She knows my reviews dip into a variety of genres, and this band does hit the mark with industrial/rock/metal/electronica and goth.  I view this band as pretty experimental.  While the members have a past rooted in black metal, this is anything but black metal.  If you dig bands like Marilyn Manson (his more experimental albums), Type O Negative, NIN, and The Sisters of Mercy, you will be able to sink your teeth into at least some of this, but it is a tough listen during certain segments.  Read on to see why.

I am a fan of horror movies.  Pointing out that international horror is kinda my jam.  International horror pulls no punches when it comes to taboo subjects, and anyone, regardless of age, race, creed, or sex, is on the chopping block when it’s time to meet your demise.  Following that framework, we have heavy, and I mean heavy, topics the band covers.  There’s some weird narration that goes on at certain moments, and the ages vary, and it’s either the antagonist or protagonist doing the narration.  Topics such as religion, domestic violence, and a variety of different abuses are all on display throughout these songs; this is a short album, at thirty minutes.

“Fucking the Mirror” opens the album, and I advise against trying to do this, or you will get the ouchies.  Starting with some electronica beats and sounds from the early ’80s, this song is rooted in The Sisters of Mercy.  Goth-type vocals with an 80s new wave sound, also pulling from Depeche Mode.  The song is moody, and I feel all the band members lend their vocals at various times throughout the song and album.  Vocals go from harsh, melancholic, and shoegazy.  All very cool, and I must say I really like this opening song, quite a lot.  The pained vocals, especially towards the end, are pure suffering.

“W*oman’s Eyes” begins with a hellacious opening scream by a woman.  It’s terrifying.  The main goth type of vocals come in with the higher rasp and screaming in the background.  It’s a cacophony of chaos during certain moments.  Due to the vocals being piped in higher in the mix, it can be a lot.  The song picks up the speed a bit, with some industrial metal moments with a squealing guitar backdrop. Midway through the song, we are treated to atmospherics before some more pained and anguished screams and moans take center stage.  “The Orgasming” starts with harsh vocals, coming across as Marilyn Manson in their aggressive tone, then getting into more of the goth type of vocals that he uses, or for that matter, some Type O Negative influence.  This song is melancholic, depressive and a bit on the hypnotic drone side of things.  The song gets progressively heavier towards its end.

“Your Repulsive Husband” has heavier themes dealing with adultery and child abuse.  The opening lyrics of “I chain you in your room mirror child As I need a moment of peace from your screams, But then I fear you might die”, create dread, and frightening imagery.  This song is very new-wave-ish in its music, with a variety of vocal tones telling this story.  There are some varied sounds in the background, as well as a dinging bell, which coincide with some of the lyrics.  This is a depressive and moody number, sure to conjure up some emotions from within.  “Godspeed” gets into more abuse themes, and some thrashy industrial metal, making this the most extreme song on the album.  Definitely some headbanging moments and a very weird, moody guitar tone on this one.  Bendy riffage, which is original.  This and the first song are my faves.  The rest of the songs all follow these mentioned formulas.

Mousecunt is sure to raise some eyebrows with this Orgasmic Mouse debut album.  It’s experimental, boisterous at times, moody, and thematically, maybe one of the heaviest albums I’ve heard in the last decade or maybe more.  I do like this album, but in smaller doses.  I feel a bit dirty listening to it and need to shower now.  Art, in all its forms, is supposed to push boundaries, which I want, therefore, I applaud the band for going in that direction, especially with the album art.  If you enjoy weird, thought-provoking industrial/electronica metal/rock, give this band a chance.  It will also help support the label, in turn.  For me, honestly, I am unsure how many more times I will go back to listen to this one.  Doom/funeral doom can be a tough listen because of its depressive musical and lyrical themes; this band is a whole ‘nother off-the-wall depressive experience.  Nonetheless, it’s pretty cool, though.

I have interviewed Ralf before, reviewed all of his bands, and have talked to him on the phone as well. The man loves death metal, and the Revel in Flesh breakup did not last long, as he put a new band together last year. He brought in Simon Abele (Inner Earth) on guitars, current Rotpit drummer Erik Barthold,

But how do you still capture that Boss HM-2 Pedal classic Swedish death metal tone, Revel in Flesh is known for???? Well, you bring in a longtime veteran and who I consider a friend, Jonny Pettersson, to handle the bass and, most importantly, the buzzsaw guitars. The man is in a ton of current and past bands. Current and past, check out this man’s resume: Henry Kane, Massacre, Heads For The Dead, Rotpit, Wombbath…I mean, I can go on all day. He is another death metal worshipper, and he knows this style of death metal amazingly well. So much so that the Revel in Flesh sound is preserved, mastered, and in some ways a bit angrier on this sixth album. I reviewed their last album, The Hour of the Avenger, and hot damn, that sucker is heavy AF. That was a tough one to beat. Flesh for the Kult of Death beats it.

No cute intro, just a total ‘Fuck You’, we are back. The title track erupts. Getting right into the speed, it’s not long before a brutal blast beat is tossed in. Ralf sounds great, throaty, and alters his vocals back to Revel in Flesh, as he does sing a tad differently in the other bands he is in. There is an exceedingly strong Dismember – Like An Ever Flowing Stream guitar tone on this album, and it’s monstrous. The main tempo of the galloping is sure to keep the headbanger happy. There are a few moments of slowdown with the atmosphere and beautiful guitar harmonies. Melodious, and that is what Jonny knows how to toss in, amongst the brutality.

“Bodybag Inferno” is next with a scorching opening guitar riff that is pounding heaviness. Slow, groovy, and will see some pits moving about here and there. The isolated guitar riff around the 2.20 section is excellent as it gives way to the isolated bass guitar. This stop-and-start moment is a great testament to the rhythm section. It will be a true test to play this sucker live. This is a great middle of the live set song.

“Pool of Blood” brings forth the speed. The buildup is short and right into a blast beat, then into a monumental galloping attack. Then right back into a brutal blast beat. Stupendous lead guitars and soloing. More blast beats, and this is a full-throttle death metal assault on the senses.

“Priest of Flesh” offers a slower and more melodic edge that the band has now incorporated on this new album. This song is moody and has a great double bass rumbling heaviness during the mid-paced moments. Guitar harmonies throughout this song, and quite honestly, some spoken word moments, would have actually worked if they had tried it out. The song gallops towards the end with an ethereal, emotive section that calls to mind what fellow countrymen, Chapel of Disease, started doing on their later albums. Truly is amazing.

The band always closes out with a cover song, and this time it’s Crowbar’s “All I Had (I Gave)”. A very heavy original song, and it’s great to hear the Dismember guitar tone in this song. All the elements and pacing of the original are intact, and Ralf lets loose on some extra growling. Such a fun cover.

Flesh for the Kult of Death is not only a terrific return and improved Revel in Flesh I am very happy to see the band continuing with their color-themed covers. This time we get blue, and the artwork is amazing as the reaper makes a return on this album, as it presides over the festivities.

The production and musicianship are impeccable. I am wondering if the band will be laid to rest maybe next year? The song preceding the Crowbar cover is called “The Last Farewell”, which I am unsure insinuates in any way that this is the last Revel in Flesh album? I am just speculating. Suffice it to say, this album owns and must be in your collection pronto!

9 songs in 45 minutes, “Alt/Space” gets things started with an atmospheric buildup, with voices in the background, and the intro works well until “Cryptic Site” starts. Beginning with a crushing groove, Mike’s spoken-word-type raspy vocals are accompanied well by his bludgeoning distorted bass. The excellent main guitar riff and bass hitting at the 2.30 mark will bring you back to Pure era Godflesh with the heavy, hoppy, thumping sounds. The thumping continues, and that catchy riff is most excellent.

“Swamp Flesh” is exactly how I am feeling today. It’s over 90 degrees, and I need to get into the pool. Vocals are piped in higher, excellent, doomy, growly, and menacing vocals. This song actually is pit-worthy with the pounding groove and catchy pinch harmonics. Vocals are enunciated terrifically, and lyrics are understandable. If you’re gonna spend time writing lyrics, you might as well make them audible so we all can test your genius level. Like a lumbering sloth, this song has heaviness all over it. When the main part hits and repeats, such as the 3.44 mark, you cannot help but headbang in unison to the beat. Crafty bastids!

“The Cell Inside” starts softly, and if you ain’t holding up your lighter like it’s 1985, then get the hell outta here. The music hits at the minute mark and is more of a somber, melancholic tone. Depressive, emotive, and you can feel the pain when words/phrases like ‘Worthless, Voices Crying, Never Forgive ‘ are spewed out by Mike. It adds more weight with the lyrics enunciated so well. There are some slow guitar harmonies around the 4.10 mark that have me feeling Iron Maiden. A short time later, the isolated bludgeoning bass guitar rumbles by itself until the music comes back and hits ever so heavily. This is one of the best moments Red Vinter has ever created.

The title track opens with that dirty ass, distorted bass guitar. Drums enter into the picture next. Guitars slowly build up, and the music morphs into a lumbering, crawling speed that is pure Winter worship. Toss in more of that Godflesh Pure sound, more during the depressive moments. The song is not drawn out to 10 frickin’ minutes and is around the five-minute mark, perfect length. Catchy vocal patterns to coincide with the guitar melodies, and the song picks up to a monstrous groove that hits at the 3.13 part. This plodding groove has a bludgeoning beat that calls for beatdowns. Luckily, this part again repeats towards the end. Terrific way to end the album, as well.

If Ghost in the Fog were a drink, it would go down smoooove, like a stick of butter. But due to it being so heavy, depressive, and abrasive, at times, it would be a sonofabitch coming outta you. Tear your insides right out! Ghost in the Fog is the best release from Red Vinter. Catchy, memorable, heavy, and well played. The band is coming into its own and is playing some live shows to boot. Maybe they can try to book MDF for next year. Get this album now!

The band suffered a loss two years ago when their bassist Erik Barrett passed away (RIP, brother). The band was able to soldier on, and Sean Martin is now on bass. Pete Morcey – vox, Rich Rosa – drums, and Jeremy Braddock/ Rick Brayall guitars round out the band as they’ve done for years. My boy Rick, used to be the guitarist for Tyrant Trooper out of Connecticut, btw. And we played some shows back in the 90’s when I was fronting Internal Bleeding. If you never checked out TT, you must do so pronto!

100 Demons is a downbeat hardcore band from CT and while they have gotten better on each of their albums, I am unsure if the world will be ready for this new monster. Embrace the Black Light is 12 songs in 37 minutes and is so fucking bludgeoning, the band may get locked up for releasing this album. It should be a crime due to how monstrous this actually is and the fact sinkhole pits will be forming from here to the Pacific Rim with this.

“The Nightmare” starts with some church bells in the background until the music hits. And the production is definitely the best the band has ever had on their albums. The mid-paced, ruthless groove hits, then we are hit with a blast beat and some galloping hardcore thrash moments. Super aggressive. The downbeat hardcore hits, and boy, does it ever hit. Hard AF! Pete sounds even better all these decades later. He sounds like he’s jumping through the mic to bodyslam you again and again and again. This is how you open up a comeback album, folks! “Made For Nothing” is next up and has a fast hardcore galloping beat that slows down with the song title being yelled at us, and the groove is just a monster. Total beatdown music.

“Through Seven Eternities” has some great opening drums, and you can tell the ‘Holy Shit’ moment is about to hit. Boom, right into a monster groove. The song gallops, then gets faster, taking us back to a hardcore beatdown groove. You will be swinging all damn day. You will want to create a whirlwind circle pit that creates tornado-like winds. The song gallops some more, and the slam hitting at the 2.20 section is criminal at best. No one will be left standing during this beatdown moment. It is beyond lethal.
“Nail It Shut” takes me back to those NYHC days with the ripping fast moment opening things up. Excellent riffs and heavy. Catchy bendy riffs with perfect tempos. At under two minutes, this song is not here to stay long; it makes a pounding impression.

“Spiritual Obliteration” ends the album with a slow and heavy buildup, almost as if the first song started with the music. Then the vicious hardcore-infused thrash speed takes over, then right into a mid-paced groove, which gets slower, really beatdown slow. The isolated riff at the 3.05 moment signifies the slam. And what a slam it is. Terrifically heavy and violent, this is how the music ends. A little atmospheric outro takes us to the end, and before you know it, you are playing the album again.

Embrace The Black Light puts the hardcore scene on notice. Creating an outstanding heavy AF album. This is the most aggressive and heavy album 100 Demons has released, and their other albums were killer. I am unsure if the band tours. They should. I would love to see a tour with them opening the tour and Emmure and Biohazard on the tour. I think that would be a monstrous tour which would bring some of the deathcore into the house with Emmure and I would call the Tour: The Sinkhole Tour.

