Lucrecia Dalt is a former geotechnical engineer from Colombia, now settled in Berlin, who has previously collaborated with Julia Holter and Laurel Halo. While her early work has been described as “experimental indie pop,” on this album she leaves the “indie pop” behind. Dalt is an exceptionally skilled sound designer, deftly weaving industrial aesthetics into the conventions of minimal electronics. The result is a sound all her own: raw, rough, tactile, but also precise, polished, icy-cold. And then there are the vocals (T1, T3, T5, T6, T9, T11), spoken-sung and subtly processed, they draw you in and push you away at the same time. These are short tracks (1-3 minutes) that nonetheless evoke a sense of geologic time, of a stasis that masks the presence of tremendous power.
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!
Mostly solo percussion works by Stackpole, a fixture on the bay area experimental/improv music scene. I don’t recognize anything that sounds like drums here–I’m hearing gongs, cymbals, and maybe some other resonant metal things(?) I suspect bows and perhaps soft mallets are being used to produce these deep layers of floating metallic sounds. A1 and B1 are collaborations with Ann Dentel, another local performer/improviser. Very nice but at 12 or 13 minutes per side it’s over too quickly. A 2003 release that has somehow eluded our library until now.
Care is a collaboration among experimental artists from two generations, English composer Simon Fisher Turner and Swedish electronic artist Klara Lewis. Turner has been working since the 1970s, and perhaps is best known for his film scores, including compositions for the works of avant-garde director Derek Jarman. Klara Lewis, sound artist and daughter of Graham Lewis from Wire, here revisits the abstract sonic spaces from her 2016 LP Too. Throughout Care, stretches of heavy stillness give way to sudden violent jolts and slowly emerging fragments of recorded sounds, The field recordings – of children playing, ritualistic chanting, strummed and sung traditional melodies – materialize in the foreground, and as they surface, so does the flood of accompanying emotion. Gorgeous, lush drones surge and swell, reaching their greatest heights on the closer “Mend” (T4), a vision of solace amid chaos.
Tetsu Mineta is a Japanese guitarist and singer. He’s a member of the rock group “Both Cheese”, but here he’s solo with an acoustic guitar and tape recorder. As the album title implies, this is his fourth release, all on cassette.
Most of the album is slow, soothing, lo-fi acoustic guitar work layered over quiet beds of tape recorder hum, indiscernible distant rustles, and occasional backwards instrumentation (T2, T6). Fahey-esque at times, but shrouded in a mysterious opium haze. “Nova E.x.P.” (T4) is a rich, blissful stoned-out guitar drone.
The first track, “Moshpitloser”, is unlike the rest. A quick rhythmic percussion riff featuring bongos, toms, cymbals, and a cowbell played faster and faster until the whole thing blasts off like a spaceship.
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….
This lovely music finessed by Narcisi breathes in and out in a chill way like an accordion, the instrument which Fidanza brings to the table on tracks 6 through 9. Electronic manipulations and field recordings are what’s in store on this release, and listening to it will take you through time quite easily and dreamily. Track 9 even sounds like it has a vox humana which indeed sounds like the celestial voice indicated by the track title. Enjoy.
Phoenix, Arizona-based musican Owen Evans (AKA R.O.A.R.) says his influences include the Beach Boys and Beatles, and this is apparent in his vocals. The title of this album is a great description of the songs, which tell of a sad divide between two or more people. The lyrics are printed on the back of the album cover, and are heartwrenching: “I can’t get enough of feeling lonely” (“Patetique”). “Wondering Why” is perhaps one of the most upbeat sounding. All are worthy of a listen. The magenta vinyl is lovely and looks like a fuchsia or bleeding heart.
Some of these songs written and performed by Vassalotti are down-tempo and ballad-like, while others are more upbeat. Throughout, Vassalotti’s guitar weaves his stories together while his echoey voice delivers the lyrics. My favorite track is “The Other Light.” The lyrics are thoughtfully included inside the CD cover, so pull out your magnifying glass and contemplate what this musician is communicating to you.
This is lively, spirited music from the Merina, an ethnic group in Madagascar that lies in the center of the island. The zither, lute, and flute are featured in these folk songs, along with some vocals chiming in. Track 18 is especially fun, with children’s voices accompanied by earth drum and rhythmic games that will spark joy in many a set. Great add for the International Collective.
