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

 

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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!

DECAYCAST Reviews: V/A: NO WORKERS PARADISE 8 Cassette Boxset (Chthonic Streams, 2017)

DECAYCAST Reviews: V/A: NO WORKERS PARADISE 8 Cassette Boxset (Chthonic Streams, 2017)

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With the rise of accessibility for artists and producers to create sound, music, art and the ability for those artists to contextualize, and re contextualize their work in a seemingly often dizzying whirlwind of labels, sub-labels, sub-labels of sub-labels, through, you guessed it, the INTERNET; questioning the role or necessity of a small independent record label in these weird, confusing post-post modern days of malleability of meaning, format and intention, seems like probably a good idea. How many of them are genuine, how many of them truly put the artist first, and in priority, how many of them believe and stand behind their “product”, behind both the “artist” and the “artwork”. Derek Rush‘s New York – based imprint, Chthonic Streams does just that, and they do it with style, focus, and intention, as exemplified by the labels’ most ambitious and potentially most conceptual release to date, at least in its packaging and  form, is the “No Workers  Paradise” boxset. You should keep reading, but what I also recommend is that you  stop what you’re doing and instantly ORDER THE  BOXSET HERE! 

We  are  fans of  boxsets, we are fans of conceptual art, and we are fans of toolboxes and  ridiculously ambitious projects here at Decaycast, and Chthonic Streams exhaustive 8 hour cassette boxset titled, “V/A: NO WORKERS PARADISE” covers all of these bases and more, in one, mechanical, maniacal offering. Boxsets are awesome, and they’re even more compelling when they actually contain new material, by, gasp, even living artists. No shade on the myriad of Miles Davis and John Coltrane CD reissue boxsets that we have all seen and probably purchased, but eight hours of new material, from eight heavy hitters in the noise/industrial/power electronics scene enclosed in a matte black tool box, accompanied by a zine and customized time card to boot, is not really something we could (or should ignore). We received a rather large media mail box from New York and upon opening, the “No Workers Paradise” boxset emerged, a sleek matte black toolbox with a shiny chrome latch and basic font that reads “No Workers Paradise” is affixed to the top. Its interior reveals eight 60-minute cassettes and a zine/accompanying booklet for the release, and customized time card emerge as the tools for the job, so to speak. It was time to clock in.

As with all of the labels’ releases, the artwork is done by label head honcho Derek Rush who also books shows, is an active DJ, and works in graphic design and photography, so it comes as no surprise that all of the artwork included looks stunning and professional, accented by the printed booklet and cassette artwork itself. We haven’t even gotten into the sounds and this is already worth the $75 price tag without question, a truly beautifully put together collection. Now into the meat and bones of these disgruntled, bloody and beaten-down workers, we will delve into the sounds in reaction to the  tormented work day!

The boxset starts with the label owner’s project, COMPACTORoffering a strong, mechanically styled “old school” feeling industrial track with clanging rhythms, backed with the tick tock tick tock of the overlord’s clock. The panopticon is omnipresent and the worker must continue. Wake up. Work! Time To Work! Until you DIE, and DIE, until you can clock out at the end of the day and do it all again. Compactor’s sounds generally fall within a more mechanized style of industrial, there is soul, but it’s the soul of a robot programed to destroy itself, through repeated, violent, senseless rhythms, yet Rush’s sound and sample choices are powerful and intentional. The, slow, churning blown out percussion blends perfectly with the  high squelching feedback of industry/insanity and  multi-layered, multi-timbral synth workings. Compactor’s offering is the perfect opening to the project, cold, alienating, mechanized, and dense; the perfect ramp up to the more  fuzzed out, abstracted works of some of the other contributors to the boxset, The Vomit  Arsonist,  Redrot, Gnawed, and Filth, amongst others.

