Best of 2015


As the Greek saying goes: “If thou dost not praise thine home, it shalt fall upon thee.”, for this home has a lot to offer. There is a huge amount of releases every year and it doesn’t seem like it’s going to decline. Some releases were felt, others were just passing by and some will be felt in the future.

Now come, m’ lords and m’ ladies. Sheath your swords and take off your armor. Let us gather into the holy of holies; let us drink freshly brewed and warm beer; let us drink red wine and feast on the flesh of the earth. Here, in our lands, dragons, witches and elves live among us. So do demons and dark spirits of the unknown. Let us discuss and argue over their offerings. Let us drink and listen to the bards. Let us rejoice, for another year has passed and we are still alive and well, in sickness and in death. Such is the times in our sacred, ancient lands. Blessed be my brothers!

20. Dødheimsgard - A Umbra Omega

19. Terminus - The Reaper’s Spiral


18. Mgła - Exercises in Futility


17. Ethereal Shroud - They Became the Falling Ash


16. My Dying Bride – Feel The Misery

15. Ghost – Meliora

14. Awe/Vacantfield/End – Moerae (Read the review HERE)


13. Magister Templi – Into Duat


11. Misþyrming - Söngvar elds ogóreiðu


10.      Visigoth - The Revenant King


What better way to start your glorious day in the midst of battle. With songs than can easily be called hymns for our never dying romantic nerdiness that got us into the game of metal, this album is steel, leather, wristbands and a journey into the fantasy worlds. Songs like “Blood Sacrifice”, “Iron Brotherhood” and “Dungeon Master” are the essence of heavy metal fun. Read the fiction review HERE.

9.       Crypt Sermon - Out Of The Garden


But why stop there? Why not continue on that road, turn it up a notch and make it sound even more epic and grand. Let us go to a time where we stood in awe while listening to big, doom riffs hitting on the mountains. But what do your eyes see? Nothing but darkness. And from within the abyss, Heavy Riders come marching towards us. Crypt Sermon gave us the best epic doom album of the year, and they did it with ease.

8.       Amorphis – Under The Red Cloud

It came as a surprise to me. Not the album itself. Amorphis release a full length every few years. What surprised me was the quality. I expected to listen a collection of good songs with a few great exceptions, but “Under The Red Cloud” exceeds and excels in every level. This album is tight, intense, rocking, and fun to its core.

7.       Paradise Lost – The Plague Within

Same goes with these gents. They brought back the beast from their first couple of albums, but through the unique melancholic lead melodies from Macintosh and the sound that made Paradise Lost one of the most influential bands in metal. The song writing, the deep doom/death riffs, all the while Holmes sings and growls, gave us songs filled with hooks, melodies and intensity. Not exactly a surprise, since we all know and expect quality releases from them. "The Plague Within" is a dark beast.

6.       Tau Cross – Tau Cross


Tau Cross is a quartet of well-known musicians with Away from Voivod and Rob "The Baron" Miller from Amebix standing out. They describe themselves as punk metal which is accurate. What distinguishes them is the sing along vocal lines, the lyrics that can create strong imagery, see“Hangman’s Hyll”, and the orchestration that can bring chills to your spine. Something big and strong is being expressed through these songs. A deserted landscape, civic meltdown, misanthropy and disgust for the things that are happening around us and a whole lot more, concentrated into the debut album from Tau Cross.

5.       Macabre Omen – Gods Of War – At war


If there is one word that describes “Gods Of War” then that word is tragedy, as in ancient drama. The emotions are through the roof and they can be felt by every single little note and voice and sound. From the guitar melodies and the way the riffs are moving towards a built up to the necessary release, or catharsis. “Gods Of War” is cathartic. The lyrics are using fragments and images from ancient Greece. Whether it is “The Descend Of The Myriads” in the first song, “I see, the sea”, which brings to mind what Xenophon shouted when he and his soldiers saw the sea after weeks of marching through the mountains or lyrics that can be ascribed to ancient Greek philosophers. Whether it is about war, pride or the death of a father figure, the whole album speaks directly to the heart. Epic black metal at its finest.

