DECAYCAST Reviews: Bonnie Baxter “AXIS” (Hausu Mountain, 2019)

Ok so once in a while something so twisted, mutated, alien and sinister lands in the inbox and what a rare joy this situation is, and that’s exactly how we would describe the new album “AXIS” from Brooklyn based producer Bonnie Baxter, which, by the way is out NOW on the esteemed and never disappointing Hausu Mountain imprint, and you should go buy it right now! On “AXIS”, Baxter blends chaotic electronic blasts of sputtering, broken IDM rhythms with chopped and mutated alien vocal transmissions. The pacing and intensity are both set on high as Baxter belts forth a scattering array of tempo, time, and timbre changes seemingly on the neckline of a dime, all while creating a dark, unsettling yet unifying and coherent collection of tracks. This is maximalist music for an alien invasion where the beings slice open the ear, amplify it and reconfigure the soud intake structure; it is now inverted and begins omitting violent, brooding, and cynical laugh tracks for the apocalypse. Some tracks such as, “Spirit Enema” focus on more minimalist, albeit twisted takes on IDM/House music percussion with ominous shifting tones backing childlike vocal tone poems. Despite the often whimsical yet twisted vocal presentation, the electronics hold their own and never stalemate, every sound within every track is a now sonic discovery that adds depth and complexity to the album overall and the track within itself.

Other tracks like the later “Celestite” offer lush undulating muffled brass like textures which give breadth to complex yet minimal percussion tom lines as well as wells of elegantly placed reverb and delays, all sitting beautifully and elegantly in the mix. The sheer range of sonic explorations sound wise, percussion and vocal wise is impressive in itself , but the fact that composition wise, this album flows so well, despite it’s wide chaotic reach and conceptual points of entry, drops it in the highly recommended category for us, don’t sleep on this, A+ twisted electronic jams!

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DECAYCAST #031: GUEST MIX – HEADBOGGLE “Spill and Spell 1”

DECAYCAST #031: GUEST MIX – HEADBOGGLE “Spill and Spell 1”

Fresh off the heels of his recently released synth exploration album on “Polyphonic Demo” Headboggle’s Derek Gedalecia crafts up a sonically diverse mix of archaic and contemporary experimental sounds for DECAYCAST Guest Mix series, enjoy!

Gedalecia: “I started open format college radio DJ-ing in the early 1990s and took a break when I moved to the west coast in 1997. From 2011 to 2013, I had a weekly show on Radio Valencia called “Greek Mind” where I would play the rare records from Blu Ray soundtrack transfers to flexidisc dubs while also featuring live remotes and on-air appearances by experimental noise artists. Spill and Spell starts a new era for my open format selections by way of a modern mix. These hourly episodes will be airing soon via New New World Radio in Moscow as well as select blogs and websites.”

00:00 The Shaggs – Sweet Maria (unrel reissue 7”, 2016, Light In the Attic)

02:20 The Outlaws – Crazy Drums (Valley of the Sioux 7”, HMV, 1961)

05:08 F.C. Judd – Children Playing (Background Sound Effects 7”, Castle)

06:33 John Davis – Idly Sit The Sun excerpt (Bimodal Press LP, 2018)

07:32 Pierre Henry – Difus (L’Occident Est Bleu reissue LP, Aurora Rising, 2016)

12:57 Moebius – Rattenwiesel (Tonspuren LP, Sky, 1983)

15:59 Gilles Racot – Subgestuel excerpt (Archives GRM CD box, 1991)

20:07 unknown jukebox song (TúLan Vietnamese Cuisine, S.F.)

23:06 GIlles Tremblay – Fleuves excerpt (Tremblay LP box, Radio Canada International, 1983)

23:57 Brian Wilson – Shortnin’ Bread (Adult Child unreleased LP)

26:27 Flanger Magazine – Untitled (Breslin LP, Sophomore Lounge, 2018)

27:48 Imaginary Softwoods – The Rocky River excerpt (The Suncoast Digest LP, Mineral Disk, 2017)

28:48 Earle Brown – Hodograph I (Feldman / Brown reissue LP, Doxy, 2013)

32:15 Anti-Ear – Sulphur (Robutts CS, self-released, 2018)

34:20 Ryan King – b-side excerpt (How I Learned to Stop Worrying and Love to Bomb CS, self-released 2019)

35:20 LSD Underground 12 – b-side excerpt (s/t reissue LP, Lysergia, 2014)

36:15 Krzysztof Komeda – Main Title (Fearless Vampire Killers reissue OST, Polonia, 2000)

38:25 Attilio Novellino & Collin McKelvey ‎– b-side excerpt (Metaphysiques Cannibales LP, Weird Ear, 2018)

39:25 Bruce Haack and Miss Nelson – Little Brown Jugs (Funky Doodle LP, Dimension 5, 1976)

42:38 Un-Kommuniti – Winterkill Organa (Black Dwarf Wreckordings ’83-’85 reissue LP box, Vinyl-On-Demand)

