10. Lord Spikeheart – The Adept (Haekalu)
This year saw the boundaries of metal pushed to extremes, from various Rock in Opposition-evoking eccentric experiments like those produced by Melted Bodies to Blood Incantation’s perfected marriage of Kosmische and Pink Floyd-esque psychedelia with death metal. Yet, The Adept by Nairobi’s Martin Kanja alias Lord Spikeheart takes the crown of the most futuristic-sounding metal album—an artifact brought back in time by a time-faring metalhead.
The energy and inventiveness of The Adept are so over the top that even Kanja’s forward-looking works with Duma pale in comparison. Metal, rap, noise, cybergrind, power electronics, and a myriad of other extreme styles—conspired with guests such as BBBBBBB’s Saionji, Backxwash, and DJ Scotch Rolex—alternately clash and synthesize with each other, creating a simply breathtaking backdrop for Kanja’s range of blazing growls and screams. – Antonio Poscic
9. Defeated Sanity – Chronicles of Lunacy (Season of Mist)
This is shaping up to be an insane year for technical brutal death metal. After 20 years, Brodequin returned with Harbinger of Woe, and then Wormed’s eight-year full-length absence finally ended with Omegon. Thankfully, Defeated Sanity don’t take long breaks, but it is always exciting when they return because Chronicles of Lunacy is a record that should excite any fans of the genre.
This is a slight throwback for the Lille Gruber-led band. Instead of doubling down on the immense, yet spectacular, complexity of Disposal of the Dead // Dharmata and The Sanguinary Impetus, they go for the jugular. Chronicles of Lunacy sounds more in line with Psalms of the Moribund in that it is a direct and unyielding assault. The bludgeoning essence comes straight in an Effigy of the Forgotten fashion with “Amputationsdrang”, and it never let’s go. This barbaric approach defines “Accelerating the Rot” and “Extrinsically Enraged”, but Defeated Sanity still pack a high technical aptitude.
Tempo switches, impeccable precision, and a discordance that melts the mind define this monster. From the flawless drumming (“The Odour of Sanctity”), the jazz embrace (“Condemned to Vascular Famine”), or full adaptation (“Temporal Disintegration”), all the way to the ridiculous guitar finessing of the closing track, “Hereditary Violations”, Chronicles of Lunacy is just what it needs to be. – Spyros Stasis
8. Djevel – Natt Til Ende (Aftermath Music)
If I were hard-pressed to name only one band that best exemplifies the Norwegian black metal spirit today, it would be difficult not to pick Djevel. While the scene has evolved through the years and newer iterations, such as the Nidrosian scene, have looked to carve out their own identity, Djevel return to the point of origin. Their latest entry in a growing, stellar discography is Natt Til End, a conclusion to a trilogy started with Tanker Som Rir Natten and continued with Naa Skrider Natten Sort, both highly recommended listens.
From the start, the devilish tone of the 1990s black metal pierces through the grand Mayhem tradition. “Bespottelsen” masterfully sets the stage for this eerie descent, further enhanced by the Csihar-ian grand orations in “Jesu Lidelse”. Yet, there are times when Djevel’s approach is more laconic, mirroring Darkthrone’s minimal aspirations in “Ravnehymne” and “Under Nattens Fane I Fanden”. While these are the pillars around Djevel’s sound, they further explore the magical essence that the original black metal visionaries have to offer.
The mid-tempo parts of the opener ooze with this mystical quality, the ominous tone only enhanced through “En Vinter Efter Kommer”. It naturally opens up pathways that reminisce the grand spirit of the early days of Ulver and even some of the desolation depicted in works like Hvis Lyset Tar Oss. The monumental closer to Natt Til Ende conjures all this magic and mayhem, capitalizing a nocturnal opus as Djevel continue to howl at the moon. – Spyros Stasis
7. The Body & Dis Fig – Orchards of a Futile Heaven (Thrill Jockey)
Continuing a series of excellent collaborations, the Body align themselves with Felicia Chen, aka Dis Fig, one of the pivotal electronic artists of this generation, known for her exquisite debut PURGE and her collaboration with the Bug. The result of this collision is a profoundly meditative work in Orchards of a Futile Heaven, which balances between the cacophonous and the sublime. The Body make use of their entire arsenal, conjuring a cacophonous cataclysm of doom-infused progressions. Within this space, Dis Fig’s presence is a catalyst. Her vocal performance adds to the ambient dimension, usually through a pensive approach, acting as a beam of light through the chaos and incoherence.
