Daniel's Forum Replies

There's no stenchcore or crossover thrash either just quietly.

Agoraphobic Nosebleed - "Altered States of America" (2003)

I was already very aware of Massachusetts blast-merchants Agoraphobic Nosebleed prior to this deep dive & they're apparently the most well-known cybergrind artist if online resources are to be believed but this third full-length has left me questioning my understanding of the parameters of the genre to be honest. You see, "Altered States of America" is really just a grindcore record that uses a drum machine & to me that doesn't constitute a new genre. I mean if you didn't know it wasn't a real drummer then what's the difference really? Of course, you DO know it's not a real drummer as no drummer alive could play as fast as these blast-beats.

The album can make for a significant challenge for some listeners (Ben, I'm looking at you) as it includes a full 100 tracks across it's very short 21 minute duration which makes it pretty hard to rate but I have to say that I found myself buying into the band's dark, twisted & satirical social themes & don't pay much attention to the track numbers changing within seconds of each other. This is some seriously brutal grindcore but you can make out every nuance of the riffs very easily & they're generally of a pretty high quality too. I also really enjoy the psychotic vocal delivery which only accentuates the sheer extremity of what must surely be one of the most intense bands on the global scene. They certainly aren't for everyone but then... neither am I!

I can't say that "Altered States of America" is a cybergrind record because there's really nothing "cyber" about it other than a drum machine. It's definitely best represented by The Horde though. There's no question about that.

4/5

Living Colour - "Vivid" (1988)

It’s funny how I occasionally find myself in a situation where I’ve maintained a position on a certain record for many decades only to finally undertake a reassessment of it's value & decide that I don’t think I’ve even heard it before because nothing about it sounds familiar. It doesn’t happen very often but it’s occurred over the last couple of days with the 1988 debut album from New York’s Living Colour. I'm sure that I first discovered them shortly after the release of this record through the inclusion of their big hit & opening track “Cult of Personality” on a compilation I’d acquired & I know that song back to front but the rest of the album? Nup… I can’t honestly say that I recognise a single second of it so I don’t think I actually checked it out even though Living Colour’s 1990 sophomore record “Time’s Up” got quite regular plays around my home as a teenager so this gives me the opportunity to approach it with unbiased ears.

Living Colour were known as one of the big players in the early funk metal movement & became really popular in Australia off the back of their 1991 hit single “Love Rears It’s Ugly Head”. I quite liked them at the time but remember questioning their links to metal & “Vivid” certainly sees me revisiting those feelings as there’s very little genuine metal on this record. I can only think that people have had their opinions influenced by “Cult of Personality” more than anything as it’s clearly the most metal track on the album & even then it’s kind of a heavy metal/hard rock hybrid. The rest of the record sees this talented outfit championing a sound that’s better described as an unintimidating blend of commercial hard rock & bouncy funk rock with some poppier moments scattered across the tracklisting. Unsurprisingly, those poppier tracks are the clear fails here too & “Vivid” is a lot less consistent than I thought it’d be, particularly when you consider the talent on show.

Living Colour’s main focal point is definitely band leader & guitar virtuoso Vernon Reid who absolutely slays here, his exciting jazz fusion guitar solos representing the high point of almost every song. I’m a big fan of his expansive & experimental style & the album is worth listening to solely for his contribution but bass player Muzz Skillings & vocalist Corey Glover also put in stellar performances & you get the feeling that the band was always going to make it big given the collective weight of their musical chops. This makes it a bit of a shame that they opted to explore a few obvious cash-grabbing opportunities on this album because when they extend themselves creatively they’re a more than decent & very likeable unit. Sadly though, poppy filler like “I Want To Know” & “Glamour Boys” see the shine taken off the better material. I’m not sure it sees my score dropping at all but it’s definitely reduced my opinion of Living Colour just a touch.

Ultimately, “Vivid” is a competent rock record produced by a class act that really knew what they were doing. It’s just not one that offers me the sort of appeal to see me returning to it in the future. My childhood memories recall “Time’s Up” being a more complete piece of work but I’m starting to question myself on that now & may have to give it a fresh assessment at some point before committing to claims like that. In the meantime I’ll be raising a Hall of Judgement posting as I really don’t think “Vivid” has a place at the Metal Academy if I’m being honest.

3.5/5

Gigantic Brain - "The Invasion Discography" (2004)

Now if I ever had my doubts about the authenticity of the Cybergrind subgenre & it's credentials for qualification into The Horde then the 2004 debut full-length from Virginia's Gigantic Brain has well & truly put those to bed. "The Invasion Discography" is an enormous release that features a ridiculous 63 tracks spanning an exhausting 59 minutes. Essentially what you can expect here is a sci-fi inspired brand of goregrind that revels in taking you into the weird & avant-garde through head-caving electronic dissonance & over-the-top artificial blast-beats. Gigantic Brain certainly don't take themselves too seriously but they can also come across as fairly disposable for that very reason as there's really very little of substance here. The vocals aren't too bad, despite pushing the threshold of the silly & absurd at times. 

