Nice DJ beat snapshots in bite-sized pieces, some bordering on electro, others more organic-sounding. Daedelus cooks up a pleasantly warped stew on Side A, six tracks running together into a twelve minute experience. It’s not clear where one piece ends and the next one starts, so you may as well play the whole side. On Side B, Teebs breaks out four tracks, each around two minutes long. Unlike Side A, these pieces are clearly separate from one another, but I’d consider playing the whole side anyway. Both sides have many subtle elements in the mix and come across with a hazy, stoned out vibe. Sixth installment in All City’s cool Los Angeles series of split ten-inches.
Valby Vokalgruppe is an experimental choir from Denmark. These 7 tracks expand the definition of vocal music, using sounds, hums, syllables, and enigmatic English words. The mood varies from charming to eerie. Mostly a cappella, drumming adds rhythm on Track 6.
Startling and original but very enjoyable music featuring the voices of young women. Recommended!
Five young women from Denmark play violin, sax, trombone, and 2 sets of drums to produce raw, outstandingly original music. Somehow the resulting audio transforms, almost sounding electronic. Beats can be strong, at times a drone or repetitive.
PGM: A1: more melodic and rhythmic. A2: Noisier. B1: Begins very quietly, then builds. B2: Noisy.
WARNING!! Locked groove between B1 and B2.
Videos give more of an idea of what Selvhenter is:
2006 recording that fits nicely into a couple of sonic family
trees. The first track has the kind of spastic jazz manic
drive that was the flywheel for the Luttenbachers. Weasel
Walter is the drum anima, but then in comes some of that hyper
math manipulated guitar by order of Orthrelm’s Mick Barr.
So it’s high-octane, higher octis abstract music, ending on
a heart attack. The second piece is less relentless, Barr’s
guitar is more muted, with subtler sputterings. Walter is
drumming a melody, and Sam Hillmer (Zs) sends his sax on some
spins. Things drop out for a Walter weltering of his toms,
and Barr makes his guitar thump along really well. The flip
side gives us Hillmer’s “The Art of Rolling” an interesting
ear ration. Traffic jam squonk start is made interesting by
these sonic after-image tunnels of silence, as well as robot
rebellions (some synth/sampler scaling up and up). Then
halfway through in one of those tunnels, things get flustery
with a lot of dry sounds, even sucking on a reed. And ends
with bumper car ponking percussion.
More Viva El Vega celebration from Blast First. Celebrating Suicide’s
surviving and thriving Alan Vega as his age approaches the BPMs of
his songs. Gavin Friday does an honorable turn behind the wheel of
“Ghost Rider.” A blippy zipper with Dave Ball from Soft Cell working
the Martin Rev’d up engine of electronics. Not as squishy as Rev,
and no one yelps like Vega, still a nice trip.
On the flip, Brinkbeats are back! Obscene distorto beats high step
in amidst the party of “Diamonds, Furcoats and Champagne.” High
class filth with pilfered Vega vocal vexations, the beat takes the
shotgun seat here. Originally out as a maxi single in 2006.
At last the master himself steps into the tribute ten inch, Rantus
Interruptus. Freewheeling radio spin inserted. There’s something
commanding and controlled in Vega’s vocals, not a rebel yell or
teen scream, more akin to an angry minister, proclaiming from the
pulpit. Backed by riveting beats, warpy loops – and phrases fly out
“Tormentor” “Kill your Loss”. The minister sees his flock consumed
in flames and his reaction is prophetic ecstatic. “Puss on Tha Time
Warp” includes a great drop-out section with muffled subconscious
beats. I wonder if he wanted to point out how many folks missed this
track the first time round in 1999. Super nova…
Cover art collage by Vega too.
Love this! J. Dilla???s former collaborator HouseShoes brings us two percussion-enlivened tracks, one of which is a remix of ???Look of Love???–yes! Jordan Rockswell (aka Snowman) here records three debut tracks full of synth and beats. The lovely ???Winter Warfare??? segues right into ???The Groove.??? Both sides are lush and warm and will set your heart beating again.
Consider this a slice of trance (Effie Briest) sandwiched between upbeat (Peaches) and downbeat (Alan Vega) electronic music. Or, rpm-wise, a 33 between two 45s (with a locked groove thrown in). I have a slight preference for the Peaches song.
