José Enrique “Chelique” Sarabia is a Venezuelan poet, musician, publicist, and television producer. He has written more than 1000 songs. In 1971, he recorded an album of traditional and folkloric songs but gave them a modern touch, using specially developed electronic equipment. Chelique took traditional Venezuelan instruments like the cuatro and the bandola llanera, filtered them through oscillators, playing with feedback, tape delay, synthesized frequencies, echoing sounds. The result was this album. Originally, the album was sponsored by the Shell Company in Venezuela, given away to customers, employees, and friends of the company as a Christmas gift in 1973. It was called 4 Phases of Four – Venezuelan Music Electronically Developed by Chelique Sarabia. Once the exclusivity period with Shell was over, Chelique did a commercial release, this time using the current name which translates to The Electronic Revolution in Venezuelan Music. As a result, Chelique and his team were considered electronic music pioneers in Latin America. This album is a classic, some would say it’s ahead of its time, even today. [Tracks to check out: 2,5,9,10, 11, 12] AArbor
Compiled by DJ Chakruna, this is an introduction to the movers and shakers of Lima’s tropical bass scene who are taking traditional folk music and cumbia into more modern dance styles like dubstep, techno, grime, house and electronica. Lima is where the Andean, African and European cltures meet, and that shows up in the music. These artists often use old rhythms and melodies, splicing and cutting up original tracks then adding in new electronic textures and beats. Chakruna’s ‘Sonido Chichero’  is probably the standout track, but there are plenty of other worthy tracks [4,5,10,13,14,16] Enjoy! AArbor
Another project/persona of Laurence Miller is Larynx Zillion’s Novelty Shop. Here’s how one critic described it: “Mozart meets Beefheart and starts a theatre punk band.” Adam & The Ant’s glam-slam punk pop LP, “Kings of the Wild Frontier” was definitely an influence according to Miller. Other influences from his past: The poly-rhythms of Charles Ives, the maniacal ravings of The Crazy World of Arthur Brown, Captain Beefheart’s free-flow rhythms, Cheap Trick’s power pop, Killing Joke’s primal perspectives, and Frank Zappa’s unorthodox approach to music and Rock ‘n Roll parody. AArbor
One long improvisation, divided into 8 sections. Electric guitar, Korg MS2000, violin, saxophone, electronics, turntable, and other miscellaneous sounds. Fiery and unpredictable. On the loud side. Grabs your brain and demands your attention. Really far out and I love it. Recorded in one take at Martin Bisi’s legendary BC Studio in Brooklyn. Brought to us by the relentlessly interesting local label Public Eyesore.
2002 EP release from the nutty pop half of Blectum From Blechdom. I believe the title refers to the music being created with only the preset sounds of whichever synth gizmo KB was working with at the time. So it seems to have been cranked out fairly quickly without much work put into developing the sounds. But who cares, this EP is a lot of fun and the songs are enjoyable for sure. The first 4 songs zip by–Track 2 is only 47 seconds long–but Track 5 stretches out a bit at nearly 5 minutes long. It’s a cover of Tina Turner’s “Private Dancer” which doesn’t necessarily sound like it would be a good idea but it actually works in a poppy synth/sincere vocals kind of way.
Wan glam/death rock outta Oakland. A melancholic, driven, inspired, mournful, pitch-bent glimpse into a glimmer-realm of nocturnal isolation.
Bass guitar, drum machine, electric guitar, horn, synthesizer, a wide variety of vocalizations and reverb from this unique two-piece. Pop structure with powerful hooks that buried themselves in my brain, though grotesque and strange enough to cause me to recoil momentarily before curiosity would suck me in again. Like a Gustav Klimt if gold were sadness. Their live sets bring an added level of theater that deepens my enthusiasm, employing elaborate costumes that bolsters the psycho-necrotic fantasy. They appear to love a good vamp and the album that you now hold amounts to a ticket to the Theater of Magic. Other comparisons to Hesse’s Steppenwolf apply; Vortex Empath Xen is a project truly on the fringe, they have no peers, no scene, they appear conspicuously secluded. No censors or filters, we are offered a beautiful/horrific glimpse into a pristine world of pure creative expression. Albeit one that revolves around the profoundly bizarre. It is difficult to imagine Moira Scar caring much about what their critics, nor world thinks of them, they seem totally unencumbered by any judgement from any perspective of any plane or planet, they couldn’t make the albums they do if their drive wasn’t entirely detached from the derision that must surely befall their sweepingly unconventional vision. One that isn’t constrained by vocals that are in any semblance of pitch or mixes that adhere to traditionally established sensibilities and thus, you… have been warned. But you may find, as I have, that once you surmount your initial revulsion that you will find yourself returning to the well repeatedly to bask in the perturbed glow of unrecognized genius and to confirm that there is nothing else, in this world or the next, that will satisfy your disturbed proclivities quite like, V.E.X. / Moira Scar.
