AN NCS PREMIERE: PHANTOM WINTER – “CRUEL SUMMER (BANANARAMA COVER)”

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Sep 042020
 

 

(Andy Synn introduces our premiere of a new cover song by the German band Phantom Winter.)

This site’s history with German sludgemongers Phantom Winter goes back a number of years now.

In fact we’ve been fans of the band ever since their debut back in 2015, and just last year I selected their stunning second album, Sundown Pleasures as one of the best records of the entire decade.

So when the band got in touch to ask me to help them premiere their impressively ugly and abrasive take on Bananarama’s “Cruel Summer” – all in service of a good cause – I couldn’t say no! Continue reading »

AN NCS PREMIERE: COEXISTENCE — “SYMBIOSIS OF CREATION”

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Sep 032020
 

 

The cover of the new album by Coexistence, as rendered by the enormously talented Adam Burke, is a wondrous sight to behold, a collage of beautiful colors and strange sights — of jutting spikes of stone, of a giant moon and winking stars, of aquamarine water cascading into what seems to be an entirely different dimension or sector of the cosmos…. And this is one of those pleasing cases in which the attractions of a painted album cover suit the music enshrined in the record.

That record, Collateral Dimension, is the debut album by this Italian band, who already opened lots of eyes through their 2018 EP, Contact With the Entity (reviewed here). And as good as that EP was, it is no exaggeration to say that the album is a great leap forward. Transcending Obscurity Records, which will release the album on October 23rd, calls it “a marvel”, and that’s no exaggeration either. It presents a tremendously multi-faceted hybrid of technical and progressive death metal that’s capable of entrancing and bewildering the listener while coming for your throat at the same time. We have a great example of this in the song we’re presenting today, “Symbiosis of Creation“. Continue reading »

METAL TO THE NTH POWER: NANSIS / NECROT / NÚLL

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Sep 032020
 


Necrot (photo by Chris Johnston)

 

(Andy Synn wrote the three following reviews of recently released albums by bands who have in common… well… a letter of the alphabet.)

Oh my stars and garters, there is a lot of music out there at the moment isn’t there?

I know this feels like a familiar refrain (and it is), but it bears repeating. There’s simply too much music, and too much Metal, being released, week after week, to stay on top of it all.

Still, we try our best to cover what we can, and today I’d like to direct your attention to three recently released albums from Nansis (Switzerland), Necrot (USA), and Núll (Iceland). Continue reading »

AN NCS INTERVIEW: ATAVIST

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Sep 032020
 

 

(We present Comrade Aleks‘ extensive interview of Chris Naughton from the UK band Atavist, whose new album III: Absolution was released in June by Candlelight Records.)

Sometimes they come back… Manchester-based Atavist was put on hold twelve years ago and almost by accident I learned that the band had reunited in almost its original line-up: Chris Naughton (guitars), Toby Bradshaw (vocals), Shane Ryan (bass) and Callum Cox (drums) who joined Atavist in 2006, soon after the recording of their debut self-titled album. They didn’t waste the time that elapsed in that long break between their 2008 split Infernal Procession… And Then Everything Dies and their new full-length work, III: Absolution but were instead playing in different extreme metal bands and honing their skills.

Released by Candlelight Records earlier this summer, III: Absolution represents Atavist at their peak, with the band bringing deep, devastating, and uncompromised doom-death battle in its slower and minimalistic form. They pay attention to arrangements and very rare decorative elements like cello or some samples, but overall it’s cold and bleak (in the good sense of the words) doom-death. We got in contact with Chris Naughton to learn more about Atavist’s return. Continue reading »

GANGRENECTOMY: “CANNIBALISTIC CRITERIA OF THE MANTIS”

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Sep 032020
 

 

(Here’s Vonlughlio’s review of the latest album, released this past spring by Amputated Vein Records, by the Italian slamming brutal death metal band Gangrenectomy.)

The Italian metal scene is responsible for giving us great bands such as Devangelic, Putridity,  Vulvectomy, Hour of Penance, Blasphemer, and Hideous Divinity, just to name a few (that I love).  And this time around I would like to take the opportunity to speak about one more, an underground project named Gangrenectomy that I recently discovered this year.

I  have to say that at first I was a little bit hesitant to check them out since their music is BDM that leans toward the slam side, and there are a lot of bands in that vein that just don’t do anything for me. Regardless, I decided to go with an open mind and checked out their second album, Cannibalistic Criteria of the Mantis, which was released early this year via Amputated Vein Records. Continue reading »

AN NCS PREMIERE: GOATCRAFT’S “PHOBOS” (AND A REVIEW OF THE GOATCRAFT-PLUTONIAN SHORE SPLIT)

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Sep 022020
 

 

On September 4th Hessian Firm will release a split record that includes the music of two San Antonio-based projects, Goatcraft and Plutonian Shore, both of whom have created outstanding releases that we’ve paid attention to before at this site. For this new split, each project has recorded three tracks, and today we’re presenting one by Goatcraft — along with a review of the split as a whole.

