LISTMANIA 2024: “25 FOR 24!” BY DANIEL BARKASI

(We present NCS writer Daniel Barkasi‘s year-end list of his favorite albums released in 2024 — a ranked list of 25.)

We’re at the end of another romp around the calendar. Yes, we survived! If not, how would you be reading this slop? Mind melding, perhaps? I probably didn’t listen to enough math/prog for Mr. Spock’s logical, technical tastes. Or maybe he does enjoy a dose of pure, unfettered violence once in a while?

We’re definitely not in the age of Starfleet, especially considering the state of this planet. I don’t want to spend a whole lot of time complaining about how it’s been a long year – we indulge plenty in my Obscurities column – so let’s keep that to a minimum here. We moved, went through a pair of catastrophic hurricanes (fuck Florida, seriously), the US proved that it’s collectively braindead, are we’re planning another move for next year. But, in positive news, we rescued another kitten! Her name’s Mabel, and we’re so glad to have her amongst our horde of nine other cats, three dogs, two horses, a bunch of snakes and spiders, and a partridge in a palm tree.

The end of another year is typically a time for reflection, spending time with those you care about, doing fun stuff. We’ve gone to Disney World a lot recently. For many, though, it’s a difficult and lonely time. I’m sure we all know somebody struggling, going through difficult times, fighting health issues. A very good friend right now is going through quite an ordeal, so if you’re reading – you probably will at some point – all the love to you, Darren. Try to lend a friendly ear to folks if you can, and be there for those who need it most.

We’ve got lots of love for you here at NCS, despite all of the vitriolic, loud, pissed-off music that we adore so dearly. My hope is that our many articles have led you to listening to something you may not have come across otherwise, and in turn, making your year a little happier – even if it’s just for a few moments. With my Obscurities column, the aim is to do just that – shine a light on something you may not catch otherwise. If one person found even just one thing out of all of them this year that gave them an ounce of joy, it’s all worth it.

Getting to the nitty gritty, the year in music has been a giving and abundantly fruitful one. The most daunting thought is the sheer number of releases that dropped this year. If you go to the famed Encyclopedia Metallum and search for full-length and EP releases for this year, you’ll get 15,642 entries as of the day of this writing. That’s a shitload, though less than the 17,116 from last year. I personally listened to a metric ton worth of new music, and certainly not all of them great, good, or even listenable. To retrofit Elaine from Seinfeld’s quip about a lost loyalty card for a lousy sub sandwich restaurant:

This of course doesn’t count releases that aren’t even on said archive, of which there are a lot. A few of which appear on this list. The long-winded point is that there’s been plenty to turn your ear, whether you’re a fan of the darker and heavier stuff, or the lighter, more melodious types, and all the nearly infinite sub-sub-genres in between.

At NCS, we’ve collectively devoured more music than the ridiculous number of leftover muffin tops that Rebecca DeMornay rejected. I suppose we’re “The Cleaner” who made dull, listless music go away. I’m sure most of you are over the constant Seinfeld jokes awkwardly shoehorned in whenever even the smallest opportunity shows itself. Well, that’s not likely to go away as long as we’re welcomed in these halls (Islander is wondering why he deals with me at this very moment). As with that scenario, time is of the essence.

With all of the quality that emitted from our speakers, limiting oneself who’s as neurotic as yours truly to 25 albums is a painstaking process – thanks Islander for indulging my indecisiveness. I could list 100 this year, and still feel as if something worthy has been short-changed. The ones that ever so narrowly missed the cut – from the impactful post-metal stylings of Pillar of Light, to the searing black metal onslaught of Beenkerver and Tempestarii, the historical and merciless Griffon, and the memorable melodic black swath that Inherits the Void provided – are albums that just as easily could have made it on perhaps a different day, and are no less worthy of a listen. Additionally, for a bonus dose of silliness, check out Genocide Goose – a black metal album/project that’s about, you guessed it, geese – with the vocals all being honking goose sounds. This follows in the fine tradition of Hatebeak and Caninus, and is absolutely worth a spin…just because.

Keep in mind that the following list is very simply the albums that I personally enjoyed the most from this soon to be passed year. Each connected with my brain in differing, profound ways. It’s by no means intended to be definitive and preachy. These are simply my favorites of 2024, and hopefully you come away with something cool. Or you may not, and think this ’90s sitcom obsessed imbecile is off their collective rocker. Heck, you may still think that, even if you find common ground in this list. No matter! Enjoy the works that I feel the need to spout off about, and keep your stick on the ice.

25. Veilburner – The Duality of Decapitation and Wisdom

To begin, we’re going to get real weird with it. If you’re looking for a band who do whatever they feel like and will never repeat themselves without ever sacrificing excellence, then Veilburner is for you. The oddball avant-garde black/death/whatever metal that this duo constructs is the definitive soundtrack to cerebral madness. Their latest The Duality of Decapitation and Wisdom may be Veilburner’s most out there; a journey that will leave your brain confused, swirling, yet thoroughly enticed and fully bought into the hypnosis they’re selling.

There’s a thematic focus on the historical significance of the number seven this go-round, with this naturally being their seventh record. “Seven songs, exactly seven minutes each, with additional tributes to be found in the titling conventions and lyrical structure” says the band, exploring a multitude of themes that Veilburner describe far better than I. Musically, there’s plenty of cutting black metal at the center of what the twosome are up to, while resembling acts such as Oranssi Pazuzu (who put out a killer one this year) and Arcturus in the weirdness department. Be certain that it’s impossible to put a completely accurate label or one-to-one comparison – Veilburner are indeed a mold of their own creation that has been shattered to pieces.

Selections like “III Visions of Hex-Shaped Hiss, Behead the Howling Spirit” are a push/pull dance with the macabre that’ll envelope one into their mangled universe. “The Duality of Decapitation and Wisdom Part I” swirls with poignant, sinister synths and rending guitar work amongst wildly changing vocalisations (creepily spoken word, devilish howls, shouts, screams, growls, you name it) that turn proceedings on their head on a moment’s notice. There’s melodic moments, bits of pure fury – segments of “Shadow of a Shadow” will lacerate without reservation – and psychedelic haze in abundance.

Most of all, Veilburner have crafted a collection of seven wholly singular songs that fit together perfectly into the colorful mind-altering kaleidoscope that is The Duality of Decapitation and Wisdom. Check all inhibitions and allow them to sweep you away.

