Best albums of 2012


We’ve finally reached the end of 2012, and my has it been a blast. The greatest year in the UK’s sporting history. A supposed prophecy that was never realised. A glorious year for rock and metal and all its various forms.

The music this year has been so exceptional that its been harder than ever deciding on the final ten. As such, honourable mentions must go to the following:

Ginger – 555% (Round/Pledge Music)
Dope Body – Natural History (Drag City)
Eagle Twin – The Feather Tipped the Serpent’s Scale (Southern Lord)
Burning Love – Rotten Thing to Say (Southern Lord)
Every Time I Die – Ex Lives (Epitaph)
Napalm Death – Utilitarian (Century Media)

All of which are records which you should check out, if you haven’t already, and they only missed the final cut by a whisker. Damn, if 2013 is better than this we will truly be spoilt.

Without further ado, we present our top ten albums of the year.


10. Deftones – Koi No Yokan (Warner Bros)

The Sacramento crew continue to impress on album number seven, despite, for me, not reaching the stratospheric heights of ‘Diamond Eyes’ on this occasion. From start to finish its another wildly esoteric ride reaching soaring heights and dark depths, creating a new set of anthems that Deftones fans will sure echo throughout cavernous arenas well into 2013 and beyond. Tracks such as ‘Romantic Dreams’, ‘Entombed’ and ‘Tempest’ are absolutely lush, and there’s not many bands these days who can create the level of atmosphere around a song like Deftones can. There’s simply no stopping them right now. 


wpid-898529953-1.jpg9. Krallice – Years Past Matter (self-released) 

In a year which has seen Felix Baumgartner skydive from the stratosphere, and in a year where Voyager 1 is reached the interstellar medium, I have wondered what soundtrack would best embody a human odyssey into the far outer reaches of space. And no, I’m not talking about the Voyager Golden Record. Now a human venture going that far is not likely to happen in our time, our offspring’s time, or the next generation, or the next generation…but if it did, and we can preserve a vinyl pressing of Krallice’s ‘Years Past Matter’, then that voyage will go beyond anything what even Carl Sagan imagined. Maybe that’s an overexaggeration. But still, ‘Years’ is without question Krallice’s finest vision yet, where all out speed subsides slightly to a more bombastic and expansive approach. The artwork alone should tell you what a vast journey this is, and it doesn’t disappoint, whether it’s the propulsion into the interstellar void (‘IIIIIIIII’) or the thrilling closing 16-minute epic (‘IIIIIIIIIIII’).


8. Gorod – A Perfect Absolution (Listenable)

I was perhaps one of the few slightly disappointed by French tech-deathers Gorod’s previous album ‘Process of a New Decline’, so I was particularly impressed by the results shown on ‘A Perfect Absolution’. Don’t mistake their inclusion in their list for one of mere marked improvement, because Gorod have never lacked the quality – there’s just something about this album in particular that had real oomph. In a year where people went nuts for The Faceless’ ridiculous aping of more celebrated progressive greats, Gorod put on a technical masterclass in death metal, knowing when to bring on bursts of speed, when to usher in groove phases, even shaking with a bit of flamenco that won’t have gone amiss to, say Athiest or Cynic. All with excellent skill and precision. Lyrically, it all centres on 10th Century Kiev. Jolly good! All in all Gorod ought to be a bigger name in these circles, and it’s their noticeable inclusion on next year’s Bonecrusher Fest (with Job for a Cowboy) that has got me excited for 2013 already.

wpid-Converge-All-We-Love-We-Leave-Behind-album-cover.jpg7. Converge – All We Love We Leave Behind (Epitaph) 

After the guest-laden ‘Axe to Fall’, which for my liking didn’t fire on all cylinders, Converge returned with the excellent ‘All We Love We Leave Behind’ to the widespread critical acclaim they’re surely used to by now. A searing block of molten anger, despair and reflection, the desperate on-the-edge approach to their craft is what continues to set Converge apart from everyone else. I truly felt like I’d gone seven rounds with Ballou, Newton and co after the first three tracks, and how the rest of the album developed delivered knockout punch after knockout punch, even during the ocean drift of ‘Coral Blue’. A superb record from a band still unashamedly as energetic as when they began. Youngsters, take note.