"The Invasion Discography" is actually a compilation of all of the Gigantic Brain's work up until that time & it's not too hard to hear where one project ends & another begins as the production & volume can be a little variable. The tracklisting actually begins with a lot of promise as I quite enjoy the majority of the first twelve or so tracks. Unfortunately I suspect that those represented the newest material on offer as the remainder of the release sees a noticeable drop in quality & excitement with a fair chunk of the tracks bordering on self-indulgence or repetition. There's no doubt that I enjoy the extremity of Gigantic Brain's sound but when they fail to engage me it's generally because they've gotten too silly, have opted for annoying electronic sounds or have included some fairly bouncy, almost nu metal-ish chug riffs. 

Overall, I'd suggest that "The Invasion Discography" is simply too ambitious for it's own good. It doesn't work as an album because it's far too long & the material is inconsistent. I think Gigantic Brain would have been far better off releasing this material in bit-sized chunks, particularly the first portion of the album which is actually pretty good.

3/5

Scorpions - "Love at First Sting" (1984)

I've always found that I get some enjoyment out of Scorpions records but have never found myself gushing over them like the majority of rock/metal fans seem to.  Sure, the guitar solos are great but they have a fair amount of cheese included on every record too & I'm pretty sure that all of our regular contributors clearly understand my aversion to that abominable trait by now. I was familiar with the full string of five albums from 1976's "Virgin Killer" up until 1982's widely celebrated "Blackout" record (not to mention their 1978 "Tokyo Tapes" live release) prior to coming into "Love at First Sting" with all of them sitting at that 3.5/5 mark but the Germans highly regarded 1984 ninth full-length may be the first album I've heard from them where I struggled to overcome the commercialism with fully-fledged glam metal raising its head on more than one occasion.

The tracklisting begins quite well with the heavy rock of opener "Bad Boys Running Wild" being pretty entertaining however proceedings descend significantly after that with five lacklustre efforts in a row before the band miraculously resurrects things with three quality hard rock numbers to close out the album. Closing ballad "Still Loving You" is the clear album highlight & leaves me feeling better about the whole experience but I can't quite shake the memories of glam metal numbers like "Rock You Like A Hurricane", "The Same  Thrill" or "Big City Nights" with their obvious pop hooks that were so clearly intended to crack the American rock radio circuit. There's no doubt that Matthias Jabs' guitar solos are exhilarating & my ears prick up every time he steps up to the plate but, as with every other Scorpions record, I have serious doubts about the metal credentials of "Love at First Sting". There's really only the one song that I regard as being genuine metal in the fairly dull "Coming Home" although "Bad Boys Running Wild" kinda skims along the borderline between hard rock & heavy metal. I guess they're a metal band if you think that Van Halen, AC/DC or Guns 'n' Roses are but I very strongly disagree with that sentiment.

"Love at First Sting" gives 80's Scorpions fans exactly what they want but I'm afraid this is where they've started to lose me & I'm a little fearful about what's to come from their later material given that it's not regarded anywhere near as highly as the band's classic era which ended with this record.

3/5

It looks like you've forgotten to put your rating on the release page Sonny.

I agree with that assessment Ben. It's a 4/5 record for mine.

Bologna Violenta - "Il nuovissimo mondo" (2010)

This Italian solo artist is the next cybergrind producer I've explored & I've been a little surprised to find that I do actually consider the music contained within his debut album to be an offshoot of grindcore, be it a fairly avant-garde version of it. "Il nuovissimo mondo" is a short 25 minute album comprising of 23 tracks that generally mix a range of silly ambient/jazz/experimental sounds with blasting electronic blastbeats & Italian porn samples. I don't think it's meant to be taken seriously which is always a negative for me as I'm kvlt as fvck & take myself far too seriously. There are only a couple of complete failures amongst the tracklisting but there's also only a few tracks that I can say that I genuinely enjoy so it's come across as a bit of a flat release overall. Even though it pains me a little to say so, I have eventually had to admit to myself that it belongs in The Horde but I'd also place it in The Infinite under Avant-Garde Metal as it's simply too weird to be regarded as purely grindcore based.

3/5

Uncle Acid & the Deadbeats - "Blood Lust" (2011)

English retro outfit Uncle Acid & the Deadbeats seemed to get a whole bunch of attention in the early 2010's, no doubt buoyed by (& partially responsible for) the revival of interest in the old-school heavy psych & traditional doom metal sound. That sound has always offered me a fair amount of appeal however I've somehow managed to steer clear of exploring a full Uncle Acid record until now. I've certainly heard a few tracks here & there but can't say that I've heard anything that made me stand up & pay attention. They did however seem to be unintimidating enough for me to play while driving my young kids around in the car so I thought I'd pull out the band's most highly regarded release to see what all the fuss is about.

