Decaycast REVIEWS : Justin Marc Lloyd “No Gold In the Fortress” c60 (Rainbow Bridge , 2012)

Decaycast REVIEWS : Justin Marc Lloyd “No Gold In the Fortress” c60 (Rainbow Bridge , 2012)

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Justin Mark Lloyd Is a Chicago based purveyor of strange broken sonic devices, custom made circuit bent electronics, clothes, record labels, and more, ie ; the high output, color vomit fest magic man behind Rainbow Bridge Recordings, and about a million other projects. This solo cassette , (on the Rainbow Bridge label) opens up with high-pitched pulsing, scraping, fuzzed out sonic mayhem, sending out liquid sounds of belched circuit bent noise. HIGH levels of distorted sound manglings open up the floodgates to a long tape of minced and mangled electronic wounds. JML blends broken keyboards? , fuzzed out stuttering , throat choked mouth sounds and stunted vocals with manic circuits turning on themselves. All through the mix , this tape never gets too boring or repetitive, always switching sonic gears. cough-like live collage noise walls and pillars pile up and collapse repeatedly, heaps of input signals that create a colorful mix of chopped up vocals sounds, unknown feedback, contact microphone maiming, faders on the mixer slide in a nervous and angry pacing that undulate between the peak of broken keyboards talking to themselves and reversed circuit bent electronic druids regurgitating their copper innards.

About six minutes in on the A side, the cassette really begins to pick up pacing and intensity; invariants of sound as Lloyd pulses the death tone belts from mangled broken electronic blasts isolating the listener in the corner. Lloyd is barking at you yelping, screening through a table full of confusing equipment and objects . that may or may not be plugged into each other. Cut up voice slices and feedback machine gun snipers form pillars of aggressive noise, intensity and then chop shop and cut off each other into a frantic loop. Collage based hell gate triggering of the wall of fuzz begins to thicken and then a fever pitch oscillation rates through modulating the listeners inner ear to telephone communications.

Born from an interpersonal hell, things begin quickly escalating to an uncontrolled sonic cacophony and then suddenly a loop-back feeding back on itself turned to a minimal scrape sound decaying into the  back of the mix.  nd Chaotic  electronic blending walls of psychedelia  are a steady theme to this release and lots of Justin Mark Lloyd’s work that I have heard so far.

Overall a pretty varied and dynamic release, xeroxed art on color paper- which sort of holds up to the work- but not quite. These dynamic sounds could use some dynamic printing as well, but overall, way better than average. Look out for more from
JUSTIN MARC LLOYD &
RAINBOW BRIDGE RECORDINGS

written by : Malo

Decaycast REVIEWS : INAPPROPRIATE KING LIVE “DATABOOMBAAT” c60 (Rainbow Bridge Recordings, 2012)

Decaycast REVIEWS : INAPPROPRIATE KING LIVE “DATABOOMBAAT” c60 (Rainbow Bridge Recordings, 2012)
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Inappropriate King Live is another project of Rainbow Bridge founder Justin Marc Lloyd. This sixty minute cassette with xeroxed art and a slab of paint on the shells subtly boasts IKL etched into the off red paint, starts out with a hybrid melodic cacophony of pleasurable tones which seems to start to decay into a blended swelling swirling rainbow of distorted fuzz transmissions , swiftly shifting from musical “tones” to collage to straight up oscillator tinkering. JML crafts a subtle yet enigmatic blend of electronic sounds though a barrage of tools and weapons of sound at his fingertips; a woman’s voice breaks through the transmission and asked a question?  Then, piercingly high-pitched delayed feedback loops obliterate her intention and the listener is dropped on their head once again ; with a large dark swell of negativity, an endless tunnel of reverberated shaking sound. Aesthetically, IKL takes the kitchen sink approach to electronics with a wide array of sound sources creating harsh, raw, and at times primitive motifs on manipulated and distorted “blown out to the max” sounds, creating a crafty and luscious array of electronic torture. For good dynamic exploration Lloyd uses the occasional throbbing bass beats as a turncoat to break through the chaos and point the listener in a new direction, but the background sounds of failed transmissions never totally vanish . The tape begins to swell up to a crescendo again and almost instantly the listener is deported into a dark techno hell with a throbbing bass be in chirping send the blue blush overtones back to be entitled listener out of noise and onto the dance floor without losing its edge. The beat slowly is muddied and this ship of sonic chaos begins to sink – the beat however is hypnotically throbbing underwater- Tangerine Dream is all of The sudden playing on a micro cassette player being flushed down a european toilet Shimmering synth chords and strikes decay out as the beat drops out for good. A stunning stylistic jump for just one side of this tape.

