May 282026
 

(written by Islander)

We had an 11th-hour cancellation of a premiere I had committed to write for today. With the unexpected free time dropping in my lap like that, I thought I ought to get a head-start on the coming weekend roundups.

A head-start is sorely needed because the backlog of new music I haven’t had a chance to include here has swelled to humongous proportions, thanks to me shirking my duties while at Maryland Deathfest last weekend. The swell has become even more swollen in light of all the new songs that have surfaced just since last Sunday.

To reduce the swelling, we’ll lance the infection and let the following new songs and videos spurt out. (Yeah, that was a gross analogy, but the music isn’t gross, although a lot of it is indeed infectious.) Continue reading »

May 282026
 

(Our Norway-based contributor Chile wrote the following very enthusiastic review of the sophomore album released earlier this month by D.C.-based Desolus.)

For a guy who’s constantly (or often enough) on about how he likes his metal fast, I feel like I am not listening to nearly enough thrash metal, arguably one of the fastest genres around. Furthermore, since thrash can be easily welded together with influences from both death and black metal, thus making it even more interesting and varied, I really have no excuse.

So what better chance to indulge in such activities than to wield some wicked new thrash album and give it a proper review in the process (I am also not claiming here that I can actually write a proper review), and therefore we are joined today by Washington D.C.’s Desolus and their just-released sophomore album Dwellers of the Twilight Void. Continue reading »

May 272026
 

(written by Islander)

Nearly 20 years into their career, which in the context of metal is akin to a geologic epoch, the Danish band Crocell prove through their latest album that they are at the peak of their powers rather than on a downhill slide. They have used their accumulated experience to create a harrowing adventure, equal parts furiously violent, oppressively crushing, and deeply haunting — an adventure threaded with dark melodies that are just as vital as Crocell’s ability to hammer hearts and fracture spines.

The name of the album (Crocell’s seventh full-length) is Swarm of Insects, and it will be released on May 29th through Emanzipation Productions. As the label’s texts explain, “The album title evokes images of biblical plagues, but may just as well reflect a humanity blindly swarming and feeding on whatever scraps are thrown its way.” And thus “the lyrics explore tyranny, oppression, betrayal and demagoguery.”

As for the music, Crocell’s evolved hybrid of death and black metal often does sound like audio portrayals of plague, but it drives a listener’s imagination toward other visions as well — which you can now experience for yourselves through our full streaming premiere. Continue reading »

May 272026
 

(Here’s DGR’s review of the debut demo from a pulverizing U.S./Canada grind band called Vision of Terror. It will take you more time to read the review than to listen to the demo. But you should read the review anyway, ‘cuz it’s fun.)

You’d think by this point the idea of reviewing a grindcore release and giving it the same sort of treatment we would give to a full album would cease to be funny, but never let it be said that we aren’t a bunch of children trapped in aging and frail bodies. Because, the idea is still funny – especially if we can double up on said humor by reviewing a demo as well – given that grindcore is one of the battle-hardened genres that’ve gone through the ritual scarification required to be the musical equivalent of an auditory tantrum.

The fact that the songs are short, usually three to four parts total, and generally speaking reflect a tremendous amount of passion but not a lot of technique, is one of the defining marks of a major root of the grindcore tree. That idea has been part of the genre’s virulent strain since the very beginning, like a DNA marker that allows us to figure out that someone had sex with a hippo four hundred years ago and that is why you now have to deal with a weeks-long coughing fit.

No matter what gets added to it, whether it’s the NCS-fave hardcore punk or even melodeath riffwork that in combination tends to result in the sort of manic and explosive material accredited to modern day grind groups like Rotten Sound, you are always guaranteed that short burst of energy and head-spinning drumming by the time you’re done. If it doesn’t sound like the band are racing against the time it takes for the venue to cut power to the stage, then what’re we even accomplishing? Continue reading »

May 262026
 

(This is Todd Manning’s review of the first new album from Chicago destroyers Lair of the Minotaur in a very long time, and it’s out now on The Grind-House Records.)

It’s difficult this time of year for me to find time to write about music, but I couldn’t let a new Lair of the Minotaur record go without comment. I Hail I is the first full-length they’ve released in sixteen years, and it is a fabulous return. Lair of the Minotaur is the brainchild of guitarist/vocalist Steven Rathbone. He’s always managed to bring in top-notch talent to complete the lineup, this time reuniting with longtime drummer Chris Wozniak and bringing in bassist/producer extraordinaire Sanford Parker.

