The debate over what truly constitutes black metal has grown quite tiresome. You have the disciples of the Second Wave insisting it only be about Satan, you have others who claim it should be chaos and the darkest, most hateful emotions possible, and you have those who believe it should have no set rules and turn into whatever its creator decides it should be.

The above creates a lot of online drama and insanely mind-numbing debates on Reddit. I don’t care what people decide it is. For me, I want something that sounds like it comes from the depth of the soul, a record that is reaching out to affect you emotionally and physically, and music that isn’t afraid to push boundaries and buttons and not adhere to a set formula. That’s where Richmond, Va., band Bastard Sapling come in for me. Their sound certainly is grounded in black metal aesthetics, but they don’t paste themselves into a corner and refuse to move beyond that area. They dash their sound with atmospherics, Southern rock-style shades, and even some doom, making each song an adventure you cannot predict front to back.

While Bastard Sapling–vocalist Mike Paparo (also of Inter Arma), guitarist/multi-instrumentalist Drew Goldy (of Organ Donor), guitarist Steven Russell (Inter Arma), bassist Trey Dalton (Inter Arma), and drummer Elway (Organ Donor)–got off to a dynamic start on 2012 debut album “Dragged From Our Restless Trance,” they push things into even higher gear on “Instinct Is Forever,” their 65-minute sophomore effort that blew up our expectations from the first listen. This record (released in a joint effort by Forcefield and Gilead Media) is heavy, emotional, dark, aggressive, and incredibly ambitious, peaking on amazing tracks including emotionally devastating opener “My Spine Will Be My Noose,” a track that could speak to anyone mired in personal darkness; imaginative and raucous “The Opal Chamber”; sinister and infectious “The Killer In Us All”; and the restless “Lantern at the End of Time,” one of their most creative, gripping songs to date.

Both Paparo and Goldy took some time to answer questions about their earth-quaking second record, some of the themes behind these songs, and what black metal means to them as an art form. We thank them for their time and for a dynamic record that hasn’t left our ears since the promo arrived in the spring.

Meat Mead Metal: We’re naming “Instinct Is Forever” as one of the No. 4 metal album of the year. This record has been on pretty constant rotation here ever since the promo landed in the inbox. Do you feel like this is a record where the band really came into its own?

Mike Paparo: Well, first off, thank you for the inclusion. Personally, I feel like we stepped up our game so to speak for this record. The production quality was raised, the performances are top notch, and we are definitely very proud of this record. It’s the record we have always wanted to make I think.

MMM: I got a chance to see you guys at Gilead Fest this past summer, and yours was one of the more intense performances of that weekend. It seems like you guys really pour yourself into these songs when playing live. Is that true?

MP: I’d like to feel like it is. It’s black metal. It needs to be intense. I don’t ever want to see a black metal band (or any metal/punk band for that matter) and just see a bunch of musicians standing there, lackadaisically going through the motions. That’s weak.

MMM: As far as the title “Instinct Is Forever” goes, what is the origin of the title? Who came up with it, and what is the meaning behind it?

Drew Goldy: Originally, the title “Instinct Is Forever” was jotted down for a song I was putting together. Its resurrection happened when shit went into full throttle for the creation/writing of this record. There are a lot of lyrics throughout that hint at many relevant meanings to it. Basically, humans are destructive, polluting, violent creatures and display more evil then good. That will forever overshadow any positives in this world.

MMM: The opening track “My Spine Will Be My Noose” is a really rousing, crushing song, but underneath there appears to be a darker message. I thought I read somewhere that some of the members of the band have dealt with depression and other mental issues? Is that the case, and if so, is that what’s behind the song—especially with the repeated call of “I’ll end my life”—or is there something else behind it?

MP: It has to do with depression. Some of the lyrics to the song are blocked out in the record/CD gatefold/booklet because the lyrics are just too personal. Those are the darkest, most personal lyrics I have ever written.

MMM: Speaking of troubling thoughts, “The Killer in Us All” on the surface feels like it is a reminder that everyone has a dark side and things that gnaw at them. Is that what you were going for with this one?

MP: That is 100% what I was going for.

MMM: The first track most of the world got to hear from the record was “Lantern at the End of Time,” which features Dorthia Cottrell of Windhand. Why did you choose Dorthia for that song, and what do you feel she brings to the track?

DG: That song in particular is the epitome of an individual’s catharsis put into one single song.  It’s meant for anyone that has suffered the loss of a loved one or friend. Especially if that one person was your world. Dorthia is a good friend of ours. She was a part of the first full length in 2012. So of course we welcomed her and the undeniable talent to add to what “lantern” displays musically and lyrically.

