ABADDON INCARNATE: “THE WRETCHED SERMON”

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Sep 132022
 

(Here we have DGR‘s extensive and evocative review of the new album by Ireland’s Abaddon Incarnate, which was fired into the world by Transcending Obscurity Records on August 5th.)

The Wretched Sermon, the latest album from Ireland’s Abaddon Incarnate after an eight-year space between full-lengths, has come up in the work playlist a lot since its early August release. Considering we’re rolling into the back half of the year where everyone pretends that it is fall, as if the current home base isn’t currently placed under some higher power’s magnifying glass, it’s difficult not to grip on to anything that has  excessive amounts of brutality, rage, and vitriol to match the inner mood while everyone outside insists that all of this is normal.

The Wretched Sermon is a good candidate for that; Abaddon Incarnate‘s latest album seems to have struck a surprisingly pure vein musically and one that may even be a bit of a shift for them. On The Wretched Sermon, they clock thirty-six minutes of music across thirteen songs – multiple of which barely clear the two-minute range – which can be evidence of one overriding influence of so many: Abaddon Incarnate have really thrown their hat in the deathgrind ring this time. Continue reading »

BEHEMOTH: “OPVS CONTRA NATVRAM”

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Sep 092022
 

(DGR has some thoughts to share about the new 12th album from Poland’s Behemoth, which will be released on September 16th by Nuclear Blast.)

It has been a long-standing tradition of Joe Baressi that whenever he works on a metal album, he is credited as ‘Evil Joe Baressi’. That’s pretty funny, considering that often Joe’s name is brought up more in line with groups like Alice in Chains, Soundgarden, Tool, Queens Of The Stone Age, Volbeat, and a bunch of other humongous rock acts over the years. Thus, you get ‘Evil Joe Baressi’ whenever he and his team work on a metal album.

It is certainly an unusual name to see attached to one of the bigger purveyors of Satan-as-spectacle out there — Behemoth. There’s been a little hay made in the press over the name drop, although it’s not like the band strayed well outside their comfort zone, since they’ve involved longtime collaborator Daniel Bergstrand as well. However, this may also be one of the more interesting new things happening with Behemoth‘s latest release Opvs Contra Natvram, because otherwise this is “as expected” a Behemoth album as you could possibly expect. Continue reading »

CASTRATOR: “DEFILED IN OBLIVION”

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Sep 072022
 

(Our man DGR prepared the following review of a long-awaited debut album by NY-based Castrator, which is out now on the Dark Descent label.)

This is one that’s been hovering in the periphery for some time now, so it’s good to have the chance to finally dive into it.

Castrator are a project we’ve been watching for a while around these here parts. Although their activities have had long quiet periods – including those within this site’s general lifespan – there was never a sense that the group had split. The 2015 No Victim release has always lurked somewhere just off the purview but within sight, in part because the members of this particular death metal project were in so many bands that we have crossed paths with. For instance, their bassist R.M has time spent in both Derkéta and Gruesome.

In the timeframe between No Victim and the group’s newest album Defiled In Oblivion – released at the tail end of July – Castrator‘s lineup has changed somewhat, localizing its musicians a bit closer, but there is no question about it when it comes to the music. Castrator‘s death metal bona fides are fully realized, and the ten rumbling songs here – nine originals and one tackling of Venom‘s “Countess Bathory” – are demonstrations of that fact time and time again. Continue reading »

AETERNAM: “HEIR OF THE RISING SUN”

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Aug 302022
 

(DGR wrote the following extensive review of a new album by Aeternam, which is coming out this Friday, September 2nd.)

The career path that Quebec’s Aeternam have taken in the lead-up to their latest album Heir Of The Rising Sun – their fifth overall –  has an interesting amount of twists and turns in it for a group whose genre descriptors boil down to a blackened death metal/folk metal hybrid. It’s the case with many other bands as well, but obviously those are dealing in differing shades, and in Aeternam‘s it feels more like a fight between two different styles, with each album a different snapshot at different points in that battle.

To say that the folk metal side has been winning out would be putting it politely of course, but that descriptor is inadequate here because “folk metal” often tends to conjure up imagery of a bunch of extra musicians with accordions, hurdy-gurdys, and flutes rather than a means of highlighting the music’s cultural aspects. Aeternam have often pulled from Middle Eastern history and mythology, and so too you often hear instrumentation from that region.

At first Aeternam used this effect in combination with a heavy Behemoth influence but over the years the band have lightened up – with perspective here, the band remain fairly heavy in comparison to a lot of other bands – and instead have become something more of a show, allowing themselves to stretch in a variety of different directions. In the case of Heir Of The Rising Sun, Aeternam have decided to make a thematic concept album focused on one period of time centered on the closing song ‘The Fall Of Constantinople’ – with all of the flavorings suggested therein. Continue reading »

DOWNFALL OF MANKIND: “VILE BIRTH”

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Aug 242022
 

(DGR catches up with another release from last spring, and this time it’s a new album by the Portuguese maulers in Downfall of Mankind that was released by Lacerated Enemy Records in April.)

Blame it on the combo of Hurakan and Sensory Amusia both releasing on Lacerated Enemy, blame it on the absolute need for something that doesn’t really challenge the listening tastes, blame it on work. Whatever the reason is, I’ve found that lately the shorts/muscle-shirts scene of the prefix-core genre has been incredibly kind to me.

Granted, there are a few of us at NCS who are pre-disposed to having a taste for this sort of stuff, and while we happily highlight some of the more artistically challenging bands out there and our premieres can cover enough sub-genres of the metal world so as to orbit the planet seven or eight times, there’s a case to be made for a well-followed blueprint. That, and having a triplicate of beatings from that scene and also knocking another off the April releases that found its way into the personal review archive. We all have our reasons.

