My Top 15 Albums of 2017


Hi! Still existing and loving my family, hope the same goes for all of you. I may be retired from all else in the music world, but the year end list is eternal.

Sample size: I have 83 albums released in 2017 at the time of writing this. Can’t promise I actually listened to all of them.

Surgeon General’s Warning: Ranking music is silly and I generally discourage it.  (But I do it once a year anyway…….)

15. Chinese Man – Shikantaza

trip hop/hip hop

Sample track: Liar

fun French hip hop/trip hop album that seems to have gotten overlooked a lot. I listened to it a ton earlier this year. It’s not something I’ll remember years down the road, but it certainly earned a spot for as much as I played it.


14. Elder – Reflections of a Floating World

stoner prog

Sample track: Sanctuary

For me personally, this is probably the most unorthodox pick on my list, because it is heavily rock-centric in all the ways that typically turn me off. God but something about rock and roll has always felt absolutely soulless to me in a way that few genres can match at their worst. But Elder just do what they do so damn well that it’s impossible to hate this opus. An endless onslaught of prog ingenuity with a nice stoner rock crunch that keeps it driving from start to finish. It’s 64 straight minutes of ear candy without a dull note in the mix, and I have a world of respect for how flawlessly these guys accomplished what they set out to do.


13. Krallice – Go Be Forgotten

post-black metal

Sample track: This Forest For Which We Have Killed

Krallice are responsible for a lot of the best music to come out this decade, and in 2017 they pumped out two new ones (both painfully late into the year for a band that requires a lot of repetition to fully appreciate). While I haven’t actually read anything about either of these yet, the distinctly different styles between them have me pretty convinced that Mick Barr wrote the bulk of this one and Colin Marston took charge on the other. Go Be Forgotten gets off to a glorious start with its opening track, but the remainder has so far failed to really captivate me to the extent that most of their previous works did. It doesn’t raise the bar (or if it does, it hasn’t sunk in yet), but it’s still a fascinating exploration of highly complex soundscapes that few other artists have the technical precision to delve. And god that opening riff is sick. Krallice will be a perpetual year end contender as long they keep doing what they do.


12. Father John Misty – Pure Comedy

folk rock

Sample track: When The God Of Love Returns There’ll Be Hell To Pay

I have mixed feelings about this album, and my inclination is to point out the negative; suffice to say, it’s not lacking in universal praise. It wouldn’t be on my list if I didn’t love it. The reason it’s not higher is that, as I see it, Tillman too often defaults to rather throw-away lines. That’s not inherently problematic (see: my #1 pick), but I think it clashes with the more refined, theatrical vibe of the sound around them. Simple case in point: Total Entertainment Forever kicks off with an absolutely delicious line–Bedding Taylor Swift every night inside the Oculus Rift–and follows it up with something so generic that I feel it only exists to achieve a rhyme–after mister and the missus finish dinner and the dishes. Sometimes gentle flaws make a work all the more endearing, but Pure Comedy goes too big and refined to get away with it for me. I feel like he aimed extraordinarily high and almost got there.


11. Tchornobog – Tchornobog

blackened death metal

Sample track: II: Hallucinatory Black Breath Of Possession (Mountain-Eye Amalgamation)

A landscape album as only blackened death metal can paint one. Tchornobog takes you on a 64 minute journey across an entirely unpleasant and stomach-turning waste of all purpose ugliness that really reflected how I’ve felt about the world this year any time I let my attention range beyond my immediate household. We’re talking death metal aesthetics here so yes, that can be a compliment. And while the visions are certainly exotic, there’s not much surrealism of the lofty, artistic sort you find on say, a Blut Aus Nord album. It’s just leaves you feeling kind of dirty. It hit a note I could appreciate while maintaining enough melody and progression to avoid succumbing to redundancy.


10. Hell – Hell

doom sludge

Sample track: Machitikos

Ridiculously heavy slow-rolled sludge that shouldn’t require any genre appreciation to crush your skull. At its peek on “Machitikos”, the quality of this album is unreal. Unfortunately I was pretty late to the ballgame, and their more ambient moments are going to take more than a sporadic month to leave a lasting impression or definitively fail to. Nowhere to move but further up the charts for this one.


