Islander

AN NCS VIDEO PREMIERE: FELL OMEN — “BORN TO SIEGE”

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Jul 072025
 

(written by Islander)

Near the very last day of 2024 we hosted the premiere of a song with an arresting (and peculiar) name — “Dungeon Metal Punks Besieging Digital Castles” — presented through a video in which the music was performed by a figure in a suit of medieval armor, who wielded a hurdy-gurdy in the song’s opening. “Bonkers” was one of the words we used to describe the experience. Other words included “wild,” “fantastical,” “sinister,” “something like a hybrid between a battle charge and an exhilarating folk dance, both of them time-traveled from the Middle Ages and envisioned through the lens of a black crystal.”

That song was from Invaded By a Dark Spirit, the debut album of the Greek band Fell Omen, the solo work of one Spider of Pnyx and his first official “metal” release after performing live in dark ambient, neofolk, and noise settings, after contributing to the music of Mystras and Spectral Lore, and after also gaining recognition for crafting intricate cover art under the alias Gilded Panoply for black metal and dungeon synth artists.

We might have speculated that Invaded By a Dark Spirit would be a one-and-done curiosity, but it was received with considerable enthusiasm among listeners and reviewers (including us), and so Fell Omen has thankfully forged onward. Today we happily spread the news that in August True Cult Records will release a second Fell Omen album, this one named Caelid Dog Summer.

And we also happily have for you today the premiere of another Fell Omen video for the album’s first advance track, “Born To Siege“. Continue reading »

AN NCS VIDEO PREMIERE: EMISSARY — “HOBB’S END”

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Jul 072025
 

(written by Islander)

Some emissaries are open about the powers they represent, others are secretive or deceptive or simply misunderstood. The biblical Gabriel made quite clear who he represented. “The prince of the power of the air” had agents who were more secretive about their fiendish missions. We all know that big wooden horse was filled with Greek soldiers, but the Trojans thought it was a parting gift.

The Barcelona band Emissary are open-faced about their musical mission. The name they chose for their debut album — Eldritch — further signifies where they want to lead us: In their music they act as agents of cosmic horrors, beckoning us into “a labyrinth of shadowed realms where the unknown reigns supreme,” guiding us toward “a descent into madness” that “blurs the lines between reality and nightmare”.

Those are among the words offered to listeners on behalf of Fetzner Death Records, which released Eldritch in March of this year. We have some words of our own to offer, along with our premiere of a video for a song off Eldritch called “Hobb’s End“, which we hope will help spread the word of this Emissary to new listeners. Continue reading »

PATRISTIC: “CATECHESIS”

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Jul 072025
 

(What follows is DGR‘s review of the stunning debut album from the Italian band Patristic, out now on Willowtip Records.)

The evolution of black metal as a genre remains as constant as ever. Its grasp is one that artists cannot seem to escape; there is an unholy draw to the offerings of the dramaticism, high-end shrieking, and outwardly reactionary and purposeful abrasiveness of the style. Each person approaches it as if they have something different to lay at its altar (offerings small or large) and thus the genre continues to find itself in a steady yet chaotic rate of high-speed metamorphosis. New ideas are interjected, rejected, stitched onto, and forced into place at times, but all creates this whirling sphere of metal that could eclipse galaxies in utter darkness.

Not every group is original or looking to change the book on things, which is how we’ve wound up with generational views of a genre that is also now well-aged. We’ve codified and crystalized certain styles — hell you could argue some have even ossified to the point of near parody. But the infernal harvest does remain forever fruitful, and whenever an artist you’ve been following for a while decides to take a crack at it, you can’t help but be intrigued.

