Cornfed Hick
Ancient Mariner
I have bought in to pretty much everything Haunt has released. They put out albums relatively frequently, 2024’s is called “Dreamers.”
Best New Music 2024 edition
- Thread starter The_7th_one
- Start date
The_7th_one
Ancient Mariner
MY FAVORITE NOVEMBER ALBUMS:
- BLACK SITES - The Promised Land ?
- OCEANS OF SLUMBER - Where Gods Fear to Speak
- OPETH - The Last Will and Testament
- POWERWOLF - Wake Up the Wicked
- UNLEASH THE ARCHERS - Phantoma
- UNTO OTHERS - Never, Neverland
- HAUNT - Dreamers
- FLOTSAM AND JETSAM - I Am the Weapon
- MY DYING BRIDE - A Mortal Binding
- CASSANDRA'S CROSSING - Garden of Earthly Delights
- THUNDERMOTHER - Rock 'N' Roll Disaster
- AXEL RUDI PELL - Risen Symbol
- DELAIN - Dance with the Devil
Jer
'Til Tomorrow
Definitely on board with these — two of my personal faves from this year.
The_7th_one
Ancient Mariner
endlessblockades
Prowler
My current favorites for this year are...
- ADORIOR "Bleed On My Teeth" [death/black metal]
- LORD HUMONGOUS "Raped by the Nukes" [black/speed metal]
- LIFELESS DARK "Forces Of Nature's Transformation" [hardcore punk]
- SANGUINE WOUNDS "Sanguine Wounds" [raw black metal/dungeon synth]
- KALI MALONE "All Life Long" [drone/minimalism]
- ATTIC "Return of the Witchfinder" [mercyful fate-worship]
- ROTTEN UK "Age of Chaos" [hardcore punk]
- OLD FOREST "Graveside" [black metal]
- TRELLDOM "...By the Shadows..." [black metal]
- WYRMVOLD "Vengeance Eclipsing Red" [war metal]
- HELLBUTCHER "Hellbutcher" [black metal]
MrKnickerbocker
clap hands
2024 was a huge year for classic bands releasing great albums and finding some fresh, unique music to add to my future adventures! Here's my top 13 of the year (10 was impossible), some honorable mentions, and my disappointments of the year.
THE BEST (I'll start with my favorites from new to me artists, as I'm sure most of us will be more familiar with the others.)
MEER - Wheels Within Wheels
I discovered this band early in the year by listening to their exquisite 2021 album Playing House, and I was thrilled to learn that they were releasing a new album. Wheels Within Wheels is progressive pop rock: the songs veer off unexpectedly into heaviness, jazziness, solos and more. There are, I think, 8 musicians in the band? MEER features a powerhouse brother/sister lead vocal duo and both of them are fantastic. I don't think I've ever heard a band more effectively (and repeatedly) use the idea of the crescendo within their song structures. Give them a listen.
Khirki - Κυκεώνας
A Greek trio blending classic metal, prog rock, traditional Eastern instruments, and...I don't know. It's a sound I've never heard before. At times I am reminded of post-punk/hardcore/alt-rock band Thrice, at others they're riffing like Iron Maiden, and some times it's just folky. I can also see some comparisons to Mastodon (especially the artwork). Their lead vocalists clean voice is lacking a bit, but he still carries the tunes well and his harder-edged shout is fantastic. Check out The Watchers of Enoch and Hekate, both of which feature contenders for my favorite Riff Of The Year.
Sunburst - Manifesto
And speaking of The Greeks, here comes Sunburst with a slab of approachable prog/traditional metal with a singer who literally could be Roy Khan. I've never been this excited about a copycat singer, but I also don't think I realized until 2024 how much I missed Khan's voice in metal. The album is really good. A bit samey, but a great listen all the through. Great guitar playing, great singing, hooky choruses. Give them a listen.
Myrath - Karma
These guys need no introduction, as they've been kicking around the prog metal scene since they started as a Symphony X cover band almost twenty years ago. I've always known them, heard them a couple times, but never really given them a fair shake until now. And damn am I glad I did! This album is non-stop banger after banger. It's like if Symphony X only wrote 4 minute pop metal songs, but in a way that didn't make you mad at them dropping their proggy roots. This album is infectious. Candles Cry is another contender for (Keyboard) Riff Of The Year.
Mythbegotten - Tales From The Unseelie Court
I don't know who these whack-a-doos are, but this album is so interesting. It's a clearly self-produced (but still pretty good sounding) ode to faerie folklore, HP Lovecraft, demons and wizards and everything nerdy about classic metal tropes. The genres swing from folk/shanty metal to black metal to power metal...it's all over the place in the best of ways. I am excited to see where this band goes from here. Give them a listen!
Crypt Sermon - The Stygian Rose
Epic/prog doom with fun vocals and really good musicianship, this one was a surprise. It's got just enough get-up-and-go in the riffing and just enough tempo shifting to avoid the pitfalls you normally get with doom metal (aka 10 minute songs with virtually no change in tempo or riffing). There's some really awesome songwriting at play here and it's definitely worth listening to.
(And now onto some things a bit more familiar...)
Opeth - The Last Will and Testament
Just when we thought he couldn't do it, Mikael went and did it! The growls are back, the riffs are back (that bluesy one in Paragraph 2 is another contender for Riff Of The Year), the production is back...yet it still feels like a natural progression of Opeth's overall sonic journey without sounding like a throwback. Is this my favorite album of 2024? I definitely don't think so. As with most Opeth, it's so dense that I haven't really gotten fully invested yet. But I hope to.
Judas Priest - Invincible Shield
Priest have rarely sounded as good on record as they do with Andy Sneap behind the knobs. The haters will say it's not Priest anymore, blah blah blah, I don't care. This album, just like Firepower, absolutely slays.
Nightwish - Yesterwynde
Despite the absence of dear Marko, Nightwish manage to make a rather great record again! I have listened to this album at least 7-8 times since release and I'm still finding new things and changing my mind on certain songs. Yes, the mix is absolute shit and you can't hear Floor as well as you should, but at least the vocal lines are finally impressive! The string/keyboard/guitar unison in The Day Of is another contender for Riff Of The Year (certainly something I never thought I would say again about a Nightwish song).
Unleash the Archers - Phantoma
I was a bit underwhelmed by this record when it first came out, to be honest. Thankfully, it has grown on me. In my heart, I really just wanted more Abyss...but then I remembered that when Abyss came out I was also a little disappointed because I just wanted more Apex. Unleash the Archers seem to be very naturally gifted at taking their core sound just that extra step further with each record, rewarding you for sticking with them even if it takes a few extra spins. Buried In Code, Ghosts in the Mist, and hell, even Give It Up Or Give It All are still in constant rotation for me.
Missy Higgins - The Second Act
Missy Higgins is a folk/pop singer-songwriter who is absolutely massive in Australia, but virtually unknown in the rest of the world. I've loved her music since the release of her second album in 2007. The Second Act is a shockingly intimate, absolutely devastating listen. Every song is a window into the life and loss of a woman experiencing divorce and having to deal with that while also explaining everything to her two young children. Nothing on this album is catchy, but goddamn, every song is capable of emotionally rocking you to the core. It's a masterwork.
The Cure - Songs of a Lost World
I never knew I needed another album by The Cure. But I did. And it's wonderful. Thanks, Robert.
Anciients - Beyond the Reach of the Sun
These guys have finally stopped sounding like an Opeth clone and that's great! This record is quite good, but I need to give it a few more listens before it really seeps in.
HONORABLE MENTIONS
Sonic Universe - It Is What It Is
One of two "supergroup" projects released this year spearheaded by guitarist Mike Orlando, this one is just fun as hell. It's heavy, funky hard rock/metal with vocals by the always charismatic Corey Glover of Living Colour. There's nothing outstanding here, but it's a good listen.
Kacey Musgraves - Deeper Well
As with nearly every Kacey release, there's some things to love here immediately and some that will take awhile to grow on me. Still, she always drops a few gems per release and The Architect may be one of her best songs ever.
DISAPPOINTMENTS
Powerwolf - Wake Up The Wicked
It's just more of the same. They continue to lose layers of integrity with every release, but hey, it's still fucking werewolf priests hailing Satan and/or Christ, so SHUTUPANDEATITAMIRITE?!
Bruce Dickinson - The Mandrake Project
All has been said already. I'm still disappointed.
Whom Gods Destroy - Insanium
The talent level here should have produced something much better. I honestly just thought I'd be getting Sons of Apollo with Dino and...it's clear that Portnoy added a lot to Sons of Apollo.
William Elliott Whitmore - Silently, The Mind Breaks
Every new release by this Iowa farmboy folkster just moves farther away from what I loved about him: darkness. His first few albums are tough. Sure, it's just a guy with a banjo/guitar, but he used to conjure feelings of dread while making your soul feel fuzzy at the same time. Now, as happens, he is married and happy and I guess he's just not obsessed with death anymore.
