DECAYCAST Reviews : Cadaver In Drag – “People Meant To Die” (HUSK, 2018)

DECAYCAST Reviews : Cadaver In Drag – “People Meant To Die” (HUSK, 2018)

 

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“People Meant To Die”  by underground stalwarts Cadaver In Drag is  nothing short of a classic  reissue from Josh Lay’s longstanding Lexington, KY based imprint, HUSK RECORDS. Underground legendary grind/noise outfit C I D belt through  viscous, heart stopping grind core songs  which often sound more like machines shutting down than actual music.  Menacing, pummeling riffs bleed top spastic,  pummeling drums  and thick layers of homemade synths  and electronics.  The  vocals oscillate between early Black metal and  growling slabs of  guttural noise; the perfect  glue to seal your  ride all the way to hell. Cadaver In Drag belt forth classically atonal offerings  of  bleeding esoteric heaviness which  cannot really be  categorized as “grind” , “metal” or even “noise”. It does  contain all of these elements however it is a sonic beast all on it’s own and angrily and aggressively defies classification. FAST, ANGRY, CHOPPED, BLEEDING, PULSING, CHURNING, BREAKING, DYING, ACCELERATING. All these things seem to be happening at the same time; this record is the  acceleration of anger, chaos, and  heaviness into the ear.

Originally recorded in 2003 by Trevor Tremaine of  Hair Police fame ,re-released in 2018 yet is seems just as  fresh and relevant as ever. Additional electronic  slabs of  chaotic, sputtering noise are  laid  down by local KY maniac, and  psychedelic visual artist Robert Beatty, also of Hair Police fame, add to the  general chaos and uneasiness that this recording is  known for. Endless layers of  quick moving, buzzing, breaking, battling homemade synths  clash with pummeling, arrhythmic  walls of lightning speed percussion and flying, buzzing,  choking guitars assault the  listener  with a seemingly endless barrage of  thick dark, esoteric slabs of  heavy  grind and noise. All of the instruments blur together in the most desired, intentional way possible to  create a truly menacing, abrasive  style of heavy music/noise all of their own, which is often replicated but rarely done with this amount of precision, intention, and menace..

Big sounds, violent  outburst after  violent  outburst of bleeding, confusing negative vibes in the best way  bring the listener further and  further into a pit of chaos- a  sonic stew of your last chosen meal. The world needs more bands like Cadaver In Drag, an this reissue is an absolute must own for  any and all fans of heavy music.  Totally unique and essential listen. HIGHLY  RECOMMENDED you go order it HERE.  Paypal/E-Mail = huskrecords@yahoo.com.

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DECAYCAST Reviews: THE FATHERS “Sound Advice” Cassette / Digital (T/ECA, 2018)

DECAYCAST Reviews: THE FATHERS “Sound Advice” Cassette / Digital (T/ECA, 2018)

The Fathers is Nathan Bowers of Tusco Embassy, Coagulator, Sun Poisoning, Sexorcyst and many  many others, and Derek Gedalecia of  Headboggle / Hillbogglle, Headlights et al taking a fresh and free sonic approach to  avant gardism through minimal, stringed  psychedelia. On “Sound Advice”, Bowers and  Gedalecia seamlessly concoct  a sonic stew of a tonal stringed rhythms through oceans of various tunings and strategies. Synthesizers, tapes, and guitars bend, flex, bow, and squeal through a distorted and plucked array of sonic excitement.  Big chords, dizzying chords , buzzing chords are  accented by splattering drum machines, long synthesized echoes, minimalist plucks, scrapes, taps, pings, rings, and reverberations  melt into distant walls of unknown feedback.  Eerily scraped axes, densely weighted keys, arpeggio stringed madness is the twisted spine of these dense  arrangements.

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Click tape to order from T/ECA Store

The Fathers cover a wide  range of  sonic territory on “Sound Advice” effortlessly oscillating between musique concrete, new music,  avant grade classical  and  even some  straight up  noise  to boot. The Fathers  don’t stay in one place for  very long, but  long enough to give these  pieces life beyond  just improvisational experimentations, these are complex, complete  sonic works into themselves, but they also tell a longer, deeper story to the listener who is willing to make the connections or  break the connection.   The  A side offers one long twenty minute track which begins with subtle synth blips, churning and chirping morse code to a dead  radio who’s operator has long abandoned ship,  backed by low and slow droning pulses, fluttering distant ringing warning bells of a barge slowly approaching the shore. The A  side  builds on ominous waves of  tension,  sounds elasticizing into each other in a sort of  Rude Goldberg style of call and response, but  it never sounds contrived or  “jammy” all of the  sonic events seem intentional  and as if they have a place in the overall crescendo and decrescendo of a  complex and damp mix. The sound never drops off, it only drops into the smallest part of  the listeners  ear to create a micro symphony of contorting notes and densely weighted rhythms.  The blending of the  guitars, synthesizers,  tapes and other instrumentation gel into a warm, atonal stew of  deep, soupy events.  Texture and thickness of  sounds  expand and  contract as the push and pull stylings of The Fathers operates like an elastic band of  tension, composition, and  duality, springing into a new  space to once again fold  back on itself.  The Fathers  create new  guitar music  quite unlike anything else, this tape is a must and it’s  exciting to see the  possible  return of T/ECA, who offer some of the most  unique and honest hand  silk screened layouts to date, a must own.  Grip it now.

