We Must Obey Best of 2012 Playlist!

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It might be 2013 but we can’t just say goodbye to 2012 without a happy look back at a cracking year of metal. So with a much improved mobile in my hands, I’ve taken the step of signing to Spotify, and before you now is a special 2012 playlist culled from our top 10 lists for full albums and short releases. It includes the whole of Tree of Sores dominating ‘A Cry of Despair’, as well as tracks from Down, Coilguns, High on Fire, Woods of Ypres and more. 12 songs in total, and its fecking heavy too. So take a look and have a listen! And if Spotify can please get their site and app to allow me to sign up as a Premium user full time, we can make this a regular thing!

Click below to access the playlist:

http://open.spotify.com/user/wemustobey/playlist/0P2vKuWv5ysj5xzFWY0FUW

Peter Clegg

Best albums of 2012

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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.

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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’).

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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.

 

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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!

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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. 

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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’.

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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

Converge – All We Love We Leave Behind

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Converge
All We Love We Leave Behind
Epitaph

As I write this review for Converge’s latest album, looking back at it retrospectively, I feel like I needed this album like I needed no other. As in, its so uncompromising, with at times absolutely vicious guitars, and with lyrics of the heart that seem so bleak, so cutting, and yet refreshing honest. Yes, it’s a little weird for me to write this intro for the upcoming review as though it’s a summary, but I genuinely have to put how I felt about it into context. Its full potential didn’t quite hit me at first, until one day, stressed out and in a state of chaotic commutive flux, that it’s full power roared through me.

But make no mistake; Converge have returned here still relevant, still influential, now on album number eight. They go through fourteen tracks inside thirty eight minutes and there’s not a bad moment to pick out from them. Sure, many will consider 2001’s ‘Jane Doe’ as their magnum opus, but there’s plenty here to more than satisfy even the neediest Converge fan. From the regretful sorrow of ‘Aimless Arrow’ to the savage beatings of ‘Trespasses’ and ‘Tender Abuse’, ‘All We Love…’ starts off with a bang and showcases the Massachusetts crew’s mastery of their craft through its versatile approach to their style. Kurt Ballou further proves himself to be one of the most dynamic guitarists around, whether throwing in sledgehammers on the likes of ‘Shame in the Way’, or the athletic boardwork on the title-track. And Jacob Bannon yet again proves one of the best hardcore vocalists around, shifting around the deep of ‘Coral Blue’ and exemplifying his ferocity in numerous other places, with every howl and wretch.

All We Love We Leave Behind’ is a surefire contender for album of the year, words to easily banded around these days. But I genuinely expect this album to be in the shake-up come the year end, in many people’s lists. After the relative disappointment of ‘Axe to Fall’, a largely good album simply bloated by too many guests, Converge have gone to a back to basics approach which pays dividends all ends up, leaving a trail of contemporaries and young wolves in the dust.

Peter Clegg

Buy ‘All We Love We Leave Behind’ here 

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Converge – All We Love We Leave Behind (album stream)

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Visions: Converge – Aimless Arrow

Converge are one of those bands that just seem timeless. Completely fucking timeless. Twenty-two years young, musically refusing to stagnate, and still taking names and influencing countless others, they may not possess necessarily the anger of previous releases, but they certainly still capture despair on record like no other. And if this cut from forthcoming new album ‘All We Love We Leave Behind‘ is any indication, that statement isn’t about to change any time soon. Featuring a video (directed by Max Moore) with an arrow flying through the forest, and a young boy on the run and walking through several desolate landscapes, ‘Aimless Arrow’ is two minutes, thirty nine seconds of intense cerebral agony evidencing exactly what Converge do best. Do not miss out when this album drops.

Peter Clegg

Converge/Napalm Death – Split

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Converge/Napalm Death
Split

Without question, this split release between giants of d-beat Converge and giants of grind Napalm Death is one of the most anticipated releases of the year, the world waiting with baited breath while the respective overlords committed their work to a shared vinyl. The hype and the belief is justified. Though frightfully short, each band’s contribution consists of two songs each, amounting to just under eight minutes of blistering sonic violence.

Converge open ‘No Light Escapes’, a fifty-two second track expected to be on forthcoming album ‘All We Love We Leave Behind’, and its Converge at their most visceral and pissed off, before throwing in a guest-laden cover of Entombed’s ‘Wolverine Blues’. The Swedes have influenced many a band that has passed by Kurt Ballou’s production desk of late, not to knock a solid if ultimately unsurprising take on the song.

The ‘Death follow up their expected impressive showing on ‘Utilitarian‘ with the same fervour that continues to drive them 30 years into their career. ‘Will by Mouth’ is just as vital as anything they’ve done in their recent history, possessing a nice old-school punk swerve, a feel that continues on ‘No Impediment to Triumph (Bhopal)’, a diatribe on the Bhopal gas disaster in 1984.

It’s not often that two highly influential bands get together to pay fanservice to their followers, but on this occasion its a collaboration to celebrate and to generally explode to.

Peter Clegg

Buy ‘Converge/Napalm Death‘ here [download]
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