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

    Rinse:06 [coll] – [Rinse]

    2008 CD with Plastician (of Rinse.FM DJ Fame) mixing various Grime and dubstep cross-over material. mostly instrumental, from ten years’ back. Fast and furious mix, each tracks gets a couple of minutes and on to the next. It works with this kind of wobble grime material, too long tracks would distract the dancers and the attention span. The dubstep world provides the wobbly bass, the grime adds in the bouncy fast patterns and chord layers.

    Put the CD on continuous play for 3-4 track playback. 

    Alas, ten years is a long time and the current grime scene has moved on to other pastures with even more experimental soundscapes. Consider this the time when the dubstep producers were looking for a new venue for getting people to actually dance to their tracks. –Kai

  • Reviewed by Kai Sync on April 26, 2018 at 3:48 pm
  • Filed as A Library,CD
  • Comment on this review
  • Slogun – “Tearing Up Your Plans” – [Old Captain]

    John Balistreri is Slogun, a Brooklyn-based power electronics project founded on a simple premise: PEOPLE ARE TRASH! Originally recorded in 1997, this early work was remastered and re-released in 2015 by the Ukrainian label Old Captain. Heavy electronic confusion, from high end blasts to metallic infernos to more subdued suspenseful rumblings. Sometimes hints of sampled songs or reverberating voices can be heard somewhere in the uproar. All of it surrounds Balistreri’s savage vocals: the cries of anticipation of a murderer planning the next crime, the taunts of a torturer as he abuses his victim, the growls of a racist confessing his disgust for the drug addicted and the poor (T2, T10), the screams of a rejected stalker that resorts to self-immolation as a final romantic gesture (T6). A real “achievement,” in that is hard for me to imagine a purer expression of hatred, and because it absolutely delivers on its title (this filth completely spoiled for me a beautiful spring week and my birthday, as I’m sure the artist intended). Therapy through violence!

    FCCs on every track except maybe T7

  • Reviewed by lexi glass on April 24, 2018 at 10:00 pm
  • Filed as A Library,CD
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  • Henry Blacker /Black Bombaim (split 7″) The New Evil /God Unknown

    A Side: UK trio Henry Blacker offers a spare rocker built on a repeating descending guitar riff. Heavy bass and drums. Good and crunchy with inspired yelling replacing the calm vocals in a couple of places.
    B Side: Portuguese trio Black Bombaim cranks out a high energy psyche-rocker with an alien-sounding guitar line commanding attention, as the rhythm section pounds away relentlessly. This side is instrumental.

  • Reviewed by Max Level on April 24, 2018 at 8:46 pm
  • Filed as 7-inch,A Library
  • Comment on this review
  • Eroded / Paganizer [coll] — [Imperium Productions]

    2006 split on a German label.

    Eroded- German project from Bochum, North Rhine-Westphalia. “Old school DEATH METAL – no fucking compromises.” Indeed, they offer a dark, heavy take that’s tight in all the right places, worshiping at the altar of Incantation — “dulce et decorum est.” Well, I guess they aren’t reinventing the wheel, but who fucking cares, these two tracks make for an enjoyable ten minutes. The second one is called ‘The Goats of Heaven,’ which is pretty humorous.

    Paganizer- more Death Metal, this time from Swedead. This prolific group was founded in 1998. Their sound here takes many cues from the D-Beat Hardcore of bands like Totalitar. No blasts, but it is fast and furious with a thickly Entombed guitar tone. With two songs clocking at about two minutes each, this side is less than half as long as Eroded’s, which by the way I preferred.

  • Reviewed by Lord Gravestench on April 22, 2018 at 10:41 am
  • Filed as 7-inch,A Library
  • Comment on this review
  • Wolfsschrei / Isaz [coll] — [Raging Bloodlust Records]

    2006 split on a German label from two German Black Metal bands, limited to 500 copies.

    Formed in Thuringia in 2004, Wolfsshrei is the solo project of ‘Taaken,’ also of the great Odal. Make no mistake- this is the better side, with punishing drums, elegantly depressing riffage, and ferocious delivery. Unfortunately it’s only one track. This band is more Satanic than the one on the reverse. Wolfsshrei means ‘Wolf Scream’ in German.‘Leichentanz’ means corpse-dance.

    Isaz – Germany, founded 1996, this trio didn’t record very much, splitting a few years prior to this split. These two tracks are raw and thrashy with real menace in the vocals at times, somewhat similar to Russia’s Nav’. The second one is perhaps the better of the two. Like a lot of German Pagan BM, they draw inspiration from the Germanic pagan reconstructionists of the late 19th and early 20th centuries. Isaz is a Proto-Germanic rune meaning ‘’ice.’

  • Reviewed by Lord Gravestench on April 22, 2018 at 10:10 am
  • Filed as 7-inch,A Library
  • Comment on this review
  • Ahern, Kenny – Surfing Bagpipes – [self]

    Kenny Ahearn plays all instruments, including the bagpipes, of these surf classics and one of his own composition.  He has posted many videos online where he looks very natty in his kilt.  Great fun, surf Scotland!!

