Xephyr's 2022 - Top 90 Albums by Xephyr

After a battle for the ages with Autonoesis, Georgia’s Tomarum came out on top with their outstanding debut that provides a Progressive outlook on a desolate Melodic Black and Death Metal landscape. Ashes in Realms of Stone Icons is reminiscent of a Ne Obliviscaris album, but provides something fundamentally different in its approach by leaning into the extremes of Black and Death Metal while allowing the rest of the progressive elements like strings and piano supplement the relentless riffing and solos rather than give them a specific spotlight. Each lengthy track is a masterwork of intertwined melodies and riffs that move and transition perfectly from section to section, allowing the listener to become fully engrossed in the continuity of the whole affair, which is one of the most important aspects for me personally when it comes to these types of records. The progression of the riffs and melodies are fantastic, the addition of the fretless bass adds an extra pop when necessary, and there’s always something new and interesting to latch onto during each song. Much like Moon of Foul Magics, Ashes in Realms of Stone Icons is a complete album experience that nothing else could match this year, especially since I have a soft spot for everything that they try and do here. The album does have its issues, and I think this is the first year where my top album doesn’t have a 5 out of 5 rating, but I can’t wait to hear what these guys come up with next if this is their debut.

This year’s top spot was a battle between two titans that, despite Messa’s tremendous effort, left every other album in the dust this year. Moon of Foul Magics came late in the year with a resounding blend of Thrash and Black Metal that incorporated just enough Progressive elements to complete the bleak and lightless package. This album easily has the best riffs and solos of 2022, which are only accentuated by the thinner, grinding Black Metal production style and pushed back, echoey vocals. The songwriting is complex and winding while managing to stay focused on moving from riff to riff with expert pacing, especially on the highlight track “Nihility, Endless Winter”. “Raise the Dead” and “The Conjurer” provide some respite from the more drawn out tracks and show that Autonoesis are also adept at creating more straightforward, punchy Thrash tracks. 2022 was a year of increased Metal experimentation, and while Moon of Foul Magics does its fair share of genre hopping, there’s something about its more classic and raw approach that elevated it above all but one album this year.

Messa's new album was a clear winner all the way back in March with its masterful blend of distinctive influences ranging from Jazz, to Blues, to Grindcore on a chunky, Traditional Doom Metal base. Vocalist Sara Bianchin kills it with an absolutely harrowing performance throughout the album, ranging from the supple musing of "Orphalese" to the powerful opener "Suspended". Complaints about the album's length aren't lost on me, but I enjoy the sound so much that I'm glad that it's drawn out to the point that it is. Each track explores slightly different territory before erupting into the surprise 45 second Grindcore track before a suitably massive closing track. This is a masterclass of modern Doom Metal that follows a more progressive path while not skimping on what makes the main genre great.

It took me a few months to crack the outer shell of "Alphaville" in 2020, but thanks to that experience, "Spirit of Ecstasy" managed to hook me faster this year. I'm still not sure which album I prefer more, as "Alphaville" had more standout moments while "Spirit of Ecstasy" is a more complete package, but this release continues to push Imperial Triumphant's envelope as they create digestibly chaotic tracks. They succeed again in designing strangely entrancing riffs and grooves that seem impenetrable but keep you coming back for more in a more focused manner than Alphaville. "Spirit of Ecstasy" is easily the most creative yet brutal Metal album to come out this year, well deserving of a top 5 spot.

It’d be an understatement to call me a Blind Guardian fan, so it shouldn’t be any surprise that I absolutely loved The God Machine. They’ve returned to their tried and true tricks from some of their most renowned albums but managed to maintain their modern symphonic and grandiose sound for a balanced mix of new and old. Vocalist Hansi Kursch continues to show no signs of slowing down as Blind Guardian heads into their 35th year together, which is insane to think about. The album’s closer “Destiny” keeps The God Machine from being an all but perfect Power Metal album, but the rest is a stellar showcase of ripping riffs, massive choruses, and shockingly inspired songwriting.

Epitaphe's second offering has veered towards the more Progressive side of things compared to their first album's cavernous Death Doom style, and that's probably why it resonated more with me personally. Equal parts brutal and beautiful, Epitaphe strike a perfect balance between searing Death and Black Metal riffing and melodic Progressive influences to create some of my favorite ambiences this year. The three 19-minute epics are bookended by intro and outro instrumentals that feel a bit out of place at first, but I think they work well after getting a feel for the full album.

Cult of Luna are basically cheating at this point considering how consistent they are, but I can't help it. "A Dawn To Fear" is one of my favorite albums of all time, and "The Long Road North" follows a similar style with some slight variations. This album is a bit more brooding and melancholic with the help of a slightly less distorted guitar tone, more clean interludes, and a more focused use of synth. In many ways this is just another Cult of Luna album, but I quite enjoy the extra tidbits they've added like the ominous female vocals on "Beyond I" and the mesmerizing instrumental interlude "Full Moon". "An Offering to the Wind" may be my new favorite Cult of Luna track with its amazing use of sax and other wind instruments, so despite it being yet another similar album by these guys, they do insanely good work.

Fellowship were a beacon of light this year with their unrelentingly happy sounding debut album that is equal parts fun and introspective. I love their reversal on classic Power Metal writing tropes and they have the musical chops to back it up with a fantastic lead vocalist and irresistible choruses. If you want your Metal to be dark and brooding you'll likely gag at the first note of "The Saberlight Chronicles", but I had an absolute blast with this one. Be sure to check out my extensive review on this one for the fuller picture!

Chilean Extreme Metal continues to never miss as Inanna pulls the listener down into the dark, cold depths of the otherworld. This album strikes the perfect balance of progressive, atmospheric musings and disgusting Death Metal riffs for me, teetering on the edge of being Technical Death Metal without the fluff. The extended song structures are handled expertly and despite a bit of a slow start, Inanna are able to produce a fantastic Death Metal record that sticks to the basics, but does so in their own unique way. Each riff and solo has incredible an payoff that eventually won me over in a big way after I mistakenly thought this wasn't anything special after my initial listens.

Relatively unknown Californian Funeral Doom outfit Dvvell dropped an absolute bombshell of a debut with an hour of sludgy Doom Metal that can only be described as agonizingly bleak. It can be tough to get through, considering the length and overall monotony of the genre, but I found "Quiescent" to be intense and gripping all the way through. The vocals are abhorrent in the best of ways, the production is suffocating, the riffs progress nicely despite the slow speed, and the whole thing feels like a genuine cry for help amidst unbearable sorrow. As Funeral Doom should be. Great stuff.

"Ode and Elegy" is an gorgeous, solo passion project and the love and care put into this release shines through. Being only one track that clocks in at almost an hour long, it's a masterpiece of buildup and release utilizing a full orchestra that eventually erupts into Post-Metal climaxes that don't disappoint. Its slow pacing is a feature rather than a hinderance, lulling the listener with elegant female vocals and sweeping strings before contrasting with hammering drums and guitar riffs with a slightly harsh male vocalist. The climaxes are so well done that I only wish that they lasted longer, but from a songwriting standpoint I understand the intended effect. It's also impressive how much ground its able to cover while never feeling stagnant or redundant, despite a few forced transitions here and there between the movements. This is a truly unique experience that exudes emotion and even though it may be a bit of a slog on repeated listens, I believe it's something special.

I first heard of Author & Punisher a few years ago when I came across a documentary about a mechanical engineer turned mad scientist musician, but "Krüller" is the first time he's truly stunned me. Turns out, all his brutalist Industrial Metal style needed was a little bit of of Perturbator's Darksynth to turn it into something that I couldn't get enough of this year. This album has my favorite atmosphere of the year with its dystopian, neon-soaked feel and variety of crushing industrial ideas that stay away from the monotonous curse that plagues the genre for me. I can see the vocals and the Portishead cover being hit or miss for others, but that didn't stop me from being absolutely addicted to this album when it came out. It hasn't lost its shine as the year comes to a close, either.

I wasn’t sure what to think when I saw that the ever quirky Callous Daoboys released this album after their debut Die On Mars was a bit too much for me. It was a nice breath of fresh air to have an eccentric Mathcore band not take themselves seriously at all, and frankly that hasn’t changed at all on Celebrity Therapist. It’s a wild ride from start to finish that’s full of unexpected twists and turns, but even after I knew all the tricks, I kept coming back for more. Despite having some truly insane sounding sections, Celebrity Therapist is an incredibly tight package that oversteps every boundary but has a ton of fun doing so. As someone who never really liked The Dillinger Escape Plan, The Callous Daoboys are able to bring memorable songwriting and a perfect blend of chugging Mathcore and anthemic moments that come straight out of left field.

