MetalMatters: The Best Metal Albums of December 2024

The usually quiet December, so I will not bore you with some long-winded introduction. It still packs a punch, with especially the darker and more sinister releases standing out. So, make sure to dig in. You might find some releases you might have missed. – Spyros Stasis

Aara – Eiger (Debemur Morti)

Having concluded their Triade etude on Charles Robert Maturin’s Melmoth, the ever prolific Aara return with a new subject in Eiger. So, from the gothic works of the past to the eternal majesty of the alpine nature, Aara take a trip similar to the one undertaken in Paysage d’Hiver’s recent opus Die Berge. And while there are certain thematic similarities, they do not go further stylistically for Aara, who do not tread into Wintherr’s bitter, relentless realm with some exceptions (“Senkrechte Welten”).

Aara’s foundations rely on melody and atmosphere, allowing them to radiate with distinct emotion and purpose. In this mode, they move closer to Saor’s melodic leanings (“Alptraum”) and Winterfylleth’s bitter sceneries (“Zurück Zur Roten Fluh”). As is the case with the aforementioned acts, they also find the space to indulge in more punishing methodologies, the traditional black metal riffing arriving with ferocity (“Grausig ist der Blick”) but in most cases lapsing back into the melodic line (“Der Wahnsinn dort im Abgrund”).

However, the strongest aspect remains the grandeur they can conjure, with the acoustic guitar working wonders here. The very start of “Die das wilde Wetter fängt” and “Falsensang” beautifully incorporates the instrument within the distorted fold, channeling the wonder of Bathory’s mid-years. It is another solid work from a band that, despite its constant output, does not seem to be lacking in inspiration. – Spyros Stasis

An Axis of Perdition – Apertures (Apocalyptic Witchcraft)

Back in the early 2000s, Brooke Johnson and Michael Blenkarn’s Axis of Perdition fuelled my musical growth with a much-needed kick of dissonance and oppressive atmosphere, introducing me to industrial-inflected black metal that dared to paint outside the orthodox lines. Two decades and several article changes later, the duo return with an ambitious new studio album, their first since 2011’s Tenements (Of the Anointed Flesh).

While our ears have grown accustomed to all sorts of sonic depravity since then, their music still manages to stimulate a neuralgic spot, activating a response in our lizard brains that leads to cold sweat and a sense of existential dread. Comparatively less chaotic than their previous releases, with fewer industrial and increased death metal influences, the music on Apertures is as uncomfortable as ever, splattered with hostile patterns, cacophonous riffs, and tortured growls that gingerly navigate and narrate the hellish textural soundscape beneath them. It’s a great return. – Antonio Poscic

Becerus – Troglodyte (Everlasting Spew)

Becerus like to keep things simple. For the death metal act from Palermo, the genre’s essence does not rely on progressive augmentations, long-form narratives, or discordant additions. No, this is music for barbarians, and they are at the gates with Troglodyte. A fitting title, as the caveman mentality registers from the get-go with the relentless assault of “Obfuscated By Imbecility”. The latent thrash elements are empowered by blastbeats, bringing a direct and no-bullshit attitude that defines tracks like “Brosura” and especially “Grunt’Em All”.

Becerus are defined by the sickening undertones, prominent in the works of Monstrosity and partly pioneered by Cannibal Corpse. They slide toward a sickening tonality, a lethal stench that rises from the foul carcass in “Primordial Instinct”. It comes in different forms, direct or with a sense of US death metal groove. The latter is delightful in “Aggressive Illiterate” and especially “Pathetic Bovine Humour”.

The title tracks further display the obvious tongue-in-cheek mentality, and the applications of echo effects in the burb vocalizations “Serpicus Ebbeth Macagno” and “Progressive Mental Retardation” highlight this side. Troglodyte comes as advertised; it does not pretend to be something it is not, and that is OK. – Spyros Stasis

Beneath Moonlight – Beneath Moonlight (Debemur Morti)

Another black metal circle comes from the States under the Ordo Vampyr Orientis name. Featuring several bands, all of which seem to carry the same initials B.M (Bad Manor, Beastial Majesty, Bellum Mortis, Billious Miasma), Beneath Moonlight now enter the fold with their self-titled debut EP. This is an old-school affair, which falls back to the principles of harshness and grandeur. That much is evident as “Malleus Maleficarum” sets the tone, with the dark, processional introduction entering the genre’s lunar and nocturnal side. It is a point made poignantly in the middle point of “Versipellis”, where a Necromantia-esque ambiance hovers in its aristocratic, vampiric glory.

