DECAYCAST Reviews: DAHB “VISIONS FROM AN ASTRAL CORE” (2018)

DECAYCAST Reviews: DAHB “VISIONS FROM AN ASTRAL CORE”

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Dahb hails from Philadelphia and plays mid-tempo, angular, rhythmically complex,  thrashing metal/metal core. At times operating more in the black metal style before quickly and swiftly switching the riffs and focus for a more angular, choppy melodic  style. The vocals are typical of the genre, somewhere between yelling and anguished screams, they sit atop the drums and shredding guitar perfectly. A standout aspect of “Visions from an Astral Core” is the complex rhythmic relationships between the drums and guitars, both firing in oppositional machine gun like rhythms, with dissonant, archaic strums atop the chopping riffs and blasting, rapid fire drums.  The track slowly turns into an abstract, atmospheric improvisation but Dahb never loses its poise or complex style. The improvised tail provides a nice crescendo to the track showcasing both their technical prowess as well as their ear to listen. Dahb’s strength lies within this compositionally and rhythmically complicated dynamic, giving them a heavy, unique sound all their own for fans of both technically proficient and chaotically charged heavy metal .

– Maniere Zappone

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100+ Albums Made By Black, Brown, and Indigenous Artists You Should Support on Bandcamp TODAY!

100artists

100+ Albums Made By Black, Brown,  Indigenous and POC Artists You Should Support on Bandcamp TODAY!

Bandcamp is donating one hundred  percent of their proceeds to The Voting Rights  Project, which offers assistance and encouragement for  folks to  vote. Our personal  feelings on electoral politics aside, a lot of folks will be making purchases on Bandcamp, so we decided to make a (by no means exhaustive) list of one hundered Black. Brown and  and POC artists on bandcamp that you should buy music from this Friday! In no particular order whatsoever….Support these artists! This list will be added to! In our  current  state of  politics where  white supremacy is a dominant  narrative, the bare bones work that can be done is to support artists of color, first and foremost, this is a  list to help facilitate  with that! Curated by Ratskin Records with members of the community. Thank you to anyone  who  made recommendations for this list! Support marginalized artists everyday, fuck white supremacy,  sexism, transphobia, ableism, and all forms of ignorance and systemic oppression.

 

1.Moor Mother “Fetish Bones”

“Camae Ayewa (Moor Mother) is a national and international touring musician, poet, visual artist, and workshop facilitator, and has performed at numerous festivals, colleges, galleries, and museums around the world, sharing the stage with King Britt, Roscoe Mitchell, Claudia Rankine, Bell Hooks, and more. Camae is a vocalist in three collaborative performance groups: Irreversible Entanglements, MoorJewelry and 700bliss.

As a soundscape and visual artist, Ayewa’s work has been featured at Baltic Biennale, Samek Art Museum, Vox Populi, Pearlman Gallery, Metropolitan Museum of Art Chicago, ICA Philadelphia, Bergan Kunstall, Hirshorn Gallery, and in an upcoming 2018 solo show at The Kitchen NYC.  As a workshop facilitator, Camae has presented at Cornell University, MOFO Festival, Moogfest, Black Dot Gallery and others.  Camae is co-founder and curator of Rockers Philly Project a 10-year long running event series and festival focused on marginalized musicians and artists spanning multiple genres of music.”

 

2. 8ULENTINA “Eucalyptus”

“8ULENTINA’s debut EP ‘EUCALYPTUS’ released via CLUB CHAI is a gathering of experimental club tracks exploring self care, ritual and healing. The selection of tracks on the EP address non traditional approaches to composition, utilizing middle eastern percussive sounds, recordings of objects or making processes. 8ULENTINA has a specific interest in sound as material and creating physical space through sound, rooted in their origins and process as a visual artist. The EP also features a collaboration between 8ULENTINA and London based producer and vocalist Organ Tapes.”

3. Jasmine Infiniti “SIS’

“CLUB CHAI is set to release Jasmine Infiniti’s debut EP ‘SiS’ on September 26th.

“SiS is a work of very personal and emotional thematic material. It’s dealing with my experience as a black trans woman in this new era, in a time of discovery and publicity, where the gaze of the media found its attention on us, a time where Paris is Burning exists as a historical document. It’s for my sisters. It’s a commentary on fear, sexuality, the importance of community and camaraderie, and the anger and shade of it all. It’s also about how we are more similar than we are different, how more of us are sisters than we know.”

– Jasmine Infiniti ”

4. dreamcrusher “Hackers All Of Them Hackers”

” NIHILIST QUEER REVOLT MUSIK ☥ Genderqueer, non-binary (they/them/their pronouns). Industrial, noise, punk, shitgaze, hardcore. Eat 2003″

5. Russell E.L. Butler “God Is Change”

” Russell has been making waves in the Bay Area music scene for years. Their project Black Jeans evoked the emotional and physical qualities of minimal synth and electronic body music to transport listeners to hidden and forgotten sonic landscapes. For the past few years they have been making a brand of stripped down machine techno that has evolved rapidly with each successive release. Transplantation, evolution, and healing are themes in Russell’s music. They based their 2015 album, “God is Change”, on Octavia Butler’s Parable series of novels, in which these are central tenets of the philosophy that the books explore. Since its release “God is Change” has received major acclaim, with NPR naming it one of their top 10 favorite electronic albums of 2015. In 2016, Russell released Visions of the Future on Jacktone Records, which is a collection of improvised modular synthesizer sessions. A month later, Russell’s follow up to “God is Change”, “The First Step”, was released on Black Opal. “The First Step” is dedicated to the “…black, brown, trans, queer, and gay folks of Oakland” and posits that “…sometimes to resist oppression, all we must do is simply exist. That is the first step. Let us strive to walk without fear.”

6. Beast Nest “A History Of  Sexual Violence”

“SHARMI BASU is an Oakland born and based South Asian woman of color creating experimental music as a means of decolonizing musical language. She attempts to catalyze a political, yet ethereal aesthetic by combining her anti-colonial and anti-imperialist politics with a commitment to spirituality within the arts. She is an MFA graduate from the Center for Contemporary Music at Mills College in Electronic Music and Recording Media and has worked with Fred Frith, Roscoe Mitchell, John Bischoff, Pauline Oliveros, Chris Brown, George Lewis, Nicholas Collins, Laetitia Sonami, Jesse Drew, Bob Ostertag, Dr. Nalini Ghuman, Maggi Payne, and more. Her workshops on “Decolonizing Sound” have been featured at the International Society for Improvised Music, the Empowering Women of Color Conference, and have reached international audiences. She performs almost 100 times a year and has toured through the US and Canada as well as internationally in Europe. She specializes in new media controllers, improvisation in electronic music, and intersectionality within music and social justice. She currently teaches Sound Art and Interactive Art at Ex’pression College in the Bay Area. She also founded and hosts an all people-of-color improvisation and performance group called the MARA Performance Collective in Oakland, CA. You can find out more about Sharmi at http://www.sharmi.info.”

