Dec 232022
 

(At last, the end is upon us. Not the end of our year-end LISTMANIA series (we’re bringing more lists next week), but the end of DGR‘s annual countdown, featuring his Top 10 albums of the year, and a couple of EPs too.)

The final day of the year-end list always has a mixed trove of emotions coming along with it. There’s the relief of finally being able to shut the book on a year – though generally that’s become less and less true as the years have gone on, there’s always something you’ll spot during the holidays that came out two days beforehand – and the greater relief in finally being able to cast this collected musical works out into the wild.

The second one is far more exciting for me because even though it’s just a fifty-album list – and I reiterate, with some surprisingly painful cuts this year, even on stuff I reviewed and enjoyed – there’s knowing that many people may find something in that pile that they’d previously overlooked or just hadn’t gotten a chance to get around to yet. I draw a lot of joy out of knowing that people found music that way – I imagine many people who’re prone to recommending music do – because it makes me feel like even though I’m basically in a ten-foot space clear across the world, I’ve improved someone’s life somewhere in the world incrementally. Even when its a forty-minute long endless blastbeat with someone yelling about the annihilation of the world over the top of it.

This final ten probably won’t shock a lot of you, and looking at it, there’s quite a few bands that’ve been mainstays within my lists over the years. Positions have changed and there’s a couple of new additions, but much like Andy‘s personal top ten, I have my few that I couldn’t help but constantly be drawn into throughout 2022. Continue reading »

Dec 222022
 

(One of the perennial highlights of our year-end LISTMANIA series are the articles Neill Jameson has contributed, and we’re very happy that he’s done so again this year. This one is the second of a 5 (or 6?) part installment of Neill‘s lists. And to be clear (again), Neill wrote the title of this feature himself.)

There’s no real need for me to write anything more than welcome to part II of my annual titterings. We’re going to start this one with a fucking bang.

Continue reading »

Dec 222022
 

(Andy Synn chooses the new album from Iceland’s Misþyrming as his final review of the year)

It’s crazy to think, now that I’m forced to reflect upon it, how long my (admittedly one-sided) relationship with Misþyrming has been going on.

After discovering them just prior to the 2015 edition of Inferno Festival (where I was fortunate enough to see them perform as part of a truly stacked three-band line-up of them, Sinmara, and Svartidauði), I’ve since written glowingly about them multiple times (and included both their previous albums in my annual “Great” list without hesitation) and also caught them live on several subsequent (and, arguably, superior) occasions.

And now, once again, Misþyrming have returned – almost without warning, and with very little fanfare – with a new album (and a new drummer) to give us all the punishment we deserve.

Continue reading »

Dec 222022
 

We have a double dose of melancholia for you today — a deeply moving and thoroughly enthralling anthem of sorrow, and a moving epitaph for the band who made the song.

As you will soon understand, the song in question, “Where Eagles Fly Cloudy Skies“, could hardly be better named. Grey skies do loom above the music, but it soars in a way that puts a listener’s heart in their throat, and the memory of it lingers like a formidable spell.

The band who made the song, the Spanish group Autumnal, presented their first demo in 1998, followed by three more from 2000 through 2005 leading up to their debut album Grey Universe in 2006. Eight more years would pass before Autumnal released their second album, The End of the Third Day, and then seven more years of silence would follow that release, a silence only broken now by Autumnal‘s final expression — this song we’re premiering today. Continue reading »

Dec 222022
 

(Today we pick up DGR‘s 50-piece year-end countdown with an installment that includes the choices from No. 20 through No. 11.)

We’re in the final reaches of the year-end list and the numbers just seem to be getting lower, no matter how much I try and stop them. This is usually the point in my year-end dunce-cap demonstration wherein the wheels start falling off. Often, when I’m doing these, they happen in a few quick bursts as caffeine-fueled fits of pique and this year is no different – though I like to think I’ve spaced it out a little better as I’ve discovered that doing these all over the course of a day and a half probably is not the healthiest way to be approaching things. So, I says, what if I try two whole days? We’ll see how that works out.

I mentioned it yesterday but this block of the list is going to be a wild one, but also one where you’re going to spot a few critical darlings. I’ve got a few tailor-made-for-DGR bands here, as well as some groups who have just been consistently good and the latest additions to their discography are worthy as well. Tomorrow will be the conclusion of this whole affair, which means I’ll likely be at my spiciest by then so that’ll be something to look forward to.

In the meantime, let’s kick things off with a band whose name I am likely to hear shouted from a few states away from the moment this entry is spotted. Continue reading »

Dec 212022
 

Here’s another entry in the part of our annual LISTMANIA orgy where we re-post lists of metal from “big platform” web sites and print zines — the kind of places that get a lot more eyeballs on them than filthy little metal-only hovels like ours.

