KFJC 89.7FM

Thurston Hunger

Fat Worm of Error – "Nzznzzzznnznznnn" – [Feeding Tube Records]

Thurston Hunger   2/23/2020   12-inch, A Library

2020 vinyl re-issue of their 2004 early-daze cassette. Though the Worm hails from Massachewzits, they share DNA, clothing and a sonic aesthetic with Caroliner. And add more than a dash of Angst Hase Pfeffer Nase. Noisey wonderment, circuit-jammed and jellied rolls of tape. Not only vocals on some tracks but lyrics printed on the sleeve, so you can crack the karaoke puzzles. Fleas and flies, and the squids are all right? In a better world than this one, these would all be recordings made by children’s toys, or maybe they are. “Tubes” has farty beauty, “Flea God reveals a weird insect kingdom underneath the floorboards of Pee Wee’s Playhouse. “Wolves” is nifty drifty until the jittery critters flitter your ticker. Some of the noise variety here reminds me of pulling a huge bandaid off. Quick little rips and tugs, hits of static, weird electronics. Hard to not love the daughter of the difficult rants (Jess Gordon) over the sound for me.
The Worm still turns!

-Thurston Hunger

PC Worship – "NYC Stone Age" – [SHDWPLY]

Thurston Hunger   2/23/2020   12-inch, A Library

PC Worship is Justin Frye and whoever he can fit into his basement at any given point. Ramshackle tunes with forays into improv captured in willful low-fi. Space is cluttered but varied, the recording raw. Electic guitar is set pretty sharp and shrill, but on tracks like “Heel” you might have it working with/against pretty pings from a toy xylophone. “Way Out” is a sort of psych number, but with a New Zealand feel. Frye himself caught a wave from Virginia Beach to NYC back in 2003 and has stayed afloat there since. This album, his first vinyl, came out in 2009 on defunct VA label Shdwply.

Wordless vocals shine on the first track, the two “Thrills” and “Ahh” that latter with some bass and drum lightning bolt therapy at the end. “Bali Thrills sputters in trumpet, while “Bermuda Thrills” closes side one with a beauty of a locked groove. And it feels like stoned punks summoning Popol Vuh.

B-side scream starts into a dirty acoustic mantra and then some devilish coda, grin and Syd Barret! B2 has R2D2-cum-chimp sax in another closet full of sound, drums bouncing off the walls – straitjacket jazz, no chaser. Drums stay strong right through the cramped halls of “Sunday, Sunday” – a rough gem! “Outer Woods” is for the illegitimate grandkids of Dead fans? Or maybe it’s just freak folk. Do I hear a robot snoring on the closer? More wordless vocals on that one too, no locked groove.

Is their name (and sound) a reaction to weirdness wraught by mere laptops? Better with hands/strings/feet/pedals/mouths/horns?
-Thurston Hunger

Hound Dog Taylor's Hand – "Hound Dog Taylor's Hand" – [Planned Obsolescence]

Thurston Hunger   1/27/2020   12-inch, A Library

Seattle project, contrabass leads the 4tet not strictly to rock, nor jazz. On the lead-off John Seman’s work is reminiscent of the guimbri styles of Joshua Abram’s work. Seman’s bass is a heavy anchor thoughout here. On “The Immensity of the Problem” he bum-bum-bum-BUMPS plus Mark Ostrowski on the drums to set up extended solos from guitarist Jeffery Taylor and then Greg Kelley on trumpet. Greg gets more muscle into his hustle here, as opposed to the intriguing but subtle Nmperign. Ah, Taylor is a Climax Golden Twin, he punks up “The Vulgar Ideal” (my fave track here – a ripper!). Things get a little sludgy on “Hostile Architecture” but like a lot of these songs, that serves as a launch-pad for solo ballistics. “Retrieval Technicians” finds a shade of moodiness, that nicely sets up when things come down to the WIRE on the closing track. Ending with “You Can’t Leave Now” is both funny and edgy (listen to Seman saw away on his contrabass). As a side note, KFJC has plenty of the six-fingered six-string slinger Hound Dog from whom the band takes its name.
-Thurston Hunger

Strafe F.R. – "Shadow Position" – [Touch]

