cascadian doom folk of the apocalypse, this group of ladies from Olympia perform acoustically and by candelabra because when the end comes there will be no electricity. somber, sparse yet uplifting in the most dismal of outcomes, vradiazei literally translates from Greek to “getting night” or “darkness comes” they lost their banjo/bouzouki player to motherhood, life eats away at us all one by one. vocals on the B side
Cousin Mary 7/18/2018 A Library
This Santa Cruz surf band just gets better and better. This EP, released in anticipation of an epic summer performing at the Surfer Joe Festival in Italy and the Surf Guitar 101 Convention in Los Angeles, has five lush well played tracks. Tracks 1,2, and 3 have fast energy – 4 and 5 are slow and lovely. Track 5 was written in honor of their drummer (and former KFJC DJ) Stretch Riedle, after his heart attack.
Born in Lebanon, resident of Germany&France since ’76. Well known world/jazz/classical fusionist does not disappoint., joined by great Michel Godard(tuba) Nabil Khaiat(frame drums) & the Balanescu Quartet. Abou-Khalil shreds. Tuba adds great texture, solos on 5.
One-man noisegrind from music journalist Shane Mehling, also of the WA post-hardcore band Great Falls. Bandmate Demian Johnston (see also: Sutekh Hexen, BLSPHM, noise work under his own name) runs the label.
Side A = Blown-out mathy bass assault, probable drum machine doing the full blast thing, Pig Destroyer style hardcore vocals. The last track resolves itself with about one minute of feedback.
Side B = Single piece of nearly unlistenable feedback manipulation.
A sleek and deadly example of a confrontational genre, somewhat akin to the more musical excursions of longtime KFJC favourites Sissy Spacek.
The original Synanon was a drug recovery program founded in Santa Monica that turned into a criminal mind-control cult. Couldnâ€™t be cultier than 12-step, though (rimshot!).
Both sides about 5 minutes. The label founder says: â€œI am hoping to release some more of his stuff but itâ€™s impossible to get him back in the damn studio. He spends all his time battling blackberry bushes.â€
Flute, cello & piano new chamber music trio premieres 4 works by American composers. Mimi Stillman-f (artistic director), Charles Abramovic-p (Temple University), Nathan Vickery-c (NY Phil), joined by Soprano Lucy Shelton and cellists Gabriel Cabezas and Alexis Pia Gerlach.
Piano & tenor sax duo, Stefano Ferrian, Simone Quatrana resp. 7 instant compositions, recorded fall 2017, prod. Gianni Mimmo for Amirani Records. Searching dense piano clusters. Horn swings. Dedicated to Syria.
Live recording from a February 2018 performance from this new experimental Japanese quartet. Fronted by Fukuoka Rinji (guitarist/vocalist from the psych bands Overhang Party and Majutso no Niwa, both in our library, and founder of the Pataphysique label that released this recording), with vocals and theremin by Koichi Nakaya (Nasca Car and Hijokaidan), bass by Luis Inage and keyboards/samples/vocals from Itsuro Sugiyama.
The four pieces here center on text borrowed and translated into Japanese from Antonin Artaud (T1), The Velvet Underground (T3), Suicide (T4), and Guy Debord (T4), performed as a “respiration of poetic oscillation” by Rinji. “Pour en finir avec le jugement de dieu” (T1) is a reworking of a 1947 radio broadcast, the final crazed work of the French poet Artaud, accompanied by rumbles of bass guitar, electronic chirps and theremin wails, the swell of a chorus singing the opening verses of the American nation anthem. Heavy, plodding electronic rhythms and bass thumps drive T2 with lyrics from the Japanese group Dowser. The final two tracks are more straightforward covers: “The Gift” (T3) sets Lou Reed’s comedic tale to an electric keyboard/bass groove, and the final medley track is a Suicide seance. All the meaning of the lyrics is lost (to me) in translation, allowing the language and sound to flow into a continuous stream of nothingness.
Rich but minimal low-frequency drone. Heaving tides of blissed-out noise and field recordings of trickling water, smoldering fire, and birds. Deep sonic wavelengths written as a quadriptych study of our relationship with the passage of time. Turn it WAY WAY up and feel time’s heavy presence, both pinning you in place and slowly, glacially, pushing the entire universe forward.
Surfer Joe – aka Lorenzo Valdambrini – is known as the International Ambassador of Surf Music and puts on the Surfer Joe Summer Music Festival every year in Livorno, Italy.Â This album shows his talent and hard work as a musician and a composer.Â Perky, fun melodies give a nod to his Italian nationality and to his recent tours of Japan.Â All original compositions.Â As Lorenzo says, “stay stoked”.
This Danish surf band gives us twang, power, and resonant bass.Â Note the cover of Kraftwerk’s Das Model on track 6.Â Nice complexity.Â Some vocals on Cool Cigs.Â Their 2018 August USA tour is eagerly anticipated.
