Thurston Hunger

Bunkbed – “Substance Abuse/ Grasping for Reasons” – [Let’s Go Records]

Thurston Hunger   6/30/2018   7-inch, A Library

We’re going to be tardy like it’s 1999. Maybe a Mitch
Lemay archival revival for local folks, dust to Duster,
ashes to the past and a shout-out to Streelight (grateful
that is still spinning in these digital daze.) Sang to
jangle with an old Merge feeling emerging. Bass slowly
rises as the guitar strum-strums-strums. Tears are
wiped away, perhaps by Jen helping out Keith with backup
vocals and a cashemere hug. “Subtance Abuse” never felt
sweeter, a sslow syrup poured into you, even if you are
cramping up in a fetal position. “Grasping for Reasons”
sounds like its sinking in the same sorrow boat, with
po’ ol’ cello typecast as the town crier going down
with the relationship. It’s a love song in decay, two
in the boat to start but by the end of the song,
they’ll be on different shores. Actually the cello
gets stronger and starts pushing him to safety.
Adding this, and the “Hero Zero” 7″ in 2018 shows
KFJC is a safe haven for long lost singles, at least of
the vinyl variety. Good luck to you and your ex in the
Thurston Hunger

Hero Zero – “Hero Zero” – [self]

Thurston Hunger   6/30/2018   7-inch, A Library

For as long as I’ve known her, KFJC has had
a fondness for the raw, for the rough and not
yet ready. For bands that sound like they
just got their instruments a couple of hours
ago. Call it punk or DIY or outsider or
lo-fi, whether it was made in the bedroom
or garage or Auntie Agatha’s laundry room,
the value of passion over precision is hard
to argue with…for me at least. I had these
thoughts listening to this and was going to
apologize to the band, but on checking the
actual record I see this is from 1994. So
you see KFJC welcomes abandoned bands even
if they salmon-jumped out of the mainstream
decades ago. Hopefully the guys in the band
will be driving around with their kids, and
when the iPod battery gets low, they’ll
switch on the car radio and here this rough
Electrified guitar ricochets around with a
hint of cowpunk (played with a cattle-prod?),
drums are great and enthusiastic and thin.
They kind of chase after the song, then the
song turns around and chases after them.
Side 1 ends with chatter about skittles and
nerds, the other side has a zero-calorie
track allegedly. Well hand-written mention
of a track “17G” but it exists outside of
space and time and groove and discogs.com.
Is the band name a ref to Schoolhouse
Rock, or some psychic/sonic connection to
Royal Trux.
Good stuff, better times. -Old Man Hunger

Kuehn, Mikael – “Object Shadow” – [New Focus]

Thurston Hunger   6/30/2018   A Library, CD

Call it modern classical, compositions with a hint of soundtrack
and a (very) remote West Coast jazz flair. Well, I can picture a
detective on some of them. Compositions are loaded with what feel
like questions, uneasy revealing of notes, sneaky snakey ones at
that. Much use of the percussive epiphany, a single strike often
emphasized by the lingering reverb of a vibe/marimba/piano. Is it
the cold slap of an interrogator? Strings are spies, sharp as
razor-wire. #3 and #5 invite electroacoustics into the mix, they
deftly blend in, camoflauged by cello on “Chiaroscuro” and
lurking behind a lineup of saxes on “Objet/Ombre.” On both
cuts the electronics add drone and darkness to the atmosphere.
Solo marimba on “Devouring Time” is as warm as it gets, then
solo acoustic guitar on “Unfoldings” an apt description for
much of this CD, or maybe *Disarmings* as in trying not to
detonate an IED. Things. Are. Tense. Listeners may need an
alibi after listening to this. Clearly they got to whoever
assembled the booklet (looks like a staplecide)
More info on the composer at http://mikelkuehn.com/
-Thurston Hunger

Ashley, Greg – “Fiction Is Non Fiction” – [Dusty Medical Records]

Thurston Hunger   6/30/2018   12-inch, A Library

The statues have eyes, and they’re listening. Side A is languid
with a hint of mourning, an homage to a departed lover, an
air of a suicide, and a hint of overdose/homicide at the
doorstep. Ashley’s voice is relaxed, warm but worn. The
guitar is acoustic, the songs are ballads, even the closing
Sonic Youth cover gets a make-over a downtempo shift. Flip
the record and the switch and electric guitars rain on
“Fuck the Army” and “Blondes and Cyanide” but after that
“Gabriela” bailes con un piano (Adrien Leonard provides
some pretty great keys throughout.) That is followed by
the return of the spectre sinester, an acoustic lament
for friends claimed by an addiction to New York and
heroin. The song is gentle/pretty but its uneasy thorns
in an easier listen. Perhaps places as the darkness
before the dawn, “Blue Azul” still strummy, the album
carries a C&W flair to the French studios where Ashley
and friends recorded it. “Blue Azul” has a call to be
through with nihilism, and savor existence. A good plan
hope always, like a yodel though, it can be difficult
to pull off. But Ashley gives ’em a go, better to be
alive than a statue cloaked in tears.
Thurston “fear of mortality” Hunger

