I'm choosing to fill a small part of the gray area in my life with random reviews from the realms of cinema, music, and more things that are generally looked down upon by society. And you've chosen to read them apparently.
High school students around the town of Mill Basin are heavily promoting the debut live shows ofan upcoming heavy metal act called Black Roses. The group has gained an infamous reputation for their confrontational lyrics, and accusations from flustered parents are running rampant that they may have ties to darker forces. Still, the town's mayor says that making a decision to cancel any concerts is beyond his control, as it was the institution itself who approved of the decision to hold these events. Once the evening of the first gig sets in, the youth of Mill Basin are exposed to the true power of rock and roll: they relish and party enthusiastically to the plethora of tunes pouring out of the speakers. Ironically enough, however, what is often accused and labeled as being "the devil's music" could be just that, as the kids learn that these tracks could serve as a powerful tool for conjuring demons!
As if it wasn't blatantly obvious, heavy metal and horror films go together like chicken and waffles: you would never imagine that the pairing would work until you try it out. They both have ties to the darker sides of humanity, were often born out of frustration with the creators' surroundings and upbringing, and frequently confront issues that we may not be comfortable with discussing. So, after hearing of 1988's Black Roses, which pairs two of my longest-running loves that I will most likely never tire of (shoutout to Watercooler Films for the suggestion by the way!), I felt that this was a necessity. Plus, remembering how much I enjoyed the random blind buy known as Suck was an extra incentive, so this felt like a no-brainer.
If you are a first time reader of Unseen Terror, then I must apologize in advance, as this review will likely contain some foul language not suitable for those who are rather young or quite sensitive. But, there is no other way to construct the following statement: Black Roses fucking rules. Managing to seamlessly blend the best of B-movie horror and gleefully silly over-the-top horror-comedies, the entire experience is so earnest that you can't help but fall for it. True, if you read the plot description above, it does sound dumb, but if you've gone this far during my marathon(s), then you should know that this is considered to be quite normal in comparison to other projects with larger budgets. Plus, those pictures don't feature music legend Carmine Appice (Vanilla Fudge, Ozzy Osbourne, Rod Stewart) as a demonic drummer, do they?
There is a fear that one would feel once they hit 'play' on their copy of Black Roses, which is the concern that the movie is anti-heavy metal propaganda. After all, the lead character (portrayed by The Young and the Restless veteran John Martin) is a concerned English teacher, who despite his very cool and welcoming demeanor, doesn't exactly seem like the type to be caught listening to any heavier music. His students end up turning into apathetic, violent, or just plain monstrous beings once they are exposed to the tunes of the titular band, and Mill Basin's version of the notorious pro-censorship group the PMRC is viewed as paranoid and anciently out of touch. Honestly though, I just didn't see there being any warnings related to heavy metal being dangerous. In fact, most of the flick seems to have more in common with a piece like Trick or Treat, which I always felt was making fun of the "metal is evil" sentiment, or even so-bad-they're-good pieces of exploitation like Reefer Madness, though this is obviously not taking itself as serious as the latter was. And when you consider that director John Fasano also sat in the main chair for the love letter to the genre(s) known as underground hit Rock 'n' Roll Nightmare, do you really believe that he would suddenly pull a 180 a mere year later?
Anyway, if I can get back on topic, one of Black Roses' defining traits is how everybody in the cast and crew is totally on board with the material and concept. Though the list of performers as a whole are quite exceptional, the aforementioned Martin steals the show. Not just sporting a killer mustache, the man also displays a great willingness to play along and relish every time that he gets to interact with something out of the ordinary. There's also an all-too-brief appearance from Vincent Pastore (yes, Big Pussy from The Sopranos) as an irritable father who fights a demon that attempts to drag him into a speaker-vortex. No, you didn't read that wrong, but trust me when I say that it is just fabulous. Julie Adams (Creature from the Black Lagoon) also shows up as one of the crankier elders who just doesn't seem to understand why the kids love this rock and/or roll, though it admittedly took me a second or two to recognize her face. She's more defined-looking than some of Black Roses' effects though. For as much praising as I am raining down upon this film, it does unfortunately suffer from some rather bad makeup and beast designs, but it is very possible that a good chunk of the production cost went to securing some of the bands needed for the soundtrack. That, or they just didn't have many great ideas to begin with. Still, it doesn't detract from the overall fun factor, and I'll gladly take watching someone swat at a long-necked monster with a tennis racket at any opportunity.
Even with minor flaws such as a weak ending and a somewhat disappointing final ten minutes, Black Roses is a ton of fun. I get true joy from discovering hidden gems buried beneath various piles of dirty pebbles, and this horror-metal hybrid shines rather brightly with delicious amounts of cheese, charm, and a killer soundtrack to boot (if you aren't humming a single one of these songs after everything has wrapped up, you aren't paying attention). It's a god damn shame that this obscure motion picture is sitting at such a low rating on various websites such as IMDb, though hopefully it will receive further praise down the line by someone in the realm of pop culture with a bit more pull. I can only hope that such high-level admiration skyrockets it into getting a proper Blu-Ray release. Still, a standard DVD version of Black Roses is readily available for streaming and purchase online.
