DECAYCAST Reviews: V/A: NO WORKERS PARADISE 8 Cassette Boxset (Chthonic Streams, 2017)

DECAYCAST Reviews: V/A: NO WORKERS PARADISE 8 Cassette Boxset (Chthonic Streams, 2017)

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With the rise of accessibility for artists and producers to create sound, music, art and the ability for those artists to contextualize, and re contextualize their work in a seemingly often dizzying whirlwind of labels, sub-labels, sub-labels of sub-labels, through, you guessed it, the INTERNET; questioning the role or necessity of a small independent record label in these weird, confusing post-post modern days of malleability of meaning, format and intention, seems like probably a good idea. How many of them are genuine, how many of them truly put the artist first, and in priority, how many of them believe and stand behind their “product”, behind both the “artist” and the “artwork”. Derek Rush‘s New York – based imprint, Chthonic Streams does just that, and they do it with style, focus, and intention, as exemplified by the labels’ most ambitious and potentially most conceptual release to date, at least in its packaging and  form, is the “No Workers  Paradise” boxset. You should keep reading, but what I also recommend is that you  stop what you’re doing and instantly ORDER THE  BOXSET HERE! 

We  are  fans of  boxsets, we are fans of conceptual art, and we are fans of toolboxes and  ridiculously ambitious projects here at Decaycast, and Chthonic Streams exhaustive 8 hour cassette boxset titled, “V/A: NO WORKERS PARADISE” covers all of these bases and more, in one, mechanical, maniacal offering. Boxsets are awesome, and they’re even more compelling when they actually contain new material, by, gasp, even living artists. No shade on the myriad of Miles Davis and John Coltrane CD reissue boxsets that we have all seen and probably purchased, but eight hours of new material, from eight heavy hitters in the noise/industrial/power electronics scene enclosed in a matte black tool box, accompanied by a zine and customized time card to boot, is not really something we could (or should ignore). We received a rather large media mail box from New York and upon opening, the “No Workers Paradise” boxset emerged, a sleek matte black toolbox with a shiny chrome latch and basic font that reads “No Workers Paradise” is affixed to the top. Its interior reveals eight 60-minute cassettes and a zine/accompanying booklet for the release, and customized time card emerge as the tools for the job, so to speak. It was time to clock in.

As with all of the labels’ releases, the artwork is done by label head honcho Derek Rush who also books shows, is an active DJ, and works in graphic design and photography, so it comes as no surprise that all of the artwork included looks stunning and professional, accented by the printed booklet and cassette artwork itself. We haven’t even gotten into the sounds and this is already worth the $75 price tag without question, a truly beautifully put together collection. Now into the meat and bones of these disgruntled, bloody and beaten-down workers, we will delve into the sounds in reaction to the  tormented work day!

The boxset starts with the label owner’s project, COMPACTORoffering a strong, mechanically styled “old school” feeling industrial track with clanging rhythms, backed with the tick tock tick tock of the overlord’s clock. The panopticon is omnipresent and the worker must continue. Wake up. Work! Time To Work! Until you DIE, and DIE, until you can clock out at the end of the day and do it all again. Compactor’s sounds generally fall within a more mechanized style of industrial, there is soul, but it’s the soul of a robot programed to destroy itself, through repeated, violent, senseless rhythms, yet Rush’s sound and sample choices are powerful and intentional. The, slow, churning blown out percussion blends perfectly with the  high squelching feedback of industry/insanity and  multi-layered, multi-timbral synth workings. Compactor’s offering is the perfect opening to the project, cold, alienating, mechanized, and dense; the perfect ramp up to the more  fuzzed out, abstracted works of some of the other contributors to the boxset, The Vomit  Arsonist,  Redrot, Gnawed, and Filth, amongst others.

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Another  standout sound work in this massive offering comes from Denton, TX’s FILTHwho offers up his own interpretation of an hour slice of the standard american work day. Rob Buttrum’s FILTH project is known for his menacing cacophony of industrialized noise, power electronics and analog psychedelic compositions. FILTH brings his A game to work for with a dark, brooding, menacing stitching of fuzzed out, psychedelic noise and drenched in feedback power electronics, in what can only be described as the  FILTH sound, which we have covered in the past HERE in an interview with Buttrum and his label OUT OF BODY RECORDS.  Buttrum does offer a rhythmic backing at times, but in a different, slightly more diffused, muffled style than COMPACTOR, but don’t skimp on the manual,  because there is a harsh reality in store if you don’t, and  you’re likely to get gobbled up into the machine and  spat out as puny remains, but FILTH’s sound is  not exclusively harsh, tripped out noise, there are  abstracted broken rhythms, there is intention, it is planned, and panned, it IS the sound of the second hour of the day forcing itself into the  negative space of your brain, that may in fact, prove to be your  last of the day, of your life. FILTH is the sound of a  rusted, dilapidated, unstable, harsh machine taking its unknowing operator with it to an early grave.  Planned obsolescence, like user, like machine.

