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The title of the album should have clued me into how much I would love this. There are donuts on the cover, for Pete’s sake. I have a sweet tooth for sure, but this music is anything but cloying. Is it Shane de Leon’s amazing lyrics that are so fascinating to listen to? Is it Jeanne Kennedy Crosby’s quirky in just the right places bass? Or maybe Andy Brown’s drums that punctuate this psychedelic piece de resistance so wonderfully? Truly satisfying from start to finish, I thoroughly enjoyed blasting this in my car and rolling the windows down so everyone could hear how awesome it is.
When I first heard this music composed and performed by Alison Chesley, aka Helen Money, I thought, no way is there just a cello on here as the stringed instrument. But there are no guitars. Drums, piano, and drum loops, yes, but cello only, played in Chesley’s unique style that starts out with spare classical precision and evolves into metal rock doom effects that are masterful. This is something Cy Thoth would love. She hails from Los Angeles but is now from Chicago, and she’s hella amazing.
I need to describe how this sounds without any knowledge of the band itself, except that its label is Chaos of the Stars, which is fairly apt in describing the sound. There is chaos and drone, and electronic ambience that borders on noise at times, but there is also the prettiness and comfort hinted at by the mention of heliotrope, which has purple flowers. Just think of how these flowers would sound if they were descending as shards, and you’ve got the sound. Also, the third track starts out reminding me of sizzling bacon grease, but then I realize it’s more of a blipping electronic sound. Very interesting music indeed.
split black metal maelstrom: Bavarian beasts Rites of Cleansing with feral barrage of brutality; lycanthropic ferocity with a slip of country sludge. Torch of War from the hills of Saxony, icy melancholic opaque brilliance. the coldest, sharpest blade cuts deepest; and madness consumes any and all completely.
a young Bengali boy refuses to follow in the footsteps of his wealthy, conservative parents; with dreams of a professional singing career he seeks out a guru and under Dilip Babu he flourishes, winning national contests and soon becoming a household name. traditional Indian modes via western strings and active tabla rhythms support his heartfelt songs. vintage recordings hearken back to a country calling for independence, thriving in modern culture but still grasping its cultural roots.
obscured lights flashing smoky beats reflected off the industrial haze of long-dead Manchester machinery (though Detroit chugs steadily in the rusty reverberations). hypnotic minimalism, repetitious bass stabs, and sinister synth rumblings; the b-side epic shines brighter and with more dilligence, hope is more apparent but doom still imminent. disco for robots left out in the rain.
This album features Bernard Brauchli playing clavichord compositions written in the 1500′s and early 1600′s. He performs on a period instrument – the Tosi Clavichord – which was built in 1568. Doing this review, I learned that clavichords of this era use fretting – more than one note shares a string. This saves space, but means that some note combinations are impossible.
These tunes are readily identifiable as coming from the Renaissance, but the sound of the clavichord is interesting – sounding guitar-like at times, with a bit of twang. Fun to compare to modern electronics in a way.
The duo of Andy Pyne and Dan Cross plays improvised, experimental and psychedelic rock in this August 2014 release. “Sunrise City Flux” (Side A) has Pyne pounding away on his drums and Cross has staccato guitar details flickering in a haze of fuzz and reverb that is quite rhythmic and danceable. “Exit via Ocean” (Side B) has some pretty harsh trebly drones and crashing cymbals that build into a lumbering lo-fi noise-rock groove towards the end.
split side-long cassette of LA avant-weirdo ceremonies. CT Assaults dish trash trance power silence, transcendental wave thrill billy, ronky stomp apocalypso. PResent, not the Belgian prog outfit but their twisted twins(?), evoke an orgiastic racket of psychoactive landscapes in the free-freak temple of dementia. from rumbling crumbling mountaintops to dank and hazy jungles. wildlife is rampant in the bush, and insects the size and shape of your cortex. hip trips
Ken Nordine and Charles Nelson Reilly spent a fortnight in a bomb shelter?
