Islander

AN NCS VIDEO PREMIERE: DER GHUL — “THE RAT KING”

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May 012024
 

Vladimir Bauer is a musician originally from Odesa in Ukraine but based in Germany since 2017. He is best known for his band Schattenfall, whose music we’ve written about frequently over the years (as you can see here), and for his work in the early years of White Ward. But Bauer has another project named Der Ghul, and it’s the black metal of Der Ghul we’re focusing on today.

Der Ghul released a debut EP (available on Bandcamp here) named Pulse of Awakening in 2019 (which included Stefan Traunmüller as vocalist), and that will soon be followed by a debut album entitled Hunger Anger Decay, which is set for release on May 17th. One song from the album has been revealed so far, and today we premiere a second one — “The Rat King“. Continue reading »

MY DYING BRIDE: “A MORTAL BINDING”

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May 012024
 

(About 10 days ago Nuclear Blast released the 15th studio album from My Dying Bride, and DGR has sat with it long enough to now provide his thoughts below.)

My Dying Bride‘s newest release A Mortal Binding is a surprisingly turbulent album by My Dying Bride standards. Though My Dying Bride have been an adaptive beast over the course of a long-running career, the group have cycled back around into an interesting amalgamation of modern day doom and their early miserable forms.

Yet My Dying Bride have been the civilized and staid older-sibling of the doom scene, awash with despair yet seeming more ‘refined’ than their cohort bands. No stranger to longform song writing either, it hadn’t been until 2020’s The Ghost Of Orion that they forged themselves into a stately yet concise version of what they’d been before. Granted, they almost immediately followed that up with Macabre Cabaret, an EP with a ten-minute song as its opener, but it seemed like My Dying Bride had found a strong comfort zone with the fragile and mournful atmospheres of The Ghost Of Orion.

Which is what makes A Mortal Binding quite the followup. Continue reading »

GLASSING: “FROM THE OTHER SIDE OF THE MIRROR”

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Apr 302024
 

(We present Wil Cifer‘s review of the new album by Austin-based Glassing, which was released last week by Pelagic Records.)

Twin Dream was a perfect album. Glassing are perfecting the art of perfection with From the Other Side of the Mirror. The heaviness here is more biting. The melodies are more textured and haunting. These are conclusions I came to only four songs in.

Granted, a piece like “Sallow” is more of an ambient interlude, but “Defacer” has serious sonic teeth, and can have you head-banging before your second cup of coffee. With Twin Dream what they were doing was more easily defined. It had hardcore kids making atmospheric sludge. This time around more colors of sound are being explored. Continue reading »

AN NCS PREMIERE: ULTIO — “A THOUSAND TIMES MORE”

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Apr 302024
 

On May 23rd Brucia Records will release Cor, a new album by the Italian black metal entity Ultio, the solo work of Giorgio Barroccu, who is also behind the music of Derhead. Brucia describes Cor as “the twistedly demented brother of The Grey Zone Phobia, Derhead‘s latest album released back in March 2023″. (We had some things to say about that album here.)

What does this mean? Brucia describes it this way:

Another side of the same, dark coin – Ultio shares Derhead‘s very same dramatic tension and despair, however showcasing here a magnificently unrestrained and raw soul: behind a gloomy wall of freezingly cold riffs and shrieking screams Ultio ascends maniacally, building a sense of impending peril and oppression – dissonance after dissonance. Continue reading »

AN NCS VIDEO PREMIERE: MYRONATH — “THE VORACIOUS SPHERE”

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Apr 302024
 

The Swedish black metal band Myronath made their debut in 2019 with the full-length Into the Qliphoth, and two years later followed that with another album aptly named Djevelkraft. Now they’re returning with album number three, their most ambitious one yet, and it too has a very fitting title: Inferno, fitting not only because of the sensations of the music but also because the album is a conceptual work inspired by Dante‘s Inferno.

Inferno again features the work of former Ragnorak members Hellcommander Vargblod (vocals, bass) and Bjarkan (guitars), joined this time by guitarist Bathim and studio session drummer Calle Larsson.

In advance of Inferno‘s May 30 release date by the Dusktone label, they’ve already released a first single (with a lyric video) named “Purity Through Indulgence“, and today we present a second one, “The Voracious Sphere“. Continue reading »

AN NCS VIDEO PREMIERE: THE BLEEDING — “CHEMICAL LOBOTOMY”

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Apr 292024
 

Monokrator is the third album by the UK band The Bleeding, and their best yet. Released last summer by Redefining Darkness Records, it garnered heaping helpings of praise across the metalsphere, including from our own Andy Synn. In his review, he wrote that the album “bursts out of the speakers with the frenetic riffs and frenzied blastbeats of ‘Chemical Lobotomy’ and then proceeds to kick ass and take names like the bastard child of The Crown, Cannibal Corpse, and Goatwhore“.

