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

Fusinato, Marco – “Ambianxe” – [Spring Press, The]

Australian noiser and installation artist. Recorded in Tokyo. Crunchy squeeky. Sounds like the needle is messed up. Guitar? Maybe. B side sounds like a buzz saw, feedback and static. Be aware, there’s about six minutes of silence and a loud come back of noise. False end with scattered scratches and then clapping.
- Billie Joe Tolliver

  • Reviewed by billiejoe on March 4, 2015 at 6:28 pm
  • Filed as 12-inch,A Library
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  • This Gift Is a Curse / Hexis [coll] – [Monotonstudio]

    Seven inch split from two metal artists. Hexis from Denmark is doomy with muddy cookie monster vocals. This side chugs along like a march of war. This Gift is a Curse from Copenhagen starts with a quiet noise opening. Super fast guitar and drums with pukey vocals. False ending. No FCCs.
    -Billie Joe Tolliver

  • Reviewed by billiejoe on March 4, 2015 at 6:23 pm
  • Filed as 7-inch,A Library
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  • Vasilisa The Beautiful – Junko/Sachiko

    Harsh Vocaly and Electronic Noise
    Violent rising and falling
    Repeated Death
    Annoyingly Good
    Terror

    a0154486712_10

  • Reviewed by mrpantsfancy on March 4, 2015 at 6:18 pm
  • Filed as A Library
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  • Melton, Matthew – “Outside of Paradise” – [Southpaw Records]

    Matthew Melton, of Warm Soda, is a prolific, sort of “outsider”, power pop/garage rock West Coast cult performer who writes his own songs about pathos and longing, yet performed in this most upbeat manner that catches you by surprise half way through a listening. The tunes on “Outside of Paradise” are extra songs he had recorded between 2007 and 2014. Each song is this great little 3 minute (give or take some seconds) power bomb of danceable head wagging fun, with a whole bunch of sad mixed in. Guitar heavy, played by Melton, along with bass and drums, played mostly by him, with some assistance. He falls down on his knees when playing (and he’s serious). He wants you to go with him. He wears his leather jacket shirtless. He has bitchin’ early ’80′s hair and a mustache that wins. He plays kick ass guitar and sings his heart out. He is Matthew Melton. Viva Power Pop. Viva Matthew Melton.

  • Reviewed by Naysayer on March 4, 2015 at 5:20 pm
  • Filed as 12-inch,A Library
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  • Dan’l Boone – “Dan’l Boone” – [Drag City]

    The Buzzcocks said “noise annoys”. Yes it does, especially when done well. The release from Dan’l Boone, called “Dan’l Boone”, beautifully does what the Buzzcocks said and they do it with such skill and dare I say, joy. Made up of Alexander Moskos, former AIDS Wolf guitarist, Nate Young of Wolf Eyes, Neil Michael Hagerty of Royal Trux and Howling Hex and Charles Ballas also of Howling Hex, these four guys are professionals at the abrasive, the loud sound, the squelch. This six song exploration of sound is at times almost Dada in it’s approach. For instance, a 12 note music sample was supposedly cut up into 300 different pieces and then randomly spliced back together. Interviews with the group members state a practiced randomness to the approach of making the tracks. Sounds do bounce off of one another but why does it not sound chaotic? It is, but there is a calmness to this that makes the listener appreciate the individual artist as well as the group. A collective, by all means. And what makes this meditative chaos? Guitar, bass, organ, drumming, loops, lots of loops, electronics, sound bits, muffled vocals, some clear vocals but limited. Repetition. Randomness. An assuredness to let things happen.

  • Reviewed by Naysayer on March 4, 2015 at 4:39 pm
  • Filed as 12-inch,A Library
  • Comment on this review
  • Dan’l Boone – “Dan’l Boone” – [Drag City]

    The Buzzcocks said “noise annoys”. Yes it does, especially when done well. The release from Dan’l Boone, called “Dan’l Boone”, beautifully does what the Buzzcocks said and they do it with such skill and dare I say, joy. Made up of Alexander Moskos, former AIDS Wolf guitarist, Nate Young of Wolf Eyes, Neil Michael Hagerty of Royal Trux and Howling Hex and Charles Ballas also of Howling Hex, these four guys are professionals at the abrasive, the loud sound, the squelch. This six song exploration of sound is at times almost Dada in it’s approach. For instance, a 12 note music sample was supposedly cut up into 300 different pieces and then randomly spliced back together. Interviews with the group members state a practiced randomness to the approach of making the tracks. Sounds do bounce off of one another but why does it not sound chaotic? It is, but there is a calmness to this that makes the listener appreciate the individual artist as well as the group. A collective, by all means. And what makes this meditative chaos? Guitar, bass, organ, drumming, loops, lots of loops, electronics, sound bits, muffled vocals, some clear vocals but limited. Repetition. Randomness. An assuredness to let things happen.

