NO CLEAN SINGING

FINAL DOSE: “ENDLESS WOE”

Feb 062026

(Below we have Todd Manning’s review of a new EP by London’s Final Dose, released in late January by Wolves of Hades.)

Less than a year after the release of their full-length Under the Eternal Shadow (premiered and reviewed here at NCS), London’s Final Dose is back with a new EP, Endless Woe. Under the Eternal Shadow made it on my year-end list for 2025, so this latest release deserves some attention.

Most press refers to Final Dose as hardcore-influenced black metal. While that’s not necessarily wrong, it definitely minimizes what the group actually does. Certainly, they deliver the visceral assault such a descriptor implies. Opener “Golden Chalice” blends d-beats and punk moments with savage black metal, but Final Dose manages to maintain the atmosphere of black metal as well. The opening guitar figure evokes all the frost-bitten phantoms one can hope for, and then they segue into icy blasts. But just under two minutes in, a riff enters that splits the difference between Darkthrone and Minor Threat. It all works, whether one is meditating by candlelight or dancing in a pit; these guys have the magick. Continue reading »

AN NCS VIDEO PREMIERE: GJALLARHORN’S WRATH — “THE ABYSSWALKER”

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Feb 062026

(written by Islander)

Last year the multi-national (but largely Spanish in origin) symphonic blackened death metal band Gjallarhorn’s Wrath released their debut album The Silver Key through Non Serviam Records. We published an enlightening interview with bassist Lord Ashler and had the pleasure of making video premieres for two songs off the album in advance of its release. Today, with equal pleasure, we’re premiering a third video from the band, this one for the song “The Abysswalker“.

The video, directed by bandmember Javi Iron, is quite a spectacle, interweaving fast-cutting and eventually rain-drenched footage of these raging heathens throwing themselves headlong into the song’s performance, along with striking imagery of an armored figure, presumably the Abysswalker of the song’s title.

The music is quite a spectacle too. Continue reading »

AN NCS INTERVIEW: IN AETERNUM

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Feb 062026

Photos by Magnus Eklund Izarra

(Today Soulseller Records is releasing the first new In Aeternum album in more than 20 years, and to help commemorate the event we’re now presenting Zoltar’s interview with founding member David “Impious” Larsson.)

No matter what some would say, the late ’90s and early ’00s were when both the black and death metal scenes collided, with various results. In Sweden, despite Jon Nödtveidt landing in jail from 1997 onwards, you could still feel the aftermath of Dissection’s gigantic Storm Of The Light’s Bane and how it redefined a whole scene. If on the old continent No Fashion Records picked up the baton and ran with it, so did Necropolis Records on the other side of the Atlantic. By the time the next millennium was just around the corner, the Californian imprint seemed to mostly put out one future Swedish black/death metal classic after the other: Dawn’s Slaughtersun, Arckanum’s first three albums, Ophthalamia, Nifelheim, etc.

Originally called Behemoth, In Aeternum showcased on Forvever Blasphemy, their debut for the label back in 1999, everything fans of that particular genre could hope for with a massive Fredman production, some ripping Necrolord cover artwork, and songs about the end of the world and the reaper. Even if things went a bit south in between the two parties after the release of their equally great second album The Pestilent Plague, those Swedes nevertheless did carry the torch all the way ‘til the end of the ’00s when they seemingly vanished off the face of the Earth.

After a first attempted yet short-lived reunion in 2016, the band are finally back with a vengeance thanks to …Of Death And Fire, their fifth full-length and first proper material in over a decade. We caught up with founding member David “Impious” Larsson to see if his inner flame still burns bright or not. Continue reading »

BLACK RABBIT: “WARREN OF NECROSIS”

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Feb 052026

(Below we present our warren-dweller DGR’s review of the most recent release by the Dutch band Black Rabbit.)

Reminder for self at end of year when going backwards for year-end purposes: This is a review for a 2025 release.

I find myself musing on this constantly, if not just because it serves as a suitable cattle-prod to the brain to lure me from my “catch up on a whole year’s worth of sleep in two-weeks” stupor that the post-holiday season seems to have lulled me into. It is interesting that the first few releases of the year always find themselves entangled with a demented form of catch-up from the previous year.

Time being the non-infinite resource from a mortal standpoint, it has not allowed us to cover the myriad things we wish to write about. There will always be one more, one late discovery, and often we invent excuses to continue looking backwards because a signal cast off into space still exists in some form of radio wave. We quest to find it and ackowledge it, and so the tail end of one year hangs on like the most stubborn bastard out there, refusing to let us continue forward into the next series of unending car-crashes that we adoringly refer to as our favored musical genre.

We also, as a result, have compulsions and imagined debts that must be repaid and a mused-over line in a year-end list quickly becomes a one-way directive of something owed, whether a band is aware of it or not. Thus, it was promised that we would dive into Black Rabbit’s December-released EP Warren Of Necrosis and goddamnit here we are, only two months later – as opposed to say five or ten as our previous records have been – looking at the continuation of the death and thrash metal act’s conceptual universe, the follower EP to May 2025’s Chronolysis. Continue reading »

AN NCS VIDEO PREMIERE: FERNDOM — “STONE-TOOTHED ABYSS”

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Feb 052026

(written by Islander)

I’ve previously explained that the forthcoming debut album of Ferndom piqued my interest before I ever heard a note. First, it’s a one-person project from my hometown of Austin, Texas (the person goes by Vileinist, a clever name for reasons you’ll soon learn). Second, the title of the album is Tesuque, named for a place near Santa Fe in New Mexico that I and family members have visited frequently.

And, well, the third reason for getting interested is that Vileinist is a violinist, and uses an electric violin to replace traditional guitar parts throughout the album.

