DECAYCAST #47: DISKOTEKA – Soviet Disco, New Wave and Folk Pop mixtape by Big Debbie

DECAYCAST #47: DISKOTEKA – Soviet Disco, New Wave and Folk pop mixtape by Big Debbie. 
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We’ve  strayed farther and farther into reviews but  Decaycast started as a pirate radio show / radio collages so this guest mix from Big Debbie takes it back to the roots with this  wild guest mix for Decaycast, blending new beat, disco proto punk, and so much more with some seriously cryptic gems hiddin within, take a  deep listen and check out Big Debbie’s newest LP “Ab Ra Ca Deb Ra” out last Nov on Ratskin. Click the cover to listen and read a statement below on the mix from Debbie themself!
“Most of the music on here was officially State sponsored, but couple tracks were underground classics. From Eastern Europe to Central Asia, the songs would practically spread overnight, due to the rapid tape trade culture. Some of these jams I actually grew up with.  They were the mainstream hits, I remember hearing coming out of the crackling, night train radio, as you drifted to sleep. Some of them you had to go out of your way to get. By the late 80’s the music piracy was more out in the open. I used to get my music, from the guy at the grocery store. He had a little set up in the corner that consisted of a chair, some blank tapes and a Boombox.The bootlegger usually had a  “D.I.Y” encyclopedia as well, that you could sift through. Everything from disco and smooth jazz, to punk and death medal. You pointed to what you wanted and the next day he usually had a dubbed copy ready for you. However, to tell the truth, most of these gems I discovered recently through youtube, just in the past year. Hope you enjoy them, at least as half, as much, as me!”

1.Nasiba Abdullayeva – “Lazgi” (Uzbekistan, USSR, 1983?)

2.Rahima Shaloer & Gulshan – “Shiriniy” (Tajikistan, USSR, 1986)

3. Gunesh “Chayhana” (Turkmenistan, USSR, 1989)

4. Sevda Alpay & Zafer Dilek “Kara Kasli Yar” (Turkey, 1974)

5. Grup Akdeniz “Sine, Sine” (Turkey, 1984)

6. Eolika “Karavana” (Latvia, USSR, 1985)

7. Vishnya “Raschoska” (Russia, USSR, 1988)

8. Isabela Trojanowska “Jestem Twoim Grzechem” (Poland, 80’s)

9. Snezhniy Avgust “Fialki” (Russia, 1991)

10. Rusya “Nye Stiy Pid Viknom” (Ukraine, 1991)

11. Dos Mukasan “Barinende Sen Sulu” (Kazakhstan, USSR 1971)

12. Kino “Kamchatka” (Russia, USSR, 1984)

13. Original “Sen Kaydan Bilasan” (Uzbekhistan, USSR, 1981)

14. Biokonstruktor “Teletourism” (Russia, USSR, 1987)

15. ???

16. Murad Kajlayev “Fakir” (Azerbaijan, USSR, 1972)

17. Alla Pugachyova “Sirena” (Russia, USSR, 1987)

18. Glass Wings “This Music” (Russia, 1991

 

 

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DEAYCAST Reviews : MONOCHROMACY “Living Posture” CD (Stay Strange SD. 2018)

 

DEAYCAST Reviews : MONOCHROMACY “Living Posture” CD (Stay Strange SD. 2018)

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Stay Strange SD Collective artist Esteban Issac Flores brings eight heavy, dissonant and atmospheric guitar based worlds oscillating between drone , noise, metal and industrial under tbe MONOCHROMACY moniker . Flores elegantly creates haunting and dissonant cinematic spaces for a wall of destructed waves of swelling chaos, choked screams decay into walls of thick oppressive fog of tone, climax and eventually swell back down into dreary, pulsating tones. Sine waves shifting into the horizon encapsulate a distant haze of confusion and dread.

On “Living Posture” , Flores creates a deep and complex tension between the various sonic elements, which really doesn’t ever falter throughout the eight tracks of dreary doom. Some of these atmospheres could call back to Times Of Grace era Neurosis (my favorite period of one of my favorite bands ) , SUNN O)))) , Earth etc but that would be sort of a lazy comparison as Flores has clearly refined his sound to something not heard before in the tropes of heavy music.

 

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Monochromacy “Living Posture” CD (photo from artist)

Monochromacy leaves the “tough guy” bullshit of extreme music far away in the trash for a delicate and intelligent experimental offering. Flores has clearly honed a unique philosophy and approach to present the listener with a tense, yet refreshingly present decaying burning structure of mammoth and intimidating take on noise-influenced, drone-metal. The plethora of unique territories covered on this record while maintaining an overall dark and dreary cinematic vibe is rather impressive to say the least.We are never left without a tight sonic line pulled taught across our reality/neck wth ever shifting tone, pulse and intention. what is going on? Where did he leave us atop this  fog  ridden, dank mountain of dissonance and confusion? What is GOING ON! Wow and just like that it’s over, what a listen.Absolutely essential ride for all fans of the heavier side of noisy guitar works and heavier dissonant, cinematic music in general.

DECAYCAST Reviews : Happiness Forever “II” (Mondo Anthem, 2018)


Happiness Forever “II” (Mondo Anthem)

Washington’s longstanding experimental stalwart William Rage returns with a heavy, cinematic offering for the Mondo Anthem imprint titled “II” or “Mondo Anthem II“. On this release, Rage crafts two slow, churning, heavy, dynamic works blending what sounds like synthesizers, field recordings, and noise sources to an interesting and unique sonic end. Overall, the sound of Happiness Forever is heavy, yet varied, textured yet articulate. A low ominous drone oscillates throughout the first side while seething, weighted atmospheric textures glaze over the drones in a hypnotic nuanced mixing style. The A side quickly builds with intensity as sine wave communications cast themselves far beyond the listener into the inner workings of the brain; something is wrong, I’m feeling uneasy.

