Apr 272018
 

 

It is time once again to cry havoc and let loose the dogs of war, and simultaneously to ring the dinner bell in the heads of those Pavlovian dogs among us who salivate at the sound of chainsawing riffs and the movement of skull-plundering rhythms. Bolt Thrower may have fought their last battle, Hail of Bullets may have been drained of life, Asphyx may be pondering their next move, but Just Before Dawn continue to rise in gruesome power and terrible glory.

On their new album, Tides of Glory, all the key ingredients from previous releases remain in place — the thematic focus on events from the Second World War; the head-hooking, body-moving riffs; the monstrous power of the enlisted vocalists; the obliterating might of a rhythm section firing on all cylinders. But while riff-meister Anders Biazzi and his combat-veteran comrades haven’t made any dramatic departures from the old-school death metal stylings of the earlier albums (and it would be a rude shock if they had), they’ve still found ways to up their game. Continue reading »

Apr 272018
 

 

(This is Andy Synn’s review of the new album by Dimmu Borgir, which will be released in May by Nuclear Blast.)

Some of you may be surprised to see this album being written about here at NCS. After all, Dimmu Borgir are (still) a pretty big deal, and our general ethos has always been to focus on smaller, less well-exposed bands, wherever possible.

But considering that my personal modus operandi has always been simply to write about whatever interests me, you’re going to get to read/hear my unfiltered thoughts and unsolicited opinions whether you like it or not.

Although, of course, you could always just not click “Continue reading”… but then, where’s the fun in that? Continue reading »

Apr 272018
 

 

(Our friend Grant Skelton returns to NCS with this vivid review of the debut full-length by Virginia’s Foehammer, released on April 6 by Australopithecus Records. It is the second review of the album we’ve published.)

Foehammer’s self-titled EP, which was released in the spring of 2015, was one of the first ventures I made on my descent into doom metal. Up to that point I’d dabbled, almost exclusively, in extreme bands experimenting with increasing the speed at which they played. After nearly 20 years of such apoplectic throttling, something in my psyche (soul?) began to yearn for auditory victuals from the other end of the speed spectrum.

And I dove head-first into the boggy, bottom-heavy bombardment of “Stormcrow.” This track thumped my brain like a warclub. I couldn’t listen to it enough. So naturally I chomped at the bit to review the EP. It teased proficiency; giving us only a flash of what Foehammer could really do.

I’m glad to say that, three years later, Foehammer’s dormancy has ended! A full-length offering has arrived. It is a cavernous, blunt-skulled, Neanderthal brute entitled Second Sight. Continue reading »

Apr 262018
 

 

Last September I came across a song called “Treachery and Id” that stopped me dead in my tracks. It was a taste of what the UK trio Nihil Eyes had cooked up on their debut album Black Path (which was mixed and mastered by none other than Dan Swanö). As I impetuously wrote back then, it made me imagine a giant rushing freight train, exploding with destructive full-ahead power, delivering a barrage of skull-cracking grooves and quickly addictive riffs, and also including a couple of eye-opening solos that swirled, soared, and erupted in a volcanic frenzy. The vocals were downright bestial, too.

Nihil Eyes self-released that album via Bandcamp a month later, but it has now been picked up for a CD and digital release on May 18th by Ultraje, a print magazine and record label based in Portugal (with an edition in Brazil now as well). This new release facilitates the introduction of Black Path to new listeners who overlooked it last fall, as well as offering a physical edition to those who already know how damned good it is. And, as is obvious, it also gives us an occasion to write about the music once again.

And so, although this isn’t really a true “premiere”, we enthusiastically present a stream of Black Path’s opening track, which shares the band’s name. Continue reading »

Apr 262018
 

 

With a name like Torn the Fuck Apart, this Kansas City death metal band might not be one whom you would expect to practice subtlety in their musical creations. And indeed, there is a fundamentally eviscerating quality to what they’ve done on their newest album, A Genetic Predisposition to Violence. But the music isn’t sheer brute-force blood-letting either, as you’ll discover when you listen to the track we’re presenting today, the name of which is “Invitation Homicide“.

With three well-received albums behind them already, the band have had the time to hone their methods of violence and to enrich the slaughtering impact of their rampages in new ways. Continue reading »

Apr 262018
 

 

To the millions who wait with bated breath for a new SHADES OF BLACK column each Sunday (okay, just the two of you sulking in the corner), I apologize for being a disappointment last Sunday. By the time I finished writing the two premieres we committed to do for that day, I had run out of time. In an effort to make amends, I decided to prepare what you’re now looking at.

