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Culture – “Culture in dub: 15 Dub Shots” – [Heart Beat] CD

1)burning spear 2)full of joy this music breathes in jah face. 3)steppy stampy skampy for the crampy hoe doe let down easy dub break up. 4) pitter patter rain drop matter its a ting ding a ling jah’s music in the raining air. 5) learn bout marcus garvey dubwise, skitter skamper rhythm beat. 6) do you remember the days of slavery? 7) marley inspired jam 8) big footed sound trampling all over done on wanderer sty-le 9) ode mother africa home give call rasta 10) rings all about the days of slavery 11) tearjerker slowjamrock dance tune …14)belly bass, old style intro, massive dub mothership sonifics, ghetto tech, to 15)lush rainforest service sounded rhythm soggy amp puddle horn, pulse of the beast on the bass, all in slavery. -slotty sikh

  • Reviewed by Grizzly Adam on October 19, 2016 at 3:49 pm
  • Filed as A Library
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  • Alpha Blondy – “SOS Guerre Tribale” – [EMI France]

    1, roots in a digital atmosphere, love in a metal suit, synthi pads, ping pong digi dub up, protect up the african dance, hold your sweetie on 2, cabo sounds, given margarita present alpha blondy, to a kid even 3, or only for the most stoned, pick it up with a variation on burning spear and keep it clean, on 4, where as lovers calypso gets the prominent treatment on 5, in 6, a mix of buffalo soldier and your choice of radio lament ride on top a march at rasta pace. -slotty sikh

  • Reviewed by Grizzly Adam on October 19, 2016 at 2:58 pm
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  • lion roar volume one [royal order music]

    the latest skank, slow wine, and highest grade. belly first, dubs next, dabby sticky. addis pablo, champions of the sound, next wave roots. solid foundation sounds, bagged for this way or that, sparkling production. big up to i-vier from keida, riddim label summary cd, social, smart, cultivator, war is in the dance riddims. gentle pulse, heavy beating, kelissa, firm forms features futures. 6-7 dezarie virgin islands preference, to 8-9 track, defender sound. 10-11, 12-13, got it right here.

  • Reviewed by Grizzly Adam on October 12, 2016 at 11:53 am
  • Filed as A Library
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  • Henry Herteman “Roule Ta Salive” [Improvising Beings]

    deflowered his trombone at a young age, pur spit spatter splatter free tuba-trom, backwards drifter dixie trum-bone, double tones, three or four grumpy speaker ripper tripping free toning, trigger recontact concrete acoustic electro sour grapes improv, with graduated tiers melodic subterfuge reverse trajectory waltz schemes of Ariel ascensional trom-black hole-bone tunnel query.

  • Reviewed by Grizzly Adam on October 12, 2016 at 11:19 am
  • Filed as A Library
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  • Lindsay, Mark; W. Michael Lewis; Robert Houston; The Wonderland Philharmonic “Shogun Assassin: Original Motion Picture Soundtrack” [Cinewax]

    the source for agent orange from cage off hiphop 12″, mix in additional sampling from here, clockwork orange or baroque half whole synth note non stagnant pools of film spools in the same wonderful worlds as a lesser bernard fevre, not trailblazing, maybe just crackle crank pop B3, or starts good but quickly sounds dated as a synth hawkwind B4 or the best track rather fine for now not a must play electro pop B5 regardless of the toho idea of edo bakufu period and occidental visions of a ghoulish vampy campy 80s rock romp synth funk halloween party psych by the end but only ends B2 or a mood music sway or swingless should have just been an ishikawa goemon mythical emotion notions not the neitherworld of repeater loop key echo without the ching chong chiny cho that is so baddass B1 instrumentals except for voice track inclusions on the is that robert redford as the samurai or wtf a confederate union drum march or the trite bodies falling and the blood remarks except sick flesh rips slash gore effects A1 but de jure the simple music theory here of traveling three note chords arpeggios pairs and progression as voice leading octave apart timbres well explored at the time has that charm without the autre A2 and still dope slow procession funeral oriental airy shit A3 and proves material like this can be played a great deal that is to say well-shit A4 realizes dada diogenes

