1. // Blackbraid II (Independent)
Blackbraid is the project of Native American musician Jon Krieger aka Sgah’gahsowáh (a Mohawk name meaning ‘The Witch Hawk’) and Blackbraid II is the follow up to his debut release from 2022, itself a highly well received slice of Black Metal created with inspiration from his indigenous background. The music on the debut was ferocious but with moments of atmospheric respite provided by soothing acoustic sections. Pt. II picks right up where the debut left off, opening with a crackling wood fire and the sound of rain with a beautifully mellow classical guitar on ‘Autumnal Heart Ablaze’ before the raging Black Metal eventually drops on ‘The Spirit Returns’ with an infectious sweeping guitar and percussive blast-beats.
The music then takes a change as Krieger delivers a classic guitar riff in an Iron Maiden style which works perfectly when it lands. This combination of styles continues throughout on ‘The Wolf That Guides The Hunters Mind’ and ‘Moss Covered Bones On The Alter of The Moon’ with the latter introducing the sound of a traditional Native flute within the Blackened haze. This is a particularly epic composition which is repeated on ‘A Song Of Death And Winters Of Dawn’ with both tracks providing extraordinary journeys of pure emotion. At times Blackbraid II offers sorrowful acoustic passages on ‘Spells Of Moon And Earth’ and ‘Celestial Passage’ while Krieger mixes it up by taking the music slow and sludgy on ‘Twilight Hymn Of Ancient Blood’ before the track gives way to some fantastic Blackened-Thrash. KZ
2. // Enslaved – Heimdal (Nuclear Blast)
Of all of the bands that embody the legendary spirit of the Norwegian Black Metal scene of the 1990s, Enslaved have by far and away had the most intriguingly diverse career of the bunch. Long since diminishing the purist Black Metal tag the band were quick to progress by introducing elements of Scandinavian folk into their music, while also conveying a strong element of Progressive-Metal and introducing clean vocals into the mix. The consistency of their output has also been wildly impressive with Heimdal being the sixteenth studio album in a run that began back in 1994 with the release of their first two albums Vikingligr Veldi and Frost.
And in their modern and heavily progressive era of the last 10-15 years, Heimdal is one of their greatest achievements. Put simply it is an absolutely blinding record from a band who are 100% unique and still very much at the top of their game. The record features some of their heaviest moments in years, absolutely channeling the rage of their youth, while eloquently blending a psychedelic and Progressive Rock influence to create a concept exploring Norse Mythology and the afterlife, quite unlike anything we’ve heard before. Songs such as ‘Behind The Mirror’ ‘Forest Dweller’ and ‘Caravans To The Outer Worlds’ combine light with the dark, while also totally bamboozling your mind with complex musicianship and intricate arrangements. KZ
3. // Pupil Slicer – Blossom (Prosthetic Records)
London based Pupil Slicer have had a whirlwind of a career since dropping their debut album Mirrors in 2021. Plenty of plaudits arrived for the raw and abrasive debut which was heavy as hell and full of mind bending intricate arrangements of innovative Math-Core and Death-Metal. A combination which saw them immediately become an in demand live and festival act in the UK’s Metal scene. But with Blossom released at the beginning of June, Pupil Slicer have developed and enhanced their sound even further. Creating a record which is bursting with a maturity in their songwriting and delivery, while acting as the perfect follow up.
The abrasive and aggressive energy of their debut is still here on tracks such as ‘No Temple’ and ‘Terminal Lucidity’ but it’s when the clean singing of vocalist Kate Davies becomes prominent on songs such as opener ‘Momentary Actuality’ or on the Post-Grunge style of the verse on the title track, that Blossom becomes so much more of an artistic statement. As a complete record it ebbs and flows from moments of outrageous heaviness to downbeat moments of calming respite, with influences ranging from Dub to Black-Gaze contrasting with the Math/Death-Core like noises they made their name with … and it’s fair to say that Pupil Slicer thread it all together beautifully. KZ
4. // The Ocean – Holocene (Pelagic Records)
The Ocean are one of the most respected bands in the Post-Metal genre and have released an extraordinary body of work since their inception in 2000. The Berlin based collective of artists have built their albums around guitarist and song-writer Robin Staps, who has collaborated with many different musicians over the years as the sound of the band has progressed and matured from album to album. Holocene is The Ocean’s ninth studio outing and completes a concept exploring paleontology, an idea which first began with the album Pelagial in 2013, and it features some of their most diverse and experimental work to date.