I am being dumb, but at the end of the day, Embrace The Black Light has the best grooves of any 2026 release. The full motion cover on Apple Music is super neat with the swirling smoke and suns moving around. The production is insane and musicianship is stellar. This is how violent grooves and slams should be written. Outstanding!

One of the things I’ve always enjoyed about the band, and while it may seem odd, is the band logo. I find it pretty striking and cool to look at. While some of the band’s albums have been stronger than others, album #7, Heaven Wept, is the best one yet for Inferi. Check out the batshit insane album cover – it’s absolutely nuts, and coincides with the technical shredding, brutality, known as Inferi.

Along with main man Malcolm Pugh and vocalist Stevie Boiser, the band welcomes two new members, making the band ½ new. Spencer Moore on drums (Archspire) and Sanjay Kumar on guitars (Wormhole), complementing Malcolm, are among my favorite shredders. Additionally, if you’re unfamiliar with The Artisan Era label, then if you enjoy bands such as The Black Dahlia Murder, Wormhole, The Faceless, and Decrepit Birth, then you will love Inferi.

“The Rapture of Dead Light” wastes no time with a fancy schmancy intro. Brutality right off the jump. Ruthless. The guitar work, with Sanjay added, is an addition to propel the band even further. Vicious brutality and while there is a bit of Wormhole extra brutality, the Inferi sound remains intact, with respect to the noodling and extreme technical precision. Check out the double bass at the 2.15 mid-paced moment. It will run over you like a hungry, hungry, hippo. Tons of guitar solos and Stevie’s vocals are filthy, gruff and in your face. The extreme technical madness going on, is flawless. One of the best album openers all year folks.

The title track has a phenomenal opening sequence destined to start a monstrous pit in all the galaxies above. Heavy, slammin’ and crushing. This moment is like a tank just getting its treads started. After the groove, drum roll and right into the scorching blast and tempo changes. One minute there’s a blast, few seconds later some galloping, then a slowdown and the orchestral arrangements, from Malcolm, breathe life all over the place. The slow beat down groove erupts and the guitar riffing is most excellent. Harmonies over the rhythm, add even more light to this, then right into a scorching blast with keys abound all over this sucker. In some of the extreme madness, Inferi comes across as Rings of Saturn, especially the soloing at the 3.43 timestamp. Pure madness, christ almighty, technical ferocity!!

“Of Rotted Wombs”, starts excellent and then the blast beat with the harmonies and sheer brutal melodies are face ripping. Start and stop moments and orchestral choral vocal moments as well…this is another scorcher. The album ends with “Godless Sky”. Cutesy piano opening then right into the mid-paced crunching heaviness. Tempo shifts galore, like a charcuterie platter, much to choose from here. The drums at the 1.38 section are tremendous and I am feeling like I am being para diddled to death. Midway through the song, and the isolated riff and growl signifying the Holy Shit part, will rip you in half. Killer groove, then atmospheric melodies and beautiful musical compositions follow.

Heaven Wept is outrageously fun, brutal, melodic, punishing and mesmerizing. The musicianship is tremendous and song structures never get boring. This album is more noodly than previous efforts and is also Inferi at the top of their game. The face ripping brutality and speed makes me do my cardio 10x faster. Winning. The production and mix is loud with everything sounding punch you in your face worthy! In terms of technical precision and brutality Inferi, not only have upped their game, they have released an album tough to beat this year, in their genre of death metal.

“In Contempt of Night” starts things off with a bap bap bap drum hit and right into the blasting madness, and Dakota has one set of hellaciously vomitrocious vocals – I love it. There is a pretty early breakdown that goes into the blasting and Joe’s bass plucking; the dude rules and is prominent in the mix. It’s one of the things that makes albums, with prominent good bass work, something I go back to a lot. With today’s technology and digital era, quite honestly, with this genre of death metal, you cannot tell it’s drum programming. Because I can name at least 10 bands playing this death metal style with a human drummer, and it sounds computerized, so there.

“Oblivion Dwelling” is monstrously fast, with killer guitar harmonies, and these moments remind me of the last and best Spawn of Possession album – “Incurso”. So fast, techy, a bit noodley, but not overly noodley, and the breakdowns with ‘Hey I’m not from South Dakota’ Rivera, gurgles. Super guttural with the unholy breakdowns on this song. I should also mention it is not uncommon for tech death metal to have super long songs, and Delirious Compulsion thankfully does not follow that rule. This style of brutal death metal is best served in shorter increments, and in doing so, the songs punch harder. The band name song erupts outta the starting gates with blasts and scorching pinch harmonics, and with monstrous and well-designed programmed drumming. The brutal bass plucking, guttural breakdown, at the minute mark, is perfectly timed. If you are not swinging or 2-stepping during this moment, than wipe the Taco Bell off your face and get to steppin!!

The title track and best song on the album Erratum of Dysphoria, ends the album with a killer mid-paced opening with pinch harmonics, then more blasting, bass plucking, gurgles, then right into a ferocious guttural. There is a bit of jumpiness to the groove section, alongside the pinch harmonics. There are more blasts, gravity blasts, and pummeling beats. Suffice it to say, they ended the album the way this style of music should tie up such an album

Delirious Compulsion is putting the brutal tech death metal scene on notice with Erratum Of Dysphoria. Well played, tight mix and production, noodly, but super brutal, and check out the eye-catching album cover. With all those colors and such, it’s gonna look bomb on merch. It’s been said that if you do not get this, then Dakota will do the classic South Dakota karate chop, decapitating your pathetic head off your now useless shoulders!! Buy or Die!!!

ERIK T

I did my list a little differently this year, as ranking 25-40 albums individually just got tedious and changed with my mood. So I went with my clear-cut album of the year, then a genre breakdown, as there were so many good albums that I just could not rank by number outside my top 3 to 5.

Symphonic/Blackened deathcore was my jam in 2025, without question. I know, fucking poser, right? The genre seriously exploded, with not just the releases listed below, but other killer albums and EPs from the likes of (* takes deep breath)…Hate Within, Kneel Before the Death, XII Thorns, Sielkanker, Immortal Disfigurement, Decayer, Grimnis, Inhuman Architects, When Plagues Collide, Sold Soul, Disembodied Tyrant, Face Yourself, Lightbearer, Spire of Lazarus, Sunscourge, Drown in Sulphur, Vile Sycophant, and Whispers of Oblivion (*exhales).

And of course it was all spearheaded by…

Overall Album of the Year :

Lorna Shore – I Feel the Everblack Festering Within Me (Century Media Records). No surprise, right? After the bar setting Pain Remains, how would they follow it up? Would they go more commercial? Would they sell out? Fuck no, they somehow got even more emotional and personal, yet still heavy as hell. An improved mix, let everything breathe a little more, and even more epic keyboards from guitarist Andrew O’Connor, made songs like “In Darkness”, “Glenwood”, and my favorite song of the year, “Forevermore”, sonic gut punches that I played over and over again, as I did with the Pain Remains trilogy in 2022.

The Best of the Rest by Genre:

Deathcore:

Shadow of Intent – Imperium Delerium (Self-Released). Album number 5 from one of the symphonic deathcore’s elder statesmen would have been my album of the year any other year.

Sin Deliverance – Universe of Nightmares (Lacerated Enemy). One of my most anticipated releases after a 4-year wait. These Russians delivered a more intense, blacker album of Symphonic Deathcore.

Whitechapel – Hymns of Dissonance (Metal Blade). The year’s best return to form as they went back into far more brutal, straight-up deathcore of their early years.

Despised Icon – Shadow Work (Nuclear Blast). A model of grinding deathcore/hardcore consistency, even adding a slight black metal flair.

Ov Ruin – Eternal Lament (Self-Released). The fourth best symphonic deathcore album of the year, but the best orchestration of the year from Harry Tadayon (Hate Within, ex Immortal Disfigurement)

Denying God – Falling of the Pale Mist. (Self-Released). A Slovakian duo delivering absolutely top-notch symphonic deathcore. If you like the genre, you need to hear this.

Netherwalker – Odyssey of Respair (Self-Released). The new darlings of Symphonic deathcore added video game lore and fantasy nerdery to some absolutely bludgeoning symphonic deathcore. Now, if we could get some merch?

Death Metal:

Cryptopsy – An Insatiable Violence ( Season of Mist). Arguably the most pummelling,  Whisper Supremacy-sounding of their recent releases, despite the complaints that they are ‘deathcore’ now. I don’t hear it.

Sanguisugabogg – Hideous Aftermath (Century Media). A heftier, improved follow-up to the debut. I think we are witnessing this generation’s Suffocation.

Dormant Ordeal – Tooth and Nail (Willowtip). Willowtip’s best release of 2025 and one of the best Polish death metal albums of the last few years.

Impureza – Alcázares (Season of Mist).Third brilliant album of silky smooth, Flamenco/Spanish spoken tech death, but from France.

Ominous Ruin – Requiem (Willowtip). No nonsense, brutal tech death, and one of the most ferocious female frontwoman performances of the year from Crystal Rose.

Ade –  Supplicium (Time To Kill Records). These Romanic death metal centurions keep getting better and better.

Deliquesce – Saviour/Enslaver (Lacerated Enemy).A skronky, brutal tech death, ‘Suffocation on LSD’ of an album. 

Open Kasket – Trials of Failure (Self-Released). A sheer hardcore-tinged death metal beatdown that made the likes of Gatecreeper, etc, look soft.

Progressive/Technical/Melodic Death Metal:

Brain Blast – Colussus Suprema (Rebel Pyro Musick). An obscure, late-year gem that is the Colombian love child of early Obscura’s twangy tech death and the orchestral bombast of Fleshgod Apocalypse. One of my top 5 albums of the year.

The Project Hate – Undivine Dethroning (Mouth of Belial/Self Released). Like a fine wine, Lord K and co. just keep better better…..and more melodic?

Allegaeon – The Ossuary Lense (Metal Blade). These guys are so locked into their progressive, technical melodic death metal sound, it’s scary.

Kardashev – Alunea (Metal Blade). Another top 5 release for me, in part due to Mark Garrett’s absolutely stellar array of vocals.

Changeling – Changeling (Season of Mist). What Obscura should have sounded like in 2025. Additional orchestration made it even better.

Aephanemer – Utopie (Napalm Records). Such a gorgeous album and some of my favorite keyboards of the year (along with Eldercall’s Closure) from this now elite French, melodic death metal act. So a bonus instrumental CD was just a lagniappe.

Black Metal:

A Flock Named Murder – Incendiary Sanctum (Hypaethral Records). My second favorite album of the year overall. I love, love, love this album of perfectly introspective, atmospheric black metal.

Havukruunu – Tavastland (Svart Records). Another top 5 album of the year from this expertly crafted Bathory/Moonsorrow worshiping Black metal act.

Scour – Gold (Nuclear Blast Records). Who would have thought Phil from Pantera, and some current and former dudes from Misery Index, Agoraphobic Nosebleed, and Pig Destroyer would have delivered one of the year’s very best and most vicious black metal albums?

Labyrinthus Stellarum – Rift In Reality (Northern Silence). A weird, trippy, ambient, at times even metalcore-ish take on atmospheric black metal from these ambitious Ukrainians. 

Argesk – Moonlight Pyromancy (Matriarch Records). The new Hecate Enthroned album might now even sound as much like this fast-rising UK symphonic Black metal act, which features a Hecate Enthroned member.

Saor – Amidst the Ruins (Season of Mist). These Scots have perfected their soaring, epic, Braveheart meets black metal style.

Best EPs of the year:

Synestia – Premonitions (Self-Released). Adding Ryan Vail from Larcenia Roe elevated this top-notch Symphonic deathcore act into truly devastating, elite levels. I’m pumped for a full-length with this lineup. The next Lorna Shore?

Crown Magnetar – Punishment (Unique Leader). Along with Whitechapel’s album, the most brutal, straight-up deathcore of the year.

Burial Gift – MMXXV (Eihwaz Recordings). A gorgeous late-year discovery from these elegant Louisiana-ians.

To Obey A Tyrant  – Frigorie Inferi (Seek and Strike). These guys could surpass A Night In The Abyss as the UKs best symphonic deathcore act (though Vile Sycophant could easily join the conversation) if they build on this killer EP to continue their rise.

Blinded By Hate  – Desolación de la Existencia (Self-Released). Just like Eden Adversary or Enemies Everywhere in 2024, these Mexican guys (after being a pretty forgetful metalcore/deathcore band on their debut album) said, ‘fuck it, let’s sound like Lorna Shore’s Immortal‘ and just be really, really good at it.

Biggest Surprises:

Soulfly – Chama (Nuclear Blast). I hadn’t listened to Soulfly in years, but Chama was a damn good time, especially with some sneaky Swedish death metal tones here and there.

