#TheMetalDogArticleList
#BraveWords–WhereMusicLives

ONHEIL Unleashes 2007 Single And Video “As Hope Dies” In Honor Of 25th Anniversary And Album Reissues

https://bravewords.com/news/onheil-unleashes-2007-single-and-video-as-hope-dies-in-honor-of-25th-anniversary-and-album-reissues/

#Onheil #AsHopeDies #BlackLionRecords #Razor #StormIsComing #BlackMetal #Vader #Mayhem #DanSwanö #BraveWords

This was FESTERFEST 📍@BaroegRotterdam with: #Plusminus + #Onheil + #TowerCraneTowers + #Insurrectionband + #FredHändl + #Neroth + #LuukGeers + #Mouser & More 🔥

🗓️ 31-3-2024
📷 by me: #sethpicturesmusic #sethabrikoos
.
.
.
#dutchmetal #dutchmetalband #metalmusic #metalhead #metalband #blackmetal #blackmetalband #blackmetalmusic #thrashmetal #thrashmetalband #concertphotography

🤘✌️

Some pics I shot last weekend made it into a profile pic 🖼️
.
.
.
.
.
.
#sethabrikoos #sethpicturesmusic #onheil #metalband #metalmusic #metalhead #fotograaf #concertphotographer #concertphotography #sonyalpha #roosendaal #photographer #photography #bassplayer

🤘✌️

Gisteren vond March of the Black Horse plaats met o.a. #Ecocide , #Onheil & #Braces .

Ik ontmoette daar ook Bryan Boomans van #DansendeBeren , en heb wat foto's aan hem geleverd 📷 van de dag.

Bekijk het verslag via:
https://www.dansendeberen.be/2024/03/10/march-of-the-black-horse-2024-galopperend-doorheen-de-geluidsmuur/
.
.
.
.
.
#sethabrikoos #sethpicturesmusic #metal #metalmusic #metalband #concert #music #concertphotographer #concertphotography #metalband #dutchmetal #fotograaf #rotterdam #roosendaal

🤘✌️

@[email protected]

Inderdaad...

#ziek en #onheil

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

Dr. A.N. Grier’s Top Ten(ish) of 2023

By Dr. A.N. Grier

Another year, another top-ten list from ole Grier. Unfortunately, this was a difficult year to make my selections. Typically, I have to narrow my list from twenty to thirty albums, but this year pretty much narrowed down itself. But it wasn’t only because I was too goddamn busy to listen to music and write reviews, it also wasn’t the best year for metal. Of the hundreds of albums I forced myself to listen to this year, even my honorable mentions are pretty fucking slim. I know many will argue that this was a fantastic year for metal, but I don’t like prog or doom enough to enjoy the stupid number of releases in those genres. And you’re all terrible for encouraging this shit to happen. Hopefully, King Diamond and Mercyful Fate will release albums in 2024 so we can get some real music.

But for all the work that’s taken me away from writing reviews (which is pretty much the only thing I live for these days), it’s been a good year for insulting and making fun of everyone. If I can’t have droves of amazing records, at least I have a bunch of idiots with bad taste to rip on. The number of 4.5s that everyone whored out on this site is an abomination. And, again, this is all your fault for encouraging scores twice what they should be! Idiots. But, besides all the incorrect scores, this is a pretty good crew. While I can’t help but glare (my mom says that’s just how my face is), the Zoom calls are fun, the daily bickering is therapeutic, and the horrible Doom_et_Al hot takes make me feel better about myself. Without Steel, Madam X, and Sentynel, this place would never exist. No matter how much I try to derail it. While the mighty AMG is busy as fuck and isn’t always around, we also wouldn’t be here without him. I also have to give a shout-out to olde and new editors, like Holdeneye, Wvrm, Kenny, Dolph, and Maddog for all the hard work, bringing back old AMG specials, and helping the newbies onboard. It’s very much appreciated. As for the readers… you know what I’m going to say/call you.

Now for the best list of the bunch and pretty much the only one you should read. You’ll find many records you forgot about here, or you hated to begin with which makes you an idiot.

#ish. Blackbraid // Blackbraid II – I hate that I agree with Doom that an album is good. Honestly, it physically and emotionally hurts me. But there’s not much to be done about Blackbraid’s Blackbraid II because I haven’t been able to stop listening to it since it came out. I can’t say it’s my perfect style of black metal, but the emotion is there, and it’s quite convincing. In particular, “Sadness and the Passage of Time and Memory” is a heart-wrenching piece of staggering beauty. While many complain it’s far too long, it’s only because you expected the follow-up to Blackbraid I to be another measly thirty-five minutes. That isn’t Blackbraid II’s fault. That’s your fault. And please don’t get me started with your opinions on the man’s heritage and if he’s insulting rather than honoring that heritage. Instead, let the soothing acoustic interludes guide you to the engulfing nature of “The Spirit Returns” and “A Song of Death on Winds of Dawn” before “Twilight Hymn of Ancient Blood” tears you a new asshole with its crushing, trashing interlude. Blackbraid II is one of the better atmoblack releases of the year and you gotta get over it and accept it.

#10. Mutoid Man // Mutants – Oh, Mutoid Man, you shifty, unpredictable bastard. How you managed to suck me into War Moans is beyond me because, to be frank, this is not typically the type of metal I like. I mean, not that Mutoid Man has ever solidified themselves into a genre. More like ten of them. But the chaos of the songwriting is typically too much for me. However, these purveyors of the perverse can somehow keep the craziness at bay and wrangle everything into a memorable song. That said, Mutants is rather different than its predecessor. While the insanity and wackiness remain, Mutants shortens the leash and keeps them from roaming too far into the street. The result is something a touch more melodic and less thrashy. That said, there are some fucking heavy songs on this record, like “Broken Glass Ceiling” and “Unborn.” But, in the end, this new release is full of feel-good energy that has you smiling far more than pit stomping. Again, something I’d never see myself enjoying but it’s too much fun to ignore. Each spin reveals even more in its construction, inevitably sucking me further into the silly minds of its creators. I do wish for a better master, but it doesn’t stop me from returning again and again.

