30. WIEGEDOOD, “There’s Always Blood at the End of the Road” (Century Media): Belgian black metal crushers Wiegedood clearly have had their share of the bullshit, and on their ultra-violent fourth record “There’s Always Blood at the End of the Road,” they make it abundantly clear they’re clean out of fucks. I mean toward society at large. As for the music, they care as much as ever as they unleash something that can be stitched along with their “De Doden Hebben Het Goed” trilogy but also stands far apart from an intensity standpoint. “FN SCAR 16” starts the record and just sucks all the air from the room with a wild howl and as maniacal pace that rambles and punishes, spiraling into the earth. “Until It Is Not” teases before it tears itself open at the chest, babbling blood and guts in your path as the playing absolutely swarms. Closer “Carousel” heats up and spreads as throat singing stings, the heaviness weighs you down, and the playing drills into the earth (Jan. 14)

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

To buy the album, go here: https://wiegedood.lnk.to/TheresAlwaysBloodAtTheEndOfTheRoad

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

29. HOREHOUND, “Collapse” (Blackseed): It’s hard to find true catharsis or a way to alleviate some of the pressure building up in your own mind, but luckily that isn’t impossible to achieve. Pittsburgh doom power Horehound aren’t here to make those problems go away, but their killer third record “Collapse” can act as a friend in arms, guiding you to see the worst of humanity but also provide you the power to work your way out of that madness. “Hiraeth” kicks off with heavy blows landed, going into darkness as Shy Kennedy’s vocals come in deeper, and sultrier than ever before. “Godful” is a beast, foreboding and stalking; “Sword on Fire” arrives amid galloping guitars and doomy steam, melting your brain; “The Rebirth” emerges with thick synth work and the tempo slowly dripping, bringing solemnity before the ground begins to rumble; “Dying Gaia” brings portentous riffs and growls that wrestle with clean singing for supremacy as Kennedy taunts, “Be! Don’t be! You’re going to die, is it today?” (May 27)

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

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

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

28. WHITE WARD, “False Light” (Debemur Morti): Ukrainian black metal band White Ward has seen the impacts of oppression and bloodshed firsthand, they were only too eager to visit that and other touchpoints that have ignited segments of society on their excellent third full-length “False Light.” If you’re already familiar with the band, you realize the black metal tag is merely a base as they spread beyond that to include elements of jazz, post rock, prog, and plenty of other colors. This album lyrically focuses on, to quote their bio, government-sanctioned murders, imminent environmental catastrophes, police brutality, domestic abuse, the psychic emptiness of cities, falsity of modern mainstream culture, and ill-effects of overconsumption. “Leviathan,” “Phoenix,” and “Echoes in Eternity” are classic White Ward epics, but “Salt Paradise” is a game changer as an Americana-styled track with Jay Gambit adding his gravelly, dusty voice to power this along and add even more rustic character to a highlight of this album. (June 17)

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

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

Or here (Europe): https://www.debemur-morti.com/en/12-eshop

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

27. CASTRATOR, “Defiled in Oblivion” (Dark Descent): It was hilarious when sad internet dudes whined that Dark Descent was releasing “Defiled in Oblivion,” the debut full-length from Castrator, whose lineup happens to be all female. That’s never a detail we point out in coverage because we need to stop treating women who can demonstrate bloody savagery as some kind of novelty, and the band comes out stabbing on this bruiser of an album. But that’s obviously why sad dudes were crying. “Dawa of Yousafzai” starts with a clip of Malala Yousafza, and the track grinds as deadly death metal ruptures, tearing apart flesh, draining veins, and the power blows you back. “Befoul My Existence” ignites with guitars rampaging and the playing scraping flesh from the bone. “Forsaken and Deprived” lets riffs spill from the seams, the speed increasing and making the surroundings seem dangerous and unruly. The record ends with a slashing cover of the Venom classic “Countess Bathory” which they fully dominate. (July 22)

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

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

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

26. NARAKH, “Nemesis Cloak” (self-released): Narakah’s debut full-length album “Nemesis Cloak” is like a microburst of grindcore madness that stomps you into the ground, your identity mostly left in question. This Pittsburgh assault unit grew out of other local crushers such as Slaves BC (now Uzkost), Meth Quarry, Acolyte, Demilitia and plenty of others, and they bring their sardonic chaos to these 18 tracks that blast by in a mere 20 minutes. It felt like a fucking cartoon trying to take notes during this thing, requiring more than one session, but who gives a damn when the music is this piledriving and fun? This is one of those records that if you look away for a second, you’ll miss some sort of madness whipping full speed at your head, and these fuckers even made me question my sanity with the Century III Chevrolet jingle at the front end of “The Uzi Crusades.” This is an awesome display that takes grindcore to a different level and splatters your guts in the street. (July 1)

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

To buy the album, go here: https://forceofreckoningrecords.bigcartel.com/product/narakah-nemesis-cloak

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

25. SUMERLANDS, “Dreamkiller” (Relapse): “Dreamkiller” is the second record from Sumerlands, a band that drinks deeply from the pools of classic heavy metal from the late 1970s and early 1980s. All of that is woven into their sound, and it gets me right in the chest because it reminds me of my high school days scouring for albums after finishing my lawn work. There has been a major change with the band since their 2016 self-titled debut, that being the exit of singer Phil Swanson and the arrival of new vocalist Brendan Radigan (formerly of Magic Circle), an element that made me skeptical despite being a fan of Radigan’s work. That fear was for naught as he and the band excel on crushers such as “Twilight Points the Way” and “Heavens Above,” as good an opening one-two punch as you’ll find on any record. The title track is a classic piece of business, and closer “Death to Mercy” brings an ominous end to a record that is bound to have amazing staying power. (Sept. 16)

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

To buy the album, go here: https://store.relapse.com/b/sumerlands

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

24. PYRITHE, “Monuments to Impermanence” (Gilead Media): “Monuments to Impermanence,” the debut mind flayer by Pittsburgh’s Pyrithe, hardly is a comedy album (the fact that real-life trash was used as percussive elements aside, which actually rules), but the band still finds the absurdity of existence in the pit of musical blackness. Trying to pinpoint the band’s sound isn’t very easy as it can change multiple times during a single passage, but sludge, doom, noise, prog, and many other elements are relevant as the band defines its own brand of heaviness. This thing plays like a mixtape of cuts you’re trying to use to expand someone’s mind into what heaviness can truly be, and it’s even more astonishing it’s all by the same band. “Glioblastoma” is an absolute motherfucker, one of the best metal tracks of the year featuring their original and now-departed vocalist Vicky Carbone; “In Praise of the Enochian Trickster” is a disorienting trip down a river of codeine-laced cough syrup; and “Ekphrastik I and II” brings the record home with the delicacy of a light tube to the face. (April 29)

