BEAST NEST “Pluto” Video Premiere :

(video directed by : malocculsion)

The efforts of  Bay Area  artist, musician, healer, promoter and educator  Sharmi Basu are seemingly endless and  so far reaching  that  before  one has the opportunity  to grasp  and contextualize  one action in the  greater realm of experimental music, they are onto the next.

0004 Lumen Frame
production still from “Pluto” video

Between constantly touring, and  releasing last years  “Taste Of India” cassette (Ratskin), a new  Tour  EP  for  her  recently completed  European tour,  running  The Mara Performance Collective,  which self describes as “a performance and improvisation group that is centered on shared politics and identity.  The MPC is focused on radical people of color, that is non-white folks, and is emphasizing those who identify as queer, trans, and/or womyn of color.”, and it’s offshoot, Brown Noise  , have become staples for many new  and  experienced artists to gain and refine their “chops” so to speak outside of the  white male patriarchy which has historically taken up so much space in noise and  underground communities.  Most recently, Basu was  a  part of The Universe Is Lit:  the bay area’s  first ever Black and  Brown Punk Festival with  fellow curators Shawna Shawnte, Jade Ariana and Titania Kumeh, and recently opening for electronic music’s den mother Suzanne Ciani at the  San Francisco Electronic Music Festival,  Through all of this, Basu has both ears, a dog and a mic to the ground in the  forefront of  experimental music, politics, and community building.  She  even contributed a track to the recently released  “Rogue Pulse /  Gravity Collapse” compilation (Ratskin)  which spawns twelve hours of music in direct support of  Black Lives Matter,  St James Infirmary, and The Oakland  Immediate Relief Fund, which  consisted of  Basu and  several other femme organizers who took  and  distributed donations after last year’s Ghostship tragedy which claimed the lives of thirty six souls of the  Oakland and  bay area

BEAST NEST . Photo:  Gabby Gamboa.

creative community, many of whom were  close to Basu.   Despite all of this  loss, chaos, and  uncertainty with these  violent, chaotic, shaking and bleeding times,  Basu marches forward  and  continues to help  pave the way for the  decolonization of  experimental, underground, music and  art. A  necessary, radical  action, like many aspects of confronting white supremacy,  which is long overdue.

Today, Basu releases a video for  “Pluto”  which is  from the B side of the “Taste of  India”  cassette, released in an edition of  100  cassettes on Ratskin in fall of last year, which can be viewed above.  The video blends analog and  video  synthesis, feedback, found  footage and  digital  video processing. Make sure to  click the  HD option in the  youtube window for  maximum definition, as the  video is  visually dense. Please make sure to    Follow her Bandcamp,  or   Soundcloud  orrrrrrr  main website for more information and  current shows. She also has a Patreon which has some amazing  incentives!








“Four twenny in the Haight Ashbury? Yup. If smoke makes the best sunsets, the banks of Golden Gate Park will be blowin’ up as Neha Spellfish, Malocculsion, play the final show with Demonsleeper and Thoabath before they hang ten off a dank ring blowing out toward San Juan, Puerto Rico where they’ll opena new venue for experimental live sound. Come see them off with…1414959_10153953359597836_4368103547300810001_o

NEHA SPELLFISH (Oakland/Madrid)
With low frequency waves washing up on a beach of dark noise ambience, Spellfish delves into the shared space of interspecies communication and paramnesia, invoking the spectral measure of waking consciousness and noospheric cognition. Neha invokes themes of macro psychology, xeno feminism, dynamically modeled weather enclosures, and instinctual variance, employing audio programming platforms and algorithmic granular synthesis.

Deathrattle lullabys and inescapable lucid dreamscapes wrought by somnambulist maestra, Alexandra Bushman. In 1999, she formed the electro-acoustic group, Synethesia, tegether with Angélica Negrón. After scaring the daylights out of everyone at the Conservatory of Music in Puerto Rico, she matriculated to Mills College before committing to advanced studies with ancient dark forces whose names must never be spoken.

