DECAYCAST News: Let’s Burn It Down: Mixed-Genre Benefit Show Invades Richmond District Tonight w: CCR Headcleaner and more!
There’s no secret 4/20 in San Francisco in 2019 can be a shit-show, with zombie-like blood thirsty capitalists co-opting and squeezing any profit they can out of literally anything cannabis related, and culture related for that matter, while steamrolling communities with racist and patriarchal policies which put the cities most marginalized at risk. Any and all culture in San Francisco seems to be at best, null and void for the distant future, to the lazily observing outsider, but local organizers fight back against this hypocrisy with a psych forward diverse musical event where you can support a good cause while having your brain melted with outsider sounds from some of the bay area’s stranger and more esoteric musical offerings. We spoke with the main organizer, Andre Torrez of the Brown Recluse Variety Show, a local radio program on BFF.fm. about the event and why it’s important to support organizations that help folks clear their criminal records or marijuana and other non violent low level crimes, especially now in an ever changing Bay Area landscape that seems hell bent on destroying anything that rebels against this hyper dangerous runaway capitalist model.
“With the annual crush of humanity on Golden Gate Park’s Hippie Hill reaching near mythical proportions, 4/20 in San Francisco is pretty much a stoner holiday. It seems like a no-brainer to tap into this crowd for some low-level marijuana offense criminal justice reform.
California’s recreational use marijuana law went into effect in 2018. At this point, any partakers are “barely legal”. Good times! But what about all those pot-case convictions prior to the new law kicking in? Bummer? Not so fast.
Why stop there? Marijuana is just the tip of the iceberg! Expunging old, low-level convictions can help tens of millions of Americans so they can get jobs, housing and education. Algorithms helping break down these barriers? It’s already happening! But it takes time, resources and money.
Pocket your vape pen and follow the wafting haze from the park on 4/20 and step inside SF’s Neck of the Woods(406 Clement Street) for the Blown-Out, Blowout Benefit Show: Barely Legal Edition.”
We spoke briefly with organizer Andre Torrez of The Brown Recluse Variety Show, who talked about the importance of organizing a benefit show and co-opting this green day for a good cause, “This is the 4th installment, though I haven’t thrown this party in 5 years. I used to be a DJ at KUSF 90.3 FM. When they were taken off the air I started the tradition of organizing a benefit show that was 4/20 themed. It’s not so much out of weed adulation, though I’ve definitely had my own adoring moments. It was more from my own observations of how 4/20 is like a California phenomenon. It really is treated like such an event as it is. Anyhow I like puns and themes, so I would get whatever local bands and acts I could convince to play for the cause of getting KUSF back on the air. Fast forward 5 years and they kind of are back on the air as KXSF 102.5 and I’m now affiliated as a BFF.fm DJ and recreational weed is now legal, so I needed a new cause.
I work at a local TV news station and that’s where I heard about all these low-level marijuana convictions getting expunged by the SF D.A.’s office. The cause to me was clear: more of this kind of work. When I dug into it and found out it was Code for America’s Clear My Record Campaign that was behind creating this algorithm that helped expunge more than 8,000 cases, I reached out to see if they’d like to be the beneficiary. I respect what they are working towards and how this impacts people’s chances for a greater housing, education and job opportunities. Really this is a manifestation of the income disparity I see on the streets everyday in San Francisco, especially living in the Tenderloin these last 10 years. People need help and not enough of us are stepping up to do something. I don’t expect a fat billion dollar check to come out of this, but even small-scale philanthropy can help make a difference.”
“This year’s lineup includes local, psych-heavyweights; CCR Headcleaner, bringing you riffs for days! Oakland’s Milk For The Angry is hot with their new cosmically, psychedelic-flavored album ‘Extraterrestrial Desert’. Ratskin Records’ Cyborg Eye, a dark and moody East Bay duo, will wow you with their gear. Hauras sets the experimental tone including a special screening of film work by Myleen Hollero. And if you like Glitter Wizard, then you won’t want to miss “members of” in the country-folk duo known as Honey Bucket Boys. DJ Mashi Mashi of Galaxy Radio fame will be spinning vinyl all night.
Come on out and stick it to the man. The fun starts at 8pm. $10.”
