you an exclusive stream of the first two singles, “Split Orb” and “Demon Dimension” V.E.X. further develops their ever-evolving sound with dark these two powerful post-industrial / post-rock tracks, utilizing all of their signature sonic elements;  arpeggiated bass and synth lines, funky, chaotic melodies, complex arranging, pummeling drum machines, buzzing horns, mangled samples, angular, distorted, blown-out guitar, and everything gelled together with the duo’s iconic evocative vocal styles, which skate atop the cauldron of twisted sounds perfectly and solidify their art as one of the hardest to quantify into a single genre, V.E.X can simply not be defined in this way.  If you remember, we reviewed the duo’s other project MOIRA SCAR “Wound World Part 1” (also released by Psychic Eye) and you can read that here and order the CD, at the same time your hopefully ordering this one, which held a similar complexity, however “Between Worlds” takes the creativity to another undiscovered level. Sonically, the duo is at times more post-punk, at times, more experimental and always pulling from a queer, post-industrial framework, VE.X. is constantly shifting and re-adapting their sound and visions to the cutting edge of a  violent world. From the band:

Demon Dimension is a Deep Delve into Depressive Paranoiac Mind traps Human brain like hamster on wheel spinning around it’s cage for eternity.Discordant screams waking in a nightmare.”     – Lucifer Gamma Ray  & Roxzan Zatan

Lucifer Gammaray and Roxzan Zatan split vocal duties on this pair of singles, undulating between a more operatic style such as found on the break of “Split Orb” or like the orator of controlled chaos, the singing/screaming dichotomy on  “Demon Dimension” increases the intensity in a very real and visceral way. After only hearing the first two tracks, we know “Between Worlds” is going to be an underground queer staple of post-rock/post-industrial.

“Split Orb is a journey across time and space from within/outsider/multiplxpersonaliti cell/root/complex, we are growing into new beings, what we have been what we are becoming, change is the moment, hybrid hubris, we are flesh channels for source/spirit, we are unbecoming.” –  Roxzan Zatan & Lucifer Gamma Ray

 

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PREORDER NOW from: Psychic Eye Records

LISTEN LIVE: V.E.X. Plays Elbo Room Jack London 3/27 with Mystic Priestess,  False Figure &  more. 

 

 

 

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.

 

 

 

Blood and Black Tights:  An Interview with Horror Connoisseur and Clothing Designer Madeleine Boyne

 

The bay area has always been packed with underground collectors and archivists, but none have seem to dug as deep into their obsessions in an honest and passionate way  as SF based  horror-obsessive multi -genre artist and clothing designer Madeleine Boyne.  We  sat down and spoke with her about her love of the macabre and  current projects she’s working on.

 Welcome to Decaycast artist spotlight –  much of your work revolves around themes of horror and sci fi? Can you describe the origin of  your interests ?

 I was born with a love of the macabre and weird.  It must be a mutant gene I have. Even as a tiny little girl, I was obsessed with graveyards, witchcraft and horror movies.  I was asking my mom for black clothes in elementary school.  I think my parents were very confused.

Much of your visual work seems to revolve around horror,  what were  the  first three horror movies you saw and what stood  out about any one of them in  particular?

It’s hard for me to say what the first ones were.  I wasn’t seeing them in the theater but were but there were always old black and white horror films on TV in Hawaii where I grew up so classics like Dracula and Frankenstein as well as old Hammer horror stuff or films with Vincent Price. For some reason Les Diaboliques played a bunch on late night TV and that was probably my introduction to more art house horror.  I also saw Carnival of Souls as a kid and that completely freaked me out.  I still have a very soft spot for Carnival of Souls and of course the soundtrack by Gene Moore.

 

Spending a couple of hours with Umberto Lenzi was like standing near a supernova.

Huge supposition coming here, why are soundtracks so important to you in horror and what are you’re all time desert island selections and why ?