  • Reviewed by Naysayer on March 4, 2015 at 4:39 pm
  • Filed as 12-inch,A Library
  • Comment on this review
  • Boss Martians, The – “13 Evil Tales” – [Dionysus Records]

    The Boss Martians are a 4-piece band (guitar, bass, drum, organ) from Seattle. Around since the 90′s, they are still rocking and causing their listeners to wonder, “Is this a power pop band? Or is it a surf band?”. Excellent instrumentals on all tracks, fine vocals on tracks 3, 6, 8, 10, 11, 13. The tracks with the strongest surf sound are 2, 4, 7, 9, and 12. Some influences from horror and hot rod genres, nothing over produced here – a throwback with a modern sound.

  • Reviewed by Cousin Mary on March 4, 2015 at 3:53 pm
  • Filed as 12-inch,A Library
  • Comment on this review
  • Burning Spear – “Alive In Concert ’97″ – [Burning Spear Music Prod.]

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    Burning Spear (aka Winston Rodney) is a stalwart of serious roots reggae music. This is the live performance of a great in-depth collection of tracks representing almost four decades of work. The tracks are all energetic, swaying, and rolling with a great bass-line and punctured with a great horn section. Complete with a skewering of Columbus and Slavery, as well as tributes to Marcus Garvey, Haile Salassie, and … Jerry Garcia.

    Favorites: Tumble Down, Marcus Garvey, Slavery Days, Not Stupid

    –Selector

  • Reviewed by selector on March 4, 2015 at 1:38 pm
  • Filed as CD,Reggae
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  • Mezei, Szilard Tubass Quintet – “Canons – 2nd Hoisting” – [No Business]

    Tubadass is more like it. Heavier than heavy duty hoisting of Mezei and
    three fellow bassists and then smack dab in the middle (literally, check
    out the mixing) is tuba player Kornel Papista. It starts out with Papista
    burrowing down from a starting point already in the molten section of
    the orchestra, and pulling the quartet of double bass with him. Felt
    like the lava levee was gonna break on that. “HEP 17 B” it’s abstract
    jazz but almost connects at a primal rock or roll level.
    Next up “HEP 16″ has Ervin Malina and Erno Hock sprinting like
    greyhounds on arpeggio races while we get some rubber band
    slap, scrape and rattle from Szliard and Zoltan Csanyi on their
    bases. Papista lays low some time and plays lower the other
    time, he’s almost scurrying, if a tuba can scurry?
    On the flip side, “HEP 15 F” has a kind of Escher 4 note riff
    that launches some nice bowed bass lines, this is the most
    string featured number and it’s pretty amazing the interplay
    and teamwork that four bassist muster. Malina (I think, my
    ears on headphones still could not see so well) adds some
    abrasive sawing and the other bassist kind of derail the
    staircase of riffs for a bit, then Papista gets foghorn deep
    to slow things down, basses swirl around him, before the
    steps return and then a profound, busy and deep musical
    conclusion!

    Finally “HEP 58/2″ has a sorta swing to it, well an elephant with truck in its
    trunk kind of swing. That start and stop, prehistoric funk-o-saur
    opening and closing rhythm. A lot of drummers are going to be
    dropping their jaws and picking up their sticks for a chance to
    hammer away on a version of that some time I bet.

    We have a few other Hungarian Mezei at KFJC, usually on
    viola. This is a very different record, the combo and compositions,
    from an excellent label out of Lithuania. It’s No Business, it’s art maaan!

    -Thurston Hunger

  • Reviewed by Thurston Hunger on March 1, 2015 at 11:32 pm
  • Filed as 12-inch,Jazz
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  • West Hill Blast Quartet – “Blast #2″ – [Foolproof Projects]

    Out on Foolproof Projects, Ron Caines of East of Eden and Daniel Spicer provide the noisey aspects of this release, while Gus Garside lays down the broken-beat double-bass, and Andy Pyne of numerous Foolproof projects slams away on the drums.