Holocene introduces a strong element of Electronica and the use of synths to The Ocean sound, which beautifully blends moments of Trip-Hop and dark 80s Synth-Wave with the crushing distorted guitars that the band have always been known for. We hear a lot more of a clean vocal style from singer Loic Rossetti who uses his raw screams more sparingly as a subtler nuance throughout the record, so that when they do arrive on tracks such as ‘Subboreal’ and ‘Subatlantic’ the vocals are that much more impactful. While there is just so much variety in style throughout Holocene that it is all the more impressive just how The Ocean manage to blend everything together into one inspirational journey of sound. KZ
5. // Downfall Of Gaia – Silhouettes Of Disgust (Metal Blade)
Downfall Of Gaia have a fine reputation among the current wave of innovative Post-Black Metal bands, and the German four-piece have released an impressive catalogue of music over the 15 years since their inception in 2008. Founding guitarist Peter Wolff returns to the band after a hiatus for sixth album Silhouettes Of Disgust, which was released March 17th on Metal Blade Records and is an album that is up there with their finest work. The release provides a captivating collection of music which flows perfectly from start to finish as the pace and a blend of styles chop and change throughout. Providing blistering Black Metal infused with a heavy dose of Crust-Punk one minute, and then alluring atmospheric drops the next.
The album kicks off with ‘Existence Of Awe’ and fast hypnotic tremolo guitar picking with short sharp passionate vocal blasts. This then switches into a pulsating Crust rhythm before reverting back to the furious Blackened sound with some incredible drumming from Michael Kadnar. This is Post-Black Metal of the upmost quality with the pattern repeating and working perfectly on songs including ‘The Whir Of Flies’ and ‘Unredeemable’ where again the percussive work is so important in creating the subtle changes in mood that Downfall Of Gaia deliver. On ‘While Bloodsprings Become Rivers’ guitar leads take on an almost ethereal synth like quality, with the song also providing a long mellow outro that pulls you deep into a dreamlike state. KZ
6. // Mutoid Man – Mutants (Sargent House)
Not content with delivering one of the albums of 2022 with Cave In’s Heavy Pendulum, Stephen Brodsky (Guitar / Vocals) has only gone and done it again by reviving his Mutoid Man project and creating Mutants for our aural pleasure, the bands first record since 2017s War Moans. As ever Brodsky is joined by Drummer extraordinaire Ben Koller (Converge / Killer Be Killed) and this time around the duo have also enlisted Bassist Jeff Matz (High On Fire) creating quite the power-trio. And Mutants is the bands finest hour so far, a delicious concoction of mind bending Alternative Rock & Metal full of great songs crafted with other-worldly musicianship.
There is a quirkiness to the music that is ever present throughout and the complexity of the guitar riffs and structure of the rhythms is nothing if not outstanding from start to finish. Mutants provides a real rollercoaster of a journey, music created from a myriad of influences in which Mutoid Man can blend moments of melody with other moments of pure heaviness. They often come across as a thoroughly Metal version of Queens Of The Stoneage as the album blasts its way through a number of delectable songs including ‘Call Of The Void’ ‘Frozen Hearts’ and ‘Siren Song.’ And as Mutants progresses Brodsky and crew take us deeper down their rabbit hole of intoxicating music as they provide moments of pure genius on ‘Memory Hole’ and ‘Demons.’ KZ
7. // Rosa Faenskap – Jeg Blir Til Deg (Fysisk Format Records)
A debut album with a difference as this unique Norwegian trio provide their own compelling take on a Black Metal sound. The obvious blend Rosa Faenskap provide with the extremities of the style on Jeg Blir Til Deg is that of an influence of Shoe-Gaze and Post-Rock, with the sweeping intro and bouncing rhythm of opening song ‘Livredd’ indicative of the Black-Gaze sound. A mix of distorted Indie guitars with blackened riffs and screaming Hardcore style vocals is the sound they transmit, and it is all delivered with an intelligence in songwriting that will absolutely hit the spot for fans of Møl and Deafheaven.