The second Side is more of the same nomadic structure, or lack thereof , sounds swelling of cacophony , nervousness , and ebbing back to calm “field” recordings that burp a low din , and then crescendo into towering noise blasts, throbbing broken beats, screeching synths, and mangled vocals gelling to the sound that is Justin Mark Lloyd’s Inappropriate King Live project , will be looking forward to more from this interesting glued and screwed outfit.

INAPPROPRIATE KING LIVE

RAINBOW BRIDGE RECORDINGS

Decaycast REVIEWS: NOLDOR : “In Woods of Elfes” CDr (Mandarangan Recordings 2013 )

Decaycast REVIEWS: NOLDOR : “In Woods of Elfes” CDr (Mandarangan Recordings 2013 )

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This is written from not knowing what exactly was being listened to because I couldn’t really read the title and find any information on the band.

This first track I want to play  when I’m in a hot tub so it seems like I’m in the amazon with a burning typewriter. After being let go of the fire crackle and the insects you get trapped in horror film loop that builds and then perhaps you get murdered when it cuts abruptly to the jungle where we hang out with insects for a bit then we hit a calm pasture of slow reverbed hum, angel arpeggio -is this new age ?-or not- kind of fantasy, hall drift, feeling the LSD, kind of thing: and this is where I feel a strong echo of the cover arts influence on my interpretations of the audio emerging from the aesthetic of fantasy video game art emerging from fantasy novel art. Then we move into a highly produced buzzing  lull with a mega canned water bells sound waltzing to a lounge jazz drum i feel like Im in a grainy gray studio with futuristic mirror sunglasses that should have never happened.  By track six we are in a Disney movie rife with western boredom and I wonder when my fucking crumpets will get to the table and when this Game of Thrones episode will stop seeming like a Soap opera.  Everything turns pretty melodramatic and we’re nose deep into a piano sonata with a nice rolling piano riff that is played and recorded very well I can hear each hand, the bass line and high plinking melody in separate channels and the tapping of the foot as a throb that punctuates the rhythm. A violin sweeps through the piano riff climbing and descending and the recording gets cut off mid phrase.  Then we suddenly feel like we are in a BBC history channel documentary listening to casiotone produced rendition of Arabic Hip hop with big claps and shakers. Now we are back in Europe at a candle light romance with strings. Then we hang with some Angels, humming serenity but under a very subtle crackling distortion. Harps, some ohms and ahhs , I would like to hear only the clippy sounds and nicely delayed pinging bleeps and what sounds like a fingers quieting guitar strings being a subtle rhythmic element stray in the bleep loop. But i guess I have no choice but to hear the harp sound and the canned bells and then we just cut to silence and we will call that a wrap.

In some cases the artwork the album came in is a good indication of the content, we have some new age ambience mixed in with some banging history channel midi jams, some well recorded burning tape noise cooked field recordings of some wilderness, highly romantic soap operatic orchestrations that make me feel like Im shopping for jewelry. Probably good for an afternoon glass of wine if you buy dream catchers at gas stations, or if you play more than 3 hours of Dungeons and dragons-esque fantasy video games a day you can listen to this as you take a break and recharge with your energy drink and potato chips.

Then I figured out the whole thing was based on and inspired by Tolkiens middle Earth and The Noldor meaning “Those with Knowledge” a clan of elves in Middle Earth. I couldn’t read what was on the cover .. is it Molden ? Moldon? Noldon oh its Noldor…. So fanatics of Tolkien may find this of interest.  This “In Wood of Elfes” (yes with Elves spelled incorrectly) shows some skill with programing and competence with musical phrasing, classical structures,and recording techniques. It could get interesting if they develop an interest in designing some individualistic sounds, toss in some danger, and learn how to end a composition.

http://www.mandarangan.com/

written by: Verbjieff

Decaycast REVIEWS :Kelly Churko : Transient Compared to Stone CDr (Mandarangan Records, 2012)

Decaycast REVIEWS :Kelly Churko : Transient Compared to Stone CDr (Mandarangan Records, 2012)
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The CD we received in the mail wouldn’t play in the computer.

So I listened to this recording on http://mandarangan.bandcamp.com/album/transient-compared-to-stone.

