The Kleefstra Brothers hail from the Netherlands, with Jan writing the lyrics and Romke offering his guitar and effects. Other musicians join them to create the atmospheric sounds on this CD that are hinted at by the track titles. The vocals are like a voice-over to a fascinating film that is rather dark and haunting. A lot of people will appreciate this.
Mikidache makes this Comorian music from Madagascar the treasure that is is. His rich vocals, percussion, guitar, and oh, yeah, the fact that he wrote most of the songs make them the amazing, uplifting works that they are. Accordion and flute are among the instruments that bring this traditional Malagasy music to your ears. Enjoy every minute.
This is a collection of absolutely whimsical and delightful sounds from Ghostwriter (aka Mark Brend) and Michael Paine, every track of which leaves you with a distinct and nostalgic feeling. At any moment you may find yourself laughing or crying with the exquisiteness of the instrumentation, which uses celesta, dulcimer, found sounds, flute, marimbas, piano, synths, xylophone…So gentle and pretty and atmospheric. Just lovely. Listen and see for yourself.
Named after their father, Njava, whose name means “lightning,” this band of three brothers and two sisters (who came from 15 siblings) had its origins in Madagascar and then moved to Belgium. The sisters are responsible for the majority of the rich vocals, while the brothers provide the amazingly upbeat instrumentation (Dozzy has the chops on guitar). The title track, Vetse, means to hope, to feel, to laugh, to share, and I can honestly say that most if not all of the tracks on this CD inspire this sentiment. I dare you not to dance.
Nietzche and Huxley were early influences for Canary-Island-born Segura, and his intentionally off-the-beaten path musicianship reflects this. Eschewing the crass econony-driven music industry, Segura seeks to express his scripts with instruments. He uses guitar, Roland B3, percussion at times, and at other times ambient silences. On A2 and B3 you can hear the tribal beats that call to mind what it must be like to live in the Atlantic Ocean halfway between Spain and Africa. Segura’s primarily unreleased tracks are an expression of this unique artist’s vision. Read the liner notes and experience Segura’s unique perspective.
Folk music, Donovan, the Beatles, and Joni Mitchell all form the musical tapestry that makes up the fabric of Japan’s first female singer-songwriter. Sachiko learned to play the guitar in an informal way, and she composed her lovely music that same way. This is the American release of her one and only album that came out in 1972, right after she headed to the United States. People kept playing it in Japan, so that when she returned decades later to sing the songs live, the fans compared her to E.T. and could barely believe this “cool lady” was responsible for the music they knew and loved. Read the liner notes as you revel in this mellow beauty that has thankfully been restored to us from obscurity.
I know nothing about this CD except what it sounds like, and it sounds like its title. Lots of short tracks with some longer ones sprinkled in that put you in mind of being inside of a video game. A drum machine is likely the source of the frenetic, upbeat, ricocheting sounds that reverberate through your brain long after the CD is through playing. It’s always Playtime, after all! (Oh, yeah, and the band may be from Oxnard, CA.)
From out of obscurity comes this snappy samba CD from songwriter and singer Divo, whose original goal was not to sound like Jao Gilberto. With these samba de balanco songs, Divo succeeds in defining his own singing style and songs that pull at the listener’s feet instead of just appealing to the ears. Read the interview within the CD sleeve as you dance around listening to this gem.
These amazingly mellow and pretty folk tunes come to us from Joseph Allred in Boston. Allred is a master at guitar and banjo, enveloping the listener in layers of comforting acoustic notes and occasionally adding his voice to sing along. The cute illustrations of the tracks and the clever album design are in keeping with the homey feel of these tracks. Definitely in my sweet spot.
Million Brazilians have moved to Maine where Caleb Mulkerin of Big Blood is. He did the tape loops and treatments on this album, as well as the engineering, recording, mixing, and mastering. Suzanne Stone’s alto sax is pretty great in the way it keeps the jazz feeling going amidst all the weird wonderfulness that makes this band hard to pinpoint. Grant Corum is of course on board, bringing especially interesting vocal directions to “Ectoplasm Programmed Dream (with Guide),” and Tom Kovacevic adds piano and synth at the end of Side 1. This is an almost droning, building aural experience and just right for the KFJC library.
Frank Tavares is Haku, Music and Drama Department Chairman of Maui Community College (at least at the time of the first release of this, in 1975). As someone who would love to be on Maui full time, I find this an interesting CD. It’s electronic and strange, with poems recited in Japanese and stories narrated, roosters clucking, and classical Hawaiian Ipu (a gourd percussion instrument). The last couple of songs sound Hawaiian to me, and bring to mind breezes swaying through palm trees and mellow feelings of toes digging into warm sand. Take a little trip and listen.