MMM: Like any style of metal as it develops, people form opinions about what is and is not, for example, black metal. Certainly Bastard Sapling bring something different and more expansive to the table than the second wave, for example. So in 2014, what is black metal to you?

DG: Good question. I could go on and on about this one and walk in circles. Simply, to me it has lost its origins and expanded beyond itself, in a sea of people trying to save it from drowning. Hopefully that will only add fresh perspective and decent revival from newer bands.  You did mention “waves” get it? Ocean, Sea, Waves… (Editor’s note: Yep! Got it.)

MMM: Bastard Sapling folds a lot of other sounds into the mix other than black metal, which you can hear on something like “The Elder.” Where do those other influences come from?

DG: We just went with our Instinct.

MMM: “Instinct” was released by two labels—Forcefield and Gilead Media—that handled different formats. How have your relationships been with each label, and what does each mean to you?

MP: Our relationship with both labels has been amazing. We have massive respect for both Adam and Tim and deeply admire what they do. It’s an absolute honor to be associated with Forcefield and Gilead Media.

MMM: What does the band have planned in 2015? You did a lot of touring in 2014, so will that continue? Or do you guys have stuff planned with your other bands? Enlighten us!

MP: At this point we don’t have anything planned for 2015. I’m sure something will come about. As for other bands, Inter Arma always has something going on. That’s pretty much a given!

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

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

Or here: http://shop.forcefieldrecords.org/

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

Or here: http://www.forcefieldrecords.org/site/

I’m tired of hearing how U2 is Ireland’s greatest musical export. Maybe at one time that was true, but they’ve dissolved into the very thing they always seemed to be against. For us metal fans, the best thing ever to come from that land is and always will be Primordial.

Ever since the band’s start two decades ago, Primordial have gifted the world with records that explode with passion, anger, sadness, and regret. They’ve dug up history and challenged organized religion, pounded the drums for freedom, and always given us music in which we could believe. From their thunderous start on 1995’s classic “Imrama” onto where they stand today, Primordial have become one of the most important and respected bands in all of metal. And they have yet to let us down artistically over the course of their first seven albums, their most recent before 2011 coming on “Redemption at the Puritan’s Hand,” a record that stood out before you heard any music simply from its uncharacteristic white cover.

As 2014 was growing long in the tooth, it seemed we wouldn’t hear again from Primordial until early in 2015 (or so we were led to believe by myriad online reports). But the pronouncement of their eighth record “Where Greater Men Have Fallen” would arrive late in 2014 and gave us reason to be excited for the colder months. Once the music permeated our senses, it was clear we had in our hands another vital document in this band’s history. From the throbbing opening title track (is there a band that opens records better than these guys?), to the dark “Babel’s Tower,” into grittier cuts “The Seed of Tyrants” and “The Alchemist’s Head,” Primordial proved their messages are as bloody honest and relevant as ever, and that their creative spark is burning heavily.

Primordial vocalist Alan “AA Nemtheanga” Averill was kind enough to answer some questions about the record over e-mail. You’ll see from his short, direct responses that he didn’t want to mince words and instead got right to the point. He also corrected a few of our assertions, which is great because that’s why we asked the questions. Averill was the man with the answers, and he let us know exactly what we needed to and nothing more. Our thanks to him for his time and to the entire band for a glorious new album.

Meat Mead Metal: “Where Greater Men Have Fallen” is No. 5 in our annual Top 40 metal albums of the year list. It’s another passionate, vital entry not only into the Primordial canon but into metal lore in general. How do you feel about the band’s accomplishments on this record now that it has been released into the world?

Alan Averill: It’s just another chapter for us, you know? Never thought we would get to album number 8 but here we are. We just took our time and (waited to) when it all fell into place.

MMM: From the bio that accompanied the promo of the record, it sounds like the music came together pretty quickly. Talk about its creation a bit—what you wanted to say musically and lyrically, why now was the right time for the record to come into shape, how the creative process progressed.

AA: Well, yes and no. Once we moved to the rehearsal space at the start of the year, things began to happen with more haste, but some of the ideas had been around in one shape or another for a while. Like I said, things take some time, and we don’t plan a long time ahead. It just worked out that 2014 was the right time.

MMM: The title of the album and the accompanying title track are interesting choices. The song seems to speak of people not learning from history and having to suffer the same heartbreak and tragedies all over again as a result. What is your particular inspiration for this song and for making this the title of the record?

