30. ALRAUNE, “The Process of Self-Immolation” (Profound Lore/Gilead Media): One of my fondest memories from over the summer is running leisurely thorough Oshkosh, Wisc., on my way to the Masonic Center in order to catch Alraune’s scorching set on time at Gilead Media Fest. I barely made it, coated with sweat, but it was all worth seeing these Nashville crushers tear off faces with tracks from their debut album “The Process of Self-Immolation.” Formed with members of Yautja and Vesicus and being massive enough that two damn labels had to unleash this thing into the world, the band made good for all that coverage with a flattening, exciting, smothering five-track debut that runs nearly 40 minutes. And every one of those minutes is packed with power and intrigue, proving it’s possible to stay true to black metal’s roots but also add the right modern flourishes to keep things nasty. One of this year’s most recommended debuts, at least from our standpoint. (Released June 24)

For more on the band, go here: https://www.facebook.com/pages/ALRAUNE/132403286836721

To buy the album, go here: https://www.profoundlorerecords.com/products-page/

Or here: http://www.gileadmedia.net/store/

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

And here: http://www.gileadmedia.net/

29. EARTH, “Primitive and Deadly” (Southern Lord): After releasing some, well, earthy, Americana-emblazoned albums in “The Bees Made Honey in the Lion’s Skull” and the dual “Angels of Darkness, Demons of Light” releases, long-running doom-drone pioneers Earth returned with one of their most surprising records to date. From the opening strains of “Torn By the Fox of the Crescent Moon,” you can feel things are nastier and more dangerous. Another compelling decision was to bring in guest vocalists in the rugged, always reliable Mark Lanegan and Rabi Shabeen Qazi (Rose Windows) to add even more depth to Dylan Carlson’s immortal riffs. It’s a daring mission for sure, but one that is rewarding and stunning from the first visit onto the umpteenth time I listened to this thing. No wonder this band has such legendary status. They absolutely earn it every time out. (Released Sept. 1)

For more on the band, go here: http://www.thronesanddominions.com/

To buy the album, go here: http://southernlord.com/store

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

28. LOTUS THIEF, “Rervm” (Svart): The debut from Lotus Thief—a union of Bezaelith and Otrebor, who play together in Botanist—is more rock than metal. But it certainly has its heaviness and can fill an arena, if the need arises. This great, emotionally cascading album, based on the writings of 1st Century Roman poet and philosopher Titus Lucretius Carus, is an intense, cosmically adventurous record that needs to be heard for full understanding. I don’t mean that just from a context standpoint; you need to live and breathe inside of these tracks to appreciate their gravity and fullness. Bezaelith’s guitars and vocals absolutely soar into the stratosphere, while Otrebor keeps the rhythm moving and pummeling, as the duo retells “De Rerum Natura” in all its glory. The messages from two centuries ago still apply today, and the music Lotus Thief create can fill you with electricity and understanding.  (Released Nov. 28)

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

To buy the album, go here: http://svartrecords.com/shoppe/

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

27. FEN, “Carrion Skies” (Code 666): As I noted when I reviewed “Carrion Skies,” there are certain types of music practically tailor made for specific times of the year. Fen’s latest, dropping in late November, was perfect timing, as this atmospheric black metal goes ideally with cold streams, chilly breezes, the first strains of flurries dashing across the skies, and the leaves crunching under your boots. What groups like Agalloch always have done so well has spilled over into this band’s camp, and you feel like you’re in the midst of nature on cuts such as the stunning two-part “Our Name Written in Embers” openers, “The Dying Stars,” and spectacular closer “Gathering the Stones.” This record hasn’t gotten a ton of traction in America quite yet. But once it does, it’s sure to find favor with metal fans across the board, especially the ones whose hearts lie in the Pacific Northwest. (Released Nov. 22)

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

To buy the record, go here: http://www.auralwebstore.com/

For more on the label, go here: http://www.code666.net/

26. ANGUISH, “Mountain” (Dark Descent): Having a great, character-spewing vocalist can make a decent band much better. It also can make a really great group superb, such as in the case of Swedish doom mongers Anguish. On the band’s second full-length “Mountain,” singer J. Dee (whose voice is more a monstrous lurch than a deathly growl) continues to weave weird, cosmic tales, dark imagery, and other strange ideas into this compelling eight-track, 49-minute album. Building on what the band started on 2012’s “Through the Archdemon’s Head,” Anguish often balance their heaviness with bizarre transmissions and songs that perplex as much as they punish. They’re one of the most unique bands in doom metal, one that certainly sticks out in a huge crowd, and “Mountain” cements Anguish as a monster you’ll want to follow as much as fear. (Released Nov. 12)

For more on the band, go here: https://www.facebook.com/pages/Anguish/175400599142558

To buy the album, go here: http://www.darkdescentrecords.com/store

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

25. THANTIFAXATH, “Sacred White Noise” (Dark Descent): Mysterious, cloaked black metal band Thantifaxath aren’t the first to shroud their identities in mystery. But they’re definitely one of the scariest. The band’s sweltering debut record “Sacred White Noise” is a ferocious, foundation-crushing display of strange messages, punishing playing, and unforgiving power. It’s also challenging. They’re not terribly interested in walking the straight-and-narrow black metal path, instead taking unexpected twists and turns into places you don’t expect in order to jar you awake. So good luck wrapping your brain around monsters such as “The Bright White Nothing at the End of the Tunnel,” eerie “Where I End and the Hemlock Begins,” and suffocating closer “Lost in Static Between Worlds,” that’ll practically erase your brain. That or you’ll be whipped into a psychotic vortex no amount of drugs ever could hope to treat. (Released April 15)

For more on the band, go here: https://www.facebook.com/pages/Thantifaxath/1428008470822146

To buy the album, go here: http://www.darkdescentrecords.com/store

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

24. THE OATH, self-titled (Rise Above): The most disheartening thing about The Oath’s mesmerizing debut album is, before it even hit the damn shelves, the band has dissolved. That’s a huge shame, because this union of vocalist Johanna Sadonis (she has since moved on to Lucifer) and guitarist Linnea Olsson absolutely nailed the vintage heavy metal and doom sound like no other. This record is haunting, catchy, and impossible to remove from your head, with killer cuts including “All Must Die,” “Night Child,” “Black Rainbow,” and “Psalm 9” piling on top of each other. It’s actually depressing to think how good this band could have become if they had stuck together, but at least we have this magnificent document of retro metal power to hold in our hands and cherish forever (or at least until the grooves in our vinyl wear out).  (Released March 17)

