DECAYCAST : Fifty + Impactful Genre- Defying Music Releases of 2018 : Part One

DECAYCAST : Fifty + Impactful Genre Defying Music Releases of 2018 : Part One
*part two to be released Feb 2018

2018 was a wild year for music and the world. Bad politics and worse people coming to positions of power often spark good art. Here’s fifty genre defying releases from 2018 that we at Decaycast found absolutely exceptional.
Please seek these albums out and support the artists as directly as possible!

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700 Bliss “Spa 700” (Halcyon Veil)

Akvan “بلک متال آریایی” (Self Released)

Anna LuisaGreen” (Practical Records)

Attilo Novellino & Collin McKelvey “Métaphysiques cannibales” (Weird Ear)

BbymuthaMD3” (Self Released)

Beast NestA History Of Sexual Violence” (Self Released)

Black Spirituals “Black Access / Black Axes” (SIGE Records)

Bonemagic “Cult Of The Red Vest” (Cult Love!)

The Breathing Light “Light Fast, Black Power!” (Self Released)

Burmese “Privilege” (Fuck Yoga Records)

CBN “Neblastya” (Phage Tapes)

Colin Bragg & Bill Pritchard “Andedyr” (Self Released)

Compactor “Technology Worship” (Oppressive Existence Recordings)

Conscious Summary “Exhaustions” (Skin Trade Recordings

Dental Work “Fog Of Summer Ghosts” (Placenta Recordings)

Dreamcrusher “Grudge2” (C-I-P)

Drew McDowall “The Third Helix” (Dias Records)

Eleh “Wear Patterns” (Self Released)

The Fathers “Sound Advice” (T/ECA)

Fletcher Pratt “Dub Sessions, Volume 4” (Crash Symbols)

Lara Sarkissian “Disruption” (Club Chai)

Girlz N The Hood ‘All 4 Nia’ (Self Released)

Golden Donna “Date Night” (Self Released)

Hiro Kone “Pire Expenditure” (Dias Records)

HIRS “Friends. Lovers. Favorites” (Self Released)

House Of Cake “House Of Cake” (Houdini Mansions)

Jeff Carey “Zero Player Game” (Ehse)

Jasmine Infiniti “Sis” (Club Chai)

Jonathan Snipes “The Nightmare” (Deathbomb Arc)

JPEGMAFIA “Veteran”  (Deathbomb Arc)

K 23 “Blacklight Sessions” (Fantasy 1)

Kepla & DeForrest Brown Jr. “The Wages of Being Black is Death ” (PTP)

King Vision Ultra “Pain Of Mind” (Self Released)

KK NULL “Pulsar X” (Self Released)

Kohinoorgasm “Synthwali and The War Empire” (Self Released)

Lunar Tomb “Tierra de las Brujas” (Distort Discos)

LSDXOXO “Body Mods” (Self Released)

Luke Stewart “Works For Upright Bass And Amplifier” (Self Released)

Lana Del Rabies “Shadow World” (Deathbomb Arc)

Macho Blush “Users Guide” (Tymbal Tapes)

Midmight “Cut Cut Cut Bruise” (Resipiscent)

Moira Scar “Wound World Part 1” (Psychic Eye)

Nightmare Difficulty “Run and Gun” (Self Released)

Open Mike Eagle “What Happens When I Try To Relax”

ONO “Your Future Is Metal” (American Damage)

Portal “Ion” (Profound Lore)

Russell E.L. Butler “The Home I’d Build For Myself And All My Friends”

Ryan King “How I Learned To Stop Worrying And Love To Bomb” (Serious Hype)

SAN CHA “Capricha Del Diablo” (self released)

Serpentwithfeet “Soil”

S.B.S.M “Leave Your Body” (Thrilling Living)

The Sorcerer Family “Hidden Rooms” (Stay Strange)

TAHNZZ “XILA” (Self Released)

The Bedroom Witch “Triptych” (Self Released)

