Oct 282020
 


photo by Void Revelations

(Our Norway-based interviewer Karina Noctum brings us this discussion with Joshua Hróðgeir Rood, vocalist of the extreme metal band Nexion, whose debut album Seven Oracles was released by Avantgarde Music in June of this year.)

Nexion hail from Iceland, a country which has been in the metal spotlight for a while now. Earlier this year they released their first album which is recommended for people who appreciate a mix of Black and Death Metal with an eerie feeling to it.

I got to interview Joshua Hróðgeir Rood, the vocalist, who moved to Norway recently from Iceland. I found out more about their latest album Seven Oracles, including the lyrical themes and vocal approach, and of course thoughts about Black Metal and Norway. Continue reading »

Oct 282020
 

 

(This is the second installment in a seven-album review orgy by our man DGR, who is attempting to free his mind for year-end season by clearing away a backlog of write-ups for albums he has spent a lot of time with in 2020. Today’s subject is a new EP by Inferi, released on October 9th.)

As a rule of thumb, releases by the Tennessee-based tech-death crew Inferi tend to be a lot of fun. They made their name in the whirling maelstrom of everything-and-the-kitchen-sink, pyroclastic-flow-of-notes style of hyperspeed tech-death. As much as anything, it’s a blast to see just how far Inferi are going to push each song before they fully disintigrate. While they’ve certainly become one of the groups whose music serves as a snapshot of a scene at the time of each release, there’s purely reptilian amusement to be found in seeing how much a band can shred within a single song.

Of Sunless Realms is the newest EP from the band, weighing in at a compact – for them – twenty-two minutes and five songs. Every previous time when covering a band of their ilk – including those their current label The Artisan Era likes to traffic in – it has always felt justified to warn people to gird themselves a bit for a massive journey ahead, simply because such bands really, really like to pack as much as they possibly can into every song. Surprisingly, Of Sunless Realms works in their favor simply because of its compact length – about as no bullshit as Inferi can get – with five songs that provide a tantalizing snapshot of where the band are now. Continue reading »

Oct 272020
 

 

Way back on the 17th of August, 2020, three NCS writers — (Andy Synn, DGR, and Islander) appeared as guest DJs at GIMME METAL, curating a two-hour on-line radio show in which we spun tracks of our own demented choosing, interspersed with our own pre-recorded banter, and also engaged in live on-line chats with listeners. We were truly grateful for the opportunity, and had a blast doing it. Astonishingly, it must not have been too terrible for GIMME METAL, because they invited us to do it again. And of course we eagerly hurried to say YES!

And so once again, on October 28th (tomorrow!), beginning at 2:00 p.m. Pacific Time, 5:00 p.m. Eastern Time, 9:00 p.m. in the UK, and 10:00 p.m. in much of Europe, the same three NCS scribes will again become the hosts of a show at GIMME METAL devoted to extreme metal. We hope you will be there with us! Continue reading »

Oct 272020
 

 

Khaos is the new album by the Swiss band Icare. It’s set for release on October 30th by Division Records. It sounds like a musical diary, a recording of a band’s progress from a starting point four years ago to the extravagant destination they’ve now reached. Which is not to say their starting point was in any way mundane — far from it. It was as breathtaking as the place where time took them, albeit in a different way.

It turns out that the idea of a journey that comes to mind in listening to the album isn’t too far from the truth. When Icare joined together in 2016, in La Chaux-de-Fonds, their vision was to create an extremely virulent form of grindcore, which incorporated elements of black and death metal. They recorded an album in that year named Khaos. But things began to change. Those changes were manifested in a 2018 album named Charogne, which the band performed live as a single 45-minute song.

This year they returned to those early steps in Khaos, and transformed the album in the studio, among other things giving the music a greater connection to black metal. But it would be wrong to sum up the album as solely “blackened grindcore” — it goes to many other places as well, which you can discover for yourselves through our premiere of a full album stream today. Continue reading »

Oct 272020
 

 

(In this post DGR begins a sequence of seven reviews, which we will do our best to post on seven consecutive days, catching up with albums from earlier in the year that we didn’t fully cover. And to begin we have Black Crown Initiate‘s latest album, released in August by Century Media.)

We’re nearing the end of the year, which means you’ve inevitably seen the occasional author musing to themselves about starting to work on their year-end lists. In fact, I’ve already seen a couple of prospective ones myself, which isn’t weird at all considering it’s still March. But there’s always been something of a compulsion of mine where I feel like if I don’t cover everything I’ve listened to this year then I’m short-changing the bands, even if a disc may have hit way early on in the year, and as far as the internet is concerned may as well have been released in the Cretaceous period.

In some cases it’s fine because that means that there can be some half-hearted attempts at brevity in these write-ups, but man if it doesn’t feel a bit like panicking right before the end of the year, especially while keeping in mind there’s still a few handfuls of releases still heading towards us in the October/November months. I generally try to avoid bringing a personal “I” into the mix when writing for that reason, because honestly, few care about the personal adventures of some dork with a laptop on the west coast; in that way, I try to keep things focused on how the album may play out to the listener while keeping my own adventures fairly light throughout.

