Starting off with entry-level black/crust metal for this uninitiated DJ, 1 is full of peppy Japanese underground girl power. Then the Cookie Monster vocals begin with 2 and just keep getting deeper and deeper. 4 is anything but “silent”! Risa Reaper performs some righteous drums to accompany Vivian Slaughter on vocals and bass and Mika Penetrator on guitar and vocals. As Vivian says, “raw feelings make a good sound.” She sounds almost feral in 10. Listen and thrive to these girls who use gall to throw down the hammer.
Peanut Butter Wolf, executive producer and DJ, started the Stones Throw label in 1996. This release from 2004, is a mix CD of the hits, misses and unreleased tracks, 42, count them. Wolf’s ability to connect the thick beats togetha in a seamless string of continuous rhymes and shuffles, has the listener asking “is this hip hop or what”? The reviewer says “sometimes”. The term Hip Hop is widely used, but the Stones Throw label is so wide that you could fall head first into Percee P and end up flat on your back with a hazy funk from J Rocc. Hip, yes, very, Hop, yes, on both feet, this 70 minute mix will take you into a blaze of finger snapp’n, toe tapp’n and tongue lash’n verbal assaults, that will convince you that it ain’t all rapp’n. The mix opens with a fifteen year old Charizma, lay’n out hommage to PBW and then blasts into artists like, Dudley Perkins, Lootpack, Jaylib, Madvillain, Quasimoto, and the utterly wild, Gary Wilson. This smooth mix will have you laying down pipes like a plumber. PLUS, there is a DVD with 15 KOOL video’s.
Fresh tracks from hip-hop artists around the world; U.S., U.K., Germany, Canada. Japan and Australia. We have 4 of the 5 artists from the U.S, in our library, but the rest are new to KFJC. The album really takes off on track 4 when we hear four German groups go at it together on “Hip-Hop und Rap,” rapping mostly in German and fucking????laying it down. The tracks on here from artists in the U.S. are kind of overshadowed by the international hip-hop tracks, mostly ’cause of their novelty, but I am a fan of the Defari, J-Live, and the Dilated Peoples tracks.
The Australian group, Def Wish Cast, uses unique samples and sounds, almost a Beastie Boys with awkward Aussie accents.??The Japanese song, by Muro feat. Gore Tex, is the only song without any English, and the German songs are rapped MOSTLY in German. I am a sucker for rap in a British accent, but the beat in “Payin’ the Price” has a little cheese, maybe steer clear.
Lots of cool tracks on this double LP, I marked some good ones. If you’re a hip-hop lover, hit this sheet… but watch fo’ FCC, yo.
Teenage duo from Redmond, WA release their first major breakthrough and possibly final album as guitarist and singer Pierce Adler prepares to leave for film school in NYC, leaving drummer Cameron Case home to work with another local band. Longtime friends, they’re visibly clinging to their childhood years together, lost in their naivete and carefree lifestyles. Songs reflect coming of age themes, friends come and gone, and an intense yearning for escape from life’s decisions into the Pacific Northwest wilds. Hard driving rhythms from Cam support the watery pop melodies and distant vocals from Pierce, swirling in his own droning reverb like a thick mountain fog. They offer dynamic sections in between and within verses that keep your ears hooked with some tracks taking a more bouncy, catchy approach (4, 5, 7) while some others sway like ridgeside Evergreens (2, 6, 8). The final track begins with a Boy Scout campfire song to the tune of Oh Christmas Tree and leads into an epic, moody closer. Pure nostalgia…
Ooooh, yeah, mathrock and metal and psyche and jazz fans unite! This groovin’ Finnish metal band from the early 2000’s brings us their first and only release from 2006. Sam Harju on vocals and bass, Erno Taipale and Matti Minkkinen on guitars, and Marko Syvanen on drums, accompanied by mystery musicians on screeching saxophone , glittery violin, and mournful piano. It could be one of the other musicians dubbed over the original recordings, but who knows?
What we get though, are these super groovy, head banging, jams in 4/4, 5, 9, and a waltzy 3. The first track is an epic 11 and a half minutes worth of the shit, which is a great introduction to the whole album, taking you through the genres a little bit, rather than jumbling them all together. Second track starts off all waltzy, and keeps the three time throughout, but again, mixing slow metal jams and violin. Third track is short and sweet, solemn, almost mournful, introduces the piano for the first time. Fourth track is kind of twisted circus jazz, more on the psyche edge, with what sounds like english lyrics at times.
PGM: After the fourth track, there’s almost 2 minutes of silence, and a hidden track at the 7:30 mark thats these weird electronic space warbles and clouds of static until a jam starts softly in the background, coming in louder and dying back down. Great fucking album, pop it in and enjoy the trip…
Here’s an array of soundscape-type things. They never go totally into noise territory, but many of them are heading in that direction. What you get is sample-mania and sound processing. Clicks and cuts. A few dirty rhythms here and there. Layers of muddy electronics. Track 2 has an insistent motorik beat with a three note melody and then other things on top of it–it also has a false ending, fading out and then fading back in again with about a minute to go. Track 13 is much longer than the others–pretty much a rumbling drone throughout. Some of the tracks cut off cold at the end. I enjoyed sitting back and listening to this CD, often wondering how the various sounds were made.
