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Death Angel -- San Francisco, CA -- December 27th, 2014
Protest the Hero -- Toronto, Ontario -- December 27th, 2014
Marduk -- Norrköping, Sweden -- December 19th-20th, 2014
Despised Icon -- Worcester, MA -- December 21st, 2014
Cormorant -- San Francisco, CA -- December 20th, 2014


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  #41  
Old 03-07-2011, 01:15 PM
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I hope the Friday night in question wasn't the day you posted this, because I didn't see your question until now.

Assuming that it isn't, my answer is: "Hell fuck yes you should try to see Caspian...what the fuck kind of question is that, anyway?!?"

No, but seriously - I know you're not all that much of a post-rock / post-metal fan, but if you are looking to test out the waters - be it for the sake of the venue or for the sake of the band - Caspian is great stuff. Believe it or not, even though they can be quite melodic at times, they are still intense when they really get into an awesome crescendo part of one of their songs, and this is what I love about the really good post-rock bands...they can speak volumes of intensity without ever uttering a single word.

Plus, the show will most likely be cheap as fuck, so why the hell not, right?
nice! I'll see what I can do.
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  #42  
Old 03-08-2011, 09:57 AM
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OK, so with this next batch (or two) of updates (#30 through #21), all of my picks for the year will finally be known (because I had already let the cat out of the bag early back on page one of this thread with my top twenty). However, I’ll still be posting blurbs for the top twenty, since all that was posted before was a bare-bones list without any descriptions, and apparently my way of describing things is perhaps more interesting to some folks than the actual ranking of the albums.

At any rate, here are a couple more:


30. Exhale - Blind
This is another album for which I read a damned good online review on some other web site (), and the reviewer said that “If you enjoy the heavy buzz-saw guitar tone prevalent in the music of bands such as Dismember, Trap Them and Entombed, then you just might like this album. If you enjoy super-fast, super-heavy modern grindcore such as Pig Destroyer, Nasum and Rotten Sound, then you will very likely enjoy this album. If you enjoy both, then you will definitely love this album.” That just about sums it up. This is some damned good grind from a fledgling Swedish outfit called Exhale, and if they keep putting out stuff this good, they are bound to be a household name soon. Recommended for fans of the bands mentioned above.


29. Immolation - Majesty and Decay
Like so many other bands on this year’s list, my first significant experience with this band was in a live setting, back in January 2010 when I saw them on tour with Nile – one of the heaviest bands in existence. When I left that show, I had a new respect for Immolation, because to be honest, they ended up being just about one of the only bands who could have reasonably occupied the opening spot for a band as heavy as Nile. Now when it comes to bands like this, I have a bit of a pet peeve with bands who are just brutally heavy and nothing else. There has to be something else there to make me want to keep coming back. I’m still searching for it with bands such as Grave, but with this album, I don’t have to look very far. Not only is this music as heavy as Satan’s testicles – ON JUPITER – but there are many compelling riffs throughout the eleven tracks (plus one intro track) that comprise this album. Recommended for fans of brutal death metal such as Cannibal Corpse, Deicide, Mayhem and, of course, Nile.


28. The Ocean - Anthropocentric
This is yet another album for which I read a particularly eloquent online review on some other web site wherein the reviewer compares this album to its sister album “Heliocentric”. As the reviewer states, “It’s all here. However, somehow, it all just pales in comparison…”. Again, this guy is dead-on-balls accurate. () Simply put, this album would probably have fans of the proggier side of post-metal drooling all over it if it weren’t for “Heliocentric”. To make matters worse, “Heliocentric” came first – setting the bar extremely high. Nevertheless, this is still a damned good album, and I do sometimes find myself listening to it (but even I admit that I usually listen to “Heliocentric” afterward and find myself nodding and thinking, “oh yeah – this is WAY better.”) Sorry, little sister – your older sibling is just smoking hot. What’s a brother to do?


