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Clone – “Son of Octabred” – [Finders Keepers Records]

CLONEOCTABREDSITE-400x400
“Push Breathe. Count. Babies by numbers” an excerpt from
the spoken words intro that kicks off the nutrient musical
mix here. Big round ARP synth notes that feel sonogramic,
and some squishy waves wash up as well…is this a rebirthing?
Or the sonic story of one of Octo-mom’s litter? A very retro
walking bass synth line, moving more nimbly than a toddler,
crawls infant-like for a stretch. Things get a little darker,
demon-seed? That inner space birth canal might be a monolith
to outer space? Flip side has an analog rocket with a drunk
R2D2 to start off. Next, here comes the John Carpenter
digitellganger. Rocking chair squeak becomes a siren, it’s
just a noodle fest that could have come from a space-gazing
bachelor pad 40 years ago or whenever man first landed on
the Moog, but remains weird enough for the child comsmonauts
of today. Apparently Clone is a trio of gearbots and this was
broadcast a live set on KGOT (Alaska’s #1 Hit Music Station)
out of Anchorage. The time machine should read 1982 for that
recording, and one of the Clone’s, Gary Sloan had the radio show,
along with Kurt Riemann and Paul Alexander they were one.
Times three. Two side long pieces, good for mingling with other
work, especially on the second set. Recombinant radio lives!
Can’t go wrong with the Dead Cert-ificiation!

-Thurston Hunger

  • Reviewed by Thurston Hunger on October 23, 2014 at 6:48 pm
  • Filed as 12-inch,A Library
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  • Ausmuteants – “Order of Operation” – [Goner Records]

    ausmuteants
    Some people seem to want a musical war between New Zealand
    and Australia. If so, airlift this Aussie quartet to the front
    as either a secret weapon or cannon fodder. Super goofy synth
    with rock and roll commando drumming, they aim for that
    seriously unserious attack. At the point of Devo-lution
    when spud boys leaned towards the dead boys, that point is
    a reference for these panicky punkish rawkers. “Now Whole”
    felt like the outro rock number from John Hughes remake of
    “The Elephant Man.” The album starts with a driving bass,
    chattering guitar and arcing synth while vocals snurkle
    “You’re itching to see me, but I don’t wanna touch”
    Sounds like they’re getting their act together without
    maturing too much, they bonk the stupid funny punk bone
    with reckless fecklesness. Overall synth is nice and
    disgusted and guitar sparks enough…

    -Thurston Hunger

  • Reviewed by Thurston Hunger on October 23, 2014 at 6:47 pm
  • Filed as A Library,CD
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  • T-White – “Gift Vol. 5!, The” – [Fatbeats]

    twhite_giftvol5h_101b
    Instrumental hip-hop, short and upbeat, slip the needle
    scratch the service. The dance floor is denied in these
    short cuts with long memories (did I hear Flip Wilson as
    Geraldine on “Discovery”). “Eternal Lee” has some pretty
    majestic moves inside, “Ow!” doesn’t hurt (although a
    cartoon baby bird was crushed by the heavy drum and piano
    drop on top), a French discussion gets woven in between the
    beats on that. The lead-off track makes you think DJ Shadow
    meets comedy, samples are less ear-popping after that, but
    definitely a fun and creative vibe. Yeah, there’s cowbell
    sampled and apparently some organic elements as well
    (behold the Old Nasty Organ), hard to pull everything
    apart. T-White is a Chicago operative…damn shame KFJC’s
    Spiderman is not around for this House Shoes party mix.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on October 23, 2014 at 6:47 pm
  • Filed as 12-inch,Hip Hop
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  • Tusques, Francois – “La Reine Des Vampires 1967″ – [Finders Keepers Records]

