Feb 022012
 

(In this post, NCS writer Andy Synn reviews the new album from Louisiana’s Goatwhore.)

The first rule of Project Satan is . . . kill for the master.

If Goatwhore were a car, they’d be the were-car from Futurama, a savage, intelligent military car built from the most evil parts of the most evil cars in all the world. The steering wheel from Hitler’s staff car. The left turn signal from Charles Manson’s VW. The windshield wipers from that car that played Knight Rider . . . either that or the stalking murder-mobile from Stephen King’s Christine. Hot and nasty, definitively deadly.

“Blood For The Master” is a pitch-black muscle-mobile that runs on the blood of virgins, devouring the innocent and spewing out noxious fumes of poison thick enough to blot out the sun for a thousand years. Quite simply, it is the finest record the band have ever produced and a fitting soundtrack to the end of all things, a whiskey bottle in one hand, a straight razor in the other.

The record takes the best aspects from both their most recent breakthrough releases, the razor-sharp blackened savagery of A Haunting Curse and the sludgey death-march bludgeon of Carving Out The Eyes Of God, and mixes them up into something utterly toxic and bad for the environment. The production is utterly stunning, going one step beyond its predecessors’ thick and powerful sound by bringing back some of the bite of the more blackened guitar tone from A Haunting Curse without losing those thick, tangling bass tones and high-octane drum blasts. Continue reading »

Feb 012012
 

 

(TheMadIsraeli gave us a tip about the demo from this Bay Area band not long ago — and now here’s his more detailed review.)

The fucking brutals, they’re everywhere!

Oblivion already has my pre-emptive vote of one of the best death metal albums of 2012 when their debut The Reclamation drops this spring.  This three-song, self-titled demo is a 10-minute, titanic-sized carcass-crusher of eon-spanning human corruption and carnage condensed into audio, and I’m loving the ever-loving shit out of it.

From the moment that the opener “Reclamation” begins, the music drags your body into the depths of a wasteland that looks like the cover of Suffocation’s Pierced From Within.  It’s an acid storm of carefully planned knife-strikes in the form of technical riffing brought forward from the glory days of the mid 90’s, when tech death was cool as shit and hard as fuck to play, but still musically sound.  When it comes to death metal, this is the kind of music I live for.

“The Annunaki” starts with a foreboding intro before beginning the attack with a high-speed tremolo pick assault  — the drills go into the left side, the right side, and down into the top of your skull at once and leave the head a flesh crater sphere.  This song has the sickest breakdown I’ve heard in a death metal song in a while; kind of sounds like being pulled into the river Styx by fallen angels as your flesh peels off and your soul is ripped away from you. Continue reading »

Jan 312012
 

(TheMadIsraeli is on a mission to review or re-review the 2011 albums that were his favorites.)

Alright.  Time for me to return to reviewing or revisiting my top 15 albums of 2011, which I previously listed on this site.  These won’t be as long as my normal reviews (generally half as long), so unless an album requires a longer piece, I’ll be doing these two at a time.  Today’s subjects are the yin and yang, the chaos and order, the good and evil of THALL.

Uneven Structure and Vildhjarta.  Februus and Måsstaden. First:

“So, I’m not going to dance around the verdict on this album: This thing is the shit.  Listening is like achieving enlightenment through sound, an aural ascension into nirvana, the equivalent of finding true inner peace through heavy-as-fuck, syncopated, gain-soaked djent riffs drenched in waterfalls of absolutely gorgeous ambience with an odd oriental color.” Continue reading »

Jan 302012
 

Yes, I realize we’re swamping you in posts today, but I do think this qualifies as newsworthy:

Psycroptic’s new album, The Inherited Repression, is streaming in full at Guitar World.  To get there, click this link.

The album will be released by Nuclear Blast on Feb. 7 in NorthAm and on Feb. 10 in Europe. The album is available for pre-order — with our without an exclusive T-shirt design — at this location.

I’m attempting to do what I’m paid to do at my job, and therefore haven’t yet had a chance to hear this. But unless I entered a parallel universe sometime between falling asleep last night and awakening today, this album will surely be a superior supercharger of technical death metal.

Jan 302012
 

(TheMadIsraeli reviews the new EP on Basick Records by the UK’s Chimp Spanner.)

Some of you may know who this is, but I have a feeling a lot of you NCS readers won’t know. Nothing wrong with that; the music of Paul Ortiz, or Chimp Spanner, long evaded me, too, despite being around since 2004. What do we have in store for today?

Instrumental djent-influenced prog metal. Continue reading »

Jan 292012
 

For most of today, I’ve felt like killing myself. Not because I’m depressed — I’m one of the least depressed people I know — but because I partied beyond my limits last night and have been paying for it with a cataclysmic hangover. It’s one of those hangovers that’s so vicious, I suspect it will still be punishing me when I wake up tomorrow, too. Correction, not when, but if I wake up, because the fucker is so vile that death has seemed like an attractive alternative.

But things are looking up. I’ve had a crisis intervention, a reminder of why continuing to live is worthwhile: I listened to a brand new, free, three-song EP by a Dutch band called Mondvolland. The name of the EP is Pestvogel, which means “plague birds”, and which coincidentally is the avian species that I believe has been roosting in my head all day. Pestvogel is stupendously good; in fact, I can testify that it has life-saving properties.

Mondvolland was formed in 2005 by Martijn on guitars and vocals and Mickeal (Heidevolk session member) on bass and vocals. They released a debut album in 2010 called d’Olde Roop. I’ve not heard it, but I gather from reading about it that the music was in the vein of blackened folk metal. Pestvogel, then, represents a change in direction, a turn toward more thoroughly blackened music. The band also now features a second guitarist (Harold) and Kampfar’s drummer, Ask.

