Welcome back to a way-too-late edition of MetalBite's Top 10. Somehow, we got through most of COVID times without missing a beat, and then just as we're coming out of it, two of our main writers (Michael and Nate) both came down with illnesses leading up to March that delayed the release of this article by almost two weeks. We're all recovered and back at it now.

Our apologies to anyone who was eagerly looking forward to our selections of what's what in the second month of 2022, but hey, better late than never! We'll be sure to have a hefty March top 10 to make up for lost time.

-Nate

HONORABLE MENTIONS

A Pale December - Death Panacea
Avantgarde Music

This was released on Avantgarde, who typically are geared towards more atmospheric, post-rock-tinged artists, and this is an atmospheric black metal release…but only by genre tag, really. There's a lot of active, even aggressive tremolo riffing, as well as tempo shifts to create more push-and-pull as opposed to a steady crescendo in the songwriting. You'd think it would go against genre standards, but it's merged with long breaths of shimmering, ambient guitars and modern, arty melodicism. The band sounds like they're from New York, but they're from Italy, which is intriguing because they lack the flowery Italian romanticism that the power metal and atmo-black in their home region is known for. In a strange way, the unconventional yet familiar sounds of Death Panacea is a perfect fit for a label known for putting out albums on the esoteric fringes of black metal. I'm not sure exactly how much I like this yet - it still needs to hit me in the right mood, I reckon - but I can tell it's more involved and odd than the standard fare on this label.
-Nate

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HammerFall – Hammer Of Dawn
Napalm Records

Okay, two things: 1) Don't judge an album by its cover and 2) let's just get out of the way that HammerFall is a "love 'em or hate 'em" kind of band. I must confess I'm mostly in the former camp: I love their first two albums, and after their last album Dominion was surprisingly strong I was curious about this follow-up here.

They've convinced me yet again, although this album perhaps lacks an infectious hymn on the level of '(We Make) Sweden Rock'. Either way, there are a lot of typical HammerFall tracks with epic melodies and soaring vocals to make these dark days a little brighter. The opener 'Brotherhood', and the mid-tempo title-track are as good as anything they've done. 'No Son Of Odin' as well, which opens with a very cool riff that could have been on a King Diamond album and...well, King Diamond has a guest appearance. But not here - on 'Venerate Me' which is another typical HammerFall banger with a catchy chorus. There are a few throwaway tracks - 'Reveries' and the last two on the album aren't too exciting. Nonetheless it still manages to be one of the stronger albums that came out in February.
-Michael

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METALBITE'S TOP 10 ALBUMS OF THE MONTH

 

10: X.I.L. - Rip & Tear
Self-released/Independent

An intriguing debut from this Texas trio. If you look at the cover you may think it's going to be some Paranoid-esque doom metal stuff, but you would be mistaken. X.I.L. combine very charming speed/thrash metal elements like with a bunch of dirty, punky "fuck off" kind of attitude. I am easily reminded of old Metallica or Megadeth, and the late, great Lemmy even makes a short guest appearance in spirit – just listen to 'Breakneck'. In some of the deep cuts you find some much slower parts, so I guess assuming this was going to be doom wouldn't have been totally wrong.

This doesn't reinvent the wheel - it's a very nostalgic album that let you forget sins like (Re)Load, Lulu and Risk. Though the production could be a bit richer (especially the drums) it's gives the album certain flair and also, this is old school metal, so it doesn't need to be perfect.
-Michael

MetalBite's Rating: 7.5/10

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9: Meslamtaea - Weemoedsklanken
Babylon Doom Cult

"Since the come-back record Niets En Niemendal (2019), the band has taken a new direction. Meslamtaea combines 2nd wave black metal with jazz-, prog-, and psychedelic vibes. This is the most experimental album the band has done so far. You can find a lot of quite unusual instruments like saxophone, flugelhorn, tongue drum and vocoder on it.

Mastermind Floris says about Weemoedsklanken: "We play a lot with atmospheres and contrasts. From straight-forward black metal to twisted rhythms, from hard sounds to tranquil ambient. We like to experiment, but the atmosphere is always on top."
-Michael

Full review/premiere here.