I’ve checked out a ton of different Death Metal albums this year with varying levels of brutality, but my personal bias will always lead me back to the more Progressive stuff at the end of the day. I’ve always enjoyed Allegaeon quite a bit and while Damnum isn’t a massive step forward for them, it’s easily my favorite album of theirs so far as it’s kept me coming back for more all year. The addition of more Progressive elements like the cleans in “Of Beasts And Worms” and “Called Home” while keeping the technical Death Metal riffing intact manages to elevate Allegaeon’s sound for me, making Damnum an absolute blast.

Despite Vehemence making a big splash in 2019 with Par le sang verse, it took until the release of Ordalies this year to fully win me over. I’ve always been a fan of the inclusion of Medieval Folk in Black Metal, and this album may be one of the most balanced and interesting uses of the fusion I’ve heard so far. There’s a lot to take in due to the lengthy song structures, but that doesn’t deter Vehemence from delivering some of the most engrossing Black Metal of the year. Equal parts victorious and harrowing sounding, Ordalies is an amazing continuation for these French Black Metallers that never runs out of ideas despite its daunting length.

Artificial Brain redeemed themselves against all odds, considering I'm a massive critic of Dissonant and Brutal Death Metal. Its murky production combined with deranged and precise drumming gives the album a desolate atmosphere that I haven't heard from an album like this. I'll admit that the vocals still rub me the wrong way sometimes, but given everything else that's going on, they don't bother me that much since they're pushed back in the mix. There are still some Brutal Death Metal tropes I don't care for within this album, but the rest is a technical showcase of beautifully woven brutality that won me over in a big way considering my overall opinion of the genre.

Island has a charm to it that I can’t quite describe. While the vocals are a bit rough around the edges and a portion of the track list is a bit weak compared to the standout singles, I can’t turn it off whenever I decide to throw it on. It strikes an incredible balance of being mellow and contemplative while incorporating just enough bite on the riffs and Blackgaze tremolo, which creates an addicting atmosphere for me. Some songs are the most catchy I’ve heard all year, like “Chimera” or “Diva Under the Blue Sky”, but these are offset by one of the best riff drops all year during “The Sweet Smile of Vortex”. Even though there are some low points, Asunojokei have one of the most complete and interesting releases of 2022 with their J-Rock influenced take on Blackgaze.

Caio Lemos was extremely busy this year with everything except his most well known project, Kaatayra. He covered all of his preferred genres; Black Metal in the form of Vauruvã, electronic in the form of Rasha, and something in the middle here on Bríi. Much like Kaatayra's "Inpariquipê", this is hardly a Metal album, but the Atmospheric Black Metal influence still shines through. Add in a heavy dose of atmospheric electronics, eerie piano backgrounds, and surprise breakbeat sections and you have one of the most unique releases of 2022. I don't think it reaches the level of Lemos' other material, but it reinforces his skill as a composer and a musician.

This concise, 30-minute Extreme Progressive Metal package has a little bit of everything as it meanders from haunting acoustic interludes, to Black Metal blast beats, to brutal Death Metal riffs. The opener "Overgrown with the Moss" is the obvious highlight here, consisting of a phenomenal progression of riffs that only get nastier as it moves between them. "Spiritual Illness" is a more concise track consisting of a bit of Opeth spice, and the closing, 14-minute epic continues to use similar ideas shown on "Overgrown with the Moss" to fantastic results. Honestly, I think this is one of the few albums that I feel like is held back by its short length, since "Discarnate Ails" feels like it's over just as it's getting started. Since there are only three tracks, the closer can feel a bit redundant since I think that the opening track accomplishes a similar goal while being more focused and tight sounding. I hope that these guys continue down the path they're on and are able to deliver a bit longer experience next time.

"Woe" took a lot of listens for me to finally come to a conclusion, since there's something a bit off about it. This is some complex Progressive Death Metal that has strong ideas, but they never fully come together for me. I end up really liking what I hear, with the two 10+ minute epics offering some fantastic riffs, layering, and tonal shifts, but none of it exactly sticks with me. This album has moved around the most on this year's list, and the final hours are no exception, since upon my final revisit I just couldn't get into it all that much. It's a shame because it's a well written and diverse Progressive Death Metal offering, but the overall theme didn't end up captivating me enough.

Caio Lemos continues to do his thing in his Black Metal centric project Vauruvã with fantastic results. His warm and lush style hasn't gotten old for me yet and while this album doesn't transcend his other projects, it's an exciting showcase of Black Metal taken in a different cultural direction. Rather than being cold and despondent, Vauruvã continues to be warm and welcoming with its rich synths and choir sections while still having the edge that Black Metal fans enjoy.

After Mizmor's disappointing 2022 album and me skipping out on almost every Thou release, I was extremely surprised by "Myopia". This crushing slab of sludgy, blackened Doom Metal is among the best of its kind this year as the duo unleashes a gauntlet of devastating riffs amidst a well crafted, despondent atmosphere. There's a lot to take in, though, considering most tracks exceed the 9-minute mark and the album is over an hour. That didn't stop "Myopia" from being emotionally enticing from beginning to end, highlighted by a fantastic and varied vocal performance of growls and shrieks.

Genre stalwarts Immolation are back to show the meat n' potatoes Death Metal crowd how it's done with an extensive spread of crushing riffs and solid songwriting. It's a bit lengthy for what it is, but there's enough highlights throughout the runtime that I think it's paced very well considering the variety is a little bit lacking. This album made me go check out Immolation's earlier works and while I agree that they've fallen off a bit since the early 2000's, they still offer a shining example of straight up Death Metal in general.

I’m not sure what I expected from a solo project by one of Haken’s guitarists, but it definitely wasn’t this. Despite being obvious Between the Buried and Me worship, Tiktaalika is an incredibly tight project that nails its erratic influences and guitar shredding showcases while still managing to stay laser focused on creating a cohesive experience. The way the album flows and keeps the listener guessing is fantastic and adds a ton of replay value, not to mention it manages to still have some massive and satisfying riffs too. I’m excited about the new Haken album as much as the next guy, but it’s awesome to see the band members flex their creativity in other ways like this.

As far as Progressive Metal goes, "Hostile Architecture" has to be one of the most progressive releases I've heard in a very long time. Ashenspire don't hold back on the Black Metal inspired guitar tone and blast beats, but add a plethora of other instruments and effects to create a suffocating and chaotic aura around biting social commentary. There's so much going on that it's impressive that the composition of these tracks is digestible even on the first listen, unlike other Avant-Garde acts like Imperial Triumphant. Even though it's hard to call anything on "Hostile Architecture" memorable, its whirlwind of battling melodies is part of the appeal. The major sticking point is the vocals, which consist of thickly accented spoken word that ranges from cracking howling to brooding whispers. It ended up working for me given the context of the rest of the album, but I wouldn't blame anyone for thinking it's a little too wonky for its own good. I think this is a must listen for 2022, but the schtick got a bit old for me after repeated listens throughout the year.

I knew that "Epigone" wasn't going to be able to top 2019's "Veil of Imagination", but I'm surprised at how much of a drop off it was for me. I respect Wilderun's style as one of the only Progressive Metal bands to really take advantage of symphonics and orchestration, but it wasn't as compelling this time around despite "Woolgatherer" being a fantastic showcase of their style. "Epigone" still has some great riffs and I thoroughly enjoy my time whenever I go back to it, but I never find myself clamoring for more. The "Distraction" suite isn't as strong as the first half and the album ends on a fairly dull note, so even though this album has its moments, it's not the same full package as a few years ago.

Despite enjoying a good amount of Progressive Metal, Disillusion’s apparent charm evaded me for quite a while. I was never a big fan of Back to Times of Splendor and their 2019 comeback album The Liberation left me with the same middling opinion, but this year’s Ayam has me fully on board. It can be a bit of a weird album to wrap your head around as the song structures and vocals do their best to make everything sound slightly off-kilter and strange, but I’ve found that’s part of the charm. Ayam is an actually forward-thinking Progressive Metal album that may rehash Disillusion’s old ideas for longtime fans, but succeeds in creating beautiful moments that are unlike anything else that has come out this year. It took me a while to warm up to it, but I’m glad I’ve finally come around to this group.

I wasn’t familiar with White Ward before this year, so it was interesting to see a different take on incorporating Jazz and a bit of Post-Metal atmosphere into a Black Metal experience. False Light is structured more like a Progressive Metal album than an Atmospheric Black Metal one, with driving riffs and drums constantly pushing each song towards another jazzy interlude or melody transition. There’s a lot to digest even on repeated listens, but I think this is an album that has strong high points but fairly dull low points that brings the full experience down a notch. As someone who enjoys the more jazzy and progressive leanings, though, I’d say that White Ward manage to edge out Ultha for the strongest Atmospheric Black Metal album of 2022, despite Ultha’s offering adhering more to traditional Black Metal ideas.

