Jan 082013
 

(Like the title says, Andy Synn wrote this.)

You may have noticed that there are simply so many awesome albums released each year that even the nigh-omnipotent forces of NCS can’t cover them all. So in acknowledgement of this I’m inaugurating a new column, which will be produced whenever the hell I feel like it, in order to sneak in some mini-reviews of releases we’ve otherwise missed, or wouldn’t otherwise get a chance to review in full.

Welcome to “Reviews in Haikus”

 

GOD SEEDI BEGIN

Black prog vibrations

Savage sounds, strange atmospheres

Cultivate the seed Continue reading »

Jan 082013
 

Yesterday brought many items of news and new music that caught my attention, so many that I’m funneling them your way in a couple of posts this morning, this being the first.

THE BLACK DAHLIA MURDER

Last night the above image appeared on the Facebook page of The Black Dahlia Murder, with no further explanation. Preceding the appearance of this visual announcement, the gents at Metal Sucks posted some studio photos and a few more details, speculating that the band would have a new album ready by June — which turns out to be a good guess.

Presumably, the above image is simply a flyer of sorts and not the album cover, yet I’m intrigued by the absence of color and by the album’s title — Everblack. Not that I really needed anything further to cause eager anticipation for the band’s next work. That was a given.

Next, we move from a band whose name has become something of a household word in the realms of extreme metal to one I had never heard of before last night — and whose new album I’m now anticipating just as eagerly as new BDM. Check out this arresting album cover: Continue reading »

Jan 082013
 

(We welcome back guest contributor BreadGod with his review of a late-2012 demo from a Redlands, California band named Buried, which is now available as a “name your price” download on Bandcamp).

Some time ago, I wrote a short blurb about Buried during one of my weekly strolls across Bandcamp. The frontman really liked what I said about his work, so much so that he sent me a free copy of the demo. I received the package a few days before Christmas and it turned out to be what the ancients called a “cassette”. My first reaction upon seeing it was, “What is this rectangular monstrosity?” Luckily, it came with a free download code, so that way I didn’t have to go on a quest to obtain a cassette player.

As the band’s name implies, this demo is a slow descent into the grave, a grand and morose display of blackened drone. The drums are monstrously slow, only one beat every ten seconds or so. The almost complete lack of percussion reinforces the bleak atmosphere. The bass strings are plucked only once every couple of seconds, giving the music a dank and cavernous feel.

The guitars are the backbone of this dark performance. By cranking up the distortion, they are able to play just one chord and let its black smoke drift across the plains, engulfing and suffocating all life in its path. The vocals consist of a rasp that’s pretty standard, but they’re made creepy by the fact that they show up very rarely, like a strange, gaunt creature that has emerged from the shadows. Continue reading »

Jan 072013
 

This is Part 10 of our list of the year’s most infectious extreme metal songs. Each day until the list is finished, except today, I’m posting two songs that made the cut. For more details about what this list is all about and how it was compiled, read the introductory post via this link. To see the selections that preceded the three we’re announcing today, click here.

Australian metal killed it in 2012. I’m not saying that Australian metal bands weren’t killing it before last year, but in 2012 they put a stake through the heart and cut the head off. I’ve already included a song from one Australian band in this list (Gospel of the Horns), and today I’m adding three more — three songs from three great albums that helped make 2012 a banner year for metal from Down Under.

BE’LAKOR

Andy Synn reviewed Be’lakor’s Of Breath and Bone for us here. One song in particular infected me, and it brings a smile every time I hear its opening notes. The song is “Remnants”, and here’s what Andy had to say about it:  Continue reading »

Jan 072013
 

(We welcome Richard Street-Jammer with the following guest opinion.  I will be sorely disappointed if we don’t see comments about this.) 

Capital One’s youtube account posted the video above on December 27th 2012. If you’re reading this and can’t watch the video, it stars Dragonforce’s guitarists. They trade off leads as each one uses the Capital One mobile banking app on his cell phone. The narrator tells us that the app “lets us bank wherever, so you can keep doing what you are doing,” and then the guitars shoot huge bolts of lightning in space, because HUGE BOLTS OF LIGHTNING IN SPACE. If they’re not playing an actual Dragonforce song, I can’t tell; it sounds like a Dragonforce song, and Dragonforce has only written one song.

As metal band -> commercial appearances go, this one’s a pretty naked grab for cash. To my knowledge, the band has never taken a philosophical stance against hawking products other than musical equipment. (e.g., guitar and guitar amp sponsorships). Dragonforce is a professional band that falls on the fun and entertainment side of the artistic spectrum. They’re entertainers, and their music is a product.

I don’t know their band’s income, but I doubt they bank the kind of lucre we associate with being a rockstar. Given the downward trend in music sales, some extra money from doing a commercial spot can’t hurt. Relatively few bands are able to monetize their music in this fashion. Of those bands, even fewer still play heavy metal. It has happened before though. Suffocation did it a few years ago when they appeared in a History Channel television commercial. Based partially on a fan’s request, Falconer did a TV ad for Mini automobiles. While it does happen, it’s still a shock to see a metal band in a commercial. Continue reading »

Jan 072013
 

(Any band who names their debut EP after a 1967 Hugo-Award-winning short story by Harlan Ellison is alright in my book. But apart from having good literary taste, their music stacks up pretty damned well, too.  Here’s TheMadIsraeli’s review . . . and we also have a special treat: With the band’s permission, a free download of the music.)