    tusques
    Out-takes to a further out French film

    Possibly the first French vampire film (or was it supposed
    to be like Dark Shadows, a running melodrama).
    The music certainly has a haunted feel, the sax of Barney Wilen
    gives an edgy “Angel Heart” flavor, with bouts of sweetness in
    whirlwinds of suspicion. The skeetering violin of Eddie Gaumont
    is what cranks up the tension, often flying at angles to Wilen’s
    sax, or pizzicato plucked like that spider-alien in Carpenter’s
    “The Thing” remake. Echo is slapped all over both of those gents
    (and at times overdubs too, notably nice and nightmarish on
    the “Rejected Theme 1.”Interesting that Gaumont is a drummer
    too, as his approach to the violin was certainly percussive on this.
    The B-side has some incidental discussion perhaps between
    musicians and friends, or maybe the Queen of the vampires turned
    up herself. Let in through an open window, and kept mostly in the
    shadows. Many tracks stop brusquely. On the A-side, I really
    feel Tusque took his piano composition and drove the players
    off the score (and possibly mixed them at angles?). The piano
    does show up at the end, on the last must be first take. Tusques
    intentionally removing himself, as he writes in the liners. By the
    way he’s still releasing music as of this year. so possible vampire
    himself!?! Killer artwork (as can be expected from Finders-Keepers)
    Filing it under jazz though it has its soundtrack place.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on October 23, 2014 at 6:45 pm
  • Filed as 12-inch,Jazz
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  • Baxter, Les – “Cry of The Banshee and Edgar Allan Poe Suite” – [Varese Sarabande Records, Inc.]

    cry_banshee
    Wow., *unquiet* village here, from Les Baxter. The sidelong
    “Cry of the Banshee” piece is a jarring, unsettling piece of
    music to push you to the edge and over. Feels like a modern
    classical madhouse, with no simple melodies to hold on to
    for a moment’s security. The flip side has shorter pieces for
    Poe (but alas there is not a drop of Vincent Price or spooken word
    to be found anywhere, it’s all music). Some electronics and other
    malevolent forces conspire. Scarier than any Halloween.
    Razor blades in the orchestra pit… 1970 era, Gordon
    Hessler directed. It’s a shame no film clips are included
    but youtube is just….over………there.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on October 23, 2014 at 6:44 pm
  • Filed as 12-inch,Soundtrack
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  • Boron and The Grebes – “In Your Water” – [Self Release]

    Recorded by Garrincha of Garrincha and the Stolen Elk/Weird Forest Records as an exercise to teach himself how to properly use his digital recording setup.

    The band is Boron on bass/vox and Grebes on guitar, with session drummers. It’s a raunchy lo-fi attack of bleeding discordant guitar riffs and pounding drums. The vocals are beautifully lost like a growling werewolf in the moonlit mist.
    Sometimes annoyingly repetitive, but only leads into more heavy sounds.

    Arrived by mail in a cereal box with shipping labels and “padded” by the kinds of trash you see on the cover art: bags of chips, tea-bags, candy wrappers, etc.

  • Reviewed by mickeyslim on October 22, 2014 at 10:17 pm
  • Filed as A Library,CD
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  • Industrial Priest Overcoats – “Godbless This Hellhole” – [Napkin Records]

    INDUSTRIAL+PRIEST+OVERCOATS+IPO+MUSIC+WASTE

    self-described bedroom punk dorkadelic scrap metal wasteoid blues; this is a real high-energy thrasharound rock riot. psych saturated garage weirdness too together to be art rock but too out there to be anything but. i see them call themselves shardXcore too and i have no idea what that means but sure. fun, danceable, trippable, i’m lost but apparently they’re not. they keep their shit together beautifully for how out of control it all seems. the most sensible bit of insanity i can dream of. special tour edition cassette of this Vancouver band with first 4 tracks on the CD special digital only downloads.

