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What KFJC has added to their library and why...

Clarinette – “Clarinette On DNA: Jazz Impressions of DNA On DNA/Retrospekt” – [Cassetto Editions]

NOT DNA covers…well sort of. Instead, Clarinette On DNA is an homage to New York No Wave icons DNA in the form of a track for track piano improv/compositions set designed to mirror the No More Records CD edition of DNA On DNA to it’s precise length. I admit, I played this at the same time as the DNA album, and it’s pretty hilarious, in an awesome way. Funny to hear plain, and simple piano imitating spastic guitars and drums. Interesting interpretations, that you would never guess.
The Retrospekt CD (second disc) contains parts of releases and unreleased from the past 10 years, dates are on the insert. Piano and “instruments” are listed, mostly electronic sounding, and of course, no actual clarinet. Computer-like hums and subtle digital trickles. Ambient drones and floating resonance. Others have echoing pianos, in a hypnotic state. Daze-dreaming with your meditative mind. Clarinette is Dan Valor, local guy.

  • Reviewed by cinder on May 31, 2013 at 3:13 pm
  • Filed as A Library,CD
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  • Teeth Mountain – “Teeth Mountain” – [SHDWPLY]

    Cacophonous, desert dwelling, patchouli smelling sounds of Teeth Mountain. A salivating singing saw, a distorted crying cello, carnivorous computers and four drummers playing floor toms and a communal cymbal. This evokes some hippie chant circles, with straw hat masks and loose psychedelics for sure (artwork is on spot). Hypnotizing sounds drone out of the strings and saws, as the egg shakers and drums play to their own tune. Stonerdelia. Instrumental tribal trances. Beware, you might cause a rain storm of awesome in master.

  • Reviewed by cinder on May 31, 2013 at 3:11 pm
  • Filed as 12-inch,A Library
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  • Dauby, Yannick – “Wa Jie Meng Xun” – [Ini.itu]

    Born in France, but living in Taiwan at the moment. Dauby dabbles with electroacoustic compositions, soundscape collages, and musique concrete. This release is focused on the twitching sounds of the night. Crickets, bugs, frogs, everything that you’d imagine living in a bayou. The purring and chirping of amphibians is bubbled along with improvisations on the modular synthesizer. Field recordings taken from around Taiwan. Mostly relaxing, except for the occasional barking creature and low synth jumble. Side A does build up to some intensity near the end. Dauby regularly connects with naturalists and often provides the sounds needed for their exhibitions and documentaries.

  • Reviewed by cinder on May 31, 2013 at 3:08 pm
  • Filed as 12-inch,A Library
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  • Cooper, Mike – “White Shadows In The South Seas” – [Room 40]

    Experiemental tropicalia. Mike Cooper is 70 years old, and actually has done a lot in the blues/folk world. A regular on John Peel from 69-75 apparently. This release doesn’t bring you down at all though. Romantically tinged “pacific sunset-like dream spanning the horizon in pulsing waves of richly coloured rhythms, tropical sound fields and pacific-inspired slide guitar”. Singing birds, rolling rhythms, looping patterns, mai tai treated beats. All with a modern, electronic edge. Arthur Lyman and Martin Denny would approve. Polynesia daydreaming. Hawaiian visions.

  • Reviewed by cinder on May 31, 2013 at 3:07 pm
  • Filed as A Library,CD
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  • 49 Americans, The – “We Know Nonsense” – [Staubgold]

    49weknow_grande

    Reissue of fun, rock-ish, folky, experimental tracks from a late ’70s supergroup of musicians and “non-musicians” as an “experiment in the pursuit of happiness… playing because we wanted to play, because we enjoyed being together and seeing what each other could do; musicians and non-musicians surprising each other.” Basically, anybody could come play and join in on the fun. Organized by Andrew Brenner aka Giblet, who writes all the silly vocals, plays a WIDE array of instruments, as do most of the others on the album. Group includes David Toop, Steve Beresford, Else Watt, Etta Saunders, Lol Coxhill, Peter Cusack, Eric Ingam, and lots more.

    Since there’s such a diverse group of folks, the music is really a blend of all kinds of music, from neofolk, to rock ‘n’ roll, or afro-funk to jazz, to sounding like an experimental improv jam, you literally get a taste of all the weird flavors that KFJC likes so much. Take a little time with this one, it’s playful, almost childish, but still has with it a cloud of expertise.

    Reissue of their second full length, with 23 bonus tracks from first full length and 14-track single.

  • Reviewed by mickeyslim on May 29, 2013 at 5:15 pm
  • Filed as A Library,CD
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  • Anderson, Marisa – “Mercury” – [Mississippi Records]

    Portland, Oregon based Marisa Anderson says she applies classical technique to her music. No matter, this is lovely stuff for solo guitar and lap steel (no vocals) that shows stunning virtuosity. Her renditions of her compositions bridge boundaries of folk, blues and country.

