DECAYCAST News: Let’s Burn It Down: Mixed-Genre Benefit Show Invades Richmond District in San Francisco Tonight w: CCR Headcleaner and more!

DECAYCAST News: Let’s Burn It Down: Mixed-Genre Benefit Show Invades Richmond District Tonight w: CCR Headcleaner and more!

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CCR HEADCLEANER Photo: In The Red Records

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.

Recently Code for America, a nonprofit that helps gov’t use tech to better serve people, worked with San Francisco’s D.A. to clear more than 8,000 marijuana convictions.

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.”

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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.

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Andre Torrez . Photo: Jaime Borschuk®️

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.”

 

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“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.”

FACEBOOK EVENT

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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

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– Maniere Zappone

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.

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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)

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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.  

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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)

 

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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.

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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)

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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”

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

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

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

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

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

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

 

-MD. Dec 1, 2017