Oct 182010
 

We like collective nouns — those sometimes strange, often evocative, often humorous names for groups of things, like animals, birds, insects, and sea creatures. Examples: A pride of lions, a pack of dogs, a troop of baboons, a litter of kittens, a flock of gulls, a brood of hens, a murder of crows, an exaltation of larks, a parliament of owls, a swarm of bees, a plague of locusts, a school of fish, a bed of clams, a shoal of bass, a pod of orcas.

But what do you call a collective of goblins? Since we’re fans of alliteration, we thought about “a gaggle of goblins”. But a collective of geese (on the ground) is called a gaggle, and geese don’t seem too bright. Goblins, on the other hand, are fiendishly clever. So gaggle is out.  (btw, did you know that a collective of geese in flight are called a “skein”?) A “gathering” of goblins might work, but it doesn’t adequately convey the devilish menace or the barely contained chaos that we imagine would ensue.

No, what you call a collective of goblins bent on mischief and mayhem is Nekrogoblikon. And that sulphurous smell in your nostrils? Why, that’s the aroma of the hell-storm unleashed on the band’s forthcoming new album entitled, of course, Stench. Because we have ingratiated ourselves with the goblin hordes, we have been gifted with the opportunity to absorb the miasma of Stench before less-favored humans. In a word, Stench is brilliant, from beginning to end.  (more after the jump . . .) Continue reading »

Oct 162010
 

When you mentally strip away all the small and large luxuries of life, you are left with the basic rudiments of existence, the core elements necessary for subsistence — food, water, shelter, and in our case, death metal. Nothing fancy, mind you, just the stripped-down, fuzzed-out, palm-muted, drop-tuned, guttural-voiced, percussive approach of the old school, preferably played at a galloping pace.

Rhythmic dynamics and squalling guitar solos are plus factors. Melody is not required.

Eye-catching album art is also a plus, like that busy piece of black-and-white ghoulishness up above by an Indonesian underground artist who calls herself “Oikwasfuk“, depicting the Virgin Mary being impaled by a flying-v guitar while five zombies eat her alive. You know, fun for the whole family! Bring the kids!

Yes, when the band wrote us, they cleverly used that piece of art to hook our attention, like fish caught in a gill net — that, and the band’s viciously cool one-word name. But that was only the beginning. The art and the name only lured us into the music, which in this case (to persist with our commercial fishery metaphor) works like a processing plant — removing the head, guts, and pin bones and then blast-freezing the carcass.

The band is Carcinogen, the album is a five-song EP called Unholy Aggression, and the very satisfying sound is death/thrash of the old school. (more after the jump . . .) Continue reading »

Oct 112010
 

If you’re a death-metal freakazoid like me, then you need no introduction to Autopsy. But in case you’re not, how ’bout an introduction?

Autopsy was originally formed in 1987 by Chris Reifert and Eric Cutler, shortly after Reifert left the legendary band, Death. Danny Coralles joined Autopsy a year later, and after a couple of demos, they released their debut album Severed Survival in 1989. Three more influential albums followed, but Autopsy disbanded in 1995. Before its dissolution, Reifert and Coralles had begin a side project called Abscess, and that became their main musical vehicle in the many years that followed.

All sorts of death-metal icons, including Entombed, Cannibal Corpse, and Deicide, have named Autopsy as an influence on their music, and many more have covered Autopsy songs, including Immolation and Dismember. If there is a death-metal pantheon in hell, Autopsy reigns proudly within its smoking pillars.

So much for the history lesson. Fast forward now to June 3, 2010, the date on which Chris Reifert announced (a) that after 16 years of performing, Abscess had officially broken up, and (b) that Autopsy had been resurrected “to resume their mission of gore-soaked death metal brutality.” That cackling sound heard in the dark places underground on June 3 was the rejoicing of the hellish hordes at the rising again of Autopsy.

Now, fast-forward once more to October 5, 2010. On that day, Peaceville Records released an EP of brand new Autopsy music called The Tomb Within — five new songs, which we have now heard. Those hopes that burst to life on June 3 have been fulfilled: Autopsy has risen again in a display of monstrous death-metal glory.  (more after the jump . . .) Continue reading »

Oct 082010
 

I think I’m in love.

Okay, maybe I’m not really in love. Maybe I’m just in lust. Not with a person, but with a voice. With the voice on DyNAbyte‘s new album 2KX. Which will be released on Sunday — two days from now.

You might think Sunday is an odd day for an album release, but only until you realize what Sunday is. It’s 10-10-10. There’s probably a name for dates like that, but I’m too lazy to track down what it is. We’ll have two more like it in the next two years (11-11-11 and 12-12-12) and then we’ll have to wait until 2101 for the next one. Somehow, I don’t think I’ll be here to see that one.

