Feb 202022
 

 

My day job has left me alone this weekend so I decided to make hay while the sun shines. Yesterday’s round-up included the music of eight bands and this one includes the music of nine.

There is indeed quite a lot of music in this week’s black(ish) metal column, but even I haven’t heard all of it. The releases I haven’t heard in their entirety are included in Part 2 below, where I’ve revived the strategy I used in the old Miscellany columns (and if those don’t ring a bell I’ll explain when we get there).

PART ONE

KAMPFAR (Norway)

I’m beginning with “Lausdans Under Stjernene“, a new single released by Indie Recordings on February 16th by a band who are approaching their 30th anniversary but show no signs of slowing down or playing it safe. Continue reading »

Feb 182022
 

 

Following up on their excellent 2021 EP Six Foot Box (for which we happily hosted a premiere), the Indiana-based metal band Death On Fire are today releasing a new two-track vinyl single as a prelude to their forthcoming album Burial Hymns.

Both songs provide a vivid reminder of Death On Fire‘s viscerally potent but intriguing musical amalgams, which often include stylistic traits from death metal, thrash, the blues, hard rock, and more. What we have for you now, presented through a lyric video, is a premiere of the title track from the new release, “The Dying Light“. Continue reading »

Feb 172022
 

 

(We give you DGR‘s extensive review of a new album by The Devils of Loudun from the U.S. Pacific Northwest. It was released last Friday by The Artisan Era.)

This is stating the obvious but the first full-length from Seattle, Washington’s keyboard-heavy tech-death crew The Devils Of Loudun feels like it has been a long time coming. The group landed on my personal radar in the mid-2010s around the time of their year-over-year EP releases in 2015 and 2016, and yet since then its been quite the wait for their album Escaping Eternity – out now via The Artisan Era.

Escaping Eternity puts the band in an interesting position. Their brand of neo-classical tech-death shred has become a specialty of their current record label and as a result has them standing side by side with quite a few cohorts. Like releases by many of their label-mates, Escaping Eternity is also a thickly packed album; with nearly seven years between releases The Devils Of Loudun have used what seems to be all of that time creating music – resulting in a ten-song release that pushes close to an hour’s worth of songs. Continue reading »

Feb 172022
 

(The highly-anticipated new album from Hath is scheduled for release on 04 March via Willowtip, and Andy Synn has the inside scoop on what you can expect from this rollercoaster of a record)

Hath‘s first album, Of Rot and Ruin, was one of the most hyped albums of 2019, to the extent that (if memory serves) a number of people were extremely keen to label it a “masterpiece” before they’d even heard it.

As much as I enjoyed the record, however, I couldn’t help noticing that much of the music was heavily indebted – a little too heavily indebted, if I’m going to be totally honest – to some of its more obvious influences and inspirations, especially the varied and viscous works of beloved UK Prog-Death duo Slugdge, something which most other reviews seemed to either massively downplay or totally disregard for fear of rocking the boat.

But despite the fact that I was, shall we say, somewhat more critical than most (though still, overall, pretty positive) about their debut, the band still actively reached out to us here at NCS asking if we’d be willing to give their new album a listen and share our honest opinion about it, whatever that might be.

Now, if nothing else, this tells me one of two things about Hath. Either they’re extremely confident about All That Was Promised… or they’re simply gluttons for punishment.

Let’s find out which, shall we?

Continue reading »

Feb 162022
 


photo by Gobinder Jhitta

 

(DGR wrote the following review of a new EP by Napalm Death that was released on February 11th by Century Media Records.)

Once again, I find myself at the altar of reviewing a Napalm Death release since it’s one of the things that has commanded much of my listening time. They’re good at hijacking my attention like that.

Considering the scramble that seems to be happening for bands to release ‘something, anything‘ in the last few years as touring continues to take a hit from the ongoing pandemic, EPs have become an increasingly bizarre proposition. They’ve always been fairly nebulous throughout the years, often a collecting pool for stuff that didn’t make an album after recording sessions or previews of whatever bundle of ideas might be currently rattling around in an artist’s head while they try to figure out where to take their project next.

