Sentynel and Twelve’s Top Ten(ish) of 2024
By Steel Druhm
Sentynel
When I wrote my piece for the fifteen years feature, despite referring to “ten years of running the servers,” it hadn’t really clicked for me that I’ve been here ten years. It was in fact, May 2014 that we moved the server over and I officially joined the staff. While but an eyeblink compared to the oldeness of some of our crew,1 it’s a long time, and a large chunk of my rapidly oldenating life. It’s also over five years since my first actual review. Every year since then, I’ve promised myself I’d write more and then not done that. Whoops. On the plus side, covering bands I already like went a lot better this year than it did last year, with very good or better albums from all three. And the Contrite Metal Guy piece allowed me to correct the record on some errors from earlier in my reviewing career.
This year, my list covers more genres than ever before—there are a few entries I suspect will surprise people, not least because they surprised me. Despite being into instrumental music, the biggest commonality here is great vocals. Overall, I think it’s been a good year. I left organizing my list to the last possible moment due to a particularly rough house move (sorry, deadlines) and was, as usual, flapping about whether I’d have enough good entries. When I sat down to actually write it I realized I’d filled my list and HM slots with no trouble. And for the first time, I’ve been compelled to do a Song o’ the Year list rather than an individual pick.
In addition to the traditional thanks to the readers and the rest of the staff, olde and new, I also need to add a (returned) thanks to the bands. AMG walks a difficult line with our honest approach to reviewing, and it’s not easy sending your work out to face that. Obviously, without bands sending us music we’d have nothing to write here. I met Tribunal and Mares of Thrace at their gig in Montréal this year, and it was immensely reassuring to hear, from them and others, that our coverage can make a real difference.
#ish. Amiensus // Reclamation – The two parts to Reclamation are officially listed as Reclamation: Part 1 and Reclamation Pt. II, an inconsistency offensive enough to bar them from my actual top ten. Okay, fine, that’s not true, I just whiffed on this until Thus‘ TYMHM on part I (sorry Ken) and there’s too much of it to have listened to enough to place either part properly. Nonetheless, these are really beautiful progressive, melodic black metal and absolutely worth the time investment. The balance and transitions between the harsh, the bleak, and the beautiful are often the downfall of this sort of music, and Amiensus absolutely nail it.
#10. Dvne // Voidkind – The brilliant Etemen Ænka took a while to grow on me, and likewise Voidkind. I could rarely name a specific song – their post/sludge sound doesn’t lend itself to big singalong choruses, and I’m terrible with names without that. But every song is memorable. Whenever I see them live, I go “ooh, I love this one” at the intro to every song. Voidkind is no exception. The more I’ve listened to it the more I’ve appreciated it. The riffs, the build-ups, the denouements—listening to it is one “ooh, I love this one” moment after another.
#9. Seven Spires // A Fortress Called Home – Seven Spires continue to carry the whole symphonic metal genre pretty much single-handedly. I still think the editing on A Fortress Called Home could be a little tighter, but I love their sound and songwriting. Mixing in influences from death and doom to the power metal base gives weight. The soaring highs and emotive storytelling here are as good as they’ve ever been. Great cinematic music.
#8. Saturday Night Satan // All Things Black – All Things Black is just a huge amount of fun. It recalls Ghost before their full embrace of pop: proper catchy, occult-themed, rocking heavy metal with a charismatic vocalist. I’ve had “5AM” stuck in my head all year (occasionally at 5AM) and six-ninths of the tracks are in the running for the best song on the record. Uncomplicated but great.
#7. Northern Genocide // The Point of No Return – Wince-inducing band name and confusing theme/sound divergence aside, The Point of No Return rules. High-energy, multifaceted, synthy, dancy, it reminds me of Sybreed but with more going on. I definitely have a bit of a thing for bands that can throw half a dozen styles in and carry the execution off on the basis of being loads of fun (Diablo Swing Orchestra, Sanguine Glacialis). I’ve listened to it a lot when I’m not in the mood for something complex and it’s held up remarkably well.
#6. Kanonenfieber // Die Urkatastrophe – I don’t love Die Urkatastrophe to the extent that Carcharodon does, but it’s still a great album. An incredible vocal performance and sharp melodic writing carry a weighty story, even if I don’t quite have the German to appreciate the lyrics. Blackened death is not my usual style, but the craft here drew me in anyway. I highly recommend their live show as well—there’s a theatricality to it which really works, without taking away from the brutality of the music or the themes.