However, Beneath Moonlight do not sound much like Necromantia. While their heavy leaning on the piano could bring them close to the majestic side of the genre, they still resist. No matter if they offer Sverd-ian level playing in “None Before God” and the hints toward Aspera Hiems Symfonia coming from the progression (and that excellent lead work in the title track). They instead balance it out with something more fierce and raw.

The opening track sees the traditional riffing coming through with character (and a healthy dose of distortion), filling the space with the icy-filled essence of Gehenna. And still, despite all these points of reference, Beneath Moonlight retain a strangely unique perspective, which is quite daunting given this is only their first EP. – Spyros Stasis

Blackdeath – Mortui Incedere Possunt (End All Life / NoEvDia)

The promises of Also Sprach Das Chaos are proven true, and Blackdeath continue to walk the experimental black metal path with Mortui Incendere Possunt. This time around, there is a stronger Dødheimsgard circa Satanic Art influence, coming through with the discordance of “Annihilate The Forest”. It constructs an alien-like setting, which soon turns electrifying as “Im Namen des künstlichen Intellekts” showcases. The switch on the groove further enhances the latent Voivod-ian quality, making the whole endeavor feel like it has been tied in bronze chains. 

This venomous riffing has other parallels, the most obvious being Abigor. Similar to the second period of the great Austrian band, Blackdeath weave these blasphemous offerings to create a caustic presence. It becomes overwhelming in the likes of “Wiegenlied für die Toten” and especially potent through the schizoid machinations of “Verwünschung”.

The off-kilter rhythmic component further augments this quality, an unearthly feeling rising through the mystical structures of “Verwünschung”. It ties in naturally with Blackdeath’s various manifestations, from the martial procession of “Der Zorn” to the mantra-like callings of the Dead Can Dance cover, “Emmeleia”. All in all, this change in direction has been a rejuvenating factor for Blackdeath, and it is great to see continuing strong in that path. – Spyros Stasis

Dunn with Lords and Lady Kevin – Last Days at Hot Slit

While Trevor Dunn and Kevin Rutmanis have both, at various points, played bass in Tomahawk, their latest project with Gina Skwoz has very little to do with that particular avant-rock supergroup or, in fact, any of their previous outings, be it Dunn’s involvement in Mr. Bungle and his own Trio Convulsant or Rutmanis’ work with Melvins and Cows.

Instead, the sound of Last Days at Hot Slit feels very 2024 and presciently contemporary, in line with other currently in vogue unshackled, ragged rock outfits. Although it resembles recent albums by Bar Italia, James Jonathan Clancy, and Still House Plants, it is significantly more deranged altogether. The tracks appear collaged rather than composed, built from scraps and bits and pieces but designed to, somehow, make perfect sense. 

On opener “Despair”, a riff grazes the surface of clattering cymbals, while a double bass lick trembles as if affected by delirium tremens. Elsewhere, the Charles Mingus cover “Devil Woman” becomes a jazzy skeleton for abrasive, clattering rock flesh. “Indifference” discovers angelic synths and hauntological noise in skewed pop, and “Hell Better” and “Hiq82” come completely loose, ripping through with abandon. It is a disquieting yet strangely alluring piece of music. – Antonio Poscic

Forrotian – Forrotian (Independent)

When discussing the Appalachian folk-influenced black metal of South Carolina’s freshly formed act Forrotian, comparisons with Kentucky’s Panopticon are impossible to evade. Yet, while they share fundamental tenets—down to their leftist political and ideological inclinations—Forrotian explores a simultaneously more metallic and more explicitly bluegrass path, alternating nimble raw black metal assaults with atmospheric sections led by the banjo’s hypnotic twangy articulation.

Throughout, the project’s self-titled debut maintains a beautiful sense of flow and melody, with detours into blues guitar (“Imparted blessings from the hands of the dead”) and no-nonsense black metal (“You have earned nothing”). The only complaint one can realistically voice is about the album’s length, which, at 19 minutes, leaves us wanting more. Fret not, though, because Forrotian have quickly followed up this album with Lix Tetrax, Thy Witchfather, a new EP out in January. Lovely stuff. – Antonio Poscic

Kildonan – Embers (Caligari)

Kildonan is the new folk-tinged black metal project by Hamish MacKintosh, drummer for a number of death and black metal outfits like Ageless Summoning—their 2023 album Corrupting the Entempled Plane comes highly recommended—and the former owner of solo project Vostok. Named after a village on the Isle of Arran in Scotland, Kildonan carries within itself an impression of the Scottish Highlands’ history and natural landscape, lending an elevated sense of gravity and timelessness to Embers.

