Recommended for fans of: Akercocke, Imperial Triumphant, Abyssal
With another month having now come and gone it is – inevitably – time for another edition of The Synn Report.
And with Baltimore-based blast-beatniks Genevieve having just dropped their long-awaited new album last week… well, there was simply no question that this month was going to be all about them and their ambitious brand of unpredictable, avant-garde extremity.
Since 2016 the one-person New Jersey band Dead and Dripping has lurked in a far subterranean corner of the sonic torture chamber known as “brutal death metal”. Over the course of a pair of demos and a pair of albums, its music has proven to be far more bamboozling than the typical pile-driving thuggery and bullet-spitting mayhem for which the genre is best known. The music has been unusually intricate and technically impressive, though it would be wrong to try to slot it into the “technical death metal” framework, and it has trended in increasingly macabre directions.
All of those qualities stand out in Dead and Dripping‘s new album Blackened Cerebral Rifts, and indeed this new one is even more surreal and schizophrenic than what has come before, even more technically complex, and yet somehow also ruthlessly bludgeoning and gruesome. For those reasons (and others), the vividly colorful and strikingly bizarre cover art by Jason Wayne Barnett is an excellent companion for the music. Not for naught does Transcending Obscurity Records recommend it for fans of Wormed, Demilich, and Defeated Sanity, as well as Suffocation, Mortal Decay, and Wicked Innocence.
Three songs from the album have already premiered, and if you’ve heard those you have a very good idea of what you’ll be getting yourselves into when Transcending Obscurity releases the album on August 11th. But especially if you haven’t heard any of those, and even if you have, the song we’re premiering today is well worth your time. Continue reading »
On July 12th the Czech label Owlripper Recordings will release Eater of Self, a new album by Pennsylvania-based Squelch Chamber. In describing it, the label invites you to consider the idea of a sonic blender:
For the forthcoming album, mangle together in a blender reminiscences of the untamed ferocity of Primitive Man, The Body, Ken Mode, Therapy? on their first 2 EPs, Abandon (Sweden), Skinny Puppy, then add dashes of Agoraphobic Nosebleed, Full Of Hell and Fear Of God all on 16rpm, but with added liquids, doom and noise. That’s the Squelch Chamber cocktail as I hear it, so I hope this gets you suitably intrigued for the monolithic album that is to follow…
Well, that got us intrigued, and the album track we’re premiering today followed intrigue with deep-seated disturbances, made even more disturbing by the video that accompanies it. Continue reading »
In their current promo photo the members of Grotesqueries look serious, quiet, maybe a bit withdrawn — but that’s what the neighbors always say about the serial killers who lived down the block after the awful truth comes out. Grotesqueries probably didn’t actually kill anyone in the making of their debut album Vile Crematory, but it sure as hell sounds like they did, and in the most horrible ways you can imagine.
As they did on their debut EP Haunted Mausoleum from last year, this Boston-based quintet devote themselves on the new album to a particular kind of death metal, the kind where almost nothing is clean and almost everything is vile. The kind where the guitars are tuned to sound like manifestations of flesh-eating disease, the vocals are possessed by monstrous horrors, the grooves are calculated to inflict bone-smashing trauma, and the moods are malign, maniacal, and miserable.
But as you’ll also discover for yourselves through our premiere of the album today, on the eve of its release by Caligari Records, Grotesqueries are also very adept at getting the blood of listeners racing, as well as causing it to congeal. Continue reading »
(Andy Synn travels back to early May to heap praise upon the debut album from Australia’s Ekosa)
Although I do sometimes miss writing for print (despite everything that happened I did genuinely enjoy my time writing for Terrorizer back in the day) I must admit… the sheer freedom afforded to me here at NCS is something I wouldn’t trade for anything in the world.
Case in point, the debut album from Progressive/”Post-” Death Metal quintet Ekosa was released at the beginning of May, but I only discovered it a week or so ago.
Anywhere else, anywhere that focusses more on hard deadlines and keeping on top of the endless release schedule, and we’d probably have missed out on writing about it – but while we do love getting a good scoop now and then, there’s no insistence that we only write about up-and-coming albums, which means I’m free to tell you how much I enjoy Eye for I even though I’m coming late to the party.