Dormant for a decade, the erstwhile Wire bassist delivered twin
2012 release on 50 Weapons from Rene Pawlowitz. You
dual graft of grindcore from two Socal thrashers: Bruce X Campbell grieves gape faced zombie vox grind-griping about everything from systemic oppression to lost love. cinematic sludge guitar sometimes clean but always with a jagged edge with false start-stop tempo changes. Green Terror sicks a rabid dog on a rampage, or body chomping hogs, or feral cat skreeling? manic metal ghetto blasting raging screaming killing and choking and gagging and foaming. Charles Manson is Jesus and Hitler only had one testicle.
Vitae Iactura, meaning “waste of life”, is the primary release from black metal Hayward kids Xenotaph. So kvlt you can smell the corpsepaint. Xenotaph is a trio, consisting of a drummer, a guitarist/vocalist, and a guitarist/bassist/effectsperson. Our version of the cassette was put out by Transylvanian Tapes and recorded at Earhammer Studios, so it’s all local. This is cold, cold metal, very much influenced by all those troubled young men in Scandinavia (Darkthrone is a popular comparison). Tracks last between six and eight minutes, providing enough time to sink into them properly.
Instrumentations consists largely of guitar riffs and blast-beats, but there are also many slow, creepy portions to bring on the despair. Track 3 has particularly infectious drumming, and the guitars take on an interesting, almost Eastern-European folk quality at times while retaining the metal character. Vocals are sometimes moaned, sometimes growled, sometimes barked, and always raspy and hoarse. Lyrical themes include not limiting oneself by bending to the will of society, blasphemous rituals, and avenging animal rage.
Track 4 is an instrumental, effects-heavy soundscape. The trees. The wind. The crunching of snow beneath your feet, the sound of shadows as they stretch bare branches into dark claws that reach slowly across the blue-and-white ground. It’s all there, it’s eerie, and it’s beautiful. Follow the voices.
Heavy, doomy, nightmare-inducing metal music from the graveyards of Montreal. Haunting stoney sludge from Paulina Richards (vocals), Guillaume Pilote (guitar), Nick Richards (drums), and Ari Isensee (bass). Just recently added their split with Jucifer.
The female driven vocals really give this one a satisfying punch in the face. Nice long tracks here on Choking Hazard Records. Quality Canadian dirge..
New release from Oakland-based stoner punks. Six tracks on this single-sided green cassette, and it’s all over too fast. Great dirty tracks about smoking pot, smoking pot, and Oakland being a mecca for smoking pot. Sometimes the vocals are screamed, sometimes a nice low growl, all backed by head-smashing, rusty punk. My favorite is the story of the “Full Blown Marijuana Addict.” Watch for FCCs.
Put this in yer pipe and watch it buuuuurn….
orchestral epics of lunar escapes. astronomical agit-prop narration inciting rocket travel exploration with symphonic soundtracking and interstellar field recordings. spaceship machinery, bleeps bloops and blastoffs. musical rocket fuel for the wandering mind
Lots of loud rockin blues out of Natchez Mississippi. Elmo fronts with vocals and jams wildly distorted riffs on a Fender, while Hezekiah plays the snare drum and harmonica (simultaneously). Pretty simple, fuzzy, raw, crankin’ electric blues. 1998 release from Fat Possum Records. My favorites: Blue, Booster, Hoopin’, and Natchez for the loud distortiony sound.
A second album from Lord Tang (aka Dominic Cramp), Gigante Sound (Oakland). Wish I had more experience with ambient, but that seems to be the space that EP falls into … All slow electronic instrumentals … with three of the five tracks being light industrial dub I suppose.
Botanist is an experimental black metal project that is the world’s first band to use distorted hammered dulcimers as its primary instrumentation. “VI: Flora” is the San Francisco-based project’s sixth release and is a progression from the misanthropic masterplans of the destruction of mankind at the hands of plants as detailed on their previous two albums. It’s the story about this crazed man of science who lives in self-imposed exile and as far away from Humanity and its crimes against Nature as possible.
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