Nov 012022
 

(Here’s DGR‘s extensive review of the new album by Goatwhore, out now on Metal Blade Records.)

There was a block of time during the decade that was the 2010s when it seemed like Goatwhore were unstoppable and ever-present. They released consistently good-to-great albums like clockwork and few bands out there embodied the concept of “professional homeless person” quite like this hard-touring group. It seemed like they were always on the road and ready to answer the call if there was a show that needed its ass saved from a last-minute cancellation. Hell, there were times when the band wouldn’t even be part of an event yet would somehow pop up within the area because what the hell else were Goatwhore going to do with their free time? Not play live?

That’s why sitting down and gazing over the numbers gap between the group’s 2017 Vengeful Ascension and their latest salvo in early October, Angels Hung From The Arches Of Heaven, and seeing the five-year mark just looks wild, especially for a band whose previous longest gap between releases was at best on the long side of three. One could only expect that we’d see a release from Goatwhore a whole hell of a lot sooner had we not had to effectively put the world on pause due to a worldwide plague, because otherwise the Goatwhore camp probably would have been out on the road and writing just as hard as they normally do. Continue reading »

Oct 292022
 


…And Oceans

I mentioned last Sunday (and again on Monday) that I wasn’t feeling well, as an explanation for why I didn’t get very much done for NCS last weekend. I also mentioned that I spent that weekend in southern California at a gathering of co-workers from different cities. Within days of everyone getting back home, a half-dozen people reported testing positive for covid, all of whom were fully vaccinated.

I had tested before going on that trip, took another test while I was there, and tested again five days after my last close contact with those people — all the tests were negative. But I’m still feeling sub-par, still congested, sniffling, and lethargic, for the second week in a row.

I don’t know what the hell I have, but there’s obviously a lot of respiratory virus blooming in the country besides covid, with different strains of cold and flu making a triumphant comeback after a couple of years of masking and quarantine restrictions left them lonely. You can take your own lessons from this, but I’d advise you to be careful.

It might be my hopeful imagination, but I think I’m marginally better today than before, or at least feeling well enough to go exploring new music and videos again. Here’s some of what I found (I ticked off a lot of genre boxes with this compilation, plus a couple of elliptical band names): Continue reading »

Oct 282022
 

Because it’s getting late in the day I’ll spare you the usual intro comments. Because it’s late in the day, I’ve also made fewer musical selections than usual. Tomorrow I’ll do better.

LIGHTLORN (Sweden)

Today this Swedish duo have released their debut EP These Nameless Worlds. I’ve already raved about the EP’s first two songs when they were released, “Unmapped Constellations” (here) and “Through the Cold Black Yonder“ (here). Now we have the other two. Continue reading »

Oct 282022
 

Seasons are a state of mind. Here in the U.S. Pacific Northwest where I live the rains have finally come, along with a chill in the air. After an unusually warm and dry early fall, normalcy has arrived, and The Big Dark is under way. Two days ago the sun set at 6:00 p.m., and that will not happen again until March of next year. From now on, for that many months, people will be waking up in the dark, going home in the dark, and sodden clouds will obscure the sun during many days even when it is above the horizon.

Throughout the Northern Hemisphere winter is approaching, or has already arrived, even if it will only bring a reprieve from heat in some places rather than the true feeling of nature dying or hibernating that pervades in the far north. But regardless of the locale, and even in the other half of the world where summer is approaching, we can send our minds into dark and daunting days through music such as you’re about to hear.

What we have for you is the full streaming premiere of an hour-long three-way split called The Call To Silence, and as its title suggests, “The release calls on humanity to return to silence, that harmony of the soundless cosmic vacuum that almost our entire Universe consists of”. Continue reading »

Oct 272022
 

(Andy Synn saddles up with Bucephale, the first full-length album in 20 years from Nostromo)

Better late than never, that’s what they say, right? Although, come to think of it, it’s mostly people who are chronically late who say that, so maybe they’re just trying to cover for themselves…

Still, in this case it rings true, as while I’m ashamed to admit I totally missed the boat on the first phase of Nostromo‘s career (during which time they produced three impressively intense albums), I’ve been hooked on them ever since I stumbled across their 2019 EP, Narrenschiff, and so felt that the impending release of their new record was the perfect time to make amends for overlooking them for so long.

If, like I used to be, you’re not familiar with the group, then l what you should expect from this album is a truly vicious, visceral assault on your senses (and your sensibilities) that sits somewhere between the more extreme proponents of “Metallic Hardcore” (aka the original “Metalcore”) like Integrity and Vision of Disorder, and the most furiously focussed form(s) of Grind a la Nasum, Napalm Death, etc.