9. Nokturnal Mortum – Істина

pagan metal

Sample track: Дика Вира

We’ve certainly come a long way from Knjaz Varggoth screaming hateful nonsense to crackling cassette recordings of Dollar General synth, and as endearing as Nokturnal Mortum’s early works may be, you can’t deny that he has matured (both musically and intellectually) substantially over the years. This album thoroughly lacks the trademark Eastern European folk metal execution that Knjaz inspired more than perhaps anyone else: brutally hammered folk jingles lashing out violently from beneath a wall of modern noise. Істина is a lot more even keel, to such an extent that its metal elements almost feel unnecessary at times. It fully embraces the more cerebral, orchestral sound we began to hear on Weltanschauung and leaves most else behind, achieving a new height in terms of orchestration. I do miss Knjaz’s more passionate explosions, but I don’t consider that a flaw. The real down side to the album for me stems from the studio. For all of its grand instrumental diversity, the complete package is a bit washed out. Everything feels like it’s playing in the background as a supporting element to a non-existent centerpiece. It’s something I’m certainly used to–Nokturnal Mortum have always struggled a bit on the finer finishing touches of sound production–but it’s still a fault that’s hard to ignore. An incredibly solid album that could have been even better.


8. Riivaus – Lyoden Taudein Ja Kirouksin

black metal

Sample track: Vihan Temppeli

This is probably the most unknown album on my list. It’s just straight-up black metal. No frills. No novelties. Really it’s the sort of thing I rarely listen to these days, because most great bm artists have moved on to more experimental fronts. But this is tight as fuck. The riffs are great and it’s got a nice punchy pace and a crisp tone that suits the mood perfectly. Outstanding debut from an unheard of artist. Hoping he sticks around for many years to come.


7. Thundercat – Drunk

funk/jazz

Sample track: Bus in These Streets

A tongue-in-cheek dreamfunk fantasy. Artists who can let a cheesy sound be cheesy often accidentally stumble into brilliance. This guy makes some of the goofiest sounds that funk and jazz have ever imagined somehow feel endearing. I’m also pretty impressed by how distinct his sound is. I mean, considering how radically uninformed on this sort of style I am, it kind of blew my mind that I could instantly go “this guy must have wrote the bass lines to Wesley’s Theory“. I think Drunk is an incredibly well-craft work masked behind a delicious veil of comedy. And it’s given us such eloquent 21st century mottos as “thank god for technology, because where would we be if we couldn’t tweet our thoughts?”


6. Krallice – Loüm

post-black metal

Sample track: Etemenanki

If Go Be Forgotten offered Krallice’s most deranged opening melody to date, Loüm might take the prize for their heaviest boot in the ass. Etemenanki hammers down all the brutality of a headbanger’s wet dream from the first note without budging an inch on Krallice’s classic eclectic tremolo noodling. I don’t think I’ve wanted to just open my mouth and shout “fuuuuuuuuuuuuuuuuuuuuuck” to a Krallice song this bad since Inhume. As with Go Be Forgotten, there’s a serious question of whether the album as a whole is really that great or if the opening song just carries it, and that’s not to knock the rest so much as to say that by Krallice’s ridiculously high standards I think it might have some mediocrity. You can never really tell with most Krallice songs until you’ve heard them four dozen times. It’s complicated, intricate shit that your brain doesn’t instinctively unravel. My gut tells me that Loüm will keep on growing on me in a way that Go Be Forgotten may struggle to, and I was right about that with Prelapsarian’s incredibly late release last year. (Yes, it is amazing.) The only lasting down point about Loüm for me is, surprisingly, the addition of Dave Edwardson (Neurosis, Tribes of Neurot) on vocals. He does a killer job, but I am shamelessly in love with Nick McMaster’s vox and can’t help but miss them.


