May 292014
 

(DGR wrote this review of the debut album by Germany’s Genocide Generator.)

Late last year I went on a bit of a grind kick and found myself exploring a wide variety of bands — a huge chunk of which I eventually reviewed here at NCS. I was not, however, finding them through the usual channels. Instead, I was discovering them through links posted by other bands whose music I was initially listening to — and that’s how I recently discovered Germany’s Genocide Generator.

Distaste were one of the bands whose music I reviewed late last year, and since then I’ve been keeping an eye on the band as well as its various members’ other projects, just to get some idea of what they’ve been up to — as well as catching the occasional really good recommendation. A surveillance practice like this really lends itself to the discovery of very good bands from groups’ local scenes, ones that may not be covered too often in the metal website world. For instance, Mastic Scum (reviewed here) was one of those recommendations from Distaste.

Since then though, I’ve found myself traveling through concentric circles on Facebook via a variety of bands and recently found myself doing so with Distaste once again — with supplemental help from Metal-Archives to get an idea about the bands I was clicking on and looking at. Continue reading »

May 272014
 

(In this post TheMadIsraeli reviews the forthcoming new album by Poland’s Vader.)

Can we just agree at this point that Vader is the Clint Eastwood of death metal? Clint Eastwood, in all of his films where he has appeared as an actor, has basically put out nothing but awesome movie after awesome movie. They have only varied in degrees of how good they are, but if I were to think in terms of a personal one-to-ten scale, Eastwood has never scored below an eight, even at his worst, despite (or maybe because of) the fact that his on-screen persona rarely changes very much. I view Vader in the same way; they have that Clint Eastwood trait of never changing dramatically, merely showing different shades and sides of themselves.

I mean yeah, the band have had their The Bridges of Madison County (The Beast in their case, which strayed into some slightly different territory), but the fact remains that Vader have been a band who are metal, war, and imperialism incarnate. They’ve done this consistently for years with inhumanly good results.

At this point, that history also makes Vader albums pretty difficult to review. Not because they are hard to describe, but because “It’s a Vader album” tells you what you need to know. It’s almost as if there is no point in reviewing their music any more because it has proven itself so remarkably consistent in quality, and it’s not as if they’ve ever taken a huge step outside of their box either. With that said, though, I’m enthusiastically rabid for Tibi Et Igni. It has been on never-ending repeat since we got the promo for it. Continue reading »

May 272014
 

(DGR wrote this review of the new album by Whitechapel.)

I appear to have written a lot of words about a Whitechapel album. I consider it an enlightening experience. I apologize to those of you who feel this review is way too long, but I wound up analyzing far more of the disc than I had planned. I also found myself discussing the group’s legacy and dynamic so far; I figured it would help explain (somewhat) why this review took so goddamned long to get out there, but it has given me the opportunity to know this album note for note, word for word, since its release.

Ever since Whitechapel catapulted into metal’s consciousness at large a few years back, it seems that every single review that has come out usually begins with something akin to “a tale of two Whitechapels” and how there is one side that the reviewers really like and another side of the band that they don’t enjoy at all — usually to help represent the fact that the group have somewhat moved beyond their days of bludgeoning deathcore-by-definition songs and into something more akin to a Vader-inspired death metal.

It’s an experience I’m sure a lot of us have shared. I personally began with This Is Exile, as many others did (and would later check out their prior works as well, on the recommendations of other fans and to sate a general curiosity). They became one of the four or five surface-level deathcore bands that I enjoyed. Never felt the need to go any deeper into the genre, but they were always good for a quick hit and then I would be out.

This was helped by the fact that I found the rapid-fire vocal delivery in the titular song to be really cool. And, as much as I would’ve hated to admit it, they were really, really good at the beefy and crushing breakdown, so the appeal was definitely recognizable. However, the band have grown, and over the span of two more albums really have won me over — so much so that I was genuinely excited to hear what Our Endless War would sound like. Continue reading »

May 262014
 

(Austin Weber reviews the new solo album by Marty Friedman.)