He further acclaimed it as a record that succeeds in “marrying thrashy, galloping rhythms with streams of strangulating tremolo riffage and passages of lurching Death Metal heaviness, all topped off with some seriously sharp, snarling vocal hooks” — “the sort of record – lean, mean, and taking no prisoners – that may well put The Bleeding on the global metallic map where they belong.”

As a reminder of what a kick-ass album Monokrator truly is, or as an introduction to people who might have overlooked it, what we have for you today is the premiere of an official video for that song that launches the album in such exhilarating fashion — “Chemical Lobotomy“. Continue reading »

AN NCS VIDEO PREMIERE: SATANIC PRIEST — “WOLVES AMONG SHEEP”

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Apr 292024
 

Consider the name chosen by the Salvadoran band Satanic Priest. Then consider the name they chose for their forthcoming debut album: …Of Blasphemies and Lust, which fittingly will be released by a UK label named Vicious Witch. Then add to that the album’s cover art, and the fact that their brand of music is a flame-throwing, turbocharged amalgam of black thrash and speed metal.

All these signs point to an unpretentious old-school devotion to all things 666 and an equal devotion to alcohol-fueled, pedal-to-the-metal sonic barbarity geared toward giving listeners an adrenaline rush. What you might not guess so far, but what you’ll figure out when you listen to the song we’re premiering today with a lyric video, is that Satanic Priest are also fiendishly good songwriters. Continue reading »

AN NCS INTERVIEW: HIDEOUS DIVINITY

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Apr 292024
 

(Daniel Barkasi has brought us a fantastic interview with Enrico Schettino from the Italian death metal powerhouse Hideous Divinity, whose newest album, reviewed at NCS here, is out now on Century Media Records.)

Some have been calling recent times a sort of death metal renaissance. It’s true that an enormous amount of quality releases from bands old and new have been laying waste to our eager ears in the last few trips around the calendar. Hell, the sheer volume of new bands churning out innovative metal of the deathly variety alone has been inspiring. Death metal’s future is indeed strong. Ever leading the charge of the upper echelon is Rome’s Hideous Divinity.

Ever since their first foray Obeisance Rising in 2012, the band hasn’t slowed down a whole lot, dropping four albums that have continuously set high standards for both themselves and their peers. On to album number five, we have Unextinct, which stands out as their most ambitious, from a band who haven’t quite sat still record to record. It’s a massive album that goes straight for the throat, all while displaying multiple layers of intricate craftsmanship that adds significantly to the whole.

We got the opportunity to have a chat with lead vocalist Enrico Schettino on a myriad of subjects. From the obvious regarding all aspects of Unextinct, the absolutely wild “Against the Sovereignty of Mankind” throat cam video, what’s next (including a hint of an upcoming tour), and an odd question to attempt a practical joke on their incredibly cool manager Tito. We hope you enjoy – and pick up the damn album! Continue reading »

SHADES OF BLACK: INCONCESSUS LUX LUCIS, LIFVSLEDA, BLACNK, LILLA VENEDA, GLACIAL MASS, CRYPTIC CHORUS

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Apr 282024
 

Once again I had enough free time this weekend to make today’s collection from the black spheres a large one. I picked two recently released albums, preceded by one new video and songs from three more full-lengths that are on the way.

As you’ll discover, there’s considerable variation in the music today, but there is a through-line as I perceive it, a pervasive eeriness, a feeling that we’ve left this world and are communing with dangerous, daunting, and deceptive entities in the chilling and incendiary realms they call home.

INCONCESSUS LUX LUCIS (UK)

A painfully long seven years have staggered by since the last album from Inconcessus Lux Lucis, so long that the news of a new album was startling, but a very welcome development for sure.

The new album, Temples Colliding In Fire, is one of three set for release on June 7th that I, Voidhanger Records announced in one fell swoop last week (I wrote about another one, the debut of Thanatotherion, yesterday). And along with the announcement, I, Voidhanger published the album’s title track. Continue reading »

SEEN AND HEARD ON A SATURDAY: CAINITES, DUSKWALKER, ENEMY XIII, FULL OF HELL, GOREBRINGER, HAUNTED PLASMA, THANATOTHERION, ZELENAYA (AND THREE COMPILATIONS)

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Apr 272024
 

In considering what to do for this weekly roundup of new songs and videos I felt like a rabbit surrounded by wolves at every point on the compass rose, scrambling and darting this way and that. Too many wolves, not enough space to escape. Wild-eyed, here’s what I decided to do.

CAINITES (Italy)

The cover art for Cainites‘ new album is a very good clue to the music in the album’s first single, “Darkness Awaits“. The feverish riffing, which rings and swarms, is an evil, hungering manifestation, and you can feel its famished heart beating in the drumwork as it snarls and gasps.

But the song is a shapeshifter. The music mysteriously soars and haunted singing (haunted, but still sinister) comes around the corner, and around another corner the music rings like chimes and the creature sings again, forlorn. More changes come, with fast-throbbing guitars and beleaguered doom-ish chords. Continue reading »

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