Apr 192026
 

(written by Islander)

I mentioned yesterday that I had collected 69 new songs or complete releases as a starting point for deciding what to recommend in this weekend’s usual columns. After yesterday’s selections that magic number had diminished, but not enough to make today’s choices any easier. Still, choices must be made.

I can’t identify any musical or thematic throughline for these six recommendations, so you’re in for a fair amount of bouncing around. I do have reasons for why I arranged them in the order I did, but I doubt those are very interesting so we should just get to the music.

P.S. I want to recommend something else today besides music. After a long time of anxiously waiting for the movie Sirāt to hit streaming services, I was finally able to watch it last night (it never played at any theaters anywhere close to where I live). I thought it was a stunning as the many stunned reviewers said it was. Be forewarned: it’s a desolate and devastating story, one that creates a shroud of near-ever-present tension. But it’s also a near-perfect piece of filmmaking, and if you see it I don’t think you’ll forget it. I’ll leave this link to a more comprehensive review.

P.P.S. These lines appear on the screen when the movie begins, and explain the meaning of its Arabic title: “There is a bridge called SIRĀT that links hell and paradise. Whoever crosses it is warned that it is narrower than a strand of hair, sharper than a sword.” Continue reading »

Apr 182026
 

(written by Islander)

As I often do, I made a list of links for new songs and videos I wanted to check out in anticipation of this Saturday’s column, i.e., things that had surfaced or that I had noticed since last weekend. Having done that, I counted the number of links, and there were 69 of them (I swear that number is completely coincidental!), including a few I noticed for the first time this morning. It wasn’t even a complete list; I had a bunch of other tabs open on my desktop that I didn’t add to the list because I knew time was running short.

I recognize this is odd behavior. Why make a list that long when you know you won’t make it through even a quarter of the items? Why make a list that long when you know it will only knot up your brain in deciding which of them to check out? I have no answer, though perhaps a trained therapist would have some theories.

As usual, I resorted to impulse. The only calculated part of the process was a desire to mix up bands I already like and others that were new to me, and a further desire to mix up the genres so that visitors here will be at least somewhat caught off guard if they move from one choice to the next and the next. Continue reading »

Apr 172026
 

(written by Islander)

The origins of the phrase “elevator pitch” are murky, but the meaning isn’t. It refers to someone describing an idea to someone else who doesn’t have long to listen, or doesn’t want to give you much time. You’ve got the length of an elevator ride to get your point across and sell it.

In our field, record labels, publicists, and artists make elevator pitches too, usually in writing. Some are better at it than others. Sometimes the elevator pitch for a band’s music tells you pretty much all you need to know in deciding whether to check out the goods, especially when a band’s music isn’t much more complicated than a couple of quick paragraphs can capture. But sometimes the elevator pitch really doesn’t tell you (and can’t tell you) everything that makes the music worth hearing.

Which brings us to the New Zealand band Vaeovon and their debut album Spiritual Nullification. Continue reading »

Apr 172026
 

(For the Dead, released in March on Remorseless Records, is the first full-length from the Canadian death-doom entity Rötual, and what follows is Comrade Aleks’ interview of band-member Nicolas Miquelon.)

Since the release of the Canadian Norilsk’s first album, I haven’t missed a single one of their albums, and at some point I noticed that their guitarist Tom Hansen and vocalist Nic Miquelon, alongside their comrades Ben Bertrand (bass) and Mike Berrigan (drums), had formed a side project called Rötual. Over the course of a couple of years, the project grew into a band and recently released their first full-length album.

While Norilsk has taken liberties with the doom genre throughout their career, allowing for various experiments in related areas, Rötual strictly adheres to quite traditional death-doom. The men have invested expertly in the material and managed to successfully include virtually every element in the album For the Dead, from short bursts of lead guitar to its massive and dirty riffs, from growling parts to brief passages of clean vocals – and all in all it works and hooks.

The band’s ideology adheres to a pernicious, deadly canon, as evidenced not only by the cover and the album title, but also by track titles like “Mycelium,” “Worms,” ​​and “To Live Is to Rot,” which I adore for its mournful, clear-voiced chorus. At the same time, For the Dead doesn’t feel particularly decadent – ​​it’s clear that the band approached the work creatively, not simply taking the framework of ’90s death-doom but transforming it with their own ideas. As always, there’s hope that such a move as an interview may draw more attention to the band, and here we are to spread the word For the Dead together with Nicolas Miquelon. Continue reading »

Apr 162026
 

(written by Islander)

This isn’t the first time we’ve premiered music from the Italian death-dealers in Helslave. We did it twice in 2021 in the run-up to their second album, From the Sulphur Depths, which we predicted (pretty accurately) would “become a huge favorite for fans of massive, marauding, deliciously gruesome old school death metal”.

