Sonic MEditation is a very appropriate label name for these folky acoustic acid jams from Steve Lande. Melodic, sparse, and spacey, the guitar and electronics mixture sounds like Abacus and Ann Arbor’s airchecks mixed together. Creepy but strangely uplifting.
Anthony Pateras, alongside a small string and wind section, set out to create the soundtrack to Eron Sheean’s Errors of the Human Body, a still unreleased movie about what appears to be genetics gone wrong. The images from the movie look quite disturbing, and the online trailer is even creepier. Pateras won Best Soundtrack for Sheean’s Bing at the Dresden Film Festival. Pateras said he tried to bring out the cold musical themes to reflect to clinical atmosphere of the Institute in the film, which is very apparent in the music. This double LP has me wanting to see this movie bad.
Most tracks start will a bell or slowly building dreamy drone.??The beginning of the album has a sense of immediacy in the layered strings, and the songs get louder as they progress. A4 sounds like a scrappy junkyard becoming a lucid dream, A6 is doomy and slow with fast strings creates this fuckfest till it slows down to a sawlike drone leaving you wanting more.B1 is a slowly growing sleeper wave with squeaky chair noise. B4 starts with shaker and percussion and sounds like a party scene, then maybe some mutation or running. C2 is an escaping helicopter and the D-side is the intense ending and resolution.
Great soundtrack, cool weird sounds, and looks like a must see once the movie comes out!
Fortner Anderson wrote a poem a day for 365 days and these are a??selection of them put to music from musicians who’ve been playingtogether on-and-off in different projects; Michel F. Cote, Alexandre St-Onge, and Sam Shabali. Check out the Shabali
Effect and the collection “Six Silk Purses” to check out the music.
Sounds like unstructured improv at times, but structured at other
points, depending on the poem. Spacey, sometimes driving beat, sounds like its resonating inside your skull. The collaboration of the music and poetry are??complimentary and create very real places in your imagination.
“The voice of awkward humanity,” Anderson uses simple, sometimes random descriptions to evoke feelings.??Talks about homeless, children without hands, and a lot about being naked.??Seems at one point Anderson had a riend die of cancer, some of those??poems are a little depressing. Some of the tracks Anderson starts the poem with the??date, and others he ends with it, both add distinct drama to the??poems. Check it out for the music and the spoken word! I marked my favorite, what will yours be?
Originally released in 1980 by 15 musicians and 3 prostitutes, this is Allin’s first album. Definitely representative of 80’s punk. This album was recorded well before he was covering himself with feces, but it’s still good shit!
Makes me want to headbang more than beat someone bloody. “Don’t Talk To Me” is a great song about what it’s like to talk to girls on the phone. We have a bunch of versions of “Cheri Love Affair,” but it pops. Throw it on the turntable already..
Get past the first track and the album actually takes off. The whole album is a cover of the Pretty Things album “S.F. Sorrow.” Some of the tracks are more straight covers while others tend to be interpretations of the originals (keep in mind some of the covers AND interpretations are better than others.)
From spaced out versions to psychey violin, lo-fi recordings and overproduced BS, and some extended flashback-inducing psyche jams thrown in for good measure. Indulge in playing your favorite from the original album first, then be surprised by the other tracks. Not a fan of 1,4,11, and 12, but see for yourself. Tell listeners to throw on headphones!
Mad Nanna is Michael Zulicki who runs the Albert’s Basement label outside of Melbourne, Australia, where he resides. From what I gathered, Mickey (as they call him!) plays his skewed take on “pop” music, getting together with random musicians who sometimes haven’t heard the music before. Mostly lo-fi recordings make the album seem very live, like its coming at you from your living room, and at times, sounds like it’s coming from someone else’s. Some tracks sound like they’re very stripped down; metal trash cans and plastic tubs drum set and one chord songs with crappy mic volume, daddy likey.
The volume likes to fluctuate, but it only gives it a grittier more homemade sound, which I approve of on this album. Sometimes bluesy, sometimes psychy, also some popy numbers, and drudgier stuff as well. His guitar feels thrown together in the moment, keeping you waiting for the next note, but played precisely in time. Track 2 and 7 are spoken and 7 sounds like it might have a “fuck you” on it. Mad Nanna has some 7″s?? out also, would love to see more of this group in the library! Eat it up!
PGM: track 7 (B3) may have a “fuck you” on it.
Killer split from Nautical Almanac (formed in 1994 in Ann Arbor), and Vertonen (Blake Edwards from the Bay Area). Droney and sometimes grooving, this album feels half like a noise party and half like a droned out war scene.
Nautical Almanac takes the award for most noise party sounding. Plethoras of beeps, a symphony of sirens, the first track feels like a wet, damp, city scene. Second track starts quiet and build to multiple electrocutions layered over the sound of breaking glass then a warbled computer in an empty hospital room. A3 is the noise party Friday night!
Vertonen wins war scene award for it’s first two tracks. First one takes place in outer space and the second near a helicopter pad at sunset. B3 is a salsa-ish song… yeah you heard me. Cool release, interesting blend of the two groups, recommended for everyone!