    All the weird instruments give the songs a certain depth, making it free-er than free-jazz. It’s fun, spacey, and loungey in acid-freakout kinda way.

    Alto, tenor, soprano, and bamboo saxophones, melodica, whistles, shenai (double-reed oboe), melody harp, and more.

  • Reviewed by mickeyslim on February 25, 2015 at 6:54 pm
  • Filed as CD,Jazz
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  • D/U\a/l F\o/R\m [coll] – [Leaving Records]

    wow. Wow WOW Loving this much. Matthewdavid and Jesselisa Moretti founded the label Leaving Records. “Dual Form” is their collaboration with the label Stones Throw. Originally a double cassette, now sold out, this was rereleased as a CD. This project is a wonderful introduction into the twisted heads of the two founders. Great tastes for sure with nothing sounding like the other yet all of the 19 pieces being similar and united. What do they have in common? Scratchiness. Fuzzy distortion, as if recorded through an AM transmitter. Cut up beats that make the head wobble and get the listener dizzy. Repetition. Loops. Samples. Brief samples of field recordings. Experimental hip hop. Electronics. Vocals cut up and used as beats. Unclear sounds. A uniqueness that makes it difficult to classify and describe. It’s not so hard sounding. In fact the beats and electronics come off as familiar. This is not the case. Listen close. Something will bang or pop or crash. You are going to start wondering what is going on. Subtlety in strangeness. 19 weirdos doing their best to push it. Wonderful.

  • Reviewed by Naysayer on February 25, 2015 at 3:22 pm
  • Filed as A Library,CD
  • Comment on this review
  • Nippon Girls 2 [coll] – [Ace Records Ltd./Virgin]

    I mean come on, really? Do I actually need to review this? Japanese! Girls! 1960′s! Groups Sounds Boom! Go-go pop! Beat girls!
    Mini Mini skirts!
    This is Nippon Girls 2 ( as in, “Where is Number 1? I need it! And there is a Number 3! I need it!). This collection of 12 hits from 1966 to 1970 is superb fun. As the cover says “Japanese Pop, Beat & Rock ‘N’ Roll”. That’s “N”. All female led. Surf guitar influences abound. Simple four four time. Twangy guitars sometimes playing on Japanese traditional music themes. Big British and American influence. Lots of cymbal. Slow. Fast. FRUG!!!!!!!!!
    Read the amazing liner notes. Play this to death. If you don’t get it, don’t talk to me.

  • Reviewed by Naysayer on February 25, 2015 at 1:07 pm
  • Filed as 12-inch,International
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  • Shutter Island [coll] – [Rhino Records Inc.]

    The composers on this soundtrack are a who’s who of modern classical composers – very intriguing selections that provide a variety of ominous, contemplative, experimental sounds. A few tracks (Cry, Wheel of Fortune, Tomrorow Night) are popular tunes from the late 40′s and early 50′s. The last track combines the two – a mix of Dinah Washington and Max Richter – that is gorgeous and moving. Highest recommendation!

  • Reviewed by Cousin Mary on February 25, 2015 at 12:12 pm
  • Filed as CD,Soundtrack
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  • Gebbia, Gianni; Smith, Damon; and Powell, Garth – “People In Motion” – [Rastascan Records]

    “People in Motion”, the 1999 release from Gianni Gebbia (alto saxophone), Damon Smith (contra bass) and Garth Powell (percussion) is ten pieces of improvisation which covers a spectrum of sound. This is not just onslaught improvisation. This is improvisation with subtlety and breathing room as well as larger groupings of sounds. The players obviously respect each other’s playing and intuition for each is given the time and space to experiment and explore with their musical ideas. Some parts of the pieces are downright harsh but others are thought provoking and humorous. Not that harsh is never thought provoking. It is simply the mix which makes the project more enjoyable. Seriousness and humor are shown right up front with the front and back cover art. This prepares us for the opposites that will be within the music. Track 1, “All Across the Nation” starts out with mallard calls and reed blowing sounding like duck calls. An interesting way to catch our attention. By track three, “A New Explanation”, the trio is playing over and around a recording of a gamelan orchestra. The following tracks are interplays with the three musicians, sometimes falling into straight ahead jazz soundtracks (for moments) and then exploding into a more free form experience. All tracks are worthy of our listening attention.

