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Mad Professor Meets Jah9 – “In The Midst of The Storm” – [VP Records]

jah9

9 digital-style dubs on a blue spatter transparent LP in an edition of 1000. Pressed exclusively for Record Store day 2017 by VP Records out of Jamaica, Queens.
Jah9 is dub poet and certified yoga instructor. Mad Professor got his name as a boy due to his fascination with electronics. He began his career in music in 1973, as a service technician.

  • Reviewed by Hemroid The Leader on May 24, 2017 at 4:08 pm
  • Filed as 12-inch,Reggae
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  • Levitas, Asher – “Lit Harness” – [Planet Mu]

    Michael Crowe previously of Old Apparatus 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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  • Brahms, Johannes / Festival Quartet – “Piano Quartet In C Minor, Op. 60″ – [RCA Victor/ BMG]

    brahmsop60

    Brahms couldn’t seal the deal and abated his frustration through musical composition.
    First movement premiered by Clara Schumann, who Brahms was in love with
    Often called the Werther quartet – a common theme for 19th century suicidal love birds
    Almost twenty years later Brahms is in love with Mrs. Elisabeth von Herzogenberg and he finds enough of himself to finish.

    The festival quartet came together at the summer festival in Aspen, and features:
    Szymon Goldberg, violin
    William Primrose, viola
    Nikolai Graudan, cello
    Victor Babin, piano

  • Reviewed by Hemroid The Leader on May 24, 2017 at 1:51 pm
  • Filed as 12-inch,Classical
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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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  • 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 Rossolo (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, Rossolo 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 Rossolo’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 Rossolo’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. Rossolo’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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  • Alberich & Lussuria – “Borgia” – [Hospital Productions]

    alberichlussuria

    Alberich (named for the goblin antagonist of Wagner’s Ring Cycle) is the Power Electronics project of Kris Lapke (see also: Furisubi). Lapke is a frequent collaborator of HospitalProd founder Dominic Fernow, both in Prurient and as drummer in Ash Pool, Fernow’s Black Metal vanity project. Lussuria is the Dark Ambient alter-ego of Jim Mroz, who has also played in a few metal bands. Both artists are from the United States, NYC I think.

    Here they collaborate on six live, improvised Korg synthesizer sessions recorded directly to tape.These sessions were originally only available as a bonus cassette included with a 20XCD(!) Skin Crime compilation last year; I don’t know why. The release is probably named after the Italo-Spanish House of Borgia, major players in European Rennaissance Papal politics accused or suspected in all kinds of heinous crimes.

    The cash cow comes a-callin’ and the tape gets reissued on purple vinyl with a bit of weight to it. I mean, I’d spend my money on this, so I can’t rightly complain. Thankfully, KFJC bought it so I wouldn’t have to.

    What does it sound like? It’s slow-building, ominous, and scary; mostly non-intrusive, but with very little to comfort or soothe. Bubbling waves of digital synthesis; shuddering bass, deep metallic drone, off-key orchestral swells, and wineglass harmonic interplay just on the edge of bearable; muffled rhythmns accumulating many layers of sound. It’s lush even where turning jagged and/or loud. I would call it Death Ambient, if that means anything to you; or you can just imagine the sound of hunter-killer robots swiping searchlights through radioactive smoke to find survivors.

    I have Korgs at home so I recognize the aesthetic, as well as the amount of mixing control that must have been required to spontaneously produce something this smooth. No screaming and shouting but there seem to be ultra-modulated voices buried deep within a few key moments of the mix. The Propergol-ish A3 sets itself apart by managing a kind of torpid Industrial aggression.

    Overall an excellent spook show that will like people who like Stratvm Terror, Endvra, Bastard Noise, or recent KFJC pit-stopper Zaimph.

  • Reviewed by Lord Gravestench on May 3, 2017 at 4:45 pm
  • Filed as 12-inch,A Library
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  • Cambridge Treasury of English Prose, The (Volume Three) [coll] – [Caedmon]

    In the 1950′s, Caedmon label put out a series of albums celebrating the Cambridge Treasury of English Prose. Here is vol. 4, Jane Austen to Emily and Charlotte Bronte with a lot of classic British white guy stuffed shirts in between. Criticism, essays, fiction, it’s all here. Straight ahead readings, wonderfully done, wonderfully 1950′s. All the stuff you should have read but really didn’t. Listen and relearn.

