Dec 022019
 

 

It has been a long seven years since the release of Epistolae Obscurorum Virorum, the debut album by the Ukrainian band Rattenfänger (discussed here). Although Rattenfänger was a new name then, its members were not newcomers, having already made their mark through Drudkh, Blood of Kingu, and Old Silver Key. Rattenfänger had become their alternate vehicle for indulging an affinity for certain flavors of old school death metal.

But the band’s name is much older than the era that produced the early works of Bolt Thrower, Asphyx, and Celtic Frost, whose influences (among others) played a significant role in the music. The name Rattenfänger was taken from the legend of the Pied Piper of Hamelin (Rattenfänger von Hameln), who was hired by the folk of that town to rid themselves of the rats that had overrun it. As we know, he was deceived and cheated of his payment, and exacted a dreadful revenge by luring away Hamelin’s children, never to be seen again.

Rattenfänger connected themselves to the Dark Ages in other ways, by writing their lyrics in Latin, in the style of medieval poets, thinkers, and troubadours/minstrels. And now, seven years on, they’re about to release a new album, which we present to you today in its entirety. Continue reading »

Dec 022019
 

 

(This is TheMadIsraeli’s review of the new album (released on November 29th) by the German band Aeons Confer.)

Sometimes you have to… not temper your expectations, but when it comes to artists you love and the output they produce you have to learn how to divorce yourself from your own nostalgia-based bias.  I’ve never been a fan of nostalgia, and I’m someone who is always eager to try and avoid the pitfalls of it as much as possible.  I was confronted with this resolution when listening to Aeons Confer’s new record Zero Elysium.

I LOVE this band’s debut Symphonies Of Saturnus, which I reviewed here nearly six years ago.  Since 2013 I’ve actually listened to it AT LEAST once a week.  I never got over that album, so it’s expected maybe that someone like me might feel a bit cold when encountering a sophomore record that didn’t deliver on an assumed promise of “first album, part two”. Continue reading »

Dec 022019
 

 

(We do not publish a single “official” NCS year-end list of best releases.  Instead, each of our staff members compiles his own individual list. A week earlier than we did this last year, today we’re beginning the roll-out of Andy Synn‘s five-part series of year-end lists. As usual, we’re starting with an installment that veers off our usual theme of focusing on music we enthusiastically recommend. Feel free to disagree — some of us here may disagree as well — but also feel free to share in the Comments your own thoughts about 2019 albums that disappointed you.)

Normally I’d wait until a little deeper into December before writing/publishing my End of the Year lists, but various circumstances (including a short run of dates supporting Hour of Penance next week) mean that I’m going to be pretty busy for the rest of this month (though hopefully not too busy to do at least a little bit of writing for NCS), so you lucky people are getting the benefit of my yearly round-up a little early this time around.

As usual I’m going to kick things off with a short (shorter than usual, in fact) piece on the most “Disappointing” albums from the last twelve months, which this year contains a mix of big names, over-hyped newcomers, and, sadly, some of my personal favourite bands.

And because some of you might be a little unfamiliar with the format of this particular piece, I’m going to quote from our friends over at Last Rites, who I think summed it up nicely in a recent piece:

“The idea of this feature isn’t just to bash bands or records — it’s ultimately more about us, as fans, lamenting the releases that disappointed us the most. And, of course, disappointment implies some heightened level of hope that a release might be, y’know… good.” Continue reading »

Dec 012019
 

 

I think I made a mistake. Between Friday and Saturday I spent 6+ hours just listening to new music, at least half of which I devoted to individual tracks publicly released from forthcoming albums. That’s a LOT of individual tracks. Along with discarding things that didn’t grab me, I started excitedly assembling ideas for round-up posts organized around varying themes, and of course added to an already long existing list of ideas for the column you’re reading now.

Why was that a mistake? Because now I’m mentally suffering from the knowledge that there’s no way I’ll have the time to follow through on all the writing schemes I imagined, no way to feature everything I’d like to recommend. Even if I could, it would be too much music and too many words for any normal person to consume over the space of a few days, on top of other music you would be exploring from other sources.

Well, as they say, I made my bed and now I have to lie on it. Now that I’ve gotten that off my chest, here’s what I chose for today — which is a lot of music, but not nearly enough.

MOTHER AUGUSTA

If you haven’t done whatever you need to do to follow the Chinese label Pest Productions on Bandcamp, you ought to fix that post haste. The releases are stylistically more unpredictable than many labels with a black metal pedigree, and over a lot of years I’ve encountered very few that didn’t do something good for me. A Bandcamp e-mail alert just days ago is how I discovered that Pest had released Fragile, which is the name of the debut album of Mother Augusta. Continue reading »

Nov 292019
 

 

Our site obviously isn’t an all-purpose outlet for metal news. We almost never post announcements of tours, festivals, line-up changes, or even forthcoming albums (unless there’s an advance track we like that we can share in a new-music round-up). We get dozens of such announcements in our in-box every day, and even if all we did was copy/paste those things into our page, there wouldn’t be time to do much else. Plus, there are tons of other sites out there which do the newsy copy/paste thing. Why would anyone need one more?

Having said that, the last few weeks have brought a flood of enticing 2020 festival announcements, and I thought it would be worth making a slight exception to our usual decision-making and collect some of those here today. Still, this collection isn’t intended to be comprehensive — most of what I’ve picked will take place in North America — nor is my memory photographic, so I’m sure someone will be irritated that we left them out. Apologies in advance.

