Nov 042011
 

(Fresh off an NCS co-sponsored UK tour with his band Bloodguard, NCS writer Andy Synn returns to these pages with his review of a remarkable EP by Bristol’s Rosicrucian.)

It’s always a pleasure to encounter music where form is so perfectly suited to function. In this case, Rosicrucian’s flowing, tide-driven take on post-black metal dynamics is described and elucidated perfectly by the artwork and the song titles, which fit effortlessly into the musical aesthetic as a whole, enhancing the experience of the listener. The fit is seamless and seemingly effortless, the art adding whole dimensions to the music as an experience.

The slow-building tension of “Beneath The Waves” is the sound of a storm gathering on the horizon, whose furious winds and explosive cloud-bursts of emotion sweep down upon the listener with elemental force. Torrents of blasting, storm-driven drumming meld with instances of gleaming ambience, an azure haze which paints the song with a deep shade of existential despair.

The ringing coda of “Lest We Forget” is a thing of crystalline clarity and beauty, its skeletal spectre reduced to its starkest bones by the weight of ages, its remains exhumed by the passage of time to reveal both the beauty and brutality of our finite existence.  Exposed to the merciless elements, we are stripped bare by the scathing winds of tumultuous, blackened fury which carry these notes of striking melody with vibrant, unflinching power.  (more after the jump . . .) Continue reading »

Nov 032011
 

(I have been meaning to review The Great Execution, the new album by Brazilian heavyweights Krisiun, because it’s one of the best death metal albums of the year. I still intend to do that. However, Phro has beat me to the punch. Read it and weep. It’s full of THOOM and BOOM.)

The latest Krisiun album The Great Execution is available for your listening pleasure now.  More specifically, it should be blasting in your fucking ears right now, and if it’s not, I have to say, I’m gonna have to seriously reconsider our friendship.  It’s nothing personal, but I just don’t know if can trust a hairy man-dog that eats its own poop AND doesn’t even have the good sense to listen to fucking Krisiun.

But, being merciful (though incredibly unimportant and not just a little petty), I’ll assume that, perhaps, if you’re not listening to it, then maybe you a good reason.  Like loss of multiple limbs.  Or the death of your entire family (Frank Castle style).  Or, perhaps, you forgot it was November 1st.  Whatever the reason may be, this is my attempt at explaining how spinal-cord-fuckingly awesome this album is.  (Seriously.  Your spinal cord.  It’s gonna get fucked.  It’s as if Death were less interested in killing you and more interested in using the hole in your back created by ripping your spinal cord out through your ass as a cock sleeve to store up and save excess Death-semen.)

This album goes to war (as the cover attests) and it doesn’t bother with prisoners, survivors, or even survivors guilt.  (I don’t know what that last sentence means.) (more after the jump . . .) Continue reading »

Oct 312011
 

(Today, Basick Records releases the eagerly anticipated debut album, Februus, by French band Uneven Structure, and NCS writer TheMadIsraeli provides this review.)

I don’t know how a lot of you NCS readers feel about this whole djent movement/genre thing, but I definitely understand the elitist attitude toward it.  Djent is everywhere now; it has crept its way into a shit-ton of modern-minded metal, whether the music really has anything to do with djent or not.  It has spawned so many unoriginal, uninteresting bands in its short life span that it’s insulting.  Why do we really need anyone besides Meshuggah for this shit?

That’s a good question, and one I find myself constantly revisiting as I analyze what is happening in metal. Only two djent albums have touched me since the movement began establishing the modern foothold it now has: TesseracT’s One and Periphery’s self-titled debut.  These are good albums to be sure but, could I live without them?  Most definitely.

Most of my favorite djent has been the product of bands who only incorporated it into something else, rather than totally embracing it — Xerath, Threat Signal, Textures, and CiLiCe. These are bands who made the mathy riffing, the ambience, and the polyrhythmic, syncopated grooves interesting without making me wish I could just listen to Meshuggah instead.  So where the fuck am I going with this exactly?

Uneven Structure. Continue reading »

Oct 262011
 

I don’t know any actual zombies, reanimated corpses, or other manifestations of the walking dead. Not personally. But I can imagine that when they congregate among themselves to get shit-faced and party like the fucking ghouls they are, they’re crankin’ the new album by Maax.

