DECAYCAST: MATMOS INTERVIEW (Nerfbau Interviews Matmos, remastered)

DECATCAST_MATMOS

This interview was conducted as the first official interview by Decaycast aka NERFBAU jsun Adrian McCarty and Michael Daddona interview experimental music underground stalworts M.C. Schmidt and Drew Daniels of Matmos, in their then SF Mission District Studio/apartment.

We did this a long time ago, but i think many of the questions and content holds up really well and also it’s nice to hear Jsun’s voice as a distant snarky beckoning to the past and future Matmos was a rather big influence and Jsun and my early work as Nerfbau and later as Styrofoam Sanchxz and Coral Remains and were without a doubt monumental in the formation of Ratskin so I thought it would be nice and fitting to re present this. We stayed up all night the night before, myself on speed and dope and Jsun chain smoking cigarettes to prepare for this, arguing over
questions, prepping cassette decks withpre recorded hidden questions on time travel and the sound of dreams, we ended up hiding several cassette recorders throughout Martin and Drew’s studio oinged with questions which interrupted the normal interview. In our early morning franticness and nervousness (we approached the interview more like a performance / collaboration than a traditional interview ) we even managed to spill coffee into a tape machine which housed some really important master audio tapes containing interviews with Drew’s mother before she had passed We told that story for years, how if it was our studio and some high kids came in to interview us and nearly ruined a priceless historical document we would’ve kicked them out and dragged to no end, but they didn’t do that, we were welcomed, as peers, collaborators and family. One of the most fun interviews I’ve ever done. Enjoy.
-MD for Nerfbau, 2018

follow matmos at :
http://vague-terrain.com/

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DECAYCAST Reviews: Philipp Bückle “Paintings” (Moving Furniture Records, 2018)

DECAYCAST Reviews: Philipp Bückle “Paintings” (Moving Furniture Records, 2018)

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“Paintings” is the newest work  from Germany’s  ambient/drone maestro Philipp Bückle via Moving Furniture Records on LP, CD, & Digital.  “Paintings”  offers forty plus minutes of minimalistic, thoughtful, introspective drone compositions spread  over  twelve tracks. The album’s intro, titled “Elegant Company In Front Of A Palace” opens with a  soft,  pillowed muffled wash of static and barely audible clicks of voice and potential movement. Slowly, carefully and intentionally the  album’s intro  crescendo’s in volume and intention with lush, sine waves, akin to the decay of a  distant call for  help, or love, or  compassion, or  companionship,  The  track  builds and  swells and  before you know it we are left  with an ancient, beeping, buzzing, nothing.  This theme of  a lost communication, reaching out across a barren empty landscape continue throughout the record, which apparently is the  third in a trilogy of  similar works recorded in the  artists vacationing spot  of Copenhagen, Denmark.

 

Some tracks offer more musical stringed resolve, where as other  occupy a noisier more abstract space, but the  tension holds  well  across the  album as a whole, although the noisier passages  seem to build the tension which is  often released and resolved through the more  string based, musical compositions. This isn’t  100% experimental, but it’s  also somewhat indescribable as it  does oscillate seemingly well  intentioned between what some would call noise, ambient, and drone  while still offering the listener points of  resolve with  fairly standard musical  compositions so to speak. The more ambient tracks  stand out as the  album’s stronger and more interesting experiments though Bückle manages to carry forth  his themes of loss, isolation, and occasionally comfort and  discovery in a continuous and intentional way, which acts as a glue for the  varied structures and  styles of  compositions presented on, the  aptly titled, “Paintings”, as many of the  songs feel like vignettes, posters, experience in of themselves each wearing a slightly augmented form of  sorrow on it’s sleeve.

Of the more traditionally musical tracks, a quaint cinematic effect is achieved, especially on the vocal forward tracks such as Figures On A Road Through The Woods”  and  A Seascape. The Coast Of The Island In Evening Light” which both boast a rather lush, decaying, middle  range voice  drone which blends carefully and intentionally with the slowly evolving, churning string and piano drones which lay delicately and  subtly underneath the more  forward, punctual voice based sections.  These are breaths in the cold air of loss, gain, confusion, and clarity, These are paintings, nothing more and nothing less. Take from that what you may. Overall a strong release from a longstanding, musically diverse, and persistent imprint, who you  will be hearing more about in the future.

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.

