Jul 192017


Let’s tick off some of the good things that Vancouver’s Resurgence have going for them, shall we?

There’s the cover art by Tony Kohl for their forthcoming debut album Besieged, which catches the eye quite quickly and effectively. As you’ll see below, they’re also a photogenic bunch of lads — or at least they make you wonder what the hell was going on at that photo shoot. If appearances can be credited, they also look like the kind of dudes you’d like spending time with, as long as you’re comfortable around knives, cigars, and lots of beer.

What have I forgotten? Oh yeah! Their music… it’s a form of modern death metal that’s something like a cross between a fully tooled-up war machine and a blood-stained butcher delivering red meat to the mosh pit. You’ll get a lip-smacking taste of that through our premiere of a track aptly named “Machine“.

Jul 192017


(This is TheMadIsraeli’s review of the new album by Concrete Age, along with our premiere of a full album stream.)


Technical thrash-style riffing? Check. Melodic death metal styled melodic approaches and emotive song-writing? Check. Eastern ethnic cultural instruments and influences? Check. Raw thrash/hardcore styled vocals that have a complete disregard for technique and are all passion? Check. Concrete Age encapsulate a lot of things I love in extreme metal.

If this were a different time, these guys would definitely be classified under the so-called “Neo-thrash” tag alongside Hatesphere or Carnal Forge or even Darkane. Their music is more technical melodic death metal, I guess, with a great deal of Eastern ethnic instrumental moments and melodic tendencies.

The Totem Of The Great Snake, Part 1 is an immensely powerful album and is also the best melodic death metal album of the year that I’ve heard by FAR so far. Big deal, considering the style’s been in a real slump the last couple of years.

Jul 182017


In the right hands, and shaped with the right spirit, seemingly simple musical structures can become intensely evocative and even spellbinding. In fact, the ability of a piece of music to carry the listener away in a waking trance, where the mind conceives its own visions under the influence of the sound, may become even stronger with simplicity — if the songwriting and the execution are as good as they are on the self-titled album by the Finnish atmospheric black metal band Kval.

The album by this one-man project was first released under the name Khaossus in 2015, but it has been re-recorded for this release under the band’s new name, adorned as well in new artwork (by Moonroot Art). It will be released by Hypnotic Dirge Records on July 27th. This 43-minute work is composed of four long songs, interspersed with three minimalistic ambient tracks. Of those four long tracks, “Kuolonkuu” is the last one — and it’s the one we’re premiering for you in this post.

Jul 182017


Not for the first time, I find myself wondering about the use of the term “cold” to describe black metal that’s hot enough to melt lead, hot enough to put a fever in the blood, the heat of unchained human violence run rampant.

This time, that wondering was prompted by the wondrous track you’re about to hear, a scorcher named “Der Tronen Blender, Vender Vi Oss Mot Mørket” by the Norwegian black metal band Nattverd. It will appear on their debut album Vi Vet gud Er En Løgner (We Know God Is A Liar!), which is projected for release in September by Darker Than Black Records.

Background information about Nattverd is scarce. They are a two-person band that began in 2010, consisting of guitarist/bassist Atyr and vocalist Ormr, with session drums on this track performed by Serpentr. An earlier version of this song appeared late last year, but what you’re about to hear is the final mixed and mastered album track.

Jul 172017


2017 marks the 20th anniversary of Slavic Blasphemy, the first groundbreaking album by Zaraza, a duo now divided between Québec and Ecuador. Six years after their full-length debut they released a second album, No Paradise to Lose. And now, a long fourteen years later, they have brought forth a third one, Spasms of Rebirth, a name that could be considered a description of their own reemergence.

The new album is being released today — July 17th — and to celebrate this dire occasion we’re premiering a song from the album named “Wulkan“, a track that entwines and mutates elements of sludge, doom, and industrial metal into a nightmarish shape capable of thoroughly chilling the blood.

Jul 142017


Antlers” is one of the staggeringly good songs on Grimen, the most recent album (released by Art of Propaganda earlier this year) by the Swedish sludge/post-metal group Gloson, and it’s the subject of a live performance video that we’re premiering in this post, a video that’s just as riveting to watch as “Antlers” is to hear.

