Sep 052013
 


The last time we featured Gothenburg’s Deals Death (here) was way back in April 2012. Their debut album on the Spinefarm label (Elite) had recently been released and they had just premiered a video for the song “Collapse”. In typically eloquent fashion, I wrote that “it pushes all those ‘Fuckitall, let’s headbang!’ buttons.”

Now we have a new video, and a new album on the way, with a September 13 European release date. The album is named Point Zero Solution, and the video is for the title track. And guess what? It pushes all those headbang buttons again.

The video was directed by Patric Ullaeus, who’s a real pro at this kind of thing, so it’s a slick production. Lots of fireballs and contrasts between light and shadow, and of course plenty of opportunities to admire (or get jealous over) frontman Olle Ekman’s impressive physique. The song plays to Deals Death’s strengths, which is to say it’s a thundering gallop of wild-eyed, flame-maned Gothenburgian stallions, all pounding hooves and compulsive riffs, with Ekman’s glass-scraping howls and brief keyboard notes rising above the fray. Continue reading »

Sep 042013
 

The Horror Division of NCS hereby delivers unto you three new videos. We like them. We would like them better if the first band were named Avulsed Avulsed, because that would provide a second thing in common that all three videos share. As it is, they only share one thing (apart from the fact that they’re all fun to watch and hear): horror thematics.

AVULSED

When my NCS comrades and I were gathered together in Seattle last week we spoke of many important things, including which metal songs included the best opening grunts and growls. No one mentioned “Dead Flesh Awakened” by Avulsed, but then again none of us had heard it last week. It appears on this long-running Spanish band’s brand new album, Ritual Zombi, which just came out (and is available for purchase or download on Bandcamp).

As of today, however, “Dead Flesh Awakened” has become the subject of a brand new video that premiered at DECIBEL. The song starts with Dave Rotten giving voice to what sounds like a lion’s growl. More lionine growling comes later. Along with a lot of skull-cleaving grooves and grisly melody and filthy death metal goodness. Plus zombies. Don’t forget the zombies. Continue reading »

Sep 042013
 

(DGR reviews the new EP by multinational grindmongers Afgrund.)

Afgrund’s Corporatocracy EP comes from an interesting realm of music. Sparing the full grind history lesson, Afgrund have long been making noise as the part of grind that shares more DNA with death metal than it initially displayed. 2012’s The Age Of Dumb was a compact bit of fury born of absolute hatred and disgust. It displayed many older influences of modern grind’s roots as well, from the punk riffs to the political consciousness, in addition to the more modern aspects of death metal that have been slowly working their way into the genre – including the excellent hybrid that has become known as deathgrind.

Grind has oft been a difficult genre to define (and likewise, I could not even begin to purport to be an expert on it based on nothing more than the occasional cursory glance) because if you ask some, the very definition of what it is now is conflicted, without any understanding of what the “grind” actually was in the music. Some bands took to the rapid sense of speed. Other bands then brought in many punk influences and added it to the music (its short songwriting existing as an almost blatant Fuck You! to conventional songwriting) and began to incorporate activism as well.

Somewhere along the line, many bands eschewed the sort of social  consciousness that had long been part of grind, owing in part to its roots in punk music, not even forgetting the massive influence of bands like Napalm Death and Discharge in this scene. Instead, some bands became almost nihilistic – focusing on the fact that the world is a mess and being angry about how fucked up it is, offering no solution, instead surrendering what little aid the logical brain could offer and appealing entirely to emotion, the raw blast furnace of anger and rage giving birth to bite-sized bits of death metal drumming buried behind a wall of simplistic circle pit riffs and someone screaming at the top of their lungs. Continue reading »

Sep 042013
 

Yesterday I posted our final article of the day at about 1:30 pm EDT and then turned my attention for the rest of the day to what I actually get paid to do. While I wasn’t looking, someone re-opened Pandora’s box and a horde of red-eyed bat-winged things flew out in a blizzard of leathery wings and ammoniac guano. Yeah, baby, a veritable flood of nasty shit — so many noteworthy news items and new songs that to fit all of them in this post will require that I wire my jaws shut and mumble only a few words per item. Here . . . we . . . GO!

SLAYER-GOJIRA-4ARM TOUR

It started with dates in Hollywood and NYC and predictably has now mushroomed into a full U.S. tour. Well, at least 16 cities in the fullness of the U.S., which do not include all the wonderful cities in the Pacific Northwest or 36 other states. But fear not, others may yet get to see Gojira (!!!), the aging remnants of Slayer, and Melbourne’s 4ARM, because more dates will be announced later. Here are the ones announced yesterday:

OCTOBER
25 The Joint at Hard Rock Hotel & Casino, Las Vegas, NV
28 Hollywood Palladium, Hollywood, CA
30 Events Center @ San Jose State, San Jose, CA Continue reading »

Sep 042013
 

(Andy Synn delivers this review of the second day at the recently completed Summer Breeze festival in Germany, and again provides video of the performances. To see his review of the festival’s first day, go here. We’ll have Part 3 of his review tomorrow.)

Day 2 of the festival kicked off (for me at least) with some pure blackened misanthropy courtesy of France’s Merrimack who proceeded to shake the cobwebs out of everyone’s brains with an esoteric take on panzerfaust black metal blasting that recalls Deathspell Omega in places (though considerably more focussed and violent).