As the solo vehicle of musician Lonegoat, Goatcraft has specialized in the creation of dark neoclassical and ambient music that he has named “Necroclassical”. For this new split he created three pieces devoted to the depiction of Mars, drawing inspiration in part from Beherit’s electronic era (in particular Electric Doom Synthesis), and it’s the third of those in the running order — “Phobos” — that we’re premiering today. Continue reading »

AN NCS ALBUM PREMIERE (AND A REVIEW): VERMISST — “ZMIERZCH STALOWEJ CIEMNOŚCI”

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Sep 022020
 

 

Of the eight tracks on Vermisst‘s new album Zmierzch Stalowej Ciemności (which Signal Rex will release on September 4th, on vinyl and digitally), five of them first appeared as an EP bearing the same title as this album, released in a CD edition in January 2020. The other three are bonuses — new original tracks recorded last December which expand the EP to 40 minutes.

For those readers who may have overlooked the EP over the last eight months, it’s quite an arresting and often elaborate experience, one that featured not only the performances of Vermisst‘s core members Belath (guitar), Vorghast (vocals), and Kvalvaag (keys) but also impressive session work by Vlambré (bass), Bloodwhip (guitar), and Vulgrim (drums). The bonus tracks, created solely by Belath (guitars) and Vorghast (vocals, drums), are very different in important respects, but arresting in their own harrowing way. Continue reading »

ALARUM: “CIRCLE’S END”

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Sep 022020
 

 

(TheMadIsraeli prepared this review of the latest album by the long-running Australian band Alarum, which was released in June by Dinner For Wolves.)

The very idea of progressive metal in modern metal is trapped in a weird state of limbo.  We have a problem lately with labeling things progressive that are, frankly, not at all.  They meet none of the requirements for the style, but the songs are over seven minutes long so we think surely that’s the qualifier.  As someone who appreciates the eccentricity in progressive metal of any sort enthralling, it’s a bit insulting to me that “our” standard has dropped so low that we consider bands like Black Crown Initiate to be progressive.  They are, no doubt, an excellent band, one of modern extreme metal’s best current acts, and fantastic musicians, but their music is not progressive.

When I think of metal that is progressive, I think envelope-pushing, I think weird fusion ideas or the ability to write a comprehensively diverse album that hits an insanely wide array of peaks and valleys while maintaining a cohesive core sound.  A group could do this based on a “gimmick”, of course, and could have an objective, perhaps oriented around jazz for example, and that’s fair as long as the music you’re writing actually tries to push and incorporate jazz into your metal in such a way that the spirit of jazz is in no way diluted. Continue reading »

HYMN: “BREACH US”

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Sep 012020
 

 

(On August 28th Fysisk Format released the second album by the Norwegian duo Hymn, and Andy Synn gives it an enthsusiastic review below.)

Being human is, I’m sure we’ll all agree, a strange experience. One which, ultimately, we all experience differently.

Even though we have so much in common, and encounter the world through the same five senses, the same underlying mental architecture, if I were to try to convey to you exactly what I experience when I feel pain, or pleasure, or any number of other sensations, I wouldn’t be able to do so.

Oh sure, we have language to describe what pain “is”, what pleasure “is”, but the truth is that human language just isn’t equipped to describe the subjective qualia of reality.

Quite simply, you can’t feel what I feel.

This is one reason why we often fall back on comparisons and shared points of reference when describing things to one another, especially (to the chagrin of many) when talking about music.

So, like it or not, please be aware that when I say that Norwegian duo Hymn sound like the bastard offspring of Cult of Luna, Crowbar, and Celtic Frost I do so with good reason, as you’re about to find out. Continue reading »

AN NCS VIDEO PREMIERE: JUPITERIAN — “CAPRICORN”

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Sep 012020
 

 

It makes perfect sense that the grim hooded eminences within Jupiterian chose the name they did. Their music is so stupendously heavy that evoking the solar system’s most massive planet — twice as massive as all other planets combined — can’t really be considered an act of hubris. They’ve earned the right to align themselves in that way.

Apart from its immensity, and the glacial slowness of its spin, Jupiter is also home to a giant red storm that is itself larger than Earth and has raged for hundreds of years. And perhaps the most striking evolution in Jupiterian’s new album Protosapien is how much their new music rages, and how powerfully it creates an atmosphere of fear, without sacrificing the quality of titanic heaviness that first brought them global attention. Continue reading »

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