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

Love of The Farthest – “Providing Water and Drought” – [Utech Records]

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Typical of what one would expect from Utech. Dronish ambient music that is tame overall with a few hints of darkness. Lots of layering and subtle changes. Thankfully, no annoying metal “throat” vocals. The adjective shimmering has been used frequently to describe this elusive artists work. Upon first listen I thought of Michael Gira’s solo project the Body Lovers and the heavy drone elements of the Hafler Trios early work. Track 4 is the strongest and clocks in at 15 minutes in length

  • Reviewed by Jim Hunter on May 24, 2017 at 4:57 pm
  • Filed as A Library,CD
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  • Mad Professor Meets Jah9 – “In The Midst of The Storm” – [VP Records]

    jah9

    9 digital-style dubs on a blue spatter transparent LP in an edition of 1000. Pressed exclusively for Record Store day 2017 by VP Records out of Jamaica, Queens.
    Jah9 is dub poet and certified yoga instructor. Mad Professor got his name as a boy due to his fascination with electronics. He began his career in music in 1973, as a service technician.

  • Reviewed by Hemroid The Leader on May 24, 2017 at 4:08 pm
  • Filed as 12-inch,Reggae
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  • Thomas Carnacki – “Where’s My Love,My Eyes Are Gone,The Rains Are Coming” – [Alethiometer]

    Limited edition printing.
    Chickens. In stereo.
    Humorous tuba.
    Dedicated to those lost in Ghost Ship.
    Made from a batch of 7″s he got in the mail and farm field recordings.
    Veheug is dutch for “looking forward”
    – Billie Joe Tolliver

  • Reviewed by billiejoe on May 24, 2017 at 3:25 pm
  • Filed as 7-inch,A Library
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  • Levitas, Asher – “Lit Harness” – [Planet Mu]

    Previously of Old Apparatus and a collaborator with Michael Crowe. From London. This is his first solo album. He is also a video artist. Sounds like buzzing electronic ambient with rhythm. Pretty. Spacey. Pew pew laser guns. Engine. Ambient hazy details and wooshings. Said to be about his sleep paralysis.
    – Billie Joe Tolliver

  • Reviewed by billiejoe on May 24, 2017 at 3:23 pm
  • Filed as 12-inch,A Library
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  • Ra Al Dee Experience – “Diatessaron” – [Ajna Offensive]

    raaldee

    The mystical, oriental music project of Mors Dalos Ra/guitars,saz (of Necros Christos) and Ben Ya Min Al Dee/percussion. Driving Persian instrumentals with mystical Sinai hand-drumming Exodus meditations. All instrumental except the title tune. Wide appeal.

  • Reviewed by Hemroid The Leader on May 24, 2017 at 2:32 pm
  • Filed as 12-inch,A Library
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  • Brahms, Johannes / Festival Quartet – “Piano Quartet In C Minor, Op. 60″ – [RCA Victor/ BMG]

    brahmsop60

    Brahms couldn’t seal the deal and abated his frustration through musical composition.
    First movement premiered by Clara Schumann, who Brahms was in love with
    Often called the Werther quartet – a common theme for 19th century suicidal love birds
    Almost twenty years later Brahms is in love with Mrs. Elisabeth von Herzogenberg and he finds enough of himself to finish.

    The festival quartet came together at the summer festival in Aspen, and features:
    Szymon Goldberg, violin
    William Primrose, viola
    Nikolai Graudan, cello
    Victor Babin, piano

  • Reviewed by Hemroid The Leader on May 24, 2017 at 1:51 pm
  • Filed as 12-inch,Classical
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  • Mordecai – “Abstract Recipe” – [Richie Records]

    Montana freaks hole up in a cabin with instruments and record the experience. it’s a jangley lo-fi garage rock, slow and monotonous. most of the tracks, especially A-side, go fuckin’ nowhere, which may fit the bands lyrical content about staring at walls… B-side kicks way more ass, because it actually tries to do something with the time its taking from your life precious. I recommend ‘want to grow up’ as it sounds nothing like the rest of the album.

  • Reviewed by mouthbreather on May 22, 2017 at 5:50 pm
  • Filed as 12-inch,A Library
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  • Ghost In The House – “Second Sight” – [Public Eyesore]

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    Squaky improvised classicist jazz quartet adds surreal spoken word about Dream Machines, dockside disembodied heads, bats. Recorded in SF
    Kyle Bruckmann on oboes, english horn
    Tom Nunn – metallic pwecussive sounds
    David Michalek – strings, percussion – composed the tunes
    Karen Stackpole – gongs, percussion.
    Guests include vocals contributed by Dean Santomieri

    Spoken words on tracks 3, 6, 8

  • Reviewed by Hemroid The Leader on May 17, 2017 at 6:28 pm
  • Filed as A Library,CD
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  • Grosse Abfahrt – “Luftschifffeiertagserinnerungfotoalbum” – [Setola Di Maiale]

    grosse

    Grosse Abfahrt is a project started by Gino Robair to explore improvisation with large groups or musicians. The core of the group consists of Robair, John Shiurba, Matt Ingalls, Tim Perkis, and Tom Djll. On this album (whos title means something like “airship holiday souvenir photo album”) they are joined by Frank Gratkowski, Kjell Nordeson, Liza Mezzacappa, Phillip Greenlief, and John Bisschoff. The session was recorded at Mills College in 2009.