#9. Omnicidal // The Omnicidalist – Guitarist/vocalist Sebastian Svedlund is one hell of a talented dude. Not only has he been fronting and playing guitar for the stellar Rimfrost, but he’s now formed a new group that is every bit as exceptional as his black metal counterpart. The main difference is that Svedlund flexes his death and thrash metal chops with Omnicidal’s debut record, The Omnicidalist. In a mere forty-one minutes, The Omnicidalist is an entertaining beast of a record. Right out of the gates, “By Knife” cuts you to ribbons and slowly, yet methodically pulls your large intestine from your body. But what makes The Omnicidalist work are the melodic flavorings spattered between their death-thrash attitude. But even that can’t describe the diversity of the record when you run headfirst into the Amon Amarth, melodeath character of “The Passenger” and old-school, Swethrash of the At the Gates-ish “Cemetery Scream.” And like Rimfrost, Omnicidal chose to produce a warm, open, well-rounded master that lets you enjoy every nook and cranny of the band’s performances.

#8. The Night Eternal // Fatale – How Steel caught this at the end of the year before it slipped by, I’ll never know. But, goddamn, am I glad he did. Sending me a private message of its existence, we spent the next 15 minutes in a Mercyful Fate orgasm. Which is a lot, considering that’s the longest I’ve been able to hold my load. Though not exactly a Mercyful Fate copycat, there are plenty of references that can be made to Fatale. In reality, The Night Eternal reminds me of those recent explorers of the sound created by King Diamond and co. Bands like Attic and In Solitude come to mind as those bands, as well as this one, take the foundation and build their own house on top of it. Steel described Fatale best when he stated that with each new track, you’re pulled deeper and deeper into the album. The two that got me on the first listen were the back-to-back “Prince of Darkness” and “We Praise Death.” With other great songs coming down the line, like “Run with the Wolves” and “Between the Worlds,” my love for the songwriting only strengthened. And it’s been strengthening ever since with each subsequent listen. Let the “Old Man Metal” moniker be damned. This is way better than all your fucking deathgrind cock-core.

#7. Ars Moriendi // Lorsque Les Coeurs S’assèchent – As I write this blurb, I realize my lists are starting to become predictable. Most Grier lists seem to include Second to Sun, Malokarpatan, and Ars Moriendi. But that isn’t my fault. All are prolific and consistent, releasing, if not their best album with each new release, something pretty damn close. Each is also unique in its brand of black metal. The one-person French outfit, Ars Moriendi, is one whose albums are albums in the truest sense. Never have I ever skipped a song or listened to a track without all the others. Like I said in the review for Lorsque Les Coeurs S’assèchent, it’s a journey. Clocking in at fifty-five minutes, these six songs are overlapping nightmares of ambient, progressive black metal. Never settling too long on one idea, each song is packed to the brim with riffs, orchestral atmospheres, organ interludes, and mind-fucking musical landscapes. Still not as popular as they should be, the songwriting coming out of this guy’s fingers, voice, and drumsticks is mind-boggling and surprisingly beautiful. Like previous years, Lorsque Les Coeurs S’assèchent has secured a safe place on Doktor Grier‘s EOY list.

#6. Bizzarekult // Den Tapte Krigen – Bizzarekult is one of the greatest treasures to ever grace us with its presence. Not only is this brand of black metal my thing, but the man behind it is a better AMG commenter than you. Be less you. Be more Bizarre. After the wonderfully moosey Vi overlevde, Den Tapte Krigen bugs out in a serious way. Everything you ever hoped for on this record is there, and more. This time, the progressive elements have greater direction, the riffs hit harder, and the vocal diversity is far superior to the debut album. For example, consider the gorgeous, Green Carnation-like clean vocals of “Du Lovet Meg.” Or, the crushing Carpathian Forest-esque character of “Midt i Stormen.” Not to mention the six-and-a-half-minute closer, “Himmelen er Utilgjengelig,” is one of the band’s most epic pieces. It ebbs and flows through magnificent Enslaved-esque progressiveness, encapsulating every facet of Den Tapte Krigen. But it also hints at more to come. If there’s anything for sure about the band’s wild songwriting approach is that we haven’t heard it all. With each new release, the bizarre factor increases while maintaining a balance of fantastic songs.

#5. Onheil // In Black Ashes – No band this year has incorporated as many influences into their music (and made it work) as this Dutch quintet. Onheil has been absent for nearly a decade, quietly crafting a new record that explores all they’ve done before and pushes further than ever before. Ditching some of the predictable catchiness of 2014’s Storm Is Coming, In Black Ashes shows the band improving their technicality. The performances are a good two rungs higher on the Onheil ladder than the previous record, from the guitars to the bass to the drums. While much of the Amon Amarthian sound of previous releases is gone, they haven’t abandoned those melodeath vibes. Instead, using their Iron Maiden-meets-black/death approach, the result comes out much in the same vein as Mors Principium Est. Vicious, technical, and with headbangable frenzy, In Black Ashes is the band’s clear statement that they aren’t afraid to step out of their comfort zone and try something new. And why not? Onheil is one of the few bands that can produce music of this caliber without it becoming a wank fest or—even worse—a jumbled mess of influences that cripples each song and implodes an album. I just hope we hear from them again sooner rather than later.