27. Sweet Cobra - Mercy
From the rhythmic drum beats and infectious guitar riffing in the opening seconds of the album’s first track “Brux”, Sweet Cobra had me hooked and smiling from ear to ear. The last time something like that happened, the album in question (Kylesa’s “Static Tensions”) rose all the way to number three on my year-end list, eclipsed only by Cobalt’s “Gin” and Baroness’s “Blue Record”. Now don’t get ahead of me, here. “Mercy” is a damned fine album, but we are at #27 on this year’s list. This may not be another “Static Tensions”, but Sweet Cobra surely do manage to outdo themselves here. In particular, the bottom end of this album is just such a beast – and in fact, almost every band member contributes to it in some way. The drum contributions are obvious, as are the truly massive contributions of bassist / vocalist Tim Remus – but even the guitars are heavy and low here. Production-wise, some of the distortion prevalent on earlier albums has been dialed back, and the result is that you can actually hear this album’s pulse (and quick it is, at times). Sadly, guitarist Matt Arluck passed away after a long battle with cancer before this album was released, but I couldn’t think of a better legacy to leave behind than a heavy, riffy masterpiece of an album such as this, recorded with people who loved him as a brother.


26. Man's Gin - Smiling Dogs
When I heard that multi-instrumentalist / vocalist Erik Wunder from Cobalt was involved with this album, I just had to hear it, because I already know what an excellent songwriter he is. I had no fucking clue. Simply put, this album is nothing like Cobalt – it’s a particularly catchy form of dark, depressive (but yet still somehow remarkably upbeat at times) folk music that sounds like it has Eddie Vedder at the mic. Confused? Don’t be. All I’m really trying to say is that this album is nothing like Wunder’s work in Cobalt. However, the songs are so well-written and laden with sweet hooks that it’s just as compelling as Cobalt’s music – if not more. It would be an understatement to say that this album has repeat-play potential…the album practically demands it. The interplay between the guitars (and sometimes piano) and the vocals is just expertly done. This is without a doubt my favorite non-metal album of the year.
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  #43  
Old 03-18-2011, 12:31 PM
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All right – top twenty-five time, folks. The shit is starting to get real.

Seriously, though – I am starting to get pretty excited about my list at this point, because there’s some really excellent stuff coming up. For those of you who are still reading, thanks. I know it seems to take me longer every year to finish this list – and there’s already a lot of buzz out there about some damned good albums that have been released this year – but I’ve been busy like you wouldn’t believe lately, and yet I still believe that the albums in this part of the list in particular are worthy enough of your attention that I feel the need to shove them in your face even though we’re about eleven weeks into a new year already.

So, with that shoving in mind, here are another five albums for your consideration:



25. Gifts from Enola – Gifts from Enola
This post-metal quartet from Harrisonburg, Virginia just keeps getting better and better with each album. Their 2009 release “From Fathoms” was #43 on my list of almost 100 albums I listened to that year, and if anything I’ve learned to appreciate it even more since then. This release is clearly better than that. Not only are all the “post-metal essentials” all in place (e.g., production, songwriting, musicianship, mastery of pace and dynamics, etc.), but the “curb appeal” factor is in full swing here as well. In other words, not only is this album excellent by the numbers, but it excels in the subjective arena as well. When I listen to it, I smile. It makes me want to come back for more. It’s more than “just another post-metal album” – it’s a post-metal album to judge other post-metal albums by…and it’s only this band’s third release. Well done, Gifts.



24. Lightning Swords of Death – The Extra-Dimensional Wound
I usually listen to the albums in question when I’m writing these reviews – even if I’ve heard them many times before. It just makes me feel like I’m doing the album more justice. The reason I mention this is, the transition from the previous album to this one was so abrupt, it just made me laugh out loud. Where GfE is solid post-metal who can get quite heavy at times, they are light years from making a sound even remotely close to what LSoD can do. What exactly can these folks do, you may ask? Quite simply, this quartet from Los Angeles can make some of the sludgiest, heaviest black metal on the planet – that’s what. I’ll admit I haven’t heard as much black metal as some other folks out there, but I’m quickly moving to remedy that situation – and I’ve listened to my fair share the last couple of years. Nothing I’ve yet heard has as thick and crunchy a bottom end as this. Nothing. The bass on this album just bludgeons the listener to death with its brutality. The blast beats from the drums are relentless. The vocals are harsh, but clean enough to be heard very clearly. The guitar work is exceptional. Above all, the crunchy riffs come heavy and often. Overall, this is just an extremely compelling listen. Great stuff.