I feel like the soundtrack can make or break any film and there is something so delicious about a really creepy soundtrack.  The first soundtrack I fell in love with was Alain Goraguer’s score for The Fantastic Planet.  It was another one I caught on TV as a kid and I remember being really preoccupied with the music afterwards. So that one had better be on the island with me.  I wouldn’t want to be without some Ennio Morricone so maybe Lizard in a Woman’s Skin and Vergogna Schifosi. Those are two of my favorites out of a few hundred favorites. I love Alessandro Alessandroni’s Devil’s Nightmare and Alberto Baldan Bembo’s Nude for Satan so both of those.  Another Italian composer I love is Piero Piccioni and in particular the soundtrack for Camille 2000 which is actually more of a, shall we say, sensual film.  Also, Carlo Rustichelli’s soundtrack for Mario Bava’s Blood and Black Lace.  How is that for a pile of sleazy listening on the on the tropical island? This list could go on and on and then we’d be talking about an island of vinyl!

What was the most impactful scene in any  film you’ve ever seen?

So hard to say!  There are so many films and scenes I come back to over and over again.  I will say that overall the work of Mario Bava probably feels most impactful to me.  Something about the pools of color and exquisite details juxtaposed with violence speaks to me like nothing else.

Can I tell you a little Mario Bava related story while I’m thinking of him?  The last time I was in Rome, I decided to make a pilgrimage his grave and Google told me he is laid to rest at Cimitero Flaminio.  So I got this big bouquet of flowers and headed over there.  Being such a Bava fan, I tend to think everyone else is on the same page and so somehow I thought there would be signage “This way to Mario Bava!”  But it was this massive expanse of a cemetery with no maps at all.  So I was wandering around in this place with my armload of flowers for ages and I finally found a little office with, like, seven guys sitting around it it – one behind a computer and six of them probably maintenance.  So I walk in, this boho American woman with a armload of flowers and tell them in broken Italian, “Per favore, dov’è Mario Bava?  Ho bisogno di visitare Mario Bava?”  – I NEED to visit Mario Bava!  And these guys were like, “A WOMAN NEEDS OUR HELP!” and there was all this energy in the room and they were all talking and the guy behind the computer was searching away and then suddenly he stopped and said, “Mario Bava, il regista horror?” and it got quiet. Hell yeah, that’s who I’m looking for…….  Ultimately, no one could figure out where his grave was but they gave me a little map and I found that Sergio Corbucci was buried there so I went and put the flowers on his grave.  So in conclusion, if anyone knows the final resting place of Mario Bava, let me know because I need to visit him.

Can you talk a little bit about your clothing line and what inspired it?

My background is in art and about 8 years ago I did this whole series of graphite drawings of mutant animals, Siamese twins and such.  My friend Ms Momos Cheeskos suggested I silkscreen these on clothing. I think she actually said,  “Those would be great on panties!” 

Anyway, I took her suggestion and started silk screening them on t-shirts.  This led to a natural progression to putting images from films on shirt, bags and leggings.  I still want to do a line of women’s under garments.  Can you image?  Leatherface lace trimmed bustiers…..

 

Sounds fantastic. Any upcoming projects your excited about and would like to talk about ?

Yes!  As always I’m working on new designs for the clothing line and currently I’m thinking about stuff for kids and brides.  Gotta have sinister stuff for the little ones and weddings!

A lot of people were familiar with my soundtrack show bunnywhiskers  on Radio Valencia and I’ve now moved over to New New World Radio out of Moscow.  I asked Grux if he wanted to name the new show and he christened it with the rather stunning name Fly Faced Necronomicones Served by Marziveined Vampires.  There are tons of really cool shows on the station and I’d suggest everyone listen in at https://nnwradio.com/

Also, I’ve had an ongoing project of adding to the documentation of the lives of the great maestros of Italian genre films. Over the last three years, I’ve interviewed Sergio Martino, Fabio Frizzi, Enzo Sciotti, Umberto Lenzi and Luigi Cozzi. Those are on my youtube page and my Radio Valencia podcast page.  I’m currently in the planning stages of returning to Italy to record more interviews.

