DECAYCAST Reviews : SKY “Lullabies” CS (Pop Nihil, 2019)

DECAYCAST Reviews : SKY “Lullabies” CS (Pop Nihil, 2019)

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Hauntingly lonely, booming caverns seem to be the backdrop for SKY’s “Lullabies”  cassette EP on the refreshingly diverse Pop Nihil imprint. First off, the  stark design caught my eye, and I enjoy the minimalist design theme that runs across of these releases, it really helps to gel them together in a special and unified way. The voice, synth, and drums all blend perfectly on this EP, creating a morose, and lush cloud for the  uncertain change of the future to be birthed upon. Cavernous reverb on the drums, and strings (synths?) cast a hollow but intentioned place for the voice to dance upon into the night.  Favorite track of the A side is “ILIKELIES” though, they all really present a focused and uniformed sound. Like the  voice and  rhythm section of early Cocteau Twins, mixed with the delicacy and nuance of contemporary avant -garde  megastars like FKA Twigs nodding to the softer side of Witchhouse.  popnihilSKY paints a blissful portrait of an unknown place where the next step is to be taken, the  only thing that’s certain in uncertainty.  The B side is a little  more  driving with a ear forward bass and  drum rhythm that escalates the pacing and tension from the soft and intricate spells cast by the first side. Closer to tara Cross or a chopped and  screwed TuxedoMoon the big percussion and thudding bass create a nice, angular tension for the voice and delicate droning synths to skate off lightly but boldly into the distance, a truly beautiful and nuanced listen.

 

DECAYCAST Reviews : GLUE “II” Cassette (Zazen Tapes, 2019)

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Another anonymous submission goes under the gun. This is pretty straight forward guitar noise/ harsh noise from GLUE  titled “II”. Lo Fi scraping and a  distressed engine revs over and over grinding the outer ear off with a feedback-induced haze, spiraling headache of a toxic grin, GLUE does exactly that, seals the ear canal as we run for cover from the sharp, cascading blasts of grumbling noise.

The B side is a gust of wind, slowly encapsulating the listener, like a boat  ripping through the beachfront, mauling unsuspecting tourists through VHS style fodder. This is a tour of low-style crunchy, ripping noises, nothing totally spectacular, but a  solid first release for the label ZAZEN Tapes and  A+  for alienation with the  ringing, piercing wind/ cloud cascade,. Fun sonic ride.

DECAYCAST #037 GUEST MIX – qualchan “A Mix For Inspiration II”

DECAYCAST #037 GUEST MIX – qualchan “A Mix For Inspiration II” “when i found out i was making a mix for Decaycast , i was pleased as punch & was moved to make a second volume of inspiration. meant to be played through headphones while wandering aimlessly around your neighborhood at three am.” – qualchan

photo for mix

1. roc marciano ~ select few
2. medslaus ~ cold 2
3. quelle chris ~ wild minks (feat mach-hommy)
4. medhane ~ stranger (feat navy blue)
5. earl sweatshirt ~ mtomb
6. ade hakim ~ along the hudson
7. koncept jack$on ~ murder call$
8. mike ~ butter fingers
9. wiki ~ 4 clove club
10. sauce walka ~ new sauce city
11. rago foot & king carter ~ 10 toes
12. akai solo x pink siifu ~ galaxy eyes
13. fly anakin x big kahuna og ~ quarters
14. sixpress ~ checkyrself/drowning (feat mike)
15. maxo ~ no love
16. the god fahim x mach-hommy ~ foto synth
17. mavi ~ sense
18. caleb giles ~ gather
19. jazz jodi ~ fifty
20. dj muggs x mach-hommy ~ stain glass
21. pink siifu ~ outlet (feat mike)
22. yuk. ~ tortay & friends
23. slauson malone ~ two thousand eighteen, bye

qualchan. is a multi-disciplinary artist residing deep in the heart of cascadia. he describes his work as a reimagining of americana filtered through the tropes of new age, focusing primarily on living through the anthropocene. he calls this wave now age, & is the only member of this school.

