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

    Paradise Bangkok The Album : Vol. 2 [coll] – [Paradise Bangkok]

    Served up by ZudRangMa records in Bangkok,
    a fantastic store run with keen (and khaen)
    love by Maft Sai (connections to next door
    Studio Lam where Molam and Luk Thung artists
    often perform). Traditional flavors are strong
    but varied on this collection of their label’s
    recent 45s. Opening with the towering power of
    the khaen (a bamboo pipe organ that sends
    skyscrapers of sound out of one’s mouth). The
    vocal stylings are so great, kicking up a kind
    of gymnastic percussion that dances over drums
    and other skins. Check out Chanpen Pornaswan
    (B2) for a sterling example, or for the male
    counterpoint of view, Aa Jaan Jitakorn Molam
    Group (B3) for that surging form of singing.
    (B1) actually goes all in with onomatopoeia
    on “Ding Ding Dong.” That piece feels like
    an island sound system with its proud horn
    punctuation and killer drummer. So much
    style, swervy and hypnotic. Even without
    vocals, “Lam Plearn Diew Khaen Diew Phin”
    and “A Ba Ni Bi” have dance floor beckoning
    beats that slide up to you, A3 a jangley
    bouncer, while B4 is a vibraphone groover.
    I like to pretend Onuma Singsiri’s (A4)
    song is some kind of Thai darkwave, but
    the initial Joy Division blotted out by funky
    sproingy synths and her “how ow how ow ow”
    quick cadences. All solid but do NOT miss
    Warin Shinaraj (A2) it transports me every
    time, not to Bangkok, straight to Paradise.
    Her voice lingers on notes then darts away
    the guitar and drum anapestically waiting
    on every word, ending with a strange calming
    blend of laughter and piano ripples. Wow!
    New York vs Noo Yaak! We all win.
    -Thurston Hunger

  • Reviewed by Thurston Hunger on May 5, 2018 at 12:39 pm
  • Filed as 12-inch,International
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  • Anderson, Marisa – “Traditional & Public Domain Songs” – [Mississippi Records]

    No stranger to KFJC’s airwaves, Marisa Anderson
    unites with Portland powerhouse Mississippi Records
    to reissue her 2013 release of an homage not just
    to the Traditional Songs of the title, but to the
    guitar. It’s all instrumental, and all electric,
    and weaves between reference and reverence. She
    can pluck gentle and clean as on “Farther Along”
    or tiptoe near the third wire that Junior Kimbrough
    use to ride with “Pretty Polly.” Songs that are
    pulled deep from the heartland, if not the heart
    of this country appear : “May The Circle Be Unbroken”
    and “Amazing Grace.” But Marisa’s domain extends
    beyond natural and sonic borders, “Bella Ciao”
    is indeed beautiful, and builds up a nice storm set
    of chords. Dig the super reverb recoil on “Johnny
    I Hardly Knew Ye.” A lot of the album has a solemn
    and introspective vibe, often soothing but not without
    a bout of bitterness. That being said, she concludes
    with a downright jouncy “When the Roll Is Called Up
    Yonder.” Perhaps that is the arc of the blues, to
    struggle humbly and with grace, but carry a heavy
    weight till we hit our run-out groove and the
    needle rises with us to the skies.
    -Thurston Hunger

  • Reviewed by Thurston Hunger on May 5, 2018 at 12:37 pm
  • Filed as 12-inch,Blues
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  • Lilou and John – “Patriot Child” – [Self Produced]

    Drunk punk duo out of Sweden, well drunk is
    a bit unfair as the topics of their lyrics are
    sobering, but the rock on display here is
    dive-bar distorted and grasping for a 2am
    closing anthem vibe. The signature of the duo
    (deviating from their folk roots, but not thaat
    much) is the warble of Lilou. Raw emotion rasps
    her throat and a vibrato attacks without warning.
    Think Jello Biafra as Judas Iscariot in Jesus
    Christ Superstud. Lilou sings to defy both
    multinational corporations and conventional
    musical keys. It’s fascinating in a harrowing
    manner. John provides guitar and pen for the
    words coming out of Lilou’s mesmerizing mouth.
    The leadoff cut has the martial chop and snap
    of some of the Ex’s stuff, while #2 definitely
    has AmRep pep. They are a husband and wife duo
    who might have met in the classified ads of
    Sweden’s version of “The Nation.” -Hunger