There’s a perceptible gravity to Andy Way that somehow vanishes once you draw near, the material world floats adrift. His solo project, Thoabath, might just be that massless Euclidean point where noise, dub, power electronics, horror, and ambient all emanate, an entelechy without clear precedent, of no laws. Prepare your ear, first study his collaborations with luminaries like Bruce Anderson (MX-80) & Petit Mal in the project, French Radio, sink yourself in the occult cacophony of Sutekh Hexen, and then, approach Thoabath, inescapable dark quasar.

Watch concrete turn to quicksand and glass return to sand as this sonic juggernaut storms the Haight Ashbury. His inaugural solo album released last year, “Psychosis Industrial Complex”, melds blown out distorted beats, arpeggiated synths, tape manipulation, voice, field recordings and homemade oscillators to belt forth a dark, unique offering of post industrial, prison music.



EN NIHIL “DEAD FREQUENCY” Cassette (Danvers State Recordings, 2014)


Here we have a newer release, “Dead Frequency” from the prolific yet deserted and obscure project called En Nihil, released on Danvers State Recordings The  A  side  starts out a slow,  cold,  ambient windchill of  space and  delicate reverberations. En Nihil is known for his  desolate, dark  heavy death/ambient/industrial recordings  but the “Dead Frequency” tape picks  up the pace  pretty heavily right off the bat. The slowly spinning ambient burner quickly but in a well composed manner, morphs  into a heavy, noisy, industrial hash squall from hell.  Dense, sharp, ripping sounds crumble and spatter atop of each other and  create gray pillars of psychedelic, waves of spiked feedback, and noisy  percussive elements. The wall section of the  piece  builds up to a blistering climax, and then gradually gives itself breathing room and a deeper, more restrained   tension is created. En NIhil swiftly and skillfully creates a monumental tension between the cold, ringing, droning ambient sections, and the harsh noise walls and cities of sonic bombardment.

On this particular release, we have a wide and refreshing scope of styles that are skillfully executed. There is actually a plethora of sounds and  ideas making up this  sinister, unclimbable wall of sound. Even though at times, it just sounds like “noise” , rest assured, it would be counter productive to pigeon hole it as such En NIHIL is a master at riding the waves between noise / ambient / death – industrial and straight musicality. Especially the B side of “Dead Frequency” if you blink for a second you might be fooled into thinking that some of these tracks , composition wise , have a structured sensibility to them, which for this type of music is a good thing in my opinion. There are no happy accidents here, or if there is, they are disguised well, each note , tone and action appear intentional and forthright in the composition and idea.

“Dead Frequency” is the logical progression in the En NIhil discography and takes a step forward in terms of dynamics and harshness but remains true to the unique style that the artist has created. MOre to come from this artist! Keep an ear in the cave.

DECAYCAST REVIEWS : PREGNANT SPORE / VERTONEN Split Cassette (Forever Escaping Boredom Records , 2013)

DECAYCAST REVIEWS : PREGNANT SPORE / VERTONEN Split Cassette (Forever Escaping Boredom Records , 2013)

The Pregnant Spore side opens up with a fuzzed out, distorted thud percussion pulse and  slices of  choking voices aboot. The  blown out crawling bass slam and  garbled voice slices play off of each other quite nicely, and occasionally giving way to blown out sawtooth death note blasts that come from below and pierce through the mix. Albeit them a little hot in the mix, these jagged bass blasts create a rhythmic structure which shapes a dense and articulate bassline for a plethora of stuttering, FullSizeRender(13)flickering , and what sounds like sampled piano notes bounce off of each other in a loose and playful yet, rhythmically interesting way. The first half of the track held a little more tension for me personally, but the dense buildup toward the end created a relieving and necessary contrast. Overall a wide scope of  timbre and dynamics of sound  are utilized in a short amount of time. Will be writing more about this project in the coming reviews for sure, as we have at least one more tape by Pregnant Spore in the  piles of stuff to do. Now let’s get to the second side.

