DECAYCAST Reviews: Woven In “”Profess” (Grimalkin Records, 2020)

Decaycast is back from the catacombs just before halloween to share this special release day review of the newest release from one of our favorite labels, Grimalkin Records who are always bringing important, under-represented artists into the forefront. One of their newest releases is “Profess” from GR-artist Woven In, which continues the strong presence of GR releases that bridge genres in really interesting and innovative ways in 2020, and since they have started really, and Woven In is no exception.

Woven In “Profess” is the 9th album from Woven In, the moniker of multi-instrumentalist Mariah Fortune-Johnson (she/her). Twenty-nine year old Mariah has been releasing music under the name Woven In since 2013.

On her newest offering, Woven In builds a sonic bridge across multiple styles to create a cloak of warmth, discovery, humanity and information through minimal electronics, voice, and movement. Fortune’s voice glides across the honest, minimal , rhythmic glassy synthesizers which create a perfect back bone for her to enrich the meaning of these relatable, warm compositions through the speakers and into our waiting consciousness. Pulling from early Kraftwerk with the intimacy of Wizard Apprentice or Arca, Fortune has created both a sound a a space all her own, while referencing a relatable and inviting composition style.

Tracks such as “Spoken From The Heart” offer an honest and intimate look into the album’s mantra perhaps “No it’s not very nice, but it’s spoken from the heart”. The phrase repeats as a dark heavy buzzing synth backed with looping synth arpeggios create a beautiful and heartfelt nod to 90’s Euro dance and late 80’s minimal electronics, all while accented through her lush, in the pocket, hauntingly elegant vocals; absolutely my favorite track on the record.

This record isn’t just for feeling good at the club or inside you perfect personal space however, this is a record connecting her own struggle as a Black Women in America as a central theme throughout the record;

“It’s social commentary on being a Black woman in America,” says Fortune. There are other themes within the album, including love, kink, and a couple of contemplative instrumentals. Digital only proceeds will be split evenly between Black Land Ownership and the Black Creatives Redistribution Fund founded by Mariah Fortune. The Black Creatives Redistribution Fund’s website is here

Through a powerful combination of voice electronics and percussion, Fortune has created a minimal pop masterpiece which will grow on the listener as it did me, beginning as a minimal pop record and blossoming into a contemporary minimalist electronic masterpiece. This record is honest in that it keeps on giving, it keeps letting you in with each listen, opening up new portals of meaning and new orientations to sound and meaning, and that is not an easy thing to do. “Profess” is out today and you can buy it here

DECAYCAST News: Experimental Pop Artist Dani Lee Pearce Shares Her Video Triptych Single; Watch Now

Grimalkin Records  Artist Dani Lee Pearce Shares Her  complex and vibrant  Triple Video Single from new album “For As Briefly As I Live”

Nor a premiere in the traditional sense but we wanted to present these three works from Dani Lee Pearce which range from hi energy experimental pop/rock to lush, serene, symphonic minimalist ballads- released on Grimalkin Records.

The complex first single “I’m Gonna See My Abuser Again”  tackles a character questioning their own experiences,  and how they can possibly free the mental grip of a negative relationship and break free from a cycle of abuse through seemingly upbeat experimental pop strategies, but open the second and third listen, the nuance and complexities of this track come out for all to see.  The  high energy synth, percussion, and vocal production puts the listener in a state of hope, a little anxiety, and wonder, wishing for the protagonist to escape the violent clutches of an abuser

“Deep Red”  is a funky, whimsical, yet dark animation /live-action mashup which captures the breadth of Pearce’s work in an elegant and astonishing way.

“When All Things Are Well”, the third single is the most serene and morose of the three in both visual and aural presentation. Lush symphonic synth lines are encapsulated by Pearce’s stunning vocal delivery.  Pulling from Bjork, Elton John, and Spellling, Pearce has created a lush and dynamic sound all her own.   You can also subscribe to the artists Patreon Page here.

“Commitment has the ability to intertwine such mutually opposite but attracted things like love and death in ways often unexplained or unexplored. The two are either separate or complimentary, never in between. This album is a collection of songs that explores this from the perspective of a frequently shy, nervous, and lonely trans woman; Someone in a period of processing the implications of her own mortality in an unstable time, while at the same time, being absolutely smitten with a devotion that’s made for a timely antidote which makes living worth its rough and complicated while.”

from the label:
Proceeds from cassette purchases of this album, “For As Briefly As I Live” go to Critical Resistance in Portland, OR. “Critical Resistance seeks to build an international movement to end the Prison Industrial Complex by challenging the belief that caging and controlling people makes us safe. We believe that basic necessities such as food, shelter, and freedom are what really make our communities secure. As such, our work is part of global struggles against inequality and powerlessness. The success of the movement requires that it reflect communities most affected by the PIC. Because we seek to abolish the PIC, we cannot support any work that extends its life or scope.”
criticalresistance.org

 

Grimalkin Records

DECAYCAST Reviews: Waxy Tomb “Imminent Fold” (Gilgongo Records, 2019)

DECAYCAST Reviews: Waxy Tomb “Imminent Fold” (Gilgongo Records, 2019)

WAXY TOMB is the work of multimedia artist Jules Litman-Cleper. We’ve been following the work of WAXY TOMB here at Decaycast for many years and after a splatter of homemade CDR’s over the years it’s nice to see her work presented in proper LP format, as well as adorned with the nuanced, futuristic, cyberpunk influenced digital art that they have come to be known for through video, live performances and 2D works. The LP is also accompanied with an art book containing expanded variations on a theme of the cover art. The other-worldly visuals are the perfect compliment for the music; dark, nuanced, intricate, alien, and complicated.

The sound of “Imminent Fold” continues where previously homemade releases have left off, with conceptually dense, yet structurally often minimal and stripped down electronic compositions, though there is structure; these exist as “songs” in the traditional sense, however they gel and mutate within the lexicon of Waxy Tomb’s visual and aural landscape to continue to tell a part of a larger story. The voice has always been an important aspect of Litman-Cleper’s work, and this LP is no exception, pushing her extended vocal techniques in effected ways further than they have existed before; blending beautifully with the dark, throbbing chirps of synthesizer explorations and static noise crumblings. Litman-Cleper’s sound is at once alien, and robotic, yet natural and “comforting” in a way. She is able to ride the tension of creating simultaneously a record, that, in a sense is both an experimental electronic record and an electronic pop record, and one pinned together through the visual and aural alien language that the artist has come to define within her aesthetic set. Pulling from assumed influences such as Laurie Anderson, Cosey Fanni Tutti, Tara Cross, and Bjork, Litman-Cleper creates a style of experimental electronic , left-field music all her own which speaks an alien language that with “Imminent Fold”, we just begin to understand and are all the more rewarded for it. Highly recommended.

Order via Gilgongo Records