DECAYCAST Track Reviews: Forests 森林 “Disarray” from ‘Idol Collapse’ LP (Left Hand Path, 2018)

DECAYCAST Track Reviews: Forests 森林 “Disarray” from ‘Idol Collapse’ LP (Left Hand Path, 2018)

Forests 森林 crafts dark, heavy, funky, and  occasionally sludgy, a-tonal industrial music for generations spanning many wars and technological shifts, collapses included.  On the track “Disarray” of their new 12” LP “Idol Collapse” on the rapidly accelerating  San Francisco Left Hand Path imprint,  Forests 森林 begin with an ancient howling metal percussion style clamoring as a distressed alarm-style sine wave bleeds your ears into a dark, thudding, hammering bass  riff.  “Disarray”  angrily and violently pounds forward  with thudding, unsettling cavernous percussion. An angular,  fuzzed out, monotone bass eventually gives breath to distantly haunted chanting/moaning style vocals. Words, and these worlds are unintelligible to my damaged, ramsacked, and now funky bassed-out,  puss-filled ears, but the tone of the story tells of an old, abandoned structure who’s walls are being slowly expanded upon by the  cavernous reverb,  pulsing bass tracks and churning hum of far away synthesizers and mutilated electronics,  Forests 森林  will lock you in a room and expand upon its  structure through sound, until you lie motionless on the  floor of  a place that once  contained  the form, now you have nothing but an old mangled, half  erased Front242 tape playing at a  third of the speed with  twice the  intensity and four times the  dynamics, whoops that’s actually the Forests 森林 tape i just dubbed as  I was  laying  there gasping for my last breath, i reach for the record  to button to  replicate these hellish,  booming sounds just one more time as my  turntable wont fit in this tightly bound coffin. Order the record HERE

a0031395186_16

 

– Maniere Zappone

Advertisements

DECAYCAST Reviews: THE FATHERS “Sound Advice” Cassette / Digital (T/ECA, 2018)

DECAYCAST Reviews: THE FATHERS “Sound Advice” Cassette / Digital (T/ECA, 2018)

The Fathers is Nathan Bowers of Tusco Embassy, Coagulator, Sun Poisoning, Sexorcyst and many  many others, and Derek Gedalecia of  Headboggle / Hillbogglle, Headlights et al taking a fresh and free sonic approach to  avant gardism through minimal, stringed  psychedelia. On “Sound Advice”, Bowers and  Gedalecia seamlessly concoct  a sonic stew of a tonal stringed rhythms through oceans of various tunings and strategies. Synthesizers, tapes, and guitars bend, flex, bow, and squeal through a distorted and plucked array of sonic excitement.  Big chords, dizzying chords , buzzing chords are  accented by splattering drum machines, long synthesized echoes, minimalist plucks, scrapes, taps, pings, rings, and reverberations  melt into distant walls of unknown feedback.  Eerily scraped axes, densely weighted keys, arpeggio stringed madness is the twisted spine of these dense  arrangements.

image1
Click tape to order from T/ECA Store

The Fathers cover a wide  range of  sonic territory on “Sound Advice” effortlessly oscillating between musique concrete, new music,  avant grade classical  and  even some  straight up  noise  to boot. The Fathers  don’t stay in one place for  very long, but  long enough to give these  pieces life beyond  just improvisational experimentations, these are complex, complete  sonic works into themselves, but they also tell a longer, deeper story to the listener who is willing to make the connections or  break the connection.   The  A side offers one long twenty minute track which begins with subtle synth blips, churning and chirping morse code to a dead  radio who’s operator has long abandoned ship,  backed by low and slow droning pulses, fluttering distant ringing warning bells of a barge slowly approaching the shore. The A  side  builds on ominous waves of  tension,  sounds elasticizing into each other in a sort of  Rude Goldberg style of call and response, but  it never sounds contrived or  “jammy” all of the  sonic events seem intentional  and as if they have a place in the overall crescendo and decrescendo of a  complex and damp mix. The sound never drops off, it only drops into the smallest part of  the listeners  ear to create a micro symphony of contorting notes and densely weighted rhythms.  The blending of the  guitars, synthesizers,  tapes and other instrumentation gel into a warm, atonal stew of  deep, soupy events.  Texture and thickness of  sounds  expand and  contract as the push and pull stylings of The Fathers operates like an elastic band of  tension, composition, and  duality, springing into a new  space to once again fold  back on itself.  The Fathers  create new  guitar music  quite unlike anything else, this tape is a must and it’s  exciting to see the  possible  return of T/ECA, who offer some of the most  unique and honest hand  silk screened layouts to date, a must own.  Grip it now.

