DECAYCAST Reviews: SHARKIFACE “Climax In A Process” (No Part Of It, 2023)
Bay area “static witch”Sharkiface aka Angela Edwards shocks the underworld with her stunning new full length album “Climax In A Process”on the once Chicago- based No Part Of It imprint. Through many collaborative projects such as Pigs In The Ground, Tarantism, Crack W.A.R., DemonFace, Secretarial Pool amongst many others. Much like her live performances, “Climan In A Process” is dark, haunting, ethereal and throbbing saences. These works hold sharp, nuanced pillars of tension, like tightroping along razor blades into the foggy night, just outside the casting eye of a killer. Sharkiface employs an unknown array of unique, handmade, customized loopers, synths and samplers which sew webs of haunting vocals, human voice modulations and distortions, slow throbbing synthesizers, and distant strings and percussion.
Hell bells, back masking, throbbing pulses of invisible shards of glass slice your feet and ears as you glide backwards into a terrifying and unknown world. Shrieks of ritualized chaos peak and flow throughout a barren, cold psychological architecture. Pulling from Pauline Oleveros, Meredith Monk, Diamanda Galas, Throbbing Gristle, Italian Horror, Russolo and Mario Bava excavations, On “Climax In A Process” Edwards has crafted and refined a sonic world all her own in all it’s bloodsoaked, chaotic, tense walls of whispers, an absolutely terrifying sonic form and space. Absolutely essential listening.
Before we dive into the album, let’s address this pesky comparison that Algiers have been getting lately: TV On the Radio. If you have been listening to music made by black people or if you are a black person who makes music that is stubbornly uncategorizable, receiving said comparisons will be inevitable. This is a comparison that the band savagely smirked at on their track “Can the Sub-Bass Speak?” But if you will, I can be able to help explain why the egregious comparison to such a band may not be as farfetched and random as it seems.
Like TVOTR, Algiers can kick out an electrifying jam when they need to, and when it happens, you can feel the passion through your body and soul. But they are not above also singing with a tired, angry world-weariness of negro spirituals long ago. And often when they sing, it is of anything they can use to either survive or battle the inevitable decline of our nation. They also gleefully mix genres when they sing tracks of despair, love, strength and hope. The difference between Algiers and TVOTR, remains this: neither Tunde Adebimpe or Kyp Malone can spit a smooth 16 like Fisher, tho.
On “73%”, Franklin Fisher spits as if he has been waiting for a long minute to shit talk the abyss and as he does it, he makes damn sure he isn’t alone. Zack de la Rocha gets his turn to grit his teeth on “Irreversible Damage” while the notoriously anonymous billy woods and horrorcore visionary Backxwash each trade red-eyes bars with Fisher on the first single “Bite Back” wrapping up the hell felt during the space between now and the 2020 protest/coronavirus plague. Throughout Algiers’ discography, it always sounded like the band wants more than justice, but a sense of revenge. It sounded like looking for resolve and not receiving one. Shook is the first album where Fisher no longer sounds alone.
If you are one of those who enjoyed the There is No Year bonus “Void”, you will be glad to know Fisher has not lost that wild fervor, as he spits bile towards clueless Caucasian people with supposed POC friends on the cover of “A Good Man”. But amidst the sneering at the world around him, Fisher also takes time to zero into his own world and heal his heart in the process. After going through a breakup, “I Can’t Stand It!” tackles his depression after the breakup with the assistance of Future Islands’ frontman Samuel T. Herring. Where past songs tackle the desolate scene that began with an Atlanta train station announcement (“Everybody Shatter” with Southern poet Big Rube), “Momentary” is that glimpse of light ending the album with a poem/meditation on death with Lee Bains III (of Lee Bains III and the Glory Fires) at the podium.
I neglected to mention the continued genre-agnostic attitude on this record, but all that needs to be said is that the album takes genres ranging from dub to jazz to garage rock to electronica to hip hop to gospel and soul and manages to weave them all in the project without sounding any bit out of place. As a result, the album feels constructed with the ear of a musical auteur. It was created to sound less like just a disc with songs on it, and more like a soundtrack to a collection of feelings and moments at one time. It’s the sound of coming to grips with everything that has happened.
Calling Shook a record of community would feel reductive and too focused on the red herring, but if the artists didn’t also know what it is to kick against the gates of hell, and choose to help rage against it, too, there is no telling whether or not it would have worked. It’s easier to say that if you felt an energetic lull on There Is No Year, Shook will sooner put that worry to bed than it would that pesky comparison they have been receiving. – mynameisblueskye
“Cats From Venus” is the newest full length offering from Bay Area stalwart and all around magical musical hybrid presence MAYA SONGBIRD, who between runnings her own label, Wired Weird Entertainment, The Magic Shop – a brick and mortar retail space in Oakland, CA as well as producing events, and meticulously handcrafting merch of a myraid of shapes and sizes, including a custom candle line which has garnered a cult following around the bay area, has found time to give us another stunning full length record of her signature style. “C F V has all the signature Maya Songbird musical stylings; retro, sexy synthesizers which create movement in the mind and body for even the most sour wallflower. “C F V” gives track after track of unmatched vocal performances over her queer and funky brand heavy electronic post punk / disco. A collection of ten soon to be favorites dance numbers which will last through your next three breakups.
