Jun 202022
 

(Andy Synn kicks off a new week with the nasty new album from Light Dweller)

Over the years I have developed a bit of healthy scepticism when it comes to solo artists or “one man bands”.

That’s not to say I actively dislike them, by any means, it’s just that – generally speaking – I find that the collaborative process between band members tends to be more fruitful and fulfilling than simply having a single individual do all the work (often without anyone around them to curb their worst excesses).

There are, of course, many examples of where relying on an individual auteur actually produces amazing results – whether that person is working totally on their own or simply serving as the chief/main songwriter for a band – but it really comes down to a question of whether they have not just the creative vision but also the drive and talent to bring it to fruition.

And, make no mistake about it, Cameron Boesch (aka Light Dweller) has all of these things in abundance, as his latest – and greatest – album demonstrates.

Continue reading »

Jun 192022
 

 

After a lapse last week this column re-takes its usual place on the weekly calendar to blacken the sabbath. I’ll quickly confess that I bit off more than I can chew in the writing, and more than most of you will have time to hear in the listening: I’ve picked two complete albums and mixed them together with four new singles. Despite the challenges to myself and to you, I felt so strongly about all these choices that I couldn’t resist.

As is often the case, I haven’t lived with either of the albums long enough to do more than provide scattered notes about them. That’s the consequence of needing to write about something new every day. Settling in gives way to scurrying. But you’ll have a better chance to settle in with these releases, and I hope you will. All the singles sound fantastic too.

HIEROPHANT (Italy)

Death Siege is the fifth full-length from this talented band, who are charging toward us after a six-year interval following the last album. The new one is 40 minutes long, and the cover art by Abomination Hammer alone would make most people want to find out what’s going on in the music. My friend Andy‘s Synn Report about the band’s discography back in 2016 would provide more reasons.

What Hierophant say about the music is this: “”With Death Siege, we crossed the gateway to the abyss. Nihilism will overcome, when the sky will burn in fire. Death, Chaos, Annihilation.” Continue reading »

Jun 162022
 

(Here’s three albums released last week that Andy Synn thinks you need to hear)

As you may have noticed, we do a fair bit of “retroactive reviewing” here at NCS, mostly because… well, we only write about things that we like and sometimes it takes a while to work out how much we like something and how to express that.

Don’t get me wrong, it’s still cool to be able to offer advance reviews of albums we think you’re going to love (both the new Exocrine and White Ward albums, for example, aren’t out until Friday but have already received glowing write-ups), but when we find something we really like and want to talk about it doesn’t really matter if it’s been out for a while – after all, it’ll be new to someone!

So here’s a triple-header of short-but-sweet reviews for three album released last Friday – some epic Doom from Monasterium, some crusty Death Metal from Neolithic, and some scorching Black Metal from Umbra Conscientia – that definitely deserve some extra love.

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Jun 152022
 

The lyrical themes of Aptera‘s debut album You Can’t Bury What Still Burns (which is set for imminent release by Ripple Music) leap across millennia, from legends of ancient Greek mythology to modern-day race-based murder at the hands of police and personal resistance against daily experiences of repression. What ties these time-spanning topics together is a through-line of anger and defiance, of rebellion and revenge, of refusal to be silenced and at times a call for violent resistance. It’s no wonder, then, that the album’s cover art, like its title, embodies a burning refusal to be buried and silenced.

This Berlin-based quartet’s interest in Greek mythology as a vehicle for some of their lyrical themes is also reflected in the name they chose for themselves, which was the site of a battle between the Sirens and the Muses, where the Sirens lost their wings and were cast into the sea. “Joining the sirens and muses at the table,” as the press materials recount in a further summation of the narratives, “are a coven of reanimated witch spirits and a gang of man-eating mermaids with a healthy appetite for destruction”.

We don’t know what came first, the lyrical themes or the music. But even if the band cooked up the riffs and rhythms before crafting the words, it seems obvious that the same spirit behind the lyrics fueled the music. The fires of rebellion unmistakably burn through both of them again and again, but the band’s music also doses the listener’s mind with hallucinatory vapors and ferries us into perilous supernatural realms. Continue reading »

Jun 142022
 

 

This weekly column is two days removed from its usual Sunday spot. I had picked the music and was all ready to begin writing on Sunday morning, and then remembered I had agreed to do a premiere that day and then go on an excursion with my wife. And then there was a neighborhood picnic I’d also forgotten about, which went on into the night. Monday brought a different set of obstacles. So, we’re two days late.

Anyway, what I’ve picked for this Shades of Black column is a mix of one advance track and three complete records, including an EP that’s 3 1/2 years old but just hit my radar recently (and shorted it out).

