cascadian doom folk of the apocalypse, this group of ladies from Olympia perform acoustically and by candelabra because when the end comes there will be no electricity. somber, sparse yet uplifting in the most dismal of outcomes, vradiazei literally translates from Greek to “getting night” or “darkness comes” they lost their banjo/bouzouki player to motherhood, life eats away at us all one by one. vocals on the B side
One-man noisegrind from music journalist Shane Mehling, also of the WA post-hardcore band Great Falls. Bandmate Demian Johnston (see also: Sutekh Hexen, BLSPHM, noise work under his own name) runs the label.
Side A = Blown-out mathy bass assault, probable drum machine doing the full blast thing, Pig Destroyer style hardcore vocals. The last track resolves itself with about one minute of feedback.
Side B = Single piece of nearly unlistenable feedback manipulation.
A sleek and deadly example of a confrontational genre, somewhat akin to the more musical excursions of longtime KFJC favourites Sissy Spacek.
The original Synanon was a drug recovery program founded in Santa Monica that turned into a criminal mind-control cult. Couldn’t be cultier than 12-step, though (rimshot!).
Both sides about 5 minutes. The label founder says: “I am hoping to release some more of his stuff but it’s impossible to get him back in the damn studio. He spends all his time battling blackberry bushes.”
Way-too-short EP from Belgium’s Lemones. Originally released in 2016 on clear vinyl 7″, and recently re-released by Moscow’s Post-Materialization Music label. This cassette is one of only 50 copies.
Lazy lo-fi shouty noise-rock. Thick and crumbly beats that go everywhere and nowhere. Plodding baselines and meaningless lyrics. “Young Professionals” (T-3) is the fan-favorite, but all four the tracks have something unique to offer.
Limited edition cassette from Christoph Petermann out of Berlin, released on Russia’s Monopolka label.
Solid weight heavy noise, but not overly harsh or hateful. The tracks are all pretty short for easy consumption (most clock in at a *exactly* one minute).
Static blasts under layers of reverb. Unintelligible screams and wails. Broken electronic toys. Crunching looped annoyances.
I wouldn’t call the music “funny”, but Petermann’s sense of humor clearly is clearly evident. He performs in Bermuda shorts, a leopard vest, sunglasses, and inflatable swimming pool arm bands.
This 2018 release comes to us from Bizarre Audio Arts, a label that often pairs up some of the major names in noise/experimental music for split cassettes. The label’s founder, Leo Sabatto makes up half of the current lineup of the enduring Pittsburgh noise project Macronympha, with founding member Joseph Roemer. Their track is on Side A of this glitter-flecked cassette, and on the flip side is din-i-ilashi, the solo project of Japanese electronic artist Osamu Kishimoto.
“Sure Thing to Do” (A) begins two parallel layers of corroded sound – whistling feedback and wandering dark melody. Six minutes in the track arrives as the sounds launch into a massive and teeming wall of noise. The real centerpiece of the track is the breakneck blast beat that emerges about halfway in, takes center stage, and then pummels its way through screams, sparks until the tape runs out. The B side track, “Non-Doership” as you might guess from the title never reaches the same level intensity. Instead Kishimoto pursues dynamics and flow, with ringing carnival tones moving into unpredictable whorls of static, feedback, laser beams and buried songs.
Self-released 2017 EP from this Japanese grindcore duo of Fuckin’ A and Frozen Panty, not to be confused with the other Cunts in our library. Drums and vocals ONLY. Drummer Fuckin’ A delivers total destruction, alternating his playing from machine-gun precision to a total sloppy mess, while Frozen Panty howls, slobbers, speaks in tongues like a raving lunatic. Each side of the tape is a quick blast of projectile vomit and other bodily fluids – within five minutes the load’s blown.
Illium is the 2017 debut release from LA beatmaker and producer Huxley Anne. Genre-wise this is all over the place, with elements of hip hop, techno, noise and new age, and, sometimes, the unfortunate aftertaste of forgettable fads like dubstep or witch house. But I can get past that because these tracks hit hard, with heavy, warehouse-shaking bass pulses roaring throughout. While “Aphro Dye” (T2), “Nin” (T3), and the aggressive “Ashes” (T4) seem made for the club, on other tracks the beats are paired with unexpected elements: laid-back guitar loops on “Celadon” (T5), mystical drones and harp on “Igredo” (T6), sitars and chants on “Aesop Fable” (T7), and music box chimes on the downtempo “Dragoon” (T8). Released on the LA experimental/hip hop label Dome of Doom.
