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[aviewfromhell]

Metal in 2018

DISCLAIMER- Increasingly, I find these year-end album lists becoming more personal and less critical. This is definitely a list of my personal favorite records from this year, and is not intended to be a critical survey of the artistic merits of various albums falling under the metal banner in 2018. Most of your favorites, and a huge percentage of metal journalism’s consensus “best of” will therefore be absent. There are even things here that probably aren’t “metal,” and definitely something that isn’t (originally) from 2018. So, you caught me. The title is a lie. But then again, it is my list, so I guess I can make the rules.

Immortal – Northern Chaos Gods

Mighty Ravendark returns! When Immortal parted ways with Abbath a few years back, most people assumed the band was essentially done. Shortly thereafter, founder Demonaz picked up his rime-crusted axe of old and announced that not only was the band not done, but that a new album was in the works. Many fans were skeptical, myself among them. How good could a new album without Abbath be?

This year, Demonaz (with the help of longtime drummer Horgh and session bassist/producer extraordinaire Peter Tagtgren) let the deathblow of his mighty axe fall, cleaving the heads of skeptics and doubters alike with the incredible Northern Chaos Gods. How good could this new album be? Better than anyone expected.

Far from sounding out of place, Demonaz's vocals fit the new material perfectly, and his lyrics are spot-on as always.Tagtgren's production is a great fit as well, and I hope the band continues their collaboration with him.While everyone will miss the grandeur of Abbath-led Immortal at their peak, I'm equally excited for this new incarnation of the band. If we keep getting albums of this quality from Demonaz, and Abbath continues releasing killer records utilizing his own trademark Abbath-isms, it may even be better than if the band had stayed together. If I had to pick a single release to be my actual "Album of the Year," this would most likely be it. Northern Chaos Gods has gotten more spins from me than any other 2018 release, and writing about it just makes me want to go listen to it again.

Judas Priest – Firepower

Judas Priest suffer from a rare condition in the metal world. They have so many great records that it's extremely difficult to release something new and relevant that plays to their strengths and isn't doomed to live in the shadows of their monolithic masterpieces. However, with this release, I think they achieved it. Sure, Firepower feels closely related to the untouchable Painkiller in pacing, structure, and overall style. However, Andy Sneap's production really sets this record apart as its own beast, and the combination of classic Priest writing and modern punchy production make Firepower one of the best metal records of 2018.

Aura Noir – Aura Noire

Norway's black thrash masters surface once again with an album that simultaneously feels like both a direct follow-up to their 1996 debut full length Black Thrash Attack, and a fresh new take on their abrasive, in-your-face style. Blasphemer, as usual, provides sickening riffs aplenty, melding different styles and techniques together into his own unmistakable sound. Aggressor and Appolyon deliver their signature, often over-the-top vocals in spades, and Aura Noire presents us with several tracks I'd consider to be new Aura Noir staples in an already impressive roster of black thrashing death anthems. All hail the ugliest band in the world!

High on Fire – Electric Messiah

One of the consistently best bands in American metal unleashed another monster upon us in 2018. Electric Messiah is solid throughout, and I'm as impressed as ever by Matt Pike & co.'s ability to deliver high quality albums like clockwork since their inception nearly two decades ago. Still, vicious album opener "Spewn from the Earth" does make me wish the band would release a record of nothing but high-speed rippers. Maybe one day, but until then I'm perfectly content with the killer mix of doom-drenched thrashy three-piece arcana that High on Fire has honed to perfection.

Sigh – Heir to Despair

Just look at the cover art. It may be the most "Sigh" thing I've ever seen. Mastermind Mirai Kawashima and friends return with the band's 11th full-length album, considered by many to be their best in years.The band's provenance is more evident than ever before; Heir to Despair's lyrics are almost entirely in Japanese, and various flutes, piccolos, and even taishogoto feature prominently. This album also happens to be one of the most "metal" in the band's recent discography, while still being as off-the-wall and unpredictable as fans have come to expect. This avant-garde offering delves deep into themes of madness and insanity, and I dare any listener to sit through the full album and claim they haven't gone a little crazier themselves.

Mayhem – Grand Declaration of War (2018 remix/remaster)

I know, I know. This album is from 2000, not 2018. However, as a Grand Declaration of War connoisseur, I can affirm that this is different enough from the original that it warrants inclusion on any list willing to allow remix/master/makes of any kind.

By most standards, this new version sounds almost objectively better in every way normally employed to determine musical sound quality. The album sounds much more organic and warm, particularly the drums. Everything sits nicely in the mix as well, with each instrument a little easier to pick out and enjoy than on the 2000 original. However, like other Grand Declaration of War enthusiasts have noted, the cold, digital, clinically-dead sound of the original was part of its charm. It added to the overall aural aesthetic and concept of the record. This 2018 version doesn't have that same detached quality, but luckily, we don't have to choose between versions; Mayhem has graced us with both.