4.       Cruciamentum – Charnel Passages


This year belongs to death metal, at least for the writer of this list. Riffs that delve into the unknown, creating swirling structures of dark worlds and horrifying entities, screams and growls of despair and the most important aspect of “Charnel Passages”, the outstanding orchestration. The songs are built with mastery, even though it is their first full length which makes me think that Cruciamentum are going to be one of the pioneering forces in death metal, along with Lvcifyre and, of course, Dead Congregation. Go on, give it a go. Read the review HERE.

3.       Vastum – Hole Below


It is with albums like these, where I feel words cannot describe the depth and the madness enclosed within this beast. The production is exceptional. It works in space.  Every instrument has its place, as if they were set to build a world. In more simple words, it works with layers that meld into each other and suck the listener into Vastum’s world. Frightening, thick, dark, swirling and the riffs…oh, the riffs… Listening to “Hole Below” is an act of transcending reality and moving into the spheres of darkness with growin awe and affection.  

2.       Nachtreich & Spectral Lore - The Quivering Lights


There is a time gap between mid and late December, where new releases are trapped in limbo for all eternity (considering that BOTY lists are being published at the same period). Such is the case for this collaboration LP that was released about 363 days ago. The subtlety of emotions, the combination of piano and electric guitar melodies, the lyrics that come into form through screams and whispers. I love this album and I still listen to it. Moving, aery, naturalistic, timeless, philosophical; a walk under the stars, or into a storm, along with spirits and voices; fearless, heartfelt, mortal but not confined; there are so much to be said and still not communicate the beauty of “The Quivering Lights”. Read the review HERE.

1.       Sarpanitum – Blessed By My Brothers


I consider this release to be near perfection and one of the best death metal albums I’ve heard. But instead of just blathering about it, here are a few things that I wrote when I was under its spell: “This music is not of the ground and neither it is of the air. It is not of the day nor is it of the night. It is not of the sky and of the clouds and of the warm intensity of the sun, coming over us, hailing for the summer. It is neither a beginning nor an end. Not a constant and not a sight to see. It is around us, over us and below us. Within us and without us. It lifts the body and praises the beauty of art.” The impressions the “Blessed Be My Brothers” created in my head where so strong but mellow at the same time that I was listening with awe. Brutal rhythms, beautiful guitar leads and solos, thick and warm production, unstoppable drumming, exceptional orchestration and a sense of relaxation and beauty after the end of it. Read the review in full HERE.

Shining - International Blackjazz Society - Review


“Fuck my soul when I burn it all.” I can imagine Shining playing in large venues and the crowd moving and jumping up and down with them; shouting the simple and repetitive chants-lyrics through the voice of Jorgen Munkeby, where the narrator speaks in first person about him/herself and/or against everyone else. “My god, I don’t know what is going on. I cannot take this shit anymore, but I still need more.”… Because everyone at some point, just can’t take it anymore.

The intensity and the energy that ‘International Blackjazz Society’ expresses can be overwhelming and at the end of it, the listener may feel more relaxed and at peace. See it as a way to express anxiety, worries, uncertainty, anger, self-loathing and a wide range of destructive emotions, if kept on the inside and ultimately, have fun with it.

Shining begun exploring and creating their own sound a few years ago, when they released “Blackjazz” and now, two albums later, this musical vision is more realized, methodic and disciplined. They are more precise and they create songs that can take the listener to a wild ride. The music is dense, cohesive and filled with industrial energy, creating a thick moving wall, or maybe a massive body of water moving fast towards us, making great and fear inspiring noise, shouting at everyone and no one at the same time. The saxophone doesn’t play a dominant role and it feels more like a parallel narration to this intense storyline that is expressed while I, the listener, am experiencing the album.

