Nov 292015
 

Axamenta-Ever-Arch-I-Tech-Ture

 

It’s Sunday morning here at the NCS compound, and that must mean it’s time for another installment of The Rearview Mirror, in which we take a rare backward look at the metal of yesteryear. It’s also time for me to feed the loris horde before they start sharpening their knives again. But I think I’ve got enough time to put up these tunes before they launch an assault; they’re very deliberative.

Today I decided to include music from two bands, Axamenta from Belgium and Ragnarok from Norway. It’s quite a contrast.

AXAMENTA

Over a span of roughly 10 years, Axamenta put out a handful of demos and EPs and two albums, the last of which was 2006’s Ever-Arch-I-Tech-Ture — and then split up before releasing anything else. Metal-Archives classifies them as “melodic death/black metal”, but there’s certainly a symphonic component to their sound as well. In fact, there are times on Ever-Arch-I-Tech-Ture when they really go over the top with the keyboards. But the album also includes some powerful, memorable, and at times unconventional melodic death metal, with potent riffs and majestic melodies draped in a shroud of thorns. Continue reading »

Nov 222015
 

Rearview Mirror

 

I wasn’t listening to underground metal in the late ’80s and early ’90s. Years later, when I began to discover what I had missed, Entombed’s Left Hand Path and Dismember’s Like An Ever Flowing Stream were among the albums that first really hooked me and started me down my own musical left hand path. Once I realized that I was at the tip of an iceberg, I began reading to try to get better educated about the early Swedish death metal scene, and it wasn’t long before I came across the name Nirvana 2002.

The band’s original name was Prophet 2002, and the members then later changed the name to Nirvana. After discovering the existence of Seattle’s Nirvana upon the release of that band’s first single, they took the “2002” from the first name of the band and tacked it onto the new one.

Nirvana 2002 were only active from 1988 to 1991, releasing a quartet of demos and a 1990 split with Appendix, Authorize, and Fallen Angel. But the band had a lot to do with establishing the signature sound of what we would now call “old school Swedish death metal”, though the school was just getting started when Nirvana 2002 were alive. Daniel Ekeroth, the author of Swedish Death Metal, wrote that they were “one of the purest examples of that typical fat Swedish death metal, with crushing guitars and straightforward song structures.” Continue reading »

Nov 152015
 

Rearview Mirror

 

(DGR brings us this Sunday’s installment of The Rearview Mirror.)

You can likely fault this one as me being in a tech-death mood here folks. As of this writing I’m currently bashing my head against Arkaik’s latest and I think the brain-juices are starting to spill over into other things.

After the last Rearview Mirror I did, in which I took us back in time to the halcyon caveman days of 2013, I made a promise that I was going to try and live up to the rearviewmirror concept and take us further back in time. If not just to come across some underappreciated gems and also maybe cover some stuff that was super-obscure. Such is the case with today’s Rearview Mirror, for which I literally could only find ONE SONG from the band on the YouTube pages to share with people. Continue reading »

Nov 082015
 

Rearview Mirror

 

For this Sunday’s look back at metal bands of yesteryear, we’re featuring Norway’s Zyklon.

In addition to the quality of their music, Zyklon are notable because the band’s line-up included guitarist Samoth and drummer Trym Torson from Emperor.

In a way, the band could also be thought of as a continuation of the project called Myrkskog, since Zyklon also included Myrkskog members Destructhor (guitar) and Sechthdamon (bass, vocals). (The discography of Myrkskog, by the way, was the subject of Andy Synn’s seventh SYNN REPORT back in May 2011 — here.) Continue reading »

Nov 012015
 

Rearview Mirror

 

Here we are, the day after Halloween, and I am amazingly clear-headed. Clear-headed enough to compile another look backward into the metal of yesteryear. Today the focus is on Ministry, mainly because earlier this week two of my Facebook friends happened to post on their walls, within an hour of each other, the first video you’ll find below plus one other. They reminded me of how much I used to like this band.