  • Reviewed by Naysayer on February 25, 2015 at 11:42 am
  • Filed as CD,Jazz
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  • Carletti, Juan Pablo / Tony Malaby / Christopher Hoffman – “Nino / Brujo” – [Nobusiness Records]

    Nobusiness, the superb music label out of Lithuania, has done a remarkable job with this project by drummer Juan Pablo Carletti, cellist Christopher Hoffman, and tenor sax player Tony Malaby. Carletti, from Bueno Aires and now stationed in New York City, has created seven pieces of lush beauty and sophistication which never feel static or produced. The exceptional teamwork of this trio, all who have earned their chops with numerous groups and projects of quality and respect, play off of each other in improvisational stylings that are never blurting or squonky. There is a gorgeous flow to each piece, some subtle and quiet, others almost ready to explode, yet all of which are easy on the ear. So much improvised music can start to sound like a bunch of duck calls all going off at once (and don’t get me wrong for that is a sound i love). Such is not the case with “Nino/Brujo”.
    There is a respectful interplay between the sax, drums and cello. Space and time are allowed, giving the listener’s ear a chance
    to take in the sounds. Malaby’s sax is smooth and lush, not tinny. Hoffman plucks and pulls the strings as well as bows, exploring the tonal qualities of the cello. Carletti, influenced by the current New York scene, as well as his own skill, uses hands, mallets and other implements, besides the sticks, to drum. An exquisite addition to the library.

  • Reviewed by Naysayer on February 24, 2015 at 9:35 pm
  • Filed as 12-inch,Jazz
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  • Sediment Club – “30 Seconds Too Late” – [NNA]

    Sediment-Club-9447

    in the slashed and oozing vein of no wave, these panicked punkers ambiguously sprouting from the dismal abysmal streets along the eastern seaboard are raging through the know nothing scenes of warehouses, back alleys and squats. lopsided stumbling too drunk to stand but ferocious nonetheless; jagged assaults of angular rock with vocals fuming and foaming, guitar gutting gone woozy on the whammy, and a drummer glazed and lost in his own frenzy. ugliness making one hesitant to call it ‘art’ rock per se, but i guess that’s post-modernism isn’t it…

  • Reviewed by abacus on February 18, 2015 at 8:31 pm
  • Filed as A Library,Cassette
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  • Casey, Al and McShann, Jay – “Best of Friends” – [Jsp Records]

    Fine jazz/blues guitar work from Al Casey (NOT the surf guitar guy) and piano from Jay McShann. Really swings, high level of musicianship, very catchy. Some nice bass solos here and there. McShann’s vocals on A3 and B3 are sweet. What fun!

  • Reviewed by Cousin Mary on February 18, 2015 at 2:22 pm
  • Filed as 12-inch,Blues
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  • Sapat – “A Posthuman Guide to The Advent Calendar Origins of The Peep Show” – [Sophomore Lounge]

    If Captain Beefheart joined God Speed You Black Emperor
    and said “Maybe we can mope less and squeeze in an
    orgy of horns?” Nah that’s not it. And how do you explain
    the intro with Dane Waters vocals going from epileptic
    jujitsu into a soaring sort of Catherine Ribeiro
    ionosphere. What if Cerberus Shoal were still in one
    house and one one band and replaced their hands with
    Irving Klaws? Nah. Or what if Geoffrey Holder’s
    recently freed up spirit took over Werner Herzog’s
    body and recorded some thoughts on a cassette, would
    that be Kapt. Molasses contribution here? Louisville
    Kentucky Kollectiev, part of me wants to listen to this
    19 times in a row to listen for each of the 19
    creative contributors. I’ll give props to the drummers
    Dominic Cipolla and Jeff Komara who often through
    the peculiar pastiches hold the craziness together
    with heavy precision, and no shortage of swing. The
    music mixes sinew and silk, guitar tasteful and twisted,
    horn chart heart attacks, piano with a slight regal
    flair, and voices in all the colors of the stangebow!
    A litmus test of sorts is the typewriter ransom notes
    fountain of truth and tricks on the album artwork,
    if you are down with that brain bristling epistling,
    the music herein will pinwheel your pineal ear gland.
    Shape shifting mini-epics that make me wonder why a
    million people won’t get in line for Sapat, but at
    least we can make sure the 10,000 people who will
    dig this as I do, hear about it via KFJC’s art rock
    purveyors and polishers. Words can’t catch this kind
    of album, do not let your ears miss!
    -Thurston Hunger

    3/2/2015 Fixed a miss-take, here is Dane Waters

    in further glory…. Again this Sapat album is a gem!