1.History of Wind

A machine like animal greets us,  gurgling us in its throat while strings are plucked in the tonsils pattering through stereo space something scatters its scales down a hallway slow strobing, something rising stalling waiting lurching along a old haunted train ride in an abandoned park there is a lost child whose mother is long since gone and swallowed by the writhing machine.

The pulse fades and metallic brakes skate in and grind to a halt . A light ahead goes out. By the end of the first track you are sure that somewhere someone is in need of help or at least in need of being woken up from a fever dream thats torturing them.  Long ambient drone-scapes with scraped swells.

2. Keitai Casualty

Someone starts attacking you with a vacuum hose in the ear, throbbing demon grips  with convulsing rhythm and highly resonate screeching. Pummeling ear drum cleaning.  An elephant trapped in a rubber balloon is chained to the bottom of a swimming pool. Spaces slide out from stereo space, pulses mix and new interwoven rhythms emerge.  Digital bomb decays to blast a hole in silence. Full stop.

3. Outside Context Problem

A zippy stomp bounce crunches through razor sharp layers and fat pulpy chunks cut to stomp roll then we climb a cloud of impenetrable cicada whirs but find ourselves breaking through some barrier and slamming into a bouncy tom and snare roll rhythm. then abruptly thrust into high pitched ear scrubbing. Eye bulging blast. then spit into blast scape of maniacal power surges and almost train horn rhodes drones lain under blistering ear cooking. My ears are cooked. Raw. Exit on ping pong chirping .

4.Palette Fatigue

Giant pillar of Church drone is cooking under the breath of some lawnmower man squeegeed grimace rumbles.  The Church organ is tumbling through space wrestling with Noise sheets that give birth to a quiet plucking melody that then gets swallowed by a 6000 foot tall Tsunami wave scorch your braincells, but have no fear the Church organ is here to save you wrapped in noise stain.

5. I Cant drive

We are tumbling down a hill and see some godlike sparkling tone and then tumble out into a different plucking chirping space sounding like the batteries are dying in the space ship then a chugging sludge metal noise throb emerges with something sounding like tape warp manipulations fast forwarding to noise blast then insect night, a roaring motorcycle, back to the dirge slum chug accented by a high ringing percussion. A ping ponging doodle and spongey mumbling gives way to a pipe bomb in a toilet.

6.Flattening deceleration

A slow tone creeps in overhead and some soft shortwave-like radio fuzz undulates with the slow stereo wafting tones rising in frequency I see the ultra violet light and the flat long open space of a parking garage : A lower distorted throb begins to rise into the mix, I imagine the parking garage strobing and evacuated cars and silently screaming people flickering in and out of the evacuated garage. A bilging microphone ruffle bump sound makes me feel like Im trapped in someones pocket in the machine room of ship accelerating to light speed.  A digital feed back flutters and tenses all the neurons in my skull giving way SLOWLY to softened white noise when a big dirty synth churns and bubble through, we emerge in a slow whistling scream  traveling through the VLF spectrum—this is what it must sound like to be attached to a NASA Rocket brought up to the pinnacle of the Ionosphere and then dropped falling back to earth and being sucked into a ride through slowed down shortwave surfing. At 21:12 this track is definitely for an altered time scale. A meditation piece that crawls into the smallest places of your brain.

This Disc is for  those interested in Harsh Noise, rhythmic throbbing raw synthesizer blisters and intensely crafted sheets of scathing sculpted white noise mosaics. The first half of this disc is a well paced journey through finely edited varied noise throb spaces that happen just long enough before changing to hold your attention on well sculpted noise drifts pulses and attacks. The second half is the opposite: a slow melt through the frequency spectrum giving the disc a good balance. Coming in at over 40 minutes this is a pretty demanding onslaught of a listen but it rewards with lavishly sculpted blasts and psychologically haunting and psychotic spaces.

http://mandarangan.bandcamp.com/album/transient-compared-to-stone.

written by: Verbjieff

DecaycastREVIEWS : Alessandro Bosetti “Stand Up Comedy ” LP (Weird Ear Records, 2012)

DecaycastREVIEWS : Alessandro
Bosetti “Stand Up Comedy ” LP (Weird Ear Records, 2012)