“You let me know I’m not appreciated”
The songs on ” C F V…” are powerful, quirky femme anthems and demand their own space and time from each other and other works in the “genre” as a whole. “C F V” is a special and beautifully honest and unique album which only Maya Songbird can create. On “I Don’t Ever Have to Be Nice” the artist belts out the empowering, lines of self actualization over a heavy, hypnotic beat and stirs a pot of seductive sweets and spices for the perfect recipe of self empowerment.
“Cats From Venus” is Songbird’s most fully realized full length project to date. Released by Oakland, CA’s Psychic Eye Records “Cats From Venus” combines queer disco beats ala Patrick Cowley’s productions for Bay Area disco legend Sylvester, funky, sweaty, sensual, funky post-punk freaked out numbers topped with iconic vocal performances from Songbird on nearly every track. “Cats From Venus” is the queer party album packed with anthem after anthem lined up in a row for this fall 2022 which has left us in a world that’s both at once gifting beauty and breaking apart at the seems. We need Maya Songbird’s “Cats From Venus” now more than ever, but do we deserve it?
Via the artists website maysongbird.com, the artist states about “Cats from Venus” –
“This album I got a chance to really speak my truth and heal especially on human life/Live Again. I honestly can say when Live Again was recorded I was going through something tough. Promise me you will listen to every word I wrote on this song ok? Its really dope how Amelia the producer had driven up to oakland from la and we recorded I think “Live Again” and “You should be dancing” in my living room space.”
“Disco Bill” is one of the albums creative peaks, as it has the potential to move a room of thousands all the way down to driving a singular dance party at the end of an earbud. “Seduction”, another banger that’ll have you take over the steering wheel from the bus driver and crash the bus into a pond filled with LSD and neon pool noodles as you scatter away to the party, set a cop on fire to light the room just to make love on the dance floor.
Available on Cassette and CD from Psychic Eye Records and Wired Weird Ent now!
Cincinnati Ohio’s Fourth Wife has released an electric high energy mixed genre album on the newly formed Culture Vacuum Recordings, titled “Head Fell Between Two Horses” and for our Decaycast {Track} Reviews section we’re focusing on the second track from the album“Attic”. The track is a high energy, high anxiety explosion of indie rock prowess oscillating between early Radiohead, Drive Like Jehu and Elvis Costello although it doesn’t 100% totally resonate in any of those reference points and carves out it’s own clanky, spastic, and energetic path. The mix is boisterous in a rewarding and almost noise rock way; egging on and amplifying the intensity of the clanging of guitars, synths?, percussion and vocals in a layered and enjoyably chaotic way. Frantic percussion, fuzzed screeching guitars, and layers of shouted vocals provide the backbone of Fourth Wife’s sound, and “Attic” is a great representation of the album overall. Fun and chaotic, and for all of the layers the mix is surprisingly very well executed, tune in and listen today.
Let’s go ahead and call this ‘noise-opera’, though enthusiasts of both disciplines will no doubt balk at the suggestion. This is not a lazy application of a loose monikor, however. ‘Tissues’ is a rarity in so far as it seems to engage with opera – and specifically the libretto – in a manner that extends far beyond pastiche, with a precise, meticulous vocal engaging with recognisable operatic techniques and extending them. The voice is used here both as a traditional instrument and a versatile sonic tool, not shedding the past but embracing the wealth of avant-garde composers – the likes of Maricio Kagel, or Esa Pekka Salonen – whose work has managed to puncture the future and straddle the past simultaneously. Nor are we treated to a cursory, dumbed-down invokation of noise-aesthetics. Between the driving, angular synthesis, and the muted distortions that underpin them, the listener is left with a pleasingly refined soundworld, and whilst it is by no means ‘noise’ music proper, it certainly calls upon that horizon, forging a hidden intensity from elements that might simply be functional in the mitt of a lesser composer. Theres probably loads going on here that I’m not picking up, and probably loads I’m getting wrong, but I don’t care – this whole album is awesome, inspiring stuff, the sort of thing you don’t want to get, or might never get, such is its fundamental depth and beauty. If it sounds like I’m smitten, I am. ‘Tissues’ walks a very tricky path – a journey littered with sonic devices that are used often and badly in incalculable inferior works, yet rendered here with precision and granduer, succeeding by virtue of an audible dedication to the minutiae of its material. It’s all excellent, but Part 3 in particular soars, with angry, staccato piano chasing a measured howl through a windy terrain, a brewing storm of buzzing distortion rising to euphoric crescendo, broken only by the emergence of the voice, descending into a dense fog, monotonous and playful, theatrical staccatos balancing against the dying ebb of a fractured tone, the artificial labour of a cello or broken radiator. No one description fits any given sound, each part bleeding into the next, a constantly evolving intensity.
– Daniel Hignell (Difficult Art and Music, Distant Animals, 7000 Trees)
DECAYCAST Announces Preorder For HAURAS 4/9/21 “Chant For A Broken Chalice” OUT 5/7/21
HAURAS has crafted a lush and foreboding sonic landscape with “Chant For A Broken Chalice”, their first release for Oakland based imprint DECAYCAST. On “Chant For A Broken Chalice” intentional and otherworldly sounds envelop into a whirlwind of a slow churning concoction of beauty and anxiety. Dense choral envocations pulse over a sea of strings, keys, percussion and voice. HAURAS crafts tense and delicate music concerned with the rapid decline of empathy as intensified through the violent throes of capitalism. Both meditative and a warning, like a distant pulse of a lighthouse gently peaking over the fog as a distant warning of impending doom and collapse, scary and at this point completely unavoidable, but wow the beauty and elegance of the message is not something to soon be forgotten.
