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

October - Top 10

Welcome back to MetalBite's Top 10 Albums of the Month! October is always a huge month for new albums as people gear up to make the year-end lists which dominate the internet, and 2024 is definitely no exception in that regard. There's 33 albums on this list, which isn't a record (I think the most we've had in one list is 36? I'd have to check) but you gotta remember, we only include stuff we like on this list. We sort through the oceans of mediocrity so you don't have to. Now, let's get on with it.

-Nate

HONORABLE MENTIONS

1349 - The Wolf & The King
Season Of Mist

Yet another helping of blast-heavy, thrashy riffwork from some of the most consistent veterans of the Norblack scene. Is it better than Hellfire? Of course not. Is it in league with the rest of their post-2010 material? Absolutely. You always know what you're getting with 1349, and it's hard not to enjoy.
-Nate

Allocer - Ad Nauseam
Independent

This EP from the Sherbrooke based melodic black/death metal band starts really strong with the instrumental Intro which sets the tone for the 5 following tracks, nothing overly fancy, just pure black with a tinge of death, adding an extra oomph to the instrumentation. An impeccable sounding black metal mixed and mastered by Fancois Parent at AudioLab, it has the perfect rawness you expect from black, while simultaneously having every instrument clear as day in the mix, each contributing to the atmospheric grandeur. If you're in the mood for a melodic yet evil sounding EP, this is for you.
-Raphael

The Holy Flesh - Advocate, Martyr And Redeemer
Caligari Records

The Holy Flesh was actually one of the first bands I reviewed back when I first started geting involved with MetalBite, and although in that piece i noted I was excited to hear more, time and an avalanche of new music to check out buried this intriguing project deep in my memory, and it's only now that they've put their third full length out that I've been snapped back to attention. Emissary & Vessel was a solid start that tapped into a delightful sound that promised more as time went on, and Advocate, Martyr And Redeemer delivers on that process, with a bit more expansion into conventional extreme metal to the benefit of the intriguing, inviting riffwork. The production ismore polished and professional, but the music is not more streamlined. The signature eerie melodicism has been kept intact. The drum programming (I'm assuming it's programmed, I don't have quite the ear to decipher if these are being played or recorded, but my instinct leans towards the former) feels more natural but knows to never take the spotlight. This isn't qutie the oddity that Ved Buens Ende and Fleurety are, but I'd still recommend it to fans of their 90s material.
-Nate

Valletta - Summer
Independent

Can't say I am a massive black'n'roll fan, but with the right balance of influence and spices it can be a ton of fun. Valletta bears some similarities to Midnight if you swap out Satanic sleaze for a bit more maturity and composure. There's still a ton of stomping rock beats and immediately infectious riffwork, but it's more understated - not trying to be any more than it is while still understanding that it doesn't benefit the songs if they take themselves too seriously. The snarling yells give it an undercurrent of grime, and maybe this is off base but I hear a tinge of midpaced doom metal a la Cathedral without the stoner vibes. Worth a couple spins if you're a fan of the style, but because of the seriousness giving it some mystique, I'll also recommend this to extreme metal fans. They may not get wind of it otherwise, and I actually stumbled upon this project myself through its member overlap with Mo'ynoq, one of my favorite modern USBM bands.
-Nate

Visions Of Disfigurement - Vile Mutation
Realityfade

No thoughts, no emotions, only slams. The production on this is pristine, polished and drives the riffs into your brain with the precision of a surgical drill. Every chug hits you like a 5 pound sack of ground beef straight to the face. This won't blow your mind with its originality, but that was never the intention.
-Nate

Ensiferum - Winter Storm
Metal Blade Records

For me, the transition from Jari Mäenpää (yes, this Jari) to Petri Lindroos (previously from Norther) was seamless, it's only in the 2010's where Ensiferum lost me a bit. I realize, writing this, Jari left Ensiferum 20 years ago and now I'm sad, I'm so fucking old… Anyway, back to Winter Song, I liked Thalassic quite a bit, the addition of Pekka Montin on keyboards and clean vocals was a nice change, leaning on their power metal side, with Pekka's grandiose cleans. With Winter Storm, they continue on the path of Thalassic, bringing infectious folk melodies with an expertly played and composed metal skeleton as a foundation. It has some flaws, of course, like the song Scars In My Heart, which is clean vocals only, provided by Madeleine Liljestam, from the symphonic metal band Eleine, unnecessary instrumental short songs and maybe shorten some of the longer songs but all in all, it's an enjoyable folk metal album. Listening to the first album just before, you realize how flawless the production is, all instruments are crystal clear in the mix, the vocals are perfectly balanced and everything sounds perfect for bringing my inner Viking out!
-Raphael

Feral - To Usurp The Thrones
Transcending Obscurity Records

The Buzzsaw tone of the Boss HM-2, is there something more iconic, it's like a fuzzy and warm blanket, enveloping me in comfort, a disgusting and putrid warmth. What follows is a roller coaster of old school sounds, with only the quality of the production as hint this is not 1990. You have your groovy songs, doomier, slower moments, thrashing raggers and even some fast and punky vibes on a few songs. And always, fast, short and sweet, impeccable solos. Just 47 minutes of pure, unadulterated fun!
-Raphael