 

24. Sun Worship – Upon the Hills of Divination

Comedian and all-time brilliant social commentator (wish he was still around these days) George Carlin famously riffed on the merits of sun worship in his 1999 special You Are All Diseased. True that the black metal band Sun Worship was far from existence at that time, but the loose connection immediately came to mind. The German two-piece have been quietly producing razor-sharp, introspective black metal for well over a decade. Upon the Hills of Divination is their latest astrophysical opus, and to these ears, possibly their most mesmerizing.

Much like Mr. Carlin, Sun Worship unapologetically hold nothing back in their merciless, relentless manner. Yet, there’s an understated elegance between the droning rhythms and fervent riffs. “Within the Machine” begins the 41-minute journey with a more primal, direct lashing than predecessor Emanations of Desolation gave, while “Serpent Nebula” follows with a more melody-infused, transcendental piece that changes the vocal delivery to emulate further emotive heft. Sun Worship is cohesively dialed-in throughout, hammering out crafty black metal that leaves a permanent, deep gash via its violent and forceful nature.

This is an album that I could barely peel away from on its Halloween day release (eventually, the wife and I had to pump out some King Diamond for the trick-or-treaters), and it’s been in constant rotation since. That’s unlikely to change, as Upon the Hills of Divination remains one of the most immersive and raw examples of how steadfast and punishing black metal can be at its pinnacle.

 

23. Still – A Theft

There’s intense, and then there’s intense. Multitudes of levels exist to all points of nuance, of course, and Still aim to ascend the highest peaks of agonized, burning rage. Their 2021 debut { } served as a fine introduction; a collection of unabated, snarling post-sludgy anger. The sophomore effort A Theft brings further focus, torment, and just plain old pissed-off angst that these ears didn’t fully expect.

“Yearn” serves as a swirling, buzzing initiation, choosing larger-than-life riffage transitioning to a slow-moving, yet also defiantly frenetic pacing – captivating the listener’s attention before unleashing the leviathan. Sparks of a Hexis style unchained indignation surround “Only Time Will Tell” as Still batters and bruises, while agilely adding the right dosage of post-grade nuance as to not tip the scales too far in any single direction.

The mauling moves ever forward with post-hardcore meets blackened sludge via “Light” and the counterweight of the dark, brooding counterpart “Dark.” Tiny details reveal themselves with further immersion, and like the best albums of this kind of proclivity, A Theft indeed has much to dig up from under the surface. “Life Eclipses Living” represents this line of thought profoundly, widening proceedings to that of doom-like pacing, but with that lethal post-hardcore edge dragging one into the muck.

I’m glad Andy Synn covered this one in his Best of the British column, giving them their most deserved praise. A Theft is a dense, thick record that doubtlessly challenges anyone who gives it a spin. It’ll take a few listens to fully sink in, and when it all clicks, it’s not going to unhand your attention without a fight. Still fights dirty – pulls hair, pokes eyes, groin stuff, whatever they gotta do. So good luck getting away from A Theft without a few scars, and truthfully, you’ll have courageously earned them.

 

22. Houle – Ciel cendre et misère noire

There are two albums on this list that contain a nautical theme that is part of the fiber of the band’s ethos. France’s Houle is one, providing wave upon wave of soaring black metal that’s ultra infectious and delightfully extravagant via Ciel Cendre et Mis​è​re Noire and its chronicling of the Iroise Sea.

I covered this album in my column for June releases, and at that time the feeling was that it had a chance of sticking around through the second half of 2024, and true to that inkling, we revisited Ciel Cendre et Mis​è​re Noire many times, for good reason. To briefly quote that review:

“Houle conjure a mixture of gripping atmosphere and delectable melodic tendencies, all exploding forth with uncontrollable energy.”

To steal another quote to emphasize the band’s collective talents:

“Vocalist Adsagsona is an absolute revelation, providing a range from gritty snarls to piercing high-register screams, and wonderfully pronounced cleans that are emotive as they are powerful. Every member plays their part admirably, yet their cohesive formation as an all-encompassing and focused unit puts Houle on another level. In all reality, the entire album is a non-stop highlight, but entries like the quick hitting “Mère Nocturne” and the nightmarish pacing of “Sur les Braises du Foyer” are memorable examples to call out.”

Houle crafts black metal that is tailor-made for the thematic direction that they’ve embarked upon, and by sticking to that line of thought, have one of the more standout sound profiles within the scene today, with Ciel Cendre et Mis​è​re Noire representing the abundant fruits of their labor. An addicting album that’s a showcase of a band who possesses those special characteristics to make enormous imprints for a long time.

 

21. Eternal Storm – A Giant Bound to Fall

Pushing and transcending boundaries, taking risks, and making them largely pay off is a feat where many acts don’t quite stick the landing. Eternal Storm have challenged themselves and stepped far outside of any preconceived comfort zone with A Giant Bound to Fall, moving well beyond full-on melodeath to a truly progressive state where they’ve established themselves by their own stylistic merits.

New-ish vocalist Daniel R. Flys (also now of Persefone, who released a notable EP this year) adds new dynamics, both in his vocal talents and writing contributions. The gargantuan swath that is opener “An Abyss of Unreason” serves as a bold statement of intent, filled with synth swells and a back-and-forth pacing that traverses between heavier, crunchy sections and soaring melodies. Within all that, there’s also somberness and a soothing energy in spaces that balance the quicker furiousness that’s present in many of their compositions.

Bits such as “The Sleepers” – complete with a Dan Swanö guest slot (he mixed/mastered A Giant Bound to Fall) – contain ample amounts of melodic death moments that harken to predecessor Come the Tide while also encompassing swaths of pure melodiousness, whereas “Last Refuge” gives the heavier parts that many desire mixed with brighter, emotive pull.

Eternal Storm packs so much into A Giant Bound to Fall’s 70-ish minutes that will absolutely challenge the listener by choosing avenues that may not have been expected, and those who provide ample time to fully digest this thundering beast will bathe in its riches. Having interviewed the band earlier in the year, they collectively cast a wide net of influences creatively, and by doing so, have an album with plenty of staying power and nuance.

I reviewed this album in depth elsewhere, and I’ll conclude with a brief quote:

“What Eternal Storm has with A Giant Bound to Fall reaches far beyond the standard, knitting a detailed tapestry exploding with depth and color.”

 

20. Verberis – The Apophatic Wilderness

Having somewhat slipped between the cracks (though Andy Synn completed a fine career overview), New Zealand’s Verberis have long been a personal favorite merchant of disconsolate heaviness since their 2016 debut Vexamen, always keeping the listener on their toes as to what they may create. Opting for no pre-release hype, the quartet abruptly dropped their third album The Apophatic Wilderness in late March.