#4. Malokarpatan // Vertumnus Caesar – Here’s another staple to my (and the legendary Dr. Fisting‘s) year-end lists. Black metal with hellashes character and a shit ton of impressive guitar work. Giving absolutely no fucks about the rules of the genre, this Slovakian outfit tinkers with cathedral harpsichords, unsetting praying and chanting, and mixing the songwriting styles of Mercyful Fate and Iron Maiden. The result is a wild mishmash of styles that, somehow, avoid being a dumpster fire of influences and conclude as meaningful, complete songs. Honestly, Vertumnus Caesar should only exist in a strange, metal, bizarro world. But, this isn’t the first time they’ve been successful in spitting our weird-ass shit and making it work. They always make it work. And this new release is no different. However, it’s difficult to compare their catalog and determine if Vertumnus Caesar is better than previous releases. Mostly because they continue to tinker with their style on each release. While similarities exist, each album is completely different from the other. Malokarpatan is a breath of fresh air in the black metal genre, with characteristics (if not style) that enforce the no-fucks attitude.

#3. Vulture Industries // Ghosts from the Past – Coming off the heels of 2017’s Stranger Times, Vulture Industries’ newest opus has a lot to prove if it hopes to uproot its predecessor. While never quite ripping up that final root, Ghosts from the Past is every bit as good as Stranger Times. But it does it without sounding like a copycat. It’s drastically different in pace—driving along without exceeding the speed limit, Ghosts from the Past alternates between foot-tappin’ grooves and mighty builds. The opener, “New Lords of Light,” combines both elements, cruising you along the highway before ascending the hill to come face-to-face with a monstrous chorus. Its bookend, the nine-minute “Tyrants Weep Alone,” provides one of the best vocal performances on the album as it builds and builds to a gorgeous passage that leaves my knees weak. But it’s the Song o’ the Year, “Right Here in the Dark,” that encapsulates everything that makes up Vulture Industries in a fun, yet crushing way. Ghosts from the Past’s accessible, Arcturusian style makes it the most fun I’ve had all year.

#2. Sodomisery // Mazzaroth – You knew this was coming. Dr. Sodomisery would not let this list go by without repping these mighty Swedes. After 2020’s mediocre The Great Demise, I didn’t lose faith. I knew there was something to the band’s songwriting approach that would bubble to the top. With Mazzaroth came a new approach, emphasizing the black, death, and melodeath with massive orchestration atmospheres. What makes Mazzaroth work so well is that these atmospherics range across many influences. These include the Dimmu Borgir bigness of “Rebuilding,” the Hypocrisy-esque vocal and guitar work of “Demon in Heaven,” and the Mistur somberness of “Delusion.” While each song stands alone, the depressing theme of mental health pulls them together. And, in the time it takes a high schooler to shower, you’ve already experienced this fantastic album twice in full. It’s a ridiculously tight album for all its content, making it one of my most frequented albums of 2023. Not to mention, the master is slick and dynamic, letting you absorb it through your pores. So, do yourself a favor and get over the band name so you can experience one of the best records of the year.

#1. Mephorash // Krystl-Ah – This one surprised me more than anyone. As I stated in the review of the mighty Krystl-Ah, never in my wildest dreams did I expect Mephorash to top 2019’s Shem Ha Mephorash. But, by god, they did. Krystl-Ah contains all the elements that make Shem Ha Mephorash such a great meloblack record. Huge builds and atmospheres, passionate songwriting, and powerful lyrics and vocal performances. But, Krystl-Ah is a more complete album, transitioning seamlessly from song to song as if it were a single track. Using an approach of long runtimes, the band is completely dependent on pulling off that final climax in each song. But, somehow, they’ve pulled it off even better than they ever have before. Songs like “I Am” and “Mephoriam” add a new dimension that doesn’t so much add layers to the builds, but more like they’re adding band on top of band. There’s no other way to describe the passion and pure massiveness of these songs. Round it out with a dynamic master and Krystl-Ah is the most emotionally demanding record I’ve heard all year.

Honorable Mentions

• The Gauntlet // Dark Steel and Fire – No matter how I try, I can not put this little beauty to bed. Combining thrash with Bathorycore, Dark Steel and Fire hits me below the belt and it has never felt so good to have bruised balls.
• Tsjuder // Helvegr – It would be silly not to include Helvegr on my list. For the style, Tsjuder is one of the best out there. And, amazingly, they can continue to release quality black metal with the same aggression as they had back in 2000.
• Electrocutioner // False Idols – For a rando, False Idols was a fun surprise. Playing rather traditional thrash metal, Electrocutioner delivered an album that acts like a live setlist at your favorite dive bar. In a mere thirty-four minutes, you’ll still be plenty drunk and ordering an Uber to haul your ass home.
• Children of the Reptile // Heavy Is the Head – Not only did Children of the Reptile win the award for best band photo, but Heavy Is the Head’s weird mix of heavy metal and thrash was a hell of a good time. Toss in some ridiculous lyrics and you’ll be slapping pig butt all the way to the fair.

Disappointments o’ the Year

• Metallica // 72 Seasons – That’s too many seasons. Way too many seasons. I enjoyed St. Anger more.
• Immortal // War Against All – Last year it was Abbath’s Dread Reaver. Now this? What the fuck?

Songs o’ the Year

• Vulture Industries – “This Hell Is Mine”

This is pretty much how I feel in the AMG office.

• Vulture Industries – “Right Here in the Dark”

Easily one of the best songs of the year. Hooking as a motherfucker and so much fun to put on repeat.

• Sodomisery – “Delusion”

Lots of Mors Principium Est melodeath thrashiness to make my olde noggin bob.

• Mephorash – “I Am”

Like Shem Ha Mephorash’s “Sanguinem,” “I Am” is a quintessential listen for all Mephorash fans.

• Mephorash – “Mephoriam”

Easily the most devastating song I’ve heard all year. While it’s incredible, it fucking cripples me.