I intended to restrict myself to talking only about the new release (since that's the only thing '2018' about the record), but I can't resist a small rant about Grand Declaration of War as a whole. This album was, and remains to be—if slightly less so—very controversial among black metal and Mayhem fans. Lots of fans hate(d) this record. They're wrong. Grand Declaration of War embodies both Mayhem and the spirit of Norwegian black metal perfectly. One of the absolute highlights of my year was being fortunate enough to play a gig with Mayhem, and the highlight of their set, for me, was "Bloodsword and a Colder Sun."

Maggot Heart – Dusk to Dusk

Perhaps my most anticipated album of the year, Dusk to Dusk did not disappoint. Last year's City Girls EP set the stage, and the full-length delivered big time. Maggot Heart is hard to classify, but if you look at the performers and their past bands, the sound won't really surprise you. Linnéa Olsson is writing some of the best riffs in a world where rock and guitar music is increasingly considered dead. Moreover, her vocals really shine on Dusk to Dusk, and I can't wait to see what the future holds for the band. Maggot Heart may be the most irresponsibly overlooked band of 2018.

Deth Crux – Mutant Flesh

This mid-December release is a perfect example of why I try to wait until the last minute to write any kind of year-end list. For me, it took about a listen and a half to know Mutant Flesh belonged here. A ton of vague descriptors could be used, but I'll just go with dark, weird, catchy, and awesome. The band isn't necessarily reinventing the wheel, per se, but they also aren't committing the grave offense of just making a worse version of the records that influenced them. The album is hooky, memorable, and original in the ways that count. The instrumentation and vocals swirl and haunt, coalescing into a driving, addictive blend of gloom and defiance. Sanford Parker's production is a huge plus for the record, and clutch sax contributions from Bruce Lamont seal the deal.

That’s it!

While a few of these records were probably obvious, I hope this list exposes some friends and readers to stuff they otherwise wouldn’t have checked out.

I normally end these with some humorous, often snarky mini-lists, but I'm afraid I'll have to skip that this time around; I'm engaged in listening to mixes of the upcoming unarguably BEST metal album of 2019. But now is not the time nor place for discussing that. . .

[aviewfromhell]

Metal in 2016

I have to admit, writing this year's list was a bit harder than the past few years' have been. While we were absolutely inundated with metal releases this year, most of the bands I consider personal favorites didn't release albums in 2016. While I probably listened to more new albums this year than any other year, most of them didn't really stick with me or make me want to dive in and listen over and over. However, there were definitely some standouts. This list isn't definitive, but here are a few albums that stood out to me this year:

Abbath – Self Titled

Immortal mainman Abbath makes a triumphant return with his debut solo album. While comparisons are obviously inevitable and many of the key elements of the Immortal sound are still present on Abbath, my favorite thing about this record is that it doesn't sound exactly like Immortal.

At this point, another Immortal album would have most likely just been a worse Sons of Northern Darkness. I'm glad Abbath didn't go that route, and instead changed things up. Sometimes cold and crushing, sometimes catchy, sometimes icy and melodic, Abbath is a solid record and a great debut.

Darkthrone – Arctic Thunder

Riffs for days! Fenriz and Nocturno Culto are back with a vengeance, offering an album that's much more "black metal" than their recent releases. While the past few Darkthrone albums have definitely been fun, I think this darker, more serious tone fits the band best, even at this stage of their career.

Arctic Thunder takes no prisoners, laying waste to most modern black metal riff by riff and song by song.

Destroyer 666 – Wildfire

Australian blackened thrash lords Destroyer 666 delivered this much-needed dose of hellish rock and roll early this year. Rampaging, aggressive riffs intermingle with melodic passages and K.K. Warslut's vocals range from vicious to anthemic; thrashing rippers give way to rock and roll choruses, and the band never lets things get boring. Wildfire is a great record that will doubtlessly be keeping wimps and poseurs in check for years to come.

Eternal Champion – The Armor of Ire

Disclaimer: I'm not really a huge fan of the "NWOTHM" (new wave of traditional heavy metal) trend. I think most of the bands are bland, unimaginative, and repetitive. However, as with every genre, there are a few bands that stand above the rest. Eternal Champion appears to be one of those bands.

What I really think sets this album apart from similar records is the strength of the songwriting and the very well-written vocal melodies. There are lots of great catchy parts, and I found myself listening to this one over and over. Clocking in at under 35 minutes, Armor of Ire is exactly as long as it needs to be, staying fairly diverse throughout and warranting multiple listens. I'm really stoked to see what these guys do next.

