KFJC 89.7FM

Music Reviews

Hound Dog Taylor's Hand – "Hound Dog Taylor's Hand" – [Planned Obsolescence]

Thurston Hunger   1/27/2020   12-inch, A Library

Seattle project, contrabass leads the 4tet not strictly to rock, nor jazz. On the lead-off John Seman’s work is reminiscent of the guimbri styles of Joshua Abram’s work. Seman’s bass is a heavy anchor thoughout here. On “The Immensity of the Problem” he bum-bum-bum-BUMPS plus Mark Ostrowski on the drums to set up extended solos from guitarist Jeffery Taylor and then Greg Kelley on trumpet. Greg gets more muscle into his hustle here, as opposed to the intriguing but subtle Nmperign. Ah, Taylor is a Climax Golden Twin, he punks up “The Vulgar Ideal” (my fave track here – a ripper!). Things get a little sludgy on “Hostile Architecture” but like a lot of these songs, that serves as a launch-pad for solo ballistics. “Retrieval Technicians” finds a shade of moodiness, that nicely sets up when things come down to the WIRE on the closing track. Ending with “You Can’t Leave Now” is both funny and edgy (listen to Seman saw away on his contrabass). As a side note, KFJC has plenty of the six-fingered six-string slinger Hound Dog from whom the band takes its name.
-Thurston Hunger

Strafe F.R. – "Shadow Position" – [Touch]

Thurston Hunger   1/27/2020   12-inch, A Library

2019 release from this duo (Bernd Kastner and Siegfried Michail Syniuga are Strafe Fur Rebellion – aka Punishment for Rebellion). Electronic music tiling much more towards the factory than the dance floor here, the project has been putting out music since 1984. “Nachtmaschine” offers a few ghost vox in the machine (danke to Anna Nettra), amidst bubbling lava lamp gears and sci-fi fly-bys. Digital rain rattles – a pretty mellow trip. “Every Day XXL” has a loping beat, punctuated by burts of sound…some with voices, singing or EVP-esque. That “XXL” marked my spot! “Shadow Position” moves army boots to the club, a thumper strong enough to knock a toupee or three off, the title cut goes through some tune tunnels to ease up on the heavy breaks. “Isabella B” concludes the record, possible piano, prepared and otherwise also embedded in the electronics. Frau Nettra again adds a spectral hint of humanity between the sonic punishment. Not noise, but not merciful either. Short but covers a lot of territory, this Dusseldorf duo are not of the rinse-rhythm-repeat persuasion.
-Thurston Hunger

Black Cilice – “Transfixion of Spirits” – [Iron Bonehead Productions]

whngr   1/23/2020   12-inch, A Library

Murky depressive black metal. 

One might choose to describe this album as grey metal though that moniker has already been attributed to another. Perhaps trve grey metal is more apt. This is lo-fi one man black metal, simple and barren. Flat, dead. dreary and bleak. But not because of poor recording but of purposely burying everything in the mix. Like the microphone was hung from the mouth of a cave while Black Cilice performed deep within the bowels of this earthen grotte. Heavily distorted, repetitive, and simple trem-picked guitar, blast beats, frozen vapor enveloping a crypt, affected wails, all the elements are in place but they are obfuscated by distance or perhaps the walls of cthonic chambers. Much like the depiction on the cover of Transfixion of Spirits, a diaphanous shroud of fog conceals the scowling spectre whose malevolent intentions can only be speculated. And fittingly, little is known of this esoteric project’s curriculum vitae, though said to be the creation of a single soul from an undisclosed location in Portugal. Beautifully packaged by German label, Iron Bonehead, on grey vinyl. An excellent accompaniment to any afternoon spent alone drawing skulls, or casting spells but especially as the heavens weep ceaseless tears.

Sixx – “Sister Devil” – [Nuclear War Now!]

whngr   1/23/2020   12-inch, A Library

Stripped down sad boy rock in the vein of Bauhaus, early Christian Death, and Sisters Of Mercy composed and performed by local heavy metallers, Von (Goat, Kill, and Snake) who would, in time, establish themselves as one of the most cvlt black metal projects of their era.
Originally released as a demo in 1991 on 500 cassettes and then pushed into the craggy depths of obscurity, this recording is a slightly low fidelity but reasonably well recorded and rehearsed chorus drenched guitar adulation of the macabre. Some might venture, to a level absurdity. But not I. I adore this kind of thing, and as it came from members of a band that had such power, speed, and vision adds a layer of context. Another level of morbidity. Repetitive, unpolished, atmospheric, brooding… it is an excellent snapshot of a time and a place, that many of us would be unaware was happening in the inky shadows just up the peninsula. I can’t say if I would have totally appreciated Sixx in 1991, but I would have loved Von had I been aware of their existence. Their history is mysterious and contentious among black metal mavens but this recording puts the a final nail in the coffin of any debate as to their talent, range, and foresight. This L.P. is beautifully packaged by Nuclear War Now! which is, in the opinion of this miserable volunteer, a fitting label to introduce this stunning project to 2020.

