Feb 212014
 

Thou’s new album, Heathen, has range, but it’s something like the range between the horror of death and an almost peaceful acceptance of its inevitability, between the looming cataclysm and a halting spiritual perception of something that will outlast it — or at least the lesson learned that the finite minutes we have now are worth seizing for all they are worth, and that it is pain which grounds us in what is important.

Heathen is this Louisiana band’s fourth full album and the first since 2010’s Summit. They haven’t been idle during the years in between, producing an assortment of EPs and splits along the way. But Heathen is a monolithic effort — an hour and fifteen minutes of music. It’s a lot to take in, and not simply because of the time required. It taxes your well-being. It drags you down. It’s so crushingly dark, so heavy, and so wholly engulfing in its doomed atmospherics that it ought to come with a warning to the emotionally fragile.

And yet just when you think you’re going to sink beneath the waves, Thou throw you a life preserver, a little something to lighten the load, if only briefly. The immaculate weaving together of those two strands — the sense of drowning and the grasp of a lifeline to the surface — that’s what makes Heathen such a compelling experience. Continue reading »

Feb 202014
 

(Our friend Austin Weber returns with another collection of short reviews, with album and song streams.)

While 2014 doesn’t appear to have as many big league releases coming thus far, new and upcoming bands of all stripes will no doubt fill the void in quality. What follows are a smattering of different songs to hear and love or hate. Hate is more fun, but who knows maybe you will find something you enjoy?

HANNES GROSSMANN — THE RADIAL COVENANT

Over the last few years, I’ve witnessed numerous metal writers describe a band as sounding like Obscura. Whether or not that’s true, the point remains that it’s hard to get more Obscura-sounding than Hannes Grossmann, because duh, he is in Obscura. The Radial Covenant is his first solo record, written entirely by him, and accompanied by a jaw-dropping assortment of metal gods and legends. The album was crowdfunded into existence and just recently released. I should not need to explain how beyond-badass the ripping technical and melodic death metal core of The Radial Covenant is, though the experimental and progressive sides to the record are just as phenomenal. This is a higher quality death metal release than most of what’s coming out right now. So go buy it now, don’t be a late adopter. Continue reading »

Feb 202014
 

(We welcome back guest contributor and fellow blogger BreadGod with a trio of reviews.)

Urzeit – Urzeit

Urzeit is a brand new black metal band from Portland, Oregon that released their first demo just a month ago. Urzeit is German for “prehistoric times”. Quite an appropriate name, as this band plays music that is vicious and primitive.

The production is wonderfully raw. The distortion is cold and abrasive. It’s a perfect homage to the D.I.Y. analog production that was a mainstay of early 90s black metal. The music is also a perfect homage to early 90s black metal. The drums are an avalanche of rage and destruction. They constantly switch between savage blast beats and mid-paced rhythms that sound almost punk-like in nature. I especially love the cymbals. They help to add an extra amount of dissonance to what is already a chaotic experience.

The vocals are pain incarnate. They consist of a sick rasp that is cloaked in ghostly reverb. Let me tell you that this guy’s performance is absolutely bone-chilling. It sounds like the sickening calls of a thousand spirits from the distant past. The guitars are excellent as well. The riffs are cold, simple, and ravenous. Like the drums, they sometimes sound punk-like in nature. They also play plenty of riffs that sound like they were pulled straight from early 90s Norway. If you ask me, more black metal bands need to play great riffs like this. Continue reading »

Feb 192014
 

(Guest writer Alain Mower returns to NCS with this review of the new album from Abducted By Sharks.)

Siege Engine, the third full-length release by Seattle-based Abducted By Sharks in as many years, is about as difficult to define as it is to find the droids you are looking for. With cited influences ranging wide and far, from Front Line Assembly to Porcupine Tree to Horse the Band to Mindless Self Indulgence, it’s easy to see how this eclectic culmination of Dance-infused Industrial synthesizer soundscapes tinged with Heavy Metal might be a little out there.

