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GODTHRYMM, Featuring Former MY DYING BRIDE Members, To Release 'Projections' Album

https://blabbermouth.net/news/godthrymm-featuring-former-my-dying-bride-members-to-release-projections-album

#GODTHRYMM #MYDYINGBRIDE #FeaturingFormer #Members #doommetal #album #newrelease #Blabbermouth #metal #music

It’s no secret that funeral doom is all about death, but in case you weren’t aware, Lone Wanderer hits you over the head with the fact (don’t worry, it’s not a fatal whack). The title of their latest record, Exequaie, is Latin for “funeral rites.” The album cover, from Ernst Ferdinand Oehme’s 1828 painting Procession in the Fog, depicts a ghostly funeral procession, and most song titles use death as a theme in some shape or form. Lone Wanderer have been at this for over ten years, but they’ve been independent until now, signing with High Roller Records for the release of Exequaie. According to the band’s promo sheet, this will be album number three, but perhaps it’s telling how funeral doom warps one’s sense of time when they claim that their 43-minute debut is an EP. Their follow-up, The Majesty of Loss, is only three minutes longer, so it’s anyone’s guess where they draw the line between LP and EP. Their albums have only gotten longer since, with The Faustian Winter hitting the hour mark and now Exequaie reaching a lofty 72 minutes. Honestly, if you’re looking for a soundtrack to your funeral, this isn’t a bad option.

On the funeral doom scale, Lone Wanderer fits the Oromet scale more closely than My Dying Bride or Godthrymm. Exequaie mixes the gentle with the crushingly heavy, and the heavier riffs carry more reverb than muscle, lending a more tranquil feel than raw power. Over the course of 24 minutes, the beastly opener “To Rest Eternally” demonstrates Lone Wanderer’s slow burn approach, with impenetrably deep vocals, glacial drum beats, and a slowly developed melody. The gentler portions put away the booming drums and instead twinkle with arpeggiated rhythm while the bass plays out a complementary melody. We hear this tug and pull throughout Exequiaie, from the melancholic and heavy to something more peaceful, still tinged with sorrow but carrying a little hope. Ironically, “Anhedonia”1 showcases the album’s most pleasurable and memorable riffs during its opening few minutes. The remainder is also exquisite, delving into immense sorrow before closing out in tranquility. The song guides you into gentle acceptance of the fate that awaits us all at the end.

Exequiae by Lone Wanderer

Going in line with the “funeral rites” theme, plenty of elements in Exequaie appear to represent religious symbols or godly figures. The opening minutes of “To Rest Eternally” provide a distant reminder of a church setting with the tolling of bells. This holy setting returns in the finale, “Epistemology of the Passed,” where organs play a mournful dirge alongside wistful arpeggios. The vocals from Bruno Schotten serve as an omnipresent character, his low rumbles coming off like thunder rolling through the sky. Scattered throughout the album, Lone Wanderer perform spoken word portions that serve to enhance this godly persona. While such song segments are generally a nuisance, here they fit seamlessly, taking on the presence of an Oz-like character, commanding yet distant. The purpose of these elements may be inscrutable, but they do provide a sense of formality and authority accompanying death.

As great as the individual tracks are, Exequiae’s biggest obstacle is its own length. With any funeral doom record, holding the listener’s attention can be a challenge, and a 72-minute runtime across 5 songs feels more like work than pleasure. Yet there is plenty to enjoy on this epic record, and Lone Wanderer does implement some variety to mix things up a bit. “Existence Nullified” has a moment of chugging death-doom riffs that take me back to early Swallow the Sun. “Epistemology of the Passed” has a similar increase in tempo thanks to energetic tremolos and brisk drum beats. These moments are brief and few, but all the more notable because of their rarity. In the end, Exequaie’s length isn’t a deal breaker because it has such exquisite compositions. There’s just so much beauty in the music it could go on for twice as long and it’d still be heavenly.

Lone Wanderer is kicking funeral doom off to a great start for 2026. There’s something about the band’s often gentle sound that creates calm, as opposed to bands that lay the despair and melancholy thick with more powerful, overbearing guitar tones. Don’t let the 72 minutes intimidate you. Set aside some time and let Exequiae’s mix of melancholic, peaceful, and even hopeful tones wash over you and transport you, for a time, to a place where you no longer need to worry.

Rating: 4.0/5.0
DR: 8 | Format Reviewed: 320 kbps mp3
Label: High Roller Records
Website: Bandcamp | Facebook
Releases Worldwide: January 30th, 2026

Oromet – The Sinking Isle Review

By ClarkKent

‘Tis the season. No, not the holidays. ‘Tis the season for doom and gloom, at least here in southeastern Michigan, where the days have grown shorter, clouds are overcast, the temps have dropped, and the trees have lost just about all of their colorful leaves. To celebrate this season, I have decided to review nothing but doom for the month of November. First up is the sophomore album from Sacramento, California’s Oromet, The Sinking Isle. Their self-titled debut impressed Cherd enough to earn a spot on his best of the year list in 2023. Oromet’s two members have plenty of experience with a myriad of other doom bands, from the blackened versions of Desiccation and Occlith to the stoner doom of Battle Hag to the non-doom atmoblack of Feral Season. As experts on sounds both atmospheric and sorrowful, the duo has pounced on funeral doom for their most recent project. What they offer the genre is a lush beauty that deserves your full attention.

The Sinking Isle brings back the same formula found on Oromet—one 20-minute song followed by two songs just over 10 minutes each—but layered with more complexity. The music is at once serene and meditative, as evidenced by the opening sounds of rainfall and lightly plucked acoustics on “Hollow Dominion.” As the song continues, there’s a sense of dueling moods between despair and hope. Oromet conveys these moods through contrasting guitar tones: the heavy, dark tone of the bass on the one hand, and the up-tuned guitar melodies on the other. As “Hollow Dominion” moves on from the natural sounds of rainfall to the plodding of the guitar and bass, a sense of sorrow pervades. Minutes later, guitarist Dan Aguilar plays a more uplifting tone that echoes the hopeful tunes of Counting Skies rather than the weighty riffs of fellow funeral doomsters Godthrymm. From the desolation of nature—the “sinking” isle, the “hollow” dominion, the “forsaken” tarn—somehow emerges a feeling of hope, maybe healing.

While all aspects of The Sinking Isle work, I find the drumming by Patrick Hills particularly arresting. Funeral doom typically features plodding beats, as if matching the power and pace of a giant’s gait. That’s there on The Sinking Isle, but there’s also more. Hills sometimes plays sudden bursts of staccato blasts, as if trying to encourage a brisk march. These beats impress a sense of constant action, as if something is trying to break free. Eleven minutes into “Hollow Dominion,” Hills surprises with war-like drum blasts that sound reminiscent of machine gun fire from a World War II film. The war-sounding drums return on “Marathon,” but this time with the cadence and feel of cannon fire. These moments contain a surreal violence, and they always precede periods of tranquility, lulls in the onslaught of guitars and growls. While the guitar melodies are mesmerizing, the drums demand you pay even closer attention.

The paradoxes that pervade The Sinking Isle help make it such a compelling listen. The most obvious paradox is that between despair and hope. There are also, as described above, moments of violence and moments of serenity. Another paradox is one between realism and fantasy. The guitars and drumming provide grounding, placing us somewhere in the realm of the real, but then there are periods of synths that sound like something out of a sci-fi/fantasy world. Despite the snail’s pace, Oromet keeps you on your toes, keeps you wondering and guessing at the puzzle the music weaves. Moods shift from peace to sorrow, from violence to hope. Yet because it is funeral doom, these moods take time to develop before shifting to the next. The Sinking Isle meditates deeply on these themes and lulls you with its lush soundscapes. By the closing minutes of “Forsaken Tarn,” the mix of sorrow and hope that has dominated the record reveals a sense of beauty in the loneliness and desolation the music conveys. It’s an astonishing feat.

The Sinking Isle fell into my hands at a hectic time in my life, and it has served as a healing balm. It is a meditation on loss, on things falling apart, on loneliness. But the lightness of the melodies ensures these dark feelings never overwhelm. As monumental as Oromet’s debut was, this one is a step forward thematically and musically. It reinvents what funeral doom can be—not just a crushing sense of sorrow, but a genre that can raise your spirits as well. It leaves me hopeful for what Oromet can achieve in the future.

Rating: 4.0/5.0
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Hypaethral Records
Website: Bandcamp
Releases Worldwide: November 7th, 2025

#2025 #40 #AmericanMetal #BattleHag #CountingSkies #Desiccation #FeralSeason #FuneralDoom #Godthrymm #HypaethralRecords #Nov25 #Occlith #Oromet #Review #Reviews #TheSinkingIsle

When the Deadbolt Breaks – In the Glow of the Vatican Fire Review

By ClarkKent

When the Deadbolt Breaks is a name designed to elicit feelings of horror. It could be the mundane horror of needing to shell out cash to replace a busted deadbolt, or the life-and-death horror of the deadbolt snapping while you’re trying to lock out a deadly assailant. This fits with the band’s exploration into unsettling music that evokes psychological horror. In the Glow of the Vatican Fire marks album number seven in the 20-year career of these Connecticut doom-slingers. The Metal Archives reveals a band with a history of cycling through members, and that shows through their shifting sound from album to album. Yet lead songwriter Aaron Lewis has been consistent in his intent to unsettle listeners. For those of you stumbling into this review in search of how to fix a broken deadbolt, prepare instead for a dose of sludge-y horror.

To achieve their core sludge/doom sound, When the Deadbolt Breaks uses fuzzy, trudging guitars and plodding drums. Expect long, drawn-out guitar riffs played at the speed of funeral doom, a la Godthrymm. Aaron Lewis mixes it up, however, by occasionally plucking in a manner reminiscent of Dolven’s acoustic doom or speeding things up with frantic tremolos. The ghostly chanting of Amber Leigh achieves a haunting beauty; she sounds eerily serene as she sings about the coming of death in “The Scythe Will Come.” In The Glow of the Vatican Fire isn’t just another slow, plodding doom record, however. It features lots of tempo shifts. The follow-up to the slower-paced, gentler opening track is a frenzied, chaotic “Deus Vault,” which turns up the dial on the noise and features frenetic drumming from Rob Birkbeck. These tempo shifts are common within songs, switching from breakneck speed to turtle crawl, enhancing their narrative and emotional effects.

In the Glow of the Vatican Fire creates a variety of moods, ranging from hopeful to manic to depressed, thanks to the varied vocal performances of Lewis and Leigh. On “The Deep Well,” the two alternate singing parts, Leigh crooning with a lilting, plaintive voice, while Lewis sounds more pained as he warbles about struggles with depression. Instrumentation is also key in developing mood. When the Deadbolt Breaks frequently builds tension through the use of riffs and drumming that grow in intensity over time, with the tension released in a manic frenzy. Lewis adds to the terror of these instrumental outbursts with menacing, violent growls (“The Deep Well”). Not all choices work equally well. Some songs feature vocal texturing that’s meant, perhaps, to be jarring (“The Scythe Will Come,” “Burning Zozobro”), but it instead serves as a distraction from the story, the same way bad CGI can ruin a movie.