Ghoul – Dungeon Bastards

Ghoul is one of the few bands who can pull off being zany, over-the-top, and ridiculous while still being heavy as hell. The production on this album is great, and really makes several of the riffs hit like a ton of bricks. A very solid slab of deathly crossover-thrash with very strong production and memorable songs.

Inquisition – Bloodshed Across the Empyrean Altar Beyond the Celestial Zenith

As a pretty big fan of Inquisition, this album surprisingly took a few more listens than usual to "click" for me. Bloodshed, in my opinion, has fewer moments that immediately grab the listeners' attention than the last few Inquisition releases, but the album is very solid overall. With repeated listens, the more subtle stuff really begins to shine, and the atmospheric elements help make this album something special.

Tombs – All Empires Fall

This EP caught me totally by surprise. I'd honestly never given Tombs a listen before, but man oh man, this was a good place to start. Every song here is different, but the overall record is still quite cohesive. The production is solid, and really makes the rhythm section shine—the drums are absolutely crushing. Both the clean and harsh vocals are great, and the guitars somehow remind me of Celtic Frost's Monotheist in the best of ways. I love pretty much everything about this EP; if it were a song or two longer and crossed into full-length territory, I'd almost certainly say it was my favorite album of 2016.

BONUS: A 2015 album. . .

Batushka – Litourgiya

Unfortunately, I missed this album on last year's list because it was released so late in the year. Most people in the extreme metal scene have probably heard this album by now, but in case you haven't, I highly recommend it. Instantly one of the best bands in Poland, these guys commit totally to the aesthetic and vision of the band. I really want to see where they go next.

IN SUMMATION:

Sometimes, the more established bands just release better material than super underground acts.

2016 turned out to be a solid year for metal after all. I expect 2017 to be absolutely crazy.

The good news is, I've already heard the best album coming out next year. Sorry you have to wait so long.

[aviewfromhell]

Metal in 2015

Another year, another year-end list. This year, compiling a list felt very strange. With only a few months left to go, I realized that there were only a small handful of releases that I really cared enough to write about. I even considered making this list open to all genres, because there was so little metal that I found interesting this year (And I still included a few non-metal albums in the bonus section). Luckily, a few more great metal releases popped up between October and December that really hit the mark for me. A couple of the following albums have been praised by the masses, but several some are more obscure or have received less public praise than I think they deserve.

Tau Cross – s/t

I'll be upfront about this: I've never spent very much time listening to Amebix or Voivod. Therefore, my admiration and appreciation of this project is based solely upon its own merits, and not on the impressive legacy of the band members.

I love the aesthetic choices the band made for this record, and was drawn in enough to listen by the great cover art. After several listens, I definitely did not regret this choice. Album opener "Lazarus" is one of the best songs released this year. The album is diverse and has lots of interesting and original elements. I'm looking forward to what Tau Cross does next.

Gorgoroth – Instinctus Bestialis

I was skeptical about yet another vocalist switch for Gorgoroth, but Atteringer seems to have pulled his weight on this one. I'm still getting used to his more death metal style vocals as opposed to those of Pest and Gaahl on previous records, but they aren't bad by any means. The songwriting on this album is great. There are some really killer memorable riffs, and the lyrical subject matter is diverse enough to keep things interesting.

Under the Church – Rabid Armageddon

This record isn't exactly groundbreaking. It is, however, fast, relentless, and brutal. Solid songwriting, a powerful aesthetic (look at that album art!), and some great lyrics set this record above about 95% of other new "pure" death metal releases.

Lucifer – Lucifer I

Over the past few years, "female-fronted occult rock" has become a rather trendy sub-genre of its own.  Luckily for Lucifer, they manage to stand head and shoulders above the flocks of seemingly similar bands.

I instinctively shy away from things with lots of hype—sometimes this is a shortcoming and a mistake on my part. Such was the case with my reluctance to check out The Oath last year, as I assumed they would just be another retro rock clone band singing about vaguely occult/spiritual subject matter. I was wrong, and The Oath should have been in my top albums of 2014. That being said, I wasn't willing to make the same mistake and hesitate on checking out former The Oath vocalist Johanna Sadonis' new band Lucifer.

Despite surface similarities, Lucifer is actually a very different beast from The Oath. The music is quite a bit different, and Sadonis' vocals are more dynamic this time around as well. If you haven't done so yet, check out their debut, Lucifer I.

Tribulation – The Children of the Night

After 2013's incredible The Formulas of Death, the new Tribulation record was the #1 release on my radar this year, and it certainly did not disappoint. A lesser band would have stayed very much in the same musical space following such a well-received release, but Tribulation have managed to push themselves forward and explore new territory while maintaining some of the aspects that made Formulas so great.

