Islander

Aug 042021
 

 

At 13 tracks and an hour of music, Hexenklad’s recently released second album Heathenheart is a substantial body of work, and a wide-ranging one. Although “folk/black metal” or “pagan metal” are genre labels you might see attached to the band, Heathenheart moves among episodes of wintry blackened moodiness, warlike savagery, grand pageantry, acoustic folk tales, and a lot more.

As the band themselves report from Ontario, “From the coldness and rawness found in Black Metal to the uplifting and memorable melodies found in Folk Metal, to the hooks and choruses found in Heavy Metal,” the record is a broad representation of the members’ varied influences and personalities, and it brings to mind bands such as Moonsorrow and Dissection, Primordial and Insomnium.

Among all the varying experiences offered by the album, the title track is one that’s truly moving and inspiring, and it’s the subject of a riveting guitar playthrough video that we’re premiering today, which focuses on the talents of Hexenklad guitarist John Chalmers. Continue reading »

Aug 032021
 

 

With their forthcoming sixth album, Revenant, the formidable and fearsome Australian black metal band Pestilential Shadows immerse themselves in death, while imagining an end that brings no rest. Inspired by the riddle “What is dead that doesn’t die?, “the album offers many sonic/spiritual pathways of death, decay, pestilence, and putrefaction” (so says the PR material accompanying the album, and the music leaves no doubt about its truth), but the album’s title signifies that in the band’s conception, what may follow the swinging scythe of the grim reaper are horrors unbounded.

In other words, the darkness in the new album is pitch-black, and shrouded by the supernatural. But what founding vocalist/guitarist Balam and his bandmates have achieved on Revenant goes beyond sensations of bodily degradation and mental terror. The music is even more powerfully haunting because it so powerfully resonates with the core of what it means to be human — the curse of knowing life and knowing that it won’t last, with all the dread, the fear, and the sorrow that can come with that knowledge.

For example, the song we’re premiering today, “Twilight Congregation“, might be experienced as a channeling of the awful gloom and anger of a soul brought back from the grave to dwell in an endless afterlife of torment. But to the ears of this writer, it can also be received as a manifestation of the kind of shattering heartbreak we have all known or will know. Continue reading »

Aug 032021
 

 

More than three years have passed since the release of The Great Adjudication by the Australian band Claret Ash, and even longer since Fragment One of this two-part album first appeared. But the memory of it hasn’t dimmed among those of us who became captivated by it. As our own Andy Synn wrote in a review accompanying our full premiere in April 2018, there’s “a plethora of blackened brilliance on display across the length and breadth of this album”, evoking comparisons to the likes of Wolves In The Throne Room, Der Weg Einer Freiheit, and early-2000s-era Gorgoroth.

The planet has been engulfed in turmoils of unforeseen nature and scope since The Great Adjudication, and it appears that Claret Ash have themselves changed, at least in their line-up, yet The Great Adjudication lives on as a formidable example of riff-heavy aggression melded with soul-stirring melody. As a reminder of what a fine album it was (and is), and perhaps as a sign of something new brewing in the Claret Ash bastion, we’re today presenting a brand new video for a tumultuous yet also captivating track that appeared on Fragment Two of The Great Adjudication — “Like Tears In Rain“. Continue reading »

Aug 032021
 

 

(Comrade Aleks brings us many illuminating interviews, but this one hits a high level, much like the music. The discussion comes with our thanks to Max Johnson from the U.S. black metal band Noltem, whose debut album is set for release on October 15th by Transcending Obscurity.)

Elegant and fluid atmospheric black metal from Connecticut-based Noltem was exposed by Transcending Obscurity Records just a month ago, but their first revealed tracks, “Illusions in the Wake” and “Ruse”, are just teasers for the whole album which will be released physically very soon. Vast soundscapes taking form from breathtaking harmonies, piercing vocal lines, and a wide palette of dark moods are delivered by this trio with flawless effectiveness and high competence.