5. Mount Eerie – A Crow Looked at Me

folk

Sample track: Crow

Phil Elverum’s wife died last year, and he wrote this album. It’s artistically significant for reasons that are pointless to explain, because I think you will either already get it or it will fundamentally conflict with whatever life coping mechanism you personally subscribe to, and both are fine. It matters to me more than other albums about death because we appear to share roughly the same world view. It isn’t my favorite album of the year because it can’t be.


4. Godspeed You! Black Emperor – Luciferian Towers

post-rock

Sample track: Bosses Hang

I somehow managed to ignore the rebirth of GY!BE in spite of being entirely aware of it, and this is the first album I’ve listened to by them since Yanqui U.X.O. fifteen years ago. In the meantime, I’ve become an avid consumer of Silver Mt Zion, and after that long of a break it’s easy to forget just how different the two projects were. I’m at a loss for words to properly describe how I feel about Luciferian Towers because I have nothing remotely current and similar to compare it to. “Bosses Hang” and “Anthem For No State” are both absolutely mind blowing, and I usually skip the first and third tracks and don’t even care. This is the greatest band in post-rock being exactly that.


3. Kendrick Lamar – Damn

hip hop

Sample track: DNA

Every time I saw this album top another year-end list, I wanted to move it further down mine. It doesn’t move me on an emotional level like To Pimp a Butterfly. It’s not Kendrick’s greatest work. Can it really be the best of 2017? But every time I revised my year-end list, it just kept moving up instead. Everything he touches has a subtle finesse to it. I love the sound of his voice. I love the way he weaves it into the instrumentation flawlessly. I love how every aspect of each song seems painstakingly tailored to suit the intended vibe. I can just really get into this from start to finish time after time with zero effort. It was my 2017 fallback the grand bulk of the times I wasn’t in the mood for something dark or heavy. This album makes me feel empowered every time I put it on with no cheap sense of escapism attached, and god did I need something like that.


2. Boris – Dear

drone/doom/psych/post-rock

Sample track: Dystopia (Vanishing Point)

Wow. This is 16th year that I’ve compiled a year-end list. For the grand majority of that time, I would have named Boris in my top 5 favorite bands if you asked me. During that time, they’ve put out 53 releases just that I have managed to acquire. And not one has earned my #1 slot. Smile came so close. So close. And now I’m saying it again. I almost feel guilty leaving Dear at #2. It was never dropping any lower. But if you’re at all familiar with it, this might sound generous. Dear is nowhere near their most well-received album. It is absolutely nowhere near their most accessible. Doom and drone at its core, it’s a slow drip grind that will leave all but the most steadfast fans bored out of their minds on first encounter. Yet I somehow managed to listen to it close to 50 freaking times. It wasn’t that I liked it at first. I kind of didn’t. But the mood was right. It hit that sweet spot between ambience and melody that made it never quite dull enough to bore inherently but never quite memorable enough to bore through familiarity. It was dark but it wasn’t morbid. It was just the right sort of fuzz to make me feel more alert without distracting me. And it was through that extremely passive but relentless pattern of listening that its finest moments slowly revealed themselves to me, raising the bar higher and higher, until now it blows my mind that a track like Dystopia (Vanishing Point) could have failed to sweep me off my feet on first encounter. It certainly manages to every time now, on take number one hundred and god knows what. This isn’t my favorite Boris album, but I suspect it’s much higher up there for me than for most fans, and after a very great deal of consideration it only failed to take the title by a fraction of a hair. Oh, I also got to watch them play it live in its entirety. 😀


1. Sun Kil Moon – Common as Light and Love are Red Valleys of Blood

Americana

Sample track: Lone Star

The grand prize goes to Sun Kil Moon. I think this might be for me what Pure Comedy has been for a lot of other people this year. It just speaks to so much I’ve been feeling in 2017 in a way I can completely relate to. Mark Kozelek takes half of the stuff I’ve been making enemies spouting all year and sets it to solid American folk music. He has a blue collar political perspective that offers no compromise for our “total fucking asshole” President but takes far more cutting hits at liberal America’s zero-attention-span reaction-click-and-move-on culture for allowing the country to fall into this state. The album is a two hours and ten minutes meandering disjointed travel through personal stories and monologues that reach all over the place, but underneath it all is a consistent love and appreciation for the bonds we share in our meager little lives, and an intense compassion for those who have permanently lost them. If he comes across as cranky, he’s just pissed at how many Americans have lost sight of this.