Category 7 - s/t
Another Mike Orlando project, but this time with John Bush (one of my favorites) on the mic. Sadly, the songs are forgettable, the music samey, and the lyrics just not great. Oh well.
Zeal & Ardor - GREIF
I love this band, just saw them live (and they killed it), but I just don't like this record. It loses some of the metal and some of the gimmicky slave holler style that was literally the selling point of their existence. There's a couple good tracks here, but after the absolutely incredible self-titled album from 2022, this was a massive downswing.
THE BEST (I'll start with my favorites from new to me artists, as I'm sure most of us will be more familiar with the others.)
MEER - Wheels Within Wheels
I discovered this band early in the year by listening to their exquisite 2021 album Playing House, and I was thrilled to learn that they were releasing a new album. Wheels Within Wheels is progressive pop rock: the songs veer off unexpectedly into heaviness, jazziness, solos and more. There are, I think, 8 musicians in the band? MEER features a powerhouse brother/sister lead vocal duo and both of them are fantastic. I don't think I've ever heard a band more effectively (and repeatedly) use the idea of the crescendo within their song structures. Give them a listen.
Khirki - Κυκεώνας
A Greek trio blending classic metal, prog rock, traditional Eastern instruments, and...I don't know. It's a sound I've never heard before. At times I am reminded of post-punk/hardcore/alt-rock band Thrice, at others they're riffing like Iron Maiden, and some times it's just folky. I can also see some comparisons to Mastodon (especially the artwork). Their lead vocalists clean voice is lacking a bit, but he still carries the tunes well and his harder-edged shout is fantastic. Check out The Watchers of Enoch and Hekate, both of which feature contenders for my favorite Riff Of The Year.
Sunburst - Manifesto
And speaking of The Greeks, here comes Sunburst with a slab of approachable prog/traditional metal with a singer who literally could be Roy Khan. I've never been this excited about a copycat singer, but I also don't think I realized until 2024 how much I missed Khan's voice in metal. The album is really good. A bit samey, but a great listen all the through. Great guitar playing, great singing, hooky choruses. Give them a listen.
Myrath - Karma
These guys need no introduction, as they've been kicking around the prog metal scene since they started as a Symphony X cover band almost twenty years ago. I've always known them, heard them a couple times, but never really given them a fair shake until now. And damn am I glad I did! This album is non-stop banger after banger. It's like if Symphony X only wrote 4 minute pop metal songs, but in a way that didn't make you mad at them dropping their proggy roots. This album is infectious. Candles Cry is another contender for (Keyboard) Riff Of The Year.
Mythbegotten - Tales From The Unseelie Court
I don't know who these whack-a-doos are, but this album is so interesting. It's a clearly self-produced (but still pretty good sounding) ode to faerie folklore, HP Lovecraft, demons and wizards and everything nerdy about classic metal tropes. The genres swing from folk/shanty metal to black metal to power metal...it's all over the place in the best of ways. I am excited to see where this band goes from here. Give them a listen!
Crypt Sermon - The Stygian Rose
Epic/prog doom with fun vocals and really good musicianship, this one was a surprise. It's got just enough get-up-and-go in the riffing and just enough tempo shifting to avoid the pitfalls you normally get with doom metal (aka 10 minute songs with virtually no change in tempo or riffing). There's some really awesome songwriting at play here and it's definitely worth listening to.
(And now onto some things a bit more familiar...)
Opeth - The Last Will and Testament
Just when we thought he couldn't do it, Mikael went and did it! The growls are back, the riffs are back (that bluesy one in Paragraph 2 is another contender for Riff Of The Year), the production is back...yet it still feels like a natural progression of Opeth's overall sonic journey without sounding like a throwback. Is this my favorite album of 2024? I definitely don't think so. As with most Opeth, it's so dense that I haven't really gotten fully invested yet. But I hope to.
Judas Priest - Invincible Shield
Priest have rarely sounded as good on record as they do with Andy Sneap behind the knobs. The haters will say it's not Priest anymore, blah blah blah, I don't care. This album, just like Firepower, absolutely slays.
Nightwish - Yesterwynde
Despite the absence of dear Marko, Nightwish manage to make a rather great record again! I have listened to this album at least 7-8 times since release and I'm still finding new things and changing my mind on certain songs. Yes, the mix is absolute shit and you can't hear Floor as well as you should, but at least the vocal lines are finally impressive! The string/keyboard/guitar unison in The Day Of is another contender for Riff Of The Year (certainly something I never thought I would say again about a Nightwish song).
Unleash the Archers - Phantoma
I was a bit underwhelmed by this record when it first came out, to be honest. Thankfully, it has grown on me. In my heart, I really just wanted more Abyss...but then I remembered that when Abyss came out I was also a little disappointed because I just wanted more Apex. Unleash the Archers seem to be very naturally gifted at taking their core sound just that extra step further with each record, rewarding you for sticking with them even if it takes a few extra spins. Buried In Code, Ghosts in the Mist, and hell, even Give It Up Or Give It All are still in constant rotation for me.
Missy Higgins - The Second Act
Missy Higgins is a folk/pop singer-songwriter who is absolutely massive in Australia, but virtually unknown in the rest of the world. I've loved her music since the release of her second album in 2007. The Second Act is a shockingly intimate, absolutely devastating listen. Every song is a window into the life and loss of a woman experiencing divorce and having to deal with that while also explaining everything to her two young children. Nothing on this album is catchy, but goddamn, every song is capable of emotionally rocking you to the core. It's a masterwork.
The Cure - Songs of a Lost World
I never knew I needed another album by The Cure. But I did. And it's wonderful. Thanks, Robert.
Anciients - Beyond the Reach of the Sun
These guys have finally stopped sounding like an Opeth clone and that's great! This record is quite good, but I need to give it a few more listens before it really seeps in.
HONORABLE MENTIONS
Sonic Universe - It Is What It Is
One of two "supergroup" projects released this year spearheaded by guitarist Mike Orlando, this one is just fun as hell. It's heavy, funky hard rock/metal with vocals by the always charismatic Corey Glover of Living Colour. There's nothing outstanding here, but it's a good listen.
Kacey Musgraves - Deeper Well
As with nearly every Kacey release, there's some things to love here immediately and some that will take awhile to grow on me. Still, she always drops a few gems per release and The Architect may be one of her best songs ever.
DISAPPOINTMENTS
Powerwolf - Wake Up The Wicked
It's just more of the same. They continue to lose layers of integrity with every release, but hey, it's still fucking werewolf priests hailing Satan and/or Christ, so SHUTUPANDEATITAMIRITE?!
Bruce Dickinson - The Mandrake Project
All has been said already. I'm still disappointed.
Whom Gods Destroy - Insanium
The talent level here should have produced something much better. I honestly just thought I'd be getting Sons of Apollo with Dino and...it's clear that Portnoy added a lot to Sons of Apollo.
William Elliott Whitmore - Silently, The Mind Breaks
Every new release by this Iowa farmboy folkster just moves farther away from what I loved about him: darkness. His first few albums are tough. Sure, it's just a guy with a banjo/guitar, but he used to conjure feelings of dread while making your soul feel fuzzy at the same time. Now, as happens, he is married and happy and I guess he's just not obsessed with death anymore.
Category 7 - s/t
Another Mike Orlando project, but this time with John Bush (one of my favorites) on the mic. Sadly, the songs are forgettable, the music samey, and the lyrics just not great. Oh well.
Zeal & Ardor - GREIF
I love this band, just saw them live (and they killed it), but I just don't like this record. It loses some of the metal and some of the gimmicky slave holler style that was literally the selling point of their existence. There's a couple good tracks here, but after the absolutely incredible self-titled album from 2022, this was a massive downswing.
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The_7th_one
Ancient Mariner
I really like your list with reviews of every albums. I agree, 2024 has been a great year for music. So many great albums…I hope to listen a few 2024 releases more until the end of the year and hope to make my list the first week of January.
karljant
Ancient Mariner
Hope I won't forget anything... here are the first 7 out of 10 (top ones on a next post). No order in particular:
African Imperial Wizard - Mbuya Nehanda: Just listened to this one a couple of days ago and HOLY FUCK! To say this stuff blew my mind is a gross understatement. I knew the Angolan extreme music scene had a burst on the last decade and already gave birth to some really good bands (with special focus to Kishi IMO) but these guys took things to a whole new level. Blending genres as distinct as Drone, Experimental Noise, Angolan Ethnical music and Industrial, AIW amazes both by the sheer originality and maturity of the way they cook all these ingredients in an awe inducing, unsettling and disturbing construct. Be aware though... This is light years away from easy listening stuff and dwells in really bleak scenarios. To be fair this record is more like a journey, a horrendous trip throughout a nation deeply scarred by war, exploitation and misery. Definitely not for the more sensible ears but damn, easily 2024's biggest surprise.