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

To buy the album, go here: https://gileadmedia.net/collections/pre-orders

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

23. SONJA, “Loud Arriver” (Cruz del Sur): Melissa Moore and her band Sonja are here with their awesome debut record “Loud Arriver,” a swaggering, steaming slab of gothy power that offers no apologies. Moore—she handles vocals and guitars and is joined by bassist Ben Brand and drummer Grzesiek Czapla, the lone member of the cowardly shitbags in Absu who supported her—recounts her life when she had to live as a trans woman in secret and suffered as a result. This record is chock full of revenge, sex, sleaze, anger, hurt, and one fucking banger after another. “When the Candle Burns Low…” gets things going with synth driving and Moore’s vocals sweeping in, with her voice demanding and keeping your attention. “Nylon Nights” is a killer, a track that dawns on a great riff and some lushness sitting behind the shadows. “Wanting Me Dead” has an ominous flow as vintage riffs set fires, the playing sending your heart racing. The closing title track starts with acoustics and softer tones before the pace launches, the bass thickens, and the guitars slip through the fog. Long live Moore and Sonja. (Sept. 23)

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

To buy the album, go here: https://www.cruzdelsurmusic.com/store/

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

22. KEN MODE, “Null” (Artoffact): Winnipeg-based noise beasts KEN mode also felt the weight of the pandemic, perhaps more than some other people because their artistic outlet essentially was shut down completely. Being in a music scene and having regular activities around making music created a sense of community for the band, and losing that took a toll psychologically, creating darkness where the despair already was thick. The band eventually broke out of that and ended up on a creative tear, the first portion of that arriving with their monstrous new record “Null,” the first of a two-album arc. Sledgehammer opener “A Love Letter” snarls and writhes with Jesse Matthewson stabbing, “This untasteful place, something is broken, something is FUCKED,” one of the most memorable moments of the entire year. “But They Respect My Tactics” trounces and tangles; “Lost Grip” runs 10:02 and lurks in psychosis; and “The Desperate Search for an Enemy” wrenches as the vocals attack, the bass flattens, and the guitars carve away as Kathryn Kerr’s sax stalks menacingly. Can’t wait for installment 2. (Sept. 23)

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

To buy the album, go here: https://ken-mode.com/products/ken-mode-null

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

21. ELDER, “Innate Passage” (Stickman/Armageddon Shop): Why is no one talking about this record? Is it the late release date? Because a lot of people missed one of the best prog metal records of the year with “Innate Passage,” another strong chapter from Elder. This band always has created music that provokes thought and impacts philosophically and psychologically, but their position in history enabled them to expand even further on this record. This album that stretches over five tracks and 54 minutes leans less on heaviness (though it’s still served generously) and aims for more atmosphere and immersion, drawing you deep within its core and stimulating your senses. Go listen to “Catastasis,” “Endless Return,” and “Merged In Dreams – Ne Plus Ultra” and freak out over a record that’s next fucking level. (Nov. 25)

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

To buy the album, go here: https://beholdtheelder.bandcamp.com/album/innate-passage

Or here: https://www.stickman-records.com/shop/elder-innate-passage/

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

And here: https://www.stickman-records.com/

40. HAMMERS OF MISFORTUNE, “Overtaker” (self-released): When it comes to Hammers of Misfortune, the anticipation for their albums isn’t easy because they can hit you with anything. Sure, you’re in for riffs, top-notch vocals, be it clear or harsh, and a hefty serving of dramatics. But you never can fully anticipate how it’s going to hit you. Well, on their seventh album “Overtaker,” the guessing game gets deliciously out of control as they present their most aggressive record to date, but one that still pulls in their cavalcade of progressive tricks. This album is a family reunion of sorts with Mike Scalzi and Jamie Myers back in the fold with John Cobbett and Sigrid Sheie among others, and there is gem after gem with “Dark Brennius,” “Don’t Follow the Lights,” and “Aggressive Perfection.” (Dec. 2)

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

To buy the album, go here: https://hammersofmisfortune.bandcamp.com/album/overtaker

39. CIRKELN, “A Song to Sorrow” (True Cult): Cirkeln, the project helmed by sole creator Våndarr, is a perfect modern example of a band that can transform what’s read on the page of a book into a full-blown adventure musically. Influenced by the works of JRR Tolkien and Michael Moorcock, the band’s music has been glorious and rich, reminding of Bathory, Celtic Frost, and so many others that helped plant black metal’s seeds. Cirkeln’s latest record “A Song to Sorrow” is a blood-rushing experience that feels like it connects Middle Ages storytelling with fire from these times, and it’s impossible not to get completely lost in this thing if you have even a modicum of imagination. (March 25)

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

To buy the album or for more on the label, go here: https://truecultrecords.bandcamp.com/

38. BOOK OF SAND, “Seven Candles for an Empty Altar” (Fiadh Productions): Book of Sand long strayed away from the expected and even the comfortable over the course of eight full-length records that have challenged and twisted brains into mush. Yet, on the project’s ninth album “Seven Candles for an Empty Altar,” sole creator dcrf finds inventive and complicated ways to deform black metal and create an entirely different beast that almost assuredly won’t go down easily. Opener “Speak in Tongues of the Dead” is an absolute red herring for its piano-driven first half that eventually explodes into black metal fury; “Soft Sun on Silent Water” combines both horror and smooth sax in one pot; closer “A New World Waits in the Soil” is a healthy 10:36 and immediately pummels with vicious riffs and charging shrieks, the doomy ambiance encircling. (Nov. 1)

For more on the band, go here: https://www.facebook.com/book.of.sand

To buy the album, go here: https://fiadh.bandcamp.com/album/seven-candles-for-an-empty-altar

For more on the label and to buy the rest of the releases, go here: https://fiadh.bandcamp.com/

37. AURIFEROUS FLAME, “The Great Mist Within” (True Cult): Ayloss, who brought you great black metal with projects including Spectral Lore and Mystras, also embraces that icy sound that birthed a million bands, and with his new project Auriferous Flame, he pays homage to a movement, just without the shitty viewpoints and regressive politics. On “The Great Mist Within,” he spreads his black metal wings and drizzles proper amounts of melody and elegance to these tracks that turn your ribcage to dust. “Voice of the Gleaming Edge” ruptures right away with the playing storming and Ayloss’ vocals scraping fresh wounds amid a melodic surge. “Molten Gold” runs 10:39 and opens in lathering guitars and a drubbing that stings the senses. The guitars heat up and spiral into numbing hypnosis. “Ancient Corridors” is the longest track, clocking in at 10:45, and it teases in a haze as it dawns, letting your mind wander on an adventure. (July 29)