2011's "Blood Lust" has clearly been intentionally tailored to sound like the late 1960's/early 1970's with a thick layer of fuzzy distortion having been layered over the top of everything (including the vocals). It's like the levels have been intentionally overdriven & this leads many people to link the band to the heavy psych movement because there is a reasonable amount of psychedelia on offer in some of this material. There's also a fair whack of stoner rock/metal about these songs with the riffs often taking a groovy, mid-paced direction with the rhythm section opting for a bluesy rocking-to-sleep style beat that references traditional doom metal without fully committing to the oppressive atmosphere & sluggish tempos. "Withered Hand Of Evil" is the clear exception as it sees the band descending into fully-fledged doom territory while CD bonus track "Down To The Fire" is a lovely way to close out the album with it's references to the British folk rock scene. The whiny higher register vocal delivery of front man Kevin Starrs is very effective & the added distortion gives him a similar mystique to that which Electric Wizard have often achieved with their vocals.

I enjoyed "Blood Lust" quite a bit with every one of its nine tracks offering me some level of appeal. I definitely would have preferred a bit more of the genuine doom metal I was expecting though as much of this material is a little more mid-paced & groovy than I'd hoped but I do buy into the whole retro vibe it's been so successful at recreating & there's no doubt that "Blood Lust" succeeds in building a lovely thick atmosphere. At the end of the day I think I can see why Uncle Acid & the Deadbeats have been so successful but I don't think they'll ever reach the same level of affection with me personally, even if I get a general feeling of enjoyment out of their music.

3.5/5

I just relistened to the album to see if I could see where you're coming from Andi. I have to say that I can't. I stand by everything I said. I don't hear any traditional hard rock whatsoever on "Louder Than Love". Certainly not glam metal. The riffs are built on groovy blues rock structures which brings them more into line with stoner. It's got Black Sabbath "Vol 4" influence all through it. The fact that Kyuss & Motorpsycho didn't release their albums for another couple of years is irrelevant as far as I'm concerned. Sabbath invented stoner metal in the early 1970's along with a slew of other metal genres.

Swans - "The Great Annihilator" (1995)

High quality experimental post-punk & gothic rock from New York, USA.

Noism - "±" (2008)

I hadn't heard of Tokyo-based duo Noism before but I'm unlikely to forget them after experiencing (yes, experiencing) their one-off 2008 album "±" as I've rarely taken such a musical battering & that's saying something given my taste profile. You see, the racket this artist produces across the short 21 minute duration of this release is almost unparalleled. Imagine a continuous barrage of freeform breakcore drum machine programming with seemingly random psychotic death metal guitar noise underneath it, changing wildly from one idea to the next without any warning or thought for compositional integrity. It's relentless in it's savage attack on the senses, confusing the mind so as to ensure that identifying the individual components is almost too tiring to attempt. It's a confusing ride & it's probably a good thing that Noism opted to leave the album purely instrumental because I'm not sure my ears could stand another component.

"±" is certainly short for an album but there's little doubt that it needs to be as there's no way to differentiate between the individual tracks. They all sound very much the same, kinda like an argument between a nail gun & a machine gun has gotten wwwaaayyyy out of hand. It's just so fucking extreme though which sees my eyes being continually drawn to this creative car crash. Why do I find myself liking this cacophony so much? I think it's the underlying hum of authentic underground deathgrind in the guitar work which pays no attention to traditional structure but manages to fill the space with an authenticity that I can relate to on a purely visceral level. This is genuine cybergrind ladies & gentlemen. It fits the description perfectly & has single-handedly proven to me that the niche subgenre has some basis for existing in the first place. Approach this release at your own peril but, if you're prepared to take that risk, accept "±" for what it is & enjoy the undiluted chaos it throws at you from close range.

4/5

Genghis Tron - "Cloak of Love" E.P. (2005)

I really enjoyed Genghis Tron's 2006 debut album "Dead Mountain Mouth" when I nominated it as a feature release for The Horde back in 2006. It sounded so fresh & original at the time (not to mention well produced) however I do remember questioning it's credentials for the clan & those feelings have stayed with me ever since, only being further exacerbated by my experiences in programming cybergrind material into the monthly The Horde playlists. It only makes sense then that I would begin my cybergrind deep dive by exploring Genghis Tron's debut release in 2005's "Cloak of Love" E.P.

This little record offers more of a taste than a meal with it's run time flying by in just twelve minutes but I get the feeling that these sort of releases are better off not overstaying their welcome with the risk of their novelty value wearing off being rather high. There are five short tracks on offer here & things start off rather well with the first three tracks all being pretty interesting & generally rewarding. Unfortunately though, the remaining two see Genghis Tron's quirky silliness being pushed a little too far & see the overall result being tainted for me.

So, is this cybergrind? Well, "Ride The Steambolt" certainly is as it uses grindcore as it's basic building blocks but I'd suggest that the other four tracks use it more as a tool than a core component. Those four tracks have more electronica & downtempo than metal & when the blast-beats come in they're often sporadic & rarely overstay their welcome. The atmosphere these songs create is really quite bizarre too & I feel that they're far better suited to an Avant-Garde Metal tag as you'll rarely find a stranger sounding metal record. And this is a metal record. Let's be clear about that because despite the strong electronic focus the blast-beats & screaming vocals work to completely alienate anyone that's not already associated with those techniques so I can't see too many fans of EDM coming in for a casual listen.