I’ve been fumbling around trying to decide on a genre label for this music. As I listened to the first track, “Coldest Steel”, I was thinking “death ‘n’ roll”. But as I moved deeper into the grisly vomit-rocket of this album, that didn’t seem to fit. Later, I thought about “thrash ‘n’ roll”, because most of the songs do sound like a breed of thrash, but “thrash ‘n’ roll” really doesn’t capture the gory filth that pervades the music.

“Slut-fucking black thrash ”n’ roll”? I suppose that could work. “Alcoholic heavy metal hellfire”? Yeah, that has possibilities. “Entombed meet Motorhead, get blasted, and then dress up in the freshly flayed skin of the just dead and start jamming”? That’s getting closer. But I finally decided that the band itself nailed the description in the title of the sixth track: “Rot and Roll”. (more after the jump . . .) Continue reading »

Oct 252011
 

Short video previews and promos for new albums are rarely memorable. But watch this one. This one is above average. As soon as it ended, I went immediately to listen to the music, and that led to this post. Watch this, and I bet you’ll be curious about the music, too. If I lose the bet, I’ll send you . . . uh . . . a fond wish.

More about Regents and their new EP after the jump. Continue reading »

Oct 242011
 

(Today is something of a rare instrumental metal day at NCS. Following our review of the new album by Odyssey, TheMadIsraeli provides some thoughts about the sophomore effort from another NCS favorite, Animals As Leaders.)

Animals as Leaders, and more importantly Tosin Abasi, proved themselves to be quite the anomaly when they released their self-titled debut in 2009. The trio’s combo of instrumental djent, jazz and electronic music in tandem with Abasi’s top-notch proficiency in the shred department created a sound completely unique at the time. Now we have Animals As Leaders (or AAL from here on) laying on us a new album of musical mindfuckery by the name of Weightless, and I’m telling you now, this album is a trip.

Weightless takes the formula established on AAL’s debut and ratchets everything up to 11 — not doing anything dramatically new, but making a tried-and-true sound even better than it was originally. This enhancement is instantly apparent in opener “An Infinite Regression”. After an eerie, tapping intro, AAL blasts open the door with cacophonous drumming and noisy, low-end, 8-string tapping, and the stage is set for the song’s main melody, a quite apprehensive and dark one at that.

Throughout the elaborate melodic layers of Weightless, there is a pronounced feel of a dreamlike state, but it all comes with an overhanging sense of tension. Songs like “Earth Departure” demonstrate this perfectly, whereas other pieces like “Odessa” simply step into the brain with the kind of twistingly atonal-and-then-melodic back-and-forth that only the best of jazz fusion usually musters. Other songs such as “Do Not Go Gently” prove AAL’s ability to convey a mood and tell a story by the cadence of the song alone, the melodies and rhythms both contemplative in their nature but otherwise functioning as quite separate entities, like two streams of thought meeting and becoming one. Continue reading »

Oct 242011
 

The human voice is a powerful musical instrument. In fact, as an instrument for conveying emotion, it’s unmatched by any human-made device, because it’s the sound of . . . us. By definition, if you take it away from an ensemble of instruments, the music loses something irreplaceable.

This is true even in the case of extreme metal. In extreme music with harsh vocals, the capacity of a voice to express human emotion is constricted by comparison to music with clean vocals. Nuance and range are greatly reduced, and in most instances the emotion-triggering effect of the lyrics themselves is lost because the words are unintelligible. On the other hand, harsh vocals are very effective (more so than clean vocals) as instruments for expressing certain emotions — such as rage, frustration, and anguish — and for producing in the listener a sense of danger and dread. Take them away, and once again you lose something irreplaceable.

Orchestral music compensates for the lack of voices with an extensive array of human-made instruments, affording a lush palette of tones that can be combined in a multitude of ways. That may be one reason why many instrumental metal bands use synthesizers to reproduce the sonic variety and power of a symphony orchestra. But you take away the synths as well as the voices, and strip the instrumentation down to guitars, drums, and a bass, and you’re then placing considerable demands on the songwriting skill and performance chops of a band.

I suppose, for these reasons, I rarely find instrumental metal that jumps up and grabs my interest. But An Abstract Existence, the new album from a three-piece, no-vocals, no-synth band called Odyssey, has done that. I haven’t been this captivated by an instrumental album since 2009, when Animals As Leaders debuted and Scale the Summit released Carving Desert Canyons. Continue reading »

Oct 242011
 

(We’ve run several features about the new EP from Russia’s Kartikeya, but haven’t yet reviewed it. TheMadIsraeli fills that gap today — plus, he’s arranged for us to bring you a download of the EP itself.)

