It was just a metter of time before post humous releases of EYEDEA would emerge. These tracks get to show his natural talent for language, cadence, & new now old school new school rap styles. By rap, i mean tough, style driven, rhythmic cadence, midwest blown the door on by rippin off. and now the most brilliant of mid west players’s most dynamic frantic/panic/cadence is shat upon by too looud a bass & drum (5).????but it’s live and improve as for the musicians. forget they are mediocre or above the cafe/open mic crazies and you get a pleasure to watch/listen/imagine Eyedea gettin off on what made the platform for rap music to survive the midwest and blow a gold jizz too soon. RIP EYEDEA
Black Math Horseman is a four piece from LA. This prog psych rock, doom metal sound is the perfect combination on Wyllt. Sera Timms on vocals transitions perfectly from soft and floaty to dark and aggressive, she is on bass too. Drums boomingly loud for the entire album and guitars bringing it all together. Black Math Horseman keeps it interesting throughtout with the crescendos and lows. Every part is excellenty executed regardless of its gloominess. Love it!
Knew I would like these guys when first viewing the album cover, but didn’t know I’d love them!!!! These guys rock out with elements of psychedelic stoner rock garage punk with some glitter glam sprinkled in the mix. Guitars, bass, drums, flutes, saxophones, synths, laser beams & more fill Solar Hits. Songs range from 2:30 to 7:30 mins long of fast paced danceable beats. Play loud and sing along if you’d like with the insert provided. Solar Hits limited to only 450 copies.
Per Strom out of Sweden as Barrikad, delivers 3 experi-noise
collaborations. “Black Hammers” keeps an industrial hum,
the underlying overseer of some dismal factory, watching over
as arc-welders and risk-climbers assemble in a very unsafe
factory. At about 15.5 minutes in (of this 19 minute track)
most of the workers have succumbed, and pulleys still run,
and gears decay, even those are vanquished and the boss
drone remains, possibly watching an old muffled TV show.
“Governmentality” follows, more factory feel, this time
bomber planes are being created by some advanced popcorn
technique. At 4.5 minutes in, the backwards masked man
appears, he gives orders or reads a phonebook for about
6 minutes, the popcorn bomber production unfazed. Progress
is achieved? Only to encounter “Destroy, Destroy, Destroy”
this is not an official factory, instead an abandoned
warehouse, the din more harsh now as the revolution is
launched. Corrugated metals are heat-wiped out. Whiter
noise takes over, an electronic blizzard. It will not
end pretty. It will just end.
K2 is Kimihide Kusafuka (aka the man behind the Kinky Musik
Institute). We’ve added sonic conflagrations from him in
the past, including “Renal Ekonomix” and “Metaloplakia”, so
he’s got some very visceral fixation with his very visceral
sounds. This is what was once filed power electronics, I had
hopes that it was going to be something more somatic, (passing
a contact mic through for a duodenum duet, or maybe merging
wires/nerves/signal processing). that notion was enhanced by
the stunning artwork of Alonso Urbanos. However, K2 klaims
this is a purer “junk electronics”; no computer, no MIDI and
no metal junks. Just his multitracked Korg MS-20
(http://www.vintagesynth.com/korg/ms20.php) switched on
overload. Spring break for noisicians, and ring oscillators
gone wild. The final track “Aerophobia” rang truest for me,
patches where it seemed order was trying to hold off the
onslaught. But from the opening “Epilogue No. 2” it is pretty
clear that blitz and bombast are in charge. That track hits
a near flatline finish. But “Bomb in My Stomach” is a video
game possessed played by alien bikers. Some great moments though
like the passage about 21 minutes in (yep, it’s a haul through
harshness). On ye olde noise/brainiac connection turns out
K2 is a published pathologist from the Shizuoka Cancer Center.
He’s Pregnant, and alas she’s Alak. They are husband and
wife and share this spinning musical bed, he (Daniel Trudeau)
tucked on the inside and providing the first set of tracks.
Pop in the sort of sweet wild-eyed Danielson manner. He’s
a one man Elephant 6, the percussion sounds like a kitchen
drawer, some horns flit by on #4 and #7 (jazz whale calls
on the latter) but maybe those are just all samples. Other
electronics feel like Raymond Scott’s “Soothing Sounds for
Baby” on a sleep deprived silly slide. She (Jocelyn Jade
Noir, alas that altername works well for a lass and Alak)
starts her section with “You You You” which hit my Big Blood
blister, that sense that at any moment she just might yodel,
with such a pretty but quavering voice. That voice carries
nicely on “Because Surprises Change So Little” but dig the
scatterjazz guitar work on that too. While I prefer her
broken lullaby moments, she even aerobicizes over a drum
machine on “Crystal Power Attack.” “Stark Fool” is a pretty
damn full 4 minute number, and this split CD’s strength is
its breadth, each individual splitting into more and more
sonic selves. Seems like there’s more than two of them, and
I’m not talking about Juniper in a jumpsuit.
