The last time we re-designed the look of the NCS site, we went big on the skulls. The skulls are nice and all, but I’m thinking we’d get more visitors if we had more pussy. Of course, as always, we’d like your input.
Go HERE to take a look at a mock-up of the new site. Be sure to scroll all the way down when you get there.
More info about the project comes after the jump. Continue reading »
Deus Otiosus is Latin for “idle god”. It’s a phrase that refers to a theological concept of a god who created the world, set it in motion, and then checked out, leaving things to unfold as they have, which is a convenient explanation for both the ugliness that human beings have persisted in inflicting on each other and nature’s periodic outbursts of destruction. Deus Otiosus is also the name of a pulverizing Danish death metal band we spotlighted in a MISCELLANY post last August.
Eternity, of course, is another big concept, one that’s especially hard for us mere mortals to wrap our minds around, bound as we are by time and a strict (if unknown) sell-by date. Of course, the concept of eternity requires no religious belief, and it’s no more provable. Eternity is also the name of a German black metal band who’ve been kicking around since 1994, which may not be as long as eternity but is still longer than some of our readers have been alive.
Today I discovered new music from both bands, and it seemed fitting to package them together in this post, though appreciating their music requires neither a leap of faith nor solving the great mystery of the universe.
DEUS OTIOSUS
This band (whose Facebook page is here) have a second album on the way later this year called Godless, which is another concept for explaining why shit happens. The very nice album cover is taken from an engraving by Gustave Doré. Today the band started streaming a song from that album called “Pest Grave”, which is about the black plague. It’s a blast of death metal mixed with blackened thrash and energized with fire-breathing guitar fury, and it includes a grim melodic breakdown. The abyss-deep vocals are vividly voracious, too. I liked it. Listen right after the jump — and bring on Godless! Continue reading »
I would like to chalk this up to the benefits of clean living, but who am I kidding? It’s just more of the dumb luck with which my entire life seems to have been blessed.
So, I’m sitting around feeling all mopey and disgusted because of some news I saw this morning that turned an inspiring metal story into what looks like a big fuckin’ con job . . . which will be described in tomorrow’s first post. And on top of that, a run of five straight days of glorious weather in Seattle has been interrupted with some gray dankness up in the sky this morning. In a nutshell, I needed some cheering up, pronto.
And then what should appear in my e-mail in-box at just the right moment but a message from Finnish NCS fan jeimssi with a link to a brand new Mors Subita video, which includes some film made by jeimssi himself.
I pressed play, and suddenly I perked right up, I got the big smiley face, I banged my fuckin’ head. I barely resisted the urge to rip off my headphones, grab a brew, put the music on the external speakers, and start finding shit in my house to bust up — an urge I resisted at the last minute only after remembering that it’s 7:45 in the fucken morning and my wife is still asleep. That was a near thing, as in a near-death experience, as in yours truly coming THAT close to being the victim of a spousal homicide. Continue reading »
On their second album, The Key To A Black Heart, Blood Mortized take a monstrous step forward, turning out by far their finest work yet and creating one of the best old-school death metal albums of 2012. By old-school, I’m referring to that distinctive old Swedish school, where rotting flesh sloughs off the faces of the taloned teachers and the curriculum concentrates on raising the dead and feeding them from the flesh of the living — but with a heavy course load in the lessons of bands like …For Victory-era Bolt Thrower and early Celtic Frost.
To succeed in creating this kind of music with the incontestable ring of authenticity requires faithfulness to the core elements of the sound, and Blood Mortized are definitely true believers. They’re also highly skilled practitioners in the dark arts of breathing ghoulish life into the festering meat of the departed. They know what body parts this music is made of, and they know how to reanimate the patchwork corpses and give them grisly new life.
But that alone wouldn’t earn them an A. What elevates this album above many other new offerings in the genre is superior songwriting and genuine flair in the performances at all positions.
