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Antologia De Musica Atipica Portuguesa Vol.1: O Trabalho
A1 Live Low’s Antiplot: 2:35 — features heavy breathing, and pretty percussive singing.
A2 Negra Branca’s O Espatelar Do Linho (Spreading Linen): 5:41 — features the xylophone and bicycle bells.
A3 EITR’s Cicuta (Hemlock): 6:47 — puts the focus on a low buzzing sax.
A4 Luar Domatrix’s Bocadinho De Alentjo (A Little Bit): 8:42?? — gives us chirping birds and warped voices calling out.
A5 Gonzo 37′s Agora Baixou O Sol (Now The Sun Is Down):4:50 –?? is sorta a call and response piece that reminds me of the call to prayer ringing out from a minaret.
AA1. Tiago Morais Morgado’s Laurindinha:1:09 — Here the low chanting vocal reminds me of Laurie Anderson’s O Superman.
AA2 Filipe Felizardo’s Sede E Morte (Thirst & Death) 6:11 –uses electric guitar feedback to produce a growling track.
AA3 Gonzo (37) & Luar Domatrix’s J L Gritam No Calvrio’s (Monodic Religious Song):1:55 –features female voices chanting over percussion.
AA4 Calhau!’s Pecunibal: 4:06 –sounds like a low register pinball machine in play.
AA5 Peter Fore’s A Maria Cavacas (Trad. Working Song):7:52 — gives us a Portuguese conversation between two old men with minimal instrumental backing.
Recalling my first reverse echo takes me back (forward?) to a Whole
Founded in 1997, Nuit Noire is Tenebras, AKA Mallory Julia, who is from Tolouse, France. He comes out of the Black Metal scene, but his band is not so easy to categorize. He has been known to refer to his music as “blasting faerical punk,” and indeed, despite the many Black Metal tropes at work, it’s clearly not church-burning music. It’s a bit too lightweight. Throughout this 2015 LP I was asking myself “Wait, is it Black Metal? Is it Death Rock? Is it Post-Punk? Shoegaze?” What good are these genre names, really? The group’s main themes are fairies, folklore and forests, and the dark/romantic dynamic of the music reflects that. Some screeching and some dramatic wailing. Is it too sensitive to be metal? How seriously are we supposed to take it? Anyway, I think a certain Alcest owes Mr. Tenebras a cut.
Julia is joined by his brother Andy on drums, who has played with a lot of important French Black Metal projects including Celestia, Peste Noire, Mutiilation and Darvulia. This whole thing was actually recorded back in 2003, and some songs have appeared elsewhere in other versions. According to Tenebras, a disagreement between the siblings delayed the album’s release for twelve years. These cuts are really spectacular, though. So out-of-the-box. A little Joy Division meets Ulver, Immortal, Forgotten Woods, Belketre, Rudimentary Peni, Antischism. The good kind of “Post-Metal” buzz.
The White Screen is an Israeli rock trio consisting of Gilbert Broid (vocalist), Gabriel Broid (guitar) and Stav Ben Shahar (drums). They are known for their weird, Dadaist live performances and are depicted on the back of the sleeve. The Broids are cousins.
The White Screen sounds like no-wave, glam rock, and surf rock. A bit cabaret, too- sultry, or maybe stupefied. In their own words: “Their lyrics are very political and criticize the whole system and leadership in Israel. Very not political correct”. Politics, religion, society, and the military all get a jab. Some are humorous, while others are more dour (“black is she, the white bird”).
The A side is the stronger of the two, but a special mention is owed to track 10 (“Pin ve Pot”), which has absurd lyrics and an intriguing drum riff.
Long live the White Screen.
Up and coming surf band from Orange County – great playing on mostly original tunes. They hit many surf influences such as outer space, Mexican sports, horror, Spaghetti Western, and soundtracks. A few spoken word snippets are thrown in. Fun!!
This 4-piece surf band from Mexico performed at the Surfer Joe Summer Festival on the night preceding KFJC’s live broadcast in 2016. True surf sound, well played, choice of tempos from slow to rapid fire, some unusual harmonies for surf. Track 12 is a very nice vocal in Spanish.
Damsels in distress, dastardly villains, theme songs, Ovaltine ads, racism, spies, organs, weather sound effects, and over acting. What’s going to happen next? Tune in to find out.
Black(ened) noise metal from LA. Been together for more than ten years. Members include: Thee Sluglord, MS 45, and Thulsa Doom. You will hear: Dialog under crunchy noise metal. Crashing war-like bangs. Echoing hollow vibrations. Monster roars. Demon screams. Sermon on hell.
When Helge Siehl departed Dark Ambient trio Maeror Tri in 1996, effectively breaking up the group, the remaining two members, Martin Glitschel and Stefan Knappe, continued as the dizzyingly prolific Troum (‘Dream’). I don’t know how to effectively distinguish between the oeuvres of the two projects, except to say that the Troum stuff has tended to embrace rhythm more than Maeror’s pure drone sound. Even so, on this 2015 CD, there’s plenty of the gossamer floating, deep prehistoric bass rumbling, and off-kilter meandering chord progression that characterized the older group’s occult sound; the tribal percussion I most associate with Troum only kind of rears its head here, on the epic final track’s Gog-like Doom Metal drum pattern. Otherwise it’s pretty pure Dark Ambient textures, sans beats, with a deceptive lightness.
