KFJC 89.7FM

Music Reviews

Andersen, Kristian Eidnes / Von Trier, Lars – “Antichrist” – [Cold Spring Records UK]

whngr   1/23/2020   12-inch, Soundtrack

Two beautiful (and to my ear, cloying) tracks composed by George Frideric Handel and 6 brooding, malevolent horror-scapes by department head of the sound design department at the National Film School of Denmark in collaboration with film writer/director Lars Von Trier that could be just about anything, heavily modified cello, an empty room, bowed sheet metal, a tea kettle with reverb, singing bowls submerged in tears, human breath through a saxophone sans reed, a blue whale on ergot of rye dreaming of the crypts below Paris.
The dichotomic nature of this album is alarming, especially within the context of the film. The lush aural filigree of Handel juxtaposed with the dark, abstract, and otherworldly landscapes built by K.E.A.and L.V.T. adds to the tension. The profound contrast is as jarring as any of the film’s three major climaxes. A film I enjoyed but was also slightly alarmed by. When it first came out I watched it alone and was perplexed. I needed others to see it as well, though I had a hard time recommending it, which might be easily understood by anyone who has seen the film. Let’s just say that it isn’t entirely clear who the target audience is or the message there in. So that I could perhaps gain some perspective, especially a woman’s perspective I asked the girl that I was flirting with at the time to come over for dinner and a movie (which would turn out to be my first ever Netflix and chill) but with the caveat that this movie might not be the best date movie (much less a first date movie). I was pleased when she suggested we watch it after we finished dinner. I was also pleased, though I fell asleep about half way through my second viewing, that the beautiful and slightly touched object of my desire chose to invite me into her libidinous clutches for a passionate and satisfying tête-à-tête after the credits began to roll. However, I thought this could be a very serious red-flag as well. Happily that turned out not to be the case and even if our courtship was relatively short lasting, I have only fond memories of this quizzically complex and stunning belle, and as of this writing, we remain friends. I’m sorry that it ended but it was painless and simple, very unlike the film, Antichrist.

Black Cilice – “Transfixion of Spirits” – [Iron Bonehead Productions]

whngr   1/23/2020   12-inch, A Library

Murky depressive black metal. 

One might choose to describe this album as grey metal though that moniker has already been attributed to another. Perhaps trve grey metal is more apt. This is lo-fi one man black metal, simple and barren. Flat, dead. dreary and bleak. But not because of poor recording but of purposely burying everything in the mix. Like the microphone was hung from the mouth of a cave while Black Cilice performed deep within the bowels of this earthen grotte. Heavily distorted, repetitive, and simple trem-picked guitar, blast beats, frozen vapor enveloping a crypt, affected wails, all the elements are in place but they are obfuscated by distance or perhaps the walls of cthonic chambers. Much like the depiction on the cover of Transfixion of Spirits, a diaphanous shroud of fog conceals the scowling spectre whose malevolent intentions can only be speculated. And fittingly, little is known of this esoteric project’s curriculum vitae, though said to be the creation of a single soul from an undisclosed location in Portugal. Beautifully packaged by German label, Iron Bonehead, on grey vinyl. An excellent accompaniment to any afternoon spent alone drawing skulls, or casting spells but especially as the heavens weep ceaseless tears.

Sixx – “Sister Devil” – [Nuclear War Now!]

whngr   1/23/2020   12-inch, A Library

Stripped down sad boy rock in the vein of Bauhaus, early Christian Death, and Sisters Of Mercy composed and performed by local heavy metallers, Von (Goat, Kill, and Snake) who would, in time, establish themselves as one of the most cvlt black metal projects of their era.
Originally released as a demo in 1991 on 500 cassettes and then pushed into the craggy depths of obscurity, this recording is a slightly low fidelity but reasonably well recorded and rehearsed chorus drenched guitar adulation of the macabre. Some might venture, to a level absurdity. But not I. I adore this kind of thing, and as it came from members of a band that had such power, speed, and vision adds a layer of context. Another level of morbidity. Repetitive, unpolished, atmospheric, brooding… it is an excellent snapshot of a time and a place, that many of us would be unaware was happening in the inky shadows just up the peninsula. I can’t say if I would have totally appreciated Sixx in 1991, but I would have loved Von had I been aware of their existence. Their history is mysterious and contentious among black metal mavens but this recording puts the a final nail in the coffin of any debate as to their talent, range, and foresight. This L.P. is beautifully packaged by Nuclear War Now! which is, in the opinion of this miserable volunteer, a fitting label to introduce this stunning project to 2020.

