Apr 232020
 

 

(Here’s Andy Synn‘s review of the new album by the Polish band Koronal, which will be out on April 29th.)

It’s pretty common knowledge by now that we here at NCS Inc. tend to focus more on the underground, and underappreciated, bands and artists from the Metal scene.

That’s not to say we have anything against the bigger or more well-known names (heck, I’ve reviewed several of them myself over the last few weeks) but igenerally these bands, for the most part, don’t really need our coverage – in most cases they’ve already got the benefit of a label’s PR machinery and resources behind them, and even when they don’t you tend to find that they’ve already crossed a certain threshold, popularity-wise, which makes them essentially “too big to fail”.

It’s different for the smaller bands though, and it’s here where I/we generally feel like we can do the most good and make the most difference by introducing our readers to new bands, bands who they might not otherwise have stumbled across on their own, to them grow and establish their fanbase.

Over the years we’ve all developed particular favourites of our own – personally I’m still waiting for new stuff from Martriden, Sanzu, and Sunlight’s Bane, to name but a few – but I know I’m not the only one of us who has been looking forward to hearing more from Polish post-Meshuggah crew Koronal, whose superb second album is scheduled for release next week. Continue reading »

Apr 232020
 

 

Let’s get a couple of things out of the way, one obvious and another maybe not so obvious: Bastardizing the Purity is bestial black metal that’s unforgiving and unrepentant, and it will not appeal to great swaths of listeners, but rather will cut them down like wheat before the scythe. That’s the obvious point (and a point that could be made about everything we premiere — nothing will appeal to everyone, though admittedly the fanbase for this album is a much narrower cadre of adherents than usual). If it doesn’t appeal to you, that doesn’t mean there’s something wrong with you, but nor does it necessarily mean that there’s something wrong with the music of Blasphamagoatachrist (even though they do often sound psychotically barbaric). Different music serves different needs.

The less obvious point, or at least one less obvious to people who just have no taste for this kind of rampaging sonic warfare, is that it isn’t all alike. There are gradations of quality, just as there are for any other sub-genre of metal, not noticeable to people who want nothing to do with it but discernible to those whose needs this feeds. The rest of this introductory review is for the latter group of people. Everyone else can politely show themselves out, though you’ll be welcome to come back another day.

And by the way, if you’re perplexed by the band’s name, ask yourself this question: If you were members of Blasphemy, Goatpenis, and Antichrist, and you decided to join forces, what else would you call your collective endeavor? Continue reading »

Apr 222020
 

 

(This is Andy Synn‘s review of the new album by Sweden’s Katatonia, which is set for release on April 24th by Peaceville Records.)

It’s probably worth pointing out, right at the start, that City Burials is not – despite what you might read elsewhere – the best album of Katatonia’s career.

Neither, however, is it their worst, as some others, angry that the band haven’t produced exactly what they wanted, would have you to believe.

What it is, is an intriguing, emotive, yet oddly uneven, collection of songs which vary in tone and texture – some erring more towards the band’s classic brand of metallic melancholy, others leaning more towards gleaming, gloomy goth-pop – but which are all, ultimately, tied together by the sublime vocals of Jonas Renske, who gives what could very well be a career-best performance. Continue reading »

Apr 212020
 

 

(We present Andy Synn‘s review of the new album by California’s Ursa, which was just released yesterday.)

While NCS may have a reputation for focussing mostly on Death and Black Metal, the truth is that we don’t like to limit what we cover to just a small sub-set of styles. As long as it’s got a sufficient metallic component, and a certain level of quality, we’ll be more than happy to give it a shot.

Over the years we’ve become particularly fond of the doomier side of Metal, in all its grim and gloomy varieties, to the point that you’re guaranteed at least one (or more) slot dedicated to dark, doomy goodness in every one of my/our year-end lists.

Last year it was the sublime Carnal Confessions by Fvneral Fvkk which took the honours, and in 2018 the medal went to Dor by Clouds, while 2017 saw albums from Loss, Foscor, and Paradise Lost all make the cut (and, FYI, I’m only just now realising how Doom-heavy that particular list was).

So far 2020 has already delivered its fair share of doom-laden delights, from the rugged, riff-heavy swagger of the new Solothus (which I touched upon briefly here last week), to the grandeur and gravitas of Loviatar’s Lightless (which hopefully I’ll get around to covering properly sometime soon), and several more which I’m sure I’m forgetting about.

And now it’s time for URSA to stake their claim with the release of Mother Bear, Father Toad. Continue reading »

Apr 202020
 

 

Golden Light are a new band formed by E. Henderson (also of Njiqahdda), who handles all instruments and sounds, and vocalist Meghan Wood (Crown of Asteria). Their debut album, Sacred Colour of the Source of Light, will be released by Iron Bonehead Productions on April 24th. William Blake‘s painting “The Great Red Dragon and the Woman Clothed in Sun” makes for a perfect cover, given the nature of the music.

