2018 was another great year for quality metal, particularly on the more extreme side of things. While my beloved epic doom and power metal genres were eclipsed by death metal, I still can’t complain. I just look forward to power and doom roaring back in 2019.
All genre descriptions according to http://www.metal-archives.com
Note: As I have NOT yet heard the new Sulphur Aeon, it (and all late December releases) gets bumped into 2019.
Albums I Didn’t Spend Enough Time With But Can Tell Are Quality (I Am Sorry)
Evoken – Hypnagogia
1914 – The Blind Leading the Blind
Honorable Mentions (In Alphabetical Order)
Amorphis – Queen of Time
Gruesome – Twisted Prayers
Plague Years – Unholy Infestation
Skeletal Remains – Devouring Mortality
Witherfall – A Prelude to Sorrow
20. Carnation – Chapel of Abhorrence
Genre: Death Metal
Favorite Song: “Disciples of Bloodlust”
Cannibal Corpse is one of my favorite death metal bands ever. They release insanely consistent albums every two or three years. However, the band can’t release an album a year, unfortunately, but thankfully 2018 gave us this debut album from the interestingly-named Carnation as a way of appeasing the Cannibal hunger. True, the band doesn’t 100% sound like the gore legends, as Carnation doesn’t get as wild as some Pat O’Brien riffage or Alex Webster techy basslines, but the spirit is there. Plus, vocalist Simon Duson sounds so similar to Corpsegrinder it is borderline creepy at times. Chapel of Abhorrence is simply death metal done right, be it from doom-flavored (how I wish Cannibal would lean into this style just a hair more) opener “The Whisperer” or the blistering (and catchy) title track. Energy crackles and pops throughout the entire album, so you can definitely tell that this is a young band with something to prove. Crunchy riffage provides a launching ground for the aforementioned Duson, whose very discernible bellow annunciates each word as clearly as ol George Fischer himself, though Duson can’t seem to do those classic screams. Instead, Duson occasionally peppers in nasty BLEKTS that sound like he’s hawking up blood as he tries to fight off death for just one more minute. Very cool. “Disciples of Bloodlust” is probably my favorite song on this very solid debut, and is (along with the title track) the song I’d use to introduce someone to the band. The song gives you a very memorable vocal pattern and a nice chug for most of the song before things slow down about 2:15 in and some cool double-bass work gets going. Plus, it ends with one of those blood-hawking BLEKTS I was talking about. Nastay, nastay. I look forward to many more albums from this band, and I sincerely hope they fall into pattern by never releasing an album the same year as Cannibal Corpse so I can have this meat and potatoes death metal each and every year. I am greedy, what can I say?
19. Blackslash – Lightning Strikes Again
Genre: Heavy Metal
Favorite Song: “Skyline Rider”
Starting off ominously with howling winds, shouting, faint chants, and heavy breathing, German band Blackslash’s third album eventually gets rolling with a title track that features a glorious riff that sounds like it was ripped right out of 1985. The first time I heard that riff, a grin spread across my face that never went away through the whole album. In a way, I often compared this album to Haunt’s Burst into Flame all year long, as they are both cut from the same cloth. Whereas Haunt focused a tad more on vocal melodies, Blackslash features a bit more bite to their Maiden-esque riffage while not neglecting catchy vocal melodies themselves. Highlights are abound. “Skyline Rider” is super fun, featuring a hyper-catchy chorus and a riff that could’ve been on Maiden’s Killers. “Eyes of a Stranger” is similarly awesome, even if it can’t stand up to the Queensryche classic of the same name. The intro to “Illuminate the Night” was (still is) my phone alarm for most of the year due to its admirable riffage. “Steel Held High” dials things back a little bit before the band inevitably kick back into a gallop. “Unknown Heroes” is the album’s epic song and is mostly a success, though I wish the band would’ve cut loose a bit at some point to add a bit of variety to the song itself. Apparently, Blackslash has had the same members since the band formed in 2007. Considering they’ve been active for over a decade now, that is pretty incredible, and you can hear that in the music. This is an album played by people who are dialed in with one another, and I hope for an even better album from the group in the future.
