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Fall, The – “Wise Ol’ Man” – [Cherry Red Records]

It’s the 21st Century and The Fall still push forward. This 2016 EP features 2 new songs, the title track plus “All Leave Cancelled”, alternate takes plus remixes of several songs from 2015′s Sub-Lingual Tablet plus a rare live version of “No Xmas For John Quays” recorded in 2014.
Impressive stuff. Visceral and tight instrumentation pounding forward and driving the repetition which never seems to feel redone. But Mark E. Smith. WOW! As we age our voices change, our manner along with it. Smith is still Smith but boy that voice. His classic shout not sing style of thick accented vocalizing has turned into mumbled spewing, garbled growls and some of the most frightening yowls, howls and old man scream shouts. What is beyond rage? That’s the sound. Amazing. Keep your kids away, but it is superb.

  • Reviewed by Naysayer on June 5, 2017 at 11:17 pm
  • Filed as A Library,CD
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  • Oliveros, Pauline & American Voices – “St. George and The Dragon/In Memoriam Mr. Whitney” – [Mode]

    This early 1990′s recording of Oliveros comes during her deep listening period. Having gone to the Pomfret School in Connecticut on invitation from American Voices director Neely Bruce to lead a Deep Listening Training, Pauline took time to sit in the Chapel on the school grounds. It was known for it’s interesting acoustics which interested Oliveros. It was here that the two selections on this CD were formed. “St. George and the Dragon” is inspired by the statue of the same name which sits in the Chapel. Oliveros, playing accordion, evokes the spiritual battle between Saint and Dragon. Her long phrases, held out to mysterious length, reverberate within the Chapel. Listeners must take time with this 47 minute piece of meditation and beauty. “In Memoriam Mr. Whitney” is a heartbreaking work performed with American Voices. Accordion slowly plays while the vocalists, including Oliveros, call out the names of their loved ones who have passed on. The vocalists were encouraged to walk about the Chapel while saying the names. We hear their movement throughout. It is haunting to hear someone call out “Mamma”, “Grandad”, or nicknames of people. The intimacy along with Oliveros’ accordion are sometimes staggering in their quiet. A unique gift to our station.

  • Reviewed by Naysayer on June 4, 2017 at 9:43 pm
  • Filed as A Library,CD
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  • Barbwire, Mike & The Blue Ocean Orchestra – “El Surfista De Mambo” – [Sleazy Records]

    Mike is the lead guitar of the Swedish surf band The Barbwires. Here he gives us a nice single that combines surf, Latin beats, and exotica. All this on a Spanish record label – fun!

  • Reviewed by Cousin Mary on May 31, 2017 at 4:00 pm
  • Filed as 7-inch,A Library
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  • Sammartano, Ray – “Dream Switch” – [Self-release]

    Analog synth and public domains sounds.
    Spacey sparkly pretty with some indecipherable low vocals.
    From Eugene, Oregon.
    - BJT

  • Reviewed by billiejoe on May 31, 2017 at 2:13 pm
  • Filed as A Library,CD
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  • Bastard Noise / Brutalomania [coll] – [Skull Records]

    Noisy oh my gosh and screaming vocals about veganism and animal rights. Good stuff. Brutalomania is a solo noise artist who has worked under many different aliases such as Cadaverizer Noise, Feral Squat, and Manuel M. Cubas.
    Bastard Noise of course is a California group founded by Eric Wood, Henry Barnes, and WT Nelson. They’re discography is quite extensive. They have been making noise since the early 90s and have worked with countless other artists.
    BJT

  • Reviewed by billiejoe on May 31, 2017 at 2:12 pm
  • Filed as 7-inch,A Library
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  • Endvra – “Watcher, The” – [Old Europa Cafe]

    creepypasta

    Endvra (or Endura) were a Death Ambient duo from northern England active from 2001 to 1993. This 1998 CD was their last album. Its single 50-minute track starts out very quiet but gets very loud at times, presenting an interesting mixing challenge.

    It’ll make ya nervous… Pulsing sub-bass, sewer drippy-drops, lush synthesizer orchestra, and every now and then the Death Train passes us as we wander dank subterranean passages full of strange rituals and malevolent non-human intelligences.

    Very much about subliminal horror, almost like a Robert Aickmann story. The vibe goes with Megaptera, Stratvm Terror (another band with a ‘v’ that is actually a ‘u’) or Asmorod.

    Stephen Pennick now records as Ontario Blue, while Christopher Walton works as TenHornedBeast.

  • Reviewed by Lord Gravestench on May 31, 2017 at 12:05 am
  • Filed as A Library,CD
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  • Maldur Atai – “Borgata” – [Autarkeia]

    malduratai

    Formed in 2010, Maldur Atai is a three-man industrial ambient project that comes from an emerging experimental scene in Lithuania. This 2012 CD, their fourth album, was released by the Vilnius label Autarkeia.

