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Moshe, Ras – “Transcendence ” – [Kordova Milk Bar Records]

Ras Moshe (reeds, flute) and company represent the Brooklyn style of jazz (lots of sun and peace! he says) on this fine 2007 studio effort. He has his own style on tenor sax, tending to play with a relatively smooth, non-raspy tone, but he can definitely take it outside when the situation calls for it. Veteran drummer Rashid Bakr has played with many of jazz’s big names, and this group benefits greatly from his first-rate touch and timing. Bassist Shayna Dulberger is new to me, and, as young as she is, she handles her tasks admirably. Sometimes, though, I wish she was a bit higher in the mix; when all four members are playing together, it can be hard to hear her. Guitarist Dave Ross provides a wide variety of jazz and not-exactly-jazz sounds that are right at home in this outfit; he does a nice job with mellow jazz chords and gently chiming harmonics, and he also unleashes rippling Sharrock-like bursts that really light a fire under the band.
Standout tracks:
#1 is a sweet and swinging tune featuring Moshe’s tenor, with some wild guitar/bass/drums soloing in the middle.
#5 is a Charles Lloyd-like flute/percussion peace piece.
#8 is a blazing tenor sax/drums duet that threatens to tear the damned roof off.

  • Reviewed by Max Level on March 31, 2007 at 9:10 pm
  • Filed as CD,Jazz
  • 1 comment
  • Smith, Wadada Leo / Rudolph, Adam – “Compassion ” – [Meta]

    The cover may have the appearance of a Windham Hill release and the track titles may sound all new age syrupy (Sun Ray Colors and Rainbow Images), but this disc of free jazz improv duets by Wadada Leo Smith and Adam Rudolph is not for the faint of heart. This is quiet, but heady stuff. Recorded in concert in 2002 (audience edited out), released in 2006, it is at times ethereal, rocking, worldly, whispering, but always transforming and moving on. Smith makes his trumpet and flugelhorn chortle, choke, whisper, belt and sing and Rudolph does everything else, playing handrums and percussion and reeds from all over the world and even taking a stab at Tuvan-style throat singing alternating with scatting.

    Following is a list of the track titles and what they should have been:

    1. ???Beauty: Aquamarine Night??? (3:30)- Waiting for Godot
    2. ???Sun Ray Colors and Rainbow Images??? (10:16)- A Funny Thing Happened on the Way to Mars
    3. ???Fragrance of Light??? (3:11)- Yosemite Sam Spits in His Cartoon Spitoon
    4. ???Love Rhythms, Heart Songs??? (13:06)- Maynard G. Krebs Goes to College
    5. ???Song of Humanity??? (4:30)- Kung Fu Episode #151: Grasshopper Meets Rooster Cogburn
    6. ???Silver Dream Circle??? (7:13)- Bell, Book and Candle
    7. ???The Caller and the Called??? (4:49)- Floaty McBoaty Groove Juice


  • Reviewed by Jawbone on March 30, 2007 at 10:02 am
  • Filed as CD,Jazz
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  • Circle – “”Tower” Featuring Verde ” – [Last Visible Dog Records]

    The sun rises over a Finnish fjord and the ice of a calving glacier sparkles, splintering the light into a thousand dazzling rays that mesmerize the mind into a trance-like state. The electric piano and percussion of Circle???s new ???Tower??? release evoke such mesmerization. Gone are the electric guitars, guttural vocals, space funk and sound effects of past Circle releases. This is layer upon layer of echoey keyboards over jazzy, subdued drums and sparkling percussion. Like Can on a slow day or Cluster and Eno on an upbeat day, or if Terry Riley were to sit in for Joe Zawinul in an early version of Weather Report, the music is hypnotic, jazzy, spacey and all instrumental. Melodies are not important. They float in and out on the layers of this brilliant release. Rarely does an album come up with a sound that is so unique and yet so familiar and keep up the cohesiveness and the interest for its entirety.

    Joining Circle on this release is longtime collaborator Verde (Mika Rintala), multi-instrumentalist and electronic instrument inventor, seen waving his hand over his UFOX air humidifier theremin on the back cover.

    Track titles are:

    1. “Gerde” (6:40)
    2. “Gatto” (4:25)
    tracks into>
    3. “Gesterlund” (5:30)
    4. “Geppanen” (13:00)
    5. “Gaurilla” (5:24)
    tracks into>
    6. “Gehtisalo” (9:08)

    This is the New Wave of the ???New Wave of Finnish Heavy Metal???.