Grenadier's debut is my first foray into the slightly problematic side of Melodic Death Metal, as I'm way more of a 1990's In Flames fan than Arghoslent. That being said, Grenadier's energetic, Heavy Metal inspired riffing has converted me into enjoying this grimier take on Melodeath quite a bit. The production may not be as cavernous as your more traditional Death Metal, but the harsh vocals and furious drumming offer more than enough heft to make this one of the heaviest examples of Melodic Death Metal I've heard. Despite the album lacking some variety, each track is filled to the brim with exciting riffs that twist and turn in unexpected ways. This is an awesome alternative to all the common Death Metal fare that releases every year and I found myself seeking it out way more than most other Death Metal albums this year.

I’m a Symphony X fan, and after yet another night of sobbing myself to sleep remembering that they haven’t released an album since 2015, their guitarist releases what is essentially a Symphony X album with some impressive session musicians from all sorts of bands. Current Whitesnake vocalist, as strange as that is, Dino Jelusick gets his chance to shine on this high energy shredfest of an album. As someone who enjoys Symphony X’s modern style this one was a real treat, complete with driving riffs, ripping solos, and imposing orchestral backdrops. I don’t think this album will convert anyone who has issues with Symphony X’s style, but you don’t hear me complaining.

Worm are becoming one of the most exciting Death Metal acts to follow, sporting uncompromisingly heavy Death Doom riffs with shredding guitar solos, gothic synths, and Black Metal blast beats. The opening "Bluenothing" is the obvious highlight, but the rest of the album is no slouch either, swapping effortlessly between massive chugs and ripping Black Metal riffs with an atmospheric interlude thrown in there for good measure. My only real criticism is, legitimately, that there isn't more to this. I can't wait for the next album to drop if this is what these Floridians have in store for us.

I didn't expect too much of this album when it came up as a monthly feature over on Metal Academy, but "The Endless" turned out to be one of the most unique Metal album's I've heard this year. Ethereal and otherworldly, Dreadnought have a crisp and magical sound that is only strengthened by the spectral sounding female vocals. I think the heavier Post/Black Metal portions leave a bit to be desired and the songwriting is missing some sort of noteworthy quality to it, but I'm always dragged back into the incredible atmosphere that this album is able to produce.

After failing to grasp Tchornobog’s 2017 debut, I’ll admit that I went into this split with a bit of pause. Amalgamations of every extreme Metal genre are normally one of my preferred things, though, and this split heavily delivers on that promise, mixing Death and Black Metal influences into a plodding and otherworldly Death Doom soundscape. Despite progressing rather slowly, “The Vomiting Choir” is an engrossing experience that throws down a gauntlet of interesting riffs and melodies alongside dissonant blast beats and unsettling atmospheric sections.
Abyssal’s half is much thinner sounding and despite sounding plenty evil, it lacks the smothering feeling of Tchornobog’s first half, making it a rather abrupt and strange change. There’s still some cool things going on with it and it definitely takes some more time to digest than “The Vomiting Choir”, and I think it’s still solid enough to hold its own, but this split’s list placement is mostly due to the first track.

These Icelandic Black Metallers came in strong at the end of the year and delivered one of the only straight up, no bells and whistles Black Metal albums worth listening to this year. I’m always fascinated by the progressiveness of Black Metal as a genre, but there’s something to be said about the roots of the genre continuing to produce strong albums. Despite enjoying Algleymi in 2019, it never really left any sort of lasting impression on me. Með hamri had me much more engrossed in its atmosphere and adept songwriting which shifts from classic, ripping Black Metal tremolo to more controlled and heavy riffing that dips into the melodicism of some Pagan Black Metal bands like Havukruunu. The pacing and progression of the album as a whole is great too, so it’s a shame that I wasn’t able to spend more time with it before throwing it on this list.

2022 was a fairly slow year for my Atmospheric Black Metal, considering none of Trha’s 2022 albums managed to make their way into this list. Thankfully, Ultha was around to provide some classic Atmospheric Black Metal riffing and atmosphere while adding their own flair through cleaner production, haunting synth backdrops, and some serious surprises like the sax at the end of the second track. The style and production of All That Has Never Been True sits at a perfect balance between being pushed back and dismal enough to be an Atmospheric Black Metal experience, but clean enough that the more stripped back sections sound eerily beautiful. Even though this album doesn’t grip me in the same way my favorite Atmospheric Black Metal albums do, it’s a strong effort that provides yet another unique amalgamation of influences in an ever-expanding subgenre.

Wake continue to move in a more progressive direction, which means that they're innately going to creep up on my list. "Thought Form Descent" is yet another Black Metal base with other, swirling influences incorporated in strong ways. The overall themes and atmosphere are familiar but still uniquely creative, ranging from smothering to shadowy and mysterious as the band bounces around between chaotic and dissonant riffing to captivatingly heavy melodies. This is an extremely consistent album but lacks notable standouts, meaning that although I always enjoy my time with it, I'm never left wanting more at the end of it all.

Verberis came in late in the year to offer a more dissonant offering to the lineup of Death and Black Metal fusions this year. Despite feeling kind of generic, Verberis was instantly able to pull me into their suffocating atmosphere with winding riffs that feel very much alive as each lengthy track progresses. Part of me thinks that they spent a little too much time on the atmospheric tracks, but it offers a nice break before the incredible closing track. The 20-minute epic is easily has the best riffs and songwriting, ending the album on a very high note for me. The obvious comparison here is Ulcerate, especially since this group has drummer Jamie Saint Merat absolutely destroying his kit in classic, chaotic fashion, and I honestly can't say that Verberis improves on Ulcerate's sound, but more bands creating good music in a relatively empty genre is always a good thing in my book.

The Chasm were able to grab my attention with their more technical sounding brand of Death Metal as they layer in Thrash and Black Metal influences. They then proceeded to lose me a bit as it felt like the album wasn't going to hold up over repeated listens, but they pulled me back in at the end of the year after I realized how impressive their style is. Their brand of thrashing Death Metal riffs along with the Thrash-like growls that continue to help create a bridge between Death and Thrash are able to keep me at the edge of my seat the entire way through. There are certain tracks that drag a bit for my taste, but for someone who was a bit critical of The Chasm's older work, this is a hell of an album to release more than 20 years after the band's "prime".

I'm not one to say that traditional Heavy Metal is dead, but it sure feels like it sometimes. When I got wind that Sumerlands consisted of some Eternal Champion members, though, I was instantly all in on this record. Every riff on "Dreamkiller" exudes that classic Heavy Metal energy that made the genre great in the first place. The album alternates between up-tempo chugfests and slower, almost ballad-like songs that really give this album a classic feel. The vocals are suitably powerful as Brendan Radigan commands his high range rather well despite some slightly strange post-processing. This is an incredibly impressive effort with each song being catchy as hell and the band refusing to run out of awesome riffs the whole way through.

There was a certain Negative Plane album that got a ton of buzz this year, but my pick for a Heavy and Black Metal fusion album easily goes to Predatory Light this year. It may be a bit more straightforward, but the driving riffs, awesome bass sound, and the rougher sounding vocals are exactly what this kind of album needed. Death and the Twilight Hours’ fuller and more consistent sound helps to sell the dark and deathly atmosphere more for me as well. I think the album falters a little bit on variety, since many guitar licks start to feel very similar by the 4th track, but considering it clocks in at less than 40 minutes, it's not the end of the world.

I've never heard of Cave In before this year, but Heavy Pendulum was a much needed respite from all the crazy Death and Black Metal I ended up listening to. This feels like an immensely mature Alternative Metal album with a heavy Stoner influence with an emphasis on fulfilling riff structure that does get a bit old given its long runtime, but never fails to completely run out of ideas. I like that this album is very accessible too; it has its fair share of awesome heavy parts, but this feels like an album that most people could appreciate, even the ones that are very iffy on Metal. "Wavering Angel" is a fantastic closer too, ending the album on a very high note after a lightly forgettable mid-section.

I understand why people may not like Fallujah's shiny brand of Death Metal, but I'm glad they got past their rocky transition period and are back to what they do best. I'm still more of a fan of "Dreamless" and its immaterial, airy atmosphere, but "Empyrean" gets straight to the Tech Death point as it cuts down on the interludes and fluff overall. I've always loved Fallujah's soaring leads overtop their relentless, mechanical riffing, and that's basically all this album is. Each track manages to have its own interesting groove even though the whole affair lacks some variety overall. That lack of variety is what keeps it from being truly great in my opinion, but I'd say that this is exactly what Fallujah fans wanted after a rough few years.