Will Holland (aka Quantic) and Mario Galeano wanted to gather both new and old Colombian musicians together for this Ondatropica project. For an authentic sound, they recorded on an Ampex 4-track at the legendary studio, Disco Fuentes in Medellin. These 19 tracks represent wide variety including a cover of a Black Sabbath tune, rap, ska, cumbia, Middle Eastern music and more. Absolutely stunning music, great sound, highly recommended.
A bunch of trolls get together in 2007 and take some acid in a jumbled scrapheap of a squat for a guerilla jam-in. Post drop they start banging sticks together and howling deformities as the drums and guitars get set up and tuned out. Nancy Nutso’s sitting off in the corner fighting the inevitable, writhing around in orgiastic pain and screaming at the arhythmic sputter attacking her from all sides. Razor sharp wah ramblings by Roky Erickson on guitar narrate the come up as Donkey Kong trembles on the drums. While Nancy screams and wails and the guitars exchange scratchers, Kenny G offers periodic soothers on sax, offset and at odds with the clamor. After the first perplexing peak, the drugs really kick in and we blast off to the outer edges of a distorted TV signal, anchored to reality only by the harmonic player. Hyenas and babies yowl and cry and the alarm clock won’t fucking turn off as we sink deeper into astral insanity. We come back to Nancy exchanging sighs of solace with woodwinds and violin as the house is boarded up for quarantine outside. With the outside world so distant, the trippers give into their primal instincts and join for a tribal ritual, chanting animal cries against the percussive rumble. Sirens outside send the crew hiding around the house while Roky spaces out by himself, oblivious that everyone’s back in the kitchen throwing shit around, so Fran Drescher jumps in on sax and Kong clamours back onto the set for some skronkfest. This wakes up Nancy and the baby and they have a fit of a screaming fight only to be drowned out by a full army onslaught of dosers taking their drugged jab at some black metal din. Donkey Kong doesn’t follow but keeps a beat anyway, Roky gets bored and starts wahing around again and Kenny goes off to the window to escape and comfort himself. Nancy, suddenly enticed tries some cookie monster vocals, encouraging Roky and the gang to really step in. All of a sudden they all realize they’re on some twisted reality TV show and are instant celebrities. The End.
A 3-track EP, 16 minutes of chilled-out blisscore from this solo artist, out of the Denver area I believe. Track 1 is haunting and atmospheric with ghostly vocals. Track 2 starts off with bleeps and bloops, then evolves into a layered keyboard drone. Track 3 features a lot of sequenced upper-pitch notes and patterns swirling around. I wish the tracks themselves were a bit longer and this EP had a bit more material on it because I really like what Comiskey’s got going on here.
Jimmy Soul’s big hit was track 1. Here is some more old school soul from the early 1960’s with rockin’ tunes featuring yakety sax, backup singers, and falsetto. Funny lyrics and a Shakespeare quote in track 12 made me smile. Liner notes are mostly about the producer, Frank Guida, who learned to love calypso while stationed in the West Indies in WW2. Jimmy Soul was a stage name for James McCleese who was also a preacher and gospel singer.
aka Martin Stimming a musician and producer from Hamburg. This is his first full length release although he has created mixes for some of the tech house greats like Sascha Funke and Claude VonStroke. I’ve been wanting “Reflections” for sometime now and it does not disappoint! This has a unique quality, like a tech house/glitch combo with cool samples and classical instrumentation. Its super chunky and thunky and off kilter and random. Each track is unique and engaging. I really love “Fruits of Life” and “Silver Surfer” for that extra thunk factor plus cool string elements but I think most will really enjoy “the Loneliness” with its cool harmonica sampling. Its hard to pick a fave track because I love them all. This is so much more than just techno.
Catera writes randomization algorithms that transform audio. Here he applies this “decomposition” to Johann Sebastian Bach’s Well Tempered Clavier. The sound of the clavichord is still recognizable most of the time, but the music is sliced, diced, processed, and rearranged into an electroacoustic mess that is sometimes a bit too repetitive, but overall is surprisingly interesting and listenable.
Chromodality was developed by Iranian-American sax player and composer Modirzadeh to integrate Persian tones with the Western scale. Once the ears adjust to what initially sound like sour notes, this is enormously interesting and original free jazz. Nice work from all in the quartet, and some unusual instrument additions on tracks 4, 5, 8. 10, 16, and 17; still my attention tended to be drawn to Vijay Iyer’s piano. Modiirzadeh is a Professor of Music at San Francisco State.