“My work is concerned with the psychology of society at the end of Civilization.” – HAURAS
The first single “Hold My Hand” takes a psychedelic dubbed out industrial approach to transport the mood and psyche of the listener to a blissful yet slightly unnerving underworld. The vocals glide through the mix like a robotic worm infecting an unknown host. Like most of Hauras’s work; “Chant For A Broken Chalice” holds the listener in an hourglass where time is rapidly and chaotically slipping away. Intentional, heartfelt, and intense.
“You’ve heard of the Music of Tomorrow? This is the Music of the Day After
Tomorrow.” – Chris Ryan (Composer, Cerddorion Ensemble,, Tzadik)
“The sonic equivalent of expired film in my Holga.” – Richard Youngs
Sarah Davachi, Laaraji, Father Murphy, Low, Tom Carter, Common Eider King Eider, Mary Lattimore, Tom Weeks, Lee Noble, Louise Bock, Clarice Jensen, Jonas Reinhardt, Carl Hultgren, John King, Lea Bertucci,
B L A C K I E: Face the Darkness reviewed by mynameisblueskye
“What is freedom to the average person?”
How ever you answer that question, the one thing you should know is that it probably doesn’t mean the same thing as does to art-punk auteur Michael LaCoeur aka B L A C K I E. To those who have ever listened to B L A C K I E, you will release that his album represents a natural freedom. The freedom to just be the man he was made to be without the world seeking to destroy him or cage him in. Nomadic by nature, nonconformist by choice and perhaps even by nature and unafraid to encourage it for others in his position. The opening lines of “While They Try to Kill Each Other” outlines one of his overall thesis of being B L A C K I E over electric drums better than any of us could ever try.
“Children laugh while they try to kill each other/at least the blood returns to the earth where it belongs, and out of the hands of in power”, bellows Michael in his dry and world-weary town crier scream. With danger everywhere in his wake, it would make sense that he finds silver linings here…if that is what you want to call it. On “There Is No Light”, he reports the history of laid waste in front of and committed towards the people. “There was no food, there were fists/there were no light, there were fists” all to come back to the devastating line. “We use to eat each other!” Entrails wrapped in crimson blood line the periphery of wherever B L A C K I E looks, even amongst those who towards those who call themselves allies and heroes. His second overall thesis “I am not you’r nigger!” is delivered in an angry tone only punctuated by a deep sense of pain and sorrow.
B L A C K I E’s mind may be a mass of continuously spinning wheels, but he will be damned if it ever spins for you. Even as he tackles topics such as suffering from a crippling addiction (“How to Let It Control You”), toxic “patriotism” (“Wave Your Flag”) and fascism/fake empathy (“Uncounted”), Michael knows that even HE is not above occupying the hot seat. Painting a picture of anxiety through a descriptive lens, “Meet the Demons” is claustrophobic in its description of not being able to think and feel freely.
Not being able to just be without judgment. So, after all of this, hearing him emerge free and ready to escape on “It Can’t Define Me” feels not only heartening, but like an anthem written to those looking for their own escape. B L A C K I E’s Face the Darkness may start off as B L A C K I E in the slaughter line witnessing victims meeting their end in HD and plotting his escape from such slaughter, but it sees to it that he isn’t his own cause of danger to himself. In the midst of this, B L A C K I E emerges with one last message (clue, rather) that overall defines not only the entire album, but the world and the philosophy of B L A C K I E: “Look around/Don’t look down”.
– Mynameisblueskye
Mynameisblueskye is a singer, songwriter, poet, and occasional blogger. An American-born Renaissance man who loves music so much, he has too many videos in his Watch Look after list. His bandcamp can be found here:
DECAYCAST Guest List: We asked some followers and co conspirators to round up their favorite music and art from 2019. Here’s the first installment with Bay Area artist and producer Gremlins2Movie
2019 was a year, big year, very big year and after a hiatus from listening to music entirely, these are the songs that held my attention during this further plunge into the hellscape we know as planet earth.
We will begin this yearly round up of my favorite songs of the year with a song that didnt come out this decade. I think everyone should hear this at least once.
While this is just a lead up track to what is my favorite concept for an album all year, Spencer Clark sets you up with some information regarding the basis for his soundtrack to the still unreleased Avatar sequel, Avatar 2. If text to speech for 9 minutes and 19 seconds isnt your cup of tea well i suppose you could just not listen to anything.
100 gecs – 745 sticky (Mikey Joyce Still Stuck Remix)
Well first off if you arent aware of 100 gecs im sorry to hear that you must need help immediately,. Now there was alot of 100 gecs remixes this year some might say there was…. 1000 of them. But this stands as one of my favorites of the year. One of my favorite remixes using a beep beep horn.
Not only is Tyler one of my favorite artists, singer and songwriter, she consistently puts out music that will make you smile and cry at the same time and puts on a lovely intimate live performance that is not to be missed. I urge you to listen to the full release, Devil, and would be hard pressed to find anyone who doesn’t fall in love with it.
