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

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

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

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

Order via Gilgongo Records

DECAYCAST Reviews: Bonnie Baxter “AXIS” (Hausu Mountain, 2019)

Ok so once in a while something so twisted, mutated, alien and sinister lands in the inbox and what a rare joy this situation is, and that’s exactly how we would describe the new album “AXIS” from Brooklyn based producer Bonnie Baxter, which, by the way is out NOW on the esteemed and never disappointing Hausu Mountain imprint, and you should go buy it right now! On “AXIS”, Baxter blends chaotic electronic blasts of sputtering, broken IDM rhythms with chopped and mutated alien vocal transmissions. The pacing and intensity are both set on high as Baxter belts forth a scattering array of tempo, time, and timbre changes seemingly on the neckline of a dime, all while creating a dark, unsettling yet unifying and coherent collection of tracks. This is maximalist music for an alien invasion where the beings slice open the ear, amplify it and reconfigure the soud intake structure; it is now inverted and begins omitting violent, brooding, and cynical laugh tracks for the apocalypse. Some tracks such as, “Spirit Enema” focus on more minimalist, albeit twisted takes on IDM/House music percussion with ominous shifting tones backing childlike vocal tone poems. Despite the often whimsical yet twisted vocal presentation, the electronics hold their own and never stalemate, every sound within every track is a now sonic discovery that adds depth and complexity to the album overall and the track within itself.

Other tracks like the later “Celestite” offer lush undulating muffled brass like textures which give breadth to complex yet minimal percussion tom lines as well as wells of elegantly placed reverb and delays, all sitting beautifully and elegantly in the mix. The sheer range of sonic explorations sound wise, percussion and vocal wise is impressive in itself , but the fact that composition wise, this album flows so well, despite it’s wide chaotic reach and conceptual points of entry, drops it in the highly recommended category for us, don’t sleep on this, A+ twisted electronic jams!

DECAYCAST Reviews: CONCRÎT “Far” (2018)

DECAYCAST Reviews: CONCRÎT “Far” (2018)

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Madrid, Spain outfit CONCRÎT blends decayed out ambient textures with atmospheric howls, delicate, haunting, creaks and bends in sound and tension, mixed with dark industrialized rhythms, and heavy field recordings ranging from disaster to psychoactive terror/tragedy.  CONCRÎT takes the raw field recordings at a great value, using the voice as a sort of lead guitar over the top of the dark, churning, mechanized rhythms of catastrophic failure with  dissonant rhythms. “That’s the way freedom is and we wouldn’t change it for a minute”. The music could be higher in the mix, though it does afflix the listener’s brain on the tension and caustic nature of these events blended with such mechanized, alienating sounds, though at times the voice does become so dominating we almost forget we are listening to “experimental music” though it’s not for the worst effect.  The ambient sections prove to be some of the stronger work on “Far” though the whole album holds it’s  weight in dissonance, and minimalist looping  rhythms. Closing with “0000” an unknown field recording of  chatter and a detuned, decaying piano rhythm slowly spins the listener into the end of this dark and morose sonic offering.


“FAR is the first EP of the dark ambient/industrial act CONCRÎT, based in Madrid, Spain.
The EP moves between soft programming and noisy mechanical rhythm mixed with historical speeches and ambient sounds, FAR is inspired by the human need to reach further and the consequences of exploration and conquer, the hope and the horror; Inspired by the voices of Amelia Earhart, Ernest Shackleton, Neil Armstrong, and the accident of the shuttle challenger and the attack to Hiroshima, with American presidents Reagan and Eisenhower’s speeches. The last piano piece is inspired by airports as non-places, where even travellers on their pursuit to the most remote destinations remain anonymous.”

