Aug 262026
 

(Andy Synn condemns you all to suffer with the new album from Private Prisons)

You know us here at NCS (and if you don’t, why not?)… when it comes to writing about new music we’ll almost always favour writing about lesser-known bands over bigger and more notorious names.

It’s become almost a perverse sort of compulsion at this point, letting other sites (for the most part, anyway) handle the “big hitters” while we focus on the weirdos, freaks, and underdogs (not always in that order).

And today’s review is a prime example of this, because nothing says “underground” than the visceral, venom-spewing blackened sludgery of Private Prisons.

Continue reading »

Aug 262026
 

(written by Islander)

Today we help introduce listeners to the German black metal band SRPNTS, a band formed from the ashes of the group Zwielicht after their bassist Veit Benning died in 2024. Their debut album Second Shape is now set for release by Serpent Sun Records (UK) on October 2nd of this year.

The album’s name manifests its occult inspirations and objectives, a work shaped by nihilism, Gnostic opposition, and the alchemical principle of solve et coagula. We’ll share some of what we’ve received regarding the intent behind the music:

The title Second Shape refers to transformation after dissolution. The state that remains after the first form has been stripped, burned and sacrificed. The album is not meant as a narrative of salvation but as a passage through loss, negation and occult illvmination, where the old self is not healed or restored but abandoned and reformed into something colder, clearer and self-willed.

Its imagery revolves around thresholds, false cosmic order, fire as revelation, the Serpent as initiator and the final act of coagulation. The outline of a new form rising from the Void.

To help further introduce SRPNTS and their music, today we’re presenting a song from Second Shape named “Inter Limina“. Continue reading »

Aug 262026
 

(Our writer DGR has been playing catch-up on records released earlier this year when other distractions interfered with writing about them. In mid-July he delivered Issue One (which you can find here), earlier this month he presented Issue Two (here), and now we have Issue Three encompassing reviews of four records released in March, April, May, and August.)

Over the years I’ve noticed a sort of lethargy develops when I reach the end of some sort of media consumption or project completion. The ‘Done-ness’ of it all seems to take it out of me and I wind up strangely tired for the rest of the day. I notice this more often with my videogame hobby than most, as I’ll often reach the end of some game I’ve been playing my way through – often side by side with the many albums I take a swing at writing about – and wind up tired by the end of it.

I once saw someone positing that it’s a sort of decompression, because your brain has been interacting so long with that specific ‘world’ that it is a sort of loss now that it’s over. I’ve found I do the same thing with albums and books too; albums in an equally odd circumstance because I often wind up writing about them afterward, like putting a neat little bow on a story arc and tying it off. I then walk away from the writing part of it just as tired, such that every review after a while feels like an exorcism.

The difficult part, then, is that what I should be doing is getting started on the next thing, because your writing skill is an engine that if you let rust from disuse becomes harder and harder to start up each time. Yet, keeping the machine rolling runs against my long-simmering philosophy of not just completely severing ties with any particular piece of art, because the practice of continual writing and reviewing so easily becomes more of a high score board of ‘look how much I listened to!’ It all feels surface-level at that point. Did you really listen to it if you’ve got 150 other releases on your docket for this month? Or does it count at about the same level as the music playing in your local supermarket for all of the effect it had on you? Continue reading »

Aug 252026
 

(written by Islander)

Less that two weeks ago the Swiss experimental extremists Death. Void. Terror returned after a five-year silence with their release through Sentient Ruin Laboratories of an EP named To The Great Monolith 2.5. The EP’s name signifies a progression from their 2018 debut album To The Great Monolith and their 2020 full-length To The Great Monolith II, but it was a progression in more than name.

That EP revealed a metamorphosis in sound from the band’s first two albums. As Cvlt Nation wrote when premiering the EP:

The cavernous, abyssal black/death deluges from their past releases surprisingly gives way to ritualistic, folk-tinged dirges of solemn tribal black metal with striations of occult rock and psychedelia. The guitars remain heavy and hypnotic but appear cleared of their debris, shimmering and resonating into the continuum with vibrant fervor as they trace the lineaments of a mystical liturgy accompanied by keys, synths, bone instruments, tribal percussion, and mantric chants. Urfaust comes to mind as the hypnotic, experimental dirge unfolds its contemplative wings, while the guitars’ solemnity and weight reverberate with the stern echoes of Bölzer or The Ruins of Beverast.

As it turns out, the EP functions as only the first stage of the band’s return, and the second stage is another album slated for release by Sentient Ruin on September 25th. Its title is To the Great Monolith III: Rifts, and today we’re premiering its fifth track, “V. (– —) Daphnyr“. Continue reading »

Aug 252026
 

(written by Islander)

Given the current state of the world and “the music business” in particular, it frequently astounds us that young people continue starting up new bands and pouring their energies into creating songs and playing shows. Didn’t anyone tell them the odds of survival are near hopeless?

