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What KFJC has added to their library and why...

Galbraith, Kole – “Alptraum” – [Self-released]

From Washington. Poem about birds and soft dark nights.
One 30 minute track sounds like humming. Drone. Ambient. High frequency. Guitar flickers and crackles and tones. Becomes more chaotic as it goes on.
– BJT

  • Reviewed by billiejoe on June 21, 2017 at 5:19 pm
  • Filed as A Library,CD
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  • Subotnick, Morton – “Music For The Double Life of Amphibians” – [Wergo]

    LA experimentalist. Long moody tracks from different times and recordings. Sounds like abstract stringed instruments. Some quiet moments. Mostly you can really zone out on this rollercoaster.
    – BJT

  • Reviewed by billiejoe on June 21, 2017 at 5:18 pm
  • Filed as A Library,CD
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  • Ikeda, Ryoji – “0 Degrees C” – [Touch]

    Japanese sound scientist. Sounds like glitchy upload download fast forward symphony radar bloops chimes skipping static no signal. Short to medium tracks. Blends well so would recommend continuous play.
    – BJT

  • Reviewed by billiejoe on June 21, 2017 at 5:15 pm
  • Filed as A Library,CD
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  • Uthana-Eise – “G.d.g.r” – [Halbwelt Organisation]

    R-708190-1150288910.jpeg

    Halbwelt (‘HalfWorld’) Organisation is a now-shuttered German label with only 8 releases to its name. This was the sixth, from 2005. Testoterone-poisoned harsh Death Industrial from a man who possibly goes by the name ‘Husen.’ He has no identity, no country, no race, and probably no girlfriend, but he wants extreme population reduction and he wants it now. Anyone who’s shopped at the Los Altos Whole Foods can hardly blame him.

    Fascistic drum machines stomp-stomp-stomping along in time with mangled buzzing synths constitute a self-conscious imitation of automated death: slaughterhouses, concentration camps, abortion clinics. Sterile Mengelian vocals delivered through a loudspeaker instruct you to poke and to prod your most uncomfortable impulses with the scalpel. OK, so it’s not the most original pallet ever (Genocide Organ? Brighter Death Now? Thorofon? Folkstorm?) but that’s not to call it totally formulaic. Its crunch-march repetition (perhaps with elements of Powernoise) is great for numbing oneself into a state of disregard for outdated conceits like humanism, conscience and moral relativism. Kill!

  • Reviewed by Lord Gravestench on June 21, 2017 at 3:35 pm
  • Filed as A Library,CD
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  • Long Distance Poison – “Twin Lights Twin Lights” – [Prison Tatt Records]

    R-7309732-1438567189-9508.jpeg

    Nathan Cearley and Erica Bradbury have been composing analog synth works as Long Distance Poison since 2010. Most of the releases from this Brooklyn duo are on cassette (though the only one we have so far is a 12″ single) including this 2015 tape from Prison Tatt.

    Each side of Twin Lights Twin Lights holds a sidelong track. “Mosa” (T1) immediately swells into a vicious surge of sound. At the center of the piece are heavy, earth-shaking pulses, but as it unfolds, subtler details begin to emerge. There’s tones twisting outwards, insectoid flourishes, bizarre melodies that hiss, crawl, breathe. The piece includes hydrophone recordings of the East River. “Infra Viam (Live At Death By Audio, 9/19/12)” (T2, Cearley and Bradbury are joined by Casey Block on a Micromoog), a live track from the now shuttered NYC studio/venue, feels like the afterimage of the first side: we hear settling dust clouds, smoldering remains, piano-like notes blurred beyond recognition, glowing embers, droning echoes, absence. Recommended if you enjoyed getting lost in the void of Zaimph’s latest work.

  • Reviewed by lexi glass on June 20, 2017 at 9:14 pm
  • Filed as A Library,Cassette
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  • Ordeal – “Traumende” – [Eibon Records]

    ordeal

    Project of Gabriele Santamaria of Italian death droners I Burn, with some assistance from the other guy in I Burn.

    Unlike I Burn, Ordeal plays ultra-dark Shoegaze with Industrial and Neoclassical undertones. Shimmering LSD therapy guitars via Lycia, Slowdive or ‘Disintegration’-era Cure, dense keyboards, programmed downtempo beats, meticulously arranged. Spare vocals appear in the form of over-the-top, piercing operatics (female) and meaningful whispers (male). The cryptic lyrics deal in some lushly decadent religious mysticism, where it’s not quite clear what is meant but a clear mood does emerge all the same, a hopelessness redolent of kinky sex and grand cathedrals. The Qliphothic atmosphere of this 1997 release perhaps overlaps with Gabriele’s post-Industrial peers in Ain Soph, Skrol, and Sanctum, to name a few. The name of the album might mean something like ‘Dream’s End’ in German.