Here we step back over to a short but power and sonically diverse from Matt Taggarts’ LUER project. “Cartridge” comprised of two short sides of mixed style electronic compositions spanning harsh noise, post industrial, musique-concrete and expanded ambient/drone techniques; a hearty stylistic swath for such a short release indeed, but this cassette doesn’t feel contrived in it’s uniqueness and non-commitment to a specific sound or style. Like his solo work under his own name and P.C.R.V., Taggart has always oscillated between the sonically dense and the hauntingly minimal, letting the concept dictate both the intensity and the presentation
, and that could be happening here as well, though the focus seems to be more onto nuanced sound with LUER than previous works with refreshing and interesting results. LUER blends sputtery, chaotic synthesizer patterns and textures, backed with heavy, industrial percussion working in tandem with mutating synths and unrecognized manipulated sources. Both sides offer varying peaks and troughs of intensity, but as the listener, we are never left with a boring moment, a unique sonic happening is always right around the corner ready to unfold inside our cochlea. Harsh, synthetic noise blasts swiftly and determined cut through the mix like stab wounds to our own perceived reality.
The B side offers more warmer synth manipulations on the forward coupled with digitized harsh noise blasts, analog machines crumbling atop each others dying circuit pulses, and space. The use of sparseness on the second side especially offers a tense and cinematic feel to the overall composition, never knowing when the next cacophony is going to rumble up through the speaker and slice your skin to fill up the case. This is the sound of blood corroding a body into the inner most part of the ear- perfect. Stunning artwork to boot, pick up the cassette today here.
Proud/Father creates a tense, murky unsettling of ambient din on the A side of their newest album, “Symbolic Exchange & Emptiness” on PA’s ORB TAPES. The side begins with a slow, gentle pulsing ambient tone which slowly evolves over time into washed out, thick waves of sonic fog. “The first side is a reflection of isolation, both physical and emotional, from depression and similar mental health disorders. ” quotes the releases bandcamp page, and the subtle, harmonic shifts seem to oscillate moods ever so slightly without ever jarring the listener out of a meditative, hypnotic state. Several layers of drone eventually give birth to lush, washed out, undulating vocal tones, or are they even? Proud/Father seamlessly blends multiple sources into a singular harmonious, but still unsettling buzzing, like the buzzing inside your body when anxiously awaiting a phone call where every second seems like an eternity and every far away sound oscillates as a precursor to something your unsure about and you can’t place your brain on why. P/F has mastered keeping us in a sonic stasis, whilst their shifting tones dance around an aura of confusion, with even a dab of resolve.
The B side “Al alejarme de casa recuerdos débiles se apagan” , according to the bandcamp page ” is an exploration of the fading Boricua culture and the history of Puerto Rican independence movements.”, and it begins with a choppy tense transmission, the sound of a message in a bottle being dragged through an underground cement tunnel ever so swiftly and softly as to not detect the unknowing above. The choppy radio static like noise transmissions quickly fold into more undulating, thick walls of ambient drone, a thick fog casts itself inside the ear and modulates our mere understanding of the sound’s orgin, we are left with an increasingly angrier and more aggressively articulated drone of unknown origin. What was once a singing drone has turned into an angry, whipping, radicalized wind, devoid of mission and geographical direction, just a thickness of tension and intention. Proud/Father continuously oscillates between drone, ambient, and soundscapes with swiftness, however compositionally things never seem rushed, always blending into each other with care and precision, P/F has crafted an ambient soundscape strategy to call all their own. For fans of The Shadow Ring, Tim Hecker, Beast Nest etc. Tapes are apparently sold out, though you can get the digital here, highly recommended.
Another short but powerful offering from the PACNW’s Happiness Forever, titled “Primitive Dimension”, which is aptly titled for this minimal but powerful sonic offering, A dark pulsing arpeggiated square wave synth opens the track, slowly and effortlessly edging the listener to the edge of the cliff out of the gate. Hard stereo panning madness ala Phedora era Tangerine Dream when the tech left too many fuzz pedals in the chain in the best way. Lower pitched synths slowly undulate as the panoramic view widens and we are left confronting out demons. Pulses slowly phase and undulate across the spectrum of rhythmic militancy, shifting ever so slightly to create a psychedelic fuzz of confusion. Long drawn out bell-like sounds breathe in the background creating tension and thickening up the form to a dense, stew of synthesizer sludge.
