machine girl seems to be the moniker for a matt stephenson out of NYC aka Artie’s Kryptonite aka some seriously chaotic pixified millennial dance music. idk if theys a gemini for sure but speaking as one, it sure sounds it: vaporwave? who tf knows, but there sure is some labile attention shifting genre mashup: energetic breakcore, bright bodied trance, some juke and footwork tweaks and twerks, all constantly zone switching then dropping back into vibe. i feel like im missing out on something listening to this digitally, this has a serious mixtape feel and the aesthetic lends well to lofi textures, but alas all the tapes seem to sell out, even this re-release. late spring grooves right in time for this sun’s season.
new release of psy skronk din spiritualism from this revolving door collective of jazz deconstructionists hailing across the wasteland of middle america. alternate zoning from one psychic plain to the next tracking rapidly across two expansive tape sides; feels like a DMT dissociation with the amount of space travel power packed into so little time. the whole trip flows like orchestral movements, and the attendance is there, with the density of players producing such cohesive sound. equal parts harsh and ethereal, jazz and psychedelic, there’s something for everyone here so tune in and drop out
another artifact of otherworldly trance psychedelia unearthed from the Lost Discoveries Exotic Music Shop. I’m pretty sure this label is run by Grant Corum himself, (maybe?) associated with the Psychic Sounds label listed outta Maine (maybe), but honestly out of the wealth of information online I can discern very little as far as solid info, elusive is an understatement, as concerns the sounds as well for that matter, like some kind of subconscious alternate mind-fuck.
Seeded Plain are the local electroacoustic duo of Jay Kreimer and Bryan Day (of Collision Stories, and the head of the new music labels Public Eyesore and eh?). Over the length of this C60 tape, we’re drawn into a strange sonic realm made entirely from a collection of original homemade instruments invented by the duo. The devices used on this recording aren’t specified, but Day’s creations have names like Magnetoselqier, the Rotowhisker, and the Sputterphone, vivid titles that give clues to the origin of the unique sounds found here. At times they have a familiar counterpart – a plucked string, a toy piano, a vibration from a gong, a hiss of an insect. But others are utterly alien: the whistles, whirrs, and warbling tones from another dimension that melds with and subtly transforms our own.
Angelwings Marmalade is one of the many incarnations of Chicago-based experimental electronic artist Angel Marcloid (see her other projects, the fantastic Fire-Toolz and Nonlocal Forecast, in our library). She describes this working name as “the catch-all moniker for sound collage, noise improv…I used to work a lot with hands-on electronics, cassette players, loopers, stuff with contact mics on it… that ended up evolving into Angelwings Marmalade when I began incorporating software into the experiments.” This 2019 cassette is a wild found sound timewarp where tribal percussion and drum machines, computer chimes and singing gongs, smooth jazz sax and pitch-shifting synths, demonic incantations and throat singing chants, harsh noise and muzak are sonicated and synthesized into a coherent vision of unrest, a scene of dissolving predictability that seems just right for the moment.
Primitive Isolation Tactics is the alias of Taylor Geddes, of the Montreal-based distributor of fine noise, Scream and Writhe, and the Absurd Exposition label. This 2019 c20-length cassette on Oxen is his second release under this name. A massive storm slowly approaches at the start of “Alienate” (A) and sweeps us into its turbulent core. High speed winds kick up swarms of scrap and debris, until we reach brief moments of charged stillness, a dead calm. A heavy, smoldering pulse weighs down “You’ll Burn. You’ll Burn. You’ll Burn” (B) as an inferno of electric shocks, high-pitched squeals, strangled moans and searing noise flares, and, finally, flames out.
the stippled streetlight over a gravestone at 2:30am,
eating a fresh donut at the bustop
in the fog,
Reverb’s lovesong to Distortion,
a ghost’s songs buried deep
in the snow.
a psychedelic pop aesthetic that floats uncomfortably
above the madness.
solo release of seattle-based Natasha El-Sergany on vox/guitar/synth recorded onto a cell phone 2016
Ghastly Detuned Bludgeoning
This menacing two-piece out of Kenosha, Wisconsin draw down on your sense of well being with a furious rage. Dirge, guttural bellows, feedback, blast beats, seedy samples, hair lashing, and neck snapping hXc riffage. Shake, rattle, and roll yourself off the precipice, brush the gravel off yer face, reset your shoulder, spit out a coupla’ teeth, let the blood to stream down your scowling visage, drag yourself up the cliff, and do it all over again on side B. @Bear’s_D.licious_honey, @slam_pit_with_loaded_deer_rifles, @PowerViolence, @TravisBickle, @Spock, @realtree_nail_bat, @malice_aforethought, @bring_a_straight_edge_to_hammered_fight
FCC on “Coward” (A4-B4) “Fuckin’ bitch”
Found sound field recordings from Bolivia & Chile. Felipe Araya plays the Peruvian cajón, a wooden hand drum, in a very non-traditional, exploratory fashion.
