KFJC 89.7FM

Blu Anxxiety – “Baptized In Space” – [Toxic State]

whngr   8/25/2021   7-inch, A Library

Spooky unhinged extra-terrestrial Death Rock Bizarre rock meets disturbed electronic dance rhythms.

Blu Anxxiety is the encephalitic brain-child of one Dracula O (Chi Orengo) along with collaborator Justin Schmidt. Raised on Rap and perhaps raised from the dead, this project is clearly informed by the likes of Skinny Puppy and Nitzer Ebb but with diverse influences that rear their disjointed alien heads at the most subversive and perturbed intervals. Another beautiful bit of vinyl heresy from ground-zero for punk perversion: Toxic State Records.

NYC – 2019

https://www.youtube.com/watch?v=MKg8Cq5mVkg

FCC on B1 “fuck”.

Mylingar – “Doda Sjalar” – [Amor Fati Productions]

whngr   8/25/2021   12-inch, A Library

Hideous Black Death

Devastatingly ugly bombast. Murky and bleak, unhinged growls and animalistic  howls  through a haze of terror, dissonance, and echoes. Searing guitar riffs, tortured cries, soupy bass, and buried drums propelling misery. An unhinged cacophony in the key of the savage hermit. Sometimes messy, often disjointed, but always reveling in discomfort and despair. A black series of psalms for the worship of the wretched.

From Encyclopedia Metallum: “Mylingar” is the plural of “myling”. In Scandinavian folklore, the word “myling” indicates a wandering ghost of an unbaptized child.

A compelling aside, Metallum also states ‘Members’ as ‘None”.

Tyranny and tortuous ruin without authorship adds value to this fiendishly sickening LP, their third offering in a feast of steaming viscera.

Sweden – 2019

Damagers – “Damager” – [Deranged Records]

whngr   8/25/2021   7-inch, A Library

Low fidelity Hardcore Punk outta Toronto.. 
Buried vocal antipathy with call and response from the gutter. A squealing guitar lays down frenetic pentatonic solos, vitriolic peals of feedback, ugly downstrokes with venom, simple hooks, and four on the floor bass attack. Impassioned sounds from this four-piece on Deranged Records – 2018.

FCC on A3 “fucking”.

Quarantine Compilation [coll] – [Dullahan Productions]

whngr   8/11/2021   A Library, CD

Violently varied genres, the common thread being, with only a couple exceptions, a prevalence of guttural vocals and a general leaning towards the bleak, heretical, and nihilistic. Exactly half of these tracks fit within the purview of my show (A.S.O.L.), the remaining tracks run the gamut from dated to laughably bad. However, I may just be a jaded, cynical, geriatric fart stain on the diaper of life. You decide.


B.T. Saints: Stoner Riff Metal, chin singing, Cathedral worship

*Elderly Abuse: Punk Rock, Thrash leanings

*Grody: Trash/Speed/Death Metal

*Hallucinator: Speed/Death Metal, Black Metal leanings

*Heavy Stench: Fem fronted Hardcore

Hemorrage: Stoner Riff-Sludge

Meatslab: Thrash/Grind, may be the actual Cookie Monster, FCC’s – many

The Obsolete Man: Thrash Rage Doom

Phantom Witch: Thrash, riffs

REKT: Detuned HXC Sludge Scumdog: Sludge Grind HXC – FCC- “fucking” x4

*Shrinking Killers: Punk/Death Rock, thick bass, hooks, emphatic vampire vox

*Sodomy: Speed/Death Metal, riff and groove,

Supernaut: Retrospective Heavy Metal, Sabbath worship

*Throat Rip: Hardcore Art Grind, Aggressive and tinny

*Violent Legacy: Old school Tech/Death/Speed Metal – FCC- “shit x2”

*Vorlust: Death Metal, Thrash/trash drums, Guttural fem(?) vox

Xgrifox: Grind, Strange, antithetical recording, Mariachi outtro

*recommended

Flesh World – “Wild Animals In My Life, The” – [Iron Lung Records]

whngr   8/11/2021   12-inch, A Library

Sweet and somber sounds both emotive and indifferent in 4/4.

