May 272026
 

(Here’s DGR’s review of the debut demo from a pulverizing U.S./Canada grind band called Vision of Terror. It will take you more time to read the review than to listen to the demo. But you should read the review anyway, ‘cuz it’s fun.)

You’d think by this point the idea of reviewing a grindcore release and giving it the same sort of treatment we would give to a full album would cease to be funny, but never let it be said that we aren’t a bunch of children trapped in aging and frail bodies. Because, the idea is still funny – especially if we can double up on said humor by reviewing a demo as well – given that grindcore is one of the battle-hardened genres that’ve gone through the ritual scarification required to be the musical equivalent of an auditory tantrum.

The fact that the songs are short, usually three to four parts total, and generally speaking reflect a tremendous amount of passion but not a lot of technique, is one of the defining marks of a major root of the grindcore tree. That idea has been part of the genre’s virulent strain since the very beginning, like a DNA marker that allows us to figure out that someone had sex with a hippo four hundred years ago and that is why you now have to deal with a weeks-long coughing fit.

No matter what gets added to it, whether it’s the NCS-fave hardcore punk or even melodeath riffwork that in combination tends to result in the sort of manic and explosive material accredited to modern day grind groups like Rotten Sound, you are always guaranteed that short burst of energy and head-spinning drumming by the time you’re done. If it doesn’t sound like the band are racing against the time it takes for the venue to cut power to the stage, then what’re we even accomplishing? Continue reading »

May 262026
 

(Our writer DGR obviously had a shit-ton of fun listening to Scumbag’s new EP, and probably just as much fun coming up with the word salad needed to describe the experience. See for yourselves. And listen for yourselves.)

Every year while questing in the wilds of heavy metal we find ourselves discussing a new death metal discovery out of New York. It goes without saying that New York as a state and its surrounding areas have a deep, deep, deep history with death metal and has long codified its own regional flavoring of it with mega-sized headlining bands that seem to inspire everyone nearby. You could name the greats for days but it’s likely you’ve known your chosen few already.

One of the reliable things about the area though is that for as boneheaded and dumb as death metal can be, New York, through its adaptations of brutal death and slam, has created something that exists on polar opposite ends of the spectrum, equal parts insanely technical and impressive and just about as brain-dead as a boulder. The megalopolis city on its own is a hive of activity. Continue reading »

May 232026
 

(Due to Islander being off in Baltimore doing Maryland Deathfest things, we will not have his usual weekend columns, but we do have (at least for today) another vivid review by DGR, who this time takes on a new EP by the crafty UK sonic terrorists who call themselves The Machinist.)

On the shorter and sweeter side of things we find ourselves landing upon the shores of the UK again with a new EP from the group The Machinist entitled Towers.

The Machinist are a self-defined industrial black metal band who cite Anaal Nathrakh and The Berzerker as being close comparisons to their sound. They are a three-piece consisting of a dual-vocal attack, walls of guitars, and enough programmed drums rattling about that it sounds like a hailstorm happening outside.

Towers is a three-song EP, arriving a year after their second full-length album Contempt For Life. And indeed, The Machinist have an overarching theme of dislike for humanity as a whole – as British bands tend to be experts in, disdain ranks fairly high – and if you did not have enough of it with Contempt For Life, Towers is the band on the offensive once again for another about twenty-five minutes worth of music dripping with dislike for the fact that you as a human being dare to exist. Continue reading »

May 222026
 

(DGR continues to do the heavy lifting at our site while many of us (and him) are off at Maryland Deathfest, and today’s it’s a vivid write-up about a new EP from the Swedish old-school thrashers Venthiax, out now on Dying Victims Productions.)

Every year inevitably sees a smorgasbord of EPs released throughout the year. It’s enough that our own archive of them gets broken out into its own year-end post and usually runs just as long as our collection of album ratings.

EPs are often a realm of discovery, experimentations, and teasers of upcoming albums. This is something I personally enjoy quite a bit, because all of these snack-sized previews of groups and what sorts of headspace they may be in means you can sample so many groups in the same way a kid can go plowing through the sample segments of a candy shop. To be fair, I probably approach it with the same amount of joy.

It also allows room to explore genres that aren’t normally in your wheelhouse, not necessarily full-blown pig-ignorance but close enough. Old school throwbacks and thrash metal are definitely part of that on this end and the combination of the two have resulted in a fountain of bands that sound as if they’re time travelers from a bygone and especially kvlt era in heavy metal’s sound. Continue reading »

May 212026
 

(A group of us NCS scribblers, including DGR, are currently at Maryland Deathfest. DGR wrote a bunch of reviews in advance so we’d have something to post while partying. The one below is one of those, and it seemed fitting to post it today since DGR ventured out last night in time to catch Napalm Death’s performance at the MDF pre-fest. He hasn’t been seen today, so far.)

Of the many releases that have hit within the first half of the year one of the ones that has been the most curious to me has been the release of the collaboration album Savage Imperial Death March among members of The Melvins and Napalm Death.

While it had been released as part of their tour together at the time of recording, this year’s digital unleashing of the album alongside a few added tracks is likely the first time many metalheads and those of us unfortunate enough not to live in a big touring market will get a chance to hear this combining of the brain-stems between the two bands. Continue reading »

May 202026
 

(DGR prepared the following extensive review of the third album, self-titled, by the German epic melodic death metal band Fading Aeon, which was released in March of this year.)

