HISS FROM THE MOAT: “THE WAY OUT OF HELL”

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Nov 072022
 

 

(Distortion Music Group released a new album by the Italian marauders Hiss from the Moat in late October, and DGR now gives it an extensive review.)

The Hiss From The Moat story as it has developed over the years is an interesting one. The group started out straddling the line of -core and full-blown brutal death metal, before leaning heavily on the brutal death metal side on their debut album Misanthropy. On top of that, it was a disc that was also pretty indulgent in its own subject matter, packing a tremendous amount of skull-shattering into a little over a half hour]s worth of music.

It seemed for a bit that Hiss From The Moat were more than happy to hop into the wave of drum-kit destruction that was hailing from Italy during the mid-2010s, and drummer James Payne especially proved to be a machine when it came to answering the call. Layering over-top a heap of Satan and general anti-christianity and you’ve got the general recipe for Hiss From The Moat at the time. Continue reading »

SHADES OF BLACK: SKYTHALA, GORYCZ, KAMRA, RITUAL DEATH, ALLES WIRD IN FLAMMEN STEHEN

 Album Reviews, SHADES OF BLACK  1 Response »
Nov 062022
 

 

If you live someplace that observes Daylight Savings Time did you remember to move your clocks back one hour last night? I did not remember. But when I opened my eyes at 6:30 a.m. today I somehow did remember that it was really only 5:30 a.m., and I fell back asleep.

That might not have been a smart move, because I didn’t wake again for a couple of hours. Rather than use the time-change to get a head-start on this column, I’m left scrambling to get it done before too much of the day disappears. Words, therefore, are sometimes in relatively short supply, though the music is abundant.

P.S. For those of us in the US this might be the last time we have to remember to “fall back”. In March of this year the US Senate unanimously passed a bill that would make Daylight Savings Time permanent beginning in 2023. But the bill hasn’t been voted on by the House of Representatives, and time is running out for that to happen in the current session. Who knows? Continue reading »

SEEN AND HEARD ON A SATURDAY: THY CATAFALQUE, HERON, OTUS, VARMIA, ILLUMINE

 Album Reviews, Metal News, RANDOM FUCKING MUSIC  2 Responses »
Nov 052022
 

 

As you know if you’ve been here routinely, I make lists, lots of lists, of new music I want to check out. Last night when I began making my way through the latest one (an extremely long one), it happened that the first five selections were so good and fit together so beautifully that I decided to go no further, for fear of breaking a powerful pattern that had serendipitously taken shape. When I listened to them again this morning, it still made sense.

I’ve set out these songs in the order I heard them. I said they created a pattern, but they were also a journey, and one that ended in stunning fashion.

THY CATAFALQUE (Hungary)

Well of course I started with a new video from Thy Catafalque, especially because the video is for a performance of my favorite song from one of my favorite albums of 2011. Yes, more than a decade ago! But until senility encroaches I’ll never forget “Fekete mezők”. Continue reading »

SEEN AND HEARD: INSOMNIUM, AMORPHIS, OMINOUS SCRIPTURES, TERRÖRHAMMER, MALLEUS

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Nov 042022
 

It’s another Bandcamp Friday, and thus a good day to spend money. If you’re going broke, it’s also just a good day to listen to new music, because a lot of new stuff has come out today and in the recent days leading up to it.

I’ve picked a few things to recommend, leading off with some big Finnish names — even though their albums aren’t on Bandcamp! — and then getting more obscure and a lot more extreme.

INSOMNIUM (Finland)

Insomnium decided to make another concept album, which will be their ninth full-length overall. Entitled Anno 1696, and based on a short story by Niilo Sevänen (bass/vocals), it focuses on a time of famine in northern Europe and a period when witch hunts were in full swing all across the continent. The press release says, “Anno 1696 is a tornado of tormented souls, set to a tragedy of Greek proportions”. Sevänen comments: Continue reading »

AN NCS DOUBLE PREMIERE: HOLY GRINDER — “TOXIC POSITIVITY” AND “EXCREMENT CAGE”

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Nov 042022
 

(We have two track premieres for you today from the Canadian band Holy Grinder, one of which comes with a video, prefaced with an introduction by Christopher Luedtke.)

Noise and grind are the perfect marriage. Say what you want of grind, but noise can get married to just about any genre, though when paired with grind it is as perfect as pizza. Holy Grinder has known this not-so-secret blend of gnarly herbs and jangly spices since before their inception. And they’re back to throw another molten slice into our faces and down our throats.

