The preorder is live now and the LP comes out August 28, 2020.
Ezra Feinberg shares “Castle and Sand”, A beautiful, warm, introduction to a slowly shifting, bending, humming soundscape, unfolding inside the ear, setting off a trigger of washed out humming strings, a caucophanous silence, a briightly lit star millions of miles away, these. tones escape the source and paint a distant hum that grows brighter, and quieter. John Kolodij’s “Beyond the Fragile”escalates the listener to fever pitch psychedelic hums of bending light across a plush, dimly lit, mist cloaked forest.
On his side Feinberg compliments Kolodij perfectly with warm strings resonating and shaking across a barren sea. drenched in reverb, archaic strums pluck broightly across a sea of glass. Friction like a creaking ice tray about to crack Feinberg’s music is relaxing bt holds an intensity that could erupt at any moment but never quite does, leaving us on the edge of bliss and loneliness.
from the label:
“Bless whatever cosmic winds brought together this split between NYC guitarist and composer Ezra Feinberg and multi-instrumentalist John Kolodij. Traveling deep blue highways of the mind, their split LP opens up the stunning vistas that link these two artists in sound and texture.”
Preorder the LP HERE, scope out W S R vast and eclectic discography 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.
Xque – Torn Natalie Imbruglia
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.
Star Searchers – Previsual Avatar Blue
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 – make u levitate (closer to god)
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.
Lighght – The Temple (Libretto)
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.
Output 1:1:1 is currently preparing for the release of his upcoming EP “Retroactive Rock Record”, due out on November 1, 2019, and has been kind enough to share with us the premiere of the second video, Directed by Elias Campbell and single from the album under the same name, “Retroactive Rock Record”. The track blends slow moving hypnotic vocals, dark plucked ethereal synthesizers and strings, and lush, ominous and lonesome sounding electronic background sounds. The sound of “Retroactive Rock Record” tells a dark and confusing story about confusion, loss, the unknown. The tones blend together perfectly to create at once a hopeful, albeit slightly unsettling sonic vibe. Take a look at the video below and make sure to pick up the album on November 1.
: “Writing this song was incredibly freeing, despite the central idea of it being a complete lack of control. I wrote the lyrics of the song the night of the 2016 US election. I felt a sense of helplessness swell as Trump’s election became inevitable-Canada seems to follow US election cycles pretty closely. I think helplessness can really encourage shame-the sense that I’m terrible and I am in this mess because I deserve this. It takes a lot more than reinforced positive thinking to work through, and writing this song was an attempt to redirect my helplessness into creating something.
Back from a little break to review the newest release from Houdini Mansions, from Cascadian producer qualchan, titled “Goodbye To All That”, and it’s a rather fitting title as the short, bending, warbling loops come into our lives like short lived, lush experiences that vanish into the haze as quickly as they appeared on the horizon. on “Goodbye To All That”qualchan focuses on subtle shifts within these micro compositions that span ambient, post rock, muzak/library music and more. Some of them operate as escaped breaths from larger compositions, perhaps to be expanded upon, while others are self contained and don’t seek anything outside of themselves. Warm, trippy, fuzzed out loops for a moist walk through an all but abandoned forest. Beautiful release.
My first instrument was not a guitar, piano, or computer—it was a space heater. I crawled up to it on my feeble haunches (so my parents recall), eyeing with skepticism the plastic cage holding its inner circuitry, and scraped a toy truck against its indifferent grooves. It was music, but not art; in a word, it was sound, yet without form.
Humans entertain themselves by forming patterns out of meaningless garbage, and the venerable Weird Ear imprint is almost religiously devoted to stripping those patterns back down to the garbage whence they came. No less ambitious is their latest platter of sonic sacrilege, Colin McKelvey & Attilio Novellino’s Metaphysiques Cannibales.
The anti-conceptual hodgepodge of musique concrete motifs is named after and perhaps inspired by a book of the same name by Eduardo Viveiros de Castro, a poststructural anthropologist who sought to reimagine the study as a revolutionary “decolonization of thought.” That’s a tall order, and no single record will get the job done, but McKelvey & Novellino’s mystical ballet of bleeps and bloops certainly gets the ball rolling.