I just want to close out on a little something about the Italian genre maestros. Meeting these guys that had devoted their entire lives to their art was such a privilege.  I’m gonna say something that really sounds California-esque  but there was kind of a light about them that I think comes from a lifelong commitment to art. Spending a couple of hours with Umberto Lenzi was like standing near a supernova.  So for anyone out there that is questioning whether a life in the ups and downs of art is worth it, I’d say go for it.  It will fill you with something intangible and bright, even if your thing is slasher and cannibal films.

Make sure to pick something up from her incredible ETSY STORE 

“What We Can Create Together”: An Interview With John Daniel and Michael Stumpf of Reserve Matinee Imprint.

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My process of discovery coming across the Reserve Matinee imprint took a similar tale of many great discoveries within underground music and art. I first met John Daniel, co-founder of the Chicago-based imprint Reserve Matinee while he was playing in another legendary Chicago act – Avant-Gospel Black Power electronics act ONO at the legendary Empty Bottle. I was familiar with John’s work as Forest Management, who’s new double LP record “After Dark” (American Dreams) is a tour de force reimagination/reworking on Debussy’s “Le Mer” a complex and deep work in itself. John’s presence is very much like his new LP, nuanced, deep, and passionate and from the heart. It is without a doubt the strongest work I have heard under the Forest Management moniker, although it does almost without saying that everything I’ve heard has been stellar, to say the least.  “After Dark” is morose, haunting, but also serene and beautiful, and is ripe with the complexity and honesty that mirrors almost everything Daniel does, including his new imprint,  founded with friend and frequent collaborator Michael Stumpf. Here’s a distillation of what we spoke about and what is in store for  RM for 2020 and beyond.

“We of like minds need to unite now by working together to fight against the known ailments of global capitalism on any local level—whether slavery, segregation, racism, sexism, transphobia, xenophobia, toxic masculinity, police brutality, etc., the disease cannot be fought alone.”Michael Stumpf

 

 

Welcome to Decaycast interviews, thank you, John and Michael, for sitting down with us. First off please introduce yourselves and talk a little bit of what you’re excited about lately;

JD: Thanks so much for having us! Been lookin’ forward to it. We have some tapes coming out soon in 2020, excited to share them with folks. We also started doing gigs at a Vietnamese restaurant (Nha Trang) in Uptown Chicago, back in December 2019.

MS: Looking forward to Nha Trang this Friday, and more gigs 2020.

 John, you run three different labels/imprints, is that correct? Can you talk a little bit about Reserve Matinee, and also what makes the imprints different. Have you ever thought about combining them into one massive label, or does it make sense to keep them separated?

JD: Yeah. Sequel will be coming to a close this year, with just a few more releases planned. Afterhours Ltd is kinda just chillin’ right now, I honestly got pretty behind on assembly and shipping for that label, so I wanted to slow it down and re-evaluate some things. I don’t feel great about making people wait for stuff. Reserve Matinee came to life out of a friendship, so it’s about that collaboration and like-minded vision. I see that as separate from any other imprint I would run.

 

“I believe music can be a healing force that can be regenerative for those engaged in capitalist struggle.”

At what point did you realize your label was taking up more time that you all had anticipated, has it grown to become something more than when you started? And if so, how has your relationship to it, and it’s processes changed?

JD: Definitely. We released 20 tapes in our first year so we were very busy. We’re actually focusing a little less on releases this year, and more on events. But our process has evolved, for sure- Michael and I will now naturally split tasks when producing and selling the tapes.

MS: Feels like the same processes to me from the beginning just a shifting focus away from so many tapes and on to event planning and the first vinyl for the label this year.

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What is your process of discovery / curation? Do you focus more on the sound, aesthetics, or philosophy/ethos of the artists you choose to work with?

