(Andy Synn has had a busy year so far, and has largely taken this week off to recharge, but couldn’t resist the urge to write about these three EPs while he recovers)
To my great shame I haven’t written about many short-form releases so far this year.
Why? Well, long story short… which is a phrase whose origins are complicated and rambling… I just haven’t had time.
Ironically, however, it’s this very lack of time which leads me to write about these three EPs today!
(In the following review our writer DGR provides impressions of the latest discharge of brutality by the Italian death metal band Devangelic. Adorned with cover art by Nick Keller, the album is out now on Willowtip Records.)
We don’t really have much of a mission statement at NoCleanSinging. We have an About page that delves into some of the things that drive us but overall, as we’ve aged, the ideas that fuel this site have either matured or become, as one of our fellow writers coined it, “well intentioned chaos”. That means for all the agents in the world, all of the PR pushes, and all of the news aggregation that we do privately, it’s very hard to tell what may actually make it through the net.
Sometimes we cover a well-known and popular band and other times a group whose social media reach may be in the single digits due to literally just starting out and one of us morons happened to be wandering by the apartment they were recording in that day. However, if there were a band you had to nominate as falling well within the NoCleanSinging wheelhouse you would probably do well by picking Italy’s death metal brutalizers Devangelic. Continue reading »
To lay my cards on the table: I slept 4 hours longer than usual last night and then spent more than an hour moving in a dense mental fog. I guess my body and/or mind needed all that extra sleep, gluttonously so. A couple of large Manhattans over dinner Saturday night might have had something to do with it.
So here I am, with noon rapidly approaching and some paying work still ahead of me, so I’ll have to make the number of selections in this column shorter than usual, despite the vast abundance of new blackened metal sitting in front of me.
KRALLICE (U.S.)
Like many other people I have a compulsion to quickly check out anything new from Krallice, and not just because the members are so talented but also because they don’t do the same thing twice in a row. I didn’t have time to pounce upon their new album Porous Resonance Abyss on Friday when it was released. Although there might have been some kind of advance notice, it came as a surprise to me. Even today, I’ve only made one trip through it, and it’s not a quick trip. Continue reading »
Less than a week into May and it’s already damned hot in many places around the world, even in some far northern latitudes. A news report yesterday said that at least 78 wildfires are burning across the Canadian province of Alberta, 19 of which are burning out of control, and that more than 13,000 people have already been evacuated from where they live.
Where I live, near the 47th meridian in the Pacific Northwest (and about 800 miles southwest of the Alberta fire zone), it’s now 47° F and the gray sky is drizzling rain, as it did all day yesterday. I love it. It might have influenced some of the picks in this large roundup of new songs and videos, though some sonic firestorms and a few vigorous beatings found their way into it too.
Actually, I’m very proud of how varied this collection turned out to be. Which means you probably won’t like all of it.
ERDVE (Lithuania)
Despite my opening commentary about the weather, the new single from Erdve sounds like a different natural phenomenon — like a mid-paced avalanche of stone, with giant boulders rumbling down. Along with all the jarring jolts, the sizzling riffage is also frightful, creating tension and fear, while the raw yells channel rage. Continue reading »
VoidCeremony
(Another month has passed into the moldy history books, and almost like clockwork Gonzo has arrived to spotlight three albums that made a better April for him, and might make a better May for you.)
April came and went, and here I am, sitting around at 5:39 p.m. on a Thursday, trying to figure out what the hell we’ve already covered during that month so I can avoid redundancy on these pages.
And holy shit – we’re just three weeks away from Northwest Terror Fest in Seattle, where I’ll be joining a significant percentage of the NCS staff for a weekend of work and revelry. If you haven’t scored tickets for that one yet, be sure that you do. The lineup this year looks positively ferocious. I’ll be the guy in the “FUCK THE D.E.A.” shirt periodically drunk on hazy IPAs. Come say hi.
Until then, here’s some new music to keep your eardrums occupied. Continue reading »
With their new album Armagammon, the South African band Boargazm have reached the end of their Aporkalypse trilogy. A twisted sci-fi narrative accompanied by comic books, it tells the story of a rebel band of time-travelling freedom fighters known as “The Pig Whisperers”, who warn the world of the impending Aporkalypse, through the Baconing, all the way to Armagammon.