  • Reviewed by Grizzly Adam on October 9, 2015 at 11:34 pm
  • Filed as 12-inch,Soundtrack
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  • Fred Locks – “Black Star Liner In Dub” – [VP Records] (2012)

    The dub album is 1-1 with the vocal album
    Black Star Liner/True Rastaman, from 1976.
    Some are sparce no vocal dubs, just guitar
    keys percussion, and out of the way bass but
    ocassionally has chorus singers in dub, vocal
    hooks in dub. Not the most killer dubs but
    amazing in their own right, and still good
    for playing back to back with the vocal.

    -Dada Diogenes

  • Reviewed by Grizzly Adam on September 2, 2015 at 11:10 pm
  • Filed as A Library
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  • Fred Locks – “Black Star Liner/True Rastaman” – [VP Records] (1976)

    Roots Reggae title track Black Star Liners about
    the shipping transportation company established
    by Marcus Garvey, made quite an impact akin to
    Burning Spear’s Marcus Garvey album, both of
    which were recorded at the studio Randy’s in
    the same year. Paul Dixon aka Pablove Black aka
    Pablo Black with the glockenspiel on Sons Of The
    Almighty and keyboard synths such as excellent to
    form in Sing-A-Long. At least Vision Of Redemption
    with some backing vocals, also with very nice
    staccato interphrase counter melody elaborations.
    Wolf Wolf is a variation on a popular riddim but
    couldn’t place it. Walls has that Jacob Miller,
    tired fe lick weed in a bush, sound. True Rastaman
    says, live right, watch and pray, don’t let them go
    astray. Time To Change talks about the last days as
    if they were today, enumerating the ways of the
    world now, a biblical prognosticated now.
    -DADA DIOGENES

  • Reviewed by Grizzly Adam on September 2, 2015 at 10:38 pm
  • Filed as A Library
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  • Fred Locks – “Never Give Up” – [VP Records] (1998)

    An Xterminator production, Philip Fatis Burrell’s sound,
    round this time also working with Beres Hammond, Cocoa
    Tea, Admiral Tibet, this album has a much fuller sound,
    with lots of great percussive synthesized even dub type
    sounds samples and dub techniques, incorporated into
    these up-tempo dancy quasi-digi roots, not in a chant
    down or toaster style, nor spaced out irie, but Fred
    Locks delivers pledingly imploringly, rasta conscious
    lyric, such as in Don’t Sell Your Soul, Come Now saying
    step up (to) zion, Never Give Up talking about zion gate.
    Robbie Lynn delivers on the piano, keyboards, and
    synthesizers. You’ve also got Steven Stanley of Youth Sound,
    Dean Frasier of Roots Radics horn line more who mentored
    and works with Tarrus Riley lately, thee Sly Dunbar on
    drums, and Donald Dennis of Fatis’s Firehouse Crew.
    Dreadlocks Princess, has echo horns and chicken picking
    the electric. Throw Down Your Arms, has that Half Pint
    sound as well as samples. Don’t Wait For Me, has a real
    strong wooka wooka bap rhythm. Black Star Liner says run
    go tell your friend, and is the update of the ’75 original
    which is relyricized and musically updated/put on the Real
    Rock riddim (originally touched by CS Dodd, Henry Junjo,
    Joe Gibbs, and lately by Jack Scorpio, Wee Pow, Bulpus),
    and riddim up there with Pass The Kutchie, Sleng Thing,
    and sounds a bit like Entertainment. I enjoyed I Feel
    Like Job the most from this album, All Is Vanity is also
    great.

