Apr 262026
 

(written by Islander)

Yesterday I riffed on how my plans for Saturday-morning NCS roundups can fall apart as a result of Friday-night adventures, even when those adventures don’t include self-immolation. Much the same could be said of Saturday nights and their occasional wreckage of Sunday mornings. This has happened again. I’ll spare you the details.

I also forgot that my spouse planned an outing by the two of us this morning. I tried to beg off, but she’s not having it, and I don’t have the strength to resist (it takes a lot of strength even in the best of circumstances). Coupled with my extensive over-sleeping, I just don’t have time to do very much with today’s column. The only reason I’ve done anything is because nature (even mine) abhors a vacuum (horror vacui!). Continue reading »

Apr 242026
 

(Texas-based Neural Glitch released an album last year that ranked high on the year-end list of our old friend Professor D. Grover the XIIIth, and just last month they released another full-length that has gotten Grover even more excited. He explains why in this review, which includes info and insights drawn from a dialogue with the project’s mastermind.)

Greetings and salutations, friends. With the sheer quantity of music that I’ve listened to in my many years on this earth, it’s become increasingly rare that I find something that really catches me by surprise these days. And yet, as you’ve no doubt surmised, it does still happen on occasion, as was the case with Neural Glitch’s debut from last year, Convinced To Obey. The absurd mix of technical death metal and sample-heavy glitch electronica reminded me in various parts of a number of different bands while still presenting something really unlike anything I’d heard before, and I was enamored enough that the album landed in the top ten on my year-end list here, standing as the only release from a band with which I was previously unfamiliar in that top ten.

You can imagine my surprise, then, when I found out that after only a year and a couple months, the band had released another album. The turnaround is especially impressive given the densely layered nature of the music here. HypNOTic ImpAIrment has actually surprised me once again, representing an impressive step forward in songwriting and general production while retaining the gloriously anarchic spirit of its predecessor. As much as I enjoyed Convinced To Obey, this is undoubtedly a better album. Continue reading »

Apr 232026
 

(written by Islander)

If you heard the Bringers of Disease debut EP Gospel Of Pestilence it’s unlikely you’ve easily forgotten the experience, even though it was released 15 years ago. But maybe you never came across it. In that case, what should quickly seize your attention for the band’s debut album Sulphur are the people who made it.

The lineup includes founding guitarist Jason Phillips (ex-Acheron) and original vocalist Logan Madison alongside Jeff Wilson (Chrome Waves, ex-Nachtmystium, ex-Wolvhammer), drummer Zack Simmons (Goatwhore, Acid Bath), and bassist Jon Woodring (ex-Usurper, Bones).

On top of that, the album also features guest guitars on “First Born Of The Dead” by Nate Garnett (Skeletonwitch) and on “Flowers Bloom From The Prophet’s Skull” by Sonny Reinhardt (Necrot), and guest vocals on “Sacred Heart Of The Abyss” by Ben Falgoust (Goatwhore, Soilent Green).

Now that we have your attention with that information — which is probably all the inducement any lover of metallic extremity really needs to dive into Sulphur — we’ll present a full stream of the album, on the eve of its release by Disorder Recordings. But in the extremely unlikely event that someone wants to know more before spending time with the album, here’s more. Continue reading »

Apr 232026
 

(Andy Synn closes out his week here at NCS with a name that hopefully some of you will recognise)

The term “Mandela Effect” refers to a mistaken but widely-held belief – originally that Nelson Mandela died in prison, but also more generally applied to such assertions as “the girl in Moonraker definitely had braces” (she didn’t) or “the Fruit of the Loom logo used to have a cornucopia in it” (nope) – that has entered the public consciousness, blurring the lines between what’s actually true and what we remember as being true.

Sure, some of these instances have a relatively prosaic explanation (it’s been shown several times that a run of knock-off or mis-printed “Fruit of the Loom” shirts did in fact use the alternate logo, but it was never officially put into circulation) but others have been ascribed to anything from “mass psy-op” to “glitches in the matrix”.

Why am I saying all this? Well, Colorado-based groovemongers Mire have their own Mandela Effect going on, because depending on how you remember things Pale Reflection is either their second or their third album.

The reason for this, of course, is that their “first” album, Shed, was taken offline not long after its release – Metal Archives still has it listed on the band’s profile page, and my own review is still online, but otherwise evidence of its existence is relatively sparse (though it can, with a bit of searching, still be tracked down on Spotify) – and its six songs re-recorded as part of the band’s real debut, A New Found Rain, making Pale Reflection actually the band’s first album of totally new material since 2018.

Continue reading »

Apr 222026
 

(written by Islander)

For those of us who were electrified and bewitched by Cnoc An Tursa’s first two albums, The Giants of Auld (2013) and The Forty Five (2017), the wait for something more from these Scots has brought its fair share of woe, because the wait has been so long. But even though it’s rarely true that all good things come to those who wait, something exceptionally good has at last arrived from Cnoc An Tursa, a new album named A Cry for the Slain.

