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.
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.
To say this album breathed life back into me is an understatement. From the first song to the last, Van Goat is a band that makes you WANT to “follow them under.” The horns bring to mind the jaunty liveliness of a New Orleans funeral procession, the percussion sets up a heart beat beneath the catchy lyrics and fast-paced numbers that defy classification–is it jazz, punk, Americana? Only two slow down enough to be ballads, and they are “Nothing Matters” and “Saliva Monster,” both featuring the powerful female vocals of Lindsay Alexis. Aidan Ward offers lead vocals on the rest of these amazing songs. I LOVE THIS!!!
This is blistering noise rock made noisier with a raw live recording. Veteran Scandinavian noisers No Balls and related projects Brainbombs and Noxagt are well-represented in the KFJC library, and this entry adds fuel to the flames. Lo-fi and dripping with feedback. Reckless abandon and the pursuit of pummeling repetition. Almost entirely instrumental, bandsaw guitar tone, clipped out drum cymbals. Side B starts with a Brainbombs track and ends with a secret track.
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
Strange constructions built with Welch’s overdubbed vocals. The Glasgow-based artist talks and rambles and exclaims and makes just about every kind of vocal noise possible. Voices on top of voices on top of other voices side by side with other voices. Track A2 is a short piece name-checking some of the USA’s most famous prisons. Side B is one 17 minute track. If you are a fan of vocal magicians like Makigami Koichi and Jaap Blonk, you’ll want to check this out. Edition of 300 on super cool green vinyl.
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.’
On this 2014 EP, their sole release, the Industrial Noize duo are trying to act like they don’t smoke pot– but we all know that they do. Side A has decaying monks like you might find in the ossuaries of Santa Maria della Concezione dei Cappuccini in Rome, not far from the Via Veneto, where ‘La Dolce Vita’ was filmed all those years ago: monks trying to sing hymns as their throats crumble to dust. Seriously a lot of monks: hardcore Industrial fans already knew what I was talking about. OK it might just be A2 but it feels like both tracks. Side B is definitely more acoustic and less ‘ugh, I put my hand in something foul’; also, fewer (no?) monks: The Death Industrial Kraf-Twerk machine beat shows no sign of tiring its slow and dreadful progress as tortured sound sources are pushed to a climax. Mastered by Kris Lapke of Alberich and Furisubi. Plays at 33.
Just in time for the holydaze, here is the 2017 Christless single from Sweden’s masters of hopeless, gothic Martial Industrial. Bring it back again for this year’s meretricious airwave revelries. Hit the killswitch and be better than human as you learn to fail with members of Cold Meat Industry superstars Arcana, who bring you two hammering battlefield ballads of holiday blues resignation and distinctly Scandinavian moroseness. This material is more song-based than some of their earlier work, and perhaps even more so than the lyrically-driven compositions on 2016’s devastating ‘Unclean’ album. Peter Bjargo, the head Sophian, is also married to Arcana/Sophia siren Cecilia Bjargo. Continuing the 50s theme, hear Him on side A and Her on side B, both in full bah-humbug mode. More of an elegant Martial Pop sound on side A that gets into Allerseelen territory. Side B is the lurching, too-drunk-at-the-Christmas-party spiteful (Lina?) Barbie doll. Both sides are genius because this band can do no wrong. Plays at 45.
SAL9000 11/19/2018 A Library
Pulse Emitter is the project of Daryl Groetsch from Portland, Oregon. Xenharmonic Passages is the perfect synth atmosphere for meditation or zoning out late at night. All tracks flow as if they were all one, setting in motion a voyage to icy caves in outer space. It is super spacey, atmospheric microtonal ambience with frosty swirls and faint drums.
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.
Li Jianhong is a free-improvisational guitarist from Hangzhou, working since the 90s in several groups, including VagusNerve (in our library), and the founder of the experimental label 2pi. This 2018 cassette release from Lyon/Nanjing-based label WV Sorcerer collects Li’s solo works from 2008, right around the time when his album San Sheng Shi, was discovered by international audiences.
Three longform psychedelic guitar works. “Die in humble and warm” (T1) is a blazing, slowly developing piece, with bright guitar tones darkened and distorted by reverb and other effects. The calm gives way to “Revolution is only a sad illusion” (T2), a menacing feedback storm that rages and settles, like toxic smoke clouds, into a heavy, post-apocalyptic drone. The feedback flares again before the Side A ends. Side B holds the heavy “1969” (T3), with reverberating tones swelling into massive blasts of psychedelic delirium.
This is fresh jazzy experimental music from a Bay Area band whose upbeat tempo changes and fanciful saxophones bring to mind plenty of influences, such as Sun Ra. The horn infusions even made me think of Chicago for a brief second or two, but the mix of international sounding beats distinguish this as its own unique sound. Highly enjoyable and energetic.