Thurston Hunger   1/27/2020   12-inch, A Library

2019 release from this duo (Bernd Kastner and Siegfried Michail Syniuga are Strafe Fur Rebellion – aka Punishment for Rebellion). Electronic music tiling much more towards the factory than the dance floor here, the project has been putting out music since 1984. “Nachtmaschine” offers a few ghost vox in the machine (danke to Anna Nettra), amidst bubbling lava lamp gears and sci-fi fly-bys. Digital rain rattles – a pretty mellow trip. “Every Day XXL” has a loping beat, punctuated by burts of sound…some with voices, singing or EVP-esque. That “XXL” marked my spot! “Shadow Position” moves army boots to the club, a thumper strong enough to knock a toupee or three off, the title cut goes through some tune tunnels to ease up on the heavy breaks. “Isabella B” concludes the record, possible piano, prepared and otherwise also embedded in the electronics. Frau Nettra again adds a spectral hint of humanity between the sonic punishment. Not noise, but not merciful either. Short but covers a lot of territory, this Dusseldorf duo are not of the rinse-rhythm-repeat persuasion.
-Thurston Hunger

Hooker, William – "…Is Eternal Life" – [Superior Viaduct]

Thurston Hunger   1/27/2020   12-inch, Jazz

Portrait of the Shaman as a Young Drummer. William and friends, 1975-76 – two recorded at public libraries, thee very bastion of civilization (and apparently at times of free jazz!). Four sides. Live. Very very live.

Drum Form – Starts with William singing, less the ecstatic prophet and more the spiritual poet. Gentle bells chime. One man, two arms, a mind and a mouth all firing, and the cat ends up scatting into the distance.

Soy: Material/Seven – David Murray on sweet sax spirals, Mark Miller on bass. Miller mostly scurries after Murray though sometimes strums half chords. William surrounds them both, whole lotta snare going on. Some of his riding the sound those “aaaaah” yells in the mix, around 10min William takes the helm solo. Hi-hat attack. The trio reconnects, things get a little saltier. Yo, soy the sauce.

Passages (Anthill) – David S. Ware leaps into the breach like Ayler on fire, William battening down the flames. Man, by 7:50 the duo is working! William especially. Whatever you call this (passages/anthill?) it’s a helluva rollercoaster!

Pieces I & II – Way way way out in space. A trinary star system with William trading rays and ripples with Les Goodson and Hasaan Dawkins. Quite a vortex of sound.

Above and Beyond – Going out the way we came in, William singing to his skins. Deep drum rolls! Ceremony or solo performance?

Cool early capture of a man who permeates KFJC library. I will always remember (and always be enthralled) hearing his “Architecture (The Book Of Numbers)”

-Thurston Hunger

Pratt, Jessica – "Quiet Signs" – [Kemado Records]

Thurston Hunger   10/26/2019   12-inch, A Library

I remember KFJC’s Harry Haller extolling the virtues
and vibe of Jessica to me years ago. Thanks! Here she
returns for her third full length, not a gal in a rush.
Gentle songs with “Quiet Signs”, emanating from the
car you just passed on the side of the road with its
driver in tears. Mostly the album is Jessica’s voice
over a nylon acoustic, but some nice production from
Al Carlson sinks you deeper into the cushions. Al adds
a flute flourish to end “Fare Thee Well” other tracks
bring in a distant synth, like a merry-go-round in
the dreams of someone sleeping next to you. Does
Jessica give a nod to San Jose on “Here My Dear”
(which seems to know the way, melodically). That song
is NOT a Marvin Gaye bitter dedication to you. But this
album was inspired by a Cassavetes film? Muses work
in strange ways and Hollywood record shops I guess.
Like her debut, Pratt’s voice fits so cozily into the
microphone and snuggles up in your headphones. Listen to
her voice on “This Time Around”, a gentle outline of
reverb. When she goes high, she’s a pixie, but her
lower register is a support koala bear. “Poly Love”
triggers a Burt Bacharach soft scatch on Broadway.
“Crossing” will be used as a killer theme for an
HBO show in three years, so love it now before the
world does (and dig how it flirts with English folk).
“Silent Song” has almost a hymn-like entrance. An album
of love songs but roses do come with a thorn or two.
-Thurston Heartbroken

Gong Gong Gong – "Phantom Rhythm" – [Wharf Cat Records]