AA: The pivotal line is really, “They promised the century to you, and all you did was bury your dead.” It’s really about the promise of the 20th century delivering bloodshed and warfare on a greater scale than anyone imagined. Shattered hopes and empty rhetoric. Economics and power. Violence is the prince of this world.

MMM: “Babel’s Tower” is another standout track, both musically and message wise. There are many ways one could look at this song, from its Biblical story, to the way people rejected progress and understanding over the years, to passing judgment. And perhaps my way of hearing the words is off base. What is the journey you hope people take with this song?

AA: It’s a simple song about misunderstandings and the pivotal line is, “I preached the world was flat.” It’s my way of an apology for preaching something I did not believe in.

MMM: The video for the song is an engaging piece, one that hooks you and makes you follow the hooded figure’s journey until the reveal at the end. Video seems to be a lost art, but Primordial obviously still embrace the medium. What do you feel the clip does to enhance the song and deliver its messages?

AA: We wanted something more cinematic and arresting. Not the usual band in a warehouse headbanging thing. I guess most metal videos are missing some imagination. You can make something like this with a reduced budget. For us it was just a new challenge.

MMM: The band’s sound has grown very organically over the years, from the grislier, blacker earlier form to the way more melody and majesty have been incorporated into the sound. Do you see Primordial’s sound as much a living breathing thing as much as its members are? If so, where do you go from here?

AA: Again I hear this, and it’s for the most part not true. The new album is far darker and grittier then “Journey’s End,” for example. The opening track on “Imrama’ is just 4/4 rock n roll. I have no idea. We don’t think about it.

MMM: There are some tracks that have some of those heavier elements we heard from Primordial earlier in your career—“The Seed of Tyrants” and “The Alchemist’s Head” are examples. Was it a conscious decision to take things a little heavier in spots on this record, or is it just how things worked out?

AA: Again, nothing is decided. We write what we write, and if we are happy with it, then this is what you hear. Nothing more and nothing less really. The band is heavier than we ever were, if you ask me.

MMM: Primordial have had so much to say about history, humanity, wars, and the way certain forces prevent people’s freedom. Do you have hope for humanity? Do you feel we’re in a dark era from which we’ll never emerge?

AA: “The Seed of Tyrants” states, “Remove the tyrant and a dozen will take his place with ever greater bloodlust.” The future of this world is dictated by power and economics, therefore the future is only the jackboot upon the throat of humanity.

MMM: What does the band have planned for 2015 as far as touring? You have a slot of Maryland Deathfest in May. Can we expect any other U.S. dates around that appearance?

AA: It looks unlikely we will play other shows around the festival, but hopefully we can come back later on in the year. America is a hard place to tour for European bands, but we will try again.

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

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

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

10. HORRENDOUS, “Ecdysis” (Dark Descent): So there I was, lying on a beach in late August, enjoying the sun, and digging into my first listen to Horrendous’ new opus “Ecdysis.” Yeah, it’s not the most death metal setting in the world, but it’s where I seem to have these yeah-toppling experiences with music. I was in nearly the same spot last year the first time I heard the latest Oranssi Pazuzu album, and “Ecdysis” had the same profound effect on me where I’d remember the time and place and feeling the first time I heard this incredible album.

The East Coast-situated Horrendous already impressed with their 2012 debut full-length “The Chills,” but this thing was something else entirely. From the epic opener “The Stranger,” one of the best songs in their short catalog, all the way to cataclysmic ending “Titan,” this band blows away your expectations of what to expect from death metal. There is creativity crossed with brutality on this record, and it’s one that could unite listeners who want it raw and nasty with ones who appreciate sharp musicianship. “Ecdysis” really has it all, and it’s a gigantic step into the future for one of death metal’s most promising bands. (Released Oct. 14)

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

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

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

9. MORBUS CHRON, “Sweven” (Century Media): Morbus Chron’s 2011 debut “Sleepers in the Rift” hinted at good things ahead for the Swedish death metal band. But there’s no way anyone outside of the band could have guessed just how much was brewing and bubbling underneath the surface creatively, which the world learned all about when stunning “Sweven” was unleashed upon the world. Their transformation into a spacey new beast is damn near Opeth-ian, and the incredible music on their sophomore record exclaims that Morbus Chron are an alien force whose next steps cannot possibly be predicted.

