Dec 012011
 

Definitions of the words in the title to this post from The Oxford English Dictionary (online):

MEME

noun
an element of a culture or system of behaviour passed from one individual to another by imitation or other non-genetic means.

Origin:

1970s: from Greek mimēma ‘that which is imitated’, on the pattern of gene

Word trends:

When Richard Dawkins coined the word meme in his 1976 book The Selfish Gene, he wanted a word like gene that conveyed the way in which ideas and behaviour spread within society by non-genetic means. Since then the word has been picked up to describe a piece of information spread by email or via blogs and social networking sites. A meme can be almost anything—a joke, a video clip, a cartoon, a news story—and can also evolve as it spreads, with users editing the content or adding comments. Common collocates in the Oxford English Corpus are spreadpass, and transmit: as with the Internet sense of  viralmeme uses the metaphor of disease and infection

THALL

Ask Vildhjarta, because I have no fucking idea. Continue reading »

Dec 012011
 

The end of the year draws nigh, and with it comes lists. Many lists, everywhere you turn. Lists of the best of what 2011 has offered us. Back in 2009, when this site was just an ugly, smelly baby a few days old, we wrote a post about year-end lists and why people bother with them. The best reason still seems to be this: Reading someone else’s list of the albums they thought were the year’s best is a good way to discover music you missed and might like.

We don’t do an “official” NCS year-end “best albums” list. It’s just too damned much work. We listened to a mountain-sized pile of new music this year, we liked a helluva lot of it, and trying to decide which 10 or 15 or even 20 albums were the best we heard would be a bunch of effort I’d rather devote to coming up with new posts for this site. Plus, the music that I and my collaborators like is so varied that trying to compare this apple to that orange and decide which one tastes better is a very confusing enterprise.

But mainly, I’m just too fucking lazy.

Fortunately, we have some regular contributors who have more energy, and we’ll be publishing their year-end lists later this month. We’re also inviting some other folks to give us their lists in the form of guest posts for this site. And, as described in this post, we’ll also have our list of the extreme metal songs from 2011 that we thought were the most infectious.

But we ain’t stopping there. If YOU have made your own mental list of the best metal albums you heard this year, we want to see it. Because we’re fucking nosy like that. (details about this invitation are after the jump . . .) Continue reading »

Dec 012011
 

As the end of 2011 approaches, we’ll be reprising once again two of our year-end traditions — and we want your help with both of them.

FIRST, we’re again going to create a list of the The Most Infectious Extreme Metal Songs of the year. In case you’ve forgotten, or you’ve become an NCS reader since this time last year, here’s what this is about:

This isn’t a list of the best metal albums of the year. It’s not even our list of the best individual extreme metal songs of the year. Though some of the songs might actually be among the best of the year, creating that kind of list isn’t the objective. That would tax our brains way too much, and frankly this is the time of year when devoting serious effort to anything is just fucking difficult.

Instead, ours is a list of the most infectious extreme metal songs we’ve heard this year. We’re talking about songs that produce involuntary physical movement. Even on a crowded bus, subway, or ferry, your head starts banging, your fingers start tapping, your foot starts thumping, your legs start twitching — different people have got different body parts that start convulsing when they hear something that’s got a groove to it, a catchy rhythm, a memorable melody.

To be one of the most infectious songs of the year, it’s got to be something that worms its way into your brain to such an extent you can’t get it out (and wouldn’t want to) — you mentally replay it at unexpected times and you go back to the song repeatedly for listening. It’s the kind of song that has become one of your favorites for some kind of activity — whether it be drinking or smoking a bowl, working out, humping, rolling down the road in some kind of wheeled vehicle with the volume turned up, doing your laundry, doing school work, doing actual paying work, pleasuring yourself while gazing at a photo of me, getting into the right kind of mood or out of the wrong one, or even just day-dreaming. Continue reading »

Dec 012011
 

Listmania season is in full swing. So far, we’ve reprinted the Best Metal of 2011 lists from Pitchfork and NPR, not because they have deep credibility in the scene but because they’re heavily trafficked web sites and because I thought the lists were better than expected. But today we’ve got a list from a source that unquestionably does have credibility.

