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.

 

 

 

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DECAYCAST Reviews: PBK & John Wiggins “Where Pathways Meet” CDr (Acousmatique, 2018)

DECAYCAST Reviews: PBK & John Wiggins “Where Pathways Meet” CDr (Acousmatique, 2018)

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PBK & John Wiggins take a  far  out ride to the  depths of  sound  design collaboration. “Where  Pathways Meet” on newly formed San Francisco label Acousmatique Recordings,  is two top notch sound artists/designers smashing into  one and other basement studio style for a warm, complex journey through a myriad of minimalist, orchestral, and cinematic takes on experimental music.

DONE #2 (4-01) is blends lush strings, new age droned chirping caked with gently fluttering synthesizers, ringing shimmers of decaying sine ways, and subtle string groans into a soothing, pulsing ambient/drone work. Other tracks such as UNTITLED #1 (9-98) are much more diverse in their approach and sonic characters. This longform collage blends crunchy digital noise sources, churning, bubbling square wave synth grumblings atop psychedelic swashes of lo fi static for a disorienting, dense, and compelling ride through the designers mind. Bubbling distortions of  memory fizzle, pop, decay and a new sound is born. Uniquely indescribable sounds, a chattering humming bell, a sqwaking, choking robotic bird belches out a sonic buzz of disorientation ringing in the inner ear. Field recordings cough ancient  stories of a forgotten room where an ancient sonic experiment has died.  

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The John Wiggins track JW BED #7 (2-98) creates a highly tense situation with it’s long-form, nearly silent, digital  waves decaying upon a shore which is  sure to slice and dice the  throat of  any and all in the  wake of the crescendo, early sun distortions bleed the ear  until the  quietest big becomes amplified into a cacophony of  uncertainty and virus, while the  PBK solo track PBK UNTITLED SOURCE (10-98)  closing out the download leaves us  with a stringed morose background for a nightmare of loss and a question never to be asked, cause the  ear and brain has  faded away with the very last note.

from the  artists…

“John Wiggins is best known as an Emmy winning film and television sound designer, working for HBO and his own production company, Wonderland Sound. Wiggins is a master of the techniques of musique concrete, his experimental work often consists of painstakingly arranged synthetic and natural sounds that create extraordinary “living” audio environments. In 2017 Wiggins was one of the distinguished winners of “PRESQUE RIEN” Luc Ferrari Prize.

Phillip B. Klingler is considered a pioneer of noise in the U.S., but has also been recognized for his work in the areas of ambient, drone and glitch music. He uses samples, turntable, analog and digital synthesizers to create dense structures of bizarre sonic origin. He has had numerous albums released and collaborated with the likes of Jim O’Rourke, Wolf Eyes, Dirk Serries, etc.

Acousmatique is a record label from San Francisco, California that is focused on publishing and promoting the best contemporary music by artists from around the world. Follow the label for new publications in the Acousmatic, Electroacoustic, Immersive Audio, Musique Concrete, and West Coast music genres. Check out the full catalog at
acousmatique.bandcamp.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: MATMOS INTERVIEW (Nerfbau Interviews Matmos, remastered)

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This interview was conducted as the first official interview by Decaycast aka NERFBAU jsun Adrian McCarty and Michael Daddona interview experimental music underground stalworts M.C. Schmidt and Drew Daniels of Matmos, in their then SF Mission District Studio/apartment.

We did this a long time ago, but i think many of the questions and content holds up really well and also it’s nice to hear Jsun’s voice as a distant snarky beckoning to the past and future Matmos was a rather big influence and Jsun and my early work as Nerfbau and later as Styrofoam Sanchxz and Coral Remains and were without a doubt monumental in the formation of Ratskin so I thought it would be nice and fitting to re present this. We stayed up all night the night before, myself on speed and dope and Jsun chain smoking cigarettes to prepare for this, arguing over
questions, prepping cassette decks withpre recorded hidden questions on time travel and the sound of dreams, we ended up hiding several cassette recorders throughout Martin and Drew’s studio oinged with questions which interrupted the normal interview. In our early morning franticness and nervousness (we approached the interview more like a performance / collaboration than a traditional interview ) we even managed to spill coffee into a tape machine which housed some really important master audio tapes containing interviews with Drew’s mother before she had passed We told that story for years, how if it was our studio and some high kids came in to interview us and nearly ruined a priceless historical document we would’ve kicked them out and dragged to no end, but they didn’t do that, we were welcomed, as peers, collaborators and family. One of the most fun interviews I’ve ever done. Enjoy.
-MD for Nerfbau, 2018

follow matmos at :
http://vague-terrain.com/

Decaycast Reviews: MARLO EGGPLANT “head​/​rush​(​ed)” (Vaux Flores, 2018)

Decaycast Reviews: MARLO EGGPLANT “head​/​rush​(​ed)” (Vaux Flores, 2018)

by Dr. Decaycast

 

Momentus sound artist, label head of  Corpus Callosum Distro, longtime noise queen, and curator and  founder of the  legendary Ladyz In Noyz compilation series,  UK based  Marlo Eggplant offers her  newest work via Travis Johns VAUX FLORES imprint (who also happen to make some  fantastic pedals and homemade  electronic instruments). Eggplant’s newest offering, titled  “head​/​rush​(​ed)”  enacts a wide array of  sonic offerings through short but powerful tracks.

