Every year right about this time, we rattle off the worst shit that happened in metal throughout the year. There’s always stuff that chews on our asses and makes us furious that we even put up with that shit. But you know what? We’re changing that this year. Let’s talk about the non-worst moments of metal this year, because there were tons of them.

Just so we get this out of the way, it still sucks we have to deal with racism and sexism in metal, and fuck the fuck out of NSBM. If you’re in the league of people who are like, “Hey, it’s metal, it’s supposed to be dark!” you can go fuck yourself, too. You think this site will shut down without you? No. It won’t. Fuck you, and fuck NSBM. It’s cowardly music made by cowards FOR cowards. If that’s you, then enjoy your cowardice, you loser.

OK, so instead of giving losers more air time, let’s instead go over some of the stuff that made metal an amazing place to be in 2018. I know some people hate when we say this, but I can’t remember a year when it felt like metal was more of a positive community with great bands coming together, their followers checking out their shows and making friendships, and the creativity reaching an all-time high. Fuck you if you don’t like that. So, let’s talk about some cool shit.

MIKE SCHIEDT IS ALIVE, AND YOB STILL RULE:  Mike Scheidt almost died. He survived diverticulitis, a massive infection, and a ton of shit that would dominate most people. But he still stands. YOB still stand. This year, they released “Our Raw Heart,” an incredible comeback record that is overflowing with love and positivity. You think death is going to darken Mike Scheidt?! Think again. Even the biggest jerks among us all can’t possibly put on this album and not smile from temple to temple. Oh, and if you doubt me, see them live. Try to defy their energy. You can’t. This band is one of the most amazing in metal and always has been, and the fact that their emotional/creative center point still lives and is making music that matters as much as anyone’s is a triumph and a reason to realize sometimes the universe is kind.

I MISS ALL MY MIGRATION FEST FRIENDS: I spent four days this summer with people I have known and loved for a long time and people I only knew online and finally got to see in person. Oh, and there were four incredible days of music. I can’t explain how important these three days were to me. I’ve never had a lot of friends. I am socially anxious. But when this amazing fest closed down, and I was heavily emotional during Panopticon’s amazing, fest-closing performance, I realized I had experienced a time that was one of the most important to me as a human. I hope Adam and Dave know this, not because I’m important. But because they were able to give this experience to people. Some of this contains inside references, but I will always treasure sneaking beers into Smalls; seeing Thou; meeting a slew of folks I knew online who have become very important friends to me; seeing FALSE; finally seeing Spirit Adrift live, which was a total rush; Dark Man Duck; experiencing Deadbird; the series of We Are 138 photos; Couch Slut’s blunt, aggressive set; spending like $400 on merch; the Uber ride home with Nate and Matt from Immortal Bird who thought I played a great trick on them; hugging a million people; the late afternoon at Strange Roots; the opening set with Cloud Rat; and goddamn, so much more. Can’t wait to do this again in two years.

WE ARE THE DESCENDANTS OF CROM: Descendants of Crom is a wholly Pittsburgh festival, and reasonably so. The first two installments have been comprised some of the best times I’ve had as a person, and this year’s (it grew to two days) just compounded that. Heavy Temple, a band I love, just outright ruled. Like, few bands who played our fine town this year could top them. They were otherworldly. But it wasn’t just them! Doctor Smoke ruled. The Long Hunt dominated. Horehound crushed again. Come to Grief were masters. And that was just day 1! I couldn’t go to day 2 because of a family wedding, but everyone I know and trust said it was a tremendous day, and I don’t doubt it at all. I also spent a lot of money, which is the sign of a killer fest, which this is. It’s such a fun time, the show just blows by, and I got to see a lot of bands that weren’t really on my radar before but are now. There’s another one in 2019. Go. You’ll feel insanely at home and will love it. Thanks, Shy Kennedy for an amazing weekend. Can’t wait for the third installment!

CLASSIC METAL BANDS STILL MATTER: I always laugh when people crush Ghost, like they took metal to some new, filthy world. Metal USED to be a show, and it wasn’t until recently when that changed. But classic metal never died, and this year is a gigantic reason why. So many classic metal bands dug in and put out amazing records including Voivod, Judas Priest, Deceased, Sleep, and At the Gates. While it’s great that the underground is so powerful and we have so many styles of metal and amazing bands playing the music, we always need the ones who started it all, and to have them putting out vital, strong music is priceless. It’s been a great year for bands that seen and done it all, and we need to enjoy them while they’re still in our grasps.

