Ingest the pyromaniac manna of the underworld hosts and sink into the slimy depths of Brain. This newest album from Haare (Ilkka Vekka of Hämeenlinna, Finland), a melding of blackened noise and heavy psychedelia, surely would have found a spiritual home mixed into one of Cy Thoth’s Firebunker superimpositions. Twisted melodies and churning feedback storms from effected guitars, uncurling reptilian feelers, and howling voices make up the psychic disturbances, building towards a final solemn procession of flute, drums, bells and gongs that signal the arrival of a fearsome supernatural presence. Our first addition from the German industrial label Aussaat.
“Like the Night” is the translation of “Come La Notte”–and the sounds of this Italian “garage-pop” duo definitely give off the nocturnal vibe. I put “garage-pop” in quotes because it is as good a label as any, if you have to put a label on it. China Now is the percussionist and vocalist, and Leo Non is the guitarist, and together they create an atmosphere that does sound like their experimental night club Bad Peace. The pace picks up with the last track on Side A, and the first track on Side B sounds like surf guitar at the beginning. I encourage you to experience the music for yourself before boxing it into any genre.
Dreamy and slightly discordant synth driven pop with an edge from Perth. Like Suicide and The Screamers dp’d DEVO to ecstatic climax in a cascade ones and zeros. Beautiful, strange, and kinda seedy with a fucking well done cover of Gun Club’s “Sex Beat”.
Perth’s Gaffer (Aussie for geezer or old man) is a guitar-centric (post) punk power-house. Terse, driven, and pissed, they want us to slit our wrists, dance and spin as the blood hits the floor, scream, writhe and beg for more. Fight your boss, wake-up, and live like you give a toss.
Devastating echoed-out nature-punk from London that crush my weary, wounded heart with catchy doom-laden riffs. Short, sweet, and steeped in sorrow and spite; a witches-brew tasting of loamy soil and moss, inducing harrowing psychedelic fever-dreams of humanity’s imminent annihilation.
Am in love with their bio I nicked from their myspace:“Post punk three piece, fresh from a ritualistic naked action on Leytonstone flats witnessed by dog walkers and doggers, and involving tree loving, mud and filth in the rain. Their recently released first tape is a feminist take on wildness, plants, the earth (and its possible brutal revenge) and our place in it, and vegetables as eroticism. Members include those of Frau, Es, and Good Throb.”
A cacophony of electronic destruction, manipulated and tortured over 2 lengthy tracks. High hisses, low ghostly echoes, thrashing clashes, ear aches, migraine fuckery. They’ve all partaken in many acts of the noise realm… Wiese has dabbled in Bastard Noise, Smegma, Sissy Spacek, etc… Dilloway is a founding member of Wolf Eyes…. Turman has relations with NON and Boyd Rice. These 2 tracks are intriguing and quickly take sharp turns down a mysterious maze, it’s not just one loud blast of unintelligible frequency.
This 2020 Dark Entries re-release of the first full-length album from Australian electronic music pioneers Severed Heads brings these tracks to vinyl for the first time since their original release in 1981. The 2XLP deluxe edition includes a track that was omitted from previous reissues (“Food City”, A1) as well as a bonus disc with live performances, a cassette called “Side 3,” and the original tape loop demos for the album. Together, the collection is a fascinating look into how the band formed what would become their original industrial synth pop sound. In the album’s liner notes, head Head Tom Ellard recalls the trial and error process of throwing everything onto tape and seeing what worked. The approach makes for an exciting listen, a rush of ideas that includes varied musical influences (Ellard admits to disco and Kraftwerk, but the Throbbing Gristle early industrial sound also clearly come through), instruments they don’t know how to play (guitar, violin T7, T11, and even toy piano T9 find their way into the tracks), Ellard’s intricate tape work collages pieced together from fragments of radio broadcasts (front and center on the “The Clean Loops” T16), and the synth and sequencer work that became the foundation of their later sound. Highlights for me include the demonic voices and tessellated synth patterns on “Chiarivari” (T3) and the bizarre guitar jam “Unbreakable” (T22), but all are essential.