As with "Dead Mountain Mouth", it's the smooth downtempo moments that really shine here & I even enjoy the more quirky electronica more than I do most of the metal too. I can't help but feel that perhaps Genghis Tron would have been better suited to creating some more serious electronic releases than going for an off-the-wall approach like they have here. But, in saying that, they seem to have found somewhat of a niche in the market & are doing pretty well for themselves so what would I know.

3/5

Here's the best example of the cybergrind sound:

Soundgarden - "Louder Than Love" (1989)

I found this CD lying around in a big box of old CDs in the back of the cupboard & felt like revisiting it this week. "Louder Than Love" was my introduction to Soundgarden (& probably the grunge scene) back in the day through the video clips to "Hands All Over" & "Loud Love" which used to be played on a music show called "Rage" on late-night Australian TV. It was through these songs that I fell in love with Chris Cornell's voice & he'd go on to become my all-time favourite singer. "Louder Than Love" covers a lot of different musical territory with grunge, stoner rock & stoner metal being the most prominent in my opinion. There are a few genuinely doomy & sludgy moments & even a hint at southern rock but overall I think this record is best served by a dual Metal Academy tag of Alternative Metal & Stoner Metal so I'll be putting a Hall of Judgement nomination through to get stoner metal added shortly.

Soundgarden have always been at their best when they're at their Black Sabbath-inspired heaviest & that's definitely the case here. A lot of that has to do with Cornell having his leash taken off so that he can truly soar with those soul-piercing shrieks but the way the band build tension & use tinges of psychedelia is also pretty amazing. There are some truly sublime tracks on this record, some of Soundgarden's finest ever in fact. Both sides open with two utterly killer monsters & it's not hard to see why the grunge movement blew up off the back of that stuff. Unfortunately both sides take a downward trajectory after that with the B side sadly descending a little too far over the last couple of songs which leaves the album finishing on a poor note. If you can look past those filler tracks though, there is some wonderful material included from a band that was packed with stars & featuring one of the greatest rock/metal front men of all time in his absolute prime. Cornell would continue to ride that peak into 1991's all-conquering & career-defining "Badmotorfinger" record & "Louder Than Love" has tended to be overlooked ever since but I can assure you that it's worth exploring if you're into rock/metal music in general (which you obviously are if you're at the Academy).

4/5

I'm glad that I selected this album as our February 2023 feature release as it's ended up delivering what I'd hoped it would &, in doing so, has probably surpassed it's more familiar 2012 follow-up "One Wing" in terms of creative aggression too. If you simply can't get into the modern metalcore sound with young, skinny white dudes with long fringes, huge round ear rings & obscene neck tattoos swinging their limbs violently around in windmill fashion then I'd suggest that you might struggle a bit with "Long Live", particularly with vocalist Josh Scogin's continuous barrage of rude screaming. However, if you're partial to the odd rebellious breakdown & give "Long Live" enough time to reveal its charms then you may just discover the highly professional & super-intense band within. There's a great electricity & urgency about everything that The Chariot produce for us here & I never found myself reaching for generic metalcore terms, despite the fact that The Chariot are not attempting to reinvent the wheel here. The A side flashes by in an instant & without too much complaint or fanfare but it's the B side that contains all of the real gold in my opinion with the mathy "The Earth", the post-hardcore inspired "Robert Rios" & the crushingly epic album highlight "The King" taking the album to another level & carrying it up a half mark in my eventual rating. The production is spot on for this type of music as it captures every nuance while losing none of it's visceral edge. If you enjoy high quality, no-holds-barred metalcore then I'd suggest that you check out "Long Live".

4/5

See, my personal limit is 40% for primary genre tags unless there's no clear alternative genre & all potential candidates are low. If you're a power metal fan who hates progressive metal then you're not gonna have much fun with a record that's only 20% power metal & 80% progressive metal. I'd suggest that a minimum of 40% is enough to make it interesting for someone like that. I wouldn't want an album topping the charts when only 30% of its run time is spent within the dedicated genre for that chart either.

I'm certainly no power metal aficionado Andi so I may well be barking up the wrong tree but the only tracks I consider to be power metal (i.e. not far further over onto the progressive side) are "Spread Your Fire", "Angels & Demons" & "The Temple of Hate" ("Angels & Demons" being more of a 50/50 of prog/power metal). Which others do you regard as fitting the bill for power metal?

