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 »

Jun 112020
 

 

The Finnish black metal band Väki have defined themselves as “a musical act embodying the profound manifestations of death, impurity and chaos, dedicated to capture the darkests aspects of reality”, examining “aspects of our existence that revolve around suffering, depression, hate and melancholy”. In delving into those dark depths it became evident right from the band’s 2017 debut demo Kirous (reviewed here) that they were capable of taking you to many different places — there was bleak grandeur as well as crushing desolation and blinding ferocity in those compositions, as well as a high level of performance skill.

Redefining Darkness Records was so impressed with that initially self-released demo that they gave it a physical release. And now, in conjunction with Saturnal Records in Europe, the same label will be releasing Väki‘s debut album Kuolleen Maan Omaksi — a record that many of us who were captivated by Kirous have been waiting for eagerly. It will be released on July 17th, and today we’re excited to present for you “Vaisto” (The Instinct), the song that opens the album. Continue reading »

Jun 112020
 

 

(This is Wil Cifer‘s review of the new album by San Diego’s -(16)-, which was released by Relapse Records on June 5th.)

With anger as the universal language and the Apocalypse looming, sludge is a fitting soundtrack.

This band continues to stand out from the pack. They are not a Neurosis tribute and more Anger closely aligned with noise rock than doom. Hardcore influence can be heard in their more explosive moments, and I like the effects on the vocals. Lyrically it reminds me of the Melvins in their chaotic musings. Continue reading »

Jun 112020
 

 

(We present Andy Synn‘s review of the new album by Germany’s Bait, released by Les Acteurs de l’Ombre Productions on May 22nd, with cover art by Giovanni Raabe.)

Inspiration is a funny ol’ thing. Sometimes you have it… and sometimes you don’t.

Case in point, I’m currently sitting on a half-finished triptych of reviews for some very cool Black Metal bands – a mix of doomy and groovy, abrasively atmospheric, and straight-up weird albums that I’ve been spinning religiously for the past few weeks – but, for some reason, my wordstream has run a little dry.

So, to try and get things flowing again, I decided to switch tracks (mixing my metaphors here a little, but, hey, it’s not like anyone’s paying attention) and find something else to wax lyrical about.

As it turns out, none of us have written anything (barring a bit of preamble to accompany a video premiere back in April) about the new album from Germanic Blackened Hardcore crew Bait, so now seemed like the perfect time to correct this egregious oversight. Continue reading »