Islander

Jan 172023
 

 

I almost never attempt to write album reviews except when we’re hosting full album premieres, and occasionally as part of the black metal column I put together on Sundays. It’s not for lack of desire, just a consequence of being squeezed for time after completing everything else I do around this joint. Doesn’t mean I don’t listen, just means I’m usually forced to keep my thoughts to myself.

And so what you’re about to read is a relative rarity for me, spawned not only by a belief that Phantom Centre, the new album by the Swedish post-metal/sludge band Kollaps\e, is deserving of whatever push I can give it, but also by an unexpected gift of free time. Continue reading »

Jan 172023
 

 

Welcome to Part 12 of this ever-expanding list. More often that not, I’ve had some kind of organizing principle for the songs collected in previous installments, even if it’s been nothing more than the letters which begin the bands’ names.

Today I don’t have any kind of thematic or stylistic grouping. It’s just three songs I really enjoyed from last year and thought should be on this list.

Continue reading »

Jan 172023
 

Even in the most hostile, harrowing, and abrasive off-shoots of metal, the power of the riff stands tall. Distinctive riffs create detectable patterns in a song, even when they’re not also carrying melodies or rhythmic hooks. And even a site such as ours can’t deny the power of a strong vocal melody. Harsh vocals can vitally contribute to the creation of an emotional response or become percussive instruments themselves, but singing is often a more potent ingredient in channeling a mood or making a song memorable.

These ingredients of music, even in its more extreme variants, create instinctual connections to the human mind. Vast amounts of academic research and philosophical speculation have been devoted to trying to explain why this is, but whatever the answer, the connection seems to be primordial, likely pre-dating language or even the full evolutionary development of the human brain as it now exists. It is a universal language that everyone understands, innately.

Of course, complex and discordant music (and noise) has its own appeal, for reasons that are maybe even less well-understood, but it’s those primordial connections that often prove most formidable.

Which brings us to Breath the Oath, the forthcoming second album by the Dutch stoner doom trio Pander that we’re premiering today in advance of its January 20 release by Argonauta Records. Continue reading »

Jan 172023
 

(This is Wil Cifer‘s review of the new album by Obituary, just released on January 13th by Relapse Records.)

In 1989 I first heard “Slowly We Rot” on a college radio station that played metal at midnight every Friday night. What struck me about Obituary was the deliberate grind of guitars and John Tardy‘s emotive yowl that separated them from the other death metal and thrash bands at the time. Their sound owed more to Celtic Frost than Slayer or Venom.

Those kinds of Celtic Frost like groove do not play as defining a role in their new album Dying of Everything, however I was also not expecting the thrashing ass-kicking the opening track unleashes. Any concerns regarding this album living up to their established legacy were squashed. The more Slayer-like attack is balanced out by Tardy‘s distinctive voice reminding you that this is Obituary. They bring back the headbanging grooves on “Without a Conscience”, and Tardy‘s sneer is given time to articulate the agony. Continue reading »

Jan 162023
 

Straight outta British Columbia’s Okanagan Valley comes the death metal band Nomad and their debut album The Mountain, which is home to songs that are both heavy-grooved and technically adventurous, both fiendishly melodic and strikingly savage, and with a wide-ranging vocal interplay that features three different performers.

As a vivid sign of what Nomad have done with The Mountain, we’re going right to an electrifying and politically charged new song named “Revolution”. Continue reading »

Jan 162023
 

In the video you’re about to witness, esoteric undertakings unfold. By candlelight Tarot cards are turned, texts are examined, a potion is made. Under overcast skies a hooded figure with a gnarled staff and inhuman talons staggers through befogged forests. A spade parts the ground, to unearth a buried medallion bearing the pentagram sign.

The words of the song also delve into ancient occult mysteries. As described by the music’s creator, the Costa Rican musician and producer Max Gutierrez Sanchez, here in his guise as Hermès, the sole creator behind Grandiosa Muerte: “”Destino” is an evocation of the ancient knowledge of the Mayan world, intimately linked with the Sacred Fire and where the figure of the Nahuales, spiritual forces that contain and transmit the perfect human being archetype, emerge in an imposing manner.”