18. Khemmis – Desolation
Genre: Doom Metal
Favorite Song: “Flesh to Nothing”
Here we have a great, young band returning with a third album that is slightly less monstrous than their sophomore release. I thought Hunted was insanely close to a masterpiece, and it came in at number 4 on my 2016 albums list. With Desolation, the band have expanded their sound to include even more melodic influences, which I actually dig, though I feel that this in some small way caused the riffs themselves—the core backbone of any doom band—to be a little less memorable this time around. That being said, I still like the riffage throughout. I’m a simple man, what can I say? Vocalist/guitarist Phil Pendergast has improved as a singer so much from the 2015 debut Absolution that at times I can barely tell its the same guy. Seriously, his voice (especially on “Isolation”) doesn’t sound too far removed from Týr vocalist Heri Joensen, so that’s certainly high praise. The six songs found here are all good, particularly the first four tracks, during which the album hits the high point with the blissful “Flesh to Nothing.” At this point, given Pendergast’s incredible vocal blossoming, I wish the band would just do away with Ben Hutcherson’s harsh vocals, as I think they just sound jarring and don’t add anything to the music at all. That was all fine a few years ago when Pendergast was still finding himself as a vocalist, but now the harsh stuff just sounds like an old relic from a band’s developing stages that needs to be laid to rest. Khemmis, along with Crypt Sermon and Messa, are (as far as I’m concerned) one of the big three modern doom bands following in Pallbearer’s mighty wake, and I don’t see this band making a bad album for a long time, if they ever do.
17. Barren Earth – A Complex of Cages
Genre: Progressive Melodic Death/Doom Metal
Favorite Song: “The Living Fortress”
Probably one of the most “different” albums on this list, Barren Earth play a melodic death style interspersed with some theatrical clean singing. Basically, if you took a basic melodeath band and injected a strong dose of Opeth and some “classic” sounding vocals that would not be out of place on an epic doom album, you’d pretty much get Barren Earth. Simply put, A Complex of Cages is built upon strong songwriting that manages to walk that razor’s edge to balance hookiness and experimentation. Jón Aldará continues to grow to be one of the most versatile vocalists in metal, switching between Akerfeldtian growls to melodious cleans on album highlights “The Living Fortress” (that chorus gets me every time) and “The Ruby.” The man even channels his inner Bowie during the piano and synth driven intro to “Zeal.” Album centerpiece “Solitude Pith” clocks in at over ten minutes and sounds like Pink Floyd, Mastodon, and Tales from the Thousand Lakes all got together for drinks and ended up making a baby. And speaking of Amorphis, now that Olli-Pekka Laine has rejoined his old band while remaining in Barren Earth, the dude definitely had a good year considering the release of this album and Amorphis’s very impressive Queen of Time, which just narrowly missed this list. I hope the wandering bassist never abandons this band, which he formed in 2007, as it has truly steadily grown into one of metal’s great progressive bands.
16. Judas Priest – Firepower
Genre: Heavy Metal
Favorite Song: “No Surrender”
Of all the albums on this list, Judas Priest’s eighteenth studio album is without question the biggest surprise as I simply didn’t believe this legendary band still had it in them. To my ears, the band was never the same after Painkiller, which is one of their top 3 albums and one of the most important metal albums of the ‘90s. After that, be it with Rob Halford or Tim Owens, the band just wasn’t the same. I’m not even too keen on Angel of Retribution, which marked Halford’s return. However, Firepower demonstrates what this band is best at: short and sweet catchy songs with great riffs. The songs really just keep coming on this thing, from the “classic” Priest songs like “Firepower” or “No Surrender” (God what a song) to closer “Sea of Red,” which channels a bit of that old epic feel found in classics such as “Beyond the Realms of Death” or “Victim of Changes.” Sure, the album is too long, which is why it isn’t placed any higher, but the only song I would really cut for sure is “Lone Wolf,” which is definitely too “bro” for this band, even if I do like some of the riffs. Trim another two songs off and you really have a contender on your hands. While I’d also like some more highs from Halford, the man is damn 67 (and still sounds majestic) so I just have to learn to not be as greedy. To get an album this strong from Priest this late in their career is nothing short of a miracle, and it is truly a fantastic swan song of sorts for Glen Tipton, who I’m sure will continue to record with the band should they make another album.