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

To buy the album, go here: http://www.riseaboverecords.com/store/

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

23. YAITW, “When Life Comes to Death” (Deathwish Inc.): Just one look at the cover of Young and in the Way’s new album “When Life Comes to Death” should clue to you on what’s ahead. Namely, you get black metal violence dashed with hardcore, songs that are bereft of mercy and compassion, and a stunning assault that catapulted the band into more people’s minds. And again, damn, that cover! Is that ever an intimidating symbol when most bands are prone to slapping strange paintings and an artist’s vision of hell on the cover? But beyond that, the music is what matters, and this is blistering, harsh, fierce chaos highlighted by tracks such as “Fuck This Life,” “Be My Blood,” “We Are Nothing,” and shadowy, nearly 10-minute closer “Embrace Extinction.” Get ready to get hurt. (Released May 27)

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

To buy the album, go here: http://store.deathwishinc.com/category/new.html

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

22. KRIEG, “Transient” (Candlelight): It’s been a pretty prolific year for Neill Jameson and Krieg, what with the myriad split and smaller releases emblazoned with the band’s name as well as the crushing new full-length effort “Transient.” This seventh record finds Jameson teaming up with members of Esoterica to pump out one of the most thought-provoking albums of the band’s run. Working with themes including where one calls him or her dwelling place (the spoken word/cosmic zaps/acoustic piece “Home” hammers that one to the heart) and creating some of the most colorful music of Krieg’s run, this record is packed with mashers from front to back, including opener “Order of the Solitary Road,” “To Speak With Ghosts,” and “Gospel Hand.” Throw into that damn good cover of Amebix’s “Winter,” and you have one of the best all-around releases of Krieg’s storied run. (Released Sept. 2)

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

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

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

21. NIHILL, “Verderf” (Burning World): We talk a lot about albums being terrifying or the manifestation of horrors, and sure, that dips damn close to hyperbole on a lot of occasions. But when talking the fourth record from Dutch beasts Nihill, those descriptions might not go far enough. This band sounds positively scary and hellish on their records, and their live performances only amplify that incredible fog of darkness that contains monsters here to maim you. This late-year arrival didn’t get nearly the amount of attention it deserves, probably because a lot of writers cooled their jets on new stuff in November. But “Verderf” is suffocating, abysmally dark, and one of the truly scary black metal platters of the entire year. It never relents, and you start to wonder if the band isn’t trying to psychologically scar you from afar. Go get this beast and immediately take cover. (Released Dec. 1)

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

To buy the album or for more on the label, go here: http://burningworldrecords.com/

40. SONS OF CROM, “Riddle of Steel” (Debemur Morti): It may sound clichéd and silly, but I enjoy when metal makes me think of picking up a sword, holding it aloft, and heading into battle. And pretty much trying to avoid the fighting, but whatever. Sons of Crom’s great debut “Riddle of Steel” felt like a natural continuation of what Bathory started before them, and the duo’s mix of epic doom metal and tenets of folk and black metal really hit the adventurous spot in my metallic heart. It burns, churns, and takes you on a galloping ride that’ll splatter blood all over your dented battle shield. (Released Sept. 12)

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

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

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

39. MARE COGNITUM, “Phobos Monolith” (I, Voidhanger): Jacob Buczarski already was one of the most inventive minds in the U.S. black metal field before his incredible third album under the Mare Cognitum banner dropped. “Phobos Monolith” still drenches you in atmosphere and thrusts you toward the stars, but there are more urgent melodies, more heaviness, and more tumult than ever before. These four tracks account for some of the best work Buczarski has done to this date as an artist, and they hint toward unexpected pathways that could lie ahead for Mare Cognitum. (Released Nov. 3)

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

To buy the album, go here: http://www.i-voidhanger.com/mailorder.htm

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

38. BOTANIST, “VI: Flora” (Flenser Records): Anyone who has visited our site regularly the past few years knows we have an affinity for Botanist, the hammered-dulcimer-and-drums-led black metal project that is the brainchild of Otrebor. Over the years and releases, he has expanded protagonist the Botanist’s natural world (the Verdant Realm) as well as the musicians who play along with him, and “VI: Flora” is the most ambitious, musically fleshed out so far. The album is praise and adulation for surrounding plant life, and the themes of the destruction of humankind for their misdeeds step aside for a bit while the true magic of surrounding greenery can be celebrated. That makes the music more upbeat and positive than anything else in Botanist’s canon. (Released Aug. 11)

For more on the band, go here: http://botanist.nu/

To buy the album, go here: http://store.theflenser.com/

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

37. BARGHEST, “The Virtuous Purge” (Gilead Media): Fury and disdain, disgust and destruction, those are items you are going to find on the latest Barghest release “The Virtuous Purge.” The filth-ridden black metal band from Baton Rouge actually cleaned up their sound a bit from their fully scuffed-up 2011 self-titled debut, and they even incorporate more death metal into their sound this go-around. By the way, when we say these seven cuts sound cleaner than their previous work, that’s only in the Barghest sense, because this record still maims, drags you into mud, and clobbers you for the very offense of your existence. Live they’re even deadlier, but if all you have is the vinyl right now, it’s a good enough beating until they can bloody you in person. (Released June 17)

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

To buy the album, go here: http://www.gileadmedia.net/store/

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

36. FISTULA, “Vermin Prolificus” (PATAC): I am shocked more hasn’t been made of Fistula’s “Pig Funeral,” the 9:15-long diatribe and call for war against oppressive police forces who have been a target of the band. With what has gone down on Ferguson, Mo., New York, and Cleveland (from where the band hails!) with office brutality and questionable deaths, you’d think people would have grabbed this dose of outright revolution and violent protest and used it as a war cry. Maybe it’s too harsh? Well, that’s not all that’s noteworthy about the sludge band’s massive new record that feels like a monster slithering after you and walloping you over and over. There’s not a moment of mercy and calm on this thing, and if you’re with their mission, you might find yourself amid a rally, protest sign in one hand, Molotov cocktail in the other. (Released Feb. 15)

For more on the band, go here: https://www.facebook.com/fistula666

To buy the album, go here: http://www.patacrecords.com/distro/

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

35. CRETIN, “Stranger” (Relapse): It had been eight years since we heard from deranged grind monsters Cretin, but the band finally returned with just their second record in their two-decade run with the awesome “Stranger.” Everything we’ve come to love form the band–meaty thrashing, Marissa Martinez-Hoadley’s beastly growls, Matt Widener’s psychotic, at times perverse lyrics–are firmly ensconced in the band’s sound, and the huge upgrade comes at lead guitar with Elizabeth Schall taking over at the helm. And absolutely ruling. So much good, twisted stuff on this 14-cut crusher including “Ghost of Teeth and Hair,” “My Frye the Janitor Guy,” “Sandwich for the Attic Angel,” and “Husband?” that picking a favorite is like choosing the best jarred fetus in your basement. Damn it, you just love them all! (Released Dec. 9)