Charli XCX – Thoughts
Now for something completely different, Say or think what you want about charli or pop music in general(you may be right but probably not), but i really think she did something great with her latest release simply titled Charli. I went with thoughts mostly because im keeping with the theme of songs ive cried to this year. Everything from the simple but effective drum part, those autotuned “oooo’s”, something about ballad that isnt afraid to touch on the fact that everything around you is literally fucked speaks to me. (second choice is: official)
Staying with the theme of songs ive cried to multiple times this year, we arrive at my favorite 100 gecs song of the year, spawning the now infamous phrase : I Might Go Throw My Phone Into The Lake, Yeah. And possibly being one of the only songs of the year futuring autotune and grindcore vocals. I really cant just pick one song off this album so just listen to the whole things 1000 Times.
DJ DJ BOOTH does “it” again with this song that was stuck in my head for a good month or two after hearing it, probably my favorite piano part in a song this year. Its just simply fucking good. And should be on any uhhh playlist that you listen to before going to church.
I spent years ignoring the output of Burial but this was the track that made me actually listen to and fall in love with Burial. No one wants to hear anyone wax poetic about burial, but this song fucks big time.
When i read a tweet about this song on twitter dot com i was like oh hell fucking yeah and it really paid off, this year we have learned that i really fucking love just straight up wall of texts on a nice track. Another example of a track and album that just simply goes the fuck off. Towing a line between music that might ask you what your major is and if you have any more drugs.
Just the whole damn thing, it is a touching tribute to a friend who has since passed away and its keeping with the theme of music i have cried to or have made me cry. This release was featured on fact dot com according to tweets.
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.
DECAYCAST Interviews: A Deep Look Into Collective Grimalkin Records.
We stumbled across VA based label collective Grimalkin Records on the internet, and this discovery proved the internet still occasionally can surprise you in the best way. Here’s a in depth look into the label and collective as told by, and questioned by their own collective members. The best interviews often feature little of the interviewer, so we went one step further and removed ourselves entirely from the discussion, enjoy and make sure to buy some of their fantastic music here! The label varies aesthetically however the overall presentation is unified and concise, yet sonically there’s something for everyone on their bandcamp, so take a look!
Nancy Kells (Richmond, VA), founder and leading facilitator of Grimalkin Records, also creates music as Spartan Jet-Plex.
Elizabeth Owens (Richmond, VA) is a musician and visual artist and helps with various logistical and design work for the label.
Liz (to Nancy): What are some big plans you have for Grimalkin down the line? Any specific projects you have in mind?
Nancy: I would love to put out a collective member compilation. It could benefit a specific person or organization or whatever we want to do. It would be nice to do some other compilations with various members curating different ones or members collaborating on curating it together. We could also do one as a collective where we each pick a song of someone else- we each ask one person/band we know for a song for it. I would love it if we could grow enough to do releases of 100 where proceeds from 50 could go to a non-profit or cause and the half could be given to artist to sell as they want at live shows or on Bandcamp or their website. It would eventually be great to have a setup to dub and do all j-card printing work. I hand dub them now, but it’s a small setup where realistically it would be too much to do runs or 50 or more. I’d love to have a community recording studio and do workshops on how to home record, do releases on your own, play music, whatever people were interested in hosting and attending. I love collaboration and would be interested in putting together small projects with others. I love that kind of thing. Maybe we could do one large mega-collaborative song with all of us? That would be very cool and probably a lot of fun.
Liz: In what ways do you hope Grimalkin differs from other labels?
Nancy: In comparison to bigger labels, even some smaller indie labels, we aren’t a business. If we were to grow and could get grants and be non-profit to support people on a larger level with stipends and then also in terms of raising money for organizations and collectives but also individuals in need. I personally admire Virginia Anti-Violence Project and the work they do. I would love for GR to be a place were we could do workshops and educational things but also support on learning things and how to be creative and play music- and then also individual support for people and even counseling. I also really admire Nationz and what Zakia McKensey has done for RVA. I see Grimalkin as a collective group of musicians who can help organize the community through music and in doing so can organize with others in the community as well and support other organizations and individual people.
Liz: How do you find new artists and decide who to approach about doing a Grimalkin release/joining the collective?
Nancy: My hope is that collective members will naturally know people or have friends who’d like to release- just building a community and support our talented friends. The people I’ve asked to join or release with us are people I’ve seen play live or from playing with them in Womajich Dialyseiz Mainly from being out at shows in Richmond.. I have met a few people on Twitter or through organizing benefit compilations as well which is great. So Kate is from Guayanilla, Puerto Rico and Berko is from Baltimore, Mabel is in Philly and Quinn is from Springfield, MO. It’s really cool to have people elsewhere and that our collective is branching outside of RVA.. I envision Grimalkin one day as supporting small music communities in various places. I know that’s lofty, but I can dream. We encourage people to reach out to us though.
Liz: If someone wanted to support or join Grimalkin, what are some of the biggest needs of the org in terms of labor right now?
Nancy: We want people to join us who feel like what we are doing is right for them. You don’t need to be in collective to release with collective so it’s more about just collaborating in various ways. Having people join us who feel like they have something that the collective would benefit from but at same time, it’s a no pressure thing. No one has to do anything specific, but if you want to contribute, that’s welcomed and encouraged. Everybody in our collective now contributes in various ways- graphic design, artwork, recruiting new people to join us or release music, social media promo, mastering songs- and we could help with mixing and recording as well, helping book shows and organize benefit shows. Also, just being a supportive friend to others is being part of the collective. Sometimes support is just showing up when you can. To me, that is important and I have a lot of respect for everyone in collective. And each person cares greatly for the world and all of the injustice and wants to do better and I think that ’with music is what brings us together.