Depressive (reverb, down to mid-tempo, perspective/lyrical themes) 

Post (reverb, song duration)

Punk (Downstrokes, Distortion)

Local (to San Francisco… at least they were in 2017)

Queer (like most of the local talent they were probably evicted)

Rock (they did, they might again… if you put them on the radio)

Shoegaze (reverb)

Favorite tracks: Poolside Boys (B5), Strawberry Bomber (B6), Here In The Dark (B8)

We may already possess the lion’s share of Flesh World releases but they may have become too recognizable for kfjc to add “The Wild Animals In My Life” to our “underground” library when it was released in 2015 perhaps due to the attention they received by mainstream “hip” “subculture” media outlets. Perhaps we turned our backs on them like their soulless landlords did, maybe Greta Clue left for warmer climes, or could it be that we lost touch with the marginalized youth of our rapidly changing Bay Area? Got old, got lazy, sick, tired, cripled, jaded, and comfortable. I know I did… but I’m not giving up. Not like you. So put the record down and grab a fist full of thumbdrives, let the algorithm do it for you, give ‘er the ol’ “random play” and see how little your tastes have changed in the  the last 40 years ya fuckin’ codger. 

One can read fairly extensively online about Flesh World’s motivation, line-up, and perspective but what one can’t find out is whether they still exist. Do so and you might, like I did, discover that they are queer (a fact which eluded me, lummox that I am. An online article even stated, “…you’d have to be pretty dense not to get where they’re coming from”). That’s cool. It doesn’t matter much to me how an artist might get their kicks (though I am a huge fan of consent) but I recognize (more so in recent years) that being queer informs a slew of aspects around creative output… and I know that my favorite artists tend not to be that “well adjusted” so how you identify is fine with me. Just know that I think it is important that you hurt. Temper your art against the anvil of suffering. Do it again. Get strange. Get dark. Get relevant. And if at all possible stay… in the (once far more queer) Bay Area. Do it for me, do it for the art, and do it, if for no other reason, than to piss off your landlord.

Scolex / Mortuous [coll] – [Carbonized]

whngr   8/11/2021   A Library, Cassette

Regional Death Riffage


Guttural bellows esophageal tatters. Note intensive single note soloing with pinch harmonics and trem-dives. Cartilage quivering, heart palpitating bass profanation. Thunderous and technical drumming spurs down to uptempo necrotic-horror veneration and aural devil worship.The prominent Mortuous is a San Jose four-piece that delivers a doom laden unholy lament. in a powerful and bespoken south-bay tradition. Scolex shovel out a similar sounding offering ‘cept they’re from Oakland and a two-piece with revolving cast of live members.

The sprawling list of Death Metal allies and affiliates from the Bay Area adds provenance to both of these wicked talents. Play the tape loud, bang your head, imagine a human head decay in time lapse, read Lovecraft, repeat. 

Shore, Howard – “Fly, The (Original Motion Picture Soundtrack)” – [Varese Sarabande]

whngr   8/4/2021   12-inch, Soundtrack

An ominous foray into madness and decrepitude in symphonic splendor.

Pensive strings and sparse percussion portray suspenseful and ominous tones, discovery turns to delirium, intrigue becomes horrifying discovery. Short tracks that will grow on you like a labium. David Cronenberg would employ Howard Shore as his primary conductor (excluding only The Dead Zone) and would soon become a film industry mainstay (The Silence Of The Lambs, Ed Wood, The Game, et al), being both prolific, popular, and recognizable as composer, conductor, and orchestrator in myriad popular culture vena. But try not to hold that against him as this film represents the first in his long and storied (if mostly mainstream) career after leaving Saturday Night Live as Music Director, when he was perhaps at his most ambitious. In essence, this is the shit he cut his teeth on.

A hauntingly beautiful accompaniment to Cronenberg’s (Crash, Naked Lunch, et al) teratologic study of the classic 1958  American b-movie starring Vincent Price (of course) with a narrative that strongly parallels Franz Kafka’s “Metamorphosis” (though for what it’s worth this miserable volunteer prefers the sequel, “Return Of The Fly” […you guinea pig!]). The score of this 1986 re-imagining represents an epically strange cautionary tale delivered convincingly with unnerving conviction by Jeff Goldblum (Seth Brundle).