CHAOS WILL NOT DESTROY THE STRONG: If we’ve learned anything about metal, it’s that things never stay peaceful for very long. Bands break up, members leave, problems arise, and that puts the artists to the test to determine if their future will bear fruit. This year, we saw many musicians and bands return to the scene after surviving turmoil. The band Ails debuted, rising from the ashes of Ludicra’s dissolution several years ago, debuting with their excellent first record; Witch Mountain made a switch at singer a few years back when Uta Plotkin decided to move on, but they brought in powerhouse vocalist Kayla Dixon and put out a tremendous self-titled fifth album; Skeletonwitch probably should have imploded following the removal of former singer Chance Garnette after his arrest, but they carried on, brought in singer Adam Clemans, and released easily their best album ever in “Devouring Radiant Light”; and Khorada’s members rose from the ashes of unnecessarily torched Agalloch and put-on-hold Giant Squid to form an animal unlike their previous bands and a fascinating, sweltering debut record “Salt.” No one decides these bands’ futures but the artists themselves, and all of them put out great music this year.vc

OK, yes, this is a metal site, but anyone who reads this with any regularity knows we veer off course a lot. I listen to way more than just metal, as I’m sure most of our readers do as well, and my year-end Spotify report was basically bereft of heavy stuff.

So, with us getting ready to cover our favorite 40 metal records of 2018, now’s also a great time to look back on records that are not in the metal category that we enjoyed the hell out of. There are a few records here that have some definite crossover appeal to metal listeners, but many of them definitely do not. Oh, these are in alphabetical order.

COURTNEY MARIE ANDREWS, “May Your Kindness Remain” (Fat Possum): At just 28, Andrews already has six records on her resume, and “May Your Kindness Remain” is by far her best to date. This has the feel of a classic country record with stories of love, loss, family, and the rigors of the road, as her downhome voice makes you feel like you’re hearing from an old friend who has seen some shit. The title track has an amazing swelling moment toward the end that will gut you. (March 23)

Buy the album here: https://courtneymarieandrews.bandcamp.com/album/may-your-kindness-remain

BLISS SIGNAL, self-titled (Profound Lore/True Panther): This is the return to harsher music for James Kelly, who works under the WIFE banner but who also used to be in Altar of Plagues. This team with DJ Jack Adams is far more guitar-centric than WIFE’s material, and it’s both dreamy and abrasive, sending you into one hell of a scary fever dream. Really strange and explosive stuff. (Sept. 28)

Buy the album here: https://blisssignal.bandcamp.com/album/bliss-signal

JACKIE COHEN, “Tacoma Night Terror Parts 1 and 2” (Spacebomb): For all the tastemaker sites out there trying to find a bunch of new artists for people to pine over, how the fuck did they miss out on Jackie Cohen’s great two EPs? Ever since her song “Darlin’” showed up on my new release mix on Spotify, I’ve been infatuated with her bizarre style of folk, psychedelics, old-style rock and roll, and … well, stuff I can’t even describe. Her voice could take some getting used to for some, but once you’re in, you’re fully infected by her zany, unquestionably amazing set of characters. Go listen to her! (June 29/Oct. 12)

Buy the albums here: https://jackiecohen.bandcamp.com/

CRIPPLED BLACK PHOENIX, “Great Escape” (Season of Mist): Anytime UK progressive rockers Crippled Black Phoenix put out anything, we’re willing to listen, and “Great Escape” is no exception. This band knows how to mine this scar-ridden world for dark tales and warning, always with a note of hope etched in just in case we all survive. From “You’ve Brought It Upon Yourselves” that, through sound clips, praises the role of the outcast, to the sweeping and rushing “To You I Give,” the band puts together an 11-track tour de force that might have you taking up arms to defend all the forces in life and society out for true justice and good. (Sept. 14)

Buy the album here: https://crippledblackphoenixsom.bandcamp.com/album/great-escape

THE HOLD STEADY, trio of mini releases (self-released): So, this is a confusing entry. OK, so the Hold Steady didn’t put out a new full-length this year (they did drop a killer live record as a name your price offering last week), but they did put out three two-track releases throughout the year that sounds like this great rock band finding their legs again. Part of that could be the return of keyboard player Franz Nicolay to the outfit, as his departure a few records ago had a bigger impact than anyone ever realized. They’re on fire, they’ve rediscovered what made them so awesome, and even singer/guitarist Craig Finn is sounding like his old self again. Great having these guys truly back. (March 5/July 17/Sept. 5)

Buy the EPs here: https://holdsteady.bandcamp.com/

THE LONG HUNT, “All Paths Lead to Here” (self-released): I’ve spoken of the riches of bands we have here in Pittsburgh, and another great example of that are doom instrumental pounders The Long Hunt. There isn’t a desert anywhere near here, but you wouldn’t know it when this band is melting your face off (they’re even better live, by the way) with these Earth-y gems. These six tracks are lengthy and immersive, as you will find yourself working your way into the tunnel on “Ground of Being” and you’re off on a mind-altering journey that brings you back to the surface gasping once the record ends with “Cantiga 166 (Tower of Set).” Excellent band and record. (June 1)