As with all of their previous works, no realistic expectation can be laid upon what trajectory Verberis may take, always choosing to modify the mixture to provide a differing brew. With The Apophatic Wilderness, the decision was to lean into bleaker, black metal overtones and, most critical, a more fright-inducing atmosphere that is distressing in the best of ways.

Cuts such as the cavernous, slow vice-grip crush of “The Emptying of God” and two-parter “Arteries Unto Ruin” tear and annihilate with sinister intent and surgical precision. An overarching feel of desolation and distress is portrayed in an aural contortion that’s focused on playing with your inner headspace and conjugating nightmarish, suffocating music that represents a phantom-like presence always breathing right over your shoulder.

Albums with much to unveil over time and indulgence seem to be a theme with yours truly, and Verberis’ latest absolutely falls into that category. Having given The Apophatic Wilderness a significant amount of time when I reviewed the album in April, and additionally throughout the year, what’s proven true is the album’s cold grasp only tightened and I found myself enjoying the album ever increasingly with time. Truly an ominous cloud of death/black that cannot be dismissed.

 

19. Alta Rossa – A Defiant Cure

True to form, the late-comers nearly always have an impact on these end-of-year festivities. I’m not one to push for my list to be completed early, and like to take in everything that I’d like to – at least, what I’m aware of and come across – before finalizing anything. Case in point are the French post-hardcore meets sludge and decides to start a violent ECW-style weapons-laden brawl group known as Alta Rossa. Wordy and a bit out there of a description, sure, but I’ll stand by it.

Having been quite familiar with the dark and gnostic Void of an Era from three years back, it left a lasting impression, being an album we’ve gone to plenty when needing a helping of thumping vigor. The arrival of album number two, A Defiant Cure, caught me off guard, however, hearing about it by happenstance a week prior to its release of November 22. When said date came, naturally we dove in immediately. Since then, it’s been one of the albums that has been played the most in the house, and for sound reasoning. It certainly impacted Andy Synn’s year, with a glowing review and inclusion on his great list.

Some bemoan when hardcore makes its way into the metal spectrum – a notion that’s utterly ridiculous to these ears. Alta Rossa exemplify how hardcore’s unfettered energy and vitriolic fury can be used in tandem with huge riffage and thunderous soundscapes to bear an uncontrollable bastard child of sonic enlightenment. If you’re not entranced by the filthy, mammoth-sized rhythms and illuminating, lightning-quick leads and raspy roars that launch the nihilistic “Exalted Funeral,” not a lot else may entice further. Like Barney Gumble so eloquently stated, “Just hook it to my veins!”

Yet within that wall of fire is subtlety, and yes, even beauty. “Delusion” contains a slowed, pulsating section in the middle of the track that builds incredible tension. “The Art of Tyrant” includes a choir of chilling chanted vocalisations, based on Dora Maar, offering both some of the album’s highest intensity levels as well as nuanced, haunting segments.

A Defiant Cure serves 40-some-odd minutes of fatalistic, virulent, and even hopeful music one would hope to hear. Powerful enough to be a full-on rager, but also incredibly intelligent with much to say on the state of the world that rings so very true. Alta Rossa are undeniably the complete package.

 

18. Kvadrat – The Horrible Dissonance of Oblivion

Spot 18 last year belonged to a Greek band – namely, the riff-tastic black metal of Decipher – and this space will also be taken by a fellow countryman, though musically quite a bit different in substance and aesthetic.

We’re speaking of the dismal, incongruous solo black/death project known as Kvadrat. We reviewed the album as part of our rundown of April releases, and its impact has remained steadfast. Think of the Ulcerate-adjacent style of sucking the oxygen out of the room and filling it with black smoke, darkness, and a total loss of hope. Ivan Agakechagias (check out Comrade Aleks’ deeply intriguing interview), the lone driving force behind the project, is crafting murky, crushing atmospheres like it’s a bodily function. Having stated previously:

“The Horrible Dissonance of Oblivion is as chilling as it comes – even literally, as the track “-4°C” is as icy and frigid as a glacier in the south pole. Riff after riff is emblazoned upon the listener as the whole record is bathed in horrific darkness. Entries such as “Σηπτική ανυπαρξία” are near-surgical in their precision, though the best element is that of patience. Kvadrat almost never opts for a quick strike, instead choosing a more onerous and ultimately rewarding route. Not to mention an overarching vibe that’s a monolith of sinister, twisted formulations.”

The Horrible Dissonance of Oblivion is Agakechagias’ most proficient work yet, and with the path forward as unpredictable as the man’s music, we’ll see what happens next with Kvadrat when it happens.

 

17. Crypt Sermon – The Stygian Rose

This writer’s long-standing love of classic doom is no secret, with Candlemass worship being perfectly acceptable when it’s executed properly. Then we have bands who take those old school influences and infuse their own personality, resulting in something fresh and utterly impossible to resist. Enter Philly’s Crypt Sermon, whose 2015 debut Out of the Garden took the metal world by surprise, earning many glances in their direction. Their second album The Ruins of Fading Light continued their forward momentum and nearly unlimited potential, but it also posed the question of what may come.

That future is here with The Stygian Rose; the band’s most sound, adept, and – most importantly – unparalleled album that they’ve forged so far. Representing an evolved form of Crypt Sermon, the same influences are still there, but the songwriting is fuller and each individual performance is very possibly the most technically and creatively satisfying the band have manufactured.

Opening composition “Down in the Hollow” boasts an infectious chorus and hooks galore, pushed forward by vocalist Brooks Wilson and his hypnotic, crooning delivery, which has somehow further increased in potency. Take tracks like “Thunder (Perfect Mind)” and “Down in the Hollow” for instance, taking a cue from Mercyful Fate compositionally, while putting their own definitive stamp on the pacing and personality. For a riffy groove that’ll stick to your eardrums like glue, “Heavy is the Crown of Bone” will earn much neck strain via repeat listens.

The Stygian Rose is the result of a band who have worked hard and improved both as songwriters and musicians, while also managing to further hone their own style to emerge further from the pack. Crypt Sermon has already solidified themselves to the die-hards, but The Stygian Rose should expand their reach exponentially while simultaneously being their biggest accomplishment thus far. Watch out, world!

