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MetalBite's Top 10 Albums of the Month - September 2024

September - Top 10

Welcome back to MetalBite's Top Albums of the Month! We've got a HUGE list, with almost 40 albums just for September 2024. Because of its sheer magnitude, I have made the executive decision to include two more albums in the ranked section, making it a top 12 instead of our usual top 10. This decision was made unilaterally and arbitrarily by yours truly, for no reason other than I thought the #11 and #12 albums deserved some extra special treatment.

Maybe this will mark the growth of this list into a top 20, or even a top 30. We've grown to having five regulars and a handful of other semi-regular contributors, and everyone's contributing in full force, so nothing is outside of the realm of possibility.

Onward!!

-Nate

HONORABLE MENTIONS

Glare Of The Sun - Tal
Lifeforce Records

One of the most underrated post-metal bands of recent times. Glare Of The Sun stacks minimal but purposeful layers of sound atop one another, creating a potent, swirling chasm. Each powerfully strummed chord resonates with you on a deep, substantial level, and the dynamic created by the lighter clean sections open up even more space for your soul to be vigorously torn apart and examined.

Their debut was great, but took its time to reveal its intricacies to you, more rooted in doom metal and rougher around the edges as a result. The follow up, Theia, showed a more expansive and rounded sound, but it came at the expense of the emotional heights you knew the band could reach. Tal offers the best of both worlds - more elegance in the compositions, but paired with an intensity in delivery that matches DSBM. I don't see many people talking about this Austrian group, and I know there's a lot of music out there (just look at this list!) but I'll do what I can to change that.
-Nate

Helvetets Port - Warlords
High Roller Records

Swedish heavy metal band Helvetets Port has become a highly acclaimed attraction in the realm of NWOTHM with their second full-length album From Life To Death, which was met with overwhelmingly positive praise from fans and critics alike. After much hype was built, we finally have a followup.

Helvetets Port yet again delivers highly energetic and uplifting classic heavy metal, filled with delightfully catchy riffs and epic choruses, with possibly the best vocal performance of Witchfinder so far. From the first two tracks "Black Knight" and "Wasteland Warriors", this is a rollercoaster that promises a lot of excitement and plenty of heavy metal attacks that will make you raise your fists in the air. Things get even more interesting with the third track "Mutant March", a very slow, atmospheric song that sets a different kind of mood - the diversion is a pleasant surprise. In some ways, Warlords is exceptional in comparison to the previous two albums - the band spiced things up and experimented with their songwriting without overhauling their sound.

Helvetets Port is back in style heavier than ever, and more hungry for power, and the result is worth the 5 years of waiting. I had no doubt that these guys would raise their fists of fury and bring down the thunder, because they mean serious business and no one who opposes should dare to take it so lightly. I am still uncertain whether their new output tops the performance of From Life To Death, but it nevertheless manages to stand tall and proud on its own, both as an excellent album and as a strong continuation to its predecessor. Crank it up to eleven and enjoy the actionpacked tunes of Warlords.
-Vlad

Arkona - Stella Pandora
Debemur Morti Productions

One imagines that the Polish Arkona (active for over thirty years) are somewhat frustrated with being continually confused with their Russian pagan-metal namesakes, and the high quality of Stella Pandora, the band's eighth album, makes this especially irritating. Epic, but compact, at only six tracks, Stella Pandora is a seriously impressive, and highly atmospheric example of melodic black metal at its very best – windswept and wistful melodies combining artfully and seamlessly with passages of tremolo fury, and the strident vocals of frontman Drac. The album really flies in the latter half, with the sweeping arrangement of 'Elysium' leading into the fire and brimstone of 'Prometeus', transporting the listener to somewhere far beyond the mortal world. Not unlike a more black metal focussed version of Insomnium, Arkona forge a deep, even spiritual emotional connection with their audience, and the award for the best 2024 release by any band named Arkona, is surely theirs.
-Benjamin

Castle - Evil Remains
Hammerheart Records

Doom metal is great for making you feel like you are wandering the graveyard, or descending down a crypt, or witnessing a demon summoning ritual. The psychedelic retro vibes will hypnotize you. Such is the case here - Castle's sixth full-length album is heavily rooted in classic doom like Pentagram, Saint Vitus and 70's Black Sabbath. I also feel a bit of The Devil's Blood and Coven in there as well. Evil Remains varies from heavier rock to the doomiest metal, which gives it a special charm. An awesome thrill-ride that brings out the best of the occult and sinister, essential for a subgenre such as this - the band has successfully ticked all the boxes.
-Vlad

Korrosive - Katastrophic Creation
CDN Records

One of the best thrash bands out of my home region. I've said it many times before, but I'll say it again: in order to keep up with the extremity of modern music, this genre has two options to maintain relevance: either you have incredible guitar chops and riff like a wizard, or you focus completely on the death/thrash approach of repeatedly bashing the listener's face in with a brick.

Korrosive opts for the latter - they ramp you up with high-octane blitzes and release the tension with insatiably groovy thrash breaks that are thick, headbangable and punishing. Rad Zarei's prickly, snarling vocals punctuate and intensify the delivery, the guitarists are clearly rabid fanatics for all things 80s and understand what made the genre so great, but aren't afraid to throw in more recent extreme metal conventions, avoiding the pitfalls of being a mediocre retro-revival band.

