Sanakan’s 2012 Year End List

Late as fuck.

Before I get to my top 20 for 2012 I’m starting with an unnumbered underrated records list that accompanies my overall honorable mentions; an idea I lifted from Haxan over at Forever Cursed. A few of the records I would consider fitting for this list end up on my top 20 and as such I’ve just left them off this one.

I’m also closing this whole shitpile with a best live shows list which I thought could be fun. Since I’ve been to quite a few this past year. I'm only listing six since they stuck out the most. I would split this into two posts but why not cram it all into one wall of text.

If you don’t give a shit and want the main list scroll waaay down.

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PART I — Underrated

— HELL - HELL III —

Doom Metal — USA — Pesanta Urfolk / Eternal Warfare

Hell's second record was a huge leap forward in my opinion, and the split with Thou this year offered us one awesome track better than that. Their third album was released quietly and didn't make the cut for many but it is a journey worth joining Hell on.

I will say I prefer their second release and recent split over this record but this isn't far behind at this point. The material here is much different and mighty. A long series of depressive, heavy, despair-laden clean chords, blackened aggression, and fuzzed out sledgehammer blows. It's just about as heavy as the new Pallbearer but obviously in a different style.

Two tracks, each one a monolith of brimstone and smoldering souls that have that hint of Americana twang. "Decedere" contains gloomy operatic vocals; something I don't normally enjoy but the pieces surrounding this are more than enough to keep me there. And the way it fades back in on an very down acoustic melody at the end is really haunting and beautiful.

III's atmosphere is acrid, bitter. Doom that imitates the groans of tectonic plates grinding against each other. However it got lost among the multiple heavy hitters of doom in 2012 so I'm giving Hell's lates LP a mention here. Go check it out and absorb some underrated top notch doom.

— TESA - IV —

Atmospheric Sludge/Post-Metal/Post-Rock — LATVIA — OSK Records

There's no way this wouldn't make it on here somewhere. These Latvian's leave me in awe of their soundcraft.

I would argue Tesa is a perpetually undiscovered great in the whole post-metal/post-rock game, but since the field is overcrowded as it is I can’t really bitch about it.

Their latest work is admittedly not as great as HeartBeatsFromTheSky (not much is) but the effort is not for nothing.“IV” still houses an enchanting collection of sounds divided up into three parts, the final one being a titan in length and atmosphere.

Whatever it was on HBFTS that made that thing shine so bright is not completely present here, this is true. Tesa are still a band that bring something unique and phenomenal to the post-etc. label and I'm glad they finally resurfaced with IV . It's just too bad they're largely unrecognized.

— BLUE SABBATH BLACK CHEER - THE BOUNDARY BETWEEN THE LIVING AND DECEASED DISSOLVED —

Noise/Industrial/Death Industrial/Power Electronics — USA — Equation Records / Dead Accent Records

BSBC reside in a genre that is not likely to show up on too many year end reviews, unless their from a specialized source.

Enormous gongs crash throughout the beginning and end of this record, and between that is such a horrifying build of sounds and the most  alien, monstrous vocals that I get chills once in the thick of it.

The horns blare eerily and the cycling grain behind the rumbling create a very apocalyptic sound, expanding and dissipating until a final eruption that levels the landscape. You wouldn't know this is a live recording if it wasn't labeled. The atmosphere translates without one break, and it is a harrowing atmosphere.

  I'm not saying this is even remotely accessible enough to garner mentions like Krallice bu still fell this and BSBC are underrated. It's not a daily listen but it's a consuming one once you get to it. Big praise to this disturbing encounter.

(No samples, sorry)

— SONANCE - LIKE GHOSTS —

Atmospheric Sludge/Doom Metal/Post-Metal/Experimental — UK — Self-released

I wanna thank Haxan for tipping me off to this. Sonance dropped a mighty debut in 2012, what I would sloppily describe as GY!BE-goes-doom, and these UK droners deserve some praise for the ambitious nature of Like Ghosts.

I would argue they did what Godspeed does better than they do the same year, the droning strings, ebbing ambience and synths space this dying distress signal in two parts out around pepperings of mountainous doom.

The two 20 minute tracks are expansive and gloomy the majority of the time but there’s some heavy plodding angularity amongst the churning builds and the deep creaking vocals in part one. Part two is very ceremonial-feeling, steeped in a heady drone that grows and fades slowly wrapping you in a ghostly, warm trance until the last 5 minutes — the doom returns with a crushing series of riffs. Those last moments hold you down as the bass stands alone clobbering you with that groove.

One to watch guys. Sonance come out of nowhere with an impressive exploration in ambient doom, and if they can do it again as good or better in the future I’ll be right there to lap it up.

— FALSE / BARGHEST - SPLIT —

Black Metal — USA — Gilead Media

The first of two awesome splits from Gilead Media this year I was quite anxious to hear. I saw both these bands perform material off of this split at the Gilead Media fest a few months before it was out. Hearing new shit for the first time live there was False in particular drew a huge crowd and it was real lively. They’re a good combo and nice contrast on one record exploring black metal in different directions.

Both bands have released stuff in the last few years I’ve loved and this is no different. The new False track “Heavy As A Church Tower” is huge, heavy and complex, a little bit symphonic as well progressing nicely from their EP. Not to busy, Rachel’s vocals are sick, and I’m enjoying the doomy moments a lot between the hostile batterings.

Barghest bring a new track (“Inhuman Hatred) and a reworked very old track never officially released (“Shifting Sands”). The latter sounds much better cleaned up and is vaguely sorrowful while the former is stripped-to-it’s-essence black metal, buzzing with only a few riffs; the second half is more compelling.

Two excellent bands from a great label making wonderful music together, and while I’d say False come out on top here the split as a whole is far from disappointing. Somehow it escaped quite a few people too.

— FHOI MYORE - FHOI MYORE —

Black Metal — FRANCE — Ancestrale Productions

Another obscure grass roots French horde that shows a great enthusiasm for writing grand and melodic black metal on the more orthodox side of things; keeping everything in their wheelhouse.

