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Uthana-Eise – “G.d.g.r” – [Halbwelt Organisation]

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Halbwelt (‘HalfWorld’) Organisation is a now-shuttered German label with only 8 releases to its name. This was the sixth, from 2005. Testoterone-poisoned harsh Death Industrial from a man who possibly goes by the name ‘Husen.’ He has no identity, no country, no race, and probably no girlfriend, but he wants extreme population reduction and he wants it now. Anyone who’s shopped at the Los Altos Whole Foods can hardly blame him.

Fascistic drum machines stomp-stomp-stomping along in time with mangled buzzing synths constitute a self-conscious imitation of automated death: slaughterhouses, concentration camps, abortion clinics. Sterile Mengelian vocals delivered through a loudspeaker instruct you to poke and to prod your most uncomfortable impulses with the scalpel. OK, so it’s not the most original pallet ever (Genocide Organ? Brighter Death Now? Thorofon? Folkstorm?) but that’s not to call it totally formulaic. Its crunch-march repetition (perhaps with elements of Powernoise) is great for numbing oneself into a state of disregard for outdated conceits like humanism, conscience and moral relativism. Kill!

  • Reviewed by Lord Gravestench on June 21, 2017 at 3:35 pm
  • Filed as A Library,CD
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  • Ordeal – “Traumende” – [Eibon Records]

    ordeal

    Project of Gabriele Santamaria of Italian death droners I Burn, with some assistance from the other guy in I Burn.

    Unlike I Burn, Ordeal plays ultra-dark Shoegaze with Industrial and Neoclassical undertones. Shimmering LSD therapy guitars via Lycia, Slowdive or ‘Disintegration’-era Cure, dense keyboards, programmed downtempo beats, meticulously arranged. Spare vocals appear in the form of over-the-top, piercing operatics (female) and meaningful whispers (male). The cryptic lyrics deal in some lushly decadent religious mysticism, where it’s not quite clear what is meant but a clear mood does emerge all the same, a hopelessness redolent of kinky sex and grand cathedrals. The Qliphothic atmosphere of this 1997 release perhaps overlaps with Gabriele’s post-Industrial peers in Ain Soph, Skrol, and Sanctum, to name a few. The name of the album might mean something like ‘Dream’s End’ in German.

    Slightly over half the tracks (1, 3, 4, 7, 9, 10+12) are instrumental. Some of the shorter instrumentals are more experimental and could be I Burn outtakes.

    Definitely gloomy, but also beautiful, like a fallen angel. “Visions of Hell, they are hope.”

  • Reviewed by Lord Gravestench on June 19, 2017 at 11:49 pm
  • Filed as A Library,CD
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  • Luciation – “Darkened Apocalyptic Occult Goat Ritual” – [Posh Isolation]

    luciation

    Nothing nice or musical about this. It’s inexplicably on Denmark’s hippest Industrial label (home to Damien Dubrovnik and Puce Mary), but it’s not Industrial.

    Four lugubrious Black Metal Noise stews of sulphur, encrusted feces, Cthulhu jizz and the high-proof juice of wrung-out livers. Guitar feedback, splattery cymbals, distant riffs and choking. They suck, in a good way, a la fellow travelers Sutekh Hexen, Smoke and Enbilulugugal.

    Luciation is an Order of the Nonagram band, which means it features members of Blodfest, Wolfslair, Offerkult, Nastran et al. Anonymous lead guitarist ‘Voktor’ may be a moonlighter from the Noise scene. Who knows?

  • Reviewed by Lord Gravestench on June 14, 2017 at 1:57 pm
  • Filed as 7-inch,A Library
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  • Skullflower – “Black Iron That Has Fell From The Stars…, The” – [Nashazphone]

    skullflower

    Cythoth staple Skullflower was founded by England’s Matthew Bower (see also: Total, Voltigeurs, Sunroof, Black Sunroof, Hototogisu) in 1988. Frequent member Samantha Davies (Voltigeurs, Black Sunroof) joins him on this 2017 release. which is dedicated to the Egyptian god Set. It’s probably no coincidence that the label is based out of Egypt. This is something like Skullflower’s 30th album. Its full title is ‘The Black Iron That Has Fell From The Stars, To Dwell Within (Bear It Or Be It).’ Okay.