Rosa Faenskap have created a record which flows eloquently from start to finish. They comfortably melt from Shoe-Gaze to sludgy moments of down-tuned mania, with hectic instrumental sections and a glorious use of guitar feedback and harmonics. The album is heavy but maintains a constant air of melody, passages of acoustic respite always come with a sense of foreboding darkness and at certain points when the band are raging, they effortlessly hit a Harakiri For The Sky style sweet spot. KZ
8. // Urne – A Feast Of Sorrow (Candlelight)
A Feast On Sorrow might just be the perfect follow up album from London based three-piece Urne, who had already announced themselves in some style with their debut Serpent & Spirit back in 2021. And with this sophomore effort recorded in Gojira vocalist Joe Duplantier’s New York studio, the band have raised the bar even further. A Feast On Sorrow develops the Neo-Thrash crossed with Sludgy-Rock style of their first record, which unashamedly wore its 80s Metallica and Megadeth influences on its sleeve, by taking the music deeper and heavy with a stronger Carcass – esq Death Metal influence, as well as providing some soaring clean sections.
‘The Flood Came Rushing In’ certainly picks up where Urne left off on their first record with a Thrashy Speed-Metal verse eventually giving way to a melodic clean vocal in the chorus. ‘To Die Twice’ is slower with a Death-Doom influence which eventually breaks down with a classical guitar before giving way to the distorted intro of ‘A Stumble Of Words’. ‘The Burden’ opens with a chugging riff before bleeding into the heaviness of ‘Becoming The Ocean’ while the title track opens with a gorgeous sounding piano before providing another deeply emotional song. The record finishes with ‘The Long Goodbye / Where Do The Memories Go?’ – first in a Hardcore-Thrash Powertrip – esq style, before eventually giving way to a softer finalè of Alternative Rock. KZ
9. // Grief Symposium – In The Absence Of Light (Church Road)
Grief Symposium are one of the latest in a long line of emerging talented bands from the heavier end of the ever impressive Church Road Records roster, and they dropped their debut LP In The Absence Of Light back in January. Comprising of various former members of bands including Entwined, The King Is Blind and Extreme Noise Terror, the record is certainly no run of the mill debut and has been crafted by a group of musicians who know how to structure a song with plenty of variety in both pace and tone, while also clearly having perfected the art of writing an intoxicating riff! Their influences blend early Doom and Death Metal with hints of a Blackened nature and Industrial sounds in places.
The intricate arrangement is highlighted on opener ‘Among Dead Gods’ a nihilistic slice of old-school 90’s Peaceville Records influenced Doom. The song switches half way through and heightens the pace with blast-beats and a Black Metal style, before dropping into a calming melodic spoken word section (early Anathema anyone!?) before finally heading back into a whirlwind of cacophony. There is an early Floridian Death Metal vibe on ‘Temple Of Decay’ and on ‘In The Shadow Of The Sleeping Monarch’ Grief Symposium create a grand epic journey, which begins with a sampled intro discussing the nature of God over a gentle strumming guitar. This then drops into crunching Doom, twisting and turning its way through all manner of hypnotic riffs before closing out with a mellow piano led classical finale. KZ
10. // Baroness – Stone (Abraxan Hymns)
In a twenty year career Baroness have served up a diverse catalogue of Alternative music, making them a difficult band to pigeonhole as they’ve moved fluidly through various genres of Rock and Metal. Singer and guitarist John Baizley has been the one constant driving heartbeat of the band and his clear constant passion and artistic vision for Baroness has always shone through to make them a unique offering. Stone is their sixth album and a diversion in the sense that is their first record not to be named after a colour, perhaps signifying a new beginning for the band who have now solidified the partnership of Baizley and lead guitarist and prominent backing vocalist Gina Gleason who first joined Baroness prior to appearing on their previous album Gold & Grey (2019).
There is an overriding Folky-Blues feel to the record which opens with the lush strumming and duel vocals of Baizley and Gleason, eloquently introducing you to the record before the delicious rolling Post-Grunge groove of ‘Last Word’ drops. This is a song which showcases Baroness at their absolute best, with crunching riffs and an intoxicating vocal hook in the chorus. ‘Beneath The Rose’ introduces spoken words with distorted guitars which blend to provide a psychedelic kind of feel. This tone continues into ‘Choir’ where influences of Pink Floyd and The Velvet Underground are prominent. Other highlights come with the Mastodon-esq and Stoner vibes of ‘Anodyne’ and the catchy uplifting title track. Stone is a highly cohesive body of music in which a number of the tracks don’t necessarily make sense on their own, but absolutely do when sewn together in the context of this excellent record as a whole. KZ
11. // Calligram – Position Momentum (Prosthetic)
Position Momentum is the fourth release of intriguing Black Metal from the London based Calligram, a band made up of multi-national musicians who clearly have a fine understanding of the Blackened art as this deeply textured release is one of the finest of the genre you are going to hear in 2023. Kicking off with no intro at all and diving straight into the dark frenzy of ‘Sul Dolores’ you get the feeling that your going to be in for one relentless journey of noise from the off. There is no let up in pace or brutality on ‘Frantumi In Itinere’ which is just as frenetic, but Calligram do provide some welcome respite with the intro to ‘Eschilo’ and its haunting passage of melodic and clean classical guitar.