THERIOMORPH (Finland)

Theriomorph is a solo project of P.E. Packain (aka Vainaya), best known for his solo work in the now-defunct Cornigr and as a key instrumental performer and songwriter in Adaestuo. Earlier this year I frothed at the mouth about a preview track from Theriomorph‘s debut album Diabolical Bloodswords, and last Friday it emerged in full bloom (via Terratur Possessions). Continue reading »

Jun 132022
 

(Andy Synn continues our ongoing love-exchange with Ukraine’s White Ward)

To be honest with you, for the longest time I really wasn’t sure how to start this review.

After all, White Ward hail from a country that is still, over 100 days on, in the throes of an invasion, and to fail to acknowledge that fact seems somehow wrong.

And yet, at the same time, I don’t have the words to describe how this must be affecting the band… because I truly can’t imagine what they’re feeling or what they’re thinking right now.

So if I choose to just focus on the music, I hope that’s ok.

Continue reading »

Jun 102022
 

The press materials for Truent‘s debut album Through The Vale of Earthly Torment recommend it for fans of early Revocation, early Gojira, Fit For An Autopsy, and Archspire. Those turn out to be good clues to what this Vancouver-area band have achieved on their first full-length following a pair of EPs.

Across eight tracks, most of them rushing ahead at a turbocharged pace, Truent create an electrifying death metal amalgam that features tour de force technicality, non-stop prog-metal adventurism, eye-popping vocal barbarity, and grooves that hit hard enough to cause visions of ruptured organs. To leap ahead in our review, which precedes a premiere stream of the entire record one week before its release, it’s a true spectacle of sound, an experience that’s both head-spinning and bone-smashing. Continue reading »

Jun 092022
 

(Andy Synn offers up four more recommendations of albums you may have overlooked last month)

Boy howdy, did we ever miss a lot of stuff last month.

But, then, you could say that about every month really, as I’ve come to accept (after many, many years in denial) that it’s impossible for us (that’s the royal “us”) to catch and cover everything that’s released.

Accepting this fact, however, has definitely helped me to relax a little bit, as while I still feel a smidgen of guilt that I’m/we’re not covering more bands (or, at least, more underground bands, because, let’s face it, the big dogs don’t need our help or attention quite so much) I’m more at ease with the fact that whoever we do end up writing about will definitely/maybe/probably/hopefully benefit from it.

And, if worst comes to worst, there’s always my annual series of year-end round-ups to help bring attention to some of the more unsung artists and albums.

Speaking of… here are four albums from May that you might just have overlooked (but really shouldn’t).

Continue reading »

Jun 082022
 

The new album by Eggs of Gomorrh is lyrically devoted to a general disgust for humanity (or at least the Christ-worshiping segments of it) and to blasphemous occult visions of sadistic punishment and merciless retribution — scenes of mutilation, degradation, inhuman monstrosity, ruinous violence, and sexual perversion, all of it frothing in oceans of blood and semen. They revel in the foul riot of their words, and the music within Wombspreader is a fucking riot too, carrying the band to new heights of terrorizing excess.

But this should come as no surprise. Over the course of their 2016 debut album (Rot Prophet), a 2019 EP (Outpregnate), and a 2019 split with the Turkish blasphemers Sarinvomit (Encomium of Depraved Instincts), these Swiss fiends have already established a reputation for delivering astonishingly savage forms of jet-speed sonic annihilation with impressive technical skill — and slipping in some grooves and eerie melody in the midst of their slaughtering tirades.

As you’ll discover from our premiere of their forthcoming second album on the Godz Ov War label, all these qualities are again explosively displayed Continue reading »

Jun 082022
 

(On June 17th Unique Leader Records will unleash a new album by the French technical death metal band Exocrine, and in advance of that we present DGR‘s extensive review.)

French tech-death group Exocrine‘s 2020 release Maelstrom landed pretty hard with me here at the site. Up to that point the group’s albums had always been a particular highlight of the given year of their release but Maelstrom really felt like the stars aligning for them. Their combination of head-spinning songwriting and sheer musical heft mixed well with the group’s experimentation throughout the album with varying synth lines, clean backing vocals, occasional brass and trumpet section solos for scene-setting, and atmospheric works, which oftentimes was more excessive than necessary.

It all worked for Maelstrom though, and made that album into an adventure, more than just the latest headspinner from a group known for making headspinners. Once you reached “Wall Of Water” on that album, you’d essentially reached the top of the roller-coaster and were now ready to accelerate downhill into whatever Exocrine had in store for you. That’s why the announcement of the group’s newest album, The Hybrid Suns – nearly two years later – was an exciting one. Continue reading »