If you like a heavy dose of psychedelics with your death, no one does it better than these guys. Balancing trippy and devastating is not an easy chore, but they pull it off seamlessly on this imaginative album. Instrumental opener “Berceuse” hints at the journey that’s ahead, and that pays dividends on cuts including “Chains,” “Towards a Dark Sky,” and “Beyond Life’s Sealed Abode.” This is a total mind bender, an really memorable record we’ll be praising years from now when looking back on this era’s best metal albums. It’s that good and that essential. (Released Feb. 24)

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

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

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

8. MORTALS, “Cursed to See the Future” (Relapse): The news that Mortals had joined the Relapse roster was triumphant in many different ways. First, the label was adding yet another stellar band to their ranks, one that ended up being one of their heaviest acts. On the other hand, the three musicians who comprise Mortals’ lineup—Elizabeth Cline, Lesley Wolf, and Caryn Havlik—have worked their asses off, made killer music for several years, and deserved to finally go to a place where their work could be heard by way more people. If that’s not a win-win, then what is?

The band responded with their superb second full-length “Cursed to See the Future,” a document that built on what they only hinted at on 2012 EP “Death Ritual.” The songs have grown longer and more complex, they’ve grasped death and black metal by the throat, and their conviction pummels you on these six songs that are both fearsome and refreshing. The bulk of the tracks hang around the nine-minute mark, destroying you with fiery progression and striking at you with a hot sword screaming for blood. “Epochryphal Doom,” the sinister “Devilspeak,” and clubbing finisher “Anchored in Time” are violent, daring, intelligent, and examples of some of the most forward-thinking metal of the year. Long may this band run. (Released July 8)

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

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

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

7. PALLBEARER, “Foundations of Burden” (Profound Lore): Pallbearer’s story of their unlikely rise to underground metal prominence is one most people probably know by now. In case anyone is new to their tale, the band released their unreal debut “Sorrow and Extinction” in 2012, bringing back into focus vocal-centered doom and ending up on a number of year-end lists as the kings (including ours). Now with their second album “Foundations of Burden,” they faced pressure and expectations for the first time, and there likely would be people just waiting to pounce if they delivered something not up to par.

What Pallbearer ended up doing was proving their debut was no fluke and that they are a heavily celebrated young metal band for a reason. The melodies are even deeper on this record (immerse yourself in the wondrous “Foundations” for a quick education) and even took some serious chances (quasi-ballad “Ashes”) that would scare away “more extreme” bands. Pallbearer have become a destination metal band, a group whose new work always will be a major event worth anticipating and celebrating. The genre doesn’t have a whole lot of those anymore, but these guys are seeing to it that you can make an honest, smart, gripping metal record and receive adulation while remaining true to your art. I can’t wait to hear what they do next. (Released Aug. 19)

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

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

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

6. BLUT AUS NORD, “Memoria Vetusta III: Saturnian Poetry” (Debemur Morti): When French black metal dreamers Blut Aus Nord completed their “777” trilogy in 2012, it seemed perhaps the long-standing band might take a different creative turn. Anyone who lived through that saga knows that with each installment, the Vindsval-led band morphed into a stranger and stranger creature. “Cosmosophy” was an incredible document no doubt, but it barely resembled the black metal people who come to know and demand from the band.

The announcement of a third installment of the “Memoria Vetusta” series landed this fall, and those who hoped for a return to form likely were thrilled in their hiking boots. This album is warped, destructive, and hellacious, yet the band’s creativity and colorful personality remain deeply imbedded. I loved the twists they took on the “777,” series but hearing the band trying to rip a hole in the Earth again also sounds damn good. Another thing is the songs logically flow together, feeling a part of a whole but each having distinct DNA. It’s a masterful way to pull you through tracks including “Paien,” “Tellus Mater,” and “Metaphor of the Moon” and make sure you see each intergalactic feature along the way. I’m pretty much down with whatever Blut Aus Nord have offered us over the years, but it’s also nice to have the vicious version of the band back. (Released Oct. 10)

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

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/

20. FORESEEN HKI, “Helsinki Savagery” (20 Buck Spin): Crossover thrash hasn’t been totally oversaturated yet, luckily. There are a handful of good bands who play the style really well, and one of those is Finnish group Foreseen HKI. Their debut “Helsinki Savagery” is aptly named, because that’s what you get on this masher that slams 10 cuts into a little under 37 minutes. The tempo are absolutely crushing and looking to do damage, the vocals are harsh and attitudinal, which you absolutely need doing this style, and there isn’t a down moment on this whole thing. These guys should appeal to anyone still dining on DRI and the Cro-Mags as well as younger fans who have found a haven of madness with bands such as Power Trip and Noisem. Get ready to get your face ripped off. (Released Nov. 11)