The occasion for first paying attention to Ferndom at our site was its release of the first single from Tesuque, a completely captivating song called “Cacophony of Ice“. We’re paying more attention today because we’re premiering a video for the album’s second single, “Stone-Toothed Abyss“. Continue reading »

AN NCS VIDEO PREMIERE: FROZEN OCEAN — “BORTKASTADE DÖDSRUNOR”

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Feb 052026

(written by Islander)

The music of the band Frozen Ocean (the solo work of Vaarwel) could broadly be characterized as a melding of depressive rock and atmospheric black metal. Its musical output has been prolific: Frozen Ocean has released 11 albums and a variety of shorter works since 2005. Yet there’s been a significant interval between full-lengths since 2015’s Prills of Remembrance. Now a new Frozen Ocean album named Askdrömmar is finally on the way, with a release date of February 13th set by the Apocalyptic Witchcraft label.

In its previous releases Frozen Ocean has thematically explored a wide range of subjects and inspirations. The new album draws inspiration from the writing of John Ajvide Lindqvist and the music of Lifelover, with lyrics written entirely in Swedish. Its themes are described on behalf of the label this way: Continue reading »

THINGS YOU MAY HAVE MISSED (BUT SHOULDN’T)

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Feb 052026

(Andy Synn offers up 4 more albums from last month which you may have overlooked)

As I may have mentioned in yesterday’s article, it feels like I missed more than the usual number of albums in January… and while I know that it’s impossible for anyone to properly listen to, let alone review, everything that comes out each month (despite some hyperbolic claims to the contrary by certain online clout-chasers) this has still bothered me quite a bit.

After all, we’re only a month into the year and we’ve already managed to overlook the likes of Blackwater Holylight and Pâro, Ultima and Stabbing, Dagger Threat, Gavran and Juodvarnis (the latter two possibly being lined up for a future edition of The Synn Report each)… and countless others I’ve probably forgotten about already.

At the very least, however, the four vibrant and varied and (in their own way) visceral artists and albums I’ve selected to talk about today should keep you all busy while I work out what I’m going to write about this month!

AN NCS ALBUM PREMIERE (AND A REVIEW): HEIR CORPSE ONE — “DESTINATION: DOMINATION”

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Feb 042026

(written by Islander)

The Swedish heavy metal luminaries who formed Heir Corpse One in 2020 obviously had their tongues in their cheeks when they picked the name, twisting the call-sign of the U.S. president’s official plane to suit the twisted tale they wished to tell.

That tale, which began to unfold in the band’s 2021 debut album Fly the Fiendish Skies, envisioned a group of wealthy passengers fleeing the pandemic in a private jet (like that ever happened!), only to crash, descend into cannibalism, and trigger a zombie outbreak.

The narrative was so tailor-made for the manifold awfulness of the covid pandemic that it wouldn’t have been surprising if Heir Corpse One had been a “one and done” project. But no, these people obviously had so much fun making that first album that they forged on, not just with the music but with the gruesome concept story.

And so now we’re on the verge of getting the second Heir Corpse One album, Destination: Domination. And by “verge”, we mean the brink of February 6th, which is when Emanzipation Productions will disgorge the record. As you’re about to discover first-hand, it’s a ghastly delight. Continue reading »

STRANGULIATORIUS: “FLIES DON’T LIE”

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Feb 042026

(In January Horror Pain Gore Death Productions released a new album from the Lithuanian death metal savages Stranguliatorius, and below we present our Norway-based contributor Chile’s review of this new full-length atrocity.)

It is not surprising that metal, one of the shining lights of postmodern art, that paragon of human creativity, has made a foothold in many different places around the world, and is luckily not limited anymore geographically or in any other way.

Hailing from Vilnius, the capital of Lithuania, Stranguliatorius is another one of those worthy entries in our everlasting, world-encompassing quest for all things filthy and deadly. No strangers on these pages, we have been visited by these death dealers before.

One of their previous albums got plenty of love here back in 2018, and deservedly so, with our editor calling the band “damned clever songwriters,” managing to concoct “a toxic brew of old school death metal, grindcore, doom, and d-beat crust”. Sounds good to me.

Now, I’ve been to Vilnius some years back and it really is a nice place, but there’s obviously something in the water, as they say, judging by the savage intensity on display.

While some death metal bands have that distinctive stench arising from the decaying, rotten flesh with the imagery and riffs that go with it, some acquire a different perspective and put themselves in the role of the cold-blooded, flesh-cutting pathologist himself.

Sister, pass the scalpel, please.

AN NCS INTERVIEW: LONE WANDERER

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Feb 042026

(Just a handful of days ago High Roller Records released a new album by the German funeral doom band Lone Wanderer, and that provided the occasion for Zoltar to conduct the following interview with the band. Doom on….)

Silent hooded sinister figures in line disappearing into the mist next to a cenotaph as cover artwork, a nearly 25-minute opening track titled “To Rest Eternally”… Even before pressing play, you more or less know that you’re treading here on funeral doom territories, and that’s somehow exactly what Lone Wanderer proudly deliver with Exequiae, their third album.

But what’s interesting with those Germans is that besides their unusual background – three out of four members also played pure classic ’80s heavy-metal with Kerrigan – and the fact this is being released on High Roller Records, a well-established label and mail-order whose well-deserved reputation was built on high-quality classic metal vinyl reissues — they’ve managed to somehow tweak their genre’s otherwise firmly established assets into something quite personal, albeit still pretty much in debt to Mournful Congregation, whose mastermind Damon Good actually mixed their first two records. The band collectively agreed to lift the veil on their funeral obsessions… Continue reading »

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