ASCENSION FESTIVAL ICELAND

I’ve already expounded at length about how much I loved the first edition of Ascension Festival Iceland, which I attended earlier this year. Definitely one of the best festival experiences I’ve ever had — maybe THE best — and a fantastic successor to the Oration festivals that preceded it. All respect and appreciation to Stephen Lockhart and his partner Edda for making it happen — and even more gratitude and respect to them for bringing back Ascension for round two next year. Continue reading »

Nov 292019
 

 

Black Friday is of course a celebration of cannibalistic commercialism, a paroxysm of merchants and consumers crashing together in a frenzied effort by the former to loot the bank accounts of the latter, and of the latter to claw at the former (and each other) in an effort to save while spending. But Black Friday has a different meaning for some of us. We can bend the meaning of the name into a different kind of standard, a different representation of cannibalistic war-zone frenzy. Which brings us to Human Agony.

Today is the day on which Invictus Productions is releasing the debut album of these satanic devastators from Victoria, British Columbia. Not for naught does the advance press for Putrescence of Calvary make reference to the likes of Conqueror, Revenge, Black Witchery, and Blasphemy. If you are adherents to such standard-bearers of bestial black/death, you’ll relish being torn limb from limb by what Human Agony are doing — and we’ll give you that chance through our premiere of a full album stream. Continue reading »

Nov 292019
 

 

(The month of November has nearly expired, but before it gasps its last breath Andy Synn has delivered a SYNN REPORT for the month, and in this edition he reviews and streams music from all the albums created by the German band Krater, including their latest work Venenare, released by Eisenwald earlier this month.)

Recommended for fans of: 1349, Mgła, Dark Fortress

I’m a little sick and tired of explaining it but, here it is again for those of you too slow to grasp this very simple truth…

Black Metal comes in many forms and many guises.

It can be dense and dissonant, ethereal and atmospheric, thrashy, punky, proggy… and everything in between. Sometimes all at once.

Don’t get me wrong, I still firmly believe that there are certain features, certain elements and ideals, which are fundamental (even though we can argue about what they might be ’til the cows come home) and without which you’re simply not playing Black Metal at all. But I have very little time for those whose limited vision restricts what they’ll “allow” Black Metal to be.

Germany’s Krater clearly share a similar view, as their back catalogue is a testament to evolution and expanding vision, beginning life as a more “classic” second-wave style band but swiftly developing into something far darker, far heavier, far more technical, and far more atmospheric, than their more primitive origins might have predicted. Continue reading »

Nov 282019
 


Blaze of Perdition

 

“I spent most of my life believing a gauzy, kindergarten version of Thanksgiving, thinking only of feasts and family, turkey and dressing.” So wrote a New York Times columnist today, near the end of an essay in which he explained in gruesome detail why, in this view, he “was blind, willfully ignorant, I suppose, to the bloodier side of the Thanksgiving story, to the more honest side of it”. His reminiscences of childhood Thanksgiving might have been my own words, but whether you remain among the blissfully blind or have become hardened by the truth, I still wish you a Happy Thanksgiving on behalf of all of us at NCS. Regardless of the reason for the occasion, happy days are hard to come by and wishes for more can’t hurt, can they?

Of course, one of the long traditions at this site has been to ignore holidays in our labors. Taking days off from posting just subtracts from the opportunities to spread the word about new metal, which continues to arrive every day, heedless of holidays. So I’ve picked some of the new arrivals to recommend. Maybe they’ll make this Thanksgiving Day a happier one for you. Continue reading »

Nov 272019
 

 

As part of our annual NCS LISTMANIA extravaganza we re-publish lists of the year’s best metal that appear on web sites which appeal to vastly larger numbers of readers than we do — not because we believe those readers or the writers have better taste in metal than our community does, but more from a morbid curiosity about what the great unpoisoned masses are being told is best for them. It’s like opening a window that affords an insight into the way the rest of the world outside our own disease-ridden nooks and crannies perceives the music that is our daily sustenance.

One of those sites is PopMatters. It has been in existence since 1999. In its own words the site “is an international magazine of cultural criticism and analysis” with a scope that “is broadly cast on all things pop culture”, including “music, television, films, books, video games, sports, theatre, the visual arts, travel, and the Internet”. PopMatters claims that it is “the largest site that bridges academic and popular writing in the world”. Continue reading »

Nov 272019
 

 

I have had a soft spot in my heart for Deivos for a very long time — though I also have some soft spots in my head as a result of these Polish destroyers caving it in every time they come out with another album. The new one is no exception, though they again demonstrate that brute-force trauma is only one of the impacts that their music leaves upon the listener.

In fact, their formulation of death metal is just enough outside the mainstream savagery of what you usually find (and is so well-executed) to make them distinctive, although perhaps their resistance to “fitting in” with trends is a reason why (in my opinion) they haven’t gotten nearly enough recognition despite plying their craft for 20 years and creating a discography that’s now six albums deep.

The new full-length is Casus Belli, and the Polish label Selfmadegod Records will be releasing it on November 29th. If you’re looking for something to be thankful for on this day before Thanksgiving, the full album stream we’re about to present should amply satisfy your search. Continue reading »