MS: The label was definitely meant to be a platform for us to explore other sides to the sounds we had been traditionally working with and initiating more collaboration and improvised live take recordings with local artists. We strive to release unheard and/or neglected sounds from our friends in Chicago, the Midwest, and abroad. That is what first and foremost drives our curation.

JD: We definitely listen to everything that comes our way, and we have a bunch of talented friends making interesting music right now in Chicago. It has only felt right to support the Midwest through the imprint, we’ve both grown up in and have gained inspiration from this region.

What do you see as the biggest problems within contemporary experimental music that you would like to see change (either political, philosophical, or aesthetic) and how if at all do you try to mitigate through this through your label and various projects?

MS: The biggest problems within music now are the exact same as the biggest problems caused by late capitalism. We strive towards an anti-capitalist ethic in what we can create together.

JD: Lack of openness, exclusivity, and boxed in. We tend to stick with what we know. There can be a great joy and healing feeling when you jam with someone you don’t know.

Can you elaborate a bit more from a standpoint of collaboration? In a time period that seems focused on the individual,  do you see music as a building block of resistance to capitalism?

MS: I believe music can be a healing force that can be regenerative for those engaged in capitalist struggle.

JD: In the words of Jack Johnson, we’re better together.

If you could explain the concept of your label to a person who has never and will never hear your releases – how would you describe it?

MS: We exist only in the hopes of describing it.

JD: Here.

MS: Connive is a new alias, tape coming 2/18, my political response to the Aurora, IL mass shooting. Most memorable might be Sara Zalek and Norman W Long‘s “Steel Workers’ Drone” dropping on RM 2/11…
JD: After a Summer of solo tapes we finished 2019 with a few different split releases, which is a fun format. They’re all up on our Bandcamp now. Yeah, I’d also say the Sara + Norman tape is one we’re super excited about at the moment. It really sets the tone for this year, being the first release of 2020.
What do you have upcoming both personal and for the label that you’re both excited about that we might not know about yet?
MS: New Faithful album coming this year on Anomia (material been ready for a while now) otherwise staying busy locally w Nha Trang nights, some live performances and deejaying
JD: Finishing a few recording projects including the debut release of 8990, which is Michael and I. I’ll be booking solo dates in the US/Canada very soon after a brief break, and buying a film camera. We’re also dropping the label’s first vinyl LP this year for our friend Door. He lives in Baltimore.
What are things that inspire you outside of your normal practice? is there a separation from art and life? Personal and political?
JD: Looking back, some things that have inspired in the past..the sky, glimpses of light, people, loss, film. Is there a separation between art and life? I guess it just depends on how you define life. For me, not really. It’s not like I’m going “Ok, it’s art time now”. Most of the time you don’t know what’s happening until it manifests itself in front of you.
MS: The existence of the impossible (or of the strange, or the weird, the ether), which I find omnipresent, constantly and unrelentingly inspires me. I believe and have faith that things can and will happen that we cannot imagine in any present, faith in the unthinkability of the infinity of future possibilities. That combined with the wisdom that life is unintelligible to life itself, a reality which in and of itself allows the irrational imagination to wander every slope of the summits of desire (or, time). But I see absolutely (and necessarily so!) no separation between art/life nor the personal and the political. All are one in the same from my vantage, and must be, as the passage of time and how we choose to risk ourselves to chance is all we have. Chance IS life IS art IS what we do with time itself (desire). In this way, I find the element of chance to be for me a strived-for basis of all my recorded works, as they strive for an element of stream-of-consciousness by design; breaking away from quantization, from conformity, from status quos of sound. As for politics, I try very hard to not believe in gods, idols, leadership, ideologies, in authority, in political platforms/parties, but vehemently believe all aspects of human life under late capitalism are political, music included. Music—the practice/craft but also who gets heard, who gets gigs, who gets streams, who gets festivals, who gets to play the best venues/clubs—is always political. Just follow the $ and prepare to be endlessly disappointed with your supposed ‘favorites’/‘heroes’/‘idols’. My politics are anti-capitalist and anarchic and bend towards communistic ends; they affirm inherent imperfection in all human political tasks as a result of our contradictory/flawed nature (a nature of violence, of hierarchy/power), as their very starting point. We of like minds need to unite now by working together to fight against the known ailments of global capitalism on any local level—whether slavery, segregation, racism, sexism, transphobia, xenophobia, toxic masculinity, police brutality, etc., the disease cannot be fought alone. In these times of disunity and discontent, we must seek the opposite, which means cultivating, sharing and connecting, believing in the impossible, believing in the possibility of an end to capitalism in our lifetimes.
 Final words:
MS: Listen to more Skin Graft.
“Faith is not belief in whether or not God exists but rather knowing that love without reward is of value.”           – Emmanuel Levinas
JD: I highly recommend Coast Sushi on Damen Ave and Margie’s on Armitage & Western. Also, shop Uptown! Jk there’s nothing to shop around here. Only bars and theatrics. But there is the Green Mill Jazz Club, off Broadway and Lawrence. Al Capone used to get faded there. It’s pretty sick to take acid and go sit in a booth. I also recommend listening to as much Gene Pick as you possibly can. Also this rec:

