Apr 082013
 

Imagine this:

Massed armies of the night stacked in ranks under a blood red moon, their veins surging with adrenaline, teeth bared, straining at the leash.

Before them lies a wasted no man’s land, stripped of life, muddied by lakes of blood and stinking with the decay of putrescent corpses from the carnage of previous nights.

Their master barks the word for which they wait and they bolt forward as one, the stillness broken by the cacophony of their headlong race. A thousand growls erupt from their throats, the ground pounds with the weight of their charge. Bloodied mud spatters and scatters, bones crunch beneath their scampering feet, they find their rhythm amongst the flesh of the unburied.

Their foes cower and cringe in the rapidly closing distance, they wail in anticipation of the utter destruction advancing upon them. They turn, they run, but not fast enough. Continue reading »

Apr 072013
 

Blood and Thunder’s new album A Reality In Ruins is a blood-pumping romp from beginning to end. The killer album cover by Jorge Gutierrez could hardly be more fitting: Listening to the music is like vaulting onto the back of  red-eyed stallion in full gallop, with a battle ax in one hand and a fistful of mane in the other.

I’ve been following this Seattle-area band since catching their live show in April 2010 as the local opener for The Finnish Metal Tour.  Those were relatively early days for the band, but something about their energy and budding talent caught me up, and they turned out to be really nice people to boot.

I’ve seen many more of their live shows since then (most recently at their album release show last night at the Seattle stop of the Ensiferum-headlining Paganfest America tour) and I’ve spent hours talking with them after their sets. As a completely DIY band, they’ve had more than their fair share of hurdles to overcome in the last three years, including losing two of their original members last summer. But they’ve not only persevered, they’ve grown. Their story is one of steady progress despite pitfalls, and with this new album (their second) they’re really hitting their stride and solidifying their musical identity. Continue reading »

Apr 062013
 

San Antonio’s HOD have been rumbling in the underground since 2007. Their 2009 album Serpent was a vicious debut that marked them in my book as a band to watch. More eyes should be drawn to them as a result of their new demo The Uncreated, in part because two of its three songs recently premiered on the likes of Invisible Oranges and DECIBEL’s online site, but mainly because the music is awfully damned impressive.

The three songs on The Uncreated are multi-layered. At one level, they discharge an electrifying display of heat lightning, powered by blackened, flesh-charring thrash riffs and blasts of machine-gun drumming. The croaking, poison-spitting, mid-range vocals are no less venomous than the instrumentals. At this level, the songs rake flesh like a whirlwind of razors while triggering the headbang reflex quite effectively.

At another level, however, a group of very talented musicians are showing off their technical chops in ways that make this music interesting and mentally engaging as well as physically galvanizing. Rhythms and tempos change frequently. Fret-jumping guitar leads move up and down and all around in an array of alien-sounding arpeggios. The drummer keeps things interesting with a changing array of beats and percussive progressions.  Continue reading »

Apr 062013
 

[EDITOR’S NOTE: Yeah, we’ve already published multiple reviews of The Living Infinite, but this isn’t exactly a new one. This is what DGR cooked up when he ran his own review, originally published on our site here, through Gizoogle.net. He gizoogled the Comments on his original review, too. They’re at the bottom of this thing. I’m thinking that henceforth we’ll just do this with all of DGR’s reviews before we publish them the first time.]

(In dis post we present DGR’s take on tha freshly smoked up double-album by Sweden’s Soilwork.)

When it was initially announced dat Soilwork would be releasin a thugged-out double mixtape I be thinkin dat a pimpin’ phat chunk of our asses metal bloggin morons did a cold-ass lil collectizzle half groan all up in tha prospect of dat much Soilwork noize hittin all up in tha same time. With they last two mixtapes – Sworn To A Great Divide n’ Da Panic Broadcast – it seemed dat tha crew had become tha straight-up paragon of consistency. Yo ass could put on either disc n’ catch a gangbangin’ few pretty phat joints yo, but most either felt as if they had been freestyled entirely fo’ tha choral hook part or came off as interchangeable.

Not dat dis was some sort of wack atrocitizzle yo, but you can peep how tha fuck there would be a sense of burnout up in some quartas whenever tha group’s name was brought up – especially since you can’t fault tha band’s work ethic when it seems like a freshly smoked up Soilwork disc hits every last muthafuckin two muthafuckin years like clockwork, no matter what tha fuck chizzlez happen within tha band.

Imagine then our erection when Soilwork busted out “Spectrum Of Eternity” as tha lead-off cold lil’ woo wop from Da Livin Infinite. It was exciting. Not only did tha crew sound rejuvenated yo, but there was some seriously heavy noize goin on there – suttin’ dat previously had just been reserved ta a lil’ small-ass batch of joints like “Blind Eye Halo”. It was weird n’ refreshin as a muthafucka ta do suttin’ dat our crazy asses hadn’t done up in a incredibly long time, which was ta move a Soilwork release high up on da most thugged-out anticipated mixtapes list. Continue reading »

Apr 052013
 

(This is the second part of a feature by NCS contributor Austin Weber that we began yesterday (here). Today he reviews new releases by Okular (Norway) and Teramobil (Canada), and one older one from  Diascorium (UK).) 

It was me, I let the dogs out.

Here are a few more reviews and music not only from two groups not previously featured at NCS, but also one (Okular) whose debut album Probiotic was reviewed by Islander way back in the olden days of 2011.