    Given the nature of the group, and the wide variety of instrumentation (all kinds of wind, string, percussion, electronics…) I expected something pretty frenzied and cacophonous, but it’s actually quite subtle and delicate. The artists spend most of their time listening, and slowly build intricately layered soundscapes that breath and flow.

    The album starts off sparse and droney, and slowly picks up some speed as it progresses. Tracks 5 and 6 sound are more energetic and skittery (although still short of cacophonous) than the others, as if the group took a quick espresso break before recording them. There is a brief frenzied climax on track 6 that really hit the spot, and then track 7 slowly unwinds, bringing us back to the vast, wide open spaces that characterize the first few tracks.

  • Reviewed by Louie Caliente on May 17, 2017 at 6:15 pm
  • Filed as CD,Jazz
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  • Cudd, Patti – “Eos” – [Innova Recordings]

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    Patti Cudd teaches percussion and new music studies at the University of Wisconsin-River Falls and the College of St. Benedict & St. John???s University.
    Varied 3 disc set explores many ways of “scraping, scratching, tapping and striking”. Sometimes hand percussion, sometimes with mallets, vibes, sometimes computers. 16 of the 22 tracks are new commissions. The album also features works by Morton Feldman, Brian Ferneyhough and Christian Wolff ??? the only ones here without the use of electronics.
    These sounds, many solo except for Max MSP type processing, invite contemplation.. some are very commanding and others could be beds. Dig in, play it all the time. Sayles once told me that a solo percussionist is a foundational part of the KFJC sound.

  • Reviewed by Hemroid The Leader on May 17, 2017 at 5:51 pm
  • Filed as A Library,CD
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  • Dommert, Frank – “Kiefermusik” – [Pacific City Sound Visions]

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    Frank Dommert began experimenting with tape music as a high school student growing up in Cologne in the 80s. He reached out as a fan to Christoph Heeman of H.N.A.S. (Hirsche Nicht Aufs Sofa, their early work came out on United Dairies) and soon became a collaborator. After releasing a string of cassettes on his own label Entenpfuhl, Dommert made this record, his first LP, in 1990, with Heeman as producer. The circle of musicians Dommert encountered during this period went on in the 90s to form the group Kontakta, the Sonig label and a-musik, which became the center of the experimental scene in Cologne. This 2016 reissue of Kiefermusik (“jaw music”) comes to us from the now Belgium-based label Pacific City Sound Visions, run by madman Spencer Clark (he’s calling himself Typhonian Highlife lately, also known as Fourth World Magazine, half of the noise duo The Skaters with James Ferraro, the Monopoly Child Star Searchers, and more).

    Kiefermusik contains two sidelong tape experiments that warp and wind fragments of recorded sound into a seamless dream sequence. In “Neum” (side A), dueling cycles of sound, one a loop of tape static churning in a constant rhythm, and a parallel loop fluctuating in pitch and volume. Echoing conversations, a distant accordion serenade, blistering noise, a ticking second hand (I had a traumatic flashback to Clocker, now finishing up its rotation in our current bin), and end-of-the-cassette crackles all move into awareness before the tape flies off the reel. “Uwverschmuschupi” (side B) begins with a sample of sped-up circus music (perhaps the roly-poly fish heads on the album cover?) that returns like a chorus throughout the piece. Voices and their chemtrailing echoes, planes flying overhead, radio news reports rumbling underneath, comic book laser beams, clips of film dialog and violin solos. Totally demented and sublime.

     

  • Reviewed by lexi glass on May 16, 2017 at 8:51 pm
  • Filed as 12-inch,A Library
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  • Ride For Revenge – “Thy Horrendous Yearning” – [Hells Headbangers]

    horrendous

    I guess we should be embargoing Hells Headbash for what they did to Peste Noire? After this one.

    RFR’s latest album (2016) is the usual challenge to the Extreme Metal status quo from the Finnish band with one hoof in the grave of Industrial noise (see also: Will over Matter, Womb C, Bizarre Uproar), subverting expectations since 2001.