#5. Suldusk // Anthesis – I tend to take a break from albums I’ve reviewed after submitting the review. Even when I love something, the endless repeats as I try and line up my thoughts can get a bit wearing. So it’s telling how I feel about a record when I go back to it. I put Anthesis on a few weeks later and was immediately transported again. If anything it’s grown on me over the year. Beautiful, atmospheric and evocative, this is atmoblack at its best.
#4. Kalandra // A Frame of Mind – My favorite unexpected discovery of the year. Kalandra are absolutely spellbinding. Heavy themes, gorgeous Nordic folk instrumentation, and deft composition make for a genuinely moving listen. Katrine Stenbekk’s vocals are absolutely captivating and I could genuinely listen to her all day, yet part of the beauty of A Frame of Mind is how well she complements the instruments. I had to fight Dolph for TYMHM rights for this, and as I said there, I cannot recommend it enough.
#3. Fellowship // The Skies Above Eternity – There was pretty much no chance The Skies Above Eternity wasn’t going to land high up my list. After the last record, they would have had to have royally fucked it for that not to happen, and they have not, in fact, royally fucked it. The jury is still out on whether I feel that this is a better record than The Saberlight Chronicles, but it’s certainly up there. Fantastic songs and endearingly honest positivity have always been Fellowship’s strong point, and this is no exception.
#2. Ulcerate // Cutting the Throat of God – I would not, prior to Cutting the Throat of God, have expected to see dissodeath gracing my list in any capacity, much less almost topping it, squeezed between two… slightly less brutal records. But then, prior to this album, I wouldn’t have expected to describe dissodeath as suspiciously melodic either. So, surprise! Ulcerate’s composition here is stellar. They weave unsettlingly dissonant yet pretty melody into bleak, brutal death metal and the results are infectious. I got so excited about the whole thing that I even tried listening to a couple of the other dissodeath hits this year, but alas, they just don’t have what Ulcerate have.
#1. Meer // Wheels Within Wheels – Well, this was inevitable. There’s very little out there that sounds like Meer’s symphonic, progressive pop/rock. “Symphonic” is often a euphemism for “some string synths are used,” but Meer’s mini chamber orchestra do symphonic properly. And their lead vocal duo is fantastic. Playing House blew me away and very nearly topped my list. Wheels Within Wheels is better. It’s hard to follow up a great record, and it’s hard to compete with the feeling of hearing a band for the first time. But this does both. Take the great foundation from the previous record, turn up the rock elements, mix in a touch of post-, and sharpen up the songwriting, and you get the brilliant Wheels Within Wheels. 2
Honorable Mentions
- Iotunn // Kinship – Narrowly squeezed off my top ten(ish), partly due to me not getting around to it until quite late, this is another great album from Iotunn.
- i Häxa // i Häxa – Weird? Yes. Pretentious? Also yes. Good? Good question. I think it overuses spoken-word-over-atmospherics and it makes it hard to recommend the whole package, but the rest is compelling.
- Lowen // Do Not Go to War with the Demons of Mazandaran – Really cool interfusion of Iranian music and mythology with doom metal. Nina Saeidi’s vocal lead is remarkable.
- Keygen Church // Nel Nome del Codice – I’m still not completely sold on how natural the merger of MBR’s floppy disk synths with organs-and-choirs church music sounds, but the baroque composition here is good enough to carry it regardless.
Songs o’ the Year
Alphabetically ordered, because I’m a coward.
- The Dread Crew of Oddwood – “The Apple”
- Fellowship – “King of Nothing”
- Kalandra – “The State of the World”
- Kanonenfieber – “Waffenbruder”
- Meer – “Mother”
- Nanowar of Steel – “HelloWorld.java”
- Northern Genocide – “Para Bellum”
- Saturday Night Satan – “5AM”
- Suldusk – “Sphaera”
Twelve
Writing these year-end summaries is always a cathartic experience. It’s odd to try and summarize the year you’ve had, in whatever way resonates best, to an audience of people you don’t know, but that does take some pressure off. Every year, I get a new chance to be grateful for the writers and readers on this blog, and to reflect on what went wrong, what went right, and where I am now versus where I was a year ago.