Ashen Tomb - Ecstatic Death Reign
Everlasting Spew

If Sentient Horror was the Swedeath worship album to check out in October, Ashen Tomb is the Finndeath equivalent. The key difference is that this band is actually from the country that the style they're trying to replicate is based in. The slower, churning moments remind me a lot of Convulse and Abhorrence, and the band understands that less is more, sounding full and developed but not adding too many garnishes at the expense of a memorable listen.
-Nate

Sentient Horror - In Service Of The Dead
Redefining Darkness Records

Bit of HM-2 worshipping riff salad. It's a satisfying listen that captures the glory days of Dismember through a refreshed, 2024 lens. There's not a lot else I can really say, it's just a well-rounded piece of death metal that's unlikely to draw in a ton of new fans, but should satisfy those who know and have been faithful to this New Jersey group.
-Nate

The fourth full-length by these Americans sounds dirtier than the last three ones. Of course they still worship old Swedeath, but the production and (really sick) guitar solos reek of good old Autopsy. Oh, and Morbid Angel. This is a very uncompromising, fast album with almost no mid-tempo parts but a lot of blast beats. A song like 'Undead Mutation' is a crazy and brutal brainfuck.

Because of the American OSDM influences, In Service Of The Dead is quite different from the rest of Sentient Horror's discography, so try before you buy if you are used to their previous full-lengths. But it's hard to deny the sheer brutality of this album.
-Michael

Oranssi Pazuzu - Muuntautuja
Nuclear Blast

Well-established as one of the weirdest black metal-adjacent bands on the planet at this point, there's not a lot that Oranssi Pazuzu hasn't covered in their 17-year career. Muuntautuja shows the band drifting even further away from their roots…or perhaps they're even closer now, given the predecessor to this band was a surrealistic rock group called Kuolleet Intiaanit. It's near impossible to draw a line from Transilvanian Hunger to this band - there's harsh vocals, there's loudness and distortion, but the surrounding elements presented with it range from a whole whack of genres I don't even listen to enough to properly describe. Psytrance? Post-punk? Industrial? It's all in there, as described by folks more entrenched in those genres than I am. Whatever your usual bag, these Finns consistently provide compelling, unique music that constantly pushes the band's own boundaries, and if you're a fan of unusual, artsy music - no matter the genre - it's in your best interest to hear what these fellas have to offer. Especially now.
-Nate

Infern - Turn Of The Tide
Dolorem Records

Now that Turn Of The Tide comes breaking down us, this lethal strike brings very misanthropic and hateful death metal with extremely tight riffing with dry blood-curdling guttural vocals and double-bass drumming, with its dark output and feel that's highly reminiscent of classic late 80's/early 90's death metal acts such as Bolt Thrower, Asphyx and Autopsy. From the very get-go, Infern instantly establishes the intimidating mood and grotesque nature of the album with their bone crushing performance full of anger and testosterone, and along the way they manage to keep it constant and heavy. You will encounter plenty of slow and brutal songs that express intense heaviness and wicked horrific atmosphere, with occasional death-thrashing moments that come charging like troops on the battlefield. Although many death metal albums tend to keep their songs on an even level of heaviness and brutality, Infern does the opposite by getting heavier as the album progresses. The highlight of this album apart from its intense and tight performance is the atmosphere, which gives a strong feeling of impending doom that lurks like a beast in the dark, striking hard and wild when Infern goes absolutely berserk. Personally, Turn Of The Tide wins a lot of points for hitting the right pitch with its berserk quality and wild performance that stays strong throughout the entire album. Infern's debut album is a real treat, an enjoyable death metal record worth checking out for anyone who is into all the highly influential classic acts.
-Vladimir

Silhouette - Les Dires De L'Ame
Antiq Records

This didn't stand out to me quite as much as their debut EP, which was a top 10 release on the year for me, but now I'm familiar with their sound and this had to compete with a LOT of stuff this month. Still a solid band that should appeal to fans of haunting, ethereal atmo-black.
-Nate

Ataraxie - Le Déclin
Ardua Music

Funeral doom is a niche within a niche, so there's only so many people whose interest will be piqued by this recommendation. Those who do love it should definitely get familiar with this group of French veterans if they haven't already. Very comparable to the iconic Esoteric but with an additional black metal tinge, Ataraxie covers a lot of ground (you'd hope so, given the length) and maintains interest during even the most drudgingly slow sections. Six albums in and three-fifths of the band (guitarist, bassist/vocalist and drummer) being there for all of them, this has the kind of fully realized sound and chemistry between members you'd expect. Tinges of hopeless despondency and weighty, spacious heaviness underscore the potent emotions, making it a real treat for anyone willing to bear its 81-minute runtime.
-Nate

Five The Hierophant - Apeiron
Agonia Records

If White Ward eschewed their black metal influences and listened to a lot more Bohren & der Club of Gore than they already do, this would be close to the result. I've rarely found an album where a well-integrated saxophone didn't benefit the overall listen - especially in metal, where it serves as a connecting midpoint - the smoother tones and the tinge of grit that it gets from being a brass instrument patches together otherwise dissimilar distorted guitars and eerie ambiance. Five The Hierophant make it a main ingredient, and it creates a distinct and enthralling experience for the listener. The careful balance of elements is done with so much artistry and sense of scope that you never desire vocals to be added to the mix. There's enough going on here that it's thoroughly unnecessary. This works great as a background/study listen or as the centre of attention, and it's impressive how accessible of a listen this is while still being very idiosyncratic and weird. One of the more "artistic" metal albums you'll hear this year, if that's your vibe.
-Nate

