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What KFJC has added to their library and why...

Dunkelpek – “Live At Luggage Store Gallery” – [Self-release]


improvisational duo of Nava Dunkelman (percussion) and Jacob Pek (guitar, miscellany) concoct a bizarre elixir of musical influences: from gamelan to kabuki, bebop jazz to rock n roll. a minimalist calamity of crumbling clutter and clatter. from factory junkyard debris to lingering fog on mountain slopes. blending the contemporary and the primordial, these outsound outsiders have a sound truly their own.

  • Reviewed by abacus on November 19, 2014 at 11:17 pm
  • Filed as A Library,CD
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  • Unmanned – “Ageism” – [Idiopathic Records]


    jagged ambient deformities and torn, tattered soundscrapes; a thick smoke of delicate dysrhymia dematerialized to the point of absence: decrepit sonic voidism echoing in hollow concrete chambers of steel and ash; distant clambering about subconscious, evoking forgotten fears and lost dreams. troubled tranquility

  • Reviewed by abacus on November 19, 2014 at 11:09 pm
  • Filed as A Library,Cassette
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  • Stranger, The – “Watching Dead Empires In Decay” – [Modern Love]


    omnificent, omnipotent, ominous: this project of Leyland Kirby carries the dark musique-concrete tradition of his other projects with a more techno-dystopic theme; reflections on the monolithic beauty inherent in the decay and destruction of modern civilization. post-industrial ritualism stripped down and stretched out, machine-line dub rhythms and broken disjointed trip-hop vibrations chattering. the instrumentation is vague and ambiguous, circuit switched electronics, lingering field recordings, glitched drum machines. stark, haunted by the ghosts of our psyche dead behind our eyes. dizzy, dazed by the sheer force of delusion. devolved, incapacitated by our own progression.

  • Reviewed by abacus on November 19, 2014 at 10:49 pm
  • Filed as A Library,CD
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  • Music On The Desert Road: a Sound Travelogue [coll] – [Angel Records]


    like a collection of old photographs, lost moments of forgotten traditions immortalized here by Bengali ethnomusicologist Deben Bhattacharya, recordings captured during his overland voyage to India from 1955-1956. at the start of each side we set out by road or rail traversing the great desert from Anatolia descending into the Levant and across the Fertile Crescent into Persia and finally India. religious rituals, domestic rituals, nomadic rituals; ancient modes and harmonies spread across a vast geographic space along the Silk Road and through Bedouin drifting and Vedic-Aryan migration. a timeless document of historical significance documenting musical practices that carry meaning today.

  • Reviewed by abacus on November 19, 2014 at 10:33 pm
  • Filed as 12-inch,International
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  • Lewis, Andrew – “Au-Dela” – [Empreintes Digitales]


    Andrew Lewis takes the name for this album from the French word “beyond,” and takes himself there through the power of realized sound. Lewis is a professor of music at the Bangor University in Wales, UK. With only one other release (a DVD from the same label Empreintes DIGITALes,) Lewis’ music thankfully finds its way into the KFJC library!

    Amazing work here, Lewis calls his sounds “acousmatic music,” which I think is inherently confusing since it seems to mean hearing music without knowing it’s source. That being said, it isn’t exactly easy to pick out what “instrument” he’s playing as it’s a collage of field recordings and electronics. Sometimes the sound is hectic, other times scarce, but each track focuses on a certain idea, which I’ve described below.

    1) Touches on the idea of dyslexia
    2) reveals the unexpected harmonies of broken glass
    3) sounds interpretation of mountains surrounding Bangor Univ. studios
    4) reveals and consumes its sound elements at light speed
    5) reinvents Wales’ sonic culture
    6) bring the listener back to childhood

  • Reviewed by mickeyslim on November 19, 2014 at 10:19 pm
  • Filed as A Library,CD
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  • Diamond Version – CI [Mute]

    Under license from Raster-Noton, so the dark, minimal, glitchy electronic beats are no surprise. They are precise, clinical and dehumanized with not a hint of comfort – though KFJC listeners may nonetheless derive comfort for those exact reasons. It undermines 21st-century sources of self-worth: career success, religion, intoxication. CI stands for “Corporate Identity”, the deceivingly friendly face that The Man wears to interface with humans.