48:33 Raymond Scott – Cindy Alternate (Pop_Rock) (Three Willow Park reissue)

49:58 Steve Roden ‎– a-side excerpt (Lines & Sp Aces LP, self-released, 2006)

50:58 Peter Hansen – If I may trust the flattering truth of sleep (Trajectories CD, Slask, 1996)

56:35 Adrian Rew ‎– b1 (Slot Machine Music LP, Hanson, 2014)

57:35 Sebastian ‎– b-side excerpt 45rpm (Sebastian Speaks! Your Watchdog On A Disc LP, Grr-r-ecords, 1980)

DECAYCAST #032: GUEST MIX: Victor Vankmen “Wild Workout at Noon Thirty Vol. 1”

DECAYCAST #032: Wild Workout at Noon Thirty Vol. 1

Mixed by Victor Vankmen

Freestyle Vinyl Dub Edits and 12” Mixes

Featuring tracks by legendary tape editors and producers:

Aldo Marin

Andy “Panda” Tripoli

Boy Wonder

Bruce Forrest

Carlos “After Dark” Berrios

Charlie “Rock” Jimenez

Chris Barbosa

David Cole

J.A.G

L.A. Martineé

Little Louie Vega

Oh, Oh, Omar Santana

Robert Clivillés

Roger “OSN” Pauletta

Stevie B

The Latin Rascals

Tolga

Winston Negron

Mixed, recorded, edited by Victor Vankmen

Radio skit produced by Victor Vankmen, Ivan, Eli 

Track during radio skit: Victor Vankmen and B.I.N.T. – 17 TH ST (Diamond Center Dub)

Shout out: MD, Ratskin Records, Eli, Ivan, B.I.N.T.,  VAMP, Champion Sound, Jose Melendez

DECAYCAST Track Reviews: GOLDEN CHAMPAGNE FLAVORED SWEATSHIRT “Human Animal Chimera”

GOLDEN CHAMPAGNE FLAVORED SWEATSHIRT “Human Animal Chimera”

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With “Human Animal Chimera” GOLDEN CHAMPAGNE FLAVORED SWEATSHIRT offers a blistering, slow-building rhythmic forward synth and drum track with various unheard and unique textures churning heavily in the background to create a thick, warm, but  slightly unsettling blanket to cloak your ears in as the track progresses into a darker, more sinister climax.  The drums are sharp and steady, militant, and pummeling, sitting perfectly in the mix to create a high tension blend of industrial, dubbed-out industrial forward banger. The bombastic drums create a stabbing and calculated backbone for the synth and other sonic parts to rattle this heavy and brooding sonic machine just as it’s ready to attack. Pummeling bass drums and toms   hammer away as a symphony of buzzing synthesizers creating a refreshing concoction of dissonant, yet unified and very well gelled sound. The sound of GCFS is both dark, and complex, while retaining a unique cinematic edge, which is often missing in more traditional forms of dance and industrial music. Sputtering and groaning synthesizers,  chirping sharp noise blasts and mangled voice samples create the sounds of animals and humans being glued and stapled together in a twisted, primitive lab, which sounds morbid, and yet, I can’t turn it off, I just want to hear more, and this is the fifth go around for this track for me in writing the review. This sounds great in headphones, but I can only yearn for this  track to be blaring in a club akin to the blood rave scene from Blade. I wasn’t able to find much on this project but follow their bandcamp and pick up the tracks that are there, you WILL NOT be disappointed. Heavy electronic music tracks are a dime a dozen, these days, but  Golden Champagne Flavored Sweatshirt bring hope for those of us who want our dance music, dark, heavy and uniquely heavy. A really refreshing listen, will be back for everything this project releases.

-Monier Watson For DECAYCAST

 

 

DECAYCAST Premieres: Post-Industrial Darkwave duo V.E.X. Shares New Video “Dancing At The End Of Time”

DECAYCAST Premieres: Post-Industrial Darkwave duo V.E.X. Shares New Video “Dancing At The End Of Time”
0006663860_10Bay area artists Roxy and LuLu, as V.E.X., (and a myrid of other projects) have been playing music and creating art together for years on end in the bay area and beyond, yet somehow always bring something refreshingly new and politically necessary to the table, and their latest single, supported with a brand new video here “Dancing At The End Of Time” is certainly no exception.
From the artists;  “Dancing At The End Of Time” is a low-fi synth ballad of remembrance and resistance in a dying world, the true story of two femme freaks gentrified out of the city but not out of their souls, holding onto their love in spite of all the hate, dedicated to crafting underground subculture music for outcasts, the forgotten, and those fighting back in this genocidal abusive white supremacist capitalism patriarchy death spiral.
“Dancing At The End Of Time” offers a celebratory, yet real and  visceral look at two femmes resisting the violent forces of oppression and gentrification through the streets of a forgotten and endlessly morphed San Francisco.  “Dancing…” gels haunted vocals and murky, analog synth arpreggiations, creating both a serene and haunting vibe which encapsulates the listener into a tale from the past.  Watch the  video below and read some words on the track and video from V.E.X. below. The track is from an upcoming split with Moira Scar.