Munition – “Gaze/Gauze” – [Absurd Exposition]

lexi glass   1/22/2020   A Library, Cassette

Munition is the alias of Dexter Outhit, a noise artist from Toronto. This cassette is his second release, and KFJC’s second library addition from Montreal-based label Absurd Exposition. Gaze/Gauze would stand well alongside the first Absurd Exposition release that we recently added, the excellent Base Waters LP by Rusalka; both works draw the sound of ocean waves into enveloping expanses of composed noise. This Munition version has an anxious, suspenseful feel, as deep pulses surface and mobilize into martial rhythms. The marching beats summon visions of ancient voyages, hunts on the high seas, naval warfare. One ~15 minute piece that repeats on Side B of the tape.

Seba Kaapstad – Thina

cadilliac margarita   1/22/2020   CD, Soul

Groovy neo-soul from a multi-cultural quartet of 2 singer/songwriters from South Africa, and 2 German multi-instrumentalists, equally contributing to the intriguing sound tapestry presented.  There is piano, synth, drums, guitar, and strings. This is lovely and mellow, shimmering with positivity and upbeat in a very relaxing way.  The lyrics never get too preachy, just contemplative in an existential way that can make even the most cynical of listeners stop and consider getting out of your own head for a while. Take a look at the world around you to consider others, their existence, and how you can relate and connect.

Barriga, Rodrigo – Silere/Continuo

Louie Caliente   1/21/2020   A Library, CD

Rodrigo Barriga is a Mexican composer who studied at Mills College. His work focuses on improvisation, communication, and openness. Silere/Continuo contains three new performances of his early works. The mood is seriously avant-garde, but playful and rooted equally in rock, jazz, and classical.

Continuo (T1) is a piece for voice trio, exploring harmony and resonance. Soaring acrobatics, shifting pitches, sustained gurgles, and raspberry trills.

Silere (T2-T5) features Barriga on electric bass alongside with electric guitar and drums. These pieces have lots of space in them and can take a while to warm up (many start with near silence), but they are well worth the wait. Quiet, accidental sounds flutter, slowly gathering momentum Cohesive grooves emerge abruptly out of thin air, but somehow remain intangible, and melt away before your ears.

Continuo (T6) again features Barriga on electric bass, this time paired with a trio of electric guitars. Collective concret noodling. Psychedelic time warps.

Radical Empathy Trio – Reality and Other Imaginary Places – [Esp-Disk]

Max Level   1/21/2020   CD, Jazz

Three masterful improvisers—Thollem McDonas – keyboards, Nels Cline – guitar, and Michael Wimberly – drums–present two 18-minute pieces of inspired improvisation, recorded 2017 in Brooklyn. We feel very early on that we are in good hands. I especially enjoy hearing Thollem’s acoustic piano give way to his electronic keyboards, usually leading to some noisy interactions with Cline’s guitar, and then back again. As usual, Cline’s guitar exists on a completely different plane from the rest of us–he’s that advanced. Wimberly’s tasteful percussion accents are pretty much perfect throughout. Dive in.

Perspectivas [coll] – 33RPM

Cousin Mary   1/18/2020   7-inch, International

In Paris, Luis Briceno recorded interviews and music that were broadcast in Chile 2013-2016 featuring musicians from before the 1973 coup d’etat that toppled Allende’s government. There is an “old is new” theme to this album (1) that these musicians of the past will be new to many Chileans and (2) that the old flexidisc format within this book will be new to many who play it.

The music is very enjoyable and the sound quality is surprisingly good. It features flutes, guitar, drum and vocals in Spanish. Just flip the page to the disc that you want, put the book on the turntable, and drop the needle! More here https://vimeo.com/269718583

John Bender – I Don’t Want To Talk About it / I Don’t Remember Now

cadilliac margarita   1/17/2020   12-inch

Home Recordings from 1978-1980 by the prolific John Bender while living in Cincinnati. Tracks are labeled by number based off various catalogue positioning (i.e. Cassette 31, Side A, Track 4). Everything about these lo-fi synth bangers with manipulated robotic but entertainingly nonsensical vocals was DIY. The 1980 original release came with sleeves individually hand-designed by Bender, and put out on his own “record sluts” label.

Re-released here on limited edition red vinyl by Superior Viaduct in 2016.

Alleyes Manifest – James Wavey Roses

cadilliac margarita   1/17/2020   12-inch, A Library, Hip Hop

Hip hop out of Oakland from James Wavey aka Alleyes Manifest aka Michael Bridgmon. This is trippy experimental psych- jazz- stoner funk- poetry. Chill, smart, & topical, with cleverly layered mixes, and intelligent word play. Lots of FCCs. All marked.