    -DADA DIOGENES

  • Reviewed by Grizzly Adam on September 2, 2015 at 9:55 pm
  • Filed as A Library
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  • Kemuri – “Mirai Wa Akarui” – [Asian Man Records]

    Currently active, in their 2nd iteration. From Japan,
    according to the song title, in Japanese or English accordingly.
    This is a best of compilation. The title is something
    about your future being bright, reminding me of their
    tune, Mr. Smiling. Too positive to cuss, Emo-Ska?
    Mostly light on the horn action but it is there.
    I find that the horns seem more like add-ons,
    instead of being more of a focus for driving the song.
    A5 B2) A little skankin, better and greater horns, fun tunes.
    Pauses and false endings occasionally, thankfully! All
    the quirks hooks perks of ska represented. Big difference in
    sound from say ‘Big D and the Kids Table’, or Murphy’s Law.
    Not like the Chinkees either which are more like Operation Ivy.
    Not enough like the strictly Reggae stuff, and not enough like
    the hip-hop/rock/ska stuff (like “Noise Complaint” and
    “Tryout Your Voice” from Big D, in each style respectively)
    A good festival sound but a little embarrassing otherwise.
    (maybe they should shout sometimes, anytime now?)
    Not the better band when compared to say Bruce Lee Band, but
    Ska’s dope tho, so play.
    -Dada Diogenes

  • Reviewed by Grizzly Adam on July 1, 2015 at 5:18 pm
  • Filed as 12-inch,A Library
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  • Slime Girls – “Yumemi / Lonely Planet Girl” – [Phat 'n' Phunky]

    Experiential music; the expression of absorption, both Guan (observe) and Ding (stabilize).
    Definitely a mix of insular melodies of (J)game soundtrack music and auteur pop rock, with
    fleeting moments of melodies reminiscent of those explored by popular Japanese music more
    broadly. A) Has the whole band. Chiptune or synth-y instrumentation plus dirty guitar,
    bass, and drums. Everything reminds me of Virginia Dare, this included. Just a few jammy
    parts, no fake ass “movements”. B) No improv/exploration, solo composition of electro-pop
    by Pedro Silva. Not strings, not -well it is synth- but tries to be more like a rhythm
    machine. Although the record is 45, play this 33 for the nine melodies of Earthbound.
    Definitely can alienate a crowd, listen alone, for the over arrangement is quite
    embellished. Out of LA, 2nd release. -Dada Diogenes

  • Reviewed by Grizzly Adam on June 24, 2015 at 3:58 pm
  • Filed as 7-inch,A Library
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  • Jos Steen – “Electricity!!! Music For Tape and Turntable” – [Ultra Eczema]

    Belgium’s Jos Steen, known for his home recordings, thirty plus self releases, and for an approach to art and music informed by Don Van Vliet, here almost entirely avoids voice and acoustic guitar, a guitar that punctures like a piano, both full of meaningful willful association. Immediate precedents for this work might be Kurt Schwitters and Harry Partch. Dadaist collage, post-performance, anti-linear, an art of contraction, concision, and modified forms. Old timey, loosey goosey not following prescribed guidelines or general societal expectations. Comparable to computer software performances with acoustic sampling and live processing. Track A4 inspires a reflection) Is it beeping because it’s ready? Is it day because I hear the birds? Is it passing because I hear it skipping by? Couldn’t it be returning to an originary state, of night, of stasis, of beginnings, one sans change? To before the note was struck? Music as the way or path back to the start from the end (as beginning.) The music is the reverse of the perceived.

    A1) Clicking, setting down on wood, and zombie groans. Start and stopping signals, pitch and speed shifts. Bird chirps. Some of the snippets are covered over and/or quiet. Occasional loud sounds stand out and might sonically wobble or vibrate. 2) Recitation of “got my violin ain’t got no…”, and remnants of glimpses of violin, early soundtrack orchestra, drunk speech or poetry in tongues, frenzied drawing, and deformations to everything pitched all to hell. 3) Some strings on a board, and hella loose, elastic rubber bands, and jaw harp, and some slapping or whacking on the board with counter vibrations on the strings, action reaction. 4) A slower tempo, and a clearer palette, and note the out of tune guitar note. B1) De-stringed proto-stringed guitar and CD player instrumentation mostly with classical and percussion, where there are drum fills, and cymbal crashes condensed and not, in actu. I think he does use an electric guitar in there somewhere but to just turn the amp on and maybe hit or bump it softly before turning off the mic. 2) A song with lots of noise in the style of blues. 3) Tuba? Comb and wax paper? Flies? Racetrack engines? Dirt bike maybe? A tinge of feedback at the end makes me wonder what he used to make it. 4) A drone makes this track more musical. Washing machine with three feet on the floor and flapping against thick paper tags.