OK, so I really tried with this one. I genuinely wanted to like it (particularly as the guitar solos are so spectacular) but I just couldn't quite get it over the line in the end & it wasn't because it's a power metal record as the reality is that it's actually not. I challenge anyone to identify more than two or three of the thirteen tracks that are genuine power metal here. The two obvious ones ("Spread Your Wings" & "The Temple of Hate") fall into that Helloween/Rhapsody space & are pretty intolerable to me though so I guess the genre has still had an impact on my overall enjoyment factor. If you examine the tracklisting closely though you'll find that most of the album is actually made up of a fairly ambitious brand of Dream Theater-inspired progressive metal which sounds good on paper but in practice ends up being too laden with cheese for my taste. It was a bit frustrating to find that I enjoy just over half of the individual tracks but that the inclusions that I can't get into are so wide of the mark that it taints the whole experience for me.

As I said, those solos try their very best to salvage things for me as they're as good as you'll hear (Better than Dream Theater though Andi? That hurts! Petrucci is my guitar idol!). Front man Edu Falaschi tries really hard to sound like James LaBrie for the majority of the album & pulls it off pretty well for the most part while the orchestration is really well done but it's the usual concept album tropes that drag things down with numerous filler tracks being included purely for the sake of a storyline that I have next to no interest in. The symphonic element is predominantly used as an accompaniment rather than a focal point which was a relief but Angra simply lose me too often to warrant me returning to "Temple of Shadows". Instead I find the record to be a good source of playlist tracks with songs like "Winds of Destination" & "Morning Star" being high quality examples of the progressive metal genre.

3/5

I'm glad Ben choose this release as this month's feature because it's been on my radar to revisit for a while now & I'd probably have checked it out this month at some point anyway. I remember not being as positive about it as I'd hoped at the time of release which is probably why it's taken me all these years to get back to it &, to be honest, not a lot's changed. Ben's been a massive fan of "Screams & Whispers" for a zillion years now but I just can't see what the big deal is. It's a serviceable progressive metal record with some thrash metal influence. I don't think it's accurate to call it a progressive thrash release as the progressive side of Anacrusis' sound dominates this tracklisting with a fair amount of US power metal in their sound. The thrashier parts remind me a lot of Testament's "Practice What You Preach" & "Souls Of Black" albums & vocalist Kenn Nardi seems to try to sound like Chuck Billy during his more aggressive moments too but I'd compare "Screams & Whispers" more to bands like Watchtower, Mekong Delta & particularly Nevermore more than I would to Coroner or Vektor.

Unlike Sonny though, I'm gonna have to admit that I find the vocals to be one of the weaker components of "Screams & Whispers". I wouldn't say they're much more than serviceable & think that a record like this one is sorely lacking a top line front man. I also find the production to sound noticeably dated with the rhythm guitar tone suffering from a hollow frequency scoop that was very much of its time & the keyboards being pretty random & more than a bit cheesy. I don't really find the album to get going until it makes a late surge through the one-two punch of the Voivod-inspired "My Soul's Affliction" into "Driven" but sadly the tracklisting dies in the ass shortly afterwards with the lengthy closer "Brotherhood?" which is the clear low point of the album.

I dunno. There are some really good things going on here (particularly the proggier lead guitar work which generally elevates things) but I'm afraid I don't see this record as the minor underground classic it's widely regarded as being. Enjoyable? Certainly but, despite the clear talent on display, I find it a bit hard to look past the flaws here.

3.5/5

This nomination has been posted in the Hall of Judgement.

Danzig - "Danzig" (1988)

Interestingly I'd never given Glenn Danzig's widely celebrated self-titled debut an active listen until now. I was certainly across the couple of tracks that got flogged on underground metal radio back in the late 80's/early 90's ("Twist of  Cain" & "Mother" specifically) but the rest of the record was previously unknown to me. I didn't mind Danzig's 1990 sophomore album "Danzig II: Lucifuge" though so I thought I might also enjoy the debut & I do to a similar extent. Neither album are particularly to my taste but both offer a crunchy brand of bluesy AC/DC style hard rock with a darker Black Sabbath edge & a vocal delivery that pays homage to Elvis Presley. Is it a metal release? Not even close in my opinion. There are a couple of legitimate heavy metal tunes amongst the ten on offer (see "Am I Demon" & "The Hunter") but I can't say that I ever really find myself considering a metal-based tag for this one. The consistency of the tracklisting is certainly pretty good though as there's not a weak track in sight but, in saying that, I don't think there's a truly classic song here either. In fact, the two most popular tracks are probably the ones that I enjoy the least amongst this lot. I do dig the bluesy feel & the warm & uncluttered back-to-basics production but I don't think "Danzig" will be one that I return to all that often. I'd probably take the follow-up over this one by a slim margin.

3.5/5

Vinny, "Torn Apart" was included in this month's playlist. Feel free to pick an alternative track.

Great submission Vinny. "Revelations of the Red Sword" is a classy & sophisticated modern black metal record that very much sounds like it could have come from the French scene as it would sit pretty comfortably alongside the likes of Deathspell Omega & Blut aus Nord. The vocals aren't necessarily your dime-a-dozen black metal shriek & kinda remind me of early Gorguts at times while the instrumentation takes a dissonant route that's high on atmospherics & complexity. The tracklisting is extremely consistent with each of the six tracks being of a very high standard. Svartidauði wait until  the epic eleven minute closer "Aureum Lux" to really seal the deal though & it's a pretty spectacular way to finish off a very rewarding extreme metal release.