Liz: Where you you like to see Grimalkin go?
Nancy: I’d like it to be a place where people can come to for help with their music and for support but also without expectations and strings. Like a home away from home or place you can come and be creative and help others and collaborate but a place you can come and go as you please. I’d love it if eventually we had enough money where we could pay people stipends to help them create their work or take care of themselves. Get paid for shows or creating artwork. Just a positive community where we raise one another up and help people when we can. Being around creative people inspires creativity and collaboration and support. It would be great if at some point we had a recording space people could use with equipment. It would be great if we eventually had a proper printer setup to do j-cards completely on our own. I’d like to get two of my tape decks fixed and try to have a much better dubbing setup. If we ever grow to doing larger runs, that would be wonderful. Maybe we could dub albums for friends then as well which would help a lot of people. I’d love more people to join the collective but at same time don’t want people to feel they have to join to release or collaborate with us. I’d like Grimalkin to support other people’s collectives and projects. And on same hand, would love to see us grow with people who really want to contribute every now and again or as much as they want and be part of the collective. I want us to be this network of people basically and we do what we do when we want or can to work with and help others
Nancy: I think benefits of creating music might be similar for both of us. We’ve both talked about how music is a way to process life and channel a lot of dark emotions into something positive. When did you know creating and writing your own music was important to you?
Liz: I started writing music as early as 7 years old, and knew it was important then. I used to get punished a lot as a kid and as a result ended up spending a lot of time in my room with nothing but a pen and paper and a lot of feelings. Before I knew how to write my own music I would just put my own lyrics to other songs (an early favorite of mine was the Harry Potter opening theme…). I’ve always used poetry as a way to work through my feelings and putting the words to music helps solidify the message in an emotional way for me. It didn’t really occur to me that my emotional/mental health largely depended on making music as a therapeutic device until about 5 years ago, though. I think I’ve gained a lot of clarity and healed a lot as a result of that insight.
Nancy: How has your personal sound changed over the years?
Liz: I think most of the change in my sound has come from collaborating with other musicians and challenging myself to think differently. My dear friend and musical sister, Micah Barry, has had a huge impact on my sound because we flow really well when we write together. She’s an incredible guitarist, so challenged me to write more complex and fluid guitar parts for Coming of Age, for example. Access to weird instruments has also shaped my sound a lot; Dave Watkins, who helped record Coming of Age, lent me a bowed psaltery which I learned to play and used heavily on the album. I also just acquired and fell in love with a lever harp. So curiosity and a love of learning new instruments has a lot to do with it, too.
Nancy: How did you meet the people who play in your band? You all really seem like you fit together when you play live like perfect puzzle pieces. Your music solo is wonderful. Growing Pain is particularly beautiful. I love that EP and all of those songs except the intro are on Coming of Age. The intro is this beautiful ambient and vocal piece that you can also hear ideas that end up on Coming of Age. Perhaps you think of Growing Pain as sketches for Coming of Age or maybe they sit separately as two entirely different things or a bit of both. I wonder how you view them in relationship to one another and what you think your current band brings to the songs on your new album?
Liz: First, wow thank you! Regarding my band mates, we fit really well together because I was friends with everyone before we started playing together. They’re all kind, perceptive listeners and I think that’s the key to making a band work really well. We have fun together. Regarding the EP vs. full album, I definitely think of the EP as a sketch of Coming of Age. It helped me lay down an intention for the record and feel out the sound before committing to a full band and recording plan. It also helped me realize that the songs were begging for added instrumentation and a spirit that could only exist with more people present, hence the band. It was really difficult to hand over these extremely personal songs to other people at first, but I’m so glad I did because the record wouldn’t be what it is otherwise, and I wouldn’t be where I am otherwise. Working with a band has done amazing things for my depression.
Mabel Harper (Philadelphia, PA) has a variety of music and writing projects including their solo project Don’t Do It, Neil, and helps with recruiting bands, artwork and graphic design, and mastering releases. She has a new album, B/X, out with us late June 2019. You can view her first video and single, Strawberry Cake, below.
Nancy: Your new album that you’re working on has a newish sound for you. What do you think inspired this change? I actually think your sound varies from listening to your Bandcamp. I think experimenting and trying new things is great and important in growing as a musician. I think it’s really exciting that you’re trying new things. Is there anything that stands out to you about doing things differently than you have previously?
Mabel: K-pop inspired the change. People shit on boy bands and pop music and stuff, but I think, when it’s really good, it’s good at crystalizing emotion in an accessible way. I basically see Don’t do it, Neil as an experimental pop project—not experimental as in, I wanna make something alienating, but experimental as in, I don’t wanna limit myself. It gets boring if you do the same shit over and over! I really believe that you can’t grow as an artist if you just keep doing the same thing over and over.
Nancy: You collaborate on a web serial through Form and Void. How did you get the idea for that series? You also have some music collaborations as well. How does your music collaborations differ from the writing and how to you see them in relation to each other? How does writing differ creatively for you from music and from your various collaborations?
Mabel: We got the idea for Form and Void after a long time of not collaborating and then one day just being like, “Maybe we should do something?” And, from our mutual interests in the historical practice of magic, queerness and identity issues, and stark human fucking darkness, Form and Void arose. I see writing as totally different than making music. Writing for me is something I find naturally collaborative, while I find that hard as fuck to do with music. I’m just so into my particular vision, that I find collaborating on music really frustrating. Of course people have their own ideas, but, if I feel strongly about something aesthetically-speaking, that’s it. That’s the way that shit’s gotta be.