Whenever an album surpasses the hour mark, it can be difficult to justify all of the choices that go into the songwriting. In the Glow of the Vatican Fire consists of eight tracks, half of them over ten minutes long. I enjoyed the long-form songs a little more than the shorter ones because Lewis and company prove to be effective storytellers. However, there are questionable choices made in the name of experimentation. Take “The Chaos of Water” as an example. This tune has some of my favorite and least favorite moments on the record. The opening, thrashy two minutes are tons of fun, and the final four minutes feature Leigh’s best singing. However, the middle portion slows to a crawl while a robotic voice gives a speech over a single, slow riff strumming repeatedly. It kills the narrative on what was otherwise a very compelling song. Sometimes When the Deadbolt Breaks does too much where simpler would be more effective.

I realize that an hour-long sludge record is the true horror for many metal fans. Yet When the Deadbolt Breaks have composed a well-written album that’s worth spending a few hours with. Based on my overview of prior records, In the Glow of the Vatican Fire is also their best. The presence of Leigh is a massive boon. But it’s also clear that Lewis has improved his songwriting acumen. True, he has some work to do in the editing department, but for the most part, the 10+ minute songs earn every second. He proves to be a master of the slow build, and if you have patience, you’ll find the payoff to be rewarding. I hope When the Deadbolt Breaks can return with all members intact and a wiser Lewis penning his tales of existential horror.

Rating: 3.0/5.0
DR: 5 | Format Reviewed: 320kbps mp3
Label: Argonauta Records
Websites: Bandcamp | Facebook
Releases Worldwide: June 27th, 2025

#2025 #30 #AmericanMetal #ArgonautaRecords #AvantGarde #Dolven #DoomMetal #Godthrymm #InTheGlowOfTheVaticanFire #Jun25 #Review #Reviews #Sludge #WhenTheDeadboltBreaks

"Things that can't be undone
Will curse your soul to despair
Regrets for your crime
Everlasting remind from a shrill little voice
You will never be alone if you don't give in"

For #SaturDoom by @lpl:

#Wizdoom: Song of the Unheard

https://song.link/ccqmtchdxcxjg

FFO #Gatekeeper #Godthrymm #Weedian

One List to Debase Them All: AngryMetal Guy.com’s Aggregated Top 20 of 2023

By El Cuervo

This aggregation exercise represents my favorite article of the year. I enjoy identifying and highlighting those chosen few records worthy of additional recognition. But most of all I enjoy the sense of power derived from early access to other writers’ list data without the obligations flowing from being an editor. To my satisfaction, this list represents a diverse mix compared with certain previous years. Much ground is covered, from myriad metal sub-genres (death, black, doom, prog) to myriad tones (energetic, strange, historical, sadboi). I enjoy the variety, even if I don’t the specific choices. That said, we’re not helping our own argument against accusations that we despise all power and folk metal – with just one album from both sub-genres in the top 20 and an abundance selected by just a couple of people below this.

The most critical observation is that, compared with 2022, there are ~20% fewer unique records and voting points attributable to the top 10 albums is ~10% higher. This indicates greater alignment this year, with fewer albums chosen and stronger communal favorites. No doubt this is attributable to our loss of individuality and gradual morphing into one awful hivemind.

In a last ditch effort to save my own reputation at the cost of my colleagues, I want to emphasize that I personally had a distinct deviation from this aggregated list. As orchestrator of this article with early access to the data, I did attempt to identify why it was that some of these albums apparently had an impact on everyone else. The only conclusion I can draw following these attempts is that my faceless colleagues seek the average. They should try harder to be deliberately contrary next year; I expect that they’ll maliciously comply by picking the same 20 albums 20 times just to spite me.

–El Cuervo

#20. Crypta // Shades of Sorrow – “While Crypta is still fetid, OSDM adherents, Shades of Sorrow also amps both the black and thrash influences, resulting in a compelling sophomore effort that packs a significant, unforgettable punch” (Felagund).

#19. Onheil // In Black Ashes – “In Black Ashes is melodic black/death/speed/thrash at its finest. Onheil’s mastery of melody and songwriting elevates In Black Ashes into the stratosphere. Every track is a winner, and Onheil strikes an impossible balance between enthralling riffs and emotional heft” (Maddog).

#18. Ascension // Under the Veil of Madness – “There’s not one song on here that isn’t currently stuck in my head. Its huge choruses, hooky verses, and lightning fast shreddery have probably bonded with my DNA by this point” (Kenstrosity).

#17. Somnuri // Desiderirum – “The addition of (Soundgarden-esque) throwback radio alt-rock into their roiling pot of hardcore and progressive sludge makes Desiderium these Brooklynites’ strongest outing to date. It’s rare that an album this aggressive and energetic goes down this smooth” (Cherd).

#16. Warcrab // The Howling Silence – “Warcrab boasts fighting spirit, sharp claws, and a crustacean shell that’s fitted for turret combat. They’re obviously game for a scrap, but–as Cherd pointed out in his review–the band doesn’t have much competition in their death-sludge niche” (Ferox).

#15. Tribunal // The Weight of Remembrance – “With heavy doses of classic Candlemass and moments that recall the grim haunts of Fvneral Fvkk, Weight of Remembrance does so many things exceptionally well. There’s nothing I would change or trim on Weight of Remembrance, and if anything, I wish it was a little longer. Doom perfection” (Steel Druhm).

#14. Panopticon // The Rime of Memory – “Panopticon—particularly on more recent records—seems to have a unique ability to tug on my heartstrings and to blend the most ferocious of black metal with the most serene and evocative Appalachian folk. The Rime of Memory more than matched my lofty hopes” (Thus Spoke).

#13. Godthrymm // Distortions – “With meaty riffs, soaring leads, a fantastic rhythm section, and keyboardist Catherine Glencross’ angelic voice, this classic-doom-meets-classic-Pallbearer configuration landed my top spot as soon as I finished listening to it for the first time” (Grymm).

#12. Saturnus // The Storm Within – “The opening tracks comprise the best one-two punch of the year, while the back half of the album feels like an unraveling and stripping down. The Storm Within is a magnificently monolithic and aptly dreary return to form from Saturnus” (Dear Hollow).

#11. Night Crowned // Tales – “The intense blasting and no-holds-barred shrieking always hold a melodic thread that makes it more than a wall of noise, whether it be from extra vocal layers, subtly interweaved symphonics, or a goddamn hurdy-gurdy that works way better than it should” (GardensTale).

#10. Vanishing Kids // Miracle of Death – [#1, #2, #8, #8, #9, #HM, #HM, #HM, #HM] – Miracle of Death earns the dubious honor of winning more list mentions than the six records ahead of it, but only reaches this tenth spot due to generally low rankings. Undeterred, Steel Druhm highlights the band’s unusual combination of sounds, describing a “strange witch’s brew of genres and styles that is unique and enchanting… It’s doom, it’s goth rock, it’s 70s acid rock all wrapped into one enigmatic, ethereal burrito.” Despite the allusion to hot food, Twelve instead reckons that the album “takes me to a cold place. It’s emotional, but it feels like numbness; it’s quiet, but leaves a huge impression… any time I’ve felt low throughout the year, Vanishing Kids has been there.” This sense of something beyond easy description is mirrored by Carcharodon, who argues that the band “have that very rare something, that je ne sais quoi…. to create something truly unique requires genuine craft and these guys have it in spades.” Check out metal’s innovators.

#9. Convocation // No Dawn for the Caliginous Night – [#1, #4, #6, #7, #8, #ish, #HM, #HM] – Serving arguably the heaviest slot on this list1, Convocation and No Dawn for the Caliginous Night offered a mighty force of doom in 2023. Dear Hollow illustrates the heavier qualities of the release (“No Dawn for the Caliginous Night channels mammoth death-doom and despondent funeral doom to accomplish a weight both viciously devastating and patiently atmospheric”) while Kenstrosity instead prefers the counter-weight of both sides of the sound (“[their] deeply affecting use of orchestration and clean vocals to light up my nervous system while the heft of [their] tectonic death doom strives to end my life”). Bands like this remind us of our humanity and our finite nature; few records could be pitched as “a towering celebration of death’s enormity, packaged in the heaviest and most shimmering of vessels” but Convocation does this as Cherd‘s AotY. Step back, breathe deeply, and simply listen. No Dawn for the Caliginous Night exists in these moments.

#8. Afterbirth // In But Not Of – [#1, #1, #2, #3] – Inspiring a deep love among its few accolytes, Afterbirth reached this list through just a few list-topping selections. In But Not Of offers brutal death metal that isn’t just smart compared with its own – often blunt – sub-genre, but that is smart compared with anything. “For a band that traffics in slammy, knuckle-dragging brutal death, In But Not Of carries with it an undeniable progressive, cerebral quality, which feels like a logical outgrowth from their previous effort” (Felagund). Indeed, Doom et Al finds its progressive qualities its most compelling, describing that “while the first half of brutal, spacy, wacky death metal is great, the second half, with its explorations into post-metal and prog is where real greatness happens”. Nuanced, layered music invites exploration, and even our resident death metal enthusiasts concur: “Afterbirth crams an abundance of riches into a brutal death metal album that twists and transmutes… I continue to find surprises almost every time I revisit In But Not Of” (Ferox). This album exemplifies the power of invention and intrigue.

#7. Sermon // Of Golden Verse – [#1, #2, #4, #4, #9] – Boasting AMG.com’s prog o’ the year award, Of Golden Verse by Sermon is the sole album here also picked by yours truly. I found that “Sermon’s undulating song-writing style results in music that ebbs from steely, tense atmospheres and flows to passionate, cathartic explosions. Dramatic, sure. But exciting.” Saunders, awarding his album o’ the year, favors the record’s singularity, given that “Sermon boasts a unique sound they can call their own, where dark, eerie and deadly serious vibes and almost melodramatic flair flows through towering, intelligent, and emotive prog metal epics.” But even more than its dynamic songs and novelty, GardensTale underlines the most beguiling quality of Of Golden Verse: “What attracts me the most is the sense of threat. Sermon looms a great dark ominous wall that swallows the background and casts everything in shade. For an album to hold its breath even while beating you down is exquisite.” Few records are so powerful.

#6. Xoth // Exogalactic – [#1, #3, #6, #7, #8, #9, #10, #ish] – The first of three techy, deathy albums in a row, Exogalactic by Xoth consolidates the band as a bona fide site favorite. “Xoth’s brand of technical blackened death-thrash is a sci-fi spectacle. Exogalactic’s futuristic riffs, twisting melodies, and narrative arcs make it feel like reptilian aliens are indeed enslaving humans as gladiators… Every time I listen to Exogalactic, I can’t help but grin” (Maddog). More than simple smiles, Dr. Wvrm never hides his arousal around riffs. Of Exogalactic, he describes it as “prostrate before that holiest of holy, The Riff. So of course, the end product [is] impeccable, incredible, impossibly fucking good.” AMG Himself delights in “the consistently best thrashy melodic death metal this world has heard since the early-90s” and continues that “Xoth has started to cement themselves as one of my favorite bands.” This entire website has flown from His opinions so take heed; buy Xoth now.

