Dec 172012
 

Sweden’s Soilwork will be releasing their ninth studio album, a double CD entitled The Living Infinite, on February 27 in Asia (via license to Marquee Records), in Europe on March 1, and in North America on March 5 through Nuclear Blast Records. Tonight, the band debuted the first new song from the album, “Spectrum of Eternity”.

Every time I’ve reported news about The Living Infinite, I’ve tempered my interest with some kind of comment to the effect that although hope springs eternal, my expectations aren’t high. I do love this band, and I’ve loved at least one song on every album they’ve released, but the percentage of songs I’ve loved has declined over time.

But holy shit, “Spectrum of Eternity” has caused my expectations to soar. After a brief head-fake of an intro, it turns out to be absolutely blistering — a real high-energy powerhouse of a song. Speed Strid’s harsh vocals have never sounded more vicious and his clean vocals have never been more powerful; he hits some high notes I had no idea he was capable of reaching. Continue reading »

Dec 172012
 

(photo by Matthieu Fabert)

EDITOR’S PREFACE: Gemma Alexander is a Seattle writer and NCS fan who visited Iceland this fall, timing her visit to coincide with the Iceland Airwaves festival. While in Iceland, Gemma generously arranged to conduct interviews of some Icelandic bands for NCS. So far, we’ve posted her interviews of AngistBeneathKontinuum, Sólstafir., and Gone Postal.

Today we give you Gemma’s interview of Skálmöld’s Snæbjörn Ragnarssonin. Gemma wasn’t able to catch up with the band in Iceland, and we thank them for agreeing to do this one by e-mail. Except for the photo above, Gemma also took all the pics that accompanying her interview.

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Throughout the ages, the greatest minds in metal have sought a satisfactory definition for the term “Viking metal.” It seemed that their best efforts were doomed to be fruitless when Amon Amarth, the one band universally agreed to belong to the genre, went on record with this statement:

“We play death metal. We write about Vikings so, therefore, some refer us to Viking metal, but I have no idea what that is. I can’t imagine the Vikings were into metal at all except on the swords and stuff. And musically, I guess they only played these strange lip instruments and some bongos or whatever.”

The Metal Web’s interview with Johan Hegg Continue reading »

Dec 172012
 


(Today we’re beginning begin our series of year-end album lists from NCS staff and guest writers. This guest post is from occasional NCS contributor and hard man to please KevinP. The understated title to this post was his idea.)

Like most people I could compile a list of 20 albums that are worthy of praise this year, but I won’t.  This is a Top 10 List and the inclusion of 12 or 15 would just cheapen the rest.  If you don’t make the Top 10, you simply don’t get mentioned.  Heck, I’m listening to an album that just missed the cut, but I won’t even give it the “Honorable Mention” tag, since I’m only giving you 10.  So without further ado, and with massive drumrolls……

 

10. Master’s HammerVracejte konve na místo

I like my black metal weird.  Ever since 1992 I’ve had a soft spot for Necrocock & Mr. Storm.  Their brand of oddness just resonates with me.  Wasn’t even aware this album was coming until it was (self) released.  Even the term “experimental black metal” doesn’t do justice for those of you who have not experienced this band before. Continue reading »

Dec 172012
 

(Here, TheMadIsraeli reviews the debut album by Infant Annihilator.)

If there is a band who are showing us that deathcore isn’t down and out for the count yet, it’s Infant Annihilator.  Many of us metal heads make endless fun of this style, but a few bands out there are the reason this style became a thing: Despised Icon, The Red Chord (who by the way are releasing a new album sometime in 2013), Animosity — bands who mixed the technicality and brutality of death metal yet also brought the grit and beatdown groove of hardcore into it.

On paper this is a style that should have been more consistently badass than it has been. Unfortunately, it has become a cesspool of inept musicians who are more consumed by the laughable bro-centric culture the style has produced than anything.

But Infant Annihilator are no bros.  Infant Annihilator are a Vatican-atomizing weapon of immense weight, power, and devastation that leaves no stone unturned in their first official dosage of sonic retribution, The Palpable Leprosy Of Pollution.  Not many bands are able to put out an explosive cask of pure badassery this concise, this jarring, and this fury-born.  Continue reading »

Dec 172012
 

(BadWolf and friends took in the show at Detroit’s Magic Stick co-headlined by Corrosion of Conformity and Skeletonwitch on November 16 and provides this review, with pics by Nick Vechery.)

I go to so many concerts that I forget live music is a celebration. When a band plays, the audience takes on a responsibility to express great feeling—vocally, physically, and of course through liver deterioration. It is easier to have a good time at a show not only when the bands are good, but when there is an occasion to celebrate. In the case of Corrosion of Conformity and Skeletonwitch’s co-headlining show, my wolf pack and I had much to celebrate.

My longstanding photographer and concert partner, Sir Nick Vechery, just celebrated his one year anniversary with his wonderful Significant Other, Whitney. [HAPPY ANNIVERSARY, GUYS!] Her gift to him? Skeletonwitch tickets. At the same time, we celebrated our first year of reporting for No Clean Singing. We loaded my car up with some Pabst and Toledo arts reporter Ian Hubbard, and trekked to The Magic Stick.

The Magic Stick boasts a fine bar, plenty of room, a loud stereo, and a huge second-story smoking patio with a gorgeous view of metro Detroit. The venue sits on top of a bowling alley, another bar, and a snack shoppe (the pizza was quite delicious, if a bit greasy). It stands as one of the finest venues I’ve ever visited, and I highly recommend that any NCS readers with the opportunity to spend money there do so. In the past two months I’ve seen four concerts there and cannot wait to return. Continue reading »

Dec 172012
 

(This is the first in NCS writer Andy Synn’s week-long series of posts looking back at albums released in 2012.) 