Self-released 2006 album from this rotten Danish black metal project, with members from Solhverv, Wolfslair and Luciation and others, re-released on cassette on the Ukrainian label Night Birds. The first thing that struck me on opener “Stenknivens Blot” (T1) was Bestial Butcher’s absolutely inhuman drumming. He races along at an vicious speed, but then shifts into different rhythmic patterns. The variety in the drumming – aggressive churning, dramatic sweeps – add different dimensions to the tracks, and give the album real complexity, but without crossing into overly technical prog territory. I liked the first track so much that it took me awhile to get into the rest of the album, but when I did noticed the melodic elements throughout – hardly pretty and still pitch black, but really appealing. Take the descent-into-madness guitar on “Crimson Spirit” (T4), or the main theme of “Den Naadesloese” (T5) that had me banging my (non-metal) head on Caltrain. The lyrics in Danish glorify the kings and warriors of the Viking era, though a few tracks are in English, including T9 and T10 with FCCs. Couldn’t really make out the lyrics on T4 and T11, so play at your own risk.
Anne Clark meets Martin Rev at the local poetry slam to create something
original? Indeed! Map 71 is the two piece Bristol UK duo consisting of
percusionist Andy Pyne and Poet Lisa Jayne. 7 tracks of oscillating reverby
percussion combine with Jayne’s inflectionless spoken word musings on topics
such as controversial dance moves and psychedelic waiting rooms to create
something unique and interesting. Real or halucinogenic? Every track will have
you pondering. Elements of Industrial, Ambient, Avant-garde and Post-Punk all
coalesce harmoniously without sounding pretentious or self indulgent. There is
a consistent feel to all presented here but Track 5 is my favorite.
Available as a CD or Cassette.
Beats to buck you up when you’ve got the blues, from LA producer Oso Blanco. Flipping a soul sample is a tried and true, and sometimes tired, beatmaking formula, but it’s done really well here, at times with the creativity of the legends themselves, Dilla and Madlib. There’s also weird touches that give this a sound all its own – glitches and skips, blasts of electronic noise, samples that dissolve into sine waves or swerve off the rails like they’re being played on one of our ancient tape decks (don’t worry I checked, it’s supposed to sound that way!) – that will either catch your interest or harsh your vibe. Still there’s some good, head nodding sections, and I might’ve stood up and danced when one of my favorite jams came into the mix about 20 minutes in on the A side. Though the tape’s instrumental, there’s lots of samples from (mostly breakup) movies, some with dirty words, sooo: FCCs on both sides.
Primordial Wound is the project of Seattleite Dan Fried. Two sidelong pieces made from “shortwave radio, field recordings, tape, synth, effects, and feedback.” Each track follows an arc, moving through a range of sounds: the opening collage of radio broadcasts on the title track, extended blasts of metallic noise propelled by human screams – the rot coming from within – and sparser passages of ringing, drones, and forgotten remains. A hybrid of harsh noise and electroacoustic sound art, this is another unique new release from Oxen.
Harsh noise wall split cassette from two Seattle noise artists. Peter Keller (also working under the names Bacillus, Dirac Sea and others) is Condo Horro, a project that combats “the effects of gentrification and soulless development” by building some walls of his own. It’s actually a pretty funny concept, so I’m glad Seattle’s sweetheart Felicia Gaggins aka Masturbatory Dysfunction, got him to lighten up a bit with this release, from the cover art collages of oiled up porno dudes with space needledicks to the suggestive track titles. The Condo Horro side is a 30 minute slab of crushing static that keeps feeling heavier, while Gaggins follows it up on side B with another half hour of filthy friction. From Seattle to Silicon Valley, we’re all getting fucked!
Relive KFJC’s summer vacation in Reykjavik with this cassette compilation accompanying the release of the second edition of MYRKFÆLNI, a zine that spotlights underground Icelandic artists. The founders of MYRKFÆLNI (Icelandic for “fear of the dark”), Kinnat Sóley and Sólveig Matthildur (in the punk trio Kaelan Mikla), were our gracious hosts for our two-day live broadcast Live from the Icelandic Underground in September 2017. Many of the artists from that festival appear here: World Narcosis with dissonant despair (T1), IDK IDA with an ethereal ballad (T2), Holdgervlar with cold melancholia (T13), and crowd favorite Godchilla, with a heavy tribute to Akira (T12). There’s new stuff too, including dark synthy dance tracks (T3, T5, T7, T11), metal (T4, T8), ambient (T9), hardcore (T10), and even a punky Christmas carol (T6). Limited release cassette that came with the first 200 issues of the zine, both now a part of our library.
BLSPHM is the solo project of Demian Johnston, Sutekh Hexen member and resident of the Pacific Northwest. While the smashed mandibles on the cover, like something recovered from the site of a plane crash, suggest extreme violence and depravity, this is not harsh industrial music but creepy cinematic drone. Slow-bleeding delays smooth out voices, single keyboard notes, strings or ???? into minimalistic soundscapes, soundtrack to torpid evil in desolate places, like the wind whistling through the empty crypts of a long-abandoned castle, or a massive shark drifting on the cold currents of mid-oceanic depths, or a mutilated body decomposing in an unmarked grave.Â Shuddering low ends and electronic moans. Play with TenHornedBeast, Deathprod or the more subdued utterances of Gog. That kind of effluent malice and impending violence, subtle dissonance anticipating a jump scare that never happens. Iâ€™m not sure how many tracks itâ€™s supposed to be but both 15-minute sides feel continuous. Maybe the B side progresses more. Now go to bed.