Dimitri (born Dimitrios Yerasimos) is a Turkish-born French music producer and DJ of Greek descent. His musical influences are rooted in 1970s funk and disco sounds that spawned contemporary house music, as well as original soundtracks from 1950s and 1960s movies such as Breakfast at Tiffany’s, La Dolce Vita and The Party, which were sampled in his album Sacrebleu. Dimitri fused these sounds with electro and block party hip hop he discovered in the 1980s. Sacre Francais the track remixed here is from the Sacrebleu album. The remixers are Bob Sinclar a/k/a The Mighty Bop and Chris the French Kiss (label boss of the Yellow label), Dim/DFP [Dimitri himself], and Konishi Yasuharu of the Pizzicato Five. Yasuharu’s track is hysterical and not to be missed! AArbor
Meandering and perverse noise-doom from Finland.
‘Judas Schindler’ [AKA Bestial Burst label-head Sami Kettunen, also of experimental black metal band Ride For Revenge and noise project Will Over Matter] handles ‘deth, deSStruction and malfunctioning power tools’ [AKA guitar and vocals]. ‘Martin Hitler King’ [real name unknown] plays ‘four extra heavy-gauge garrottes to strangle pencil necks’ [AKA bass guitar]. The power trio is completed by ‘Adolf Christ’ [AKA Pasi Markkula, the power electronics über-mensch behind Bizarre Uproar] on ‘gigatons of raging rhythmic hatexxxplosions’ [AKA drums].
Not exactly metal. No real riffs or song structure, but they still somehow manage to maintain an eccentric, diabolical groove for the duration of this single 30-minute session (divided in half for the two sides of this LP version). It takes talented musicians to make such dissonant cacophany sound so compelling for so long. Tortured lycanthropic growls, squealing feedback, frantic improvisation, raga-like hypnotic repetition and the occasional dialogue sample from the 1973 TV film ‘Satan’s School For Girls.’ An oddly compelling performance that’s more than the sum of its parts.
Black/death metal (or ‘war metal,’ if you like) from the Ohio duo of guitarist/bassist/growler Jake Kohn (formerly of Father Befouled and Black Funeral) and drummer Jeremy Spears, hailing Satan together since 2005 and still going strong today. This 2011 EP saw release in between the band’s first (2010) and second (2013) albums. Taut, hammering, relatively short songs that lean more in the death metal direction favoured by influences like Angelcorpse and Morbosidad than toward the blackened chaos of Blasphemy or Profanatica, although those latter two bands still lurk in the background on this. Melodic old-school riffage, bestial rasps, and deadly-accurate anti-aircraft drums. A1 is an experimental intro. Plays at 45RPM.
Not exactly groundbreaking, but a reliable vintage nonetheless. Their sound got more ‘out-there’ on later albums. A great live band, too.
Milan, Italy – April 27, 2018. Shrill, echoing Italian vocals pierce through a tirade of cymbal crashesss, guitars crush. The energy, the drive… relentless and vital. Pissed mysterious hardcore. Nothing else is known. You must find your own reality… but I have found this compelling photograph:
Another aural atrocity from station associates and friends Sissy Spacek FFFFFEEEEAAAAATTTTUUUUUUURRRRRIIIIIIINNNNNGGGGG their signature freak-out sound, a cacophonous assault on the lobes that employs Blast-beat Interruptus. A misery inducing barrage of chaotic drumming, throat rending roars, and ear piercing noise in a clean, alluring package that is, to my tastes, a compelling dichotomy with the horrific sounds contained within this stately and understated multi-fold digipak. Heavily represented in the library, Sissy Spacek is/was exactly the kind of project I would have scoffed at in the past… no composition, no orchestration, no virtuosity, no thank you. However, due in no small part to the time spent with kfjc (corrupting my mental faculties), I have come to understand that this may not be the case at all. In fact, as unlikely as it sounds, every note, every pause, every blast of unfocused mayhem may be a highly honed and polished effort that took countless takes to get… perfect. And now that I have been transmuted into a soul that can appreciate horrendous asymmetric dissonance, I might suggest that you play Featureless Thermal Equilibrium for your mother as you explain that college tuition would be wasted on you. That you are a true artist whose interests and trajectory are beyond the scope of mere plebeians. Or to simply bum (the fuck) out of any soul who hasn’t developed the thick skin, tinnitus, or demented sonic sensibilities of a dedicated KFJC volunteer.
