experimental electronic piece in four movements, each shorter than the last. The first track is thick and sludgy, with momentary tones that sound as if being played on (electric?) didgeridoo, fading out slowly. The second movement is a little rougher around the edges, with harsher electronics, fuzzed-out distortion chilling in the background. The third movement is warbling and slow with a distinct melody that makes this almost come across as a bizarre leftfield pop piece. The fourth and final track is just the warbling from the previous track. Another great release from Howard Ryan of San Francisco, composed and recorded during lockdown Winter 2020.
delectable aqueous churning
stuck in mud,
electronic tin choking
on an acerbic liturgy,
fuzz-covered barbed wire
lining the fence between
the pit of man’s fears
and the summit of his knowledge.
this is the dimension of post-industrial research noise of Jim Haynes alla Helen Scarsdale Agency. subtle, static musique concrete, only somewhat harsh at times. a thoroughly enjoyable listen for those interested in self-reflective, meditative found sounding hums
It may also be good to know that destratification is the process by which air or water is methodically mixed in order to normalize temperature.
This project, as if descended from the occult hand of The Human Quena Orchestra (Nathan Berlinguette and Ryan Unks), is a 44-minute long excursion that buzzes and hums its way across a barren night sky. A lush wind’s murmur and metallic sandpaper scratching, haunted nightmare drones and inner-ear itches. Everything, all at once, coalescing into a final, subtle sound that you’ll find already has you hypnotized.
All the way back in July 2019, Phillip Greenlief planned to perform at KFJC with the Social Stutter Quartet to promote their performance at that year’s Outsound New Music Summit. Unfortunately, one of the quartet wasn’t able to make it, so Greenlief pulled out this gigantic book of graphic scores, and the then trio performed from the pages of this book. Little did we know, we were getting a live sneak peak into what would become this first-in-a-series album of improvised works to these graphic scores.
Whether the trio consists of more traditional instruments or live electronics, these trios bring to life these graphic scores that, while they look like twisted barbed wire, don’t have that harsh, scratchy, metallic feel. Each track is quite different than the last, but all maintain a certain placidity that momentarily gets disrupted, only to lull you back into that oh-so-comfortable false sense of security.
Ingeniously designed, masterfully-executed, perfect for KFJC. Enjoy!
Skronky skronk noisejazz. Improv-jamz galore. Frantic freestlyin’ just enough to take you under and bring you back. Strings/wind/percussion, probably Weeks on sax at some point, not that you’d be able to tell through the madness. Did you already take the red pill? Only one way to find out…
Absolutely amazing record off Rent Romus’ Edgetone Record label released last year after the passing of word shaman and beat poet goddess ruth weiss. In the late 1940s Chicago, weiss was one of the first to recite her poetry to jazz music, a tradition she brought with her when she moved to San Francisco. This inspired the then-unknown “beat” generation writers to do the same. Although she was incredibly inspirational, she (quite sadly) never gained the notoriety she deserved (Ferlinghetti himself at one point even refused to publish her b/c she was a woman). Despite the discrimination she faced throughout her career, weiss’ dedication to her craft remained unwavering.
This release is 9 poems performed in two sets. The first with Doug Lynner on synth and Hal Davis on the wooden log, and the second with Rent Romus on saxes and flutes, Doug O’Conner on double bass, with Hal David returning on the wooden log. As natural as her voice sounds to the more traditional jazz music sounds, I am drawn to her voice contrasted with the electronic/log music, at least for this record. Because she was getting up there in age, her voice has a very jazzy/smoky quality that was very obviously her instrument, and her handle of it is pure art.
There will never be another poet quite like ruth weiss.
I don’t even know where to begin with this. If girls just want to have fun, these ones just want to as they watch the world burn. Afrirampo is Oni on guitar and Pikachu on drums, both of them providing screeching, yelping vocals. This is japanoisepunkpsychelectronic at its absolute finest. This will make you want to move. And whether that means dancing wildly, solo-moshing, head banging, taking shots and breaking bricks, or pillow fighting, you will inevitably find yourself at your wits end, beat and broken, asking for more.
Ulrich, Torben & Goldston, Lori – “Oakland Moments: Cello Voice Reuniting (rejoicing)” – [Obscure & Terrible]
Brand spankin’ new tape label out of Seattle, Obscure & Terrible. This is poet/musician/painter/tennis player Torben Ulrich (yes, the father of Metallica drummer, Lars), reciting his poetry to the cello of Lori Goldston. They’ve been playing together since 2005 with Angelina Baldoz and Jaison Scott in a project called Instead Of. This, however, is their first project as a duo. Goldston is “Classically trained and rigorously de-trained, possessor of a restless, semi-feral spirit” and her evocative cello playing is haunting, flittering, profound, and raw, which pairs perfectly to Ulrich’s sing-songy delivery of his exceptional poetry. In what I wish was a longer release, this cassette does not disappoint, and often feels sultry and seductive.
The pairing is genuine, and clearly comes from a place of mutual sonic understanding. Dig it…
This is one of those “something for everyone” records. Subtitled “Leftfield Pop & Experimental Folk from ’80s Uruguay,” which pretty much says it all. Haunting voices, guitar strumming, prog rock ballads, smokey jazz club numbers, funk and soul, all Latin-flavored from the plains of Uruguay.
