Apr 272022
 

(Andy Synn invites you to open your eyes, and your ears, to the morbid magnificence of Myopia, the recently-released collaborative album by Mizmor and Thou)

I am, as has been well-documented by now, something of a sceptic when it comes to so-called “supergroups”, whose main impact on “the scene” tends to be just taking up space and column inches which would be better off given over to less well-known (and better) bands.

There are exceptions to this “rule”, of course, and the common factor between them seems to be a real sense of collaboration, a partnership driven by an irresistible need to create, as opposed to the crass commercial aspirations or lazy self-aggrandisation which tends to fuel the majority of these shallow vanity projects.

Thankfully, as you may already have guessed, this new collaboration between Mizmor and Thou – written and recorded in secret and released without any prior fanfare to coincide with their joint-performance at Roadburn Festival last week – falls firmly into the former camp, and finds the two bands joining forces to create a singular piece of anguished, blackened art that truly feels far, far greater than the mere sum of its parts.

Continue reading »

Apr 272022
 

(On April 15th Lacerated Enemy Records released a new album by the French band Hurakan, and DGR has given it the following review.)

Confession: I find the times when a band becomes a completely different group within the span of a few years fascinating. As if a giant, historical brainwipe happened and the group essentially had to rebuild themselves from the ground up and the only thing that remained was the name. Now, the band must define themselves again and make the name fit the band, not the band fit the name, as if to justify moving into the name of the group like a crab upgrading its shell – or in this case, insectoid font logo for an image more sharp and pointy – for something else.

French bruisers Hurakan are still a young-ish group, as we’re still at the point where a debut release only having come out five years ago doesn’t seem like that long. Yet Hurakan find themselves in an interesting position with their latest release Via Aeterna, which landed on April 13th, 2022. Subject to a pretty sizeable lineup shift in the three years between the release of 2019’s Abomination of Aurokos and their newest album, Hurakan are a different beast.

You get the sense that with the mostly single-word song titles and the single-minded focus on a more deathcore-oriented form of brutality, the Hurakan that wrote a song called “Slamming Brutal Shit” and dropped it right before the end of a sci-fi maelstrom of brutal death style album may have their eyes focused elsewhere. The question that rises with Via Aeterna, then, is just where are the band looking? Continue reading »

Apr 262022
 

(Andy Synn says it’s time to get rowdy with the new album from Shanghai’s Spill Your Guts)

Two of my favourite things about music are discovering new artists/albums and sharing them with other people.

And, let me tell you, I’ve been antsy to share these guys with you ever since I stumbled across them last week.

So let’s not waste any time and get right to it, shall we?

Continue reading »

Apr 262022
 

 

As the title of Feralia‘s new record suggests, it’s a two-part work, combining the album-length Under Stige with the EP-length Over Dianam. They are conceptually linked, focusing on “the rituality of Death and the Afterlife in Ancient Roman traditions”, but musically they are different.

The band and the label that will release it on April 28th (Time To Kill Records) characterize the two parts in gender terms: “As Under Stige is extreme, nocturnal, ritualistic and manly, Over Dianam develops in the opposite direction. Four folk-oriented tracks that carry more of a bright, ambient, feminine mood, overall giving life to a play of opposites that is the essence to the new album.”

However one might choose to classify and characterize these two companion works, the combination of them creates a fantastic listening experience from an extremely talented band, and one that we’re delighted to share with you in complete form today. Continue reading »

Apr 252022
 

The Sardinian band Deathcrush have been growing in hideous strength over the course of a career that’s now almost two decades long. For such a long life, their discography is relatively limited, with the most prominent releases being two studio albums and one live album (the sign of a preference for quality over quantity). Their third album, Under Serpents Reign, is now set for release on April 26th (tomorrow!) by Time To Kill Records.

If you knew nothing about the band’s music, their name alone would give you a clue. And most definitely, crushing death metal inspired by the likes of Morbid Angel, Immolation, and Deicide, has been a key ingredient in their blasphemous discharges of fury. But it’s not the only ingredient, as you would know if you heard the changes reflected in their second full-length, 2017’s Hell, as compared to their debut album Collective Brain Infektion (2013).

The new album seems like a continued evolution, one that integrates the more brutal ravages of the debut and the more blackened atmospherics of the second full-length, and then does even more to distinguish itself. You’ll have the chance to learn this for yourselves today as we present a full stream of Under Serpents Reign. Continue reading »

Apr 252022
 

(Andy Synn once again proves himself a man of the world with this review of the magnificent debut album by Te Ruki)

There’s absolutely no denying it these days – Black Metal has truly become a worldwide phenomenon.

From its humble beginnings the genre has spread out to practically every corner of the globe, constantly evolving and mutating, forming new local scenes and embracing local sounds along the way.