‘Tebe’ starts hard and fast in a Wiegedood type of fury before dropping face first into a calming melody which melts into the soft angelic interlude of ‘Per Jamie’ providing a moment of calm before the final storm. From here Position Momentum provides a flurry of songs from ‘Ostranenie’ where Cradle Of Filth – esq vocals mix with a Blackened-Crust like style of Downfall Of Gaia. Through the ferociously emotional ‘Ex-Sistere’ and finally onto the smooth Black-Gazey / Post-Metal opening of ‘Seminario Dieci’ which eventually explodes into a typically tumultuous finalè. KZ
12. // Ken Mode – Void (Artoffact)
In 2022 Ken Mode released Null, the first part of a pandemic inspired double opus of new music which featured some of their classiest work. Now a year on they deliver part two of their modern journey through extreme Noise-Rock with Void, the perfect accompaniment to Null separated by one trip around the sun. Whether they are playing fast or slow Ken Mode tend to build their songs around a hypnotic guitar riff, and the record opens with ‘The Shripe’ which is a typically noisy cut of Hardcore from the band, when that mood takes them.
The aggression continues on ‘Painless’ but from here the record gets whole heartedly more experimental as Ken Mode tap into a slower dark and mysterious side. They fully strip back with melancholic melody on ‘These Wires’ before providing a beautifully intoxicating instrumental on ‘We’re Small Enough.’ ‘Cannot’ supplies a haunting guitar hook and closes out with a chaotic blend of saxophone and feedback, while ‘A Reluctance Of Being’ is deliciously sludgy.’ ‘He Was a Good Man, He Was a Tax Payer’ is deep and pondering, before Void plays out with a slithering bassline on the delicate ‘Not Today, Old Friend.’ KZ
13. // Empire State Bastard – Rivers Of Heresy (Roadrunner)
Empire State Bastard are the project that have brought together Simon Neil of Biffy Clyro, Mike Vennart (ex-Oceansize / Biffy touring guitarist) and a legend of Metal in ex-Slayer drummer Dave Lombardo. Quite the combination you might think, and it’s almost impossible to conceive the chaos and experimentation in heavy music the three have concocted until you hit play on this fine debut. Rivers Of Heresy grabs you by the jugular from the off with the distorted Hardcore haze of ‘Harvest’ which delivers a delicious hook with a smattering of clean vocals in the chorus, and some highly impressive trademark double kick-drumming from Lombardo. The heaviness that Empire State Bastard purvey continues wildly into the anarchic ‘Blusher.’
The tone then drops with the bubbling and minimalist ‘Moi’ where Neil’s distinctive dulcet Scottish drawl is instantly recognisable as the track builds. ‘Tired Aye’ is totally unique as Neil screams in isolation over naked Fusion-Jazz inspired thumping from Lombardo, while ‘Sons And Daughters’ has an infectious old-school sounding riff. From here the record flows from the relentless distorted grooves of ‘Stutter’ and ‘Palms Of Hands’ to another huge dive in pace with the entirely experimental and left-field drop of ‘Dusty,’ before heading back into the mire with the quirky stuttering distorted rhythm of ‘Sold!’ Rivers Of Heresy ends with ‘The Looming’ and its stripped back melancholic arty Post-Rock vibe. KZ
14. // Sylosis – A Sign Of Things To Come (Nuclear Blast)
A Sign Of Things To Come is the fifth record from Sylosis and somewhat of a landmark release for the band who have been plying their trade since the beginning of the millennium. In 2016 Josh Middleton (Vocals/Guitar) joined Architects full time as their lead guitarist following the tragic passing of their own founding guitar player Tom Searle, and in the time that he has been with them they have experienced success with a more commercial Metal sound on recent albums such as For Those That Wish To Exist (2021) and The Classic Symptoms Of A Broken Spirit (2022). Sylosis subsequently went into a hiatus of sorts and although they did put out one album in Cycle Of Suffering (2019), their momentum had faltered somewhat. However prior to this release Middleton surprisingly announced that he was returning to focus on Sylosis full time, leaving his role with Brighton’s Metal-Core royalty.