And at the very least, I can guarantee you that it's infinitely better than the Mark Wahlberg vehicle known as Rock Star. Because that movie is pure bollocks.
Tomorrow, we venture off to the theater again, as I take a LONG overdue trip to the coldest regions of the world. Why go there you may ask? Well, I have to pay respect to my elders, do I not?
Well, this certainly took longer than I expected it to. Then again, when one considers that the likes of the folks working at The Wrestling Observer and That Guy With The Glasses usually put up their "best of" lists towards the end of the first month of the new year, it becomes slightly less embarrassing. Combine that with having an EEG, which resulted in the possible diagnosis of epilepsy, and I have admittedly been getting a little sidetracked. Meandering aside, let us dive into what most of my friends would care to read about, which are my own personal choices for the best and worst of 2013 in the realm of records and movies.
Honestly, I think that in terms of overall satisfaction, this was quite lackluster compared to years prior. A large chunk of blockbusters with an abnormal amount of hype (and in some cases, absurdly expensive budgets) failed to live up to expectations, or in some cases, just plain stank. We weren't without some fabulously entertaining moments however, especially when "awards season" kicked off. Music was also exceptional this year, and there are quite a lot of records that I will feel sad leaving off of my own personal top twenty list because it was just that stacked. Before I reveal my own picks, I'll just get one thing out of the way: I only listened to perhaps two records this year that I strongly disliked, but couldn't bring myself to flat out hate. Those two albums were Queensryche-Frequency Unknown and Black Sabbath-13. With the former, it seems like an easy target, but considering the pompous feeling that resonates during every track, coupled with the hilarious drama surrounding the formerly great band (this album's initials are "F U" after all), I couldn't help but give Mr. Geoff Tate's incarnation of Queensryche a dishonorable mention. As for Sabbath, it truly does break my heart to have to say anything negative about the band these days, or any day for that matter. Still, the album did absolutely nothing for me, and its glossy production (courtesy of the usually great Rick Rubin) didn't help disguise the mostly soulless playing heard throughout. And yes, I'm still in favor of Bill Ward coming back to the band, even though I still love Brad Wilk and his previous work with Rage Against the Machine.
Now that I've spent my time essentially taking a dump on the legends of old and their reluctance to hang it up, let us dive into my top twenty albums of 2013. Due to the sheer size seen here, this will be end up as a three part posting, as opposed to last year's two parter, with today encompassing records only. So if you don't particularly care about these styles of music, check back later for my choices for the best and worst of movies in 2013.
20. Revocation-Revocation
For some reason, this band never quite clicked with me every time I had listened to them, and I thought they sounded like a weaker version of Burnt By The Sun when I saw them live, but I'm willing to eat a big bowl of crow for these previous thoughts. This self-titled album contains very solid technical, thrashy death metal with quite catchy and precise guitar solos. True, I think the vocals could still use some work, but these guys are quite young after all. Did I mention that they make good use of a friggin' banjo?!
19. Power Trip-Manifest Decimation
I hinted last year that I was mostly bored with hardcore now, but the modern Texas crossover madmen still managed to keep my attention (and not just by signing with Southern Lord Recordings) by getting even heavier, faster, and more retro-sounding. Yes, the thrash revival of the modern era has pretty much overstayed its welcome, but I suspect that Power Trip, along with a couple of other particular bands who will show up later on this list, will be around much longer than folks will suspect.
18. Paint It Black-Invisible
Speaking of hardcore, Dan Yemin is the man. An intelligent, well spoken musician with a doctorate in psychology, the Paint it Black frontman has been around for over twenty years, recording music with an assortment of acts that seem to (shockingly) get better and better every time a new project forms. As for why this doesn't rank higher? Well, for one thing, it is only an EP, as opposed to an entire album. Shortness aside, the six tracks of melodic hardcore heard here are all winners, and make me salivate at the possibility of a new full-length arriving sooner than later.
17. Blood Ceremony-The Eldritch Dark
Okay, I'll confess to being almost sick to death of the retro metal revival/70s worship that seems to be the bees knees among most music critics and fans these days (I apologize if I'm complained about this before). I'm more fascinated by seeing where the genre is going to go, rather than see it take several steps back. All of that grumbling aside, most of the music that has been coming out has been very, very good. I'm legitimately surprised that I never gave this band a listen before, especially considering the quality of albums released by Rise Above Records and my penchant for most bands who convey a very psychedelic "cult initiation" feeling. And what Revocation was able to do with a banjo, these Canadians manage to do with a flute, and several times at that.
