Decaycast Reviews: CONSCIOUS SUMMARY “EXHAUSTIONS” (SKIN TRADE RECORDINGS, 2O18)

Decaycast Reviews: CONSCIOUS SUMMARY “EXHAUSTIONS” (SKIN TRADE  RECORDINGS, 2O18)

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The newest work from LA’s CONSCIOUS SUMMARY carves a sharp and distinct  lineage from their previous works to this newest release from California based SKIN TRADE RECORDINGS. “Exhaustions”  encapsulates the delicacy and intimacy in which Samur  Khouja, the person behind Conscious Summary handles his sounds.  The first side, “Commitment To An Extinction” begins with a low, bubbly rumble just below a present volume and continues to undulate at a stasis-like pacing of a slow churning dark, gurgling sounds interjected with sharp and poignant shards of violent sorcery. The aggressively present scraping eventually gives way to a more subtle, peaceful tone poem of pulsating drones. We  are left in a contemplative, peaceful place, but not for long, a new dawn is on the horizon, one we did not plan for. The peaceful poem turns into a dynamic battle for space and form; shivering blades of sonic chaos, accented through monstrous  spurts of distorted, harsh, frequency battles, which slowly and effortlessly take control as background synthesizers pulse, hum, and vibrate with ascending tones while the chaos ensues.  After a brief but present harsh section the listener is once again placed into a new identity, which gently, calming efforts of swelling sine waves, which are so delicate and nuanced they almost weep to the listener in a morose, subtle, nuanced phrase.

The B side offers more voice forward pieces with stretched voices and textured, articulated synth happenings  work in a high tension psychedelic harmony similar to the oncomings of a long, desert experienced LSD trip, but this psychedelia is sonic, and not  chemical based. Through masterfully mixed and layered synth and voice sections, Khouja creates  high tension electronic happenings,  with choked and  eviscerated voice offerings thumped by a sub bass drone/beat that will take the listener unto the next plane of  existence, an unknown place  with spatial distortions unknown to our  current mind.

The sounds of “Exhaustions” pull from harsh noise, drone, ambient, and new age strategies in the best way possible, referencing these historic practices while simultaneously shattering the expectations of what any of these could and should be. Khouja masterfully blends these styles in a hypnotic, meditative tour de  force of minimalist contemporary electronic music. “Exhaustions” is not worlds away from the work of say Pauline Olaveros or Terry Riley however it offers its own dynamic breath of sonic interpretation. “Exhaustions” is poised, patent, and all around a profound minimalist interpretation of space, form, tension, and experience. Highly recommended, there is also a special edition encased in a  wooden box which looks beautifully crafted, and a perfect enclosure for this cavernous work of  experimental electronics and voice.

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DECAYCAST Reviews: Jeff Carey “Zero Player Game” (Ehse Records, 2018)

DECAYCAST Reviews: Jeff Carey “Zero Player Game” (Ehse Records, 2018)

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Jeff Carey‘s  2018 “Zero Player Game” which is actually out today synthesizes noise, cyberpunk concepts, and  abstract composition and  chance into a dark, heavy stew of experimental music. Carey’s sound on “Zero Player Game” is raw, fast moving, and uncompromising, at  times, sounding like a glitch-heavy classically inspired contemporary experimental music composition and other times bypassing the  dynamic and sharp ebbs and troughs for the all out sonic approach of mayhem. Carey’s sound oscillates between distinct and sonically intentional strategies. The sheer amount of  sonic spaces occupied throughout “Zero Player Game” is astonishing to say the least; sounds vary from thickly wet, pulsing pillars of square wave madness, short, quick, bubbly flesh being torn from bone accentuated by a cavernous thud, longstanding ambient background drones which create the architecture for Carey’s joystick of chaos to oscillate between endless synth and sample parameters in mere seconds. Whatever the compositional idea throughout, Carey has clearly mastered it. Carey’s sounds are deep, alive, and present, and despite their customized instrument/presentation being grounded in the  digital realm, sounds so life-like and present one can feel a slithery long arm reaching out of the speaker and  gently stroking your spine with a poisoned feather tip is the overall vibe of the sound. VISCERAL and R E A L, containing all what so many lack, ‘Zero Player Game” pulls no punches that operate outside of it’s own chaotic, but idiosyncratic structure and form and is in solid control of its own sonic destiny.

“Zero Player Game” is comprised mostly of intense, sharp and dangerous, cut-up music with an organic, live and honest feel, something not easily achieved. The press release states,  “Jeff Carey’s fourth CD release is is electro-instrumental music performed with custom software controlled by a joystick and gamer keypad. Zero Player Game is an intensely artificial sound world where beats and bass lines are replaced with an elastic structure of synthetic texture, feedback and bit crushed noise blasts” which offers a deeper explanation into how exactly this  style was developed and we wonder for this release specifically? However “Zero Player Game” was created compositionally, it at no point leaves the listener in a static, boring place, for every sonic action is a new adventurous wormhole for the ear to slither down into as the brain begins to break attempting to decipher these cosmically deep and  adventurous soundscapes.  Highly recommended for fans of noise, harsh noise, and electro-acoustic cut-up. Angrily blistering yet peacefully blissful music for the curious ear. Jeff is also on tour  supporting this release so check the dates and his website below!

