KFJC 89.7FM

Thurston Hunger

Poison Sea – “Poison Sea” – [Casual Acid Tea]

Thurston Hunger   4/4/2018   A Library, Cassette


Distant piano with tape hiss and low-key ominous
vibes. Drone as an emotion, dread always hits me
harder than its less subtle cousin “doom.” This
cassette perhaps was acid washed in some toxic
effluvia from our dying oceans. Recently watching
the Twin Peaks revival and the film version of
“Annihilation” I found this music fits in with that
kind of visual weather. Overcast guitar, shades of
Steven R. Smith appearing in the shimmer-y clouds.
While there are organic elements of piano and spaceship
or something at one point) it’s mostly floatational
banks of keys. Honestly by the last track, “Beneath
the Haze” I sense a thin layer of optimism. Lying at
the bottom of the Poison Sea are Kurt Mangum from
Flying Hair along with Anthony Piromalli, they form
a pretty seamless pairing. Set sail for this one.

-Thurston Hunger

Saint Black – “Alex” – [Self Produced]

Thurston Hunger   4/4/2018   A Library, CD

If you blur your eyes, the guitar for the choruses
is a little like Van Halen’s “Aint Talkin Bout Love”
Except for three things
1) it’s really not
2) Saint Black *is* talking about love
3) “they” probably hate VH.
They might well be one person, nice lo-profile packaging
and minimal web presence. The label is even called
Semi-Permanent, which hits you right in the low-self
esteem organ. The singer gets nervous around “Alex” but
at least he got this awkwardly catchy single out of it.
Stale beer vocals backwash nicely against the pop. The
song submits itself into a sample bomb ending. On #2
“O Word” the beer seeps into the heads of the recording
device. Sloppy beauty. This time the post-song/post-mod
sample gets its own track, #3 “Saint Black” is some holy
heretic scammer but clearly paired with #2. “Down to the
Sky” the guitar now unplugged, the drinker still singing
in his mug ultimately passes out in a pastoral redux.

The likelihood this project is composed of college DJ’s
goes way up if the band name is lifted from the mighty
Black Saint label. A long shot perhaps…but yanevehno.

-Thurston Hangover

Wei Zhongle – “Operators, The” – [Self Sabatage]

Thurston Hunger   2/21/2018   A Library, CD

Chicago project that has molted often, but kept
singer Ron Jacobs as the chief card-carrying member.
Indeed from this release to v5.0 per their F’book
site, even fellow founder John McCowen and his
electronic clarinet have slithered away. That
clarinet, with Jacob’s guitar gives this album a
peculiar feel. The guitar is often brittle, more
apt to break off notes then chords, often with a
clipped bright processing. McCowen’s clarinet
has an even tighter, amped up sound, more like a
synth than a wind. Interesting. The songs centered
on that pair are somewhere in a DMZ between pop
and prog. I’m thinking of 80’s Japan (dreaming of
clarinet cuckoos in Magic I.D.) Jacob’s singing
silkens the kimono effect, gentle/clean. “Nosejob”
lets Phil Sudderberg have a little percussion fun
and gives a rare groove to bassist Pat Keen. But
“Inside Your Insides” is what hit me in my sonic
plexus. Bandname may translate as “Microgravity”
or perhaps “Your services are no longer needed” ;>
-Thurston Hunger

Goodman, Greg/ Gruntfest, John – “In This Land All The Birds Wore Hats & Spurs” – [Beak Doctor, The]

Thurston Hunger   2/21/2018   12-inch, A Library

Time travel on two sides, improv pairing split on
side A’s mid 1980’s vs side B’s 2008. Side A launches
with “Pure Mind” feeling like that flavor of raga jazz,
a few laps of alap, the Goodman’s piano circular and
Gruntfest’s sax centered within. The next piece “Great
Bird” almost rolls into Terry Riley territory. Still a
flowing, rolling, bubbling composition.