You might recognize the cassette opener from KFJC’s recent
Devil’s Triangle comp. Or maybe from watching Quintron and
Merzbow play hopscotch in Tron?? Noa Ver’s vox skip through
a 5 bit processor (bought with food stamps) and form their
own scratchy percussion which only highlights the sick stick
and swell cowbell from drumming powerhouse Zach D’Agostino.
Zach packs a marching band in his bloodstream, he carves
each tune a melody out of rhythm, which is excellent so
Noa can get up to her elbows and larynx in sterling circuit
disintegration. Somewhere on a drum-free break while
“Lazing in the Garden” I imagined Noa as a dental
hygenist jamming on the teeth and ears of a patient.
But it’s not like you need novocaine, Sea Moss has got
their finger on the noise nerve barrier and nails the pleasure
receptors time and again. Paired with a fellow Portland duo on
the flip cassette tip, similarly a weirdo wonder femme and a
killer drummer. Diana Oropeza drops thoughts and the mic, in her
singing proclamation style on their opener, then switching
to curandera invocations. TJ Thompson creates the electro
funk kinda like !!! and again flat-out kickass drumming.
“Afterthought” takes live-or-memorex horns and swirls ’em.
The Stomach reminds me of Mecca Normal in how I feel I’ve both
been warned and entertained. Short blasts from both that can help
your splice the sonic DNA of your show from no wave to drone to
hip-hop to funk to slambient to sparkle prog.
Hank Richardson rides alone as and on Speedway.
Late at night, bright streetlights and smooth
streets. Deep in the heart of Portland, Oregon.
This is four cassingles smooshed together in the
back seat under one seatbelt and road-burned on
a CDR. Stark rockabilly with yodelly hiccup vocals
and a few grunts from the pelvis. Speedway’s take
on Artie Glenn’s “Crying in the Chapel” instro sets
a nice naugahyde retro mood. Also from that “Trancer”
cassette, the title cut serves up synth conjuring a
bit of Badalamenti. “Gang Man” has Richardson at his
most baritone and alone…a drum machine by his side
riding shotgun. Some Alan Vega RIP on that one.
“Jukebox King” and “TV Dinner” are more in the
twang bar cannon. Could artwork done the I-5 to
San Jose by Kyle Pellet. Music made with pomade!
Another salvation seven inch, 2012 split on purty
powder blue vinyl. The Gospel Claws hail from some happy
suburb of Tempe AZ, bursting with dancey 80’s mod pop,
and a drop of holy water-cum-wine from the CCD classes
where they hatched plans for catchy hooks during catechism?
Singer Joel Marquard sings of ambition and with a hint of
British accent (a fine American pop tradition).
On the flipside, a one man band rises from Phoenix.
Owen Evans deserts his Andrew Jackson Jihad for a chance
to Roar (or is it ROAR?). Anyways, a slower paced start,
with mournful synth…that works its way through the
trees and a hazy “Dream” field to a few rays of joy. This
feels like a song that Brian Wilson’s psychiatrist was
trying to medicate and eradicate. Why? Rainy day pop is
not mental illness, certainly not in Phoenix, nor in my
house, nor in Mitch Lemay’s apartment on a winter day.
Andy Christian Way is a former member of Sutekh Hexen who also plays with French Radio and Maleficia, among other projects. Thoabath would be his Death Industrial unit, active since 2015 or thereabouts. The project is all about primal rhythms and desolate, hopeless atmosphere. This 2017 cassette comes to us on Madriguera Records of Puerto Rico, where Way resided for a time prior to the hurricane. This will be comfy next to KFJC’s (or my) collection of releases from MZ.412, Theologian, and Dissecting Table. Bilious, decay-obsessed electronics with a riveting sense of tension. Side A= Beats By Dis, melting flesh, babbling demon voices. Side B= Deep, deep ambience to cleanse the palate after all the blood and sulphur of the A side; just don’t get too comfortable because the zaps are coming. This is beautiful release. The quote on the interior is from France’s obfuscatory postmodern fill-o-soffer Jean-Francois Lyotard: “All corporeal identity trembles at its finitude, and for it, distraught with humiliation as much as with suffering”–or to put it another way, “life sucks.”
First CD release from Russia’s Alexander Shevchenko. First releases were on cassette and CDRs, making this his first real CD release. Whoosing ambience and watery jazz grooves, cascading beautifully over and under each other. From liquidy electronics to twangy ballroom guitar noodlings, it’s hard to tell if this is even strange at all. It has a nostalgic quality but seems unrecognizable at the same time.
Beautiful, spacious, omnipotent…
12345 S. El Monte Road Los Altos Hills, California 94022
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