MetalBite's Rating: 7.5/10

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8: Deathhammer - Electric Warfare
Hells Headbangers Records

If you've read anything I've written before, you'll notice I don't praise a lot of thrash. Generally, all of the best works in the genre were made in the 80s, but Deathhammer is not your typical thrash band. They managed to stay sharp and relevant through a balls-to-the-wall approach to the genre: a healthy dose of blackened tremolo, manic, high-pitched ranting with lots of squeals and shrieks, and ton of fuckin' SPEED. While true to their 80s influences in the skeletal chords and rhythmic progressions, the extra dollop of frenzy and slight modern tinge to a riff or two makes this feel different than their contemporaries. You can't listen to a song like 'Crushing The Pearly Gates' without getting that "now that's some heavy fucking metal with some god damn riffs" feeling. It just keeps on shredding.

If there's not enough nuance and substance with an approach like this, it gets boring after two or three tracks, but there's an intricacy and adeptness to Electric Warfare's riffwork. The guitarists have a subtly strong ear for melody, the midpaced breaks always have great hooks to keep you groovin', and the songwriting is always efficient and focused. Songs do a really good job of having enough going on to feel full and "professional", while still retaining some of that visceral jamming-in-a-garage quality you need to keep thrash from being sterile. The vocals contribute to that vibe a great deal, with a somewhat ragged, snarling quality to their delivery that sounds closer to modern harsh vocals (minus the squeals, which are more of an homage to the unhinged shrieks of guys like Sheepdog and Sean Killian). Some of Sergeant Salsten's vocal lines are surprisingly detailed and you could almost call them "technical" if he didn't sound like a rabid dog while he was doing them. His mix of primitive energy and surprising dexterity is a perfect microcosmic example of how the album as a whole toes that exact balance so well.
-Nate

MetalBite's Rating: 7.8/10

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7: Ultra Silvam - The Sanctity Of Death
Shadow Records

The Devil himself has marked the release date of The Sanctity Of Death as a red-letter day. The Swedish trio plays brutal and rough black metal. Even with a hint of melody, they do their thing without any compromise. It's got that true black metal feeling - you can inhale the dark and coldness that this album spreads. The production is very minimalistic and rough and gives The Sanctity Of Death this very eerie and cold atmosphere a black metal album needs to be convincing.

The tracks are sheer fury with an emphasis on speed, with the title track showing some parallels to good old Dissection (only three times faster). 'Förintelsens Andeväsen Del II: Deicidala' reminds me a lot of Nifelheim and Deggial. Though chaotic and entropic upon first listen, in time you notice that the band has a certain structure behind all this madness. The musicianship is tight and (at least I) can sense cohesion and don't have the feeling that they lost control of anything they wanted to do.
-Michael

MetalBite's Rating: 8/10

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6: Amorphis - Halo
Atomic Fire Records

The trilogy that began with Under The Red Cloud in 2015 is getting closed with Halo 7 years later. Many things have changed lately in this world and most of them aren't good, but fortunately we can always count on Amorphis. If there are some changes at this point in their career they are marginal and if you like their modern melodic heavy metal sound, Halo will suit you just fine.

Heavily harmonized, bombastic melodies with anthemic clean vocals are contrasted with rough death metal-tinged arrangements, strengthened by Tomi Joutsen's magnificent deep growls. Harsh vocals are used over parts I never thought would fit (like in 'On The Dark Waters'), but they work perfectly. A few tracks give hints of their early death metal past, while the songs that take a melodic and softer direction don't quite reach the "ballad" level of turn-of-the-millennium Amorphis. In general, Amorphis tended towards heavier songwriting on this album, and had more epic arrangements and symphonic sounds than the two predecessors. Growls are more frequently utilized, and producer Jens Bogren (who has worked with the band since Under The Red Cloud), did a very good job with a very modern and well-balanced production which leaves nothing unturned.

A slight point of criticism could be that the album lacks cohesion because of the sometimes jarring switch between softer and heavier songs. On the other hand you could say this gives the album a more varied and interesting touch…
-Michael

MetalBite's Rating: 8/10

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5: Devoured Elysium - Void Grave
Gore House Productions

It looks like some generic brutal death metal at first glance, but I've learned over time to trust that anything coming out of Turkey is going to be stupidly thick and heavy. There's clearly a great degree of skill in the guitars, but instad of making obtuse shit that's hard to understand (and as such loses its volatility), they write riffs that are fucking fun! The grooves on this album are danceable - I have no doubt I could slap this on at a more aggressive EDM rave and no one would miss a beat. They use harmonics and little guitar tricks in a way that makes it sound like they still had fun playing them, and it helps to keep fresh what would otherwise be stale and univentive riffs. There's no way one of the main songwriters isn't a young 20-something - at the very least, there's a youthful exuberance to the songwriting, giving a certain novelty that makes the riffs pop.