    I can imagine this guy taking a broken guitar out of the lobby, and whacking it with one of our mics in the studio while hand rotating a turntable and mixing a cd of solo percussions with a finger on the fast forward. Too bad he has passed away. Play the heck out of it, maybe someone will collect and issue his catalogue of self releases. New idol for dada diogenes.

  • Reviewed by Grizzly Adam on May 20, 2015 at 4:51 pm
  • Filed as 12-inch,A Library
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  • Control – “Out For Blood” – [Parasitic]

    Thomas Garrison is Control, and was also Exsanguinate, which share a similar sound, but note the Exsanguinate which is currently touring from the last few years are entirely different unrelated people. There are also very many Control groups, from the UK, Sacramento, New Jersey, and Wisconsin, for example. If you play metal, if you play noise, you probably have a place for power electronics with vocals on your show, or on your label which, case in point, the promotional material for this album also confirms that this is the first non-metal to appear on the Parasitic label. This album is titled “Out For Blood”, and the vampire doth exsanguinate the body of his prey, so there is a nominal linkage with his much earlier work, in fact I would also say it is difficult to differentiate between tracks on earlier Control albums and more recent Control albums, meaning for a particular piece, it could very well have appeared at any point in the spectrum, which together I would say betrays consistency. He is from, works, lives, and runs his Misanthrope studio in Santa Cruz. He has recorded and released around twenty five productions from a very good range of acts, lots of power electronics groups too, in more detail, lots of mini cdr and limited stuff, and a few full length cd stuff, in addition to simply the mastering on a few stuff. His work reminds me most of Tetsuo Furudate, but maybe you could also say, definitely not Prurient or Sutcliffe Jugend, but maybe a mix of something else?

    A1) Shots of hairspray, sub-sonar, guitar like controlled feedback notes, somewhat high frequency pure tones, repeated motifs, tone feeling or tone coloring with a noise palette, echo delayed or on a four second cycle, or leaking from a hose, much more treble than the barely even bass. 2) Ominous entry, almost guitar, then almost two guitars. Not quite wall of noise, definitely not wall of sound, almost 4 or 5 types of noise going on, lots of droning noise, high power signals; w/ voice, pow bow wow vocalizations through dictaphone electronics filters the didactics, and not a fade out but a short removal of layers ends the piece. 3) Didgeridoo via electronics, digital scanlines or tv without the image, music, or even white noise, just the hum of the cathode ray tubes. Many more movements than the other tracks, a wall maybe not so high. After a minute vocals, more audible here. B1) Compositionally a pounding headache. Less going on here than in other tracks. Sounds like manipulation of two pools of noise with two different controls plus the treated vocals. 2) Melodically darker, a fantasy of nazi induced apocalypse. Asymmetrical polyrhythmic airtube noise, scraping, and high velocity wind-to-ear flapping simulacra. 3) Echo treated room acoustics simulation, to, reverse noise drone, factory-sized resonation of metal production, then including drum snare synthesis beats, and all along a foreground of noise variants in a wishwash of sound in the key of sleep patterns, and a non-noise last 20 seconds of beats. AB) All words are nonidentifiable, dada diogenes is interested in what you think it says.