At low volume these tracks are relaxing, but turn them up and you may discover layers of cosmic anxiety. I think of life forms in other galaxies, or of Ray Bradbury’s short story ‘The Sound of Thunder.’ The sounds are always in flux, so don’t come here expecting simple drone pieces. From the insert: “Everything recorded & mixed endlessly through the years 2007 – 2015. Used and abused: electric and acoustic guitars, voice, field recordings (Monte Pisano, La Gomera, Hamburg Landungsbrucken), instrumentum primitivum, flute orientale, cymbals, metal objects, tapes.” I would have though there was synthesis going on, too, but I suppose not… From the eldrtich strains of the evocatively titled first track through to the inconclusive hissing finale of the last, this is a pretty outstanding Dark Ambient work, created by German obsessives who helped found the genre and continue to push it forward.
Richard Streeter is associated with Butte County Free Music Society, the collective of Norcal noisefreaks that brought us the Bren’t Lewiis Ensemble, the great Bananafish zine, and other local underground institutions. As The Viper, Streeter brings us his straight-to-boombox recordings saved from his teenage years growing up in suburban Livermore in the late 70s. Noisy tape doodles (T2, T3, T4), a lo-fi drum spazzout with sis on backup vocals (T1, dredged up a memory of one of my old favorite Space Ghost numbers), a truly sweet little instrumental hippy dip folk pop tune with lilting piano and violin (T5), and a band practice outtake with strange, clashing chords and bluesy riffs (T6). Former high school weirdos that burned time until graduation nerding out over music (I’m assuming that’s all of us) might be delighted by this weird little mixtape.
The Xenakis Ensemble is a Dutch ensemble dedicated to the performance of contemporary classical music. Based in Middelburg, it is known as one of the few ensembles specializing in the works of the composer Iannis Xenakis (YAWN-iss zen-KNOCK-kiss). Many Xenakis titles in A library. 3 long (20mins) and 1 short (3:30).
Opens with a Xenakis composition featuring the signature sound of percussionn and horn blasts alternating with horror string glissandos.
Japanese madman Ichiro Tsuji runs the UPD Organization label. He has also been releasing outsider Industrial music as Dissecting Table since 1986, evoking a motley pallette of Western projects founded before and after (Foetus, Skinny Puppy, Coil, Einsturzende Neubauten, Mz.412, Nocturnal Emissions, Test Dept, Scorn) and the sincere weirdos of Japan’s own experimental scene (Zeni Geva, White Hospital).
This 1999 3xCD compilation contains more Dissecting Table than you could every possibly want, bringing together 1986′s ‘Ultimate Psychological Description’ 7″ (t.s 1.1+1.2), 1987′s ‘Ultra Point of Intersection Exist’ debut LP (t.s 1.3-1.9) and collection/previously unreleased tracks (discs 2 and 3). Only t.s 1.1+2.1 can already be found in KFJC’s library, on old collection CDs.
Tsuji’s singular style basically consists of frantic, tribal sequenced beats and instruments, weird Power Electronics textures and developmentally disabled Grindcore grunts. At times it’s like a poorly programmed AI trying to reproduce Death Metal with machines (and a captive howler monkey), but it never quite sounds fully musical.
Disc 1 is mostly vocals, beats, synth noise and samples. Disc 2 adds sequenced ‘Classical’ instrumentation and music box insanity into the mix for a tortu(r)ous Winchester Mystery House experience, and includes a couple pieces on the more abstract side (t.s 2.2+2.4). Disc 3 is completely different: one ultra-long ‘Test Work’ from 1985, an Aeolian harp of crackling and grinding pedal distortion that barely changes for 48 minutes. The birth of Harsh Noise Wall?
Solid gold from the always-reliable Crowd Control Activities label. Our copy (#15/500) is autographed.
Named after a Kerouac novel, London’s Desolation Angels were a lesser band from the New Wave of British Heavy Metal. They basically sounded like a slightly grittier version of Judas Priest or Iron Maiden (although singer Dave Wall was no Rob Halford and indeed no Paul Di’Anno). Great, thuggish, heavy, cantering, Morris-Minor-alienating anthems on this 2012 reproduction of their debut 45RPM single, originally self-released in 1984. In true NWOBHM nerd style, ‘Valhalla’ is about Valhalla and ‘Boadicea’ is about Boadicea. Cocksure, obnoxious and brilliant cuts from rockers who should’ve been bigger.