Four guys out of Seatlle, WA who are very pissed off. Luck enough to have them up in the Pit early this year, and what a performance it was. A lot of the songs they performed are here on this album released last year. With socially provocative lyrics and a hardcore-punk/ noise-metal sound this album does a good job of getting you nice and pissed off as well (especially after checking out the killer lyrics sheet inside.)
Slow and drudgy in places, crazy fast and insane at others, throathy and also peircing screaming lyrics, and the drums create a sense of urgency with a slow tempo. This band has an incredible diversity of sound, and also had you moving around like you’re having an epileptic seizure.
FCC: A1, A3 (which tracks into A4), A6, B1 (tracks into B2), B3, B4, B6*
*awesome lyrics though
Limerence (n), term coined in ’77 to describe the strong romantic attraction to someone else, coupled with the obsessive need for the feelings to be reciprocated by the limerant object. This cassette will undoubtedly be the limerant object for many DJ’s up here at KFJC. Monypeny uses electric oud and the electric guitar, making this release less Middle Eastern influenced. The first track on side A starts off in the middle of a cloud of bees swarming around and around, distracting you from something. That something comes unexpectedly and sounds like a robotic Godzilla tearing apart cars at the junkyard. Second track is more of a lucid underwater naptime dream. Three is hypnotic ambient single notes until halfway it stops and turns into a handdrum jam.
Then turn this sucker over and experience the 17:00 long track. Sparse sounds warbling by, slowly building and building to drop back down, never really hitting a peak. Awesome job here, and I think many will enjoy, especially with all the love Don’t Bring Me Down, Bruce has been getting. Get your fix…
Some very different things on this collection from Tiger Asylum records. 15 different bands execute some form of improvisational experimentation. Ranging from brass ensembles to full force free-jazz to soulful spoken word (of which I am migthy fond.) Includes tracks by Ben Miller of Destroy all Monsters solo work and work in Push-Pull Orchestra. Mothguts and Herb Robertson blow my mind away with their punch in the face jazz explosion. We also hear the words of Ra Washington, who performs his own poetry on one track and has a woman read it on the second. Wish we had more of this guy. Khouri/Soderberg (A library) make quasi-soothing electronic space warbles. Chris Welcome is a slow, heavy stepping, free moving drunken haze in front of a bar just before last call. Lots of cool stuff on here, something for everybody, play before time runs out!
Oh yeah, there???s some cursing and shit on track two..
Hardcore Canadian punk ladies rock out in this self-release from Twitch Carreras and Claudia Fernandez on vocals and guitar, Gillian Callander on bass and Joy Mullen on drums. Joyce Collington is a airtram station in their hometown of Vancouver, B.C. I like the all female lineup, mostly because the vocals aren’t as deep and throaty, or high pitched screetchy. Very cool hardcore here… B2 is a little stoney/drudgey.
All songs come in around 1 minute, and watch for curse words , fool!
FCC: A1, A2, A4, B4
Agali “Ali” Ag Amoumine is not from Takamba, nor is he Sonrai, the ethnicity credited with the creation of Takamba music. Ali lives in Timbouctou, 150 miles up river. I’m not sure that matters much, because this recording of Ali on electrified terhardent accompanied by Alhassane Maiga on calabash kicks ass! Originally distributed on cassette and cell phones, Ali’s music is regularly played on the local radio station and is likely on memory cards into Niger, and now into KFJC’s library.
Occasional shouting and the distortion on Ali’s two-stringed terherdent make for long hypnotic psyche jams. The calabash keeps a low steady rhythm as the songs progress. They play a lot of takamba standards, but at least one, Hali Diallo, is an original about a Pulaar woman.
Side A tracks through to the end with a time of 19:36, and Side B seems to pause only once 8:38 into it with 11:48 remaining. You can either drop the needle anywhere, or my favorite, play the whole fucking side. Mix with it, play it alone, just throw it on a turntable already!
Electric guitar chaos from Scott Shanley, noisemaker extraordinaire!
Scratchy, ear-bleeding crunch and static manipulation. Sounds like a
cat screaming as it wakes up from a nightmare. A police siren on an
oil rig stuck in a massive thunderstorm. The two long tracks remind me
of coming up on a bad acid trip, as they slowly ebb and flow. Last
track has trippy distorted spoken vocals and a couple false endings. Turn up and enjoy
This release by Axolotl (pronounced axel-ottle) is the solo output of
Karl Bauer, who says he tries to create a physical experience from the
music, which you experience when throwing on your head phones and
blasting it. Much louder and multi layered than other releases. Static
and voices, melodcally daunting layered electronics create gorgeous
drones and ambient squeeks that make you feel stuck in the colorful
bubble of a lava lamp.
1 Giant orchestral wave of spacey noice that crashes suddenly
2 Space station musical chairs, foggy construction site stuck on spin cycle
3 Sea static stuck in traffic, helicopter dream fades out
4 mermaid chorus with reverb, futuristic copcar sirens, wave of dragon
fire at end
5 melodic EAS test from across church, ends at :04
From her first song, the?? first note, through both LPs, this girl has some fucking soul. Wendy Rene, born Mary Frierson in Memphis, corralled her siblings and formed the vocal group the Drapels, who got immediately signed to Stax’s subsidiary label, Vox. Mary got signed the same day when she showed Stax cofounder Jim Stewart songs she had written. She recorded her songs with her brother Johhny, Booker T and the MGs and Otis Redding (who coined her stage name, Wendy Rene).
