 Written by: Loveloth Portal's monstrous shadow inspired many a band to push the boundaries of extreme music, and Basque's Altarage is one of many that follow the Aussies' sinister footsteps. Shrouded in anonymity, the three (formerly four) masked figures exploded on the scene with Nihl in 2016 and caused quite a ruckus. The band wasted no time and released Endinghent just a year and a half later, and here is where I found out about them. I found the record decent, basically a more accessible and stripped-down version of Portal, which is OK but not enough. Cue The Approaching Roar that was released last Friday. I have to say, my opinion on this band has changed. Let me explain. While the Portal influence is undoubtedly here, The Approaching Roar is more or less (more on that later) its own beast. Vile dissonance, inhuman howls, spastic drumming and angular riffs are still all the rage but, unlike Endinghent, is overall a more memorable and diverse experience. Things start off hellishly great with "Sighting," where you are greeted by a few unpleasant guitar plucks before a wall of noise encircles you. It's swift, vicious, and overwhelming. The best course of action is to stop resisting and simply give in and let the band guide you through their carefully crafted and terrifying soundscapes. However, these alone do not make this record shine, it's firstly the fact Altarage decided to mix things up and I realized this with the arrival of "Urn". Its initial churns and bellows are more akin to Sunn O))) or early Earth, and not only does this change the pace but also continues the sonic onslaught. It also attacks you differently, and I feel that this was lacking in Endinghent.  Like the songwriting, the quality of the production also improved and is surely one of my highlights, as the record walks a very thin line between being disgustingly dense and murky, yet somehow crisp and clear enough for you to properly hear what's exactly happening. Funnily enough Portal did the same thing with ION last year but for my money, this sounds better. I mentioned songwriting and I have to commend the guys for doing an excellent job, although some parts like that outro in "Cyclopean Clash" linger for too long and some songs can be hard to distinguish from one another, but you can only do so much with this style of death metal and Altarage mostly succeed. As for the individual performances, I only have praise. The vocals are gnarly, guttural and perfectly complement the absolute chaos that are those angular and dirty riffs and astonishingly fast and precise drumming that will make fans of Deathspell Omega or Ulcerate very pleased. Overall, The Approaching Roar is a seemingly infinite abyss that was carved by a band I now think of seriously. I am completely aware how many times I namedropped Portal but make no mistake, Altarage are carving their sound before our very eyes. Expect seeing this record popping up on some year-end death metal lists as its content, no matter how bleak and seemingly impenetrable, hides many treats for you to discover. You only need to be brave or insane enough to dive deep into the approaching roar of Altarage. Altarage - The Approaching Roar was released Jan. 25th from Season of Mist Underground Activists
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 Written by: Loveloth and the Soliloquist Chicxulub - The Fossil Record is the second full-length album by Norwegian progressive extreme metal band Endolith. In contrast to their debut album that dealt with rather cold, esoteric themes, Chicxulub is a concept album on, as the band calls it, more “tangible” themes: dinosaurs, fossils, and the Chicxulub crater buried under the Yucatán Peninsula in Mexico where an asteroid or comet hit and set off the extinction of the dinosaurs. Whether you want to call these topics “tangible” or not - they are definitely interesting and pretty unique. More on that later. Musically speaking, Chicxulub is a brutal and progressive death metal album with lots of interesting stylistic elements that result in a very unique sound. Featuring the strings of the Arctic Philharmonic Chamber Orchestra, and guest musicians on timpani and solo viola including world famous violinist Henning Kraggerud, the album has a very grand and epic dimension to it, which contrasts and complements the ferocious death metal basis of its sound. When we at the Sleeping Village got the promo for this album, two of our writers were very interested in reviewing it - Loveloth and the Soliloquist. And since we could not decide who should write it, we had an idea: Why not write a review together? So, here it is: The first edition of TwofoldTreatise - two critics, one album. Soliloquist: Okay, let’s start this review by talking about the dinosaur in the room. This is an album about the extinction of the dinosaurs. Pretty metal, if you ask me. I find it rather interesting that I have never heard a metal album about dinosaurs before, actually. Loveloth: Ever since I was a wee lad, dinosaurs fascinated me. So much in fact, I wanted to be a palaeontologist but life panned out differently. In any case this should be right up my alley. Prog hybrid record about dinosaurs? Yes please, I’ll have one of those to get my mezosoic fix before The Ocean release Phanerozoic II. Soliloquist: Dude, this sounds exactly like my biography. I also wanted to be a paleontologist and my childhood was reigned by dinosaurs. I still know most of their names and have a rather great amount of completely useless knowledge about them. Dinosaurs are freaking