Albums of the Decade 2010-2019, Part 2 (70-41)

Welcome to part 2 of 4 of the Best Albums of the Decade. Part 1 may have been a bit eclectic, but part 2 veers gleefully into the false at times. Every albums belongs here though.

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70) Leviathan – Scar Sighted
Profound Lore – 2015

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Leviathan doesn’t make easily accessible music and Scar Sighted is particularly dense. Meaning is obfuscated under layers of distortion and discomfort. Then, once you peel everything back and get to the core of it, all that’s there is an inky, impenetrable heart of blackest misanthropy. To search for meaning in this lucid nightmare is akin to pinning down a shadow; it’s there, you know it’s there, but it’s so intangible that it can never be grasped. It takes an already intense album and twists the knife in your mind.

69) Gojira – L’Enfant Sauvage
Roadrunner Records – 2012

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If, like me, you think Magma was a hard reset for Gojira, it’s because they hit the wall with L’Enfant Sauvage. They took everything they had built upon over the preceding albums; all the progressive elements; all the technical nuance; all the interplay between light and dark, and threw it at this album. The end result was their most intense album. It could easily have spiralled into a noisy, disjointed mess, so it’s genuinely impressive they managed to keep the reins on it. When going all or nothing, it’s a damn good thing to land on all.

68) Deafheaven – New Bermuda
Anti- – 2015

New Bermuda is Deafheaven making an adamant statement that, yes, they are a black metal act. They still lean into the emo and shoegaze elements that have made them (in)famous, but they’ve made a subtle course correct back to the genre fundamentals. It’s a deeper experience than the Black Metal with Feelings (New from Pixar!) that came before. It’s murkier. It’s more chaotic. And, somewhat ironically, it’s a more human experience for it. It pays raw emotional dividends without feeling forced.

67) Devourment – Conceived in Sewage
Relapse – 2013

Here it is, folks: the only brutal slam album I have returned to over and over. I keep coming back because it delivers far more than it promises. I’m not afraid to say that while slam has its moments, ordinarily I find it a bit repetitive for my own taste. Conceived in Sewage is anything but that. It definitely brings the mosh-amping violence, but its headbanging-friendly chug is complemented with memorable melody. What’s on offer here is a complete album, not just a collection of mosh bait.

66) Dälek – Asphalt For Eden
Profound Lore – 2016

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I don’t know a lot about hip-hop, from a critical perspective, but ambient, drone, and noise are right in my wheelhouse. Dälek’s return album is massively successful in building hypnotic and haunting music that sits squarely at the intersection of the aforementioned genres. Soothing, yet discomforting, it’s the sort of music that cuts straight to the soul without you noticing the incision. On top of that are some of the most insightful, impassioned lyrics to be recorded this decade. It’s a beautiful flash of genius.

65) Wovenhand – Refractory Obdurate
Deathwish Inc – 2014

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You’re not going to find another band like Wovenhand. Main man, David Edwards, writes intense, almost apocalyptic Christian lyrics and performs them over a blend of country, punk, and a fistful of different folk influences. And Refractory Obdurate is the album that best brings these disparate elements together. Majestic, yet oddly intimate, it’s a clear window into the mindset of its creator. Don’t let the God bothering put you off; musically, it’s a stunning album built around a wholly unique worldview.

64) Windhand – Grief’s Infernal Flower
Relapse – 2015

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“When I sleep I dream of death.” Prior to this gut punch in the masterfully depressing Sparrow, you might suspect that Windhand are approaching some difficult subject matter, but then all doubt gets ripped out. The stoner doom fuzz immediately takes on a whole new, unfathomably dark tone. It ceases to be fun, if a whisper troubling. It immediately becomes a deliberate attempt to obfuscate something very real and absolutely awful. I say attempt, because the darkness permeates it totally and cannot be hidden.

63) Slipknot – We Are Not Your Kind
Roadrunner Records – 2019

I had to force myself to remove my metal elitist hat and acknowledge that Iowan nontet have actually produced a fantastic piece of contemporary metal. A massive part of that success is a laser-like focus on how they want their finished product to sound. Gone is the flailing, uncontrollable angst of their first albums. Gone (hopefully forever) is the creative malaise that followed until now. This album’s ebbs and flows have a maturity that harnesses anger and repurposes it to drive home a massive sound.

