30. STARER, “Ancient Monuments and Modern Sadness” (Fiadh/Snow Wolf): Josh Hines, the artist behind black metal beast Starer, choose to express his frustration in a productive way through his art. The project’s new full-length “Ancient Monuments and Modern Sadness” is one of his most obviously agitated to date on the surface and deep in its guts. “I Cry Your Mother’s Blood” rushes at you, leads gushing as Hines’ shrieks separate flesh from ribs, the storming force only gathering in strength. The title is shrieked over a verse, and its intent darkens you, the savagery crushing before a glimmering end. “So, You Traitor” starts with the bass coiling, darker guitars dripping ashy moisture, and then a black metal gust dislodging the foundation. The fury bellows as guitars sting, mangling relentlessness rushing before mesmerizing. Closer “Lie Around My Neck” runs 10:37 and makes good use of every moment, guitars echoing as the shrieks rain, drama accumulating and making your heart race. You can feel the tension in every moment. (Oct. 10)

For more on the band, go here: https://starer.bandcamp.com/

To buy the album, go here: https://starer.bandcamp.com/album/ancient-monuments-and-modern-sadness-2

Or here: https://fiadh.bandcamp.com/

For more on the label, go here: https://snowwolfrecords.bandcamp.com/

And here: https://fiadh.bandcamp.com/

29. MORKE, “To Carry On” (True Cult): Escapism is one of the strong points for Morke, a one-person project helmed by Eric Wing, and the latest album under that banner, “To Carry On,” keeps the castle metal focus strong as ever. Over nine tracks, Wing (joined by session drummer CJ Yacoub) blasts into Medieval times, making it feel like you should be leaping on a horse with a goddamn sword looking to defend the village folk. “Sublymed Respair” has guitars washing in, echoing as howls pierce, the speed taking control quickly. Shrieks fire as the guitars soar and float, the melodies flooding the senses, loons calling out at the end. “Ashes of Feudalism” has leads liquifying rock, vicious howls rippling, the drums picking up and carrying the swarm. The tension continues to spread, howls stinging as the leads glow, swimming in and out of a rushing stream. “Viola Odorata” rouses with guitars mangling, the drums rattling, and melodies gusting, devastating the ground. The energy jars as spirits rise and run amongst us, ending this instrumental piece on a jarring note. The closing title track fires up right away, the vocals wrestling you to the dirt, the riffs encircling and causing dizziness. (Oct. 10)

For more on the band, go here: https://morkemn.bandcamp.com/

To buy the album, go here: https://truecultrecords.bandcamp.com/album/to-carry-on

For more on the label, go here: https://truecultrecords.bandcamp.com/

28. WRYMOON, “Wyrmoon II” (Fiadh): Maine-based black metal phantoms Wyrmoon wrap a ton of icy devastation into their initial full-length “Wyrmoon II” that rouses you from the start. They’re not trying to be Immortal or anything, though there are some connections, but they find ways to overpower with an intensity that is absolutely frigid and dynamic. You hear it right away on opener “I Saw Her Face,” where the drums crash right through the gates, and the speed and electricity bury you in total ferocity. “Sickle Knife Devotion” keeps things storming, blazing melodically and with a bloodlust that grabs you and refuses to let go. “Chrysalis” punishes, Guinevere Sylvain’s howls feeling feral, the bass plodding and snapping, your flesh bruised and torn. “Chasm of the Reaping Moon” is the perfect wrecker to end this record, piling on from the start with a pace that rampages, wails and distant clean calls channeling fire, and guitars work melting through inches of ice. Fucking fantastic debut album that lands in the heart of an unforgiving winter. (Dec. 5)

For more on the band, go here: https://wyrmoon.bandcamp.com/

To buy the album, go here: https://wyrmoon.bandcamp.com/album/wyrmoon-ii

Or here: https://fiadh.bandcamp.com/album/wyrmoon-ii

For more on the label, go here: https://fiadh.bandcamp.com/

27. GRAYCEON, “Then the Darkness” (Translation Loss): Grayceon’s amazing sixth record “Then the Darkness” feels like you’re diving right into the middle of a sea of madness, trying to figure out a way to carry on in the midst of a life-changing event that shakes you to your core. Over 11 tracks and nearly 70 minutes, the band pours its progressive darkness in generous amounts, leaving hearts exposed, blood flowing from ravaged veins. “Thousand Year Storm” opens warbling and spacey before things detonate, Jackie Perez Gratz’s shrieks peeling back bone, her singing floating along with the carnage. The cello ices as the playing grows more progressive, Perez Gratz wailing, “Tell them I am not well at all.” “Mahsa” is the 20:02 centerpiece, a track that starts sorrowfully, Perez Gratz repeating, “I … I will kill … whoever killed my sister.” The playing plods as darkness falls and the tempo bruises, cello bringing an elegance and a power surge. Closer “Come to the End” blasts in, immediately grabbing your attention. There are easier moments and others where the force bustles anew, shrieks tearing, the elements giving off thick smoke. (July 25)

For more on the band, go here: https://grayceon.bandcamp.com/

To buy the album, go here: https://translationloss.com/collections/grayceon-collection

For more on the label, go here: https://translationloss.com/

26. PELICAN, “Flickering Resonance” (Run for Cover): Pelican’s triumphant “Flickering Resonance” is their first to include their original members—guitarists Laurent Schroeder-Lebec and Trevor de Brauw, bassist Bryan Herweg, and drummer Larry Herweg—in more than a decade. It feels right, and you can hear that in the music that bristles with energy. “Gulch” gets things going in active fashion, the guitars kicking in and punches landing, the melodies snaking through your brain. “Evergreen” feels like classic Pelican, streams moving forward, sweeping you up as the sounds swell, and then the guitars get warmer. “Pining For Ever” dawns with lathering guitars and a dusky aura, making it feel like the earlier evening hours of the summer. Closer “Wandering Mind” starts ominously with bass chugging, the darkness heading into the shadows, a chilling, numbing feeling sending shivers. Everything in its right place. (May 16)

For more on the band, go here: https://pelican.bandcamp.com/

To buy the album, go here: https://runforcoverrecords.com/products/pelican-flickering-resonance

For more on the label, go here:  https://runforcoverrecords.com/

25. HOODED MENACE, “Lachrymose Monuments of Obscuration” (Season of Mist): About a decade ago, Hooded Menace veered away from dank, guttural doom metal to embrace the electricity of the forces we had in the 1980s. It certainly was a choice, and so far, it’s worked out pretty fucking great. “Lachrymose Monuments of Obscuration” stays in the direction they’ve been on, but never abandoning their doom roots nor pulling back on the murkiness. “Pale Masquerade” punches and roars right off the bat. Leads smoke and glimmer as the growls pay homage to the darkness, and the pace continually grows more aggressive. “Portrait Without a Face” starts clean before the bass starts chugging, growls coat, and warm guitars let blood coat flesh. Closer “Into Haunted Oblivion” runs 9:46, fading in from the dark, guitars unloading, speed coming and going, the growls crawling through cracks. Plus there’s a great, unexpected cover of Duran Duran’s “Save a Prayer” that will sneak up on you. (Oct. 3)

For more on the band, go here: https://hoodedmenace.bandcamp.com/music

To buy the album (North America), go here: https://shopusa.season-of-mist.com/

Or here (International): https://shop.season-of-mist.com/

For more on the label, go here: https://www.season-of-mist.com/

24. WITHERER, “Shadow Without a Horizon” (Hypaethral): Canadian black metal force Witherer pack trauma and catharsis into “Shadow Without a Horizon,” their debut full-length. Black metal remains their base, but there is a lot of slow-burning doom cooked into this thing, and if you feel like the music is making you dizzy and disoriented, you’re not alone. “Fiat Umbra (Burial Beneath the Stalactites)” opens basking in darkness, a long introspection melting into warped heat, growls mauling as the guitars boil. “Devourer of All Graveyards” attacks, howls snarling, guitars angling and cutting into your muscles. “Solar Collapse Mandala” has cries pulling at flesh and a hammering pace, guitars gripping as the growls crush, the playing veering toward hypnosis. Closer “Praises (Gliding Through the Lightless Sea)” runs 15:30, and the echoey slurriness permeates, the vocals doing damage, the bass slinking into the unknown. Growls sicken as the mesmerizing playing angles toward chaos, the heat rising as the band slowly batters, the bass again flexing hard. (June 20)

