Apr 272018
 

 

It is time once again to cry havoc and let loose the dogs of war, and simultaneously to ring the dinner bell in the heads of those Pavlovian dogs among us who salivate at the sound of chainsawing riffs and the movement of skull-plundering rhythms. Bolt Thrower may have fought their last battle, Hail of Bullets may have been drained of life, Asphyx may be pondering their next move, but Just Before Dawn continue to rise in gruesome power and terrible glory.

On their new album, Tides of Glory, all the key ingredients from previous releases remain in place — the thematic focus on events from the Second World War; the head-hooking, body-moving riffs; the monstrous power of the enlisted vocalists; the obliterating might of a rhythm section firing on all cylinders. But while riff-meister Anders Biazzi and his combat-veteran comrades haven’t made any dramatic departures from the old-school death metal stylings of the earlier albums (and it would be a rude shock if they had), they’ve still found ways to up their game. Continue reading »

Apr 272018
 

 

(This is Andy Synn’s review of the new album by Dimmu Borgir, which will be released in May by Nuclear Blast.)

Some of you may be surprised to see this album being written about here at NCS. After all, Dimmu Borgir are (still) a pretty big deal, and our general ethos has always been to focus on smaller, less well-exposed bands, wherever possible.

But considering that my personal modus operandi has always been simply to write about whatever interests me, you’re going to get to read/hear my unfiltered thoughts and unsolicited opinions whether you like it or not.

Although, of course, you could always just not click “Continue reading”… but then, where’s the fun in that? Continue reading »

Apr 272018
 

 

(Our friend Grant Skelton returns to NCS with this vivid review of the debut full-length by Virginia’s Foehammer, released on April 6 by Australopithecus Records. It is the second review of the album we’ve published.)

Foehammer’s self-titled EP, which was released in the spring of 2015, was one of the first ventures I made on my descent into doom metal. Up to that point I’d dabbled, almost exclusively, in extreme bands experimenting with increasing the speed at which they played. After nearly 20 years of such apoplectic throttling, something in my psyche (soul?) began to yearn for auditory victuals from the other end of the speed spectrum.

And I dove head-first into the boggy, bottom-heavy bombardment of “Stormcrow.” This track thumped my brain like a warclub. I couldn’t listen to it enough. So naturally I chomped at the bit to review the EP. It teased proficiency; giving us only a flash of what Foehammer could really do.

I’m glad to say that, three years later, Foehammer’s dormancy has ended! A full-length offering has arrived. It is a cavernous, blunt-skulled, Neanderthal brute entitled Second Sight. Continue reading »

Apr 252018
 

 

(Andy Synn continues his occasional series in which he devotes attention to new releases by UK bands, here presenting a trio of reviews and music streams.)

Despite the fact that these days I exist more on the periphery of what one might loosely describe as “the scene” here in the UK, I’m still very much on a mission to talk/write about some of its best and brightest stars, and hopefully expose them to a whole new audience in the process.

And while each of the following bands has been featured here at NCS before (some more than others), this isn’t so much a case of favouritism as it is an acknowledgement that all three continue to make extremely compelling, attention-grabbing music, and their latest albums are no exception. Continue reading »

Apr 242018
 

 

(This is TheMadIsraeli’s review of the debut album by the Berlin-based band Age of Arcadia.)

All of my reviews this year are probably going to come some time after an album’s release.  I’m really looking to emphasize what sticks with me long-term, that just won’t let me go no matter what.  Today I want to talk about a band who’s gone very much under the radar, shamefully so, whose debut is quite possibly one of the best thrash albums ever conceived in the 2010‘s.

Age Of Arcadia are from Germany, but their music at least on this album has a very pronounced Hellenistic thematic approach, based on the song titles, lyrical content, and album art, while musically capturing the mythic titanic might of Greek mythology.  Their debut Eleysis (Έλευσις) is one of the best albums I’ve encountered this year so far, although it’s technically a re-release according to the band despite the fact I can find no record of any previous releases. Continue reading »

Apr 232018
 

 

(Lonegoat, the man behind the necroclassical music of Goatcraft, provides this guest review of the new release by Plutonian Shore from San Antonio, Texas.)