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

To buy the album, go here: https://truecultrecords.bandcamp.com/album/the-great-mist-within

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

36. HOLY FAWN, “Dimensional Bleed” (Wax Bodega): Arizona’s Holy Fawn won’t rip off your head with savagery—though there are thorny bends to their music—but the weight is instead in the emotions and the heart gush. Their second record is “Dimensional Bleed,” and it’s a hefty mix of atmospheric heaviness, delicate expressions, sometimes hushed passages, and, yes, daggers you don’t see coming that pierce your chest. The band named their record after a phenomenon where multiple dimensions and timelines exist at once, and this immersive, breathtaking music can leave you gasping, sometimes holding back tears, always soaring through the atmosphere to explore other planes of existence you’ve never touched before. There are plenty of highlights on this emotional road burner, peaking on “Death Is a Relief,” “Lift Your Head,” and “True Loss,” a solemn gem that leaks red hues, the drums punching in and increasing the somber vibes as vocalist/guitarist Ryan Osterman calls, “Sometimes it feels like you’re the only one like me out there.” (Sept. 9)

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

To buy the album, go here: https://waxbodega.limitedrun.com/categories/holy-fawn

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

35. DREADNOUGHT, “The Endless” (Profound Lore): Denver’s progressive metal dreamers Dreadnought somehow find a way to up the ante on their great fifth record “The Endless,” a collection that seems to be grinding their focus into razor sharpness. Over six sprawling tracks, the band delivers some of their most vulnerable and fascinating sounds but always with an edge that can cut you. Dreadnought also broke out of their normal lyrical mode by focusing on, in their words, a relatable character arc about the human divide of light and suffering. This is a record you need to let soak into your bones, and tracks such as “Worlds Break,” “Liminal Veil,” and “Gears of Violent Endurance” challenge you and push you deep into prog waters where adventure enthralls and pummels. (Aug. 26)

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

To buy the album, go here: https://dreadnoughtdenver.bandcamp.com/album/the-endless

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

34. LUSTRE, “A Thirst for Summer Rain” (Nordvis Produktion): Late August was a fitting time for “A Thirst for Summer Rain,” the eighth full-length from ambient black metal project Lustre to land in our laps. While our thirst has mostly been quenched here, that’s not necessarily the case around the world, and whatever inspired sole mastermind Nachtzeit to create this wondrous collection, it resulted one of the dreamiest, most thought provoking of anything else in the Lustre catalog. It feels like a magical adventure you take in your brain, hoping for the cooling relief of a summer storm cloud bursting over your head. Opener “Quiescence” washes over you, the gentle plinking keys making everything feel dreamy until the center bursts. It’s one of my favorite Lustre songs ever. The other three tracks are equally immersive and seductive. (Aug. 26)

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

To buy the album, go here: https://www.nordvis.com/lustre-a-10

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

33. FORLESEN, “Black Terrain” (I, Voidhanger): “Black Terrain,” the second record from Forlesen, is an album that is not great fodder for making quick playlists, but there’s a magic to committing to an extensive adventure where you’ll feel every bump in the road. These four tracks that stretch over nearly 60 minutes require your full immersion in order to get all the nutrients packed inside, but if you sign on, you’ll find yourself on that dark sojourn, visiting murky terrain but also some exciting peaks that fill your guts with excitement. The band’s members all have experience with other forward-thinking acts including the Botanist, Lotus Thief, Maudlin of the Well, and Kayo Dot, and they pour all of their imagination, solemnity, anger, and restlessness into this incredible record. “Strega” is the 19:10 opener, a track that works through a lifetimes of emotions and experiences, feeling like a centuries-long excursion from the wounds sustained. Closer “Saturnine” runs 18:07, and the first eight minutes or so generate cosmic coldness, hovering and speaking in murmurs, exposing you to the frighteningly spacious universe. Guitars then buzz in and send shrapnel flying, the playing electrifies, and the dual voices carry you deep into space and jolt each cell. (Oct. 28)

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

To buy the album, go here: https://i-voidhangerrecords.bandcamp.com/album/black-terrain

Or here: https://metalodyssey.8merch.us/

For more on the label, go here: http://i-voidhanger.com/

NOTE: Originally Vital Spirit’s “Still as the Night, Cold as the Wind” was in this spot, but Kyle Tavares came out as a transphobic fuck, so they’re the fuck out of here. Wormwitch booted his ass, and Israel Langlais likely is an innocent bystander, but we are not honoring any transphobe. Fuck transphobia, and if you’re a transphobe, fuck you.

32. THOU/MIZMOR, “Myopia” (Gilead Media): Gilead Media dropped a goddamn bomb in our laps over the spring: “Myopia,” the collaborative effort combining Thou and Mizmor, almost the equivalent of Okada and Tanahashi teaming up in New Japan for the dream team to end them all. By the way, this album is available digitally right now, with physical media to follow. This eight-track, 73-minute beast is the perfect amalgamation of both bands, a true combination of each spirit into something that exists because as absolute shit as the world has been, sometimes it gives us gifts that make the misery worthwhile. Thou’s grungy doom and Mizmor’s scathing black metal live in perfect damaged harmony, and while they don’t unlock a ton of closed doors, they combine their storming energies into something that never existed before and now has left us shaken to dust. It sounds exactly how you think it does, and that fulfills all wishes with this union. (April 22)

For more on the band, go here: https://noladiy.org/thou/

And here: https://www.facebook.com/whollydoomedblackmetal

To buy the album, go here: https://gileadmedia.net/collections/pre-orders

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

31. INEXORUM, “Equinox Vigil” (Gilead Media): There have been plenty of amazing riff masters over metal’s rich history, and Carl Skildum has to be considered one of them. The band never submits to genre rules or expectations and instead instills their music with that power that bleeds heavily into their excellent third album “Equinox Vigil.” The band’s melodies just explode and take you with them, and the music is so goddamn catchy and energetic, you can’t help but feel revived and electric when it’s all over. Just take on the first few minutes of opener “Creation Myth” and see if your heart rate hasn’t increased noticeably. It’s so full of power, and that continues over “Dark Sky Sanctuary,” “On the Last Day,” and closer “Such Impossible Sights” that just explodes in the sky. We’re hardly a rubber stamp, but it’s safe to say if Inexorum release a record during the year, it’s going to end up in our top 40.  (June 17)

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

To buy the album, go here: https://gileadmedia.net/collections/gilead-media-releases/products/inexorum-equinox-vigil-lp

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

I always feel stupid saying this, and I’m probably talking to an echo chamber of one on this, but the four records we are presenting as runners up to the top 40 are awesome pieces of work. I love all five of them, and I would recommend anyone reading this trade some money for them. I just always worry the records in this piece will come off as not as worthy, and that’s not at all the case. Just look at these fuckers!