Turkish Delight “Howcha Magowcha” (I Heart Noise)

Voicehandler “Light From Another Light” (Humbler Records)

White Boy Scream “Remains” (Crystalline Morphologies)

Witches Of Malibu “Fever Dreams” (Self Released)

Yves Tumor “Safe In The Hands Of Love” (Warp)

V/A: “Energies” (Practical Records)

V/A: “Stable Submissions, Vol 2” (Stable)

 

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DECAYCAST Reviews: BIG DRUM IN THE SKY RELIGION “Hope In Hell” (Self Released, 2018)

DECAYCAST Reviews: BIG DRUM IN THE SKY RELIGION “Hope In Hell” (Self released, 2018)

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Dozens and dozens and dozens of short audio collage snippets sampling cult preachers, hip hop intros, classical music, dust to digital style folk, guitar strummed outros, zealots, bigots, activists, tv personalities, “sickness in my community”  “suffering is the given” “{why do we suffer” bleeds into the funk arpeggiated bass line. Destroy god, destroy humanity, destroy politics and see what pops out the other end with a sonic audio accident slamming everything together with muscle, yet nuanced ease so to speak.

 

Pulling from John Oswald’s “Plunderphonics” and Negativland’s “Christianity Is Stupid”, “Hope In  Hell” blasts short, dense, collage critique splatter offerings of  religious and capitalistic confusion, alienation, and so much more and less., In  terms of sound art/collage, these  short works are dense, impactful, complex sonic vignettes into a  twisted world of  confusion and alienation, and well,  philosophical blindness. Some of  the  stronger works on this shuffle friendly journey through cut and paste absurdity are “God’s People” > “Transformation Energy” > “Make Me Present”.  This work oscillates between comedy, critique, and absurdist / dada tendencies to create a dense, dark, cut and glued critique of world’s interpretations of the unknown. Dense, fun, well done and sonically interesting collage work.  “The Big Drum In The Sky Religion is a shape-shifting confederacy of dream wanderers, spirit warriors, entheogen casualties and miscreants assembled for the purpose of altering the collective unconsciousness and bringing about the total Ecstatic Awakening of All Sentient Beings and Union of the All and the One through the use of polyrhythms, fuzzboxes and senseless banjo abuse. Dilute! Dilute! OM

 

DECAYCAST Reviews: SHADOWS “KnightsEnd” Cassette (Polar Envy / SKSK, 2018)

DECAYCAST Reviews: SHADOWS “KnightsEnd” Cassette (Polar Envy / SKSK, 2018)

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SHADOWS “Knight’s End” (photo: Polar Envy / ASR)

Cleveland, OH mainstays SHADOWS is David Russell and Wyatt Howland (and at least for this release are assisted via the sonics of Roman J. Leyva) crafting their  dark, horrific, take on the legacy/story of Batman  through mastered techniques of harsh noise, drone, percussion and dynamic  mixing and editing techniques. The sound of SHADOWS seems go evolve with every release and “Knight’s End” is no different. Beginning with a murky, distorted rhythm we are  quickly whisked away into a harsh symphony of ringing, clanging, scraping; attack on  the ear and the “fearless”? The sound of shadows is physically manifested through the  black clad, pointed eared upside down man of the night. “KnightsEnd” fuses longer drone sections, which contain a rather cinematic arch to their presentation, slowly beginning as a low, slow sine wave and over the course of a few minutes, escalate into a cavernous,  yet detailed sonic explosion of harsh noise, voice, and percussion, a masterfully blended evil sonic stew leaving the listener with a tense, uneasy feeling, which for my ear canal is just perfect.