We've had all forms of classic Heavy Metal come back in a big way, and Riot City is here to fill the high energy, Speed Metal inspired void with a new singer and full throttle riffing. "Electric Elite" is over the top in a more controlled way than most Power Metal albums, staying firmly on the Heavy Metal side of things with driving riffs, dualling guitar melodies, and a vocalist that just bought his vacation home in the highest register he can muster. The intensity and vigor of this album can't be understated, but I'll admit that the first half is much stronger than the second half despite the strong closing track. I'd stay away from this one if you aren't a fan of Judas Priest-esque vocals, but I got a ton of enjoyment out of this one towards the end of this year.

I wish I could have spent more time with "Evidence of Immortality" this year, but it still hit me like a ton of bricks nonetheless. I'll admit that I'm hard to please when it comes to ultra-hefty, downtempo Doom Metal, but something about the growl of the bass and the thick guitar tone makes this one of my favorite chug albums of the year. I enjoyed the use of cleaner vocals as well; they were a breath of fresh air from all the Death Doom growls I've had the pleasure of hearing this year. Adding in the dramatic synth during the closer "Grief Sequence" was a nice, unexpected touch as well, making this album an interesting listen from front to back despite its slow pacing.

Straight from the specific circle of Hell you find the least comfortable, "The Ailing Facade" is an intense and tortuous mix of chugging Death Metal riffs, chaotic Black Metal structures, and hypnotizing drumming. All of these elements fuse together to create a unique sound that I haven't quite heard before, which sits somewhere between being one of the heaviest albums of the year but also one of the most desolate sounding. While I'll admit there's a lot of great ideas on display here, the main theme gets a bit redundant for me after the first 30 minutes or so, let alone upon relistens. I think this is a special one for fans of bleak and atmospheric Extreme Metal, but I wasn't able to get the full experience.

After seeing that they had potential in their 2019 debut "Of Rot and Ruin", it feels like Hath catered specifically to me and fixed a lot of issues I had with their original sound. The hefty grooves are still intact on "All That Was Promised", but the cleaner, progressive elements are incorporated in a much cleaner way this time around. This album got eclipsed by other strong Death Metal albums as the year progressed, but I think it still has enough going for it with its strong choruses, well-written song transitions, and a uniquely apocalyptic atmosphere.

Rather than focusing entirely on atmosphere, Gaerea utilizes a Black and Post-Metal combination to push complex melodies and transitions to the forefront. Overall a nice change of pace and feel from the rest of the smothering, chaotic Black Metal albums to come out this year and while I didn't spend a whole lot of time with it, it had some of the more engaging riffs I've heard this year. It's consistently good throughout, too.

I skipped out on Saidan's 2021 debut, but this album has shown me that I probably shouldn't have. This rawer but melodic Black Metal album constantly swaps between aggressive Black Metal riffing and bouncy, catchy guitar lines that feel like they shouldn't fit, but somehow do with the help of some backing synths and solid drumming. That catchiness is what lets Onryō II stand out amongst its peers and why I kept going back to it, despite the album's more standard Black Metal sections falling a bit flat. The riffs in "I Am The Witch" and "Queen of the Haunted Dell" are killer, the vocals fit right in the pocket of being gruesome enough to fit the theme but pushed back enough to not overtake the rest of the mix, and the slightly softer middle portion offers up some much needed variety. It may not be as adventurous as it could be, but Saidan managed to undoubtedly make a highlight of the year.

If it wasn't for Esoctrilihum, "Procreate Inverse" would take the award for the absolute heaviest Black Metal album of the year. This album sounds like pure evil and it never lets up for a single second. The production has that famous Black Metal lo-fi quality about it, but its bolstered by the slightly Death Metal inspired guitar tone, giving the whole thing a bit more heft than your average Black Metal album. "Obscene Lusting Dagger" and "Procreate Inverse" are absolute insanity given that they manage to keep the energy on full blast for way longer than I thought possible. I'm not always in the mood for this kind of stuff, but "Procreate Inverse" impressed the hell out of me by being as extra as possible in their approach.

This one may be a bit of a guilty pleasure, but Steve Vai's story behind this album is what really won me over in the end. "Teeth of the Hydra" is impressive in of itself, utilizing the hilariously overengineered guitar as shown on the cover in a very smart and musical way. In fact, that's what I love the most about this album; Vai seems to have a knack for creating truly musical songs on top of showcasing his guitar skills in creative ways. The "Teeth of the Hydra" music video has to be seen to be truly understood, "Knappsack" is played with one hand only using the fretboard, and "Candlepower" uses a unique bending technique that I certainly haven't heard of before, making "Inviolate" an exciting showcase of the instrument. It still has your normal, hard rocking staples like "Zeus In Chains" and "Avalancha", but I think this one is a blast from start to finish.

This one may be a bit of a guilty pleasure, but Steve Vai's story behind this album is what really won me over in the end. "Teeth of the Hydra" is impressive in of itself, utilizing the hilariously overengineered guitar as shown on the cover in a very smart and musical way. In fact, that's what I love the most about this album; Vai seems to have a knack for creating truly musical songs on top of showcasing his guitar skills in creative ways. The "Teeth of the Hydra" music video has to be seen to be truly understood, "Knappsack" is played with one hand only using the fretboard, and "Candlepower" uses a unique bending technique that I certainly haven't heard of before, making "Inviolate" an exciting showcase of the instrument. It still has your normal, hard rocking staples like "Zeus In Chains" and "Avalancha", but I think this one is a blast from start to finish.

The Chilean Thrash scene continues to deliver with a classic, straight up Thrash experience that asserts itself as one of the only 2022 Thrash releases worth listening to. It's a short, sharp shot of adrenaline clocking in at less than 30 minutes since it would overstay its welcome if it was any longer. It's insanely high energy is kept through the entire runtime, the riffs are sick, the vocals are satisfyingly spat out, and the closer is a masterclass in how to structure a longer Thrash track. If the Chileans continue to release Thrash like this every year, we're looking at a modern revolution of the scene.

The Chilean Thrash scene continues to deliver with a classic, straight up Thrash experience that asserts itself as one of the only 2022 Thrash releases worth listening to. It's a short, sharp shot of adrenaline clocking in at less than 30 minutes since it would overstay its welcome if it was any longer. It's insanely high energy is kept through the entire runtime, the riffs are sick, the vocals are satisfyingly spat out, and the closer is a masterclass in how to structure a longer Thrash track. If the Chileans continue to release Thrash like this every year, we're looking at a modern revolution of the scene.

Esoctrilihum's second album of the year sees a return to his original amalgam of Black, Death, and Symphonic Metal, resulting in varying degrees of success. I prefer the overall sound of "Saopth's" compared to "Consecration of the Spiritüs Flesh" since it's less overbearing and more melodic, but something is still missing compared to his earlier works. The atmosphere is extremely well done, with the synths and strings casting an eerie shadow across the blasting drums and chugging guitar, but it lacks some sort of dramatic edge. It's impressive that one person is able to consistently put out this quality of material, but I think the formula is starting to get a bit predictable and dry without something to shake it up.

Esoctrilihum's second album of the year sees a return to his original amalgam of Black, Death, and Symphonic Metal, resulting in varying degrees of success. I prefer the overall sound of "Saopth's" compared to "Consecration of the Spiritüs Flesh" since it's less overbearing and more melodic, but something is still missing compared to his earlier works. The atmosphere is extremely well done, with the synths and strings casting an eerie shadow across the blasting drums and chugging guitar, but it lacks some sort of dramatic edge. It's impressive that one person is able to consistently put out this quality of material, but I think the formula is starting to get a bit predictable and dry without something to shake it up.

In a year that saw very few Thrash Metal albums worth listening to, this absolutely evil sounding Blackened Thrash album provides more than enough sinister riffs and unbridled energy to hold all of us over until next year. It suffers from feeling a bit derivative after a few tracks, but the ending is awesome enough that it doesn't matter a whole lot.

In a year that saw very few Thrash Metal albums worth listening to, this absolutely evil sounding Blackened Thrash album provides more than enough sinister riffs and unbridled energy to hold all of us over until next year. It suffers from feeling a bit derivative after a few tracks, but the ending is awesome enough that it doesn't matter a whole lot.

I’m a huge Avantasia fan, but Tobias Sammet and his star-studded group of guest vocalists couldn’t fully win me over this year with an album that feels half-baked on its theme. There are a few standout tracks like the incredible “The Wicked Rule the Night”, but the average sounding 10-minute epic and a few lackluster tracks make The Moonflower Society a far cry from 2019’s Moonglow. It's a half and half experience with some of the tracks being the strongest songs the guest vocalists have had in years, but others are insanely forgettable.