I can confidently say that, by any measure, 2024 was the worst year of my life. Between personal losses and professional disasters, I spent most of the year feeling demotivated, dejected, and just shy of despairing. And yet, when I compiled my year-end list, I was pleasantly surprised, because there isn’t actually all that much dark material here. You’d think, based on how I started this paragraph, that my list would be filled with the dark and dismal metals from the year, but instead, it leans much lighter, more optimistic, and hopeful. Hope is a tough thing to squash completely, and throughout the year, I have stubbornly remained optimistic that things would get better—and, sure enough, they have. I’ll begin 2025 in a much better place, and take the lessons of the year with me all the way to the next article.
I would be remiss if I didn’t thank my fellow writers here for their support as I contributed an uneven year (at best) to the blog—your friendships, banter, recommendations, and rare-but-memorable offline appearances mean the world to me. As I come up to the end of my sixth year writing here, I’m still having a blast. Not to mention the music! The music is good too. Speaking of which…
#ish. Opeth // The Last Will and Testament – Having first encountered Opeth during the Pale Communion days, I never really formed an opinion on the growls/no-growls debate. Even so, despite my genuine admiration for their last few releases, The Last Will and Testament feels like some kind of return to form for these giants. An album as dense as it is powerful, The Last Will and Testament keeps me coming back. Perhaps because of that density, I had trouble figuring out how and where exactly to list it. Maybe it came out a little too late in the year for me; I may well regret this “low” placement before long.
#10. Madder Mortem // Old Eyes, New Heart – Old Eyes, New Heart is, appropriately, an album with real heart. I love its laid-back approach that does nothing to diminish the cold darkness that surrounds it. And yet, the sense of hope and determination I get from listening to it electrifying. Just listen to “Cold Hard Rain”—”there’s hope in the dark” is one of the best moments in any album I’ve heard all year. The approach Madder Mortem brings to Old Eyes, New Heart is resonant, mixing dark and light in a way that just worked for me this year. It is an excellent album.
#9. Fellowship // The Skies Above Eternity – Conversely, Fellowship brought all kinds of power metal glory to The Skies Above Eternity, an outrageously fun album adorned with hope, excitement, and super impressive performances from everyone involved. The Skies Above Eternity is just so much fun to listen to; it fills the Angus McSix-sized hole in this year-end list admirably because a year without some kind of super-well-done over-the-top power metal is a year that’s just no good. Thankfully, Fellowship are clearly here to stay.
# 8. Dawnwalker //The Unknowing – The Unknowing is one of those albums that rewards repeated listens. Of course, I listened to it plenty before writing my review in October, but I’ve kept listening to it since and I just keep noticing new things. It’s enough to make me want to rewrite the whole review, honestly; there’s just so much to The Unknowing, and I love the way Dawnwalker made this album simple and complex at the same time. The ebb and flow is very well done, the performances are powerful, and the meanings just keep on coming. This is a great album to get lost in, and I still recommend it highly.
#7. Hamferð // Men Guðs hond er sterk – “But God’s Hand is Strong” is an amazing title for such a dark album. Maybe that’s part of why I like it so much—that idea of hope transcending everything else, of faith and optimism keeping you going when things are really bad. Of course, it helps that Hamferð are phenomenal musicians who know exactly what they’re doing; Men Guðs hond er sterk is a crushingly powerful doom album, well-written and performed to the highest standards. Hamferð have long been my go-to band when it’s cold and dark out. Well, winter is back, and thank goodness Hamderð is too.
#6. In Vain // Solemn – I love epic, complex metal, and In Vain delivers with Solemn. I love Solemn for its melodic qualities, its huge ambitions, and its soaring highs. That it uses a horn section is icing on the cake; the first listen-through is unpredictable, but the quality is consistently high. Solemn is one of those great albums that just doesn’t really have faults—it was never a question of whether I’d like it, just one of how much. It’s that solid, and has all kinds of staying power. A definite highlight from the year in whatever style of metal you think it fits in best.
#5. Árstíðir lífsins // Aldrlok – I love Árstíðir lífsins. I’ve criticized their albums before, but the truth is that the base of their sound is so wonderfully up my alley that I’m not sure it’s possible for me to dislike their music. I’m always so excited when Árstíðir lífsins releases new music, and Aldrlok has grown on me immensely since its release in June. I love its mystical quality, its evocative style, and its historic power—Árstíðir lífsins approach their music in a way that few bands or projects do, and it resonates so well. It’s a long album for sure, but it is filled with outstanding material and well worth the deep dive it offers.