Perfectly timed, the A side gives breath to a more subtle and sparse (but equally dark and unsettling) B side which begins with murky, basement synthesizer swells, ringing inside the cochlear with beautiful collapsing sine waves, radiant, insect-like buzzing sounds, throttled tones of a disharmonious and gray sunset. Happiness Forever creates peaceful yet slightly unsettling and dissonant tone poems for fans of drone, ambient and synthesizer music. All the individual synth voices sprout equal trees within a sonic forest of psychedelic electronic explorations.
Open Call For Works for #ActuallyAutistic Musicians Awareness Compilation
The twelfth annual World Autism Awareness Day is April 2, 2019, and this is the same day musician, writer, and activist mynameisblueskye has chosen to release “On The Spectrum 2: Red April”, a compilation featuring mixed-genre artists who are on the Autistic Spectrum. The title is a reference to the often problematic Autism Speaks’ Light It Up Blue campaign, as the majority of autistic people having problems with Autism Speaks (pretty much saying Autism Speaks is low key an autistic hate group that masquerades as a harmless Autism-focused organization.) The artists have chosen to focus on the color red, with the slogan “Light It Up Red”. We can’t wait to hear the submissions for this and if it’s anything like the diverse sounds championed on I Heart Noise in the past, (the label slated to co-release the project) it’s sure to be a diverse and eclectic sonic offering. In a time where artists are already exploited within shifting narratives of global chaos of racism, sexism, transphobia, ableism and other forms of systemic oppression, artists and activists must often function as double sided advocates for both their own work and their friends and peers work who might not have the same set of resources to fight these menacing, and this to be titled compilation is a fantastic step in fighting against this very system. Representation matters. Below is the call for works from the organizer. Please spread this far and wide and contact the organizer with any direct questions, inquiries or submissions!
#ActuallyAutistic Musicians: We are putting together a compilation to Autism Awarness Month. What we need from you is to know if you are interested in being on the compilation. If so, DM or email me at firstname.lastname@example.org to let me know your interest. 🙂
From the organizer: “we are doing a compilation wrapping around artists who are on the Autism Spectrum. For Autism Acceptance/Awareness Month, me and IHeartNoise decided to put together a compilation to showcase some talent within the spectrum. Are you interested in being a part of it or do you know anyone on the spectrum who might be? If so, is there a song you would like to offer to the compilation? Although, we accept covers, we prefer your material be original. 🙂
If so, please email a song that you wish to contribute to email@example.com. If you need more information, don’t be hesitate to ask. Also, if you know other artists with Autism that might be interested, please do not hesitate to spread the word,
Addendum: we cannot promise every song will make it, but you will be shouted out when the whole operation is done. Thank you so much not only for reading, but for being interested.
The discography of California based imprint Deathbomb Arc spans across rap, noise, experimental, noise rock, abstract electronic music and more boasting releases from experimental rap group Clipping, and rap/noise crossover Death Grips to the dense lush pop soundscapes of Fielded, to the noisy chaotic percussive assault of Foot Village, but none of these releases seem to masterfully weave so many seemingly disconnected genres into such a dense, queer, volatile, explosion of hybrid-styles future music than one of the the labels newest release, “Spirit Realm.Final” from non binary CA based rapper SB THE MOOR. On “Spirit Realm.Final”, SB takes the extremes from “Pillows” and “MNFST.dstnii” and a swarth of self released cassettes and mix tapes and pushes them even farther into the psychedelic netherworld that is their mind. This record truly defies categorization, it’s at once both haunting, beautiful, chaotic, poised, explosive and contained, seamlessly bridging hip hop, post rock, noise, industrial, and avant garde. These terms seem to contradict each other but upon opening your ears to “Spirit Realm.Final” and the work of SB THE MOOR, you’ll find beauty, chaos, anger, confusion, and even peace in the complicated dichotomies of our very existence. Moor has been on an unrelenting tear of touring, recording and collaborations and we needed to know more! We chatted with SB about their newest record, released on Deathbomb Arc, what it means to be a queer working artist, collaboration, touring and how this impacts the creative process. You can order their new record from the label HERE.
Dr. Decaycast: Thanks for talking with Decaycast! Can you talk a little bit about your project SB The MOOR? Do you consider it more of a band, solo project, or concept?
SB The Moor: hmm I guess when I started, Signor Benedick the Moor was just another name/alias. I think I already finished an album (which ended up being El Negro) and that was just another weird name I picked to call myself. I didn’t expect it to take off. Now, it’s a bit of a mix of all three. SB is sort of a persona, or alter ego with which to experiment and make art with.