There’s some pretty wicked drumming found throughout this debut blanketed by a great stream of crisp, sad and melodic riffs set at an urgent pace most of the time. Production is notable as well, pumping up those aspects. Errances, Forest, and Caer Malod stand out for me as three of the more gripping songs

This is a great accompaniment to the new MGLA record I would say, or even Taake, as this self-titled album has a similar aggressive but beautiful luster.

Fhoi Myore is a perfect example of passionate black metal in line with the German or Polish clans with some small French influence. That influence is more audible in some of the faster paced songs later on in my opinion, where I hear bits of Children of Maani.

What Fhoi Myore do they do exceedingly well — as well as other bands getting more attention. So I think they deserve a few words here. There was so much good black metal this year that inevitably a few good records will be left out.

— PAROXSIHZEM - PAROXSIHZEM —

Black/Death Metal — CANADA — Dark Descent Records

A reasonably young Canadian death metal group who’s first full record went under the radar last year despite it crushing the skulls of whoever heard it. And because it came out later in the year I don’t think it got the proper attention. I actually know several of the guys in Paroxsihzem so I did manage to get a copy before the year ended.

Paroxsihzem are embracing a slightly different shade of the recent wave of Canadian blackened death metal, thematically grounded in world history and war while projecting their message through dark serpentine, chaotic riffs cavernous roars, and monstrous drumming. You could definitely argue that this fits somewhere in the realm Mitochondrion, but less twisted or occult-based and more furious, raw.

Gotta say my favorites are “Vanya”, “Deindividuation”, and “Tsirhcitna Eht” — especially that last song, truly wicked. The intro is a great ceremonial riff and not just a throw-away thing, and the rare time a sample is used I’m pleased to hear it’s former US Defense Sec. Robert McNamara referencing the danger of rational individuals in Cold War circumstances. The riffs are fucking vicious on every track, and the percussion even more violent.

This was an unexpected and very enjoyable surprise at the tail end of 2012. Paroxsihzem released a relentless assault that should get some support. Definitely an underrated record in the 2012 death metal realm.

— INSTINCT - THE BLACK WOUND —

Black Metal/Depressive Black Metal— UK — Ancient Trail Recordings

A fetid blackened cloud, The Black Wound washes over the listener like a rising sickness. This is the first record I’ve heard from the one man project (two guys on this one) and it’s a very dense, melancholic release at that. Only three tracks but one hits 35 minutes alone, that being the final one which is awash with spectral ambience and churns like a cosmic sea draining at a crawl.

Couple this with the trancelike chords and riffs building growing, suffocating one another and the drowned but desperate vocals the album doesn’t feel so long. The final ambient moments might wear on some.

I have no comparison to his previous outputs but Instinct’s 2012 record was an oppressive and bleak journey worth a mention despite not being one of my most played. Go listen to this.

— SO STRESSED - ATTRACTED TO OPEN MOUTHS —

Experimental/Punk/Hardcore/Post-Punk/Post-Hardcore — USA — Music Ruins Lives

It seems So Stressed are traveling the same spacious, gnarled and hazy jungle of experimentation that Wreck And Reference followed Have a Nice Life into; only a more toxic and bright section of it and from a different direction.

A punk and hardcore direction specifically. On Attracted To Open Mouths So Stressed deliver something unique and interesting that crosses over genres, confusing and intoxicating whoever listens, and I’ve been coming back to this interesting release all 2012.

Shit like “Little TV” has a punk energy and retro blurriness that sounds like its coming from a late ’80’s video game (the vocals here are sick), or "Animals Seeking Political Asylum" which melts in and out shoegaze dreaminess and mid-paced digitized post-hardcore to great effect.

The only reason this isn’t higher or on my main list is the improvisational wackiness in “Hairstyles”, and prolonged moments like it (admittedly few). It just does nothing for me.

Outside of that this is a great little record with a big sound and toxic atmosphere but not much hype behind it it seems. There’s a less spastic, more electro-doomy Daughters vibe radiating from this album and it’s worth your time to enjoy.

— GODSTOPPER - WHAT MATTERS —

Experimental Sludge Metal/Doom Metal/Noise Rock — Canada — Self-released

I saw these guys at the last of the three Mare reunion shows in Toronto, and while they didn’t make a big impression on me I was interested in what they were doing. This is their first record which I think was released around that time because I recognize a big chunk of their set list here.

Coming back to it a few months later and by the end of the year I have to say I’m enjoying the misshapen noise-rock/doom that these Toronto residents have come up with here. What Matters has a subtle avant-garde flair while maintaining a bizarre accessibility and grooviness, and it has gone largely unnoticed.

This is a case where I can see why some might not like the taste immediately, the awkward lumbering between melodic upbeat chords, the clean vocals (male and female), the at times mechanical pace. It can be hard to get into.

There’s a few missteps here and there arguably, but when they nail the sound and formula — for instance on “Temples”, “Clean House”, or “Lyman” — it’s refreshing and heavy. Like a less schizo Oxbow.

I’ve seen one or two mentions of this one but not enough. Definitely give it a chance go listen to it on their bandcamp.

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Recap:

Godstopper - What Matters

So Stressed - Attracted To Open Mouths

Instinct - The Black Wound

Paroxsihzem - Paroxsihzem

Fhoi Myore - Fhoi Myore

Blue Sabbath Black Cheer - The Boundary Between the Living and the Deceased Dissolved

False / Barghest - Split

Sonance - Like Ghosts

Tesa - IV

Hell - Hell III

Regardless of the lack of attention in 2012 all of the records on this list are strongly crafted and fairly distinct in some cases, impressing and intriguing me while holding my (and a few other reviewers’ too) attention. I think you should give some praise to them as well.

There’s more that’ll show up on the honorable mentions. That’s the appetizer, scroll down for the main course.