Previous years on Shattered Lens:

2011 / 2012 / 2013 / 2014 / 2015 / 2016

Neon Dream #2: Boris – Intro


Japan’s three-piece prodigy Boris have played every style of music in the books over the years, and they do it all well. “Intro” appears fairly early in their discography, on the 2005 reissue of Akuma No Uta. (The original 2003 release features a much shorter intro track.) If you had any question about the sort of diversity Boris brought to the table even this early on, you could look at Akuma No Uta‘s multiple album covers. One was a play on the cover art of Bryter Layter by Nick Drake. Another, Welcome to Hell by Venom.

This track also made my mix after I used it in a game. The task I set for myself when I purchased a copy of RPGMaker was to take an incongruous cyberpunk story written by a bunch of kids in the 90s and make it work. It was in pretty bad shape. Apparently being chaotic evil made you a great candidate for leadership; the CEO calling the shots was supposedly some genius who had carefully crafted his rise to power, but then he’d turn and do crafty things like scream “bwahahaha” and murder his advisers. It was the sort of nonsense only a bunch of children or Joseph McCarthy could dream up. I wanted to retain the basic progression of events–I was doing this for fun and nostalgia, after all–but the opening sequence, where the leader shoots a passenger airline out of the sky in order to sense the euphoric death rattle of hundreds of innocents burning in unison, was uh…. yeeeeah….

When I listened to “Intro” by Boris, the scene rewrote itself. The plane was suddenly slowly drifting over a scene of urban anarchy, where police stations and hospitals barely hung on behind walls of garbage and broken glass. Casinos and brothels lit up the night sky. The pilot commits a minor breach in security protocol while requesting permission to land, and a culture of paranoia spirals the situation out of control. Ultimately, a general authorizes force with a hint of satisfaction, and the plane explodes. Wata’s high pitched, siren-like guitar seems to simulate ambulances rushing to the scene. Boris set the tone for how I would rewrite the entire script. The foreboding, dystopian vibe of this instrumental song was powerful enough alone to create a setting I couldn’t handle with graphics and dialogue at my disposal.

My Top 10 Metal Albums of 2013


It’s that time again. In spite of 2013 being pretty much the worst year of my life, I found it a lot easier to select a top 10 list than in 2012. Odd-numbered years almost always seem to produce a wider selection of good music, and I can confidently state that each of these at least border on excellence. Here goes:

10. Ihsahn – Das Seelenbrechen (track: Regen)

There was never a bad Emperor album. Ihsahn’s solo career hasn’t been quite as consistent. The Adversary was an outstanding start, but I barely noticed angL. After was a blast, Eremita something of a bore. Well, what do you know; the cycle continues, and Das Seelenbrechen is outstanding. Eremita seemed all about rhythmic grooves and eclectic interludes, neither of which painted a grand picture for me to take hold of. Das Seelenbrechen, without reducing any of the progressive rock peculiarities for which Ihsahn is famous, reinvests its tension in song structure and the subtler stuff of atmospheric appeal. At times it delves heavily into the world of drone metal, with Tobias Ørnes Andersen pulling off his best Atsuo impression and Ihsahn showing that his unique vocals are pretty well suited for the genre as they stand. The most impressive track on the album might be “Pulse”, if only for the fact that Ihsahn was able to stray so far from his comfort zone and still pull off an excellent song, but my personal favorite has to be “Regen”.

