Specials and Events
Donations and Swag
Music and Playlists
KFJC Music Reviews
KFJC On-Line Reviews
What KFJC has added to their library and why...
Take an Afro-beat infused rhythm section, add basslines dripping in funk, stir in the freedom of jazz improv, and a sporadic wash of psychedelic guitar. Garnish with a hint of melodica. This absolutely rules.
Get sucked into the wash of the churning bass grooves and great drumming. Even the slower tracks will have you bobbing your head and swaying in time. All tracks are solid.
Irish singer songwriter with acclaimed composer Peter Broderick on guitar and piano. She has a lovely voice. Slow and thoughtful songs.
Andy Turner and Ed Handley. Also performed under the names The Black Dog, Atypic, and Balil. Sounds like electronic beats with danceable melody. Light and happy. I???m not familiar with their work but we have a ton of it in their library so you might be.
Uh oh! Creepy buzzy feedbacky with reverby awing and oohing. Warbles and static. Heavy. No idea at all about the artist so I welcome any enlightenment offered. Lots of sonic texture. Noise and electronic influence. Delicious like hard candy that breaks your teeth.
Lead by Jamie Stewart of Xiu Xiu, Former Ghosts, and Sal Mineo. From Los Angeles. Came out ten years ago. Experimental pop rock. Rowdy unripe emotions pouring out with saucy snippets between (most of which are not okay for airplay).
Newest album from this awe-inspiring Japanese surf trio – original member Shigeo Naka on guitar, Nobuhiro Kurita on bass, and the stunning drum work of Kozue Ito. Fine playing, interesting original songs, a couple of classical favorites, and a couple of surf classics. Recommended!
A creative collab between friends REPEAT PATTERN & TA-KU,
This collection features both of them on a few traks along with other friends
And emerging artists. Dreamy bedroom beats, samples, loops.
Incoherent lyrical content. The most abrasive track is A4???s Divison,
filled with scrapes, cuts, and heavy breathing. Mostly it???s pretty mellow sound
snapshots with many layers and elements. You will catch something
new with every listen. All tracks a pretty cool, but Primm (B3) is my
personal favorite because of the 1970s easy listening flute intro
and underlying current.
This out of print Severed Heads 1985 album is re-released by Medical Records and they actually took up to the task to assemble all the various versions of this album that was released in USA, Europe and Australia into one coherent release including various demo outtakes. In 1985 the band was down to only two members, Tom Ellard and Stephen Jones.) Also, at this point of time the sound got more dancy due to usage of MIDI and Yamaha DX-7 synthesizers. In addition, most tracks have a radio signal mixed in the background. This album is a good summary of where electronic music in the mid-eighties were still grounded in a half-way pop-dance formula and where the post-punk movement still influenced the music making aspect with a slant of exploration and experimentation. Thanks to this experimentation the tracks still breath air after all these years with shades of electro-cacophony disco, primitive loop mangling, avant-garde dance tracks and weird synth-pop.
It feels strange to review an album that the reviewer listened inside out 20 years ago (1996.) It’s definitely not Orbital’s crown jewel — however, it has a very definite tonality grounded in the Orbital knack formula of taking mysterious, odd-beat chord progressions and turning those to melody hooks. Many of the beats also have influences from trip-hop, acid breakbeats, jungle/DnB and abstract/exotic patterns. Another bonus are the eery and sultry female voices used to paint the soundscape. The overall theme is ecology such as the track “The Girl With The Sun In Her Head” that was recorded only using solar power. Out there Somewhere Part 1 and Part 2 is a musical attempt, similar to Orb’s escapades, describing the universe in 25 minutes total. It’s up to the listener to decide if this was successful.
Here in USA this specific album might have been one of the bigger entry points for the audience into the emerging UK/European dance music scene. This US release has a bonus disk that includes a live recording of Sad But New, two versions of Times Flow plus other material.
3rd solo album from Michigan multi-instrumentalist Christian Berishaj.
He writes and produces his records. He directs his own music videos.
Tracks dripping with soul grooves, lush string orchestrations,
the poetry of a hard life lived, longing and heartbreak. He has
a smooth voice, easy flow, decent falsetto, and is clearly very
talented. This record is sexy, melancholy, and quite beautiful.
A real panty dropper! I loved it! FCCs on tracks 3-7; 12
19 tracks and 19 bands from our friends at Ratskin Records. Heavy distortion, industrial static, and throbbing rhythms are common themes, but there’s still an incredible amount of sonic variety here. Something for everybody!
