Albums such as the one we’re presenting today tend to invoke thoughts of tapestries, kaleidoscopes, or panoramas — visual metaphors of change, often rich in detail and sometimes startling, that occur as the scenes pass across our eyes.
In the case of Icosandria‘s new album, the title itself invokes an unusual vision — A Scarlet Lunar Glow. Like the title, the music kindles the imagination into its own glow, though the glow also becomes fire as the manifold changes unfold. Continue reading »
(We forced Andy Synn to listen to the new album from The Monolith Deathcult)
Our long-running relationship with Dutch deviants The Monolith Deathcult has been well-documented by now,
We’ve been friends, we’ve been enemies… and then there was that unfortunate incident where we all swapped brains… but our love for the band’s music has never waned.
The problem, of course, is that this means it’s impossible for us to be objective, or even pretend to be objective, about their new album – no matter what we say or do, whether we praise it or criticise it, someone is always going to find a way to dismiss what we say, regardless of whether it confirms or refutes their own biases.
But, as you may already have guessed, I still really wanted to write something about The Demon Who Makes Trophies of Men (which officially comes out tomorrow)… so what was I to do?
Photo Credit: Paul McGuire
Wallet- and pocketbook-protective dikes continue to fail at an alarming rate, deluging bank accounts with continuing torrents of new music. Yes, cheap-ass streaming services like Spotify might let your money keep its meager head above water for the time being, but at some point your conscience will assert its ascendancy, won’t it?
Way too much new music to cover comprehensively in this mid-week roundup. I just grabbed a few ugly gems as they swept by, with one hand still on the felled tree that’s serving as my temporary life preserver as the flood carries me toward that bridge pylon ahead. Hopefully we won’t hit it as hard as the Dali. Continue reading »
Tenebrific is a new band from Australia, a studio project created by Adam Martin of Golgothan Remains and Sarcophagum, in collaboration with Cris Bassan from Decrepid. Their debut release (in which they’re aided by some special guests) is an EP fittingly named Labyrinth of Anguish, which is set for release on April 8th.
The band have described the EP (quite accurately) as a release that “offers a glimpse into the abyss of existential despair, inviting listeners to confront their own inner demons and navigate the labyrinth of anguish.” “Throughout 22 minutes,” they say, “we summon monstrous and hallucinatory blackened death deformations that echo the howls of tortured souls and the whispers of malevolent entities.”
Over the course of three substantial tracks, the EP progresses as a single cohesive and carefully planned journey, one that really must be heard straight through to get the full effect — and fortunately, that’s what you’ll be able to do further down in this article as we premiere the full stream. Continue reading »
(Below you’ll find Didrik Mešiček‘s review of Korpiklaani‘s new studio album, Rankarumpu, which will be released this Friday, April 5th, via Nuclear Blast Records.)
Korpiklaani is one of the first bands I ever properly got into – even though I thought they were way too heavy when I was a very, very different child at the age of about 13. For that reason, they’re one of those bands that will always be a bit more special as we’ve spent a lot of time together many years ago, and in my mind, a new Korpiklaani release can’t possibly be bad. Luckily, one is very close, as Rankarumpu will be released on April 5th through Nuclear Blast.
In more recent history, the band has oscillated quite wildly. From the 2018 release, Kulkija, which was widely considered not great and had an odd, somewhat melancholic, overarching sound that I can only describe as farmy, except for a few tracks that picked up the tempo and involved a bit more of that typical Finnish humppa, to 2021’s Jylhä, which, I still insist, is the band’s best album – at least musically. That is, however, not the same as being the most palatable or having the most drinking songs you can scream along to. Jylhä therefore showed maturity and renewed my faith in the Finns’ ability to write genuinely good music. Continue reading »
(Andy Synn presents four more handpicked morsels of metallic goodness from the last month)
I don’t think anyone is going to disagree with the following assertion, but… March was absolutely packed with new releases, any number of which could (and perhaps) should have been featured here.
Sadly, between the three of us (and our various (ir)regular contributors) we only have a limited number of hours in the day which we can dedicate to writing and reviewing… especially when you consider that we’d rather, wherever possible, provide some proper insight and analysis instead of just churning out a bunch of superficial – and largely interchangeable – puff-pieces just to get our numbers up.
With that in mind, here’s a short-list (ok, not that short) of artists I wish I’d written about… Apparition, Clarion Void, Convulsing, Horresque, Kollapse, Merrimack, Sacrificial Vein (absolutely love that one), Schattenfall, the flawed but fascinatingly ambitious debut from Waidelotte, Wounds… and which I hope you’ll still find time to check out.
Still, best not to focus on our regrets, eh? Especially since the four artists/albums I’ve selected for this edition of “Things You May Have Missed” – all of whom err on the more esoteric and/or unorthodox side, to a greater or lesser extent – represent some of the best that March had to offer.
(NCS contributor Didrik Mešiček wrote the following article, shining a spotlight on ten metal festivals from around the world that will take place during 2024.)
The long and winding tunnel that is winter is slowly coming to an end. The snow (by which I, of course, mean fog and endless rain) will retreat and make way for the joys of summer. Now, if you’re reading this in some place that actually sees sunlight more often than every three months and thinking, “Rain? What in the world is this twat on about?”, please send me your address. I’m coming to visit for an undisclosed amount of time.
The unequivocally good thing about summer, however, is that the festival season is in full swing and if you haven’t yet decided where you’re going this year I might have some useful suggestions for you. I’ve tried to include a varied array of geographical location and subgenres, but as customary at NCS, we’re not really as interested in the mainstream goings on and therefore I won’t be telling you to go to Wacken or Hellfest in this list.
Also, with this intro I now declare that summer has officially started (or ended, sorry, Aussies/Kiwis and other creatures of the southern hemisphere). You’re welcome. Continue reading »
“In the days of antiquity, after the embers of a funeral pyre had died, the bones of the deceased would be gathered together in a funerary box and given a place of reverence to withstand the ravages of time. OSSILEGIUM stand upon these burnt offerings of the past while forging onward into new realms of darkness, where even light fears the eventual entropy of universal death.”
That’s an excerpt from the press materials distributed by Personal Records for this Chicago band’s debut album The Gods Below, which is set for release on May 3rd. We don’t usually copy/paste from PR materials, but maybe you see why we just did that — and why we’re doing it again next:
“Indeed, the record is aptly titled, for the alternately ice-cold / burning-hot majesty the duo unleash here reinvigorates noble old tropes – namely, the days when melody was married to death metal crunch and when leathery black wings enclosed it, flying far and free across a landscape of blue-purple emotion.” Continue reading »
Since August 9, 1945, the world has somehow dodged becoming a nuclear tomb, though at times that seemed inevitable. But don’t give up hope, it could still happen!
It certainly seems to be a vision embraced by the Baltimore band Nuclear Tomb, reflected not only in their own moniker but also in titles such as Terror Labyrinthian, the name of their new album, and “Fatal Visions“, the album’s second single following the title track.
The terrifying absurdities of our existence under the nuclear shadow, and a multitude of other self-created shadows, are also well-represented in Nuclear Tomb‘s music, which has been labeled “weirdo death thrash”, and we’ve got a fine example for you in our premiere today of the third single from the new album — “Parasitic (Live A Lie)“. Continue reading »
(Andy Synn takes some time to smell the flowers with Artificial Bouquet, out now)
If I said you had a Frail Body would you hold it against me?
Wait, no, let me try that again…
If I told you that Frail Body were practically a Black Metal band these days, would you listen to their new album?