Oct 162020
 

 

The Swedish duo known as Murdryck began musical life in 1999 as a “Blackened Dark Ambient” project, disappeared for a time, and then rejuvenated themselves as a Black Metal band in 2014. Thereafter, they released two excellent albums, 2016’s Antologi MMXV (reviewed here at NCS) and 2019’s Födelsen. And then, to the sorrow of Murdryck’s fans, they disbanded. But it turns out that the two men behind Murdryck weren’t finished after all.

That duo — bassist/vocalist Lars Hansson and guitarist Adam Chapman — came back together early this past summer, inspired to renew their cooperation in pursuit of fresh ideas. Adopting the name Åskog, they ensconced themselves in a decrepit forest house owned by Lars deep in the woods of Värmland and wrote four songs between July and August. As they explain, the themes of the music were spawned by the band’s presence in that old forest house, with its own morbid history and its wilderness setting, during a time when the Covid-19 pandemic turned the world into chaos: “You only have to watch nature documentaries to realize the natural world is truly a horrific place. The great outdoors is romanticized, but the reality is it is brutal with no room for concession or concern.”

But what kind of music was born of this reunion, and Åskog’s focus on the cold and harsh brutality of nature? You are about to find out, because today we’re streaming Varg, Åskog‘s first demo, on the eve of its October 17 release. In its digital edition, it includes two of the four songs written this past summer, and a cassette tape edition will include a third one as a bonus. Continue reading »

Oct 152020
 

 

(Here we have Vonlughlio’s recommendation of a new compilation record by the Chilean brutal death metal band Defacing, which is out now on Rotten Cemetery Records.)

Defacing is one of the best BDM acts from Chile. Originating back in 2001, they graced us in 2003 with their demo The Beginning of Human Cruelty, a display of powerful in-your-face Brutal Death that has all the qualities fans of the genre love.  But it was not until 2005 with the release of their debut album, the well-named Spitting Savagery, that I was able to discover them.

A friend of mine said when we listened to the album (and I quote) “South America Cryptopsy twins”, and the funny thing is, they cover “Phobophile” on this release (which is hands-down an amazing cover). But for me, they are not twins. Sure, there is a strong influence, but Defacing still managed to create a special sound.  For 31 minutes you find yourself in constant movement with the punishing riffs, the blast beats, and vocals that are utterly nasty and full of hate.  This album made an impact that still holds 15 years after its release, an underrated gem of one great project. Continue reading »

Oct 132020
 

 

On the 15th of October, 2005, Solitude Productions released the self-titled debut album of the Russian band Intaglio (also known as Инталия). The album made a deep impact, not only because Intaglio were one of the earlier pioneers of funeral doom in their homeland but also because the music created such a powerful and memorable amalgam of crushing weight, desolate atmosphere, and profound melody.

It is thus entirely fitting that on October 15 of this year, on the album’s 15th anniversary, Solitude Productions and Weird Truth Productions will be releasing a very special “reimagined” edition of the album. As they explain: “All the original source audio tracks have undergone restoration and processing using top of the line digital and analog gear. In place of the original version’s programming, all drum parts have been live recorded without the use of any triggering or sampling technology. The album was restored and remixed by Evgeny Semyonov (When Nothing Remains, Woe Unto Me, Sorrowful Land) at Slow Burn Studio, and mastering was performed by Mika Jussila (Shape Of Despair, Isole, Unholy, Moonspell) at Finnvox Studios.”

The results of this careful work are stunning, and an experience that no fan of funeral doom should miss. We are very happy to give you the chance to experience it today through the premiere of a full stream. Continue reading »

Oct 132020
 

 

(Here is Vonlughlio’s review of the second full-length by the Belarusian death metal band Ominous Scriptures, which is out now on Willowtip Records and features striking cover art by Jon Zig.)

I have to say that I have been fortunate to write my small reviews and lists of best releases for some years now and am thankful to Islander for the trust.  As I’ve mentioned, my main purpose is to promote Brutal Death Metal since other genres are well-covered here. Having said that, yes I do listen to other genres as well but for the reasons mentioned I try to focus on BDM here in NCS, and am doing that again now.

Today the subject is a project from Belarus that goes by the name Ominous Scriptures. On August 28th they released their sophomore album The Fall of the Celestial Throne via Willowtip Records. This release is crushing from start to finish, revealing the work of outstanding musicians who have come together in crafting something special that will forever be cherished by their fans. Continue reading »

Oct 082020
 

 

(Here’s a trio of enthusiastic reviews penned by Andy Synn, accompanied by a lot of crippling music)

Those of you who’ve been with us here at NCS for a while will, possibly, know that I usually do these “Unsung Heroes…” articles in January/February as a way of catching up with bands who I didn’t get around to reviewing the previous year.