For more on the band, go here: https://withererblackmetal.bandcamp.com/

To buy the album, go here: https://hypaethralrecords.com/collections/witherer

For more on the label, go here: https://hypaethralrecords.com/

23. CASTRATOR, “Coronation of the Grotesque” (Dark Descent): Death metal crushers Castrator make gory, traditionally bloody death metal on a sonic level, but digging deeper, there are revelations about unspeakable ugliness going on in our history and modern society that are scarier than a skeleton pulling out his guts in a graveyard. Their molten second album “Coronation of the Grotesque,” shines a light on injustices, human suffering, state-sponsored brutality, and sexual predators. “I Am Eunuch” gushes with soaring leads, a dizzying attack, and then a charged-up bruising that teams with Clarissa Badini’s vocals that utterly slay. Things get humid before guitars light up, the thrashing guts, and everything ends viciously. “Covenant of Deceit” is eerie when it dawns, and then ugliness ensues as the growls dig deep into guts. “Discordant Rumination” opens with shrieks raining down, a death charge aiming for your ribs, and raw hell unleashing new forms of pain. A cover of Exodus’ classic “Metal Command” rounds out this savage beast, which they manage to make even more violent. (June 20)

For more on the band, go here: https://castrator.bandcamp.com/music

To buy the album, go here: https://www.darkdescentrecords.com/shop/?s=castrator&post_type=product

For more on the label, go here: https://darkdescentrecords.bandcamp.com/

22. CASTLE RAT, “The Bestiary” (King Volume/Blues Funeral): They’re not playing arenas quite yet, but Castle Rat belong in the category of bands that deserve to do their thing on a bigger stage, and perhaps their great second record “The Bestiary” will help get them there. “Phoenix I” opens with a slurry synth blanket, whispers spreading as the guitars rise, twin leads chewing into dreams, slowly merging into “Wolf I” that explodes with powerful leads and vocals to match. “Siren” arrives amid rousing drums, more killer riffs, and the singing sweltering, guitars chugging before Riley Pinkerton gruffs, “Ooh!” a la Tom Warrior. “Dragon” has smoking guitars and a spirit that stomps through the room, the singing flexing its muscles as the humidity spills. “Sun Song” pulls you in with Pinkerton’s voice, the playing buzzing and going grungy, the force gutting and chugging. The guitars electrify as the attitude catapults, the drums pummeling through wiry riffs. (Sept. 19)

For more on the band, go here: https://castlerat.bandcamp.com/

To buy the album (U.S.), go here: https://kingvolume.8merch.us/

And here: https://castlerat.bandcamp.com/album/the-bestiary

Or here (Europe): https://bluesfuneralrecordings.bandcamp.com/album/the-bestiary

And here: https://kingvolume.8merch.com/

For more on the label, go here: https://www.kingvolume.com/

And here: https://www.bluesfuneral.com/

21. HELL, “Submersus” (Sentient Ruin): Hell, a one-man project helmed by M.S.W., long has travelled through a world of existential suffering. “Submersus,” the project’s fifth full-length, and first in eight years, pours more of that into five tracks that batter with doom, sludge, and pain. “Hevy” opens in a hail of feedback before the tempo begins pummeling, M.S.W. wailing, “What have I become?” We head directly into grime and pain, drubbing as the screams fry, the playing shifting heavier into sludge, guitars building a swelling atmosphere. “Gravis” chugs, slowly bathing in the increasing pressure. Agonizing screams ripple down your spine as the playing drags through madness. “Mortem” feels swampy and thick, shrieks maiming as sounds spread deeper into the darkness. Closer “Bog” emerges from the shadows, developing a cosmic bend, hellish screams choking you in the void, wrenching as the bruising continues. Utter doom misery. (July 11)

For more on the band, go here: https://loweryourhead.bandcamp.com/

To buy the album, go here: http://sentientruin.com/releases/hell-submersus

For more on the label, go here: http://sentientruin.com/

40. CONAN, “Violence Dimension” (Heavy Psych Sounds): Longtime doom battering ram Conan are as fitting as any band to take on our barbaric nature, and it’s splattered all over “Violence Dimension.” On this, their seventh record, they smear their bludgeoning energy over these seven (or eight depending which version you have) tracks that are weighty and hammering. “Foeman’s Flesh” opens with chugging guitars and a bruising pace, Jon Davis’ unmistakable howl stretching out over eons. The playing scorches while a rechanneled path pummels you, barbarian-like blows blasting air from lungs. “Total Bicep” is the song title of the year, and it flattens, howls strangling as a clobbering force makes its way across the earth. “Ocean of Boiling Skin” runs 10:03 and leads in with the guitars teasing, the pace flattening, and Davis’ wails bruising ribs. Riffs lap at the tempo beats you down, folding into weird cosmic winds, washing into eeriness as the drums explore the stratosphere. Another great Conan album. (April 25)

For more on the band, go here: https://conan-conan.bandcamp.com/music

To buy the album, go here: https://www.heavypsychsounds.com/shop.htm#HPS341

For more on the label, go here: https://www.heavypsychsounds.com/

39. LIGHTLESS, “A foreseen loss” (Fading Light Studio): Being staunchly anti-fascist isn’t a prerequisite for winding up on this list or for us liking a band’s music, but it’s a really good starting point to pique interest. Another is to play earth-scraping sludge and doom that lasts a long time and leaves you mentally devastated. That’s the case with German beasts Lightless, whose debut “A foreseen loss” packs 80 minutes of power into four tracks that can leave the ground around you melted. The shortest track here is the 18:11-long opener “Social pestilence” that drives you to spacious, menacing sounds that bask in cavernous power, vocalist/guitarist Dr. Christian Engelmann howling, “Your ideas are egoism, your faith is intolerance, your propulsions aren’t honest.” That blunt fury and long-form thunder spreads over “Alternating preeminence,” that pulls back on the pressure just a bit and floats overhead; and finale “Humanity’s closing chapter,” a track that laments the damage we’ve done to our own planet as money-sucking leadership scum fucks lie to keep their oppression in hand. “Evilness, severity, emptiness, darkness,” Engelmann concludes, the hammers dropping with fire. (April 30)

For more on the band, go here: https://lightlessdoom.bandcamp.com/

To buy the album, go here: https://lightlessdoom.bandcamp.com/album/a-foreseen-loss

For more on the label, go here: https://fading-light-studio.bandcamp.com/

38. LADY BEAST, “The Inner Alchemist” (Dying Victims): Distractions are nice about now, and putting on a heavy metal record that reminds you about your heart and fight could be the perfect antidote, at least for a while. That’s where Pittsburgh trad metal warriors Lady Beast come in with their fifth record “The Inner Alchemist.” “The Oracles Omen” rips out of the gates, Deborah Levine’s expressive singing in full command as always, the playing driving colorfully. “Through the Eyes of War” has a vintage Maiden feel at the start, I’m talking pre-Dickinson. “Starborn” starts slower and shimmers, channeling Rainbow, but it isn’t long until the guitars melt, and the beast tears through your chest, smoking like a chimney. “From the stars we’re born, and to the stars we return,” Levine belts. “Witch Light” is an urgent basher, twin guitars ruling, rocky melodies carrying the way. Closer “Off With Her Head” is a barnstormer, the vocals flexing, a fast, blunt chorus digging into your nervous system. Every one of their records kills. (March 28)