It seems if nothing else, 2026 is going to be the summoner of old ghosts for yours truly as we find ourselves once again cycling back to review a band that we started covering over seven years ago. Now, if you’ll please ignore the part that we’re coming up on the site being nearly-seventeen as well, a few of us are going to stand up and listen to our knees pop louder than the thunder and lightning shows that’ve been happening outside our windows recently. Is it any wonder we seem to attract groups that’ve taken long hiatuses between albums for new premieres?

Germany’s Fading Aeon are one of a fleet of three-piece melodeath groups that’ve appeared in the past decade – apparently they have little time for the bullshit of your standard four-to-five piece lineup – although they occupy a different musical sandbox than most, favoring epic tales of battle and heroism instead, with the song lengths to match. It hasn’t been uncommon for the Fading Aeon crew to release an album consisting of five songs and yet still have a run time sailing well over forty-minutes in range.

The group’s newest self-titled album, which saw release in mid-March, is no different in that regard. As the band have matured, so too has their songwriting ability, and while they started out incredibly ambitious, what has made Fading Aeon something to watch is how they’ve grown into the role that they sought out to start with. Continue reading »

May 152026
 

(We present DGR’s review of a new EP from the nautical brutal death metal band Submerged, which was released last month by New Standard Elite.)

We’ve been buried in an absolute gamut of albums over the past few months, and as is our usual tradition we have tried and failed to keep ourselves afloat in the flood of music. One day there will be maps drawn with shipwreck masts poking out of the water and one of them will just be the NoCleanSinging logo. Fitting then, given that today’s subjects are the San Diego, California brutal death metal group Submerged and their new EP Resurfacing Nautical Ruin.

A newer project of sorts, having been formed in 2023, Submerged were quick to break the dam on material, and after a demo in 2023, proceeded to pour out an album in 2024 titled Tortured At The Depths. Today’s EP Resurfacing Nautical Ruin – unleashed upon the world in mid-April via brutality merchants New Standard Elite – is the continued tale in Submerged’s torrent of music.

Gather up your diving gear then because we’re about to take a dip in the ocean of disgusting bass guitar tone, rattle-can snare, and vocals emerging from hydrothermal vents themselves for three songs and almost twelve minutes of singular violence and tremendous brutality. Continue reading »

May 122026
 

(This is DGR’s review of the debut album from Epigram, the SoCal-based project of musician Luis Echevarria, who is accompanied on the album by drummer and additional vocalist Mikey Wilson.)

Believe it or not, the album you see before you here is not the first time we have reached across the expanse of the internet to discuss Southern California death metal group Epigram. While it is tempting to act as if we made it on the ground floor of their newest release Obsolescent, in actuality we spoke of the band way back in the horse-drawn cart days of 2017, briefly mentioning them among an absolute wall of releases in our year-end roundup, in the segment we dedicate to writing about all the EPs of the year.

Eight and a half years is a long time though, enough that we can cycle back around to the exact same dogshit world state – and the people running it – and yet the band themselves had, up until early March, been radio silent. Their re-emergence in early March with Obsolescent is – thanks to time – almost a relaunch of the band. With only an EP to their name before, it can seem as if the Los Angeles based crew are fresh faces on the scene, but surprisingly, even with that vast expanse of time between releases it sounds as if Epigram have taken the route of natural maturity on their previous sound as opposed to full-blown relaunch, creating blackened death metal with a very, very light symphonic touch that could easily have fought blow for blow with the mid-2010’s releases from Hour Of Penance like Paradogma and Sedition. Continue reading »

May 112026
 

(We begin a new week at NCS with DGR’s review of the debut album from the Swiss band Apolaustic, which is out now on Transcending Obscurity Records.)

Often when a band splits with a long-tenured vocalist it can feel like the group have hard-capped themselves at about eighty percent of their potential. While the reasons why long-time vocalist Romain Negro stepped down from Swiss tech-death group Stortregn are likely out there, that sort of muckracking – while amusing – has never been something we’ve been too interested in here. Instead, we exist in a series of zeroes and ones: is person in band? is person not in band? and we roll from there.

Sometimes, lineup changes can even be refreshing; a new perspective can recharge a band. But when you have a creature created already so strong, it can feel a bit like you’ve hobbled yourself on both fronts. and the respective projects that form afterwards always land at “pretty good” but never the “spectacular” heights of old. Thankfully, Stortregn’s One Eternal release went far in assuring us that would not be the case and now we also have Apolaustic, a new solo effort from Romain Negro handling all of the songwriting and vocals while recruiting Nicolas Muller on drums and Merlin Bogado for bass and guitar work for an album that is not all too dissimilar from the high-speed extremity of Stortregn, except for the much, much larger taste for melodic black metal. The result is in an eight-song, forty-minute release entitled No Plenitude Without Suffering, and thankfully Apolaustic have also dodged the eighty-percent potential cap with an absolutely killer album. Continue reading »

May 092026
 

(Because Islander is goofing off at the NCS-sponsored Northwest Terror Fest this weekend, we won’t have his usual weekend columns, but we will have some reviews by DGR, including this one devoted to a new album by Houston-based Architectural Genocide.)

It took way too long to achieve this monk-like state of enlightenment but listening to Architectural Genocide’s newest release Malignant Cognition via Comatose Music all the way back in the middle of January, revealed that perhaps twenty-three minutes is the exact amount of this style of brutal death metal that you need in your life. Continue reading »