Gloomy Lofi low BPM electronica. Almost deadpan spoken word vocals remind me of Lady Godiva‘s operation by the Velvet Underground. Imagine the Sleaford mods on drugs that make you very slow. Simple synth sounds hark back to 80s electronica. Oddly interesting and somewhat disturbed sounding. Could be layered in with another track playing simultaneously by the adventurous dj. Definitely worth at least a few listens if you are into a gloomier sounding electronica experience. 33 rpm but try pitching down further or pitching higher as well as playing at 45rpm.
Indie emo pop. Spoken word vocals. Nice simple clean single note and arpeggio guitar, bass and brush drum style accompaniment. Reminds me a bit of Red Stars Theory. Maybe a bit of a Mission of Burma feel about the band sound. Perhaps the Minutemen. Definitely a Lee Ronaldo accompaniment style. NYC downtown art rock.
Fronted by poet Karen Schoemer. Schoemer collaborates with bassist Mike Watt in Jaded Azurites, and with Wreckless Eric & Amy Rigby. Eric Hardiman, Mike Griffin and Phil Donnelly are members of psych rock unit Burnt Hills.
Chillingsworth Surfingham is actually John Ashfield, also know for his San Francisco indie pop band The
Bobbleheads. This 2021 instrumental collection gives a pop spin to surf music. Chillingsworth Surfingham is a bear – Ashfield performs in a bear costume – but don’t think the shtick is all there is. Very well played energetic and positive tracks.
This CD is a brilliantly concocted and collection of 60, that’s right, SIXTY mic breaks from a (sadly) fictional jazz radio station from the mixed-up mind of Tim Thorton. While these improvised tracks range from about 20 seconds to 80 seconds, any of these would fit seamlessly between practically any two tracks you wish since their absurdity falls perfectly in line with KFJC’s. It was impossible to listen all the through only because I had to pause it due to my uncontrollable fits of laughter. Here are a few of my favorite lines from these tracks…
“Trust me on this one, there’s nothing softer than the tip of a dolphin’s nose, but I guess that depends on where he nudges you…”
“It’s opposite Day here at the station, it’s actually not, and we’re not going to be playing your favorite bossa nova hits…”
“Broadcasting live from Reggae Fest! They put me in the tank! And they, uh, just dunk me when they get the answers wrong, it’s filled with reggae, uh, trivia, and I actually got to touch a steel drum so…”
“We have a shoe that was left behind at the hot dog roast, it’s a men’s size 7 and a half tap shoe, the color is not important, but I would like to get this shoe out of the studio as quickly as possible…”
“I went to an art’s gallery this past weekend, and let me just say, I didn’t realize that poetry could be an art, uh, and I still don’t realize it because you can’t just describe a bunch of flowers out loud and expect people to take you seriously…”
“Welcome back to ‘Jazz Music To Meet Your Wife To,’ and I did meet my wife to this song, that’s why I play it at the top of every hour…”
and much, much, much, much, much more.
There is no reason not to play this.
Flock is a brand new collaboration between five leading musicians from London’s open-minded jazz and experimental scenes: Bex Burch , Sarathy Korwar, Dan “Danalogue” Leavers , Al MacSween and Tamar Osborn. Each performer plays a variety of instruments here. They gathered in London during the Summer of 2020, with the intention of trying something fresh. Some of the band had never met in person before the session. Burch wrote texts as scores for the session and the emphasis was on breathing and listening to each other. The music was freely improvised. Sometimes they chose to stay on form and rhythm, repeating melodies and groove. Each track has its own sound even though the instrumentation is consistent. The playing is outstanding. Probably the best new jazz release I’ve heard this year. AArbor
Think of how good you feel during a massage, and you’ll come close to the amazing feeling you’ll have as you listen to the songs on this release–nary a track that isn’t upbeat, pure pop joy. The vocals are smooth, the lyrics are sweet, the drums keep the guitars, keyboards, and bass in line. “Somersaults and summer days” (from A3) is about as good a descriptor as any for this entirely enjoyable album. There is really nothing still about the way it makes you feel.
Fisher (RIP) and Barton took a walk along England’s Suffolk coast one day, and this album, which is really more of a docu-fictional aural experience, is the result. Barton’s narration of the walk is interspersed with interviews with people encountered on the walk, and all of this spoken word is set into music composed by ambient artists who are listed on the album. It is nearly impossible to figure out exactly whose music is accompanying the different narrations, but this is not of great consequence. The atmospheres are alternately eerie (very appropriate since Fisher, a cultural theorist specializing in hauntology) and calming. Read the liner notes and listen to the “dream within a dream,” and figure out what the sound is that comes back when the radar clicks mentioned at the end of Side B are sent out into the unknown. The land may be vanishing, but are we?
Although this Bakersfield duo has been called gloomy, I’d say their sound on this release matches the rather bright blue of the 7″ vinyl it’s etched into. “Center Negative” sounds rather positive to me, while “Memory Divided by Time” is bit more intense and you can hear more of the live looping sounds. The percussion, drums, and bass add to the atmosphere. You decide where it leads your mind. Personally, I like it both a lot.
