If you’ve ever listened to any of the work from these two titans of free music, then you already know to heed the title of this album. Drummer Chris Corsano and guitarist Bill Orcutt have been performing together as a duo for years (see here and here), but this 2018 LP is their first studio recording, and it’s just as explosive as you’d expect. Orcutt’s singular sound is on full display. His guitar bursts with in a frenzy of wild patterns, digs into tense repetitive grooves, or, in the album’s most powerful moments, soars in ecstatic anthems. Corsano’s rhythms are the thunder to Orcutt’s lightning. He gives the pieces a heavier rock sound, but without dragging them down – his sharp drumming drafts his counterpart at every hairpin turn. Two brilliant musicians with unreal chemistry – it doesn’t get any better than this.
Active since around 2006, Being is the Harsh Noise project of Dayton, Ohio’s Luke Tandy. The artist’s biblical namesake may have been the wimpiest evangelist, but like just about everything else on LA’s Oxen label, this is texturally rich centi-pedal aural destruction, excellently recorded and produced, and a head-splitter of the first order. Hyperabstractive audio sewage mixed with rusty sawblades in an old clawfoot tub; the radio, perched precariously at the edge, tuned between stations. This material explores a wide range of pitches, to put it mildly. Mr. Tandy likes to ‘hold his high notes,’ if you take my meaning (particularly on that A side track, gee whiz). The two impressive performances on this 2018 tape will satisfy noise fiends and probably confuse everybody else. They may even exceed the comfort level of some who think, based on this review, that they will be able to deal. Side A is live recording, side B is studio, but they sound vice-versa. An admirably singleminded exercise in sonic obscenity, mining the same deep vein as neighboring Pittsburgh’s genre-defining master musicians of Macronympha. There are other artists to whom I could compare the sound, but…
BTW, hydrocracking is apparently a part of the petroleum refining process, “by which the hydrocarbon molecules of petroleum are broken into simpler molecules, as of gasoline or kerosene, by the addition of hydrogen under high pressure and in the presence of a catalyst.” So now you know.
Cellos, marimbas, woodblocks, oh my! Composers who are classically trained and yet value uptown as well as downtown elements, minimal jazz within structures that allow for musical freedoms galore. This is what Bang On a Can is all about. Julia Wolfe, Louis Andriessen, David Lang, and Michael Gordon are the composers featured on this unique CD that offers the ultimate challenging listen.
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.
Activist, poet, revolutionary blues singer, musicologist, friend of Fidel Castro, reporter of North Vietnam and so much more. Coming out of the coffee house folk scene of the late 1950’s, Lester’s trajectory followed that of the civil rights movements of many places during this time. Here is a selection of songs from the two albums he recorde. Just him and his guitar. A stunner of a vocalist with lyrics that do not hold back… these are in your face commentaries about the injustices of social conditions directed primarily toward African Americans. Songs of police attacks and profiling, economic disparity, work inequality… it could be today as much as the 1960’s and 70’s. Things don’t always change. Powerful and strong. “Stagolee” is a 13 minute epic equal in quality to Dylan'” and Guthrie’s “Alice’s Restaurant”. Brilliant, sad, depressing stuff.
If the “N” word is considered an FCC then FCC on tracks 7,11,13 and 14.
Yowsa. Eric Shoutin’ Sheridan & The Uptown Rhythm Kings are recreating a type of blues band called Honkers or Shouters that came out of the 1940’s. Horn driven, big vocals, hep cat jive stylin’ but done without kitsch. This is serious fun, recorde live at Fleetwood. Sheridan’s vocals take hold and lead the audience into rhythm frenzy with songs about dumping the wife and opening up the back door, if you know what I mean. The band is tight, with horns taking charge. A blast of fun that I could hear on any number of shows. Have fun.
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.
Swedish and sometimes Finnish folk group, Hedningarna ( The Heathens), came onto the music scene in the mid 1980’s, playing with the songs and sounds of the early Norse, utilizing instruments of that time and building their own variations. Adding electronics for a contemporary twist, Hedningarna have always been able to sound otherwordly and unique but never quaint. There sound rocks, in an electronic old Scandinavian sort of way. “Hippjokk” has just the Swedish trio of musicians without the two female Finnish singers, in an attempt to “draw the connection between medieval Scandinavian dance music and the techno rave scene”. It is so not that to me, just a bajillion times better. It is one of the most unique sounds I’ve heard and I’ve been following them for quite awhile. There is this Arabic style influence and then cranky sounds that remind me of hurdy gurdies but not. Beyond toe tapping – full on body bumping. Skal.
Francoise Kucheida is a French blues singer, whose strong vocal style reminds one of the past greats of French chanson but who adds her own richness to interpretation to classic French standards and newer songs. These are not just about love, but about struggle, the people struggling day to day, which can also be about love. Accompanied by accordion and guitar on many tracks, these songs are rich with emotion and beauty. Light that cigarette, pour yourself an aperitif, sit back and listen to the sounds of the Seine in the distance.
Serge Gainsbourg, French sex icon and sultry singer of suggestive French pop tunes decided to put together a reggae album back in the late 1970’s. Pulling in the magic of Sly and Robbie, The I Threes for background vocals, many studio reggae greats and recording and mixing at Dynamic Sounds Studio, Gainsbourg nails it track after track. The propulsive bass lines and smooth backing vocals are a perfect match for Serge’s cigarette filled, raspy low tone almost monotone singing. These songs are most probably not about Jah. Most assuredly the pinnacle of a period yet so timeless. Get sexy.