How does a genre emerge once it is filtered through that particular creature’s viewpoint? Are there changes? Do they seek to just replicate and add to the pile of skulls already creating the throne or are they looking to adapt and bend it to their own ways? Is there a statement to be made in any regard that black metal becomes the only screen through which they push their own music? Continue reading »

SHADES OF BLACK: PESTILENTIAL SHADOWS, SEA MOSQUITO, PROFANE ELEGY, CRUENTATION, BEANNACHD LEIBH, MORTE TRIUNFANTE, ROUGAROU

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Jul 062025
 


Pestilential Shadows

(written by Islander)

I’ve been distracted by the tragic flooding in Central Texas, where I grew up. I still have a brother and sister-in-law in that area. Their property has been hit hard, but they are alive and whole, unlike a lot of other people. The rains continue, and so will the death count.

Nothing much I can do about this up here in the Pacific Northwest other than worry and grieve. The music provides a temporary distraction, and even some moments of catharsis. I hope what I picked today will do you some good too. The collection includes five individual songs, an EP, and an album. Continue reading »

SEEN AND HEARD ON A SATURDAY: JUDAS PRIEST, AMPHISBAENA, FAUNA, SUNKEN MONOLITH, MALPHAS, ABRAHAM

 Album Reviews, Metal News, RANDOM FUCKING MUSIC, SHORT BUT SWEET  1 Response »
Jul 052025
 


Black Sabbath, 1970, photo by Chris Walter

(written by Islander)

Post Fourth of July, I hope you all still have 10 fingers and are non-concussed. Way up here on the northern rim where the day takes its sweet time slipping away, I didn’t stay awake long enough for the sky to turn and finally become a black backdrop for fireworks. But I did do a modest amount of carousing with friends and family before punching out, so it’s another late start for this Saturday roundup.

I’m beginning with a big dose of nostalgia and then shifting into more current generational directions. In thinking about how I’m beginning and what follows that, the words of Isaac Newton come to mind: “If I have seen further [than others], it is by standing on the shoulders of giants.” (Though in this context what the successors are seeing is in further darkness.) Continue reading »

AN NCS PREMIERE: FERMENTO — “THE STENCH SPREADING TO YOUR PROGENY”

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Jul 042025
 

(written by Islander)

If we had had our head screwed on straight and allowed a few minutes of calm thought instead of chasing after passing cars, we would have sent Fermento a few interview questions to accompany preparation for this premiere. Or at least one question: “What in the world caused you to make such a significant shift in sound on your new album?”

That question is the elephant in the room. Fermento made some big marks in the pages of Spanish (and even global) metal history, as perhaps the first death metal band in Spain when they formed in 1991, and as among the brick-layers over the next decade-plus in the building of the hostile edifice known as brutal death metal, with their 1997 debut album Symbols of Decrepitude, Symbols of Supremacy as a keystone.

Signs of restlessness became evident in their 2004 sophomore album Insignia, which followed the band’s move from Madrid to Ourense in Galicia and was far away from straight-forward brutal death metal, and in 2009’s Recipe for Cremation. But for as much evolution and experimentation as those albums revealed, they were still rooted in traditions of death metal.

Something clearly happened in the roughly 14 years that have elapsed since that third album and the new one, Acts of Blood, because, by the band’s own admission, it represents “a bold evolution in their musical direction.” Continue reading »

UPON STONE: “END TIME LIGHTNING”

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Jul 042025
 

(Here we have DGR‘s review of a new EP by California’s Upon Stone, which saw release in June of this year via Century Media.)

Southern California’s Upon Stone continue to remain an interesting proposition in the world of melodeath. A newer upstart project in a world in which melodeath is starting to see acts of varying throwback styles – it seems right now we have groups specializing in particular ‘eras’ of the genre as a whole – Upon Stone could’ve easily gone the route of being a complete influence-worship act.

Considering that the band’s first full-length arrived early last year by way of Century Media after a single EP in 2021, you could’ve imagined the Upon Stone crew arriving with a gloss and sheen that might’ve blinded people from space. Instead, the band hewed pretty close to the late ’90s, early ’00s melodeath roots and combined it with a lot of gravel and grit that would’ve otherwise been associated with more thrash and trad-metal leaning counter parts. The result was a surprisingly fiery if not equally straight-shooting full-length in Dead Mother Moon and one whose bloody-knuckled scrappiness at least could not be denied.