You can guess pretty easily what sort of circles Portugal’s Downfall Of Mankind run in just by glancing at their logo, but also from the rotating list of guests that join this particular batch of bruisers on their latest release Vile Birth. This is an album where the only challenger in terms of loud breakdowns would be a recording of the side of a highway. Continue reading »

SHORT BUT SWEET: EMASCULATOR — “DEPRAVED DISFIGUREMENT”

 Album Reviews, SHORT BUT SWEET  1 Response »
Aug 232022
 

(It appears that DGR has become captivated by the recently released debut demo from the brutal death metal band Emasculator, and he explains why in this review, hopefully with gonads still intact.)

Let’s try something shorter for a little bit, huh? Especially since we seem to have been caught in a vortex of hour-plus releases recently.

The world of brutal death metal remains as lively as ever, with musicians willing to forever add to the endlessly squelching pile of musical gore that is the endless barrage of drumming, literal guitar shredding, car-engine bass tone, and earth-rumbling vocals that the genre entails. Emasculator represent a recent addition to the pile, comprising musicians based out of the US and Czech Republic, issuing forth their first demo Depraved Disfigurement at the beginning of August. Continue reading »

ABSTRACTED: “ATMA CONFLUX”

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Aug 222022
 

(We present DGR‘s review of the new album by the Brazilian band Abstracted, which was released by M-Theory Audio this past April.)

It’s hard to remember how I came across Brazil’s Abstracted and their 2022 release Atma Conflux. The best guess would likely be the eye-catching cover art with its hues of blue and green. Cover art has often served as an impetus to looking into a band we probably wouldn’t have crossed paths with, though we are also the sorts who constantly dig around the underground for new music. I’ve dived head-first into releases for dumber reasons, and my review history here is a record of my atrocities.

Atma Conflux is an interesting prospect for Abstracted. Officially, it’s their first full-length but also feels like a new debut overall. Prior to the April release of this album, the band had put out a debut EP called Ophidian in 2015 and since then, a small sprinkling of singles – all of which have found their way onto the album.

With such a time-gap between releases you get the sense that this is a group who’ve spent a long time in the musical forge, working on their songs and playing with what direction they wanted to pursue musically. You also get this idea when you look at Atma Conflux‘s run time, divided up between seven songs and clocking in at nearly an hour and five minutes. If nothing else on Abstracted‘s first full length, they are clearly ambitious as hell. Continue reading »

SOILWORK: “ÖVERGIVENHETEN”

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Aug 172022
 

(We present DGR‘s considered review of Övergivenheten, the new Soilwork album that’s coming out this Friday, August 19th, via Nuclear Blast.)

Look, an hour and five minutes (plus) is a very long time for an album. Not to put too fine a point on it here, but it’s a very long time for a Soilwork album as well. If you’ve been following the numbers game recently you’ll have noticed that Amon Amarth‘s The Great Heathen Army is not the only 12th album released by a long-running band this year, as Soilwork are also joining that prestigious club with their newest album Övergivenheten.

There’s a lot to be said for Soilwork‘s longevity, as a revolving door of cast members have kept the band lively over the years. Even through up and down periods in the group’s popularity, they’ve always found a way to morph themselves just enough to stay relevant within the modern-day scheme of metal. They have had “eras” as a result, which is a wild thing to say about a band who have always been so built around massive singles in recent years. Continue reading »

BLACK MAGNET: “BODY PROPHECY”

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Aug 152022
 

(We had a torrent of reviews from DGR last week, and we have another one to kick-start this new week. The subject is the second LP from Midwestern US industrial metal outfit Black Magnet, which was released by 20 Buck Spin at the end of July.)

It seems only fitting, given the Author & Punisher and Lament Cityscape reviews that have floated across the site (one of which was the fault of yours truly), that at one point or another we were going to find our way to the doorstep of the industrial project Black Magnet.

The group’s recent album Body Prophecy was released at the tail end of July via 20 Buck Spin and is one of those releases where if you were curious in any sense what sort of music they made, you just had to see that the closing track was a remix by Godflesh‘s Justin Broadrick.

Black Magnet have been around for a few years now, though they are still a newer project, and Body Prophecy represents only the second full-length for the band. Arriving two years after their album Hallucination Scene, Body Prophecy tries hard to refine the band’s sound while also indulging in some hefty hero worship. It’s hard not to draw comparisons throughout the album as Black Magnet leans hard into the electronics-driven side of its sound, augmenting its guitar and hammering drums for something that could draw a wall of comparisons to groups like Nine Inch Nails, Ministry, and yes, the aforementioned Godflesh. Continue reading »

THE ALGORITHM: “DATA RENAISSANCE”

 Album Reviews  1 Response »
Aug 122022
 

(We’ve reached the end of a week-long series of reviews by DGR (a few more are still coming next week), and in this one he takes us off our usual beaten paths, even if not so unusual for him.)

Sound the air raid siren, it’s the “not heavy metal” alert time. Though there’s no singing either.

Sometimes writing up a disc can feel like an exorcism, especially when it comes to something that isn’t part of the traditional heavy metal sphere. This has been one that has been resting at the back of the brain for a while too, like many that were caught in the MDF-to-NWTF window, a three-week gap that somehow managed to vanish in between festival chaos.

If you’ve read the site for a while you’ll probably recognize the name The Algorithm as an electronic/metal hybrid that has often danced into and out of the worlds of djent and a handful of other styles as the interest has struck founder Remi. The project that has been kicking around for some time, and due to the nature of it always dancing on the fringes of – and often hybridizing – a handful of different genres, every album has always offered a musical adventure, album, so long as your tolerance for varying electronic styles is up there. Continue reading »

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