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Alessandro Bosetti is a self reflexive spoken word/conceptual/voice collage artist who offers up a unique release for the newly formed Weird Ear imprint, from Oakland,CA. This LP breaks interesting new ground with it’s playful, conceptual nature using mostly recorded voice, and collage. Bosetti works with gentle subtle textures in the background which bubble to foreground paint by numbers style follow along voice collages. DROP the needle and listen as the words circulate in a nauseous pattern of field recordings, ” interviews”, subtle tape manipulation artifacts, and self-reflexing tape cut ups for “talk radio like ” framework around cut up,conceptual based voice pieces. Sometimes playing like an interview with himself , other times a playful Dadaist / surrealist / Burroughs esque game Like approach is used; where Bossetti seems to cut himself in and out of different conversations, interviews, monologues and the like. “Stand Up Comedy”
References early “cut up method pieces” while still injecting compositional choices and subtle manipulations which break itself from the chains of “randomness” , yet “confusion” and “playfulness” seem to multiply a central theme ; intention becomes muddy as parts seem like happy accidents, where others seem cut and spliced with surgical knife like precision. Stand Up
Comedy is just a spoken word “work” but it’s not – it’s self referential and obvious with it’s cuts and pastes yet background sounds and minimalist “composed sections” bleed through and are given life through the sea of broken chatter ; the sound of the human voice- sometimes interesting, often “creepy” and almost always “idiosyncratic”. in it’s editing approach, which Bosetti makes no effort to hide through amplitude, fidelity and tonal differences between separate recordings, gives it an overall ebb and flow of abstraction of place and time; there is NO STUDIO, Bosetti leaks a conceptual gem, once the listener begins to LOOK and LISTEN at the same time.

And more about the record, the object,
For me the GLUE of this release Weird Ear Records really went for gold straight out of the gate on this album- top notch production from mastering, to design, to Concept, to the final
Presentation – a RARITY These days – especially from
a brand spanking new label. WER001 “Stand Up
Comedy” presents itself in the form a stunning picture disc (WITH MEANING ) the words of the recording are printed on the record- spiraling from the beginning inward – and GET THIS – they actually nearly almost always match up to what’s being played/said on the record at any given time- the needle reads a word ; LITERALLY —- WHAT???!?!? Y E S – a “dictation record” . Once I realized the link between the sound and the image , the concept sort of blew my mind.; A record bleeding self referentiality to the sound that the ear is sucking on – oh, what a joy. Often times the text is interesting, often times it seems “random” bit it never loses it’s form, pacing and style. “Spoken word” is not really my thing, but than again this isn’t really “spoken word”
TOP NOTCH RELEASE – will be looking out for more from
BOSSETTI and WEIRD EAR RECORDS
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Decaycast REVIEWS : FILTH “The Witches’ Pharmacopoeia ” cs (Maniacal Hatred,2012 )

Decaycast REVIEWS : FILTH “The Witches’ Pharmacopoeia ” cs (Maniacal Hatred,2012 )

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FILTH is the solo project of Rob B, label master of OUT OF BODY RECORDS, and many musical projects including this jammer. The FILTH cassette starts out with a low modulating analog death Synth pulse; The distant cry of a finicky decaying obsolete machine. High pitched oscillators come in and out of phase chopping the synth to bits and restructuring itself upon its down decay. FILTH is FILTH; distorted, overblown analog electronic pulsewaves, militant beats spring up, punch, slice and fade into the background. The liner notes state no overdubs, and the recording definitely has a live, raw feel without sacrificing creativity or fidelity- true analog grit electronic, about halfway through the first side the tempo picks up and higher pitched choked growls emerge from the cacophonous mix, taking the lead and then succumbing to more synth square wave Druid hum stabs of a war drum. FILTH mixes dark industrial, synth and even power electronic aesthetics in this nasty little number.

The B side opens up with a crawling ascending tone and a beat drops STRAIGHT INTO HELL. The second side offers similar tones, pulses, and dark oscillations of blended, raw industrial chaos; all
whilst retaining an overall dynamic tension and intensity which raises this album to above average without a doubt for the style. Blending beat heavy sections with delayed vocal howels and walls of controlled feedback, FILTH creates balanced and intense sounds, with an ear for composition within the chaotic sound. This recording live to tape l yet doesn’t appear improvised in any way , tight, concise and thought out dark electronic mayhem, check out the project and the label MANIACAL HATRED,

written by: malo

DecaycastREVIEWS: +DOG+ “The Family Music Book, Volume 1 (Love Earth Music, 2013)

DecaycastREVIEWS: +DOG+ “The Family Music Book, Volume 1 (Love Earth Music, 2013)