62) Ghost – Opus Eponymous
Rise Above – 2010

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Hard to believe that from this humble little album, Ghost would go on to become the satan pop behemoths they are today. I say hard to believe, as who would have thought that the combination of black metal themes with psychedelic doom composition and Broadway theatrics would lodge so well in the psyche? But as much as they have gone on to bigger things (and will only get bigger), they still haven’t topped their debut. It works on every level it wants to work on. A haunted house inhabited with actual Satanists.

61) Obituary – Obituary
Relapse – 2017

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Obituary have been around for a seemingly forever and, if you have heard much of their post-millennium material, you’d believe it. I was still a fan, but you could hear the tiredness in their approach. But then they dropped their self-titled and all of a sudden their legendary status was on full display again. It’s not just that they play heavy. They always nail the heaviness. It’s that they fully unleashed their swampy swagger, melding the chug of Florida death with a ripping rock and roll nasty.

60) Gold – No Image
Profound Lore – 2015

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To grossly oversimplify thing, goth music is basically post-punk that skews heavily pessimistically romantic. Deathrock takes goth and performs it in a way that not-miserable people might enjoy. Gold lives up to those gross oversimplifications and exceeds all expectations in doing so. It’s an album that routinely gets me right in the heart, but encourages me to feel good about feeling sad. That to live an experience that leaves a genuine emotion is far better than to live safely in a bubble of emotional numbness.

59) american – Violate and Control
Sentient Ruin Laboratories – 2017

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When I first reviewed this I settled on “The Intersection Between Black Metal and Noise Without Truly Being Either” as the genre tag. On re-review, I don’t think I could have described it any better. They hammer home a distinctly post-human sound by combining the most aggressive elements of the two genres. But there’s a sophistication that takes much unpacking to really appreciate. It pushes its extremes to prog or post- proximity, but never at the expense of its savage atmosphere.

58) Deicide – Overtures of Blasphemy
Century Media – 2018

As someone who came very late to the Deicide party, you may not be surprised to learn that I hold the band to a tougher standard than I probably should. They left me cold for a long time and I’ll rake them over the coals for far more minor infractions than I would bother with ordinarily. So that I unabashedly enjoy Overtures speaks volumes about how good an album it is. Their particular focus on melody pays off spectacularly. There is no chug here; every track speaks to the greatness of a death metal original.

57) Mgła – Age of Excuse
Northern Heritage – 2019

As paragons of Satanism at its most objectivist, Mgła often makes me uncomfortable. I’m not afraid to say that, because out of this discomfort is born a fascination. They take me to places I wouldn’t ordinarily travel and force me to justify my own existence. Age of Excuse perfectly encapsulates this forbidden fascination. Its will is totalitarian, its confidence is unwavering, and it wields a massive axe to winnow the herds too weak to stand with it. Selfish desires have never sounded so virtuous.

56) Baroness – Yellow & Green
Relapse – 2012

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There’s an awful lot to like about this double album, but what sticks with me the ability to sound so huge, so absolutely stadium shaking, while at the same time sounding so intimate that they could be playing just for you. It helps that they strike the perfect balance between barnstormers and contemplators, but even taking that into account, there’s something extraordinary about their performance. They went out of their way to be everything at once, and with genuine compositional skill, they are.

55) Ludicra – The Tenant
Profound Lore – 2010

Ludicra’s swansong album is a remarkable example of deft songwriting. It’s powerfully evocative of urban alienation, ably channelling the feeling of insignificance when surrounded by towering, grey, brutalist edifices. But The Tenant is also redolent of a hostile, fae otherness. That underneath the all too human theme of isolation is an unseele court waiting to prey upon the unsuspecting. This is an album that loses the listener in a world that feeds on uncertainty and discontent.

54) Moss Upon the Skull – In Vengeful Reverence
I, Voidhanger – 2018

When I listen to these Belgian progressive death dealers, they get me thinking about progressive titans like Opeth, Gojira, and Enslaved. But, if you’ve been paying attention, you’ll notice In Vengeful Reverence ranks above all their offerings. It all comes down to approach. This album makes me think about the other bands because it forges its own path. It delivers its sinister sound with a striking freshness. Wild yet crisp, like a conifer forest in the dead of winter, it’s what the genre needs.