  • Reviewed by Thurston Hunger on May 5, 2018 at 12:35 pm
  • Filed as A Library,CD
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  • No Balls – “More Is More” – [8mm]

    No Balls is a far cry from any eunuch freak folk, they
    deliver heavy electric instrumentals, lightly seared
    by noise with a hint of psych (well from a manic
    Japanese point of view). Connected to the Brainbombs,
    and somehow without lyrics No Balls sounds almost as
    filthy as that band, Anders Bryngelsson shares fluids
    with da ‘bombs. Was Dan Raberg severed as a member here,
    but someone kept his horn though? Actually on “Pacer” it
    almost sounds like someone singing into their distorted
    guitar pickups, and on “Breaking” maybe a man or a trumpet
    is trapped inside the bass drum and blurting out
    exhortations…while the air runs out. Sick goose trumpet
    also may appear on “Nachspiel” Overall they say plenty
    without words. The other “father” band here is Noxagt,
    from that good ol Kjetil Brandsdal (he oils the mighty
    Drid Machine) burrows thick on bass and JC Lauritzen is
    insistent on drums, really more of a battering ram.
    Think concussion over percussion. David Gurrick recorded
    his guitar parts on this album while completely naked.
    And bleeding. Well it sounds that way. Clearly this
    is what Trump had in mind when extolling the virtues of
    Norway. Bonus points for Anders Hana on the mixer, isn’t
    The End here yet? Checking out other artists at
    8mmrecords.bandcamp.com would be cook if Luca and co
    could hook up KFJC with some more heaviness!
    -Thurston Hurtin’

  • Reviewed by Thurston Hunger on April 19, 2018 at 3:33 pm
  • Filed as 12-inch,A Library
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  • Nerve Beats – “Freedom Fighter Prayer” – [Fine Concepts]

    Short blasts of pineapple-expressed garagey blitzy
    rock. Trio from Honolulu, who blew into Oakland to
    record this to cassette for the Fine Concepts
    label. Feels like they kept the cassette and
    motor running, has a feeling like a live set
    pumped out moving over the posted speed limit.
    Travis Wiggins vocals add to it, shouty style
    as if he was standing up in a convertible trying
    to keep pace with these short grindy numbers.
    He kinda reminds me of Franklin Bruno (Nothing
    Painted Blue) but smeared out Oblivians style.
    Travis on guitar and vox, Alex Nagata pumps up
    boogie-ing bass and Jack Tawil on the sticks.
    Really, some of his best moments are just hyper
    stick ticking metal rim (like on “Ultra Bosch”)
    The songs keep cooking, at times Wiggins
    guitar kinda wigs out, nicely so you get a noisy
    improv vibe on top of the dive-bar riffage.
    See the title track and “Riot Meditation.”
    Adding to the bar vibe, a Hendrix homage pops up
    in “Chivington Soldier” and G-L-O-R-I-A
    gets spelled out on “FOX-661L.” No dinosaur
    rock, no bones to pick or break, just a raw
    at times murky but driving energy. “Eyes in the
    Heat” ups the ante with thrashy guitar building
    up to an almost Fall style urgency with
    lyrics that march and then a firing line snare
    close-out. Things slow down a little around the
    bends of “Berlin 64” but them the serrated edges
    of “Magna Knife” cut in more car-crash art-rock
    hurtles down your earway. “January 13 Incident”
    and the anthemic “Goncharova Cats” hit the
    finish line strong.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on April 19, 2018 at 3:31 pm
  • Filed as 12-inch,A Library
  • Comment on this review
  • Floom – “Multi-voice of The Immensity” – [Casual Acid Tea]