https://hangontoyrego.bandcamp.com/

Side note, Decaycast has  previously reviewed one of qualchan’s newest works “goodbye to all that” on Houdini Mansions, and you can read about it here 

DECAYCAST Premieres: Post-Industrial Darkwave duo V.E.X. Shares New Video “Dancing At The End Of Time”

DECAYCAST Premieres: Post-Industrial Darkwave duo V.E.X. Shares New Video “Dancing At The End Of Time”
0006663860_10Bay area artists Roxy and LuLu, as V.E.X., (and a myrid of other projects) have been playing music and creating art together for years on end in the bay area and beyond, yet somehow always bring something refreshingly new and politically necessary to the table, and their latest single, supported with a brand new video here “Dancing At The End Of Time” is certainly no exception.
From the artists;  “Dancing At The End Of Time” is a low-fi synth ballad of remembrance and resistance in a dying world, the true story of two femme freaks gentrified out of the city but not out of their souls, holding onto their love in spite of all the hate, dedicated to crafting underground subculture music for outcasts, the forgotten, and those fighting back in this genocidal abusive white supremacist capitalism patriarchy death spiral.
“Dancing At The End Of Time” offers a celebratory, yet real and  visceral look at two femmes resisting the violent forces of oppression and gentrification through the streets of a forgotten and endlessly morphed San Francisco.  “Dancing…” gels haunted vocals and murky, analog synth arpreggiations, creating both a serene and haunting vibe which encapsulates the listener into a tale from the past.  Watch the  video below and read some words on the track and video from V.E.X. below. The track is from an upcoming split with Moira Scar.
“Roxy and LuLu have been playing music together since 2001, as The Floating Corpses, Angel On The Nod And The Phantasy Defylement, Terrran Traumantics, Moira Scar, and V.E.X. being the most recent incarnation. V.E.X. (Vortex Empath Xen, formerly Voltage Empath Xanaxax, Ventriloquest Ectoplasmold Xanaxax) is Lu Lu “Lucifer” Gamma Ray and Roxzan “Roxy Monoxide” Zatan as industrial-dark-wave synth-punk surreal-doom noise-romance duo. V.E.X. creates, V.E.X. records, V.E.X. plays shows.”

Check their bandcamp below and make sure to check for select tour dates and an upcoming split with Moira Scar.
https://xanaxax.bandcamp.com

 

DECAYCAST Reviews: “Layers” by BÜCKLE / VOGT (Editions Furioso, 2019)

DECAYCAST Reviews: “Layers” by BÜCKLE / VOGT (Editions Furioso, 2019)

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From French label  Editions Furioso comes a debut mixed electronics EP from BÜCKLE / VOGT, blending lush, morose vocal melodies, shifting, fluttering beats. “Layers” is nostalgic and new at the same time, without compromising it’s sonic palette or compositional strategy. Swift, shuffled percussion skates underneath a swath of warm sine wave tone poems, while a voice will  ascend  into the mix akin to a barrem , shivering, wind  tunnel across your back and up your neck,  in a stark contrast to the warm, humming harmonic synthesizers and strings which uniquely gel into undulating, shifting loops of  ambient, sonic bliss, without losing the rhythm or  pacing of the track overall.

 

On  “Layers” the swing of the drums and slowly escalating synth pads create a lush, but dark forest of  fuzzy confusion, alienation, and sadness, all while not falling into any of the tropes those could represent.  BÜCKLE / VOGT offers a fresh take on mixed style electronica, refreshing, honest, and nuanced in a universally appealing way. Can’t wait to dive into the whole EP and will without a doubt be searching out future releases from the artist.