These recordings from 1964-1968 on the Kent Recordings label are perfect for our Soul Collective. Alternating between the catchy pizzazz of soul and the ballad-like nature of blues, Z. Z. Hill’s hearty, smooth baritone skates those soul-rock-blues lines with ease. You can choose almost any song on these two CDs and be assured of finding a gem for your set.
This 2-CD compilation is perfect for our International music collective. These popular Portuguese songs from the “bad boys” of Lisbon are often melancholy and accompanied by mandolins and guitars. The first CD features women singers whose voices are a bit grating to me; in the second CD the women seem to have softened their voices, or maybe I just got used to them. All recordings from a time long ago that must not be forgotten.
1979 recording from artists who played as side men with Mingus – this album has me asking why I have never heard of them before. Easy going sounds on track 1, vocals on the blues shout on track 2, lovely exhibit of piano on track 3, free jazz shronky surprise on track 4, fine flute on track 5. Accessible and original, really good!
Rick Escobar was a member of the surf band The Woodies. He has created an interesting mix of ambient music with some surf sounds thrown in. Cinematic and affecting, quite original.
Very nice, subtle day-dreamy drones. Soothing, like the way a tea bag slowly sinks to the bottom of a mug or how a single drop of water moves down a back porch window in the rain.
This is a 64-minute long mindfuck shitshow by Godspink Collection veterans. Apparently they’ve been making music since the 80s, but nothing has passed through KFJC. This is a total antiestablishment, anti-capitalist, anti-advertising manifesto. Elements of punk, noise, soul, electronic music, and much much more.
“We don’t fucking want what your trying to fucking sell, shove it up your fucking arse, then fuck off and go to hell.”
Emily Hay and Steuart Liebig at the 2016 Norcal Noise Festival
Almost 75+ minutes of bass/flute/vox improv explorations from these two veterans of the scene, both of whom are well-represented in our library. They waste no time getting started with Santa Ana Noise Festival (T1), a 90-second blast of rumbling bass and rapid-fire treble that quickly makes their intentions clear. What you notice right away is Emily Hay’s unique ability to switch effortlessly from flute to voice and back, often several times in the same phrase. Flute lines, caterwauls, trills, screams all part of a single organic mouth-instrument. Saint Mark’s, which follows, is more stately, almost operatic, but a subtle menace pervades the proceedings. My favorite track might be the 17-minute Shapeshifter Lab 01 (T4), in which both performers skillfully use electronics to broaden their palette and flesh out the sound. Plenty here for adventurous ears!
A darkwave feminist revenge fantasy unfolds on this first full-length LP from Bloom Offering, the project of Seattle-based electronic artist Nicole Carr. Cold synths and calculating beats set the scene for Carr’s deadened vocal delivery, seething with equal parts rage and hopelessness. Out of all the tracks, I fell for the album’s “hit,” the defiant “venus shrugged” (T4), but was also drawn to the twisted samples of advice on how to catch and keep a man on “imperfect absence” (T7), the dismal dance beats on “swallow me whole” (T1), and the heartsick arithmetic of “simple math” (T6). Released by Jim Haynes’ label Helen Scarsdale Agency.
D.J. Sparr is an American contemporary composer from Lubbock, Texas. “Electric Bands” is selection of four of his works that showcases his unique style full of rich sound that must be influenced by Charles Ives. “I Can Hear Her…” is a five part song cycle wtih Sparr on his electric guitar and the stunning soprano, Kristina Bachrach, singing the poetry of Patrick Phillips. “Meta444” uses Sparr’s guitar work along with percussive instruments, acoustic violin and piano to create a rich mood piece and study of the interplay of these instruments. “String Quarter: Avaloch” is Sparr’s string quartet ,the Momenta Quartet, performing a piece created at the Avaloch Farm Music Institute. It includes the performers triggering pre-recorded music on their own personal phones. The five parts of “Earthcaster Suite” include guitars, Hammond organ, viola, double bass, mandolin and banjo. This is all a new vision of contemporary classical music, pushing into new territory while holding on to familiar styles. Intriguing, stunning and so beautiful. Such a hopeful work.
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