Combine that proclivity for punchy structuring with a ton of raw talent, and you've got all the makings of a breakout album. The drums are immediately attention grabbing with their big, booming production job and pulverizing foot speed that drills the slams into your brain, but it's the vocals that keep me coming back. Kerem Akman has a bowl-rupturing guttural that he abuses to oblivion, and it's mixed with a beautiful, cavernous reverb that adds a decimating, all-encompassing feel. There might be a deathcore undercurrent in the riffing, but it serves the songs well, and does anyone who doesn't live in their mom's basement really care about that anymore anyways? This shit rules no matter what the hell you call it.
-Nate

MetalBite's Rating: 8.2/10

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4: Saxon - Carpe Diem
Silver Lining Music

"Most of the tracks are pretty fast or in some upper mid-tempo area, full of awesome guitar solos that have me astonished that these guys still have such energy after all these years. They're not getting younger, if you know what I mean…if I didn't know that this was Saxon I would guess that this was some guys in their 30s playing a great classic heavy metal album."

Full review by Michael here.

MetalBite's Rating: 8.3/10

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3: Vorga - Striving Toward Oblivion
Transcending Obscurity Records

Transcending Obscurity Records strikes again with one of my favorite albums from the label in a while. I've been out of the loop when it comes to black metal recently but this came pulling me right back in. It's a 50/50 mix of Mare Cognitum and The Spirit, crafted with assembly-line efficiency and succinct songwriting. The guitars provide a steady, repetitious bed and slowly ascend into powerful atmospheric heights similar to how Jacob Buczarski likes to do, with a full, modern sound giving things the thickness they need.

The Spirit's new album ventures into more of a progressive, melodeathy direction, which is taking me some getting used to because my favorite part about that band was their icy Dissection aping. Vorga satisfies my craving by leaning more towards the black metal element of that sound, using subtle death metal elements as an occasional spice/contrast a la Imperialist. The arrangements flow so smoothly you start to wonder if the band used lube, a hallmark of their regional brethren - jarring transitions aren't in the German metal playbook. The highlight of this for me is the track 'Disgust' which reminds me of 'The First Point Of Ares' with its blast-heavy march into the aether, keeping an incredible presence and generating atmosphere effortlessly through simple tremolo riffing. 'Fool's Paradise' is another high point with how well it integrates that classic Immortal-styled chug riff.

It's impressive how naturally "cosmic" this feels, even though it's just straight black metal - something about the steady, rigid pacing and near-unnoticeable transitions creates this futuristic, Star Wars kinda vibe, and there's a remarkable consistency to the melody and pacing. It's super tasty and there's rarely a moment where I feel the need to zone out, and even if my ADD-addled brain does anyways, something always gently pulls you back.
-Nate

MetalBite's Rating: 8.3/10

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2: Allegaeon - Damnum
Metal Blade Records

Despite basically being a tech'd up version of modern American melodic death metal a la The Absence, Unearth and the like, Allegaeon have managed to create a slew of compelling albums that have even the pickiest melodeath fans (such as myself) considering them as one of the forerunners of the genre today. It helps that every musician likes to flatter my tech-death sensibilities: Greg Burgess has the tastiest solos in the business, whatever drummer they have playing with them is always tight as fuck, and Riley McShane crafts the most intricate vocal lines made by anyone who isn't named Oliver Aleron. I am a fairly big fan of this band, for sure, but they're on the downswing of their prime, with the peak being the Elements Of The Infinite/Proponent For Sentience duo. Still, anything they put out is a mandatory listen for this fella.

They integrated more clean vocals than I'm comfortable with, no matter how competently performed, which takes getting used to, especially when I crave some choppy verses. They're taking the Fallujah jump - that is, infusing Opethian proggy vibes into their formula. It's more of a natural transition for Allegaeon than it might be for other bands, though, with well-rounded, professional performances from each musician. McShane's clean vocals don't annoy me right off the hop, even though they take some getting used to.

