Jan 242012
 

(TheMadIsraeli has a few choice words to offer about an earlier EP by Uneven Structure (France), whose 2011 album we raved about last year, plus a free download of the EP.)

The new and current albums I’ll be reviewing next aren’t scheduled for release until February, so in the meantime I’ll be trying to produce the best “non-current” content I can.  I think you’ll find that this one here is a winner.

I reviewed Uneven Structures’ debut full-length Februus last year (here), hailing it as one of the best releases of the year and ultimately including it on my list of the top 15 albums of 2012 (expect a re-review of that one soon).  In my opinion, their wall of melody, gain, and ambient soundscapes all meshed into one of the most consuming sounds ever made, and I would wager we will see them becoming major players within the modern metal scene over the next few years.

They are also the only other band in on Vildhjarta’s THALL gimmick.

That is totally relevant to this article.  Why you might ask?

Uneven Structure’s current vocalist is Matthieu Romarin, but this wasn’t always the case.  When the EP I’m reviewing today — called 8 — was recorded, it featured a totally different Uneven Structure, including a different vocalist — Daniel Adel of Vildhjarta (who is the higher-pitched of their two vocalists). Continue reading »

Jan 242012
 

We’ve been fortunate to make the long-distance acquaintance of a talented metal band from Costa Rica named Sight of Emptiness, and we’ve been honored to help them spread the word about their new single, “Transition”. In addition to premiering the audio version of the song itself (here), we also premiered the eye-catching animated lyric video for it (here).

Today, we’ve got one more “Transition” premiere to give you — but this one comes with a twist. Today’s feature is a brand new performance video of the band playing “Transition”. Professionally filmed and edited by Andrés Montero and Sebastian Pérez, with lots of cool split-screen shots, it’s fun to watch — and of course the song is still all kinds of badass.

The twist is that this version of the song is purely instrumental — and it still works. In fact, even though only the vocals have been subtracted from the mix, it sounds almost like a new song. I hope that when the band eventually releases the single for purchase it will include both versions.

So go past the jump and watch the NCS premiere of this “Transition” video. Continue reading »

Jan 242012
 

 

(Shortly before The Number of the Blog met its sad demise, TNOTB began publishing an interview series called “Keyboard Warriors” written by a relatively new TNOTB staffer who called himself Rev. Will. Because the archive of TNOTB posts seems to have exploded in a spatter of bits, never to be seen again, we agreed to give these interviews a home here at NCS. We started on Sunday and will be posting one per day this week. Today’s interview subject is some long-winded asshole who won’t show his face. It was originally published late last year.)

With a name like “Islander”, the first impression you’d have of this relatively new blogger-cum-boss at No Clean Singing is that he probably loves clouds; since the stereotypical depiction of an island is that of a remote piece of offshore land that is smack right in the middle of nowhere with lots of fluffy, tasty, and boob-shaped clouds overhead.

Well, we’re not wrong. Apart from being obsessed with the “f” word and clouds, this dude comes across as a pleasant guy who even has no qualms about featuring guest posts by first-time metal writers. How many up-and-coming metal blogs actually do this?

Rev. Will: Welcome back from your secret vacation on an island somewhere! Did you and Mrs Islander get to creaking any beds at all in the end?

Islander: Are you stalking me? Continue reading »

Jan 242012
 

(The UK’s Andy Synn reviews Spiral of Ascension by the UK’s Spires. Say that three times really fast.)

It is always a joy to encounter an album that is so much more than the mere sum of its parts, and Spiral Of Ascension is just one such encounter. Wearing its influences proudly on its sleeves, it showcases a band unafraid to play the ‘progressive’ card right from the off, not content to simply regurgitate  the sounds of their predecessors ad nauseum but instead choosing to walk the more difficult path, taking  the ancestral DNA of their progenitorss and re-moulding them, progressing them if you will, in order to construct an entirely new and distinctive form of musical expression which has evolved to possess a life of its own.

Strands of genetic information from Cynic, Death, and Opeth are perhaps the most obviously expressed in Spires’ genetic make-up, these 3 influences in particular serving to encapsulate the sphere in which they reside, without limiting their sound to one of mere worship and reverence. Although making such comparisons can often be seen as a crutch for reviewers, they also serve to characterise the ‘mode’ in which the album should be listened to. What is key , though, is that for Spiral Of Ascension these connections are rarely made during the listening experience, but more reflectively afterwards when attempting to describe such a pure and rewarding musical experience via the limitations of our inadequate linguistic terms. Continue reading »

Jan 242012
 

(The psychic damage caused by working in retail, the pain of 80’s music, the guilty pleasure of listening to a black metal band play that 80’s music . . . DemiGodRaven gets it all off his chest.)