    A simple formula FLute + dOOM == FLOOM. But the
    heaviness has the gravity of Earth, and the
    monumental mantra of Sleep, but on top of the
    thick guitar and mightly flute, Cathy Monnes
    and Christina Fleming hover with angelic voices.
    Wow, intoxicating about and beyond the open
    e-string buzz for your distored brain. “MVMT 1”
    has these great pauses of feedback guitar and
    a sustained flute note, Satan might not know
    but little god Pan understands. “MVMNT 2”
    the guitar starts lower, and the flute doubles
    its barrels, with the guitar pushing a bluesy
    side of the red devil. Guitar gets on tracks
    while flute+girls turn into a railroad whistle.
    Tunnel of Floom! And ends with a digital flurry
    of flute and an amp whimpering. “MVMT 3” picks
    up (the whole piece is meant to track) and
    aims for the godhead with a dronier, stonier
    flute over amp spasms. Like a “Dead Man” sdtk
    done by Amber Asylum? The ladies rise like
    sirens on the closer, you guessed it “MVMT 4”
    I bet this puppy will roll cradle to grave
    on many overnight shows now and forever.

  • Reviewed by Thurston Hunger on April 4, 2018 at 1:25 am
  • Filed as A Library,Cassette
  • Comment on this review
  • Poison Sea – “Poison Sea” – [Casual Acid Tea]

    Distant piano with tape hiss and low-key ominous
    vibes. Drone as an emotion, dread always hits me
    harder than its less subtle cousin “doom.” This
    cassette perhaps was acid washed in some toxic
    effluvia from our dying oceans. Recently watching
    the Twin Peaks revival and the film version of
    “Annihilation” I found this music fits in with that
    kind of visual weather. Overcast guitar, shades of
    Steven R. Smith appearing in the shimmer-y clouds.
    While there are organic elements of piano and spaceship
    or something at one point) it’s mostly floatational
    banks of keys. Honestly by the last track, “Beneath
    the Haze” I sense a thin layer of optimism. Lying at
    the bottom of the Poison Sea are Kurt Mangum from
    Flying Hair along with Anthony Piromalli, they form
    a pretty seamless pairing. Set sail for this one.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on April 4, 2018 at 1:19 am
  • Filed as A Library,Cassette
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  • Saint Black – “Alex” – [Self Produced]

    If you blur your eyes, the guitar for the choruses
    is a little like Van Halen’s “Aint Talkin Bout Love”
    Except for three things
    1) it’s really not
    2) Saint Black *is* talking about love
    3) “they” probably hate VH.
    They might well be one person, nice lo-profile packaging
    and minimal web presence. The label is even called
    Semi-Permanent, which hits you right in the low-self
    esteem organ. The singer gets nervous around “Alex” but
    at least he got this awkwardly catchy single out of it.
    Stale beer vocals backwash nicely against the pop. The
    song submits itself into a sample bomb ending. On #2
    “O Word” the beer seeps into the heads of the recording
    device. Sloppy beauty. This time the post-song/post-mod
    sample gets its own track, #3 “Saint Black” is some holy
    heretic scammer but clearly paired with #2. “Down to the
    Sky” the guitar now unplugged, the drinker still singing
    in his mug ultimately passes out in a pastoral redux.

    The likelihood this project is composed of college DJ’s
    goes way up if the band name is lifted from the mighty
    Black Saint label. A long shot perhaps…but yanevehno.

    -Thurston Hangover

  • Reviewed by Thurston Hunger on April 4, 2018 at 1:16 am
  • Filed as A Library,CD
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  • Wei Zhongle – “Operators, The” – [Self Sabatage]

    Chicago project that has molted often, but kept
    singer Ron Jacobs as the chief card-carrying member.
    Indeed from this release to v5.0 per their F’book
    site, even fellow founder John McCowen and his
    electronic clarinet have slithered away. That
    clarinet, with Jacob’s guitar gives this album a
    peculiar feel. The guitar is often brittle, more
    apt to break off notes then chords, often with a
    clipped bright processing. McCowen’s clarinet
    has an even tighter, amped up sound, more like a
    synth than a wind. Interesting. The songs centered
    on that pair are somewhere in a DMZ between pop
    and prog. I’m thinking of 80’s Japan (dreaming of
    clarinet cuckoos in Magic I.D.) Jacob’s singing
    silkens the kimono effect, gentle/clean. “Nosejob”
    lets Phil Sudderberg have a little percussion fun
    and gives a rare groove to bassist Pat Keen. But
    “Inside Your Insides” is what hit me in my sonic
    plexus. Bandname may translate as “Microgravity”
    or perhaps “Your services are no longer needed” ;>
    -Thurston Hunger