 

 

DECAYCAST Premieres: Peaer ” left​/​felt pt. 2″ (Citrus City, 2019)

DECAYCAST Premieres: Peaer ” left​/​felt pt. 2″ (Citrus City, 2019)

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Taking a stroll outside of our normal “experimental” zone a bit to share a premiere from Citrus City Records artist Peaer ahead of a reissue due for release March 18th of this year. Citrus City hosts a diverse myraid of artists and has been popping up in all corners of the internet for some time, and taking a look at their eclectig bandcamp page linked below offers a diverse sonic array. Here we have Peaer’s  track “left/felt pt 2.” , which opens with a slow twanged guitar pluck with a minimalist beat and softly spoken words, however things don’t remain the same for too long as things begin to open up and expand and voice articulates fuller and louder presentations each phrase. The track slowly and steadily becomes a  much heavier, fuller, yet dissonant  form of itself blending thick drums, as the break drops we’re thrusted into a full on post rock composition, strummed waves of  chord distortions,  decaying riffs and arching waves of tone poem high register guitar work, dynamic and interesting throughout.  Take  a listen below and preorder the cassette today!

 

Peaer states, “‘the eyes sink into the skull’ was a phrase I lifted from a random webpage when I was reading about the stages of decomposition of a human body. The image conjured, although gruesome, captured the introspective nature of the album. This version has been slightly remixed and completely remastered by our beloved Jeremy Kinney. “the hands and feet turn blue” is another line from that same writing found here. This recording includes a re-recorded version of the song “left/felt” that includes a brand new portion of music, one that was written virtually one year after the original song was written and recorded. Released for the first time here. Also on the collection are two live tracks, from our first official tour as a band in 2016. The two remixes are included as well, a remix of the song “mouther” made by our friend Andrew Schuyler (aka morningstar), and a remix of the song “the dark spot” made by good friend Jacob Sachs-Mishalanie, both originally made in 2015 and have been patiently awaiting release. Finally on the new recordings are two previously unreleased demos that I have made since. Those two songs “happy birthday to me” and “the entire day feels like morning” were recorded on Ableton before being fed into a handheld tape recorder to characterize and color the recording.

Peaer reissues their debut album, the eyes sink into the skull, now remastered & reissued on tape for the first time alongside special remix & live sessions album, the hands and feet turn blue, via Virginia/Brooklyn based label Citrus City Records. Available digitally and physically March 18, 2019.

DEAYCAST Reviews : MONOCHROMACY “Living Posture” CD (Stay Strange SD. 2018)

 

DEAYCAST Reviews : MONOCHROMACY “Living Posture” CD (Stay Strange SD. 2018)

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Stay Strange SD Collective artist Esteban Issac Flores brings eight heavy, dissonant and atmospheric guitar based worlds oscillating between drone , noise, metal and industrial under tbe MONOCHROMACY moniker . Flores elegantly creates haunting and dissonant cinematic spaces for a wall of destructed waves of swelling chaos, choked screams decay into walls of thick oppressive fog of tone, climax and eventually swell back down into dreary, pulsating tones. Sine waves shifting into the horizon encapsulate a distant haze of confusion and dread.

On “Living Posture” , Flores creates a deep and complex tension between the various sonic elements, which really doesn’t ever falter throughout the eight tracks of dreary doom. Some of these atmospheres could call back to Times Of Grace era Neurosis (my favorite period of one of my favorite bands ) , SUNN O)))) , Earth etc but that would be sort of a lazy comparison as Flores has clearly refined his sound to something not heard before in the tropes of heavy music.

 

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Monochromacy “Living Posture” CD (photo from artist)

Monochromacy leaves the “tough guy” bullshit of extreme music far away in the trash for a delicate and intelligent experimental offering. Flores has clearly honed a unique philosophy and approach to present the listener with a tense, yet refreshingly present decaying burning structure of mammoth and intimidating take on noise-influenced, drone-metal. The plethora of unique territories covered on this record while maintaining an overall dark and dreary cinematic vibe is rather impressive to say the least.We are never left without a tight sonic line pulled taught across our reality/neck wth ever shifting tone, pulse and intention. what is going on? Where did he leave us atop this  fog  ridden, dank mountain of dissonance and confusion? What is GOING ON! Wow and just like that it’s over, what a listen.Absolutely essential ride for all fans of the heavier side of noisy guitar works and heavier dissonant, cinematic music in general.