    Three lengthy pieces of instrumental psych guitar played through so many layers of effects, it becomes scary noise… or at least that’s what it sounds like. The credits list ‘Nilotic Delta Slide,’ ‘Pro-one,’ ‘Devices,’ ‘Fire,’ ‘Violin,’ and ‘Salt’ for the instrumentation.

    The sounds are hazy and baleful, like a half-asleep Typhonic beast. The clash of beauty and ugliness found in Skullflower’s music is practically religious in nature, and despite hades of John Cale in the catgut screech and belly-deep drone, no one does string noise quite like this. It has a wailing, seasick quality that reminds me of public mourning. This LP will not surprise Skullflower’s fans, but it will please them. I hope to hear the sidelong B track at least once per hour on KFJC for the next 8 weeks.

  • Reviewed by Lord Gravestench on June 12, 2017 at 7:39 pm
  • Filed as 12-inch,A Library
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  • Svarrogh – “Yer Su” – [Ahnstern]

    yersu

    Yer Su vain, you probably think this album’s about you.

    Until 2007, Dimo Dimov’s project Svarrogh was a Pagan Black Metal band exhibiting a fierce devotion to the folklore of his native Bulgaria. More recent work, however, has been closer to the Neo-Folk universe, bringing Dimov into Austria’s Ahnstern Records circle (see the ‘Oak Folk’ compilation CD). These days he resides in Germany and plays in Sturmpercht.

    He seems to have a fairly deep understanding of the traditional musical forms present in his country. 2008′s ‘Yer Su’ (the name refers to nature spirits in the beliefs of Tengrism, an ancient Eurasian religion) is not ultra-traditional folk music, although it is clearly informed by that tradition. Vestiges of the old Metal sound appear in the form of heavy electric guitars on most tracks and the occasional growl (t.s 2, 3, 7), but mostly this is heavy, Gothic Folk-Rock with a Slavonic flavor, reveling in dark nature worship and alienating stylistic touches: the deep, deep male croons, the scratchy fiddle and clarinet, the aggressive acoustic guitar strumming, the Industrial beats (t.s 5+12), the field recordings, and a dense, unmastered psychedelic sound. I think there’s tamboura, too. T. 11 is a long instrumental.

    In addition to Bulgarian you will hear Lithuanian, Italian (t.3, from Der Feuerkreiner’s ‘Valentina’), and English (t.7, from Allerseelen’s Marcel P.). The cute young girl on the cover seems to be a good example of the interesting Bulgarian phenotype. This multifarious CD has potential crossover appeal to non-metalheads, etc.

    “A wreath for Veles among the cliffs. Dark, deep water dwells there. Bees humming a secret song. Never withers, never ends.”

  • Reviewed by Lord Gravestench on June 7, 2017 at 6:24 pm
  • Filed as A Library,CD
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  • Action/Discipline – “Recursive Slash” – [Oxen]

    actiond

    Startling iterations of tormented Industrial-Harsh-Noise demonomantical ecstasy from Ohio, 2017. Stefan Aune and Brad Griggs bring you abstract expressions of the modern world’s violent chaos, which is really the point of L.A.’s Oxen Records, isn’t it?

    On each 10-minute ordeal, The blaring cacophany occasionally resolves itself into brief, satisfying rhythmic passages, perhaps accomplished with a delay or loop pedal. Some thicker electronic tones are occasionally allowed to escape, but the gunky tape noise high end static sound is favoured throughout. Overstimulating and dirty, with a careful method hidden behind its indistinguishable sonic mess. Maybe.

    The Oxen website compares this to Japanese ground floor noiser MSBR. Other influences include broken glass, tsunamis, junkyards and heavy machinery mishaps.

  • Reviewed by Lord Gravestench on June 7, 2017 at 12:48 am
  • Filed as A Library,Cassette
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  • Endvra – “Watcher, The” – [Old Europa Cafe]

    creepypasta

    Endvra (or Endura) were a Death Ambient duo from northern England active from 2001 to 1993. This 1998 CD was their last album. Its single 50-minute track starts out very quiet but gets very loud at times, presenting an interesting mixing challenge.

    It’ll make ya nervous… Pulsing sub-bass, sewer drippy-drops, lush synthesizer orchestra, and every now and then the Death Train passes us as we wander dank subterranean passages full of strange rituals and malevolent non-human intelligences.

    Very much about subliminal horror, almost like a Robert Aickmann story. The vibe goes with Megaptera, Stratvm Terror (another band with a ‘v’ that is actually a ‘u’) or Asmorod.

