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 »

Apr 042026
 

(written by Islander)

“The best-laid schemes o’ mice an’ men / Gang aft agley”. Once again those immortal words of Robert Burns come to mind on this Saturday. I’m not thinking of our regime’s war plans in Iran, because they clearly weren’t “best laid”. No, I’m thinking of my own plans for this roundup of new music, which were extensive but then doomed by my own misbehavior last night and the steep price paid for them this morning (I’m not in jail or a hospital, and I’ll just leave it at that to avoid further embarrassment).

I gave serious thought to just abandoning all plans, but decided that a feeble effort late in the day would be better than none at all, so I made four choices that I hope you’ll enjoy (the music is most definitely not feeble, and the selections will provide something of a musical roller-coaster ride as you make your way through them). Continue reading »

Apr 032026
 

(written by Islander)

This past week has provided yet another flood of new metal, maybe even more than usual. I’m staring at dozens of new open tabs on my beleaguered computer, stacked on top of dozens more from the previous couple of weeks, and getting that anxious feeling that comes from the certain knowledge that I’ll barely make a dent in what’s there.

But I did have time to make a small dent today, thanks to waking up even earlier than usual and with a relatively clear head. No matter the clarity, I don’t have a very well-understood reason for why I picked the following three selections. They just kind of jumped out at me, I guess because they’re all very recent and from bands who’ve got a very appealing track record, at least for me.

With any luck, I’ll make some bigger dents in this weekend’s NCS roundups. For now, get your heads dented with these: Continue reading »

Apr 032026
 

(written by Islander)

“WE’RE LIVING IN A WORLD OF LIES!” That’s part of what Nuclear Tomb vocalist/guitarist Michael Brown yells at the top of his lungs in the song we’re about to premiere, and no one with a thimbleful of brain could argue with him.

To underline the point, the song’s accompanying video flashes images of many liars in positions of government authority, along with clips of rioting, police brutality, and soldiers sent off by the liars to be maimed and die (those clips are old but of course that’s happening again right now in the Middle East).

It’s a pissed-off song, and not just because of the words. It’s also a head-spinning song — and at times a very bleak one as well. Its name is “Falling Out of World of Lies“, and it’s from this Baltimore band’s new album Epoch Inhumane, which will be released in June by Rotted Life. Continue reading »

Apr 032026
 

(written by Islander)

In April of this year a quintet of international labels will release Dentro del Sarcófago, the debut album of Vomito Mortuorio. That band is the project of veteran Salvadorean metalhead Céfiro de Muerte, who has also been involved in Conceived By Hate, Conflagración, Witchgöat, Disorder, Morbid Stench, and Invocation of Death. For this new album, drums were recorded in France by session drummer J.H.

The labels describe the music as “uncompromising death/black rhythms with lyrics in Spanish and totally dedicated to cemeteries, rusted mausoleums and old human bones.” We have some descriptions of our own as a prelude to premiering a ghastly video for the album’s title song, “Dentro del Sarcófago“. Continue reading »