Thurston Hunger   10/26/2019   A Library, CD

Percolating rock from a wok made in Hong Kong by way of
China and Canada but studio-fried in Brooklyn. Two guitars
sound a little like a Gang of Four (the band not politicos)
or an echo of the Archie Bronson Outfit. Galloping sense of
industrial blues and riveting rhythms. Maybe the solution
to the Spinal Tap dilemma is here, create drum-proof rock.
The album’s subtitle nails it “Phantom Rhythm.” Hammerdown.
Load your songs with humbucking chunks of percussive guitar
flecks and bass bop slaps, and crunch away. Check out the
instrumental “Night’s Colour (Chongqing)” as an example, it
feels like Congotronic amplified thumb-pianos. Their “Blues”
on #6 has a guitar break like a helicopter w/ guns. Vox in
Cantonese I think, ask your kids or Tom Ng who penned them.
This record insistently grew on me. Don’t miss “Moonshadows”
with an ESG-esque funk that breaks down to snort “White Lines”
on its choruses. Pretty sure I saw LeBron James and Xi Jinping
having a dance-off on that one. The dirty tone on the guitars
on this is pure bliss. Tariff stare-off, don’t forget to rock.
-Thurston Hunger

L. Voag – "Way Out, The" – [Superior Viaduct]

Thurston Hunger   10/26/2019   12-inch, A Library

Reissue from Jim Welton, erstwhile Homosexuals de-bassist.
Perplexing sketches with dashes of pop, but large chunks
of imagination. Use a spoon, maybe Syd Barrett’s old one.
In 1979, well before Camper van Beethoven even thought about
bowling, Welton was fiddling in the “Kitchen.” Hell this lp
even eclipses Tuxedomoon’s debut by a bit. Sax and violin
shaken and strung. Surf + rubbery ruminating bass + tribal
drums + delayed vox-vox-vox, that’s all in one cur – “Living
Room.” The album is definitely room-y. Lot’s o’ bric-a-brac
on each track. “Helping the Police With Their Enquiries”
is a nice faux soundtrack with art brut as an accomplice.
Just a hard to pin down album, go gaga over dada? Welton
not afraid to apply plunderphonics to the mix. Man, even if
I’m not close to the inside of the joke, I’m still happy
enough to sing along with “Your Own Hair – Your Own Chance”
Were you too frustrated or too entertained to make your
way to the Avon Calling moment in “Beauty Spreads” or how
about “According to Freud.” Don’t tell anyone but them
thar be songs, but the album is so much more. Reminds me
of UK Paradigm Discs stuff KFJC connected with a ways back,
and sure enough Welton’s own label – It’s War Boys –
originally issued some of those ear-bender mind-blenders.

L. Voag has entered the KFJC building/library
hope his tunes find you and “The Way Out.”

-Thurston Hunger

Preening – “Gang Laughter” – [Digital Regress]

Thurston Hunger   8/21/2019   12-inch, A Library

Back on the Nordile track, Max Nordile that is (see Uzi Rash and The Trashies among other Oaklandish output in KFJC’s library). Max provides vocals and sax here, the sax he adds is nicely all over the place, skronky, slippery, sweet and multi-tracked as on “Red Tape.” He’s joined by Sam Lefevbre (Warm Soda) on drums and Alejandra Alcala on bass and also vox. In a slight way, their sound reminds me of Iconoclast as a sort of obtuse spin on the many angles of old school New York No Wave. But with Max on board, there’s a spazzy punky rant to the vocals. His voice is elastic; do muppets get drunk? Or do they hang out with Bobcat Goldthwait? Anywho I dig his “singing” but definitely it helps when Alejandra adds in some voice too. Her more tranquil spoken and sane approach helps to accentuate the wacky packages o’ lyrics. For example

“Just a nostril away” or

“Grandfather of the year very clean.”

Or on track 9 where Max and Alejandra repeatedly sing “Water Closet” back and forth to each other. And it might just be me, but my fave song “Flotilla” makes plenty of sense to me, and I’m not even a grandfather….as far as I know? Lefevbre’s drums keep the energy taught. Songs are short, fly by at 45 rpm. At times, like the instro title track, other sounds are dropped in like a plinky toy piano and trumpet, but it is really that odd take on a power trio plus the crazed cartoon vibe that make Preening keen!