    Stephen Pennick now records as Ontario Blue, while Christopher Walton works as TenHornedBeast.

  • Reviewed by Lord Gravestench on May 31, 2017 at 12:05 am
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  • Ride For Revenge – “Thy Horrendous Yearning” – [Hells Headbangers]

    horrendous

    I guess we should be embargoing Hells Headbash for what they did to Peste Noire? After this one.

    RFR’s latest album (2016) is the usual challenge to the Extreme Metal status quo from the Finnish band with one hoof in the grave of Industrial noise (see also: Will over Matter, Womb C, Bizarre Uproar), subverting expectations since 2001.

    Compositionally, if not texturally, this LP is more like Psych than Heavy Metal, idiotically dervishing through the same phrase over and over again, its purposeful repetition set toward a druggy trance state. Imagine Archgoat covering Circle… yeah, it is that Finnish.

    It’s not unusual to hear this group massage Doom, Death and Black Metal influences into something ritualistic and startlingly experimental, but this is far less riff-oriented than many past works, partially akin to the instrumental material on their side of the 2015 split with RxAxPxE, except with lyrics (pretty good ones). Sometimes the experimental atavism accidentally sends it back in time to Hellhammer’s best moments, but it’s definitely on the “cutting edge,” incorporating warped synth, FX abuse and electronically and/or chemically altered vocal stylings. This is pretty much always the RFR pallette but they never seem to apply it twice in the same way.

    A3 and B2 are somewhat more traditional compositions that could almost be outtakes from the killer ‘Ageless Powers Arise’ release we added a few years back. Guitarist J Pervertor (Neutron Hammer), member since 2010, really shines on those ones.

    Take a journey beyond the veil with the masters. “There is no Heaven, just Hell for you and me!!”

  • Reviewed by Lord Gravestench on May 16, 2017 at 12:40 pm
  • Filed as 12-inch,A Library
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  • Alberich & Lussuria – “Borgia” – [Hospital Productions]

    alberichlussuria

    Alberich (named for the goblin antagonist of Wagner’s Ring Cycle) is the Power Electronics project of Kris Lapke (see also: Furisubi). Lapke is a frequent collaborator of HospitalProd founder Dominic Fernow, both in Prurient and as drummer in Ash Pool, Fernow’s Black Metal vanity project. Lussuria is the Dark Ambient alter-ego of Jim Mroz, who has also played in a few metal bands. Both artists are from the United States, NYC I think.

    Here they collaborate on six live, improvised Korg synthesizer sessions recorded directly to tape.These sessions were originally only available as a bonus cassette included with a 20XCD(!) Skin Crime compilation last year; I don’t know why. The release is probably named after the Italo-Spanish House of Borgia, major players in European Rennaissance Papal politics accused or suspected in all kinds of heinous crimes.

    The cash cow comes a-callin’ and the tape gets reissued on purple vinyl with a bit of weight to it. I mean, I’d spend my money on this, so I can’t rightly complain. Thankfully, KFJC bought it so I wouldn’t have to.

    What does it sound like? It’s slow-building, ominous, and scary; mostly non-intrusive, but with very little to comfort or soothe. Bubbling waves of digital synthesis; shuddering bass, deep metallic drone, off-key orchestral swells, and wineglass harmonic interplay just on the edge of bearable; muffled rhythmns accumulating many layers of sound. It’s lush even where turning jagged and/or loud. I would call it Death Ambient, if that means anything to you; or you can just imagine the sound of hunter-killer robots swiping searchlights through radioactive smoke to find survivors.

    I have Korgs at home so I recognize the aesthetic, as well as the amount of mixing control that must have been required to spontaneously produce something this smooth. No screaming and shouting but there seem to be ultra-modulated voices buried deep within a few key moments of the mix. The Propergol-ish A3 sets itself apart by managing a kind of torpid Industrial aggression.

    Overall an excellent spook show that will like people who like Stratvm Terror, Endvra, Bastard Noise, or recent KFJC pit-stopper Zaimph.

