Jul 222022

Welcome to Part 2 of this Friday round-up of new songs and videos. It includes perhaps even more musical scatter than what I collected in Part 1 (be forewarned, there’s singing in the last of these tracks!), which may increase the odds that you’ll find something to like. And if you don’t, try your chances tomorrow when I’ll have one more collection to throw at your head.

NOCTEM (Spain)

We’ve been following the twisting and turning path of this Spanish band for a lot of damned years. It has been something of an adventure to witness their musical evolution, but a generally exiting one, and now we get to discover their next steps through an album named Credo Certe Ne Cras that’s coming out in late October via MNRK Heavy. Just today they released a video for the album’s first single, “We Are Omega“. Continue reading »

Jul 072019


As you can see, I’ve planned a two-part SOB again. I doubt I’ll finish Part 2 in time to post it today, and even if I do, I think I’ll defer it to Monday anyway. With so many new-music round-ups lately, I’m afraid we’re at risk of overloading people already, especially because this Part 1 includes four full releases in addition to the two advance tracks I’ve placed at the beginning (and there are additional complete releases in what I have in mind for Part 2)..


We’ve been closely following the progress of the Spanish band Noctem since 2011, when they released their second album, Oblivion. Four of us have written about the band over the years since then, amassing 16 different posts about them (including two interviews). Obviously, we are fans. But we have equally been persistently curious about what they would do next.

Noctem’s music has always been a blend of death and black metal, but the sound hasn’t remained stagnant. It might go too far to say there has been a continuous trajectory over time, but in general it seems like in the earlier years they were more death-metal focused, whereas the last album, 2016’s Haeresis, leaned more toward the black metal elements in their sound. Based on the title track from their new album, The Black Consecration, it sounds like they’re leaning even harder in that direction, and have in other ways made shifts in sound from their last record. Continue reading »

Oct 102016



(DGR reviews the new album by Spain’s Noctem, which was released on September 30 by Art Gates Records and Prosthetic Records.)

Spain’s Noctem have kept themselves to a pretty tight every-two-years-put-out-a-new-album schedule, something made more impressive by the fact that the group have had some pretty consistent — though small — lineup shifts in between each album. In the case of Noctem’s new disc, that isn’t the case anymore, as the band’s current lineup features three new members, with the change made official in 2015.

Noctem are one of those groups who have drastically refined their sound with each release, as they trim whatever fat they find, or make a shift in sound. In the case of the group’s 2014 release Exilium, Noctem wound up a fairly sleek, blackened death metal band with a penchant for going at hyper-speed for most of the album; they sounded like a hyperbasting death metal band with just a slight bit of recent-era Kataklysm guitar shred tossed into it. The songs were of the shock-and-awe-assault type: no time to build, just starting at a million miles an hour and accelerating from there. Whatever wasn’t destroyed by the initial blast still had to weather three-plus minutes of the band roaring at you.

Haeresis is Noctem’s fourth full-length disc and it stays pretty close to its siblings Divinity, Oblivion, and Exilium in terms of run time at about ten songs and forty-five minutes in length. Barring Oblivion, which is an outlier with a last track running thirteen minutes long, Noctem have at this point found a pretty concrete formula in terms of just how many songs they want and how long an album needs to be. They’ve found that a sleek forty-some-odd minutes tends to work for them, and with Haeresis, the band do that without any instrumentals in the mix, meaning that all ten songs on Haeresis are Noctem at their most vicious. Continue reading »

Sep 202016



Maybe I should have divided this round-up of mostly new music into multiple parts in an effort to reduce the sensory-overload risk. But I was so happy with the range of diversity in this collection that I decided to leave it alone. Hope you find some things to like in here.


Haeresis is the name of the new album by one of our site’s favorite bands, the Iberian horde known as Noctem. They’ve been dribbling out tracks from the album since August, with “Through the Black Temples of Disaster” and “The Submission Discipline” having been previously released, and yesterday I discovered a third single, “Pactum With The Indomitable Darkness“. Continue reading »

Aug 162016

Khonsu-The Xun Protectorate


I’ve returned from Olympia where I spent three days and four nights immersed in the wonders of Migration Fest. While I still need to write a recap of the festival’s final day to accompany two previously posted recaps, I’ve also started exploring developments in the world of metal that I missed while I was out and about in Olympia. Unsurprisingly, I missed a lot. I’ve selected a mere quintet of items to recommend in this round-up — four of them from old favorites of our site and one by a very striking newcomer.


To say that we’ve been eagerly anticipating the new album from Norway’s Khonsu would be an understatement. Earlier this year, our man Andy Synn named it as one of his five most anticipated albums of this year, largely on the strength of the band’s 2012 debut album Anomalia, which he called “without doubt one of the strongest and most creative debut albums in living metal memory”. And now, finally, we have more details about the album along with a video trailer for it. Continue reading »

Aug 012016

Volturyon-Cleansed by Carnage


(DGR volunteered for round-up duty to start our week, and brings us new music from seven bands plus new-album news from an eighth.)

We have been trying our damndest to keep up with the flow of music that has been spilling forth from the gaping maw of heavy metal recently, but it has become clear that this is a war that must be fought on multiple fronts. Thus, I find myself once again deploying to the Seen and Heard front lines with a veritable smorgasbord of new music, videos, and album announcements for you to all enjoy.