     -Thurston Hunger

Christensen, Stefan – “Shake Off The Village” – [C/Site]

Thurston Hunger   8/21/2019   12-inch, A Library

The Connecticut connection that brought us the Reptile Ranch reissue has got his own modern thing going on.  Apparently this came out in 2017, before that Stefan was in and on The Estrogen Highs (KFJC has a 7″). Those pop drop days though ran into more heavy weather it seems. His “solo” outing  (some friends help out) has searing guitars, some brittle drums (David Shapiro) and a dour kind of aire that puts me in mind of New Zealand raw/rawk.  (And I typed that *before* reading online that Stefan is indeed a big fan of the mighty Alastair Galbraith.) This whole album would sit and sound quite nicely by Galbraith’s “Mirrorwork.” Check how “Christfire” here bursts electric out of its ramshackle acoustic beginning, and perishes in raging feedback. At “8AM Sharp” we get a military firing line snare drum, with a two-chord teeter-totter guitar under a deadpan dreary diary reading. Donuts and no-quarter on the rising noose of the local news. Potential soundtrack if there’s ever a sequel to “The Execution of Private Eddie Slovik.” “Mr Marquis” shows up next, this is about as peppy/poppy as Stefan’s going to get in the Village. A big strum of acoustic guitar, with a Clean guitar line guiding his voice. Might be an ode to an old high school teacher, definitely had a different shine than most of the album. The closer “Off Minor” clocks in at nearly 9 minutes of Stefan and friends slugging out a fuzzy fury with an overcast sky, sliding a rock ballad through a Vertical Slit, at 6.5 minutes it morphs from studio to stage to jam its way down an amplifier’s throat. I dug “Christfire” and “Over Scrawl” (with some of that kinda AG backwards sounding guitar/ebow/wft beauty). That “Scrawl” bleeds on into “Silverware” so be careful….or don’t and just enjoy the ride.

Reptile Ranch – “Reptile Ranch” – [C/Site]

Thurston Hunger   6/28/2019   12-inch, A Library

Well-preserved Welsh jams from the late 70’s. So stoked to see this reissue after having a taste courtesy of a couple of songs off Messthetic collections. Reptile Ranch were tied to a Cardiff scene that included the Young Marble Giants, booklet includes their manifesto for busting out Z Block Records. Songs are poppy catchy in a certain light, but with a twitchiness that distinguishes them over the decades. “Waterhole” has a warped entrance, some orchestral moves in the dork, before a peppy bassline locks in, with those shimmery seventies keyboards sounding like a siren. Many tracks work in those sensible but simple synths from Simon Smith, who also sings and adds some guitar. Spike aka Alun Mark Williams, provides the snakey guitar work that cuts nicely. Phil John apparently was both halves of the rhythm section, bass and percussion. The LP includes some raw live club cuts on side A, for those who want the “you were there vibe” but the studio sounds bristle with youthful thistles. “W.T.B” (White Tyger Burning) marches and the guitars burble, “Lifeguard” has a tiny splash of early Roxy as the keyboards push and pull the track in little circles; similar keys on “Saying Goodbye” the album closer. “Lifeguard” even floats in some wood flute. Powered by dour outlooks (hello “Young Executives”) quite a nice bit all these years later, kudos to Stefan Christensen and however he made a Connecticut connection to the Ranch hands.

Hey, lookin’ up Chuck Warner (Messthetics/etc) old site, found this
http://www.hyped2death.com/z-block.htm

-Thurston Hunger

Surplus 1980 Collectiv Ensemble With G.W. Sok – “Forget All This” – [Music a La Coque]

Thurston Hunger   6/28/2019   A Library, CD

Kinetic tick-tick-tock attack chock-block full o’ G.W.
Sok-talked vox. Lengthy pieces not just propelled but perforated by percussion. Sok, an ex-Ex type takes the marching music orders from the mighty Moe Staiano (surely an Ex fan, hell his Emeryville studio is named
Ex’pression!), anyways G.W. plucks lyrics from a deep stream of consciousness, that affords a fjord between Elvis in Wonderland and Alice Presley. A touch of Jefferson ErrorKlang too, though I feel Moe owes more to Arnold Dreyblatt and Glenn Branca. There are “only” four guitarists here (including John Shiurba!). Apparently this is the superset of all Surpluses past and present. 12 local Metro-gnomes + Sok as Jesus or Judas, your choice! Moe is nothing if not magnetic, and a charming host. At times the machinery of the music is a bit much, so when you hit a whistle break like in “Gutter” or the oboe/upright bass weaving on “Flim Flam” it does help to blow off steam. Mostly the trains are rapidly running on time here.
All aboard…..
-Thurston Hunger

