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: 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 REVIEWS : PREGNANT SPORE / VERTONEN Split Cassette (Forever Escaping Boredom Records , 2013)

DECAYCAST REVIEWS : PREGNANT SPORE / VERTONEN Split Cassette (Forever Escaping Boredom Records , 2013)

The Pregnant Spore side opens up with a fuzzed out, distorted thud percussion pulse and  slices of  choking voices aboot. The  blown out crawling bass slam and  garbled voice slices play off of each other quite nicely, and occasionally giving way to blown out sawtooth death note blasts that come from below and pierce through the mix. Albeit them a little hot in the mix, these jagged bass blasts create a rhythmic structure which shapes a dense and articulate bassline for a plethora of stuttering, FullSizeRender(13)flickering , and what sounds like sampled piano notes bounce off of each other in a loose and playful yet, rhythmically interesting way. The first half of the track held a little more tension for me personally, but the dense buildup toward the end created a relieving and necessary contrast. Overall a wide scope of  timbre and dynamics of sound  are utilized in a short amount of time. Will be writing more about this project in the coming reviews for sure, as we have at least one more tape by Pregnant Spore in the  piles of stuff to do. Now let’s get to the second side.

The Vertonen side comes right out of the gate with a warm yet sharp sounding repeating oscillation of unknown origin which goes on seemingly unchanged and tightly hinged to itself. gently beneath the surface, as if a failed distant audial telegraph, a slow tone begins to oscillate deep beneath the surface and causes a subtle yet growing psychedelic phasing of the original pulse. Slowly but with a determined tension, more and more complimentary voices trickle in and out of the mix, and cautiously roll over each other into a Terry Riley/ Steve Reich esque nod to minimalist classical composition. A short, relevant and beautifully articulate offering from Blake Edward’s Vertonen project.

Overall, a nice short release, although both projects could use a little more room on the ol’ magnet as i felt both pieces were cut off a bit abruptly, however sometimes that’s the way she goes , leave them wanting more yes? a solid release overall, with a brightly collaged color xerox cover, and plushly purple tapes which complement the J card’s nicely. Will be reviewing more from this label in the following weeks.

FOREVER ESCAPING BOREDOM

PREGNANT SPORE

VERTONEN

DECAYCAST Reviews: Somnaphon “Anthology Of Errors” VHS (Out of Body Records, 2014)

Somnaphon “Anthology Of  Errors”  VHS

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Somnaphon creates glitched/data  bending digital audio and   visual synthesis. Signals run into each other  creating psychedelic, colorful matrixes of broken digital cell rendering. Who knows the  signal  flow of this  glitch artist but it seems geometry is  running amok, backed by a minimal but all present digital noise/ambient soundtrack,. Visual , architectural loops with varying but  repeating Colors, shapes, and planes bend, distort, tear and melt into each other through  digital loops of  circuit bent  video pulses. Out Of  Body Records usually releases all  analog artists, but with the release of the Somnaphon VHS, OOBR presents  these  eleven tracks  digitally moshed and  twisted visual experiments in  an analog  format, compared to some  of Somnaphon’s other online works, “Anthology Of  errors”  has a distinct  hybrid  digital/analog feel, often times appearing as  digitally glitched out scenes of  confusion presented and pressed onto analog  tape, or reprocessed through analog devices. Somnophon does a good  job at masking, or rounding out the  digital aesthetics of  “data  bending music”  for a more  1970’s analog feel. Cascading pillars of pixels, lines, and rogue color palettes gently , yet  meticulously morph and pulse into and out of each other  to create visual poems of  distorted geometry. Mirrored madness through the multiplication of  destroyed and  wrong pixels  creates a visual  journey or  errors   inside the  first ever broken computer- error in, error  out, blood in, blood out, bad human in, bad human out. Despite subscribing to the  “data bending”  strategy of visual construction, which can often display a somewhat limited visual palette,  Somnaphon employs a wide  array of  image creating techniques, which morphs, pulses, generates and multiplies over  the entire eleven tracks,  creating an obtuse visual representation of  what is possible with “data bending” .