Truly unhinged rock from members of Mommy, Hank Wood and the Hammerheads, L.O.T.I.O.N., Cheena, Pharmakon, et alia.
A Mental health reverie in four parts with hardcore punk elements. Both catchy and repulsive, this is my favorite kind of artistic expression, once the membrane of our awareness is penetrated we are drawn in but the closer we get to the source the more we want to pull away. Though no longer am I repelled. Instead I am driven like a moth to the flame of these beautiful and uncomfortable sounds from N.Y.C. with perhaps dire consequences. I just might be falling in love.
Toxic State 2021
Harsh and abrasive Grindcore/Power Violence Sludge/Doom from Chiba, Japan.
Up and down-tempo spurts of horrific misery. Double bass, riffage, guttural bellows, deep down-tuned bends, blast beats, cacophony, torment, coursing tirades of anger.
Unadulterated, maladapted disquiet, a clarion call for the disenfranchised and dispossessed. An interesting niche for this part of the world as the sounds of the Bay Area peninsula and Claremont California continue to echo and reverberate around the globe, we are offered a glimpse into what sounds, to my (admittedly aged) ear, to be slightly retrospective. This is not untilled soil… but it is black, fertile, and awash in a perspective that could only originate in the land of the rising sun. This four-piece slipped off the radar in 2020 after abandoning their U.K. tour do to unforeseen plague circumstances. Perhaps in the future they will see fit to make a pilgrimage to our part of the world where they can pay homage to the dark anti-gods of Power Violence. All hail Spazz! All hail… Man Is The Bastard a.k.a. Charred Remains!
Jessie Evans has a history in the Bay Area, where she was part of the synth goth band Subtonix in the early 2000s. After relocating to Berlin for a few years, she now calls Brazil home. Released in 2019, this is her third solo album. It’s reflective of her experience in her new life in San Paolo. Her lyrical verse is the star of this album, a deep, introspective, and heartfelt message to the world with an empathy for people around her, and authentic selflessness.
Synth-Pop beats are the dominant platform throughout most of this album, with Machines, Cello, flute, guitar subtly mixed in. Known by many for her Sax play, she is thoughtful and particular when and where to incorporate. When she does play it, it’s understated with a soulful, sexy, and dream-like affection. Her voice is a mature, vampy, sultry, smokey experience. It can be hypnotizing to get distracted at times listening to the addictive poppy beats, but do try and separate and just listen to the extraordinary straight to your heart and soul lyrics.
The opening track ‘Chariot’ is a shimmering potent synth-pop frenzy with a catchy chorus, but listen closely to the lyrics ‘While your cities falling, your government is balling’ is just a taste of this prayer.
I couldn’t help but smile listening to her love song duet with her little girl Elladina in ‘Hold Onto Me’ You can feel, hear and experience her deep affection for her with every word she sings.
The more I paid attention to her heart, the more I fell in love with her.
Released in 2001, Almaviva was the first album from the collective out of Bordeaux, France known as Zimpala. Directing and producing this group of DJs, electronic and acoustic musical artists, and vocalists is French DJ and producer DJ BNX. Is it downbeat, house minimal, broken beat, Nu Jazz, lounge electronic? Why yes, yes it is; all of that and then some others sprinkled in. This is a pretty interesting and cool collaboration mixing in acoustic as well as electric instruments with their house tunes.
Things kick off with ‘To the Bass’, it takes you to the beach with a chill, bossa lounge experience to start things off. However, from there, things pick up beat-wise for a while until ‘Come Back’ cools things down. From that point on it’s an exotic mix of world fusion dance, erotic soulful vocals, and chill club music with a perfect tune, ‘New Home‘ to close this album out. All in all a nice groovy lounge trip.
