Jun 252018
 

 

The allure of Oltretomba’s new album L’Ouverture Des Fosses is difficult to explain, and to be honest, its twisted mechanics may prove to be most alluring to those whose minds are already unbalanced. Or perhaps I should just speak for myself. “Nihilistic black doom, languishing eternally in the psychic realms of the half-dead” is the way Caligari Records describes the music. It is an unsettling combination of primitive and futuristic (or alien) ingredients — uncomfortable music that nevertheless mesmerizes, like a strong audio narcotic that grips the pulse, clouds the brain with nightmarish visions, and brings a sheen of cold sweat to the surface of the skin.

We’re told that the album was recorded in a World War II bunker, presumably one still haunted by the spirits of those who were mangled and burned within its confines. Perhaps the music was intended to bring them back to life; perhaps they participated in the recording; it wouldn’t be surprising if they had, given the chilling, spectral emanations captured within these six tracks. Continue reading »

Jun 252018
 

 

(In this post Andy Synn discusses the phenomenon of metal bands releasing remastered or re-recorded versions of older albums, and recommends two recent examples of the practice, by Vader and Hetroertzen.)

For all that we’re supposedly in another “Golden Age” of television, I know there are quite a few people out there (thousands upon thousands of them) who are becoming a little tired of the seemingly constant stream of reboots and remakes of supposedly “classic” (and some not-so-classic) shows from previous eras, under the assumption that some sort of ingrained sense of nostalgia will help sell them more than something like, say, quality writing or a new, interesting premise, would.

Don’t get me wrong. Some of these new versions of older shows are absolutely fantastic, and benefit greatly not only from the new and improved technology of today, but also a greater freedom to reimagine things which comes from a more modern idea of what television can be, when given the chance to do more than simply entertain. It’s just that, as you might expect, the number of lazy remakes vastly outweighs the more creative ones.

The same sort of thing goes on in the music world too, particularly in the Rock/Metal world, where artists with long-running, wide-ranging careers often feel the need to at least remaster, if not entirely re-record, material from their early days, if only because they feel that the technology or budget available to them at the time simply wasn’t sufficient to allow them to properly capture what they were really trying to convey.

And, let me tell you… I’m not entirely against this process. Continue reading »

Jun 252018
 

 

(This is Wil Cifer’s review of the new album by the Swedish black metal band Craft, which was released on June 22nd by Season of Mist.)

Either bands change or they become stagnant. Going into this album I hoped the venom this Swedish band would unleash might make black metal hate again. It stands to reason, however, that after 20 years in existence the band’s fifth album might find them tiring of the punk-tinged aggression that drove the first four. I loved how Void (2011) was a big middle finger, and that is the soundtrack I think the world needs, but these guys have other ideas.

This is obvious right from the smoother guitar tone of the first song (“The Cosmic Sphere Falls”). Normally I would tell you how I have grown weary of blast beats and want black metal bands to not depend on them. Blast beats prove not to be the problem, as the band creates enough of a sonic sprawl that they don’t sound like they are just playing color-by-numbers with only marginally different shades of black, Instead we are getting a dark coat of gray dripping from these songs. Continue reading »

Jun 222018
 

 

(This is Andy Synn’s review of the debut album by Denver-based Mire.)

As you may (or may not) have noticed, over the last several days I’ve covered quite a few “major” (or, at least, relatively major) albums/artists here at NCS, and left the more underground stuff to my colleagues, co-writers, and contributors.

However, in an attempt to redress that balance somewhat (as well as to salve my stinging conscience) I’ve decided that my final review of the week should be dedicated to something new, but much less well-known, which is what brings us to this perfect little piece of prodigious Prog-Death wizardry courtesy of Denver duo Mire. Continue reading »

Jun 212018
 

 

(In this post Andy Synn combines reviews of the new albums by the Swedish black metal bands Funeral Mist and Marduk.)

One of the commenters on one of my recent columns made mention of our avoidance of the tabloid-esque, clickbait culture which seems predominant among so many blogs/sites these days. And while I generally agree with (and appreciate) that sentiment, I would like to clarify one thing.