HIGH COMMAND, “Eclipse of the Dual Moons” (Southern Lord): From the time I came to know of them, thrashers High Command checked off all the boxes, delivering a sound that feels transported from the ’80s heyday but with their own edge and a world they created that is the center point for their music. Their second record “Eclipse of the Dual Moons” is a massive late-year treasure, an eight-track, 48-minute excursion into the world of Secartha (the concept is similar to Immortal’s Blashyrkh) and the events and chaos abound in that place. It’s aggressive, it’s nasty, and it has a fantasy element that explodes from the seams and reminds you thrash isn’t dead, and it lives with High Command. (Nov. 25)

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

To buy the album, go here: https://southernlord.com/store/high-command-eclipse-of-the-dual-moons/

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

IN THE WOODS…, “Diversum” (Soulseller): Long-running Nordic force In the Woods… have had their fair share of revolving door chaos, which is going to happen to any band that managed to stick around for three decades. Their latest full-length “Diversum” is a product of further disruption in their ranks with only one member still here from their “Heart of the Ages” days, though that hasn’t stopped them from continuing to create thought-provoking, stimulating material. “The Coward’s Way” starts dreamy before taking on an Enslaved-style edge, new vocalist Bernt Fjellestad immediately flexing his pipes, which are formidable. “Redemption, exemption, it’s just a blade away,” Fjellestad wails over the very effective chorus as the playing soars, and the seeds embed themselves into your bloodstream. It’s a high point as is “We Sinful Converge,” “The Malevolent God,” and heart-slaying “Your Dark.” Hoping this version of the band sticks it out. (Nov. 25)

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

To buy the album, go here: https://soulsellerrecords.aisamerch.com/

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

KREATOR, “Hate Über Alles” (Nuclear Blast): Classic German thrash masters Kreator made one of their best records four decades into their career with the fire-breathing “Hate Über Alles,” their 15^th long player overall. Not that Kreator ever lacked for energy and power as they’ve always had it in spades, they explode from the gate on this one, putting a dagger in the ground with the awesome title track, where vocalist/guitarist Mille Petrozza howls, “Hate is the virus of this world!” There are more killer blasts with “Killer of Jesus,” “Strongest of the Strong,” “Become Immortal,” and Demonic Future” that could be staples of their live sets for years to come. (June 10)

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

For more on the label, go here: https://shop.nuclearblast.com/en/shop/index.html

To buy the album, go here: https://label.nuclearblast.com/en/label/index.html

SCARCITY, “Aveilut” (The Flenser): “Aveilut,” the debut record from Scarcity, makes me think of fight or flight, and it certainly led my brain in that direction over some of the subject matter with which I can identify. This project is helmed by multi-instrumentalist Brendon Randall-Myers, who began to write this record after processing the loss of two people close to him and while caught in lockdown in Beijing in 2020. Randall-Myers, leader of Glenn Branca Ensemble ever since Branca’s passing, worked with vocalist Doug Moore (Pyrrhon, Weeping Sores, etc.) to add a volcanic, unhinged element that increases the misery and devotion to the void. Black metal, doom, noise, ambiance, you name it, all is represented, and it all feels like a trip to the center of devastation. (July 15)

For more on the band, go here: https://www.facebook.com/scarcity.noise

To buy the album, go here: https://nowflensing.com/collections/scarcity

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

BLOOD INCANTATION, “Timewave Zero” (Century Media): It’s not hyperbolic to say there is no other death metal band quite like Colorado’s Blood Incantation, easily the most inventive and challenging of any artists pushing the sound. They’ve developed a reputation that’s become godly, but they deserve it because their first two full-length albums have redefined the style forever. But this record full of synthscapes woven together over two four-movement pieces is like the soundtrack to your own alien abduction. I don’t want to see them abandon death metal, but I’d like a meeting of the two worlds for their future work. Best enjoyed at night or while on nitrous at the dentist. (Feb. 25)

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

To buy the album, go here: https://centurymedia.store/

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

HULDER, “The Eternal Fanfare” (20 Buck Spin): Solo black metal artist Hulder is on her way to making a classic full-length full-length, and those seeds are planted on “The Eternal Fanfare,” her five-track EP that really begins to uncover what this creator is all about. Bridging the gap between her full-length debut offering “Godslastering: Hymns of a Forlorn Peasantry” and her upcoming second long player, this EP shows the philosophical and creative growth this project has achieved, and this is a collection that while a mini release, still packs a winter’s storm of a punch. “Burden of Flesh and Bone,” “Sylvan Awakening,” and closer “A Perilous Journey” capture an artist exploding at her core. (July 1)

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

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

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

MIZMOR, “Wit’s End” (Gilead Media): Faith in and of itself is fine, but when it turns to fanaticism and starts to replace logic and evidence with a message that can’t be proved and is part of a very dangerous con, and it morphs into something that should be eradicated. A.L.N., the sole creator behind atmospheric black doom project Mizmor, had a long journey with the Christian faith before that turned into atheism, and his EP “Wit’s End” is a frustrated lash into people who have left behind all sense for expecting god to protect and heal them. The title track is an anger-filled classic Mizmor cut that tries to piledrive sense into people, while “Pareidolia” is 14:05 and mostly is an ambient piece that feels like your body leaving this earth. (Jan. 14)

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

To buy the album, go here: https://gileadmedia.net/products/mizmor-wits-end-cd-dvd

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

VEGA, “Reliquia” (Fiadh Productions/Vita Detestabilis): One-woman black metal project Vega revealed the stunning five-track debut EP “Reliquia,” an impressive and promising first outing. Creator Vega Shaker explained the power behind this jarring effort combines her desire to move forward with her life and the struggle to make sense of a past that wasn’t always comforting. The songs on here revel in black metal horror but also trade off with gothy tendencies and delicacy not often experienced in this style of music. It feels very personal even before knowing what the music is about, and you can feel the exploration and the pain drip through this entire thing. It’s emotional, intense, vicious, and vulnerable, the first step on what could be a fascinating project to watch and hear develop. (Nov. 4)

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

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

Or here: https://vitadetestabilisrecords.bandcamp.com/album/reliquia-2

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

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

VICIOUS BLADE, “Siege of Cruelty” (Our Ancient Future): Vicious Blade, a malicious thrash unit that hails from Pittsburgh, dropped their savage second EP “Siege of Cruelty,” a blast to burn you down. Over five raucous tracks that combine thrash, classic heavy metal, punk, and other volatile elements, the band gives you a huge blast back to when the harsher forms of metal started to solidify but with a 2022 mindset that powers these tracks and make them melt over. Vocalist Clarissa Badini (who also fronts Castrator) is in full command, and the rest of the band provides ample firepower on “Cult of Scourge,” “Scavengers,” “Speed, Leather & Hell,” and molten closer “Wretchedness of Existence.” (June 24)

