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      KFJC On-Line Reviews
    What KFJC has added to their library and why...

    Stella, Rodger – “Final Programme, The” – [I Dischi Del Barone]


    Bathe in the warm sonic shower of Rodger Stella, American noise artist and founding member of Macronympha.

    Waves of static punches and shattering explosions all crashing on an electronic shore. A full spectrum experience.

  • Reviewed by Louie Caliente on November 20, 2016 at 6:28 pm
  • Filed as 7-inch,A Library
  • Comment on this review
  • Meirino, Francisco – “Surrender, Render, End” – [Helen Scarsdale Agency]


    Francisco Meirino is a Swiss noise-concrete sound artist exploring “electro-acoustic dialectics.” His latest work, “surrender, render, end”, fuses many layers of subtle found-sound recordings and minimal ambient electronics into a deep sonic bath.

    Slowly rotting appliances rumble and rattle in hollow warehouses. Fields of electronic insects flutter. Far-off beeps and close-up squeaks.

    As the title implies, most of the sounds here are cold, uncomfortable, and a bit harsh, but they sometimes give way to warmer, more inviting moments.?? Memories of long train rides, or the static fuzz of an old television set.

  • Reviewed by Louie Caliente on November 12, 2016 at 6:07 pm
  • Filed as A Library,CD
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  • Luciernaga – “Sleeping / Wandering” – [Fabrica Records]


    Luciernaga is a project of Joao Da Silva, a member of the hardcore-punk scene in Santiago during the 90s who now lives in Brooklyn.

    This 7″ contains two beautiful guitar-driven ambient drone pieces on clear vinyl. Both tracks are extended versions of songs originally released on cassette. Only 100 of these were pressed, each featuring one of four different photographs on the front.

    “Sleeping Green-Eyed Girl” is a study in resonance and (subtle) dissonance. Shimmering feedback like a glass bell, with harmonics coalescing and then slowly melting away.

    The B side, “Wandering June”, layers bowed strings, faint whistles, and low guitar rumblings. Very pensive and meditative.

  • Reviewed by Louie Caliente on October 9, 2016 at 2:56 pm
  • Filed as 7-inch,A Library
  • Comment on this review
  • Unwelcome Or Ignored: Noisefest 2001 [coll] – [Super Art Media]


    You know what you’re getting in to here. 17 tracks featuring experimental artists. From the noisiest of noise (Xome) to the droneyest of drones (Klowd), and everything in between.

    1. Chachi Jones: Gurgling grinding gears and crunchy 8-bit vocal samples.
    2. Filthmilk: Mellow backwards synth give erode under waves of static distortion.
    3. Delayed Sleep: Guitars loop and reverberate while time folds in on itself.
    4. Control R Workshop: Arrhythmic feedback-infested noise-skronk.
    5. Critical Theater: Heavy, plodding bass and drums, psychedelic guitar, and ethereal whispers.
    6. C/A/T: Pure static blast morph into pounding dance beats.
    7. KrisTal Marimba Lounge: Echoey industrial bass and beats.
    8. Products of Conception: Smorgasbord of synths.
    9. Stimbox: Lasers engage for spaceship blast-off.
    10: Pedestrian Deposit: Contact mic music concrete.
    11. K. Atchley: Crushed under a rolling, rumbling wave.
    12. Instagon: Squelchy improv noise-rock.
    13. Uberkunst: Rattling drums and whirling oscillators.
    14. Xome: “You don’t wanna look in there.” Harsh.
    15. Klowd: One solid low-frequency resonating drone.
    16: Human Bone Bicycle Sciences Industries: Exactly what it sounds like.
    17: Conure: Rhythmic K-hole dub. (Louie’s pick)

  • Reviewed by Louie Caliente on October 9, 2016 at 1:33 pm
  • Filed as A Library,CD
  • Comment on this review
  • Muchmore, Pat – “BABEL fragments” – [Innova/American Composers]


    Pat Muchmore is an American composer, cellist, and founder of punk-chamber group Anti-Social Music. He holds a Ph.D. from the City University of New York, where he wrote a dissertation entitled “Humanity and Mechanicity in the music of Nine Inch Nails”.

    BABEL: fragments contains many short, abstract, chaotic pieces inspired by broken worlds and the impossibility of communication and true human connection. Meticulously detailed movements give fleeting impressions of cohesiveness, but shatter and disintegrate before your ears, as the radio dial turns and new and obscure sounds come into focus.