Michigan’s REDROT (Chondritic Sound, Bloodlust, Slaughter Productions) aka Ryan Oppermann offers another standout track on “No Worker’s Paradise” with one of their tracks titled, “Work Release Program Terminations”. REDROT is blackened, harsh noise/PE, with slices of  blown out  beats, and angular rhythmic structures over a sea of  dense power electronics and industrial. The machine has already regurgitated the  one time worker into a mess of fleshy, red, sacks of rotting remains, and REDROT is the  absolute perfect soundtrack to the coworkers slowly and confusingly sweeping the bloody bits into a bag for disposal. Redrot carries a white noise sword which swiftly and steadily shaves away at the listeners  inner ear  canal, until a drop of blood leaks out, and starts a mechanical frenzy leaving the  workers, along, confused, and  scared as the  drop turns into a red pool where music dies.

Another standout offering on this project is Minneapolis, MN’s  GNAWED, aka  Grant Richardson. We’ve covered one of GNAWED’s previous releases HERE on Decaycast. 

GNAWED‘s track for “No Worker’s Paradise” is similar to  his other industrial, harsh noise, power  electronics hybrid funeral stylings; chaotic, yet restrained, busy yet articulate, harsh but at times even beautiful. Much like  FILTH, GNAWED  uses homemade analog electronics to create a brooding, dark, cavernous sound all of his  own. His “Terminal Epoch” album from Phage Tapes, would be the closest style wise that I’ve heard for the track for this boxset. GNAWED is a master of tension through intentional and articulate dynamics, balancing sharp, harsh sounds with lower, more  brooding under swellings of terror; the track slowly and painfully oscillates between violent shudders, chaotic, dense, noise blasts and distorted, broken voice swells.

THE VOMIT ARSONIST, EXISTENCE IN DECLINEBLSPHM and WORK/DEATH  also punch in with powerful sound works blending industrial, harsh/blackened noise, power/electronics and dark, experimental moods of the harsher, angular  style.

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The boxset as a whole is a lengthy listen clocking in at the 8 hour mark, but when one thinks of the  slow, grudging, unrelenting time clock of the american work day, this tour de force of harsh industrial / PE  serves as a warm, relaxing day on the beach as a vacation, even for a day, from the  alienating, hellscape robotic world that is American capitalism. Rush does right by all of the artists involved with stunningly beautiful and appropriate artwork and  packaging as with all of the labels releases. A must for any noise collector, and/or hater of  capitalism.

ORDER THE  BOXSET HERE! 

Chthonic Streams Online Store 

Label Website 

 

LIMITED TO 50 NUMBERED COPIES
(additional 16 go to artists only)

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DECAYCAST #037: DECAYCAST Premiere: FIRE -TOOLZ Video for “PASSAGEWAYS TO MEETING AREAS” Plus Interview

DECAYCAST Premieres: Fire – Toolz  Premieres Video for “PASSAGEWAYS TO MEETING AREAS” Plus Interview with Angel Marcloid

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FIRE TOOLZ “Interbeing” Cover Art on Bedlam Tapes  (2017)

Angel  Marcloid makes music and art under the Fire – Toolz moniker as well as other active projects such as MindSpring Memories , Angelwings Marmalade , and the now defunct Power Windozeruns two imprints, Rainbow Bridge, a long standing physical editions label based out of her hometown of Chicago, formerly Baltimore, MD as well as running the net label, Swamp  Circle .

For one of her newest releases on Bedlam Tapes, Angel has offered a nearly forty minute offering titled, “Interbeing”  which was released this November and today we are beyond excited to be premiering a  video for the track, “Passageways To Meeting Areas “, which is a masterful work of  aural and visual assemblage, oscillating between dense electronics, noise, industrial, smooth jazz and other more esoteric, less definable physical, visual, and aural points of  reference and strategy. We are very proud to be debuting this video here and  honored that Angel took time to talk to us more in depth about her processes as an artist, influences, and scoring weed on the internet. Here’s the video, and interview below!  Please support Angel and buy her music, looks like the  cassette version is sold out but you can cop the CD Version and a free digital download of “Interbeing” HERE!