cool, man. So, what were some of your initial impressions when listening to this album? Loveloth: Same here my dude, Walking with… series were a constant companion back in my youth so now I understand why both of us were so interested in this. Glad you asked, I liked the record and I am ready to discuss. Before we start that, a question. What bands do Endolith remind you of? Soliloquist: That’s a very good question. I got strong Devin Townsend vibes throughout the album. The wall-of-sound approach to songwriting the band uses frequently on this record is very akin of Devin’s approach in my opinion. Some of the proggier death metal sections made me think of Rivers of Nihil’s latest album and lots of the rest, e. g. the clean vocal choruses, as well as some of the riffs, reminded me of Extol, another Norwegian prog-death band. How about you? Loveloth: Interesting, I’m a huge Devy fanboy and didn’t hear a lot of his influence here, apart from the production like you mentioned. For me though, Endolith remind me of an angrier, shriekier The Ocean mixed with Meshuggah (some of those riffs man), Extol (good call btw) and Dimmu Borgir and Septicflesh due to The Arctic Philharmonic Chamber Orchestra lending a hand, or thirty eight to be more exact. Judging by our descriptions (and please do judge, we’re totally in the right), this is a weird band, so what stood out for you the most? Soliloquist: First of all, I agree 100% on the Meshuggah part. Totally forgot to mention them, they came to my mind, as well. Yes, weird is a good word to describe them. I can’t even pinpoint one particular thing that stood out to me. The lyrics, the atmosphere, the combination of orchestral elements, death metal and those melodic sections - there’s so much interesting stuff going on in this album. I think the first thing that really struck me when I listened to it for the first time was how prominent the orchestral elements are in the band’s sound and how well they fit in with the djenty extreme metal riffs. The clean vocals were another element that really pleasantly surprised me.  Loveloth: It’s quite a dense package, that’s for sure but Endolith make it work, not only that but constantly throw curveballs at the listener for good measure. The addition of the orchestra was an excellent call as it adds another layer of atmosphere and since we’re dealing with that pesky asteroid which wiped out the dinosaurs, that grand scope which the strings, brass, percussion and woodwinds provide comes in really handy. I’ll be honest and state how I wasn’t particularly impressed with Chicxulub after my first listen but it grew on me as I started wrapping my head around all the mayhem that is present here. Take “Nest Scrape Display” for example, and how its thrashy beat clashes with a very Shuggah riff but as soon as you get used to it, we get a soaring chorus that greatly reminds me of their fellow countrymen In Vain. Endolith are unhinged, ambitious and I like that but I feel the band is yet to achieve their peak. Some things just feel off. Do we share this sentiment? Soliloquist: Absolutely. My listening experience with this album was interestingly the other way around. Listening to it for the first time was super impressive, but after multiple listens I began to notice some flaws and things I didn’t like all that much. I think this is a great album by a band with lots of potential to become even better in the future. Endolith have a rather unique sound already and I think they’ll be refining it on future releases. I’ll definitely keep an eye on them. Do you have a favourite song on the record or one that stands out to you in any way? Loveloth: I do actually and guess what, it’s the proggiest and longest track, I am of course referring to the title track. It contained the only “oh shit” moments on the record. That breakdown around the three minute mark is nasty but what completely caught me off guard is the return of the record’s main theme that appears in the beginning of “Bloodfiends”. It’s a good and effective trick that works wonders with prog bois such as me. After it, the track morphs into a lengthy and epic outro and this is where Endolith shines the most as they have the time to successfully pull-off every idea they have for the song. And while no song is bad, some are a bit underwhelming like “Mount Evidence” or the final, bluesy track “When The Earth Died Screaming”. The idea is extremely cool but the execution lacks something I can’t quite put my finger on. What’s your favourite? Soliloquist: I’m not quite sure. The title track is great and I really like “Nest Scrape Display” and “Ichthys” a lot, but I think I have to go with “Diseasons”. I love how ominous and atmospheric it begins and how ridiculously heavy it gets towards the end. The harmonies and melodies on this track are some of the best on the album and it generally feels the most “complete” and thought out to me. Loveloth: “Diseasons” almost ended up as my favourite for reasons you mentioned and I totally agree on it feeling the most “complete”. Regardless of this positives we went through, I still think I should like this more than I do. It has everything I like: paleontology, prog, djent, unconventional songwriting, dynamic vocals, experimentation, an orchestra and fat riffs but I still feel something is stopping the band from creating a true gem and I am yet to pinpoint what and maybe that’s the problem! It’s so hard to define this record and I think that hinders it despite helping it. I know that sounds contradictory but hear me out. Endolith needs