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PART II — Top 20 & Loose Ends

(Me at the Gilead Media fest last April during Thou's set, Matt on guitar to the right obviously)

Fuck it let's get down to business. SCROLL DOWN!

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#20 — WITCHRIST - THE GRAND TORMENTOR

Black/Death Metal — NEW ZEALAND — Osmose Productions

Another record that had its work cut out for it following a much praised debut. The direction Witchrist took with The Grand Tormentor was different, a more bestial rather than raw/occult, but I did not enjoy it any less. Filthy, chunky death metal of which I have been returning to frequently.

Instead of slithering in the bloody and muddy pits of the occult like Beheaded Ouroboros this record basks in the open blaze of the celestial battlefield of ancient ages. Witchrist can do both so well apparently so as long as you're not completely set on "Beheaded Ouroboros II" this is a no brainer.

The opening hymn after the intro is a sluggish dirge, only at the end breaking open to show the other side of their assault. Then into the title track which is one of my favorites — a much more coarse, fierce gnashing of their death metal maw. Aside from the title track "Cast Into Fire" and "Meditation For Sacrifice" are up there as well, displaying that ferocity just mentioned and undeniably addictive spiraling riffs.

I've written a bit about this one already. I wouldn't say it's as captivating as previous efforts but the change has not dropped the quality. The Grand Tormentor annihilates regardless and starts off my list strong.

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#19 — CELLGRAFT - CELLGRAFT

Grindcore — USA — Self-released

Aside from a few releases I thought it was a pretty low year for grind. Cellgraft were there to offer up their final record, to satiate any grind fan who remotely likes Insect Warfare and years for their return.

This selftitled white-hot shard of grind derives directly from the aforementioned group’s demo years for it’s sound, as a few members were messing around in Insect Warfare at the time. So rightfully these guys know their shit and have made a few EP’s I’ve found tasty, and if they’re gonna split then no doubt they’d make their last release something nasty.

That’s exactly what this LP is: tumbling chest-first through metal shards, broken glass and AIDS needles at 70 mph kind of nasty. Scaphism nasty. Aside from the first track which is a slow granite-slab beating, the whirlwind that follows is overwhelming .

Hyperspeed, dirty, minute-or-less grind that demands multiple rotations in order to grasp what the fuck just plowed through you. It just sucks they’re gone now. This was a great record for 2012.

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#18 — REVENGE - SCUM.COLLAPSE.ERADICATION

Death Metal/Black Metal — CANADA — Nuclear War Now! Productions

A bestial war assault. Violent, stringing, hateful, and aggressive. The natural progression from all their past efforts, Revenge simply aren’t fucking around. Not that they ever were.

If you haven’t heard Revenge yet you'll find out these guys shred balls. There is no mercy here. Unthinkably fast drumming, warp speed solos, muddy, fast, focused riffs (I can’t get enough of that savage guitar tone )and the most horrifying vocals on both ends of the spectrum. Those lows really are close to Antediluvian’s sour growls. Nuclear powered vitriolic darkness.

Scum.Collapse.Eradication shows progression without contamination and is arguably their most solid material yet. This is a record I’ve done a few write-ups for, so read those and the many others by better writers who agree.

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#17 — RHINOCERVS - RH-12 / RH-13 / RH-14

Black Metal — USA — Rhinocervs

I decided to put these into one slot. Three uncredited demo tapes from the cryptic label Rhinocervs, each one displaying interesting, enjoyable variations on raw black metal and (on the final one) occult blackened death metal.

This is a label I’ve been hearing about for the past year or so but never explored anything they put out. I wish I had. While they have a short list of artists putting stuff out under them it’s these curious anonymous recordings that interest me more.

The whole concept behind this, art over artist, is one I like. And the art here is quality without any doubt, the writing is so focused. Not only that: there’s decent variation between releases — shifting over the course of a tape and definitely between tapes. Whether this is on purpose or simply because each release is crafted by different musicians I’m not sure, but it works well.

I was torn over which one I enjoyed more in 2012. RH-12 contains three symmetrical, harmonized, and melodic tremolo voyages, of which track two and three are the most hypnotic, raw and somber.

RH-13 breaks shit up into smaller, thrashier chunks and ramps up the aggression, progressively becoming more dissonant and resembling death metal. This is appropriate because the final tape would fit well alongside Mitochondrion or Antediluvian. Full on occult death metal rivaling the pioneers out there.

Any one of these three demo tapes deserve and individual spot up here, but I’d rather make room and put them in one. That doesn’t change the fact that these were highly underrated raw black metal gems of 2012 that I’m still thoroughly enjoying.

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#16 — THE GREAT OLD ONES - AL AZIF

Black Metal — FRANCE — Antithetic Records

Obviously anything that combines black metal and Lovecraftian themes will attract some buzz, but because I’m not to knowledgable or into Lovecraft literature etc. it wasn’t a big selling point. On the other hand France has done some nice things with black metal so I eventually checked it out.

Though it was later in the year than I would liked I ended up enjoying this frequently in 2012 once I got to it. There’s this really, really small hint of Alcest underneath the sprawling, oceanic black metal haze on Al Azif which I would normally be indifferent to, but here it actually works well. Not like Woods of Desolation, far more subtle and effective.

Anyway I’m a huge fan of the shining, dreamy dissonant riffs all over this thing, for example the intro to the title track between the slow palm mutes and pinched harmonics. It’s in those parts where you hear a faint shoegaze-y element, or in say the tremolo climb at around 3 minutes into that same track. Near the end of “Visions of R’lyeh is a perfect example of a moment that gets me.

It feels very angelic especially when its a melancholic riff and you can find examples of this all over this record. “Jonas”, the closing track and “Rue d’Auseil” might be my favorites though — that opening riff to "Jonas" is wicked and the progression from it so satisfying; the climax at around 7 minutes in and the faint, murky tremolo riff behind everything. Yum.

The Great Old Ones provide another example of black metal that manages to get supposed hostile elements to coexist and birth something worthwhile. Mesmerizing in its soothing siren ballads I can’t get enough of Al Azif.