23. Shining – Blackjazz
Whoa. Just, whoa. Seriously, this album is just…whoa. I don’t even know where to begin. Genre? Beats the hell out of me. Description? Yeah, good luck. The only thing I can say is…well, you know. The best way to describe this album is to say that at the heart of it all, it’s the most extreme experimental alt-metal album, heavily influenced by jazz (no kidding!) that I’ve ever heard. Not only is the jazz influence very obvious, but there are shades of Mike Patton all over this thing, plus an extreme array of similarities to some of the oddest heavy bands out there, such as Diablo Swing Orchestra or Estradasphere. Yeah, it’s that weird – and yeah, it’s that good. I don’t know what else to say, except that if you like extreme music, you just have to try this album out for yourself and see what you think. It will certainly grab your attention – I don’t care what you normally listen to. You may like it, you may hate it, but you’ll probably never forget it. Oh, and one more thing…the track “Fisheye” is the most addicting thing since The Man invented crack to keep all of us common folk down. Don’t say I didn’t warn you.



22. Cloudkicker – Beacons
Right on the heels of one of the most unusual albums I’ve ever heard, comes a review of another one of the most unusual albums I’ve ever heard. Cloudkicker is an instrumental progressive post-metal solo project of one Mr. Ben Sharp from Columbus, Ohio. Simply put, this album is what you get when you take the post-metal core of Isis and execute it through the prog-metal machinations of a band such as Meshuggah. The thing is, both of those bands have no less than five members. This is one guy. The most amazing thing is, you’d never know it, though. When I listen to this album, I can definitely tell that there are some aspects of this music which are aided by technology. For example, some of the drum sounds definitely come from a machine – however, there are a whole lot of live drums on here as well. Also, there are definitely multiple guitar parts interplaying here – and it’s exactly that interplay, be it between guitar parts or between guitars and drums or what have you – that really works on this album. Surely it doesn’t hurt that the songwriting is stellar, the production slick and clean (a must for music such as this), and the musicianship top notch. At the end of the day, this album is simply a highly compelling listen for fans of all things progressive, post-metal, instrumental or just plain awesome.



21. Watain – Lawless Darkness
My first exposure to this band was somewhat of an accident. I went to their show to see one of the opening acts (NYC’s Black Anvil), primarily, and figured I’d stick around if I heard anything else I liked. Let’s just say that my ears were about the last of my senses to be stimulated that night. The first was…my nose. Those who know about this band will know what I’m talking about – the rest can go look it up somewhere else. The next of my senses to be stimulated were my eyes. As soon as I saw these guys in full gear and corpse paint, I knew that the show was going to be brutal. Still, I had no earthly idea of what was about to occur. Suffice to say that Watain truly eats, sleeps and breathes Satanic black metal. Every song is sinister and evil, but the story gets much better than that. In addition to being extremely competent showmen and dedicated to both their beliefs and their craft, they are extremely talented musicians as well. This is a truly wicked combination. “Lawless Darkness” may or may not be their best work to date – I admit I don’t have much knowledge of this band’s catalog – but if it isn’t some of their best work, I can’t wait to hear the albums that are considered to be better than this. As I said, this is Satanic black metal at its most competent, most evil and most extreme – in other words, this music is definitely not for the faint of heart.

…I fucking told you I was getting excited about this part of my list.
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  #44  
Old 03-18-2011, 03:38 PM
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Some great choices and some new shit to check out. All Hail Nat!

I laughed when I played Shining for a friend and he said what kind of music is this. Without really thinking I said BLACK JAZZ. hahaha
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  #45  
Old 03-18-2011, 05:09 PM
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I think that's the best Watain album, at least of their current style. There's inevitably going to be people who think they peaked on Rabid Death's Curse and started sucking when they discovered melody, but fuck 'em, Lawless Darkness is their masterpiece.
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  #46  
Old 03-18-2011, 11:49 PM
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Originally Posted by DethMaiden View Post
I think that's the best Watain album, at least of their current style. There's inevitably going to be people who think they peaked on Rabid Death's Curse and started sucking when they discovered melody, but fuck 'em, Lawless Darkness is their masterpiece.
Agreed. And Sworn to the Dark is a very close second, for me.
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  #47  
Old 03-19-2011, 12:19 AM
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Originally Posted by DethMaiden View Post
I think that's the best Watain album, at least of their current style. There's inevitably going to be people who think they peaked on Rabid Death's Curse and started sucking when they discovered melody, but fuck 'em, Lawless Darkness is their masterpiece.
Agreed. And Sworn to the Dark is a very close second, for me.
Well then it looks like I picked the best two albums to listen to, because "Sworn to the Dark" is the other one I've checked out to any significant degree, and I fucking love it as well. The title track to that album was absolutely sublime live. Erik's eyes rolled so far back into his head on that one I thought we might not see his pupils again for the rest of the set. He seemed to be absolutely transported to another place while he was shrieking out the chorus.
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  #48  
Old 03-19-2011, 10:21 AM
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Well then it looks like I picked the best two albums to listen to, because "Sworn to the Dark" is the other one I've checked out to any significant degree, and I fucking love it as well. The title track to that album was absolutely sublime live. Erik's eyes rolled so far back into his head on that one I thought we might not see his pupils again for the rest of the set. He seemed to be absolutely transported to another place while he was shrieking out the chorus.
Casus Luciferi is a great one too. A bit more on the raw side but the riffs are awesome. Haven't heard all of Rabid Death's Curse.
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  #49  
Old 03-23-2011, 11:33 AM
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Time for another update, kids. This group of five is a mofo – if you don’t like at least something from this group, then you do not like metal. Please exit stage right, go directly to hell, do not pass “Go”, and do not collect $200.