53) Rotting Christ – Aealo
Season of Mist – 2010

This is Rotting Christ getting their ultra-melodic, slightly folky take on black metal just right. Later albums taught me that it’s a far more delicate balancing act than you would think. I think the thing that truly makes Aealo work is it’s relentless. It keeps coming at you and coming at you; it might deviate and try different strategies, but it never stops. It relies upon that aggressiveness of purpose to keep your attention rapt. There’s no rough edges or abrasiveness; there is only melodic triumph.

52) Bastard Priest – Under the Hammer of Destruction
Blood Harvest – 2010

I had been using the term bastard metal for a few years prior to this album for describing bands that were an amalgamation of black, death, and thrash metals, but Bastard Priest really take that term and make it their own. They’ve got the surging immediacy of thrash, the blood and guts of death metal, and the stench of the void of black metal. It’s an album packed from start to finish with sonic evil, made all the more nasty by how memorably entertaining they are. They’re the raging kings of the bastards.

51) Death Angel – The Dream Calls For Blood
Nuclear Blast – 2013

Sharp as a surgical scalpel and whipcord taut, The Dream Calls For Blood is the highlight in Death Angel’s reformation. The band were already the hallmark of consistency amongst Bay Area bands; they haven’t dropped a clunker this millennium. But this album stands even further apart from the rest. It’s the little things. Simple, yet incisive lyrics draw the listener in. The tracks are timed for maximum impact with minimum filler. It’s all about the point: getting there, staying there, and delivering.

50) YOB – Atma
Profound Lore – 2013

Setting a lofty standard for heaviness, Atma is exactly the sort of album that should convert doom non-believers into wide-eyed zealots. The low, rumbling riffs move with tectonic force and when they are matched with the pained, screeching vocals, the end result is seismic sonic upheaval. YOB genuinely sound like they could move mountains or shift our planetary axis on this release. But it’s more than heavy. There’s a subtly too it that belies its heft. It’s delicately crafted art wrapped in riffs.

49) The Haunted – Exit Wounds
Century Media – 2014

That intro track doesn’t really brace you for the onslaught to follow, as The Haunted storm the ramparts with everything in their not-inconsiderable arsenal. I really can’t undersell how hard and how fast this album comes at you. It even has what I would call a false closer or two; you might get sucked into thinking the gas is about to ease off only to get whiplash from the damn thing suddenly red-lining again. It’s a non-stop roller-coaster of high-octane, performance-tuned metal.

48) At the Gates – At War With Reality
Century Media – 2014

You can’t really say it’s a spiritual successor to Slaughter of the Soul. It’s a different beast. Gone is the white-hot angst and in its place is a black-hearted desolation. To say this album is bleak is to undersell it. The band haven’t tried to be what they were then and it shows. They’ve matured as people and this is passed on to the music. Its thematic maturity is mirrored in the music; the full-frontal assault of their youth is replaced with a sinister display of calculated, pernicious aggression.

47) Shining – Blackjazz
Indie – 2010

It was very tempting to review this with just a meme; this one in fact. Straight up, this reinterpretation of jazz through a black metal lens never settles enough to be normal. It just keeps escalating and distorting and intensifying. It doesn’t have an off switch; even when it winds down to a lower tempo, that’s no relief because the mood shifts as well to keep the overall effect challenging. But for all the madness, the relentlessness is memorable in the extreme. It carves itself into your goodwill.

46) Oranssi Pazuzu – Valonielu
Svart – 2013

It helps to remember that Oranssi Pazuzu started life as a psychedelic rock act that came to black metal later because Valonielu sounds like the band took a bad trip and experienced apocalyptic visions. You can tell that they weren’t born of the dark; that the dark came for them and they embraced it. There are moments that sound genuinely revelatory; that the band knows how to open the doors to perception. The end result is an album that is equal parts enlightenment and absolute terror.

45) Kreator – Gods of Violence
Nuclear Blast – 2017

Multiple songs that I sing along loudly and badly to. Several songs that legitimately choke me up. Suffice to say, this album really speaks to me. It helps that the Teutonic thrash titans upped their game and produced their best album this millennium. It’s clockwork precise, but it cranks along at a blistering pace. But the inescapable fact is what makes this so good is that it is ridiculous fun. Thrash is supposed to be the music of beers and good times. And, holy crap, this brings a raucous party.