LISTEN / BUY The  Entire Album Here

– Meniere Zappone

 

 

DECAYCAST Reviews : HAPPINESS FOREVER “Primitive Dimension” Cassette (Mondo Anthem!, 2018)

DECAYCAST Reviews : HAPPINESS FOREVER “Primitive Dimension” Cassette (Mondo Anthem!, 2018)

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Another short but powerful offering from the PACNW’s Happiness Forever, titled “Primitive Dimension”, which is  aptly titled for this minimal but powerful sonic offering, A dark pulsing arpeggiated square wave  synth opens the track, slowly and effortlessly edging the listener to the edge of the cliff out of the gate.  Hard  stereo panning madness ala Phedora era Tangerine Dream when the tech left too many fuzz pedals in the chain in the best way. Lower pitched synths slowly undulate as the panoramic view widens and we are left  confronting out demons.  Pulses slowly phase and undulate across the spectrum of rhythmic militancy, shifting ever  so slightly to create a psychedelic fuzz of confusion. Long  drawn out bell-like sounds breathe in the background creating tension and thickening up the form to a dense, stew of synthesizer sludge.

 

Perfectly timed, the A side gives breath to a more subtle and sparse (but  equally dark and unsettling) B side which begins with murky, basement synthesizer swells, ringing inside the cochlear with beautiful collapsing sine waves, radiant, insect-like buzzing sounds, throttled tones of a  disharmonious and gray sunset. Happiness Forever creates peaceful yet slightly unsettling and  dissonant tone poems for  fans of  drone, ambient and synthesizer music. All the individual synth  voices sprout equal trees within a sonic forest of psychedelic electronic explorations.

DECAYCAST Reviews: CONCRÎT “Far” (2018)

DECAYCAST Reviews: CONCRÎT “Far” (2018)

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Madrid, Spain outfit CONCRÎT blends decayed out ambient textures with atmospheric howls, delicate, haunting, creaks and bends in sound and tension, mixed with dark industrialized rhythms, and heavy field recordings ranging from disaster to psychoactive terror/tragedy.  CONCRÎT takes the raw field recordings at a great value, using the voice as a sort of lead guitar over the top of the dark, churning, mechanized rhythms of catastrophic failure with  dissonant rhythms. “That’s the way freedom is and we wouldn’t change it for a minute”. The music could be higher in the mix, though it does afflix the listener’s brain on the tension and caustic nature of these events blended with such mechanized, alienating sounds, though at times the voice does become so dominating we almost forget we are listening to “experimental music” though it’s not for the worst effect.  The ambient sections prove to be some of the stronger work on “Far” though the whole album holds it’s  weight in dissonance, and minimalist looping  rhythms. Closing with “0000” an unknown field recording of  chatter and a detuned, decaying piano rhythm slowly spins the listener into the end of this dark and morose sonic offering.


“FAR is the first EP of the dark ambient/industrial act CONCRÎT, based in Madrid, Spain.
The EP moves between soft programming and noisy mechanical rhythm mixed with historical speeches and ambient sounds, FAR is inspired by the human need to reach further and the consequences of exploration and conquer, the hope and the horror; Inspired by the voices of Amelia Earhart, Ernest Shackleton, Neil Armstrong, and the accident of the shuttle challenger and the attack to Hiroshima, with American presidents Reagan and Eisenhower’s speeches. The last piano piece is inspired by airports as non-places, where even travellers on their pursuit to the most remote destinations remain anonymous.”

 

 

DECAYCAST “Deathquestions” AKA An Interview with Anti-Fascist Metal Group NECKBEARD DEATHCAMP

DECAYCAST Interviews: “DEATHQUESTIONS” AKA An Interview with Anti-Fascist Black Metal Group NECKBEARD DEATHCAMP