DD: You have a new record out on Deathbomb Arc, correct, titled “Spirit Realm.Final”? Is this record a linear continuation of your sound from the previous Deathbomb releases, and if not how has your sound changed?
SB The Moor: This new record…. well I never really know what’s going to happen when I go into album making mode. Even after I’m finished it usually takes a couple weeks of downtime before i really understand what it is. In a way this new record, titled “spirit realm.final” is a continuation of “Toybox”,“cybr.pnk”, and “MNFST.dstniii“. Those records were like…me figuring out how to make spirit realm.final. Sonically, texturally….and figuring out my music making process….as well as how to mix to my liking…those last three records trained me in all of those aspects. Thematically this record reminds me a lot of El Negro, too. It’s almost like a spiritual successor in my mind, because the album was born from a very dark place. This time though I’m experienced enough to identify the darkness and use it purposefully, instead of being used by it. Tbh, El Negro attracted a lot of attention from people I really didn’t want to be associated with haha.
“Representation is everything! Even on this tour ….. non binary kids have been tellin’ me how much it means to them. ….. But, y’know, seeing artists like Mykki Blanco just tear shit up was crucial for me.”
DD: You’re currently on tour, correct? How does touring affect the writing and recording process? Do you record and write ideas on the road or are the two unique and individualized parts of your process?
SB The Moor: Being on tour and being “in the studio” are really yin and yang to me… I find out what works live, what my vocal and performing abilities are. This really fuels what I decide to do when making a record. Then, having leveled up on stage, I make something with new ideas and abilities in mind. I’m not usually thinking of one while I’m doing the other, so connecting the two is usually a learning process in itself, and another way to level up. I do think broadly about recording when im on tour, like what themes I want to explore and what sounds/textures/genres I might use, but I usually only write when I’m actually making a record, working on a collaboration, or of course, working on a commission.
DD: What is the most misunderstood aspect about your work as SB, or rather of nothing comes to mind what would be one thing you would like to share with your supporters that they perhaps don’t know at this time
SB The Moor: I think I felt wildly misunderstood around 2014-2016. 4chan is apparently a big reason for my success early on and I hate 4chan lol. A lot of sweaty racist white boys, proud to tell me about their obscure music tastes, simultaneously putting me down and looking for me to give them a proverbial cookie. Maybe most artists just ignore them but I felt hurt that by these dorks, I’m sensitive damn it! And I also thought about what that meant about me, what part of myself is being reflected here? When I released Toybox, which was pretty much a pop punk record, a lot of people were actually angry! And I’m like wow I’m way too un-famous and broke for these clowns to be getting under my skin…and where were they when I needed support??? Lol. So now….idk speaking plainly where I need to is a bigger part of my music haha.
DD: Might you talk about the zines and other visual art you’ve been making, are these a direct extension of the ideas and concepts your exploring with SB, or do they exist on their own as well, both physically and conceptually?
SB The Moor: Even before music, I wanted to draw comics and make cartoons. So making the zines is more like a childhood fantasy come true haha. The first one I made was with my partner, Marcosa (@multosa on Instagram) who paints beautiful colorful landscapes and puts poetry on top. I thought putting my cartoony, punk-esque drawings in the same magazine would be a cool contrast, so we did a zine! Then I realized I could take what I learned and make my own little comics, which I peddle on my patreon. Both of the mini comics are extensions of the record. One is titled “Sexuality in the Digital Age” and the other “What are Feelings For?” which are themes directly lifted from spirit realm.final. I don’t really know where I’m going with comics but a lot of my favorite musicians also work in comics so I figured I shouldn’t let anything stop me haha.
DD: I think the 4chan thing you brought up leads into something else I wanted to talk about. Has your experience as a Black, queer artist affected how you’re treated within experimental music circles? Also, I have heard people talk about on how your work as an expansive and eclectic, radical mixed-genre, queer rapper has helped give them a voice as a queer or non binary artist themselves. How important is visibility to you as an artist living and working within a world largely controlled by racist, sexist and transphobic systems of oppression?