War Dogs - Only The Stars Are Left
Fighter Records

Spanish heavy and speed metal prodigies War Dogs are back with another masterful album. Sound wise, expect pure traditional heavy metal that often pushes the pedal and crank up to speed metal territory. What is never lost is the incredible sense of melody, frequently having a sing along chorus, full of gang vocals to spice the whole thing. From the acoustic, melodic Spanish guitars of the intro, the heavy, almost thrash breakdowns of The Prosecution, the blazing fast speed metal of Astral Queen, the bouncy groovy riffs of Fallen Angel, the bluesy slower part of the last song, the epic The Vengeance Of Ryosuke Taiwara. The solo of this one is mind-blowingly good! High high quality modern heavy metal.
-Raphael

Gaerea - Coma
Season Of Mist

This Portuguese group has recently emerged as a predominant force in the post-black realm, bearing the torch of the genre like few others do. Though their previous album, Mirage, was a solid effort, I did think it lacked the sense of catharsis that is dripping from the edges of Coma. There's a DSBM tinge to this along the lines of Numenorean, and I've been starved for the powerful higher-register melody they excelled at before they met their untimely demise. The slight augmentation in delivery makes this hit with more immediacy, and it's a little early to call it, but I think this might be Gaerea's best album yet. They know what they are and they know who their audience is, and they effortlessly give them what they demand: lush, expansive bridges between sections of energetic melody, with a resonant, mid-ranged yell punctuating the rich, emotional release.
-Nate

Undeath - More Insane
Prosthetic Records

Lesions Of A Different Kind was one of my favorite albums of 2020, but I found myself underwhelmed by its follow-up. Undeath blew up and hit the Big Boy Tour Circuit and I get the sense everything they did from that point onward was hastily crafted to fit into a live setting.

So where does that leave More Insane? Well, I am including it as an honorable mention, and given that, it is an improvement. I don't think they'll ever top Lesions in my mind, but this definitely has enough groove and punch to appeal to folks who think 200 Stab Wounds is the best new band out there. It still sounds like it was written for a tour - the uptempo modern death metal riffing that drops into quasi-hardcore slams seems designed to convert deathcore kids - but they've gotten more comfortable writing music this way, and it flows a little smoother and snaps my jaded death metal elitist ass back to attention at least a few times.

Definitely not an AOTY candidate, but a solid effort that will please fans of the band and give them more merch to move on tour.
-Nate

I haven't hopped on the Undeath hype train before but I am now firmly in the first wagon, yelling and banging my head! It's at times fast, at times brutal but also groovy and melodic but always technically proficient, high quality, pure death metal. It's safe to say Undeath are on the highest summit of modern death metal. They write such fun songs, paying homage to the old school bands but putting a bunch of various styles and era, of all of death metal, mixed in everywhere, in every song. This means a brutal slam riff can be followed by a fun and upbeat 90's In Flames riff. To Cannibal Corpse and Suffocation, passing by At The Gates, More Insane is a love letter to death metal fans, it's a joy ride through the best of what death metal has to offer, a groovy, brutal and simply, fun time! Another band I need to see live. Plus, I think it's my new favorite death metal cover artwork, by Matthew Browning, gory but psychedelic and beautiful at the same time, just like Undeath's music.
-Raphael

The Spirit - Songs Against Humanity
AOP Records

There's something to be said for taking a well-established style and doing it well. The Spirit are Dissection-esque meloblack for the modern connoisseur, with adherence to tried-and-true building blocks and efficient execution that could only be the work of a German band. That country makes extreme metal with the consistency of an assembly line - and I mean that in the best way possible.

I first became familiar with this group with their 2020 album Cosmic Terror, which had great hooks and played to its strengths, never feeling the need to over-extend itself. The follow up, Of Clarity And Galactic Structures, opted to expand its scope and go for a long-form, almost prog-black style, which I didn't feel was to the band's benefit in retrospect. Songs Against Humanity returns to what they are good at - professional, well-rounded riffwork that immediately sticks into your ears, with a dash of the cosmos scratching any itches for a more profound atmosphere. Three albums in under five years is no small feat - extra props to this band for their productivity and giving us demanding listeners a steady stream of satisfying tunes to devour.
-Nate

Songs Against Humanity has a very clear message – fuck off to everybody. The predecessor was a very technical and bulky album, this one hits you straight in the face. Here you cannot find any strange rhythmic experiments, this is straight death/black metal with a lot of fury. The band started as some kind of Dissection-worship, but these trademarks are almost gone. A lot of inspirations still shine through, like old Paradise Lost or Viking-era Bathory but these are just some small side notes. The bulk of Songs Against Humanity is fast and rapid black/death with a lot of emotions expunged by MT.
-Michael

Psychonaut 4 - ...Of Mourning
Immortal Frost Productions

DSBM is rapidly declining (especially with the recent demise of None), but there are a few bands that soldier on and carry the torch in black metal's most emotional offshoot. Psychonaut 4 caught on near the tail end of the style's explosion in the early 2010s, with their debut full length Have A Nice Trip being notable as one of the few releases on Depressive Illusions records (a label very high on quantity, but not necessarily on quality) that got significant attention. It's easy to hear why Psychonaut 4 has strong enough musicianship that immediately sets them above the pack. Graf is nothing if not a distinct and recognizable vocalist, and he certainly lives up to the subject matter of the songs - his fans raised the bail for his drug possession charge in 2021 in less than a day.