    This album is said to recall experiences from her travels that began at age 19 and continued for 15 years.

    Haunting, lush, beautiful.

  • Reviewed by Cousin Mary on May 29, 2013 at 3:27 pm
  • Filed as Blues,CD
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  • Bootsy’s Rubber Band – “Bootsy? Player of The Year” – [Warner Bros.]

    IT’S TIME TO GET FUNKED UP! And Bootsy Collins is gonna bring it to you on the low end, for those who know funk know Bootsy. Even if you don’t know the man’s name you know his bass lines. The pioneer funk bassist presents his third album with his group The Rubber Band on this overlooked funk album from ’78. Think bright horns mixed with funked out bass, tinny guitar and backbone drums. Everyone should know who the player of the year is after getting funked up by this jem.

  • Reviewed by honeybear on May 29, 2013 at 12:01 am
  • Filed as 12-inch,Soul
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  • Dj Dubcuts [coll] – [Jamaican Recordings]

    This is a collection of dub singles from some of Jamaica’s top DJs. For those of you who don’t know your dub, this album presents the perfect opportunity to ease yourself into the genre. From guys like I Roy to Lee Perry this album highlights the progession of Jamaican dub in the 1970′s. This is dub masters at their best! Heavy bass and drums mixed with bubbling lyrics. This is a gold nugget to be found in a river of dub all-stars.

  • Reviewed by honeybear on May 29, 2013 at 12:00 am
  • Filed as 12-inch,Reggae
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  • Carcinogenz – “Carcinogenz” – [Going Underground]

    Ugly lo-fi punk done right! This Bakersfield (Buck Owen’s Bakersfield!) threesome add the best parts of early hardcore punk and revamp the hell out of it. This is messy, fuzzed out, fast and snotty. This has the feel of GG Allin fronting a drunk Dead Kennedys. With songs about why you suck and should die(!), this is not a nice record… and you suck!

  • Reviewed by honeybear on May 29, 2013 at 12:00 am
  • Filed as 7-inch,A Library
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  • Pride, Mike – “Drummer’s Corpse” – [Aum Fidelity]

    What happens when you have seven drummers, three vocalists and one guitarist? PURE FUCKING MADNESS! Mike Pride has done just that. In a collage of frantic drumming, droned out guitars, feedback induced vocals, and more noises going on than you head can stand, this album borders on insanity and hypnotic trance. There are two tracks on this bad boy; track one is a 33 minute long free jazz jam out with all seven drummers; track two is 26 minutes of sweet melodic guitar mixed with five people talking over each other. Both are a tour-de-force to be reckoned with.

  • Reviewed by honeybear on May 28, 2013 at 11:59 pm
  • Filed as A Library,CD
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  • 303 Committee – “S/t” – [Inam Records]

    A evil wind blows with the 303 Committee’s new effort. This self-titled release, limited to 33 copies, is as chilling as it is haunting, like a windy night in a dark, spooky forest. The whole album is made up of quiet, ambient melodies that conjure up things that go bump in the night, leaving you feeling both creeped-out and unsettled.

  • Reviewed by honeybear on May 28, 2013 at 11:58 pm
  • Filed as A Library,CD
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  • Sourvein, “Black Fangs”, Candlelight Records

    North Carolinian sludgelords Sourvein have been together in one incarnation or another since 1993. This is their first full length album since 2002 and it delivers down and dirty, raw, doomy sludge rock with snarling, rough and dry, black metal vocals. Some tracks have faster, higher tempo hero metal riffs thrown in here and there. Repetitive, meditative and grinding. Excellent drumming. Conjuring EyeHateGod, Noothgrush, early Melvins, Sleep (Volume One) and Electric Wizard on track seven.Recorded in Moyack, North Carolina in 2009 and 2010, released in 2011. Led by T-Roy Medlin and joined on this album by guitarist King James Haun (Ol Scratch), bassist Ahmasi O Daniel and drummer Jeffrie Moen.

    sour

  • Reviewed by ophelia necro on May 28, 2013 at 8:25 pm
  • Filed as A Library
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  • Lower, “Lower”, 540 Records

    Rock and roll foursome out of Copenhagen. Two songs that were originally from a long gone demo tape. They recently redid the songs (in Copenhagen) for this 7 inch. Two guitars, bass, vocals and drums. Reminded me of the Royal Baths meets Slug Guts with a bit of the Cure thrown in. Desperate, anguished vocals, guitar feedback, primal rhythms and gothic post punk vibe.