I’m a huge Avantasia fan, but Tobias Sammet and his star-studded group of guest vocalists couldn’t fully win me over this year with an album that feels half-baked on its theme. There are a few standout tracks like the incredible “The Wicked Rule the Night”, but the average sounding 10-minute epic and a few lackluster tracks make The Moonflower Society a far cry from 2019’s Moonglow. It's a half and half experience with some of the tracks being the strongest songs the guest vocalists have had in years, but others are insanely forgettable.

It's difficult to stand out in Atmospheric Black Metal sometimes, but Pure Wrath was able to enamor me with its elaborate and sweeping riffs alongside just enough synth, piano, and folky additives to keep things interesting. I get more emotion out of this one compared to the other 2022 Atmospheric Black Metal albums, despite the vocals being a little bit one-note and shaky at times. The themes of loss, grief, and hatred are conveyed to the listener well, striking a balance between seething rage and hopeful despondence.

It's difficult to stand out in Atmospheric Black Metal sometimes, but Pure Wrath was able to enamor me with its elaborate and sweeping riffs alongside just enough synth, piano, and folky additives to keep things interesting. I get more emotion out of this one compared to the other 2022 Atmospheric Black Metal albums, despite the vocals being a little bit one-note and shaky at times. The themes of loss, grief, and hatred are conveyed to the listener well, striking a balance between seething rage and hopeful despondence.

Wiegedood dropped their 2022 album super early this year and it clawed its way back up the list after being sidelined for most of the year. I listen to a bunch of Black Metal every year, so this super aggressive, over the top style was able to stick out from the pack enough for me to go back to it and remember just how blistering all these riffs and vocal lines are. The vocals crackle to the front and obscure some elements I wish I could hear better, but that's honestly part of the charm. The riffing ideas are killer overall and the album allots ample time to explore different styles, like the very unique throat singing section on "Now Will Always Be". It's a bit long for what it is and it requires the listener to be in a very specific mood to really get into, but there's still some impressive stuff here.

Wiegedood dropped their 2022 album super early this year and it clawed its way back up the list after being sidelined for most of the year. I listen to a bunch of Black Metal every year, so this super aggressive, over the top style was able to stick out from the pack enough for me to go back to it and remember just how blistering all these riffs and vocal lines are. The vocals crackle to the front and obscure some elements I wish I could hear better, but that's honestly part of the charm. The riffing ideas are killer overall and the album allots ample time to explore different styles, like the very unique throat singing section on "Now Will Always Be". It's a bit long for what it is and it requires the listener to be in a very specific mood to really get into, but there's still some impressive stuff here.

There's something to be said about nostalgia done right. Funny enough, the Post-Hardcore craze of the 2000's wasn't my thing and the whole thing passed me by as I was nerding out on the likes of Dream Theater, Avantasia, and Tool. After being recommended this album, though, I can get the appeal, since "fleahouse" instantly transported me back to my old house's basement playing Burnout and Tony Hawk's Pro Skater. It's obvious that these guys don't take themselves too seriously, and I think it works in their favor since the first half of "Rogue Carpet Disaster" is straight up incredible. The second half loses me a bit, especially with the awkwardly brooding ballad "marisol" seemingly going on forever before the album ends on a weirdly less energetic note with "Cubicle Dialogue". I gave this album more spins than I'm willing to admit since it's just that fun overall, but I've still got some issues with it.

There's something to be said about nostalgia done right. Funny enough, the Post-Hardcore craze of the 2000's wasn't my thing and the whole thing passed me by as I was nerding out on the likes of Dream Theater, Avantasia, and Tool. After being recommended this album, though, I can get the appeal, since "fleahouse" instantly transported me back to my old house's basement playing Burnout and Tony Hawk's Pro Skater. It's obvious that these guys don't take themselves too seriously, and I think it works in their favor since the first half of "Rogue Carpet Disaster" is straight up incredible. The second half loses me a bit, especially with the awkwardly brooding ballad "marisol" seemingly going on forever before the album ends on a weirdly less energetic note with "Cubicle Dialogue". I gave this album more spins than I'm willing to admit since it's just that fun overall, but I've still got some issues with it.

I've gone back and forth about Pharmacist after avoiding it for most of the year, considering it to be something that I wouldn't enjoy in the slightest. I was fairly wrong on that assumption, but that doesn't stop this album from being one of the more confusing and strange releases to get a decent amount of attention this year. The album begins with a riff and production that's about as brutal as it gets, with burbling Brutal Death Metal vocals tying the whole package together. From there, though, the album shifts into a strangely progressive flurry of guitar solos, complex melodic sections, and multiple tonal shifts ranging from Death Doom all the way to straight up Progressive Metal in "Necromorph". Pharmacist never waste too much time before bringing the brutality back, which leaves me at a very confusing crossroads. I don't necessarily love this, but the concept and execution is so interesting that I can't help but think there's something special here. I think it bounces off of me a bit too hard in the end, but I can see aficionados of more brutal Death Metal having a field day with this.

I've gone back and forth about Pharmacist after avoiding it for most of the year, considering it to be something that I wouldn't enjoy in the slightest. I was fairly wrong on that assumption, but that doesn't stop this album from being one of the more confusing and strange releases to get a decent amount of attention this year. The album begins with a riff and production that's about as brutal as it gets, with burbling Brutal Death Metal vocals tying the whole package together. From there, though, the album shifts into a strangely progressive flurry of guitar solos, complex melodic sections, and multiple tonal shifts ranging from Death Doom all the way to straight up Progressive Metal in "Necromorph". Pharmacist never waste too much time before bringing the brutality back, which leaves me at a very confusing crossroads. I don't necessarily love this, but the concept and execution is so interesting that I can't help but think there's something special here. I think it bounces off of me a bit too hard in the end, but I can see aficionados of more brutal Death Metal having a field day with this.

Shape of Despair began this year's Doom Metal gauntlet with a classic blend of slow Funeral Doom with Gothic influences. I always enjoy listening to these sorts of albums in the moment when I'm in the mood, but they continue to fail to make a lasting impression on me most of the time. Sadly that's the fate that met "Return to the Void", where I admit that it's a genuinely good slab of Doom Metal that has a satisfying mix of guttural, crushing sections as well as pensive and melancholic moments. I don't think this does anything extraordinary when it comes to Funeral Doom Metal, but that's fine by me.

Shape of Despair began this year's Doom Metal gauntlet with a classic blend of slow Funeral Doom with Gothic influences. I always enjoy listening to these sorts of albums in the moment when I'm in the mood, but they continue to fail to make a lasting impression on me most of the time. Sadly that's the fate that met "Return to the Void", where I admit that it's a genuinely good slab of Doom Metal that has a satisfying mix of guttural, crushing sections as well as pensive and melancholic moments. I don't think this does anything extraordinary when it comes to Funeral Doom Metal, but that's fine by me.

This album is one of the most disgusting sounding albums to come out this year, and I kind of love it for that. I think that "Saopth's", Esoctrilihum's other 2022 album, is stronger overall, but I respect the hustle to try and create the most wretched sounding thing you can. The entire album is an explosion of sound with serpent-like chanting, incredibly heavy riffing, and impressively vile vocals that sound like Asthâghul's throat is possessed and wants to be ripped from his neck immediately, especially on "Tharseîdhon". Not for the faint of heart, even I can't handle too much of this album at a time, but Extreme Metal fans should be all over this.

This album is one of the most disgusting sounding albums to come out this year, and I kind of love it for that. I think that "Saopth's", Esoctrilihum's other 2022 album, is stronger overall, but I respect the hustle to try and create the most wretched sounding thing you can. The entire album is an explosion of sound with serpent-like chanting, incredibly heavy riffing, and impressively vile vocals that sound like Asthâghul's throat is possessed and wants to be ripped from his neck immediately, especially on "Tharseîdhon". Not for the faint of heart, even I can't handle too much of this album at a time, but Extreme Metal fans should be all over this.

The more brutal subsection of Technical Death Metal has been relatively quiet this year, but Australia’s Faceless Burial are an obvious highlight that combines impressive performances with absolutely chaotic songwriting to create a riff-fest unlike anything else released this year. It lacks some focus and direction for my personal taste and I wasn’t as blown away by it compared to their 2020 sophomore album, but it’s a fantastic rush of Tech Death that may have some of the tightest performances this year.

The more brutal subsection of Technical Death Metal has been relatively quiet this year, but Australia’s Faceless Burial are an obvious highlight that combines impressive performances with absolutely chaotic songwriting to create a riff-fest unlike anything else released this year. It lacks some focus and direction for my personal taste and I wasn’t as blown away by it compared to their 2020 sophomore album, but it’s a fantastic rush of Tech Death that may have some of the tightest performances this year.

