Islander

Jan 232023
 

We’ve been avidly following UK-based Allfather since their first EP release in 2015, sort of like a dog madly chasing after a semi-truck and hoping not to get run over. As our own Andy Synn wrote in the context of reviewing their last album, 2018’s And All Will Be Desolation, their music has been “heavy and heartfelt,” the kind of experiences “where you can practically feel every ounce of blood and sweat and tears” that go into their creation.

And let’s underscore heavy, because their Sludge-injected, Hardcore-inflected, proto-Death Metal sound has been potent and punishing. Getting run over and flattened by the music has always been a serious risk.

In the years since that last album, and especially during the last two years, the world seems to have rapidly been descending into a burning cesspool. With an active moral and political conscience, Allfather could not help but react to that in the music they’ve made. They wrote and recorded a new album named A Violent Truth across these last two years of “global pandemics, increasing oppression, and the slow creep of contemporary fascism”, and (to quote further from their label’s preview) “the album captures and distills the pent-up fear, anger, and exhaustion of living in desperate and seemingly hopeless times”. Continue reading »

Jan 232023
 

Let’s not beat around the bush: You’re bulbous skull is about to get flattened into a pancake shape and you’ll lose even more height through spinal fracturing and compression, not to mention the simultaneous searing of mind and soul.

Of course, lucky you, we’re only speaking figuratively. But those are the kinds of sensations imagined by a mind’s eye when listening to the song we’re presenting today from the forthcoming third album by the remorseless Polish sludge/doom behemoths in 71TonMan.

Aptly named Of End Times, the new record envisions apocalypse, with each of its four long tracks named for the Four Horsemen in the Book of Revelations. These songs do authentically sound like harbingers of utter doom and devastation, and the one we have for you today is “War“. Continue reading »

Jan 222023
 


Tulus – photo by Morten Syreng

Well I slept late again today. But unlike yesterday it wasn’t really a luxury this time. Did some partying last night and didn’t succumb to sleep until after midnight, so the sleeping late was just an effort to be barely functional today, with not a lot of hours of rest to show for it. The day is now pretty far along, and there are NFL playoff games rapidly approaching, so I’ll have to cut back on some of my own words here and there (I can hear the wailing and gnashing of teeth).

Prepare for a very twisty and turny trip that sometimes stretches the limits of this column’s usual focus in unusual ways.

TULUS (Norway)

From 1993 through 1999 this Norwegian group released three demos and three full-length albums, after which Tulus became dormant. Two of its members (Sarke and Blodstrup) went on to form Khold and recorded six albums under that name from 2001 through 2014 (the last of which in that period was Til endes).

When Khold temporarily went on hold in 2006, Sarke and Blodstrup revived Tulus and released Biography Obscene in 2007, as well as Olm og bitter in 2012, even after Khold itself had been resurrected. They were joined in both Khold and Tulus by bassist Crowbel. Continue reading »

Jan 212023
 


Ondfødt

I’ve concluded that sleeping late is a luxury to be indulged, probably because I’ve done so little of it. I still never do it during the work week, and pre-pandemic I was so habitualized to getting up before the ass-crack of dawn revealed itself that I awakened very early on the weekends too, even when there was no sensible reason to do that. The pandemic caused lots of us to re-think lots of things, and for me one of those things was the habit of crawling out of bed at 5 a.m. on Saturdays and Sundays.

I mean, hell, I’m not a farmer, just a compulsive blogger. Still, the compulsion is strong and I’ve had to make a concerted effort to re-train my subconscious mind, convincing it not to wake me up, or when it does, training my conscious mind to just close my eyes and let the sleep take me again. And man, does sleeping feel good, even if the robot part of my brain still feels a little anxiety when I do eventually wake up, under the illusion that I’ve been wasting time.

Well, that’s an absurdly long-winded way of getting to the point that, once again, I slept late today. I still wanted to find some new songs and videos to recommend before the small number of people who actually visit NCS on a Saturday just vanished altogether. Here’s what I chose: Continue reading »

Jan 202023
 


Disillusion

You see what I did today? I guess it’s not very subtle.

Believe me, it’s not easy to pick the songs for this list, because so many are deserving. When things jump out like these did as I was frantically scrolling up and down through my alphabetized list of candidates, it’s very easy to give in to impulse rather than yield to insanity.

Mind you, these songs were on the list of candidates for a reason, and they jumped out not only because of the bands’ names appearing in fairly close proximity to each other and with phonetic syllabic kinship. I remembered the songs and mentally exclaimed THERE! THAT’S IT! PART 15 IS DONE!