7. Signor Benedick The Moor “el Negro”

The image of today’s new act that accompanies his debut album on his bandcamp was almost enough on its own to pique our interest. He looks like a 16th-century courtier or a medieval polymath, a black Michelangelo, and this tallied with what we’d been told by his PR, who warned us to expect someone “definitely in the weird rap category, like Danny Brown rapping over super theory-based Renaissance music.” The name of the project, El Negro by Signor Benedick the Moor, seemed to bear out this idea of someone freakily intelligent and incendiary in the court of King Louis, rapping about the perils of absolutism and the like. In fact, the titles on the album further this vision of a Danny Brown character marooned in the middle ages: there’s one called Aristotelian Reptilian Pavilion, another called Existential Humanitarianism as a Fashion Choice, even one called Poeticism as an Extrinsic Finality.

There are some plucked pizzicato strings on Signor Benedick, lots of brass and assorted orchestration, and there is a general air of symphonia about it, but it’s not quite XXX in XIV, as anticipated. It’s quirky enough, though, and it is pretty Danny Brown-ish – the Pope even makes a cameo, as he does on Pac Blood. The music has a similar frantic charge to Brown’s, and even though the words are put through a strange historic filter, it’s clear that Christian A. McLaurin, who is Signor Benedick, shares DB’s obsessions, vocal tics and worldview. ”  – THE GUARDIAN

8.  They Hate Change “Cycles”

“Deluxe reissue of They Hate Change’s 2015 release on Deathbomb Arc, ‘Cycles’. Expanded from 9 tracks to 16, featuring remastered b-sides, one offs, and brand new joints!!”

9. Anna Luisa “Green”

“Anna Luisa soars in utopic hyperspace with interstellar synthscapes and optimistic songwriting in her debut solo album “Green,” an ambitious suite of shimmering summer-ready tracks that emphasize her craft as a healer, producer, and empathic collaborator.

“Green” invites listeners to Luisa’s “green place”—a new age refuge of lush landscapes and verdant soil, an oasis of collaborators and friends in the Los Angeles desert, where she lives and works. “I imagine us all chilling in a rich green ambiance of plants, herbs, birds, lizards… a conjured space to provide a mental and spiritual break from reality,” said Luisa.

Luisa is also a visual artist who produces her own videos and paints immersive environments that draw viewers into her lush, vibrant universe. These aesthetics extend to her sonic palette, evident in the warm analog synths and hymnal vocals that emanate from her music. Luisa also lends her work to further art forms—album opener “Offering” expands on music she produced for sci-fi video game “Jeep Jeep” and “Green Place” is derived from a composition made for contemporary dance artist Kevin Williamson.

Written while grieving the sudden passing of a close friend, Luisa set out to imagine a paradise for ancestors and friends through songs that could very well be heard in a dance floor or a new age wellness center. She chose the color green for its symbolism of growth, renewal, and abundance. “Green is the color of your heart chakra. I gaze inward towards my green place which rules the capacity to love, forgive, sympathize, grieve, give and receive,” 

10. White Boy Scream “Remains”

“Micaela Tobin is a classically trained soprano and sound artist who makes her own hybrid of noise-opera under the moniker “White Boy Scream” as a process of reclaiming and reconciling the construct of the “diva”. Her latest release, “Remains” is an accumulation of pieces composed between 2015-2017 that bear witness to her unique process of dissecting her operatic voice through the use of electronic fx pedals. The album itself serves as a tender and abstracted dedication to the poetry of a late friend. ”

11. Kepla & DeForrest Brown Jr. “The Wages of Being Black Is Death”

“‘The Wages of Being Black is Death’ is an exhausted and defeated audio documentation of the alienation – and eventual distillation – of the Black Body as a subject and content of the social sphere by Kepla & DeForrest Brown, Jr. Written and recorded in a week’s time between file-sharing and overnight home studio binges, the mixtape is framed as a deadpan comedy that follows a slothful and downtrodden Black Body as it drifts amongst the ambient commons of the Whites. Artist Ryan Kuo states that, “Whiteness acts by dictating the terms and categories that describe everything in the universe except itself.” ‘The Wages of Being Black is Death’ in turn serves as a reversal of the nominal gaze of categorization, a paranoid disavowal of an uneven and silent social contract as well as an intimate encounter with the daily, incessant slights and traumas felt by the Black Body in everyday life. ”

 

12. Ritual Chair “Title ix”

“Noise project that is uncomfortable and anxiety creating. Based out of Pomona, she yells about past pain to force you to feel it with her.”

13.  TAHNZZ “XILA”

32 minutes of heavy drones and wide walls from New Mexico sound artist Tahnee Udero. Tones moving at such undifferentiated speeds have to disintegrate when they can’t synch up. Like many releases on this label, the continuing story of the shape of the desert and its soundtrack onward…”

Noise artist from Albuquerque, NM.
Member of Death Convention Singers, Milch de la Máquina, and The Black Range.

14. SBSM “Leave Your Body”

“Hardcore was an adjective before it was a noun. This is haunting, cacophonous, strange and beautiful music. Machines with heartbeats and minds of their own, live drums, a table full of noise, and three geniuses in complete control, laying joy and rage to tape.”

15. Kohinoorgasm “Synthwali and the War Empire”

16. Yves Tumor “Serpent Music”

“The enigmatic Tennessee-raised, Turin-based Yves Tumor presents a poignant new album, recorded between Miami, Leipzig, Los Angeles and Berlin over the past three years.

Evolved from a diverse and prolific creative history under an expansive plethora of covert aliases via various forward-thinking labels, ‘Yves Tumor’ emerges as his most personal and matured incarnation to date.

With involvement across various artistic outlets expanding to fashion such as a visceral live performance for LA’s Hood By Air earlier this year, the global artist has built a distinctly bold personal aesthetic both musically and visually as a performer. ”

17. Black Quantum Futurism “Temporal Technologies”

“TEMPORAL TECHNOLOGIES is part of a Black Quantum Futurism series of sonic timescapes that consider what technologies are practically and readily available to us to help shift/adjust/manipulate/augment/enhance our experiences of space-time at will. BQF is exploring and developing temporal technologies that are more beneficial to marginalized peoples’ survival in a “high-tech” world currently dominated by oppressive, fatalistic linear time constructs.