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

To buy the album, go here: http://www.20buckspinshop.com/

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

19. WITCH MOUNTAIN, “Mobile of Angels” (Profound Lore): One of the year’s biggest downers as far as stories are concerned is Uta Plotkin’s decision to leave Witch Mountain and strike out on her own. No doubt she’s going to go on to great things, as will this band, but they worked so damn perfectly together, evidence of which is “Mobile of Angels,” easily their best record. This is one of those albums where you can tell all the players had stumbled onto the same magic and were just in the zone with what they were creating, and Plotkin is dynamite here. She lets emotions run over, shows the right amount of restraint when it’s called for, and absolutely soars everywhere else. Opener “Psycho Animundi” is threatening and cold; “Your Corrupt Ways (Sour the Hymn)” could be their best song to date; and closer “The Shape Truth Takes” feels like the proper ending for this version of the band. (Released Sept. 30)

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

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

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

18. MUTILATION RITES, “Harbinger” (Prosthetic): There’s nothing pretty about what NYC black metal destruction unit Mutilation Rites does. And there doesn’t need to be. They’re filthy and furious, with their trademark sound helping them stand out in the pack. You know the band when you hear them, from their furious riffing, to the destructive drumming, to George Paul’s sore throat-style howling. “Harbinger” is a huge step up creatively from their great last album “Empyrean,” as the group’s time being road warriors is paying off. There is a ferocity here that sounds well planned but also off the cuff, as the guys storm through opener “Black Pyramid”; “Contaminate,” which sounds like “Rust” era Megadeth, only more animalistic and malicious; and “Suffer the Children,” which could bust up your kneecaps and then apply a submission hold you can’t break and they won’t release. (Released July 22)

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

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

Or here: http://store.prostheticrecords.com/

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

17. OCCULTATION, “Silence in the Ancestral House” (Profound Lore): Profound Lore, whose releases practically dominate slots 20-11, have one hell of a diverse roster. One of their most unique is Occultation, a band that didn’t get nearly enough credit for their amazing, entrancing second album “Silence in the Ancestral House.” There is so much going on here that could put you in a magick-induced haze, with E.M.’s (also of Negative Plane) guitar work creating the perfect mind-altering fog and V.B.’s singing creating the ideal mood for these dark epiphanies. “The First of the Last” never fails to move me spiritually, and it has soundtracked more than one dark beer session over the fall; “All Hallow’s Fire” has burning guitar work that reminds of classic heavy metal, with the singing exploring the mysteries of death and life; and “Forever Hereafter” is downright bone-chilling, a great mix of doom and rock and roll. This thing is spectacular. (Released Oct. 14)

For more on the band, go here: https://www.facebook.com/pages/Occultation/127574070630828?fref=ts

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

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

16. WROUGHT IRON, “Rejoice and Transcend” (Grimoire): OK, fine, maybe you think we’re biased that we have this Pittsburgh band Wrought Iron ranked so high. If you’re one of those, go put on the band’s demolition-bringing debut “Rejoice and Transcend” and return to offer your apologies. These guys bring the fire live (there are times when it feels like vocalist Kenny Snyder is going to attack someone), and their nine-track, 35-minute monster of a record delivers just as much bruising. Mixing black and death metal with some grind, there’s nothing on this album that offers any calm. They just piledrive the shit out of you over and over again, with the music fast, dizzying and hellish and with vocals that sound like they originate in hell. So yeah, maybe there’s a little soft spot for these local dudes done well, but what they accomplish on “Rejoice and Transcend” is enough to make any Pittsburgh metal fan beam with pride. And these guys are just beginning! (Released June 24)

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

To buy the album, go here: http://grimoirerecords.bandcamp.com/album/rejoice-and-transcend

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

15. MENACE RUINE, “Venus Armata” (Profound Lore): So, my wife isn’t a fan of metal or heavy music. I don’t know how we make it work. Anyway, I recently had Menace Ruine’s new record “Venus Armata” on in the car, and my wife noted, “I feel like this is how this type of music is supposed to sound.” What she meant is the amount of haunting, dark bands trying to convey a particular mood but often fall prey to trying to make their sound pretty and digestible lose that sense of danger and mystique. No doubt this band can get into your blood and infect you in the best possible way, and this record has been a trusted companion quite often since the media promo arrived a couple months back. This fifth album is their most emotionally rich and spiritually affecting, as Genevieve’s singing hits amazing high points, especially on “Marriage in Death” and the incredible “Red Sulphur,” which is one of my favorite songs of the year. Add to all of that, the drone is thick and arresting, the noise buzzes and shakes you, and the entire package is one you’ll want to drink in from the first moment all the way until it ends 64 stunning minutes later.  (Released Oct. 14)