Future:

2/28 – @ Nha Trang Fourth Fridays – Peak Descent b2b Faithful w/ r.ss & Space Dog Jaxx

 

DECAYCAST Label Spotlight: Turmeric Magnitudes – San Francisco, CA

Found this unpublished review from a few years ago, so here it is….

Picking up the pace is a new label started by Greg Garbage of Von Himmel /Donkey Disk fame. Turmeric Magnitudes have been belching out limited-edition home dubbed cassettes of microsounds, tape collage, voice, tape loops, and almost everything under the sun, seeming to come out of the gates blazing with fire. All of the releases thus far are cassette only (a preferred format of Mr. Garbage) and the label, as well as in download formats, in fact, why don’t you go check out some.

The imprint has only been around a few months but has been rapidly belting an eclectic, yet consistent array of audio recorded works, many of his own projects, Black Thread, Dark Spring, Vibrating Garbage, Ester Chlorine, and other local bay area stalwarts such as under the radar artists like Fslux, The Heroic Quartet and much more.

Many of the cassettes I’ve managed to grip this far all focus on the microsound side of things, both in presentation and execution, but this is a good thing. One of the first cassettes I jammed, the self-titled Dark SpringImage

the cassette is a real charmer for the inner ear. This little number may not be ripping loud, or distorted, but it still holds ships worth of weight. The main theme of this cassette seems to be tension and relentless ambiance; as all recording artifacts are left in the mix to boot, contact mic ground hum, globs of tape hiss, play button fumbling, flying four-track faders hitting the roof, subtle moans of frustration and clarity all are given a breadth in the mix. Subtle tape and voice manipulations, crawling, scraping microtextures, subtly crafted ambient textures of a micro drone bug picking at the walls of your inner ear, slowly sucking grey matter out and forcing it back in through different pores and portals. As the tape progress, Dark Spring breaks into richer, fuller walls of ambient hum, weaving an intricate, yet minimal tone poem of tape loops, voice, and field recordings all supporting themselves forthright in the mix. The sources never really quite reveal themselves, and they are obscured through a musique concrete lens of churning cassette motors, the ambient sounds of an imaginary city in the artists mind etched into a 78 rpm record played through a tape head record needle. This Dark Spring could have been recorded in the early 1900’s or 2023, the listener doesn’t quite know or need to for that matter, but despite it’s timeless, old-world style recording techniques and mysticism, Dark Spring is a patient, well-done offering of ambient collage.