#4. Silhouette // Les Dires de l’Ame – Silhouette first grabbed my attention with the release of Les retranchements a couple of years ago. Since then, it feels like they’ve grown tremendously; Les Dires de l’Ame feels grander, darker, and more complex than Les retranchements, and I love this direction. The melodies, harmonies, and vocal performances are stunning, and the balance of beauty and darkness is incredibly well-done. Even now, I feel like Les Dires de l’Ame is still growing on me; I am fully enamored with this symphonic sojourn, and expect to remain so for some time.
#3. Hell:on // Shaman – For a long time, I assumed Shaman would be my album of the year, and it was not something I would have predicted before May. And yet, here it is: Shaman is incredible, a powerful slab of death metal decorated with just enough melodic, mystic, and folk elements to keep me coming back. It’s rare that I like death metal this much, but Hell:on is just so compelling, from the throat singing to the acoustic interludes that break up blisteringly powerful riffing. Shaman’s got it all, and it is captivating at every moment from beginning to end.
#2. Forndom // Moþir – I can’t believe I’m not giving this one Album of the Year. Maybe it just came out too recently, but it’s still surprising because I adore Forndom. Moþir’s orchestral folk approach to creating time-defying music is essentially flawless, and it is so easy to get lost in. The vocal work, orchestral performances, and lead violin are all exemplary, and it’s been truly wonderful exploring this darker, grander side of Forndom these last several weeks. On the one hand, I wish it had come out sooner so I could have more time with it before writing this blurb—on the other, it suits December weather so well that I believe I’ve been getting the best out of it since day one. Forndom is doing amazing work, and I really can’t recommend Moþir enough. Time travel is real, and I am convinced that Forndom knows the secret.
#1. Meer // Wheels Within Wheels – What can I even write here that Sentynel hasn’t said better in his own review? Wheels Within Wheels is my new go-to album when things are bad—it is melancholic and angry, but also optimistic and hopeful, a delicate-yet-gorgeous balance that really speaks to me. It’s got a ton of variance, and knows when to go big and when to keep quiet. The songwriting is exemplary, and you really feel the impact of the many musicians who’ve come together for each song. The singing in particular is outstanding, lifted by strings, piano, guitar, and drums with a cohesion that most projects can only dream of. More than all of that, however, is that Wheels Within Wheels is an honest, vulnerable album. It is willing to be fragile and open and is achingly beautiful in those moments. Lyrically, it’s like a hand outstretched, a friend with an ear always ready to listen. Done well, this progressive rock style has limitless potential, and Meer do it so, so well. I really love this album; in many ways, it saved my year.
Honorable Mention
- The Dread Crew of Oddwood // Rust & Glory – I don’t know what else to tell you—there isn’t enough goofy music on my list. The Dread Crew of Oddwood are an absolute blast, and I keep coming back to Rust & Glory purely for the fun factor. It also helps that “Lost Comrades” perfectly encapsulates the experience of writing for this blog.
Song of the Year
I’ve written the word “hope” too much in this article—I know that. But metal music is personal, and often our choices for our favorites reflect our experiences. This year, I needed hope. That’s why “Come to Light” by Meer is my song of the year for 2024—because there were times when this song genuinely kept my head up, kept me smiling, and forced me into the right headspace to get through what really was a very bad year. Now I’m on the other side of it, and hey, it’s still an amazing song! It perfectly encapsulates that limitless potential I was going on about a few sections ago, and realizes it in such a beautiful, endearing way. An outstanding song from an outstanding album by an outstanding band.
#2024 #Amiensus #ArstidirLifsins #BlogPosts #Dawnwalker #Dvne #Fellowship #Forndom #Hamferð #HellOn #iHäxa #InVain #Iotunn #Kalandra #Kanonenfeiber #KeygenChurch #Lowen #MadderMortem #Meer #NorthernGenocide #Opeth #SaturdayNightSatan #SentynelAndTwelveSTopTenIshOf2024 #SevenSpires #Silhouette #Suldusk #TheDreadCrewOfOddwood #Ulcerate
Angry Metal Guy
S.L.R. Magazine
Moshville Times
