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landmark 7″ originally released in 1978 of unnerving locked grooves, polluting ears and inspiring generations of future audio terrorists; thick choking on sonic debris, toxic pulsations of atonal hum and clatter. piercing monotony to rest your boots on your velvet ottoman while sipping mai tais to.
Elysian Fields (they added a ‘The’ on subsequent albums) formed in 1994 in Athens, Greece. This is a 2015 reissue of their debut album, where the core duo of Bill A and Michael K is joined by two additional session players. It’s Melodic Black Metal with Death Metal, Symphonic Metal and (as the King Diamond-esque cover art suggests)??Goth influences. In addition to sharing qualities with other ‘Hellenic’ Black Metal acts such as Varathron and Necromantia (cheezo synths and romantic/occult qualities), Elysian Fields, with their soaring witching-hour melodies, also recall Scandinavian projects active at the same time, for instance Emperor or Dissection. When not a Swedish Death Metal bellow, vocals take the form of morose clean intonations. Alongside the bombastic keyboard work, many tracks feature melancholy piano parts. The balance of aggression and beauty, savagery and tenderness, places this largely unknown group in the major leagues of early Greek Black Metal. B1 is instrumental and the D-side presents alternate promo-tape versions of three tracks.
rank-stink cheese-grade horror movie soundtrack for COVEN (pronounced like woven not like oven) the legendary failed 1997 short film by Mark Borchardt (see: American Movie). the worst kind of pre-packaged cheap keyboard library music with hilariously creepy bone-chilling interludes. reviewers try to lure you with words like “ominous”, “dilapidated”, and “stark” but don’t be fooled, this shining example of creativity gone wrong is the most satisfying disappointment you’ll ever force yourself (and your listeners) to suffer through. perfect on any playlist and essential for our bulging library of blow-hard overpriced horror movie soundtracks. suck it Death Waltz
double mini CD release from Feine Trinkers Bei Pinkels Daheim out of Germany and Der Bekannte Post Industrielle Trompeter from Italy. the trumpeteer plays the toad side: a number of short tracks carrying juvenile delinquent flatrumpence with sci-fi lullaby calypso grooves and twisted future jazz industrial breakdown. the trinkers play the bug side: one long track of warped mash into factory-grade steel drone drifting gently through the void carrying echoes of voices and melody trailing behind, monastic memories and creeping carefully to the forefront. haunting oddities for sleepless nights
experimental post-industrial split between Flavio Rivabella aka DBPIT out of Italy and German duo FTBPD. Flavio has been active since the early 2000s and contrary to name, not particularly well-known despite his huge output and collaborations, having worked with Mushroom’s Patience and others. his side is a warped sleepytime hallucination with echoing trumpet carrying us along, an alien ambient soundscape. FTBPD roughly translates to “the dope drinkers at home” or something… active since the mid-90s and quite a bit active, with extensive touring around Europe. their side starts off significantly more abstract and absent, post-classical drone emanating out of a dank sewer-ambiance, until we creeper deeper down the tunnels and find a rhythmic-concrete ritual grooving by candlelight on the inside that devolves into a non-locked loop fading away. beautiful aural oddities to waste away the day
second pressing of live performance from Crawl Unit’s only tour played at Big Storage in Tucson, a relic from a criminally underrepresented sound artist. distant wavering tones on the hazy horizon, sparse industrial tinkering litters the foreground, the scattered detritus flickers in the hot desert sun. the B-side has more of a looped rhythmic feel. stroke delusions
Radio Free Clear Light from San Francisco started as an open collective of like minded artists attending a Bardo training session with the common interest to develop music that invokes various mental moods and states with pure music performances. Participation is still open for anyone interested. RFCL is very active with new music posted weekly. This album has a lot of nods towards Orb — kind of like Dr. Patterson would summon his crew and tell them that this time they should make serious music instead of prankster looping. As such the material has a lot of ambient chill loop elements with rhythmic variations combined with various other sonic material building abstractions that should trigger various altered states of mind – depending on individual interpretations. It definitely does put the mind in an coherent mode unlike intelligent muzak played at progressive airports. I would call this a sonic noir journey in gaps between mental moments to be fair to the Bardo notion.
This is a 1999 compilation release from Warp — actually a historical compilation of techno, acid and electronica reflecting artists and tracks that inspired the label’s founders and its line of artists. As such this compilation could be considered a ‘classic hits’ release, which is peculiar as electronic music has always been transient where new trends and styles are created on a monthly basis and it’s a rarity to pay much interest in oldies material. This collection has early Detroit techno (Model 500, Rhytmin is Rhythim…), early day UK acid house and even rarities such as Bang The Party, Unique Three and Steve Pointdexter’s Computer Madness rarity track. ??It also has A Guy Called Gerald’s Voodoo Ray that made me remember the early day rave scene in Sydney.