  • Reviewed by abacus on October 22, 2014 at 10:13 pm
  • Filed as A Library,Cassette
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  • Mosfett – “Roswell” – [Napkin Records]

    rain-soaked gutter grunge out of Vancouver, B.C. drinkin Molson on your mouldy garage couch. they got that pacific northwest feel without the redundancy; sludgy bass, pummeling rhythm changes, a couple straightahead tunes amidst a whole lotta ruckus. the epic closer drifts out on some hazegaze while never losing the heaviness. hipster punks not afraid to get heavy, like real fuckin rock n roll heavy.

  • Reviewed by abacus on October 22, 2014 at 10:05 pm
  • Filed as A Library,Cassette
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  • Wesseltoft, Jon & Okkyung Lee – “Piper” – [Holidays Records]

    Okkyung+Jon-LP

    live captured recording from 2010 of avant surrealists Wesseltoft and Lee; hypnotic harmonium disharmony setting a challenge for the churning cello drone superimpostions. gentle yet jarring, lush minimal ritual of atonal variations full of buzzing overtones full negative space. super stony bamboo bliss

  • Reviewed by abacus on October 22, 2014 at 9:55 pm
  • Filed as 12-inch,A Library
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  • Tiki Creeps, The – “Invaders From Beyond The Sound of Surf!” – [Tiki Creeps]

    The Tiki Creeps are from Los Angeles and this CD gives a nice sampling of hot rod and horror surf music. The tracks feature a female scream, war and sci-fi dialogue and some fine automobile sounds. Playing is solid, well played, with good energy and interesting arrangements.

    PGM: Decal on CD, avoid slot loading CD players.

  • Reviewed by Cousin Mary on October 22, 2014 at 4:02 pm
  • Filed as A Library,CD
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  • Rosenthal, Laurence – “Rashomon” – [Carlton]

    Rashomon
    Laurence Rosenthal is an award winning Film/TV/Broadway composer who is known for his work on Cinema Paradiso, Miracle Worker, A Raisin in the Sun, Man of La Mancha, Clash of the Titans (original) and even Fantasy Island. Rashomon is two short stories by Ryunosuke Akutagawa which were then adapted into the Oscar-winning film by Akira Kurosawa but THIS release is from an adaptation for the Broadway stage, using elements from the Kurosawa film that were not present in the short stories. The Broadway production stared Rod Steiger and his wife at the time Claire Bloom who are obviously not Japanese although the story is about a Samurai and his wife. The story is told from four different viewpoints which vary greatly. This is very visual and unique, quite dramatic and heavy on percussion and flute, gamelan, gongs and cymbals.

  • Reviewed by Belladonna on October 22, 2014 at 2:33 pm
  • Filed as 12-inch,Soundtrack
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  • Miller, Jacob – “Each One Teach One” – [Rockers International]

  • Reviewed by selector on October 20, 2014 at 3:21 pm
  • Filed as 7-inch,Reggae
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  • Led Bib – “Good Egg, The” – [Cuneiform Records]

    ledbib

    Described by Wikipedia as a modern jazz group from London, this quintet performs fantastic jazz composed by Mark Holub (also the drummer). It is utterly accessible, and the standout instruments for me are the saxes (played by Pete Grogan and Chris Williams). Of course the keyboards by Toby McLaren and bass by Liran Donin are stellar and absolutely crucial to the energy created by the whole. It is invigorating, upbeat jazz, and a must-listen.

  • Reviewed by humana on October 20, 2014 at 11:25 am
  • Filed as 12-inch,Jazz
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  • Collings, Matthew – “Splintered Instruments” – [Denovali Records]

    collings_2
    What I know about Matthew Collings is that he is a British artist who enjoys collaborating with most excellent musicians. He composed and performed the pieces on this album, and they are cathartic. Take “They Meet on the Subway.” The percussive undercurrent that mimics the subway rushing along its tracks ties together the hazy vocals and other instrumentation. The instruments themselves don’t sound especially splintered, but there are many great ones, including violin, piano, contrabass, clarinets, trumpet, trombone, synth…the sounds are sometimes bordering on noise, but mostly they surround you and make you feel good. Everyone’s “Routine” should have the soundtrack on this album. The music moves you, and is anything but routine.