With …Of Mourning now being the band's fifth full length, their style is well established, and as such it is encouraging to see this band still sounds creatively energized and inspired - I guess the drugs haven't worn off yet. The vocals are still intense and varied. They are perhaps used more sparingly than on earlier releases, it's necessary not only to maintain their impactfulness but also to make sure that Graf doesn't blow his voice out - we all saw what happened with Austere. There's only so long you can be that screechy before it wears on you.

Much like Lifelover (the band Psychonaut 4 clearly most wishes they were), they take you on a winding journey with lots of sudden interludes, occasional samples and bits of shoegaze and depressive rock, but they have a flow and maturity to their songwriting that their Swedish inspirators eschewed for more jarring, overt weirdness. Much like drugs, if you take in too much DSBM at once, you should probably seek medical help, but with the proper dosage and time taken to build up tolerance, it can be a uniquely rewarding experience.
-Nate

Notturno - Our
Hypnotic Dirge Records

Psychonaut 4 carries on Lifelover's drug-addled aesthetic and lifestyle, but Notturno carries on their off-kilter musical spirit and uncomfortable juxtaposition of beauty and sadness. Exclusively for the faint of heart to wallow in their own misery.
-Nate

Mindless Sinner - Metal Merchants
High Roller Records

When it comes to oldschool Swedish heavy metal from the 80's, the band Mindless Sinner from Linköping is no stranger, especially since they are one of the reasons why we have so many great bands of the new generation like Enforcer, Helvetets Port and Lethal Steel which proudly carry their sacred flame. Metal Merchants showcases a lot of chugging riff work with some fine guitar melodies that rock out with fist-pumping action and entertainment. You will find some amazing heavy metal anthems, such as "Metal Merchants", "Carry On" and the exceptional "Mountain of Om", with all of the three taking the lead with their powerful choruses. The rebirth that started with The New Messiah just keeps getting better - the material still feels fresh and strong as ever before, and on top of that, I really have a hard time believing that Christer Göransson is nearly 60 years old, because his vocal delivery has aged like wine - still so flawless and incredible after all these years.

Metal Merchants kicks ass all the way through with its simplistic approach full of rock-steady headbanging delivery. It might be Mindless Sinner's best album since their resurrection in 2014, perhaps even their best work since their debut full-length Turn On The Power from 1986, but I will leave it up to Swedish heavy metal fans to decide.
-Vladimir

Devenial Verdict - Blessing Of Despair
Transcending Obscurity Records

Ulcerate theoretically broke new and fertile ground in death metal, but the reality is they're a band whose style of dissonance is tough to replicate without being knockoff. There are still bands that capture the essence of it while still sounding like their own thing, and Devenial Verdict is one of them. While they have their share of discordance, it's condensed into a straightforward, mid-tempo package that creates the space to play with resonant and surprisingly melodic guitarwork. The more you get into the album, the less the Ulcerate comparison makes sense - this feels more like a death/doom album layered with esoteric mysticism. The atmosphere sucks you in while guitars keep everything grounded - it's just weird enough to raise intrigue, but it's always done with intention, never strange for the sake of it.
-Nate

Carnosus - Wormtales
Willowtip Records

This was one of my most anticipated albums of the year. Visions Of Infinihility was my #2 album of 2023, and it would have taken the coveted AOTY spot were it not for They Grieve redefining my existence with their monumental live performance. I wasn't the only one who took notice - the immense wave of new fans that Carnosus gained with their album catapulted them into a deal with Willowtip, and they capitalized on the momentum by quickly releasing a follow-up.

Wormtales is a more sleek and professional release - there's fewer riffs that jump out at you on first listen with their sheer awesomeness, but it's done at the expense of a more well-rounded and consistent album. The band is eschewing their death/thrash roots, and all of the characteristics that made their predecessor so great are still there - it just takes more time to get into this album. I'll admit I was underwhelmed at first, but subsequent listens reveal the album's intricacy and quality. Jonatan Karasiak continues to separate himself from the herd as one of the most unique and diverse vocalists in death metal, with a Matthew Chalk-esque toolbox of a dozen different growls, screeches and gurgles that he employs with flair and aplomb. The guitarists are sculpting their own brand of technical melodeath - it's got just enough going on to ensure that no novice guitarists will be attempting a cover, but it's memorable without dipping into a box of stock Black Dahlia Murder riffs. Speaking of - If Papa Trev was still around today (RIP), something tells me this is a band he'd be clamoring to bring with TBDM on a North American tour.
-Nate

Barely more than a year and a half after their monumental release Visions Of Infinihility, Carnosus are back with Wormtales, acting as a prequel to Visions, it builds upon everything Carnosus established before and goes further. More progressive, more technical, more melodic, more death metal! The song writing is out of control, complex riffing, infectious, Decapitated-esque grooves, precise and technical solos, either from the guitars or the bass, impressive vocal performance, it's a tech death wet dream! Speaking of vocals, Jonatan Karasiak is a beast! From the occasional pig squeals, high pitched screams, deep guttural growls, he does it all. If you remotely enjoy tech death, do not miss this album, it always has an impeccable sense of melody, without falling into unending complexity for the sake of it, although technical, it surely is!
-Raphael