15. Immortal – Northern Chaos Gods
Genre: Black Metal
Favorite Song: “Gates to Blashyrkh”
Here’s another one of those albums I wasn’t expecting much from given the circumstances surrounding it. With vocalist/guitarist/multi-instrumentalist Abbath getting the boot from the band he helped formed, I was afraid Demonaz and Horgh would just drift into obscurity. I am not the biggest fan of black metal, but I’ve always enjoyed Immortal and a few other bands in the genre, so I was a bit bummed that it seemed like one of the few bands I actually do like was dead. Abbath released a fine solo album that made my 2016 list, so at least I had that. Fast-forward to 2018, and I wasn’t prepared for the quality of Northern Chaos Gods. What we have here is a vicious, angry record that is 100% Demonaz proving that Immortal is much more than just Abbath Doom Occulta. The opening title track is a vengeful ripper, and really the album doesn’t let up from there. There are moments of sonic reprieve, like in the middle of “Gates to Blashyrkh” when some quiet clean-picking accompanies Demonaz’s dry rasp before the thunder returns. Closer “Mighty Ravendark” ends things in grand style for over 9 minutes, channeling a bit from the Sons of Northern Darkness days. While I could criticize Demonaz’s lyrics for being a conscious attempt at writing the most “Immortal” Immortal lyrics ever (seriously, it’s all: cold, frost, snow, dark, black, Blashyrkh, ravens, etc.), this whole album is sort of that: a legendary band trying to right the ship after the captain is gone. I am thrilled that they succeeded.
14. Behemoth – I Loved You at Your Darkest
Genre: Black/Death Metal
Favorite Song: “Bartzabel”
I guess you could say I have an odd relationship with Behemoth. I find most of their “classic” albums to be unlistenable (such as 2004’s grotesquely overrated Demigod, good lord those multi-tracked vocals) or just plain dull. Truth be told, the first Behemoth album I enjoyed was Evangelion, but it was its follow-up, 2014’s masterpiece The Satanist, that really blew me away. Finally, Behemoth was the great band that I had always heard that they were. For this album, Nergal and company have injected an even more theatrical and epic strain into the band’s core blackened death sound, which will no doubt piss off the fans who prefer the 250 bpm, 15-Nergals-a-yelling sound of the old days. Good riddance I say. I admit that I was worried when I heard the first single, the terribly-titled “God = Dog,” but I can say now that it makes sense when listening to the album as a whole. There is just some great, memorable songwriting throughout, be it in the form of burners “Wolves ov Siberia” and “Angelvs XIII” or more expansive affairs like “Sabbath Mater,” “Havohej Pantocrator,” or the glorious “Bartzabel,” the latter being my favorite track here and features the band’s best usage of chanting vocals ever. This will certainly go down in history as being more of a divisive album after the hyped praise of The Satanist, but I for one applaud Nergal for clearly making a conscious effort to create something different and avoiding making The Satanist II altogether.