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Another  standout sound work in this massive offering comes from Denton, TX’s FILTHwho offers up his own interpretation of an hour slice of the standard american work day. Rob Buttrum’s FILTH project is known for his menacing cacophony of industrialized noise, power electronics and analog psychedelic compositions. FILTH brings his A game to work for with a dark, brooding, menacing stitching of fuzzed out, psychedelic noise and drenched in feedback power electronics, in what can only be described as the  FILTH sound, which we have covered in the past HERE in an interview with Buttrum and his label OUT OF BODY RECORDS.  Buttrum does offer a rhythmic backing at times, but in a different, slightly more diffused, muffled style than COMPACTOR, but don’t skimp on the manual,  because there is a harsh reality in store if you don’t, and  you’re likely to get gobbled up into the machine and  spat out as puny remains, but FILTH’s sound is  not exclusively harsh, tripped out noise, there are  abstracted broken rhythms, there is intention, it is planned, and panned, it IS the sound of the second hour of the day forcing itself into the  negative space of your brain, that may in fact, prove to be your  last of the day, of your life. FILTH is the sound of a  rusted, dilapidated, unstable, harsh machine taking its unknowing operator with it to an early grave.  Planned obsolescence, like user, like machine.

Michigan’s REDROT (Chondritic Sound, Bloodlust, Slaughter Productions) aka Ryan Oppermann offers another standout track on “No Worker’s Paradise” with one of their tracks titled, “Work Release Program Terminations”. REDROT is blackened, harsh noise/PE, with slices of  blown out  beats, and angular rhythmic structures over a sea of  dense power electronics and industrial. The machine has already regurgitated the  one time worker into a mess of fleshy, red, sacks of rotting remains, and REDROT is the  absolute perfect soundtrack to the coworkers slowly and confusingly sweeping the bloody bits into a bag for disposal. Redrot carries a white noise sword which swiftly and steadily shaves away at the listeners  inner ear  canal, until a drop of blood leaks out, and starts a mechanical frenzy leaving the  workers, along, confused, and  scared as the  drop turns into a red pool where music dies.

Another standout offering on this project is Minneapolis, MN’s  GNAWED, aka  Grant Richardson. We’ve covered one of GNAWED’s previous releases HERE on Decaycast. 

GNAWED‘s track for “No Worker’s Paradise” is similar to  his other industrial, harsh noise, power  electronics hybrid funeral stylings; chaotic, yet restrained, busy yet articulate, harsh but at times even beautiful. Much like  FILTH, GNAWED  uses homemade analog electronics to create a brooding, dark, cavernous sound all of his  own. His “Terminal Epoch” album from Phage Tapes, would be the closest style wise that I’ve heard for the track for this boxset. GNAWED is a master of tension through intentional and articulate dynamics, balancing sharp, harsh sounds with lower, more  brooding under swellings of terror; the track slowly and painfully oscillates between violent shudders, chaotic, dense, noise blasts and distorted, broken voice swells.

THE VOMIT ARSONIST, EXISTENCE IN DECLINEBLSPHM and WORK/DEATH  also punch in with powerful sound works blending industrial, harsh/blackened noise, power/electronics and dark, experimental moods of the harsher, angular  style.

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The boxset as a whole is a lengthy listen clocking in at the 8 hour mark, but when one thinks of the  slow, grudging, unrelenting time clock of the american work day, this tour de force of harsh industrial / PE  serves as a warm, relaxing day on the beach as a vacation, even for a day, from the  alienating, hellscape robotic world that is American capitalism. Rush does right by all of the artists involved with stunningly beautiful and appropriate artwork and  packaging as with all of the labels releases. A must for any noise collector, and/or hater of  capitalism.

ORDER THE  BOXSET HERE! 

Chthonic Streams Online Store 

Label Website 

 

LIMITED TO 50 NUMBERED COPIES
(additional 16 go to artists only)

