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DECAYCAST Reviews: Blaine Todd & Andrew Weathers (Houdini Mansions, 2018)

This split begins with Andrew Weathers on the A side offering three experimental guitar and synth offerings, beginning with the track “Llano” which offers spacious, minimalist guitar work complemented through warm buzzing, swelling synthesizers. The synths and guitars play wonderfully off each other in a barren, pulsing, slightly unsettling tone poem.

The second track, and standout of the tape “Mugwort Moon” is a huge, throbbing synth number with insect-like rattling pulses that transport the listener into a parallel universe of floating drones. Weathers synthesizes a perfect union of tone and spaces to create lush, dream-like compositions with heavy and dissonant overtones.

The Blaine Todd Side of the split is more a take on traditional Americana psychedelia rendered through reverb drenched folk thrusts. Todd skates across a lush and morose pond, blending dripping, cavernous guitar strums, backed with distant unsettled, sad vocals creating a fever dream style of psychedelic alt-pop. Gentle plucks and minimalistic events within the body of the guitar bloom into lush waves of intonation, a perfect compliment to the slightly more abstracted works of Andrew Weathers on the A side. Todd’s music is slightly more on the morose side of things where the Weathers side feels both dissonant and uplifting at the same time, a truly unique and dynamic pairing.

The label itself describes the offering as:

“A striking document of wide open loneliness, this split release by Andrew Weathers & Blaine Todd contains timeless works about Wobblies, the Staked Plain, etc.

Thoughtful, pensive songwriting blends with artisan-crafted dronework, and undercurrents of electronic wizardry.”

All in all, great release from Houdini Mansions, a hybrid label, review site and radio show/ podcast. Follow them today and keep a lookout for more from this exciting collective, as well as both artists individually.

DECAYCAST Reviews: BIG DRUM IN THE SKY RELIGION “Hope In Hell” (Self released, 2018)

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Dozens and dozens and dozens of short audio collage snippets sampling cult preachers, hip hop intros, classical music, dust to digital style folk, guitar strummed outros, zealots, bigots, activists, tv personalities, “sickness in my community” “suffering is the given” “{why do we suffer” bleeds into the funk arpeggiated bass line. Destroy god, destroy humanity, destroy politics and see what pops out the other end with a sonic audio accident slamming everything together with muscle, yet nuanced ease so to speak.

Pulling from John Oswald’s “Plunderphonics” and Negativland’s “Christianity Is Stupid”, “Hope In Hell” blasts short, dense, collage critique splatter offerings of religious and capitalistic confusion, alienation, and so much more and less., In terms of sound art/collage, these short works are dense, impactful, complex sonic vignettes into a twisted world of confusion and alienation, and well, philosophical blindness. Some of the stronger works on this shuffle friendly journey through cut and paste absurdity are “God’s People” > “Transformation Energy” > “Make Me Present”. This work oscillates between comedy, critique, and absurdist / dada tendencies to create a dense, dark, cut and glued critique of world’s interpretations of the unknown. Dense, fun, well done and sonically interesting collage work. “The Big Drum In The Sky Religion is a shape-shifting confederacy of dream wanderers, spirit warriors, entheogen casualties and miscreants assembled for the purpose of altering the collective unconsciousness and bringing about the total Ecstatic Awakening of All Sentient Beings and Union of the All and the One through the use of polyrhythms, fuzzboxes and senseless banjo abuse. Dilute! Dilute! OM“