20. Atheist – Jupiter
OK, so I have a mini-confession to make. I’d be lying if I were to claim to have always been a huge Atheist fan. I’m definitely a big fan of the kind of music they make, but for some reason I’ve never really gotten into them (and admittedly, I haven’t tried much). All of that changed – or at least, started to change – when I heard this album. Those who know me, know that I have a pet peeve with technicality for the sake of technicality, so many bands who play in the tech death sub-genre of metal are in for some major scrutiny by yours truly if they are to work their way into my busy listening queue (nice problem to have, by the way ). Atheist did it with this album. It’s proggy as all get-out, but it also has major curb appeal. The vocals are fantastic – they almost remind me of Snake’s vocals on early Voivod albums. The musicianship is, of course, top-notch – but this is true even for many bands in this sub-genre who release sub-standard albums. However, what makes it even better are the liberal use of solos, time signature changes which appear effortless rather than forced, brutally heavy and fast riffs that dive and lurch and turn on a dime – leaving the listener’s head spinning…this album has it all. Add to all of this, the fact that the production is clean and tight and top-notch, and you have yourself one of the best tech death albums which has been released in quite some time – plus, it’s fun to listen to. Even as a relatively inexperienced and newly-converted fan, I can confidently say that Atheist are definitely back with a vengeance.



19. Deathspell Omega – Paracletus
France doesn’t exactly produce a plethora of metal bands, but some of the ones it does produce sure are fantastic. Deathspell Omega seems to be among this group. This album is my first exposure to them, but based on what I’ve found here, I will be both checking out their back catalog as well as anxiously awaiting future releases. Deathspell are essentially a progressive black metal band with majorly satanic inclinations on the thematic side, but this description is remarkably insufficient. First of all, the production on this album is very clean and crisp – not exactly typical of their chosen genre (although it’s not that unusual these days, either). Secondly, the musicianship is just out-of-this-world in terms of quality. Lastly, and perhaps most importantly, the songwriting skills of this mysterious black metal outfit are simply outstanding. The mastery of volume, pace, atmospherics, chord progressions, and the like is such that the music seems to leap out of the speakers and grab the listener by the throat and demand his or her attention – scratch that – awe. The vocals are powerful and assertive when they need to be, but then the various instruments take front-and-center when it’s their turn to drive the music. Whichever part of the band has hold of the reins at the moment, the listener is forced to sit up and pay full attention at all times. This album is intense, progressive, beautiful, haunting, sinister and relentless – a truly excellent release in a genre which is very satiated at the moment, but which from time to time produces some truly exceptional gems such as this.



18. Aeon – Path of Fire
When I saw that this album was next in the queue, my reaction was basically a wide, knowing grin. I’ve been looking forward to writing about this album. In 2009, the world was blessed with two extremely heavy albums from some of the best bands in the death metal business – Behemoth and Nile. In 2010, the album which most closely filled the shoes of these monster bands was a (relatively) little-known Swedish five-piece named Aeon. I had heard some of Aeon’s material previously, and I came away thinking that it was very technically proficient, but just slightly lacking in the “curb appeal” department. Then I heard “Path of Fire”. Not only are the blast beats and tremolo picking as fast and relentless – and technically clean – as ever, but the other less obvious aspects of the music on this disc are also in full effect. For example, there are a wide range of atmospheric chants and other symphonic bits that harken to some of the best work of, again, Nile. The production is as clean and tight as always (although this has pretty much always seemed to be true of Aeon’s albums), and the vocals are harsh and brutal, yet just intelligible enough so as not to become a parody. The most compelling aspect of this album, though, is definitely the brutal and bludgeoning way that Aeon combine their relentless blast beats with compelling death metal riffs and solos – the combination is extremely effective. This is a truly under-rated album by a somewhat under-the-radar band that not enough folks know about (yet). Watch out, Nile and Behemoth – you have some serious competition here.