Yes, the current issue of DECIBEL magazine (the only print metal magazine we read at NCS) arrived at the NCS Island in yesterday’s mail, and that issue includes the magazine’s list of the Top 40 Extreme Albums of 2011. Some of the names on that list have already surfaced on the internet — including the band whose album DECIBEL named the best of the year (Tombs) — because record labels and bands who made the list have been posting about it. But I didn’t know the full list until greedily opening the mag last night. And of course, I can’t resist providing that list for your amusement after the jump.

You’re going to see some of the same band names that have already appeared on both the Pitchfork and NPR lists. Fifteen bands appeared on both of those lists, and 13 of those 15 are also on the DECIBEL list — Tombs, YOB, Hammers of Misfortune, deafheaven, Ulcerate, Krallice, Negative Plane, 40 Watt Sun, Trap Them, Mournful Congregation, Disma, Autopsy, and Exhumed. (Altar of Plagues and Ash Borer were on the other two lists but not DECIBEL‘s).

You will also see names that weren’t on the other lists. For example, technical death metal rears its head through the appearance of Origin and Obscura, and old-school death-doom is represented through the welcome appearance of Vallenfyre. I was also happy to see Revocation highly placed on the DECIBEL list, and surprisingly — though not without justification — Inquisition, Hate Eternal, and Brutal Truth are in the Top 10. You definitely weren’t going to see those names at Pitchfork or NPR.

On the other hand, wait ’til you see who DECIBEL names for the No. 2 and No. 3 albums of the year. They’re certainly not my picks for those spots; they wouldn’t even be in my Top 20. But what the fuck, half the fun of Listmania is the generation of controversy. Continue reading »

Dec 012011
 

Opera IX is a symphonic black metal band from Italy who’ve been around since 1989, which makes them . . . survivors. On January 24, 2012 in Europe and February 28 in North America, Agonia Records will release their first studio album in 7 years — Strix Maledictae In Aeternum. The new album is described as the last in a trilogy of records that explores witchcraft.

I’ve heard a bit of Opera IX music in the past, but it came from the days when Cadaveria was fronting the band, and I’ve heard nothing since. But curiosity about what had become of their post-Cadaveria sound led me to watch an official video that was released in early November for a song from the new album called “Mandragora”. I’m including the video after the jump (because it’s NSFW), and featuring it here for three reasons.

First, I enjoyed the song. It reminded me of Satanica-era Behemoth, an imperial mix of black and death metal. Second, I was surprised to see that the video is hosted on YouTube, because it features copious nudity. And then I saw the little notation on the YouTube page: “This video has been age-restricted based on our Community Guidelines.” I’d never actually read the Community Guidelines, and I wondered why the video was available with an age restriction rather than being banned altogether. Continue reading »

Nov 302011
 

This has nothing to do with music, but it’s goddamned funny and it comes awfully close to what I’ve been composing for my annual Christmas rant, and I just had to share it. So there. The author is Colin Nissan, and his article appeared on the McSweeney’s Internet Tendency web site:

“I don’t know about you, but I can’t wait to get my hands on some fucking gourds and arrange them in a horn-shaped basket on my dining room table. That shit is going to look so seasonal. I’m about to head up to the attic right now to find that wicker fucker, dust it off, and jam it with an insanely ornate assortment of shellacked vegetables. When my guests come over it’s gonna be like, BLAMMO! Check out my shellacked decorative vegetables, assholes. Guess what season it is—fucking fall. There’s a nip in the air and my house is full of mutant fucking squash.

I may even throw some multi-colored leaves into the mix, all haphazard like a crisp October breeze just blew through and fucked that shit up. Then I’m going to get to work on making a beautiful fucking gourd necklace for myself. People are going to be like, “Aren’t those gourds straining your neck?” And I’m just going to thread another gourd onto my necklace without breaking their gaze and quietly reply, “It’s fall, fuckfaces. You’re either ready to reap this freaky-assed harvest or you’re not.” Continue reading »

Nov 302011
 


On a day at NCS that began with Vallenfyre, it seemed only fitting to bring our posting day to a close with news about Asphyx.

They’re one of those bands whose name springs to mind immediately when I see or hear the phrase “death/doom”, and they made a strong comeback with Death…The Brutal Way (2009) after a nearly decade-long recording hiatus. They’ve now finished work on their newest studio album, titled Deathhammer, and today Century Media announced that it will be released on February 27, 2012 in Europe and February 28 in North America.

