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Prem's Faves for 1998
{no particular order}
KUSF San Francisco, 90.3 FM
Band/Artist |
Release |
Record Label |
Prem's Spew |
AALY Trio + Ken Vandermark |
Stumble |
Wobbly Rail |
tempered but menacing jazz improv.; sometimes heavy, sometimes quiet and mysterious |
The Abyssinians |
Declaration of Dub |
Heartbeat/Rounder |
masterful dub remixes of tracks from the 1993 Satta Massagana release; a great example (and one of the few I've heard) of harmonic reggae |
{various} |
Africans in America |
Rykodisc |
soundtrack to a six-hour PBS miniseries focusing on the history of slavery and its effects upon American culture, reflecting perspectives both black and white; included here are amazing harmonic vocalizations emulating plantation work songs, traditional African pieces on the kora, African-American church choirs and banjo folk, striking traditional European vocalizations and instrumentals on the harpsichord, bagpipes, and other instruments--the music here relates more than could any historian |
Horace Andy |
Mr. Bassie |
Heartbeat/Rounder |
bouncy 1970s reggae tending a bit toward ska; he sounds like a mischievous little kid on this recording |
{various} |
Angels of Life in a Psychic Wasteland |
Eerie Materials |
strange to insane tunes from around the globe; includes contributions from Charming Hostess, Eugene Chadbourne, Violent Onsen Geisha, Thi-Linh Le, Mieskuoro Huutajat, Transkaakko, and LAS Galore (if you know any of them), among others |
Billy Bang |
Commandment |
No More |
harsh and contorted violin improvisation interspersed with shouts and other extraneous sounds; not your typical violin solos by any measure [1997 release] |
The BellRays |
Let It Blast |
Vital Gesture |
cranking HR/punk collides with seething soul spewed out by a Diva {Lisa Kekaula} who'd make Tina Turner wish she were young again; let it blast, indeed |
Califone |
Califone |
Flydaddy (this EP has been combined with the subsequent Road Cone EP of the same title on a full-length CD) |
zoning country-tinged rock that's groggily seductive |
Charming Hostess |
Eat |
Vaccination |
FunkyPunkyBulgarianKlezmerR&BMonster; see them live, too, 'cuz they put on awesome shows |
Alice Coltrane |
Journey in Satchidananda |
Impulse!/MCA |
reissue of this classic 1970 release combining Indian and Middle Eastern influences with harp-focused ethereal jazz; Pharoah Sanders and others join in as guests [1997 release] |
Gasoline |
Gasoline |
Estrus |
riotous cranking bluesy punk; 'nuf said |
Julius Hemphill/Warren Smith |
Chile New York |
Black Saint |
voodoo-laced sax/flute/percussion jazz improv. recorded back in 1980; Hemphill and Smith create a very ominous environment with this collaboration and read each other's intent masterfully |
Hopewell |
Contact |
Burnt Hair |
eerie to harsh detached rock; I expected this to be pleasant, but was rudely surprised [1997 release] |
The Japonize Elephants From Zorlock, Land of the Lost |
Le Fete Du Cloune-Pirate |
Secretly Canadian |
zany and raucous yet uncanny convergence of bluegrass, klezmer, Middle Eastern music and other elements; leaves you discombobulated yet yearning for the enlightenment attainable only via the Lords of Zorlock |
Kable |
Tardy All the Time |
Fleece |
psychotic/psychedelic rock experimentalism (with elements of country and folk, among other influences) which indulges you in the bizarre |
Bill Laswell/Sacred System |
Nagual Site |
BMG/Wicklow |
a mixture of Indian ragas & Pakistani qawwalis with Laswell's modern beat influences; this release leans far more toward the traditional than the modern, unleashing its latent power |
Liminal Lounge |
Pre-Set |
Knitting Factory Works |
darkness rock/electronica with scary scapes and weird effects [1997 release] |
Arne Nordheim |
Electric |
Rune Grammofon |
re-release of this 1974 masterpiece of electro-acoustic music; sounds converge and disperse with uncannily freaky elegance, maintaining a compositional context behind a facade of randomness |
{various} |
Our Heat (Your Moisture) |
Scuss |
focused wretchedness, in a good way; all kinds of wondrously scraggly tunes from the likes of William Carlos Williams, Pineal Ventana, God Is My Co-Pilot, Who Killed Teacher? and others in a similar vein |
Painkiller |
Guts of a Virgin & Buried Secrets |
Earache |
re-release of these turbulent 1991/1992 EPs on one CD; John Zorn, Bill Laswell and Mick Harris churn out frenzied yet lurking pieces incorporating aspects of dub into screaming noizjazz |
Pointless Orchestra |
Approaching Totality |
Without Fear |
loomy to harsh textured soundscapes centered on ominous percussion, w/plenty of Chinese influence |
Ali Jihad Racy |
Mystical Legacies |
Lyrichord |
striking to haunting instrumentals on Middle Eastern lutes (oud, tanbur, buzuq) with accompanying hand percussion |
Ruins |
Vrresto |
Sonore |
PunkProgScreamingTwistedness; there's a new bassist this time around who really deals out some powerful chops to accompany the 100-armed drummer/vocalist |
Sandbox Trio |
Idiophone/Orcus Drawl |
Frank Mark Arts |
dark instrumental ambient/jazz meld with a heavy focus on experimental percussion; pretty spooky stuff [1997 release] |
Ultra Bidé |
Super Milk |
Alternative Tentacles |
rockety punkety weirdness--very twisted and sometimes almost sci-fi; been struck by lightning lately? |
{various} |
Untouchable Outcaste Beats Vol. 1 |
Outcaste/Tommy Boy |
Indian music transposed into beat electronica; excellent synthesis [1997 release] |
Uz Jsme Doma |
Pohadky Ze Zapotre Bi {Fairytales from Needland} |
Skoda |
quirky-jerky time-signature-oblivious rock from Prague that somehow manages to integrate all kinds of unusual traditional Eastern European influences, among a host of other influences, into its assault [1995 release] |
The Vandermark Five |
Target or Flag |
Atavistic |
harsh jazz with a precious few elements of rock thrown in here and there, but by no means fusion; very in-your-face |
Violent Green |
Hangovers in the Ancient World |
Up |
stark, scary/eerie beat-laced rock that drags you into its darkness |
Big Joe Williams |
These Are My Blues |
Hightone/Testament |
haunting blues recorded in at Rockford College, IL in 1965; Williams employs spooky tremolo techniques on his distinctive 9-string guitar for this gripping live performance |
William Carlos Williams |
Collection Plate |
Shoestring |
torrents of noizjazz; grabs you by the neck and flaps you around like a wet noodle then dumps you in a heap to contemplate your existence |
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