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”

NIHARMIXCOVER_VER5

 

 

 

 

 

 

 

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

 

Advertisements

CORAL REMAINS (formerly Styrofoam Sanchez) On tour NOW! check dates below!

CORAL REMAINS (formerly Styrofoam Sanchez) is a post industrial sound and sculptural installation personifying the trash island in the pacific gyre. Spawning from a hybrid of human DNA and trash, CORAL REMAINS is a dystopian, amalgamated magnification of failed civilizations, spliced rogue technologies gone awry spawning dark pulses of technological neurosis and inner psychosis . When fish put fin to sand then you’ll understand, fish can carry guns. CORAL REMAINS represents the last molecule before total conversion of humans into futuristic trash receptacles. Human, your skull will be in a museum.

https://www.facebook.com/events/1582825008659649/

IMG_1652.JPG

IMG_1678.JPG

HAPPY NEW YEAR – Lots coming in 2015!!

Hello and thanks for keeping up with decaycast . 2015 will bring a lot more reviews , interviews , podcasts and even our own bandcamp for easier streaming / downloading of all of our past and future episodes . If you’d like to submit PHYSICAL material
For review please email
Decaycast(at)gmail.com and we’ll go from there . We’re also happy to announce that we have two new writers so we’ll be able to crank out more lengthy reviews quicker and with more love and precision! The band camp will be up by the end of the week and expect interviews with PCRV , Crank Sturgeon , Jason Wade and tons more !!!

IMG_0649.JPG

decaycast REVIEWS : STYROFOAM SANCHEZ “Empire Underwater” LP/DVD/Book Review

decaycast REVIEWS : STYROFOAM SANCHEZ “Empire Underwater” LP/DVD/Book Review

10447516_699576206782225_6251450691064930639_n

The tour kickoff in Oakland last night was sooo heavy. Loved it. The Styro gyre is at top spin, about to make land. Open wide murfukrs!
And the STYROFOAM SANCHEZ “Empire Underwater” LP is a required listening milestone. The past just floated away, this is serious soundcraft, lo-fi grabs hi-fi by the skullholes and has its way. Did y’all know what lyrics have been clattering out of the ocean’s brain all this time? Like Sun Ra said “There are other worlds they have not told you of who wish to speak with you.” SS lyrics are too core to their music, grab the book and see what you’re hearing. The illustrations are too much, a labyrinth for the eyeball while lost in the record… none of this distracted half-heard imusic… FULL IMMERSION.
Don’t look past the all new “Coastal Ruin” cassette, neither. Stretched out live sound, perfectly recorded darkness, suited to tape, triggers gooseflesh at the mere memory of styrene squeaks.

0003723723_10

Damn, and the whole  “macular Edema/Occular oOil Pond” DVD! The huge glue-jewel of this whole chemical crown. No spoilers though, suffice to say… don’t let your life suck on milquetoast mediocrity, grip this intense labor, one pkg includes the LP/DVD/BOOK, then the tape is its own. Sink yourself in mile deep layers of some heavy pitch black prescient shit, the future is cresting, about to pile onto your chest. Don’t say you were busy lookin’ at your phone glow.
http://www.ratskin.org/index2.html

-Pharmar Histamine, Resipiscent Records 

“ORIGINALS” : DECAYCAST INTERVIEWS OAKLAND’S WEIRD EAR RECORDS

0003371297_10
These days,  record labels seem to be popping up all over the place in the independent /underground music world, and we  think that’s a good thing. Each independent music outlet that can get music to the right people without  all the unnecessary industry bullshit chain of  command isolationism that is perpetuated by the “record industry” the better, and Oakland’s Weird Ear Records is doing just that. Releasing top quality recordings in multiple formats to anyone who has an odd ear to the underground experimental music pulse. We sat down with Weird Ear Records dual head honcho’s Raub Roy and Dianne Lynn of oakland….
Dr.. DECAYCAST:  : Hello…. I heard of this strange new record label called WEIRD EAR RECORDS  Why don’t you spill the beans …. Let’s start off with Who, what, when, where…..
RAUB ROY: We started WER in 2011, after relocating from San Francisco to Oakland, Ca, and finding that the inexpensive cost of living here afforded us the opportunity to do something a little bigger than we could have managed in SF. I think the name ‘Weird Ear’ popped into my head one day and it seemed like a name one would either give a Recording label or a scroungey-but-loveable chinchilla…. Having no desire to harbour rodents, we went with putting out pieces of music that fit our aesthetic for the label.
DD : What do you all have against rodents? Why are cats so popular these days , especially in “noise”
DIANNE LYNN: We think rodents are cool too! Personally, our cats chose us and we couldn’t turn them away. In fact before the cats were around we had more rodents in the building. We don’t see much of them these days. Maybe the “noise” was too much for them?
DD:  That’s cool . I happen to like rodents as well, so much so that I named my label after a popular one from the 1980s….