Despite Monolithe being quite the, well, monolith of the Death Doom Metal scene, I was never able to really get into any of their albums until Kosmodrom. It may be because I'm a sucker for a space theme, but "Kosmodrom" is able to supply an interesting theme to go along with their stellar Death Doom songwriting to finally create an album I can get behind. It's not as crushingly bleak as you'd expect, but that allows it to work to my advantage since I love the more energetic bass riffs and synth melodies that help to push the composition forward. I can only imagine that I'd enjoy this more and more as I go back to it, considering it released so late in the year.

Despite Monolithe being quite the, well, monolith of the Death Doom Metal scene, I was never able to really get into any of their albums until Kosmodrom. It may be because I'm a sucker for a space theme, but "Kosmodrom" is able to supply an interesting theme to go along with their stellar Death Doom songwriting to finally create an album I can get behind. It's not as crushingly bleak as you'd expect, but that allows it to work to my advantage since I love the more energetic bass riffs and synth melodies that help to push the composition forward. I can only imagine that I'd enjoy this more and more as I go back to it, considering it released so late in the year.

I had a bit of anticipation for this new Djevel album considering how much I enjoyed their release last year, but I think it retreaded a bit too much of the same ground to captivate me again. Their natural and mysterious sound is always going to be exciting for me, but I feel like it meanders a bit too much for its own good without providing enough reasons to come back to it. This is a strong, consistent, and classic sounding Atmospheric Black Metal that invokes the usual Black Metal environments, but sadly I don't think it's able to go beyond that.

I had a bit of anticipation for this new Djevel album considering how much I enjoyed their release last year, but I think it retreaded a bit too much of the same ground to captivate me again. Their natural and mysterious sound is always going to be exciting for me, but I feel like it meanders a bit too much for its own good without providing enough reasons to come back to it. This is a strong, consistent, and classic sounding Atmospheric Black Metal that invokes the usual Black Metal environments, but sadly I don't think it's able to go beyond that.

I almost forgot about Stratovarius' new album when putting together this list, which is funny considering how much I listened to it when it first came out. "Survive" is an absolute blast that had me coming back to it more than any other Stratovarius album, with the tracks "Survive", "Demand", "Frozen In Time", and "Voice of Thunder" ending up sticking in my head for days at a time. It lacks some depth considering it's a pretty straightforward Power Metal album and the other tracks don't quite compare to the ones I listed, but I'm glad that another stalwart of the Power Metal community had a strong showing this year.

I almost forgot about Stratovarius' new album when putting together this list, which is funny considering how much I listened to it when it first came out. "Survive" is an absolute blast that had me coming back to it more than any other Stratovarius album, with the tracks "Survive", "Demand", "Frozen In Time", and "Voice of Thunder" ending up sticking in my head for days at a time. It lacks some depth considering it's a pretty straightforward Power Metal album and the other tracks don't quite compare to the ones I listed, but I'm glad that another stalwart of the Power Metal community had a strong showing this year.

Old school Death Metal has been done, well, to death at this point but that doesn't stop the genre from producing solid albums. Undeath's 2020 album was a putrid breath of air and with all the hype surrounding this 2022 release, I don't think it quite got there. There's a few great songs like "Human Chandelier", but Undeath don't quite do enough with their straightforward style to separate themselves from the pack this year. This is another safe yet effective Death Metal album that has some great riffs and moments, but fails to do much else.

Old school Death Metal has been done, well, to death at this point but that doesn't stop the genre from producing solid albums. Undeath's 2020 album was a putrid breath of air and with all the hype surrounding this 2022 release, I don't think it quite got there. There's a few great songs like "Human Chandelier", but Undeath don't quite do enough with their straightforward style to separate themselves from the pack this year. This is another safe yet effective Death Metal album that has some great riffs and moments, but fails to do much else.

It's a shame because while this album has its incredibly beautiful moments, every time I revisited it I became less and less interested. The breezy and heavenly female fronted vocal sections overshadow the frankly generic bits of Mathcore and Post-Metal to the point where I wish they would have cut down on the harsh vocals quite a bit. This sporadic album knows how to write transitions though, as frantic chugging and sweeping melodies constantly ebb and flow between one another as each track progresses. This is a difficult album to nail down, as portions of it feel way to slow while other sections feel like they're moving a bit too fast. I think this is a fantastic album to experience one or two times, then it ends up running out of steam.

It's a shame because while this album has its incredibly beautiful moments, every time I revisited it I became less and less interested. The breezy and heavenly female fronted vocal sections overshadow the frankly generic bits of Mathcore and Post-Metal to the point where I wish they would have cut down on the harsh vocals quite a bit. This sporadic album knows how to write transitions though, as frantic chugging and sweeping melodies constantly ebb and flow between one another as each track progresses. This is a difficult album to nail down, as portions of it feel way to slow while other sections feel like they're moving a bit too fast. I think this is a fantastic album to experience one or two times, then it ends up running out of steam.

This one is 100% a guilty pleasure, but I won't back down. I love Power Metal supergroups, so when you put one of the guitarists from Russell Allen & Jorn Lande's projects with a drummer from Masterplan and the newest vocalist of Ritchie Blackmore's Rainbow, I can't exactly look away. This album is exactly what you'd expect from a Power Metal album with symphonic tinges here and there, so there aren't many surprises. Catchy choruses are the name of the game and vocalist Ronnie Romero kills it with a fantastic performance throughout the album. The guitar lines are hit and miss, with certain riffs from "Shut It Out" and "One More River to Cross" feeling much stronger than the more generic power chords that litter the rest of the album. If you're a fan of the sillier side of Heavy Metal I'd recommend this album in a heartbeat, even though I'll admit that it doesn't exactly have what it takes to be a standout release.

This one is 100% a guilty pleasure, but I won't back down. I love Power Metal supergroups, so when you put one of the guitarists from Russell Allen & Jorn Lande's projects with a drummer from Masterplan and the newest vocalist of Ritchie Blackmore's Rainbow, I can't exactly look away. This album is exactly what you'd expect from a Power Metal album with symphonic tinges here and there, so there aren't many surprises. Catchy choruses are the name of the game and vocalist Ronnie Romero kills it with a fantastic performance throughout the album. The guitar lines are hit and miss, with certain riffs from "Shut It Out" and "One More River to Cross" feeling much stronger than the more generic power chords that litter the rest of the album. If you're a fan of the sillier side of Heavy Metal I'd recommend this album in a heartbeat, even though I'll admit that it doesn't exactly have what it takes to be a standout release.

It's difficult for an instrumental album to leave a lasting impression, but Russian Circles continue to deliver with another album that may be more of the same, but is compelling nonetheless. These guys have always clung tightly to the Post-Metal script and it's still managing to serve them well as they balance catchy chugging with lighter and more mesmerizing clean sections. I've gone to this album for background music quite a bit this year and it always manages to keep me engrossed all the way to the end, meaning there's more than just surface level stuff on "Gnosis".

It's difficult for an instrumental album to leave a lasting impression, but Russian Circles continue to deliver with another album that may be more of the same, but is compelling nonetheless. These guys have always clung tightly to the Post-Metal script and it's still managing to serve them well as they balance catchy chugging with lighter and more mesmerizing clean sections. I've gone to this album for background music quite a bit this year and it always manages to keep me engrossed all the way to the end, meaning there's more than just surface level stuff on "Gnosis".

While I can appreciate Blut aus Nord's delve into the stranger and more otherworldly, it failed to enrapture me as much as it did for many others. I get what they were going for, and it's executed very well, but its monotonous and one-note nature wasn't able to transport me into the world it was attempting to create. Disharmonium is a wall of living, breathing sound that provides one of the most smothering experiences I've heard, but also doesn't do anything interesting with that atmosphere. This is probably a fantastic album for you if it clicks, but it sadly didn't for me.

While I can appreciate Blut aus Nord's delve into the stranger and more otherworldly, it failed to enrapture me as much as it did for many others. I get what they were going for, and it's executed very well, but its monotonous and one-note nature wasn't able to transport me into the world it was attempting to create. Disharmonium is a wall of living, breathing sound that provides one of the most smothering experiences I've heard, but also doesn't do anything interesting with that atmosphere. This is probably a fantastic album for you if it clicks, but it sadly didn't for me.

This Black n’ Roll / Deathrock album is a fun time, but it doesn’t have a lot of staying power for me. The punky riffing is solid and the harsher vocals are well fitted to the whole affair, but after coming back to it a few times I can’t get too excited about it. It’s something different to cleanse the palette and it’s executed well, but I can’t see myself returning to it all that much.