 

16. Gaerea – Coma

Having become a predominant force in the black metal realm since the untamed beast that is Mirage, Portugal’s Gaerea have become an ever growing entity – especially on the stage, where we’ve been lucky enough to catch them a few times in recent years, with each encounter being a mind-bending, profound experience. Mirage is considered by many – myself included – to be the album that moved the band up another rung of scene prominence. That puts the burden of pressure on Gaerea to again deliver on the awaited follow-up. True to form, they’ve managed to subvert expectations completely, but also come up with a relatively dramatic change of pace that oddly suits their ever-morphing sound.

Lineup-wise, the item of note is a change in vocalist. As DGR stated in his review of Coma, such a substantial swap changes a band. Though in this case, much more changed than just a shift in vocalist. The band still sounds like Gaerea at its center, but the song structures and approach have shifted away from constant full-on blistering chaos to adding more influences and stylizations to their ever-evolving recipe. That’s the beauty of this band – their willingness to try new things and not compromise on the music they want to create.

The differences are immediately evident on “The Poet’s Ballet” – emitting a previously uncharted brightness along with the usage of, gasp, clean vocals. Now, if you think ‘oh no, they’ve gone soft’ you’d be well off the mark. The track does erupt in Gaerea post-blackened fashion, though with more melody intertwined with the wall-of-sound catharsis that has been so integral. 

Some tracks are shorter and more to-the-point, whilst others add keyboard elements with higher prominence. “Hope Shatters” is an atmospheric meteor of flame with a palpable, but wholly shifted energy. There’s pure power, but it’s wielded in new and intriguing ways. Lead single “World Ablaze” epitomizes the tonal shift well; a three-and-a-half minute post-rock/blackened frenzy with a bigger chorus that hits hard and moves on as quickly as it arrived. Yet, again, this is still very much a Gaerea record. The core elements are firmly present, but the purview has tilted to an at times dramatically different angle. “Wilted Flower” swells with synths and clean guitars that build to the bulkier and more aggressive middle, then signing off with hypnotic singing and the guitar segments that kicked the selection off.

Always expect the unexpected with Gaerea. If one didn’t know that already, you certainly will now after spending some time with this record. Coma as a whole is gorgeous, cathartic, and stirring in a signature way that sounds like no other. My biggest gripe is minor – I can’t stand white shirts, as I’m a sweaty bastard (and I live in a bloody swamp), so there isn’t a chance of me sporting anything from the Coma line unless there’s some other colorations offered. Yet, the bright palette is indeed fitting of both the band’s crucial visual element and the aural space they currently occupy, and it’s a ride that we’re obviously enjoying with enthusiasm – otherwise, Coma wouldn’t be anywhere near this list. Just don’t try to predict where they’ll traverse to in the future.

 

15. Devenial Verdic – Blessing of Despair

We’ve returned to all things dissonant and glum, this time by way of Finnish export Devenial Verdict. Debut Ash Blind was a solid and captivating dip into murky waters, a potential harbinger of what could be. That has now fully been realized in the shape of Blessing of Despair, which is simply more of…everything. 

True that the generalized notion of a leap forward, a natural progression, etc., can come off as a bit blasé, but in the case of what Devenial Verdict has bestowed upon us, it’s anything but listless – in a manner of speaking. What they’ve managed is a metamorphosis not unlike a caterpillar transforming into a butterfly. There’s a beauty in that process, and likewise within the band’s understanding of the basics of all that works in this at times compartmentalized style of death metal, deciding to carefully flesh out those elements with ample flair, and unleash them in a spellbinding haze that rockets the band into the stratosphere.

Moving pieces like “The Quietus” and “Solus” bring foggy progressive elements into the mix of gloomy riffs and snarls to create a freshness for the annihilation. Doom creeps into “Moon-Starved” to produce a massively heavy, unmovable monolithe. Most frightening is the sneaky, droning “Counting Silence” – highlighted by slow-churning guitar rhythms and mischievous twists.

Blessing of Despair seemingly effortlessly drags the listener into a discordant trance, an almost other-worldly, hazy nightmarish fever dream with a void-like, death metal soul at its molten core. Devenial Verdict have always had something special and singular to them, and now that they’ve smashed the barriers down, we all get to enjoy the rotting fruits of their labor. It’s mighty delish!

 

14. Resin Tomb – Cerebral Purgatory

Deathly, grinding, and out of control is a way to describe Aussie newcomers Resin Tomb to the uninitiated. Their debut full-length Cerebral Purgatory is an apt title for the absolutely mad but smart under the surface kind of tunes that beat you over the head without hesitation.

I compared them to Gravesend in my review of this album back in January, and that comparison stands, except what Resin Tomb is selling fits my tastes even more (and those Gravesend folks are amazing). There’s a slight tinge of sludge in Resin Tomb’s sonic profile, with ample parts of blazing death metal and frenetic grind insanity.

To quote my review, as to not reinvent the proverbial wheel:

“Clocking in at under thirty minutes, Cerebral Purgatory is compact, yet brings a mighty pummeling. Would we complain with an added track or two? Absolutely not, but not as if there isn’t enough on offer, but this album is so wonderfully devastating that one can’t help but thirst for more. Certainly not a negative attribute to have.”

Revisiting that, I’d revise that, over time, the run time is just right for what they’re slinging, though again – more Resin Tomb would elicit no complaints. This is a rabid, feral animal of a record, and one of the most biting examples of somewhat controlled musical chaos this year. Also, in my interview with vocalist Matthew Budge (on another site, mind you) earlier in the year, his profound tips for the ultimate Tim Tam slam further appeals to my Aussie snack-loving heart. Yes, I have followed Mr. Budge’s tips, and it was an awe-inspiring experience – much like Cerebral Purgatory.

 

13. Replicant – Infinite Mortality

We dig diversity in our metal in these parts, and when a band exercises that to the highest degree, they’ll certainly have our attention. In the death metal realm, that’s especially needed in the current climate of copycats and riff recyclers gaining tons of headlines. Replicant thankfully are the polar opposite, instead choosing to be anything but what their name ironically implies.

Their brand of dizzying, experimental technical death metal is what these ears direly needed this year, and Infinite Mortality is the cure-all. Tracks such as “Acid Mirror” stand out as technical prowess in a well-constructed formation with a massive punch; “Reciprocal Abandonment” takes some times to dissect the hapless listener; while closer “Planet Skin” is a galloping steamroller of its own mangled design.

This record also serves as a concerted advancement of previous efforts. To again borrow from my review in comparing with their previous material, so I don’t have to conjure new ways to describe what I already have:

“Aside from the music in general being measurably more impactful than before, the band’s songwriting acumen is the spark that allows all of the instrumentation to shine. Replicant also doesn’t shy away from experimentation, which ultimately has led to an expansion of their sound while not losing any of their core pieces. Obviously much thought and care was placed into Infinite Mortality, with the spoils of such effort clearing being showcased.”