9. Ash Borer – Bloodlands (track: Oblivion’s Spring)

I missed out on Ash Borer’s acclaimed 2011 debut and the 2012 full-length to follow, but the Bloodlands “EP” (it’s still 35 minutes long) found itself well embedded in my subconscious this year. Like many of my selections, I never really sat down and gave it my undivided attention from start to finish. It was a busy year, and most of my albums were experienced as background music rather than a main event. I was kind of surprised to find just how many times I’d listened to this album throughout the year. It was never really on my radar, but I kept playing it time and time again. A twisted, bleak, highly atmospheric recording, Bloodlands successfully captures a traditional black metal vibe that is neither overly passionate nor distractingly aggressive. It’s a pleasant break from the otherwise welcome trend towards a less sinister, more humanizing approach to the genre.

8. Westering – Joy (track: This Will Quiet Us)

Joy is definitely the weirdest album I’ve heard this year that actually worked. Bryan Thomas’s second release as Westering is a cracked window peering into folk, industrial, and maybe even 80s pop scenes, sensible to melodic appeal yet firmly rooted in black metal tradition. To label it another “shoegaze black metal” album would hardly do it justice; the warbling walls of distortion don’t angelicize the metal, but rather demonize the more direct pop elements, creating a final product basked in darkness yet awkwardly catchy and familiar.

7.Ensemble Pearl – Ensemble Pearl (track: Island Epiphany)

It’s sad that this album has gone almost completely unnoticed in 2013. It’s sad that people regard it as another Boris album, or as “Boris and Sunn O))) Part 2”. Because, while it shares much in common with Altar, the cast is quite different and the end product surprisingly even better than its predecessor. While Atsuo Mizuno and Stephen O’Malley reunite, Takeshi and Wata are out, as well as Greg Anderson. Michio Kurihara steps up to the plate along with a fellow I’ve never head of–Bill Herzog–to complete the lineup. The sound these four have managed to assemble is flawless. Smooth as glass and black as night, Ensemble Pearl is a compelling example of music’s capacity to paint a scene more vivid than sight can ever offer.

6. Paysage d’Hiver – Das Tor (track: Macht des Schicksals)

Like Ash Borer, Paysage d’Hiver provided ideal background music for me throughout the year. With a similar appreciation for late 90s/early 2000s atmospheric black metal aesthetics, Das Tor presents a significantly noisier, more trance-inducing break from current metal trends. I fell in love with this album’s capacity for endless repetition as the backdrop for work, reading, and just about any other activity that requires concentration. This particular style of black metal has always really zoned me in and helped me to focus, and Paysage d’Hiver’s take on it is substantially better than most.

5. Mechina – Empyrean (track: Anathema)

Fear Factory’s 1998 opus, Obsolete, was the last industrial death metal album to really blow me away. A lot of bands go there, but few, at least in my experience, are willing to fully nerd out into uncompromised sci-fi fantasy. There is something about the death metal mentality that inclines most bands to play with their nuts out, and it rarely works in their favor. Mechina don’t fall for that. They have no qualms whatsoever about employing clean vocals, dramatic symphonics, and operatic hymns to serve their end. Empyrean paints a lush vision of a futuristic world of technology and galactic combat on the brink of apocalypse. Really stellar stuff. … ha..ha… hmm…

4. Summoning – Old Mornings Dawn (track: Old Mornings Dawn)

It took Summoning seven years to release a new album. I would not be surprised if they were hard at work on it that whole time. Not quite as perfect as Let Mortal Heroes Sing Your Fame, Old Morning Dawn is nevertheless an instant essential within the Summoning discography, never wavering an inch from the solid sound they forged a decade ago. I can’t think of too many albums I’ve anticipated for this long that didn’t let me down (Falkenbach’s Tiurida in 2011 might be the most recent exception), and for that, coming from one of my favorite bands ever, Old Mornings Dawn easily slides in towards the top of my chart.

3. Cara Neir – Portals to a Better, Dead World (track: Peridot)

I remember when I was first getting into black metal and a friend of mine was doing the same with screamo. They seemed like two incommensurable paths at the time. We’d trade the best of what we found, and I love a lot of screamo because of it, but that was his genre and this was mine. There just wasn’t all that much in common between Carpathian Forest and City of Caterpillar.