 

 

DECAYCAST #034 “FARM TO TAPE 03 MIX” by Diego Aguilar-Canabatd

AmdallakokkswalaDECAYCAST #034 “FARM TO TAPE 03 MIX” by Diego Aguilar-Canabal

a little bit of everything

1. Tyler Holmes – I Can’t Forget 2 (excerpt)

2. Fred Bigot – Stereo

3. Jeich Ould Badu & Ahmedou Ahmed Lewla – El Wehcha

4. Hailu Mergia – Lala Belu

5. Ondatropica – Cumbia Bucanero

6. Tower of Power – Knock Yourself Out

7. rRHEXIS – Daily Dabs Acid Jam

8. Jarboe & Father Murphy – Truth or Consequences

9. Je Suis Le Petit Chevalier – Call It A Castle

10. Abdel Aziz El Mubarak – Ya A’Asal

DECAYCAST Reviews: STRAIGHT CRIMES “Jams, With Microphone, 2017” (Fine Concepts, 2017)

DECAYCAST Reviews: STRAIGHT CRIMES “Jams, With Microphone, 2017” (Fine Concepts, 2017)

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“Jams, With Microphone, 2017”   is the newest sonic offering from bay area punks Straight Crimes.  This cassette is toted under the “punk” category on band camp and other agents of the internet however stretches pretty far past that on this album delving between slow, heavy sludgy cuts where could easily faintly resemble an early Big Black or Butthole Surfers, which thick fuzzed out guitars, monotone style yelped vocals, heavy drum machined percussion, and thick, dense, cavernous spaces of spearing electronics.  The duo doesn’t stick to a particular style on this release bur one of their own, which is refreshing to the ear and psyche.  While it does have  many “punk” qualities to it, composition  wise, things really get stretched and scratched  to the max, such as on the ten minute anthem, “Is This Hell Or Is This Dumb” the vocals  and  meat and potatoes of the  track don’t make an appearance for nearly six minutes as the listener is  left in a murky, dark, disorientation of  jabbed and beaten  guitars, harsh alienating feedback,  high tension  style sound the  alarm  ringing and buzzing as the  listener marches towards a  future of confusion and uncertainty. 0011065181_10

 

As the song pulses on the listener is even LESS SURE of themselves than they were in the beginning and we all must hope to answer the question by the end of the bass swells that check the situation in the innards and slowly build to a crescendo of chaos.   “Jams With Microphone, 2017”  is absolutely as much of a heavy abstract, even “noise” record than it is a “punk” record as can be much more easily stated for  previous S C releases, though the heavy, pummeling track “In a Free Pile”  is perhaps the album’s most accessible and  straight forward song, while still boasting  thick percussion, a tonal heavy  dirge out guitar, sludgy bass lines and walls of noise  which add sharpness to the overall throbbing beat, perhaps the strongest cut on the album.  Tracks such as “The World Does Not Care About My Art Like Every DAY” show a more abstract and experimental side to the act, with this nearly eleven-minute feedback and vocal based offering, which peaks and swells through various sonic landscapes with the continuity of well executed guitar feedback leading the listener through this dark, murky, sweaty tunnel out to the dejected other side. This is a really refreshing release overall, and look forward to hearing more of this band, and everything else via their imprint, FINE CONCEPTS, longtime Oakland stalwarts.

 

DECAYCAST Reviews: SPORE SPAWN “Ochistuitara” Cassette (Oxen Records, 2017)

DECAYCAST Reviews: SPORE SPAWN “Ochistuitara” Cassette (Oxen Records, 2017)

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Spore Spawn is a nearly decade old project based out of Japan, and also happens to be an end level boss in the  popular fan favorite video game, Metroid.

The project name choice is Probably not an accident based on the title and  aesthetics of the artists imprint, 16 Shots Per Second   but this cassette is released by Leah and Matt’s imprint OXEN, based out of LA.  “Ochistuitara”, from Tokyo’s underground legend SPORE SPAWN, boasts a twenty minutes’ sacrifice of masterfully crafted, exciting, kinetic, dynamic harsh noise, and supposedly is made from a myriad of homemade joystick synthesizers and crude noise devices. While essentially existing in the harsh noise realm, “Ochistuitara” actually covers a rather wide and refreshing array of harsher sounds, compositional strategies and dynamics, and even musicality at times, almost a virtuosic approach to harsh noise. Spawn creates dense walls of feedback that violently and aggressively cascade into spacious vignettes of ambient drone, expertly blended field recordings, slow rhythmic pops, and chirps like a glitched- out, off-kiltered, dying alarm clock that fights the plug to stay in the wall when it’s angrily yanked out.   The walls of blistered, busted out, serrated chaotic mayhem crescendo into utter sonic chaos, and just as the ear bleeds for mercy rescind into a cold, alienating, isolating hum.  At times, the ambient sections act as a break from the unrelenting mountains of noise, and other times, function as matrix of brain mutes with respect to the ear fatigue. Loud is only loud when quiet is quiet, and on “Ochistuitara”, the artist is no doubt conscious of this strategy in respect to the timing and composition of this EP.

