If you’ve ever listened to any of the work from these two titans of free music, then you already know to heed the title of this album. Drummer Chris Corsano and guitarist Bill Orcutt have been performing together as a duo for years (see here and here), but this 2018 LP is their first studio recording, and it’s just as explosive as you’d expect. Orcutt’s singular sound is on full display. His guitar bursts with in a frenzy of wild patterns, digs into tense repetitive grooves, or, in the album’s most powerful moments, soars in ecstatic anthems. Corsano’s rhythms are the thunder to Orcutt’s lightning. He gives the pieces a heavier rock sound, but without dragging them down – his sharp drumming drafts his counterpart at every hairpin turn. Two brilliant musicians with unreal chemistry – it doesn’t get any better than this.
More filthy fun to wallow in on this 2011 CD from the decades-running Leeds, UK noise collective. Abusive rhythms, excruciating demonic screams, persistent ringing squeals, layers of echoed voices and, at the most unexpected times, snatches of hilarious pop music. The assaults are punctuated by quick intervals of ringing bells, dead air, coughs and phlegm, moans from a low-budget porno, and Hitchcock saying the word “cock” over and over again. Through the 11 tracks, S+Q reveal the depraved underworld of the UK – the sex cults (T9), school shooters (T3), and its most beloved serial killers, as on the T4 Sutcliffe tribute and the Hindley and Brady (very friendly) set piece on T5. The album gets stronger as the it tears on, with the heavy, horrifying dance track “In The Brown Girl’s Ring Piece” (T9), the looping insanity of “Fishy Flirting,” and final sneering onslaught “Sniff Your Fucking Pee Pee” (T11). Totally offensive, disgusting and hilarious, like some of KFJC’s best programming. Not appropriate for any time ever, but you might get away with a daytime play if it’s not T1 T2, T3, T5, T6, T9, T10, T11, all FCCs.
Li Jianhong is a free-improvisational guitarist from Hangzhou, working since the 90s in several groups, including VagusNerve (in our library), and the founder of the experimental label 2pi. This 2018 cassette release from Lyon/Nanjing-based label WV Sorcerer collects Li’s solo works from 2008, right around the time when his album San Sheng Shi, was discovered by international audiences.
Three longform psychedelic guitar works. “Die in humble and warm” (T1) is a blazing, slowly developing piece, with bright guitar tones darkened and distorted by reverb and other effects. The calm gives way to “Revolution is only a sad illusion” (T2), a menacing feedback storm that rages and settles, like toxic smoke clouds, into a heavy, post-apocalyptic drone. The feedback flares again before the Side A ends. Side B holds the heavy “1969” (T3), with reverberating tones swelling into massive blasts of psychedelic delirium.
Recently, we added Light Sleep, an album that marked the reawakening of Hiromi Moritani’s decades-running solo project Phew. This extraordinary 2017 follow-up leaves behind the Suicide-inspired drum machines and synths. Instead, the works here are built entirely from Moritani’s powerful voice. Her vocals rise and multiply in droning, demonic choruses (T1, T4), her moans are destroyed and distorted by effects (T2), her repeated phrases spin in circles (T3), and her spoken word poetry, in Japanese, moves through these surreal soundscapes (T2). “In the Doghouse” (T5) gave me flashbacks to playing that Furious Pig record during late night graveyard shifts, though Phew’s composition is much more anguished and beautiful, and “Sonic Morning” (T6) ends the record with a soft, droning dawn. Spellbinding.
Noise rock opus from this long-running avant-garde project. Dial formed in the 90s, when Jacqui Ham, previously a member of New York no-wave legends Ut, teamed up with Dom Weeks from Furious Pig and Rob Smith on drum machines and guitar for the trio’s first release, 1996’s Infraction. They released three more records over the next decade or so (these three in our library). This latest 2016 digital release was issued this year on vinyl by Feeding Tube. Two massive sidelong storms of guitar feedback, relentless rhythmic turmoil, synth sirens wailing like tapes sped up and slowed down. For brief moments the swells subside as Ham delivers her spoken word incantations. A powerful brew that will intoxicate fans of free jazz (this is Dial’s tribute to Ornette Coleman’s genre-defining 1968 album), Sonic Youth, the Dead C, and all forms of psychedelic oblivion.
I.H.N.A.B.T.B. is “I Have Not A Breakfast Today Bitch!” a five-piece noise-rock freakshow from Moscow; this 2009 release is their debut album. I received this CD from Naysayer with a note describing the lead singer as “a cross between Bryan Ferry, Chris Cornell, and Frank N. Furter,” the first hint of the insanity to come. Next, I opened the CD find on the inside sleeve a painting of a dude fucking a horse. Things got weirder from there: the lead track opens with theatrical crooning about cardio?? before launching into a goofy post-punk workout. “Aphrodisiac” is a science-fiction double-feature ballad that degenerates into a skronking sax frenzy (T3), “Close” is a creepy cartoon cabaret (T4). There’s aggressive noise rock (T2, T8, T10) and hyperspeed punk (T5, T7), sleazy dom worship (T6). Completely absurd lyrics in broken English, after a few too many bottles of vodka. Intriguing, horrifying, often irritating (there’s a strong similarity at times to Gogol Bordello, who I totally can’t stomach). I’m still not even sure I like this, but I can say for certain these broskis are beyond bananas, and isn’t that a part of a KFJC balanced breakfast?
