Feb 052018
 

 

(We present Andy Synn’s review of the new album by the UK band Conjurer, which will be released on February 23rd by Holy Roar.)

I want to begin this review with a confession – I am extremely envious of Conjurer’s ongoing (and hard-earned) success.

I’m not jealous (that actually means something slightly different), nor do I feel that their success is in any way undeserved. In fact I hope I’ve contributed to it, in my own small way, by covering several of the band’s live shows and their EP, here at NCS.

But I do think that, if we’re being completely honest with ourselves, being in a band and seeing someone else do so well will always arouse some feelings of envy. It’s an entirely natural reaction, and not necessarily a bad thing (unless it turns bitter), as it should in turn push you to do better, to think bigger, and to work harder.

However, apparently it’s something we’re not supposed to talk about since it so clearly runs counter to the whole “brotherhood of Metal” concept that we’re meant to at least pay lip-service to.

There’s one thing I definitely don’t envy though, and that’s the excessive hype and fawning flattery which I’ve seen Mire receive elsewhere on the internet. Continue reading »

Feb 022018
 

 

The Croatian band Duskburn have latched on to a winning formula, but it’s an unusual and unusually gripping one, a kind of alchemical sorcery that combines disparate ingredients to produce powerful (and disturbing) effects on their listeners. Duskburn’s new album, which is the culmination of a decade-long stylistic evolution, is called Serpentide. It’s being released today as a digital download by Cimmerian Shade Recordings, with a tape release planned in the near future, and to help spread the word we’re premiering a full stream of the record today.

Duskburn first took shape in 2006, but the shape of their sound has changed over the course of a debut album in 2009 (Soldering the Seven Streams) and a quartet of EPs released from 2010 through 2013. Over those years, the band moved from an early manifestation of death metal in the direction of sludge and doom, but this new album embraces an even more atmospheric and much more mercilessly vicious take on what they created with their last EP. These are the colossal, high-intensity sounds of mortifying catastrophe. Continue reading »

Feb 012018
 

 

(We welcome back New Zealand writer Craig Hayes (Six Noises), who brings us this review of the new album by NZ’s Bulletbelt, which was released through Bandcamp just a few days ago.)

 

Nine Centuries is the latest hard-hitting release from New Zealand black/thrash metallers Bulletbelt. Much like their high-octane pals Midnight, Bulletbelt mine metal’s core aesthetics, and Nine Centuries duly features plenty of battle-vested and spiked-gauntleted oomph. Interestingly, though, the rip-roaring album is also somewhat bittersweet. Because Nine Centuries marks Bulletbelt’s final album with vocalist Jolene Tempest.

Tempest exited Bulletbelt late last year, along with guitarist Seth Jackson, and while singers come and go from bands all the time, Tempest’s leaving is certainly notable because her performance on Nine Centuries is so confident and impassioned. Tempest originally joined Bulletbelt not long before they recorded their second album, 2014’s Rise of the Banshee, and that release showcased the band’s burning ambitions like never before. Continue reading »

Jan 312018
 


Redemptor 2016

 

(We present the January 2018 edition of THE SYNN REPORT, in which Andy compiles reviews of releases by the Polish band Redemptor.)

 

Recommended for fans of: Decapitated, Anata, Rivers of Nihil

If you’ve been paying attention at all recently you’ll have caught the name Redemptor as one of the bands featured in my Personal Top Ten of 2017, and may also have noticed that I promised to deliver a Synn Report on the group as soon as possible.

Well, today is that day.

Over the course of three albums and one EP the Polish quintet have steadily evolved their sound from the Schuldiner-esque strains of their debut album None Pointless Balance to the angular hooks and merciless precision of 4th Density and The Jugglernaut, with the process finally culminating in the gargantuan grooves and captivating atmospherics of last year’s utterly crushing Arthaneum. Continue reading »

Jan 292018
 

 

(This is Andy Synn’s review of the new album by the California band Ion, which is now available on Bandcamp.)

 

To say that I have been anticipating the release of this particular album would be a rather glaring understatement. The band’s self-titled debut was so good that I declared it to be my number one album of 2014, and while things have been relatively quiet for the Californian triptych since then (barring a series of irregular live appearances), its manifold metallic delights have remained in steady rotation ever since.

You can therefore possibly imagine my shock to find that their sophomore album, A Path Unknown, was released suddenly and without fanfare on Bandcamp yesterday. Continue reading »

Jan 292018
 

 

(Todd Manning wrote this review of the new split by Baltimore’s Neolithic and the Swedish band Martydöd, set for release on February 15 by Deep Six Records.)

 

Does anyone want to burn down a city to kick off the new year? If so, the new split between Neolithic and Martyrdöd should provide the perfect soundtrack to the chaos. This is a short record, but goddamn if it isn’t raging. Continue reading »

Jan 262018
 

 

(We present Andy Synn’s review of the new album by Norway’s In Vain, which is being released today by Indie Recordings.)

If you’ve been paying attention to the Metal blogosphere over the last few months, chances are that you’ll have stumbled across either (or both) of the new singles from Norwegian Prog-Metallers In Vain, released in advance of their new album Currents (out today on Indie Recordings).

What might surprise you, however, is the revelation that these two tracks are. arguably, the worst on the album. Continue reading »

Jan 252018
 

 

Yesterday I posted the first Part of this three-part collection of new or recently discovered black metal. If the rest of my life will cooperate, I should be able to post Part Three tomorrow. As previously explained, I arranged all the music in alphabetical order by band name and then divided the list into thirds. And so tomorrow’s music comes from bands whose names follow the letter N — unless I find something else I want to tack on, or forget how to alphabet.

HUMAN SERPENT

My comrade DGR pointed me to For I, the Misanthropist, the third album by the Greek band Human Serpent. I don’t think we’ve written about Human Serpent before, although in preparing to write this post I saw that the band’s last release (just a few months ago) was a 20-minute collaboration with Isolert, who I have tried to expose to our readers on a couple of previous occasions. That’s a release I need to listen to (and you can listen to it here as well). Continue reading »

Jan 252018
 

 

(We present a guest review of the new album by New Jersey’s Replicant, written by Stephen Matthew Schwegler, a member of Pyrrhon, Seputus, and Weeping Sores.)

Being a songwriter in a vastly under-appreciated but densely populated genre, the importance of a strong identity seems, to me, paramount. To be fair, I am biased in the case of the band Replicant. I love single-word band monikers. I love brutal and atonal slamming death metal. I love Pete/Mike/Matty as individuals, and my band has played shows with them numerous times now.

That being said, the creature that is Replicant inhabits a long-missed niche in death metal for me. Concise and elegant, their simplistic namesake tells you everything you need to know about the band before ever hearing the music. Continue reading »

Jan 232018
 

 

(Andy Synn wrote this review of the new album by Crow Black Sky from Cape Town, South Africa.)

 

If there’s one thing I’ve learned in all my years of writing about music (and that’s a big “if”), it’s that you should never completely write a band off, as they can always surprise you.

Such is the case with South African quartet Crow Black Sky, whose debut record, 2010’s Partheion, proved to be a not-unenjoyable slab of highly melodic, keyboard-inflected Black Metal in the vein of Kolossus-era Keep of Kalessin and early Dimmu Borgir which, despite its obvious merits, largely failed to set the music world on fire, and was soon lost in the shuffle.

Eight(!) years later, however, the band have returned with a new sound, a new outlook, and a brand new album which completely blows its predecessor out of the water. Continue reading »