Deafheaven – Lonely People With Power (Roadrunner). I had written these guys off and fully expected the new album to just be a Depeche Mode/darkwave pop record. It was not, and while not quite a Sunbather return to form, it was close.

Bleeding Through – Nine (Sharptone Records). It’s been 23 years since I first heard Portrait of a Goddess and discovered orchestration in metalcore/deathcore. You can blame these guys for me being a poser. I have not been impressed with much since The Truth, but Christ, did Nine surprise me with a vicious return to form.

Folk Metal was good in 2025: Albums from Dalriada,  Mandragora Titania, Trold (two albums, a regular and a live one), and Svartsot’s swansong all hit the mark, in a genre I had all but forgotten.

Best Artwork:

Clamfight – Clamfight (Self-Released). Dehumanizing Reign – Dawn of a Malefic Dominion (FDA Records).

Biggest Disappointments:

Vildhjarta – Där skogen sjunger under evighetens granar . (Century Media).  With no original members left, it was clear something was amiss here. Nearly an hour of the same boring riff and pace. A real shame, as these guys have made my year list before, just not on the ‘disappointments’ part.

Everything in streaming /digital only: A lot of the releases and bands above had no physical releases, just Bandcamp/Spotify etc. BOOOOOOOOOOOOOOOOO!!!!!!!!!!!!

Guilty Pleasure:

Mausoleum Gate – Space, Rituals and Magick (Cruz Del Sur). Absolutely outside of my normal listening wheelhouse, but this wispy, The Doors-influenced take of psychedelic, dreamy heavy metal was a perfect complement to a gummy and headphones.

Briar Creed – Bitter Moth (Self-Released).  An alluring mix of country, grunge, and metal with a touch of orchestration, plus the guy is an Opeth fan. Perfect fire pit music for you and your normal friends. 

I’m sure Tomas Lindberg, who just tragically lost his battle with cancer, had many of the same thoughts leading up to the end. Lucky for him, he had an incredibly rich past and undeniable impact to reflect upon. Certainly, Lindberg’s kind and generous spirit would never suggest he lived a life of such magnitude, but to us fans he was an icon on par with so many of the greats throughout history, one of the masterminds behind a whole new way of playing metal music – one that would prove to be the blueprint from which bands, to this day, still follow and worship. The music that he was a part of, and the impact his work left on the world of metal, it makes the brutality of the world so much easier to face for people like you and me, and is as genuine and meaningful a legacy as any could hope to leave behind.

Together, we at Teeth of the Divine gather to celebrate the life of “Tompa,” reflect on his incredible body of work, and appreciate everything he has done to reshape the world of metal as we knew it, and how he will continue to impact on the music we love moving forward. Rest in power.

Erik T

The obvious and easy choice here is “Blinded By Fear” right? Or any other iconic riff/song from Slaughter of the Soul. Or even some of his more well-known known projects that some of my co-writers listed below. But I’ll assume everyone reading this is super familiar with that classic song or album. However, I wanted to go with something a little more obscure, and my initial choice was “Thunders Never Followed” from the killer 2017 Sign of Cain album he did vocals for. But ultimately I remembered he guested on 2 songs on the ripping 2002 debut from Israel’s At The Gate’s worshipping Nail Within, and ‘Dirty Colored Knife” is a song that still kicks my ass today, and is still one of the pure forms of At The Gates homage recorded. And I could not think of a better homage than an actual homage band and song.

Frank Rini

Anytime we are asked to do something like this to show respect to a fallen metal hero, it truly sucks. Sweden’s very own Tomas Lindberg, unfortunately, has passed away from cancer. A disease that has touched all lives, personally, I am sure, and as the saying go FUCK CANCER!! It truly is an unforgiving disease. Tomas has had an incredible impact on the metal scene with the plethora of bands he has sung in. The most obvious of his influences is his work with At The Gates. One of the main albums that many go to, people loving melodic Swedish death metal, is actually the fourth ATG album Slaughter of the Soul in 1995. One of the main reasons, outside of the band writing catchier songs and becoming more proficient, is that the album was released on Earache Records. Digby pushed the unholy living shit out of this album, and the album influenced a newer style of death metal, in the Swedish style, which increased the melody 10 fold.

Now, while I respect Tomas’ work in ATG and all his other bands, for me, believe it or not, I love his work more with the international super grind group, Lock-Up. One of the greatest grind albums ever released is the over-the-top brutal second album by Lock-Up, Hate Breeds Suffering, in 2002. This was Tomas’ first album with Lock-Up, and he showed an intensity that I really was not expecting from him. The album was rounded out by Napalm Death’s Shane Embury on bass, Nicholas Barker (pick a band-he’s a beast) on drum,s and the late Jesse Pintado (Napalm Death/Terrorizer/Nausea) on guitars. This album is 16 songs in 29 minutes and rips heads off from miles away.

The song that does it for me is the album opener “Feeding on the Opiate”. To this day find a more intense opening song-I dare you! At a brief 1.29 the song packs in the catchiness at the jump with “Play from your fucking heart” being screamed. As to where this clip originated from I cannot exactly remember, but I believe hearing it was actually from the comedian Bill Hicks, although the shouting sounds a little like Ozzy. Regardless of the fact after this moment the monstrous drum roll right into the lethal AF razor guitars come in with intense blasting. Tomas has such an aggressive vocal style. It’s his raspy vocal tone, but geared towards the aggressiveness grindcore music asks for. The lyrics are about addiction, take a gander at some of them: The fuel that feeds my pain Will make me hate again. Timebomb of frustration. Constant stranglehold. Circle downwards fast towards A chaos that’s perverse….Seasons of the infinite. Feeding on the opiate.

When Tomas spews forth these lyrics it’s done in such a fuck you, venomous tone, that it’s impossible to not feel that hatred he’s spouting. It’s a top 5 grind song for me, for certain.

Tomas Lindberg is legendary in what he brought to the extreme metal scene. Rest in Power metal brother!!

James Mays

Tomas Lindberg was a legend. It’s no exaggeration to say death metal wouldn’t be what it is and where it is without him. If somehow you weren’t aware of his work, just know that he is your favorite frontman’s favorite frontman. His roar was unmistakable, and it’s a cliché, but often imitated and never duplicated. Whether it was At The Gates, Lock Up, The Great Deceiver, or the band I’m spotlighting today, Nightrage, his presence was always the main event. While he only performed on two of the band’s albums, he was the reason they came to my attention. An idiot friend of mine called them nu metal, but that friend was wrong. Check out “The Glow of the Setting Sun” and tell me it’s not pure melodic death metal, juicy goodness. RIP to one of the greatest.

Jeremy Beck

Today I’m gutted once again by a musician’s death. It hasn’t been long since we lost Ozzy and now, I’m facing another death with Tomas “Tompa” Lindberg, vocalist for numerous bands; but most famously known as the lungs of At the Gates. Picking one song from his vast catalog of music, for me anyway, is a really tough task so I’m going to pick an entire album, The Red in the Sky is Ours; but I’m going to single out “Kingdom Gone” for my chosen song. It was the first track I ever heard from them, it was on a sampler cassette, and I was immediately hooked. I was also fortunate enough to get to see them live in 2016 for the At War With Reality tour with the Haunted. It was a fantastic show with Tomas on fire throughout their set.

Rest in peace, you always played from your fucking heart, and fought till the end.

Steve K

One thing we all have in common – we all just want a place we feel we belong. After the unfortunate death of Black Dahlia Murder legend Trevor Strnad in 2022, my mind immediately reflected on how his work, and the work he had done to uplift and empower other bands in America’s growing metalcore/NWOAHM scene in the early 00’s helped build a community and scene I finally, as a weird high school student, felt like I was a part of. The music of that time will forever be held in the highest regard for me.

Taking it one step further, it’s undeniable how much of an impact Tomas Lindberg had on making any of that even possible.

To that end, I chose a song that I vividly remember absolutely blowing my mind at the time of it’s release – not just because of the quality of the song, but because of a surprise guest vocal spot by the legend “Tompa” himself, Darkest Hour’s “The Sadist Nation.” Darkest Hour was one of the fastest rising, most hyped bands in the American Metalcore scene at the time, and certainly one that so many lazily (but not necessarily incorrectly) labeled as “blatant At The Gates worship.” So when Tomas Lindberg himself lent his iconic vocals to the opening track of that breakthrough record, it felt like absolute vindication – not just for the music I loved, but the entire scene that would become such a meaningful building block in my life.

Thank you, Tomas, for everything you did in your career, but my sincerest thanks for helping an awkward teenager feel like he was part of something special.

“Fermented Drippings” opens the album with a spoken word/movie clip then right into a blast beat with the snare drum super loud and poppy. Our wonderful editor, Erik, will not be a fan of this sound. It is loud AF. The double bass is pummeling all in its path. The new vocalist Johnny is the standard guttural style of vocals, however there is nothing resembling a word or syllable. If the band writes lyrics for the album, I would consider it a moot point if the booklet has them printed, I can’t make out a single word. It’s a brutal song, but damn, there needs to be some enunciation in all of this.

“Excoriated Integumental Sludge Altar” is up next and Shane is doing some crazy blasting, sounds like into the gravity blasting range. The stop and start moments are cool, and the riffs are heavy; they’re just a bit tough to make out. A lot of fuzz on those guitars which is cool but at times the production I find is kinda wack. It’s very bass heavy sounding with everything so it does help if you can adjust your sound preferences and make the album sound more trebly, dropping some of that bass. The muddiness then goes away a bunch and the album is better to listen to. There is a pretty crucial slam though, on this song that will get all the Texas pits swarming in unison.

The title track blasts like a mofo outta the starting gates, the song structure sounding a bit off, sloppy in places. The 1.45 slam is nice; however I truly wish that snare sound was not so grating, it’s a lot to handle. Some slower groove passages help make this song a bit more memorable. “Infatuated with Homicide” ends the album, similar to how it starts with the spoken word clips then the pop pop snare cuts through. I like how it comes in the beginning, then right into a nice groovy mid paced slam around the 1.15 timestamp. That is a heavy moment indeed. More blasting and the riffs over the double pounding moments are pretty well done. The slam at the 3 minute mark is crucial, nice riffing. The vocals are so monotone, and no offense, but he sounds like a bear throughout the recording and nothing separating him from a lot of the pack playing this style of death metal.

Headless Cum Dumpster is an uneven second album from Kill Everything. The production is off in places, certain parts come across as a bit sloppy and I already mentioned my dislike of the drum sound (not the drum playing) and the vocals are average at best. Kill Everything can do a lot better, especially since they released that destructive debut years ago. Come on guys pull it together for the next album!

Alcázares is the third album from this French death metal act. Their 2010 debut La iglesia del odio I cannot find anywhere. Regardless of that fact this band sounds nothing like a band from France. All the songs are sung in Spanish and there are flamenco and other Spanish musical influences and references all tightly wrapped up in a style not too dissimilar from brutal death metal vets, Nile. There are even some Brujeria influences here and there, so this is a win win in my book. BTW, the Spanish word of the band name, Impureza, translates to Impurity, as the band ventures into religious themes in their lyrics as well.

With 11 songs in 49 minutes let’s see what on earth Lionel Cano Muñoz Guitars, (electric, acoustic), Guilhem Auge Drums, Florian Saillard Bass (fretless) and Esteban Martin on Vocals are slinging at us now. Opening up with the flamenco lead acoustic “Verdiales” this is beautiful. I used to take guitar many years ago and my brother was/is still plays the guitar and he used to listen to shit like this all the time as well as Paganini and I always loved these sounds. After this minute long intro, then right into the rousing bullfighting musical sounds that is “Bajo las tizonas de Toledo”. This is like spaghetti western Nile almost. The intro to this song, sounded as if this was going to be Brujeria. The minute timestamp has a killer gallop and then right into a killer groove with terrific guitar harmonies then BOOM!!!!!!! Right into a Behemoth/Nile blast affair. Marvelous. The song slows down with the flamenco Spanish inspired sounds erupting then right into the blasts with pinch harmonics. The vocals are dual layered at times, and do have a bit of the harshness like Juan Brujo (RIP) had with Brujeria, which I loved so damn much. As soon as I heard this song I got their second album immediately. And that is amazing, however this bests it.

“Pestilencia” starts with the flamenco moments and trumpeting. Excellent acoustic strumming and it sounds as if the guitar is being strummed without a pick. So bonus!! The song erupts with a Behemoth influence with the mid-paced heaviness then blasting and galloping moments are extraordinary. Very, very tight. The hopping parts with the spoken word vocal parts really transports you to Spain and Conquistador battles. These vocal elements over the faster parts work excellently and these vocals make up a large amount of the song. Some of the blasting is just breath taking and the snare drum sound is a thing of beauty. The fretless bass guitar strumming is stellar as are the guitar harmonies on this sucker. This must be in their live set at once.