Death metal fans of all shades should be able to find plenty to fill their gore-obsessed souls with Infinite Mortality. Replicant provides the chops and riffy amalgamations to gnarl one into a different form entirely.

 

12. Vorga – Beyond the Palest Star

When compiling this list, it certainly wasn’t intended to have four Transcending Obscurity albums all in a row from positions 16-13, but alas, here we are. All of them being vastly different from each other, showcasing both the variety and quality on that label’s formidable roster.

This one, we’re going to focus on the ethereal, cosmic side of black metal. Vorga blew plenty of minds with Striving Toward Oblivion a couple years back, and now the follow-up Beyond the Palest Star further develops the band’s sleek black metal vortex.

Whereas the band’s first full-length was predominantly dialed into ludicrous speed (though I didn’t see any plaid in the artwork), Beyond the Palest Star is a more mature album with gobs of variation. Never more evident than on the first track, as stated in my review:

“On Vorga’s new venture, we launch on the back of “Voideath” to a more overarching opening. A slow, ominous intro sets the scene, and then the blast occurs in gallops of chilling, layered guitars. Loads of crunch abound, followed stealthy by a tremolo that moves to warp without notice. The rest of the six minute plus jaunt exhibits a forward thinking Vorga, constructing ideas that build off of each other to pull the listener along for a neck-shattering ride.”

Guitarist Atlas stated in our interview earlier in the year that they were aiming for a cinematic sound, and they certainly achieved that goal. Tracks such as the dramatic “The Sophist” and the sci-fi inspired “Magical Thinking” express this approach fully, yet Vorga haven’t lost a single micron of their focused, cold black metal affront.

To conclude, another excerpt from my review that still rings true:

“The whole cosmic black metal style has welcomed a number of acts in recent years who have added their own singular observations, such as Inherits the Void and labelmates Imperialist. Vorga however currently have traveled deepest into the bleak reaches of space and black metal, having metastasized a stellar sophomore release that many must take notice of.”

11. Aara – Eiger

Having an album-per-year streak that maintains an upper-echelon standard can’t be easy, but Aara and main composer Berg have done just that since 2019. The year was nearing the end, though, and we wondered if that streak would remain intact. To save the day – and released in early December – is Eiger.

After completing the Triade trilogy based on the 1820 novel Melmoth the Wanderer, it was anybody’s guess of where Berg would go next with his main project, story-wise. He landed on a one-shot concept about the mountain named Eiger located in the Swiss Alps. More specifically, the 1936 climbing expedition of the mountain’s north face (nicknamed Mordwand, aka murder wall, which has taken at least 64 lives on record) that resulted in the tragic deaths of four climbers. Certainly an intriguing subject for a black metal record, and per always, Aara provides a chilling soundtrack befitting of such a morbid tale.

Taken in totality, Eiger is a harrowing, chilling, and grandiose exposition of atmospheric black metal. Berg has the important tool of an organic sense of place around which to form his music, and in this case, one can feel the frigid, icy chill of the merciless mountain. Channeling the awesome power of nature and an unteachable knack for storytelling, Eiger moves between chilling swells of tremolos and spine-tingling shrieks (vocalist Fluss is in tantalizing form), to sobering, airy acoustic pieces that ooze melancholy and the frightening fate of the infamous group of mountaineers.

Take this album as a whole piece of music, as while individual tracks obviously have their merits on Eiger, this is a chilling 55-minute adventure that requires one’s undivided attention to fully embrace. Berg is one of the most gifted curators in the black metal genre, with only one other possibly being his equal – more on them later – and Aara have yet again meticulously built an album in Eiger that pays homage to the story that’s being told while musically fashioning poignant atmospheric black metal that is near impossible to match.

 

10. Hamferð – Men Gu​ð​s hond er sterk

Now that we’re into top ten territory, we’ve arrived at that other record with a nautical theme. Unlike the aforementioned Houle, who utilize a French port as the basis of their storytelling, Hamferð speak of their homeland of the Faroe Islands and the many tragic stories of missing seafarers that make up local legend. Their latest and third full-length Men Gu​ð​s hond er sterk focuses upon a famous Faroese whaling incident that happened in 1915, near the shores of Sandvík, resulting in the deaths of 14 while onlookers in the fishing village looked on, powerless to provide aid. The setting is phenomenal, and unsurprisingly, Hamferð are more than up to the task.

Vocalist Jón Aldará’s stamp is all over Men Gu​ð​s hond er sterk, telling the dramatic and disastrous story with grace and panache. Instrumentally, the album stays mainly in the deeply downtrodden, both pacing- and atmosphere-wise, with sprinkles of the more death side of the equation peeking out from the rough doom waters when the time fits. Cuts such as “Marrusorg” emit a ghostly calm within the airy clean segments, with tensions escalating organically with a sorrowful beauty. Aldará’s performance is hair-raising – his unique voice is one that’s so emotive that one feels the dread, fear, desperation, and mournful sadness as the narrative moves along. The musicianship and songwriting more than pull their individual weights, boasting a deeply careful construction and precise execution, doing profound justice to the subject matter that’s so ingrained in the island’s culture. The album’s peak is certainly “Hvølja”; the track that describes the moments when tragedy struck hardest, highlighted by Aldará’s pained cry when the song reaches its calamitous crescendo.

The band took to great lengths to ensure their handling of the subject matter was respectful and complete. One such detail, which I described in my review:

“The album finishes with a recording of a survivor, according to the press materials, which came from a 1950s radio interview, giving his rendition of what happened and the long-lasting impact felt by the village’s inhabitants. We don’t speak Faroese, but there is a translation in English with the album. Keyboardist Esmar Joensen gained approval to use this recording by visiting the survivor’s daughter in that same village, to which she gave her permission to use it. We’re glad she did, as it’s a poetically depicted piece of history of which Hamferð entangles beautifully with an acoustic medley to complete the album.”

We’ll finish with my final thoughts from the full review, which absolutely reflect my feelings on this elegantly composed work:

“Men Gu​ð​s hond er sterk is Hamferð at their finest; an exquisite remembering of a tragic event, memorialized with astounding care and divine songwriting prowess. Truth be told, it’s not an easy listen, nor should it be – this sort of album is meant to be challenging. To those who partake, Hamferð reminds one of what makes music so powerful and enduring.”

