Tag: Black Metal

My Top Albums of 2021

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And starting off at number fifteen. . .

15. Pan-Amerikan Native Front – Little Turtle’s War (United States – Independent)

Black metal with a dash of awe. Pan-Amerikan Native Front’s second full-length is intense with power and rage. It’s lo-fi production adds to the chaos. My favourite track, The Great White Beaver Lurks, is an awesome mid-paced song among the disruption.

https://pan-amerikannativefront.bandcamp.com/album/little-turtles-war

14. Friisk – ..un torügg bleev blot Sand (Germany – Vendetta)

Unlike Pan-Amerikan, Friisk bestows intense moods and atmosphere with their debut album. Similar at times to one of my favourite Icelandic black metal bands, Auðn, Friisk brilliantly showcases some blistering speed alongside their dramatic performances.

https://friisk.bandcamp.com/album/un-tor-gg-bleev-blot-sand

13. Fluisteraars – Gegrepen Door de Geest der Zielsontluiking (Netherlands – Eisenwald)

It’s rare to see 20+ minute black metal songs, yet Fluisteraars pieces one together and it goes by in an instant. Almost avant-garde at times, Fluisteraars’s fourth album is ambitious and rich with nuance – all-the-while still showcasing moments of insanity.

https://fluisteraars.bandcamp.com/

12. Drawn and Quartered – Congregation Pestilence (United States – Krucyator Productions)

A group of death metal veterans, Drawn and Quartered’s newest release features the band’s technical ability to write strong, creative music. With a solid old-school death metal sound, Congregation Pestilence is rich with pacing and riffs to make your ears bleed. Without going into the typical verse/chorus structure, D&Q’s music is filled with brilliance.

https://krucyator.bandcamp.com/album/congregation-pestilence

11. WODE – Burn In Many Mirrors (United Kingdom – 20 Buck Spin)

A mix of blackened/death thrash metal makes WODE’s third album an extreme journey to experience. Unrelenting and surprisingly melodic, the album comes with a great energy to it. With unexpectedly catchy riffs and crisp production, WODE’s ever-changing style serves them well.

https://listen.20buckspin.com/album/burn-in-many-mirrors

10. Cannibal Corpse – Violence Unimagined (United States – Metal Blade)

Another group of veterans in the death metal world, Cannibal Corpse’s newest may be one of their best since Kill (although I prefer Torture). While still keeping up the same sound listeners have become accustomed to, newcomer Erik Rutan added some awesome power I’m sure no one felt the band was lacking.

https://cannibalcorpse.bandcamp.com/album/violence-unimagined

9. Ŭkcheănsălâwit – Alaskan Escape EP (Canada – Les Productions Hérétiques)

My favourite EP of the year! This speedily album feels bleak and cold – which is exactly what it was going for. To showcase a song: To an Alaskan Glacier, while minimal in instruments, is huge in drama making for an incredible feat to achieve. I would surely buy a full LP of this music whenever one is made.

https://ukcheansalawit.bandcamp.com/album/alaskan-escape

8. Olhava – Frozen Bloom (Russia – Avantgarde Music)

While Fluisteraars had a single 20-minute song, Olhava has one, plus a few more over the 10-minute mark. The Russian duo pieces beautifully intense music with a raging atmosphere and subtle soundscapes. While two of the four songs are really black metal, Olhava brings in drone and ambient elements which perfectly encapsulates the ebb and flow of the natural concept they were aiming for in Frozen Bloom.

https://avantgardemusic.bandcamp.com/album/frozen-bloom

7. Outre-Tombe – Abysse Mortifère (Canada – Temple of Mystery Records)

This band just keeps impressing. Outre-Tombe’s now three for three on making my annual lists and for good reason – their music is really flipping awesome. Moments of Abysse Mortifère remind me of early-Voivod, while others standout as early-Morbid Angel. A ripping good time, Abysse Mortifère knocks it out of the park.

https://templeofmystery.bandcamp.com/album/abysse-mortifere

6. Cynic – Ascension Codes (United States –Season of Mist)

After two thirds of the band passed away in 2020, how could Cynic continue? Paul Masvidal carries on Sean Reinert’s and Sean Malone’s legacy with Ascension Codes – a strange, yet familiar feeling. While the album feels bogged down by short interludes between songs, the music is an emotional progressive journey: absolutely brilliant and constantly transcending.