This 2014 EP is the San Diego Death Metal band’s second release. Both the style and production owe a debt to Black Metal, but there’s more fire than ice here. Darkly glimmering dual-guitar riffing, old school grooves and explosive rhythm section assaults for fans of Immolation, Incantation and Kerasphorous. I wish there were more Death Metal coming out of California in this raw style. Let’s hope for an album, and maybe a visit to the station someday.
Two bloody ten-minute chunks of audio oddity from some LA noise heavyweights.
AMK is Banned Production curator Anthony Michael King (Big City Orchestra, The Haters) who has been fucking shit up since the early 80s. Here he is recorded live with fellow Haters alumni Damion Romero (Speculum Fight, Astromero) and Elden M (Allegory Chapel Ltd., M.N.L.F.). Not ear-piercing, but most unmusical, this garbled clutter of shivering static, scrapyard desolation diarrhea, chipmunk tape manipulations and absurdist loops suffers from muddy recording quality and the occasional interjection by disinterested audience members in conversation with one another. For this reason, only the last few minutes are fully successful. One word: birds!
Remainderless is the trio of Oxen mainman Matt Purse (Fenian, Unsustainable Social Condition), Steve Touchston (XBXRX, KIT) and Steven Cano (Tik///Tik). Their side is a studio recording, the first third of which is trepanation by oscillator: layers of shifting harsh drone that enthusiastically explore the higher pitches (tea’s ready, bitch). Busier and grimier as it progresses into its second half, the piece ends up sounding rather like complex heavy machinery in action before flattening out again.
Remainderless’ side is better, mostly because it’s not a live recording, but also because it’s nastier.
Just what is meant by the term ‘Post-Black Metal’ anyway? D. Smolken’s divisive fusion of raw Black Metal and lowlife Folk music, Dead Raven Choir, appeared in the ancient days of 1996, with Wolfmangler following in 2004 as a more folk-centric side-project. Both projects have since come to an end, but the Polish transplant’s music endures among underground collectors as a notoriously challenging example of outsider sound. On this album, which appeared on CD in 2007 before getting the vinyl treatment from Black Horizons a year later, Smolken covers a mix of Polish and American standards, including two Cole Porter songs (A1, B3). The style is quite homogeneous: a backbone of hovering fiddle drone sometimes augmented with sparse percussion and standup bass. The only thing particularly ‘Black Metal’ to be found is the vocal style, which is a kind of choked, growling whisper. These creaking renditions recall Tom Waits during his Kurt Weill period, the Medieval gibbet hymns of Waldteufel, and the ‘Funeral Folk’ of groups like Silvester Anfang. One of the more interesting dirges incorporates lyrics ‘by various music journalists’ (A5). The most conventionally beautiful tracks are those with Polish titles. All-in-all, a raucous folkfuck for drunken skeleton orgies.
Compilation of nine British bands, each of them sharing in the cost of CD production and distribution. The result is a variety of interesting sounds, ranging from straight-ahead punk to far-out psychedelic electronics.
Howl in the Typewriter: Playful experimental wanker-pop. Each track sounds different. Mellow psych/punk to drippy-droney and orchestral pieces. Final track samples Hanson.
UNIT: Melodic Brit-pop with a modern electronic feel. Slightly creepy.
Spam Javelin: Hardcore punk rock with aggressive guitar riffs and pounding bass.
Nil by Nose: Underwater bloops and dubby beats.
The Large Veiny Members: Retro synth-heavy electronic experimentation.
Catholic Overspill Blame dJohn: Bizarre mix of synth, acoustic guitar, and maracas.
seven eyes: Strange droney blips+buzzes played forwards and backwards.
Tirikilatops: Crunchy beats and melodic bloops. Gah-gah-Goo-goo vocals mixed with Japanese exercise soundtrack? Great!
Liebestod is German for “love death” and is solo artist Jesse Sanes from LA. It sounds like heavy pulsing industrial metal noise. All of it is rough. In a good way.
Solo guitarist from New York. She’s inspired by John Carpenter but to me it’s more about the mood than the sounds. Loud slamming shredding harsh strings. Pretty much makes your head feel like the album cover.
Marchy transy playful mambo beats. Over twenty people credited in the Arkestra. Gets nutso on the b side with the keyboards and improv vocals at the end.
A flapping of wings
This is gothic post-punk with drum machines, angry synths and lyrical content. This duo from Vancouver with the second album continues the dark post-punk path with manic drum machine patterns, french speaking subtitles, male post-punk angst vocals, dirty synths and angry guitars, borrowing a path into to the darkest corners of the listener’s brain. Post-punk as a movement is a tough choice as any musical paths could be considered cliche, however Koban achieves to carve uniqueness into this 30+ year old genre, mostly thanks to adding energetic complexity and introspection to each song. It also helps to sing parts in French.
Next Page »
Copyright © 2016 KFJC 89.7 FM