    The album consists of four works (with impossibly difficult names), each divided into many tracks (with even more impossible names):

    Tracks 1-11: f(f(4))[Kr]5s^(1)18d^(1):}{Fr.I.a-k

    Eleven “short stories” for string quartet. Explorations of dissonance. Staccato screeches. Longing poetic drones. Hitchcock-esque stabs and shards. Sophisticated skronk.

    Tracks 12-16: BABEL(maya)f(f(1))

    The real name of this work includes Mayan and Egyptian hieroglyphics, and Muchmore has a 25 minute YouTube video explaining the significance of the title alone. In this piece, dark electronics and soprano vocals combine with the strings, giving a more somber and threatening tone.

    Tracks 17-27: Fr.II.a-k

    Similar to the first piece, but for solo Scordatura (miss-tuned) cello. More bizarre, dissonant chords. Introspective and longing.

    Tracks 28-32: SESHACH(maya)f(f(3))

    Again impossible Mayan and Egyptian hieroglyphics (this time with a 30-minute video explanation). A 5-movement piece with Ken Thomson on sax and clarinet and Muchmore on electronics. A bit noisier and punkier than the rest. Partially written in Babylonian Cuneiform notation, inspired by the Cantor Set (a fractal set that is uncountable yet has measure 0), and the nonlinear dynamics of predator/prey populations.

  • Reviewed by Louie Caliente on September 5, 2016 at 3:07 pm
  • Filed as A Library,CD
  • Comment on this review
  • Appel, Karel – “Musique Barbare Van” – [Sub Rosa]


    Karel Appel was a Dutch painter, sculptor, and poet. He was one of the founders of the avant-garde movement Cobra in 1948. This album was recorded in 1963 as the soundtrack to a documentary about Appel that was never released.

    There’s lots of different different sounds going on here, and the three pieces on this album are very distinct. They reflect the different approaches to artwork that Appel took throughout his life: assemblages of used materials, forceful impressionistic art brut, and overall a rejection of rationalism and geometry.

    “Paysage Electronique” (tr 1) is a collage of sounds recorded onto tape, arranged and manipulated by hand. A room full of percussion: metal sheets rumble, timpanis boom, and bells tinkle. Roaring organs and smashing pianos. Very frenzied, playful, and humorous, the piece sounds almost cartoonish at times.

    “Poeme Barbare” (tr 2) is drums and spoken word, looped into a furious crescendo.

    Finally, “Le Cavalier Blanc” (tr 3) is a pensive and unsettling piece with thunderous drums and discordant organ, punctuated by grunts and screams.

  • Reviewed by Louie Caliente on September 5, 2016 at 10:45 am
  • Filed as A Library,CD
  • Comment on this review
  • Placenta Popeye/Slicing Grandpa [coll] – [Tanzprocesz]


    Slicing Grandpa: Noisey power electronics, low-frequency rumbles, and screeching guitars. Monotonous croaky indecipherable vocals that sound like they were delivered over a department store PA system.

    Placenta Popeye: Noise rock trio from Marseilles France. Underwater sonic vibrations and piercing guitar feedback, punctuated by demented screams and moans.

  • Reviewed by Louie Caliente on August 14, 2016 at 1:34 pm
  • Filed as 7-inch,A Library
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  • Cock E.S.P. – “Pride of North American Noise, The” – [Breathmint Records]


    Complete fucking destruction, as usual. Screaming, squealing, static stabs. Pure sonic sadism.

    “Pride of North American Noise” captures the band’s sound in 2000-2001, just after Elyse Perez (of Laundry Room Squelchers) joined the testosterone-heavy duo of Emil Hagstrom and Matt Bacon. Many of the tracks were recorded live in Norway, Germany, Switzerland, and South Florida, and feature a variety of guests, including Weasel Walter on Clarinet and Rat Bastard on Violin.

    The album clocks in at only 20 minutes, and most tracks are under a minute. The longest is track 17, a bizarre 5-minute club mix by V/VM featuring cheesy 80s synths and sax lines accompanied by cheering crowds and a cacophonous collage of Cock ESP live sets.

    FCCs: 3, 16.

  • Reviewed by Louie Caliente on August 14, 2016 at 1:10 pm
  • Filed as A Library,CD
  • Comment on this review
  • Aethyr – “Messio” – [R.A.I.G.]


    Ritualistic Russian doom metal. So heavy and sludgey you can almost swim in it. Infinite bass fuzz beneath squealing guitar feedback. Pounding barely-rhythmic dirgey industrial beats and choral moans. Lots of low vibrations and sub-sub-sub-harmonics to shake the cobwebs from your crucifix. Samples of Aleister Crowley add to the mass-like feel, although the album is more sonic than satanic.