.The B side “KnightQuest”  follows a similar compositional format, beginning with stark, alienating percussion, resembling the swaying of an old, cursed sinking ship with hundreds of  piezos placed within it’s weakest structural support system and signing a hum of the  druid through mangled cassette tape, as it creaks and rips apart all whilst bombs fall from an unknown sky above.  We hear a parade of  dissonant sounds slowly dragging themselves closer and farther away to the ear canal, like a slow, pulsing infectious disease spreading through an unknown human cavity, and there’s nothing you can do to stop it. The blending of all of the different sonic elements that compose the sound of SHADOWS is perhaps one of their strongest elements as the  tension seems to build throughout in a subtle, yet  important way, dragging us down and down into the sea of sonic mayhem until the  last air bubble pops at the  surface, the ship has sank, their are no survivors, only the harsh, alienating tortured sounds of Shadows “Knight’s End” As of the time of this review, according to the label’s bandcamp page there’s just, ONE copy left and you should GO HERE AND BUY IT.

POLAR ENVY 

SHADOWS 

DECAYCAST Reviews: DAHB “VISIONS FROM AN ASTRAL CORE” (2018)

DECAYCAST Reviews: DAHB “VISIONS FROM AN ASTRAL CORE”

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Dahb hails from Philadelphia and plays mid-tempo, angular, rhythmically complex,  thrashing metal/metal core. At times operating more in the black metal style before quickly and swiftly switching the riffs and focus for a more angular, choppy melodic  style. The vocals are typical of the genre, somewhere between yelling and anguished screams, they sit atop the drums and shredding guitar perfectly. A standout aspect of “Visions from an Astral Core” is the complex rhythmic relationships between the drums and guitars, both firing in oppositional machine gun like rhythms, with dissonant, archaic strums atop the chopping riffs and blasting, rapid fire drums.  The track slowly turns into an abstract, atmospheric improvisation but Dahb never loses its poise or complex style. The improvised tail provides a nice crescendo to the track showcasing both their technical prowess as well as their ear to listen. Dahb’s strength lies within this compositionally and rhythmically complicated dynamic, giving them a heavy, unique sound all their own for fans of both technically proficient and chaotically charged heavy metal .

– Maniere Zappone

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

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

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

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

NOVEMBER 6, Bushwick, NY @ H010 Gallery

7, Providence, RI @ Machines with Magnets

8, Ithaca, NY @ The Chanticleer

9, Columbus, OH @ Fuse Factory

10, Louisville, KY @ Kaiju

11, St Louis, MO @ The Juice

12, Dayton, OH @ Skeleton Dust Records

13, Chicago, IL @ TriTriangle

15, Pittsburgh, PA @ 3577 Studios

16, Nyack, NY @ Nyack Village Theatre Boutique

17, Philadelphia, PA @ Vox Populi

DECEMBER 2, DC @ Rhizome

3, Johnson City, TN @ The Hideaway

4, Gainesville, FL @ The Limin Room

5, Miami, FL @ Churchills

6, Orlando, FL @ Wills Pub

7, St Petersburg, FL @ Paper Crane

8, New Orleans, LA @ Mudlark

9, Birmingham, AL @ Firehouse

10, Asheville, NC @ Static Age

DECAYCAST Interviews: Oceans of Blue, Forests of G R E E N : AN INTERVIEW WITH ANNA LUISA PETRISKO

Oceans of Blue, Forests of G R E E N : AN INTERVIEW WITH ANNA LUISA PETRISKOimages

The  work of multi-media artist Anna Luisa Petrisko has been making waves in the bay area and beyond for years under her own name, the longstanding JEEPNEYS project which mixed recording, performance and video, which culminated in a video game project “JEEP JEEP”, The Black Salt Collective,  and now her new album, titled “Green” , released on LA’s Practical Records help solidify Luisa as one of the most important contemporary artists working today across many different platforms while still retaining their roots and radicalized aesthetics. Luisas’ tour with XINA XURNER , “The Royal Hearts Tour” stops in Oakland this Wednesday at Pro Arts!

Hello Anna, thanks so much for taking the time to speak with Decaycast. Can you introduce yourself and speak a little about your current performing/recording project?