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

To buy the album, go here: http://www.relapse.com/store.html

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

34. DAWNBRINGER, “Night of the Hammer” (Profound Lore): The most disturbing and violent record of Dawnbringer’s run also happens to be the most interesting of all the Chris Black-led band’s works. The album feels like a reach back to late 1970s and early 1980s heavy metal, where melody is key and there is more focus on the vocals. It’s not the instant pleaser like albums such as “Into the Lair of the Sun God,” but the more you visit, the more it digs in its claws. Just take a trip with “The Burning of Home,” ultra-memorable “Nobody There,” creepy “One-Eyed Sister,” and smashing “Damn You,” and you’ll get a killer dose of metal glory that’s painted heavily with menace. Black can do no wrong, and every new step he takes with Dawnbringer is a rewarding one. (Released Oct. 28)

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

To buy the album, go here: https://www.profoundlorerecords.com/products-page/

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

33. TAKE OVER AND DESTROY, “Vacant Face” (Comfort Point): Take Over and Destroy’s second record sure is a bizarre, eccentric one. Doom, noise, accordions, crazed yowls from Chthon, you name it, there’s nothing on this record that acts or feels normal. In fact, much of it teeters on the edge of sanity, with just the slightest wind able to push it off and send it soaring into insanity. It’s an incredibly interesting listen, one filled with manic personality, and if there is a band Faith No More in their heyday could look in the eye and nod knowingly that what they started was in good hands, it would be TOAD. This is unclassifiable, confrontational, always morphing, and definitely heavy. It’s also one of the most interesting records of the year.  (Released Aug. 19)

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

To buy the album, go here: http://www.takeoveranddestroy.bigcartel.com/

32. AGALLOCH, “The Serpent & the Sphere” (Profound Lore): One of the finest live performances I saw this year was Agalloch’s world-toppling set at Maryland Deathfest, a performance that was one of the primary reasons for my sojourn there in the first place. It was my first time seeing them live, and it was worth every mile I drove, every asshole I had to pass in the slow lane because apparently the left lane concept it too tough. Hearing tracks from the band’s dramatic, slowly unfurling fifth record “The Serpent & the Sphere” was a major part of that. As you might gather from that description, this record isn’t as immediate or cascading as albums such as “Marrow of the Spirit” (one of the best records of the past decade) or “Ashes Against the Grain,” but spending time with it and getting to know it reveals different kinds of riches than anything in the band’s catalog. It’s dramatic, utterly passionate dark and black metal that awaits, and it’s a journey that, once you’re finished, you’re physically and emotionally exhausted. (Released May 13)

For more on the band, go here: http://www.agalloch.org/

To buy the album, go here: https://www.profoundlorerecords.com/products-page/

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

31. 1349, “Massive Cauldron of Chaos” (Season of Mist): I never got the bitching everyone did about 1349’s last two records “Demonoir” and “Revelations of the Black Flame.” They were pretty different, I grant you, and they were murky and mysterious, but both albums resonated with me because they were so damn dark and monstrous. Well, anyone who whined that they wanted the 1349 that released “Hellfire” can clean up their soggy tissues, because “Massive Cauldron of Hate,” the Nordic black metal band’s sixth full-length, is a fire breather, hammering you from front to back. Commanding vocalist Ravn sounds like he has buzzing hornets in his throat, while the rest of the band throttles you with full-steam-ahead punishment that should soothe everyone’s hurt feelings that 1349 had the audacity to experiment. (Released Sept. 29)

For more on the band, go here: http://www.legion1349.com/

To buy the album, go here: http://shopusa.season-of-mist.com/

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

This is the toughest year to date for compiling best-of lists. There is too much stuff. Too many really good records that I had to jam into a top 40. Take into account we run a Pick of the Week every week of the year, and there isn’t enough room in the top 40 for all of those. It’s good stress, though.

So this is the entry every year I feel bad writing, the one where I feel like I’m saying, “Your record was good. Just not good enough.” That’s not the case, though. These runner-up entries are worth your time and money, and if you haven’t heard them yet, definitely remedy that before the onslaught of 2015 releases start smashing down our doors (or inboxes, as mine already is being bombarded with good stuff). I’ve spent a lot of time with these albums, will into the foreseeable future, and salute the artists for making some pretty damn great music.

MANTAR, “Death By Burning” (Svart): The two-player model is fairly played out in the world of rock music, but there remain some pretty savage groups of this nature in metal. Germany’s Mantar is one of them, and their debut “Death By Burning” added some interesting, provocative new twists that dash color and blood all over this 10-track smasher. Their mix of sludge, doom, and death is a satisfying, devastating assault, and they add attitude and swagger to killer cuts such as “Cult Witness,” Astral Kannibal,” and wailing closer “March of the Crows.” The band was saddled by health issues toward the end of the year, but as of now, they’re back on the road, smashing skulls, and blazing a path forward. (Released Feb. 7)

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

To buy the album, go here: http://svartrecords.com/shoppe/

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

SLOUGH FEG, “Digital Resistance” (Metal Blade): Sick of going to shows and having to look through a tapestry of smart phones blocking your view? Tired of navigating through traffic because some asshole in the fast lane is going 10 mph under because he’s on the phone? Long-running metal warriors Slough Feg have your backs on their ninth record “Digital Resistance,” where they wonder what the fuck ever happened to not being glued to an electronic device 24 hours a day. The music is as catchy, punchy, and awesome as ever before, with tons of great cuts including chugging opener “Analogue Avengers/Bertrand Russell’s Sex Den,” “Laser Enforcer,” and “The Price Is Nice. This is glorious and true heavy metal. (Released Feb. 18)

For more on the band, go here: http://www.sloughfeg.com/

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

For more on the label, go here: http://metal-blade.com/

BLACK ANVIL, “Hail Death” (Relapse): The heaviest, densest, most metallic of their three albums, “Hail Death” dropped like a ton of bricks. While all of those descriptors accurately describe this record, on the other hand it’s also their most rock and roll to date. So you have a slithering, unforgiving beast from this NYC black metal band, yet also one that’ll stick to your ribs and get you good and fired up at the same time (plus, their cover of Kiss’ “Under the Rose” is an unexpected treat they handle with reverence and darkness). This band is evolving and growing deadlier three records into their run. It’s anyone’s guess where they’ll go for album four, but no doubt it’ll be another challenger. (Released May 24)