At what point did y’all decide to start a record label, and why? Do you think it’s important that artists start their own labels, and in the digital age what is the “point” of releasing physical objects when one can just purchase a download ?

DL : We’ll say first that if you don’t get the “point” of releasing physical objects, then we’re sorry, you just don’t get it! We love the physical package. Some of the DIY stuff will blow your mind! Not to knock a download, but some works you gotta just “have.” To another point, playing files off a computer can be annoying as hell.

The label was manifested around February 2012. We sort of went crazy setting goals for ourselves and decided to put our words in motion. I think the tipping point was when Raub came home with the name Weird Ear. Honestly, we just wanted to have a label so that we could put music that we liked into a physical format that we personally appreciated; at the time this was vinyl, but we have come to appreciate the convenience of cassettes. As far as artists starting their own labels, we say go for it. The more the merrier.

DD: That’s an interesting take! Do you think there’s a point of over saturation in the experimental music community ? Is there such thing as too many projects, too many releases , too many “side projects” ? Is there an importance to trying to define the changing trends in experimental music? Or just let it run around like a chicken with its head cut off ?

RR: Well, one trend that I think keeps over-saturation from happening is that of keeping such things limited to smaller production runs. While the audience for experimental/modern/avant-garde/out/noise/weird/gnarly music is bigger than it’s ever been, it still is a tiny splash in the pool that is the whole of recorded sound, and we believe that putting the 300 copies of “Stand Up Comedy

MARCH_2013_IMG_7106-220x220
Alessandro Bossetti’s “Stand Up Comedy” LP
(for example) into the right 300 peoples hands is more important than spreading it all over the place and hoping random people pick it up. The advent of streaming entire albums also backs this strategy up – we really would like people to listen and make sure it’s for them before purchasing a copy. Defining trends is a slippery slope, in part due to the relative insignificance of our scene in relation to recorded sound on a whole (again), but then there’s the the flourishing microcosm aspect that no one person could keep up with all the facets of, so the way we define those trends that we aspire to steer clear of is very subjective, though a guideline that has worked well for us is trying to find works that wouldn’t have an easy time finding a home elsewhere. We also are attempting to avoid trend within our catalog for as long as we can, which is a bit easier to quantify.
I believe that a large amount of the proliferation of side-projects/one-off projects and such that you refer to is generally relegated to the noise end of the spectrum, and as such, we probably will leave Noise to other able and willing labels.
 
So you wouldn’t ever define your label as sticking to any one genre, rather anything with a weird bend that catches your ears? So far y’all have a really diverse roster, showcasing vastly different aesthetic sets, everything from the proto- industrial styles of WAXY TOMB on her “infra shape” cassette to fever dream psychedelia borderline abstract pop sounds of A MAGIC WHISTLE LP that y’all recently released, yet somehow it all works, to a rather refreshing degree curation wise, care to talk about that?
RR: we hope to avoid trend and purity in our releases not only on a world scale, but within the confines of our releases as well. So, for example, in the larger scene, modular synth stuff was nominally bigger last year than years previous, so, even if we really like a buddy’s Buchla Synthi album, it would need to be queered by some other element to feel like it fit in the catalog. On the level of our releases, I’d like to try to keep from trend there too, excepting the trend of having releases that wouldn’t appeal to purists of any particular genre – so like, Glochids “Originals” album is largely field recorded, but he is in these field recorded passages playing objects/instruments, so it’s field recordings, but impure, or queered, if you will… what was I getting at? Oh, right, so, now that there’s been an album of field recordings, I probably won’t do another one too closely related to field recordings for a while, until a good number of other styles of experimental/modern music have been touched on, see?
NEXT QUESTION PLEASE
 
DD: Tell me about the future vision for weird ear , upcoming releases / tours / WTF stuff ? Blow our mind

Ok so we have a couple upcoming releases that should be out before summers end; WER-006 is Angela Sawyer, of Preggy peggy and the Lazy babymakers, duck that!, and exhusema.. The album was commissioned in 2011, and she’s been working away at it for us since then, but she also runs Weirdo Records in Boston and has little free time, so it’s taken a while, but the results are completely worth it – sweet and sour songs sqeakily sung with a wealth of oddvant-garde instrumentation and arrangements, the songs themselves being largely covers from her huge collection and other local bostonians… I believe that there are a good few samples in there also gathered from her stacks, which begs the question of why more record store owners don’t make sample based musics, since they’re diggin in the dustevery day already!