Originally commissioned and released on AFROVISIONARY : DARK MATTER Label – kinnara-desila–afrovisionary-creations.bandcamp.com/track/afrovisionary-dark-matter-6-artist-black-quantum-futurism-temporal-technologies”

18. Las Sucias “Salte del medio”

“Las Sucias is a duo formed by Danishta Rivero and Alexandra Buschman, mixing anti-patriarchal riotgrrrl lyrics, afrocaribbean rhythms, brujería noise and possessed vocals. Each performance is a ritual that combines all of the senses and elevates into a higher realm, inspiring the listener to dance, speak in tongues, laugh hysterically and get possessed by the spirits awoken”

19. JLin “Black Origami”

““Black Origami” is driven by a deep creative thirst which she describes as “this driving feeling that I wanted to do something different, something that challenged me to my core. Black Origami for me, comes from letting go creatively, creating with no boundaries. The simple definition of origami is the art of folding and constructing paper into a beautiful, yet complex design. Composing music for me is like origami, only I’m replacing paper with sound. I chose to title the album “Black Origami” because like “Dark Energy” I still create from the beauty of darkness and blackness. The willingness to go into the hardest places within myself to create for me means that I can touch the Infinity.”

20. The Creatrix “Approaching An Abandoned Helm”

21. AhMerAhSu “STAR”

22. Fuck You Pay Us “Live at the Cielo Gallery…”

23. Z5A Z5A GABOR “Left Skull bank”

24. 700 BLISS “SPA 700”

“700 Bliss is the reality check we all needed. The sonic encapsulating structure of “SPA 700” leaks blood and futuristic knowledge into our empty cup, the education of the trash of imperialism, all while affirming the artists and their collaborators within their own uncompromising positions within the histories of futuristic sounds and societies. 700 Bliss’ music tells their unheard stories through an uncannily stark and real web of historical knowledge, black futurism, and sonic sorcery. 700 Bliss is radical protest music for the beginnings of a world which must leave this current place far behind to burn in peace. With “Spa 700,” 700 Bliss stands as one of the most sonically important contemporary electronic music duos to date. Which side are you on? (SORRY, you don’t get to choose, they do.)”

25. Mykki Blanco “Mykki”

“A singular artist who has made an indelible mark on the pop music landscape with a string of street-level releases and mixtapes, Mykki Blanco releases his debut album “Mykki” on 16th September. Produced by Woodkid and Jeremiah Meece, the album finds Blanco simultaneously at his most fearless and his most accessible.”

26. Akvan “بلک متال آریایی”

27. SPELLLING “Hard to Please”

“SPELLLING released her first full length Pantheon of Me in September 2017 and it was self written, performed and produced in her apartment in Berkeley, California. She began experimenting with music production in 2015 in effort to carry on the creative legacy of a lost loved one. Drawing heavily from messages in her dreams, her sound spirals through clarity and obscurity searching through landscapes of psychic space. The result is a divine soul music, soft in its restraint but heavy with passion. SPELLLING’s powerful vocal range dances over compositions that vary from rhythmic and ethereal to crunchy and hypnotic, while all remaining singularly cohesive to her distinct and enveloping sound. Pantheon of Me was Bandcamp’s #4 record of the year in 2017 and they raved of that sound: “Cabral has it, from her careful sense of composition to her charismatic presence to her ability to communicate with her music straight through to the listener’s heart.”

28. Nnamdi Ogbonnaya “DROOL”

29. DJ Haram “Body Count”

DJ Haram is a producer and DJ originally from New Jersey, currently based in Philadelphia. Stylistically versatile, she throws down for Jersey, Philly, and Baltimore with club and booty bounce sets but also has been known to pay homage to her roots in the tradition of Middle Eastern dance music and of DIY noise and experimental sound. DJ Haram (along with Moor Mother) is 1/2 of the noise/rap group 700 BLISS. In spring 2017 Haram composed and original score for the debut tour of Richard Siegal’s Munich-based modern dance company “Ballet of Difference.” Dj Haram participated in Redbull Music Academy Bass Camp in summer 2017. While in Philly Haram curates a few nights; a legal fundraiser party series (f)LAWLESS, a monthly live/DIY hip hop night ‘Gas’, and a monthly radio program RAGE RADIO on 91.7FM. She has curated events for MoMa Ps1 Sunday Sessions and Fringe Arts Festival Philadelphia. Dj Haram is touring North America and Europe in summer/fall 2017; recent and upcoming tour highlight performances include Unsound Krakow, MoMa Ps1 Warm Up, Bonnaroo, De School Amsterdam, Creamcake Berlin, Razzmatazz Barcelona, Damas Lisbon, Paradox Baltimore, GHE2OG0TH1K New York City, Club Chai Oakland, and Drake Hotel Toronto.

30. Marlo Eggplant “Delayed”

“Marlo Eggplant is a prominent figure in a thriving and diverse international scene of female experimental music performers. As curator of the pioneering Ladyz in Noyz compilation series, an ongoing project from 2008 to the present, she has helped to foster this scene and continues to promote emerging artists from around the world on her record label Corpus Callosum. With an intuitive command of minimal instrumentation, including processed autoharp and contact microphones, Marlo Eggplant’s sparsely structured notes and layered static textures build into sonically dense drone improvisations.

Receiving childhood classical training in voice, guitar, piano, and cello, Marlo began her solo musical career in the 1990s favoring folk and punk, playing local coffee shops and arty hangouts as a teen. When she attended college in the Berkshires, she became more interested in avant garde and bizarre musics. A burst of raw creativity in the early 2000s brought the playful lo-fi pop experiments of the first recordings released under the name Marlo Eggplant, concurrent with her disjointed trance-like drumming as half of the deconstructionist rock duo Hazardous Guadalupe, and her co-founding of the Spleencoffin record label with Timothy Wisniewski in 2003.”

31. Tyler Holmes “Invisible Island”

“Tyler Holmes makes music for people caught between worlds. As a queer, gender non-binary, person of color their music reflects what it is to exist outside/around the forced categorization and trappings of tradition and societal norms. Sonically diverse; Tyler blends Hip Hop, R&B, Gospel, and Techno into gorgeous collages that reflect on sexual, spiritual and physical identities.”

32. Bigawatt “Past Perfect”

“Bigawatt is Marisa Demarco, a journalist, musician and event curator in the high desert”

33. Maya Songbird “Writing My Life”

 

34. SAN CHA “Capricha Del Diablo”

“San Cha is a singer-songwriter known for her explosive, visceral and emotional live performances. Her name is derived from the spanish word ‘sancha’ which translates to ‘mistress’, and is also a reference to the title of ‘San’ given to male saints in the catholic tradition”

35. Mirel Wagner “When The Cellar Children See The Light of  Day”

36. The  Sorcerer Family “Hidden Rooms demo”

37. Monochromacy “Living Posture”

“Monochromacy was originally known as Van Clitt when founded in 2007 by Esteban Flores. The lineup has included Flores, Sam Lopez (aka noise artist and Stay Strange promoter Zsa Zsa Gabor), and Misty Sunglow on bass and vocals, though most of the band’s first ten years was basically spent as a Flores solo project.