The Vertonen side comes right out of the gate with a warm yet sharp sounding repeating oscillation of unknown origin which goes on seemingly unchanged and tightly hinged to itself. gently beneath the surface, as if a failed distant audial telegraph, a slow tone begins to oscillate deep beneath the surface and causes a subtle yet growing psychedelic phasing of the original pulse. Slowly but with a determined tension, more and more complimentary voices trickle in and out of the mix, and cautiously roll over each other into a Terry Riley/ Steve Reich esque nod to minimalist classical composition. A short, relevant and beautifully articulate offering from Blake Edward’s Vertonen project.

Overall, a nice short release, although both projects could use a little more room on the ol’ magnet as i felt both pieces were cut off a bit abruptly, however sometimes that’s the way she goes , leave them wanting more yes? a solid release overall, with a brightly collaged color xerox cover, and plushly purple tapes which complement the J card’s nicely. Will be reviewing more from this label in the following weeks.




Decaycast REVIEWS: NOLDOR : “In Woods of Elfes” CDr (Mandarangan Recordings 2013 )

Decaycast REVIEWS: NOLDOR : “In Woods of Elfes” CDr (Mandarangan Recordings 2013 )


This is written from not knowing what exactly was being listened to because I couldn’t really read the title and find any information on the band.

This first track I want to play  when I’m in a hot tub so it seems like I’m in the amazon with a burning typewriter. After being let go of the fire crackle and the insects you get trapped in horror film loop that builds and then perhaps you get murdered when it cuts abruptly to the jungle where we hang out with insects for a bit then we hit a calm pasture of slow reverbed hum, angel arpeggio -is this new age ?-or not- kind of fantasy, hall drift, feeling the LSD, kind of thing: and this is where I feel a strong echo of the cover arts influence on my interpretations of the audio emerging from the aesthetic of fantasy video game art emerging from fantasy novel art. Then we move into a highly produced buzzing  lull with a mega canned water bells sound waltzing to a lounge jazz drum i feel like Im in a grainy gray studio with futuristic mirror sunglasses that should have never happened.  By track six we are in a Disney movie rife with western boredom and I wonder when my fucking crumpets will get to the table and when this Game of Thrones episode will stop seeming like a Soap opera.  Everything turns pretty melodramatic and we’re nose deep into a piano sonata with a nice rolling piano riff that is played and recorded very well I can hear each hand, the bass line and high plinking melody in separate channels and the tapping of the foot as a throb that punctuates the rhythm. A violin sweeps through the piano riff climbing and descending and the recording gets cut off mid phrase.  Then we suddenly feel like we are in a BBC history channel documentary listening to casiotone produced rendition of Arabic Hip hop with big claps and shakers. Now we are back in Europe at a candle light romance with strings. Then we hang with some Angels, humming serenity but under a very subtle crackling distortion. Harps, some ohms and ahhs , I would like to hear only the clippy sounds and nicely delayed pinging bleeps and what sounds like a fingers quieting guitar strings being a subtle rhythmic element stray in the bleep loop. But i guess I have no choice but to hear the harp sound and the canned bells and then we just cut to silence and we will call that a wrap.

In some cases the artwork the album came in is a good indication of the content, we have some new age ambience mixed in with some banging history channel midi jams, some well recorded burning tape noise cooked field recordings of some wilderness, highly romantic soap operatic orchestrations that make me feel like Im shopping for jewelry. Probably good for an afternoon glass of wine if you buy dream catchers at gas stations, or if you play more than 3 hours of Dungeons and dragons-esque fantasy video games a day you can listen to this as you take a break and recharge with your energy drink and potato chips.

Then I figured out the whole thing was based on and inspired by Tolkiens middle Earth and The Noldor meaning “Those with Knowledge” a clan of elves in Middle Earth. I couldn’t read what was on the cover .. is it Molden ? Moldon? Noldon oh its Noldor…. So fanatics of Tolkien may find this of interest.  This “In Wood of Elfes” (yes with Elves spelled incorrectly) shows some skill with programing and competence with musical phrasing, classical structures,and recording techniques. It could get interesting if they develop an interest in designing some individualistic sounds, toss in some danger, and learn how to end a composition.

written by: Verbjieff

Decaycast REVIEWS :Kelly Churko : Transient Compared to Stone CDr (Mandarangan Records, 2012)

Decaycast REVIEWS :Kelly Churko : Transient Compared to Stone CDr (Mandarangan Records, 2012)

The CD we received in the mail wouldn’t play in the computer.