  • Reviewed by Grizzly Adam on May 13, 2015 at 4:47 pm
  • Filed as 12-inch,A Library
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  • Yost, Phil – “Touchwood’s Dream” – [North Star Records]

    Yost, while he was recording did so out of the San Francisco bay area, and was a multi-instrumentalist, perhaps more consummate on the bass, and clearly original for jazz guitar, but sounds great on soprano sax and flute which he also plays here. He has two records on John Fahey’s label Takoma. This is his third and last record and is a solo effort making use of overdubbing (1970) to produce it, and was his only album to be self released. The moniker North Star was used by several different companies in several different countries, but no other music was released by Yost other than his own, when he made use of it. The original pressing is quite rare, with super poor but playable condition copies going for over $100 U.S. dollars, and average to better condition ones going for $500 and up. As for what this is that we have. This reprint differs from the original in several ways. Aside from the pasted album art on front and back, and from the lack of writing on the spine, it has altered graphics in several places. The North Star logo and name has been entirely removed, except for the label on the record where, also, the “S” has been inverted. It sounds as though it was created from an audio transfer from an original issue vinyl and then re-pressed back onto vinyl, the reasoning being that the audio in some places appears to not be entirely clean with some noise heard in some areas, leading me to think the audio did not come off of a set of master tracks. What I was able to learn about this reissue record was that it seems to have come from out of Europe somewhere, and appeared sometime in the beginning of this year. I am guessing that whoever produced the reissue simply could not find Yost or sufficient information to do so in order to obtain the tapes or the rights to officially redistribute his music, or simply were not up to that task, meaning I conclude this is bootleg. About Yost himself, information is very scarce. He appears to have never been credited as having had any involvement on anyone else’s record ever, I definitely do not think he had anything to do with Stargard’s “Nine Lives” album from 1982. Also, while the geography might initially suggest as much, the editorial writer for the San Jose Mercury Phil Yost who died last year was far too young to be this Phil Yost the musician.

    A1) The leska tunes are drenched in echo and are quite sublime. Flute and bass really establish the planar depths of the musical field. It begins by establishing a chorus from which two different developments are made, first, it is followed by a strong movements of melody, and secondly, it is stretched all far out into distant note spaces which ends the track. A2) Yost dives downward for the deepest bass notes that can make sense. Flute hopping then unusual meandering and finds a trail only to exit and tongue flap and hop around meanwhile the bass sorta just plays passages and notes which blur into one another without sticking much, around the low to mid registers, finally finding the high register before quickly returning for the coda. Memory or nocturne by jazz conventions. A3) The only track with sax. A great deal of two string dyad picking, almost classical guitar. He knows how to make the sax do circles and enter and leave those whirlpools well. Not much bass really, mostly the same few accompaniment motions. Halfway through though the bass gets bowed and the guitar gets strummed heavily and it goes the way of some Syrian Iranian traditional music movements but develops some trippy tension which is resolved to end on a “creator has a master plan” wavelength. B1) Turned it over and holy shit. Striking of the tambourine. Echoed out chords with the melody overlaid live on both guitar and bass. Charlie Haden or French jazz pop of Gainsborough comes to mind. B2) Tiny bell or triangle. Arpeggio chords throughout reappear. Feeling out the space on the bass. Pharoah Sanders comes to mind or some of the more interesting contemporary folk stuff we add. Rattling ball bell or likely just moving a tambourine around gently. Flute comes in and the bass line quickly becomes established rather than exploratory. Some notes of bowed bass occasionally that fills out the sound, then comes to follow the direction of the music like a cello might usually be played. Dada Diogenes keeps wanting to chant “a love supreme, a love supreme.”

  • Reviewed by Grizzly Adam on May 6, 2015 at 5:24 pm
  • Filed as 12-inch,Jazz
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  • Spettro Family – “The Tenant From Hell e.p.” – [Prison Tatt Records]

    Solo waveform electronics. Italy’s Stefano’s cinematic short library cuts to set mood, a capsule of scenes, A side, protasis or epitasis movements, while B side, definitely catastrophe, settled yet empty, durations, and tholing tears. 1) conga fills, kit, metal percussion, and a model synth timbre for painting with oils and brush, or on stage, for laser lights and smoke machine 2) the melody, laidback, but becomes more elaborate, the song structure grounded in repetition of a few parts without variations really. static cymbol, and leading bass line, brings to mind the Konami sound, and something like Contra. 3) tension or freedom at the heart of the machine, distanciation or otherwise known as contemplation. 4) a music box, with high frequency blurring or peaking and might vibrate even but definitely strident. where doth the melody reside? from the heart cometh and to the heart goeth. wonders the dada diogenes.