DECAYCAST#036: NIHAR BHATT : V/A: ROGUE PULSE / GRAVITY COLLAPSE DJ Mix

DECAYCAST#036: NIHAR BHATT :  V/A: ROGUE PULSE / GRAVITY COLLAPSE DJ Mix on RATSKIN RECORDS, 2017 

IMA “Meshes”
TERROR APART “Perfectly Nowhere”
BIG DEBBIE “E.P. Hypnosis”
AH MER AH SU “Write This Off”
SNEAX (LaTron + Obsidian Blade) “Till The End 100%”
Piano Rain “Last Year” Remastered
PRIST “Still Movin'”
FORBIDDEN COLORS “Green Smiley Face Sticker”
BONUS BEAST “Direct Dive”
ZEEK SHECK “7777-01-07 Son”
JOSHUA KIT CLAYTON “Morning Rasp”
HIROSHI HASEGAWA “Homeobox”
MALOCCULSION “Walk Of The Dead, Part One”
S.B.S.M. “Godzilla”
POD BLOTZ “The Current”
MOOR MOTHER “CTM Five”
BRIAN TESTER “Chrono People”
GOLDEN DONNA “Wired For The Worst”
THE CREATRIX “D B No Moral Universe”
CIARRA BLACK “Don’t Say It, Volume 1”
RUSSELL E.L. BUTLER “Technofeminism House”
ZANNA NERA “In My Veins”
JASMINE INFINITI “Scratchy A”
ELROND “Hart Start”
DIMENTIA “Specimen Identity”
PARALYCYST “Untitled”
SHARON TATE FETUS EXPLOSION “Personal Brand”
V.E.X. “Ride The Time”
arc “Breathe Couplings Undulation Map”

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On The Origin Of Rogue Pulse / Gravity Collapse: About two weeks to the day before Ghostship, we returned home after days of protests; as always feeling defeated, BEING defeated another day of violence enacted upon the communities’ consciousness; Witnessing the beautiful families of oakland wading through never ending rivers of trauma enacted on all marginalized communities through state sanctioned violence and racism in Oakland, and the Bay Area at large. A compilation will not solve this, a thousand compilations will not solve this, but we have done nothing to combat this and we have to start somewhere. ROGUE PULSE / GRAVITY COLLAPSE is an uncertain yet thorough attempt to demonstrate to propose a restructuring of how artists, labels, promoters, venues and other “institutions” and INSTITUTIONS use their privilege, time, talents, and resources. But before we could do that, and begin to unpack the complexities around all of these issues, in one single night, the community lost thirty six souls, including founding members of our collective, artists on our label, family members, and so much more in Ghostship and then months after RP/GC was released, almost a dozen more in the San Pablo Fire months later which displaced hundreds of longstanding Black members of the community, and lastly the North Bay fires. There is only so many ways to process or not process this stuff, but we came up with a compilation. We weren’t sure how long it would be, who would be included, how we would present it to the public without exacerbating the commodification of grief, and without taking visibility away from traumas enacted against the Oakland community at large, outside of the “artistic” community. We weren’t really at all sure how we would divide up the money, how we would promote it, but sometimes you don’t have any other fucking choice, even if it raised $100 you never know how far that could go.. Ghostship was, and still is a horrendous blow to our local creative community, many of whom had already been resisting against the structural wrath and chaos of a white supremacist, sexist, capitalist culture, and therefore already just struggling to create and survive, day by day hour by hour minute by minute. In short, many communities were fragmented and tormented long before Ghostship, and Ghostship, for many of us, brought a blade of mass trauma slicing through reality, grief, chaos, distrust and confusion that uprooted the community in so many different ways. The Immediate Fire relief fund literally saved people’s lives by the way and all the love should be given to them and those working on the periphery as well.

What was crucial for us was linking in those deeply affected and lost in Ghostship fire while also keeping the financial and conceptual focus on the organizations we chose to support before the fire, Black Lives Matter and St James Infirmary in San Francisco. Before we knew it, it was out. It was like the best and worst possible distraction, and in MANY ways, postponed a lot of the mental and physical healing that members of the collective needed to do for ourselves but at the same time it was, and still very much is an entry point for beginning the process. For me personally, this has easily been the single most important release I have ever been a part of for numerous reasons, but the single biggest reason is because it saved my life, literally, so many times I cannot even count and it did that by showing me the undeniable ferociousness of our community. Every track on ROGUE PULSE / GRAVITY COLLAPSE, came as a blessing, a hug, a shoulder to cry on, but also they came as weapons, one hundred and eighty seven weapons, and we couldn’t be happier with the finished offering, as it strives to demonstrate the unrelenting power through all of the trauma and grief that our community and the people of Oakland, through various intersections possess and present with every moment that they exist. Nihar’s essential, heartfelt, and nearly perfect distillation of the thirteen hours of Rogue Pulse / Gravity Collapse, carefully and masterfully sharpens heavy stones of grief into razor blades of warmth, love, creativity, and determination of our community like daggers to the throat of a broken, corrupt system. Every tear shed will eventually freeze to form an icicle to thrust into the socket of a system which has cast away so many amazing, beautiful, creative, people.