to find that is completely theirs to solidify their character and that comes with time, time the band has because despite this flaw, Chicxulub is an enjoyable, quirky and fun journey that I see myself revisiting from time to time. Soliloquist: I agree on almost everything you mentioned. I enjoyed Chicxulub enough to listen to it many times and never be bored or annoyed by it, but it also didn’t blow me away or become an album I’d call an absolute masterpiece. I see it primarily as an album by a band still figuring out their definitive style and within that framework it’s a very good album. It has its flaws and some edges that would have needed some smoothening, but it’s definitely a lot of fun to listen to and I don’t regret a minute I spent with it. Loveloth: Absolutely, well, think we went through everything, surprised how much we agree on things, must be the palaeontology fixation, in any case, if you are in some need of odd, eccentric and progressive death metal, Chicxulub (unlike the poor dinos) is here and available on every music platform, you know how it goes. Any last words Mr. Soliloquist? Soliloquist: Life uh.... finds a way. Loveloth: Thus spake the Soliloquist and Loveloth, the two lords of palaentology-laden metal. Endolith - Chicxulub - The Fossil Record was released Jan. 18th from Rob Mules Records
Endolith can be found: Official website  Written by: Loveloth Winter has been pretty weak in my realms this year, and that displeases me as I need my dose of snow and unwavering cold. How do I remedy this? By listening to the gloomiest and doomiest music out there. Germany's Nailed To Obscurity somehow heard my call and released Black Frost, their fourth full-length, and its timing could not be better. For those unaware, Nailed To Obscurity's third offering, King Delusion, won a decent number of frigid hearts back in 2017 with its melodic take on death and doom metal by taking cues from the likes of Opeth, Katatonia, Paradise Lost, Porcupine Tree, Tiamat and everything a sadboi revels in. Black Frost continues with the established but adds a few novelties, for better or worse. The tasty guitar tones, vocal interplay and general sense of melancholy is still prevalent, but there seems to be a larger emphasis on space and atmosphere. It works most of the time. Fans of Opeth will especially appreciate NTO as Raimund Ennenga's cleans and growls resemble those of mighty Mikael Akerfeldt and Nick Holmes. His varied approach works as expected and follows the instrumentation accordingly. The title track sets the mood with those sadboi-renowned harmonics and squeaks, solid cleans before devolving into a crunchy, dark and frigid concoction that moves like the frost[1] it deals with. The space I mentioned plays a big role here, especially in the opening and closing part of the track. It gives a nice feeling of build-up, but as with everything, using one thing for too long gets stale and dull really fast and NTO use this technique too much in my opinion. More immediate tracks like "The Abberant Host" proudly wear their Opeth colurs, perhaps a bit too much but it still isn't nearly as engaging or dynamic as their biggest influence. I actually like the chanty cleans that pop up midway, especially when you hear Carsten Schorn's lovely bass tone churning underneath.  Speaking of which, the production. It's pretty solid, the guitars and drums are finely mixed and not overpowering, the vocals sit nicely a bit above the guitars but not too much and the bass sounds really good when you hear it like in "Feardom". As for the band's performance, it's good across the board. Lamberti and Dieken's melodic guitar interplay would be my highlight if they didn't repeat themselves as much but I'll get to that later. With that in mind, Jann Hillrichs' drumming gets my vote as I find his execution the most dynamic and satisfying. He successfully restrains himself from overplaying and his fills and grooves are as tasty as they come, really solid job on his part. After establishing the band is good and talented, what's bothering me so much? It has to be the songwriting, it's a continuation of what King Delusion established but it feels even more safe here. The one-note approach and tendency to really drag with the songs hurts this record the most. What we get is a frustrating result of a band having all the ingredients for a good record but it all falls short due to monotonous songwriting and playing it safe. This may sound like I hate the thing but far from it. I can clearly see the band has all the talent needed but they need to push more because Black Frost feels to familiar and considering the band already plays a style of metal that is established and well known, this is no bueno, and we end up with a just "eh" record. "The Abberant Host", "Road To Perdition" and even "Cipher" are all proof the band has everything they need but seem to lack true focus and will to experiment and emerge with their own, unique take on proggy death-doom. And until they do find their own voice in this vast music world, I'll opt for the bands that they themselves are influenced by. And trust me when I say, with this weak winter, I need it now more than ever. [1] Black frost is not actual frost, but a condition where it's cold but not enough to freeze, but has humidity low enough to kill the vegetation and effectively freezes it. We here at The Sleeping Villagecare about your education and will always strive for elaborating lesser known terms. NAILED TO OBSCURITY - Black Frost was released Jan. 11th, from Nuclear Blast.