Passageways To Meeting Areas” video directed by Angel Marcloid 

Hello Angel. Thanks for chatting with us over the panopticon that is Facebook messenger for Decaycast, first off how is your day going today and second, how deep does the internet go? Is it a weird portal? Just data? Productive? Evil?

My day has been pretty good. I was at work for a while, which was a good time. (No sarcasm, I swear.) Then I came home, fed the bears, scooped their shit into a bag, and started making the final tweaks to an LP slated for release next year.

About the internet’s depth…all I can say is that if you go deep enough, you can get fantastic weed for good prices.  As a self-proclaimed hermit, ordering anything online is a blessing.

I remember we used to have to wait in the dumpster behind McDonald’s, now you can order weed online. What a trip? It’s a rare case when someone has a good day at work, so this is off to an odd but wonderful start already. Do you want to talk a bit about the LP you’re recording?

It’s a Fire-Toolz record, and it’s called Skinless X-1. Only about 30% of the music has vocals in it this time. I wanted the melodies and textures to have a little more space to breathe and say their piece. There is an even heavier 80s/90s new age & jazz fusion influence on this album. I still can’t seem to get away from heavy four-on-the-floor beats, though. With the exception of one eccojam, the occasional sample is only used as a brief brushstroke. I tried to write music that sounded the way my dreams did when I was young, living at home, in a peaceful part of town, surrounded by trees, grass, swamps, and various wildlife. This isn’t to say the album doesn’t have plenty of abrasive moments. I will say that there is no anger on this album. I’m still exploring personal challenges, but they’ve been a little neutralized.

This album’s message is more observational, more curious about things, and frankly more empathetic and compassionate toward a lot of the things I’ve expressed mind-numbing rage for on previous releases. This album expresses a deep appreciation for things, and an outlook that is a little more neutralized. The album is floaty. And the few times it lands, it really pummels into the ground. The mess it leaves is intricate and colorful. Am I doing your job now? I’m starting to say some weird shit.

I love the idea of it smashing into the ground and leaving this colorful mess. Can you talk a little bit about some of your previous releases or projects that stood out to you or hold a certain place in your scope as an artist/ person

Most of the releases in my backlog that stand out to me are ones I didn’t think were going to stand out the way they do. A lot of times my favorite releases aren’t favorites of others. Which is fine, but interesting in it’s own way.

I had a CDr/6″ lathe/cs release called Solar Activity & Civil Unrest.” It was massively conceptual. There was a pretty wide variety of experimental electronics, tape manipulation, found objects, voice, etc.

There was another release called “Journey To 0.004” that had several editions. It included an hour long sound collage. Also a concept release. I think these types of long releases can be exciting for the artist and overwhelming for the listener.

Both of those releases are available for free download and were released under my old birth name, “Justin Marc Lloyd” on my old label Rainbow Bridge.

Lastly, my music as Power Windoze didn’t really get much attention compared to some of my other work, but I believe it to be very special. It was my first attempt at making electronic music entirely on the computer. I released a few albums and an EP. The second album may come out on vinyl. I just started talking to a label about it. It’s about 3 years old now and needs a remaster, but I’m excited that the album might reach a wider audience soon!

I need to dig into that PW stuff. You also run a Netlabel, Swamp Circle? Care to talk a bit about that and the benefits / limitations you’ve experienced as owning both physical and digital imprints?

I started Swamp Circle for two reasons. I wanted to release my music and other people’s music without financial limitations (on my part or theirs). I also wanted an outlet for my own digital artwork (Rainbow Bridge was mainly a xerox-on-colored-card stock label). At first I wanted to release 5 albums at a time. Now I just sort of release them when I can. Most of the albums in the queue right now are other people’s music. We are waiting on me to finish the artwork. And since my priorities have shifted, it’s been challenging to find time to do this artwork. I made a rule for myself that all art on Swamp Circle would be done by me. This was cool at first, but now I’m mega behind because I gave myself another hefty job to do. I’ve been thinking about changing the format but I’m not sure yet. It’s rare a donation is made so it’s not financially lucrative, but it was never really supposed to be. I wanted these releases to be free.

Well we hope you keep Swamp Circle and Rainbow Bridge going, they are both fantastic labels. Care to talk a bit about your influences as an artist; bands, songs, routines, strategies, etc?

