Feb 272025
 

(written by Islander)

“When we, as humans, accept subjection to suffering, resignation in life inevitably follows.”

With those words the Dutch band Ter Ziele introduce their debut album Embodiment of Death, which will be released on February 28th by Tartarus Records. The words pack a lot of meaning into a relatively brief sentence. They refer not just to human suffering, but to suffering caused by others or by oneself, hence the word subjection. They suggest that there is a choice among those who suffer about whether to accept the subjection or not. And they point to the consequences of acceptance: the inevitability of resignation in life.

And so the sentence is both an observation of bleak realities that beset the human condition and also (possibly) an argument. What does it matter if acceptance leads to resignation unless people have the ability to reject instead of accept? And what might motivate them to resist or to change?

Of course, the words don’t suggest that resistance or change will be easy. It may not even be possible. In some cases we know it will be futile, that some conditions are so terrible and hopes for relief so barren that despair seems inevitable, even when (and maybe especially when) those conditions are self-inflicted. But again, the words imply that acceptance is not the right answer, because that is the surest recipe for a never-ending cycle of misery. They seem to make an argument, though not a “preachy one,” for resistance.

Obviously, there is a connection between the sentence and what inspired the album’s music, and between the inspiration and the results. And you can draw all those connections today as we premiere the record as a whole. Continue reading »

Feb 262025
 

(written by Islander)

This year the Belgian metal band Reject the Sickness are celebrating their 15th year of music-making with a new album named Signs of the End that will be released worldwide on May 30th, and to help introduce it we’re premiering an official video for a multi-faceted song from the album named “Acta Non Verba.”

Over the course of that 15-year career Reject the Sickness haven’t stood still (and no one who’s heard their music would be able to stand still either). Instead, their music has evolved, along with their lineup, to the point where the new album discharges an amalgam of heavy-grooved death metal, accents of atmospheric black metal, and “a dash of metalcore.” It’s the kind of music that feeds the need for hard-charging, muscle-moving mayhem but also contributes memorable (though often dark) melody, and white-hot vocal intensity.

You’ll see what we mean when you listen to “Acta Non Verba.” Continue reading »

Feb 262025
 

(written by Islander)

Seven long years ago we premiered the title song to the debut demo by Cult of Extinction, the perfectly named Black Nuclear Magick Attack. We summed it up as “music that upholds the standards of annihilating savagery that govern war metal, yet delivers more than the mere mindless and murky bludgeoning often vomited forth by less talented practitioners.”

Since then, this solo project of the German lone wolf Void (who is also behind Imperceptum) has uncaged two albums, Ritual in the Absolute Absence of Light (2019) and Gnosis of the Wicked (2022), both of them also well-named in light of the nature of the music, and now a third album blackens the horizon. Entitled Nightmare Ascension (another title that honors truth in advertising), it will be released on March 3rd by Winter Demons, a sub label of Darkwoods that’s “devoted to near-death experiences only.”

What we have for you today is an official video for an advance single from the new album called “Divine Retaliation.” Continue reading »

Feb 262025
 

(Andy Synn suggests three more short but sweet musical morsels for you to sink your teeth into)

What is it that they say about the best laid plans?

Some of you may have noticed a bit of a disruption to our regular publication schedule here at NCS this week, and that’s due to the fact that Islander is currently without power or internet where he lives and I’m dealing with a really nasty case of the flu that’s making it very difficult for me to function.

Rest assured, normal operations will be resumed at some point… but, until then, hopefully this little round-up of some recent EPs will keep you occupied and entertained.

Continue reading »

Feb 252025
 

(James Fogarty is a man of many talents and musical incarnations, but clearly one of his favorites is in the guise of Kobold within the British black metal band Old Forest. That band, and their newest album Graveside (out now on Soulseller Records) is the focus of Comrade Aleks‘ interview with him that we present today, though the discussion turns to come of his many other projects and bands as well.)

Bands practicing any of the old school genres nowadays do not have to be original, they are not required to be. We approach such bands with a very specific request and expect to receive impressions conditioned by a clear code, a set of musical, lyrical and visual attributes common to the genre.

British black metal band Old Forest does not hide its intentions to express itself with the traditional features of the “second wave of black”. The name and logo itself, and the cover of the new album based on the 18th century painting ‘Moonlit Stoke Poges Cemetery’, exude a unique old-fashioned charm. Song titles such as “The Curse of the Vampire”, “Forgotten Graves”, “Spawn of the Witch” and so on categorically indicate the subject of their lyrics.

