DECAYCAST Premieres: Experimental Artist OUTPUT 1:1:1 Shares “Retroactive Rock Record” Video/Single

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.

watch the video here:

DECAYCAST Reviews: qualchan “Goodbye To All That” (Houdini Mansions, 2019)

Back from a little break to review the newest release from Houdini Mansions, from Cascadian producer qualchan, titled “Goodbye To All That”, and it’s a rather fitting title as the short, bending, warbling loops come into our lives like short lived, lush experiences that vanish into the haze as quickly as they appeared on the horizon. on “Goodbye To All That” qualchan focuses on subtle shifts within these micro compositions that span ambient, post rock, muzak/library music and more. Some of them operate as escaped breaths from larger compositions, perhaps to be expanded upon, while others are self contained and don’t seek anything outside of themselves. Warm, trippy, fuzzed out loops for a moist walk through an all but abandoned forest. Beautiful release.

DECAYCAST Reviews: “Layers” by BÜCKLE / VOGT (Editions Furioso, 2019)

DECAYCAST Reviews: “Layers” by BÜCKLE / VOGT (Editions Furioso, 2019)

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From French label  Editions Furioso comes a debut mixed electronics EP from BÜCKLE / VOGT, blending lush, morose vocal melodies, shifting, fluttering beats. “Layers” is nostalgic and new at the same time, without compromising it’s sonic palette or compositional strategy. Swift, shuffled percussion skates underneath a swath of warm sine wave tone poems, while a voice will  ascend  into the mix akin to a barrem , shivering, wind  tunnel across your back and up your neck,  in a stark contrast to the warm, humming harmonic synthesizers and strings which uniquely gel into undulating, shifting loops of  ambient, sonic bliss, without losing the rhythm or  pacing of the track overall.

 

On  “Layers” the swing of the drums and slowly escalating synth pads create a lush, but dark forest of  fuzzy confusion, alienation, and sadness, all while not falling into any of the tropes those could represent.  BÜCKLE / VOGT offers a fresh take on mixed style electronica, refreshing, honest, and nuanced in a universally appealing way. Can’t wait to dive into the whole EP and will without a doubt be searching out future releases from the artist.

LISTEN / BUY The  Entire Album Here

– Meniere Zappone

 

 

DECAYCAST Reviews: Sabriel’s Orb / John Atkinson “Split” Cassette (Whited Sepulchre Records)

DECAYCAST Reviews: Sabriel’s Orb / John Atkinson “Split” Cassette (Whited Sepulchre Records)

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Sabriel’s Orb,’s side on this tonally deep and sonically diverse split brought to us by Whited Sepulchre Records’s split series begins with powerful, cinematic synth breaths of arpeggiations harkening back to early Susanne Ciani and Phedora-era Tangerine  Dream, but her deep exploration into meditative synthesis doesn’t stop there, Willow Skye-Biggs who has been making experimental music for over a decade pushes the  sounds and phrases past the confines of their own limit into a beautiful, tone poem of meditation and ritual. Distant pulses, blend with warm lush synthetic  adventures through the air, into the ear, through the brain, into the heart and out through the feet like a nostalgic chill that is  gone before we can even pinpoint it’s origin. Willow Skye-Biggs music has always seemed  fixated on ritual, and the tones of her side of the  split act like a guiding light through a cinematic, landscape unknown to previous inhabitants.

From the label: “For the fourth in WSR’s split cassette series, John Atkinson is paired with SLC-based artist Sabriel’s orb. Willow Skye-Biggs has spent the last decade exploring the intersections of identity and ritual through her ambient, experimental and techno projects. Most notably, she created soaring, beat-oriented experimental-pop under the name Stag Hare and bedroom techhouse under the moniker ariel. “

For his side, experimentalist John Atkinson offers two ambient meditations which compliment the other side beautifully and offer a similar but unique on minimal ambient / dronescape music. Atkinson slowly and meticulously crafts slow moving pulses like the  first rays of  sun  coming over the  walls of  fog on an early morning barren landscape, unwitnessed and un-manipulated by humanity. Atkinson, through his various soundtrack work and  work with NY group  Aa  (Big A Little A) has clearly come rather close to enacting complete control over what are ultimately  natural and organic sounding drones.  We never hear the human hand, and it’s quite beautiful.  On the second track, “First Rain of the New Year ” Atkinsons’ cresendo peaks with a noisy, fuzzed out climax which is the perfect ending to this minimal yet powerful release.

 

 

DECAYCAST Reviews : LUER “Cartridge” (Fluxus Montana, 2018)

 

DECAYCAST Reviews : LUER “Cartridge” (Fluxus Montana, 2018)

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Here we step back over to a short but power and sonically diverse from Matt Taggarts’ LUER project. “Cartridge” comprised of two short sides of mixed style electronic compositions spanning harsh noise, post industrial, musique-concrete and expanded ambient/drone techniques; a hearty stylistic swath for such a short release indeed, but this cassette doesn’t feel contrived in it’s uniqueness and non-commitment to a specific sound or style. Like his solo work under his own name and P.C.R.V., Taggart has always oscillated between the  sonically dense and the hauntingly minimal, letting the concept dictate both the intensity and the presentation

0013940643_10, and that could be happening here as well, though the focus seems to be more onto nuanced sound with LUER than previous works with refreshing and interesting results. LUER blends sputtery, chaotic synthesizer patterns and textures, backed with heavy, industrial percussion working in tandem with mutating synths and unrecognized manipulated sources. Both sides offer varying peaks and troughs of intensity, but as the listener, we are never left with a boring moment, a unique sonic happening is always right around the corner ready to unfold inside our  cochlea. Harsh, synthetic noise blasts swiftly and determined  cut through the mix like stab wounds to our own perceived reality.