Chen’s electronic background further transforms this work. Abstract components are configured, reaching post-dance crescendos, maddening rhythms that morph from metal to electronica, from sludge to ambient. Yet, the intriguing point of alignment is both acts’ adherence to this electrifying noise aspect. The thunderous quality of “To Walk a Higher Path” sees this moment of convergence, where tribal injections appear in fragile serenity. It is the calm before the storm, a quasi-peaceful step where Chen’s vocals fill the space and the foreboding noise is kept at bay. This ominous quality defines Orchards of a Futile Heaven, and how the Body and Dis Fig have captured it is nothing less than awe-inspiring. – Spyros Stasis
6. Mitochondrion – Vitriseptome (Profound Lore)
The prayers have been answered! 13 years since their previous full-length Parasignosis, and Mitochondrion are back at it. With their new record, Vitriseptome, they continue to do what they do best, balancing between the bestial black/death side and the dissonant scene. The former fully blooms from the get-go as “Increatum Vox” settles in, with the warring black/death arriving through discordant leads and pummelling blastbeats. In this mode they cut straight to the core, retreating into their most monstrous form with “Viabyssm” and “Antitonement”. They even channel the earlier Portal playbook, veiling their primal nature with quasi-atmospheric allusions. Yet, they still relish their most blasphemous and unyielding perspective, be it through the repetitive mantra of “Flail, Faexregem!” or the harrowing setting of “Oblithemesis”.
While this barbaric perspective, fuelled through the proto-black/death scenes via way of Blasphemy, is fundamental for Mitochondrion, they reach toward the eerie aspects of earlier days Ulcerate via way of Deathspell Omega. Still, Vitriseptome reaches for a more distinct melodic quality, but worry not; it is only fleeting. The start of “Cruxitome” carries a strange doom/death-like melodic inclination, adding to the sorrow, while the Middle Eastern applications in “Viabyssm” point to the grandeur of Nile (and naturally to Morbid Angel). Overall, this is a perfect return to form for Mitochondrion. A challenging record, spanning 90 minutes of dark, dense, and extreme music. Precisely what the doctor ordered! – Spyros Stasis
5. Tzompantli – Beating the Drums of Ancestral Force (20 Buck Spin)
Certain music can hit so hard that you can’t help but grin at its sheer sonic power. In recent years, it was an electronic music album that made me feel this way, and now Tzompantli’s sophomore record. Right from the first notes of “Tetzahuitl”, Beating the Drums of Ancestral Force asserts itself as a steamrolling pinnacle of death-doom metal, equally brutal over stomping cuts like “Chichimecatl” and the slower, doomier strut of “Tlayohualli” or the melancholy atmospheres of “Icnocuicatl”.
Not only absolutely crushing, Beating is also surprisingly texturally and thematically rich, with layers of percussion, animal noises, flutes, and didgeridoos emerging beneath the thick death metal attacks. None of these elements are purely ornate or here by accident either, as Brian Ortiz (of Xibalba fame) and his warriors draw from Indigenous Mexican rituals and lore and shape a new emancipating narrative into a war waged against conquerors past and present. – Antonio Poscic
4. Spectral Voice – Sparagmos (Dark Descent)
It’s almost cliché, but it should still be said. It is not enough to play slowly to get doom/death right. This is something that Spectral Voice understand intimately. So, with a seven-year-long silence since their debut, Spectral Voice have been taking their time, no pun intended, working their way towards their sophomore record, Sparagmos.
Sparagmos exists on two opposite planes. On one hand, there is the dreamscape, where Spectral Voice allow their elusive and otherworldly side to flourish. This is established from the start, where tinges of bitter psychedelia rise. Further flourishes through sludge augmentations, slight post-metallic leanings, and descents into the dark ambient world complete the imagery. The mystical parts of “Sinew Censer” fully complete this transformation, but there is also a more earthy and primal side. This is where the death metal self takes over and erupts into a frenzy.