Unfortunately, to some Marty Friedman is just “that guy” who played guitar and contributed to several of Megadeth’s best records, which is absurdly high praise in itself. But often his mind-blowing neoclassical efforts in Cacophony go undermentioned or unknown by modern fans, as does his continually solid solo career — a career that has shifted toward more Japanese releases and Japanese cultural efforts since his relocation there some time ago. The man has an unreal discography behind him, and yet Inferno is not a showcase of solo showboating or an example of resting on past achievements and styles.

Inferno is more than a scorching storm of guitar pyrotechnics or a cliche title. Ultimately, its intensity serves as a reminder that Marty Friedman isn’t done blowing minds yet, and the beautifully emotive feeling in his playing is alive and well here. Some modern updates such as Meshuggah groove influences find their way into a few tracks, but the leads and soloing over the top of those grooves put most all to shame. Continue reading »

May 232014
 

(Below, Andy Synn reviews the new album by the revamped — and revitalized — Arch Enemy.)

Ok, I’m sure a fair few of you have already skipped past this review, simply because of the words “Arch Enemy” there at the top. After all, AE are a pretty big band, and an easy target, so it’s not at all “cool” to like them. That’s fine.

But for those of you still reading, I’m sure you’re more than a little interested in just what this new incarnation of the band is all about. After all, the band’s line-up has undergone some pretty big changes recently. Chris Amott has taken what appears to be his final retirement from the group, to be replaced by the superfluously talented Nick Cordle, who comes to the band from the decidedly Arch Enemy-influenced Arsis… it’s not quite Ripper Owens joining Judas Priest, but it’s not entirely dissimilar, is it?

Overshadowing this of course is the departure of Angela Gossow and her replacement by ex-The Agonist frontwoman Alissa White-Gluz, inspiring a firestorm of internet nerd-rage of apoplectic proportions, so-called “fans” of the band clamouring desperately for attention as part of “Team Angela” or “Team Alissa” like angsty pre-pubescent girls.

But let’s make one thing clear right now, before we go any further – having listened to the album in full I can confidently say that Ms White-Gluz is a more than worthy successor to Angela Gossow’s vacated throne. Close enough in terms of power and delivery to maintain a sense of continuity within the band’s discography, but with a style and substance of her own, she brings a welcome breath of fresh air and a renewed, combative edge to the vocals that helps her stand out as more than a simple carbon-copy of her predecessor. Continue reading »

May 212014
 

(DGR reviews the latest album by Austria’s Manic Scum, a band we’ve featured several times in the past here at NCS.)

Imagine for a moment, if you will, that the NCS offices are run like something out of a sitcom and that occasionally something will happen that will cause your lovely writers to flip out and fling a bunch of paperwork into the air while exclaiming to the world some form of prostration to a higher power after realizing that they had fucked up in such a way that could only be described as massive.

Now, imagine that this event took place over several days instead of all at once due to this lovely writer’s crazy work schedule when he realized that there had been a couple of albums in 2013 that he had every intention of writing about but yet had completely glossed over until one of the groups in mind released a music video for one of the best songs on the disc — and all of it came rushing back to him, causing him to reenact the above scenario with aplomb.

Every day, returning home from work and picking up every piece of paper — of which there were many, mostly ignored bank statements since it’s the only one I keep on my desk… and I don’t need a bi-weekly reminder that I’m fucking broke and only own one thing to put paper on, my desk — and then flinging them back up into the air so that they scatter all over my room, because if anything, I am a sucker for ambience, so that I could be reminded of the initial comedic/panicked state in which I started this review because I really, really felt the NCS readers deserved a fully in-depth look of this disc, and reminded that although it came out in goddamned December that they should really check said album out — though yelling, “Ah, Christ!” over and over again grew tiresome, so that was quickly cut out of the act.

Such was the case was Mastic Scum and their hammering 2013 release CTRL. Continue reading »

May 162014
 

(Austin Weber puts the spotlight on a big load of 2013 (and 2012) releases that he feels were overlooked. This is Part 4 of a four-part piece. Previous installments appeared on each of the preceding three days.)