4/5

The Dvvell, Northlane & Critical Defiance releases all got my vote as winners of their respective clans so I'm very comfortable with those. Although I've yet to explore it, the Blind Guardian record seems to be fairly unanimous on social media too so it was a bit of a no-brainer for a clan that we found had surprisingly few ratings in our datatbase in 2022. The An Abstract Illusion record was an interesting one. Ben & I had to decide on a cut-off point for The Horde as far as minimum ratings go & had two different potential winners depending on which one we chose. In the end we decided that there simply wasn't enough releases with 4+ ratings to make it a valid option so we went with 3 which saw Inanna missing out. I would have gone with Inanna personally but are comfortable with the result nonetheless because I know Ben will absolutely love "Woe" & even if he only awarded it a four star rating it would still be ahead of Inanna. Besides, two of our regulars awarded "Woe" an impressive 4.5/5 rating which should count for something. My personal pick for The Infinite would have been the self-titled Ode & Elegy album but I'm happy with Cult of Luna as it's a stunning release in its own right. The Author & Punisher album is also a worthy winner. I personally enjoyed the Northlane record a touch more but it's already won another clan award & there isn't a lot between the two for mine. I haven't gotten around to the Static Dress album as yet but will likely get to it at some point in the future while I've opted not to rate the Blut aus Nord one to date as I think it deserves a little more active listening time than I've afforded it thus far.

Overall, I agree with Vinny that The Pit & my beloved The Horde had a pretty quiet year from what I've seen & heard. The Infinite was the clan that I think came out on top in 2022 with a slew of outstanding records. This is what my top ten looks like at present with the top seven being the releases that really smashed me:

01. Scarcity - "Aveilut"

02. Ode & Elegy - "Ode & Elegy"

03. Hate Forest - "Innermost"

04. Cult of Luna - "The Long Road Home"

05. Dreadnought - "The Endless"

06. Dvvell - "Quiescent"

07. Disillusion - "Ayam"

08. Inanna - "Void of Unending Depths"

09. Neptunian Maximalism - "Set Chaos To The Heart Of The Moon"

10. Immolation - "Acts of God"

For the record, the Northlane album gets my vote from the couple of eligible releases I explored last year.

Apparently I didn't check out a single The Revolution release from 2022.

With the award winners about to be announced, I thought I'd throw in my two cents by nominating the Critical Defiance album as my pick.

I think the Fellowship record was the only The Guardians release I checked out for the entire year which is a pretty clear indication that it's the clan that offers me the least appeal these days. I didn't enjoy the experience either.

With the award winners about to be announced, I thought I'd throw in my two cents & say that the Dvvell record gets my vote for The Fallen release of the year. Well done to Sonny for nominating it for feature release status, otherwise it probably would have slipped past me as I haven't seen it getting much publicity.

Scarcity's Aveilut was just horrible.

Interestingly that record has ended up being my number one metal release of the year & I think it's Ben's too. It certainly requires some investment as it's just so unusual on first listen but ultimately won't be for everyone (as we've seen with the drastic variation in scores across our regular contributors).

In fairness, Andi's Top Ten Releases of All Time list would likely be mostly punk-infused too as those are the roads he mostly regularly drives on.

This nomination has been posted in the Hall of Judgement Andi.

I don't mind a bit of Fuck The Facts but haven't ventured further back in their career than 2003's "Backstabber Etiquette" which I recall being a bit flat. They've certainly improved since then but I would never have picked them for something that you'd enjoy as grindcore is certainly the primary ingredient in their sound.

Out of interest, why is black noise excluded from qualification?

Here's my review from this morning:

Sweden’s Gorement are one of those unique cases of an extreme metal band that has built up a following very gradually over many years before finally being placed on somewhat of a pedestal by underground enthusiasts who all swear blind that they were into them back in the day. The reality is that unless you were an obsessive tape trader then you probably didn’t encounter the band until long after the year of release. There was a bit of a buzz around the tape trading scene about Gorement’s solitary full-length in the mid-1990’s & I was lucky enough to pick the album up through an Aussie trader I was involved with who was utterly infatuated with Swedish death metal, particularly of the doomier variety as we find here.

I have to say that “The Ending Quest” didn’t blow me away at the time though & it’s been fascinating to see their cool-factor gaining momentum over the years. I’ve been meaning to revisit the album for a good four or five years since I noticed it had been remastered & released by Century Media, mainly because I wanted to see if I’d been missing something back in the day. I also had a strong suspicion that “The Ending Quest” might be something that would interest our beloved Sonny given that one of my strongest memories of it was that it sat somewhere in the grey area between death metal & doom/death.