A listing of the common denominators of the songs — those core elements of the sound — must begin with a truly massive “wall of guitar” approach to the riffing. Brutally down-tuned and distorted, the guitars grind and spin like giant buzzsaws pulverizing their way through dense concrete, or they chug like some titanic black train straight out of hell, belching dense, oily smoke. The bass tone is equally tank-heavy, more felt than heard as it sets up a vibration deep in your guts. Continue reading »
Agalloch’s current North American tour kicked off on July 11 in Portland and I saw the show when they moved up to Seattle the next night. That pic up above is the awesome poster created by Stevie Floyd for the tour. I intended to buy it at the show, but lost my mind at some point during Agalloch’s set and forgot.
They played at The Crocodile, a venue that was a fixture of the Seattle music scene (Nirvana played their first live show there, for example) for 16 years before it closed in 2007. It reopened under new ownership in 2009 after extensive remodeling, but this was the first time I’d been there (they don’t book many metal shows). Nice place — a big open floor with a full bar in the back and a small balcony area to the right. By the time Agalloch started (well after 11 p.m., unfortunately), the floor was jammed with people all the way from the front of the stage back to the bar.
Preceding Agalloch was another Portland band named Eight Bells (who aren’t part of the full NorthAm tour) and then Taurus (a two-woman band, also from Portland, that includes the afore-mentioned Stevie Floyd from Dark Castle). I enjoyed Eight Bells’ post-rock instrumentals, but the tag-team vocals of Melynda Jackson and Haley Weiner were too often off-key, and I confess that I gave up after the first three songs and went outside and spent the rest of their set catching up with Ryan Yancey and James Furrow from Blood and Thunder, a hard-working, hard-playing band we’re big fans of, who are forging ahead despite a couple of recent line-up changes. They’ll be opening for Korpiklaani, Moonsorrow, Tyr, and Metsatoll in Seattle on September 8, and I’m tremendously stoked for that show. Continue reading »
Yesterday I started putting up short posts during brief windows of time permitted by my fucking day job, just trying to spread the word, for your entertainment and edification, about new videos, new music, and news that I’d seen yesterday. I got two of those posts up on the site and ran out of time before I could finish the third one. So here it is, a day late but no dollars short.
DARKTHRONE
I saw on the Terrorizer web site that this Norwegian duo have finished recording their next album, the first one since 2010’s Circle the Wagons, and that it’s scheduled for release later this year. You can bet that it will make waves and draw lots of attention, because it’s Darkthrone. What I wouldn’t venture to predict is what it will sound like, except it won’t be black metal, because Fenriz has kind of a “been there, done that” attitude about the band’s musical roots. The Terrorizer report did quote guitarist/vocalist Nocturno Culto, as follows:
“The album will be called The Underground Resistance. I can’t speak for Fenriz, but I think he’s going for more epic lyrics. I can only speak for myself and this time around they are very personal lyrics. It’s the first time I’ve ever tried this and it’s difficult to do it nicely and put it into good words. There was a lot of hate and people trying to ruin your day and I had stuff to say for my sake.”
Of the album, he adds: “Our music now is basically just metal, it will be a step away from the last album as usual.” Yup.
While I’m on the subject of Darkthrone, I’ll mention that the Peaceville label has re-issued the band’s 2001 album Plaguewielder as a special 2-CD set, with the second CD consisting of lengthy track-by-track commentary from Fenriz. It also includes new cover artwork by the amazing Zbigniew M. Bielak, which is right after the jump, big as life. Continue reading »
Two more quick items to pass along, and I hope my day job will allow time for one more post like this one before this day is over. Fucking day job.
The items in this post are both videos. The first one comes from a UK band called The Rotted, whose most recent album Ad Nauseum was released by Candlelight last fall. We never got around to reviewing it, but I’ll tell you what, it’s a fuckin’ blast!
The new video is for a song from that album called “Surrounded By Skulls”. Can you guess why the mere title of that song appeals to me? But it’s not merely the title that’s appealing. The song itself is virally infectious. It’s a combo of crusty hardcore punk, d-beat, and death metal that’s irresistibly catchy, with a real shout-along chorus. The video is a kick to watch, too. Looks like a live show by these dudes would be some head-busting fun. Also, there are a lot of skulls.