    #1 FCC. #4 Japanese speech. #6 ft Neil Tennant (Pet Shop Boys) self-harmonizing an traditional African-American hymn. #9 Telephone customer service robots, amazing.??#2 #3 #5 #7 #8 #10 Instro.

  • Reviewed by fox on November 18, 2014 at 10:11 pm
  • Filed as CD
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  • Menace Ruine – “Venus Armata” – [Profound Lore Records]

    menace ruine

    Genevieve Beaulieu and S. De La Moth from Montreal are back for their sixth installment of genre-defying creativity. The great Lord Gravestench describes them beautifully in another review, but to give you a quick idea, another review calls their music “a powerful hybrid of avant-garde black metal, dark ambient, drone, and martial neo-folk.” Let’s just say that this time around, I feel the mood is more neo-folk drone with hints of metal. The overall feeling this CD left me with is that I had attended some kind of mass. The instruments are reminiscent of organs and ritual, and of course the voices, particularly Genevieve’s, are lovely enough to make you soar to higher heights. These are long songs, giving themselves time to flesh out their themes. And the lyrics are nicely printed in a booklet inserted into the sleeve, kind of like a missalette.

  • Reviewed by humana on November 18, 2014 at 9:40 am
  • Filed as A Library,CD
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  • Crimson Wave – “Say / Calling You” – [Accidental Guest Recordings]

    crimson wave

    It’s quite clever that the cover of this 7″ depicts women who are past the age of the crimson wave sitting around a huge bouquet of flowers–is it a seance? A funeral? The young voices of the four-piece Baltimore band of the same name do sound sad, but their reasons are timeless, and the melancholy is just right alongside the guitars, bass, and drums that express it. The lyrics are printed on a sheet inside, and the “dark pop” of this release is just right for getting you to feel something. The fact that it’s heart-tugging makes it all the more intriguing to listen to.

  • Reviewed by humana on November 18, 2014 at 9:13 am
  • Filed as 7-inch,A Library
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  • Caethua – “Red Moon” – [Bathetic]

    Caethua aka Clay Camero aka Clare Hubbard delivers
    a one-woman record that has that kind of palm reader
    vibe, you get a little dizzy and its a little smoky
    inside her cozy parlor. She accrues effect pedals
    like she does monickers (the more the merry messier!)
    She sings in a heavy, water-color voice, often doubled
    up like on “Raven’s Road” and “Chariot” where the lyrics
    are hard to pin down. But when they cut through they are
    like skimming through someone’s diary where life is lived
    in metaphor and near water. The album beings with
    a guitar instrumental, dappled with other sounds.
    She also employs keys that sound like they have hollow
    tubes. She will add guitar that is slippery and at
    times like on “Waning Moon” actually playe with a slide.
    (That song has Caethua singing with a kind of bite
    like Jean Smith, her music fits in well with KFJC’s
    favorite female conjurers and even struck a chord with
    the old Mauve Sideshow). The production is dense but
    gauzey, could see the Shadow Ring casting a spell on
    her or vice versa. The songs are slow, her thoughts
    rushing fast. The drum machine as the carburetor for
    “Chariot” sounds like she filled it with molasses.
    Sweet and slow and swampy (belieing her recording
    residence in Maine) an enjoyable set of spectral ballads
    on Bathetic. She also has a label herself, “Sad Wand”
    but the .com looks like a manga stop…course this album
    has the A/B etching labels swapped, so tricks are up
    her and her many aliases sleeve. Is Caethua an anagram
    of Chateau, or the female version of Cthulu? Clare’s an
    unclear riddle, I don’t want to solve. Very promising stuff.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on November 14, 2014 at 6:25 pm
  • Filed as 12-inch,A Library
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  • Weird Ear : Radio Sample 2012 – 2014 [coll] – [Weird Ear]