9. Hideous Divinity – Unextinct

Marrying the technical and the brutal types of death metal, Hideous Divinity have always been ahead of the curve. The year of 2024 again saw the kings ascend to their rightful throne, brushing the pretenders away via the grotesque manifestation that is Unextinct. No death metal band takes the best characteristics of these death metal styles and makes them into their own dreadful creature like this group of Italians.

Unextinct conjures a cinematic essence throughout, and with subjects ranging from Nosferatu (visualized via Adam Burke’s gorgeous cover art) to Eugene Thacker’s In The Dust of This Planet, amongst others, that choice is no doubt intended and apt. Don’t let that idea fool you; Hideous Divinity have compiled a collection of raging, caustic, and infectious death metal with an absurd level of pure heaviness.

From the hefty presence and fright induction of “The Numinous One” to the sheer brutality of “Mysterium Tremendum” and the disparate assortment of tension and punishment represented within “Atto quarto, the Horror Paradox,” there’s a high amount of discrepancy provided within Unextinct’s coffers without sacrificing a gram of cohesion. The band’s ability to compose longer-running death metal songs that never lose their fervency is indeed impressive, as is the long-running group’s innate sense of ambition within their clever song structures.

I’ll again refer to my full review for a somewhat silly summation:

“At the end of the day, the phrase “the cream will rise to the top” is an apt statement – both in terms of the late great Macho Man Randy Savage and for quality death metal. Unextinct as a word can be defined as “unextinguished” – a descriptor that absolutely applies to the subject before us. Hideous Divinity are indeed one of the ensembles who are keeping the flame flickering bright. Unextinct is thus far the high water mark of Hideous Divinity’s singular brand of terror-infused death metal excellence.”

Ohhh yeah.

 

8. Múr – Múr

I’ve had a lot to say very recently about the Icelandic progressive/blackened post-metal sensation that came out of nowhere named Múr in my most recent Obscurities column. Since that writing, we’ve only grown more ingrained with what these young stalwarts have to say with their pulsating, rhythmically inclined music. I’ll allow my full overview tell the story, and I believe it should be no surprise that this record has cracked my top ten:

“There are many ways that we discover bands nowadays. Countless hours on The Metal Archives, examining fine websites like this and print magazines (the ones left, anyway), word of mouth, playlists, streaming suggestions, etc. Stumbling across Iceland’s Múr was a random occurrence – a live video from 2022 of the song “Holskefla” – was a mesmerizing affair. A band unbeknownst to me without any studio recordings who possessed an undeniable presence and a booming, powerful sound that stood out.

“Desperate to find more, there wasn’t a whole lot to uncover at the time. However, now over two years later, the band’s self-titled debut album has now arrived with little fanfare or hype, despite the band landing with a big label in Century Media. Even that tasty live recording couldn’t properly prepare my ears for what Múr had in store.

“Their overall sound is a chore to put a definitive label on. Absolutely progressive, but not in ways that would be expected. Thick synthesizers, roaring yet crisp guitar work, and a denseness to their overarching sound are all attributes that form Múr’s foundation. The lead play is silky smooth and infectious, and vocalist/keytar wielder Kári Haraldsson is endowed with a standout singing voice that’s melancholic and filled with heart, and a growl that’s shockingly explosive and fearsome.

“They’re quite the sonic melting pot, but what they’ve put together is cohesive and so expertly written that on first listen, you’d place them for a veteran group who have been around the block a few times over. Take the silky earworm that is the ambitious opener “Eldhaf,” dominated by Haraldsson’s croon and brilliant, virulent lead play that sticks like super glue. If completely unfamiliar, you’d expect more of the same. Then the following title track smashes the door down – a monstrously heavy, thunderous monster that one wouldn’t expect after the established melancholy.

“More impressive still is Múr’s keen ability to conjure enveloping moods that enrapture and captivate. The downtuned menace that is “Frelsari” grinds away, building and building towards eruptions of pure vigor. The chorus vocally is comparable to something twisted that Devin Townsend may develop when he’s in angry mode – high praise as a devout follower of Hevy Devy. There’s a hint of Vola in the electronics present on tracks like “Vitrun,” though what Múr has to offer is far more volatile and untamed than the Dane’s refined compositions. For a to the point firestorm of trance-inducing directness, “Messa” will obliterate via burgeoning synths and a wall of guitars that combine to form one hell of an affront that never lets go.

“The album concludes with a pair of chilling long-form pieces in “Heimsslit” and the previously mentioned “Holskefla,” ending proceedings with a burst of mammoth riffage and unbridled intensity. Iceland has given us countless bands brimming with creativity and cutting-edge music that’s wholly unique to the incredible island nation, and Múr continues that fine tradition. There are no limits for this five-piece, who have provided one of the most striking introductions in recent memory.”

 

7. Ulcerate – Cutting the Throat of God

The reigning rulers of all things dissonant within the death metal sphere, New Zealand’s Ulcerate require zero introduction. No band suffocates and pummels relentlessly like they do, with each album focusing in on new, innovative methods to achieve said sinister goal. Stare into Death and Be Still did, however, place a stake on a paradigm shift in the atmospheric, shadowy direction. These differing shades are further embraced on Cutting the Throat of God, pushing the envelope by way of further intricacy and effusive grandeur.

A few have bemoaned that the band have lost their nerve as recently as the aforementioned Stare into Death and Be Still. This couldn’t be further from reality by my perspective, and I said as such in my full review:

“Some detractors over the years claim that a bit of their heavier edge has been eschewed for more strangeness. While true that Cutting the Throat of God isn’t as directly in your face as, say, their Everything is Fire or Vermis eras – it’s also decidedly more unconventional and expansive. Ulcerate still contains as imposing a level of ferocity as they ever have, but also have revolutionized their sonic profile to be even more distinctive. Nobody really knows where they’re going to go next – other than the band themselves, of course – and that principle brings this ear an abundance of (sinister) joy.”

Trying to fully put into words how Ulcerate have and continue to revolutionize death metal is a difficult task, but we sure give it the old college try. To conclude our sentiments on this brilliant recording, I offer this synopsis:

“Truly every album Ulcerate has concocted possesses an identity unto itself. This latest foray is a juggernaut of dizzying creative impetus; truly maniacal in the most divine of ways. Make no mistake; as any fan of Ulcerate can attest to, the proper amount of time and patience is required to gain the most from the seemingly infinite tension-filled layers within. Doing so is of course more than worth the winding journey. Cutting the Throat of God has a dreary beauty buried deep within its recesses, whilst penetrating the psyche of anyone who fully embraces this profoundly complex record.”