If you are offended by either a blowjob or a snowjob, then be wary of #4. Personally I HATE snowjobs…

Frank Hurricane and The Hurricanes of Love – “Life Is Spiritual” – [Feeding Tube Records]

Thurston Hunger   6/28/2019   12-inch, A Library

Frank looks so much like KFJC’s luvvable Honey Bear, it makes it hard not to smile while just looking at the cover. Similarly for listening to these breezy, bluesy acoustic hippie jams. Puts a bandaid on your soul and
a banjo on your need. Twelve-string rings throughout some tracks. Frank cranks up the falsetto at times to let it soar through the valleys, dig “On a Hill” and “Johnson City Blues.” While there’s a lyrical (lysergical?) thread of going on a spiritual trip and his songs map out various destinations for tour buses and bussing, Frank is not above the cosmic joke. Dishing on Dylan, he gets “tangled up in pubes” and sees Shrymps as often as Burroughs saw Mugwumps. Well, the Shrymp’s seem more benevolent, though I’m not steeped in Hurricane lingo + lore. Watch out for the Tennessee Pigeon River Ghoul, he might trap Frank and you in a pool hall for eternity. Nah, you both can find yer way home via “Mooneye Travelin
Blues.” Me? I got stuck in a “Holy Mountaintop Rainstorm” digging a bit of brass and looking around for Jodorowsky and Rubin Carter.
-Thurston Hunger

Aksak Maboul – "Un Peu De L'Ame Des Bandits" – [Crammed Discs]

Thurston Hunger   6/2/2019   12-inch, A Library

Holy Henry Cow! Dear 1977, you were more alive than I was back then.
Crammed Discs master Marc Hollander put together this band in ’77,
and this album originally came out in 1980, now released with
bonafide bonus work (see insert CD with vinyl)
“A Modern Lesson” is a Bo Diddley vs Les Georges Leningrand-standing
oddbop oddball. Followed by strings in syrup for “Palmiers en Pots”
which tangles itself into a tango of sorts, clarinets reminiscing
about the girl who got away when WWII hit. “Geistige Nacht” comes
along and it’s a sort of jazz-flecked prog instrumental. The curse
of diversity in full effect, along with a different language for
every song title so far. Next up an Italian title and a dry
drum and sahara-esque windswept vibe, plus either I’m hallucinating
or there’s an oasis filled with a Romanian maiden choir. “I Viaggio
Formano El Giaventu” snake-charmed by black heart the most so far.
Killer mesmerizing track! “Inoculating Rabies” rides a punk
railroad track with clarinet duet horns. “Microscope” is the
most “experimental” of the bunch, staining slides of sound
as microinstrumentals twitch under the glaring heat/light. Cools
off with vibes and electric piano after awhile (mandatory for any
flavor of “fusion”?) but kind of marches into some carnival
sounds. “Alluvions” has more of that prog-like, twitchy fusion
feel, but more comic, and some foley artist walking his horse
through the song. Clip clop and a fine Frith fretblast eventually.
Was there speaking in tongues on “Age Route Brra!”

The bonus CD (“Before and After Bandits”) rewards the long-time fans,
with new ones at KFJC likely to be born as this is our first Aksak
attack (we have a single track on a Recommended Sampler, and that is
all however Art Bears and Honeymoon Killers and Catherine Jauniaux
a-plenty oh my). Hefty booklet maps out various phases of Aksak Maboul
(apparently the band’s name, each word a form of “madness”, Arabic
first and French Slang). There is a current phase touring today by
the by, and a new album in the works.

Like sex in front of your pet (as depicted on the artwork) this album can
be a bit awkward but undeniably quite pleasurable, errm well, I’m guessing…
Shuck off your expectations, and enjoy.
-Thurston Hunger

Village of Spaces – "Shaped By Place" – [Feeding Tube Records]