  • Reviewed by Thurston Hunger on February 21, 2018 at 1:04 am
  • Filed as A Library,CD
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  • Goodman, Greg/ Gruntfest, John – “In This Land All The Birds Wore Hats & Spurs” – [Beak Doctor, The]

    Time travel on two sides, improv pairing split on
    side A’s mid 1980’s vs side B’s 2008. Side A launches
    with “Pure Mind” feeling like that flavor of raga jazz,
    a few laps of alap, the Goodman’s piano circular and
    Gruntfest’s sax centered within. The next piece “Great
    Bird” almost rolls into Terry Riley territory. Still a
    flowing, rolling, bubbling composition.

    Flip the disk and 2008 flies in the window, Gruntfest
    wings some phrases, and woodpecker sputter on the
    reed. Goodman a few bars of simple chords, then dives
    into the prepared piano pluckage and plumage. Act I
    is a lot of peck and pluck. Moving into Act II some
    of the waves of piano from the 80’s turn up and churn
    up darker waters. Free jazz takes flight, screech and
    scronk sax and eventually some furious bass clef work
    by Goodman. Act II closes with zithery work under the
    hood. If Act II was a battle, and at times it felt like
    it, here Gruntfest and Goodman find common ground, it’s
    not the soothing flow found in the flip side of their
    youth. Side A had them united in the song itself, here
    the song serves to unite their own unique talents,
    so you get more sparks and fire, as opposed to the
    cool ripples from their earlier work.
    -Thurston Hunger

  • Reviewed by Thurston Hunger on February 21, 2018 at 12:56 am
  • Filed as 12-inch,A Library
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  • Cazzell, Micol – “Little Fits” – [Self Produced]

    Micol sings like 6am, wide awake…inverted magic hour….
    quietly bright, a little chill nipping at your earlobes.
    He double tracks his vox to give you a tiny warm stereo
    muffler. Mellow guitar strummage, with gentle noodling
    (no caffeinated solos). The drums almost missed the wake
    up call, but they are there just a little bleary. At least
    not a machine punching the clock beat. They add to the
    home-spun charm. Polite keyboards look in the window.
    Lyrics are where any discord may lie, maybe written at 3am
    the night before. Hell the lead-off track is called
    “Postmodern Depressionalism” and name checks Elliot Smith
    and sings “don’t like the song, the words are all wrong.”
    But that melody is alright, a pop delight. The title cut
    is cloaked in wispy aaaaaah’s. On #3, the soothing nature
    of “life is long and miserable…but I’m doing fine” so
    Micol seems able to enjoy a dose of the morose as long as
    his heart still hits a simple hi-hat pitter-pat. Raise your
    sad, sweet and sour “Fits” in unity, my fellow melancholics.
    -Thorazine Hunger
    tiny little FCCs #1 #2

  • Reviewed by Thurston Hunger on February 21, 2018 at 12:51 am
  • Filed as A Library,CD
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  • Trashies, The – “Octagon, The” – [Fine Concepts]

    The place where the spastic stuck is where The Trashies
    spot-welded their sound on your heart-shaped ears. They
    step into the album like Chuck Norris into a rap battle,
    in-it-to-win-it. The opening title track gives you
    a little taste of the waste floating in the Trashies
    stream of conciousness. Rhyming slang to put your mind
    in a sling, and not afraid to play the Buttafuoco card.
    Is this where hip hop meets gunk rot? Music escapes from
    the drum machine circus, with an array of guitar moves
    that might bust out twin-lead Thin Lizzy, or might break
    off some thick and stumbly Beefheart chunks. Just because
    the dork-o-meter is set on 11, doesn’t mean these itty
    bittie ditties aren’t big on style. Of course most songs
    come at your quick like a UFC round, 2 minutes is a long
    one. This sure scratched my old Uzi Rash itch, sure enough
    mighty Max Nordile is in the dumpster band. Erin Allen plays
    something too, probably lots of somethings. Album
    finishes strong, that “I’m Uh Stayn” and “Shovel” tag
    team is a killer. Crazy choruses on both, “Shovel” offers
    a sing-along for an asylum, while “Stayn” almost sounds
    like he’s saying “Namaste” while a voice over like like
    the Weatherman corrects the phrasing. “Fresh Hunny”
    drips with sweat of a 100 Prince impersonators. Steel
    dum-drums (sampled?) on “Rhinoline” are just fine, and
    “Dumb 2 B Smart” is a loaded potato for this old spudboy.
    5 Thumbs Up, and venom in my eye! -Thurston Hunger