This cassette released in 2013 by Los Angeles based Latino punk label Silenzio Statico put together this international compilation featuring some of the best and obscure bands from Finland to Brazil to Japan and anywhere in between. Mostly compiled from hard to find records from the 80s the music spans various genres including Anarcho-punk, Crust, Oi!, and melodic hardcore. The music is fast, aggressive and catchy but not abrasive or very long. There are only a few songs in English but song titles and some of the lyrical content that can be understood suggest it’s anti-war, anti-nuke, anti-totalitarian, anti-conformity and general human angst. The types of issues that are still relevant today.
Beast of Bourbon
Riffs with machine-like rhythms. Growling guitar sound that never roars, with a surprising amount of depth. Cryptae exhibit discipline and even some restraint. This is weird metal, doom leavened with an almost math-rock element. Simple patterns repeat and continuously evolve. The effect, in tracks like Oubliette, can swerve into the mesmerizing. Simply a guitarist and a drummer from the Netherlands, with deathy vokills buried in the mix. Maybe they used some other stuff in the studio, some synths maybe. The drummer is Rene Aquarius, current drummer for Dead Neanderthals, who also appeared on Coffin Lurker’s “Foul and Defiled” and Plague Organ’s “Orphan”, a 39 minute masterwork of menacing beauty within frenzied repetition. We also have one of his solo pieces in the library. Aquarius’s work helps contextualize Cryptae in the mathy and strange but starkly and uncompromisingly heavy terrain, here paired with relative newcomer Kees Peerdeman on guitars. Submit to the machine.
Discogs describes Krautzone’s style as: “krautrock, space rock, ambient, psychedelic, free improvisation, drone, instrumental”. They are all that and more. Krautzone was a spontaneous collaboration of members from diverse bands (Electric Moon, Zone Six and The Pancakes). The Complete Works is a compilation of all three of Krautzone’s releases to date. It will take you on a magical trip blending all of the musical genres mentioned above while creating a unique style. Onkel Kaktus (bass), Lulu Neudeck (Drums), Rainer Neeff (Guitar), Martin Schorn (Synthesizer) and Dave Schmidt (Synthesizer, Organ).
Eight Bells is from Portland, Oregon. Legacy of Ruin is their third album. Beautiful vocals and melodies hanging over prog like fretwork. ’70s rock from Pink Floyd to Hawkwind are obvious influences. Pitchfork says: “Dual vocal lines emanate from some unseen place, sometimes braided together in a conjoined plea for connection… Heartbreakingly beautiful.” This is a combination of metal, experimental and prog rock. Hot off the presses released February 25, 2022.
Centre El Muusa is an Estonian psychedelic rock quartet founded in 2018 (previously named Centre Electronique Muusa). The project, which started as an avant-garde electronic duo of Panfilov and Brodsky in 2015, developed into a rock band, when it was joined by Erdman and Semenihhin. Gradually, the band transformed their sound from uncompromising garage krautrock to more spacious psychedelia with noticeable elements of ambient and country-rock, while maintaining their signature lo-fi approach to recording and not avoiding risks. Another great release from Sulatron Records.The cover art is Peter Max and Yellow Submarine on an extra tab.
If you were to tag this as experimental trip hop I don’t think the genre police would pull you over. The turntable has been drinking, not I. Kjetil runs this fine label (and has committed Noxagt acts on KFJC in the past) pairs up with drummer Thore Warland (Staer and Golden Oriole) and they spin out two sides that sound the way the marbled grey vinyl looks. The material is taken from the debut performance in Norway of the duo working together and is part of a new lp series/art packaging on Drid Machine. Danceable musique concrete floor on side A gives way to a sort of Sun Ra funk eclipse on a cold meteor on the flip. Definitely more spacey on Part 2. Both sides deliver an outsider turntablism tribe vibe, with Warland not simply pummeling away on percussion (and he adds his own odd electronics). Oddly chilled and refreshing, like napping on a mortuary slab. Recommend setting your life support here to 45 rpm, but you can turn the turntables on Kjetil and pitch it down or up as the sonic spirits move you.
So cold…vocals like an icy wind that pierces all coverings. Numbed and delirious, the listener stumbles to a barren earth of jagged stones as the freeze takes over. Lo-fi drums buried in the mix like an awareness of physical harm being done, but numbed senses can’t fully feel it. The first track is an epic length of disparate parts, weirdly put together. Nihilistic death metal with black inflections gives way to a menacing atmospheric interlude gives way to home-recorded-sounding doom passages. Generally there are a lot of great tones and textures within a palette of death and decay throughout the record. Within this desolate medium, Cthonica unearth their own unique derangements. Debut double LP from 2019 by this Venezuelan project.
puplaif 5/25/2022 A Library
Santa Cruz shoegaze awakened from its slumber. Formed in 1994, this is their first release since 2004.