Ihsahn - Ihsahn: Before everything I must make my disclaimer as an Ihsahn diehard fan. And since the Emperor days I always thought one of his most amazing traits as a composer were orchestral arrangements. This, obviously, matured and developed to masterful levels of composition as Ihsahn got older and more open to different sonic adventures. Albums like Eremita or Amr are excellent examples of this mastery. Yet nothing prepared me for what this guy had on his sleeve this time. Now I must confess one thing (which may increase or deflate the praise I have for the record): when it comes to the album itself, other than Pilgrimage To Oblivion and Taste Of Ambrosia, I think I listened to it a handful of times. It happens I got the limited version and the bonus record features only the orchestral tracks and daaaaaammmn... Every time I pick it up, I end up listening to it instead. Why? It's simple: this is nothing short of one of the best cinematic arrangements I have listened to! I mean... show these renditions to someone who's into classical music and doesn't like rock and I think they'll thoroughly enjoy it. What an experience. Now I must promise myself I'll get a grip next time and give the integral version a chance.
Judas Priest - Invincible Shield: Now, I won't waste many lines saying obvious stuff, like Priest are still one of the top metal bands in the world. Nonetheless there are some points I must stress: after stunning everyone with 2018's jaw dropping 'Firepower', one would assume it would be hard to make a follow up nearly as good. But truth be told IMO the old geezers nailed it once again. Now, I rank 'Invincible Shield' a tad bit below its predecessor, yet it's easily on the same echelon of quality (that being all time top tier traditional Heavy Metal). The album is almost devoid of fillers and features some stunning standouts (like Panic Attack, The Serpent And The King, Escape From Reality or the title track). And what's more ridiculous is that these guys have celebrated 55 (!) years of activities and, IMO, still put to shame all youngsters (and not only) who dare to thread the same sonic path. Seriously, this is ridiculous. Judas Priest are the LeBron James of Metal. Albums with such absurdly high quality this late on a rock/metal career is something unheard of.
Chelsea Wolfe - She Reaches Out To She Reaches Out To She: 21st century's dark diva is back with what I believe to be the best album of her career. Although the landscapes are still dark and dire, the new full length is a bit more, let's say, ethereal, sometimes even giving a strange sense of warmth and comfort. Furthermore, the electronic elements are somewhat resemblant to some of Trent Reznor's works (and yes, this is a major compliment). A good example of what is the main vibe here is the absolutely immersive Eyes Like Nightshade. Yet Chelsea also amazes on different levels, like the strong post punk influences on House Of Self-Undoing, or what seems to be a blackened mix of Massive Attack and Curve on Dusk. To sum it up, a great record featuring some small details that may surprise some of the artist's fans.
Bruce Dickinson - The Mandrake Project: Who'd guess? Two major names of classic metal in my top 10! It must be the first time in decades. And well, what can I say taking into account the sort of reception this one got from some fans? I think that something along the lines of "if we all liked the same, life would be really boring". And with that in mind I must stress once again how much I love IRON MAIDEN's frontman most recent solo release. And if it's true the album keeps on sounding utterly fresh due to the hooks and easy listening nature of its straight forward tunes (like Many Doors To Hell, Rain On The Graves or Face In The Mirror) fact is I feel the same overwhelming dose of enthusiasm when less direct stuff hits the speakers (especially the last two cuts... utter perfection). Still making its way into my playlists after all these months.
GridLink - Coronet Juniper: Ok, this one is from 2023 but I only listened to it a couple of months ago so bear with me. And it probably happened so since I thought the Nipon/ American collective broke up. And to be fair I believe they still did so after releasing this thermonuclear device into the stratosphere. And if they really disbanded is a pity because GridLink IMO is perhaps the most original act when it comes to taking Grindcore and ultra extreme music to a new landscape. Everything here sounds modern and original without sounding fashionable or fake. For real, these guys have a truly unique and exciting vibe! And they always manage to surprise me with unexpected awesome guitar melodies and completely out of the blue tempo changes cleverly combining with unrelenting blast-beat barrages and manic screeches. If it's their last record... man... what a way to go out in style!
Jerry Cantrel - I Want Blood: My case with Cantrel is deliciously unnerving. Seriously: almost three decades and a half of seeing this guy releasing album after album and not a single record that nears the concept of disappointing. And yup... He did it again. I mean, I give up. From the get go Vilified kicks down the door with the beautiful bittersweet claustrophobia Jerry spoils me with in every record he makes... and, like many other tunes here, could easily be featured on any Alice In Chains album and would hold its own among the many stellar compositions of what I consider to be one of the best rock bands of the 90's (if not the best). Of The Rails is another hymn and by the first listen I was already clapping what was another sure shot by Jerry. And then Afterglow starts and, shit... I give up. The way this guy manages to pull out accessible tunes full of hooks that sound equally gorgeous and miserable is inhuman. And then the thing unfolds almost flawlessly: want some Black Sabbath? Try some Throw Me A Line. Something a bit more dire? Here's Let It Lie for you. Summing things up: a parade of awesome tracks that flows into the vast abandonment of It Comes. Monster of an album ("just" another one...) by one of the best rock songwriters ever in my book.
African Imperial Wizard - Mbuya Nehanda: Just listened to this one a couple of days ago and HOLY FUCK! To say this stuff blew my mind is a gross understatement. I knew the Angolan extreme music scene had a burst on the last decade and already gave birth to some really good bands (with special focus to Kishi IMO) but these guys took things to a whole new level. Blending genres as distinct as Drone, Experimental Noise, Angolan Ethnical music and Industrial, AIW amazes both by the sheer originality and maturity of the way they cook all these ingredients in an awe inducing, unsettling and disturbing construct. Be aware though... This is light years away from easy listening stuff and dwells in really bleak scenarios. To be fair this record is more like a journey, a horrendous trip throughout a nation deeply scarred by war, exploitation and misery. Definitely not for the more sensible ears but damn, easily 2024's biggest surprise.
Ihsahn - Ihsahn: Before everything I must make my disclaimer as an Ihsahn diehard fan. And since the Emperor days I always thought one of his most amazing traits as a composer were orchestral arrangements. This, obviously, matured and developed to masterful levels of composition as Ihsahn got older and more open to different sonic adventures. Albums like Eremita or Amr are excellent examples of this mastery. Yet nothing prepared me for what this guy had on his sleeve this time. Now I must confess one thing (which may increase or deflate the praise I have for the record): when it comes to the album itself, other than Pilgrimage To Oblivion and Taste Of Ambrosia, I think I listened to it a handful of times. It happens I got the limited version and the bonus record features only the orchestral tracks and daaaaaammmn... Every time I pick it up, I end up listening to it instead. Why? It's simple: this is nothing short of one of the best cinematic arrangements I have listened to! I mean... show these renditions to someone who's into classical music and doesn't like rock and I think they'll thoroughly enjoy it. What an experience. Now I must promise myself I'll get a grip next time and give the integral version a chance.
Judas Priest - Invincible Shield: Now, I won't waste many lines saying obvious stuff, like Priest are still one of the top metal bands in the world. Nonetheless there are some points I must stress: after stunning everyone with 2018's jaw dropping 'Firepower', one would assume it would be hard to make a follow up nearly as good. But truth be told IMO the old geezers nailed it once again. Now, I rank 'Invincible Shield' a tad bit below its predecessor, yet it's easily on the same echelon of quality (that being all time top tier traditional Heavy Metal). The album is almost devoid of fillers and features some stunning standouts (like Panic Attack, The Serpent And The King, Escape From Reality or the title track). And what's more ridiculous is that these guys have celebrated 55 (!) years of activities and, IMO, still put to shame all youngsters (and not only) who dare to thread the same sonic path. Seriously, this is ridiculous. Judas Priest are the LeBron James of Metal. Albums with such absurdly high quality this late on a rock/metal career is something unheard of.
Chelsea Wolfe - She Reaches Out To She Reaches Out To She: 21st century's dark diva is back with what I believe to be the best album of her career. Although the landscapes are still dark and dire, the new full length is a bit more, let's say, ethereal, sometimes even giving a strange sense of warmth and comfort. Furthermore, the electronic elements are somewhat resemblant to some of Trent Reznor's works (and yes, this is a major compliment). A good example of what is the main vibe here is the absolutely immersive Eyes Like Nightshade. Yet Chelsea also amazes on different levels, like the strong post punk influences on House Of Self-Undoing, or what seems to be a blackened mix of Massive Attack and Curve on Dusk. To sum it up, a great record featuring some small details that may surprise some of the artist's fans.
Bruce Dickinson - The Mandrake Project: Who'd guess? Two major names of classic metal in my top 10! It must be the first time in decades. And well, what can I say taking into account the sort of reception this one got from some fans? I think that something along the lines of "if we all liked the same, life would be really boring". And with that in mind I must stress once again how much I love IRON MAIDEN's frontman most recent solo release. And if it's true the album keeps on sounding utterly fresh due to the hooks and easy listening nature of its straight forward tunes (like Many Doors To Hell, Rain On The Graves or Face In The Mirror) fact is I feel the same overwhelming dose of enthusiasm when less direct stuff hits the speakers (especially the last two cuts... utter perfection). Still making its way into my playlists after all these months.