This Black n’ Roll / Deathrock album is a fun time, but it doesn’t have a lot of staying power for me. The punky riffing is solid and the harsher vocals are well fitted to the whole affair, but after coming back to it a few times I can’t get too excited about it. It’s something different to cleanse the palette and it’s executed well, but I can’t see myself returning to it all that much.

Lamp of Murmuur continues to showcase their consistency with their yearly split, this time with previously unknown Ebony Pendant. They've got their raw Black Metal sound down to a science, with cracking, poignant drum production and uniquely inspired riffing that radiates energy and intensity. The vocals sit nicely in the mix and sound like they were recorded on your uncle's Nokia cell phone, just as things should be. Lamp of Murmuur's acoustic outro track leads into Ebony Pendant's side, which is fine, but it feels a bit flat compared to the first half. It's some solid Black Metal that rounds out the split nicely and has some nice moments of progression towards the ends of the tracks, but it left me wanting more in the end.

Lamp of Murmuur continues to showcase their consistency with their yearly split, this time with previously unknown Ebony Pendant. They've got their raw Black Metal sound down to a science, with cracking, poignant drum production and uniquely inspired riffing that radiates energy and intensity. The vocals sit nicely in the mix and sound like they were recorded on your uncle's Nokia cell phone, just as things should be. Lamp of Murmuur's acoustic outro track leads into Ebony Pendant's side, which is fine, but it feels a bit flat compared to the first half. It's some solid Black Metal that rounds out the split nicely and has some nice moments of progression towards the ends of the tracks, but it left me wanting more in the end.

Animals as Leaders are finally back this year with an album that’s everything you’d expect, but don’t catch me complaining. Each track is a tight and complex weave of melodies and djenty riffs that are more memorable and groovier than their previous album “The Madness of Many”. I caught myself throwing this on almost every day for a month or two when it came out and it hasn’t lost its charm since. It may feel a little robotic for some, but I think it’s a solid mix of virtuosity and musicality that’s exciting for the entire runtime.

Animals as Leaders are finally back this year with an album that’s everything you’d expect, but don’t catch me complaining. Each track is a tight and complex weave of melodies and djenty riffs that are more memorable and groovier than their previous album “The Madness of Many”. I caught myself throwing this on almost every day for a month or two when it came out and it hasn’t lost its charm since. It may feel a little robotic for some, but I think it’s a solid mix of virtuosity and musicality that’s exciting for the entire runtime.

Vorga's take on Black Metal (IN SPACE) is a bit more straight forward compared to contemporaries like Mare Cognitum or Battle Dagorath, but that doesn't make it any less enjoyable. Cleaner production with more mechanical sounding drums and lead guitar give the illusion of a spacey atmosphere like the cover, but in all honesty there isn't a whole lot that screams "space" to me here. Despite that, this is an incredibly solid Black Metal album with the sort of riffing that I love, so it was able to outperform the plethora of other generic Black Metal albums that came into my grasp this year.

Vorga's take on Black Metal (IN SPACE) is a bit more straight forward compared to contemporaries like Mare Cognitum or Battle Dagorath, but that doesn't make it any less enjoyable. Cleaner production with more mechanical sounding drums and lead guitar give the illusion of a spacey atmosphere like the cover, but in all honesty there isn't a whole lot that screams "space" to me here. Despite that, this is an incredibly solid Black Metal album with the sort of riffing that I love, so it was able to outperform the plethora of other generic Black Metal albums that came into my grasp this year.

I learned about the wild world of Spaghetti Western Black Metal last year, and Vital Spirit are here to deliver this year's quota. The combination works better than you would think, but the Western moments are still subjected to being interludes between more standard Black Metal passages rather than being fully incorporated into the overall sound. I still love the silly but cool contrast it provides, and the Atmospheric Black Metal is solidly performed, but it wasn't able to hold its weight against the rest of the Black Metal releases this year, or even against Untamed Land's album from last year.

I learned about the wild world of Spaghetti Western Black Metal last year, and Vital Spirit are here to deliver this year's quota. The combination works better than you would think, but the Western moments are still subjected to being interludes between more standard Black Metal passages rather than being fully incorporated into the overall sound. I still love the silly but cool contrast it provides, and the Atmospheric Black Metal is solidly performed, but it wasn't able to hold its weight against the rest of the Black Metal releases this year, or even against Untamed Land's album from last year.

As much as derivative, modern Power Metal albums can be a dime a dozen, I can’t deny that multi-instrumentalist Jona Tee and the newest vocalist for Skid Row (???) Erik Grönwall have made a hell of a good one here. It’s driving and aggressive, catchy but complex in the right places, and just undeniably Swedish Power Metal in the best of ways. It doesn’t do a whole lot to push its way higher up the list, but it’s yet another strong Power Metal offering from 2022.

As much as derivative, modern Power Metal albums can be a dime a dozen, I can’t deny that multi-instrumentalist Jona Tee and the newest vocalist for Skid Row (???) Erik Grönwall have made a hell of a good one here. It’s driving and aggressive, catchy but complex in the right places, and just undeniably Swedish Power Metal in the best of ways. It doesn’t do a whole lot to push its way higher up the list, but it’s yet another strong Power Metal offering from 2022.

There wasn't a whole lot of classic Atmospheric Black Metal to speak of this year, so Grima manages to snag a spot on this list by offering up the frozen and fantastical landscapes I crave every now and again. Grima incorporates a bit more melody and heft in their production and songwriting, even veering into Folk territory with the addition of their signature accordion passages. The accordion takes a backseat compared to the glittering synths, though, and I think they do a much better job of creating a thicker atmosphere on "Frostbitten" than their previous albums.

There wasn't a whole lot of classic Atmospheric Black Metal to speak of this year, so Grima manages to snag a spot on this list by offering up the frozen and fantastical landscapes I crave every now and again. Grima incorporates a bit more melody and heft in their production and songwriting, even veering into Folk territory with the addition of their signature accordion passages. The accordion takes a backseat compared to the glittering synths, though, and I think they do a much better job of creating a thicker atmosphere on "Frostbitten" than their previous albums.

These Finnish Doom metallers are able to combine Death and Doom Metal in a satisfyingly dramatic way with the help of Gothic-sounding choir and piano backings. While there isn't too much to really highlight in this release, I enjoyed the epic-sounding overall theme with marching riffs and satisfying lead guitar melodies. It can be a bit slow and predictable at times, but it held up better over repeated listens than some of the other albums from this year.

These Finnish Doom metallers are able to combine Death and Doom Metal in a satisfyingly dramatic way with the help of Gothic-sounding choir and piano backings. While there isn't too much to really highlight in this release, I enjoyed the epic-sounding overall theme with marching riffs and satisfying lead guitar melodies. It can be a bit slow and predictable at times, but it held up better over repeated listens than some of the other albums from this year.

This lengthy psychedelic-soaked Stoner Metal experience is a far cry from the new Elder album, but it has some fantastic grooves and a spiritual atmosphere that I crave every now and again. Its ever-evolving riffs and melodies always seem to resolve in a very satisfying way, allowing this album to be a satisfying listen that doesn't do anything spectacular, but doesn't fail to be interesting.

This lengthy psychedelic-soaked Stoner Metal experience is a far cry from the new Elder album, but it has some fantastic grooves and a spiritual atmosphere that I crave every now and again. Its ever-evolving riffs and melodies always seem to resolve in a very satisfying way, allowing this album to be a satisfying listen that doesn't do anything spectacular, but doesn't fail to be interesting.

I was a big fan of this Celeste album early in the year with its chunky riffs and gloomy atmosphere, but it ended up wearing itself a bit thin after a few listens. "Assassine(s)" is a neat blend of Sludge and Black Metal that ends up feeling mostly like a Black Metal album due to the strained vocals and winding riffs that eventually transition into Sludge chug territory, but not for long. The vocals convey a genuine amount of emotion as they quickly become the focal point for most of the album, since Celeste doesn't waste too much time on build-ups with their shorter song structures. I think this plays to their advantage as "Assassine(s)" doesn't become a slog, but it failed to pull me back in throughout the year.

I was a big fan of this Celeste album early in the year with its chunky riffs and gloomy atmosphere, but it ended up wearing itself a bit thin after a few listens. "Assassine(s)" is a neat blend of Sludge and Black Metal that ends up feeling mostly like a Black Metal album due to the strained vocals and winding riffs that eventually transition into Sludge chug territory, but not for long. The vocals convey a genuine amount of emotion as they quickly become the focal point for most of the album, since Celeste doesn't waste too much time on build-ups with their shorter song structures. I think this plays to their advantage as "Assassine(s)" doesn't become a slog, but it failed to pull me back in throughout the year.