Crash Normal have always been a duo, though they’ve not had the same line up over the last ten years. French guitar trash, at it’s finest. You like Sic Alps? They Mayyors, Alan Vega? Then lace up your Chanel booties, tie your gaultier scarf into a noose and get ready for some red light romping. There is no bass in this. Originally realeased on the european label, Born Bad. The track list on this Kill Shaman release varies, but is mostly confirmed. Beat it or eat it.
Rockers Vibration is an exclusive compilation from the studios of Michael Campbell aka Mikey Dread (RIP) on his Dread At The Controls label. If you are a fan of reggae music you will recognize nearly every artist and producer. You will hear the tape echo snare of Tubby’s style on the Ovation’s Shy Girl. Rod Taylor’s His Imperial Majesty is found on the full length from Taylor, Ethiopian Kings. Freezing is a classic and the studio session players are all stars on this one. Forever Love features classic Sly and Robbie. Hot Cross Bun is top notch. Sunshine’s Taking the World is a hit. Roll it up and enjoy.
Here is a collaboration of epic proportions. This trio includes the godly musings of Keiji Haino, Stephen O’malley and Oren Ambarchi. This was recorded in Paris November 2011. Do not come here in search of rock and roll, this is for lovers of noise, drone and stacks of sound. Ominous, pounding, angular, darkness…heavy and dripping with drone, speckled with shimmering bursts of total freak out. Haino’s vocals groan through a tortured growl or a heavenly moan. His guitar delivering a face-melting wall of dissonance, always in flux, flawlessly complimented by Ambarchi’s blistering drum battery and the low-end, earth-shaking rumble of O’malley’s bass work. This is a universe of guttural tension. So much tension. The imminent doom of noise lies behind each moment of relative calm. It cooks in all its smokiness, riding on a black wave of massive proportions. Brace yourself… you are in for a concussion. -Surfer Rosa
*note- side C comes to a screeching halt at 21:58 minutes.
Infernal thunder from Argentina solo project 2008. Excellently rendered death metal towards the blacker side. Grating and loud but unremittingly purposeful.
A1 call to war, indoctrination and orders given for the assault on heaven, anticipatory & pounding. A2 the best track, technical and unstoppable, fades out. A3 farm animals and church bells, titled The Orgy, good mic bed. B1 undulating waves of fire washing out from the open pit to Hell. B2 the killing floor at the bottom of the world, cavernous vocals, spikes everywhere, impalement, perseverant hate. B3 short burst, good for an intro to something else.
Part 2 of a collection of limited release CDr material and others from this industrial noise collective hailing from Chicago and parts of California. This cassette is packed full of material, with over 40 minutes on each side, including 2 CDr releases, exclusive live tracks, a short track off the Triskaidekaphobia comp split and a couple other pieces. Each CD contains one half of the cassette, with the first half tracking all the way through and the second split up into distinct tracks. The Secret Roads??relaease has more restrained experimentalism with lo-fi elex and minimal drum machine blips that almost sound like some 80s synth pop despite the raw, gritty aesthetic it embodies. It evolves into some raga meanderings that build in intensity. Side A moves through some noise and flogged and flanged intercom announcements into the live Noisefest track, some rabid ear rape. The Rise…Rise! release continues with the distant electronics distortion that sound like they’re recorded in an empty warehouse, or like your listen to the repeated bifurcation of a telephone cable through the receiver end. More of the megaphone maladies but they get a little more cartoonish this time, flopping around and dropping to 15 rpm. Some ritual guitar desecration and dragging of remains across a bathroom floor before we sit down for a destructive jam drinking drain-o. On the Slusher collab track we get undulating swirls of generator drone that builds like a looming storm. The final track is a sampling of the Orchids release, which we have, and gives us more intercom voices, this time intelligible, just in Japanese and French or something. A lot of different material, just fucking play it, cuz we’re all degenerates anyways.
The Process Church of the Final Judgement was a religious group in the 60’s and 70’s that was often viewed as Satanic because they worshiped Satan, Lucifer, and Jehovah as the Three Great Gods. The lyrics in the songs here are hymns taken from this religious group would sing during their sermons or whatever, thrown on top of psych-jams.
Singer Jamie Myers and drummer Dave Nuss of No Neck Blues Band put together a really cool project, which, honestly, I was unsure about, but now looking at it, the rock verses and psyched-out jams kind of reflect the sound of the 60’s and 70’s when this group was around, even though the hymns sound nothing like what they did in church. I always like the idea of ??contrasting genres smashing into each other, especially in a weird context like an obscure religious sect.
Takes some getting used to, but I think many will dig into this quickly. Amen.
a Russian duo working in the post-industrial field since the late ’90s. This is amazing dark ambient/noize. Very intellectual and sophisticated in nature. Reminiscent of older noize but elevated to a new level, with mind blowing repetetition, beats, echoing vibrations etc. They have worked and played live with Genocide Organ, Der Blutharsch, Deutsch Nepal etc. If you like those or the rhythm of Henrik Rylander or Ah Coma Sotz, you will love this. The only thing I find puzzling is that its not on the Cold Meat Industry label.