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#15 — PALLBEARER - SORROW AND EXTINCTION

Doom Metal — USA — Profound Lore Records

Yep I guess I’m a hack for liking this record as much as I do. I think it’s agreed Sorrow And Extinction is a good record. While nothing new fundamentally it is thoroughly enjoyable and soaked in heavy sorrow (as the title implies), refreshing a more traditional sound. Awesome vocals, solos, climaxes, gloomy atmosphere.

It feels redundant to include it on my list because by this point if you’ve read a minimal amount of year end reviews out there, you’ve no doubt noticed that apparently everyone else seemed to enjoy it too.

There’s always a stigma towards something that suspiciously ends up on a great many peoples’ (industry or otherwise) list, or whatever format it may be. Especially in the underground of music. For a few moments while writing this bland and indulgent wall of text a thread of that shitty attitude invaded me, and I was considering axing Sorrow And Extinction altogether.

Really though the only question that has to be asked in this entire inane process is how much more did you enjoy it compared to other records you’ve heard that year?

To this I answer: a lot more. I would argue this is a very hyped, arguably overrated, memorable, heavy, and passionate doom throwback. Best of the year? For me no, but I still listened to it a great many times. I saw them in Texas a few months before this was to be released, didn’t know who they were, and was impressed by what I heard then.

I hate slipping into that kind of attitude even if their some legitimate group-think going on. Arguably a few other records here could have met the same fate, and it could snowball from there. So fuck that, this is awesome doom back to front and I’m leaving it here. If you want another release in the same ball park that I enjoyed I direct you to Helll's new record.

[Part of the reason I wanted to wait to put this up was so I could catch up on and sift through a lot of records (obscure and relatively mainstream), while being open to another album that sat with me like this one did. Obviously no one can hear everything released in a year but I did my best, and the only one that might come close is Christian Mistress’s Possession. Outside of that and those also mentioned here like Hell in the doom category there weren’t many contenders for me.]

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#14 — PROTESTANT - RECLAMATION

Hardcore — USA — Halo of Flies Records

Nothing like a 20 minute pummeling of prime, bare-bones hardcore and Protestant delivered just that with Reclamation. I got addicted to this thing very fast.

I saw these guys twice this year, once at Gilead Media fest and then months later in Toronto, where I met Corey (real nice guy) who also runs Halo of Flies records and picked up a copy of this and a few other things. They played the first half of this record in the latter show and fuck was it loud and energetic.

Conscious, raw and very tight Protestant have a history of putting out no bullshit hardcore and here it’s even more refined, deafening, and memorable.  Great lyrics that compel you to shout with Corey, who’s vocals are raspy and powerful.

Uncompromising. I found myself spinning this several times in a row when I put it on (which was often). It easily deserves a spot on this list.

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#13 — WHITE LUNG - SORRY

Punk/Hardcore — CANADA — Deranged Records

I wasn’t prepared for how much I would enjoy something like this. I’ve never really been a huge straight up punk or post-hardcore fan, I’ve dipped my toes in before, but this great combo found in Sorry by a female-dominated rising star from Canada’s west coast has caught me and won’t let me go.

It’s really just a fun record with awesome energy and vocals. Old school punk bordering on pop and screamo/noise-rock in a spunky 20 minute package, short without feeling rushed or incomplete. In fact each song is packed with warm controlled chaos. I haven’t heard their first record but if it’s anything like this then I’m all in.
The scratchy, tightly wound twinkling riffs are what I really love next to the vocals. The hooks floor me, both accessible and quirky rhythms trample those who listen with a grin.

Sorry is a magnetic, effervescent blast of punk attitude that I’ve listened to multiple times a day in the last month alone. They’re gaining more mainstream approval as well which I’d say they deserve. It’s not a revolution like Refused but White Lung impressed me in 2012.

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#12 — THOU / HELL - RESURRECTION BAY

Sludge/Doom Metal — USA — Gilead Media / Pesanta Urfolk

And here we have the second awesome split from Gilead Media, once again pairing two excellent bands but within a different genre. A quick dose of doom metal of slightly different styles.

Thou are scheduled to release their next LP June of 2013 and the members have been busy so this was all we got from them last year (outside of a cover); a bit unusual. Hell released the song here and a third LP which I enjoyed, though not as much as the much shorter contribution here.

At this point Thou are one of my favorite bands, certainly my favorite doom band, and looking over their discography you’d be hard-pressed to find something even remotely approaching shitty. The one track on this split (“Ordinary People) follows that path as well, a short and discordant doom skirmish that gets me excited for their next release more than anything. It’s no less oppressive or decimating than their other material, in fact it’s a little more dissonant.

Hell showed their new song (“Sheol”) off at the Gilead Media fest and it flattened me there, the heaviness translating nicely onto this record; short but no less crushing than their usual 20 minute creations. Actually I like this 5 minutes more than 40 minutes on their new LP.

Can’t go wrong with such a tremendous combo of doom outfits. Spun this many times during 2012.

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#11 — WILDERNESSKING - THE WRITING OF THE GODS IN THE SAND

Black Metal — SOUTH AFRICA — Antithetic Records

Yet another black metal record absorbing much of my time in 2012, and one that crept up on everyone I think. Making a huge impact all the way from South Africa, what I would consider a strange place for such a refined, vital and compelling black metal.

Much like False’s debut (and a few records yet to come) I didn’t think it was anything special on the first listen. Good yes but I wasn’t frothing over it. I don’t know why but at some point I put on “River” and it hit me. Knocked me on my ass actually.

The Writing of the Gods in the Sand represents multiple warring factions of black metal in one very potent, coherent, spellbinding record, managing to please everyone I would say. A difficult thing to do these days especially concerning black metal. These guys did it though and without fluffing or sanitizing anything.

