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Ambient tones with sparkly clanging noises. Canadian poet and musician also of Nadja, ARC, and Mnemosyne. Track three has horror film vibes. All tracks will get their time on air.
Started by the Milwaukee kids from Boy Dirt Car. This album is from 1993. Noise jazz with reading/spoken word about ethnic cleansing and bombings of cities. Bells and horns and synth sounding like airplanes. Tribal drumming. Non sequiturs about hot dogs and martinis and fatness. Creaking door sound that goes on too long on track four is amazing. Track nine gets bluesy. Track ten is the crunchiest.
Spacey cooing. Some trancey beats and vocalization, like Gregorian monks chanting. Or a didgeridoo. Tat tvam asi is sanskrit for “thou art that.” German electronic goodness without an “uh” at the end. Kind of.
This non-profit has been supporting experimental artists since 2002. This album is a taste of the performances to come this week. Plenty of delicious skronky horns and playful sounds. I like track three, Brandon Evans, for some heavy brass and track nine, IMA, for its out this worldness.
This fine Belgian surf band is back with another winner – 11 new songs to show off their variety of sounds – I hear psych, reggae, Middle Eastern, Bollywood, spaghetti Western and more – with original use of effects and fine playing. Some wink-wink innuendo about the Mile High Club. Solid, great fun!
California producer Bezier from the Honey Soundsystem collective is a hardware synth fan so this 2016 EP has pretty much the soundscape of hardware synths with tentacles towards more modern synth disco without getting too deep into the Italo or Norwegian disco genres. We are talking about arpeggiators and synthesizer melody motifs, with influences from house, 8-bit music and simpler techno. Wish he was a even more adventurous but if doing progressive electronic disco you need to know the limits and as so this EP has moments of wonder. Last track even has parts of virtuous synthesizer jazz soloing which usually is rare with electronic music releases.
Regel #6 and #7 are the continuation of Mattin and Anders Bryngelsson’s Regel project where the concept is to take the essence of a musical genre by distilling and mimic:ing it into the core meaning of it’s conceptual music, or the rule of the music style addressed. This time they attacked techno (on A side) and drone music (on B side.). Basically you take the intrinsic meaning of the style and follow it’s guiding principles with the bare minimum parts, as long as possible. It might sound academic, or even repeat-full boring, but at the same time it’s a fascinating attempt to create art of art itself into what is the meaning of it. To some degree, the listener might even get disoriented due to the repetitions with subtle changes that might be heard at the third listening.
The Cock E.S.P.-affiliated Wisconsin label’s 1998 release (originally intended for a 10″) from Peter Nystrom’s cult contribution to Swedish Death Industrial. Despite taking obvious influence from Brighter Death Now, In Slaughter Natives and Lustmord, Nystrom is famous (very relatively speaking) for his particularly refined take on the Industrial genre. An obsessive approach to production and almost unparalleled ability to blur the line between the beautiful and the sinister have made Megaptera’s catalogue highly collectible. Carefully layered synth drones, heavy pounding rhythms, smothered samples, sickly melodies and a soundtrack-like flair for atmosphere make up the recipe for success on these four cold and minimal compositions. Most of this material has a curious subaquatic feel. KFJC has different versions of ‘Final Day’ and ‘The Passage’ on Malignant’s ‘Staring Back At You’ comp; the version here of the latter seems to actually be a compressed remix of the version from the classic ‘Disease’ release. I think the other two tracks are unique to this CD. Nystrom may have had help on these recordings from The Protagonist and a mysterious Jennifer. By the way, the cover art was selected by the late Marco Corbelli (Atrax Morgue, Slaughter Productions), who seems to have been a huge supporter of the project. ‘Mass Murder Part II’ and ‘The Passage’ sample cinematic psychos. Said simply: pseudo-songs supporting slow suffocation
Saxophonist Logan was a respected, though erratic, figure in the early days of free jazz. He only made a couple of records and played with a small number of notable musicians, and then pretty much disappeared for decades. With a great deal of support from admirers, he seems to be making somewhat of a comeback and that’s a good thing.
