Self-proclaimed “thrash flamenco” from Sydney, Australia. This is three dudes, Jacinko and The Raven on classical guitar, and Senor Bang Bang on the hand drum /box thing. Influenced by thrash metal, classical, reggae, rock, etc. Amazing technical skills on guitar. Fun, enchanting, hypnotic. Kinda weird album, I’m not sure why I like this, and neither will you.
First CD release from Russia’s Alexander Shevchenko. First releases were on cassette and CDRs, making this his first real CD release. Whoosing ambience and watery jazz grooves, cascading beautifully over and under each other. From liquidy electronics to twangy ballroom guitar noodlings, it’s hard to tell if this is even strange at all. It has a nostalgic quality but seems unrecognizable at the same time.
Beautiful, spacious, omnipotent…
4-way split from Trashfuck Records/Pickle Dick Records. Lt. Dan is a hardcore/grindcore band, one track being recorded live from Zombieland! in North Oakland. Redsk is noisy noise, stormy and harsh, Noise Pancake style. ‘Seven Morons on Nyquil’ is cut-and-paste harsh noise with short poetic quips (a few FCCs in this one). Shanaynays with Shillelaghs clocks in as most harsh, with circuit-bent vocals and epic intros (i.e. ‘Olestra Molestra’). HEADCLEANER has two tracks, on fifty five seconds long, the other just over 15 minutes, which is spacey, thick ambient noise, with a Sal9000 quality. One in a series of other ‘Your Ears’ releases from this label. Solid weird shit that is sure to hit a note with broken ears station-wide.
French producer and DJ Laurent Garnier. This is one of Garnier’s best selling singles from his second release, 30. Garnier is notorious for getting folks into electronic dance music. Definitely worked on me. Kind of minimalist, easily accessible.
This is the third release from Durham, North Dakota native Nathan Bowles. He is one of the performers at 2018’s The Thousand Incarnations of the Rose festival as presented and broadcast remotely by KFJC. Nathan does it all, playing banjo, piano, percussion, and providing vocals. Most of the tracks are instrumental, which I include track 3, Blank Range/Hog Jank II, among since the “vocals” are more of an ambient hum.
It’s ambient Appalachian folk meanderings. It’s cool and fresh, jumpy yet sedative. Some tracks are somber, others hopeful. This is folk for folks who don’t think they like folk.
This album starts with what sounds like being in the fiery cockpit of a 747 crashing though the San Francisco fog. Suddenly the left wing rips off, instruments are malfunctioning. You can almost hear the sound of screaming passengers in the background. The plane quickly loses altitude and it seems the plane may crash into the water, extinguishing the flames. Everything gets real quiet. Where is your flotation device? Not all hope is lost… then it fucking explodes, fucking flames everywhere, faces melting off, no more hope. And that’s just the A-side…
This jet fuel melts steel beams!
Two killer musicians featured here, Tom Weeks on alto saxophone and Camille Emaille on percussion sounds. Recorded in Oakland 2016, what we get is what I’m calling surreal jazz. Certainly skronky, certainly noisey, and possibly jazz, but without leaning toward one or the other. Waspy wisps of wings around the corner, fluttering brushes, clips and clops, the bowing of a saw, perhaps, and what I’m sure is a goose having on orgasm high on acid.
Actual Trio is Bay Area jazz veterans John Schott (guitar/composer), Dan Seamans (bass), and John Haynes (drums). Recorded December 2016. The previous summer, apparently though, these compositions sounded happy and joyful. But after that year’s election (what the artists describe as “our looming national catastrophe”), they considered not making the recording at all.
What comes out of this is a technicolor palette of anxiety. I find that the music, while sometimes pretending to be cool and groovy, is in fact tense and jumpy. It has an improvisational feel most of the time, but is also clearly composed at other points.
Play it, spin it, slip it in…
Scuzz punk from Gresham, Oregon. Stevie Blunder on vox, Niko on drums, Vomit Master on guitar, and Ellis Dee (not KFJC’s Roland Blunt) on bass. Late ’80s punk, discernible vocals all on the theme of pee-pee. Whistle solo on “We’ve Come to Kill.” FCC clean, but definitely disgusting. Translucent yellow vinyl limited to 200 copies.
On the list of inspirations for this album that includes Keiji Haino and Syd Barrett, Patrick Neill Gundran cites, “that scene in Aliens when one of them gets shot in the head by Lt. Vasquez and writhes around in that air duct” as another major influence. This album is two 19-minute long tracks of subtly fluctuating improvised wall of noise. Recorded on high bias cobalt tape, this 2015 release will be the perfect accompaniment to your morning commute.
Poly-melodic, hypnotic eastern string jams. Waves of riffs from the rhythmic hurdy-gurdy of Alexis Degrenier; floating seafoam background humming of the electronic Indian harmonium of D’Incise; both tied to the subtle, leading percussion of Cyril Bondi.
wisps of electronic strings,
bring on the wave.
bluesy folky blues
some tracks with Glover and Ray,
stewball grunts ‘n’ groans
short, quiant improvs on
alto sax and piano,
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.
12345 S. El Monte Road Los Altos Hills, California 94022
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