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

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

For more on the label, go here: http://www.relapse.com/store.html

NIGHTBRINGER, “Ego Dominus Tuus” (Season of Mist): Colorado black metal cultists Nightbringer just get more bizarre and ambitious with each release, and they created a new high-water mark with “Ego Dominus Tuus.” Dark, heavy, dramatic, sweeping, and destructive, this record is a full-bodied journey the demands the most from its listeners but also rewards them heavily with hell-born chaos. This fourth album from Nightbringer sprawls a deadly 71 minutes and doesn’t relent for even a second, destroying you from the opening two cuts “Prayer of Naphal” and “Et Nox Illuminatio mea in Deliciis Meis” all the way to thunderous capper “The Otherness of Being.” This is black metal at its most imaginative. (Released Sept. 30)

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

To buy the album, go here: http://www.season-of-mist.com/

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

ALUNAH, “Awakening the Forest” (Napalm): This great doom band has been at for a good eight years now (not four, like I idiotically stated when I talked about them two months back), and their excellent third record “Awakening the Forest” is their best one to date. In front of this band, which is soaked in true, old school doom, is fantastic singer Sophie Day, who is an absolute pleasure to hear belting out over these tremendous six cuts. The highlight for me is the centerpiece title track, where Day carves out a chorus that will stick in your head forever, and the sweltering “The Mask of Herne” puts a grislier, more dangerous touch on the album. Anyone into Sabbath or Candlemass, not to mention newer bands such as Blood Ceremony and Subrosa, will find a lot to love in Alunah and their third album. (Released Oct. 3)

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

To buy the album, go here: http://shop.napalmrecords.com/

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

ENCOFFINATION, “III – Hear Me O’ Death (Sing Thou Wretched Choirs)” (Selfmadegod): Grossly, there are some records that practically reek of death. Encoffination managed to create one of those with their suffocating third album “III – Hear Me O’ Death (Sing Thou Wretched Choirs).” From the start of their latest opus, the band drags you through the dead worlds, offering praise and respect to the end of life, the inevitable snuffing of existence. The band’s two figures Ghoat and Elektrokutioner have been making these deadly sounds since 2008, and each one has gotten more and more miserable sounding. You can’t get grimier than a full, eight-track, 58-minute homage to death, so bow your head and follow these demons into the night. (Released Oct. 21)

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

To buy the album, go here: http://selfmadegod.com/en/shop

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

AUROCH, “Taman Shud” (Profound Lore): Auroch are one of the stranger bands in metal, with a new, second record that is named after one of the most bizarre, unexplained deaths of the 20^th Century. Well, that’s pretty fitting, because what you’ll hear on the band’s rather compact 26-minute sophomore effort will make your head tilt as much as it’ll make your neck thrash. The playing is interesting and inventive, the vocals are savage and nasty, and they waste no time getting in, perplexing the hell out of you, and disappearing suddenly like a spirit on its way to the next haunting.  This record didn’t seem to get nearly as much attention as it deserved this year, which is a shame because it was one of the freshest death metal records released in 2014. (Released June 24)

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

To buy the album, go here: https://www.profoundlorerecords.com/products-page/

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

EPs, splits, and mini releases should not be underrated. They’re worthy contributions to the metal world and each year, there are a good bit of them that excite not just me, but the metal world. This year is no different, and it’s time to celebrate the smaller releases that made a huge difference in our listening experiences. They also contributed to destroying our hearing.

ANICON/BELUS, split (Dead Section): We’ll start with one we stupidly didn’t cover on the site this year. Hey, it happens. You can’t get to everything, and sometimes really good stuff gets left behind. So we’re making good now by mentioning this awesome split effort that brings together spacey black metal NYC crushers Anicon and Brooklyn-based maulers Belus. This 32-minute, four-track offering gets you a nice taste of what each band does well, with Anicon dizzying you with their half of the record and Belus going for your throat with their two mashers, highlighted by the nearly 11-minute “Amidst Decay.” The other cool thing about this release is both bands really are at their starting point. Both of their resumes are short, so you have plenty of time to get to know each band and get in on the ground floor. Anicon is a well-noted killer live act (they just played my hometown last week, a show I sadly missed due to a cold kicking my ass), and Belus (who boast Mortals vocalist/bassist Lesley Wolf in their ranks) also will eat you alive when they play. These are two bands that are just starting to make waves, and this collection will show you why they are two of the most promising acts in underground metal. (Released June 4)

For more on Anicon, go here: https://www.facebook.com/scrapingearthandsky

For more on Belus, go here: https://www.facebook.com/belusband

To buy the album, go here: http://deadsection.dk/store/

Or here: http://fragilebranch.com/?post_type=product

For more on the label, go here: http://deadsection.dk/

Or here: http://fragilebranch.com/

MYRKUR, self-titled (Relapse): Oh, the hand wringing over this one. When Ex Cops member Amalie Bruun had the audacity to begin her solo black metal project Myrkur, you would have thought the most blasphemous act ever to occur to the scene had taken place. Look, the PR campaign was murky. Sure. But what else would you have them do, considering metal fans can be a pretty closed-minded bunch? Anyway, the music is what really counts, and this seven-track EP is one that I’m not afraid to say I enjoyed. It took a little while–it’s not perfect, and there does need to be some creative growth on the debut full-length she’s recording with members of Ulver and Mayhem–but the beauty and imagination behind the thing eventually took root. It’s atmospheric, it wouldn’t sound out of place on Napalm’s roster, and it was a frozen breeze infused into black metal’s terrain. I eagerly await the full platter, as well as the silly internet meltdown that is sure to occur thereabouts. (Released Sept. 12)

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

To buy the album, go here: http://www.relapse.com/store.html

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

MOURNFUL CONGREGATION, “Concrescence of the Sophia” (20 Buck Spin): Any submission from Aussie funeral doom beasts Mournful Congregation is a welcome one, and this two-track mammoth was plenty to tide us over from 2011’s “The Book of Kings” to whatever comes next. If you’re down with the band, you likely knew what to expect, and you weren’t disappointed. Newcomers got the band’s trademark slow-driving, sorrowful, crushing, emotional doom, including the fantastic 21-minute title track that probably sounded like nothing they’d ever heard before. Funny enough, the entire release is about a half hour long, which qualifies as a full-length in some metal sub-genres. But for Mournful Congregation, it merely was a quick, dark portrait of stormy emotion that makes it feel like depression’s waves are crashing down upon you. (Released June 24)