Their 5-song Cement Cathedrals EP was released in summer 2013, mastered by James Plotkin and released on the local Stay Strange lable founded by Lopez. Limited to only 50 copies released on cassette, all tracks were mastered by James Plotkin (mastered for SUNN, Earth, Khanate) and manufactured by National Audio Company, with package design by dark artist Brandon Geurts.

Cement Cathedrals is a bleak landscape of ominous ambiance. A followup released in Autumn 2016, Live Isolated, features songs recorded all in one take.

By 2017, Flores had expanded the band once again to include collaborations with electronic keyboardist and percussionist Brian Ivan and Ariel Iribe on drums and electron”

38.  CBN “Buried and  Bald”

39. Cheflee “Hawaii Tape”

40. PU22L3 “Slight Of Hand Styles”

41. Nihar “Chrysalis”

42. Zachary James Watkins ‘Mixed  Raced”

“Zachary James Watkins studied composition with Janice Giteck, Jarrad Powell, Robin Holcomb and Jovino Santos Neto at Cornish College. In 2006, Zachary received an MFA in Electronic Music and Recording Media from Mills College where he studied with Chris Brown, Fred Frith, Alvin Curran and Pauline Oliveros. Zachary has received commissions from Cornish College of The Arts, The Microscores Project, the Beam Foundation, Somnubutone Radio Series free103point9.orgsfsound and the Seattle Chamber Players. His 2006 composition Suite for String Quartetwas awarded the Paul Merritt Henry Prize for Composition and has subsequently been performed at the Labs 25th Anniversary Celebration, the Labor Sonor Series at Kule in Berlin Germany and in Seattle Wa, as part of the 2nd Annual Town Hall New Music Marathon featuring violist Eyvind Kang. Zachary has performed in numerous festivals across the United States, Mexico and Europe and his band Black Spirituals opened for pionering Drone Metal bandEarth during their 2015 European tour. In 2008, Zachary premiered a new multi-media work entitled Country Western as part of the Meridian Gallery’s Composers in Performance Series that received grants from the The American Music Center and The Foundation for Contemporary Arts. An excerpt of this piece is published on a compilation album entitled “The Harmonic Series” along side Pauline Oliveros, Ellen Fullman, Theresa Wong Charles Curtis and Duane Pitre among others. Zachary designed the sound and composed music for the plays “I have loved Strangers” produced by Just Theatre, which listed “top ten of 2007” in the East Bay Express and the 8th Annual ReOrient Theatre Festival. His sound art work entitled Third Floor::Designed Obsolescence, “spoke as a metaphor for the breakdown of the dream of technology and the myth of our society’s permanence,” review by Susan Noyes Platt in the Summer 05 issue of ARTLIES. Zachary releases music on the labels SigeCassaunaConfront (UK)The Tapeworm and Touch (UK)Novembre Magazine (DE)ITCH (ZA), Walrus Press and the New York Miniature Ensemble have published his writings and scores. Zachary has been an artist in resident at the Espy Foundation, Djerassi and the Headlands Center for The Arts.”

43. Idris Ackamoor & The Pyramids “An Angel Fell”

“Idris Ackamoor is an American multi-instrumentalist, composer, actor, tap dancer, producer, administrator, and director. He is the Founder, Executive/Co-Artistic Director of the multi-disciplinary San Francisco performance company Cultural Odyssey”

44. Xuxa Santamaria “Billionair Rainbow”

“XUXA SANTAMARIA (XXSM) is a music and performance project made up of artist Sofía Córdova (b. 1985 Carolina, Puerto Rico) and electronic musician Matthew Gonzalez Kirkland aka ABAIA (b. 1982 New York, New York). Interested in subverting and working within pop forms, the collective works within both pop and experimental frameworks to create albums and performances.

The duo first worked together in creating the sound pieces associated with Baby, Remember My Name, Córdova’s first project merging performance, video art and music. The duo pressed and released the record ChuCha Santamaria y Usted in 2011, composed of the tracks from this piece. They’ve since produced several discrete XXSM performances, including a 30 minute experimental performance titled Brothyrs and Systers of the Mystery, and a limited edition cassette mixtape titled BILLIONAIR RAINBOW about the trappings of labor and capital. The latter features a suite of unique music videos made by Córdova which range from works of durational performance in a 1970’s feminist tradition to videos made through the appropriation of moving image. Both ChuCha Santamaria y Usted and BILLIONAIR RAINBOW were released by YOUNG CUBS records in Austin. They are currently working on a new release, Chancletas de Oro (to be released by RATSKIN RECORDS Fall 2018), focusing this time on feminist/ femme narratives drawn from both history and works of fiction. Together, they also score all of Córdova’s independent video and live performance work, most recently they worked together BILONGO LILA: Nobody Dies in a Foretold War, an epic, 7 musician performance with dance and video performed at Mills College as part of a residency Córdova participated in through the school’s museum. ”

45. Raven Chacon “At The Point Where the Rivers Crossed, We  Drew Our Knives”

Raven Chacon (born December 1977 in Fort DefianceNavajo NationArizonaUnited States) is an American composerand artist. He is known as a composer of chamber music as well as a solo performer of noise music. He is recognized as one of few Native Americans working in either genre.

Chacon is a member of the American Indian art collective, Postcommodity, with whom he has developed multi-media installations which have been exhibited internationally. His collective and solo work has been presented at Sydney Biennale,[1] Kennedy CenterAdelaide InternationalVancouver Art GalleryMusée d’art contemporain de Montréal, The San Francisco Electronic Music Festival, Chaco Canyon, and Performance Today.[2]

Chacon also performs in the projects KILT with Bob Bellerue, Mesa Ritual with William Fowler Collins, Endlings with John Dieterich, and collaborations with composers Robert Henke and Thollem McDonas. In 2016, he was commissioned by Kronos Quartet to compose a work for their Fifty For The Future project”

46. Demogoroth Satanum “Kingdom of Hell”

47.  The Younger Lovers “4/4 Kick and Let The Beat Ride”

48: The Breathing Light “Light Fast, Black Power!”

“The Breathing Light began around 2008 in Normal, Alabama. In 2010 it relocated to Chicago.”

49:  Cruz De Navajas “Dominacion”

 

50. ANATOMY “S/T”

51. Kelis “Jerk Ribs”

 

52. Quay Dash “Satan’s Angel”

Dash’s bleak outlook comes after a life of struggle, a childhood filled with foster care and group homes as she tried to find an identity in her surroundings. “It was a real tough time for me,” she says. “I ended up living with my sister, and that’s when I started writing music and talking about the shit that was bothering me in society. That’s when I started being Quay Dash.”