Upon review, I’d have to say that that’s a fairly accurate recollection because, despite most websites claiming Gorement to be doomy death metal in a similar way to that of bands like Autopsy & Asphyx, I’d suggest that “The Ending Quest” is actually a more genuine hybrid & worthy of a dual tagging (& clanning too if you want to get technical). Gorement combine the classic mid-paced death metal of Bolt Thrower & early Amorphis with the melodic doom/death of early Paradise Lost & Katatonia but they do it with the sort of grimy underground authenticity that appeals to an audience that was raised on crudely dubbed demo tapes. The execution is fairly sloppy & unsophisticated with the musicianship not being high on the list of priorities however those aren’t criticisms as such as those elements tend to work in with Gorement’s whole image & mystique to tell you the truth. I think it’s the contrast of the dark brutality of death metal with the catchy melodies of doom/death that gives them a unique atmosphere & appeal that’s quite rare these days & the filthy production job only further enhances that.

Front man Jimmy Karlson does a splendid job at the death growls & he may well be the highlight of “The Ending Quest” although there’s also an argument for the atmospheric guitar melodies during the doomier moments too. Unfortunately for me though, I’ve always favoured the more sophisticated American brand of death metal over the comparatively more primitive Scandinavian style & that position sees me craving a little more professionalism here. Despite quite enjoying almost the entire tracklisting, I can’t say that I find any of these tracks to really hit my sweet spot. It’s only really the noticeably weaker “Darkness Of The Dead” that I regard as being subpar with the other nine songs possessing an impressive consistency, even if the level they’re maintaining isn’t close to the top tiers. I tend to find the doomier moments to be more attractive than the up-tempo death metal riffs & I think that comes down to the band’s lack of precision as much as anything.

After giving “The Ending Quest” a few active listens in recent days I’ve reached the conclusion that not a lot has changed in regard to its appeal for me personally. It’s certainly an enjoyable listen but I can’t say that I feel like I’ll be returning to it any time soon. Is it worthy of the praise it seems to receive these days? Well… no, I don’t think it is. There was much better material being released at the time & I kinda get the feeling that it’s the albums primitive aesthetics that are as responsible for its lofty status as much as anything else. I mean, just take a look at that album cover, particularly the logo which seems to have been hand-drawn & pasted on with glue! If that’s not authentically underground & primitive then I dunno what is.

3.5/5

Ben, please add Ghost's "Meliora" album to the database.

Ghost - "Meliora" (2015)

Yep, I know what you're thinking. Isn't this album a hard rock/heavy metal record? Well sites like RYM would certainly have you believe so but that's more of a reflection on the RYM audience than it is the reality because I can assure you that this is a progressive metal/progressive rock hybrid. There isn't a genuine hard rock song on the tracklisting & there's really only one heavy metal tune too. I'd actually never heard a Ghost album before now but this one isn't too bad at all. Sure, it's a very lightweight & accessible version of metal but the riffs are definitely there & there are some pretty decent hooks in there too. I think I can dig this shit actually. It's conceptually quite an ambitious record & is really well executed. The unintimidating vocal delivery strangely possesses a noticeably American twang & I'd probably prefer something a little dirtier but I can see why Ghost appeal to so many people, even if they're probably a little too user-friendly for this particular metalhead.

3.5/5

Here's my revised list:

1970: Black Sabbath – “Paranoid”

1971: Black Sabbath – “Master Of Reality”

1972: Black Sabbath – “Vol 4”

1973: Black Sabbath – “Sabbath Bloody Sabbath”

1974: Budgie – “In For The Kill”

1975: Black Sabbath – “Sabotage”

1976: Judas Priest - "Sad Wings Of Destiny"

1977: Quartz – “Quartz”

1978: Judas Priest – “Killing Machine”

1979: Judas Priest – “Unleashed In The East”

1980: Diamond Head – “Lightning To The Nations”

1981: Motorhead – “No Sleep Till Hammersmith”

1982: Ozzy Osbourne – “Speak Of The Devil”

1983: Slayer – “Show No Mercy”

1984: Metallica – “Ride The Lightning”

1985: Exodus – “Bonded By Blood”

1986: Slayer – “Reign In Blood”

1987: Bathory – “Under The Sign Of The Black Mark”

1988: Metallica – “…And Justice For All”

1989: Morbid Angel – “Altars Of Madness”

1990: Slayer - "Seasons In The Abyss"

1991: Death – “Human”

1992: Alice In Chains – “Dirt”

1993: diSEMBOWELMENT – “Transcendence Into The Peripheral”

1994: Darkthrone – “Transilvanian Hunger”

1995: Suffocation – “Pierced From Within”

1996: Burzum – “Filosofem”

1997: The Gathering - "Nighttime Birds"

1998: ISIS – “The Mosquito Control” E.P.

1999: Botch - "We Are The Romans"

2000: Immolation – “Close To A World Below”

2001: Tool - "Lateralus"

2002: ISIS – “Oceanic”

2003: Boris – “Boris At Last -Feedbacker-“

2004: ISIS – “Panopticon”

2005: Deathspell Omega – “Kenose” E.P.

2006: Celtic Frost – “Monotheist”

2007: Ufomammut/Lento - "Supernaturals - Record One"

2008: Pig Destroyer - "Natasha" E.P.