Fuck, come to think of it, I may not be here to see the one next year either.

There’s probably some Mayan astrologer who predicted the world would end on 10-10-10. I doubt that will happen, but we’re not there yet, so who knows? It’s safer to just blow it all out for the next two days. That’s my plan, at any rate. Better to ask forgiveness than to ask for permission.

Where was I? Oh yeah — the new album by DyNAbyte. They’re from Italy. They’re also giving a big Italian “fuck you” to all the usual distribution channels for music (at least for now). They’re releasing their album exclusively on a USB key, which you can order only from them.

Why bother?, you may ask. Well, that’s the point of this post, idn’t it? To tell you why to bother. Because you should. Because of that voice (among other things).  (more after the jump . . .) Continue reading »

Oct 062010
 

My comrades and I started this site in part as a protest against the watering down of metal, and metalcore in particular, by the infusion of  indie/pop-style clean singing. We wanted to focus on extreme metal. As we said in our description of the music we’d be covering here: “Mostly, we like it fast, punishing, cathartic.  Purely instrumental metal, if done right, fits the NCS bill.  But if someone opens his or her mouth in a song, what comes out better be growling, screaming, or squealing.”

But we also conceded that there would be Exceptions to the Rule — bands we liked despite, and even sometimes because, they punctuate their music with occasional clean singing. We listed Opeth and Mastodon as examples, but we could have included others, like Katatonia, Amorphis, and Soilwork.

Once upon a time, we would have included All That Remains. But the release of 2008’s Overcome was a disappointment to us. From Behind Silence and Solitude to This Darkened Heart to The Fall of Ideals, the band moved from a predominantly melodeath sound into metalcore, with increasing use of clean singing. Still, despite that progression, we were still big fans of The Fall of Ideals. On the other hand, Overcome crossed the line.

The aggressive instrumental backdrop was still there, and Phil Labonte still made use of growly howls and piercing shrieks, but the overall tone of the album was more radio-friendly than the band’s preceding releases, and the single “Two Weeks” seemed overtly calculated to achieve crossover success. With nothing but clean singing in that song, it actually broke into stratospheric territory on the mainstream rock charts and helped land Overcome at No. 16 on the Billboard 200 list with sales ultimately topping 240,000 copies. Given our peculiar tastes, however, for us the band’s trajectory was headed in the wrong direction.

And yet, when Razor & Tie offered us the chance for an advance listen to the band’s forthcoming fifth album, For We Are Many (scheduled for release on October 12), we couldn’t resist. Old loyalties die hard, and besides, Phil Labonte had been quoted as saying that the album would include “new twists and turns,” and we were curious. Would the strong taste of success lead the band further along its progression toward the forbidden lands of hard rock, or would we see a course change?   (more after the jump . . .) Continue reading »

Oct 012010
 

Immersed.

Does that name sound familiar? If so, it might be because we included them in a post we did about a month ago (here). They were part of our sequential treatment for the Saturday morning blahs. Back then, we had two songs available from a an album-to-be. We wrote this about them:

“The music reminds us of the almighty Fleshgod Apocalypse and the equally almighty Decapitated. It’s faster than a cheetah at dinnertime. It leaps like a hare with its ass on fire. If it don’t wake you the fuck up, then it’s time to call the morgue.”

That was then. Now we have the entire new album by Immersed, called The Ire of Creation. We have eight songs instead of two. We have similar impressions — but more so.

Imagine that you’re a stalk of wheat, in a field of wheat stretching as far as the eye can see.  Imagine that a threshing machine is harvesting the field, except it’s running at the speed of a Formula One machine, cutting a broad swath through the waves of grain as if the stalks were ephemeral, the tops flying like the scattering of sunlight on a surging stream, the machine moving as if nothing but Armageddon could stop it.

Now you have an idea of what Immersed inflicts. It’s consuming and cathartic and it leaves little room for breath.  (more after the jump , including an Immersed song. . .) Continue reading »

Sep 292010
 

[EDITOR’S NOTE: Today we have another album review from our guest contributor Andy Synn about the brand new album from a band near and dear to our own hearts . . .The Crown. Back in July, we hyperventilated about the band’s release of a song from the then-forthcoming album, and provided a brief history of the band (that post is here). Now, the album is here, and so is Andy’s review. ]

Do you like metal? Do you specifically like metal that is fast, heavy and so aggressive you’re actually slightly afraid to touch the cd with your bare hands?

If the answer is yes, stop reading this review. You don’t need to know any more. Simply get up and go buy the new album by The Crown. You won’t be disappointed.

Doomsday King is a masterpiece of wild fury and calculated aggression. Blurring the lines between razor-sharp thrash and full-speed death metal, the 5 members of The Crown (now including new vocalist Jonas Stålhammar) have all brought their ‘A’ game back to the table with this one. The ominous tolling bell that heralds the start of title-track “Doomsday King” immediately brings to mind the darker tonality of “Crowned Unholy”, before shifting into the band’s trademarked full-speed assault.