We also are quite pleased to be presenting a split between,  Trumpet Trumpet Synthesizer and Horaflora (thats me). TTS is a duo (Brad Henkel and Weston Minissali) on amplified trumpet and Synth/vocoder playing some really out tones in a sexy as fuck way, which i’m told is fairly uncommon in experimental music! My side is loosely based on Mauricio Kagel’s Acoustica, or maybe just indebted to it, but will mark the end of my work with acoustic phenomenon for the foreseeable future, and I felt the connection should be credited later than never, so there’s that!

Beyond specific releases, all our future cassettes will be in handcrafted cardstock jackets rather than plastic cases, as we were impressed with Geweih Ritual Documents Envo-Box: http://www.gritual.com/Info-About
As they point out, the plastic cassette case isn’t intrinsically related to the album, and once cracked, is quickly rendered useless garbage, basically analogous to the plastic bag an LP may come in, nice to keep your jacket clean, but all too replaceable, adding to the plastic problem we would ideally like to avoid being a part of.

Thanks for asking all those questions! See ya soon!

Raub and Dianne,
Weird Ear Records

Man Down, BUT NOT OUT: Help Jay Korber’s Road To Recovery!!!

korberA  good  friend and  seminal member of the  bay area  noise, experimental metal, and  free  jazz community Mr.  Jay Korber  was involved in an extremely life  threatening bicycle accident, where he was  ran over and  dragged by one of the  sweet sweeper trucks  that  paurse the  SOMA district of  San Francisco. (http://blogs.sfweekly.com/thesnitch/2012/12/cyclist_gets_trapped_under_cit.php) For many, this  would have  signaled the  end/death/whatever. but for Mr. Korber, tough as  nails, the  doctors predict  that a  FULL RECOVERY is possible.  His pelvis was   completely shattered, amongst many other  serious, life  threatening injuries,  and  he  endured  many emergency “life  saving”  surgeries-  just in  his  first  few  days at  SF General Hospital.   Throughout all of  this unexpected chaos – the  endless  chain of  apathetic doctors, buzzing machines,  tubes,  blood  transfusions,  confusiion from the  drugs  and  painkillers,  Jay has  managed to keep a  positive attitude  and  even the  occasional burst of  humor. His Girlfriend Angie, has been  a huge  support for him, easing the  burden on Jay and  his wonderful, but  shocked/traumatized  family, as well supplying the lifeline  of information and updates between Jay and the   concerned, bay area music/art  community. Jay has  been playing wonderful, aggressively exciting, tense music in the  bay area   for  a  decade, or more? now through various bands,  such as  current  projects BURMESE, NUCLEAR DEATH WISH, ETTRICK and other  projects such as KORBER/YEDA
DUO , ELF  ASS, PUKE VOMIT, plus a slew of other projects.  Here’s a video of him doing an extremely rare solo noise set from 2008,
Jay has  been offering his music, thoughts, and  art  up to the  bay area  (any beyond) for  years  and  now, never asking for anything but a  spot to  tune up or  drop his drums, but now Jay’s life is  changed  drastically, at  least for the time  being, and  any dealings with the  city will take  years. What does  this mean?   JAY NEEDS OUR  HELP  NOW!!. He needs his rent  paid, medical  supplies, a  wheelchair, new  glasses, the  list goes on  and on. Now  Jay, being the kindred old  spirit that he  is , would NEVER ask  for help, even when he does  need it,   which is  exactly why we  need to come  forth and  bond together as am artistic community  to show solidarity and help him out.  To  HONESTLY call a group of artists, musicians, and cultural  curators a   “community” or  “scene” comes with   certain requirements, one  being  mutual  community support  for  all members  when something  goes  wrong. A  chain is  only as  strong as  it’s  weakest link, and  right now there  is a broken link,  which means the chain is not at 100% , and we need to help fix that. Jay has  enormous strength and what Macho Man  Randy savage  would call, “intestinal fortitude”, and he  WILL pull  through this, but he needs our  moral, emotional,  creative, and FINANCIAL support above all. If  you’ve ever come to a Ratskin show, and been given a free  beer, take that $5 that  you  would’ve been charged at a bar for it, and give it to someone who  needs it.  Donation link is right below here…   Benefit shows  to be held  at  local underground Oakland  and  San Francisco venues are  in the works, but for NOW , please  consider  making a  small donation here….