DECAYCAST  Reviews: Blaine Todd & Andrew Weathers (Houdini Mansions, 2018)

DECAYCAST  Reviews: Blaine Todd & Andrew Weathers (Houdini Mansions, 2018)

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This split begins with Andrew Weathers on the A side offering three experimental guitar and synth offerings, beginning with the track “Llano” which offers spacious, minimalist guitar work complemented through warm buzzing, swelling synthesizers. The synths and guitars play wonderfully off each other in a barren, pulsing, slightly unsettling tone poem. 

The second track, and standout of the tape “Mugwort Moon” is a huge, throbbing synth number with insect-like rattling pulses that transport the listener into a parallel universe of floating drones. Weathers synthesizes a perfect union of tone and spaces to create lush, dream-like compositions with heavy and dissonant overtones. 

The Blaine Todd Side of the split is more a take on traditional Americana psychedelia  rendered  through reverb drenched folk thrusts. Todd skates across a lush and morose pond, blending dripping, cavernous guitar strums, backed with distant unsettled, sad  vocals creating a fever dream style of psychedelic alt-pop. Gentle plucks and minimalistic events within the body of the guitar bloom into lush waves of intonation, a perfect compliment to the slightly more abstracted works of Andrew Weathers on the A side. Todd’s music is slightly more on the morose side of things where the Weathers side feels  both dissonant and uplifting at the same time, a  truly unique and dynamic pairing.

The label itself describes the offering as:

“A striking document of wide open loneliness, this split release by Andrew Weathers & Blaine Todd contains timeless works about Wobblies, the Staked Plain, etc.

Thoughtful, pensive songwriting blends with artisan-crafted dronework, and undercurrents of electronic wizardry.”

All in all, great release  from Houdini Mansions, a hybrid label, review site and radio show/ podcast. Follow them today and keep a lookout for more from this exciting collective, as well as both artists individually. 

DECAYCAST Reviews : Expose Your Eyes “Brain Pan” Cassette (Aphelion Editions, 2018)

DECAYCAST Reviews : Expose Your Eyes “Brain Pan” Cassette (Aphelion Editions, 2018)

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 “Brain Pan” is a compilation album of sorts spanning nearly three decades of the Expose Your Eyes moniker via Paul Harrison. This long-form cassette explores harsh, heavy manipulated noise/voice, a myriad of field recordings, slow moving and cavernous drone and ambient works, low-fi voice manipulations via  cut up and  distortion methods, glistening warm synth poems clamored against harsh noise mayhem; the  stylistic shifts throughout the release exposing the listener to a mixtape style of experimental styles. 

Standout track “Rend” blends heavily delayed percussive events with a mid-toned whirring, slowly building tension and anxiety and almost seems to crawl out of the speaker into an unsuspecting nervous system. Other tracks such as “Red River 2” offer a more sombre, melodic approach, while still retaining elements of experimentation and loose compositional structure.  The label describes the process of choosing from the vast sea of material presented to them by the artist, “For this album, Paul sent me a whole stack of recordings that I then carefully sifted through to select the pieces that would finally be presented here, and I’m really pleased with the results we’ve achieved.  

Go ahead and delve deeper into the vortex for a whirlwind of (un)easy listening.  

It will leave you washed up on a distant shore of your consciousness, perspectives altered. 

Curious, bizarre and wonderful… “

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All in all “Brain Pan” explores a wide variety of experimental sounds and really theres something for everyone on this cassette from  the uneasy, nauseating sounds and sights of one (cough cough) Smell & Quim (who Harrison was a member of) to the lush, hypnotic, Organ and synthesizer forward dronings of early  Tangerine Dream. Pick it up on limited edition full color cassettes or  CD’s from the label HERE