Katastrophic Creation (why would you replace a C with a K half the time in an album title?) refines their signature delivery and sharpens the edges further. They once again tapped the legendary Ed Repka for their artwork, they used the same engineer for recording and mixing, and once again rolled with CDN Records for their release - they know exactly what they want to get out of their sound and are productive songwriters. They're primed for a breakout any minute now - it's strange that it hasn't happened already!
-Nate

Typhonian - The Gate Of The Veiled Beyond
Transcending Obscurity

Very versatile and well-rounded, sometimes reminding me of mid-90s Gothenburg death metal a la early In Flames and Edge of Sanity, but it would be myopic to peg this as a mere worship album. There's a lot more going on - there's these flourishing melodic passages and perhaps a hint of blackened mystique that should raise further intrigue.
-Nate

Horna - Nyx (Hymnejä Yölle)
World Terror Committee

Horna needs no introduction - they have been around for three decades poisoning the world with their wicked music. If you are no stranger to Horna's signature hateful and nocturnal sound, then you will know exactly what to expect from these mean black metal bastards. Their newly forged album is filled with rawness and fueled by intensity, expressed through their aggressive tremolo picking riffs, harsh shouting vocals and fast-paced drums with lots of double-bass and blast beasts, setting the stage on fire with their unholy strength.

There are delightful surprises like the evil and catchy black 'n' roll of "Hymni III" with its mid-tempo gut punch and overdrive riffing. The album is separated into multiple devilish serenades that gradually build up the journey through the dark. It is relentless non-stop headbanging action that never slows down for a breath of fresh air. The entire album is continuously delivering death and nothing feels wasted or overdone even halfway through, keeping you engaged the deeper it descends into the abyss.

Horna has always made me feel like I am going on a journey through a void that becomes more intense and more unsettling, and this new album is no exception. "Hymni V" feels like you are about to face something great and vile that awaits from the otherside. It builds into "Kuoleva Lupaus", a neofolk reinterpretation of a song from Envaatnags Eflos Solf Esgantaavne, with former bassist Hex Inferi making a guest appearance.

Though they have a consistent, tried and true approach, Horna always leave me curious to find out what comes next with their solid riff work and tremolo picking. It's not an easy task for a black metal band to pull this off, other veteran bands have tried but failed to achieve the same result, however you can tell they are incredibly focused in their work and they know exactly what each song should express, never leaving room for any lackluster delivery. Nyx (Hymnejä Yölle) is both a wonderful testament to Horna's 30-year legacy and shows that they mean business.
-Vlad

Marche Funebre - After The Storm
Ardua Music

This Belgian group does My Dying Bride better than My Dying Bride at this point. There's a poetic, poignant sense of sorrow that emanates from their music that is rare and difficult to access. Aside from the vocals, I get a lot of Brave Murder Day era Katatonia out of this as well - it might drag you into a clinical depression if you listen too much for too long, but taken in just the right amounts, it's incredibly tasty and keeps you grounded.
-Nate

Wolfheart - Draconian Darkness
Reigning Phoenix Music

I have always been a fan of the many musical projects of Tuomas Saukkonen, I discovered his band, Before the Dawn, with 2011's Deathstar Rising, a masterpiece of melancholic melodic death metal with beautiful and catchy melodies. I must admit I haven't kept up as rigorously with Wolfheart as I should of. I absolutely love 2018 Constellation Of The Black Light and generally, when I listen to a song by them, I love it. On Draconian Darkness, they continue to embrace, even more than before, their symphonic side, showing us how you do a proper symphonic melodic death metal album. Sorry, I guess I am still a little bit mad about Time II… Anyway, from the beginning of this album with its Dimmu Borgir-esque instrumentations, the pure epic nature of the music is on full display. At its core, is a perfect sounding, traditional Finnish melodic death metal album. They can get super heavy, with chugging riffs and blazing fast blastbeats but, you recognize the Finnish right away by the incredible sense of melody, pouring out of every corner. The epic and melancholic clean vocals are often layered with Tuomas powerful deathgrowls. The more symphonic instrumentations are always present, slightly in the background, adding a whole new dimension of melodicity. Also, it wouldn't be melodic death metal from Finland without a folky, acoustic guitar intro or two. And what to say about the shredding solos of Tuomas, another Finish guitar... What is in the waters of Finland!
-Raphael

Blitzkrieg - Blitzkrieg
Mighty Music

In this wild and ever-growing year of 2024, who would have thought that one of the crucial names in New Wave of British Heavy Metal, the mighty Blitzkrieg, would be returning this year with a new album. We already had excellent releases from the British Isles with Saxon and Cloven Hoof, but this one came out of nowhere and it was the right time to do so. Blitzkrieg is one of the most important bands that played a big role in my early teens when I was discovering the treasures of classic heavy metal, so I wasn't going to miss the chance to check out their new album.

This album delivers with its awesome riffs, powerful vocals of Brian Ross and smooth transitions between songs. Blitzkrieg has been around since 1979, and this shows that they still have their youthful enthusiasm and dedication to their work, but all their years existing as a band have refined their songwriting. They went through numerous lineup changes, and of course every new addition to the band will bring in new ideas, but they understand they shoes they have to fill and what it means to be a part of such significant band that was one of the founding fathers of NWOBHM which influenced the likes of Metallica and other US thrash. A great testament to their long-lasting legacy that demonstrates they still have the strength and willpower to topple buildings with their heavy metal might.
-Vlad

Abramelin - Sins Of The Father
Hammerheart Records

An unpredictable, powerful and murderous release. Its strong melodies and distinctive songwriting certainly reinforce Abramelin's confident stance as one of the most creative acts in Australia's – but also the global – death metal scene.
-TheOneNeverSeen

Glacial Tomb - Lightless Expanse
Prosthetic Records

Sludgy riffs with a spirited, almost cosmic edge. Doesn't stick to one motif too long, lots going in on in here to pick apart. Feels oddly familiar, despite the difficulty of noting a comparable band. Worth noting this features two members of modern doom stalwarts Khemmis - perhaps this is their heavier, more extreme side-project?
-Nate

Denomination - The Last Companion
F.D.A. Records

Earlier this year, I came across this German death metal band and then checked out their debut as well as their split with Swedish band Abscession. I kind of forgot about them until I saw that their second full-length album was imminent and they they had recently signed to F.D.A. Records. I decided to give this band another chance as my previous experience was hit or miss.