Empool is Ann Arbor’s Miller brothers: twins Laurence and Ben and older brother Roger (of Birdsongs of the Mesozoic and Mission of Burma). Andre Cynkin plays guitar and farfisa on some tracks and Rick Scott plays acoustic piano on 1 track. These are recordings from 1977 and 1978 written by Laurence and released by Feeding Tube Records in 2018. The band improvised over pre-recorded background tapes which one of the brothers created using sound on sound analog recording equipment. Ben and Laurence evolved from Empool into members of Destroy All Monsters (another Ann Arbor band) in 1977. They have since recorded another album as Empool in recent years and are now looking for a label. Many thanks to Laurence Miller for donating this record to KFJC! AArbor
For a while, this album felt thematically like a love song between God and Satan, the world’s oldest co-dependent lovers. But then I read an interview song-by-song breakdown at
which shot that theory down in flames. But what pretty flames, whether they burn in hell or just the throat/heart/soul of Kristin Hayter. Hayter’s
voice often multitracked, can assume the shape of some Sardinian shepherds or a choir of Huun-Hurt-Too monks. She invokes the divine torment of Diamanda or Jarboe, and her musical accompaniment is often just as harrowing. Slow and heavy, like the steps of an executioneer plodding across the gallows. Other sounds add to the theatrics of Hayter’s featured voice like forlorn horns (synth’d?), percussion rattles (chained prisoners?), timpani storms and who knew Satan had a piano bar down on the 9th ring. Plus he trimmed his fingernails for this recording. Sonic disintegration is well used here (see “May Your Failure”) which invokes our greatest fallen Pope – Distortus Maximus II. The recording is a study in dynamics, the mix of voices, chorale and tortured to scream – the thickening and thinning of sound, the repetition and prayer/poem cataloging. A very captivating release. And it seems Aileen Wuonos is still her co-pilot (#6) for me a strange patron/matron saint, but viva equal rights in wrongs I guess. Will she paint herself into a pentagram corner, I don’t think so, I expect this Hayter to proper, and continue to bloom like an asphodel.
I flinch every damn time on the broken glass on “Sorrow!” and then
laugh later on the Lars Ulrich sample sandwiched in
Self described Psychedelic Punk designed to destroy? Since 2005? Where have you been Burnpilot? This is an early 2020 release of the German psyche rock trio Burnpilot out of Bielefeld, Germany. Burnpilot was originally founded in 2005 by brothers Joel and Sidney Jaffe on bass and drums. They soon after recruited Jonas Hehemann on guitar and Burnpilot was the result. This pre-pandemic release provides a perfect musical escape from the everyday doldrums, and an excellent planetary road stop for a psychedelic daydream.
Loud, in your face, post apocalyptic garage punk from Obsessions. This 7” release out on Static Blooms Records will leave you killing time and escaping the dystopian dream of living through a final solution nightmare. The A side “Killing Time” is an anthem to the age old quest to escape from an absurdly stifling daily existence, The flip side track “Final Solution” is a visceral shout out to surviving the world’s insanity when you feel at ropes end. Drop the needle and punk on!
Garage punk? Stoner, psyche rock from a three piece out of Mexico City? This split 12” LP is a re-release of two earlier EP’s “Under a Tie Dyed Sky” and “Seaweed” and delivers on all cylinders. Oscillating between an in your face, high tempo post punk to more sonic musical trips, The Froys bring it with this fantastically energetic double EP release. It’s a trip filled with a little metal, post punk, and fuzzed out psyche guitars with that perfect amount of surf feel. Combined with powerful lyrics and just the right amount of rage and you find The Froys tapping into their chemistry to produce some of the best channeled craziness a trio can produce. Time to break out the tie-dyes and find the path The Froys have left your senses to follow.
These are three long forays that will take you through aural images of whale song and have you experiencing exactly what the terms “crescendo” and “decrescendo” mean. Percussionist Paul Stranahan and electro-acoustic artist Lisa Miralia have composed a sound on this release that ranges from the first metallic sounding cries (that must be one agonized whale!) through delightful atmospheres created by bells, Tibetan singing bowls, and gongs to an cacophonous freak-out of sound that gradually and soothingly diminishes into a dream of wind chimes. Perfecto!