“This compilation reveals a world where ethereal vocal arrangements and acoustic guitars cohabit with synthesizers and drum machines, where Candombe and Latin American music form a fellowship with new wave and dream pop”
This is the debut album from this trio from Reggio Emilia, Italy. Nazim Communal and Andrea Silvestri started as a improv duo in 2015. They’ve since evolved, getting a drummer and creating seven really distinct pieces that run the gamut from psychedelia to rock, noise to electronica. Ranging from 7-10 minute, these excursions take you from the driest desert to the darkest parts of our universe. Dusty keyboards, reverb walls, other-worldly grooves, and hidden samples. Tasty…
awash in confusion
anxiety-ridden space flight
tunnel vision gasping for air
godzilla licking a sandpaper-dipper brillo pad
skronk ‘n’ roll
improvised harsh noise electronix and jazz improv from Ted Moore & friends…
lost among glacial spaces,
stuck inside the ice,
in between the screaming atoms
trying to escape.
does it begin at the beginning,
or follow all life’s sweet
it’s just a single buzzing
in the swarm,
one grumble in the fog,
a typewriter rotting
away in a storm
Off of the Aural Films online record label that makes soundtracks to movies that don’t exist, comes this release from Jack Hertz. In the liner notes, Hertz writes that Mechanics of Blue “reflects on the industry of unhappiness (…) entities that design products to make us feel afraid, unattractive, or unwanted. Cloaked in commerce. Branding, deception, fear, propaganda, gamification, subversion, trust, social engineering and other methods are exploited to get us to do what we do not want”
Myriad of different sounds meticulously put together, crunching, grinding, deep blue guitar twangs, wings flapping, voices in the background, synth waves, abstract wisps, and much more. Sometimes beat-driven, sometimes ambient-driven.
The songs create tiny worlds within the mix. Some tracks feel like being underwater like you’re a mermaid, other times you’re floating above the rings of Saturn, other other times in the thick of an undiscovered, unexplored jungle.
It’s majestic, like an acid trip where you’re thinking a million things at once and seeing the world for the first time.
the bells ring for no one.
over what was once dry land,
Orion reaches farther
into the void.
as you reach the apex,
the crickets pound
and penguin bones.
no way down,
no way out,
no one there
to hear your cosmic
noisters cheryl leonard on driftwood, sand, rocks, feathers, marsh reeds,penguin bones, pine needles and oyster shells; tom djll on trumpet and electronics; and bryan day on his own invented instruments. excellent easy-to-listen-to-and-drift-away noise from those who know best. DO NOT MISS.
Crunchy, post-punk indie tastiness from Oakland’s Candace Lazarou and Noah Adams. This is the freshman release of this duo coming hot off the Zum Audio press (more or less). This new project is sure to turn some heads, and KFJC is getting a jump start on the action.
Each short track is like a vacation into a romantic era poem, full of melancholy and disturbed musing. Float above the clouds, watching as the world below eats itself alive. Static on the TV doesn’t bother you, because why would it? It’s all just a dream anyway…
Avante-garde noise art by Italian composer Walter Marchetti. La Caccia (meaning “the hunt”) is a 42-minute long masterpiece of forest/jungle music, chirps, birds, wisps, honks, horns, whistles, all spaced out between short silences. The first track is broken into two parts, indoor and open-air. From the liner notes:
>the performers execute the sound actions with the use of birdcalls, whereas the non-sound actions make use of signals of a different nature: visual, touch, taste, olfactory, etc.
>each letter of the alphabet corresponds to a different, freely-chosen call. if the number of available birdcalls is fewer than the letters of the alphabet, a single call can be assigned to two or more letters.
>the rests, or silences, that follow each sound are produced by pacing off the number of steps – in any direction, from any starting point – which is scored as a figure of one, two three or four digits.”
>the sound actions are performed as above.
>the silences that follow each sound are produced by silently counting off numbers of one or two digits, slowly, quickly, or at any speed one likes; with figures of more than two digits, use is made of only the third or the last two.”
Make of that what you will….
The last two tracks are electronic drone pieces, the first being very literally that, a single drone sounding like a power saw from across the room. The second is a more harsh-noise-based wall of sound and has more depth to it than the first. The first track could very well be played simultaneously with either of the following tracks; the stark contrast between naturally- and electronically-made sounds is very apparent.
Another excellent release from Italian label Alga Marghen.
Murray, Kevin / Parker, William / Sewelson, Dave / Ghandhi, Kaelen – “Live At The Bushwick Series” -[Gaucimusic]
skrony improv jazz, 38-minute-long track from seasoned improv veterans
Absolutely fantastic release from Feeding Tube Records. This is improvisations by multi-instrumentalist Lloyd Thayer (who performed at the 1000 Incarnation of the Rose Fest) on the Chaturangui (an Indian 12-string instrument) and Weissenborn lap steel, alongside Jerome Deupree on percussion.
This is bluesey, psychey, indian-infused jams. Heady, ethereal and colorful. Swirling strings, easy brush-string beats. Whirling smoke dreams of Junior Kimbrough and Ravi Shankar’s love-child.
Navasota, Texas songster Mance Lipscomb recording once again for Arhoolie Records in Berkely. Discovered in 1960 during the blues roots discovery boom of the ’60s, Lispcomb, unlike most, had no earlier recordings. This is his fifth full-length, fourth in a series for Arhoolie. Most of his recordings, including the A-side on this release, were “live recordings” done in one session, in a single take. Extensive liner notes detail the unusual plight of Lipscomb, including his rise to fame as an important figure in the folk music revival period.
Excellent stories, raw gritty vocals. This is some top-notch, front-porch shit. Enjoy!
doomy gloomy soundtrack atmospheric, a journey into madness
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