MacKintosh approaches his subjects—ecological, historical, and political—from personal and collective perspectives, interweaving intimate vignettes with tales of conflicts and injustices past and present. The music that supports these narratives is equally tumultuous, gorgeously melodic, and layered yet melancholy, with streams of second-wave black metal tremolos and blast beats flowing around impassioned growls, screams, and cries.

MacKintosh’s voice is particularly mesmerizing, capable of expressing a range of emotions that draw you into his stories akin to the best storytellers. Highly recommended for everyone, especially those searching for a non-sketch substitute for Winterfylleth. – Antonio Poscic

Misanthropy – The Ever Crushing Weight of Stagnance (Transcending Obscurity)

Misanthropy’s third full-length, The Ever-Crushing Weight of Stagnance, comes in an excellent year for technical death metal, which makes it hard for the band from Chicago to compete. Still, having shifted stylistic from their earlier thrash inclinations, Misanthropy put forth a work that sees a strange divergence.

The introduction with “Of Sulking and the Wrathful” might not initially suggest as much, relying on the influence of Archspire and Origin, even more pronounced in the frenzied moments of “A Cure for the Pestilence and Condemned to a Nameless Tomb”. However, at times, the lead work completely flips the script, and you are left with something with an odd melodic quality and a 1970s appeal to it. “Sepulcher” follows a similar path, where the Defeated Sanity-inspired presence is adorned with traditional metallic notions.

This methodology feels out of place, and Misanthropy have not perfected it. On the other hand, it does offer a breath of fresh air in a scene that shows signs of stagnation (no pun intended), and even though Misanthropy do not completely embrace this aspect, there are moments when this motif is apparent (“A Cure For The Pestilence”). However, even there, the Chicago band diverge, again contorting these notions to return to a heavy metallic point of origin, something also employed in “Descent”. This mentality differentiates The Ever-Crushing Weight of Stagnance, and even though it is by no means a flawless work, it offers some very promising glimpses. – Spyros Stasis

Mörk Gryning – Fasornas Tid (Season of Mist)

Now, this is a name that invokes past glories. Mörk Gryning are amongst the vanguard of melodic Swedish death metal, the pioneers that contorted traditional heavy metal tropes to fit into the eerie waves from the north. Their debut record, Tusen år har gått, is a must-listen for Dissection, Sacramentum, and Dawn fans. Following their 11-year break, they returned with a strong record in 2020’s Hinsides Vrede and are now carrying on with Fasornas Tid.

The melodic hooks are powerful, drawing from the latent Iron Maiden sound to craft a direct message (“The Seer”), while chugging riffs (“Before The Crows Have Their Feast”) and quasi-thrash notions (“Savage Messiah”) are not far behind. It is a pedal-to-the-metal approach (“Tornet”), which also delivers a healthy dose of bitterness (“The Serpent’s Kiss”). There are still different forms that Fasornas Tid manifests, be it a strong eerie sense (“Age of Fire”) or a semi-symphonic setting with the inclusion of synthesizers (“An Ancient Ancestor of the Autumn Moon”).

However, I feel that Mörk Gryning are at their best when they allow an epic aspect to take over, be it through the determined rhythm section (“Black Angel”) or tastefully placed clean vocals (“Det Svarta”). Fans of the more mainstream side of melodic black metal dwell with no fear. – Spyros Stasis

Nogothula – Telluric Sepsis (Blood Harvest)

Following an interesting EP, Gore Vortex Ascension, which displayed an appreciation for brutal death metal but also more off-kilter offshoots, Norgothula are gearing up for their first full-length release. Without diverging much, Telluric Sepsis further exposes their interests. The first of those is a slight hint of the psychedelic, as the start of “Awakening” produces a psychotropic brutal takedown.

In this mode, they move closer to the likes of Nocturnus, something that is also thematically relevant here. The incorporation of keyboards and synthesizers is subtler, but it adds more depth to tracks like “Lacerating Vibrations” and “Meandering Comatose Twilight… The Carrion Viaduct”, giving them a krautrock sensibility.