Buy the album here: https://thelonghunt.bandcamp.com/

MISERABLE, “Loverboy/Dog Days” (Sargent House): Four new songs and four songs Kristina Esfandiari wrote in the past make up this really great collection that shows the poppier, yet even darker side than she shows fronting King Woman. Esfandiari pulls zero punches on the four new tracks, taking to task bad lovers, failing relationships, and toxic masculinity and objectifying women’s bodies. The “Dog Days” part is a little less scarred lyrically, and it gives an interesting glimpse into this project’s early days, where the music was a little glossier. Really strong effort. (Oct. 26)

Buy the album here: https://miserablegrl.bandcamp.com/

MITSKI, “Be the Cowboy” (Dead Oceans): Mitski Miyawaki is a goddamn genius, and her fifth record “Be the Cowboy” is more proof of that statement. At 14 songs, the record seems overstuffed at first glance. Then you hear it, and the songs seem too short (what is this, a grindcore album?!). But let the record grow, and if you do, you’ll find a brilliant document woven together with short stories, dashes of all different styles of music, and some of the rawest, most honest lyrics anywhere in music. It’s truly a record that gets better and more involved with each listen that by the time you finish with heart-crushing closer “Two Slow Dancers,” you’ll wonder what the hell hit you. It was Mitski, and she just might be the best songwriter of this era. (Aug. 17)

Buy the album here: https://mitski.bandcamp.com/

MARISSA NADLER, “For My Crimes” (Sacred Bones): Marissa Nadler is one of my favorite songwriters ever, and it’s because she releases records the quality of “For My Crimes,” one of her darkest and most daring. She has a base sound for sure, which is rooted in folk music, but she pushes further past that than ever with these excellent 10 songs. Each one is its own story and stands out from the rest of the pack yet also works as living, breathing cell of the overall whole. She starts with the title track, where her character takes the long walk toward death row, which she uses to mirror a failed relationship, works to the intoxicating “Blue Vapor,” and concludes the album with “Said Goodbye to That Car,” where she says farewell to an old vehicle and an expired love. Our love for Nadler never will expire. (Sept. 28)

Buy the album here: https://marissanadler.bandcamp.com/album/for-my-crimes

EMMA RUTH RUNDLE, “On Dark Horses” (Sargent House): Emma Ruth Rundle’s greatness knows no bounds, and on her fourth record “On Dark Horses,” she keeps her amazing string of great albums flowing with force. This is her loudest, grimiest effort to date, and it’s also her moodiest, which is saying something. Getting some assists from guitarist Evan Patterson and the rest of Jaye Jayle (her backing band now, who really flesh out her sound), Rundle makes the most of having some strong supporting players by turning out some of the best guitar work of her run as a solo artist. The songs here are unforgettable from “Fever Dreams,” “Darkhorse” (best chorus on the record), “Light Song,” and sad closer “You Don’t Have to Cry.” She’s also a beast with which to be reckoned live, where these songs live on a totally different level. (Sept. 14)

Buy the album here: https://emmaruthrundle.bandcamp.com/album/on-dark-horses

The progressive death metal tag always makes me a little jittery inside. I always think of heavy instrumental wanking, shit that feels like it was made by a robot, and a lack of a true heart. Not that it isn’t fun to hear. But that isn’t always the case as progressive death sometimes just means a band is taking things above and beyond the rest of the pack.

Boston-based crushers Zealotry definitely won’t leave you numb with senseless noodling and aren’t super interested in wowing you with how good they are as musicians. Their music, especially what they etched to record on their third platter “At the Nexus of All Stillborn Worlds,” is an absolute blast to hear. It’s flat-out entertaining as fuck, but I don’t want that to come off as whimsical. The record will knock you on your ass, and the band devastates your senses with their brutality and creativity that work hand in hand. I listen to every record I write about multiple times because you really have to if you’re going to get to know a collection of songs. For this new Zealotry album, I had to keep going back to examine all the twists and turns that this band—vocalist/guitarist R. Temin, guitarist/backing vocalist P. Tougas, guitarist Jake Himelfarb, drummer Alex Zalatan—packs into this challenging album. By the way, their promo photo looks like a Rock Card. If you don’t know what that is, I’m embarrassed. For you.