Once again you will hear some oldschool HM-2 riffs that rot 'n roll with putridity and disgust. Amped up by the guttural growling vocals and maniacal drumming, it's reminiscent of Carnage, Entombed/Nihilist, Dismember and Grave, with no bullshit or pretentiousness. Although their influences are evident, you can still hear plenty of fresh and solid songwriting material. This time they have taken on a much more menacing and darker approach in comparison to their previous album They Burn As One, which was still good but a bit lacking in terms of its delivery, however they managed to compensate for it here with testosterone and malicious atmosphere.

"Cremation Ground" is one of the strongest moment, it really sets the fire to a funeral ceremony with riffs hitting harder than a jackhammer to the face. What stands out about this album is that it always stays on track with its death-ripping action, without ever slowing down or becoming too sterile. Sure, it may seem like another generic Swedish death metal clone to anyone who is generally familiar with this style, but it still manages to capture its own essence thanks to the savage riffwork.

When I first checked out Denomination's first album, I felt like something was missing, but I think that The Last Companion completely erases that because it's non-stop excitement. I enjoyed The Last Companion much more. It's simple yet effective and should make any fan of 90's Swedish death metal bands happy.
-Vlad

Cystic Embalmment - Bardassage Auditif
CDN Records

A little more beefy and a little less chainsaw than the previous Cystic full-length which just came out over a year ago, but either way you're getting more of the goods. When they're not blasting your face off they're likely groovin' over some skank beats, if there's a bass guitar it just dissipates into the rumbling mix, and the vocals sound like a pitch-shifted toilet. What's not to like?
-Nate

Agrypnie - Erg
AOP Records

Torsten Hirsch's other band is back with another album. Stylistically it's not too far from Nocte Obducta or Der Weg Einer Freiheit - harsh and fast black metal. When Flo from Theotoxin is hitting the drums, you know it's not gonna be slow. Some might state that this is post black stuff, whatever that means but I would rather say it is kind of depressive and cold with a lot of atmospheric interludes. Take the opener "Aus Rauchlosem Feuer" for instance: you get hateful and fast tremolo picking and suddenly there appears that sad acoustic guitar. It's these unexpected twists that makes that album interesting. Another very atmospheric track that is super dense and spreads hopelessness is "Entität". Keyboards, acoustic guitars and faster parts interchange so that there is always something happening. "Erg" wants to be discovered and it might take some spins for that but hey, we have autumn and this is the best time for a walk through the woods in combination with some metal tunes.
-Michael

Bewitcher - Spell Shock
Century Media Records

When it comes to the rich branch of black/speed metal, there's simply no shortage of good albums. Case and point are the Portland, Oregon based band Bewitcher, returning with their fourth full-length. There's plenty of nasty blackened speed metal action, enriched with maniacal overdrive and devilish rock 'n roll burning the highway in full throttle, showcasing an incredible display of catchiness and all-around heaviness.

Spell Shock instantly hooks you in and never relents, even with slower moments such as "We Die In Dust". The band always manages to find room to pack more riffs in and they leave no head un-banged. It's not the most unique album out there, but it is something that the hardcore and loyal fans of the genre will love. Spell Shock will satisfy anyone who is heavily into bands like Speedwolf, Midnight, Hellripper, Wraith, Bütcher, Toxic Holocaust and Wastëland Riders. Bands like these keep it true all the way through, and the faith of their fans keeps it alive for years to come.
-Vlad

Aethyrick - Death Is Absent
End All Life Productions

I've covered Aethyrick's last two albums in this very column (including the very first edition of it, posted in January 2021, which you can find in the second link there), so I feel a sense of obligation to continue with their most recent full-length, especially because this is one of the most steady and consistent bands I've come across in the black metal realm. "No frills atmoblack" is a good descriptor - they're not doing anything fancy or unusual, but their sense of melody is filled with direction and purpose and they always know how to put just enough into the soup to generate momentum and atmosphere. I sense a bit more of a symphonic edge with Death Is Absent, although it's always been there in traces throughout their career - the production just magnifies it.

Simply put, this band does not miss. Throw it on in the background and you'll slowly find yourself get locked in to their mystical, uplifting vibe.
-Nate

Insurrection - Obsolescence
Bam&Co-Heavy

Wow! As a long time fan of these Montréal guys, I'm so happy to see them still doing their thing and it sounds better than ever! Insurrection plays a super groovy style of death metal. It's technical but never ventures in over-the-top wankery territories. There is a subtle new flavor, spread sparingly that adds an interesting dimension to Obsolescence, melody. Whether it be in a bouncy riff or in a shredding solo, this is going to be amazing live! With a name like Insurrection, you expect them to be political and they are, but they are just pure fun first! In an interview to breathingthecore.com, they said this about the song The Gathering:

"The song itself is about the acceptance people find at metal shows, and within the metal community itself, though it's written in a dark and ritualistic way because we're a metal band, and that's what we do".

