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 »

Oct 232022
 

 

This week’s SHADES OF BLACK is shorter than usual, and follows a rare blank space at our site on Saturday, but this whole weekend has been out of the ordinary.

I used to joke that my day job was operating as a drug mule and/or a secret adviser to world leaders desperate for solutions. In fact it’s more mundane that either of those. But it has led to an anything-but-mundane weekend.

This weekend the business I work for pulled together everyone from its offices in four cities for a retreat on the Pacific coast of southern California. A swanky location, a minimum of boring speeches, good food, free-flowing alcohol, lots of congenial bonding. Continue reading »

Oct 202022
 

(Andy Synn provides a last minute recommendation of the new album from Glass Ox, set for release tomorrow)

It’s pretty much an open secret that a lot of Metal media outlets still have a bit of a bias against all things ‘core.

Of course, that’s not the case here at NCS, as we definitely cover a fair bit of the ol’ Grind (mostly thanks to DGR) and even a healthy dose of Deathcore too (although, it must be said, most of this year’s “big” releases – you know who I’m talking about – have left me rather cold).

But when it comes to Hardcore… even of the “Metallic” kind… it tends to fall to me to highlight some of the new and notable releases, and I feel like sometimes I’m not doing a good enough job.

That being said, I’ve listened to, and lavished praise, on quite a few Hardcore (or Hardcore-adjacent) bands this year, and I’m hopeful that at least some of you out there will have been enticed to check out a few of the artists/albums I’ve covered so far this year, even if they aren’t necessarily in your usual wheelhouse.

In that spirit then, I’d like to bring to your attention the new album from Iowan trio Glass Ox.

Continue reading »

Oct 192022
 

(Andy Synn presents three more meaty morsels of home-grown heaviness from the UK)

I’d like to begin this article with a quick apology to the bands involved – I had every intention of writing about you sooner (especially those of you I’ve written about before) but life… uh… got in the way.

Still, we’re here now, and even though these reviews are coming post-release I hope they bring all of you some new fans (and hopefully some new sales too). You deserve it.

Continue reading »

Oct 182022
 

(Andy Synn presents a triptych of terrifying – and terrific – recent releases)

I don’t know about you lot, but I’ve always found dark music to be a great comfort during dark times.

And, since I am going through a bit of a dark patch myself right now I thought it’d be a good time to share some of the music which is helping me through it.

Who knows, you might just discover your new favourite band/album!

Continue reading »

Oct 182022
 

It’s our fiendish pleasure today to present the premiere stream of a new split mini-album by the Italy’s Bunker 66 and Germany’s Lucifuge. Aptly etitled Of Night and Lust, it combines three exclusive tracks by each band, and it will be discharged on October 21st via Dying Victims Productions.

The press materials for the split brand it as “24 minutes of ancient speed metal sleaze and metalpunk ghoulishness”, and that’s true, but there’s a lot more going on here, the kind of music that will get heads spinning as well as hammering. Feral lust does indeed live in the music, but there’s hellish magic as well, and fiery glory. And like most excellent splits, the music of the two bands shares a kindred spirit, but with differences that contrast with, as well as complement, each other. Continue reading »

Oct 182022
 

Through their forthcoming second album the Dutch band Ggu:ll prove themselves absolute masters of lightlessness. They named the album Ex Est as a reference to the state after being, and “the realization that all that is, will someday not be”, and that “all is doomed to end up as a ruin of itself”. It poses the question whether there is a meaning in existence despite the realization that life itself is meaningless.

With such a daunting and borderline-nihilist conception at the core of Ex Est, it is no wonder that the music is so pitch-black and so harrowing. From the funereal bell-like clanging that begins the opening track “Raupe”, straight through to the final shattering wails of pain in “Voertuig der verlorenen”, Ggu:ll render a nightmare that feels all too real. Continue reading »