Islander

Oct 052020
 

 

For the second weekend in a row I made no NCS posts, and this time I didn’t even explain why. The reason was that I took a short vacation with my spouse and friends and spent the weekend in the beautiful wine country around Walla Walla, Washington. There was copious drinking, eating, and sleeping. The covid-related opportunity to average 80 mph (129 kph) driving the 260 miles there and back again was kind of thrilling all by itself. Everything we did was socially distanced (and with only one exception our eating and drinking was done outside), everyone there was masked up, and it felt safe. It was all great, but the weekend left no time for listening to music or writing.

I got back home in one piece late Sunday afternoon, and to extend the holiday my wife and I went out to dinner at a restaurant near where we live that had just re-opened for in-door service. We were the only customers in the entire restaurant, so that felt safe too, though I was sad for them.

With all that behind me, I felt compelled to start this new week at NCS with a selection of new music. Having spent no time this weekend digging deep into what has surfaced over the last week, I made some truly random choices based on some very scattered listening early this morning. But of course I really like what I found, especially because all the songs serendipitously fit together so well. Continue reading »

Oct 022020
 

 

(This is Andy Synn‘s review of the new album by Germany’s Toadeater, which is being released today.)

When it comes to the ongoing discussion about how/whether to separate the art from the artist I tend to err towards the idea that, ultimately, it really comes down to a matter of personal choice.

Sure, we can do our best to engage, discuss, and inform one another on the (not so rare) occasion it turns out that one of our favourite bands or artists turns out to have some… let’s say “questionable” views (or is just a reprehensible, irredeemable piece of shit), but ultimately it’s up to each of us, individually, where we draw the line.

Your circumstances will also affect how you act/react in response when an artist/band crosses that line – for myself there are bands I’ll still listen to but whom I choose not to use my platform here to promote, for example – but the one argument that doesn’t hold any water, not with me anyway, is that you can’t/won’t stop supporting a band “because there’s no-one else as good out there”.

The truth is there’s never been more great music out there. Sure, there’s a lot of dross. But there’s more opportunities now than ever to discover someone/something new when one of your old bands betrays you.

So if you’ve been struggling for a new Black Metal fix to replace your old one, Toadeater have you covered. Continue reading »

Oct 022020
 

 

The title of Ventr’s debut EP — Numinous Negativity — is nearly perfect for the music. Numinous, Luminous Negativity might be slightly better. But the title has meaning beyond the sensations of the music and the visions they spawn in the mind. We’ll come to that momentarily.

The EP may be a debut recording, but it certainly doesn’t sound like a first effort. The band are Portuguese, and the EP will be released by Signal Rex (on October 9th), but the music doesn’t fit neatly into the kind of raw black metal aesthetic that you might expect from those facts.

As for the conceptual underpinning, we’re told that the title refers to “a spiritual and/or religious form of negative perception – the mysteries in the works within the omnipresence of the Devil.” Continue reading »

Oct 012020
 

 

In the midst of a time when it is all too easy to feel desperate and demoralized by forces both human and viral that seem bent on crushing both life and hope, it is worth remembering that humanity has been here before. Remembering such times, and the efforts of valiant people who survived and transcended them, can itself furnish hope. And maybe we can learn something about how this is to be done, as well.

In their new album Forthcoming Humanity, the Greek black metal band Yovel have devoted themselves to such remembrances, and others. A concept album, it is based upon the poems of Tasos Leivaditis, a brilliant poet and a revolutionary, who himself lived through harrowing times, including the second World War. Born in 1922, he died in 1988. Yovel themselves explain:

Tasos Leivaditis lived and wrote for the hopes, struggles and losses of the Greek people and Greek left movement. We found in his writing mourning; but also radiant hope, rooted in our own history but also in touch with the history of the peoples of this world and their struggles up to date. Hιs work stands as a tribute to that history, but also as a statement for our present and our future.” They quote these words of Leivaditis himself (from Confession, The Manuscripts of Autumn):

“One day I want them to write on my grave: He lived on the border of an indefinite age and died for things far away that he once saw in an un-certain dream.” Continue reading »

Oct 012020
 

 

As you can see, the cover art for Hell:On‘s new album, Scythian Stamm, is spectacular. And apart from seizing the attention of the eyes (and of the viewer’s imagination), it also very well suits many aspects of the music crafted for the album by this Ukrainian death metal band. Like the artwork, the music itself generates visions of otherworldly menace and power, of monstrosity and hideous glory.

Now fifteen years into their career, Hell:On have had plenty of time to focus and hone their sound, and this new sixth album makes that clear through superior songcraft and a combination of shuddering force and mesmerizing sorcery. This much is evident even from the single song we’re premiering today in advance of the album’s release on November 1st by Hell Serpent Music. Its name is “The Architect’s Temple“. Continue reading »

Oct 012020
 

 

(In this review Vonlughlio provides a strong recommendation for the new second album from the UK brutal death metal band Oncology.)

Today’s subject is an amazing band from the UK named Oncology, who on July 17th released their sophomore album Omniversal Antigenesis via Rising Nemesis Records.