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

To buy the album, go here: https://www.ourancientfuture.com/collections/all

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

VILE CREATURE/BISMUTH, “A Hymn of Loss and Hope” (The Flenser): The doomed 2020 version of Roadburn still bears fruit with the long-awaited union of Vile Creature and Bismuth, two doom powers that have a lot in common musically but contribute entirely different magical creations into the heavy music world. This project originally was commissioned for the 2020 fest, and it finally saw the main stage at this year’s version. Even better for us non-travelers, The Flenser released the studio version of this union, the amazing 40-minute, single-track “A Hymn of Loss and Hope.” Combining Vic (vocals) and KW (guitars and vocals) of Hamilton, Ontario’s Vile Creature (their pets also have a hand in this, if just from animalistic inspiration) with Tanya (bass, piano, vocals) and Joe (drums) of Nottingham, England’s Bismuth, these forces meld seamlessly as a greater whole, one that delivers might and passion that would shift the earth off its axis. (April 24)

For more on the Vile Creature, go here: https://www.facebook.com/vilecreature/

For more on Bismuth, go here: https://www.facebook.com/bismuthslow

To buy the album, go here: https://nowflensing.com/collections/flenser-releases/products/vile-creature-and-bismuth-a-hymn-of-loss-and-hope-lp

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

WORM, “Bluenothing” (20 Buck Spin): One seeking perfect music for mind stretching can find that in “Bluenothing,” the mini album from Florida doom/death/black metal lurkers Worm, whose “Foreverglade” was one of the main revelations from 2021. Speaking of that album, half of what you hear here was born in the sessions for that record, while the other half demonstrates a new beast, and all of which is completely mind melting and ultimately stimulating. Long helmed by Phantom Slaughter (vocals, guitar, bass, synth), the band was boosted by the addition of guitarist Wroth Septentrion (Atramentus, VoidCeremony, Chthe-ilist, live member of Hulder), whose work takes these songs into a foggy stratosphere not previously explored by this mind-altering band. The title track is one of the best metal tracks in 2022, while “Invoking the Dragonmoon” and “Shadowside Kingdom” take you to a different plane of existence. (Oct. 28)

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

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

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

Obviously this is primarily a heavy metal site, but we’ve never been super good at staying within those boundaries. A lot of our readers have diverse interests, and the people that actually make metal records also have tastes that lie beyond their chosen sound. We’re no different, and I’m always really excited to create this piece every year because it’s the only chance I get to write about some of these artists that make up a lot of my regular music rotation. Presented in alphabetical order.

ALVVAYS, “Blue Rev” (Polyvinyl): Canadian indie pop killers Alvvays are a longtime favorite of mine, which might seem like a weird fit with all the black and death metal in my musical rotation. Look, you need a change of pace, and I appreciate and love a lot of music that’s not heavy, with this band being one of my favorites. “Blue Rev” is their third, and Molly Rankin remains a powerful voice and great storyteller and she and the band devastate on “Pharmacist,” “Tom Verlaine,” “Velveteen,” “Belinda Says,” and “Bored in Bristol.” Easily one of the most infectious bands on earth.  (Oct. 7)

For more on the artist, go here: https://alvvays.com/

BEACH HOUSE, “Once Twice Melody” (Sub Pop): Beach House was the first band I saw live since the pandemic, and the tour was in support of their excellent double album “Once Twice Melody” that actually started to roll out as seasonal EPs in 2021. Victoria Legrand’s husky voice has only grown richer, and she and Alex Scally manage to put together 18 tracks that vibrate with spacey dream pop on songs such as “Pink Funeral,” which is my favorite of the collection, “New Romance,” the numbing title cut, “Masquerade,” and “The Bells.” (Feb. 18)

For more on the artist, go here: http://www.beachhousebaltimore.com/

BRUTUS, “Unison Life” (Sargent House): One could argue “Unison Life” could fit into the top 40 as a metal record, but I felt it fit better here. This Belgian trio exudes power and energy, led by vocalist/drummer Stefanie Mannaerts who constantly sings like her life is at stake. “Miles Away” kicks off the record and immediately gets your blood flowing, “Victoria” is another barn blazer, and “What Have We Done” is introspective and emotional but still can knock you on your ass. “Liar,” “Storm,” and “Desert Rain” are other high points in this post-hardcore power’s best record yet.  (Oct. 21)

For more on the artist, go here: https://www.wearebrutus.be/

CRIPPLED BLACK PHOENIX, “Banefyre” (Season of Mist): I’ve long been a huge fan of English dark rockers Crippled Black Phoenix, as they have released some of the most passionate social and political commentary as well as takes on the human condition. But “Banefyre” was their first as a reconstituted band, and breaking in a new singer can be tough. CPB didn’t miss a goddamn beat as “Banefyre” is a barnstormer full of Justin Greaves’ most ferocious and sensitive writing in some time, and Belinda Kordic got more of the spotlight she’s long deserved, trading off with Joel Segerstedt, who sounds like he’s always been there. “Wyches and Basterdz,” “Blackout77,” incredible “Bonefire,” and amazing epic “The Scene Is a False Prophet” are more stark reminders this band is the sound of our world falling apart as those in charge let it happen.  (Sept. 9)

For more on the artist, go here: https://crippledblackphoenix.net/

ZOLA JESUS, “Arkhon” (Sacred Bones): Nika Roza Danilova’s run under stage name Zola Jesus has had so many high points, but a song seven tracks deep on her sixth record “Arkhon” might be her crowning achievement. If you play the song “Desire” for someone and they’re not instantly in piles on the ground, never speak to that person again. The gothy, stormy music on this record peaks often, not just on “Desire,” as you can hear on “Lost,” “Undertow,” and “Dead & Gone,” and Jesus’ voice just reaches through the speakers and squeezes the life out of you until you have no choice but to submit. (June 24)

For more on the artist, go here: https://www.zolajesus.com/

PLAINS, “I Walked With You A Ways” (Anti-): I already was a big fan of Jess Williamson’s solo work and Katie Crutchfield under the Waxahatchee banner, but when they aligned for Plains and their excellent debut “I Walked With You A Ways,” it felt like dream booking a match between two forces that have never come into contact before. Their road-weary and battle-tested country sounds like a journey that goes over easy despite being so vulnerable. These two amazing artists make total magic with “Hurricane,” the total earworm “Problem With It,” personal high point “Abilene,” and “No Record of Wrongs.” I hope this is just the beginning for these two together. (Oct. 14)