“La orden del yelmo negro”, which is about a hymn of a ceremonial war spoken of legend, has a terrific opening snare drum pop before the rest of the music ignites and although I have mentioned the above influences this is still really original with the guitar work, vocals, flamenco, all intertwined then right into the powerful guttural vocals which make this mesmerizing to listen to with the spoken word style Spanish vocals then right into the throaty gutturals. Never boring and always keeps you on your feet.

The rest of Alcázares plays out the same as the other songs, with each song introducing all the elements which make this band so special. The production is excellent, crisp and all vocals and instruments are clearly audible. Impureza is one helluva impressive band that while death metal is the core of their music to simply pigeon hole them in this category, is a disservice to what they truly offer. One of the best albums for 2025 without question!

“Enûma Elish Ilū” is a short intro, which to me, adds not a whole lot, until “Jinx” erupts, and it’s clear the band has the main components intact of 90s death metal. Brian’s vocals sound as good as ever, and Erik Shultek’s drums have a very organic sound; however, the mix on his snare is hellaciously loud. Lief Larson has some quality guitar riffing happening. Jason Hellman has the bass swinging around every so often, and Matt Holtz is still listed as playing guitar and bass, perhaps? There are some cool guitar solos and riffing, having a bit of a melodic and ethereal edge. The double bass drums sound terrific.

“Akhara Aakasa” is a 45-second intro before “Renumeration” erupts with the smashing drums, then the death/thrash erupts with a plethora of growls. The blast beat erupts then, and given the organic sound of the drums, at times, the production of the drums come across as a rehearsal sound, not a knock on the drumming, just mentioning the production is more jam style focused, imo. The isolated guitar riffing at the 1.50 mark, then right into that speedy gallop, is a killer headbanging moment that the band again repeats with a cool guitar solo over this part. Brian’s vocals are coming across as similar to Tardy/Mameli, back in their heyday. This song is a lot of fun and very catchy. I’m going to skip over mentioning all the song intros and just get to the songs themselves.

https://www.youtube.com/watch?v=8Rsj8JDaCVY&list=RD8Rsj8JDaCVY&start_radio=1&pp=ygULdmlvZ3Jlc3Npb26gBwE%3D

“Pummeled” is the perfect song name. It begins with a great early 90’s death thrashing beat, and then we are treated to a bass solo, in the very beginning, mind you, and that bass guitar is very prominent on this song. After the slow down then right into a quick blast beat. The song erupts into a slower moment and sounding a bit poly-rhythmic in nature, which is pretty cool. Then right into another blast beat, then returning to the great gallop, before that cool ass off-kilter moment returns. I could see a pit during this moment erupting quite violently.

“Light Harvester” ends the album with a great opening guitar riff, which smashes into a blast beat. More galloping and headbanging moments occur alongside the blast beats. There are guitar solos over the blast beat, towards the end of the song, with a very cool old school guitar squealing moment. The production of the drums, as previously mentioned, really makes the drums sound loose on this song. Depending on your preference, you may or may not enjoy this. The double bass drums do sound excellent.

Thaumaturgic Veil is a fun death metal album by Viogression. There are many melodic and ethereal dream-like moments, which go along great with this album cover. The viciousness and pummeling moments are still as ever present. I feel that if the production was tightened up then there would not be moments such as when the blasting occurs, that snare has a tendency to drown certain aspects out of the other instruments. I respect the band for staying true to their 90’s sound as well as incorporating a variety of various sounds, and moments to push the band forward, in the scene.

Anyway, I’ve been trying to figure out how to go about composing this review. If you know the story of, Accept then you know the story of their venerable ex-lead vocalist Udo Dirkschneider. He formed UDO after leaving Accept, and its taken 40 years for the anniversary of Balls to the Wall to see the light in a fresh, new way; re-mastered versions aside this is the best version of this classic hands down.

Balls to the Wall RELOADED features a veritable laundry list of guests from Heavy Metal royalty including Biff Byford of the mighty Saxon and the always amazing Doro Pesch (ex-Warlock) to name just two. New life has been breathed into a landmark release and it all starts with the title track. If you thought that opening riff was big before, hold on to your shoes because you’re going to be blown out of them. Featuring Joakim Brodén of Sabaton it’s a fucking massive upgrade to an already classic song.

“London Leatherboys” features the aforementioned Mr. Byford and this is where I experienced a complex revelation. Hearing this in a new light after loving it for so long makes me enjoy it even more. Their part Iron Maiden, part Judas Priest delivery is brought out mightily.

The history of Heavy Metal is built on a pantheon of great riffs. Balls to the Wall RELOADED features powerhouse renditions of “Take it Back” featuring Mille Petrozza from the mighty Kreator and “Head Over Heels” featuring Nils Molin (Amaranthe, Dynazty).

Michael Kiske has always been a favorite vocalist and his delivery on “Losing More Than You’ve Ever Had” lends to the heartbreaking emotions in the song. Then there’s “Love Child” featuring Ylva Eriksson (Brothers of Metal) doing a killer vocal interplay with UDO.

This album makes me wonder if other RELOADED versions will be released, namely Metal Heart and Restless and Wild. Time will tell but for now Balls to the Wall RELOADED is delivering the 80s goods with 2000s style punch.

Rounding out the rest of the album we find “Turn Me On” with guest work of Danko Jones adding monstrous power and it’s followed by Dee Snider of Twisted Sister fame helping out on “Losers and Winners.” “Guardian Of The Night” features powerhouse vocals from Tim “Ripper” Owens and the closing track “Winter Dreams” hits a haunting vibe with Doro Pesch on guest vocals, she sounds phenomenal and finishes off Balls to the Wall RELOADED in epic fashion.

Balls to the Wall RELOADED is a great re-imagining of the original. Dirkschneider’s core band is on fire here and they make this classic album sound bigger, better and heavier than before. Pick it up and be rocked all over again!

(Pictured: An American male. Obviously)

There’s just no getting around it. I am what I am. And despite the fact that this country is currently making it actively more difficult to enjoy every single one of these mentioned things (and plenty more), I remain steadfast in my pride for so much of what America actually can offer when its not getting duped into handing the keys to the kingdom over to a fake-genius South African billionaire Nazi and his soggy orange puppet (Yes, I know you have eyes on this Elon. No, I cannot begin to care anymore).

One thing America’s always been really goddamn good at? Party metal. And by that I mean the Scissorfights, the Alabama Thunderpussys, the Kyusses and Sasquatches of the world who blend the best parts of Stoner Metal, Punk, Hardcore and straight up Hard Rock sensibilities into a raucous, sludgy concoctions purpose-built with beer, bud and backyard wrestling all on top of mind. It’s like, our thing, man. It’s what we do best.

… but what if it wasn’t?

Raging Speedhorn are not American. In fact, they’re a bunch of friggin’ Brits. And yeah, Teeth of the Diving may well be led by our own Union Jack’d Erik T, but even he abandoned those royal-loving bastards decades ago in favor of that sweet American freedom and liberty (we don’t have to get into how he’s feeling about that decision NOW). This isn’t supposed to be their thing. STAY IN YOUR LANE YA FUCKIN BEANS-FOR-BREAKFAST DWEEBS.

Alas, for over 25 years Raging Speedhorn have been doing their absolute damnedest to earn their honorary red, white and blue cards and, frankly, have been pretty gosh dang successful. Hell, their name is in reference to taking speed and getting raging boners. Add in a screeching eagle and a revving V8 motor and I can’t possibly think of anything much more American than that. Now they release an album called Nightwolf sporting an incredible depiction of Teen Wolf himself shotgunning a beer and, I just don’t know anymore. My fellow patriots need to do something to reset the scales.

It doesn’t help when the album comes barreling in with “Blood Red Sky,” featuring a barrage of catchy, earworm riffs and gruff, no-fucks-given vocals announce their arrival with killer intent. Even more-to-the-point, follow up “Buzz Killer” gets right to the matter-at-hand with some killer Thin Lizzy–inspired guitar licks, crowd-inspiring gang vocals, and one hell of a great, simple breakdown sure to turn any backyard hootenanny into an absolute rager. The fantastic refrain of “DON’T KILL THE BUZZ” is enough to make me grab for another beer long after I’ve had far too many and keep the mayhem churning. Bring on the mud wrestlers.

But this is just the start of the ruckus RSH are bringing to the party. “Every Night’s Alright For Fighting,” a tongue-in-cheek nod to legendary countrymate Elton John, may well end the party anthem of the year, chock full of simple, no-nonsense riffing that forces your heart rate into a frenzy, and again featuring a killer, doomy breakdown that would be just as well served in a junkyard as it would at a proper venue. Maybe even moreso. It’s an absolute doozy that earns your fervor through sheer force of will, and I wish all good luck in trying to resist it’s fuck-all charms. Similarly, the album’s title track “Night Wolf” takes a fucking monster riff straight out of Scissorfight’s wheelhouse and delivers a swaggering, anthemic track that will earn just as many fists in the air as it will across the chins of anyone that happens to piss you off while the track is anywhere in earshot.

And if you think there’s any respite from this absolute dog fight of an album, I urge you to heed caution, because it just does not relent. “DOA” and my personal favorite, “Comin’ in Hard” continue to slam the pedal to the floor with reckless abandon, the latter featuring a sweet little banjo riff mixed in with the guitar assault just to keep things extra fuckin crispy. God forbid you ever find yourself in a West Virginia holler being chased down by a group of 3-toothed hill folk carrying garden tools, but if you ever do find yourself in this unfortunate scenario, I hope you’ve got this track to spur you on away from that hillbilly horde. If that doesn’t give you the motivation to get a move on, I dunno what will.

I know it’s a cop out to say it’s pointless to belabor the point of “Night Wolf,” but I’m pretty sure Raging Speedhorn aren’t looking to a whole lot of explanation or platitudes for their work. They just want you to crack open a beer, rip a bong or a line off the back of some questionable toilet, and get down to fuckin business with this album.  I’m not even ashamed to say this is the most American album so far of 2025, and damned if I won’t use it as fuel to fight off the fuckwits in this country who apparently have no problem letting it become a playground for Vladdy Putin and the billionaire elite. With this album blasting in my ears, I feel just about ready to take on anything.

Well, we have seen some major bands not touring overseas due to the rising fuel costs, especially in Europe where the Diesel prices are astronomical, and …well you’ve read all the band members left As I Lay Dying again as the singer tries to put the band back together again.  The memes and GIF’s have been pretty funny to say the least.

Let’s not forget that legendary Iron Maiden drummer Nicko McBrain has officially retired from touring.  Their 2024 North American tour was incredible and he played amazing live.  With a new touring drummer in place, Simon Dawson, as they say, “The Show Must Go On”!!  Indeed it certainly does, with nary a breath of Kerry King announcing his new band and debut album, his main bread and butter the almighty Slayer, then coming out of retirement and announcing, festival dates, not only that have been played for 2024, but going forward into 2025.  What else is next, Metallica announcing they are going to do full tour sets of their first four and best albums??? Never say never, as we are seeing an all time high number amount of bands either reforming and or electing to do sets of their classic albums!!  It’s actually what the fans truly want, when it’s all said and done.

As far as the future, plenty to look forward to with 2025 just getting started with new metal releases and killer tours and fests.

All of us writers want to thank each and every one of you for visiting this page, and checking out our Facebook page and we hope we have turned you all on to some new and exciting bands.  That is always our goal – to spread the word of metal.  We thank you all for keeping up with our rants, in our reviews and we all wish you and yours a terrific 2025.  With that being said, let’s get into our exciting year-end lists….