This past year I’ve been infatuated with jazz fusion-tinged new age music from the 80s and 90s. Shadowfax, Jonn Serrie, Patrick O’ Hearn, Dan Siegel, Elements, Richard Souther, Interior. You can hear some of that influence on Interbeing, and it will be even more apparent on Skinless X-1. Orange Milk releases are always in regular rotation. Euglossine, Nico Niquo, Seth Graham, Giant Claw, and Loto Retina are all especially inspiring artists to me. BT’s “This Binary Universe” was a recent rediscovery that kind of knocked me off my feet and provided a huge boost of creative juju at one point in the Skinless X-1 writing process. When composing sound collages, I’m reminded of my roots in Sickness, Gastric Female Reflex, Jason Lescallet and other noisers that are incredible at keeping you confused and overwhelmed. Fear Factory, Nine Inch Nails, and KMFDM have been there for me since I was a child, perpetuating my tendency to make heavy electronic music even when I don’t want to. John Wiese and mid 2000’s Prurient, although vastly different artists, taught me a lot about harsh textures and their unique aural impact. Also, tinnitus. Tinnitus influences me as an artist.

My routine usually starts with an isolated idea. Never an idea for a whole song. That idea is usually recorded or assembled, and then blindly built upon by living in the moment and just doing whatever comes to mind naturally, or sounds good when I do it. But, I also have to go to work sometimes. So, I transfer works in progress to my phone, listen to them on decent headphones at work, and brainstorm. A lot of times I take notes. Then I go home and make changes, or re-record stuff, and it just kinda goes on like that. I am very grateful to have a job that facilitates zoning out completely while still performing effectively.

My strategy is to take extra care of my ears because I didn’t used to and now I’m sorry.

Can you talk a little bit about this video we’re premiering? How different is your process for creating video works than your audio practice mentioned above? Do you see them as one piece or separate pieces complimenting, or perhaps being at odds with each other?

This video is for the song “Passageways To Meeting Areas”. It deals with the concept of ’emptiness’ from a Buddhist perspective, and the concept of Interbeing, which is a term coined by Thich Nhat Hanh that describes the inherent interconnectedness of humanity, or the universe. In this song I’m sort of projecting a desperate plea to other humans, specifically those hateful and oppressive, to find common ground with me. In doing so we find that we are all generally good at our core, underneath our illnesses and compulsions. We all want to be happy, and we all want to be treated with love. It was difficult to come up with ideas for this subject that would go along with this message and still look like a Fire-Toolz video. It took a really long time, and I had this video sitting unfinished for months while I sped through four other videos. It wasn’t until Interbeing was days from being released that I finally finished it.

On one hand my videos are much more complementary to my first album and what I was making before I changed the name to Fire-Toolz. My latest material, and my sloppy, pixelated, shitty green screen footage and heavily processed VHS rips of ancient CGI demos, can seem at odds with each other. I strive for a complex precision in the composition and sound design of the music, but that approach doesn’t show itself very often in the videos. I haven’t much training in animation, 3D rendering, or illustration. However there is an overwhelming amount of similarities that transcend that dissonance. The juxtaposition of genres and textures, glitching, processing, re-contextualizing, absurdism, conceptualism, surrealism, nostalgia triggers, representations of modern technology. There is even the occasional humor that erupts from perceived absurdity. Such as black metal style vocals over a sample of a sensual jazz fusion track from 1986, or heavily glitched animations of a broken ATM machine over generic HD stock footage of a beautiful sunset on the water. I see the potential for humor, yet in my mind, all of these things are made for each other.

I usually keep the imagery consistent with lyrical themes. Literally, metaphorically, or analogically. I also sync the activity in the video to the dynamics and changes in the music. The videos are a lot of work. Lots and lots of processing and editing, rendering, re-importing, processing and editing, rendering, re-importing, etc. The music style demands many visual elements and layers. Many of my songs shift moods drastically within them so I think the work needs to be done.

I create the music as something that can stand alone. I create the videos so that they can complement the music very closely as well as act as a live performance enhancement. I don’t move around much live. Part of the reason is because the equipment I use isn’t mobile. But I have little to no stage presence. I never look out toward the crowd and I rarely talk to the audience while I’m “on stage.” If I have my videos projected for everyone to see, I think it makes coming out to the show more worth it for everyone. I feel like I’m much more effectively expressing myself through a video projection than whatever dances and antics I can come up with using my body.

Do you consider yourself a plunderphonics or sample-based artist? How do you choose your samples/why do you sample other artists?