#2023 #AmonAmarth #Arcturus #ArsMoriendi #AtTheGates #Attic #Bathory #Bizzarekult #Blackbraid #BlogPosts #CarpathianForest #ChildrenOfTheReptile #DimmuBorgir #DrANGrierSTopTenIshOf2023 #Electrocutioner #Eleine #Enslaved #GreenCarnation #Hypocrisy #InSolitude #IronMaiden #KingDiamond #Lists #Listurnalia #Malokarpatan #Mephorash #MercyfulFate #Metallica #Mistur #MorsPrincipiumEst #MutoidMan #Omnicidal #Onheil #Rimfrost #SecondToSun #Sodomisery #TheGuantlet #TheNightEternal #Tsjuder #VultureIndustries

Thus Spoke and Maddog’s Top Ten(ish) of 2023

By Thus Spoke

Thus Spoke

Mum, I’ve made it; I’ve got my own official year-end list on Angry Metal Guy dot com. Just two years ago I had begun my probation period in what would come to be characteristically overzealous fashion, slapping a 4.5 on my first ever review, before deciding that words are much better than numbers. At the time, uncertain of my tenancy in these hallowed halls, I was juggling n00b reviews with short-form reviews on Instagram,1 the latter pursuit being what led me to apply here in the first place. And I’m glad I did!

My first complete year here as a writer has been pretty great, all things considered. I’ve reviewed (and not reviewed) some Excellent (with a capital ‘E’) albums and discovered new favorites—some of whom will be appearing below. It continues to humble me and blow my mind that I get to put my thoughts about music out here on the internet and that people actually read them; that I get to write about bands and records with a critical voice that actually garners some respect, like I’m a proper person who knows things; and that I have the chance to gush about artists I’ve loved for a long time, or only just hit upon. Reviewing Panopticon was a wonderful year-end highlight. Of course, not everything was rosy. It was another year of silence from Ulcerate2, not the greatest year for truly stand-out black metal (with some clear exceptions), and a year in which I struggled with some significant challenges at work. But disappointing promos and unavoidable life hurdles aside, 2023 has been the year that AMG—the reviewing, the staff, and the commenting community—has cemented itself as an important part of who I am. I’m grateful for all of you. Thank you.

Having not made one of these before, this has been my first proper taste of the agony (and perhaps joy) of choosing what to list and where to list them. Can I pen a Contrite Metal Guy piece about my picks later down the line? No, I can’t. So if I’ve forgotten something, please just don’t bring it up or it’ll torture me for at least the entirety of 2024.3 Now, on with the list before I change my mind!

#ish. Convocation // No Dawn for the Caliginous Night – Not only did this album floor me on first listen, but it also made me discover how much I love to say the word “caliginous.” *Annunciates* Cal-ig-in-ous. No Dawn… is just as satisfying, but in a very different way. Its drama, potency, and sheer scale are wondrous to behold and instantly catapulted it into my list (well, close enough). I had been thinking in recent months that I’d kind of fallen off the doom wagon. But Convocation was there right as the year was about to end to shove me firmly back on board. As Cherd opined “This is a towering celebration of death’s enormity, packaged in the heaviest and most shimmering of vessels,” and I concur. It’s really only down to a totally stacked year of music that this behemoth doesn’t rank higher.

#10. Thantifaxath // Hive Mind Narcosis – This album scares the shit out of me and I absolutely love it. Everything about its wacky, dissonant, bendy, manic, and malevolent intensity borders on the hallucinogenic and nightmarish. And as a piece of extreme metal, aiming to confront with the harshest of blackened death metal, this is a very good thing. Thantifaxath were a 2023 discovery for me, and this, their sophomore effort, thoroughly convinced me that I should be paying attention to them. It always sends me into a state of heavy foreboding, anxiety, and nausea at confrontation with the absurd. When I reviewed Hive Mind Narcosis, I talked about its contradictory coherence and beauty under a façade of erraticism and ugliness, and I believe this to be what makes it continue to stand out amidst many other unapproachable extreme metal records that came out in 2023, worthy as they may be.

#9. Downfall of Gaia // Silhouettes of Disgust – While I’ve had an appreciation for Downfall of Gaia since Atrophy, Silhouettes of Disgust has been the first one that’s really made an impression on me. It’s stuck with me nearly all year since it dropped in March, and I find myself continuing to return to it again and again. When I don’t know what to listen to, I’ll stick this on, and I’ll enjoy it every time. Melodically and emotionally powerful, it contains some of my favorite musical moments of the year, including in particular the building surge of drama and catharsis that ends “Optograms of Disgust” and the album entirely. I think the reason Silhouettes has had this effect was pinned down nicely by Carcharodon when he wrote: “this is the [album] that manages to blend most effectively all the disparate facets of Downfall of Gaia’s sound.” And I would go further and assert what he only hinted at, that Silhouettes is indeed the best of the band’s career.

#8. Stortregn // Finitude – I feel like Stortregn have been getting more and more fun with every album, or at least definitely on the last few. While Emptiness Fills the Void (2018) was light enjoyment, Impermanence (2021) stepped things up a gear into real grin-inducing territory. Finitude, however, blows those records out of the water with what is possibly the most fun I’ve had with technical death/black metal of any kind. Everything about it works towards this, from constantly evolving, circularly composed song structures that sweep you away with their drama and flair, to a flipping flamenco break in “Xeno Chaos” which I should hate, but instead, I absolutely fucking love because it works so brilliantly. Its melodies are gorgeous, its energy undeniable, its rhythms irresistible. Damn, I think I’m gonna go and listen to it again now, I’ve really given myself the itch.

