the stippled streetlight over a gravestone at 2:30am,
eating a fresh donut at the bustop
in the fog,
Reverb’s lovesong to Distortion,
a ghost’s songs buried deep
in the snow.
a psychedelic pop aesthetic that floats uncomfortably
above the madness.
solo release of seattle-based Natasha El-Sergany on vox/guitar/synth recorded onto a cell phone 2016
the stippled streetlight over a gravestone at 2:30am,
Found sound field recordings from Bolivia & Chile. Felipe Araya plays the Peruvian cajón, a wooden hand drum, in a very non-traditional, exploratory fashion.
Side A is field recordings made in Bolivia originally recorded onto mobile phone. Gysin/Burroughs-style cut-ups of sounds at Cochabamba market, at el Ojo del Inca, traditional folk sounds, muddy footsteps, faint voices with occasional sounds from Araya’s cajón.
Side B is a “silent session” recorded at a friends place in Santiago, Chile. Cajón and objects, starts as a minimal, playful exploration that evolves unhurriedly into an excellent crescendo.
Two 26-minute sides of well-done, found-sound, bliss…
Awash in an electronic fog,
humming voices lost into the
overwhelmed by an unknown
White noise from the hills
a bird chirps,
warping sweet fruit.
Sweeping whispers hypnotize,
sacral chants take
Through fields and churches,
fire enflamed in
what once was.
Let it become you,
let it end you,
wait and listen.
Turkish electronic/electroacoustic composer. She’s done vocals and bass for some crushing punk rock bands. Enrolled in doctoral program of sonic arts at Istanbul Technical University’s Center for Advanced Studies in Music. Released 2018. Short, succinct, electronic/found-sound compositions.
Wax-stackin’, needle-breaking, vinyl-jockey, DJ T-Rock from North Carolina. This is the world’s best scrath DJ on his first release from 1999 off of Bomb Hip-Hop Records, and it is one-of-a-kind. T-Rock works with a complete arsenal of sounds to create a constant, fast-flowing, sometimes hard to follow beat. Scratching that will melt your face and vocal samples that keep you under its spell. Alien invasions and killer robots. This is the real deal.
Jesse Fuller is the one-man band. Fuller plays the twelve-string guitar, has a harmonica, kazoo, and microphone in his mouth rig, and plays a series of foot pedals attached to a washboard and the fotdella (a foot-operated bass guitar), an instrument of his own invention. The washboard needed to be lubricated before being played, which, for this recording, was “provided by oil from the finest Norwegian smoked salmon, which everyone at the session (except Jesse who didn’t care for it) was consuming with relish.”
Jumpy, folk blues from this Georgia-turned-California native. Fuller was an unsung, old-school, busking style, folk blues hero. Famous for his original “San Francisco Bay Blues,” Fuller’s music influenced folk and rock legends across the globe. This release from Prestige Records is a solid classic
Gospel chorus voices, droning, drifting; humming, chanting hypnosis. Generations of humanity’s lost wisdoms.
The Bunun tribe is one of nine on the island of Taiwan, and as such, have been massively isolated from the cruelties and evils of modern society.
While the last couple tracks have instruments (violin, jew harp), this is largely vocal sounds. Fantastic release from unknown musicians on an unknown label.
coffin nails squeaking open, a dust cloud rolling through, and the sound that keeps you awake
Portland’s weirdos Noa Ver and Zach d’Agostino. Both simultaneously play squelching, buzzing, droning electronics of their own design, while Noa uses a contact mic to produce screechy, screaming vocals, distant, like an old phone. Zach keeps a beat, sometimes, driving off into a short-circuited sunset. 100% homemade, analog sounds. Is that a violin? mamba bongoes? Who knows..? Who cares…? What does it all mean?
Is this the end of the world or a new beginning?
Maybe both, probably neither.
This will make you feel warm inside while it tears you apart. THIS RULES.
This Caedmon Records release of two-time Pulitzer Prize-winning American poet, Robert Frost (1874-1963), was made in 1956 “at Robert Frost’s home in Cambridge, where ebullient spirits, rural quiet and a feeling that this was to be the definitive Frost recording influenced the fine vitality of this reading.”
Some of his finest work, “The Road Not Taken,” “Death of a Hired Man,” and “After Apple-Picking,” among many others. Lay it down.
“Barriers” is the moment you tip into sleep,
a thumbtack fallen pin-side-down
onto the hardwood floor,
a soft tap into a shallow
Recorded live in 2018, Eli Wallace’s solo piano work finds the cracks in the piano you didn’t know were there. Thunderous wisps and lukewarm fogs. Where to begin?
These two (Diana Oropeza: Voice/Words and TJ Thompson: Drums/FX/Electronics) are my new favorite band. I had the pleasure to see them touring with Surfer Rosa’s project Sea Moss when they came through town. Diana lays down slick poetics, echoed and eerie, while TJ keeps the beat and layers in sounds. It is a raw admonishment to the world, the system, and everyone.
