Delicious beats and saxophone samples galore in this 2010 project from SF producer and DJ Mophono. A perfect mix of great sampling and driving beats, this Mophono project is sure to keep your head glued to the hypnotic pulses and over samples that would make Quantic blush. Released on Bastard Jazz this is the perfect recipe to keep your head bobbing and the rhythm flowing. The flip side to this EP is remixed by “Sinicism” in a wicked beat down of percussive sound that is sure to enhance that bluntish beat in all of you.
Dreamy, spaced out, psychedelic saxophone and FX float over driving, trance inducing, rhythmic percussions on this 2019 freshman release from Paisiel. Hailing from Porto, Portugal, the duo of Julius Gabriel (saxophone & fx) and Joao Pais Filipe (percussion) create an atmosphere filled with tabla inspired Afro-Caribbean beats and mind melting melodies of saxophone and fx that is other worldly. The duo met in 2014 while Joao was working in a record store and Julius was a customer. In 2017 they decided to start collaborating and this self titled, release is just the beginning of that partnership. Get your refreshments ready, sit back, and enjoy the stimulating dreaminess pressed onto this luscious translucent blue vinyl.
Forest Sirens call from a hauntingly, dreamy musical atmosphere of piano, organ, trombone, guitar, and fx. This 2018 Feeding Tube Records release from France’s Delphine Dora and Yorkshire’s Sophie Cooper is sure to satisfy the soundtrack cravings of your near nocturnal state of mind. Brilliantly composed as a two part suite of music, side A takes you from the beginning of a journey filled with ominous underpinnings to a side B that is redemptive and speaks to rebirth. Relax, rest your weary head and let Delphine and Sophie invite you in to their musical dreamscape.
Slow pulse droneage from Vincent Presley (Those Poor Bastards, Zebras). Quarantine apparently had him going mad, and he ended up expanding on his vintage synthesizer collection, creating this lovely hazed out release. The A side brings low ambient drones, giving you the feeling of waking up on an unknown alien desert, the sun so bright it blurs your vision. Side B’s first track has a more lighter essence to it, still low but also hopeful. The final track takes you straight into Blade Runner, with that sci-fi score vibe. Love it. Only 100 copies made on vinyl!
Two sidelongs each from Wolf Eyes and Blank Hellscape. Sludgy, dark, ominous, dirgy, muddy and ghostly. The Wolves sound like a sad horn trying to make its way through an industrial damp warehouse, stuck in a mucky mess. Pulsing sets in about halfway through, before the horn is devoured under the lava and words arise from the molten. But alas, the horn returns. Blank Hellscape brings has more of a sizzling rhythmic cacophony of sound. Effected vox lay inbetween layers and twisted wires, also pulsing with disastrous intentions.
Robert Graves (1895-1985) was a British poet, historical novelist, critic and classicist. He wrote more than 140 works, a few of which are presented here. The White Goddess, his study of poetic inspiration has apparently never been out of print. To listen to him with his very posh British way of speaking you would think he was wealthy or an aristocrat – certainly that he went to the “right” schools. He was actually from a middle class family – but did go to the “right” schools. Play this and get the education that you didn’t get at school. AArbor
Andrea Borghi (Italiano!) graduated from the National Academy of Fine Arts in Carrara and studied electronic music, piano and composition at the Giacomo Puccini Music Conservatory in La Spezia. His work focuses on creating sound from inanimate things such as sculptural objects, installations, obsolete media and electronics. This album consists of audio recordings that were produced through an open VHS Recorder using manipulated videotapes. Most of the sounds you hear were taken from background parts, edited from old tapes of obscure and underground cinema. It’s scratchy, creepy, noisy, static-y, weird, strange and very analog in sound. Looking at the album art, I can image watching this & other ideas he’s created, performed live would be so intriguing – a totally unique auditory sensation. Mastered by Giuseppe Ielasi, limited to 100 copies on LP!