And on the basis of this new record it is clear to see the optimism he has in taking Sylosis to the next level, as the band have delivered a modern classic. ‘Dead Wood’ kicks the record off with a delicious slice of Metallic-Core and a heavy dollop of old-school Thrash. The chorus has a distinct early Machine Head – esq vibe and this blend of influences really sets the tone nicely for the rest of the album, a delicious concoction of Groove-Metal, Thrash and Metal-Core. Middleton also shows many flashes of his impressive lead guitar chops throughout with some highly impressive soloing, but in the main this album is all about the riffs. Highlighted beautifully with the sumptuous opening of the title track, as well as on other strong songs that beg to be heard live such as ‘Pariahs’ and ‘Descent.’ KZ
15. // Allochiria – Commotion (Venerate Industries)
There is a tasty Metal scene bubbling away down in Greece, and Athens based Post-Sludge outfit Allochiria are at the forefront of the movement, citing the likes of Isis, Cult of Luna and Neurosis as influences, while having shared the stage with an impressive roster of bands including Amenra, Year of No Light and Deafheaven. Commotion is their third album and arguably their finest work so far. ‘We Have Nothing’ opens the record in typical Allochiria vein with a deep and heavy riff complimented perfectly by the rasping vocals of Irene P. Towards the end of the track she introduces a second vocal style with Blackened shrieks that take the Allochiria sound in a new direction, and wouldn’t sound out of place on a Cradle of Filth record.
The blend of intoxicating Doom and Black Metal continues prominently throughout Commotion, with a wonderful transition between the vocals of Irene on tracks like ‘9’ ‘Still Life’ ‘Ocean’ and ‘Darklight’. While Allochiria show that they are far from being a one trick pony as they strip back the distortion on ‘Shedding Character’ where mellow guitars and a subtle marching percussion take centre stage. They provide a long meandering instrumental passage with a strong bass hook on ‘Casualties’ while also providing a Deftones – esq riff on ‘Turning Point,’ which turns melodic and Shoegazey with a spoken word sample slowly building to an inevitable explosion of distortion. KZ
16. // Metallica – 72 Seasons (Blackened)
Unquestionably the highest profile Metal release of 2023, a new Metallica album is always an event and for obvious reasons. They are the band who helped establish the West Coast Thrash-Metal sound of the 80s before going on to achieve unparalleled commercial success in the 90s while also managing to polarise their fan-base in the process, as their sound developed and matured into more of a Heavy Rock direction. And well it’s fair to say that the 2000s have been a mixed bag for the band who musically have provided us with the low of St. Anger (2003) before tapping back into their Thrash roots with the vast improvement of Death Magnetic (2008), then delivering a solid Heavy Metal double record in Hardwired … to Self-Destruct (2016).
72 Seasons is Metallica’s first release since Hardwired and their return to claim their Metal throne in the post pandemic world. And honestly it features a damn fine collection of well … Metallica songs, arguably containing some of their finest work for many years. They manage to tap into a little bit of everything from their repertoire, delivering an Old-School Thrash vibe on ‘Lux Aeterna’ channeling some pure ‘Black Album’ era songwriting on ‘Sleepwalk My Life Away’ and ‘You Must Burn!’ and providing some pure modern Metallica class with the likes of ‘Crown Of Barbed Wire’ and ‘If Darkness Had A Son.’ 72 Seasons climaxes with the 11 minute long ‘Inamorata,’ perhaps the most ambitious moment of this modern phase of the veteran band’s career. KZ
17. Burner – A Sign Of Things To Come (Church Road)
Burner are a band who have been bubbling away nicely since signing with Church Road Records, drip-feeding a number of singles into the ears of those in the know since the end of 2021. It’s fair to say that the aggressive Metallic-Death / Hardcore 4-piece had built up a fine reputation for themselves in that time, and It All Returns To Nothing was a hotly anticipated full-length debut. The record is a masterclass in ferocity from the very opening beats of ‘Hurt Locker’ with it’s Thrashy-Hardcore sound and duel vocal styles switching seamlessly from Death to a Blackened tone. The title track is blistering in pace with the swirling riff of the verse giving way to a dark and terrifying chorus, with the song culminating in chaos before bleeding into the equally tumultuous Blackened-Hardcore of ‘Pyramid Head.’