This is a project that started in 2014 and released a single called “Prelude to Oblivion”. The following year they released their demo The Metastasis consisting ofthree songs.  But I discovered them in 2016 with their first album Infinite Regress and right away became a fan. Really enjoyed the riffs in each of the songs, very quality writing, and vocals that fit the music perfectly.  The drums on this release were programmed, but well done I might add. Continue reading »

Sep 302020
 

 

This is an example of “better late than never”, to put it mildly. Humanity Is Cancer wrote the songs on their forthcoming self-titled debut EP back in 2014/2015, as guitarist Thomas Haywood was just about to launch his two labels, Redefining Darkness Records and Seeing Red Records, whose releases have received considerable acclaim in the ensuing years. As a result of the effort devoted to the labels, the EP was put on hold — but it will now finally see the horrid light of a November day in a truly terrible year that has abundantly proven the truth of the band’s name.

And it is definitely better late than never. The four songs on the EP are all terrific, delivering with considerable mastery a style of death metal that draws upon the influence of Aeon, post-Barnes Cannibal Corpse, Morbid Angel, early Decapitated, and Bloodbath. The music’s immediately addictive rhythms are pulverizing, its morbid, preternatural melodies are memorable and haunting, and it achieves heights of ferocity that are spine-tingling. Continue reading »

Sep 302020
 

 

(For the September 2020 edition of THE SYNN REPORT, Andy Synn focuses on the discography of Minnesota-based Feral Light, including a review of their 2020 album Life Vapor.)

Recommended for fans of: Tombs, Cobalt, Wolvhammer

So while these guys weren’t my original choice for this month’s Synn Report, the truth is I’ve been itching for a chance to write more about them for a while now, particularly since we didn’t manage to publish a review of the band’s third album, Life Vapor, (although we did host a premiere for it) when it was released back in May, so I’m more than happy that things worked out this way.

Hailing from the grim, snowbound wastes of… Minneapolis, Minnesota… Feral Light (who comprise the dynamic duo of Andrew Reesen on drums and Andy Schoengrund on guitars/vocals) deal in a gritty, gruesomely groovesome brand of Black ‘n’ Roll which has, over the years, also developed an increasingly savage-yet-sombre (not to mention ever-so-slightly proggy) edge to it.

And with three full-length albums now under their belt, I felt it was high time that more of our readers got to know (and love) them as well as I do. Continue reading »

Sep 302020
 

 

Conveniently, the first three tracks from Apochryphal Revelation‘s new album — the three that actually open the record — can be streamed right now, one after the other. Today, leading up to the November 1 release of Primeval Devilish Wisdom by Nuclear War Now! Productions, we’re adding a stream of a fourth song — “Obscure“. It comes later, sitting close to dead-center in this 15-track destroyer. Probably the right way to do this is for you to run the gauntlet of that opening trio before doing anything else.

We’ll make that easy for you, but as a preview we can say this: The first two of those tracks, the title song and “Wickedness”, are short ones, and that title track is a dream-like organ prelude (with a few rumbles of thunder in the distance). It’s the second one that begins to give you a sense of what this band are up to, even though it’s also an instrumental track — and what they’re up to is indeed wicked. The music pulses with primal, carnal vitality. It melds dirty, thrusting riffage, gut-busting drum blows, and eerie, screaming tones, like the emanations of a tortured specter.

On the other hand, the third track in the opening triumvirate, “Profane“, is longer than the first two combined. Still very wicked it is, still very devilish, but more than a little insane too. You get to hear voices (inhuman echoing roars bouncing from ear to ear), and while the music does continue to have a “stripped-down” sound, its galloping, hammering beats and raw, seething and searing chords channel blood-lusting frenzy. The guitar rakes like obsidian claws too, and becomes a demented, feverish, shrieking poltergeist as well. The music surges into wild chaos, a combination of maniac drumming, boiling fretwork, and rabidly sadistic vocals. Might make you imagine the ecstasy of demon lords raping and pillaging the damned souls given to them for an eternity of agony. Continue reading »

Sep 302020
 


photo by Jay Dixon

 

(This is DGR’s review of the latest EP by Pig Destroyer, which is out now on Relapse Records.)

Honestly, before it was made clear what Pig Destroyer‘s latest EP The Octagonal Stairway was meant to be, there was the briefest of double-takes, as I could’ve sworn there was already an “Octagonal Stairway” single released way back in 2013. Eventual digging would prove that memory true, and it didn’t take much more to clarify what this EP was.

Pig Destroyer have made a name for themselves catching people off guard with some of their EP work, usually with grander aspirations than just a rocket-fueled grind assault. Their latest full-length Head Cage did the same thing but with giant mosh riffs and huge grooves instead of artistic exploration into other genres. That being the case, even with a name like Pig Destroyer it’s still fun to see what the band are going to hurl at you through your speakers.

In this case the EP is a newly approached version of its title song, a collection of two of their singles that came out in 2019 – one via Decibel flexi disc and another an Adult Swim singles release, much like the title track here – and then three electronic experiments that either resolve into sound or are otherwise meant to slowly crawl under the skin and unnerve you. If it feels to you as a listener like a release with multiple personalities fighting for some sense of identity, you wouldn’t be the only one in thinking so, but it is very convenient to finally have these songs under one roof if you weren’t able to find them otherwise. Continue reading »