Noltem is recommended for fans of Agalloch and Panopticon, and I agree with this reference, though you’ll find that their individuality reaches out beyond this fluid sub-genre’s borders. Max Johnson (guitars, bass, keyboards), John Kerr (drums, vocals), Shalin Shah (bass)… who will enlighten us and reveal the driving force behind Notlem? It seems that Max is on line tonight. Continue reading »

Aug 022021
 

 

The first song I heard by the blackened death punk band New Hell from Providence, Rhode Island, was a single called “Ashes” off their 2020 EP Phosphorus. It was a super-heated race that left vivid after-images, but in addition to delivering a searing adrenaline kick, there were feelings of tension and angst in those sounds, as well as oppression and bleakness. Now we come back around to new New Hell again, but it’s a different kind of hellishness we have from them today.

What we have now is the premiere stream of a track called “Abuse of Power“, which is being released today as a single but will be included on the band’s forthcoming split with New Hampshire’s The Slow Death of Gaia, which will be released on August 28th by Deciduous Records. Continue reading »

Aug 022021
 

 

The perfectly named Red is the Color of Ripping Death is the first Nunslaughter album in seven years and the first one since the 2015 death of the band’s beloved drummer Jim “Sadist” Konya. For those who knew him, it is clear that he will always be missed, but he would no doubt be smiling along with the rest of us to know that Nunslaughter have forged ahead in such savage and fiendishly seductive fashion.

What we’ve got for you today is the premiere of an album track named “Broken and Alone“, accompanied by a music video that pairs scenes of a serial-killer at work with footage (red-tinged of course) of the band discharging the song like wild animals in the throes of ferocious ecstasy. Continue reading »

Aug 022021
 

 

As you may have gathered from my two weekend posts, I spent a lot of time listening to new metal over the last 48 hours. I watched videos for new songs too, and have collected five of those here, which I hope you’ll enjoy as much as I did.

ISKANDR (Netherlands)

This first video is a fascinating collage of images, with credit for the film going to Teresa Elizabeth Lobos. The music by Iskandr is equally fascinating. It’s the sound of a sinister dream, an embroidery of acoustic chords and ringing guitars, of gritty gargoyle snarls and flesh-flensing screams, of shimmering synths and eerie, mercurial arpeggios. It includes a slower and spellbinding break near the end that features choral vocals and a feeling of rising, ominous grandeur. Continue reading »

Aug 022021
 

 

(Wil Cifer reviews the new third album by the California death metal band Ruin, which will see release on August 27th on 12” vinyl by Nameless Grave Records, on cassette through Nero One Records and Death Metal Cult, and on CD through Goat Throne Records.)

Death metal should be the sonic equivalent of the kind of aggression that possessed Charles Manson’s hippie love slaves when they carved the baby from Sharon Tate’s womb. That is the same vibe I hear when listening to this album. There is not a bunch of pulp horror posturing but real violence from the hateful heart.

This cult of deviants is back with a nastier and grimmer offering, which is impressive, as I really loved Human Annihilation. These miscreants deliver the kind of dense heaviness they are known for, but this time around the songwriting has more attention to detail and the playing is more musical with actual guitar melodies wallowing in the murk. Continue reading »

Aug 012021
 

 

This week I decided to devote the column to four complete new releases, three of them albums and one of them an EP. I found all of them to be tremendously gripping in different ways.

HORNWOOD FELL (Italy)

It would go too far to call Hornwood Fell chameleons. They do change their musical colors, but not to match and blend in with some background setting (such as what other bands might be doing). They change to capture colors in their own heads, which seem to move like pools of mercury on a subtly shifting sheet of steel, catching different lights. And it’s not just the sounds that shift and re-form. The themes and inspirations change too. Continue reading »

Jul 312021
 

 

I know I often sound like a broken record, but this is yet another Saturday following a week in which I fell way behind in listening to new music, other than what we premiered and bits and pieces of albums that other NCS scribblers wrote about. I spent hours this morning adding to my listening list and then only scant time darting around that list with the headphones on. Here’s what I landed on that I wanted to share… with a lot more listening lined up for this afternoon.

SUCCUMB (U.S.)

This first song, “Okeanos“, is such an intense squall of sound in all ways, from the brazen and mutating discordance of the riffing to the relentlessly riotous drumming, the bone-smashing impact of the grooves, and the stunning voracity of the vocals. Not so much like crouching indoors during a hurricane and more like charging outside in the midst of it. Continue reading »