Nailed To Obscurity can be found: Bandcamp  Written by: Loveloth Sweden's melodic death scene changed a lot since its inception and its titans followed suite, some for the worse (*coughs* In Flames,) and some for the better. Soilwork falls into the latter and for me, their peak was none other than The Ride Majestic, their previous effort and Dirk Verberuen (who I'll call the Dirk from this point on) played a big role in making that ride truly majestic. Ten and a half months later the Dirk leaves the band to join Megadeth (still salty about that) and suddenly, I became a bit nervous for their upcoming record. Two Night Flight Orchestra records later (read as three and a half years) Soilwork set off 2019 with Verkligheten, their overall eleventh release which also ended their longest gap between said releases, and is the first with Bastian Thusgaard behind the kit. With great expectations and big shoes to fill, the spotlight turns to Soilwork. It's time to see how Verkligheten fares in their discography. All that we came to love about new Soilwork is still present. Those mighty riffs, huge, catchy choruses, Strid's brilliant vocals, blistering drumming, subtle yet very present keyboard work, it's all here, but things are a bit different. This becomes more apparent the longer we hang out with Verkligheten. After a solid but not that needed intro, Arrival explodes and soars above you and engulfs you with its majesty. The song barrages you with blastbeats, swift yet deadly tremolo picks, and a chorus powerful enough to move a mountain and somehow give Scar Symmetry a run for their money. It all seems standard Soilwork, but then Full Moon Shoals arrives with its cello, ethereal atmosphere, and the most NWOBHM riff I heard since... since The Night Flight Orchestra's latest record. This is where Verkligheten stands out. NFO's classic and hard rock sensibilities crept up into Soilwork's established formula, and the results will make or break the record, depends on your stance. Dynamics (this word again) is the key player, and Full Moon Shoals use them to the absolute limit. Just when you start humming along the chorus, a thrashy break appears but it's not over as the band decides to treat your ear sockets with the heaviest moment on the record.  While all the tracks are enjoyable, some clearly stand out. Personal favourite When The Universe Spoke foregoes the 80's and thrusts us back in familiar, blastbeat-filled waters. Not only is this violent and heavy but it's also uplifting and almost hypnotic with its constant flow of double-bass hits. Surprises are plentiful here but perhaps the biggest one was the addition of the mighty Toni Joutsen on Needles And Kin . Be warned, it's not what you expect. Just as with Alissa White-Gluz's clean vocals on Stålfågel, Joutsen just uses his growls but these are his most guttural and vile yet. So, both of the guests did the exact opposite of what I expected and things are looking good, right? Well, yes, but some things need to be mentioned.  First off, the production. It's sounds like your run-of-the-mill modern metal record, but the drums are way too overpowering and the keyboards lack true presence. Secondly, Bastian. Filling the Dirk's shoes was impossible considering his age and that's fine, he'll improve. I am slightly annoyed by his one-note approach but have no fear as this doesn't ruin the record, far from it. The Wolves Are Back In Town and Bleeder Despoiler are just some of the bangers you'll come across. Tracks like Witan and The Ageless Whisper, however, feel a bit clumsy. With Verkligheten, Soilwork started a new exciting chapter of their rich, 24 year long career and I am pleased. While it fails to reach the highs The Ride Majestic, I cannot deny their passion, energy and ability to make brutal yet accessible music. If you're wondering what is the best place to start your Soilwork journey (if you haven't of course), well, you're looking at it. I am already liking 2019, and you will (hopefully) after hearing Verkligheten. Soilwork - Verkligheten (released Jan. 11th, 2018 from Nuclear Blast)
Written by: Loveloth and Lichtmensch  Chicxulub - The Fossil Record is the second full-length album by Norwegian progressive extreme metal band Endolith. In contrast to their debut album that dealt with rather cold, esoteric themes, Chicxulub is a concept album on, as the band calls it, more “tangible” themes: dinosaurs, fossils and the Chicxulub crater buried under the Yucatán Peninsula in Mexico where an asteroid or comet hit and set off the extinction of the dinosaurs. Whether you want to call these topics “tangible” or not - they are definitely interesting and pretty unique. More on that later. Musically speaking, Chicxulub is a brutal and progressive death metal album with lots of interesting stylistic elements that result in a very unique sound. Featuring the strings of the Arctic Philharmonic Chamber Orchestra, and guest musicians on timpani and solo viola including world famous violinist Henning Kraggerud, the album has a very grand and epic dimension to it, which contrasts and complements the ferocious death metal basis of its sound. When we at the Sleeping Village got the promo for this album, two of our writers were very interested in reviewing it--Loveloth