Apr 082026
 

(written by Islander)

Gaze upon the daunting cover art above for Locus Damnatorum, the debut album from the diabolical Slovakian band Goholor — whose name is an Enochian word for “ascend” and begin to imagine what primordial terrors it holds in store. The album follows by a decade the band’s debut EP In Saeculis Obscuris, and it seized the attention of the esteemed Personal Records, which will release the album on May 8th.

On behalf of the label, the press materials describe the album’s music by invoking such names as Unanimated, Necrophobic, Sacramentum, Gates of Ishtar, and Sweden’s Sacrilege, and more general references to “black/death’s late ’90s heyday”. They also divulge that the album’s themes “focus on the dark and demonic side of society, such as hypocrisy, perversion, insensitivity, and obsession with religion.”

To delve further into the album’s marauding madness, what we have for you today is the premiere of its second single, “Divine Blood Invocation“. Continue reading »

Apr 082026
 

(written by Islander)

We’ve been avidly following the evolving adventures of Cognizance for quite a while now. When Willowtip Records released the band’s Phantazein album in early 2024, our DGR wrote: “[W]hile Cognizance have remained a sleek and ultra-precise machine for over a decade since the release of their first full length – after having subsisted on a series of singles and EPs – they’ve also slowly hammered and forged their sound into something as fiercely creative and memorably groove-ridden as it is terrifyingly technically proficient.”

And so it’s no surprise that we’ve been greedily rubbing our hands over the prospect of getting the follow-up to Phantazein. Lo and behold, it will arrive on May 1st (again via Willowtip) in the shape of In Light, No Shape.

As DGR further observed in that previous review, Cognizance “always seem to be finding new twists on their particular style of Tech-Death – while still sounding like an absolute hurricane of riffs.” What twists might this new album bring us?

We’ve had a couple of signs so far, two songs from the new album that have already debuted, and today we present an official video for a third one — “The Zone“. Continue reading »

Apr 082026
 

(Andy Synn presents a quartet of recently released Black Metal recommendations)

For reasons we may never understand a huge percentage of the Black Metal scene decided to release their new albums last week – including a surprise drop from long-time NCS favourites Ultha – and, despite our best efforts, we’re probably not going to be able to cover all, or even most, of them here.

But I’ve chosen four visceral examples from this veritable smorgasbord of blackened delights to highlight here today all the same, as I refuse to let the perfect be the enemy of the good.

Continue reading »

Apr 082026
 

(written by Todd Manning)

“If there is a universal mind, must it be sane?”- Charles Fort

The Midwest’s best-kept secret is Indianapolis’s doom/sludge juggernaut, Veilcaste. Every time they hit the studio, their sound grows, the space between the stars grows darker, the universe gets a bit heavier. Their latest single, “Embedded”, marks the current apex of their enormity.

These guys sound like a sentient black hole, with guitars that exert an unfathomable gravitational pressure, and the vocals sound like a god, both divine and unhinged. This is just a small preview of their forthcoming album Hellward, due out on August 7th courtesy of Third House Communications.

Now if only a universal mind, sane or insane, could take control of this world… Continue reading »

Apr 072026
 

(written by Islander)

We are about to present an ultra-long song, one that extends for nearly 17 minutes. However, it is not one that allows attention to wander, not even for a moment. It is instead an astonishing sonic spectacle that creates scenes of cataclysmic destruction and unchained madness, but also includes elegant, exotic, and unearthly melodic sensations that transport listeners into occult experiences. It presents chaos on a truly devastating scale but also becomes strangely spellbinding.

The song is a four-part suite named “Panzer First“, and it’s the closing opus on a new album titled Towards The Inevitable by the Long Island band Teloch Vovin. It will be co-released on May 8th by Thus Spake Qayin Records in conjunction with the band’s new An Eastern Temple Productions. Continue reading »

Apr 072026
 

(Our friend Daniel Barkasi returns with another monthly collection of reviews for recommended releases, and this time draws his lot from what the month of March brought us.)

I had a bit of a different angle planned for the beginning of this edition until April 2nd, but we’re going to take an unwelcome detour.

News that day came out informing us that we lost two important artists – James Lollar, known as the darksynth legend Gost, and Harms Way guitarist Bo Lueders. Both had an indelible impact in their respective genres, and their losses are a devastating shock to the friends and family of these two fine folks, but of course also to those who followed and embraced their creative endeavors. Harms Way’s crushing, vibrant approach to hardcore is a go-to for me, and Lueders came across as an excellent guy who touched the lives of many through his music, his podcast, and his all-around good nature.