6. Ufomammut – Oro: Opus Primum (Neurot) 

High things were expected of Ufomammut following their switch to Neurot Recordings, and boy oh boy oh boy oh boy did they deliver. Many people seem to prefer the second, slightly leaner part of ‘Oro’ – ‘Opus Alter’ – to ‘Opus Primum’, but for me, the longer, more intense ‘Primum’ is the power element of this couple. Every thick groove oozes through swathes of abstract elements, spoken words and psychedelic trips, further empowered by the band’s visual collaborators, Malleus whose images made ‘Oro’ even more hypnotizing. The album’s third track, ‘Infearnatural’, is particularly embodying of this description, where guitarist Urlo delivers an echoey chant before landing back into the sweet, slow, crushing doom groove. By far the most inebriating ride of the year, ‘Oro’, and in particular ‘Opus Primum’, not only lived up to the hype; it squashed it flat too!


5. Neurosis – Honor Found In Decay (Neurot)

An album I got around to too late to publish a full review for before the turn of the year, but undoubtedly deserving of its spot on this list. Scott Kelly has immersed himself in numerous projects since the last Neurosis album, ‘Given to the Rising’, and especially so in the last year; but none is more immersive and rewarding as his main band’s latest. Everyone’s got their own take on the best Neurosis album, and while I don’t rate this as high as, say ‘Enemy of the Sun’, its still pretty darn close to their best – and that is leagues above many other bands’ best. An enthralling journey through darkness and doom, ambience and hush, there’s many a fine moment to behold – ‘My Heart in Deliverance’ in particular stands out as one of the songs of the year, not just the album itself. As always, completely encapsulating.

Woods of Ypres - Woods 5: Grey Skies & Electric Light4. Woods of Ypres – Woods 5: Grey Skies and Electric Light (Earache)

It was the album that was supposed to launch Woods of Ypres towards the mainstream, a new beginning. The tragic accident that took singer and founder David Gold’s life at 31 means not only a premature termination of a potentially commercially successful band, but that ‘Woods 5: Grey Skies and Electric Light‘ feels like more than just another album. It’s doomy metal with a few less of the black metal pervading their sound on previous releases touches, but with songwriting and musicianship par excellance. Throughout the fragility of life and its tipping point into death are lyrically displayed, with a sadly prophetic feel to it all. But what a final album to end on, with tracks such as the slightly tongue-in-cheek ‘Career Suicide (Is Not Real Suicide)’ and the poignant funeral march of ‘Kiss My Ashes (Goodbye)’ showcasing exactly how great a loss Gold is to metal in general.

wpid-Between-the-Buried-and-Me-Parallax-II.jpg3. Between the Buried and Me – The Parallax II: Future Sequence (Metal Blade)

The juggernaut that is Between the Buried and Me shows no sign of slowing down, now on their seventh album barely into their thirties. And if ‘The Parallax II: Future Sequence’ is anything to go, then they’re maturing very well indeed. Those Pink Floydian-tendencies seem stronger than ever in the quintet, as ‘Parallax II’ is a space-opera deluxe from start to finish, continuing the story that began on 2011’s ‘Parallax I: Hypersleep Dialogues’ EP. Every second is thoroughly compelling, twisting through dream-like melodies, frenetic riff-fests, ambience, blastbeats, and those oddball moments which you’re either a fan of or not. I fall firmly in the first category. Everything truly comes together on this record, with ‘Silent Night Parliament’ and the reprise of ‘Goodbye to Everything’ being a fitting epic finale worthy of stadiums, not clubs. A wonderful album set in glorious spaaaaaaaaaace. 



2. High on Fire – De Vermis Mysteriis (E1 Music)

2012 was in many ways the year of Pike – specifically for his recorded ventures and rereleased material, if not specifically the spell in rehab from which he has emerged victorious. Pike’s pre-HoF band Sleep were being celebrated by the rerelease of ‘Dopesmoker’, and indeed the early HoF days were being relived through the rerelease of ‘The Art of Self Defense’, but if ‘De Vermis Mysteriis’ showed anything, it was that Pike and his crew are more than capable of recreating that superb form. Previous High on Fire Records have ranged from anything to brilliant, to…well, alright I suppose. ‘De Vermis Mysteriis’ was something else. The most varied HoF record yet, it drew heavily on the fictional grimoire authored by Robert Block and picked up by H.P. Lovecraft, styled on an idea Pike derived about the Immaculate Conception and time travel, and featured many a centrepiece moment, whether the Jeff Matz-led instrumental ‘Samsara’, so evocative of the great Cliff Burton, or the truly majestic ‘King of Days’, one of Pike’s finest vocal performances to date. The traditional power drive of the band is always present, but the varied approach to their latest record makes it their most essential since ‘Blessed Black Wings’.