Richard Millang / Guitars, Vocals
David Mac Wha / Drums
Nathan Guevara / Guitars
Lisa Dewey / Vocals
Murder! delivers a dose of hypnotic narcotic guitars and distortion, transporting you to an ephemeral dream inspired landscape. Delicate cymbals and percussive sneaker waves bring dynamic shifts and changes in pace. Vocals drift below the water’s surface, delivering oracular messages across submarine peaks.
Submerge yourself in this subconscious driven sonic atmosphere.
Clean gentle guitar instros that feel from a different planet than Miller’s work with The Chromatics. Volume pedal fades, some very chill reverb, and occasionally a ringing flanging. Lot’s of 1-5-9 sprawls and calm apreggios. You can taste the Fender endorsement in the sound before you read it in the liner notes.
Speaking of those liners, they also mention “Gateway was inspired by true events” which makes me think
Miller went through one of the most pure and pleasant alien abductions ever. And did his captors have a mellotron on board, ask “The Painted Boy.” Music to advance masked to? Quickly though, most tracks are short… a couple felt a little like “gateways” back to Kramer-era Low, sans the pleasure/pain of vox.
This one’s a bruiser. You can see it coming at you in slow motion, but you hesitate anyway, stunned—and then you receive the energy of the impact. You feel the thudding in your head and hear an intermittent buzzing. The swelling begins, pounding and growing, turning an angry red. The red eventually cools to blue and yellowish green. A dull ache remains. You’re left feeling disconcerted, wondering, “What happens that a good man turns bad?”
“Killers Like Us” is Bunuel’s third and most recent album (2022). This is bass-heavy noise rock. Of the 10 tracks, about half have a slow tempo and are heavy and minimal at times (Tracks 1, 5, 7, 9, 10); in these songs, the instrumentation often frames the lyrics. The other tracks are more upbeat, have a fast tempo, or turn into driving rock rampages (Tracks 2, 3, 4, 6, 8).
The bass—a menacing, throbbing, dirty beast—is so heavy that it creates a strong gravitational force that the other elements might frantically struggle to escape but are always drawn back to. Bass notes are drawn out and fuzzy but can unexpectedly transform into melodic riffs. The guitar is manifested as fluttery buzzing and distorted scratchy noodling but also develops into melodic, driving riffs on the fast tracks and always with feedback and effects. There aren’t any standard guitar solos—well, maybe one. The drums are versatile: from slow, minimal beats to driving punk rock beats and even some funky beats. They’re heavy on the kick and the snare at times; the fills aren’t over-the-top but creative and nicely placed. Sometimes percussive sounds like tinkling and crumpling are added or simply replace the drums. The lyrics are mostly spoken-yelled, sometimes obstinately dragged out, sometimes half sung in an emotionally drunk tone, sometimes steeped in reverb and effects. The vocals range from despondent speaking to fantastic, guitar-matched screeching and many variations of vocal sound in between. The additional female vocals (Track 4) are melodic and haunting but forceful—an interesting opposition to the raw sound. The lyrics are composed of poetic vignettes, stark imagery, and existential meanderings (see liner notes; FCCs on Tracks 2, 6, 7). Although not mentioned in the liner notes, sounds of synth and possibly field recordings are interjected.
Bunuel, named after the Spanish Surrealist film writer and director of the 20th century, comprises the Italian musician and composer Xabier Iriondo on guitars (also in Afterhours et al.), the Italian jazz bassist and composer Andrea Lombardini (also in the Framers et al.), the Italian percussionist and composer Franz Valente (also in Il Teatro Degli Orrori et al.), and the Bay Area’s Eugene S. Robinson on vocals (also in Oxbow, Whipping Boy, et al.). Track 4 includes additional vocals by the Polish-Bay Area artist Kasia Meow, aka Kasia Robinson (also in Maneki Nekro). A trans-Atlantic collaboration, this album was recorded in San Francisco and Italy, mixed and mastered in Italy, and released by Profound Lore Records out of Canada.
Anarcho D-beat Punk
A thumb in the eye socket of Magaret Thatcher, two fingers up the arse of the royals, and a long middle one to the system, these modern times, and yer mum.
Good ol’ rebellion in the vein of Antisect or Icons of Filth with a bit of echo on the vox and a tiny gob of wanking guitar.
Incepted in 1982 by Rob Moore and sometimes known as UK82, Dogsflesh would tour with GBH, Broken Bones, and The Exploited before hanging it up in 1985… and reforming twenty years later with the bulk of the original line-up. They have gone on to release several more albums since but this one is composed of their early works (82-84).
Oi! This slab is radio friendly, ya cunt! (no FCC’s)
Gentle whirs, clicks, and bumps.
Do you hear what I hear? I hear a pocket call from someone working on the cnc at the machine shop. Quiet, minimal, and reflective, these recordings allow one to write their own story though online references have stated that these mostly unprocessed recordings were made during the pandemic and are meant to convey the monotonous sounds of isolation.
Mary Staubitz (aka Donna Parker on her solo work and has collaborated with Jessica Rylan in Secret Diary and Daniel Paul Boucher in Golden Shores among others. Collaborating with her partner, Russ Waterhouse (ex Blues Control) from their home in Rhode Island.
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File