#7. To the Grave // Director’s Cuts – This started off higher on my list. It’s not that I’ve cooled off on it. Quite the contrary, as To the Grave are my most-listened-to artist on Spotify this year, and I will still ardently defend, to anyone who bothers to vocalize their disagreement, that this is an Excellent album. It’s simply a testament to the strength of those you’ll find below. But let that not take away from the immensity that is Director’s Cuts. It’s a stunning slab of deathcore that utterly wipes the floor with anything else released in that subgenre this year, not just br00tal and groovy as all hell, but possessed of a powerful and righteous message of animal liberation, wrapped of course, in a super mean metal mien. “Manhunt,” and indeed most of the album, powered many a top set in the gym, while stone-cold classic-in-the-making, “Axe of Kindness” easily makes it to the Songs of the Year playlist. It’s just fantastic all-round. Until all are free! *Headbangs violently.*

#6. Wayfarer // American Gothic – I was not initially overly enamored with American Gothic. I don’t know what I was playing at though, because it’s quite clearly brilliant. It’s grown on me like no other album has this year, quickly and assertively muscling its way almost into my top five. Though at first I thought it was inferior to its predecessor A Romance with Violence, as I’ve mentioned, I was being silly, and it’s actually far superior. With a more coherent and consistent compositional structure, more powerful and punchy songs, with stronger, more memorable melodies, and a better integration of that uniquely Western vibe into vibrant and vicious black metal, this is my favorite Wayfarer album by a country mile. Brilliantly evocative, both satisfyingly savage and stirringly soft when it needs to be, American Gothic never ceases to transport me to the old West in its turbulent transformation with drama, passion, and beauty. And it’s wonderful to experience.

#5. Night Crowned // Tales – It was surprising enough that none of my esteemed colleagues had nabbed Tales before I did. But for it to be so mind-blowingly fantastic that it would end up this high on my year-end list was something else. With a songs-of-the-year-lister for an opening cut and, in general, a tracklist stuffed full of back-to-back bangers, and a blazingly bombastic, infectious spirit all around, Tales charges ahead of the competition with savage glee. It’s actually hard to overstate just how good this album is, particularly given how ridiculously easy it is to listen to with its catchy melodies, (relatively) snappy song lengths, and dynamic energy. The culmination of Night Crowned’s fiery and dramatic style of black metal, and the best of their already stellar discography, Tales calls me back ceaselessly and I’m more than happy to oblige.

#4. Fires in the Distance // Air Not Meant for Us – This album is magical. Nothing has changed since I first heard it in its entirety this spring. Elegantly composed, stirring, and effortlessly graceful, it’s hands-down the most straightforwardly beautiful thing on my list. It’s moving without being sappy, and pretty without being saccharine. And Air Not Meant for Us also wins points for including a midway instrumental that’s not only just as good as the other tracks, but possibly better, and bridges the two sides of the album in this lovely way that makes for a dreamy kind of interlude. Fires in the Distance have such a distinctive form of ethereal, key-accented melodeath/doom that I can only see the immense strength of Air Not Meant for Us as a huge, incredibly exciting sign of more brilliant records to come. As it is, I still haven’t had enough of this one.

#3. Serpent of Old // Ensemble Under the Dark Sun – Back in June, I confidently declared that “Serpent of Old have crafted one of the best metal records of 2023 so far, no exaggeration.” Well, it turns out I wasn’t exaggerating, because here it is, number three on my list. Clear as day I can recall hearing the opening notes of “The Sin Before the Great Sin,” as Ensemble Under the Dark Sun began playing for the first time. Straight away I knew that I’d landed a monster of an album, and 42 or so minutes later I was completely engulfed in its intoxicatingly atmospheric darkness. Like their eponymous snake, Serpent of Old wound their blackened death metal around and around my brain. Ensemble is intense, and yet utterly captivating, dripping with oppressive, haunting melodies and deep, angular dissonance. And it also features the best drum performance of the year in my opinion. To think this is a debut is frankly astonishing, and I am extremely keen to hear more.

#2. Dødheimsgard // Black Medium Current – For a long time, this sat comfortably in first place. Why is no mystery. Unlike anything Dødheimsgard have put out in the past, or anything else released this year, Black Medium Current challenged, confronted, and mesmerized me. Weird and discomfiting one moment, tear-jerkingly beautiful another, this album is an emotional and musical rollercoaster that treads perfectly that line between avant-garde wackiness and sincere black metal passion. I recall how stunned I was to discover its 72+ minute length, after already spinning it back-to-back multiple times because it’s so engrossing and intelligently composed. I also recall just how close I came to awarding my first “Iconic” when reviewing it, simply due to the lasting power I perceived it to possess. While the Contrite Metal Guy piece is not on the roadmap for anytime soon, I still believe Black Medium Current to be incredibly special, and an album that absolutely must be heard by everyone in the metalsphere, even if it’s to rapidly discover it’s not one’s cup of tea. Dødheimsgard have made an almost perfect record here. A worthy holder of the top position, were it not for one, equally lengthy rival…

#1. Panopticon // The Rime of Memory – As it’s so recently reviewed, perhaps this was obvious. But with Panopticon, I can be sure that its immense influence is not just due to proximity bias. Just like its predecessor …And Again into the Light, The Rime of Memory knocked me flat off my feet and buried me like an avalanche, with all of the intensity and force, and yet none of the cold. Because this burns white hot with passion and pain. I haven’t yet decided whether it sits above that prior record, but right now, it doesn’t matter, because it easily stands above all others in 2023. “Cedar Skeletons” alone snatches the song of the year accolade, but the whole is something I have to experience again and again. It would just be wrong to give anything less than first place to an album that quite literally brings me to tears because of how emotionally poignant and compositionally powerful it is. As with my #2 pick, its epic duration is immaterial in the face of its effect, which is utterly unmatched by any of my other list contenders. 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, and to have it all bleed pure pathos. The Rime of Memory more than matched my lofty hopes, and it already has a very special place in my heart.