After three singles of her own music, two with the Drapels, and being included on a roster for a French Stax compilation, she retired to take care of her growing family. Made some royalties when WuTang Clan sampled After Laughter. She returned to do one more show in New Orleans in 2010. She currently sings in her local church choir.
Rene has such as strong?? voice, and the power in her voice in the first couple tracks really get you moving. This is all of her recordings, including all the songs recorded with the Drapels. Brilliant liner notes, amazing release. I can tell this is going to be a KFJC favorite, so hit it up before it becomes uncool…
PGM: all songs just fade out slowly
This is the second compilation KFJC has goten from Tru Thoughts records, formed by Paul Jonas and Robert Louis in Brighton, UK in 1999 after the succedd of thier nightclub. Became one of the most repected independent labels in the UK. Tru Thoughts also birthed three sublabels: 7sevenm, concentrating on funk/soul; Unfold, who releases compilations (not this one suprisingly), and Zebra Traffic, releasing UK hip-hop.
This album is really a mix of all thos; danceable beats that are funky groovy, hippy and hoppy. Liner notes explain individual track sounds, but ludge for yourself. Some tracks are definitely better than others, so preview that shit…
If this album was a beer, it would be a strong IPA of sorts.
Best tracks: 1,3,4,9,14,15
Instrumentals: 1,7,12, (13?)
Coxhill is a prolific solo soprano and sopranino sax player. this album is supposed to accompany a book of the same name, which is a biography of Coxhill’s life. Half of the songs were written for the album, others were recorded live or come from soundtracks.
The music changes from groovin boppy sax riffs to wonky squeaks and high pitched expirimentation. Very versatile player. Feels like a “best of” album. Long tracks good for mixing since it’s all solo saxophone work. Great expirimental imporv here.
This album is a split release by Teenage Teardrops and Awesome Vistas of Sun Foot, a trio based in Portland including Ron Burns of Swell and Star Pimp, Awesome Vistas label founder Chris Johanson, and Brian Mumford of Dragging an Ox Through Water and Jackie-O Motherfucker. These guys utilize guitar, bass, handdrums, electronic drumpad cymbals, pan lids, clarinet, tape, a computer, and vocals. I’m not really sure how to?? classify this music, you’ll just have to take a listen and enjoy.
A-side is a monotonous side-long, one-chord guitar with pings and pangs and droned chanting, plus some awesome hand drum action. A little to straightahead for me, maybe good for mixing.
B-side is all over the place… in a good way. B1 sounds like its trying to be bluesy and psychy at teh same time, reminiscent of 60’s classic rock. B2 is twangy twangy twang, one-chord guitar, two note bass line, a short and sweet guitar solo in the wrong key in the middle, other found sounds sprinkled through.
B3 uses wonky clarinet and what sounds like vinyl scratching. There’s someone yelling in pain, then strange electronic noises overtake the music. B4 is a short, almost surf sounding track, and B5 is a mix-mash of it all, kind of a weird electronic surf punk ballad. Lots will like, and many will love; only 400 copies. Enjoy!
New single from Daniel Halal (bass), Brian Hennessy (guitar), and newcomer Vivienne Rohan (drums) who are the noisemaking Diet Cokeheads from Harry Pussy’s hometown of Gainesville, FL. This is the third in a series called “Orifices,” ??the other two albums titled “Oral,” and “Nasal.”
The A-side is “M. Dumptruck,” a 3-minute long freak out with female vocals screaming accompanied by maniacally deep mimicing male vocals. Then it starts to switch back and forth between a danceable girly pop beat.
B-side is 6-minute long eccentric noise/punk/psych/metal jam. Spacey reverby vocals float in the background as it changes quickly from slow rhythmic tones to heavy punk to a stoner metal jam. Fun for the whole family!
Amy Shelley is a jazz/ improv drummer from the Denver, CO area, and
Aubrey Lande is an improvisational vocalist who sings primarily with
her husband Art Lande (see Jazz Vinyl.) Amy Shelley keeps it
inconspicuous for most of the album, with desolate toms, vibes and
cymbals. Aubrey Lande, on the other hand, goes balls out improvising
lyrics, which at first listen sound kind of ??corny and cheesy, but to
think that she comes up with them on the spot during recording??? I give
her props. She messes with the sound of the words and when she finds a
particular sounds she likes, she repeats the word with different vowel
and consonant sounds.
Track 3 is some creative gibberish Lande sings in falsetto. Track 6
sounds really sensual and sultry in the way Lande speaks. In track 7,
Shelley busts out a sick hip-hop beat, and Lande talks about the
ingredients in maple syrup (worms, sperm, and whale sperm parts,
paramecium, parmesan cheese.) Track 9 we hear the drums wax and wane
from overpowering the lyrics to being almost unheard, back and forth.
Creative, fresh, and something for spoken word lovers! Check this out
and play it now!
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