This is the soundtrack to post-apocalyptic hipster utopia. This is a mustache on a motorcycle. The cowboy hat from Flagstaff, AZ. “For Music Lovers” is cool, fun, atmospheric pop, it gets stuck in your head like a loose screw. Cesar came through the Pit in 2016, maybe. Weird enough for the weirdos, accessible enough for everyone else. Music here for everyone, turn it up.
Cruel Diagonals is LA based vocalist Megan Mitchell. A field recordist by profession, Mitchell wrote and released this as a follow up to “Disambiguation,” which we just added to our library October 2018. While “Disambiguation was about sense-making and uncovering some of the traumas surrounding Mitchell’s early musical career as an adolescent and young adult, Pulse of Indignation is about recognizing the exploitation, grooming, and pain that she was subjected to as a young woman under the watchful eye of men with power in the music industry.”
Watery, whooshing drones; ambient, reverby vocals; and soft, subtle noise amalgamate into this wonderful collection of seemingly disjointed sounds. Comforting, and yet, unnerving. This album is already gaining some traction, so dig it before it’s too late.
Oakland based project. 7 tracks of what the band calls experimental doom. It doesn’t quite feel like metal to me, though. It’s noisier, raunchier, and more in yo’ face. There are definitely metal elements, and a punk/noise ideology.
Track 1 is a cover of an excerpt of a Thou song called “Monstrance.” Cy Thoth would approve.
I can’t seem to find much out about this project. What I can tell you is that this is their second of only two releases (according to Discogs), both on the Madriguera label, and that Consolat is from Puerto Rico. Their first album, “S/T”, is the first release on the label, so I imagine there is a close connection between them.
What we have is four tracks of transcendental electronic noise. Sometimes lead by a beat, other times searching for something just beyond reach. It squibbles and squabbles, creaks and crunches, blasts and booms. “This release furthers the machinic faults, exhaustive rhythms, and accident-prone craftsmanship that comprised its debut tape. A personal, coarse, and rudimentary account on the island’s political landscape.”
Trepaneringsritualen (which presumably means something to do with drilling a hole in one’s head) is Tomas Ekelund from Sweden. Since 2008 Ekelund has prolifically practised his highly theatrical (or ritual, if you prefer) school of traditional Swedish death industrial. Despite his intense image, he spent the decade previous to founding TxRxPx in the highly emotive (but, as he would hasten to point out, equally gloom-ridden) dark ambient project Dead Letters Spell Out Dead Words. It is interesting that Ekelund’s body of work inverts the traditional industrial musician’s paradigm of going from ‘confrontational and ugly’ early on to ‘contemplative and pretty’ later in the career (see Genesis P-Orridge, Michael Gira, etc.)— this is heavy and not at all friendly stuff.
This 2010 cassette on Aaron Dilloway’s Hanson Records captures the raw early stages of the project. Heavily inspired by fellow Swedes Brighter Death Now and Nordvargr (and others on the Cold Meat Industry label), this is pulsing, sinister industrial noise with overtones of dark Norse spirituality (‘Septentrional’ means ‘Of the North’). There is a repetitive and simplistic approach to these tracks, but with an artfully organic presence that evokes a bleak environment of cursed machines rather than an impression of mere lazy looping and layering. There are three tracks on each side. A1 and B3 are creepers with unhealthy-sounding and unintelligible vocals. A2 and B2 are exemplary rhythmic noise pieces in the vein of early Genocide Organ. B1 is a more minimal dirge stalker with frightening serpent-speech somewhere between black metal and Bob from Twin Peaks. A3 is a spacier piece with a muted sample that may be Aleister Crowley. All tracks are good, so take the black pill, don your exit bag, and turn it up.