NOVEMBER 6, Bushwick, NY @ H010 Gallery

7, Providence, RI @ Machines with Magnets

8, Ithaca, NY @ The Chanticleer

9, Columbus, OH @ Fuse Factory

10, Louisville, KY @ Kaiju

11, St Louis, MO @ The Juice

12, Dayton, OH @ Skeleton Dust Records

13, Chicago, IL @ TriTriangle

15, Pittsburgh, PA @ 3577 Studios

16, Nyack, NY @ Nyack Village Theatre Boutique

17, Philadelphia, PA @ Vox Populi

DECEMBER 2, DC @ Rhizome

3, Johnson City, TN @ The Hideaway

4, Gainesville, FL @ The Limin Room

5, Miami, FL @ Churchills

6, Orlando, FL @ Wills Pub

7, St Petersburg, FL @ Paper Crane

8, New Orleans, LA @ Mudlark

9, Birmingham, AL @ Firehouse

10, Asheville, NC @ Static Age

DECAYCAST Track Reviews: SIGNOR BENEDICK THE MOOR “Srsly” (Deathbomb Arc, 2018) + Tour Dates!

DECAYCAST Track Reviews: SIGNOR BENEDICK THE MOOR “Srsly” (Deathbomb Arc, 2018)

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Deathbomb Arc recording artist, and genre mutilator SIGNOR BENEDICK THE MOOR holds nothing back emotionally or stylistically with their reverent track “srsly” from the “Toybox” release on the esteemed longstanding imprint, who has helped spawn such artists as Death Grips, clipping. JPEGMAFIA and many more. On “srsly”  Moor begins with an honest, present, fuzzed out vocal presentation “bout to lose my body and soul” as an equally fuzzed out bass drum thuds in the backroom over the  artists melodic and vehement vocal presentation. The voice then mutates to a cleaner version, back to an ancient telephone fuzz, and then again to layered, almost “auto-tune” style vocals as the bass drum and claps refrain and break down, allowing the artists voice to dictate the pacing and  emotional expressions that is SB THE MOOR.

 

Un-categorized, yet defined, concise yet expansive, the sound of “srsly” is unmistakable, yet nothing quite like I’ve heard in contemporary hip hop.  Moor’s vocals oscillate between sung, spoken, and stuck in sonic sorcery as the track floats into a beautifully melodic breakdown where Moor’s voice shines atop the throbbing, warm, pulsating beat underneath. Warm synth pads creep underneath the beat to give a tingling sonic  topping to the already flushed out  beat, and ends as beautifully as it begins.  Moor creates music that defies rigid genre configurations and limitations and instead offers a futuristic, radical, idiosyncratic take on experimental  hip hop and r&b. Catch them on a  west coast tour right now,  stopping  in Oakland this Friday at at Pro Arts  gallery with  openers  Golden Champagne Flavored Sweatshirt and WOE. Check the tour poster below for remaining dates!

 

 

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– Maniere Zappone

DECAYCAST Premieres : Mathieu St-Pierre ” These Elephants”

 

DECAYCAST Premieres : Mathieu St-Pierre ” These Elephants”

Slow, bubbling, long-form settle yet creatively present aural shifts of ambient swells from Canadian visual and  audio artist Mathieu St-Pierre.Lush, warm  tones  slowly pulsate to give the listener an soft  and gentle tone poem, displacing place, space, and  sonic orientation. St-Pierre paints lush  portraits of barren Canadian landscapes losing the listener over and over and over into a foggy, shimmeringly vibrant yet thick sonic haze. Chirping arpeggios give breath to layers of buried, shimmering, textured  sound  explorations. Phase out and take a deep listen. Also don’s sleep on their  extensive array of expended glitch art here : http://www.mathieustpierre.com

“Mathieu St-Pierre is a Canadian experimental visual artist, specialized in the fields of video art and photography and more specifically in glitch art. His passion for experimentation within a multitude of video manipulations stemmed from a lifelong passion of cinema. Since, he has refined his passion for visual art to focus on the creative medium of digital glitches, generative art and net art”

‘This is the first album by visual artist Mathieu St-Pierre. In this musical venture he explores the relationship of ambient sounds with the medium of the internet. More specifically by incorporating Google Maps’ Street View to his musical vision and therefore creating a new interactive experience.’

DECAYCAST REVIEWS Petridisch – “A Fixed Point” CD/Cassette (I Heart Noise, 2017)

DECAYCAST REVIEWS Petridisch – A Fixed Point” CD/Cassette (I Heart Noise, 2017)

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Petridisch”A Fixed Point” CD/Cassette are already sold out in physical form (both CD and  cassette) but you can get a free download over there at the  I Heart Noise Bandcamp Page , which is a label and multimedia platform hosting a rather active blog of the same name. Petridisch’s  vocal and  percussion forward offerings of multi-layered, slow  ambient sonic explosions and chants of densely layered synths, build a wide variety of complex timbral experiments and densely articulated specimens. On “A Fixed Point”, Petridisch begins with slow shimmering waves of  ambient, buzzing waves, decaying, cavernous claps  and slowly and  steadily builds  layers of washed over plumes of texture and memory while structures of rhythm and  percussion begin to take form. Synthesizers slowly and  craftily edge  their way in with soft, present  swells,  mid  tempo arpeggiated sines, and layers of  ambient noise sustaining bright,  shimmering, articulate sonic  events.