My review of Kartikeya’s sophomore album Mahayuga was only the beginning of a love affair with this ethnic death metal band for us at NCS.  With that album, this Moscow outfit proved that there was more than just a little life left in death metal, providing an insanely eccentric take on the genre that incorporated heavy Vedic instrumentation and themes.  Now Kartikeya have unleashed a new EP upon us in the form of Durga Puja, and once again it displays the high quality they’ve already become known for in their short time as a band:  One totally new song, two totally rewritten songs from their debut The Battle Begins, a live track, and two top notch covers.

Durga Puja opens with the track of the same name.  The song really strikes a chord of Roots-era Sepultura (an album I love and one that was shamefully derided to begin with), but with the ethnic elements all over the place in classic Kartikeya fashion.  The mood of this song builds upon the more tribal-sounding aspects of their ethnic influences, creating a syncopated, metal-might-filled war dance of a track.  Probably my favorite part of this song is the breakdown, with chanting that is perfectly in sync with the guitar rhythm and the violin section that precedes it.  Very cool song and a bit different for Kartikeya.

“Enter My Dome” is one of the rewritten songs off their debut The Battle Begins.  Anyone who listened to that album will know that the music was great, yet underdeveloped.  This song now feels truly complete and truly Kartikeya in body and soul.  Transposed to 7 string guitars, made faster, with heftier grooves and epic new synths, this song blasts and brutalizes away.  This is definitely my favorite track on the EP.  (more after the jump, including music . . .) Continue reading »

Oct 232011
 

(We’re fortunate to have a return visit from our guest contributor The Baby Killer, with his review of the new Immolation EP released for free by Scion A/V.)

We all love hearing success stories in death metal; bands withstanding the test of time and consistently pumping out quality tunes for years and years. Everyone knows the big names like Cannibal Corpse, Suffocation et al, but one name you don’t hear often enough is Immolation. More than two decades have passed since the band first put music to tape, and they’re still standing strong, ready and willing to go toe-to-toe with any modern death metal band, and as their brand new EP Providence shows, these New York veterans still pack a mean punch.

If one were to sum up this EP in one word, it would have to be “ominous”. Each of the five songs has its own individual flow and feel, but they are all tied together by a sense of foreboding, something Immolation have always been good at capturing in their music. From the opening track “What They Bring” to the closer “Swallow the Fear”, the band’s twenty-plus years of expertise in all things dark and evil shines through, permeating everything from Ross Dolan’s signature monstrous growls to the beefy, precise drumming of Steve Shalaty. Many newer bands would do well to take notes on Immolation, because if you’re trying to sound evil, it’s not about how low your guitar is tuned or how many dead priests you have on your album art — it’s about the tone, pure and simple.

Another thing that stood out to me about Providence was that it seems to follow a much steadier beat than the majority of the band’s previous efforts. When they first came around, Immolation were notorious for their syncopation and unconventional time signatures (I’m pretty sure “No Jesus No Beast” is in 3/3, or something close to it), but this time around they seem more focused on creating a steady, driving rhythm tailor-made for head banging and scene-kid stomping. This is obviously not a bad thing, though, and for two reasons. (more after the jump . . .) Continue reading »

Oct 222011
 

(Here’s yet another Revisiting the Classics piece by TheMadIsraeli.)

I know. Another thrash album. Tell me it’s not your thing all you want, but this genre is still the shit AND I THINK YOU GUYS MIGHT ACTUALLY DIG THIS ONE, as it has a bit of a death-thrash vibe going on.

Devastation were, and are, one of my favorite cult bands from the late 80’s/early 90’s. They combined death metal ferocity and riffing with the speed and technicality of thrash metal, and it is all too unfortunate that they released their masterpiece in the form of Idolatry at the wrong time. Released in 1991, this album, full of speed and brutality, hit just as a groove-focused surge was starting to take over in heavy music.  This album had no realistic chance of getting anywhere, and really, it didn’t, but solely because of the musical landscape of the time period surrounding it.

Let it be known, though, that this album is just utter chaos. The riffs are atonal, dissonant, frightening, and full of fury. The vocals are as well, vocalist Rodney Dunsmore delivering a Chuck Schuldiner-esque howl that foams at the mouth and gnashes with blood-hungry fangs. (more after the jump . . .) Continue reading »