    Borgata is a concept album that takes its title from a biography of Italian intellectual and director Pier Paolo Pasolini that explores the mysterious events surrounding his murder on a beach in Rome in 1975, just before the premiere of his infamous film Salò. I can’t find anything about this biography other than the lengthy synopsis from Autarkeia. But if it does exist, it sounds like a pretty decent read: it reveals that Pasolini was killed by operatives of a secret global conspiracy, that includes high-ranking members of the Vatican clergy, whose goal is to prevent the unfolding of ancient prophecies of an obscure Buddhist cult called the Maldur Atai, the details of which Pasolini planned to expose in his next film.

    The album follows the twists and turns of this convoluted story. It opens with beautiful ambient sounds mixed with samples – grim news reports, screams of horror, discussions of psychedelics, voices of possessed children. These clues deepen the mystery, and the sounds follow, becoming darker, hollow and expansive. As we near the truth, the tracks become heavier, louder, and distorted, almost sounding like a noise record (T5, T7, T11, T12). Finally, we arrive at some kind of solution to the puzzle, with a guitar-based Italian folk ballad, Apollo 11 flight recordings, (T13) and a mystical vision appearing at the close (T14).

  • Reviewed by lexi glass on May 30, 2017 at 7:10 pm
  • Filed as A Library,CD
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  • Love of The Farthest – “Providing Water and Drought” – [Utech Records]

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    Typical of what one would expect from Utech. Dronish ambient music that is tame overall with a few hints of darkness. Lots of layering and subtle changes. Thankfully, no annoying metal “throat” vocals. The adjective shimmering has been used frequently to describe this elusive artists work. Upon first listen I thought of Michael Gira’s solo project the Body Lovers and the heavy drone elements of the Hafler Trios early work. Track 4 is the strongest and clocks in at 15 minutes in length

  • Reviewed by Jim Hunter on May 24, 2017 at 4:57 pm
  • Filed as A Library,CD
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  • Thomas Carnacki – “Where’s My Love,My Eyes Are Gone,The Rains Are Coming” – [Alethiometer]

    Limited edition printing.
    Chickens. In stereo.
    Humorous tuba.
    Dedicated to those lost in Ghost Ship.
    Made from a batch of 7″s he got in the mail and farm field recordings.
    Veheug is dutch for “looking forward”
    – Billie Joe Tolliver

  • Reviewed by billiejoe on May 24, 2017 at 3:25 pm
  • Filed as 7-inch,A Library
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  • Levitas, Asher – “Lit Harness” – [Planet Mu]

    Previously of Old Apparatus and a collaborator with Michael Crowe. From London. This is his first solo album. He is also a video artist. Sounds like buzzing electronic ambient with rhythm. Pretty. Spacey. Pew pew laser guns. Engine. Ambient hazy details and wooshings. Said to be about his sleep paralysis.
    – Billie Joe Tolliver

  • Reviewed by billiejoe on May 24, 2017 at 3:23 pm
  • Filed as 12-inch,A Library
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  • Ra Al Dee Experience – “Diatessaron” – [Ajna Offensive]

    raaldee

    The mystical, oriental music project of Mors Dalos Ra/guitars,saz (of Necros Christos) and Ben Ya Min Al Dee/percussion. Driving Persian instrumentals with mystical Sinai hand-drumming Exodus meditations. All instrumental except the title tune. Wide appeal.

  • Reviewed by Hemroid The Leader on May 24, 2017 at 2:32 pm
  • Filed as 12-inch,A Library
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  • Mordecai – “Abstract Recipe” – [Richie Records]

    Montana freaks hole up in a cabin with instruments and record the experience. it’s a jangley lo-fi garage rock, slow and monotonous. most of the tracks, especially A-side, go fuckin’ nowhere, which may fit the bands lyrical content about staring at walls… B-side kicks way more ass, because it actually tries to do something with the time its taking from your life precious. I recommend ‘want to grow up’ as it sounds nothing like the rest of the album.