The vinyl this release is on is “fog colored” according to Discogs, who tend to be fairly meticulous about their accuracy, but to the fading eyes of this miserable volunteer it looks like an old Coke bottle color but whatever name it goes by one might note that it adds a somewhat spooky challenge to cueing. Thirty-three and a third baby… in your bed.

Haram – “Where Were You On 9/11?” – [Toxic State]

whngr   8/4/2021   7-inch, A Library

Fiercely confrontational Islamic Punk Rock

This is not a novelty.

This is not fun.

This is a call to arms.

A declaration of war against ignorance.

Driving guitar, shuffling thumpity drums, long, noodly, note intensive bass runs, riff, rage, and ruination in Arabic. “Haram” translates to “forbidden”. As in, not for you, filthy swine gobbler, as you belong in Jahannam. Much has been written about the architect and front-man, Nader Habibi that has value and is relevant but will not be discussed here. Do your own research, almutaharib allaeayn.

Another compelling release from Toxic State Records, leagues apart from the status quo.

NYC – 2019

Frightener – “Guillotine” – [Chainsaw Safety]

whngr   8/4/2021   A Library, CD

Modern Crossover Carnage

Technically adept and leaning into the brutality, this band from the U.K. may have been accused of failing to till the newest of soils (online sleuthing will reveal comedic discourse by etiolate contrarians) but what Frightener did was from the heart, emphatic and visceral. References to Napalm Death, Rorschach, and Terrorizer may be apt but perhaps lack appreciation of the ardently defended territory (if relatively confined and obdurate) they managed to eek out during their fairly brief existence. Blinding speed, relentless rage, snapping necks, short hair, sweat, blood, madness, despair. Detuned, mid-tempo lumbering gallops, fury, blast beats and allusions to ancient Greece from this five-piece outta London (I believe) circa 2006. 

FCC on track 5 – Fall of Delphi – “fucking”.

FCC on track 9 – Heretic – “fucking”.

FCC on track 10 – Acheron – “fucking”.

Disrage – “Noise Rhythm” – [Craneal Fracture Records]

whngr   7/28/2021   A Library, Cassette

Low fidelity Hardcore from Spain 2015

Renou i ràbia desde Menorca.
Noise and rage from Menorca.

Furious attack (guitar,bass,drums,vox) without brakes.

A tirade of malice, though unintelligible, the message is clear:

Aim for the heart and pull the trigger.


Las Garras de la Otan = The Claws Of N.A.T.O.

Aphotykum – “Cimmerian Sessions, The” – [Legion Blotan]

whngr   7/28/2021   A Library, Cassette

Crusty Tinny and Tyrannical

2-piece Black Metal from the U.K./Switzerland 2017

Malevolent and sadistic, this deviant offender is a known associate of Legion Blotan. Blaring murky riffs while extolling the virtues of Cimmeria, the culture of a nomadic people in Asia-Minor ca. 1000 B.C. Stating their lyrical themes on Metallum as: Dark Ages, Barbarism, Pagan Heritage with evocative titles like “A Falcon’s Quest” and “Spirits of the Mounds” we are drawn into an ancient world filled with violence and war expressed with a phenomenal guitar tone and a dismal recording that is both visceral and disorienting. Listening at high volumes may lead to head wounds by disrupting the equilibrium, causing falls and leaving listeners concussed. Fitting, as the final track, “Stormriders of Death” (A8) features a sample of bombs being dropped from a plane, not barbarian activity but of a similar brutality perhaps. Not clever but still quite appealing to the ear of this miserable volunteer.

Abi Ooze – “Bad Egg” – [Aklasan Records]