    Weird Ear is a local label that had an auspicious start with
    three vinyl records that KFJC has. The Bosetti and A Magic
    Whistle feature sidelong tracks though, so these excerpts
    are easily tucked into your chaotic creative sets. The
    Bosetti in particular does a nice job making sense out of
    his Mask Mirror invention. The Glochids “To be Clear” enhanced
    field recordign fooled my ears on a midnight headphone walk
    as I wondered where the night birds came from. Angela
    Sawyer is a supremely talented weirdo (make no Exusumwa’s
    about it, and she often writes the liner notes for Pharaway
    releases), her dorkified pop numbers, felt like she got
    a Michael Jackson paint-by-numbers song instruction kit,
    the knife she carries is for YOU so yeah you might end up
    running with the angels in the sun, or a horror movie.
    The addleds deliver some psycho-acoustic jazz-clash with
    KFJC friendly names, among them Kyle Bruckmann and a
    tortured oboe causing Jacob Heule’s drums to have repeated
    car crashes on “Mottle Pt1″ while Kanoko Nishi’s koto
    and Tony Dryer’s bass plink, pop, plop, plunk on “Pt3″
    Waxy Tomb warps her voice and wraps it in malfunctioning
    electronics for Zeek Sheck shock treatment. Catchy in a
    way that defines explanation and gravity. “Trumpet Trumpet
    Synthesizer” is a Prom Night under a digital mirror ball
    with morphing vox and a hint of a high-rise Kondo-san.
    Horaflora creates a mini movie (and runs this fine label)
    drones power into a mechanized maze of sounds. Bhob Rainey
    came by KFJC a long time with Nmperign, and it was a subtle
    shifting of waves that almost defied perception. His improv
    duets here have more heft and wah-wah-esque treatments.
    Burbly on the first, and a more silk-screened scream starts
    the second, before a jump cut to winding down flutter.
    Diverse, you betcha! Need more wax out of this Weird Ear!

    -Thurston Hunger

  • Reviewed by Thurston Hunger on November 14, 2014 at 6:21 pm
  • Filed as A Library,CD
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  • Seymali, Noura Mint – “Tzenni” – [Glitter Beat]

    Packaging is almost as good as the tunes on this,
    including song-by-song descriptions for this mighty
    Mauritanian musician. In addition to having pipes
    of pure glory, Noura also plays the ardine, a 7 or 9-string
    harp-like instrument (sounds akin to the kora on here,
    check that artwork for how beautiful it and she are!).
    As the liner notes indicate this is a family affair,
    songs of her father and her grandmother are summoned
    while her husband, Jeiche Ould Chighaly, just slays
    on the guitar. He’s got the kind of twirling effects
    that add equal parts fuzz and moisture so it really sticks
    to your ears. Quick spirals of
    sounds that play so well off the ardine (which comes in
    acoustic and electric). Noura almost scat sings on El
    Barm, and the title track lives up to its dervish
    underpinnings. All of the songs here hit the ancient
    power and also a modern psych/blues revival (the
    ardine a pentatonic instrument). Her voice rises
    above and is often joined by backup singers (she
    herself was a back-up singer to her step-mom at
    the age of 13, so she knows the importance of
    having harmony on stage). The opening and closing
    tracks elevate to mystical musical rapture. Dig
    the drum beat dropping on the latter. The album
    while well-produced, retains a ragged swagger
    as if someone just handed you a cell-phone memory
    stick from a party they attended the night before.
    Aces on this one… That’s Mauritainment!