It's true, I might be bias but I feel like metalheads are generally really accepting and welcoming. The last song, The New Uprising, is an epic three-part tale that "tells the cryptic story of a robotic uprising that is actually a metaphor for the rise of political extremism in the world." So, if you just want to bang your head to heavy and groovy chugs, Obsolescence is the album you need but, if you want something crushingly heavy and a bit more intellectually stimulating, Obsolescence is also the album for you!
-Raphael

Mechanic Tyrants - St. Diemen Riots
Jawbreaker Records

The metal uprising is here and it begins with the St. Diemen Riots! It all started in the confusing times of the COVID lockdowns and culminating with the 2022 E.P., Meanhattan, which established Mechanic Tyrants world in a brilliant way. The term "working class speed metal" was used to described their work, no wonder St. Diemen Riots caught my attention. Their first album is 44 minutes jampacked with hits after hits of pure, but fresh sounding speed metal. First of all, the production is super clean, every instrument shines and it sounds both modern but with that old school organic feel. What truly stands out is the memorability and pure catchiness of every song. You will only have to read the title to immediately start humming the chorus. With all that speed metal meatiness, comes an entire world surrounding it, a tale of oppressed lower class in the fictional city of Meanhattan. And with oppression, as seen in the entire human history, comes resistance! Truly an outstanding piece of pure speed metal that incorporates elements of traditional heavy metal, as well as thrash and even prog rock, a definite highlight of the year.
-Raphael

Ingurgitating Oblivion - Ontology Of Naught
Willowtip Records

A winding musical staircase that throws all sorts of unexpected twists at you. "Progressive death metal" barely captures what's going on here. Clamoring, oddly decipherable dissonance, wandering jazzy interludes and a state-of-the-art drum performance from Lille Gruber to tie it all together. Vision Wallows In Symphonies Of Light was a masterful album in its own right, but even if you're familiar with it, it barely gives context. That was more tethered to Ulcerate-esque dissodeath, and Ontology Of Naught is teetering on Rainer Landefermann solo album levels of off-the-wall intricacy and absurd diversions.

It's not for everyone, but for those of you still intrigued after that paragraph, I can only imagine this will be high in your Album of the Year list. It's reassuring to hear this and realize that there are still many strange, experimental corners extreme metal hasn't delved into yet.
-Nate

Pyrrhon - Exhaust
Willowtip Records

Pyrrhon chose the album cover art perfectly. Listening to Exhaust gives me the same feeling as watching those accelerated videos of decaying dead animals, a strange mix of fascination and uneasiness. It's both disgusting and beautiful. Musically, it translates as a whirlwind of dissonance and rage while still being incredibly calculated and organized, it's not just pure chaos. That being said, if you are not fond of bands such as Gorguts, Dillinger Escape Plan or Imperial Triumphant, you might not find your experience enjoyable but if you like your metal dissonant, weird and incredibly complex, mixing heaviness and pure chaotic aggression, this record is exactly what you need.
-Raphael

When your music is as awkward and extreme as Pyrhhon's, traditional marketing campaigns likely have minimal effect on the success of a record that is necessarily limited in its appeal, regardless of the calibre of the work itself. The surprise release of the band's fifth album, with almost no prior warning, is therefore one of September's most exciting and unexpected treats. If, that is, we expand the meaning of 'treat' to include 'anxiety-inducing punishment'. Exhaust continues the band's scratchy and atonal deconstruction of technical death metal, falling somewhere between latter-day Gorguts and very early Dillinger Escape Plan, and while the album is far from digestible, there are hints of immediacy and even hooks across 'First As Tragedy, Then As Farce', and 'Out Of Gas'. The band's newfound inclination to occasionally lock into a more rudimentary groove, together with a greater feeling of negative space in their sound serves to accentuate the more claustrophobic nature of the rest of the hellishly uncomfortable noise, and the band are lifted to an even higher level. Despite these moments, however, the true beauty of Pyrrhon is, of course, the degree to which they sit apart from the norm, while still producing totally compelling music. Exhaust is audacious brilliance from start to finish, and they remain one of the world's most relentlessly intriguing bands.
-Benjamin

Officium Triste - Hortus Venenum
Transcending Obscurity Records

This album man… This is my first encounter with this Dutch band, which is surprising because 1) I love melodic death/doom and 2) they've been around since 1994! Officium Triste means something like a sad service, referring to a funeral, and it's an apt choice of name since the emotional thread liking the album is, I would say, grief and everything associated with it. As is the case when dealing with grief, you pass through intense emotions during this journey of healing. Behind Closed Doors starts this album with intense feelings of despair and sadness, accentuated by the overall slowness and oppressive atmosphere. Their use of minor intervals will touch you straight in the heart. All is accompanied with deep, guttural death growls, adding to the weight of the music. All throughout the 42 min runtime of Hortus Venenum, fragments of beauty can be found, whether it be a main melody that brings a tear to the eye, the beautiful use of violins or the magnificent cover art, a painting by Paolo Girardi, which displays a small parcel of illuminated trees in a vast and dark forest. I will definitely continue to follow this band and dive in the rest of their discography. As the dark and cold season is about to start, Hortus Venenum is the perfect album to accompany you and keep you warm.
-Raphael

Servant - Death Devil Magick
AOP Records

"Void", the hypnotizing intro, lulls you into a false sense of security before the Satanic storm breaks out with "Temple". There's been a few noteworthy releases from AOP Records this month, and this is also harsh black metal with a lot of super fast tremolo picking. The biggest difference to Groza and Agrypnie is that Servant focus more on traditional black metal without much experimentation. A lot of the melodies invoke some nostalgic feelings to old Scandinavian black and even some classic thrash albums. And when the melodies are spaced out, Devil Death Magick becomes even wilder. The songs are quite catchy and with an average running time of 4:30 they're not too lengthy. They're very diverse as well and you wil not be bored.

