Sep 102013
 

(We all forgot that when DGR joined the NCS staff he was subjected to a mild form of hazing — we challenged him to review the entire discography of the Danish metal band Raunchy. He, however, did not forget, though he did take his sweet time on the follow-through. This is the third part of this raunchy hazing; the first review can be found here and the second review here.)

Raunchy continue to make big shifts in their careers by this point. We’re actually achieving something big here, because we’re starting to move into an era where the Internet really came into its own as a music-covering force, and I can actually try to dig deep into what happened without the wayback machine kicking out gibberish in the shape of a middle finger.

Death Pop Romance has a few things interesting in terms of Raunchy’s history:  This was their first release as part of a new contract with Lifeforce Records, their first disc that put them on the two-year album cycle, and their first disc with vocalist Kasper Thomsen. As usual, I tried to get some perspective from the various NCS hooligans in regards to this disc, in my own stupidity forgetting that this whole thing was supposed to be a joke on me. I got a singular “its pretty good” and my personal favorite response so far, which was just, “You’re seriously doing this?”. There were no dire “abandon all hope!” sort of messages, so even though the disc adheres to the Dimmu Borgir styling of “three words that sound good but make no sense together!” album naming, I’m curious as to what Death Pop Romance has in store.

As has been the case so far, some of this will be stream of consciousness and other bits will be written after a few listens. I made one cursory spin prior to typing this specific paragraph so I already have some minor thoughts but have yet to dig deep or even try to differentiate each song – it almost feels like I have a fifty-minute blank space, and no alcohol was involved to accomplish that. Continue reading »

Sep 092013
 

(We all forgot that when DGR joined the NCS staff he was subjected to a mild form of hazing. He, however, did not forget, though he did take his sweet time on the follow-through. This is the second part of a raunchy hazing; the first one can be found here.)

So, fun story: Apparently nobody in our staff remembers giving me this assignment, and all of them seemed pleasantly surprised that I would accept the challenge of such an undertaking. I knew, in one sense, that it would be easier on me than expected because Andy’s and my own musical taste probably share the most in common amongst the NCS dudes, and he seems pretty defensive about his Raunchy. I actually used him a bit as a guide for what to expect on Confusion Bay and he seems pretty passionate about this disc, saying that there’s maybe one song on this one that isn’t awesome.

It is a very noticeable improvement from the group’s debut album, Velvet Noise. Debuts are always a little shaky though, and considering that the guys were founded in the early-to-mid 90’s I imagine putting anything out must’ve been an exciting change of pace after a few demos. One other author had this to contribute to our e-mail thread, though, which was amazing. We were mid-discussion over this release when all of a sudden this gem popped up:

“WHAT FUCKING BAND ARE YOU TALKING ABOUT?”

As you can see, we’re off to a fantastic start. Continue reading »

Sep 082013
 

(We all forgot that when DGR joined the NCS staff he was subjected to a mild form of hazing. He, however, did not forget, though he did take his sweet time on the follow-through.)

So, fun story: When I finally became an official writer for NoCleanSinging at the beginning of the year, fellow writer TheMadIsraeli was wrist deep (and at risk of losing a very nice watch!) in his Higher Criticism series – in which he took on a group’s whole discography for something that was part history lesson, part retrospective, part modern day discussion of a group’s music as they had gone through the years. At the time it was Kataklysm, and the idea seemed very sound. It would require a ton of work, but it seemed like a fun way to bring up old discs and expose them to a new audience. Thus, as luck would have it, there would be some joking about how “we should make the new guy go through Raunchy’s discography hurf durf hurr”, followed by repeated head slamming into the keyboard as a sign that the caretaker should probably give them their lunchtime juice box.

Now, I will admit that the name alone tended to cause me to recoil – despite never having listened to any of the band’s music. It always seems like the name Raunchy is the butt of a joke, like it should belong to an R&B boyband, or a nu-metal group. Hell, the name alone has always felt like it was literally (and figuratively, and ultimately) two steps away from either being Rawnchy or R4unchy. Thus, because the name alone is fuck-awful, I’ve always recoiled at the idea of listening to their music. There was a lone voice of support from fellow writer Andy Synn, who has always owned up to having something of a soft spot for the band. I ignored him, because RAUNCHY. Continue reading »

Sep 062013
 

(Leperkahn returns to NCS with this guest review of the debut album by Baltimore-based Noisem.)

Noisem scare me.

Not because of their music of course. I, like most of you, have become accustomed to music most would slander as dreadful, terrifying noise.