For more on the band, go here: http://www.mournfulcongregation.com/

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

For more on the label, go here: http://www.20buckspinshop.com/

GODFLESH, “Decline & Fall” (Avalanche Inc.): Before the legendary industrial metal band’s comeback LP “A World Lit Only By Fire” dropped like a planet out of the sky, there was the teaser EP “Decline & Fall.” These four cuts stood as the first fresh music from the band in more than a decade, and it certainly lit the burners under their fans to get ready to dig into that hotly anticipated full-length that arrived and destroyed in the fall. These four tracks and 20 minutes of fury snap you up from opener “Ringer” and keep throttling you all the way through the closing title track, and not a second of this thing is wasted. I hoped this was a sign of things that were yet to come, and we all know now that’s what we got when “A World” dropped. That full-length will be celebrated heavily, and rightfully so, but don’t forget their incredible 2014 story started right here. (Released June 2)

For more on the band, go here: http://godflesh1.bandcamp.com/

To buy the album, go here: http://avalancherecordings.bandcamp.com/

For more on the label, go here: http://avalancheinc.co.uk/

OF SPIRE AND THRONE, “Toll of the Wound” (Broken Limbs): Talk about a release that flew crazy low under the radar. This great Scottish doom band didn’t get a ton of traction in the States, and that’s too bad because “Toll of the Wound” is one hell of an intriguing listen. This thing is drubbing, devastating, draped with drone in spots, and full of evil intent. It feels like smoke is pouring out of this thing, choking and oppressing you, making you beg for clean air again. It’s a beast of an EP, and if you’re into grimy, mean doom, you’d be wise to go try this thing on for size. Of Spire and Throne have yet to offer up a full-length during their run, but when they do, it’s going to be one hell of a mighty statement. (Released May 13)

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

To buy the album, go here: http://brokenlimbsrecordings.com/shop/

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

There were plenty of other smaller releases that came out this past year that are hammering our senses and making us drive a little faster. If you haven’t yet, make sure you check out: Drudkh/Winterfylleth “Thousands of Moons Ago/The Gates” (Season of Mist); Dead in the Manger “Transience” (20 Buck Spin); Blut Aus Nord/P.H.O.B.O.S. split (Debemur Morti); Bolzer “Soma” (Iron Bonehead)’ Cara Neir/Venowl split (Broken Limbs); Venowl/Highgate split (Tartarus).

I’m annoyed because today was supposed to begin our look back at the metal year 2014, one in which there were so many records I liked that putting a list together was extremely difficult. It’s also one where I had some of the most positive show experiences of my life, and that my local metal community has grown and become mightier.

Yet here we are, having to tackle an ugly issue that has plagued metal for a while and reared its puss-filled head over the weekend. By the way, I’m stream-of-consciousnessing this thing, so if it’s all over the map, that’s why. I’m not going to rehash the entire thing here for a number of reasons, the largest of which is I don’t want to further distribute the garbage that was disseminated via social media this weekend by Phil McSorley of Cobalt (who anyone who knows this site or me knows how much I love their music) and Mike Meachem of Loss. The talking points here are bashing people because of their sexual identification and wishing death on them; tearing down feminism and making women feel lesser for being in the scene; and being torn down publicly for having the audacity to be a person with feelings and compassion toward others. There are other statements that go even deeper that were not a part of this weekend’s idiocy, and they’re just as awful and despicable. By the way, a lot of this got sparked by an article based on an interview with Andy Curtis-Brignell of Caina and his disgust with women and other people being attacked by metal fans. Gee, how dare he try to act like a human? By the way, the band’s new record “Setter of Unseen Snares” is fucking awesome, and we’ll have an extensive review when it drops next year.

First thing I’ll say is the use of derogatory terms toward people of the LGBT community—or any, really—is not acceptable. It’s not metal. It’s not black metal. It’s not cult. It’s not cool. It’s not true. It’s not fun. It’s not funny. It’s not a joke. It’s garbage. It’s unacceptable. It’s childish. It’s evidence of a dense brain and a lack of intellectual thinking. It makes me laugh at you and also feel sorry for you. I don’t endorse it. I don’t want it near me. I don’t want to associate with music or musicians who freely use this kind of speech and honestly, meaningfully direct it at other people. It shows a black hole as far as humanity goes. You think it’s OK to jokingly say, “That band is gay”? It’s not. Stop fucking saying it. Challenge yourself and find a better word. Are you 11? The fact that prominent member of metal’s underground have publically used this type of speech, and that sheep followers have liked or endorsed or re-Tweeted, or reciprocated their words is so beyond stupid to me, I’m having a hard time grasping it. The fact that much of this was directed at a female writer who happens to be one of the hardest working, most respected members of the metal media infuriates me. And trust me, she doesn’t need my support or backing. She’s a bad ass, someone I am honored to call a friend, and someone who helps this site in a gigantic way. She also probably forgot more about metal than most people know. That pisses me off heavily to see her treated this way. It’s not fucking metal. It’s weak. I also understand one of the musicians above is raising a young girl. Oh boy. I don’t even know what to say there. Good luck, kid. I wish you well.

On this topic, I have a friend who is both a female and gay who told me that she often doesn’t like to even be around metal folk because of how she gets treated. The fact that anyone, much less this person whose metal knowledge likely trumps most people’s, has to feel this way in 2014 is a failure not only for metal but for society. It’s music. It’s a show. Are we not all laughing at Varg these days? Do we not our shake our heads in disgust over Faust’s heinous murder of a gay man in 1992? If not, you’re fucking doing it wrong. Metal can be a community. It can breed familial scenes and friendships. If not for this very thing, I don’t know how I would have gotten through high school. Maybe I was “lucky” to be a white heterosexual male, and perhaps that same thing is what makes me feel comfortable in my current circles. But I also know the company I keep are tremendous people who never, ever would stoop to the cowardice of the musicians mentioned above. I feel fortunate for that, and I hope my friend one day finds that for herself. And she always has a friend in me.

Now onto women in metal and their inclusion in the scene. Seriously, this is still a thing? We haven’t yet figured out women are just as worthy, just a worthwhile as men? I mean, this obviously is a problem not just inside metal’s walls. It’s still an issue in America. We’re still belittling and questioning and shaming rape victims. There still are people who openly mock the concept of equal pay for women. Sadly, there people in my Facebook feed who are a part of this shit, and it takes all of my strength not to respond. I don’t because it’s not worth throwing shit against a wall. I’m thankful I don’t feel the way these people do and I work hard to make sure people are included and treated justly. I don’t deserve a pat on the back for that.