Molly Kate Rodriguez (Guayanilla, Puerto Rico) makes music as kate can wait, and helps with recruiting new artists and collective members.
Nancy: Kate, I think you said you just recently played out solo as kate can wait for first time or first in a long time. I played my first ever solo set as Spartan Jet-Plex a month ago which was very scary. Just guitar and vocals is really intimate and kind of intimidating to do in front of people, at least it was for me.How did you get prepared for your show and how did it go? Do you have any advice on how to prepare and for getting your head in the right space for it?
Kate: It was my first time as kate can wait but it was the 3rd solo show I’ve ever played. My first 2 shows were me singing over a backing track but this one was the first time it was just me and my guitar. I practiced a lot,more than I ever have and the show actually went well. I’m a very indecisive person so I was still choosing songs for the setlist the day of the show which added a lot of stress to an already stressful occasion. My advice would be to not think about things too much and just have fun with it. People react positively to honesty and passion in a performance so just go for it.
Nancy: Kate, Out of everyone in the collective, your music is probably most similar to what I do with Spartan Jet-Plex. What is your writing process usually? And do you usually write lyrics and guitar simultaneously or which usually comes first for you?
Kate: My writing process involves me grabbing my guitar and playing around until I’ve found a chord progression I like,then I sing over it and if I like the vocal melody enough then I decide to make it a full song. Sometimes I end up recording the first thing I play and sometimes it takes me a long while until I come up with something worthwhile. I almost always write lyrics after the music, I find it super difficult to match up music to pre-written lyrics though I do it on rare occasions. I don’t like to spend too much time working on songs because I enjoy my first reaction to the music so my writing process for the most part coincides with the recording process. Sometimes I’ll go back and add or subtract things here and there but I normally spend a day on each song,2 at most.
Nancy: Kate, You mentioned that kate can wait and this current style of music for you is fairly new. I think you mentioned doing ambient and noise type music projects previously. How were you inspired to switch gears and write the kind of songs you’ve been currently writing? And do you ever miss doing ambient and noise and do you feel like there is room within the kate can wait project to bring those other sounds into it or how does that work when you’re writing music?
Kate: I made ambient and drone music from 2010 to 2017. I also dabbled a bit with instrumental hip hop,meditation and noise music and while all of those things were very exciting to make I’ve always wanted to make singer-songwriter type of music. Experimental music is very gratifying to make but sometimes you just wanna work on songs with verses and choruses and the like. I never felt confident enough to do it and my access to recording gear has always been limited so I always saw it as a pipe dream. I’d like to mix both things in the future but at the moment I have no real desire to go back to that sound. I feel like I ended those projects off on a high note and I’m ok with that.
Berko Lover (Baltimore, MD) met founding member Nancy Kells through organizing one of the compilations we put out as Friends For Equality. She’s been supportive of the work we are doing and helps with recruitment as well. Berko and Nancy just released their collaborative project, MERGE, this month.
Nancy: Berko, what is the music scene like in Baltimore? What are your favorite hangouts and places to see or play music there?
Berko: The music scene in Baltimore is very vibrant and and eclectic. There’s something for everyone.i love it and I am very proud of my peers. I love playing anywhere where the sound guy really loves to mix. That’s hard to come by but it’s a magical night when you sound like you want to sound.
Nancy: You created a food show. I loved how you edited it together with the different restaurant visits around the city and also the music. How did you come up with the idea to do your show and how do you view it in relationship to your music and other collaborations you do with various people?
Berko: I use my show as a vehicle to drive my music. I shot a bunch of footage but lately have been in a weird creative slump. I’m working on getting mySelf out of it and am pushing myself to get my show back up. I love food so coming up with the idea was easy. The execution and discipline to continue on hasn’t been as simple.
Nancy: I know we collaborated and I am excited to finally release it. I love So Nice Yesterday. Whenever I do a collaboration, the other person is bringing something unique and different to the table and it’s fun to see how you can bounce ideas and mesh with someone that works and possibly sounds different than you do. What is your motivating factor for working with Cazre? You both sound great together musically and vocally. You also were in another collective a while back and have collaborated quite a bit. What do you think makes it work?
Berko: Cazre is my best friend. Working with him is easy and the friendship motivates it. However, working with someone is always difficult when your both inspired in spurts. Getting on the same page can get challenging but once we do it feels and sound gorgeous. But our mutual respect for the talent each brings to the work is what works. I know that I perform my best in collaboration with him & I know that also does in regards to working with me. We bring out the best in each other musically and understanding that is what we focus on.
Sarmistha Talukdar (Richmond, VA) is a scientist, visual artist, and musician, and founding member ofWomajich Dialyseiz, a queer improv noise collective. They help with organizing benefit shows and designing artwork for releases and events. Their solo music project is Tavishi.
Nancy: Sarmistha, why did you form Womajich Dialyseiz and how to you think Grimalkin can support the goals of WD? My favorite times playing with WD were when it was just a get together and not a show. Liz and I have talked about scheduling one seasonally. Emily R said she would be down to host at her house. We could not only get together for an improv session but also share what we are all working on outside of WD.