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Another release frequenting our ears from the label is the Bonus Beast / Vibrating Garbage “split” reissue, both splits between these two artists (previously not on label) are combined for extra dirge and pleasure in this little package. Bonus Beast tracks range from high anxiety tape collage and arpeggiated washed out analog synth mastery to rolling tape and dense beat mischief. Dense, dark, gangs of oscillators form archaic pillars of menacing tape and synthesizer printed on tape hiss, the out sound of analog debauchery fuzzing brain modulation techniques. There’s a strong presence of masterful edits, one of Bonus Beast forte’s on this little number, and the second track is more representative of his current work. Dense, heavy beats, squirling synths, modulated, mashed, mangled tapes, and four track wizardry. The Vibrating Garbage tracks range from clustered, textured, ambient offerings to masterfully crafted analog influenced EDM/Minimal synth tracks-creating an obtuse offering of the artists chops. , Pre-dating the nostalgia train of Tangerine Dream and Aphex Twin style drum hits engaging in bondage routines, Vibrating Garbage knows what he is doing with these tracks, and more importantly WHY. Each drum hit is accompanied by synth and vocoder textures, unheard in the traditional sense offering of the earlier VG works, but still displays the artists fondness for low fi recordings and analog drum machine mastery. A wonderful complement to each other, this reissue packs some gold gems from each artist. A must have.

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The third tape I’ve procured from the label is the FSLUX / BLACK THREAD split cassette. The A side is an allusive project from Oakland, CA titled FSLUX. dark, delicate homemade electronics, voice loops, scraping sounds, and alalog drone doom meld together a ninteen minute track of top notch drone/musique concrete goodness. Lots of textures and carefully considered track breaks elevate this from just being a drone track, but rather an elequently crafted amalgamation of dark, confusing, electronic sounds mixed with voice. “Lyrics” are unintelligible, but the voice acts as a great backbone for the slow churning, dark, hellish loops. There’s a distinct unique tension between voice, strings??? and electronics in this composition unheard on previous FSLUX recordings, a new and unique direction for the artists. DARK, ALIENATING, TENSION.

The Black thread side opens up with a beautifully minimal drone and scrape composition reminiscent of ENO’s airport works run in reverse through a micro-cassette player, and this is POWERFULLY DYNAMIC AMBIENT SPACE, just like that surreal moment when the plane leaves the runway. The B side slowly builds up into a distorted beautiful caucophany of distorted tape, strings, and field recordings offering a harsh contrast to the ambient swells of the first track, but never strays too far aesthetically to the vast sound that is Black Thread. Top notch tape, highly recommended.

This offers just a small glimpse into the sonic world of the Tumeric Magnitudes imprint, based out of San Francisco, CA, so be sure to keep an eye and ear peeled for more stuff from this busy, unique imprint. You can catch one of their recording artists, Ester Chlorine on an upcoming east coast tour, from 9/4-9/16

TURMERIC MAGNITUDES

DONKEY DISK

DECAYCAST Reviews: MAX NORDILE “Primordial Gaffe” (Paisley Shirt Records 2019)

DECAYCAST Reviews: MAX NORDILE “Primordial Gaffe” (Paisley Shirt Records 2019)

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Bay Area punk/skronk/noise-jazz stalwart and member of Bay Area angular Jazz Punk trio, Preening, Max Nordile offers a cassette of short improvisations ranging from minimalist abstract percussion collages, to droning amplifiers, reeds, kitchen sink falling down the stairs type of vibes here via SF label Paisley Shirt Records. Plethora of interesting textures here and lots of start/stop/STOP  going on which often sounds like a full free jazz band about to blast into a ring of chaos but they keep getting stuck in the beginning, creates an edgelike tension which is hard to replicate in a studio/recording, but Nordile accomplishes this quite nicely with raw room recordings rather than overproduced studio isolationist techniques. Some tracks are more raw experiments with often just one sound source, however others are more developed, using multi-instrumentalist strategies where percussive objects clang and bang into each other while strings and a plethora of reeds bleed through in the background.

My favorite track is without a doubt also the albums longest, “Decaying Tab (with Mirror)which navigates more into Mort Garson on acid territory with yelled vocals, womping horns, muted, angular guitar riffs, and a percussion shit storm-  a  true cacophony invoking Trout Mask era Beefhart at times. Highly recommended for fans of  skronk/free jazz with a punk sensibility.