  • Reviewed by Grizzly Adam on April 27, 2015 at 8:58 pm
  • Filed as 7-inch,A Library
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  • Buzz – “See You Sioux” – [Dark Entries]

    Raining cymbal tears, for rapid tensions that go pop. Seen as
    on the move, upbeat and art lyric’ie songs in French taste
    haute couture. Key punk cab voltaire says Dark Entries.
    Currently Vuduvox. Re-release. Indie walking bass with
    languid synth, string style, not organ Culture Club style.
    Somehow gets a good fist pump repeat going, “AGENT
    SECRET!”. Bob L. would like, and dedicate Petite Poupee
    Japonaise, my fav also. It has that 99 Luft Balloons like
    cadence of words to it.

  • Reviewed by Grizzly Adam on May 17, 2012 at 11:39 am
  • Filed as 12-inch,A Library
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  • Lepki, Lui – “Late Night Movie” – [Joe Gibbs Music]

    Peers, focus on the process of school. Landlord, they don’t
    like the nightshift smoke signals. Who says these? Lui Lepki.
    Who likes the couch, company, and which murdererstyle dj
    doing rubadub doesn’t like the latenight movie? Can’t buy
    love, or loving words. But best things in life are free. Food for
    penitentiary, it cost money. Family and loves, even belly
    empty, are better, seen? Understand, we have here
    something called Reggae started by Bob Marley, some say
    Prophet, some, King of Reggae. The blind must be led, keep
    on moving ahead. Society gets a blow, so fight against violence a must, that builds the nation where we want love
    in a jam down, no violence, one big family. Sweet
    honeybunch, and harmony. And Majesty, rightful ruler. One
    destiny. It all breaks down and goes crazy with the custom
    officer, the high point of the album. Quite a journey by way
    of mouth and good for the version all over the kfjc reggae
    library.

  • Reviewed by Grizzly Adam on May 17, 2012 at 11:38 am
  • Filed as 12-inch,Reggae
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  • Isaacs, Gregory – “Hold Tight” – [Cousins Records]

    Hovering hold hands heavy hot ‘Open the door’ key setup
    begin. Love the Burning – drum snap of the hi hat, and shuby
    du-badu of liking the – Spearish ‘Margaret’. Slow dance
    darling to the oldies style, gangstar horn of ‘Hold Tight’.
    Dubbed out, Ethopians sync #4. Hear him hold on homonym
    maud dib/wah dee wah da wah do – do you no know on a
    classic patrol riddim. #6 Half the harmony specialty back
    and forth, love and mind, half dubbed out rework of smooth
    retro dancehall. ‘Josephine’ returns to the heavy energetic
    spot on roots/lovers beginning the album. Out of nowhere, pure skank spunk of essence ‘False Evidence’, voicing a loss
    of rights and arrest – stars on this one. Comet impact, three
    seven delta, B#3 ‘Same Time’ strikes good for a one hit
    intense overall freedom show. To knock some lively sense
    into them, Isaacs brings ‘Me Nah Want’. Lovely early disco
    oldies come again, in B#5, and segues tune-wise, power!
    Come again. Last cut fast and dubby.

  • Reviewed by Grizzly Adam on May 17, 2012 at 11:35 am
  • Filed as 12-inch,Reggae
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  • Kiddus I – “Rocking Rebel” – [MVDaudio]

    The reality of this release is that it is off cassette which was never released, and 20 years later we are now getting the document allowing us to evaluate the sole work of Kiddus I, and here is how he fits in. CD One #1 African Brothers #3 Barrington Levi, Eek-a-mouse #4 Rock my boat, Clint Eastwood, Congos #5 Wailers, Israel Vibration, Burning Spear #6 Charlie Chaplin #7 Jimmy Riley #8 Morwells #9 Dennis Brown, Heptones, Melodians #10 Jacob Miller CD Two #1 Andrew Tosh, Jah Cure #2 Frankie Paul #3 Blood and Fire, Pressure Sounds #4 Twinkle Brothers, Black Uhuru, Daweh Congo #5 Extended Dillenger or Johnny Clarke #6 A much loved riddim. Junior Delahaye #7 Freddie McGregor, Winston Jarrett #8 Disco ska #9 Twilight circus dub sound system, Pablo Moses #10 Sean Paul #11 Ini Kamoze

