Holdeneye’s Top Ten(ish) of 2024

By Holdeneye

This was a strange year for old Holdeneye, characterized by relative outer peace and significant inner turmoil. Peruse my last few lists, and you’ll see that I’ve been on a mental health journey for some time now, and this year has honestly been the toughest nut for me to crack. I’ve spent the last few years changing my external circumstances to set me up for interior success, and that has certainly helped. But I’m starting to come to grips with the fact that my choice to follow a career as a first responder, while it has benefitted my family and myself enormously, has come at a cost. Combine with that the absurdities of modern society, and the anxieties and pressures of parenting children, and I’ve been finding my fortitude to be mightily tested. I’m afraid I’m come down with a moderate-to-severe case of cynicism.

George Carlin once said, ‘Inside every cynical person is a disappointed idealist,’ and I strongly agree. I’m by nature a pretty soft-hearted, idealistic person, but with high ideals come high expectations—and high expectations are basically impossible to meet. I spent much of this year (years, really) embracing my newfound cynicism because it seemed easier and less painful than having my impossibly high expectations disappointed again and again. Fortunately, I stumbled upon a book called Hope for Cynics by Jamil Zaki, and it has been an amazing tool for recalibrating my perspective on life. The book proves—scientifically—that Samwise Gamgee was correct when he said, ‘There’s some good in this world, Mr. Frodo, and it’s worth fighting for.’ I highly recommend that anyone and everyone read it—it’s exactly what the world needs to hear right now.

Cynicism is not conducive to creative work, so my 2024 AMG output was abysmal. Instead of listening to new albums, I listened to my Manowar playlist over and over and over. At one point, I finally pulled the trigger and told Steel I needed to step away. I felt good about that decision, that is until my friend Kenstrosity had his home destroyed by a hurricane. The way the Angry Metal community banded together to support Ken broke through the hard crust that had been forming around my tender heart. The staff, and especially you, the readers, jumped at the chance to help, and it was incredibly inspiring—and it once again proved just how wholesome and unique this little internet community can be. I’m resolving to stay involved, producing whatever content I can make time for, but more importantly, to just be around. When times are hard, I tend to withdraw, but I’m finding that those are the times when I really need to fight to stay engaged.

Thanks for your patience and for your even-handed, if brutal, leadership, Steel. Thanks to everyone who makes this place so special; you are all agents in the war on cynicism. Special shoutouts to Dr. Wvrm, Ferox, and Doom_et_Al for hanging out with me in person—extra special to Doomy for letting me crash at his place—and to Crispy Hooligan (Rest In Retirement) for recognizing and chatting with me at a Judas Priest show. It was awesome to take my AMG community into three dimensions this year.

Well, you’ve heard enough from this gloomy goose! Rest assured that I’m looking to 2025 with hope and a healthy skepticism instead of my usual oscillation between idealism and cynicism. Onto the tunes!

#ish. Judas Priest // Invincible Shield – This one comes as a bit of a shock to me. When it first released, I was pretty indifferent. I really enjoyed the previous album Firepower, but I didn’t feel a strong need to hear or enjoy a new Judas Priest album in 2024. I have my ten-year-old son to thank for changing my mind. While I was driving him to school one day, he randomly said, ‘Dad, my favorite band is Imagine Dragons, but my favorite music is heavy metal.’ I knew I had to capitalize on this make-or-break moment, so as soon as I got home, I bought two pre-sale tickets to the Invincible Shield tour. Seeing these legends with my boy was a core memory that I will always treasure, and while I prepped for the show, I began to see Invincible Shield for what it really is: one more gift from the metal gods of old, one that is far more energetic and ruthless than it has any right to be. Sample: “Panic Attack”

#10. Necrophobic // In the Twilight Grey – As someone who gained their black metal fangs because of Necrophobic’s modern-day sound, I understand that I’m unfairly biased to enjoy everything they’re putting out these days. But biased or not, I absolutely dig what Necrophobic have done on In the Twilight Grey. They’ve taken just about every shade of black metal available and incorporated a bit of this one and a bit of that one to construct a varied collage of blackened brutality. The guitar work on this record is exemplary, and it speaks to my classic heavy metal heart with lead after lead that could fit on just about any Priest album. I didn’t listen to much black metal this year, and this album is partially to blame. In the Twilight Grey arrived early on and essentially sated my appetite for blackened platters. Sample: “Shadows of the Brightest Night”