2009: Dragged Into Sunlight - "Hatred For Mankind"

2010: Hate - "Erebos"

2011: Inside The Beehive - "Drink Bleach; Live Forever" E.P.

2012: 7 Horns 7 Eyes - "Throes Of Absolution"

2013: The Amenta - "Flesh Is Heir"

2014: Dead Congregation - "Promulgation Of The Fall"

2015: Akhlys - "The Dreaming I"

2016: Mick Gordon - "Doom (Original Game Soundtrack)"

2017: Cavurn - "Rehearsal" demo

2018: Infernal Coil - "Within A World Forgotten"

2019: Esoteric - "A Pyrrhic Existence"

2020: Oranssi Pazuzu - "Mestarin kynsi"

2021: Fange - "Pantocrator"

2022: Scarcity - "Aveilut"

My updated list after revisiting (& finally rating) Esoteric's "A Pyrrhic Existence" over the last couple of days with Ea's self-titled 2012 album being the unlucky release to drop out of my top ten:

01. Esoteric - "The Maniacal Vale" (2008)

02. Esoteric – “Paragon of Dissonance” (2011)

03. Esoteric – “Metamorphogenesis” (1999)

04. Esoteric - "A Pyrrhic Existence" (2019)

05. Ahab - "The Call of The Wretched Sea" (2006)

06. Esoteric - "The Pernicious Enigma" (1997)

07. Evoken – “Atra Mors” (2012)

08. The Howling Void – “Shadows Over The Cosmos” (2010)

09. Thergothon – “Stream From The Heavens” (1994)

10. Monolithe – “Monolithe II” (2005)

10. Ea – “Ea” (2012)

https://metal.academy/lists/single/132

This release was always going to float my boat as I'm about as big an Esoteric fan as you'll find. I loved what I heard when I gave it a couple of spins at the time of release but, as any fan of the band will tell you, you really need to spend a few days with one of these monolithic double albums of theirs so I was hesitant to rate it until I'd done so. Well, I have now & I've gotta say that "A Pyrrhic Existence" is well underrated. I think people's views are probably being skewed a bit by how mind-blowing some of Esoteric's previous releases were because this material is still well ahead of their funeral doom metal competition. But then, Esoteric have always been so much more than a funeral doom band & you won't find a better example of that than you do with this record as each of the lengthy tracks takes a very different side-road at some point in the journey & doesn't tend to return until it's been fully explored. Admittedly, I don't think that any of these tracks are perfect. Each of them includes a section that prevents me from dishing out full marks but there's also nothing here that's not of an extremely high quality. There are a three or four Esoteric releases that I rate higher than "A Pyrrhic Existence" but I fucking love this shit & it's not all that far behind. This record should be essential listening for all fans of extreme doom metal.

4.5/5

Oops! Go for "Ekpyrotic" instead.

Here's my submission for the March playlist Andi:

Author & Punisher - "Maiden Star" (from "Kruller", 2022)

No submissions from me this month Andi.

Here are my submissions for the March playlist Vinny. Once again I haven't spent much time in The Pit this month so there's a couple of tracks that you may want to review first:

Autoneosis - "Moon of Foul Magics" (from "Moon of Foul Magics", 2022)

G.I.S.M. - "(Tere Their) Syphilitic Vaginas To Pieces" (from "Detestation", 1983)       [I'm tagging this one as stenchcore but feel free to omit it if you don't feel it should qualify]

Death SS - "Inquisitor - 1983" (from "The Story Of Death SS : 1977-1984", 1987)      [I'm tagging this one as speed metal but feel free to omit it if you don't feel it should qualify]

Here's my submissions for the March playlist Ben:

Leviathan - "A Veil Is Lifted" (from "Scar Sighted", 2015)

Asunojokei - "Footprints" (from Island", 2022)

White Ward - "Leviathan" (from "False Light", 2022)

Here are my submissions for the March playlist:

Monstrosity - "Perpetual War" (from "In Dark Purity", 1999)

Artificial Brain - "A Lofty Grave" (from "Artificial Brain", 2022)

An Abstract Illusion - "Tear Down This Holy Mountain" (from "Woe", 2022)

Immolation - "Let The Darkness In" (from "Acts of God", 2022)

Here's my submission for the March playlist Xephyr:

Bitch - "Riding In Thunder" (from "Be My Slave", 1983)

Here's my submission for the March playlist Saxy

Moon Tooth - "Alpha Howl" (from "Phototroph", 2022)

Here's my submissions for the March playlist Sonny:

Chat Pile - "Slaughterhouse" (from "God's Country", 2022)

The Otolith - "Hubris" (from "Folium Limina", 2022)

Death SS - "Chains of Death - 1982" (from "The Story of Death SS : 1977-1984", 1987)

I think we may have figured it out guys. Ben found that he couldn't use the previous link if he tried to collaborate using his browser but it worked fine when using the Spotify application on either his phone or his laptop so it would seem it's an issue with using a browser to view Spotify.