Part of the stupendous Fabric mix series, “Meat Katie FabricLive 21″ is a full mix set by Meat Katie. Meat Katie is Mark Pember, English electronic musician and DJ who created a style called tech-funk which is a mix of techno, tribal, hip hop, breakbeat and house music. It all fits in these 17 tracks and man is it fun, fun, fun, fun. There was this famous club in LA that we used to go to after hours called Jewel’s Catch-One. It was the scene and had THE best music around. You were meant to dance there. House music with the simple repeated phrases or whoops, yells, operatic diva trills played over and over pulsing through your sweaty body. This is what Meat Katie’s mix reminds me of. I have played this so much before reviewing it. (That’s why the cover is trashed.) It’s a continuous mix so you could just let it play all the way through, though each song stands on it’s own. The opener, ” Banned Practice” samples Bauhaus” “Kick In the Eye” and that starts the mood. The Diva voices are there. The testifications are there. The beats are there. The mix is smooth, clean and phresh. Get ready to sweat. Yet another on my list of “This Is The SHIT!!!!!!!”. Work it.
Richard Dawson is a an English folk/blues singer, songwriter and guitarist whose unique approach pushes definitions of style. Hailing from Newcastle Upon Tyne, Dawson’s work approaches heartache with a hammer, a subtle hammer but consistent and relentless yet achingly beautiful. Supposedly he accidentally broke the guitar he uses, liked the sound and so kept it. The guitar playing is like Eugene Chadbourne or Bill Orcutt, prolific style and skill with luxuriant and dynamic finger work. Moments of pure beauty will be attacked… attacked… with pulling, stretching, almost destroying the guitar. Dawson does collaborate with harpist Rhodri Davies, whose harp playing style is the same of reconstructing/deconstructing how the harp could be played. Davies performs on track 3 of this album.
“Nothing Important” came out in 2014 and pushed Dawson forward in his work. These are four tracks that I can not get enough of. Track 1, “Judas Iscariot” and track 4, “Doubting Thomas”, bookend the album. They are glorious solo guitar instrumentals which showcase Dawson’s skill and emotion. Judas and Thomas, both who chose to question, challenge and make mistakes, besides feeling left out, begin and end a theme that is present in the album.
The two tracks with vocals, “Nothing Important” and “The Vile Stuff” showcase all the greatness that is Dawson. “Nothing Important” is a series of vignettes from the narrator’s life, from birth through family experiences, the passing of family, the loss of a newborn. Dawson describes objects from the time as pieces of remembrance but questions why he can’t remember the faces of the loved ones. In “The Vile Stuff”, the narrator describes experiences of friends and of himself, snippets of experience filled with detail that may appear mundane to others but hold significance to the narrator. Yet there is a sense of loneliness, weariness and longing embedded with the celebration of friends. Dawson’s singing style is so unique: stretching out words to uncomfortable lengths, odd phrasing and emphasis, paring sentences together in ways not expected. His lyrics, his playing, his singing breaks me when I hear it. You’ll need a kleenex. This is a highly welcome addition to our collection.
Xu/Xu is apparently pronounced “FuckYouSlashingFuckerYou,” and is the alias of a certain Hidinori Noguchi from Japan (no relation to the coffee table, I presume). A palette of clattering, claustrophobic percussion, deeeeeeeeep rumbling bass, glitched-up white noise, and cavernous reverb undergirds these three very satisfying tracks of post-Basic Channel technoise experimentation. The middle track (Concha) is the funkiest of the three, bringing to mind an especially-deranged Vladislav Delay, but none of these are going to fill a dancefloor. A jagged edge of an EP, that stabs you at every opportunity, and is over far too soon. (Limited edition of 10 CD-Rs with hand-painted aluminum plate.)
Grim is the Japanese industrial/power electronics project of Jun Konagaya. Previously, Jun worked with Tomasada Kuwahara in White Hospital, releasing one full length album, 1984’s Holocaust (in our library), before parting ways. The first Grim album followed shortly after in 1986, the incredible Folk Music. Jun continued releasing work throughout the 80s (including some surprisingly gorgeous folk), and then took an extended break to pursue his tenkoku practice. He returned to Grim in 2013, and his new material caught the attention of Tesco Organization, who released 2016’s Orgasm and brought Jun to Europe for his first international shows. Since then, both his old and newer material have been more widely released and his work has deservingly found a larger audience. This cassette EP was originally released at a show in Tokyo in Spring 2017.