The title track kicks off the record with a crushing assault and the growls drilling into your chest. Weirdness is abounding as the basslines twist and sprawl, and we’re off into the jaws of sci-fi death, powered by exploratory lead lines and weird group chants compounding the strange aura. “Accursed” is a quick instrumental build by foggy synth and alien inhibitions, which takes us toward “Lethe’s Shroud” and its odd growls and splattering fury. Classic leads arrive, giving off a vintage heavy metal vibe, as the track spills drama and revels in it. The track chews and thrashes, with Temin wailing, “Tell me what it is that I’ve lost,” as the track blasts away. “Primus Venatoris” is adventurous and awash in proggy notions, with the vocals punishing and the guitars going off. There’s an old death metal feel to the track, and then jazzy playing emerges before the crunch returns. From there, the band unleashes a mangling assault, gurgling out in blood at the end.

“The Hole” has a bluesy feel out front, which feels bizarre at first but eventually makes sense. Throaty growls grind, while the pace chews bone and flesh, floating into a thick mist of keys. The track gets proggy and disorienting, with the guitars going on a new high and everything ending in a fiery burst and deep groans. “Universal Deceit” sprawls in from the void as beastly growls make their presence known, and fast, numbing guitars feel like they’re achieving time travel. The growls get thicker and more monstrous, with the soloing blinding you, and interplanetary energies splashing colors. “The Sky Bleeds Nightmares” starts with calls like they originate from a twisted movie, growls storming, and then a weird, dream-like state landing. The guitar work adds to that and confuses you, as demonic growls slither, and the drums punch holes in everything. “Irredeemable” is the 10:56 closer, basking in a guitar haze while the song gets off to a calculated pace. The fires are aggravated while the thrashy madness erupts, with growls crushing before the tempo slows. The heaviness never subsides, as growls gurgle, the intensity builds, and a weird choral section makes heads tilt before a soaring solo grabs your attention. The final minutes re-engage with insanity, as the growls mash, the band clobbers the senses, and adventurous guitars bring this to a rushing finish.

Zealotry have a fresh, weird approach to death metal, which is part of what makes “At the Nexus of All Stillborn Worlds” such a stunning album. They’re obviously incredible musicians and can play circles around most bands, but they’re more interested in making albums that are dramatic, compelling, and interesting. Yeah, call this band progressive all you want, but there’s way more substance behind that descriptor, and they’ll make you pay if you sell them short.

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

To buy the album, go here: http://www.unspeakableaxerecords.com/purchase/

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

Few are the bands that remain interesting by doing the same thing over and over again. I know you’ll point to AC/DC and be like, “Argue that.” Well, no. I won’t. That’s a band few and far between, and I’d argue their gimmickry is what keeps people coming back. But even older bands such as Iron Maiden and Judas Priest try new things, which is why each record by them is its own adventure.

The same applies for long-running Greek black metal institution Dødsferd, who have been around the block a few times and return with their wrenching 10^th record “Diseased Remnants of a Dying World.” Running off 10 records in a little under two decades is pretty damn impressive, and even more so is how the band has managed to tweak their sound over that time though never abandoning their base elements. This new record has some of the more daring, emotional, dark, and sorrowful material to date, yet it never skimps on the savagery and bloodshed. This is black metal through and through, but it’s not just that, as you’ll realize right away, mere minutes into this collection. The band—vocalist/guitarist Wrath, bassist Neptunist, and guitarist Setesh—ravage you over these five tracks and nearly 52 minutes, leaving you stunned and decimated once you hit the finish line.

“My Father, My Wrath!” begins the record with winds blowing and a slow, reflective start. It’s the most surprising track on the record, as Wrath sings cleanly, practically soaring over top of the song. There are folkish vibes snaking through the piece, as guitars begin to sting, and we loop back around to the verses. The energy surges as wordless calls send jolts of power, and an acoustic/electric mix rises up and takes the song to its finish. “An Existence Without Purpose” runs 11 minutes and begins with crushing playing and wild roars. The track floods as Wrath’s growls choke with menace, and the riffs deliver heavy blows. Great soloing works its way in, while Wrath wails over the chaos, and the track erupts into furious violence. “Open your eyes!” Wrath commands as the track mashes wildly before bleeding away.

The title track is the centerpiece and the longest cut, stretching over 16:18. There’s a tempered start before piercing growls arrive, guitars glimmer, and then it’s into a pocket of doom. Storms rupture afterward, as the pace changes and the guitars swirl into the cosmos. Strange layers keep being added as Wrath howls desperately, the pace charges full speed ahead, and the climax of the song beings its crescendo, dissolving into fiery emotion. “Loyal to the Black Oath” has guitars jangling, Wrath’s voice slicing through the flesh, and fiery hell meeting up with Arctic cold. The guitars jar in the thick atmosphere, the drums rupture, and the pace drives relentlessly, with growls jolting before an air-infused finish. “Back to My Homeland … My Last Breath” closes the record with drums tapping, strings stirring, and Wrath’s tortured cries, preparing you for the outright anguish ahead. The track is scary and panic inducing, as screams mix with the racket, and the track ends dissolved into the putrid winds.

