Throughout my life, there have been so many bands that have transcended music and have become a part of my DNA. Music I can’t live without. Bands I can’t live without. That sounds insane on the surface, because no one physically needs music to survive. Mentally and emotionally? That’s a different story entirely, and I’d argue in this case, music is as big as anything.
I’ve had a lot of bands I’ve considered favorites from Iron Maiden to Helloween to Spirit Adrift to Metallica. The one thing they have in common is none ever has been my top record of the year since I’ve been recording these things on my site. Same with black metal institution Panopticon, the Austin Lunn-led band that has made such a difference in my life and created a massive impact, that their records are like documents that should be buried with me, as melodramatic as that sounds. Well, for Panopticon, that ends this year as “The Rime of Memory” is my favorite album of 2023, and the reason for that is the way it made me feel and believe, knowing I’m not a young man any longer but realizing that’s no reason to give up on new discoveries or new music in general. You will have to bury me before I stop. At six tracks and 75 minutes, it should be a much more challenging listen than it is. Instead, the album blows by, sweeping you up with it and taking you on a ride with one of black metal’s most expressive, vulnerable, and thunderous bands on the entire planet. Woven inside is the theme of aging, seeing your hair grow grayer, your face look more weathered, your bones ache a little more. It’s a human process to be celebrated, and this record does that with great glory.
The loon call at the beginning of instrumental opener “Erindringens Høstlige Dysterhet” greets you frostily, bringing a woodsy edge that pours into “Winter’s Ghost” that itself takes time to set its rustic stage before the black metal burst strikes. The playing tears with a rage, Lunn’s howls mixing perfectly with the harrowing riffs, the moody slide guitar, and the roaring strings from Charlie Anderson, who plays a transformative role on this record. “Cedar Skeletons” is a revelation, crushing and rampaging as the guitars catch fire, the intensity spiking as the rousing adventure spreads. Again, Anderson’s strings mix with the power ideally, creating a section deep into this song that rivals that primary riff from “In the North Woods” as one of Panopticon’s most breathtaking moments. The melodic euphoria combined with the remains of nature ravaged results in one of the best metal songs of the year.
“An Autumn Storm” brings a massive attack, swinging hard as tornadic guitars chew up the land, hulking as the punishing force swings. Chimes tingle, savage howls quake the ground, and the final moments makes your heart race. “Enduring the Snow Drought,” something that’s been very common were I live despite the brutal winters we used to have, is a spirited gush that feels like the type that could choke roadways for weeks. Howls and shrieks mix as the strings swarm, pouring elegant glaze and making melodies into a frosty beast. The playing combusts as the cello and strings take over, overwhelming with frozen majesty. “The Blue Against the White” is the ideal closer, awash in emotion and creativity, guest vocalist Johan Nilsson’s warm, evocative singing dressing the first part. The mood turns into volcanic heat, strings and horns layering new textures into black metal fury, bringing glorious and glistening power, ending with a wind that whips your breath away.
“The Rime of Memory” isn’t my favorite record of the year because of the way I feel about Panopticon. It is because it moved my heart and mind more than any other record this year. Maybe I aligned with the idea of embracing aging. Perhaps it’s still the admiration of nature, even in the face of destruction. Or it could be that this album just landed perfectly emotionally, sonically, and spiritually that it was undeniable. Actually, I think that’s it. I’ve always based my work on feel, and nothing made me feel the majesty of humanity, metal lore, and compassion that way this record did. And it’ll be with me forever. (Nov. 29)
For more on the band, go here: https://www.facebook.com/TheTruePanopticon
To buy the album, go here: https://shop.bindrunerecordings.com/
For more on the label, go here: https://www.facebook.com/bindrunerecordings
Meat Mead Metal 
Old post now, but I’m here for whatever reason.
What is your taken on this album’s production? Austin has always had a certain sound, specifically vocals pushed way back, thunderous percussion, and the non-lethal elements lacking distortion.
On this album I hear a deviation from the previous two albums in that the drums sound consistently muddy, like I have to sift through the sonic sand to really get the full performance. The same cannot be said for the atmospheric elements, notably bell chimes, which I thought were so high in the mix and prevalent, especially in the record’s second half, that I joking refer to this as Bell-opticon’s debut album.