Torturing Nurse, founded by Cao “Junky” Junjun, is the band at the center of the Chinese noise scene, releasing a slew of material since 2004 (much of it on their own label Shasha) and collaborating with the likes of Government Alpha, K2, Macronympha and others. This 2017 cassette comes from the excellent Russian purveyor of sonic dementia Post-Materialization Music. The tape opens with a short track, with foreboding synth tones (Carlos’ The Shining theme) announcing the final descent into oblivion (T1). Two long tracks follow: the first, “Is sleeping,” is a lo-fi filthy rainbow roar (T2), “My Glue” moves to a higher key with surges of sound that grab onto each of your ears and pull, stretch, skew whatever’s in between them (T3). The track ends with convulsions and slobbering that moves into the live track “Co-Taeyang” (T4) with screamed vocals and sneakers squeaking around unidentifiable metallic clashes. More Shanghai noise!
A simple formula FLute + dOOM == FLOOM. But the
heaviness has the gravity of Earth, and the
monumental mantra of Sleep, but on top of the
thick guitar and mightly flute, Cathy Monnes
and Christina Fleming hover with angelic voices.
Wow, intoxicating about and beyond the open
e-string buzz for your distored brain. “MVMT 1”
has these great pauses of feedback guitar and
a sustained flute note, Satan might not know
but little god Pan understands. “MVMNT 2”
the guitar starts lower, and the flute doubles
its barrels, with the guitar pushing a bluesy
side of the red devil. Guitar gets on tracks
while flute+girls turn into a railroad whistle.
Tunnel of Floom! And ends with a digital flurry
of flute and an amp whimpering. “MVMT 3” picks
up (the whole piece is meant to track) and
aims for the godhead with a dronier, stonier
flute over amp spasms. Like a “Dead Man” sdtk
done by Amber Asylum? The ladies rise like
sirens on the closer, you guessed it “MVMT 4”
I bet this puppy will roll cradle to grave
on many overnight shows now and forever.
Distant piano with tape hiss and low-key ominous
vibes. Drone as an emotion, dread always hits me
harder than its less subtle cousin “doom.” This
cassette perhaps was acid washed in some toxic
effluvia from our dying oceans. Recently watching
the Twin Peaks revival and the film version of
“Annihilation” I found this music fits in with that
kind of visual weather. Overcast guitar, shades of
Steven R. Smith appearing in the shimmer-y clouds.
While there are organic elements of piano and spaceship
or something at one point) it’s mostly floatational
banks of keys. Honestly by the last track, “Beneath
the Haze” I sense a thin layer of optimism. Lying at
the bottom of the Poison Sea are Kurt Mangum from
Flying Hair along with Anthony Piromalli, they form
a pretty seamless pairing. Set sail for this one.
Scathing is the harsh noise project of Austin-based artist Kenny Brieger (also in Architeuthis Dux); this 2018 cassette is his second release under this name. Two ten minute breakneck cut up pieces. Side A is total implosion, I trace its source possibly to a mutilated rock song. Voices singing, feedback from microphones or guitars, even remnants of song structure, with a bridge of tense holding pattern rhythm that transitions between the two halves of the piece. Side B is total explosion, high and piercing, barreling with barely a breath until the final second. Another punishing release from Oxen.
I get how you might not be totally jazzed to return to dungeon synth, but it’d be a shame if you passed on the deliciously warped sounds on this split cassette. We last heard from Romain Perrot working under his most well known alias Vomir, among the most infamous HNW projects going. Here, he appears as Free as Dead, working with a completely different palette of sounds: a possessed organ, the notes twisting and distorted into beautiful, demonic hymns. If you love the Solo Organ stuff we’ve been playing consistently for the past two years, give this creepier version a spin. On Side B, we have six tracks from Bride, a side project of T.O.M.B., that attempt to capture electronic voice phenomena, or the sounds of spirits affecting electronic signals. Textured field recordings, unintelligible voices, ringing bells, dark piano melodies, and synth drones wind and warble through ancient speakers. Beautiful nightmares.
Lee “Leech” Bartow made his name in the 1990s with the power electronics project Navicon Torture Technologies. In 2010, he began releasing less extreme but no less dark works as Theologian. This new cassette from Danvers State Recordings (the label run by The Vomit Arsonist) is described as “apocalyptic industrial for the end times,” which might as well be now. The A side begins with the slow building ice storm of “In the End Times” (T1), the industrial rhythms of “The Sisters” (T2), the unexpected dance beats from a miserable club in hell on T3, the suspense of “Spent Fuel Rods” (T4). The second side is where this work really stuns, beginning with the standout title track (T5) (with a grim chorus that returns in T8), the tragic vocals of T6, the annihilating ambience of T7. The four tracks on each side merge seamlessly into one another – play on continuous to track them all together into a long piece. So much more than just a spooky dark ambient soundtrack, this excellent release evokes scenes of genuine drama, beauty, and horror.
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File