For more on the artist, go here: https://plainsband.com/

SASAMI, “Squeeze” (Domino Recording Co.): Sasami Ashworth did the most metal thing of anyone on this list by hiring crushers Barishi as her backing band as she works to co-opt largely white male culture by adding her brash two cents. And it works insanely well as she puts her boot through your face on “Skin a Rat” and “Sorry Entertainer,” two absolute crushers that leave bruising on your body. But she has other tricks such as on torch bearer “The Greatest,” ’70s-splashed and spacey “Call Me Home,” folkish rocker “Tried to Understand,” and  slurry “Squeeze.” This record is part batshit lunacy and part heartfelt dagger, and it’s fucking awesome. (Feb. 25)

For more on the artist, go here: https://www.sasamiashworth.com/

WAILING STORMS, “The Silver Snake Unfolds” (Gilead Media): North Carolina-based psyche and noise powerhouse Wailin Storms weave foreboding tales, and they spill over onto their killer second record “The Silver Snake Unfolds,” containing eight tracks that take you on rides through storms and haunted hollows as you watch these stories play out and imitate the tension you feel deep inside. This record is dark, dramatic, and explosive, a journey you’ll take over and over, punishment and scars be damned. “Broken Into Three,” “Sunday Morning Ceremony,” “Concrete Covers Dead Lovers,” and awesome closer “Carolina Moon” will haunt and shake you. (July 22)

For more on the artist, go here: https://www.wailinstorms.com/

WEYES BLOOD, “And in the Darkness, Hearts Aglow” (Sub Pop): Weyes Blood’s magical, haunting music sounds like it could have been at home in a velvet-splashed lounge deep in the 1970s. It also could float through the cosmos and bathe in the stars. Everything here works and makes your heart swoon as tracks including “It’s Not Just Me, It’s Everybody,” “God Turn Me Into a Flower,” “Twin Flame,” and the title song thaw your heart and let you take an adventure in the dark that’ll ignite your cells. I’m just getting familiar with this since it’s only been out a few weeks, and I’ll follow it deep into the winter. (Nov. 18)

For more on the artist, go here: https://www.weyesblood.com/

YEAH YEAH YEAHS, “Cool It Down” (Secretly Canadian): It had been nine years since we last heard from Yeah Yeah Yeahs and their electronic-warped rock that certainly makes people who like to dance do that activity. I wasn’t sure what to expect from this record since I was lukewarm on 2013’s “Mosquito,” but this one knocked me on my ass from the first listen. “Spitting Off the Edge of the World,” the excellent opener featuring Perfume Genius, is sort of a red herring as what follows takes different turns and zaps past you. “Wolf” might be their best song since “Maps,” “Fleez” is a great one that’s brimming with energy, and closer “Mars” is a galactic trip beyond that ends the record on another world.  (Sept. 30)

For more on the artist, go here: https://yeahyeahyeahs.com/

We’re starting to jump into year-end roundup stuff, which it honestly feels like we just did for 2021. But no, I looked back at my calendar and the extensive notes I have taken on each release that was covered this year, and it indeed has been another 12 months that ripped past us mercilessly. There are a few things from the year I want to get off my chest, so fucking bear with us, won’t you?

***

For some reason, a story I did about Geoff Tate 10 years ago must have been spread somewhere, because legions of Tate fans showed up to complain about the story. I even wrote a new intro because so many angry people could not believe I had the gall to rip his voice. Never mind the story was a review of his still really not good solo record “Kings & Thieves,” but everyone seemed fixated on me saying his voice was shot. Uh, it was. He hasn’t sounded good on a studio recording in a really long time, and I’ve watched him struggle through live shows. I’m not happy about it. I love Queensryche’s earlier material, and I’ve interviewed Tate, who could not have been nicer. But these people were basing their opinion on how Tate sounds today, not in 2012, and they insisted he sounds as good as ever. The other night, a Tate live clip showed up on my TikTok feed, and OK, FUCK, HE SOUNDS WAY BETTER NOW. Happy? It does sound like he rehabbed his voice, he’s not “Mindcrime” strong but I’ll take the form he’s in now vs . where he was a decade ago. So, I agree. Tate sounds much better on 2022. A big improvement from 2012. WHEN I WROTE THE FUCKING STORY.

***

The Rock n Roll Hall of Fame is one of the biggest jokes ever, and I don’t care about it. When Alex Lifeson of Rush literally blah-blah-blahed his way through his acceptance speech, it was perfect. It’s a useless institution circle jerk of fucks, and I’ll fight every person responsible for it. That said, I am happy Judas Priest finally got it, and I even watched their performance (fucking great, of course) and speeches. That’s all the credit I’ll pay it. It also was such a massive statement that a band at their age still has that kind of presence and power. They’re amazing and should have been in any legitimate rock hall years ago. And how the fuck are we only putting in Dolly Parton this year? She should have gone in year one.

***

I got to see Metallica this summer at PNC Park in Pittsburgh, one of the only times that waste of a ballpark has seen enthusiasm in years. They were awesome. They still have it. Then a few weeks ago, the band announced its new record “72 Seasons” complete with some of the worst album cover art you’ll ever see and a lead single that’s … fine. It’s OK. It sounds more like a band trying to sound like Metallica, but whatever. Then they announced a tour where they’ll do two nights in a city with a totally different setlist each night, and different openers. Cool idea. Problem is that the tickets are so goddamn expensive that you’re pricing out regular fans. A friend said to get tickets for his son and himself, the cost was over $1,000. That’s insane. Plus, the openers are mostly awful (the Pantera not-a-reunion money grab, Five Finger Cop Band, that weird Led Zeppelin rip off), where they could have grabbed some good younger bands (Khemmis would do awesome in that spot, as would as would a band such as Undeath or even Blood Incantation or Ruby the Hatchet) and given worthy newer artists a big boost. I get Metallica is a business and all, but they’ve never felt more corporate than they do now.

***

Speaking of live shows, it wasn’t long ago where these didn’t exist any longer. The pandemic shut down touring, and finally having things back to normal from that aspect feels so great. I’ll never take that for granted again. It was not lost on me finally getting to see Cave In after last seeing them 20 years ago was a huge moment, and a really special tour. Great night of music and energy and love. Also, there was a killer triple bill of Elder, Dreadnought, and Ruby the Hatchet that was an electric evening of musically diverse performers that gave you a little taste of something different. Also, it was nice to have back local institutions Descendants of Crom and Metal Immortal Festival that can go back to being annual events we anticipate in Pittsburgh each year.  