Sarmistha: Womajich Dialyseiz was formed to create a safe(r) space for women, non-binary and trans artists to improvise and collaborate artistically. I think Grimalkin can continue to support the goals of WD by continuing to support and provide platform to marginalized artists. It makes me happy to see members of WD having and organizing cozy musical get togethers!!
Nancy: What types of benefit shows, events and people do you think we should organize a benefit show for this year?
Sarmistha: I feel we could host fundraisers for ICE out of RVA, Southerners on New Ground (Black Mama Bail Fund), Richmond Food and Clothing Initiative, Advocates for Richmond Youth, The Doula Project, these organizations tend to not get enough funding or visibility even though they are really doing great work. We can try to support undocumented immigrants who have taken up sanctuary in Richmond (ex Hands off Abbie campaign), there are many community advocates in Richmond who are struggling but hesitate to ask for help, I would like to fundraise for them as well. For example Maria Escalante has been trying to help migrants in Southside through Richmond Conexiones, but has been going through a lot in her own life. There are several QPOC folks who need money for hormones, gender-affirming surgeries but do not have the means to do that, we could try to fundraise for them as well. We could potentially even fundraise for a small scholarship for QPOC folks who might need a little help with their work/studies/creative efforts.
Martina Fortin Jonas (Portsmouth, VA), who makes music asMELVL, helps with recruiting bands and musicians and organizing benefit shows. They also serve on the board ofThe Transgender Assistance Program of Virginia.
Nancy: Martina, Your music sounds both ancient and new. What are your inspirations?
Martina: I am a classically trained instrumentalist and have been an early music enthusiast for most of my life, so ancient music, medieval music (shout out to my girl Hildegard von Bingen!!), renaissance music, and generally just music before 1750 A.D. have a huge grip on me. Some of my other favorite composers include Leonin, Machaut, Josquin, Mealli, Uccellini, Marais, Handel, and of course, Anonymous. Other artists I love that influence my work are Enya, Sade, early Grimes, Alcest, Pink Floyd, Treha Sektori, Csejthe, Araphel, Batushka, Atrium Carceri, Endvra, Coph Nia, and more.
Nancy: You teach at ODU? I think that is correct. What do you teach there? How do if at all does your teaching impact or influence your music? I was a special education teacher and taught middle school math, algebra and English. I always felt like my work was directly in relation to my music. I feel the same now too as a vocational counselor. I think my job always affected my art or music but it has had a more positive impact as I felt like what I was doing was meaningful to me outside of a paycheck.
Martina: I have taught at ODU before, but currently I teach Intro to Linguistics, Written Communications, and German at Hampton University. Usually I keep my music and teaching pretty separate from each other, but over the years I have found that it is teaching that helps me the most with the stage fright I deal with in my musical endeavors.
Quinn Wolf(Springfield, MO) is a musician and podcaster who recently reached out to Grimalkin about joining via email. She plans to help with recruiting and planning future podcasts.
Nancy: How did you get involved in the video game project Transhaping? Can you tell us about your experience working on the project and how you came up with songs for the soundtrack and what attracted you to the project?
Quinn: Unbound Interactive put out a call on Twitter for trans musicians to contribute to the soundtrack. A friend of mine sent me the link, and I just sent them a quick DM with some SoundCloud links and forgot about it until they messaged me back. I really wasn’t expecting anything, since I hadn’t done any paid work of this scale before, but the Unbound team were both super cool and committed to telling their trans story with trans talent. I let them know the genres I’m used to working in, and they gave me the task of making a handful of short songs to play on in-game radios. I naturally sketch out short musical ideas with different synths, so making these tiny tracks came easily to me. Unbound Interactive is a fantastic group of folks with some real business smarts, so I’m looking forward to watching their next project take shape.
Nancy: Tell us about Luminous Studios and how you got involved in that podcast team and what your goals are with that and some of the main topics you like to discuss on there?
Quinn: Where to start? The founding members of Luminous Studios – myself, Cole Shepard and Jack Grimes – decided to form our own network after discovering our love for podcasting on a now-defunct podcast arm of a vaporwave music label of all things. Originally the three of us wanted a space to create more serious works of analysis and criticism about media, but instead the network became more of a place to showcase new and experimental audio content. We have a large group of friends from our past creative endeavors, and Luminous Studios became a great way to introduce a lot of them to podcasting and vice versa. Right now, we’re pushing forward with this idea of honing our craft and trying things without worrying too much about being commercially viable or anything like that. To be honest, we’re somewhere in this weird middle space between podcast network and publishing co-operative and art collective. I wouldn’t have it any other way!
Nancy: Tell us about your music and what inspired you to reach out to Grimalkin and what you hope to gain from working with us, how you hope to contribute to the collective and how the label can help you personally but also what you would like to see us do for others and communities?
Quinn: Music has always been a bit of a lonely pursuit for me. I grew up around church music and school bands and choirs, but I’ve never had friends who were into pursuing music independently. […]
Osser Smith (Richmond, VA), a.k.a. Peter Pierpont, is a visual artist and musician and helps with various aspects of the creative work Grimalkin does (i.e. posters, merch, promotion, etc.).
Nancy: Similar to me, you just performed live for the first time. I find that exciting but it was also very scary to me but I felt like it was time to push myself to do not only for me personally to grow as a person and musician, but also as a way to give myself some kind of validation that my music is worthy to share with others in a live setting. I guess I never really felt like I was good enough or valid enough to play in front of people. I was really holding myself back and fearful of failing and falling flat on my face. What are your thoughts on this and what drove you to finally take the plunge? Did you have to psych yourself up for days, weeks? How did you prepare and overcome any fear or reservations you may have had?