and Lichtmensch. And since we could not decide who should write it, we had an idea: Why not write a review together? So, here it is: The first edition of TwofoldTreatise--two critics, one album. Lichtmensch: Okay, let’s start this review by talking about the dinosaur in the room. This is an album about the extinction of the dinosaurs. Pretty metal, if you ask me. I find it rather interesting that I have never heard a metal album about dinosaurs before, actually. Loveloth: Ever since I was a wee lad, dinosaurs fascinated me. So much in fact, I wanted to be a palaeontologist but life panned out differently. In any case this should be right up my alley. Prog hybrid record about dinosaurs? Yes please, I’ll have one of those to get my mezosoic fix before The Ocean release Phanerozoic II. Lichtmensch: Dude, this sounds exactly like my biography. I also wanted to be a paleontologist and my childhood was reigned by dinosaurs. I still know most of their names and have a rather great amount of completely useless knowledge about them. Dinosaurs are freaking cool, man. So, what were some of your initial impressions when listening to this album?  Loveloth: Same here my dude, Walking with… series were a constant companion back in my youth so now I understand why both of us were so interested in this. Glad you asked, I liked the record and I am ready to discuss. Before we start that, a question. What bands do Endolith remind you of? Lichtmensch: That’s a very good question. I got strong Devin Townsend vibes throughout the album. The wall-of-sound approach to songwriting the band uses frequently on this record is very akin of Devin’s approach in my opinion. Some of the proggier death metal sections made me think of Rivers of Nihil’s latest album and lots of the rest, e. g. the clean vocal choruses, as well as some of the riffs, reminded me of Extol, another Norwegian prog-death band. How about you? Lichtmensch: Interesting, I’m a huge Devy fanboy and didn’t hear a lot of his influence here, apart from the production like you mentioned. For me though, Endolith remind me of an angrier, shriekier The Ocean mixed with Meshuggah (some of those riffs man), Extol (good call btw) and Dimmu Borgir and Septicflesh due to The Arctic Philharmonic Chamber Orchestra lending a hand, or thirty eight to be more exact. Judging by our descriptions (and please do judge, we’re totally in the right), this is a weird band, so what stood out for you the most? Lichtmensch: First of all, I agree 100% on the Meshuggah part. Totally forgot to mention them, they came to my mind, as well. Yes, weird is a good word to describe them. I can’t even pinpoint one particular thing that stood out to me. The lyrics, the atmosphere, the combination of orchestral elements, death metal and those melodic sections - there’s so much interesting stuff going on in this album. I think the first thing that really struck me when I listened to it for the first time was how prominent the orchestral elements are in the band’s sound and how well they fit in with the djenty extreme metal riffs. The clean vocals were another element that really pleasantly surprised me. Loveloth: It’s quite a dense package, that’s for sure but Endolith make it work, not only that but constantly throw curveballs at the listener for good measure. The addition of the orchestra was an excellent call as it adds another layer of atmosphere and since we’re dealing with that pesky asteroid which wiped out the dinosaurs, that grand scope which the strings, brass, percussion and woodwinds provide comes in really handy. I’ll be honest and state how I wasn’t particularly impressed with Chicxulub after my first listen but it grew on me as I started wrapping my head around all the mayhem that is present here. Take “Nest Scrape Display” for example, and how its thrashy beat clashes with a very Shuggah riff but as soon as you get used to it, we get a soaring chorus that greatly reminds me of their fellow countrymen In Vain. Endolith are unhinged, ambitious and I like that but I feel the band is yet to achieve their peak. Some things just feel off. Do we share this sentiment? Lichtmensch: Absolutely. My listening experience with this album was interestingly the other way around. Listening to it for the first time was super impressive, but after multiple listens I began to notice some flaws and things I didn’t like all that much. I think this is a great album by a band with lots of potential to become even better in the future. Endolith have a rather unique sound already and I think they’ll be refining it on future releases. I’ll definitely keep an eye on them. Do you have a favourite song on the record or one that stands out to you in any way? Loveloth: I do actually and guess what, it’s the proggiest and longest track, I am of course referring to the title track. It contained the only “oh shit” moments on the record. That breakdown around the three minute mark is nasty but what completely caught me off guard is the return of the record’s main theme that appears in the beginning of “Bloodfiends”. It’s a good and effective trick that works wonders with prog bois such as me. After it, the track morphs into a lengthy and epic outro and this is where Endolith shines the most as they have the time to successfully