The second video is from Chrome Waves, a band I’ve written about twice before. The last time (here), I was raving about a song from their debut EP called “Light Behind A Shadow”, and lo and behold that’s the subject of the band’s first official video, which Metal Injection premiered today. By the way, the album was released earlier this month by Gravedancer Records and it can now be ordered as a CD from this location, as well as downloaded from iTunes and Amazon mp3. Continue reading »
I’m still in kind of a work-related trash compactor, except it’s my mind and my time that are being compressed. I’ve had just enough time to glance around the interhole to realize that there’s a fuckload of happenings I’d love to share with our readers, but not enough time to package all of them together in a single post. But rather than just give up, I’m going to dash off a post here and then one or two more a bit later — quickly tossing out at least a few of the items that have caught my eye. This post has a black metal theme.
ABSU: “HALL OF THE MASTERS”
As they’ve done in the past, The Cartoon Network is again providing free new music as part of their “Adult Swim Singles Program”. Surprisingly, the single they released today is more extreme than what we would have expected. It’s a new single called “Hall of the Masters” from Texas-based Absu, a kvlt black metal band that’s well loved around NCS. It’s a hell-ripping thrasher of a song, and you can download it for free by visiting this page.
You can also give it a listen right after the jump. Continue reading »
(In this post, BadWolf looks back at an album he calls the progenitor of progressive death metal — a 1990 release by Florida’s Nocturnus, a band whose members including some significant names in the annals of extreme metal.)
Progressive death metal, now far from its maligned beginnings, is in full bloom. Certainly, the genre is a blog-darling, and NCS is no exception to that trend. Many of the most successful and critically acclaimed bands in contemporary metal—Opeth, The Faceless, Between the Buried and Me, Periphery, Obscura, Meshuggah, and others—could all very loosely fall under progressive death metal flag, or at the very least would not exist without that genre’s long and sordid history. Which means now is as good a time as any to reflect upon the art form’s history.
Where is it going? Well, where has it come from.
Well, I have dug into the past and given some extensive listening to, according to my research, the progenitor of progressive death metal. Some of my co-writers at Invisible Oranges turned me on to Nocturnus during my stay at Maryland Deathfest 2012, and it’s been in heavy rotation on my iPod since. Nocturnus released their debut album, The Key, in 1990 on Earache records, but it still scorches.
Continue reading »
We’re one of the few metal blogs on the web who have devoted no space at all to the criminal charges that Lamb of God’s Randy Blythe is facing in the Czech Republic. There are various reasons for that, but one of them is that we didn’t want to join the ranks of many whose writing on the subject has generated more heat than light, preferring instead to wait until a time when we might be able to contribute some meaningful insight into the problems that Blythe is currently experiencing.
Today is that day. Today, we have a guest post by a British criminal attorney, Clare Paget, who is one of the best minds at the law firm of Hanne & Co, in London, UK. She provides some actual trained legal insight into the situation. And for that, we owe thanks to one of our favorite UK extreme metal band’s, Prosthetic recording artist Dragged Into Sunlight, who put us in touch with Ms. Paget.
As you probably know, Randy Blythe was arrested on June 28 upon landing in Prague and was charged with what is being described as the offense of manslaughter under Czech law for allegedly causing the death of a fan named Daniel Nosek at a Lamb of God show in the country on May 24, 2010. At the time of this writing, Blythe remains in a Prague jail because the Czech prosecutor has filed an objection to his release on $200,000 bail.
Ms. Paget has experience with this type of case under British law, including obtaining the acquittal of a defendant in a high profile manslaughter case in 2011. Of course, because the charges against Blythe are based on conduct committed in the Czech Republic, the Czech criminal code will be applied to determine whether he committed an offense. Nevertheless, based on our research (which includes a review of this translation of the Czech criminal code and this summary and analysis of that code), it appears that there are relevant similarities between the Czech and British legal principles applicable to this type of criminal charge, as Ms. Paget describes them.
After the jump, Ms. Paget offers a concise analysis of the case based on her own experience in defending against manslaughter charges in the UK. Continue reading »