Times have changed, and much for the better. I’ve tossed around “screamo” and “black metal” in the same sentence before (Roads to Judah), but this is certainly the most raw realization of the two as one that I have heard so far. Portals to a Better, Dead World is another fine product of a new era of metal artists informed beyond their flagship genre. It might not achieve the fame of Deafheaven’s Sunbather, but the two go hand in hand.

2. Deafheaven- Sunbather (track: Dream House)

And that brings us to the most hyped metal album of 2013. Sunbather turned more heads than Roads to Judah, and certainly more than Liturgy’s Aesthethica or Krallice’s Diotima back in 2011. But while the mainstream world regrettably failed to recognize that year as the grand coalescence of heavy metal’s mid-2000s paradigm shift, on Sunbather we reap its fruits. This album is not the novelty many would like to make of it; it is an affirmation of things already come to pass, and a glorious one at that. Music seems to come in sequences of waves, the reluctant undertow of their predecessors slowly dissipating beneath the growing weight of those rushing to shore. Sunbather basks in a new era of aesthetics and ingenuity first dreamed by the likes of Ulver, pressed into form by Agalloch and Alcest, and finally swept into the mainstream three years ago. Love it while it lasts, and amuse yourself with the die-hards that will rip this to shreds rather than embrace it.

1. Peste Noire – Peste Noire

And then there was one. I proclaimed Peste Noire the best album of 2013 about an hour after it leaked back in June, and nothing since has come even close to shaking that resolve. I’ve been doing a “top 10 album” list now every year since 2002, and Peste Noire is the only band to ever take the #1 spot twice, but never mind that. Ballade cuntre lo Anemi francor has absolutely nothing on what you will experience here. Let’s try “top 10 metal albums ever recorded”. I have never heard anything quite this clever, filthy, intelligent, and depraved in my life. Famine’s “black ‘n’ roll” sound has never been better, and Peste Noire can rightly be regarded as the refinement of all of the finest features of his past four albums rolled out into one.

The album is heavily enhanced by Famine’s new willingness to tell us what it’s all about. Up through the release of L’Ordure à l’état Pur in 2011, it was anyone’s guess what Famine’s peculiar album antics were all about. He was completely inaccessible as an individual, and his lyrics have always been in French. The man behind the music has since emerged full-formed as an internet personality, conducting interviews, approving lyric translations, and responding to forum inquiries in surprisingly fluent English. He’s revealed himself as an extremely culturally and musically informed character with a sardonic sense of humor that seems to abate the more offensive features of his image, and he completely reformed my view on L’Ordure à l’état Pur–an album I’d initially disregarded, but have since grown to love.

I tried to give Peste Noire a fair review over the summer, but I couldn’t quite do it justice. This article does. Skip to 20 minutes in the above video if you care to hear my favorite track on the album: “Niquez Vos Villes”.

Enjoy, and Happy New Year!

Review: Torche – Harmonicraft


In 2008, I thought of Torche as the most poppy stoner metal on the market. By 2012, the attributes have reversed. You won’t hear anything quite as doomy as Meanderthal’s title track, Pirhaña, or Sandstorm. That crushingly deep guitar still accompanies most of the tracks, it just doesn’t ever become the drawing point of the songs. On Harmonicraft, a catchy melody is job number one, and the results are tremendously effective. From the cover art on down, this is and will likely remain one of the most instantly appealing albums of 2012, and it exhibits a sort of songwriting ethos which hasn’t been very prevalent since the 90s.

Harmonicraft’s introductory song, Letting Go, certainly doesn’t mesmerize the way Triumph of Venus did. But unlike Grenades, Kicking requires no epic lead in:


Kicking

Kicking introduces what will be the style and attitude for the entire album, and it amounts to nothing short of 1990s alternative rock. That occasional Foo Fighters vibe Meanderthal gives off was no accident, but it wasn’t necessarily a product of any direct “influence” either. I think the similarities you might draw to various 90s bands result from Torche’s mindset. Calling Torche “90s rock” is a little ambiguous of course, this being 2012. I suppose one could more directly observe that they took a stoner/post-rock sound and made it bright and bubbly, leading to a sort of “stoner pop” novelty. But when you apply the term “pop” to anything but teen idols you’re being just as vague, and furthermore, though Harmonicraft might seem new from a stoner metal perspective, it feels to me refreshingly nostalgic.