***

Finally, I’m very excited that Bariann Tuite Smith is back running a label, the awesome Fiadh Productions. She was a driving force behind Broken Limbs Recordings (she brought awareness to bands such as the sadly dissolved Vattnet Viskar and Oak Pantheon, who we’ll hear from in January), and now with Fiadh, she’s continuing the effort not only to put out great music, but she’s also championing artists that you won’t have to expunge from your catalog due to shitty beliefs and behaviors. It’s an anti-fascist, pro-LGBTQIA+ space with proceeds from many of the records going to good, conscientious charities you can feel good about unless you’re a fucker. You never know what you’re going to get from Fiadh as you could take on black metal, death metal, doom, dungeon synth, you name it. She’s a credit to heavy metal, and I can’t wait to see what she has in store in 2

Our Pick of the Week feature almost always highlights a record out that week or the one after that we’re really excited about and want to make an extra big deal about them.  But it’s the final week of reviews for 2022, which is hard to even fathom, so this last one is something we totally missed that was released fairly recently and that we just fucking adore.

Los Angeles doom power Faetooth released their debut full-length effort “Remnants of the Vessel” at the end of October, and while I do get the bulk of every recording released each week, I didn’t get a copy of this one. In fact, I was looking at animals and chef reactions videos on TikTok (I know! I know!) while high, and I was served up a live performance from Faetooth that blew my brain out of my skull. That led me to track down their Bandcamp where I purchased “Remnants,” and it’s been in constant rotation since. The band—guitarist/vocalist Ashla Chavez Razzano, guitarist/vocalist Ari May, bassist/vocalist Jenna Garcia, drummer Rah Kanan—calls their sound “fairy doom,” and the dreamy yet blistering edge to their music could lure you into a patch of thorns. Fans into bands such as Blackwater Holylight, High Priestess, and Jex Thoth will find a ton to like on these 10 tracks and 49 minutes that are enrapturing and have no qualms about slipping a dagger into your side.

“(i) naissance” is an intro cut that basks in strings aching, the intensity slowly rising to “Echolalia” that starts solemnly before burly crushing lands, and the bruising starts to set. “On thy knees now, we fall with what we build,” rings out, jabbing deeply and leaving a mark that never goes away. Shrieks sink in their teeth as the leads burn brightly, leaving everything charred. “La Sorcière” is ominous and builds deliberately, the anguish in the singing making its presence felt. The track delves into perceived shame and women who have been put to the test, always unjustly, and that rage and fire blazes through this song. “She Cast a Shadow” has gentle guitar tapping as the darkness enshrouds, and a dreamy haze makes your head feel light. Shrieks jar as the melodies enter your veins, slinking and dripping before brutality beckons. “The roll of the tide, this lesson of disgrace, she plunges into water, her shadow engulfs the sea,” is called as moans and screams intertwine, blasting out into mystery. “(ii) limbo” is the second of three interlude tracks, this one bringing guitars clashing, voices warbling, and feedback squall digging deep into your psyche.

“Remains” dawns with a solemn pace as the singing emits pain, and the haze spreads its wings. Jolts make your teeth rattle while the dreamy essence here feels like a fever dream, whispers landing gently. Then the guitars flood over, shrieks peel back flesh, and everything melts into the earth.  “Discarnate” blisters as harsh howls wash over you, and the sludge collects and makes your footing nearly impossible. Menace and deliberate movement combine and make the energy hostile, the words, “Your heart held a holy sentiment,” draining into your mind. “Strange Ways” starts quietly as the singing emerges and takes your hand toward damnation. “Sick outside your home, in such strange ways, invoked under the floors, the procession sways,” haunts, increasing the darkness, making the fog in front of you seem impossible to survive. “(iii) moribund” is the final interlude, balancing gliding strings and turntable-style static spitting, turning toward apocalyptic closer “Saturn Devouring His Son,” a standout track saved for the end. This is the longest track, running 9:31, and everything feels morbid as the words, “First the head and then the bod’, and half his blood spills down the jaw,” make it feel like the world is ending. Emotions swell as the playing goes from gentle to cataclysmic, the aforementioned words continuing to repeat, paying an emotional toll that could cost you your heart and mind.

“Remnants of the Vessel” is one of those records you’ll always remember the first time you hear it, and Faetooth have something incredibly special with their first full-length that should be a building block to greater things. The way the band weaves their doomy tales and colors that with metallic trauma can feel disarmingly tranquil, and their delivery packs even more of a punch, which is terrifying to realize. You’re always going to miss out on really good records during a year, because there’s just so much to consider, but I’m grateful “Remnants” came into our orbit, and there it’ll stay forever.   

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

To buy the album, go here: https://faetooth.bandcamp.com/album/remnants-of-the-vessel

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

I’m endlessly amazed by people who run RPG-related podcasts they devote to entire campaigns and others that do gaming on outlets such as Twitch where an audience can watch folks play videogames. I’m capable of neither of these things. I blame undiagnosed ADHD for my lack of attention to the plotlines of an RPG and mediocre skills playing videogames, but I still love them both.

My inferiority complex came rushing back with “The Side Quest,” a split effort combining Bay Area thrashers Dungeon Crawl and Midwestern-based traditional heavy metal crushers Throne of Iron. This collection itself is a bit of a side adventure as the bands navigate between larger proper releases (Dungeon Crawl released “Roll for Your Life” in 2021; Throne of Iron dropped “Adventure One” in 2020), and it provides newcomers to one or both a quick taste of what each brings to the massive feast table. The collection is chock full of fantastical power and metallic glory, each band delivering sounds built into the genre’s storied DNA and splashing it with their own blood and guts. This split collection is undeniably fun as fuck.

“Minions of a Dark Master” starts the Dungeon Crawl section amid a synth swirl that makes it feel like being locked into deep space as the strangeness feels its way through the mist, bathing in dramatic winds before leading into “Where the Coin Falls” that changes the pace immediately. Riffs dig in and trudge as guitarist/vocalist Codie Jones’ nasty howls send jolts down your spine, blistering with heavy fire. Gang-shouted singing colors the chorus, filth is driven hard on the verses, and wild shouts make the blood rush in the heat of battle. “Critical Failure” starts with a clip from “Mazes and Monsters,” a 1982 film starring some complete unknown named Tom Hanks, and then it’s full-on destruction mode. The vocals are spat out, the guitars are speedy and grisly, and bludgeoning thrashing makes this adventure potentially bruising. Leads flurry and search, scorching wills before disappearing in ash. Finally, “Chained to the Grave” tears open with a devastating riff, raspy howls, and a rowdy chorus that ignites with adrenaline. Melodies soar in the stratosphere as scathing cries scrape at wounds, and everything comes to a jarring end.