Nice Ass Industries presses just one one-sided 78rpm and then gives it to the radio station of the artist’s choosing – KFJC was selected by Elvis Johnson for this release. Marin County based Johnson is a drummer and sound artist who is in noise groups Hydrogen Pellets and Leavenworth.
Garbled and distorted sounds probably from field recordings – human voices, traffic, trains – hard to tell. Arouses the listener’s interest. Intriguing and engaging.
This lovely 10″ vinyl EP “Galala” from 2001 by Art of Flying features New Mexico musicians David and Anne Costanza along with numerous co-conspirators. The A-side starts out with pretty, luminous sounds that get intersected with processed voices, looped sounds that could be snippets of a phone call, the hint of a distant dog until it finally ends with a simple guitar strum-based track with male vocals. The B-side revs to a start, moves into strange female vocals, evolves into a lovely drone and moves back to a more standard track with male vocals. Tracks are broken into segments that don’t necessarily correspond to the grooves on the record, so determining which piece/segment belongs to which track title is a bit of a mystery. The letter-pressed cover art is an added bonus.
In the 6th release of a series of Suicide covers on 10″, The Klaxons cover ‘Sweetheart’. Also on the new release are Alan Vega’s solo track ‘Speedway’ and the solo artiste No Bra, doing ‘Super Subway Comedian. Each EP includes a cover from a renown artist, an unreleased piece by Suicide from the archives and a cover by a promising newer act. The project, in honour of vocalist Alan Vega’s 70th birthday, started a year ago and will continue for another. ‘Sweetheart’ from Klaxons, actually a solo journey for Jamie Reynolds, shares the same instrumental and vocals with the original and is one second longer. ‘Sweetheart’ sounds like something played in a David Lynch movie. A dark, retro, romantic ballad. ‘Speedway’ is a rare track and is classic Vega. No Bra is a solo female artist who puts and interesting take on the Suicide sound with her cover of ‘Super Subway Comedian’ staying true to the original but definitely giving it a touch of female energy.
Future collaborations include Glasvegas, Peaches, Liars, Nick Cave and Mogwai.
Mississippi native Junior Kimbrough (1930-1998) released his first album when he was 62 in 1992, so any earlier recordings are precious in that context alone. In 1966 he made his first recording at American Studios in Memphis for Quinton Claunch, founder of Hi Records. (Rumor has it that Fat Possum plans to reissue much of this label???s output.)
Kimbrough succeeded in moving away from ???blues??? commonly heard in the 1960???s and getting back to his Mississippi roots, but he somehow did in a new way. This is spectacular stuff ??? Kimbrough???s intensity, voice, and guitar are in fine form and are very affecting. Emotional, stark, very beautiful.
Montreal based project featuring the Roller of CPC GANGBANGS. Sounds like CPC Gangbangs meets Velvet Underground. Psychedelic space rock ‘n’ roll with elements of noise, folk, punk and electronic music. Dark poppy hooks laced with strange sound effects. Male vox, guitar, drums, electronics, keyborads and flute (on Little Man). Red Mass is a collective featuring many artists/musicians from around the world.
Regular 10″Comes in ultra deluxe Gatefold Sleeve!!
Limited edition of 400 in Black Vinyl
???The Grey Goat??? is skull piercing, high frequency buzzing intensity from San Francisco noise artist Daniel Hintz who has also recorded with or as Hydrogen Pellets, Prolific Offender, and Leavenworth. Recorded during a 2005 KFJC live mic on Nozmo King???s show Psychoacoustic Soundclash, this is the last section of a 20-minute electric guitar improvisation using a Fender Stratocaster, a digital delay pedal, and a Marshall amp ??? at times rubbing the guitar across a ladder that happened to be in the KFJC pit.
Nice Ass features mp3s on its website and offers artists the opportunity to make a one-sided 78rpm for the radio station of their choice.
Out of a low-fi haze are some real diamonds in the rough. Down-home guitar strumming, interesting lyrics, and acoustic simplicity characterize these songs by Rob from Eat Skull and Beth from Times New Viking. This is really good freak folk.
BAD SECRETS debut 9″+CD release of seven tracks. Two-color silk-screened covers, custom 9″ records, color vinyl, CD of the same jams included. Musically it’s a cross between pinnacle shoegazer stuff and lo-fi, psyched out blues… brought to you by folks from YOUNG WIDOWS / BREATHER RESIST and KODAN ARMADA. On the Robotic Empire label out of Richmond, Virginia.