  • Reviewed by Naysayer on May 2, 2017 at 11:37 pm
  • Filed as 12-inch,A Library
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  • Orcutt, Bill & Chris Corsano – “Live At Various / Various Live” – [Palilalia]

    Master improvisers, Bill and Chris, take over and destroy.
    Did you see that movie “Unbroken” where the American soldiers are in a Japanese Concentration camp during WW II? And the masochistic guy in charge lines up all 125 American prisoners and forces them to punch the American soldier he is mad at/in love with, in the face. Just one after another. Again and again. That’s what listening to this feels like. The sound is pounding, sometimes feeling like there is no breathing room. Orcutt’s fret work is always amazing, like he is actually becoming the guitar to destroy it and transform it. Relentless. Like Corsano’s drum work. So overwhelmingly fast, changing patterns, rhythms, speeds. Like Orcutt. Each is the other, becoming the other. It’s often like violent transformation. There are quiet moments also, but even those are profoundly visceral.
    The four sides are taken from two cassettes from the 1990′s called “Live at Various” and “Various Live”. From Orcutt’s label which often gives little information. All you need to know is listen. And duck the punches.

  • Reviewed by Naysayer on May 2, 2017 at 11:14 pm
  • Filed as 12-inch,A Library
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  • Xome/Boar [coll] – [Breaching Static]

    Xome/Boar, Boar/Xome: it all depends on which version you get. Either way, hold on. Two sides from two of the most out there of electronic noise performers. Xome (Bob Scott or Bab Sato) has been around since 1989. Currently based out of Sacramento, Xome has earned his credentials, performing with so many big names in noise and other such things. His performances are vigorous and outrageous. He often sticks mics down his pants for feedback and other sounds. These tracks feel a bit more mature, tempered, even deeper in sound. Thoughtful, almost, but harsh sonic blasts. The last selections is noise with children’s toy advertisements.
    Boar, based out of Dubuque, Iowa, is a solo act of epic proportions. Headbanger noise? Harsh noise, higher pitched than Xome, in many cases. Rapid fire wall of sound screams and creams. Cathartic with poison. Ouch for sure with smiles.
    The gloriousness of NOISE is showcased by these two dynamic artists. Not for the weak of heart.

  • Reviewed by Naysayer on May 2, 2017 at 10:23 pm
  • Filed as 12-inch,A Library
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  • Nuit Noire – “Inner Light” – [Seed Stock Records]

    innerlight

    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.

  • Reviewed by Lord Gravestench on April 26, 2017 at 6:20 pm
  • Filed as 12-inch,A Library
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  • White Screen, The – “White Screen, The” – [Garzen Records]

    GARZEN004LP_CU

    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.

    No FCCs.

  • Reviewed by Rat King on April 26, 2017 at 6:10 pm
  • Filed as 12-inch,A Library
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  • Radio Cliff Hangers [coll] – [Radiola]

    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.
    - Billie Joe Tolliver

  • Reviewed by billiejoe on April 26, 2017 at 2:07 pm
  • Filed as 12-inch,A Library
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  • Black Scorpio Underground, The – “Necrochasm” – [Prison Tatt Records]

    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.
    – Billie Joe Tolliver

  • Reviewed by billiejoe on April 26, 2017 at 1:53 pm
  • Filed as 12-inch,A Library
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  • Marhaug, Lasse / Sult – “Harpoon” – [Pica Disk]

    sult

    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.

  • Reviewed by Louie Caliente on April 16, 2017 at 3:21 pm
  • Filed as 12-inch,A Library
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  • Brahms / Heifetz / Reiner – “Violin Concerto In D, Op. 77″ – [RCA Victor/ BMG]

    bh2R-2818811-1302459943

    The Violin Concerto in D major, Op. 77, was composed by Johannes Brahms in 1878 and dedicated to his friend, the violinist Joseph Joachim. It is Brahms’s only violin concerto, and, according to Joachim, one of the four great German violin concerti.

  • Reviewed by Hemroid The Leader on April 6, 2017 at 12:28 pm
  • Filed as 12-inch,Classical
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  • Brahms – “Complete Quartets For Piano & Strings Vol. 2″ – [Capitol Records]

    bhR-6882147-1428678818-6892

    The Piano Quartet in A major, Op. 26 by Johannes Brahms, for piano, violin, viola and cello. It was completed in 1861 and received its premiere in November 1863 by the Hellmesberger Quartet with the composer playing the piano part.
    This quartet is long and shows the influence of Schubert. When performed badly it is quite interminable. None of that here, Victor Allen at the piano with members of the Hollywood String Quartet, Felix Slatkin- violin, Alvin Dinkin- viola, Eleanor Allen- cello.

  • Reviewed by Hemroid The Leader on April 6, 2017 at 10:40 am
  • Filed as 12-inch,Classical
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