ERIK T

1. Assemble the Chariots – Unyielding Night. (Self-Released). I flipped-flopped between this and the more emotional A Wake In Providence album, ultimately, fun and bombast won out.
2. A Wake in Providence – I Write to You My Darling Decay. (Unique Leader Records). An absolute tour de force of emotive symphonic deathcore.
3. Worm Shepherd – Hunger. (Unique Leader Records). A really solid third album from these consistent guys. Eager to hear more as they are a studio project only now after vocalist drama
4. Lamentari – Ex Umbra in Lucem. (Self-Released). Brilliantly chaotic symphonic black metal record.
5. Ensom – Poimandres. (Self-Released). Another killer release from these classically inspired black metal Spaniards.
6. Druparia – The River Above. (Self-Released). A stunning debut of Darkest Hour/ Light This City worshipping melodeath.
7. Fleshgod Apocalypse – Opera. (Nuclear Blast Records). These Italians can do no wrong, having perfected symphonic death metal for several albums now.
8. Exuvial – The Hive Mind Chronicles Part I – Parasitica (Silent Pendulum Records). A late, out of nowhere addition to the list that’s a brilliant tech death album reminiscent of Allegaeon.
9. Ensiferum – Winter Storm (Metal Blade). Another winning, wintery album from these epic Fins.
10. Spiritual Deception – Semitae Mentis (Amputated Vein). A superb example of symphonic, brutal death metal.
11. Eden Adversary – Kingdom Ov Heresy (Interlude Records). What happens if you lock a bunch of Indonesians in a room and make them listen to Lorna Shore’s Immortal and AIRTN EP and Mental Cruelty’s A Hill to Die Upon non-stop.
12. Moisson Livide- Sent Empèri Gascon (Antiq Records). Funky, punky, folky, revolutionary black metal from the Biosson  Divine Dude.
13. Darkness Everywhere– To Conquer Eternal Damnation, (Creator Destructor). Another tightly wound, killer Light This City clone- but with Light This City members.
14. Arkona – Stella Pandora (Debemur Morti). Pitch-perfect black metal from the ‘other’ Arkona.
15. Job For a Cowboy – Moon Healer (Metal Blade). The band’s transformation from SpongeBob deathcore to top-notch tech death is stunning.
16. The Mist From the Mountains – Portal – The Gathering of Storms (Primitive Reaction). A second album of even more rangy, epic Finnish black metal.
17. Xenotheory -Blissful Death (Self-Released). Bludgeoning Alien-themed deathcore/slam. The perfect orgasm indeed.
18. Unhallowed Deliverance – Of Specters and Strife (Self-Released). A beefy mix of tech death, deathcore, and slam from out of nowhere.
19. The Last Ten Seconds of Life—No Name Graves (Unique Leader Records). The more serious tone and delivery make for a lean, mean, downtempo deathcore record.
20. Vomit the Soul – Massive Incineration (Unique Leader Records). The best pure death metal album of the year that no one talked about.
21. Stilverlight—Dead Souls (Self-Released). The ten-year wait was worth it for these earworm-delivering power metal/Melo death Russian hybrids.
22. Asarhaddon – Era – (Self Released). Hypnotically repetitive but alluring atmospheric black metal from this underrated German Duo.
23. Dodsrit –Nocturnal Will (Wolves of Hades). A near-perfect record of atmospheric but despondent and melodic black metal.
24. Acathexis – Immense (Amor Fati/Extraconscious Records). See above.
25. Opus Irae – Into the Endless Night (Endtime Productions). A fantastic Symphonic black metal album, and yes it’s Christian.

EPs

1. Synestia/Disembodied Tyrant  – The Poetic Edda (Self-Released). The best collaboration of the year, and melds classic music. Brilliant.
2. Enemies Everywhere – Endless Discord. (Self-Released). Literally a note-for-note rendition of Lorna Shore’s  AIRTN EP and Pain Remains album. And I love it of course.
3. Heteromorphic Zoo –.New World. (Self-Released). Deathcore + a Violin = magic
4. Atavistia – Inane Ducam. (Self-Released). A revamped, darker, meaner Atavistia, and I like it.
5. House of Atreus – Orations. (Iron Bonehead Productions). After 5 years away, Greek-themed Melo death act returns triumphantly.

Biggest Surprises

1. Daath – The Deceivers. Who would have thought a fairly average groove metal band from the early/mid-00s that I didn’t give a rip about would drop a killer album 14 years later?
2. Oceano – Living Chaos. Once at the top of the deathcore heap, a 6 year layoff made this a superb, album of controlled, downtempo chaos. Of course, people of the internet ruined it and the band is no more.
3. Henry Kane – Circle of Pain. Jonny Petterson took a hard turn away from death grind into keyboard-drenched atmospheric blacker metal. “A Swarm of Idiots” was the most fitting song title for 2024 as well.

Biggest non-surprise.

Immortal Disfigurement – KING (Self-Released). CJ McCreery gets booted from Lorna Shore after Immortal, and releases….. Immortal pt 2. But it hit my sweet spot regardless.

Album Cover

Keres – Homo Homini Lupus

Disappointment

Massacre – Necrolution. A lazy, lethargic album after a solid album in Resurgence. Inhuman Condition is clearly the better version of Massacre right now.

Best Label:

“Self-Released”. The number of top-notch self-released EPs and albums, that were either digital (Bandcamp, etc) only or physical was astounding.

FRANK RINI

2024 was yet another great year for metal releases and excellent to see us get the hell out of COVID.  Tours ramped up in full swing.  Highlights for me were the Iron Maiden tour and the Desolus album release show.  I had a guest spot on the Crushuman debut album and already tapped for a few guest spots in 2025.  My top 25 is in order of what I felt were the best releases for 2024 and fun sub-categories.  Please enjoy my list and all the other great writers’ lists here.  For 2025 look out for releases from:  Anthrax, Gorguts, AngelMaker, King Diamond, Internal Bleeding and Sanguisugabogg to name a few.  Enjoy the new year.  Be Safe.  Be Smart. m/

1. Judas Priest – Invincible Shield (Sony Music)
2. Deicide – Banished by Sin (Reigning Phoenix Music)
3. Ripped To Shreds – 三屍 (Sanshi) (Relapse Records)
4. Nile – The Underworld Awaits Us All (Napalm Records)
5. Blood Incantation – Absolute Elsewhere (Century Media Records)
6. Arka’n Asrafokor– Dzikkuh (Reigning Phoenix Music)
7. Drown In Sulfur– Dark Secrets of the Soul (Scarlet Records)
8. The Dread Crew of Oddwood– Rust & Glory (Self-Released)
9. Eminem – The Death of Slim Shady (Coup de Grâce) (Shady/Aftermath/Interscope Records)
10. Exhorder – Defectum Omnium (Nuclear Blast Records)
11. PeelingFlesh – The G Code (Unique Leader Records)
12. Hail Spirit Noir – Fossil Gardens (Agonia Records)
13. Lord Goblin – Lord Goblin (Self-Released)
14. Ensiferum– Winter Storm (Metal Blade Records)
15. Assemble The Chariots – Unyielding Light (Seek & Strike)
16. Midnight – Hellish Expectations (Metal Blade Records)
17. Unleash The Archers – Phantoma (Napalm Records)
18. Morta Skuld – Creation Undone (Peaceville Records)
19. Totengott – Beyond the Veil (Hammerheart Records)
20. Kanonenfieber – Die Urkatastrophe (Century Media Records)
21. Mad Hatter– Oneironautics (Art Gates Records)
22. Skeletal Remains– Fragments of the Ageless (Century Media Records)
23. Extermination Dismemberment – Butcher Basement (Revamp) (Unique Leader Records)
24. Mutilation Barbecue– Amalgamations of Gore (Maggot Stomp)
25. Brodequin – Harbinger of Woe (Season of Mist Underground Activists)

Comeback Album of the Year: Atrophy – Asylum (Massacre Records)

Sleeper Hit Album: Neon Nightmare– Faded Dream (20 Buck Spin)

Best Debut Album: Theurgy– Emanations of Unconscious Luminescence (New Standard Elite)

Best Stoner/Doom Album:  WyndRider – Revival (Electric Valley Records)

Heaviest Release: Rabid – Rabid Demo (Self-Released)

Best Reissue/Re-recording: Cavalera – Schizophrenia (Nuclear Blast Records)

Best Hardcore Album: Speed – Only One Mode (Last Ride Records)

Best EP: Disentomb – Nothing Above (Unique Leader Records)

Most Underrated Active Band:  Deceased

Best New Band: Desolus

Best Record Label:  Maggot Stomp

STEVE K

It’s possible that many of you, our dedicated readers, may have noticed my involvement here at Teeth of the Divine took a dramatic hit this year. Or maybe you didn’t, because… I mean lets be real, I have no significant role one way or another in your lives. And that’s fine! And while none of you are asking or really care to know (again, totally rational and fine), I at least owe it to my colleagues here at this excellent site to explain my decrease in productivity. Long story short, 2024 was the year I’ve officially hit my midlife crisis. I owe this to a myriad of circumstances in my personal life that I won’t get into, but lets just say it caused me to both spiral a little bit, but also take a good hard look at my life and evaluate what needed more attention, what was really important, and what things I really needed to just let go of in order to be happy and move forward in a way that gave my life more meaningful purpose.

But don’t get it twisted, my dedication to the music and artists I love is not taking a back seat. It just took me a beat to get some things reorganized so that I can hit 2025 with better focus and energy. And here’s the thing that has always been true – music was a gigantic part of helping me get through a lot of the lows, and made me appreciate just how much the bands i care about really mean to me. So to that end, I hope to get back to dumping more of my nonsense on you guys in 2025, and hopefully do a better job of spreading the word about the music we all love and need in our lives.

So I’ll keep this list short and sweet, and just say that the following 10 releases, in no particular order, are the ones that really meant something to me at various points in my journey through 2024. Plus a couple extras that I feel like maybe could add value to your lives as well. Are they objectively the best albums of 2024? I don’t know. I don’t really fucking care. These are just my favorites. Keep an open mind.

• Dodsrit – Nocturnal Will (Wolves of Hades): The Swedish one-man-wrecking-crew-turned-full-band continues to fly under the radar with yet another stellar, beautiful and forceful release that sees some of the crustier, D-Beat leanings of the project’s earliest work, give way to increased melody, atmosphere and, dare I say, vibes. This band’s journey continues to surprise and impress.
• Demiser – Slave to the Scythe (Metal Blade): Still no frills, still no fuss, the southern sons of Blackened Thrash and Speed continue to be amongst the most metal fucking bands on the planet. Don’t think to hard about it, just enjoy what it is.
• Winterfylleth – The Imperious Horizon (Candlelight): Majestic, flowing, another album greater than the sum of it’s parts. Winterfylleth albums rarely blow you away with one or two individual tracks, but instead demand a look at the full picture, and the one laid out here is nothing short of stunning.
• Gaerea – Coma (Season of Mist): While Gaerea has already been widely revered around the world, this latest opus showcases the band’s most focused and, in many ways, accessible material. This is far from a bad thing. Instead, Coma puts the band’s brand of cathartic, emotional chaos center stage for a greater audience to bear witness.
• Midnight – Hellish Expectations (Metal Blade): It’s Midnight. Doing Midnight things. Obviously it rules. It’s also perhaps the band’s biggest celebration of Metal music to date, and that’s something we can, and should, all get around.
• Wristmeetsrazor – Degeneration (Prosthetic Records): No one was more surprised by this one as me. This was a fucking awesome, nostalgic look back at Metalcore’s heyday mixed with the best part of Nu Metal to make for a thoroughly interesting, and simply just goddamn fun record.
• Unleash the Archers – Phantoma (Napalm Records): To be honest, it took me a minute to really get into this one, which was surprising given that they are, unquestionably, my favorite band of the last decade. But over time, the brilliance of the band’s evolution and dedication to the themes present on Phantoma really shined through.
• Kublai Khan TX – Exhibition of Prowess (Rise Records): Look, no one is gonna sit here and try to tell you this is some kind of brilliant work of art or game-changer. But perhaps no record was more self-aware in 2024. You want heavy? This shit’s got heavy on lockdown. It’s dumb and knuckle-dragging and goddamn I adore it.
• Sovereign – Altered Realities (Dark Descent Records): An old school slab of Sepultura and Pestilence worshipping Death Metal pulled off in a way that sounds far more sincere and authentic than many of their throwback-thumping counterparts. One of my favorite early records of the year stood the test of time.
• Mega Colossus – Showdown (Cruz del Sur Music): Another early entry, Showdown is still the year’s most fun Heavy Metal record in my mind. What more do I really need to say? It rules.

Remember when I said “Keep an open mind?” Ok well, here’s 5 non-metal records that left just as big an impact on me this year as any of our heavier-hitting brethren. Give ’em a shot.

• Kacey Musgraves – Deeper Well (UMG Recordings): Keep in mind my earlier rant about going through midlife crisis if you decide to take a listen to this one. You won’t find a better-written record this year or, indeed, many others.
• Sierra Ferrell – Trail of Flowers (Rounder Records): A beautiful collection of vintage Americana, Folk and Country tunes, including my personal song of the year candidate “American Dreaming,” Trail of Flowers is as beautiful and compelling as it is raw and distinct.
• Goldie Boutilier – The Actress EP (Goldie M&E Enterprises): A fantastic storyteller, Boutilier weaves another compelling tale of vintage vibes that’s altogether sultry, melancholic and gorgeous. Another stellar release in an increasingly impressive catalogue.
• Orville Peck – Stampede (Warner Records): Country music’s premier gay cowboy returns with a voice that would make Roy Orbison blush, but this time combining it with talent ranging from the legendary Willie Nelson and Elton John, Noah Cyrus, Margo Price, Kylie Minogue and so many more. At times a campy thrill ride, other times heartbreaking and sincere, Stampede is a hugely entertaining record.
• Hozier – Unreal Unearth: Unending (Island Records): A sprawling, incredibly complex work based loosely on Homer’s The Odyssey, Hozier brings his work to an entirely new level to create his most ambitious release yet.