  • Reviewed by humana on October 20, 2014 at 11:05 am
  • Filed as 12-inch,A Library
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  • Middlemarch – “Wolf Hall” – [Time Released Sound]

    Middlemarch is Dimitris Avramidis (piano) and Ross Baker (electronics). Inspired in part by Hilary Mantel’s novel “Wolf Hall”, this is a very nicely done melodic, atmospheric, electronically treated and overlaid piano ambiance. Subtle drones, rumbles and tone manipulation throughout the September 2014 release, though at times it may just sound like solo piano. “Master of Phantoms” has more elements involved, as it is full of birdsong and submerged melodic smudges.

    Middlemarch_WolfHall

  • Reviewed by Paulsky on October 20, 2014 at 6:58 am
  • Filed as A Library,CD
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  • Raison D’etre – “Requiem For Abandoned Souls” – [Cold Meat Industry]

    With the toll of church bells heard here and there throughout this 2003 release by Raison D’etre, you will also hear chimes and strings with distant echoed drums, drones, metallic clanks, discordant chimes, haunting chorals and sub-orchestral movements, all in only five tracks that are basically dark ambient and industrial. Sounds like a bleak place populated by shadowy souls abandoned of all hope or perhaps some beautiful and haunting story being told. Tracks can also be played continuously, but #5 ends one minute early.

    RaisonDetre_RequiemForAbandonedSouls

  • Reviewed by Paulsky on October 20, 2014 at 6:55 am
  • Filed as A Library,CD
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  • Zeek Sheck – “Joinus” – [Resipiscent Records]

    zeek_joinus
    Holy guacamole! Can this really be the end of the Zeek
    Sheck saga, it must be a trick or a trap or some part
    of the battle between Beepers and the Cloud People
    (for further investigation : http://zeeksheck.com/ )
    The goddess behind this cosmic comic book, Rose
    Perkin-Meyers has assembled some like-minded brain
    washers and sound scrubbers, including the mightee
    Liz Albee, our friend Moe Staiano, Matt Ingalls
    and more. As a result the music here is never
    airtight, the concluding side long piece (behind
    the green door?) “The Mind Will Travel” works
    its way from bachelor pad to volcano sacrifice
    (or is someone tied in front of an oncoming train)
    before fritzing out on synth blitzes, and then
    this gorgeous piano (are spiders playing it?)
    trickling underneath a soliloquy of pain and pride.
    That’s just one song. Is this double LP a game,
    there’s a maze in lyrics and concept…and if
    there’s a way out, I don’t want it. I’m going to
    call the Red Door an opening to a pop album in
    another universe, Sure, it ends with “we’re all
    going to die” and isn’t that the feeling most
    pop music elicits? The blue side has weirdness
    and Sheckian martial pound percussion. “Slow
    Walking” hits hard, keep on moving. Whirls of
    gunfire on “Joinus” in case you though this battle
    wasn’t real. Meyers tweaks her voice and themes,
    on “Son” she’s gotta hayseed delivery (the
    country chart-topper?) and a sweet tale from a
    dying loving father? Possible euthanization?
    Open the side-long yellow door and “Notch Your
    Stick” odd ball intro leads into a pointilistic
    jazz-like game of tag in a forest between Ingalls
    and Allbee. There’s a heavy synth vibe, but if
    you weren’t into Zeek Sheck before (she’s visited
    KFJC in the past, but that only added to the
    confusion) then now is the time to Joinus. There
    must be more, Dot Dot Dot…

    One of thee albums of the year I suspect!