#5. Wormhole // Almost Human – [#2, #4, #5, #5, #5, #9, #ish, #HM] – It takes a special kind of slam to breach the AMG aggregated list but Wormhole is a special sort of band. Having banged his drum about Almost Human almost all year, Kenstrosity surprisingly failed to AotY this album. But in doing so he was highly complimentary, noting that “Almost Human confirms that with the right songwriting, slam can be thoughtful, intentional, intricate, and enriching. Thanks to a healthy infusion of tech by way of tricky, but subtle maneuvers rather than straight-up wanking speed, Wormhole’s whimsically brutal metal suddenly transforms into something polished, elevated, and immersive.” Emphasizing the record’s heavier qualities, the ever-eloquent Saunders describes the release as a “visceral, ridiculously heavy, sci-fi-themed tech-slam assault.” And while we rightly review albums in their entirety rather than song-by-song, Dolphin Whisperer “repeatedly binged those first two singles as if they were a whole album to themselves.” It’s hard to deny songs so heavy but so gripping.2

#4. Carnosus // Visions of Infinihility – [#1, #2, #4, #4, #5, #7, #ish] – Visions of Infinihility offered some of 2023’s meatiest death metal. Angry Metal Guy was emphatic in His summary, penning that “the term tour de force was coined to describe albums like Visions of Infinihility. Sometimes an album simply rules and your record o’ the year choice is uncomplicated. Carnosus’ sophomore album is such an album.” As if this statement was insufficient, I’ll rely on Cherd to describe the thing: “a tech-death barn burner… tight, vicious, and catchy, this record also features [one of the] best harsh vocal performance of the year.”3 Some people – including me – are nonplussed by tech death, but Ferox has us poor bastards covered too: “every one of the nine tracks on Visions of Infinihility stands up to heavy listening… It doesn’t matter if you’re wearing four thousand dollar headphones or a bullet belt. Visions of Infinihility should appeal to wonks, diehards, and metalheads all across the spectrum.” You heard the man.

#3. Sodomisery // Mazzaroth – [#1, #2, #2, #6, #8, #8, #8, #10, #HM] – Sporting 2023’s shitty band name o’ the year, Sodomisery pulled no punches with their new record called Mazzaroth. Dr A.N. Grier describes how “with Mazzaroth came a new approach, emphasizing the black, death, and melodeath with massive orchestration atmospheres.” Its size warranted comment from other writers too; Twelve highlights “the vocal performance, the orchestrations, the songwriting—everything on Mazzaroth is top-tier, larger-than-life, incredible black metal.” More than anything, great music orbits around great song-writing and nowhere is that more apparent than with Sodomisery. Winning his favorite record of the year, newbie Iceberg commends this aspect. “The 36 minutes of Mazzaroth are as lean and mean as you can get… In the age of endless bloat, Sodomisery sharpen their knives and kill all their babies Spartan-style, leaving only razor-sharp riffing and inescapable songwriting in their wake.” You heard it here first; these Swedes killed their babies in pursuit of The Riff.

#2. Fires in the Distance // Air Not Meant for Us – [#1, #3, #3, #4, #4, #5, #5, #7, #10] – Residing in the top half of 7 lists, Air Not Meant for Us represented the best of 2023’s death and doom metal. Grymm compares these Connecticutens to sadboi legends, articulating that “Fires in the Distance took what makes Insomnium and Omnium Gatherum and added their own unique embellishments to create a truly captivating album.” Thus Spoke highlights its “distinctive form of ethereal, key-accented melodeath/doom”, but favors most how it’s “elegantly composed, stirring, and effortlessly graceful.” She wasn’t the only person to bond with this record. Doom et Al agreed that there are clear influences but still bestowed his top prize: “It isn’t particularly original, but I don’t care. Art is about the connection it forges with the person engaging with it, and I feel every note of Air Not Meant for Us in my marrow. There’s a longing and a beauty here that I connected with immediately.” Who am I – and who are you – to deny his emotions?

#1. Wayfarer // American Gothic – [#1, #1, #2, #2, #3, #4, #5, #6, #6, #7, #7, #7] – With 12 main list picks, 7 top 5s and 2 AotYs, there was little doubt that Wayfarer would take the aggregated top spot for 2023. Carcharodon posits that while its predecessor may have been “close to fulfilling the promise of their Wild West black metal, American Gothic is the album where everything that Wayfarer has struggled to bring together for years finally clicked into place.” Why is this? Awarding his AotY, Sentynel attributes it to “utterly seamless” genre blending. “This is the best of bleak country painted with the instrumentation of black metal. Electric guitars pick up melody lines from banjos with a twang. Distorted slide guitars get that pedal steel feeling. There’s even a honky-tonk piano.” Lesser bands have gimmicks; Wayfarer’s central synthesis is essential. “Black metal should not go well with the Old West. Wayfarer crafted not only their best album to date, but also an absorbing, engrossing classic that begs to be absorbed in full with your complete, utmost attention” (Grymm). If you miss this, we’ll see you at dawn. With pistols.

#2023 #Afterbirth #AngryMetalGuySTop10Ish_ #Ascension #BlogPosts #Carnosus #Convocation #Crypta #FiresInTheDistance #Godthrymm #Lists #Listurnalia #NightCrowned #Onheil #Panopticon #Saturnus #Sermon #Sodomisery #Somnuri #Tribunal #VanishingKids #Warcrab #Wayfarer #Wormhole #Xoth

Grymm’s Top Ten(ish) of 2023

By Grymm

2013: A wild Abbathian kitty appears, hellbent and determined to expose the world to bad jokes, hilarious perspectives, and most importantly, absolutely astonishingly great metal and metal-adjacent bands and performing artists. With his trusty minions by his side, this Blashyrkh-born-and-raised feline sets off into the realms of Angry Metal Guy with only one goal in mind: to spread the gospel of incredible music to the ears of those willing to listen. Hungry and passionate, and inspired by the likes of influential writers from the olden days of Metal Maniacs Magazine and Terrorizer, as well as trailblazers in the online world such as Metal Review/Last Rites, this cat marches forth, prepared for battle and the spoils of war to last for generations to come.

2023: A warehouse supervisor from Northeastern Florida, who’s squeezing what little free time he has in-between long work weeks with even longer hours, stares wearily and angrily at a blank WordPress screen. His eyes glaze over, knowing what he has to say but not how to go about it without constantly hitting that backspace key in a combined fit of worry and hesitation. Exhausted from work, and beaten down and heartbroken by what life has thrown his way over the last five years, this gentleman sits at his keyboard, glowing a soft blue like his favorite protagonist from his all-time favorite RPG,1 and prepares to type up a list of this year’s music that barely got him by, while also trying to come up with words to say about how he got here, how he’s really feeling, and everything surrounding those things without angering or disappointing others, knowing full well that it will be a fruitless endeavor because, as we all know, someone will pitch a bitchfit in the comments section. And with that, he sets forth on what is most likely the final thing he’ll write, at least for a good, long while.

These two wildly different characters are, as you can probably guess, the very same person. When I came onboard with Angry Metal Guy over a decade ago, the very idea of reviewing classic and new bands in my absolute favorite genre in the world, a genre that saved my pimply, awkward, teenage ass on many occasions, I jumped at the opportunity without hesitation. I wanted to inspire other metalheads like Alicia Morgan, Ula Gehret, Jeff Wagner, Mike Greenblatt, Greg Moffitt, S. Craig Zahler, Jordan Campbell, Dan Obstkrieg, and the late Katherine Ludwig did for me to hunt for, and write about, great metal music. In my eyes, Angry Metal Guy, not Decibel, was the closest in spirit to the late, great Metal Maniacs, and I wanted in on that. Throughout the last decade, not only did Angry Metal Guy the man take me under his wing, but so did Steel Druhm and Madam X, giving me insight and valuable tips on how to improve and leave my own mark without ever compromising my voice or my views. Also, I met some amazing people here, both readers and writers, that I wouldn’t have otherwise had I not written that review for Vattnet Viskar’s Sky Swallower. Seriously, the writers that are here now are some of the best people I have ever had the pleasure of working with, and they’re all amazing people with good hearts. I will not take their (or your) friendships and teamwork lightly. You’re all a second family to me, one I will cherish always, and I love you all. This is, more often than not, a thankless endeavor where you’re oftentimes been put through the wringer unjustly, so dealing with it at all to continue promoting bands should be commended.

So… what happened? To try to keep it brief as humanly possible, life happened. In 2018, I lost my older brother to a combination of personal neglect caused by depression, combined with a bacterial infection that lead to sepsis and a fatal heart attack. 2019, instead of taking time to grieve, I dove into work and writing. Quickly realizing that it was a mistake in doing so, I promised myself to not do that going forward. From 2020 through 2022, I would not be able to fulfill that promise, as my work exploded due to the pandemic, working myself past exhaustion to the point where I almost died from bacterial pneumonia in the tail end of 2021. This year alone, between losing one of my all-time favorite cats ever to cancer at an alarmingly young age, and having my partner lose his mom not even a full week later, and dealing with an estate that could have very well left us homeless, all combined to do a number on my physical and mental well-being to the point where my (now former) doctor was concerned due to the fact many of my newly-acquired symptoms I was experiencing this year mirrored those of colorectal cancer. Thankfully, it was all “just” the wonderful side effects of extreme burnout and being stressed the fuck out, but it made me realize that writing, and responding to people who are mad that I (checks notes) enjoyed things, needed to take a back seat in a big way.

But two other things set the decision in motion. One is the sorry state of metal sites and magazines, and how they go about covering things. I don’t believe in non-stop hype of mid-to-terrible bands,2 nor do I believe extraneously overwrought word salad to the point of sheer nonsense is the way to go,3 but at least they cover new bands that most would probably never have heard of otherwise. Your Shores of Nulls, your Darkhers, your Vainajas and the like. Sites like Metal Injection, on the other hand, can’t be fucked to do that, since it’s obviously more important to cover everyone’s favorite born-again chucklefuck and how he felt about trying to unalive his ex-wife via hitman/undercover cop, or Greg Kennelty shaming others because his favorite cilantro of the month is now popular. Ever since Albert Mudrian and Decibel decided it would be a splendid idea to not only give Burzum a fucking cover, but also a goddamn Decibel Hall of Fame induction in 2011, giving absolute pieces of shit a voice, or bands who already have a gross overabundance of coverage, is not only welcome, but seemingly encouraged at the expense of those who are battling to just be seen and heard. I don’t care about Sleep Token. I sure as shit don’t give an eighth of a fuck what Tim Lambesis’ shoulder routine is. That said, these days I’m just tickled pink that Kennelty has stopped rewriting negative reviews into way more positive ones, at least for the time being.

But most egregiously, there was something else that happened in the tail end of 2021 that ultimately sealed the deal, and it involved my second coming-out piece, and a certain Top Ten(ish) entry made in response to that (which got its own response). I’m not going into more detail about it out of respect to my fellow writers who also put in the hard work to move on from it, as everyone who’s been reading the site for a long time knows. All I can say is that, even with my best efforts to move on, it did a number on my creativity, humor, and most painfully my desire to write to the point where I feel like I’m merely going through the motions since it happened.

