Music Reviews

Shoup, Wally / Bill Horist / Paul Kikuchi – “Chemical Language” – [New Atlantis Records]

abacus   8/16/2019   CD, Jazz

free and expressive rock more than anything, heavy on both on creative on sonic levels, this seattle jazz improv power trio rips throughout. wally is the ultimate party man, rip roaring with jazz heads for decades, bill’s precise preparations and explorations redefine what guitars are meant to do, and kikuchi flows freely within the intuitive improv these heads carry (and with a wealth of technical and extended techniques to boot). the album title basically lays it out for you, cuz i guess sound is psychoactive on a chemical level or something?

Action Beat + G.W. Sok – “A Remarkable Machine” – [Ernest Jenning Record Co.]

abacus   8/16/2019   10-inch, A Library

aka the noise band from Bletchley, UK trance punks? or maybe the call to action undoing the trance? that minimalist repetition of grit and discontent definitely induces reflection, as do the relentlessly nihilistic poems ranting militant contentment to extinction. this is the first album they did with GW Sok, former frontman of The Ex, and i definitely feel the political connection. the somewhat title track seems to give a fishbowl narration of our modern end times and with the meticulous carelessness of their musical delivery you can’t help but feel fine, cuz the world is fucked anyway. pity this busy monster, manunkind, not. Progress is a comfortable disease (ee cummings)

Life Fucker – “Z” – [Static Shock(Age)]

whngr   8/15/2019   12-inch, A Library

This 45 is a fucking battery of hideous, in-the-red, filthy, low-fidelity rock, little to no fucking roll and a bad fucking attitude. Germany’s Life Fucker are as mysterious as they are resonate to this poor volunteer’s wretched, black heart. Drums sound like trashcans, check. Guitars howling feedback like possessed banshees, check. Buried, mostly indecipherable vocals shrieking away at unseen tormentors, check. Slightly shit art with skulls and chains, check. Bonuses include a song about being surrounded by rats and a German band being released on a Japanese label in English that has d- beat/hardcore (non)sensibilities and no fucks clearly given. One potential drawback may be that the drummer is a little too talented, If I were a god, I would kick him in his left knee and stomp on one of his hands so they sounded just a bit more desperate and ugly. Everything else is fucking perfect. Play this record and fucking lose control!Querulously there are no discernible FCC’s, what the fuck?

Divine Horsemen: Voodoo Gods of Haiti, The [coll] – [Psychic Sounds]

Hemroid The Leader   8/14/2019   12-inch, International

Divine Horsemen

Chanting blistering banging clanging meat science rituals and cult field recordings to wake up Satan in Hell recorded in Haiti by filmmaker-Voudoun acolyte Maya Deren and released on Lyrichord 1980. Cool insert.

Kale, Karsh – “Up” – [Six Degrees Records]

Medusa of Troy   8/14/2019   CD, International

UP is …

… the title of this album distributed by Six Degree Records, with vocals in English & Hindi, with no obvious FCCs.

… the beats by Karsh Kale (pronounced “Kursh Kah-lay“), a British-Indian New York resident who plays drums, guitar, piano.

… the tempo of most of the songs on this release, which mixes Indian and Western instruments: traditional tabla & drum machines, guitar & sitar, flute & strings & piano.

… the unspoken command to rise up and dance to these tunes. Faves are 4 & 7, the rhythms going beyond energetic to nearly ecstatic.

Situational Plays [coll] – [No Rent Records]

lexi glass   8/13/2019   A Library, Cassette

Two contrasting noise situations on this 2019 split cassette from Nadia (Ashley Bennett of Portland, ME) and Apologist (Rose Actor-Engel of Philadelphia, who runs No Rent Records with partner Jason Crumer). On Side A, Nadia leads off with two tracks of concentrated rhythmic energy. Somewhere within “Predictions” (A1) lurks a dark, rustling beauty, but it’s impossible to grasp: a high-pitched tone sharpens into an icepick point, bores into the brain, and demands our total attention. Through “Absolute Zero” (A2), resonant waves furiously collapse into a single, massive point source. After the intensity of the A side, Apologist offers a measure of peace. “Carte Blanche” (B1) emits warm melodies, treated vocals – both solo and in chorus – and ringing bells, while “Concession” (B2) concludes with a quiet meditation of organ, chimes, and forest field recordings.