    Slightly over half the tracks (1, 3, 4, 7, 9, 10+12) are instrumental. Some of the shorter instrumentals are more experimental and could be I Burn outtakes.

    Definitely gloomy, but also beautiful, like a fallen angel. “Visions of Hell, they are hope.”

  • Reviewed by Lord Gravestench on June 19, 2017 at 11:49 pm
  • Filed as A Library,CD
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  • Luciation – “Darkened Apocalyptic Occult Goat Ritual” – [Posh Isolation]

    luciation

    Nothing nice or musical about this. It’s inexplicably on Denmark’s hippest Industrial label (home to Damien Dubrovnik and Puce Mary), but it’s not Industrial.

    Four lugubrious Black Metal Noise stews of sulphur, encrusted feces, Cthulhu jizz and the high-proof juice of wrung-out livers. Guitar feedback, splattery cymbals, distant riffs and choking. They suck, in a good way, a la fellow travelers Sutekh Hexen, Smoke and Enbilulugugal.

    Luciation is an Order of the Nonagram band, which means it features members of Blodfest, Wolfslair, Offerkult, Nastran et al. Anonymous lead guitarist ‘Voktor’ may be a moonlighter from the Noise scene. Who knows?

  • Reviewed by Lord Gravestench on June 14, 2017 at 1:57 pm
  • Filed as 7-inch,A Library
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  • Baraki – “Colony Laspberry” – [Worm Interface]

    Baraki: a Pashtun tribe, a village in Afghanistan, a village in Poland or Iran, a commune in Algeria, a Belgian insult for a slob.
    This Baraki, wherever the name comes from, is an accomplished musician out of Kyoto. “Colony Laspberry” is his master class in many styles of electronic dance music, so well done that on a continuous listen, one wonders if this is many groups/projects instead of just one. It’s just one: Baraki.
    Each track is a unique sound: “rock “n job” starts off like classic Japanese electronica pop from the 80′s/90′s. From there it takes off. We get IDM, drill ‘n bass, environmental ambient, rave pounding beats, freak out spinning electronic bouncy mumble, squelch. All the sounds are here. Wow wow wow. Head spinning yes please.

  • Reviewed by Naysayer on June 14, 2017 at 12:03 am
  • Filed as A Library,CD
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  • Orb, The – “Alpine” – [Kompakt Schallplatten]

    Does it get much more lovely than this? Maybe, but grasp this while you can. Three pieces of mood by the dynamic duo of Alex Paterson and Thomas Fehlmann, one piece – Dawn- selected as part of Kompact’s POP AMBIENT 2016. The stunning cover of the Matterhorn as double sets the mood for these three contemplative selections. “Alpine Morning” is a meandering electronic soundscape with backward tracked voices, like music for getting ready for a stroll in the great outdoors. “Alpine Evening” sets the beats, distorted sounds and even some squelched yodeling, for a dance club in Zermat, looking out on the famous natural attraction. “Alpine Dawn” starts out with cow or sheep bells, just what one would hear in the small farms surrounding the alpine fixture and then floats, twists and turns luxuriously – music for watching the sun rise? Or maybe it has nothing to do with the Matterhorn at all. Whatever, it’s gorgeous.
    Enjoy.

  • Reviewed by Naysayer on June 13, 2017 at 11:31 pm
  • Filed as 12-inch,A Library
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  • Bren’t Lewiis Ensemble – “Cavoli Riscaldati” – [BUFMS]

    lewiis

    A cavalcade of odd sounds, the origins of which are difficult to discern. Are these machines? Organic things? Electronic glitchery? Tape manipulation? Samples of who knows what? Probably all of the above. The first track starts with weirdly percussive monotone vocals and then moves into snippets of dialog about being sick and not wanting to live and bum trips and such. Then you’re in for a treat: two marathons (34 minutes and 25 minutes) of layered sounds that twist and turn and evolve and go all kinds of places and just work really well. The final track is 17 seconds long and totally unnecessary. Inscrutable material overall.

  • Reviewed by Max Level on June 13, 2017 at 9:39 pm
  • Filed as A Library,CD
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  • Samartzis, Philip – “Mort Aux Vaches” – [Staalplaat]

    samartzis

    Philip Samartzis is an Australian sound artist, composer, and professor in Sculpture, Sound and Spatial Practice at the Royal Melbourne Institute of Technology. He and Andrew Curtis formed the group Gum in the late 80s to explore broken, looped, and layered vinyl. Samartzis’s solo work focuses digital processing of acoustic and found sounds to construct abstract sound environments.