It’s a beautiful black metal pearl. There’s a few black metal records I enjoyed and would put ahead of this one for 2012 (as you’ll see) so it’s not in the top 10, however this doesn’t change the absurd strength, imagination, and talent Wildernessking have displayed with their debut; even putting some older bands on the defense.

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#10 —  FAUNA - AVIFAUNA

Ambient/Atmospheric Black Metal/Folk — USA — Aurora Borealis Records

I think Fauna were one of the first ambient or atmospheric black metal bands outside of Darkspace and Wolves in the Throne Room I was turned on to. It wasn’t until recently I returned to their first two records and got far more out of them.. Fauna have a tradition of meandering, folky ambiance paired with blasts of black metal, usually in one big track (later broken up). Their third record is far stronger than anything else they've done and is broken up nicely.

Avifauna had very little chatter behind it by the time it was released. Even less than Skagos’s Anarchic (Gotta thank HSS for tipping me off to both releases) and like said record this new material from the mystic Fauna is a big step in the whole cascadian movement. Minimalistic and both tranquil and disturbing at different moments. It was worth the 5 year wait.

The serious and mystical atmosphere from the acoustic and string sections is striking, while the black metal climbs and peaks passionately, swirling desperately; stepping closer to Fell Voices and Weakling (something I am totally not against). There’s a good deal of growth found in Avifauna and those moments where it’s most obvious feel very Braveyoung/Neurosis/GY!BE-ish rather than just dark ambient elements.

It fits well, for instance the whole creeping singing in the beginning of “Syrinx” reminds me of “The Eye of Every Storm”. Actually that whole segment has element of shit like early Opeth and Metallica’s “One” — only darker, more ancient. This might be my favorite though the opener is quite a beast too.

I enter a trance while under this quiet groups primeval gaze. Avifauna is a beautiful mourning groan from the isolated corners in the cascadian range everyone should hear. Underrated, bold, breathtaking.

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#9 — IGNIVOMOUS - CONTRAGENESIS

Death Metal — AUSTRALIA — Nuclear War Now! Productions

The second fiery death metal obelisk from these Aussies, and somehow more cataclysmal then Death Transmutation, more challenging, more abrasive. There were few releases in the genre which matched Contragenesis in 2012.

I remember I got a taste of the title track and “Heirophant” at ROD III in 2011 which only left me wanting more of course. Even on record though it certainly is just as difficult to penetrate as Death Transmutation was on the first few listens, but slowly you peel away at it and the enjoyment gained is exponential on each return visit.

Faster, more complex and ruthless than previous rituals. Like wildfire arcing out ravenously in the wake of a volcanic eruption Contragenesis burns everything to a fucking crisp as soon as you start it up. No weakness, no compromise.

Was there any doubt this would slay? I don’t think so. Aussies once again scorching the landscape from a different and absorbing angle, and I put it high up here where it deserves to be.

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#8 — MGLA - WITH HEARTS TOWARD NONE

Black Metal — POLAND — Northern Heritage Records

Pure, crystalized, polish black metal. MGLA’s previous records were fine, but this is something captivating. The olschool reinvigorated and then some. There’s no doubt this was carefully designed to project that dark, frigid . Every track is strong but it’s the core of this record, tracks two to six, that were instantly burnt into my memory.

With Hearts Toward None surprised me and was ending up on repeat quite often in 2012. The stormy piercing melodies flow smooth like silk across 40 minutes leaving you completely satisfied by the end. Tracks two to six are so powerful, busy and loud, they feel very ripe or full. All of them do but those are the songs where I perk up immediately.

The enrapturing nature of the this blackened blizzard is inescapable.I’m just pissed the cunty Canadian border officials turned them away a few days before Messe des Morts. I imagine this record live would be intense live. Maybe next time. Mgla must be proud of this one. It sounds like a classic already. I fuckin love it, and it seems a lot of others do too. One of the best of 2012.

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#7 — SVARTIDAUDI - FLESH CATHEDRAL

Black Metal — ICELAND — Terratur Possessions

Sometimes being late on the years many great releases can be a good thing. If I hadn’t been tardy on writing and compiling this list I wouldn’t have caught wind of this isolated Icelandic horde a few weeks back, and thus would be missing out on something worth my time. Flesh Cathedral seemed to have escaped a lot of people actually which is unfortunate because it’s one of the better releases in 2012.

Svartidaudi display a unique and powerful style of black metal in four lengthy excursions — culling influence from the sounds of Ulcerate, Darkspace/Necrite/Fell Voices, maybe a little bit of Deathspell Omega and moulding it into their own. Their ability has been honed since 2002 and it shines through brightly here, a spellbinding subtly hallucinatory effort on par with releases of their peers.

There’s only four tracks but they range from 10 to 18 minutes a piece. Despite this each one manages to be greater than the last, packing a great deal of variety and suffocating atmosphere into an hour that feels much shorter. The dissonance is flanked by a tasteful amount of atmospheric builds from the popular US tradition balanced with thrashing elements of the old black metal guard (mixed at times).

This keeps shit interesting and that balance of influences is pulled off very well here, going further by reigning them in and crafting a fairly unique sound with extremely solid material. I feel there’s a few valid comparisons Deathspell Omega but the influence is not just a hollow gimmick here; if anything I think Ascension is a better comparison. 

Spacey, cold, angular, and atmospheric — couldn’t ask for more. One of the albums that stood out for me in 2012. Flesh Cathedral hooked me quickly with some very creative writing and refreshing, gripping songs that blend European and US black metal styles tastefully.

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#6 — WRECK AND REFERENCE - NO YOUTH

Experimental/Electronic Doom/Gothic/Noise/Industrial/Post-Punk — USA — The Flenser

It would be an understatement to say that Wreck And Reference are quite a strange entity. Black Cassette kicked so much ass I was a little befuddled once I first saw this in my inbox and put it on. Different? Yes, as one should expect. Bad? Certainly not. But at first I did not enjoy it as much.

After a year it grew on me and I like No Youth as much as the demo, the heaviness of the prior release translates as strongly but augmented slightly. More gothic and dark, occasionally feeling sooty with subtle far-east textures.