44) Nails – You Will Never Be One Of Us
Nuclear Blast – 2016

I’ve seen and participated in debates about whether these bruisers are grind, pv, or hardcore. On reflection, they were wastes of time. What matters is how infectious their animosity is. YWNBOOU is hostility fed steroids and then unleashed with a fervent mania. It goes straight for the lizard brain and plays upon its instinctive need to luxuriate and wallow in negativity and aggression. It draws you in deep, which goes to show just how seductive those primal feelings can be.

43) Hail of Bullets – On Divine Winds
Metal Blade – 2010

Hail of Bullets, in their three album existence, were death metal’s foremost world war two historians and On Divine Winds was their most engaging lesson. The war in the Pacific certainly provides a wealth of subject matter (Pearl Harbor, kamikaze, nukes, etc), but that they could translate it into such engaging and memorable lyrics makes it so much better. And then to lay those lyrics down over gunfire drums and heavy machinery guitars to perfectly marry military theme to cataclysmic sound? It’s masterful.

42) Converge – All We Love We Leave Behind
Epitaph – 2012

Are Converge the most emotionally mature band in metalcore? I’m struggling to think of anyone more so. They have always taken intensely, challengingly poignant themes and refracted them into blustering howls of catharsis. All We Love is a standout in this regard. It’s affectingly heavy. Draining would be my preferred term, but for their convulsive mathcore driving the energy levels up into the extremes. Its ebbs and flows chart moments of beauty and pain and the deltas where they intersect.

41) Grand Magus – Triumph and Power
Nuclear Blast – 2014

There is a wonderful, almost guilty satisfaction to this album. It’s like being curled up in bed on a wet day when you should be at work. The rhythms are so catchy and they swell so majestically through the choruses. And then there’s the lyrics, which are fist-pumping, rabble-rousing, sing-along good times. But underneath it all is determined seriousness. Grand Magus care deeply about how they present their heavy metal and have tied everything up with an eye to both history and fate. Triumph and power says it all.

July 2018 Review Round Up

So. That was July. A month with more than a few surprises. I didn’t expect such a strong showing from the black metal hordes, for example. But Immortal, Deafheaven, and Panegyrist all demonstrated the potential black metal has, be it old school, new wave, or wtf.

I also didn’t expect Khemmis to actually love up to the hype. You hear things about the “it” band doing the rounds and so often you can tack a “sh” onto the front of it. Not Khemmis. Believe in Khemmis.

The final surprise was the album of the month. I wouldn’t have pegged it to be Korean old school thrash. It was bought on a whim with some leftover cash. And it kicks arse. It’s everything positive about thrash. Get into Sahon. They’ve been around for ages apparently. I feel ashamed for not knowing this.

August is looking oddly sparse, so if you know anything I don’t, hit me up. Always happy to take suggestions.

As always, you can reach me on Facebook.

Enjoy August

Album of the Month
Sahon – Chanting for the Fallen
(Thrash – South Korea)
Transcending Obscurity – 2018/07/15

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Old school thrash done properly still holds a certain magic. Sahon have captured this magic, distilled it down to an even purer form, and turned it loose upon an unsuspecting world. With vocals like a halfway point between Lemmy and Joey Belladonna, solos that soar like a drag racing eagle, and rhythms that blast like artillery on speed, how could you not like this?

The Rest in Alphabetical Order

Burial Invocation – Abiogenesis
(Death Metal – Turkey)
Dark Descent – 2018/07/06

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Abiogenesis is the perfect album for when you are already furious. It taps into that primal primate rage that we all try to pretend we’ve evolved past. The four main tracks are lengthy sojourns into death metal’s grimiest, darkest depths. This is appended by a final sinister instrumental track that is cathartic but uncomfortable. It feeds the beast.

Deafheaven – Ordinary Corrupt Human Love
(Post-Black Metal – United States of America)
Anti- – 2018/07/13

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Sunbather was polarising but brilliant on its merits. New Bermuda was an acceptable follow up, but not particularly memorable. So I had to approach this some trepidation. But this could well be their magnum opus. It’s the finest example of their craft. It truly shows that any emotion can be examined in extremity.