For more on the band, go here: https://ladybeast.bandcamp.com/

To buy the album, go here: https://dyingvictims.com/index.php

For more on the label, go here: https://dying-victims.de/

37. ZEICRYDEUS, “Le grande hérésie” (Productions TSO): There are not many bands like Zeicrydeus operating fresh out there, and their debut “Le grande hérésie” is one you won’t soon forget if you take on this seven-track crusher. Helmed solely by Phil Tougas, who you’ll know from Atramentus and Chthe’ilist and Funebrarum among many other, the approach is more bass-powered than guitar (though they’re definitely present), and the record might take you back to metal’s true formative years when styles didn’t matter but heart and tenacity did. Think Running Wild, Manowar, early Rotting Christ in a blender. “Ten Thousand Spears Atop the Bleeding Mountains” has a huge open with the playing brawling, keeping an exciting pace as the bass bubbles and lathers, boiling and warping. “Profane Spells & Naked Swords in the Emerald Meadows of Nhaath” chugs as guitars contort, speedy leads ripple, and Tougas’ creaking speaking and swarming hells boil in echo. “Godsteel (Blood of the Third Son)” is murky before guitar and bass beam through the clouds, eeriness clouds, and the pace rampages, breaking out the dreams of the mid-1980s to present day, heaving glory and fire across the sky. It’s like a time capsule of menace and ferocity, a record you don’t get many of these days. So indulge. Heavily. (June 30)

For more on the band, go here: https://www.philtougas.ca/

To buy the album, go here: https://loudtrax.com/productionstso

For more on the label, go here: https://www.philtougas.ca/productionstso

36. RETURNING, “Numinous” (Bindrune Recordings): Olympia, Wash., black metal power Returning fall firmly into the camp of those defending our planet, and on their great second record “Numinous,” they unload three epic journeys on a collection that feels like your center point is reestablishing its ties to the earth. “Sacred Decay” opens immersed in atmosphere, the singing wafting as guitars drift, shrieks then knifing in as the pace combusts. A fury whips into a frenzy, howls calling, “Smoke rises skyward, a symbol of ruin,” as the ignition continues to get hotter. “Ancestral Shadow Portal” is a quieter, more mid-paced piece that feels like a spiritual experience. “Offerings to the Great Circle” runs 19:18, the longest of these three lengthy pieces, and it rushes in, howls already scarring, blistering before a wave of calm enters, and this push and pull is something we keep revisiting. It’s a stunning experience. (June 20)

For more on the band, go here: https://returning.earth/

To buy the album, go here: https://shop.bindrunerecordings.com/products/returning-numinous-lp-pre-order

For more on the label, go here: https://bindrunerecordings.bandcamp.com/

35. GAAHLS WYRD, “Braiding the Stories” (Season of Mist): Gaahls WYRD, ever since its formation almost a decade ago, felt like one that didn’t seem to adhere to genre expectations, nor would it care to. Helmed by black metal legend Kristian Espedal, known also as Gaahl, this project through much different waters while keeping blackness in its heart. “The Dream” is aptly titled as the opening intro cut is clean and trickling, Gaahl’s speaking bubbling underneath the surface, soothing and fading into the title track that opens adventurously and stays that way. “Voices in My Head,” another short one packed with fluid psychedelics, soft singing, disarming warbling, and strange synth zapping into the beyond. “Time and Timeless Timeline” is menacing, a black metal burst that feels like all the energy palmed into a fist. “Root the Will” brings a steady riff assault, a boisterous attack, and the singing gliding as the momentum continues to build. This is a miasma. And a trip to another plane. (June 6)

For more on the band, go here: https://gaahlswyrd.bandcamp.com/

To buy the album, go here: https://shopusa.season-of-mist.com/band/gaahls-wyrd

Or here: https://shop.season-of-mist.com/list/gaahls-wyrd-braiding-the-stories

For more on the label, go here: https://www.season-of-mist.com/

34. RITUAL MASS, “Cascading Misery” (20 Buck Spin): Pittsburgh death horde Ritual Mass have the brutality down to a science, but their aspirations lie beyond that, which they prove on their mesmerizing debut full-length “Cascading Misery.” “Obsidian Mirror” starts with synth beams that feel like they’re invading from another realm, and then the leads stir and the vocals scar, driving a wedge between realities. A furious pace erupts that amplifies the brutality, the pace eventually slowing some before a smearing, blurring finish. “Immeasurable Hell” has guitars snarling and blazing, howls menacing, and smoke rising dangerously. The title track attacks, raw growls digging under fingernails, gargantuan riffs flexing and making things uncomfortable. “Frozen Marrow,” which is a nice treat on a warm day, is mucky as hell, guitars mangling, the speed hulking as the bass chews. Closer “Disquiet” runs 14:32, and it starts in doomy waters, disorienting and landing relentless blows, the roars crushing as the playing turns maniacal.  (Sept. 5)

For more on the band, go here: https://ritualmass.bandcamp.com/

To buy the album, go here: https://www.20buckspin.com/ritualmass

For more on the label, go here: https://www.20buckspin.com/

33. CHRISTIAN MISTRESS, “Children of the Earth” (Cruz del Sur): Ten years ago also was the last time we got a full-length from traditional metal power Christian Mistress, that being 2015’s “To Your Death.” This year, we finally had our friends return with the triumphant “Children of the Earth,” an eight-track, 33-minute bruiser. “City of Gold” opens shrouded in guitar smoke, Christine Davis’ leathery singing voice reminding us just why we fell in love with this band in the first place. “Voiceless” has strong leads and a defiance, showing a drive to stand up for those who cannot. “Use your voice, it’s what you got,” Davis pushes to those who have the ability, the guitars churning. Leads then blaze even harder, the spirit taking up arms, Davis asking, “What would the voiceless say?” “Mythmaker” is a killer, a righteous metal battle gem that reminds of Dio’s classics, and it starts with guitars chewing and Davis weaving through, commanding, “They say come see if it’s right for you, dance to death on the other side,” before declaring, “You are the mythmaker!” Closer “Shadow” is an end-of-record standout that should fire up every metallic cell in your body. Thrilled this band is back. (Feb. 28)

For more on the band, go here: https://christianmistress.bandcamp.com/album/children-of-the-earth

To buy the album, go here: https://www.cruzdelsurmusic.com/store/index.php?route=product/search&search=CHRISTIAN%20MISTRESS&description=true

For more on the label, go here: https://www.cruzdelsurmusic.com/store/

32. KAYO DOT, “Every Rock, Every Half-Truth Under Reason” (Prophecy Productions): Kayo Dot is a project long helmed by Toby Driver that hasn’t even come close to making the same record twice. 11^th album “Every Rock, Every Half-Truth Under Reason” is no exception. Driver had AI on his mind when creating these songs, attempting to conjure something so bizarrely human that no machine could hope to duplicate it. Mission fucking accomplished. “Mental Shed” runs 10:53, and it starts with strange howls and keys slithering, ringing out in a strange aura that exists beyond this plane. “Closet Door in the Room Where She Died” has sounds swelling and manic screams, strings lathering as the feeling grows more deranged, unhinged moments weighing on you. “Automatic Writing” is the longest track here, running 23:06, and it really pushes you to the brink, dreamy lasers cutting through thick afternoon clouds. The guitars surge as the singing balances emotion, the sentiment feeling ashen and moody, the horns sweltering, the ghosts leaning into the misery. Closer “Blind Creature of Slime” is punchy and active, growls and snarls flexing, jarring as the playing jangles, and the sax bustles. Fuck off, Altman. (Aug. 1)

For more on the band, go here: http://www.kayodot.net/

To buy the album, go here: http://lnk.spkr.media/kayodot-everyrock

For more on the label, go here: https://en.prophecy.de/

31. CORONER, “Dissonance Theory” (Century Media): Swiss thrashers Coroner helped formulate thrash’s brain, adding more technical and frostier notes to the art form, and on their comeback album “Dissonance Theory,” they put to rest whether this arm of metal remains relevant. Their first record in 32 years (the last was 1993’s “Grin”) is an open mouth into hell, a volatile, devastating, and much-needed reminder of what thrash can be and just how sharp its teeth are. “Consequence” gives you a real taste of what’s ahead, which is brutality. Riffs encircle as the pace properly mashes, feeling like they’ve purposely upped the ante. Ron Royce’s howls snarl, feeling animalistic, while the chorus wraps around you. “Sacrificial Lamb” starts in the shadows before trudging forward, lambasting religious fervor with tongue in cheek. “The Law” starts cleaner before the thrust pushes you back, though the pressure is a little less harsh, though just as heated. Nasty howls tangle with gray melodies, the leads pulling into the edge of the fog. “Trinity” drips in with wiry riffs, the playing pummeling as guitars rip, and even a darkening cloud coverage can’t obscure the anger. Incredible comeback. (Oct. 17)

For more on the band, go here: https://coronerofficial.com/

To buy the album (U.S.), go here: https://centurymedia.store/

Or here (Europe): https://www.cmdistro.de/

For more on the label, go here: https://www.centurymedia.com/

The part that sucks most about doing these lists each year is that I have to leave out records I really liked. These are the main runners up to the top 40, and all of them are killer pieces that are varied and more than worthy. If you missed any of these, change that as fast as you can.