This mix is one for everyone who has lost a loved one at the hands of systemic violence. Your tears will not go unnoticed, and this is just the beginning.

This mix is one  for  everyone who has  lost a loved one  at the  hands of  systemic violence. Your  tears will not go unnoticed, and this is just the beginning.  

Follow Nihar’s projects NINE, \ LEFT HAND PATH & SURFACE TENSION

The physical edition of  ROGUE PULSE   / GRAVITY    is SOLD OUT  as of  Today, but the  digital download is  available HERE ON BANDCAMP  via RATSKIN.

 

-MD. Dec 1, 2017

 

DECAY CAST Reviews: John Rasmussen “DModes” Digital EP (Not On Label, 2017)

 

DECAY CAST Reviews: John Rasmussen “DModes” Digital EP (Not On Label, 2017)

Rasmussen is the solo project of John Rasmussen.  He is based out of Denver Colorado, USA. His styles range from harsh noise to IDM / experimental / minimal. John began performing in 1999 after many years of recording. Originally John started Page 27 with John Gross in 1994 and for years around that time he played cello for 6 years.  John Rasmussen and John Gross work on putting on the Denver Noise Fest, http://denvernoisefest.com/ (started in 2010) and performs with Michael Nowak/John Gross as Page 27 regularly”

For this  release, “DModes” Rasmussen blends harsh noise, ambient loop sections, field recordings,  found sounds, augmented voice, lo fi transmissions blasted, blown out  rhythm sections, data bending  sonic sculptures; kind of but  not so similar to  the  sounds of  machines and  programs  dying, failing, flailing, and  fucking exploding in the  face of the user; with no  where to  run and nowhere to hide.  Belching, fizzing digital  gargling  spews out of the  speakers in long harsh seeing  breaths of  aural decimation. The first two tracks “Xenu” and  “DModes”  start similar with a minimal, crunchy digital  sounding  tone  burst, but both slowly eclipse into walls of harsh feedback, malfunctioning, or  properly function  triggers, and  sequencers. The Midi Cable has  come alive to strangle its user, and  the  user  repents.  The  B Side boasts live  versions of both of the  tracks  on  side  A. Although the  fidelity is a  bit lacking on the live recordings, the damage, confusion and discomfort is all still there.  Despite the  abstracted composition both of the  love  tracks don’t  stray too far from the  originals  presented on Side A,  which is  both impressive and  exciting  considering the noisy and chaotic nature of the project.

Often times with harsh noise it can be  extremely difficult to  tell the  source of the  sound, albeit  conceptual maybe it’s not important  what the  source is but with  Rasmussen ‘s work  it  screams a  healthy dose of  both digital and  analog  electronics and  processing.  Just as the  listener is being washed away in a sea of  white  noise trauma, the  chaos  fades and the listener is  left  with  bleep, dot,  error information?  A  single  dial tone to the  brain that has  already escaped.  What happens the  moment before meltdown?  Check the  band camp and  find out  HERE.

 

 

 

 

 

DECAYCAST#035 DECAYCAST Premieres: BEAST NEST “Pluto” Video

BEAST NEST “Pluto” Video Premiere :

(video directed by : malocculsion)

The efforts of  Bay Area  artist, musician, healer, promoter and educator  Sharmi Basu are seemingly endless and  so far reaching  that  before  one has the opportunity  to grasp  and contextualize  one action in the  greater realm of experimental music, they are onto the next.