As you may remember from your earliest toys—particularly from your realization that anything in your hands could be a toy—no melody is inherently happy or sad. No ritual carries inherent reward. It seems like only the Pavlovian training by authority figures can teach you, fragile caged pigeon that you are, can pair a major-key waltz with a sweet refreshing ice cream, or the somber diminished chord with a demonic possession. But is that really how it works?
Side A of this mindfuckery starts with the buzzing whiplash of factory-like rhythms, swirls into the void of a cosmic dentist’s drill, and fades into the spacious echoes of a zombie-ridden hospital morgue. Sources are obscured, and the arbitrary distinction between impact and intent implodes in a serene chaos.
Side B creeps into your consciousness with the whispers of a long-lost French interrogation recording, swallowed by the tinkering and thudding of a conch shell sceance. A molten fax machine emerges from the sludge of a forgotten video game organ dirge, and a scintillating synthesizer drone evokes Laurie Spiegel and Roedelius before sinking into a lonely abyss. The urgency of a broken dial-up connection is tempered by the ebb and flow of a chilling piano loop.
While the grating hiss of granular synthesis is typically the domain of futuristic computer music—you know, all those sweaty nerds coding in Max/MSP—here it gives the music a sense of being unimaginably ancient, like a mad scientist’s vision of the future whispered into a phonograph to pass the time while waiting for the brine to embalm a dead monarch.
“By always seeing the Same in the Other,” writes Castro, “by thinking that under the mask of the other it is always just ‘us’ contemplating ourselves, we end up complacently accepting a shortcut and an interest only in what is ‘of interest to us’—ourselves.”
Indeed, the image we see of ourselves in this record is a terrifying one, and not seeing yourself reflected is a “don’t think of an elephant”-esque impossibility. We’re tragically vain, capricious, greedy yet wasteful, hungry to build something meaningful out of heaps of trash we never wanted in the first place.
If you’re ready to sweat through your nightmares and wake up more confused than ever, this is a record worth adding to your trash-heap.
DECAYCAST Reviews: THE FATHERS “Sound Advice” Cassette / Digital (T/ECA, 2018)
The Fathers is Nathan Bowers of Tusco Embassy, Coagulator, Sun Poisoning, Sexorcyst and many many others, and Derek Gedalecia of Headboggle / Hillbogglle, Headlights et al taking a fresh and free sonic approach to avant gardism through minimal, stringed psychedelia. On “Sound Advice”, Bowers and Gedalecia seamlessly concoct a sonic stew of a tonal stringed rhythms through oceans of various tunings and strategies. Synthesizers, tapes, and guitars bend, flex, bow, and squeal through a distorted and plucked array of sonic excitement. Big chords, dizzying chords , buzzing chords are accented by splattering drum machines, long synthesized echoes, minimalist plucks, scrapes, taps, pings, rings, and reverberations melt into distant walls of unknown feedback. Eerily scraped axes, densely weighted keys, arpeggio stringed madness is the twisted spine of these dense arrangements.
The Fathers cover a wide range of sonic territory on “Sound Advice” effortlessly oscillating between musique concrete, new music, avant grade classical and even some straight up noise to boot. The Fathers don’t stay in one place for very long, but long enough to give these pieces life beyond just improvisational experimentations, these are complex, complete sonic works into themselves, but they also tell a longer, deeper story to the listener who is willing to make the connections or break the connection. The A side offers one long twenty minute track which begins with subtle synth blips, churning and chirping morse code to a dead radio who’s operator has long abandoned ship, backed by low and slow droning pulses, fluttering distant ringing warning bells of a barge slowly approaching the shore. The A side builds on ominous waves of tension, sounds elasticizing into each other in a sort of Rude Goldberg style of call and response, but it never sounds contrived or “jammy” all of the sonic events seem intentional and as if they have a place in the overall crescendo and decrescendo of a complex and damp mix. The sound never drops off, it only drops into the smallest part of the listeners ear to create a micro symphony of contorting notes and densely weighted rhythms. The blending of the guitars, synthesizers, tapes and other instrumentation gel into a warm, atonal stew of deep, soupy events. Texture and thickness of sounds expand and contract as the push and pull stylings of The Fathers operates like an elastic band of tension, composition, and duality, springing into a new space to once again fold back on itself. The Fathers create new guitar music quite unlike anything else, this tape is a must and it’s exciting to see the possible return of T/ECA, who offer some of the most unique and honest hand silk screened layouts to date, a must own. Grip it now.