#9. Ironflame // Kingdom Torn Asunder – Consistency is an underrated and often maligned trait when it comes to music, but it’s something I really value. I love when every day is just about the same as the last. I can eat the same meal three times per day, no problem. As I mentioned above, I can listen to the same Manowar playlist on repeat for months at a time. I like consistency because I like to know what I’m getting. Ironflame has become my poster child for consistency when it comes to modern traditional metal, and I while I may know exactly what an Ironflame record is going to sound like before I ever play it, I take an enormous amount of joy finding my preconceived notions to be 100% accurate. Andrew d’Cagna can write killer metal anthems in his sleep, and Kingdom Torn Asunder is full of them. Sample: “Sword of a Thousand Truths”

#8. Vitriol // Suffer & Become – This album definitely tested the limits of my musical taste. Vitriol’s brand of death metal is so punishing that it becomes overwhelming for me, but Suffer & Become includes just enough beauty to let the beast shine by contrast. Full disclosure: I have to be in the right mood for this album. It is so dense, so challenging, so heavy, that it makes me uncomfortable. Without relying on the overt groove or melody that usually anchors the music I enjoy, Suffer & Become manages to hook me through pure violence, leaving me just a few fleeting moments to pop my ahead above the surface to grab a quick breath before dragging me back below. Released back in January, my response to this record was the first indication that my taste (and my list) in 2024 would be trending in a brutal direction. Sample: “The Flowers of Sadism”

#7. Oxygen Destroyer // Guardian of the Universe – As I went to wheel my thrash can to the street, I wondered if it would even be worth the trip. While I didn’t listen to all that many albums in total this year, I had an especially noteworthy dearth of thrash albums that caught my attention. Fortunately, the one album that did end up in my thrash can filled it to the point of overflowing. Oxygen Destroyer has received honorable mention on my year-end list before, but this time around, the band has leveled up in so many ways that it was impossible for me not to put Guardian of the Universe on my list proper. Where previous albums were more of an even death/thrash mix, this one is an absolute thrashterpiece, and every single song has at least one earworm riff that refuses to leave my brain. Lord Kaiju’s utterly pissed-off vocals are the perfect match for what the rest of the band is doing musically, and with one forthcoming exception, there was no better half-hour set of music with which to torture myself this year. Sample: “Banishing the Iris of Sempiternal Tenebrosity”

#6. Aborted // Vault of Horrors – I’m a late-stage Aborted adopter. Vault of Horrors was my first exposure to the band, and the uniqueness of this album is probably responsible for why I’ve come to enjoy the band so much. I was at first put off by all the guest vocalists, but then I remembered that I love hardcore vocals. Aborted’s mixture of brutal death and deathcore is already potent, but when a host of talented hardcore and metal vocalists add their voices to the mix, the result is an adrenaline-pumping, testosterone-boosting beatdown. One of my favorite metal moments of the year goes to witnessing many of these cuts live in the mighty presence of my Angry Metal brothers Ferox and Doom_et_Al. Vault of Horrors has been one of my gym mainstays since its release, and that quality alone is nearly enough to boost an album onto my Top Ten(ish). Sample: “Death Cult”

#5. Unhallowed Deliverance // Of Spectres and Strife – I honestly can’t remember what review it was for, but one of our lovely readers suggested this album in the comments, and I haven’t been able to stop listening to it. Unhallowed Deliverance is another band that mixes brutal death metal and deathcore, but where Aborted goes for the throat nearly 100% of the time, these guys throw in a pinch of atmosphere and a boatload of technicality to create an insanely strong, multifaceted sound. Frontman Arthur Haltrich complements his standard death/deathcore growls and shrieks with some of the gnarliest belches, gurgles, and verbal flatulence I’ve ever heard, giving Of Spectres and Strife’s sonic texture even more depth that its already intricate music provides. The record even includes a collaboration with Kenneth Copeland, the artist responsible for my 2020 Song o’ the Year. Sample: “Treatise on the Lowest Form of Man”