    Side A “Someone’s Got It In For Me” is 4 mins 4 seconds

    Side B “But There Has To Be More” is 2 minutes 45 seconds

    Clean.

    lower

  • Reviewed by ophelia necro on May 28, 2013 at 7:23 pm
  • Filed as A Library
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  • Cyrille, Andrew & Haitian Fascination – “Route De Freres” – [TUM Records Oy]

    This is a rich, accessible jazz experience, a tribute to drummer Cyrille’s memories of a visit to his parents’ birthplace when he was seven years old. The three parts to the music named after one of the streets, “Route De Freres,” summon happy memories of times spent with his aunt and uncle, and his imagining of how Manhattan would have felt to his parents at the time they emigrated there (and that one–7–really does swing!). Pascal’s standout acoustic guitar shines throughout, but especially on 3. Bluiett’s sax is awesome on 6 and 4 (read liner notes about how 4 is a love song to a Rio de Janeiran dancer), and Atkinson’s double bass adds greatly to 8. Augustin joins Cyrille on 11 for an amazing percussion duo, and his vocals deliver the folk tale on 12. Really a fantastic jazz expression of Cyrille’s Haitian roots, and a must-listen!

  • Reviewed by humana on May 27, 2013 at 7:54 pm
  • Filed as CD,Jazz
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  • Skysprojection – “Skyprojection” – [Sygil Records]

    Paul Greiner is a composer and musical artist from Indiana. He composed all the sounds on this album, and his genre is described as “ritual power electronics,” but that is all I could find about him. My ears have to translate the rest to you. I did not find the sometimes drone-like tracks here to be power-packed, but I did find them relaxing. They could be good for mixing, or just on their own. B4 is my favorite, with its surprising melodic injection of whimsy (just like a Cirque production with its acrobats). Quite a pleasant listening experience.

  • Reviewed by humana on May 25, 2013 at 7:56 pm
  • Filed as 12-inch,A Library
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  • Szelag, Agnes + Hoopes, Jason – “October Pieces and Shadows” – [Trestle Records]

    Not only are they skilled musicians, but they are also composers of note, and October Pieces (by Hoopes) and Shadows (by Szelag) definitely prove this. Sparse piano notes (from Hoopes) start out the CD and evoke a lonely, beautiful picture, and then Szelag’s cello adds another layer that finishes the effect. Your ears wait for the spaces to be filled while your imagination takes you where it will. This is truly soothing and gorgeous.

  • Reviewed by humana on May 25, 2013 at 6:24 pm
  • Filed as A Library,CD
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  • Q4U – “Q1 Deluxe Edition: 1980 – 1983″ – [Dark Entries]

    DE040_Q4U_front
    Sons and Dottirs of Iceland, although their audio parents were
    likely a bunch of UK punks and Pistols. Elly Halldorsdottir’s
    vocals are delivered with urgency, and a hint of the kind of
    lunacy that KFJC DJ’s and listeners learn to love without fear.
    Elly’s not quite on the Demi Semi Quaver scale, but especially
    on the A-side, there’s plenty of wild (dyed blonde) hairs at
    play. At times, her vocals are doubled by Linda Gar??arsd??ttir,
    held on some of the higher notes to give it a keening energy.
    While there are pumping bass and some nice guitar work, synth
    is the most prominent instrument, and the drums if not always
    machined are pretty mechanized. A tight ship, but the A-side
    definitely pushes the edges. Not just vocal quirks, but some
    slap reverb and other effects and even some guitar slicing
    from Stein????r Stef??nsson. The B-side feels smoother and sweeter,
    and the melodies are more pronounced/pleasant. Back on the
    A-side, the lead off track is evidently Elly’s take on
    getting arrested for being a bored punk in a more boring
    city. “Why” switches to English to probe the suicidal
    side of teenage angst, and “Creeps” grinds on Kraftwerk’s
    “Model” riff, while mulling over parricide. There’s an
    interesting earlier version of “Creeps” at

    Comparing that with the album version, you can trace the
    band’s punk spikes get minimally waved by synth. But the
    more I listen to this, the more Elly’s antics are where the
    warp best hits the woofer. Check out “Draugasaga” even
    before a sax solo drops in, she’s getting a good rabid
    froth going. Other tracks she’s fighting off an insistent
    drum machine, but she wins. I wish I had found an interview
    with her, recently she’s been on stage with a configuration
    of the Q4U, and evidently has done some painting in the past
    *30* (yikes) years from the initial Q4U daze. Pretty cool
    stuffed based on minor Facebook detective action. Anyways,
    another nice time capsule frozen in the 80′s and this
    time Iceland from Dark Entries. For more, the documentary
    “Rokk i Reykjavik” beckons, I think that link above is
    from the film. Pretty amazing how young almost all the
    bands looked then. But as tends to happen, us “Creeps”
    become parents…so nice to listen/look back at times.
    -Thursson Hunger