Fukpig – Bastards
(Blackened Grindcore – United Kingdom)
Devizes Records – 2018/06/01

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It would appear that they world has become sufficiently messed up for Fukpig to lurch forth and vomit forth their signature bile-crusted blend of grind and black metal. And believe me when I say they are mad as all the hells combined. They’ve never been a band that does pretty, but that ugliness works wonders when spewing invective and polemic.

Golgothan Remains – Perverse Offerings to the Void
(Death Metal – Australia)
Self-Released – 2018/02/08

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I’ve had the difference Satanism and Luciferianism (probably badly) explained as embracing humanity’s beastial nature versus striving to transcend humanity’s mortal limits. Golgothan Remains, judging by this savagery, are definitely on the Satanist side of the fence. Bestial, dark, and remorseless; this is a true embrace of animalistic fury.

Immortal – Northern Chaos Gods
(Black Metal – Norway)
Nuclear Blast – 2018/07/06

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Abbath who? Immortal may have returned sans their most iconic panda, but they have delivered a total masterclass in Fimbulwinter-cold black metal. Demonaz and Horgh play entirely to their strengths, producing an album that is crisp, taut, and furious. It’s a blizzard with the soul of a serial killer; frostbitten violence with intent.

Khemmis – Desolation
(Doom Metal – United States of America)
20 Buck Spin – 2018/06/22

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While technically doom metal, this really sounds like a very muscular heavy metal. Listening to it made me think they were trying to reverse engineer Black Sabbath but only had epic doom and Bay Area thrash to put it together with. I very nearly listed it as doom thrash for that reason. It has that magical quality that old school heaviness used to bogart.

Organ Dealer/Nerve Grind/Invertebrate – Split EP
(Grindcore/Grindcore/Powerviolence – United States of America)
Night Animal Records – 2018/07/01

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You may have noticed that I don’t really do splits, but Invertebrate are long term supporters of Metalshopped. Also helps that the three bands on offer have all delivered the goods. It opens with Organ Dealer’s shouty brand of grind, leads into three tracks of harsh, almost deathgrind from Nerve Grind, before finishing on Invertebrate’s ever-entertaining pv. Cracking stuff from start to finish.

Panegyrist – Hierurgy
(Black Metal – United States of America)
I, Voidhanger – 2018/05/18

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This is a pretty damn incredible album. It is instantly identifiable as black metal, but it sounds so radically different from anything else in the genre. Clean vocals and extensive melodic passages are integrated into Hierurgy alongside aggressive abrasiveness in such a seamless way that they sound as one. It is breathtaking in its technical merit.

Shrine of the Serpent – Entropic Disillusion
(Sludgy Death Doom – United States of America)
Memento Mori – 2018/04/23

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Grimey, slow, and heavy, Entropic Disillusion is exactly the sort of swampy mire you want to get stuck in. It has venomous ichor pumping through every note, every sustain, every growl. And it seems to improve with each subsequent listen. Put all together, you have an album that masterfully revels in its darkness, malevolence, and filth.

Skeletonwitch – Devouring Radiant Light
(Progressive Blackened Thrash – United States of America)
Prosthetic – 2018/07/20

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I thought I knew Skeletonwitch. Their bruising combination of black metal and thrash was always predictable but welcome. Devouring Radiant Light is an altogether different beast. Sophisticated, intelligent, and nuanced aren’t exactly terms you’re used to seeing next to blackened thrash, but here we are. A huge leap forward for an already great band.

Svalbard – It’s Hard to Have Hope
(Hardcore – United Kingdom)
Translation Loss – 2018/05/25

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Loudly, proudly, and unashamedly liberal and progressive, so if songs about reproductive freedom, wage theft, or animal liberation aren’t your thing, you should probably keep on walking. Those who stick around are rewarded with a rich, satisfying hardcore album. It carefully balances its specific directed fury with moments of delicate introspection.

Whoresnation – Mephitism
(Grindcore – France)
Throatruiner – 2015/04/13

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Fantasy, as a genre, has lied to me. It routinely claims that ritual magic takes a long time to complete. Total bullshit. Whoresnation can ignite the air and reduce everything around them to molten slag in under ninety seconds. It is a hell of sonic assault. They take enough death metal to give the grind some heft and they wield that heft like a vicious weapon.