I fuckin love, after the initial build in Nausea, the black metal drumming as the MPC blares an ethereal chord along with the somber vocals. "Obedience", "Cannot", and "The Solstitial" are all intense songs too. "Cannot" in particular, I love the spoken word over the unease strings only to burst into chiming heaviness. Also a neat little touch is the infinite loop at the end of the final track “Edifice of Silt” on the vinyl version; I didn’t catch it at first and absolutely got lost in the drone for a few minutes before I noticed.

Wreck And Reference once again captured my ears for 2012 and I hadn’t even slightly burnt out on Black Cassette. No Youth is evolution both for the duo and for music in their enigmatic plane while maintaining this deceptive accessibility.

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#5 — P.H.O.B.O.S. - ATONAL HYPERMNESIA

Industrial Doom Metal — FRANCE — Megaton Mass

Pulsing, humming, catastrophic. That’s how I would instinctively describe P.H.O.B.O.S.’ new record Atonal Hypermnesia. It was Sagi (who left the blog unfortunately) that turned me on to these guys and it took me a while to warm up to them and this is where I think I’m all in.

Atonal Hypermnesia  is probably their most focused and well written release, exploring the unknown depths of doom metal in the industrial context through four tracks, all almost of equal length.

Of these tracks the stand out is Solar Defrag and holy shit does this track flatten. The way this thing builds is deeply satisfying and it holds that through to the end, all with but a few simple riffs, beats, and some great atmosphere. All four are hypnotizing but this and “Transonic Mahasamadhi” hit the sweet spot on this very focused anomaly.

Like being at the heart of some pitch black galactic machinery. You would think something like this would be one of those occasional listens but I found myself playing this regularly after it was released, much more than their previous stuff despite their being more ambience. It just fits well scattered between the oceanic tonnage of the doom.

This record and the band overall are very underrated French gems in metal today, so if you haven’t heard it go get it. It should be hard to understand why a fan of heavy shit would find great enjoyment in the abyssal, whirling jaws of Atonal Hypermnesia.

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#4 — COWER - MIND OVER MATTER

Sludge/Hardcore/Punk — USA — Self-released

Heard them first on a split with Thou in 2011. Upon hearing Cower then, I thought their side of the split was alright but I was focused on Thou obviously. And because of that I guess I never gave Cower much of a chance or truly heard the brilliance in their technique on those first few listens.

It was different though when I heard Mind Over Matter being vaguely familiar with their sound. This has compelled me to go back and listen to that split and their first two records, which I’m hearing differently to be sure (“Rainmaker”, “Torch”,). I’m incredibly impressed by the band overall but what they’ve done on Mind Over Matter has definitely awakened me to what makes them special.

It’s hard to describe actually. It’s a shapeshifter. While there’s this underlying German sludge / southern rock element Cower play with some interesting sounds outside of that and keep it wrapped up tightly.

Cower’s style is intrinsically pleasing to me. Mind Over Matter has an accessibility that mixes with a slight quirkiness to produce strong, highly addictive songs that are catchy without being generic. When they’re not channelling Cave In through a southern sludge haze Cower revert to more primal hardcore (“The Lonely Road”, “Fifteen”), breaking these moments up with an occasional dose of stoner or doom metal which I enjoy the most.

Skylids and The Secret Garden have two very insidious bass grooves that make the songs sound huge. Those two as well as “404”, “A Rocket Man’s Reality”, “Moving Day” (holy shit), and “Cowboys Pt. 2” are tracks I came back to an obscene amount of times. I think it’s impossible not to head-bang to what’s going on in those songs. They’re all sick. It would be nice to have the lyrics though.

This is probably one of the more underrated and overlooked records of 2012 that unexpectedly packs an enormous punch. Unique without pretension, Cower bring something fresh, rewarding and laid back on this record and I’m glad I didn’t miss it. It’s been on repeat deep into the new year.

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#3 — ANTEDILUVIAN / ADVERSARIAL - INITIATED IN IMPIETY AS MYSTERIES

Death Metal — CANADA — Nuclear War Now! Productions

I’ve already done like three separate write-ups for this record. If at this point you’re surprised to see Initiated In Impiety As Mysteries here, if you need me to justify why a split with two unstoppable, dynamic death metal bands at the top tier of the genre today should be on my year end list then fuck off.

This is a dream combo I’ve been listening to steadily since it was released, the impact of each track amplified exponentially if you’re lucky enough to see them both live as I did. Another catastrophic victory for these two, Canada, death metal, NWN! and anyone listening to it.

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#2 — DEPHOSPHORUS - NIGHT SKY TRANSFORM

 

Grindcore/Crust/Hardcore — GREECE — 7 Degrees Records

Night Sky Transform was my second most anticipated record in 2012 (and 2011 for that matter). If you want to read a breakdown I did one a while back. All I have to say after digesting this over the year is that I’m becoming convinced that the small collective behind Dephosphorus must somehow occasionally reach out to the cosmos and channel an unknowable force to create such compelling, cerebral “grindcore”.

While I still don’t think it’s as concise/perfect as Axiom it’s as close as you can get with a little bit more evolution. As a whole Night Sky Transform was another instance where I was not let down in the least. A near perfect half hour of inventive astral grind with an unearthly presence.

Astral grinders Dephosphorus are solidified as a proven and dangerous force in the various genres they dip into, and the most potent in the cold and distant realm in which only they inhabit. It would be criminal to leave this off any list.

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#1 — AMENRA - MASS V 

(Photo by by Jeroen Mylle)

 

Atmospheric Sludge/Doom Metal/Post-Metal — BELGIUM — Neurot Recordings

This should come as no surprise. Big Amenra fan, highly anticipating new material since Mass IIII (Afterlife doesn’t count), obsessed with their style and sound. Mass V did not disappoint me and was without question my favorite release this year.