The Infected Mass is the first release from Matthew Patton’s project Those Who Walk Away. Patton is a composer from Winnipeg, whose previous works include the score for the 1988 dance performance Speaking in Tongues. This new work deals with the grief surrounding the death of Patton’s brother, who was killed in a plane crash. The pieces feature string and choral arrangements performed by players from Winnipeg and the Iceland Symphony Orchestra, who are credited as the “ghost strings” and “ghost chorus.” The strings are slowly bowed, creating reflective harmonies (T2, T4, T6), while distant voices echo in a mournful chorus (T1 and T7). Filling in the empty spaces, there is a quiet roar, like an icy wind, made from the sounds of circulating blood. And then, jarringly, we are presented with the black box recordings recovered from two fatal plane crashes (T3 and T5). “The recordings are very disturbing,” Patton says, “as we listen to these cockpit voice recordings, real people are about to die. I don’t know why I am doing something that feels so wrong. But I am.” Maybe it’s also wrong to drop art that is so personal and so harrowing into the middle of a dumb radio show, but I’ll leave that for you to decide.
The source material for these two side-long tracks was first recorded by Sult, an acoustic improv trio known for amplifying the micro-tonal sounds of their instruments. Sult is Havard Skaset on guitar, Jacob Felix Heule on percussion, and Guro Skumsnes Moe on the contrabass. The sounds were then destructed, chopped, blended, and reconstructed by Norwegian sound artist Lasse Marhuag.
Have your Dramamine handy for this one. A disorienting jumble of grinding metallic sounds, like a rusty, salt-soaked steel ship battered by waves, careening rudderless through a maelstrom, helpless against forces of nature infinitely more powerful than it. Dense layers of whirring, wheezing, and sputtering. Pantry shelves collapsing, sending pots, pans, and cans tumbling, crashing against floor and walls. A few fleeting moments of repetitive bass thumps on the end of side A provide the only solid footing in the entire album, and leave you desperate for more.
Mezzetin still is a mystery. Who is He/They? Where from? Where is the label from? Possibly a one man project. “Odd Scene” might be Mezzetin’s 3rd release. It’s all great outsider rock. One of the more distinctive voices around, still off-keyish and repetitive. Lyrics of love and memories and lost things. Mezzetin is diving into more experiments in sound this time, which makes it all the more interesting. Jangly guitars abound, still off. Infantile drumming, but in a good way. Track 9, “Mingling Haus” is 4 minutes of one note strummed on the guitar with wank drums and no vocals. If this was being done by a female Japanese noise performance artist, we would all be losing our shit. He’s not that. You still should be losing your shit.
Holy f..in sh#t! Trying to find my head to reattach to my body after listening to this one. I feel like I should go smoke a cig or get electro shocked. Tom Jenkinson, aka Squarepusher, is a major player in IDM/EDM/whatever. I don’t need to tell you. He’s brilliant. And so is this album from 2001. It marked a change for him, a move away from the use of actual instruments and an experiment with digital, all digital. No computers on this album, though. It’s hardware: it’s samplers, sequencers, synthesizers and digital effects processors. All put to their amazing 2001 use. Many pieces are FAST: sounds reverberate back and forth and through so fast you would never be able to catch them. But the few “slow” pieces are equally sonically exciting. Effects come and go and then the drill and bass starts. Yes Yes Yes! Oh hell yes!
Crow Crash Radio are a Bay area group that combine extended psychedelic jams with surf influences and drone. With Mark Pino on drums, Andrew Joron on theremin and Brian Strang on guitar, these musicians create a soundscape that is hypnotic and repetitive in a good way. Pino’s constant beats guide the listener while Strang puts down layers of guitar sound, filled out by Joron’s theremin drone and warble. An exceptional take on a unique mixing of styles, going to show there is always a new way to interpret genres.
Abstract, spoken word, album released in 2009. BSP is Massimo and Pierce of Switzerland who are known for their live performances and underground porn. AKA Anarcocks. Worked with HR Giger. Denham is from England and has worked with Throbbing Gristle, Marc Almond, and Psychic TV. She is also a visual artist. Much like the album art I have no idea what is going on and that is okay! Lyrics about pain, trans soldiers, gender, despair, and hope.
Bethlehem were once one of the most influential German Black Metal groups, although their style incorporated Doom, Death, and Groove into what they called ‘Dark Metal,’ the extreme genre that never was. Their second album, from 1996, is “dedicated to all suicide victims,” and its title is Latin for ‘Thou Shalt Kill Thyself,’ or something like that. The band was formed in response to numerous suicides among its members’ friends, including that of bassist Jurgen Bartsch’s pregnant girlfriend.
Yes, this was an influence on the development of the Depressive-Suicidal sound but it’s heavy in a way a lot of that music is not. Bone dry guitars cutting perfectly cold and desolate riffs, skeletal drums, ghostly keyboards (sometimes!), deathrock basslines, and the most amazing, batshit-crazy sounding Black Metal screams of all time. Session man Rainer Landferman gasps, shrieks, chokes, sputters, growls and rants through these songs like he’s hearing the music at low volume through one headphone to make room for the voices in his head dictating the words. It’s all in German, but I can make out references to stone chains, blood, death, snakes, darkness and “animalistic blasphemy.” Apparently the lyrics are pretty hard to follow even if you do speak the language. Pass the thorazine.
T.5 appears on the soundtrack to Harmony Korine’s film ‘Gummo,’ for which the band also contributed one original song.
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