    Compositionally, if not texturally, this LP is more like Psych than Heavy Metal, idiotically dervishing through the same phrase over and over again, its purposeful repetition set toward a druggy trance state. Imagine Archgoat covering Circle… yeah, it is that Finnish.

    It’s not unusual to hear this group massage Doom, Death and Black Metal influences into something ritualistic and startlingly experimental, but this is far less riff-oriented than many past works, partially akin to the instrumental material on their side of the 2015 split with RxAxPxE, except with lyrics (pretty good ones). Sometimes the experimental atavism accidentally sends it back in time to Hellhammer’s best moments, but it’s definitely on the “cutting edge,” incorporating warped synth, FX abuse and electronically and/or chemically altered vocal stylings. This is pretty much always the RFR pallette but they never seem to apply it twice in the same way.

    A3 and B2 are somewhat more traditional compositions that could almost be outtakes from the killer ‘Ageless Powers Arise’ release we added a few years back. Guitarist J Pervertor (Neutron Hammer), member since 2010, really shines on those ones.

    Take a journey beyond the veil with the masters. “There is no Heaven, just Hell for you and me!!”

  • Reviewed by Lord Gravestench on May 16, 2017 at 12:40 pm
  • Filed as 12-inch,A Library
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  • Haxel Garbini – “URI” – [Snowdonia]

    Italian artist who has made all kinds of music. This is concrete experimental stuff. Uses a stethoscope in water on A1, 2, and 5. Synthy melodies, bells clanging and echoing, twangy strings on A3 turns into lovely space out. Birds. Organ-type sounds.
    – Billie Joe Tolliver

  • Reviewed by billiejoe on May 10, 2017 at 2:40 pm
  • Filed as 12-inch,A Library
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  • Orchestra of Futurist Noise Intoners, The [coll] – [Sub Rosa]

    noiseintoners

    Luigi Rossolo (1885-1947) was an Italian Futurist composer, occultist, and designer of a family of musical instruments called the Intonarumori, or “noise intoners.” In his 1913 manifesto The Art of Noises, Rossolo argued that traditional music could no longer capture the senses and imagination of the modern listener, a city-dweller surrounded by the constant cacophony of “noise sounds.” He envisioned a new kind of orchestra, composed of purely mechanical instruments – the Intonarumori – that each created a sound from one of six “families of noise” (roaring, hissing, scraping, etc.) that resembles the sounds one encounters in modern life. The first orchestral performance in Modena in 1914, perhaps the first noise show in history, ended in a riot. Since then, many of the instruments were lost over the years, or destroyed during World War II.

    In 2009, Luciano Chessa (composer, multi-instrumentalist, and friend of the station – his most recent visit to The Pit was in Dec. 2016) resurrected the Intonarumori in a celebration of the 100th anniversary of Italian Futurism, in collaboration with Experimental Media and Performing Arts Center (EMPAC) and the San Francisco Museum of Modern Art. Working from Rossolo’s original designs, Chessa’s team constructed 16 replicas of the Intonarumori devices, large wooden boxes containing intricate mechanical noise generators operated by an external lever or hand crank, with a phonograph-style horn to amplify the sound. Chessa then invited his colleagues and friends to compose new works for the orchestra, to be performed alongside Rossolo’s original compositions. The works were performed at several locations, including the Ex-Alumix factory in Bolzano, Italy, by the Trento Risuona Improvisation Orchestra (T.R.I.O.).

    This 2X LP from Sub Rosa collects the recordings from this 2010 performance. Blixa Bargeld contributes a driving, droning piece (T1), Pauline Oliveros has the sounds scattered as they rise up from silence (T2), Margareth Kammerer offers a night-shift blues tune with female vocals (T12), Pablo Ortiz creates a wild, dissonant tango that you could almost dance to. Several pieces incorporate operatic vocals (T3, T5, T7, T11). Extensive liner notes are included inside the gatefold. In the hands of such brilliant musicians, these century-old instruments sound fresh, and somehow, from the grinding-gear sounds, they are able to generate a surprising variety of textures and moods. It’s all the more impressive that there isn’t an amp of electricity flowing. Rossolo’s words resound today as strongly as ever: “Today noise reigns supreme over human sensibility.”

  • Reviewed by lexi glass on May 8, 2017 at 8:22 pm
  • Filed as 12-inch,A Library
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  • Dufallo, Cornelius – “Journaling 2″ – [Innova Recordings]

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    Dufallo, violinist for Flux Quartet, Ne(x)tworks, and ETHEL, offers us a bracing treat here with his “journal” of work with living composers including, among others, Kinan Azmeh and Raven Chacon. Electronics manipulations combine with his sublime avant violin technique and each track is described well in the liner notes. Dufallo himself composed the last track, “Reverie,” which is a must-listen. Call it edgy, nostalgic, classical–but it is definitely exquisite.