Immediately, the vocals of Stålhammar put to rest any misgivings I might have had about replacing Johan Lindstrand as his high-energy delivery, whilst being highly reminiscent of elements of both his predecessors (Lindstrand and Tomas Lindberg), is noticeably darker and perhaps even a shred more aggressive than either.  (more after the jump, including a track . . .) Continue reading »

Sep 282010
 

That got your attention, didn’t it?

Some small number of you might have been visiting this site back in January and some even smaller number might remember that we wrote then about a South African band called Haggis and Bong. Maybe more will remember than we think,  because that’s a name you don’t easily forget.

Back in January, when we first heard about Haggis and Bong, they were a 3-man show:  Angus “Haggis” Nixon on the Great Highland Bagpipes, Thomas “Bong” Hughes on the kit drum, and Dominic “The Dominator” Skelton on the Great Highland Bagpipes.

Yes, you read that correctly.  This was an instrumental metal band that consisted of nothing but bagpipes and drums. But man, could they rip the hell out of a song, combining a furious double-bagpipe attack with lots of blast beats and double-bass.

Now, the line-up has expanded, and Haggis and Bong have added a full-time bass-player, as well as guest musicians, including a trombonist.

Back in January, the band had released one album, brilliantly entitled Fire in the Bowl.  Only problem was that unless you could catch a live show in South Africa, there was no fucking way to get a personal copy of the music.

Ever since January, we’ve waited and watched and searched, and there has just been no fucking way to download the tunes, either legally or illegally. We were completely hostage to the Haggis and Bong MySpace page. Now, finally, that frustrating situation has changed! (more after the jump, including Haggis and Bong music to hear . . .) Continue reading »

Sep 252010
 

We are so very fucking grateful to Goat the Head. Before we discovered these Norwegian troglodytes in mid-July, we had an aching void in our lives, an unfilled longing for contemporary primal caveman death metal. More than that, we wanted primal caveman death metal played in a contemporary way by cavemen who would be equally comfortable wearing either spacesuits or animal pelts.

And then we found Goat the Head, and it was as if all our feverish prayers had been answered. Suddenly, that void in our lives was filled, and we became complete, at least briefly.

But we owe Goat the Head our gratitude for more than their primal caveman (but contemporary) music. For so many years, we had wondered about the fundamental mysteries of the universe: Where did television come from?  What enabled our primitive ancestors to play the electric guitar?  What causes trailer homes to spontaneously explode?  Goat the Head answered those questions, too.

Thanks to a short but eye-opening documentary film by the band, we now know the answers — and in fact, it turns out that all those questions (and many more) have the same answer: The fucking cube. It all makes so much sense now.

There was only one problem: Back in mid-July, we only had access to two of the songs from a new Goat the Head album (called Doppelgängers) that was then scheduled for release on September 13. It would have to do, but we knew then that only a full album’s worth of material would fully eradicate our painful longing, and hopefully stop our bed-wetting at the same time.

And September 13 came, and as promised, so did Doppelgängers. We have heard it, and it is all we hoped for, and so much more. (our review continues after the jump . . . ) Continue reading »

Sep 232010
 

(EDITOR’S NOTE: As we’ve done on other occasions, we invited one of our readers and commenters, the UK’s Andy Synn, to write whatever his black heart desired as a guest contributor to this site, and this is his first contribution. So, apart from our earlier brief post about Revocation’s new video, we’re stepping aside today to make way for Andy’s review of the forthcoming new album by Dimmu Borgir.)

Morning/afternoon/evening all. Islander’s been kind enough to offer me an open slot for posting as and when possible, and whilst I’m working on a more substantial column I thought I’d jot down a quick review of the new Dimmu album, as I don’t expect a review of it to appear on here otherwise.

Generally I find myself gravitating more towards reviewing slightly more “major” releases  these days (and “major” is definitely a relative term here, the metal bands we all think of as “big” really, really aren’t when placed in the wider scheme of things) as I find it easier to be subjectively critical and/or complimentary about a band that already has such wide exposure. Firstly, because the smaller bands will feel the weight of a bad or badly written review far more heavily, and secondly because the more “major” releases often receive a ton of criticism from questionable sources simply by virtue of their own existence.

Now I was sincerely disappointed with In Sorte Diaboli as I felt that (vaguely sketched conceptual themes aside) their attempt to prove their mettle/metal by bringing forth the more basic metal elements ironically resulted in an album that was very forced and extremely paint-by-numbers. However I’m happy to say that Abrahadabra appears for all intents and purposes to be an album made by the three core members primarily for their own artistic reasons. (much more after the jump . . .) Continue reading »