Flip the disk and 2008 flies in the window, Gruntfest
wings some phrases, and woodpecker sputter on the
reed. Goodman a few bars of simple chords, then dives
into the prepared piano pluckage and plumage. Act I
is a lot of peck and pluck. Moving into Act II some
of the waves of piano from the 80’s turn up and churn
up darker waters. Free jazz takes flight, screech and
scronk sax and eventually some furious bass clef work
by Goodman. Act II closes with zithery work under the
hood. If Act II was a battle, and at times it felt like
it, here Gruntfest and Goodman find common ground, it’s
not the soothing flow found in the flip side of their
youth. Side A had them united in the song itself, here
the song serves to unite their own unique talents,
so you get more sparks and fire, as opposed to the
cool ripples from their earlier work.
-Thurston Hunger

Cazzell, Micol – “Little Fits” – [Self Produced]

Thurston Hunger   2/21/2018   A Library, CD

Micol sings like 6am, wide awake…inverted magic hour….
quietly bright, a little chill nipping at your earlobes.
He double tracks his vox to give you a tiny warm stereo
muffler. Mellow guitar strummage, with gentle noodling
(no caffeinated solos). The drums almost missed the wake
up call, but they are there just a little bleary. At least
not a machine punching the clock beat. They add to the
home-spun charm. Polite keyboards look in the window.
Lyrics are where any discord may lie, maybe written at 3am
the night before. Hell the lead-off track is called
“Postmodern Depressionalism” and name checks Elliot Smith
and sings “don’t like the song, the words are all wrong.”
But that melody is alright, a pop delight. The title cut
is cloaked in wispy aaaaaah’s. On #3, the soothing nature
of “life is long and miserable…but I’m doing fine” so
Micol seems able to enjoy a dose of the morose as long as
his heart still hits a simple hi-hat pitter-pat. Raise your
sad, sweet and sour “Fits” in unity, my fellow melancholics.
-Thorazine Hunger
tiny little FCCs #1 #2

Trashies, The – “Octagon, The” – [Fine Concepts]

Thurston Hunger   2/17/2018   12-inch, A Library

The place where the spastic stuck is where The Trashies
spot-welded their sound on your heart-shaped ears. They
step into the album like Chuck Norris into a rap battle,
in-it-to-win-it. The opening title track gives you
a little taste of the waste floating in the Trashies
stream of conciousness. Rhyming slang to put your mind
in a sling, and not afraid to play the Buttafuoco card.
Is this where hip hop meets gunk rot? Music escapes from
the drum machine circus, with an array of guitar moves
that might bust out twin-lead Thin Lizzy, or might break
off some thick and stumbly Beefheart chunks. Just because
the dork-o-meter is set on 11, doesn’t mean these itty
bittie ditties aren’t big on style. Of course most songs
come at your quick like a UFC round, 2 minutes is a long
one. This sure scratched my old Uzi Rash itch, sure enough
mighty Max Nordile is in the dumpster band. Erin Allen plays
something too, probably lots of somethings. Album
finishes strong, that “I’m Uh Stayn” and “Shovel” tag
team is a killer. Crazy choruses on both, “Shovel” offers
a sing-along for an asylum, while “Stayn” almost sounds
like he’s saying “Namaste” while a voice over like like
the Weatherman corrects the phrasing. “Fresh Hunny”
drips with sweat of a 100 Prince impersonators. Steel
dum-drums (sampled?) on “Rhinoline” are just fine, and
“Dumb 2 B Smart” is a loaded potato for this old spudboy.
5 Thumbs Up, and venom in my eye! -Thurston Hunger

Tapes & Topographies – “Fathoms” – [Simulacra Records]

Thurston Hunger   2/17/2018   A Library, CD

Ambient exercises out of Dallas, TX. Todd Gautreau is
the mixmaster and electro-navigator aboard this one-man
sonic submarine. Standout track “The Trouble With Dreams”
features waves of tone mingle with washes of antenna
signal squiggle, and even some vox mermana drift by as
well. Death by water never felt so good. Buoyant chimes
and gentle climes. Bathysphere organ and actual sized
bubbles rise on “Theory of Impossible Shapes.” Mystic mists
for the noise-sick KFJC-serpents? Based on the name,
I wonder if there are more field recordings nestled into
the songs? By the way his earlier project “Tear Ceremony”
has a darker Agent Cooper bent, though still soothing and
KFJC has two of those fine releases worth revisiting. All
on his own Simulacra imprint, along with the Crushed Stars
project that he fronts for some Slowdive-y pop pastels.

