Islander

Mar 162018
 

 

There is no shortage of death metal bands whose aim is to inflict brutal punishment while showing off their speed and technical dexterity, but some are obviously better at it than others. Widow’s Peak from Calgary, Alberta, Canada are one of those groups who stand out from the pack, and the song we’re premiering today provides abundant evidence of that.

The name of the track is “Mother Misery“, and it comes from the band’s new EP, Graceless, which will be released on April 27th. It provides an inventive display of breathtaking destructiveness married to kaleidoscopic, head-spinning instrumental performances, and further reveals an unconventional taste in melody that makes the song even more fascinating. Continue reading »

Mar 162018
 

 

To borrow a phrase from Monty Python, “And now for something completely different.”

Consider this: a Spanish band named Inhumankind whose musical instruments solely consist of the flute and the acoustic double bass, and who draw freely in their compositions from a broad range of musical inspirations, including (but not limited to) classical and black metal; with minimalist lyrics that draw upon the left-hand path, voiced in ritualistic fashion by two accomplished women and a vicious death growler; and an album named Self-Extinction that was produced by Colin Marston (who also contributed percussion to one of the tracks). Consider further what the esteemed Mr. Marston has said about the album:

“Existing at the nexus of modern classical music and extreme metal, Inhumankind have a completely unique sound. Aggressively played flute, acoustic bass, and occasional vocals are excellently employed to create compositions that are simultaneously sparse and complicated, awkward and confident. This is one of the most original albums to come across my desk in quite some time!”

And now take a deeper look at the cover painting by Italian master Ettore Aldo Del Vigo.

If you have not become intrigued by now, then your time might be better spent elsewhere. If your interest has been piqued, however (mine sure as hell was), then you will want to experience the two songs from Self-Extinction that we’re presenting today in advance of its March 30 release by I, Voidhanger Records. They might take you far out of your listening comfort zone, but you’ll be hard-pressed to find anything more original and distinctive this year. Continue reading »

Mar 162018
 


Photo by Mattias Nilsson/Madcap Piktures

(Not long ago Andy Synn launched a regular Saturday series at our site called Waxing Lyrical, devoted to discussions with metal musicians about the lyrics of their songs and the process of creating them. That inspired Norway-based NCS contributor Karina Noctum to pose similar questions to Swedish musician Johnny Pettersson, and you’ll find his answers below, following Karina’s introduction.)

 

Musician Jonny Pettersson from Sweden has been prominently featured here on NCS with many of his bands. He is pretty active and some of his most-known bands are Syn:drom and Wombbath. Other projects of his are Just Before Dawn, Ashcloud, Gods Forsaken, Henry Kane, and Ursinne, to name a few.

With such a vast discography this article will focus primarily on his Swedish DM band Wombbath, whose latest release was a split with Germany’s Obscure Infinity called Upward On A Thousand Lies (Wombbath’s side was premiered here), but with attention also given to Henry Kane, which soundwise is in the same vein but tending more toward grind, and last but not least to Gods Forsaken, a DM project with a mix of mid- and fast-paced parts. It is definitely recommended for fans of Bloodbath, Dismember, and old At the Gates. An interview about Gods Forsaken conducted by Decibel Magazine can be found here. Continue reading »

Mar 162018
 

 

(Comrade Aleks brings us this interview with Andy Clarke of The Crawling from Northern Ireland.)

 

Lisburn-based death/doom outfit The Crawling have been philosophizing on the themes of depression and misery since 2014, yet their debut full-length record Anatomy Of Loss, released by Grindscene Records in 2017, sounds like a full-scale anger-management course. Seven songs with an ideal total running time of 45 minutes will draw you in to an aggressive and bitter mid-paced death/doom nightmare. The Crawling are pretty melodic, but these melodies are razor-sharp and effective as a knife; besides that, the lyrics are quiet realistic. There’s not anything unnecessary on this album.

Do The Crawling have something new? I’ve asked Andy Clarke (guitars, vocals) about it, and thanks to him for the time he spent answering this. Continue reading »

Mar 152018
 

 

I was tremendously impressed by Endless, the 2014 debut demo by this band from my old hometown of Austin, Texas, so much so that I attempted to be more poetic than usual in my enthusiastic review. It was thus exciting to discover that Hinayana would be releasing a debut album named Order Divine on March 19th. Having now become immersed in the album for days, it has proven to be even more impressive than Endless. And so it is our great pleasure to share a full stream of the album with you today.

In the simplest terms, the music here is doom-influenced melodic death metal, but of a kind that consistently reaches heights of epic grandeur. Embracing moods of defiance, loss, and grim but glorious triumph, the dramatic, blood-pumping songs are capable of transporting listeners far, far away from the mundane, drab events of daily life, sending emotions soaring and thoughts flying into mythic realms. Continue reading »

Mar 152018
 

 

Last August I discovered Convocation, a relatively new Finnish band with an auspicious line-up consisting of L.L., who writes the music and performs all the instruments, and M. Neuman, who handles the lyrics and vocals. L.L. is also the main man behind Desolate Shrine, whose 2017 album Deliverance From the Godless Void (reviewed here) was one of last year’s stand-out records, and Neuman is also the vocalist for the wonderful Dark Buddha Rising.