 

 

 

DECAYCAST Reviews: PBK & John Wiggins “Where Pathways Meet” CDr (Acousmatique, 2018)

DECAYCAST Reviews: PBK & John Wiggins “Where Pathways Meet” CDr (Acousmatique, 2018)

a2258415724_16

PBK & John Wiggins take a  far  out ride to the  depths of  sound  design collaboration. “Where  Pathways Meet” on newly formed San Francisco label Acousmatique Recordings,  is two top notch sound artists/designers smashing into  one and other basement studio style for a warm, complex journey through a myriad of minimalist, orchestral, and cinematic takes on experimental music.

DONE #2 (4-01) is blends lush strings, new age droned chirping caked with gently fluttering synthesizers, ringing shimmers of decaying sine ways, and subtle string groans into a soothing, pulsing ambient/drone work. Other tracks such as UNTITLED #1 (9-98) are much more diverse in their approach and sonic characters. This longform collage blends crunchy digital noise sources, churning, bubbling square wave synth grumblings atop psychedelic swashes of lo fi static for a disorienting, dense, and compelling ride through the designers mind. Bubbling distortions of  memory fizzle, pop, decay and a new sound is born. Uniquely indescribable sounds, a chattering humming bell, a sqwaking, choking robotic bird belches out a sonic buzz of disorientation ringing in the inner ear. Field recordings cough ancient  stories of a forgotten room where an ancient sonic experiment has died.  

0012386941_10

The John Wiggins track JW BED #7 (2-98) creates a highly tense situation with it’s long-form, nearly silent, digital  waves decaying upon a shore which is  sure to slice and dice the  throat of  any and all in the  wake of the crescendo, early sun distortions bleed the ear  until the  quietest big becomes amplified into a cacophony of  uncertainty and virus, while the  PBK solo track PBK UNTITLED SOURCE (10-98)  closing out the download leaves us  with a stringed morose background for a nightmare of loss and a question never to be asked, cause the  ear and brain has  faded away with the very last note.

from the  artists…

“John Wiggins is best known as an Emmy winning film and television sound designer, working for HBO and his own production company, Wonderland Sound. Wiggins is a master of the techniques of musique concrete, his experimental work often consists of painstakingly arranged synthetic and natural sounds that create extraordinary “living” audio environments. In 2017 Wiggins was one of the distinguished winners of “PRESQUE RIEN” Luc Ferrari Prize.

Phillip B. Klingler is considered a pioneer of noise in the U.S., but has also been recognized for his work in the areas of ambient, drone and glitch music. He uses samples, turntable, analog and digital synthesizers to create dense structures of bizarre sonic origin. He has had numerous albums released and collaborated with the likes of Jim O’Rourke, Wolf Eyes, Dirk Serries, etc.

Acousmatique is a record label from San Francisco, California that is focused on publishing and promoting the best contemporary music by artists from around the world. Follow the label for new publications in the Acousmatic, Electroacoustic, Immersive Audio, Musique Concrete, and West Coast music genres. Check out the full catalog at
acousmatique.bandcamp.com

 

DECAYCAST Reviews: MOIRA SCAR “Wound World Part 1” (Near Dark, 2018)

 

a1110294747_10

Bay Area queer deathrock stalworts MOIRA SCAR are back with their new full length on CD/CS/ and  digital via Oakland’s NEAR DARK imprint, which is run by dark gothic outfit, OTZI whose newest offerings, “Ghosts” was  covered HERE a few weeks ago. Moira Scar currently is in trio form with their latest offering  with Roxy Monoxide: guitar, sax, vocals, LuLu Gamma Ray: synthesizers, vocals, and Aimee S: drums. Moira Scar’s newest full length, “Wound World Part 1” boasts seven snappy, punchy, femme forward dark punk/death rock cuts,  intentionally building upon their unique, sought after, indimable sound of their previously released full lengths, “Psychoid”  and “Scarred For Life”. With an augmented lineup, and a slightly darker and more rock forward sound, “Wound World Part 1” might be the most intentionally straight forward, intense  and focused sound the outfit has  concocted yet, and the  recording production suits the  sound perfectly. Thick pummeling percussion, wailing, screaching vocals, fuzzed-out chugging, angular guitar riffs and the staple walls of  reverb’d saxophone.

