Minus 8 is Robert Jan Meyer from Zurich, Switzerland. The remixes are by Dr. Rockit (Mathew Herbert), Les Gammas, Tiny Trendies (Adam Goldstone from NYC who died at Burning Man in 2006) and Zimpala. This record is from 2001 on Compost, very early in his career. These days Minus 8 writes soundtracks and other high profile music. All tracks worth a spin.
Benjamin Boone is a saxophonist, composer, and Professor of Music at California State University Fresno. He was a Fulbright Scholar to Ghana from 2017-18). He grew up in the small textile town of Statesville, North Carolina, the youngest of five sons. “My brothers pursued history, literature, art and biology, so I have always gravitated towards interdisciplinary projects,” he says. “I like to make artistic statements that address culturally relevant topics …” While he was in Ghana he performed with the musicians on this release: Bernard Ayisa (tenor sax), Victor Dey, Jr. (keyboards), Bright Osei (bass), Frank Kissi (drums) and Sandra Hudson (vocals). This recording was made the week before he left Ghana. Tracks 1, 3, 5 and 6 are Boone’s compositions, the others are his arrangements. Boone says: “In Ghana music is participatory, egoless, and woven into the very fabric of existence. People live with joy and make music with joy.”AArbor
EN/PE from Jim Haras (Deterge, Winters In Osaka, Urth, Ilsa), associate of Hospital Records and Fusty Cunt.
Futuristic sonic warfare with asymmetric dissonance.
Atmospheric falling rain, static and electronic effervescence.
Crunchy simmering white-noise-wall evolves into dark engine chants.
Waveform abuse becomes cyber spasms of robot rage
of the beat. Murdering Hard house. Apocalyptic squeals to ritual patricide.
Subsonic. Strobes. Nexus-8 sharpens its android fangs.
Whorls of demonic static.Curious clatter.
A horrifying declaration before The God-head’s admonishment amidst pyrrhic audial Armageddon.
A member of Weird Weeds (R.I.L.) and an architect currently residing in Houston, Texas. Fingers tremble with amplified arthritis. A string quartet perform while being hung from the neck. Improvisation. Loneliness and reflection. Interdisciplinary collaboration. Nickel plated wind-up hummingbirds imitate death. Graphic notation. Distant pianos explode from the from the ruined towers, falling. Extended guitar techniques. A detachment of forklifts in maneuvers somewhere below. Feedback. Quietly wringing one’s hands with razor wire. Understated. Intimate. Prepared guitar.
Strange stranger strangler
Angular angry avante
guardian of harmonic despair
or resonate with east coast dissonance?
Repetitive and minimal.
Limited technical range leads to emotive
and hypnotic revelry in the wrong?
Brown Angel is a post-everything trio from Pittsbvrgh, PA, U$A. RIYL noise rock raga, teutonic industrial aesthetic, Hellhammer-grade weaponized dub.
A record I paid for but didn’t choose. It grew on me… perhaps because I allowed it.
Originally called The Lovejoys, The Apollas were considered the Warner Brothers equivalent of the Supremes. Beginning in the early 60s as a quartet from The Bay Area, including one male singer, Ronnie Brown, they eventually ended as a trio anchored by the powerful growl of Leola Jiles. By her side was Ella Jamerson, and a rotating 3rd member (Originally 17-year-old Joann Forks, then Dorothy Ramsey, Billie Barnum, and briefly Blondell Breed). WB released their music on their short-lived LOMA soul imprint, before converting them back the main label for the remainder of their contract. During that time, they opened for Barbra Streisand and the Monkees, and performed on many nationally syndicated TV shows. Towards the end of the 1960s they toured extensively in Asia. The group called it quits in the early 70s due to a failure to break through commercially. Dick Glasser, who signed Jiles to a solo contract (stop me if you’ve heard this one) then promptly refused to let her audition under fair terms as the new lead singer of the Supremes, dashed her hopes for a mainstream career. However, the group singles found a new and enthusiastic audience in London’s Northern Soul scene. Since disbanding, all members have continued to perform as professional back- up singers, along with occasional solo tours, and most recently a reunion in UK in 2007. This is wonderful. A nice mix of upbeat RnB rockers, soulful strings, and melancholy heartbreak. Leola Jiles spectacular lead vocals burn hot and are very distinctive and memorable in my book. I’m glad we have the opportunity to share this collection, which includes some of Jiles solo cuts, with our listeners.
Nnamdi – Brat
Chicago based, multi- instrumentalist. He earned a degree in electrical engineering from UoC, so I’m guessing the expertly layered production values his 4th studio album is his own doing. He also the founder of Sooper Records (The label this record is on) and has been in too many bands to count. He has presented us with a great mix of Avant pop, jazz, folk, hip hop, electro-soul. It’s gorgeous, lush, and dreamy. His vocals are soft and floaty—a understated falsetto, with *maybe* a touch of autotune. This is pretty emotionally sexy. We it have filed under hip-hop, but it would fit under soul or A as well. CLEAN COPY
Gender non- conforming Queer Black artist from Oakland. This immediately stood out to me because of the obvious danceability of the music, but also because of the way they weave deeply personal & confessional lyrics through the electronic beats. The consciousness here—of self (in the wake of a HIV diagnosis), the new reality of their world, the universe itself, is all on display. At times its extremely meditative in a drug fueled journaling kind of way, and a reminder that even extreme pain can still see flashes of joy through light and movement. MaHaWaM, aka Malik Mays, grew up in a Religious Family from the East Coast before they relocated to San Antonio, and eventually Arizona, where they studied Creative Writing and Music in 2012. Although I would consider this experimental electronic Hip Hop, the influences of R&B and Gospel, and an early interest in Classical music and poetry is all evident in their work. They have lived in Oakland since 2013. FCC on tracks 3-5
Cold Wave from Oakland. Simple open electronic beats and tones with male and female vocals. Wondering what the hell Cold Wave is? Ask Wikipedia: “a loose music genre that emerged in Europe the late 1970s, characterized by its detached lyrical tone, use of early electronic music instruments and a minimalist approach and style. It emerged from punk rock bands who, influenced by early electronic groups such as Kraftwerk, made use of affordable portable synthesizers.”
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