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UFUX list their genre as dustcore. Bandcamp lists them as Chicago punk. I’d call it a melange of punk, metal, and grunge. Each track has a good beat with competently played instruments. The vocals are harsh but not screechy. Trash Walk is downright dancy.
All I know about Raven Odin is that he’s smart. He’s an amazing writer and his quick-paced speaking makes you sit up and take notice of what he’s saying. His name seems to be based on the myths of Odin, the god who used ravens to tell him all the news of the kingdom. That is exactly what Raven Odin does here in this CD based on Silicon Valley (aptly changed to Illicon), where I assume he hails from. I particularly enjoyed hearing him drop local names such as the Voodoo Lounge in his track “In the Zay.” Modern-day poetry–well worth listening to.
Floored in Florida, echoplex whirpool, voices smeared
2002 black forest pagan folk, well from the darkened
Quirky, indie, garage rock from East Bay band WUV. This is their first LP, released January 2015 on Great Plains Records. Recorded at the Waboratory in Albany, CA. I couldn’t find any details on who is in the band but the album label says, “With Leeza, Natalie, Johnny, Sarah, Ezra, Megan, Paul, Eugene.” Lyrics enclosed scratched on an x-ray from an Oakland veterinary hospital.
This all-female Portland trio (Sarah Rose: guitar/vocals, Sarah Nienaber: bass/vocals, Ronnie Lee: drums) categorizes themselves as ghost rock/goblin pop. Solid guitar, bass, drums, and vocals come through a constant hum of reverb and static, as though you’re listening to instrumental psych and the band is practicing down the hall. No need to play two tracks at once with this one. The vinyl is a little warped on the edges but who can tell? No FCCs detected.
Australian duo Zephyr Pavey and Al Montfort (also members of Total Control, UV Race, East Link, and Dick Diver) named themselves after the 1986 attack on police headquarters in Melbourne. Record consists of some well put-together songs with incongruent randomness added (i.e. someone trying to tune a dulcimer, maybe?), so, basically a lot of you are going to love it. Cuing is going to be a bitch, in fact, Bandcamp lists two tracks, Side A and Side Z.
No FCCs detected.
This is jazz in the finest, innovative sense of the word. Jon Arkin on drums, Karl Evangelista on guitar, and, last but not least, Eli Wallace on piano. They work together extremely well in this debut album, although they’ve been together since 2013. Wallace composed the music, and the trio arranged it. It’s accessible and a blast to listen to.
This is a compilation by nine bands, among them UNIT, Nil By Nose, Howl in the Typewriter, Dumb Robot Pilot. Each band shares in the cost of the compilation. The sounds do have a punk vibe, but they mostly struck me as the clown on the cover does–with a carnival creep that startles. Listen for yourself–there’s plenty of material on here.
As far as Lord Gravestench is concerned Manchester’s Winterfylleth (it’s the Old English word for October) is the greatest Pagan Black Metal band out of the U.K. (just behind White Medal) and a contender for greatest in the world. Their open love of their European heritage has earned them some controversy among the spineless, but they have every right to be proud of their English backgrounds and if you have a problem with that you probably shouldn’t be listening to Black Metal. This is their first album, released 2008; the low-budget cassette edition we possess comes to us (from an edition of 300 only!) via Ukraine’s Night Birds label. Here punkish aggression balances sprawling, subtly beautiful epic BM sounds. There is the odd acoustic interlude (t.s 2, 7) muffled poetic verse (t.s 3, 4) and warrior chant (most tracks). T.s 2+7 are instrumentals. Mastering is by Colin Marston of Krallice, and the guitars have a foggy shimmer to them, soundtrack to dream visions of battles for homeland fought again in the mists of yesterday. The major musical debt is to Enslaved; the liner notes also thank Drudkh and Primordial among others. Some lyrics come from traditional or literary sources. T.s 2-3 concern 991 AD’s Battle of Maldon and t.8 is a very cool nod to the ghost stories of M.R. James. Soaring hymns of creamy old England. Cuppa tea, guv’nor?
This music is perfect for enveloping you as you destress. Written, performed, and recorded by Tobias, the instrumental tracks ease you through whatever you may be doing quite painlessly. The masterful guitars accompanied by drums, keys, and samples lure you in and takes you for a mighty pleasant ride, with lots of beauty to be had every track along the way.
dankcore finest from Stinkweed fresh out of prison. san jose eastside hick metal hip hop crossover. beer belly thrash with a sense of humor, cuz fuck if i care anyways
ancient tribal mysticism from faceless texan vagabonds. murky pagan rituals of minimalist rhythms and distant lo-fi harmonies, more creepy than calming. spiritual ruins
The artist is from Mills College. Strings and electroacoustic instrumentation. Cello, flute, harmonium, oboe, and viola. Tones, baby, tones…
Electronic synthy with melody as well as some ambient feel. Sounds like skipping on track three but isn’t. Wind chimes on track two. Vox and spoken work on seven feels out of place.
This is Campbell Kneale previously Birchville Cat Motel from New Zealand.
Twangy toney guitar and strings. Droney and ambient, particularly on disc 2. The beats seem industrial. The artist is a New Yorker based in Berlin. He is a composer and visual artist. This is a commissioned piece from the 80s in Linz and then was developed and finished in Eindhoven. We have most of his work in A and a collection CD in Jazz.
Austin noise punks. Distorted vocals, drum machine, fast paced. RaH!
Airey droney thrasher-film guitar twangy and bluesy. Screaming garage vocals. Angry east coast punkers trio.
Local Black Metal darlings. Cookie monster vocals as well as some bird of prey.
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