Even while fleshing out their sound to the extent they have, though, there's still a couple of rounded and concise tracks that are among some of the best standalone singles the band has ever done. 'To Carry My Grief Through Torpor And Silence' is a fucking incredible track: the busy, driving verse, the dextrous earworm vocal line that made up the chorus, the absolutely disgusting bass/guitar solo tradeoff…easily a top 3 in terms of songs this band has written. It's hard to tell exactly where this is going to rank among their albums, but the fact that it's already good enough to challenge for a top spot in a strong back catalogue tells you all you need to know about checking out Damnum for yourself.
-Nate

MetalBite's Rating: 8.4/10

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1: Immolation - Acts Of God
Nuclear Blast

It's mother fucking Immolation baby! They've never released anything shittier than a 7/10 album in their eleven full-lengths since 1991. They are consistent on a level only rivaled by Bolt Thrower and Immo's streak is even more impressive considering, but they subtly augment their sound from album to album, giving each one a distinct flavor that only ripens with age. In retrospect, Atonement was very clean and emotional, especially when time gives one the chance to reflect, but Acts Of God is furious and nasty right from the hop, with a more pointed, almost thrashy attack coming out of Steve Shalaty's blastbeats, hammering in the uniquely compelling terror of Bob Vigna's iconic riff style.

The New Yawkers were clearly listening to their first two albums a lot, as this is closer to Dawn of Possession than any of their other full-lengths. That being said, 30 years makes a shitload of difference in how Ross, Bob and co. sound - their trademark dissonance is a lot more fleshed out and seems to even be taking cues from the modern torchbearers like Ulcerate and Dead Congregation. Their ability to stay on top of what's hip in death metal and integrate trendy techniques into their signature sound is a big part of what makes Immolation continue to stand the test of time, while other former titans of the genre like Morbid Angel continue to lose momentum by the day.
-Nate

MetalBite's Rating: 8.5/10

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Thank you for once again tuning into our tardy top 10 selections! Check out January's picks for last month to get caught up on the best shit in '22 so far. See you in...well, I guess just a couple weeks from now!

Entered: 3/15/2022 1:18:00 PM

Previous Post MB Premiere: CRYPTUM - 'Volitional Sacrilege'	Next Post MB Premiere: HAMMR - 'Seeping Chalice'

We're back in business! This is usually the time of year that releases drop off because of consumerism and shit (statistically I'm pretty sure this is the time of year that people are buying the least amount of luxury stuff). As such, this was a thin month, but thanks to some solid contributions from MetalBite Album of the Month regulars Michael and Ben, we've got a nice list of 10 things that came out that were worth listening to, plus honorable mentions.

This is somewhat significant in that it's the one year anniversary of these lists at MetalBite, with the first top 10 I did being a way to fill a month of pandemic-induced boredom. Look at what it's turned into now! Happy birthday to us. As always, thanks for being here.

-Nate

HONORABLE MENTIONS

Druid Lord - Relics Of The Dead
Hells Headbangers

Filthy death/doom from some American veterans, with members having ties to Acheron, Massacre and Killing Addiction. If you liked the new Worm album but craved a bit more of an old-school touch, you'll be happy as a pig in shit with this.

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Abyssus - Death Revival
Transcending Obscurity Records

Death/thrash that takes a very Master-esque, no-bullshit approach. The folks at good ol' Transcending Obscurity continue to pump out a consistent stream of quality releases at a rate of at least one per month, if not more.

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Shadow Of Intent - Elegy
Self-released/Independent

I'm still not going to fully admit to my bass player (who is very into this band) that I'm sold on the overwhelming hype for this Halo-themed symphonic deathcore group, but I will say that they definitely have chops and vocalist Ben Duerr in particular is really fucking good.

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METALBITE'S TOP 10 ALBUMS OF THE MONTH

 

10: Wilderun - Epigone
Century Media Records

I was very excited for this release - it's the big label debut of a band that made a huge splash with their 2019 album, Veil Of Imagination. Despite me not usually gravitating to prog metal that makes me feel like I'm in a Disney movie, that album thoroughly floored me front to back - every saccharine twist hit, more atmospheric and hook infused than anything Tuomas Holopainen could ever hope to conceive. It's my 2019 album of the year, actually.

Century Media took notice of it (as they rightfully should have) and now, Epigone is Wilderun's exposure to a bigger audience and…well, it's a step down. I was hesitant to even include this in a top 10 given I'm not totally sold on it, but I'm giving it a spot because a) it was a thin month for releases b) there's still a lot of things I like about it and c), it's as good an opportunity as any to convince people to get into Wilderun because they're a great listen regardless of your typical musical preferences.