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Black Metal, as many forms of extreme music has often taken an ambiguous stance when it comes to politics, if not outright fascist stances exemplified through the racist ideologies darkly and morbidly cloaking bands and labels who define (or disguise) themselves within NSBM or National Socialist Black Metal. Do these same types of ideologies exist in other scenes without us even knowing? The answer is an obvious yes, however due to metal’s historically unrelenting use of extreme imagery and themes celebrating death, mutilation, war, lynchings, white supremacy,  terror/terrorism etc, usually in the most fetishistic way possible, many times  devoid of  any inherent critique  for said content, it beginss the question, is there more overt racism in extreme metal than other genres? Probably not, however it often seems this way due to the outspoken and upfront nature of the rise of “edgelords” in extreme music (see: white supremacists) . In an age where the “leader of the free world” aka some grease encrusted orange, sniveling worm, criminal  uses racist policies and language, othering and institutionalized racist and sexist tactics to “drive the nation” and “Make America Great Again” and magnify hate, racism, and xenophobia around the globe, many extreme music fans are often left wondering where the artists and musicians they support stand politically within a constantly emboldened right and a flaccid left, well extreme black metal band NECKBEARD DEATHCAMP doesn’t sit on the fence. In fact they burn the fence down and stuff it’s simmering embers down the throat of racism, transphobia and many forms of oppression and hatred within the metal scene with their debut album, “White nationalism Is For Basement Dwelling Losers” that took the internet by storm  They were kind enough to grace us with an interview to deep dive into the ethos of ND. Also buy their record here and go see them at the esteemed Maryland Death Fest  this year whose need for an antifascist presence has been long overdue!

 

Dr. Decaycast: Thank you for uniting with DECAYCAST to talk about how racists are trash humans, wait maybe I jumped the gun, .Can you describe the philosophy and ethos of NECKBEARD DEATHCAMP for those who might not be aware

KH:  NECKBEARD DEATHCAMP IS A MILITANT REPLY TO THE FASCIST SEIGE OV HEAVY METAL ENABLED BY CURRENT POLITICAL TIMES. WE ARE AN ANARCHIST WAR BRIGADE ASSIGNED TO THE MANUAL EXTERMINATION OV THE RACIST BEDROOM KEYBOARD WARRIORS AND OUR DIRECTION IS SINGULAR AND UNSTOPPABLE. OUR PHILOSOPHY IS ONE OV ABSOLUTE HATRED AND CRUELTY FOR THEIR DISGUSTING WAY OV LIFE AND OUR OATH IS TO ABSOLUTE INTOLERANCE OV THEIR CHILDLIKE ANSWERS TO THE HARD QUESTIONS. THANK YOU FOR HAVING US. HAIL BLACK METAL. HAIL VICTORY.

HK: OUR GOAL IS THE COMPLETE ERADICATION OV  NATIONAL SOCIALISM

DD: Why is it important or isn’t it important for bands to be political?

KH: AS A BAND YOU’RE ALLOWED TO MAKE MUSIC ABOUT WHATEVER YOU WANT. I’M NOT IN THE BUSINESS OF TELLING ANYONE HOW TO MAKE THEIR OWN ART. BUT I THINK MUCH OV THE CONVERSATION WE HAVE IN BLACK METAL IS ABOUT HOW ASSHOLES TRY TO ESCAPE THEIR OWN AGENCY IN THE ART THAT THEY MAKE WHENEVER CONVIENIENT.

AND THAT IS SOME SHIT BY WHICH WE SHALL NOT ABIDE. DOUBLY SO IF YOU WANT TO PRETEND YOUR BAND ST8RMKR8EG SS IS AN “APOLITICAL” BLACK METAL PROJECT. YOU FUCKING DORKS.

CONVERSELY I THINK THE WARRIORS OV THE WORLD MAKING PROTEST MUSIC. AND ESPECIALLY HEAVY PROTEST MUSIC IN TIMES LIKE THESE ARE HUGELY IMPORTANT. AND THEIR VOICES SHOULD BE HELD HIGH AND HEARD LOUD.

YOU HAVE A LOT OV AGENCY IN YOUR ART. AND WHAT YOU MAKE WILL NEVER ESCAPE WHO YOU ARE. NO MATTER HOW HARD YOU TRY. SO TRY TOMORROW TO BE LESS OV A DICKWEED THAN YOU WERE TODAY IF YOU’D LIKE TO SHARE THE COMPANY OV ANYONE OTHER THAN MISERABLE UNAPOLOGETIC DICKWEEDS.

