Jun 152020
 

 

It took something special for our old pal KevinP to climb out of his cozy Florida confines and return to NCS, and in this case the motivation came from the impending release of a new album by the distinctive Greek band Hail Spirit Noir.

That album, Eden In Reverse, which is set for release by Agonia Records on Friday of this week (June 19th), reveals new directions in the band’s ever-evolving creativity, and Kevin explored them in this congenial interview of Haris (keyboards) and Theoharis (guitars), proceeding with questions on a track-by-track basis. Insights are revealed, wacky references are made, and we’ve included some music streams as well. Our own review of the album will follow soon. Continue reading »

Jun 152020
 

 

(This is Todd Manning‘s review of the sophomore album by Aseitas from Portland, Oregon, which will be released on July 10 by Lizard Brain Records and features cover art by Noah Cutter Meihoff.)

Is it me or does today’s Extreme Metal scene seem to be overflowing with a sense of epic ambition and experimentalism? Sure, there are those who always seek to return to Metal’s atavistic roots, but one can’t help but be inspired by the aspirations of so many bands nowadays. That being said, how many of these Avant Garde metallers actually succeed in bringing their vision to life? Aseitas not only possesses ambition in spades, but execute their vision perfectly on their sophomore album False Peace, due out on July 10th via Lizard Brain Records.

The group’s sound is extremely varied and wide-ranging, though at its core they tend to focus quite a bit on a mid-paced Death Metal groove, yet screwed and chopped into challenging new configurations. And there is an intense physicality in this approach, like trying to headbang but realizing your entire body is being pulled in multiple directions at once. Blast beats emerge from time to time, but the relentless mid-paced hammering takes center stage. Continue reading »

Jun 142020
 


Gaerea – photo by Catarina Rocha

 

Maybe you know about the “Overflowing Streams” format that we use for especially large collections of new music we want to recommend? The idea is to (regretfully) cut back on words and save the time needed to find, download, and upload cover art, and let the music streams mainly speak for themselves. And that’s the format I’ve resorted to for this week’s Shades of Black column, which is mostly a collection of recently released individual songs from forthcoming records.

GAEREA (Portugal)

The meteoric rise of Gaerea continues. In both its sights and its sounds the new video that begins this collection is extremely powerful. The inner pain they express is mutilating. The music is both crushing and explosive, delirious and despairing, sweeping and scathing. For such intense music, it’s also thoroughly immersive… or perhaps it’s better said that this is an emotional vortex that’s hard to escape. Continue reading »

Jun 132020
 

 

I am always behind in listening to what I want to explore, but have fallen further and further behind this week, chiefly due to the malaise that many of us have felt from the protracted lockdown, which is only just beginning to lift where I live.

In genuinely random fashion I decided to listen to only two releases this morning out of the hundreds I could have chosen, both of them peaking my interest for different reasons. And I made the gamble of recording in words what I was hearing as both releases unfolded, not knowing in advance whether that effort would be worth the time, because I wasn’t sure going into them how I would feel about their worth.

It was a gamble that paid off. Both of these choices proved to be very good ones, and well worth recommending to you. As it happened, both are also very dark and dolorous, albeit in very different ways. Along with the recommendations, I’ll share the notes I made, not that you need them, but because I generally hate to throw anything away.

HOLY DEATH

The first release I chose is a 20-minute song named Celestial Throne ov Grief by the death/doom trio Holy Death, who came to us out of the Nevada desert by way of Los Angeles. It was digitally released on June 5th. I picked it because (as I explained here) I was so impressed with the band’s second EP (released in March), Supreme Metaphysical Violence. And now for my notes: Continue reading »

Jun 122020
 

(Andy Synn reviews the new album by Australia’s Justice for the Damned, out today on Greyscale Records)

Even though I haven’t had as much time as I’d like to write reviews over the past couple of weeks, I’ve still had a fair bit of time to think about reviews – particularly why, how, and who we write for.

Let’s face it, a lot of what’s out there is little more than a regurgitated press release masquerading as a review. Either that, or so mindblowingly generic that you could cut and paste in a different band name and neither the overall content nor context of the review would really change all that much…

This latter issue is particularly prevalent on the more “brutal” end of the spectrum, as there’s only so many ways you can write about a band’s “sick gutturals” or “killer riffs” before it basically turns into a game of Extreme Metal mad-libs where the formula never changes, even if the names do.

So when it came time to write a few words about Pain Is Power, the new album from Aussie bruisers Justice for the Damned, I had to think long and hard about what I wanted to say, and exactly how I wanted to say it. Continue reading »

Jun 122020
 

 

Like other genres of metal, Doom has become a big tent since its formative years, gathering beneath its large canopy a variety of stylistic formulations that are nonetheless united by an attraction to moods of longing and loss, misery and grief. But the Chilean Doom band Poema Arcanvs seem to be a big tent themselves, evolving their arcane musical poetry into an embrace of many formulations of Doom, and their new album Stardust Solitude might be their most complete and cohesive expression of that talent to date.