Gautreau is one busy being, but this is the project to help
him, or you unwind. Sink into the syrup synth sea.
-Thurston Hunger

Ibsen, Henrik / Repertory Theater of Lincoln Center – “An Enemy of The People” – [Caedmon]

Thurston Hunger   7/24/2017   12-inch, A Library

Heard a fine superimposition mix of this back on
http://www.kfjc.org/music/playlist.php?i=53709
then the DJ donated this 3 lp set to KFJC! Thx, Sluggo
Brothers square off against each other, Mayor vs Doctor.
A town prospers off the illness of visitors but at the
cost of the health of the townspeople. The individual
is pitted against the majority, but that majority is
quickly relabeled authority. Meanwhile in the battle of
science and politics, corporations and the press have
their own maneuvers. This Caedmon (!!) release includes
a post-game side-long chat between Harold Clurman and
Arthur Miller, whose adaptation was used for this recording.
Miller astutely predicts future relevancies for this work,
the river that runs through this album ran through Flint MI
all too recently. Giving a different taste to the line
“We’ll go to America and this whole thing will be like
a dream.” Recorded in 1971, adapted by Miller in 1950,
originally written by Ibsen in 1882. Awaiting your KFJC
experimentation now…

-Thurston Hunger

Pesteg Dred – “Years of Struggle Against The Lies, Stupidity and Cowardice” – [Dark Entries]

Thurston Hunger   7/24/2017   12-inch, A Library

Teenage DaneDream of Damaged SynthPop
Does any label time travel better than Dark Entries?
This was recorded back in December 1981, but apparently
only availale wth a Danish magazine as a cassette in 1985.
Inge Shannons vocals are featured to lead off the album
in isolated fashion and layered, on “Untitled” (A2) they
are draped in echo, droning over a churning pace but
hit a break where they go wonderfully cuckoo. “Superior”
has a proto-Motorik bassline with some new wave synth
waves but then is that a toy piano or a ukele, and later
it sounds like some skittering violin. Inge sings sorta
pretty on this near anthem. Something’s rockin’ in
Denmark? By the end of side A, she’s got a fierce femme
Peter Murphy rolling for “Impressions.” And drums on that
and through-out are well slugged by Martin Hall. Check
the interview with him in the booklet, he’s still creating
to this day, he and Inge were in SS-Say that turned up in
a retro collection on Minimal Wave, but this really does
not mope much in minimal waters. A dingy darkness, and
some sick synths and electric “treatments” from Per
Hendrichsen do demand attention. Hall’s bass playing can
be brutal slappy in a fine way, like on “Light, More Light”
And who tortures those horns on that elongated piece!?!
Second “Untitled” is a haunting ghost piano soundscape.
Hard to pin down this LP, def’ an attractive neuroticism
Killing Joke-y, but different? For a bunch of teenage Danes,
really well-assembled. It got lost for a while, and even
after Dark Entries uncovered it in 2010, it must have befuddled
some KFJC’ers, but it’s well worth the wait. Skilled and
skittish stuff.

-Thurston Hunger

Sondheim – Carter – Damrosch – “Limit” – [Public Eyesore]

Thurston Hunger   4/27/2017   A Library, CD

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

Nutimbre – “Cycles” – [dEN Records]

Thurston Hunger   4/6/2017   CD, Jazz

Label-leader and dEN-master Stefano Ferrian assembled
this five piece, with a decidedly electric timbre
although his spinning sax and Vito Emanuele Galante’s
trilling trumpet cross paths a lot. The album’s title
is the musical mantra for Ferrian’s compositions here
with heaps of arpeggiated arrays and hopped up cycles
of sound. Sometimes like on “Sharp Colors” they move
at a measured pace, but even that drops out and
let’s Simone Quatrana finger flip a solo on his keys,
as Fabrizio Carriero drum punctuates. “Closed Walk”
has a plodding gait, Luca Pissavini getting thick
with his electric bass (it feels like an acoustic
tree trunk.) Ferrian’s first solo sparcs nicely,
I get a little lost in Quatrana’s closing riffwork.
But I like the down Chicago feel to that piece. The
title cut has a more frenzied fusion feel for me.
I do like Ferrian’s kind of zig-zag melody use.
Another extended round from Quatrana on the closer
with some nice muted trumpet by Galante. Cycles
that are dizzying and perhaps refreshingly
Gillespie-ing? 2014 release, at least I found it
before Discogs has! -Thurston Hunger