The album richly rewards the long-suffering patience of the band’s fans. As their label Apocalyptic Witchcraft describes (and as we might have expected) it is “an evocative tribute to the history, the folklore, the unique magic of their homeland,” a compendium of songs “that bring together mourning and defiance, mystery and fear, pride and passion.” The band themselves have said:

“With this new album we feel like we are going back to our roots with a more guitar-driven style and bringing back some of the folk elements musically and lyrically which was the original inspiration for the band.”

Of course, we have thoughts of our own to share about the album (many of them), though the main purpose of this feature is to provide the chance for you to hear it in its entirety in advance of its release on April 24th by Apocalyptic Witchcraft. Continue reading »

Apr 212026
 

(Here we present Wil Cifer’s review of a new album by Texas-based Portrayal of Guilt, which will be released on April 24th by Run For Cover.)

If you had to ask me what band would be the future of heavy music, I would say Portrayal of Guilt. They are not hampered by being tied to any sub-genre. They are forward-thinking, rather than being bolted to the nostalgia of an era, no aspirations to recreate ’90s Tampa or Bergen. Their album We Are Always Alone stands as a masterpiece that this band’s work is measured against. After releasing that album, they pushed themselves to sonic extremes, and …Beginning of the End finds them pushing themselves into a more experimental direction, while making music that might resonate the most with larger, more mainstream metal audiences without compromising who they are. Continue reading »

Apr 202026
 

(Andy Synn stares blindly into the abyssal realms… and is very pleased by what stares back)

It probably shouldn’t (I know how the game is played, after all) but it still rankles with me whenever I see bands getting major deals, support slots, etc, based on who their members are rather than the quality of their music.

At the same time, however, when bands we love here at NCS break up – and in this case we’re talking about Vermont-based Prog-Sludgers Barishi – I’m always happy to keep an ear out for whatever their members do next.

Does this make me a hypocrite? Probably. But I comfort myself with the thought that there’s at least a qualitative difference between, say, a major festival giving a so-called “super-group” a slot before they’ve even released any music and a site like ours trying to keep up with the careers of some of our favourite underground artists.

Hypocrisy or not though, the debut album from Ordh demonstrates exactly why it’s so important to keep track of this level of talent, wherever they end up.

Continue reading »

Apr 192026
 

(written by Islander)

I mentioned yesterday that I had collected 69 new songs or complete releases as a starting point for deciding what to recommend in this weekend’s usual columns. After yesterday’s selections that magic number had diminished, but not enough to make today’s choices any easier. Still, choices must be made.

I can’t identify any musical or thematic throughline for these six recommendations, so you’re in for a fair amount of bouncing around. I do have reasons for why I arranged them in the order I did, but I doubt those are very interesting so we should just get to the music.

P.S. I want to recommend something else today besides music. After a long time of anxiously waiting for the movie Sirāt to hit streaming services, I was finally able to watch it last night (it never played at any theaters anywhere close to where I live). I thought it was a stunning as the many stunned reviewers said it was. Be forewarned: it’s a desolate and devastating story, one that creates a shroud of near-ever-present tension. But it’s also a near-perfect piece of filmmaking, and if you see it I don’t think you’ll forget it. I’ll leave this link to a more comprehensive review.

P.P.S. These lines appear on the screen when the movie begins, and explain the meaning of its Arabic title: “There is a bridge called SIRĀT that links hell and paradise. Whoever crosses it is warned that it is narrower than a strand of hair, sharper than a sword.” Continue reading »

Apr 172026
 

(written by Islander)

The origins of the phrase “elevator pitch” are murky, but the meaning isn’t. It refers to someone describing an idea to someone else who doesn’t have long to listen, or doesn’t want to give you much time. You’ve got the length of an elevator ride to get your point across and sell it.

In our field, record labels, publicists, and artists make elevator pitches too, usually in writing. Some are better at it than others. Sometimes the elevator pitch for a band’s music tells you pretty much all you need to know in deciding whether to check out the goods, especially when a band’s music isn’t much more complicated than a couple of quick paragraphs can capture. But sometimes the elevator pitch really doesn’t tell you (and can’t tell you) everything that makes the music worth hearing.

Which brings us to the New Zealand band Vaeovon and their debut album Spiritual Nullification. Continue reading »

Apr 162026
 

(Andy Synn offers up three more prime Brtish exports for you to enjoy)

Like I’ve said before, we like to keep you guessing here at NCS, which is why after spending the start of the week covering riff-happy ragers from At The Gates and Inherit the Curse I’ve decided to dedicate the end of the week to three UK-based bands who err more towards the expressive, progressive, and/or atmospheric side of the musical spectrum.

Continue reading »