Photo by Viviane Eriksen
(Over more than 10 years (yes, it’s been that long!) Comrade Aleks has brought us a great many excellent interviews, but the one that follows is among the very best. It’s a discussion with Morten Søbyskogen, the man behind Death of Giants, whose remarkable debut album was released this past May.)
There’s a tragedy behind the epic and gorgeous Death of Giants debut album Ventesorg. This project of multi-instrumentalist Morten Søbyskogen, who managed to perform one of most remarkable gothic death-doom albums of 2023, is a tribute to his wife Sandra, who passed away from brain cancer in 2018. Morten‘s grief took the form of six grandiose tracks filled with real pain and sincere regret. Ventesorg absorbed all of this sadness and frustration and transformed it into something new and touching.
The album was recorded with participant guest musicians, and moreover Morten performed a few gigs with the session lineup, so there are signs pointing toward Death of Giants becomes something bigger and more global. We talked with Morten, and this honest and long conversation is here before you now, along with a recently premiered video near the end of the band’s live cover performance of “Horror” by W.A.S.P. at the Oslo release show for Ventersorg. Continue reading »
Kentucky-based Machinations of Fate made their recording debut almost a dozen years ago with their album-length demo Tyrannous Skies. Significant time passed before the band made another release — a self-titled debut album released by Redefining Darkness Records in 2020 that was a re-mixed and re-mastered version of the tracks from the demo that also included re-recorded drum tracks, courtesy of Ash Thomas (Faithxtractor & Shed the Skin). Although the songs weren’t new, they received a very positive reception, which fueled the band’s work on a follow-up album.
That second album, Celestial Prophecies, is now finished and set for release by the same Redefining Darkness Records on July 28th. The label describes it as “first and foremost, fueled by melody, while the rhythms remain aggressive and cutting”, bringing to mind at different times the classic works of Hypocrisy, Dissection, Immortal or Dimmu Borgir, the kind of thing that “will appeal to those metal fans who have been diehards for decades”.
To help pave the way to this eagerly anticipated follow-up album, today we’re bringing you its second single, a song called “A Split Second of Divinity“. Continue reading »
Few metal bands have so captivated our attention from their beginning to the present day as the UK prog-death powerhouse Rannoch. They started strong and became even stronger; witnessing the evolution of their ambitions and their skills has been thrilling, and in both respects they reached a high-water mark in the extraordinary achievements of their last album, 2020’s Reflections Upon Darkness.
For precisely those reasons, however, there’s been some frustration among us here that Rannoch still haven’t gotten all the acclaim and attention they deserve. They run rings around bands vastly better-known than they are, but thankfully those injustices don’t seem to have sapped Rannoch’s desire. Instead, they have only driven themselves harder, and their forthcoming third album Conflagrations is abundant proof of that. It is indeed a creative conflagration, and one we hope will propel their name to the scale of attention their talents warrant.
This new album is set for release on July 21st by Willowtip Records, and it’s our privilege now to premiere its second single “Threads“, presented through an attention-riveting video. Continue reading »
(In the following interview Comrade Aleks caught up with drummer/vocalist Steffen Brandes from the German metal band Cryptic Brood, and covered a lot of the ground that has passed by since their last discussion 3+ years ago, plus taking a look into the Brood‘s future.)
Steffen Brandes performs drums and vocals in the German death metal (with a bit of doom edge) band Cryptic Brood. We did an interview with him in January 2020, and that was fun. And three years later, during January 2023, I found that I somehow skipped Cryptic Brood’s newest release, the Caustic Fetid Vomit EP produced by Lycanthropic Chants in September 2022. That’s just a two-song-long recording, but there’s always something to talk about with the deep underground dwellers.
As you can see, I found just enough time after finishing today’s two premieres to jump quickly into the non-stop churn of new songs and videos and grab just a few of them to hurl your way.
COLONY DROP (U.S.)
Full disclosure: Colony Drop‘s frontperson Joseph Schafer is a very good friend, and at one time a writer for NCS who long ago helped propel us into a higher orbit before going on to become editor at Invisible Oranges, a writer at other high-profile publications such as Decibel, and a leading co-conspirator of ours in the production of Seattle’s Northwest Terror Fest.
Now with that out of the way, here’s why I’d be recommending Colony Drop‘s genre-bending new song “Colony Drop (Brace For Impact)” even if the vocalist had been hooded and anonymous: because it’s one hell of a rocket ride. Continue reading »