  • Reviewed by Thurston Hunger on February 17, 2018 at 4:22 pm
  • Filed as 12-inch,A Library
  • 1 comment
  • Tapes & Topographies – “Fathoms” – [Simulacra Records]

    Ambient exercises out of Dallas, TX. Todd Gautreau is
    the mixmaster and electro-navigator aboard this one-man
    sonic submarine. Standout track “The Trouble With Dreams”
    features waves of tone mingle with washes of antenna
    signal squiggle, and even some vox mermana drift by as
    well. Death by water never felt so good. Buoyant chimes
    and gentle climes. Bathysphere organ and actual sized
    bubbles rise on “Theory of Impossible Shapes.” Mystic mists
    for the noise-sick KFJC-serpents? Based on the name,
    I wonder if there are more field recordings nestled into
    the songs? By the way his earlier project “Tear Ceremony”
    has a darker Agent Cooper bent, though still soothing and
    KFJC has two of those fine releases worth revisiting. All
    on his own Simulacra imprint, along with the Crushed Stars
    project that he fronts for some Slowdive-y pop pastels.

    Gautreau is one busy being, but this is the project to help
    him, or you unwind. Sink into the syrup synth sea.
    -Thurston Hunger

  • Reviewed by Thurston Hunger on February 17, 2018 at 4:20 pm
  • Filed as A Library,CD
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  • Ibsen, Henrik / Repertory Theater of Lincoln Center – “An Enemy of The People” – [Caedmon]

    Heard a fine superimposition mix of this back on
    then the DJ donated this 3 lp set to KFJC! Thx, Sluggo
    Brothers square off against each other, Mayor vs Doctor.
    A town prospers off the illness of visitors but at the
    cost of the health of the townspeople. The individual
    is pitted against the majority, but that majority is
    quickly relabeled authority. Meanwhile in the battle of
    science and politics, corporations and the press have
    their own maneuvers. This Caedmon (!!) release includes
    a post-game side-long chat between Harold Clurman and
    Arthur Miller, whose adaptation was used for this recording.
    Miller astutely predicts future relevancies for this work,
    the river that runs through this album ran through Flint MI
    all too recently. Giving a different taste to the line
    “We’ll go to America and this whole thing will be like
    a dream.” Recorded in 1971, adapted by Miller in 1950,
    originally written by Ibsen in 1882. Awaiting your KFJC
    experimentation now…

    -Thurston Hunger

  • Reviewed by Thurston Hunger on July 24, 2017 at 7:00 pm
  • Filed as 12-inch,A Library
  • Comment on this review
  • Pesteg Dred – “Years of Struggle Against The Lies, Stupidity and Cowardice” – [Dark Entries]

    Teenage DaneDream of Damaged SynthPop
    Does any label time travel better than Dark Entries?
    This was recorded back in December 1981, but apparently
    only availale wth a Danish magazine as a cassette in 1985.
    Inge Shannons vocals are featured to lead off the album
    in isolated fashion and layered, on “Untitled” (A2) they
    are draped in echo, droning over a churning pace but
    hit a break where they go wonderfully cuckoo. “Superior”
    has a proto-Motorik bassline with some new wave synth
    waves but then is that a toy piano or a ukele, and later
    it sounds like some skittering violin. Inge sings sorta
    pretty on this near anthem. Something’s rockin’ in
    Denmark? By the end of side A, she’s got a fierce femme
    Peter Murphy rolling for “Impressions.” And drums on that
    and through-out are well slugged by Martin Hall. Check
    the interview with him in the booklet, he’s still creating
    to this day, he and Inge were in SS-Say that turned up in
    a retro collection on Minimal Wave, but this really does
    not mope much in minimal waters. A dingy darkness, and
    some sick synths and electric “treatments” from Per
    Hendrichsen do demand attention. Hall’s bass playing can
    be brutal slappy in a fine way, like on “Light, More Light”
    And who tortures those horns on that elongated piece!?!
    Second “Untitled” is a haunting ghost piano soundscape.
    Hard to pin down this LP, def’ an attractive neuroticism
    Killing Joke-y, but different? For a bunch of teenage Danes,
    really well-assembled. It got lost for a while, and even
    after Dark Entries uncovered it in 2010, it must have befuddled
    some KFJC’ers, but it’s well worth the wait. Skilled and
    skittish stuff.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on July 24, 2017 at 6:17 pm
  • Filed as 12-inch,A Library
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  • Sondheim – Carter – Damrosch – “Limit” – [Public Eyesore]