DEADGUY, “Near-Death Travel Services” (Relapse): Three full decades after releasing their debut (and until recently only) full-length record “Fixation on a Co-Worker,” Deadguy have returned to doing what they do best with “Near-Death Travel Services,” an absolute beast of an album that was worth the lengthy wait. It’s a triumph of an album, and it beats your ass from front to back with the power of a band half their age. “Kill Fee” tears open, Singer howling, “We are the freaks, and we dare to believe there’s a place for us in this world.” New Best Friend” has the drums driving, the guitars encircling, battering with a blinding force. Yelled vocals bruise as metallic riffs cut through steel, adding pressure to a mangling finish. “Knife Sharpener” waylays, howls smashing, guitars tangling, and a violent pace destroying as the thing goes by in a flash. “All Stick & No Carrot” wastes little time getting going, the vocals pasting, sounds smearing and adding a level of purposeful confusion. One of the triumphs of the year. (June 27)

For more on the band, go here: https://deadguy666.bandcamp.com/

To buy the album, go here: https://www.relapse.com/pages/deadguy-near-death-travel-services

For more on the label, go here: https://www.relapse.com/

ESSES, “Pain at the Altar of Jest” (Seeing Red): Portland post-goth/doom band Esses very well could claim that their records, the latest of which is “Pain at the Altar of Jest,” can be called ritualistic. I haven’t seen their live show, but if it’s anything like their recorded output, they can give credence to that word. “Three Sisters” pounds spiritually, hushed singing haunting, gushing open, guitars churning in the dark. The singing continues to glide and reflect, melting away into dusk. “Mirage Artist” starts with a didgeridoo echoing, which is just as startling on record as it is in real life. Riffs carve as the singing lulls, mesmerizing as a hypnotic pace chills you to the bone. “Cavern of Souls” enters with the bass driving, guitars scuffing, and the singing soaring, the emotion crackling with electricity. Closer “Crackedlands” flows warmly as Western echoes illuminate mysteries, syrupy guitar slowly blending with the horizon. (Sept. 26)

For more on the band, go here: https://essesmusic.bandcamp.com/

To buy the album (U.S.), go here: https://seeingredrecords.8merch.us/

Or here (Europe): https://seeingredrecords.8merch.com/

For more on the label, go here: https://www.seeingredrecords.com/

LYCHGATE, “Precipice” (Debemur Morti): Lychgate returned late in the year with “Precipice,” their winding, dramatic, and dark record that ponders a future with total dependence on machines. The music and words are inspired by E.M. Forster’s 1909 sci-fi short story The Machine Stops, which was terrifyingly ahead of its time, as well as works by H.G. Wells and T.S. Eliot. It’s black metal dripping with psychosis nightmare state. “Mausoleum of Steel” chokes in soot, then growls spit as the synth strikes a frosty note, stirring and unleashing deep reds hues. Howls retch as the pace lurches, fascinating as the playing chugs into oblivion. “The Meeting of Orion and Scorpio” is elegant as it dawns, deep speaking prodding veins, a jazzy ambiance adding extra shadow. “Anagnorisis” has the pace crumbling and the calls blackening, the keys making the ambiance feel like a snow-covered landscape with unforgiving winds. Closer “Pangaea” opens with keys sweltering and the guitars equaling the intensity, the vocals boiling in the mix. (Dec. 12)

For more on the band, go here: https://lychgate.bandcamp.com/

To buy the album (U.S.), go here: https://debemurmorti.aisamerch.com/

Or here (International): https://www.debemur-morti.com/en/24-pre-orders

For more on the label, go here: https://www.debemur-morti.com/en/

PLAGUE OF CARCOSA, “In the Dreamless Deep” (Fiadh Productions): Chicago-based sludge/doom instrumental trio Plague of Carcosa long have found inspiration in Cthulhu and other Lovecraftian lore, and to do that with mostly no vocals is a tall order for a lesser band. Yet, they capture the essence in drubbing fashion, and on their second full-length “In the Dreamless Deep,” they pummel during six songs that maul over 44 minutes. “Over Innsmouth” is melodic and mournful when it dawns, then it turns quickly to skull bashing, the leads glimmering amid a pit of destruction. “Sepulchre of the Dead Gods” flows gently before the power lurches, turning into a full doom fury, the filth caking your veins. “Awakened Sentinel” is the longest track, running 15:01 and working instantly into psyche guitars and a lathering dose of sludge that you can chew. (Aug. 12)

For more on the band, go here: https://plagueofcarcosa.bandcamp.com/

To buy the album, go here: https://plagueofcarcosa.bandcamp.com/album/in-the-dreamless-deep

For more on the label, go here: https://fiadh.bandcamp.com/

SPECIES, “Changelings” (20 Buck Spin): Polish maulers Species spark tech thrash nostalgia on their second record “Changelings,” a catchy, mangling dose of progressive thrash metal that hits all the right spots. Over seven tracks and 40 perfectly portioned minutes, the band dazzles with their ability, no doubt, but they always remember to tell a story along the way. “Inspirit Creation” immediately clues you in on what’s ahead, that being mind-bending thrash and shrieky vocals. “Waves of Time” is smooth, with creaky vocals carving, and then clean singing giving off a psychedelic aura. The pace detonates as the screams buckle, leading to a very techy buildup, speeding and clubbing, melodic soloing filling you to the brim. “Voyager” is a cosmic-fueled instrumental piece, whirring keys taking you deep into your imagination. Closer “Biological Masterpiece” runs a healthy 10:17, beginning with a choppy start/stop that feels like someone hitting the gas and then slamming on the brakes before turning into dream-inducing madness. (Sept. 19)

For more on the band, go here: https://species1.bandcamp.com/music

To buy the album, go here: https://www.20buckspin.com/collections/species/

For more on the label, go here: https://www.20buckspin.com/

A lot of time when a year wraps and people make lists of full-length records they love, EPs and split releases sometimes get lost in the dust. And there were a ton of them this year! These are some of the ones we liked a lot.

BURIAL GIFT, “MMXXV” (Bindrune Recordings/self-released): New Orleans-based Burial Gift aren’t rewriting code or anything with black metal, but they are finding ways to keep this style more fertile and open. They released their “MMXXV” earlier this year on their own, but Eihwaz rose from the ashes in the final month of the year to give this a proper physical release on cassette. “Sear” blasts open, furious melodies spewing forth, guitars surging as the vocals are mean but also kind of catchy. The murmur boils into a gazey flow, guitars cascading downward before things rip open again. “Elegy Azure” has with the drums blasting, blood rushing through veins, and a surging pace that loosens screws. The tempo gets thrashier as each element fills your mind, melodies washing over you. “Hollow Bloom” ends things, guitars echoing as vile howls ripple, a cold front gathering before jarring you where you stand. (July 25)

For more on the band, go here: https://burialgift1.bandcamp.com/

To buy the album, go here: https://shop.eihwazrecordings.com/

For more on the label, go here: https://eihwazrecordings.bandcamp.com/

CRYPT SERMON, “Saturnian Appendices” (Dark Descent): EPs have a varying range of serving sizes, typically depending on what style of songs that band in question makes. Crypt Sermon’s new EP “Saturnian Appendices,” a four-track affair that still clocks in at nearly a half hour, is on the beefier end, and we’re better off for it. This is EP is leftovers from the sessions that produced their excellent third album “The Stygian Rose,” and that is presented here as three new songs and a very intriguing cover of a Mayhem’s classic “De Mysteriis Doom Sathanas,” “Only Ash and Dust” fittingly has a fantasy vibe, the track trickling in before bursting in full. The playing is driving and dark, the chorus soars, guitars charge up as the pace blisters, “oh-oh” calls power, and a galvanizing spirit brings everything to a raucous end. “A Fool to Believe” is powerful, classic-style riffs taking off, the playing chugging and bruising bones. Even a smaller serving of this band can fill you up. (Aug. 8)