 

In Alpha et Omega, Plutonian Shore invokes the axiological Logos of black metal and confronts the gentrification and stagnation brought about by indie rockers and scenesters. Their circumspection is fine-tuned and pierces through the music scene’s ruses of an abundance. Never deserted is the energetic imaginativeness which overwhelms the nondescript bottom line of reality via mind and solar plexus, woven in fierce, inexorable abstraction. Weakness is cast aside. The soul is forever athirst for unbridled power. Dalits need not apply; this is music from the dream-mind of a slumbering Brahmin. Continue reading »

Apr 232018
 

 

In 2016 the mysterious Dutch black metal band Elfsgedroch made a very impressive debut with Op de beenderen van onze voorvaderen, and now they have made a truly triumphant return through a new release named Dwalend bij Nacht en Ontij, which has been branded an EP but is 44 minutes long.

The “EP” was inspired by particular places and events, by aspects of the culture and folklore of the northwest coast of the Netherlands. But the music summons emotional experiences that are unlimited by place or time, but are instead fundamental to human existence, and it does so with enthralling power. Continue reading »

Apr 202018
 

 

Deads, the new album by the Danish band LLNN, is a sonic super-weapon, one that operates on multiple levels, inflicting both psychic and physical trauma on a shattering scale. It fires the imagination on multiple levels as well, bringing to mind terrifying vistas of apocalyptic obliteration as well as unnerving diaphonous visions that gleam with astral light. Not surprisingly, given the vast scale of the music and its relentless intensity, the band have explained: “The overall album theme of Deads is about births and downfalls of civilizations in other worlds throughout the universe, from creation to final decay, the depletion of the host….”

Pelagic Records will release the album on April 27th, but we have a full stream of it for you today, preceded by some further thoughts about what LLNN have accomplished on this staggeringly powerful record. Continue reading »

Apr 192018
 

 

(Grant Skelton wrote this review of the debut album by the Greek/Finnish melodic doom metal band Aeonian Sorrow, released on March 28th.)

 

Aeonian Sorrow is the name of a new doom metal band masterminded by vocalist and songwriter Gogo Melone. Thanks to some networking via No Clean Singing’s ally Daniel Neagoe (Eye Of Solitude, Clouds), I had the pleasure of hearing Aeonian Sorrow’s debut, Into The Eternity A Moment We Are, prior to its release. With this album, fans of more melodic strains of doom metal are in for a gem. Also, make a point to behold the stirring wreckage depicted in the album’s art. Melone designed all of the band’s logos, and handled the album layout as well.

Joining Melone’s melancholic menagerie are drummer Saku Moilanen (Red Moon Architect), vocalist Alejandro Lotero (Exgenesis), guitarist Taneli Jämsä (Ghost Voyage, Hukutus), and bassist Pyry Hanski (Mörbid Vomit, Before the Dawn). From this creative collective were sewn seeds that would bring forth an entire orchard of languishing delights. Continue reading »

Apr 192018
 

 

I’ve been meaning to do this for about a week, and finally found time. I came across all of the following music in the course of surveying new releases for a SEEN AND HEARD round-up here at our putrid site, and thought it would make sense to package them together for extra catastrophe.

The music ranges from catastrophic funeral doom to catastrophic death metal with a heavy doom component, to something doom-centric but less easily describable at the end. I arranged the music in a way that would provide a bit of back-and-forth flow, so your blood doesn’t completely congeal and your heart doesn’t completely slow to a stopping point.

While I was writing this I thought about Andy Synn telling me that he’d come across a metal forum in which NCS was criticized by one or more idiots people for concentrating on “mainstream” metal. Yeah, right. Mainstream this right up your bungholes:

ZEIT

I’ve written frequently about this German band, who’s usual stock-in-trade is an amalgam of sludge and black metal (and some other ingredients). But for their latest EP, null., they decided to give the funeral-doom treatment to two of their previously released songs, and I’ll be damned, it turns out they’re just as strong in this other genre as they are in their main line. Continue reading »