#4. Nemedian Chronicles // The Savage Sword – It’s been many months since Iceberg grossly underrated this absolute gem, and it is a gem that I’ve clutched as greedily as if I’d personally plucked it from a cursed dungeon’s treasure hoard ever since. When I first sampled The Savage Sword, I was intimidated by its 70-minute length, but it took little more than a single listen for me to realize that this album is incredibly well-executed from start to finish. Yes, Nemedian Chronicles made the bold choice to start the record with what are essentially two intro tracks, but they are so epic and genuine that they act as a pair of tentacles, forcefully drawing me into the concept’s Hyborian world and setting me up to enjoy of deep immersion. The rest of the album is a masterclass on how to properly deliver epic heavy and power metal goods, and it is frankly the best Blind Guardian album released since the 90s. Sample: “The Savage Sword”

#3. Brodequin // Harbinger of Woe – More like Harbinger of Whoa, amirite? I could probably sum this album up with just that single word ‘whoa,’ but Steel would most likely force me to sit on that old-timey chair on the cover art if I didn’t elaborate. This was another comment section find, and I’ll be damned if it didn’t grab me almost immediately—a rare occurrence for music of this level of intensity. The production on this album raises it so far above much of its comparable competition because it so perfectly balances the material’s speed and chaos with an overwhelmingly tangible heft. Harbinger of Woe’s 30-minute runtime is so bludgeoning that my watch sometimes registers my listening sessions as cardio, so I’d like to think that this album has made me a healthier person in 2024. Brodequin, or Brother Quinn as I like to refer to them, can take comfort in putting out one of the finest brutal death metal albums in a year filled with quality brutal death metal albums. Sample: “Of Pillars and Trees”

#2. Keygen Church // Nel Nome Del Codice – In what is perhaps my greatest musical surprise of the year, this album instantly bewitched me body and soul, and I love, I love, I love it, and wish from this day forth never to be parted from it. I’ve enjoyed some of Victor Love’s work in Master Boot Record, but as someone who is drawn to liturgical expressions of spirituality, Keygen Church’s inclusion of Baroque organs and choirs absolutely godsmacked me from moment one. If you asked me to name the greatest song of all time in any genre, I’d probably go with Bach’s “Toccata and Fugue in D Minor,” so it should come as no surprise that Nel Nome Del Codice feels as if it were tailormade to tickle me right in the pipe organs. I have no idea how music like this is produced, but my hat is off to Love for creating such a powerful aural experience. Sample: “Sulla Via Della Gloria”

#1. Hell:on // Shaman – When I dropped a 4.5 on this back in May, I was pretty confident that nothing else would be able to top it, and since I’m almost always right, I was right, of course. Hell:on’s mix of death metal, throat-singing, ritualistic rhythms, and Eastern instrumentation makes me feel like I’m trapped within some infernal combination of a death metal concert and a Witcher III boss fight, and it’s a feeling that has yet to get old. The band went all-in on the inclusion of their Ukrainian cultural elements within their music this time around, and it was an incredible success. In a year where death metal made up the majority of my top records, Shaman had to fight to keep its place upon the top of the heap, but no other album felt as spiritually dense to me in a year where I’ve fought to find my own personal peace. The textures offered here both exhilarate me and help me into a meditative state, and the resulting empowerment has been a Godsend to me. Sample: “What Steppes Dream About”

Honorable Mentions

• Brothers of Metal // Fimbulvinter
• Pneuma Hagion // From Beyond

Olde Record (and Hot Take) o’ the Year

Manowar // Warriors of the World – When I wasn’t listening to new music in 2024—which was really, really often—I was probably listening to Manowar. I listened to them so much, in fact, that my streaming platform placed me within the band’s top 0.1% of listeners worldwide. Warriors of the World was the first true heavy metal album that I ever purchased, and so many of its songs remain personal favorites to this very day. As I ravaged the band’s discography this year, I came to the realization that Manowar circa 2002 is the absolute highwater mark for heavy music. This album has some weird inclusions that make it feel somewhat unbalanced and goofy at times, but I’m convinced that if the band had cut a bit of the fluff and added in the two cuts from the Dawn of Battle EP, Warriors of the World would have been a 5.0 and the greatest metal album of all time. Disagree? Then you’re not into metal, and you are not my friend. Just kidding. We can still be friends, poser!

