Best metal of 2013

One of the many things that I started writing about and never finished was my favourite albums from 2013, so here it is a year after the fact. *facepalm*

The ordering of this list was mildly arbitrary until the last three which are probably the albums I’ve listened to most in 2013. Although I’ve changed my mind about both Obliteration and Carcass over the course of 2014 (to the point where both would have made it into the top ten), I’ve preserved the list as it was when I scribbled down some notes last, ahem the year before last. I’ve attempted to write something coherent about each album, but I’ve included full album streams where possible so the best thing to do is to ignore the writing, listen to the music and make up your own mind.

Honourable mentions:

 

    • Aosoth – IV: An Arrow in Heart

 

    • Obliteration – Black Death Horizon

 

 

 

  • Gorguts – Colored Sands

 

Top Ten of 2013

10. <code> – Augur Nox

I only became aware of <code> this year, despite having listened to the guitarist’s other projects Binah and Blutvial. The push to listen to <code> came off the back of an Arcturus binge and the knowledge (at the time) that Arcturus weren’t recording new material. <code> can be described as avant-garde, which is shorthand for “this band is kind of black metal, but also includes a tonne of other genres and sounds a bit like Arcturus”. To be fair, not many bands are able to sound like Arcturus without coming across as massively wanky (Arcturus being a victim of their own success and out-there-ness). Whilst Vulture Industries have a vocalist to match Garm and ICS Vortex, but not quite the songwriting, <code> has all of the necessary elements: a superb singer who can flip from black metal screech to operatic vocal acrobatics, epic songwriting and the riffs to back it all up.


9. Hail of Bullets – III: The Rommel Chronicles

Towards the end of the scale is where I had the most trouble picking albums. Suffocation had released possibly their best post-reformation album, Carcass had released a new album eighteen years after Swansong, I discovered the avant-garde metal of <code>, not to mention the long awaited “Colored Sands” from Gorguts following 2004’s “From Wisdom to Hate”. Then I heard III. I’ve been aware of Hail of Bullets since its inception, liking individual songs here and there but not entire albums nor even an entire EP. It’s a common assertion in metal that adding double-kick drumming improves even the blandest of riffs. A corollary assertion is that adding Martin Van Drunen improves any death metal record, however boring the riffs (Asphyx being a prime example, because the band otherwise bores me to tears). III however crushes right out of the gate and doesn’t let up until the final song. The transition between old-school death metal and the slow doomy moments is much smoother than before and doesn’t take me out of the music as previous albums were wont to do. It’s not original, it’s not on a par with classic albums of the early 90s and doesn’t set off on its own path like latter-era Bloodbath – it is simply well written old school death metal that pays homage to classic Swedish death metal with modern production values.


8. Satan – Life Sentence

After releasing two NWOBHM albums in the 80s, Satan split up before reforming thirty odd years later with a comeback album written and recorded as if no time had passed at all other than better production. Not a throwback or a homage, but a band continuing with their established legacy with an album that is packed with twin-guitar harmonies, gallop riffs and of course dramatic vocal stylings. It’s the best traditional metal album I’ve heard since Pharaoh’s Be Gone in 2007, so if this style floats your boat then you really need to check this out.


7. Voivod – Target Earth

Voivod were one of those legendary bands that I’d known about for years, even so far as buying a few of the band’s late 90s albums, but I have never truly “got” them. Then I saw the band at Bloodstock in August 2013, having listened to the expected classics alongside songs from the new album (sadly there was no rendition “Batman”) and it all just suddenly clicked. I went out to get copies of Killing Technology and Dimension Hatröss and also Target Earth. Daniel Mongrain (aka Chewy, currently of Martyr and formerly of Gorguts) acquits himself incredibly well, filling the gap left by the untimely loss of founding guitarist Denis D’Amour with music that pays homage to Voivod’s classic output whilst etching out his own place in the band with more technical leads and flourishes. Space thrash for the win!


6. Nero Di Marte – S/T

A combination of Gojira, Gorguts and Ulcerate, combining the accessibility of the first with the twisted atonal riffing of the latter pair, plus vocals that sound quite strikingly similar to Joe Duplantier. Whilst the riffs are convoluted and arranged in complex structures, the band is far more listenable than Ulcerate and Gorguts and so the album comes highly recommended for anyone who likes or wants to like Gorguts or Ulcerate but has bounced off them in the past.


