Sep 142018
 

 

(This is TheMadIsraeli’s review of the new album by the multinational collective Sinsaenum, which was released last month.)

Sinsaenum is a weird band, in the sense that I think supergroups usually end up being failures, but Sinsaenum are not.  The music they write is good, but they also serve as a case study for one of the bigger problems that comes from forming a supergroup in the extreme metal world:  When the membership of a supergroup is diverse, and when efforts are made for each member’s background to be represented sonically, that can lead to albums that are… fragmented, to say the least.

Sinsaenum, the brainchild of Joey Jordison and Frédéric Leclercq, boasts alumni and current members of Dragonforce, Mayhem, Dååth, and Slipknot, just to rattle off the big names, and their new album sounds like they don’t know what they want to be, even if the resulting product is still in my mind fairly excellent.

The thing is, even the fragmented, stylistically inconsistent nature of Repulsion For Humanity isn’t even consistent. Among the various pure death metal metal, pure black metal, and straight-up groove and nu-metal-bordering tracks on the album, there is a blackened death metal mix on songs in the latter part of the album that very distinctly stands out, and sounds like something the band could make an identity out of. I enjoy all of this album, but I have no doubt that many people will have a hard time finding a baseline to dial into. If there is one, it’s on those latter tracks. Continue reading »

Sep 132018
 

 

Ancient evil lives within The Offering of Seven, the new album by the Floridian black metal band Gnosis. The band twist their music into different cruel and often frightening shapes, through changing cadences and accented in different ways, but the atmosphere of the album is persistently and powerfully sinister.

The music is atavistic in more ways than one. It not only triggers primordial moods and primal reflexes, the music harkens back to the Greek black metal of the early ’90s, inspiring memories of such influences as Varathron and Thou Art Lord, as well as Mortuary Drape and Mystifier. And we have a full stream of the album for you today. Continue reading »

Sep 122018
 

 

Welcome to Bedlam!

I can think of no better greeting to give you for the lawlessness, the pandemonium, the sheer uproarious (and often macabre) extravagance that awaits you within Sepulcher’s new album, Panoptic Horror. The faint of heart will shy away, but those who hunger for the taste of barely contained yet sharply executed mayhem will find a true home here. Continue reading »

Sep 122018
 


 

(After a five-month hiatus, we present another edition of Andy Synn’s three-line album reviews.)

For various reasons (which I don’t plan on getting into here) it’s been quite some time since we’ve published a new set of Reviews in Haikus here at NCS.

Today’s edition is a little bit different than usual, however, as it trades-in the traditional format of featuring three albums from three different bands in favour of featuring three albums by one single artist, the prolific Black Metal poet known as Void Ritual, who has quickly (and rightfully) established himself as one of the most vital new voices in the US scene. Continue reading »

Sep 122018
 

 

(On September 14th Unique Leader Records will release a new album by NYDM band Pyrexia, and here we have Vonlughlio’s review of the album.)

As I sit in the santuary part of the house on a Saturday night, being sick, I have been thinking about the early- and mid-’90s living in the Dominican Republic and being a metalhead. It was a time when you would go to small get-togethers and see local bands perform, and to talk music with that guy who seemed to have all the info, as well as cassettes (I’ve mentioned him in some of my previous small write-ups). Sure, it was not a perfect time, but people weren’t uptight, and if you liked a band, cool, and if not, that was cool too. Nowadays, well, it’s not the same, but I won’t get into that.

So, why was I going back down memory lane?? Well, it’s because I had been given the opportunity to write about Pyrexia’s new album, Unholy Requiem. This band, founded in 1990 in New York, made waves in the scene with their demos and their 1993 debut album Sermon Mockery, one of the best Death Metal albums to be released and a true classic, at least for me. That album is ferocious, unapologetic, and in-your-face, with everything working together perfectly, from the riffs to the vocals, the drums, and the production work. This band, along with Suffocation, Internal Bleeding, and Dehumanized, were bands who left a mark in the scene, and that will be forever evident. Continue reading »

Sep 112018
 

 

(We present Todd Manning‘s review of the new album by Terrorizer, set for release by The End Records on October 12th.)

There’s no need to belabor the point that most metalheads feel a sense of trepidation when a band known for their old school classic output puts out new material in this day and age. Admittedly, Terrorizer have been back for a while now, first with 2006’s aptly titled Darker Days Ahead, followed by 2012’s Hordes of Zombies. Each release has featured shifts in lineup, and their newest, Caustic Attack, is no different. But with Pete Sandoval as the only remaining member from both the original and the subsequent lineups, how does Terrorizer now intend to capture the essence of their own sound?

We’ll come back to that question in just a minute. First, let’s talk about who is in the new lineup. For Caustic Attack Pete Sandoval recruited Sam Molina on bass and vocals along with Lee Harrison on guitars. Both are primarily known for their work with Death Metal heavyweights Monstrosity, with Harrison’s tenure as the band’s drummer stretching all the way back to 1992’s classic Imperial Doom. Continue reading »

Sep 102018
 

 

(Vonlughlio prepared this review of the debut album by the Australian brutal death metal band Expulsed.)

This time around I am going to introduce you to a small label located in the depths of Ukraine (Reality Fade Records) founded by Dimitri in 2016. I was fortunate to discover the label when it had only released three albums. Through interactions on Facebook I became friends with him, and from there I saw that he had a clear vision of what to do with the label, with a focus on bringing out music that he was passionate about, without focusing on commercial consequences.

From there, Reality Fade signed many bands, such as Interminable Corruptions (whose first album I reviewed here, and placed on my 2017 year-end list as well), Coprobaptized  Cunthunter, Habitual Depravity, Dymorfectomy, Decomposition of Entrails, MDMA, Ineffable Demise, and ByoNoiseGenerator (whose new album I reviewed here), to name a few. But the subject of today’s small write-up is the Australian band Expulsed and their debut album Kingdom of Desolation. Continue reading »

Sep 072018
 

(Andy Synn brings us another of his periodic columns devoted to metal from his homeland.)

Today’s edition of “The Best of British” features a nice amount of musical variety, from a bunch of different bands at different levels of fame/exposure (although, coincidentally, two of them hail from the same place – my original home town of Manchester), all of whom released their debut full-length album at some time in the last six months.

As a result, even if you’ve heard of one of these three acts before (and with the recent press furore over one in particular there’s a very good chance that will be the case) you should still be able to find some fresh new metallic morsels here to sink your teeth into. Continue reading »

Sep 052018
 

 

Let’s first deal with the elephant in the room: this band’s name. To some of you it might signify primitive, ear-raping, bestial black metal. For others it might lead to scoffing — derisive presumptions that there will be nothing to take seriously here. Both guesses might be understandable, but both would be wrong.

Having heard, and thoroughly enjoyed, Goat Sperm‘s persistently surprising debut EP, Voice In the Womb, it does occur to me (without any inside knowledge) that there was a streak of perversity at work in this Ukrainian band’s choice of name, and not just for the most obvious reason. I can imagine them chuckling behind their hands, or maybe cackling with devilish glee, over that decision, because of the head-fake that it represents. And part of the reason I make that guess is because the music itself is such a twisted but ingenious experience. Continue reading »

Sep 052018
 

 

There’s a lyrical passage in one of the songs on Morne’s new album that comes across like a challenge:

Show your fear
Show the way you bleed inside
Wear your wounds like I wear mine

When you listen to the music on this shattering album, those words seem to be more than a possible challenge to listeners. They could just as easily be understood as an expression of the challenge that these Boston doom insurgents set for themselves when they made this record, one they threw themselves into meeting, body and soul. Continue reading »