Which, to be frank, isn’t fair to me, it isn’t fair to anyone here writing for this great site, and it sure as shit isn’t fair to you. This year’s top ten is going to be the last thing I write here, at least for a long time, until I can find the passion, the hunger, and the drive to write again about the music I still love, even if portions of it want me gone, peacefully or not. I will continue to support my favorite bands. I will continue reading and chiming in to Angry Metal Guy. I will continue to quietly fight for those whose voices need to be heard. I’ll just be supporting from the sidelines from this point forward. If I find that passion again, things could be different. For now, though, the site needs people who are far hungrier than I am, and I need time to break away and rediscover my smile again.

I guess what I want to say is… thank you all, writers and readers, for the memories, the friendships, the great music, and the ability to give a worn-out warehouse supervisor a voice and an attempt at a teenage dream. Ten years is a long, long time, and I love you all for putting up with me for that long. In departing, I’ll quote Anaal Nathrakh’s anthem, “Endarkenment”:

“Take what small comfort there may be left;
seize what you love, and damn all the rest.”

Onward, now and forever…

#ish. Wormhole // Almost Human – Anything even remotely coming close to the wheelhouse of Voivod will get a near-Pavlovian response from me, and Wormhole’s skronky, atonal, and relentlessly heavy take on our favorite Québécois is undeniable. To quote our favorite resident sponge, “WOOOOOOOOORMHOOOOOOOOOLE!!!”

#10. Saturnus // The Storm Within – Denmark’s Saturnus is quickly joining up with the Peaceville Three in terms of being a doom/death institution, and their fifth album showcases just why that is. With crushing riffs, soaring leads by Indee Rehal-Sagoo (ex-Eye of Solitude), The Storm Within is a deadly catch, indeed.

#9. Sulphur Aeon // Seven Crowns and Seven Seals – Germanic blackened death metal prodigies Sulphur Aeon finally returned after a five-year absence with the remarkable Seven Crowns and Seven Seals, an album that many claim to be not as strong as their three prior releases… which is an awful lot like saying comparing a championship win against another from the same sports team in subsequent seasons. It’s still a winner, and head and shoulders above their contemporaries.

#8. Thantifaxath // Hive Mind Narcosis – This anonymous Canadian trio continues to impress and terrify, with atonal riffs, barely-together rhythms, and the foreboding sense of everything feeling like it’s caving in and collapsing all at once add up to one of 2023’s most chaotic and frightening albums. If you enjoy excessive headfuckery, this is your ticket.

#7. Karras // We Poison Their Young – There needs to be more albums that just get to the point without any fat or bullshit getting in the way, and France’s Karras say more in 21 minutes than most band with three, even four, times as much length. Get in, fuck shit up, move the fuck on. More, please.

#6. Wreathe // The Land Is Not An Idle God – I miss Fall of Efrafa. I also love Morrow. Chances are, you do, too. Wreathe features key members of both bands, as well as Arboricidio, and it throws down just as hard and passionately as all three aforementioned bands. If you love emokrust, you are either onto this, or discovering it right the fuck now. You’re welcome!

#5. Fires in the Distance // Air Not Meant For Us – If you told me years ago that some of the best melodic doom/death would be from Connecticut, I would have laughed in your face to the point of an asthma attack. Yet, Fires in the Distance took what makes Insomnium and Omnium Gatherum4 and added their own unique embellishments to create a truly captivating album in Air Not Meant For Us. I await further installments.

#4. Reverend Kristin Michael Hayter // Saved! – Healing isn’t easy, joyous, or pretty. It can be downright ugly and uncomfortable. So when the former Lingua Ignota decided to bury that moniker and go by her birth name, nobody knew what to expect except that it would be brutally honest and at times discomforting, and Saved!, with its sound akin to a field recording of an Appalachian fundamentalist cult, definitely nails both while not only being painful to experience, but in an odd way, provides a beautiful, if disturbing, painting of the healing process.

#3. Wayfarer // American Gothic – Black metal should not go well with the Old West. Denver, Colorado’s Wayfarer flew against this very notion, and crafted not only their best album to date, but also an absorbing, engrossing classic that begs to be absorbed in full with your complete, utmost attention. Never has black metal felt or sounded so goddamn warm, like a freshly-killed outlaw baking in the hot Tucson sun.

#2. Shores of Null // The Loss of Beauty – One of the things I loved most about writing here is watching new bands make their ascent, and on The Loss of Beauty, Italian doom lords Shores of Null are soaring now. With their captivating riff work, melancholic melodies, and Davide Straccione’s incredible vocals, The Loss of Beauty is the sound of a still-young band bringing their A-game to the fore.

#1. Godthrymm // Distortions – Reflections, the 2020 debut from Godthrymm, just barely missed the top spot that year, but still showed off how strong of a debut it was. Distortions improved what Reflections laid down, with meaty riffs, soaring leads, a fantastic rhythm section, and keyboardist Catherine Glencross’ angelic voice providing a complimentary accompaniment to her husband Hamish’s improved5 vocal delivery. This classic-doom-meets-classic-Pallbearer configuration landed my top spot as soon as I finished listening to it for the first time, and again, and again, and…

Biggest Disappointments o’ 2023

• The Passing of Kevin “Geordie” Walker – As a fledgling metalhead dipping his toes in the underground, one of the videos that helped nudge me into the direction of the more heavier, deeper waters was “Millennium,” the first single off of Pandemonium, the comeback album by legendary post-punk/industrial pioneers Killing Joke. So taken back by how vital, energetic, and direct it sounded, I bought Pandemonium, and was instantly blown away by how multi-faceted and talented guitarist Kevin “Geordie” Walker was. Slowly but surely, I would pull from different eras of Killing Joke’s discography, including both self-titleds, and besides Jaz Coleman’s frantic end-of-days proselytizing and gravel-coated voice, it was Walker’s hypnotically inventive guitar licks and powerful riffs that would become the soundtrack for many a workout session. Hearing of his passing in November was like losing a favorite uncle, and I know my listening habits would have changed drastically had I not been exposed to Walker or Killing Joke. Honour the fire forever, good chap.
• Aaron Lewis – Before I begin, this isn’t against hunting. If you’re at all carnivorous (like me), it’s a necessity in order to… y’know, live. But when everyone’s favorite whiner who bemoans how much of a bunch of snowflakes my generation and younger are while gleefully supplying the soundtrack of such snowflakery decides to use the bodies of 32 dead coyotes to promote his favorite businessman-turned-former President, you go from “nu-metal has-been” to “absolute piece of shit” in record time. And seeing as how nu-metal’s got no shortage of pieces of shit, that’s saying something. Speaking of pieces of shit…
• K.K. Downing – …dude, just fucking stop. Just. STOP. When I quit my last job acrimoniously, I didn’t try to win my job back while simultaneously taking a steaming shit on the owners. I left and never looked back. K.K., on the other hand, is special. I don’t know the full details, and I don’t want to know the full details, due to K.K. deciding to act like a crybaby and a perpetual victim, instead of behaving like he was one-half of Judas Priest’s highly influential guitar duo at one point. They even reached out to play the Rock and Roll Hall of Fame with the current line-up, to try to mend fences, and he still bitched up a storm. Be happy that you’ve got Judas Priest at Home your namesake Dollar Tree rip-off band now.
• The Sale and Butchering of Bandcamp – If you’ve known us for any length of time, you can probably guess that we all love Bandcamp around these parts. Easily the most artist-friendly music service out there, Bandcamp gave upcoming bands and labels, especially those who could use the reach, a voice and a chance, and even more so during Bandcamp Fridays, where the site’s fees were waived for all purchases. So of course Epic Games would buy it in March of last year, and then sell it to Songtradr, who would go on to lay off half of Bandcamp’s staff, including all those who were trying to unionize in order to protect their jobs. Was Bandcamp perfect? No, but I guarantee you most of your favorite new bands would have suffered if Bandcamp didn’t exist. To call this “heartbreaking” and “callous” would be a gross understatement. My heart goes out to those affected by the layoffs, and a giant, massive fuck you to Epic Games and Songtradr for fucking up an awesome thing.

Song o’ the Year

Godthrymm // “Devils” – Distortions possesses a number of songs that could easily fit into the #1 slot for Song o’ the Year.6 But, to me at least, “Devils” best exemplifies what the album’s all about: heavy riffing, somber melodies, enchanting vocals, and a slight tinge, no matter how small it might be, of hope. Also, the first half just kicks so much ass.

It’s been a wild, wild ride. Y’all be good.

#2023 #AaronLewis #AnaalNathrakh #Arboricidio #Bandcamp #Burzum #Darkher #DecibelMagazine #EpicGames #EyeOfSolitude #FallOfEfrafa #FiresInTheDistance #Godthrymm #GrymmSTopTenIshOf2023 #JudasPriest #KKDowning #Karras #KillingJoke #LinguaIgnota #Lists #Listurnalia #MetalInjection #MetalManiacsMagazine #Morrow #Pallbearer #ReverendKristinMichaelHayter #Saturnus #ShoresOfNull #SleepToken #Songtradr #SulphurAeon #Thantifaxath #Vainaja #Voivod #Wayfarer #Wormhole #Wreathe

Saunders and Felagund’s Top Ten(ish) of 2023

By Saunders

They weren’t shitting, time really does fly. Another year is done and dusted and it’s time to assemble our respective takes on the music that mattered in 2023. How a year in heavy music stacks up is of course subjective and often genre and taste-dependent. Overall, I found 2023 to be a solid year for metal, without standing out as one of the humongously awesome years in recent memory. Nevertheless, most death metal fans would be satisfied with the smorgasbord of quality releases that flooded the airwaves. It was particularly cool to hear so many classy veteran acts still going strong, with a slew of solid to borderline great albums from the esteemed likes of Dying Fetus, Vomitory, Cannibal Corpse, Suffocation, Cryptopsy, and Autopsy. Outside of death realms, Enslaved also released their most noteworthy album in a number of years. A couple of list-wrecking behemoths popped up late, Phobocosm and Convocation, with not enough time afforded to fully absorb and appreciate. Xoth, Sulphur Aeon, and Warcrab rolled out quality albums late in the year without quite breaking into list territory. The latter two in particular were steps down from their immediate predecessors. While on the nostalgia front, the old-school melodeath charms of Omnicidal and Majesties warmed the heart.

Highlights? Well, the aforementioned brigade representing old school, classic death metal, and longevity stood out, while being able to contribute to ranking pieces for two long-time favorites in Dying Fetus and Suffocation were treasured writing experiences. By contrast, 2023 also threw up some tremendous releases from less-established death metal acts and young gun outfits, including a handful of show-stopping debut albums (Bloodgutter, Fabricant, Begravement, Rotpit). It also never ceases to amaze the growth and strength of AMG.com year to year. Approaching a decade of service to the blog, I tend to get sentimental and nostalgic at this time of year, and still being a part of the AMG crew, albeit from the far away corners of Australia, is an endlessly awesome privilege, especially when surrounded by the talented folk that write alongside me.

Cheers to everyone who frequents these pages and helps contribute to the best online metal community going ’round, and special thanks to Steel, Angry Metal Guy, Madam X, Doc Grier, the tech wizardry of Sentynel, and all the other higher-ups and editors for their tireless behind the scenes work and smooth, authoritative running of this mighty blog. All the best for a safe, happy, and healthy 2024.