Well, no one told the Gothenburg death metal band Sacreligious, or they ignored such miserable advice — and death metal addicts who partake of their debut album Brutality Incarnated will be happy they did. We are certainly very happy to premiere the album’s diabolically exhilarating first single “Vile“. Continue reading »

Aug 252026
 

(Andy Synn has a few thoughts about the new Dreamwell, out on Friday, to share today)

Change is one of the few, reliable constants in life.

All of us change – sometimes drastically, sometimes subtly – whether we want to or not, and the same goes for bands… especially when they undergo any sort of line-up shift.

Case in point, after releasing two extremely well-received albums – 2021’s Modern Grotesque and 2023’s In My Saddest Dreams… (which landed on my “Critical Top Ten” for that year) – Providence-based “Post-Screamo-core” crew Dreamwell parted ways with long-time guitarist Aki McCullough (A Constant Knowledge of Death), transforming them from a quintet to a quartet for the first time since their formation.

Understandably then, I was intrigued as to how this might effect the group’s sound… after all, McCullough‘s absence inevitably leaves a gap, and just as nature always seeks to fill a vacuum so too will the rest of the group’s members have instinctively moved to establish a new equilibrium to fill this gap.

And now, with the imminent release of their third album (out this Friday), we finally get to hear just how much has changed for the band.

Continue reading »

Aug 242026
 

(written by Islander)

Time flies when you’re having fun. It still flies when life looks like sheer hell, with nothing but more hell to come and no way of stopping the misery.

More than two years have flown by since we last commented about the music of the Florida-based death/doom band Wharflurch. The occasion then was a compilation forthrightly named Shittier/Slimier, which collected previously unreleased Wharflurch demos that showcased the more experimental and psychedelic side of the project. Commenting on just one song from it, we wrote:

“It’s more impressive than you might expect based upon the new album’s name. Sure, it’s foul and gross, with monstrous reverb-ed vocals, but also brutish and crazed, capable of triggering muscle reflexes and of spawning ghoulish visions. When the band slow down, that’s when you really feel like you’re being dragged by your hair into a stinking cesspool, and the feverish lead-guitar sounds like it’s gleefully reveling in your agony.”

Time has flown, and now we come back to Wharflurch, expecting both more fun and more hell. Continue reading »

Aug 242026
 

(written by Islander)

Last November Black Lion Records released a second album by Deconstructing Sequence named Tenebris Cosmicis Tempora. The band had been formed in the UK by Tiberius, but he relocated to Szczecin, Poland, and began shaping a new creative direction for the band that’s now manifested through this new album.

The new album leans much further into black metal than the debut album, Cosmic Progression: An Agonizing Journey Through the Oddities of Space (which we reviewed here), but also pushes even further forward into the progressive and avant-garde territories explored in that debut. As Black Lion summarized:

Tenebris Cosmicis Tempora blends the furious riffing of Mayhem, the majestic elements of DHG and Emperor, and the haunting depth of Akhlys, forging a journey through idiosyncratic sound and vision.

Tiberius recorded the album with new drummer Dark Soul and also recruited a new lineup for live performances. As an explosive reminder of what Tenebris Cosmicis Tempora encompasses, today we’re premiering a striking video for an unhinged and thoroughly heart-hammering song from the album named “The Undying Void“. Continue reading »

Aug 242026
 

(Earlier this year our Comrade Aleks interviewed Javier Fernández Milla, one of the two members of the Spanish doom metal band TodoMal. Today we present an English translation of that very good discussion. TodoMal’s newest album Graveyards of Joy was released on July 3rd by Season of Mist, and we reviewed it, along with their two previous albums, here.)

We simply couldn’t ignore the third album by the Spanish band TodoMal, Graveyards of Joy. While their second release, A Greater Good, clearly showcased innovative, luxurious doom metal with the global cinematic backdrop and emotional vibe of Anathema in the late ’90s, today the band’s founders Javier Fernández Milla and Christopher B. Wildman have taken a step beyond that. TodoMal’s new material sets a new standard for melodic, still-heavy doom music, laced with a genuine sadness and an ineradicable humanity.

What is this doom with a human face about? I believe Javier will answer that question, too. Continue reading »

Aug 232026
 


Enslaved – photo by Chantik Photography

(written by Islander)

I’ve been knocked askew by a bout of forgetfulness. Yesterday I forgot that I’d committed to join my spouse at an event that lasted all afternoon and into the evening. I also forgot another commitment I’d made for later this morning; I don’t always check my calendar on Sundays, and it’s a good thing I did today.

Anyway, because of those two forgettings I was left with not enough time to get this Sunday’s column done. But it pains me to leave nothing here for people who make a habit of dropping by on Sundays, so I decided to do something I’m not sure I’ve ever done before; if I have, it’s a rare occurrence.

What I’m doing is just embedding streams of a handful of new songs (the first three accompanied by excellent videos) that I want to recommend, plus a recent EP, without any commentary of my own and only bare-bones info about the releases.

It bothers me to do this. It bothers me even though I have no idea how many listeners actually read what I write, versus just punching the Play buttons. But it would bother me more to do nothing at all. So, here you go (and please feel free to leave your own commentary in place of mine): Continue reading »