Because while we do our best to avoid sensationalising or proselytising, that doesn’t mean we’re ignorant of, or afraid to address, the various issues, questions, and controversies, which frequently permeate and surround our beloved scene.

My own approach, which is still being refined with every review and every article I write, is to inform, rather than dictate, so that our readers are given the right context in which to make their own decisions. I, for one, don’t believe that listening to a band is necessarily the same as endorsing their worldview, but I also don’t believe that there’s anything wrong with making a personal choice not to support a band either.

Whatever your decision, though, I can say that both these albums offer some extremely  good Black Metal, although both are successful for different reasons. Continue reading »

Jun 202018
 

 

(Grant Skelton provides this review of a collaborative live recording by the Chicago doom band Disrotted and the Japanese harsh noise artist Guilty C, and introduces our premiere of a full stream of the sounds.)

In 2015, Disrotted contributed a gargantuan grotesquerie of a track for a split with Japanese powerviolence veterans Su19b. The track, entitled “Infernal Torment,” is nearly half an hour of droning, staggering madness. The song is a stroke of subversive genius, further compounded by the fact that Disrotted enlisted the help of Japanese noise artist Guilty C to collaborate on it. Continue reading »

Jun 192018
 

 

(We present Andy Synn’s review of the new album by Colorado’s Khemmis, which will be released on June 22nd by 20 Buck Spin in North America and by Nuclear Blast everywhere else.)

I’m more than happy to admit that I’m a very late joiner to the Khemmis train.

Oh, sure, I’d heard the name around, I knew they were pretty well liked and that there was a fair bit of hype building behind them, and had even caught a glimpse of their eye-catching artwork here and there, but – for whatever reason – I’d just never found the time to actually listen to one of the band’s songs/albums.

Thankfully, their brilliant performance at this year’s edition of Maryland Deathfest made me an immediate convert to their cause, and I’ve spent the time since then immersing myself in the band’s back-catalogue and catching up on everything which I’ve been missing, just in time for Desolation to drop into my inbox with a resounding (digital) boom. Continue reading »

Jun 162018
 

 

I’m still grateful to my friend Andy, whose Waxing Lyrical series continues to relieve my compulsion to come up with something new to post here on Saturdays. And as you can see, I’m still not completely free of the compulsion. I’ve also now abandoned the goal of this week-long series of Quick Hits as a vehicle for catching up on new music from the last two weeks. For the third day in a row, I’ve again been diverted by late-breaking releases: Everything collected here appeared yesterday or the day before.

THE SPIRIT

Last fall Germany’s The Spirit self-released an enormously impressive debut album entitled Sounds From the Vortex. In April, Nuclear Blast announced that they had signed the band, and yesterday revealed that they would be re-issuing Sounds From the Vortex on August 10th in CD, LP, and digital editions (with new cover art). To celebrate the occasion, Nuclear Blast released a lyric video for an album track named “The Clouds of Damnation“, which happens to be my favorite track from that record. And so, although many of you are no doubt familiar with the music through that previous self-release, I wanted to start today’s round-up with that new video. Continue reading »

Jun 152018
 

 

Once again, my plan for this week-long series has failed. Rather than catching up on new music from the last two weeks, I’ve instead been diverted by late-breaking releases. Moreover, rather than two new songs by only two bands, this collection includes music from three groups, beginning with a complete EP.

PALE

I discovered this EP yesterday thanks to a recommendation from occasional NCS contributor Conchobar, about a half hour before seeing a Bandcamp alert for the EP from Pest Productions in our e-mail. Conchobar characterized it as “very ‘post-black’ but in a very non-cliched way”. Continue reading »

Jun 152018
 

 

What could be more heart-warming than an album devoted to dogs, made by a band named for dogs? After all, canines are man’s best and most devoted friends, aren’t they?

Well, you’d better fucking think again. The hounds summoned by these musical tales aren’t your loyal friends — they’re emblems of death. They range from Cerberus at the gates of Hades to the dog-headed Anubis, lord of the Egyptian underworld, from Conan Doyle’s Hound of the Baskervilles to the baying creature in one of Lovecraft’s first stories in the Cthulhu mythos. If there’s a warm heart in this music, it’s the one these tracks want to tear from your chest, still beating. Continue reading »