Jun 082017


Not for the first time, I had a discussion with a few of my NCS comrades at Maryland Deathfest about how much stuff I post most days. I think their feeling was that 4 posts a day at NCS should be considered adequate, and that more tends to result in reader/listener overload. While I think this is good advice for my exercise of editorial discretion, and undoubtedly would help relieve the frenzied stress levels of my daily existence, the sad fact is that I… just… can’t… fucking… help myself! I see or hear something that gets me excited, and I feel an apparently irresistible compulsion to share it.

And so, while today I’ve already posted an album review and plan to post three premieres (one of which is a full album, accompanied by a review), I also decided to compile this round-up. On the bright side, two of the following 10 items(!) only consist of artwork and news — and I could have made this soooo much longer, but I’m saving some new discoveries for this weekend.


I was gob-smacked the first time I saw Eliran Kantor’s artwork for the cover of Incantation’s new album. Even now, seeing the piece with the band’s name and the album title on it, my gob is still smacked. The first single from the album has also proven to be a gob-smacker. But before we get to that, here’s Eliran Kantor’s explanation about the inspiration for his painting on the cover of Profane Existence: Continue reading »

Jul 162014


(Our always-welcome friend Professor D. Grover the XIIIth returns to the site with the results of his latest varied musical investigations.)

Greetings and salutations, friends. Although I find that I am ever inundated with new music (with the likes of new releases from Midnight, Goatwhore, Vintersorg, and the almighty Bölzer vying for my time), I somehow manage to work my way through past releases that I somehow missed out on, and an unlikely quintet of albums have been especially prominent recently. Thus, this month’s investigation has a specific focus on the exhumation of past releases. I hope you brought your shovels.


We begin with the filthy, riff-laden death/grind of France’s Sublime Cadaveric Decomposition. I have thus far heard their self-titled album from 2001 and their most recent release, 2011’s bizarrely-titled Sheep’n’Guns. They are both quality releases, but it is Sheep’n’Guns that first sparked my interest, and so that shall be our focus for today. What truly caught my ear and made Sublime Cadaveric Decomposition stand out from the legions of other death/grind bands is the surprising amount of groove in their music, a motif that is devastatingly effective when paired with the death/grind/punk riffs present in their music. The production is a bit clean for grindcore, but the music is so good that it really doesn’t matter. Continue reading »