  • Reviewed by Lord Gravestench on May 3, 2017 at 4:45 pm
  • Filed as 12-inch,A Library
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  • Nuit Noire – “Inner Light” – [Seed Stock Records]

    innerlight

    Founded in 1997, Nuit Noire is Tenebras, AKA Mallory Julia, who is from Tolouse, France. He comes out of the Black Metal scene, but his band is not so easy to categorize. He has been known to refer to his music as “blasting faerical punk,” and indeed, despite the many Black Metal tropes at work, it’s clearly not church-burning music. It’s a bit too lightweight. Throughout this 2015 LP I was asking myself “Wait, is it Black Metal? Is it Death Rock? Is it Post-Punk? Shoegaze?” What good are these genre names, really? The group’s main themes are fairies, folklore and forests, and the dark/romantic dynamic of the music reflects that. Some screeching and some dramatic wailing. Is it too sensitive to be metal? How seriously are we supposed to take it? Anyway, I think a certain Alcest owes Mr. Tenebras a cut.

    Julia is joined by his brother Andy on drums, who has played with a lot of important French Black Metal projects including Celestia, Peste Noire, Mutiilation and Darvulia. This whole thing was actually recorded back in 2003, and some songs have appeared elsewhere in other versions. According to Tenebras, a disagreement between the siblings delayed the album’s release for twelve years. These cuts are really spectacular, though. So out-of-the-box. A little Joy Division meets Ulver, Immortal, Forgotten Woods, Belketre, Rudimentary Peni, Antischism. The good kind of “Post-Metal” buzz.

  • Reviewed by Lord Gravestench on April 26, 2017 at 6:20 pm
  • Filed as 12-inch,A Library
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  • Troum – “Acouasme” – [Cold Spring Records UK]

    acouasme

    When Helge Siehl departed Dark Ambient trio Maeror Tri in 1996, effectively breaking up the group, the remaining two members, Martin Glitschel and Stefan Knappe, continued as the dizzyingly prolific Troum (‘Dream’). I don’t know how to effectively distinguish between the oeuvres of the two projects, except to say that the Troum stuff has tended to embrace rhythm more than Maeror’s pure drone sound. Even so, on this 2015 CD, there’s plenty of the gossamer floating, deep prehistoric bass rumbling, and off-kilter meandering chord progression that characterized the older group’s occult sound; the tribal percussion I most associate with Troum only kind of rears its head here, on the epic final track’s Gog-like Doom Metal drum pattern. Otherwise it’s pretty pure Dark Ambient textures, sans beats, with a deceptive lightness.

    At low volume these tracks are relaxing, but turn them up and you may discover layers of cosmic anxiety. I think of life forms in other galaxies, or of Ray Bradbury’s short story ‘The Sound of Thunder.’ The sounds are always in flux, so don’t come here expecting simple drone pieces. From the insert: “Everything recorded & mixed endlessly through the years 2007 – 2015. Used and abused: electric and acoustic guitars, voice, field recordings (Monte Pisano, La Gomera, Hamburg Landungsbrucken), instrumentum primitivum, flute orientale, cymbals, metal objects, tapes.” I would have though there was synthesis going on, too, but I suppose not… From the eldrtich strains of the evocatively titled first track through to the inconclusive hissing finale of the last, this is a pretty outstanding Dark Ambient work, created by German obsessives who helped found the genre and continue to push it forward.

  • Reviewed by Lord Gravestench on April 26, 2017 at 2:11 am
  • Filed as A Library,CD
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  • Dissecting Table – “Kaiboudai” – [Crowd Control Activities]

    kaiboudai

    Japanese madman Ichiro Tsuji runs the UPD Organization label. He has also been releasing outsider Industrial music as Dissecting Table since 1986, evoking a motley pallette of Western projects founded before and after (Foetus, Skinny Puppy, Coil, Einsturzende Neubauten, Mz.412, Nocturnal Emissions, Test Dept, Scorn) and the sincere weirdos of Japan’s own experimental scene (Zeni Geva, White Hospital).

    This 1999 3xCD compilation contains more Dissecting Table than you could every possibly want, bringing together 1986′s ‘Ultimate Psychological Description’ 7″ (t.s 1.1+1.2), 1987′s ‘Ultra Point of Intersection Exist’ debut LP (t.s 1.3-1.9) and collection/previously unreleased tracks (discs 2 and 3). Only t.s 1.1+2.1 can already be found in KFJC’s library, on old collection CDs.

    Tsuji’s singular style basically consists of frantic, tribal sequenced beats and instruments, weird Power Electronics textures and developmentally disabled Grindcore grunts. At times it’s like a poorly programmed AI trying to reproduce Death Metal with machines (and a captive howler monkey), but it never quite sounds fully musical.