For more on the band, go here: https://www.cryptsermon.com/

To buy the album, go here: https://www.darkdescentrecords.com/shop/

For more on the label, go here: https://darkdescentrecords.bandcamp.com/

HELL/MIZMOR, “Alluvion” (Gilead Media): “Alluvion” combines Mizmor’s A.L.N. (guitars, vocals, drums) and Hell’s M.S.W. (guitars, vocals, bass) on a four-track beast that might not deviate terribly from their main projects but lets their talents and forces meld into a collection that allows their metallic personalities to breathe different air. “Begging to be Lost” opens slowly, flowing ominously and perilously before the gates break, and we’re swimming in sludgy doom and powerful shrieks. Noise sizzles as a battering tempo leaves ample bruising, the riffs entangling as the power simmers, slowing some but remaining potently heavy. “Pandemonium’s Throat” slowly emerges like an apparition from the mist, doom drubbing as a sooty balance smears blackness. Shrieks belt as howls burn, strangling as guitars flow generously, blistering as the fury multiplies, screams battering over craggy rocks. The two “Vision” tracks provides mesmerizing ambiance that lets you breathe between the two beastly attacks as well as gain your bearings. (April 4)

For more on Hell, go here: https://loweryourhead.bandcamp.com/music

For more on Mizmor, go here: https://mizmor.bandcamp.com/

To buy the album, go here: https://gileadmedia.net/collections/gilead-media-releases

For more on the label, go here: https://gileadmedia.net/

LUST HANG/GENITAL SHAME, split (Fiadh Productions): This crushing 4-track split is from Lust Hag and Genital Shame, two single-creator black metal outfits that are coming off well-received, impactful full-length albums (both made our top 40 last year) and are looking to build on that momentum. Here, they more than succeed with a split effort highlighting each’s strengths. Genital Shame’s portion opens with “Notes Are My Friends” which is spacious and airy when it opens later turning into heavy hypnosis as keys shimmer, a cosmic push envelops, and the final hellish vocals mix with a delicate haze. “War on Cars” is madness, the leads scaling as the growls retch, the pace numbing, and everything washing away into freezing cold waters. For Lust Hag, “Everything Ends” dawns in an ominous atmosphere, a spacey coldness digesting, the feeling of isolation spreading, and then the drums exploding. Fiery chaos ignites, shrieks attack, and the leads slay, pushing you to the limits mentally as echo smears over a vicious finish. “Another Loss” brings unfurling riffs, fast and blinding motion, and howls buried underneath the carnage that still have full impact. Devastating entries from both. (March 7)

For more on Genital Shame the band, go here: http://genitalshame.bandcamp.com/

For more on Lust Hag, go here: https://eleanorharper.bandcamp.com/

To buy the album, go here: https://fiadh.bandcamp.com/music

For more on the label, go here: https://fiadh.bandcamp.com/

SUNROT, “Passages” (Prosthetic): “Passages,” a five-track EP by sludge doom warriors Sunrot, acts as a pathway from where they were on “The Unfailing Rope” (the session that also bore these songs) to wherever they’re headed next. And no matter where that is, it’s likely to be a decidedly darker place, one where greed is the real god. “Death Knell” opens with sounds buzzing, darkness eroding comfort, voices pushing through the confusion, strange transmissions ending with a clanging doom bell. “The First Wound” rips open with guitars taunting, vocalist Lex Santiago’s howls destroying, and sounds warping and challenging madness. “Sleep” brings noises ricocheting, the atmosphere squeezing, aching rhythmic pounding making your breathing accelerate, everything bleeding into chaos. “Untethered” brings lathering guitars, Jack Carino’s cello mixing in with the spirits, the track turning into a shadowy figure that lurks mysteriously. “Ra” closes, and it has sounds penetrating, a recording of late musician Sun Ra speaking of the positivity of music and its ability to create new worlds and dreams. (Jan. 24)

For more of the band, go here: https://www.facebook.com/sunrotmusic

To buy the album, go here: https://shop.prostheticrecords.com/

For more on the label, go here: https://prostheticrecords.com/

TUMULTUOUS RUIN, “Never a Night So Dark” (Fiadh Productions): LA-based one-man black metal power Tumultuous Ruin has been one of the reliable ones the last few years as our world has grown more toxic, and his unflinching opposition to fascism and oppression is noteworthy and honorable. If you’re new to the band helmed by RH, his EP “Never a Night So Dark” (the title is lifted from a John Brown quote) is the perfect entrance point. “Undead Corpse of Empire” drills open, sooty growls clogging veins, screams by guest vocalist Stone Crow rippling down spines. “Toward Their Chains” starts in clean eeriness, a slow-driving pace making you sustain every blow, mournful melodies dripping into a lapse of time. “Climate Chaos Manifest” ravages, a blistering force ripping at you, a brief gasp of calm lingering before incineration. A hammering force emerges and chews through rock, rushing and rampaging, a melodic black metal wave enveloping, leaving the carnage sizzling in gazey fervor. (June 27)

For more on the band, go here: https://tumultuousruin.bandcamp.com/

To buy the album, go here: https://fiadh.bandcamp.com/merch

Or here: https://tumultuousruin.bandcamp.com/album/never-a-night-so-dark-ep

For more on the label, go here: https://fiadh.bandcamp.com/merch 

UNHOLY ALTAR, “A Sullen Dark Sky” (Fiadh Productions/Liminal Dread Productions): Philly black metal heathens Unholy Altar have conjured some of the rawest, bloodiest black metal we’ve heard the past few years, but on “A Sullen Dark Sky,” we get something altogether new from them. To be clear, there still is plenty of black metal bludgeoning here, but also infused is extra atmosphere and more delicate parts that provide a streak of beauty through the blood. “Judas Iscariot” begins reflectively before howls begin to maim. Shrieks corrode as a melodic gush floods, the ambiance feeling strangely infectious. Growls then bruise as the power reaches into your guts, mesmerizing before bleeding into “Heathen” that is mauling and mashing from the start. Vicious screams hammer as feral speed takes hold, leading to a sickening fury that strangles with malice. “Descent” has melodic riffs and a punchiness that blackens eyes, hypnotic guitars layering psychosis as if from some illicit syrup. A new wrenching twist from an otherwise hellish entity. (Aug. 22)

For more on the band, go here: https://unholyaltar666.bandcamp.com/

To buy the album, go here: https://unholyaltar666.bandcamp.com/album/a-sullen-dark-sky-2

For more on the label, go here: https://fiadh.bandcamp.com/

And here: https://liminaldreadproductions.bandcamp.com/

WE LISTEN TO OTHER THINGS! Yeah, it’s a metal site. We all know this. But clearly we have interests outside the metal realm, and I believe most of our readers do as well. This wasn’t as adventurous a year as we’d hope to have, but that happens. We live in hell. But there were plenty of good records out there that became a part of our musical DNA, and here are 10 of them.