https://cyniconline.bandcamp.com/album/ascension-codes

5. Liquid Tension Experiment – Liquid Tension Experiment 3 (United States – InsideOut)

Their first release since LTE2 in 1999, LTE3 brings back the brilliance of Dream Theater members John Petrucci, Jordan Rudess, and Mike Portnoy, along with legendary bassist Tony Levin, to produce one of the most surprising albums for me this year. All-instrumental, LTE3 is not so much a jam session like previous albums, but a well-executed romp into prog rock and metal.

https://open.spotify.com/album/6GDFV4kWsQDYuah6tSqmu2

4. Grima – Rotten Garden (Russia – Naturmacht Productions)

My favourite atmospheric black metal album of the year, Grima’s Rotten Garden was also the first album I picked up when it was released in January. It has been regularly spun since. It’s haunting beauty comes together with nature and grandiose scope. With the odd keyboard frill and additional accordion in certain songs, Rotten Garden is absolutely a fresh listen to every spin.

https://grima.bandcamp.com/album/rotten-garden

3. Koldovstvo – Ни царя, ни бога (??? – Extraconscious Records)

Not much is known about the band and their debut album: A Russian band name. Roman Numeral song titles. Signed to an American label. Is it one person or a group? What Ни царя, ни бога is though, is an experience. Was the album recorded in another room? The production is both astonishing and very entrancing. It’s albums like this one which I live for. Tracks I and IV are absolute standouts.

https://koldovstvo.bandcamp.com/album/-

2. Ferriterium – Calvaire (France – Epictural Production)

Also released in January, I unfortunately wasn’t able to grab a physical copy as it sold out. And it sold out fast for good reason too: it’s incredible. Immediately fast and dramatic, Calvaire is doused in both strength and agony. A rich and fast-paced album, it’s still a melodic black metal journey filled with so much emotion and heartbreak, you find yourself picking up pieces when all is said and done.

https://ferriterium.bandcamp.com/album/calvaire

1. Mannveira – Vitahríngur (Iceland – Dark Descent Records)

There’s a handful of albums that happen to be there when you need them the most. Mannveira’s debut album Vitahríngur just happened to be that album for me this year.

Doused in sludge and dreariness, Vitahríngur time-and-time again happened to be my go-to when I needed it the most. It’s raw, rather simplistic approach to music writing can keep the listener engrossed to the music and feel what they need to feel.

Rarely going into blast beats or fast speeds, the album keeps a mostly mid-paced tempo to it – its dark nature sucking you in with each kick of the bass drum. The muddied vocals give grief, anger, and sorrow, keeping with the overall tone of the album. The song, Í köldum faðmi is a perfect example of all of that.

While the title track offers a bit of optimism, the album constantly keeps you down, throwing the listener back into the cacophonous well.

While straying a slight bit from the overall sound of Icelandic black metal, Vitahríngur still defines its own sound with a nihilistic approach and gloomy dissonance.

https://darkdescentrecords.bandcamp.com/album/vitahr-ngur

Honourable Mentions:

Ungfell – Es grauet

Anneke van Giersbergen – The Darkest Skies are the Brightest

Cerebral Rot – Excretion of Mortality

Dordeduh – Har

Hulder – Godslastering: Hymns of a Forlorn Peasantry

The Crown – Royal Destroyer

Japanese Breakfast – Jubilee

Proscriptor McGovern’s Apsû – Proscriptor McGovern’s Apsû

Havukruunu – Kuu Erkylän Yllä EP

Most Disappointed:

Steven Wilson – The Future Bites

Darkthrone – Eternal Hails

Bent Knee – Frosting

Review: Al-Namrood – Wala’at

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Al-Namrood – Wala’at
Shaytan Productions

Saudi Arabia is not well-known for black metal, yet the country is a muse for what the genre is about: religion, monarchy, paganism, and suppression – just a handful of topics which black metal relates in. Tackling these topics head-on with their seventh album, Al-Namrood’s newest release, Wala’at (“Loyalties” in English) continues stoking the flames of anger and disgust the band feels towards their government and the religion that surrounds it.