A live recording of sorts from home and Los Angeles radio station Dublab. This round, Smegma consists of Ace Farren Ford, Dennis Duck, Ju Suk Reet Meate, John Wiese and Rock N Roll Jackie, among a few others. Sissy Spacek is coming from both John Wiese (og member) & Charlia Mumma, a member since 2008. Two side longs of twisted sound collage. Effected guitars, pedals, wires, strings, crashing cymbals, random vox pop up like a groundhog in Spring. Rolling, crunching industrial noises. Spazzzzstic & skittering. Sounds akin to a Teleki-NotoMotors Noisehaus improv sesh!
Some great noisy, fuzzy, distorted punk-improve from Tempe, AZ’s own Soft Shoulder. With James Fella at the helm, this 2020 release “Not the New One” out on Gilgonggo Records is a collection of unreleased material recorded between 2015-2019 with various line ups. Sure to appease any and all noisy itches in your ear canal. Ranging from hard driving, rocking punk noise (think The Fall) to noisy improve, “Not the New One” will leave your ear drums ringing as you bathe in the beautiful insanity.
This is the soundtrack to a 1966 Eurospy comedy film. It was shot in Italy and released in an English version and an Italian version which are notably different plot-wise. Vincent Price is the mad scientist (Dr. Goldfoot) who is working with the Chinese government to use exploding female robots to disrupt a scheduled NATO war-game by blowing up the various generals involved in the exercise (one of whom looks exactly like Goldfoot, and whom Goldfoot later impersonates). Fabian is the hero who works to thwart the plot, that is, when he is not busy chasing women. The film ends with an extended frantic chase through the streets of Rome, and Goldfoot attempting to start World War III between Russia and the United States by dropping a nuclear bomb on Moscow. The music is 1960s pop music by a variety of artists you’ve probably never heard of, but it’s fun. AArbor
Spiral Galaxy is the project of flautist/painter Sara Gossett and guitar/machines manipulator Plastic Crimewave (of Plastic Crimewave Syndicate/Galactic Zoo Dossier magazine/KFJC artist hoodie designer!). Cosmic voyages through the galactic sun drenched desert temples. Special guests include Kawabata Makoto of Acid Mothers Temple giving some chants and spoken word in Japanese, Alisha Sufit of UK 70s eastern-folk band Magic Carpet also with some words… Ryley Walker plays a guitar backwards, Taralie of Spires that in the Sunset Rise on Terry Riley-ish circular sax, sitar-player Hands of Hydra, Moog-maestro Will MacLean of Protovulcan, and Christian Luke Brady of meditative cosmonauts, Fargon. A rhythmic pulsing ritualistic beat on track 2 with some effected French words, puts you into a hazy trance. Side B starts with a super krauty mellow prog excursion with a folky flute and Neu/Cluster/early Kraftwerk looping rhythms. The final track ends with a darker, mysterious feel. Trek across Death Valley and trip on this!
Speech After The Removal of The Larynx – “Speech After The Removal of The Larynx” – [Fantome Phonographiqiue]
Speech After the Removal of the Larynx is exactly that, recordings of people learning to speak again after having their larynx removed. Originally recorded in 1964 by speech pathologist Harm A. Drost of the University Hospital, Leiden Netherlands, this re-release of a ’64 Smithsonian Folkways LP is full of linguistic and auditory gems. The original inspiration for these recordings was to document and convey the progress of speech pathology techniques for helping patients of laryngectomy learn to speak again. Speech chronicles the advancements made in the early days of speech pathology to address the physical obstacles for laryngectomy patients to talk again. The recordings cover everything from early, physically crude methods of speech to the development of electronic devices to help people find their voice once again. For those of you lucky enough to have the liner notes, take a minute or two and read about each track and how speech pathologists and patients worked together to develop new speech techniques to give voice to the voiceless. A true auditory gem. Mind that side a only has 7 cut tracks on the vinyl and the jacket lists 8.
First in a series of 3 LPs of Library Music from composer and multi-instrumentalist Daniel O’Sullivan (Æthenor, Ulver, This is Not This Heat, etc). It’s not the cheesy, lounge-y type of music you’d think when you hear the term Library Music (although that stuff is super fun!), these are newer sounds… lush, pretty, dreamy and sort of cinematic in feel. Synths, piano, softness. 18 tracks, specifically made in shorter lengths (longest is about 3:30 long). Drifty, optimistic, thoughtful and sublime.