CIRCUIT DES YEUX, “Halo on the Inside” (Matador): A bit of a different, darker, noisier, abrasive record from this project long helmed by Haley Fohr. There are more electronic elements, and the feel is,not necessarily morbid, but certainly dripping with darker, foreboding colors. “I can make a radio break,” she insists on “Canopy of Eden,” one of the standout tracks here, and it sounds like a threat. “Megaloner” zaps through the shadow with synth and Fohr’s husky voice; “Skeleton Key” basks in nighttime skies and fog, feeling earthy; “Truth” is disruptive and terminally dancey, if you can find room amongst the ghouls, especially when she jabs, “Truth is just imagination of the mind.” (March 14)

For more on the band, go here: https://circuitdesyeux.com/

To buy the album, go here: https://matadorrecords.com/pages/store

For more on the label, go here: https://matadorrecords.com/

ETHEL CAIN, “Willoughby Tucker, I’ll Always Love You” (Daughter of Cain): Hayden Silas Anhedönia insists that “Willoughby Tucker, I’ll Always Love You” is the final for her Ethel Cain persona, and if so, it’s one hell of a document with which to end this saga. This record, a prequel to her debut “Preacher’s Daughter,” covers Cain’s teenage years, and the sprawling 74-minute record runs the gamut of emotions as well as composition styles, mixing folk pop with ambiance. “I know she’s your girl now, but she was my girl first,” Cain sings heartbreakingly on opener “Janie,” a total dagger. “Fuck Me Eyes” pulses with synth and lust and frustration and it’s magic. “Dust Bowl” feels like a rustic dream, with the edges feeling misty and strange. What a final chapter this is. (Aug. 8)

For more on the band, go here: https://www.daughtersofcain.com/

To buy the album, go here: https://ethelcain.ffm.to/wtialy

DIE SPITZ, “Something to Consume” (Third Man): I have seen this record on some metal lists, and that’s fine. This Austin power has more punk and grunge in their sound, with “Throw Yourself to the Sword” really the only truly metallic track here (and it is a fucking slayer). The rest? Absolute earworms that bring back thoughts of Hole, just with way less baggage. “Pop Punk Anthem (Sorry for the Delay)” is a great, energy-inducing opener that gets the blood flowing. “American Porn” is catchy as all fuck, with breezier choruses and a blade, especially vocally over the chorus. “RIDING WITH MY GIRLS” (caps on purpose) is a cruncher that leaves you in the dust. All the weirdos keep saying rock is dead? Die Spitz beg to differ. With a sword! (Sept. 12)

For more on the band, go here: https://www.diespitz.com/

To buy the album, go here: https://thirdmanrecords.com/collections/new-releases/products/something-to-consume

For more on the label, go here: https://thirdmanrecords.com/

EXWIFE, “BLOW” (self-released): It was a hard year for me, for some reason, to find new music I liked outside of metal, and it feels largely like a failure. But not totally. Say what you wish about TikTok, but I’ve found some good music there, the latest of which is Oregon’s ExWife, whose “BLOW” is a lot of vintage grunge fun, strong guitar work, and Alexandria Bonanno’s expressive voice that can bristle and soothe in the same line, nailing with acerbic wit. “Shadows” is their calling card, the first track on the record and the stickiest, though what follows is more than worthy. “Meditating” zaps around with power, melodic fuzz spilling from the seams as Bonanno wonders, “Are you listening on the other side of the screen?” The title track is packed with innuendo, punching at you alluringly. “Wild West” is smoky with guitar buzz, feeling like vintage ’90s indie rock, Bonanno demanding, “Tell me I’m funny!” I JUST DID!  (March 7)

For more on the band, go here: https://exwifeband.bandcamp.com/

To buy the album, go here: https://exwifeband.bandcamp.com/album/blow

MARISSA NADLER, “New Radiations” (Sacred Bones): “New Radiations” is Marissa Nadler’s 10^th record, and it’s another immersive trip into her mind. While a little more folkish than her last couple albums, these 11 tracks will prove she’s right where she usually is, telling tales as old as time that seem to come from somewhere time doesn’t even exist. It’s a warm, haunting, rousing adventure, and every ounce of this goes down easily. “It Hits Harder” opens with stark acoustics, Nadler’s unmistakable voice calling, “Everything dies, it’s just the way.” “You Called Her Camelia” is soft and black, pedal steel glistening; the title track is warm and galactic; “To Be the Moon King” is a sad tale told in sepia tones; and “Sad Satellite” keeps us in space, acoustics dripping as memories from winter days shake you. Everything Nadler does feels both timeless and from the void. (Aug. 15)

For more on the band, go here: https://www.marissanadler.com/

To buy the album, go here: https://www.sacredbonesrecords.com/products/sbr-371-marissa-nadler-new-radiations

For more on the label, go here: https://www.sacredbonesrecords.com/

PILE, “Sunshine and Balance Beams” (Sooper): Pretty much if a Pile record comes out during the calendar year, it’s going to make my list of favorite non-metal records. Or records in general. “Sunshine” is a little more in the band’s tradition of blunt, bloody rock that can agitate as much as soothe, which took a slight break on 2023’s “All Fiction,” which still was a great record. From opener “An Opening” to the aggressive and propulsive “Deep Clay” to the synth-rich and eventually volcanic “Bouncing in Blue,” which is one of my favorite tracks here, Rick Maguire and the band drive hard and earnestly, charring your ears and senses with an album that eschews perfection for heart. (Aug. 15)

For more on the band, go here: https://pilemusic.com/

To buy the album, go here: https://sooperrecords.limitedrun.com/products/867084-sunshine-and-balance-beams

For more on the label, go here: https://sooperrecords.limitedrun.com/

MARGO PRICE, “Hard Headed Woman” (Loma Vista): Margo Price has let all of herself spill out before her audiences, and her latest “Hard Headed Woman” has her going headfirst back into straight-up country. The good stuff. That isn’t tainted by major corporations or fucking AI. Starting with opener “Don’t Let the Bastards Get You Down,” inspired by a Kris Kristofferson line, she burns the idea of selling one’s heart to a businessman because “he’ll sell it back next time around.” “Don’t Wake Me Up” swaggers and steams, with tasty slide guitar burning; “Close to You” is a softer ballad that weeps with pedal steel; and “I Just Don’t Give a Damn” (a George Jones song) actually reminds a bit of 1980s Dolly, which you should know is a huge compliment, and has some goddamn great guitar work. (Aug. 29)

For more on the band, go here: https://www.margoprice.net/

To buy the album, go here: https://bodega.lomavistarecordings.com/collections/margo-price

For more on the label, go here: https://bodega.lomavistarecordings.com/

ANNA VON HAUSSWOLFF, “ICONOCLASTS” (YEAR0001): Anna Von Hausswolff, on her sixth record “ICONOCLASTS,” sees the struggle of taking on too many burdens as well as the drive to salvage our lives and power as we see the world crumbling before us. She took the example of Atlas, with the world on his shoulders, and drove into these 12 songs and 72 minutes. “Facing Atlas” has sax swirls and organs, Von Hausswolff’s singing unfurling as the emotion spills alongside her. “The Whole Woman” features Iggy Pop, sounding more weathered but as charismatic and vulnerable as ever. The song emerges from a dream, two distant lovers pining yet smarting over the wounds. It’s incredible. “Stardust” rouses and reverberates. “Aging Young Women” features Ethel Cain on vocals alongside Von Hausswolff, and their voices meld like honey and heartache.  “Unconditional Love,” featuring Anna’s sister Maria, feels like a declaration, the emotion cresting and fading. This is modern day Kate Bush shit. (Oct. 31)

For more on the band, go here: https://www.youtube.com/@AnnavonHausswolff

To buy the album, go here: https://yr1.se/iconoclasts

For more on the label, go here: https://year0001.com/

WEDNESDAY, “Bleeds” (Secretly Canadian): Let’s get this out of the way: “Bleeds” has some of the worst cover art of the year. Sorry. But the music? Another stellar album from this North Carolina band reeling from the breakup of band leader Karly Hartman and MJ Lenderman, and while you might think that leads to some Fleetwood Mac drama, it honestly doesn’t. It’s a great record, a surprising one, and the one likely to paste them to the map. It has a strong 1-2 punch opener of “Reality TV Argument Bleeds” that goes from drunken slurry to rock that tries to navigate the room under the influence, and “Townies,” a folk rocker that is infectious and sticky. “Elderberry Wine” simmers in the aforementioned heartbreak; “Pick Up That Knife” feels like a hot summer afternoon; and “Wasp” is 86 seconds of fuzz, distortion, screaming, and aggression like you’ve never heard or expected from Wednesday. (Sept. 19)

For more on the band, go here: https://www.wednesday.band/

To buy the album, go here: https://secretlystore.com/products/wednesday-bleeds

For more on the label, go here: https://secretlycanadian.com/

WET LEG, “Moisturizer” (Domino Recording Co.): Some people probably thought English pop rock band Wet Leg only had one trick up their sleeves with their debut and songs such as “Chaise Longue” and “Wet Dream,” a foolish thought to begin with. “Moisturizer” should shut those people up. Rhian Teasdale (as charismatic and bitingly funny a singer/lyricist as there is) and Hester Chambers pulled together their touring band and made them permanent and punched out a great record that, yes, still can make you smirk but also proves the chops they possess. Opener “CPR” flexes and slinks, feeling like they’re setting you up for something, especially with the loopy chorus. Yeah, we’ve all heard “catch these fists,” and it never loses its ridiculous appeal. The best cut here is “mangetout,” a goddamn cut-down of a track that contains some of Teasdale’s best lyrics, not the least of which is, “You think I’m pretty, you think I’m pretty cool, you want to fuck me, I know most people do.”  Go listen to it and have fun for once. (July 11)

For more on the band, go here: https://wetlegband.com/

To buy the album, go here: https://www.dominomusic.com/releases/wet-leg/moisturizer/lp

For more on the label, go here: https://www.dominomusic.com/us

The amount of people using (even if blindly) and putting all their eggs into the AI basket is fucking astonishing and terrifying to me at the same time. Slavery to machines might not be as far off as we’d like to think, but considering the billionaire class and many world economies are going all in makes you wonder if everything is going to crash or if we all will become obsolete.