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Things never stay the same to become predictable or flat, Spore Spawn is constantly shifting though wavetables of disorientation, fear, chaos, tension, and even a few brief moments resolve. The tones themselves have a cold, digital body, while swells of analog chaos modulate themselves and the sharp digital pillars of extreme sonic swells and decays, and the start /stop style of aggressive noise, on more than one occasion even function as a “drop”. What was  dropped  we don’t know,  however it carved a  deep impact into  the  ear canal, even noted on one of CLIPPING‘s year end  best of lists! In short, this is a must have for fans of ASTRO, K2, early MERZBOW and even some of the work of CLIPPING themselves.   OXEN continues to remain at the forefront as one of America’s most aesthetically and conceptually consistent harsh noise labels.   Grip this fantastic tape before it’s too late.  Here’s a few world from OXEN that represent the complexity and brevity of this EP flawlessly,

Ochitsuitara brings any fan of modern harsh noise (nostalgists won’t be disappointed though maybe not specifically catered to) closest to articulating what it is that sets Spore Spawn apart from decades of legendary noise pioneers, his modern myth building utilizing swirling loops of cacophony and squelching stabs, uncompromisingly outpacing any modern competition in his unique patterns of ecstatic jarring drunken fervor and (sometimes) vocal delivers closely woven into and through electronics culled from homemade disused gaming controllers. Just harsh as fuck. All measurements of harsh noise enjoyment of this genuinely gifted noise artist will be vastly rewarded and on abundant display on Ochitsuitara.”

OXEN LABEL 

ORDER THE TAPE HERE 

SPORE SPAWN Soundcloud

 

DECAYCAST Reviews : SEA MOSS “BREAD BORED” CS/Digital (Crash Symbols, 2017)

DECAYCAST Reviews: SEA MOSS “BREAD BORED” CS/Digital (Crash Symbols, 2017)

a0364792524_10SEA MOSS is a perfect example of  why duos are sometimes the most engaging for heavy and experimental music. SEA MOSS, splice all of the specific aspects that make duo’s so special; tension, dynamics, a call and response/push pull type of  dynamic, (that often gets lost or muddled once a third or forth voice is added),  into a fever  dream ritual of distorted noise rock, and rhythmic, percussion heavy noise. When contrasting  voices push and pull, interesting and chaotic things can happen, and that’s exactly what this Seattle duo does, on their freshman album “Bread Bored”. For one, the sound is a perfect blend of Noa Ver  homemade, noisy, chaotic, dynamic home-brewed synthesizers, which she popularized in her solo project Mulva Myasis  and Zach D’Agostino percussion and live sequencing which meld together perfectly to create a raw, cacophonous blend of abstracted, cut up, angular noise / rock. Noa Ver create walls of glitched-out, sputtering, chirping, regurgitating bent and mangled waveforms blending together to create rhythmic walls of unique, raw synthesized noise over D’Agostino, who belts forth a seemingly endless array of broken rhythms, fusing both analog and digital sources to create a chaotic, chopped up, backbone of heavy, flipped out perscussion. Also we  couldn’t really talk about this release  without mentioning the intricate, dense, psychedelic collaged cover art/Layout done by Liz Pavlovic, offering the perfect visual counterpart to the dense, tripped out, broken sounds of SEA MOSS.

Having seen SEA MOSS live in 2017 (and BTW this project is barely a year old, and has already toured, released this album on CRASH SYMBOLS and self-released several live recordings) I had a rough idea of what to expect from this tape, and it really represents their live sound well. The aptly titled “Bread Bored” oscillates between more noise, even free jazz styled works, using more  chopped, off timed rhythm tracks, and the  synths are  sputtering more like a trumped or saxophone than a synthesizer,  such on the  second track “Infernal Stutter”, whereas the very next song, “Wanna See A Trick?”, perhaps my personal favorite on the album falls much more into an early Load Records style of noise rock where the synths and walls of noise act as a heavy low end for the pummeling 4/4 breakdowns which dominate the song, or  similarly styled and  varied is the finale “Sea Sickness”, which blends thudding  drums, more  buzzing, screaming oscillators and time/tempo changes that will leave your  head  spinning,  There’s also a whole lot varied vocal styles which range from long swelled, yelling to short, antagonistic bursts of  sound, yelling, fighting , screaming, screaming, threatening, impactful, and sharp in unique ways even though the lyrics are  rather indistinguishable from each other. Despite this, the vocals provide an additional layer of tension and chaos, especially when complimenting the heavy, smashed out percussion riffs in a sort of call in response type of way. At times, it’s as if all the instruments are being played as their opposites; or something they’re totally unreleased to; synths are played as horns, drums are played as basses, vocals are an additional layer of percussion, but also so much more.

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SEA MOSS stands above and beyond a lot of other offerings in noise rock camp so far for 2017 that have pummeled my ears. SEA MOSS has a seemingly uncanny ability to pack three or four different styles and feelings, even within a single track (and mind you most of the tracks are under four minutes, some even in the one to two-minute range). This music could be from 1999 or it could be from 2199, we haven’t totally figured that out yet, and that’s part of why it’s intriguing. The cassette is sold out; however, you can grip the digital album for five dollars from the Crash Symbols  band camp page. Be sure to check out a myriad of other releases from the West Virginia based imprint, while you’re on the band camp and make sure to follow SEA MOSS here!