HK: I DON’T THINK IT IS NECESSARILY IMPORTANT FOR BANDS TO BE POLITICAL; THIS IS BECAUSE MUSIC IS AN ART FORM, AND SOME OF THE EMOTIONS EXPRESSED THROUGH MUSIC ARE APOLITICAL. WITH THAT SAID, IF A BAND HAS ANY STRONG POLITICAL LEANING OR BELIEF, BY ALL MEANS EMBRACE IT. SOMETHING I HAVE DONE PERSONALLY, IS TO HAVE SOME OF MY MUSICAL PROJECTS TAKE A POLITICAL STANCE, WHILE OTHERS REMAIN APOLITICAL. THIS PREVENTS THE MUSICAL DIRECTION FROM GETTING CLOUDED WITH TOO MUCH CONTENT, WHILE STILL GIVING AN OUTLET FOR POLITICAL VIEWS.

DD:Do you think the black metal scene harbors a disproportionate amount of fascists, racists, and homophobes/transphobes and just ignorance in general, as compared to other genres, or are these notorious NSBM bands just more becoming with their beliefs,  because of artists like Varg, GAAHL, and others alike perpetuating these beliefs through their music and writings?

KH: 
NO. I THINK BY VOLUME MOST RACISTS (AND CERTAINLY MOST RAPISTS) LISTEN TO DANCE MUSIC AND DO THAT THING WHERE THEY WEAR BOAT SHOES AND CHUBBIES SHORTS IN GROUP PHOTOS. HOWEVER HEAVY METAL HAS ALWAYS ATTRACTED THE EDGIEST PERSONALITIES. AND WHERE THOSE GUYS WILL SAY SHIT LIKE “I’M JUST FISCALLY CONSERVATIVE” AS CODE FOR “I DON’T REALLY CARE HOW SYSTEMIC RACISM HAS EFFECTED THE BLACK COMMUNITY”. OUR ASSHOLES JUST PUT A FUCKING SWASTIKA ON THE ALBUM COVER AND WILL CALL YOU SLURS OPENLY. IT MAKES THEM EASIER TO POINT OUT AND TALK ABOUT. LOUIS CACHET CERTAINLY PLAYS A HUGE HAND IN THIS PHILOSOPHY OV MOST OV THE DUMMIES HERE IN HEAVY METAL, BUT MOST OV THEM ARRIVED STUPID AND EDGY WITHOUT HIS HELP.

HK: INARGUABLY, YES. JUST SURF THROUGH SOME BM BANDS ON METAL ARCHIVES AND THAT WILL TELL YOU EVERYTHING YOU NEED TO KNOW.

DD: Who would be three bands or humans you could eradicate from the music scene altogether,  and why and never bat a lash?

KH:  FAMINE OV PESTE NOIRE HAS TO GO. AS PER OUR CONTRACT WITH PROSTHETIC WE ARE REQUIRED TO PRODUCE THREE RECORDS OVER THE COURSE OV THREE YEARS. FAMINE IS ACTUALLY SO EFFECTIVE AT MAKING A MOCKERY OV BLACK METAL HE MAY ACTUALLY BURN THE GENRE DOWN BEFORE THAT TIME. THAT GUY CAN SUCK MY ARISTO-ASSE.

NYOGOTHABLITS. THOUGH OUR FRIENDS STILL SEND EACH OTHER HUGE WALLS OV TEXT ABOUT SILLY THINGS TITLED “TRANSMISSION 616: DECLASSIFIED” ONLY IT’S ABOUT WHOEVER ATE THE LAST TOASTER STRUDEL, OR WHOSE CAR HAS ALL OV US BLOCKED IN THE DRIVEWAY. I’M MAD THAT THOSE GUYS EXPECTED US TO READ THAT MOUNTAIN OV SHIT BRANDED AS A PUBLIC STATEMENT AFTER THE HELLVETRON SHOW GOT SHUT DOWN.  THERE ARE PLENTY OV OTHER DUMMIES IN FASCIST BLACK METAL DOING MORE HEINOUS SHIT THAN THESE GUYS BUT ALL THOSE DUDES DON’T USE THE PHRASE “APOLITICAL NEO-FASCISM” UNIRONICALLY.