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production still from “Pluto” video

Between constantly touring, and  releasing last years  “Taste Of India” cassette (Ratskin), a new  Tour  EP  for  her  recently completed  European tour,  running  The Mara Performance Collective,  which self describes as “a performance and improvisation group that is centered on shared politics and identity.  The MPC is focused on radical people of color, that is non-white folks, and is emphasizing those who identify as queer, trans, and/or womyn of color.”, and it’s offshoot, Brown Noise  , have become staples for many new  and  experienced artists to gain and refine their “chops” so to speak outside of the  white male patriarchy which has historically taken up so much space in noise and  underground communities.  Most recently, Basu was  a  part of The Universe Is Lit:  the bay area’s  first ever Black and  Brown Punk Festival with  fellow curators Shawna Shawnte, Jade Ariana and Titania Kumeh, and recently opening for electronic music’s den mother Suzanne Ciani at the  San Francisco Electronic Music Festival,  Through all of this, Basu has both ears, a dog and a mic to the ground in the  forefront of  experimental music, politics, and community building.  She  even contributed a track to the recently released  “Rogue Pulse /  Gravity Collapse” compilation (Ratskin)  which spawns twelve hours of music in direct support of  Black Lives Matter,  St James Infirmary, and The Oakland  Immediate Relief Fund, which  consisted of  Basu and  several other femme organizers who took  and  distributed donations after last year’s Ghostship tragedy which claimed the lives of thirty six souls of the  Oakland and  bay area

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BEAST NEST . Photo:  Gabby Gamboa.

creative community, many of whom were  close to Basu.   Despite all of this  loss, chaos, and  uncertainty with these  violent, chaotic, shaking and bleeding times,  Basu marches forward  and  continues to help  pave the way for the  decolonization of  experimental, underground, music and  art. A  necessary, radical  action, like many aspects of confronting white supremacy,  which is long overdue.

Today, Basu releases a video for  “Pluto”  which is  from the B side of the “Taste of  India”  cassette, released in an edition of  100  cassettes on Ratskin in fall of last year, which can be viewed above.  The video blends analog and  video  synthesis, feedback, found  footage and  digital  video processing. Make sure to  click the  HD option in the  youtube window for  maximum definition, as the  video is  visually dense. Please make sure to    Follow her Bandcamp,  or   Soundcloud  orrrrrrr  main website for more information and  current shows. She also has a Patreon which has some amazing  incentives!

 

 

DECAYCAST REVIEWS: HEY EXIT “Else” Cassette/Digital (2015)

“Else”  was  recorded by HEY  EXIT, in Brooklyn NY in 2015, but  you’d  never  really be able to tell as  it comes off  as this  sort of  timeless  drone recording.  “Else”  starts with a low, slow, cloudy  drone and  slowly builds and  destroys  subtlety across the  entire album. The  first sounds that  emerge  are  delicate.  spacious, tone  poems of  humming synths? guitars? who knows?  but the  source a1533371763_16isn’t  really that important and the sounds  create a sonic  space  that exists  somewhat outside of  codified instrumentation, structure,  rhythm. The  sonic palette of HEY EXIT is  largely of a similar toolset, at least on Else, and the cassette is broken up into five tracks, however they all function as  one  breadth, decaying and  gently bleeding into each other. “What Role, If  Any”  is  probably the track that feels   most complete on its  own in terms of a moving composition within itself and  offers arguably the most  sonic  density and  variety on this EP.

The sounds themselves  are a  plush mesh of drones,  blissed  out  and  stretched  out  orchestral swells, slow attack  guitar  swells,  strategically placed crunches of  rumbling  distortion, and  wind. The  tempo of  Else is  made up of slow, delicately offered  pulses, as  if  someone was  breathing  out the notes, blowing ou

t the  tempo on a single  flickering candle,  but  not  through a wind  instrument, the  attack is gone, the breath has  transformed into a slow,  churning, crawling, beautiful sound.  The slow, crawling , glossy pillars of  sounds ,  at times  almost seemed to  sync up with my breath as i was  sitting in the dark listen

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ing to the  cassette on repeat. This is  excellent  “meditation” music, or at least music that  begs of  slow action, slow  thought,  slow body movements, and slow listening. There  are moments  that  get “noisy” in the traditional sense, but they never  obliterate or  destroy the  more  quiet, subtle  tones  that dance and  breathe  as he main life  source of the  piece.  “Else”  is  a delicately crafted ambient  drone offering for  fans of  slow, delicate, breathing music to  listen to  on a foggy, crawling  confusing day. Highly enjoyable.

