Cellos, marimbas, woodblocks, oh my! Composers who are classically trained and yet value uptown as well as downtown elements, minimal jazz within structures that allow for musical freedoms galore. This is what Bang On a Can is all about. Julia Wolfe, Louis Andriessen, David Lang, and Michael Gordon are the composers featured on this unique CD that offers the ultimate challenging listen.
Are Pentagruel playing something that could be coined Doom Classical? If it exists, this is a great example. We are talking about the effects of the St.Barthomew Day’s Massacre of 1572 where tens of thousands were slaughtered. We are talking faeryes and queens, magyck and melancholy. Wait, this could be a new KFJC t-shirt slogan: Faeries and Queens, Magyck and Melancholy. Pantagruel us citterns, gitterns, lutes, flutes and voice to tell the tales of the time, some dark, some darker, always a bit mystical and questionable. There will be dragons. And as the pictures show, there will be tights and velvet. Teasing aside, gorgeous insturmentation and vocalization take the listener back to a time that feels familiar. Superb and one of my favorite suprprises from this year.
Activist, poet, revolutionary blues singer, musicologist, friend of Fidel Castro, reporter of North Vietnam and so much more. Coming out of the coffee house folk scene of the late 1950’s, Lester’s trajectory followed that of the civil rights movements of many places during this time. Here is a selection of songs from the two albums he recorde. Just him and his guitar. A stunner of a vocalist with lyrics that do not hold back… these are in your face commentaries about the injustices of social conditions directed primarily toward African Americans. Songs of police attacks and profiling, economic disparity, work inequality… it could be today as much as the 1960’s and 70’s. Things don’t always change. Powerful and strong. “Stagolee” is a 13 minute epic equal in quality to Dylan'” and Guthrie’s “Alice’s Restaurant”. Brilliant, sad, depressing stuff.
If the “N” word is considered an FCC then FCC on tracks 7,11,13 and 14.
Yowsa. Eric Shoutin’ Sheridan & The Uptown Rhythm Kings are recreating a type of blues band called Honkers or Shouters that came out of the 1940’s. Horn driven, big vocals, hep cat jive stylin’ but done without kitsch. This is serious fun, recorde live at Fleetwood. Sheridan’s vocals take hold and lead the audience into rhythm frenzy with songs about dumping the wife and opening up the back door, if you know what I mean. The band is tight, with horns taking charge. A blast of fun that I could hear on any number of shows. Have fun.
More filthy fun to wallow in on this 2011 CD from the decades-running Leeds, UK noise collective. Abusive rhythms, excruciating demonic screams, persistent ringing squeals, layers of echoed voices and, at the most unexpected times, snatches of hilarious pop music. The assaults are punctuated by quick intervals of ringing bells, dead air, coughs and phlegm, moans from a low-budget porno, and Hitchcock saying the word “cock” over and over again. Through the 11 tracks, S+Q reveal the depraved underworld of the UK – the sex cults (T9), school shooters (T3), and its most beloved serial killers, as on the T4 Sutcliffe tribute and the Hindley and Brady (very friendly) set piece on T5. The album gets stronger as the it tears on, with the heavy, horrifying dance track “In The Brown Girl’s Ring Piece” (T9), the looping insanity of “Fishy Flirting,” and final sneering onslaught “Sniff Your Fucking Pee Pee” (T11). Totally offensive, disgusting and hilarious, like some of KFJC’s best programming. Not appropriate for any time ever, but you might get away with a daytime play if it’s not T1 T2, T3, T5, T6, T9, T10, T11, all FCCs.
Swedish and sometimes Finnish folk group, Hedningarna ( The Heathens), came onto the music scene in the mid 1980’s, playing with the songs and sounds of the early Norse, utilizing instruments of that time and building their own variations. Adding electronics for a contemporary twist, Hedningarna have always been able to sound otherwordly and unique but never quaint. There sound rocks, in an electronic old Scandinavian sort of way. “Hippjokk” has just the Swedish trio of musicians without the two female Finnish singers, in an attempt to “draw the connection between medieval Scandinavian dance music and the techno rave scene”. It is so not that to me, just a bajillion times better. It is one of the most unique sounds I’ve heard and I’ve been following them for quite awhile. There is this Arabic style influence and then cranky sounds that remind me of hurdy gurdies but not. Beyond toe tapping – full on body bumping. Skal.