Her background might have led to this awakening but it doesn’t overwhelm her music. Transphobic isn’t just an EP about Quay Dash’s struggles, it’s raw and braggadocious, and quickly making her name known. “People are feeling it,” she says. “I’m pretty stoked about the future and the present is just, it’s live right now.” Despite the growth in female rappers, Dash is largely unmoved by her peers (“There’s nobody inspiring me”) and instead, acknowledges Lil’ Kim, Remy Ma and Foxy Brown as her inspirations from the past.

Dash wants to fill this void and represent her city, which she feels is too often overlooked for the south, and she’s confident about her ability to push a genre that’s often transphobic and misogynist. “I’m sure it’s no different than being on the street,” she says. “I know that I’m better than most of those rappers anyways. As far as my music I just want everybody to hear my voice and let them know that I’m here, and I’m here to stay; I’m here to stay and slay.”

53. Android Lust “Crater, Vol 1”

54. Lawrence Lindell “Eclectic Frequencies”

“”Combining the abrasive DnB inflected beats of Aphex Twin with Flying Lotus’ gift for beautiful atmosphere, Lindell’s music is truly unique.” -Nathan Leigh (AFROPUNK)

“Lawrence Lindell of Los Angeles is an artist that falls into the realm of the unexplored regions in electronic music and it’s mind bending to process every sound that speeds past you. It calls to a reminiscent state of sonic pioneers such as Aphex Twin, Squarepusher and Autechre, glowing with the same rapid rhythmic intensity and translucent liquid like layering that those artists have become synonymous for. Highly intricate and technical, his music is buzzing with a flourishing sequence of experimental grids that is a really special blend of genres and ideas.” -Erik Otis (Sound Colour Vibration)

“Lawrence’s trademark sound is as intricate as they come, pushing the boundaries of conceptual electronica like the great minds Aphex Twin, Four Tet, and Flying Lotus are known so well for.” -Nick Abitia (Sound Colour Vibration)”

55. The Bedroom Witch “Triptych”

“Cast as the misunderstood maker of the veil, the Bedroom Witch lyrically chants spells alluding to an inevitable apocalypsewhile embodying the creative exhaustion of isolation. Her aesthetics build on dark pop ballads, an ominous execution of chord progressions through mysterious allure and a danceable haunting that produces the nostalgic agony of Hell/Limbo theories   ”

56. Slanted Square “Three Sides”

57. King Vision Ultra “Pain Of Mind”

58. Felidae “s/t”

59. Snatch Power ft/ The Uhuruverse & SondriaWRITES “Channeling Calafia”

60. Edge Slayer “Edge Slayer”

61. Mosca Muerta “s/t”

62.  Jeepneys & Sister Mantos “My Loves  Shines Up In Circles”

63. Ase Manual “Oh Okay”

64.  Dengue Dengue Dengue  “Semillero”

65. Golden Champagne Flavored Sweatshirt  ‘Animals Calling Animals”

66. Muyassar Kurdi “Travelling”

67.  B L A C K I E “Remains”

68. Compactor “Basic”

69. Softie “Emotional Reasoning”

70. Earthbound “The Flood”

71. Amenta Abioto “Opening Flower Hymns”

72. E. Hernandez “Rave In Perpetuity”

73. African Ghost Valley “Colony”

74. Zedgar Infiniti “Toxic Femme”

75. Black Hat “Willow”

76.  Volahn “CN-26 Aq-Ab-Al”

77. LSDXOXO “BODY MODS”

78. Ana Roxanna “~~~”

79. XINA XURNER “Queens Of The Night”

“Marvin Astorga and Young Joon Kwak join forces as XINA XURNER, to bring you sadical and sexperimental industrial-noise-diva-dance anthems that ooze sex, death, and decay. Xina Xurner will make you sweat.”

80. Elisa Harkiss “Stomp Dance”

“Elisa Harkins is a Native American (Cherokee/Muscogee) composer and artist originally hailing from Miami, Oklahoma. Harkins received her BA from Columbia College Chicago and her MFA from the California Institute of the Arts. She has since continued her education at the Skowhegan School of Painting and Sculpture. Harkins is an enrolled member of the Muscogee (Creek) tribe”

81.  Moor Mother x Mental Jewelry “Big Crime” (Remix by : mdmdata

82. Tavishi “HOME: The Original Motion Picture Soundtrack:”

83. ONO “Your Future Is Metal”

ONO is an Industrial/Avant/Gospel/Noise Band, founded in 1980 and played all over the Chicago and parts of the Midwest till the mid 80’s.

The Band rehearsed weekly in a finished basement on the South Side near the affluent “PILL HILL” area. ONO shared the space with End Result at their inception July 1980 till they moved to the Mercy Mission.

84. LeRoi X M{A}B “…trio along the  story’s end”

“Formed in 2015 by RA Washington, M[A]B looks to forage new pathways toward heart music by melding soul, blues, electronics, avant-poetics w/ futurist beats.”

85.  Obliferous “Liminal Space”

86.  DRAMA “Drama”


All songs recorded by Jose Hernandez except songs 1 and 3 by Ryan Fleming and Jason King. Mastering by Sharmi Basu. Layout by Eric. Design by Tyler. Out on Aklasan Records. All songs written by Drama.

Guitar/Vocals: Monica
Bass: Krista
Drums: Aimee”

87. PURPURA ” COURONNE DE MERD

“Mexican female harsh noise unit based in Switzerland and France.
Half of Power Harsh duo TZITZIMIME.”

88. Queens D. Light :Flavor Of Green”

“Queens D.Light is an Oakland based rap artist.”

89. Melanin “Not Your Target”

“‘Not Your Target’ demo cassette tape features 6 tracks on Side A and a bonus ‘Culture Clash’ mash-up on Side B which is exclusive for both digital download and physical copy. ”

90. Ed Balloon “No Smoking”

“Where most people would look at the club as a place to lose your mind and your morals for a few hours, Ed Balloon’s genius is his ability to shamelessly find some humanity, some feeling amongst the people just looking for one-night-stands.” – AFROPUNK

91. Delish “Violet EP”

92. Squid Ink “Under  Siege”

“Squid Ink is a four piece band from Fresno, CA. With members Amber Williams (vox/guitar), Vishinna Turner (bass/vox), AudreyJohnson (drums/guitar), and Janell Bowen (bass/drums); blending the sounds of grunge, punk, and riot grrrl. Squid Ink creates music amplifying the voices of womxn and femmes combating the misogynoir, white supremacist, cis-heterosexist, capitalist, actual dystopia we live in”

93.  The Genie “Crystal Mirror, Part 1”

“The Genie is an avant-garde performing artist and guitar looping innovator; taking a DJ approach to guitar, he is the creator of a live-looping method called ‘scratch guitar’ and a unique brand of live-remixing called ‘g-mixing’.

94.  Chip Scout “Ice Cold Nine”

95. Natalia “Six”

“Independent -Multi Media Artist. Molding and manipulating sound, symbol and body.”