Earlier this January, MetalSucks.net put up a quick little post about a group called Necrocomiccon, a joking sort of internet project that ‘fused’ black metal with 80’s music. Basically, it breaks down to a bunch of goofballs who sat around and covered 80’s music with some black metal vocals. While the joke didn’t quite ring true with the editors over there (some get it, some don’t), I found myself chuckling at the idea and giving the music a download. It’s free over on the Necrocomiccon Facebook page, so if you want, you can hit them up there or on their bandcamp, where the guys have been kind enough to link everything in case the free bandcamp downloads run out.

The post itself was interesting because I think it actually reflected a little microcosm of metal music these days and how the internet has had an effect on it. The internet and its vast reaches have basically given rise to the art of gimmickry as an art form, and if a band has a decent gimmick, it is highly likely you’ll see it taken up by the louder voices on the web and spread like wildfire.

This phenomenon can have huge, lasting implications — it popularized the crabcore movement as a whole, for example, taking what was a bunch of assholes on the internet enjoying stuff ‘ironically’ and transforming it into a whole style that has jumped past the point of being mildly self-aware to a full blown ‘serious’ style, at least to the people who listen to it.

While none of this has had a direct effect on Necrocommicon, I think it helps explain how something like this could have been birthed. I find this whole idea fucking hilarious, and the music actually interesting from the standpoint of it being a novelty. You also do have to appreciate the fact, though, that something like this really shouldn’t work because it only appeals to to two types of people with one unifying factor. They either have to love 80’s music or, like me, be trapped in retail where you’ve heard every single one of these songs to the point where emptying out your skull with some well-placed buckshot seems better than hearing Phil Collins ever again.

That unifying factor, however, is the whole gist of the joke: You have to find that adding black metal to anything is fucking hilarious (which, to be very clear, I do). Continue reading »

Jan 232012
 

In 2003 a Ukrainian black metal band called Drudkh (the Sanskrit word for “wood”) released their debut album, Forgotten Lands. One of the long songs on the album was called “Eternal Turn of the Wheel”. Nine years later, Season of Mist is about to release Drudkh’s ninth album — Eternal Turn of the Wheel.

I’ve not heard much of Drudkh’s music — a song here, a song there, including a great (long) track called “Skies At Our Feet” from the Estrangement album that I featured in an NCS post about a year and a half ago and another great song called “Furrows of Gods ” from the Blood In Our Wells album, which Johan Huldtgren put on his list of the best 10 albums of the last 10 years in this guest post.

Late last week, NPR premiered a song from the new album, one called “When Gods Leave Their Emerald Halls”. Season of Mist described the song this way: “”When the Gods Leave Their Emerald Halls” witnesses Ukrainian Black Metal heroes musically returning to their dark roots. Taken from the album “Eternal Turn of the Wheel”, which represents the ancient pagan cycle of the seasons, this track portrays the blue skies and Ukraine’s golden fields being harvested. The wheel turns to the twilight of autumn and leaves wither from emerald green to fiery red and blazing yellow gold before crumbling to the black and brown of winter…”

Unfortunately, the NPR page no longer includes the audio stream, but the song has surfaced on YouTube. And it’s quite a song. Continue reading »

Jan 232012
 

(Shortly before The Number of the Blog met its sad demise, TNOTB began publishing an interview series called “Keyboard Warriors” written by a relatively new TNOTB staffer who called himself Rev. Will. Because the archive of TNOTB posts seems to have exploded in a spatter of bits, never to be seen again, we agreed to give these interviews a home here at NCS. We started on Sunday and will be posting one per day this week. Today’s interview was originally published on Nov. 22, 2011.)

In 2006, a music blog burst onto the then-humorless and lightly-populated extreme metal blogosphere, boldly calling itself: MetalSucks. Two to three years after that, its popularity and authority on all things metal and troll-worthy soared exponentially. Before we know it, MetalSucks have even inspired their first batch of younger peers: The Number Of The Blog (R.I.F.P.), No Clean Singing, and Heavy Blog Is Heavy.

Honestly, when I first came across MetalSucks, I was trolled. My first impression was seriously that of a blog that was dedicated to bashing metal music in general… until I noticed how their blog logo copied the font for Pantera’s logo. Yes, laugh at me all you want, but I bet many of you out there probably went through the same trollololol-zy episode too before y’all realized that MetalSucks is really a metal blog by metal-lovin’ people for metal-lovin’ people.