    Recalling my first reverse echo takes me back (forward?) to a Whole
    Lotta LedZep, which at the time amps up the anticipation like deja
    vu on demand. More to KFJC tastes, Alastair Galbraith used to have
    tricks up his sleeve and in his dinghy to float sounds back and forth.
    On this release though, Alan Sondheim’s stated goal is to push such
    processing to the Limit. So Luke Damrosch the torpedoes and sets
    up his chop ‘n’ flop algorithms to fly at unreal speeds in real-time
    CPU’s. Often you can feel their little glitch points pop up in the mix.
    You can read more theory in the liner notes, to me Sondheim’s way
    with strings and things remains the focal point of this trio. He’s
    quite the dazzling dervish on say “longsazb” (Check “Longsaz” from
    their previous release.) That, like a lot of Sondheim’s playing
    looks East, another form of back or is it forward? The following
    “movement*” track feel like a Sudanese surprise, and then another
    more involuted “movement” after that. Does the processing illuminate
    or obfuscate? “Prelude” succeeds with more subtle volume-pdeal like
    processing, and as one of the rare vocal tracks featuring Sondheim’s
    partner in sound and more : Azure Carter. She pops up on #2 and #7 as
    well, singing in a Emo style (I mean Emo Philips the comedian not
    the Emo movement.) Hard not to picture her singing with eyes wider than
    her mouth. Her very pure voice is a nice contrast to the slither and
    scuffle sounds of Sondheim. Her songs are they all about becoming songs?
    Overall impressive ideas and a more impressive array of instruments. How
    the final track consumes or feeds may vary on you and where you fit in
    the soundtime vortex (their “Threnody” also had a cataphoniclysm to end
    as well.) Cool Rhode Island brainwaves by way of Brian Day???s Public Eyesore.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on April 27, 2017 at 5:32 pm
  • Filed as A Library,CD
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  • Nutimbre – “Cycles” – [dEN Records]

    Label-leader and dEN-master Stefano Ferrian assembled
    this five piece, with a decidedly electric timbre
    although his spinning sax and Vito Emanuele Galante’s
    trilling trumpet cross paths a lot. The album’s title
    is the musical mantra for Ferrian’s compositions here
    with heaps of arpeggiated arrays and hopped up cycles
    of sound. Sometimes like on “Sharp Colors” they move
    at a measured pace, but even that drops out and
    let’s Simone Quatrana finger flip a solo on his keys,
    as Fabrizio Carriero drum punctuates. “Closed Walk”
    has a plodding gait, Luca Pissavini getting thick
    with his electric bass (it feels like an acoustic
    tree trunk.) Ferrian’s first solo sparcs nicely,
    I get a little lost in Quatrana’s closing riffwork.
    But I like the down Chicago feel to that piece. The
    title cut has a more frenzied fusion feel for me.
    I do like Ferrian’s kind of zig-zag melody use.
    Another extended round from Quatrana on the closer
    with some nice muted trumpet by Galante. Cycles
    that are dizzying and perhaps refreshingly
    Gillespie-ing? 2014 release, at least I found it
    before Discogs has! -Thurston Hunger

  • Reviewed by Thurston Hunger on April 6, 2017 at 10:41 pm
  • Filed as CD,Jazz
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  • Baby Dee – “Regifted Light” – [Drag City]