Disappointment o’ the Year

In Aphelion // Reaperdawn – After In Aphelion’s debut Moribund pummeled its way into the top tier of my Top Ten(ish) of 2022, I had huge expectations for its follow-up, Reaperdawn. Whether it is because several of the band’s members released a similar-sounding and stronger album with their main project Necrophobic or because these songs just don’t match up to the debut, this one just didn’t do it for me. It has a nice blackened aesthetic and some quality moments and performances, but it lacks the edge that made Moribund feel so genuinely dangerous. I hope to hear something new from these guys in the not-so-distant future, because I know they’re capable of going for my throat.

Song o’ the Year

Hell:on // “I Am the Path” – This song resonated with me from the very first time I heard it. The way the song swings back and forth between brutal death metal and ritualistic groove strikes the perfect balance for me, and the folk instrumentation adds even more layers to the experience. I can’t tell you how many times I’ve listened to “I Am the Path” this year, but just about every time I do, I feel my eyes wanting to roll into the back of my head so I can commune with the primal spirits of the earth. The track’s title and chorus have become something of a personal mantra for me as I’ve struggled to find inner harmony this year. It reminds me that I can make all the positive external changes in the world, but if I really seek health and joy, I must walk that most challenging of all paths: the path within.

#2024 #Aborted #BlogPosts #Brodequin #BrothersOfMetal #Fimbulvinter #FromBeyond #GuardianOfTheUniverse #HarbingerOfWoe #HellOn #HoldeneyeSTopTenIshOf2024 #InAphelion #InTheTwilightGrey #InvincibleShield #Ironflame #JudasPriest #KeygenChurch #KingdomTornAsunder #Lists #Manowar #Necrophobic #NelNomeDelCodice #NemedianChronicles #OfSpectresAndStrife #OxygenDestroyer #PneumaHagion #Reaperdawn #Shaman #SufferBecome #TheSavageSword #UnhallowedDeliverance #VaultOfHorrors #Vitriol #WarriorsOfTheWorld

Master Boot Record – Hardwarez Review

By Mystikus Hugebeard

Anno Domini 2024. In the early months, the code-whisperer Victor Love donned his Omnissiah robes and preached the score-counter-ruining sermon Nel Nome Del Codice within the Keygen Church. Now, the world’s premier practitioner of digital blasphemy has returned in his true, glorious form: Master Boot Record. There is no digi-christ here, only The Code. MBR is poised to release update 11.0 to your pathetic operating systems. Update name: Hardwarez. This is not the beginning; MBR has long since invaded the AMG website, one virus in particular bestowing 2022’s Personal Computer the title of Record o’ the Month. No, this is not the beginning… but this will be the end. Hardwarez will not suffer your computer to survive.

The phrase “if it ain’t broke, don’t fix it” applies to few artists quite so well as MBR. For any newcomers or rubberneckers, MBR is, to put it lightly, a mix of Dragonforce-adjacent energetic riffage, the classical-minded bombast of Johann Sebastian Bach, and a chiptune videogame soundtrack. The metal is fully synthesized with programmed drums, floppy drive synth riffs, and lightning-quick keyboards. This is how it’s been for ten albums over the last eight years and how it’ll be in the future. If that sounds dismissive, it shouldn’t; MBR’s is a wholly unique sound that works extraordinarily well. However, a man cannot, or perhaps should not, be so prolific in releasing music without even surface-level changes between albums. Love has refined and then maintained the MBR sound across nearly a dozen albums, while progressively updating and experimenting with his songwriting approach, be it through epic, 15+ minute song lengths (C:/DEFRAG), adding a vocalist (Direct Memory Access), or even donning the occasional baroque harpsichord (Personal Computer). This naturally begs the question as to how Hardwarez might aim to differentiate itself…