A high-tempo and energizing listen from cover to cover, this unsigned, DIY outfit manages to avoid many of the common mistakes this style of music is known for, with one of their best traits being that they let melodies and songs breathe and don’t over-layer or cluster the sound to the point of detracting from the structure the track is built upon. Continue reading »

Feb 172014
 

(In this post NCS writer DGR reviews the new album by Inferi.)

Inferi are a band who I’ve had every intention of talking about for a very, very long time but never had the perfect moment to do so. The Nashville, Tennessee based group play a style of metal that can rotate between technical death metal, melodic death, and epic-fueled thrash metal at the drop of a hat. They have always seemed to be defined by two things for me: The sort of insane ambition of a band who cut absolutely no corners and make absolutely no compromises; and the sort of high-speed energy equivalent of a spark landing on a trail of gunpowder, rapidly accelerating and heating into a massive explosion.

The group have been fighting it out as something of a working band’s band for the better part of seven years, and as of late January they have finally put out another disc — five years after their last one — entitled The Path Of Apotheosis. It was a long time coming, and so massive in scope and scale that it is hard to believe it came from a group scratching it out day-by-day in the underground. There is a reason why it has taken me longer than two weeks to review this album, because holy hell, is this thing a packed disc. I can say right away that if you’re a bang-for-your-buck person, you can probably understand my yammering, because wow, is there a lot here.

Yet, with five years and finally some momentum behind them, do Inferi get to take advantage of their moment in history? Does the massive wall of sound and scale that the band put forward actually become anything other than grandeur for grandeur’s sake? Continue reading »

Feb 172014
 

(Our man BadWolf reviews the new album by Benighted.)

Extreme metal musicians traffic in abrasion. Part of the music’s appeal stems from its opposition to the traditional harmonies of western musical tradition (which persist well into popular music). I believe the downside to abrasive, dissonant sound is that, much like spicy food or drugs, the human brain builds up a tolerance to it. Metalheads can grow tired of what normal people would consider highly abrasive music (say, Arch Enemy) and move toward even ruder sounds (say, Pig Destroyer).

But there is one sound that even the most dissonance-starved metalheads often cannot stand: the high-pitched inhaled shriek. The pig squeal. The bree.

Perhaps I am an unconscionable addict. Consider me a fan of the bree. And my pusher man into pig land is vocalist Julien Truchan of French brutal death outfit Benighted, whose new album, Carnivore Sublime, has rarely left my earbuds this week. Truchan’s vocal talent is formidable in all areas—he growls deep, shouts loud, and does it all while enunciating better than many vocalists claiming English as a native tongue. He transitions between all of these styles with the fluidity of mercury suspended in a vial. Then again, so do lots of vocalists.

What Truchan can do like nobody else is bree. Whether they serve primary vocal duty, or accentuate some other style, his shriek pierces through all levels of noise. The man has elevated the mating cry of swine into art, in the way Mariah Carey did with her falsetto on her song “Emotions.”

Yes, I am suggesting that we call Truchan the Mariah Carey of death metal. Continue reading »

Feb 132014
 

(TheMadIsraeli brings us a review and the premiere of a full-album stream for the debut album by Seattle’s A Sense of Gravity.)

A Sense of Gravity are a terrific band.  Composer and guitarist Brendon Williams has kept in touch with me for the last couple of years, allowing me to hear what they’ve been doing from their demo material onward.  I’ve loved everything he’s ever shared with me, yet I’ve refrained from mentioning them before, mainly because I wanted to see how they turned out. Finally they have completed a full-length.  Travail is brutal, dynamic, and full of twists and turns.  Imagine a cluster-fuck smattering of Meshuggah, Allan Holdsworth, Emerson Lake and Palmer, Scar Symmetry, and Extol, and you have A Sense of Gravity.

