DECAYCAST Reviews : SEA MOSS “BREAD BORED” CS/Digital (Crash Symbols, 2017)

DECAYCAST Reviews: SEA MOSS “BREAD BORED” CS/Digital (Crash Symbols, 2017)

a0364792524_10SEA MOSS is a perfect example of  why duos are sometimes the most engaging for heavy and experimental music. SEA MOSS, splice all of the specific aspects that make duo’s so special; tension, dynamics, a call and response/push pull type of  dynamic, (that often gets lost or muddled once a third or forth voice is added),  into a fever  dream ritual of distorted noise rock, and rhythmic, percussion heavy noise. When contrasting  voices push and pull, interesting and chaotic things can happen, and that’s exactly what this Seattle duo does, on their freshman album “Bread Bored”. For one, the sound is a perfect blend of Noa Ver  homemade, noisy, chaotic, dynamic home-brewed synthesizers, which she popularized in her solo project Mulva Myasis  and Zach D’Agostino percussion and live sequencing which meld together perfectly to create a raw, cacophonous blend of abstracted, cut up, angular noise / rock. Noa Ver create walls of glitched-out, sputtering, chirping, regurgitating bent and mangled waveforms blending together to create rhythmic walls of unique, raw synthesized noise over D’Agostino, who belts forth a seemingly endless array of broken rhythms, fusing both analog and digital sources to create a chaotic, chopped up, backbone of heavy, flipped out perscussion. Also we  couldn’t really talk about this release  without mentioning the intricate, dense, psychedelic collaged cover art/Layout done by Liz Pavlovic, offering the perfect visual counterpart to the dense, tripped out, broken sounds of SEA MOSS.

Having seen SEA MOSS live in 2017 (and BTW this project is barely a year old, and has already toured, released this album on CRASH SYMBOLS and self-released several live recordings) I had a rough idea of what to expect from this tape, and it really represents their live sound well. The aptly titled “Bread Bored” oscillates between more noise, even free jazz styled works, using more  chopped, off timed rhythm tracks, and the  synths are  sputtering more like a trumped or saxophone than a synthesizer,  such on the  second track “Infernal Stutter”, whereas the very next song, “Wanna See A Trick?”, perhaps my personal favorite on the album falls much more into an early Load Records style of noise rock where the synths and walls of noise act as a heavy low end for the pummeling 4/4 breakdowns which dominate the song, or  similarly styled and  varied is the finale “Sea Sickness”, which blends thudding  drums, more  buzzing, screaming oscillators and time/tempo changes that will leave your  head  spinning,  There’s also a whole lot varied vocal styles which range from long swelled, yelling to short, antagonistic bursts of  sound, yelling, fighting , screaming, screaming, threatening, impactful, and sharp in unique ways even though the lyrics are  rather indistinguishable from each other. Despite this, the vocals provide an additional layer of tension and chaos, especially when complimenting the heavy, smashed out percussion riffs in a sort of call in response type of way. At times, it’s as if all the instruments are being played as their opposites; or something they’re totally unreleased to; synths are played as horns, drums are played as basses, vocals are an additional layer of percussion, but also so much more.

https://bandcamp.com/EmbeddedPlayer/album=801817680/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/

SEA MOSS stands above and beyond a lot of other offerings in noise rock camp so far for 2017 that have pummeled my ears. SEA MOSS has a seemingly uncanny ability to pack three or four different styles and feelings, even within a single track (and mind you most of the tracks are under four minutes, some even in the one to two-minute range). This music could be from 1999 or it could be from 2199, we haven’t totally figured that out yet, and that’s part of why it’s intriguing. The cassette is sold out; however, you can grip the digital album for five dollars from the Crash Symbols  band camp page. Be sure to check out a myriad of other releases from the West Virginia based imprint, while you’re on the band camp and make sure to follow SEA MOSS here!

