AUGURY: “ILLUSIVE GOLDEN AGE”

 Album Reviews  No Responses »
Mar 192018
 

 

(The Canadian death metal wizards in Augury will be releasing a new album on March 30 via The Artisan Era, and today we present DGR’s extensive review of this eagerly awaited new work.)

 

This first third of 2018 is proving to be an insane time for groups coming back from the obscure voids of space to which they had retreated, and the angular prog-tech-death madness that Augury specializes in is the latest example of that trend. Prior to the March 30 release of the band’s upcoming album Illusive Golden Age, the gap between their previous two releases Concealed and Fragmentary Evidence was a little under five years. When Illusive Golden Age sees the light of day via The Artisan Era, that previous gap will have been eclipsed, as Illusive Golden Age comes sailing in at a little under nine years since Augury’s last disc.

Through Illusive Golden Age’s eight songs, Augury basically pick up right where they left off. By the opening notes of its title song, there is absolutely no need to make guesses about whether this is an Augury disc or not — everything is served up on an incredibly dense plate from moment one, and from there Augury zig-zag through an increasingly complicated obstacle course, purpose-built to leave its listeners with the equivalent of auditory whiplash. Continue reading »

BEST OF BRITISH 2018, PART 1: AKLASH / GEOMANCER / MY SILENT WAKE

 Album Reviews  4 Responses »
Mar 192018
 

 

(Our man from Nottingham, Andy Synn, resumes a series in which he focuses on releases from a large island in the north Atlantic Ocean off the northwest coast of continental Europe.)

I’m going to keep the preamble short and sweet for this one, as I’ve written quite a lot over the course of the last couple of weeks, both for NCS and for my regular job, and seem to have worn my poor keyboard fingers down to the bone in the process.

Still, I hope you all find something to enjoy in today’s column, which is meant to provide an insight into some of the most promising new albums to have come out of these green and pleasant lands so far this year. Continue reading »

AN NCS ALBUM PREMIERE (AND A REVIEW): HINAYANA — “ORDER DIVINE”

 Album Reviews, Premieres  9 Responses »
Mar 152018
 

 

I was tremendously impressed by Endless, the 2014 debut demo by this band from my old hometown of Austin, Texas, so much so that I attempted to be more poetic than usual in my enthusiastic review. It was thus exciting to discover that Hinayana would be releasing a debut album named Order Divine on March 19th. Having now become immersed in the album for days, it has proven to be even more impressive than Endless. And so it is our great pleasure to share a full stream of the album with you today.

In the simplest terms, the music here is doom-influenced melodic death metal, but of a kind that consistently reaches heights of epic grandeur. Embracing moods of defiance, loss, and grim but glorious triumph, the dramatic, blood-pumping songs are capable of transporting listeners far, far away from the mundane, drab events of daily life, sending emotions soaring and thoughts flying into mythic realms. Continue reading »

JUDAS PRIEST: “FIREPOWER”

 Album Reviews, Exceptions to the Rule  3 Responses »
Mar 152018
 

 

(Wil Cifer reviews the new album by Judas Priest.)

I have now given this album time to sit with me. My first concern about a Priest album at this point in their career is how is Rob’s voice going to hold up? We might be able to live without KK, but as the Ripper Owens years proved, Rob’s  voice is one of the defining traits of this band.

The first two songs are pretty much dialed-in versions of their former arena-rock classics. Think closer to Defenders of the Faith, which found  the band trying to replicate the massive success of Screaming For Vengeance. While the ghost of Priest past might haunt some of the songs, it is without a doubt a better album than Redeemer of Souls. It has the up-tempo aggression that influenced the thrash bands that would follow. “Lightning Strike” has more of a gallop than the opener. The over-dubbed vocal layers that show Halford’s upper range are pretty convincing. Continue reading »

AN NCS EP PREMIERE: WITCHTRIP — “COSMIC CAULDRON”

 Album Reviews, Premieres, SHORT BUT SWEET  No Responses »
Mar 142018
 

 

We were told that the Canadian band Witchtrip includes all the members of Winnipeg’s Occvlt Hand other than the vocalist — so, basically the same band with a different singer. That was reason enough to check out the two tracks on Witchtrip’s debut EP, Cosmic Cauldron, because we were big fans of Occvlt Hand’s 2017 album, Not Everyone Deserves A Happy Ending. We gleefully premiered a track from that album, and put that same track on our list of 2017’s Most Infectious Extreme Metal Songs.

Now, one would expect that Witchtrip’s music would be different from Occvlt Hand’s, despite the significant overlap in members. Otherwise, why choose a different name? And in fact, the music is quite different. And perhaps it should also come as no surprise that the music is nevertheless really, really good — as you’re about to discover for yourselves through our premiere of Cosmic Cauldron in advance of its release on March 16th by Possessed Records. Continue reading »

ULVESANG: “THE HUNT”

 Album Reviews  2 Responses »
Mar 132018
 

 

(A guest writer, who we shall call Conchobar, and who has been a source of excellent recommendations to our hapless editor, returns to NCS with this review of the new album by the Nova Scotian band Ulvesang, which will be released on March 16th).

 

If metal has a sense memory, an auditory genealogy that really hearkens and calls upon us almost somatically, subconsciously, its True Name surely falls under the lunar auspice of “folk”.