Still, the foundation lies in two different scenes. On one hand, Nogothula thrive in the groove-laden technical death metal defined by acts like Decapitated, which naturally leads to more oppressive motifs. The destructive force of “Catacomb Cauldron” and “Morbid Seas of Stygian Blood” see them get closer to the early days of Cryptopsy and Gorguts. There is also a healthy dose of blackened death metal via Zyklon and even mid-period Behemoth that provides a more malevolent taste.

“Chaosphere” exposes this essence brilliantly, the eerie lead work especially potent, while a more sinister and direct approach takes form in “Observers of Perpetual Rot”. While Telluric Sepsis does not reinvent the wheel, it still offers an enjoyable ride through modern death metal applications. It is early days for Nogothula, and this is a good first step. It will be interesting to see if they can further differentiate in the future and find their niche. – Spyros Stasis

Pestilent Hex – Sorceries of Sanguine & Shadow (Debemur Morti)

Do not alter the recipe; just make it better. That pretty much summarises Pestilent Hex’s sophomore record, Sorceries of Sanguine & Shadow. Here, the melodic/symphonic black metal acts dig deeper into the sound of their excellent debut, The Ashen Abhorrence. From the get-go, they invoke a sense of angst and purpose akin to Emperor, circa Anthems to the Welkin at Dusk.

They twist the symphonic elements, making them appear disfigured and monstrous, from the unyielding, fast-paced explosions to the towering mid-tempo stampede. The beautiful keyboards can be altered to produce a devilish tone (“Sciomancy and Sortilege”), and the symphonic influence can reach a brutal and dark crescendo (“Through Mirrors Beyond”), moving themselves closer to the singular Kvist masterpiece.

Further applications are presented, be it the acoustic guitars producing an infernal ambiance (“Of Hexcraft and Laws Three-Fold”) or the dark and mystical mood of “Threnody of the Moon Ascendant”. While this introspective form is potent, they flourish with a Bathory-ian epic sense, through the towering presence of “A Spectral Voyage”. For the cherry on top, they close with their strongest moment in “Sanguine Gnosis”, a track caught between the melodic inclinations of “Where Dead Angels Lie” and the overpowering bitterness of “Mother North”. Enough said. – Spyros Stasis

Pillar of Light – Caldera (Transcending Obscurity)

The debut full-length by Detroit, Michigan’s Pillar of Light is such a doom metal and sludge tour de force that it would have easily made my 2024 year-end list if not for its cursed December release date. Then again, Caldera is all about pain and suffering expressed through huge riffs and atmospheric swings, making this calendrical affliction land right on brand.

Over the album’s seven cuts, Pillar of Light move between passages that emphasize the black hole-like atmosphere of their style (“Leaving”), drawing in and devouring any color and joy found in its vicinity, to aggressive, pedal-to-the-metal sections that battle for survival with the furor of atmospheric black metal (“Infernal Gaze”). What an imposing, crushing piece of music. – Antonio Poscic

Sarcophagum – The Grand Arc of Madness (Nuclear Winter)

Featuring members of black/death fiends Golgothan Remains, Sarcophagum turn toward the dissonant death metal field. Already established through their debut EP, Conduits to the Underworld, the band from Australia now further unfolds their vision with their debut full-length, The Grand Arc of Madness. From the start, it is difficult not to detect the influence of Ulcerate, as the restrained guitars weave disharmonic melodies on top of a masterful drum performance.

So, their mid-tempo parts arrive with grandeur (“Vermiform”), crafting a pensive tone amidst the brutality. On the other hand, they can also explode in polemic black/death crescendos, blastbeats raising hell in parts of the title track. Still, their main downside is they stay close to their main influence, which hurts them a bit. It is a shame because they showcase excellent musicianship and songwriting, especially in the case of the 15-minute-long opus that is the title track.

The glimmer of hope here is “Feudal Futures”, which contorts their dissonant death toward a more sinister direction. It offers a deeper, blackened perspective that calls upon a latent Voivod-ian discordance. If they can encapsulate more diverse elements like that and move away from their primary source, I am sure they can deliver something great. For now, The Grand Arc of Madness is a solid, dissonant death metal release that will be released in a year when Ulcerate and Kvadrat reign supreme. – Spyros Stasis