Side A is field recordings made in Bolivia originally recorded onto mobile phone. Gysin/Burroughs-style cut-ups of sounds at Cochabamba market, at el Ojo del Inca, traditional folk sounds, muddy footsteps, faint voices with occasional sounds from Araya’s cajón.
Side B is a “silent session” recorded at a friends place in Santiago, Chile. Cajón and objects, starts as a minimal, playful exploration that evolves unhurriedly into an excellent crescendo.
Two 26-minute sides of well-done, found-sound, bliss…
Mysterious cassette of dark ambient electronics from a one-man project out of Cincinnati. Corroded drones layered atop venomous synths and ringing echos. Five tracks that seep slowly into intimate spaces, until the plug is pulled for an abrupt ending. Digging for the dirt on this tape didn’t turn up much – it is the sole release on Skaven Electric, apparently an Ohio label/dealer of “scrounged up goods for audio rats” – but that’s enough to know its waves will infest the playlists of KFJC’s more sinister shows.
Sound artist Josh Peterson runs the Force Neurotic label. This 2019 cassette release consists of two very dark 20 minute pieces. Both are rambling and disquieting sound collages accompanied by the artist’s voice reading found texts from criminal cases. The A side piece deals with murders and the B side piece concerns unsolved disappearances. The compositions have a desolate attitude, combining melancholy and eeriness in a turn somewhat comparable to the films of David Lynch. Manipulated and damaged tapes of spelunking piano and other tuneless, toylike instruments, field recordings of public places, mournful clanking, desperate scrabbling.
Peterson intones, whispers, and declaims the dry facts of an uncertain number of these sad cases. Forensics. Autopsies. Surveillance footage. Traumatised family members trying to make sense of it all. The last few minutes of side A assume the aspect of Power Electronics, as piercing and squealing electronic tones back a more aggressive, urgent vocal delivery. Subtler side B ends with peaceful field recordings from a natural spot. Is it a hopeful epilogue… or is that what it sounds like where the poor girl’s body is buried?
The scrambled cut-up texts, intimately delivered, will remind some people of recent work by Sutcliffe Jugend and Consumer Electronics, and indeed Peterson has published a book with Philip Best’s Amphetamine Sulphate press. No FCCs but some edgy stuff (postmortem description of “anal injuries”) on side A.
Z.Y.Q. – a self-described “useless man” from Fuzhou, China – finds a use for the sounds from several genres of extreme music in his musical projects. As The Silent S, he explores lo-fi folk, dark ambient, and harsh noise, while his newest project Before the Revival alternates between pitch-black glitch techno and depressive black metal. On this 2019 debut cassette from BtR, the glitch sound is at the fore, with nine doses of bleak beats and low-end rumbles that together “describe a series of deep void and cruel universes inside his brain.” Once again, WV Sorcerer, the label headed by Chinese experimental artist ruò tán, delivers the desolation.
Filmmaker is the alias of producer Faunes Efes of Medellín, Colombia. Unregulated, one of a slew of releases Efes issued in 2019, showcases his hypnotic take on dark electro. A slow, sludgy beat drives the killer lead track “Federal Bestiary” (T1). The pace quickens with the strobe light rhythms of “Unnatural Sciences” (T2) and the twisted synth stabs of “Inbred Indigo” (T3), and continues building with the driving “Dreamland Ops” (T4), and the high speed chase of “Bot Cells” (T5). The tape runs out too soon, fully dissociating into the hazy sunrise comedown of “Fading Life Drop” (T6). A 2019 release from Opal Tapes.
A barrage of 14 crushing Scandinavian rock-falls from Wagner Odegard aka Kumulonimbus of Tomhet and 1 dark ambient soundscape.