It’s because they are 20, 19, 18, 17, and 15 years old. I’m older than half of this band, and I’m still in high school. Meanwhile, these guys have crafted (or perhaps recrafted – this was released initially by a label called Black Mess Productions as Endless Aggression under the band name Necropsy) an album chock-full of some of the best thrash riffs of the year, and have just landed a tour supporting The Black Dahlia Murder. Makes me reconsider just what I’ve been doing with my life, to still be here as a mere blogger.

The young age of these Baltimore thrashers elicits some comparisons to another young-but-fiery band who hit the scene with a bang about a decade and a half ago – Poland’s Decapitated. Both feature virtuosic young guitarists who recruited their younger brothers to drum with dumbfounding speed and precision in their bands (in Noisem’s case, Sebastian Phillips taught his brother Harley how to play drums so that he could switch to guitar). Though Vitek understandably still holds the advantage over Harley, the younger Phillips still beats away at the skins admirably as the band tear through nine tracks of ripping deathrash in about 26 minutes, taking no prisoners and never looking back or slowing down throughout its runtime. Continue reading »

Sep 052013
 

(NCS supporter and occasional contributor Old Man Windbreaker, who is prone to speak of himself using illeism, provides this guest review of the discography of San Francisco’s Botanist.)

Greetings, fellow Great Apes, Proboscideans, and Cetaceans. [Whales and Elephants like Metal, right?] Behold the insane Botanist, from the Verdant Realm. He is an eco-terrorist who lives amongst plants, plays something akin to Black Metal on Drums & Hammered-Dulcimer, and awaits/plots the demise of Humankind. He has produced one music release every year for the past three years. To know more, go to his site.

I: The Suicide Tree

Here is the first album, part of the 2011 debut release from the Botanist. The songs are typically fast and short, the whole album being only around half-an-hour long. But, they don’t invoke an ominous atmosphere in the imagination like Black Metal usually does. On the contrary, these songs are just weird, and often even uplifting. It reminds One of Elvenefris by Lykathea Aflame, because of the odd mix of aggression with melody.

The lyrics feature horrific descriptions of various species, imagined as soldiers in the Botanist’s campaign against humanity. That said, the lyrics are more amusing than horrifying to One, having been a student of biology in high school. Even the description of butterflies and moths as pillaging, raping, savage arseholes in ‘Lepidoptera’ only reminds One of the annoyance that they are when One is sitting in the balcony. Continue reading »

Sep 042013
 

(DGR reviews the new EP by multinational grindmongers Afgrund.)

Afgrund’s Corporatocracy EP comes from an interesting realm of music. Sparing the full grind history lesson, Afgrund have long been making noise as the part of grind that shares more DNA with death metal than it initially displayed. 2012’s The Age Of Dumb was a compact bit of fury born of absolute hatred and disgust. It displayed many older influences of modern grind’s roots as well, from the punk riffs to the political consciousness, in addition to the more modern aspects of death metal that have been slowly working their way into the genre – including the excellent hybrid that has become known as deathgrind.

Grind has oft been a difficult genre to define (and likewise, I could not even begin to purport to be an expert on it based on nothing more than the occasional cursory glance) because if you ask some, the very definition of what it is now is conflicted, without any understanding of what the “grind” actually was in the music. Some bands took to the rapid sense of speed. Other bands then brought in many punk influences and added it to the music (its short songwriting existing as an almost blatant Fuck You! to conventional songwriting) and began to incorporate activism as well.

Somewhere along the line, many bands eschewed the sort of social  consciousness that had long been part of grind, owing in part to its roots in punk music, not even forgetting the massive influence of bands like Napalm Death and Discharge in this scene. Instead, some bands became almost nihilistic – focusing on the fact that the world is a mess and being angry about how fucked up it is, offering no solution, instead surrendering what little aid the logical brain could offer and appealing entirely to emotion, the raw blast furnace of anger and rage giving birth to bite-sized bits of death metal drumming buried behind a wall of simplistic circle pit riffs and someone screaming at the top of their lungs. Continue reading »

Sep 032013
 

I’ve waited months to write something about U.M.A. (Uomini, Macchine, Anime / Men, Machines, Souls), the debut album by Italy’s Progenie Terrestre Pura, which was released by Avantgarde Music in April of this year. To be specific, I’ve wanted to write something long, rapturous, and eloquent, i.e., something that befits the album itself. Having failed for so many months, and having fallen so far behind in writing so many reviews of albums that have meant something to me this year, I have reluctantly decided to write only what I’m capable of, i.e.,  something shorter than I intended, rapturous, and undoubtedly deficient in the eloquence category.