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DECAYCAST REVIEWS: HEY EXIT “Else” Cassette/Digital (2015)

“Else”  was  recorded by HEY  EXIT, in Brooklyn NY in 2015, but  you’d  never  really be able to tell as  it comes off  as this  sort of  timeless  drone recording.  “Else”  starts with a low, slow, cloudy  drone and  slowly builds and  destroys  subtlety across the  entire album. The  first sounds that  emerge  are  delicate.  spacious, tone  poems of  humming synths? guitars? who knows?  but the  source a1533371763_16isn’t  really that important and the sounds  create a sonic  space  that exists  somewhat outside of  codified instrumentation, structure,  rhythm. The  sonic palette of HEY EXIT is  largely of a similar toolset, at least on Else, and the cassette is broken up into five tracks, however they all function as  one  breadth, decaying and  gently bleeding into each other. “What Role, If  Any”  is  probably the track that feels   most complete on its  own in terms of a moving composition within itself and  offers arguably the most  sonic  density and  variety on this EP.

The sounds themselves  are a  plush mesh of drones,  blissed  out  and  stretched  out  orchestral swells, slow attack  guitar  swells,  strategically placed crunches of  rumbling  distortion, and  wind. The  tempo of  Else is  made up of slow, delicately offered  pulses, as  if  someone was  breathing  out the notes, blowing ou

t the  tempo on a single  flickering candle,  but  not  through a wind  instrument, the  attack is gone, the breath has  transformed into a slow,  churning, crawling, beautiful sound.  The slow, crawling , glossy pillars of  sounds ,  at times  almost seemed to  sync up with my breath as i was  sitting in the dark listen

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ing to the  cassette on repeat. This is  excellent  “meditation” music, or at least music that  begs of  slow action, slow  thought,  slow body movements, and slow listening. There  are moments  that  get “noisy” in the traditional sense, but they never  obliterate or  destroy the  more  quiet, subtle  tones  that dance and  breathe  as he main life  source of the  piece.  “Else”  is  a delicately crafted ambient  drone offering for  fans of  slow, delicate, breathing music to  listen to  on a foggy, crawling  confusing day. Highly enjoyable.

 

You can   check this release and more  from HEY  EXIT,  here

EN NIHIL “DEAD FREQUENCY” Cassette (Danvers State Recordings, 2014)

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Here we have a newer release, “Dead Frequency” from the prolific yet deserted and obscure project called En Nihil, released on Danvers State Recordings The  A  side  starts out a slow,  cold,  ambient windchill of  space and  delicate reverberations. En Nihil is known for his  desolate, dark  heavy death/ambient/industrial recordings  but the “Dead Frequency” tape picks  up the pace  pretty heavily right off the bat. The slowly spinning ambient burner quickly but in a well composed manner, morphs  into a heavy, noisy, industrial hash squall from hell.  Dense, sharp, ripping sounds crumble and spatter atop of each other and  create gray pillars of psychedelic, waves of spiked feedback, and noisy  percussive elements. The wall section of the  piece  builds up to a blistering climax, and then gradually gives itself breathing room and a deeper, more restrained   tension is created. En NIhil swiftly and skillfully creates a monumental tension between the cold, ringing, droning ambient sections, and the harsh noise walls and cities of sonic bombardment.

On this particular release, we have a wide and refreshing scope of styles that are skillfully executed. There is actually a plethora of sounds and  ideas making up this  sinister, unclimbable wall of sound. Even though at times, it just sounds like “noise” , rest assured, it would be counter productive to pigeon hole it as such En NIHIL is a master at riding the waves between noise / ambient / death – industrial and straight musicality. Especially the B side of “Dead Frequency” if you blink for a second you might be fooled into thinking that some of these tracks , composition wise , have a structured sensibility to them, which for this type of music is a good thing in my opinion. There are no happy accidents here, or if there is, they are disguised well, each note , tone and action appear intentional and forthright in the composition and idea.

“Dead Frequency” is the logical progression in the En NIhil discography and takes a step forward in terms of dynamics and harshness but remains true to the unique style that the artist has created. MOre to come from this artist! Keep an ear in the cave.
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DECAYCAST REVIEWS: COCK ESP & GINGER CORTES Split Cassette (Forever Escaping Boredom Records, 2014)

DECAYCAST REVIEWS: COCK ESP & GINGER CORTES  Split  Cassette (Forever Escaping Boredom Records, 2014)