  • Reviewed by Jawbone on March 30, 2007 at 8:27 am
  • Filed as A Library,CD
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  • Hay, Emily / Dutz, Brad / Peet, Wayne – “Emily Hay / Brad Dutz / Wayne Peet ” – [Pfmentum]

    Nice concoctions from these three. KFJC has enjoyed earlier pfMentum
    releases under each’s name in the past. Dutz’s “When Manatees Attack”
    is still slaying away in our recent adds. Wayne Peet’s B3 had plenty of
    outer and “Inner Funkdom.” Here Peet is often on piano and in numbers
    like “Filthy Washer” he’s laying down contemplative netting for Hay’s
    windy flute to gust through. And on “Metamorphafasize” he’s again slow
    and subtle, questioning the notes while Hay this time is taking her
    flute through enhanced sample and sustain modes. She is just great on
    this, kind of like a Kali Fasteau muse…so creative, and an element
    of persistent playfulness, she plays her own funny bone at times for
    some rhytmic laughing. She even gets some Shelley Hirsch-like bubbling
    up vocals on tracks like “A Lotta T’s” and “It Can Be Thick.” The
    former has some theremin courtesy of Peet, and the latter features the
    B3!! The tracks with Peet on that organ, really sink my battleship in
    the best way, something about it pumps up the energy. All tracks really
    are gorgeous, no one oversteps anyone, Hay seems to be on point, but
    that may be just the fate of the flute and vocals, higher register grabs
    more immediate notice. Dutz is probably the secret weapon here, cool
    gongs, congas, steel drums! Again the B3 worked best for me, I think it
    has a heaviness that contrasts better with the flighty flute. I do dig
    some of the effects (electronic and “natural”) that Hay gets out of her
    flute. A mighty mighty release. Double kudos to Peet for excellent
    engineering on this as well.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on March 30, 2007 at 12:48 am
  • Filed as CD,Jazz
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  • English School of Funerary Violin, The [coll] – [Guild of Funerary Violinists]

    Tales from the cryptic crypt. Can something be a hoax, if there is more
    truth in it than anything else? Does not death define life? A violinist
    is ostensibly the most important member at a funeral. He stoicly serves
    as graveside guide for those left behind to grieve; for those pushed
    down (or is up or just away?) can the violinist somehow stir the soul
    via the dormant ear with vibrations of bow and string…a few neurons
    flash in an otherwise dead brain : “I remember it now……I was alive”
    Even for us, the quick, upon hearing these grim crackly recordings from
    composers, song so long gone they may have never existed…even now, we
    hear the sweet bile of these funerary violins and think those same
    thoughts. Remember…remember it now…listen hard to this, and you
    can hear your own death. As you bow, so shall you weap.

    -Thurston Hunger

    See also : http://www.rohan-k.co.uk/

  • Reviewed by Thurston Hunger on March 30, 2007 at 12:45 am
  • Filed as A Library,CD
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  • Siege – “Drop Dead ” – [Deranged Records]

    1984 anti-Orwellian hardcore from this formidable Boston four piece. KFJC
    has three of the tracks from back then on the “Cleanse the Bacteria”
    comp, but everything here tears it up. Reissues have come and gone, but
    Deranged evidently has contacted the members from this project that is
    mythic but missing after this one official issue. Ripping bass, machine
    gun drums and crushing guitar. Kevin Mahoney’s vocals are gripping, often
    moving at cyclone speed. Once in a while he gets a pre-cookie monster
    rasp going, but he shrieks fantastically and the quick-fire phrasing is
    pretty remarkable. Lyrics are right-on-the-money too, glad that they
    haven’t been completely swallowed/garbled as today they often are. He
    chokes enough ire back to let the message still rise. “Starvation”
    has plenty of food for thought, Life of Hate” I’m sure was shouted in
    the blank eyes and ears of skinheads. “Sad But True” lines crosshairs
    on a *peacekeeping* force. Often choruses are hammered in excellent
    fashion…Rob Williams on drums is outstanding and note that he’s the
    lyricist most of the time, probably too ticked off to even think about
    singing his own songs…he turns that energy into a percussion pounding.
    As ruling as the pissed-off punk is one the first eight tracks, the
    epic closer “Grim Reaper” shows the lasting legacy of Siege. Mahoney
    adds some reverbed sax contortions into the mix, a non-nihilist rage
    against death! That track especially showcases the recording skill
    of Lou Giordano on this. One nation, under “Siege.”