Honorable Mentions:

• Ahab // The Coral Tombs – A return to form after the iffy Boats of the Glen Carrig. Managing at turns to be both as heavy as a colossal squid and beautifully still as the depths of the ocean.
• Nightmarer // Deformity Adrift – I love everything Nightmarer put out and this is no exception. Brutal and shivering with grim atmosphere and irresistible rhythm.
• Manbryne // Interregnum: O próbie wiary i jarzmie zw​ą​tpienia – Just as good, if not better than its predecessor. Which means it’s really rather good. Gnarly, intriguing Polish black metal with bite and pizzaz.
• The Circle // Of Awakening – This magnificent dramatic black metal opus came the closest to making it into the final list. I slept on this album hard until the final months, and it was only barely pushed out.
• Dymna Lotva // The Land Under the Black Wings: Blood – An album that came out of absolutely nowhere for me and stunned with its emotional potency and devastating delivery. Future Dymna Lotva records may well make the list when that year comes.
• Voidsphere // To Infect | To Inflict – Thank you to Dear Hollow for putting this on my radar. It’s like Decoherence and Darkspace had a baby. A dark, mesmerizing atmospheric black metal baby. Gorgeous.

Songs of the Year:

• “Cedar Skeletons” – Panopticon
• “De Namnlösa” – Night Crowned
• “Axe of Kindness” – To the Grave
• “Optograms of Disgust” – Downfall of Gaia
• “The Fall” – Serpent of Old
• “A Coral Tomb” – Ahab
• “Boreal” – The Ocean
• “Seven Crowns and Seven Seals” – Sulphur Aeon
• “Taufbefehl” – Nightmarer
• “Of Awakening” – The Circle (ft. Ne Obliviscaris)

Guilty Pleasure of the Year:

• “SIRENCORE” – Banshee – Not remotely metal unless you count some black metal shrieking scattered into its dance-pop. I did however, get mildly addicted to this song for a time. What can I say? I have to let my girly side out occasionally. And yeah. It’s going on the playlist.

Maddog

My earballs had a mixed year. A headbanger’s field day, 2023 boasted a solid array of death metal and some doom that won over skeptics like me. But this year’s music lacked emotional weight. Few 2023 albums sounded as beautiful as Inexorum’s Equinox Vigil, as heart-wrenching as Darkher’s The Buried Storm, or as monumental as Gloson’s The Rift, all of which rocked my 2022 list. There was still plenty to love, but something felt missing.

And so, I found solace in music from years past. Trees of Eternity’s Hour of the Nightingale, perhaps the most underrated record in AMG history, offered me catharsis on dark days. Emma Ruth Rundle held my hand,4 expressing boundless empathy through Marked for Death. Every Enshine release whisked me into a secluded world of sorrowful beauty. Conversely, LiveWire’s thrilling Under Attack!, my favorite 2022 record, kept hopelessness at bay; no matter what, I’m happy to inhabit a world that has LiveWire in it. On the fiercer side, I rekindled my love for Morbid Angel’s Covenant (1993), Suffocation’s Effigy of the Forgotten (1991), and Dying Fetus’ Killing on Adrenaline (1998). This deep bench of yesteryear highlights helped scratch the itches that 2023 albums missed.

The scarcity of tear-jerking 2023 music also re-taught me an important lesson: music that isn’t overtly emotional can still offer consolation or escape. Indeed, my favorite 2023 records brought a smile to my tired face rather than feeding my wallowing tendencies. A comment from the recent Suffocation review expressed this sentiment best:

All things fall to ruin in this world, and that’s why we have death metal.

I’ll give thank-yous a shot, though they’ll inevitably be incomplete. Thank you to AMG for his fearless leadership, Madam X for her tireless work, Grier for his insults, Steel for his bourbon (and also his bourbon), Sentynel for keeping us alive, and Dear Hollow for doing all the writing. Thank you to the UK staff for tolerating my occasional visits, and to everyone who’s supported me through bouts of melodrama. And thank you to everyone who makes my world more musical: artists, comment-section banterers, fellow writers, friends who share music with me, kind people at shows, and more. I’ll be on board 70,000 Tons for the first time next month, and I’m excited to keep deepening my musical community.

Finally, thank you to Thus Spoke, my (list) partner in (vegan) crime. Her intense emotional connection to music bleeds through her words, inspiring me to listen more closely and write more goodly. Read her list first; you won’t regret it.

#ish. Ne Obliviscaris // Exul – Exul’s peaks show Ne Obliviscaris at the top of their divisive game. The band’s balance of beauty and brutality is as strong as ever, as the strings, clean guitars, and death metal riffs move in lockstep. Bassist Martino Garratoni’s hyperactive melodies round out Exul’s rich soundscape. It’s a pleasure to hear Ne Obliviscaris’ compositions unfold, ebbing and flowing among the band’s diverse strengths. Exul’s bloat is the only major splotch on an otherwise stellar record. Listen to Exul with an open mind; it’s easy to get clouded by the hype or the popular hatred. Exul offers a lot to love, and there isn’t much else like it.
[Pairing: Maison Ferrand (Ars, France), Citadelle Jardin d’Été Gin. This gin is easy to sneer at; it’s contemporary, a newcomer, and French. But give it a chance. You might find your mind wandering through a château garden in bloom.]

#10. Gorod // The Orb – I slept on The Orb at first because of its lackluster bass. After a decade of spectacular performances, bassist Benoit Claus inexplicably dialed back his wizardry after 2015’s A Maze of Recycled Creeds. Still, Gorod makes it work. The Orb’s unhinged harmonic leads showcase guitarists Pascal and Alberny at their finest. Meanwhile, the album’s energetic peaks and valleys give space for the drums to take the driver’s seat. Every moment of The Orb amps me up for the next moment, most notably on career highlight “Breeding Silence.” The Orb isn’t memorable enough to land near the top of Gorod’s formidable discography, but Gorod’s brand of hyper-technical death metal is still fun as hell.
[Pairing: Founders Brewing (Grand Rapids, MI), Porter – 6.5% ABV. Less rich than some of its Founders brethren (e.g. Breakfast Stout), but still a flavorful feast.]

