Norwegian free jazz drummer Paal Nilssen-Love brings together a killer lineup for this one: saxophonist Akira Sakata, guitarist Kiko Dinucci, and Japanoise legends Kohei Gomi (aka Pain Jerk) and Toshiji Mikawa (of Hijokaidan/Incapacitants). New Japanese Noise is the companion release to New Brazilian Funk (recently added to our library); both are recordings of explosive live sets recorded at the 2018 Roskilde Festival in Denmark. “Stiff Upper Lip Jeeves” (T1) blasts off with propulsive drumming, furious sax, damaged guitar, and – bubbling up into whatever free space is left over – brilliant rainbow electronics. The energy just barely lets up with the rock-inspired grooves of “Up the Line to Death” (T2), “Eats, Shites, and Leaves” (T3) finds Sakata’s strangely beautiful clarinet figures beset by rustling, then raging, rhythms. In the showstopper “The Bone People” (T4), Sakata’s maniacal growls summon a storm of howling evil spirits. The quintet bows out with a(nother) blast on the encore “Birdsong” (T5).
cadilliac margarita 4/23/2019 A Library
From 2003, this was the 5th album from the prolific musican-composer-record label founder (tigerbeat6) Rjyan kidwell, who uses the moniker CEX interchangeably to identify himself. A frequent collaborator of longtime friend and business partner kid 606, Cex is a talented wordsmith who hits hard with hip hop inspired rhymes over electronic beats. You can’t really pigeonhole this record into any one category. It’s electro hip hop with mixed with folk and fuzz guitar. There’s even some field recording-type ambiance. He was clearly dealing with one hell of a broken heart in early 2000s. and (not) hung up on his ex who may have been called Melanie? Or Katie? Or both? It’s fantastic, pain fueled, and dark, but delivered with a sense of humor that saves it from being a total sad bastard affair. Since 2003 he has recorded several more albums, and I have no doubt they’ve each been unique and that he’s continued to experiment and evolve.
cadilliac margarita 4/23/2019 A Library
Broad collection of standards from The Bey Siblings of Newark, NJ— recorded between 1964-1965. Their voices are deep and rich, and blend together like smooth cream. Andy is also a self-taught pianist, while his sisters Salome and Geraldine vocalize and harmonize. Together they pay homage to some of their greatest musical influences. Pop, Jazz, Blues, Gospel. They touch on several vocal styles…most are slow burners, but there are few upbeat bangers in the bunch. <3!!! Caddy
cadilliac margarita 4/23/2019 A Library
Here is Eddie Russ on funky electric piano, accompanied by smooth sax, electric guitar, percussion, flute, and strings. He played with many jazz greats including Sarah Vaughn, Stan Getz, and Dizzy. Recorded in Detroit in March 1974, this has that cool 70s loungey jazz vibe in spades. Mellow grooves. Very pleasant. <3!!! Caddy
Ani DiFranco — er, sorry, ANTHONY DiFranco — is a current member of Ramleh and former member of Skullflower. You will also find a few albums in KFJC’s library that he recorded for the Freek label under the sobriquet AX. JFK is another solo project, working in a broadly Industrial mode. He seems to have first recorded under this name in the late 80s for Ramleh’s Broken Flag label, resuming operations a few years ago following a lengthy hiatus. The tracks on this 2018 LP could be lazily segregated into Industrial Techno and Death Industrial (although, despite having done a split with The Grey Wolves, I’m sure DiFranco would scoff at the latter designation).
The tracks I’m arbitrarily dubbing (pun intended) the Techno tracks are vaguely similar to Hospital Productions artists such as Vatican Shadow and Ron Morelli, but with focus shifted from atmosphere to listener alienation. Perhaps Hands Records mainstay Winterkalte would be a better reference. Comprising A2, A3, A4, B1 and B3, the beats account for the majority of the material here. A2, B1 and B3 are built around stuttering, off-kilter drum machine rushes and sound not unlike Footwork made by zombies, while A3 flirts with Dub Techno. A4 unnervingly goes full four-on-the-floor, definitely danceable but also definitely soulless, like Daft Punk’s ‘Robot Rock’ following attack by a serotonin vampire. It would spin better in the control room of a CIA drone base than on the dancefloor of a nightclub.
A1, B2 and B4 are in more familiar (to me) Rhythmic Noise territory, rich in a sense of imminent doom. I was reminded of Deutsch Nepal and, specificially on B2, the fetishistic sequencer sound of Britain’s Iron Fist Of The Sun (a project actually not unknown to dip into Dub-inspired frequencies itself). The sonic pallette is consistently experimental across the whole album, though, and my rubric for thus partitioning it is largely tempo. It’s all dark shit, but it goes down fairly easily for all that. I suspect this one will have wide appeal among KFJC DJs.
Striations, active in the underground Noise scene for nearly a decade, is Oakland’s Mike Finklea. He has performed twice on KFJC, on one of those occasions hosted by yours truly. This 2019 CD on LA’s Oxen label compiles two cassette releases: 2018’s ‘Trauma Code,’ originally on the Gutter Bloat label, and ‘K.P.’ (‘Killer’s Party’) his 2017 effort for Oxen. In the liner notes, Finklea writes that these recordings are “of an exploratory nature,” significant because his usual M.O. involves obsessive control over the structured chaos of memorised compositons. This is indeed more free-form and improvisatory in sound than other works, conforming more to the Harsh Noise stylings of artists like Macronympha and K2. That said, these pieces are at least more Power Electronics than Harsh Noise in that they focus on sustained tension rather than sludgy textural fetishism. “None of this material is what I WANT Striations to sound like.” The liner also includes special thanks “to all hazmat and first responders.”
