Jan 122022
 

(We welcome first-time NCS writer Alex Atkinson, who makes his debut with a review of the recently released first EP by the Calgary-based heavy metal band Kontact.)

As our planet continues on its path toward ultimate doom, we must look to the cosmos for relief, enlightenment, and breakneck, extraterrestrial riffing.  Kontact fills the vacuum of space with songs soaked in all the ancient technologies of heavy metal’s heroes while creating a sense of new possibilities that help the surging traditional metal scene remain exciting.  Through the combined forces of Canadian powerhouse Traveler and the downright dirty Blackrat, Kontact has managed to harness their talents to finely (space)craft their debut EP, First Contact.

The album opener, “Ancient Malice”, uses some familiar tropes to build up to an unexpected vocal performance by singer, The Alien.  The vocals sound a bit like Alice Cooper and King Gizzard and the Lizard Wizard stopped listening to music once they heard King Diamond’s lamentation, “Melissa”, while creating something stark and original inside that space.  This is what really sets First Contact apart from an overwhelming couple years of excellent heavy metal releases.  Surprising vocal melodies are around every corner on this track, not to mention the remaining four powerhouse songs. Continue reading »

Jan 102022
 

(Andy Synn officially kicks off his 2022 coverage with a look at the debut album from uiv)

At last, it’s time to take a look/listen at what the new year has for us, and I’ve decided to get things started with a short-but-sweet review of the debut EP by mysterious underground Death Metal dissophiles uiv.

Continue reading »

Jan 092022
 

It may seem like a paradox, but the less time I have to devote to preparing these columns the easier it is for me to do them. When I have a greater than usual amount of time, I listen to more music, I find more releases that I want to recommend, and then I struggle to whittle down the choices into a group that I can manage to write about in the time I have left.

That’s the situation I find myself in today. Because my spouse has been out of the house a lot over the last couple of days galavanting around with one of her visiting sisters, I plowed through a lot of new music. The listening sessions were a blast, but then I had to engage in a painful winnowing process. The results may be painful in a different way for you: Even after the winnowing, today’s column provides a lot to take in, and might put added pressure on your bank accounts if you find as much to like as I did.

Speaking of how much music I’ve included today, I narrowed the albums down to three new ones (which is still more than usual for these SOB installments), and then sprinkled in some advance tracks from forthcoming records, plus one new EP. Continue reading »

Dec 272021
 

 

Few bands on the planet embrace and channel the violent destructiveness of War Metal with as much fanatic fervor as the Kolkata-based band Kapala. Their slaughtering amalgam of death metal and harsh noise seems to be fueled by hate and driven by a disdain for weakness of any kind.

And yet their talents are multi-faceted. There is much more going on within their creations than unapologetic sonic annihilation, and that makes their music fascinating and mind-altering as well as ruinous. It really doesn’t sound like anything else; indeed, linking it with War Metal, as that sub-genre is commonly understood, might be more misleading than descriptive.

Kapala‘s new 22-minute EP Doomsday Requiem is powerful proof of these points. It is indeed ruthlessly destructive and harrowing in its intensity, but its musical craftsmanship is also impressive, revealing nuances and embellishments that link it unmistakably to the ancient legends of the Indian subcontinent. The music creates an atmosphere of mysticism and spiritual possession, capable of inducing perilous trances.

Those qualities — and a panoply of killer riffs and electrifying rhythmic assaults — distinguish the EP from the kind of War Metal that might be cathartic on a first listen but doesn’t lure many people to listen more than once. But you don’t have to take my word for it. You can test out the truth of these statements for yourselves, because today we premiere a full stream of Doomsday Requiem in advance of its release by Dunkelheit Produktionen on the last day of this wretched year. Continue reading »

Dec 202021
 

 

With Krønike II, now set for a January 20 release by Caligari Records, the Norwegian death metal band Dødskvad continue on the journey through the old legends of their homeland which they began on Krønike I in 2020. Founder E.R. (Desolation Realm, Stygian Ruin) is still at the helm, joined by members of Obliteration and Sovereign (among other bands). Taking their inspiration from Norse myths, they’ve compiled four tracks, and they introduce the soundscapes with these words:

“In the midst of bloody battlefields; through thundering heavens; on the outer branches of the world tree; within the deep caverns beneath the roots. Across a blackened land, fate strikes dissonant chords.”

