AN NCS PREMIERE (AND A REVIEW): “EKSTROPHË” (A COMPILATION BY DEVOURING STAR, FLAGELLANT, ARFSYND, IBEX ANGEL ORDER, DØDSENGEL, AND CHALICE OF BLOOD)

 Premieres  1 Response »
Dec 182017
 

 

Ekstrophë is the name of an album-length compilation by six black metal bands, some of whom haven’t been heard from in years and some of whom have created outstanding 2017 releases already: Devouring Star (Finland), Flagellant (Sweden), Arfsynd (Sweden), Ibex Angel Order (Netherlands), Dødsengel (Norway), and Chalice of Blood (Sweden). Each band has contributed one song to the album, and they are all tied together with ambient passages created by Norway’s Black Majesty and the Temple of Erythran Current.

Hints about this collaborative effort surfaced earlier in the year, but today we can provide details about its release through Terratur Possessions, as well as a full stream of all the music. Continue reading »

SEEN AND HEARD: ETHEREAL, OUROBOROS, IBEX ANGEL ORDER, CODE, DEATH GRIPS

 Exceptions to the Rule, RANDOM FUCKING MUSIC  3 Responses »
Dec 112014
 

 

I’m really backlogged in listening to new music, and the list of things worth checking out grows on a daily basis. Last night I did manage to sift through part of my collection of enticing links and found this quintet of tracks that I thought were worth throwing your way. Diversity is again the organizing principle.

ETHEREAL

The UK’s Ethereal, about whom we’ve written frequently in the past, have been signed by Candlelight Records, and the first release for their new label will be an album entitled Opus Aethereum (due in February 2015). The very cool cover art for the album is above and was rendered by Tripple Seis Design.

But the first song in this collection isn’t from the new album. It’s a cover of Darkthrone’s “Fucked Up and Ready To Die” from 2003’s Hate Them. Ethereal recorded it for a Darkthrone tribute album named One Cold Night In Norway, which will be released as a free download through Speed Slaughter Productions on December 13. Ethereal recently uploaded their cover to YouTube, and it’s excellent — dark, ravenous, brooding in its atmospherics, heavy as granite yet ghostly in its void-faring journey — and ultimately a swarming assault on the senses. Continue reading »