    Disc 1 is mostly vocals, beats, synth noise and samples. Disc 2 adds sequenced ‘Classical’ instrumentation and music box insanity into the mix for a tortu(r)ous Winchester Mystery House experience, and includes a couple pieces on the more abstract side (t.s 2.2+2.4). Disc 3 is completely different: one ultra-long ‘Test Work’ from 1985, an Aeolian harp of crackling and grinding pedal distortion that barely changes for 48 minutes. The birth of Harsh Noise Wall?

    Solid gold from the always-reliable Crowd Control Activities label. Our copy (#15/500) is autographed.

  • Reviewed by Lord Gravestench on April 19, 2017 at 2:56 pm
  • Filed as A Library,CD
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  • Desolation Angels – “Valhalla / Boadicea” – [Buried By Time and Dust Records]

    DESOLATION-ANGELS-Valhalla

    Named after a Kerouac novel, London’s Desolation Angels were a lesser band from the New Wave of British Heavy Metal. They basically sounded like a slightly grittier version of Judas Priest or Iron Maiden (although singer Dave Wall was no Rob Halford and indeed no Paul Di’Anno). Great, thuggish, heavy, cantering, Morris-Minor-alienating anthems on this 2012 reproduction of their debut 45RPM single, originally self-released in 1984. In true NWOBHM nerd style, ‘Valhalla’ is about Valhalla and ‘Boadicea’ is about Boadicea. Cocksure, obnoxious and brilliant cuts from rockers who should’ve been bigger.

  • Reviewed by Lord Gravestench on April 18, 2017 at 10:23 pm
  • Filed as 7-inch,A Library
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  • Bethlehem – “Dictius Te Necare” – [Red Stream]

    dictius

    Bethlehem were once one of the most influential German Black Metal groups, although their style incorporated Doom, Death, and Groove into what they called ‘Dark Metal,’ the extreme genre that never was. Their second album, from 1996, is “dedicated to all suicide victims,” and its title is Latin for ‘Thou Shalt Kill Thyself,’ or something like that. The band was formed in response to numerous suicides among its members’ friends, including that of bassist Jurgen Bartsch’s pregnant girlfriend.

    Yes, this was an influence on the development of the Depressive-Suicidal sound but it’s heavy in a way a lot of that music is not. Bone dry guitars cutting perfectly cold and desolate riffs, skeletal drums, ghostly keyboards (sometimes!), deathrock basslines, and the most amazing, batshit-crazy sounding Black Metal screams of all time. Session man Rainer Landferman gasps, shrieks, chokes, sputters, growls and rants through these songs like he’s hearing the music at low volume through one headphone to make room for the voices in his head dictating the words. It’s all in German, but I can make out references to stone chains, blood, death, snakes, darkness and “animalistic blasphemy.” Apparently the lyrics are pretty hard to follow even if you do speak the language. Pass the thorazine.

    T.5 appears on the soundtrack to Harmony Korine’s film ‘Gummo,’ for which the band also contributed one original song.

  • Reviewed by Lord Gravestench on April 12, 2017 at 12:34 am
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  • Blue Sabbath Black Cheer – “Burning Witches” – [MONDO ANTHEM]

    image1 (2)

    A harsh noise 7″ single is a funny thing. Like a good execution each side is over too quickly. Side 1 scrapes in time to demoniac vocalizations and the screams of the burning. Side two explores collisions of HNW and complex analog electronic interplay ending with a translucent machine drone in the pit of your sinking stomach. Both pieces ritualistic and very tasteful, monochromatic without eschewing variation. Seattle’s BSBC have played at KFJC at least once. Whatever it takes to be ‘good’ at apocalyptic Industrial noise racket, they’ve got it. “Stan Reed, William Rage, Crystal Perez: Dense, Harsh Noise Drift; Dual Damaged Guitars; Broken Electronics and Faulty Cables; Roaring Vocals; Piercing Screams; Horror Show.” Mastered by M S Waldron of irr. app. (ext.) and Nurse With Wound.