If you didn't have this German group on your radar yet, you should give a listen - I wasn't familiar with them, and I was pleasantly surprised. if you already know their stuff, you know what to do!
-Michael

Siderean - Spilling The Astral Chalice
Edged Circle Productions

Already being familiar with their previous album, I knew I was in for a ride. Inanna's most recent full-length was my 2022 AOTY, and Siderean's riffwork is similarly inventive, straddling a fine line between haunting melody and claustrophobic dissonance that seems firmly entrenched in its own sub-category of prog death. Lost On Void's Horizon had a bit more of a quiet, organic production - somewhat Colin Marston-esque. Spilling The Astral Chalice, on the other hand, is louder and sharper, and it suits their sound better because there's a lot of little details to take in with the incredible, tasty riffwork. If you have that itch that only bands like The Chasm, Stargazer and Artificial Brain can scratch, you'll quickly find yourself enamored with this.
-Nate

Groza - Nadir
AOP Records

What started as an obvious Mgla rip-off (although I like the early albums) has turned into their own entity with "Nadir". It starts with the atmospheric intro that soon turns into some tremolo inferno. Nowadays they resemble more modern black metal- a mixture of bands like Gaerea, Ellende, Karg or Harakiri For The Sky in parts. Still the riffing is harsh, but much more tremolo picking is to find on "Nadir" than before. The band sounds much more unique than before and with the German lyrics (like in "Asbest") the stuff sounds pretty solid. But their music doesn't sound that depressive as Ellende - this is much more aggressive and full of hatred.

"Dysthymian Dreams" is a cool ass-kicking rock song wrapped into some blackish tunes. And speaking of Harakiri For The Sky and Karg, on "Daffodils" members of both bands contribute some stuff, too. Matches quite well, although that song is much slower than the rest of the album.
-Michael

METALBITE'S TOP 10 ALBUMS OF THE MONTH

Ripped To Shreds - 三屍 (Sanshi)

12: Ripped To Shreds - 三屍 (Sanshi)
Relapse Records

From the first song, it's quite clear what this album will be; a love letter to death metal with a capital D! It begins with a disgusting (positive) grind infused, old school death metal with the distinctive "buzzsaw" guitar tone the Swedish sound are so famous for. But Andrew Lee, the multi-instrumentalist prodigy that is at the helm of Ripped To Shreds, has much more than good ol' grindy osdm to offer, he is putting the "shred" into Ripped To Shreds… Sorry. Anyway, this makes for a wild and varied ride, through all that death metal has to offer. It's dirty but beautiful, one minute you are deep in aggressive and old school riffing and then, a clean and incredibly technical solo comes out of the mud and leaves you in awe. The album is an exploitation of the concept of death, in the context of traditional Chinese folklore, which is a refreshing take on this universal human experience.
-Raphael

Ripped To Shreds previous album, primarily the work of the unfairly talented Andrew Lee (Houkago Grind Time and many, many more) was one of 2022's best death metal releases, adding a technical edge to some of the best buzzsaw HM-2 action ever seen outside Stockholm, meaning that the Californian's are dealing with significantly increased expectations prior to the arrival of their fourth full-length Sanshi. Thankfully, they smash these as effectively as they obliterate your puny mind, with a thrilling combination of utterly killer riffs, acrobatic solos, and berserker vocals, effortlessly outstripping the vast majority of the death metal competition. Sanshi retains and expands everything that made Jubian so addictive, while spicing the broth with lengthier passages of twin-guitar lead work, Michael Chavez now fully integrated into a ruthless killing machine and giving the band additional capability that they absolutely exploit. 'Horrendous Corpse Resurrection' is one such track, the band transforming midway through into a power metal shredfest, before a brutal blast returns to remind the listener that the band Ripped To Shreds are a death metal band at heart. Sanshi is timeless and supremely memorable, and should see the band continue their unstoppable rise.
-Benjamin

MetalBite's Rating: 8.6/10

The Black Dahlia Murder - Servitude

11: The Black Dahlia Murder - Servitude
Metal Blade Records

This record is very special, it's a testament of resiliency, the ultimate proof that humans can adapt and transform tragedy into something beautiful. May 11 2022 is a date no one in the metal community will forget. The death of Trevor Strnad was painful, even for people who had no connections with him, other than the music. I cannot imagine what it was like for people close to him. Now, only two years later, The Black Dahlia Murder gets back up with Servitude, a touching homage to Trevor and everything The Black Dahlia Murder represents. The decision to give vocal duties to Brian Eschbach, founding guitarist, was excellent! Although no one will be able to truly sing like Trevor, Brian does an amazing job. I swear, his high screams sound just like Trevor. He doesn't have his range but honestly, the music is so good, I don't notice to much. The guitars are the stars but the supporting characters (rhythm section) are equally as good. The bass is always there, enveloping everything with heaviness and the drums, my god, so precise, technical and full of face melting blastbeats. But the guitars… Just perfect! The classic Black Dahlia melodies are fully here, with the technical but musical riffs and solos. The album begins and ends with the sound of water flowing, reminding us that whatever happens, time will continue, life goes on. Truly touching! In the end, this might not be The Black Dahlia Murder's best album, but it will undoubtably be one of the best melodic death metal albums of the year!
-Raphael

MetalBite's Rating: 8.7/10

Winterfylleth - The Imperious Horizon

10: Winterfylleth - The Imperious Horizon
Candlelight Records

I've recently plunged headfirst into this English modern black metal group's back catalogue after years of erroneously dismissing them as an Agalloch ripoff. Upon further examination, that makes little to no sense - they don't even sound that much like Agalloch - they're more along the lines of Drudkh and Wolves in the Throne Room with a folkish tinge. Long, sustained riff sentences wash over you amidst a sea of brisk, powerful drumwork, with a lot of subtle grooves along the way.