16. Cough/Windhand-Reflections of the Negative (Split)
No, this is not favoritism because my band has played with these two Virginia doom bands several times. And no, I'm not choosing this over Windhand's own full-length released this year in order to be "cool." Truth be told, I actually haven't gotten around to checking out Windhand-Soma due to my own incompetence. I chose this because all three songs featured here just crush your very soul, especially the haunting two pieces from the latter. I'm not exactly certain about what runs through the waters of Richmond that helps to create such memorable, dirging madness, but I think we could use a bit of it here.
15. Weekend Nachos-Still
Was it just me, or did this new release from this well-known raging hardcore/powerviolence group just kind of come and go without much attention? Maybe this is just due to the fact that I think the band should be much bigger than they are at the moment, and have been getting even heavier with every release. Oh, I forget that sometimes that is a kiss of death in an occasionally choosy scene littered with short attention spans. But speaking of short, if you're in the mood for short, fast, angry, and even a little bit of sarcastic music (they may pack the most random and hilarious merch around), give this a whirl.
14. Russian Circles-Memorial
When it comes to the world of post-rock and post-metal, some albums resonate so well, you can't really post or discuss an individual track, since it feels like you're doing a disservice to the other equally mighty and impressive songs featured throughout. Such is the newest work from long-running instrumentalists Russian Circles, who may have made their strongest and most emotional album to date. If you're willing to submit to this style, you can find it is quite the journey, full of mixed emotions (all ultimately positive) and memorable parts, including a guest vocal(!) appearance from someone who will appear later on the list. I'm quite giddy to finally see them live for the first time next month.
13. Off With Their Heads-Home
I'm quite pissed off with myself that I didn't know misery-loving punk rockers Off With Their Heads had released a new album in the first quarter of the year, and I didn't discover this fact until NOVEMBER. It is a crying shame since I think that with more time, this could have easily made my top ten of the year. Mind you, this is by no means the fault of anyone or anything but myself, considering that the band is just as pissed as I am, but with many more catchy hook-laden choruses and verses than I could ever hope to come up with. If you're ever craving a band that proves the old formula of two negatives equal a positive (in this case, one is a listener down in the dumps, and the other is lyricist Ryan Young), you may have found your new favorite act.
12. Blockheads-This World Is Dead
I may have to retract that statement about savaging the old guard, since France's Blockheads have been around since 1992, grinding and raging with the very best of them. At the risk of losing any potential future readers from "big" publications, good god almighty does this album rule very, VERY hard, especially if you're a fan of bands like Napalm Death, Terrorizer, and Nasum. Perhaps it could use a little more diversity among its twenty-five tracks, but you'll be too busy screaming with the socio-political lyrics and thrashing around wherever you may be to care or notice.
11. Magic Circle-Magic Circle
Having mentioned this supergroup in last year's "honorable mentions" list, I was pleased to learn that they didn't just fade into obscurity like other side projects in the hardcore scene, especially given how un-hardcore they are. Instead, they came back with a vengeance, releasing one of the most soaring traditional doom metal records I've heard in some time. Who would have thought that the singer for The Rival Mob had these type of pipes on him? I expect that by this time next year, Magic Circle will have been picked up by a more prominent record label. If not, there is no justice in this world.
Note: unfortunately, nearly every track from the self-titled effort has not been approved for sharing on blogspot, so I implore you to copy and paste this link into your browser for enjoyment.
http://www.youtube.com/watch?v=l2y1iWZop6Q
10. Toxic Holocaust-Chemistry of Consciousness
Evil, catchy, speedy without going too long, and drug-laden. It's a new Toxic Holocaust record, what more can you ask for? Okay, that description isn't very subtle, but Joel Grind and crew (which used to just be Grind himself) pull no punches on this fifth album, churning out punk-inspired thrash and speed metal like nobody's business. While I don't think it can compete with their works of old (crap, there's my elitist side coming out), it is miles ahead of most other acts out there, mostly thanks to the exceptional production from Converge's Kurt Ballou. Plus, the video for single "Acid Fuzz" is appropriately fitting.
9. Mammoth Grinder-Underworlds
If riff city is a real place, Mammoth Grinder live in the nicest area one could find. Or is it the nastiest part? Okay, I can't do geography jokes very well, but it doesn't really matter in the end when the music kicks your ass this much. Like Power Trip and the now-defunct (or are they?) Iron Age, these Texans know how to pack a devastating punch to every part of your body that is vulnerable, and again, have been getting heavier with each release. If Dismember, Venom, and Motorhead were thrown into a blender….well, they'd all be deceased, and it would create a bloody mess. Alright, I'll quit with the jokes! Go listen to this and headbang until your neck snaps.
8. Skeletonwitch-Serpents Unleashed
Incredible cover art aside, Skeletonwitch's last two records did almost nothing for me. Live, the blackened-thrash metal band still destroys most out there, but it just felt like they were going with the flow. Thankfully, making the decision to team up with Kurt Ballou and Alan Douches on the producing and mastering side of things may have breathed some new life into this band, as they haven't sounded this tight and alive in six years. This is a pure heavy metal album at its core. New cover art from the always incredible John Baizley was a nice bonus too. Bravo gentlemen.