Evan Berry's clean singing is still delightfully rich and charming, and this group of Bostonians still effortlessly draws out a rich, fairytale-like atmosphere with touches of mid-era Opeth and later Enslaved. The issue I have with this album is that it falls victim to what I'm now calling "Rivers of Nihil syndrome" - in an effort to branch out and expand the scope of their sound, songs are no longer grounded and everything feels like a transition. There's a bit too much film score grandiosity and not enough riffin', you know what I mean?

All of that being said, this is structured like a grower album, so the fact that I have to get this list in by the end of each month might be hurting where Epigone will end up on my year end lists. Veil Of Imagination was an 8/10 album on first listen and ended up as a 9.4 after a digestion period of a few months, so that could happen here, too.
-Nate

MetalBite's Rating: 7.6/10

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9: Aegrus - The Carnal Temples
Osmose Productions

It might only be an EP, but the latest release from Finland's Aegrus packs an almighty punch. In fact, given the relentless jackhammer blast of its four songs, one might justifiably argue that a release of this length is the optimum way to enjoy the Aegrus experience, so exhausting might a full-length prove. Not unlike their spiritual forbears Marduk and Impaled Nazarene, the speed gauge rarely drops below irresponsibly fast, and any variety depends primarily on drum patterns that move between blast and D-beat, anything more intricate rendered unnecessary by the band's ceaseless savagery. It should be noted that this is not a criticism, and indeed, the D-beat passages, in particular, are extremely effective in establishing some semblance of groove from the blizzard of tremolo that rushes past too quickly to grasp for the majority of each track. There is no real light and shade in the realm inhabited by the sickening entity that use the Aegrus monicker, only shade and more shade, and this means that The Carnal Temples is perfectly suited for those occasions when only a cleansing blast of pure hate and disgust will do, its invigorating power dusting away the cobwebs in a way that more sophisticated metal can't quite manage. The highlight of the EP is the brilliant 'Flesh And Blood', which initially bears a passing resemblance to Mayhem's 'Pagan Fears', before it strikes out in a direction all of its own, with the kind of unexpectedly catchy palm-muted riff that seems to be a diminishing feature in a sub-genre that sometimes obsesses over atmospheric soundscapes at the expense of any metal content at all. Aegrus, however, delivers an ultra-solid slab of unashamedly metallic rage that takes no prisoners, and does everything it needs to do and a little bit more in a sadistically exciting 25 minutes.
-Benjamin

MetalBite's Rating: 7.8/10

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8: Dysnerved - Man In The Middle
Self-released/Independent

Harrowing avant-garde black/death metal that has the power to awe and shock you from multiple angles. The drum performance is not mind-bogglingly-technical, but has enough going on to ground the riffs and makes them breathe, even as the tension relentlessly slithers forward. It is perhaps a Greek interpretation of the new album by Italian dissonant masters Ad Nauseam - a little more focused, a touch more consonance, and wet, yet sharp high vocals that seem to be a staple of the region.

It's rare that a debut from a new band with no real connections to established artists or history behind them gets you to pay attention, but this is different - it's very polished, not in a production sense though, it's more that this is meticulously thought out and every section and transition appears composed with delicate care. Perhaps that's why it took 10 years for this group to release any sort of recorded music.
-Nate

MetalBite's Rating: 7.8/10

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7: Aethereus - Leiden
The Artisan Era

An Artisan Era release with Sam Nelson art? You know I'm all over that shit. If you're familiar with the label, this isn't going to shatter any preconceived notion - this is an expanded and elaborated version of their riff-abundant, adventurous melodic-blackened-symphonic-whatever else death metal. The Inferi parallels are not just clear, but an apparent necessity of anything on this label, and comparisons could also be made to Stortegn, as Aethereus values songwriting and pacing over showmanship and acrobatics.

That being said, Leiden has higher peaks and more spacious lows, in addition to a modern, American tinge to the verses - the melodic phrasing and tendency to use death metal-influenced chugging to occasionally ground thighs brings to mind Black Dahlia Murder more than Obscura, even though the influence from those Germans is evident in some of the ringing atmosphere and prominent bass presence. Even with the multifaceted songwriting approach, giving you more than enough material for multiple listens, the power and weight in the songwriting is immediately felt. Strong start from a label that always delivers the goods.
-Nate

MetalBite's Rating: 7.9/10

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6: Ereb Altor - Vargtimman
Hammerheart Records

Ereb Altor have quietly built up a large back catalog of quality albums - Vargtimman is already the 9th album of these busy Swedes. It starts with a very epic track called 'I Have The Sky'. As always, this band breathes the spirit of Viking-era Bathory, and there's a touch of good ol' Manowar, too, making for one of the best songs the band's ever written.

