Wooden Shijps – “Shrinking Moon For You ” – [Self Release]

Anthony Fremont   3/9/2007   10-inch, A Library

A swirling tempest of pop inflected psychedelic scourge from one of SF’s up ‘n comers. Side A takes no time to grab hold and launch into a sonic romp of repetitious forging melody and rhythmic clatter as flaring guitar weaves throughout the constant driving pulse. Side B opens with a tuneful psych-pop number with hyper-tensive keys and infectiously memorable stretched out hooks harkening back to the Spacemen 3 sound. Closing track shows an experimental drone side with recurring pulsation through oscillating electronics, spoken word and feedback loops. An all too brief voyage through this limited edition.
-AFremont

Goslings, The – “Grandeur of Hair ” – [Archive]

Anthony Fremont   11/19/2006   A Library, CD

Succumb to the acid wash female vocals coated in a sticky static ectoplasm of numbing amphetamine psychedelic noise overdrive with an underlying pop element deeply embedded in melody that lodges and lingers in the mind long after it fades from the ear.’ Essentially the duo of Floridian couple Max Soren (guitars) and Leslie Soren (vocals) and a host of percussionists Brendan Grubb (trks 1 & 3), Paul Leroy (trk 2) and Adel Souto (trks 4-8) with additional guitar by Neddal Ayad (trks 5 & 7). ‘Produced by James Plotkin. -AFremont? ?

Strotter Inst. – “Schlepper ” – [Self Released]

Anthony Fremont   11/14/2006   12-inch, A Library

Strotter Inst.-Schlepper (self release)
Clinically proven turntable experimentations constructed in 2000 by Swiss architect Christoph Hess re-inventing the needle’s use as an instrument unto itself. Whereas pioneering predecessors like Christian Marclay and Otomo Yoshihide focus mostly on pushing the limits of vinyl’s physical deconstruction under the needle, Hess focuses primarily on the needle as the audio source physically “playing” looping objects such as extended rubber bands, metal, sewing needles and strings with vinyl as the vehicle. The result is a looping hypnotic interplay of rudimentary objects producing complex tones, pops and textures. Even the untrained ear can distinguish the distinctive pluck of rubber bands at varied tensions throughout creating a unique listening experience. The term Strotter is taken from a pre WWII reference connected with the early production of stocked fat sold to soap companies. Hess designated the term Inst. to interchangeably translate into either installation or instrument. This cut of vinyl is also a work of art in itself with the stylish placement of silver marker labeling and hand etchings by Anja Sitter. -AFremont

Jazkamer – “Metal Music Machine ” – [Ass Piss]

Anthony Fremont   11/14/2006   12-inch, A Library

Jazkamer-“Metal Music Machine” (Ass Piss Records)

2004 recording from Norwegian experi-metal maniacs previously known mostly for their electronic free noise output. This time around they employ notorious Enslaved vocalist Ivar Bjornson to signify the change. Each track discerns from the other from start to finish while holding true to the darkness: Side 1=TRK 1-Strikes quickly with a stunning fury of repetitive annihilating napalm firestorm riffs and super heavy shrapnel percussion set on rapid-fire. TRK 2-Suddenly relents into slow erupting molten lava flow sustained chords.
Side 2=TRK 3-Only vocal track with a frantic hardcore edge with gripping changes and turns. TRK 4-(Title Track) Shocking, twisted and bizarre with tape manipulations reigning chaos of distortion, shrill feedback and piercing vocal static with an ice cold ending. TRK 5-Starts w/ one continuous riff building with tension as creeping distortion sets in and takes hold. A second repetitive tone driven axe moves in as distortion fades briefly only to return with increased strength awash in drowning waves. Then suddenly its over. -AFremont

Zelienople – 22Ink 22 – 5BLoose Thread5D

Anthony Fremont   10/21/2006   A Library, CD

The latest from Chicago’s low profile folk-infused drone driven four piece conjuring up phantom images fading in and out of hovering hazy strings, harmonium, and organ. Flowing as one continuous piece, tracks 1, 6 and 8 are the ghostly vocal “song” structured parts of the whole held together by stretches of chilling acoustic and electric feedback. The longest stretch between tracks 2 and 6 can be connected interchangeably or as separate sections faded down or worked in as lead in or out-ro connectors to the aforementioned vocal tracks. Track 7 is the more intense instrumental that can stand on its own with a blaring electric feedback element. Recorded in only two days during the spring of ’05, the result is an unpretentious immediacy with indelible staying power. -AFremont