#ish: Godthrymm // Distortions – In the odd occasion I sought out a doom fix in 2023, invariably Godthrymm’s epic second LP Distortions delivered the goods. I only recall giving their debut a cursory listen. However, Distortions gripped me from the outset and drifted in and out of rotation since its release when the mood struck for some melancholic, muscular, and gorgeously crafted doom that packed serious heft on both a sonic and emotional level. The My Dying Bride pedigree always held the band in good stead, yet it is how Godthrymm embraces their classic roots while spinning modern elements and fresh ideas into their brooding template that raises the bar. Yeah perhaps a few minutes could have been trimmed from the final package, with some minor bloat, but the strikingly powerful guitar work, earworm melodies, and towering, multi-faceted vocal performance crushes any minor gripes on length.

#10. Sodomisery // Mazzaroth – Every now and again the good olde Doc Grier and I’s tastes overlap. With the shared appreciation and dabbling in the progressive/post-metal waters of The Ocean, the quirky underground charms of Son of Sam, and rejuvenated veterans Green Carnation’s triumphant comeback album from 2020 most recently come to mind. Sodomisery, and their second album Mazzaroth, was exactly the palette-cleansing blackened storm I needed in 2023. The unheralded Swedish act expertly weaves icy melodic black, galloping melodeath, bleak atmospheres and tastefully presented orchestration into epic, catchy, fist-pumping tunes. Subtle shifts and striking dynamics highlight an album bursting with vicious, throat-grabbing hooks, ripping aggression and at least in nostalgia and melancholic tone, the quieter, clean passages remind me of early Opeth. You get the feeling the best is yet to come, however, Sodomisery has firmly grabbed my attention and banged out a helluva album.

#9. Outer Heaven // Infinite Psychic Depths – For whatever reason, Outer Heaven’s 2018 debut Realms of Eternity didn’t do a whole lot for me. It certainly resided in my wheelhouse but failed to gain traction at the time. Perhaps I need to revisit, as their long in the works, conceptual sophomore album, Infinite Psychic Depths, took me by storm from the get-go. Infinite Psychic Depths hooked me in and has kept me coming back for more. I particularly enjoy how the band straddles influences and eras across the death spectrum, all while cultivating a distinctive sound their own. There’s an ugly old-school vibe, residing next to the band’s modern inclinations and exploratory, experimental angle. Meanwhile, technical firepower under the hood and sick, guttural brutality offer plenty to keep the brutal death and tech fiends happy. However, Infinite Psychic Depths is neatly grounded by the bevy of excellent riffs, brain-melting solos, and nasty, viscous grooves. There are aspects of the production I don’t love, while the length is a little overdone, but these nitpicks fail to bring down one of death metal’s powerhouse releases of 2023.

#8. Bloodgutter // Death Mountain – There were a number of impressive death metal debuts in 2023, however, it was the ultra-chunky debut from Danish heavy hitters Bloodgutter that warranted much attention and stayed in heavy rotation from its middle-of-the-year release. There were more brutal, heavier, technical, and ultimately better death platters to indulge in throughout 2023, but few stirred up the adrenaline, brought the fun factor, and kept the head banging as frequently as Death Mountain. Boasting one of the year’s best and heaviest guitar tones, Death Mountain is a blast of no-frills old-school brawn with a hefty modern crunch. The songs are uncomplicated but well-constructed, tightly played, and possess a thick, catchy streak that has kept me clambering back for more on a regular basis. Featuring a member of underrated Danish bruisers Dawn of Demise, Bloodgutter brings a similarly rib-shattering intensity and keen sense of violent, swaggering groove and riffcraft to the table. Such an exciting and consistent debut bodes well for a bright future.

#7. Horrendous // Ontological Mysterium – It is no secret to anyone who has frequented these pages over the years that Horrendous are a big fucking deal to me. The old-school progressive death heavyweights have done little wrong over the past decade or so, smashing out a string of triumphant platters with nostalgic nods to the past, and a boot firmly planted in forward-thinking and innovative territories. Following their longest recording break thus far, Horrendous finally returned with their fifth LP, Ontological Mysterium. Despite unreasonable expectations and the album taking a few extra listens to fully unveil its greatness, make no mistake, Horrendous once again proved themselves masters of the modern prog-death craft. Listeners not fully on board with the band’s increased proggy bent, will likely take issue, but Horrendous have long been on the progressive path and the balance is still deftly handled, with the deathlier aspects remaining prominent, carrying the torch of later era Death. Throw in the best production in the business and you have yet another spectacular addition to an increasingly essential discography.

#6. Mutoid Man // Mutants – Mutoid Man is an absolute personal favorite of mine and their music never fails to excite, energize and provide bucketloads of endlessly wacky fun. After a lengthy wait, third LP Mutants finally arrived and largely met high expectations. Back in 2017 War Moans made a huge impact on me, while also helping navigate tough times, so it’s an album I hold in especially high regard. Mutants may not exceed or quite match the front-to-back awesomeness of its predecessor, but it’s a top-notch album in its own right. Continuing to blur lines between rock, metal, punk, math, hardcore, and everything in between, Mutants offered a more measured, melodic batch of slick, uber fun tunes, without watering down their zany characteristics. Despite being a less wild ride than its predecessor, Mutants still manages to surprise and delight, even throwing down a couple of nastier, discordant ditties recalling the spastic turns of their early days. The replay factor has remained strong, and when seeking something sharp, fun, and laden with infectious riffs and juicy hooks, Mutoid Man delivered again and again, being the ultimate pick-me-up album of 2023.

#5. Wormhole // Almost Human – Along with Afterbirth, Baltimore’s Wormhole paved the way for what slam can be in 2023. Following a different but equally appealing trajectory, Wormhole took all that was great about their previous releases and enhanced all aspects of their visceral, ridiculously heavy, sci-fi-themed tech-slam assault. As much as I enjoyed its predecessor, 2020’s The Weakest Among Us, the songwriting consistency, quality, and replayability elevates Almost Human to more elite, essential realms. The production and musicianship are top-shelf, but beyond the sonic attributes and technical showmanship reside a batch of killer songs that remain unrelentingly brutal, slammy, yet oddly accessible, memorable, and intelligently crafted for the style. Throw in the almost EP territory album length, and you’re left with one of the most compact, deadly efficient, and catchy slam albums in recent memory. Wormhole makes every song count and cycling through favorites is an ever-shifting task, though such addictive, devastating gems like “Elysiism,” “Spine Shattering High-Velocity Impact,” and monstrous “Delta Labs” are fine advertisements to an unforgettable brutal tech-slam experience.

#4. Carnosus // Visions of Infinihility – Considering its early year release, Visions of Infinihility has impressively stayed in and around regular rotation, the depth of its quality creeping in through its persistent presence, razor-sharp hooks, and technical supremacy. French vets Gorod also released a cool tech-death platter, however, it was this unheralded Swedish act that stole the show. Carnosus ensures their tight, techy attacks don’t forget to have fun. The songs are melodic, thrashy, chock full of interesting twists and tasty hooks, yet still boasts a brutal edge and tons of groove. Although the five-piece line-up impresses with their supreme technical skills across the board, the real wildcard is vocalist Jonatan Karasiak. His diverse and charismatic vocals add a further layer of intrigue and versatility, effortlessly shifting tones from high-pitched blackened rasps and screams to deeper, more guttural fare, occasionally bringing to mind the sadly departed Trevor Strnad. It all makes for a delightfully acrobatic, crunchy, and explosive album experience.

#3. Somnuri // Desiderium – The surprise packet of the year. Initially, I missed Cherd‘s enthusiastic review of this New York band’s second LP, Desiderium. However, once I eventually clued in, Somnuri proceeded to blow me away with their potent hybrid and hook-laden blend of hardcore, sludge, and ’90s-inspired alt/grunge rock. Ever since I have been hopelessly hooked in what has become one of the year’s most addictive albums. Somnuri never skimps on the vicious hardcore bite meets sludgy heft, and the way they juggle these aspects with the earworm clean vocal hooks and ’90s influence is a thing of songwriting beauty. Desiderium is an album of wall-to-wall bangers and nary a sign of weakness. Hard to pick a firm favorite, but the stretch from “Pale Eyes” through to “Desiderium” is tremendous, without discounting the quality of the other tunes. The main beef I can level at the album is regarding production, with the in-your-face sound packing punch but the crushed mastering fails to do justice to the wonderful dynamism of the top-shelf songwriting. It’s hardly a deal breaker on a marvelous collection of biting, catchy tunes.

#2. Afterbirth // In But Not Of – The third full-length endeavor from the once long-dormant New York brutal death/slam crew Afterbirth has been the talk of the town since its October release, and rightfully so. Though the hype train can get carried away in over-the-top praise and hyperbole wankery, in this case, I am well and truly on board. Four Dimensional Flesh was a terrific album, so expectations were high. Afterbirth crafted an album that pushed the envelope of brutal death and slam, a subgenre generally not renowned for innovation or such wildly brave experimentation. I get listeners not on board with the album’s brooding atmospherics and spacey, post-metalisms. In particular, the album’s trippy back half takes some time to fully appreciate after the dense, jugular-grabbing first half of brutally proficient and proggy slam-death. However, the pay-off of the atmospheric, springy, and gorgeous melodic bent and contrasting gurgled vox somehow works and elevates an already great album into some weirdly off-kilter cosmic slam meets post-death hybrid that shouldn’t work but does.

#1. Sermon // Of Golden Verse – Weirdly enough when seeking my prog fix in 2023, it was mostly looking backward to previous releases, with minimal 2023 prog albums gaining much traction. Way back in March, UK’s mysterious dark progressive metal band Sermon returned with a momentous sophomore album, raising the bar high for prog metal in 2023. Perhaps the 4.5 rating was a tad overzealous, only time will tell. But as my highest rating review of 2023, the album hit me hard and stayed in solid rotation throughout the year. Despite never being a foregone conclusion, it seems fitting to bestow top honors on Of Golden Verse. Sermon plays prog metal like none other. Sure, influences and similarities to like-minded acts exist, however, Sermon boasts a unique sound they can call their own, dark, eerie and deadly serious vibes and almost melodramatic flair flows through towering, intelligent, and emotive prog metal epics. The constantly heightened tension and ritualistic edge permeating the album creates a mysterious, tense, and beguiling atmosphere, consolidated by consistently gripping songwriting and skyscraping hooks on such memorable gems as “Golden,” “Light the Witch” “Wake the Silent” and stunning closer, “Departure.”