 

6. Nyktophobia – To the Stars

Melodic death metal has and always will be near and dear to this writer’s heart. When it’s executed with care and intricate songwriting, it’s going to catch an eye. Nyktophobia have been one of those acts that are relatively younger comparatively to the longer standing groups – their first album Fallen Empire was released in 2017, and we’re now reaching album number four in 2024 (rhyming completely intentional).

Having featured their latest To the Stars in my column for July releases, the affinity for the record has only spread since. I recall the introduction of keyboards to the melodeath sound split many, and true that many of the more “modern” melodic death metal bands have utilized this tool much to their detriment, ultimately leading to formulaic predictability that’s sullied the viewpoint on the genre for more than a few. Much like Dark Tranquillity have used keys for good and have ingrained them into their sound, so do Nyktophobia, but in a different way. The synths and keyboard passages present on To the Stars are swathed with melancholy and mystery, enhancing the harmonics and razor-sharp guitar work on offer.

Nyktophobia cares about craftsmanship in their music, and that principle elevates the band’s output above most who are propagating the melodeath landscape in the present. From the searing leads of “Farewell” to the downtrodden “The Fall of Eden” and the Finnish-esque melody and bombast of “Millenium,” the band covers a large amount of ground while simultaneously remaining steadfast in their cumulative focus.

Expectations were insanely high for To the Stars, and these gents delivered in ways even yours truly couldn’t predict. To summarize, I’ll defer to the closing paragraph from my column:

“Putting it all together is the synth-filled, crunch-laden journey that is the epic closer “Voyager 1.” Every single nuance comes together in full glory here to send off the album in the best conceivable way. Predecessor What Lasts Forever remains a masterclass in how to write an earworm of a record that hits all the right melodeath notes, yet somehow To the Stars is even tighter and more irresistible. Also, take a gander at the richly detailed cover art by Simon “Totleben” Bossert, bringing the full package together with dystopian style. Nyktophobia is nearly untouchable within the melodic death purview, and more need to know it. Absolutely enthralling.”

 

5. Iotunn – Kinship

The immensely talented Jón Aldará is back, and rightfully so. It’s true that Hamferð is the longer-running project, but Iotunn is the one that dazzled the most this year – though obviously, Hamferð wasn’t far off!

If uninitiated, Iotunn is a predominantly Danish progressive melodic death metal act that started with the 2015 EP The Wizard Falls, which featured Benjamin Møller Jensen on both vocals and bass. When he departed in 2017, Aldará stepped in as the lead singer in 2018 and Eskil Rask took on bass duties the following year. 2021 saw the release of the band’s debut album Access All Worlds, an album that had no equal in these eyes for the year, providing an amalgamation of progressive metal, melodeath, and even a hair of power metal’s palpable energy to a fitting cosmic theme, launching Iotunn’s career into the stratosphere.

Returning with Kinship, the band have taken a different turn, instead choosing a more swooning, melodic, and soulful path. The growls are significantly reduced, and huge swells of Aldará’s soothing cleans are far more commonplace. According to the press materials, the theme is: “The story of a tribesman who is part of a prehistoric tribe. It tells the story of life’s many conditions as themes of unity/disunity, light/dark, body/mind, nature/culture, good/evil, creation/destruction, and human/inhuman unfold throughout the album.” When compared to the instrumentation and atmospherics, that story direction is doubtlessly fitting.

There’s still plenty of heavy, hard-hitting moments throughout Kinship, but the overarching melody, slick and complex songwriting, and deeper progressive characteristics are at the forefront. The decision ends up being an astute one, as Kinship soars, dips, and dives through a harrowing tale that’s easy to immerse oneself into by way of the catchy-yet-diverse musical stylings. The moving and cathartic “Mistland” is a standout, mixing the melancholic with the harsh poetically. “Earth to Sky” provides one of the most infectious choruses laid down during this traversing of the calendar, whilst “I Feel the Night” features a career-best vocal performance by Aldará that’s impossible to resist.

Allow Iotunn to carry one away with a deft touch, for Kinship is a gorgeous nearly 70 minutes of enduring, thoughtful music that shows a band at the peak of their powers, yet with all the promise of reaching higher still. You won’t hear more care and craftsmanship in a musical work all year, while also being a warm, fulfilling, and momentous journey overflowing with utter bliss.

 

4. Cemetery Skyline – Nordic Gothic

So-called ‘supergroups’ rarely produce much of note historically. There are exceptions, but most end up letting you down (looking at you, Coffin Storm). Though that isn’t a certainty, of course, and once in a cold, full moon, one is created that is so freaking good that it defies belief. In the case of Cemetery Skyline, not only is the album pure class, it’s wholly different from anything we’ve heard in quite some time. In truth, maybe ever.

It all started on the 70,000 Tons of Metal cruise in 2020, where Markus Vanhala (Omnium Gatherum, Insomnium, I Am the Night) and another unidentified member discussed creating some gothic metal at a bar on the ship, and here we are. Adding former Sentenced drummer Vesa Ranta, Amorphis keyboardist Santeri Kallio, and the legendary Mikael Stanne (Dark Tranquillity, The Halo Effect, Grand Cadaver) to take the microphone completed the lineup. Sounds too good to be true, but it absolutely isn’t.

There’s an unwritten rule, but the hell with it, let’s write it: If Markus Vanhala or Mikael Stanne are involved in a project, it’s going to be really good at bare minimum. Nothing could have prepared my limbic cortex for their album Nordic Gothic. Being a huge fan of the 90s/00s Finnish gothic metal scene – think To/Die/For, Entwine, Charon, etc. – this record scratched me right where I itch, like when Kramer found out about the wonders of Festivus. Incessantly catchy, moody gothic rock/metal with plenty of gloom, packaged by songwriting that could only result from folks who are really enjoying what they’re creating. To put the icing on the cake covered in midnight black fondant, we have Stanne’s vocal performance; solely utilizing his distinctive clean delivery, he matches the mood and elevates the songs to immeasurable heights.

There wasn’t an album that invoked pure joy this year like Nordic Gothic did. It’s a love letter to a sound that has been somewhat left behind, re-invigorated with fresh ideas by a group of supremely talented musicians who don’t know how to miss. Even if this style isn’t within your typical wheelhouse, give Cemetery Skyline a chance. It may just show one a great time, discovering something you never knew you could dig this much.

 

3. Night in Gales – Shadowreaper

Another December release, though when the most underrated old school melodic death metal band Night in Gales announces a new record – surprising to me, since the last one was last year, and they don’t typically drop something new this quickly – you make a point to check it out. Some may remember that said 2023 album The Black Stream was my album of the year. Another year, another list, and they’ve returned with Shadowreaper in tow.