More specifically, the lyrics “invoke Nahual Ajpu, the Solar Warrior and Sorcerer, and intermingle it with other incarnations extracted from the Popol Vuh to materialize in a mental preparation ritual before accessing the domains of man, where the music emerges as a continuous flow of melodies and hypnotic rhythms that keeps in the fast lane of rampant ferocity.”

That preview of the music is no exaggeration. In its rampant ferocity, “Destino” is breathtaking in its electrifying power and intensity. Continue reading »

Jan 162023
 

(Our old friend Justin Collins returns to NCS with this guest review of a new album by Palace of Worms, which is set for release on February 3rd by Acephale Winter Productions.)

I’m going to say upfront that I’m not going to be able to do full justice to Palace of Worms‘ latest (and possibly last) album, Cabal. That’s because the very act of describing all of the sounds that have gone into it makes it sound slightly insane. Broken down to their component parts, a lot of these songs have no business being as good as they are, but yet, here we are. I wouldn’t be writing this if the album was a haphazard mish-mash.

Palace of Worms has always been roughly categorized as black metal, although that’s as much because we’ve all decided that’s the easiest way to categorize it, in spite of the fact that there’s always been a fair amount of outside influence. Even the last full-length, The Ladder, had a pretty solid core of black and post-black metal, but had plenty of other influences. The album’s very first track started out with a ripping hammered dulcimer riff courtesy of Botanist‘s Otrebor, after all. Continue reading »

Jan 162023
 

Starting the third week of this annual songfest I picked three that go together so well, in addition to being infectious standouts on their own. It happens that two of them were also presented by two of my favorite videos of 2022.

ENSLAVED (Norway)

In putting together these lists there’s always been a bit of confusion in my mind about what to do with songs that premiered in one year from albums not due for release until the following year. Here’s a case in point: Enslaved‘s new album Heimdal isn’t due out until March 3rd of this year, but the song “Kingdom” from that album debuted in August of last year. So should it be considered for the 2022 edition of this list or should I wait a year and make it a candidate for the 2023 list?

I don’t think I’ve had any consistent policy on this issue, though in general I hate waiting. In this case the song was first released as a stand-alone single almost three months before the album was even announced, so that seems like adequate justification for putting it on the 2022 list now. Continue reading »

Jan 152023
 


Blaze of Sorrow (Peter)

I forced open my sleep-crusted eyes and struggled to focus on the bed-side clock. Sluggish math told me I’d been asleep for 8 hours. Should be enough, I thought. But I couldn’t move, like someone had anesthetically severed my spine at the neck while I was out (but was instead the result of football-related alcohol poisoning). Before I could process any more thoughts I was asleep again. The next time I opened my eyes was 3 hours later, and then I didn’t have a choice. It was either climb out of the tangled covers or wet the bed.

As I begin writing this now, the clock says 9:30 a.m., and I haven’t picked a single thing for this column. The temptation to forget the whole thing is strong, but so is the inexplicable compulsion to let no day go by without making some recommendation for people who visit here. So here are just a few before my morning is completely gone. Continue reading »

Jan 142023
 

 

No, this isn’t a weather report on what’s happening in California this Saturday. The post title is just a sign that I decided to “go big” with today’s collection of new songs and videos.

The time it takes me to write up each day’s selections for our 2022 Most Infectious Song list (and surely you’ve been looking at those, haven’t you?) has prevented me from doing any “Seen and Heard” round-ups since January 4th, and consequently the pile of new things has grown to mountainous proportions. Hence the temptation to make this roundup a big one, even though what remains still looks like a mountain.

On the other hand, today IS a Saturday, and coming up I have both a work meeting and an NFL football playoff game I need to watch, even though the odds of our local team winning are remote, so to save time I’ve mostly dispensed with album art and order links, and cut back on the usual verbiage. I’ve organized these according to genre and style. Don’t forget I’ll have another column tomorrow, devoted to shades of black metal. Continue reading »