The first video is worth a bit of commentary. It originally appeared on a VHS video called In Case You Didn’t Feel Like Showing Up, which documented Ministry’s 1989-1990 tour in support of their album The Mind is a Terrible Thing to Taste. For that tour, Ministry founder Al Jourgensen recruited a big live line-up that included two drummers (regular drummer William Rieflin plus Martin Atkins), Chris Connelly (keyboards and vocals), Nivek Ogre from Skinny Puppy (vocals and keyboards), Joe Kelly (vocals and backing vocals), and guitarists Mike Scaccia, Terry Roberts, and William Tucker — in addition to Jourgenson himself and Ministry bassist Paul Barker. Continue reading »

Oct 252015
 

Rearview Mirror

 

(This Sunday, DGR steps forward with our weekly look back at metal from yesteryear.)

I’ve been waffling a bit with the idea of contributing more often to the series of Rearview Mirror posts that we’ve been doing here at NCS. I genuinely love the idea of being able to deep-dive on a song at random, but I’ve also wanted to let other folks share their hidden gems out there without me vomiting my taste all over the site, especially as my own archive of ideas consists pretty much of bands I’ve already taken a healthy opportunity to write about on this lovely page.

However, there is one group that has been haunting me, that I’ve been thinking about a lot as of late, and that is Australia’s The Amenta. If you’ve been following NCS for a while, you’ll know that I’m a pretty unabashed fan of the band. Tim Pope gave me one of my favorite interviews ever, and the group’s 2013 release Flesh Is Heir ranks among my favorite discs — it is a noisy, harsh, and abrasive listen that seemed just slightly ahead of its time, especially as now it seems like more groups from Australia are breaking out into the limelight. Continue reading »

Oct 182015
 

Rearview Mirror

 

I didn’t get into metal until much later in life than most of the people who are reading these words. My education came as a result of my own exploration, but equally as a result of getting schooled by commenters at this site. And I hate to tell you this, but comments never go away — my web host has a searchable database of all of them for the last 6 years. And so I can tell you precisely the date when I first saw the name Edge of Sanity: It was July 30, 2010, and it came via a comment from one of our earliest and most frequent commenters, an old friend who called himself ElvisShotJFK.

I had posted a review of Wolvhammer’s debut album Black Marketeers of World War III in which I named a few bands as reference points for the music on the album, including Entombed. After ElvisShotJFK commented that Entombed had been a gateway band into heavier music when he was younger, I replied that Entombed “must have been particularly stunning to hear when they were fresh and so different from most metal that surrounded them.” And he then wrote: Continue reading »

Oct 042015
 

Rearview Mirror

 

It’s Sunday, and that means it’s time for another glance into the past of metal. This week we’ve got songs from two bands, rather than one, but they’re pretty closely related — in addition to being tremendously influential in the development of both black metal and death metal.

The Swiss band Hellhammer was active from 1981 –1984. According to Metal Archives, they released three demos in 1983 leading up to the 1984 EP Apocalyptic Raids, which was later reissued in 1990 under the title Apocalyptic Raids 1990 A.D., along with two bonus tracks that had originally appeared on 1984’s Death Metal split, including “Messiah”. Continue reading »

Sep 202015
 

Rearview Mirror

 

(Austin Weber prepared this Sunday’s edition of The Rearview Mirror.)

As on every Sunday at NCS, it’s time again for us to reflect on music that’s been out for a while, including music you may never have heard before. Today’s time-machine trip into the past takes us into the strange world of California natives Spaceboy, who never really got the recognition they deserved for any of their releases.

Spaceboy played a particularly unusual and complex style of Progressive-minded sludge/death/doom. I’ve strongly argued for years that their two full-length records — 1998’s Getting Warm On The Trail Of Heat and 2002’s Searching the Stone Library for the Green Page of Illusion — are two of the greatest sludge/stoner/doom records of all time. They set a high creative benchmark that has yet to be bested by any group, in my estimation. Here is “Pink Domain” to check out while you read on: Continue reading »