The morphing and adapting that Dødsferd have done over the years has been to their benefit, and they’ve managed to remain one of black metal’s least predictable bands. “Diseased Remnants of a Dying” world continues their campaign to never compromise and always pour whatever brand of darkness they see fit into their sound. There’s enough here to keep your imagination going or to just revel in outright, hate-filled skullduggery, whichever you prefer.

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

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

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

I can’t tell you how tired I am writing record reviews. I get that way come December after nearly 12 months of writing 4-5 pieces a week, and yeah, I’m sure you feel really bad for me. I’m just drained and burned out, but good news is starting next week, we begin recapping 2018, which was a really good year for metal. Lots of good stuff came out this year, tons of memorable shows, but that all will come back out over the next few weeks. Today, we give you some of the killer stuff we heard in November (though a few of our favorite records from Horehound and Arête are not yet on Spotify, but go listen to both right now!), and it’s a pretty diverse collection of stuff. Well, I have to get a tooth pulled from my skull tomorrow, so I’m going to go worry. But enjoy this list. And think about me bleeding from the mouth.

I’ve never been able to understand people with rigid outlooks on life and feeling there is only one right way, only one true type of person, only one path. Those people tend to be rather boring and, if we’re being honest, almost always are assholes. Is it fear of reaching out to territory previously strange to them? Is it an inherent weakness in admitting other ways and other people may be right?

I got to thinking about that when going through the admittedly sparse bio accompanying “Invicta,” the second record from mysterious black metal duo Serpent Column. I was instantly interested as their debut “Ornuthi Thalassa” is frequently visited on my Bandcamp collection, so I already knew how daring this band was. But the bio material spoke of lashing out against narrow thinking and embracing diversity, be that of thought, other people, and even the way they approach their music. Guitarist/bassist/vocalist Theophilos and drummer/ambient sound designer/backing vocalist Maya do not head down a normal, beaten path to create the three tracks that appear here. Your senses are battered taking on these songs, but you also are stimulated intellectually because the band is making you think. You can’t predict the next turn because it isn’t easily sniffed out. That’s refreshing and enthralling, and that’s a reason this band and record are so noteworthy. By the way, release date isn’t until the 26^th, but since this is our last week of reviews for the year, we’re hitting it now. So, be patient if trying to order.

“Asphodel” starts the album and is the longest track, running 14:14. Angular riffs get charging before the guitars begin bruising, and odd melodies make you tilt your head. The track then tears itself apart with mind-bending leads warping reality before things go cold, and the guitars begin trickling like a cold rain. The stretch keeps going until about the six-minute mark when harsh cries explode in the night sky, the guitars bleed melody, and the tempo pounds way. The music keeps flooding with extreme force, with the riffs having no mercy until there’s a sudden halt. Thunder fills the sky, birds begin to call, and the track slowly bleeds out before rushing back in, if only for a few moments.

“Decursio” spills right into the scene, causing a total panic, as cries burst, and we’re headed right for tornadic hell. The growls rumble and crush, while the music thrashes maniacally, and then the vocals take on an animalistic quality. The tempo bruises, as you’re locked into a dizzying fury that helps the chaos rise. Cries are buried beneath it all, with the song coming to a smearing, spiraling end. “Aedis Invia” closes the record with electric jolts and a tempo that reminds of old, ’90s-style indie rock, with buzzsaw vocals tearing into its mid-section. The track rustles and blisters, with noise rising over the top before the song goes clean and numbing. You might find yourself drifting in thought, with the music literally making your ears rattle (first time I heard this section, I thought something was wrong with me) before it goes back to calm. Slowly, the pace intensifies, with guitars jangling and catching fire, causing your heart to race before it all ends with birds chirping and you wondering what just happened.

Serpent Column continue to expand the definition and scope of black metal, and “Invicta” is a record that might take a few visits before it fully forms inside your brain. This duo isn’t going to lead you by the arm anywhere and instead are going to force you to explore their darkened borders. You’ll be better for it, though, as it’ll push your own understanding of what black metal can be and perhaps make you a more diverse thinker along the way.

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

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

Here on the East Coast, where we’re basically locked into early winter, the beaches seem to be the furthest thing from our minds. Yet, here come Squalus and Shadow Limb to remind you of aquatic adventures, sea creatures out for blood, and general madness. And fun. Remember that? When you could put on a record and just enjoy what you were hearing without worrying about scene bullshit? That’s exactly what you get today, and it’s a total blast.