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The Family Music Book , Volume 1, the latest offering of a
Live album by the longstanding harsh noise project +DOG+ headed by southern california’s Steve Davis and aided and abated by an almost endless list of Collaborators who have joined the ranks of +DOG+. The first track is a live recording of a show I was actually at from The Lab, in San francisco, CA, which was pleasing to see. +DOG+ rips roaring mechanical robots of destruction harsh noise – in the purest form
– the fidelity of this recording is good, but it doesn’t quite do the live performance justice; to no fault of +DOG+ obviously, they are just a really intense live act, and the visceral intensity of the set in the flesh was near impossible to capture in any format- a ultra subjective digression for sure, but see these guys LIVE is the point! This album functions as A compilation of live sets up and down the coast demonstrating a wide array or +DOG+ sonic amalgamation pf aesthetics and cast members- including, but not limited to, broken blasts, pummeling industrial materials, piezo feedback noise, wall, and at times. Power electronics with manic and thwarting screamed, over -modulated vocal hymns, belching shaking synth slams, radio static scanning, unknown samples to boot and churning walls of ???feedback which blend the storm of chaos that is +DOG+ together.

Live “noise” albums can be a tricky thing, like any live album actually, but somehow +DOG+ pulls it off with this one – the variance in sounds, duration, and recording quality give a nice mix of what +DOG+ is capable of at any given performance, based on the mood, concept, and personnel of the event. Often blazing with screeching oscillating interpolating distortion and caucophanous rage, and sometimes just the static of an AM radio bleeds through, but no matter what happens the listener is caught with surprise and the emotional, political and poetic fury that is +DOG+. Look for this CD directly from the label,
LOVE EARTH MUSIC a longstanding label which does it right, support this label.

written by: Malo

DecaycastREVIEWS: COLLAPSED ARC “Tension And Tenure” (ASR, 2013)

20130423-134745.jpgCollapsed Arc is another one of the many projects of Cleveland multitalent David Russell Snake. This tour only tape exemplifies the artists highly crafted noise loops, made from
Hand persuasion, feedback, white noise plasma and undulating modulations fuzz. At times sounding like industrialized hip hop instrumentals (especially the first minute which jumps out of the gate with a sinister distorted head nod) and then going into subtly modulated feedback loops of noise and microphone / piezo feedback- high frequency inner ear trauma for the stunted listener. Beautiful walls of distorted mini wind instruments rip a skin mask from your worried face and wrap it around and around until it squeezes new frequency out of dense breath. Often mechanical
Sounding and often organic- Thw noise loops on this cassette are constantly shifting in their origin and purpose but never stray conceptually or sonically away from an acutely precise presentation and structure. The peaking high frequency squeaking chaos crescendos do an almost fever pitch and then a beat drops in- even if just a bass hit – and the entire orientation is restructured. these have a raw but rehearsed feel, NOT overworked, yet at the same time, not half assed by any stretch, the pitch, duration, timbre, sequencing and overall structure all ebb and flow with an apparent natural effortlessness.

The second half of the A side brings in more minimal
Breakdowns that escalate into controlled noise/beat/loop chaotic conundrums.

The second side offers more of the same fine crafted dense persuasive percussive tight loops- blending drum sounds, percussive elements and sharply carved noise and feedback blasts, ebbing and swelling yet always maintaining a dynamic intensity and consciousness.
The sound sources are seemingly unknown- I thought I hear voices? But it might be not so – modulated reeds, winds, oscillators, crunched hand percussion and oscillators modulate through organized sonic storms of chopped rhythms- Collapsed Arc work has always been loop based, but these take the project to a new level, skillfully and carefully composed and executed warbling tones of hell-
Beautiful artwork as always from
The A Sound Design Recordings inprint. COLLAPSED ARC makes a RARE bay area appearance this Thursday, April 25th @ Life Changing ministries in oakland, CA . this is also the release party for the cassette and can only be obtained at the show – so DON’T MISS OUT.

