(Below you will find Daniel Barkasi’s monthly collection of NCS album reviews, this time recommending six records released in June 2025.)
It’s the middle of the year, and boy are my… everything tired. Time always seems to move fast, because it does. We don’t need reminders of the all too limited amount of it, but sadly they happen regularly. Since our last installment, a major news story that affected me as a Liverpool FC supporter – but more so as a human – was the death of brothers Diogo Jota and André Silva in a driving accident, traveling from Porto to Liverpool for the start of training for Diogo.
The most heartbreaking part, other than him only being 28, was that he had gotten married a week prior, with three very young children. Furthermore, he came across as a lovely fellow that didn’t fall into the egotism that many professional athletes fall into. A humble guy who loved his life, and showed it all the time. LFC classily will pay out the remainder of his contract to his now widow, and will fully fund his children’s education. They also retired his #20 kit number – all-around class from a classy club. RIP Diogo and André – YNWA.
Similar to our beloved metal scene, supporting a football club becomes part of one’s DNA and becomes sort of like a big family, and when you lose one of your own far too soon, it hits you profoundly.
Factoring in the recent retirement show for Black Sabbath and Ozzy Osbourne, all of this together serves as a stark reminder of that finite amount of time allotted to us, so make the best of it. Be good to each other, try to enjoy each day, and embrace kindness.
Thinking about the first half of 2025, it’s been a jam-packed year for new metal. I don’t want to hear anyone complain that there isn’t anything good coming out these days – those folks aren’t paying attention. We know that isn’t you. The last few years have been extremely kind to our ears – less so our wallets, vinyl lovers especially – and June was certainly no exception. We’re not even going to attempt to dish out a best of for the middle of the year, as this brain probably can’t handle a mass ranking exercise at this point.
Isolating June, it wasn’t easy to pick out what we wanted to feature with the enormous amount of top albums we thoroughly enjoyed. There simply wasn’t room for some that we’d have loved to speak more about, but if you get the chance, check out the latest Lord Belial for searing black metal by a long-running institution, Fortress alumni Autumn Nostalgie’s post/ambient black stylings with what may be their best, and Anfauglir crafting a massive, brilliantly written symphonic black metal journey into Tolkienian lore of the The Silmarillion and Unfinished Tales. That said, let us divulge into what made the final cut.
Empeiria – The Ascent: Szenen der Katharsis
Release Date: June 6, 2025
A brand new project in Empeiria begins our June overview by way of ripping, yet melodious black metal dripping with foggy atmospheres. Helmed by the duo of η and π, NCS actually premiered the band’s first single “IV” to give a glimpse of what these Germans have to offer. The full offering The Ascent: Szenen der Katharsis exceeds even the lofty expectations set by that track, giving the black metal horde a fresh, exciting act to revel in.
A standout feature is the impactful riffage, with that being immediately in the forefront on “II” to smash the listener’s face before flashing their melodic side as the song progresses. Vocally, we have a mixture of shrill screams and deep, powerful bellows – many times layered to powerful effect – giving this section of the music a level of dynamism. When Empeiria unleashes their fury, it’s done with untethered force, ramping up the heaviness and incessant quickness when the time is right.
Melodic black metal that focuses too much on melody and forgets to include a hefty kick is ultimately forgettable, and Empeiria nimbly avoids this issue. Examples of such are the rhythmic crunchiness and differing pace of “III” – providing volcanic moments of which are amongst the best on the album. “VI” is more ominous in tone and methodical in pace, acting as a setup to the gargantuan 15-minute plus finale that is “VII.” Carrying a somber note, traversing between acoustics and violins to give a more folk feel in many portions, it’s not without raging moments either. The final third contains one of my favorite segments on The Ascent: Szenen der Katharsis when the slow build is rewarded with a nuanced, yet hard-hitting explosion of angst, then ultimately finishing with spoken word and reflective nuance on the last entry.
Empeiria is a complicated entity, melding the fiercer elements of black metal with that of organic, earthy tones to create a sound that works in their favor, resulting in a well-composed mashup of melodic tones and enough emotiveness without going too far into that realm. The Ascent: Szenen der Katharsis is a fine debut, and there’s plenty of pathways the twosome can choose from here. We’re hoping to see more of that fiery side take hold, whilst still containing their wide range of influences. Either way, we’re on board.