J MAYS

I adopted my new best friend, Judith Priest. I went to Maryland Death Fest by myself and outpaced kids half my age. I lost my mom in June, my grandma in November, and my only remaining grandparent has dementia. Somehow, I’m managing my depression better than ever. I really need a great 2025, though. Get fucked, 2024.

1. Unleash The Archers – Phantoma (Napalm Records)
2. Kittie – Fire (Sumerian Records)
3. Neon Nightmare – Faded Dream (20 Buck Spin)
4. Cemetery Skyline – Nordic Gothic (Nuclear Blast Records)
5. Darkest Hour – Perpetual Terminal (MNRK Heavy)
6. Blood Incantation – Absolute Elsewhere (Century Media Records)
7. Valletta – Summer (Self-Released)
8. Mourning Dawn – The Foam of Despair (Aesthetic Death)
9. Better Lovers – Highly Irresponsible (SharpTone Records)
10. Gaerea – Coma (Season of Mist)
11. Dead Icarus – Zealot (MNRK Heavy)
12. Witnesses – Joy (Self-Released)
13. Mother of Graves – The Periapt of Absence (Profound Lore)
14. Molder – Catastrophic Reconfiguration (Prosthetic Records)
15. Judas Priest – Invincible Shield (Epic Records)
16. Replicant – Infinite Mortality (Transcending Obscurity Records)
17. Hell is Other People – Moirae (Transcending Obscurity Records)
18. Opeth – The Last Will and Testament (Reigning Phoenix)
19. Intranced – Muerte y Metal (High Roller Records)
20. Vexing Hex – Solve Et Coagula (Wiseblood Records)

Best Songs: My number 1 album.

Best Label: Transcending Obscurity

Best Live Bands:

1. Agalloch
2. Powerwolf
3. Dismember
4. Unleash The Archers

JEREMY BECK

Goddamn you 2024. This was another glorious year for the Metal community. So many killer albums were released that it was a bitch to cover ALL of them, but cover I tried and on this list are the cream of the crop. There are some change ups from last year; nothing crazy just a few surprises. This is definitely not the Rolling fucking Stone list by any shape or form. So without further ado here it is!

Album of the year: Flotsam and Jetsam (AFM Records) – I am the Weapon. Here’s why, no album got me through the blistering hell scape that was this summer… and fall… I couldn’t get the chorus out of my head. That’s what makes it my AOTY and they’ve also claimed the Top Thrash album spot! Huzzah!

Best of categories: These bands stood out from other bands in their respective genres.

Best Black Metal: Mork (Peaceville Records)- Syv. This was a toughie, but in the moment of listening and continuing to get my mind in shall we say; a ritual frame of mind, plus this album just fucking kills. Easy pick.

Best Death Metal: Mother of Graves (Profound Lore Records)- The Periapt Of Absence. Fuck me running this was hard as hell; mainly because there were SO many killer albums released. But when I think about the album that touched me the most in terms of brutality and staggering emotions, Mother of Graves have killed it with The Periapt Of Absence.

Best Grindcore: CrusHuman (HPGD PRODUCTIONS) -S/T. CrusHuman meld a few different genres into their arsenal but at the heart of this malignant beast is Grindcore. So it’s only fitting that they get this spot.

Best Original Concept Album: VHS (Crucial Blast/Grand Vomit Productions)- For a Few Riffs More. Ok, so a few people didn’t dig it; or should I say they didn’t get it. For a Few Riffs More is an album that puts these nutty Canadians squarely in this list.

Best Power Metal Album: Mad Hatter (Art Gates Records) – Oneironautics. I was looking for a certain vibe this summer so I asked my fellow scribes and they pointed me to to these guys. Oneironautics is a fucking solid Power Metal album that needs your attention.

Best Folk Metal Album: Thy Catafalque (Season of Mist) – XII: A gyönyörű álmok ezután jönnek. There were a few bands that put out uplifting, deeply emotional records but this album is so good that it knocked out the rest. Highly recommended!

Best Instrumental Album- Zombi (Relapse Records) – Direct Inject. 2024 may have been filled with speed and malice, but one album would turn into the soundtrack for my year and Direct Inject was that album. Mesmerizing and sensual, hardcore and subtle.

The rest of the list:

These are bands that I can’t go without mentioning, here’s some top albums in various categories:

Top Thrash –

1. Flotsam and Jetsam (AFM Records) – I am the Weapon.
2. Atrophy (Massacre Records) – Asylum
3. Nasty Savage (FHM Records) – Jeopardy Room

Top Death Metal –

1. Mercyless (Osmose Productions) – Those Who Reign Below
2. Loudblast (Listenable Records)- Altering Fates and Destinies
3. Fluids (Hells Headbangers) – Reduced Capabilities
4. Replacire (Season of Mist) – The Center That Cannot Hold
5. Sedimentum (Me Saco Un Ojo / Dark Descent)- Derrière les Portes d’une Arcane Transcendante
6. Black Dahlia Murder (Metal Blade Records) – Servitude
7. Severe Torture (Season of Mist)- Torn From the Jaws of Death
8. Vincent Crowley (Hammerheart Records) – Anthology of Horror
9. Dripping Decay (Satanik Royalty Records) – Ripping Remains EP
10. Trocar (Selfmadegod Records) – Extremities

Top Black Metal-

1. Rotting Christ (Season of Mist)- Pro Xristoy
2. Avmakt (Peaceville Records)- Satanic Inversion Of…
3. 1349 (SeasonofMist) – The Wolf and the King
4. Horna (W.T.C.Productions)- Nyx (Hymnejä yölle)
5. Arkona (Debemur Morti Productions) – Stella Pandora
6. Trelldom (Prophecy Productions) – … By the Shadows…
7. Mutiilation (Osmose Productions) – Black Metal Cult
8. Funeral Winds (Osmose Productions)- 333
9. Hammerfilosofi (ATMF)– Solus
10. Furze (Devoted Art Propaganda / Polytriad Fingerprints)- Cosmic Stimulation of Dark Fantasies

Top Power Metal-

1. Hammerfall (Nuclear Blast) – Avenge the Fallen
2. Krilloan (Scarlet Records) – Return Of The Heralds
3. Shadows of Steel (Metallic Blue Records) – Twilight II

Top Instrumental-

1. Kólga (Otitis Media Records) – Black Tides
2. Shadow Knell (Relapse Records) – Shadow Knell
3. Gotho (Supernatural Cat) – Gothron Vs Fartark

Best Live Album-

Helloween (Reigning Phoenix Music) – Live At Budokhan

Worst Live Album-

Amorphis (Reigning Phoenix Music)- Tales From The Thousand Lakes (Live At Tavastia)

The best of the rest, the iceberg of Metal from 2024:

1. Sur Austru (Avantgarde Music) – Datura Străhiarelor
2. Totengott (Hammerheart Records) – Beyond the Veil
3. Gravenoire (Season of Mist: Underground)- Devant la porte des étoiles
4. Moss Upon the Skull (I, Voidhanger Records)- Quest for the Secret Fire
5. Panzerchrist (Emanzipation Productions) – Maleficium Part I
6. Ritual Fog (Transcending Obscurity Records)- But Merely Flesh
7. Chained to the Dead (HPGD PRODUCTIONS)- Only Hunger Remains
8. A La Carte (Self Release) – Born to Entertain
9. Aussichtslos (Purity Through Fire) – Schicksalstotschlag
10. Todesstoss (I, Voidhanger Records) – Das Liebweh-Dekret
11. Kildonan (CaligariRecords) – Embers
12. Feed the Corpses to the Pigs (HPGD PRODUCTIONS) – Anthology
13. Downcross (Cavum Atrum Rex) – White Tower
14. Bloodcross (Personal Records) – Gravebound
15. Wolves of Perdition (Folter Records)- Ultraviolence
16. Satanic North (Reaper Entertainment) – Satanic North
17. Kawir (Soulseller Records) – Kydoimos
18. Hacavitz (Moribund Records)- Muerte
19. Aklash (Self Release) – Reincarnation
20. Kommandant (ATMF) – Exhibition of Conquest
21. Unleashed (Napalm Records)- Before the Creation of Time
22. Kratti (Signal Rex) – Matka Kohti Kosmista
23. Mudshow (HPGD PRODUCTIONS) – Destiny
24. Lvme (Noevdia)- Of Sinful Nature
25. Whispering Void (-Prophecy Productions)- At the Sound of the Heart

Best Non-Metal album: The Cure (Fiction, Lost Music, Universal, Polydor and Capitol Records) – Songs of a Lost World

Best Live Experience:

I went to a bunch of shows this year and I could just make a list based on all the ones I went to, but I’m just going to pick one and it is (of course); King Diamond/ Overkill/ Night Demon. It eclipsed even Devastation on the Nation which was tough to do.

There it is, my 2024 list! Thank you, constant reader! Happy New Year!

]]> https://www.teethofthedivine.com/blog/teeth-of-the-divine-staff-picks-for-2024/feed/ 0 https://www.teethofthedivine.com/reviews/rotpit-long-live-the-rot/?utm_source=rss&utm_medium=rss&utm_campaign=rotpit-long-live-the-rot https://www.teethofthedivine.com/reviews/rotpit-long-live-the-rot/#respond Wed, 18 Dec 2024 11:41:07 +0000 https://www.teethofthedivine.com/?p=69295  

Rotpit are a filthy death metal band featuring members residing in Sweden and Germany.  Ralf Hauber on vox (Revel in Flesh, Heads For the Dead), Jonny Petterson on guitars/bass (Heads For the Dead, Wombbath) and Erik Barthold on drums (Darklands) return with their second full-length album and have managed to make this a tad filthier than the 2023 debut Let There Be Rot.  10 songs in 35 minutes and the album cover is another great old school drawing, although I would have liked to see the band return with the color green on the cover, as they have done on their previous releases.

“Sewer Rot” starts with some great growls and wild guitar solos, and Ralf steps a bit away from his Revel in Flesh stylized vocals.  He is going for a far filthier gruff tone, taking us back to the days of Rottrevore, if you will.  The album has a very late 80’s early 90’s vibe to it.  The mid-paced rumblings are heavy and the organic nature of this song and album is pretty fluid, not forced.  It is sometimes a bit different when a death metal band chooses to open an album with a slower song and this song stays in neutral throughout, without nary a gallop.  Good opening song, though.

“Massive Maggot Swarm” is up next bringing forth some double-bass bastardized rumbling heaviness with excellent throaty growling vocals.  The classic gallop starts at the one-minute mark and this is a terrific moment, so classic and the pounding heaviness is increased on the slow down with Ralf, really not sounding like any of his other band releases, which I love.  If I did not know prior, I would not have realized this was Ralf on vocals.  So it is a testament to his willingness to continue growing as a singer.  This tune has a variety of tempo shifts with some dense heaviness and I love the galloping moments on this track.  I can picture a killer circle pit during those moments. The song gets a bit quicker then slows back down, really punctuating that Autopsy doom like heaviness, that classic Autopsy did so well.

The title track has a huge emphasis on doom/death metal as this song plods along…heavy…cavernous, even.  You know this release would have also been perfect on Dark Descent Records too.  This song is heavy AF.  Jonny driving home those terrific old-school riffs.  The song picks up the pace with some cool guitar solos and effects in the background.  It sounds like a horror movie soundtrack, and I love it.

“Dirt Dwellers” has a massive pounding heaviness to it and is vicious.  There is a huge doom/death atmosphere to this.  Think early Asphyx with that plodding heaviness covered in fog that were on the first several albums.  It’s maybe not as heavy, but the feel is there, very evident.

“The Triumph of Rot” starts with pounding heaviness and such a great galloping heaving heaviness.  Very headbang worthy of your time and the riffs are catchy and not complicated.  Easy to get into and more of those wild effects-laden solos.  The drums pounding hard and organic.  The galloping nature, guitar riffing, and cool melodies stay pretty much the duration of the song.  Another high-quality tune.

So if you were to take Autopsy and send on a date with Rottrevore, to have a one-night stand, well Rotpit would plop out.  Long Live the Rot has an excellent blend of the old school with all the right ingredients and the right amount of filth to sink your dirty teeth into.  There are a lot of circle pit moments, as well as, an increase in the doom/death department with this sucker.  Heavy, organic, catchy.  Truly a fun album!

From the press release: Syv was performed, recorded & mixed by Eriksen himself, with engineering assisted by Freddy Holm (who also contributes with strings and synths). Mastering work on the album was carried out by studio mastering guru Maor Appelbaum (Sepultura) in collaboration with Jack Control at Enormous Door (Darkthrone). It’s this production that makes Syv a stellar Black Metal release, just in time for the Equinox.

