Feb 242026
 

(Andy Synn recommends the new album from one of the most vital new voices in the underground)

If you’ve been in this game for a while, like I have, chances are you’ll have come across quite a few sites/zines/writers who only really cover “big” name bands (usually signed to well-known labels) in the hope of receiving some reciprocal attention and/or access in return.

And while we’ll occasionally cover some “bigger” (relatively speaking) names here at NCS – no-one’s going to be accusing Kreator of being “underground” any time soon, after all – that’s never been our primary focus.

I’ll grant you, in the past we’ve occasionally had a guest writer or two who’ve crossed the line from honest advocacy into outright sycophancy, but when it comes to the core cadre – myself, Islander, and DGR – we at least try to provide some context and justification for our recommendations, rather than just regurgitating the provided press-release materials and calling it a day.

But, let me tell you, as hard as we may try to maintain this self-imposed sense of pseudo-objectivity, it’s not always easy to do so, especially when it comes to an album like Ingenting Forblir… but I’ll try my best.

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Nov 012023
 

(Andy Synn offers his effusive recommendation for the debut album of Norway’s Rosa Faenskap)

While common wisdom will tell you that making music isn’t a competition – in that you’re not directly trying to “beat” other bands – that assertion doesn’t necessarily tell the full story.

Make no mistake about it, being in a band means that you are, inevitably, “competing” in some way for people’s attention, for opportunities, for coverage and column inches… all of which, like it or not, are limited resources. In the end, there’s only so much of them to go around.

Case in point, while multiple outlets were quick (perhaps a little too quick) to heap praise upon Agriculture‘s self-titled album earlier this year (although my/our review was a little more critical than most) there’s been much less written about Jeg blir til deg, the certifiably unorthodox and certain-to-be-divisive debut from Norwegian trio Rosa Faenskap.

Which is a damn shame because, out of the two bands, it’s the latter who arguably deserve, and live up to, all the hype.

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