Dagger Lust – “Siege Bondage Adverse to The Godhead”-[Vrasubatlat]

whngr   1/16/2020   12-inch, A Library

TWR: Horrific aggro-tronic assault. Aggressive power-eletronics with grindcore drumming (sounds like a kit to my ear/not programmed), sludge elements, and power-violence vocals (guttural bellows and shredded screams/yells) out of Portland OR. At times plodding and lumbering, elsewhere blistering and cacophonous but almost always crushingly heavy with only track A4 (Perverse Divine) offering a brief, dark, reverbed out bass interlude between the barrages of doom, hate, and despair. Members of Ash Borer, Torture Rack,  Disgust, Pissblood, et alia, engage in a blinding attack of unhinged rage and semi-consensual tympanic membrane violation. Perfect for alienating listeners, an evening of self-harm, or a soundtrack to shooting the hostages. All cuts track, no discernible F.C.C.’s, no fun, and no remorse.

Headboggle – “Polyphonic Demo” – [Ratskin Records]

lexi glass   1/15/2020   A Library, CD

Headboggle, aka local experimental synth wizard Derek Gedalecia, is no stranger to the station – a small slice of his sizable discography lives in our library, and he recorded a session in The Pit back in 2009 – but for the unfamiliar, this 2019 Ratskin Records release provides a full immersion in the bizarre, beautiful Headboggle universe. Polyphonic Demo holds 44 one-minute tracks, each a tiny, wonderous world of electronic sound. Put the disc on shuffle – maybe you’ll land in the rough, bluesy groove of “Sister Synth” (T44), the mechanical march of “Stomp Ya Down” (T14), the ragtime piano and squishy beats of “Piano and Polyphonics” (T22), the minor key fanfare upon entering the “Buchla Club” (T26), or the slo-mo surge across the finish line in “Marathon Man Dance” (T7) – and catch a different glimpse of a facet of this strange gem of a record.

Father Befouled – “Holy Rotten Blood” – [Dark Descent Records]

atavist   1/14/2020   A Library, CD

Death metal with a satisfying amount of doom thrown in. Crushing, a bit atmospheric, unrelenting. Vocals are way down in the mix, but present, and it works. It’s all about those filthy guitars. The drums provide a pummeling barrage but aren’t the focus.

4:42 Full gallop of the apocalypse horse leads to a staggering breakdown.2:04 This song is more like an interlude, or an idea for a song that didn’t become a fully-fledged piece. Instrumental. 3:47 Intensity picks back up with this track. Funereal doom-reminiscent breakdown before a crashing end.4:16 Moderately fast-paced death leads to a trudging middle section before resuming the onslaught.3:42 Starts out relatively mellow. There’s a somewhat unhinged guitar solo in there.4:58 Features the heaviest, chuggiest riff on the CD.

Laddio Bolocko – “Live & Unreleased 1997-2000” – [No Quarter]

atavist   1/14/2020   12-inch, A Library

3LP box set release from 2015 offers six sides to explore full of psych skronk ecstatic noise rock improvisation. Not sure where to drop in? Select Side D. (A breakdown of each side follows below.) On the whole, it’s fun to listen to this genre of music getting made in real time, and with a frenetic, jangled, anxious energy as opposed to happier, tranquil, figure-it-out-eventually, meandering psych jam sessions. Laddio Bolocko go full out on many tracks, exhibiting notable stamina as they work through ideas while keeping their collective foot pegged to the floorboard, tempo- and intensity-wise. They also exhibit a chameleon-like interest in trying out different genres and textures. The best stuff on this collection is more raw and unhinged than the band’s studio releases, and points to the next evolutionary step, notably the Psychic Paramount, the reckless experimental outfit that absorbed half of Laddio Bolocko after its dissolution. Be sure to check out the liner notes printed on each disc sleeve if you’re interested in learning how the musicians lived in New York (both in Brooklyn and upstate), toured, and made these recordings along the way.

Side A: a side-long excerpt from an extended jam made shortly before the saxophone player joined the band. The keyboards featured prominently over a driving drum line give this track the most conventional psych jam feel in the collection. That is, until the end, when the jam devolves into some Casio-keyboard mayhem. Made in the band’s living/rehearsal space in Brooklyn.

Side B: recorded at a house in the Catskills where the band lived for a while, during the same year Laddio Bolocko appeared in the KFJC Pit. B1: an assemblage of multiple sessions/ideas. amorphous noises and drones rise and fall. piano and determined munching of potato chips or similar snack gives way to some strange western saloon crossed with a science experiment. eerie scifi vibes. B2: noodlings and wanderings, particularly on sax. B3: percussion-driven composition with other noisy and sax-induced parts.