To be fair, some of the tracks have aged well and other tracks have just aged. The material also showcases the technological limits of the early day sequencers with 16 bar max sequence patterns and samplers with limited amount of loop memory time. It was fascinating to hear how those were overcome by intriguing arrangements. It’s also clear that the way drum patterns were designed that are seldom heard in today’s electronic music with a huge amount of hi-hat shuffling and marching band style snares. This all gives the release a nod towards nostalgia which has never been a synonym for electronic dance music.
Very prolific Bay Area sound artist originally from Florida. If you didn’t hear the mayhem special he participated in with Abacus and Max Level do it now. This album is very dynamic. It’s quiet in places then has sudden big crashes or screeches and literally makes you jump in your driver’s seat in your car. Or maybe that’s just me. Oscillations between drone and noise that I think a lot of djs will appreciate.
Electronica beats with a pop twist. Track six is interesting because it takes a turn and has a guitar and some classical elements to it. Dawson is a local artist from San Mateo. This album came out last year.
A fantastically odd record. Hard to describe. Amazingly creative. Sara and Jason, a duo from Oregon or maybe Washington, certainly have some strange ideas about how to put music together. Things that really shouldn’t work together somehow do.
They both sing, so we get male and female vocals along with guitar, violin, mandolin, percussion, keyboards. Drum machine. Unidentifiable sounds. A handful of guests add various instruments–woodwinds, viola, synths and samples, percussion. It takes a few listens to hear everything that’s going on and even then you won’t. Every track is deep and interesting.
The first track is low and slow and swampy. In fact the whole record sounds like it emerged from a swamp somewhere and wants to crawl into your brain. Which it does. If I were wearing a mood ring it would be green-blue. Or maybe blue-violet. I forget which of those means tripped out and happy but that’s the color it would be. Maybe a bit of orange for confusion and wariness.
This review sucks, I know. Why did I mention swamps and mood rings? The record is really strange and great; I should have just left it at that.
Brisbane (AUS) fast paced noise rockers with a penchant for punk. angry, raw, with a dash of childishness. jangly guitar, tight drums, and a vocalist emulating a slurring, cryptic johnny rotten.
vulgar sounding, sweet breakdowns. yummy yummy!
SF hyperactive fun-punkers, all named after models of their namesake’s corporation. giving up jittery vocals, guitars, bloopy bass, energetic drumming in a self-imposed ‘pseudo-corporate rock’ genre… a coffee hyped baby Devo sound. not much melody here. sure to piss someone off.
play the tape! 10 minutes of fun, then its over!
Minnesota weirdos yip-cackling their way through these 26 selections. these farm girls hit their stride in the late 1930′s, buck-bucking their yodels to urbanites, radio listeners (WLS-AM’s National Barn Dance), and other audiences who had cut ties with their rural upbringings.
yodel yer scrotal; bock-buck yer flock, Chuck; chip-chiperry, Marie; try to sing with the birds.
Wow. The Intro brought to mind Justin Hayward’s Days of Future Past voice, but by the Outro I was thinking more of Vincent Price’s Thriller voice. The intervening tracks upped the creepiness exponentially. It’s easy to see why Morris’ “ambient radio comedy” had to air during the safe harbor hours, but the fact that it lasted from 1997-1999 shows he appealed at least to some audiences. For sure, the weird topics (incompetent doctors [2, 6, 12] and four-year-old murderers ) are right up the KFJC alley, and I can already see how many things could be used for production. But it’s incredibly explicit, so beware.
Smell & Quim are a UK duo who have been improvising harsh or otherwise disturbing noise since 1988. This single-sided flexidisc from1989 is a five minute funeral march through Wonderland for a demented and deceased monarch, passing ranks of lamenting insect mourners. Despite the painful cover art, S&Q are in a mood here that is more Dada than Full Metal Jacket; let’s call it Free Jazz in Adult Diapers. Shades of Nurse With Wound for sure. Play the CD I made– fuck flexi.
Now why weren’t these guys playing in Portland when I visited Oregon? On their debut LP, Landlines has a nice balance of invigorating rock (especially Side A) and bass-infused slower numbers (B4, B6, B7) that another reviewer referred to as “slacker surf pop.” Vocals are clear and go well with the trio’s infectiously appealing music.
If I were on “Name That Tune” (younger folks–Google it), I would have said this was the Everly Brothers from the first three notes. But this 7″ is the work of one guitarist, Max Clarke, who was in the Chicago band The Sueves. Each of the beautifully plucked ballads deals with love and leaves you feeling fairly mellow, with Side A having a slightly quicker tempo than Side B.
Sludge tribal doom from Tucson. Zack Hansen and Matt Mutterperl from Languish and Evan Leek. The band has been around for about ten years. This is the first piece of theirs that we have added to the library.
Australian composer and sound artist. Site specific recordings from James Turrell’s Skyspaces which are installations that create sound. More details about the process of each artist is in the liner notes. Each tracks are 19 minutes and 20 seconds. Sounds like drone pulses. It’s really quiet but you if you listen carefully you can hear things like traffic and birds. Fantastic for those of us who like long tone-based tracks. Two discs and limited edition of 500.
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