Francoise Kucheida is a French blues singer, whose strong vocal style reminds one of the past greats of French chanson but who adds her own richness to interpretation to classic French standards and newer songs. These are not just about love, but about struggle, the people struggling day to day, which can also be about love. Accompanied by accordion and guitar on many tracks, these songs are rich with emotion and beauty. Light that cigarette, pour yourself an aperitif, sit back and listen to the sounds of the Seine in the distance.
Serge Gainsbourg, French sex icon and sultry singer of suggestive French pop tunes decided to put together a reggae album back in the late 1970’s. Pulling in the magic of Sly and Robbie, The I Threes for background vocals, many studio reggae greats and recording and mixing at Dynamic Sounds Studio, Gainsbourg nails it track after track. The propulsive bass lines and smooth backing vocals are a perfect match for Serge’s cigarette filled, raspy low tone almost monotone singing. These songs are most probably not about Jah. Most assuredly the pinnacle of a period yet so timeless. Get sexy.
Convicted human trafficker with a Coke endorsement deal. Second-place finish, Voice Of Asia! This dude has been to lots of places. “Another punjabi pop bhangra foot-tapping musical album which make people go gaga. The highlights of the albums are its real catchy lyrics and the loud enjoyable folk music.Surely be likeable by the punjabi pop lovers.Surely, check this out.” — Amazon reviewer TEENA
South Indian Carnatic quartet: vocal, violin, percussionists. Driving rhythm and time. Violin and vocal trade melody. Live. 6 tunes, a couple very long. Ritual expression.
Gao Ping b. 1970 – 20th C. High Culture seen in a 21st C. lens. Conservative. 1-6 inspired by pre-TV storytelling, european sextet Ensemble Pyramide. 7-9 gao @ piano. folk melody permutations. 10-14 gao@piano w/US cellist anita jehli. departs from a line of poetry. 5 movements of unified chi. 15-16** ping at piano focusing on unintentional sounds, vocalizations **high entertainment value** don’t sleep
After early success, the Depression turned him into a streetsweeper until 60s blues revival resurrected him. Recorded March ’69. Tracks left off his Fourth & Beale album. On his bed, leg off, slurring, drunk, out of tune. Blues, rags, religious, vaudeville. Recording tells a story, he’s a good show. Grows on you.
Religious:3,12. Drunk:4,8,9,12. Track 7 yodels. Mistakes:9. Track 2 ends when he gets worried the the snuff’s all gone.
The brand new CD from Boston’s Funeral Doom frontrunners, whose legendary show at the Sutro Baths in 2014 (alongside Akatharsia and Badr Vogu) won them many admirers around these parts.
There’s a LOT of shitty ‘Hipster Doom’ out there these days–I’m not going to name names– BUT Forn absolutely is the genuine article. Take it from someone who’s picky about his Sludge/Doom (as Encyclopedia Metallum so authoritatively describes them). I googled ‘Hipster Funeral Doom’ and the only thing that came up was a 4chan thread where the term was deployed against Ahab, a band I actually love, and not a bad touchstone in this case, really.
Given their city of origin I think everyone half-expects this band to start sounding like Grief at any second, but there’s truly not much Sludge to be found on this release (except maybe the incredible grooving riff on t.5, one of the best songs). The largely creeping pace, echoey psychedelic guitar work and profusion of delicate interludes impart a certain thoughtfulness to this forward-thinking champ of an album, and here the band have earned the right to be mentioned in the same sentence as American Funeral Doom saints like Asunder and Evoken.
Accomplishing so seamless a merger of tenderness and brutality is no easy task for any metal band, much less one formed a mere 6 years ago; having two guitarists is of course an integral part of their complex sound, as is their fondness for sudden shifts from soft to loud. Tasteful Death Metal touches, including quite surprising ones on t.s 6 + 11, do not detract from the sense that Forn are a Doom band first and foremost, in love with stupidly big, slow, heavy riffs. Growler Chris Pinto, who once came over for some reason to the house in Boston where I lived for a time, is a versatile extreme metal vocalist and his spirited performance is also integral to this band’s sound, much in the way that the Bay Area’s own Swamp Witch couldn’t exist without Jimmy’s distinctively guttural interjections.