I’D ALSO SEND DER STURMER HOME. I DON’T HAVE A PUNCH LINE FOR THESE GUYS, THEY’RE JUST BAD AND I FIND THE DISCUSSION SURROUNDING THEM REALLY BORING. SOME OV THE OTHER NAZI TURDS ARE AT LEAST MARGINALLY SELF AWARE OR INTERESTING TO SHIT ON. BUT LIKE PEOPLE CAN TALK SHIT ABOUT US ALL DAY FOR HAVING NO RIFFS YET UNIRONICALLY GAS THESE GUYS. WHO ARE LIKE UNFLAVORED OATMEAL SERVED WITH A MAYONNAISE SANDWICH ON WHITE BREAD WITH A NICE GLASS OV WATER.

HK: ANTICHRIST KRAMER, LAURI PENTTILA, DER STURMER

DD:  In a time where many systems like white supremacy and the justice system have rendered political neutrality in ones daily life dangerous and impossible, do you think/hope by taking such a strong stance against white supremacy, you hope to nudge younger bands and artists to create passionate anti- fascist music and art? 

KH:  FUCK YEAH. IT’S ALREADY BEGUN. THE AMOUNT OV PROJECTS CROPPING UP WHO ARE ALREADY PLAYING BETTER THAN US, TELLING THE PUNCH LINE BETTER THAN US, AND THROWING HEAVIER PUNCHES THAN US IS GREAT. MORE PEOPLE SHOULD DO IT. WHEN THE FIRES OV FASCISM ARE DISTANT AND EXTINGUISHED. WE CAN MAKE ART AND MUSIC AND JOKES ABOUT THE NEXT ISSUE. WE’RE FAR FROM THE FIRST. AND WE WON’T BE THE LAST. MORE.

FOR WHAT IT’S WORTH. MY ACTUAL POLITICAL INTEREST AND BEST TALKING POINTS ARE ON HOW MONSANTO AND OTHER MAJOR FOOD CONGLOMERATES HAVE BECOME A CORPORATE OLIGARCHY AND PAVED THE WAY FOR THE PURCHASE OV OUR HUMAN RIGHTS BY LOBBYING FIRMS.

BUT THAT WAS BEFORE A TIME IN WHICH AN ADULT MAN IN AN ILL FITTING MY LITTLE PONY T-SHIRT FELT COMFORTABLE SCREAMING DIRECTLY INTO MY FACE ABOUT MY SOY INTAKE. SO HERE WE ARE.

HK: ABSOLUTELY YES. I HOPE TO CONVERT AS MANY PEOPLE TO ANTIFASCISM AS POSSIBLE. MANY PEOPLE, INCLUDING A YOUNGER ME, WERE SCARED OF ANTIFA MAINLY BECAUSE OF THE WAY IT’S PORTRAYED IN THE MEDIA, WITHOUT ACTUALLY KNOWING ANYTHING ABOUT LEFTIST PHILOSOPHY. I HOPE THAT THE MUSIC WE MAKE WILL HELP PEOPLE SEE THE ERROR IN THEIR WAYS, AND EDUCATE THEMSELVES ON LEFTIST PHILOSOPHY. ONCE YOU ACTUALLY LEARN WHAT IT MEANS AND WHAT IT’S ABOUT, YOU’LL FIND IT’S NOT SCARY AT ALL.

DD:  Who would you rather see drawn and quartered, David Duke or Richard Spencer?

KH: YES.

HK: YES.