  • Reviewed by Thurston Hunger on February 16, 2015 at 2:55 pm
  • Filed as 12-inch,A Library
  • 1 comment
  • Morozov, Yury – “Cherry Garden of Jimi Hendrix” – [Shadoks]

    Rare Russian re-release, 11 tracks from 1973 with ten bonus
    beauties dropped in from ’74-75! PSoviet Psych?!? Definitely a
    homegrown studio of mechanical mushroom vibe, lots of guitar
    acoustic and electric, but plenty of tape trickery and a
    hint of some of his more experimental electonic work to
    come. (By the way Yuri died in 2006 at the young age of 57).
    My first take on this was a kind of Syd Barrett, Yury clearly
    embraces the outside aesthetic (check his quote about the
    “narrow corridors” of the temple of music in the nice liners
    along with some great shots of his wild-eyed ways. While doing
    this on his own, with rough equipment, he found a job at the
    big Melodiya studios, which likely affirmed his desire to
    make music with rougher and truer edges. Lot’s of singing
    styles on here, Yury can sing sweetly or howl and yelp
    ya-ya-ya with distortion. Choirs are built perhaps just from
    Yury and his wife Nina’s voices at time, on #9 and #17 for
    example, the latter a soviet synth to boot. While maybe
    poor in instruments (toy piano tinkering, simple flutes are
    also sprinkled in) his short songs are often rich with
    ideas. Often before they get too catchy, he’ll turn things
    off in another direction. There are flavors of the west
    (the title refs a Chekhov play with a US guitarist folks
    might have heard of). #18 has a hint of “All Along the
    Watchtower” but whistling, and gently warped into
    something all together differnt. Kak zhal that Yury is
    gone, didn’t the Soviet isolation help him flourish in
    his independence or put walls up holding him back.
    Hell if I know, but this is an excellent discovery.

    -Thurston Hungerovich

  • Reviewed by Thurston Hunger on February 16, 2015 at 2:53 pm
  • Filed as A Library,CD
  • Comment on this review
  • Damaged Bug – “Hubba Bubba” – [Castle Face Records]

    Used to be you’d go to a bar and find at least two
    galactic travelers – you know an Ultraman enemy and one
    of JT Kirk’s exes. They’d bypass the adult beverages
    and just get drunk on the light organ. They’d ask you
    if you could take them to Brian Eno, and laugh with
    high shrilling bi-tones when you said no. Not sure when,
    but they all left, everyone of them fled the planet like
    a dead celebrity party. Maybe this record will bring ‘em
    back. John Dwyer and Thee Oh Sees microphone decided
    they needed some time apart, so Dwyer built a rocket ship
    studio out of old analog synths (mellotron on board!),
    some tin foil, grumpy drum machines and all the red lights
    ever used in Sci Fi films before Star Wars. Guess what,
    his ship launched better than that Orbital Sciences dealy.
    Damaged Bug has a mix of gravity and levity that keep it
    in steady pop orbit. It’s a fine, mechanical toe-tapper
    of an album guaranteed to give your robot hiccups.
    I thought I sensed some Silver Apples baked into that
    tasty “Sic Bay Surprise.” “Metal Hand” has vocoder lips.
    Some of the drums on the album are played by primates!
    “SS Cassidiner” is an experimental lunar noodler doodler,
    “1/2 An Airplane” also shuts off the communication
    device. But Dwyer’s deadpan delivery and lively lyrics
    (“Hubba Bubba” is in part about that gum you used to
    like, coming back in style maybe?). We got a plain
    black vinyl copy, but I assume somewhere there’s a 12″
    pressed out of fossilized Tang crystals.
    -Thurston Hunger

  • Reviewed by Thurston Hunger on February 16, 2015 at 2:53 pm
  • Filed as 12-inch,A Library
  • Comment on this review


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