In addition to that welcome news, the band also released an image (above) of the cover art for the album, created by Axel Hermann, who worked on all of the band’s early releases. Brutal.

One more tidbit — the new album was mixed and mastered by the legendary Dan Swanö, who produced Death…The Brutal Way as well as the band’s Live Death Doom release. And speaking of that DVD, I’ve added a clip from the DVD after the jump featuring the title track to the last Asphyx album. Twenty years on, and still wielding the deadly hammer of doom. Gotta love it. Continue reading »

Nov 302011
 

NPR isn’t the “go to” source of metal recommendations for anyone I know. They’re not exactly known for having their fingers on the pulse of the underground. But I’m not turning my nose up at NPR either. They’re covering metal on a big platform that’s mostly read and heard by people who could use some metal education (not to mention some sphincter-loosening), and that’s a good thing in my book.

What’s more, they’re not giving metal just a half-hearted, brush-of-the surface kind of attention either. They’ve been featuring music from some bands (e.g., Portal) that are guaranteed to turn even white people white and make treacly blood plasma ooze from ears more used to hearing the kind of mainly soporific music that dominates the rest of NPR’s music coverage.

Therefore, when NPR published its metal columnist’s list of the 25 Best Metal Albums of 2011 today, I took a look — first, because I was curious, and second, because I was interested in seeing what the non-metalhead super-majority of NPR fandom is being exposed to as representative of the best metal.

Guess what? It’s a mixed bag but it’s a decent list. Those of you who thought Pitchfork’s list was hipsterish may have a similar reaction to the NPR list. But on the other hand, it includes names whose 2011 albums we’ve praised here at NCS this year — Cormorant, Tombs, deafheaven, Ulcerate, Krallice, 40 Watt Sun, Disma, and Flourishing. You’ll also find other names to which you’ll probably give a throaty “Fuck yeah!”, as I did. Check it out after the jump. What do you think? Continue reading »

Nov 302011
 

(Brutish friend of NCS, SurgicalBrute, brings us a further installment in what may be turning into a continuing series.  This time he’s spotlighting Drowned (Germany), Speedwolf (U.S.-Denver), Depravity (Finland), and Grá (Sweden).)

I remember when I first got into metal I was trying to absorb everything. I’d see names like Dismember, Overkill, and Darkthrone tossed around message boards and off I’d go to check them out. I was discovering new bands every day, and even if a band didn’t appeal to me the first time around, I would do my best to give them a fair try because my tastes were always changing.

It was around this time that I discovered something fairly simple….I hate technical metal. Bands like Nile, Meshuggah, and Necrophagist. I tried them over and over again, and while I can appreciate the skill of the muscians involved, more often than not, it sounds so cold and clinical that it comes across flat to my ears.

I think that’s why I eventually found myself gravitating toward the darker underbelly of metal. While the music is rarely complex, it’s the raw energy these bands bring with them that I enjoy so much.

So, in an effort to bring a few more of these bands to wider attention, it’s time for another dose of underground metal. \m/ Continue reading »

Nov 302011
 

(For our third album review of the day, here’s Andy Synn’s take on the 2011 release by French band Bahrrecht on Ketzer Records.)

I originally picked this album up solely because of its dark, brooding cover art, depicting an ominous figure, shrouded in shadows, his distorted, cadaverous features crowned by a skeletal helm. Contained within I found ten tracks of violently cathartic black metal, a revenant risen up from the depths of the genre’s murky past.

The Bahrrecht itself is an enigmatic beast, concealing its true self beneath layers of lies and deception. Through its veins flows the titanic spirit of the lords of Blashyrkh, whilst beneath its bestial hide lurks a very human malice. Its powerful sinews flex with dark promise, moving with the dissonant grace of Deathspell Omega, its black heart beating in time with the angular aggression of latter-day Marduk.

Musically, the album stays true to these elements, inter-mixing its blasting savagery with imperial majesty and tribal mysticism, delivered with a freshness and vitality that belies its ghoulish nature. Yet behind its grim and frost-bitten visage lurks a mind as sharp and deadly as a steel trap, twisting and turning with serpentine aplomb, shedding the skin of ages past and discarding the useless remnants of useless nostalgia in favour of the sharpened clarity of reborn vision. Continue reading »