IMG_0212

Snap Back” might be the most traditionally “Moira Scar” sounding cut on here blending heavy bass riffs, walls of  sax with driving punk inspired hard hitting  drumming and the signature  layered vocal efx stylings which could take the  sonic shape of anything from low  distorted  growls to high pitched shrieks of intense washes,  utilized to great success on the track “Chrysalis Skull” The operatic style walls of  vocals blend perfectly over the frantic, manic heavy  drumming and thick slabs of  guitar and  bass work. Slower, more  post rock inspired track “Zeta Rainbow” offers chugging, blown up guitar riffs with dragging slagged out bass lines with more  traditional breakdowns where the guitar and  dual vocal  processions shine brightest.

Moira Scar’s  sound is  thick, violent,  present, and demanding of the space it requires and  deserves. Death rock, like any “sub-genre” can be formulaic, boring, and  predictable, but “Wound World Part 1” is the complete opposite; fierce, unique, cathartic, and nasty!. In a time where we need it most,  Moira Scar once again, and perhaps with more force than ever proves they are  here to stay with some of the most forward thinking and necessary sonic offerings within the contemporary rock scope. This record rallies against the dying, boring, overdone and under thought  droves of CIS white-male “dominated”capitalistic rock scenes, by raising the bar and  flushing the  boring and  inspired rock trends down into the sewer where they have belonged this entire time, and serve as an assault on the  normative, re-hashed, uninspired music that often fills the  airwaves. Moira Scar is a weapon against a  violent, patriarchal system of despair, confusion, and  entanglement and  “Wound World Part 1” is the next logical step in the bands seemingly endless progression of reinvention. One of the most important contemporary dark rock acts going, period. This record is not to be overlooked.

Order the  New record HERE and  HERE

MOIRA SCAR

NEAR DARK RECORDS

DECAYCAST: MATMOS INTERVIEW (Nerfbau Interviews Matmos, remastered)

DECATCAST_MATMOS

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

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

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

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

 

decayREVIEWS: GROUP RHODA “Out Of Time, Out Of Touch” LP (Night School Records, 2012)

GROUP  RHODA “Out Of Time, Out Of Touch” LP (Night School Records, 2012)

group-rhoda-work.1

 

The freshman LP from Bay area antiquated calypso dark, synth crafter GROUP RHODA. This  album opens up a palette of  new, yet historically sound territory in a concise and smart hybrid stylized record. GR offers the listener a cobustion of exploding space dust, writing a narrative based under the cloak of science fiction fact mantras of fucked up up up non pop non music music. Palpitating drum machines support arpeggiated synths and keyboards, important yet subtly giving breath to well placed vocal hymns, present yet dissonant procrto-pop song structures,  crawling heads of funky texture time and timbre amalgamations — an intelligent species of sound variety, washes the brain in sonic bleach — out front vocal melodies, with space based lyrics to boot  round out this  hybrid-style proto pop offering from bay area resident, Mara.

GROUP RHODA paints a drodweamy, sonic desert island, yet a oobmetaptghysical hurricane eye approaches off the coast of subtle silence – slides up
Your back and into the conscious rain Suspended between a memory room
Raft and orchestrated melodies from accellerating space ships GROUP RHODA dangles theories and structures in front of the listener, that are both from the future and the past. At times dark, minimal
Synth and at times more lush sounding electronics this album breaths a bit of variety, which is dime….funky arpeggiated bass lines and calypso style percussion, purring drum machines and whispering, shaking, powerful vocals
Round this record out quite nice.

STUCK between a pastel wash and a deep maroon hell – this album paints both a bleak and blissful sonic offering Get it from GROUP RHODA locally in the bay area or from the label direct. Crazy strange art from both SUZY POLING and NICOLE GINELLI.

Night School Records.