    2011 release, almost feels like it could be a
    Christmas special (maybe cuz we’re adding it in
    Dec 2016?) But there’s a consistency to this,
    sealed in like a shaken snowglobe with beauty. Baby
    Dee has a cagey stagey voice, something between
    gentle and forceful, verily both at the same time
    as befits this self-professed “bilateral hermaphrodite.”
    Ornate piano, oft featured on instrumentals (and
    friends with a bassoon!) flourishes. Check out the
    perky “Yapapipi” which feels like the epiphanous
    soundtrack selection for a coming of age movie,
    or maybe a nature documentary when hibernation
    is over. “Horn Pipe” is jaunty but a bit hesitant,
    perhaps like Baby Dee during her days as a tree
    climber. There’s a quasi-religious aire, what do
    Church of England hymns sound like anyways? Dee’s
    vocal transformations are more transfixing for me
    than any gender bending…swinging from a gutty
    mutter to almost soaring sacred. Her voice sheds its
    John C. Reilly american bland talking and gets a high
    British rebirth. Amidst all this there’s goofballs
    wrapped in furs like “The Pie Song” and the snail
    hailing lead-off to the B-side (the latter possibly a
    free David Tibet dedication?). “On the Day I Died”
    hits some high and hallowed notes. Cleveland does
    plenty more than rock thanks to this artist and
    this lp. -Thurston Hunger

  • Reviewed by Thurston Hunger on December 30, 2016 at 7:29 pm
  • Filed as 12-inch,A Library
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  • Bookstaber, Rafi – “Late Summer” – [Woodsist]

    Seasonal sounds that I slept on, sorry. One or two
    chord mantras, with some psych guitar noodling,
    but drenched in belt-gaze (shoe-gaze cranked up to
    your waist) production. Songs are like jammy
    pajamas for the nudist colony at the beach. Loose
    fitting. The lyrics slip away into the shimmery
    mix, but printed out so you can at least read
    the third generation hippy strain if you don’t
    actually feel it, man. A mellow that can only
    be harshed by some severe mixology? We don’t
    have any of Rafi’s other stabs at sound, but
    from what I’ve checked out, fans of this could
    take an easy chance with Death Chants. And hard to
    resist the Woodsist gist.
    -Thurston Hunger

  • Reviewed by Thurston Hunger on December 30, 2016 at 7:28 pm
  • Filed as 12-inch,A Library
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  • Chatham, Rhys – “Harmonie Du Soir” – [Northern Spy Records]

    2013 release from seminal No Wave string-thinker.
    Like his contemporary Glenn Branca, Chatham was drawn
    to the concert hall thrill and thrall of an orchestra
    pit packed with electric guitarists. Minimalist music
    for maximum force. We have many of his older releases.
    He has evolved as a modern composer (trumpet apparently
    was his primary calling card) but we find him here still
    with that kind of post-rock, or punk-driven-drone vibe.

    #1 The title piece launches with a minimal tick tock ear
    sweep, one note electric pinging on a Dreyblatt-itude. Six
    guitars, so his roots music doubling down on his early
    Guitar Trio action. This song often feels like a post-rock
    precision boogie suite but it finds its power 7:40 in with
    definite No Wave homage crescendo chord strikes spaced out
    then accelerating then bass beats alive and angling guitar
    swipe-by’s create a nice Interference pattern.

    #2 Almost feels like a bagpipe early, the alignment of player
    (nearly 70 on this piece, an apparent soundtraco to a French
    mountain town – Rhonabwy ) a dinosaur heavy stride follows for
    nearly 12 minutes, then we encounter these arabesque woodwind
    flourishes. They blow in with a hint of dilithium crystal method.
    Add in minimalist call and response over orchestral drone, the
    orchestra swells and rises while percussion marches back in. We
    wind up in a shimmery pool of sustained sound. Helluva town.

    #3 Bonus piece, a mere 10 minutes. Noisier and less stately than
    the two vinyl cuts. Crushing blender of guitars like the original
    version of “Drastic Classicism” updated with dizzy blurts of Chatham’s
    trumpets sprinting through the center. Drummer Ryan Sawyer doesn’t
    just keep time, he kicks it in the gut. Noise surf.

    Hey he’s coming to town to cut it up with Bill Orcutt

    -Thurston Hunger

  • Reviewed by Thurston Hunger on October 20, 2016 at 6:30 pm
  • Filed as 12-inch,A Library
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