We’re gonna take a bit of a break from year-end round-ups to go over a late 2012 EP I stumbled upon that I think is worth checking out.  GROT are, at their core, an Irish deathgrind outfit with a good bit of old fashioned Dying Fetus groove thrown in, but the membership actually reveals a more international collective:  GROT is composed of the mighty Kevin Talley on drums, John Roche of Gama Bomb on guitars and bass, and Eoin Broughal from Cold War and Warpath on vocals.

I Have No Mouth and I Must Scream is a no-bullshit collection of very mid-90’s deathy grime and venom.  The EP, at least as we have it, consists of five original songs and two covers (Napalm Death’s “Unchallenged Hate” and Misery Index’s “Pulling out the Nails”, though the Misery Index cover doesn’t come on the physical copies) that provide an immensely satisfying morsel of brutality and energy.  This band also has a shitton of meat, in the sense that their riffs, their grooves, their sections of chaotically fast double-bass saturation and grinds all have a massiveness to them that feels like a tonnage of toxic waste spill being shoved down your throat. Continue reading »

Jan 072013
 

Here are just a few items I spotted over the last 24 hours that interested me. Mayhaps they will interest you, too. I may have more later.

TRONDHEIM METAL FEST

I do a pretty half-assed job reporting about European festivals and tours. Actually, it’s more like quarter-assed. Or maybe eighth-assed. I do a somewhat better job when it comes to North American tours and fests — at least those that interest me — because I’m a resident of the continent and so are a bare majority of NCS readers. But the forthcoming Trondheim Metal Fest did catch my eye, because . . . look at that line-up!

Of course, there’s no chance I will be in Trondheim, Norway, on March 14-16, 2012, unless Seattle’s tech geeks finally perfect teleporter technology in time. Also, I think I’d rather see them experiment first with melons instead of me. Melons to Trondheim!!

Where was I?  Oh yeah, Gojira, Napalm Death, and Anaal Nathrakh on the same bill is pretty fuckin’ strong. And there will be approximately 17 other bands performing as well, including those other three headliners whose names you see on the above flyer. You can get more details via the following links: Continue reading »

Jan 072013
 

(We’ve been eagerly awaiting this album for almost one full year, and it’s now on the brink of release. Below, Andy Synn reviews the new work of Enshadowed from Greece — Magic Chaos Psychedelia.)

It always strikes me as funny that there’s such dissension and division between the Black Metal and Death Metal camps. Fans of Death Metal still dismiss Black Metal for not being “brutal” enough, and  devotees of Black Metal dismiss Death Metal… simply because it’s NOT Black Metal. Confusingly, even Blackened Death Metal often seems to have its own specific fanbase, as if its parents are somehow ashamed of this bastard child of extremity.

Thankfully though, we have bands like Enshadowed. They aren’t “Blackened Death Metal” – the purest Black Metal fire runs through their veins – yet they somehow manage simultaneously to be both blacker than black, and deader than death. That’s one of the things that makes the band so interesting – without meaning to, they’ve become a chameleonic entity, one that appears different depending on where you’re looking from. Continue reading »

Jan 072013
 

(Wolves stick together. In this post, BadWolf reviews the brand new debut EP by Mourning Wolf.)

I’ve been hearing about Mourning Wolf since the band’s first practices. As a matter of fact, it’s about all that the project’s vocalist, Clint ‘Darkness’ Harkness, talked about for months. Readers may recognize Harkness as the lead singer of Lansing, Michigan’s The Devastator. He’s right to be excited about the project—the Elmhaven EP is rock-solid.

Mourning Wolf blends two disparate, but equally melodic strains of heavy music into a cohesive whole.   In the first place, their music owes a great deal of debt to the kind of melodic metalcore that Headbanger’s Ball peddled in the naughty aughts. For example, the first segment of “Elmhaven Part II” could pass as an unreleased demo by Darkest Hour, or early Killswitch Engage. Wisely, the band avoids the saccharine clean singing and sentimental lyrics, lest the music veer into self-parody. Mourning Wolf diverge from melodic metalcore in another critical arena: the first part of Elmhaven clocks in at almost eight minutes, and its successor breaks the eleven minute mark.

The second ingredient in Mourning Wolf’s music is longform ambient black metal, the kind of music Wolves in the Throne Room and Alcest play. If Mourning Wolf were from California or Washington, someone would have called them Cascadian by now. Continue reading »

Jan 062013
 

This is Part 9 of our list of the year’s most infectious extreme metal songs. Each day until the list is finished, I’m posting two songs that made the cut. For more details about what this list is all about and how it was compiled, read the introductory post via this link. To see the selections that preceded the two we’re announcing today, click here.

For most people, today’s two songs will come like a bolt out of left field. Though both songs did receive passing mention here, the bands aren’t exactly household names and we haven’t reviewed either of the albums where these songs appeared. One of the albums isn’t even due for release in the U.S. until this coming week. But these songs are among the most infectious I heard in 2012, and it would be just plain wrong not to give them a place on this list.

ZATOKREV

I first heard about this Swiss band last April when I saw they had been signed by Candlelight Records and became intrigued by the name of their new album (the third in their discography): The Bat The Wheel And The Long Road To Nowhere. In June, the opening track began streaming, and I ate it up. I had a second helping when they released a wonderful video for that same song in July (featured here, with orgasmic praise). Continue reading »