FCCs tracks: 1, 5
This is the soundtrack to post-apocalyptic hipster utopia. This is a mustache on a motorcycle. The cowboy hat from Flagstaff, AZ. “For Music Lovers” is cool, fun, atmospheric pop, it gets stuck in your head like a loose screw. Cesar came through the Pit in 2016, maybe. Weird enough for the weirdos, accessible enough for everyone else. Music here for everyone, turn it up.
Cruel Diagonals is LA based vocalist Megan Mitchell. A field recordist by profession, Mitchell wrote and released this as a follow up to “Disambiguation,” which we just added to our library October 2018. While “Disambiguation was about sense-making and uncovering some of the traumas surrounding Mitchell’s early musical career as an adolescent and young adult, Pulse of Indignation is about recognizing the exploitation, grooming, and pain that she was subjected to as a young woman under the watchful eye of men with power in the music industry.”
Watery, whooshing drones; ambient, reverby vocals; and soft, subtle noise amalgamate into this wonderful collection of seemingly disjointed sounds. Comforting, and yet, unnerving. This album is already gaining some traction, so dig it before it’s too late.
Oakland based project. 7 tracks of what the band calls experimental doom. It doesn’t quite feel like metal to me, though. It’s noisier, raunchier, and more in yo’ face. There are definitely metal elements, and a punk/noise ideology.
Track 1 is a cover of an excerpt of a Thou song called “Monstrance.” Cy Thoth would approve.
I can’t seem to find much out about this project. What I can tell you is that this is their second of only two releases (according to Discogs), both on the Madriguera label, and that Consolat is from Puerto Rico. Their first album, “S/T”, is the first release on the label, so I imagine there is a close connection between them.
What we have is four tracks of transcendental electronic noise. Sometimes lead by a beat, other times searching for something just beyond reach. It squibbles and squabbles, creaks and crunches, blasts and booms. “This release furthers the machinic faults, exhaustive rhythms, and accident-prone craftsmanship that comprised its debut tape. A personal, coarse, and rudimentary account on the island’s political landscape.”
“What the f*ck is this?!” you say. It’s, like, a REAL jazz trio, but it’s Sun Ra… That’s right folks, Sun Ra on piano is joined by Hayes Burnett on bass, and Samaria Celestial on drums. Originally released on Sun Ra’s El Saturn Label in 1979, and re-released here on Cosmic Myth Records. This is a pretty straightforward jazz trio, with all songs composed and arranged by Sun Ra. Toe-tappin’ and finger snappin’, easy listening, very accessible for those not into traditional avante-garde Sun Ra jazz. Drop the needle already!
Spontaneous improvisational music from avante-garde jazz saxophonist Frank Lowe, his third release as bandleader, accompanied by Lester and Joseph Bowie, Abdul Wadud, Steve Reid, Charles Bobo Shaw, and Selene Feng. This pops, stings, and punches you in the gut. Warbley, skronked-out scrapes and screeches. Improv madness that waxes and wanes, an all-out physical assault AND sweet nothings whispered in your ear. Tread lightly, “Fresh” indeed.
Nothing is known about Willie Baker, except that he would, as a child, play in Patterson, Georgia and that he may have gone to a Robert Hicks medicine show in Waycross, GA.
Charley Lincoln on the other hand, was born 3/11/1900. He performed with his brother, Robert Hicks (the same as above), professionally known as Barbecue Bob, for many years. After his mother and brother passed away, Charley became a very heavy alcoholic. He shot someone on Christmas Day 1955, and ended up going to prison. He died there of a brain hemorrhage in September 1963.
Atlanta, Georgia blues. One man, one guitar, one front porch.
Stephanie D’Arcy is the mastermind on this freshman release from this SF-based project. D’Arcy on guitar and vocals, Ryan Albaugh on drums, Giancarlo Arzu on bass, and Yaryn Choi on keys and providing vocals. Their lo-fi grunge-pop is a slightly off-kilter, head-boppin, house party and you’re sitting in the corner with your head down, all the voices and music faded and muted in the background. First part of the album hits hard, while the last part is not as impressive. Definitely worth a listen!
1 part brass band, 2 parts lounge jazz, one part noisy meanderings, this EP is the sister release to Botafogos in Shadow Position. Buzzing, skronky, cloudy, weirdo sounds. You find yourself lost in a Dali-esque circus show, whose entire show is amalgamated up in a mere 15-minute extravaganza! Let the show begin!
Mr. Fat Possum Records, R.L. Burnside’s houserockin’ blues. This is one of the few remaining records from this bluesman that we don’t have. For those unfamiliar, R.L. Burnside was born November 1926 in Lafayette, Mississippi, and started playing blues after hearing John Lee Hooker. He got a later start than others, but still knows how to bring the heat. Burnside helped define the sound of Fat Possum Records alongside Junior Kimbrough. His son, Cedric Burnside (who plays the drummer in the film Black Snake Moan), makes an appearance on track 4. Electric, fuzzy, scuzzy, blues.
Come on in, the water’s fine….
12345 S. El Monte Road Los Altos Hills, California 94022
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