This album is diverse, with some songs driven by pneumatic ballet, some driven by pure caustic sprays of speed-powered hellfire, and some delivering pure, undiluted fusion-jam indulgences.  Travail has a great deal of fun contained within it, all while showcasing serious, intelligent musicianship at its core.  The twists and turns are many, producing a sonic labyrinth.  The album almost sounds like metal done by Jazz Fusion guys, as opposed to metal guys with jazz backgrounds, and that turnaround style-incorporation gives the music a unique vibe. Continue reading »

Feb 122014
 

Here are some thoughts about two new splits I’d like to recommend, with streaming music for each. They make for quite a contrast.

CORTEZ / BORACHO

My last mention of DC’s Borracho came in connection with a video, which combined a stunning piece of music from the band’s 2011 debut Splitting Sky with a stunning piece of film; since then, Borracho have released several short works and, in 2013, a new album (Oculus). Cortez are from Boston, and this split  was my first exposure to their music. The new split will be a 7″ vinyl from AM Records scheduled for shipping around April 1, and a pre-order of the vinyl will bring you an immediate download of the music on Bandcamp.

Each band contributed one song to the split. Borracho’s “Know My Name” is a real skull-breaker. The riff is king, but a king so soaked in radioactivity that the Geiger counter is going off the scale. It’s ultra-swampy and ultra-groovy, a stoner metal monster with a chorus meant for sing-alongs (except few people will be able to hit Steve Fisher’s gritty highs). Awesome track. Continue reading »

Feb 112014
 

(Leperkahn is back for the second day in a row, this time reviewing the debut album by We All Die (Laughing).)

I meant to review this debut release from Belgium’s We All Die (Laughing) a lot earlier (when it came out back in January, in fact), but the mind is a feeble thing, and only now, with the kind reminder of fellow reader Vonlughlio, do I remember that I meant to delve into this single-song EP (at least that’s how I think it’s being branded). As I’ve said many times in the past, damn me for forgetting to do this earlier, ‘cause I’ll be damned if anything not named The Satanist has this beat so far, and not much has a chance of surmounting it, though we have ten months left in the year.

This release is less of a song and more of a theatric production delivered by electric guitar and vocal menace, a metal opera of sorts. Though it starts with some My Dying Bride-esque doom, it comes to incorporate Machine Head’s more epic moments, Opeth-ian death/doom, a slowed-down taste of Marduk, Behemoth-style majesty, evocative Scott Kelly-sound-a-like vocals, and depressive suicidal black metal shrieks. It  features not only a ridiculous variety of vocal timbres, but also such exotic instruments as a clarinet and a flute (pretty sure that’s the first time I’ve heard a clarinet in metal, other than those tech-death covers that one guy does on YouTube). I almost don’t want to say how it ends; that would feel like giving away the end of a great book, movie, or TV show. Continue reading »

Feb 102014
 

(Leperkahn returns to our site with a review of the new album by Finland’s Corpsessed.)

Maybe it’s the weather outside. San Diego has delved into the depths of the mild autumn it calls winter – we’ve even gotten a bit of rain the past couple of days — but for the first time in quite a while, I’ve been seriously hungering for some absolutely cavernous death metal, the kind of stuff that sounds like it was recorded in a Lovecraftian studio at The Mountains Of Madness. Yet, I couldn’t find or think of anything that fit the bill on my already-overstuffed iPod. Luckily, I was thrust forcibly at nudged toward the debut album of Finland’s Corpsessed by a Facebook friend of mine (and possible NCS reader).

Corpsessed traffic in dank, putrid atmosphere, with riffs just barely able to peek out from beyond the pale. Once you hit play, you may notice that the vocals and guitars often blur into a wall of sound, an unstoppable freight train bowling you over. Though they go for some stop-and start grooves a few times, such as at the ending of “Transcend Beyond Human”, the band by and large keep the heavy atmosphere omnipresent, never letting the Lovecraftian images their music conjures leave your headspace. Continue reading »