17. God Is an Astronaut – Age of the Fifth Sun
To everyone who thinks that all post-metal / post-rock is the same, I challenge you to listen to this band – and in particular, to this album. Now, just because I mentioned the word “challenge” doesn’t mean that this is an album which is a difficult listen – in fact, its primary appeal to me is that it is perhaps as easy listening as post-rock gets – but the “challenge” is what will happen to your notions of what post-rock is / what it can be after hearing “Age of the Fifth Sun”. Quite simply, the music on this album is not only beautiful – as most post-rock tends to be – but it is also catchy…and not just a little bit. What is that, you say? Post-rock with hooks? Well, kinda. I wouldn’t call them hooks as much as I would say that this album has “flair”. The songs are (often) upbeat. They move – not always quickly, but the pace never gets boring. That, and there are all sorts of little hooks (there I go using that word again) and fills and splashy cymbals – in addition to all the soaring, drawn-out notes and such that post-rock fans are used to hearing – such that this album is absolutely overflowing with interesting, joyous, tasty moments that just keep the listener smiling, head-bobbing and above all, pressing “play” over and over again.



16. Karma to Burn – Appalachian Incantation
What a way to close out another group of five reviews. A technical death metal masterpiece from a group of true legends; a progged-out black metal album that redefines what black metal can be; a heavy-as-Satan’s-balls-ON-JUPITER death metal bludgeon-fest to rival some of the best in the business; possibly the catchiest post-whatever album that has ever been created; and now this…a highly-compelling, triumphant return for one of the best instrumental riff-master outfits of all time, Karma to Burn. I was so thrilled to hear that this awesome band was getting back together and releasing a new album – I bought it without hesitation, and without even downloading it first (which I’ll admit, is rare for this impatient and rabid metal fan in this day and age). Not only is this the riffiest album of the year by far – and c’mon, are you really that surprised? It’s Karma to Burn! – but one could say that this album is new and improved. What I mean by this is that a few of the songs actually feature vocals (and they’re good!). Now, this isn’t the first time that this band has had vocals on some of their songs…but it is the first time in a long while, and from the looks of things, this trend will continue. I was worried that the tracks with vocals might not be as heavy and groovy and interesting as the pure instrumental tracks, but I was pleasantly surprised that these concerns were unfounded. Case in point: “Waiting for the Western World” is perhaps one of the coolest songs K2B has ever made. Quite simply, K2B are back, they are now “plus one” (a four-piece with vocals, as opposed to an instrumental trio), and they are back in full force on this album. (By the way, the bonus disc with re-worked and re-recorded versions of some of the best old K2B favorites is a really nice addition here as well.)

As an epilogue to the above Karma to Burn review, I was just thinking that I had that album permanently installed (figuratively speaking, of course) in the CD changer of my Mustang all last summer. I jammed that album almost every time I drove that car. In hindsight, it is a FUCKING MIRACLE I didn't get any speeding tickets because of that fucking album - I shit you not.

If any of you have that album and can drive at or below the speed limit while listening to it, you are a better man than I.
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  #50  
Old 03-31-2011, 01:44 PM
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Well, here are five more excellently-written blurbs about five devastatingly awesome albums, which no one will read and which no one will comment on, because nobody loves me anymore…


15. No Hawaii – Snake My Charms
So I was reading this devastatingly sexy online review for the debut full-length from this Swedish post-metal act that I’ve never even heard of, and I decided to give it a try. Holy shit. As the reviewer notes, these guys sound like they’ve been at this for years. The production is excellent, the musicianship is top-notch and the songwriting is superb. Best of all, even though one can hear many different influences in this music, I feel pretty confident in saying that it is rather unlike anything you’ve ever heard before. Yes, it’s rooted in post-metal, but there are subtle elements of sludge mixed in here as well, in addition to progressive leanings often exhibited by bands such as Burst, Mastodon or The Ocean, and even some influences that sound a bit like – dare I say it? – metalcore (but the kind of metalcore that’s awesome, not the kind that’s shitty ). Sometimes this beautiful mess even sounds like Mike Patton had something to do with it – it can be quite eclectic at times. One thing is for sure, though – this band and this album definitely took me completely by surprise – and in a very good way. You should really check this out.



