take control of your soft mind,
attacks from the void
spacious droney fuzz
decimates the spaces in
tears a new asshole for the worlds’
Julius Lester accompanies himself on the 12-string, this is one of the two recordings he made in his lifetime. It’s some original and traditional folk blues music from 1966. The guitar and voice seem disconnected, I thought it was two different people at first. Lester’s voice is pretty sounding, unlike other southern blues crooners.
Lester went on to host a radio show at WBAI, teach Afro-American Studies at University of Massachusetts Amherst, but really made a name for himself writing books for children and young adults (which makes for interesting liner notes by Lester.)
Hollow front-porch blues. Slim approved.
PGM: DO NOT PLAY THE FIRST TWO TRACKS ON EITHER SIDE, THE RECORD IS BROKEN!
Cavemen Travis Caffrey and Michael Sadler are this duo from the deep West Virginia hills who have since relocated to Nashville, TN. Great fucking lyrics, super off-the-wall, and yet thought provoking at the same time.
Killer fucking skronky, heavy, driving rock that leans toward the silly side. Nice succinct tracks with crazy loud overblown bass thumping along. I love the ironic use of autotune vocals on ‘I Wanna Be Friends With Your Kids,’ and inimitable lyrics on ‘Cyclisism,’ ‘Curtains,’ ‘Dig the Pit,’ and ‘It’s All The Rage.’
Play for the nonsense, stay for the conscience.
Out on Foolproof Projects, Ron Caines of East of Eden and Daniel Spicer provide the noisey aspects of this release, while Gus Garside lays down the broken-beat double-bass, and Andy Pyne of numerous Foolproof projects slams away on the drums.
All the weird instruments give the songs a certain depth, making it free-er than free-jazz. It’s fun, spacey, and loungey in acid-freakout kinda way.
Alto, tenor, soprano, and bamboo saxophones, melodica, whistles, shenai (double-reed oboe), melody harp, and more.
unforgiving, unrelenting, and inhuman Unexamine is drummer Charlie Mumma, co-organizer of the Pure Harsh Noise Worship Festival in Portland and Danny Costa of l’Acephale. Unexamine has the same lineup as Rohit (a release titled Judge from our cassette library.)
Two sides of excruciating noise, side A claims to have two tracks, but it looks and sounds like one to me. A lot going on, multi-layered electronics blasting out the stereo into your broken, bleeding eardrums. Favored by the unfavorable..
Sweet, sweet psych! Slow stoner riffage, wailing guitar noise jams, shoegaze-y pop interludes, and seagulls!
Japanese underground “cartoonist” Keizo Miyanishi (his art is hardly cartoonish) brings his words and music out of the crypt. Tracks 1-3 are tracks and outtakes from a 7″ single from 1983. Tracks 6-9 are a live recording from ’83 and feature a pre-Ghost/Boris Michio Kurihara on arrangements and guitar. Tracks 4, 5, and 10 are outtakes from a 2007 album ‘Katawa.’
Awesome guitar noise-psych on top of pulsing and thudding electronic beats. Take a hike up the holy mountain!
Freaky electronic meanderings by oft-collaborated musique-contrete noisician Lionel Marchetti. Wisps of electronics (microphone/loudspeaker) set to a narrative, Mue, by French author William Pellier. The music is mostly sparse, but the electronics build like an incoming thuderstorm in a few places. Squarbbling and scrambling bass clarinet and saxophone by Jean Andreo. Marchetti
Interesting miniCD release here, seven tracks, 21-minutes. Good for mixing. Realized between 1992-1993.
From Burlington, VT, Salami Junior aka Joey Pizza Slice is a one-man, DIY, noise-pop band. Mr. Slice plays the keyboard, guitar, toy piano, some drum machine, vocals, and presumably more.
What is more interesting, is the way in which he records the songs. Joey manually removes the erasehead from the cassette recorder (the device which erases or scrambles the previous recording in order to record the new sound.) This allows him to layer the sounds onto the cassette much in same way a double exposure is made onto film.
The sounds a re muffled almost droney dreamy pop sounds with a gritty rusty feel. Pulls you in with its living-room-recording quality sound. All songs are short and sweet with great titles.
My favorites include: I Want To Drink Your Girlfriend’s Blood, I Never Want To Take Acid Again, The Day They Cut Me Out, and I Want World Peace. Limited to 400 copies!
Mirbeau is Sean Forlenza from Brooklyn’s Eidetic Seeing (who has played here at KFJC). Awesome four track release of solo improvised guitar sounds.
Hard to pinpoint exactly, it starts fast-paced and noisy, but eventually slows down, almost to a drone. Forlenza makes the guitar squeak and screech and squelch, but also makes these intense thunderous meanderings. A lot packed into this quaint 7″. Dig it.
Iron Lung is a sweet duo from Reno, NV who relocated to Seattle, WA. Their powerviolence/grindcore project is released on their own record label of the same name, which is modestly represented in our library.
What we have here is Jensen Ward and Jon Kortland at their finest: a twelve track 7″ 45rpm record that clocks in at about six and a half minutes of nasty, fast, powerviolence in every sense of the word. Each song is about 30 seconds long, so good luck trying to queue a specific track. I suggest just playing an entire side, your choice.
Andrew Lewis takes the name for this album from the French word “beyond,” and takes himself there through the power of realized sound. Lewis is a professor of music at the Bangor University in Wales, UK. With only one other release (a DVD from the same label Empreintes DIGITALes,) Lewis’ music thankfully finds its way into the KFJC library!