A beautiful, cosmic space trip from collaborators Wobbly, J Lesser and Blevin Blectum! Three weirdos from the bay area, Wobbly’s been a part of Negativland for bit as well as his own projects and other collabs, Blevin Blectum has Blectum From Blechdom, and J Lesser has toured with Matmos as well as his own stuff. It’s their second release together as Sagan, and it’s ‘a recursive love letter to the early decades of space travel and the High Frontier, when the lines between hard scientific research and emotional wanderlust melted away to reveal an optimistic vision for mankind’s shared future.’ It’s got those twitchy itchy Wobbly beats, along with lots of zips and zaps, quirks and wiggles, squiggles and programmed electronic spastic schitzo.
A chaotic din of snotty grrrage punk dripping in low fidelity. Rafter shakin’, vulva vibratin’, rock n’ roll for the unwashed and uninhibited.
Pounding, emphatic, and raw. Right in your face, rub it around, you’re a disgrace rock ‘n roll. Nice n’ southern with just a hint of morbid curiosity with nods to to low brow science-fiction and horror. A little t(w)angy, hot, sticky mess that just feels so fuckin’ good.
Frenetic female fronted three piece from Memphis TN, the “Labes” wrote rousing and evocative numbers with memorable titles like, “Just A Whore” and “I Died This Way” while imploring us to, “… do the Zombie”, something I would gladly do if only I could return to the halcyon days of 2002.
A-side was recorded by Alicja Trout (Lost Sounds) and Jay Reatard (Lost Sounds, Reatards) at the People’s Temple in Memphis.
B-side is a bedroom recording live to 4 track.
FCC’s: “What the fuck!?” in the first second of “Gone Away” on B3 (track 8 on the cd) and copious “Fuck”-‘s slathered all through “Fuck If I Know” B6 (track 11).
This CDR collects mid-career tracks from the discography of Michael Nine, formerly a fixture of the Bay Area noise underground and now based in Vancouver. This period from the early 2000s falls between his first incarnation as Death Squad, that terrorized audiences throughout the 1990s, and his more recent project MK9, whose live actions combine extreme audiovisual compositions and spoken word. The retrospective begins with 2002’s Self Medicated (T1-T5), with five tracks that oscillate between high pitched feedback and rumbling low end pulses, screaming pain and dull numbness, a sound palette that recurs through the later releases. Two tracks from the 2002 7HZ compilation (T6, T7, from the storied SF experimental venue/art space of that name, a collaboration with Randy H.Y. Yau and Scott Arford/Radiosonde), brings disembodied, ghostly voices into the fray. On 2002’s Why (T8-T10) the vocals become discernible, a direct patch into the darkest corners of the subconscious. The Empathy/Apathy 7” from 2003 foregrounds a disturbing phone message recording and a visceral spoken word imagery (T11-T12). The disc concludes with early works from the MK9 project, 2005’s excellent Resist (T13-T18) and three additional tracks of obscure or unreleased material (T18-20) Released on the artist’s label Neural Operations.
FCCS: T10, T11, T12, T16, T18
Number 6 5/30/2021 A Library
unknown entity from Dublin who applies an ecological perspective from the rapidly disappearing old growth of ancient woodland, the loss of which no doubt is expressed in the multilayered three part saga of two possibilities: 1. the sound of the invader’s attack on its own sustenance over thousands of years ℅ virulent homo sapiens, in less than an hour or 2. the cries of indigenous deciduous oak over the same period of time compressed into less than an hour. we hope that all three parts capture the struggle between them until the end of our time here on earth. the first track, named after the last surviving fragment of the great Oak Woods of Tinahely, serves as a harsh noise introductory wall that doesn’t give you a chance to pretend you are interested in your wake of destruction but assimilates your city bred ennui with a jolt of forest spite that sprays its interlopers with a fog of genocidal repellant that will only exist in dreams while disembodied voices of the dying human species is relished and celebrated with the only kind of joy that a hate forest can feel moving to the second track named after a formerly predominant wooded area that is nearly extinct with the exception of a few restoration projects such as the namesake of the thrid track, Abbyleix, where the midlands bog locals defiantly stopped the municipal excavation assault. one can now feel the roars of minor victory from this eternal conflict for mastery or perhaps an eventual leveling off into inaudible commensal equilibrium
12345 S. El Monte Road Los Altos Hills, California 94022
Public Inspection File