I really can't say enough good things about The Children of the Night. Each song (including the 2 instrumentals) stands well on its own, yet the album flows well together. This is a sign of a truly great record. The album invokes so many different emotions and feelings, exploring different sounds while remaining altogether coherent. With this release, Tribulation have more or less cemented themselves as my current favorite contemporary band.

Vampire – Cimmerian Shade

The Swedes strike again!

I thoroughly enjoyed Vampire's debut full length, but this year's EP, Cimmerian Shade, may be even better. The band has managed to embody more dark, menacing atmosphere in a 4-song EP than most bands can manage on an entire LP, while still providing listeners with some killer, aggressive riffs.

This amalgam of black/death/thrash with real atmosphere and excellent songwriting fits my personal tastes perfectly. Add in the excellent artwork, and it's not hard to see why I consider this to be by far one of the best releases of the year.

All Hell – The Red Sect

SURELY I'm not narcissistic enough to list my own band's album as my personal "Album of the Year," right?

Wrong.

In all seriousness, this album has consumed most of my time this year, and I'd be dishonest with myself, and all of you, if I didn't mention it as one of my favorites. We also wouldn't have released it if we didn't think it was up to par with the best. I really feel like we’re doing something no one else is doing, and it’s resonated with a lot of people thus far. I'm not going to sing my own album's praises too much, but here are a few things other people have said:

"The Red Sect is sure to be on the short list for the best underground metal of the year."

- Gear Gods

"A thoroughly electrifying romp, a ripping rampage of thrashing riffs, punk rhythms, and mad-dog snarls. Hooky as hell and as nasty as a famished wolverine."

No Clean Singing

"Despite such a young career, the trio shows an exemplary maturity resulting in the masterpiece that is The Red Sect."

-Metal Cunt

In summation:

1. It's easier than ever to release a record. This means there are thousands more metal records being released than ever before. This is not necessarily a good thing.

2. I feel that peoples' year-end lists in 2015 are more attuned to their personal tastes rather than a handful of albums that are the consensus "best." I think this is okay, and will probably become the case even more so as music becomes more and more saturated. There's just too much content to listen to everything. People will spend more time listening to things that fit their own very personal tastes, but should keep an open mind when it comes to unfamiliar stuff.

3. Despite the loss of a few great bands this year (In Solitude, Morbus Chron, Stench, and others. . .) Sweden is still going incredibly strong.

4. Good music+ good aesthetics creates something greater than the sum of the parts.

BONUS: Some cool non-metal albums.

Grave Pleasures - Dreamcrash. Favorite song: “New Hip Moon”

Prayers - Young Gods. Favorite song: “Friends are Poison”

CiG - Rock n Roll Alibis. Favorite song: “Murder is Sympathy”

[aviewfromhell]

Flowers in the Tracks of Loss

"Tria autemsunt quae nos tentant, caro, mundus, diabolus " - Peter Abelard,Expositiones

On April 3rd, Swedish rockers In Solitude called it quits, ending the band after 13 years of hard work, dedication, and friendship. Those of you who know me very well know that this band was among my absolute favorites, and that I was an avid listener and fan of the group since the first time I encountered them a few years ago. The news of their dissolution was somehow both shocking and unsurprising to me; I never would have predicted the band choosing to end itself at this point, but at the same time, somehow, it made sense to me.

Nonetheless, after some reflection, I have felt the need to write a short piece on the band and my experiences with their music; a eulogy of sorts.

My first encounter with the music of In Solitude was in late 2011. Initially, the dark aesthetic of the band and their comparisons to Mercyful Fate piqued my interest, so I decided to do some browsing and check them out. "Serpents are Rising" was the first song I heard, off their then-newly-released Sophomore full-length, "The World, The Flesh, The Devil."I was very impressed, and procured the album at my earliest convenience. The whole record drew me in and very quickly became a favorite after repeated listenings. Though the Mercyful Fate comparisons were a little off (does anyone else REALLY sound like Mercyful Fate? Should they?), I knew this band was really something special.

Brother ours is the oath to death To plant a war in every star

Fast forward to the following Spring. After months of impatient waiting, I was able to see In Solitude perform live, as they took part in the 2012 Decibel Tour alongside Behemoth, Watain, and The Devil's Blood.

May 2nd at the Masquerade in Atlanta, Georgia, I witnessed my first In Solitude show. Their entrance music hit and sent chills throughout the confused audience (What is this weird Jesus song?). The members took the stage, with Pelle, draped in his foxpelt, appearing last. The whole band radiated a dark energy that filled the venue. The first notes of music hit, and I was enthralled.