This CD is an airy, spacious affair featuring Logan on sax and solo piano (track 3), Jessica Lurie on sax and flute, and Larry Roland on bass. No drums. Guitarist Ed Pettersen (who also produced the CD) plays mostly subtle textural /looping things underneath, which gives the music an interesting flavor. My favorite parts are when Logan is on sax and Lurie is on flute–we hear some truly inspired conversation.
The liner notes tell us the story of how Logan was tracked down and brought into the studio to record this CD.
Man, I so want to enter this into KFJC’s “blues library”
Biarritz Boys, The – “Come Enjoy The Hip Slick Super Sexy Ultra Violent Surf Sound” – [Self Release]
Biarritz is a French seaside resort on the Atlantic Ocean, but the Biarritz Boys are a surf band from the Netherlands. This outstanding LP has all original songs, originally and well played. All the good stuff – tremolo, double picking, good energy with a bit of dark side. Guitars, bass, drums with keyboards and trumpet thrown in here and there. Another stunner from a European surf band.
Translates to “giggles with friends.” Came with nice note from <3 Howard mentioning that his group is on On The HiFi Vol. 11 and it is coming soon and thanking us for our support of vol. 10 last year. First tracks on either side are Lo Fi sounds of folk electronic melodies with fuzzy beats and second tracks are straight up rock folk.
Snappy twirly jazz. Track two is more serene than the others. All nice medium length tracks. Crashing percussion and twittering horns. Newly formed group of Brigid Burke on clarient, Steve Hall on pianio, and Mark Zanter on guitar.
45RPM split between two grindy bass/drums duos. Sete Star Sept is noisecore from Tokyo and Godstomper is powerviolence from San Jose. Both bands have played at KFJC, with Sete Star Sept returning for a third time(!) this coming August. The record came out this year but the recordings are from 2012-13. Each side is about 12 minutes long.
Sete Star Sept’s side is blown-out, frenetic, frothy and desperate, unmusical despite its precision. Bassist Kae vomits herself hoarse and while tapping out athletic fuzz lines; Kiyasu keeps up with a furious jazzcore drum assault. It sounds like S.O.B. and Gerogerigegege had an angry baby. The side can be played all the way through as a continuous harsh-noise piece or drawn upon for isolated microblasts of alien hardcore. Song titles hint at a theme of industrialized animal cruelty.
I had some trouble getting into the Godstomper side because I’m not a big powerviolence fan usually (maybe it’s the pseudo-Minor Threat vocal style that plagues the genre), but the material grew on me somewhat because of the murky bass production and palpable energy. Hardcore fans, whether they prefer Black Flag or Despise You, will be happy with this stuff. The final track is quite a bit longer and slower and maybe even a little catchy.
To be totally honest, Sete Star Sept’s side is considerably more exciting than Godstomper’s. Don’t hurt me.
Cohn, Al; Mitchell, Billy; Coker, Dolo; Vinnegar, Leroy; But – “Night Flight to Dakar” – [Xanadu Records Ltd.]
Recorded live in Senegal in 1980, 10 knock out tracks from these five fine jazz musicians from the United States. They played without rehearsal to enthusiastic audiences – many had not heard jazz before. Not African music, American jazz. Excellent hard driving tracks, blues, and sexy slow songs. VERY VERY GOOD!!!!
I.B.M. – “From The Land of Rape & Honey (The Suppressed Tapes) 1995 -” – [Interdimensional Transmissions]
A double-album with restored tapes from Jamal Moss’ Insane Black Man (I.B.M) period of 1995-2005 — murky, murky industrial dance techno with continuous patterns swirling and swirling and less interest in developing tracks, where the beginning and endings are simple fade in/fade outs. Jamal himself describes his music as “post industrial angst in an urban environment.” It’s like Kraftwerk moved into the ghetto and took on a new muddy warehouse music persona. The machine-sounds compete with human angst and frictional pulses with half-manic aggression — chaos out of music and back into semi-temporal pulse patterns that throb on like a factory line. Technology noise transcending into oblivion. It’s human but it’s not pretty.