This is freak folk with beautiful vocals and instrumentation. Think Marissa Nadler but with vocals that are distinct and lovely in their own way. Sondra Sun-Odeon’s voice delivers some thought-provoking lyrics that paint haunting pictures, some of which were inspired by the band’s love of Acadia National Park in Maine (“Acadia” on Side B). David Shawn Bosler wrote the songs along with Sun-Odeon, and he does some of the backing vocals. There are Tibetan water bowls, guitars, cellos, and other musical instruments that set the other worldly tone. Quite pretty and fanciful.
From 2005 come the soothing sounds of English trio Marconi Union. The tracks envelop you in layers of electronica that lull you into a trance from which you can awaken by figuring out what the track titles might mean. For example, “Suburb27” somehow converted me from disliking suburbs into admitting that their generic blurriness might be just the challenge I need. The music may also seem blurry, but there’s nothing wrong with a soft focus in life, after all. Take off your glasses and enjoy.
John Twells has created a concept album that will suck you into its drone, sea sounds, bells, strumming, harpsichord sounds and leave you feeling drowning in despair. But it’s pretty great nonetheless, because that is the point. The first six tracks have stories to go with them, and they’re printed in the liner notes. They read like a suspenseful tale. The feelings of isolation and paralysis in the face of utter doom (is it sea monsters or an attacking battle ship that sinks the vessel holding the doomed, exiled souls?) are conveyed exquisitely by the atmospheric music found on this disc.
Things have really gotten pretty great when a librarian gets to review a soundtrack composed to accompany a graphic novel, in this case one written by Ezra Claytan Daniels. Kudos to composer Gideon who with these tracks brings to aural life the vision of the graphic novelist. I have not read this novel yet, but I have “heard” it, and now I want to, I must, read it. The vein is sometimes murky (as in “Death”), sometimes jaunty (as in “Conception II”), sometimes playfully bluesy (as in “Progress”) and always mellow and atmospheric. The guitar and electronics draw you in just as I’m sure the illustrations for the graphic novel do. Kudos to Gideon!
I know so little about this fantastic band from Wellington, New Zealand. I see two women and a man on the CD cover, but I don’t know their names. I just know that together they write and perform downtempo (and pleasingly oft-changing tempo) songs that summon images of an undersea world–figuratively, that is. The amazing lead female vocals take your emotions for a ride while the guitars and percussion help you ride the changing currents. I particularly enjoyed “Milennia” and “The Cut,” but each song has its own charm. Dive in.
“Life’s a leaf in October” according to “Physical World,” and this wisdom is delivered via the hazy, pleasant voice of Kyle Bates. This music was written and recorded by Bates during an artist residency in Iceland in 2018 and at his home in Portland, Oregon. The character of the music is somewhat shoegaze. Bates’s parents lend their voices to two of the tracks, and the lyrics printed on the album sleeve clarify some of the mysteries going on in the music, if you need the clarification. Bates is a survivor, and proof that having a bipolar diagnosis can be an inspiration instead of a death sentence. The music is appealing and will be a great addition to many a KFJC set.
This is a very pleasant sounding release from Smoke Bellow, whose primary members composed this music in a backyard shed after they traveled to Melbourne from Baltimore. Although they felt isolated (thus the name of the album), the electronic tunes on here are fairly upbeat, and the voices, though echoey at times, sound imbued with wisdom gained from being in isolation. They have since returned to Baltimore and added a band member. The final track is my favorite with its flute and horn sounds.
This is an unreleased performance recorded at Slug’s Saloon in New York in July of 1972. It’s pretty incredible that, even though Sun Ra left this earthly plain in 1993, his words, music, and compositions continue to reverberate through time and space. Vocalist June Tyson recites the lyrics to “Astro Black” over the backdrop of “Discipline 27-II”, followed by a call and response between Tyson and Sun Ra set to the horns and instruments of the Arkestra. The vibe is mellow and accessible. The liner notes are a must-read as they describe Sun Ra’s connections to Egypt, the sun, and the cosmos.
Wowza! As you’re swinging to these blues, be sure to read the liner notes about how Tutu was accomplished by the age of 20, created his first guitar by nailing his uncle’s fishing line to a board when he was a tot, and grew up with father and uncles surrounding him in the blues tradition. His wife sings backup on Track 3, and there are some soulful blues tunes on here as well (e.g. Track 8). Dallas has itself one fine shining star.
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File