Honorable Mentions

• Suffocation // Hymns from the Apocrypha – A surprising and unexpectedly strong return from the rejuvenated New York brutal death masters. Featuring a new vocalist and refreshed, yet familiar sound, Hymns of the Apocrypha perhaps marked a fresh era of renewed inspiration.
• Shores of Null // The Loss of Beauty -The always impressive Italian doomsters bring the sadboi feels, hooky melodies, and deathly heft through another taut, catchy collection of quality doom-death tunes.
• Gridlink // Coronet Juniper – A welcome return from the mighty Gridlink. Although not quite the momentous, all-conquering achievement of Longhena, and nearly overshadowed by exciting newcomers Walking Corpse, Gridlink’s comeback was a noteworthy and impressive burst of intense, elastic grind.
• Dying Fetus // Make Them Beg for Death – A back-to-basics, curb-stomping return from the legendary Dying Fetus. May not challenge their best albums but it’s a fun, slammy blast of signature awesomeness nonetheless.
• Vanishing Kids // Miracle of Death – When the dust settles, I’ll no doubt regret not ranking this ghostly, dreamy, and utterly spellbinding doom platter higher on the list proper. My main excuse is I feel there is much still to unlock and appreciate. but the urge to return has only gotten stronger with each listen.
• Kruelty // Untopia – Rabid Swedish-inspired old-school death meets hardcore, with a fresh Japanese twist and doomy, grindy edge. Killer stuff.
• Walking Corpse // Our Hands, Your Throat – Unheralded grinders Walking Corpse unleashed an utterly devastating, black as coal, barn-burning grind platter, wielding a precision, borderline chaotic attack. They skillfully whipped nifty dynamic shifts and discordant bursts of hardcore and noise into a fresh, deceptively catchy batch of songs.

Disappointments o’ the Year

• Middling to okay efforts from long-time favorites Soen and The Ocean stood out the most considering their stellar track records. I wasn’t overly taken by the new Haken either. Royal Thunder was solid, yet it was their first album not to really grip me. A revisit is on the cards.

Non-Heavy Picks

• Queens of the Stone Age, Gunship, Dorthia Cottrell, Killer Mike

Return to Form

• Baroness // Stone – I had begun to lose interest in the sludgy, exploratory rock stylings of Baroness when they turned tone-deaf and started wrecking albums with horrid production. After more or less skipping their last release, I cautiously checked out Stone and left pleasantly surprised. Finally, the band ditched the ear bleeding production traits for something more organic and palatable. Additionally, John Baizley and crew wrote a rather punchy, experimental batch of tunes that mostly hit the mark and reinvigorated my interest in the band. Hallelujah!

Song ‘o the Year

A lot of cool songs kicked arse, so narrowing it down to one is really a futile task in 2023. Therefore, I selected the following belter from a shortlist and ran with it. With a thick, sludgy, hardcore edge and earworm chorus, Somnuri’s “What a Way to Go” was frequently close to hand when I needed a pick-me-up tune.

Felagund

What a difference a year makes! Since last, I sat down to compile my completely objective, highly-regarded Top Ten(ish) list in the dying days of 2022, much has changed in the world o’ Felagund. I left a job, started my own business, and tried in vain to get my six-year-old to show even a fleeting interest in The Hobbit. In the immortal words of The Dude, 2023 was full of “strikes and gutters, ups and downs.” But isn’t that always the case? None of us emerge completely unscathed, but I hope you and yours were able to weather any storms this dastardly year threw your way and emerge with your sanity intact. Not dignity, though. You spend far too much time on this site to have any of that left.

Now, as I embark on my third end-of-year list as a spit-at and put-upon AMG staffer, I can look back at twelve months chock full of musical riches, particularly in the death metal department. It was certainly a solid year for my pet genre, and I think my list (and honorable mentions) reflect that. But some things never change. Just like last year, I didn’t find nearly enough time to listen to all the music I wanted to, nor was I able to take a deep dive into some of the albums reviewed on this very site (although, if we’re being honest, most of them are probably just overrated 2.5s). And just like last year, my output continues to be a source of shame, ridicule, and scorn. I’m going to blame my lack of productivity on being a new business owner, but I know that no amount of excuses, pleas, or cries will ever earn Steel’s forgiveness.

Now before we get to my many metal musings, I’d be remiss if I didn’t first acknowledge and thank my returning listmate Saunders, who once again inadvertently introduced me to yet another prog album that ended up in my top five. Many thanks must also go to the mighty Steely Dan and the rarely-seen but universally-beloved Madam X. Steelcut Oats has put up with a lot from your friendly neighborhood Noldor this past year, what with my incessant tardiness and my penchant for “altering” his well-respected moniker in my reviews. On a more serious note, kudos are also required for his steadfast leadership and ongoing support as he keeps the derelict denizens (read: staffers) in line and out of trouble. The beatings have continued, morale has not improved, and I’m convinced we deserve far, far worse. And yet, I find myself uplifted and inspired by a growing crew of long-suffering editors and fellow authors who, despite their questionable taste, make AMG the special, endearingly deranged place that it is. And let us not forget the man, the myth, the bearded legend himself, Angry Metal Guy, the namesake of this digital institution, a learned doctor as determined by an accredited institution, and the final arbiter of all things trve.

Now, without further ado, entirely too much aplomb, and lacking all pomp, I present my top ten(ish) albums of 2023. May you listen, may you learn, and may you realize just how wrong you are.

#ish. Mutoid Man // Mutants – From the first few moments of album opener “Call of the Void,” I knew right away that this was an album I’d be spinning again and again. And while it didn’t quite crack my official top ten, it’s hard to deny Mutants’ infectious groove, the earworm hooks, the Voivod-esque sci-fi oddities, and the effective interplay between clean and extreme. Mutoid Man can seamlessly blend an array of disparate genres, from progressive metal and punk to hard rock and a dose of dissonant noise, and that makes their latest album a worthy #ish for any discerning weirdo.

#10. Anareta // Fear Not – I was unfamiliar with New Orleans-based Anareta until I read Dolphin Whisperer‘s glowing review. My interest was further piqued when I saw AMG’s equally gushing prose, declaring Fear Not April’s Record o’ the Month. I’m glad I took a chance on this album, because Anareta is definitely something special, delivering both crushing extremity and lush beauty, caustic rage and bitter anguish. This interplay is made all the more effective by the melodious stringed instruments that thrive against the shrieked, furious vox. Perhaps in less adept hands, this mix would grate on the listener, but Anareta’s self-styled brand of “Chamber Metal” uplifts the traditional bass, guitar, and drums by adding in virtuosic orchestration, doomy chants, and blackened vocals to deliver a unified sound that grabbed my attention and refused to let go.

#9. Horrendous // Ontological Mysterium – Horrendous is a band unafraid of growth, as evidenced by their consistent evolution across five high-quality releases. Ontological Mysterium builds on this trend, both as a towering slab o’ death and further proof that Horrendous continues to evolve as musicians and songwriters. Leaning further into their progressive tendencies only strengthens their arsenal, and while I didn’t find Ontological Mysterium as immediately engaging as some of their previous releases, repeated spins proved increasingly rewarding. Horrendous is a band that has proven that they can stay true to my beloved OSDM while still boasting technical freneticism and hefty groove, and for that, they’ve earned their spot on this list.

#8. Xoth // Exogalatic – Sci-fi-tinged thrash? Check. Lovecraftian horrors delivered via a blackened death onslaught? Check. All wrapped up in a catchy, crunchy, crushing record over 39 minutes? Count. Me. In. On Exogalatic, Xoth builds upon very familiar themes, and I couldn’t be happier that they’re still hard at work, honing their sound in the Stygian depths of space, where no one can hear you shred. Exogalatic boasts both razor-sharp technicality and thrashy speed without ever sacrificing melody, memorability or heaviness. And there are songs about trading blows with reptilian alien pugilists and quenching a newly-forged space-blade in the blood of dead gods? Take my money and welcome to my list, lads.

#7. Wayfarer // American Gothic – If Cormac McCarthy’s Blood Meridian ever had a soundtrack, Wayfarer would be the party responsible, and rightly so. So well-honed is their moody, emotive, brutally cynical (for good reason) Wild West-inspired take on black metal that I can almost hear their compositions accompanying McCarthy’s narrative. Any band with the ability to place the listener into such a specific time and location is worth your time and money. Wayfarer accomplishes this over and over again on American Gothic, and the result is a beautiful, furious, and sad rumination on industry, exploitation, death, and the power of myth. if American Gothic isn’t on your end-of-year list, it’s just because you haven’t listened to it yet.

#6. Sodomisery // Mazzaroth – Did Grier talk about Sodomisery endlessly? Yes, he did. And because our tastes are so divergent (and because he makes fun of me for the stuff I like) I nearly avoided this one. But so convincing was his review that I decided to give it a chance, and wouldn’t you know it? Here sits Mazzaroth, nearly breaking into my top Five. Much has been made of the band’s name, and while it lacks subtlety, have you seen some of the other garbage we’ve covered? Besides, instead of clutching pearls, you should be busy enjoying the majestic tones of Sodomisery’s melodic blackened death metal, replete with emotive orchestration, earworm hooks, effective vocal variations, and a songwriting approach that deftly balances heaviness with accessibility. With nary a filler tune in sight, the lesson is simple: don’t let Grier scare you, as long as you list an album he likes.

#5. Carnosus // Visions of Infinihility – And just like that, we’ve entered the Top Five. As I said in the introduction, 2023 was a year of death metal riches, and for me, that assertion is perhaps best embodied by Carnosus’ and their sophomore effort. I was unaware of this band until this year, but ’tis far better to be late than to be…never. Carnosus delivers a heaping slab of evocative technical death metal without ever forgetting that good songs need good riffs. And boy is this album overflowing with riff after succulent riff. I must also mention Vocalist Jonatan Karasiak, who delivers every high-pitched shriek, DM growl, and percussive grunt, lending even more variety to an already diverse platter while still maintaining album cohesion. This is a bold, mature, expansive tech death album from a band that has no right to be this good this early in their careers. As such, this album was an easy lister.

#4. Sermon // Of Golden Verse – Last year, Saunders‘ endorsement of Disillusion’s Ayam ultimately led me to award it my vaunted number two spot. And now, I find myself in a similar situation: Saunders awarded Of Golden Verse a lofty, nearly unattainable 4.5, and now here I sit, placing yet another one of his chosen progressive metal acts into my Top Five. While I could take issue with my listmate’s worrying control over my decision-making, I’m instead going to celebrate this twist of fate, as it brought me this gem of an album. And what an album it is! Sermon establishes a consistent, ominous atmosphere without ever losing momentum. Instead, Sermon relies on wave after wave of musical variation; the lush and emotive can give way to the more intense and extreme; progressive, churning melodicism can grow and cascade into an all-enveloping chorus. Of Gold Verse is a beautiful, complex album that only gets better with repeated listens and deserves a spot on any respectable Top Ten.

#3. Crypta // Shades of Sorrow – What a way to kick off my Top Three! Ever since 2021’s Echoes of the Soul, I’ve been a vocal supporter of these Brazilian death metalers. And after two years, Fernanda and co. have once again delivered the goods. It’s clear they’ve grown as a band, crafting an even stronger album that feels more mature, bolder, and heavier than their previous effort, chock full of grimace-inducing riffs, impressive vocal acrobatics, and a drum sound that pins you to the wall and dares you to peel yourself off. While Crypta is still fetid, OSDM adherents, Shades of Sorrow also amps both the black and thrash influences, resulting in a compelling sophomore effort that packs a significant, unforgettable punch. In a year where quality death metal releases were not in short supply, I think it says a lot that Crypta was able to set themselves apart not only from the blistering success of their first album but from the rest of 2023’s excellent releases.