Well, enough prattle already. Time to start feasting your undeserving eyes on what ½ of MetalSucks’ founding duo has to say to my siege of questions. From the elusive MetalSucks headquarters in NYC, the alter-ego of Mötley Crüe’s frontman talks about the two albums released by the blog so far, the inaugural Metal Suckfest from 2011, and other industry-related topics (VN – “Christ, this was a marathon.”). Continue reading »

Jan 232012
 

(TheMadIsraeli has been trying to sort out his feelings about the self-titled debut album from New York’s Ever Forthright, who we first wrote about back in June 2010 when they were a purely instrumental band. Finally, his feelings are all sorted.)

This fucking band.

This album has been like a torrid love affair with the hottest junkie street whore with a Ph.D. in philosophy.  I’ve been so back and forth on this fucking thing it’s why I never got around to reviewing it.  But after many listens and a shit-ton of soul searching, I’ve finally decided this thing’s a fucking winner, if nothing else for its ambition, scope, and commitment to craft alone.

Ever Forthright is probably going to launch themselves to the top of the tech-djent heap here within this next year by bringing forth EVERYTHING about this style that is great and makes it worthy of fascination, while being COMPLETELY devoid of any Meshuggah copping.  The fact that I went back and forth on my take on this album 20 times in seriously considering it tells you how much of a trip this was for me.

Ever Forthright’s debut is an ambitious one, clocking in at fucking 77 minutes in 12 songs and boasting a very diverse song catalogue. You have the low-end, punchy, open/closed note riffing, the technical widdly widdly’s and meedly meedly’s, and plenty of the Berklee jazz education breaking through to the surface, combined with Chris Baretto’s exceptional saxophone playing and a bit of deathcore brawn.

“All Eyes On The Earth” is a superb stage-setter for an opener, recalling the stylings of Periphery and Sikth, delivering superb melody-to-dissonance counterpoint and providing one of the most brutal breakdowns I’ve ever heard — a full minute and a half of being pummeled over the head with a goat’s jawbone until your skull splinters into your brain and you die from massive hemorrhaging.  The riffs are punctual yet all over the place, grooving yet aflutter; it’s absolutely fucking nuts.  The song is brimming with enough energy to power an entire nation and is a sufficient piece of ass-whoopage to get you attuned to the experience that is Ever Forthright. Continue reading »

Jan 232012
 


Last week, U.S. law enforcement authorities convinced a federal judge in Virginia to shut down the Megaupload file-sharing site pending a criminal trial of its owner, “Kim Dotcom”, and other employees on charges of criminal copyright infringement. Working in cooperation with the U.S. Department of Justice, New Zealand police arrested Dotcom at his Auckland mansion, seized millions of dollars worth of expensive cars, and froze bank accounts holding $11 million in cash. The U.S. will now try to extradite Dotcom to the U.S. to stand trial.

A couple days ago, I wrote an article for NCS trying to set out the facts about why the government went after Megaupload so aggressively and what laws the government has charged Doctom with violating — they didn’t need SOPA or PIPA to do it. I also offered some opinions, the main one being that the Megaupload shutdown really doesn’t have anything to do with freedom of speech or censorship and instead has a lot more to do with temporarily impairing our ability to get something for nothing. I also made this prediction:

“If this case is successful, we will likely see a severe short-term restriction on our ability to download albums for free — because other file-hosting companies will be taking more aggressive steps to prevent the uploading and downloading of copyrighted content. In fact, they’re probably taking steps to do that right now.”

Well, sho’ nuff. Today, the FileSonic on-line file storage site has terminated the ability of users to share files among themselves. The site now sports a banner on its home page stating: “All sharing functionality on FileSonic is now disabled.  Our service can only be used to upload and retrieve files that you have uploaded personally.” Continue reading »

Jan 232012
 

We goat-throwers do like our guitar wizardry. We like other things, too, but bands who bring the shred generally light up our pasty white faces with a beaming glow. If you listen long enough and widely enough, of course, mere speed and dexterity no longer give you quite the same rush as they did in your listening infancy. You look for more — you look for creativity, a certain tone, a certain feel, some heart and soul, even . . . dare I say it . . . intelligence — along with the ability to trigger the headbang reflex, of course.

When a band is able to marry that kind of guitar talent with song-writing ability, performance skill at the other positions, and a knack for fusing diverse musical styles, you get something special. Revocation’s David Davidson and company pulled that off when they made their first serious splash in the scene during 2009 with the release of Existence Is Futile. I think we’re about to get wet from a similar splash on January 26, when Bloodshot Dawn releases their self-titled debut album.

This UK band features two lead guitarists — Josh McMorran (who is also the lead vocalist) and Benjamin Ellis (who also contributes backing vox). When you cut right down to the bone, the songs on the album really serve as platforms for them to strut their stuff. That’s not to say that the rest of each song is composed of filler — far from it. But what makes the album such a stand-out, and each song such a kick in the head to hear, is the space it gives these two to show what they’re made of. And what they’re made of is win. Continue reading »