  • Reviewed by Lord Gravestench on April 10, 2017 at 6:59 pm
  • Filed as 7-inch,A Library
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  • Lucisferrato – “Ingermanland” – [Hau Ruck!]

    ingermanland

    The Austrian label Hau Ruck! is the Tesco imprint of Der Blutharsch’s Albin Julius. On this 2002 release, HR! presents ritual-psychotic post-Industrial soundscapes from the solo project of Russian Yuri Sakevic, active since 1996. This CD is actually a retitled reissue of 1999′s ‘Gotterdammerung’ album on Russia’s Black Dead Rabbit Productions. ‘Lucis Ferrato’ means ‘Iron-Clad Light,’ I think.

    Most pieces build layers upon layers of singing/chanting/wailing into swarming Greek Choruses of lamentation. At first I assumed the voices were sampled but I think most of the vocal parts are actually original recordings of Sakevic himself, who seems to be a pretty skilled singer. Sometimes the voices are clearly differentiated, and sometimes they blur together into organic drones. T1 seems to have lyrics, but they are extremely distorted. The pieces also draw on Lustmordian electronics, gongs, bells, chimes and various mystery sounds, often giving the recordings an alchemist’s-chamber atmosphere highly reminiscent of 1980s Ain Soph, the early LPs of Diamanda Galas, and Ligeti’s ‘Requiem.’ Imagine snowfall by the darkened cloisters of an ancient satanic monastery high in the mountains. Near the end of the album the energy level rises with T.6′s Toroidh march and Hitler sample and T7′s concluding outburst. Very bizarre, very unsettling sounds.

  • Reviewed by Lord Gravestench on April 5, 2017 at 3:06 pm
  • Filed as A Library,CD
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  • Die Verbannten Kinder Evas – “Dusk and Void Become Alive” – [Napalm Records]

    verbannten

    Austrian Neoclassical Darkwave shamelessly mining the trickling veins of Dead Can Dance and Arcana. It is beautiful, though.

    ‘Die Verbannten Kinder Evas’ is German for ‘The Banished Children Of Eve.’ The group originally began as a side-project of both members of the Neoclassical Black Metal project Summoning. By 2006, on this most recent album, DBKE was mainly the project of Richard Lederer (AKA Protector), the other Summoning guy having departed. All music was composed by Lederer and performed by him on keyboards.

    DBKE has been fronted by a variety of lady singers, most recently by comely Greek Christina Kroustali (AKA Lady of Carnage), whose fine soprano is either improved or damaged by heavy reverb. Lederer sings the male parts, so to speak. It’s all very archaic, almost religious-sounding chanty stuff. Nearly all of the lyrics are from the repertoire of John Dowland. You might ask yourself why they bothered re-setting the words of one of the Renaissance’s greatest balladeers, but apparently Dowland’s lyrics were not his own in the first place, being often drawn from popular poetry of the Elizabethan era.

    If you enjoy the sophisticated melodic sweep of Summoning but don’t like the metal aspect, this is the release for you.

  • Reviewed by Lord Gravestench on April 4, 2017 at 6:29 pm
  • Filed as A Library,CD
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  • Burzum – “Burzum/Aske” – [Back on Black]

    burzum-aske-lp

    “Isn’t he racist” Yes, and a confessed murderer too (of an arguably better musician), and an arsonist of cultural heritage sites, and the holder of all manner of extremely bizarre views besides. Take an honest look at the stone in your own eye, thou hypocrite, and you may find out you’re not doing so hot yourself. Anyway, I think it’s safe to say all honkies are “racist” nowadays, whether we like it or not: that is at least so far as the, ahem, cultural hegemony is concerned.

    Recorded in 1992 by one man, under a full moon, at the Grieg concert hall’s studio (where Emperor also made albums), and originally released on future victim and Mayhem founder Euronymous’ Deathlike Silence Productions, Burzum’s debut didn’t invent Black Metal but it did pioneer the style most often associated with the genre: call it the ‘dark forest’ sound. Its inhuman vocalizations, sickly, buzzing guitar tone, flurried drumming and mournful atmosphere were very influential on the development of the ‘raw’ and ‘depressive’ scenes: see Forgotten Woods, Ildjarn, Ulver and Mutiilation for more information. Contrary to what you may have read on any number of clickbait websites, there’s little here that could be called political content. The lyrics are adolescent (nineteen-year-old) fantasies of violence and power. There are also settings of an ancient Sumerian invocation (A2) and a spell intended to destroy the world (A3). If you want my opinion (and you do, right?), Dungeons and Dragons and Tolkien (‘Burzum’ is Black Speech for ‘darkness’) are more important thematic influences here than Wiligut. This Back on Black reissue also includes the tracks from 1993′s ‘Aske’ (‘Ashes’) EP on the D side. Technically it’s a reissue of the compiled ‘Burzum’/'Aske’ release on Misanthropy Records from 1995. B1 and C2 are ambient and B3 and D2 are instrumental guitar tracks.