#2. Cattle Decapitation // Terrasite – Last year I caught grief for daring to include Ghost in my Top Ten. This year, I’m sure some maladjusted malcontents will take issue with me including Terrasite so high on my list. “Their old stuff is better!” or “There are too many awkward cleans!” I can hear you loudly posting in the comment section. But the unfortunate truth is that Cattle Decapitation remains a force to be reckoned and 2023 marked yet another great addition to an already undeniable discography. I’m still enamored with CD’s ability to craft memorable, pummeling death metal that often veers into grind, brutal death, or melodeath territory. I also cannot get enough of Travis Ryan’s vocal range, from blackened snarls to percussive, deathened growls to plaintive cleans. But as I mentioned in my Terrasite review, my favorite aspect of the album isn’t just the rage they level at the human race, but the accompanying resignation. This adds an emotive layer while also paving the way for oddly beautiful, destructive tracks like “Scourge of the Offspring.” I’m proud to call Terrasite my number two, and I scoff at those elitists unwilling to enjoy a good album, even after it’s been shoved down their ungrateful gullets.

#1. Afterbirth // In But Not Of – The album that snagged the top spot on my year-end list did so surprisingly fast, after only a few spins. I knew right away that In But Not Of was something special, and that belief has only been reaffirmed after multiple listens and even deeper dives. Death metal certainly had a bumper year, and in my humble (and correct) opinion, Afterbirth is the ideal example of a band that helped bolster the genre and propel it to loftier heights in 2023. And why wouldn’t it be? For a band that traffics in slammy, knuckle-dragging brutal death, In But Not Of carries with it an undeniable progressive, cerebral quality, which will come as no surprise to fans and feels like a logical outgrowth from their previous effort Four Dimensional Flesh. But as Ferox pointed out in his review, perhaps the most impressive, engaging, and effective aspect of In But Not Of is the clear distinction on display; while the first half of the record comports itself as a tried-and-true, brutal death metal scourge that’ll leave you happily battered and bruised, the second half explores more progressive fair, featuring unexpected atmosphere, slower sections, and even some non-metal influences. Indeed, In But Not Of is the kind of album that grabs your attention immediately, but like a legend, it grows in the retelling, and it requires repeat spins to uncover all the tasty little morsels tucked between animalistic grunts and frenetic, chunky riffs. You’re listening to elevated slam here, and don’t you forget it; I know I won’t.

Honorable Mentions:

• Cannibal Corpse // Chaos Horrific – I an unrepentant fan of the good ‘ol Corpse, and while their newest album isn’t some massive departure from their releases over the past few years, they’re good at what they do and I love listening to them do it.
• Carnation // Cursed Mortality – While I still don’t quite understand the name, I understand the music, and I suppose that’s more important. Carnation has delivered another high-quality slab of buzzy, OSDM that’s more than worthy of a spin or six.
• Ahab // The Coral Tombs – You’ll notice my list doesn’t include much in the way of doom, and that’s by design. However, Ahab’s The Coral Tombs is the exception that proves the rule. Is it too long? Yes. But even so, this album is big, emotive, and much like the sea, I found it impossible to ignore its cunning allure.
• Tardigrade Inferno // Burn the Circus – Burn the Circus feels like the rock opera Stephen Sondheim may have written if he’d spent too much time at the carnival following the success of Sweeney Todd. Brash, over-the-top, and offensively catchy, I can’t get over just how much I enjoyed Tardigrade Inferno’s latest this year.
• Outer Heaven // Infinite Psychic Depths – A death metal concept record can be a tough sell, mostly because it’s hard to follow a story when you can’t understand a word the vocalist is grumbling at you. Be that as it may, Infinite Psychic Depths still presents an old-school, prog-tinged, off-kilter journey that’s well worth taking.
• Disguised Malignance // Entering the Gateways – all hail Holdeneye, whose slavish devotion to this new band piqued my curiosity and earned them a strong honorable mention as a result. Their brand of OSDM with slight prog influences is right up my alley, and while there were other releases this year that held my attention longer, Disguised Malignance was somehow able to make a big splash on their debut alone, and I can’t wait to see what these young whippersnappers do next.

Song o’ the Year

Afterbirth – ”Devils with Dead Eyes” What are you waiting for? Listen to this track and tell me it doesn’t evoke some of the most chaotic, overwhelming moments of 2023. Sure, Sodomisery’s “Delusion” is the far more catchy option, but when I think of a song that represents all that 2023 was (and wasn’t), I can’t help but return to “Devils with Dead Eyes.” It doesn’t hurt that it features a truly killer riff, Iron Maiden-esque chuggery, and even a touch of grunge. Make of all that what you will, just as long as you’re about to press play.

#2023 #Afterbirth #Ahab #Anareta #BlogPost #Bloodgutter #CannibalCorpse #Carnation #Carnosus #CattleDecapitation #Crypta #DisguisedMalignance #DyingFetus #Godthrymm #Gridlink #Horrendous #Kruelty #Lists #Listurnalia #MutoidMan #OuterHeaven #SaundersAndFelagundSTopTenIshOf2023 #Sermon #ShoresOfNull #Sodomisery #Somnuri #Suffocation #TardigradeInferno #VanishingKids #WalkingCorpse #Wayfarer #Wormhole #Xoth

Sentynel and Twelve’s Top Ten(ish) of 2023

By sentynel

Sentynel

Is it that time already? Whew. 2023 has raced past me, carried by a blizzard of endless Stuff. I need a goddamn break, which is currently tentatively scheduled for about 2025. As a result, I’ve been desperately behind on my listening for most of the year. I barely scraped together five reviews, all for bands I knew and liked, and was impressed by… one of them. I was nervous about my list all the way through to about November. Fortunately, I have once again ended up with a solid list of great albums, though the best doesn’t quite top last year’s The Otolith. I have lost track of what a normal selection looks like for me at this point, but this year’s big genre winner is apparently instrumental prog, while I felt it was a slightly weak year for post-metal. I also suspect I have more overlap with some of the cooler members of staff than I usually do, amongst all the records you already know are going to be on my list.

Despite a heavy year, contributing to Angry Metal Guy dot com continues to be one of my favorite hobbies. The other staff continue to have questionable taste, but I’ve found music that brings me joy anyway. We have new writers, I’ve met a couple of last year’s crop, and they’re all pretty chill despite their opinions on music. Everyone continues to put a huge amount of free work into this weird little corner of the internet. And my server load stats confirm that you, the readers, are still out there, using my bandwidth.

Finally, following Twitter’s ongoing trainwreck killing off the review autoposting there, we are now available on a slightly experimental basis on Mastodon and compatible platforms. Simply follow @[email protected]. (Note that comments don’t sync in from Mastodon, so you’ll still need to come to the site in order to tell us we’re wrong.) Of course, RSS and Facebook continue to be available.

#ish. Angus McSix // Angus McSix and the Sword of Power – I’ll defend last year’s Fellowship record to the death as serious music. The sophistication of its writing and the adulthood of its themes proves that upbeat, catchy power metal doesn’t have to be silly or lightweight. I offer no such defense for this record. This is incredibly silly. Honestly, between the track titles and how nakedly the whole thing leans on Winkler’s previous role, I was expecting to write this off as a failed attempt to recapture past glories without the wit—another soulless, forgettable pop-power metal band going through the motions. And yet it works. The fun feels genuine, the runtime too brief to be self-indulgent, the songwriting too varied to be a lazy cash-in. It’s infectious, it’s miles better than the new Gloryhammer record, and I’ve ended up listening to it a lot. I embrace the upcoming savaging in the comments section.

#10. Nuclear Power Trio // Wet Ass Plutonium – Speaking of silly, it’s the guys in creepy dictator masks. As I said when I wrote about this album, after a great EP they’ve stuck the landing on the album as well, cementing their position as serious musicians and not a one-off novelty. Fun, triumphant, soaring, Wet Ass Plutonium is an absolute blast to listen to. The musicianship is fantastic, and in particular I’ll highlight again just how great Putin is. (On bass.)

#9. Sermon // Of Golden Verse – Starring a rather more seriously masked musician, this is an emotional, gripping prog album. The only thing holding this back from a higher list placing is that I haven’t found myself compelled to listen to it all the time, which is definitely a me problem (see intro). The moment I actually do put it on I’m hooked. The dynamic, catchy songwriting has an urgent edge to it that gets under your skin and sets it apart from a lot of other prog metal, which can lack a bit of bite.  I absolutely love the vocal performance here in particular, but the whole thing is written and performed thoughtfully and impactfully.

#8. Ok Goodnight // The Fox and the Bird – In the best tradition of prog, this is a weird album. It tries to do a lot of things and manages nearly all of them. Williams’ charismatic, mood-changing vocals carry this whimsical tale. The first few times I listened I wasn’t sure it was going to stick, but I kept finding fragments of her lines in my head. With a few more listens, the whole thing settled. There are still a few little stumbles where weird and shifting gives way to just disjointed, but I find the rest of the album far too addictively, earwormily interesting to mind too much.

#7. Scaphoid // Echoes of the Rift – I owe this record more complete thoughts than I have space for here—there’s a TYMHM piece due, but see the intro for why it probably hasn’t appeared yet. In short: I’m a huge fan of this sort of pretty, thoughtful instrumental prog. I loved Absent Passages, and Echoes of the Rift is an improvement in effectively every meaningful way. Hobart has developed as a composer, and as a result it’s shorter, tighter, more varied, and more memorable. As with a lot of music on this list, my love for it is in the mood it conjures. It’s thoughtful, meditative, exploratory, and has been a favorite work and travel soundtrack for me.

#6. Sanguine Glacialis // Maladaptive Daydreaming – This record is A Lot. I mentioned it to Dr. Wvrm, who described it as “like Cradle of Filth bodysnatched Epica, then showed up to the studio and found it double booked with Nik Sundin hanging out with a jazz quartet. And instead of throwing them out being like ‘yea you know what let’s do all of it at once'”. Frankly, I have nothing further to add to this bit of poetry. If this sounds utterly horrifying, you’re not going to like Maladaptive Daydreaming. But if you’re maybe interested, know that it’s way more cohesive than it has any right to be and a lot of fun. The main thing holding it back is an inexplicably loud mastering job.

#5. Night Crowned // Tales – Here’s an interesting study in genre and reviewers’ tastes. Thus, who is far more brvtal than me, describes this as “symphonic/melodic blackened death.” I, meanwhile, relate to this as a folk metal album, though one much more interesting than the genre typically delivers. Just listen to that hurdy-gurdy or the styling of the vocals. (The female vocals really remind me of the Witcher 3 soundtrack’s Eastern European folk, for example. It’s notable that the cover art here features the Wild Hunt.) Either way, Tales is a wild ride and a certified banger through and through.

#4. Fires in the Distance // Air Not Meant for Us – This is so pretty. That seems like an odd thing for melodic death metal to be striving for, but there’s really no other word for it. Soaring guitar melodies, sweeping strings, and airy piano tug at your heartstrings. But a core of heavy riffs and harsh vocals keeps it anchored. The two mesh startlingly well. Fires in the Distance really lean into the lilting piano at times—if you’d told me a band were going to put this much piano into a melodeath record and everyone would love it, I would have laughed at you. You’d think it would sound insubstantial against the rhythm section, but it never does. Genuinely beautiful.