7. Chelsea Wolfe-Pain is Beauty
Upon first listen, I almost put this in my "disappointment" pile, but with continual returns, and an insistence that I must be crazy to dislike a new record from the usually intoxicating Ms. Wolfe, I found myself enjoying it more and more. This is how one artist evolves while still staying true to themselves, and still being shrouded in the darkness and misery that made them popular in the first place. Chelsea's brand of goth and doom-tinged neofolk (no way to not sound like a pretentious dickbag there) is a bit of an acquired taste, but the woman is very talented nonetheless. With an opening slot for Queens of the Stone Age coming up, along with being featured in the new Game of Thrones teaser, the future is certainly much brighter than I think even she would have expected.
6. Clutch-Earth Rocker
If there was a category for best "comeback" record of the year, I think Clutch would have taken the award without any second thought. True, the band had not hit a slump or even released a bad album within the past few years, but I thought previous release Strange Cousins From the West was quite boring for the most part. Boredom will be the last thing on your mind while checking out Earth Rocker though, as this is no-frills, no bullshit, riff-filled stoner rock and roll. For the longest part of their career, Clutch were unmatched in this category, and frontman/lyricist Neil Fallon said they just wanted to make a straight up good rock record this time. Well, I think you've delivered in spades my fellow Marylanders. To quote one Ashley Williams, it is quite "Groovy."
5. Subrosa-More Constant Than The Gods
Mother of mercy. Emotional doesn't even begin to describe the feelings one gets while listening to the female-fronted avant-garde sludge/doom metal group's second full-length, though an extra feeling that will come over you suggests that Profound Lore continue to be the champions of underground heavy music. From the get go, the haunting and violin-filled opening of "The Usher" sets the mood just perfectly, and you won't want the record to end, perhaps even in fear of the band members' lives or your own. I don't know if the band has any plans to tour outside of the West Coast in 2014, but should they read this, I implore that you stop somewhere in the Carolinas in the near future. Sludge metal and music in general this unique needs to be heard by more than a few select individuals.
4. Uncle Acid & The Deadbeats-Mind Control
Without a doubt, this band is THE talk of the town among hardcore metalheads right now, especially given that they'll be playing their first stateside show within four months of this post, and have even attracted the attention of people normally not interested in the genre. Heck, they even recently got to open for Black Sabbath in the United Kingdom, something unheard of for a band of their style (even if their own sound strongly harkens back to the originators' own heyday). This doesn't mean it isn't warranted, since the tracks provided on Mind Control are just as breathtaking and well-structured as previous record Bloodlust, making one feel as if they've been transported back to the decades where drug use was the norm, and psychotic cults were one of the most feared thoughts in the minds of families. If you haven't taken a chance on this band yet, you are missing out.
3. Purson-The Circle and the Blue Door
Speaking of Uncle Acid, these relative newcomers (also from the U.K.) were the openers on their own headlining tour, for which I can't express enough jealousy towards our overseas friends. It may not be fair to call Purson a metal band, since their love of mellotron and psychedelic overtones have more in common with late-60s bands like Jefferson Airplane than anything else. Heck, I've even seen them in interviews site The Beatles as their greatest influence. Good music is good music though, and the tracks provided here are equal parts enchanting, memorable, bewitching, and powerful. Oh, and their lead singer Rosalie can sing her ass off, which is always a plus. This honestly could have made the spot for my favorite record of the year, but like OWTH, I discovered this a little too late. Hopefully nobody else makes that same mistake.
2. Oathbreaker-Eros/Anteros
There were a plethora of records that went largely unnoticed in 2013, including some honorable mentions I'll bring up at the end of this list. Belgium metallic hardcore band Oathbreaker, who have appeared before on my EOTY list (Maelstrom came in at #12 in 2011), released their magnum opus earlier in the year, and not a single soul seemed to notice until the final weeks of the year were coming to a close. Me? Well, I've been trying to champion this record as much as I could to my friends who are into extreme music. The band has incorporated more elements from black metal, doom metal, and post-metal into their sound now, making for a truly harrowing and pulverizing experience. Frontwoman Caro Tanghe sounds like she's on the verge of being torn limb from limb, and on the crawling and creepy "The Abyss Looks Into Me," she sounds like she's eerily ready to depart this plane. Along with her equally furious bandmates, they have concocted a truly tremendous piece of work not just in the world of hardcore or metal, but in the world of music.