I don’t consider Fire-Toolz to be plunderphonics or sample-based. Having the vaporwave tag in the string of associated genres is partially to blame for this confusion, because most vaporwave is sample-based. I’m just incorporating a sample-based genre into some parts of my songs. Fire-Toolz is no more vaporwave than it is harsh noise. I think sometimes when an artist samples another artist, some listeners then tend to wonder what is a sample and what isn’t when listening. People have asked me what metal vocalists I’m sampling and are surprised to hear that I’m recording them myself.

Interbeing (and Skinless X-1) incorporate far less sampling than my earlier work. It’s not that I’ve tried to get away from sampling as if it’s a bad thing. Sampling is sick. I have several on-going projects that are religiously sample-based, and I will never break those rules. It’s just that I’ve been less interested in finding the perfect sax pop verse to layer in or build upon, and more interested in composing all these melodies and progressions from the bottom up. Fire-Toolz was always original composition and instrumentation-based, but samples were sprinkled all around as part of the process and theme. At this point, the rare sample is even more intentional, and thus a more special moment.

If I’ve taken a little chunk of someone else’s music and integrated it into my own song, then I adore that artist and listen to them on the regular. If it were safer to be more open about the samples, I’d be listing their names in the credits. There has been one exception to this, and it happens to be on the song of mine that’s gotten the most attention so far. It’s the Billy Idol sample on “All Deth Is U” from the Drip Mental album. I’m not a huge Idol fan! He was good in The Wedding Singer, but I was typically turned off by his music as a kid. I do love the song the sample came from, though. It’s probably because it sounds like other bands I like who were big at the time. I’ve always figured Billy was pissed about that. I bet he thought Depeche Mode and Duran Duran were a bunch of posers. The thing is, I kept hearing that fucking line “Eyes without a face…” in my head whenever I worked on that song, so I just did it.

Ever since Drip Mental my sample palette has been primarily jazz that’s come out sometime between 1984-1994. A few snippets of early 2000s metalcore and second wave emo can be spotted throughout the discography as well. My sample usage is meant to be a juxtaposition and re-contextualization, so I don’t sample “experimental” or techno or industrial or anything like that.

I would really love to just contact the great artists that I’ve sampled and show them what I’ve done. That could quite possibly yield unfavorable results. See, if it were me, even if the song was really bad, I would be like “OMG that’s really cool, thanks, I’m glad my jams have touched your young soul in such a way that you found the inspiration to re-contextualize them in your own way!” But these are old people now, you know? They may be more old fashioned. They may get angry and think I’m trying to profit off of their labor. They might even call me a bad word, and I’m pretty sure you’re not allowed to cuss or feel anger if you’re on Windham Hill Records. I think my dream would be for one of these artists to contact me and ask me to collaborate on some music!

I did email Zenju Earthlyn Manuel’s camp about my sampling her guided meditation in the track [CODENAME_BONKERS]. I didn’t expect a reply but I’m sure someone has read it by now and decided to leave me alone. The sample is from a public YouTube video, but I chopped up her phrases a little and still credited her, so that made/makes me nervous. shrugs.

 

Follow Fire-Toolz  HERE HERE 

DECAYCAST#036: NIHAR BHATT : V/A: ROGUE PULSE / GRAVITY COLLAPSE DJ Mix

DECAYCAST#036: NIHAR BHATT :  V/A: ROGUE PULSE / GRAVITY COLLAPSE DJ Mix on RATSKIN RECORDS, 2017 

IMA “Meshes”
TERROR APART “Perfectly Nowhere”
BIG DEBBIE “E.P. Hypnosis”
AH MER AH SU “Write This Off”
SNEAX (LaTron + Obsidian Blade) “Till The End 100%”
Piano Rain “Last Year” Remastered
PRIST “Still Movin'”
FORBIDDEN COLORS “Green Smiley Face Sticker”
BONUS BEAST “Direct Dive”
ZEEK SHECK “7777-01-07 Son”
JOSHUA KIT CLAYTON “Morning Rasp”
HIROSHI HASEGAWA “Homeobox”
MALOCCULSION “Walk Of The Dead, Part One”
S.B.S.M. “Godzilla”
POD BLOTZ “The Current”
MOOR MOTHER “CTM Five”
BRIAN TESTER “Chrono People”
GOLDEN DONNA “Wired For The Worst”
THE CREATRIX “D B No Moral Universe”
CIARRA BLACK “Don’t Say It, Volume 1”
RUSSELL E.L. BUTLER “Technofeminism House”
ZANNA NERA “In My Veins”
JASMINE INFINITI “Scratchy A”
ELROND “Hart Start”
DIMENTIA “Specimen Identity”
PARALYCYST “Untitled”
SHARON TATE FETUS EXPLOSION “Personal Brand”
V.E.X. “Ride The Time”
arc “Breathe Couplings Undulation Map”