    -Thurston Hunger

  • Reviewed by Thurston Hunger on November 14, 2014 at 6:20 pm
  • Filed as 12-inch,International
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  • Sam Gas Can – “Aswang” – [Feeding Tube Records]

    Side one starts with a baby crying, while possibly
    remembering a past-life when it was a man running
    through dark woods with joy and fear. The joy wins
    out and the baby is placated and then a man has a
    brief fit, before the music erupts. In-the-red
    number that bounces a round a little bit before
    blipping out with stacatto sputter. Really dug
    that closing secion (had enough crying babies
    in my own previous life).

    Side two a muppet monster tries to learn to speak
    at the start, croaky throaty stetchy near belches
    before a driving little ditty with a police whistle
    running the gauntlet between bass and drums
    swinging at it like wrecking ball pendulums.
    A man screams after swallowing the whistle.
    Heavy duty Lightning Bolty proto rock, but
    at the end it disappears and a record of maybe
    some Mile Davis fusion (sans Miles?) is playing.

    These may be riddles that cannot be solved.
    But there are clues to Malaysian and Filipino
    vampires online at en.wikipedia.org/wiki/Penanggalan

    Hyperactive hjinks here thaT won’t disappoint. The
    Tube feeds our ears.
    -Thurston Hunger

  • Reviewed by Thurston Hunger on November 14, 2014 at 6:19 pm
  • Filed as 7-inch,A Library
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  • Three Plus – “Kazesarai” – [Time Released Sound]


    New release from Time Released Sound of Japanese artists led by Masashi Shiraishi, who calls his music “not music but art of sound.” Shiraishi does do most of the work: playing the piano and field recordings, as well as doing the programming, mixing and arranging. The others on here add parts to certain tracks, but it’s hardly perceptible, as the space and scene captured in each track all blend together.

    Ocean sounds, nighttime, dark alleys, black rain clouds, all evaporate in the background, while the piano plays naive and optimistic, unaffected by its pessimistic demeanor.

    Some of the longer tracks seem to go on and on, but it’s worth the wait. What would otherwise sound bleak and dreary, is a nice subtle touch of grace in a creepy void.

  • Reviewed by mickeyslim on November 12, 2014 at 10:29 pm
  • Filed as A Library,CD
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  • Keppard, Freddie – “17 Rare Selections of The Finest Jazz Cornetist of The 1920′” – [Herwin Records, Inc.]

    New Orleans Jazz from this famed cornetist. A cornet is similar to a trumpet but mellower in tone. First side features two takes each of two different songs for an interesting insight into the recording process. This music makes you want to put on your flapper dress and dance the charleston.
    Billie Joe Tolliver

  • Reviewed by billiejoe on November 12, 2014 at 4:09 pm
  • Filed as 12-inch,Jazz
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  • Carroll, Doug – “Music For Cello and Wind Animals” – [Self Released]

    Four long tracks of fabulous animals sounds from Bay Area artist Doug Carroll. This time Doug is featured on the cello. Each track is a lovely mix of human composition and animal improvisation. A completely perfect album. I will play all of this often and I hope you do too. And if you have not played his other pieces in our library I suggest you do that too.
    Billie Joe Tolliver

  • Reviewed by billiejoe on November 12, 2014 at 4:08 pm
  • Filed as A Library,CD
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  • Black Uhuru- ???Tear It Up??? (Live)

    The classic BU lineup of Michael Rose, Puma Jones and Duckie Simpson on vocals, backed by the legendary rhythm section of Sly Dunbar and Robbie Shakespeare on drums and bass.
    Mikey Chung and Darryl Thompson on guitars, Keith Sterling on keyboards and Sky Juice on percussion round out the band.
    This show was recorded on the ???Red??? tour in 1981. This album has tracks from the first three BU albums, which is slimmed down slightly from the video by the same name.

    This ‘aint no Sponji Reggae, spin and twirl your dreads ganja-head fun party.
    No. This is a heavy, somber set of soulful wailing vocals and heavy brooding basslines. With songs about prostitutes, abortion, prison, hypocrites, the after-life, and heavy Rasta realism, this is the real deal of life in the ghetto of Jamaica.
    The band is in top form, and this is the time period before they really shot to the top of the reggae world in the mid-eighties.
    In this album, the whole is far greater than the sum of it’s parts.