Anti-Ear is the appendage of noisician Tyler Harwood, formerly local but recently relocated to New Orleans. This 2018 cassette, released by Harwood’s NOLA-based music/graphic design imprint Planetary Magnetics Corporation, holds a 20-minute noise trip on each side. These aren’t complex collages that crush you with detail and density. Side A feels more like a comic strip, full of bold, broad strokes, graphic dots, and sudden zingers, like the oscillating electronics that warble until they succeed in shattering glass. Side B is still stark but more dark, with oozing synths, heavy pulses, and the quiet growls of Uncle Jesse on a meth binge, breathing down your neck. Have mercy!
Circuit Wound is the solo noise project of LA’s Jay Howard, who also records as part of the groups Bacteria Cult and Wire Werewolves, and with Bob Bellerue in a duo called Redwound. Howard has been causing headaches with Circuit Wound since at least 2001.
I think he is one of the more reliable LA harsh noisers, because his pieces tend to be very dynamic, i.e. they very much retain the impression of whatever constant effects manipulation was necessary to keep the sonic fracas flying.
On his 2018 effort for Oxen, this peddle-torquing Torquemada gives no quarter; the Angeleno sonic torture progresses from side A to side B leaving only skidmarks and tangled ruins. There are many layers of excellently recorded chaos to explore and it definitely doesn’t sound anything like radio static or any of the other tropes employed by harsh noise detractors. I’m not going to sugar-coat this: it sounds like R2-D2 being tortured at a Disney black site. The A side starts off a little more slowly and the B side gets right to it. Ten minutes each. Enjoy.
Crusty fucking Grindcore from San Jose, featuring drummer Chad Gailey (in between his tenures in Bruxers and Necrot, later also Vastum and Mortuous) and guitarist Colin Tarvin (Mortuous). This is balls-to-the-wall grind in the mold of early Earache releases, extremely well-recorded. The first two tracks are originals, and the next two are covers of Napalm Death and Repulsion, respectively, although the Repulsion cover (t.4, of ‘Eaten Alive’) is retitled as ‘Napalm Deceiver’; perhaps this is in reference to how Napalm Death stole the riff from Repulsion’s ‘Stench of Burning Death’ for their own ‘Deceiver’? Anyhow, the whole thing clocks in at six minutes which is just fine. Killer grind, recommended if you like having your head beaten against a brick wall.
Oakland-based Shanna Sordahl blends cello with electronics to produce hypnotic soundscapes. Side 1 produces images of clouds moving at dawn, and the skitters and furtive scratches of cities below not yet awake. Sordahl builds her patterns patiently, coaxing a variety of resonances from the cello. Each side of the cassette has two longer-format tracks with multiple layers and electronics and concludes with a shorter track in which Sordahl plays a solo cello composition. Side 2 begins with the track “Everyday”, and a more electronics-intensive approach. Articulated bumps and thumps tiptoe towards percussion, drones set the stage, and finally, a vocal element emerges. These are compositions for dreaming, but the dreamer may experience something between anxiety and calm, something restful yet on-edge, the liminal space between waking and sleeping.
Active since around 2006, Being is the Harsh Noise project of Dayton, Ohio’s Luke Tandy. The artist’s biblical namesake may have been the wimpiest evangelist, but like just about everything else on LA’s Oxen label, this is texturally rich centi-pedal aural destruction, excellently recorded and produced, and a head-splitter of the first order. Hyperabstractive audio sewage mixed with rusty sawblades in an old clawfoot tub; the radio, perched precariously at the edge, tuned between stations. This material explores a wide range of pitches, to put it mildly. Mr. Tandy likes to ‘hold his high notes,’ if you take my meaning (particularly on that A side track, gee whiz). The two impressive performances on this 2018 tape will satisfy noise fiends and probably confuse everybody else. They may even exceed the comfort level of some who think, based on this review, that they will be able to deal. Side A is live recording, side B is studio, but they sound vice-versa. An admirably singleminded exercise in sonic obscenity, mining the same deep vein as neighboring Pittsburgh’s genre-defining master musicians of Macronympha. There are other artists to whom I could compare the sound, but…
BTW, hydrocracking is apparently a part of the petroleum refining process, “by which the hydrocarbon molecules of petroleum are broken into simpler molecules, as of gasoline or kerosene, by the addition of hydrogen under high pressure and in the presence of a catalyst.” So now you know.
