OMINOUS RUIN: “REQUIEM”

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May 062025
 

(Below we present DGR‘s review of a new album by California-based Ominous Ruin in advance of its release this coming Friday by Willowtip Records.)

Is it possible for a band to do a complete lateral in their music and yet feel as if they are starting from the same spot they stepped away from? Bay Area tech-death group Ominous Ruin have been around a little over ten years now, yet it sure does feel like with their new album Requiem the group have stepped out to soft-relaunch themselves.

You’d almost never guess it based off the gap of close to four years between releases – and a lot can happen in four years, mind – but it’s as if the Ominous Ruin crew effectively never stopped. Instead, they just did a step to the side and started over again with about the same bar in quality that they established on their album Amidst Voices That Echo In Stone as the starting point. The result is interesting, less cross-pollination among three different subsections of the tome of death metal and instead a laser-like focus on one particular chapter, the tech-death section. Continue reading »

THINGS YOU MAY HAVE MISSED (BUT SHOULDN’T)

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May 052025
 

(Andy Synn highlights four album from April which may have flown under your radar)

Look, I don’t have time to talk about everything I/we missed last month, so once you’re done reading about the four bands featured here today I recommend you go check out the latest releases from Felgrave, Supreme Void, Tigerleech, and Zeicrydeus… all of whom I wanted to write about, but couldn’t find time/space for (I could easily have done a second article on them, and maybe even a third for everyone I still haven’t mentioned).

But before then… enjoy this collection of four devastatingly dark and hellishly heavy albums from last month. You might just discover your new favourite!

Continue reading »

HATE: “BELLUM REGIIS”

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Apr 302025
 

(We present DGR‘s review of the newest album from the Polish titans Hate, which is set for release this coming Friday, May 2nd, by
Metal Blade Records.)

Poland’s Hate have been a musical monolith for blackened death metal for over two decades now. They’ve become a lighthouse by which you can orient yourself, ever fixed upon land and as steady as the world could allow it to be. With thirteen albums in their arsenal, Adam and the crew of the machine named Hate have been one of, if not the most reliable sources of extreme metal around for a long time. While erecting an unscalable wall of imperial riffs and relentless double-bass drumming, they have also become a gateway into the wider expanse of the dark arts.

Hate have stayed rigidly true to their formula, such that you could pull any album post-Anaclasis from their discography and use it as a guide into blackened death metal for anyone willing to take the plunge. Few have ever attempted the sort of fiery riff work that Hate build their music out of, and because of that there’s been little reason for the group to ever shift. Hate don’t do massive artistic evolution: the Hate you see now was a Hate set in stone a while ago, already concrete and recognizable. What Hate do now is to iterate on their sound, such that there’ve been a few distinct three-to-four album arcs over the course of their career. Continue reading »

POINT MORT – LE POINT DE NON-RETOUR

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Apr 302025
 

(Andy Synn decides to shake things up a little with the genre-blending new album from Point Mort)

Whenever you’re writing about a band like Parisian “post-genre” provocateurs Point Mort – whose sound combines elements and influences from (Post) Metal, (Post) Hardcore, Alt-Pop, Rap, Electronica, and more – it’s often hard to know quite where to begin.

After all, while comparisons and references to the likes of The Ocean and Oathbreaker, Leprous and Latitudes, Rolo Tomassi and Refused are certainly valid (though by no means exhaustive) they’re never going to really capture just how defiantly – and potentially divisively – the French quartet resist easy categorisation.

But, much as an expert chef is capable of taking a concoction of ingredients that wouldn’t normally work together and turning them into a Michelin-starred meal, so too have Point Mort taken an array of sounds and styles and combined them into a delicious seven song smorgasbord named Le point de non-retour.

Continue reading »

DESERTED FEAR: “VEINS OF FIRE”

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Apr 292025
 

(Below you will find DGR‘s review of the newest album by Deserted Fear, released late last week by Testimony Records.)

Germany’s Deserted Fear have been the engine that could over the course of six albums now. A compact project that has been a three-piece for a large course of their career, the band have been a consistent mark within the world of heavy metal.

Since 2012’s My Empire, Deserted Fear have proven themselves reliable, with releases hitting like clockwork on about the two-to-three-year mark. Their artistic evolution has seen the group change over the years from a very groove-inspired and influence-worshiping branch of death metal – the classic one-two thump of swede-death and Bolt Thrower‘s primal hammering filtered through the modern era’s taste for ruthless efficiency – to something akin to a current-day melodic death metal band since the days of 2019’s Drowned By Humanity.

While the logo or their taste for artwork has remained suitably corpse-obsessed, Deserted Fear have embraced a surgical attack that has made the three-piece sound so much larger than they actually are and one that has also made them fairly easy to understand and get into a groove of your own with.

While the melodeath genre has seen its fair share of revivalism across multiple eras and numerous “influenced by the influenced by the influenced by” crews, Deserted Fear have grown more naturally into a role that could just as easily have been built for late 90’s/early 00’s era In Flames and Soilwork. Deserted Fear‘s newest album Veins Of Fire puts a big spotlight on that fact and also shows that the band have comfortably settled in as being vanguards for doing so. Continue reading »

HEXEKRATION RITES: “MISANTHROPIC PATH OF CARNAL DELIVERANCE”

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Apr 282025
 

(Our Norway-based contributor Chile prepared the following vivid review of Hexekration Rites‘ debut album Misanthropic Path of Carnal Deliverance, released last week by Godz Ov War Productions.)