Munition – “Gaze/Gauze” – [Absurd Exposition]

lexi glass   1/22/2020   A Library, Cassette

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.

Barriga, Rodrigo – Silere/Continuo

Louie Caliente   1/21/2020   A Library, CD

Rodrigo Barriga is a Mexican composer who studied at Mills College. His work focuses on improvisation, communication, and openness. Silere/Continuo contains three new performances of his early works. The mood is seriously avant-garde, but playful and rooted equally in rock, jazz, and classical.

Continuo (T1) is a piece for voice trio, exploring harmony and resonance. Soaring acrobatics, shifting pitches, sustained gurgles, and raspberry trills.

Silere (T2-T5) features Barriga on electric bass alongside with electric guitar and drums. These pieces have lots of space in them and can take a while to warm up (many start with near silence), but they are well worth the wait. Quiet, accidental sounds flutter, slowly gathering momentum Cohesive grooves emerge abruptly out of thin air, but somehow remain intangible, and melt away before your ears.

Continuo (T6) again features Barriga on electric bass, this time paired with a trio of electric guitars. Collective concret noodling. Psychedelic time warps.

Alleyes Manifest – James Wavey Roses

cadilliac margarita   1/17/2020   12-inch, A Library, Hip Hop

Hip hop out of Oakland from James Wavey aka Alleyes Manifest aka Michael Bridgmon. This is trippy experimental psych- jazz- stoner funk- poetry. Chill, smart, & topical, with cleverly layered mixes, and intelligent word play. Lots of FCCs. All marked.

Dagger Lust – “Siege Bondage Adverse to The Godhead”-[Vrasubatlat]

whngr   1/16/2020   12-inch, A Library

TWR: Horrific aggro-tronic assault. Aggressive power-eletronics with grindcore drumming (sounds like a kit to my ear/not programmed), sludge elements, and power-violence vocals (guttural bellows and shredded screams/yells) out of Portland OR. At times plodding and lumbering, elsewhere blistering and cacophonous but almost always crushingly heavy with only track A4 (Perverse Divine) offering a brief, dark, reverbed out bass interlude between the barrages of doom, hate, and despair. Members of Ash Borer, Torture Rack,  Disgust, Pissblood, et alia, engage in a blinding attack of unhinged rage and semi-consensual tympanic membrane violation. Perfect for alienating listeners, an evening of self-harm, or a soundtrack to shooting the hostages. All cuts track, no discernible F.C.C.’s, no fun, and no remorse.

Headboggle – “Polyphonic Demo” – [Ratskin Records]

lexi glass   1/15/2020   A Library, CD

Headboggle, aka local experimental synth wizard Derek Gedalecia, is no stranger to the station – a small slice of his sizable discography lives in our library, and he recorded a session in The Pit back in 2009 – but for the unfamiliar, this 2019 Ratskin Records release provides a full immersion in the bizarre, beautiful Headboggle universe. Polyphonic Demo holds 44 one-minute tracks, each a tiny, wonderous world of electronic sound. Put the disc on shuffle – maybe you’ll land in the rough, bluesy groove of “Sister Synth” (T44), the mechanical march of “Stomp Ya Down” (T14), the ragtime piano and squishy beats of “Piano and Polyphonics” (T22), the minor key fanfare upon entering the “Buchla Club” (T26), or the slo-mo surge across the finish line in “Marathon Man Dance” (T7) – and catch a different glimpse of a facet of this strange gem of a record.

Father Befouled – “Holy Rotten Blood” – [Dark Descent Records]

atavist   1/14/2020   A Library, CD

Death metal with a satisfying amount of doom thrown in. Crushing, a bit atmospheric, unrelenting. Vocals are way down in the mix, but present, and it works. It’s all about those filthy guitars. The drums provide a pummeling barrage but aren’t the focus.