I’ve been a Cock E.S.P. fan for a lonnnnnnng  time  but i have  never  written about, or  attempted to write about their music/noise/destruction, etc but  with this tape, i’m going to, The  side  starts out  with  an insane bass  blast low -end FullSizeRender(14)wall of noise  and  a woman’s  voice, twisted, demonic, screaming and  howling as  it’s being  choked with blood and laughter. The  voice is a constant but a  hellish wall of  squelching noise  ensues and  swallows the voice into despair and hatred.  The transmission is broken, and high frequency walls of nauseating   piercing feedback give a bloody birth, to, what , a thumping beat, a beat???? Yes  folks, thats tight, Cock E.S.P. brings the booty bass on this one. The  distraught voice chugs and howls on,  grabbing onto and biting through the beat until the  skilled vocalist spits it out into a superhero’s afterbirth of a noise  menacing, dark noise  wall,  screaming at and  attacking  the listener  with unrelenting precision and terror. I do  NOT want to know what was going on in the  studio when this was  being recorded, or maybe  i do, but  either way something hilarious, dark, and nauseating was the influence, oh I dunno this  filth of a planet? COCK E.S.P.  does what most harsh bands cant  do, EVERYTHING. they bring the ultimate  package of visual and  aural insanity.Here’s the thing though, this is noise, but it’s done with a  jazz like attention to detail, all whilst embracing the  murky guts of the  chaotic element of bodily fluids, chicken masks, and flying objects.

They literally NEVER  let me down, even when when they’re  trying to let  you down, they don’t, and  that’ll hopefully piss them off 🙂  and this recording, like many I’ve heard are a testament to their hard work in the  studio, in the gutter,  and their  blatant infatuation with  and  disgust with humanity… What a  fucking  good  band, seriously, see them live, but  don’t blink because it’ll be over.  Like this  shit  inspires me. Thank you Emil Hagstrom, Jason Wade, Julia Rau, Paige Flesh, and John Vance for  releasing this blatant harsh assault on my ears and mind, it was much needed.

Despite COCK E.S.P.  being  a very tough, and messy act to follow on the  stage  and on a  recording, The  Ginger Cortes  side holds it’s  own on the B side of this harsh  brain jammer.  GC opens up with a dark, heavy, grinding, repulsive wall of harsh decaying belt  sander  style harsh noise. The  dark, brooding  sound continues on, slaughtering the  listener  with an unrelenting sledgehammer of a  scraping mid  range  springed out static  attack.  Ginger  Cortes grinds and  grinds and  grinds  away until the cochlear begins to flake  and shred off, bleed  and disappear, and  then they stop. They stop for a few  seconds of unknown scraping and  fumbling  around, and then a few  sharp  cuts  and blasts and we’re  right back into the harsh noise anus of Ginger Cortes. Quick,  cutting, bloody  cuts of high range  feedback give splinters of disease Ridden mid-range  feedback clusters, and  atomic blasts of  distortion,…and then ‘be  a good  little girl”……….??????????????   wow, what a tape, what a wild  tape, HIGHLY RECOMMENDED,.

FOREVER  ESCAPING BOREDOM RECORDS

COCK E.S.P.

GINGER  CORTES

DECAYCAST REVIEWS : PREGNANT SPORE / VERTONEN Split Cassette (Forever Escaping Boredom Records , 2013)

DECAYCAST REVIEWS : PREGNANT SPORE / VERTONEN Split Cassette (Forever Escaping Boredom Records , 2013)

The Pregnant Spore side opens up with a fuzzed out, distorted thud percussion pulse and  slices of  choking voices aboot. The  blown out crawling bass slam and  garbled voice slices play off of each other quite nicely, and occasionally giving way to blown out sawtooth death note blasts that come from below and pierce through the mix. Albeit them a little hot in the mix, these jagged bass blasts create a rhythmic structure which shapes a dense and articulate bassline for a plethora of stuttering, FullSizeRender(13)flickering , and what sounds like sampled piano notes bounce off of each other in a loose and playful yet, rhythmically interesting way. The first half of the track held a little more tension for me personally, but the dense buildup toward the end created a relieving and necessary contrast. Overall a wide scope of  timbre and dynamics of sound  are utilized in a short amount of time. Will be writing more about this project in the coming reviews for sure, as we have at least one more tape by Pregnant Spore in the  piles of stuff to do. Now let’s get to the second side.

The Vertonen side comes right out of the gate with a warm yet sharp sounding repeating oscillation of unknown origin which goes on seemingly unchanged and tightly hinged to itself. gently beneath the surface, as if a failed distant audial telegraph, a slow tone begins to oscillate deep beneath the surface and causes a subtle yet growing psychedelic phasing of the original pulse. Slowly but with a determined tension, more and more complimentary voices trickle in and out of the mix, and cautiously roll over each other into a Terry Riley/ Steve Reich esque nod to minimalist classical composition. A short, relevant and beautifully articulate offering from Blake Edward’s Vertonen project.