Baby Dee – “Regifted Light” – [Drag City]

Thurston Hunger   12/30/2016   12-inch, A Library

—————————————————
2011 release, almost feels like it could be a
Christmas special (maybe cuz we’re adding it in
Dec 2016?) But there’s a consistency to this,
sealed in like a shaken snowglobe with beauty. Baby
Dee has a cagey stagey voice, something between
gentle and forceful, verily both at the same time
as befits this self-professed “bilateral hermaphrodite.”
Ornate piano, oft featured on instrumentals (and
friends with a bassoon!) flourishes. Check out the
perky “Yapapipi” which feels like the epiphanous
soundtrack selection for a coming of age movie,
or maybe a nature documentary when hibernation
is over. “Horn Pipe” is jaunty but a bit hesitant,
perhaps like Baby Dee during her days as a tree
climber. There’s a quasi-religious aire, what do
Church of England hymns sound like anyways? Dee’s
vocal transformations are more transfixing for me
than any gender bending…swinging from a gutty
mutter to almost soaring sacred. Her voice sheds its
John C. Reilly american bland talking and gets a high
British rebirth. Amidst all this there’s goofballs
wrapped in furs like “The Pie Song” and the snail
hailing lead-off to the B-side (the latter possibly a
free David Tibet dedication?). “On the Day I Died”
hits some high and hallowed notes. Cleveland does
plenty more than rock thanks to this artist and
this lp. -Thurston Hunger

Bookstaber, Rafi – “Late Summer” – [Woodsist]

Thurston Hunger   12/30/2016   12-inch, A Library

Seasonal sounds that I slept on, sorry. One or two
chord mantras, with some psych guitar noodling,
but drenched in belt-gaze (shoe-gaze cranked up to
your waist) production. Songs are like jammy
pajamas for the nudist colony at the beach. Loose
fitting. The lyrics slip away into the shimmery
mix, but printed out so you can at least read
the third generation hippy strain if you don’t
actually feel it, man. A mellow that can only
be harshed by some severe mixology? We don’t
have any of Rafi’s other stabs at sound, but
from what I’ve checked out, fans of this could
take an easy chance with Death Chants. And hard to
resist the Woodsist gist.
-Thurston Hunger

Chatham, Rhys – “Harmonie Du Soir” – [Northern Spy Records]

Thurston Hunger   10/20/2016   12-inch, A Library

2013 release from seminal No Wave string-thinker.
Like his contemporary Glenn Branca, Chatham was drawn
to the concert hall thrill and thrall of an orchestra
pit packed with electric guitarists. Minimalist music
for maximum force. We have many of his older releases.
He has evolved as a modern composer (trumpet apparently
was his primary calling card) but we find him here still
with that kind of post-rock, or punk-driven-drone vibe.

#1 The title piece launches with a minimal tick tock ear
sweep, one note electric pinging on a Dreyblatt-itude. Six
guitars, so his roots music doubling down on his early
Guitar Trio action. This song often feels like a post-rock
precision boogie suite but it finds its power 7:40 in with
definite No Wave homage crescendo chord strikes spaced out
then accelerating then bass beats alive and angling guitar
swipe-by’s create a nice Interference pattern.

#2 Almost feels like a bagpipe early, the alignment of player
(nearly 70 on this piece, an apparent soundtraco to a French
mountain town – Rhonabwy ) a dinosaur heavy stride follows for
nearly 12 minutes, then we encounter these arabesque woodwind
flourishes. They blow in with a hint of dilithium crystal method.
Add in minimalist call and response over orchestral drone, the
orchestra swells and rises while percussion marches back in. We
wind up in a shimmery pool of sustained sound. Helluva town.

#3 Bonus piece, a mere 10 minutes. Noisier and less stately than
the two vinyl cuts. Crushing blender of guitars like the original
version of “Drastic Classicism” updated with dizzy blurts of Chatham’s
trumpets sprinting through the center. Drummer Ryan Sawyer doesn’t
just keep time, he kicks it in the gut. Noise surf.