Due to my personal experiences, I want to focus on Gost/James Lollar for a moment – an artist who holds an esteemed place for myself and many others due to his extremely innovative and genre-molding music, which in tandem with Perturbator, Carpenter Brut, Dance with the Dead, Mega Drive, and Dan Terminus, invented and perfected the darksynth sound. His dense, incredibly aggressive and monolithic productions are ones for the ages. A discography that has been in regular rotation since hearing Behemoth in 2015. My wife and I were lucky enough to cover a live show of his in December of 2023 – the only time either of us got to view his work live, and what an indelible experience it was. Continue reading »

Apr 062026
 

(written by Islander)

The Russian band Goatpsalm first caught our attention almost a full decade ago, when we reviewed their third album Downstream a few months before its February 2016 release by the UK’s Aesthetic Death label. Back then I wrote (in part):

The music of Goatpsalm is spacious, mystical, shamanic. It conjures images of aboriginal rituals, as if holding the keys to dark communions with nature and with spirits that have been long lost to time. Some of this effect comes from the band’s frequent use of sounds from the natural world — rain, wind, waves breaking on a shore, bird song — and some derives from unusual instruments….

While all of the songs on Downstream make significant use of dark ambient and electronic music, sometimes touching the edge of industrial music, that’s only one aspect of the album. Yes, there is a meditative, and even narcotic, quality to the album, but it’s often heavy as hell and chilling, too….

[I]t’s the kind of album that really will carry you away. In your head, you’ll be far downstream from where you started by the time it ends — and for me it has been a trip worth repeating. I haven’t heard anything else quite like it this year.

And now here we are, a decade later, and Aesthetic Death will be releasing Goatpsalm’s fourth album, Beneath, at the end of this week. There’s an interesting story about how the album came to exist and why its completion took so long, and we’ll share that with you later in this article, but first we’ll give you a chance to hear Beneath in its entirety. Continue reading »

Apr 062026
 

(Andy Synn finds love in the hyperdrive all over again with Witch Ripper)

Let me begin by telling you a little story I don’t think I’ve shared before.

I’ve been a big fan of Seattle-based Prog-Metal maestros Witch Ripper for some time now – I first wrote very positively about their first album, Homestead in 2018, and lavished even more praise on 2023’s outstanding, album of the year contender, The Flight After the Fall – but, due to the exorbitant postage costs involved in shipping anything from the US over the last few years, getting a hold of either of these albums in physical form proved to be prohibitively expensive.

Thankfully I’d become friendly with the band’s vocalist/guitarist, Curtis Parker during this time, and while I was in Seattle for Northwest Terror Fest in 2024 (tickets for this year’s edition still on sale, btw) he very kindly offered to hand-deliver copies of both record’s to me at my hotel, an offer which I duly accepted.

But here’s the thing – and the thing that Curtis himself didn’t know (but absolutely will after this) – I thought I was getting CD version of both albums, so when he walked around the corner with two LPs in hand, well… let’s just say I was very surprised, but tried not to show it, even though I had no idea how was going to get these two pieces of vinyl back to the UK without breaking them.

Thankfully I was ultimately able to transport them both home safely (and then, not long after, track down affordable copies of both albums on CD as well) and they now sit proudly on my vinyl shelf as part of my small, but much-loved, LP collection, and I’m hopefully going to add their excellent new album, Through the Hourglass, to the shelf right alongside them very soon.

Continue reading »

Apr 062026
 

(Gonzo makes another of his monthly appearances at NCS today, with reviews of four albums released in March 2026.)

We’re only three months and some change into 2026, and I swear on Satan’s taint that I’ve already identified at least 3 new albums fighting for contention in my annual top 20 list. Dark and uncertain times always make fertile ground for raw, ferocious music, and if we can take anything from the hellscape we’re all currently stuck in, let it be that.

Let’s take a look at four of them that helped March suck a whole lot less for me. Continue reading »

Apr 052026
 

(written by Islander)

I had planned to post most of this SHADES OF BLACK column last Sunday. I obviously failed to get it finished in time for posting then, the result of being out very late on Saturday night and having to leave home very soon after waking up the next morning. I thought about finishing and posting it during a weekday last week, but never had enough time, so here it is at last on this resurrection day.

For the original version of the column I picked new music from six bands, which included four singles, two albums, and one EP — obviously a hell of a lot of music. But for today I’ve made the collection even bigger by including individual songs from three more bands at the end.

I found all the opening selections (the first five) to be emotionally very powerful — authentically powerful — and much of it apparently reflects its creators’ own sometimes difficult inner journeys (and some geographical ones as well). The results are sometimes haunting and sometimes harrowing, sometimes solemn and sometimes shattering or wondrous. They move moods as well as channel them; they’re often inspired by memories, and they’re likely to inspire a listener’s own memories too, as passionate music often does.

I don’t mean to suggest that the final four songs are lacking in emotional power — far from it — but they’re more what I’m prone to call mind-benders.

I haven’t written as much about the albums and EP as I think I should. Time still hasn’t been generous with periods of solitude over the last few days. But of course my own thoughts about the music are surplus to requirements — all you really need are working ears and freedom from distractions. Continue reading »