Osser: Oh my gosh I was terrified. I told all my friends I would never perform my music because it’s too scary. But a couple nights before Kosmo, my friend running the show, asked if I would hop on. I practiced a couple hours before, hoping I would remember all the words. I remembered most of them! I think I just really was driven to share the feelings I got making those songs.
Nancy: Tell us about Peter Pierpont. Where did you come up with that name and are you taking on a persona when you do your music or is that just a band/project name?
Osser: Peter Pierpont is actually a character from a narrative I’ve been working on for some time. I decided to use his name for my music project because he sort of represents the positive sides to being overly emotional and mentally ill for me. In my narrative, Peter lives a very similar life to mine in the beginning, dies in his early 20’s then comes back from the dead some time in the future to sing songs about his past life and find a new path to plunge his heart and soul into. Metaphorically, Pete’s death represents killing the happy parts of myself early in life and slowly picking them back up. I don’t know what my future holds but I hope Pete can bring myself others empathy and aural elation!
As for the name, Osser is actually the origin. Osser was the original “Peter” persona. He was actually called “Ossy” and his character design was based on the sad clown, Pierrot. At some point in my late adolescence I was too embarrassed of how queer Ossy was so I created Peter from him. I used “Pier” as a starting point then. Peter and Pierpont both mean “stone” in some way.. (and that’s a whole other story) Peter was a more gender confirming character for me even though I was still years away from coming out. I started to miss the old Ossy and brought “them” back in my art and via myself. Their name changed to “Osservalten” in a car ride one day and it just stuck. Peter lived through the narrative for sometime gaining more and more relevance. Now I happily serve as a vessel for Peter’s musical numbers he writes about his past life in his new life. We are all much more comfortable with ourselves now.
Nancy: Osser: I know we’ve talked about the Legendary Pink Dots together already. I mentioned how your live set (my first intro to hearing your music) reminded me slightly of them and your voice of Edward Ka-Spel. When did you discover their music and is there anything you’d like to share about your music and them? I know you mentioned Edward is a music idol of sorts to you.
Osser: LPD is my biggest inspiration! Back in my teen years I was very angry and listened to lots of Skinny Puppy. This one time I was watching some tour footage and one of the band members pointed out “The Legendary Pink Dots” was written on the wall backstage somewhere. I didn’t know anything about LPD til one day soon after that I walked into Plan 9 records in 2007 and found their album “Your Children Placate You From Premature Graves.” and bought it on impulse. I thought their sound was fantastic then slowly discovered more and more… (and I’m still finding things I’ve never heard by them) One of the most inspiring moments in my life was watching Edward Ka-Spel perform “Salem” live in DC. I’ve looked everywhere for a video of my favorite part of the song where he screeches “YOU??? I MEAN YOUUU?????” Ka-Spel is a compelling story teller and I will always aspire to follow a similar direction.
Nancy: I believe you are also an artist? Can you tell us how you see music and art in relation to one another and specifically your creative relationship to both music and art? I made artwork and drew and painted and then got into sculpture long before I tried creating music so I am interested in how people relate the two who do both or have done both. I always had a love of music throughout my life but drawing and painting seemed more natural to me creatively when I was young and then overtime that flipped for me. I feel like artwork was limiting me to what I need to get out of myself and so I think that is where the change came for me.
Osser: I’ve been having a very similar experience as of late! I grew up in a musical family but didn’t really take interest in playing an instrument or learning anything about music because I was always more passionate about my drawing ability. I watched my mom participate in choirs, my dad play music with his friends every thursday night, and my brother pick up drums and electric guitar at an early age. I was excelling in art and it was the only thing I really cared about growing up so I stuck to that for the longest time. As I grew older though I began hanging out in different Richmond music scenes trying to find my place. I’ve always been an audience member because I didn’t want to share my narrative with anyone. But one day in late 2018 I opened GarageBand on my computer and just started obsessively piecing together some heavy loops to sing over. And I haven’t been able to stop ever since!!! It definitely took me a while to even want to take that first step away from the pencils and paintbrushes. I didn’t think I could make something that sounded decent but thanks to modern technology I can focus on narrating and create a digital piece as a catalyst for my stories. Together with art and music I want to create a complete work. I’ve thought of making a comic book with soundtracks to go along with them but that seems very involved. We’ll see what life throws at me.
Heaven Imanchinello. Richmond, Virgina.
Heaven IImanchinello is involved in several community projects that help people in Richmond. includingGreat Dismal,which hosts and books benefit shows and supports local and touring musicians. They help with recruiting bands and musicians and with organizing shows and with giving us general advice. Heaven is also in Womajich Dialyseiz and curated ourlive set release. They also will be curating an upcoming compilation Grimalkin is putting out of collective members & friends hopefully this fall. They were unable to participate in this interview this go around due to life getting in the way.
Backxwash helps with promotion and recruiting. We met her throughher Twitter and discovered her killer music and checked out her music video forF.R.E.A.K.S. and you should too. We asked her if she would be interested in releasing and/or joining and we’re so glad she’s a part of our collective. Look for a release from her in July 2019. Backxwash just joined the collective this week prior to conducting and submitting this interview.
D E C A Y C A S T Magazine 