Their discography is incredibly consistent, and even then I consider this to be one of their best albums after a few good spins to get acquainted. Maybe it's the wintry cover, but the melodies on The Imperious Horizon are particularly sharp and cathartic, like Immortal if they were a post-black band. The transitions are so smooth you don't even notice as they reach further into the heavens, and the folk influences are more understated and sparsely placed, which is a good thing - not that I hate them normally, I just think Winterfylleth is at their best when they focus on their black metal side. The moments where they do make subtle nods to their heritage and slow it down, such as "In Silent Grace", are welcome diversions - and the Alan Averill (Primordial) feature on vocals definitely doesn't hurt there. It's rare that a band puts out their career-defining work with their eighth full-length, but Winterfylleth makes a strong case for doing so. They've played to their strengths in songwriting and added an extra dollop of emotion into the riffwork, and the result is one of my favorite black metal albums of the year.
-Nate

MetalBite's Rating: 8.8/10

Blighted Eye - Agony's Bespoke

9: Blighted Eye - Agony's Bespoke
Beyond The Top Records

Seattle Washington, the pacific north west, with its grandiose landscapes and its magnificent nature, is also a region known in the metal community for its particular brand of atmospheric, often complex and melodic, blackened heavy music. Look no further than Oregon's Vintersea or the master pioneers of the pacific north west sound, Agalloch! Now, enters Blighted Eye, with their first album, Agony's Bespoke. An atmospheric and polished, yet dark, heavy and often melodic journey through the vast and gloomy forests of Washington state. To emphasize all of this dark atmosphere, are lyrics that touch on the darkest corners of the human psyche, sung with a dynamic vocal performance, interchanging deep guttural growls with high pitch shrieks and the occasion clean chants. Musicianship wise, it's a real delight, bringing expert level playing to impeccable song writing. They have a real progressive metal skeleton, using complex song structures and technical playing, without losing a drop of atmosphere and melody. This means that in a single song you can go from a frantic blackened assault, with blastbeats and aggressive shrieks to a slow, ominous riff accompanied by the deepest, demonic growl, to a folky, acoustic guitar break to then burst out with a melodic and technical solo. The album ends with the song Agony's Bespoke, an 11 min behemoth, starting slowly, the acoustic guitars joined quickly by a menacing riff, that comes to a full stop, with only an atmospheric piano, to transition into slow and heavy blackened death. The whole song is this roller coaster of emotions, filled with atmosphere, epic cleans, proggy and melodic blackened death, that goes by so fast. Great discovery of a promising new band!
-Raphael

MetalBite's Rating: 8.9/10

The Flight Of Sleipnir - Nature's Cadence

8: The Flight Of Sleipnir - Nature's Cadence
Profound Lore Records

I've listened to this album more than anything else that came out in September, and paradoxically I have the least to say about it. It's hard to describe one of my favorite active bands without just rehashing things I've said before. The Flight Of Sleipnir is one of the only bands - if not the only band - that can rival the mighty Agalloch in terms of atmosphere and quality in my mind, and they up the ante by steadily releasing new music, time and time again proving that their well of creativity grows deeper by the year.

Their sound is at once sparse yet immersive, striking a rare balance between busyness and minimalism that makes every moment feel crafted with purpose. Then you add the antiquated yet fresh modern folk influence and you get a flowing, organic tapestry - music that feels like it came straight from the heart of mother earth herself. The stripped-down, intentional drum beats roll forward like oaken branches scraping against one another, the tremolo riffs call to the heavens like a long-extinct species of bird, and the gentle acoustic touches evoke images of a time when life was more primitive, when simply having a good crop to get through the winter months was a profound victory.

I'll just keep conjuring up even more obtuse nature metaphors the more I write, so I'll leave it at this: Nature's Cadence is exactly what that title suggests. It's yet another incredible entry in an amazing back catalogue, and you owe it to yourself as a music fan to hear what this band has to offer you before you die.
-Nate

MetalBite's Rating: 8.9/10

Amethyst - Throw Down The Gauntlet

7: Amethyst - Throw Down The Gauntlet
No Remorse Records

Who would have thought that this year of 2024 would be so generous with all these great upcoming releases, and amidst all of that we get the highly anticipated first full-length album by the Swiss heavy metal band Amethyst. These guys had become very attractive to classic heavy metal lovers worldwide due to the success of their first EP Rock Knights from 2022, but the excitement just got even bigger.

Amethyst continue where they left off with some clean and shiny oldschool heavy metal with pure rock and roll energy, hitting the gas with catchy melodic guitar riffs and powerful guitar solos that cut like a hot knife through butter. It's incredibly authentic to the works of Thin Lizzy, Budgie, Saxon, Diamond Head, Angel Witch, Demon, 70's Judas Priest, 70's Scorpions and early 80's Iron Maiden, with the vocal performance of Fredric G. similar to Francis Rossi of the rock band Status Quo. I was quite surprised that this album took the established foundation of that EP to another level and it is impossible to not feel entertained.

There are a lot of great qualities - clever songwriting, strong band chemistry, but what caught my ear the most is how the songs latch onto you with such heavy grip. The fantastic verses and riffs crawl right underneath your skin. It's very hard these days to come up with an album this simple yet effective, but Amethyst make every second count. They don't rely on template-based songwriting or rehash their old work - it all feels very refreshing.

Overall, I consider Throw Down The Gauntlet as a nicely packed collection of excellent songs that are always providing great entertainment and non-stop fun. I have already said before that these guys are an absolute gem worth finding, and this time I really mean it, because this album has an even stronger punch than any of their previous efforts, and it practically made this such a great performance that would seem very hard to top.
-Vlad

MetalBite's Rating: 9/10

Warlust - Sol Invictus In Umbrae Satanae

6: Warlust - Sol Invictus In Umbrae Satanae
Dying Victims Productions

This band understands what black metal is, the feelings of pure evil it's supposed to invoke, the atmospheres it creates, that coldness. They get it! But this is not a pure black metal, they add many sounds and influences in their big cauldron of metallic elixir. The raw musical talent often takes the form of a thrash, guitar hero, shredding his heart out, a melodic earworm riff, clean vocals coming out of that darkness, not as light but more like an epic evil incantation from menacing mages in a somber forest. One other thing they do right is the production, it sounds crisp and clear without losing an ounce of "evil" atmosphere. Think of Immortal levels of quality. The furious tremolo pickings, the blastbeats, the growled vocals, the heavy bass, everything can be heard distinctively. The last song alone is worth it, with its impressive crescendo of a solo, giving feelings of pure epicness but poignant sadness at the same time. Germans have quite an history with war and it proves to be an endless source of inspiration to create impressive metal albums.
-Raphael

Sometime ago, I had the great pleasure of checking out the latest single of the German black/death/thrash metal band Warlust, which was teasing their third full-length album. It made me quite curious to hear the rest of the album - top-tier black metal with a lot of superb melodies and tight riffing. With the single "Between Apeiron & Plague", I immediately felt a strong presence in their music - the strong riffs and melodies further elevated by harsh guttural vocals and thrash metal drumming with plenty of blast beats and double-bass. The band is constantly tight, fueled with hatred and burning with blood, fire and death, never slowing down or becoming less interesting the further it progresses.