The sounds compliment the images quite perfectly, at times, to a point, where it seems they are  often coming from the same source. Glitchy, choppy, digital  distorted pillars  of failing  and  flailing spikes and pulses  and apparent  silence create a synesthesia effect within the work itself. Lots of  digital reverb coat the structures of computer  hard  drives crashing into a sea of blackness. Sharp electronic blasts, spurt out chopped up transmissions  of broken morse  code ; sending a message out into space to the  unknown. Sometimes more beat/loop oriented, and other times more  sporadic and random, Somnaphon keeps the sonic and visual palette fresh and ever  changing on “Anthology of Errors”

At times more  painterly images are  formed and other times, more  rigid minimal, geometric structures and rendered and bled  into new forms of their previous incantations. Somnaphon is seeking to destroy  and  redistribute the pixel, to create “anti digital-digital art and music”  and this  VHS is the  perfect introduction to just that! Beautiful packaging , as always  from this label, complete  with the STOP PLEASE  REWIND sticker!!

SOMNAPHON

OUT OF BODY RECORDS

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 !!!

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

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

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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.

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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 

DecaycastREVIEWS : P.C.R.V. “Note To Self” CD (LEM , 2013)

DecaycastREVIEWS : P.C.R.V. “Note To Self” CD (LEM , 2013)

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P.C.R.V. is the longstanding project of Billings, MT based artist Matt Taggart . His PCRV Project historically has focused on harsh noise (passionately crafted with intent and direction) In a blend of a cut-up and wall styles of noise PCRV squeaks out intense soundscapes of conceptual noise music. Newer, more recent recorded works and performances have somewhat abandoned P.C.R.V.’s “signature style” so to speak, for a more fluxes / dada / playful/ conceptual approach to sound and performance; this newer style possesses no lack of excitement or interest though, almost always holding the same tension that the HARSH noise recordings do, just in a different and unique way.
“Note To Self” is no exception- a blending of all his styles – harsh noise, Minimalist breaks , tension, multi dimensional uses of sound through varied sound sources and rules of engagement with said sound sources, occasional jazz like sputterings and “field recordings” who knows? Who cares really , cause it sounds CRUNCHY. PCRV shows he as a near uncanny ability to navigate these drastically different styles of sound preparation and intent.

On the cover, “Note To Self” Boasts an intricate, yet crude collage by the artist himself – which is the perfect visual representation of the sounds existing within this album. PCRV’s sound palette has been quite diverse over the years and this disc is no exception. Jumping from harsh and blown out to subtle, conceptual and super minimal gives the listener a wide array of sonic possibilities and interactions, even the harsh sounds in this disk have a playfulness to them, the artists intention ? Really comes through in an interesting way. It’s a game – but it’s not . And also catch this dude LIVE if you get the chance, you may not know what to expect ; DADA / FLUXUS games or HARSH FUCKING NOISE, but it’s a great treat either way – TOP NOTCH.

LOVE EARTH MUSIC

P.C.R.V.

written by. Malo

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

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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

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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

PEER GROUP “Igbo Basic Course” Cs (Rainbow Bridge Recordings, 2012)

PEER GROUP “Igbo Basic Course” Cs (Rainbow Bridge Recordings, 2012)

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Another project of the multi project noise bandstander JML and label Rainbow Bridge Recordings, collaborating with Carl Kruger. PEER GROUP is chock full with dense, splattering whirlwinds of sarcastic electronic noise storm washes. this cassette has a raw, low fi crude shrink wrap encasing its clawing and unrelenting swashes of electronic chaos. About five minutes in a section of fluttering wet wood pounding around an abandoned shipyard comes to mind – the ship is sinking and the machines are fighting to the death. Violent analog rhythms clash and decay into squealing circuits; chirping, purging, burping, and pulsing- in “harmony”?, and often in opposition but never in a moment of boredom. Timing is key for me on this release, just as a sound starts to become uninteresting or too dominant in the mix, it’s swallowed up by an off-white noise wall, splatter choking sounds of globs of solder and failed transmissions coming alive. Tiny scratching sounds of a broken motor hissing and scraping- trying to bring itself back to life through walls of stuttering oscillators ticking at each other through nervous collage. Heavy handed autonomous electronic noise boxes belch crude distorted tones that swallow each other alive and regurgitate high paced, anxious electronic pulses and rhythms. At times, LOUD violent scraping, and others subtly random oscillator drone poem, PEER GROUP explores a dense sonic palette of squelch.