Side C: more from the Catskills sessions. C1: a bit more smoothed-out sibling to B3, driving percussion with minimalist keyboard element. C2: starts out mellow; drums, bass, and sax. it’s mellow but there’s always some tension brooding under the surface. C3: recorded audio detritus lends some interesting sonic textures. C4: the elusive guitar resurfaces in this amalgamation of attempts and explorations. bass and drums tend to keep things held down while other sounds flit about. C5: sharp, high-pitched machine whine with some sort of drum machine going in the background. C6: ritualistic drums, twisted carnival organ, redlining sax squawk.

Side D: return to Brooklyn. D1: brief, cool-sounding bass line with drums and sax. D2: probably the standout track on the collection. The guitar establishes a driving rhythm and the band begins to build structures around it. The drummer, bassist, and sax player had heard the guitar part for a few minutes before laying this track down, so the spontaneous ignition happening here is pretty amazing. Mesmerizing result. D3: Part B to the previous track’s Part A. Adds synth to the mix, guitar soars, and plays like a sinister doppelgänger to the pt. A’s beauty. Super rad, down to the moody dissolution to close it out.

Sides E and F were recorded live in Slovenia. These are driving, straight-ahead, full-throttled tracks that should fit in a variety of sets. A couple tracks are live versions of tracks found on the studio album “As If In Real Time”. E2 is a quick shot of adrenaline. E3 provides a glimpse into the band’s ability to play with dynamic range and respond to each other in a live context. Tension built and released. F1: another version of the track included in the Live From the Devil’s Triangle v1 compilation. The end of this track bleeds right into the F2, where they get into a live jam. F3 closes out the collection with a melding of the eccentricity of the Catskills jams and the intensity of their live improvisations. Breakdowns amidst the freakouts allow the sound of the audience to come through.

Rusalka – “Base Waters” – [Absurd Exposition]

lexi glass   1/8/2020   12-inch, A Library

Rusalka is the project of Vancouver noise artist Kate Rissek. Her work over the past decade includes several solo cassettes and split releases (with MK9 and The Rita, among others), and now in 2019 her first full-length LP washes onto KFJC shores. On Base Waters, Rusalka uses a theremin and electronic effects to harness the power of the seas on two sidelong pieces. A sunken ship ascends back to the ocean surface on “Sinking Blood Deep” (T1). The vessel’s weathered hull – massive walls of corroded noise – rises from the depths; its horns sound, lights flare, and engines roar once again. On “Reflection Underneath Waves” (T2), field recordings of waves transform into massive columns of noise standing amid powerful swells of sound, a raw expression of the creative and destructive forces of the sea. Beautiful, compelling work, released on Montreal label Absurd Exposition.

Maisha – There Is a Place – [Brownswood Recordings]

aarbor   1/8/2020   A Library, CD

Maisha is a 6-piece outfit lead by drummer Jake Long who are a part of the up and coming London Jazz undergound. Others in the band: Nubya Garcia (sax/flute), Shirley Tetteh (guitar), Amane Suganami (piano/Wurlitzer), Twm Dylan (double bass) Tim Doyle (percussion and Yahael Camara Onono (percussion). Most of the tracks are 8 minutes or longer. AArbor

Nerija – Nerija EP – [Domino Recording Co Ltd]

aarbor   1/8/2020   A Library, CD

Nerija are a collective of London-based musicians: Nubya Garcia (tenor sax), Steve Reid,  Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto sax), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizzie Exell (drums), and Rio Kai (bass). Their music is original and inspired by: jazz, hip hop, Afrobeat and South African Township styles. Each track was written by a woman who plays on the recording.  AArbor

Haku – “Na Mele a Ka Haku” – [Aloha Got Soul]

humana   1/5/2020   CD, International

Frank Tavares is Haku, Music and Drama Department Chairman of Maui Community College (at least at the time of the first release of this, in 1975). As someone who would love to be on Maui full time, I find this an interesting CD. It’s electronic and strange, with poems recited in Japanese and stories narrated, roosters clucking, and classical Hawaiian Ipu (a gourd percussion instrument). The last couple of songs sound Hawaiian to me, and bring to mind breezes swaying through palm trees and mellow feelings of toes digging into warm sand. Take a little trip and listen.

Silver Summit – "Silver Summit" – [Language of Stone]

humana   1/4/2020   12-inch, A Library

This is freak folk with beautiful vocals and instrumentation. Think Marissa Nadler but with vocals that are distinct and lovely in their own way. Sondra Sun-Odeon’s voice delivers some thought-provoking lyrics that paint haunting pictures, some of which were inspired by the band’s love of Acadia National Park in Maine (“Acadia” on Side B). David Shawn Bosler wrote the songs along with Sun-Odeon, and he does some of the backing vocals. There are Tibetan water bowls, guitars, cellos, and other musical instruments that set the other worldly tone. Quite pretty and fanciful.

Copyright © 2020 KFJC 89.7 FM
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File