And while much (physical and digital) ink has been shed debating why, and how, this happened, for me the answer is quite simple – whether intentionally or not, those crazy kids who first kicked off the whole movement ended up tapping into something truly primal, something so primitive and fundamental to the human condition that it connects with people of all ages and races, colours and creeds.

Of course, there will always be those who don’t approve of how far the genre has travelled from roots, but to me there’s something almost magical – not to mention deeply ironic – that the so-called ultimate “outsider’s” music has gone on to connect so many different people together through their common humanity.

Plus, let’s face it, if Black Metal had never left the basements and bars of Norway then we’d never have gotten to hear Marako Te Ruki… and that’s not a world I want to live in.

Continue reading »

Apr 252022
 

(We present DGR‘s review of the comeback album released last Friday by the Swedish death metal band Miseration.)

It has been almost ten years since the previous Miseration album Tragedy Has Spoken. If the band had held on to their newest entry back into the death metal fray, Black Miracles And Dark Wonders, for another two months, it would’ve been a full decade. Talk about coming in just under the line of having that broadcast everywhere.

Miseration is one of a few long-running collaborations between constantly writing multi-instrumentalist Jani Stefanovic and legendary metal vocalist Christian Älvestam. Black Miracles and Dark Wonders is their fourth album; the group’s previous three were launched on a nearly every-three-year cadence before the Miseration project would find itself sidelined for nine years. In that span of time they found themselves increasingly busy, with both of them collaborating in the Solution .45 project as well – which would see two more albums added to that discography in that time. Continue reading »

Apr 212022
 

(The living legend himself, Andy Synn, has thoughts about the epic new album from Vanum)

There’s this idea, prevalent among a lot of Metal fans (hell, among music fans in general, let’s be honest) that every band’s newest album has to be better than the one before, otherwise it’s considered a failure.

And I know what you’re thinking… of course it should be better. That’s just the way things should work. Only, no-one ever seems to want to take a moment to stop and think about what exactly “better” means.

Does it mean heavier? Faster? More technical? Does it mean more melodic? More popular? More accessible?

We always say that music isn’t meant to be a competition – but when we do so we’re usually talking about competition between bands, not about bands competing against themselves.

But the older (and, ahem, “wiser”) I get, the more I realise that the point of any album, any piece of art, is not to be “better” than the one which came before it, but to best represent the artist themselves, who they are and what they are trying to say (in whatever medium) at this precise point in their lives.

So when I say that Legend isn’t a “better” album than 2019’s Ageless Fire, I’m also not saying that it’s “worse”. It is, simply put, a perfect companion piece to it’s career-defining predecessor – one which showcases a more morose and melancholy side of the band – and a more than worthy addition to the group’s legacy.

Continue reading »

Apr 202022
 

(Andy Synn presents a review, and full premiere, of the new album by Minnesota’s Feral Light)

Let me tell you a bit about how premieres work here at NCS.

Generally speaking, a label (or a band) will contact us at some point in advance of the release date of whatever they want us to host – whether it’s a single, a video, or a full album stream – and ask us directly if we’d like to handle a premiere for them.

Before we say yes we have to check two things – firstly, do we have time and space in our schedule to actually do the hosting (the more lead-in time we have the better, obviously)? And, secondly, do we actually like the music enough to want to host it?

This latter question is definitely the more important of the two. After all, we only want to promote things that we honestly think are good – we do have some integrity, after all – so we need to be sure that what we’re premiering is something that’s definitely worth your time, and ours.

Every so often, however, things just seem to line up and we’ll get offered a premiere for something which we were already writing about… which is exactly what happened in the case of Psychic Contortions, the upcoming fourth album (set for release this Friday by I, Voidhanger) from Feral Light.

Continue reading »

Apr 202022
 

(We present Gonzo‘s review of the latest album by the French band Lux Incerta, which was released on April 8th.)

When it comes to storytelling, the ubiquity of dark-versus-light is just about the most repackaged theme in human history. It’s everywhere. It’s the hero’s journey, the struggle of inner turmoil, the journey to the self, good triumphing over evil, and otherwise present in just about every other archetypal tale you’ve ever seen or heard.

When it comes to making art, though, none of that shit matters as long as you can tell the same story well. In music, this is particularly hard to pull off – especially in a modern-day metal scene that’s rife with saturation and subgenres. (And saturated subgenres, now that we’re going there.)

But bands like France’s Lux Incerta don’t give a fuck how many times you’ve seen, read, or listened to stories that revolve around the dark/light duality. Roughly translated from Latin, the band’s name refers to the apex of the light-versus-dark battle, when light is about to succumb to the dark. And their stylistic crossroads of death, doom, and prog metal reinforces how well the band lives up to that moniker. Continue reading »