I had a lot of fun figuring out where to position each band this time, as I have a very symmetrical idea of how things in this Seen and Heard should be approached — resulting in tremendously heavy music spilling into some infectiously light stuff and then returning right back to the abyss from which it came. You may need to settle in for this one; there’s a lot of fantastic stuff packed within this round-up, and it just goes to show that 2016 is proving to be a hell of a year for metal. Continue reading »

Sep 172014


I’ve had quite a fruitful morning of listening to new music, and among the fruits I tasted were the following three premieres and one teaser, which I’ve grouped together as examples of razor-edged black metal that will jolt you wide awake.


That album art at the top of this post is so damned cool. It grabbed my attention immediately and led me to explore what it signified. And what it signifies is the coming of a new album (the third one) by Norway’s Posthum. Entitled The Black Northern Ritual, it’s scheduled for both CD and vinyl release by Indie Recordings on October 13.

Having been seduced by the album cover, I discovered that Norway’s NRK P3 Pyro (the internet radio station of the state-owned Norwegian Broadcasting Corporation) has begun streaming an advance track from the album named “To the Pit”. It’s loaded with riffs and rhythms that both rip and rock, and at its core is a sombre melody that will get its hooks in you. Beautiful guitar solo in this song, too. Continue reading »

Sep 092014

In the spring of this year our man DGR heaped praise on the new album Exilium by Spain’s Noctem, describing it as “the best work the band have done so far” — “an album forged by experts at their craft who knew exactly how to kick out music of fury, fire, and war”.

Now, Noctem have signed with Prosthetic Records for the release of a special edition of Exilium in America, Canada, and Australia. The new edition of the album comes with two bonus tracks, and today we bring you the premiere of one of them — a song named “Divine Xib’ab’a”.

It’s a short slashing assault of ripping riffs, militaristic percussion, and utterly bestial growls — the kind of high-speed conflagration that burns through much of the album as a whole, and a good tease for the blazing intensity that Exilium holds in store if you’re not already familiar with it. Continue reading »

Jun 232014

photo credit: MUSIFOTO

(A couple months ago our man DGR gave a very positive review of Exilium, the new album by Spain’s Noctem, and today we bring you his e-mail interview of the band’s frontman, Beleth.)


Although most people reading this will already have some inkling of who you are, I figured I would get a quick introduction out of the way for people who may not do well with the rosters of most of the bands they listen to.  So let’s get a quick identification as to who you are, what role you play within the band, and how long you’ve been part of Noctem?

Beleth: Ok, I’m Beleth, vocalist of Noctem, founding member along with Exo and obviously I’ve been working in the band from the beginning in 2001. Although 2007 is what we call the real beginning of Noctem.


It seems like some bands will unintentionally release trilogies in terms of sound in their discographies, where they usually play with the same ideas for about three albums and then the fourth is a sudden shift or some crazy new idea for them. However, Noctem seem to have shifted toward a much more menacing, faster, and sleeker sound compared to the more bludgeoning works of something like Divinity — all over the span of three albums. Do you see this trend continuing?

Beleth: I think Noctem these past 6 years have followed an extreme line, that has served to find a more personal sound. Our style has not changed, but it is now more extreme and more mature than our beginnings with Divinity.


You guys have also pulled heavily from mythology for inspiration in your works. Much of Exilium has references to it, and Oblivion played with mythology and history from Guatemala. How does Noctem find its ideas?  Do you often find yourselves scouring the web for old texts to read and occasionally finding yourself going, “You know, there’s a concept for a disc here”?

Beleth: Actually yes, I spend hours and hours looking for the proper Thematic for each album, choosing topics and writing lyrics. It’s not easy, we never wanted to talk about well-worn topics such as anti-Christianism, Countess Bathory, etc, you know what I’m talking about. These are typical themes that many bands are always dealing with. Continue reading »

Apr 042014

(In this post DGR reviews the new album by Spain’s Noctem.)

Spain’s Noctem are one of those bands that, in my mind, have improved with each album throughout their career. Every disc has been better than the last, and the band — often feeling especially scrappy due to a staunch refusal to give any ground on their aesthetics and lyrical themes — have always found ways to contort their music to fit the blisteringly fast, fire-hot riffing of their blackened death metal. Noctem have had a penchant for sounding like a huge band over the years and, through whatever means of sorcery, have always managed to incorporate high production values in their music and videos. As their career has progressed, their preference for the epic and grandiose has increased, moving them into murkier waters with regard to genre but always keeping things exciting.

Divinity was my starting point for the band. I found the disc to be a massive slab of death metal, almost like a granite rock falling upon the listener, going from zero to one hundred in the blink of an eye and then staying there for the whole album. Definitely good for a super-quick hit, but a full listen could sometimes get arduous and you really had to be in the mood for it. The followup, Oblivion, rectified a lot of that whilst also making the move from song to song more dynamic. It was on the strength of that disc that I found myself excited for the March release of Exilium.

Even though a bit of time has passed since the disc was released, the delay in writing about it is largely because we’ve really been savoring the album over at NCS. It is, once again, a marked improvement over the group’s previous albums that also sees quite a few smaller experiments paying huge dividends for the full listening experience. Continue reading »