Regarding that nature, Iron Bonehead’s publicist has written of these four songs (three of which are of significant length), “their spectral sorrows shoot a brilliance that’s blinding and bellicose in equal measure: a mystical, sun-drenched swarm of sound that embodies and defies black metal simultaneously, orthodoxy UN-done and recast”.

The tendency to portray the music in words used mainly for visual experience is irresistible (as you will see), but the music also has a near-relentless physical momentum that in itself becomes a method of creating a trance, as well as a multi-faceted effect on the emotions. Continue reading »

Apr 202020
 

 

(Andy Synn recently wrote a three-line haiku of the new album by Irist, but now we have a second (and lengthier) opinion by Seattle-based writer Gonzo. The album is out now via Nuclear Blast.)

Atlanta sludge/prog unit Irist may be only one album into their young careers, but one listen to their ferocious debut Order of the Mind would have you believe otherwise. Both satisfyingly brutal and tastefully melodic throughout, the album displays the precise technicality of Mastodon and Gojira mixed with the savagery of early Soulfly. The result is something that scratches an itch you might not even realize you had.

Boasting thunderous riffs, head-nodding grooves, vocals that blast like sandpaper on balsa wood, and a rhythm section that sounds determined to use your head as a snare drum, Order of the Mind pummels its way through its 10-track length like it has something to prove. Given that it’s a major-label debut, maybe that was intentional. What it proves, though, is something bigger — it sees Irist obviously paying homage to the influences of the aforementioned bands, but it adds a layer of originality that’s markedly harder to pull off. Continue reading »

Apr 192020
 

 

Earlier today I promised a second installment in this weekly column, and this is it, though it focuses on only a single release — but it’s a big one, album-length in size and featuring the work of two bands who have always made a big and very favorable impression: Carpe Noctem and Árstíðir lífsins.

The name of this new split is Aldrnari and it’s set for release by Ván Records on April 24th. It features cover art by Artem Grigoryev and is said to explore “themes of death and war, fire and life”. Each band contributed one song to the split, each of them more than 22 minutes in length, and both are now up for listening on YouTube. We’ll briefly consider them one at a time. Continue reading »

Apr 162020
 

 

Some people who just landed on this page will already know something about the music of Shitfucker and will stay to listen to their new album, which we’re streaming in full today. Others who are ignorant of the music are probably outraged and about to leave after a quick glance at the name of the band and the title of the album — and they haven’t even seen the rest of the band photos. So I’m thinking I better get to the music fast.

What Sex With Dead Body will give you, at least right after the intro track, is admittedly carnal and filthy, but it’s also packed with skull-thumping beats, bone-moving and bowel-churning bass, head-hooking riffs, and exhilarating (though demented) soloing. And really foul and depraved vocals. And more variety in the song-writing than you might expect. Continue reading »

Apr 162020
 

 

I hope all of you are well and staying safe and neither lapsing into stupor nor pulling our your hair due to quarantine-itis. I have chosen a few things to occupy your mind today, since you probably have more unoccupied mind than usual these days. To fill the vacancy I’ve selected a new EP, an assortment of recent advance tracks from forthcoming releases, and a new single. As is often the case, I owe thanks to a couple of trusted advisors for many of these choices.

REJOICE! THE LIGHT HAS COME

This is the (untitled) EP mentioned above. It was released on April 12th by a West Virginia-based band whose recording line-up for the EP also included a couple of well-known session performers (at least I assume they aren’t permanent members) — Colin Marston on bass (he also mixed and mastered the record) and drummer Kevin Paradis — in addition to guitarists Eric Gill and Dan Long and vocalist Paul Ozz, all of whom are also members of Aghasura. Continue reading »

Apr 152020
 

 

(In this review Andy Synn lavishes great (and well-deserved) praise on the new album by New Zealand’s Ulcerate, which will be released by Debemur Morti Productions on April 24th.)

Let me ask you a question… what does it take to earn a place in the Death Metal hall of fame?

Obviously seminal acts like Death, Dismember, Morbid Angel and their ilk (to name but a few) all belong there, as without them we wouldn’t even have a Death Metal genre… at least, not in the same way we know it now.

But as things have evolved, as new styles have come into being and splintered off to form their own distinct sub-species, it’s become harder and harder to form a consensus about what bands are big enough, bold enough, bombastic and badass enough, to be considered true hall-of-famers.

But if there was ever any doubt about Ulcerate’s worthiness, the release of Stare Into Death and Be Still should finally, and firmly, put that to rest. Continue reading »