Venus Star – Smokeless Fires
Release Date: June 11, 2025
Finland’s Venus Star has been lurking in the shadows for about 15 years, itself being the solo work of Atvar, and having been managed with an impressive level of consistency – especially in later releases. The Knot Will Not and Calling All Lokas are fine examples of cavernous, torrid black metal that overwhelms the listener in a tantalizing sort of manner. Yet, this is an act that we haven’t heard a whole lot of discourse about. Perhaps that’ll change with their sixth and latest Smokeless Fires.
Starting with the cover artwork by Dávid Glomba, who has created many phenomenal pieces – including all-time favorites in Cult of Fire’s मृत्यु का तापसी अनुध्यान and Svartidauði’s Revelations of the Red Sword – it sets the gritty, desolate sonic inferno that awaits. Venus Star isn’t anything fancy, but every detail is nailed down exactly right, and the sum of all the minimalistic parts is a lumbering beast with ill intent. The guitar sound is tuned low, thick and engulfing from the very first deluge of filthy riffage that dominates “Spasm.”
There’s a meticulous flow to Venus Star’s music, and Smokeless Fires is no exception. Each track rumbles forth with determination, but there’s a smoothness within its gruff, hazy exterior. “Fate” serves as a poignant example, coupled with large rhythms and a malevolence that push the track to the stratosphere. The velocity ranges from doom-adjacent to mid-range; a quality that’s been synonymous with Venus Star, allowing Atvar to take his time in mashing you into dust with cuts like “Lesson,” “No Prism” and “Light” being especially monstrous in overarching quality and sheer might.
Venus Star isn’t for the timid, and that’s how we like it when it comes to this approach. Smokeless Fires may be the project’s most oppressive record in a line of onerous creations that refuse to hold back, slowly eradicating those who dare take it on. Step up and allow this album to run roughshod on your sensibilities.
Our Earth Is a Tomb – Flowers of Faith / / Dregs of Black
Release Date: June 13, 2025
Slowing down the velocity to a dire crawl is Our Earth Is a Tomb by way of their blackened doom musings. Debut album moth. delved closer towards a post-doom approach, with a predominantly clean vocal delivery among the massive wall of crushing distortion. The followup Flowers of Faith / / Dregs of Black travels a much more sinister path, with vociferous, snarling growls and a bigger, darker, and abyssal sound profile that serves the band exceptionally well.
“FLAW” opens proceedings with intent via droning guitars and deep snarls, traversing into an increasingly pissed-off, violent direction into “IT KNOWS MY NAME” to continue with harsh ambient electronics and desolate spoken word, shortly before obliterating with a wall of monolithic noise. The band’s post-punk influence is maintained within the record, surrounded by piercing screams and frantic noise in “N/A” and “Funeral,” where “This Place Is Not The Same” seeps more drone and unpredictability.
The album grows darker as it progresses into the listener’s innards, like an infection beyond containment. “Without Dreams” and “Bottom Feeder” explode with pure, unabashed violence, serving as contrasting precursors to the disturbing “UNTO” and the winding, grotesque finisher in “UNMAN” that takes its precious time to complete the job.
Flowers of Faith / / Dregs of Black represents staticy, acidic, incredulous grime in audio form that envelopes the initiated with a calculated vibrancy. Our Earth Is a Tomb assuredly has evolved in a profound and fascinating fashion that’s impossible to deny. Prepare for an intoxicating journey into the dark void.
http://www.facebook.com/ourearthisatomb
Outergods – Dethroned & Devoured
Release Date: June 13, 2025
Just as potent and deadly as the preceding selection, but from a completely differing viewpoint is Outergods, who dish out music devoid of hope in a grind/black aesthetic that’s brimming with punishment. The Nottingham, UK five-piece have presented a stripped-down, raw, and direct affront that served them well in their debut A Kingdom Built Upon The Wreckage of Heaven, and that formula is built upon with their second record Dethroned & Devoured.
Production-wise, this is a tad more polished and dense, but the impact isn’t lessened in the slightest. To start, “Origin” amounts to a varied intro track, mixing ambient sections with a grinding death metal feel. The intensity then dials up with “Mortal Gateway,” and even further into the depths with the frantic “Sprawling Chaos.” “Cosmic Abomination” – for which we debuted the video – adds variance from the full-on pummeling that’s been a staple to this point, deciding to stomp away with a slower, but nonetheless foreboding level.
“Phantasm” features guest guitars from Mnemic’s Rune Stigart, whose presence makes a lot of sense by way of an industrial tinge to add color to the already suffocating attack. Outergods spread their wings a bit with “The Sleepless Malice,” perhaps preparing the listener for the ambitious two-part finale. Spacey atmospheres permeate “Celestial Heretic,” which connects directly with the lengthy “A Mausoleum at the Edge of Time” to showcase the band at their most creative and ultimately fulfilling, giving a Cryptosis vibe at times, minus the thrashiness.