  • Reviewed by Louie Caliente on August 8, 2016 at 6:10 pm
  • Filed as A Library,CD
  • Comment on this review
  • Krube – “Krube” – [I Dischi Del Barone]


    Krube is Alexander Schneider, a sound artist working out of Berlin since the late 90s.

    Two quick tracks of music concrete. Everyday sounds juxtaposed in new and disturbing ways. Crackling flames, rending metal, billowing wind, and percolating water. Unidentifiable yet strangely familiar machines.

  • Reviewed by Louie Caliente on July 31, 2016 at 11:37 am
  • Filed as 7-inch,A Library
  • Comment on this review
  • Corum – “Black Or White Orpheus 2: Place of The Hidden Sun” – [Lost Discoveries]


    Corum is Grant Corum, a graphic designer, sound artist, and member of Million Brazilians and many other bands. On this cassette, he is inspired by Indian shrines and rituals, transcending time and reality, awakening higher levels of consciousness.

    Looped breathy beats and shimmery atmospheric synths, very flowing and rhythmic. Lo-fi trance-like vocals. Lots of layers that combine, meld, and disorient. Reminded me of a mellower, more spiritual Black Dice.

    Extensive liner notes liken singer and trickster Michael Jackson to a modern day Orpheus, a divine creature full of magic and a symbol of metamorphosis.

  • Reviewed by Louie Caliente on July 31, 2016 at 10:39 am
  • Filed as A Library,Cassette
  • Comment on this review
  • Erl – “Erl” – [Erl Records]


    ERL is a record label run by Dave Belem and Jack Wingate out of Albany NY. ERL is also a band on that label, and that band’s first full-length release is titled “ERL”. It sounds to me like a guitar trio, but I can’t find any information about the personnel, other than a cryptic note from “Squealer” included with the vinyl.

    Limited to only 100 copies and packaged in a spray-painted recycled record sleeve, the album contains two untitled sidelong tracks of Dead-C-esque free-improv guitar rock. Jagged riffs drenched in feedback and reverb, heavy droning chords and frenetic noodling. A definite crowd-pleaser!

    FCC ALERT: Side B starts with a very short track of looped vocals containing repeated “ASSHOLE”. Drop the needle after that and you’ll be fine.

  • Reviewed by Louie Caliente on July 9, 2016 at 10:31 am
  • Filed as 12-inch,A Library
  • Comment on this review
  • Infinite Plastic Internal – “Radioactive Cloud Alert/ Spectrum Studies 1” – [Self Produced]


    Released in 2014, this is the debut 7″ from Infinite Plastic Internal, a project of Mark Pino of San Diego. This release incorporates drums, ring modulator, synth pedals, and a unique home-made instrument Pino calls the “Pan Feedback Flute”.

    Radioactive Cloud Alert is a free-yet-groovy thumping drum solo over faint warbling synths.

    Spectrum Studies 1 is noisy and droney. Heavy machinery sounds: grinding gears, hydraulic forklifts, humming conveyor belts. Bowed metal and screwy scribbly electronics.

  • Reviewed by Louie Caliente on July 9, 2016 at 9:51 am
  • Filed as 7-inch,A Library
  • Comment on this review
  • V/A SENTIENT SOLDER II [coll] – [Ratskin Records]


    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!

    1 Moor Mother Goddess: Thumping, distorted, and soulful goodness.
    2 Future Blondes: Pounding beats and synth noise.
    3 Las Sucias: Industrial Reggaeton!!!!
    4 Beast Nest: Ambient and squiggly.
    5 Thoabath: Static and lo-fi Puerto Rican trashcan rhythms and raps!!!
    6 Black Dog: Black metal punk.
    7 Coral Remains: Slow industrial beats with punches of pulses and waves of fuzz.
    8 Big Debbie: Heavy beat, ringing guitar, and haunting suicide-esque vocals. Almost dancy.
    9 Fleshlight: Fast glitchy drum machine bongos. Distortion slowly cranks up and beats meld into something larger. Definitely dancy!
    10 Jeweled Snakes: Synthy sci-fi dark post-new-wave.
    11 Maya Songbird: Fuck music.
    12 Bonus Beast: Rumbly beats and gurgly rhythms.
    13 Tralphaz: Harsh blasts of static and a broken walkie-talkie from hell.
    14 Black Spirituals: Droney and pretty guitar harmonics. First minute is very quiet.
    15 Malocculsion: Abrasive nastyness. Buzzing alarms, sparking electrodes, and deep growls.
    16 Zanna Nera: Retro 80s synth-pop with an industrial satanic bent.
    17 Styrofoam Sanchez: Electronic thunderstorm on a sea of sludge.
    18 Slanted Square: Echoing melodic synths juxtaposed with screechy looped samples.
    19 Loachfillet: Like a lost castle level from Super Mario Bros, but with way more than 8 bits.