GridLink - Coronet Juniper: Ok, this one is from 2023 but I only listened to it a couple of months ago so bear with me. And it probably happened so since I thought the Nipon/ American collective broke up. And to be fair I believe they still did so after releasing this thermonuclear device into the stratosphere. And if they really disbanded is a pity because GridLink IMO is perhaps the most original act when it comes to taking Grindcore and ultra extreme music to a new landscape. Everything here sounds modern and original without sounding fashionable or fake. For real, these guys have a truly unique and exciting vibe! And they always manage to surprise me with unexpected awesome guitar melodies and completely out of the blue tempo changes cleverly combining with unrelenting blast-beat barrages and manic screeches. If it's their last record... man... what a way to go out in style!
Jerry Cantrel - I Want Blood: My case with Cantrel is deliciously unnerving. Seriously: almost three decades and a half of seeing this guy releasing album after album and not a single record that nears the concept of disappointing. And yup... He did it again. I mean, I give up. From the get go Vilified kicks down the door with the beautiful bittersweet claustrophobia Jerry spoils me with in every record he makes... and, like many other tunes here, could easily be featured on any Alice In Chains album and would hold its own among the many stellar compositions of what I consider to be one of the best rock bands of the 90's (if not the best). Of The Rails is another hymn and by the first listen I was already clapping what was another sure shot by Jerry. And then Afterglow starts and, shit... I give up. The way this guy manages to pull out accessible tunes full of hooks that sound equally gorgeous and miserable is inhuman. And then the thing unfolds almost flawlessly: want some Black Sabbath? Try some Throw Me A Line. Something a bit more dire? Here's Let It Lie for you. Summing things up: a parade of awesome tracks that flows into the vast abandonment of It Comes. Monster of an album ("just" another one...) by one of the best rock songwriters ever in my book.
I'll tackle the top 3 in a new post... It's getting late and I'm tired. Peace.
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karljant
Ancient Mariner
3) Devin Townsend - Powernerd
Being a huge Dev fan, I can be a bit demanding when it comes to his releases. I do so since albums like Infinity, Ocean Machine, Terria, Empath or even Physicist and Epicloud (not to mention his work in SYL) were literal windows that opened my mind to a perspective in music I would never be fortunate enough to contemplate if it wasn't for this Canadian genius. And man... The landscapes I watched through those windows weren't simply unique: they were as diverse as they were magnificent.
With that in mind, Powernerd kicks off in a really loose and sped up fashion. The title track is typical Dev Metal with a uptempo punk swing, featuring equal doses of angst and liberating feeling. Really cool, energetic and uncompromising start. Falling Apart is way deeper, reminding me of a mix of Deadhead and Grace, its ambiance swinging from a cozy intimate space to awe inducing, intimidating large horizons in a click. And it all works together so damn well! Knuckledragger introduces more synths and odd time signatures and brings up to front the more sensorial exciting moments up to this moment. Typical awesome Devin craziness... And, by now, I'm thinking the guy has my pick for album of the year in his pocket.
Well, not so fast.
Gratitude is a melodic, quiet track. Is it beautiful and soothing? Sure. Does it converge with the lyrical content in a perfect way? Yes. But there's little more I can take out of this one. After a cool esoteric prelude Ubelia follows and, while it's a bit more expressive than Gratitude it kinda swims in similar acoustic waters. And once again, while not being a letdown by any means, it's far from being a standout in my book. The same can't be said by the next track, that IMO happens to be easily the high point of this record and the best song Devin composed in many years. Although leaving a somewhat bitter taste due to the anguish, exposure and (to a degree) dire feeling its lyrics convey, Jainism is nothing short of a masterpiece, sounding larger than life. Music wise, I only have one thing to say: Wow! This guy left my jaw on the floor once again (like I wasn't expecting it...).
As I try to recover from the avalanche that is Jainism, Younger Lover calms things down. But once again its morphology is too similar to those of tracks like Gratitude and Ubelia. Glacier is a type of build Devin recurs to often: this lumbering, vast wall of sound filled with melody and pomp. I mean, it sounds really good but there were songs in the past that achieved this effect is sublime fashion. Goodbye shows another formula Devin mastered throughout the years and that's the "metalized pop song". If you know Slow Me Down from Accelerated Evolution you surely know what I'm talking about and, despite feeling this isn't Mr. Towsend's best composition ever in that mold, the song itself has lots of juice and dynamics, adding variety to the record (something that's almost always a blueprint on this guy's work). So, we get to Ruby Quaker, the last track and what is this corky country like rambling about loving coffee? I mean he sure does like coffee: no one ever made a two-disc space opera based on it for dams sure. And after the second chorus the Dev fan in me rings a bell and I get it: the guy's pulling our leg in an extreme ironical way and something crazy is about to happen. And so, it does... out of the blue we're bombarded with blast beats and a dense and heavy as fuck section that could be on a IHSAHN or late EMPEROR record and the song then goes full Lloyd Webber musical mode to the end (something Townsend does like no other artist in Rock), and to be fair I simply love when this guy indulges himself in this kind of extravaganza.
To sum things up, Powernerd has some ridiculously high points, all of them being really diverse, and to this diehard fan they sound exquisite. Then it also features some cool tunes that I'll give some spins for sure. That being said the slower stuff sounds a bit samey. And once again I pull back to the first paragraph, when I said that Devin has released so much jaw dropping material that he kinda spoiled me... So now, every time he releases an album it is normal that I expect another absolute mind blower, which is something Powernerd isn't. I mean, it features some mind-blowing tunes and passages for sure but in the end it's "just" an excellent record. Which is understandable. Devin Townsend said in an interview that, while he was composing the album, some problems occurred in his family life. So, this affected his state of mind and attention priorities. That being said he had to be true to himself and completely rewrite a new album, since the other one he was recording was completely outside the mind frame he was going through now. Well... Taking this into account I think one must praise this release even more, since pulling an album this great under stress and running against time is nothing short of amazing.
So, here's my final verdict: is this Dev's best release ever? No, I don't think so. Nor should it be given the circumstances. Now... is it ridiculously good and reassures us that the guy hasn't lost a millimeter of his mojo? You bet your ass!
Being a huge Dev fan, I can be a bit demanding when it comes to his releases. I do so since albums like Infinity, Ocean Machine, Terria, Empath or even Physicist and Epicloud (not to mention his work in SYL) were literal windows that opened my mind to a perspective in music I would never be fortunate enough to contemplate if it wasn't for this Canadian genius. And man... The landscapes I watched through those windows weren't simply unique: they were as diverse as they were magnificent.
With that in mind, Powernerd kicks off in a really loose and sped up fashion. The title track is typical Dev Metal with a uptempo punk swing, featuring equal doses of angst and liberating feeling. Really cool, energetic and uncompromising start. Falling Apart is way deeper, reminding me of a mix of Deadhead and Grace, its ambiance swinging from a cozy intimate space to awe inducing, intimidating large horizons in a click. And it all works together so damn well! Knuckledragger introduces more synths and odd time signatures and brings up to front the more sensorial exciting moments up to this moment. Typical awesome Devin craziness... And, by now, I'm thinking the guy has my pick for album of the year in his pocket.
Well, not so fast.
Gratitude is a melodic, quiet track. Is it beautiful and soothing? Sure. Does it converge with the lyrical content in a perfect way? Yes. But there's little more I can take out of this one. After a cool esoteric prelude Ubelia follows and, while it's a bit more expressive than Gratitude it kinda swims in similar acoustic waters. And once again, while not being a letdown by any means, it's far from being a standout in my book. The same can't be said by the next track, that IMO happens to be easily the high point of this record and the best song Devin composed in many years. Although leaving a somewhat bitter taste due to the anguish, exposure and (to a degree) dire feeling its lyrics convey, Jainism is nothing short of a masterpiece, sounding larger than life. Music wise, I only have one thing to say: Wow! This guy left my jaw on the floor once again (like I wasn't expecting it...).
As I try to recover from the avalanche that is Jainism, Younger Lover calms things down. But once again its morphology is too similar to those of tracks like Gratitude and Ubelia. Glacier is a type of build Devin recurs to often: this lumbering, vast wall of sound filled with melody and pomp. I mean, it sounds really good but there were songs in the past that achieved this effect is sublime fashion. Goodbye shows another formula Devin mastered throughout the years and that's the "metalized pop song". If you know Slow Me Down from Accelerated Evolution you surely know what I'm talking about and, despite feeling this isn't Mr. Towsend's best composition ever in that mold, the song itself has lots of juice and dynamics, adding variety to the record (something that's almost always a blueprint on this guy's work). So, we get to Ruby Quaker, the last track and what is this corky country like rambling about loving coffee? I mean he sure does like coffee: no one ever made a two-disc space opera based on it for dams sure. And after the second chorus the Dev fan in me rings a bell and I get it: the guy's pulling our leg in an extreme ironical way and something crazy is about to happen. And so, it does... out of the blue we're bombarded with blast beats and a dense and heavy as fuck section that could be on a IHSAHN or late EMPEROR record and the song then goes full Lloyd Webber musical mode to the end (something Townsend does like no other artist in Rock), and to be fair I simply love when this guy indulges himself in this kind of extravaganza.