The anti-Islamic and anti-fascist themes of Al-Namrood’s music is both intense and dramatic. Mixing musical styles of both Western and Middle Eastern instruments, the band brings a familiarly dissonant style of black metal with the rather sharp contrast with harmonic Middle Eastern scales and tones. The two cultures blend together and create a hauntingly different feeling and mood to the genre.

While the band members remain anonymous due to the potential of the death penalty for performing their music, the three musicians aptly show their musical competency with melodies among the chaos and the foresight on when to change arrangements in their songs.

Standing out foremost in Wala’at is singer Humbaba, who alone brings a huge energetic performance to the music. Between the grunts, screams, and cries, Humbaba’s vocals are flexible and offer an incredible range and dynamic to the music. In fact, his enthusiasm comes together as one of the biggest triumphs on the album. Confident and devastating, his and stanzas are chilling at times while encouraging and uplifting in others. Without always understanding the lyrics, one can still get a feeling for what the band wants to portray. The pain, frustration, and demands for reform are obvious to the listener: Al-Namrood wants the listener to experience what they feel – and successfully does so with each performance.

In tracks like Kail Be Mekialain, musicians Mephisto and Ostron synchronize riffs together to create hauntingly eerie tones – even more so with the reverb cranked up on the drum samples in each song. Linked with Humbaba, there’s a common chemistry between the trio that energizes the music, elevating it beyond what most bands with decades of history are unable achieve.

In another track, Aar Al Estibad, the riffs are thrash-y and come with a punk-ish feel until the Arabian instruments join in. Those instruments ultimately change the feel of the song and move expectations from “just another black metal track” to something different. While the song itself technically doesn’t set new standards or heights in black metal, it’s still a powerful song which sticks with the listener for its almost hypnotic melodies and grinding vocal hums.

With all songs staying under the five minute mark, the near-forty minute album is an intense feast on the ears. Perhaps too overwhelming at first, the second, third, and multiple spins after will continue to bring the listener back to absorb the beauty and raw power Al-Namrood offer with Wala’at.

Al-Namrood – Wala’at on Bandcamp

Review: Havukruunu – Uinuos Syömein Sota

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Havukruunu – Uinuos Syömein Sota
Naturmacht Productions

With the release of their third album, the Finnish band Havukruunu prove once again why all eyes are on them on the forefront of pagan black metal.

Blasting right out of the gates, the self titled track feels like it throws everything you’d expect from the genre in one song – but it’s only the beginning. The triumphant melodies and searing guitar tones feel fresh and unique. The riffs are intense and dark, yet they are coloured with triumphant undertones. Enchanting vocal harmonies are intertwined with guitar melodies creating a brilliant, epic feeling.

The wonder of these moments can be heard in songs like Ja Vimein On Yö – where beyond the battery of the percussion, the uplifting darkness is built up during the chorus and then continues throughout. Among the call and response vocals in the song, guitar melodies shape the background and create a powerful ambiance ultimately transitioning into a impressive and moving solo. All of these efforts appear easy and natural but are certainly well thought out to achieve the presented effect.

The percussion intensity continues with Pohjolan Tytär – which is arguably the most straight-forward song on the album. Yet the beating of the drums vary enough, along with the haunting solos, and epic vocal harmonies, to create a wonderfully crafted feat. While the band may often be compared to others in the scene such as Moonsorrow and Mgła, Havukruunu manages to generate a particular feel and soundscape in their music which certainly makes them stand away from such comparisons.

In fact, Havukruunu almost makes themselves uniquely virtuoso with their guitar work. Varying guitar solos midway in the song Vähiin Päivät Käy stand out as some of the most pinnacle moments on the album. Transitions between the different solos are flawless and as the song goes back to its main riff, one cannot help but feel the chills go up their spine.

Meanwhile, the closing track features so much variation, fresh ideas, and feelings which seem somewhat unusual to pagan black metal. Havukruunu bring and transition modern concepts and technology to the genre to create an interesting final piece to the album that almost acts like a cliff hanger for their next release.

The dichotomy between Havukruunu’s pagan roots and modern concepts seam together flawlessly to create an absolute feat of an album. Uinuos Syömein Sota may be not only one of the best black metal releases this year, but one of the best albums released in 2020.