Throughout Jun’s works, extremely harsh electronic sounds, aggressive rhythms, and confrontational vocals mix improbably with traditional folk sounds and even beautiful melodies. On this tape, Jun uses acoustic instruments like Tibetan shaman’s bells, drums, Indian pugi, and guttural vocal, almost throat singing techniques. The title track (T1) sets a dark, droning temple atmosphere, “Summons” (T2) drives with an fierce tribal rhythm with ringing bells, “Goddess Moth” is beautiful unfolding synth piece, and “Nine” finishes with ruthless screamed vocals. It’s over much too quickly, so I hope we can soon get our hands on more of this consistently terrifying and beautiful work.
Local cellist and composer Doug Carroll has been carefully and lovingly recording the sounds of animals – at home, in zoos, and in the wild – for decades. In 2010, he compiled thirty of his favorite recordings and released them on Animal Sounds, wildly popular when we added it to our library here a few years ago. Now, eight years later, we have the second volume. In this menagerie you’ll hear sea lions, lorikeets, laughing kookaburras, as well as KFJC airsound staples, frogs and cats. Still no foxes – fingers crossed for volume 3?
Yes, this is Dr. Emanuel H. Bronner of Dr. Bronner’s Pure-Castile Soap. His story is fascinating. Born in 1908 in Heilbronn, Germany of the German-Jewish Heilbronner family of soap makers, Emanuel learned his trade of soap making and earned a degree in chemistry. Emigrating to the USA in 1929, he dropped the Hiel from his name due to associations to Nazism. He begged his parents to come with him but they did not and were eventually killed in the Holocaust at Auschwitz and Theriesenstadt. He continued his trade as soap maker eventually creating the Dr. Bronner’s soap we know today. He adopted the label “Doctor” to his name. In the mid 1940’s, either while at the University of Chicago, invited by a student group, or not invited by a group, or on a street corner, Dr. Bronner was arrested for speaking his “Moral ABC” (some reports say vehemently) and institutionalized at the Elgin State Insane Asylum. After shock therapy treatments, Bronner escaped from the asylum. He blamed his eventual blindness on these treatments.
His soap business grew, with his famous label espousing the tenets of “Moral ABC” and “All One God Faith”. He worked toward what is now Green ideology, with his business focusing on ecological awareness and sharing profits with workers. It continues to this day.
“Sisters & Brothers” is a compilation of Dr. Bronner’s beliefs in achieving Moral ABC. Influenced by the writings and teachings of Rudyard Kipling, Thomas Paine, Hillel the Elder who supposedly taught the teenage Jesus, Mohammed, Jesus Christ, Confucius, Buddha…. , he came up with his philosophy of All One God Faith as the only way to achieve harmony on earth. These recordings made between 1968 and 1988 on “a variety of home recording devices” (i.e. tape recorders), show a man determined, obsessed even, with getting this point across of helping others, showing kindness, sharing, as a means to cure all. What is wonderful about these recordings, though, is the way they were made, and his tone. These are done on tape recorders so we constantly hear the clicking on and off of the recorder. There is some background noise and several of the selections start off or end with selections of, I think, Strauss, even once or twice with Dr. Bronner whistling and then testifying. And the testifyiing: his cadence is dynamic, taking on an almost Hitleresque Nazi tone. There is a dynamism, an affect, a determination that almost crosses over into demanding the listener. Screw free choice – you will do it. There is repetition: Moral ABC is stated repeatedly. so basically, not that it’s a problem, but Dr. Bronner had some mental health issue stuff going on, right? From the outsider art presentation style of his famous label, to manic proselytezing, to institutionalization…. But whatever, he made it work and his product run by the family continues to work in positive directions. Listen, learn, convert, follow, listen, learn, convert, follow, listen, learn, convert, follow, listen, learn…….
The Boys Next Planet is a collaborative project between Phil Monopolka and members of Ceramic Hobs, both noise maestros in their own right. Initially released on Monopolka’s side label Emerson, Lake and Headache, rereleased here on PMM, this 60 minute experiment is an endurance test in mundanity. I have listened to it straight through 3 times and my sensibilities have shifted a bit. What you get is recorded sounds of someones home life with their baby: crinkling paper, things being moved around, no real spoken words except for the occasional radio or tv voice. And then there’s the baby or babies or baby recorded numerous times with recordings played over each other. The constant gurgling, attempts at communication, cooing. No real crying, just continuous babbling. And the sound of children’s toys: the cheap electronic talk of toddler play seats and walkers, plastic animals, objects, just repeating over and over and over and over its seconds of dialogue that the baby activates by hitting the buttons again and again and again. It’s fascinating and maddening in its stupendous boredom. But such is life. Those momentous memorable moments are few and far between. This is the stuff of the everyday that we do not remember. This is what got us to where we are today as adults. Child rearing is hard. Life is hard. A superb conceptual work and the best birth control around.
K2 is the Harsh Noise project of Japanohumanoid Kusafuka Kimihide, terrorising audiences since 1983. This CDr release is probably the artist’s own reissue of the 1996 album: fucked if I know.