To sum things up, Powernerd has some ridiculously high points, all of them being really diverse, and to this diehard fan they sound exquisite. Then it also features some cool tunes that I'll give some spins for sure. That being said the slower stuff sounds a bit samey. And once again I pull back to the first paragraph, when I said that Devin has released so much jaw dropping material that he kinda spoiled me... So now, every time he releases an album it is normal that I expect another absolute mind blower, which is something Powernerd isn't. I mean, it features some mind-blowing tunes and passages for sure but in the end it's "just" an excellent record. Which is understandable. Devin Townsend said in an interview that, while he was composing the album, some problems occurred in his family life. So, this affected his state of mind and attention priorities. That being said he had to be true to himself and completely rewrite a new album, since the other one he was recording was completely outside the mind frame he was going through now. Well... Taking this into account I think one must praise this release even more, since pulling an album this great under stress and running against time is nothing short of amazing.
So, here's my final verdict: is this Dev's best release ever? No, I don't think so. Nor should it be given the circumstances. Now... is it ridiculously good and reassures us that the guy hasn't lost a millimeter of his mojo? You bet your ass!
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The_7th_one
Ancient Mariner
MY FAVORITE DECEMBER ALBUMS:
- IRONFLAME - Kingdom Torn Asunder
- ENDONOMOS II - Enlightenment
- CASTLE - Evil Remains
- HIGH ON FIRE - Commeth by Storm
- NIGHTWISH - Yesterwynde
- ELEPHANT9 - Mythical River (Jazz)
- BLOOD INCANTATION - Absolute Elsewhere
- AURORA CLARA - IV (Jazz/Fusion)
- STRYPER - When We Where Kings
- CELESTE - Echi di un Futuro Passato (Prog Rock)
- JUPITER FUNGUS - Garden Electric (Prog Rock)
- HAUNTED - Stare at Nothing
- TRIBULATION - Sub Rosa Aeternum
Black Bart
Ancient Mariner
And not ONE decent sleeve cover in the lot. I miss the days pre-CGI.
We have a whole thread for awful album art somewhere, and and many of the worst offenders are pre-cgi 
I like Phantoma's artwork, probably more so than most of UtA's fairly generic fantasy artwork album covers. Besides, that whole album is actually about humanity losing itself in AI.
The Delain one isn't miles apart from other Delain ones.
I like Phantoma's artwork, probably more so than most of UtA's fairly generic fantasy artwork album covers. Besides, that whole album is actually about humanity losing itself in AI.
The Delain one isn't miles apart from other Delain ones.
Blaze's Circle of Stone really deserves a mention here I think. I'm generally okay with but not excited by Blaze's music, but I'll make the exception for this one. It looks like his current collaborators AKA Absolva have added a real spark to his work.
karljant
Ancient Mariner
2) Ou - Frailty
Hailing from Beijing, this Cino-American venture is arguably the first Chinese metal band to get international praise. Pulling a deal with a well-known western label - InsideOut records - sure helped a lot, but in all honesty these guys are truly something. Formed by Anthony Vanacore, alongside vocalist Lynn Wu, guitarist Zhang Jing and Chris Cui on bass, Ou came to my attention roughly one year ago, when I listened to some tracks of their 2022 self-titled debut. It sounded like a mix between the labyrinthine prog metal constructions of Animals As Leaders and Meshuggah, yet being more accessible, filled with tons of melody somewhat reminiscent of artists like Bjork and the poppier side of Devin Townsend (with these being two of the band's favorite acts). Speaking of Devin, it happens both bands are signed to the same label and Ou caught the attention of the Canadian composer, who ended up being the producer of their sophomore. Now can you imagine one of your musical heroes offering his services behind the mixer? What better incentive to bring your A game? And boy...They managed to deliver big time.
The title track kicks off the record and, if it's true the expected complexity of the rhythmic session is the muscle that makes the whole thing move, what really stuns me is how they seem to complement this with the minimalist yet gorgeous melodies that both the keyboards, synths and especially Lynn's delicate singing (both elements that alongside the deliciously challenging time signature changes, are the true anchor of Ou's sonority). By the way, that break on the second go on the verses' last tab before the gorgeous chorus simply can't be listened to just once, and by now it's easy to notice the band really upped their game. Purge follows and this was my first contact with the album, featuring vocals by none other than Mr. Townsend himself. And to any Devin Townsend fan this will be a treat: not only the song has strong Devin influences (think of a much more melodic Deconstruction, yet retaining the insanity and chaos of Devin's album) but the harsh screams of Devin combine brilliantly with Lynn's feminine singing. When it comes to the other instruments this song is also bananas, with the intensity level at 11.The overall stillness of the next three tracks presents itself like a counterweight to the first two songs. And let me say that by doing so, the album doesn't lose any of its value, quite the opposite. Ocean is much more akin to what Bjork would do if she was into a Jazzy/ Prog vibe and Redemption goes even further, leaving prog metal for a while and diving into almost 4 minutes of esoteric, soothing, musical daydreaming. And believe me when I say: it's one of those dreams you don't want to wake up from. Capture & Elongate sees the band showing their praise for the Islandic diva once again, yet this time in a much more electronic fashion, albeit canalized into a much more complex and far eastern like structure.
Then things ramp up a bit. The start of Spirit Broken really reminds me of the heavier stuff early 2000's Dream Theather were releasing yet the song slowly evolves into a much calmer before returning to the initial vibe in crescendo. The first notes of YYDS suggest that we're strongly into electronica ambiences once again. Yet, half a minute into the track, we're thrown into a retro Prog like composition, where the keyboards assume special relevance and all I've got to say is this section is nothing short of sublime. One minute later the whole thing explodes again into early 2000's Petrucci and company waters, but this time with emphasis on complexity. A calm interlude brings the song to a halt and what follows is a crescendo based upon the prog like section, underlining its beauty, before going for a last ride into Dream Theater's carousel. Reborn is another semi ambiental interlude, one that reinforces the importance these guys put on melody, and then the record closes with Recall. This almost a cappella composition with various layers of Lynn's voice in canon effect, solely accompanied by what I believe to be some sort of oriental type of tablas or xylophone. The effect really reminds me of a far eastern version of a song that could easily be featured in Bjork's "Medulla": utterly hypnotic and a subtle yet tasty way to wrap things up.
Besides the immense quality when it comes to composition skills and performance (not to mention originality, giving western rock/ metal a deep far east flavor), "Frailty" also amazed me when it comes to a particular aspect: its maturity. I can't remember of a band coming from a country that practically had zero impact in the rock/ Metal spectrum sounding so mature, so complete on their second album (and let me assure you the debut isn't far below when it comes to these attributes). I don't think singing in mandarin will be an obstacle for Ou's success. Furthermore, despite already leaving their mark on the prog rock/ metal press and community worldwide with two amazing records, something tells me this band is only getting started and has the potential to become something really, really special. As for me, this was my record of the year until roughly a month ago. Then there was another album that I listened to earlier that was a huge grower and ended up a tad bit above this marvelous release. Nevertheless, I couldn't recommend it more, be it for Prog Metal fans or good music lovers in general.
Hailing from Beijing, this Cino-American venture is arguably the first Chinese metal band to get international praise. Pulling a deal with a well-known western label - InsideOut records - sure helped a lot, but in all honesty these guys are truly something. Formed by Anthony Vanacore, alongside vocalist Lynn Wu, guitarist Zhang Jing and Chris Cui on bass, Ou came to my attention roughly one year ago, when I listened to some tracks of their 2022 self-titled debut. It sounded like a mix between the labyrinthine prog metal constructions of Animals As Leaders and Meshuggah, yet being more accessible, filled with tons of melody somewhat reminiscent of artists like Bjork and the poppier side of Devin Townsend (with these being two of the band's favorite acts). Speaking of Devin, it happens both bands are signed to the same label and Ou caught the attention of the Canadian composer, who ended up being the producer of their sophomore. Now can you imagine one of your musical heroes offering his services behind the mixer? What better incentive to bring your A game? And boy...They managed to deliver big time.