This is the dream of a man about to lose his shit. Stuck in a traffic jam; hands on the stirring wheel; fingers tight around it; the mind swirling in anxiety; debts; bills; unemployment; problems at home; fighting; blaming each other; fuck my wife/husband; fuck the future; fuck society; fuck the banks and fuck it all. Jumping out of the car and running like a maniac. The man doesn’t know it yet, but it is total meltdown. “I knew what I was living for, but know I am not sure.” And when it is fully realized and the body exhausted, he is falling on his knees and crying, not out of weakness but of despair. The dream is broken. The dream is dead. “Now I know it’s all a lie. Choose the poison. Choose the lie. I sold all the things I love for a place in this empty house of control.”

The listener can sense the sensitivity and the subtlety of emotions. It is not just anger and denial. There is vulnerability, there is intensity, there is uncertainty channeled through this dark, thick, industrial entity called “International Blackjazz Society”; and most of all, it’s fun. You can move with it, dance with it, play along with it and at the end of it feel like you had an awesome time. Every song has a circular riff that moves around and welcomes you to dance with it; the drums have a warm and live sound, making it feel more rock and less industrial; not distant and cold, like metal on metal, but closer to you; lead guitars, keys, saxophone and voice are all moving on top of the basic riff-drums-bass structure and this is what makes it feel so alive and intense; along with the lyrics, you have the visions of a man that is having a meltdown and somehow enjoys it. And so do I.

Not long ago, Shining gave a live performance on a rock in Norway, Trolltunga, and from what I’ve seen they do love playing live and recording on location (like this ONE). Maybe next time they’ll play on Mars; or the moon, because, well, it’s closer. Count me a member of the International Blakcjazz Society. I just hope it doesn’t turn into a religious cult.

Bloodway - Mapping The Moment With The Logic Of Dreams - Review




Bloodway are unique, which by itself means a lot and nothing at all. With an EP and their first full length, ‘Mapping The Moment With The Logic Of Dreams’, they invite us into their world. If I would classify them I’d say that they are moving seamlessly, between Impressionism and Surrealism and if you are wondering why I made this general classification and not just say what specific genre of metal/rock they belong to, it’s because they don’t. Instead, some references could be helpful. Do you know the general aesthetic of Ved Buens Ende, Virus and Beyond Dawn? It’s similar, but not quite. It has a punk/rock feeling to it, but not quite. Bloodway play Bloodway.

The bass plays an equally important role with the guitar, while the drums are keeping steady and simple rhythms. The music alone, devoid of the voice, is intriguing and attractive to the listener, if said listener likes his music to be weird. If you add to the mix the even weirder vocal delivery, then you have in your hands a unique album. The voice can be divisive. It may or may not appeal to the listener. It’s rasped and shrilled and it could make someone cringe. It’s just how Costin Chioreanu sings.

Along with the lyrics, the whole entity titled ‘Mapping The Moment With The Logic Of Dreams’ is filled with the clear but abnormal imagery of a man that expresses existential questions; moving into his distorted memories along with the development of each song. They feel like the dreams of a warped world. The buildings have aphysical architecture and the people are designed by a paradoxical god. An arm here and a leg there, let’s put a mouth in the sky and sing with blood about the nature of man; let’s contemplate on the relation of nature with human and on the relation of people: “When you’ll color your heights, blue as the sky, I’ll be a piece of you, garden. Would we live without time?” I do not know that garden or the symbolism, but it feels logically placed. Seeing and listening and feeling ‘Mapping…’ nothing really seems out of place. It’s weird, it is self-conscious, it sings of a deer, the prince of the kingdom of fear; it sings of the temple of screams and of the chant of sailors, lost at the edge of dawn; and it is absolutely normal.

The song structure is cohesive, easy to access, simple and punkish; it has hooks that can make you sing along with him; the aesthetics are weird and attractive, a foreign world where I am just a visitor. And maybe, if you go there, somewhere in this twilight lit world, you will meet a man, standing in the mirror and you will ask him: “Who I am?” and the man will respond: “I have no name, I am a dream. My path is magic and this is my sin.”


And what a peculiar dream it is. Listen and go there. You might like it. I found it to be an interesting world filled with wonder, but far away from my heart. It is music that plays in different planes and it flows in different veins, but I will be visiting this place and whatever may come from Bloodway in the future.