“Mass and Power” is a split release pairing Northern California progressive metal band Squalus and Chino, Calif., sludge pounders Shadow King on a seven-track effort that isn’t entirely a call from the oceans, but it might as well be. This is one of the better, more interesting split records to come our way this year, and the fact that it won’t drop until halfway through December is concerning in that people might miss it. That’s why we’re striking early.

“The Great Fish…” is the 2017 debut record from Squalus, a retelling musically of the classic 1976 film “Jaws,” which is just an awesome idea. I mean, considering singer/guitarist Aaron John Gregory’s penchant for aquatic beasts (need I remind anyone of the late, great Giant Squid?), this is right up his alley. However, he and his bandmates—bassist Bryan Beeson, keyboardist Andrew Southard, and drummer Zach Farwell—couldn’t get everything they composed for their debut on the record, so we get one of those tracks here for the first time, as well as two swelling new cuts that will smear you.

Squalus’ portion kicks off with “Fourth of July,” the track that was left off of “The Great Fish…” that retells the conversation between Mayor Vaughn and Sheriff Brody as they talk about shutting down the beaches, which put the struggle of safety vs economy into focus. The track is fittingly watery at first, with Gregory’s singing pushing in and the key haze brightening. As the tale goes on, and the tension of the story builds, things get heavier, as synth zaps, the warning of sharks goes out, and things come to a blistering end. “Swim Charlie Swim” is a carryover from “The Great Fish…” a track that balances sludgy punishment with dripping piano and pattering drums. “Violent Climax” is part synthwave, with deeper singing from Gregory at first, as the track moves its way along. “From his voice came a gurgling whine,” Gregory wails, as the track disappears into inky blackness. “Mass and Power” closes out the Squalus portion, starting calmly, with lurching croons that eventually go deranged, and an off-kilter pattern that can make you uneasy. The track then comes alive and pumps energy, as fiery chaos meets up with bubbling synth, thick doom riffs, and a psyche bath. That intensifies until everything melts into a sea of guitars and keys, with everything rustling once more before fading.

Shadow Limb released their debut offering “The King Is Dead” last year after the band formed out of the time they shared in instrumental unit La Fin du Monde. Here, they’ve added vocals to the mix, but they remain headed down paths that, while rocky as hell, also have a sense of dreaminess and adventure. The band—guitarists/vocalists Chris Roberts and Adam Scarborough, bassist Mike Crew, drummer Dan Elsen—deliver a trio of songs that are heavy on riffs, provide different perspectives on vocals (they can be grisly but also smooth), and add a smothering assault.

Shadow Limb launch into ridiculously named but awesome “Lobstrocities” (their version of the cover has a creature that happens to be “Masters of the Universe” heel Clawful), which is grimy and burly when it starts. Wailed cries eventually turn into swaggering singing, while the track heads into cold, fittingly nautical territories before coming out of that and burning shit to the ground. “Pop Song” has a touch of Torche sludge goodness, as there are some disarming melodies lurking beneath the filth. As the song moves on, calm singing emerges, leading to a power surge that turns everything toward violence. From there, the band begins to crush you with heavy waves, animalistic growls are unleashed, though there’s still a sugary basis that makes it go down smoothly. “Dark Sigil” is their final cut, beginning jazzy before landing punches and spiraling into heavy sludge. The track then picks up, sending fists toward faces, as growls punish amid killer leads before the pace calms down. Gothy singing swims into the murk before the power returns, trudging hell is turned out, and everything ends in a halo of noise.

If you can listen to this pairing of Squalus and Shadow Limb and not have a blast, then fuck you, you’re taking yourself way too seriously. On top of that, these are two killer bands that have some commonalities but definitely approach heavy music from a different perspective. “Mass and Power” is a blast of metallic goodness to cap off your year, and it’s a reminder than when the warm weather returns, you better watch your ass if you decide to go into the water.

For more on Squalus, go here: https://www.facebook.com/squalus.band/

For more on Shadow Limb, go here: https://www.facebook.com/shadowlimb/

To buy the album, go here: https://translationlossrecords.bigcartel.com/

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

I’m fortunate enough that every day at my regular job, I have large, expansive windows in front of me, where I can gaze into the thick woods, see creatures I won’t encounter in my suburban life, and be at the heart of nature. This past week, we got an early preview of winter, as snow packed down, turning outside into a picturesque wonderland, and the branches of the trees took on ice and white coatings that made it feel like the cover of a greeting card. Weird way to kick into a black metal album.