whngr   7/28/2021   A Library, Cassette

Cynical and catchy Garage Power Dirge Pop Punk Rock from Philadelphia 2018Snotty, smart, and honest fem lyrics with a biting perspective on both social and personal subjects. Heart warming and heart breaking tones and delivery. Like falling in love the moment her spit hits your face. Vicious guitar tone with nasty hooks on a solid Pop foundation in front of a thunderous shimmering beat. Shake your ass to the rejection. Aileen Wuornos chimes in, spoiler alert, she’s pissed. Includes a few cameos by other contemporary monsters. Five cutting satires of the travesty that is our modern society. Hopeless and direct, “Bad Egg” is probably a reference to the genre and its rival , “Egg Punk” (twee, silly, major keys) and “Chain Punk” (aggressive/nihilistic/minor keys). One might suppose that this EP was titled as a kind of response to the divisive online debate (smh why can’t we all get along?! ;P) that raged(s?) by proponents from both camps. Flame wars, ghosting, and doxing may have occurred but who the fuck cares.? Not Abi Ooze. She just wants to fucking rock out!  And perhaps flip the ugly razor-blade frittata of a cassette, greasy side down, on the pallets of people with ears that hear and brains that think. Are you one of ’em?  
Abi Ooze is one Jade Baisa (all instruments)
There may be FCC’s on A1 (is that a Amber alert tone or just guitar feedback?) and A3  (I’m sure that she’s sayin’ “SUCKERS, SUCKERS!” not the other, far naughtier word. Roll the dice outside of safe harbor, pay the consequences I guess, but don’t play it all and you are the one who loses (your listeners being the unwary bystanders to your hapless mistake). Forbidden sounds removed (primarily) from this cassette and cd, conforming to on-air requirements in an effort to maintain friendly relations with the Federal Communication Commission. True completists will need to scour the internet as Sorry State is sold the fuck out and the release seems to have been pulled from Discogs which is… Punk af 

Gronde – “Gronde” – [Impious Desecration Records]

whngr   7/21/2021   A Library, Cassette

Black Metal / Thrash from the foothills of the French Alps.

Thunderous thumpers and growly grumpers with riffs and two minutes of melancholy piano (end of track 13) for goat worshipping demi-ghouls.
Insular and isolated from the swelling popularity of Black Metal, Gronde’s inception was influenced by power and simplicity. Eager to be proficient while heavily inebriated, project founder Chamo unveils considerable details about the project online, that though illustrative, might sour the palate of more thoughtful or discerning volunteers (these guys may be a bit thick). I suggest avoiding all research/fanaticism and just lean into the bestial howls and ferocity of the form. Well recorded and sprawling, there are many slightly different flavors of blasphemy, heresy, synchronized buzzsaw guitar, and sonorous slaughter to spread liberally over your more diabolical sets while incurring the blessings of the Dark Gods.

Boëge, Auvergne-Rhône-Alpes, France-2011

Crowhurst – “Everyone Is Guilty” – [Sol Y Nieve]

whngr   7/21/2021   A Library, Cassette

Debilitating electronic Dark Ambient Industrial Noise Drone with minimal Black Metal leanings in five parts.

Three tracks over 10 min. and two under 10 min. with some marked contrast existing between tracks that tend to straddle several genres but generally orbit around mild discomfort, disorientation, and despair, madness and misery.

Samples. Spoken-word. Sine wave serrations.

Washes of warm amplified feedback cum crumbling white noise, abstractions and other mildly belligerent aural elements. Crowhurst is one Jay Gambit of Boca Raton, Florida, who, along with myriad collaborators has put out over 40 physical releases since 2012. Establishing a following on digital file sharing platforms, Gambit seems interested in exploring multiple facets of sound production across several genres without the constraints of media or from labels and has worked with familiar (and many unfamiliar) labels like Prison Tatt, Chondritic Sound, Fusty Cunt, Prophecy Productions, and the one who released this limited edition (100) cassette in 2014, Sol Y Nieve.

Agonie – “Culte Funèbre” – [Solar Asceticists Productions]

whngr   7/21/2021   A Library, Cassette

Grieving Woe’s Misery

French-Canadian Black Metal.

Cold, grim, cvlt.

Somber, delicate guitar ballads (doubled reverb reverie) amid tortured wails. Buried trash-can drums, beastial expulsions. Heavily clipped amplified trem-picked horror, the plectrum pulled through entrails billowing steam into the frigid night. Deep guttural bellowing and shrieks of anguish slashing through sickening melodies with hooks.
Adapt to the damaged (defective?) tape (end side A-beginning side B, track 3 and 4 respectively) as the signal decays repeatedly. Perhaps this (used) tape was once repeatedly frozen in distant northern climes amid the towering snow-laden pines or maybe ’twas a cruel hoax meant to propagate the despair of fledgling dj’s (dig your heels in and own it, this is a miracle of magnetic tape (an analog aberration to be adulated). The meek, and the mealy-mouthed.