Hey he’s coming to town to cut it up with Bill Orcutt
http://www.thelab.org/projects/2016/11/6/rhys-chatham

-Thurston Hunger

Pure Panic – “C’est La Guerre” – [Blue Cat Music]

Thurston Hunger   10/20/2016   A Library, CD

Oakland trio, before “garage band” was a piece of
software, it was a way of life. I suspect all
three guys in this band harken back to that, and
as they contemplate maybe retiring in a couple
decades, that teenage waistband stretches the
tune-age wasteland of commercial radio. So prop
yourself through the day job, and why not self
release a CD. The music here is not garage rock,
(well “The Ride” is kinda) more of a gentle psych.
Despite their name, the band is certainly not Pure
(thank Hendrix!), and their Panic is less urgent,
maybe a creeping existential dread fits. Someone in
the band likes a good sea shanty (Larry Luthi?) and
someone’s love of Frank Zappa is mostly kept in check
(Ed Lundell?) and someone thinks in limericks (Cyrus
Crafft?). Yeah, I could be wrong on all three accounts,
but if KFJC folks dug their “Planet Thief” (and a lot
did), you’ll be slippin’ this disc while reading your
old collection of vintage Mad Magazines. Speaking o’
comix commingling with musix, this band reminds me
of Devin Gary & Ross. More power to guys who keep
those ol’ garage band dreams alive, even if they
don’t have a garage anymore!
-Thurston Hunger

Porest – “Modern Journal of Popular Savagery” – [Nashazphone]

Thurston Hunger   8/19/2016   12-inch, A Library


First world problems breaking down the fourth wall and some
catchy third world melodies. Porest is no stranger to KFJC,
a Sublime Freak who tripped from the land of Molam to
Syria, remember? Trapping us with Neung Phak and stomping
us with the unstoppable Mono Pause before that. And
he built a Sham Palace along the way. Many of his friends
from those incarnations are summoned here. This album could
be what would have happened if Stan Freberg freebased with
hop hop? Or if Ken Nordine got stopped for a full security
cavity check EVERY time he thought about flying. Porest even
gets the band back together (not Conheim/Bishops/Albee)
but those secret agent quasi-NGOs-in-the-know Tourrorist
cloaked in computerized voices to protect the guilty.
Check out “The Field Recording” for their latest hits and
democracy operations. Or dig the family drama on “Schalked.”
Other cuts are infectious like the Agit Pop of “Diplomat Smile”
and “Some Law” and “Au Revoirs of Blood.” There’s fuzzy b
ellybutton slink on “Your Vertebrae” that is mostly an
instrumental so you can be safe, or can you? Hey, the album
has kazoos, karaoke jingles of hate and lyrical nods to
Negativland and Public Enemy, so enjoy the revolutions of
this disk, those at least are real. Ko Ki!
-Thurston Hunger

Ferrari, Luc – “Interrupteur / Tautologos 3” – [Blue Chopsticks]

Thurston Hunger   8/19/2016   A Library, CD

1999 re-issue of pieces from 1967 and 1970 respectively.
Each composition is carved up into segments for the CD
(or anxious DJ). Anxiety is at a premium on “Interrupteur”
hovering half-notes rising like steam, strings sawing
and lighter-than-air French Horn make up the soup,
percussion tumbles in at times then subsides, also a
trumpet occasionally hits like Batman and then rest. The drone is uneasy and the attacks
make the listener lurch even more. “Tautologos 3” (KFJC
has renditions of 1 and 2 on another album) sounds like
a game piece, set in motion by rules, and not without
its humor. Like the “Interrupteur” there are sudden
spasms of sound, but no soup this time, instead a
background series of instruments that sort of volume-pedal
in a note at a time, like sheep bleating. Segment two
starts with a gallop, the electric guitar though often
stops the fun like a frustrated substitute teacher. On
segment three, faux sirens clear the orchestra for a
spell, then build a see-saw before something like a
mazurka breaks out. But it jump cuts to bouncing
twinkly organs. Tape splice delights. All of this back
when attention spans were long and uncorrupted by
TV/internet and the fly buzzing aroud in your skull.
Two very different tonnes of 12 tone fun! -Hunger

On the life and death tip, this reissue was the birth of
David Grubbs’ “Blue Chopsticks” label and RIP Luc 8/22/2005

Hyperculte – “Hyperculte” – [Les Disques Bongo Joe]