1. KEN Mode-Entrench
And here we have it, the cream of the crop. I didn't think that Canada's KEN Mode would be able to top the quite awesome Venerable from 2011, but I've been pleasantly proven wrong multiple times this year. With a steady lineup and an absolutely killer production job from Matt Bayles (who produced what is still my favorite Mastodon record, Remission), the combat sports and Anthony Peer-loving Canucks churned out the most furious, passionate, and destructive album of the year. While KEN Mode has been around for some time, they really did hone their sound this time around, which is a very dissident combination of sludge metal, noise rock, and post-hardcore. The lyrics are, for the most part, shockingly pessimistic throughout, and it reflects on you the listener. "Romeo Must Never Know" is the best song Isis never wrote, while the guest appearances from hardcore giants Dave Verellen and Tim Singer (of Botch and Deadguy respectively) on tracks "The Promises of God" and "No, I'm In Control" only add to the incredible effort put out. I would say that I'm "proud" of the guys for putting out something this damn good, especially given the praise that Venerable (rightly) received, but I don't think they need my good words, and would tell me to figure my life out.
And there you have it! Good lord did that take a long time to write. Shockingly, I am not done though, as there were a few honorable mentions worth talking about and also grabbing if you have the chance. They are:
-Nails-Abandon All Life (if there was a tie for #20, this would have been right up there)
-Holy-The Age Of Collapse (for the people who miss bands like Lewd Acts)
-Modern Life is War-Fever Hunting (welcome back fellas, even if it has only been five years)
-Ulcerate-Vermis (this was a very selective year for me and death metal)
-Creem-The Curator EP (still doing a great job, even if the vocals have changed a bit)
Come back soon for the posting of the best and worst for movies in 2013!
Ah, so here we are again. Though I realize making my entire top 20 list as one post would've been much easier to do, I figured I'd drag it out just a tad bit more. Well, that and I needed to sleep before heading to work.
So, with little fanfare, here are numbers 1-10 of my favorite 20 albums released in 2012.
10. Napalm Death-Utilitarian
If you'd have told me Napalm Death were going to take some of the biggest risks this year in the extreme music community, I'd have asked you to supply me with some of the drugs you were taking. Shockingly, these risks, which range from a saxophone solo (hi there guest cameo from John Zorn!), to guitarist Mitch Harris singing cleanly, work incredibly well for the godfathers of grindcore. And for those of you who are uncomfortable with experimentation, don't worry, there are still plenty of righteous blasts of hostility to be found. True, ND have been on a good tear for the past ten or so years, but this one will probably warrant the most repeats (next to Enemy of the Music Business at least) in their recent catalog. Diversity is your best friend sometimes.
9. Early Graves-Red Horse
Two years after losing frontman Makh Daniels in a horrible van accident, this promising dark hardcore/crust band return with an effort that was as punishing as it was inspiring. New vocalist John Strachan (also of The Funeral Pyre) seems like a natural fit, his Gothenburg-style yells adding a very strong Disfear vibe (and the Tragedy influence is even stronger than before) to a band that I'm sure some were uncertain were ever going to return after their excellent 2010 effort Goner. Well, they're still going strong, and in my opinion, this is even better than that record. To quote one Joey Diaz, "TREMENDOUS!"
8. Witchcraft-Legend
I've slept on this band for way too long, and it figures that my first real exposure to them is when they have a mostly new lineup. Shame, since this is some absolutely beautiful heavy metal. In my book, Magnus Pelander and Mlny Parsonz (Royal Thunder) were neck and neck for vocal performance of the year, and despite the album positioning on this list, I'm not quite sure who won out in the end. I get the feeling that this will be a grower, and over time, could potentially sneak into my top five. If you still haven't listened to these Swedes, and count yourself as an old school metal/doom/stoner/hard rock fan, I implore you to find this album however you can, and give it a spin.
7. Gaza-No Absolutes in Human Suffering
Ouch. This album wants to hurt you. Badly. Not like in that pseudo-hardcore tough guy way, but in that "tear your hair out and pummel you to death with a microphone" kind of way. I've always liked this band, but something always prevented me from loving them. Their BotchalesceVerge sound (I will NEVER used that term again) has been perfected on this full-length however, so watch out. This is some of the most chaotic music I've heard in a long time, making you feel like you had been crushed by a bulldozer. Mathcore fanatics and fans of "violent" music in general will be drawn to this like a moth to flames.
6. High on Fire-De Vermis Mysteriis
I'm going to make a ballsy claim here: this will be the last truly great HOF album. Matt Pike checking into rehab earlier this year didn't particularly surprise me, but you know the old saying of "No Drugs, No Soul?" Well, this has TONS of soul, some of the best riffs I've heard from the (now) legendary guitarist, and it feels pretty drenched in drug use. Easily the best thing in this band's catalog since Blessed Black Wings, though let's hope their next effort doesn't turn into the band's equivalent of St. Anger. For now though, let us bask in its sheer power and magnitude.
