JFK
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Boomkat Product Review:
L.I.E.S. given access to Anthony DiFranco of JFK archives circa a late peak of the ’80s post-industrial/noise racket and his work with Ramleh, following previous surveys with Hospital Productions and Harbinger Sound
While still active as JFK in the past decade, DiFranco’s ’86-’88 works really take the biscuit for levels of grizzly chew and malevolence that resonates the ‘80s counterculture at its most wilfully fucked yet disciplined. Smeared over three plates of optimal gnash and churn, it all plays into L.I.E.S.’ fetish for grinding rhythm and enslaved atonalities, putting a bad foot forward with the barnbed hip hop lurch of ‘Feel The Weight’ like some Muslimgauze wrecking ball, and keeping it nasty as chuff between the stumbling swagger of ‘Nipple Ain Tow’, the drily pulsating DJ tooled claps of ‘Untiled’ and pure bombed out industrialism pre-echoing aspects of AFX’s Joyrex in 9 mins of ‘Sweathorse’. The recursive dub noise of ‘Lydia Mantrap’ could almost be considered in parallel with Bourbonese Qualk, and the gothic trample of ’Sunset Smiles’ or the nerve-jangling guitars of ‘Follow Me 2’, perhaps closest to his Ramleh gear, are guaranteed to get rinsed around our parts,
Heavy satisfying tackle we tell thee.
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Boomkat Product Review:
L.I.E.S. given access to Anthony DiFranco of JFK archives circa a late peak of the ’80s post-industrial/noise racket and his work with Ramleh, following previous surveys with Hospital Productions and Harbinger Sound
While still active as JFK in the past decade, DiFranco’s ’86-’88 works really take the biscuit for levels of grizzly chew and malevolence that resonates the ‘80s counterculture at its most wilfully fucked yet disciplined. Smeared over three plates of optimal gnash and churn, it all plays into L.I.E.S.’ fetish for grinding rhythm and enslaved atonalities, putting a bad foot forward with the barnbed hip hop lurch of ‘Feel The Weight’ like some Muslimgauze wrecking ball, and keeping it nasty as chuff between the stumbling swagger of ‘Nipple Ain Tow’, the drily pulsating DJ tooled claps of ‘Untiled’ and pure bombed out industrialism pre-echoing aspects of AFX’s Joyrex in 9 mins of ‘Sweathorse’. The recursive dub noise of ‘Lydia Mantrap’ could almost be considered in parallel with Bourbonese Qualk, and the gothic trample of ’Sunset Smiles’ or the nerve-jangling guitars of ‘Follow Me 2’, perhaps closest to his Ramleh gear, are guaranteed to get rinsed around our parts,
Heavy satisfying tackle we tell thee.
Boomkat Product Review:
L.I.E.S. given access to Anthony DiFranco of JFK archives circa a late peak of the ’80s post-industrial/noise racket and his work with Ramleh, following previous surveys with Hospital Productions and Harbinger Sound
While still active as JFK in the past decade, DiFranco’s ’86-’88 works really take the biscuit for levels of grizzly chew and malevolence that resonates the ‘80s counterculture at its most wilfully fucked yet disciplined. Smeared over three plates of optimal gnash and churn, it all plays into L.I.E.S.’ fetish for grinding rhythm and enslaved atonalities, putting a bad foot forward with the barnbed hip hop lurch of ‘Feel The Weight’ like some Muslimgauze wrecking ball, and keeping it nasty as chuff between the stumbling swagger of ‘Nipple Ain Tow’, the drily pulsating DJ tooled claps of ‘Untiled’ and pure bombed out industrialism pre-echoing aspects of AFX’s Joyrex in 9 mins of ‘Sweathorse’. The recursive dub noise of ‘Lydia Mantrap’ could almost be considered in parallel with Bourbonese Qualk, and the gothic trample of ’Sunset Smiles’ or the nerve-jangling guitars of ‘Follow Me 2’, perhaps closest to his Ramleh gear, are guaranteed to get rinsed around our parts,
Heavy satisfying tackle we tell thee.
Boomkat Product Review:
L.I.E.S. given access to Anthony DiFranco of JFK archives circa a late peak of the ’80s post-industrial/noise racket and his work with Ramleh, following previous surveys with Hospital Productions and Harbinger Sound
While still active as JFK in the past decade, DiFranco’s ’86-’88 works really take the biscuit for levels of grizzly chew and malevolence that resonates the ‘80s counterculture at its most wilfully fucked yet disciplined. Smeared over three plates of optimal gnash and churn, it all plays into L.I.E.S.’ fetish for grinding rhythm and enslaved atonalities, putting a bad foot forward with the barnbed hip hop lurch of ‘Feel The Weight’ like some Muslimgauze wrecking ball, and keeping it nasty as chuff between the stumbling swagger of ‘Nipple Ain Tow’, the drily pulsating DJ tooled claps of ‘Untiled’ and pure bombed out industrialism pre-echoing aspects of AFX’s Joyrex in 9 mins of ‘Sweathorse’. The recursive dub noise of ‘Lydia Mantrap’ could almost be considered in parallel with Bourbonese Qualk, and the gothic trample of ’Sunset Smiles’ or the nerve-jangling guitars of ‘Follow Me 2’, perhaps closest to his Ramleh gear, are guaranteed to get rinsed around our parts,
Heavy satisfying tackle we tell thee.
One-time pressing - limited to 250 copies. Comes with insert. Remastered from the original tapes and cut by Josh Bonati.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Boomkat Product Review:
L.I.E.S. given access to Anthony DiFranco of JFK archives circa a late peak of the ’80s post-industrial/noise racket and his work with Ramleh, following previous surveys with Hospital Productions and Harbinger Sound
While still active as JFK in the past decade, DiFranco’s ’86-’88 works really take the biscuit for levels of grizzly chew and malevolence that resonates the ‘80s counterculture at its most wilfully fucked yet disciplined. Smeared over three plates of optimal gnash and churn, it all plays into L.I.E.S.’ fetish for grinding rhythm and enslaved atonalities, putting a bad foot forward with the barnbed hip hop lurch of ‘Feel The Weight’ like some Muslimgauze wrecking ball, and keeping it nasty as chuff between the stumbling swagger of ‘Nipple Ain Tow’, the drily pulsating DJ tooled claps of ‘Untiled’ and pure bombed out industrialism pre-echoing aspects of AFX’s Joyrex in 9 mins of ‘Sweathorse’. The recursive dub noise of ‘Lydia Mantrap’ could almost be considered in parallel with Bourbonese Qualk, and the gothic trample of ’Sunset Smiles’ or the nerve-jangling guitars of ‘Follow Me 2’, perhaps closest to his Ramleh gear, are guaranteed to get rinsed around our parts,
Heavy satisfying tackle we tell thee.
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