From minimalistic, low keyed crawlings of static plumes, plucks  and voice breaths, such as highlighted  in tracks such as  “one1one“,to  spacious, prickly, washed out hills of dark reverb swells of  distorted, orchestral style string drones to  harsher, more rhythmic and  industrial leaning works such as my personal favorite on this release, “Premeditated”; Eggplant covers a wide but cohesive range of  experimental styles.

The album’s standout, “Premeditated” blends  droning sawtooth synthesizers,  high frequency, high tension noise walls of static fuzz, and  screaching, crawling voice  stabs spike out  from out of the darkness of confusion.  This track could easily hold a torch to early Kevin Drumm, Chelsea Wolfe, or even Diamanda Galas without even a  sonic flinch of  disorientation, but offers yet again so much more for contemplation through it’s own aural and compositional strategies.  Nothing on “head​/​rush​(​ed)” come off as flat or static works however, they are short intentioned sonic offerings of  sacrifice of self, weight, brevity, and sonic deconstruction. Eggplant has never  strayed too far away from the  harsh side of noise, however these pieces, while harsh, hold a cinematic and even musical  character to them without  losing a single percentage of intensity, and abstraction; a line that is  rarely toted this  successfully  by any contemporary artist, and this album is no exception. Eggplant has clearly mastered the high tension model of  dynamic composition and uses this to her favor  with no end in sight. These tracks could easily be scenes to a yet imagined film and yet hold so much narrative within themselves that the listener is almost forced to imaging the physical and etherial  spaces that Eggplant sonically articulates throughout “head​/​rush​(​ed)”.  The record crescendos with an equally intense, albeit more musically and slightly less noisy and possibly deeper and more personal offering titled onmyown ” which features a vocal and  chord forward morose and sad ballad in the vein of Tara Cross or an early more subdued Daniel Johnson,  which focuses on the erasure and heartbreak of  not being seen. A beautiful and humble ending to a strong, sharp and intentional offering from Eggplant, always honest, present and esoteric, Eggplant remains one of the most  interesting and unique unsung  heroes of contemporary noise.

 

 

DECAYCAST Reviews: Katatonic Silentio / Tremco / Neurosplit / Oromë (Biodiversità Records, 2018)

DECAYCAST Reviews: Katatonic Silentio / Tremco / Neurosplit / Oromë (Biodiversità Records, 2018)

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This collaboration shifts  honestly between many many different  sonic spaces; in the least contrived blending of  beat oriented synthesis and, well plants.  Riffing off a  theme of the releasing label, Biodiversità Records, Katatonic Silentio / Tremco / Neurosplit / Oromë create a dense, special world of  sonic possibilities in a structurally rhythmic call and response ping pong of tense, delicate, and complicated sonic events.  Oscillating between dissonant beat oriented electronic music which the  artists admit could be  considered “techno” but the  four to the floor mindless speed comedown hooks are  left  by the wayside for a more atonal, arrhythmic, deconstruction of traditional “techno”, “dubstep” or whatever step” you take away from these quaint but pungent sonic exercises.  “Pteris Variata” unduates  between slower, cold, tense pulsing rhythms, occasionally backed by more straightforward  percussive  voices, however the  ambient  swells and  tense array of  noises never  allows this to become too much of  a  unique sound; the tracks and  sections move  swiftly and  articulate their space and move on, nothing forces the listener into a corner relentlessly, rather  creates a dark and interesting space for the listener to crawl into if they choose and explore a lush, dark, cinematic sound.

Background  swells of anciently articulated sawtooth waves  swell and wobble under a filter noose and offer an ambience which the percussion rhythms can dance around without dominating the mix.  Overall the  vibe is minimalist, tense, cinematic, ambient. Clickity, tapping, bass drums drive the  rhythm exercises through a  full workout of  sonic possibilities ending with perhaps the  EP’s strongest track, ” Oromë – Athyrium cantem” which speaks to  early Phaedra era Tangerine Dream, Wendy Carlos and  even references current producers such as Cloudland Canyon or Peaking Lights.

Will be  digging more through this  Italian based label’s catalog and seeing what other dark, pulsing treats we can find hiding in the brush.

DECYCAST Premieres: Kinetic Attack “Watch Out” Official Music Video

DECYCAST Premieres: Kinetic Attack “Watch Out” Official Music Video

Check this  world premiere of  Kinetic Attack‘s “Watch Out” video for  Miami based Crass Lips Records  “Watch Out” is directed, designed & edited by Ingrid Mouth (@ingridmouth) and features the band riffing through various  brightly colored scenes, opening passageways to psychedelic portals, glowing, strobing lighting effects give an other-worldly effect, which still maintaining a DIY charm not  too far off from an early Shana Moulton influenced works. Smoke, steam, goblets, antlers, walls of ripped and  tattered fabric play off  each other with skillful, stylized on beat, fast paced editing, gel the  seemingly endless scenes  together.  Kinetic Attack plays a raw, angular, aggressive version of  percussion heavy  synth-punk, with sharp, frantically yelled vocals which play off of the loopy, dizzying synth riffs and  thick, driving bass parts and this video is the perfect counterpart to “Watch Out”. All together, a cohesive, driving interpretation of synth forward punk music with a take all it’s own! The video component is no slouch either, that of a  dizzying array of glitter-bombed, surrealist, brightly painted  props obscure glistening bodies and playfully nihilistic dadaesque actions create a fun, confusing, yet tense and INTENSE visual for the  song, a perfect pairing. Fantastic collaboration.