1. Panopticon – Kentucky (Handmade Birds/Pagan Flames)

We already saw evidence in 2011 of US black metal coming to the fore with acts like Wolves in the Throne Room providing undeniably transcending moments and Liturgy shaking things up with their divisive take on the genre, along with the Krallices and Nachtmystiums of America doing very well indeed. This year, it has further aged into a fine creature, showing it is capable once again of further breaking any shackles that confined the genre. No one act – or indeed, one man – showed that more than Austin Lunn, aka A. Lundr, aka Panopticon, on the breathtaking fourth album ‘Kentucky’. 

Folk and metal may not be unusual bedfellows any more, but to take a further strain of folk, bluegrass, and to attempt to meld it to black metal is daring by anyone’s standards. To truly pull it off requires a masterstroke. Lunn does that, and so much more. It’s the ultimate love letter to his home state, from the two bluegrass instrumentals that bookend the album, every bit as beautiful and evocative of the images of Blenheim Forest contained in the vinyl releases, to his depiction of the issues that Kentucky struggled with through its history – the massacre of Cherokee Indian women and children at Ywahoo Falls (‘Bodies Under The Falls’), and in the main, the story of the toil, the uprising, and the demise of coal miners in the 1930s. The heavy songs appear between the traditional miner songs that are covered here, and you’d be a soulless individual not to want to sing along to ‘Which Side Are You On’. It absolutely nails the passion of the miners in that time period – partly achieved through samples – but more to the point, it becomes utterly flooring. The sprawling ‘Killing the Giants as they Sleep’ combines with a truly haunting rendition of ‘Black Waters’ that will emotionally drain you, leaving just the title track jam to pick you back up as the credits roll.

Its testament to Lunn’s ability as a multi-instrumentalist that he doesn’t sound sloppy at all, not on one single instrument. He can match any extreme drummer for speed and ability, adds a hardcore-esque buzz to those guitars that distinguish it just slightly Panopticon’s sound away from traditional black metal, and the flute that he plays over the top of the heavier tracks completely works, every time. Admittedly, this heavy brew won’t be for everyone, and no doubt there’s some smug so-and-so’s out there who won’t be able to get off their elitist pedestals long enough to truly appreciate this. Their loss. ‘Kentucky’ is unquestionably the boldest statement of creativity in 2012, a fantastic snapshot of the Bluegrass state, of how far metal has progressed, and what it has achieved over the course of forty plus years.

Peter Clegg

We Must Obey: 2012 in review

The stats helper monkeys prepared a 2012 annual report for this blog.

Here’s an excerpt:

600 people reached the top of Mt. Everest in 2012. This blog got about 3,800 views in 2012. If every person who reached the top of Mt. Everest viewed this blog, it would have taken 6 years to get that many views.

Click here to see the complete report.

Review Roundup: Dead Beyond Buried, Mother Brain, Wheelchair Wheelchair Wheelchair Wheelchair

What do you know? No review roundup features for ages and then two come along at once. Hot on the heels of the Witch Hunter Records special we ran a few days ago, we have one made more of a mixture than simply off one label.


We start with Dead Beyond Buried, who recently released their third album ‘The Dark Era’ (self-released) as a free download via their website. And its an absolute corker. 2012 hasn’t quite been a stellar year for death metal but the results on ‘The Dark Era’ are certainly impressive. This is a headsmasher through and through and its unrelenting, not even for one second, giving off an old-school vibe without sounding pastiche, and every bit a modern day death metal band too. Tracks like ‘Cold Black Stars’ and ‘Failures’ totally shred and every moment is on a path to a beating. This is only the third album they’ve released in eleven years as a band – its good to have them back.

Download ‘The Dark Era’ here 

Official site


Mother Brain are a fairly new grind band hailing from New York, as yes, they did catch my eye because they share their name with the supervillain from the Metroid series. ‘Straight to Business’ is their first release coming out of Grindcore Karaoke, a nine-track EP that begins deceptively with a sludgy instrumental intro before flying out of the gate with a typically intense assault on the ears. They change tempo extremely well and don’t fall intro the trap of compressing every song to thirty seconds or less. This gives the songs chance to breathe, some coming in a minute or less, with a few longer ones chucked in for good measure. Certainly a band to watch within grind circles. This, like all Grindcore Karaoke releases, is free of charge, so don’t hesitate! Get ‘Straight to Business‘.