Havukruunu on Bandcamp

Review: Fellwarden – Wreathed in Mourncloud

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Project Renegade – Order of the Minus
Eisenwald Tonschmiede

Almost in an intrinsic way, Fellwarden drops some of the heaviest atmospheric black/folk metal one could ask for in 2020. With their second album, Wreathed in Mourncloud, Fellwarden has stepped up to the plate and released an incredibly powerful and moving album.

There’s a simplistic beauty within Fellwarden’s scope: it all feels natural. Wreathed in Mourncloud is not overwhelmingly produced, however it does not skimp out. The opening track, Pathmaker, establishes the tone for the rest of the album. The vocals sit in the background with the wall of sound wrapping around your ears. The choruses are melodic and both rise and fall with grace. If anything, there’s a familiarity with how the songs are structured; it’s as if I’ve heard catches and hooks before and they’re surrounded with something I’ve previously experienced. Some moments are almost stereotypical where one can predict how the song is going to go, yet it does so with such grace that it doesn’t really matter.

The songs on the album feels to be a mix between Panopticon and Borknagar but such comparisons really do not give them justice.

Moments such as the moody bass tones near the end of Scafell’s Blight stand out as interesting breathing moments to an intense soundscape. The chorus of the title track is another stand out moment where waves of feelings are brought to an already pulse-pounding track.

The natural sounds from the recordings certainly shine through the entire album and feels like they come to a worthy climax in the final track, Upon Stone. It was as if the whole album built for it. Upon Stone’s final few minutes feels like an old friend saying goodbye for the last time.

Some of the more interesting decisions on the album were how some of the vocal harmonies were recorded. As mentioned, the vocals at times felt tucked away in behind the music. There’s nothing intrinsically wrong with it – however there’s a small handful of moments I felt the drums could have taken a step back to let the harmonies shine. Yet, for black metal, the bass guitar chimes in when necessary and falls back when appropriate. It’s still a wonderful and smart mix.

Passionate, intense, brutal, and with a ton of heart, Fellwarden’s Wreathed in Mourncloud is an outstanding album that delivers on every level.

Fellwarden on Bandcamp

Honest Review: Green Carnation – Leaves of Yesteryear

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Green Carnation – Leaves of Yesteryear
Season of Mist

Forget Tool’s length between albums. From the ashes rise Green Carnation and their newest album in fourteen years, Leaves of Yesteryear. The modest progressive metal pioneers, well-established because of their 2001 opus, Light of Day, Day of Darkness, come forward with another album with their unique twist on the genre.

Mixing elements from black, doom, and progressive metal, Leaves of Yesteryear is yet another gem from these Norwegian musicians featuring four new songs and a re-recording of a song off of their debut album, My Dark Reflections of Life and Death.

The real beauty within the album derives from the subtle intricacies sprawled throughout. The chorus of title track, for example features a plain sounding trumpet effect from the keyboard. Mixed with the instruments, it becomes epic. As the chorus replays throughout the song, the trumpeting builds with orchestral brilliance.

On Sentinels, the transition from bridge to the final chorus features two measures in 4/4 timing. Traditional songs would use one measure to transition – but Green Carnation’s brilliance extends it to two: the first featuring the music ringing out from the bridge and the second coming in with sustained vocals and a beautifully simplistic drum fill – resetting the tempo of the song. These little bits in the songs seem minor but absolutely add much needed vigor and strength into what some may feel as an overtly virtuoso and stale genre.

The rerecording of My Reflections breathes new life into the song. Despite its twenty year age, it fits well within the album and still feels new. Not many bands can say they’ve accomplished such a feat.

While progressive metal seems to showcase flashy solos and technical unisons, Hounds shows how progressive metal can have both groove and heart. The chorus demands the listener to sing along. The thumping bass keeps a steady groove and features refreshing R&B variations that are not often referenced in the genre.

The album concludes with Solitude – a cover off of Black Sabbath’s Master of Reality. Arguably the weakest song on the album due to its solemn nature, Solitude is haunting, beautiful, and sad – a different kind of feel from most of the album. While the track sorting of the album lets Solitude work best as the last song, it feels strange the album wasn’t bookended with another bolder song as a pick-me-up.