The title track kicks off the record and, if it's true the expected complexity of the rhythmic session is the muscle that makes the whole thing move, what really stuns me is how they seem to complement this with the minimalist yet gorgeous melodies that both the keyboards, synths and especially Lynn's delicate singing (both elements that alongside the deliciously challenging time signature changes, are the true anchor of Ou's sonority). By the way, that break on the second go on the verses' last tab before the gorgeous chorus simply can't be listened to just once, and by now it's easy to notice the band really upped their game. Purge follows and this was my first contact with the album, featuring vocals by none other than Mr. Townsend himself. And to any Devin Townsend fan this will be a treat: not only the song has strong Devin influences (think of a much more melodic Deconstruction, yet retaining the insanity and chaos of Devin's album) but the harsh screams of Devin combine brilliantly with Lynn's feminine singing. When it comes to the other instruments this song is also bananas, with the intensity level at 11.The overall stillness of the next three tracks presents itself like a counterweight to the first two songs. And let me say that by doing so, the album doesn't lose any of its value, quite the opposite. Ocean is much more akin to what Bjork would do if she was into a Jazzy/ Prog vibe and Redemption goes even further, leaving prog metal for a while and diving into almost 4 minutes of esoteric, soothing, musical daydreaming. And believe me when I say: it's one of those dreams you don't want to wake up from. Capture & Elongate sees the band showing their praise for the Islandic diva once again, yet this time in a much more electronic fashion, albeit canalized into a much more complex and far eastern like structure.
Then things ramp up a bit. The start of Spirit Broken really reminds me of the heavier stuff early 2000's Dream Theather were releasing yet the song slowly evolves into a much calmer before returning to the initial vibe in crescendo. The first notes of YYDS suggest that we're strongly into electronica ambiences once again. Yet, half a minute into the track, we're thrown into a retro Prog like composition, where the keyboards assume special relevance and all I've got to say is this section is nothing short of sublime. One minute later the whole thing explodes again into early 2000's Petrucci and company waters, but this time with emphasis on complexity. A calm interlude brings the song to a halt and what follows is a crescendo based upon the prog like section, underlining its beauty, before going for a last ride into Dream Theater's carousel. Reborn is another semi ambiental interlude, one that reinforces the importance these guys put on melody, and then the record closes with Recall. This almost a cappella composition with various layers of Lynn's voice in canon effect, solely accompanied by what I believe to be some sort of oriental type of tablas or xylophone. The effect really reminds me of a far eastern version of a song that could easily be featured in Bjork's "Medulla": utterly hypnotic and a subtle yet tasty way to wrap things up.
Besides the immense quality when it comes to composition skills and performance (not to mention originality, giving western rock/ metal a deep far east flavor), "Frailty" also amazed me when it comes to a particular aspect: its maturity. I can't remember of a band coming from a country that practically had zero impact in the rock/ Metal spectrum sounding so mature, so complete on their second album (and let me assure you the debut isn't far below when it comes to these attributes). I don't think singing in mandarin will be an obstacle for Ou's success. Furthermore, despite already leaving their mark on the prog rock/ metal press and community worldwide with two amazing records, something tells me this band is only getting started and has the potential to become something really, really special. As for me, this was my record of the year until roughly a month ago. Then there was another album that I listened to earlier that was a huge grower and ended up a tad bit above this marvelous release. Nevertheless, I couldn't recommend it more, be it for Prog Metal fans or good music lovers in general.
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2024 was a very good year for music.
My top 10:
1. Judas Priest – Invincible Shield
2. Lucifer – Lucifer V
3. Blood Incantation – Absolute Elsewhere
4. Ulcerate – Cutting the Throat of God
5. Deus Mortem – Thanatos
6. Death Like Mass – The Lord of Flies
7. Attic – Return of the Witchfinder
8. Eternal – Cryptic Lust
9. Saxon – Hell, Fire and Damnation
10. Accept – Humanoid
Honorable mentions (albums that I liked, but haven't listened to them enough times to include them in my top 10):
1. Christopher Young - Nosferatu: A Symphony of Horror
2. Hellbutcher - Hellbutcher
3. Mayhemic - Toba
4. Order of Nosferat - Towards the Nightrealm of Orlok
5. Deivos - Apophenia
I hope that 2025 brings us even more amazing records
My top 10:
1. Judas Priest – Invincible Shield
2. Lucifer – Lucifer V
3. Blood Incantation – Absolute Elsewhere
4. Ulcerate – Cutting the Throat of God
5. Deus Mortem – Thanatos
6. Death Like Mass – The Lord of Flies
7. Attic – Return of the Witchfinder
8. Eternal – Cryptic Lust
9. Saxon – Hell, Fire and Damnation
10. Accept – Humanoid
Honorable mentions (albums that I liked, but haven't listened to them enough times to include them in my top 10):
1. Christopher Young - Nosferatu: A Symphony of Horror
2. Hellbutcher - Hellbutcher
3. Mayhemic - Toba
4. Order of Nosferat - Towards the Nightrealm of Orlok
5. Deivos - Apophenia
I hope that 2025 brings us even more amazing records
karljant
Ancient Mariner
Before I review my #1 of the year here are some awards regarding other 2024 releases:
Positive side I've got:
The "Biggest grower" award goes to my number 1 record of the year:
I will reveal it soon but all I've got to say is that the first time I listened to it I merely liked it and by December it became almost an addiction!
The "Wow, where did this thing come from?" award goes to African Imperial Wizard - Mbuya Nehanda:
As I said in my top 10 post, this took me completely by surprise. Monster release.
The "Best debut album", "Best album from my home country" and "#11 Honorable mention" awards all go to Maquina - Prata:
These guys' mojo is hypnotizing the listener with massive industrial-esque rhythm like tracks with Noise rock guitars completing the wall of sound effect. And they're damn good doing so!
The "Yeah, the old geezers are still killing it" award goes to Judas Priest - Invincible Shield:
Well... This one is obvious, I guess.
The "Comeback of the year" award goes to Bruce Dickinson - The Mandrake Project:
Excellent album, almost two decades after the last studio full length. Enough said.
On the less positive side there's:
The "Meh!" award goes to "My Dying Bride - A Mortal Binding":
I'm a huge fan and, after the excellent "The Ghost Of Orion" (a record filled with intensity and some venturing outside the band's safe zone), I think MDB's last offer is kinda boring. Yet, it's not the first time they released a meh-ish record only to come back to form in the following, so it's ok. I trust these guys.
The "Disappointment" award goes to "Zeal & Ardor - Greif":
Not that I didn't like the album, but after two massive releases like their self-titled and Stranger Fruit this is quite a step down. I think Manuel is somehow trying to re-invent the band, cutting a bit on the black metal meets slave chants/ Gospel and industrial, since no matter how original a formula may be (and this one must be at the top when it comes to this trait), it's still a formula. And it ultimately will erode. yet, it seems like the main composer still haven't found a new paradigm and got somewhat stranded in no man's land in Greif. But once again, this is a guy whose talent I trust and I'm sure he'll pull something big in the future.
The "I haven't got the slightest grain of patience for this anymore" award goes to Kerry King - From Hell I Rise:
Slayer's final album Repentless was already a drag to my ears. From Hell I Rise sounds like its leftovers. So yeah... a nullity IMO.
The "It's not only not having patience... It's time to stop, man" award goes to Ministry - Hopiumforthemasses:
If Jourgenssen called it a day after the Bush trilogy in 2007 like he promised, he'd go out on a great note. But no.... This is the fifth album since what was supposed to be the end of the band.... One where the once respected Industrial rock veteran keeps on beating a dead horse, like he's making the same record over and over. And once again it's really far from being a good one IMO.
The "Yeah, I never liked this band but even to their standards this is embarrassing" award goes to Motley Crue - Cancelled:
Well, I must present my disclaimer: besides Kickstart My Heart I think I disliked all other songs I listened to by this band. But when I saw everyone dissing this record, I got curious and gave it a spin on YT. All I have to say is I wish I didn't. A lot. Moral of the story: fuck my curiosity.
__________________________________________________________________________________________________________________________________________________________
Now a glimpse into 2025 and some foresight and wishes:
The "It didn't ring with me yet but I guess it will sooner or later " album may be Opeth - The Last Will And Testament:
I mean, it's an incredibly dense record and marks a return to some past traits regarding heaviness. Yet it is something that demands lots of attention. For a long time now, Opeth has been known for everything but bringing anything new to the table. Their primary weapon is without a shadow of doubt their sublime composing skills. So, I'll reserve a fair judgement (pun intended) for later.
The "I can't wait for this thing to be released!" album is Obscure Sphinx - Emovere:
Oh boy the advanced single Scarcity Hunter is already circulating and all I've got to say is: if the rest of the album is that good, we may have an early winner for 2025.
The "Is it finally this year you'll release a new record?" question goes to Nine Inch Nails:
Dear Mr. Reznor: could you please stop your tantrum, ignore the crap people say in social media, stop losing time butting heads with Elon Musk, make a hiatus on the Disney soundtracks and be so kind to record a proper new fucking NIN album? Thanks.
Positive side I've got:
The "Biggest grower" award goes to my number 1 record of the year:
I will reveal it soon but all I've got to say is that the first time I listened to it I merely liked it and by December it became almost an addiction!
The "Wow, where did this thing come from?" award goes to African Imperial Wizard - Mbuya Nehanda:
As I said in my top 10 post, this took me completely by surprise. Monster release.