The voice is an important part of this record and it adds a beautiful cloak around the various  track elements and really does gel all of the different  elements together as a compositional superglue.  Four short, ambient explorations pull equally from The Cocteau Twins, Boards Of  Canada, early Eno and  so much more, and so much less in the best way  possible, as Petridisch truly has cast their own unique sound into the  ethos of the word of endless sonic discovery and invention.  For fans of ambient, drone, early Tangerine Dream,  Terry Riley, and early synthesizer music, Petridisch packs a huge arsenal of sonic weapons in a  release that  is barely twelve minutes long, Highly recommended.

 

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DECAYCAST Reviews: Reverent – “Live Exorcism 2017” (American Damage, 2017)

DECAYCAST Reviews: Reverent – “Live Exorcism 2017” (American Damage, 2017)

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Reverent is the  Chicago based project of  Jordan Reyes and, for the  duration at  least of this release,  focuses on strictly voice- based industrial / loop based  rhythmic works.  The sound of Reverent oscillates between traditional primitively rhythmic based  industrial, drone, and ritual music / chanting and experimental noise. This specific release is titled “Live Exorcism 2017”, and functions both sonically and conceptually very much in that realm. In one section the listener is being led on a more pronounced almost spoken word / beat section of the performance and then things begin to shift to a slower, more abstracted version of a similar piece. Reverent never stays in one lane too often throughout the piece, always  keeping the  dynamics and composition shifting in an interesting and unique way. Technically speaking, a rather full vocal range gives the artist the ability to construct full sounding works from just the voice, I’ve heard other vocal based acts which can come off as gimmicky or contrived in a way but Reverent is absolutely not that at all. Every bar, ever loop, every breath seems intentional and  carefully places, there’s never really a slip  up, we as the listener are presented with a polished, dense, articulate set of vocal explorations, which are no short of  songs unto themselves, but also they exist a much more; an exorcism, a nervous, manic cleansing of the performer.

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Reverent is truly a unique project, sound and concept wise, as I cannot really compare it to anything else. Stylistically, it could exist in similar realms of drone / percussion pioneer Z’EV, NURSE  WITH WOUND, COIL, but could also operate in a  more contemporary  undiscovered space/zone as well,  blending dense layers of  vocal processing to an almost fever-dream style of symphonic production. The sound of Reverent is nervous, trance-like and for  lack of a better tern, darkly triumphant. Reyes really does craft all of the parts of a traditional “song” with just the human voice, bass lines, poly-rhyhms, leads, and more  traditional vocal layers; an entire band is born from the esophagus;  come alive. Even if you are dead,  you will be reanimated by the  ritualistic chanting drones and  oscillations of Reverent.

 

Reverent is about to  embark on a short  tour and here is the information below. Make sure to catch one of these live rituals if possible; if so much  can be gained from just a live mic  recording of these works, imagine what they must present like in the flesh and in the ear; NOT TO BE MISSED.

 

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DECAYCAST: MATMOS INTERVIEW (Nerfbau Interviews Matmos, remastered)

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This interview was conducted as the first official interview by Decaycast aka NERFBAU jsun Adrian McCarty and Michael Daddona interview experimental music underground stalworts M.C. Schmidt and Drew Daniels of Matmos, in their then SF Mission District Studio/apartment.

We did this a long time ago, but i think many of the questions and content holds up really well and also it’s nice to hear Jsun’s voice as a distant snarky beckoning to the past and future Matmos was a rather big influence and Jsun and my early work as Nerfbau and later as Styrofoam Sanchxz and Coral Remains and were without a doubt monumental in the formation of Ratskin so I thought it would be nice and fitting to re present this. We stayed up all night the night before, myself on speed and dope and Jsun chain smoking cigarettes to prepare for this, arguing over
questions, prepping cassette decks withpre recorded hidden questions on time travel and the sound of dreams, we ended up hiding several cassette recorders throughout Martin and Drew’s studio oinged with questions which interrupted the normal interview. In our early morning franticness and nervousness (we approached the interview more like a performance / collaboration than a traditional interview ) we even managed to spill coffee into a tape machine which housed some really important master audio tapes containing interviews with Drew’s mother before she had passed We told that story for years, how if it was our studio and some high kids came in to interview us and nearly ruined a priceless historical document we would’ve kicked them out and dragged to no end, but they didn’t do that, we were welcomed, as peers, collaborators and family. One of the most fun interviews I’ve ever done. Enjoy.
-MD for Nerfbau, 2018

follow matmos at :
http://vague-terrain.com/