pull-off every idea they have for the song. And while no song is bad, some are a bit underwhelming like “Mount Evidence” or the final, bluesy track “When The Earth Died Screaming”. The idea is extremely cool but the execution lacks something I can’t quite put my finger on. What’s your favourite? Lichtmensch: I’m not quite sure. The title track is great and I really like “Nest Scrape Display” and “Ichthys” a lot, but I think I have to go with “Diseasons”. I love how ominous and atmospheric it begins and how ridiculously heavy it gets towards the end. The harmonies and melodies on this track are some of the best on the album and it generally feels the most “complete” and thought out to me. Loveloth: “Diseasons” almost ended up as my favourite for reasons you mentioned and I totally agree on it feeling the most “complete”. Regardless of this positives we went through, I still think I should like this more than I do. It has everything I like: paleontology, prog, djent, unconventional songwriting, dynamic vocals, experimentation, an orchestra and fat riffs but I still feel something is stopping the band from creating a true gem and I am yet to pinpoint what and maybe that’s the problem! It’s so hard to define this record and I think that hinders it despite helping it. I know that sounds contradictory but hear me out. Endolith needs to find that is completely theirs to solidify their character and that comes with time, time the band has because despite this flaw, Chicxulub is an enjoyable, quirky and fun journey that I see myself revisiting from time to time. Lichtmensch: I agree on almost everything you mentioned. I enjoyed Chicxulub enough to listen to it many times and never be bored or annoyed by it, but it also didn’t blow me away or become an album I’d call an absolute masterpiece. I see it primarily as an album by a band still figuring out their definitive style and within that framework it’s a very good album. It has its flaws and some edges that would have needed some smoothening, but it’s definitely a lot of fun to listen to and I don’t regret a minute I spent with it. Loveloth: Absolutely, well, think we went through everything, surprised how much we agree on things, must be the palaeontology fixation, in any case, if you are in some need of odd, eccentric and progressive death metal, Chicxulub (unlike the poor dinos) is here and available on every music platform, you know how it goes. Any last words Mr. Soliloquist? Lichtmensch: Life uh.... finds a way. Loveloth: Thus spake the Soliloquist and Loveloth, the two lords of palaentology-laden metal. Chicxulub - The Fossil Record was released on January 18th via Rob Mules Records.
Follow Endolith: Facebook | Instagram Written by: Loveloth Yes, it's time for these obligatory year-end lists where I subtly position myself as having superior taste than you mere mortals, but fear not because you will give in! Hopefully. Anyhow, I am Loveloth (of a certain Gazebo that resides in the waters of Instagram) and this is my first legit text for this wonderful thing we have going on here. It's a sign that you'll be seeing a lot more of me this year so prepare. But let's indulge in my top 20 picks of 2018 before those wretched times come. See how I skillfully skipped the whole "this year was amazing for music" thing and... aw shit, well, it seems I am just like the rest of them. Onwards then!  20. IN VAIN - Currents Norway's greatest prog death band return with a huge, engrossing, snappy and overall excellent record. The fact that this was released in January and still managed to grab my number 20 spot after listening to about 340-ish records from 2018 says a lot. And having Baard Kolstad behind the kit certainly helped and I sincerely hope he sticks around. Absolutely worth your time.  19. MESSA - Feast For Water Gonna spoil the list and say that this is the only doom record you'll find. Yes I am aware that this is not YOB's Our Raw Heart and better for it, as Feast For Water has practically no filler moments. Messa are slowly but surely carving their own niche with each new release and I couldn't be happier. Sara intoxicates with her gorgeous voice and the rest of the band provide a jazzy, submerged, subdued and dynamic (yep we're already using that word) backbone. A must for doom fans.  18. DAUGHTERS - You Won't Get What You Want Well it seems most of us didn't get what we want. We got something that either completely caught us off guard raises hand or exceeded our every expectation. With this record, Daughters became an almost household name and a frequent guest of many a year-end lists. Anxious, decadently poetic, paranoid, bestial, it all represents that one part of us which we desperately try to subdue. Lose yourself in the hysterical abyss that is You Won't Get What You Want.  17. TOBY DRIVER - They Are The Shield One would think Toby Driver's peak passed after so many different bands and projects, but no, you noobs, he is an unstoppable creative force and his second solo record proves this. They Are The Shield is an expansive and brilliant journey into the most ethereal and sonically pleasing waters. I'll be retaking the journey for many days to come and you should too.  16. A FOREST OF STARS - Grave Mounds & Grave Mistakes Being unique is really