Thurston Hunger   8/10/2016   12-inch, A Library


Geneva vivre! Perky poppy stuff that could have been
cooked up in a Stereolab or come from the overflow of
Orchestre Tout Puissant Marcel Duchamp. Like that Swiss
band, this album has a full sound, with merely a dynamite
duo (including the actual bassist from OTPMD). Vincent
Bertholet’s upright bass lines are what keep this in the
pop zone, he frequently nails the nerve from ear to toe.
In addition there’s plenty of weird warpage via outer space
synth. One track, “S.O.S.I.” sounds likes a nod to Glenn
Branca (or at least the Theoretical Girls). There is also
un hommage du the incredible Brigitte Fontaine, apparently
on “Cholera” but on “Le Tyran” it almost sounds like lady
Fontaine herself. That voice and the drummer and yin of this
duo comes from Simone Aubert. She has a nice “sweet scream”
of a voice. On “Resigne” it’s a candy, on “Le Feu” it’s
a flamethrower. The duo vox interplay is cool when paired
up, she might yodel while he speak-sings, or they might
trade off moves closer to a Ye-Ye way. They’ve got an
immaculate knack for producing catchy songs. Tres cool stuff
I want to hang with these two, although maybe not in the
furry cosplay from the cover. (Is that a “Revenant” nod for
bear and skunk?). Let’s track down some Massicot, a side
project for Ms. Aubert. Art rock lives!
-Thurston Hunger

Abatzi, Rita – “I’m Burning, I’m Burning” – [Mississippi Records]

Thurston Hunger   8/10/2016   12-inch, International

The Greek Urban Experience with Turkish delights by way of
the town of Izmir, just prior to WWII. Rita singing the
rough and tumble rebetiko scorchers. Her voice lights your
cigarette, fiddle follows her striking sparks alongside.
Slow and smoldering at its best, but not without fits of
flancy check the “Blond Jewish Girl” for a nice romp, or the
syrto “Little Calliope” which gives this collection its
title. All lyrics translated in a nice booklet (the
Mississippi way!) allowed me to wonder about Paradosiako’s
words for “The Doe.” Specifically the lines
“Generous wife of the priest 2X
The tough guys you don’t talk to “2X
Most of the songs skirt the anguish of amor, The harm (or
is it haram) of the harem, girls from the other village
called out by name, even twice Rita sings of herself.
And I think I heard the backing musicians shout her name
in encouragement (or perhaps a tricky love triangle).
I prefer the scrapier numbers, where a slithering fiddle
reminds me of the film Latcho Drom, but other numbers
bounce in balaika or flutter in clarinet (“Girl from
Aigio”). The recordings are well-preserved, Rita less
so (RIP 1969). At least we revive Rita’s varied voice
and her name, the talented musicians (check out the
interplay on “Mercy Little Anna”) wander nameless
and amorphous, vanishing like the smoke from those
long ago underground dens.
-Thurston Hunger

75 Dollar Bill – “Wood / Metal / Plastic / Pattern / Rhythm / Rock” – [Thin Wrist]

Thurston Hunger   7/14/2016   12-inch, A Library

Man, I so want to enter this into KFJC’s “blues library”
although it also looks well past our own country’s
muddy deltas and Bo Diddley beats to points much further
east. Some of those mantra riffs are akin to ancient gnawa
spirals from Africa or a breeze off the Sahel Sounds
(desert scorched electric guitar). Che Chen who has summoned
Tony Conrad and other power players on violin in the
past takes up the sizzling six strings here. His rudimentary
and insistent playing does feel raw and instant, so maybe he
didn’t just disassemble Agadez djinns, but stumbled upon ’em
himself, either way it’s just great. The faster, the more fury,
for me the better (“Cummins Falls” and “Beni Said” woohoo!).
Rick Brown is on the other side of this funky bill, with home
slapped together percussion and some handbuilt horns which add
a charge to Chen’s guitar. Sometimes Brown fits right into the
overdriven halo of sound so tightly that you have to listen
twice to pluck the horn out, other times it sounds like Brown
is wounded over behind a mountain as on “I’m Not Tryting To
Wake Up.” Despite the comparisons, Chen and Brown have their
own brand of beauty going on, and while it will hit bliss for
fans like me of Joshua Abrams’ guimbri bumblebees, I love the
idea of some Junior Kimbrough fans swarming to this modern
duo by way of KFJC’s buzzing hive and archives.
-Thurston Hunger