I’ll be the first to say this isn’t their best record — while still torn I would argue Mass III is their best — and yes it was a little too hyped compared to previous releases (partly because they’re part of the Neurot clan now). The difference in enjoyment I get from Mass V compared to what I get from either III or IIII is small indeed however.


As with all of Amenra’s records "Mass V" is steeped in a unique energy. Primal, entrancing, and quite desolately ceremonious. Again doing so much with very little and putting their all into it. The formula remains while the structure has changed a little which is a source of criticism or praise depending on who you ask.

Of the four tracks "Nowena" and "Boden" are by far my favorite. The force of these songs is all consuming. They still revolve territorially around familiar riffs and vibes, but slower with fewer valleys/peaks. Those that remain are enormous. Loud, torturous, crushing. Colin’s vocals are hard to beat.

Amenra remain my favorite active group right now (outside of Thou) and they once again show no dip in passion or creativity.  From my perspective Mass V is the first time since between the first and second record their sound has shifted a little, miraculously without fucking up the brilliantly working formula. Their fourth rite is colossal.

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Recap!

1. Amenra - Mass V
2. Dephosphorus - Night Sky Transform
3. Antediluvian / Adversarial - Initiated in Impiety as Mysteries
4. Cower - Mind Over Matter
5. P.H.O.B.O.S. - Atonal Hypermnesia
6. Wreck And Reference - No Youth
7. Svartidaudi - Flesh Cathedral
8. MGLA - With Hearts Toward None
9. Ignivomous - Contragenesis
10. Fauna - Avifauna
11. Wildernessking - The Writing of the Gods in the Sands
12. Thou / Hell - Resurrection Bay
13. White Lung - Sorry
14. Protestant - Reclamation
15. Pallbearer - Sorrow And Extinction
16. The Great Old Ones - Al Azif
17. Rhinocervs - RH-12 / RH-13 / RH-14 demos
18. Revenge - Scum.Collapse.Eradication
19. Cellgraft - Cellgraft
20. Witchrist - The Grand Tormentor

The End

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...

[the following is optional reading, just like the rest]

2012 was alright for music overall, and from my narrow perspective it was pretty good for underground metal and hardcore in particular. A few surprises but in general nothing game-changing despite the very strong line up of releases.

I found it a little more difficult to keep up with music by the end of this year, and actually just in the last couple of weeks started catching up on a huge backlog of records I wanted to hear. It was also more difficult to get a list together in general compared to previous years. This could be due to personal circumstances of course.

Looking over it I noticed that it was a pretty nice year for black metal on various levels, high quality varied blackened troupes abound. From raw and traditional to atmospheric and progressive, across multiple continents. I enjoyed more black metal records this past year than in the past couple I’m sure.

The big difference I felt in the whole year end assessment thing  is that there wasn't such a huge gap in how much I enjoyed the number one and the number two. Last year Giles Corey blew everything away for me, despite the fact that Antediluvian’s LP is some of the best death metal in the last decade. Mass V isn’t that much more impressive or enjoyable than Night Sky Transform or the split, or Wreck And Reference's No Youth for that matter.

I realize this is all speculative, personal and subjective masturbatory nonsense.

As always there’s a few records I haven’t heard so they aren’t up here. A couple of those are one’s I know I want to get my hands on, for example the very limited Antediluvian Logos demo tape (rough cut of their next record); I imagine this one would be at the top of a few of my lists if I managed to get a copy. In the same area Circle of Ouroborous always release a few I can’t get.

Also despite the fact I own the new Swans record and have heard some new stuff live I haven’t listened to it yet. Such a massive record is quite a commitment and I haven’t set aside the time nor been in the mood.

There’s a few other albums that really surprised me but I didn’t put on either list. For example the new Christian Mistress record Possession totally giving me a nostalgia trip with their Megadeth/Iron Maiden/Possessed style combo. Great raspy female vocalist and mountains of fun and addictive metal riffs.

Or HiveSmasher’s return through Gutter Choir, a half hour of grindcore infused technical death metal (under the Cephalic Carnage/Black Arrows of Filth And Impurity banner) in the first 16 tracks, and then another 37 minutes of genre improvisation in the last track. Furious and cerebral.

Another one would be Abyssal’s Denoument which I continuously put of writing about despite really enjoying their odd perversion of angular atmospheric death metal and cloudy black metal. I’m so glad to hear shit like this, Ulcerate-esque tech death but this time with a further twist. Dodecahedron’s debut record approached this angle a little differently and came out with something pretty interesting too.

Two Toronto groups, Titan with Burn and Vilipend with Inamorata, crafted some tunes that were on repeat quite a bit for me in 2012. The former’s sludgy hardcore quenches a thirst not satiated by others and the latter bring back oldschool seething metalcore that is sorely missed. Both put on some great shows too.

On the other end of things there were a few records that I saw lauded over the year and on many year end lists that you may notice didn’t appear here (or on the honorable mentions list at the end). Some, like the new Horseback or Bosse de Nage, I guess I don’t get. Others I just didn't enjoy too much, couldn’t get into or even get motivated to listen to; even if I genuinely enjoyed their debut a year earlier (or previous releases in general). A few of these are the new Bell Witch, Ash Borer,  Godspeed You! Black Emperor, Atriarch, and Neurosis. Remember what I said about Pallbearer and stigma way back up there?

I fuckin loved Atriarch’s debut. It’s a wonderfully gloomy oddball. Other than “Cursed” the new album isn’t doing it for me, the doom element has lessened. Also the opening riff of the first track is exactly the same as the opening riff on the first track of TGOO’s Al Azif (just something I thought was weird). The same goes for Bell Witch. Despite the fact that Longing has two tracks from the demo (which I enjoyed) a lot the rest of the record just doesn’t rouse me.

I enjoy most of GY!BE’s recordings. They’ve been gone a long time and are quite influential so coming back was a little risky. In my opinion this shows in the new one. It feels a little hollow, aside from the first track (which is largely live material that’s been performed for years I believe) the songs feel way too comfortable and ordinary for a band like GY!BE. This is case with Honor Found In Decay too, I like most of the shit Neurosis put out but I feel like this record should be a little more remarkable. Neither are bad just a little uninspired.