SNAKE BAPTIST

Snake Baptist are a group I found through The Number 12 Looks Like You Facebook page when I recently scrolled through it. Even though they are broken up, I curiously checked their page after listening to #12 all day. I felt moved that day by the somber intro to #12’s “Jay Walking Backwards”, as they were a band who my late brother and I mutually enjoyed. So the sadness contained in that intro really hit me hard for some sentimental reason.

Anyways, on to the serpentine bastards in Snake Baptist. Basically, they mix The Sawtooth Grin type of chaotic grind (a comparison helped by the presence in the band of The Sawtooth Grin’s vocalist Rich) with a Dillinger tinge, and then make the sound more insane with a scalding powerviolence influence. Continue reading »

May 162014
 

It’s time for audio mauling, with flair, as we bring you music from two metal-weighted hardcore bands who’ll slug you in the mouth and then kick you in the cojones before you have time to pick up your teeth.

The bands are Benchpress from Lewiston, Pennsylvania, and Martyr’s Tongue from San Juan, Puerto Rico, and Get This Right Records has just released a split 7″ that includes two songs from each band. We’re premiering streams of all four songs after a brief introduction.

BENCHPRESS

As the band’s name signifies, the original members apparently came together with the tongue-in-cheek idea of making “beatdown anthems for gym-rats”, but the two songs on the new split aren’t joking around. “Penance” and “Pissed Away” rocket through the bloodstream in about six minutes. They inflict the punishment with thick, rebar-strength riffs delivered in both flashing jabs and brutal hammer blows, with squalling feedback leading to thunderous breakdowns. And you can feel the vocalist’s jugular veins coming apart violently as he vents his venom. Merciless and heavy-grooved, these tracks will make your bad moods murderous. Continue reading »

May 162014
 

I started writing this post last weekend, when the featured songs were fresh out of the blast furnace and had just appeared online, but every day since then has thrown distractions in the way of finishing it. Finally, it is done. I’m afraid there’s nothing in this collection that’s suitable for the faint of heart, but if you’ve become acclimated to ravaging sonic assaults I think you’ll find a lot to like.

TEMPLE DESECRATION

I re-ordered the appearance of Temple Desecration since I began writing this post because what started as a feature about a single song is now a review of a two-song 12″ EP, the name of which is Communion Perished. It’s due for release by Germany’s Iron Bonehead Productions on June 27.

Temple Desecration are a blackened death metal band from Poland and their previous output consists of a 2012 demo named Abhorrent Rites, which I’ve not heard. The new release includes two songs — “Ghoul Prayer” and “Apotheosis”. Both of them intertwine passages of rapacious, storming riffs and merciless percussive fusillades with ghastly doom dirges, the guitars and bass drenched in distortion and the bestial vocals reverberating as if recorded in a catacombs. Continue reading »

May 152014
 

(In this post TheMadIsraeli reviews the new album by Baltimore’s Misery Index.)

Misery Index have really come into their own over the course of their last couple of records.  Their transformation (for lack of a better term) from Dying Fetus-lite to a straight-up death metal titan all their own has been a pleasure for my ears, and has resulted in some of the finest death metal you can get your hands on nowadays.  I’ve always liked this brand of death metal (Man Must Die do something similar) — lots of grindcore, old school death metal riffage, hardcore groove, and the odd incorporation of melodic death metal, but with their own flavor, not to mention a taste for lyrical sociopolitical vitriol.  Of course, key early members of Misery Index were in Dying Fetus first, which had made a name as a musically excellent death metal band that addressed social issues with the anger and outrage they deserved.

The Killing Gods is the Misery Index standard-setter.  The song writing fat (what little fat there was) has been trimmed and the songs have been turned into efficient killing-machine Spartan warriors.  A toning down of the grindcore elements results in riffs that stick out more, quite a bit more melody has been introduced, and the central focus of this record seems to lean heavily on their particular brand of imperialistic might.  Misery Index have always had this quality, and it’s a vibe unique to them I think.  The “imperial vibe” has always been a Polish standard, but Misery Index never sound like they are copping the Polish sound.  Something is distinctly American, distinctly ruthless, about the majesty presented on The Killing Gods.  This truly is the definitive Misery Index record. Continue reading »