“I tåkens virvel” is the grandiose opening track, and I say that because I wasn’t expecting what I got. A mid-paced Black Metal monster, not exactly Black ‘n’ Roll like Satyricon did on Age of Nero or Now, Diabolical, but it moves with that Blackened Rock beat that’s undeniable. This track channels some old-school Borknagar especially The Olden Domain era and I am all over it.

“Holmgang” brings the Kampfar in deft tempo changes and vocals that soar like ravens, the same goes for “Heksebål” and Mork are on fire, there’s not a bad song on the album, thanks to that granite solid production letting the music breath like a Nordic dragon. It’s uplifting in some ways, bringing a smile to the face; before it’s ripped off.

“Utbrent” brings the blasts to the fore. It’s also the first single, and it’s forceful riffing against the blitzkrieg created by the drumming and rumbling bass that’s like a 7.5 earthquake against your bleeding ears. But there’s so much going on in the middle of the track they slow down to writhing riffs. It’s a set-up for “Med døden til følge” another urgent, and kicking like a pissed-off stallion. Mork manage to mix different Black Metal styles together to make a nasty black posolé. It’s a captivating and bombastic delivery that only Mork could make possible.

“Ondt blod” brings the Watain and DHG discordance with a killer central riff and it’s followed by the immense brutality of “Tidans Tann” with it’s sabre-sharp riffing. But the show stopper is “Til syvende og sist” a whopper of an instrumental that has this badass middle section that moves with Enslaved like ocean tides, rolling with elements of deadly beauty.

For final track “Omme” they go full on Ulver, a traditional-sounding number that is as relaxing as it is ominous. A truly awesome way to close out this beast of a record. You constant readers who love Kampfar, Borknagar, Dødheimsgard and Taake will definitely enjoy this, it’s a fantastic Black Metal release and I guarantee it will be a favorite for you guys, as well.

I am more of a novice when it comes to symphonic metal.  The music is bombastic and so over the top at times, that I pretty much stayed clear of this genre, until 2021.  This style resonated with me, in 2021, as I was going through a very traumatic time in my life, and for some reason, Seven Spires clicked!  Their emotive nature captured my attention quite a bit, however, the melding of extreme metal genres all cohesively weaved together did it for me.  This band incorporates not only power metal into their style but also death and black metal, with extreme blast beats during many parts of their expansive songs.

For me Gods of Debauchery is still their finest hour; however I am happy to report  A Fortress Called Home, is a very close and I mean very close second.  The lineup intact for years has helped build a very strong band.  The only change to report is with the album recording wrapped up, drummer Chris Dovas, departed, leaving a void.  The band was able to have another drummer fill in for their N. American and European tours over the last few months in order to meet their touring obligations, which is great.  My understanding is they’re still in search of a permanent member.

A Fortress Called Home is yet another long player at 12 songs and over an hour’s worth of music, after the title track opens a short instrumental, the longest track “Songs upon Wine-Stained Tongues”, at close to eight minutes marches forward.  The bombastic and catchy keyboards and music erupt immediately as the song goes for a nice mid-paced speed with Adrienne Cowan erupting with her absolute insane vocals.  Incorporating power metal, symphonic tones, and death metal grunts over those opening blasting sections.  The growing chorus is one of the catchiest the band has ever written with Jack Kosto continuing to showcase his ability at crafting amazing guitar riffs.  Bassist, Peter de Reyna, also lends some backing vocals here and there and there are a plethora of guest vocals all over this album.  Midway through this song are atmospheric moments, guest vocalist, which eventually pair great with Adrienne’s.  The crescendo slowly increases with a lot of power metal influence and some noodly guitar soloing to bring the song to a close.  Excellent opening song choice.  that never feels like it’s long.

“Architect of Creation” is pretty killer, with its symphonic buildup, right before the raging blast beat and Adrienne’s killer scream over this part, before she brings forth her shrieky death metal vocals with a lot of black metal influence too.  I really enjoy bands that bring their back catalog to the present, with their new music, and in the lyrics as well.  Early on in the song naming their debut release their 2014 ep, The Cabaret of Dreams, is quite the clever idea.  The blasting moments are vicious and the chorus is ridiculously catchy, as is the bridge.  I can even see a pit forming at the 3.39 downbeat symphonic groove moment as Adrienne bellows forth some gutturals.  Her isolated guttural parts are also quite killer.  I do notice the punch in, after this moment, with her higher operatic tones.  That is to be expected.  As a singer, I know to do such tone shifts, and make them sound super clean, you do have to do some punch in’s every so often, when recording.  I would like to see how she pulls these moments off in a live setting.  Terrific song, nonetheless.

“Impossible Tower” has such a brooding opening that calls to mind this gothic castle, adorning the album cover, with its gold fillagree border.  Many layered vocals encompass this track as it lumbers more slowly, but is very emotive.  The keys really take center stage as they play such an important role in the rhythm section.  They’re played at times as another guitar and truly shine, throughout, just like their past releases.  The emotive, doomy plodding, atmospheric and over-the-top operatic moments, really showcase the expanse Seven Spires bring to the table in the music realm.

I can go on and on and on about how much I love this album and band.  Yes, I may be new to the table, coming in on their 2021 album, as a fan, but who cares?  The musicianship and production are top notch.  You need a big-sounding production with this immersive style of extreme music.  We get that, once again, on this album.  A Fortress Called Home will most definitely make my year end list.  Seven Spires continues to amaze me with their catchy and emotive songs, as well as blazing fits of brutality sprinkled all over their albums.  Great forward thinking band!!

27 years later, the band has been resurrected by the original members, as well as new vocalist Felipe Plaza Kutzbach. Of course, comparisons will abound, so let’s get it out of the way; Felipe is not Agyl. With modern production techniques, Felipe is front and center, sounding much like Markus Becker of Atlantean Kodex. None of that matters if the band can’t write the riffs and bring the songs because there are high expectations.

I believe those expectations have been exceeded. If you’re into progressive doom, you’re going to have an album of the year contender. Take for example the lead track, “Ancient Doom Metal,” which begins with an ambient intro, but soon erupts into a killer doom riff, and the vocals come in just as quickly. The chorus even includes the words “ancient soul of doom metal.” They even add some light orchestration to the background. Maybe this will get the boss man, Erik to check it.

This would be a fine time to confirm what any readers of a review of this sub-genre probably expected; The songs are lengthy. That also brings me to my favorite, “Master of the Lake,” which is one of the shortest. When the riff comes in, the guitar lead on top outshines it. The riff is still massive, though. It takes about a minute for the vocals to start, and the approach is almost minimalist, letting the instruments breathe. That chorus, though! It’s one of my favorites of the year and it has been stuck in my head for weeks.

I realized I am nearly out of room, so I will take this to the last track, a triumphant-sounding scorcher called “The Enemy Among Us.” It’s nearly 8 minutes, so it’s one of the longer tracks. The riff is crunchier than your morning granola, and the drums hit heavy. There are minimal choral vocals buried in the background, mostly of the “oh” variety. The chorus is smooth and catchy, which is the norm for Ancient Doom Metal. However, perhaps this one is special because its words recall parts of the title of the first album. If you stick around for the end, you’ll even get treated to some falsettos.

I don’t know if you’re able to tell how enthused I am with this comeback, but it’s the epitome of what a band should do when they make a comeback. Of course, it feels as though we are now living in the times of the comeback album where bands we never thought could reconcile, are playing one-offs and perhaps recording new music. I’m here for it as many bands I was too young to enjoy are embracing it. I’m hoping Scald will somehow do some US tour dates, although I know that the likelihood is slim. Either way, they’ve released a stunning comeback, and one that will certainly be on the minds of many at the end of the year.

“As Northern Gates Opens” opens the album and I was hooked right away by the coldness of the tremolo picked harmonies. Morninghoul was mixed and mastered by Lawrence Mackory, vocalist of Darkane. “Lifelike Sleep” comes up next and full of minor third harmony runs and pinch harmonics. I love the production. It sounds like this could have come out in the early nineties. The vocals of Heval Bozarslan pair well with the guitar work of Anders Eriksson and Peter Laitinen.

“Withered Souls We Mourn” is one of the heaviest songs on the album and then the marching feel of the verse is unique. “Dying Embers of Solitude” reminds me of a bit of Dissection before the song picks up tempo. “A Lucid Dream in The Paradigm Stream” is another notable example of mixing the traditional Swedish sound with heaviness and melody. This track has a nice female vocal break towards the end of the song. The drum work of Jesper Ojala rules throughout the whole album.

“No Solace from Above” opens with a piano instrumental that segues into the piano with an acoustic guitar. The way this song starts you would think Sarcasm was a doom band. “Absence of Reality’ is a nice fierce way to find up the album. The way the track ends reminds me a little bit of Hypocrisy Arrival.

For eight songs and forty-two minutes, these guys do an excellent job keeping the album flowing with their unique approach to Swedish Death. This album is fun to listen to. The contrast in Swedish sounding parts and the tinges of lower-end heaviness is a cool mix.  This one gets a big recommendation from yours truly. Enjoy.

Epic is 9 songs in 37 minutes.  “Volens Discordant” opens and is a forgettable 1 minute interlude/intro, with the meat and potatoes erupting with the title track, next.  The song begins with a terrific slow burn opening with a terrific rhythm section with Vincent doing some crooning.  This vocal style might be a deal-breaker for some, I’m not sure.  He enunciates perfectly, very clear.  His vocals are deep and it’s Vincent, but a departure from the debut, because as I stated, he does actually do some “singing” on this song.  Honestly, I was not expecting to like the crooning, which I knew beforehand was going to be on this, but for these ears, it works.  I actually am a fan of Vincent’s country outlaw singles from years ago, yes, shame, right?? Whatever.  Again this song is a different type of opening tune, especially after the interlude, but it’s a good, slow-paced rumbling number.  Personally, after that interlude, they should have gone into a vicious blasting number.

“Miserere” is up next and is faster.  A galloping number with a multitude of blasts and Vincent getting back to more of his gruff delivery that was on the debut album, but the extra enunciation and clearer style could be off-putting to some.  The chorus has even clearer vocals, but they are very catchy.  The double bass is pummeling on this song and the black metal riffing and melodies is excellent and fits perfectly with the dearth of metal leanings.

“Exercitus Irae” is a quick number with the monster blast beats and the guitar riffing is out-fucking-standing.  The song settles into a slower rumbling heaviness with more catchy vocal arrangements – these moments, throughout the album, will go over quite well in a live setting, with the fans singing along to these moments.  More crooning from Vincent, as he holds the croons out, as opposed to them being longer growls, they’re longer croons…interesting.

“Scorcher” is the shortest song on the album.  It starts with isolated atmospheric guitar feedback then builds up and right into a monstrous blast.  Vincent sounds disgustingly evil on this track, going a bit deeper before he settles into his mid-range style, which he is quite comfortable with.  The tremendous blasts and vicious velocity of this song should have been the song to open the album, in my opinion.  But I was not consulted about the song arrangements, so I’ll shut up.  And any time you have the chorus with Die, Die, Die – come on – that is classic.  Again these moments will go over excellent, in a live setting and Flo really is blasting the unholy hell out of his drum kit – poor snare drum, RIP!

“Nature’s Fangs” has a lot of melodic moments and with the atmosphere and Vincent crooning OOOOHHHHH, OHHH, a few times, I tell you, maybe you kind reader, will find these new vocal styles cringy, but for me, I am loving it.  Maybe as a death metal vocalist, I appreciate vocalists expanding their sound over the years and developing, and I see Vincent doing that, and I appreciate it a lot.  It adds an extra layer and makes Vltimas stand out among so many other bands, playing this style.  This the catchiest tune on the album.  “Spoils of War” ends the album, is the longest at close to six minutes.  It’s a slower, moodier number with a lot of atmosphere.  Good song.  The album ends with how the album began, meaning slow and brooding, with the musical arrangements.

I really like Epic a lot!!  It’s different than their debut.  The varying vocal changes courtesy of David Vincent, well, I have mentioned them many times throughout the review, but I feel they are well done.  The music is a bit more atmospheric and moodier, but there are plenty of lethal and brutal moments.  The production on this sucker is lights out.  This album is meant to be played loud and proud!  Vltimas have returned folks!!

12 songs in just under an hour, so pull up your suspenders and get ready.  “The Universe Is Weeping” begins with some atmospheric parts and then picks up with the speed, almost having a NWOBHM tinge to it with the galloping moments.  Erik Olson is one of the guitarists and is the singer – with a throaty gravelly voice.  He sounds great and the guitar melodies on this song remind me of the excellent Ian Blurton’s Future Now, since there are some tinges of 70’s metal.  The clean vocals come in at the 4 minute mark and they work well.