Although the label describes Old Forest’s approach to recording as “primitive and regressive”, this does not mean that Graveside will irritate your eardrums with its sound like the scraping of dead man’s claws on your window pane. Old Forest‘s eighth album is an honest and artful piece taken to the extreme level of verisimilitude. Their moderately angry, sincere, coffin-grim black metal comes straight from the ’90s, which is not surprising if you remember that the band has been active since 1998. With a deliberately simplified approach to writing music and a general tendency towards traditionally repetitive themes that build up the atmosphere, Old Forest catches you with memorable, sharp solos, rhythm changes, and even vocal melodies or the utterly vampiric harpsichord’s tunes.

Here’s the interview Kobold conducted with us soon after the Graveside release on Soulseller Records. Continue reading »

Feb 242025
 

(Andy Synn bows down before the new album from Light Dweller, out this Friday on Avantgarde Music)

It’s pretty well documented by now that, generally, I prefer “bands” over solo projects.

There’s just something about the magic that happens when you get a group of musicians together and they start to bounce ideas off of each other, introducing an element of randomness and quantum chaos as they feed on each other’s energy, which seems to produce (in my opinion anyway) more interesting results.

But the work of Cameron Boesch, aka Light Dweller, has always been an exception to this particular “rule”, as he’s developed such a distinctive creative voice over the years  weaving together bits and pieces of Immolation and Ulcerate, Krallice and Gorguts, and beyond, that there’s never any fear of his work falling afoul of stock tropes and standard clichés.

2022’s Lucid Offering in particular stood out as easily his magnum opus, striking a brilliant balance between atmosphere and dissonance, introspection and aggression, that was always going to be hard enough to replicate, let alone surpass.

Which I suppose begs the question… what do you do when you’ve reached the top of your particular, personal mountain? Where the heck do you go from there?

Continue reading »

Feb 242025
 

(written by Islander)

We’ve had lots of good things to say about the previous music of the Lithuanian band Crypts of Despair, most recently within Andy Synn’s review of their 2021 album of blended death and black metal All Light Swallowed, which he described as “a perfect example of the level of annihilation that can be achieved by the crossbreeding of these two savage styles” — “the sort of highly-evolved, apex predator that doesn’t really need to do anything particularly new or revolutionary to achieve its goals – it simply kills and kills and kills again, without remorse or restraint.”

At an earlier time, in the context of their preceding album The Stench of the Earth, I also referred to their music as both “an irresistible headbang trigger” and a simulacrum of “what it feels like to suffer a cranial fracture and concussive trauma.”

Now these killers are returning with a third full-length (their second one for Transcending Obscurity Records), and a title as bleak as those of the first two: We Belong In The Grave. What we have for you today is the third single from the album, “Terminal Dais. Continue reading »

Feb 242025
 

(At the end of January the US doom metal legends Pentagram, in collaboration with Heavy Psych Sounds, returned with their first new studio album in a decade. Not long before it was released, our Comrade Aleks reached out and then conducted the following very good interview with current Pentagram guitarist and sound producer Tony Reed, who also leads Mos Generator and Hot Spring Water. With thanks to Tony Reed, we present that interview today.)

The first incarnation of doom metal legend Pentagram was founded in 1971. Back then Bobby Liebling (vocals) gathered around himself a bunch of like-minded persons who dug heavy bluesy rock and wanted to do their own things. The band had a reputation of “street Black Sabbath”, and a lot of talented musicians went through its ranks.

Almost all of Pentagram‘s rises and falls were the result of Bobby’s actions, and it’s a miracle that after so many years the band is still alive. Nearly 40 musicians went through the band, and nowadays Bobby is accompanied by the guitarist and sound producer Tony Reed of Mos Generator, his colleague bass-player Scooter Haslip, and drummer Henry Vasquez from Saint Vitus, Legions of Doom, and more.

At the time of this interview Heavy Psych Sounds was scheduled to release the new Pentagram album Lightning in a Bottle on January 31st. It’s the tenth album in the band’s extended career (and the first one in this decade), and it’s an absolute killer, something I couldn’t ignore. Tony Reed was kind enough to find some free time in his busy schedule and helped with this interview. Continue reading »

Feb 232025
 

(written by Islander)

I’m hurrying to post today’s collection before I have to turn to much more mundane tasks, so I’ll spare you a wordy introduction and just say that I’m extremely proud of these choices, not only because I think all of them are excellent but also because they’re going to give you so many twists and turns, right up through the final choice. Continue reading »

Feb 222025
 

(written by Islander)

Greetings on another Saturday. I have another globe-hopping-and-genre-hopping selection of new songs and videos filtered from what I was able to check out over the past week.

At the end, I’m also recommending a pair of recent interviews published at locations other than NCS, not just because the bands are favorites of mine but also because the discussions are so interesting.

But we’ll start with the music…. Continue reading »