These short and not so sweet offerings are a concise distillation of black metal with ugly rock hooks. All the fat has been trimmed, excising the often monotonous drone of double kicks and buried, over-driven trem picked guitars in favor of a variety of tempos, melodies, and tonal pallets that coalesce in to a furious volley of catchy cvlt black metal-literate rock. It feels like a gauntlet being hurled down by Odegard, as if to say, I have more scope and breadth than our progenitors, more talent than the commercial black metal behemoths, more vision than the throngs of mimics and emulators, more fury than a Valkyrie during Ragnarök, and potentially much more fuel in the fire. A vehement onslaught of short-form black metal but there is so much more to Wulkanaz; finger picking, strumming, galloping palm-mutes, growling and rending guitars, spoken word, shrieking, slaughter, battering and pummeling. In tight, short succession and very little repetition. Almost as soon as a theme is established it is resolved, leaving us gasping for breath and begging for more. And there is plenty to go ’round as the replay value is concertedly high. Though the compositions and performances stand out on this album the recording and mixing are excellent as well. And the drums… Odegard’ employs the drumming of Daniel Rockmyr to glorious effect, allowing him the space to rule on his throne, unleashing a fusillade of percussive devastation. This album is an axiom of power and, in the opinion of this miserable volunteer, a new apogee in the genre as it continues to fracture, expand, and evolve.
Written and recorded in the industrial zones near North China’s Bohai Bay, Love Songs in Disillusion is the debut cassette from experimental singer/songwriter Wang Zijian. A deep longing lies within these eight twisted love songs, composed of guitar and synth melodies, despondent vocals, spoken word poetry, and heavy industrial rhythms that might spring from the wasted oil fields where Wang lives and works. The heavy mood gently lifts at the tape’s end, with a dreamlike serenade (T7) and the cosmic visions of the epilogue (T8). Released in the Summer of 2019 on the French/Chinese experimental label WV Sorcerer Productions.
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.
Repetitive and slightly basic one man blck mtl from Seattle. Straight ahead, cold, bleak and solitary. No thresholds were broken on this tape, no limits tested, no souls were rend, or minds blown but fairly enjoyable none the less. However, The B-side is not , in the opinion of this miserable volunteer, listenable. Employing the same chords as Aqua’s, “Barbie Girl” I began to wonder if this wasn’t a hoax, or a test, that perhaps S.C. (the sole credit on this album that is dedicated to “no one”) was foisting upon the world, an insidious and bizarre sonic trolling. But I do not now believe this is the case as any black metaller worth his salt would never have listened to much less been aware of Aqua, Barbie, or anything that wasn’t cold, grim, low fidelity, or soaked in the frozen blood of their enemies.
Encoffinized from Huntington Beach (not to be confused with Encoffination from San Diego) play lean, mean death metal. When KFJC added their debut demo last year I knew this band were something special, and they have totally delivered with their first full-length album (if you consider 22 minutes to be album-length).
These short, punchy deathgrind songs are propelled by fluid riffing, purring double-bass fills, faster-than-the-ear blasts, and zombie death gurgles declaiming morbid poems. The songwriting is not a reinvention of the medium but, I mean, it’s DEATH METAL… you don’t always want distinctive songwriting– sometimes you want Immolation and Nihilist worship, which Encoffinized accomplish here in spades, and without recourse to cliche as the riffs feel familiar BUT never derivative. I dare you not to nod your head along to the groovy bits or thrash around frantically to the chunky assault of the on-point drummer when the time comes for our boys to grind. Production-wise, this tape sounds like it was recorded in a mausoleum, in a good way.
When there’s no more room in Hell the dead will walk the Earth.
Obsidian Needles is the Olympia-based industrial noise project of Clare S. This 2019 cassette, released in advance of her U.S. tour with Oakland’s Crawl of Time, contains two harrowing longform works. “keep my sufferings & desires from being violent” (Side A) alternates between uncomfortable stretches of subtle tones and textures and violent blasts of noise, with crushing industrial rhythms and distorted vocals. “good girls go to heaven, bad girls go everywhere, honey” (Side B) forces us to eavesdrop on a conversation between a young sex worker and her customer. A sustained, throbbing pulse builds and vicious processed vocals rise up, as if in response to the disturbing scene. A quiet emptiness follows, and within that void the strength is mustered for a final, terrifying expression of rage.
FCCS on both sides
This cassette documents two live 2014 Bay Area performances by Rust Worship, the “decay and noise” project of Angeleno Paul Haney. Both sets are continuous 20-minute pieces assembled from scraps of field recordings and tape loops. The LCM (RIP) performance (Side A), opens with wooden rumblings, like a small boat beating against the waves. It rides over crests of heavy noise and into troughs of layered tones, until it arrives at a crowded port. The Lab performance (Side B), returns us to a similar busy public space. In the background, a low pulse lies in wait. It surges, tears at the seams, and finally explodes into a sustained shearing blast. Released in 2018 on the LA-based label Skin Trade. More recent live work from Rust Worship can be found on KFJC’s latest Live from the Devil’s Triangle Volume 22 compilation, that features an excerpt from his 4/20/19 performance in The Pit.
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File