This is blistering noise rock made noisier with a raw live recording. Veteran Scandinavian noisers No Balls and related projects Brainbombs and Noxagt are well-represented in the KFJC library, and this entry adds fuel to the flames. Lo-fi and dripping with feedback. Reckless abandon and the pursuit of pummeling repetition. Almost entirely instrumental, bandsaw guitar tone, clipped out drum cymbals. Side B starts with a Brainbombs track and ends with a secret track.
Li Jianhong is a free-improvisational guitarist from Hangzhou, working since the 90s in several groups, including VagusNerve (in our library), and the founder of the experimental label 2pi. This 2018 cassette release from Lyon/Nanjing-based label WV Sorcerer collects Li’s solo works from 2008, right around the time when his album San Sheng Shi, was discovered by international audiences.
Three longform psychedelic guitar works. “Die in humble and warm” (T1) is a blazing, slowly developing piece, with bright guitar tones darkened and distorted by reverb and other effects. The calm gives way to “Revolution is only a sad illusion” (T2), a menacing feedback storm that rages and settles, like toxic smoke clouds, into a heavy, post-apocalyptic drone. The feedback flares again before the Side A ends. Side B holds the heavy “1969” (T3), with reverberating tones swelling into massive blasts of psychedelic delirium.
You might recognize the cassette opener from KFJC’s recent
Devil’s Triangle comp. Or maybe from watching Quintron and
Merzbow play hopscotch in Tron?? Noa Ver’s vox skip through
a 5 bit processor (bought with food stamps) and form their
own scratchy percussion which only highlights the sick stick
and swell cowbell from drumming powerhouse Zach D’Agostino.
Zach packs a marching band in his bloodstream, he carves
each tune a melody out of rhythm, which is excellent so
Noa can get up to her elbows and larynx in sterling circuit
disintegration. Somewhere on a drum-free break while
“Lazing in the Garden” I imagined Noa as a dental
hygenist jamming on the teeth and ears of a patient.
But it’s not like you need novocaine, Sea Moss has got
their finger on the noise nerve barrier and nails the pleasure
receptors time and again. Paired with a fellow Portland duo on
the flip cassette tip, similarly a weirdo wonder femme and a
killer drummer. Diana Oropeza drops thoughts and the mic, in her
singing proclamation style on their opener, then switching
to curandera invocations. TJ Thompson creates the electro
funk kinda like !!! and again flat-out kickass drumming.
“Afterthought” takes live-or-memorex horns and swirls ’em.
The Stomach reminds me of Mecca Normal in how I feel I’ve both
been warned and entertained. Short blasts from both that can help
your splice the sonic DNA of your show from no wave to drone to
hip-hop to funk to slambient to sparkle prog.
Andy Christian Way is a former member of Sutekh Hexen who also plays with French Radio and Maleficia, among other projects. Thoabath would be his Death Industrial unit, active since 2015 or thereabouts. The project is all about primal rhythms and desolate, hopeless atmosphere. This 2017 cassette comes to us on Madriguera Records of Puerto Rico, where Way resided for a time prior to the hurricane. This will be comfy next to KFJC’s (or my) collection of releases from MZ.412, Theologian, and Dissecting Table. Bilious, decay-obsessed electronics with a riveting sense of tension. Side A= Beats By Dis, melting flesh, babbling demon voices. Side B= Deep, deep ambience to cleanse the palate after all the blood and sulphur of the A side; just don’t get too comfortable because the zaps are coming. This is beautiful release. The quote on the interior is from France’s obfuscatory postmodern fill-o-soffer Jean-Francois Lyotard: “All corporeal identity trembles at its finitude, and for it, distraught with humiliation as much as with suffering”–or to put it another way, “life sucks.”
