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

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DECAYCAST Reviews : Cadaver In Drag – “People Meant To Die” (HUSK, 2018)

DECAYCAST Reviews : Cadaver In Drag – “People Meant To Die” (HUSK, 2018)

 

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“People Meant To Die”  by underground stalwarts Cadaver In Drag is  nothing short of a classic  reissue from Josh Lay’s longstanding Lexington, KY based imprint, HUSK RECORDS. Underground legendary grind/noise outfit C I D belt through  viscous, heart stopping grind core songs  which often sound more like machines shutting down than actual music.  Menacing, pummeling riffs bleed top spastic,  pummeling drums  and thick layers of homemade synths  and electronics.  The  vocals oscillate between early Black metal and  growling slabs of  guttural noise; the perfect  glue to seal your  ride all the way to hell. Cadaver In Drag belt forth classically atonal offerings  of  bleeding esoteric heaviness which  cannot really be  categorized as “grind” , “metal” or even “noise”. It does  contain all of these elements however it is a sonic beast all on it’s own and angrily and aggressively defies classification. FAST, ANGRY, CHOPPED, BLEEDING, PULSING, CHURNING, BREAKING, DYING, ACCELERATING. All these things seem to be happening at the same time; this record is the  acceleration of anger, chaos, and  heaviness into the ear.

Originally recorded in 2003 by Trevor Tremaine of  Hair Police fame ,re-released in 2018 yet is seems just as  fresh and relevant as ever. Additional electronic  slabs of  chaotic, sputtering noise are  laid  down by local KY maniac, and  psychedelic visual artist Robert Beatty, also of Hair Police fame, add to the  general chaos and uneasiness that this recording is  known for. Endless layers of  quick moving, buzzing, breaking, battling homemade synths  clash with pummeling, arrhythmic  walls of lightning speed percussion and flying, buzzing,  choking guitars assault the  listener  with a seemingly endless barrage of  thick dark, esoteric slabs of  heavy  grind and noise. All of the instruments blur together in the most desired, intentional way possible to  create a truly menacing, abrasive  style of heavy music/noise all of their own, which is often replicated but rarely done with this amount of precision, intention, and menace..

Big sounds, violent  outburst after  violent  outburst of bleeding, confusing negative vibes in the best way  bring the listener further and  further into a pit of chaos- a  sonic stew of your last chosen meal. The world needs more bands like Cadaver In Drag, an this reissue is an absolute must own for  any and all fans of heavy music.  Totally unique and essential listen. HIGHLY  RECOMMENDED you go order it HERE.  Paypal/E-Mail = huskrecords@yahoo.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.