The delivery is relentless and Burner provide a thoroughly intoxicating Black Metal infused verse on ‘Pillar Of Shame’ which perfectly trades off with the Death style of the chorus in one of the records standout tracks. It All Returns To Nothing is exquisitely produced providing a particularly sumptuous bass tone on ‘Prometheus Reborn’ while the riffs are crisp and the percussion thumps with crystal clarity throughout. The album culminates with the nihilistic journey of ‘An Affirming Flame’ with it’s run-time of over 7 minutes and an ambitious arrangement allowing Burner to showcase their entire box of tricks in one go, before delivering one final short blast of aggression on ‘Waco Horror.’ KZ
18. // Predatory Void – Seven Keys To The Discomfort Of Being (Century Media)
Predatory Void is a project born from Belgium’s Church of Ra collective of artists, conceived by Amenra and Oathbreaker guitarist Lennart Bossu as an outlet for music he was writing that didn’t quite fit with either of those esteemed bands. And he’s brought together Amenra bassist Tim De Gieter, Carnation drummer Vincent Verstrepen and Cross Bringer vocalist Lina R to join in the mayhem. Seven Keys to the Discomfort of Being is unquestionably a heavy record, crafted in a Blackened Death-Doom style with Sludgy guitar riffs and a distinctive vocal style from Lina. She naturally draws comparisons to Caro Tanghe of Oathbreaker when she is screaming, but in providing melodic clean moments of singing she channels more of a Chelsea Wolfe vibe.
The album opens with a deep and mesmerising riff on ‘Grovel’ which explodes into a cacophony of blastbeats with old-school Death-Metal licks and Lina’s rasping vocals. From here the record infectiously twists and turns from the chaotic to the melodic. There is an almost angelic acoustic midway moment of clarity on ‘Seeds of Frustration’ before ‘The Well Within’ slams back in with pure unadulterated ferocity, with Lina screaming bloody murder once again. The record closes with the 10 minute epic ‘Funary Vision’ which has an intoxicating guitar hook and is intricately arranged, highlighting just how impressive Predatory Void’s song-writing is. KZ
19. // Underdark – Managed Decline (Church Road)
Second full length record from Underdark, the Nottingham based band who are currently one of the most intriguing purveyors of Black Metal in the thriving UK scene. Their take on the genre is a unique one as they veer into the realms of both Post-Metal and Black-Gaze, while creating a deep and meaningful lyrical concept based around the struggles of a working class society spanning three generations, while also looking closely at the theme of addiction.
Musically the album flows from moments of delicate melody to pure and unadulterated aggression in the blink of an eye, providing a bittersweet and often captivating and emotional journey, heightened by the intense vocals of Abi Vasquez. Underdark happily mix up the pacing of their songs and vary the tone of their compositions throughout Managed Decline, with the absorbing textures of sound in each song combining to create a thoroughly captivating listening experience. KZ
20. // Godflesh – Purge (Avalanche Records)
Ninth album from the UK pioneers of Industrialised Post-Metal, and their third full length record since reforming with the release of the LP A World Lit Only by Fire (2014). The concept of Purge was for Justin Broadrick (Vocals / Guitars / Drum Programming) and B.C. Green (Bass) to capture the essence and revisit the sound and style of their classic sophomore album Pure (1992). ‘Nero’ and ‘Land Lord’ open the record with the kind of clanking infectious repetitive riffing that Broadrick made his name creating, while setting the bar for the rest of the album as his nihilistic sounding vocals float in and out of the riffs and break-beats.
‘Army of Non’ opens with a thundering Bassline which the guitar then mimics with hypnotic repetition, while the vocals have a distinctly Punk edge to them. ‘Lazarus Leper’ is eerie and bleak with an ominous thumping bass and piercing leads set over marching percussive drums, while ‘Permission’ provides more of a throwback nineties rave feel to the percussion. Comparatively ‘The Father’ is stripped back with clean vocals stuttering in and out with minimal percussion, before Godflesh drop the Doom-laden ‘Mythology of Self.’ The album signs off with the superb ‘You Are the Judge, the Jury, and the Executioner’ where clean ethereal vocals and guitar leads sit over a pulsating and bubbling bass. KZ
Words by Abstrakt_Soul
You can check out how our 2023 Albums Of The Year compared with our favourite music from 2022 here :
Essential Twenty New Metal Albums of 2022
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