Outergods take a few risks with Dethroned & Devoured, especially in the second half, and they pay off nicely to give us an album that works on more levels than we expected it to from the onset. We gained appreciation for this record the more time we spent with it, and we certainly think that many will have a similar experience.
https://www.facebook.com/outergodsuk/
Cénotaphe – Chimères
Release Date: June 16, 2025
There are a few bands that share a similar moniker to Cénotaphe – albeit with a slightly different spelling and without the accent on the first “e”; namely the legendary brutal death metal act from Türkiye and the Mexican death metallers from the late ’90s. We’re talking, however, about the French black metal duo, who dropped a masterfully epic and deeply scathing debut record Monte Verità back in 2020. Since, main composer Fog and vocalist Khaosgott were hard at work on the next chapter, now bringing us to Chimères.
French black metal is one of yours truly’s favorites when it comes to the regional interpretations of the genre – typically biting yet grandiose in scale. Cénotaphe has absolutely embraced said characteristics with a sandpaper-like coarseness and slick writing style. While Monte Verità was relatively ornate with the right amount of edge, Chimères comes off as even more direct and nasty, but further refined with even deeper focus. “Sempiternel retour” opens with the first third of the track flush with majestic keys to craft an air of bombast, before kicking into high gear by way of delicately memorable lead play. Khaosgott’s shrill screams have never sounded more prudent, balancing with Fog’s imposing and energetic instrumentation to extreme precision.
“Titans” continues with several whimsical melodic passages, whilst also ravaging anything who dares trifle with it via searing tremolos and a pummeling rhythmic onslaught. Selections such as “Nitescence” gallop vigorously with a never-ending wave of ripping guitar work, whereas “Sous les fourches manichéennes” cleverly dances between the intricately canorous and the robustly candid. Furthermore, there’s an urgency throughout that demands the listener’s full attention. “L’île de rien” may be my top cut and the best example of this principle, building constantly and purposefully to cathartic results.
Cénotaphe are quickly making a name for themselves in the always competitive French black metal scene, and we have little doubt that Chimères will raise their profile significantly. Top-draw songwriting and a definitive sound that has taken a significant step further in proficiency and just plain enormous black metal panache, there’s truthfully a metric ton to love about this record. It grabs one’s ear quickly, and will keep you coming back to wade in all of the small details.
https://www.facebook.com/lecenotaphe/
Creeping Fear – Realm of the Impaled
Release Date: June 27, 2025
Remaining in France for our final entry, Creeping Fear brings a punishing and delightfully decadent manifestation of death metal to our famished selves. Reminding a bit of Immolation in their approach, with a dose of Deserted Fear tossed in, the quartet come at us strongly with their third full-length Realm of the Impaled.
If no fuss, no muss death metal is what one seeks, Creeping Fear will have you grinning ear-to-ear. But there’s much more to them than simplistic hogwash that gets propped up these days – they bring the riffs, write songs with plenty of depth, and ooze energy. The instant pummeling dished out by “Dismembered and Thrown Into Black Flames” tosses you around with delectable hooks and uninhibited insanity. The riff at the 1:50 mark is an especially vicious earworm, and they’ve got plenty more all over Realm of the Impaled. “Demonic Ascent” hits the mid-range tone masterfully, with merciless muted rhythms and seemingly unlimited endurance to continue smashing the listening to bits over and over.
Entries such as “Torture Wheel” and “Cursed Endeavor” hit hard and fast with relentless vitality; “Realm of the Impaled” gives a darker tonality by way of the lead play; and “Feast of Violence” and “Obscene Sacrifice” even toss in a hair of melody within their hammering of all hapless beings in their path. Furthermore, each song intrigues and brings a slightly different purview to the table, keeping one on their toes through the 35-ish minute runtime. This record also sounds sonically incredible, and when you see Dan Swanö’s name attached to the mastering, any surprise fades in an instant.
Most of all, Creeping Fear is just as much an outright blast as they are fantastic purveyors of destructive death metal competence. Realm of the Impaled overflows with death metal that’s aptly composed, surgically executed, and presented with spirit and tirelessness. Plus, a Paolo Girardi cover to boot? What’s not to love? Anyone who has an affinity towards this most beloved of genres should be able to find much to indulge in, as this is the complete package for neck-wrecking death metal. We’re going to spin this a lot for the foreseeable future.
https://www.facebook.com/creepingfear
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