 

 

 

DECAYCAST Reviews: Choisir Le Pire “-” (LE TOMBEAU DES MUSES, 2018)

DECAYCAST Reviews: Choisir Le Pire “-” (LE TOMBEAU DES MUSES, 2018)

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Choisir Le Pire is a newer project out of Metz, France  focusing on  harsh noise / harsh noise wall and this  new  cassette release is no  exception. Released on the newly formed LE TOMBEAU DES MUSES imprint also out of France. “-” as it’s  titled wastes no  time slicing the listener with  sharp, grating, alienating plumes of  static  filled gut  wrenching harsh noise with some  HNW and  even Power  Electronics sections to boot.

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The strongest track on this release, “De Charybde en Scylla.“, which is also the  opening track on the  A side offers  the most interesting and  dynamic work on the album,  featuring an ominous sludgy, fuzzed out  thick  droning intro  which is  quickly and  swiftly encapsulated by violent throbbing stabs of  sonic mayhem; grating, dark, and  uncertain. This tape is the  perfect soundtrack to a nauseating feeling that comes  moments before  leaping off  a  cliff into the  black abyss. The closing track, Ce qu’il en rester. is another favorite with it’s  blistering  shuttering fast paced dynamic  stabs and wells, peaks and  troughs of a  chaotic land, Choisir Le Pire wastes no  time and no sound, it’s all said and nothing is said  except for the  blood running slowly down the  side of the  listeners neck out of their ear. Focused, sharp and  agitated harsh noise release with  beautiful design and packaging to boot. Check out more from the  label and  artist via the links  above.

– malo

 

DECAYCAST Reviews: ZSA ZSA GABOR “Left Skull Bank” Cassette (Stay Strange, 2017)

DECAYCAST Reviews: ZSA ZSA GABOR “Left Skull Bank” Cassette (Stay Strange, 2017)

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“ZSA ZSA GABOR is dead” but the  sounds, voice, and pulses in a ritual are anything and everything but that. ZSA ZSA GABOR is one of the artists and founders of the Stay Strange SD Crew who boast a new label imprint, show collective and all creative force led by San Diego stalwart Sam Lopez aided in sound and  words from Ariel Irbe, Esteban Flores and Micheal Zimmerman, allwith their  own projects to boot under the  collective umbrella. Irbe performs and records  under the  S O L V  moniker, while Flores work as  Monochromacy represents  powerful, thick, radicalized  guitar  forward drone/noise works.  

“Left Skull Bank I” opens up the cassette after a brief intro with a dark, smudged, thick drone which slowly encapsulates the listener and then drops them in a voice cell of terror, confusion, disorientation, The time to talk isn’t now or maybe again for an hour  or even a year. Seal your lips shut for it’s  time for the  hymn of ZSA ZSA GABOR. This release is relentlessly and refreshingly diverse in its sonic character and nuance of sound and style; oscillation between spoken texts , drone, ambient, field recordings, distant screams that  ring like a hammer  smashing an ancient bell,  and  string based  swells ZZG has something for everyone , but at the sane time NOTHING FOR YOU. They owe you nothing and owe  everything to the void. Full tilt  sonic mayhem engulfs your  last thought and hope as your skull is  cast aside like an extra, misshaped, unneeded brick into the  ever-growing pile of death.

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“Left Skull Bank 2” picks up close to  where part 1 left off, with a thick, buzzing,  shaking vibrato of  stringed chaos while a monotone, anxious, realistic voice reads and  breathes upon every swelling  stringed drone of death, and after a “brief  demonic interlude” the listener is  cast once again into the  chaotic experiments of death with Part three, twisting and  tangling the  false hope that we once had  with harsh stabs, angry, dissonant, atonal swells through a purgatory nobody wants to  even pass by for a minute. This  cassette runs the  full scope of experimental sounds but in a a unique and refreshing way, no rehashing, no redux, this is simply top notch experimental music,  get about it, be about it. .ZSA ZSA  GABOR  is a thick, swollen, controlled  anger, which is more or less the  sound of  a  decaying  future; you’re dead long after you  found out when you’re  going  to die, and if you’re worthy this  might make an appearance at the funeral to help shovel your lifeless  corpse to  rest eternally and be consumed by the  wormed earth. Follow  ZSA ZSA GABOR HERE and HERE.