    -Thurston Hunger

  • Reviewed by Thurston Hunger on March 30, 2007 at 12:45 am
  • Filed as A Library,CD
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  • Morton, John – “Solo Traveler ” – [Innova/American Composers]

    Lullaby gamelan? Morton deconstructs music boxes and constructs music
    back with them. The first track tacks on mbira and we get quick swipes
    of the combs, full of tiny majesty and more recognizable music box
    action. Track two, the title piece, features voices more prominently
    in a swirl, nearing rounds at times circling perhaps to approximate
    the path of the dragonfly of which they sing. “Ta-Wee” is a music
    box in space, feels like satellites eavesdropping at the beginning
    winds up in a computer whorl. Similarly, the music box pattern on
    “Through the Wall” sounds like a gyroscope oscilloscope gradually
    overlays it…less mindfully mingled than on “Ta-Wee.” Maybe that is
    intentional. Then the piece de resistance, “Amazing Grace Variations”
    at 16 1/2 minutes, it is no less than amazing, from its plaintiff
    beginnings which quickly get corrupted and triple-lapped, then in
    comes an injection of electronic fervor. Quite a jolt, the music
    boxes then ricochet through loops and and deep listening phases where
    you can almost feel the music box clicking through…these get dampened
    in wave and in moisture it seems, heavy processing for a phase, if
    the listeners once was lost, now that listener is lost squared. More
    electronic reign…leading to icy drones that sound like bagpipes made
    out of ice…then when all hope is almost gone, very mangled remnants
    of the melody slowly clink out, there’s almost a bachelor pad phase
    that comes up after that until finally at last we return to our
    original state of “Grace.” Pretty weird in a good way, the album overall
    avoids being a one-trick pony by way of Morton’s e-processing.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on March 30, 2007 at 12:43 am
  • Filed as A Library,CD
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  • Valencia, Cant D’estil – Singing Contests [coll] – [Ocora | Radio France]

    It???s ???American Idol??? as they do it in Valencia, Spain…competitive singing, done in the streets, with small backing groups. You can be overweight and plus-50 and still have a chance to win big time, as long as you can warble like a Valencian thrush. Men (Xiquet del Carme is a dude) and women both compete, and some tracks here are duets. The repertoire is limited to about 6 different backing themes (note the repetition of song titles), but the singing is mostly improvised, with lyrics made up by each performer about subjects ranging from what their nickname is, or how awful the parking is in Valencia, or ???let???s parteeeee???. The singing style is very florid and demanding, and there???s some jaw dropping moments here. The backing group, using guitar strums and brass instruments, hangs on tight, as each singer determines when the chords should change and when the song is over. (Track #13 is an instrumental interlude.)

  • Reviewed by ArtCrimes on March 28, 2007 at 8:10 am
  • Filed as CD,International
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  • American Primitive Vol. 2 [coll] – [Revenant Records]

    50 great moments in recording history, ranging from blues, gospel, country, & jazz, to the just-plain-indescribable (one man band Tommy Settlers, for instance). Most folks here get 2-3 tracks each, and in some cases you can barely believe it???s the same artist. In collections like this, it???s always hard to pick the highlights, since many of these artists may not have recorded much more than what???s included here, but for immediate goose flesh, I direct you to The NuGrape Twins, Geeshie Wiley, Blues Birdhead & Mattie May Thomas. As in all Revenant products, this collection of Pre-War recordings is more than just old songs on CDs…the nicely-designed booklet not only has plentiful track info but also extensive historical and philosophical background into the project, and some great John Fahey anecdotes. For instance … John Fahey was obsessed with the past, to the extreme of releasing some of his recordings on 78s and then sticking copies into stacks of old records in thrift stores, sort of negative-shoplifting, in hopes of … well, we aren???t sure.

  • Reviewed by ArtCrimes on March 28, 2007 at 8:07 am
  • Filed as Blues,CD
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  • Forward Energy Trio – “FE3 Oakland ” – [Edgetone Records]

    This is the followup to their Where Are They? CD, except ‘they’ don’t include the guests from the earlier effort, and this is an all-instrumental all-improvized affair. Stephen Flinn on drums, Scott Looney inside and outside the piano, and Jim Ryan on winds. Most of this album has a pretty fantastic manic energy to it. Imagine it being the soundtrack to the ever-bustling basement Acme mailroom, with those cool pneumatic tubes and whatnot. The resulting music approaches mechanical motion – Looney’s tinkering and Flinn’s drums combined approach a fascinating Nancarrow-ian effect. I know it’s difficult to play that way on the piano, much less improvise it (much less on the drums or sax). The prime example is on track 9 of 10, Meatloaf. Unfortunately, Ryan’s flute that appears on a few tracks is really flat and energy-draining and retracts from my fullest endorsement of the album. Nevertheless – you try and keep up this energy and precision for 60 minutes.