Overall, a nice short release, although both projects could use a little more room on the ol’ magnet as i felt both pieces were cut off a bit abruptly, however sometimes that’s the way she goes , leave them wanting more yes? a solid release overall, with a brightly collaged color xerox cover, and plushly purple tapes which complement the J card’s nicely. Will be reviewing more from this label in the following weeks.

FOREVER ESCAPING BOREDOM

PREGNANT SPORE

VERTONEN

decaycast REVIEWS : STYROFOAM SANCHEZ “Empire Underwater” LP/DVD/Book Review

decaycast REVIEWS : STYROFOAM SANCHEZ “Empire Underwater” LP/DVD/Book Review

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The tour kickoff in Oakland last night was sooo heavy. Loved it. The Styro gyre is at top spin, about to make land. Open wide murfukrs!
And the STYROFOAM SANCHEZ “Empire Underwater” LP is a required listening milestone. The past just floated away, this is serious soundcraft, lo-fi grabs hi-fi by the skullholes and has its way. Did y’all know what lyrics have been clattering out of the ocean’s brain all this time? Like Sun Ra said “There are other worlds they have not told you of who wish to speak with you.” SS lyrics are too core to their music, grab the book and see what you’re hearing. The illustrations are too much, a labyrinth for the eyeball while lost in the record… none of this distracted half-heard imusic… FULL IMMERSION.
Don’t look past the all new “Coastal Ruin” cassette, neither. Stretched out live sound, perfectly recorded darkness, suited to tape, triggers gooseflesh at the mere memory of styrene squeaks.

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Damn, and the whole  “macular Edema/Occular oOil Pond” DVD! The huge glue-jewel of this whole chemical crown. No spoilers though, suffice to say… don’t let your life suck on milquetoast mediocrity, grip this intense labor, one pkg includes the LP/DVD/BOOK, then the tape is its own. Sink yourself in mile deep layers of some heavy pitch black prescient shit, the future is cresting, about to pile onto your chest. Don’t say you were busy lookin’ at your phone glow.
http://www.ratskin.org/index2.html

-Pharmar Histamine, Resipiscent Records 

DECAYCAST REVIEWS : DJ EMBRYONIC PETIT SAC featuring DURTY DAWG Ef / JOSHUA LOVEJOY split cassette (sweatband records, 2011)

DJ EMBRYONIC PETIT SAC featuring DURTY DAWG Ef / JOSHUA LOVEJOY split cassette (sweatband records, 2011)

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The A SIDE of this is Petit Sac Featuring DURTY Dawg Ef , what or whoever that is we will not know, but Petit Sac crafts super minimal south mouth sample loops, a lot of grunting, squeezing, gascious, robotic sounding loops repeat and repeat. Compared to his live performances, this is really stripped down vocal/ mouth sound recordings. Playful, annoying, and possessed infant/ animal sounds all are given equal weight in the composition to present a truly weird collage of voice and mouth sounds, which for the most part are all unprocessed aside from the occasional reverb, delay, or stutter effect. The end of the side builds up with two or three layers of stuttering voice Bloated and pitched at different intervals offering some “musical” resemblance but for the most part the mix is comprised of static stuttering vocal workouts. Not nearly as dense as other Petit Sac stuff I’ve heard but this is from 2011.

On the split side, Joshua Lovejoy opens up with a quiet ticking, ambient low fidelity tone wash. As the track breathes the ticking seems to vary in speed in an organic way but always creating a tension between the other quiet sounds in the background. I keep glancing at my tape deck to make sure the tape is playing at normal speed, and to my surprise, it is. There is a nice tension created between the quiet, rumbling drone and the ticking. Eventually after about five minutes the water clock sound scrunches and screeches to a hault and then flips on it’s head in reverse . The static rumbling in the background stays pretty much unchanging throughout the entire track and eventually the ping ceases and the listener is left to contemplate their existence through this barely audible fuzz as it fades out to silence. Very minimal tape overall with Petit Sac side holding a little stronger interest and variation wise.

JOSHUA LOVEJOY & DJ EMBRYONIC PETIT SAC @ Foxy Digitalis