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 »

Jan 032019


(Here’s the fourth installment of DGR’s 5-part year-end effort to sink our site beneath an avalanche of words and a deluge of music. The concluding Top 10 will appear tomorrow.)

A confession: For a long time the only words in this whole writeup prior to me breaking the whole thing into five parts and actually listing the bands was just a whole bunch of swear words. Even though I’ve been doing this for nine years now I still will occasionally try things I learned in writing classes over the years or even some things I’ve read about since then. Stream-of-consciousness writing is one of those, but the only thing I’ve learned from doing that in the context of talking about albums of the year is that I’ve assembled a pretty neat collection of permutations of the word ‘fuck’ that I’ve gathered from popular culture over the years.

It was at this point that I began going back through our review archives so that I could even remember what came out this year. Metal-Archives is also a tremendous help in that regard, since I often can’t remember what I talked about in January unless I’ve listened to it since then. It’s also one of my favorite things to do because I get to have a laugh at how far back I have to go in the segment tagged ‘Reviews’ on the site. I know that we’ve missed more than a few albums, but as it stands now,  our first review of something from 2018 is about forty pages back. And there can be anywhere between five to fifteen albums per page of results — depending on how we grouped them for each article.

I know that’s just reflective of the ‘relentless march of hashtag content’ that the internet has become, but it still makes me smile. If I ever need a reminder that heavy metal is — somehow, despite all the odds and all the editorials about rock music dying — a lively as all hell genre, that’s enough for me. I guess there will always be room for cathartic release via loud instruments, or the various experimentations outside of the tradional music sphere to which this genre loans itself. Continue reading »

Jul 232014

(We’re veering off our usual beaten paths in this post, as DGR reviews the latest releases from The Algorithm and The Luna Sequence.)

We don’t generally cover techno/electronica/dj acts here at No Clean Singing, and I know that my presence has largely been the reason we might have in the past. You’ll likely never see the more straightforward of such acts here, but I will wholly admit to being drawn to the hybrid monsters — the ones that have combined their music with heavy metal and over time have morphed into some strange creatures. Those have been a huge draw for me, and when it comes to artists who I think are doing it particularly well, then you’ll see that I’ll make some continuing attempts to cover them. However, I understand that taking up the front page when there is so much more traditional metal news out there might irk some folks, so I’ve combined two of the more recent works into one huge mega-review article.

Both of these names, The Algorithm and The Luna Sequence, should be familiar to a bunch of you more regular readers, as I have made efforts in the past to share their work, which I’ve quite enjoyed over the years. It just so happens that both artists managed to have new albums, Octopus4 and Fearful Shepherds Hunt Their Sheep respectively, hit around the same time. And thus we find ourselves in a huge review where you can witness me talk out of my ass about electronica music — of which I know between fuck-all and absolute zero — and heavy metal, about which I’ve made writing a huge hobby. Below, you can watch me thrash about between the two moods while I try my best to articulate why exactly I’ve found myself enjoying the hell out of both The Algorithm and The Luna Sequence releases in recent months. Continue reading »

Apr 062012

(As you may have noticed, DemiGodRaven has gone on a reviewing spree, and this is his latest, with thoughts about the new EP from The Algorithm.)

Can I feasibly post about an album on NoCleanSinging if it contains NoSinging at all? Is it even an album if the whole thing is just a three-song EP with only one really new song on it?

For those of you who don’t know about The Algorithm, a quick intro. The Algorithm is a one-man electronica project (Frenchman Rémi Gallego) whose mastermind uses a variety of elements of heavy metal as part of it. The whole thing is a wildly spastic experiment. One second he could be using something that has been characterized as djent-step, and another second continually hammering on a bass drum sample over and over. The result is something that The Algorithm has, perhaps a bit self-indulgently, begun referring to as ‘mindfuck’.

While I’m not sure about the shelf-life of that label, I do think that almost everything The Algorithm has done has been absolutely amazing. He recently signed with Basick Records and soon after released a quick EP known as Tr0Jans. It contains one new song, which is the aforementioned title track, and then two songs that were previously attached to other releases and then reworked for this one. Basick Records have been asking for 2.49 in British funny money, which calculates to around four or five bucks in American dollars for the three songs. Continue reading »

Aug 062011

(NCS contributor Siddharth Darbha has become The Bystander Chronicler . . .)


Back at the Man Cave, a.k.a., NCS HQ, we were doing the usual shit; plumbing, repairing cars and teaching Don Draper how to drink Scotch. Somewhere between the overdose of Methylenedioxymethamphetamine and the disproportionate ratio of LSD in our jam toast, a flash of light told us we have to feature seven bands that haven’t appeared on NCS yet, and pretty much blur the sense of reality we create for ourselves. We followed to the word. We are weak at math, but added roman numerals to compensate.

Most of the artists here don’t give a fuck about being metal enough. You have been warned. Also, somehow, through the alignment of all the planets from the CQ34R system, all except the first turn out to be instrumental bands, fitting nicely into our basic rule welded into the URL itself. Why did we chose these artists? We fear most of you are turning into serial necropedophilic rapists, and we need to calm you down. *Hypercool Dr. Evil grin*


We listen to a good amount of technical metal, and can tell when we hear a good one. Though their debut album is yet to release this year under Sumerian Records, we will hold our panties in a bunch until these Britishers (pictured above) throw those discs at us. Excellent note choices, good grooves and a weird middle eastern-ish ambient touch; they know what they’re doing. Here, to reinforce our opinion, we feature their track “The Escapist Notion” (immediately after the jump): Continue reading »