Balasubramaniam, G.N. – “Carnatic Voice (1910 – 1965)” – [Indian Record Manufacturing Company Limited, The]
4 great Carnatic (south India) vocal tunes from GNB, as he was popularly known. Born in Gudalur, a small village near Mayavaram in Tanjore, India (Tamil Nadu- South India). Voice, violin, hand drums. Vocal mastery. Take a trip into the droning moan.
1 track, 40 minutes, Operettas in Catalan Spanish. Spanish opera with dialogue and song. A variety of scenes. Put out by Mexican label Orfeon. Influential hispanic theater.
pull out the cork with your teeth, kick your boots up. horses, women, the stories are in these rancheras and corridos sung by “El Charro de MÃ©xico” (Mexico’s Horseman), 150 albums, 25M sold, acted in 120 films. anthemic.
Can’t go wrong with bongo drums and Farfisa organ for a soul warm-up party with bottom jeans and floral everything. This is actually Nasser Bouzida from Wales who has produced retro-soul material used for hip-hop and funk 45 DJs. A side Bongolian has some surprising echo chamber effects, B-side Farfisian is an organ jam fest. Can you dig it?
Lo-fi bedroom shambles from the mysterious George Duncan and an array of fellow travelers. Lots of jingle-jangle guitar along with banjo and tambourine and a sort of studied sloppiness that brings to mind nineties slacker rock or maybe Sunburned Hand of the Man at their most subdued. Duncan’s voice is a bit of an acquired taste: nasal, often trembling, sometimes reaching for an intensity it can’t quite pull off. (So, par for the course.) The mood is mostly hushed and confessional, with some goth moments as well as the occasional acid flashback. Tracks 3, 10, and 14 feature some quite beautiful string playing. FCC on 2.
No matter which of his many musical endeavors Rent Romus is presenting, it’s always solid. His music invokes solid musical traditions—raging bebop, free jazz, tight ensemble compositions with tasteful solos, and various ethnocultural musics to name but a few, yet he’s always looking to blaze new trails into the future of jazz. His Life’s Blood Ensemble is a perfect vehicle for his vision. Sprawling, multi-faceted jazz sounds here, brought to life by saxophones, flute, e-trumpet, vibraphone, drums, and two double basses. The sounds are from distant galaxies and at the same time are clearly of this earth. Listen and stretch your jazz mind. Track 8 is traditional Finnish music.
Way-too-short EP from Belgium’s Lemones. Originally released in 2016 on clear vinyl 7″, and recently re-released by Moscow’s Post-Materialization Music label. This cassette is one of only 50 copies.
Lazy lo-fi shouty noise-rock. Thick and crumbly beats that go everywhere and nowhere. Plodding baselines and meaningless lyrics. “Young Professionals” (T-3) is the fan-favorite, but all four the tracks have something unique to offer.
Limited edition cassette from Christoph Petermann out of Berlin, released on Russia’s Monopolka label.
Solid weight heavy noise, but not overly harsh or hateful. The tracks are all pretty short for easy consumption (most clock in at a *exactly* one minute).
Static blasts under layers of reverb. Unintelligible screams and wails. Broken electronic toys. Crunching looped annoyances.
I wouldn’t call the music “funny”, but Petermann’s sense of humor clearly is clearly evident. He performs in Bermuda shorts, a leopard vest, sunglasses, and inflatable swimming pool arm bands.
Two CD compilation of experimental sounds from Latin America from 1976-1988, selected by Luis Alvarado of the Lima-based label Buh Records. The artists here incorporate the new sounds of punk, electronic, and free improvisation with traditional music of their home countries, all against the backdrop of political upheaval and cultural repression throughout the region. Dark electronic sounds (A1, A6, B2), avant-garde collages (A2, A7, B3, B4, B6), free jazz (A5, B1), and even some Mexican proto-Industrial from ’77 (B5). Highlights for me wereÂ Miguel Floresâ€™ fantastic guitar piece â€œPachacutiâ€ (A3), where feedback-drenched free improvisation meets traditional Peruvian folk, â€œVariaciones de Amautaâ€ (A4), from Amauta, a group of Chilean musicians that fled Pinochet for Ecuador, with a beautiful flute dance that twists into something weird and proggy, and the psychotropical tribute to folk singer Victor Jara from the Chilean band Malache (A6). Alvarado provides great detailed liner notes in Spanish and English with more information about each project.
These four songs are rather long and give you time to get caught in the trance of the percussive (drums, bells, shakers, and more) beat that accompanies the deep, clear vocals of the Tewa speaking Native American inhabitants of the Pueblo of San Juan, which is found in New Mexico. It is whimsical and magical to imagine turtles dancing, and these songs incorporate that whimsy and magic.