4:42 Full gallop of the apocalypse horse leads to a staggering breakdown.2:04 This song is more like an interlude, or an idea for a song that didn’t become a fully-fledged piece. Instrumental. 3:47 Intensity picks back up with this track. Funereal doom-reminiscent breakdown before a crashing end.4:16 Moderately fast-paced death leads to a trudging middle section before resuming the onslaught.3:42 Starts out relatively mellow. There’s a somewhat unhinged guitar solo in there.4:58 Features the heaviest, chuggiest riff on the CD.

Laddio Bolocko – “Live & Unreleased 1997-2000” – [No Quarter]

atavist   1/14/2020   12-inch, A Library

3LP box set release from 2015 offers six sides to explore full of psych skronk ecstatic noise rock improvisation. Not sure where to drop in? Select Side D. (A breakdown of each side follows below.) On the whole, it’s fun to listen to this genre of music getting made in real time, and with a frenetic, jangled, anxious energy as opposed to happier, tranquil, figure-it-out-eventually, meandering psych jam sessions. Laddio Bolocko go full out on many tracks, exhibiting notable stamina as they work through ideas while keeping their collective foot pegged to the floorboard, tempo- and intensity-wise. They also exhibit a chameleon-like interest in trying out different genres and textures. The best stuff on this collection is more raw and unhinged than the band’s studio releases, and points to the next evolutionary step, notably the Psychic Paramount, the reckless experimental outfit that absorbed half of Laddio Bolocko after its dissolution. Be sure to check out the liner notes printed on each disc sleeve if you’re interested in learning how the musicians lived in New York (both in Brooklyn and upstate), toured, and made these recordings along the way.

Side A: a side-long excerpt from an extended jam made shortly before the saxophone player joined the band. The keyboards featured prominently over a driving drum line give this track the most conventional psych jam feel in the collection. That is, until the end, when the jam devolves into some Casio-keyboard mayhem. Made in the band’s living/rehearsal space in Brooklyn.

Side B: recorded at a house in the Catskills where the band lived for a while, during the same year Laddio Bolocko appeared in the KFJC Pit. B1: an assemblage of multiple sessions/ideas. amorphous noises and drones rise and fall. piano and determined munching of potato chips or similar snack gives way to some strange western saloon crossed with a science experiment. eerie scifi vibes. B2: noodlings and wanderings, particularly on sax. B3: percussion-driven composition with other noisy and sax-induced parts.

Side C: more from the Catskills sessions. C1: a bit more smoothed-out sibling to B3, driving percussion with minimalist keyboard element. C2: starts out mellow; drums, bass, and sax. it’s mellow but there’s always some tension brooding under the surface. C3: recorded audio detritus lends some interesting sonic textures. C4: the elusive guitar resurfaces in this amalgamation of attempts and explorations. bass and drums tend to keep things held down while other sounds flit about. C5: sharp, high-pitched machine whine with some sort of drum machine going in the background. C6: ritualistic drums, twisted carnival organ, redlining sax squawk.

Side D: return to Brooklyn. D1: brief, cool-sounding bass line with drums and sax. D2: probably the standout track on the collection. The guitar establishes a driving rhythm and the band begins to build structures around it. The drummer, bassist, and sax player had heard the guitar part for a few minutes before laying this track down, so the spontaneous ignition happening here is pretty amazing. Mesmerizing result. D3: Part B to the previous track’s Part A. Adds synth to the mix, guitar soars, and plays like a sinister doppelgänger to the pt. A’s beauty. Super rad, down to the moody dissolution to close it out.

Sides E and F were recorded live in Slovenia. These are driving, straight-ahead, full-throttled tracks that should fit in a variety of sets. A couple tracks are live versions of tracks found on the studio album “As If In Real Time”. E2 is a quick shot of adrenaline. E3 provides a glimpse into the band’s ability to play with dynamic range and respond to each other in a live context. Tension built and released. F1: another version of the track included in the Live From the Devil’s Triangle v1 compilation. The end of this track bleeds right into the F2, where they get into a live jam. F3 closes out the collection with a melding of the eccentricity of the Catskills jams and the intensity of their live improvisations. Breakdowns amidst the freakouts allow the sound of the audience to come through.