  • Reviewed by mouthbreather on May 22, 2017 at 5:50 pm
  • Filed as 12-inch,A Library
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  • Ghost In The House – “Second Sight” – [Public Eyesore]

    R-9945433-1489002433-2561.jpeg

    Squaky improvised classicist jazz quartet adds surreal spoken word about Dream Machines, dockside disembodied heads, bats. Recorded in SF
    Kyle Bruckmann on oboes, english horn
    Tom Nunn – metallic pwecussive sounds
    David Michalek – strings, percussion – composed the tunes
    Karen Stackpole – gongs, percussion.
    Guests include vocals contributed by Dean Santomieri

    Spoken words on tracks 3, 6, 8

  • Reviewed by Hemroid The Leader on May 17, 2017 at 6:28 pm
  • Filed as A Library,CD
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  • Cudd, Patti – “Eos” – [Innova Recordings]

    726708696726-front-cover

    Patti Cudd teaches percussion and new music studies at the University of Wisconsin-River Falls and the College of St. Benedict & St. John???s University.
    Varied 3 disc set explores many ways of “scraping, scratching, tapping and striking”. Sometimes hand percussion, sometimes with mallets, vibes, sometimes computers. 16 of the 22 tracks are new commissions. The album also features works by Morton Feldman, Brian Ferneyhough and Christian Wolff ??? the only ones here without the use of electronics.
    These sounds, many solo except for Max MSP type processing, invite contemplation.. some are very commanding and others could be beds. Dig in, play it all the time. Sayles once told me that a solo percussionist is a foundational part of the KFJC sound.

  • Reviewed by Hemroid The Leader on May 17, 2017 at 5:51 pm
  • Filed as A Library,CD
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  • Dommert, Frank – “Kiefermusik” – [Pacific City Sound Visions]

    a1974165528_10

    Frank Dommert began experimenting with tape music as a high school student growing up in Cologne in the 80s. He reached out as a fan to Christoph Heeman of H.N.A.S. (Hirsche Nicht Aufs Sofa, their early work came out on United Dairies) and soon became a collaborator. After releasing a string of cassettes on his own label Entenpfuhl, Dommert made this record, his first LP, in 1990, with Heeman as producer. The circle of musicians Dommert encountered during this period went on in the 90s to form the group Kontakta, the Sonig label and a-musik, which became the center of the experimental scene in Cologne. This 2016 reissue of Kiefermusik (“jaw music”) comes to us from the now Belgium-based label Pacific City Sound Visions, run by madman Spencer Clark (he’s calling himself Typhonian Highlife lately, also known as Fourth World Magazine, half of the noise duo The Skaters with James Ferraro, the Monopoly Child Star Searchers, and more).

    Kiefermusik contains two sidelong tape experiments that warp and wind fragments of recorded sound into a seamless dream sequence. In “Neum” (side A), dueling cycles of sound, one a loop of tape static churning in a constant rhythm, and a parallel loop fluctuating in pitch and volume. Echoing conversations, a distant accordion serenade, blistering noise, a ticking second hand (I had a traumatic flashback to Clocker, now finishing up its rotation in our current bin), and end-of-the-cassette crackles all move into awareness before the tape flies off the reel. “Uwverschmuschupi” (side B) begins with a sample of sped-up circus music (perhaps the roly-poly fish heads on the album cover?) that returns like a chorus throughout the piece. Voices and their chemtrailing echoes, planes flying overhead, radio news reports rumbling underneath, comic book laser beams, clips of film dialog and violin solos. Totally demented and sublime.

     

  • Reviewed by lexi glass on May 16, 2017 at 8:51 pm
  • Filed as 12-inch,A Library
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  • Ride For Revenge – “Thy Horrendous Yearning” – [Hells Headbangers]

    horrendous

    I guess we should be embargoing Hells Headbash for what they did to Peste Noire? After this one.

    RFR’s latest album (2016) is the usual challenge to the Extreme Metal status quo from the Finnish band with one hoof in the grave of Industrial noise (see also: Will over Matter, Womb C, Bizarre Uproar), subverting expectations since 2001.

    Compositionally, if not texturally, this LP is more like Psych than Heavy Metal, idiotically dervishing through the same phrase over and over again, its purposeful repetition set toward a druggy trance state. Imagine Archgoat covering Circle… yeah, it is that Finnish.

    It’s not unusual to hear this group massage Doom, Death and Black Metal influences into something ritualistic and startlingly experimental, but this is far less riff-oriented than many past works, partially akin to the instrumental material on their side of the 2015 split with RxAxPxE, except with lyrics (pretty good ones). Sometimes the experimental atavism accidentally sends it back in time to Hellhammer’s best moments, but it’s definitely on the “cutting edge,” incorporating warped synth, FX abuse and electronically and/or chemically altered vocal stylings. This is pretty much always the RFR pallette but they never seem to apply it twice in the same way.

    A3 and B2 are somewhat more traditional compositions that could almost be outtakes from the killer ‘Ageless Powers Arise’ release we added a few years back. Guitarist J Pervertor (Neutron Hammer), member since 2010, really shines on those ones.

    Take a journey beyond the veil with the masters. “There is no Heaven, just Hell for you and me!!”