    The truth is, it doesn’t really matter how you or I may feel about Varg Vikernes or Burzum now, because the movement he started that night at Fantoft Stave has achieved its own momentum, and we will win :-)

  • Reviewed by Lord Gravestench on March 29, 2017 at 2:15 pm
  • Filed as 12-inch,A Library
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  • If Opera’s Not Your Thing… [coll] – [Super Art Media]

    unnamed

    2002 Norcal Noise Festival compilation. Noisefest happens in Sacramento and it celebrated its 20th anniversary last year. Each convocation has attracted as performers both ‘stars’ of the noise scene and people of whom nobody ain’t never done heard. As for the audience, well there’s the other bands of course, and also an assortment of odiferous and shambolic weirdos, some drunk, some ‘high on life…’ Don’t touch ‘em or you might bring home a new friend, if you know what I mean. Recording quality is good and many different forms of experimental music are represented, although most tracks are electronics-based.

    1. “If opera’s not your thing you can head to the Norcal Noisfest in Sacramento this weekend. The festival showcases 32 experimental bands playing non-tradition instruments with unusual technique. Don’t be surprised if power tools, metal tubes and tweaking electronic effects are part of the lineup. If you don’t hear the festival, chances are you won’t be hearing NOISE on any radio station.”
    2. Products of Conception: Deepspace probe convention.
    3. The Abstractions: Abstract jazz.
    4. Chachi Jones & Sawako: Gong Show cut ups.
    5. Xeno Volcano: 3-minute science fiction radioplay without dialogue
    6. +DOG+: Pretty much what you’d expect from the founder of Love Earth Music. FCC.
    7. krysTal marimba lounge: Marimba musicbox sequence and surreal utterance.
    8. C/A/T: Sinister Industrial prowler.
    9. Instagon: Slapstick seizure.
    10. Pop Culture Rape Victim: 9/11 remembered in Power Electronics.
    11. Delayed Sleep: Kraut Psych hospital for Grandpa.
    12. Stimbox: NOW WE’RE FUCKING MOVING!
    13. Saint of Killers: Noise Rock with elements of Exteme Metal, Jazz and Pentecostalism.
    14. Xome: Excellent squall.
    15. Uberkunst: Absolutely retarded. FCC.
    16. Sickness: Sickness rules.

    You might like this even if opera is your thing.

  • Reviewed by Lord Gravestench on March 28, 2017 at 11:50 pm
  • Filed as A Library,CD
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  • Necrot – “Labyrinth, The” – [Tankcrimes]

    necrotch

    Necrot! The destiny of this Oakland Death Metal band has been intertwined with KFJC’s ever since Number Six acquired a copy of the first demo back at Deadfest 2012. You can find evidence on Live From The Devil’s Triangle Volume 16 of that same year’s Firebunker live mic session. Just in time for their scheduled second appearance on our airwaves comes this LP, mastered by Dissector of Ghoul, which compiles all three demo tapes released thus far. It’s true that our library has two of the tapes already but look a squirrel.

    For their first two tapes (A1-B1), both released 2012, Necrot was the duo of cadaverous Italian growler/guitarist Luca Indrio (Acephalix, Vastum, Lawless) and San Jose local Chad Gailey (Bruxers, Caffa, Vastum, Rude, Atrament) on the hammers. In 2014 their third release (B2-B4) brought in Sonny Reinhardt (Saviours) to play lead guitar, with Indrio sticking to bass. It’s probably easier to play live with three members.

    In their search for the dankest chainsaw riffs yet unheard, Necrot embrace a stripped-down, sometimes grooving sound, kind of raw in a way that approximates Gothenberg Death Metal superheroes like Dismember and At The Gates, cept in their young daze before they all went to shit. It’s NOT sloppy, but it does have a studied looseness and a haphazard race-for-the-end quality that will appeal to fans of Punk. They might be less excited about dying than some bands. That said, it’s Death Metal through and through, baby. All hail.

  • Reviewed by Lord Gravestench on March 27, 2017 at 11:08 pm
  • Filed as 12-inch,A Library
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