METALBITE'S TOP 10 ALBUMS OF THE MONTH

Theurgy - Emanations Of Unconscious Luminescence

10: Theurgy - Emanations Of Unconscious Luminescence
New Standard Elite

When you want the cream of the crop in modern brutality, just check out NSE's latest release. This has a little bit of everything - pulverizing slams, intricate, futuristic lead guitar work, enough pinch harmonics to put Malignancy to shame, some gnarly, last-few-slurps-of-a-slushie vocals from Polwach Beokhaimook, and state-of-the-art hyperspeed drum work from everyone's favorite brutal child prodigy, Nikhil Talwalkar (Anal Stabwound, Bludgeoned, Putridity etc). It has just enough restraint and character to keep it from completely falling apart at the seams while still providing entropic, overwhelming sensations. When you put it all together, it has characteristics of Obscura, Lykathea Aflame, Paroxysm Unit and Defeated Sanity but it's also nothing like any of those - it synthesizes these sounds to push brutal death metal into new and intriguing directions. A live performance is unlikely as every member of the band lives in a different country, but man would that ever be something to witness.
-Nate

MetalBite's Rating: 8.4/10

Bütcher - On Fowl Of Tyrant Wing

9: Bütcher - On Fowl Of Tyrant Wing
Osmose Productions

If there is one subgenre that I would never criticize for its testosterone driven nature, it's the branch that combines black, thrash, and speed metal with a bit of traditional heavy metal elements for good measure. There have been lots of standout releases in this style lately, but I was really curious to delve into the new album by the Belgian band Bütcher. This album presents itself as a nice collection of loud bangers with plenty of heavy riffs, wild guitar solos and occasional harmonies, with the aggressive drums and intense shouting vocals adding more firepower. On Fowl Of Tyrant Wing just doesn't stop giving - especially on a couple of tracks like "Keep the Steele (Flamin' Hot)" that throws in some powerful blast beats during the chorus, or the catchy heavy metal driven "A Sacrifice To Satan's Spawn" that sounds like Iron Maiden and Judas Priest on steroids, or the mystical and borderline death metal styled track "A Gypsy's Tale (Of Sex And Seance)" with bits that remind me of classic Morbid Angel and Mercyful Fate.

Even if this album was a straightforward black/speed metal affair, I still would have been totally satisfied, but Bütcher decided to take things to the next level with each song on the album - it's anything but formulaic, template-based songwriting. You can hear the effort put into the making of On Fowl Of Tyrant Wing - blood, sweat and pure steel was poured into these powerful songs and the execution is more than effective. If you are hungry for blood, fire and death, presented through an outstanding black/speed metal spectacle, then look no further than this beast of an album. It's got action-packed headbanging moments, killer riffs, and delightful surprises that will make you go wild and beg for more.
-Vladimir

The boys from Belgium are back with their blackened speed magic. In the beginning, it seems like they cleaned up a bit of the blackened influences, nevertheless, Speed Metal Samurai is an insanely good speed metal song. Starting with a long scream, à la Rob Halford, that ends a little harsh, what follows is a pure, fast as hell, speed metal song, filled with never-ending melodies, riffs and solos. Keep The Steele (Flamin' Hot) is where they let their blackened heat let loose. Faster riffs, harsher vocals and blast beats but sill with soaring melodies and solos. The totally out of place song would be A Gypsy's Tale (Of Sex And Seance) but hey, if you want to hear a sitar, or the singer death growl, this ones for you. Also, the name… guys, it's not hard to be respectful.
-Raphael

MetalBite's Rating: 8.4/10

Nasty Savage - Jeopardy Room

8: Nasty Savage - Jeopardy Room
FHM Records

Looking back at all the classic bands that I checked out in my thrash metal teen years, it was impossible for me to not come across something cool to listen to. Such is the case with the Florida band Nasty Savage. Despite numerous failed attempts to get back on track, they still manage to remain relevant in the world of oldschool extreme metal. On Jeopardy Room the band provides some nasty and heavy thrashing riffs with banging drums and Ronnie Galletti's intense vocal performance, an incredible display of musical fury that invokes a dark and intimidating atmosphere. A highlight of this album is the nice balance of aggression and atmosphere. You get to experience both for the price of one, and the best thing is that the two really contribute a lot to the overall progression of Jeopardy Room, without ever losing its edge. The further it goes, the heavier it gets, more interesting during the second half when it's goes to the next level with its maniacal direction.