  • Reviewed by Louie Caliente on June 28, 2016 at 9:40 pm
  • Filed as A Library,CD
  • Comment on this review
  • Godspunk Volume Sixteen [coll] – [Pumf Records]

    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.

    Higgens++: Britpunk.

    Tirikilatops: Crunchy beats and melodic bloops. Gah-gah-Goo-goo vocals mixed with Japanese exercise soundtrack? Great!

  • Reviewed by Louie Caliente on June 26, 2016 at 5:35 pm
  • Filed as A Library,CD
  • Comment on this review
  • Dalek – “Asphalt For Eden” – [Deadverse]


    After a 5-year hiatus, Dalek is back with another album of dark industrial hip-hop. Big walls of warm sound encompass angry quasi-political vocals. Heavy old-school beats and looped samples are soaked in fuzzy guitar feedback and soaring synths. Elements of drone, noise, ambient and shoegaze. Lyrics deal with themes of war, consumerism, and mass media. Check out the Chomsky sample on track 6.

    Track 5 is instrumental. Track 1 is clean.

    FCCs on 2, 3, 4, 6, 7.

  • Reviewed by Louie Caliente on June 19, 2016 at 1:44 pm
  • Filed as CD,Hip Hop
  • Comment on this review
  • Lotions and Creams [coll] – [Ghoul House Records]


    2014 West Coast Tour compilation cassette from these three heavy indie post-whatever bands.

    Trumans Water: Odd-ball “squiggle-core” with a fast and fervent pace. Dissonant yet intricate guitar work. Definitely noise rock, but more rock than noise. Covers of MC5 (track 4) and Kinks (track 16) are simple and straight-forward, but still maintain a unique sound.

    Octagrape: The most melodic of the bunch. Sing-songy hazy-dazy distortion-soaked rock with a SoCal beach feel. “Medicinal Glop” breaks the mold with a long psychedelic pop-punk meltdown.

    Permanent Makeup: Florida post punk. Paranoid ranting lyrics. Aggressive and angular guitar riffs coupled with rumbling bass lines. Occasional improvisational breakdown.

  • Reviewed by Louie Caliente on June 18, 2016 at 9:31 am
  • Filed as A Library,Cassette
  • Comment on this review
  • Graham Repulski – “Octopus Bribes” – [All Tens Music]


    2-song cassette single from Philadelphia funster Graham Repulski.

    Low-fi poppy beach rock for a sunny day. Melodic riffs, heavy on the fuzz.

  • Reviewed by Louie Caliente on June 18, 2016 at 7:13 am
  • Filed as A Library,Cassette
  • Comment on this review
  • Coral Remains – “Zero Tour Demo” – [Ratskin Records]


    Coral Remains (formerly Styrofoam Sanchez) is an Oakland-based post-industrial wretched noise waste receptacle that “personifies the trash island in the pacific gyre”.

    Electrostatic blasts, jagged crunchy beats, and growling demonic incantations. Looping low-end thuds that self-destruct before your very ears. Apocalyptic visions of our doomed species and ruined planet. Vile misanthropy at its finest.

  • Reviewed by Louie Caliente on June 18, 2016 at 6:46 am
  • Filed as A Library,Cassette
  • Comment on this review
  • Death Unit – “Only Death Is Certain” – [Hospital Productions]


    Death Unit is Chris Corsano, Carlos Giffoni, Brian Sullivan (Mouthus) and Trevor Tremaine (Hair Police). Released by the venerable Hospital Productions and limited to only 325 copies.

    Beautifully nasty improv jazz-noise with dueling drum kits, blasting guitar fuzz and screeching electronics. Blood-stained, rumbling and pummelling.

    “Smut” starts off with low resonating electronic rumbles, like getting a buzz-cut from a lawn-mower. Before long the drum explosions start to land, with increasing frequency and fervor, driving the piece with broken rhythms and cymbal punches. Last to the party are the high pitched screeches and static blasts, squealing and squiggling in all directions.

    “AIDS Death 666” is coated (maybe internationally?) in crinkly popping surface noise. The song starts slow, with just the static over faint guitar musings and occasional drum fills and electronic bursts. The feedback slowly builds and the squealing buzzes become more focused and impatient, demanding your full attention. Soon the drums coalesce and the real destruction begins, coming in punishing forceful waves and only stopping once complete demolition is achieved.

  • Reviewed by Louie Caliente on June 12, 2016 at 1:58 pm
  • Filed as 12-inch,A Library
  • Comment on this review

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