Upon Stone still had some gas left in the tank though, as late June saw the arrival of a new three-song EP from the band entitled End Time Lightning. Armed with two new songs and a cover of the Manowar song “Outlaw”, it would seem as if Upon Stone felt they needed to resume right where they left off last time, just with a little bit more focus on the double-bass roll because you don’t get to entitle your new EP End Time Lightning without at least one of the songs sounding as if you were riding into a world-ending battle. Continue reading »

AN NCS EP PREMIERE (AND A REVIEW): I PROÉLEFSI — SELF-TITLED

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Jul 032025
 

(written by Islander)

The Scream!

Despite the fact that black metal has warped in ways that never would have been foreseen by its young first-wave and second-wave progenitors, certain tropes still tend to define the genre in the minds of many bands and listeners. One of those is the screaming — the harsh, high-pitched, rasp-edged vocal volatility that has contributed to both the raw aggression and the supernatural aura of the genre.

What happens when there are no screams? And not just no screams, but reputedly no vocals of any kind, not even the kind of deathly gutturals and possessed wails (among many other vociferous manifestations) that have found their way into the genre?

Well, the answers vary among the small range of black metal projects, usually one-person formations, whose music is entirely instrumental. In the case of the Chilean project I Proélefsi, what happens is a range of experiences that include both atmospheric and avant-garde elements, drawing inspiration from, the likes of Emperor, Setherial, Abigor, and Limbonic Art, as well as Dark Ambient music.

You’ll discover the initial results of I Proélefsi‘s creative visions (near wordless but not entirely so) in the band’s self-titled demo that we’re about to premiere. But before getting to the music, we’d like to share what the band’s solo creator M. has to say about it: Continue reading »

AN NCS VIDEO PREMIERE: OPHIOLATRY — “REVENGE”

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Jul 032025
 

(written by Islander)
Originally emerging from the depths of Brazil’s extreme metal underground in 1998, Ophiolatry have earned increasing amounts of global attention over time, especially since their return with a renewed lineup in 2021 after a 13-year hiatus, and most especially because of the multi-faceted power of their newest album Serpent’s Verdict, released last month by WormHole Death Records, which has garnered a widespread positive response.

Even the album’s inspirations stand out. As described on behalf of the label: “The album delves into themes of spiritual revenge, indigenous resistance, and the clash between ancient traditions and imposed beliefs. Inspired by real events in the Amazon, mythology and existential suffering, the lyrics paint vivid scenes of war, punishment and transcendence through pain. Each song tells a story, whether it be warriors resurrected for revenge, the wrath of serpent gods, or the fall of oppressive ideologies. The words are raw, intense and unrelenting, reflecting the chaotic brutality of the music itself.”

Musically, the album stands out from the pack too, and as a reminder of that we’re premiering a video for the song “Revenge“. Continue reading »

OBSCURITIES – VOLUME XVII: SORE FEET AND MORE METAL

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Jul 032025
 

(Still recovering from recent festival experiences but still carrying on, Daniel Barkasi brings us reviews of six strongly recommended albums released in May 2025.)

Yeah, I know, this column is late – very late. My review(s) and photos (Day 1 and Day 2) of Fortress Festival took my full attention since returning, and coupled with a lot of day job and farm stuff, because we basically have a farm at this point, have gone hand-in-hand with catching up on May releases. I need to actually absorb an album and fully grasp the nitty gritty details to come to a fair conclusion, so this also wasn’t going to be rushed. I go full bore into everything, or else I’m not going to do it. Most who routinely immerse themselves into this sort of music aren’t the casual types, and I don’t think I’ve been casual about a whole lot in my existence.

Therefore, here we are, and my feet are screaming; thanks, plantar fasciitis and metal festivals. We’d do it all again, of course. Continue reading »

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