Funny, the people trashing women’s plight for respect usually are white dudes who clearly feel threatened. Be confident in yourself, and if you are, it won’t matter to you that other people have the same rights and privileges as you. And look, the basic idea of feminism is striving for equality for women in all aspects of life. I’m a fucking feminist. A proud one. A boisterous one. I have a lot of amazing female friends who are listeners, fans, and musicians that I admire, respect, and look up to very day. It’s so stupid I even have to point this out. It should be a, “Duh, who doesn’t feel this way?” but that’s not the case. Funny, but these musicians above want to throw around the word “pussy” when describing bands, musicians, or fans who have the temerity to value women and want to celebrate their accomplishments in metal and the world. I chuckle when they use that word because their value as people drops as a result. Like, that’s the best insult you could muster? I’d also argue that people who take to social media and harass people and mock others aren’t exactly showing an admirable level of guts. It’s fucking weak.

Do you remember Iron Maiden ever trashing their female fans or fellow musicians? Harassing gay or trans members of their audience? Having to make some macho asshole statement just to prove what men they really are? How about Ronnie James Dio? Black Sabbath? Hell, Judas Priest? Those artists are legends. The cretin listed above might not even have a medium to pour their pure hatred if not for them. They don’t even deserve the honor of plugging in their guitars. You think those bands lose sleep at night that female or gay artists are afforded equal chances as them? No. Because they are/were awesome fucking players and don’t sit around worrying about what others do.

I see metal as a family. I feel fortunate to have a ton of friends—musicians, writers, label heads, metal fans—who I consider friends and who I interact with daily. This site is an homage to metal, a celebration of the sounds that fill my heart with joy and power every day. Yes, there is a place to express negativity and ugliness in metal, and we have covered and will continue to cover that music on a regular basis. But when that comes down to harassing people, to wishing real death upon others, to stripping people of their dignity and equality, it goes beyond dark music. It exposes a sick, dishonorable way of being that I refuse to celebrate. The artists listed above? You won’t find them here ever again. I’m sure they don’t give a shit. Fine with me. It’s how I feel about their careers now. I also commend Erik Wunder, the other half of Cobalt, for publicly distancing himself from McSorley’s bullshit commentary. Good for him. He’s a brilliant artist who does not deserve to be dragged into such sad territory. (UPDATE: Wunder has since removed McSorley from Cobalt and will continue on as a band without him.)

Although I did not do that here, I do hope people keep reposting the hateful messages these and other artists have the stupidity to put into public consumption. People need to see this. They need to know what artists are not worth supporting. Yes, it also spreads their message and gives them attention, and it’s the double-edged sword kind of thing. But awareness is key. I’ll trade these guys getting their names more attention and asshole followers endorsing them if more people realize what failures at life they are and stop supporting their art. In fact, if you disagree with what I’ve said in this piece, feel free to never come to this site again. I don’t need you. We’re not exactly a site with the highest traffic ever, but I don’t need to be if it means weeding out people who are just poisoned. I’m here because I love metal, and I don’t care if it makes me false or whatever asshole descriptor you want to add to it. Trust me, I’ve been called every insult in the book at one point or another in my life, and I have a pretty hard fucking shell because of it. I’d rather you trash me than the fantastic people who are facing such idiotic attacks.

In closing, I want to be proud of metal. I want to defend it to the death. I want to tell people they are wrong about their archaic misconceptions about metal and its artists. Then things like this happen, and it takes a lot of the piss out of my argument. Hatred, anti-women, anti-gay/trans, and racist undertones have been a part of metal for too long. It has to stop. It’s garbage. It’s a sign of a failure to evolve as people. It’s something I refuse to tolerate. It makes metal look like a meat-headed society. I know it largely is not that. The filth aspect in metal is a minority, in my experiences, but that ugliness clearly is still out there. I urge you, please, if you face this type of harassment, if you are under attack for your gender or your race or your sexual orientation, please know you have a friend here at Meat Mead Metal. Reach out to us. We want you to feel like family, like you are respected and wanted, because you are. You matter. If Phil McSorley thinks I’m a pussy because of that, I seriously could not care less. I think it’s clear what he’s about, and his views mean shit to me. Maybe part of his issue is the stress of being in the military or perhaps mental issues, and if that’s so, I hope he gets help. I hope anyone who feels this way gets help or gets a chance to have an eye-opening experience. Anyone can better themselves and change the way they are.

It’s going to be 2015. We can have a positive impact on the world and prove that metal’s not a cesspool of hatred. But we need to be active and vigilant and protective of one another. Real hatred should not be tolerated or accepted or celebrated. To do so makes you an archaic joke whose existence is just sad.

Brian Krasman

@bkrasmanmmmetal

Anyone out there who’s ever had a panic attack knows they are no fun at all. I mean, at all. Times I’ve had them, my body goes weak, my arms get heavy, breathing accelerates, certainty of imminent death is the only thing on my mind, and the idea of calming down and taking deep breaths is the last thing on my list of things I’m able to do capably.

Saying that Dimesland’s music always makes me feel like I’m in the midst of a panic attack might make it sound like a negative, but really, it isn’t. That’s because I’m not actually in one, and I feel just fine. Yet it makes my mind race and insanity take over, but usually instead of curling into the fetal position, I start whipping around and getting shit done. So it’s a positive panic attack you could say. That’s the best way I can think to describe the band’s manic, all-over-the-fucking-map debut LP “Psychogenic Atrophy.” Deciding where on the metal sub-genre scale the band falls is near impossible. Noise? Prog? Math metal? Death? Doom? Uh, try all of those, with no one element ever taking over another. It’s perplexing stuff, this great first full document (their 2012 EP “Creepmoon” only hinted as the craziness ahead), and there’s no way you’ll have the same experience with this music twice.

Dimesland are comprised primarily of members of the awesome Wild Hunt (their 2012 smasher “Beyond the Plane of Angles” is a revelation), that being guitarist Drew Cook, bassist Greg Brace, and drummer Harland Burkhart. Along with them is guitarist Nolan Cook, and together they pump out a musically dynamic, sonically perplexing, often manic, always sweltering collection of eight songs. Truth be told, these guys may annoy some people with their sound, because its harshness isn’t always easy to take. For me, I revel in it, rolling around like I’m trying to cover myself in mud and pine needles, hellbent on scaring the hell of the neighbors or any scared child on the block. It’s OK. I’m moving soon.