…which it does by being heavy. Stupidly, obscenely, disgustingly heavy at times. I even spun the full MBR discography to be sure, and while a few parts in Personal Computer come close, one could confidently say that Hardwarez is some of MBR’s heaviest material to date, and it’s a blast. Opener “BIOS” boots up Hardwarez with thrashy riffs and fast soloing, while the following “MOBO” builds towards colossal, Bach-iavellian refrains full of classical grandeur. And then, “CPU” drops a riff-heavy enough to brick my computer and is a seriously strong contender for my Song o’ the Year. The heaviest songs hit all the harder because of how they’re placed within the album. Hardwarez is a masterclass in pacing, creating clear peaks and valleys spread across the 42-minute runtime. “RAM” is a joyous, 80’s-infused slab of riffs and hyperactive solos that fits snugly between the less intense “GPU” and the slick, powerful “FDD,” with the latter’s extended synth-y outro escalating beautifully into the immediately massive “HDD.” Excellent pacing like this makes it nigh impossible to grow bored, and when the album is over, you’ll already feel ready to spin it again.

In the wake of Hardwarez strongest moments, it’s easy to ruminate over nebulous missed opportunities. While MBR has historically leaned into progressive songwriting, Hardwarez is much more direct; “CASE” being the most obvious, um, case. It ends Hardwarez on a high note and features one of the best, and heaviest, riffs, but it follows a strictly repetitive ABAB structure. Compared to the more adventurously composed “RAM” and “FDD” that augment their strongest moments with build-ups and varied structure, “CASE” begins to frustrate. I want to return for the whole experience of a song, not just one (admittedly stellar) riff. Hardwarez heaviness is its strongest aspect, and, I believe, would be all the stronger were it entreated with bolder songwriting, which Love has proven ad nauseam that he is capable of. Still, this might be unfair. Hardwarez is tight as hell, extremely consistent, and endlessly replayable. It’s a clear success, and worth celebrating—but it’s Love’s own fault for proving that he can do even better.

Beyond that, “PSU” is a slight let-down with some melodically cluttered sections, but its worst sin is being surrounded by excellence, and that’s what Hardwarez provides in spades. It might not break the score counter like Keygen Church’s Nel Nome Del Codice on account of being less groundbreaking and challenging in its scope, but Hardwarez is nevertheless another essential MBR release to add to the growing pile. It’s as energetic and intoxicating as ever, and has shown that this heavier iteration of MBR is one of its best and deserves to be explored even furtheERROR—ERROR—ERROR—ERRORRRRRRRRRR

PAGE_FAULT_DEUS_TE_DERELIQUIT

*** STOP: 0x000000D666 (0x0000000M, 0x0000000B, 0x0000000R, 0xDSBYOE)

*** strt1.sys – Address DSBYOE base at 387440×9, DateStamp na1833nms

Beginning dump of physical memory

Physical memory dump incomplete
incomplete
incomplete

There is nobody to contact for further assistance

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C:\Users\vittorio>shutdown /r

–
–
-restart completERROR—ERROR———ERRORRRRRRR

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Rating: Very Good!!
DR: 4 | Format Reviewed: 320 kbps
Label: Metal Blade Records
Websites: facebook | bandcamp | official
Releases Worldwide: October 11th, 2024

#2024 #35 #DragonForce #ElectronicMetal #Hardwarez #IndustrialMetal #ItalianMetal #KeygenChurch #MasterBootRecord #MetalBladeRecords #NelNomeDelCodice #Oct24 #PersonalComputer #Synthwave

Keygen Church – Nel Nome Del Codice Review

By Mystikus Hugebeard

“In the name of the Code, and of the Sacred Disk, and the Holy System. Our Core, which art in Data, Hallowed be Thy Code.” These words adorn the lavish brochure you were handed as you stepped into the Keygen Church. There, behind the altar, stands the robopastor/technosorcerer Victor Love. You recognize him; our IT prophet Sentynel has lauded Love’s work in Master Boot Record (MBR) twice, but now the doors to Love’s liturgical side project Keygen Church have swung open. Today’s sermon: Nel Nome Del Codice. You find your seat at the pew, and the service begins; harmonizing choirs set the stage, pipe organs begin to fill the space… and then Love raises his hands, summoning forth the floppy synth fury of a new Deus ex Machina. Your digital rapture has begun, doomed reader, and the Church’s inescapable commandment is laid bare: Praise. The. Code.

