As you can see, I have been a busy blogger — but a tardy one. On Monday night I moved through a lot of news and new music, all of which I came across solely from the Monday arrivals in our in-box and my own surveillance of Facebook. I selected these items to recommend, intending to post this on Tuesday, but my fucking day job prevented me from finishing it in time and since then other things have gotten in the way.
At least I resisted the temptation to make this longer by including more things I’ve discovered since Monday night. I’ll pull together some of those for another round-up as soon as I can.
After the first two bands in this collection (who are among my favorites), all the rest are new discoveries for me, making their first appearance at NCS.
On Monday, Century Media announced that it will release a new album by Vallenfyre on June 2nd. The name of the album is Fear Those Who Fear Him.
For my comrades and I here at our putrid site, WarCrab’s album Scars of Aeons was one of the biggest, brightest, and stupendously heaviest discoveries of 2016. Grant Skelton named it to his list of the year’s best death metal albums. I included a track from the album on our list of 2016’s Most Infectious Extreme Metal Songs. And Andy Synn praised the album in his review with these pungent words:
“With a sound that can best be described as a humongous hybrid of the chugging, churning assault of classic Bolt Thrower, the swaggering, sludge-soaked grooves of Crowbar, and the sheer, merciless morbidity of Autopsy at their doomiest, Scars of Aeons is one heck of a weighty listen. There are riffs here which are heavy enough to break an elephant’s back, and slithering grooves as thick and meaty as an anaconda on steroids.
“In fact I’m surprised this album doesn’t come with an attached safety warning and a recommendation that listeners wear a hard-hat at all times in order to prevent cranial trauma. It really is that [expletive deleted] heavy!”
(Austin Weber introduces our premiere of a new music video from the French band Michel Anoia.)
A bit over one year ago from now, Islander premiered the song “Two Mountains” from French metal maniacs Michel Anoia off their album Plethora, and the utterly demented and brain-melting experience of that song had me instantly hooked on their impossible-to-categorize and unique style of extreme metal. When premiering it, Islander astutely described it as “..like a musical Frankenstein’s monster assembled with bits and pieces of grindcore, technical death metal, psychedelia, and jazz. But simply stitching those words together falls short as a means of trying to capture the sound.”
If you missed it then, you’re going to want to check out today’s music video premiere for “Two Mountains”. It’s not a typical band performance music video. The well-shot black-and-white video for “Two Mountains” has a very rich and cinematic look to it, with choppy frenetic scenes to match the equally disturbing music. Hit play, and give in to the madness contained within, both visually and aurally.
Last fall we had the pleasure of premiering Interitus, the new album by the Brazilian band Escarnium, in advance of its joint release by Redefining Darkness Records in North America and Testimony Records in Europe. And now both labels are bringing out a limited vinyl edition of the record. To pave the way for that, we’re helping premiere a new lyric video for a song off the album named “While the Furnace Burns“.
As vibrantly and viciously manifested on Interitus, Escarnium have developed a truly impressive, sure-handed mastery of evil, primal, old school death metal.
I have a much-delayed round-up of new music to post later today. I resisted the desire to make it even longer by including still more new music that surfaced since I first began putting it together three days ago. But I don’t want to overlook this new song by the Italian band Hideous Divinity that premiered yesterday at two European sites. The song is “Angel of Revolution“, and it’s from the band’s new album Adveniens, which will be released on April 28 by Unique Leader in the U.S. and Everlasting Spew in Europe.
This new track follows another one named “Ages Die” that debuted earlier this month, and in case you missed that one, I’ve included it below as well. I’ll also share a comment about the newest song by guitarist Enrico Schettino:
March 24th is the date set for the release of a stupendous album-length split by Pittsburgh’s Taphos Nomos and Urðun from Akureyri, Iceland, and we have a full stream of it today that you definitely need to hear. The name of the split is R.I.P. — which doesn’t mean what you think it does.
The Taphos Nomos side of the split, which consists of three new songs, bears the title Rarely Investigated Phenomena, while Urðun deliver four new tracks of their own plus a cover of Autopsy’s “Charred Remains” under the title Rigorously Intensified Putrefaction. A few thoughts about each side follow, so you have a bit of advance warning about what you’re getting yourselves into.
After releasing a demo and a debut album named Lightning Medicine in 2013 and a split LP with Goya in 2015, Seattle-based Wounded Giant have a new album headed our way via STB Records on April 1. The album’s name is Vae Victis, and that’s also the name of the song from the album we’re about to hit you with.
And make no mistake, it will hit you — hard. It simulates the experience of being beaten with a length of lumber at the same time as a psychoactive potion penetrates the blood-brain barrier and someone carves a message into your forearm with a razor blade.
Kingdom of the Grave is the debut album by a band from Austin, Texas, named Sigil. The album will be released on April 7 by Horror Pain Gore Death Productions. We came across the album’s title track a couple weeks ago and featured it in a column here, and now we have the pleasure of bringing you another head-wrecker from the album: “Even the Gods Will Burn“.
Sigil is the brainchild of vocalist/guitarist Alex Citrone (who also created the cover art), and the band that recorded the album further includes bass-player Leda Ginestra, drummer Jeremy Hassel, and lead guitarist Andy Bonney (although Thomas Schlicht plays lead guitar in the band’s live line-up).
(Andy Synn reviews the fourth album by New Jersey’s Fit For An Autopsy.)
It’s a little-known fact, but we actually quite like Deathcore here at NCS… at least, when it’s done well.
After all, our purview has always been to write about Metal, in all its forms, regardless of style or sub-genre. As long as it’s good, as long as it has the passion, the power, and the energy we’re looking for, we’ll write about it.
It doesn’t matter if the band is big or small, new or old, mainstream or underground. Black Metal, Death Metal, Prog, ‘core, or Post-… if the quality is there we’ll do our darnedest to cover it.
Which leads us, nicely, to the new album by New Jersey noisemongers Fit For An Autopsy.
This premiere came about as all of them do: We were asked to help introduce a piece of music to the public. I listened to it first before answering the request, to decide whether I could in good conscience recommend it to our readers. I was already pretty sure the answer wold be yes before even reaching the 1:00 mark. By the time I had reached the end, I was scrambling to answer “Yes!” as fast as I could. It’s an emotionally powerful, intensely memorable song, the kind of song that has called me back to it many times since the first listen, and has put my heart in my throat each time.
The song is a single by the Finnish band Hukutus named “Metsä ja yö“, which the band tell us means “The Forest and the Night“. Like the song’s title, the lyrics are in Finnish. Here’s the rest of what the band have explained about the song: