Do you have a taste for the bizarre? For the grotesquely heavy? For the kind of twisted death metal only Finnish bands seem to have mastered? For experimentation that includes but isn't limited to harsh noise? If any of the above even remotely suit your fancy, then it's high time you became acquainted with Oksennus (Finnish for "vomit," naturally). While savvy fans of the extreme and unconventional might've caught wind of this act with releases on Caligari Records and Nuclear War Now! Productions, it seems that news of a new Oksennus album isn't yet making the kind of waves it should in the underground. Perhaps people are put off by the (brilliant) art depicting surreal creatures and root vegetables, or by the self-appointed "antifascist occult metal" tag that may cause purists and the apolitical to scoff, or perhaps it's just that there are simply too many bands playing death metal that we sometimes need more than one friendly nudge to get us to check out a band. For every new act releasing obscure yet challenging, worthwhile music like this, there seem to be a dozen others building up hype online either through label associations or flashy album art that looks great when posted on instagram. Let this be a plea to you, dear reader, to let Oksennus cut through the static and enter your ears.
While this review is focused on the newest release, Työn orjat sorron yöstä nouskaa, an EP released on May Day to "celebrate and empower the prisoners of starvation, the wretched of the earth," I need to take a moment to make it clear that what you get on one Oksennus release is not going to remain constant throughout the discography. While many elements are shared, the band's dizzying yet oddly clean take on death/doom on Sokea Idioottiis reimagined as a sparse, freeform album with no distortion (or vocals) at all on Paholaisten yö, and there's that whole carroty album from 2016, Kolme toista, which has three tracks of exactly the same length yet varying feel and style with manic and often improvised structures. It's safe to say that while the new EP sounds like a new Oksennus release, it also sounds different. As it should.
Continuing in something of a tradition for Oksennus, Työn orjat sorron yöstä nouskaa consists of two tracks of even length, each of which are titled with half the album's title. Opener "Työn orjat" lurches in with squealing static and furious, crushing death/doom energy. Cymbals seem to crash out of nowhere, almost as if edited in mid-hit rather than played naturally. It's this sense of something familiar being altered and given a fresh, albeit filthy, new form that makes this more than just another "slow and heavy" type song. The band's sole member, K. Olavi K.virta, takes the song slower and lower until it feels as if it's just all brown note until about halfway in, when a sudden shift sees things move up in pace, although still at a crawl, and things open up with chanting, sustained notes on the guitar, and a general sense that somehow things have grown even darker despite the shifting upward in tone. It's disgusting, it's gripping, and you might just like it. The accompanying track caught me off guard, despite my love of the artist as a shape-shifter. "Sorron yöstä nouskaa" is 13:12 of pure harsh noise wall. It's a genre that most either love or hate, although your author here is one of the few sitting in the middle. I truly enjoyed it in this context, although part of me is so hooked on the strangely cerebral sounds of Oksennus in a more conventional sense that I spent my first listen waiting for something else to come through. Once I realized it wouldn't, I was able to spend future listens in a contemplative state. I love a good rumbling wall, and for an artist who typically works within a different framework, seeing such a masterful approach to the sound and focused fury of harsh noise wall is a welcome surprise.
There were apparently tapes of Työn orjat sorron yöstä nouskaa on the day of the EP's release, but they vanished before I even noticed. More will be printed at some point, but for now you should visit the artist's bandcamp page and explore the wonders contained within.
Howdy folks! It's nearly a third of the way into the year, so you know it's finally time for Black Metal & Brews to get its act together and publish a list most other publications would've had ready three and a half months ago. Fear not! If you read this on the day of publication, it doubles as a handy buyer's guide to a bandcamp mega-deal in which all fees for artists are waived, which makes your purchasing power more directly beneficial to the artist. Hooray!
If you know my personal situation much by following the BM&B social channels, you're likely aware that 2019 was an incredibly challenging year for my health, in which I was hospitalized twice and spent many months barely leaving the house. It gave me a lot of time for music, but given my dire circumstances, much of the music I consumed was old favorites and comforting songs rather than hot new jams. Because of that, this list may miss some things you found essential. Drop me a line (blackmetalandbrews@gmail.com or @blackmetalbrews on twitter) if you'd like to share a favorite of yours, but don't take it personally if our tastes don't fully align. That's half the fun, isn't it? Additionally, my homebody nature means that most of the shows I attended were shows I played, but I'm listing four incredible acts I saw live that I'll remember for years to come. Without further rambling, here's the stuff that made 2019 a great year for music in my life. Shows JG Thirlwell Ensemble at National Sawdust, March 1st
I've been a fan of JG Thirlwell's work since I stumbled on a pair of Foetus CDs in a secondhand shop at the age of 18. I didn't know what I was in for, but could tell it was going to be industrial music. I didn't realize it'd be some of the most meticulously assembled and overwhelming stuff I'd hear and that I'd be obsessed for life. When Thirlwell announced a pair of (mostly) acoustic ensemble performances, reworking music from his whole career, I knew I needed to attend. In National Sawdust, even the back feels like the front row but I managed to snag a chair up front, just to the side of the stage. Dressed in all white like some sort of hellish take on Bowie's thin white duke, Thirlwell stalked the stage and delivered a performance that was somehow even more chilling and brilliant than I had expected. Truly one for the ages. I'm including a fantastic shot of Foetus classic "I'll Meet You in Poland" from Thirlwell's own YouTube channel (which includes a few others if you're into that sort of thing).
Marc Almond at Brooklyn Bazaar (RIP), November 1st
If Thirlwell's subversive show was simultaneously subtle and heavy-handed, watching his peer Marc Almond (of Soft Cell fame) play a set of hits in a tiny, crowded room was a more direct route to success but was no less stunning. Soft Cell are one of my favorite bands and Almond's lyrics and voice have been haunting me for ages. He played just as many fantastic cuts from his solo career as he did from the Soft Cell years, and really upped the ante near the end of the show as he made his way into the crowd during "Heat," shouting and pushing through like one would expect to happen at a hardcore punk show. It was a sweaty, singalong sort of night. Truly one of the happiest experiences I've had. I'm linking a clip here since it won't let me embed this one for some reason
Stereolab at Brooklyn Steel, September 27th & 28th
I've been a huge fan of Stereolab for ages yet never thought I'd see them live. While a crucial member is obviously no longer with us, the band played brilliantly and with a precise sort of energy that really brought their music to life in ways that surprised me. As a total geek, I had to catch both Brooklyn shows and I'm glad I did. They were stunning.