This experience was once again repeated on May 4th in Charlotte, NC. If anything, I was even more excited for this show, since I knew what was in store and that it was going to be incredible. The fact that a band this young was able to hold their own in terms of presence and performance while sharing the stage with titans such as Behemoth and Watain speaks volumes on its own.

After these shows, I was an even bigger fan of the band; I eagerly anticipated seeing them perform again, and hearing what would come next. . .

Like flowers in the tracks of loss, he comes

In fall 2013, In Solitude released their third album, "Sister." I try my hardest to have no expectations of other artists' work, as I find it it preposterous to project one's own desires onto the creative output of others. Had I been expecting "The World, The Flesh, The Devil Part 2," I would have been sorely disappointed, as some fans probably were. Luckily, I had no such expectations. Gone were the parallels to Mercyful Fate and Iron Maiden; the instrumental and vocal approaches to this album were far different than those of its predecessor. Genre junkies and obsessive categorizers scrambled to fit the band's new sound into a pre-existing mold, to no avail.

To me, it was clear that this simply was In Solitude, perhaps in its purest captured essence. "Sister" proved to be a brooding masterwork of dark rock music, and was met with much acclaim both from inside and outside heavy metal circles. Decibel magazine ranked the album #2 in its top 40 albums of 2013 list, and I personally held it as my favorite record of the year, despite very tough competition.

A buried son for your desolated heart We're reaching backwards. . .

As Autumn choked the life from the world, All Hallow's Eve came and went, and on Samhain day 2013, I once again found myself face to face with what had become my favorite active band. On this tour, In Solitude shared the stage with the incomparable Watain once again, as well as Swedish death revelers Tribulation (who, after seeing their live performances, I also became a devoted fan of).

The show at the Masquerade in Atlanta was incredible, as I knew it would be, and the band played a great mix of material from "Sister" and the previous record, as well as "Witches Sabbath" off their debut album.

On November 2nd, in Charlotte, NC, I attended what would be my final In Solitude show. In retrospect, I'm glad that I didn't know this would be the last time I would see them; the experience would have been ruined by a feeling of urgency and an attempt to hold onto something fleeting. I can honestly say that this was the most incredible and intimate of their shows that I was fortunate enough to attend; the venue was the smallest I had seen them in, and there was no security or barrier separating the crowd from the stage. The highlight of the set, was, for personal reasons, "A Buried Sun," and there are moments from this night that I will never forget.

Over the next year, I encouraged as many of my friends and acquaintances as possible to check out In Solitude, and interest in the band helped form bonds that I still hold dearly with several people.

I destroy all things I hold dear

Good Friday, 2015.

"2002-2015

Dear friends, It is with great sadness that we inform you that we have chosen to end In Solitude here. . ."

As I read the band's farewell post, the reality of the split began to sink in: I would never hear another new In Solitude record. I would never see their live performance in person again, and I would never have the opportunity to share the stage with them. While these realities are hard to accept, I hold nothing against the band for their decisions. Only the members can know what is best for themselves, and those who have criticized the band over their split have done so selfishly.

As a fan, I do hope that some day conditions allow In Solitude to return. If not, their artistic output has already been more than enough to cement their legacy as one of the greatest modern extreme bands.  

"So keep this little thought in mind, my friend: existence in this world is not our end." - Sister Irene O'Connor, The Fire of God's Love [used by In Solitude as an entrance theme for their live performances]

[aviewfromhell]

Metal in 2014

It hardly feels like it's been an entire year since the last time I compiled a year-end list. This year has once again supplied us with a large number of great releases. Though 2013 is a hard year to follow, 2014 provided several metal releases which I would absolutely not want to be without. This list will be in no particular order, and I've honestly been unable to narrow down a single favorite, as it changes between a handful of records depending on what I feel like listening to. Without further ado, here are my top releases for 2014:

Behemoth – The Satanist

After five long years since the release of "Evangelion," the Polish juggernaut Behemoth has returned. Returning triumphant from his battle with leukemia, Nergal has crafted a masterpiece.

In my opinion, this is the best record Behemoth has ever done. While I have always appreciated their artistic intensity and live performances, this album took Behemoth to a whole new level. "The Satanist" lets the music "breathe" much more than the past few albums have, infusing Behemoth's relentless brutality with a powerful atmosphere. To me, this aspect of the record makes the faster brutal parts stand out and come across as even more intense.

"The Satanist" is great from start to finish, and "O Father O Satan O Sun!" is a perfect closing track, standing out as perhaps the high point of the album.

Mayhem – Esoteric Warfare

"Esoteric Warfare" is my favorite Mayhem record since "De Mysteriis Dom Sathanas." Ignore nostalgia, early Mayhem legends, and "trve kvlt" idiots; this record is fully deserving of the Mayhem legacy.