Thurston Hunger   6/2/2019   12-inch, A Library

Village of Spaces “Shaped By Place” 33
My first thought on a blind listen : What if Bonnie Prince Billy
never saw a darkness? That was followed by a touch of Skip Spence
rowing gently through my mind. This is folk(y) record, where
there is happiness, there is psyche (opener dosed sitar-esque),
there is harmony, there is a family vibe… The trunk of the
family tree is Dan Beckman-Moon and Amy Moon Offerman-Sims
and the bark from it builds an acoustic guitar found on every
track. Plenty of guests climb on, up on a branch a KFJC uncle
even Phactors in. Lyrics are pastoral, if not purely organic.
Even when they graze the blues there is a sweetness, like on
“Tired for the Moon” (Perhaps that track is an apology from one
Moon orbitting another?) That said there is no Keith Moon
in the mix, this is a drum-free zone. It’s a gentle album,
almost an acoustic mass. How mellow? How about humming featured
on “Woodworker’s Litany.” That’s one of two covers of Maine
folkie Gordon Bok’s work on the album
https://staff.kfjc.org/spidey/zkid.php?id=819749
Speaking of Maine, where Amy/Dan reside also drops of Big Blood
are in the mix, “Light On” shines strong and Caleb from the
Blood is a studio mid-husband for this recording. It’s a calm
and well-adjusted folk-ified outing, sounds like Amy/Dan’s
young child snuggles in on “Berry to Berry” before the
“Neighbor’s Jam” gets spread out with a Van Morrison
drive-by reference.
-Thurston Hunger

Lie Detectors – "Part III Secret Unit" – [Chant Records]

Thurston Hunger   6/2/2019   A Library, CD

Dangerous Dan reviewed this internally for the KFJC
criminals, but I confess to being a fan of it as well
Offering this review to help encourage the guilty.
+++++++++++++++++++++++++++++++++++++++++++++++++++++
So one of them is wearing a wire, or wound up in multiple
wires, that would be guitarist Eyal Maoz. The other handles
batterie and assault percussive, Asaf Sirkis. Good cop,
better cop? Their buddy pic apparently has been running
40+ years, starting back as pre-teens in Israel. So their
silent communication is downright brotherly at this point.
No need for a bassist to translate. No bass also keeps
Maoz’s playing tuneful while plenty explorative. The duo
eschew sprawling 20 minute epics and deliver tight tracks
with distinct themes. A key aspect is Maoz’s superb tone
variation. “Rice” burns 70’s heavy metal and 2 minutes in
there is some striking digital feedback. Many songs have
nice knob and string bending. “Closer” has drier guitar
and a semi-western flare over bo-diddly bursts, but in the
gulches between gallops, Maoz delivers tweaky backwards-esque
guitar effects and Sirkis flutters brushes. Fans of the
Mermen could dive in on that. If you want a clean elecric
bop take, get stung by “Sting.” “Flying Horse” threatens to
boogie, but has that Ribot kinda stumble while Sirkis dances
ahead and behind the string work. Sirkis has several solo runs,
including tuned tom meditations on “Tree” the album’s
most gentle number. 1+1 adds up to much more, and that’s the
truth. -Thurston Hunger

Collette, Ned – "Old Chestnut" – [Feeding Tube Records]

Thurston Hunger   6/2/2019   12-inch, A Library

Feeding Tube regurgitated this stately 2018 “Chestnut”
from Kate Reid’s It Records in Australia. New Collette
produces a Melbourne slow-burn, acoustic guitar ballads
embellished in a dark shell of sound. Slow polished
piano on many tracks. A slight shade of synth here and
there to trace the melody. His songs tilt towards starkness,
if not lament. Cello appears twice to underscore the latter,
even on a track called “The Optimist” (a few brief rays of
light there including the rippling coda at the end of that
track are as bright as things are going get). The instro
“Wakanui” buzzes in some electric guitar, still this lp
operates nearer emotionally to Robert Wyatt or Richard Youngs
than Alastair Galbraith. Another instro, “No Wonder You
Look So Forlorn” hits the nail on its sad rusted head.
Collette’s vocals are paced with space, sometimes spoke-sung,
or brought conspirationally near kudos Rashad Becker’s
mastering. Other guest voices chime in notably with a
cool bubble of background vocals on “Snaky Song.” Faves
include “Sacred Cats” also a long building “June” with
Chris Abrahams of The Necks on piano. The nattily rattle
of “Stateless Brave” stood out, and echoed the “Forlorn”
melody from earlier. Lyrically, the album often hovers
over the abyss of death, but hey who doesn’t?
“But we stand in defiance of
the smoke that issues daily from the mortuary.”
Personally, I wonder if the cremators stand with us? Anyways
maybe more a slow-churn, than a slow-burn… Awaits your
urge to dirge in balanced ballads.
-Thurston Hunger