Devoted double-disk to Australian incarnations of Bloodloss.
Sax-spiked, stuttery rock on the first CD. Reluctant male
vocals are chock full of character, and in the case of
“Beautiful Feeling” the singer gets tazered to insert more
syllables. Insistent insanity abounds, especially on “Groin
Grocer” with yodelicious vox. Lot’s of solid gut-bucket
tweaky rock, but with a title nod to their Albert Ayler
cover, you know these guys are in the KFJC love boat. The
second disk cops some Suicide, and features Sharon
Weatherill on vox. She’s got a voice that is weary, but
not weak, her huskiness amplified by excesses of reverb.
Renestair EJ is quite an interesting guitarist, stuff
here for the inner and outer ear. Has a catchiness that
triggered my Numbers band reflex. If you dig this music
as much as I did, spend the time to read the liner notes.
Top notch work here.
Is Brazil the birthplace of man’s soul? Lo Borges first solo
album, 1972….Clube de Esquina going on, but this is his
vision. The sneakers are off, he allows the listener to take a
seat as Lo does on the artwork. Yeah, it has that 70’s
slickness, the post-Pepper (Sergeant) production, but Borges’
compositions are happy without being obvious. Prog-ful without
plod-ful. 15 songs fly by like butterflies. That snippet
aspect may frustrate some, but the fleeting focus works so
well for me. Just check out “Pra Onde Vai Voce”, genius.
Smooth soothing, and yet the kind of quirkiness that will
jump out over the years, like countryman Tom Ze. Shambly
guitars, even bandolin. Organ that hovers, and electric
keys simple and striking in parts. Other strings and things,
one key is that percussion is spruced here and there, not
supporting songs like the legs of a table, more like the
doilies on top. Slippery Portugese vocals are the thing
that just ensare you. MOR has never been more sneaky.
Extraordinary Popular Delusions – “Apocryphal Fire In The Warehouse, and Other Explanations” – [Harmonic Convergence]
Chicago Fire of 2010, released in 2011. Spent five years get
the sparks together with a weekly gig at the Hotti Biscotti.
Mars Williams fans will dig his free flights. Weirdos (and
I am with you) should start with #1, #5, and #7 (great fun
for getting self-professed jazz afficiaonados out of their
coffins and into a huff about what is and what is not the
sacred jazz.). Those tracks have an eerie tension, as Jim
Baker goes with synths from the emergency room, and Brian
Sandstrom with gets bowed and bloody on the bass, or yanks
a Luttenbacher-esque guitar out to chomp on some distortion
for a bit. Read the titles, and you can taste the cerebral
flavor, other moments like the “Treadmill to Obliviousness”
feature Baker on a ghost-hall piano, and Mars bouncing off
the sax rafters. More scorch on #6, with Baker doing outer
space knobbing. #4 has the most chameleion action, a soft
almost sweet center just before 3 minutes in, then Mars,
dances with the moonlight solo for about two minutes, before
another minor maelstrom sets in. Maybe that’s the hit
track. Other Explanations of course welcomed. Tip o’ the speaker
to KFJC’s Daryl Licht for lighting this one up!
2009 Dirty Knobby Deed Done Dirt Right (and added now here
at KFJC in 2011). Peter Wright is a New Zealand transplant
to ol’ Blighty UK. Let’s start on the flip first, two tracks
that I almost wish had been interspliced. The ramshackle
unplugged electric guitar of “Little Voices” played through a
vacuum cleaner, sets the sky for an expected Flying Saucer Attack,
instead a silent spin or two and then up into echelon
atmosphere. “Folksong for Degeneration – Version II” could
almost be the long wire separated at birth resonance of the
first track. Slow glissando escalator through the heavens.
The title track, has air sirens and distant bombs with
their fuses scraped, guitar ploonges, panic in the streets
but after a while the sound thins out, time stops, we live,
in peace and in pieces. To me, this is “active drone” if
not in fact radioactive. There is a short feedback coda
after some silence at the end, perhaps that is the “Terrifying
Realisation…” For me, it was that this 7″ is over much too quickly.
Released in 2010, but shipped to us this past week. What a
joy, not only the music, but having quality vinyl shipped to
ye olde KFJC. Nothing puts a spring in our summer step like
having some label/artist wink at us across a crowded planet.
Scraps come from Seattle, but have a time share in deja vu
land as well. Infectious to the point of frothing. Feeling
like a concoction of Thee Oh Sees, Pest 5000 and Royal Baths,
but trading the the Baths morbid murky water for something
merrier. “A Salty Sea” has capital D-drums and sort of
roller arena keyboard sweeps. It’s that keyboard, chimed in
with guitar, that really hit the replay synapse. And as
for party power, male/female vox always give any soiree some
swing. On the flip side, those same male/female voices are
split by distant harmony that aches slowly across an octave.