Okular – SexForce

For those unfamiliar, Okular are a Melodic Death Metal band from Oslo, Norway who make elegant yet aggressive death metal with a blend of acoustic playing and folk-styled clean singing.  SexForce is a continuation and evolution of the technical progressive mold Okular created for themselves on their debut, Probiotic. This time around they have reached further, going as far as black metal on some tracks, most notably the opener “House Full of Colors”, which is a terrifying introduction that offers a riff-packed taste of what lays ahead. Another pissed-off-as-hell track follows in “No Separation”, which packs a feral punch similar to getting struck by lightning. Continue reading »

Apr 052013
 

(In this post Andy Synn reviews the new EP by multi-national band Against the Plagues.)

You may not have heard of Against The Plagues before [though NCS did first take note of them here back in August 2010], but their pedigree can’t be denied: This multi-national, Chicago-based quartet features former members of Vader, Forest of Impaled, and Malevolent Creation within their ranks.

Their previous release, 2010’s Decoding The Mainframe, was an impressive slice of death/black metal, whose symphonic audacity and brutal riffery trod a thin line between Puritania-era Dimmu Borgir and Covenant-era Morbid Angel, and saw the band making tentative beginnings at carving out a niche for themselves in a very populated, often very fractious, field.

Now although I am definitely a big fan of the album, at times it seemed to draw its character a little too directly from its influences, with an update in sound here and there to keep things interesting. The band themselves, the Against The Plagues I knew, were in there somewhere, but simply hadn’t fully established a separate identity outside of the confines and constrictions of their chosen genre. The band kicked all sorts of metallic ass, but remained disciples, not innovators. Continue reading »

Apr 042013
 

(NCS contributor Austin Weber returns with another two-part feature on underground bands. Today he reviews the latest releases from Atlantis Chronicles (France) and Mycelia (Switzerland).) 

It was me, I let the dogs out.

Here are a few reviews and music for several new groups, one slightly older but awesome group, and (in Part Two) also a review of the new Okular album, Sexforce. Okular aren’t new to this site, as Islander reviewed their debut Probiotic way back in the olden days of 2011. Part Two will come tomorrow.

Atlantis Chronicles– Ten Miles UnderWater

For many of us death metal fans,  the introduction of metalcore, deathcore, or djent into the music of modern bands is an irritation that often times is the weakest link in the music, instead of being used sparingly to build the songs. Atlantis Chronicles are here to wash away the tripe of others in a dizzying showcase of melodic core-influenced metal that uses those ideas to build up the music, but never overpower it. Continue reading »

Apr 042013
 

(We’ve previously published DGR’s review of Soilwork’s new album, but now Andy Synn and TheMadIsraeli are getting into the act, collaborating on the following review, as Andy explains in his introduction below.)

So… here’s the thing… with The Living Infinite being announced as a double-album, it seemed only right that the NCS review of the album be split between two people – mainly myself and TheMadIsraeli. But then life got in the way. Israel suffered a serious computer crash and lost a load of material, and I’ve been in the process of moving house… so we fell behind, and made slow progress… and then goddamn DGR ambushed us with his review!!!

So yes… we’re pissed… and yes, there will be a reckoning… but in the meantime we thought, why let all our hard work go to waste? TLI is a pretty big album, a pretty ambitious statement, so it’s only fair that you get a couple of different points of view.

So with that said, let me turn you over to my esteemed colleague for his take on Disc One: Continue reading »

Apr 032013
 

On most days at this site I try to pull together a round-up of new music, album art, and/or news that most interested me over the preceding 24 hours. It’s usually in the range of 3-5 items, packaged together in one long post. Today, just for the hell of it, I’m spreading what interested me over the course of the whole day, one item at a time.

Yesterday I discovered Cleric. I discovered them because my eyes were drawn to the stupendous cover art by Jason Barnett that you see above, which accompanies their debut album, Gratum Inferno.

Cleric are based in Dallas, Texas, and are composed of members of Kill the Client, Baring Teeth, and Tyrannosorceress. But if you know the music of those other bands, prepare yourselves for something different.

I haven’t heard the entire album — only three songs are now streaming on Bandcamp — but what I’ve heard is truly impressive. Continue reading »

Apr 032013
 

On most days at this site I try to pull together a round-up of new music, album art, and/or news that most interested me over the preceding 24 hours. It’s usually in the range of 3-5 items, packaged together in one long post. Today, just for the hell of it, I’m spreading what interested me over the course of the whole day, one item at a time.

You remember Artificial Brain don’t you? I don’t mean my artificial brain, I mean that unhinged space-death-metal band from Long Island (more or less) that I wrote about in September 2011, which includes Revocation guitarist Dan Gargiulo, vocalist Will Smith (Buckshot Facelift, ex-Biolich), and some other bastards who wish to remain nameless.

Okay, that was a long time ago and you may have forgotten. So it’s time for a reminder, and to remind you, Artificial Brain have released a new two-song offering named Butchering Cosmic Giants, recorded with Eliot Bayless, which is available for free download on Bandcamp (here). A little bird told me that Artificial Brain are also recording a full-length album with Colin Marston that will include additional manifestations of sonic dementia.

What the new music sounds like: imagine an alien stew consisting of cutting/blasting black metal, pummeling death metal, cosmic guitar digressions, rubbery bass-lines, roaring grisly bears, and shrieking ice giants. Also, gang vocals and a bit of Gorguts-like tech frenzy. And unstable tempos. Continue reading »