    ???Leaving to Zion??? is my personal fave here, but all songs are solid.
    Songs 1 and 2 on side A track into each other, but it’s worth it.

    Throw away your cigarettes and light up your spliff.
    One of my top 10 reggae albums of all-time.

    Ras Babo

  • Reviewed by rasbabo on November 11, 2014 at 2:31 am
  • Filed as A Library
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  • Blank Tapes, The – “Hwy 9″ – [Vow Records]

    blank tapes

    This music is just what the doctor ordered. Matt Adams is The Blank Tapes, and although he has other people sitting in for some of the songs, he is the main player and vocalist on this CD. His website describes the music as “psychedelic cartoon”, and you can definitely see why. It is reminiscent of The Grateful Dead, and it is largely upbeat, jaunty, punchy, feel-good music with tambourine, kazoo, and so many other instruments. There are 40 tracks, all of them great, and relatively short. He’s based out of San Francisco and Los Angeles, as the Hwy. 9 album title might indicate. I dare you to listen to this and not feel better afterward.

  • Reviewed by humana on November 8, 2014 at 6:04 pm
  • Filed as A Library,CD
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  • Smith, Chris – “Bad Orchestra” – [Hermit Hut]


    The guitar music on this LP originally from 2007 has been described as dark ambience, but to me it’s simply intense, with little palate cleaners and fascinating field sounds and samples in places, and the music sounds like the train pictured on the album cover in “Your Tunnel.” There are occasional vocals that are not the clearest. I wouldn’t call it a bad orchestra, but I would say the Australian musician has crafted the music to attempt badness, which is a good thing.

  • Reviewed by humana on November 8, 2014 at 1:24 pm
  • Filed as 12-inch,A Library
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  • Schooley, John & Daniels, Walter – “Dead Mall Blues” – [12XU (Austin, TX)]


    John Schooley and Walter Daniels, two ex-punksters/current noisefolkbluesters. Daniels played in Jack O’ Fun with Tim Kerr from Big Boys, and Schooley’s band, The Revelations toured with The Oblivians and Schooley also toured solo with R.L. Burnside (if that’s any testament to his blues abilities).

    Here is their folk/blues album, chalked full of covers, this is also the first album where they both play exclusively acoustic instruments. Since they’re so used to making those awesomely strange distorted noises and electronics, they are kind of forced to bring that out in the acoustic sounds. Great collaboration!

    Covers of Blind Willie McTell, John Fahey, Hank Williams, and a couple traditional pieces. My favorite is the original “Winston Churchill Cigar Blues.”


  • Reviewed by mickeyslim on November 5, 2014 at 10:27 pm
  • Filed as 12-inch,Blues
  • 1 comment
  • Konstrukt & Mcphee, Joe – “Babylon” – [Roaratorio]


    Spacey, hectic, squeaks and squallors that slow and build in a sonic meditation.

    Konstruct is a Turkish free-jazz/improv group that teamed up with Joe McPhee to create this album from Roaratorio Records. McPhee met the group through Peter Brotzmann during a festival in Istanbul, so they decided to play an impromptu gig (without practicing) at a venue called “Babylon,” from which this release gets it’s name.

    A great mix of both Konstruct and McPhee; neither of them really takes control, but instead swim together, keeping each other afloat. My favorite is the track “Involution” meaning the slow decrepitude of internal organs, or a function that is equal to it’s inverse. The track, like the old city of Babylon, rises and crumbles. The last track, “Kek’e” (Turkish for billy goat), is a little more soothing.

    Lots of stuff going on here, and 4 x 10ish-minute long tracks on this nice slab of black vinyl.

  • Reviewed by mickeyslim on November 5, 2014 at 10:18 pm
  • Filed as 12-inch,A Library
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