Mammoth Weed Wizard Bastard are back with a shortened name and even more galactic soundscapes. They've mostly kept their signature Stoner/Doom Metal heft intact, but this is definitely their softest album by a fair margin. Instead they've decided to double down on the futuristic and ethereal synths that were present on 2019's "Yn ol i annwn". Jessica Ball's vocals and harmonies are as dreamy as ever, if not a bit safe sometimes. The album alternates between plodding, hypnotic Doom Metal tracks and fully electronic synthwave interludes that certainly help to build an atmosphere that I enjoy, but I wouldn't consider them very interesting on their own. I'm enjoying the direction that this band is going considering I like this style of electronic music, but I'm still waiting to see them push towards something truly spectacular.

Mammoth Weed Wizard Bastard are back with a shortened name and even more galactic soundscapes. They've mostly kept their signature Stoner/Doom Metal heft intact, but this is definitely their softest album by a fair margin. Instead they've decided to double down on the futuristic and ethereal synths that were present on 2019's "Yn ol i annwn". Jessica Ball's vocals and harmonies are as dreamy as ever, if not a bit safe sometimes. The album alternates between plodding, hypnotic Doom Metal tracks and fully electronic synthwave interludes that certainly help to build an atmosphere that I enjoy, but I wouldn't consider them very interesting on their own. I'm enjoying the direction that this band is going considering I like this style of electronic music, but I'm still waiting to see them push towards something truly spectacular.

After a brutal 2020 sophomore release that appealed to fans but not to me, this 2022 offering from Cosmic Putrefaction is way more my speed. Progressive elements are given more time in the spotlight, which range from lofty, sustained guitar leads above the grimy riffing to murky acoustic melodies. The vocals still consist of a raspy Death Metal growl that isn't exactly my favorite style, but it fits into the album's motif rather well. As far as the more brutal side of Progressive Death Metal goes, this is a solid offering that stood out amongst its peers this year by having some great riff ideas, satisfyingly murky production, and interesting melodies amidst the grime.

After a brutal 2020 sophomore release that appealed to fans but not to me, this 2022 offering from Cosmic Putrefaction is way more my speed. Progressive elements are given more time in the spotlight, which range from lofty, sustained guitar leads above the grimy riffing to murky acoustic melodies. The vocals still consist of a raspy Death Metal growl that isn't exactly my favorite style, but it fits into the album's motif rather well. As far as the more brutal side of Progressive Death Metal goes, this is a solid offering that stood out amongst its peers this year by having some great riff ideas, satisfyingly murky production, and interesting melodies amidst the grime.

Saor are one of my favorite acts in Atmospheric Black Metal, so it's safe to say that "Origins" was a bit of a disappointment despite being a more than solid effort. The compositions are more straightforward than ever and even though I enjoy each individual track, I didn't get the same sense of wonder on repeated listens compared to something like "Aura" or even "Forgotten Paths". Maybe I'm being a bit too harsh since I'm a big fan, but this feels like a safe but satisfying release from one of the only Atmospheric Black Metal acts that's able to incorporate Folk in interesting ways.

Saor are one of my favorite acts in Atmospheric Black Metal, so it's safe to say that "Origins" was a bit of a disappointment despite being a more than solid effort. The compositions are more straightforward than ever and even though I enjoy each individual track, I didn't get the same sense of wonder on repeated listens compared to something like "Aura" or even "Forgotten Paths". Maybe I'm being a bit too harsh since I'm a big fan, but this feels like a safe but satisfying release from one of the only Atmospheric Black Metal acts that's able to incorporate Folk in interesting ways.

2022 was a big year for slow, plodding, hefty albums, and Dream Unending was able to distinguish themselves from the pack by creating an album that's equal parts crushing and beautiful. "Song of Salvation" is a warmer and more natural sounding Death Doom experience that isn't afraid to experiment with guitar solos and slow things to a crawl in order to build its heavenly sounding atmosphere. There are better Death Doom albums out this year, but I really dug the vibe they managed to create by limiting the down-tuned chugfests that Death Doom Metal albums have the tendency to overuse sometimes.

2022 was a big year for slow, plodding, hefty albums, and Dream Unending was able to distinguish themselves from the pack by creating an album that's equal parts crushing and beautiful. "Song of Salvation" is a warmer and more natural sounding Death Doom experience that isn't afraid to experiment with guitar solos and slow things to a crawl in order to build its heavenly sounding atmosphere. There are better Death Doom albums out this year, but I really dug the vibe they managed to create by limiting the down-tuned chugfests that Death Doom Metal albums have the tendency to overuse sometimes.

This is a two person Black Metal project that encapsulates the classic Black Metal feel, all the way down to the drums clipping the hell out of the mix. This one was memorable for being super raw and evil sounding compared to the rest of the currently more progressive, modern Black Metal landscape, so if that's your kind of thing, I think this one has potential to be a fun listen. It was a nice palette cleanser for me throughout the year.

This is a two person Black Metal project that encapsulates the classic Black Metal feel, all the way down to the drums clipping the hell out of the mix. This one was memorable for being super raw and evil sounding compared to the rest of the currently more progressive, modern Black Metal landscape, so if that's your kind of thing, I think this one has potential to be a fun listen. It was a nice palette cleanser for me throughout the year.

Maule's full length debut is a perfect example of a modern Heavy Metal album done right. Tons of energy, catchy songs, gets straight to the point and doesn't let off the gas for a second. I think that "MAULE" is a bit frontloaded, with the first four songs getting the most playtime from me, but the rest of the album is no slouch either. It doesn't do enough to be fully distinguishable as a modern landmark of Heavy Metal, but it does its job of being a hell of a good time.

Maule's full length debut is a perfect example of a modern Heavy Metal album done right. Tons of energy, catchy songs, gets straight to the point and doesn't let off the gas for a second. I think that "MAULE" is a bit frontloaded, with the first four songs getting the most playtime from me, but the rest of the album is no slouch either. It doesn't do enough to be fully distinguishable as a modern landmark of Heavy Metal, but it does its job of being a hell of a good time.

Persefone are one of those bands where I go in wanting to really enjoy what they bring to the table, but something always seems to be missing. "Metanoia" is another artsy mixture of Progressive and Death Metal with a heavy emphasis on Djenty chugs and shadowy, airy synths and orchestration that has its moments, but fails to come together due to meandering songwriting and uninventive breakdown sections. Some riffs are particularly good, like the opening "Katabasis" and the killer "Anabasis Pt. 2", but "Metanoia" tended to fade into the background over the course of its runtime for me.

Persefone are one of those bands where I go in wanting to really enjoy what they bring to the table, but something always seems to be missing. "Metanoia" is another artsy mixture of Progressive and Death Metal with a heavy emphasis on Djenty chugs and shadowy, airy synths and orchestration that has its moments, but fails to come together due to meandering songwriting and uninventive breakdown sections. Some riffs are particularly good, like the opening "Katabasis" and the killer "Anabasis Pt. 2", but "Metanoia" tended to fade into the background over the course of its runtime for me.

Terra Atlantica set the stage for an epic steampunk adventure in the opening "The Scarlet Banners", and I was ready to be whisked away on a seafaring journey to overthrow, or work for, this fantastical imperialist regime. That's about all I get out of "Beyond the Borders", though, as the ancient curse of Power Metal albums not being able to tell an intelligible story and instead relying on generic, vague, and segmented lyrics rears its ugly head yet again. I get an itch for some over the top symphonic Power Metal each year and thankfully the music itself feels like a complete package with its impressive use of orchestration and acoustics to convey the seafaring theme. There's some eye-rolling moments for sure, and I wouldn't call many choruses memorable, but the compositions are still fun, exciting, and catchy in the moment.

Terra Atlantica set the stage for an epic steampunk adventure in the opening "The Scarlet Banners", and I was ready to be whisked away on a seafaring journey to overthrow, or work for, this fantastical imperialist regime. That's about all I get out of "Beyond the Borders", though, as the ancient curse of Power Metal albums not being able to tell an intelligible story and instead relying on generic, vague, and segmented lyrics rears its ugly head yet again. I get an itch for some over the top symphonic Power Metal each year and thankfully the music itself feels like a complete package with its impressive use of orchestration and acoustics to convey the seafaring theme. There's some eye-rolling moments for sure, and I wouldn't call many choruses memorable, but the compositions are still fun, exciting, and catchy in the moment.

This one’s a bit unfair for me. A Perturbator and Cult of Luna collaboration? Consider me biased. It’s not anything that’s completely mind blowing or spectacular, though, so I can’t recommend it to anyone who may be tiring of either of these artists’ styles.

This one’s a bit unfair for me. A Perturbator and Cult of Luna collaboration? Consider me biased. It’s not anything that’s completely mind blowing or spectacular, though, so I can’t recommend it to anyone who may be tiring of either of these artists’ styles.