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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.
Jazz piano trio with a viola instead of bass. Drummer Whit Dickey is here searching, and expansive. Matthew Shipp’s piano is lyrical, more melodic. Maneri’s viola tone catalyzes. This is great date – something notable is happening.
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.
German reed player Gebhard Ullmann and pianist Achim Kaufmann meet for a highly improvised conversation. Difficult at times, but overall very emotionally and musically satisfying. Poignant quiet parts, shimmery bell-like sounds, original.
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.
Dust-To-Digital is a one of a kind label, focusing not only on quality collections but making sure packaging and information is as exquisite as the sounds. “Longing For the Past, The 78 RPM Era in Southeast Asia” continues this tradition. 78 recordings from the early 1900′s through the 1950′s, taken from Burma, Cambodia, Indonesia, Laos, Malaysia, Singapore, Thailand and Vietnam cover all ranges of music and styles from these countries at these times. Court music, wedding songs, instrumental pieces both solo and groups in all configurations, folk songs, known and unknown performers, village music, leaders chanting and on and on. So many sounds caught on 78′s and still intact to preserve a selection for us to hear on 4 CD’s. Initially this music was recorded merely as a means to sell Victrolas to a new market. You won’t buy it if there is nothing there to hear. European salesmen went out and recorded just about anything that moved. The selection in incredible. The accompanying book is a comprehensive review of how this started, who did it, where they went, the types of music and their history, notes on instrumentation and history of instruments and artists. Each song has three to five paragraphs of thorough explanation. Dive in, learn and enjoy.
Hoosier Hot Shots ??? ???Everybody Stomp/Hot Lips??? ??? [Proper Records]
The Hoosier Hot Shots were a four piece swing, jazz, corn pone, hillbilly country outfit from Indiana. Steeped in the tradition of vaudeville, the group took parts of the U.S. by storm with their weekly radio broadcasts, their stage presence, their prolific recording career and their continued appearance in Hollywood westerns. This collection, ???Everybody Stomp??? is a 4 CD set of 100 Hoosier Hot Shot delights. The guys were multi-instrumentalists, playing a variety of brass instruments as well as guitar, string bass (various), clarinet and some unique handmade instruments including the Zither and the Wabash Washboard. It consisted of a corrugated sheet metal washboard on a metal stand with various noisemakers attached, including bells and a multi-octave range of squeeze-type bicycle horns???. Also, slide whistles are in most numbers. The Hoosiers selected many standards and familiar songs of the time to cover with a jaunty, silly twist. Vocals include conversation between the musicians, with some of the singers using this high pitched kind of hillbilly accent. And don???t forget the penny whistles. Once beyond the goofiness, though, take a listen to the amazing musicianship between the members. It???s quite impressive. A fun addition, fitting many of the styles of our station???s shows.
WOW. 4 CD’s. 103 tracks of protest in early American blues and gospel. Time period: 1910′s to the late 1930′s. We know the sound. No need to restate. So many artists, some well known and others obscure. Solos, choirs, groups, bands. But this is music of protest, some stated blatantly, others sung with humor, many layered with symbols and meaning to hide the target. These are songs, angry songs, desperate songs about abusive and oppressive conditions created and maintained by the white population relentlessly directed toward the black population. Despicable working conditions, police brutality, forced labor, prison horror. Continuous abuse and exploitation of one group of people by another. The variety of reactions to this oppression are as varied as the artists performing the songs. From thoughts of suicide to attacking and killing “Mr. Charlie”, from looking for the fabled promised land to all out revolution. The conditions and situations today of mistreatment and persecution are frighteningly and disgustingly no different then they were 100 years ago. These are essential tracks to play. Utilize this superb collection.
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