The "Best debut album", "Best album from my home country" and "#11 Honorable mention" awards all go to Maquina - Prata:
These guys' mojo is hypnotizing the listener with massive industrial-esque rhythm like tracks with Noise rock guitars completing the wall of sound effect. And they're damn good doing so!
The "Yeah, the old geezers are still killing it" award goes to Judas Priest - Invincible Shield:
Well... This one is obvious, I guess.
The "Comeback of the year" award goes to Bruce Dickinson - The Mandrake Project:
Excellent album, almost two decades after the last studio full length. Enough said.
On the less positive side there's:
The "Meh!" award goes to "My Dying Bride - A Mortal Binding":
I'm a huge fan and, after the excellent "The Ghost Of Orion" (a record filled with intensity and some venturing outside the band's safe zone), I think MDB's last offer is kinda boring. Yet, it's not the first time they released a meh-ish record only to come back to form in the following, so it's ok. I trust these guys.
The "Disappointment" award goes to "Zeal & Ardor - Greif":
Not that I didn't like the album, but after two massive releases like their self-titled and Stranger Fruit this is quite a step down. I think Manuel is somehow trying to re-invent the band, cutting a bit on the black metal meets slave chants/ Gospel and industrial, since no matter how original a formula may be (and this one must be at the top when it comes to this trait), it's still a formula. And it ultimately will erode. yet, it seems like the main composer still haven't found a new paradigm and got somewhat stranded in no man's land in Greif. But once again, this is a guy whose talent I trust and I'm sure he'll pull something big in the future.
The "I haven't got the slightest grain of patience for this anymore" award goes to Kerry King - From Hell I Rise:
Slayer's final album Repentless was already a drag to my ears. From Hell I Rise sounds like its leftovers. So yeah... a nullity IMO.
The "It's not only not having patience... It's time to stop, man" award goes to Ministry - Hopiumforthemasses:
If Jourgenssen called it a day after the Bush trilogy in 2007 like he promised, he'd go out on a great note. But no.... This is the fifth album since what was supposed to be the end of the band.... One where the once respected Industrial rock veteran keeps on beating a dead horse, like he's making the same record over and over. And once again it's really far from being a good one IMO.
The "Yeah, I never liked this band but even to their standards this is embarrassing" award goes to Motley Crue - Cancelled:
Well, I must present my disclaimer: besides Kickstart My Heart I think I disliked all other songs I listened to by this band. But when I saw everyone dissing this record, I got curious and gave it a spin on YT. All I have to say is I wish I didn't. A lot. Moral of the story: fuck my curiosity.
__________________________________________________________________________________________________________________________________________________________
Now a glimpse into 2025 and some foresight and wishes:
The "It didn't ring with me yet but I guess it will sooner or later " album may be Opeth - The Last Will And Testament:
I mean, it's an incredibly dense record and marks a return to some past traits regarding heaviness. Yet it is something that demands lots of attention. For a long time now, Opeth has been known for everything but bringing anything new to the table. Their primary weapon is without a shadow of doubt their sublime composing skills. So, I'll reserve a fair judgement (pun intended) for later.
The "I can't wait for this thing to be released!" album is Obscure Sphinx - Emovere:
Oh boy the advanced single Scarcity Hunter is already circulating and all I've got to say is: if the rest of the album is that good, we may have an early winner for 2025.
The "Is it finally this year you'll release a new record?" question goes to Nine Inch Nails:
Dear Mr. Reznor: could you please stop your tantrum, ignore the crap people say in social media, stop losing time butting heads with Elon Musk, make a hiatus on the Disney soundtracks and be so kind to record a proper new fucking NIN album? Thanks.
karljant
Ancient Mariner
Man... This is really good! Thanks for the tip.
karljant
Ancient Mariner
... and number 1 on my 2024 rank is:
JULIE CHRISTMAS - RIDICULOUS AND FULL OF BLOOD
When I first listened to this record I wouldn't quite forsee that it would become my favorite record of the year. I mean, I facied it but it didn't click that much from the get go like, i.e. , Ou's Frailty. And taking in account my admiration for Julie's career and furthermore the staff she gathered here is nothing short of a supergroup IMO (none other than Johanes Persson and Thomas Hedlund from the Swedish Post Metal Powerhouse Cult Of Luna and John LaMacchia from fellow citizens New York Prog/ Jazz Hardcore veterans Candiria). Then there's Miss Christmas' body of work. Her solo debut The Bad Wife is a superb record but, even more noticeable, are the singer's collaborations. I mean, when you have on your portfolio fronting the like aforementioned Cult Of Luna on the magnificent Mariner project (easily one of the top 5 records from the last decade in my book) or the masterpiece A Day Of Nights by the supergroup Battle Of Mice (featuring former members of Neurosis, Fugees and Pere Hubu), you have yourself one hell of a greeting card. Finally, there's my admiration for this woman's unique voice, that ranges from soothing and seducing lullabies to unsettling and vicious screaming, all placed with a unique sense of taste and laser-like precision.
The record starts like a chill down your spine on a post noise rock nightmare: Not Enough imposes its presence by its rim click rhythmic coldness, dissonant as hell guitar screeches, and Julie's unsettling vocalizations following a melody (or lack thereof) only she could memorize. Then the chorus comes and the whole thing unfolds into a megalithic composition of bittersweet melody, where one of the artist's blueprints (distorted screams as second voice for her singing) works wonders. The remainder of the song is as unsettling as spectacular. Supernatural is much straighter forward: it starts as a grungy alternative tune where Julie places carefully the most delicate side of her singing and once again all goes skyhigh on the simple yet addictive chorus, where the sing/ scream ensemble propels the explosion even higher. John and Johanes also make a superb work on the refrain and bridge, playing something that reminds me somewhat of a sludgy version of the more alternative era by Paradise Lost. By now I was asking myself "How could I ignore this monument?" Well, the next song may bring a potential (yet unconfirmed) explanation.
The Ash is perhaps the only reason why it took so much time for me to fall in love with this release, since it was the advance single and the first song I listened to, and to be fair it's a bit meh. Like a somewhat poor man's Marching To The Heartbeats by Thomas and Johane's main band, yet devoid of its anesthetizing melody. This alongside the over focus on Noise Rock undertones on the lenghty first section of the initial tune (combined with a bad mood) perhaps rubbed me the wrong way, who knows? Well, it matters little, since Thin Skin goes for the jugular from the get go with a muscular riff upon a simple yet efficient odd tempo stomping. The whole song is a feast for Sludge Metal lovers (I spot a lot of John's hand here), especialy the refrain's visceral bursts. Now, End Of The World is the song where Thomas and Johanes presence is obvious. And the evidence is not limited by the fact that the latter takes hold of the vocal department on the pre chorus. Truth be told, the calm section, slow motion crushing heavy part and the larger-than-life guitars on the chorus could be featured on a Cult Of Luna album (which in my book speaks volumes about this song's quality). Silver Dollars, on the other hand, impresses me less. Yes, it features some cool snare juggles by Thomas and this ok-ish build too, but IMO it's not top of the list stuff when compared to its peers.
Now, Kids is weird as hell. A music box like melody serves as the base of the whole thing, with some kind of intermission sample seems to consume it, as Julie verbalizes some creepy lullaby. By now let me say I still haven't properly read the album's lyrics, but by what I understood solely by listening to it, this is far from being Miss Christmas more sane job to date when it comes to that department. That being said this track has a strange sense of false, corrupted innocence. Eerie stuff indeed. If there's a song I'd suggest someone to approach this album by it would be The Lighthouse. Not that it is my favorite but takes a fair snapshot of what this record is about and, IMO, what it does in such a sublime fashion. The melody is like a hot bath after a body bruising exhausting task and Julie shows her more languish and seductive singing, before exploding into bitter, torturous array of screams on a carefully built Post-Metal chorus, while dueting with Johanes' growls. That fading-in synth before the second go on the chorus is as astounding as devastating. BTW, the attention to small details like this is nothing short of top notch on this record. Blast is, indeed, a blast of a song. And is it just me that notice a deep Irish folk vibe amidst the noise rock topping on this one, like it was a nod to the singer's ascendence? Anyways, I just love it. The whole thing closes in a truly great way with Seven Days, in what I dare to say sounds like what Black Sabbath's at the peak of their doomy vibe would sound if someone would ever try to apply it to the ambiance of a decadent cabaret, with the intention of causing you an anxiety attack. Anyways, the last page of the book is flipped. And wow... What an experience!
Like I said before, during the initial spins, this album somewhat failed to completely enchant me the way it did some months later. It's true this is not the easiest listen in the world and I may have caught this gem on a bad day, when I was too lazy to dig for the immensely gorgeous bittersweet melodies that lie a tad bit under a crust of sludge that permeates the entire album. But then again it took way less time to fall in love with less "easy-listeners" than this one. And I don't consider myself quite to be the epitome of allergy to the odd and unusual when it comes to musical taste. Plus,this wasn't by any stretch the oddest ball that crossed my way. Well, I guess sometimes things are just like that. Anyway I'm more than happy I gave this record a couple more chances after months at the back of the shelf. And man... my enthusiasm grew with every new listen, to a point that, by the last month, it conquered my heart to the point of sonic addiction. This is another of those albums that was a slow burner, but once it hitted the spot, it became an house favorite. And aren't those the most rewarding and tasty records? Julie Christmas' Ridiculous And Full Of Blood sure was for me when it comes to the year of 2024.