SB The Moor: Representation is everything! Even on this tour (Legendary tour with milo, we just played our first date in Denver last night) non binary kids have been tellin’ me how much it means to them. And tbh the first time someone mentioned it I was surprised! But, y’know, seeing artists like Mykki Blanco just tear shit up was crucial for me. And I can understand how I might be something similar to others, especially as I grow more and more into myself. Idk what 4chan thought I was about, I never asked…lol. But the minute I got gayer and poppier, despite becoming arguably MORE experimental and confirmably more skilled at music making in general, I think a lot of 4channers realized I was not for them haha. The contrast between people showing up for my shows back then to now is great, and I look forward to my crowds getting gayer and browner as I grow. Haha
DD: Do you see the politics of representation changing for the better or for the worse within music communities for queer people of color, disabled people and marginalized communities in general?
SB The Moor: Tbh I….idk if I’m qualified to answer in an intelligent way lol. I know it seems to be easier for me and others like me, but this game is still a lot about privilege and I wield mine like a sword. I don’t have kids, I have a great support system, I’ve been lucky enough to work on my mental health with professionals…I’m tall and scary looking…haha. But many of my friends do not have these advantages, and even just working a full time job can really drain you when you’re black/brown, trans, and disabled as many of my friends are. How can they tour, or find enough time to finish projects for themselves? And of course, some do anyway, but….idk I’ve drifted from the question haha. I’m not political, or rather, I’m a political skeptic. Like the police, politicians just aren’t our friends. And as more people like us make music that people can’t deny, then yeah certain things get easier.
DD: Can you elaborate on your (apparent) affinity for collaboration ? You also accept commissions on occasion and can you talk a bit about that process and how you started to be so open and prolific with your talents?
SB The Moor: I love collaboration for a couple reasons…I love to experience newness. It’s a great way to train your brain. I believe if you can look at something new and just accept it, even if u don’t like it, you will never be stuck in your ways. And that leads to learning faster and reaching a certain level of mastery faster. And I accept commissions as often as I can, it was a large part of my smol income last year and it was fun to do, fun to see who is listening and who wants a piece of the pie I’m baking and what kind of weird underground shit is out there. Once I conquered my fears it seemed like the logical step. Honestly I was inspired by Lil Wayne’s prolific output too haha. Saturate the market and have fun widdit. I still have songs poppin up on spotify and bandcamp and I be like, oh damn I made this??? I’ve done like 150 commissions so I really be forgetting lol!
DD: Future plans for SB the Moor ?
SB The Moor: future plans:
keep bein’ dope
stay in the dojo
upload to the spirit realm
DD: OK, Finally, any shoutouts, closing statements etc
SB The Moor: Shout out to milo, the ruby yacht, Randal bravery, Pink Navel asleepin like a angel beside me, my Taurus Moon Sweetie back in Port Orchard, our families, my big little brother and my little little brother, the ancient ones, the future ones, shout out ratskin for the continued and future support, and lastly shout out to myself cus I couldn’t have done it without me.
Stay Strange SD Collective artist Esteban Issac Flores brings eight heavy, dissonant and atmospheric guitar based worlds oscillating between drone , noise, metal and industrial under tbe MONOCHROMACY moniker . Flores elegantly creates haunting and dissonant cinematic spaces for a wall of destructed waves of swelling chaos, choked screams decay into walls of thick oppressive fog of tone, climax and eventually swell back down into dreary, pulsating tones. Sine waves shifting into the horizon encapsulate a distant haze of confusion and dread.
On “Living Posture” , Flores creates a deep and complex tension between the various sonic elements, which really doesn’t ever falter throughout the eight tracks of dreary doom. Some of these atmospheres could call back to Times Of Grace era Neurosis (my favorite period of one of my favorite bands ) , SUNN O)))) , Earth etc but that would be sort of a lazy comparison as Flores has clearly refined his sound to something not heard before in the tropes of heavy music.
Monochromacy leaves the “tough guy” bullshit of extreme music far away in the trash for a delicate and intelligent experimental offering. Flores has clearly honed a unique philosophy and approach to present the listener with a tense, yet refreshingly present decaying burning structure of mammoth and intimidating take on noise-influenced, drone-metal. The plethora of unique territories covered on this record while maintaining an overall dark and dreary cinematic vibe is rather impressive to say the least.We are never left without a tight sonic line pulled taught across our reality/neck wth ever shifting tone, pulse and intention. what is going on? Where did he leave us atop this fog ridden, dank mountain of dissonance and confusion? What is GOING ON! Wow and just like that it’s over, what a listen.Absolutely essential ride for all fans of the heavier side of noisy guitar works and heavier dissonant, cinematic music in general.