 

You can   check this release and more  from HEY  EXIT,  here

TONIGHT: NOISE SHOW IN SF w/ DEMONSLEEPER / THOABATH / NEHA SPELLFISH / MALOCCULSION

TONIGHT  4/20 IN THE  CITY OF  SAN FRANPSYCHO

SECOND ACT. 1727 HAIGHT STREET, SF, CA 7:45-10PM SHARP

 

“Four twenny in the Haight Ashbury? Yup. If smoke makes the best sunsets, the banks of Golden Gate Park will be blowin’ up as Neha Spellfish, Malocculsion, play the final show with Demonsleeper and Thoabath before they hang ten off a dank ring blowing out toward San Juan, Puerto Rico where they’ll opena new venue for experimental live sound. Come see them off with…1414959_10153953359597836_4368103547300810001_o

NEHA SPELLFISH (Oakland/Madrid)
With low frequency waves washing up on a beach of dark noise ambience, Spellfish delves into the shared space of interspecies communication and paramnesia, invoking the spectral measure of waking consciousness and noospheric cognition. Neha invokes themes of macro psychology, xeno feminism, dynamically modeled weather enclosures, and instinctual variance, employing audio programming platforms and algorithmic granular synthesis.
https://soundcloud.com/spellfish

Demonsleeper
Deathrattle lullabys and inescapable lucid dreamscapes wrought by somnambulist maestra, Alexandra Bushman. In 1999, she formed the electro-acoustic group, Synethesia, tegether with Angélica Negrón. After scaring the daylights out of everyone at the Conservatory of Music in Puerto Rico, she matriculated to Mills College before committing to advanced studies with ancient dark forces whose names must never be spoken.
https://soundcloud.com/demonsleeper

Thoabath
There’s a perceptible gravity to Andy Way that somehow vanishes once you draw near, the material world floats adrift. His solo project, Thoabath, might just be that massless Euclidean point where noise, dub, power electronics, horror, and ambient all emanate, an entelechy without clear precedent, of no laws. Prepare your ear, first study his collaborations with luminaries like Bruce Anderson (MX-80) & Petit Mal in the project, French Radio, sink yourself in the occult cacophony of Sutekh Hexen, and then, approach Thoabath, inescapable dark quasar.
https://soundcloud.com/acway/

Malocculsion
Watch concrete turn to quicksand and glass return to sand as this sonic juggernaut storms the Haight Ashbury. His inaugural solo album released last year, “Psychosis Industrial Complex”, melds blown out distorted beats, arpeggiated synths, tape manipulation, voice, field recordings and homemade oscillators to belt forth a dark, unique offering of post industrial, prison music.
https://ratskinrecords.bandcamp.com/album/malocculsion-psychosis-industrial-complex

 

 

DECAYCAST REVIEWS: SHROUDED RECORDINGS ZINE #1-3

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Whenever  one  goes out to the mailbox  and   is  granted with music its a great  day, zines and  books are no exception, especially collaged zines which  throw my brain back into  being  15 and   thumbing through pages and pages and pages of   crudely  xeroxed interviews  with friends, bands i looked up to and  bands i  had yet to discover, Shrouded Recordings Zine is  pretty much this:  centered around the label with the same name.   Issue 1  has an interview with Sam from the Rita, which is  funny, informative and to the point, which is surrounded by high contrast images of cassette  tapes, industrial style  textures and abstracted artworks, and  ads  and  upcoming releases for the label. Volume 1  is more fanzine style, however,  Vol 2 and 3  give considerably more  to the  reader  in terms of length, quality, artwork, and information. Shrouded Zine boasts cut up style interviews, NOISE, NOISE, NOISE and more noise are jam packed  within this modest zine. All of the content  blends together in an interesting and almost dadaesque  way. Interviews   blend with reviews, ads, non sensical, albeit beautifully crude collaged images, and blank space – the MOST important  space in noise and  art, imho.