Finally, I feel like Desolate Shrine’s and Dragged Into Sunlight’s new records were way over hyped, almost as much as Sorrow And Extinction; except I didn’t enjoy their new stuff as much as I did Pallbearer’s. I’ve seen DIS live (they slay), I love Hatred For Mankind, and I don’t think WidowMaker is bad — just way overrated. Which is the same situation for Desolate Shrine who’s first record I liked but didn’t stick with me.

Alright I’m blathering. I'm done. There’s some desert below if you’re interested.

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Favorite Shows/Events of 2012:

#7 — MESSE DES MORTS II (THURS. NOVEMBER 22ND - SAT. 24TH, 2012)

(Sortilegia on the first night)

Black Metal— MONTREAL, QUEBEC — Katacombes / Theatre Plaza

This would be higher if Mgla and Darkspace could make it. It was still fuckin great. Archgoat, Revenge's first Canadian show, Sortilegia, and a bunch of black metal over three days. Plus I got to go to Montreal and see family.

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#6 — PROTESTANT LIVE (FRI. OCTOBER 5TH, 2012)

(Don't have photos of the gig, didn't bring my camera. This was from their Gilead Media fest set, taken by P.W. Moore)

Hardcore — TORONTO, ONTARIO — Soybomb HQ

Met Corey, the curator of Halo of Flies and guitarist/vocalist of Protestant, who's an awesome guy even in the rain after traveling and shit. Then saw some nice openers (Creeper!), then saw a the son of a media mogul drunkenly hit a girl in the pit and get thrown out, and then saw Protestant tear up the Soybomb half-pipe which was killer.

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#5 — ULCERATE LIVE (THURS. MAY 24TH, 2012)

(Again, no camera. Photos by Greg Cristman)

Technical Death Metal — TORONTO, ONTARIO — Hard Luck Bar

Their shit got stolen and it was their first North American tour but they played an incredible set. As a huge fan I've been waiting to see Ulcerate play and I can tell you they're as loud, heavy, and focused as they are on record. The set list was perfect, I was right up front at a small club with a friend, and the crowd was small because Exhumed were playing not far away. A great show indeed.

(no footage of the show I went to)

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#4 — SOUND ASLEEP OPENING FOR CASTEVET (SAT. MARCH 24TH, 2012)

Doom Metal — TORONTO, ONTARIO — Soybomb HQ

Their only EP is fairly old but easily the heaviest underrated demo out there right now. No label,and they rarely play shows, but this four piece are not to be underestimated. So seeing them live with a friend (opening for Castevet) I was excited. And they played this:

A new 30 minute track that I was not prepared for. Also the venue was the Soybomb making it all the more intimate. I'm just pissed I'm missing their next few shows.

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#3 — SWANS LIVE (THURS. OCTOBER 25TH, 2012

(no footage of the show I went to)

Experimental/Industrial— TORONTO, ONTARIO — Lee’s Palace

Coward live. Need I say more?

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#2 —  MARE REUNION SHOWS #2 & #3 (THURS. AUGUST 16TH / FRIDAY AUGUST 17TH, 2012)

Experimental/Sludge/Doom/Hardcore/Drone — TORONTO, ONTARIO — Sneaky Dee’s / Soybomb HQ

Seeing Mare is a dream come true. Seeing Mare twice consecutively was so sweet I should be in a diabetic coma. Tyler's vocals...

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#1 —GILEAD MEDIA MUSIC FESTIVAL (SAT. APRIL 28TH, 2012)

Sludge/Doom/Black Metal/Hardcore/Grindcore/Noise — OSHKOSH, WISCONSIN — Gilead Media / Electric Lounge and Lanes

This was such a good time. If you want a run down go read mine or the many others out there. While I could just say "Thou played Tyrant, all of it" and that would be enough justification in my mind it was a great couple of days for many more reasons; reasons that should be obvious even without mentioning personal shit.

I hope Adam decides to get one of these together again in the future.

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Honorable Mentions:

Skagos - Anarchic

Lunar Aurora - Hoagascht

Aldebaran - Embracing the Lightless Depths

Diocletian / Weregoat - Disciples of War

Pseudogod - Deathwomb Catechesis

Incantation - Vanquish in Vengeance

Anhedonist - Netherwards

Plague Widow - Plague Widow

Mutilation Rites - Empyrean

Flourishing - Intersubjectivity

Wrathprayer -The Sun of Moloch

Dodecahedron - Dodecahedron
Gets Worse - Gets Worse

A Forest of Stars - A Shadowplay for Yesterdays

Converge - All We Love We Leave Behind

Knelt Rote - Trespass

Hellvetron - Death Scroll of Seven Hells and Its Infernal Majesties

Rituals - Rituals

Kitty Pryde - Haha, I’m Sorry
Dweller On The Threshold - Dweller On The Threshold

Stoneburner - Sickness Will Pass

Circle of Ouroborus - The Lost Entrance of the Just + Abrahadabra

Angantyr - Forvist
Evoken - Atra Mors

Ævangelist - De Masticatione Mortuorum in Tumulis

Rage Nucleaire - Unrelenting Fucking Hatred

In The Company of Serpents - In The Company of Serpents

Abyssal - Denoument

Nothing - Downward Years To Come

Christian Mistress - Possession
Rahu - The Quest for  the Vajra of Shadows

HiveSmasher - Gutter Choir

Bereft - Leichenhaus

Whirr - Pipe Dreams

Vassafor - Obsidian Codex

Death Grips - The Money Store + No Love Deep Web

Japandroids - Celebration Rock
Enabler - All Hail The Void
Fucking Invincible - Very Negative EP
 Antediluvian - Logos demo
Batillus / Whitehorse - Split
Velnias - RuneEater

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The End

[for real]