New guitarist Teloch adds his own touches to a familiar sound, and Hellhammer and Necrobutcher provide an intense rhythm section. However, what stands out most to me about this record are Attila Csihar's vocals. Twenty years after appearing on Mayhem's full length, Csihar provides his best and most diverse vocal performances to date. His lyrics combine with his varied vocals to convey a real sense of conspiracy and paranoia, making "Esoteric Warfare" stand out among a slew of modern bands merely attempting to re-hash early 90's black metal.

I have honestly been very surprised to see this one missing from just about everyone's list, and would strongly suggest giving this one a few spins if you haven't already done so.

Vallenfyre - Splinters

This one caught me by surprise; in fact, I wasn't even aware of Vallenfyre's existence until I saw a picture of Gregor Mackintosh (who happened to be wearing a Celtic Frost 'Morbid Tales' shirt) in the studio recording this album. Obviously the various band members' musical pedigrees speak for themselves, so I won't go into that.

Given the solid response this record has received, we can only hope that the Vallenfyre guys will dedicate some more time towards this band, and play out more often.

"Splinters" is a killer album, start-to-finish. Slow doomy parts contrast nicely with the more in-your-face Celtic Frost-esque parts, and Mackintosh's lyrics are great. The guitar tones here are absolutely crushing. Overall, I highly suggest this record.

Vampire – Vampire

This year saw the release of the debut full-length of Swedish death metallions Vampire. Their demo tape caused a stir in the underground when it was released, and many people seem to disagree over whether Vampire is the real deal or just another retro death metal clone.

In my opinion, Vampire is the real deal and deserves even more recognition than they have managed to obtain thus far. Their self-titled debut does not disappoint, and with its (refreshingly) good production and memorable songs and riffs, has cemented itself as one of my favorites of the year. I'm eagerly anticipating these guys' next move.

Triptykon – Melana Chasmata

The sophomore album of Tom Warrior's Triptykon follows in the footsteps of both their 2010 debut, "Eparistera Daimones," and Celtic Frost's 2006 swan song, "Monotheist." If you're a fan of those two records, you will probably enjoy this one, though overall "Melana Chasmata" is a bit slower and more reflective than its predecessors. While "Eparistera Daimones" saw Warrior's hatred and anger towards those responsible for the demise of Celtic Frost brought to the forefront, this record is a bit more lyrically introspective and morose.

I won't attempt to make some feeble attempt at genre classification--because Triptykon are above that sort of nonsense--but know that this record is full of powerful atmosphere, and Tom Warrior's wailing guitar tones contrast with more melodic and ambient sections to take listeners through many emotional highs and lows throughout the album. I really like "Melana Chasmata," and hope we don't have to wait too long for another record from Triptykon.

Death Wolf - Ostergotland

Another year, another release from one of Sweden's most overlooked groups. Though there are a couple of fast numbers here, this release is overall Death Wolf's slowest offering. However, the album is not lacking in memorable moments, and, as with many great records, only gets better with repeated listening.

Midnight – No Mercy for Mayhem

Ohio's black rock n rollers are back with a vengeance on the followup to "Satanic Royalty." This record showcases everything that people have come to love about Midnight; their old school riffs, no-shits-given attitude, and over the top lyrics. As someone who only recently got into Midnight--I found out about them when people started making comparisons between Midnight and All Hell-- I was lucky that I only had to wait a few months for them to release this new record, and it did not disappoint.

1349 – Massive Cauldron of Chaos

This album is probably a bit more accessible to the average metal listener than the last couple of 1349 releases, but long time fans should enjoy this one as well. "Massive Cauldron of Chaos" provides a good blend of super-fast black metal and the band's more experimental and avant-garde aspects.

Goatwhore – Constricting Rage of the Merciless

Goatwhore continue to cement their status as one of the greatest American metal bands of the past 15 years. Sammy Duet's guitar parts range from catchy and skull-crushingly heavy to creepy, chillingly dark and melodic. Ben's lyrics are as crazy as ever, and this record showcases them perfectly.

Stench – Venture

While comparisons to Tribulation are inevitable (two-thirds of Stench play in both bands), Stench manage to weave a musical web that is both familiar and distinct. "Venture" blends elements of several genres of extreme music into a unique creation, resulting in an album that is uncomfortable to listen to, yet deeply compelling. Much like Tribulation's 2013 masterpiece "The Formulas of Death," "Venture" demands the listener's attention for the entire duration of the record, and rewards repeated listens with something new and interesting every time.

In summation:

1. There's a reason Behemoth have climbed to the top of the extreme metal world: they are the real deal.

2. The people who love "black metal" but ignored the new Mayhem record are the same people who love "stoner/doom metal" but ignored the new Black Sabbath record last year.