  • Reviewed by Thurston Hunger on May 23, 2013 at 7:02 pm
  • Filed as 12-inch,A Library
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  • Irr. App. (ext.) & At Jennie Richie – “Apt. J(ext.)ie Irrchie – Night Wearing Feathers” – [Black Horizons]

    iae_jennie
    Matt Waldron the core of irr. app. (ext.) and the bi-polar bi-ped
    binary stars of At Jennie Richie (aka Happiness & Forever) collide
    for a collaboration/confluence/car wreck. They exchange phone numbers,
    insurance cars, odd glances, audio tracks, and fluids of some sort.
    The credits include “electrified saggy underpants.” But the sound
    is pretty clean. The first side, “Night Wearing Feathers” has more
    of a drift drone to it, sure there are some kind of gears spun
    and some wooden doors shut, listening to it I wondered how many
    KFJC listeners frequently don headphones. I also thought of Cy
    Thoth, and how he might thicken up this soup, but then I got
    hypnotized by the Waldron art-work and missed a weird jump-splice
    while a car couldn’t start on the record. I tripped to the flip,
    “Sunshine Bus Rider” which to this Dad who’s cool enough with Dada
    found a less static piece. A narrator shows up a few times,
    illuminating nothing, but it’s nice to hear a voice. Drums
    tunnel through and this one has the more watery waves, possibly
    Waldron’s “bacterial cultures.” Plenty of other more puzzling
    ear evidence, while I dig a story behind sound sculpture (like
    the abandoned resort from the recent Yannis Kyriakides), the
    blindfolded ear voyage here hits some high points, insect world
    or galactic flashes. Sections feel like enhanced field recordings,
    clarinettes meeting in a empty hall, kid playing under a freeway
    overpass. Baroque whispers, piano pause and stings slackened.
    Definitely the type of music where the listener is a player,
    but again on side B, there’s more to draw upon. Side A evidently
    was an earlier (2006) mini CDR issue. In keeping with their
    detailed aesthetic, glad to see a secret message scrawled
    in the run out spaces on this vinyl. Wish I could have deciphered
    the actual sounds as surely. -Thurston Hunger

  • Reviewed by Thurston Hunger on May 23, 2013 at 7:00 pm
  • Filed as 12-inch,A Library
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  • Ttotals – “Spectrums of Light” – [Twin Lakes Records]

    A duo from Nashville Tennessee that doesn’t fit the “Nashville stereo type” at all. In fact, import/export Pete “Sonic Boom” Kember (Spectrum / Spacemen 3) into the mix (he mixed it), and Nashville is turned inside out. Drums and Guitar and washes of feedback all make for a magnificent psych journey. I saw these guys live at the Austin Psychfest in 2013 and the sounds they made were pretty mesmerizing as I crested the banks of the Colorado River (the backdrop for the band), I was expecting a helluva lot more than just two dudes with one of them being on a very stripped down drum kit. Good news, they sound as good, if not better, live!

    On one side you’ve got the slow burner Sometimes You Just Are – and then the intensity level kicks it up about 10 klix more, then, back down and then again back up; a nice ride; Tricks of the Trade is a little meaner sounding and reminds me of a stripped down NYC NoWave act circa the late 80′s or early 90′s (something not to be messed with to say the least). Last thing, making this quite a find in the KFJC library is that every cover on these limited edition 7″ are all unique (and we defaced it and fucked it all up as is the custom).

    Tryp out; hang out.

    Soil

    smaller-2

  • Reviewed by jacksoil on May 23, 2013 at 10:43 am
  • Filed as 7-inch,A Library
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  • Lewis Parker, T.R.A.C., John Robinson – “Tic-Tac-Toe” – [KicDrum Products]

    Independent sample-based hip hop released on vinyl the way it should be done. Philly’s production duo of Drumz and Llingo bring the most out of their SP12 with this one, teaming up with some cutty NY MCs for the perfect blend of streetwise wisdom both sonically and verbally. Heavy on the east coast traditional beat digger vibe and the remix on side B is a bit more spacey. The stand out MC for me is the last in line John Robinson, his gravely voice is reminiscent of Mr. Cheeks of Lost Boyz but his flow is more like a megablunted Keith Murray. KicDrum Products and their Silver Seven Series of indy rap 7″s are the future of the history of this real rap shit. No FCCs, plays at 45. Mann the General.

  • Reviewed by mann on May 22, 2013 at 6:23 pm
  • Filed as 7-inch,Hip Hop
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