Paradise Bangkok The Album : Vol. 2 [coll] – [Paradise Bangkok]

Thurston Hunger   5/5/2018   12-inch, International

Served up by ZudRangMa records in Bangkok,
a fantastic store run with keen (and khaen)
love by Maft Sai (connections to next door
Studio Lam where Molam and Luk Thung artists
often perform). Traditional flavors are strong
but varied on this collection of their label’s
recent 45s. Opening with the towering power of
the khaen (a bamboo pipe organ that sends
skyscrapers of sound out of one’s mouth). The
vocal stylings are so great, kicking up a kind
of gymnastic percussion that dances over drums
and other skins. Check out Chanpen Pornaswan
(B2) for a sterling example, or for the male
counterpoint of view, Aa Jaan Jitakorn Molam
Group (B3) for that surging form of singing.
(B1) actually goes all in with onomatopoeia
on “Ding Ding Dong.” That piece feels like
an island sound system with its proud horn
punctuation and killer drummer. So much
style, swervy and hypnotic. Even without
vocals, “Lam Plearn Diew Khaen Diew Phin”
and “A Ba Ni Bi” have dance floor beckoning
beats that slide up to you, A3 a jangley
bouncer, while B4 is a vibraphone groover.
I like to pretend Onuma Singsiri’s (A4)
song is some kind of Thai darkwave, but
the initial Joy Division blotted out by funky
sproingy synths and her “how ow how ow ow”
quick cadences. All solid but do NOT miss
Warin Shinaraj (A2) it transports me every
time, not to Bangkok, straight to Paradise.
Her voice lingers on notes then darts away
the guitar and drum anapestically waiting
on every word, ending with a strange calming
blend of laughter and piano ripples. Wow!
New York vs Noo Yaak! We all win.
-Thurston Hunger

Anderson, Marisa – “Traditional & Public Domain Songs” – [Mississippi Records]

Thurston Hunger   5/5/2018   12-inch, Blues

No stranger to KFJC’s airwaves, Marisa Anderson
unites with Portland powerhouse Mississippi Records
to reissue her 2013 release of an homage not just
to the Traditional Songs of the title, but to the
guitar. It’s all instrumental, and all electric,
and weaves between reference and reverence. She
can pluck gentle and clean as on “Farther Along”
or tiptoe near the third wire that Junior Kimbrough
use to ride with “Pretty Polly.” Songs that are
pulled deep from the heartland, if not the heart
of this country appear : “May The Circle Be Unbroken”
and “Amazing Grace.” But Marisa’s domain extends
beyond natural and sonic borders, “Bella Ciao”
is indeed beautiful, and builds up a nice storm set
of chords. Dig the super reverb recoil on “Johnny
I Hardly Knew Ye.” A lot of the album has a solemn
and introspective vibe, often soothing but not without
a bout of bitterness. That being said, she concludes
with a downright jouncy “When the Roll Is Called Up
Yonder.” Perhaps that is the arc of the blues, to
struggle humbly and with grace, but carry a heavy
weight till we hit our run-out groove and the
needle rises with us to the skies.
-Thurston Hunger

Lilou and John – “Patriot Child” – [Self Produced]

Thurston Hunger   5/5/2018   A Library, CD

Drunk punk duo out of Sweden, well drunk is
a bit unfair as the topics of their lyrics are
sobering, but the rock on display here is
dive-bar distorted and grasping for a 2am
closing anthem vibe. The signature of the duo
(deviating from their folk roots, but not thaat
much) is the warble of Lilou. Raw emotion rasps
her throat and a vibrato attacks without warning.
Think Jello Biafra as Judas Iscariot in Jesus
Christ Superstud. Lilou sings to defy both
multinational corporations and conventional
musical keys. It’s fascinating in a harrowing
manner. John provides guitar and pen for the
words coming out of Lilou’s mesmerizing mouth.
The leadoff cut has the martial chop and snap
of some of the Ex’s stuff, while #2 definitely
has AmRep pep. They are a husband and wife duo
who might have met in the classified ads of
Sweden’s version of “The Nation.” -Hunger