http://jaykorber.chipin.com/jay-korber

This incident has shaken the entire bay area music/art community, as Jay is such an inspirational life force and positive influence for us all, it only seems natural to give it right back to him….Have other ideas how you can help? Please email us at decaycast(at)gmail.com and we’ll be sure it gets to the right people.
Love and recovery,
DR. DECAYCAST

CHARM & STRANGE “Jams” 3” CDr (No label) 2011

CHARM & STRANGE “Jams” 3” CDr (No label) 2011

Image

OK. so let me say  first off before we  even get to the music, this is the  FIRST RELEASE  EVER  that I  have seen that comes with a JAR OF  FUCKING HOMEMADE JAM. Yes  Jam, I believe it was mixed berry? strawberry-rasberry? not  sure but it was  just as  delicious as the sounds on this little number. The 3” CDr came  affixed to the top of a mason jar of jam (pic coming soon), I think the  first edition was 13/ and  they sold out within minutes??? at a performance in downtown Oakland,  CHARM & STRANGE is a  duo from Oakland, CA consisting of Angie (Sharkiface, PITG, etc) and Julia Mazawa (Nice Ass  Industries) This is a live show recorded from Life Changing Ministries In Oakland, CA 2010. Opens up with creekly, noir like howlings, distant  trumpets ?? and plucks of  horror decay into warbling records delayed and delayed. Homemade pops and  crackles, turn into the  creeks and cracks of doors into a distorted landscape of uncertainties, you may be STABBED  at any second, or  maybe you’ll just walk  out alive- stumbling, alone, delusional and schitzophrenic. A Slow pulsing  drone shifts in and out of a  almost chopped and  screwed broken jazz like trumpet and oboe sounding stuff,  churning painos being pushed and pulled over the ledge of an old attic floor, glass  tings of  one way  mirrors reverberating to a uncomfortablw put perfect pitch,  and  then STOP. Silence. O  sorry to inform you,  you might already dead. #Justsayin. There’s  subtle bass throbs that ooze in and out of the  creeky landscape, and then a screeching howl, and then a bass  crunch transforms into looped popcorn being sucked down the drain of ones throat in slow motion. and it ENDS, just like that.

Charm & Strange is a A  MUST  for  fans of ambient textured Horror OST slowed down played through a wind vacuum trumpet machine. Catch this due  live for a  taste of the  sweet jams. and really folks, the CD  came  with  fucking  delicious homemade jam IN CASE YOU FORGOT,   TOP  THAT.

Nice Ass Industries

DECAYreviews: JULIA MAZAWA “God Bows To Math” Cs (Nice Ass Industries, 2011)

decayREVIEWS: JULIA MAZAWA “God Bows To Math” Cs (Nice Ass Industries, 2011)

A new  tape from local artist, seamstress, record cutter and musician Julia Mazawa on her own Nice Ass  Industries  label based out of Oakland, CA. Mazawa’s setup is  shockingly  simple, often using just a turntable with custom cut records.This tape  starts with subtle loop slices, whirled and cracked microsounds, often referencing ancient recording technologies through their  crunchy and nuanced textures. Barely pouting steam whistles, distant  motor  putterings,  lost voice  recordings, ancient  telegraph messages lost at sea  all wash up and  down in the  mix into a subtle rhythmic wash. Dense delays of one sound shift through microscopic feedback manipulations and  turn into  other sounds leading to a new sound, but all   falling back into a “locked groove” aesthetic of  experimental composition.

The B side works well as a  continuation of the explorations of the  A  side, with the  loops seeming to  build up density a bit  quicker, and coherse the listener into a gel of subtle looping feedback  controlled with pinpoint precision. Louder rhythmic pulses build up and then slowly decay into mathematical wind  textures, the presence of  absence also plays well into this release. The delay plays  into the looping themes of the release, and provide a nice textural jacket to the sometimes raw source material.  Record loops and subtle pops and purs orchestrate the backbone of these minimalist turntable?? explorations. Cassette is the  perfect format for this release  as the  warmth of the magnet colors these  sounds in a beautiful way, look out for more from her  and this label, each release is more  and more crafted and heading in a steady direction.

Nice Ass Industries

Overall : 8.2/13

written by : malo