#3. Helga // Wrapped in Mist – This record reminds me of Gåte (who put out a good EP this year!) gone atmospheric, both in the folk composition but also in the slightly unusual vocals. There’s also some hints of Meer. It’s been criticized, not unfairly, for imperfectly mixing its folk takes on post-metal and airy dream-pop. I like both, but the more I listen, the less I think that separation is the right lens to view it through. Both these genres are characterized by a prioritization of atmosphere and feeling over immediacy, and that’s where Wrapped in Mist’s success lies. I’ve spoken before about my love of music that feels like a witches’ forest ritual, and this is the exact button Helga presses for me. Wherever it sits among its contributing genres, it conjures that feeling.

#2. Essence of Datum // Radikal Rats – Wildly underrated by some hack at little-known music blog Angry Metal Guy, “a heavier God is an Astronaut do the Mass Effect soundtrack” is right up my alley. Even then, I’ve been surprised by how much I’ve listened to this album. It’s not the world’s most challenging record, which has probably contributed to me reaching for it so often over a difficult few months. But don’t confuse that with a lack of impact. It’s cleverly written and impeccably performed, catchy, interesting and varied. This would be a fantastic soundtrack to a top-notch sci-fi film. (I listened to it a lot while reading the new Murderbot book.) As I said above, this has been a good year for instrumental prog, and the placement of this record despite two other strong contenders in the genre should speak volumes.

#1. Wayfarer // American Gothic – This one shouldn’t come as a surprise if you read my thoughts on Lathe on last year’s list. I’m a sucker for the micro-genre I’ll call industrial bluegrass, and last year Lathe mixed it with post-metal with unexpectedly successful results. Wayfarer, meanwhile, bring in black metal, a genre I normally find myself bored by. Indeed, A Romance with Violence didn’t quite do it for me. American Gothic though absolutely knocks it out of the park. The genre blend is utterly seamless, to the extent that to simply call it black metal does it a disservice. This is the best of bleak country painted with the instrumentation of black metal. Electric guitars pick up melody lines from banjos with a twang. Distorted slide guitars get that pedal steel feeling. There’s even a honky-tonk piano. It’s all deceptively melodic, and it helps there’s a heavy twist of post here. This seems to have put some members of the staff off—the second half is less immediate than the first—but these people are wrong. The atmosphere that results is pitch-perfect. The vocals and the lyrics are great. This is not an album that I expected, nor did I expect to love it like this. But it shot to the top of my list within the first couple of listens, and I love it a bit more with every spin.

Honorable Mentions

• BRIQUEVILLE // IIII – I saw these guys play at ArcTanGent this year and was dead impressed. This is really slow-burn post, but it’s worth it.
• Mutoid Man // Mutants – Another ATG band, although from many years ago. Not a big departure from their prog/punk usual, but a lot of fun.
• healthyliving // Songs of Abundance, Psalms of Grief – “Bloom” narrowly missed out on my Song of the Year. The rest of the album is also really good post-metal, with a great vocalist.
• Svalbard // The Weight of the Mask – This didn’t blow me away like When I Die, but it’s not for lack of quality; it’s a great album still, it’s just not a huge evolution.
• Tribunal // The Weight of Remembrance – A really solid bit of classic doom. As with any well-trodden genre it takes a lot to stand out, and Tribunal nail it with some great interplay—on vocals and instruments—between the duo.

Disappointment o’ the Year

Repeatedly giving poor-to-middling reviews to bands I like. Also, the production on that Anareta album, which I wanted so badly to love.

Song o’ the Year

Vienna Teng “The Riversitter” – I’m not even going to pretend to claim that this is metal, though I did of course first hear Teng on this very website. She is my favorite lyricist ever, and one of my favorite musicians in general. It’s been a long ten years since Aims, and it’s fantastic to have new music from her again. This is a pretty, moving piece, based on a short story, about not overthinking or overplanning, community, beauty, and building on each other’s ideas. I can’t fully explain why I’ve been so gripped by this song, but it spoke to me. I’m not normally a “same song on repeat” person, but I’ve listened to this song over three times as often as anything else this year.

Twelve

Up until a few weeks ago, I’d have said this was a pretty solid year, all things considered—but alas, here I am, ending the year on a low note. 2023 felt both very long and very quick, and we weren’t too far into it when I realized my contributions to this here blog were pretty much abysmal. Thankfully, my fellow writers and alternate personas are very understanding people, but it’s still rough to realize that the year has ended to mark my lowest output yet here at Angry Metal Guy.

At least the music was solid. While I was off doing who-knows-what offline, a whole bunch of talented and wonderful writers ghostwrote a whole bunch of compelling reviews and recommendations here that have come to dominate my listening. So before I properly dive into sharing my top albums for 2023, I’ll take a second to thank every one of them, from the newest n00b to the oldest olde, for a level of dedication and talent I just didn’t reach this year. I’m looking forward to the next one, and the one after that as well.

Anyway…

#ish. David Eugene Edwards // Hyacinth – Usually there’s a space or two on this list for the most exciting neofolk that comes my way in a given year, but this year was a quiet one on that front. In its absence, however, the dark country tellings of David Eugene Edwards are quickly becoming a favourite. It’s not a style I’m very familiar with—hence the #ish—but owing to the gorgeously ominous storytelling on Hyacinth, that’s something I’m determined to fix in 2024.

#10. Sacred Outcry // Towers of Gold – Life™ works in mysterious ways; when I was unable to review Towers of Gold following my excitement at Sacred Outcry’s debut, I felt pretty badly. Thankfully, Holdeneye’s account captures what is so special about this power metal odyssey better than I’d have been able to at the time. An adventure for the whole family, and an impressively emotive power metal opus.

#9. Theocracy // Mosaic – Speaking of power metal, I also loved Mosaic in a way I haven’t been taken by a Theocracy album in some time. The balance of joyful and serious themes is something the band does really, really well here, and it’s a splash of positivity that I was happy to receive just as the weather began to turn cold. Not to mention it’s impressively heavy on top of it all, and the choruses stick around long after the album is done.

# 8. The Ocean // Holocene – I’ve said in a couple of places that I don’t care much for post metal, but I do like it when The Ocean does it. The trend continued this year with Holocene, which felt more experimental, less heavy, and altogether weirder than a lot of their past work. This all works great for me, and I found I kept returning to Holocene as the year went by. “Atlantic” in particular may be one of my most listened-to songs for the year. High defeatism, am I right?

#7. Warfarer // American Gothic – Blistering, beautiful black metal; a heartfelt reason for the anger; influence from the wild, wild West to keep it all fresh. What could there possibly be to not like about American Gothic? In the past, Wayfarer haven’t quite captured my attention, but this album broke through my resistance and pummelled it to the ground within the first four seconds of “The Thousand Tombs of Western Promise.” A phenomenal album, through and through.

#6. Briqueville // IIII – IIII is not an album I expected to list here; in fact, one of the first things I did when I saw Charcharodon’s 4.0 review for it was ignore it. More fool I. I thought I had this list down when I finally spun Briqueville’s latest for the first time and it tore its way up these IIII spaces astonishingly fast. Dreamy, experimental doom atmospheres are not easy to pin down, but the songwriting here is incredible. The time passes so quickly, and then what’s left to do but to spin the whole album over again?

#5. Godthrymm // Distortions – Rounding out the other half of my top doom metal albums of the year is Distortions, essentially because this album is heavy. I love the straightforward style, the well-produced misery, and the way Godthrymm is able to so cleanly convey such powerful emotions. This album is a testament to doom metal done well, and it’s been a welcome companion since the first time I heard it—I was hooked pretty much instantly.

#4. Burden of Ymir // Heorot – If you read my reviews, you already know that the accordion is the way into my heart. This feast of black metal incorporates exactly that, and makes for a heavy, folky journey, an amazing album with a story to tell and a ton of heart. It’s also a sneaky album, the kind that grows on you the more you listen to it, with small details hidden in clever songwriting. It’s hard to ask for more; this is an album that feels made exactly for me.

#3. Angus McSix // Angus McSix and the Sword of Power – Speaking of albums that feel made exactly for me, Angus McSix is some of the most fun you can have listening to power metal. I am a sucker for cheesiness, and Angus McSix’s debut dials the cheese factor up to the maximum. The other, crucial side of the dial, however, is the songwriting. Thanks to that, everything works in a way that makes the album more than the sum of it’s ridiculous concept1. It’s a very strong album, and one that’s only grown on me with time.

#2. Sodomisery // Mazzaroth – I can only imagine that Dr. A. N. Grier and I have dramatically different year-end lists, but his review of Mazzaroth is spot-on, and I’m certain we’ll share this entry. As orchestral black metal goes, this album is grand, heavy, and huge, making for a phenomenal opus that is my top black metal album of the year. The vocal performance, the orchestrations, the songwriting—everything on Mazzaroth is top-tier, larger-than-life, incredible black metal.

#1. Vanishing Kids // Miracle of Death – It will be difficult to sum up my appreciation for Miracle of Death in the short blurb I have before me. From the first seconds of “Spill the Dark,” this album takes me to a cold, comfortable place. It’s emotional, but it feels like numbness; it’s quiet, but leaves a huge impression. Everything about this album works to create atmospheres of bleakness and hopelessness, and any time I’ve felt low throughout the year, Vanishing Kids has been there2. Miracle of Death is, in that regard, an amazing album, and one that was always going to take this spot on my list. Truthfully, I’m shocked to realize this only came out a couple of months ago—it’s been so right for my 2023 that it feels like it’s been there since January 1.

Honorable Mention

• Suotana // Ounas I – I had a lot of fun reviewing Ounas I, and have had a lot of fun listening to it since. The black/melodeath/power metal thing Suotana does so well lends itself to an extremely fun, energetic album that is just so solid. This is an album done well, and I’m still recommending it to pretty much all of you!

Song o’ the Year

Sometimes, you just need to have some fun. No matter how difficult, irritating, or otherwise negative this year may have been, “Ride to Hell” has been the pick-me-up song to deal with it. This is a terrific power-meets-traditional metal anthem, and the enthusiasm in which Angus McSix performs it is a huge part of the appeal. It’s catchy, it’s fun, it’s wildly addictive—it’s everything you need when times are rough and you don’t know any supernatural motorcyclists in the real world. It’s also a great song when you’re having a good day already and want to make it better.

#2023 #AngusMcSix #BlogPost #Briqueville #BurdenOfYmir #DavidEugeneEdwards #EssenceOfDatum #FiresInTheDistance #Godthrymm #healthyliving #Helga #Lists #Listurnalia #MutoidMan #NightCrowned #OkGoodnight #SacredOutcry #SanguineGlacialis #Scaphoid #SentynelSAndTwelveSTopTenIshOf2023 #Sermon #Sodomisery #Suotana #Svalbard #TheOcean #TheOtolith #Theocracy #Tribunal #VanishingKids #ViennaTeng #Wayfarer

Lo and behold, the August #MetalMatters has been released a few days ago just in time for #BandcampFriday! 🤘

#Metal #MonthlyBestOf #BestOfAugust #PopMatters #AntiGodHand #BlutAusNord #Creak #Crypta #Darsombra #DeadAndDripping #DrippingDecay #Godthrymm #Hallucinate #Knife #Nixil #Nott #Orphalis #PavorNocturnus #SpiritAdrift #Urfaust #Werewolves

https://www.popmatters.com/best-metal-albums-august-2023