Even once you get familiar with their sound, you will still feel the intensity and the energy of every song, especially on such phenomenal examples like "Legio! Aeterna! Victrix!" and "Black Souls". This album will possess you with its atmosphere, and once you reach the heavy as hell headbanging action, you will sell your soul to Satan and embrace devastation. It's always great to hear black and death metal bands taking on a rich and creative approach to their songwriting takes you to another place.

What Warlust does on the entirety of Sol Invictus In Umbrae Satanae is exactly what a lot of contemporary extreme metal artists are missing, and that is consistency, determination, creativity and a focused direction. Every song throws in something different than the previous one, keeping you on edge, sweating with anticipation and always wondering what comes next. "Between Apeiron & Plague" was a very good teaser, but is nowhere near as good as the rest of the album which takes everything to the next level and continues to do so until the very end. There's so much great stuff on here that many will praise and enjoy for their excellent execution and overall badass energy that you just can't get enough of.
-Vlad

MetalBite's Rating: 9/10

Mork - Syv

5: Mork - Syv
Peaceville Records

With Mork, everything you get will end up being solid gold. For a band that's been around for so long, you would expect that we'll probably get something to celebrate the 20 years of misanthropy and darkness. Well, say no more folks, because that time is now.

Syv marks a new chapter for the band. Their musical horizons are expanding even further, and everything is executed in such a way that you get this sense of chronology, like a direct continuation to the predecessor Dypet. One of the greatest and everlasting strengths of Mork's work was its psychological aspect, because you always get so immersed into the music with a sense of storytelling. Syv gives you this perspective of a protagonist going through various challenging stages in his journey.

Although the lyrics push forward, the execution harkens back to the band's earlier albums such as Eremittens Dal and Det Svarte Juv. They stick to their Norwegian black traditions but keep things fresh and versatile. Great examples such as "Tidens Tann" or the instrumental "Til Syvende Og Sist" successfully showcase that Thomas Eriksen is both a focused songwriter and dedicated musician who puts sweat and blood in his craft, and anyone with that kind of mindset will never let anything go to waste.

Syv shows the everlasting beauty of the band, as well as the exceptional quality of their music that just cannot disappoint. Though I was still absorbing Dypet, I was more than happy to see where this album would take me, and though I am very familiar with their sound, this album pushes me even further into the depths of Mork. In the end, we are all so lucky to get another fine Norwegian black metal album that many fans will love and appreciate for years to come.
-Vlad

MetalBite's Rating: 9/10

Flotsam And Jetsam - I Am The Weapon

4: Flotsam And Jetsam - I Am The Weapon
AFM Records

Flotsam And Jetsam are one of the most underrated bands when it comes to thrash metal. I mean, just consider that they had to let go Jason Newstedt to Metallica. After that loss they had some really bad albums, but I actually don't know if the band was to blame - the goddamn 90s was a tough time for thrash. But since their self-titled album from 2016 they are stronger than ever and with I Am The Weapon they unleashed a real monster. Super catchy melodies, neck breaking drums and diverse songwriting makes this album one of the best ones they ever wrote. A lot of it sounds like a thrashy version of Iron Maiden, but there also some more aggressive stuff like "Burned My Bridges". This is a cool headbanger with a lot of power and epic atmosphere. One of the best thrash albums in 2024!
-Michael

MetalBite's Rating: 9/10

Kanonenfieber - Die Urkatastrophe

3: Kanonenfieber - Die Urkatastrophe
Century Media Records

When I saw the magnificent cover art by Daniel Bechthold, in the style of Biró Mihály (1886 - 1948), considered as the founder of political poster art, I was immediately intrigued. The artwork depicts a German general putting people in a meat-grinder, which is fundamentally what war is, using normal people to advance whatever goals and ambitions of the few in power. In the case of WW1, the unquenchable thirst of capital owners for never-ending increasing profit. Some Russian dude wrote a good book about that! Anyway, bands that use war as its main source of inspiration can be overly cheesy and just end up glorifying it. As I'm writing these words, Iran just launched missiles in Tel-Aviv, in retaliation for Israel's unprecedented pager terror attack in Lebanon, assassinations of Ismail Haniyeh and Hassan Nasrallah. So, if you read this, the world is still here, so, good and yeah, fuck war! But, Kanonenfieber are thankfully not one of those bands. Kanonenfieber is but one of the many projects of multi-instrumentalist, Noise and it's one of his more "accessible" projects, blending black and death but, in their more melodic forms. The melodies on Die Urkatastrophe will take you on a journey, through a wide range of emotions, all surrounding heartbreaking stories of war and its devastating effects. So, if you're still wondering, no, it absolutely does not glorify war, it's more of a warning. Thankfully our leaders are following the important lessons of history… At least Kanonenfieber understands! Back to the music, there is a mournful beauty about the melodies Noise is crafting. Even if I do not speak any German, the music makes you understand, it's full of images. On Lviv Zu Lemberg, the main melody is both epic and conveys pure sadness, so I know it must be a heroic tale about a battle won but incredibly costly, where many souls where lost. The chorus of Der Maulwurf is a pure sing along earworm, reminding me of those songs miners used to sing while going to work. In movies. On Panzerhenker, there is huge and loud chugs that sounds like cannon fire, which makes sense because the song is talking about a battle in which tanks were heavily used. Also, the song title translates to tank slayer, so everything makes sense. Ausblutungsschlacht is about the longest and costliest battle in human history. It's a slower song, full of atmosphere, heaviness and that epic sadness so characteristic of Kanonenfieber, ending with a soft piano. The album ends with a soft acoustic guitar folk song, filled with sadness but also hope, as the war finally ends. I might do a full review because there's so much I could've talked about, the album sounds phenomenal, with the production sounding huge and clean, with every instruments perfectly balanced in the mix. This album is a great discovery, for fans of melodic and blackened death metal, it's yet another band added to my list of bands I need to see live!
-Raphael