    -Thurston Hunger

  • Reviewed by Thurston Hunger on October 16, 2014 at 6:34 pm
  • Filed as 12-inch,A Library
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  • Ellard, Tom – “80′s Cheesecake” – [Dark Entries]

    TomEllard_80sCheescakeJacket-300x300
    Culled from two 1982 cassettes, Ellard was a brain working
    outside the body of the Severed Heads. Jump to today and a
    modern meme, Ellard had seen copies of the original Cheesecake
    eBaying about for horrific prices, so that helped spur him
    to reissue the work granted with some help from Josh of Dark
    Entries, who thankfully also persuaded Ellard to include
    some of the trashier passion (plenty of barking dogs to
    bite off the second side). Samples are strewn throughout,
    radio and TV speaking tongues; all captured (and not so
    easily) with tape and splicing, and panning/potting and
    other mad scientist work. Things today that might have
    an app on your infant’s iBib, were a lot messier then.
    (And to be fair, it appears Ellard may have post-processed
    three of the tracks on the first side, although post-milennial
    equipment was fed only vintage sources. Willful drum machines
    and other analog anicents, get hammered into herky-jerky
    rhythms, built from scratch. Ellard may have found his own
    Bush of Ghosts in Australia. It’s not just the samples, but
    the clutterfunk, and dirty sweet industrial. “The Ritualistic”
    features a detached lecture juxtaposed with a wafting siren
    snippet. Ecstacy in clinical and more physical forms! Another
    contrast between the end of side 1 and the start of side 2,
    both jump-cut upbeat, but “These Are The Words” more smooth
    and sinewy, with bassline and some coherence, while the “Word”
    on side 2, blitzes and fritzes out excellently. Even before
    the big thick quick oscillations strike, it’s a scattered
    series of torn transmissions. “Cross” speaks to the danger
    and promise of accidents, “almost hit by an ambulance.” Ellard
    manages to dodge a similar risk here, in rescuing old sounds,
    he did not kill them at all. Didn’t remember the 80′s
    tasting this good.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on October 16, 2014 at 6:31 pm
  • Filed as 12-inch,A Library
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  • Darvaz – “Failure Is Possible” – [Chambara Records]

    darvaz
    CDR from San Francisco duo, Dereck and Emily Donohue
    (on Dereck’s Chambara imprint). Dense and dark
    claustrophonic pieces, should work well as Halloween
    creeps up on us. Speaking of which, their band name
    translates as “the door to hell” Check out
    www.youtube.com/watch?v=BOsBa7BXYHc for a look at
    a 35-year gas-burning crater in Turkmenistan). Much
    of the loops here are lava slow, Emily (nee Trixy
    Grace) gives the heavier dronework more buoyancy
    with disembodied vocals floating on #1. Male moanage
    on #2, possibly with refracted violin! Sampled vox
    intone the title “Neck Wood Rail” on #5, chittering
    electrobirds made more sense on that to me. Kinda
    Conet project from the underworld? #4 has a whistle
    while you work almost happy start (I said *almost*)
    later that gets trimmed to the opening trill, that
    sample slows down becoming like a sad question.
    Pitchwheel follies follow, it hypnotizes you over the
    flames below. Many tracks bleed that deep, distorted
    bass buzz burrowing. Bought and possibly conceived at
    Amoeba Music..

    -Thurston Hunger

  • Reviewed by Thurston Hunger on October 16, 2014 at 6:29 pm
  • Filed as A Library,CD
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  • Odd Nosdam Featuring Jessica Bailiff – “Untitled Three” – [Anticon.]

    333

    god damn is this a collaboration to write home about. Odd Nosdam stands at the helm of hip-hop’s avant-garde with his crooked, broken, bottom heavy beats pickin hard at the heart strings; add Jessica Bailiff’s distant dream-laden vocalizations to open and close and a lethal injection of instrumental beauty from herself and her partner in pageantry Jesse Edwards (not to mention local cat Dax Pierson cutting deep with the melodica and other goodies on a particularly moving track), and you get some of the most gorgeous production I’ve heard on anything that can claim street cred. passionate, raw, but dare i say ethereal? definitely not

  • Reviewed by abacus on October 15, 2014 at 11:02 pm
  • Filed as 12-inch,Hip Hop
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