Bizarre noises and trickling sounds introduce you to opener “Are They Cannibals,” a question you might direct right back at the band once you get your first dose. Yowled vocals and tricky, sprawling playing highlight this thing, with cries of, “Unhinged violence!” practically standing as the song’s calling card. “Dying Foretold” combines deranged yelling, music that feels like it bubbled out of an unauthorized science lab, and dizzying thrashing into a blast that is thrashy and mangling. “Institutional Gears” blows open with a rumbling bassline, lead guitar work that burns the brows from your face (literally … I have no more eyebrows now), and metallic strikes over top that remind me of a crazed person trying to stab blindly over a wall. And hitting the target every time. The final moments have chunky crunching and what sounds like a freight train trying to navigate under water. “Xenolith” is the longest track of the group at 8:43, and guitars rip this thing apart before everything freezes over and puts you in a trance. Then things gets weirder. A roiling tempo rises up, as mechanical voices convey unintelligible information before the band blows up the scene again and ends the thing in a cloud of smoke.

“That Cold Moment” is furious and nasty from the start, with howled vocals, guitars cutting through everything like a sword, and eventually fluid melodies that serve to bring the temperature down. The guitars get exploratory and spacey, while the bass and drums meld together to reach out and spread something that would make Rush proud. “Malfunctioning Gears” charges and trudges, with blurry oddness eventually making its presence known and making everything feel kind of drunken. No complaints there. Growls blow in, the pace gets deadlier, and an eerie calm steps in and pulls the song to its finish. “Bound in Store” is a monster, splattering blood everywhere, letting the music barrel out of control and toward any poor bastard in its path, with the final seconds simmering and blowing steam into closer “Odd Feats Are Bid and Won.” This one has a proggy, intriguing start before the bottom drops out and devastation returns. It’s a strange little journey, with angry bursts striking here and there, guitars later warming up and spilling over the track, harsh shouts emerging to poke a few final fingers in your eyes, and the song naturally ending as strangely as possible.

You might want to wear a helmet, tape your fists, hide breakables, and warn loved ones if you plan to take an extended trip with Dimesland. “Psychogenic Atrophy” can be as dangerous as it is musically stimulating, a collection that might make you turn into a whirling dervish of energy, looking for any task to complete while on this artistic high. Or maybe there’s just something wrong with my brain that it makes me feel this way. Either way, be prepared. These guys are out to challenge, and even hurt, your puny little brain.

For more on the band, go here: http://www.dimesland.com/

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

If there’s one complaint I constantly hear from people who are not inclined to like doom, it’s that the songs tend to be long. This isn’t an inaccurate assessment of a lot of doom bands, and if you don’t have the patience for songs that take their time and stretch, you might want to go read something else. Today just might break you.

English doom band Eye of Solitude have one of the more demanding releases that recently landed, that being their new EP “Dear Insanity.” First, I take issue with this being labeled an EP, but that probably has more to do with what that kind of release entails. You know, a handful of songs that come and go. Yeah, OK, this is just one track, that being the title cut. But this son of a bitch is just a few ticks under 50 minutes long, a full-length document for any other band on the planet (and this is only 16 minutes shorter than the group’s last record “Canto III”). Sure, there is plenty of room to split hairs there, and I don’t care to do that. Instead, let’s focus on the major commitment you must make to this thing. You’re not pulling out a bit here and there. There are no multi-track movements to help you navigate. You get it all. In one large chunk. For consumption in one sitting. So yeah, if long doom tracks aren’t your thing, you’ll want to bow out.

I feel bad for anyone who decides to avoid this thing, because “Dear Insanity” is one hell of a compelling listen, and it doesn’t feel like it lasts as long as it does. Along the way, we get heavy drubbing, funeral doom-like weariness, gothic transmissions, drone, and outright fury, with so many peaks and valleys, it’s easy to lose count. The band—it consists of four Sidious members in vocalist Daniel Neagoe, guitarists Mark Antoniades and Steffan Gough, and bassist Chris Davies, with drummer Adriano Ferraro the only one not in the other group—weaves this huge piece together nicely, and giant helpings of drama and emotion packed into this song should be more than enough to keep you tuned in from front to back.

The track gets started with a serious pocket of synth fog, boiling and taking its time to get started because, let’s face it, they’re not in a hurry to get anywhere. There are wails in the background, sounding pained physically and emotionally, and the initial growls are buried under murk before the song breaks open eight minutes into the epic. There, the screams get nastier and meaner, with sorrowful melodies sprawling and dragging you into the darkness. At about the 15-minute mark, synth rises up and overrides the madness, with foggy, dreary passages, and minutes later the track heading into teary, goth-style melodies. The bottom drops again about a half hour into the song, driving slowly and letting the fires gain steam and choke your lungs, but that’s later displaced by another front of calm, with keys trickling and injecting some psychedelic notes into the track. With about 10 minutes remaining, all of the previous elements come together, with lead guitars churning over top, the track storming steadily and menacingly, and the last throes of punishment finally giving way to dark keys that evaporate into the night.

Even longtime fans of Eye of Solitude might be taken aback by what they hear on this release, but if you’re familiar with the band’s past and growing ambition, you won’t be surprised. It’s an interesting project they undertook here, and the fact they deliver it so well and devastatingly goes to show how good these guys are as creators. Get comfortable, take a deep breath, and get ready to take a trip that demands your undivided attention.

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

To buy the album, go here: http://shop.kaotoxin.com/

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

Sitting here with a sore throat, a headache that seems to come and go, and a body temperature that rises and drops 15 times per hour, everything feels like lunacy right now. I’m not bedridden by any means, and I am well enough to be somewhat productive on my couch with old NWA wrestling on my TV, so let’s get into a thunderous platter of horror that might help break my fever.

Ireland’s Zom haven’t been at it for a terribly long time, having logged three years together as a unit. But you wouldn’t know that from the hellish battery that flies at you on their debut full-length “Flesh Assimilation,” an eight-track assault that is raw and heinous as they come. There are a lot of bands that try to reach back to the black and death metal aesthetics of eras past and easily swing and miss. Not Zom. They could have crawled out of the gutters in early 1990s and been right at fiery home. They are devastating, mashing, and completely devoid of mercy for your feelings, and if that poke to the eye seems like something you might enjoy, you could get hours of infernal joy out of this record.

The three titans who comprise Zom are guitarist/vocalist Sodomaniac, bassist/vocalist Chthon, and drummer Sabbac. All three have serious impact on this thing, and each of their mammoth musical contributions go toward making this record feel like all-out war. Every second of this record is utterly brutal, with no let-up whatsoever. Even when they’re not tearing forward with great bursts of speed, they’re drubbing you with a thrashy, channeled attack that’s unquestionably heavy. Now that you’ve been duly warned, let’s get into this thing.