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On The Origin Of Rogue Pulse / Gravity Collapse: About two weeks to the day before Ghostship, we returned home after days of protests; as always feeling defeated, BEING defeated another day of violence enacted upon the communities’ consciousness; Witnessing the beautiful families of oakland wading through never ending rivers of trauma enacted on all marginalized communities through state sanctioned violence and racism in Oakland, and the Bay Area at large. A compilation will not solve this, a thousand compilations will not solve this, but we have done nothing to combat this and we have to start somewhere. ROGUE PULSE / GRAVITY COLLAPSE is an uncertain yet thorough attempt to demonstrate to propose a restructuring of how artists, labels, promoters, venues and other “institutions” and INSTITUTIONS use their privilege, time, talents, and resources. But before we could do that, and begin to unpack the complexities around all of these issues, in one single night, the community lost thirty six souls, including founding members of our collective, artists on our label, family members, and so much more in Ghostship and then months after RP/GC was released, almost a dozen more in the San Pablo Fire months later which displaced hundreds of longstanding Black members of the community, and lastly the North Bay fires. There is only so many ways to process or not process this stuff, but we came up with a compilation. We weren’t sure how long it would be, who would be included, how we would present it to the public without exacerbating the commodification of grief, and without taking visibility away from traumas enacted against the Oakland community at large, outside of the “artistic” community. We weren’t really at all sure how we would divide up the money, how we would promote it, but sometimes you don’t have any other fucking choice, even if it raised $100 you never know how far that could go.. Ghostship was, and still is a horrendous blow to our local creative community, many of whom had already been resisting against the structural wrath and chaos of a white supremacist, sexist, capitalist culture, and therefore already just struggling to create and survive, day by day hour by hour minute by minute. In short, many communities were fragmented and tormented long before Ghostship, and Ghostship, for many of us, brought a blade of mass trauma slicing through reality, grief, chaos, distrust and confusion that uprooted the community in so many different ways. The Immediate Fire relief fund literally saved people’s lives by the way and all the love should be given to them and those working on the periphery as well.

What was crucial for us was linking in those deeply affected and lost in Ghostship fire while also keeping the financial and conceptual focus on the organizations we chose to support before the fire, Black Lives Matter and St James Infirmary in San Francisco. Before we knew it, it was out. It was like the best and worst possible distraction, and in MANY ways, postponed a lot of the mental and physical healing that members of the collective needed to do for ourselves but at the same time it was, and still very much is an entry point for beginning the process. For me personally, this has easily been the single most important release I have ever been a part of for numerous reasons, but the single biggest reason is because it saved my life, literally, so many times I cannot even count and it did that by showing me the undeniable ferociousness of our community. Every track on ROGUE PULSE / GRAVITY COLLAPSE, came as a blessing, a hug, a shoulder to cry on, but also they came as weapons, one hundred and eighty seven weapons, and we couldn’t be happier with the finished offering, as it strives to demonstrate the unrelenting power through all of the trauma and grief that our community and the people of Oakland, through various intersections possess and present with every moment that they exist. Nihar’s essential, heartfelt, and nearly perfect distillation of the thirteen hours of Rogue Pulse / Gravity Collapse, carefully and masterfully sharpens heavy stones of grief into razor blades of warmth, love, creativity, and determination of our community like daggers to the throat of a broken, corrupt system. Every tear shed will eventually freeze to form an icicle to thrust into the socket of a system which has cast away so many amazing, beautiful, creative, people.

This mix is one for everyone who has lost a loved one at the hands of systemic violence. Your tears will not go unnoticed, and this is just the beginning.

This mix is one  for  everyone who has  lost a loved one  at the  hands of  systemic violence. Your  tears will not go unnoticed, and this is just the beginning.  

Follow Nihar’s projects NINE, \ LEFT HAND PATH & SURFACE TENSION

The physical edition of  ROGUE PULSE   / GRAVITY    is SOLD OUT  as of  Today, but the  digital download is  available HERE ON BANDCAMP  via RATSKIN.

 

-MD. Dec 1, 2017

 

DECAYCAST#035 DECAYCAST Premieres: BEAST NEST “Pluto” Video

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.

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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

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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!