JULIE CHRISTMAS - RIDICULOUS AND FULL OF BLOOD
When I first listened to this record I wouldn't quite forsee that it would become my favorite record of the year. I mean, I facied it but it didn't click that much from the get go like, i.e. , Ou's Frailty. And taking in account my admiration for Julie's career and furthermore the staff she gathered here is nothing short of a supergroup IMO (none other than Johanes Persson and Thomas Hedlund from the Swedish Post Metal Powerhouse Cult Of Luna and John LaMacchia from fellow citizens New York Prog/ Jazz Hardcore veterans Candiria). Then there's Miss Christmas' body of work. Her solo debut The Bad Wife is a superb record but, even more noticeable, are the singer's collaborations. I mean, when you have on your portfolio fronting the like aforementioned Cult Of Luna on the magnificent Mariner project (easily one of the top 5 records from the last decade in my book) or the masterpiece A Day Of Nights by the supergroup Battle Of Mice (featuring former members of Neurosis, Fugees and Pere Hubu), you have yourself one hell of a greeting card. Finally, there's my admiration for this woman's unique voice, that ranges from soothing and seducing lullabies to unsettling and vicious screaming, all placed with a unique sense of taste and laser-like precision.
The record starts like a chill down your spine on a post noise rock nightmare: Not Enough imposes its presence by its rim click rhythmic coldness, dissonant as hell guitar screeches, and Julie's unsettling vocalizations following a melody (or lack thereof) only she could memorize. Then the chorus comes and the whole thing unfolds into a megalithic composition of bittersweet melody, where one of the artist's blueprints (distorted screams as second voice for her singing) works wonders. The remainder of the song is as unsettling as spectacular. Supernatural is much straighter forward: it starts as a grungy alternative tune where Julie places carefully the most delicate side of her singing and once again all goes skyhigh on the simple yet addictive chorus, where the sing/ scream ensemble propels the explosion even higher. John and Johanes also make a superb work on the refrain and bridge, playing something that reminds me somewhat of a sludgy version of the more alternative era by Paradise Lost. By now I was asking myself "How could I ignore this monument?" Well, the next song may bring a potential (yet unconfirmed) explanation.
The Ash is perhaps the only reason why it took so much time for me to fall in love with this release, since it was the advance single and the first song I listened to, and to be fair it's a bit meh. Like a somewhat poor man's Marching To The Heartbeats by Thomas and Johane's main band, yet devoid of its anesthetizing melody. This alongside the over focus on Noise Rock undertones on the lenghty first section of the initial tune (combined with a bad mood) perhaps rubbed me the wrong way, who knows? Well, it matters little, since Thin Skin goes for the jugular from the get go with a muscular riff upon a simple yet efficient odd tempo stomping. The whole song is a feast for Sludge Metal lovers (I spot a lot of John's hand here), especialy the refrain's visceral bursts. Now, End Of The World is the song where Thomas and Johanes presence is obvious. And the evidence is not limited by the fact that the latter takes hold of the vocal department on the pre chorus. Truth be told, the calm section, slow motion crushing heavy part and the larger-than-life guitars on the chorus could be featured on a Cult Of Luna album (which in my book speaks volumes about this song's quality). Silver Dollars, on the other hand, impresses me less. Yes, it features some cool snare juggles by Thomas and this ok-ish build too, but IMO it's not top of the list stuff when compared to its peers.
Now, Kids is weird as hell. A music box like melody serves as the base of the whole thing, with some kind of intermission sample seems to consume it, as Julie verbalizes some creepy lullaby. By now let me say I still haven't properly read the album's lyrics, but by what I understood solely by listening to it, this is far from being Miss Christmas more sane job to date when it comes to that department. That being said this track has a strange sense of false, corrupted innocence. Eerie stuff indeed. If there's a song I'd suggest someone to approach this album by it would be The Lighthouse. Not that it is my favorite but takes a fair snapshot of what this record is about and, IMO, what it does in such a sublime fashion. The melody is like a hot bath after a body bruising exhausting task and Julie shows her more languish and seductive singing, before exploding into bitter, torturous array of screams on a carefully built Post-Metal chorus, while dueting with Johanes' growls. That fading-in synth before the second go on the chorus is as astounding as devastating. BTW, the attention to small details like this is nothing short of top notch on this record. Blast is, indeed, a blast of a song. And is it just me that notice a deep Irish folk vibe amidst the noise rock topping on this one, like it was a nod to the singer's ascendence? Anyways, I just love it. The whole thing closes in a truly great way with Seven Days, in what I dare to say sounds like what Black Sabbath's at the peak of their doomy vibe would sound if someone would ever try to apply it to the ambiance of a decadent cabaret, with the intention of causing you an anxiety attack. Anyways, the last page of the book is flipped. And wow... What an experience!
Like I said before, during the initial spins, this album somewhat failed to completely enchant me the way it did some months later. It's true this is not the easiest listen in the world and I may have caught this gem on a bad day, when I was too lazy to dig for the immensely gorgeous bittersweet melodies that lie a tad bit under a crust of sludge that permeates the entire album. But then again it took way less time to fall in love with less "easy-listeners" than this one. And I don't consider myself quite to be the epitome of allergy to the odd and unusual when it comes to musical taste. Plus,this wasn't by any stretch the oddest ball that crossed my way. Well, I guess sometimes things are just like that. Anyway I'm more than happy I gave this record a couple more chances after months at the back of the shelf. And man... my enthusiasm grew with every new listen, to a point that, by the last month, it conquered my heart to the point of sonic addiction. This is another of those albums that was a slow burner, but once it hitted the spot, it became an house favorite. And aren't those the most rewarding and tasty records? Julie Christmas' Ridiculous And Full Of Blood sure was for me when it comes to the year of 2024.
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The_7th_one
Ancient Mariner
I listened over 80 new releases this year. Most of them Metal albums. It has been a great year for music. I discovered great albums and bands. I have many of albums to listen yet and I will take many of your favs and listen too.
Here are my Top albums of the year
METAL
Stryper - When We were Kings
Ironflame - Kingdom Torn Asunder
Endonomos II - Enlightenment
Haunt - Dreamers
Haunted - Stare at Nothing
PROG ROCK / METAL
HARD ROCK /MELODIC ROCK
POP ROCK
JAZZ / FUSION
Here are my Top albums of the year
METAL
- Judas Priest - The Invincible Shield
- Opeth - The Last Will and Testament
- Evergrey - Theories of Emptiness
- Lucifer - Lucifer V
- Grand Magus - Sunraven
- Bruce Dickinson - The Mandrake Project
- Tribulation - Sub Rosa Aeternum
- Unleash the Archers - Phantoma
- Caligula’s Horse - Charcoal Grace
- Saxon - Hell, Fire and Damnation
- Oceans of Slumber - Where Gods Fear to Speak
- Unto Others - Never, Neverland
- Blood Incantation - Absolute Elsewhere
- Visions of Atlantis - Pirates II - Armada
- Scanner - The Cosmic Race
- Powerwolf - Wake Up the Wicked
- Accept-Humanoid
- Black Sites- The Promised Land
- Nightwish - Yesterwynde
- Blaze Bayley-Circle of Stone
Stryper - When We were Kings
Ironflame - Kingdom Torn Asunder
Endonomos II - Enlightenment
Haunt - Dreamers
Haunted - Stare at Nothing
PROG ROCK / METAL
- Steve Hackett - The Circus and the Nightingwhale
- Magnum - Here Comes the Rain
- Monkey 3 - Welcome to the Machine
- Albion - Lakesongs of Elbid
- Karfagen and Anthony Kalugin - Messages from Afar: Second Nature
- Celeste - Ecchi di un futuro pasatto
- Hawkwind - Stories from Time and Space
- Nektar - Mission to Mars
- The Pinneapple Thief- It leads to this
- Overlord Dreams-Geography
HARD ROCK /MELODIC ROCK
POP ROCK
- Deep Purple - =1
- Cassandra’s Crossing - Garden of Earthly Delights
- Revolution Saints - Against the Winds
- Black Country Communion - V
- The End Machine - The Quantum Phase
- Thundermother - Rock and Roll Disaster
- The Dead Daisies - Light Em Up
- Trapeze - The Lost Tapes Vol. 2
- The Rods- Rattle the Cage
- Phil Mogg - Moggs Motel
JAZZ / FUSION
- Aurora Clara - IV
- Jupiter Fungus - Garden Electric
- Amanda Whiting - The Luminality of Her
- Elephant9 - Mythical River
- Fire! - Testament
- Pat Metheny - MoonDial
- Sanna Ruohoeniemi - Let Everything Happen