13. Lucifer – Lucifer II
Genre: Heavy/Doom Metal/Rock
Favorite Song: “Dreamer”
I really enjoyed Lucifer’s debut album, but I think this one (the cleverly titled Lucifer II) is even better. This right here is simple, insanely catchy retro metal that is very easy to listen to. Every song here has solid hooks anchored by the sultry vocals of Johanna Sadonis, who just sounds great throughout. While ridiculous earworm choruses on “Dreamer,” “Reaper on Your Heels,” and “Eyes in the Sky” will dig themselves into your brain after just one listen, other songs, such as opener “California Son” and “Anton,” feature strong, simple riffs that you’ll be humming before you know what you are doing. Even the cover of the Rolling Stones semi-classic “Dancing With Mr. D” is awesome. This album didn’t seem to get as much love in the press and whatnot, which I simply don’t understand. This is pure quality for those who like their metal to actually have some hooks.
12. Haunt – Burst into Flame
Genre: Heavy Metal
Favorite Song: “Reflectors”
I first learned of Trevor William Church through his horror-obsessed Doom band Beastmaker, a band I enjoy, so when I heard about Haunt I figured I’d give it a whirl. I’m glad I did, because this is some strong, highly-catchy heavy metal music played in a very straightforward style I very much appreciate. Burst into Flame is a very taut album at 37:32, featuring nine songs without an ounce of filler. These songs are written with that familiar retro sort of vibe in mind, though they rise above most bands playing this kind of style by simply being great songs. Church’s production is super clean, which goes a long way to let the amazing guitar licks and solos shine. Every single chorus here is an earworm, even if Church is not exactly what you would call a “great” singer, but then again a Roy Khan or Daniel Heiman would obviously make zero sense for this band. I mean it when I say that there isn’t any filler on here and all the songs are good, though I have to single out “Crystal Ball,” “Reflectors,” “Wanderlust,” and “Frozen in Time” for being so catchy that it’s almost illegal. Strong stuff from a guy who is really starting to make a name for himself in the genre. The man clearly benefits from a strong work ethic with a high number of quality releases. Seriously, Church released eight (edit: TEN) EPs this year with Beastmaker in addition to this full-length, and I’m sure he’s working on something else even as I type this. So, needless to say, if you like this album and want more, rest assured that more is on the way.
11. Messa – Feast for Water
Genre: Doom Metal, Ambient/Drone
Favorite Song: “Leah”
To say that I was impressed with Messa’s 2016 debut Belfry would be a colossal understatement. The album topped my metal list that year, which is something I still stand by. I was excited for a sophomore release so soon, as a lot of time with these new doom bands years and years can go by between releases. I listened to Feast for Water when it first came out in April, and then it somehow slipped through the cracks for many more months. I blame this on me struggling to listen to anything other than the new albums by Slugdge or the Crown, so clearly I was in need of more aggression earlier this year. But as the temperatures steadily fell and the leaves started to die, Feast for Water came calling yet again. What we have here is another strong doom album in a year when “traditional” doom was basically absent/mediocre as far as I’m concerned. Again opening with another drone-inflected instrumental, “Naunet” eventually snaps into “Snakeskin Drape,” which kicks off a string of songs that easily stand up to the quality of the band’s debut. The third song, “Leah,” features a truly incredible, alien-sounding riff and luscious keyboards. Once again, the mysterious “Sara” cements herself as my favorite female doom vocalist with yet another tremendous performance, simultaneously soulful, sultry, and powerful all at once. “The Seer” features some truly tasteful guitar solos, bringing in the blues to sit along snugly with Sara’s smoking-lounge vocals. Again, keyboards shine throughout the ominous “She Knows,” which will stay in your head and, under the right listening conditions, spook you a bit. Hell, “Tulsi” makes a saxophone sound like the logical instrument of choice for a metal band. While the last two songs might not stand up to the quality of the rest of the album, they are by no means bad, but the album could have used a slight change in track sequencing. I applaud the band for maintaining the vibe and mystique of Belfry while subtly exploring new ground with their growing use of keyboards. This is one of the best doom bands on the planet, folks. Simple as that. Don’t sleep on them.