5. Royal Thunder-CVI
The moment I heard about this GA stoner rock/doom metal band signing to Relapse Records, I knew their full length debut would be a monster. True, some songs on this can drag a bit, but Mlny Parsonz's vocals are enough to keep the listener's attention throughout any potential mediocrity (which there really isn't any). With fantastic chemistry between rhythm section and guitarists abound, and the aforementioned amazing performance from Ms. Parsonz, this bluesy and doom-soaked debut was well worth the wait. All I can hope is that they don't become too big to forget that they still owe us another show!
4. The Devil's Blood-The Thousandfold Epicentre
Okay, technically I'm cheating by putting this one on my list, given that it saw release in Europe back in November 2011, but we didn't see an official release in the U.S. until January. So nyah nyah. My childish insult aside, they were one of the standouts this year at Maryland Death Fest, and this is damn good psychedelic rock/metal from the Netherlands, with soaring vocals, a great use of the hammond organ, and a lyric sheet that makes the listener feel like they've been dropped off in a mid-70s drugged-out satanic ritual. Speaking of Maryland Death Fest, I just remembered that I neglected to type a proper review on here, so here's a quick recap: Everyone but Anvil, Die Pigeon Die, and Needful Things were good, and the latter were more disappointing than bad.
3. Pig Destroyer-Book Burner
I was scared that the sheer amount of dicksucking that this album was receiving would ruin it for me, but I'll admit: it may be warranted. It has been way too damn long since the D.C. masters of grind released a new album, but this was definitely worth waiting five years. The production might throw fans off, but Scott Hull's riffs slay and J.R. Hayes still sounds like a man possessed. This album is also more noticeably groovy than past efforts, but it works in its favor, especially on "Iron Drunk" and "The Diplomat." Guest vocals by Kat Katz (AnB/Salome) and Jason Netherton (Misery Index) only add to the intensity, and "The Bug," which features one of two collaborations between Hayes and Katz, might be my favorite song of the year. I'm expecting their set at 2013's Maryland Death Fest to be pure insanity.
2. Converge-All We Love We Leave Behind
I've never been shy about my love for Converge, and I'm probably one of the few who prefers their newer material (Jane Doe and onward) to their older material. Whereas 2009's Axe to Fall was a family affair stuffed with guest appearances galore, Converge is back to doing their thing as four piece on this album with no appearances but their own. Jake's vocals are torturous and pained like usual, and his skills as a songwriter have certainly not diminished, but to me the stars of this one are his bandmates. I've always thought that as musicians, Converge was severely overlooked. Kurt Ballou can riff with the best of them, Nate Newton's vocals and bass lines are growing in size, and Ben Koeller can beat his drums better than most in his field (opener "Aimless Arrow" and the title track are proof). The kings of metallic hardcore continue to reign supreme.
1. Christian Mistress-Possession
Unbelievable. Just when I think Relapse has dropped the ball with signing newer acts, this proves me wrong. No disrespect to the purveyors of the "retro metal" revival that seems to be the thing nowadays, but I prefer to see my favorite music genre go forward rather than take two steps backward. That doesn't mean I can't enjoy some of the albums though, and god DAMN did I love this one. Incredible guitar melodies that could compete with the best of early Iron Maiden and Judas Priest, soulful and sultry vocals that resemble if Grace Slick listened to a lot of Black Sabbath, and a very solid production that mixed just the right amount of modern with "old school," I'll be shocked if this band doesn't blow up within the next few years, or at least doesn't garner a slightly bigger following. The only thing I can ask now is COME TO THE EAST COAST!
And there you go, my top twenty albums list is complete. But you might be asking "Ryan, why title this 'best of tunes, worst of tunes' without a bottom 20?" Well, not to sound egotistical, but I avoided most of the albums this year that I knew would disappoint me.
But there were two albums that stuck with me the same way shit sticks to your shoes...
Dead Icons-Condemned
Remember my unpopular opinion on hardcore being mostly stale now? This is the epitome of it. I was struggling to say anything worth note, be it slightly positive or overwhelmingly negative, about this album. At the end of the day, however, I found it to be completely unmemorable and forgettable, which sometimes is the worst crime of all. I'm sure they're all nice guys, but this just didn't do a thing for me.
Lamb of God-Resolution
I feel bad bashing this because of the band's recent troubles involving Randy Blythe's manslaughter case, and I also avoided the new releases that nearly everyone has on their "worst of" lists (Muse, Bad Brains), but good fuckity god did this suck. The opening song "Straight For the Sun" is passable (mostly due to LoG going sludge on it), but it was a downward spiral after those two and half minutes were over. There is no life and variety to be found on this release, and LoG have pretty much confirmed their decision to take the Slayer route by deciding not to stray too far from the sound that helped secure them gold records. If you're okay with that, then you might not despise this album nearly as much as I did. For me though, I'm still yearning for something to match As The Palaces Burn. I'll probably have to keep waiting though.
NOW you have it. The best (and worst) of 2012's music, as chosen by this bearded weirdo.
As with last year, here are some other top lists from fellow music fans, a.k.a. friends and acquaintances.