The B side, titled “I Left My Electronic Heart In San Francisco (Recreation Of A Live Recording Of A Performance That Never Happened)” begins where the A side left off so to speak, with dense, field recordings and ominous crawling synths, which seem to sputter in and out like a rumbling, thirsty dying motor. Slow arpeggiations sing next to a thick, resonated clicking with background swells which create the perfect texture; the perfect song of alienated confusion. Mutated and garbled voices peak through the murky swamp, enveloping atop themselves and then decaying into the darkness, a different, warped experience every time. Truly beautiful sound composition.

“II” never becomes too much of one feeling, it’s always mutating while maintaining an overall fluency to its sounds and composition that make “II” a dense and refreshing listening experience for fans of many styles of electronic music. From musique concrete, to drone, to more cinematic styles of electronic composition, Happiness Forever is a which heavy fog we all must get lost in for the duration of this tape.

Follow MONDO ANTHEM HERE

DECAYCAST : Fifty + Impactful Genre- Defying Music Releases of 2018 : Part One

DECAYCAST : Fifty + Impactful Genre Defying Music Releases of 2018 : Part One
*part two to be released Feb 2018

2018 was a wild year for music and the world. Bad politics and worse people coming to positions of power often spark good art. Here’s fifty genre defying releases from 2018 that we at Decaycast found absolutely exceptional.
Please seek these albums out and support the artists as directly as possible!

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700 Bliss “Spa 700” (Halcyon Veil)

Akvan “بلک متال آریایی” (Self Released)

Anna LuisaGreen” (Practical Records)

Attilo Novellino & Collin McKelvey “Métaphysiques cannibales” (Weird Ear)

BbymuthaMD3” (Self Released)

Beast NestA History Of Sexual Violence” (Self Released)

Black Spirituals “Black Access / Black Axes” (SIGE Records)

Bonemagic “Cult Of The Red Vest” (Cult Love!)

The Breathing Light “Light Fast, Black Power!” (Self Released)

Burmese “Privilege” (Fuck Yoga Records)

CBN “Neblastya” (Phage Tapes)

Colin Bragg & Bill Pritchard “Andedyr” (Self Released)

Compactor “Technology Worship” (Oppressive Existence Recordings)

Conscious Summary “Exhaustions” (Skin Trade Recordings

Dental Work “Fog Of Summer Ghosts” (Placenta Recordings)

Dreamcrusher “Grudge2” (C-I-P)

Drew McDowall “The Third Helix” (Dias Records)

Eleh “Wear Patterns” (Self Released)

The Fathers “Sound Advice” (T/ECA)

Fletcher Pratt “Dub Sessions, Volume 4” (Crash Symbols)

Lara Sarkissian “Disruption” (Club Chai)

Girlz N The Hood ‘All 4 Nia’ (Self Released)

Golden Donna “Date Night” (Self Released)

Hiro Kone “Pire Expenditure” (Dias Records)

HIRS “Friends. Lovers. Favorites” (Self Released)

House Of Cake “House Of Cake” (Houdini Mansions)

Jeff Carey “Zero Player Game” (Ehse)

Jasmine Infiniti “Sis” (Club Chai)

Jonathan Snipes “The Nightmare” (Deathbomb Arc)

JPEGMAFIA “Veteran”  (Deathbomb Arc)

K 23 “Blacklight Sessions” (Fantasy 1)

Kepla & DeForrest Brown Jr. “The Wages of Being Black is Death ” (PTP)

King Vision Ultra “Pain Of Mind” (Self Released)

KK NULL “Pulsar X” (Self Released)

Kohinoorgasm “Synthwali and The War Empire” (Self Released)

Lunar Tomb “Tierra de las Brujas” (Distort Discos)

LSDXOXO “Body Mods” (Self Released)

Luke Stewart “Works For Upright Bass And Amplifier” (Self Released)

Lana Del Rabies “Shadow World” (Deathbomb Arc)

Macho Blush “Users Guide” (Tymbal Tapes)

Midmight “Cut Cut Cut Bruise” (Resipiscent)

Moira Scar “Wound World Part 1” (Psychic Eye)

Nightmare Difficulty “Run and Gun” (Self Released)

Open Mike Eagle “What Happens When I Try To Relax”

ONO “Your Future Is Metal” (American Damage)

Portal “Ion” (Profound Lore)

Russell E.L. Butler “The Home I’d Build For Myself And All My Friends”

Ryan King “How I Learned To Stop Worrying And Love To Bomb” (Serious Hype)

SAN CHA “Capricha Del Diablo” (self released)

Serpentwithfeet “Soil”

S.B.S.M “Leave Your Body” (Thrilling Living)

The Sorcerer Family “Hidden Rooms” (Stay Strange)

TAHNZZ “XILA” (Self Released)

The Bedroom Witch “Triptych” (Self Released)

Turkish Delight “Howcha Magowcha” (I Heart Noise)

Voicehandler “Light From Another Light” (Humbler Records)

White Boy Scream “Remains” (Crystalline Morphologies)

Witches Of Malibu “Fever Dreams” (Self Released)

Yves Tumor “Safe In The Hands Of Love” (Warp)

V/A: “Energies” (Practical Records)

V/A: “Stable Submissions, Vol 2” (Stable)

 

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: 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