After a long hiatus, Green Carnation returns to form with Leaves of Yesteryear. It’s something familiar of fans who have stuck with the band over the years, while still presenting something different. It’s a complicated album masking itself as simplicity. The Leaves of Yesteryear has depth, courage, and teeth to it. It is definitely one of the best progressive metal albums I’ve heard in the past decade.

Welcome back, Green Carnation. You were sorely missed.

Uncanny Metal Score: 9/10

Green Carnation on Season of Mist

Top 20 Albums of the Decade (2010-2019)

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As 2019 comes to a close, I decided to go back and think about what really impressed me over the last ten years. There was so much new music this decade, one may think it was difficult to come up with a list.

You know what? It was!

On average, I listen to about 50 new albums every year. Times that by a decade and holy smokes – that’s a lot of music!

Initially I had started this list with thirty albums that really impressed me. However, I felt that was a bit too long. Cutting down to twenty was surprisingly easy. It was the painstaking task of sorting the top twenty which really took time.

I only put one album from 2019 in my list as I felt most of the albums released this year are still too “fresh” for me to make a decent judgement call on. You’ll notice what I mean when you see songs that were #1 from 20XX suddenly not holding their own – or even on the list at all!

Albums that are labelled “DNR” means they “Did Not Rank.” This may mean they were in my Honorable Mentions from that year, or maybe missed getting recognized entirely!

Starting off at number twenty. . .

20. Ozric Tentacles – Technicians of the Sacred (2015 – #3)
Fav. song: Changa Masala

This all instrumental double album from these psychedelic English prog rockers is some of their best work in their over thirty year career. Grooving, atmospheric, and just downright fun – it’s definitely their most accessible album for all listeners.

19. Gridlink – Longhena (2014 – #5)
Fav. song: Island Sun

It’s still something I like to call “beautiful grindcore” – there’s something very angelic to Gridlink’s Longhena. Intense as it may be, there’s a sense of beauty and poetry behind all of the chaos.

18. Riverside – Love, Fear, and the Time Machine (2015 – #1)
Fav. song: Lost (Why Should I Be Frightened By a Hat?)

While not all #1 albums can make it to #1 again, in 2015, Riverside’s LF&tTM hit me in the right spot at the right time. Still melancholic, this prog rock album is most peaceful when listened to in the right mood.

17. Spaceslug – Eye the Tide (2018 – #4)
Fav. song: Spaced by One

This is one heck of a dirty album. Sludge/doom/stoner – whatever the genre you wish to call it, Spaceslug’s Eye the Tide delivers. A couple of years later, I still have a bit of the spaceslug in me.

16. Barenaked Ladies – Fake Nudes (2017 – DNR)
Fav. song: The Township of King

Not everything needs to be metal, y’know. The first album on this list which eluded getting ranked before. When one removes the obvious pop-fueled “singles” from the album, what is left is an incredible mix of musicianship and production. Fake Nudes is a relaxing joy to listen to.

15. Bell Witch – Mirror Reaper (2017 – #5)
Fav. song: Mirror Reaper

One of the bleakest albums on the list, Bell Witch’s funeral doom album stretches over an hour and twenty minutes. Foreboding and crushing in darkness, Mirror Reaper is something I play for introspection rather than entertainment.

14. Cannibal Corpse – Torture (2012 – DNR)
Fav. song: Scourge of Iron

One of a few albums that originally had not ranked before, Torture turned around on me. Impacting, aggressive, intense, great production – all these things and more is why I’ve listened to Torture more than any other Cannibal Corpse album this decade.

13. Khôrada – Salt (2018 – #2)
Fav. song: Seasons Of Salt

Salt is still an album that weirds me out – I still haven’t heard anything like it before. With the strangest of production, composition, and sounds, I feel Khôrada will keep me interested for years to come.

12. Marillion – Fuck Everyone and Run (FEAR) (2016 – #10)
Fav. song: Living in F E A R

FEAR has grown on me a lot over the few years it has been out. I spin it regularly and each time I feel something truly historic and beautiful about it. Marillion created an album which continues to give. It’s a wonderful album.

11. Ulver – The Assassination of Julius Caesar (2017 – #2)
Fav. song: So Falls the World

The production on this album won me over, as did the enchanting journey it provided. It’s a producers delight and brilliant fun with headphones on.