Bryan Ferry at United Palace, August 9th
I was raised on the music of art-rock experimentalists (and early new wave legends) Roxy Music and never thought I'd have the opportunity to catch anything resembling a Roxy Music gig in my lifetime. My girlfriend and mother teamed up to surprise me with Bryan Ferry tickets for my birthday and it was one hell of a show. While the tour centered around Roxy Music's swansong, Avalon, songs from every era were present, including the haunting "In Every Dream Home a Heartache," the smooth yet upbeat "Out of the Blue," and the strangely shifting rocker "If There is Something." Ferry's voice still wavers between fully controlled and unhinged emotional abandon, which made this a truly stunning night.
Nick Cave in Conversation at Jazz at Lincoln Center, September 21st, & Town Hall, September 23rd
I don't have a whole lot to say but having the chance to see Nick Cave do Q&A with fans and play selected cuts from his entire catalog (often at the specific request of fans in the audience) unaccompanied, with just himself and a piano, was brilliant and beautiful. My health was incredibly poor around the time of these gigs and seeing Cave in such an intimate setting was oddly soothing to my soul. Out of respect for the artist, no videos or photos were permitted, so you'll have to live without it in this post as well.
Gibby Haynes and the Paul Green Rock Academy at Market Hotel, October 25th
Bringing a veteran LSD rock oddball legend together with a children's school of rock sounds like a bad idea on paper, but it's the sort of experiment that's just nutty enough to work brilliantly. Gibby seemed a bit intoxicated for this gig, but I probably would've been disappointed if he was stone sober. The kids switched instruments throughout the night and played with joyous abandon, celebrating more deep cuts and strange anthems than I anticipated, with almost no mention of the Butthole Surfers' radio hits of the '90s in the set. Instead we got treated to raucous renditions of "Sweat Loaf," "I Saw an X-Ray of a Girl Passing Gas," and even "The Shah Sleeps in Lee Harvey's Grave" with Gibby's young son playing a floor tom front and center. As with the other gigs mentioned here, I'll remember this one forever. I can't find video of this on YouTube so you'll just have to trust me here.
Albums (These are alphabetical. No winners or losers this time around)
A Pregnant Light- Broken Play(Colloquial Sound Recordings)
My musical taste often lies at the intersection of unrelated sounds, seeking the places where they meet. I grew up going to basement crust and thrash shows but also am obsessed with bands like The Cure and Pulp whose entire catalogs consist of anthems. A Pregnant Light writes anthems for those of us who grew up in hardcore shows in sweat-drenched Bathory tees. On Broken Play, raw emotion and raw power meld beautifully.
Ærekær- Avindskjold(Tour de Garde)
The Danish extreme metal scene has grown quite fascinating in the last four or five years, and Ærekær are one of the brightest groups in the whole community. On Avindskjold, triumphant black metal and majestic keyboard interludes (think dungeon synth if you must) blend to create something timeless. This may have come out in 2019 but it could've just as easily been a cult classic that oldheads talk about with reverence if it was released the '90s.
Blu Anxxiety- God's Exposure (Toxic State)
Self-described "violent goth" act Blu Anxxiety is one of NYC's greatest treasures at the moment, mixing deathrock, freestyle, industrial, hardcore, and post-punk into something that should appeal to just about any fan of subversive and dark sounds. On their debut EP, God's Exposure, they rage through three originals and a killer cover of "Send Me an Angel" that all just flatten me as a listener. If I had to make a shortlist of songs that defined my 2019, "Uninvited to the Funeral Home" would be near the top. This is music that could only come from New York. Check it out or get left behind when they blow up. Blut Aus Nord- Hallucinogen(Debemur Morti)
Blut Aus Nord have built a career in black metal the way David Bowie did in the world of popular music: consistently shapeshifting yet staying ahead of trends and forging new sounds with a clear vision. You always know it's Blut Aus Nord when you hear them, yet you never know quite how they'll appear each time they resurface with a new album. Hallucinogen may be more directly tied to black metal than much of their catalog, but it's delivered with such spark and imagination that it never feels stale. It's a vibrant, exhilarating listen that you'll want to revisit frequently Body of Light- Time to Kill(Dais)
Arizona duo Body of Light initially won me over with a sort of cold yet tuneful take on darkwave with their Wayside City cassette, yet have kept me coming back with each release. While they've traded some of the more somber sounds for sunny new wave and eurodance elements, their Depeche Mode-like core is firmly intact. Time to Kill is simultaneously modern and nostalgic, with urgency and tension behind even its most melodic and beautiful moments. Caїna- Gentle Illness(Apocalyptic Witchcraft)
Andy Curtis-Brignell has been creating music as Caїna since around the time I first truly delved into extreme metal. Following his career has been a real treat as a fan (and now as a friend as well, in the sake of full disclosure). On Gentle Illness, Curtis-Brignell has created something that is equally soothing and terrifying. The album serves to document its creator's mental health struggles, his experiences as a contactee (of the extraterrestrial sort), and the failings of the mental health system itself. The music that wraps these themes up is all over the place, yet cohesive, reminding me of experimental and free-jazz metal legends like Ephel Duath at times while retaining much of Caїna's own trademark heaviness and inward-gazing density. Ceremony- In the Spirit World Now(Relapse)
On In The Spirit World Now, Sonoma County punks Ceremony channel their inner Devo or Tubeway Army, more in sound than in theme. While not quite heart-on-sleeve, the emotional presence here is patently Ceremony's own, fusing post-punk and new wave in a way that feels new. It's hard to put a finger on this, but it's been begging repeated listens over here and it might just do the same for you.
Cloud Rat- Pollinator(Artoffact)
Michigan grind trio Cloud Rat has been absolutely killing it for around a decade now, and on Pollinator they only further cement their mastery of the genre. It's furious and tense without falling into pitfalls that other grind groups find (needless repetition, sameness). The fact that Pollinator is accompanied by an EP of extra songs that are completely removed from grind is probably a strong indicator of the band's creative brilliance. This is a band that works well together and makes gripping and relentless music that goes straight for the heart. Clouds Collide- They Don't Sleep Anymore(War Crime)
Clouds Collide is yet another one-man band on this list. Chris Pandolfo is a Pennsylvanian musician whose post-hardcore takes on a shimmering, almost penitent quality that borrows from greats like Hopesfall or even post-rock legends Godspeed You! Black Emperor (whose work inspired the title of this record). While the experience of listening to Pandolfo's music is multi-dimensional, it keeps coming back to a sense of longing or yearning, but in a hopeful way rather than with struggle or loss at the core. There's a sense that Clouds Collide has grown in a huge way without forgetting its roots, and everybody wins from it. Cthonica- Typhomanteia: Sacred Triarchy of Spiritual Putrefaction(Sentient Ruin)
So far this list has been relatively lacking in the "black metal" department, I know. Here, have some Cthonica. It's disgusting in a way that reminds me of war metal in how it's produced but is musically so much more fascinating than that terms would imply otherwise. If you like cavernously reverbed vocals and creepy crawly riffs that seek to drag the listener towards the abyss, you owe this to yourself. Whether you're a fan of gnarly acts like Portal or truly esoteric things in the vein of Void Meditation Cult, you'll find yourself at home with Cthonica's filthy debut.
Deerhunter- Why Hasn't Everything Already Disappeared? (4AD)
Indie darlings Deerhunter are a polarizing group, I know. I'm of the mindset that they're well ahead of the curve and write truly strange songs that are just so good they've fooled people into thinking they're simpler or more "palatable" than they really would be otherwise. While tunes like opener "Death in Midsummer" may lean towards the friendlier sounds, there's so much more at hand here and it's apparent on deeper listens and in the shorter, stranger tracks especially. I found this to be perfect salve for my aching body and soul while I was in the hospital. Perhaps you'll take comfort in it as well in these strange and dark times. No bandcamp link but I'm sure you can find this somewhere somehow. Drowse- Light Mirror(Flenser)
Portland's Drowse is a group whose music feels either like a blanket of snow or a fog machine, depending on the song and the moment. Even the sparsest moment feels full here, and it's not just the reverb (although there's plenty of that). Light Mirror is huge but it doesn't feel overwhelming or suffocating. It just is. It's odd to find something that channels sadness in such a comforting way, but here we are. Whether you're a shoegazer or a doom lover, this should connect with you as it did with me.
Elizabeth Colour Wheel- Nocebo (Flenser)
Elizabeth Colour Wheel was probably the first band of 2019 to truly excite and challenge me. Nocebo is a whirlwind of influences, with plenty of rough edges and magnificent flourishes to keep the listener on edge. These folks don't sound like anything I've heard, yet they draw from familiar palettes at times, often combining unexpected sounds and forcing them to clash brilliantly instead of making them become smooth and soft. The result is dizzying, with punk, black metal, shoegaze, and so many more genres falling through each other and colliding like little fireworks. It's far from the more hideous stretches of heavy music, yet it captures the imagination in a way few other bands did in 2019.
Elrond- Love Across Light Years(Nadine Records/Anima Recordings/Accident Prone Records)
Elrond is a synthesizer duo from Portland, OR and they make some of the most rapturous, extraterrestrial music I had the pleasure of seeing or hearing in 2019. Boldly experimental, yet never in the ways that clash at the senses or force one into a dark place, Elrond's music is like catching a ride on a comet and cruising through the cosmos in a state of pure awe. Electronic euphoria at its finest, without a need for party drugs to feel the full effects. (Full disclosure: they're friends and the band I'm in played with them on their tour supporting this release). False- Portent (Gilead Media)
False has long been at the forefront of exciting USBM for the last decade, yet somehow it took them until 2019 to drop an album with a title. Friendly jab at naming conventions aside, they've always been visionary and poetic in both lyrics and sound, and Portent only elevates the already standards they've always carried.Guitars and keys are to the front, sure, but False has always had some of the most brilliant drumming in American black metal and it's never been more apparent than on Portent. Plus, f you told me I'd find one of the most brilliant riffs of the year in a song called "The Serpent Sting, the Smell of Goat," I'd have scoffed initially, but here we are. It fucking rips. These folks are the only band I could imagine covering Emperor and doing it justice and this album only further proves that they're capable of carrying that torch. Fogweaver- Fogweaver(Lost Armor)
Dungeon synth inspired by Ursula K. Le Guin's Earthsea books? Sign me up. It's beautiful and transcendent. It evokes a certain focus and thoughtfulness we could all benefit from right now. It's soothing and touches upon the classic ambient blueprint: it could serve well as background music but is still utterly fascinating when given one's undivided attention. Possibly dungeon synth's high water mark for the year. Funereal Presence- Achatius(The Ajna Offensive)
Funereal Presence is the solo project from a member of Negative Plane. This alone should tell of the high quality contained within, yet rather than the larger than life sounds of Negative Plane, Funereal Presence is old school black (and heavy) metal worship that reminds of second wave classics, the Greek legends, and cult essentials like Mortuary Drape. It's absolutely relentless, with every song stretching past the eleven minute mark, yet not a single moment feels wasted. Possibly the best outright black metal album of the year. Garden of the Ark- Undone/First Accident (Self-Released)
Garden of the Ark are Brooklyn locals (and again, good friends in the sake of full disclosure) who blend psychedelia and heaviness to make something that suits AmRep worshipers like myself just as much as it will appease the taste of those looking to drift to blissful riffs or even fans of more modern post-hardcore acts like Kowloon Walled City. Two quick songs teasing greater things to come. If their live show is any indication, what follows will be just as cutting and fantastic. Haunted Horses- Dead Meat (SIXWIX Releases)
How does one even described Haunted Horses? It's noise rock. It's industrial music. It's punk. It's none of the above yet all at once. The music truly is haunted, and on Dead Meat the synth & drums duo conjures up anthems of loathing and disgust that channel everyone from Godflesh to the Locust without feeling like an imitation of anything. Pure intensity and unease. Let it crawl under your skin until you scratch open a few new sores. Image of Life- Attended by Silence (Kernkrach Schallplatten)
Image of Life has long been one of my favorite darkwave projects and somehow his newest release is even better than the (highly essential) Last Letters from the Leper Colony. Simultaneously paranoid and uplifting, these songs are anthems for the uncertainty of the modern age (perhaps even moreso during the current period of pandemic). "Living Alone" is a pensive dance party for one, and comes highly recommended, yet there isn't a dull moment here. From introspection to taking in the entire state of the world, this couldn't have come at a better time. Grab it to soundtrack your isolation as well as you can.
Impavida- Antipode (Van Records)
Impavida serves as clear evidence that "atmospheric" black metal need not be all trees and fantasy. There's plenty of atmosphere, sure, but there's a fiery core on Antipode that is far more harrowing than simple genre tags afford. No easy listens here, but rewards and quality aplenty. Oh, and those vocals? I'm not sure they're human.
Laster- Het wassen oog(Prophecy)
Laster's career has been built on crafting strange and boundary-pushing black metal. With Het wassen oog, they (successfully) fulfill ambitions to make works on the same tier as avant-garde legends like Ved Buens Ende. While they call their sound "obscure dance music," it'd take one hell of an interpretive dancer to come up with the right moves for the twists and turns they offer up in any given song. Keep yourself on your toes and do it right. If we're removing strict genre limitations, this may well be the extreme record of the year. Highly unorthodox. Highly entertaining.
Matte Black- Psyche(Self-Released)
Matte Black is a Brooklyn-based doom trio that does so much more than just playing straightforward Sabbath worship. At times psychedelic, at times groovy and raucous, Psyche is tight and joyous. If you've ever gotten lost in a riff, you'll know exactly the feeling they seek to evoke here, and they excel at every turn. Still, the band ends on a mournful note with "Gone," which is somehow the highest moment on an album of pure energy and it ends just as it starts to feel familiar. They know exactly how to leave you wanting more, begging you to flip the record over and start again. (Also of note--two-thirds of this band make up the fantastic duo Dead Satellites, whose debut EP was also released in 2019 and is similarly worth your time). Again, full disclosure: these guys are my drinking buddies and we've gigged together many times. There's a reason for that: they rip. Mizmor- Cairn (Gilead Media)
Self-realization, the apocalypse, and knowledge are all things that come about slowly, so it's fitting that an album of growth and finality is such a looming beast. A.L.N. of Mizmor spent some years creating this black/doom masterpiece, and it shows. "Cairn to God" feels like the weight of forever and while it's not exactly pleasant, it scratches a certain itch for me that makes it feel so damn good. I've listened many times and still haven't fully digested these massive songs. As this (short) review began: it takes time. It comes slowly. It's so worth it. Once again, in the sake of transparency, I'd consider the musician a good friend, but wouldn't recommend this just as a favor--it's just truly that great.
Nichtigkeit- Night Song (Auto-da-Fe)
Eerie, nocturnal post-punk with breathy vocals and driving bass from Denver, CO. This is a must-have for any true creeps. Many people seem to be waiting (perhaps pointlessly) for the return of Tollund Men, who did release some demos last year but are still dormant, but are overlooking the many exciting projects from main man Neal Samples. Nichtigkeit captures the same outsider spirit and sense of having gone feral in a completely different light. Transparency necessitates that I tell you I consider Neal a friend, but his talent would be the same regardless.
Nusquama- Horizon Ontheemt(Eisenwald)
Dutch black metal has had a couple strong years in a row now and Nusquama's debut is one of the most stunning pieces to come from this scene in recent memory. It's a rush from start to finish and while I haven't got many words for it, I'd simply urge you to dive in head-first.
Obliti Devoravit- OD (Colloquial Sound Recordings)
After a five year absence, one of the CSR roster's most exciting projects drops three songs of pure fury. Feedback gives way to mid-paced black metal that has a fully developed identity standing independent of anything else without being so out of place and time that it has no grounding. It's like walking blind but going forward on pure feeling. Even when it blasts, it's never lightning speed, which allows for a sense of clashing times and it's thrilling. No evil posturing, just very real human madness. Confident, essential. Obsequiae- The Palms of Sorrowed Kings (20 Buck Spin)
The self-anointed ruler of American castle-y black metal returns with an album as rich and emotionally deep as the two preceding it. If you've enjoyed Obsequiae in the past, there's more of the same here, yet it dives deeper and provides an even more textured and fulfilling listen. Had their been electric instrumentation handy in the days of old, I have half a mind to think that Obsequiae were a band from some glorious past left to wither. Still, in the decay, there is regrowth and beauty. The castle ruins take on new life and new shapes. This is very much a closed-eye listen if you can muster the time and focus. It belongs up there with similarly thematic albums like Bathory's Hammerheart--although the sonic template isn't shared, the feeling and vastness of it is). Probably the USBM peak of 2019. Pinkish Black- Concept Unification (Relapse)
Somehow Pinkish Black is the second band on here that's a duo consisting of just drums and synths (and vocals) and yet they couldn't sound farther removed from the other one. Droning, hypnotic, yet taut and commanding, Pinkish Black's take on doom and art-rock is unlike anything else. It often swells in ways that make it feel like the work of a larger body, yet it also has the focus and intimacy that only a duo could produce. Concept Unification is their finest work, gothic (but not in the eyeliner and guitar sense) and stark, with a constant sense of foreboding and subtle melodies that linger in the back of your head well after the album's finished playing. Prissy Whip- Swallow(Self-Released)
Noisy, spastic grinding mutant punk from Los Angeles. Prissy Whip is a treble-heavy assault of melting guitars and shrieked vocals that will appeal to fans of everything from Oxbow to Melt Banana to Wire. Swallow is a collection of jagged sounds, cascading rhythms, and stop-start urgency. This came into my radar when the band I play in had the joy of sharing a bill with them and their set was one of the finest I caught all year. These folks are on the up and up and you should grab this before they take off. Pulchra Morte- Divina Autem et Aniles (Ceremonial Records)
Pulchra Morte make timeless death-doom with a touch of that melancholy that reminds of old Paradise Lost at times. Melodic without falling into fanciful wonder and heavy without leaning into pointless neanderthal brutality, this is a rare case of a band arriving fully formed on their debut. It rips and, while they've already seen lineup shifts since this album's release, they're gearing up to deliver a second album soon that should be just as exciting. Rainer Landfermann- Mein Wort in Deiner Dunkelheit(Self-Released)
Former Bethlehem vocalist Rainer Landfermann's solo debut is absolutely twisted and confusing. It's also a strong candidate for the best album released in 2019 of any genre at all. The ballerina pictured on the album art isn't just a pretty picture, it's a symbol for the seamless yet unpredictable flow of this record. Musical skill is on full display, yet songwriting is never sacrificed for its sake. This is avant-garde metal of the highest order. Fans of everything from free-jazz to black metal to progressive music of any sort will find something to love here. The best part is that somehow it's oddly catchy and addictive. Mandatory listening, if not purchasing, for all readers. Satan's Basement- Accused of Human Decency (Hildsfvar Records)
What happens when outsider art meets death metal? Satan's Basement. I'm not sure what else goes on in the basement (is it hotter than the rest of hell or colder? Does Satan keep a six-pack like it's a man-cave?) but the music that it emits has been coming out with greater regularity and higher quality than ever before. Sole member Ian Covelli seems to have had a period of massive productivity in the last two years, but instead of it diluting the quality, he's stepped up production and has brought his A-game in every riff. Winding, circular guitars and lyrics that serve as an indictment against right-wing politics, corruption, capitalism, and religion make this a must-hear. As with many others on here, Ian's a friend. I'm just lucky to have such talented friends, clearly. Sick Gazelle- Odum(War Crime)
It needs to be put out plainly: I'm a Bruce Lamont fanboy. Have been since the first Yakuza record and I don't see that changing. Sick Gazelle's Odum was a much-needed breath of fresh air and open space in a year of many challenges and dense, heavy listens. Three long, soothing, swelling instrumentals and one tight, slightly more rocking (ambient punk?) closer with vocals and everything make for a compelling and imaginative listen. I can't call it jazz or ambient in any proper sense, but it touches on each without falling into easy categories. It's just great. Torture Chain- The Ascent of Deimos(Hospital Productions)
One-man black metal brilliance from an old favorite. Torture Chain has always held my attention and managed to terrify me without falling on stale black metal tropes. On The Ascent of Deimos, sole member Torturer manages to conjure the mystery and magic of the majestic second wave and the soul-crushing atmosphere of the early works of The Ruins of Beverast and make it all his own. Falses need not apply, this is the real deal. TR/ST- The Destroyer (Parts 1& 2)(Grouch)
The award for most heartbreaking album of the year easily goes to TR/ST. In two thirty-minute-ish releases, both different "parts" of The Destroyer, TR/ST has created something that transcends genre and goes for pure feeling. It's soulful, sad, strong, and catchy as hell. Sure it's a danceable pop album in so many ways, but there's a darkness at the core that keeps this in a subterranean domain entirely of its own at the same time. Trollkjerring- Whistle and I'll Come to You (Under the Weeping Cherry Tree)(Pacific Threnodies)
Trollkjerring made some of the most exciting, haunting dark ambient/dungeon synth I heard all year. The spoken segments may be less welcoming to some listeners, but this isn't meant to be a comfortable or pleasant listen. It's unsettling and obsessive, far removed from the realms of fantasy that many might associate with music that comes from similar roots. When love gives way to unhealthy obsession, it sounds something like Trollkjerring. This is one of the few I might advise you not to listen to in the dark, alone, unless you're interested in being truly disturbed. Vice Device- Living Textures (Black Water Records)
When I lived in Portland, OR, Vice Device was one of my favorite local bands to see live. In 2019, these synth-punks finally delivered their debut LP and it was worth the wait. Industrial tension, haunting melodies, and twin-vocals make this a captivating listen for any fan of darkwave or post-punk, albeit one that ends far too quickly. Perhaps it's a way of keeping the listener wanting more. It certainly works on me.
VR Sex- Human Traffic Jam (Dais)
Members of Drab Majesty and Antioch Arrow come together to make a bizarre synth-forward album that's even better than the newest offering from the aforementioned Drab Majesty. How did they do it? It's hard to say, but it's devilishly catchy and the deathrock element adds something devious to this that just makes it addictive as hell. This LP came hot on the heels of an EP that was released just two months prior and the EP is just as good (in fact the song "Landmine" from the EP might be their best jam). This has the huge sounds and beautiful guitar patterns you know and love from Drab Majesty but goes in subversive and chaotic directions the former project simply hasn't got room for at the moment. A true highlight of the year. Waste of Space Orchestra- Syntheosis (Svart Records)
What was initially a one-off live performance act decided to bless us all with a studio recording, and the world is a better, stranger place for it. Waste of Space Orchestra is the fusion of Oranssi Pazuzu and Dark Buddha Rising, creating one hell of a psychedelic black metal journey. I first saw this project at their only show, as part of Roadburn 2018, and was thrilled to hear it committed to wax. While the visual and performance aspects may be inherently missing from a record, this is every bit as exciting as the live show was and needs to be heard to be fully understood. Only one track is streaming on bandcamp but that's just further enticement to commit and get the whole album, right?
Wishfield- Wishfield (Tridroid Records)
The first time I played my Wishfield cassette, I thought it might have been damaged by heat, but I enjoyed the experience. A quick glance at bandcamp makes it evident that the dizzy, warped textures have nothing to do with melted tape and everything to do with a band chasing euphoric psychedelia to make black metal and shoegaze (and perhaps even dream pop or indie rock) come together in ways that stand outside the common "blackgaze" trope. It feels like falling asleep intoxicated, comforting and familiar but not quite right.
Yellow Eyes- Rare Field Ceiling(Gilead Media)
Yellow Eyes keeps outdoing themselves. I've run out of ways to describe their unique take on black metal but they grow ever more distinctive and accomplished with subsequent releases. I can think of very few bands I've followed since their first demo, but it's been an absolute honor and thrill to watch a band I love really ascend artistically and in terms of acclaim and success. Is this their finest hour? Quite possibly, but I always feel the next thing will dazzle me even more. As with Laster elsewhere on this list, Yellow Eyes have joined the ranks of avant-garde black metal's legends.
Заводь- Уже заря зажглась(Self-Released)
Do you want it stranger and more challenging? Do you want your black metal to confuse you? Do you want hurdy gurdy, dulcimer, and guest appearances from Nuit Noire's Tenebras among others? Заводь (The Zavods) has you covered and this isn't just "weird," it's goddamn fun to listen to. I often forget where one track ends and another begins, not due to repetition or sameness, but because I'm so captivated by this album. It's off the wall yet wholly digestible and, as with any other album on here tagged as self-released, deserves extra attention for being one of those outsider creations to truly crack through and get my pulse racing. I'm not going to say this is a case of "best for last" in terms of posting, but I can't think of a better place to leave things off, especially for people wanting something new that they're not going to see recommended on any other lists. Thanks for sticking with me and I hope you find something you'll love.
Whether you've been on board for the past six years or even just six weeks, you probably know that Black Metal & Brews loves music and hates deadlines. We're already two months into 2018 and the internet's already full of rhetoric surrounding albums that are surely going to be impossible to top this year. I've done it before myself and I've been wrong more often than I've been right. Point being, this list is arriving right on time or my own schedule: long after anybody cares to read it but exactly when I find it within myself to share it. I've got forty albums that ruled in some way that I'll be linking alphabetically and ten that are the real premiums, which will be in their own little grouping. I hope I can shine some light on something you haven't heard, or at least I'll validate your superiority by leaving off the things that mattered most to you (although I'm always up for a recommendation if you've got one).
I spent most of 2017 in a sort of "time out" on extreme metal and this list reflects it. Much of it was because 95% of my listening was done via speakers in a workplace environment that wouldn't tolerate loud sounds (I get it) and it had an impact on the selections I made. I'm about to make a career change that will allow me to listen to music in privacy, so expect more of a return to form with my selections in 2018. There's a lot to listen to, so grab a nice drink or bookmark this page to casually visit at your own pace. If something looks unfamiliar, all the more reason to check it out. Enjoy!
Black Cilice- Banished from Time
Black Cilice was covered on Pitchfork a few years ago with the release of Mysteries. For many, this means the band is no longer relevant. For me, it means that serious underground talent need not put on a front or change to suit a perceived timid audience. Black Cilice continues to produce some of the most ripping black metal out there and they're even doing the occasional live gig now. That may be why this is just a bit more easily examined than its predecessors, although it still contains all of the dangerous spirit that the project has long embodied. Fingers firmly crossed that we'll all get to witness the spectacle one day. Cathode Ray Eyes- How We Lost the 21st Century
I discovered Cathode Ray Eyes by accident shortly after the release of How We Lost the 21st Century and this unreal fusion of garage rock, psych and post-punk (with a little bit of a lot of other good stuff) has been a constant listen ever since. 2017 was, for me, the year where garage rock and psych stuff really clicked (hence the Snapped Ankles album up above and the Oh Sees album below) and this was probably the first new release to really hammer it home for me. The newness of this sound means I lack a bit of the vocabulary necessary to explain how the fuzz and reverb all come together to tickle my ears in just the right way, but I'll be damned if this doesn't run circles around a lot of bands out there who are merely treading water.
Fleurety- The White Death
True masters of black metal weirdness have returned! Along with Ved Buens Ende and Arcturus, Fleurety were instrumental in luring me out from my Danny Elfman and John Zorn obsessions and towards the darker side of zany when I was still a teenager. After a collection of odds and ends, I didn't really expect the band to lunge forth with something as cohesive and jarring as The White Death, but I now can't imagine my year really feeling the same without it. No gimmicks or goofs here, just a truly progressive take on black metal without any of the negative context that "prog" and its offshoots may hold for some of us. No limitations of genre can be thrown at this, yet it embodies so much of the freedom and excitement that define black metal to me without losing its precision.
GAS- Narkopop
2017 was the year I first became acquainted with Wolfgang Voigt's long-running project GAS, which released its first album in over sixteen years. Narkopop is pure atmosphere, fusing elements of minimalist techno and ambient with a sensibility more akin to modern classical composition than dancefloor jams. The lush photographs of the forest make perfect sense with this album, which feels far more organic and intuitive than many of its companions in the electronic music world. Ambient music is often a salve for sleep or "background music" yet Narkopop remains intriguing and oddly alluring even at its sparsest moments.
Human Leather- Lazy Karaoke
I saw a lot of rhetoric in 2017 likening Ulver's newest to Depeche Mode, but if anybody wore the crown of 80's pop perfection, it was newcomers Human Leather. The innocence of youth and the pain of loss and betrayal shine through in equal parts on this emotionally rich LP in a way that few bands have managed since "Shake the Disease" was released before the members of Human Leather were even born. I've spent a lot of time talking about this album publicly and in my conversations with friends and the impact still remains. "Ugly Sister" is still the most heartbreaking song I've heard in ages and the entire flow of this album leaves me aching and enthralled. As with any good pop music, this is memorable just as much for its sadness as it is for the hooks.
Integrity- Howling, for the Nightmare Shall Consume
This came out of nowhere. I've long been on the fence with Integrity, whose music always holds the right energy but hasn't always connected with me on any deeper level. Perhaps I was finally ready, because Howling, for the Nightmare Shall Consume kicked me in the teeth right out of the gate and hasn't lost an ounce of its vitality over the last several months. These are some of the most downright feral songs in extreme music to come out in 2017 and are more memorable than things of such intensity usually are. Integrity doesn't just have hooks, it has fucking teeth.
(Thee) Oh Sees- Orc
Songs with nods to fantastical beasts, dungeons, and swordplay are all familiar turf for fans of black metal, so to find a band like Oh Sees (recently shorn of their "Thee") playing with such notions in a new genre felt like comfort in a strange new land. I fell deeply in love with Orc on my first listen and have only grown fonder of it (and the band's massive existing catalog) ever since. These songs range from spastic, explosive garage rock to quirky, funky punk and even the massive sprawling space doom of "Drowned Beast" (video above). Fans of the band may find my take on this perhaps a bit weak, but I'm still so blinded by its brilliance that I can't quite place all the elements that make it so enjoyable.
Oxbow- Thin Black Duke
Oxbow's been threatening to release Thin Black Duke since shortly after 2007's Narcotic Story. Few albums are worth such a wait, but thankfully Oxbow didn't give us a Chinese Democracy, they gave us an album of such quality that most bands never release anything like it in their career. Oxbow's already touched that mark a few times, and this offering of noisy rock is alternately cinematic and angular, keeping the listener alert and always attentive. I had the good fortune of catching Oxbow live twice supporting this and these songs are vicious on their own onstage, yet somehow even more haunting on wax. We don't deserve this, but we're all so lucky it exists.
Ulver- The Assassination of Julius Caesar
Ulver is, aside from long-running classics Coil and The Cure, my favorite band. They aren't on my list as a matter of mere favoritism. They're my favorite because they can switch gears and directions a seemingly limitless number of times and remain honest and compelling. The Assassination of Julius Caesar brought together so many beautiful paths the band has walked in such a cohesive way that the end result was simultaneously familiar and entirely new. To call this "pop" would be slightly inaccurate, yet the infectious melodies and singalong sensibility elevate these songs to the highest echelon of rock music happening right now. This is timelessness captured in a moment.
Yellow Eyes- Immersion Trench Reverie
Brooklyn black metallers Yellow Eyes have fully hit their stride. On Sick With Bloom, the band fully realized its best strengths. With Immersion Trench Reverie, they highlighted them and played to them while making the most of their potent rhythm section's capacities. I've been gushing over these guys since 2012 and I feel as though I've run out of good ways to describe what they do. It's simply exhilarating to hear such nimble and evocative guitar work, and Will's voice has never been more tortured sounding than on these songs. My favorite song changes almost daily, but that's only indicative of how unified and forceful this album is. If you want to hear how rawness and potency can be retained in intricate, complex black metal, there is no other band on earth I could recommend as highly.
While I've got a really cracking set of long-players to share with you at some point in the near future, I can't properly begin my end of 2017 coverage without acknowledging the stuff I loved the most that falls outside of the album format. Split albums, demos, EPs, and reissues are often vital territory for those of us in underground communities. The "best albums" format simply doesn't make the proper room for these crucial releases. Thankfully, I'm a nerd with a blog and not somebody with a demanding boss to appease, so I can share whatever the hell I want. That's why, before we get distracted by the (very amazing) albums that won me over last year, I want to highlight some real gems that arrived in other forms.
Noteworthy Reissues in 2017 Apokrifna Realnost- Na Rekah Vavilonskih (Annapurna)
Glad this got a reissue because I'd have never heard of it otherwise. Liturgical resonance and industrial collage sensibilities from an era when Current 93 and their peers were delving into many of the same waters. This has serious heart and is well worth a perusal.
Midori Takada- Through the Looking Glass (WRWTFWW/Palto Flats)
If you're anything like me, you've stumbled upon this album on YouTube while just clicking things that are "recommended" or look interesting. Fans of ambient music that didn't notice this or haven't heard it yet are in for a treat. Playful and full of life, this is far more vibrant than the average droning, mellow release. If you've got an imagination, you'll fall in love with it. I haven't picked up a record (yet) but I'm just so glad this is available on a larger scale and out of the realm of discogs obscurity.
Coil- Time Machines (Dais Records)
On the other end of the spectrum from that Midori Takada release is, well, something that is so droning it transcends conventional musical terminology. Again, I don't own this myself (sold out so fast during a poorer spot for me) but I'm glad it's out there again in some way. I'm biased here, but I trust it was very lovingly handled. Boris Dzaneck- In His Own Words (Danger Records)
Seems this Dutch post-punk group of non-Borises named after some fictional character of their own creation are in good company here as beneficiaries of YouTube's algorithms bringing unsung gems to greater popularity. In His Own Words is delightfully tense and somewhat dance-ready music of the highest order. Glad to see this on vinyl for the first time ever. Solid Space- Space Museum (Dark Entries)
This is one of my favorite albums by anybody. Ever. Finally got an official release on vinyl with bonus tracks. As with everything before this, it's not in my personal collection yet, but I'm just so damn glad it's out there and not going for hundreds on discogs. Quirky drum-machine driven post-punk and minimal synth from an era when neither of those terms was in circulation. Secret Stairways- Enchantment of the Ring (Ancient Recollections)
Genres are weird. This is just beautiful and fantastic, although it falls under the general realm of dungeon synth. Peaceful, pure, ambient sounds that truly do feel like a path to somewhere unknown. The tape reissue of this is simple, but it needs little in the way of presentation. The bandcamp download is free, as the artist has passed on, but if you elect to pay they're making donations to animal shelters, his surviving family, and a cemetery in which the musician often wandered when he was alive. Beautiful atmospheres that you deserve to enjoy. Mortiis- Era One Cassette Box (Children of the Night/Foreign Sounds)
The master himself has made a return to the dark dungeon music he pioneered in the '90s. Before he began doing all these special Era One performances, he worked with Children of the Night to reissue these classics on cassette. This special box is one of the few nostalgia-based purchases I made in 2017 and I have no regrets whatsoever. Bow before the king of dungeon synth. Extremely sold out, but each of the albums can be purchased or streamed directly from the artist's bandcamp. Do it. Best Splits of 2017 Angelo Harmsworth/Theodore Schafer- Japanese Whisper (Angoisse)
This isn't really conventional music, but I still listened to it a hell of a lot. Field recordings are something of a bizarre obsession of mine and these compositions centered around two separate experiences in Japan are oddly calming to me. Check it out if you're into that sort of thing. I know I am. Blood Tyrant/Departure Chandelier- (Nuclear War Now!)
I'll be real honest here. I think the Blood Tyrant track is damn good, but I'm a diehard Departure Chandelier fan and they're the reason this even appeared on my radar. Yeah, I know they've only released one demo. It's still a high water mark for nowadays black metal, and I'm totally here for this new output. Hopefully this means we'll finally get a proper LP from these guys. Please? Altered Form/Sacramence (Everswallower Recordings/Funeral Party Records)
The cool thing about splits is that, in many cases, they allow fans of one artist to find something new and enjoyable. Sacramence has been a fixture in my listening habits since it was a black metal project, but Altered Form is new to these ears. The brilliant, dark synth work offered by both artists here makes this well worth a listen. Det Svarta Landet/Dantefever- Our Ancient Lore (Self-Released)
Neither Det Svarta Landet nor fellow French dungeon synth and fantasy ambient artist Dantefever are well known yet, but both deserve serious attention. I profiled the former for my first bandcamp feature and have kept an eager eye out for more from the latter. This is alternately serene, playful, and otherworldly. Charming stuff from two fresh faces. Sinmara/Misthyrming (Terratur Possessions)
In 2017 the buzz surrounding Icelandic black metal quieted down just a bit. I love most of the bands in the community, but sometimes it seems others struggle to take good art seriously if it gets too much attention. Amid the silence of the imaginary hivemind others seem to see, two of the scene's current heavyweights dropped a split that leaves no doubts: this is all teeth and no tongue. Hype, in this case, is warranted. Whitehorse/Upyr (Vendetta Records)
Whitehorse is a band of many splits. Their work with The Body was the first thing I ever wrote about on this site, although that article is lost to time and expired domains. They continue the tradition of being unnaturally fierce and good at finding like-minded freaks with whom to work on this massive split. I veer far less towards the sludgy these days, but both artists here are so disgusting that I can't help but love this. Tanner Garza & Funeral Parlor- Dark Days (Aural Canyon)
This album is a collaborative effort rather than a split, but as the editor and author alike, I give myself permission to include it. Tanner Garza's name has been scrawled upon the walls of this website more times than I care to admit, yet he seems to know how to create drone that is interesting and so directly human that I cannot ignore it. This work with fellow depression sufferer Funeral Parlor serves as both Funeral Parlor's final release and as something that explores the nuances of mental health in pure sound. It's not easy or as gentle as the term "ambient" might lead one to believe, but it's one hell of a listen. Fister/CHRCH (Crown & Throne Limited)
Again, I'm utterly shocked by my own inclusion of TWO doomy sludgy splits here, but this just takes the cake. Fister and CHRCH are both near the top of the heap in the sludge genre these days, and each of these songs is as fine as, if not better than anything either has released to date. I'm not kidding when I say I seldom have the patience for this shit, but I found myself just playing the digital promo on repeat as if it were a full-length. Check it out or live with your regret and guilt.
Best EPs & Demos of 2017 Moray- Temporal Majesty (Lion's Jawbone)
Who knew visual artist Christian Degn was as talented a musician as he is with pencil and paper? Seriously, this shreds in a way that confounds my feeble brain. I don't even have one skill, yet Degn's got talent oozing out in every direction and I'm convinced he's probably going to become a famous filmmaker next. This is an absurdly clever death/black/thrash metal demo from somebody I'd have never expected to drop an album at all. Well worth keeping an eye out. Weeping Sores- Weeping Sores (Dullest Records)
I know it's an apples and oranges thing, but for as stellar as Pyrrhon's new record is, I was somehow even more impressed by the debut of related project Weeping Sores. This EP (which is nearly album-length anyway) is chock-full of doomy, grotesque death metal that's every bit as ugly as the album cover would make you expect. If these wild men haven't won you over with their other endeavors, this drops some of the tech-y stuff but keeps every ounce of the ferocity. Solar Temple- Rays of Brilliance (Fallen Empire/Haresis Noviomagi)
How can something so brief capture so much atmosphere and spirit? I don't have an answer, but I have had a serious experience with this. It's hard to tell if this appeals more to the basest parts of human instinct or the most otherworldly, almost spiritual purposes. Perhaps the two are the same. If you have the passion for black metal that I do, you'll understand the importance of this tape. Heart of Palm- Arecaceae Marina (Aught Void)
The No Coast/No Hope staple Heart of Palm lands firmly as one of my favorite noisy releases of 2017 thanks to its shimmering fragility. The beauty here is as damaged as it is warm, lending unease to otherwise harmonious atmospheres. I envision the now corrupted coastlines of the Hawaii I loved as a child, where the beaches I once frequented have likely long since been converted to private property for hotels and the debauchery of the wealthy. Aught Void never slips on the quality of its releases, but this was the crown jewel of their output last year. Oranssi Pazuzu- Kevät/Värimirsky (20 Buck Spin)
These Finns are kind of on top of the world right now. Their anything-goes experimental black metal somehow hasn't spawned anything tacky or ill-advised despite their fearless approach. These two new additions to an already top-notch catalog aren't breaking new ground for Oranssi Pazuzu, but maintain their momentum in a brilliant way. Vanum- Burning Arrow (Psychic Violence)
From my profile of Vanum for Noisey: "The lush works from Realm of Sacrifice are given a worthy companion here in the form of a leaner and more urgent beast. What is left when stripped to a purer core is something more ferocious and classic in sound, yet it still retains the atmospheric qualities and passionate, burning energetic pulse that unites all work created by Vanum's members in their many projects." Total spiritual warfare. You already know what this sounds like. False- Hunger (Gilead Media)
Minneapolis black metal group False crafts a mean epic, yet on Hunger, the script is flipped. These two rippers aren't even half the length of the average False song yet they still pack all the shifts and thrills that have helped them win over both headphone junkies and live audiences. Brevity isn't always the answer, but it's clear that False can handle more than one approach to the same genre. Profit Prison- Myra (Hospital Productions)
Profit Prison is proof that you can have it all. Some of the catchiest synthpop/darkwave since that Oppenheimer Analysis reissue a few years back is presented as things open up, but there's also cutting edge dark ambient here through some sort of wizardry. This debut EP is ripe with potential and I can't wait to hear even more. Winds of Gladsheimr- Harvest (House of First Light)
This is viciously triumphant black metal at its finest. House of First Light has become something of the gold standard for raw black metal in the United States lately and this latest release from Winds of Gladsheimr only strengthens this fact. This isn't about perfection (although it sounds damn great), this is a victory and the exhausted revelry of survivors after the battle. Spiritual Cramp- Mass Hysteria (REACT! Records)
Ending on the highest note I could pick, intentionally. Spiritual Cramp's vocalist is an old friend of mine, but there's no favoritism here because I hold my friends to a higher standard than strangers, with whom I'm gentle. Bay area hardcore punk veterans come together to create something a bit jerkier, with more soul and swagger and it goes fucking HARD. Vocalist Mike B told me they're really into bands like Blitz and other oi! stuff, but I haven't got the punk credibility to decipher influences, this just feels weird and wild in every way I want. Each of the songs here has its own personality and the lyrics are simple and honest snapshots of real life. If you're into honest rock'n'roll that's as playful as it is punchy, check this out and catch 'em on the road with American Nightmare next month.
