Jan 252023
 

The Dutch band Dead Will Walk pack six songs into their new EP A New Day of Dawning, and you’ll get to hear every one of them today in advance of the record’s January 27th release. Horror and ferocity await you in this music, with its roots sunk deep into the fetid earth of death metal from decades past, but delivered with the killing efficiency of modern mechanized armaments and the kind of songwriting chops that make the songs highly addictive. We share these thoughts from the band:

Our goal for this release was to write songs that underline our roots for the old school underground scene. Here we have tried to convey the same feeling as from the glory days of death metal. Thoughtful songs that remain listenable and always have a small twitch. We don’t take ourselves too seriously and we wanted to record an EP that wouldn’t look out of place in a record collection from the late eighties or early nineties.

The humility in that comment is admirable, and so the task is left to us to explain just how damned good A New Day of Dawning really is and why it definitely should not be overlooked in the vast seas of old school death metal that now surround us. Continue reading »

Jan 242023
 

(The sky may be on fire, but Andy Synn still has new music to share with you all)

While the start of 2023 has (thankfully) been relatively calm – release-wise, at least – allowing us all to take a metaphorical (and also literal) breather before the inevitable onslaught of new albums begins again, there have already been a handful of highly-anticipated, and justifiably hyped, which have received the lion’s share of the coverage over the past few weeks.

As a result, there’s also been a fair few more underground and/or underappreciated artists/albums which haven’t received their due, including (but by no means limited to) the new album from Poland’s Death Crusade – eleven tracks of crusty grindy, Punk-infused Death Metal (and I know some may argue with this description, but I hear at least as much Entombed in this album as I do Extreme Noise Terror and their ilk) whose gnarly riffs and gravel-gargling vocals disguise a keenly-honed sense of structure and flow.

Continue reading »

Jan 202023
 

(Here’s Todd Manning‘s review of the new album by the UK’s Memoriam, which is set for release by Reaper Entertainment on February 3rd and features stunning cover art by Dan Seagrave.)

Old School Death Metal is more vital than ever, with both old fans and new initiates alike being drawn into the crypts searching for their next fix. While many of the original bands continue to put out new records, other scene veterans form new groups in order to develop the genre’s sound even further.

Such is the case with the British act Memoriam. Formed by Karl Willetts, vocalist of Bolt Thrower, and bassist Frank Healy of Benediction, and joined by guitarist Scott Fairfax and drummer Spikey T. Smith, Memoriam draws on the blueprint of those seminal acts and adds a number of new elements to the sound. Their latest album, Rise to Power, forms the second section of a trilogy that began with 2021’s To the End. Continue reading »

Jan 192023
 

(Andy Synn dives into the thrilling third album from France’s Death Engine)

Broadly speaking, there are two types of “Post-Metal” bands – there are the Post-Rock bands who discover the power of massive metallic distortion, and the Hardcore bands who discover that ambience and atmosphere can actually make you sound even heavier.

And, let me tell you, Death Engine are very much the latter sort of band.

Continue reading »

Jan 172023
 

 

I almost never attempt to write album reviews except when we’re hosting full album premieres, and occasionally as part of the black metal column I put together on Sundays. It’s not for lack of desire, just a consequence of being squeezed for time after completing everything else I do around this joint. Doesn’t mean I don’t listen, just means I’m usually forced to keep my thoughts to myself.

And so what you’re about to read is a relative rarity for me, spawned not only by a belief that Phantom Centre, the new album by the Swedish post-metal/sludge band Kollaps\e, is deserving of whatever push I can give it, but also by an unexpected gift of free time. Continue reading »

Jan 172023
 

Even in the most hostile, harrowing, and abrasive off-shoots of metal, the power of the riff stands tall. Distinctive riffs create detectable patterns in a song, even when they’re not also carrying melodies or rhythmic hooks. And even a site such as ours can’t deny the power of a strong vocal melody. Harsh vocals can vitally contribute to the creation of an emotional response or become percussive instruments themselves, but singing is often a more potent ingredient in channeling a mood or making a song memorable.