96.  Genital Quartz “Alien Trust’

97. George Chen “Word Origami”

98. Chaki & The Mystic Defenders

“Chaki is a funky alien wizard from Outer Space hailing from the planet Chaka 12. With his unique take on electro punk bassthump, he has brought his weird ass stage show to festivals like Noise Pop and has opened up for like minded weirdos Peelander Z, Bob Log III, Metalachi, Captured By Robots and The Oingo Boingo Dance Party. Rolling Stone said he is like Prince except not sexy and much fatter.”

99. Jennifer Simone x Zijnzijn Zijnzijn! “Inward  / Outward”

100.   TZITZIMIME “live at SONORECTURES: CHRONOPHAGOLOGY”

101. V/A: To catch A Light : Field recordings from Madagascar

102. Daveed Diggs “Small Things To A Giant”

103.  DemonSleeper “Dream Sequence, 1”

104. Julia Mazawa “Dream Of El Dorado”

105. Collude Noise Unit “The Black Earth”

106. Black Spirituals “black Access / Black Axes

107.  Diavol Strain “Demonio”

 

108.  False Figure “False Figure”

“US Tour with Cruz De Navajas (CDMX) May 24th-June 24th

12″ out on Near Dark // Last Hour records

@falsefigure”

109.  Hel “el ojo de dios”

110.  Twin Tribes “Still In Still”

“Dark melodic sounds, synthesizers, lyrics about the undead, the occult and parallel universes.”

111. DoNormaal “THIRD DAUGHTER”

112.  Half-Breed “Practice Makes Something”

113. Wizard Apprentice “I Am Invisible”

114.  Nightmare Difficulty “Run And Gun”

80s action, violent video games… Formerly of many different metal, punk, and grind bands.

115. Postcommodity “We Lost Half The Forest and The Rest Will Burn This Summer

Combining Western classical instruments and performers with their own Southwestern-rasquache electronics, Postcommodity’s third full-length release is a 16-song concept album recounting the ever-cycling decay of a desert drought from the view of its flora and fauna. Trumpets, bass drums, strings, piano and voices dirge through the only path to the end. Jackets printed and embossed with ash. Limited to 200 copies.

116.  S O L V “Wasted In  Arcana”

117. LEXAGON “Electric Meats”

118. Green Ova Undergrounds “Green Ova Records Greatest Hits (produced by Squadda B)”

119. Head Boggle “Live at I.N.C. Oakland, 2016”

120. VANKMEN “The maxx (part 1)”

121. JPAGMAFIA “Communist Slow Jams”

122. Flower Pattern “total drip”

123. Dax Pierson “macrobid”

Being The Machine : DECAYCAST Interviews Derek Rush (Chthonic Streams, Compactor)

Being The Machine : DECAYCAST Interviews Derek Rush (Chthonic Streams, Compactor)

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Compactor live at Knockdown Center, NYC during the No Workers Paradise release show. Photo by Kim Wirt.

Derek Rush is a man of many hats in the contemporary noise/industrial scene; like many artists these days, Rush has taken a ground-up, DIY ethos to his various musical projects, his imprint Chthonic Streams, his DJ sets, as well as mixing, mastering, and designing artwork for his releases. Many times, when artists spread themselves this razor-thin, for a myriad of creative, philosophical, and logistical reasons, aspects of the work suffer, or appear rushed, but not in the case of Derek Rush. His commitment to the preservation and documentation of the New York City and North American noise and industrial scene is impressive to say the least. Make sure to keep up with his various projects here and here.

Hello Derek and welcome to Decaycast. Can you talk a little bit about your current creative projects and what you’re up to these days both with your label, Chthonic Streams and related projects?

My main current project is as SysAdmin for Compactor. This means I’m overseeing the production of recorded Documents, and I handle tech, setup and breakdown of Live Shifts. Compactor is a machine, or series of machines, operated by a uniformed person called The Worker. The idea is that this is an anonymous figure who could be anyone, they represent everyone who works for a living. The project is a series of ongoing statements about work and its place in society, the dehumanization of people, the focus, fetishization, and trust in technology, the push-pull of how it can be pretty cool but also pretty destructive. In May 2018 Oppressive Resistance Recordings released the full-length CD “Technology Worship.”

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Chthonic Streams started as an outlet to release my own work when other labels are unavailable, as well as distribute the work of others I’m even tangentially involved with. Recently I’ve been expanding it to put out short-run releases of artists I like. I usually collaborate on some aspect, at least the design, sometimes a bit of mastering or even mixing, it varies. The latest release as we’re talking now is a tape by Endless Chasm, a dark ambient/experimental artist from Kansas. I also try to combine the release with a show I present under the Chthonic Streams banner with a variety of complementary artists.

As for other related projects happening now, I’ve been contributing to Theologian, which is the project of Lee Bartow. I recently sent him some melodic/harmonic elements which were turned into a track on the cassette “Reconcile,” and we have been sending files back and forth for the next major album, “Contrapasso.”

How did the collaboration with Theologian come about? How do you (if at all) separate the sounds you use for Compactor vs. the sounds you use for Theologian or other collaborations, and also how important is collaboration to you on general?
Theologian is Lee Bartow, but sometimes he likes to collaborate with others. We’ve known each other from a distance for years, but connected more in 2010 when I asked him to remix a song from my band Dream Into Dust. In return, he asked me to contribute to a project called Love Is Nothing, and then he sent me material which I added to along with others that became the Theologian EP “Some Things Have To Be Endured”. I mixed the “Forced Utopia” album last year, and I’ve been editing/producing material for the forthcoming album “Contrapasso.” The “Reconcile” album came about because of the Darkness Descends industrial festival in Cleveland put on by Stephen Petrus of Murderous Vision. Lee asked Stephen, Andy (The Vomit Arsonist) and myself to send material that he would turn into an album (mixed by Mike McClatchey of Lament Cityscape), and the four of us played in Theologian for the fest.

The mindset, sound, and material for Compactor is very different from other projects or collaborations. Compactor sonically is all about different textures of primarily atonal sounds. The material I sent in for “Reconcile” was very melodic and droning and in a specific key. In general when working on Theologian, I know what that sound is and where Lee is coming from, and I’m just trying to do something that goes along with that but adds a dimension he doesn’t usually do when working on his own, things like trying to add a different structure or little synth melodies and string parts.

I think in any collaboration, it’s important to find out what the other person wants and needs, which may not be the same thing. I’m mostly just trying to help their project be the best it can be to my ears. But in the end, they give the final seal of approval and may even change things I’ve done initially. I find that totally democratic collaboration often doesn’t work. Someone has to be in charge of a project and someone else in more of a supportive role.