The B side offers more warmer synth manipulations on the forward coupled with digitized harsh noise blasts, analog machines crumbling atop each others dying circuit pulses, and space. The use of sparseness on the second side especially offers a tense and cinematic feel to the overall composition, never knowing when the next cacophony is going to rumble up through the speaker and slice your skin to fill up the case. This is the sound of blood corroding a body into the inner most part of the ear- perfect. Stunning artwork to boot, pick up the cassette today here.

DECAYCAST Reviews: Proud/Father “Symbolic Exchange & Emptiness” (Orb Tapes, 2018)

DECAYCAST Reviews: Proud/Father “Symbolic Exchange & Emptiness” (Orb Tapes, 2018)

Proud/Father creates a tense, murky unsettling of ambient din on the A side of their newest album, “Symbolic Exchange & Emptiness”  on PA’s ORB TAPES. The side begins with a slow, gentle pulsing ambient tone which slowly evolves over time into washed out, thick waves of  sonic fog.  “The first side is a reflection of isolation, both physical and emotional, from depression and similar mental health disorders. ” quotes the releases bandcamp page, and the  subtle, harmonic shifts seem to oscillate moods  ever  so slightly without ever  jarring the  listener out of a meditative, hypnotic state. Several layers of drone eventually give birth to lush, washed out, undulating vocal tones, or are they even? Proud/Father seamlessly blends multiple sources into a singular harmonious, but still unsettling buzzing, like the buzzing inside your body when anxiously awaiting a phone call where every second seems like an eternity and every far away sound oscillates as a precursor to something your unsure about and  you can’t place  your brain on why. P/F has mastered keeping us in a sonic stasis, whilst their  shifting tones  dance around an aura of confusion, with even a dab of resolve.

The B side Al alejarme de casa recuerdos débiles se apagan” , according to the bandcamp page ” is an exploration of the fading Boricua culture and the history of Puerto Rican independence movements.”, and it begins with a choppy tense transmission, the sound of a message in a bottle being dragged through an underground cement  tunnel ever so swiftly and softly as to not detect the unknowing above.  The  choppy radio static like noise transmissions quickly fold into more undulating, thick walls of  ambient drone, a thick fog casts itself inside the ear and modulates our mere understanding of the sound’s orgin, we are left with an increasingly angrier and more aggressively articulated drone of unknown origin.  What was once a singing  drone has  turned into an angry, whipping, radicalized wind, devoid of mission and  geographical direction, just a thickness of tension and intention. Proud/Father continuously oscillates between drone, ambient, and soundscapes with swiftness, however compositionally things never seem rushed, always blending into each other  with care and precision, P/F has  crafted an ambient soundscape  strategy to call all their own. For fans of The Shadow Ring, Tim Hecker, Beast Nest etc. Tapes are apparently sold out, though you can get the digital here, highly recommended.

 

 

DECAYCAST Reviews: CONCRÎT “Far” (2018)

DECAYCAST Reviews: CONCRÎT “Far” (2018)

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Madrid, Spain outfit CONCRÎT blends decayed out ambient textures with atmospheric howls, delicate, haunting, creaks and bends in sound and tension, mixed with dark industrialized rhythms, and heavy field recordings ranging from disaster to psychoactive terror/tragedy.  CONCRÎT takes the raw field recordings at a great value, using the voice as a sort of lead guitar over the top of the dark, churning, mechanized rhythms of catastrophic failure with  dissonant rhythms. “That’s the way freedom is and we wouldn’t change it for a minute”. The music could be higher in the mix, though it does afflix the listener’s brain on the tension and caustic nature of these events blended with such mechanized, alienating sounds, though at times the voice does become so dominating we almost forget we are listening to “experimental music” though it’s not for the worst effect.  The ambient sections prove to be some of the stronger work on “Far” though the whole album holds it’s  weight in dissonance, and minimalist looping  rhythms. Closing with “0000” an unknown field recording of  chatter and a detuned, decaying piano rhythm slowly spins the listener into the end of this dark and morose sonic offering.


“FAR is the first EP of the dark ambient/industrial act CONCRÎT, based in Madrid, Spain.
The EP moves between soft programming and noisy mechanical rhythm mixed with historical speeches and ambient sounds, FAR is inspired by the human need to reach further and the consequences of exploration and conquer, the hope and the horror; Inspired by the voices of Amelia Earhart, Ernest Shackleton, Neil Armstrong, and the accident of the shuttle challenger and the attack to Hiroshima, with American presidents Reagan and Eisenhower’s speeches. The last piano piece is inspired by airports as non-places, where even travellers on their pursuit to the most remote destinations remain anonymous.”