10. Michael Romeo – War of the Worlds // Pt. 1
Genre: Progressive/Neoclassical Metal
Favorite Song: “Black” or “Djinn”
Man, I wasn’t expecting this one. Michael Romeo is the guitarist/main songwriter/leader of one of my favorite metal bands of all time, the mighty Symphony X. Naturally, due to his pedigree, I knew this would be quality, but I was expecting a purely instrumental, neoclassical affair like his debut album The Dark Chapter, which was released waaaaay back in 1995. Instead, the master recruited an excellent newcomer of a singer named Rick Castellano, BLS bassist John DeServio, and drummer John Macaluso, who has played with like 20 different bands. What we have here is basically a Symphony X record to some degree as if it had been crafted 100% by Romeo himself instead of the usual collaborations with Allen or the other Michaels in the group. The last Symphony X album was 2015’s Underworld, an album I still really enjoy if it is clearly a step down from the previous four albums. Though this album might not have a song as good as “Legend,” it is an all-around better album than Underworld, which simply delights me. A Symphony X fan simply can’t listen to “Fear the Unknown” or “Black” without grinning at those big, meaty riffs and strong choruses. Because this is technically his solo album, Romeo might shred a bit more during his solos throughout, but he never comes off as wanky. Romeo has always been a master of putting the song first before his own playing, and War of the Worlds is no exception. Bangers stand firmly beside longer, more intriguing pieces like the quasi-ballad “Believe” or the majestic “Djinn,” the latter calling to mind Symphony X mixed with Myrath. Awesome stuff. Now, yeah, there is a song on here called “Fucking Robots” and it is weird, a bit out of place, and probably even should have been cut, but I still kind of like it when Castellano’s vocals rise out of the robotic muck. This has me pumped for a new Symphony X album, as an album equal to or greater than this one will easily make my list.
9. Ghost – Prequelle
Genre: Heavy Metal/Rock
Favorite Song: “Dance Macabre”
That’s right. I love Ghost, despite the endless hate they get. God forbid, a catchy band gets popular for being catchy. Their previous album Meliora was their best album ever, a distinction I thought would never be taken from the debut. On Prequelle, Forge’s vision has taken on an even poppier vibe, especially with the instant classic “Dance Macabre,” one of the most maddeningly catchy metal/rock songs I’ve heard in years. “Rats” and “Life Eternal” are two other songs that the band should play at every show until the end of time. Is Prequelle better than Meliora? No. The song “See the Light” is Forge’s petty jab at his ex-band mates, and is just decent. Also, I’ll never understand why Forge chose to put TWO (not counting the brief intro “Ashes”) instrumentals on a relatively short release. “Miasma” is awesome with its synth and sax solos, but “Helvetesfonster” is downright boring. Nevertheless, this is another strong release from a highly divisive—but still brilliant—band.
8. Mutilated by Zombies – Scripts of Anguish
Genre: Death Metal
Favorite Song: “Decayed Manifestation”
2018 was a year dominated by ridiculously high-quality death metal, but I don’t think enough people gave this album the praise it deserves. This is the third album from Mutilated by Zombies, which is a band name I might not fully like, but by-god it tells you what they are about, doesn’t it? What we have here is straight up, undiluted death metal played with a high level of skill and songwriting class. Vocalist/guitarist Josh DeMuth spits some of the vilest vocal patterns I heard all year, and it is that (as well as some truly excellent bass playing by Jason Guler) that makes Scripts of Anguish such a pleasant(?!) listen. Throughout the album, DeMuth moves back and forth from a deep and clear guttural in the same vein as Immolation’s Ross Dolan and a truly excellent higher rasp that sounds like what Chris Barnes had wanted to achieve when he tried it on those early Cannibal Corpse albums. And speaking of that legendary band, who will always be my measuring stick for good, quality death metal, I’m not sure Cannibal have made a better album than this since Kill, and considering Evisceration Plague and Torture exist, that is no easy feat. This is a tight, compact album at 37 minutes and entirely devoid of filler, though I must single out opener “Decayed Manifestation” for its maddeningly catchy vocal patterns and how closer “Rise to Enslave” leaves the listener wanting more with a crushing, chuggy groove inflected with well-placed pinch harmonics. And the other eight songs in the middle are just as strong, folks.