  • Reviewed by Grizzly Adam on April 7, 2012 at 2:17 am
  • Filed as CD,Reggae
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  • Gayle, Philip – “Babanco Total” – [Public Eyesore]

    Fluid vocal quilt, interlaced dubbed up voice mixing, farting mouth, tar pool delivery. Oh, ohhh, ahhh, bubbly saliva. Speaking goblin, orc? Similar to Phil Minton (who is better) or (more extreme than) Jaap Blonk (entailing a lost of meaning, comparatively). #1 Razor motor sustain and gurgle beat, like having a haircut in a dentist’s office. #2 Fish tank, old man aches and showers, cracking knuckles, pumping gold ink pens, and snake venom spray. #3 Morning yawn. None accapella except maybe #4. Five – Sounds of ocean boat zips, slides, white noise water crashing, things approximate to seagulls, action heavy, heavy wheezing, kissy sounds, and blowing your nose. #6 Scooter engine, leaf blower, two out of breath people, and armpit farts. #7 Burp, and falling to one’s side from over-eating, mouth noise. #8 Sped-up crowd chatter. #9 Gregorian chant and gurgle prayer. Later, the willy-nilly auctioneer shows up. #10 Slowed tour guide to dinosaur talk, then sped to Farsi speed. #11 is funny, scooby doo, bert and ernie, and more, also reggae blap blap. #12 Soothing to an asthmatic’s ears, clear breathing ways, and heavy sleep breathing. Obvious use of stereo hard panned 2 channel production. #13 More than mere technique. #14 More modern. #15 Donald duck meets the choir.

  • Reviewed by Grizzly Adam on April 7, 2012 at 2:16 am
  • Filed as A Library,CD
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  • Group Ongaku – “Music of Group Ongaku” – [SEER Sound Archive]

    A side is home studio recorded, where the site of confluence becomes the basis for new sound music, where participants play round robin with objects and instruments, use their voice and hands to generate sound with more than just the tradition of a european tuned orchestra. A discord of music technique, this study break be it from musicology, literature, or vocal music studies, brought out an understanding of performance away from the bench and based it squarely on a kind of audiology, understood as where “creation and performance occur simultaneously” and “acoustics” [are tracked] within actual time and space” such as where in poetry action disrupts representation, and a kind of realism is exposed. These performances contain evidence of a later concern of some of it’s members, where in it can be heard/felt that sounds have transitioned environmental conditions, turning morning to night, sun to rain, house to hall to political address, worded as “directly connect[ing] everyday experiences with musical expressions in an attempt to transcend conventional music concepts”. A side is full on music in chaos. Weo weo (woman) re a re a (radio scan) percussive door, shakers, crunchy food, bugs bunny piano humor, bowed string, vibrating surfaces, inner pockets of sound, tapping on glass, pilot voice, large motorcades, and escape action sequences, oil drum and delay processing, slide flute and dolls; Group Ongaku is ensemble outre. Cacophony. Hear the sheer gravity of a synthesizer which inhales all the surrounding sound into a giant black hole. Is that someone cleaning the studio while they record? Later they get in on it, flipper jocking the on-off switch. Music concrete by sheer effort, and ingenuity with tape. B side is live at Sogetsu Hall. This is straight post classical-jazz improv. Alan Silva comes to mind, as does Lawrence Butch Morris. They hold off the percussion until the levee breaks and wamo, the performance is reinvigorated, except the musicians hadn’t yet returned from a walk around the hall, and so the performance returns to quiet development. Also some organ, or accordion with piano keys, comes in.
    -eveningly infinitely wipes

  • Reviewed by Grizzly Adam on March 27, 2012 at 8:55 pm
  • Filed as 12-inch,A Library
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