You also may have noticed… it’s October 2020. Which means I’m kind of jumping the gun a little. But damn, I didn’t want to wait until January to get these three artists/albums written up because they deserve all the love and attention I/we can muster right now. Continue reading »

Oct 082020
 

 

Bewildering and distressing times we live in, where the unstopped global migration of a microscopic organism has exposed a multitude of fissures in human societies that have been accumulating for countless generations, and turned them into gaping fractures. The scale of these terrible consequences is vast, a devastation writ large, but in some ways a reflection of what happens in so many solitary lives, where the accretion of seemingly minor problems over time can lead, and often does lead, to tragic and unmanageable outcomes.

The persistent failure of both individuals and societies to deal with mounting flaws until it’s too late is a kind of seemingly incurable ailment in the human condition. And thus it’s fitting that Kneel‘s new album, which was inspired by such thoughts, is itself named Ailment.

As the solo project of Portuguese multi-instrumentalist and producer Pedro Mau (ex-Kneeldown, Wells Valley), Kneel released a debut album named Interstice seven years ago but at last is returning with this follow-up full-length, set for an October 16 release by Raging Planet and Planet K, with vocals and lyrics contributed by Mau’s Wells Valley bandmate and Concealment guitarist/vocalist Filipe Correia. What we have for you today is a full stream of Ailment, preceded by thoughts about what you will be hearing. Continue reading »

Oct 072020
 

 

(In this post Vonlughlio reviews and recommends the debut album from the Australian brutal death metaal band Putrescent Seepage, out now on New Standard Elite.)

The BDM band Putrescent Seepage from Adelaide, South Australia, was born in 2012.  From the beginning the guys behind this project were Cameron Smith (Drums/Vocals) and Brett Stoeckel (Guitars/Vocals) (recently joined by vocalist Simon Naulty). The following year they released a demo that was very limited and that I of course missed (shame on me).  After three years, a two-song demo saw the light and yours truly made it his mission to get one from the band, which came with an original sketch from their drummer (who also happens to be a painter, with amazing work).

That second demo just hit the BDM scene with a vengeance. I was living in the Dominican Republic then, and it was great to see all the fans around the globe just going nuts over this effort. It showcased the talent these musicians have and how as a team they were able to create one of those demos that should be or have been considered classic. Continue reading »

Oct 062020
 


Minuala

 

(Here’s a triptych of EP reviews by Andy Synn.)

One of the (many) great things about writing for this site is that, free from the concerns of having to sell ad space or keep to print deadlines, we’re basically free to write about what we want, when we want to.

So, for example, if I want to dedicate an article to reviewing three releases all situated somewhere along the Blackened Crust/Hardcore spectrum… then I can do!

And if those three releases all happen to be EPs, and not albums… it’s all good!

And then if one of them was, in fact, originally released back in February, even though I’m only just getting to writing about it now… well, that’s not a problem either! Continue reading »

Oct 062020
 

 

For those of you who may only now be discovering Throane for the first time, it is the solo project of Dehn Sora, whose name will be familiar to many as the visual artist whose creations have adorned the covers of albums by a multitude of well-regarded bands. Because he is a graphic artist and designer, and a collector of vinyl records himself, the visual presentation of Throane’s music in its physical packaging is inseparable from the sound. And so the conception of Throane’s new EP Une Balle Dans Le Pied (which will be released on October 16th by Debemur Morti Productions) was as much rooted in an image as it was in an imagining of the sound, and thus there are multiple layers of meaning to be found here.

The EP’s title translates to “a bullet in the foot”, a French expression symbolizing the act of sabotaging oneself. The cover image depicts Sora’s sister, a choice that recalls previous releases in which Sora has featured individuals close to him, with a personal symbolism. He explains: “Working as a nurse in different services, her daily routine makes her face death, addicted personalities, terminally ill people. Walking through their homes, their souls. Walking on broken glass. But forced to get rid of it, at the end of every day. To stand still. And keep walking.”

But the image is ambiguous. Sora again explains: Continue reading »

Oct 062020
 

 

(In this review DGR praises the new record by Los Angeles-based Choke Me, which was released in June by Riot Ready Records.)

Speaking of releases that have fallen firmly in the category of “have listened to a ton since its sliding across my proverbial desk”, L.A’s Choke Me and their album The Cousin Of Death – released  in late June via Riot Ready Records – is the latest candidate to build itself a very comfortable nest in that pile.

There’s a few reasons for this: One is that this disc is fast. The band dub themselves “fastcore”, so at the very least this should be an easily attainable goal, and The Cousin of Death clocks in at about twenty-five minutes over twelve songs. The second is that The Cousin Of Death is cathartic. It nails the feeling of lashing out within the first few songs and retains that sort of ferocity for the entirety of its run time, the dual vocal assault provided by its bassist and guitarist amplifying that effect.

Third, whether intentional or something that just popped up during the songwriting sessions, nearly every song here has some sort of flash point where the group shift from comfortable death and grind riffs into full on blasting hell, as if every song seeks to light itself on fire and be fully immolated by its ending. That moment where the tempo accelerates into full speed is so much fun that even though it happens over and over throughout The Cousin Of Death proves that Choke Me have really gripped on to something.

Finally, I have a soft spot for just about any release that contains as much bile within it as a song like “You Aren’t Special” does. Continue reading »