Final track is an menagerie of the animals most associated with evil and the night, encircling a demon as he curses (unintelligibly) the light of God and whatever traces of benevolence remain in the hearts of man.

Agonie is Nagash and K. 

Quebec-2017

White Wards – “Cigarette Burns” – [Iron Lung Records]

whngr   7/21/2021   12-inch, A Library

Guitar fueled, up to mid-tempo tripped-out Hardcore Punk with human teeth.

Bedraggled, in black, blood in their mouths and cans of soup in their backpacks (perhaps?) this five-piece is simply chock full of piss and vinegar. 

Dissonance, distortion, and (hypnotic) repetition. We used to appreciate short tracks… but now I’m a DJ (we still do).

Copious amounts of echoes, feedback, and echoing feedback. A ratio of upstrokes to downstrokes that pleases this miserable volunteer, real drums (crushing), and mental health issues (probably). 

Guitar fueled, up to mid-tempo tripped-out Hardcore Punk with human teeth.

Anger

Hurt 

Confusion

…and (100%) certified organic honey in hot lemon water.

Have a peek at the delicate inserted booklet (before it is shredded by its vinyl cohabitor) and witness the carefully crafted aesthetic and lyrical themes that seems to carry throughout White Wards’ releases. 

Portland, OR – 2014

Skravl – War Is Aer [coll] – [Legion Blotan]

whngr   7/15/2021   A Library, Cassette

Low fidelity Black Metal from Copenhagen

Two lone wolves pair up to howl blasphemy at the inverted solstice moon. Praying to the Dark Gods for release from this world filled splintered by light and sprinkled with benevolence. 

Skravl – Forlorn wails over tinny mid-tempo guitars and real drums. Hypnotic, valiant, and miserable with pensive synthesizer interludes.

Skravl is one, Skravl.

War Is Aer -Lurches through a quagmire of in-the-red melodies (synth? & guitar?) laid over buried, crushing, trash can percussion. Howls of suffering rise through the murk to arrive morosely at your godless ears.

War Is Aer is one, Jesper Bagger Hviid.

Hovedstaden, Denmark 2018

Aad Sleck – “Aad Sleck” – [Legion Blotan]

whngr   7/15/2021   A Library, Cassette

Furious bombast lacking subtlety or ornament.

Black Metal/Punk exploring the mining heritage of northeastern Britain.


It would not be difficult to write a long, cheeky review drawing obvious parallels to the sounds on this cassette and coal mining, black subterranean hell-scape etcetera, or spout-off whimsically about the limited scope of the genre reaching the end of its relevance… but I refuse. In fact, the opposite is true, as no other sounds could be more relevant and as appropriate to the themes explored. And besides, this is not the time for cunning insight or clever turns of phrase… for now… is the time for bludgeoning! Now… is the time for strength, now… is the time to… survive! Using your hands and back during the day and your heart and soul in the night to express the woes of a lightless life that will cripple you as well as sustain your meagre existence in the pit. A harkening to a time in America’s infancy when songs of the Appalachia’s echoed over the hills. Songs of sorrow and endless toil but I do not intend to wax poetic over I life I do not truly know and besides, the crude power of this recording speaks for itself. Thus, I shall not cheapen the miserable articulation of its creator and intend to leave the proof right where it belongs, squarely in the pud

Track 1 is perhaps especially crushing.

Track 7 is an uncredited sample from a venerable miner reflecting on the death of one of his peers directly after just joining the colliery.

Aad Sleck is one Nihtgenge.

UK, 2018

Arabella – “Arabella” – [Spacement]

whngr   7/2/2021   7-inch, A Library

Crusty female-fronted Scream(?) Punk

Stoppy starty.

Clean/filthy vox.

Delicate/destructive.

Warbly and dissonant.

String harmonics.

Slow/fast.

Sweet/tortured.

Frenetic guitar (with up-strokes and angles) over note-intensive noodly bass runs.

Syncopated hand claps.One-two shuffles.

Passion meets lethargy like early west-coast Emo (Heroin or Indian Summer) with a bit of a Dischord Records sound. The innocence of youth corrupted by a lack of effectuality.

Dig the tripped out transparencies in the packaging, this might have felt pretty innovative at the time.

Their final release feels a bit dated for 2021, just like… your source (for convalescence).

No discernable FCC’s.

Reno, NV 2004

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