However, with the following track the band didn't do themselves a favor. It is a quite unspectacular and slow track which I might have put somewhere else on this album because after listening to the opener it is like falling down into a deep hole. 'Rise Of The Destroyer' brings things back with some faster black metal vibes, with the guitars (and sometimes the vocals) being heavy enough to give you that gut feeling and make you tap your foot. The other tracks on the album are a nice cross-section of all the previously mentioned elements. The band has branched a bit beyond paying homage to traditional Bathory influences, while still giving the longtime fans enough of the Viking vibe to keep them interested. If you take a walk through some icy (or at least lonely) landscapes, you will get the right mood to find access to the album. By the way, if you want to purchase the album, try to get the limited edition because as a bonus you will get the Eldens Boning EP from 2021, too which was only digitally available until now.
-Michael

MetalBite's Rating: 8.1/10

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5: Det Eviga Leendet - Reverence
Mystískaos

Another album that has intrigued me this month, even if it does not quite have the overwhelming impact of The Mist From The Mountains, is Reverence, the second album from Det Eviga Leendet (which translates in to English as The Eternal Smile). This Swedish / American black metal troupe are operating on the fascinating and ever-moving margins of the genre, and although not as avant-garde as (early) Solefald, they tap into the same sort of disquieting quality, through their combination of layers of ghostly static noise with strange and hypnotic guitars employing unconventional chord voicings and note choices. These guitars are frequently set to a grating blast, although this is far from the default setting of what is an inspiringly restless and varied album.

The overtly metal sections of each song recall the abrasive and warped riffing that characterised the Blut Aus Nord sound at the turn of the millennium, as they began to develop their sound from their more orthodox beginnings, but Det Eviga Leendet are equally as compelling when they take their foot off the throttle. They do this to great effect on the excellent 'Visage', where fragile shards of guitar are overwhelmed by the frankly terrifying shrieks of despair contributed by Mare Cognitum's Jacob Buczarski, who clearly knows a good thing when he hears it. Through the final strains of the spectacular 'Yield', which pulls the band a little closer to the kind of mournful and yearning black metal of American bands such as Panopticon, it is clear that Reverence is a difficult, but rewarding experience, which makes no concessions to the comfort of the listener across its six bleak and lengthy songs. Despite this, the quality of the band's music is such that it draws one in, like a light in the dark that mankind trudges gradually towards, only to realise that it is the fire that will incinerate us all, leaving only eternal darkness.
-Benjamin

MetalBite's Rating: 8.3/10

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4: Dark Millennium - Acid River
Massacre Records

"You can clearly hear death metal influences in the arrangements (and some doom like old My Dying Bride or Paradise Lost) but I wouldn't classify the music as real death metal. It is difficult to say the style the band is playing. Maybe progressive avant-garde death doom? Whatever it is, you can find sounds that let you feel like you're on a trip visiting Alice in Wonderland…"

Full review by Michael here.

MetalBite's Rating: 8.4/10

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3: Wiegedood - There's Always Blood At The End Of The Road
Century Media Records

After closing the trilogy De Doden Hebben Het Goed, I was afraid that Wiegedood would split-up, but fortunately my fears were unfounded. The first track 'FN SCAR 16', starts as you would expect a song named after an assault rifle to, and it's the heaviest and most aggressive track the Belgians ever wrote. Really hectic riffing and insane screaming make this song an uncomfortable opener that gives you high expectations for the rest of the album. And let me tell you, they never let those expectations down throughout the remainder of the album's runtime.