Dissonance does play a role in these songs, along with other ingredients that make them disconcerting. But every song is multi-faceted in ways that constantly will keep listeners on their toes — and rock them back on their heels, with heads spinning. True to the inspirations, the music also sounds otherworldly, manifesting strange and often terrifying visions, a changing pattern of cold dread and crazed exhilaration. Continue reading »

Dec 142021
 

 

On December 18th Godz Ov War Productions will release Radiance of Doom, the debut EP of the Russian blackened death metal band Kadavereich. Apart from a reference that the line-up includes members of Grond, Act Of God, and Gwarloth, Godz Ov War gave us no hints about the nature of the music the band had created when it asked that we host the EP’s full streaming premiere today. And thus the feeling of shock and awe that we experienced when listening to it was all the more stupefying.

In a nutshell, the sonic power of the EP is immense, and its impact is utterly devastating (but equally electrifying). It chokes the senses, blots out the ability to think of anything else, and becomes an all-consuming, bone-smashing, mind-mauling experience in remorseless destruction, abject terror, and paralyzing agony. If you’re looking for a transfixing visceral experience and don’t mind being subjected to ruthless audio ruination, you’ve come to the right place. Continue reading »

Dec 102021
 

(Next week Andy Synn begins his annual roll-out of year-end lists as part of his ongoing attempt to cover as many different albums from the last twelve months as possible – but, before then, he’d like to draw your attention to some of the shorter, but no less sweet, releases from 2021) 

Well, well, well… it’s been a whole year since we last did this little dance hasn’t it?

Sure, it might seem like it’s been longer than that, for a number of different reasons that we really don’t have time or space to go into here, but it’s actually only been twelve months.

Those twelve months have been absolutely packed with music though, and today we’re going to be taking a look, and a listen, to some – not all, of course, just as many as I managed to actually hear, so don’t get too upset when you realise that this isn’t totally comprehensive – of the EPs that were released this year, beginning with a general round-up of everything that I can remember and recommend, and closing with a countdown of my ten favourite short-form releases of the year.

So let us begin… Continue reading »

Dec 042021
 

 

I’m going to dispense with an elaborate introduction to this Saturday’s round-up of new and newly discovered songs and videos. I’ll say only that it includes one complete album, one complete EP, and an assortment of tracks from forthcoming releases — and that the music bounces around quite a it, so don’t think you’ll be allowed to lock in to any one stylistic groove.

COFFIN DUST (U.S.)

Five years is a long time between releases, but save for a very short 2019 split, that’s how long it’s been since we’ve had something new from this enormously impressive Philadelphia band. But the ticking clock got re-set yesterday when Coffin Dust released a new album (their third), the name of which is Nightmare Vision. Continue reading »

Nov 252021
 

The Norwegian trio Abhorration (guitarist/vocalist Magnus, bassist Andreas, and drummer Øyvind) are a relatively new formation, having started life just last year, but their resumes portended quality, even before any of the music became public — because those members hail from such bands as Condor, Nekromantheon, Hecatomb, Resonaut, Purple Hill Witch, and Obliteration.

We hope that the foregoing list of bands has already peaked your interest in discovering what Abhorration‘s music is all about (it certainly peaked ours). The publicity distributed by Invictus Productions, which will release the band’s debut EP After Winter Comes War, makes further reference to death metal in the vein of such legends as classic Sadistic Intent, Morbid Angel, Possessed, and early Vader, which kindles even more interest.

All of this created high expectations in these quarters, and it’s such a pleasure to proclaim that those expectations were not merely met but exceeded. And thus it’s with genuine delight that we present a full stream of this heart-pounding EP for you today. Continue reading »

Nov 222021
 

(Ryan Dyer, who made his NCS debut touting the insanity of one-man bands in China and followed that by trumpeting the destructiveness of Calgary’s Whorrify, now returns to the Chinese scene with this new review.)

Guangzhou, China’s Horror of Pestilence are a group of metallic conductors who specialize in creating tech-deathcore savagery blended with symphonic elements, taking the genre beyond its preconceived limitations. Their new EP Illiterate Construction // Inaudible Deterioration marks a pivot for the band, as a new guitarist from Hong Kong-based Massacre of Mothman has recently joined up for further collaborations on their next full-length LP.

Still, there are some Dune-sized ear worms found on this EP such as Middle Eastern elements leading into the snarling “Exiled Revenant.” A tasty saxophone solo also shows up, bringing to mind the brass attack used by Japanese black metal masters Sigh. “God Given. Hell Risen” features some ear-catching dual vocal melodies – another surprise from the plague ragers. Continue reading »