FCCs on T4 T6 T11
Disambiguation is the debut release from Cruel Diagonals, the experimental electronic project of Oakland/LA-based sound artist Megan Mitchell. Each track fuses the sounds of the ancient and the modern into dark, dreamlike ambient works, all held together by Mitchell’s stunning voice. Her vocals, treated with reverb and layered into hauntingly beautiful harmonies, are woven with minimal rhythms (T2, T4, T5, T8), dark drones (T6, T7, T9), or slowly building storms of noise (T7). Also worked into the tracks are field recordings from the ethnomusicology archives from the University of Washington, where Mitchell was a student. In these nine tracks she expresses the search for sense in the senseless, arriving at some conclusion in her final incantation.
2018 beat tape, the fifth in a series from the Boxcutter Brothers, a collaboration between California beatmaker Drasar Monumental and Ayatollah, a prolific producer from Queens. On Side A, Drasar represents the West Coast with five tracks of dense and adventurous sampling, (including some Bollywood dance tunes on A3, dark piano loops and electro beats on A4 and A5). But despite the beautiful backing tracks, the feel on this side is aggressive, violent, and razor sharp. Side B cuts the other way – Ayatollah delivers the more laid-back of the two sides, but it still crushes. Killer soul samples, heavy beats, and a couple of cameos from Sun Ra (B5- amazing) and Barry White (B6). From local SF label 77 Rise. FCCs on A1, A4, A5
Lena Platonos’ career in electronic music stretches back to the 1980s, but it’s only now that audiences outside of her native Greece are discovering her stellar work. For that we have to once again thank Dark Entries, that put out vinyl re-releases of her first three albums, 1984’s Sun Masks (added to our library a couple years back), 1985’s Gallop, and this LP from 1986.
Lepidoptera is the order of insects that includes butterflies and moths that undergo metamorphosis during development. The lyrics (included in the liner notes in the original Greek with an accompanying English translation) examine this theme of transformation. Platonos reflects on a young child at play (T4) and a notebook found in the street filled with the handwritten fragments of a schoolgirl’s life (T8), or paints more abstract scenes with her poetry. Her expressive voice – in verses sung or whispered, and filtered through electronic prisms – and piano playing contrast with offbeat electronics sounds – synths, drum machines, weird sound effects – to create moods from mysterious (T1, T4, T7) to dramatic (T6, T9), inquisitive (T2, T3) and joyful (T5). Bizarre, beautiful, a fascinating specimen of an album.
This 2018 LP is the fourth release from Hogg, a Chicago duo known for their writhing, raging electronic punk. Each track staggers between stark contrasts: vocals that range from spoken word chants to black metal screams, rhythms that shift from plodding bass thumps to propulsive minimal beats, guitars that growl with noisy feedback or launch into sharp rhythmic attacks. This tension is reflected in the lyrics, that express the strain of being pulled in opposite directions – between self-confidence and self-doubt, between determination and exhaustion, between the longing to draw people near and the urge to stab them in the face. At times I’m reminded of bands from our own local scene (Stillsuit or especially Jeweled Snakes), and after spending a week letting this record worm into my brain, I really hope Hogg come out here and join them for a show sometime. Released by Alex Barnett’s (in our library) new label Scrapes.
Rombix is Roman Voronovskiy, a sound artist from Moscow and founder of the 24919 label that released this limited edition 2008 CD. Each track is a minimal collage made from layers of analog tape loops. Repeating patterns – of metallic rhythms, washes of static, soft chimes, echoing piano, angelic voices – ebb and flow into the mix. I should just give up on this review now, because nothing I could write would hold a candle to this, a poor English translation of a review I found on a Russian mail order website: “There is no genre. Do not noise and not ambient, do not guess. Experimental – this is not a genre… when you listen to ‘Butoh’, he just gently rustles. The main association is ice and mirrors. There are no synthesizers. The computer is also not. There are only rings from the film. In the spirit of ‘Butoh.’ It’s hip-hop that died. The drums fell, all the instruments melted, disappeared (rotted, crawled away), only the bare space of the tracks, soft fluffy itching from the speakers remained.”
2018 7” EP from Oakland post punk trio of Max Nordile on sax, Alejandra Alcala on bass, and Sam Lefebvre on drums. Four energetic tracks of logical chaos, wacky vox, rhythmic contortions. There’s nothing new about this no wave, but that’s quite alright – you can hear they’re having fun and it’s hard not to laugh along with them. From new local label Fine Concepts.