At the time of that August discovery, the Convocation Bandcamp page was populated with unmastered versions of four tracks, all of which had appeared just days before, but weren’t there for long. I was particularly taken with “Ruins of Ourselves“, a staggeringly heavy union of funeral doom and death metal. It was punishingly crushing, with titanic, gloomy chords and gut-punching percussion that together made the earth seem to quiver. Spectral guitar melodies, eerie ambient layers, and Neuman’s own haunting clean tones gave the music a ghostly atmosphere — though most of the time his vocals were terrifyingly craggy. And in addition to being stunningly heavy, the music was mesmerizing.

Just based on that one song, I was quick to write that Convocation would be “a brilliant new entry into the annals of doom/death”.

Later last year we happily announced for the first time that Convocation’s debut album, Scars Across, had been mixed and was ready for mastering — and that the Italian label Everlasting Spew Records would be releasing it by the spring of this year. And so, that is now coming to pass. The album will be released on March 30th, and today we’re privileged to bring you the premiere of the album’s stunning title track. Continue reading »

Mar 152018
 

 

(Our Norway-based correspondent Karina Noctum brings us this interview of Apollyon from the Norwegian black/thrash band Aura Noir, whose new album Aura Noire will be released on April 27th through Indie Recordings.)

 

How do you innovate and keep your sound current while dealing with an old-school sound?

We are just doing what feels natural to us. Also we are mixing ourselves this time to be sure it doesn’t sound too flashy.

 

I attended the Party.San gig last year and there were some sound problems. Besides technical problems, how do those kind of incidents affect the mood while you’re playing live? Do you need to be in a particular mindset to perform your best?

We have a different sound on stage than the sound you hear in the crowd. So it can sound shit to us but good to you or the other way around. For us it is more inspiring to have a good sound on stage obviously. If we cannot hear what we are playing it will of course affect our performance and maybe we will look less confident/inspired. It’s a never-ending worry of course, and can become less worrying by bringing your own soundguy/stage monitor guy… loads of crew. But of course all this costs money so mostly we just use the local crew/sound people. Some of them are good.. .some are not. And some misunderstand how we want to sound. The dream would be to be able to be your own sound technician every night, but that is physically difficult. Continue reading »

Mar 152018
 

 

For want of a better term, some of us refer to certain kinds of songs as a “journey”, because the music changes as it proceeds. Abrupt and unconnected changes wouldn’t normally bring that term to mind. There must instead be some sense of purposeful movement from a starting place to another, different place — a feeling of evolution and progression, even if the movement might ultimately become a circle that ends where it begins.

That notion of a musical journey comes to mind in listening to the new song by the Australian band Cancer that we’re bringing you today through the medium of a music video. The song, “Modus Operandi“, is the first single from the band’s forthcoming debut album, Into the Heartless Silence, which is expected for release in June via Throats Productions. The album builds upon the musical explorations revealed through the band’s 2016 debut EP, Terminal. Continue reading »

Mar 152018
 

 

(Wil Cifer reviews the new album by Judas Priest.)

I have now given this album time to sit with me. My first concern about a Priest album at this point in their career is how is Rob’s voice going to hold up? We might be able to live without KK, but as the Ripper Owens years proved, Rob’s  voice is one of the defining traits of this band.

The first two songs are pretty much dialed-in versions of their former arena-rock classics. Think closer to Defenders of the Faith, which found  the band trying to replicate the massive success of Screaming For Vengeance. While the ghost of Priest past might haunt some of the songs, it is without a doubt a better album than Redeemer of Souls. It has the up-tempo aggression that influenced the thrash bands that would follow. “Lightning Strike” has more of a gallop than the opener. The over-dubbed vocal layers that show Halford’s upper range are pretty convincing. Continue reading »

Mar 152018
 


Anthony Pilon: “The Fevered Sycophant”

 

(Andy Synn goes on a rant.)

 

I don’t know about you guys, but the amount of fawning hype I’ve seen being bandied about with regards to certain bands recently has begun to make me feel a little green around the gills.

It’s not so much the fault of the bands in question either – both Rivers of Nihil and Conjurer (to name but two) have produced new albums recently which, while overhyped to a frankly ridiculous degree in places, richly deserve the praise they’ve been getting – nor do I blame them for capitalising on it, but the general lack of any sense of professional ethics or detachment and the perceived unwillingness (or inability) to even try to be even semi-objective on the part of many of those who call themselves “reviewers” has really started to get my goat.

And I realise I may be putting the cat amongst the pigeons here, nor do I contend that NCS is entirely innocent in this regard either, but the fact of the matter is that a large number, maybe even the majority, of the reviews that I encounter these days tend to read more like unpaid press releases than an attempt at any sort of critical analysis/assessment. Continue reading »