Andy Synn

Dec 122023
 

(Andy Synn continues his annual retrospective with a collection of links and recommendations)

Every year, pretty much without fail, someone – either in the comments here or on social media – gets weirdly mad about List Week.

Either they seem to think that I’m lying (although, why would I?) or, even worse, bragging (again, why?) about the albums/artists I’ve listened to.

Here’s the thing though – this isn’t about me. It’s about providing our readers, many of whom don’t have as much time as do to keep up with everything that’s released each year (and I still miss more than I catch) with a one-stop-shop of links they can bookmark – broken up by category/sub-genre – and listen to if/when they get the chance.

Today’s list, the “Good” list, is the biggest and widest-ranging one of the week, running the gamut from albums which were generally enjoyable, albeit flawed, to albums which only narrowly missed out on my “Great” list, and everything in between.

Obviously it’s in no way comprehensive, so before you start asking “but what about [x]?” remember that a) it’s impossible for any site, let alone any individual writer, to listen to and cover absolutely everything that comes out in any given year, and b) there’s still my list of the “Great” albums, the top-tier of the year, yet to come!

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Dec 112023
 

(It’s time once again for Andy Synn‘s annual List Week here at NCS)

As always, I want to start off this article with a little explanation of the rationale behind it.

In general, as I’m sure you’re aware, it’s our prerogative here to only write about the bands and albums we actually like.

That doesn’t mean, however, that we shy away from providing constructive criticism when we think it’s warranted (at least, I don’t), as loving something doesn’t mean just ignoring its flaws.

And it’s in that spirit that my annual “Disappointing” article is written, not as an attempt to court clicks or controversy, but as a means of expressing the very simple idea that the bands we love aren’t perfect, and sometimes even the best of them stumble or fail to live up to the hype.

That’s not an excuse for people just to start shitting on bands they don’t like – we just tend to delete those sorts of comments without giving them a second thought – it’s more about providing a communal space to express our disappointment that something we were looking forward to didn’t, for whatever reason, measure up to our expectations and/or hopes.

Obviously there’ll be disagreements (I’m pretty sure that one or two of my selections here will upset a few people, though I need to stress again that I’m not trying to upset or provoke anyone, these are just my honest opinions) but I think that, if we can all remain civil, we’ll get through this together.

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Dec 082023
 

(Andy Synn begins his annual week-long retrospective of the year a little early with a round-up of EPs and short-form releases)

One thing which occurred to me while putting together this list is that I have been extremely remiss in covering EPs this year.

Which is a shame, because a good EP… a really good EP… can be a wonderful thing, allowing bands to explore fresh ideas, or simply consolidate their very best material, in a more focussed and tightly-written format.

So here’s an early taste of my yearly round-up (which, let me make very clear, is in no way comprehensive and contains some notable omissions of things which, sadly, I just didn’t get around to hearing), including links to all the EPs, splits, and other assorted short-form releases I’ve listened to over the last twelve months, finishing up with my “personal” Top Ten of the year!

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Dec 072023
 

(Dissolution comes out on December 15 via Avantgarde Music, and Andy Synn tells you all about it)

It’s undeniable that Crust have been on fire for the last few years, with albums like 2020’s Stoic and 2021’s Wanderers gaining the band more coverage and praise than ever before (including from this site) and introducing even more ears to the band’s signature brand of doom-laden, sludge-laced Black Metal.

And now, with the upcoming release of Dissolution (out next Friday) it looks like they’re set to go three-for-three with what might just be their best work yet.

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Dec 062023
 

(Before he gets into his yearly retrospective Andy Synn wants to highlight four more albums from last month which you may not have heard)

Well, here it is, my last “Things You May Have Missed” column of the year, featuring four albums from November that I think you should all check out if you haven’t already.

That’s it. That’s the intro.

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Dec 042023
 

(Andy Synn, our resident Krallice curator, offers his thoughts on the band’s new album)

Is there anything less surprising than a surprise Krallice release any more?

Not that it’s a bad thing by any means. Honestly, I love that the group continue to do things their own way and work to their own timescales, rather than trying to live up to any outside expectations or bow to external pressures.

But if you ask any group of metalheads (well, those of a more “underground” disposition, at least) the question “what band just dropped a brand-new album out of the blue?” I bet 9 out of 10 of them would immediately say Krallice without hesitation.

On their new album, however – their second of 2023 – the band have an even bigger surprise up their collective sleeve… a direct sequel, both stylistically and spiritually, to 2020’s Mass Cathexis.

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Nov 302023
 

Recommended for fans of: Yob, Baroness, Boss Keloid

It takes balls… huge, pendulous balls… to go all in on not just one concept album but a full-on trilogy, especially when your creative concept begins with the story of an undead elephant, resurrected by Nazi occultists and infused with Lovecraftian energies, which then (due to some timely intervention by a vengeful shaman) turns against its masters and goes on a fascist-stomping rampage… and then only gets crazier from there.

It’s good then that enigmatic UK unit Bull Elephant have the necessary testicular fortitude required to tackle such an epic (and, let’s be honest, utterly ridiculous) story, as well as the necessary instrumental abilities and songwriting skills to ensure that their pachyderm-based Prog Doom (which also incorporates touches of Sludge, Death Metal, and Thrash) is more than up to the task in a musical sense as well.

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Nov 282023
 

(Andy Synn reviews the new album from Phobocosm, out next week on Dark Descent Records)

With all the digital ink that’s been spilled about Death Metal this year you’d think that more of it would have been dedicated to Canada’s Phobocosm.

Then again, perhaps the band’s gloomier, doomier brand of oppressive, post-Immolation heaviness is just a little too dark, and a little too demanding, to receive the same sort of wider acclaim which has been lavished on many of their more popular peers.

But the fact that it demands a little more from its audience also means that Foreordained offers more rewards in the long run.

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Nov 222023
 

(Andy Synn handles hosting duties for our premiere of the new collaborative album from Fawn Limbs & Nadja)

The last few years have undoubtedly blessed us with a number of phenomenally creative collaborations between artists whose creativity and talent is absolutely unquestionable.

From Cult of Luna & Julie Christmas to Oranssi Pazuzu & Dark Buddha Rising to Mizmor & Thou – and many more besides – the fruits of these labours has often (though not always… Lulu anyone?) resulted in a collective whole far greater than the sum of its parts.

And now its the turn of Fawn Limbs & Nadja to combine their forces.

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Nov 212023
 

(Some things in life are worth waiting for, and Andy Synn says that includes the new Cruciamentum)

Common consensus would tell you that 2023 has been a great year for Death Metal, and I… disagree.

Don’t get me wrong, it’s not been a “bad” year, by any means, but I’ve found – and I know this will be controversial – that a lot of the so-called “great” albums of the year have been hugely overhyped, and I’m honestly worried that we’re right on the edge (if not already over it) of total oversaturation.

And while that might sound appealing to some, it seems to me that with more and more bands churning out these largely interchangeable slabs of slavishly retro-riffs and second-hand songwriting there’s becoming less and less that actually distinguishes them from one another with each passing month.

But, even so, there have still been some major bright spots here and there – albums have burned that little bit brighter, stood that little bit taller, and been that little bit bolder – and one of them, as you’re about to discover, is the new record from Cruciamentum.

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