I fell for the title track, “Pestvogel”, in the first 20 seconds. The immediately infectious riff, the big, rumbling bass, the pounding drums — they hooked me from the get-go. The rest of the song was a big payoff, too. The music is hard-charging and dynamically varied. The vocals effectively combine traditional, raking, black-metal howls and folkish clean vocals; the guitar tones and styles range from hammering rhythm chords to whirring, tremolo melodies, to clean guitar leads; the drums move from solid, rock-style beats to a blur of blasting; and that rumbling bass is never far away. It’s just a dynamite song. Continue reading »

Jan 292012
 

(groverXIII brings us this introduction to a band who, as you can see, has fine taste in cover art as well as fine taste in band names.)

When it comes to stoner metal, above all else, the riff is king. Bands like High On Fire, Weedeater, and Down know this well and adhere tightly to the discipline of the almighty riff, and relative newcomers XII Boar have taken this knowledge to heart.

You may remember XII Boar from a brief mention on my 2011 year-end list, specifically in the EP section, for their 2011 release XII. Well, they’ve already firmly established themselves a spot on my 2012 list with their new EP Split Tongue, Cloven Hoof, another fantastic four-track EP of kick-you-square-in-the-dick stoner metal.

In describing XII Boar’s music, I described them as “a mix of High On Fire and Motörhead”, and that label certainly applies. The EP starts off with the breakneck pace of ‘Smokin’ Bones’, a track that carries more of the Motörhead influence mixed with a bit of straight-ahead stoner rock and some bluesy guitar licks. They up the intensity even more with the blistering riffing of the aptly-named “Hellspeed Viper”, a track that plays to the High On Fire influence in their sound. Guitarist/vocalist Tommy Hardrocks does his best impression of Matt Pike’s whiskey-cigarettes-and-broken-glass vocals as the rhythm section of Bad-Dog Williams and Dave “Couldn’t Think Of A Cool Stage Name” Wilbraham propel the track along, then slow down to a crawl for an extremely doomy, sludgy section that is more akin to Sleep or Goatsnake. Continue reading »

Jan 282012
 

The unifying thread of this post is a connection between the old and the new — as well as the sound of the “old” when it was brand new. The featured bands are Carcass (UK) and Slash Dementia (Finland).

CARCASS

The first Carcass music I heard was their 1993 album, Heartwork. Only later did I learn that what I thought was a melodic death metal band started life as a d-beat riding, gore-splattered, death-grind act who were in fact one of the pioneering bands in the evolution of that genre.

The band’s original name was Disattack. After the name change to Carcass, they released their debut album, Reek of Putrefaction, on Earache Records in 1988 after only four days in the recording studio. Although they weren’t happy with the outcome, that album “reached #6 on the UK Indie Chart, establishing Carcass as one of the pioneers of the grindcore genre” (per The Font of All Human Knowledge).

All of this is relevant background to what I stumbled across last night at CVLT NATION — a free download and album stream of a live performance by Carcass in the year of their album debut, 1988. Continue reading »

Jan 262012
 

I’m ridiculously far behind in listening to EPs and albums that bands have sent to NCS over the last couple of months. Hell, I’m embarrassingly far behind in even answering the e-mails from bands who sent us music to hear, which is just plain rude. But I’m going to make an effort to catch up, beginning today.

Long ago, in dog years, we started this EYE-CATCHERS series as a way of unscientifically testing the hypothesis that if album art is cool, the music on the album is probably going to be cool, too. Of course, that hypothesis doesn’t make much logical sense, but then again neither does turning water into wine and lots of people seem to buy that, so who knows? Since we started, this series has branched out to include features on metal artwork, in addition to music, but today I’m going back to the original idea.

Liber Necris (“book of the dead”) is a UK band who wrote us in December. The first thing I noticed, even before reading the words, was the cover art you see above for their debut EP/demo, The Immutable Aversion. I thought it was really well done. The artist is Drew Millward, who has created album covers for other bands, in addition to many shirt and poster designs and much else besides (you can see more of his creations via this link), and we’ll have more of his art for Liber Necris at the end of this post. As soon as I saw the art, I resolved to listen to the EP. That was a good decision. Continue reading »

Jan 242012
 

(TheMadIsraeli has a few choice words to offer about an earlier EP by Uneven Structure (France), whose 2011 album we raved about last year, plus a free download of the EP.)

The new and current albums I’ll be reviewing next aren’t scheduled for release until February, so in the meantime I’ll be trying to produce the best “non-current” content I can.  I think you’ll find that this one here is a winner.

I reviewed Uneven Structures’ debut full-length Februus last year (here), hailing it as one of the best releases of the year and ultimately including it on my list of the top 15 albums of 2012 (expect a re-review of that one soon).  In my opinion, their wall of melody, gain, and ambient soundscapes all meshed into one of the most consuming sounds ever made, and I would wager we will see them becoming major players within the modern metal scene over the next few years.

They are also the only other band in on Vildhjarta’s THALL gimmick.

That is totally relevant to this article.  Why you might ask?

Uneven Structure’s current vocalist is Matthieu Romarin, but this wasn’t always the case.  When the EP I’m reviewing today — called 8 — was recorded, it featured a totally different Uneven Structure, including a different vocalist — Daniel Adel of Vildhjarta (who is the higher-pitched of their two vocalists). Continue reading »