But that’s not all, as – ever since their rebirth a few years back – the group have been exploring ever darker and more “blackened” sounds, with Bucephale being their darkest, harshest, and heaviest album yet.

Continue reading »

Oct 262022
 

(Andy Synn is back again with three more examples of home-grown British talent)

These “Best of British” pieces are a lot like buses… you wait ages for one and then two come along (almost) at once!

Does that joke/reference track? I hope so, because the underlying premise – that these articles were intended to be a much more regular thing, but tend to just come along at relatively random intervals – is pretty accurate.

If you haven’t checked out the previous edition of the “Best of British” from last week – where I covered the new albums from Everest QueenTerra, and Vacuous – you might want to do so now, otherwise I invite you to settle in and get to know the latest offerings from BattalionsIngested, and Mountainscape.

Continue reading »

Oct 262022
 

After seemingly wandering in the wilderness for eight years following the release of their debut album The Apotheosis of Death, the New Zealand band Exordium Mors have returned at last with a new full-length named As Legends Fade and Gods Die, which is now set for release on October 31st by Praetorian Sword Records.

They did break the silence with an electrifying 2019 single called “Surrounded by Serpents“, which is included on the new album, but it’s the combined impact of all seven songs that’s the most powerful reminder of the band’s dazzling (and violent) talents, and proof that they’ve scaled even greater heights on the new record. As the advance press for the album accurately portrays, “Exordium Mors’ sound is akin to a glorious sun burning everything in its sight”. Continue reading »

Oct 252022
 

(Andy Synn enters the House of Falling Ash, the new album from Californian trio Chrome Ghost)

You know how insurance companies calculate that once you’ve been in an accident your chances of being in another accident drastically increase?

Well, the same kind of thinking applies here at NCS too… once we’ve written about a band we’re much more likely to write about them again in the future.

Of course, it doesn’t always work out this way – we don’t always have time to cover everything we want to – but there’s a good chance that, if we liked what you did once, we’re going to be keeping our eyes (and ears) on you for whatever you do next.

Case in point, while I was a few months late to the party with Chrome Ghost‘s second album, The Diving Bell (which you can read more about here), it quickly became a firm favourite of mine due to its unique integration of doomy majesty, ephemeral atmosphere, and rugged, grungy grooves.

So when I saw that the promo for their new album (out this Friday) was up for grabs I knew I had to hear it.

Continue reading »

Oct 242022
 

On their debut album Of the Sun, the Italian melodic death metal band CultØ (cult-zero) don’t ease the listener into the experience. There’s no atmosphere-setting intro track, no seductive melodic overture, but a boiling cauldron of sound. That opening track “Flare” makes very clear very fast that CultØ like to hit hard and fast, with an emphasis on savagery that comes through loud and clear in the utterly hostile and authentically unhinged vocals, which range from gruesome guttural growls to throat-ripping screams.

Everything else screams ferocity too, from the bone-smashing drumwork to the jackhammer riffs. And while there are indeed melodies in the song, they’re more dissonant than harmonious and they create disturbing feelings, feelings of dismal hopelessness, unsettling queasiness, and bewildering confusion. It’s as if the more gut-slugging and bestial elements of the song are fighting against daunting experiences that are trying to confine them.

And so when you might read that CultØ draw heavy influence from the Gothenburg sound of the ’90s (the likes of In Flames and Dark Tranquillity), it becomes quickly clear that the band prize untrammeled aggression as much as they do a melodic hook or a groove-some rhythm, and dire moods more than emotional elevation. To be sure, they accent their songs with moments of delirious ecstasy (particularly in the brilliantly swirling and soaring solos) and warlike triumph. But there’s a lot of unmistakable darkness in the songs. Continue reading »

Oct 242022
 

(Here we present Wil Cifer‘s review of the new album by the New York City black metal collective Black Anvil, which is due out on November 4th via Season of Mist.)

Not unlike many American Black Metal bands, Black Anvil did not evolve from a LARPing past littered with Manowar cassettes and 20-sided dice, but from the punk scene.

The band’s founding members paid their dues in the hardcore band Kill You Idols. Where many hardcore scensters felt the next cool bandwagon to jump upon would be black metal, whose European counterparts shared a similar DIY aesthetic, for Black Anvil the common ground was aggressive emotional outburst, which the band continue to refine into a sound that is just as legit as any essemblege of Scandinavian headbangers. Continue reading »