“Tombs of the Void” is the first offering, beginning with strange howls and eeriness before letting loose with a bloody assault, beastly growls, and a tempo that will trample you underfoot in no time. As with all of the songs on this record, the intensity remains thick and true right up until the end when it runs into “Hordes of the Cursed Realms.” The riffs are fantastic and sinewy, with the growling coming back as echoes and a strange alien feel to some of the playing. The track stomps and flattens everything in front of it, paying no mind to the bodies left behind. “Gates to Beyond” has cosmic wooshes that float in the air that are blown apart with a heavy, calculated display that takes its time distributing punishment. Of course, the song later is blown to bits as the band reaches a state of gravelly violence that only subsides once spacey noises slip in, take over, and bleed right into “Conquest.” Here, doomy pounding arrives and trudges before the guys unleash blazing speed and blurry noise that sits behind the carnage. There’s some back and forth to this one, and it ends with noises swirling in the air.

“Illbeings Unspeak” has a clubbing pace, harsh vocals that sound threatening and sometimes unintelligible, drums that detonate fully, and rampaging riffs that should make the blood surge and the body bruise more easily. “Dead Worlds” is introduced with shrieking sounds, more doomy sentiments, and guitars that start chugging forward with a purpose. This cut splatters fury everywhere, with great thrashiness that could strain your neck, feral growls that terrify, and a finish that mixes odd chants with electronic blips. Pretty weird stuff. “The Depths” finds the drums and bass working together like a well-oiled killing machine, more tremendous riffs causing smoke to rise, and a smothering display that seeks to maim and suffocate. The closing title track opens with a smeary pocket of sound that disorients before the band finds yet another violent gear and charges forward. The cut gets blistering as hell, with a true old school feel emanating from this thing, and the rawness and punishment taking a final stand, leading out with a pace that should leave you sore for hours afterward.

Zom’s commitment to outright violence and devastation is admirable and refreshing, and this debut “Flesh Assimilation” is the official first warning shot fired by the war-torn Irish heathens. It’s as heavy a record as you’re going to find in black and death metal circles this year, and it should make for a great wake-me-up blast if you need something to get your ass into gear. Zom are off to a tumultuous start on this debut, and they’re a band to keep your blackened eyes on as they progress down their path of terror.

For more on the band, go here: https://www.facebook.com/pages/ZOM/195971213790266

To buy the album, go here: http://www.darkdescentrecords.com/store/

Or here: http://www.invictusproductions.net/shop/

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

Or here: http://invictusproductions.net/

My dream for the weekend is to be able to get outside, fill my lungs with some cold air, and remember that there is more to life than managing data, attending meetings, and sitting in a cubicle all day long. I don’t hold any ill will against those things, because they are part of what I do every day and I want to do them well, but taking a break to just live and be a speck in the world can be a welcoming thing.

If I get a chance to do that—it’s a big if at this point—I plan to take a couple of walking companions along with me, namely the two minds behind Swedish duo Bhleg. The band’s stunning debut record “Draumr Ast” (to fall in love with dreams) has arrived via two very reliable labels, that being Nordvis Produktions and Bindrune Recordings, who regular readers know we trust nearly with blinders on. In this late-year assault of very good records, this stands out as the most atmospheric, beholden to nature, and spiritually refreshing of them all. I feel like I technically do not even need that reconnection to the outdoors, that I can sense the great majesty of our surroundings simply through this music. But combining the two might make the whole experience that much more effective and rewarding.

Bhleg bring together two artists who used to play in the band Ljuset, namely Simon Johansson (guitars, vocals, synth, percussion, etc.) and Ludvig Andersson (bass, vocals, etc.). This project is studio-based only right now, which makes sense considering the great, full-bodied sound of this music and the effort and commitment that would take to recreate live. “Draumr Ast” is a record that combines primitive black metal, ambiance, and woodsy folk music to conjure dreams and connection with the earth and stars, and while that description might not sound like anything new conceptually, the way these two play the music and express their artistic workings will make you realize Bhleg is something special.

Opener “Solkronan” doesn’t waste any time getting started, kicking off with aggressive, chugging guitars, raw growls, and fiery instrumentation that fills the woods with smoke. Strong melodies serve as a base for this thing, with some stop-start playing and fiery imagination that takes you into the interesting, gazey next two cuts. “Kosmos pulsadra” has shimmery synth, damp and cold melodies, as well as a deathrock-like approach that makes the song feel dank. Sounds build and flood, a cosmic sense is injected into the track, and dreamy playing streams right into “Nyckeln till livskraftens ursprung.” It’s a shorter, cloudy track rich with acoustic guitars and a sense of traveling through the woods, drinking in every ounce of the scenery. “Alyr” destroys the calm, hammering violently from the start and pushing ahead with might. There is a mix of murky clean vocals and monstrous growls that take turns telling the tale, and the melodies hover like a swollen, gray cloud, saturating everything beneath it before it subsides and lets some sunlight poke through. The birds you hear chirp into the carry over to “Brunnens Hjarta” that is loaded with riffs and atmosphere. The vocals are grim, while the guitar work burns a path for them to follow, leading into pockets of great intensity and savage emotions that threaten with tumult.

“Skymningsdrommar” is led in by slow, deliberate drumming, keyboards that sound like a swarm, and compelling music that is unlike anything else on this record. There are haunting whispers that send drafts through the room before guitar emerge and slash open any sense of serenity. The vocals pour on the volcanic ash, and the track runs face-first into “Brunnakrar,” which keeps the intensity as a fever pitch with guitars that rage and a punishing tempo that seems like it could pulverize you. The band drives hard, with molten guitar work glowing and blinding and a full-on assault that returns after a brief moment of pullback. “Stjärnkartans väv” is a final, space soup instrumental, with weird keys that could soundtrack an old B sci-fi movie picked apart on “MST3,” which gives it a great sense of charm. It’s weird and tribal, setting the stage for the dramatic closing title cut, which begins with more glorious, smoldering riffs and vocals that sound like they are designed to permanently damage one’s throat. Each layer of this song come cascading down, leaving you little chance to catch your breath and pushing this journey with full force. But while it might seem the band is focused on breaking your will sonically, they relent, letting the song breathe and spilling folk acoustics and birds calling into the conclusion. That should remind you that while there was danger, you’re back in a safe place beneath the stars.

Obviously Bhleg encourage you to reach beyond this plane and into your imagination, both when asleep and awake. The music on “Draumr Ast” should help you accomplish that, and don’t go saying you’re too metal to get in touch with your darker aspirations and fantasies. Maybe you don’t have to do that, if you’re not inclined. Instead, go outside, crunch the leaves under your boots, and remember the world that suffocates you week in and week out and can be escaped for solace every now and again. Appreciate those times.

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

To buy the album, go here: http://eihwazrecordings.com/distro/

Or here: http://www.nordvis.com/store/

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

Or here: http://www.nordvis.com/