THE NEOLOGIST: “ORACLE”

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Mar 022022
 

(We present DGR‘s review of the new album by Pittsburgh-based The Neologist, which was released a couple weeks ago.)

It’s probably a sign that I miss Sybreed more than anything else but the combination of neck-turning whiplash and thoughts of ‘y’know what, more melodeath albums should have an out-of-left-field techno breakdown in them’ at the same time was enough to leave my head spinning.

Yet that was only one of a smattering of thoughts that crossed my mind while listening to Oracle, the newest release from Pennsylvania-based melodeath project The Neologist – a group we haven’t really checked in with since the early 2010s. Continue reading »

NIGHTRAGE: “ABYSS RISING”

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Mar 012022
 

(Here’s DGR‘s review of the latest album by the melodic death metal band Nightrage, which was released a bit earlier this month by Despotz Records.)

It’s been a weird review batch given that February has granted a small collection of classically inclined melodeath acts.

Nightrage have had a surprisingly long-running career. They can count themselves as among a small handful who have had a surprising number of lineup changes throughout many years, yet through force of sheer stubbornness have somehow managed to continue not only to exist but also to put out quality melodeath releases.

Yes, nowadays they’re on the lighter side of the metal scale but Marios Iliopoulos has been a hallmark of consistency throughout his musical career and also criminally good at writing earworm guitar leads. Nightrage have been an ever-present underdog, even after having some famed vocalists and guitarists pass through their lineup. They’re a sleeker band now but one that hasn’t really seen too much movement in recent years in terms of people coming and going – save for the drummer position – meaning that the Nightrage you see now has become a pretty solid musical landmark, and one that since 2015’s The Puritan and 2017’s The Venomous have been terrifyingly good at the surgical strike of a melodeath song.

Abyss Rising makes no moves to change that. Continue reading »

SHADES OF BLACK: THE SPIRIT, SLAGMAUR, CULTED, THEBES, MOTSTAND, LENGUAJE DE VIBORAS, UNITED COLOR OF BLACK METAL

 Album Reviews, SHADES OF BLACK, SHORT BUT SWEET  1 Response »
Feb 282022
 

 

In normal times I would have posted this column yesterday, but I decided to devote yesterday to playlists of Ukrainian metal, which I hope you’ll explore (here and here) if you haven’t yet.

For this week’s black metal column I picked a variety of new songs and videos from among what I listened to in recent days, plus one big curveball of an album at the end that’s more than 18 months old.

THE SPIRIT (Germany)

To launch the column I picked the second single (with a video) to be released from this German band’s new album, Of Clarity and Galactic Structures. The new one, “Celestial Fire“, was preceded by the title track, which I’ve already written about here. True to its name, the new song blazes. Continue reading »

AN NCS ALBUM PREMIERE (AND A REVIEW): HUMATOR — “CURSE OF THE PHAROAH”

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Feb 252022
 

 

More than a dozen years have passed since the Italian/German death metal band Humator released their debut album Memories From the Abyss, but with a revamped line-up in place, and armed with a musical arsenal of obliterating and head-spinning proportions, they’re returning with a second album named Curse of the Pharoah that was inspired by Egyptian mythology and classic fantasy. It’s set for a February 28th release by the Italian label Time To Kill Records, but we have a full stream of it for you today.

This long-awaited return truly is an explosive one. With a modern production job that delivers both bunker-busting power and mind-piercing clarity where needed, the album spawns references to such old-school masters as Cannibal Corpse, Monstrosity, Suffocation, Sinister, and Morbid Angel, as well as the likes of Dying Fetus and The Black Dahlia Murder. The music is ruinously brutal and technically impressive, but displays a deft use of dynamism and melody that gives the tracks character and contagiousness. Continue reading »

BEYOND THE STYX – SENTENCE

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Feb 242022
 

(Andy Synn goes a few rounds with France’s Beyond the Styx and their new album, Sentence)

As I’ve said several times before, my journey into Metal began with my discovery of Punk/Hardcore.

Beginning with bands like Thrice, AFI, and BoySetsFire I eventually gravitated towards more overtly “metallic” Hardcore groups like Earth Crisis, Zao, and Vision of Disorder, and it wasn’t long until I fell/dived headlong into the even heavier side of the Metal scene.

The thing is, while I never really felt like I fit in as a Hardcore kid – I wasn’t really into the fashion (I probably wear more basketball vests now than I ever did back then), I wasn’t vegan or straight-edge (I do about one non-meat day a week these days, and have been known to drink the entire NCS crew under the table), and always felt like karate-dancing in the pit was stupid (and even, arguably, contrary to what “the scene” was supposed to be about) – I never lost my love of the music.

And while recently this has manifested itself in a series of reviews of some killer Death Metal/Hardcore crossover albums (check those out if/when you have time), it was the release of Sentence by French Metallic Hardcore crew Beyond the Styx, which really took me back to my roots this month.

