2018 7” EP from Oakland post punk trio of Max Nordile on sax, Alejandra Alcala on bass, and Sam Lefebvre on drums. Four energetic tracks of logical chaos, wacky vox, rhythmic contortions. There’s nothing new about this no wave, but that’s quite alright – you can hear they’re having fun and it’s hard not to laugh along with them. From new local label Fine Concepts.
Old school american power electronics. A relentless, fast-paced assault of scorched samples, blown circuits, and human misery. Not a continuous wall of noise, but still fairly impenetrable.
Machine gun static screeching blasts, pummeling and painful. Conjuring up images of car wrecks, difficult dental work, and close encounters with heavy machinery.
Sickness is Chris Goudreau, who’s been active in the noise industrial scene since the mid 80s. Despite being fairly prolific, “Fuck Your Punk Rock” (RRRecords 2004) is only the second full-length to enter the KFJC library. There are apparently 7 tracks on this album, but it’s difficult to tell them apart, and the picture disk makes it impossible to cue anyways, so just drop the needle and let it ride.
FIRST AND LAST TRACKS ARE LOCKED GROOVES!
San Francisco bass + guitar duo pushing boundaries of compositional technique via telepathic improvisational dialogues, and “the blurring of standard electric guitar/electric bass roles”.
Intricate, interconnected noodling. The pair are not afraid of a melody, but not afraid to stretch it into new dimensions either. A variety of moods on display here, from the playful Primary Colors (T-8) to the melancholy Krystyna’s Theme (T-7), reminiscent of Lonely Woman. Things get a little strung-out at times, like on Idee Fixe (T-3), but nothing that’s going to hurt you.
Heavy-duty bass-driven prog-rock grooves from these Norwegian Noxagt-Neighbors. Their name means “damaged jerk”, and this is their second album, released on guitarist Gaute Granli’s Skussmaal label.
Gut-blasting bass lines, pounding yet precise drumming, looping synths, and scraping vocals. Repetitive poly-rhythmic grooves being hammered into your skull.
Granli lends his avant-garde guitar skills to the mix, but the sound is meaner and more aggressive than what we’ve heard before, but also more diverse, featuring tweaked-out post-punk jabs, psychedelic wailing, and even some scorching hair-metal riffs.
Adult is Nicola Kuperus and Adam Lee Miller and “Detroit House Guests” is the CD that came out of their project inviting six very distinct artists into their Detroit home at separate times, collaborating with that artist and creating work from that collaboration. It’s a fascinating concept that offers so many varying outcomes. Fortunately, each collaboration is unique and of superb quality. Adult tend to fall into an electronic art punk art damage sound, pulling from the 1980’s/90’s but definitely making it their own. The influences are sometimes obvious on this new CD, which makes it more fun, but you can figure them out for yourself. The 12 tracks are definitely filled with the style and sounds of each collaborator but in the end the songs are Adult. The list of artists is so unique, from big names to lesser known to the mainstream alternative but equally valued by those in the know. Robert Aiki Aubrey Lowe brings his electronic soundscapes, twisting and beating with frightening authenticity. Shannon Funchess of Light Asylum adds her powerful deep vocals, drums and electronic play to mix with the sound of Adult. Michael Gira (Swans) and Douglas J. McCarthy (Nitzer Ebb) do what they do best with their onslaught and push. The new people for me were Dorit Chrysler and Lun*na Menoh, Dorit Chrysler is an internationally known theremin player, cofounder of The New York Theremin Society and founder of America’s first school for theremin. She also has this amazing voice, very emotional and cerebral at the same time. Lun*na Menoh is an artist, performance artist (Les Sewing Sisters), musician (Seksu Roba), and conceptual clothing designer. With Adult she uses her interest in sewing machines, using them to establish beats and rhythm. Put these all together and you get 12 tracks of electronic beats, monotone vocalization, art performance, emotional distance. Exceptional quality.