Seems like the sounds of Compactor and your collaborative projects come from very different places, intention-wise. Oftentimes in experimental music artists can take an “anything goes” approach, but that might end up not working for every situation, or even many situations. Do you think noise and experimental music, more than other genres, emphasize collaboration, or on the contrary does it discourage collaboration and focus on promoting the individual. Is removing yourself from the identity of Compactor a conceptual move or does it occur for different reasons? 
I think noise music by its nature might not discourage collaboration, but it’s kind of unnecessary and sometimes a bad idea. With many types of noise, the more distortion and frequencies that are happening, the harder it is to fit in other sounds. It needs to have people even more attuned to each other than in conventional music, to know what and when to play or not play. Otherwise it can just become total white noise, filling up every space. There’s a place for that, obviously HN and HNW, but even one person can generate that on their own. So collaboration usually seems to come more out of a need for cameraderie and community. I think there’s a lot of loners, myself included, for whom noise has somehow had the opposite effect of connecting with others on the same wavelength. So it’s not like a rock band where you’re a guitarist who needs a bassist and drummer. You can do it all yourself, but you want your buddies with you, especially if they by themselves create something you respect.

Compactor being the machine, operated by the faceless figure of The Worker, is something that naturally came about from the early titles and imagery. It basically wrote its own backstory. Once that was in place, other details just obviously follow. The Worker’s story is a conglomeration of what goes on in this country and other parts of the world. The greed and inhumanity of corporations, the constantly working, often exhausted working class and shrinking middle class. It’s more important, and more interesting, to refer to these things than just say, wow work sucked today, I’m going to write a song about that. Because it’s not about me, it’s about everyone. And it’s sadly a pretty common feeling.

Can you talk a little bit more of the aesthetics of “The Worker” or “Compactor” from the mask/outfit to the unified aesthetics in the artworks well as music videos?

The predominantly black, white, and grey color schemes are just naturally bleak, and also give things a vintage or archival quality. A lot of the look of things is intentionally old, outdated, and ragged looking. For all the advancements in technology, there’s still a lot of old stuff being used by businesses that aren’t upgrading in order to save money. The Worker is kind of a personification of that, wearing a gas mask from 30 years ago, always the same worn-out shirt and work boots, and a generic cap, sometimes additional tools that are old, dirty, rusted or cheap-looking. It seems like a lot of companies are providing the bare minimum, or even leaving it up to employees to take care of their own uniforms or supplies.

Most of the videos in the past were outsourced to F Squared Media, who do some amazing work. Something to note is that there are never any people in them, in order to increase feelings of dehumanization and isolation.

Speaking of unified aesthetics, let’s talk about your imprint, Chthonic Streams. Most of your releases are rather involved with artist editions and elaborate packaging, including a boxset housed in a tool box?!? Is this true, care to elaborate?!

I’ve only started doing more elaborate packaging in the past few years, but have always strived to make sure there is really something to hold in your hands and look at. Also, it has to make sense and have a purpose. Although I appreciate albums that come with buttons and stickers, that’s not my thing. So I come up with images, words, and objects that bring the meaning of the music into the physical world.

The boxset you’re talking about is “No Workers Paradise”, which is 8 x 60-minute tapes, each one from a different noise artist. Compactor, Gnawed, Redrot, The Vomit Arsonist, Filth, Blsphm, Existence In Decline, and Work/Death each recorded a full album’s worth of material, so the total time is 8 hours, the standard American work day (although many people work longer than that). It also includes a 7″x10″ 12-page booklet with images, credits, and an essay I wrote about the prevalent relationship of people to work these days. Putting it in a tool box just made the most sense to me, as though someone woNWPboxuld carry it to work with them and listen to it all day. Though this was my concept I have to give serious props and thanks to all the artists, who did some of their best work.

What is the most difficult part of running your own imprint and also what is the most rewarding? Also please discuss any upcoming releases you have for both the label, and Compactor.

The most difficult part is dealing with money. While I can save money doing pretty much everything myself, as soon as you start adding in the kind of crazy ideas I have, the cost goes right back up again. Not to mention the time and labor. I’m cheating myself in some ways, but I guess I’d rather do that than cheat an artist. Then again, probably a lot of labels at this level operate this way, which is sad. We’ve become so used to busting our asses incredibly hard just to get anything done and not lose our shirts.

On the positive side, it’s so rewarding to hear from other artists that they’re happy with how a release came out. These are people whose work I respect a lot, and we are friends and peers, so that’s the most important thing. Though we’re also happy to sell out of things too!

Just released is a compilation called Prematurely Purgatoried, which is a benefit for fellow musician Casey Grabowski (Nearest, Obligate Surrogate, Secret Societies) who has cancer. In the works is a release from Seattle-based artist Morher, who was until recently known as OKA Amnesia. I’ve booked her a number of times, and she recorded several long pieces live to multitrack at my studio, with plans to do more and make it a full-length, which I’ll be mixing, as I did with STCLVR’s Predator. She’s also a visual artist and we hope to collaborate using her work to come up with some kind of special edition that suits her and this material, which is incredibly open and visceral. It’s gorgeous sung and spoken word live and looped vocals, with ethereal backing based on field recordings bleeding into harsh noise.

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By winter there will also be a special edition cassette by Mortuary Womb, a duo project between myself and the late John Binder of Exhuma and Arkanau. It’s full-on death industrial in the vein of early Cold Meat Industry and Slaughter Productions, recorded in Winter 2014. The limited edition will include a second cassette with the final recordings John did before he left us.

Compactor will have split releases with Vitriol Gauge and Ruiner. coming in Fall and Winter, respectively. There will also be tracks on compilations from Black Ring Rituals (for Fargo Noise Fest) and Spiricom Tapes, as well as a remix on the deluxe reissue of the Theologian/Lament Cityscape album. Beyond that, work has begun on a gabber album for Sonic Terror Recordings.

Chthonic Streams: www.chthonicstreams.com
Compactor: www.wastemgt.info

DECAYCAST Reviews: AMANDA R HOWLAND “Spider, Milk, Batshit, Silence” (No Rent, 2018)

DECAYCAST Reviews: AMANDA R HOWLAND “Spider, Milk, Batshit, Silence” (No Rent, 2018)

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Cleveland, OH recording artist Amanda R.  Howland comes with refreshing array of sonic possibilities and strategies with, “Spider, Milk, Batshit, Silence” her first tape for the NO RENT imprint, with two sides of mixed-bag, dense, electronics spanning from harsh noise, to musique concrete,  to sections accentuating voice, to more abstracted rhythm sections which blend in and out of a gentle, yet very present, bowed, hum.  Static, voice, melody, clattering broken rhythms, radio chatter of  ancient transmissions and a harsh sense of absence are all present in this short but important release.  Tension is another constant theme to the ear as  one section may contain a harsh, alienating scraping; a  sound nasty pissed and angrily broken, inching across the floor toward its prey as the  amplitude and aggression increase and climax into an alarm style buzzing; alerting the listener that, yes, now is your time. Another sound, if even for a moment, m0014255476_10ay offer a brief, ambient respite to the harsh reality that has encapsulated us all, “Spider, Milk, Batshit, Silence” is, indeed the sound of that. A chaotic, dangerous and aurally thick and swift climax appears and then vanishes leaving only a distant hum of  abstracted silence, a slow, subtle, thumping as if the decaying heart has pushed red for its final beat.  The silence at the end of side one almost doesn’t seem real as the listener is left with wanting more of this uncertain future the ears and brain have yet to test, yet to experience.  If any sonic territories are left unexplored under the “experimental”  or “out-sound” tags on side one, we soon learn they will be shredded and eviscerated on side two with as much skill, tension, and carefully articulated abstraction as they were on side one.