DISILLUSION (Germany)

Three years ago I picked a song from Disllusion’s comeback album The Liberation for the 2019 edition of this list. Three years later Disillusion returned with another album, Ayam, and here we are again. Continue reading »

Jan 202023
 

Paolo Girardi somehow managed to reach new heights of horror when he painted the cover art for Lurk‘s new album Aegis. With astonishing detail he created a nightmare vision of a dragon made of macabre creatures emerging from the maw of an equally hideous monster (from which a waterfall of wraiths and demons descends), swooping down toward a graveyard of risen dead.

It’s a fitting presentation for an album that is itself an experience in dread and revulsion, panic and despondency, one that creates harrowing otherworldly visions and inflicts immense traumatizing brutality. Paradoxically, Lurk also succeed in making their blood-freezing and bone-smashing musical excursions spellbinding. They describe their own conceptions this way:

Aegis embodies the power of discord feeding the individual. The songs roll out in sporadic forms of different persons, under the guidance of furor and perseverance. Those stem from all things which are against divinity. No void too deep or mind too obscure, no action too human.”

The album is still fairly far away, with a release date of April 7th set by Transcending Obscurity Records, but there are already tangible reasons to get greedy for it, with a couple of songs already sprung from the crypt and one more we’re presenting today. This new one is named “The Blooming“. Continue reading »

Jan 202023
 

(Here’s Todd Manning‘s review of the new album by the UK’s Memoriam, which is set for release by Reaper Entertainment on February 3rd and features stunning cover art by Dan Seagrave.)

Old School Death Metal is more vital than ever, with both old fans and new initiates alike being drawn into the crypts searching for their next fix. While many of the original bands continue to put out new records, other scene veterans form new groups in order to develop the genre’s sound even further.

Such is the case with the British act Memoriam. Formed by Karl Willetts, vocalist of Bolt Thrower, and bassist Frank Healy of Benediction, and joined by guitarist Scott Fairfax and drummer Spikey T. Smith, Memoriam draws on the blueprint of those seminal acts and adds a number of new elements to the sound. Their latest album, Rise to Power, forms the second section of a trilogy that began with 2021’s To the End. Continue reading »

Jan 192023
 

 

(Today we’re bringing you a whip-fast blast of grind released by a trio of labels, with an introduction written by Christopher Luedtke.)

Today we have a double threat of menacing grindcore. Blue Holocaust and Morgue Breath have teamed up to release After The Fall of Man / Hongo Atroz, both bands each knocking out five tracks of blasting fury.

First up is goregrinder Blue Holocaust. Hailing out of Albi, Occitanie in France, the one man band has been grinding since 2001, but has also released other projects such as Vomi Noir and Pulmonary Fibrosis. Blue Holocaust has also released three full-lengths, and a number of splits with bands such as Expurgo, Lysergic Rites of Sadopriest, Houkago Grind Time, and others.

The Blue Holocaust side is raw, punchy goregrind. It has the gurgle, raw goregrind sound but without the vocals sounding like they’re drowning in fluids. The songs also let in some death metal ala Mortician such as “Body-melting Thermomuclear Endgame” and “Wastelands of the Year Omega.” The solos are quick but wailing. And much in the spirit of grind/goregrind it’s over before you know it. Continue reading »

Jan 192023
 

We have made our way up to Part 14 of this year’s Most Infectious Song list, and for the second day in a row I don’t have a coherent organizing principle for why I put these three tracks together, other than the infectiousness of the choices.

I think I can accurately say that these songs are all infectious in the sense of being intensely memorable. They’re so dramatic and often daunting that calling them “catchy” doesn’t seem quite right. But are they the sorts of songs you’d gladly put on a playlist so you can listen to them over and over again as time passes? I think so!

KAMPFAR (Norway)

Some songs are so stunningly dramatic, so vast in their scale, so frightening in their intensity, that they send shivers down the spine no matter how many times you hear them. Kampfar‘s “Urkraft” is one of those songs. Even right after I heard it for the first time early last spring, I wrote: “I haven’t committed to memory all of Kampfar‘s tracks spread across an 8-album discography. I’ll just say that I can’t recall any song in their repertoire that stunned me on a first listen like ‘Urkraft‘ did. Listening to it this morning, I was stunned all over again.” Continue reading »

Jan 192023
 

What we’re about to lead you into is a kind of music that’s somewhat rare for our site. It includes occasional elements of black metal, but is even more slanted toward doom and depressive rock. It includes gritty and high-flown singing as well as lycanthropic snarls. It rarely races and is often simple, but is also capable of becoming elaborate. It has the capacity to mesmerize in different and often unsettling ways, and joy and hope are dim at best and only fleeting.

The subject is Your Star Will Collapse, the debut album of a Hungarian solo project named Sír, which follows a first EP named Cosmic Grave released in 2020. We’re told this about the band’s name and conception: “Sír has equivocal meaning. The most obvious one is grave, but also means crying. Together they represent grief, loss of a loved one, it is a deep emotional state. It has nothing to do with the undead or other fantasy themes, it’s all about living people and their struggles.” Continue reading »