7. Tribulation – Down Below
Genre: Gothic/Heavy Metal with Black Metal Influences
Favorite Song: Either “The Lament” or “Subterranea”
I’ve always enjoyed Tribulation. I liked the rawness of The Horror and the odd prog of The Formulas of Death. And I did enjoy The Children of the Night, even if it didn’t make my list that year while it seemed to be on everyone else’s, and deservedly so. While TCotN is their breakout album, Down Below is the next logical step for the band as they progress into a full-on Gothic juggernaut. I love Gothic metal, but I often feel as though there isn’t much out there in terms of pure quality. Down Below trims down from the slight bloat of the previous album to a glorious 46 minutes, which is practically the ideal album length as far as I’m concerned. This is just great music to listen to that puts you in the mind of classy vampires drinking wine in an old castle on a stormy night. Songs like “The Lament,” “Lady Death,” and “Subterranea” are maddeningly catchy and feature vocalist/bassist Johannes Andersson’s finest (and clearest) vocal performances to date. But it isn’t all short and catchy bangers, though, as “Lacrimosa” and “Here Be Dragons” should still satisfy fans of the band’s more rambling older style.
6. Voivod – The Wake
Genre: Progressive/Thrash Metal
Favorite Song: “The End of Dormancy”
Ah yes, Voivod. Certainly one of the most revered (and strangest) metal bands to ever exist, these Canadians have marched to the beat of their own snare drum since their formation. However, the band obviously fell on hard times after the death of legendary guitarist Denis “Piggy” D’Amour in 2005. The band soldiered on, releasing music Piggy had recorded before his death. However, once that well ran dry, the group recruited Daniel “Chewy” Mongrain of Martyr fame, who was/is a massive Voivod fan. Here on The Wake, Chewy’s second full-length with the band, the guy has somehow learned to channel Piggy’s ghost with some truly strange, “classic” sounding Voivod riffage that sounds like it could have been captured on cassette recorders in 1988. Every single song here features odd, alien riffage that no other band except Voivod can deliver. “Obsolete Beings,” “Orb Confusion,” “Iconspiracy,” and especially “The End of Dormancy” are all modern classics as far as I’m concerned, each sporting odd and catchy vocal melodies barked out by the inimitable Snake. It is simply thrilling hearing such weirdness anchored by Away’s frantic drumming and (relative) newcomer Rocky’s bass, the latter doing a damn fine job of replacing Blacky, one of the best thrash bassists ever. The band even takes melodies and themes from all the songs and throw them together in a big gumbo at the end with “Sonic Mycelium,” a 12:24 mammoth that closes things down in fine style. Voivod simply can’t be stopped, people, and I never want them to be.
5. Dire Peril – The Extraterrestrial Compendium
Genre: Power/Thrash Metal
Favorite Song: “Blood in the Ice”
Sometimes, an album comes along that sounds like it was tailor-made for me. Dire Peril’s debut album is one of those albums: an Iced Earthian power/thrash hybrid theme album about different science fiction films such as Predator, E.T., The Thing, 2001, etc. I mean c’mon. And when the vocalist, John Yelland of Judicator fame, sounds so much like a slightly-smoother Hansi, there’s just no way I wouldn’t like this. But my affection for this goes beyond mere like. This is love, for this band can write songs. Opener “Yautja (Hunter Culture)” uses Jon Schaffer’s classic, tight rhythm style to stunning effect, while “Total Recall” and “Heart of the Furyan” perfectly combine melody and aggression. Hell, the song “Always Right Here” sounds like Jon Schaffer could have written it himself. “Blood in the Ice” is one of my favorite songs of the year, having been given an excellent music video treatment that perfectly recalls The Thing. Simply put, Iced Earth haven’t released an album this good since The Glorious Burden, and considering I’m still a fan of the Stu Block years, that is high praise.