It might be childish, but this album successfully managed to awaken my teenage self when oldschool thrash metal was all I ever needed. I can't imagine not being entertained by this simple yet effective delivery that just makes you want to punch a hole through the goddamn wall. Nasty Savage's three albums from the 80's are still loved by many, and it's great to see the band being very true to its roots and keeping it cool after 4 decades of existence, and Nasty Ronnie is still kicking ass with his vocal performance, because - he hasn't aged at all. Jeopardy Room is a very exciting and engaging thrill-ride of an album that can take you to various places with its solid riffing and songwriting. Nasty Savage is back in action and they are still in their prime, mean and tough as ever.
-Vladimir

MetalBite's Rating: 8.5/10

Hell Is Other People - Moirae

7: Hell Is Other People - Moirae
Transcending Obscurity Records

L'enfer c'est les autres, were famous words from the play "huis clos" written by Jean-Paul Sartre in 1943. Looking at the state of the world, as the Palestinian holocaust is happening in front of our eyes, with images of horrors beyond comprehension, I can't really argue against this statement. Fair warning, this might not be totally objective, being the second release this year by one of the bands of musician extraordinaire, MetalBite's very own, Nathan Ferreira! HIOP operates in a similar sound as French blackgaze legends, Alcest. But, whereas Alcest are known for their warm atmospheres and melodies, HIOP dwells in colder and generally sadder territories. Not to say it's only sadness for 44 minutes, but it's what is generally expressed, or at least, that's what I felt. Musically, one thing that stands out, particularly for this genre, the bass. It's very much present in the mix, so much so, I have favorite bass lines on this album! The drums also sound particularly good, a bit in the background but with the cymbals cutting through the thick atmosphere of sadness, it's perfect. Vocally, Nathan shows us he has quite the range and delivery capacity, in Sentiment Dissolve, his tech death band, he's more in the low, guttural growls with a dose of higher screams, think Beyond Creation, but here, it's higher screams with an extra dose of agony and despair. Even when he goes lower, it sounds extra agonizing. His delivery is also much slower, combined with the fact they're a bit more in the back of the mix, he sounds like one of the ghosts of the album cover. Cover art which is phenomenal by the way, another Adam Burke / Nightjar Illustration masterpiece! All in all, it's the perfect record for the dark and gloomy days of fall.
-Raphael

(Nate's note: Raphael is a sweetheart <3)

MetalBite's Rating: 8.5/10

Iotunn - Kinship

6: Iotunn - Kinship
Metal Blade Records

This could only have come out of a country like Denmark. This has that trademark Danish bounce and larger-than-life aesthetic that I've come to love out of artists like Illdisposed, Mercenary and even The Arcane Order. Iotunn is perhaps the most overblown and grandiose of the bunch. There's a reason their band name translates to "Giant" in English - this album feels fucking BIG. Long songs, cathartic and ejaculatory solos, stomping rock beats over thick chug riffs that make you want to rip off your shirt, start a revolution or beat up the person next to you, and dynamic, falsetto-laden performance from one of metal's most underrated superstar vocalists, Jon Aldara (Barren Earth). There's a dash of extreme metal while maintaining that long-form prog narrative a la Be'lakor, and triumphant melodies drip from every corner. There's not a lot of bands that I would use the word "epic" to describe, but Iotunn is absolutely one of them.

Kinship is a stronger effort than the predecessor - although that had lots of great moments, they sometimes stumbled in terms of generating momentum, and this definitely does not have that problem. The songwriting flows like a river, getting you more fired up the longer it keep playing, and weaves a story that compels you to follow it right to the last track. I'm usually not a big fan of long albums, and this one is over an hour, but it feels like it lasts about half of that runtime because you're just thoroughly immersed in their sound.

I like to give as much credit to underground up-and-comers as I can, because they need the press more than an established band on a major metal label like this - but when the music is this good, I have no choice but to sing its praises. This is a behemoth of an album that is effortless to get into, yet rewards repeated listens.
-Nate

For the second time of the year, Faroese super star vocalist Jón Aldará, is back after singing his heart out in Hamferð's latest album, earlier this year. This time he sings in the Danish band Iotunn. Kinship is an impressive display of virtuoso playing and songwriting. Towering high above, with its impressive 1 hour and 08 minutes long runtime, Kinship will take you in a far away land, where soaring vocals are accompanied by a touching sense of melody, enveloping you in a warm blanket of pure emotions. It takes time to digest such a complex piece of music but if you stick with it, it's a fulfilling experience. The best parts are undeniably Jón's voice and the unending beauty of the well-crafted guitar melodies. As far as vocals go, his cleans are rich, clear, epic and moving. His growls are perfectly fine but not the star of the album, it's the clean vocals who steal the show. Also moving on this album are the guitar melodies, giving you that feeling of butterflies in your belly. There are also incredible solos everywhere for extra ear pleasure! All of this is expertly produced and mixed for a majestic final product. If you like progressive metal, power or melodic death, you will be well satisfied with this release. I surprisingly do not find it too long, it is so well composed, you feel it is shorter than it really is, which is always a good sign.
-Raphael

MetalBite's Rating: 8.5/10

Immortal Bird - Sin Querencia

5: Immortal Bird - Sin Querencia
20 Buck Spin

Beginning slowly and quietly, with an ominous melody, it's not long before the distortion kicks in, with a satisfying dose of dissonance, plunging you immediately in their sick, twisted musical world, which is essentially a mirror image of our current fucked up reality. "Querencia" is a Spanish metaphysical term, and it refers to "a place that doesn't need to be a literal geographic location, but a place where one feels at home or one feels at peace, their sense of self is nourished and restored, a place where someone is wholly authentic and feels safe." Sin is Spanish for without. It really represents what their music feels like, a metaphysical world where you never feel safe, but from all the chaos, comes out a coherent message, everything is connected, musically and lyrically.