hard, it's a shocker I know. But A Forest Of Stars truly do stand out. With their eccentric (and amazing in every way) Victorian aesthetic, this English septet will drag you, with or without your consent, through their bleak and decadent era with the power of psychedelic, avant-garde and progressive blend of black metal with outstanding lyrics. Your tour guide will be Mister Curse and he is quite an intense oddity so prepare accordingly. Maybe Katheryn will help you, who knows in any case have fun!  15. ERRA - Neon It's 2018 (not anymore actually) and we have a Sumerian records band on a top 20 list on an underground review site, that's a first and don't worry, I am equally as confused. But Neon is so damn vibrant, catchy and groovy that I couldn't ignore it. I instead embraced it, and what I got is a superb progressive metalcore record filled with impressive riffs, engaging vocals and smart, creative songwriting that exploits the power of good choruses. Neon is a shot of much needed energy in a pretty sated scene.  14. OCEANS OF SLUMBER - The Banished Heart Doomy and gloomy prog guided by a troubled yet breathtaking female voice? I'll have an hour of that please. Despite their misleading name (no oceans in Texas, come on guys) Oceans Of Slumber was on my radar since their excellent Winter that seemingly came out of nowhere. Two years passed and The Banished Heart stares directly into our souls with refreshing honesty, proudly showing its vulnerable and exposed insides. And we all have that due to (a)social media and other technological wonders and trends. Shame the record had some filler tracks such as the Wayfaring Stranger and being generally a bit bloated. Still, it's a real treat and a sign of wonderful times to come.  13. BETWEEN THE BURIED AND ME - Automata I & II I know what you're thinking, and no, it's not cheating. Let's face it, the Automatas belong together as they make this conceptual majesty whole, literally and figuratively. And I've gotta be honest, (get used to these,) I liked Coma Ecliptic a lot so I expected great stuff from these wizards, but the pressure from the others who don't share the same opinion as yours truly was real. The band absolutely delivered and released one of their greatest works to date. It's a pretty big deal if you're a BTBAM fan. With tracks like Blot and The Voice Of Trespass the quintet still manages to explore and expand like never before, and I can't wait to see how they'll follow up this behemoth.  12. SILENT PLANET - Where The End Began I had no idea Silent Planet existed until I saw praise from my fellow Villagers (Soliloquist and Ancient Hand to be more precise). The praise is justified because Where The End Began is a lyrical masterpiece and a joy to listen to. Surprisingly complex with jazzy drumming, angular and acrobatic riffs, clear yet beefy production and those amazing vocals. Garrett Russell is a modern poet who deconstructed the whole American society with clever word play, insane amount of references and depth that is unheard of in metalcore. His actual vocal performance is excellent, his flow, range and pronunciation are all superb. Silent Planet, you definitely have my attention.  11. IHSAHN - Ámr I like Emperor but Ihsahn is so much of a better fit for me. Quirky, experimental and dark, Ihsahn's 7th record Ámr shares similarities with Arktis, but is overall a completely different story. Acrylic drum set, odd analog synths reminiscent of Carpenter and that flat but organic production guarantee a good time filled with memorable moments. Wake, One Less Enemy are some of Ihsahn's finest work and while it doesn't top After or Arktis, Ámr is still a proof of Ihsahn's vast creativity and will to chart unknown (and icy) waters.  10. RIVERS OF NIHIL - Where Owls Know My Name Who? Get it? The album title is referring to owls and... oh just forget it and listen to the damn thing if you somehow didn't. Despite the just OK production, Rivers Of Nihil blast through with intense sax-laden, quarter-note chugging maelstrom that took 2018 by storm and for fine reason. It's super good fams! This is a big step up from Monarchy and I am really curious to see where this Pennsylvainian quintet leads us.  9. SUMAC - Love in Shadow Unpopular opinion. I prefer Sumac over Isis since their superb What One Becomes, but Love In Shadow is a monumental feat that expands the band's formula. And that formula is god-tier improvisation. Led by disgusting heaviness paired with earth-shattering riffs and enough momentum to put down a charging rhinoceros, Sumac constantly challenging themselves and the listener and I love that. Long, exhausting but cathartic and purifying, Love In Shadow is a record whose density and scope will drag you back to it only to expunge you after draining all your energy.  8. ALKALOID - Liquid Anatomy This record rose up like the cephalopods it prophesies as one of 2018's finest. Bursting with degenerate charm, this ode to my mighty cosmic masters (I am Loveloth after all) is one I will always return to. It has everything, the riffs are mind-boggling complex exercises, the lyrics zany and extremely clever, the vocals unsettlingly familiar, the drums astounding, that's what you get when you put five German wunderkinds and geniuses in one room and let them jam and talk about Lovecraft, science and metaphysics. Bravo chaps, my overlords are pleased.  