Mar 172025
 

(On March 11th Transylvanian Recordings released a disgusting new album by Sacramento-based Tentacult. It’s fitting, therefore, that Sacramento-based NCS slave DGR is reviewing it today.)

Like any good proper umbrella genre that has absolutely exploded you can take the phrase “death metal” and draw ever finer concentric triangles from it into a pyramidic tower of subgenres with each sprouting two to three more lines from it until eventually you reach descriptors long enough that you run out of breath before you finish defining the sounds that make up a group.

By the end of it, you can construct a very pretty geometric structure of lines that’ll entrance your local social media “spiritual” influencer. At times it can be like trying to speed-read aloud a complicated dinner recipe in a single breath, your very last utterance of “blank-death metal” usually followed by the sound of you collapsing to the floor due to lack of oxygen and blood flow to the brain.

In layman’s terms though, you can often break down the view of death metal into four categories: Continue reading »

Mar 162025
 

(written by Islander)

I’m afraid I have a self-imposed deadline to finish this weekly collection of music from the blacker arts so I can turn to other obligations, and so I’ll dispense with an introduction and dive right into all the quite varied music I’ve picked for your entertainment and edification.

DROUTH (U.S.)

To begin, here’s “False Grail“, a startling new song from a new album named The Teeth of Time by Portland’s Drouth. Continue reading »

Mar 152025
 

(written by Islander)

I had an attack of spring fever this morning. It’s definitely not springtime weather here in the Puget Sound (it’s quite cool and wet, the wind is howling, and if that keeps up our power will inevitably go out). I just didn’t want to do anything that seemed remotely like work, and compiling these roundups is remotely like work.

But the old obsession not to let any days go by at NCS without spreading the word about music eventually won out over laziness, though it may not win out over wind, and so I will attempt to be not too windy in what I write.

I thought about leading with some of the bigger names who have recently released new music in an effort to draw people toward more obscure names in today’s collection (I was thinking about the likes of Cancer, Gaahls Wyrd), Benediction, and Rivers of Nihil) but so many of the more obscure names are so appealing to me that I decided to just get right to them. Continue reading »

Mar 142025
 

(written by Islander)

We have written frequently over the last seven years about the music of the Italian band Thecodontion, whose primeval and prehistoric thematic interests have been as interesting and erudite as their guitar-less but ever-evolving formulations of death metal. And so we were highly intrigued to learn last year that Thecodontion vocalist G.E.F. had started a new band named Clactonian, joined by Thecodontion drummer V.P. (also in SVNTH), Finnish bassist K.H.P.K. (from Ashen Tomb), and Italian guitarist B.Z. (Spell of Decay).

Like Thecodontion, the thematic interests of Clactonian are rooted in prehistory, and particularly the Paleolithic Age. The name itself is a term given by archaeologists to an industry of European flint tools made by an extinct species of archaic humans who lived hundreds of thousands of years ago. (You can find more about here.)

Last summer we premiered Clactonian‘s debut demo, Dea Madre, whose cover art you won’t have forgotten if you saw it. The music followed a path of early bestial black/death metal that drew strong influence from Beherit but also should appeal to fans of Archgoat, early Bathory, and some bass-driven bands like Barathrum or early Necromantia for the slower sections.

And now we’re bringing you Clactonian‘s second demo, Everlasting Paleolithic, in advance of its official release on March 28th. Prepare for… PALEOLITHIC BLACK METAL OF DEATH! Continue reading »

Mar 142025
 

(written by Islander)

I had a narrow opening in today’s schedule for a roundup of new songs and videos, and not a lot of time with which to fill it, so I won’t waste the time with further introductory remarks. We’ll get right to it, beginning with:

MÜTTERLEIN (France)

Ever since seeing the recent announcement of a new Mütterlein album a group of metal-loving friends and I have been greedily rubbing our blood-stained hands (contrary to rumor we don’t have talons and the blood is from paper cuts). The rubbing has become more intense since hearing the album’s first single (not that kind of rubbing, get your minds out of the gutter). Continue reading »

Mar 132025
 

(written by Islander)

What is “pagan death metal”? It might be death metal that lyrically honors and celebrates old pre-Christian mystical belief systems, or current non-theistic ones, without much other connection between the music and what inspires the lyrics. Or the connection might be deeper than the words. Or the words might open doors to an imaginary cosmos of recent origin but ancient trappings, accompanied by music designed to reveal what lies beyond the door.