“Roxy and LuLu have been playing music together since 2001, as The Floating Corpses, Angel On The Nod And The Phantasy Defylement, Terrran Traumantics, Moira Scar, and V.E.X. being the most recent incarnation. V.E.X. (Vortex Empath Xen, formerly Voltage Empath Xanaxax, Ventriloquest Ectoplasmold Xanaxax) is Lu Lu “Lucifer” Gamma Ray and Roxzan “Roxy Monoxide” Zatan as industrial-dark-wave synth-punk surreal-doom noise-romance duo. V.E.X. creates, V.E.X. records, V.E.X. plays shows.”

Check their bandcamp below and make sure to check for select tour dates and an upcoming split with Moira Scar.
https://xanaxax.bandcamp.com

 

DECAYCAST Reviews: Sabriel’s Orb / John Atkinson “Split” Cassette (Whited Sepulchre Records)

DECAYCAST Reviews: Sabriel’s Orb / John Atkinson “Split” Cassette (Whited Sepulchre Records)

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Sabriel’s Orb,’s side on this tonally deep and sonically diverse split brought to us by Whited Sepulchre Records’s split series begins with powerful, cinematic synth breaths of arpeggiations harkening back to early Susanne Ciani and Phedora-era Tangerine  Dream, but her deep exploration into meditative synthesis doesn’t stop there, Willow Skye-Biggs who has been making experimental music for over a decade pushes the  sounds and phrases past the confines of their own limit into a beautiful, tone poem of meditation and ritual. Distant pulses, blend with warm lush synthetic  adventures through the air, into the ear, through the brain, into the heart and out through the feet like a nostalgic chill that is  gone before we can even pinpoint it’s origin. Willow Skye-Biggs music has always seemed  fixated on ritual, and the tones of her side of the  split act like a guiding light through a cinematic, landscape unknown to previous inhabitants.

From the label: “For the fourth in WSR’s split cassette series, John Atkinson is paired with SLC-based artist Sabriel’s orb. Willow Skye-Biggs has spent the last decade exploring the intersections of identity and ritual through her ambient, experimental and techno projects. Most notably, she created soaring, beat-oriented experimental-pop under the name Stag Hare and bedroom techhouse under the moniker ariel. “

For his side, experimentalist John Atkinson offers two ambient meditations which compliment the other side beautifully and offer a similar but unique on minimal ambient / dronescape music. Atkinson slowly and meticulously crafts slow moving pulses like the  first rays of  sun  coming over the  walls of  fog on an early morning barren landscape, unwitnessed and un-manipulated by humanity. Atkinson, through his various soundtrack work and  work with NY group  Aa  (Big A Little A) has clearly come rather close to enacting complete control over what are ultimately  natural and organic sounding drones.  We never hear the human hand, and it’s quite beautiful.  On the second track, “First Rain of the New Year ” Atkinsons’ cresendo peaks with a noisy, fuzzed out climax which is the perfect ending to this minimal yet powerful release.

 

 

DECAYCAST Reviews: CONCRÎT “Far” (2018)

DECAYCAST Reviews: CONCRÎT “Far” (2018)

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Madrid, Spain outfit CONCRÎT blends decayed out ambient textures with atmospheric howls, delicate, haunting, creaks and bends in sound and tension, mixed with dark industrialized rhythms, and heavy field recordings ranging from disaster to psychoactive terror/tragedy.  CONCRÎT takes the raw field recordings at a great value, using the voice as a sort of lead guitar over the top of the dark, churning, mechanized rhythms of catastrophic failure with  dissonant rhythms. “That’s the way freedom is and we wouldn’t change it for a minute”. The music could be higher in the mix, though it does afflix the listener’s brain on the tension and caustic nature of these events blended with such mechanized, alienating sounds, though at times the voice does become so dominating we almost forget we are listening to “experimental music” though it’s not for the worst effect.  The ambient sections prove to be some of the stronger work on “Far” though the whole album holds it’s  weight in dissonance, and minimalist looping  rhythms. Closing with “0000” an unknown field recording of  chatter and a detuned, decaying piano rhythm slowly spins the listener into the end of this dark and morose sonic offering.


“FAR is the first EP of the dark ambient/industrial act CONCRÎT, based in Madrid, Spain.
The EP moves between soft programming and noisy mechanical rhythm mixed with historical speeches and ambient sounds, FAR is inspired by the human need to reach further and the consequences of exploration and conquer, the hope and the horror; Inspired by the voices of Amelia Earhart, Ernest Shackleton, Neil Armstrong, and the accident of the shuttle challenger and the attack to Hiroshima, with American presidents Reagan and Eisenhower’s speeches. The last piano piece is inspired by airports as non-places, where even travellers on their pursuit to the most remote destinations remain anonymous.”