The bottom line is that Sparagmos is not simply a continuation of Erroding Corridors of Unbeing. It is an evolution that finds Spectral Voice at the height of their might. It is a work that proudly stands amongst the ones produced by the genre’s pioneers. And for an act that arrived some 20 years later, that is nothing less than astonishing. – Spyros Stasis
3. Black Curse – Burning in Celestial Poison (Sepulchral Voice)
Visceral. That’s the word that first comes to mind when listening to the sophomore record by Black Curse. The fusion of death and black metal that the Denver, Colorado quintet—featuring members of Khemmis, Ulthar, Spectral Voice, and Primitive Man—deal in results in such vicious, suffocating black/death attacks that each blow is felt by both body and soul, while all hopes get expelled and replaced by a burning void.
Press play and you’ll have little time even to comprehend what’s going on before the impenetrable textures composed of howling, squealing, buzzing riffs, grumbling bass lines and inhuman growls wrap around a pulsing rhythm and start their relentless tumble. Black and death elements intertwine and merge, then get swept away by moments of harsh dissonance, but the onslaught and mayhem never subside.
There’s no space or need for atmospheric reprieve here, only suffering and the sense of walls closing in. In this sense, Burning in Celestial Poison feels even more compact and mean-spirited than 2020’s Endless Wound, as if the group heard their fans and thought to themselves: “You want more pain?! There, have at it.” Mission accomplished. – Antonio Poscic
2. Malconfort- Humanism (Transcending Obscurity)
Even though named from a Deathspell Omega track, Malconfort travel back to the origin. The UK-based act, which features members of the exquisite Sea Mosquito (check out Igitur) and Amaltheia, relishes Ved Buens Ende’s discordance. But instead of simply rehashing the grandeur of Written in Waters, Malconfort augment the experience with their debut record, Humanism. The awkward jazzy rhythms of “Compulsion (Ecstasy)” show the way, naturally falling into the dissonant methodology. The off-kilter playing and the abstract progressions fill the space, and Malconfort can slide naturally to any form, ranging from chamber jazz to krautrock (channeled by way of Virus), as with “Inertia (Condense)”.
While dissonance is one pillar, the other two foundations are ambiance and psychedelia. In the former, Malconfort aptly sculpt an otherworldly presence. At times, it takes the form of a feverish dream, elusive and incoherent. Then it morphs into a volatile experience, as with “Stain (Fantasy)”, where waves of distortion devour all. On the psychedelic front, they contort their ambiance and structure to take a delirious semblance, as “Cruelty (Elation)” suggests with its spiraling riffing and subliminal delivery.
A few black metal touches establish the Malconfort’s pedigree, lashing out with brutality in “Rage (Indulgence)”, and the sorrowful passages of “Carnivore (God)” evoke a strangely soothing sentiment in this sea of disharmony. In recent years, many have tried to reach for the mystique of Written of Waters, with the likes of Laster and Doldrum making a significant dent. Now Malconfort join this list, putting out one of the best works of this year. – Spyros Stasis
1. Wormed – Omegon (Season of Mist)
In a year that’s been extremely generous to brutal and technical death metal, with the likes of Brodequin, Noxis, Ulcerate, and Replicant all delivering excellent new albums, Madrid’s Wormed undoubtedly retain the title of the best in the game.
The infinitely dense textures and tightly wound progressions of their style might suggest a tiny margin for experimentation, but the Spanish quintet explode the fabric of the sound, creating space for jazzy drum fills, twisted structures that constantly collapse unto themselves, and kaleidoscopic drops of sci-fi atmosphere. Where groups like Blood Incantation use the latter to create a sense of cosmic wonder, for Wormed, the vacuum of space is filled with horrors that evoke the existential anxiety of slashers like Event Horizon and Pandorum. Indulging in Omegon can thus be frightening, horrible, and akin to pushing your brain through a blender, yet remains utterly irresistible. The most intense-sounding record of the year and their best one yet. – Antonio Poscic