A necropolis that never sleeps and never shuts the fuck up, blowing hot farts of scrap metal out of its torn asshole at all of hours of the night. The hammering shrapnel destroys transients and stray animals like insects, splattering blood and offal across the irretrievably filthy pavement.
This nightmarish cockophany reminds me for some reason of ‘80s B-list creature features set in vaporous Lower-Manhattan Bedlams, e.g. ‘C.H.U.D.,’ ‘Wolven,’ and (my personal favourite), ‘Breeders.’
Yes it is similar to Macronympha, Taint maybe even a little Haters
Mostly scrap metal. Some screaming/singing-like sounds that will make you think of the scene in ‘Candyman’ where C.M. cuts off the retarded kid’s junk. Electronics are punctuation. You wish this was just or even mostly electronics: no such luck, cuck.
Four tracks but who cares, it might as well all be one. Go nuts.
My understanding of this is limited due to language barriers but I think I have pieced together a general understanding of what this double CD is about. “Tinh co gai Hue”, roughly translated as “Calculate the Girl Hue”, is a Vietnamese TV show from Saigon, 1975. I think. Or it takes place in 1975. This is the soundtrack to part of the show. What I found on the computer was over 2 hours long. It is in the style of Cai Luong which is modern Vietnamese folk opera blending South Vietnamese folk songs, classical music using traditional instruments, hat tuong or classical Vietnamese opera or theater based on Chinese opera and modern spoken drama. Basically it’s a 1975 modern day soap opera with music, dialogue, interludes, etc. Just listening and not understanding is a bit disconcerting because you never know where you are, what’s happening, why the music is coming in, why they are singing. It’s a lot. Which is wonderful
A bit of history is that after the Vietnam War, the North, then in charge, used this style of theater for television as a means to bring the South Vietnamese back to a way of life they led before. It was popular in the South starting around the 1930’s but the tradition of Cai Luong as a nostalgia for the past as well as a way of showing old style morals, proper relationships, love stories, etc. was a way of trying to get control over the people of the South. This version we have is also Hai Huoc which roughly translates as comedy and burlesque.
Perfect for mixing. Or play it straight to throw the listeners off. A really unique piece of sound recording, of which there are hundreds.
Wayne Everett’s “kingsqueens” is a sweet, well-played piece from 2002 that fills up so many of the wonderful sounds of the mid to late 1990’s and early 00’s that some of us once felt too above to like, but now can appreciate. Coming from a number of groups out of the So. Calif. Riverside, Huntington Beach scene, Everett’s work is influenced by shoegaze, Elliot Smith, Apples In Stereo harmonies, Spiritualized and dare I say, Beach Boys’ “Pet Sounds”. These are all great things and Everett captures them full on and makes them his own. He sings, plays drums, guitar and percussion all along with a full band, some of which are friends from previous projects. Medium paced pop tomes about love and change and distance and a bit of positive are conveyed through interesting lyrics. Some selections are wonderfully orchestrated with a bit extra from harp and horns as well as strong backing vocals. A lovely entremets or aperitif to add to heavier sets of radio sound. Cleanse and feel refreshed.
Kompripiotr / Chopstick
Dark ambient noise drone split/collab from Kompripiotr (Peter Holzknecht of Bolzano Italy) and Chopstick (Andrew Wayne of Sacramento), released on LaGrind Noire label which Holzknecht co-runs. The two artists met in 2015 at NorCal NoiseFest (co-organized by Wayne), and bonded over music and Ethiopian coffee.
Full-spectrum sonic radiation exposure. Powerful yet calming. Heavy buzzing whirring humming, and slow penetrating pulsations. Oscillations of every stripe.
Side A is two equally-menacing tracks, one from each artist.
Side B is a collaboration between the two. Wayne recorded first, and sent the tapes to Holzknecht, who plays an old JVC radio/tv tuner, twisting antennae and searching for signal.
Only 100 made. 50 in EU, 50 in USA.
PLAY AT 45.
Dark electro beats from Water Lilly, aka Monica Montesinos, a Swiss DJ/producer. This 2003 EP comes from the Geneva-based label Mental Groove. Driving minimal rhythms, seductive spoken word vocals, and the icy chill of that synth pop sound that was all over the place just after the turn of the millennium. The A side holds the two strongest tracks, the ominous opener “Process Engaged” (A1) and the “The Sound of Your Kisses” (A2), with an infectious phased synth hook. Flipping to the B side, “Where Do You Feel Me” (B1) keeps the energy high with analog sounds, “Champagnized” (B2) marches on with deep bass pulses, and electric guitar stabs echo through finale “Playette” (B3).