The latter part of the first half sounds like it could be “studio” tracks, but still boasts an affinity for a harsh low fi sonic screen.The mastering is in fact pushed to “IN THE RED” levels pwhich allows the tape saturation to act like a fine hair gel compression, gluing this chaos intact.

The b side begins with a quiet static flickering, combining resonating pulses, what sounds like branches breaking inside a reverb tank, with subtle chirping hums slowly escalating in the background. LOUD to quiet, to loud again. Layers of yapping distortion form a convex oscillator orchestra of babbling tones, fighting a war for a place in the mix. Layers of sonic sludge phase each other out and then an alarm sounds ; the mixer is on the verge of melting – and then it does, and you can hear it. The unmistakable sounds of circuits frying on loop regurgitating their own dead cells through speakers; it sounds soooo , comforting. Next , a quiet section is bread and gives breath to mangled voice ? Samples and a distant minimal pulsing , just clipping away on a distant plane, barely audible and then BZZZZZZZZZZZZZZZZZZZ a chopped in bass “doom note” changes the listeners orientation, and quickly escalates the mix from a symphony of chirping oscillators to a menacing caucophanou of disorientating hymns from voice ,noise boxes and malfunction, a sharp appropriate ending for a tape that builds and then destroys , through nervous towers of harsh squeaking and squawking. Xeroxed covers portray a shaky, hand drawn figure with teeth and eyes of confusion. The track titles and lengths really seal the deal for me with titles like, “STD Booth At the Occupy Protest” and “Penis Bleaching in the Google Era” who KNOWS what the motivation behind these sounds, though I would like to hear a proper studio release from this project. Check it out.

Decaycast REVIEWS: ZONE TRIPPER / FALSE FLAG split Cs (Fiorever Escaping Boredom Records, 2012)

Decaycast REVIEWS: ZONE TRIPPER / FALSE FLAG split Cs (Fiorever Escaping Boredom Records, 2012)

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I like this cassette before I even pop it in. The cover artwork , like a lot of stuff from this label, FOREVER ESCAPING BOREDOM Records, has a clean, intentional design to it . The artist uses provocative dark imagery, without being overly sensational, or shocking “for the sake of it”. Zone Tripper occupies the speakers right off the bat with a dense, yet well mixed dark synth backing track with rhythmic high patched pitched noise stabs over the top, creating a dark, slow hypnotic , minimal industrial landscape, the chaos keeps building and tension rises and next thing you know, your on your back with a shaking maniac screaming in your face through a seemingly endless tunnel of manic shivering reverb. The sound is as if someone is shaking your body so violently that the ears begin opening and closing ago fast that the brain becomes disoriented to the helicopter like air pressure change in the sonic stew. BUILDING, building and building, the yelling vocals begin to build atop pillars of their own decaying existence into and nauseous, menacing swell, and then its over, it feels unnerving and wrong, a stellar short offering from the ZONE TRIPPER project.

The B side is JML of Rainbow Bridge’s under the False Flag moniker, COPS are exposed for the stuck pig knife in the brain in the system that they are – and the baton comes cracking against the listeners ear fresh out of the cell- and disorientation, fear, and distrust begin multiplying by the second. Harsh, industrial pounding, and growling barely audible rhythms of everything that’s wrong with authority , and that’s everything. Super dense, dark, evil zones of sonic corruption on this tape of bloody evidence gone bad. No silly squealing or squelching, just dark punishing oscillators sonically soaked in pigs blood. Thick, evil sounding walls of motorcycle engines rearing their output to light a sonic molotov cocktail of screaming noise- DARK DARK SOUNDS, the HOPE YOU HAD IS GONE ; a sonic manifestation of the failed system . Toward the end, yelled  manic vocals pulse in, but  still give the mix  it’s space; a nice touch.  I don’t know what else to say but this tape SLAYS. Two really strong sides of murky, fuzzed out fascist killing industrial noise works. HIGHLY RECOMMENDED

FOREVER ESCAPING BOREDOM RECORDS