Amazing work here, Lewis calls his sounds “acousmatic music,” which I think is inherently confusing since it seems to mean hearing music without knowing it’s source. That being said, it isn’t exactly easy to pick out what “instrument” he’s playing as it’s a collage of field recordings and electronics. Sometimes the sound is hectic, other times scarce, but each track focuses on a certain idea, which I’ve described below.
1) Touches on the idea of dyslexia
2) reveals the unexpected harmonies of broken glass
3) sounds interpretation of mountains surrounding Bangor Univ. studios
4) reveals and consumes its sound elements at light speed
5) reinvents Wales’ sonic culture
6) bring the listener back to childhood
New release from Time Released Sound of Japanese artists led by Masashi Shiraishi, who calls his music “not music but art of sound.” Shiraishi does do most of the work: playing the piano and field recordings, as well as doing the programming, mixing and arranging. The others on here add parts to certain tracks, but it’s hardly perceptible, as the space and scene captured in each track all blend together.
Ocean sounds, nighttime, dark alleys, black rain clouds, all evaporate in the background, while the piano plays naive and optimistic, unaffected by its pessimistic demeanor.
Some of the longer tracks seem to go on and on, but it’s worth the wait. What would otherwise sound bleak and dreary, is a nice subtle touch of grace in a creepy void.
John Schooley and Walter Daniels, two ex-punksters/current noisefolkbluesters. Daniels played in Jack O’ Fun with Tim Kerr from Big Boys, and Schooley’s band, The Revelations toured with The Oblivians and Schooley also toured solo with R.L. Burnside (if that’s any testament to his blues abilities).
Here is their folk/blues album, chalked full of covers, this is also the first album where they both play exclusively acoustic instruments. Since they’re so used to making those awesomely strange distorted noises and electronics, they are kind of forced to bring that out in the acoustic sounds. Great collaboration!
Covers of Blind Willie McTell, John Fahey, Hank Williams, and a couple traditional pieces. My favorite is the original “Winston Churchill Cigar Blues.”
Spacey, hectic, squeaks and squallors that slow and build in a sonic meditation.
Konstruct is a Turkish free-jazz/improv group that teamed up with Joe McPhee to create this album from Roaratorio Records. McPhee met the group through Peter Brotzmann during a festival in Istanbul, so they decided to play an impromptu gig (without practicing) at a venue called “Babylon,” from which this release gets it’s name.
A great mix of both Konstruct and McPhee; neither of them really takes control, but instead swim together, keeping each other afloat. My favorite is the track “Involution” meaning the slow decrepitude of internal organs, or a function that is equal to it’s inverse. The track, like the old city of Babylon, rises and crumbles. The last track, “Kek’e” (Turkish for billy goat), is a little more soothing.
Lots of stuff going on here, and 4 x 10ish-minute long tracks on this nice slab of black vinyl.
Recorded by Garrincha of Garrincha and the Stolen Elk/Weird Forest Records as an exercise to teach himself how to properly use his digital recording setup.
The band is Boron on bass/vox and Grebes on guitar, with session drummers. It’s a raunchy lo-fi attack of bleeding discordant guitar riffs and pounding drums. The vocals are beautifully lost like a growling werewolf in the moonlit mist.
Sometimes annoyingly repetitive, but only leads into more heavy sounds.
Arrived by mail in a cereal box with shipping labels and “padded” by the kinds of trash you see on the cover art: bags of chips, tea-bags, candy wrappers, etc.
Ladies being ladies, and they ain’t taking shit from no one! Volume One in a collection of independent women’s blues music from 1926-1949, and it bakes. Tunes that assert females are just as strong as their male counterparts, if not stronger.
Since I have a not-so-secret soft spot for ladies blues music, I tend to agree. This album does a great job at exemplifying one of the many themes in blues, and one of the few that is strictly for women, especially at that time: personal independence and not putting up with peoples disrespect.
Maggie Jones, Ida Cox, Rosa Henderson, Billie Holiday, etc. Beautiful voices from beautiful ladies. Rosetta Records release with great liner notes.
3WR: Big Mama’s Blues
Maurice Lemaitre was the co-founder of an avante-garde French art movement called the Lettrists, who took influences from Dadaists and Surrealism. The lettrist movement explores art (poetry, painting, novels, cinema, photos) as well as social sciences (economics, law, psychology), and focuses mainly on the idea of creativity and the creative method.
On this album, released on the Alga Marghen label, Lemaitre explores the uses of the human voice. The first few tracks blend rock ‘n’ roll music while Lemaitre “sings.” Sometimes its in French, sometimes in gibberish. Recordings from 1957-1968, some of with appear to be recorded live. Very cool ,very interesting, very unique record that many will dig.
3WR: Found mouth sounds
Doomy industrial sounds from threesome based in Tampa, FL. Feldgrau means “field gray” in German and is a shade of the color green, used by the German army from 1907-1945.
The band on the otherhand, was only active from 2001-2004, and this is their only full length release. Pete Helkamp from Revenge and Kerasphorous on bass, vox and electronics; Destruct on guitar; and Vhex on keys and backing vox. Noisy feedback and unintelligible vocals woven in throughout. A lot of the tracks have a purring quality to it, it’s hard to explain, but the whole sound seems to pulsate like a cat purring. Couple long tracks (5 min+) on here. Turn it up..
12345 S. El Monte Road Los Altos Hills, California 94022
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