3. 2014 was a year of triumphant returns for several high-profile bands.

[aviewfromhell]

The debut All Hell record "The Devil's Work," self-released by the band in May, will be digitally reissued by Philadelphia's HPGD Productions on October 28th. Check it out on their page!

Or, if you're interested in a physical copy or other band merch, the band does still have a few available at http://allhell.bandcamp.com

[aviewfromhell]

All Hell has just released our debut 3 song demo at http://allhell.bandcamp.com . Check it out, download, and like us on http://www.facebook.com/allhellband

[aviewfromhell]

Metal in 2013

The year is nearly at an end, and I can honestly say that no year in recent memory has offered as many high-quality metal releases as 2013. While I won't attempt to number them (except for one), I nevertheless felt the need to share my thoughts on many of my favorite albums released this year. Here's to hoping 2014 is half as good for metal releases as this year has been!

Now, without further ado, my personal favorite metal albums of 2013. . .

Black Sabbath- 13

First and foremost, let's get this one out of the way. While countless heavy metal musicians praise Black Sabbath for essentially creating the genre, I feel that this new release has not gotten the praise it deserves. Some people are really hung up over the fact that Bill Ward didn't participate in the reunion or recording of this album. While I understand this attitude to an extent, I have to ask, Did you guys actually LISTEN to the album?!

THIS. IS. BLACK. SABBATH.

The songwriting and riffs here are great, and Tony Iommi shows us once again that he is the Riffmaster. I was most surprised at how good Ozzy's vocals sounded, and say what you will about Rubin's production, compression issues, the loudness war, or whatever, overall the record just sounds fantastic.

I personally feel that this record stands on level ground with the first four Black Sabbath albums (blasphemy!), and that anyone who thinks otherwise is probably listening to the old material through rose-tinted speakers.

Ghost- Infestissumam

Ghost are probably the most polarizing band in the metal world. People seem to either love them, hate them, or pretend that they don't exist (keep pretending, I don't think they're going anywhere). I'm not sure what I find more amusing, the fact that Ghost trick metalheads into listening to evil pop rock, or the fact that they're starting to trick "normal people" into listening to music with overtly Satanic lyrics.

As far as Infestissumam is concerned, this album did nothing to alleviate the band's polarizing effect. This album takes another step away from the old school metal vibes that permeated their debut album. This, of course, managed to piss off many of the more metal-inclined members of their fanbase. The first time I listened to the album, I was less than thrilled. The second time, the "light bulb" came on inside my brain, and by the third listen, I knew that this album was 100% Ghost.

You may be saying, "Of course it's Ghost, it's a Ghost record, you idiot!" However, for me the issue is not so simple. Ghost as a band is very enigmatic, and this goes far beyond the fact that they dress in disguise and keep their identities (mostly) concealed. I think that Ghost, moreso than any other contemporary band, is one of those groups that you have to "get"--thus their polarizing nature. And, while I definitely loved Opus Eponymous, Infestissumam really helped me "get" the band. Thus, listening to and understanding Infestissumam futher helped me grasp Ghost themselves.

Excellent songs, pacing, and production make this sophomore release a great record. Ghost is picking up steam, and I am VERY interested in seeing where these guys go with their next full length.

Satyricon-s/t

When Satyricon announced that they were taking some time off a couple years ago, I was pretty bummed, but I knew that the time off was probably needed and that the resulting effort upon their return would make the wait worth it.

The wait was definitely worth it.

It's a bold move for a band to release a self-titled album so far into their career; such a move often signifies desperation or a radical change in direction. However, for Satyricon, this album was a statement: THIS is Satyricon. The album pushes boundaries while incorporating elements from different periods of the band's stellar career. Satyricon has it all: catchy, in-your-face "black n roll" riffs, powerful atmosphere, and innovation.

The attention to detail in the performance and production of this album is amazing. Each listen provides new and interesting nuances that help make the album something truly special, even amongst Satyricon's already impressive catalogue.

I, for one, feel that it is absolutely ridiculous that this album has received almost no mentions in peoples' "best of" lists this year.

Watain- The Wild Hunt

Say what you will about these guys, I dig 'em, and I dig this album.Watain are among the small handful of bands that can call themselves "black metal" and be taken seriously. I am glad they diversified things a bit here, as it would have been easy to just make Lawless Darkness II instead of evolving their sound further.

Erik's clean vocals on "They Rode On" and the title track are impressive, and I'm curious to see if this is something they further utilize on the next record. Either way, I will be waiting and looking forward to it.