The song is over before you know it and “I Am Nothing I Am Everything” comes smashing through with Kevin Swartz showcasing some excellent drum skills.  Great drum rolls and the song has excellent melodies and then some of the deeper register vocals have a bit of a death metal flair to them.  Alyssa Mocere provides the bass guitar and you can hear the bass strumming and Chris Evans adds creative guitar riffing as the second guitarist.  I imagine the vocalist in a long black cape singing these lyrics, for some odd reason.  The mid-section has a build-up that you think is going to end, but that pattern keeps going on, not used to hearing something like that, but at the 4.08 section the scorching guitar solo comes rip roaring in and the excellent drums continue.  A short while later we are greeted to blast beats – I was not expecting that, but they are extreme and getting into gravity blasting even.

“Unto Becoming” has a lot of clean vocals and the more I listen closer to these guys they have an eclectic sound that is kinda all over the place, like Hammers of Misfortune, whom I really enjoy.  Lord Dying one minute are playing some stoner 70’s riff, then blasting away, then some death metally growls, then more eclectic metal with the clean vocals and this song has a lot of progressive elements, with some Lamb of God styled growly vocals.  This is a super fun song with some excellent double bass moments as well.

“Dancing on the Emptiness” is the longest song at over 8 minutes it starts with jumpy drums, clean vocals, excellent bass guitar lines and epic guitar melodies.  The vocals are rather excellent and much of these parts are poly-rhythmic in nature with how they are crafted.  The music seems pretty complicated to play, however, it is seamless and beyond catchy.  There are so many soaring vocal moments and killer double bass sections.  There are atmospheric and softer sections and some elements on this song remind me of Dream Theatre as well.  The vocals are extraordinary on this song.  “Soul Metamorphosis” has some fun guitar melodies going on in the beginning and the drums over these moments are neat, and then the growly vocals come in and the song thrashes along, very thrashy indeed with the punishing drums and the guitar riffing getting heavier, then the song slows down – ethereal in nature and nice creative drum work.  Some heavy sludge comes forward and the vicious Lamb of God-styled growly vocals return and this is yet another song with so many parts crammed into 5 and a half minutes and never once boring.

Lord Dying’s Clandestine Transcendence is a fantastic metal album. With elements of Hammers of Misfortune, Manilla Road, Cirith Ungol, Lamb of God just to give you an idea of what to expect, still Lord Dying are fresh, and original.  The production on this album allows for all the instruments to be heard without overtaking another section and it sounds organic too.  The varied vocal arrangements and tones are a true highlight for me and I am definitely going to check out their prior albums.  I love this damn album – killer stuff!

Hailing from Oakland California the band has been around a few years. Their notable releases are the Demo-nic Possession demo from 2020, Flayed Alive EP in 2021, and their debut album in 2022 Left Out to Rot. The band has returned with Hooked, a self-released album that is a brief 22 minutes contained within 7 songs.

I’m a big fan of Ohio’s Sanguisugabogg and their brand of death metal. I find a lot of similarities between these two bands who have been around roughly the same amount of time. Sanguisugabogg started out with a variety of different beatdown chugging slams and old school 90’s death metal, and have now focused more on making chugging their central focus. Iron Front’s newest album, Hooked, follows some of that same trajectory, as the band even has the ‘Bogg tinny popping snare drum sound that Erik “The Enforcer”, truly loves. In some ways this album hits as hard, if not harder than Sanguisugabogg’s last album, maybe because I find this a tad catchier and slammier.

“Dissolved In Resin” erupts out of the starting gates with an isolated guitar riff and this song immediately starts out with this Holy Shit moment. Because I know what is coming…Boom, right after that riff, right into a monster slam…I’ll say, Iron Front needs to open their live sets with this song, now!! Make that yesterday, because then right after the slam, right into a blast beat, and for this type of music I am ok with the snare sound, it does not bother me. It cuts through all the heaviness quite nicely. The various stop-and-start guitar riffing and chugging at the 3-minute marker will collapse chest cavities as Topey Plourde’s filthy growls are all over the place on this song. I am loving the shit outta this. The band is also rounded out by: Dmitri Castillo Russel – Bass, Max Mahmood – Drums, Jesse Dicrutattalo/ Cruz Garcia – Guitars.

“Slug Rounds” is up next and the slams and gutturals toward the end of this song, after the scorching blast beats, you’re going to want to punch things multiple times, over and over and over and over….and over again. If you like bacon, then “Pig Splitter” will be just what the Doctor ordered for you. Blast beats to start then the song settles into a punishing groove with gnarly filthy vocals, putrid. The 1.50 gallop reminded me of Mortician, in some respects, then right back into the chugging beatdown, then right into the Mortician like gallop, think of the song “Slaughterhouse” or “Slaughtered”, the beginning, with that unearthly heaving gallop. Such a great song.

The title track offers up a nice nod to the Mortal Kombat video game, you’ll know it once you hear it and the 1.25 section will create massive circle pits all damn day and I enjoy the band using pinch harmonics throughout this release, bringing in that classic NYDM sound of the 90’s.

“Intestinal Siphon” has a great opening isolated bass guitar moment before the groove hits and at the 38 second part that groove gets into a slower chug and it’s really catchy and I can envision karate kicks and picking up change moments in the pit. This song has some excellent growls and vocals erupting all over the place, with some kick ass guitar riffing. These great moments continue throughout the song and the rest of the album too. This is knuckle-dragging caveman brutality and quite honestly, while some of these moments were prevalent on their other releases I really notice more of the ‘Bogg influence on this album. I wonder if maybe they have played shows together? Regardless this is how you start off 2024 folks.

Iron Front’s Hooked contains no fancy-schmancey intros, just bludgeoning the listener with brutal kick ass down-tuned chugging slamming death metal. This fucking killz!

So, a weird year? Sure, but still plenty of high-quality stuff to be found. We thank you all once again for continuing to let us show up every day and spew our nonsense without a whole lot of complaint, and we look forward to getting back on our bullshit in the coming year. So without further ado…

ERIK THOMAS

2023 was a good to great year for metal, Not a fantastic year mind you as this was one of the first years where I wasn’t whittling down 50 releases to 25, or scrambling with last-minute releases I discovered. And frankly, I was either still listening to Lorna Shore‘s Pain Remains from 2022, or listening to previously undiscovered symphonic and melodic black releases fromthe last few years (i.e Suffering Souls, In Synergy Obscene, Skylord’s, Frostcraft, Ensom‘s magnificent Civilizations, Panopticon’s …And Again Into The Light, Obscuris Romancia’s Bringer of Light and Tyrmfar‘s Dialectic of Ego and the Unconscious) more than 2023 releases.

What was great about 2023 was it felt like 1994-1998 with death metal veterans Obituary, Suffocation, Dying Fetus, Cannibal Corpse, Cryptopsy and Autopsy all releasing stout albums that proved the old horses could still run. All we were missing was an Immolation album or Deicide album (which I thought might come out before the end of 2023, but it looks like it’s a 2024 album now).

As with my 2022 list, even without the plethora of symphonic deathcore albums, a couple of things were consistent; a weird mix of melody, (especially the atmospheric black metal type) keyboards, and brutal slams.

And what a year for Sergio Catalán, owner of Tragedy Productions- three of his label’s bands ended up on my list and two of those bands are his solo projects.

As with my previous list, the order is pretty insignificant as depending on my mood, the order changed daily. And I’m still struggling with my # 1 between Mental Cruelty delivering a brilliant example of my favorite genre or the high nostalgia factor for Suffocation.

1. Mental Cruelty – Zwielicht (Century Media Records). I was torn between Mental Cruelty‘s stunning blackened deathcore with an increased emphasis and the blackened or death metal legends Suffocation. My favorite song of the year “Symphony of a Dying Star” was the deciding factor.
2. Suffocation – Hymns From the Apocrypha (Nuclear Blast Records). No Frank Mullen? No problem, as these vets dropped their best album since Pierced From Within.
3. Majesties – Vast Reaches Unclaimed (20 Buck Spin). A wondrously old-school, 90s melodic death/black metal with inherent Obsequiae melodies.
4. Fires in the Distance – Air Not Meant For Us (Prosthetic Records). Increased keyboards made this sublime death/doom act even better.
5. Sühnopfer – Nous sommes d’Hier (Debemur Morti). Classically inspired, one man, gregoroan chant laden, black metal bliss.
6. Panopticon – The Rime of Memory (Bindrune). I lost interest in Panopticon for a while but Christ, is this an ambitious, introspective sprawling album tackling everything from aging to climate change.
7. Passéisme – Alternance (Antiq Records). Again, I’m amazed three Russian death metal dudes continue to deliver epically medieval melodies with album number 2.
8. Æolian – Echoes of the Future (Black Lion Records). One of my favorite new discoveries of 2023, a superb, if not perfect melodic death metal record.
9. Moonlight Sorcery – Horned Lord of the Thorned Castle (Avantgarde Music). Lauded Finnish saviors of symphonic black metal took a bit of a more traditional melo-death turn with fantastic results.
10. Cattle Decapitation – Terrasite (Metal Blade Records). Like a fine wine, Travis Ryan (and his goblin vocals) keep getting better, with their most ambitious and dare I say atmospheric record to date.
11. Deathcode Society – Unlightenment (Osmose Productions). A late year entry of truly blistering French symphonic black/death metal.
12. The Project Hate MCMXCIX– Abominations of the Ageless (Mouth of Belial Productions). Lord K and Co’s most melodic, layered album to date. They can do no wrong, even 15 albums in.
13. Atavistia – Cosmic Warfare (Self-Released). 2023’s most epic, sweeping and bombastic keyboards. I’m really excited for these young Canadians after 2 excellent albums.
14. Félonie – De s​è​ve et de sang (AuralMusic/ code 666). Another solo artist with a brilliant atmospheric black metal debut that’s even better than his already excellent other band, Tyrmfar.
15. Embrace Your Punishment – Made of Stone (Lacerated Enemy Records). An absolute bruiser of a deathcore/slam/death metal record.
16. Dying Fetus – Make Them Beg For Death (Relapse Records). A model of brutal consistency that is still delivering death metal’s greatest slams and grooves.
17. Cryptopsy – As Gomorrah Burns (Nuclear Blast Records). No signs of letting up after an 11-year wait with an album as face-ripping as Whisper Supremacy was over 25 years ago.
18. Gorod – The Orb (Season of Mist). A model of consistency from one of Tech Death’s unquestioned top bands.
19. Winds of Tragedy – Hating Life (Tragedy Productions). A killer release of somber atmospheric black metal from Sergio Catalán, also the owner of Tragedy Productions.
20. My Dearest Wound – The Burial  (Tragedy Productions). See above. Just a bit sadder.
21. Mortem Obscuram – The Wretched Divinity (Self-Released). Vastly improved orchestral melodic tech death from a band that should be on The Artisan Era already.
22. Galundo Tenvulance – Lunar Eclipture (Spiritual Beast). Japanese craziness that mixes huge keyboards with 00s-styled metalcore and melodeath.
23. When Plagues Collide – An Unbiblical Paradigm (NeckTwister). Top-notch, confident blackened deathcore from this improving young Belgian act.
24. Numeron – Road to Valhalla (Tragedy Productions). Another winner of atmospheric black metal from Tragedy Productions.
25. Angerot – The Profound Recreant (Redefining Darkness Records). Of 2023s excellent Swede-death (The Plague, Come Sweet Death, Carnation, Wretched Fate, Endseeker, Gravestone, etc), this now seasoned US act added some well-done atmospherics and was my favorite album of the year in the genre.

Welcome Back: Keep of Kalessin (Katharsis)and US black metal act Woe (Legacies of Frailty) dropped excellent albums out of the blue after lengthy hiatuses.

Most promising new acts: Dragoncorpse, Face Yourself.

Biggest Disappointments: Ne Obliviscaris – Exul. After three almost classic releases, something was missing from Exul’s songwriting. Maladie – For We Are the Plague. These guys have driven me crazy for 4 albums now after three brilliant albums to start their career.  Some real, brilliance and some real head-scratching moments. Primordial– How it Ends. If this is indeed how it ends- a once legendary act is going out with a whimper. The album starts strong, but like me in the sack, fades hard and fast….

Guilty Pleasure: Kvelertak – Ending. Metal’s new punching bags are even more commercial and less black metal now, but some real smile-inducing garage punk anthems here.

Release fucking album/CD Please: Assemble the Chariots, Face Yourself.

Best Label: Century Media. I know I only had 1 release from them on my list (my #1 though..) but if you look at the other great releases they dropped in 2023, many of which were on my list at one point, (Jesus Piece, Sanguisugabogg, Insomnium, Baest, Frozen Soul, Unearth, Marduk, Signs of the Swarm, Dark Funeral, Suicide Silence) they killed it. Note to Century Media- just fucking sign Face Yourself already….