My name is Anna Luisa Petrisko and I am an artist working across many mediums. I recently released an album called “Green” which was co-produced with Julius Smack and features guest vocalists Adee Roberson and Ana Roxanne, and piano by Gavin Gamboa. I’m getting ready to tour (with my friends Xina Xurner) in support of this album. I’ve been calling it “tropical new age pop” but you could throw in “synth” and “experimental” too. It is definitely song-based. I live in LA and although there is a ton of nature, it isn’t the greenest kind, especially in the summer and after several years of drought. The “green place” I dream of through these songs is this lush space where we can all chill, heal, and play. And pray for rain! Green is the color of your Heart Chakra and I wrote this album while grieving, so the green place is also where we process grief and connect to the ones we’ve lost, our ancestors and whomever else we keep close.

Thank you  for going in so deep, how has the sound of “Green”, your newest recorded work, changed since previous works such as the esteemed JEEPNEYS project? Also is collaboration a main theme of all of work audio works?

JEEPNEYS was a project that was in and of itself constantly evolving and was a way for me to process coming into my self as a multimedia artist, rather than somebody who was always in bands, as well as processing my identity and culture as a Filipino. When I decided to retire JEEPNEYS (in the form of a video game JEEP JEEP) I knew my next album would be something different. But it is still a lineage and a continuation because the theme music from JEEP JEEP evolved into the first song Offering on GREEN. Damn I guess I cannot escape myself! The songs on GREEN feel different than music I released as JEEPNEYS, and they are not tied to specific performances whereas JEEPNEYS releases are more like opera soundtracks.

I am mostly reclusive in the studio so collaboration is really fun and a way for me to get out of my insular world. I love my friends so much but I am also a create-aholic so collaborating is how I hang out with my peeps without having to leave the studio! Working with Adee, Ana, Gavin and Julius Smack on this album was absolute pure joy and lots of snacks. If we collaborate, I will feed you.

So in a way, the work under your own name is less tied to multimedia works? Are you still working in other mediums, and if so, will they work their way into these newer works under your own name?

I don’t have plans for Green to become a large scale performance project, but I did make music videos for “Mountains Gold Rivers Green” and “Maintenance in Loving” and they will be premiering this week! In terms of my other work, I continue to do the Sagittarian most. I am currently in a group show in Oakland at Dream Farm Commons with a bunch of amazing peeps including my longtime collaborator and friend Grace Rosario Perkins. I have plans to collaborate with The Creatrix for a special residency with Practical Records in Berkeley in November. I am also working towards my next experimental sci-fi opera premiering in 2019 which will have holodeck-inspired mixed reality experiences and space cult vibes!

Wow, thats a lot of projects in the  works How do you manage to  balance so many projects at once in so many different mediums? Do they all inform each other, or do you attempt to operate in different mind sets for the work flow of  each project?

To be honest my flow often feels like a sporadic and heavy gas pedal / sudden brake situation but I thank my lucky stars every day for my completely nonsensical & non-linear process because it usually comes into focus at some point. Not always but that’s ok. I mostly just follow my intuition, make lots of mistakes, and try not to get anxious thinking about it all by doing lots of self-care. You seem like you are doing a million things, and supporting not only your own work but so many other people’s work who are all very unique. What’s your secret?

Honestly I’ve  always respected you as an artist  for many reasons, but one of them being you seem to have so many different projects going, but they all are fully realized and it seems as if you’ve successfully cloned yourself.  I am doing a million things, but i have so much unseen support, mostly from women of color, and all of the amazing radical art that gets produced by folks that have exponentially less privilege than i do is a constant inspiration to do better, and do my part in documenting all of the amazing work thats being produced right now, also strong weed.  

Is there anything else you’d like to talk about within either the context of your practice, or the world in general lol?

Thank you! I totally feel you and resonate with what you are saying. I have so much seen and unseen support from friends, family, and history in general! There’s a long lineage of artists who came before and after, and had/have it way harder than me! Grateful is a small word to describe a big feeling. Can’t wait to see you in Oakland! Take care

 

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