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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.
A harsh noise 7″ single is a funny thing. Like a good execution each side is over too quickly. Side 1 scrapes in time to demoniac vocalizations and the screams of the burning. Side two explores collisions of HNW and complex analog electronic interplay ending with a translucent machine drone in the pit of your sinking stomach. Both pieces ritualistic and very tasteful, monochromatic without eschewing variation. Seattle’s BSBC have played at KFJC at least once. Whatever it takes to be ‘good’ at apocalyptic Industrial noise racket, they’ve got it. “Stan Reed, William Rage, Crystal Perez: Dense, Harsh Noise Drift; Dual Damaged Guitars; Broken Electronics and Faulty Cables; Roaring Vocals; Piercing Screams; Horror Show.” Mastered by M S Waldron of irr. app. (ext.) and Nurse With Wound.
Dirgey Swamp-Rock (or swampy Dirge-Rock?) from Der Blutharsch’s drinkin’, whorin’, sunglasses-at-night-wearin’ court jester, AKA Novo Homo. The Australia-based Black Irish bastard offers up two slabs of tongue-in-cheek fatalism sounding like The Scientists, Roland S. Howard and The Gun Club boot-partying Roy Orbison at the wrong speed. This is on King Dude’s label but Wolfkind does the Neofolk-Country-Cough-Syrup-Blues thing much better than Dude could ever dream. Threats on side A, come-ons on side B. FCC side A.
Omaha mid-tempo hardcore, blown to fuck, caustic anxiety. chugging guitar riffs, solid drumbeats, grunt-to-shrill range of echoed vox, squeaky feedback, VERY energetic, infectious. it’s not ‘Pop’ but it does pop out as aggressive, yet accessible.
quick transitions! tk 1 and 2 flow together as one, watch out! or don’t!
2011 EP from the smoothest masked ghoul in the Post-industrial/Neofolk scene. Don’t let him around your girl; he’ll feast upon her blood. The mysterious German musician(/group?) is sometimes compared to Serge G., but his programmed folk-sleaze sighs are also a tribute to the Punch Records scene (O Paradis, Novy Svet, Ait!…) and there’s more Bauhaus than usual in the cauldron on this night of nights. B2 is a Damned cover. A1 is basically ‘Night on Bald Mountain.’ Apparently you’re ONLY supposed to play this record on Halloween. Hopefully he won’t mind. Produced by Stefano Iannone of Spettro Family. Art Abscon would like to thank the Satanic Nazi Freemasons.
Bathe in the warm sonic shower of Rodger Stella, American noise artist and founding member of Macronympha.
Waves of static punches and shattering explosions all crashing on an electronic shore. A full spectrum experience.
Two glorious sides of chaotic electronic blips bleeps blonks. Surachai makes a sort of gloom electronic music.
Luciernaga is a project of Joao Da Silva, a member of the hardcore-punk scene in Santiago during the 90s who now lives in Brooklyn.
This 7″ contains two beautiful guitar-driven ambient drone pieces on clear vinyl. Both tracks are extended versions of songs originally released on cassette. Only 100 of these were pressed, each featuring one of four different photographs on the front.
“Sleeping Green-Eyed Girl” is a study in resonance and (subtle) dissonance. Shimmering feedback like a glass bell, with harmonics coalescing and then slowly melting away.
The B side, “Wandering June”, layers bowed strings, faint whistles, and low guitar rumblings. Very pensive and meditative.
Italy’s most prized confrontational nutters
Self-described as “trashed pop in Detroit, MI,” Bonehead is the project of Alexandra Lee who wrote, performed, and produced everything on her debut 45. The songs are short and catchy, with her vocals accompanying the guitars and other instruments nicely. More to come from this artist. Keep an eye on her.
This is a great little 7″ of garage rock (I only classify it to be helpful; it’s a class of its own). “Poetics of Space” is a solid musical asking the question of where does time go, and the guitars and vocals of the trio provide the apt setting for such a question. “Like the Fly” is slightly more upbeat and danceable (to us old rock dancers) and makes us wonder about what being a fly on the wall would be like. Do flies dance? Try this out.
Slicing Grandpa: Noisey power electronics, low-frequency rumbles, and screeching guitars. Monotonous croaky indecipherable vocals that sound like they were delivered over a department store PA system.
Placenta Popeye: Noise rock trio from Marseilles France. Underwater sonic vibrations and piercing guitar feedback, punctuated by demented screams and moans.
Krube is Alexander Schneider, a sound artist working out of Berlin since the late 90s.
Two quick tracks of music concrete. Everyday sounds juxtaposed in new and disturbing ways. Crackling flames, rending metal, billowing wind, and percolating water. Unidentifiable yet strangely familiar machines.
Translates to “giggles with friends.” Came with nice note from <3 Howard mentioning that his group is on On The HiFi Vol. 11 and it is coming soon and thanking us for our support of vol. 10 last year. First tracks on either side are Lo Fi sounds of folk electronic melodies with fuzzy beats and second tracks are straight up rock folk.
Released in 2014, this is the debut 7″ from Infinite Plastic Internal, a project of Mark Pino of San Diego. This release incorporates drums, ring modulator, synth pedals, and a unique home-made instrument Pino calls the “Pan Feedback Flute”.
Radioactive Cloud Alert is a free-yet-groovy thumping drum solo over faint warbling synths.
Spectrum Studies 1 is noisy and droney. Heavy machinery sounds: grinding gears, hydraulic forklifts, humming conveyor belts. Bowed metal and screwy scribbly electronics.
Psychedelic instrumental music from Ankara, Turkey. The title track (side A) is a rendition of Mulatku Astatke’s composition. Side B is very trippy. Well played, definite Middle Eastern influence. interesting even without the novelty of being from Turkey, released by Sublime Frequencies.
For some reason this 7″ sat on my counter for weeks (just as it laid dormant somewhere since 2003), and when I finally listened to it, I was pleasantly surprised. Black death, I thought, looking at the titles on this Split EP and viewing the sepia-toned painting on the sleeve. But no, it is industial-type music, although I just think it’s cool. Reutoff, the “cult industrial Russian act,” on Side A and Totenlieder (a project of Sebastien Leduc) on Side B with a cover of a Janitor tune.
Singer/guitarist Jonathan Clancy has added to his band and come out with this great dark garage 7″. The lyrics are provided in the sleeve and go well with the “psychedelic post-punk gem”ness of the music.
Three femmes fatales from Philadelphia delivering great, energetic garage-y sounds. Upbeat and enjoyable for sure. Play it!
Very nice 7″ from this Ulm, Germany surf band. Fine playing and arrangements on these original compositions, good energy, full sound from this three piece band. Both sides are excellent!!!
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