Right now, EPs have expanded that nebulous sensibility to being these increasingly huge catch-alls of anything and everything – which can make for some incredibly all-over-the-map listening sessions thematically. In the case of Napalm Death‘s newest release, Resentment Is Always Seismic – A Final Throw Of Throes, that weird thematic sensibility is just a continuation of what the band have been doing over the past couple of decades, because outside of their obvious ‘pillar of grindcore’ status the band have always been willing to indulge an ambitious and strangely artistic side – so much so that they have added whole eras of ‘weird death metal’ to the hybrid of current industrial dirge and hardcore punk repeatedly beating the shit out of each other that the band currently love to play with when they’re not dishing out their usual genre staples. Continue reading »

Feb 162022
 

(Andy Synn lays down the gauntlet with the new album from Germany’s Acranius)

Sometimes, to really understand how a band got to where they are, you have to take a close look back at where they came from.

In the case of Germanic brutes Acranius this is particularly revealing, as in hindsight it’s clear that 2017’s Reign of Terror marked a major turning point away from their more Slam-influenced early work towards what’s best described as more of a “Brutal Deathcore” sound.

Sure, there were still several recognisable elements still hanging over from their first two albums – especially the slamtastic snare and the largely unintelligible gurgling monotone of the vocals – but it was clear even then that the band were in the process of becoming something else… something which has finally achieved its final, fearsome form on Mercy Denied.

Continue reading »

Feb 152022
 

 

(This is DGR‘s review of the new second album by the German melodic death metal band Fading Aeon, which was released last December.)

Many, many, many moons ago in a long forgotten time I reviewed the debut release by German prog-melodeath act Fading Aeon. The group’s first release was a solid hybrid of the mass of genres that melodeath has become over the years, including pulling in influences from folk metal bands to the more long-form and journey-minded groups like Be’Lakor.

Debut releases hold a lot of potential and Fading Aeon’s A Warrior’s Tale was one style of ‘promising’ release, with much of it feeling like it was the group laying a foundation for things to come. While they had already solidified in a sound for that release, it still hinted that the group had more ideas toying with them than what had initially been put down. Where the group would head in their followup was an interesting prospect at the very least, so while it may have landed in a quieter time of the year in the opening weeks of December 2021, Fading Aeon saw fit to act upon that with their sophomore album The Voices Within. Continue reading »

Feb 142022
 

 

What is it that is “full of sound and fury, signifying nothing”? In the words of Macbeth after learning of his wife’s death, it is life itself — “a walking shadow, a poor player that struts and frets his hour upon the stage, and then is heard no more… a tale told by an idiot….”

There may be no speech in all of Shakespeare that is more laden with pessimism and despair than that one in Act 5, scene 5 of the great tragedy. That this phrase was chosen by Thought Trials as the title of this Buffalo band’s new album signifies something. As described by Thought Trials‘ sole creator Josh Martin, the album “is a study of the fragile human psyche and how our journeys are shaped by trauma and misadventure. Each song explorers a different facet of mental health, sometimes from a place of optimism – and sometimes not”. Continue reading »

Feb 142022
 

(Andy Synn gets bruised and bloody with the new album from Denmark’s Lifesick)

Here’s a question for you – are Danish misanthropes Lifesick a Death Metal band playing Hardcore, or a Hardcore band playing Death Metal?

It’s ok, you don’t have to answer straight away. Just give their new album (which was released last Friday) a listen and let me know once you’re done picking your teeth up off the floor.

Continue reading »

Feb 112022
 

 

(This is Wil Cifer‘s review of the new album by California-based Author & Punisher, which is being released by Relapse Records today.)

It would have been easy for Tristan Shone to have just coasted for the rest of his career by being known as the dude who makes music with these machines he built. His early work consisted of very aggressive and dense slabs of industrial steamrolling that droned you into submission.

It was a very powerful-sounding juggernaut. Just creating a sound was something he was content with, and by Women and Children” he added more atmosphere and melody, writing songs that stuck with you and placed him alongside any of his peers. This earned him a spot on my list of most anticipated albums of this year. He has exceeded my expectations with his newest release. It is not likely this album is going to convert you into a fan of industrial music, but will at the least endow fans of heaviness with respect for what is being done here. Continue reading »