The Toronto, Ontario noisecore/noisegrinders in Holy Grinder have been dishing out the pain since 2016. They have done splits and collaborations with the likes of Christian Lovers, Kubine, Agothocles, Ancient Torture Techniques, and others. And have made it something of a point to both experiment with their sound and attempt to have it descend further into a near wall of noise. Here we have a dual offering from the chaotic void-dwellers, one furious noisegrind skull crusher, another longer, more noise addled dissertation. Continue reading »

AN NCS PREMIERE: GRAVA — “ALIGHT”

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Nov 042022
 

The cover art for the Danish band Grava‘s debut album Weight of A God is the kind of thing that immediately seizes attention and is not soon forgotten. Bathed in a deep apocalyptic red, but also dark as night, the image of an enormous bull elephant about to crush a prone form as cloaked figures dispassionately gaze upon the scene is striking. It’s also a visual match for the crushing music and the album’s utterly bleak conception. To quote from the press materials:

Lyrically, the band portrays scenes of death through the eyes of the dying, unearthed from the great tomes of history. Here you’ll encounter the final moments of shipwrecked men as
the icy waves fill their lungs and drag them to the deep (“WAVES”) and the howls of the 6000 crucified slaves that stood up to the power of the Roman Empire and lost (“APPIAN WAY”) or the unfortunate prisoner who was trampled to death by a work elephant in the East Asia of yore (“CRUSHER“).

While the cover image may correlate most directly to the song “Crusher”, it’s also a representation of the album’s themes as a whole, and connects even to the album’s title. Continue reading »

SEEN AND HEARD: SALQIU, PALE KING, BAD MANOR

 Album Reviews, RANDOM FUCKING MUSIC  No Responses »
Nov 032022
 

 

I know I sound like a broken record, but this has been yet another week when the job that pays me (not NCS) has rudely interfered with my ability to recommend new music via round-ups such as this one. Even today it will interfere, and so even though I’ve decided to fill this round-up with full releases rather than advance tracks, I’m unable to say as much about them as I’d like. But fortunately, you can heed the wisdom of your own ears.

SALQIU (Brazil)

To begin, here’s a new album named خماسين الوباء from Nuno Lourenço in his guise as Salqiu. We’ve already learned that although Salqiu is prolific, we’re not going to get the same thing twice from album to album, a conviction reinforced by this new one, which has themes drawn from places far away from Nuno‘s homeland. He explains: Continue reading »

THINGS YOU MAY HAVE MISSED (BUT SHOULDN’T)

 Album Reviews  1 Response »
Nov 032022
 

(Andy Synn has four more recommendations of albums and artists you may have overlooked recently)

As we gallop towards the end of another year, the vast pile of albums that I haven’t found time to listen to has now become so threateningly large that I may well end up crushed under the sheer (meta)physical weight of all the music I’ve missed out on.

Still, I’ve tried my best to cover as much of this year’s musical crop as I possibly can, and I think that – come December – you won’t have that much cause to complain, as my current shortlist (actually, that should probably read “shortlist”, since there’s nothing “short” about it) of albums and EPs to include is several hundred long (though the final number will doubtless fluctuate a bit as new releases are added and some are removed because I don’t think I gave them enough time/consideration to form a proper opinion).

And four of those that will definitely be included – some of them pretty prominently, let me tell you now – are included here today.

Continue reading »

AN NCS PREMIERE: PLOUGHSHARE — “A HORRIBLE AND TERRIFYING IMPRESSION”

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Nov 032022
 

We’ve written something about every release so far by the Australian band Ploughshare, whose record titles seem evocative of their world view: the 2017 EP Literature of Piss; the 2018 debut album In Offal, Salvation; and the 2019 EP Tellurian Insurgency. We keep that streak going today with our premiere of “A Horrible and Terrifying Impression” from Ploughshare‘s forthcoming second album, Ingested Burial Ground.

In our previous writings we’ve piled up adjectives in an effort to capture just how viscerally terrorizing Ploughshare‘s genre-splicing music is — “violent, oppressive, and mind-bending” was one such string of words.

And, well, we will try again now, because the new album and the song you’re about to hear are also frightening, but they’re also not mere repetitions of what the band have done before. New weapons have been added to the arsenal of nightmares. Continue reading »

AN NCS INTERVIEW: DEAD VOID

 Interviews  No Responses »
Nov 032022
 

(In mid-September Me Saco Un Ojo and Dark Descent jointly released Volatile Forms, the stunning debut album by the Danish Dead Void. We shared our thoughts about it here, and spurred on by that album, Comrade Aleks participated in the following interview of the band.)

This time I had a kind of technical problem, so to say, and this interview with Copenhagen-based trio Dead Void was complete somewhere in September, around the official release date of their debut album Volatile Forms.

This trio preaches hostile, quite torturous, and nihilistic death-doom metal with an uncompromising approach and a brutal delivery. Cianide, a bit of Asphyx, and so on, you know? Dead Void is a cold and monstrous entity, so I wonder if we need to waste our time trying to add a few more empty words, as you can read this short but good interview and listen to Volatile Forms by the way. Continue reading »

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