It doesn’t really work that way when you write like this though. Instead, it becomes incredibly personal due to just how candid the reviews wind up feeling. Imagine laying your arm across a desk and just sweeping everything off it and you’ll have a mental image of what doing one of these collections can feel like. It’s reckless as hell and shit goes flying everywhere, but wow, look at how clear that desk is now. It is surprisingly freeing.

Thus we make a run at clearing out much of the backlog, some releases I’m surprised haven’t gotten more coverage around here and others matters of curiosity. A few of these are later discoveries and others I’d guess fall squarely into the DGR corner of the NCS virtual office and nowhere else. It’s like a weight is being lifted off my shoulders already.

So long as we ignore the blank ‘potential year-ender list’ file that is currently parked dead center on my desktop. Continue reading »

Oct 272020
 

 

(Andy Synn is celebrating his decade of writing for NCS with a collection of 10 reviews, one for each year….)

You know what I discovered this weekend?

I’ve now been writing for NCS for ten years.

I know. Mind = blown.

Over the last decade I’ve had several different jobs, moved house multiple times, and seen various relationships – both good and bad – come and go. But NCS has consistently been one of the few constants in my life which has helped keep me going through thick and thin.

So I want to say thank you. Thank you to all the bands for all the great music over the years. Thank you to all the readers and commenters (the good ones anyway) for all the kind words, “witty” banter, and support. Thank you to the rest of the core NCS crew, for always having my back (even if/when they disagree with what I’ve written, which inevitably makes them wrong and me right).

And thank you most of all to Islander for allowing me to become a part of the site. Hopefully one day you’ll finally understand just how much you’ve helped change my life.

Anyway, in honour of this momentous occasion I’ve picked out ten albums – one from each year I’ve been writing here, including this year – which I overlooked when they first came out. Continue reading »

Oct 262020
 

 

(This is Vonlughlio’s enthusiastic review of the new album by the Spanish brutal death metal band Scatology Secretion, which has just been released by Pathologically Explicit Recordings.)

Today’s subject is the second offering, titled Submerged in Glacial Ruin, by the international band Scatology Secretion. It has just been released by the Spanish label Pathologically Explicit Recordings. I previously reviewed their 2017 debut album The Ramifications of a Global Calamity here, and it ended up being on my list of top BDM albums of that year at No Clean Singing.

As time passed since then, no news regarding the project came to light and I was worried that it had ceased to exist. But early this year it was announced that they had signed with Pathologically Explicit and they released the cover of the new effort. I was truly excited, as the art suggested they would continue their theme of world apocalypse but set it in a cold realm of nothingness. Continue reading »

Oct 262020
 

 

So far, the experimental black metal band MRTVI, which is the solo project of Serbian musician Damjan Stefanović, has released two albums — Perpetual Consciousness Nightmare (2015) and Negative Atonal Dissonance (2017). Both are fascinating, and well off the usual beaten paths of black metal. As we wrote around the time that the second album was released (by Transcending Obscurity Records), MRTVI “makes a determined effort through this music to fracture reality into a shower of sharp shards and splinters, to plow madly through the constrictive channeling of experience through our perceptions, in search of an inner cosmos”.

Now MRTVI is only 11 days away from the release of the band’s third album, Omniscient Hallucinatory Delusion, also via Transcending Obscurity Records. The album is divided into four chapters, and each chapter consists of multiple songs. The final chapter, “View of Denial“, unfolds through two songs, and today we’re presenting the first of those — “Perceived Entirety“. Continue reading »

Oct 262020
 

 

(Here’s Comrade Aleks‘ interview with drummer Dennis Lefebvre of the Belgian band Marche Funèbre, whose new album Einderlicht was jointly released on September 25th by Hypnotic Dirge Records, Solitude Productions, and The Vinyl Division.)

We did an interview here with Belgian Marche Funèbre about a year ago. Back then they had new EP, Death Wish Woman (released on October 14th), a tour, and a lot of fun… Now the band has a new full-length album Einderlicht and no gigs at all.

I think it was a matter of luck that Marche Funèbre got finished in time and managed to record the album with Markus Stock at his Klagschmiede Studio in February 2020 before actual shit started to hit the fan. But well, we’ve completed quite a good interview with the band’s drummer Dennis Lefebvre, and I welcome you to read it. Another portion of good and fair doom death doesn’t hurt anyone. Continue reading »

Oct 252020
 

 

I got a late start on the day and therefore have had to adjust my plans for this week’s column. Running short on time, I’ve had to postpone brief reviews of some recently released albums that richly deserve attention and instead focus on new singles and advance tracks from forthcoming records. But they richly deserve attention too.

I’ve arranged these tracks in a way that provides a flow that made sense to me, starting off one way, taking a turn in a different direction, and then changing course one more time at the end. Coincidentally, one thing these tracks have in common (and they don’t have a lot in common) is that blast-beats are in short supply.

EXITIUM SUI

The title of the first song, “Eviscerate My Withered Soul“, tells you a lot about the mood of the music. Launched by ritual drums, ominous symphonic swells, and grim, seething chords, it stalks forward in a way that leaves feelings of oppressiveness and despair in its wake. Augmented by bestial growls and withering screams, the music’s intensity mounts, creating tension and tragedy in equal measure. There’s a sense of horrible grandeur in the music, commingled with fever and pain. Continue reading »