5. Trials – In the Shadow of Swords

A new challenger approaches! Reviewed by Angry Metal Guy at the very end of the year as an apologetic and retrospective inclusion for his own best of 2013 list, Trials plays a style of modern metal (is that even a thing?) that is mainly thrash with occasional groove nods and hints of metalcore. Trivium hints at Gojira with the stomping chorus riff of “Believers in Black”, Trivium in the mix of brutal and clean vocals (perhaps an unfortunate comparison as the vocalist really does evoke Matt Heafy on a few songs), and even the technical melodic death metal of Darkane. A stunning second album from a criminally unsigned band. Get it now via Bandcamp!


4. Svart Crown – Profane

Purveyors of the style of blackened death metal epitomised by the mighty Immolation, Svart Crown have since carved out their own niche. Atonal melodies and fill-heavy drumming punctuates the black-tinged death metal riffs and rasping vocals. There’s a brief interlude towards the end of the album, but otherwise Profane is an unrelentingly aggressive bludgeoning. My only concern is that the album is so immediately listenable that I wonder about whether it will have staying power.


3. Sulphur Aeon – Swallowed by the Ocean’s Tide

Like many of the albums on this list, I am thankful to autothrall and the From the Dust Returned blog for bringing Swallowed by the Ocean’ss Tide to my attention. Hailing from Germany, a country predominatly known for thrash and power metal, Sulphur Aeon play a fairly brutal style of melodic death metal but with a gloriously filthy guitar sound more redolent of death/doom bands such as Incantation or Disma. The profusion of melody combined with that tone make for an initially uncomfortable listen, but give it time and it’ll work its dark magic on you. There is a slight fall-off in awesomeness as the album progresses, but overall it’s a quality release and I look forward to hearing more hymns to the Ancient Ones from this band. Also, just look at that beautiful artwork!


2. Byzantine – S/T

Now the choice between two and one on this list was tough. Byzantine became one of my favourite bands after reading a review on a now-defunct metal blog extolling the virtues of the band’s second album And They Shall Take Up Serpents. I’d actually listened to the band’s first album “The Fundamental Concept” before but ignored it due to a rather overt Meshuggah influence (if only I knew what was to come with the advent of djent as an actual sub-genre). So in 2006 I checked out the sophomore album. Holy shit dude. Holy shit. The first song alone has more great riffs in it than most bands manage in an entire album, but that’s just one of many excellent songs. The solos are melodic and tasteful, yet shred where shred is required. The band split after the release of their third album due to piss-poor promotion from Prosthetic Records. Needing to actually feed their families, the band split up and moved on.

A few years back, the band reformed for some reunion gigs (minus lead guitarist Tony Rohrbough), then set up a Kickstarter to found a new album, this time with Tony on board. I wanted it so badly I paid them the maximum reward ($100 got me a signed copy of the album, a tab book, a signed poster and a shot glass fact fans. I’m a fucking mug) and it got funded! Woo! Playing groove metal, with a strong thrash foundation, the emphasis of this band is on riffs. Riff after riff after motherfucking riff. Riffs that summon the dark ones who possess you and make you headbang uncontrollably until you actually give yourself a brain haemorrage (that actually happened to a guy at a Motorhead gig incidentally). Not quite matching the heights of And They Shall Take Up Serpents, but definitely on par with Oblivion Beckons. A great album, but one just pipped by….


1. Extol – S/T (no really, another self-titled bloody album)

I’ve been listening to Extol since the release of Synergy in 2003 (acquiring sample tracks via Napster!), then back tracking to Undeceived and Burial, but even then my appreciation was limited to individual songs. It wasn’t until The Blueprint Dives in 2006 that I really got into the band (curiously, both original guitarists had left by this point, so the band featured two completely new guys and the music style was very different and yet familiar), then of course the band split up. Again. It’s like I jinx these people or something.

Andy Synn’s retrospective of the band in 2011 made me revisit those earlier albums, and he later blogged that Extol were making noises about a documentary which hinted at a reunion and then the new eponymous album. The band has crossed genres with abandon, from the black metal of Burial, to the progressive black/death of Undeceived to progressive thrash of Synergy and the less heavy, more poppy Blueprint Dives.

The new album covers absolutely all of these bases, a summing up of the band’s history and a statement for the future, a band that has managed to create a distinctive, recognisable style of extreme metal, and a comeback album that isn’t a retread. Released back in March, even then I knew that it wouldn’t be beaten.


Best album of 2013 not released in 2013:

  • Klabautamann – Merkur

Another one to chalk up to autothrall. I found a review of Merkur whilst trawling through a list of albums awarded the “Epic Win” rating and realised I’d stumbled on a hitherto unknown classic. One of Germany’s best kept secrets for sure and something that will appeal to fans of Emperor and Enslaved alike.

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