And if that sounds like some weird fun, wait ’til you hear this new album. As the band’s founder Heine van der Walt has explained: “We wanted to shift our focus on doing something highly experimental and weird, yet true to our sound. So, lots of freneticism, while still retaining groove, and to see if we can balance that in a coherent method. It was a fun exercise and experience, figuring out how to do all that.” Continue reading »
(Cattle Decapitation are about to serve up another platter of pain and Andy Synn is here with a gourmand’s take on what to expect)
Now, before we begin, I’m going to say something controversial.
You’re not going to want to hear it, but I think it’s important in order to establish a basis of trust and, hopefully, understanding between us.
Are you ready? Ok… Death Atlas was not as good as you think it was.
Don’t get me wrong, it was a good album overall, and I understand why it was the band’s big “breakthrough” (sure, their star had been on the rise ever since The Harvest Floor, if not before), but in hindsight it’s obvious – to me at least – that the band themselves weren’t quite sure what to do with their newfound fame, which led to at least a handful of tracks feeling as though they were being written more to fit someone else’s formula of what the band “should” be doing now that they were on the road to success.
But we’re not here to talk about their last record, we’re here to learn all about their new one, and the only real reason I mention it is because Terrasite is the album which Death Atlas was trying to be… without even trying.
(Andy Synn catches you upon four meaty underground morsels from April)
Finally accepting that I/we would never cover most – let alone all – of the new releases each month/year was extremely liberating.
It meant that I could feel more comfortable just writing about whatever artists/albums caught my eye/ear, for whatever reason, with the hope that some of my compatriots would catch some of the stuff I missed, and the understanding that certain records are probably going to get enough coverage elsewhere that it won’t make a huge difference if none of us get around to covering them.
Sacrificing quantity for quality also means that you are – hopefully – going to get better, and more insightful, results from each review (something which, let’s be honest, those sites publishing 50+ reviews a week probably aren’t giving you) though I can’t necessarily guarantee that due to lack of time/sleep/mental capacity.
But, I promise, I’m going to try my best, which today means examining four very different albums from four very different bands.
(On May 5th Pelagic Records will release a new album by the Swiss “progressive sludge” band Herod, and below we present DGR‘s review of this new record.)
Herod‘s Iconoclast is not an album you would normally prescribe for May weather, with the sun finally threatening to peak its head around a seemingly never-ending (though much appreciated) cloud season in this corner of the globe. The Swiss group’s third release is a dense block of oppressive heaviness that dresses itself in all things artificial and organic in order to become a monster attempting to fuse multiple different styles into one angular creature.
Given the amount of weapons at musician Pierre Carroz‘s disposal when it comes to Iconoclast, that monster has let its tendrils run wild to create something that is unfriendly on immediate approach, yet its sense of groove is undeniable, to the point of being near-hypnotic. Continue reading »
All things rise and fall, both the animate and the inanimate. Mountains heave up from the Earth’s crust, and erode over time. Flora and fauna flourish much more briefly, but all of it is always doomed to perish. Human life in particular strives, grasping for meaning and some measure of “success”, but humanity’s most vaunted achievements are in fact evanescent, and self-destruction seems deeply rooted. In the arc of all things, there are zeniths, and at the bottom of the trajectory is where you’ll find Nadir.
Nadir is the name chosen by a Norwegian blackened hardcore band whose extravagant debut album we’re presenting today in advance of its May 5 release. Its conception is summed up in the title — Extinction Rituals — and becomes even more clear through the band’s elaboration of what that means:
Extinction Rituals is an exercise in the duality of futility and hope. It is a comment upon the ignorance of man and the inventive way we manage to prey upon each other. Musically, Extinction Rituals sets out to match the lyrical content through blending eclectic sources of inspiration and striving for a harsh and aggressive sound.”
Nadir succeeded in their striving. Paradoxically, they’ve made their dark descent into a zenith of their own. Continue reading »