Cavity A.D. – “Wraith” – [Valley King Records]

atavist   8/12/2019   12-inch, A Library

The A.D. in the band’s name derives from the fact that the band returned from a 14-year hiatus with the release of the album “After Death”. Now, with this release, the band is referring to themselves as Cavity A.D. KFJC has some comps and 7”s that comprise a portion of Cavity’s output from the 1990s. Internet research reveals this band was an important institution for the South Florida scene, collaborating with folks who would go on to other projects like Torche and Black Cobra. As Cavity AD, they are permitting themselves to diverge from their earlier sound and experiment with new instrumentation and textures.

A1: Long intro consisting of a Mad Max-style primitive drumbeat that gives way to fuzzy guitar riffing and semi-feral vocals that are yelled more than screamed or growled. A2 Reinforces the long drive across the desert vibe the first track flirted with. The primitive beat is established, and as the drive progresses, sparkling guitar washes over the heavier riff. They really want to explore this feeling—it’s a long passage across the desert. B1 Very industrial vibe driven by the percussion. B2 They save the doomiest for last. Unlike the previous tracks, the drum machine feels out of place here. That riff needs the accompaniment of some old-fashioned slow-motion drum-bashing, with big cymbal crashes decaying into the mix. Maybe that’s too mid-90s to be A.D…

Fennesz – “Plays” – [Editions Mego]

atavist   8/12/2019   7-inch, A Library

Reading up on this on Bandcamp, this is the 7” released in 1998. (It has subsequently been re-released as both a CD and a 10”.) It is considered a bridge between early abstract electronic explorations, like “Instrument”, and later guitar-based works, like “Endless Summer”. (Both of these 12”s are in the KFJC library, among others.) Indeed, the compositions are comprised of a blend of electronics and minimally processed guitar sounds. These two tracks had origins as covers, but you’ll be hard-pressed to hear anything remotely reminiscent of the Rolling Stones or Beach Boys in this material. Minimal, languid, and not even particularly long (3:31 and 4:05), these tracks demand the listener invest their full attention if they are to yield the intended experience.

Sutekh Hexen – “Trinity” – [Dead Section Records]

whngr   8/9/2019   7-inch, A Library

Unholy Black-Noise. Shrill tortured screeching, rasping electronic noise, buried guitars trem-picked mercilessly, and conspicuously absent drums on all three seven inches. Having one hoof deeply buried in the Black Metal trench and the other hovering over the nexus between noise and drone you may find the hairs on your neck bristling with anxiety at the peals of harsh white noise or perhaps, as I was after repeated listens, you’ll be lulled into a kind of uneasy tranquility like a dire wolf sinking into one of the tar pits at La Brea. After thrashing and struggling against your eventual demise, your throat so coated in viscous black sludge that you can no longer gnash your wolf teeth or cry your wolf death-song. There is only your ending. Only surrender and defeat and a kind of solace in the certainty of your wretched wolf fate. Cerebral, conceptual, and cvlt, Oakland’s Sutexh.Hexen. has tapped into something and these fledgling efforts seem to set a precedent for the horrible majesty that awaits them. These tracks were originally released on three cassettes in 2010 and this re-release appear to be, if just, on the wrong side of bootleg status as they appear to have been authorized by a single defunct member of S.H. Excellent sounds in lack-luster packaging but the tapes are so rare and sought after this will sate the ardent blackened-harsh noise completists.

Naxatras – Live Rituals At Gagarin 205

carsonstreet   8/8/2019   A Library, CD

Naxatras/ Live Rituals at Gagarin 205

Naxatras is a psychedelic rock band from Greece. This is their first live album. Recorded at the release show for their album “III” in Athens. The band continues to expand stylistically towards progressive rock, jazz and acid-rock. Naxatras is John Delias on guitar, John Vagenas on bass and vocals and Kostas Harizanis on drums. The band says: “Naxatras comes from the word “Nakshatras” that refers to the various phases of the moon in Hindu astrology. It sounded cool and fitting with our music, maybe because of the connections that Hinduism has to psychedelia and spirituality, but we spell it differently because it looks better with an “X”!”.