Kris Hargitt 1. Torche-Harmonicraft 2. Gaza-No Absolutes In Human Suffering 3. The Rival Mob-Mob Justice 4. Power Trip-7" 5. Converge-All We Loves We Leave Behind 6. Rise and Fall-Faith 7. Burning Love-Rotten Thing to Say Lew Cabral 1. Converge-All We Love We Leave Behind 2. Every Time I Die-Ex Lives 3. Grizzly Bear-Shields 4. Pig Destroyer-Book Burner 5. Gojira-L'Enfant Sauvage
Ben Johnson
Cattle Decapitation-Monolith of Inhumanity
Pig Destroyer-Book Burner
Christopher Millard (Children of the Reptile)
The Sword-Apocrypon
Dragonforce-The Power Within
Justin Palughi
Converge-All We Love We Leave Behind
Between the Buried and Me-The Parallax II: Future Sequence
Come back tomorrow for another best of/worst of list featuring movies, MMA, and all other sorts of things!
To say that 2012 has been interesting would be like stating that Black Sabbath were an amazing musical act. I got two new jobs (down to just one as of this writing, mostly due to distance), went back to school, and even traveled to a festival that was previously only thought of as a dream and nothing more. We'll save that hoopla for another entry though, since this is about what obviously matters most: MUSIC! As with last year, I've assembled a list of my own favorite releases that I happened to hear and found quite pleasant on my ears. This was a rather difficult process, even more so than assembling my favorites of 2011. Despite its difficulty, it does make me optimistic for the next year though, as there isn't the slightest thing wrong with finding more good music.
Even dillydallying though, let's get to it. I'm making this a two part post due to links being attached for key tracks too.
But first!
HONORABLE MENTIONS
Magic Circle-Single 7"
An amazing glimpse of things to come from a supergroup comprised of members from The Rival Mob, Mind Eraser, and Doomriders. It has a tad bit in common with the latter, but this two song 7" shares more similarities with Black Sabbath and the melodic doom bands of the 80s (Candlemass, Trouble) than anything else.
Alcest-Les Voyages De L'Âme
I'm shocked that I never gave this band a listen until now. Roughly translated to "The Soul's Journey," this feels like a fairly natural meeting of haunting, melodic alternative post-rock and screeching black metal. There are moments on this that can genuinely give me chills depending on how my week has been going. Too bad I don't speak a lick of French, I would love to read about what I'm hearing. Strongly recommended for fans of Opeth, Agalloch, and Katatonia.
CREEM-CREEM 12"
*cues joke from Family Guy related to this band's name* Unusual feeling about their name aside, this was some damn good 80s-style hardcore punk from New York. This is what I wish Ceremony had evolved into.
Torch Runner-Committed To The Ground
North Carolina, you're doing me proud these days. The hardcore/grindcore band keeps evolving and playing shorter, faster songs, while turning the angry factor to eleven. In all honesty, I don't have too much more to say here, seeing as how this goes by in a flash, but what a flash it is.
Fiona Apple-The Idler Wheel Is Wiser Than The Driver of The Screw And Whipping Cords Will Serve You More Than Ropes Will Ever Do
I've always liked this gal, even if recalling her album names post-Tidal have made me want to claw my face off. Smooth, sultry, sad, and even funny at times, this was easily my favorite non-loud music discovery I heard all year (outside of the PHENOMENAL Chelsea Wolfe).
Power Trip-S/T 7"
Time to entice the haters: I think hardcore is pretty boring right now. I feel the genre is too riddled with cliched acts, singing about the same subjects and catering towards the "cool" side of things, which is the complete antithesis of what hardcore is about. Mercifully, before signing to Southern Lord, these Texans released a banger of a 7" this year, chocked full of speed and groove. Comparisons to the now-defunct Iron Age are inevitable, but I can only hope these guys last a little longer and continue to impress.
The Rival Mob-Mob Justice
C'mon, the intro alone is worth a spot alone on an end of the year list, and the band themselves will admit (and have) that this is purely for the intention of moshing really, REALLY hard. Oh, and as for the rest of the release? It's rather good.
Enabler-All Hail the Void
I suppose the reason this didn't quite make the top 20 was due to this being an example of "good record, better live." Not to dismiss the band or anything, because this is still very enjoyable. Ex-members of Today is the Day and Fall Out Boy (really!) make a very good metallic hardcore album that often crushes, but is better experienced in a live setting. This was especially apparent when (in my opinion) they stole the show during this summer's Southern Lord tour.
Now, we shall march forward onto the actual list. Well, at least the first half.
Speaking of march...
20. Coffins-March of Despair
The guitars are evil, the drums are primitively simple, and the vocals sound like a demon is getting ready to vomit onto your very soul. Naturally, I loved it. I can never keep track of who is doing what in the lineup of Japan's kings of death/doom, but as long as they keep churning out awesome releases like this one, I don't care who performs what.