  • Reviewed by Cousin Mary on April 20, 2018 at 11:45 am
  • Filed as A Library,CD
  • Comment on this review
  • Boom Pam – Boom Pam – [Essay Recordings GmbH]

    Boom Pam is a band from Tel Aviv, Israel.  They mix Balkan, Jewish, Greek and Mediterranean sound with rock.  They are frequently called a surf band – certainly the instrumental tracks on this album would fit in a surf show – but one ponders a chicken and egg question after considering the strong influence of middle Eastern songs such as Miserlou on American surf.  Really good musicians, very fun energetic tunes including the ones with vocals.  Instruments include a TUBA!

  • Reviewed by Cousin Mary on April 19, 2018 at 3:43 pm
  • Filed as CD,International
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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
  • Comment on this review
  • 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
  • Chen/ Kaiser/ Smith/ Winant – “Ocean of Storms” – [Fractal Music]

    Ambient spacey jazz brought to you by piano, trumpet, guitar, and percussion. Long trips. Smith and Kaiser go way back but this album came out this year. Perhaps Ocean of Storms refers to the Oceanus Procellarum, a basaltic plain on the moon that is the result of ancient volcanic eruptions.

    — Billie Joe Tolliver

  • Reviewed by billiejoe on April 18, 2018 at 2:01 pm
  • Filed as CD,Jazz
  • Comment on this review
  • Hawthonn – “Red Goddess” – [Ba Da Bing!]

    Moody. Melancholy. Reminds me of a good Anne Sexton poem. It sounds like innovative electronic music. The listener is taken on a journey and each track is a stop along the way to a final destination. It was said of the band that their, “chief inspirations lie outside of music, in Romantic poetry, dreams and reveries, esoteric symbolism, the history of magic and witchcraft, folklore and the English landscape.”

    — Billie Joe Tolliver

  • Reviewed by billiejoe on April 18, 2018 at 1:55 pm
  • Filed as A Library,CD
  • Comment on this review
  • Usiende Ukalale: Omutibo From Rural Kenya [coll] – [Mississippi Records]

    Omutibo is a style of Kenyan folk music that combines storytelling with intensely rhythmic fingerpicking guitar. It was developed by guitarist George Mukabi in the early 1950s, who took inspiration from the traditional nyatiti lyre and sukuti drum. The style proved to be wildly popular, and Mukabi sold hundreds of thousands of records throughout East and Central Africa. Over 50 years later, Cyrus Moussavi (Raw Music International) traveled to Kenya to visit many of the original musicians and record them in their homes. While George Mukabi himself is not featured here (he passed in 1963 at the age of 33), we do hear music from his son Johnstone. Joyous, life-affirming songs, and an essential document.

  • Reviewed by Phil Phactor on April 18, 2018 at 6:16 am
  • Filed as 12-inch,International
  • Comment on this review
  • a Hawk and a Hacksaw – “Forest Bathing” – [LM Duplication]

    Albuquerque`s Jeremy Barnes and Heather Trost have played in Neutral Milk Hotel, Beirut, and this is their seventh release as A Hawk and a Hacksaw. Relatively tame Middle Eastern Anatolian sounding music. The press release from LM duplication reads, “it’s important to the band that you know where they are from” following with “they are not of a place, but their music evokes places.” The band calls this travelling music, and the focus can feel touristic and veer towards cultural appropriation. Requires engaging in at least a bit of fantasy.
    For fans of Joseph Moskowitz, #5, #8 feature Unger Balasz on cimbalom. Deerhoof`s John Dieterich on #6.

  • Reviewed by Hemroid The Leader on April 17, 2018 at 11:26 pm
  • Filed as A Library,CD
  • Comment on this review
  • LeBaron, Anne – “Rana, Ritual & Revelation” – [Mode Records]

    ran a ritual and revelations jumping frog cover

    Diverse works from the 80s & 90s by composer and harpist Anne Lebaron. Taking inspiration from amphibians, peyote ritual, bowerbirds, and Noh theater, and performed by a plurality of ensembles, some including Lebaron herself, in these compositions animal, technology, and ritual are collided into something like Southern cyborg shamanism. Lebaron was a student of Ligeti, first catching his attention with “Concerto For Active Frogs” in which the musicians, dressed in green plastic bags, perform a graphic score accompanied by a tape cut-up of frog mating calls.

  • Reviewed by Hemroid The Leader on April 17, 2018 at 10:17 pm
  • Filed as A Library,CD
  • Comment on this review
  • Daniel, Drew/ Wiese, John – “Continuous Hole” – [Gilgongo Records]

    I nearly lost it when I heard that two of my favorite musicians had been collaborating on a record for over ten years. So my expectations were probably unreasonably high for this one, and on first listen, I prepared to be blown away. That didn’t happen, but over multiple spins, I arrived at something much more satisfying – an appreciation for the craft of two brilliant electronic artists working at the top of their game.