In Their Own Voices : a Century of Recorded Poetry [coll] – [Rhino Records]

Thurston Hunger   6/2/2019   A Library, CD

112 poems, 80 poets. Some get a double dose, a few a triple
dip. David Ignatow has five, but who’s counting? Not T.S. Eliot
who resides elsewhere in KFJC’s library, like several on here
and left off this 1996 collection. Life, like collections are
finite. Dear Reader, wth bending and bleeding ear…observantly
you saw the title, before the poem started, so you know you are
getting the mind and the mouth of every poet here. In some cases,
an audience joins in the fray, frothing with Ferlinghetti, or
goosing on Ginsberg while he gooses himself, drinking with Bukowski
in his latter well-toasted years. A few others mix music with their
musings, Kerouac and sax of course joined at the hep. Zimmer quiets
a piano, later lists out musicians and poets and even doffs his cap
to Roberto Clemente and Thurman Munson. Leonard Cohen stings his song
with a folk phalanx in close formation. Amiri Baraka punctuates his
“Shazam Doowah” with “oh-wahwahs” as only he could.
The oration styles are pretty fascinating.
There IS a LOT of that poetic PAUSE and PUSH.
but so much more.
Defter DJ mixers perhaps can beat match orator’s cadence and techno tempos.
The collection is well stitched, clever connections for those who might
listen from Vol 1 through to Vol 4. We are told to go neither Gentle nor
Naked into the good night, Mark Strand summons Wallace Stevens. Fancy queens
follow each other, with the phenomenal Maya Angelou going first. Many of
the poets are long gone (the collection starts with Whitman and Yeats
speaking beyond the cemetery gates), and quite a few have died since
this came out on CD (a medium itself spinning towards its own demise?)
Surely the majority knew the price of mortality and it fueled their
creation, they aimed to have their words live on, but with this release,
their voices do as well
-Thurston Hunger

Cabinet De Curiosites [coll] – [Monsterk7]

Thurston Hunger   1/18/2019   A Library, CD


Hodge-podge from the white-lodge and a donation by our
chief engine-ear, salud Monsieur Earl Grey! We get a
French fried compilation of world-wide ingredients.
Some of them quite aged as the liner sheets indicate
1982 Look de Bouk with Martial Canterel on board. The
collection is a blast, with plenty of toy joys, cartoony
tunes, and audio oddities to keep you on your toes while
still keeping your toes tapping. It’s often peppy in the
most charming, infectious way. Several artists summon
choirs, Daniel Padden (Volcano the Bear) and lead-off
Lionel Fondeville, so the album feels larger than a lot
of tinkerers tailoring their keys to your quirky needs.
Some faves, Sacha Gattino was sorta a what if Arvo Part
was happy but then he adds in bleepy ping pong. #12 A&E
has a japanese folk chant while playing Operation and
turns a wrenched ankle into Cibo Matto-esque rap-ture.
Tracks cover a lot in a short time, with speed traps
from De Felippis and magic monkeys with Wevie Stonder.
Wevie’s one of the few projects KFJC has connected with
in the past, several artists on here make their debuts
ANY where. Tres cool. Art Brut toot suite case.
Really a do not miss release! -Thurston Hunger

Savage Republic – “Aegean” – [Mobilization]

Thurston Hunger   1/18/2019   A Library, CD


Continuity is king in this Republic. They lost
their founder some time ago, but the band marches
on in this their most recent (2014) full length.
Literally marches, that heavy martial beat remains a
staple (opening track hits with huge cinematic action).
Slashing, reverby guitars with trace elements of
almost shoedive Lots of intros, voice shouted from the
ranks of rebellion. And this once upon an LA art
scene band return to their Grecian formula/friction
for this, with former Tuxedomoon-man Blaine
Reininger providing violin worthy of an oracle.
Emad Gabra’s oud slithers in on two others. Stella
Papanyydreopoulou sing soothes on the title track,
that’s really part of a song cycle from tracks 7-9.
The whole album is very well sequenced, a polished
flow to it. Themes appear and are reprised. “Omonia”
offers a brief different angle, hustle and funk with
a No-Wave verve, and cool male chant vox!! And right
before it short, sweet backwards “Exarchia.” If this
album is a riot, it is a well-structured one ;>
-Thurston Hunger

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