#9. Altari // Kröflueldar – I don’t know what the hell this is, but I love it. Altari’s distinctive debut melds black metal and psychedelic rock. While those genre labels might provoke knee-jerk comparisons to Oranssi Pazuzu or A Forest of Stars, Altari’s sound is peerless. Stalwart rhythms ground you while swirling melodies emerge from nowhere to whisk you away, echoing Love’s Forever Changes and Jefferson Airplane’s Surrealistic Pillow. And yet, Kröflueldar’s blackened edge makes it a haunting experience. While Kröflueldar’s abrupt song endings have room for improvement, Altari’s hypnotic debut is a triumph. It might be tucked too far underground to turn many heads, but it’s well worth your time.
[Pairing: Brandy Soymilk Punch (made with Paul Masson VSOP Brandy). “What the hell is this? Why would I ever drink… Errr, why is my glass empty? Fill me up!”]

#8. Sodomisery // Mazzaroth – The melodic black metal resurgence of 2023 peaked with Sodomisery. Mazzaroth checks every box. Dissection-lite blackened death riffs collude with soaring Misturious melodies to lure you into the fray. The album’s clean sections and Sodomisery’s newfound symphonic elements add emotional depth without sounding generic. Mazzaroth’s strengths coalesce in its belt-along choruses, which maintain the album’s somber mood while still worming into your brain. Because Sodomisery executes every component so well, the record sounds fresh despite trodding well-trodden ground. Even Sodomisery’s less-than-ideal name inspired three of 2023’s most iconic comments. Mazzaroth has captured the hearts of old fans and newcomers alike, and the attention is well-deserved.
[Pairing: BrewDog (Ellon, UK), Drop D – Cascadian Dark Ale, 8.1% ABV. Perfectly balances hoppiness and roasty stout flavors, without reinventing any wheels.]

#7. Faithxtractor // Contempt for a Failed Dimension – While 2023 had no shortage of compelling no-frills death metal, the genre peaked in January with Faithxtractor. This is what you get when you cross faith unforgiving death metal with a tractor meticulous songwriting. Contempt for a Failed Dimension’s single-minded focus keeps it concise and fearsome across both its crushing slow sections and its frantic riff carnivals. Faithxtractor’s creativity elevates the album from “mere” fun to the top of its genre. Even at its most unhinged, Contempt for a Failed Dimension never trips over itself. Every riff inhabits its optimal location, and each one is essential to the final product. I’m not sure which dimension has failed—I hope it isn’t a spatial one—but I know Faithxtractor will punish it mightily.
[Pairing: Lagunitas Brewing (Petaluma, CA), IPA – 6.2% ABV. A familiar beer in a familiar style, but it always hits the spot. Sometimes that’s all you need.]

#6. Xoth // Exogalactic – 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 like hordes of warriors are really battling for the galaxy. Hearing Xoth play Tetris with electrifying melodies of all shapes and sizes is thrilling. While the album’s peaks fall short of its predecessor, you’ll be belting out its colossal choruses in no time. Xoth’s style is unique, but it shares a strength with Archspire, First Fragment, and Jane Austen: you can hear Xoth grinning through their art. Every time I listen to Exogalactic, I can’t help but grin alongside.
[Pairing: Brouwerij Huyghe (Melle, Belgium), Delirium Tremens – Belgian Golden Strong Ale, 8.5% ABV. A paradox in a glass: strong and flavorful, but light-hearted and bright. It’ll put a smile on your face.]

#5. Raider // Trial by Chaos – Trial by Chaos is as dense as its cover art. Over 39 minutes of hectic death-thrash, Raider tells tales of dystopia, science fiction, and righteous defiance. Every element of Raider’s onslaught finds its mark. The guitars range from Floridian death metal steamrollers to three-piece melodic leads, nailing both styles. The thunderous rhythm section raises hell at climactic moments and stitches Trial by Chaos’ disparate pieces together. Most strikingly, Angelo Bonaccorso’s vocal variety imbues the music with emotional force and narrative structure. This is only Raider’s second full-length record, but its cohesion and show-stopping power make it best in class. Expect Raider to be a torchbearer for death-thrash in the years to come.
[Pairing: 3 Floyds Brewing (Munster, IN), Permanent Funeral – Imperial IPA, 10.5% ABV. Unforgiving in its strength, its hoppiness, and its intense flavor. Intimidating but irresistible.]

#4. Wayfarer // American Gothic – Seamlessly blending their Western aesthetic with black metal, Wayfarer transports the listener to the Western United States circa 1900. This is not a romanticized Magic School Bus trip; everything around you is greed, senseless violence, and environmental devastation.5 American Gothic’s emotional palette matches this landscape, leading through righteous anger (“The Cattle Thief”),6 longing (“To Enter My House Justified”), and hopelessness (“Black Plumes over God’s Country”). The album’s fantastic rhythm section and its rich production, both uncharacteristic strengths for black metal, allow Wayfarer’s diverse compositions to shine. Even though Wayfarer isn’t the only band playing this style, they’ve won my heart. Concise but powerful, American Gothic is the new American gothic.
[Pairing: Buffalo Trace Distillery (Frankfort, KY), Sazerac Rye. Accessible for the wallet and the palate, but with a fierce rye edge. A flavor bonanza and a perfect companion for an evening of reminiscences or regrets.]

#3. Hellripper // Warlocks Grim & Withered Hags – The “old Hellripper” is still alive and well, after two riotous slabs of blackened speed metal. The “new Hellripper” is no less formidable. Forays into death metal and old-school speed metal add flair around the edges. Meanwhile, Warlocks’ longer tracks leap out of Hellripper’s comfort zone while balancing melodic variety and narrative cohesion. Scottish folk influences add depth throughout the melodies, the lyrics rooted in Orkney mythology, and the unexpected bagpipes. With these forces combined, the record’s narrative pieces feel like captivating campfire tales rather than bedtime stories. And still, Warlocks’ speedy killers are the most fun I’ve had all year. Warlocks is both an exhilarating listen and a massive step forward for Hellripper’s songwriting.
[Pairing: St. George Spirits (Alameda, CA), Terroir Gin. The juniper-heavy palate will placate gin gatekeepers, while the Douglas fir and sage will transport open minds to a California coastal redwood forest. Classic, innovative, and delicious.]