In an interview with newnoisemagazine.com, vocalist and lyricist Rae Amitay had this to say: "you can choose one trending topic and then move right along. But it's like, you need to understand that all of it is connected. The fascism and the cronyism and collective unconsciousness across the globe—It all connects into the police brutality here (Chicago) and anti-immigrant sentiment in the U.K. It's all related." Speaking of Rae, their growl is one of the best I've heard in a long time, you can feel the pain, the anger, the exasperation but at the same time, you also feel the will to live, the will to take action and change things for the better, plus, the unexpected vulnerability of the clean vocals on Bioluminescent Toxins is a pleasant surprise. It changes the vibes of the song from an anxiety giving chaos, to soothing melodies. It's an inspiring performance! Instruments wise, we are treated to a whirlwind of complex riffing, dissonant but catchy at times, excellent drumming performance, complex, full of blackened blastbeat assaults and just a fun, hardcore twist. Immortal Bird are fully embracing their progressive side, with complex songwriting and musicianship with a wide array of styles and influence. For fans of dissonant style death and black with a big hardcore influence.
-Raphael

I've always thought previous Immortal Bird albums were solid but the band hadn't quite broken through and were still trying to figure out who they are. Sin Querencia comfortably establishes that they've finally learned how to fly on their own (yes, a bird analogy, aren't I clever). This is a vicious album that smoothly takes you in a bunch of different directions, injecting vitality and emotional resonance through slightly dissonant legato melodies, while keeping the intensity via sludgy fervor. One reason I don't often come back to a lot of sludge metal is because of its reliance on familiar, bluesy tropes - this is a decidedly modern take on that sound, pulling from various tenets of black, death and thrash metal without fully entrenching itself in any of them. It's genre-bending while maintaining cohesion without feeling like a simple hybrid between two genres. Oathbreaker, Cobalt and Witching feel like reference points, but only because they conjure comparable atmospheres - the avenues used to get there are completely different. It might have taken over a decade of gradual evolution, but Immortal Bird are now in league with the heavyweights of blackened sludge/crust. This is unpredictable yet flows like a river, and maintains a seething nastiness even in its most melodic moments.
-Nate

MetalBite's Rating: 8.5/10

Black Curse - Burning In Celestial Poison

4: Black Curse - Burning In Celestial Poison
Sepulchral Voice

This band was built to succeed, coming out of the fertile Denver metal scene with direct links to established bands such as Primitive Man, Spectral Voice, Khemmis and Spirit Possession. That's not just one guy in a bunch of bands, either - every single one of those is attached to a different member. Black Curse channels all of the bestial insanity they hold back in their more "cultured" projects. This is rooted in the intensity of bands like Blasphemy and Revenge, but with less focus on pure entropy and more riffs you can actually remember. Teitanblood is a good comparison, although the drummer has more of a straightforward, hard-hitting blast style here. There's an odd elegance and composure to this without sacrificing any intensity, and it's enough to ensnare a few folks that aren't normally partial to such savage and visceral styles of metal.
-Nate

It's difficult to pin down the precise moment at which Denver, Colorado become the epicentre of global metal, but the number of world-class extreme metal bands that seem to emanate from the Mile High City is way beyond a coincidence. Admittedly not this year's most high profile Denver release (that honour goes, of course, to the tangentially-related Blood Incantation), Black Curse's coruscating follow-up to their 2020 debut Endless Wound is almost certainly the most savage. With a somewhat freeform approach to song structure and arrangement, Black Curse's songs instead ebb and flow, moving like lava into different configurations, fleetingly taking on some kind of logical form, before the next movement destroys and creates once again. On the labyrinthine highlight 'Spleen Girl With Serpent', white-hot eruptions of Marduk-like blasting suddenly protrude unbidden from passages of ritualistic drum tattoos and ambient noise, before the parts re-arrange themselves once more into a lysergic crawl, finally dissolving into nothing after 11 minutes of pure terror. That the band manage to repeat the trick several times across a thrilling album, while remaining horrifically compelling at each turn is impressive indeed, and when the listener finally draws breath at the conclusion of this unremittingly harsh album, it only to proclaim the sheer magnificence of what came before.
-Benjamin

MetalBite's Rating: 9/10

Gigan - Anomalous Abstractigate Infinitessimus

3: Gigan - Anomalous Abstractigate Infinitessimus
Willowtip Records

Gigan is still, to this day, one of the most underrated bands in the cosmic-prog-tech-death sphere. They're a bit too dense and obfuscating to have the same immediate surface appeal of groups like Obscura, Necrophagist and Beyond Creation, and don't have name recognition via relentless touring like Inferi or Rivers of Nihil. They just churn along, doing their own thing, but the intricacies that reveal themselves with focused listens are sure to ensnare any tech stalwart willing to give them proper time and attention.

One of the more appealing elements to Gigan's sound is the organic feel, a rarity in a style so concerned with precision and absurdly polished musicianship. The slightly jazzy rhythms, noisy, static-like ambiance and Hate Eternal-esque chromatic riffing all work in tandem to give the sensation of being in the harrowing vacuum of space. The real key in making these songs sound like natural, one-take performances (even if they aren't) is the production quality, which is fucking excellent. Decorated mixing engineer Sanford Parker has worked on at least four Gigan full-lengths dating back to The Order Of The False Eye, and it's clear he knows exactly what the band wants and how to get those most out of their sound - this is a thick, cluttered production that bears some similarities to a Colin Marston job, but it's able to be loud and powerful while still having more than adequate attention to finer detail. I'm not a sound engineer so I don't have all the terms to properly describe what's going on here, but believe me, this is one of the best and most fitting production jobs I've heard on an album in quite some time.