DD:  Can you talk a bit about the process of forming this project? Have you all played in bands with each other before, was it a long time coming or a reaction to specific event or point in time?

KH:  IT WAS A REACTION TO AN ONLINE ALTERCATION BETWEEN ME AND AN UNNAMED LOSER WHO RUNS A NAZI LABEL OUT OV HIS MOMS BASEMENT. I POSTED THE BAND NAME AND ALBUM IDEA AS A JOKE TO FACEBOOK. THE NOW RETIRED SUPERKOMMANDO UBERWEINERSCHNITZEL, WHO I HAD BEEN TALKING TO ABOUT OUR MUTUAL DISTASTE FOR NAZI BLACK METAL IMMEDIATELY WANTED IN. HE RECRUITED HAILS KOMRADEZ WHO HE HAD BEEN WORKING WITH ON OTHER PROJECTS AND WE FORGED THE ALBUM.

WE SAY THIS OFTEN BUT THE FIRST ALBUM WAS INTENDED TO BE A ONE OFF. HAILS AND I DECIDED TO SET DOWN THE OTHER STUFF WE WERE WORKING ON TO PURSUE THIS FULL TIME AFTER PROSTHETIC EXTENDED THEIR HAND TO US.

HK: BASICALLY THE OLD GUITAR PLAYER ASKED ME IF I WANTED TO PLAY DRUMS ON AN ANTI-NSBM ALBUM AND AFTER HE SHOWED ME THE SONG TITLES I COULDN’T SAY NO. I WAS IN SEVERAL BANDS WITH HIM PRIOR TO NECKBEARD, BUT NONE WITH KRIEGMASTER.

DD: You just signed with Prosthetic Records, Will you be recording an LP for them, and any plans to tour Europe or The States?  There’s A LOT Of fascist scum to melt if you so choose to come to this trash pile of a country.

KH: YES. THE LP IS ACTUALLY ALREADY FINISHED. ON TOP OV THAT THERE ARE NINE SPLITS COMING OUT NEXT YEAR WITH SOME CO-CONSPIRATORS I’M PRETTY EXCITED ABOUT. WE’LL TAKE WHATEVER COMES OUR WAY. OUR PLAN IS TO REMAIN GROUNDED AND ENJOY THE GOOD GRACES OV THOSE WHO LIKE HANGING OUT WITH US.

I FIGURE IT’S WORTH MENTIONING THAT WE’RE ACTUALLY FROM THE US. WE HAVE A FULL US TOUR PLANNED THIS COMING SUMMER. BRING YOUR SKI MASK.

HK: THE LP IS ALREADY DONE, SHOULD BE OUT SOMETIME IN THE FIRST HALF OF THIS YEAR. WE’RE PLANNING AN EXTENSIVE US/CANADA TOUR RIGHT NOW, MAYBE WE’LL HIT EUROPE NEXT YEAR.

DD:  Any other upcoming releases, tours, or other vital information that should be known about NECKBEARD DEATHCAMP?

HK: I JUST WANT TO SAY, DON’T BE SCARED TO READ THE COMMUNIST MANIFESTO JUST BECAUSE IT HAS “COMMUNIST” IN THE NAME AND YOUR SEVENTH GRADE HISTORY TEACHER TOLD YOU COMMUNISM WAS BAD. CHANCES ARE THEY DIDN’T READ IT EITHER.

KH: NEVER LET SOMEONE PISS ON YOU AND TELL YOU IT’S RAINING. TAKE NO SHIT SUPERS OLDIERS. BLACK METAL FOREVER.