Lychgate have returned late in the year with “Precipice,” their winding, dramatic, and dark new record that ponders a future with total dependence on machines. The music and words are inspired by E.M. Forster’s 1909 sci-fi short story The Machine Stops, which was terrifyingly ahead of its time, as well as works by H.G. Wells and T.S. Eliot, layering dystopian fiction into their black metal that refuses to adhere to subgenre structure. The band—vocalist Greg Chandler (also of Esoteric), guitarist/organ player/piano player J.C. “Vortigern” Young, guitarist S.D. Lindsley, bassist Tom McLean, drummer T. J. F. Vallely—infuses elements of industrial and jazz into this nine-track album that reveals horrors going on right now that very well may determine our futures. If we have one at all.

“Introduction – The Sleeper Awakes” opens in orchestral waves, feeling like the opening credits for a dark film, drums marching and howls gathering, spilling into “Mausoleum of Steel” that chokes in soot as it opens. Growls spit as the synth strikes a frosty note, stirring and unleashing deep reds hues. Howls retch as the pace lurches, fascinating as the playing chugs into oblivion. “Renunciation” has synth sweeps and mashing tension, the leads glowing as they take on speed, creating an unavoidable storm. Howls slash as the pace tears into progressive sparks, the keys cascading into oblivion. “The Meeting of Orion and Scorpio” is elegant as it dawns, deep speaking prodding veins, a jazzy ambiance adding extra shadow. The pace smokes and slinks as the guitars turn of the temperature, keys rain down, and smooth vibes settle into the night. “Hive of Parasites” starts amid mesmerizing keys and moves toward ravaging punishment, cries wrenching as the pressure continues to build. Prog-style keys simmer as the pace opens again, growls choking, the guitars chugging and fire spitting from loose corners. Calmer guitars then float above, keys drizzle, and an explosion of shrieks smother.

“Death’s Twilight Kingdom” has keys dancing and guitars darting, the growls rumbling as every element tangles for control before an unexpected silence. Keys tumble out of that as the tempo guts, the guitars engulf the surroundings in flames, and the growls trudge before an ending awash in dramatics. “Terror Silence” has the riffs carving and the vocals beat in more of a recitation mode, feeling like they’re conjuring spirits. Wintry keys coat with a sheet of ice as the vocals overpower and deliver pointed blows, the final blasts knocking you back a ways. “Anagnorisis” has the pace crumbling and the calls blackening, the keys making the ambiance feel like a snow-covered landscape with unforgiving winds. Speaking creaks as the sounds rise, the harshness grows in leaps and bounds, and the playing barrels ahead, cut perilously by zany guitar lines that challenge psyches. Closer “Pangaea” opens with keys sweltering and the guitars equaling the intensity, the vocals boiling in the mix. Melodies linger as the keys rush, jarring adrenaline before quietly fading.

Lychgate saved a dark, emotional gem for damn near the end of the year with “Precipice,” an album that proves the band’s ambition knows no satisfaction. Digging into humanity’s subservience to technology, especially that not fully realized yet, sends chills as you take on this dystopian nightmare the band colors so well with black metal that feels suffocating and imaginative at the same time. The slope (hilariously I misspelled this as slop at first) is slippery, and we’re flying the fuck down it. Perhaps this blast furnace of chaos can help some of us wake up from the horror.

For more on the band, go here: https://lychgate.bandcamp.com/

To buy the album (U.S.), go here: https://debemurmorti.aisamerch.com/

Or here (International): https://www.debemur-morti.com/en/24-pre-orders

For more on the label, go here: https://www.debemur-morti.com/en/

There are a lot of people disillusioned and downright depressed about the state of the world, and if you live in the United States as I do, it’s a mix of horror and disgust every day that is in no way sustainable. It’s hard to remember that these times do not last, and light one day will reemerge, but simmering in the agony makes hope seem impossible.

Sacramento-based funeral doom duo Oromet stand in the middle of a crumbling and hopeful existence on their second record “The Sinking Isle,” an album that shows the darker side of their creativity that serves as a counterbalance to their 2023 self-titled debut. Again drawing inspiration from fantasy artist Ted Nasmith, whose breathtaking artwork again adorns their cover, the band—vocalist/guitarist Dan Aguilar, drummer/bassist/synth player/backing vocalist Patrick Hills—reaches deep into the surrounding darkness and create something darkly melodic and richly layered. Yes, there is misery at every turn, but to find our way to a rebirth that is better for all, we must endure the suffering.

“Hollow Dominion” opens and is the longest track, running 20:49 and taking its time to unfurl the dreaded majesty. The first couple minutes are serene, calm even, a thread of sorrow pulled through the middle. The growls enter and corrode as the glacial pace drags its way across the surface. The playing is thunderous, guitars glimmering, the emotion gushing as bells chime, the lower end of the surface rumbling with power. Drums echo as the sounds build drama, cosmic synth blowing stars across the sky, a spacious gust bringing back the devastation. Melodies unload as wrenching force pushes, the playing cascades, and the growls gut hard over melting guitars.

“Marathon” crashes, growls scarring, a spacey atmosphere stretching over everything, howls smashing as boiling interference stretches its grasp. Colder temperatures arrive as the fog increases, guitars drip, and keys zap, the ice slowing thawing. The pounding returns as the wails spill over and bubble, hearts pour blood, and a strange intermission crackles, pushing into closer “Forsaken Tarn.” The playing mashes, growls burning even as clean, elegant waters spill over cliffs. The leads weep as gargantuan pounding combines with snarling growls and a sound burst that feels like a storm exploding. Wails slice as emotion flows from open veins, the ground is deliberately pounded as keys glaze, and the glorious fury echoes into dimensions.

“The Sinking Isle” is a perfect name for this record as Oromet create a soundtrack to an imploding world that sustains damage as excruciatingly as possible. The galactic elements that paint dark matter over pain and misery also happen to pave a way for potential pinholes of light that could be a step forward. This is a massive album, a great piece of work that pushes Oromet into the upper echelon of doom powers and hopefully should continue to expand their reach even further.

For more on the band, go here: https://oromet.bandcamp.com/

To buy the album, go here: https://hypaethralrecords.com/collections/releases/products/oromet-the-sinking-isle

Or here (U.S.): http://transylvanianrecordings.com/album/oromet-the-sinking-isle

For more on the label, go here: https://hypaethralrecords.com/

Going to sleep at night really is just that, right? Lying down and going to sleep. Same with taking an intense nap. Just floating off into your mind. Or is it something more than just slipping out of consciousness? Do we take ourselves to another plane and gain access to knowledge or slip into another dimension, visiting places that may await us later?

Icelandic/U.S. black metal power Martröđ are on that wavelength with “Draumsýnir Eldsins,” their debut full-length record and first release in nine years. For a record that basically means “dreams of fire,” it certainly tears into your psyche and expands what is possible mentally when your body is at rest, but not your mind. The band—vocalist/guitarist H.V., guitarist A.P., bassist M.H.P., drummer J.B.—uses four tracks to carve a pathway into something greater, materials we can’t access when we’re walking around awake, a record that cracks open your skull and lets new juices flow inside.