Of course, a great production job can't overcome mediocre music, but fortunately, with Anomalous Abstractigate Infinitessimus, it serves only to amplify the incredible core sound of this band. Arguably the band's most focused yet expansive work yet, Gigan sounds more comfortable in their weird little niche than they ever have. Eric Hersemann blends mathy tech-death, menacing yet inviting fretboard tapping and polyphonic riffwork with an effortlessness that can only come from an experienced soundsmith who knows exactly what to create. Drummer Nate Cotton sounds more restrained on this album - his third with the band. He paradoxically opens up more breathing room, yet it sounds no less difficult to play. There's more than enough claustrophobia in the soundscapes anyways, so it provides a nice balance. When all of it comes together, it makes for the strongest work in an already deep Gigan discography, and it's one of the best tech death albums of the year.
-Nate

MetalBite's Rating: 8.7/10

Lowen - Do Not Go To War With The Demons Of Mazandaran

2: Lowen - Do Not Go To War With The Demons Of Mazandaran
Church Road Records

London-based progressive doom metal band Lowen released their second album, Do Not Go To War With The Demons Of Mazandaran, earlier this month. I can't find the words to describe the effect Nina Saeidi's voice has on me. Born in England to Iranian parents who fled the 1979 revolution, Nina brings an authenticity, a soul, a character, it's all so refreshing! It feels like I'm listening to a musical, in the halls of a great Persian temple, with the breathtaking Mount Damavand in the background, being watched by the mighty Serpent King Zahhak! Thankfully, he's chained to the mountain so I shall indeed not go to war with him this time. Back to Nina, she pays a touching homage to her Persian ancestors, using traditional Iranian singing techniques, called tahrir, think of yodelling, kind of. Her powerful voice is accompanied by heavy, melodious and complex riffs that sound very modern (almost djent). The rumbles from down below are perfectly contrasted by the divine light of Nina's voice. My knowledge of music theory is very limited, even more so when it comes to traditional Middle Eastern music, but I'm sure they use the double harmonic major scale, which gives that traditional Middle Eastern sound. She also uses a santur, a 50-string traditional Iranian instrument, on one song, adding an extra dose of authenticity. Speaking of, Nina said in an interview with Joe, "Gut Spiller", on youtube: "There's nothing scarier than an angry woman. There's nothing heavier than the pain a woman goes through". This is why women's place in metal is so vital, they bring an authenticity, a different perspective, that men do not have most of the time. That's my kind of DEI! I would love to see them live, to see Nina in those big and beautiful anarkali dresses. A wonderful discovery, for fans of all things "oriental" and progressive metal.
-Raphael

MetalBite's Rating: 9.2/10

Blood Incantation - Absolute Elsewhere

1: Blood Incantation - Absolute Elsewhere
Century Media Records

What to say about this new Pink Incantation record, or is it, Blood Floyd? First of all, if genre continuity is important for you, this one might not be for you, but if you love prog, of all shapes and sizes and expertly crafted death metal, then absolutely do not skip this masterpiece! The album is essentially 2 songs, each divided in three segments for a total runtime of 43 minutes and let me tell you, few things can make time pass this quickly! This is a trippy voyage, inside the darkest corners of the human mind, questioning the very bases of what life is, what's the meaning of all of it and, in the beginning at least, things seem bleak as Paul Riedl delivers the following line in the most primal and guttural growls: "All life is suffering that basks in Nothingness All life is temporary; what lasts is Consciousness". Musically, the darkness is embodied by crushing death metal with touches of dissonance here and there, but always devastatingly heavy and oppressive. The music however, shifts quite dramatically and abruptly quite often to straight, Pink Floyd-esque, psychedelic prog rock. This is where the divide in reactions comes from. From what I've read, you either love it or you absolutely hate it, I fall in the love it camp, one of my absolute favorite bands of all time being Opeth, it's easy to see why. Opeth comparisons are apt, and not really at the same time, yes, they play a mix of prog death and prog rock but their death doesn't sound like Opeth's death and same for the prog rock parts. So, all of that to say, I absolutely adore everything about this album, the Morbid Angel, stupidly heavy death metal to the ambient parts, to soft and psychedelic prog rock, to the sounds of a stream with a flute playing on top. Blood Incantation managed to combine all of their eclectic influences into a single masterful album that still, at least for me, feels coherent.
-Raphael

Definitely a love it or hate it album. It was predictable that Paul Riedl and co. would incorporate some really strange stuff into their death metal - but thankfully it didn't turn out to be a whole ambient album like the last one. I must say, this time around it fits like a glove. Drug-addled Krautrock and ambient interrupt harsh death metal outbursts (where a lot of Morbid Angel influences can be found). Together it's a weird trip through the universe and back.

I can't fully describe the album…it's disturbing, gripping, strange – all at the same time. After many repeated listens, it still grabs my interest. Regardless of what I think, see for yourself – the hype is real, but it's not for everyone and definitely not easy listening.
-Michael

MetalBite's Rating: 9.8/10