Die Urkatastrophe ("The Primal Catastrophe") is both more accessible but also slightly more uncompromising in comparison to its predecessor Menschenmühle. Once again they use German speech samples from 1914 – 1918. This gives the songs a very special flair, you can almost feel what the soldiers felt back then. But of course, with all the deaths and war insanity, there is bitterness in remembering that all this destruction and hatred was just for nothing. The lyrics are all kept in German and everybody who knows this language knows that it isn't the softest one. It is harsher than a lot of other languages and sounds unkind and this this is projected into the music very well, especially through the vocals Noise is using. In every song you have the feeling that he is full of hatred and bitterness. The songs are partly really catchy, sometimes pretty rough and fast and if you liked the first one, you won't be disappointed by their second full-length.
-Michael

MetalBite's Rating: 9/10

Unto Others - Never, Neverland

2: Unto Others - Never, Neverland
Century Media Records

It's very likely in this modern world to come across so many great bands that combine the classic heavy metal and hard rock with some classic goth rock/post-punk elements from the 80s. Examples include In Solitude, Pøltergeist and this highly acclaimed US band from Portland, Oregon, Unto Others. I'll admit that this isn't a band that I was actively listening to, despite hearing some of their amazing songs in some darkwave playlists from time to time, but I thought that it was a great opportunity for me to dive into their most recent work.

No matter how unknown everything seems at first glance, there is a very attractive nature to these kinds of albums that just speak to me while I look at their beautiful album covers, so I thought, why not jump right into it? I was not quite sure what to expect upon entering Never, Neverland, but I knew that I was getting myself into a very strange and peculiar journey of melancholic beauty that gently rains on your head on another autumn day. Once I became immersed into the magic of the album, it was an incredibly pleasant surprise - catchy and mesmerizing tunes of gothic rock fused heavy metal, a perfect soundtrack to this somber season where leaves dry out and fall. Unto Others presents a handful of powerful and majestic songs with plenty of simplistic yet highly effective riffing, emotional verses and choruses, where the band's entire performance transfers such an energy that feels so otherworldly and poetic. With a total of 17 tracks, you would think you might get bored halfway through, but the album is consistent with a good balance between more emotional moments and catchy bangers.

Unto Others takes you on a ride where the progression feels like going from one chapter to another, exploring many realms along the way. This makes me nostalgic for the days when I first embraced the so-called "darkwave artists" from your classic goth rock/post-punk such as Bauhaus, The Sisters of Mercy, Siouxsie and the Banshees, Christian Death and Lacrimosa to the heavier bands like Tribulation, Woods of Ypres, Katatonia, Paradise Lost and My Dying Bride.

A release date at the beginning of autumn was perfect timing for this eerie yet relaxing journey. Even though this wasn't an album that I was particularly looking forward to, nor was I aware of it being released this year, once I pressed play, I realized that my decision was not in "Idle Hands" (pun intended), and I have to say that this was a real chef's kiss.
-Vlad

MetalBite's Rating: 9.1/10

Oceans Of Slumber - Where Gods Fear To Speak

1: Oceans Of Slumber - Where Gods Fear To Speak
Season Of Mist

Striking, cinematic, grandiose, empowering, sorrowful, soulful, vulnerable, emotive. Not enough words exist to describe Cammie Gilbert's voice. It's a voice you feel, deep within your soul. In 2022, on Starlight And Ash, they abandoned all traces of their extreme metal tendencies and honestly, it passed like a knife through warm butter. Cammie has such a commending voice and presence; I would follow her anywhere. Just two years later, I was pleasantly surprised to hear their extreme side back in full force. The list of extreme sounds they blend together is long but generally, progressive death metal and crushing doom with a gothic atmosphere would be how I describe it. And then, everything else, from southern soul, prog rock, classical, heavy metal, gothic rock, mixed to such a level that it sounds completely homogenous. Even the Chris Isaak cover that ends the album sounds completely at home. I am in complete awe before this piece of art, this rich tapestry of sounds, pulling from all corners of music, kept together by incredible songwriting, musicianship and most importantly, Cammie's generational voice. The album starts slowly with moody guitars and atmospheric cymbal work, that quickly evolve into heavy doom metal chords, hinting that their more extreme side is back. After a quick tempo increase, Cammie's cleans get even more epic, then, out of the depts of hell itself, comes out a deep, guttural and savage death growl and alleluia, the extreme part of their signature extreme progressive metal sound is back! Fitting that the first growled line is: "Dante's inferno deep and wide". But there's something that doesn't sound quite the same… The growls sound different. After reading a bit I was amazed to see, that's because Cammie does them all herself! Follows a wide range of crushingly heavy sections, softer more emotive moments all wrapped up in a mysterious atmosphere. Every single song is unique, all with their own twists and turns, making the 57 min runtime an exciting journey full of surprises. 2024 is the year of prog!
-Raphael

MetalBite's Rating: 9.5/10