These ingredients of music, even in its more extreme variants, create instinctual connections to the human mind. Vast amounts of academic research and philosophical speculation have been devoted to trying to explain why this is, but whatever the answer, the connection seems to be primordial, likely pre-dating language or even the full evolutionary development of the human brain as it now exists. It is a universal language that everyone understands, innately.

Of course, complex and discordant music (and noise) has its own appeal, for reasons that are maybe even less well-understood, but it’s those primordial connections that often prove most formidable.

Which brings us to Breath the Oath, the forthcoming second album by the Dutch stoner doom trio Pander that we’re premiering today in advance of its January 20 release by Argonauta Records. Continue reading »

Jan 172023
 

(This is Wil Cifer‘s review of the new album by Obituary, just released on January 13th by Relapse Records.)

In 1989 I first heard “Slowly We Rot” on a college radio station that played metal at midnight every Friday night. What struck me about Obituary was the deliberate grind of guitars and John Tardy‘s emotive yowl that separated them from the other death metal and thrash bands at the time. Their sound owed more to Celtic Frost than Slayer or Venom.

Those kinds of Celtic Frost like groove do not play as defining a role in their new album Dying of Everything, however I was also not expecting the thrashing ass-kicking the opening track unleashes. Any concerns regarding this album living up to their established legacy were squashed. The more Slayer-like attack is balanced out by Tardy‘s distinctive voice reminding you that this is Obituary. They bring back the headbanging grooves on “Without a Conscience”, and Tardy‘s sneer is given time to articulate the agony. Continue reading »

Jan 162023
 

(Our old friend Justin Collins returns to NCS with this guest review of a new album by Palace of Worms, which is set for release on February 3rd by Acephale Winter Productions.)

I’m going to say upfront that I’m not going to be able to do full justice to Palace of Worms‘ latest (and possibly last) album, Cabal. That’s because the very act of describing all of the sounds that have gone into it makes it sound slightly insane. Broken down to their component parts, a lot of these songs have no business being as good as they are, but yet, here we are. I wouldn’t be writing this if the album was a haphazard mish-mash.

Palace of Worms has always been roughly categorized as black metal, although that’s as much because we’ve all decided that’s the easiest way to categorize it, in spite of the fact that there’s always been a fair amount of outside influence. Even the last full-length, The Ladder, had a pretty solid core of black and post-black metal, but had plenty of other influences. The album’s very first track started out with a ripping hammered dulcimer riff courtesy of Botanist‘s Otrebor, after all. Continue reading »

Jan 112023
 

It’s tempting to call NOLA’s Guts Club a musical chameleon, because their music has changed over time in such startling ways. But the analogy falls apart. Unlike those highly adaptable Old World lizards, Guts Club haven’t changed to blend in, but have changed to stand out. Maybe their latest change was itself a mechanism for their own emotional survival in especially harrying times, but their new music itself feels like a dangerous punch you didn’t see coming, and like the stuff of strange and stressful waking dreams.

In terms of history, Guts Club began as a lo-fi music video project and morphed into a weirdo dark country band with violent lyrics about butchers and murderers who dry their victims’ skin on the wall. Well, so the darkness has probably been there all along, but that was before the pandemic and the metastasizing of hateful fascistic politics and culture-war disease, including the cruel targeting of queer and trans people.

All that pushed the band toward considerably darker and more extreme musical expressions, now captured in an album named CLIFFS/WALLS that’s set for release on Friday the 13th of January. Continue reading »

Jan 112023
 

(Andy Synn digs into the upcoming third album by long-time NCS favourites Turbid North)

Pick up a coin, any coin, and take a look at it.

Now, turn it over. What’s changed?

In some ways, not much. It’s still the same object, after all. Still the same size and shape, still composed of the same elements and materials.

Yet, at the same time, it’s now showing you a whole new side of itself, a whole other face that you couldn’t see before, even though you knew it was there.

And that’s a surprisingly fitting metaphor for what Turbid North have done on The Decline.

Continue reading »