Their first trilogy was more dissonant, leaning more on fast structures and traditional black metal riffing paired with noise collages ("Nuages"). Continuing in this vein, there are still plenty of disturbing and sick parts to be found here. Just listen to the vocals in 'Now Will Always Be' – a truly terrifying performance. You won't find time to relax - once you think you can take a breath, Wiegedood slows the tempo and something else starts happening. It might be samples, faded shrieks, or it could just be lulling you into a false sense of security before things kick back up again. There's Always Blood At The End Of The Road is no easy listen, but a challenging beast that demands further exploration.
-Michael

MetalBite's Rating: 8.5/10

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2: The Mist From The Mountains: Monumental - The Temple Of Twilight
Primitive Reaction

Monumental - The Template Of Twilight is both the debut album from a Finnish black metal band who clearly have a bright future, and the best thing I have heard so far in 2022. The Mist From The Mountains present us with the sort of streamlined, but forward-thinking, black metal that modern-day Enslaved excel at, and display a highly impressive level of song-writing for a band with no prior releases (although they can boast some history in other moderately successful bands, such as …And Oceans). Their brand of black metal is unashamedly epic and windswept, and like (Viking-era) Bathory and Primordial before them, the band are meticulous in their construction of an appropriately reverent atmosphere, but also know when to let rip with the kind of razor sharp and stately mid-tempo riff that 'Empyrean Fields,' among other tracks, boasts. The prevailing sound of the band is nominally symphonic black metal, reinforced by the kind of stirring, armour-plated Scandinavian folk melodies and rousing lead guitar figures that have made Havukruunu's recent output so thrilling, not to mention making Moonsorrow such a revered band in the pagan metal scene. There is plenty of variety as the album progresses though, and some unexpected surprises keep things interesting, and ensure that the album doesn't become too formulaic. Dashes of prog-rock organs and female vocals are sprinkled for flavour throughout the songs, and at times, the arrangements are pretty enough to evoke a similar sense of stoic sorrow to that conjured by compatriots Swallow The Sun. The Mist From The Mountains have produced a debut which is spectacularly assured, and packed full of memorable songs delivering a true emotional impact which stimulates the brain as much as it appeals to the warrior within. There is something intriguing that burns at the heart of these Finns, and on the evidence of this magnificent piece of work, there is every chance that it will soon ignite, the consuming fire eventually spreading far beyond the forests of their homeland.
-Benjamin

MetalBite's Rating: 8.5/10

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1: Silhouette - Les Retranchement
Antiq Records

A new project proclaimed as a synthesis of DSBM aesthetics and angelic female cleans, this new French group taps into the same ethereal realms as the legendary Alcest. As someone who dorked out hard on their first three albums in the early 2010s (and pretty much anything else Neige was involved with), I'm thrilled - Alcest themselves have ventured into a lighter, more shoegazey direction now, which I vibe with less, and I didn't even realize how much I was craving some new music in that beautiful space where melancholic black metal and bombastic post-rock collide.

That being said, writing this off as an Alcest clone would not only be a disservice to Les Retranchement, but also terribly inaccurate. Despite the "DSBM" attributes mentioned in the promotional blurb, the only real trope of that genre you hear is the shrieked harsh vocals. The heavier riffs have modern influences, though interestingly enough they don't seem to take as much influence from the French scene - I hear more influences along the lines of Mgla and Agrypnie than anything. In addition, there's an undercurrent of melodic death/doom in the writing - the band likes to linger at a middling pace, and when the clean vocals are prominent, there's a careful marching feel reminiscent of Swallow the Sun. That is but an occasional spice, as this has far too many blastbeats to be considered a "doom" album in any respect. There's a handful of different styles being given a tip of the hat on this, and it might seem stilted and disparate if the phenomenal vocal performance didn't tie everything together.

The shrieks are evocative, like Ghost Bath with a hint more grit, but they're not even the star of the show. The clean vocals are absolutely captivating, and have a powerful cadence to them that is one of a kind. Though incredibly rich and vibrant, they have this stark, dry delivery that gives the impression they are being sung by someone who is dead. Not in a wailing banshee sort of way, it's more like an enlightened soul that had a tragic passing and wanders haunted halls, beckoning those who wander by with an irresistible siren call. They're not tormented - they're at peace with leaving their body, even happy. They are so beautiful it's fucking scary.

Silhouette obviously realized that they needed to use that voice as much as possible, but also that there needed to be a balance. Too much candy ruins a good meal, so to get around this, the band had the brilliant idea of using the visceral weight of black metal as climaxes for the stretches of delicate, lush majesty. We're one month into 2022 and I might have already stumbled on my debut album of the year.
-Nate

MetalBite's Rating: 8.7/10

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Hope you find something you like in this sea of releases! Also, here's the link to December 2021's AOTM list, which links to all the previous months' articles in case you wanted to go down a new-metal-album-themed rabbit hole. See ya at the end of February!

Entered: 1/31/2022 6:39:33 PM

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