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

Red Trio & Butcher, John – “Summer Skyshift” – [Clean Feed]

Recorded live in Lisbon in 2015 with the Red Trio (bass, drums, percussion) and their Guest John Butcher on tenor and soprano sax. Free and abstract, all improvised with a fine collaboration that interweaves Butcher’s foundation with the trio’s response. Musically interesting and engaging.

  • Reviewed by Cousin Mary on May 4, 2017 at 12:44 pm
  • Filed as CD,Jazz
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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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  • X Eyes – “X Eyes” – [Kitty Play Records]

    xeyes

    X Eyes is the LA noise duo of Corissa Viveros and Travis Fargher (aka rehgrafsivart, also in Bastard Noise). They’re occasionally joined by their two talented kids, as in their live performance from the KFJC pit in February 2017. This 2015 cassette from Kitty Play Records finds the pair bending circuits to generate a warped interpretation of a Deep South tent revival. Bubbling up from the muck of swampy synthesis are swarms of giant buzzing cicadas, visions of snake-faced preachers (T1), a sermon from His Holiness Ornette Coleman (T3), the relentless sound of a downpour during a thunderstorm, blasts of crackling ringing and pulsating feedback. Press play and be healed.

  • Reviewed by lexi glass on May 2, 2017 at 5:52 pm
  • Filed as A Library,Cassette
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  • Sondheim – Carter – Damrosch – “Limit” – [Public Eyesore]

    Recalling my first reverse echo takes me back (forward?) to a Whole
    Lotta LedZep, which at the time amps up the anticipation like deja
    vu on demand. More to KFJC tastes, Alastair Galbraith used to have
    tricks up his sleeve and in his dinghy to float sounds back and forth.
    On this release though, Alan Sondheim’s stated goal is to push such
    processing to the Limit. So Luke Damrosch the torpedoes and sets
    up his chop ‘n’ flop algorithms to fly at unreal speeds in real-time
    CPU’s. Often you can feel their little glitch points pop up in the mix.
    You can read more theory in the liner notes, to me Sondheim’s way
    with strings and things remains the focal point of this trio. He’s
    quite the dazzling dervish on say “longsazb” (Check “Longsaz” from
    their previous release.) That, like a lot of Sondheim’s playing
    looks East, another form of back or is it forward? The following
    “movement*” track feel like a Sudanese surprise, and then another
    more involuted “movement” after that. Does the processing illuminate
    or obfuscate? “Prelude” succeeds with more subtle volume-pdeal like
    processing, and as one of the rare vocal tracks featuring Sondheim’s
    partner in sound and more : Azure Carter. She pops up on #2 and #7 as
    well, singing in a Emo style (I mean Emo Philips the comedian not
    the Emo movement.) Hard not to picture her singing with eyes wider than
    her mouth. Her very pure voice is a nice contrast to the slither and
    scuffle sounds of Sondheim. Her songs are they all about becoming songs?
    Overall impressive ideas and a more impressive array of instruments. How
    the final track consumes or feeds may vary on you and where you fit in
    the soundtime vortex (their “Threnody” also had a cataphoniclysm to end
    as well.) Cool Rhode Island brainwaves by way of Brian Day???s Public Eyesore.

    -Thurston Hunger

  • Reviewed by Thurston Hunger on April 27, 2017 at 5:32 pm
  • Filed as A Library,CD
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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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  • Blackball Bandits – “Confrontation On The Extraterrestial Highway” – [Self Release?]

    Up and coming surf band from Orange County – great playing on mostly original tunes. They hit many surf influences such as outer space, Mexican sports, horror, Spaghetti Western, and soundtracks. A few spoken word snippets are thrown in. Fun!!

  • Reviewed by Cousin Mary on April 26, 2017 at 4:27 pm
  • Filed as A Library,CD
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  • Los Oxidados – “Death Man” – [Self Release?]

    This 4-piece surf band from Mexico performed at the Surfer Joe Summer Festival on the night preceding KFJC’s live broadcast in 2016. True surf sound, well played, choice of tempos from slow to rapid fire, some unusual harmonies for surf. Track 12 is a very nice vocal in Spanish.

  • Reviewed by Cousin Mary on April 26, 2017 at 4:15 pm
  • Filed as A Library,CD
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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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  • Troum – “Acouasme” – [Cold Spring Records UK]

    acouasme

    When Helge Siehl departed Dark Ambient trio Maeror Tri in 1996, effectively breaking up the group, the remaining two members, Martin Glitschel and Stefan Knappe, continued as the dizzyingly prolific Troum (‘Dream’). I don’t know how to effectively distinguish between the oeuvres of the two projects, except to say that the Troum stuff has tended to embrace rhythm more than Maeror’s pure drone sound. Even so, on this 2015 CD, there’s plenty of the gossamer floating, deep prehistoric bass rumbling, and off-kilter meandering chord progression that characterized the older group’s occult sound; the tribal percussion I most associate with Troum only kind of rears its head here, on the epic final track’s Gog-like Doom Metal drum pattern. Otherwise it’s pretty pure Dark Ambient textures, sans beats, with a deceptive lightness.

    At low volume these tracks are relaxing, but turn them up and you may discover layers of cosmic anxiety. I think of life forms in other galaxies, or of Ray Bradbury’s short story ‘The Sound of Thunder.’ The sounds are always in flux, so don’t come here expecting simple drone pieces. From the insert: “Everything recorded & mixed endlessly through the years 2007 – 2015. Used and abused: electric and acoustic guitars, voice, field recordings (Monte Pisano, La Gomera, Hamburg Landungsbrucken), instrumentum primitivum, flute orientale, cymbals, metal objects, tapes.” I would have though there was synthesis going on, too, but I suppose not… From the eldrtich strains of the evocatively titled first track through to the inconclusive hissing finale of the last, this is a pretty outstanding Dark Ambient work, created by German obsessives who helped found the genre and continue to push it forward.