The band’s frontman Vestal was a particularly difficult figure to look away from, screeching his savage hymns of depravity whilst physically flagellating himself with both his mic and his bare fists. Combine this with the band’s relentless delivery – all jagged edges and harsh, ecliptic angles, and you get one singularly uncomfortable, yet incredibly compelling, live experience. Continue reading »

Sep 032013
 

This is a round-up of new songs and videos that debuted over the last 24 hours. There is a unifying theme to what I’ve selected: Although the styles of metal range from rampaging black metal to the sublime weight of doom, darkness pervades the sounds.

NECROPHOBIC

Only yesterday we posted Part 1 of Andy Synn’s review of the recently completed SUMMER BREEZE festival in Germany. It included words of praise for the live performance by Sweden’s Necrophobic. And today brought us the North American premiere of the first single from this influential band’s new album Womb of Lilithu, their seventh studio album and the first one in four years.

The new track is “Splendour Nigri Solis” and it’s now streaming at Spotify (here), though because it debuted in Europe earlier, it has also made its way to YouTube. It’s a thumping, thrashing, swirling whirlwind of black metal vehemence (with imperious, cleanly-sung, off-tempo sections that are as cool as the speedy parts). Continue reading »

Sep 032013
 

Here’s a bit of tour news that put a smile on my face: This morning Scion A/V announced that High On Fire will be touring North America beginning November 10 with direct support on all dates from Norway’s Kvelertak.

In addition, Doomriders (Nov. 10 to 23), Pack of Wolves (Nov. 27), and Windhand (Nov. 29 to Dec. 12) will be opening for those two bands on different legs of the tour.

But that’s not all. As part of this Scion A/V-sponsored tour, High On Fire will be releasing a new single entitled “Slave The Hive” on October 16. According to the press release we received, the song will be available on the tour as a limited edition 7-inch, and a video of the song will be released simultaneously.

The current schedule of dates is after the jump; apparently, more dates will be announced next week. I am highly pleased to see that Seattle is on the list. I know you will be happy for me, and thank you for that. Continue reading »

Sep 032013
 

I mentioned yesterday that I missed a lot of metal news over the last 10 days due to the head-wrecking week-long visit to Seattle by the rest of the NCS staff. This post is about one of the things I missed, and it seems kind of important.

On August 28 the Calgary Herald published a widely read article about a new set of Canadian government rules that went quietly into effect on July 31.  The new rules were announced on August 7 by Jason Kenney (above), the Minister of Employment, Social Development & Multiculturalism. They change the fees required under Canada’s Temporary Foreign Worker Program for applications for a Labour Market Opinion (LMO). Although it doesn’t appear that the new rules were specifically targeted at local music venues in Canada or the touring bands from other countries that they book for shows, the impact of the rules will directly and dramatically impact those activities.

In essence,  local Canadian businesses who want to the ability to have foreign workers work at their establishments on a temporary basis must apply for an LMO, which gives them permission to do that. This requirement applies to Canadian bars, restaurants, and other venues who want to book international artists for performances. This has been true for a long time, but before the recent rule change, as the article explains, “the fee was simply $150 per band member, maxing out at $450, and that was a one-time fee for them to simply enter the country, which allowed venue owners across Canada to share the nominal cost or book them separately at no extra charge.” Continue reading »

Sep 032013
 

I’ve waited months to write something about U.M.A. (Uomini, Macchine, Anime / Men, Machines, Souls), the debut album by Italy’s Progenie Terrestre Pura, which was released by Avantgarde Music in April of this year. To be specific, I’ve wanted to write something long, rapturous, and eloquent, i.e., something that befits the album itself. Having failed for so many months, and having fallen so far behind in writing so many reviews of albums that have meant something to me this year, I have reluctantly decided to write only what I’m capable of, i.e.,  something shorter than I intended, rapturous, and undoubtedly deficient in the eloquence category.

This isn’t my first exposure to q[T]p (which is how they prefer to abbreviate their name). I found (and reviewed) their first demo two years ago. Especially for a DIY effort by two people who had never met in person, it was impressive, but U.M.A. still represents a big step ahead. The basic approach hasn’t changed, but Eon[0] and Nex[1] have proved that they are capable of creating a 51-minute, largely instrumental, predominantly atmospheric work that exerts a powerful attraction from start to finish.

Over the months that have passed since U.M.A. became available, I’ve found myself drawn back to it, to get another fix of what it does. I think I’ll play just one of the album’s five long songs, usually the first one (which bears the band’s name), and invariably I find myself just letting the whole album run from start to finish. When I tell you what it does, this may seem surprising. Continue reading »

Sep 022013
 

(In this post TheMadIsraeli provides a brief review of the new studio album released by Poland’s Trauma.)

It’s Polish and it’s death metal.

I often wonder if we shouldn’t just completely ignore Polish death metal in our reviews.  It’s always good, always consistent, always delivers the brutality every metalhead craves (and in a lot of ways defines it), and it’s honestly hard to justify reviewing it sometimes.  It’s almost always just going to read like that beginning sentence in essay form.

However, Trauma aren’t the typical Polish death metal recipe, taking a very Benighted/Napalm Death/Misery Index/Carcass approach to their sound.  So I guess it might be more fair to call them a deathgrind band.  The music is beefy as fuck, riffy, catchy, and has some very nice melodic incorporations amidst the chaos.  Continue reading »