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

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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/

Decaycast Reviews: MARLO EGGPLANT “head​/​rush​(​ed)” (Vaux Flores, 2018)

Decaycast Reviews: MARLO EGGPLANT “head​/​rush​(​ed)” (Vaux Flores, 2018)

by Dr. Decaycast

 

Momentus sound artist, label head of  Corpus Callosum Distro, longtime noise queen, and curator and  founder of the  legendary Ladyz In Noyz compilation series,  UK based  Marlo Eggplant offers her  newest work via Travis Johns VAUX FLORES imprint (who also happen to make some  fantastic pedals and homemade  electronic instruments). Eggplant’s newest offering, titled  “head​/​rush​(​ed)”  enacts a wide array of  sonic offerings through short but powerful tracks.

From minimalistic, low keyed crawlings of static plumes, plucks  and voice breaths, such as highlighted  in tracks such as  “one1one“,to  spacious, prickly, washed out hills of dark reverb swells of  distorted, orchestral style string drones to  harsher, more rhythmic and  industrial leaning works such as my personal favorite on this release, “Premeditated”; Eggplant covers a wide but cohesive range of  experimental styles.

The album’s standout, “Premeditated” blends  droning sawtooth synthesizers,  high frequency, high tension noise walls of static fuzz, and  screaching, crawling voice  stabs spike out  from out of the darkness of confusion.  This track could easily hold a torch to early Kevin Drumm, Chelsea Wolfe, or even Diamanda Galas without even a  sonic flinch of  disorientation, but offers yet again so much more for contemplation through it’s own aural and compositional strategies.  Nothing on “head​/​rush​(​ed)” come off as flat or static works however, they are short intentioned sonic offerings of  sacrifice of self, weight, brevity, and sonic deconstruction. Eggplant has never  strayed too far away from the  harsh side of noise, however these pieces, while harsh, hold a cinematic and even musical  character to them without  losing a single percentage of intensity, and abstraction; a line that is  rarely toted this  successfully  by any contemporary artist, and this album is no exception. Eggplant has clearly mastered the high tension model of  dynamic composition and uses this to her favor  with no end in sight. These tracks could easily be scenes to a yet imagined film and yet hold so much narrative within themselves that the listener is almost forced to imaging the physical and etherial  spaces that Eggplant sonically articulates throughout “head​/​rush​(​ed)”.  The record crescendos with an equally intense, albeit more musically and slightly less noisy and possibly deeper and more personal offering titled onmyown ” which features a vocal and  chord forward morose and sad ballad in the vein of Tara Cross or an early more subdued Daniel Johnson,  which focuses on the erasure and heartbreak of  not being seen. A beautiful and humble ending to a strong, sharp and intentional offering from Eggplant, always honest, present and esoteric, Eggplant remains one of the most  interesting and unique unsung  heroes of contemporary noise.

 

 

DECAYCAST Reviews: Katatonic Silentio / Tremco / Neurosplit / Oromë (Biodiversità Records, 2018)

DECAYCAST Reviews: Katatonic Silentio / Tremco / Neurosplit / Oromë (Biodiversità Records, 2018)

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This collaboration shifts  honestly between many many different  sonic spaces; in the least contrived blending of  beat oriented synthesis and, well plants.  Riffing off a  theme of the releasing label, Biodiversità Records, Katatonic Silentio / Tremco / Neurosplit / Oromë create a dense, special world of  sonic possibilities in a structurally rhythmic call and response ping pong of tense, delicate, and complicated sonic events.  Oscillating between dissonant beat oriented electronic music which the  artists admit could be  considered “techno” but the  four to the floor mindless speed comedown hooks are  left  by the wayside for a more atonal, arrhythmic, deconstruction of traditional “techno”, “dubstep” or whatever step” you take away from these quaint but pungent sonic exercises.  “Pteris Variata” unduates  between slower, cold, tense pulsing rhythms, occasionally backed by more straightforward  percussive  voices, however the  ambient  swells and  tense array of  noises never  allows this to become too much of  a  unique sound; the tracks and  sections move  swiftly and  articulate their space and move on, nothing forces the listener into a corner relentlessly, rather  creates a dark and interesting space for the listener to crawl into if they choose and explore a lush, dark, cinematic sound.

Background  swells of anciently articulated sawtooth waves  swell and wobble under a filter noose and offer an ambience which the percussion rhythms can dance around without dominating the mix.  Overall the  vibe is minimalist, tense, cinematic, ambient. Clickity, tapping, bass drums drive the  rhythm exercises through a  full workout of  sonic possibilities ending with perhaps the  EP’s strongest track, ” Oromë – Athyrium cantem” which speaks to  early Phaedra era Tangerine Dream, Wendy Carlos and  even references current producers such as Cloudland Canyon or Peaking Lights.

Will be  digging more through this  Italian based label’s catalog and seeing what other dark, pulsing treats we can find hiding in the brush.