Continue reading »

AN NCS ALBUM PREMIERE (AND A REVIEW): SULPHUR NURSE — “ROOPKUND”

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Feb 232022
 

 

Sulphur Nurse is an international experimental noise/industrial trio consisting of Eeli Helin (Lung Knots, Fawn Limbs), Dan Dolby (Catafalque, Mastiff), and Matt Finney (Clawing, It Only Gets Worse). As you can see, the members have their own separate projects that pursue divergent paths. They brought their own influences and preferences into this project, and the tracks themselves present divergences, but something united these creative forces. What was it?

Listening to their debut album Roopkund (set for release by Tartarus Records on February 25th) suggests this unifying approach in their experimentation: Have nightmares, remember them, and then portray them with the most abrasive, dismal, dread-inspiring, and hallucinatory aesthetics possible. Continue reading »

BROOD OF HATRED – THE GOLDEN AGE

 Album Reviews  1 Response »
Feb 232022
 

(Andy Synn opens his mind to the new album by one-man Prog-Death prodigy Brood of Hatred)

So, let me think, what do I know about Tunisia?

Well, I know it’s the Northern-most country in Africa, and predominantly Muslim, and I’m pretty sure I went on holiday there once with my parents when I was a kid… but other than that I don’t really know too much about it.

I know even less about its Metal scene, which appears to be extremely small and extremely underground, to the extent that the only two bands I’m really familiar with – Vielikan and Omination – are primarily written and recorded by the same individual!

As it turns out, Brood of Hatred main-man Mohamed Mêlki was also a member of Vielikan at one point, but has since branched out to craft his own particular brand of engagingly immersive Prog-Death, with The Golden Age (set for release this Friday) being by some margin his best work yet.

Continue reading »

AN NCS EP PREMIERE (AND A REVIEW): DARKNESS EVERYWHERE — “THE SEVENTH CIRCLE”

 Album Reviews, Premieres, SHORT BUT SWEET  No Responses »
Feb 222022
 

 

The Bay Area melodic death metal band Darkness Everywhere bring proven talent to the table, harnessing the skills of vocalist/guitarist/drummer Ben Murray (Light This City, Wilderness Dream), guitarist Cameron Stucky (Crepuscle), and renowned producer/engineer Zack Ohren on bass. What’s more, their debut EP also includes guest vocal performances by Laura Nichol (Light This City), John Henry (Darkest Hour), and Xavier from Upon Stone.

The band’s chosen name provides a clue to their vision, but the EP’s title, The Seventh Circle, is an even more vivid signal. There they point to Dante’s Seventh Layer Of Hell, where acts of violence in life are punished in death through endless torture and agony. Souls are immersed in rivers of boiling blood and fire, imprisoned in gnarled trees where harpies feed, and abandoned on scorching plains.

Darkness Everywhere take us to this hot and unhappy place through the paths of seven tracks, each of which has a fittingly hellish theme, and we’ll lead you through each of them ion our premiere of the EP today in advance of its release on February 25th. Continue reading »

AFTER LIFE: “GATES OF MADNESS”

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Feb 222022
 

 

(We present DGR‘s review of the second album by the death metal band After Life from the Basque Country of Spain, which was released on February 14th.)

It’s never easy to tell which direction the yearly handful of riff-landslide albums is going to come from. The annual tradition of finding said albums is fairly predictable at this point, and sometimes if the gods be kind then the harvest will be good and we’ll have four-to-five of them on our plates. But the areas from which they’ll come are less predictable and there’s always a chance to get blindsided.

In this case the album arrives courtesy of Spain, the group After Life, and their sophomore album Gates Of Madness. Arriving six years after their first release, Gates Of Madness moves with an extreme sense of urgency and rarely – if ever – lets up. Appearances can be deceiving because at first glance you might see the band and assume you know exactly what you’re in for, then about a minute and a half into the first song After Life completely change form into something that could see them drawing comparisons to high-speed riff monsters like Cytotoxin, Murder Made God, the sadly split-up Kronos, and weirdly enough…Meshuggah? Continue reading »

EIGHT BELLS: “LEGACY OF RUIN”

 Album Reviews, Exceptions to the Rule  2 Responses »
Feb 212022
 

 

(Our friend Justin Collins  is the author of the following review of the latest album by the Oregonian band Eight Bells, which is scheduled for release on February 25th by Prophecy Productions.)

It’s been a little while since we’ve been graced with an Eight Bells release. As is probably the case with many people, I’ve lost all sense of time because of the pandemic, but it’s been 6 years since they released Landless. Granted, life sometimes gets in the way. Injuries, lineup changes, and the need to make a living get in the way of artists who make music off the beaten path, but luckily Melynda Jackson, the constant of this group, has soldiered on to create Legacy of Ruin with two new band members, Matt Solis (Cormorant) on bass and vocals, and Brian Burke (Cave Dweller) on drums. Continue reading »

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