Rolling Stone magazine should need no introduction, so I’m not going to provide one. Two years ago we didn’t include a Rolling Stone metal list in our year-end LISTMANIA series — because they didn’t publish one. Though we surmised that they had jettisoned the idea permanently, their Top 10 metal list made a return in 2021, and this year they’ve expanded the list to 15 names. Continue reading »

Dec 212022
 

(NCS writer Todd Manning wades into our year-end LISTMANIA series with his picks for the year’s 15 best albums, plus separate lists for EPs, compilations, and “metal adjacent” records.)

I love year-end lists. I love the thought that goes into making them. And once mine are finished, I will pour over everyone else’s lists with a notebook in hand, searching for all the releases I missed. There’s always more music.

All this is to excuse my overly long article this year. You have a Top 15 albums, a top seven EP and compilation list, and a small metal-adjacent list. Because this is for the nerds like me. I wrote the kind of year-end list I would want to find with tons of bands to possibly follow up on.

And I should also note, that while I am probably biased, I think 2022 has been an absolutely stellar year for my hometown. Four Indianapolis-based bands made my year-end list and I think they deserve to be there regardless of our shared locale. I hope you agree. Continue reading »

Dec 212022
 

Over the span of roughly 11 years Golden Bats has made 18 releases, but until today only one of those (2018’s Residual Dread) was a full-length album, all others taking the shape of demos, splits, and EPs. As of today there is a second album, Scatter Yr Darkness, and as we’ve done many times in the past we’re spreading the word of Golden Bats through a premiere, this time of the entire new full-length.

Some things have changed since the last album. For one thing, the band’s sole songwriter and performer Geordie Stafford moved from Australia to Italy just months before the outbreak of Covid, “a worse career move than most”, as he says. Among other things, it resulted in Golden Bats becoming more of a studio project than a live band, but on the other hand it allowed him “the freedom to forget about how things will translate live and focus on writing whatever feels right”.

And some things about the music have also changed (though change, at least on the margins, has always been a marker of Golden Bats‘ evolution from release to release), but the darkness at the core of the music hasn’t brightened. The words alone are proof of that. The uncomfortably vivid lyrics spread throughout Scatter yr Darkness are littered with nightmarish allusions to blood, fire, and death, and filled with expressions of rage and disgust directed at morally malformed expressions of humanity. Continue reading »

Dec 212022
 

(Today we continue the week-long rollout of DGR‘s year-end list with Part Three, covering his picks from 30 through 21.)

Looking back over older lists, day three always seems like the wildest one because we really start getting into the part of the list where the cuts start to hurt and anything resembling an actual ranking really starts to take shape, though to be fair at this point in the game I’m still mostly basing it off of just how much I remember listening to any particular release throughout the year.

This part of the list has a pretty wild spread I think, although your favorite abyssal death metal group somehow still hasn’t managed to break through the wall just yet, which I apologize for. Apparently the drywall around here is a lot tougher to get through than I would’ve thought. We have another EP in the fight here and then from there the blastbeat nerds get to fully take the stage for a while. If you’ll allow me one spoiler, I was pleasantly surprised by how well my opinion of Immolation‘s latest held up, so keep an eye out for that release. Somehow that band made an album befitting just how monstrously huge their sound has become over the years.

Otherwise, it’s time to keep the 2022 funeral pyre burning and brush off our year-end regalia and hope we can get a few more days out of it before having to toss it into an incinerator because buddy, I will tell you right now, ain’t nothing going to get some of those stains out other than fire. Continue reading »

Dec 202022
 

It’s the time of year when many of us are reflecting on what we heard in 2022, sorting it out, making lists, reducing our bank account balances… but for the moment I’m thinking about a musical plague that infected me last year for which a cure hasn’t yet been developed.

That plague, Crepitation Of Phlegethon, was the full-length debut of Occulsed. It ushered listeners into a world of terrors, a world created from sounds that spawned electrifying visions of horror and disease, of madness and mayhem, and of blood-freezing intrusions from spectral realms. As I wrote at the time we premiered it:

“It takes a rare kind of talent to make an album like this one, a death metal album that creates such a viscerally disturbing impact, one that preys upon its listeners’ most deep-seated fears and does so in such thrilling and paradoxically enthralling fashion…. It’s all rotten to the core and as creepy as confinement in a coffin filled with wriggling maggots…. The moods change as well, though almost all the moods are ghastly. The music is both predatory and hopeless, noxious and deranged, horrifyingly imperious and seemingly gleeful in its deviant revels”.

Where in the world did that plague come from? How was it spawned, how did it grow into such a mal-formed but unforgettable monstrosity? We have answers today. Continue reading »