  • Reviewed by Lord Gravestench on April 26, 2017 at 2:11 am
  • Filed as A Library,CD
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  • Viper, The – “Art For Pain’s Sake” – [BUFMS]

    0009034882_10a0850634830_10

    Richard Streeter is associated with Butte County Free Music Society, the collective of Norcal noisefreaks that brought us the Bren’t Lewiis Ensemble, the great Bananafish zine, and other local underground institutions. As The Viper, Streeter brings us his straight-to-boombox recordings saved from his teenage years growing up in suburban Livermore in the late 70s. Noisy tape doodles (T2, T3, T4), a lo-fi drum spazzout with sis on backup vocals (T1, dredged up a memory of one of my old favorite Space Ghost numbers), a truly sweet little instrumental hippy dip folk pop tune with lilting piano and violin (T5), and a band practice outtake with strange, clashing chords and bluesy riffs (T6). Former high school weirdos that burned time until graduation nerding out over music (I’m assuming that’s all of us) might be delighted by this weird little mixtape.

  • Reviewed by lexi glass on April 23, 2017 at 4:51 pm
  • Filed as A Library,CD
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  • Dickey / Maneri / Shipp – “Vessel In Orbit” – [Aum Fidelity]

    dick

    Jazz piano trio with a viola instead of bass. Drummer Whit Dickey is here searching, and expansive. Matthew Shipp’s piano is lyrical, more melodic. Maneri’s viola tone catalyzes. This is great date – something notable is happening.

  • Reviewed by Hemroid The Leader on April 19, 2017 at 6:54 pm
  • Filed as CD,Jazz
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  • Xenakis Ensemble – “Waakvlam” – [BVHaast]

    xxx

    The Xenakis Ensemble is a Dutch ensemble dedicated to the performance of contemporary classical music. Based in Middelburg, it is known as one of the few ensembles specializing in the works of the composer Iannis Xenakis (YAWN-iss zen-KNOCK-kiss). Many Xenakis titles in A library. 3 long (20mins) and 1 short (3:30).

    Opens with a Xenakis composition featuring the signature sound of percussionn and horn blasts alternating with horror string glissandos.
    Track 2 William Breuker – harpsichord and chamber orchestra with lots of percussion.
    Track 3 David Del Puerto exploratory marimba concerto, a real treat for marimbologists.
    Track 4 Xenakis – shorter Xenakis piece, not so terrifying. Enjoyable, maybe.

  • Reviewed by Hemroid The Leader on April 19, 2017 at 6:20 pm
  • Filed as A Library,CD
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  • Dissecting Table – “Kaiboudai” – [Crowd Control Activities]

    kaiboudai

    Japanese madman Ichiro Tsuji runs the UPD Organization label. He has also been releasing outsider Industrial music as Dissecting Table since 1986, evoking a motley pallette of Western projects founded before and after (Foetus, Skinny Puppy, Coil, Einsturzende Neubauten, Mz.412, Nocturnal Emissions, Test Dept, Scorn) and the sincere weirdos of Japan’s own experimental scene (Zeni Geva, White Hospital).

    This 1999 3xCD compilation contains more Dissecting Table than you could every possibly want, bringing together 1986′s ‘Ultimate Psychological Description’ 7″ (t.s 1.1+1.2), 1987′s ‘Ultra Point of Intersection Exist’ debut LP (t.s 1.3-1.9) and collection/previously unreleased tracks (discs 2 and 3). Only t.s 1.1+2.1 can already be found in KFJC’s library, on old collection CDs.

    Tsuji’s singular style basically consists of frantic, tribal sequenced beats and instruments, weird Power Electronics textures and developmentally disabled Grindcore grunts. At times it’s like a poorly programmed AI trying to reproduce Death Metal with machines (and a captive howler monkey), but it never quite sounds fully musical.

    Disc 1 is mostly vocals, beats, synth noise and samples. Disc 2 adds sequenced ‘Classical’ instrumentation and music box insanity into the mix for a tortu(r)ous Winchester Mystery House experience, and includes a couple pieces on the more abstract side (t.s 2.2+2.4). Disc 3 is completely different: one ultra-long ‘Test Work’ from 1985, an Aeolian harp of crackling and grinding pedal distortion that barely changes for 48 minutes. The birth of Harsh Noise Wall?

    Solid gold from the always-reliable Crowd Control Activities label. Our copy (#15/500) is autographed.

  • Reviewed by Lord Gravestench on April 19, 2017 at 2:56 pm
  • Filed as A Library,CD
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  • Desolation Angels – “Valhalla / Boadicea” – [Buried By Time and Dust Records]

    DESOLATION-ANGELS-Valhalla

    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.

  • Reviewed by Lord Gravestench on April 18, 2017 at 10:23 pm
  • Filed as 7-inch,A Library
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  • Ullmann, Gebhard & Kaufmann, Achim – “Geode” – [Leo Records]

    German reed player Gebhard Ullmann and pianist Achim Kaufmann meet for a highly improvised conversation. Difficult at times, but overall very emotionally and musically satisfying. Poignant quiet parts, shimmery bell-like sounds, original.

  • Reviewed by Cousin Mary on April 17, 2017 at 11:10 am
  • Filed as CD,Jazz
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