 

 

 

DECAYCAST Reviews: JASMINE INFINITI “Y1” (Self Released/NWD, 2018)

DECAYCAST Reviews: JASMINE INFINITI “Y1” (Self Released/NWD, 2018)

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Jasmine Infiniti comes  correct with this original production track, titled “Y1” Everything about this track hits in just the right way for an industrial danceclub bomb on the  unsuspecting audience. The track opens with just a thudding drum but slowly gains speed  and chaos with glitched-out industrial polyrhythms, in the pocket blown out synthesizers, churning bodies melting in the smoke filled room. Jasmine Infiniti is known for her uncanny, heart pounding, leg  twisting, room shaking,surrealist sound sorceried mixed genre DJ sets, but these  original productions, while informed by her DJ aesthetic take things to a whole different level of body moving bangers; alien voice transmissions and thudding electronic breakdowns, blending sharp, swift vocal stabs, chopping dicing synths, and heavy, funky, abrasive four to the floor clanging percussion,  Infiniti creates a  sound and  aesthetic thats unique,  different, important and all her own. Look out for an EP and follow her  collective NEW WORLD DYSORDER. Infiniti takes her knowledge of  mixing, turntablism, rhythm and density and amplifies it  across these original compositions with unique, heavy and promising results.

Infiniti has been setting trends in sound and  image long before this track and will be doing so long after, support this important in groundbreaking, unique artist any way you can!

“The Queen of Hell, Jasmine Infiniti is a New York Native whose dj roots started in Oakland, CA. A long time member of the House of Infiniti, Jasmine became the mother of the Bay Area Chapter, though she now resides in Brooklyn, New York. She blends dark and sometimes ambient techno and industrial sounds with break beats and cunty tracks creating a unique soundscape glimpsing into the future.”

bookings@jasmineinfiniti.com
jasmineinfiniti.bandcamp.com/
www.jasmineinfiniti.com

 

 

 

DECAYCAST Reviews : TODD ANDERSON – KUNERT “A Good Time To Go” (This Is Non Linear,2018)

DECAYCAST Reviews : TODD ANDERSON – KUNERT “A Good Time To Go” (This Is Non Linear,2018)

This little unassuming tape arrived in our mailbox all the way from NZ, where the artist Todd Anderson – Kunert is based. This work titled “A Good Time To Go” boasts the sonic equivalent of finding that perfect moment to ditch out on the show or event or interaction that you’re probably enjoying (or maybe not ) but are suddenly met with that harsh and disorienting wave of uncertain feelings, emotions and sense of space or lack thereof. This album is very much that. the albums opener “No” starts with a slow quiet drone which ascends into a loud, shuttering thud, and steadily breaks up into a more distorted, disorienting, confusing version of itself until the listener is left with their own feelings of confusion about confusion. Dark, crumbling noise swashes give way to more rhythmic patterns which oscillate moments between disappearance and uncertainty while bathing the listener in a sharp bath of loud and overwhelming sounds all to build to a climax and erase themselves to the point where only the distant hum of a sharp bell remains, a single alienating tone tuning and ringing inside the brain of the unsuspecting listener. The overall vibe is dark , disorienting , haunting with spurts of beautiful articulate decay.

The albums strongest track “It’s Taking Forever” is an honest, heavy take on what could be best described as digital power drone. Lots of dark and articulate textures exist throughout, crawling and wringing out dark, alienating slime into the ear, especially on this second stand out track which really carves out a lonely and confusing sonic space, oscillating between traditional takes on drone, ambient noise, “power ambient” some might say.  Overall a solid release with a wide interpretation on what could be considered psychoacoustic drone music.

TODD ANDERSON-KUNERT

DECAYCAST Reviews : PROUD FATHER “Creations for Electric Guitar” Cassette (Reserve Matinee, 2018)

Proud Father offers up a solid guitar based drone / ambient album on the “Reserve Matinee” imprint, titled “Creations for Electric Guitar” The album opens up softly with distant sonic sine wave synth swells caked in the reverb of an ancient sonic event. Beginning like an unsure creature taking its first steps, the first track, “Kokoro no jiin de no tomin” starts with a slow crawling distant hum which begrudgingly builds with character and intensity until it’s rolling wave of psychedelic noise. Lots of patterns of stretching, loss, reaching and long swells breathe through each other to create a lush, multi timbre stew of chaos. The artist slowly and subtly builds up to a noisy chaotic crescendo via walls of fluttering guitar , ringing drones and crawling warm, decaying synths, however the work never veers too far off course for confusion.; the major drone remains omnipresent and always pulsing as the spine of the entire album.

Dispite the lack of sonic dispute between many of the sounds a rather large scope of styles within drone and minimalistic electronic music are indeed explored. One minute we’re caught in a thick fog and several minutes later the fog lifts to an arping sun of synth patterns paying homage to acts like Heldon /Richard Pinhas (who the second side of the cassette is indeed for according to the artist’s writeup on the performance which this is from) , and early Tangerine Dream / Edgar Forese. With or without that information and point of reference, Proud Father offers up their own unique twist on guitar forward electronic music . Sounds blend and give birth to new events in a ping pong of hazy tones resonating the inner ear cochlear of the listener. These aren’t songs but they are ? Is it one big song?! either way it’s more a plentiful offering for the drone fan than the one looking for a quick fix; the sonic payoff is the crescendo and the reoccurring descent from that back into a distant lost ships last cry for communication to shore or anywhere for that matter.

Two tracks on either side of the cassettes however things blend rather nicely throughout offering a consistent wash of tripped out meditative drone for us to lose the day and the grip in. Fun and unique listen overall.

Proud Father on Bandcamp