Download ‘Straight to Business’ here
Stream it below: 



Finally, everyone’s favourite inappropriate Scottish grinders Wheelchair Wheelchair Wheelchair Wheelchair have put out a free live album entitled ‘Live & Laughing’ (and yes, that is comedy buffoon Michael McIntyre on the cover), largely drawing from new material for the forthcoming album ‘Tales of Bonnie Scotland’. It’s a fairly decent live recording, taken from a recent show at The 13th Note in Glasgow, and as a barometer for the new album, it sounds pretty promising, with the choicest cuts including ‘A Wild Mountain Lumber’, and ‘The A9 to Houghmagandie’. The Perth duo engage in frequent ‘piss-poor patter’ with the crowd, and finish with three tracks from the album that first brought them to my attention, ‘Contraception‘, getting through their set in a blistering 20 minutes. 1:21 during track 10 contains a nice surprise, too!

Download ‘Live & Laughing’ here
Stream it below:


Peter Clegg

‘Kin Hell Fest 2013 updates


Due to time constraints, general business and occasional forgetfulness, we totally forgot to announce the news that ‘Kin Hell Fest have added us as one of their sponsors/backers/helpers/awesome folks (delete as applicable). Cheers guys! You may also have noticed the updated poster in the top corner of the page, and indeed the venue change. Following the news of the closure of top Leeds venue The Well, where the festival was due to take place, the fest has now been moved to a venue called the Templeworks, in the Holbeck area of Leeds. Its no further away from the train station in Leeds City Centre than the old venue was, so attendees need not worry too much about the locality of the venue.

Finally, there’s one more bit of information we should let you know. Organiser Paul Priest put out the following message on Facebook last night:

“So, for Christmas, ‘kin Hell Fest are gonna be very nice to you guys… for one final week, we’re gonna put the early bird tickets back up on sale… 25th December to the 31st December, back to normal price on the first.. use your Christmas money, sell your children, get your tickets 🙂 keep your eyes peeled on here for when it’s back on sale… £27 instead of £35, WELL worth it 🙂 who reckons they’re gonna not be daft and get one?”
Well you heard the man! Don’t miss out on this shot of redemption, a chance to score an early bird ticket for one of the extreme events of the year. Do iiiiiiiiiiiiit!!!
Peter Clegg

Jesu – Christmas

Here it is people. Almost. Merry Festivus and all that. This is the last Christmas post of the season and its a reflective one. Though I’ve no idea what the lyrics are to this song (can anyone help?), it certainly feels like a song on which we should truly try and remember what Christmas actually means. It doesn’t mean promising your kids the earth when you can’t afford it for all the cigs and crap you’d rather spend your money on. It doesn’t mean get around the telly box for Mrs. Brown’s Boys or around a wi-fi connection to play Call of Duty online. Nor does it mean having that festive cheer forced down your throat. Where’s my Christmas spirit, you say? It’s dying at the side of the road of hardships and false meanings. At least I realised in time, before the spirits of yours actually died.

The song probably isn’t that negative, but I do urge people to listen to the wonderful Christmas by Jesu and try to think about a) the real meaning of Christmas, or whatever you celebrate, in real-world terms, and b) the genius that is Justin Broadrick.

Have a good one people.

Peter Clegg

Remembering Joe Strummer – 10 years on


This probably isn’t going to be the best tribute you’ll see today on Joe Strummer, who died on this day in 2002 aged 50, for reasons I’ll now describe. I feel slightly ashamed to say I was a bit of a latecomer to The Clash. Admittedly, not being born until 1984 meant I missed the punk rock explosion in the UK. In fact my first memory of The Clash was first listening to ‘Should I Stay or Should I Go’ when I was about 10 or 11 on an indie rock compilation. My teenage years drew me away from slightly away from punk rock and towards metal. Although my brother was keenly into punk and rock, and indeed we shared our different tastes in music, The Clash was strangely one that rarely came up, and that was despite their status. Joe’s death certainly caught me and a lot of other people by surprise. I was just getting into some of his later work, particularly The Mescaleros. I wasn’t overly aware of The Clash, but I certainly knew who Joe Strummer was.

As I always look out for something new, so I always look back retrospectively. It wasn’t until the opening chords of ‘Clash City Rockers’ greeted my ears while playing a Tony Hawk video game a few years back that The Clash finally stuck in my head. I’d heard White Riot, London Calling, Rock the Casbah, all a million times. This was immediately attention grabbing. Shortly after that, I owned the eponymous debut album, and its follow-up ‘Give ‘Em Enough Rope‘, and I haven’t looked back since. Connections with fellow, older music fans have taught me to appreciate the bands of yesterday, and you certainly can’t beat the originals.

So here’s a video of the band playing ‘Clash City Rockers’ on the BBC show ‘Something Else‘. On this day, ten years on from Strummer’s passing, let’s celebrate his firebrand stamp on punk rock that shaped the musical landscape forever. Hope Strummer is loudly bothering whoever, whatever it is up there.

Don’t complain.

Peter Clegg