  • Reviewed by humana on May 7, 2017 at 4:18 pm
  • Filed as A Library,CD
  • 1 comment
  • Barreca, Marc – “Aberrant Lens” – [Palace of Lights]

    barreca

    Marc Barreca has been creating electronic music since the 1970s. “Aberrant Lens” is his seventh album for Palace of Lights records, produced by label-owner K. Leimer.

    Mixing sampled instruments, treated field recordings, and synthesized sounds, Barreca builds ethereal and exotic musical landscapes. Most of the tracks have a pulsing rhythmic quality, slow and soothing, supported by ambient droning bells and tones.

    Barreca includes samples from a wide variety of acoustic instruments, including accordion, glass harmonica, and Indonesian metallophone, which are occasionally processed and often looped with long delays. The diverse instrumentation gives rise to many distinct textures, and provides plenty of differentiation to the album’s 12 tracks, a rare feat for an “ambient” album.

  • Reviewed by Louie Caliente on May 7, 2017 at 10:40 am
  • Filed as A Library,CD
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  • 5.00 Sampler Ai Records 2000-2005 [coll] – [Ai Records]

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    Just in time to awaken you from your winter stupor we bring you this treasure from 2005, an electronica sampler from Ai Records packed with something for everyone. There are upbeats galore, vox on some (like 5, 6, 12, 13), marimba-like sounds on 13, and infectious dub sounds on others (9). Standing the test of time, these will get you moving in a good way.

  • Reviewed by humana on May 6, 2017 at 3:13 pm
  • Filed as A Library,CD
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  • Van Der Aa, Michel – “Above Between Attach” – [Donemus]

    Van Der Aa is a young (born 1970) contemporary Dutch composer. Here works seamlessly combine recordings (I believe from the same musicians) and live music. Resolutely avant garde, but very listenable. I especially like Auburn for guitar and soundtrack, but it is all good.

  • Reviewed by Cousin Mary on May 4, 2017 at 10:33 pm
  • Filed as A Library,CD
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  • Red Trio & Butcher, John – “Summer Skyshift” – [Clean Feed]

    Recorded live in Lisbon in 2015 with the Red Trio (bass, drums, percussion) and their Guest John Butcher on tenor and soprano sax. Free and abstract, all improvised with a fine collaboration that interweaves Butcher’s foundation with the trio’s response. Musically interesting and engaging.

  • Reviewed by Cousin Mary on May 4, 2017 at 12:44 pm
  • Filed as CD,Jazz
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  • Alberich & Lussuria – “Borgia” – [Hospital Productions]

    alberichlussuria

    Alberich (named for the goblin antagonist of Wagner’s Ring Cycle) is the Power Electronics project of Kris Lapke (see also: Furisubi). Lapke is a frequent collaborator of HospitalProd founder Dominic Fernow, both in Prurient and as drummer in Ash Pool, Fernow’s Black Metal vanity project. Lussuria is the Dark Ambient alter-ego of Jim Mroz, who has also played in a few metal bands. Both artists are from the United States, NYC I think.

    Here they collaborate on six live, improvised Korg synthesizer sessions recorded directly to tape.These sessions were originally only available as a bonus cassette included with a 20XCD(!) Skin Crime compilation last year; I don’t know why. The release is probably named after the Italo-Spanish House of Borgia, major players in European Rennaissance Papal politics accused or suspected in all kinds of heinous crimes.

    The cash cow comes a-callin’ and the tape gets reissued on purple vinyl with a bit of weight to it. I mean, I’d spend my money on this, so I can’t rightly complain. Thankfully, KFJC bought it so I wouldn’t have to.

    What does it sound like? It’s slow-building, ominous, and scary; mostly non-intrusive, but with very little to comfort or soothe. Bubbling waves of digital synthesis; shuddering bass, deep metallic drone, off-key orchestral swells, and wineglass harmonic interplay just on the edge of bearable; muffled rhythmns accumulating many layers of sound. It’s lush even where turning jagged and/or loud. I would call it Death Ambient, if that means anything to you; or you can just imagine the sound of hunter-killer robots swiping searchlights through radioactive smoke to find survivors.

    I have Korgs at home so I recognize the aesthetic, as well as the amount of mixing control that must have been required to spontaneously produce something this smooth. No screaming and shouting but there seem to be ultra-modulated voices buried deep within a few key moments of the mix. The Propergol-ish A3 sets itself apart by managing a kind of torpid Industrial aggression.

    Overall an excellent spook show that will like people who like Stratvm Terror, Endvra, Bastard Noise, or recent KFJC pit-stopper Zaimph.

  • Reviewed by Lord Gravestench on May 3, 2017 at 4:45 pm
  • Filed as 12-inch,A Library
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