As for Throne of Iron, opening is “Gods of Liquid Gold” that I’m pretty sure isn’t about mac and cheese, but we can dream. The riffs stampede as Thomasson’s mighty singing soars, driving toward a fiery chorus that directs the emotion into your chest. Double kick drums pummel as the guitars spill and flood, the chorus rips back, and everything ends in a quake. “Curse of the Lightningmancer” starts already in hyperdrive as the playing gallops viciously, and the chorus once again is packed with metallic glory as guitarist/vocalist Tucker Thomasson wails, “Lightning wizard, strike you down!” The drumming reverberates through the earth as howls and shrieks strike, and the soloing brings and extra jolt of electricity that really works in the punishment. “Tricksters” is the final cut and opens in full-on classic heavy metal thunder, chugging and charring, making your heart rate increase. The playing here is storming and energetic as the soloing chars faces, and the tempo gallops with strength, feeling like an impossible force to control. As Thomasson sings of combatants doing battle in his head, amplifying the panic, the sonic force behind the words are daggers that push deep inside your heart, with everything ending with a cat purring aggressively. I mean, obviously.

“The Side Quest” is a tremendous adventure pitting two bands in Dungeons Crawl and Throne of Iron that are like minded but approach their metallic brews from different directions. Not only is this the perfect way to get a good introduction to two bands that likely are flying beneath a lot of radars, it’s an exciting collection that feels right whether its dice or a beer in your hands. Metal fans of every stripe can unite over this fucker and have a bloody good time while indulging in these sinister sounds.

For more on Dungeon Crawl, go here: https://dungeoncrawlofficial.bandcamp.com/album/the-side-quest

For more on the Throne of Iron, go here: https://www.facebook.com/throneofiron/

To buy the album, go here: https://wisebloodrecords.bandcamp.com/album/the-side-quest

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

There aren’t many art forms where something disgusting and disturbing can be a good thing and a selling point. Horror movies fall into this category quite obviously because the bloodier and more nauseating the visuals and story, the better. It’s the same thing for death metal where the closer you come to puking your guts’ contents, the better chance you have to succeed.

While they’re only two EPs into their run, New Orleans bashers Congealed Putrescence have a stranglehold on creating music that is foul, morbidly offensive, and unforgivably brutal. Their latest EP is “Within the Ceaseless Murk,” a four-track, 12-minute stomach wrencher that requires little of your time but all of your damaged psyche. The band—vocalist/bassist Steven Hendricks, guitarists Ian Hennessey and Matthew Moorin, drummer Alex Babineaux—piles enough carnage and tyranny into this release to give you an appetizer of what they do so well but also leave you with a little hunger left over, the intestines-churning torment you just suffered aside.

“Advection” opens with the drums rupturing muscles and sludgy death becoming a major factor, the growls crushing your bones. Guitars swelter and deliver a southern swagger, pummeling and destroying, spiraling out in menace. “Gelid Fathomless Suffering” brings twisted riffs and drums leaving blood splashing on pavement, the shrieks peeling paint from the walls. Guitars fire up anew as the bass brings rubbery dexterity, and then fire erupts, the playing hitting dangerous levels of intensity before finally giving way to solace. “Suffocating Brain” punishes right away with the guitars generating oppressive heat, and the growls gnawing into your nervous system. The playing steams and gives off attitude, flooding over and creating molten thrashing that drives everything into the earth. Closer “Burning Off” arrives with warping riffs and vile howls as the playing tramples everything in its path. A thick bassline acts like a steel spinal cord, the soloing melts, the burly thrashing slams home the final nails.

You need a little less than 12 minutes to take on “Within the Ceaseless Murk,” but doing so will be a total test of your strength as Congealed Putrescence throw a lot at you in just four songs. Pain and suffering combine with death and torment to make a formidable unit capable of destroying psyches, and just one trip will leave you with bruising both physical and mental. I can only imagine the damage they’ll do with a proper full-length.   

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

To buy the album, go here: https://caligarirecords.storenvy.com/products/36256753-congealed-putrescence-within-the-ceaseless-murk-cal-195

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

Growing up in the 1980s, two things were burned into our brains: Marijuana was a gateway drug that would either kill you or have you hopelessly addicted to heroin and cocaine imminently, and that Russia and the United States were bitter enemies that would potentially slaughter each other and end the world in nuclear holocaust. Metal…

Obviously the U.S. and Russia still are openly hostile when it comes to government relations, but the people who live in those countries do not hate each other. Why would we? Oh, and marijuana is the deadliest drug on earth. That’s just science. But today, we have a split from Russian force Gosudar and American crushers Malignant Altar proving we can all come to an understanding under the banners of doom and death metal. This five-track collection brings these forces from across the planet together and delivers a forceful display as destructive as any warhead and warps you from the inside out. Gosudar are a little grimier and delve deep in the doomier waters whereas Malignant Altar serve death metal as scathing and menacing as they come. It’s a perfect match.      

Gosudar opens with “Mortified Transformation” that instantly jams you into a murky haze before doom and death sprawl, and the growls aim to gut you alive. The playing trudges while the leads scorch, making way for muddy, clubbing fury and the vocals slithering through viscous waters. Animalistic howls sever nerves as the tempo slows but remains heavy, and everything is crushed totally and completely as the air is forced from your lungs. “Domination of Irreality” fades in and begins mashing, the growls pummeling as the earth moves beneath everything. Filth piles up as the stress multiplies, the drums crush, and the vocals wretch before the playing explodes. Chaos erupts while the guitars drill into rock, growls maul, and everything ends in blackened brutality.

Malignant Altar starts with “Malfeasance (Inexorable Enmity)” that explodes in a death metal assault, the riffs entangling as the growls explode and spatter. Your sanity is mangled as the leads catch fire, and doom horns signal the fear you’ve held deep inside coming to pass as molten terror flexes its muscles. Atmospheric strangeness lands as the guitars fire away, drilling everything into the heart of the blaze.   “The Awakening of the Majestic Darkness” is their take of the Imprecation track from the 1993 EP “Sigil of Baphomet.” It’s vile and molten, evil and in the midst of slaughter, a devastating version of a track that had a major impact on the band and underground death metal, as punishing a tribute possible.

Over these hostile 28 minutes, Gosudar and Malignant Altar prove bands from entirely different worlds can speak the same language when it comes to death and doom filth. There’s nary a moment to breathe, and over these four tracks, your mind will suffer mental wounds you can’t easily soothe. This split drips with ill intent, bathing in nothing but blood and guts.

For more on Gosudar, go here: https://www.facebook.com/gosudardeath/

For more on Malignant Altar, go here: https://malignantaltar.bandcamp.com/

To buy the album, go here: https://www.mesacounojo.com/shop/gosudar-malignant-altar-split-12/

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

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