And now here we are, five years later — five years of unpredictable and tumultuous change in the world at large, including a global pandemic that maliciously chose to explode right about the time when Helslave’s last album dropped. It would be surprising if Helslave itself had not undergone some change of its own, and in fact it has — a very exciting change — because the band have themselves a new vocalist in the person of Enrico H. Di Lorenzo from Hideous Divinity and Eyeconoclast.

We are also very pleased to announce that Helslave have recorded a new EP that’s projected for digital release on May 8th, and we have for you today the premiere of its first single, “Burning Rebirth“. Continue reading »

Apr 162026
 

(Andy Synn offers up three more prime Brtish exports for you to enjoy)

Like I’ve said before, we like to keep you guessing here at NCS, which is why after spending the start of the week covering riff-happy ragers from At The Gates and Inherit the Curse I’ve decided to dedicate the end of the week to three UK-based bands who err more towards the expressive, progressive, and/or atmospheric side of the musical spectrum.

Continue reading »

Apr 162026
 

(This is our DGR’s review of Archspire’s new album, which was self-released on April 10th.)

While 2026 still finds itself on shaky ground overall, the opening few months have proven to be an interesting rollercoaster of releases in the heavy metal world. While we’ve had some decent gaps available for discovery, the still-young year has produced a fair share of surprises and a steady drip-feed of known names unleashing their latest monstrosities upon the world.

The most recent wave in particular has been among the more tech-death minded of the metal scene, with a small handful landing at near the exact same time, all with the general philosophy of keeping their foot planted firmly on the accelerator. The guiding light of “all X-games big ramp, all the time” is undeniable when it comes to the viewpoint of some of these bands, and no group has proven to be chief among them more than Canada’s Archspire, who released their newest album Too Fast To Die last week – their newest venture as an independent artist without a label. Continue reading »

Apr 152026
 

(written by Islander)

Recently we have been reminded by photos from the vicinity of the Moon that in many respects the Earth is a verdant, beautiful, and serene place. Closer to ground level, however, it still often remains ugly, violent, saturated with suffering, and shrouded by death. Of that we don’t need reminding, because the evidence is all around us, every day.

The music of the anonymous four-person entity known as Mylingar has always drawn its fuel from the worst that humanity has to offer and the perspective that the world is a killing machine, or so it seems when you listen to their ruinous black/death assaults. And now, nearly seven years after their last album, we’re reminded of that by a new one named Út, which will be released in cooperation with Amor Fati Productions on April 17th.

But as we’ll explain, and as you can now discover for yourselves, there’s even more going on in the album than you might expect based on Mylingar’s previous works. Continue reading »

Apr 152026
 

(The Texas-based melodic death metal band Clad In Shadows released their debut album in late February, DGR managed to come across it, and now he’s turned in the following appreciative review.)

You can use your band name for many things in heavy metal, such as head-turning shock value or as a mission statement. You can even make it dual-purpose, as is the case of New York’s Clad In Shadows. They took their name from an early In Flames song that was a live staple of theirs for a bit, thereby not only making their mission statement clear but also laying out their influences and providing a good basis point for anyone with bare knowledge of metal music’s subgenres as to what they might sound like without hearing a note.

Let’s play a game then, because many of you will have guessed both by the band’s name and who is writing this here writeup what exactly Clad In Shadows sound like on their first album Monuments In Ruin. You have twenty seconds to think, and then come check back in and tell us how closely you landed with the rest of this introduction.

Did you guess that this was going to be blindingly faithful melodeath worship with enthusiasm that shines so brightly it could scour your shadow into the wall? Yes? Perfect. Because that is what Clad In Shadows are doing, and although the album isn’t breaking down any boundaries, it is doing a fantastic job in adding to the overall genre’s collective archive and blueprint. Continue reading »

Apr 152026
 


photos by Ekaterina Yakyamseva

(Comrade Aleks has brought us many good interviews for many years, all of them worth some attention, but some stand well forward of others, and this discussion with Johan from Rikets is one of them. Read it and you’ll see why.) 

The debut album by Swedish death metallers Riket was released to mark the band’s tenth anniversary. And it’s not just another melodic death metal band, as, foremost, all lyrics are written in the native language and it’s inspired by historical events in Sweden. And as you may imagine, the album’s title 2026 isn’t just a number. At the same time, there’s no room for the usual metal cliches like Vikings’ conquests or war in Riket’s lyrics, and every song is named after the year when this event took place. The band focuses on more specific authentic topics, which you will learn from the interview below.

Meanwhile Riket has created an organic, well-produced, and honest album in the key of sophisticated yet straightforward melodic death metal. And 2026 has every chance of being remembered by listeners for more than just the lyrics. Continue reading »