4. Obscura – Diluvium
Genre: Progressive/Technical Death Metal
Favorite Song: “Ekpyrosis”
There was a time when I would have been really excited to see that Obscura was releasing a new album. I LOVED 2011’s masterpiece Omnivium, but then Hannes Grossman left the group and band member musical chairs took into effect, leaving vocalist/guitarist Steffen Kummerer as the only original member of the band. 2016’s follow-up Akroasis was decent, but a clear step down to my ears. So when Diluvium was released, I figured I’d give it one listen just to see if the band had continued their decline. Little did I expect the sheer, punishing greatness of this release. My word. What we have here is actually quite possibly the best album the band has managed to date, deftly blending super-complex playing with intelligent songwriting and catchiness. Opener “Clandestine Stars” is insanely fun, featuring Cynic-esque vocoder vocals, tasteful fretless bass, and a driving, morphing quality that carries throughout the whole record. “Mortification of the Vulgar Sun” is held together by an excellent chugging riff before a downright pretty middle section. Honestly, every song here is awesome, and the performances are next level. That being said, I do have to single out the playing of drummer Sebastian Lanser: JESUS. Every aspect of his playing gives the songs here an added excitement and weight, being the best drum performance I heard on any record this year. Just listen to his performance on “Ekpyrosis.” Absolute madness. With this album, Obscura prove once again that they belong at the forefront of the tech-death genre. Now, if I could just understand what these songs are about, that would be great.
3. Alkaloid – Liquid Anatomy
Genre: Progressive Death Metal
Favorite Song: “As Decreed by Laws Unwritten”
Spoiler: I knew this album was going to be good. Given the pedigree of the band’s members and how much I loved the 2015 debut The Malkuth Grimoire, there was really no way I wasn’t going to like this. Any doubts I had (there weren’t any) were put to rest when the band released “Azagthoth” as a first single. The pet project of drumming machine Hannes Grossmann, Alkaloid is a super-group of sorts, made up from current and former members of Obscura, God Dethroned, and Dark Fortress. Simply put: Liquid Anatomy is awesome. Not only is it awesome, the band has improved upon the stellar debut, crushing the very idea of the sophomore slump. Opener “Kernal Panic” was one of my most played songs of the year. Cleverly lulling the listener with some clean, spacey guitars, everything kicks into overdrive around 2 minutes in on the back of the sickest, nastiest vocal “BLEKT” of the year. Pure filth. “As Decreed by Laws Unwritten” gets my vote for heaviest song of the year with its crushing, chugging riffage, sounding like what modern day Morbid Angel should sound like but cannot manage. Instead, this song decimates everything on that last MA album put together. The aforementioned single “Azagthoth” is as great as it is weird. Seriously, go check out Morean’s vocals. Grossmann really shines on “In Turmoil’s Swirling Reaches,” and you can go watch him perform a great drum playthrough on YouTube. Album closer “Rise of the Cephalopods” is epic incarnate, clocking in at 19:42 but never feeling that long. The song is a masterful triumph of both songcraft and lyrical storytelling, moving between acoustic reflection to savage blastbeats and mayhem. That all being said, I have to mention my two minor problems with this album: “Interstellar Boredom” and “Chaos Theory and Practice,” both written by Morean as part of the ongoing Dyson Sphere song cycle that began on the debut. I really, really didn’t like the Dyson songs on the debut and, while these two songs are better this time around, I still don’t very much care for them, especially the latter. All the sudden there’s tons of F-bombs and weirdness, which really disrupts the flow and feel of the album. Had the band cut at least “Chaos Theory and Practice,” this would have been my Album of the Year. Regardless, Liquid Anatomy is a super strong album by a band, as far as I’m concerned, stand alone in the progressive death metal genre.