#2. Onheil // In Black Ashes – In Black Ashes is melodic black/death/speed/thrash at its finest. But that description is both a little too much and much too little. The album’s irresistible speedy riffs alone deserve Grier’s 3.5. Onheil’s mastery of melody and songwriting elevates In Black Ashes into the stratosphere. Led by the indomitable “Void,” In Black Ashes’ powerful melodies offer catharsis like none other. As the album progresses, Onheil flexes their compositional muscles more, melding narrative meloblack epics with Mors Principium Est-adjacent bangers. Every track is a winner, and Onheil strikes an impossible balance between enthralling riffs and emotional heft. In Black Ashes deserves a lot more love.
[Pairing: Hayman’s Distillery (London, UK), Royal Dock Navy Strength Gin. This isn’t just another boring London gin; spices and citrus add a twist. Bottled at the 114 proof point where soaked gunpowder can still ignite, Royal Dock is fierce but shockingly smooth.]

#1. Theophonos // Nightmare Visions – Nightmare Visions throws everything at the wall, and everything sticks. I struggled to describe this album once, and it isn’t getting easier. Theophonos’ debut feels like a grind-paced tour through metal history, squeezed through a blackened filter. Armed with razor-sharp riffs, a vicious rhythm section, and a refusal to sit still, Theophonos’ dissonant style is both neck-shattering and evocative. The album’s density makes it a gripping experience, while Jimmy Hamzey’s (Serpent Column) masterful transitions hold the Jenga blocks together. Theophonos’ blood, sweat, and tears glisten through details like the inter-song callbacks and the blurring of frenzied black metal and serene rock. Ten months into our love affair, Nightmare Visions still reveals new facets on every listen. Even if blackened grind isn’t your home turf (trust me, it isn’t mine), give Nightmare Visions a shot. I’d never heard anything like it, but now I can’t stop listening.
[Pairing: Fifth Hammer Brewing (Queens, NY), POGlodyte – Sour Ale with Passionfruit, Blood Orange, and Guava, 5.5% ABV. The description is accurate but inadequate. Wilder than your wildest dreams, this sour is what you never realized your life needed. Rapture for every taste bud.]

Honorable Mentions:

• Night Crowned // Tales – Tales is a scorcher from cover to cover, blending ferocious blackened death melodies with clean and folky digressions. Night Crowned jostled their way up here at the last minute. Ask me in a few weeks, and I might regret not pushing Tales up to my top 10.
• Tomb Mold // The Enduring Spirit – Tomb Mold’s 57-degree turn into prog death lands close to Fallujah’s best work. With dueling guitar leads, riveting bass melodies, and groovy drum lines, The Enduring Spirit is gorgeous and engaging. With more oomph, it could’ve landed near the top of my list.
• Saturnus // The Storm Within – From its crushing death-doom riffs to its My Dying Bride-esque dirges, The Storm Within ripped my heart out. Saturnus’ decade-awaited return suffers from bloat, but it’s still one of 2023’s rare emotional juggernauts.
• Kalmah // Kalmah – Kalmah’s Kalmah sounds like Kalmah, in the best way. Firestorm riffs, massive climaxes, and prominent synths get the blood flowing. The slower morose sections hit just as hard, especially with their infectious choruses. Kalmah doesn’t break new ground, but it still holds me rapt.
• Reverend Kristin Michael Hayter // Saved! – Saved! is jarring, but Hayter’s spellbinding vocals and her cohesive compositions won me over. The album pantses my heart in its best moments, like “I Will Be with You Always.” The out-of-place shorter pieces and the record’s rocky start hold Saved! back, but it’s still worth a spin or ten.
• Serpent of Old // Ensemble under the Dark Sun – This one is tough to describe. Ensemble’s blackened death melodies, at once eerie and grabby, crept under my skin on my very first listen. Given how dense and thoughtful Ensemble is, I still can’t believe it’s Serpent of Old’s debut.

Disappointments o’ the Year:

• Myrkur // Spine – Pairing: Methanol. A close relative of excellence, but hazardous in its current form. So close, but so very far.
• The Ocean // Holocene – Pairing: Southwest Spirits (Dallas, TX), Calamity Gin. The heavy floral and citrusy botanicals make for an intriguing promo pitch. Given my history with similar styles, I had every expectation of loving this. Alas, reality was not so kind; I struggled to finish it.

Songs o’ the Year:

#Ahab #Altari #Convocation #Dödheimsgard #DownfallOfGaia #DymnaLotva #Faithxtractor #FiresInTheDistance #Gorod #Hellripper #Kalmah #Lists #Listurnalia #Mānbryne #Myrkur #NeObliviscaris #NightCrowned #Nightmarer #Onheil #Panopticon #Raider #ReverendKristinMichaelHayter #Saturnus #SerpentOfOld #Sodomisery #Stortregn #Thantifaxath #TheCircle #TheOcean #Theophonos #ThusSpokeSAndMaddogSTopTenIshOf2023 #ToTheGrave #TombMold #Top10Ish_ #Voidsphere #Wayfarer #Xoth

New photo report (including my pictures) online of #Onheil, #Fenris & #MaskofInsanity , check it out:

📷 https://zwaremetalen.com/liveverslagen/fotoverslagen/de-in-black-ashes-releaseshow-van-onheil-in-beeld2
.
.
.
#sethpicturesmusic #sethabrikoos #blackmetal #blackmetalband #bibelot #dordrecht #concert #metal #dutchmetal #dutchmetalband #concertphotography #sonyalpha

🤘✌️