 

#3  is  perhaps my favorite so far, as  each page of content  is  intelligently paired with a blank page  to act as a  journal, sketch pad, notepad, blank space  for  contemplation. What at first seems maybe like a  printing  error later  reveals itself to be an intelligent and generous  offering from the  writer  to the reader – in fact mine is INDEED  scrawled with random notes and drawings  that i made on the  bus ride into the city  whilst  thumbing through volume three.     Fun and informative interview with Kevin Yuen from  Sutekh Hexan,  lots of  reviews covering  harsh noise, death industrial, power electronics, noise, electronic, ambient and  even some hardcore/metal  stuff! PLUSS   adds and upcoming releases  from noise, industrial, electronics, and harsh noise  labels, distros, and other  zines/webzines with some  minimal artwork  scrawled across the pages as backdrops.   I’ll be  looking forward to  stumbling across  more  from this  zine/label in the  future!

SHROUDED  RECORDINGS

DECAYCAST REVIEWS : K2/ CONSTRAIN / FENIAN CD (Oxen label, 2015)

DECAYCAST REVIEWS : K2/ CONSTRAIN / FENIAN CD (Oxen label, 2015)

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Here we have another  harsh, tasty treat from the always  harsh, loud  and  on fire label OXEN RECORDS  from LA  run by Matt and  Leah Purse. This album comes in beautifully artworked jewel  case, and the  sounds live up to the  artwork./ The  disc opens up with a harsh, but  fun offering from noise legend, K2 (Kimihide Kusafuka)  who  swiftly and masterfully carves through fifteen minutes of classic,  chaotic, phased out  harsh noise blasts. Oscillators and  opportunities shudder open and closed as Kusafuka melts, blends, breaks, and blasts his  way to a masterfully brutal harsh noise assault. k2 has been terrorizing both sides of the  brain/globe  with his  harsh noise  presentations of  aural hell for years and this brand  new offering is no exception. Dynamic, loud, abrasive, and unapologetic  doesn’t even begin to sum up the  work of  K2  on this release, or any of his extensive and  sought after  back catalog, though it’s a brave and noble start.

 

Kevin M. is up next with an equally brutal and  chopped up track from his elusive  yet prolific Constrain project (who also offers up  the album  artwork to boot) The Constrain track has a few  more  rhythmic elements that tease and  tug on the listener somewhere  in  the  background, but  they never remain for more  than a  few  seconds before they  are  swept  away with choppy, arrhythmic feedback blasts, chaotic, unstable  circuits and belching, smelly walls  of  distortion and speaker popping.  Constrain’s style is a bit  more choppy overall than K2, but it’s  no doubt working in the  same  schematic of  compositionally aware, yet angry and  disjointed noise music.  The Constrain track has  some nice  stereo  effects  and is  fairly dynamic, in terms of some of the other projects from this artist, though it  slowly builds to a  chaotic climax  somewhere about halfway through the  track and begins subtracting from itself  and  erasing  its own heads and tails.

 

Last and not least of the  three  artists,  we have the Fenian track, which is perhaps my favorite and the most dynamic and movement based  piece on the  disk. Also a bit  shorter than the k2 offering, fenian carves, warped, warbley  blown out  harsh noise which seems to have more  of an analog tape machine feel (even though i know thats not  whats  being  used – or  maybe i don’t, or maybe nobody  does, and nothing does,  including the machines ) Fenian navigates the  harsh to minimal transitions rather smoothly and  always riding the line between blown out and microtonal harsh noise, in a  swift and compelling way. Some  faint  field recordings of  voice/ old  song can be heard, however  before the listener can claw at a point of reference, the  sound is GONE, SQUASHED, MANIPULATED, into a harsh hellhole of  auditory terror.

 

The fourth track is a collaboration, by mail it  seems between the  three  artists  and is mixed and compiled by K2 according to the liner notes. This track offers  some really fun manipulation of  source material from Constrain and possibly Fenian as well but  it’s  undoubtably  processed through the K2  sound  engine!  Overall a great  offering for all the  harsh heads out there  who want something with a bit more sonic density  and  with more  variance than most contemporary harsh noise, these  three are  keeping the bar  high and  dangerous.

 

OXEN LABEL