Snakes Are Charmed

Frankly, attempting to categorize Harmonicraft does it a disservice. It’s not a band trying to perfect or expand upon x musical style. It expresses more freedom than that. It harkens back to a time when heavier bands emphasized their own individuality, genres be damned. And that’s why it reminds me of rock in the 90s. I wouldn’t even call it metal, any more than I would call Nirvana or The Offspring punk. And as such, I think it stands at the forefront of music today.

The new standard is synthesis. Metal has been pulling it off lately, especially last year, with bands like Falconer putting a professional gloss on the best of many sub-genres rolled into one, while Liturgy, Deafheaven, and company were forging a more personal if sometimes less formidable approach to the same. Here, Torche are bringing it back to rock. Songs like Snakes Are Charmed have all of the immediate appeal of an instant radio staple, yet rather than repeating something stale, they reinvigorate rock through their more contemporary roots. You hear the stoner/doom and post-rock influences not as those styles, but rather as integrated elements of what it is to be a good rock band. The 90s took the metal and punk subspecies defined in the 80s and made it happen. Now here’s a band getting the job done with musical developments of the last 10 to 15 years.

If there’s any one band I could really compare it to, I’d say Boris.


Walk It Off

I actually forgot that Torche and Boris released a split in 2009 and toured together until after I drew the connection. In Walk It Off the influence is most apparent. Wata’s style is hers alone, but you can definitely feel the sort of inspiration she brings bleeding over into Steve Brooks’ own solos. (Or perhaps Andrew Elstner’s. I don’t actually know who plays lead.) But perhaps even more noteworthy, the more I listen to this track the more I feel that, above all else, the solo really resembles Billy Corgan.


Roaming

And this all amounts to a really awkward way of going about an album review. Sometimes that’s inevitable. No amount of describing Harmonicraft from a metal perspective can do it justice, because it really isn’t a metal album. It is, on the one hand, an immediately and undeniably appealing compilation of catchy tunes which utilize various recent musical movements, mostly within the metal sphere of influence, to accomplish the delivery, and on the other hand, a sign of hope. It excites me to see that this trend towards emphasizing synthesis instead of genre expansion is beginning to spill out of metal and into more accessible rock. I’ll be disappointed if Harmonicraft ends up my favorite album of the year. It’s not that kind of album. It bears no strong message in and of itself–lacks the depth of a masterpiece. But if it could, by some twist of fate, become 2012’s most influential creation, I’d not complain.

necromoonyeti’s 10 Favorite Songs of 2011


I want to hop on the bandwagon. It would be a little silly for me to post my real top 10; for one thing, it would include four Krallice tracks. That aside, nearly everything I’d put on it I’ve either posted on this site as a Song of the Day or included in both my review of its album and my top albums post. So to make this a bit different from my past posts, I’m going to limit myself to one song per band, stick to stuff that I imagine might appeal to people who aren’t interested in extreme metal, and keep it on the catchy side. I’ll list a more honest top 10 at the end.

10. Powerwolf – Son of a Wolf (from Blood of the Saints)

As such, my tenth place selection is about as metal as it’s going to get. Powerwolf’s Blood of the Saints might be simple and repetitive, but it’s about the catchiest power/heavy metal album I’ve ever heard. It indulges the same guilty pleasure for me as Lordi and Twisted Sister–two bands that inexplicably pump me up despite being entirely tame. It also offers some amazing operatic vocals and Dracula keyboards, the cheesiness of which can be easily forgiven. Son of a Wolf might be one of the more generic tracks in a sense, but it’s the one most often stuck in my head.

