KFJC 89.7FM

Music Reviews

Atlanta Blues 1927-1930 [coll] – [RST Records]

mickeyslim   2/20/2019   Blues, CD

Nothing

Nothing is known about Willie Baker, except that he would, as a child, play in Patterson, Georgia and that he may have gone to a Robert Hicks medicine show in Waycross, GA.

Charley Lincoln on the other hand, was born 3/11/1900. He performed with his brother, Robert Hicks (the same as above), professionally known as Barbecue Bob, for many years. After his mother and brother passed away, Charley became a very heavy alcoholic. He shot someone on Christmas Day 1955, and ended up going to prison. He died there of a brain hemorrhage in September 1963.

Atlanta, Georgia blues. One man, one guitar, one front porch.

Tuttle, Andrew – “Andrew Tuttle” – Room40

Phil Phactor   2/20/2019   A Library, CD

Andrew Tuttle is from Australia, but you wouldn’t know it from this enchanting slice of post-Fahey Americana. Tuttle layers his banjo and guitar filigree over luminous drones to predictably trance-inducing effect. On Meterological Warning (T5), he’s joined by viola and prepared lap guitar, while The Coldest Night (T8) sees the addition of electric guitar and trumpet. Soothing stuff.

Spiegel, Laurie – “Unseen Worlds” – [Unseen Worlds]

Phil Phactor   2/20/2019   A Library, CD

Laurie Spiegel is a pioneer in the field of electronic music. In 1973, she began exploring computer music at Bell Labs, where Max Matthews and Richard Moore had recently developed the digital-analogue hybrid GROOVE (Genered Realtime Operations On Voltage-controlled Equipment) system. From this work came the album The Expanding Universe, released in 1980. With its clear tones, open harmonies, and mechanical rhythms, The Expanding Universe presented an optimistic, almost utopic vision of technology. In contrast, Unseen Worlds, created using Spiegel’s own Music Mouse software, is altogether darker and more amorphous, with a focus on texture over melody. Hurricane’s Eye (T7) stacks layers and layers of organ-like tones to create a thick, murky, mass of sound, a modern-day requiem. Check out the frankly-terrifying stabs of noise on Riding the Storm (T9), and DO NOT MISS the epic, 14-minute closer Passage (T12), in which harmonically-rich drones, synthetic voices, and ominous clangings rise and fall evoking the grandeur and power of some strange, cosmic machine.

Raymond, Gwenifer – "You Never Were Much of a Dancer" – [Tompkins Square]

Cousin Mary   2/20/2019   A Library, CD

Welsh born Gwenifer Raymond lives in England but plays American Primitive style guitar and banjo as if she was born to it. Wonderful melodies in her compositions, astonishing technique. Some tunes are simple, most show a virtuosity and polyphony that is almost reminiscent of Bach violin partitas. Oh and she has a PhD in astrophysics. Wow, wow, wow!

Is-In-Unsamble – “Is The Belly / In The Belly” – [Gilgongo Records]

atavist   2/18/2019   12-inch, A Library

An experimental, improvisational jazz sort of happening. It’s one of those records where the instruments hang out in groups at a low-key party, and sometimes just go off in corners and talk to themselves while in earshot of everyone else. All the instrumentation and sounds are executed with a light touch. Side two has some almost creepy vocal things going on, and starts to build some wall-of-sound intensity about eight minutes in. The house guests come out of their corners and start to acknowledge each other, creating a crescendo before the final tapering off.

Butcher ABC – “North of Hell” – [Obliteration Records]

atavist   2/18/2019   A Library, CD

Nice “South of Heaven” reference. The thick crust presented here will otherwise ward off comparisons to Slayer. Beautifully satisfying, thick, disgusting riffs. Apparently these folks have been pummeling Japan for two decades, so their filth is pretty tight and old-school in an early nineties sort of way. Most tracks clock in at three minutes or less (the shortest track is 1:14). Track 2 is 5:01, and the last track is a protracted grind jam/amalgamation running to 8:36 where the band allowed themselves to deviate from the format employed in the rest of the album.

Dalt, Lucrecia – “Anticlines” – [Rvng Intl.]

Phil Phactor   2/15/2019   A Library, CD

Lucrecia Dalt is a former geotechnical engineer from Colombia, now settled in Berlin, who has previously collaborated with Julia Holter and Laurel Halo. While her early work has been described as “experimental indie pop,” on this album she leaves the “indie pop” behind. Dalt is an exceptionally skilled sound designer, deftly weaving industrial aesthetics into the conventions of minimal electronics. The result is a sound all her own: raw, rough, tactile, but also precise, polished, icy-cold. And then there are the vocals (T1, T3, T5, T6, T9, T11), spoken-sung and subtly processed, they draw you in and push you away at the same time. These are short tracks (1-3 minutes) that nonetheless evoke a sense of geologic time, of a stasis that masks the presence of tremendous power.

Laugh Queens “Bathcolor” [Self Release]

mickeyslim   2/13/2019   A Library, CD

Stephanie D’Arcy is the mastermind on this freshman release from this SF-based project. D’Arcy on guitar and vocals, Ryan Albaugh on drums, Giancarlo Arzu on bass, and Yaryn Choi on keys and providing vocals. Their lo-fi grunge-pop is a slightly off-kilter, head-boppin, house party and you’re sitting in the corner with your head down, all the voices and music faded and muted in the background. First part of the album hits hard, while the last part is not as impressive. Definitely worth a listen!

Vacuum Tree Head “Aasraa” [Pest Colors Music]

mickeyslim   2/13/2019   A Library, CD


1 part brass band, 2 parts lounge jazz, one part noisy meanderings, this EP is the sister release to Botafogos in Shadow Position. Buzzing, skronky, cloudy, weirdo sounds. You find yourself lost in a Dali-esque circus show, whose entire show is amalgamated up in a mere 15-minute extravaganza! Let the show begin!

Karen Stackpole – S/T

Max Level   2/13/2019   12-inch, A Library

Mostly solo percussion works by Stackpole, a fixture on the bay area experimental/improv music scene. I don’t recognize anything that sounds like drums here–I’m hearing gongs, cymbals, and maybe some other resonant metal things(?) I suspect bows and perhaps soft mallets are being used to produce these deep layers of floating metallic sounds. A1 and B1 are collaborations with Ann Dentel, another local performer/improviser. Very nice but at 12 or 13 minutes per side it’s over too quickly. A 2003 release that has somehow eluded our library until now.

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