If any metalheads have been unlucky to overlook this killer band in the past, it is worth saying that Lair of the Minotaur sound like their name, like a minotaur let loose in the proverbial china shop. They deftly combine sludge and thrash influences, along with a talent for mixing in limitless hooks and memorable riffs. Their classic debut, Carnage, seemed to emphasize the sludge over the thrash, while most have emphasized the thrash a bit more. I Hail I returns to the burly sludge sounds of the debut. Continue reading »

May 262026
 

(Our writer DGR obviously had a shit-ton of fun listening to Scumbag’s new EP, and probably just as much fun coming up with the word salad needed to describe the experience. See for yourselves. And listen for yourselves.)

Every year while questing in the wilds of heavy metal we find ourselves discussing a new death metal discovery out of New York. It goes without saying that New York as a state and its surrounding areas have a deep, deep, deep history with death metal and has long codified its own regional flavoring of it with mega-sized headlining bands that seem to inspire everyone nearby. You could name the greats for days but it’s likely you’ve known your chosen few already.

One of the reliable things about the area though is that for as boneheaded and dumb as death metal can be, New York, through its adaptations of brutal death and slam, has created something that exists on polar opposite ends of the spectrum, equal parts insanely technical and impressive and just about as brain-dead as a boulder. The megalopolis city on its own is a hive of activity. Continue reading »

May 252026
 

(This is our friend Gonzo’s review of the first new album in 11 years from Pro-Pain, out now on Napalm Records.)

Eleven long years have passed since we last heard from New York’s Pro-Pain. And not unlike other groove-laden crossover heroes from the early ’90s — Helmet, Merauder, and Prong come to mind first — their influence has quietly given life to an entire movement of others who follow in their footsteps.

Since they first appeared on the map in 1992 with the seminal Foul Taste of Freedom, Pro-Pain has been a band that’s been more comfortable flying under the radar and delivering punishing riffs, anthemic choruses, and a raw, uncompromising sound. More than 30 years later, they’ve carried that energy with aplomb into Stone Cold Anger, an aptly titled record if there ever was one. Continue reading »

May 232026
 

(Due to Islander being off in Baltimore doing Maryland Deathfest things, we will not have his usual weekend columns, but we do have (at least for today) another vivid review by DGR, who this time takes on a new EP by the crafty UK sonic terrorists who call themselves The Machinist.)

On the shorter and sweeter side of things we find ourselves landing upon the shores of the UK again with a new EP from the group The Machinist entitled Towers.

The Machinist are a self-defined industrial black metal band who cite Anaal Nathrakh and The Berzerker as being close comparisons to their sound. They are a three-piece consisting of a dual-vocal attack, walls of guitars, and enough programmed drums rattling about that it sounds like a hailstorm happening outside.

Towers is a three-song EP, arriving a year after their second full-length album Contempt For Life. And indeed, The Machinist have an overarching theme of dislike for humanity as a whole – as British bands tend to be experts in, disdain ranks fairly high – and if you did not have enough of it with Contempt For Life, Towers is the band on the offensive once again for another about twenty-five minutes worth of music dripping with dislike for the fact that you as a human being dare to exist. Continue reading »

May 222026
 

(DGR continues to do the heavy lifting at our site while many of us (and him) are off at Maryland Deathfest, and today’s it’s a vivid write-up about a new EP from the Swedish old-school thrashers Venthiax, out now on Dying Victims Productions.)

Every year inevitably sees a smorgasbord of EPs released throughout the year. It’s enough that our own archive of them gets broken out into its own year-end post and usually runs just as long as our collection of album ratings.

EPs are often a realm of discovery, experimentations, and teasers of upcoming albums. This is something I personally enjoy quite a bit, because all of these snack-sized previews of groups and what sorts of headspace they may be in means you can sample so many groups in the same way a kid can go plowing through the sample segments of a candy shop. To be fair, I probably approach it with the same amount of joy.

It also allows room to explore genres that aren’t normally in your wheelhouse, not necessarily full-blown pig-ignorance but close enough. Old school throwbacks and thrash metal are definitely part of that on this end and the combination of the two have resulted in a fountain of bands that sound as if they’re time travelers from a bygone and especially kvlt era in heavy metal’s sound. Continue reading »

May 212026
 

(A group of us NCS scribblers, including DGR, are currently at Maryland Deathfest. DGR wrote a bunch of reviews in advance so we’d have something to post while partying. The one below is one of those, and it seemed fitting to post it today since DGR ventured out last night in time to catch Napalm Death’s performance at the MDF pre-fest. He hasn’t been seen today, so far.)

Of the many releases that have hit within the first half of the year one of the ones that has been the most curious to me has been the release of the collaboration album Savage Imperial Death March among members of The Melvins and Napalm Death.

While it had been released as part of their tour together at the time of recording, this year’s digital unleashing of the album alongside a few added tracks is likely the first time many metalheads and those of us unfortunate enough not to live in a big touring market will get a chance to hear this combining of the brain-stems between the two bands. Continue reading »