Death Wolf- Black Armoured Death

Unfortunately, Death Wolf is known mostly as "Morgan from Marduk's side project," but they deserve much more recognition. Moreover, if the critics who continue to give these guys crap for being "Danzig clones" actually listened to Danzig, they would realize that while Black Armoured Death certainly has some Glenn-esqe moments, the album is miles away from being a mere rip-off.

Death Wolf have truly started to hit their stride. Black Armoured Death is even more diverse than their self-titled debut, with songs ranging from short, violent anthems to serial killer songs to morbid disease dirges. Oh, and there's a Death in June cover.

These guys are probably the most "under the radar" band on this list, and I highly suggest you check out their stuff.

Skeletonwitch- Serpents Unleashed

Unless you've been living under a rock for several years, you've probably heard of the mighty Skeletonwitch. These guys are 10 years strong now, and Serpents Unleashed is an absolutely fantastic record. I enjoy the production much, much more on this album than the previous one, and I think this is probably their best record since Beyond the Permafrost.

Skeletonwitch are the masters of blending black/death/thrash/whatever metal into something that is undeniably their own sound. I strongly suggest that you pick this record up, if you've ever been a Skeletonwitch fan, or if you are just a fan of evil, ripping-speed music.

Toxic Holocaust- Chemistry of Consciousness

What can I say? This record is pretty awesome. It's a pretty big contrast to their last record, Conjure and Command, and it's a testament to Toxic Holocaust's greatness that both of these albums are absolutely killer. Early interviews suggested that Chemistry of Consciousness would lean a bit more in the punk direction, which had me slightly wary, as I'm usually more into the metal side of things. But I had faith, and it was certainly not misplaced.

Is Chemistry less metal than Conjure? Sure. However, it's no less awesome. Not only is every song on the album great, the bonus track "Wargasm" and the single the band just did for Decibel, "Life is a Lie," are both great as well.

*BONUS! Joel Grind-The Yellowgoat Sessions

Surprise! So, Chemistry of Consciousness was awesome, but it's not my favorite thing Toxic Holocaust's Joel Grind released this year. The Yellowgoat Sessions was released waaaay back in January, and really started the year off strongly for the extreme metal world. This solo-side project is raw, fuzzy, over-the-top rocking metalpunk from hell.

This was seriously one of my favorite records of the year, and I've probably listened to it several dozen times at this point. Do yourself a favor, go check it out. You can even download it for free at joelgrind.bandcamp.com

Doyle- Abominator

I'll be honest here, I'm pretty biased—the Misfits were the first band I ever really fell in love with, and overall, I still consider them one of my favorite bands of all time—so, naturally, I'm pretty inclined to like anything Doyle does.

However, after the huge disappointment that was Gorgeous Frankenstein, I was cautious in being overly-excited for this album. Fortunately, it turned out to be the biggest surprise hit of the year for me.

The songs overall are much stronger than the GF stuff, and the addition of Alex Story as vocalist really pushed this band to where it needs to be. I'm extremely excited to see what these guys do next, and really hope I can catch them on tour as soon as possible.

Tribulation- The Formulas of Death

I hadn't actually heard of Tribulation until I caught them on tour with Watain and In Solitude a bit earlier this year. After seeing them, I was hooked pretty much instantly, and I'm actually a little bit upset that I didn't discover them sooner.

Their second and newest album, The Formulas of Death, clocks in at nearly 80 minutes, and there isn't a boring moment on the record. The songs flow amazingly well together, and Tribulation's blend of extreme metal with psychadelia is astonishing.

I may have been late to the party on this one, but this band has quickly become one of my favorites.

In Solitude- Sister

Alright, here it is: Sister is the album of the year.

Anything I say about this album cannot possibly do it justice. From start to finish, it is brooding, dark, mysterious, and dangerous. It is unique, original, and innovative.

I have been a huge fan of these guys since I heard their last album. While The World, the Flesh, the Devil was great, I strongly applaud the band for not stagnating and simply sticking in the same musical territory as their last release. In a world full of retro-clones, flavor-of-the-month bands, and generic garbage, In Solitude stand out as a band that doesn't care what is trendy or lucrative. They are true artists, and Sister is a brilliant example of their work.

If you buy one album this year, it should be Sister.

In summation:

Black Sabbath is about a hundred times better than the current flavor-of-the-month Sabbath worshipping retro clone band you're digging.

People are insane for ignoring the new Satyricon record.

Joel Grind is a mad genius.

Skeletonwitch still rules.

The amount of high-quality rock and metal coming from Sweden is astonishing.

Death Wolf, Tribulation, and In Solitude are the best bands you aren't listening to.

*DOUBLE SUPER BONUS! - NON METAL ALBUMS OF THE YEAR-

Jim Strange with the Proud and the Damned- Pox Americana

Sons of Perdition- Trinity

Beastmilk- Climax