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

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

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

14. IMPETUOUS RITUAL, “Unholy Congregation of Hypocritical Ambivalence” (Profound Lore): There are bands that try to sound evil and others that practically embody that infernal quality. Australia’s blood mercenaries Impetuous Ritual definitely fall in that latter category, seeking blood and body count on their violent, suffocating second record “Unholy Congregation of Hypocritical Ambivalence.” This band doesn’t care if you think their sound is too ugly or that their brand of death is too harsh. Likely you’re not psychologically strong enough to withstand an assault from these guys, which sounds like metal set on fire and left to melt and suffer. These tracks, from opener “Verboten Genesis,” to “Venality in Worship,” to “Despair,” to “Womb of Acrimony” practically reek of bad intentions and a campaign to hurt you as badly as they possibly can. This is death metal that is not for the weak and easily intimidated. This is the sound of domination. (Released April 15)

For more on the band, go here: https://www.facebook.com/pages/Impetuous-Ritual/128111827293954

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

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

13. FALLS OF RAUROS, “Believe in No Coming Shore” (Bindrune Recordings): We mentioned in the write-up for the new Fen record that there is music that sounds like it was created for specific times of the year. Falls of Rauros’ impressive new record “Believe in No Coming Shore” felt like it was intertwined with the middle stages of autumn, where cold and war do battle, it’s pleasingly damp outside, and it’s impossible to walk into your house without giant yellow leaves being shed by your boots. This is a beautiful, moving record in a lot of ways, which makes metal dudes nervous because heaven forbid you have a heart and emotion. But that doesn’t bother these guys, and they can be as savage and heavy as any other band plying the black metal trade these days. Falls also mix elements of folk and Americana into their music, making their stuff well balanced, moving, and positively human. This amazing third full-length was one of my most anticipated records of the year, and it absolutely delivered. If you haven’t heard this yet, please remedy that right now. (Released Nov. 1)

For more on the band, go here: http://fallsofrauros.blogspot.com/

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/

12. TRIPTYKON, “Melana Chasmata” (Century Media): Not long after Triptykon’s tortured second full-length “Melana Chasmata” was thrust onto the world, Tom G. Warrior (Hellhammer and Celtic Frost, in case you permanently live under a rock) talked about how difficult the creation process was and that he was not happy with the results. No doubt the man had been through some dark times in the period leading up to this record’s creation, and if he is being truly honest about his state (and there’s no reason for him to be dishonest), we could have lost the man to his darkness. Luckily he and the band survived, and this album is an absolute psychological terror, with Warrior giving no quarter and the rest of the band standing behind him as disciples of destruction. To me, this record is nothing short of a dark masterpiece, colored morosely by Warrior’s personal struggles that I certainly hope he is conquering. From the savage assault of fire-breathing opener “Tree of Suffocating Souls” that contains some of Warrior’s most forceful vocals ever; to slow-driving “Altar of Deceit” and it’s hugely memorable, muddy chorus; to warbling, mashing epic “Black Snow”; to the heart-stopping homage to Emily Bronte of “In the Sleep of Death,” this band makes depression, anger, and disappointment feel hugely personal and impossibly heavy. This is an amazing record, one of the best things Warrior has ever done. (Released April 14)

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

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

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

11. THE FLIGHT OF SLEIPNIR, “V.” (Napalm): Colorado duo the Flight of Sleipnir operated under the radar for far too long. But maybe that’s a good thing. While the band was making fantastic records for the Eyes Like Snow label, they were building their machine and refining their messages. That all culminates in their Napalm Records debut and the best record of their career in “V.” Never has the band sounded this varied and packed so many different colors into their records, and they appear to have hit on the perfect formula with this album. Having Napalm on their side means they’ve been exposed to a much wider audience, one they very much deserve, and they respond with some special, incredibly creative tracks including trippy and moving “Sidereal Course” that features really strong singing that might even make you think of classic rock; “The Casting” that reminds you they still know how to use their sharp teeth; “Gullveig,” which is dressed in psychedelic webbing that should make your head feel heavy; and “Archaic Rites” that balances beauty and brutality perfectly. This is one hell of a coming-out party for this band. (Released Nov. 24)

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

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

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

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