Pretty cool find – 7″ EP released sometime in the 80s from America’s Greatest Noise Artist himself, Emil Beaulieau (the alterego of Rrron Lessard of legendary label RRRecords, but you knew that). Four short tracks with all the trappings of power-drill-to-the-forehead harsh noise, but the experience of listening to this disc isn’t quite like that. Maybe it’s because within the clipped blasts are mysterious drones (T1), whistling melodies (T2), distorted guitar and whimpered vocals (T4) – you know, that velvet touch. Emil hopes you like it, but if not, well…
2007 7″ single from New Zealand experimental artist Campbell Kneale (see also Our Love Will Destroy the World and metal-influenced Black Boned Angel). One five minute track that tells a strange little tale, beginning with a noise collage of vibrating metallic sounds, like wire cables being wrapped, stretched and strained. But then the abstraction gives way to something more defined: a driving guitar and drum rhythm, a thick drone fog, and a monstrous swarm of chirping frogs. Together, the sounds paint a scene of headlights approaching in the dead of night.
Tom Djll is a local experimental musician whose work throughout his decades-long career is well-represented in our library, from his solo work to his ensemble projects Grosse Abfahrt, Tender Buttons, and many others. This release, part of Other Minds‘ 2018 Modern Hits series, collects recordings from the early period of Djll’s career in the 1980s, as he was just beginning to assemble his own Serge Modular synthesizers and use the instrument to accompany, or process, the sounds of his trumpet.
In these seven works, trumpet tones bend and stretch into space age sine waves, periodic pulses, blasts of noise, and other surprising sounds. But they’re arranged in different ways: in “popcorn music” (T3), “Pair Time,” (T5) and the understated “Francine” (T6), as a evolving improvised sound collage (those last two, featuring percussionist Ross Rabin, especially call to mind Tender Buttons), in “schitzo-analysis” (T2) or the centerpiece “FAT” (T4, an excerpt of an hour long piece), as intense, luminous drones, and in “Tombo” (T1) and “Seattle 1988” (T7), while Djll claims he was inspired by punk and noise, I hear them as a warped, funhouse mirror reflections of free jazz. More information about the recordings and some nerding out over Serge modules in the disc’s liner notes.
Live recordings from 2004 from avant saxophonist Paul Flaherty, drummer Chris Corsano, and C. Spencer Yeh aka Burning Star Core. Flaherty and Corsano had been developing their high energy free jams as the Flaherty/Corsano Duo for years before these sessions, and here Yeh adds violin and vocals to the mix. Yeh’s distorted playing moves in parallel with Flaherty’s white hot saxophone solos, like a form and its fuzzy shadow that follows along until it suddenly finds a life of its own. At times Yeh escalates the intensity into some Flynt-style fiddling freakouts. Corsano’s drumming is, as always, a total pleasure to hear – thoroughly precise and powerful, but still free, artful, brilliant. When he steps away from the action in the middle of T2 and T4, it feels like being in the eye of a storm. Yeh’s vocal stylings – from his throat-scraping utterances in T2, crazed yelps in T4, and last dying gasps in the final aftermath of “Swamp-Like Heartache” – add another weird dimension to the tracks. I’ll stop now and refer you to the much more entertaining track-by-track liner notes from Johnny Coorz, aka John Olson, who got to know the trio well when they toured with Wolf Eyes (and Prurient, damn… and that probably explains the title of T2) in 2005.
Inzane Indiana trio of Drew Davis, Tim Gick, and John Olson of Wolf Eyes. This cassette collects recordings of live sets from around the Midwest during the Fall 2017. The first two tracks on Side A are slow burning, late night jams recorded at some dude’s apartment. Droning horns, temple chimes, and what sounds like a harmonium give these tracks a heavy, ritualistic feel. The next two tracks are live recordings from one of Olson’s infamous Psy Jazz nights at Trixie’s bar in Detroit. The first is a thick, twisted throng of brass sounds (T3) while in the second, deep electronic drones and distorted recordings of chanting provide the backdrop for the horns in the foreground (T4). The final track was recorded (secretly?) in the Japanese gardens of Michigan State University, with the chanting voices and echoing sax rising again from the dark mists of Lansing. Now That’s What I Call Psy Jazz!
Two longform hallucinations from Seattle-based sound artist Kole Galbraith. Our copy of his latest cassette release found its way to the station during his visit to the Pit in June 2018. On each side of the tape, Galbraith uses an electric guitar with effects to create two contrasting scenes. The earth rumbles in “Cordilleran Rupture” (A), as rough electronic sounds collapse into a massive drone sinkhole. Justin Lazar and Paul Walsh assist with noise on the track. “Burnt Hair on Disautel Pass” (B) is a desolate landscape, swept by roaring winds, with chimes and blunted guitar plucking appearing like distant points of light. His first release (here) can be found in our library.
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?