A white hot release from J. Wiese (bass, tape, vox) and the current complicit cast including Charlie Mumma (drums,vox.), Mark Alan Miller (Eng.), and Jay Randall (vox.) recorded at Sonelab (Western Mass.), 13 June 2016.
Leeds, England. Neo-post-Thatcher hardcore. Nihilistic, low-fi and crusty, it might remind one of the East Bay in the early 90’s. Furious and miserable. D-beat from the damp. Hardcore from the core of the heart. Breathy barking and growling over an onslaught of frenetic guitars not dissimilar to G. Ginn ca. mid to late B.F. Peeling away the skin, the bass throbbing like the pulse of the not yet defeated. Ex-members of Perplex Flesh, Whipping Post, Moloch, No Form and many other projects that, admittedly, only now have I become cognizant of… partially asocial goblin that I have become.
According to the cover this is “juicy music from German commercials 1960-1975”. And in fact that’s exactly what it is: cars, shoes, safety at work… Cheery upbeat ‘60s pop rock sounds. German lyrics with English words interspersed like “schuhe mit swing” (shoes with swing). Have fun with this, it’s silly, its trite, it’s commercials! AArbor
From 2001 3 records full of lovely downtempo tracks from primarily European artists. Axel Krygier, Jaffa, Mr. Hermano, Jose Padilla (who covers Burt Bachrach’s Close to You), Zero 7, Ian Pooley and Roy Ayers are the better known musicians here, lots of tracks to choose from. Sorta jazzy or loungey with beats. AArbor
Album was made in two days on New Year’s Eve 2018, using battered synthesizers, drum machines, and a 4-track. It’s got that rough nostalgic feel to it. The tape sounds have a fuzzed, hazed and gritty graze to them. Synths from a dystopian future, time capsuled in an apocalyptic nightmare. Random spoken words twist into the mix, giving a glimpse that there was once human life. Cold minimal wave electronics.
Wow! Local sound wizard Dimuzio has always been known for his collaborations as well as his solo work, and here is a triple-CD overview of ten years of collaborations 2009-2019, all of them live improvisations recorded at shows. Dimuzio takes his Buchla synth rig and his sampler and hooks up with a roster of artists that goes on and on… Matmos, Nick Didkovsky, Beth Custer, Alan/Anla Courtis, Aurora Josephson, Wobbly, Phillip Greenlief, Scott Amendola, Emily Hay, Gino Robair, Tom Nunn, Ava Mendoza, to name just a few… in duos, trios, and various combinations. A wide range of sounds are offered, from pleasantly musical to drone to quirky spoken word to moderately harsh noise. It’s all here. The final track on CD-3 was recorded by KFJC in 2010 at Cafe Du Nord in SF and it has that electric-Miles rock/jazz fusion thing going on. Dimuzio is a good friend of the station and always a force to be reckoned with. He curated these tracks, did the editing and mastering, and even the package design. Dive deep into this one!
Words gleaned from internet sources: Self-reliant enclave of high-output low-info punks / anarcho / death rock / London / petite mort / spiritual cramp / Berlin / real ugly / claws at the ether / chorus pedal / disaffected / unravel / kill you…
Words that seep from my brain: The youth are still angry, still miserable, still wearing black, still want to fuck… and they still enjoy a good down-stroke. Meandering, buried, dispassionate female English vocs over heavily modulated guitars and primal garage/hardcore drums. Gesture is… desirous.
Solo project of Jared Carrigan. Crystallized tones trinkle and mist overhead as you drift slowly down the aquamarine, star filled river of imagination. Recorded in California and Catalonia, while some tracks were crafted using only an iPhone and FX plug-ins while sleeping in cars along Costa Brava last spring. Synth dreamscapes and whimsical optimism. Quite relaxing and chill.
First release from Kenyan sound artist and producer KMRU (Joseph Kamaru). Beautiful sound collages of skittering textures, warm ambient washes, gentle tones, found sounds and field recordings. KMRU is at the forefront of an exciting scene of African electronic music pioneers. Drift off into a comfortable dreamland with this.
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