You’re likely familiar with Austrian musician Stefan Traunmüller from his work in bands as varied as Wallachia, The Negative Dawn, a Portrait of Flesh and Blood, and Rauhnåcht, the band we’re discussing today. His new album under that banner is “Unterm Gipfelthron” (that roughly translates in “Bottom Summit Throne”), a five-track collection of pagan-style black metal that will make you think of being deep out in the elements. I get winter from this thing, but maybe your mind will wander elsewhere. Nevertheless, Traunmüller creates another fascinating opus (his third full-length under this project and first since 2014’s “Urtzeitgeist”) here he helms the creation of these songs, with help from a steady team of supporting players who help breathe life into this stunning collection.

“Zwischen den Jahren” opens the album with a rousing folkish start, as woodwinds call and whip up a breeze before the track gets harsh and driving in a hurry. Harsh growls pound away while melodies are unfurled, and then the track unleashes raw thrashing. The assault is glorious, and it’s capped off by keys and horns colliding, and the track ending abruptly. The title cut follows, leading you down a clean path before running into burly black metal. There’s a rich, spirited chorus that contains a fleet of voices and gets inside your blood before the song gets gentle again, giving you solace before the next burst. That arrives with militaristic drumming and a pace that rumbles the earth before seeping into a calculated nautical-style section before the chorus’ rushing return.

“Gebirgsbachreise” is an instrumental cut with acoustic plucks, the music flowing serenely, and a cosmic chill floating overhead. Sounds build, colors grow, and group “oh-oh” chants add a rustic sense to the song. “Ein Raunen aus vergess’ner Zeit” is the second-longest track, sprawling over 10:31 after a eerie start that blends into a storm. Keys lean in, while the singing is hearty, and then the growls explode and leave you trembling. Just then, we’re into a dreamy section that quivers and aches before the intensity whips up again, a fiery chorus arrives, and the track tears apart with rage, crushing to its end. Closer “Winter zieht übers Land” is the longest cut, running 11:17 and beginning with an exuberant riff that gets the blood flowing. Growls lash as your flesh, punishing as the song winds and jerks, moving into a grisly, yet chilly corner. The storm picks up again after a brief calm, with choral sections bustling, the melodies pouring in waves, and the track pushing hard, bleeding out in keys.

While it has its devastating, destructive angles, “Unterm Gipfelthron” also is an imaginative record that could help you worship at nature’s altar unflinchingly. That seems to be Traunmüller’s intent here with Rauhnåcht, and those sentiments ripped through me every time I listened to the record (especially when gazing out my work windows). It’s a record full of energy, chaos, and adventure, and it’s one that could attach itself to you as you work your way through the cold season.

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

To buy the album, go here: https://www.debemur-morti.com/en/12-eshop

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

There are many different ways to be heavy in extreme music, though most of that usually falls within the volume at which a band plays or the bludgeoning force of the music. But that’s not the only way to make something weighty, and you don’t even need to be the most savage band in the world to achieve that. If your music can be forceful and pack in relentless drama, your heaviness cannot be questioned.

German post-rock trio Esben and the Witch record for a metal-centric label, but they themselves are not actually a metal band. But they’re heavy as hell, and just a simple excursion with one of their records will tell you that for certain. Immerse yourself in the band’s devastating fifth record “Nowhere,” and you’re immediately sent into the darkness, seeing dream sequences, tornadic nightmares, and rushing emotions. The band—vocalist/bassist Rachel Davies, guitarist Thomas Fisher, and drummer Daniel Copeman—certainly can push the intensity and the force of their music, and there are times on “Nowhere” that batter your senses. But that’s not their only game. They weave cinematic fury and a storming intensity into their music, led by Davies stunning calls that bring you right into the drama.

The record opens with “A Desire for Light” that unfurls slowly and sends the scent of ash in the air before Davies’ singing blends in, and the tempo and emotion take an upswing. The track gets heavier and louder as it develops, surging and giving off steam, with cold guitars raining down, and the track fading out. “Dull Gret” has bass slinking in like a ghost and Davies warning, “I will take what’s mine, for the hour has come, and now this is our time.” It’s cold and trickling later on before the track opens up and begins pounding hard, rumbling and building, with the tension thick as hell. The track smokes, with the band yelling, “Hey!” as the track chars and slips away. “Golden Purifier” has clean guitars, with vocals trading off and Davies leading as always. The track feels ominous, with a delicate path following, spacey keys spilling in, and moody sentiments poking through the clouds. But before things end, another power surge strikes before the track ends in a dose of calm.