Disambiguation is the debut release from Cruel Diagonals, the experimental electronic project of Oakland/LA-based sound artist Megan Mitchell. Each track fuses the sounds of the ancient and the modern into dark, dreamlike ambient works, all held together by Mitchell’s stunning voice. Her vocals, treated with reverb and layered into hauntingly beautiful harmonies, are woven with minimal rhythms (T2, T4, T5, T8), dark drones (T6, T7, T9), or slowly building storms of noise (T7). Also worked into the tracks are field recordings from the ethnomusicology archives from the University of Washington, where Mitchell was a student. In these nine tracks she expresses the search for sense in the senseless, arriving at some conclusion in her final incantation.
2018 beat tape, the fifth in a series from the Boxcutter Brothers, a collaboration between California beatmaker Drasar Monumental and Ayatollah, a prolific producer from Queens. On Side A, Drasar represents the West Coast with five tracks of dense and adventurous sampling, (including some Bollywood dance tunes on A3, dark piano loops and electro beats on A4 and A5). But despite the beautiful backing tracks, the feel on this side is aggressive, violent, and razor sharp. Side B cuts the other way – Ayatollah delivers the more laid-back of the two sides, but it still crushes. Killer soul samples, heavy beats, and a couple of cameos from Sun Ra (B5- amazing) and Barry White (B6). From local SF label 77 Rise. FCCs on A1, A4, A5
Psudoko (formerly Parlamentarisk Sodomi) is Steinar Kittilsen, a one-man time-travelling prog-grind-math-core band from Trondheim Norway. This cassette was released in 2014 on Drid Machine, but recorded much later.
The sound is an adrenaline-heavy mix of prog-rock, math-rock, punk-rock, and butt-rock. Impossibly fast, impossibly intricate, and impossibly powerful. Highly controlled chaos.
Thumping bass lines and break-neck blast-beats. Fast, angular riffs that turn on a dime. Guitars that scream, scribble, and shred. What really sets this album apart is the meticulous arrangement and orchestration found in each track. Brief and beautiful piano interludes balance out blistering guitar solos. Violins sing and bells chime with perfect clarity alongside distorted strings and fuzz.
The future is here, and it is fast.
This album starts with what sounds like being in the fiery cockpit of a 747 crashing though the San Francisco fog. Suddenly the left wing rips off, instruments are malfunctioning. You can almost hear the sound of screaming passengers in the background. The plane quickly loses altitude and it seems the plane may crash into the water, extinguishing the flames. Everything gets real quiet. Where is your flotation device? Not all hope is lost… then it fucking explodes, fucking flames everywhere, faces melting off, no more hope. And that’s just the A-side…
This jet fuel melts steel beams!
Two killer musicians featured here, Tom Weeks on alto saxophone and Camille Emaille on percussion sounds. Recorded in Oakland 2016, what we get is what I’m calling surreal jazz. Certainly skronky, certainly noisey, and possibly jazz, but without leaning toward one or the other. Waspy wisps of wings around the corner, fluttering brushes, clips and clops, the bowing of a saw, perhaps, and what I’m sure is a goose having on orgasm high on acid.
Hazy, smooth, and rhythmic lo-fi electro-acoustic compositions from Moody Alien, an anonymous artist from Thessaloniki Greece and proprietor or the Thirsty Leaves Music micro-label which put this cassette out (edition of only 50).
Warm samples of acoustic instruments are layered, blended, and tweaked. Recordings of scattered chords, echoey drones, and flowing melodic patterns mix with field recordings and sparse, distant vocals. The layers are deep, but not dense. The result an enveloping, dream-like feeling of mysterious familiarity. The pieces each build carefully and in their own way, some juust baarely venturing into heavy free-folk proto-grooves before retreating back to the comfort of a nice drone.
A rich variety of instruments are on display here. Moody Alien plays classical guitar, 2 harmonicas, trumpet, cello, double-bass, glockenspiel, toy piano, numerous household objects and “a few body parts”. The credits call out several other musicians who lend their unique sound on different tracks: electric guitar on T1, bouzouki on T2, trumpet on T4, dulcimer on T4 and T5, and more!
Beautiful, rich, and heavy sounds.
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