9. Alestorm – Barrett’s Privateers (from Back Through Time)

The only thing I love more than traditional folk and sea chanties is folk punk and metal. When the latter covers the former, I’m in bliss. Alestorm are emerging as the sort of Dropkick Murphys of metal with all their covers lately, and I hope they keep it up. I loved Barrett’s Privateers before what you’re hearing ever happened, and the metal version delights me to no end.

8. The Decemberists – Rox in the Box (from The King is Dead)

The Decemberists really toned it down this year. Where The Hazards of Love could be described as an epic rock opera, The King is Dead sticks to simple, pleasant folk. But Colin Meloy thoroughly researches pretty much every subject he’s ever tackled, and The King is Dead pays ample homage to its predecessors. Rox in the Box incorporates Irish traditional song Raggle Taggle Gypsy with delightful success.

7. Nekrogoblikon – Goblin Box (from Stench)

With a keen eye towards contemporary folk metal like Alestorm and Finntroll, melodic death classics like In Flames and Children of Bodom, and much else besides, former gimmick band Nekrogoblikon really forged their own unique sound in the world of folk metal in 2011. At least half of the album is this good. Stench is the most unexpected surprise the year had to offer by far.

6. Korpiklaani – Surma (from Ukon Wacka)

Korpiklaani almost always end their albums with something special, and 2011 is no exception. The melody of Surma is beautiful, and Jonne Järvelä’s metal take on traditional Finnish vocals is as entertaining as ever.

5. Turisas – Hunting Pirates (from Stand Up and Fight)

I couldn’t find a youtube video that effectively captured the full scope of Turisas’s sound in such limited bitrates, but believe me, it’s huge. Go buy the album and find out for yourselves. Unlike Varangian Way, not every track is this good, but on a select number Turisas appear in their finest form. Adventurous, exciting, epic beyond compare, this band delivers with all of the high definition special effects of a Hollywood blockbuster.

4. The Flight of Sleipnir – Transcendence (from Essence of Nine)

Essence of Nine kicks off with a kaleidoscope of everything that makes stoner metal great, while reaching beyond the genre to incorporate folk and Akerfeldt-esque vocals. A beautifully constructed song, it crushes you even as it floats through the sky. I could imagine Tony Iommi himself rocking out to this one.

3. Boris – Black Original (from New Album)

From crust punk to black metal, there’s nothing Boris don’t do well, and 2011 has shown more than ever that there’s no style they’ll hesitate from dominating. I don’t know what’s been going on in the past few years with this popular rise of 80s sounds and weird electronics. I don’t listen to it, so I can’t relate. But if I expected it sounded anything nearly as good as what Boris pulled off this year I’d be all over it.

2. Tom Waits – Chicago (from Bad as Me)

Bad as Me kicks off with one of my favorite Tom Waits songs to date. It’s a timeless theme for him, but it feels more appropriate now than ever, and his dirty blues perfectly capture the sort of fear and excitement of packing up and seeking out a better life.

1. Dropkick Murphys – Take ‘Em Down (from Going Out in Style)

In a year just begging for good protest songs, Flogging Molly tried really hard and fell flat. Dropkick Murphys, another band you’d expect to join the cause, released perhaps their most generic album to date (still good mind you, but not a real chart topper). Take ‘Em Down is kind of out of place on the album, but it’s DKM to the core, and as best I can gather it’s an original song, not a cover of a traditional track. If so, it’s probably the most appropriate thing written all year. (The video is fan made.)

If you’re interested in my actual top 10, it runs something like this:

10. Falkenbach – Where His Ravens Fly…
9. Waldgeflüster – Kapitel I: Seenland
8. Liturgy – High Gold
7. Endstille – Endstille (Völkerschlächter)
6. Blut aus Nord – Epitome I
5. Krallice – Intro/Inhume
4. Liturgy – Harmonia
3. Krallice – Diotima
2. Krallice – Telluric Rings
1. Krallice – Dust and Light

And that excludes so many dozens of amazing songs that it seems almost pointless to post it.