    Mush Mush! Forward Energy!

    -Cujo, KFJC, March 2007

  • Reviewed by cujo on March 27, 2007 at 6:38 pm
  • Filed as CD,Jazz
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  • Weber, Reinhold – “Elektronische Musik ” – [Red Lounge Records]

    Two long compositions from the late 1960s, by this German pioneer of electronic music, influenced early on by the work of Stockhausen, among others. Pre-packaged synthesizers didn???t exist yet, so Weber made his sounds with hand-made combinations of oscillators, filters, modulators, tone generators, tape effects, and the like. Track 1, ???Sch??pfung???, alternates short, seemingly random sections of abstract electronica with deadpan German narration by actor Kurt M??ller-Graf. It would be interesting to know what he???s saying; does it relate to the electronic sounds, or is it a bunch of random thoughts? I much prefer the second track, ???Musica Mundana 1969???, which uses the same types of sounds as in the first track, but takes the time to develop them into a coherent composition, and it all hangs together pretty well. The material on this CD does seem a bit primitive by today???s sonic standards, but we have to remember these sounds were made 40 years ago and were pretty radical at the time.

  • Reviewed by Max Level on March 27, 2007 at 9:29 am
  • Filed as A Library,CD
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  • Ignatz – “Ignatz II ” – [(K-RAA-K)3]

    A solid candidate for record of the year. Alien abduction blues! Trips
    into the apocalypse! Finger-puckering brain-picking pluck, lightning
    in a bong with a young man’s old toothless moan-a-long. Moody as
    twilight, and tasting like lemon on your cut lips…this has a sting
    that keeps bringing you back for more. Bram Devens is one krazy kat,
    this meditations give me goosebumps and will raise more than a few
    bluesmen from their graves so they can holler, “Now that’s what I
    was talking ’bout, gawdammit!” There is one beautiful bliss-out
    away from the stark sparks of the other tracks, “Hurling Incense” is
    a sort of cycling cathedral of keyboards that rises in the sky to
    clouds forming in the image of Terry Riley. But then its back into
    the burn and churn with maybe the most raw of the cuts. I try to
    follow his words at times, but the molten emotion just blots them
    out before I can hold on to them. This is an album that will indeed
    shake ‘em all down… Behold the holiness of the big hurt.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on March 22, 2007 at 11:16 pm
  • Filed as 12-inch,A Library
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  • Bey, Faruq Z. W/ Northwoods Improvisers – “Infa ‘a ” – [Qbico]

    Qbico often has cool color-swirled vinyl, but this time it seems like
    it’s mood-vinyl, a soothing and fervent green spins around the turntable
    almost as an entrancing as this release itself. There are minor flashes
    of red and blue and white…but the green is elemental and rich. This
    supports the garden of sound cultivated here, Bey’s sax takes deep
    roots, often shadowed and wrapped with brotherly vines from fellow
    saxmen Mike Carey and Skeeter Shelton. Nick Ashton’s drums drop dewdrops
    on all the players, moist with cymbals plenty. Mike Gilmore’s vibes
    are what make this so green…so alive…hell they even make a track
    called “Ethiopia” sound lush. That has a nice mystic run to it, and
    in the latter half bassist Mike Johnston and Ashton get one of those
    infinite grooves ala Parker and Drake going, magic carpet rise! Again
    Gilmore is the sonic photosynthesis here..listen to him wrap up that
    “Ethiopia” number. On the flipside we explore life on “After Death”
    with Mike Carey communicating via kalimba and Bey slowly stirring
    the song along. Again an almost Egyptian flare rises from the ashes,
    if anyone stumbles on this review by way or searching jazz and Gilmore,
    as Sun Ra built an Arkestra that took to the skies, in Detroit Faruq
    Z. Bey and his Northwoods are in full bloom. Pristine earth soul jazz.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on March 22, 2007 at 11:15 pm
  • Filed as 12-inch,Jazz
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  • Malcolm, Greg – “Swimming In It ” – [(K-RAA-K)3]