    This 2003 release — part of Staalplaat’s Mort Aux Vaches series — contains three pieces that mix synthesized and natural sounds in unsettling and often jarring ways.

    Variable Resistance (T1) begins with disorienting binaural clicks, slowly tweaked. The sounds come into focus, crisp and precise, but only briefly. Before long some comforting and reverb kicks in, and more natural noises appear. Echoey drips, gasps, and rasps, like wandering through dark wet steam tunnels with a faulty flashlight. Ends with the sounds of a rough pummeling and wailing, as the track skips and glitches to a halt. The CD is not broken.

    Deconstructed Windmills (T2) is calmer, starting with a long high-pictched buzz, giving way to sterile pulses and tones, like hospital equipment. This is replaced with ominous thuds, algorithmic blips and bloops. Brief interludes of glitchy static puncture the overwhelmingly vast drones.

    Soft and Loud (T3) draws the most on acoustic sounds and recordings. The first movement alternates between crunching, bending, scraping, screaming metal, and utter silence. Organic sounds like gurgling water and crinkling fire mix with synthetic sine wave drones. Low vibrations like bad fluorescent lights. Broken voices. Drum ratatatat. Some moments are actually musical, with rich harmonies and quick repetitive glimpse of a melodies, but there’s always something off — the instruments are not what they seem, almost a mirage.

  • Reviewed by Louie Caliente on June 13, 2017 at 8:51 pm
  • Filed as A Library,CD
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  • Solenoid – “Bike/Ingrid” – [Audraglint]

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    Two short tracks of electronica. Bike is jaunty, while Ingrid is intense and beat-driven. Ingrid is my preferred track.

  • Reviewed by humana on June 13, 2017 at 7:28 pm
  • Filed as 7-inch,A Library
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  • Lockwood, Annea – “Breaking The Surface” – [Lovely Music Ltd.]

    breakingthesurface

    These are two epic-length tracks, the first commissioned by Thomas Buckner and composed by Lockwood to showcase her vocalizations that call to mind shamanic chants with a large glass gong, wind, and a Cameroonian rattle, among other instruments. Track 2 records the voice of sculptor Walter Wincha, interviewed by Lockwood just over a day before he died at age 30. Interspersed with the interview are field sounds of running on a track. The entire experience is cathartic and mesmerizing.

  • Reviewed by humana on June 13, 2017 at 7:20 pm
  • Filed as A Library,CD
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  • Marchetti / Noetinger / Werchowski – “Marchetti / Noetinger / Werchowski” – [Corpus Hermeticum]

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    Live recordings of two half-hour performances of improvised electronics and violin, released in 2000 by the New Zealand label Corpus Hermeticum (run by Bruce Russell of the Dead C). Lionel Marchetti is a French musique concrète/electronic composer who creates studio pieces and improvised live works. This release is an example of the latter, with Marchetti using microphones, tape recorders, radios, and loudspeakers strategically placed to complement the acoustics of the performance space. Jérôme Noetinger is also a French sound artist; both he and Marchetti were students of Xavier Garcia, and have been frequent collaborators since the early 90s. Here they are joined by violinist Mathieu Werchowski. The CD includes an essay from guitarist Michel Henritzi that casts the performances as radical acts: “two concerts that are imploding limits within which our listening is held by the dominant discourse of our market-led era.”

    The Lille performance (T1) opens with a sweep of the tuner dial on an antique radio – sometimes the hint of a broadcast fades in for a moment through the static and woozy, theremin-like feedback. When Werchowski joins in, it kicks off an ongoing exchange between the violin and electronic sounds for a place in the foreground. His frantic, repetitive bowing builds into a fury; later, blares of microphone feedback, blotting out everything around it, dominate as Werchowski brushes on muted strings. An extended lull gives way to another build-up with long pulls of the bow on dissonant double stops and wild electronic chaos. The Turin performance (T2) has many of the same elements, but it is the darker and queasier of the two pieces, with high-pitched whistling and droning feedback creating a persistent tension. Intense listening.

  • Reviewed by lexi glass on June 12, 2017 at 9:28 pm
  • Filed as A Library,CD
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  • Skullflower – “Black Iron That Has Fell From The Stars…, The” – [Nashazphone]

    skullflower

    Cythoth staple Skullflower was founded by England’s Matthew Bower (see also: Total, Voltigeurs, Sunroof, Black Sunroof, Hototogisu) in 1988. Frequent member Samantha Davies (Voltigeurs, Black Sunroof) joins him on this 2017 release. which is dedicated to the Egyptian god Set. It’s probably no coincidence that the label is based out of Egypt. This is something like Skullflower’s 30th album. Its full title is ‘The Black Iron That Has Fell From The Stars, To Dwell Within (Bear It Or Be It).’ Okay.