With their roots in the ’90s and their original inspiration drawn from the likes of Paradise Lost, Anathema, and My Dying Bride, the band have built an impressive discography that now includes six albums. This new one, their first in eight years, is their first for Transcending Obscurity Records, and it isn’t mere puffery to say, as T.O. does, that it is “a beautiful album that unravels gracefully, revealing a wealth of variations and moods”, delivering “plaintive melodies and entreating vocals that remain with you like warnings from the other side”.

The track we’re premiering today, through a video that captures the band’s performance of the song, is “Straits of Devotion“, and it is a prime example of the band’s successful amalgamation of styles and sensations. Continue reading »

Jun 122020
 

 

Romanian quartet Katharos XIII may have started out life as a DSBM band, but their sound has massively changed and evolved over the years, and their third album Palindrome, released last fall by Loud Rage Music, moved them even further into the realms of dark ambience and jazz-inflected doom.

The majority of the record is built around a sombre, shadowy soundscape of moody synths and noirish saxophone, underpinned by some brilliantly subtle and creative drum work and topped off with the hypnotic, dramatic vocals of Manuela Marchi, resulting in a sound and style that’s unusual, and unusually captivating.

There are still occasional touches that call back to the group’s early works, including some suitably nasty harsh vocals here and there, but also entire tracks (such as haunting closer “Xavernah Glory” or the mid-album masterwork that is “Caloian Voices”) which are almost entirely stripped of any metallic elements. Even when the band maneuver toward heavier sounds, it’s more in the vein of latter-day Katatonia or Portuguese Post-Metal maestros Sinistro, using looming, lambent chords and taut, restrained rhythms to cultivate a sense of ominous weight and shivering tension just waiting to be broken.

The mysteriously named “No Sun Swims Thundered” is in that latter category. It becomes an ebbing and flowing tide of intensity, gradually building, receding, and crashing against the shores of sanity and comfort with heavyweight power and mind-bending ingenuity. The movements are enthralling and often dreamlike, but persistently disturbing, and the visual interpretation of the song by director Alexandru Das that we’re presenting today channels all of those same sensations. Continue reading »

Jun 122020
 

 

(This is Vonlughlio’s review of the recently released second album by the Indonesian brutal death metal band RAW.)

Today I am taking the opportunity to review the sophomore effort of RAW (Indonesia) entitled Languish, which was released via Brutal Mind this past March 31st.  The project mastermind is none other than Aditya, who is well-known in the Indonesian Brutal Death Meal scene for his other bands Gerogot and Brain Damage (both amazing).

RAW’s inception was back in 2015 and it released 2-song demo that year, and a single later in 2017. We had the opportunity to review the band’s debut album The Persecute Heinous here at NCS; it was one of my favorite 2018 BDM releases. Continue reading »

Jun 112020
 


photo by Lauren Lamp

 

(We present Comrade Aleks‘ interview of Erik Moggridge (Aerial Ruin) and Dylan Desmond (Bell Witch), whose bands have collaborated on an album named Stygian Bough Volume 1, which will be released by Profound Lore on June 26th, and we thank Bailey Sattler and Rebecca Laverty for helping to make this discussion happen.)

Bell Witch are well-known to our readers and widely praised among modern doom metal bands as one with unique vision and inspiration, varying from funeral doom to sludge. Started in Seattle, 2010, as a duet of Dylan Desmond (bass, vocals) and Adrian Guerra (drums, vocals), Bell Witch brought forth three full-length works, though the last one, 2017’s fantastic Mirror Reaper (2017) appeared after Adrian’s death and featured the work of Jesse Shreibman (organ, drums, vocals). And as Dylan has continued Bell Witch’s toll as a duet alongside Jesse, there was always another man who took part in all the band’s albums as an honoured guest.

And that man is Erik Moggridge, who performed guitars in the legendary death / thrash crew Epidemic back in late ’80s and in the psycho death experiments of Old Grandad. Who could have predicted that his acoustic project Aerial Ruin would inspire such deep devotion among fans and would take part in a tight collaboration with Bell Witch? What do both projects have in common? What led to their fresh collaboration, Stygian Bough: Volume 1? We’ll find out in this inspiring interview together with Dylan and Erik themselves! Continue reading »

Jun 112020
 

 

On July 27th Memento Mori Records will release Victims of Spiritual Warfare, the second album by the Chilean death metal band Soulrot. Last month we came across the album’s first “single”, a song named “God Forsaken“, which prompted us to blurt out: “Crunchy, raw, and rotten Swedish-style death metal and grindcore from Chile, with hideous (in a good way) vocals, a toxic guitar tone, and a berserker spirit. Really looking forward to hearing more of this menacing mayhem….”

Well, it didn’t take long for us to dive into the rest of Victims…, and to discover just how hard these Chilean barbarians punch all the right buttons in their quest to reanimate the rotten corpse of early ’90s death metal while simultaneously blistering listeners with grindcore explosiveness. This would have been less surprising had we known that Soulrot had its earliest origins circa 1993-1994, or had we heard their Horrors from Beyond demo in 2014, their Revelations EP two years later, or their 2017 debut album, Nameless Hideous Manifestations. But better late than never!

God Forsaken” was goddamned good, and now we get a chance to add another track for public consumption, one named “All That Remains” — and it’s a terrifically explosive and electrifying onslaught too. Continue reading »