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: AMANDA R HOWLAND “Spider, Milk, Batshit, Silence” (No Rent, 2018)

DECAYCAST Reviews: AMANDA R HOWLAND “Spider, Milk, Batshit, Silence” (No Rent, 2018)

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Cleveland, OH recording artist Amanda R.  Howland comes with refreshing array of sonic possibilities and strategies with, “Spider, Milk, Batshit, Silence” her first tape for the NO RENT imprint, with two sides of mixed-bag, dense, electronics spanning from harsh noise, to musique concrete,  to sections accentuating voice, to more abstracted rhythm sections which blend in and out of a gentle, yet very present, bowed, hum.  Static, voice, melody, clattering broken rhythms, radio chatter of  ancient transmissions and a harsh sense of absence are all present in this short but important release.  Tension is another constant theme to the ear as  one section may contain a harsh, alienating scraping; a  sound nasty pissed and angrily broken, inching across the floor toward its prey as the  amplitude and aggression increase and climax into an alarm style buzzing; alerting the listener that, yes, now is your time. Another sound, if even for a moment, m0014255476_10ay offer a brief, ambient respite to the harsh reality that has encapsulated us all, “Spider, Milk, Batshit, Silence” is, indeed the sound of that. A chaotic, dangerous and aurally thick and swift climax appears and then vanishes leaving only a distant hum of  abstracted silence, a slow, subtle, thumping as if the decaying heart has pushed red for its final beat.  The silence at the end of side one almost doesn’t seem real as the listener is left with wanting more of this uncertain future the ears and brain have yet to test, yet to experience.  If any sonic territories are left unexplored under the “experimental”  or “out-sound” tags on side one, we soon learn they will be shredded and eviscerated on side two with as much skill, tension, and carefully articulated abstraction as they were on side one.

The second side, “Batshit, Silence” picks up  right where the  A side dropped us off, with a high-pitched, distorted and warped melody.  Intense shrieks, angry swells, and ancient hymns of bouncing, pulsing sine-wave frequencies gel together like a microbiological  fungus slowly transforming into something much greater and dangerous, the thick scraping, shooting radio0 transmissions into the brain grow together, seamlessly providing a ridged and ugly backbone for abstracted  layers of thunderous pounding, the a tonal scraping of a ferociously thick winds ripping across the gruesome and confusing scene, pulling tiny, flesh-ridden shards of the listeners inner ear with it,  to cascade upon, as Howlands’ dark, grinning, noisy, churning  machine glides through the wires and slowly leaks out of the pores offering a new dark reality, endlessly searching for a cave to whip around in, an enormous sound. This scene is eventually evacuated to barren, alien radio transmissions have crept their way in and angst-like shake and sputter long lost messages over the dense, thick walls of  bleeding electronics, this like life eventually fades away and we are  left with an alienating, deafening silence.  Highly dynamic and enjoyable tape for a wide variety of experimental delvers. Pick u the digital HERE and the cassette HERE

DecaycastREVIEWS: COLLAPSED ARC “Tension And Tenure” (ASR, 2013)

20130423-134745.jpgCollapsed Arc is another one of the many projects of Cleveland multitalent David Russell Snake. This tour only tape exemplifies the artists highly crafted noise loops, made from
Hand persuasion, feedback, white noise plasma and undulating modulations fuzz. At times sounding like industrialized hip hop instrumentals (especially the first minute which jumps out of the gate with a sinister distorted head nod) and then going into subtly modulated feedback loops of noise and microphone / piezo feedback- high frequency inner ear trauma for the stunted listener. Beautiful walls of distorted mini wind instruments rip a skin mask from your worried face and wrap it around and around until it squeezes new frequency out of dense breath. Often mechanical
Sounding and often organic- Thw noise loops on this cassette are constantly shifting in their origin and purpose but never stray conceptually or sonically away from an acutely precise presentation and structure. The peaking high frequency squeaking chaos crescendos do an almost fever pitch and then a beat drops in- even if just a bass hit – and the entire orientation is restructured. these have a raw but rehearsed feel, NOT overworked, yet at the same time, not half assed by any stretch, the pitch, duration, timbre, sequencing and overall structure all ebb and flow with an apparent natural effortlessness.

The second half of the A side brings in more minimal
Breakdowns that escalate into controlled noise/beat/loop chaotic conundrums.

The second side offers more of the same fine crafted dense persuasive percussive tight loops- blending drum sounds, percussive elements and sharply carved noise and feedback blasts, ebbing and swelling yet always maintaining a dynamic intensity and consciousness.
The sound sources are seemingly unknown- I thought I hear voices? But it might be not so – modulated reeds, winds, oscillators, crunched hand percussion and oscillators modulate through organized sonic storms of chopped rhythms- Collapsed Arc work has always been loop based, but these take the project to a new level, skillfully and carefully composed and executed warbling tones of hell-
Beautiful artwork as always from
The A Sound Design Recordings inprint. COLLAPSED ARC makes a RARE bay area appearance this Thursday, April 25th @ Life Changing ministries in oakland, CA . this is also the release party for the cassette and can only be obtained at the show – so DON’T MISS OUT.

RATSKIN EXPLASTICAL #32
COLLAPSED ARC (Hanson / ASR / Ratskin )

/DILATEDEARS (Ratskin /Placenta)

“RUST WORSHIP (Obsolete Units)

HAHA LA (sound/performance art)

Coagulator & Head-boggle DJ

8:30 pm $5
Life Changing ministries
8th st @ Peralta
Lower bottoms, west Oakland

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