    Three lengthy pieces of instrumental psych guitar played through so many layers of effects, it becomes scary noise… or at least that’s what it sounds like. The credits list ‘Nilotic Delta Slide,’ ‘Pro-one,’ ‘Devices,’ ‘Fire,’ ‘Violin,’ and ‘Salt’ for the instrumentation.

    The sounds are hazy and baleful, like a half-asleep Typhonic beast. The clash of beauty and ugliness found in Skullflower’s music is practically religious in nature, and despite hades of John Cale in the catgut screech and belly-deep drone, no one does string noise quite like this. It has a wailing, seasick quality that reminds me of public mourning. This LP will not surprise Skullflower’s fans, but it will please them. I hope to hear the sidelong B track at least once per hour on KFJC for the next 8 weeks.

  • Reviewed by Lord Gravestench on June 12, 2017 at 7:39 pm
  • Filed as 12-inch,A Library
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  • Brizbomb – “Brizbomb” – [Westside Welding and Machine]

    BRIZBOMB-0909

    This album is relaxing to listen to, especially when you consider how it is contains no overdubs, no edits, no anything except an artist and a rack, which is pictured in the poster. The sounds on here are perfect accompaniment for mind musing and expansion.

  • Reviewed by humana on June 12, 2017 at 11:49 am
  • Filed as 12-inch,A Library
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  • Eastman, Julius – “Femenine” – [Frozen Reeds]

    Julius_Eastman

    Julius Eastman was a black gay composer/vocalist in late 70s/early 80s New York, performing and recording with the New York Philharmonic and Meredith Monk and others. He suffered from mental illness, the super threw all of his stuff out on the street in ’81 and 9 years later he died in obscurity at a in Buffalo. Scholars have been putting the pieces together since then.
    This concert was in 1974 in Albany. 12 or 15 performers memory is hazy. At the performance soup was served and Eastman wore a dress. A mechanism of Eastman’s invention plays sleigh bells for about 70 minutes. The vibraphone hammers out a motif that is expanded upon by the ensemble. In Eastman’s words, “the end sounds like Angels opening up heaven … euphoria.”

  • Reviewed by Hemroid The Leader on June 11, 2017 at 8:36 pm
  • Filed as A Library,CD
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  • Bad Jazz – “Daymare” – [eh?]

    e93

    One long track 39m. Piano and a bunch of fumbling. Will make you think something is wrong with the car. About 38 minutes in a toy drum machine takes over. Noises. A plastic straw makes an ominous sound and brings the proceedings to an absurd finale.
    Tanya Chen (Tender Buttons) plays piano, electronics, toys.
    The liner notes have a picture of some salmon fillets and a microphone.

  • Reviewed by Hemroid The Leader on June 11, 2017 at 8:22 pm
  • Filed as CD,Jazz
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  • Circus, Lena / Itaru Oki – “Zanshin” – [Improvising Beings]

    Zanshin is a collaboration album between the French experimental jazz trio Lena Circus and the Japanese trumpeter, flugelhornist, and perennial collaborator Itaru Oki, released 2016. The album moves back and forth between minimalistic noise and cacophonous noise, always with trumpet. Drums are an afterthought. Could be good bed music, but the textures are unpredictable tracks tend to crescendo toward the end. On the whole, only moderately interesting, somewhat lethargic, with passages of panic like Miles Davis unable to wake up from a heroin dream. Has two tracks over 10 minutes for bathroom breaks. Squirrels and farts here and there. If you do two takes of an experimental improvisational piece, do you have one track or two. Social Norm

  • Reviewed by socialnorm on June 11, 2017 at 4:21 pm
  • Filed as CD,Jazz
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  • Bralove, Bob/Kaiser, Henry/Muir, Chris – “Positively Space Music” – [Fractal Music]

    bralove

    One synth keyboard and two guitars, in the hands of 3 close friends and master musicians. Guitarists Henry Kaiser and Chris Muir have been playing and improvising together for over 40 years (this album includes a track by the duo recorded in 1977). Here the pair are joined by keyboardist Bob Bralove who has worked as sound designer and digital music technician for Stevie Wonder and The Grateful Dead.

    “Positively Space Music” is a genre-bending double CD packed with a wide variety of influences, including jazz, funk, ambient, and prog, all done in a very psychedelic spaced-out style. The trio fully embrace the wavy synth sound, and at times teeter on the edge of an 80s kitsch vibe. However, the group’s phenomenal musicianship and almost telepathic communication keeps things moving forward, pushing boundaries and exploring uncharted territories of Space and Music.

  • Reviewed by Louie Caliente on June 11, 2017 at 2:47 pm
  • Filed as A Library,CD
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