To describe Keygen Church as “MBR but church music” undersells the premise; I’d rather call it “MBR by way of Beethoven.” Performed live, Nel Nome Del Codice would sound more at home in a classical music hall than a metal venue; not just from the presence of organs, pianos, and choirs in addition to the trademark MBR floppy synths, but rather from how they play into and around each other and the sheer intricacy of the Baroque-inspired melodies. Love wields his digital arsenal of instruments with uncanny grace. The pre-release literature remarks that Nel Nome Del Codice is “100% Dehumanized,” but there is a distinctly human touch in how Love attacks the individual notes and chords of the organs and pianos. I’m assured that the choirs are fake, but when they’re at their most powerful in the opening of “La Voce Del Destino,” I cannot help but believe in their authenticity.

Love’s secret weapon for writing such compelling music is how he sets up and executes powerful moments of musical grandeur. It’s that exhilarating split-second where an orchestra pauses as the conductor’s hands are frozen, poised with kinetic energy, before they swing up and the music erupts. To examine this closely, look to “Che Sia Vita O Morte.” Languid, mournful piano passages or, in the song’s second half, spacious organ chords slow to a crawl and then drop off before the synths return with an enormous impact that hits all the harder for the preceding build-up. “Il Paradiso Dell’Anima” shines a different light on this idea by weaving energetic, lightning-quick pianos betwixt the heavier synths and organs, like a dancer leading you into the next grand movement before darting back out again. This give and take is used throughout Nel Nome Del Codice, and it’s magnificent. Naturally, this only works because the music itself is excellent, but that fact feels secondary to the greater context the music gains by always building towards and delivering on that next great moment of grandeur.

When this technique is applied to an entire song’s structure, you get unbelievably heavy hitters like “La Chiave Del Mi Amor” and “Nel Nome Del Codice.” “La Chiave…” works towards the aforementioned grandeur in both directions; crescendoing pipe organs, leading into a Phantom of the Opera organ sequence over the album’s single greatest riff, leading into a spellbinding piano movement, leading, leading, leading into the explosive outro as every instrument in turn prepares you for the final moments. The title track carefully constructs a matrimonious atmosphere until a quick synth line opens the floodgates for a world-shattering riff and apocalyptic choirs that sound like what you’d get if you threw the Doom Slayer into a Castlevania game. Such high peaks cast long shadows, though, wherein lie the album’s brief instances of wasted potential. The heavier synths in “Se Hai Timore Del Vero” prematurely end just as they hit their stride, and would’ve better built up the song’s latter half were they longer. On the flip side, the falling action of “Lode Al Disco Sacro” feels somewhat drawn out and could use a trim. Even so, the high moment-to-moment quality of the music easily offsets a minor structuring complaint or two.

In a word, Nel Nome Del Codice is massive. Every chord is struck with such intent, such force as to rupture the very walls of our Church. And yet every note is played, every melody is written with such intimacy, that what can I do but weep? This, doomed reader, is the music of your reprogramming. Our digital rapture is here… and it is beautiful. Praise The Code.

Rating: 4.0/5.0
DR: 5 | Format Reviewed: 320 kbps
Label: Metal Blade Records
Websites: keygenchurch.bandcamp | keygenchurch.facebook
Releases Worldwide: March 22nd, 2024

#2024 #40 #ElectronicMetal #ItalianMetal #KeygenChurch #Mar24 #MasterBootRecord #MetalBladeRecords #NelNomeDelCodice #PersonalComputer #Review #Reviews #Synthwave