Again there’s fuzzy familiar logic, like indie pop left behind
by race of older brothers and sisters. Plenty of sugar in
“Remora” refers to a sucker fish that latches onto other fish such as sharks for transportation and uneaten leftovers. Why Brian John Mitchell of Raleigh, NC chose this name is a mystery, although several of the songs on this CD have sea references or sounds (7, 9, 12). Amidst the guitar/bass/piano/organ/drums/pipe/theremin/glockenspiel drone 6 stands out as an upbeat love song, 4 refers to a 1966 Western film, and 10 and 12 are instrumental. Lyrics are enclosed in case if you can read tiny printing, but Mitchell’s voice is fairly clear.
A great collaboration from two members of the Keinemusik Colective in Berlin. Rampa and Re.You both putting out Straightforward Tech House here. This has a bit of mischief about it that makes it more interesting. If you dig the beats, check this out.
Debut album by Ultrathin, a trio of Canadians (Montreal area), who successfully throw down two?? garage-ish punk songs. Two members from another Canadian band, Pink Noise (check A vinyl.) First side, “Glass City,” is quite power chord happy keeping it fast and in-your-face. Kind of funky bassline, shredding guitar solo at the end. “Don’t Mess” get’s even farther into your face with a screechy guitar, screechy vocals, and a tom-heavy drumline. Dark, gloomy, heartburning, face-shredding magic…
From 1972, this self-titled album by Brazilian producer/composer/guitar player Arthur Verocai is full of groovy, funky, soulful tropical energy. While listening I felt like I was tuning in to the soundtrack for a Charlie’s Angels caper from the 1970s, so it’s not too much of a surprise to hear that Verocai crafted soundtrack music for TV (eventually becoming a music ad exec). There are lots of effects, strings, keyboards, percussion, sax, trombone, and some singing. I was especially taken by the B-side opener “Seriado,” which featured female vocals fom Celia.
On this 2011 LP “Strange Cacti” (a reissue of a cassette release), Chicagoan Angel Olsen lulls us with her sweet, old-fashioned voice. There’s spare guitar and quavering vocals that at times remind of Mia Doi Todd and Paula Frazer. In fact, there’s a teensy tiny hint of country jangle in a few places. Out on Bathetic Records (perhaps you remember Thom Anks’ Mayhem special on the label this year?)
Allegedly the last of five LPs by chronic overachiever Robert Pollard’s latest group, Boston Spaceships, Let it Beard touches all the UK pop and rock touchstones that Pollard’s been obsessed with all along, especially his unashamedly Townshendian vocal and songwriting pastiches. You’ll hear numerous stately Bowie-esque hooks, sax bleats, and enunciation, and a number of other symptoms of severe Anglophilia like the chunky bass and cellos of the Move / ELO and of course the Beatles / Stones nod of the title (this is far more on the fab side of that spectrum). Although the Spaceships are (were?) a trio, there’s plenty of participating guests to widen the palette: guest lead guitars from J. Mascis and others, strings, trumpet, and french horn (absolutely required for simulations of the Who, circa 1968). Although a few of these tracks are barely more than rehearsals with additional production to tidy them up (i.e., “A Hair in Every Square…”), and a few songs enter into ADHD territory with their abrupt tempo changes, for the most part this will sound terribly familiar to anybody who grew up during the sixties. <crimes>
This 2-LP set contains 45’s recorded by Louisiana funk and soul artists from 1967-1979. Most sound like they have been strongly influenced by popular artists of the time, many of them by James Brown. A bit of Creole influence from Louisiana can be heard, but is not that strong. The vocals and instrumentals and recording quality are pretty good. Funky beats to make you start dancing.
PGM: side 1/track 3 and side 4/track 2 are all instrumental. My picks: Side 1/track 5, Side 2/track 4, Side 3/track 5, and side 4/track 5.
This trio from Orland, CA released 1-10 as an LP, and 11-16 are bonus tracks. The mood is dark, sinister, drony, echoey, whirring, full of feedback and reverb. This will appeal to many at KFJC. It sounds like a soundtrack to a late-night trip through a gothic temple. As the more rocking 14 says, “Chin up, beauty is pain.”
Confrerie Ali Amani (Brotherhood Ali Amane) – “Ali.Amani: Chants Soufis Des Comores” – [Buda Musique]
Chants, chants, chants… ??This time it’s Islamic chants, from the island nation of Comoros – a former French colony situated between Mozambique and Madagascar. ??More specifically, it’s Sufi chants – a subset of Islam – where they do not consider it music, but more of a necessary speech in their progression towards god. ??While the tracks are great on their own, I see them being blended by many DJs into some of their favorite ambient and droney tracks. ??Oddly, a couple of the tracks are mixed in to some channel surfing.
There’s enough variety of length for anyone to give this disc a whirl (the Sufi are also called Dervishes…)