Rusalka – “Base Waters” – [Absurd Exposition]

lexi glass   1/8/2020   12-inch, A Library

Rusalka is the project of Vancouver noise artist Kate Rissek. Her work over the past decade includes several solo cassettes and split releases (with MK9 and The Rita, among others), and now in 2019 her first full-length LP washes onto KFJC shores. On Base Waters, Rusalka uses a theremin and electronic effects to harness the power of the seas on two sidelong pieces. A sunken ship ascends back to the ocean surface on “Sinking Blood Deep” (T1). The vessel’s weathered hull – massive walls of corroded noise – rises from the depths; its horns sound, lights flare, and engines roar once again. On “Reflection Underneath Waves” (T2), field recordings of waves transform into massive columns of noise standing amid powerful swells of sound, a raw expression of the creative and destructive forces of the sea. Beautiful, compelling work, released on Montreal label Absurd Exposition.

Maisha – There Is a Place – [Brownswood Recordings]

aarbor   1/8/2020   A Library, CD

Maisha is a 6-piece outfit lead by drummer Jake Long who are a part of the up and coming London Jazz undergound. Others in the band: Nubya Garcia (sax/flute), Shirley Tetteh (guitar), Amane Suganami (piano/Wurlitzer), Twm Dylan (double bass) Tim Doyle (percussion and Yahael Camara Onono (percussion). Most of the tracks are 8 minutes or longer. AArbor

LES FILLES DE ILLIGHADAD – Fatou Seidi Ghali & Alamnou Akrouni – [Sahel Sounds]

aarbor   1/8/2020   A Library

Fatou Seidi Ghali and Alamnou Akrouni are Les Filles de Illighadad: the first women’s Tuareg band. They are cousins. Their band includes 2-3 other women.Tuareg women don’t play the guitar they play a style of music called tende which is centered on a drum made with mortar and pestles. It’s a style that influenced Tuareg guitar playing but isn’t generally part of the music played by Tuareg men. This is an example of traditional women innovativating beyond what has been acceptable in their culture. This is their first record (from 2016), it’s lovely! The A side is 5 tracks which are not separated, the B side is one long track called ‘Tende’. – AArbor

SYRUP – Different Flavors

aarbor   1/8/2020   A Library

German funk group which is the alias of the Poets of Rhythm.  Compost label boss Michael Reinboth wanted a disco funk release and this moniker was created for that project. This is their only full length release. It’s funky in a delightful (not sticky sweet) way. Drop the needle! AArbor

Nerija – Nerija EP – [Domino Recording Co Ltd]

aarbor   1/8/2020   A Library, CD

Nerija are a collective of London-based musicians: Nubya Garcia (tenor sax), Steve Reid,  Sheila Maurice-Grey (trumpet), Cassie Kinoshi (alto sax), Rosie Turton (trombone), Shirley Tetteh (guitar), Lizzie Exell (drums), and Rio Kai (bass). Their music is original and inspired by: jazz, hip hop, Afrobeat and South African Township styles. Each track was written by a woman who plays on the recording.  AArbor

Silver Summit – "Silver Summit" – [Language of Stone]

humana   1/4/2020   12-inch, A Library

This is freak folk with beautiful vocals and instrumentation. Think Marissa Nadler but with vocals that are distinct and lovely in their own way. Sondra Sun-Odeon’s voice delivers some thought-provoking lyrics that paint haunting pictures, some of which were inspired by the band’s love of Acadia National Park in Maine (“Acadia” on Side B). David Shawn Bosler wrote the songs along with Sun-Odeon, and he does some of the backing vocals. There are Tibetan water bowls, guitars, cellos, and other musical instruments that set the other worldly tone. Quite pretty and fanciful.

Deathprod – “Occulting Disk” – [Smalltown Supersound]

atavist   12/30/2019   12-inch, A Library

There’s something quite compelling and rich in the sounds presented here. They tower above our heads like spectral skyscrapers rusting in place, stone monoliths clothed in frost, rivers of ice excavating trench graves. Deathprod, the project of Helge Sten, has been piquing the interest of KFJC DJs for some years now, as evidenced in reviews by Cinderaura, Muad’Dib, and Louis Caliente. At times the sounds are punctuated by pauses, or rise and fall in waves, or maintain a near-steady state of presence. Landscapes of cold, bare earth, toxins carried on currents. Nothing on the previous three sides really prepares you for the massive, overdriven “Black Transit of Jupiter’s Third Satellite”. It arrives fully formed, a behemoth. Thunders, temblors, acrid scourings, wave after wave in slow evolution, shaping the new normal. Or rather, those three sides of electronic exploration have perfectly prepared you for the arrival of “Jupiter”. Intercepted messages sent from the future.

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