First things first. The listening process is never a straightforward one. There comes an album occasionally that you’d listen to once or twice, shrug and move on. Maybe you’d give it one more chance. Or not. And then sometimes comes along an album that commands your attention on the very first listen. Like putting a spell on you, stopping the thing that you’re doing. This is that album.

The French marauders in Hexekration Rites have been around for some seven years now and it says a lot about a band when it gets high praise years before them even thinking of releasing a full-length debut. Exactly this happened with their demo release and the first EP Desekration Manifesto, both getting some downright carnal love here on No Clean Singing. A recommended read and a listen, surely. Continue reading »

VOIDFALLEN: “THE RITUALS OF RESILIENCE”

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Apr 282025
 

(In February Noble Demon released a new album by the Finnish melodic death metal hellions Voidfallen. DGR held fire and allowed the album to boil through his sensorium for a while, as he often does, and he’s now ready to give us his thoughts about it.)

Like many a melodeath band in this day and age, Finland’s Voidfallen are an interesting proposition. This is a genre well-known and well-trodden with an immense body of work to its name and just as many contortions and permutations as someone could even imagine – and then some. There’s been an insane number of groups looking to put their own spin on the catchier and more glamorous side of death metal, taking its penchant for hook-heavy riff work and shred-tastic guitar soloing and continually stacking new blocks atop it or bending it to their will.

When you have regional flavorings adding to the massive subgenrification of a style, you know you’re dealing with an unruly beast, one which at this point is beyond just the territory of a devil we know and well within the realms of a devil we may have been intimate with once or twice, assuming that quiet nod and knowing wink isn’t just suggesting future adventures post-expected drunken blackout.

Noble Demon then have an intriguing idea put forth with Voidfallen‘s second album The Rituals Of Resilience. Beyond the masks and spectacle, Voidfallen are a combination of classic keyboard and guitar warrior melodeath, slamming face-first into an insane tango with the darker side of Omnium Gatherum‘s slightly more progressive flavorings. The Rituals Of Resilience has Voidfallen smashing up against the plexiglass of their chosen genre in a classic act of attempting to do what could best be defined as ‘a hell of a lot’ while still hewing hard into their foundational drawings. Continue reading »

AN NCS ALBUM PREMIERE (AND A REVIEW): DISPYT — “FRÅN MELANKOLI TILL MENINGSLÖSHET”

 Album Reviews, Premieres  1 Response »
Apr 252025
 

(Andy Synn steps in as a last minute substitute to host our premiere of the new album by Dispyt)

Up until about… let’s call it 24 hours ago… I thought I was done writing here for the week.

Unfortunately our great and glorious leader – who was originally intending to share his thoughts about Från melankoli till meningslöshet, the upcoming third album by filthy Finnish riff-mongers Dispyt (out 29 April) – ran into a few difficulties and was struggling to find time to put his thoughts into words here for us all to gorge upon.

And so, heroically and without hesitation, I volunteered my services… after all, I’ve been a fan of the band ever since I stumbled across their debut album, Den ständigt närvarande ångesten, more years ago than I care to think about, so who better to give them their due?

Continue reading »

AN NCS ALBUM PREMIERE (AND A REVIEW): CHANGELING — “CHANGELING”

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Apr 242025
 

(written by Islander)

We don’t need to be mind-readers to fathom why Tom “Fountainhead” Geldschläger named his new project and its debut album Changeling. Like the legend from European folklore, it has the musical presence of a supernatural shape-shifter whose diabolical essence diverged from the shapes that disguised it in place of the humans spirited away — except there’s no real disguise here, because the music strikingly and abundantly seems well beyond the capabilities of base-level humans.

Changeling is an entirely fitting name, but Fountainhead might also have chosen the name Phileas Fogg, the adventurous creation of Jules Verne who accepted a wager to go Around the World in Eighty Days. That idea comes to mind because the album, in its many changing escapades, in some ways does seem like a globe-spanning, head-spinning tour by ground, air, water, and subterranean passages, spanning different cultures, different sights, and different dangers.

Except this grand tour will only take you an hour, an hour very well spent, as you’ll discover today through our complete premiere of Changeling in advance of its April 25th release by Season of Mist. Continue reading »

FLESHBORE: “PAINTED PARADISE”

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Apr 242025
 

(January releases sometimes get overlooked. DGR doesn’t want that to happen in the case of the new album from Indiana’s Fleshbore, which Transcending Obscurity Records brought us in the first month of this year, and he explains why at length below.)

February brought us a new release in the tech-death world from Indiana’s Fleshbore. Painted Paradise is only the group’s second album but already has them on a strong trajectory. The issue for the band right now is that they’re competing in an incredibly crowded and flush sphere of the musical world and at such a time in which even a genre like tech-death, long known as being the swirling mass of instrumental craziness, has long since codified into something fairly recognizable.

We have labels that even specialize in this sort of thing and, depending on which one a band is on, you could even guess with about eighty percent accuracy as to what they sound like based on that idea alone. Painted Paradise, then, is an interesting release because it is an album where you can understand almost immediately why someone would want to throw their weight behind it.

One of the biggest challenges for a modern day tech-death group is differentiating themselves within the wider genre-sphere and escaping the wall-of-notes stereotype or the rapidly shifting guitar dynamic that often has parts quickly devolving into auditory mud. Yet somehow – even with a healthy dose of influence worship – Fleshbore do so on Painted Paradise, but the bigger question of how may take a little more explanation than what an opening segment may allow. Continue reading »

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