  • Reviewed by Lord Gravestench on May 16, 2017 at 12:40 pm
  • Filed as 12-inch,A Library
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  • Haxel Garbini – “URI” – [Snowdonia]

    Italian artist who has made all kinds of music. This is concrete experimental stuff. Uses a stethoscope in water on A1, 2, and 5. Synthy melodies, bells clanging and echoing, twangy strings on A3 turns into lovely space out. Birds. Organ-type sounds.
    – Billie Joe Tolliver

  • Reviewed by billiejoe on May 10, 2017 at 2:40 pm
  • Filed as 12-inch,A Library
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  • Orchestra of Futurist Noise Intoners, The [coll] – [Sub Rosa]

    noiseintoners

    Luigi Russolo (1885-1947) was an Italian Futurist composer, occultist, and designer of a family of musical instruments called the Intonarumori, or “noise intoners.” In his 1913 manifesto The Art of Noises, Russolo argued that traditional music could no longer capture the senses and imagination of the modern listener, a city-dweller surrounded by the constant cacophony of “noise sounds.” He envisioned a new kind of orchestra, composed of purely mechanical instruments – the Intonarumori – that each created a sound from one of six “families of noise” (roaring, hissing, scraping, etc.) that resembles the sounds one encounters in modern life. The first orchestral performance in Modena in 1914, perhaps the first noise show in history, ended in a riot. Since then, many of the instruments were lost over the years, or destroyed during World War II.

    In 2009, Luciano Chessa (composer, multi-instrumentalist, and friend of the station – his most recent visit to The Pit was in Dec. 2016) resurrected the Intonarumori in a celebration of the 100th anniversary of Italian Futurism, in collaboration with Experimental Media and Performing Arts Center (EMPAC) and the San Francisco Museum of Modern Art. Working from Russolo’s original designs, Chessa’s team constructed 16 replicas of the Intonarumori devices, large wooden boxes containing intricate mechanical noise generators operated by an external lever or hand crank, with a phonograph-style horn to amplify the sound. Chessa then invited his colleagues and friends to compose new works for the orchestra, to be performed alongside Russolo’s original compositions. The works were performed at several locations, including the Ex-Alumix factory in Bolzano, Italy, by the Trento Risuona Improvisation Orchestra (T.R.I.O.).

    This 2X LP from Sub Rosa collects the recordings from this 2010 performance. Blixa Bargeld contributes a driving, droning piece (T1), Pauline Oliveros has the sounds scattered as they rise up from silence (T2), Margareth Kammerer offers a night-shift blues tune with female vocals (T12), Pablo Ortiz creates a wild, dissonant tango that you could almost dance to. Several pieces incorporate operatic vocals (T3, T5, T7, T11). Extensive liner notes are included inside the gatefold. In the hands of such brilliant musicians, these century-old instruments sound fresh, and somehow, from the grinding-gear sounds, they are able to generate a surprising variety of textures and moods. It’s all the more impressive that there isn’t an amp of electricity flowing. Russolo’s words resound today as strongly as ever: “Today noise reigns supreme over human sensibility.”

  • Reviewed by lexi glass on May 8, 2017 at 8:22 pm
  • Filed as 12-inch,A Library
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  • Dufallo, Cornelius – “Journaling 2″ – [Innova Recordings]

    0726708696023_p0_v1_s272x272

    Dufallo, violinist for Flux Quartet, Ne(x)tworks, and ETHEL, offers us a bracing treat here with his “journal” of work with living composers including, among others, Kinan Azmeh and Raven Chacon. Electronics manipulations combine with his sublime avant violin technique and each track is described well in the liner notes. Dufallo himself composed the last track, “Reverie,” which is a must-listen. Call it edgy, nostalgic, classical–but it is definitely exquisite.

  • Reviewed by humana on May 7, 2017 at 4:18 pm
  • Filed as A Library,CD
  • 1 comment
  • Barreca, Marc – “Aberrant Lens” – [Palace of Lights]

    barreca

    Marc Barreca has been creating electronic music since the 1970s. “Aberrant Lens” is his seventh album for Palace of Lights records, produced by label-owner K. Leimer.

    Mixing sampled instruments, treated field recordings, and synthesized sounds, Barreca builds ethereal and exotic musical landscapes. Most of the tracks have a pulsing rhythmic quality, slow and soothing, supported by ambient droning bells and tones.

    Barreca includes samples from a wide variety of acoustic instruments, including accordion, glass harmonica, and Indonesian metallophone, which are occasionally processed and often looped with long delays. The diverse instrumentation gives rise to many distinct textures, and provides plenty of differentiation to the album’s 12 tracks, a rare feat for an “ambient” album.

  • Reviewed by Louie Caliente on May 7, 2017 at 10:40 am
  • Filed as A Library,CD
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