So I listened to this recording on

1.History of Wind

A machine like animal greets us,  gurgling us in its throat while strings are plucked in the tonsils pattering through stereo space something scatters its scales down a hallway slow strobing, something rising stalling waiting lurching along a old haunted train ride in an abandoned park there is a lost child whose mother is long since gone and swallowed by the writhing machine.

The pulse fades and metallic brakes skate in and grind to a halt . A light ahead goes out. By the end of the first track you are sure that somewhere someone is in need of help or at least in need of being woken up from a fever dream thats torturing them.  Long ambient drone-scapes with scraped swells.

2. Keitai Casualty

Someone starts attacking you with a vacuum hose in the ear, throbbing demon grips  with convulsing rhythm and highly resonate screeching. Pummeling ear drum cleaning.  An elephant trapped in a rubber balloon is chained to the bottom of a swimming pool. Spaces slide out from stereo space, pulses mix and new interwoven rhythms emerge.  Digital bomb decays to blast a hole in silence. Full stop.

3. Outside Context Problem

A zippy stomp bounce crunches through razor sharp layers and fat pulpy chunks cut to stomp roll then we climb a cloud of impenetrable cicada whirs but find ourselves breaking through some barrier and slamming into a bouncy tom and snare roll rhythm. then abruptly thrust into high pitched ear scrubbing. Eye bulging blast. then spit into blast scape of maniacal power surges and almost train horn rhodes drones lain under blistering ear cooking. My ears are cooked. Raw. Exit on ping pong chirping .

4.Palette Fatigue

Giant pillar of Church drone is cooking under the breath of some lawnmower man squeegeed grimace rumbles.  The Church organ is tumbling through space wrestling with Noise sheets that give birth to a quiet plucking melody that then gets swallowed by a 6000 foot tall Tsunami wave scorch your braincells, but have no fear the Church organ is here to save you wrapped in noise stain.

5. I Cant drive

We are tumbling down a hill and see some godlike sparkling tone and then tumble out into a different plucking chirping space sounding like the batteries are dying in the space ship then a chugging sludge metal noise throb emerges with something sounding like tape warp manipulations fast forwarding to noise blast then insect night, a roaring motorcycle, back to the dirge slum chug accented by a high ringing percussion. A ping ponging doodle and spongey mumbling gives way to a pipe bomb in a toilet.

6.Flattening deceleration

A slow tone creeps in overhead and some soft shortwave-like radio fuzz undulates with the slow stereo wafting tones rising in frequency I see the ultra violet light and the flat long open space of a parking garage : A lower distorted throb begins to rise into the mix, I imagine the parking garage strobing and evacuated cars and silently screaming people flickering in and out of the evacuated garage. A bilging microphone ruffle bump sound makes me feel like Im trapped in someones pocket in the machine room of ship accelerating to light speed.  A digital feed back flutters and tenses all the neurons in my skull giving way SLOWLY to softened white noise when a big dirty synth churns and bubble through, we emerge in a slow whistling scream  traveling through the VLF spectrum—this is what it must sound like to be attached to a NASA Rocket brought up to the pinnacle of the Ionosphere and then dropped falling back to earth and being sucked into a ride through slowed down shortwave surfing. At 21:12 this track is definitely for an altered time scale. A meditation piece that crawls into the smallest places of your brain.