Rick Rasmussen 9/16/2018 A Library
KFJC 2018 Tote Bag
Environmentally conscious KFJC listeners can show their support for KFJC while shopping at their favorite book, grocery, and/or record store by using the KFJC Tote Bag.
This spectacular was designed own own Art Crimes. A fabulous DJ and an amazing artist as well. His work includes Mayhem mailers, Live from the Devil’s Barnyard, various tote bags and swag items from present and past.
New for 2018, the KFJC Tote Bag is specially designed to hold your vinyl LPs. These bags are made out of black 100% natural cotton canvas and feature the a dramatic KFJC design.
Features:18″ wide x 15″ high x 5″ gusset 1 1/2″ wide x 26″ long cotton webbing handles Two (2) rows of stitching across the top of the bag (added strength and durability) Concealed and finished, non-protruding side seams Durable, one-piece satchel bottom construction Handles are tucked and folded under the top hem, then sewn and back-stitched with 40# thread Convenient velcro side pocket
The KFJC 2017 Tote Bag is available as our thanks for your generous donation of $33.33 or more.
Pretty cool find – 7″ EP released sometime in the 80s from America’s Greatest Noise Artist himself, Emil Beaulieau (the alterego of Rrron Lessard of legendary label RRRecords, but you knew that). Four short tracks with all the trappings of power-drill-to-the-forehead harsh noise, but the experience of listening to this disc isn’t quite like that. Maybe it’s because within the clipped blasts are mysterious drones (T1), whistling melodies (T2), distorted guitar and whimpered vocals (T4) – you know, that velvet touch. Emil hopes you like it, but if not, well…
2007 7″ single from New Zealand experimental artist Campbell Kneale (see also Our Love Will Destroy the World and metal-influenced Black Boned Angel). One five minute track that tells a strange little tale, beginning with a noise collage of vibrating metallic sounds, like wire cables being wrapped, stretched and strained. But then the abstraction gives way to something more defined: a driving guitar and drum rhythm, a thick drone fog, and a monstrous swarm of chirping frogs. Together, the sounds paint a scene of headlights approaching in the dead of night.
Rory Block needs no introduction to those in the know of blues singers and musicians. Winner of numerous blues awards, Block has established a catalogue of respected recordings. “A Woman’s Soul”, which is a tribute to Bessie Smith, is the first in her”Power Women of the Blues” series which will honor a variety of distinguished female blues singers. Tribute albums can be a dangerous thing, a slippery slope. They often fall flat because the interpretation is to try and sound exactly like the original or to change the artist’s work so much that it just sounds ridiculous. Neither is the case in this wonderful 2018 collection of the familiar and the obscure and rare of Bessie Smith’s own catalogue of tunes. Smith’s voice was powerful, her interpretation unique within the confines of the blues musical pattern. Black takes these songs and makes them her own, in a great way. First, the instrumentation: Block plays all instruments – acoustic guitars, bass and percussion which is things like blocks, sticks, and boxes including oatmeal boxes. She puts this together in a manner that sometimes falls toward old country, and that is a good thing. Then her vocals: she has this vibrato that accentuates key words and phrases. Top that with her holding out specific notes and the meaning gets layered and put in your head. Her pitch rises and falls with the story she is telling, sometimes working out a guttural vocalization which hits the spot. This is a double thumbs up. Pure joy.
“Our New Quarters” is Julian Fane’s 2007 release on Planet Mu. Ten tracks of lush, orchestral faux gaze (not quite nu-gaze) float the listener down an auditory river. At once slightly Sigur Ros or Damon & Naomi and then avant garde vocalizations and elongated strings mixed with electronics, Fane shifts sounds and tone like the differences one encounters when on that river. His lyrics are eloquent poems of desperation and sadness, observances of what will come (not good) and what is around (not good). The guitar work balances his tenor voice, often beautifully indecipherable, making you fill in the text based on your level of sadness. Fane once was a broker working the NASDAQ. He gave that up and went into music. We need more people to make choices like this. Wallow on in your ennui oh wayward son.