7. SLUGDGE - Esoteric Malacology You know what my overlords found more pleasing? Slugdge's latest attempt of summoning the slimey Greatfather, of course. This very record is the definition of justified hype, and these two potential servants named Matt Moss and Kev Pearson created one of the most engaging prog hybrids in a very long time. Now I only need to convince them that we should unite our religions into one vast, cosmic organization that will ensure the future of...oh, sorry, got off track there for a second. Proceed.  6. DEAFHEAVEN - Ordinary Corrupt Human Love The greatest foe of trve kvltists hath returned with their most subdued, complete, and least metallic offering yet, and it's breathtaking. Deafheaven always manage to make me feel fuzzy inside whilst going insane. Whatever your stance on the band, this deserves your attention, it's truly fresh and the San Fran quintet continue to be a trailblazer and a great influence to upcoming bands. Be brave, explore and ignore naysayers because if you truly got it, who knows, maybe you'll create something unheard of and that's what propels art forward.  5. TESSERACT - Sonder Meet my most listened to band in 2018. That's right, it's djent time and Tesseract's Sonder is a brilliant, albeit short culmination of all their previous phases. Abrasive, vast, insanely groovy, complex, ambient and soaring release that shows a band pushing themselves whilst completely retaining their core sound. Be it the absolutely breathtaking Juno or goosebump inducing scope of Beneath My Skin or Mirror Image, Sonder will never leave rotation (especially because of its godly production), same as every Tesseract record. I just need more.  4. ROLO TOMASSI - Time Will Die And Love Bury It Where did the hell did this come from? If you're like me, you'll feel the same way after experiencing Time Will Die And Love Bury It which is Rolo Tomassi's breakthrough and overall fifth release that ups the antee on every front. Eva Spence's voice is equally as formidable as it is soothing, the instrumentation is amazing as it walks the thin line between unbelievably aggressive and unbelievably chill. Tracks like The Hollow Hour, Rituals, A Flood Of Light, or basically any other stick and continue to get under your skin, at least this occurred with your boi. This was my AotY for a while and as we near the end of our list, the smallest details dictated what record sits on what spot  3. THE OCEAN - Phanerozoic I: Palaeozoic I am a big paleontology nerd, and having a brilliant post-metal act such as The Ocean consistently deliver gold is nothing short of outstanding. Massive, vibrant and unbelievably clever with its usage of words and motifs, Palaeozoic soared above virtually every other release. You'll get my sentiment after Permian: The Great Dying abruptly ends. The bar has been set unbelievably high and I am pretty confident the band will follow up accordingly. All hail The Ocean.  2. VOLA - Applause of a Distant Crowd Vola was one of those year-defining bands for me and Applause cemented that love. Just as with The Contortionist's Clairvoyant in 2017, Vola brought a breath of fresh air to an ironically formulaic scene. Too many prog bands sound alike and play it safe but these Danes decided to almost entirely drop the Meshuggah worship (that I am a fan of) that was plentiful on Inmazes and gaze towards pop, electronica, ambient and industrial. What we got is a wonderful, fresh, lush sonic curtain that completely surrounds you. Ruby Pool, We Are Thin Air, and the title track are among the most beautiful and warm pieces of music I heard last year. Then you have stuff like Smartfriend or Whaler which show the more "ugly" and discordant side of the band we grew accustomed to on their previous releases. Must hear, in my Necronomicon-looking book.  1. BLACK PEAKS - All That Divides
Here it is, the album I felt was the most complete and the closest thing to a masterpiece 2018 had to offer. I expected seeing Black Peaks somewhere on my list but definitely not as my number one pick and I am even happier for it. All That Divides is a sound of true, unadulterated passion that the band unleashes upon the listener. This isn't the only thing that makes this record so brilliant of course. Each song is brimming with well executed ideas, the instrumentation is impressive, the vocals superb and the whole package outstanding with no filler in sight. Imagine if you had the best parts of Crack The Skye era Mastodon, the hysteria and calculated aggression of Dillinger, Mars Volta's unhingedness, the flow of Oceansize and sprinkle in a tad of Deftones for good measure. Yes I mentioned a lot of bands but Black Peaks came to a point where their sound is their own. There is no doubt in my mind that these guys are here to stay and continue to make waves with each passing release. World, it's time to meet your new masters, apart from me of course. Now on to 2019! |
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We provide thoughtful reviews of music that is heavy, gloomy...and loud enough to wake us from slumber. Written by a highfalutin peasantry!
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