I find myself a bit puzzled lately by what appears to be the sudden indie-mainstream recognition of various African musics (see: Toumani Diabate, Guitars From Agadez, Staff Benda Bilili, etc.) by online publications such as Dusted and Pitchfork.
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I Don't Feel At Home In This World Anymore is a gorgeous compilation consisting of various styles of folk tunes recorded between 1927 and 1948. This is blues, Cajun, rebetica, gospel, Indonesian folk, and Calypso all contained in one fabulously-paced package. Blind Uncle Gaspard makes an appearance as the only person I've ever heard of on the compilation (thanks partly to my gal back home, and partly to some dreadful Australian comedy that I don't believe I got all the way through).

In the spirit of sharing albums with few to no RYM ratings, I found this noise collaboration the other day between Jessica Rylan and C. Spencer Yeh and it's all the things you'd expect it to be between two home-made synth, electronic aficionados. The build-ups are slow, the feedback is high with sounds continuously crackling and bursting into one another in a series of mini-explosions that grow harsher as each track evolves to a violent climax of screeching layers of sound.
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I had this phase a few years ago where I would justify my teenage years listening to NiN by encountering certain records and sayings, "THIS is what I liked about them," blah blah. I did that to Kataglkasdf by Pan Sonic (please use English, us Americans demand it, thanks), and I did it to this when I first heard it. As you can probably tell, I'm posting a lot of my 4.5s from the '00s today in anticipation of a short break from KiC (other contributors, etc.).
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This is one I'm almost sure I saw while stalking Danny's RYM page (obligatory link to the man's sick blog), and I ended up liking it more than him, at least judging from the score. The thing is, only he, prince, and three other people have rated this. What gives? This is a fairly amazing piece of avantgarde composition. By that I mean the tones and the pacing, but also the layering, the vocals, and so on.
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Some of the most barren soundscapes you'll hear, but at time some gorgeous, almost lush vocals. The first time I heard this, I was dozing off to sleep, and the suspended state between sleep and being awake, that state when you're not "expecting" but just "hearing," allowed for some memorable ideas. People use "cinematic" and "widescreen" to describe music these days, so if I may take it a bit further, this album is like iMax.

I'm going to be posting a lot today, because I'm going to be busy.
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I've had Kyriakides on my radar for a while, ever since he was featured in Wire a few years back. I thought that his record with strings and the Conet Project type stuff was interesting, but it lacked staying power. The 'Buffer Zone' was interesting in concept, but didn't hold me in execution. Here, however, you have a very compelling album comprised of electronic sounds and all of the sounds people make BETWEEN the words.
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Yes yes ya'll.
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Here is some scenester shit for dat ass (and continuing the purple and black cover theme for a second post). I read about RVNG recently in the Village Voice, so I figured it would be timely to post a rare mix comp (after Beast and Livonia, off the top of my head) on KiC.
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This album is about as post-modern pastiche as they come as Alvin Curran (former Musica Elettronica Viva member) plays around with ship foghorns, cheese driven organ riffs, alien sounds, pop sampling, Mozart's Requiem sampling, the words of John Cage and a boat load of found sounds, cut-up, reworked, pasted with a variety of special effects like reverb and echo and electronic decay and random blasts and plenty of improvisation.
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