‘Trauma Code’ (t.s 1+2), mastered by Miscreant’s Sam Torres, is inspired by car accidents. Each 25-minute track passes through balanced phases of relative restraint and full-blown sonic assault. Baleful low-end drones, abject metal-scraping, earsplitting feedback. T.1 begins with synth piece possibly sampled from the score of a 70s or 80s film. Later there’s a sample of a medical examiner calling for the clearing of highway shoulders to reduce crash fatalities. It’s a public health problem, she says. I certainly found myself driving more carefully when playing this in my car. T.2 continues the exploration of scrap metal, hissing static and uncomfortably high frequencies. There is a ‘Red Asphalt’-like sample from a crash scene where it sounds like some girls are trapped in a burning car. In a possible pun on “auto fatality,” the second sample on this side is another medical examiner(?) discussing the most extreme/unusual suicide cases he’s encountered. “Someone who takes on a speeding locomotive at 70MPH is not one of those people you’d expect to be calling for help.“ According to the artist, second and third instalments in the ‘Trauma Code’ series are in the works.
‘K.P.’ (t.s 3+4), recorded by M. Chami (Crown of Cerberus, Koufar), concerns the death of Junko Furuta, whose 1989 murder at the hands of 4 Yakuza-connected classmates scandalized Japan. Imprisoned for 40 days, she was raped hundreds of times and tortured until unrecognisable before finally dying of her extensive injuries. Close to 100 people had knowledge of her imprisonment, but due either to complicity or fear of retribution, none reported it to police. Her body was eventually discovered encased in concrete. Although perhaps more synth-driven, both of these 15-minute pieces continue in an aesthetic vein similar to ‘Trauma Code’: nonlinear, screeching, throbbing electronic/concrete noise. Maybe some distorted vocals. No samples on these ones, but plenty of implicit violence all the same.
‘Collection 1’ is a ghoulish encounter with the biological truth of death, up close and personal. Hear, see, feel, smell, taste the end.
Stripped down, Australian surf. All but one track features a lead guitar, a drum, and a quiet bass. Track 2 “The Rise and Fall of Flingle Bunt” adds an organ to the mix.
The album provides songs of every tempo: “Walking in Sand” is a spooky zombie shuffle. “Telstar” is a cowboy-movie-worthy ditty with horsey trotting drumbeats. “The Worm” is a brisk walk. “Mermaid Beach” features a dreamy melody worthy of luring sailors to their deaths. “Surfability” is all jangly freneticism.
Most of the songs (1,3,5,6,7,9) are originals. Tracks 4 and 8 are reworks of familiar instrumental hits from the early 60s.
What makes this Australian surf rather than American surf? One-a name like “Flingle Bunt” rarely shows up in American surf and Two-the water goes down the drain backwards.
Track Listing:Return of the Surf Guitar 2:29The Rise & Fall of Flingle Bunt (featuring Mental As Anything) 2:38Surfabilly 2:32Sleep Walk 4:17The Worm 3:16Walking in Sand 3:43Makua Beach 4:10Telstar 3:03Albatross 3:14Mermaid Beach 2:08
Five beautiful psych jams are provided here as your spaced-out bliss soundtrack. There’s nothing too complex or fussy here to interrupt the vibe. Track one, “How to Grow Evil Flowers”, establishes a hypnotic bass line and superimposes a guitar out on a journey. One can imagine a walk in the clouds. T2, “Millers Pond”, adds some very washed-out vocals. T3, “The Second Blazing Star”, returns to an instrumental format, and again, the rhythm section establishes a structure that allows the guitar to take a ramble in the woods. T4, the title track, gets into some synthy territory, with sustained synth drones and maxed-out guitar textures. T5, “Flower of Light”, closes the record out like a wistful, sun-drenched afternoon. This record will feel at home on playlists steeped in Carlton Melton and Bardo Pond, but you might as well play it up and down the schedule.
Presented here are seven frantic, manic blasts of trumpet and drums. How much sound can these two instruments produce, with the help of some electronics? Turns out the answer is, “not a small amount”. This release is firmly in the free jazz vein, as in free to be as noisy and unhinged as possible. Peter Evans spans the spectrum of possible trumpet sounds, and manages to coax new, decidedly un-trumpet-like sounds from his tortured brass. KFJC has other pieces from this artist. Weasel Walter, a veteran of a variety of projects both in and out of the jazz world, including Flying Luttenbachers and To Live and Shave in LA, is well-known to the station for his frenetic drum rushes and all-around troublemaking, and here he’s exorcising more of his demons with unabated fury. A highlight for me is track three, “Sulfur Tuft”—the echoey, reverby washes of sound quickly pile up into a writhing, shrieking wall that captured my attention and held on for dear life.
Deadbeat (Scott Monteith) and Fatima Camara are Canadian electronic musicians now living in Berlin. Here, the duo have taken on the almost scarily ambitious project of re-envisioning one of the most iconic albums of all time: Cowboy Junkies The Trinity Sessions.
2 years in the making, and released 30 years after the original, Trinity Thirty strips down the already-sparse sound to the bare bones, and the song’s tempos are slowed almost to the breaking point. Wistful ethereal vocals hover over minimal dubby beats and tranquilizing synth drones. The mood is somber and even haunting at times.
The Trinity Sessions was famously recorded around a single microphone in inside Toronto’s Church of the Holy Trinity, which gave the album a unique sense of space and acoustics. Trinity Thirty, recorded at Berlin’s Studio Chez Cherie, similarly emphasizes wide open spaces, solitude, and emptiness, moods further enhanced by the mastering work of Stefan Betke (aka Pole).
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