Aug 282026
 

(written by Islander)

We have some history with the Kentucky band Tombstalker, starting with an article back in 2012 about metal in Kentucky (here), following that the next year (here) with a review of their self-titled EP, then including some commentary in 2015 about their fine and ferocious debut album Black Crusades, and then gleefully helping spread the word here in 2017 about a new Tombstalker EP named Chaotic Devotion.

Today we renew our support of Tombstalker’s music with the premiere of a song from their forthcoming second album, the aptly titled Chaos Monolith, which will be released in various formats on September 25th by Awakening Records, Adirondack Black Mass Records, and Bat Magick Records. The song you’re about to hear is “Iron Within Iron Without“. Continue reading »

Aug 282026
 

(written by Islander)

On September 5th KingSide Records will release a new EP by the Danish metallic hardcore band Hard Lessons. It’s a six-track attack named Influx of Betrayal. One song from the EP (“Insufferable“) has already launched, and today Hard Lessons are releasing a second one, and we’re premiering a video for it just now.

The name of this new song, which features a guest appearance by No Grave, is “Gangrene“. In some ways it’s a sonic manifestation of infection, but it’s also a raging remedy for the rot. Continue reading »

Aug 272026
 

(written by Islander)

When you name your metal band Skumstrike you’re not trying to hide the ball. You’re sending a very clear signal that the music will make no pretenses to artistic refinement, thought-provoking intellect, or avant-garde experimentation. Instead, it brandishes the idea of leaping from the gutter, unclean to the bone, and attacking with no holds barred. But what kind of musical attack do they launch?

This Montreal trio gave us a ferocious idea of their attack with a 2022 debut album named Deadly Intrusions (well-named, that one), and now they’re reinforcing those deadly impressions with a second album titled Flawless Intrigue from Hell, which will be released by their new label Dying Victims Productions on September 25th.

As vividly described in the PR materials, the new music “combines a lethal dose of speed metal with the gunpowder roar of thrash and death metal,” “cross-contaminating the wild fury of Japan’s Sabbat with the abandon of early Slayer and Bathory“.

Those aren’t empty words, as you’ll discover for yourselves through our premiere of the album’s second single, “Mastery of Sin“. Continue reading »

Aug 272026
 

(written by Islander)

In early 2020 we hosted the premiere of a thought-provoking debut EP by the Berlin-based band Pyre of Descent. Later that same year they released another EP (Love’s Sombre Death), and now they have a debut album named Albedo that’s headed for release by two labels and the band this coming September.

The new album is described by one of those labels as “a mature form of occult/dark rock with some post-punk and gothic sensibilities, somewhere at the intersection of Fields of the Nephilim, The Devil’s Blood, and Aluk Todolo.” Based on that description alone, you can guess that it’s a fork in the road leading away from many of our usual beaten paths here, though not entirely divergent (as you will see).

One song from the album has been revealed already, and today we premiere a second one, “Love’s Sombre Death (Canto II)“. Continue reading »

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 »