Sarah Hennies is a composer and percussionist currently based in Ithaca, NY. She is a part of the long-running experimental percussion trio Meridian, alongside Tim Feeney and Greg Stuart. She writes:
“Percussionists are unique not because we lack ‘an instrument,’ but because we are the only instrumentalists with the freedom to define ourselves. In this malleable space lies a commonality between percussion and queer/trans identities in that they are most easily defined by what they are not. A queer person is not straight, a percussionist is not a cellist, a transgender person is not cisgender.”
Okay, but what does it sound like? This LP is made up of two sidelong pieces for four percussionists. Side A, “Foragers,” is the quiet side, beginning with a soft, low rumble that continues…and continues…and continues. Other sounds emerge, twinkling, outer space sounds that could be electronic, but they’re not. And then the whole thing fades away. Side B features the title track and is the loud side. Much more obviously drum-derived, this is crashing and cacophonous but somehow also calm and meditative. Both pieces were recorded in a large grain silo, which subsumes everything in a massive, cavernous wash of reverb. Fascinating stuff.
This is the debut CD from the Reverbivores, an instrumental band from the San Francisco East Bay. All original compositions except for one David Bowie song – excellent playing, interesting arrangements. A couple of nice slow tunes, others have good energy. Hurray for another fine surf band in NorCal!
Lord Gravestench 7/18/2018 A Library
Sweden’s Marduk, founded in 1990 and named after the patron deity of ancient Babylon, is truly one of the ‘O.G.’ Scandinavian Black Metal bands. Despite many lineup changes, the core brand has been preserved, and pressed ever forwards, by guitarist ‘Morgan’ (real name Patrik Niclas Morgan Hakansson)– who, by the way, allegedly still possesses skull fragments from the suicide of Mayhem’s vocalist ‘Dead,’ which were mailed to him by that band’s guitarist Euronymous.
Marduk have shown a more-than-passing influence in Third Reich history for a long time, perhaps culminating in 1999’s divisive ‘Panzer Division Marduk,’ an album of start-to-finish, hammering ferocity and speed that declared Marduk’s intention of being the world’s fastest Orthodox Black Metal Band. With each album since that time, Marduk seem to have gotten faster AND more politically provocative; and like Slayer before them, every album has had to have its ‘Nazi’ song, e.g. ‘The Hangman of Prague,’ the masterful opener of 2004’s ‘Plague Angel.’
Vocalist (since 2004) ‘Mortuus’ has said: “A band that claims to play Black Metal must always have Satanism and nothing but Satanism as the highest priority in their music and concept as well as in their personal lives.” The occult cannot be political. The brutal experiences of German soldiers during WWII (such as half-German Morgan’s grandfather) seem to be the focus on this album. The Nazi Total War machine seems to resonate with the band’s Satanism, and they’d hardly be the first.
When Marduk announced a gig in Oakland in 2017, the Bay Area Antifa all got their periods at the same time. Some of these sad individuals (none of whom would have lasted five minutes on the eastern front) must have even gotten it into their heads that Marduk are in the propaganda business. Anyway, the cows mooed, the AK press paperbacks fluttered, and the show (to which we did have tickets) was cancelled by Oakland PD following threats against the venue.
As if in defiance, this new album is a cold-blooded killer, incorporating absolutely merciless pummelling of the kit and pithily original riffs that flicker across the surface of the battlefield, bloody shreds of Beethoven scores repurposed as munitions. Iron-throated Mortuus also manages to growl melodically on t.2. Air raid sirens and falling bombs both make appearances. The last track is CyThoth’s favourite. Marduk have always approached their sound like a Death Metal band, prioritizing hyper-disciplined musicianship and polished production, an approach that works very well here.
Tl;dr: this is ruling traditional Black Metal and a slow/painful/non-negotiable death to all members of Bay Area Antifa.
abacus 7/18/2018 A Library
split pairing of Andrew Quitter on anxiety electronics and Egan Budd on metal/junk percussion; its all just a bunch of noise tbh, compositions of cinematic destruction, confrontational yet distant; transdimensional death industrial gutting up against cavernous tonal primitivism. like getting sucked thru a black hole and landing in a boneyard of crumbling architecture. Andrew brings more bleep bloop space travel sounds (especially on Devil’s Icebox, despite the subterranean field recordings) while Egan feels grittier, raw (except Mineral Resurrection gets pretty synthy and Coffin Dust is raw af). if the heat gets any more oppressive this will sit nicely otherwise these are some icy fuckin sounds.
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.
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
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. Couldn’t be cultier than 12-step, though (rimshot!).
Both sides about 5 minutes. The label founder says: “I am hoping to release some more of his stuff but it’s impossible to get him back in the damn studio. He spends all his time battling blackberry bushes.”