    Malcolm Axes! His two previous albums on Corpus Hermeticum were supreme
    and this one is pure enchantment. He covers a lot with texture this time
    out, and a one-man band-style arsenal (i.e. he’s a guitarist who needs
    his feet and this features at times a “floor guitar”). Malcolm delivers
    a Popol Vuh style shimmer on much of this. The liner notes detail the
    prepared nature of his adapted guitars (and a nice nod to luthier Peter
    Stephens for his helping handicraft.) One of the first things that
    stood out to me on the ‘Homesick for Nowhere’ release was his amazing
    sustain, check out “Staring at the Sun” on this lp. Another thing early
    on was his incrediball cover of Ornette Coleman’s “Lonely Woman”; he
    returns here with another hornless Ornette number “Mob Job”. That gets
    a sort of shanty side-step with occasional blare-beeps. In addition to
    Ornette, Malcolm treats Greek, Armenian and Vietnamese melodies…a
    sonic connoisseur in action, mingling ancient and modern alchemy. On
    the liner notes, Malcolm proudly states no overdubs were used, but
    still his real-time adaptations (of song and of instrument) do leave
    a sense of shroud, a fantastic shroud. Axe-plore…

    -Thurston Hunger

  • Reviewed by Thurston Hunger on March 22, 2007 at 11:14 pm
  • Filed as 12-inch,A Library
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  • Back, Sven-Erik – “Electronic Music ” – [Fylkingen Records]

    Sven-Erik Back died in 1994 at the age of 75. This reissue revives some
    of his work from the 1970′s. Sterling electronic constructions, at times
    accompanied by spoken phrases…and even some tape samples peppered
    in as well. Check out the “Hommage” track it seems like a sense of
    whimsy is whisked into the synth vortex, and its title seems to be
    aimed at the “grands faux-penseurs.” So while a lot of this music has
    a sort of dark flavor to it, there may be lighter injections as well
    that are slipping past us. Maybe that it what makes it so interesting to
    me, there’s a deliberate effort to generate the sounds precisely, but a
    playfulness is entwined with it. Kind of like a scientist in the lab,
    NOT having to answer to his research sponsor. The sonic suite on side A
    sounds like T.S. Eliot riffing on “time present and time past” caught
    in the undertow of vox populi apoplectic (especially in “Parken”).
    Reverbed emanations create pacifist percussion, not striking or harsh
    but almost like a foreshadow to techno. Fans of Oskar Sala and Hans
    Edler I think will like this…or if you are looking for something to
    play while watching the old “Planet of the Apes” movies. “Murar” is
    very gorgeous, has some deep canon thumps…dry diggling sounds, quick
    shrill static bleeps and a wavery sine gluing it all together that
    rises eventually we get more isolated sounds, the canon charges are
    cloaked in squelch and drop into echo caverns building back to more
    bleep crescendoing. “Orgelfjail” is a series of bionic chimes, square
    wave harmonic scintillating…probably there is a puzzle to their
    pattern. Outstanding reissue, from a label/organization that itself is
    nearing 75 years young…reborn each year with experimentation and
    creativity. Swedish sweetness!

    -Thurston Hunger

  • Reviewed by Thurston Hunger on March 22, 2007 at 11:14 pm
  • Filed as 12-inch,A Library
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  • Kuupuu – “Unilintu ” – [Dekorder]

    Strange electronic birds nesting in my ears. I’m cuckoo for Kuupuu.
    Jonna Karanka’s voice is the feather bedding, it gets multi-tracked,
    criss-crossed and stitched into the nest-ness. A decidedly lo-fi
    fluffiness helps hoist the intimacy aloft. This feels like one of
    the elements at time, a sweet mix of rain and sunshine with a breeziness
    that makes these tunes feel more like sketches…or dreams even. They
    are something sill in the process of becoming. This is the charm of
    Kuupuu, she presents child-as-magi music built from simple instruments
    and simple and pure melodies. All of the work here is culled from
    other releases, insanely exclusive ones at that; but assembled together
    a consistent flow appears and fills this vinyl. Bells ring in the
    stream of these songs, brooks babble and Kuupuu’s voice babbles along
    with it, guitars glide and everything floats. On “Taivaankotiin” her
    river rises highest and hits the paramount, but the watermarks are
    way up on all of this start to Finnish.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on March 22, 2007 at 11:13 pm
  • Filed as 12-inch,A Library
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  • Los Llamarada – “Exploding Now, The ” – [S-S Records]