Despite pretensions of elitism and subgenre supremacism that contaminate a lot of the current would-be politico-rhetoric in metal, this art form, both in composition and inspiration, has always been one built from solidarity in solipsism: we are people, alone, together. These roots are almost proto-human: more than us, beyond us, before us.

That essence, the axiomatic foundation of what draws us in to listen to music by blazing hearths or over beers, has been tapped eloquently and elegantly on Ulvesang’s sophomore album, The Hunt. Continue reading »

RIVERS OF NIHIL: “WHERE OWLS KNOW MY NAME”

 Album Reviews  7 Responses »
Mar 122018
 

 

(Here’s Andy Synn’s review of the new album by Rivers of Nihil, which will be released by Metal Blade on March 16th.)

For all that we try to always pursue a positive approach to reviewing here at NCS, there’s still something to be said for maintaining a certain amount of critical distance from your subject. After all, there’s a surprisingly thin line preventing a positive critique from becoming what is, essentially, an unpaid press release and, if you’re not very careful, it’s easy to accidentally cross over from one to the other.

Case in point, if you’ve been paying attention to the profusion of hyperbole and half-baked philosophising which has preceded the release of this album you might well have come away with the impression that Where Owls Know My Name is something akin to a cross between the second coming of Jesus and the splitting of the atom.

And while it’s definitely a very good record, statements describing it as “a paradigm shift in Death Metal” or “a watershed moment in the history of the genre” have a tendency to come across as, at best, ingratiatingly insincere or, at worst, shamelessly sycophantic, and often say a lot more about the wilful ignorance or parochial listening habits of the writer than they do about the album itself.

But although the much-vaunted “new” elements on this album aren’t strictly “new” to Death/Extreme Metal – the use of saxophone may be uncommon, but it’s far from unheard of, while Rivers of Nihil are far from the first band to incorporate proggy clean vocals and atmospheric touches into their sound in this manner – what’s most important to focus on here is what these elements represent, which is a band clearly intent on pushing forward and evolving no matter what. Continue reading »

ORATION FEST MMXVIII (THIRD NIGHT)

 Concert Reviews  5 Responses »
Mar 102018
 

 

As I woke up this morning and it hit me that the final edition of Oration Festival was over, I experienced a wave of sadness, coupled with regrets over not having made the trek for the first two years of the event. Oration Fest MMXVIII was, by my lights, an extraordinary experience, one formed by the combination of its setting in Reykjavik (a magical place), the wonderful friends, both old and new, with whom I was able to share the experience, and of course the incredible music.

I’ll have some more perhaps excessively emotional things to say about all that at the end of this post, but the first order of business is to provide photos, videos, and accompanying personal reactions concerning the performances last night by these bands, who appeared in this order: Almyrkvi (Iceland), Inferno (Czech Republic), Misþyrming (Iceland), Svartidauði (Iceland), Vemod (Norway), and Rebirth of Nefast (Ireland/Iceland).

Once again, the high-quality photos you’ll find below were made by my Seattle friend Tanner Ellison; I made the rest of them, and the (sadly mediocre) videos, with my phone. Continue reading »

ORATION FEST MMXVIII (SECOND NIGHT)

 Concert Reviews  1 Response »
Mar 092018
 


Reykjavik wall art

 

The second night of the third and final installment of Oration Festival took place at the Húrra bar in Reykjavik, Iceland on the night of March 8, 2018. It proved to be just as thoroughly enjoyable as the first night (reviewed here), although the music took more deathly turns, and ultimately concluded in a marvelously bewildering and beguiling way.

Last night the bands who performed, in the following order, were these: Mannveira (Iceland), Devouring Star (Finland), Abominor (Iceland), Abyssal (UK), Slidhr (Ireland/Iceland), Sortilegia (Canada), and Virus (Norway).

As before, the group of friends from Seattle and elsewhere who’ve been sharing this experience with me convened for food and drink about two hours before the first band was scheduled to begin the night. Yes, two hours, because our group has a proven tendency over the course of many previous festivals to talk like there’s no tomorrow, lose track of time, and arrive late if we’re not careful. Which of course is what happened last night even with the two-hour head start. Continue reading »

KILLING ADDICTION: “OMEGA FACTOR”

 Album Reviews  1 Response »
Mar 092018
 

 

(Today, Xtreem Music is reissuing the 1993 debut album of the Florida death metal band Killing Addiction, and to celebrate, we’re presenting Todd Manning’s review.)

It’s amazing how an album can transport you back in time, evoking crystal clear memories of your past, especially when you haven’t even heard it before. That’s exactly what happened to me when I listened to Killing Addiction’s Omega Factor, which is being reissued by Xtreem Music on March 9th. By midway through the first song, I was already reminiscing about when my first Death Metal band used to practice in my parent’s garage, and about our first show, which occurred mere weeks before this album originally hit the streets in the spring of 1993.

What these Floridians produced was a great marriage of the Death Metal of their own region mixed with New York Death Metal, full of intense grooves (which would go out of fashion within a couple of years), and a peppering of Thrash-holdover riffs, even sneaking in the occasional blast beat here or there. Continue reading »

 Older Entries  Newer Entries