Which brings us to the Italian “pagan death metal” band Alzhagoth. Thematically, they have created their own cosmogony, a vast cosmogony of chaos and even monstrosity, and a cult devoted to the dark god whose name is the name of the band. As for the music, they’ve explained in a recent interview:

“For us, chaos isn’t merely random, but filled with potential. Each element can become part of a subtle order, crystallizing into a track that reflects the darkness of Alzhagoth. In this way, the music becomes an attempt to capture eternity in a single moment, transforming turmoil into something sublime, in the romantic sense of the word.”

What this means in more concrete terms is revealed in Alzhagoth‘s debut album Ad Finem, which will be released tomorrow through Inertial Music, and which we’re now revealing in its entirety. Continue reading »

Mar 132025
 

(Andy Synn welcomes another decadent dose of weirdness from Imperial Triumphant)

There comes a time in every band’s career… well, not every band’s career, let’s be honest… when they have to decide what to do with their success.

Do they allow it to change them, and their sound, in an attempt to chase the always alluring, ever-elusive dragon of fame and fortune (more the former than the latter, these days)?

Or do they stick to their guns, refuse to bow to outside pressure, and maintain their integrity, in the hope that success will continue to find them regardless?

Well, I’m sorry to say that with the upcoming release of their sixth album, Goldstar – which is neither a direct-to-video sequel to 2022’s Spirit of Ecstasy, nor a throwback to 2015’s breakthrough Abyssal Gods, but a special, third thing – it seems that Imperial Triumphant have decided that it’s finally time to cash in on their growing celebrity/notoriety and produce something with more artistic accessibility and marketable mass appeal.

That’s right everyone, Imperial Triumphant have finally “sold out”.

Continue reading »

Mar 132025
 

(In mid-February the Colorado-based metal band Cantu Ignis released their second album, adorned by wondrous undersea cover art by Mark Erskine. DGR came across it and found the music pretty wondrous too, as you’ll see from his review below.)

Much as we would like to pretend that we are cooler than having a schedule or anything resembling a routine, the year in heavy metal has developed a flow to it. Some things you could set your watch by, while others are a bit more nebulous but are still guaranteed to happen. Metal’s obsession with water and chthonic depths is one such predictably recurring aspect. Even when used as base set-dressing for album art and title, there is some sense of a certain heavily-referenced mythos weaving its way in through the cracks. As cliffs will all eventually break down into piles of sand via the crashing of the waves, you can expect at some point within the year we’re going to head into the depths below.

If anything, what is shocking is that it took until the middle of February to stumble upon one, though you could argue that even then the kind of group drawn to it is to be expected as well. What is alien in the galactic sphere is also alien in the waters below, and if there’s anything the modern age of tech-death groups love it is something alien. They can bend realities to their will in song form and subject matter, and the latest to lap from that particular font of inspiration is Colorado’s Cantu Ignis with their second full-length album The Fathomless Dominion. Continue reading »

Mar 122025
 

(Andy Synn puts the debut album from New York weirdniks Frogg under the microscope)

Metal, as we all know, is a serious business for serious people.

And what could be more serious than a colossal cosmic amphibian attempting to devour the moon?

Honestly, it kind of puts all our common, everyday concerns into perspective, doesn’t it?

Continue reading »

Mar 122025
 

(What we have for you here is DGR‘s review of the tenth installment from Sadist, just released last week by Agonia Records.)

We’ve reached an interesting period in heavy metal wherein it seems as if every Sadist release is going to be the last one, as if Sadist are held together by fierce determination and super glue – though it’s not clear which one is doing the most work.

At this point in their career the entity bearing the Sadist name has been reduced down to its two founding members: vocalist Trevor Nadir and multi-instrumentalist Tommy Talamanca. Drummer Romain Goulon seems to have bowed out after a four-year stint with the band – which, granted, brought us a pretty mean release in 2022’s Firescorched – and it does not appear that Sadist have settled on a permanent rhythm section since then.

The group nowadays seems to be largely reinforced by the Italian death and groove band Fate Unburied, with three of its four members taking up live duties with the band and its rhythm section performing session work with them as well. Which is the way we loop back around to how Sadist is being held together and what they consist of these days – because clearly someone believes in this band’s angular and bizarre take on death metal. A large part of the explanatory weight is left to the group’s newest material then, an early March unleashing of death metal entitled Something To Pierce. Continue reading »