No Balls – “More Is More” – [8mm]

Thurston Hunger   4/19/2018   12-inch, A Library

No Balls is a far cry from any eunuch freak folk, they
deliver heavy electric instrumentals, lightly seared
by noise with a hint of psych (well from a manic
Japanese point of view). Connected to the Brainbombs,
and somehow without lyrics No Balls sounds almost as
filthy as that band, Anders Bryngelsson shares fluids
with da ‘bombs. Was Dan Raberg severed as a member here,
but someone kept his horn though? Actually on “Pacer” it
almost sounds like someone singing into their distorted
guitar pickups, and on “Breaking” maybe a man or a trumpet
is trapped inside the bass drum and blurting out
exhortations…while the air runs out. Sick goose trumpet
also may appear on “Nachspiel” Overall they say plenty
without words. The other “father” band here is Noxagt,
from that good ol Kjetil Brandsdal (he oils the mighty
Drid Machine) burrows thick on bass and JC Lauritzen is
insistent on drums, really more of a battering ram.
Think concussion over percussion. David Gurrick recorded
his guitar parts on this album while completely naked.
And bleeding. Well it sounds that way. Clearly this
is what Trump had in mind when extolling the virtues of
Norway. Bonus points for Anders Hana on the mixer, isn’t
The End here yet? Checking out other artists at
8mmrecords.bandcamp.com would be cook if Luca and co
could hook up KFJC with some more heaviness!
-Thurston Hurtin’

Nerve Beats – “Freedom Fighter Prayer” – [Fine Concepts]

Thurston Hunger   4/19/2018   12-inch, A Library

Short blasts of pineapple-expressed garagey blitzy
rock. Trio from Honolulu, who blew into Oakland to
record this to cassette for the Fine Concepts
label. Feels like they kept the cassette and
motor running, has a feeling like a live set
pumped out moving over the posted speed limit.
Travis Wiggins vocals add to it, shouty style
as if he was standing up in a convertible trying
to keep pace with these short grindy numbers.
He kinda reminds me of Franklin Bruno (Nothing
Painted Blue) but smeared out Oblivians style.
Travis on guitar and vox, Alex Nagata pumps up
boogie-ing bass and Jack Tawil on the sticks.
Really, some of his best moments are just hyper
stick ticking metal rim (like on “Ultra Bosch”)
The songs keep cooking, at times Wiggins
guitar kinda wigs out, nicely so you get a noisy
improv vibe on top of the dive-bar riffage.
See the title track and “Riot Meditation.”
Adding to the bar vibe, a Hendrix homage pops up
in “Chivington Soldier” and G-L-O-R-I-A
gets spelled out on “FOX-661L.” No dinosaur
rock, no bones to pick or break, just a raw
at times murky but driving energy. “Eyes in the
Heat” ups the ante with thrashy guitar building
up to an almost Fall style urgency with
lyrics that march and then a firing line snare
close-out. Things slow down a little around the
bends of “Berlin 64” but them the serrated edges
of “Magna Knife” cut in more car-crash art-rock
hurtles down your earway. “January 13 Incident”
and the anthemic “Goncharova Cats” hit the
finish line strong.

-Thurston Hunger

Floom – “Multi-voice of The Immensity” – [Casual Acid Tea]

Thurston Hunger   4/4/2018   A Library, Cassette

A simple formula FLute + dOOM == FLOOM. But the
heaviness has the gravity of Earth, and the
monumental mantra of Sleep, but on top of the
thick guitar and mightly flute, Cathy Monnes
and Christina Fleming hover with angelic voices.
Wow, intoxicating about and beyond the open
e-string buzz for your distored brain. “MVMT 1”
has these great pauses of feedback guitar and
a sustained flute note, Satan might not know
but little god Pan understands. “MVMNT 2”
the guitar starts lower, and the flute doubles
its barrels, with the guitar pushing a bluesy
side of the red devil. Guitar gets on tracks
while flute+girls turn into a railroad whistle.
Tunnel of Floom! And ends with a digital flurry
of flute and an amp whimpering. “MVMT 3” picks
up (the whole piece is meant to track) and
aims for the godhead with a dronier, stonier
flute over amp spasms. Like a “Dead Man” sdtk
done by Amber Asylum? The ladies rise like
sirens on the closer, you guessed it “MVMT 4”
I bet this puppy will roll cradle to grave
on many overnight shows now and forever.

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
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

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