Born James Chambers, he started writing songs in grade school and became Jimmy Cliff at the age of 14 when he started playing professionally. This is a session recorded and broadcast live at KCRW on June 28, 2012 – one of his last recordings (he’s now 72). It’s just Jimmy and his guitar, it seems more folk or calypso than reggae. AArbor
Roman Raw Ruthless
Diabolical four-piece put their filthy fingers on your fading pulse and unfurl eight heretical blasts of fury. Black HXC for black hearts. Tyranny and terror from this mysterious Italian project released in 2018 on Iron Lung. Upheaval pervades with their call to act; Worship… KFJC.
Two side-long noise tracks on this limited split from College Records (Ohio). Side A being the gentler and slightly more varied than the reverse. Though the woodwinds and horns credited to the album would imply some kind recognizable sounds, in fact the recording, amplification, and manipulation of these instruments mostly obfuscates the origin of these often cacophonous oddities.
A.) Cardboard Sax: Crunchy rumbles, echoing scrapes of feedback, thumps, whirs, and chirps. (John Olson, Holly Young, Daniel Dlugosielski)
B.) Wasteland Jazz Unit: Undulating harsh drone, amplifier abuse, in-the-red brown noise, shards of dissonance. (John Rich, Jon Lorenz)
This collection reminds this miserable volunteer of a migraine headache. Untenable and tumultuous, side A being the auras and onset, side B the full-on, hide in the dark, isolation and endure, cranium crushing existential crisis. You’ll have 16 minutes per side to revel in the abuse of your audience and plot your escape from Master Studio.
This is a trippy, noisy, rocking, and fuzzy fusion/prog/psyche Jazz 2020 release from the sextet of The Nels Cline Singers. No singing here, except for one track with some guttural vocal whispers. This is a musical journey through a wide range of musical styles. Imagine taking a bit of DNA from the Mahavishnu Orch., Charlie Hunter, King Crimson, John Zorn, and a hint of Zappa, mixed it all together, and creating a finely crafted 2LP release on Blue Note. With Nels Cline (gt fx), Scott Amendola (dr), Skerik (ten. Sax, fx), Trevor Dunn (bass, fx), Brian Marsella (keys, fx), and Cyro Baptista (perc.), “Share the Wealth” is bound to appeal to a wide array of musical tastes and ears. It will keep your mind swirling and your toes tapping.
Funky, bluesy, original. beats put down by Oakland’s own Fantastic Negrito. As polished as it might seem on the surface, this 2020 release, “Have You Lost Your Mind Yet?”, brings together elements of jazz, blues, funk, rock, and plenty of soul. Not to mention there is ample amounts of emotional energy and hard biting lyrics found through out the tracks on this beautiful translucent green vinyl platter. Full of up beat tempos, hard driving beats, and plenty of heart felt soul, it’s a perfect LP to slip into a multitude of blues and funk sets. Mind the FCC’s
This is Roger Troutman’s first solo album from 1981. Before going solo he and some of his brothers started the band Zapp in 1979 and was signed by George Clinton. Zapp influenced West Coast hip hop because its music was sampled a lot. Later he collaborated with Bootsy Collins. Later in his career Roger was best known for his use of a specialized “Talkbox” to create interesting vocal effects. Apparently the cover of I Heard it Through the Grapevine and the song So Ruff, So Tuff on this album were very well received. Most of the tracks are funky and the last track is Blues. AArbor
From 1979, this album is upbeat, funky and danceable. The last 2 tracks are notably slower than the earlier ones. Castor is vocalist and alto sax player here. He is best known for several songs (none of which appear on this album: Hey Leroy Your Mama’s Callin’ You (1967), the Bertha Butt Boogie (1975), It’s Just Begun (1972) and Troglodyte (Cave man). He also recorded a soprano saxophone cover of A Whiter Shade of Pale (1973). AArbor
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