“The Unspoiled” begins with sounds crashing down, feeling utterly doomy and scary. The drums echo as Davies sings about being surrounded by gardens, as Davies cries, “I sink slowly, give me a rope, don’t let me go.” Sounds swirl and collide, as the vocals soar into the stratosphere, before Davies once again pleads to be saved. “Seclusion” has drums tapping, the guitars bleeding in, and the vocals grabbing you by the chest. The tempo is plodding on purpose, as gentle and dreamy sequences ice your brain, and as we go, the music drips like a steady rain, bleeding out gently for good. “Darkness (I Too Am Here)” ends the album with a rousing intro, as the song gets louder and more aggressive, with the band pounding you. Davies’ singing is even more forceful, as the heat intensifies and the doom static crackles. The track sludges, with the song hitting a cathartic burst, crushing like thunder before comfort arrives. It all melts while the singing overwhelms, with Davies admitting, “I am tied to you,” as the track comes to a mesmerizing end.

Over a decade and five full-length releases, Esben and the Witch have proved to be an alluring, powerful act that’s heavier as a whole than many bands that rely on brute strength alone. “Nowhere” is more proof of that, and if you’re caught off guard by the band, your psyche can be permanently mangled. They’ve been one of our favorite bands ever since their early days on Matador, and since that era, they’ve become a consistent force for suspenseful power that can leave you in tatters.

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

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: http://www.season-of-mist.com/

My humble hometown of Pittsburgh has an embarrassing amount of good metal bands circulating in the underground scene, and there are reliable groups you can see with some regularity as they grow and morph into new beasts. Oh, someone let our local scribes know that. They seem lost. Anyway, one of those is Horehound, whose new record “Holocene” is a late-year crusher.

If you’re a local, are into heavy music and haven’t seen Horehound, then you’re not trying hard enough. And I say that as someone who doesn’t try hard enough. You can fix this over the weekend, by the way. Details below. They’re a fixture here and have been steadily increasing their profile, playing a live set for local radio station 105.9 the X, who finally played some good music when they were on, as well as being one of the notable acts on this past year’s Descendants of Crom fest, the brainchild of Horehound vocalist Shy Kennedy. Earlier this year, their crushing 2016 self-titled debut was reissued on vinyl, which was a precursor to the world-toppling “Holocene,” which is the band’s finest hour (well, 44 minutes). Kennedy, a barnstormer of a singer, and her equally as smoldering bandmates Brendan Parrish (guitars), Nick Kopco (bass), and JD Dauer (drums) unload a grittier, heavier, more scathing record than their debut, and they infuse even more blues, psychedelic power, and face-bruising attitude than ever before. It’s one hell of a record, one that should get them even more attention beyond city limits, which they undoubtedly deserve.

“The Kind” opens the record hinting at delicacy with its acoustic strains, but then the bottom drops, Kennedy growls pierce, eventually wailing, “We take and give nothing,” as everything pummels around her. Later on, the bass slinks, leading into another nasty riff, which growls catch fire again, clean calling follows, and the track comes to a smoking end. “Dier’s Dirge” is punchy and has a proggy edge before going clean with softer singing. Then the hammers drop, as the band delivers heavy punishment, and Kennedy calls, “What we’ve done can’t be undone.” The track haunts before turning thrashy, with growls scathing, and the song boiling away. “L’appel du Vide” has weird guitars effects at first before turning bluesy, as riffs snake, and psychedelic playing causing dizziness. The track then ambushes, with the singing coming through a watery guise, and haunting speaking coming afterward. The drums hit back hard, and the growls return before Kennedy warns, “There’s nothing left here.”

“Sloth” has mind-altering guitar work, with Kennedy luring, “Come a little closer,” as the ambiance of the track feels chilling. Soloing spreads out before the track chars with calculated approach, with the track bleeding out into a pit of smoke. “Anastatica” delivers a tasty bluesy riff along with echoing vocals, and an assault packed with swagger. The guitars blind later on, with the soloing turning beastly, hammering heavily and confidently. “Won’t let you into my mind,” Kennedy vows, while the track comes to a sweltering finish. “Highball” barrels in, looking to do damage, with the riffs swinging away unconcerned of who and what they mow down. “You can’t see me,” Kennedy taunts, while the bass trudges and the guitars hang ominously. A psychedelic swirl arrives, with the playing melting faces and ending in fire. A brief hidden track that comes out of nowhere is packed with Kennedy unleashing demonic howls, as if she’s trying to scare the shit out of the entire black metal community that think they’re so evil. You’ve been served, kids.

Horehound is another huge credit to the Pittsburgh heavy music scene, and it’s about time the rest of the world takes notice. “Holocene” is a tremendous, eye-opening album that is a huge building block from their first record and shows their undeniable power and attitude. Undeniably this is a doom record, but it’s one that should pull in followers of all types of heavy music who just want to be bludgeoned as they’re taken to another plane of existence.

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

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

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

Horehound play their record release party Saturday at 9 p.m. at Brillobox. Progressive sludge monsters Pyrithe (they added a goddamn theremin) and power metal warriors Lady Beast open what’s going to be a destructive night of local metal.