RATSKIN EXPLASTICAL #32
COLLAPSED ARC (Hanson / ASR / Ratskin )

/DILATEDEARS (Ratskin /Placenta)

“RUST WORSHIP (Obsolete Units)

HAHA LA (sound/performance art)

Coagulator & Head-boggle DJ

8:30 pm $5
Life Changing ministries
8th st @ Peralta
Lower bottoms, west Oakland

Photobucket Pictures, Images and Photos

DecaycastREVIEWS : FORREST FRIENDS “40 Winks Of Dyre” cs (Cryptic Carousel , 2013)

DecaycastREVIEWS : FORREST FRIENDS “40 Winks Of Dyre” cs (Cryptic Carousel , 2013)

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Forrest Friends crafts together fever dream psychedelia “toy” noise/musique concrete through various instruments which of many can e categorized as broken toys / circuit bent kids amusement items and the like. Forrest Friends might be the sound of Dragging a toy piano through the dirt with a honkey tonk drumset attached to the tail with a bass string. The mood of this cassette is both over and under the eyes of the listener. BRIGHT symbols shutter dark sounds, low fi off kilter guitar strums, choppy and sparse percussive rhythms are made with the appropriated entropy of dying electronic circuits. This tape claws at the ear slowl, losing TE listener in a jungle of low fidelity haze and then grabbing consciousness and pulling the listener back into a different beach of sound. A rope hangs another fuzzed out string pluck – springs another sound decaying reverb of ESP powers coming to life in a blown capacitor!

The sounds of this tape bounce off of similar species – – this state park issued sludge that weeps and squeaks through horns, guitars, keyboards, synthesizers gently walking and peeking in a shuddering tone for ones friends. A box of broken toys are jarring on each other feedback pulsing to another ping from one pang to the next guitar string zing- chumps a broken cymbal hit Forrest Friends is an amalgamation of psychedelic rock throwing up on itself into dense rain forrests of prickling picking broken guitars. Distant squeals undulate each other via circuit bent items from the trash given new life through an orchestration of chaotic pains in a keyboard turning into a jelly doughnut of burping oscillations captured live. Pink Floyd being flushed down the toilet in the wrong direction recorded on a CB radio from 1940 is a good starting point for this tape. If you want the highest fidelity junky tickerings this tape might not be you, but if textured low fi slow churning chaotic tinkering with the dead stuff in aisle 3 of Toys R us is your thing, so is this tape. Nice artwork and foldout special
Cut insert with sexy green shells! Catch them LIVE in Oakland, CA at LCM Thursday, March 28th as part of the Ratskin Explastical series. Here’s the poster …

cubeflyer

http://crypticcarousel.com/forrestfriends.html

Decaycast REVIEWS : A WHITE HUNTER “Singles Tape #1)

ImageDecaycast REVIEWS : A WHITE HUNTER “Singles Tape #1)

 

A White Hunter is a bay area based math rock / noise / free jazz / inprov / information overload wrapped tight in a stretched mechanical like percussive skin . The tape begins with subtle plucking and clucking of guitars and rimshots – subtle decay traila in the backgrouns visualize almost by chance mouth  sounds,  rattling percussion,  dropped guitars  

, a quiet ring  intro gives birth to a clicking, pulsing cracked  metronome of chaos.  instant plunge into middle range guitar confusion oscillators and drums that sound like they shift between analog and programmed.  A White Hunter crafts  an interesting and unique mix noisy obliteration of inverted power cord arpeggiated manuscripts of sort of free  heap mathish rock and noise . The B side begins with a more positive sounding guitar melody humming strumming lacking walls of echoed out vocals plan with guitars to bring forth spasmodic cacophonous strumming sleeping in through the background blown out fuzzed out walls of reverb give birth  to a maddening percussive onslaught of paranoia. At times somewhat resembling  like a spacemen three  outtakes demo played backwards through distortion pedal and then you turn the CD off it give burst to subtle cassette fidelity  riff environment. percussion pushing and pulling with guitars voice in Both harmony and  opposition to create a subtle yet confusing mix of math rock oriented noise blasts, arpeggiated guitars playing inside and outside of each other at the same time.  a white hunter crafts pseudo-improv next of Hard happy sounding rock songs being flushed down the toilet in the wrong ? Direction.  blast beats give birth  the recording fidelity does the band justice,  but not too much justice, as overproduced math math rock is like bad bowel movement waiting to exit and give birth to natural sounds and reverberations the production on this album  is perfect;  just enough clarity to leave you wondering what the hell is going on but not so distorted that you can’t make out instruments. This cassette  intends in the confusion and disorientation of the listener and the players also . The percussion really leads the recording forward playing off arpeggiated guitars which bleed and wellp  more percussion that blown out calms and rattling symbols gel together ; a white hunter seamlessly shifts between math/noise rock belting out walls of distortion and slipping back into near operatic light cord swell for a stripped-down lineup and simple recording techniques this tape is above average for the style definitely needs to be seen live to get the full effect
 
 
Written by : Malo