2. The Crown – Cobra Speed Venom
Genre: Melodic Death/Thrash Metal
Favorite Song: “In the Name of Death”
What a ripper of an album this is. What we have here is the sonic equivalent to all those mud-hole stomps Stone Cold Steve Austin inflicted at the height of the Attitude Era, except this ain’t wrasslin’, son, this is real (though wrasslin’ is STILL REAL TO ME). After listening through Cobra Speed Venom once I was simply blown away, and it did not once dip below my top 5 during the entire year. This is violence turned into sonic rage, but with an undercurrent of Lemmy swagger and catchiness. Every song is a jack-booted ass-stomper, but I have to single out “In the Name of Death” as one of the most addicting death metal songs of the year, which sits in just right between the blistering “Iron Crown” and the chugalicious “We Avenge!” Honestly, it’s just highlight after highlight without an ounce of filler in sight. The only sort of “break” the band gives you is the hyper-melodic instrumental “Where My Grave Shall Stand,” and after that they hit you with the Stone Cold Stunner in the form of mighty doomish closer “The Sign of the Scythe.” Simply put, Cobra Speed Venom is the best melodic death metal album I’ve heard since Carcass’s Surgical Steel back in 2013. And look at that cool artwork. So pretty and mildly unsettling. While the more “meat and potatoes” approach to the genre might get lost on some year end lists when sat next to the technical and more experimental side of death metal, The Crown proved that they sure ain’t dead yet and they just might be stronger than ever. Just go ahead and lie down for the 3-count.
1. Slugdge – Esoteric Malacology
Genre: Blackened Death/Sludge Metal
Favorite Song: Either “War Squids” or “Putrid Fairytale”
God help me, a band lyrically centered around slugs has created my 2018 Album of the Year. When I first heard about this UK-based duo, I assumed what probably many others assumed: this is a joke. It has to be, right? I mean, the band’s lyrics are literally obsessed with mollusks while at the same time parodying classic metal songs and bands (“War Squids”/“War Pigs,” “Salt Thrower,” Bolt Thrower, etc). But when I listened to the opening track of this masterpiece for the first time, I instantly connected with it and understood it deep in my bones. Yes, this band is obsessed with mollusks, but they treat the invertebrates as characters in an unsettling, Lovecraftian universe on the constant brink of destruction. Honestly, no other album this year made me feel the presence of Lovecraft’s spirit more than this one. I mean, just look at some of these epic lyrics just from the first song:
“Bathe the abyss in cosmic afterbirth
He shall arise to reclaim the multiverse
In noxious sanctums beyond the walls that keep
The cursed sleepers from the beast”
Metal. Consistently across the board, no band wrote more “metal” lyrics in 2018. If they did, someone send me a link right now because I’d love to hear them. And as for the music, Slugdge gamely equals the ambition of the lyrics with epic songcraft in the form of long, morphing songs with strong riffage and Matt Moss’s harsh and clean vocals. Moss has a very clear harsh vocal, slightly on the higher register of a death growl, which he spits forth throughout much of the album. However, the deeper cleans that he uses (sometimes overdubbed with his harsh vocals) really elevate this whole album to a greater artistic plane. Every song here is awesome and there is no point in doing a track-by-track, but I have to again mention the opener “War Squids,” which expertly sets up the entire album: lengthy (but not stupid lengthy), morphing, razor sharp…MOLLUSCA. Guitarist Kev Pearson’s work throughout is inspired as every single song features great and memorable riffage. Just listen to “Salt Thrower,” especially the midsection: ferocious, chugging majesty. My personal favorite moment comes at the end of “Putrid Fairytale,” which probably should have closed the album. The song is furious, but then suddenly ends with Matt Moss delivering his most majestic and breathtaking clean vocals on the entire record. Honestly, I could go on about this album all day. I am thrilled the band has gained the publicity it deserves. 2018 was the year of death metal, and (to my ears) Slugdge was at the pinnacle the moment this album was released. I look forward to hearing the band try and top this album. Mollusks. Mollusks everywhere.
Dark Reflections 