Ok, you should know how this works by now, but for those of you who are new and/or of a forgetful nature, here goes:

Over the course of this week I’ll be producing a series of columns rounding up the year. The first deals with the objectively ‘Great’ albums, the next will feature those of a ‘Good’ (or ‘Very Good’) nature that don’t quite manage to reach the high peaks of greatness, and finally you’ll be getting a flame-retardant piece featuring the most ‘Disappointing’ records released this year. Here’s a quick warning though – there are some BIG albums on there. Apologies in advance for any offence caused.

The last two columns will finalise my ‘Critical Top 10’ and ‘Personal Top 10’ albums of the year – the first will be the 10 albums I think are objectively ‘the best’ of the year, the ones I would put in a time capsule and preserve as a perfect representation of the year in metal. The second is, as you might have gathered, going to be a far more personal list, the ten albums I’ve listened to the most and keep going back to, time and time again, because they simply ‘click’ with where and who I am at the moment.

So here we go, here are the ‘Greatest’ albums of the year! Continue reading »

Dec 162012
 

From me to you, new things discovered today . . .

GHOST

I became an acolyte of Ghost after witnessing their live ritual twice in the last year. The music was already growing on me before those shows, but they sealed the deal.

Now we have a new Ghost song and a new live video performance of the song to go with it. Ghost began rolling out the song on-line, one recording track after another, and now the entire song is available for listening — and it’s also a free download.

“Secular Haze” has the rhythm of a waltz and fancifully begins and ends with the sound of a calliope. Like so many of the band’s songs, it’s poppy and catchy, and yet moments of ominous tension find their way into the melody. The song didn’t grab me as fast as some of the tracks on Opus Eponymous, but by the third listen I was hooked.

To hear the song and get it for free, go to this location and enter your e-mail address. You’ll then receive a download link by e-mail. To watch the new video, continue on past the jump. Continue reading »

Dec 162012
 

I thought I’d give you a preview of what’s coming at NCS in the weeks ahead.

LISTMANIA

This week we’re expecting two more year-end lists from what I’ve been calling “big platform” web sites — NPR and Pitchfork. And unless we see something else that’s unexpectedly interesting, those two will finish off our series on 2012 lists from other publications and web sites with big-scale audiences.

Beginning tomorrow, we’ll also start rolling out year-end lists from the NCS staff as well as guest writers. We’ve got 9 guest posts in hand and ready to go right now, and we’re expecting at least one or two more to come in. These lists reflect considerable diversity of tastes and should provide some new discoveries for everyone.

We also want to remind everyone about the Readers’ List resource. This is a post where we encouraged all of our readers to leave the names of their own favorite 2012 albums in the Comment section for others to see. There are a lot of great lists in the Comments to that post already, but we can use more. Go HERE to leave the names of your favorites and to see what other people are talking about. Continue reading »

Dec 162012
 

(TheMadIsraeli reviews the new, free EP by Virginia’s Arsis.)

Scion A/V really needs to stop putting out great metal before I buy a car.

Arsis have returned with a new EP Lepers Caress that crashes into your consciousness at maximum velocity.  I’m going to assume everyone knows who these guys are — they’ve been a long-established band who have stood out as an exception to the idea that only Europeans do melodic death metal well and have had a sound more technical than you’d expect from this style, which causes them to stick out.

It’s hard to say whether this EP is simply its own beast or also a taste of things to come on the next full length Unwelcome, but regardless of the truth in that respect, Lepers Caress is an auditory assault of perfection.  Very rarely do you get melodic death metal that is this technical, yet so succinct and well composed.

However, while still maintaining the band’s tech-y aspects, this EP is a tad bit dialed down, and one might compare its music to Arsis’ highly praised debut A Celebration of Guilt.  It feels like some of their evolution has been purposefully back-tracked for the sake of providing something more straightforward and visceral; and that’s a good thing in this case.  EP’s in my mind best serve as an infusion of adrenaline, showcasing bands at their most intense, as we saw with Revocation on Teratogenesis. Continue reading »

Dec 152012
 

I wanted to write about metal today, as always, but I failed. My mind was still trying to wrap itself around something else, namely, 20 innocent children and six innocent adults gunned down at an elementary school in Newtown, Connecticut, USA, on December 15, 2012.

I don’t know about you, but I’m old enough that I feel pretty hardened against the horrors of the world. Tragedies, big and small, are part of daily life. The world is more interconnected than ever before, and we can read about and watch bloodbaths like this one every day if we want to — because somewhere in the world, each day brings a fresh horror of some kind.

There’s only so much individual human tolerance for bad news. If you don’t armor yourself to some degree against the pain of other people, it’s damned hard to put one foot in front of another and keep going.

But the death of children . . . the unnecessary, unpredictable death of 20 children . . . is especially hard to take.  You have to have really thick armor to deflect something like this.

I know that, somewhere, children die in droves every day, usually in places where disease or starvation or grotesque neglect claim them. But like all horrors, the closer to home they are, the more you feel them. It’s just easier to imagine that they could happen to you, or your children, or your friends, or their children. Evolution is probably to blame for both our increased sensitivity to tragedies that we can more easily imagine as happening to ourselves or those we love, and our comparative indifference to more remote instances of catastrophic loss. Continue reading »