The songs I’ve chosen here aren’t the ones I had planned to feature last Sunday. I’ll get to those, or at least some of them, next Sunday, the Dark Lord willing and the creeks don’t rise. What I have here are a few of the songs I’ve discovered since the past weekend. I’ll warn you, or titillate you in advance, that all of them are intense.

VANHELGA

To begin, I’ve chosen “Relationship in Pieces“, the first track to be revealed from Fredagsmys, the new album by the continually evolving, persistently interesting Swedish band Vanhelga. It has been presented through a video that displays the lyrics, in Swedish. Continue reading »

Apr 262018
 

 

(One of our Norway-based contributors, Karina Noctum, had the good fortune of recently interviewing Ihsahn, whose new album Àmr will be released on May 4 by Candlelight/Spinefarm, and we present their discussion here today.)

 

You mix together several genres in one song a lot, and this is complicated enough, so how do you compose? Do you have lots of riffs first or does the song develop out of an idea?

I think it’s more the latter. Although in my early years my way of doing it tended more towards having lots of riffs and then putting them together. But as a solo artist it has been more centered around an idea and developing everything taking it as a starting point.

 

But what about this idea, is it a musical one or can it be anything?

It is a musical one. Often times it has been just one vocal line. Take my first solo album, there is a song called “Called by the Fire” in there and those were some lines that I sang while driving, and all singing started from there. But frequently it is a musical theme, or a progression for example.

 

Does the music you listen to influence you when it comes to writing music?

I get inspiration from lots of sources. You named the fact that I bring in many genres… I do feel I still create music that belongs to extreme metal and Black Metal, but I get inspired by other musical landscapes. Other musical textures are something that I like to combine with the music, as it gives it a special character. Continue reading »

Apr 252018
 

 

The cover of Panchrysia’s new album is bereft of hope and joy, a scene of death and tortured spirits immolated by arcane energies. It prove to be a foreshadowing of the sensations spawned by the song we’re presenting today from this Belgian black metal band’s fifth album in a near-twenty-year career.

Dogma is the name of this new full-length, scheduled for release on April 30 by Satanath Records, and the song we bring you is “Never To see the Light Again“. Continue reading »

Apr 252018
 

 

The Irish band Soothsayer hit my own radar screen about 18 months ago when we were asked to premiere what turned out to be a phenomenal track from their then-forthcoming second release, At This Great Depth. That song, “Umpire“, was a 16-minute, atmospheric monolith of doom/sludge that managed to be massive and earthy, and also intangible, fleeting, and ghostly — both spine-shaking and hallucinatory.

Now it’s our pleasure to present a new Soothsayer song that will soon be released on a split. Its name is “Cephalopod“, and it provides both further confirmation of this band’s prodigious talents and further reason to get excited about their next release, an album that the band are nearly finished writing and will eventually be presented through Transcending Obscurity Records (hopefully before the end of this year). Continue reading »

Apr 252018
 


photo credit: Lars Johnson

 

For this mid-week round-up I was again up to my eye-brows in worthy new music to choose from. I decided to do something a little different from usual, combining the formats of these SEEN AND HEARD collections and the occasional OVERFLOWING STREAMS columns. In other words, I’ll begin with some new songs and videos that I’ve introduced with my own descriptive verbiage (beginning with a couple of “exceptions to the rule”), and then followed that with a few more music streams that will somehow have to represent themselves through sound alone, difficult as that may be to imagine. (I also intend to present a rare week-day edition of SHADES OF BLACK later today or tomorrow in order to foist some more recent music on you.)

By the way, did you see that on July 6 Nuclear Blast will be releasing the first new Immortal album (Northern Chaos Gods) since All Shall Fall? It’s just Demonaz and Horgh, of course, but with Peter Tägtgren as session bassist. Even without Abbath in the line-up, I’m kind of excited.

AMORPHIS

I was also kind of excited about the prospect of a new Amorphis album when I first learned of it. That band has been the source of many joyous moments for yours truly in the past, and they put on a hell of an exciting show the only time I’ve seen them live (at Maryland Deathfest). Of course they and I have evolved to the point where their music isn’t as “extreme” as most of what I listen to these days, but when they’re on their game, even in these later days they still produce a thrill. Continue reading »