The second side, “Batshit, Silence” picks up  right where the  A side dropped us off, with a high-pitched, distorted and warped melody.  Intense shrieks, angry swells, and ancient hymns of bouncing, pulsing sine-wave frequencies gel together like a microbiological  fungus slowly transforming into something much greater and dangerous, the thick scraping, shooting radio0 transmissions into the brain grow together, seamlessly providing a ridged and ugly backbone for abstracted  layers of thunderous pounding, the a tonal scraping of a ferociously thick winds ripping across the gruesome and confusing scene, pulling tiny, flesh-ridden shards of the listeners inner ear with it,  to cascade upon, as Howlands’ dark, grinning, noisy, churning  machine glides through the wires and slowly leaks out of the pores offering a new dark reality, endlessly searching for a cave to whip around in, an enormous sound. This scene is eventually evacuated to barren, alien radio transmissions have crept their way in and angst-like shake and sputter long lost messages over the dense, thick walls of  bleeding electronics, this like life eventually fades away and we are  left with an alienating, deafening silence.  Highly dynamic and enjoyable tape for a wide variety of experimental delvers. Pick u the digital HERE and the cassette HERE

DECAYCAST Reviews : Witowmaker “Feather” Cassette (Sleep On Dreams, 2018)

DECAYCAST Reviews : Witowmaker “Feather” Cassette (Sleep On Dreams, 2018)

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Witowmaker is the project of Bay Area electronic producer and internet cult personality Christopher Danko, also of Stable imprint/collective, and Religious Girls fame. On “Feather”, Danko crafts ten lush, dynamic,  emotionally present, fun and heavy electronic “dance” tracks which float the listener to an oscillating plane of lush tone poem arpeggiations, thick walls of decaying synthesizers, heavy, dynamic drum programming, atmospheric flutterings, and concisely layered, and intricately mapped vocal samples. The overall sound of Witowmaker is, at times,  surprisingly warm and ‘positive’, with a tinge of sarcasm, and at other times, darker, more dissonant, and even emotionally confusing in an interesting and uncontrived manner. Tension is sonically available throughout the wide range of aural moods on “Feather”, one track is accentuating the bent light sunshine across crashing waves, while the next track descends into another layer of cosmic hell, unsure of the outcome. Refreshing; this is a fun and important release in the arch of bay area electronic musings.

“Feather” offers complex, lush, delicate sonic textures while still retaining a pounding, thick, four to the floor heaviness which pulls from Acid, Dub, IDM and a dense warped version of straight-up dance music. Remnants of influence from Aphex Twin, FKA Twigs,  DJ Spooky, Art Of Noise, and later Carl Cox can be heard in the glistening, bright, affront production, yet Witowmaker offers a unique style of dance based electronic music all their own! The B side begins with a fast tempo, funky bass arp track titled “Trick Me Twice” which rings back to 90’s NRG/bass music with an experimental flare all it’s own. A classically trained arp machine spits out climbing cascading  rhythms while lush pads provide a warm backbone for chopped and glued vocal slices, offering a dense, warm, funky dance floor banger. Plug my ears with a drill to extract the earplugs that have been stuck for centuries at the club, ‘cause this is the high tempo, low bullshit dance music I’ve been waiting for.

This little tone machine gets funkier and more dynamic with each spin!  Other tracks like the B side’s “Contamination” offer a darker, more evil-grin means of electronic stylings, which perhaps might be the  darkest and most warped track on the album, pleasing the listener as the acid kicks in and everything changes. Witowmaker is refreshingly honest, dark and delicately crafted dance music for the jokester in all of us laughing to the trap door of life  until the doors spin open and we’re left wandering through a world of confusion not knowing what we’ve seen nor heard. Look for more from this project, we will be. Side note: this is one of the best sounding and best LOOKING tapes we have received in some time, and it’s refreshing when the visual look and sound unite to create a beautiful package of lush electronic presentation.  Order this tape, now!

 

Here’s also some free bandcamp download codes for the album:  redeem at http://www.bandcamp.com/yum

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DECAYCAST Reviews: Andorkappen “Temples Of The Unvirtuous” (Oxen, 2018)

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Andorkappen, LA  based noise/ drone maestro and also honcho at Underground Tape Review is back with “Temples Of The Unvirtuous”, on one of our  favorite labels, OXEN, also an LA based imprint. “Temples Of The Unvirtuous” begins with a slow, low, hollow  drone which barely is able to escape the speakers, however this distant  drone steadily becomes a thick, warm, comforting,  whirring sawtooth buzz accented by a steadily rising sine  wave pitch poem, steadily climbing the ladder or  alienation and confusion. This is the style of  synthesizer drone music i have been waiting for,  stripped, raw, warm, an a-tonal  form to atone to.  The bass  forward drone, and the high pitched ring, engrosses the hearing until the  sound is like a shaking, microscopic robotic insect drone which has  entered the brain via the ear canal.  You now have become rather UNcertain of what the future may hold.

The  drone remains omnipresent, now navigating the innards of your  nervous  system with its sweating,  pulsing, reverberations of mechanical hell, yet somehow this hell is soothing and relaxing, like the  warm hum of distant machines that will eventually come to end our life, but for now have  taken respite across the desert, gently vibrating and breathing, not  quite ready to attack yet. The high pitched buzz has gently, yet in a fixed, determined manner become the musical  crescendo and de-crescendo  of the A side, and of course the bass for the B side, but rest assured, no matter how your body takes it’s  new  implanted oscillations, things will be different. Even though this evil sound appears distant it  will slowly, steadily and eventually forcefully remap the sonics of your nervous system until you  are violently, shaking uncontrollably in a pile of confusion and as you collapse onto the floor, the buzzes  cease to exist, and all that’s left is a tiny mechanical bee buzzing  against a dark, barren, abandoned landscape, ominously and microscopicly floating in limbo, waiting for it’s next unknown victim.

You can order the cassette from OXEN Label HERE! 

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