10. Aborted – Retrogore (2016 – #7)
Fav. song: Retrogore

In your face and direct, Retrogore ranks high for being self aware and ridiculously good death metal. It’s fast, brutal, and something I spin regularly for having a good time. It has easily became my favourite album of theirs.

9. YOB – Our Raw Heart (2018 – #1)
Fav. song: Beauty in Falling Leaves

An emotional thrill ride, Our Raw Heart delivers with the slow burns of intensity. It’s still one of the most beautiful doom metal albums I’ve ever heard, and most certainly their best sounding release this decade.

8. Gorguts – Pleiades’ Dust (2016 – #3)
Fav. song: Pleiades’ Dust

A modern-day epic, Pleiades’ Dust is a monument to songwriting. As the song/album ebbs and flows, one can really pick out the instrumentation and true “orchestral” beauty that Gorguts puts into their music.

7. Vektor – Terminal Redux (2016 – #1)
Fav. song: Recharging the Void

Bringing me chills by the end of it, Terminal Redux may be one of the best thrash albums I’ve ever heard. With a great story to boot, Vektor knocked it out of the park with such an impactful piece of art.

6. Devin Townsend – Empath (2019 – #1)
Fav. song: Singularity

The only album from 2019 on my list, Empath ranks so high because it certainly deserves it. Much like Khôrada’s Salt, Empath brings something new to the table. For that, it must be recognized.

5. Triptykon – Melana Chasmata (2014 – #1)
Fav. song: Tree of Suffocating Souls

Where would I be without Triptykon? Some of the most extreme and honest music on the list; this album sings right from the depth of the soul. Melana Chasmata something I spin regularly.

4. Steven Wilson – Hand. Cannot. Erase. (2015 – #2)
Fav. song: Happy Returns

Initially getting beat out by Rivierside in 2015, Steven Wilson now jumps ahead of the pack. The metaphorical lyrics, the subtle musical moments and technical prowess – Hand. Cannot. Erase. is truly one of the best concept albums of the decade.

3. Agalloch – Marrow of the Spirit (2010 – DNR)
Fav. song: Black Lake Nidstang

This Agalloch album is VERY closely contended with my #1 and 2. I’ve been going back and forth for a couple of weeks debating and choosing one over the other. Alas, I had to decide. But first: Marrow of the Spirit, I believe is the best Agalloch album. Not The Mantle and not Pale Folklore. Don’t @ me. Marrow of the Spirit has something rustic, intense, and intrinsically beautiful lingering among all of the chaos.

2. Anathema – Weather Systems (2012 – #1)
Fav. song: Untouchable, Part 1 & 2

Anathema’s Weather Systems may be one of the most beautiful, yet surprisingly sad albums to have ever graced this planet. Musically, it’s genius. Lyrically, it’s poetic and sincere. Weather Systems is a triumph for both the mind and ears.

1. Triptykon – Eparistera Daimones (2010 – DNR)
Fav. song: The Prolonging

From the incredible album cover created by the late and great H.R. Giger, Eparistera Daimones encapsulates all I love in the heavy metal genre. From start to finish, this album absolutely dominates the listener and refuses to let them breathe. Its lyrical content is brutally honest and the music properly reflects that. Songs like Abyss Within My Soul are heavy in both sound and content. My Pain is hypnotically ethereal yet devastating at the same time. It being the segue into the nineteen minute epic, The Prolonging, is absolute genius.

I debated putting both Triptykon albums in my list. It may seem like both albums in my list here are the same: but they’re most certainly not. Eparistera Daimones, coming out of the ashes of Celtic Frost, has a unique quality and sincerity about it. There’s purposeful cracks in the armor. There’s noticeable pain, bleakness, anger, and darkness. I really cannot stress the honesty of this album enough. It’s a masterpiece and work of art wrapped around in doom, aggression, terror, atmosphere, and chaos. The album is non-apologetic for what it is and proudly wears its wounds.

For those reasons and a ton more, is why Eparistera Daimones is truly one of the greatest albums of the decade.

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Questions, concerns, thoughts? Did I miss something? Let me know! And let’s see what the next decade will bring us! If you’d like, you can also follow me on Twitter and Instagram!

Until next time, keep on Space Truckin’!