This is Friction’s 1995 album release, Japanese pioneer and long-running alternative rockers meet seventies riff rock and throw in experimentation such as drumNBass and techno beats sometimes into the mix. The singing – mixed as half-manic singing eq:ed like a megaphone – works wonders on these tracks. The lyrics are a mixup of Japanese and English words with some logic but who knows. A lot of guitar riffs are actually loops which throws in a hip-hop like wrench into the mix. As such this 1995 release pioneered a lot of the concurrent guitar-trio techno sound that is happening. Most tracks are hard-edge noisy riff hook songs with an anarchic feel. Some tracks are here released as alternative, refreshing and experimental remixes. This album is a good example of the Friction sound of the nineties where the band has constantly evolved and released diverse material along its career.
Poland’s Horologium is the slightly esoteric Martial Industrial project of Grzegorz Siedlecki. This is the project’s fourth album, from 2008, and features vocals and lyrics from British author, publisher, Pagan revivalist, National-Anarchist activist and erstwhile Von Thronstahl co-conspirator Troy Southgate, whose unconventional synthesis of political ideas has made him something of a bete noire to both the English far Left and far Right. In my own occasional correspondences with the man he’s always seemed a perfect gentleman and a deeply thoughtful dissident, a true rebel in a civilization full of artists who parrot the status quo while flattering themselves that they’re radical iconoclasts.
Reached for comment, Southgate says he recalls this album as a particularly fruitful collaboration. His dense lyrics, sometimes chanted, sometimes sung, sometimes intoned, sometimes declaimed, deal with anti-Christianity, Nietzschean morality and Man’s place within the natural order. Excerpts appear from Nietzsche himself (t.6) Oswald Spengler (t.2) and Herman Hesse (t.7). Several female voices appear as well, including Southgate’s wife (t.6). Southgate has written quite a bit about the so-called ‘Neo-Folk’ scene, and his vocal style is clearly influenced by Richard Leviathan of Strength Through Joy, Ian Read of Fire + Ice, Michael Moynihan of Blood Axis and David Tibet of Current 93: this is not to say that his performance here is derivative, however, and the same rhetorical skills that presumably led to a career in politics are in full evidence here.
The music is as superb as the lyrical content. ‘Horologium’ is an old word for clock, and Siedlecki’s compositions are indeed clockwork-like, incorporating robotic timpani loops, yellowed scraps of classical music, and strange machine noises. The fastidiously produced pieces sound like someone with OCD composing in the style of The Moon Lay Hidden Beneath A Cloud, Allerseelen, Stormfagel or the aforementioned Blood Axis, but, again, this is pretty interesting music without reference points.
A vicious little CD that ought to ruffle some feathers. “The honourable end is the one thing that can not be taken from a man!”
ERL is a record label run by Dave Belem and Jack Wingate out of Albany NY. ERL is also a band on that label, and that band’s first full-length release is titled “ERL”. It sounds to me like a guitar trio, but I can’t find any information about the personnel, other than a cryptic note from “Squealer” included with the vinyl.
Limited to only 100 copies and packaged in a spray-painted recycled record sleeve, the album contains two untitled sidelong tracks of Dead-C-esque free-improv guitar rock. Jagged riffs drenched in feedback and reverb, heavy droning chords and frenetic noodling. A definite crowd-pleaser!
FCC ALERT: Side B starts with a very short track of looped vocals containing repeated “ASSHOLE”. Drop the needle after that and you’ll be fine.
Released in 2014, this is the debut 7″ from Infinite Plastic Internal, a project of Mark Pino of San Diego. This release incorporates drums, ring modulator, synth pedals, and a unique home-made instrument Pino calls the “Pan Feedback Flute”.
Radioactive Cloud Alert is a free-yet-groovy thumping drum solo over faint warbling synths.
Spectrum Studies 1 is noisy and droney. Heavy machinery sounds: grinding gears, hydraulic forklifts, humming conveyor belts. Bowed metal and screwy scribbly electronics.
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