14. Unleashed – As Yggdrasil Trembles
Speaking of online reviews, I found a particularly well-written review for this album as well. The reviewer, of course, is spot on when he says that some bands can get away with being extremely consistent in their delivery for many years, and Unleashed is one of them. In fact, many folks (especially on this forum) automatically think of the remarkably consistent Amon Amarth when the term "Viking metal" is mentioned, but in fact, Unleashed has been doing the same thing, and for an even longer period of time. To borrow from the lyrics of the track “Wir Kapitulieren Niemals”, this album is yet another healthy slab of “Viking death metal – yeah, Viking death metal!” from one of the progenitors of the genre. When it comes to Viking metal, although Bathory may have done it first, Unleashed have been doing it the longest, and this album is an excellent example of why.



13. Landmine Marathon – Sovereign Descent
When some folks hear that there is this grindcore band called Landmine Marathon with a female vocalist, I’d be willing to bet that many of them think that either (a) having a female vocalist is a gimmick on the part of the band to sell albums, or (b) she must be a poser. Oh, how wrong these misguided fools are. Not only is Grace Perry the real fucking deal when it comes to being a perfect frontperson for a grindcore band, but so are the musicians in this outfit. The music is well-written, intense, brutal, and of course, fast and heavy. The riffs are infectious and come at the listener relentlessly, and all the while, the delivery of the vocals is exactly what it should be – intense – regardless of the gender of the vocal cords creating them. Most grindcore fans want basically one thing – to have their fucking faces ripped off. Landmine Marathon delivers, with the added bonus of a devastating kick to the crotch by a deceivingly disarming female. Heaven!



12. Howl – Full of Hell
Since I blatantly and self-servingly linked to two of my own album reviews in the last three blurbs, I’m thinking…why not give someone else a chance? As the author mentions in this poignant online review for Howl’s debut full-length “Full of Hell”, "No matter how many different subgenres heavy metal branches into, at its core, it will always be about one thing and one thing only: The Almighty Riff." How true the words, and how well Howl understands them. This album is simply bone-crushing, through and through. From the opener “Horns of Steel” to the closer “The Day of Rest” (which is no Sunday picnic, I can assure you), the listener is simply pummeled with some of the fattest, beefiest and most memorable riffs to have been played on any album in any genre last year. This album is like a burrito at Chipotle when the dudes / dudettes are in a good mood and they just go apeshit with the ingredients, the thing splits open from all the stuff crammed inside, and they have to re-wrap it for you before they put it in the bag. Speaking of this analogy, let me carry it one step further…ya know the shit-eating grin that crosses your face when you know you’re just about to get a burrito like that? That’s the same look I have on my face every time I pull out this badass fucking album. ‘Nuff said.



11. Nachtmystium – Addicts: Black Meddle, Part 2
OK, enough sharing the spotlight with others…it’s time to direct the attention back to where it truly belongs – yours truly – with a link to yet another excellently written online review for the “bubble album” of 2010 (the one which just barely missed the illustrious Top Ten). Considering the significant buzz created by this album’s precursor, the bar was set fairly high for Nachtmystium with “Addicts”. So what did they do? Instead of trying to complete the vault with the same pole as the previous vault, they simply GOT A BIGGER STICK. Brilliant! All jokes aside, though, “Addicts” is really an almost completely different album from “Assassins”, but what hasn’t changed between these two excellent collections of work is how creative and inventive Nachtmystium has been. As has been mentioned many times before, Nachtmystium are a black metal band at their core, but what really sets them apart is that they continually show that they are very competent players of almost any genre they choose – and their true skill is the ability to meld numerous genres together atop a basic black metal canvas in such a way as to create something which is truly compelling and unique. Kudos to a truly creative band for reinventing themselves yet again.
__________________
8/1 SummersLaughter
8/10 Boris / Atlas Moth / SubRosa
9/8 Man or Astro-Man?
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