Speaking of the Bay Area, look for KFJC pit veteran Jessica Way (Worm Ouroborous, Barren Harvest) delivering an emotive, Current-93-esque performance on t.10, in what seems to herald the emotional climax of the album. This track, along with t.s 1, 4 + 7, is among the aforementioned delicate interludes and may appeal to non-metalheads also.
No track listing or lyrics included with the sleeve, but it’s safe to say ‘Rites of Despair’ is not coming from a happy place. Oh yeah, and Forn is Old Norse/Icelandic (same thing lol) for ‘sacrifice.’
Paul Bley’s “Improvisie”, finishes off his trilogy of experimental electronic free jazz explorations with Annette Peacock. Recorded live in 1971 in Rotterdam, Netherlands, the two selections have Bley on electric piano and synthesizer ( as in MOOG), Peacock on electric and acoustic piano, synthesizer, electric bass and vocals, and Han Bennick on percussion. Peacock supposedly was the one who pushed the MOOG on Bley and with much success for the both of them. This is at the beginning of the MOOG so folks are trying to figure it out. Bley was happy that a keyboard was added but now he and Peacock were figuring out all the nuances of the thing. The improvisational interplay between Bley and Peacock is stunning, displaying a real understanding of the others musicianship. Peacock adds agonizing vocals (in a good way, a really good way) to the second piece. It almost shocks the listener. The pleasurable surprise, though, is Bennick’s percussion performance. He does so many amazing things with the drums, cymbals and whatever else he had present, adding to, accentuating, and filling out the sounds of Bley and Peacock. It almost gets lost but is so necessary. Definitely take a hard listen. A wonderful piece of music by some masters who were really going for the extreme.
Soundtrack to David Lynch’s film and accompaniment to the TV series, Twin Peaks: Fire Walk with Me. Music composed by frequent Lynch collaborator, Angelo Badalamenti. Sexy, sultry, somber detective jazz. Smoky atmospheres, voices of Jimmy Scott, and damn fine cups of coffee…
Marco Albert on vocals and electronix, Jay Kreimer and Bryan Day on invented instruments. These three met at the 2017 Festival Internacional de Improvisacion y Musica Extrema in Mexico. Recorded in Oaxaca, Lincoln NE, and San Francisco. Kreimer plays an “amplified hammered dulcimer-esque instrument on a tripod” and Day has “an entire table of his creations including antennas, effects processors, a wooden trapezoid, and an instrument that uses five tape measures each extended to a different length.”
The pieces are wrought and tense. It is surreal and abstract. The voices in both Italian and English float almost unnoticeably under dark scratchy movements.
Thick, scraping mutations.
Self-proclaimed “thrash flamenco” from Sydney, Australia. This is three dudes, Jacinko and The Raven on classical guitar, and Senor Bang Bang on the hand drum /box thing. Influenced by thrash metal, classical, reggae, rock, etc. Amazing technical skills on guitar. Fun, enchanting, hypnotic. Kinda weird album, I’m not sure why I like this, and neither will you.
Isaac Holt and Edee Young are solid members in the soul and rhythm and blues world and their “Soulful Strut” is a classic insturmental that everyone has heard. This collection of the “definitive” Young-Holt Unlimited paints a broader picture of this duo. The 20 tracks present a mix of insturmental and vocals treats that cover a wide blues and soul spectrum. Some of the instrumentals are so smooth, as if you were sitting in a bar in Las Vegas at 3 am listening to their show. It’s so perfect, cocktail lounge sounding and feeling with a smooth rhythm section that goes down easy. The vocals tell great stories of how they can get the girl, how great the girl looks, how the girl should hook up with them. Then there is the “Horoscope” song, a crazy, man, medium hard soul strut with horns a plenty testifying to the ladies about what they should do. Example: “To the Libra with yo’ scales in your hand. Come on baby, open up your eyes and kneel.” Whoa, and then whoa. Soulfulness aplenty.
Dubbed “The Best of the JSP Studio Sessions,” these blues songs are infused with rock and funk, which put them into an enjoyable blues league of their own. Lucky’s father and his wife collaborate with him on these tracks, and rarely has a family reunion such as this sounded so good. This should get plenty of play.