DECAYCAST Premieres: Peaer ” left​/​felt pt. 2″ (Citrus City, 2019)

DECAYCAST Premieres: Peaer ” left​/​felt pt. 2″ (Citrus City, 2019)

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Taking a stroll outside of our normal “experimental” zone a bit to share a premiere from Citrus City Records artist Peaer ahead of a reissue due for release March 18th of this year. Citrus City hosts a diverse myraid of artists and has been popping up in all corners of the internet for some time, and taking a look at their eclectig bandcamp page linked below offers a diverse sonic array. Here we have Peaer’s  track “left/felt pt 2.” , which opens with a slow twanged guitar pluck with a minimalist beat and softly spoken words, however things don’t remain the same for too long as things begin to open up and expand and voice articulates fuller and louder presentations each phrase. The track slowly and steadily becomes a  much heavier, fuller, yet dissonant  form of itself blending thick drums, as the break drops we’re thrusted into a full on post rock composition, strummed waves of  chord distortions,  decaying riffs and arching waves of tone poem high register guitar work, dynamic and interesting throughout.  Take  a listen below and preorder the cassette today!

 

Peaer states, “‘the eyes sink into the skull’ was a phrase I lifted from a random webpage when I was reading about the stages of decomposition of a human body. The image conjured, although gruesome, captured the introspective nature of the album. This version has been slightly remixed and completely remastered by our beloved Jeremy Kinney. “the hands and feet turn blue” is another line from that same writing found here. This recording includes a re-recorded version of the song “left/felt” that includes a brand new portion of music, one that was written virtually one year after the original song was written and recorded. Released for the first time here. Also on the collection are two live tracks, from our first official tour as a band in 2016. The two remixes are included as well, a remix of the song “mouther” made by our friend Andrew Schuyler (aka morningstar), and a remix of the song “the dark spot” made by good friend Jacob Sachs-Mishalanie, both originally made in 2015 and have been patiently awaiting release. Finally on the new recordings are two previously unreleased demos that I have made since. Those two songs “happy birthday to me” and “the entire day feels like morning” were recorded on Ableton before being fed into a handheld tape recorder to characterize and color the recording.

Peaer reissues their debut album, the eyes sink into the skull, now remastered & reissued on tape for the first time alongside special remix & live sessions album, the hands and feet turn blue, via Virginia/Brooklyn based label Citrus City Records. Available digitally and physically March 18, 2019.

DEAYCAST Reviews : MONOCHROMACY “Living Posture” CD (Stay Strange SD. 2018)

 

DEAYCAST Reviews : MONOCHROMACY “Living Posture” CD (Stay Strange SD. 2018)

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Stay Strange SD Collective artist Esteban Issac Flores brings eight heavy, dissonant and atmospheric guitar based worlds oscillating between drone , noise, metal and industrial under tbe MONOCHROMACY moniker . Flores elegantly creates haunting and dissonant cinematic spaces for a wall of destructed waves of swelling chaos, choked screams decay into walls of thick oppressive fog of tone, climax and eventually swell back down into dreary, pulsating tones. Sine waves shifting into the horizon encapsulate a distant haze of confusion and dread.

On “Living Posture” , Flores creates a deep and complex tension between the various sonic elements, which really doesn’t ever falter throughout the eight tracks of dreary doom. Some of these atmospheres could call back to Times Of Grace era Neurosis (my favorite period of one of my favorite bands ) , SUNN O)))) , Earth etc but that would be sort of a lazy comparison as Flores has clearly refined his sound to something not heard before in the tropes of heavy music.

 

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Monochromacy “Living Posture” CD (photo from artist)

Monochromacy leaves the “tough guy” bullshit of extreme music far away in the trash for a delicate and intelligent experimental offering. Flores has clearly honed a unique philosophy and approach to present the listener with a tense, yet refreshingly present decaying burning structure of mammoth and intimidating take on noise-influenced, drone-metal. The plethora of unique territories covered on this record while maintaining an overall dark and dreary cinematic vibe is rather impressive to say the least.We are never left without a tight sonic line pulled taught across our reality/neck wth ever shifting tone, pulse and intention. what is going on? Where did he leave us atop this  fog  ridden, dank mountain of dissonance and confusion? What is GOING ON! Wow and just like that it’s over, what a listen.Absolutely essential ride for all fans of the heavier side of noisy guitar works and heavier dissonant, cinematic music in general.