This isn’t my first exposure to q[T]p (which is how they prefer to abbreviate their name). I found (and reviewed) their first demo two years ago. Especially for a DIY effort by two people who had never met in person, it was impressive, but U.M.A. still represents a big step ahead. The basic approach hasn’t changed, but Eon[0] and Nex[1] have proved that they are capable of creating a 51-minute, largely instrumental, predominantly atmospheric work that exerts a powerful attraction from start to finish.

Over the months that have passed since U.M.A. became available, I’ve found myself drawn back to it, to get another fix of what it does. I think I’ll play just one of the album’s five long songs, usually the first one (which bears the band’s name), and invariably I find myself just letting the whole album run from start to finish. When I tell you what it does, this may seem surprising. Continue reading »

Sep 022013
 

(In this post TheMadIsraeli provides a brief review of the new studio album released by Poland’s Trauma.)

It’s Polish and it’s death metal.

I often wonder if we shouldn’t just completely ignore Polish death metal in our reviews.  It’s always good, always consistent, always delivers the brutality every metalhead craves (and in a lot of ways defines it), and it’s honestly hard to justify reviewing it sometimes.  It’s almost always just going to read like that beginning sentence in essay form.

However, Trauma aren’t the typical Polish death metal recipe, taking a very Benighted/Napalm Death/Misery Index/Carcass approach to their sound.  So I guess it might be more fair to call them a deathgrind band.  The music is beefy as fuck, riffy, catchy, and has some very nice melodic incorporations amidst the chaos.  Continue reading »

Sep 022013
 

(We take our holidays damned seriously here at NCS, so when the calendar says Labor Day, then by god we’re going to fuckin’ LABOR! — beginning with this second guest post by Leperkahn, who introduces us to three bands from San Diego: Imbalanced, Memory, and Ruinist.)

After a good first experience writing and commenting here at No Clean Singing, I’ve decided to give it a go at another post. Seeing as I am now back from Dublin – sweating bullets in sunny San Diego – I thought I might do a round-up of a few San Diego-area bands. Coincidentally, they all sway toward the death-metal end of the spectrum. And, death metal being the antithesis of the outdated morals employed by the scumbag that is Bob Filner, I figure you could use it as a soundtrack while you beat the living shite out of a punching bag with Filner’s Joker-esque smile pasted on it

Imbalanced

I first saw Imbalanced when they opened for San Diego’s best metal export, Cattle Decapitation, earlier this year. So far they have only one EP to their name, Wet & Wreakless. Until recently, they were a two-piece of guitarist/vocalist “Dirty” Ben Cockerham and drummer “Terrible” Tim Bennett, yet my last-minute research indicated that they have added bassist “John Zombie” (evidently Rob’s long-lost cousin). Cliché stage names aside, these guys make some truly blistering technical death metal

After a brief and frankly pointless intro of various vomiting sound effects, the band get down to business with “Skin Deep” (YouTube-able below), with its breackneck pace and scathingly melodic riffs bringing about a bit of Arsis. The Arsis comparison also extends to the ferocious and blindingly fast drumming of Tim Bennett. Continue reading »

Aug 312013
 

(BreadGod returns with his third guest review of this week, this time discussing the new album by Sombres Forêts from Montréal, Québec, which features this beautiful album cover by Fursy Teyssier.)

There was a five year gap between the release of Royaum De Glace and the release of Sombres Forêts’ latest album, La Mort du Soleil. During that time, the depressive black metal bubble burst from over-saturation by shitty bands. Now the scene is, for all intents and purposes, dead. Of course, that hasn’t stopped Sombres Forêts from releasing their new album in this barren wasteland people once called a scene. In fact, Annatar got together with his friends in Gris and they released both of their latest albums around the same time. I really liked Gris’s latest offering (reviewed here). Let’s hope I can say the same about Sombres Forêts’.

The first song is a beautiful non-metal piece that consists of acoustic guitars and low, droning, clean vocals that eventually transition to pained screams that echo far off in the background. After a while, it morphs into a strange experience where the drums and distant riffs play backwards. It’s quite unsettling, and teaches you to not jump to conclusions so quickly. After a minute of that, we go back to the acoustic guitars. This proves that the album is going to be unpredictable.

The depressive black metal on this album is a bit more unorthodox this time around. The drums are more prominent in the mix and the guitars seem to be off in the distance, like a ghost ship shrouded in fog. This setup might take some getting used to, but it’s all worth it in the end. The drums display even more skill than they did on Royaume De Glace. Their beats are more complex, the cymbal work more intricate, and there are many more fills. Thanks to the more professional production, they also feel much more powerful. Another improvement is in the increased prominence of the bass. It plods alongside the guitars and makes the music feel more rich and full. Continue reading »