    My first impression was that you can really hear Daniel’s influence – it’s that rhythmic Matmos sound they’ve perfected on albums like A Chance to Cut is a Chance to Cure and Ultimate Care II. Here, complex collages are arranged from sonic fragments – blasts of noise, snippets of static, deep bass tones – elements you might hear on Wiese’s harsher records. Painstakingly composed, apparently without the use or sequences or samplers, but the result isn’t fussy or difficult. Layers of rhythm easily move with a dancefloor energy (T2, T4), march to a beat (T9, T10), ascend stepwise up the rungs of a ladder (T7). The precision gives way to more fluid tracks (T5, T6, T8, T11), with long drones, loud muck, whistling tones and sweeps of plucked strings (T11). The album builds to a final horrific conclusion, that ends not with a bang but with a – surprise! – chomp. Mastered by our friend Thomas Dimuzio. Excellent.

  • Reviewed by lexi glass on April 17, 2018 at 8:39 pm
  • Filed as 12-inch,A Library
  • Comment on this review
  • Dagger Moth – “Silk Around The Marrow” – [Toten Schwan]

    “Silk Around the Marrow” is the second release by solo artist Dagger Moth or Sara Ardizzoni. She is a guitarist and vocalist who uses these tools as well as minimal electronics, noises and loops to create a dark yet inviting atmosphere. Ardizzoni plays the guitar with a rich variety of tones, colors and shades of gray, plucking quietly or strumming with loud wild abandon while electronic foundations guide and center the pieces. Her husky voice sings of issues of identity and the trials of a human in the 21st century. Each song is so well executed, hinting at minimalism, repeating patterns and structures. It’s too dark for pop music but I wish this was the direction pop went: heavy, complicated, a bit frightening and always interesting. The last track is a collaboration with Marc Ribot. A true eye opening surprise.

  • Reviewed by Naysayer on April 13, 2018 at 10:45 pm
  • Filed as A Library,CD
  • Comment on this review
  • Feldman, Morton – “Rothko Chapel Why Patterns?” – [New Albion Records, Inc]

    red and black simple painting

    Foundational Minimalism, hypnotic and meditative. The Rothko Chapel is a non-denominational chapel operated by the de Menil Foundation in Houston, TX which features 14 black but “color-hued” paintngs by Mark Rothko, a Yale alumnus as is Morton Feldman. It is a spiritual mecca for art people. The five parts Rothko Chapel are between 2 and 9 minutes long. Extreme minimalism. Feldman liked to have his players play very quietly. Meditative sound paintings, extremely inoffensive. Feldman was influenced by John Cage, and Why Patterns? features “indeterminate” note durations.

  • Reviewed by Hemroid The Leader on April 12, 2018 at 3:32 pm
  • Filed as A Library,CD
  • Comment on this review
  • Segala, Luca Libertrio – “La Rete Indra” – [Amirani Records/Amirani Contemporary]

    segala cover, orange light abstraction

    Sax-bass-drums trio recorded in Milan, 2015. Tony’s Hungry is an Afro-mid-eastern groove that recalls John Zorn’s Masada. Segala’s free-and-easy melodic tenor brings to mind classic Sonny Rollins. At the same time, Segala’s compositions are very sharp. Fresh take, not dated. A quality recording. Intellectual blues, European jazz.

  • Reviewed by Hemroid The Leader on April 12, 2018 at 3:07 pm
  • Filed as CD,Jazz
  • Comment on this review
  • Parker, Evan / Lazro, Daunik / McPhee, Joe – “Seven Pieces Live At Willisau 1995” – [Clean Feed]


    Clean Feed brings the goods once again with this document of a 1995 meeting of three titans of the modern saxophone. From the opening long-held tones of “Echoes of Memory,” it’s clear that this is going to be a conversation, not a shouting match. These guys know how to play, but they also know how to listen. Moments reminiscent of a Bach fugue evolve effortlessly into moments of unbridled free play. This recording has been remastered from cassette, and the tape hiss and occasional cough really help in the feeling of being there. The track “Florid” (T4) is solo Evan Parker, and it is one of his classic circular-breathing ascending-to-heaven epics. Worth the price of admission all by itself. The last track ends with extended rhythmic clapping.

  • Reviewed by Phil Phactor on April 11, 2018 at 7:07 pm
  • Filed as CD,Jazz
  • Comment on this review
  • Bye, Matti – “Phantom Carriage, The” – [Rotor]

    Matti Bye composes “soundtracks” for silent movies.  The Phantom Carriage is a Swedish film from 1921 that concerns a Salvation Army slum sister and is considered by many to be a masterpiece.  The music is playful, lyrical, and reminds me of the cabaret works of Kurt Weill and the piano works of Erik Satie.  Very nicely played on piano, strings, percussion, brass and harp.  Really lovely, recommended!!

  • Reviewed by Cousin Mary on April 11, 2018 at 3:57 pm
  • Filed as CD,Soundtrack
  • Comment on this review


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