Yet again, Night in Gales are penning harmonies that are instant earworms, searing riffs that melt one’s face, and that vibe which brings me back to that early burgeoning ’90s scene that is responsible for me diving into extreme metal in the first place. They’re one of the best to ever do it, and they’re on a winning streak that’s all the more impressive at this stage of their careers.

I can wax poetic for days – to be truthful, my wife has probably heard at least that much worth of me raving about these gentlemen. From the first frighteningly contagious lead on “Into the Evergrey,” it’s evident that they’ve put together a special musical creation. It’s a shade darker, too, showing another side of Night in Gales that keeps their output dynamic and contemporary. 

We’ll conclude with further slacking via an snippet from my full review that elaborates my full feelings:

“That classic early melodic death metal ethos isn’t strayed away from on Shadowreaper – to the contrary, that sound remains as the very spirit of Night in Gales, but they’ve managed to add a few fresh ingredients to serve up a new variation of a classic dish. Night in Gales again have written an album with a nimble, focused touch that also manages to be a thrilling ride. At a smidgeon over 36 minutes in length, Shadowreaper is a tight and compact listening experience that’s easy to jump into, while giving the hardcore melodeath purists a fathom of depth and detail to make many repeated listens infinitely rewarding. Night in Gales continues to craft enduring, impactful music that further engrain their undeniable discography into the long and sometimes turbulent novel that is melodic death metal.”

2. Caligula’s Horse – Charcoal Grace

But…but, all clean singing? Sorry, Islander – the door for that joke was wide open, and we can’t help but stupidly strut through it. Progressive music is an incredibly wide landscape to explore, with what qualifies to bear that label being a difficult question, populated by many contrasting viewpoints. To these ears, it’s not simply a lot of guitar noodling or extremely technical power metal. Progressive is forward-thinking, creative, breaking down barriers, and taking an untread path, no matter the intended sonic focus. Caligula’s Horse rightfully and proudly brandishes that tag, and they’ve earned it over the years. Playing an open style that takes parts of progressive rock, djent, pop, indie, and a bunch of other genres, and making a truly singular sound profile.

Having always been drawn to their music far more than other comparable progressive acts, we came into Charcoal Grace excited and expectant of another hook-filled good time. What emitted from my speakers was definitely that, and anything less than great would be surprising, but this was on such a meteoric level that we had Charcoal Grace on repeat for about a week. Before writing a full review, the decision was made to walk away from the album for a bit and come back, to make sure that it wasn’t a sparkly newness that was skewing my judgement. Nope, it was even better.

Through it all, we kept coming back to Caligula’s Horse. When the time came to figure out this list, it was evident that they’d be on it, but the question was how high? So we went back and gave a few more consecutive spins, and what do you know, it tore me asunder emotionally even harder. Tracks such as the “The World Breathes with Me” taking my soul on a roller-coaster of elation, sadness, and regret; the experimental force that is “Golem,” the four-parter based on a child’s strained, heart-wrenching relationship with an estranged parent; a soothing lullaby in “Sails”; the tense and virulent “The Stormchaser.” Charcoal Grace is an album that I feel dearly, one that’s helped me through the more difficult times experienced this year, and even now as I listen to “Charcoal Grace II: A World Without” with a mist in my eyes, it’s beyond obvious that this is a special album for me.

Caligula’s Horse may not be your cup of tea in any way shape or form – it’s far from the norm of what we cover here at NCS – and that’s cool. Music is subjective, and an album that’s a gut punch of feels for me may do zero for you. That’s the beauty of it. Who knows – Charcoal Grace may elicit a similar reaction, and they could be a new favorite! Won’t know until you try.

 

1. Kanonenfieber – Die Urkatastrophe

We now have come to numero uno. The revelation that is Kanonenfieber and its lone creator, the brilliant Noise, has made a gigantic impact on the metal realm. Himself and Berg of Aara/Modern Rites/Taubrą fame are the top pontificators within black metal in the present day. Noise’s other projects have elicited abundant praise – both Leiþa and Non Est Deus tackle drastically different subject matter, being no less exquisite and rousing. Kanonenfieber, who’s music is based on the horrors of World War I and carries a sobering anti-war message – has been the one that has garnered a massive following in a short period of time. A sure combination of theatrical and elaborate live performances and grueling, raucous black/death metal has endeared them to many. With a poignant message that hits home with yours truly and an aural assault that is among the tightest, most direct, and stinging in the genre – both today and yesteryear – their latest Die Urkatastrophe is an immersive, concentrated tour de force.

The 2021 debut Menschenmühle and the incredible buzz generated by it left Noise with a hell of a challenge. To say he merely passed the exam would be a disservice. Die Urkatastrophe is a vicious, uncompromising, flamboyant expression of black metal with plenty to say within a gritty historical context. The band takes their subject matter quite seriously, too, with Noise working with a historian friend to ensure accuracy of his lyrical portrayals, while using real examples and stories of heartbreak and sorrow that all were casualties in one way or another of the Great War.

It’s also an album of moments of great introspection that are taxing emotionally, but importantly cautionary and reflective. “Der Maulwurf” tells the tale of miners who became tunnelers deep in the trenches and the horrid, self-destructive conditions they endured – many of whom didn’t return home alive, or if they did, they were forever changed. “Waffenbrüder” is deeply personal, examining two childhood friends who went off to the front, with only one surviving.

As somebody who has had a deep interest in and studied history since a young age, and a subject that was one of many that bonded myself and my dear late Grandfather, what Die Urkatastrophe is saying and how the message is portrayed is utterly enthralling and overly meaningful. I’d like to think that my Grandfather would have enjoyed Kanonenfieber – he did enjoy listening to extreme metal with me, believe it or not, back-to-back with his favorite singer, the wonderful Roger Whittaker.

I’ll end on one last cut from my extensive review of Die Urkatastrophe:

“Taking Die Urkatastrophe as a whole shows an ambitious nuanced, thought provoking composition that’s pensive and stirring at every single moment, invoking a wide array of feelings via a soundtrack of menacing, virulent melodic black/death metal that is as effective and indelible as any release that will grace any ear this year and well beyond. Noise has concocted a work that’s delightfully vicious and further refined in comparison to Kanonenfieber’s releases thus far. It’s bigger, heavier, more spectacular with increased musical diversity. Finding any deficiencies is quite the task, and there’s nothing that sticks out that could be categorized as anything but extreme nitpicking.”