This is the second live Gloson video that it’s been our privilege to premiere; the first one (for the song “Cringe”) debuted here in April. Like that one, this new one was also filmed and edited by Gustav Bondeson (whose web site is here) at Kajskjulet in Halmstad, Sweden, on February 25th 2017. And as was true of the video for “Cringe”, the sound in this one is the live audio, recorded during the performance (mixed and mastered by Christian Larsson).

Jul 142017


Winnipeg’s Occvlt Hand chose one of the year’s best titles for their new album: Not Everyone Deserves A Happy Ending. And who could argue with that? In fact, one of life’s great, infuriating ironies is that so many people who don’t deserve a happy ending get one anyway. It would be so much sweeter if the assholes could all be subjected to the righteous ministrations of Occvlt Hand, from which they would emerge beaten, bruised, and broken.

Occvlt Hand didn’t exhaust their storehouse of bleak, memorable titles after they named the album. They’ve got a song on the record called “Total Fucking Absence of Light” and another one named “Smash My Bones, Inhale the Dust“, which my comrade DGR wrote about in a round-up at our site not long ago, describing it as “a harsh track that seems to drain the color out of the room, absolutely blatant about its stomping disregard and hopelessness”.

More good song titles are to be found in this punishing new release, including the track we’re premiering today in advance of the album’s September 13 release by Possessed Records: “He Who Walks Behind the Rows“.

Jul 132017


(Neill Jameson (Krieg) brings us the streaming premiere of a new split release by two excellent bands — VVegas and Long Gone — together with an interview of the mysterious figure behind VVegas.)

Since the first time I was asked to write anything for No Clean Singing I’ve sung the praises of the enigmatic VVegas. I originally discovered this complex and, at times, downright fucking strange, beast through the split with Integrity and since then I’ve been a devotee. Mixing Holy Terror-infused dark hardcore with noise, neofolk, and some pieces which defy classification, VVegas is as prolific in sound as in their releases, which span across every imaginable format and can be somewhat frustrating to keep up with due to obscurity and limitation if you’re a physical collector. If not, then the VVegas Bandcamp site is a treasure trove.

Earlier this year, VV. released a split with the excellent Broken Cross (another band I’ve written about for NCS somewhat recently), but not one to let any moss grow there is also another split coming July 29th via Judas Chair Collective, this time with Long Gone. I asked VV.’s mastermind T. some questions regarding the split, which we present to you in full to accompany the conversation:

Jul 132017


Markus Stock (aka Schwadorf) is best known as the creative force behind two prominent groups in the stable of Prophecy Productions, Empyrium and The Vision Bleak, as well as the band Ewigheim. But as long ago as 1998 he also began work on a solo project known as Sun of the Sleepless.

Schwadorf’s releases under that name have been sporadic — two EPs in 1999 and 2000, a 7” released in 2000 named Tausend Kalte Winter (which featured a trip-hop cover of Darkthrone’s “En As I Dype Skogen”), and a 2004 split with Nachtmahr. But now, almost two decades after the project began, Sun of the Sleepless will at last release a debut album through the same Prophecy Productions. Entitled To the Elements and featuring poetic lyrics inspired by great romantic writers across the ages, it’s set to arrive on July 21.

One fine track from the album (“Motions“) has premiered at Invisible Oranges, and now we bring you another one, a song named “The Owl“.

Jul 122017


I remember nearly falling out of my chair (or more accurately being thrown out of it) when I heard the title track to Bloodlust’s new album in early June. It was a virally infectious, bestially ferocious, volcanically hot blast of blackened thrash, with the kind of riffs that seemed written to become instant classics, and the kind of soloing that seemed capable of turning lead ingots into slag. “At the Devil’s Left Hand” was the name of that track, and of course the name of this new second album as well.

Well, now we have the chance to bring you another track from that album in advance of its release by Caverna Abismal on August 24, and this one is called “Freak of the Night“. I thought it would be a heavy lift for Bloodlust to top the title track, but I do believe they have.

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