This Disc is for  those interested in Harsh Noise, rhythmic throbbing raw synthesizer blisters and intensely crafted sheets of scathing sculpted white noise mosaics. The first half of this disc is a well paced journey through finely edited varied noise throb spaces that happen just long enough before changing to hold your attention on well sculpted noise drifts pulses and attacks. The second half is the opposite: a slow melt through the frequency spectrum giving the disc a good balance. Coming in at over 40 minutes this is a pretty demanding onslaught of a listen but it rewards with lavishly sculpted blasts and psychologically haunting and psychotic spaces.

written by: Verbjieff

decayREVIEWS : Flourescent Gray “Ambiente” (3xCD , RecordLabelRecords, 2013)


fluorescent Gray is one of the artists of RecordLabelRecords,an Oakland based imprint releasing intricate and dissonant works from the bay area and beyond-  from Thomas Dimuzio, Flouresent Gray ,Nommo Ogo and more. With a clean and fresh aesthetic, the attention to detail and themes of science fiction, mind alterations psychedelic based  minimalist textures in both  image and sounds RecordLabelRecords has seem to craft an aesthetic that for The most part, is all their own . These themes carry over nicely to the recorded works of Flourecent Grey. “Ambiente” is a three disk promo for what appears will actually be housed in a printed box with some small scale art prints as well. Spanning over three discs, and seven years,  “Ambiente”  is “all over the place” (in a good way)  from
“old school” minimal techno, to musique concrete, to dark drone to straight field recordings.
On Ambiente, Flourecent Gray explores a wide breath of sonic structures and conceptual possibilities through this tour de force of shuttering electronic environments;  Live “traditional” instrumentation, buzzing programmed synthesizers, distorted drones and sample based collage sections all have their own breath of life throughout this massive work.

Disk  one starts out the gate with slow breathing tones – a distant machine puttering along on its last legs grows closer and louder/  creating a nice ambient arch of rising shuttering, yet dissonant chords. The sound of  the sonic deconstruction  of cold, barren, shaking architecture.  slowly and subtly collapsing on itself, in perfect time
. the rhythmic structure starts to reveal itself and builds into a dense psychedelic
Array of choppy lazer like percussive beats, layered  synthesizers, and echoed, distorted vocals. Ambiente moves along subtly yet swiftly through more beat driven tracks of danceable yet complex electronic movements. At times
Noisy and at times sparse and theatrically minimal, Ambiente spans  a wide of pacing, intensity and dynamics- which can sometimes be a challenge with more beat driven electronic music – but Ambiente does a swell job of always keeping the listener guessing

. The overall slope of the peaks and troughs of “an album” in the traditional sense, are explored throughout the near three hour release, yet the work is so stretched out the listener really has to commit an intense listening session to gain the overall structural integrity of Ambiente as near three  hour work, rather than seprate works. To the artists credit, however Ambiente – does this very thing,  by giving life to a scope of sonic methods. Dark churning, chaotic, cacophonous stabs of sound   morph into minimal sections, raw single
Or tones-more, barely audible scrapes of sound movement swell and collapse, then bleed into  field recordings, ESP, spy style recordings, single instrument “solos”, playful yet sincere  foley artist samples slowly morph into more shuttering tones, voice, synth voices, and raw tones blended with a  blissful care give breath back to an empty dark echo chamber. Glowing sounds pulse through the eyelids giving birth to new pings of decay – a slow machine waking up throughout the mix, while possessing a similarly cold theme of a distant consciousness being resurrected through sonic transmissions.

, Ambiente,  At times, “loses” the listener in the traditional sense, yet perhAps that was part of the intent . The listener at that point, must  engage  into the realm of background sounds – unknown voices. A distant blurred yell ? At this point i was “lost” but it made sense .and I was unaware of what I was listening to and then i would become drawn in again. Maybe considering the length of this release .that momentary detachment from the work as a whole  isn’t the worst effect/affect.   The push and pull of presence and absence in the overall structure creates a subtle tension which works well

Over the three disks many different moods, structures. Pacings Methods are used. Not afraid to be self referential within its stylistic choices, Ambiente references early forms of “ambient” music as well as carving out its own sonic territory which comes off neither as redundant nor contrived, but rather fresh and arching across different sonic territories. Sometimes u can tell if your listening to futuristic consciousness sound alterations or distant transmissions from the past, a vast and interesting release overall, will be checking some other Flourescent Gray recordings in the future, as well
as works from the label, RecordLabelRecords

written by: malo