“Sköpunin” tears open, stirring howls smearing, the playing churning, dissolving, and then reigniting. The battle continues as guitars boil and dive bomb, eventually working into calmer waters, a frost front slowly moving into the picture. Cavernous, pained wails echo as the bass reverberates, guitars melt, and pastoral choral strains turn monstrous, strings stretching into “Líkaminn” that glazes before the vocals bathe you in acid. The pace whips tornadically, the carnage worked into a hypnotic storm, zapping and surging into chilling keys. The ghostly feel sweeps as infernal calls unload, whipping up the humidity, sounds chiming and warping into space.

“Tíminn” delivers spacious guitars that hover overhead, wrenching vocals that reach a gurgle, and spacey fire that fuels the adventure. The playing cools, letting clouds form, a dream state setting up and making you question reality. The chaos sprawls as the tension builds, guitars storming with a dizzying attack, voices echoing over a dramatic end. Closer “Dauðinn” simmers in organs as the guitars sheen, the melodies gently sailing though you know chaos awaits. Speed and fury combine, roars maul, and the angles dart at you from unpredictable points. The attack is rubbery before bursting with daring colors, warped crumbling, and an implosion that swirls with menace.

If Martröđ were seeking to develop a pathway to greater understanding with “Draumsýnir Eldsins,” they do achieve that sonically as this is music that feels like it is transferring you elsewhere. These four tracks carry more than just riffs and metallic jolts and, if you allow yourself to sink into the madness, you will find an experience that surpasses mere album. These are ideal sounds for the darker days when sleep becomes plentiful and our chances to branch beyond here are at an apex. 

For more on the band, go here: https://martrod.bandcamp.com/

To buy the album (U.S.), go here: https://debemurmorti.aisamerch.com/

Or here (International): https://www.debemur-morti.com/en/24-pre-orders

For more on the label, go here: https://www.debemur-morti.com/en/

December is such a weird time for new music. As someone who writes about it and is bombarded with new releases all the time, this is the time of the year when the spigot is at a drip, and finding stuff to fill these pages gets tough. But there are gems out there if you look for them, and one today might have hit harder during the Halloween times.

Pedestal for Leviathan play death metal splashed with symphonic edges, some black metal, and a darkness that would have sounded great when pumpkins and skeletons still were dotting lawns. Full confession: mine still has both elements. Anyway, the band is helmed solely in the studio by Kendrick Lemke (vocals, guitar in the live setting) which is astonishing when you take on  “Enter: Vampyric Manifestation.” It’s heavy, passionate, emotional, and dripping with strangeness that makes this beast even more imposing. In a live setting, Lemke is joined by guitarist Mathew Meyer, bassist Noah Filthen, and drummer Corbin Echtermeyer, because it surely takes a team effort to get these songs translated live. There is a lot going on here with this eight-track album (11 depending on the version), and it’s a really immersive experience that toggles between elegance and bloodshed, often in the same verse. 

“Chalice Bleeds Intoxicant” starts with spooky synth and icy guitars, opening into a chasm that is swallowed by massive death growls. The playing totally tears apart, speedy vocals spat, the playing charring, and riffs swooping, burning into oblivion. “Summoning Sickness” unloads with snarling death, keys blazing and darting through chaos, the growls mangling and punishing. The drama intensifies as do the vocals, the playing getting tougher and less conventional as we go. “Lycanthropichrist” (say that 5 times really fast … or one time at all) has guitars dive bombing, a mashing force pushing everything to the surface, and beastly growls interacting with stinging keys. The senses activate further as the growls engorge, and the power ruptures completely, blasting with sun-exploding colors. “Sanctity of Retribution” is hazy and dripping, feeling overcast before a storm. Deep growls lurch as strings dance and dash, the guitars rise from the ashes, and the growls maul, leaving a bloody imprint as orchestral waves wash everything away.

“Purgatory Displacement” has the synth diving, growls retching, and downtuned madness making the bottom end even thicker. Bells chime as the ravaging speed takes over, drama spiking along the way, gang shouts exploding, and a tougher push disappearing into whipping winds. “Karmic Recollection Mirror” has keys fluttering, the guitars tangling, and main melodies lines snaking through oil slicks. The howls hammer with deeper tones, the synth soars, and the emotion runs over the rim, ending in choking growls and soot. “Snow Covered Monolith” is a quick instrumental that feels equally like a regal entrance theme and wiry videogame score, all while chilling your bones. “Warlock Blacksmith” is the closer on some versions, erupting with devastating consequences, trudging as the growls punish, and mud cakes the gears. The fury aims to gut, and it does effectively, the growls curdle, and the keys slink and fire in raw horror, blistering to the end. Some versions have three bonus tracks—”Siphoning of the Liege,” the rawer “Beast Rune,” and ghostly mauler “Nightshade Familiar”—that are worth hearing for sure. I do find the eight-track version a little tighter and more urgent.

Pedestal for Leviathan, sadly, is bound to get lost in the glut of December releases, but “Enter: Vampyric Manifestation” is chock full of excitement, gore, and death metal that dabbles in black metal’s deep pools. This record is full of energy and attitude but never at the expense of the violent underpinning the music is selling. This is an album perfect for the dark, cold nights when your spirit wishes to travel elsewhere for a little while.

For more on the band, go here: https://pedestalforleviathan.bandcamp.com/

To buy the album, go here: https://www.personal-records.com/product/pre-order-pedestal-of-leviathan-enter-vampyric-manifestation/

For more on the label, go here: https://www.personal-records.com/

I listen to a podcast on a very regular basis where the two hosts dissect, fact check, and later mock the insane actions of a well-known conspiracy theorist turned water carrier. It’s a way for me to try to understand the bizarre split realities in which we live and how we got to this point. It also helps me laugh about something so obviously absurd.

Finnish grindcore masters Rotten Sound have been making lightning-fast records and fiery statements about our fucked-up world since forming more than three decades ago. “Mass Extinction” is the band’s 11^th EP (to go along with eight full-lengths), and it comes at the tail end of a chaotic 2025, a year especially heinous in this country. These nine tracks that last, combined, just under 10 minutes, lash at a world overcome with strife, misinformation (so much of it on purpose), chaos and oppression, so much so that creating change proves potentially impossible. The band—vocalist Keijo Niinimaa, guitarist Mika Aalto, bassist/backing vocalist Matti Raappana, drummer Sami Latva—wastes no time unleashing vitriol, dire warnings, and devastation, perhaps feeling you have to burn to the ground anything worth building back up again.

“Recycle” explodes, spitting hammers, howls smashing as the playing trucks and mashes heavily. “Ride of the Future” trudges, blinding howls incinerating, everything coming to a vicious, abrupt end. “Gone” launches, drums spattering as bodies are wrecked, and on a dime the pace changes, wrecking everything in its wake. “Polarized” somehow manages to go faster, machine-gun destruction eating into your insides and regurgitating them. “Brave New World” slashes, chugging mud as threats about the world being recycled blares like a loud speaker. The playing jackhammers, sending guts flying, leaving glass shards spraying the air. “Empty Shells” is a complete demolition, rubbery riffs flexing and rippling, stomping everything on the ground over raspy howls. “Idealist” is thrashy as well, cries of, “Wake up!” rousing, the energy mangling, ending as a total battery. The closing title track sludges, slow-driving power squeezing ribcages, eerie sound clips chewing nerves. An infernal crunch powers, the smoking fury raging out of control and into the madness.

Rotten Sound are as channeled and ferocious as ever on “Mass Extinction,” a mammoth EP that might be short in length but lands like a goddamn skyscraper being spiked off the ground. Their concern and fury over the state of the world is fully relatable, and the manner in which they spit nails is impressive. Shit might be burning everywhere, but at least people like Rotten Sound aren’t going to stand there with their arms folded.

For more on the band, go here: https://rottensound.com/

To buy the album (U.S.), go here: https://shopusa.season-of-mist.com/list/rotten-sound-mass-extinction

Or here (Europe): https://shop.season-of-mist.com/

For more on the label, go here: https://www.season-of-mist.com/