    Rant and roll from Mexico! That giant sucking sound ain’t NAFTA, it’s
    the charged-up amplifiers creating a vacuum pushing this dense and driven
    music out. The various flavors of lo-fi are on display here, from the
    recorded-in-the-stomach-of-a-giant-that-ate-the-band-fi on “The Discovery”
    to the mind-if-we-practice-in-your-mortuary-fi on “Je Sois.” Vocals
    are often handled by “Estrella” and she is indeed a star rising, from
    cooing to cuckoo to caterwauling. Sagan is mas macho, anguished vocals
    when he’s at the microphone helm…swimming upstream against a torrent
    of sound. He also brings gamma ray keyboards to a number of tracks!
    The drummer, Danyhell, has issues…let’s hope he never works them
    out…and instead continues to pursue fist therapy. Finally Johnny Noise
    completes the squad with gooey, chewing guitar. The din of Los Llamarada
    put a grin on this gringo. White vinyl never sounded so dirty.

    -El Hombre del Hambre

  • Reviewed by Thurston Hunger on March 22, 2007 at 11:12 pm
  • Filed as 12-inch,A Library
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  • Hop-Frog’s Drum Jester Devotional – “Bets Ov, Vol. 1 ” – [Urckarm Recordings]

    MIDI-Eastern music is a nice catch-phrase for this. Some of the samples
    I recognized, the dance patterns too, I guess I’d call these three wise
    men (and/or wise guys) from the burgeoning LA Hop-Frog Kollektiv proper
    Born Djinn Again. Very infectious…Bryn Jones of Muslimgauze has had
    an amazing (sadly post-mortem) career…but I think the promise of the
    Hop-Froggers is to mix source/sample material with organic live
    improvisations, and toss in an intriguing stage show, sprinkle in politics
    as needed. Or maybe avoid if possible, dodging the exploit versus worship
    fires, the sounds here are uplifting, even when the titles are maybe
    more discouraged. Kind of a Genesis P. Orridge stirring of the pot.
    Personally I LOVE those shrill bagpipes which are air-lifted into several
    tracks. And who can’t agree with a battle cry of “Cherries (Bananas not
    Bombs)…” is that an attempt to link the Runaways to Islam? The fruits
    of these labors are tasty to my ears, and their beats put a postive slam
    into Islam. The Urckarms race is coming to KFJC at the end of this month
    for a visit, hopefully they’ll bring a large and varied entourage.

    -Bob Hopefrog

  • Reviewed by Thurston Hunger on March 22, 2007 at 11:11 pm
  • Filed as A Library,CD
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  • Songs For Nao [coll] – [Chapter Music]

    Super cool collection of various low-fi-but-often-lots-going-on indie Japanese bands. Often with horns, acoustic guitars, tender female vocals and quirky male vocals. AMong my favorites are the lovely folk of “Swan” (#4), campfire style singalong if they invited a horn to go blat blat, which is “Lilac” (#6), male folk pop of “Stars” (#7), little girl style of ‘Summer Days” (#8), Shaggs meet grunge style of “Kilimanjaro” (#9), slow Bjork-ish folk of “Temperature of Windowside” (#10), female harmonica folk of “Good Night” (#11). These are all referring to song titles. #1 is not a Shaggs cover. Just Shaggs inc=fluenced. My Pal Foot Foot is the name of the band. Subarashii-no ongaku, sugoi! -Shiroi

  • Reviewed by shiroi on March 22, 2007 at 12:00 pm
  • Filed as A Library,CD
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  • Wilderness Pangs – “Indivisible Squalor of Wilderness Pangs, The ” – [Apocalypse The Apocalypse]

    Wilderness Pangs offer 11 songs that take a peek into several musical genres.
    Hailing from Louisiana these four take some time but eventually get there.
    MAGIC BULET is 24 seconds long so be aware playing track one.
    A SUITCASE THEIF takes off and jams.
    I SHOT MY FAVORITE HORSE has a country flair
    Tracks 8 and 9 are shorter and differ from the prior three tracks
    MOUNTAIN BOMB is short and dark.
    STOLEN LOGIC has almost a hip hop sound
    My favorite track and the one I would highly recommend is
    track 10 MS. SMITH.. it starts with what sounds like a bong hit and ends with a full court press into your ear canal.
    LISTEN and you too will feel the WILDERNESS PANGS..

  • Reviewed by sailordave on March 22, 2007 at 11:41 am
  • Filed as A Library,CD
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