* 600 copies of “metallic red” (custom “metallic” pinkish-red color)
Here’s something you don’t see every day… a one sided, 10″ slab of clear vinyl, meant to be played at 78 rpm! Get ready to hear a four minute audio verite portrait of what appears to be an underground train station, all rumbles and squeals and voices and transit announcements and such, presented by J. Mazawa, a local music mastermind and close personal friend of our own DJ Cousin Mary. It’s an interesting release on more than one level: the real-world sounds, the unusual physical format, the potential challenge of actually playing it, and so on. The piece cuts off cold at the end when someone conspicuously switches off the recorder.
This is a release of BSC 2003 EP, originally out on CDR. The first track is an awesome looping, wavering synth track that creates images of bubbles floating to the surface. Sort of in a 70s electro way. Love the track title of the second…..Pigeon Homing Device. With that in mind, you can see a sketchy little rock dove freaking out and pecking at the ground with a computer tied to its back. Is this the sound of pigeon thoughts? Yes. Side B is 11 minutes of layered finger-purring synths that trickle down like waterfalls, and swooping electronic breezes.
This is a beautiful little EP from 2007, full of folk songs by L.A.-based Nick Castro and the Young Elders. Nick Castro had his solo debut in 2004 and has had notable co-conspirators ever since, including Josephine Foster and members of the Espers, Cul de Sac and Current 93.
On this particular release, Wendy Watson’s gorgeous voice sails above “Great Divide,” while other tracks are more of a back and forth with Nick Castro’s voice. “Sirens,” in particular, is a standout track featuring vocals by both. Whistle, harmonium, saz (a type of lute), mandolin, guitar, banjo, contrabass and dobro round out the decidedly retro sound. Other players include Christof Certik (banjo, mandolin, guitar), Ryan Kirkpatrick (contrabass) and Jebediah Lipson (dobro).
Needleteeth Records is a fledgling label out of Brooklyn, New York. This split 10″ is the first release on this label.
Side A brings you Hochstedder, a 3 piece project out of Brooklyn, NY with Dave Gilbert on bass & vocals, William Lacey on guitars and John McClellan on drums. Heavy, loud, pummeling metal. The first two songs track together at 5 minutes 4o seconds. Track three clocks in at 3 minutes and 5 seconds. All three tracks have language. The painting used for the cover for the Hochstedder side was done by Cynthia Alvarez.
Side B is Ancient Forrest out of Oakland, California with Polly Anderson on bass & vocals, Alicia Burbridge Digiovanni on drums and Tim Anderson on guitar.?? Sadly, this band is now defunct. This is also some hard rocking shit but with a witchy edge. “Transgenerational Haunting” runs 6 minutes and 42 seconds, “The Grand Empire of Granbretan” runs 5 minutes and 14 seconds. The cover art for the Ancient Forrest side was done by Tim Garside.
This 10 inch is the companion to Mx6: Twitch’s 60 Minutes of Fear. The release includes 4 “Twitch re-edits” of songs by Flux of Pink Indians, Honey Bane, The Mob and Zounds. All 4 bands were part of the anarcho-punk scene of late 70s and early 80s UK. JD Twitch is one half of Glasgow’s dj duo Optimo which host a long running Sunday night based club. The “re-edits” are subtle and emphasize the rhythmic and dancier aspects of the tracks chosen. Don’t get hung up on the use of “dancier”, these are all exceptional post-punk tracks.
Flux Of Pink Indians were an anarcho-punk/post punk band that originated from Bishop’s Stortford, Hertfordshire, England.
Honey Bane (born in London) is an English singer and actress who began her musical career at the age of 14 in when she formed the punk rock band the Fatal Microbes. After the 1979 breakup of the Fatal Microbes, she began a collaboration with the Essex-based anarcho-punk activist band Crass.
The Mob were an anarcho-punk band originally from Yeovil, Somerset, England during the late 1970s and early 1980s.
Zounds were a UK anarchist band formed in 1977 out of Reading, United Kingdom (1977 ??? 1982). They were part of the cassette culture movement and were also involved in the squatting and free festival scene.
We have material from each of these artists but the Honey Bane track “Guilty” is the only original version from this release that we have in our library.
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