19. Action Bronson-Blue Chips/Rare Chandeliers.
Technically these are two different albums, but given how busy the New York rapper is, I don't see the problem with putting both of these in the same spot. I've been so down on newer hip-hop and rap, but something about this guy just works. Perhaps its the subject matter (food, weed, money, women, wrestling, etc.) or perhaps its his uncanny vocal resemblance to Ghostface Killah. With the latter album, the insanely cool beats conjured up by The Alchemist only up the enjoyment factor. Did I mention that both of these were put up for free online? So go ahead and give these (and his excellent full-length Dr. Lecter) a go. I sense that this guy is going to explode in popularity, and I couldn't be happier if that comes to be.
18. Torche-Harmonicraft
Ahh Torche, you never disappoint. Hell, even your weakest efforts still have something worth revisiting. Personally, I've always preferred Torche a bit more than Floor (here comes the shitstorm now...I just realize I made that joke too. Oy), and maybe it was because I've always been attracted to a good melody more than anything. I find it impossible to be in a bad mood when listening to a Torche album, and nobody else does sludge-pop better than Steve Brooks & company. Can we also talk about how awesome the video to "Kicking" was too? Because it totally is.
17. Pallbearer-Sorrow and Extinction
I love Profound Lore, but it took me almost a full year to FINALLY listen to this in its entirety, and while I don't think the hype is 100% justified, I think the attention is still very well deserved. Epic, traditional doom metal with melodic (almost soaring) vocals that can tug at your very heartstrings. Perhaps my only complaint is that there are only five songs on this impressive debut, but I predict this band will have a rather big year and churn out something that even surpasses this titan of a record.
16. Panopticon-Kentucky
I'm incredibly strict about what black metal (if any at all) I like anymore, and I'm even harder to please when it comes to one man black metal bands from the states. I'm always open to hearing new things though, and this melding of black metal and bluegrass songs (blackgrass?), along with unusual additions to the genre (recorder and banjo) worked better than I could have ever expected it to. A concept record about the horrors of coal mining and forest destruction in his native state, this was one of the most emotional albums I've heard from the genre, and will leave you truly concerned for the well being of the artist and his home land.
15. Baroness-Yellow & Green
One of the more controversial albums released this year (well, at least down in Wilmington, where folks seem to be split), Baroness' double album upped the melody even more than usual, and toned down quite a large bit of the aggression heard on their previous full-lengths. Did it make for a good listen? Well, in my eyes, it absolutely did. True, the lyrics are weaker than normal ("Little Things" could be phenomenal if you ignore them), and there are some filler songs here and there, but the fact the GA natives were able to make a double album that didn't completely stink is enough to warrant some respect. This is one that I think those with more time to kill and more open minds will appreciate.
14. Deftones-Koi No Yokan
Yeah, I like the Deftones. Fight me. They're one of the few bands that I'm still a fan of after going through all of my music "phases." Oddly enough, it might be due to that fact that this band has been willing to grow and change themselves, and barely resemble the primitive nu-metal act heard on Adrenaline (though you could argue about the band ever even belonging in that genre). Mixing influences from post-rock, post-hardcore, and European acts like Meshuggah, this band has never sounded more like themselves and less like a Korn clone. Admittedly, 2010's Diamond Eyes is still a better album, but the atmosphere dripping from tracks like "Leathers" and "Rosemary" help secure this a spot in the top 20.
13. Neurosis-Honor Found in Decay
I'll probably get crucified for this not being higher, but it didn't mean it was a bad record whatsoever. Hell, Neurosis isn't capable of making a completely bad album. The use of hammond organ on this will leave you salivating, making you wish that the California post-metal giants had used it more, while they also prove to be one of the few bands in the world who can still pull off using bagpipes in metal without sounding cheesy. Scott Kelly's and Steve Von Till's vocals are still amazing and instantly recognizable, and "At the Well" could compete with the best material from Through Silver in Blood.
12. Black Breath-Sentenced To Life
What a rager. I was impressed by these cats' debut EP years ago, but never did I imagine they could churn out something so nasty-sounding. The Stockholm sound has been alive and well in America over the past few years, and you can largely attribute that to these Washingtonians (along with Nails, All Pigs Muse Die, and the surprisingly inactive Trap Them). Combining the best of Swedish death metal with a very strong hardcore punk vibe, it might be impossible to not bang your head to at least two of the tracks on this one.
11. Burning Love-Rotten Thing To Say
I'll probably get an endless amount of hate for this, but I was not a fan of Burning Love's "Songs for Burning Lovers." Perhaps I was still mourning the loss of Cursed, but something just didn't click with me. Whatever was lacking on that album is gone though, as this one was a bonafide, amped up release. Chris Colohan's vocals are expectedly strong, the riffs more memorable (and more based in rock & roll than hardcore), and the lyrics are fittingly biting. Bravo guys, looking forward to future releases again now.
And that does it for Part 1. Tune in for part 2 in a few hours.
