Territory's Edge: Best New Metal of October 2021

October is generally a good month for metal releases, given the Halloween season and all.  There's plenty of quality material this time around, so let's jump right into it.

Mastodon - Hushed and Grim

 

While progressive/stoner/sludge metal Atlanta band Mastodon has crafted 13-minute individual songs earlier on in their career with "Hearts Alive" and "The Last Baron", their latest album Hushed and Grim marks a new endeavor of epic proportions.  It is Mastodon's first double album and their longest release to date, clocking in at 86 minutes across 15 tracks.  While the band's last three albums were their most accessible and straightforward, this one returns to their conceptual nature in a way that sounds like a natural progression.  While very melodic and atmospheric throughout, the album contains plenty of dynamics - the doomy, ominous "Dagger" is followed by "Had It All", a subdued rock ballad with a Kim Thayil guitar solo.   Hushed and Grim is a concept record dealing with grief, and is dedicated to the band's longtime friend and manager Nick John who passed in 2018 from pancreatic cancer.   Throughout there's an acceptance of the inevitability of death, best summed up on the third track with the lyric "Death comes and brings with him sickle and peace".  The album doesn't grab your attention immediately, but further, closer listens will reveal just how fantastic it really is.

Mastodon are no strangers to grappling with loss and death in their music.  Albums like Crack the Skye and The Hunter were tributes to drummer Brann Dailor's sister and guitarist Brent Hinds' brother respectively.  From the beginning, as aggressive and feral as their early material could be, something more was present beneath the surface than just mere rage.  Dailor credited Mastodon's first album Remission with helping him heal and process the pain of his sister's death, and explained that the title represents forgiveness and healing.  Remission was lyrically abstract and chaotic in nature against a backdrop of intense technical drumming, but it contained more subdued instrumental sections as well, perhaps representing stability found in the midst of turmoil.  A similar sense of acceptance and healing in the midst of tragedy is present here, but is more multifaceted and contemplative in tone.   Hushed and Grim is a masterful, multi-faceted record, but we shouldn't expect anything less than quality music (not to mention consistently fantastic artwork) from Mastodon.  Expect this, and one other October album, to be very high on my year-end list.

Frontierer - Oxidized

Scottish noise/hardcore outfit Frontierer have made one of the heaviest and most abrasive albums of the year.   Pedram Valiani's breakneck, technical riffs combined with harsh, distorted electronics result in a chaotic sound comparable to Godflesh, Fawn Limbs and Will Haven.  Fans of Code Orange (particularly their more intense material) should find something here to enjoy as well.  The result is a difficult album to get into for sure, but also a very well crafted one.  "Daydark" is the cut I'll highlight further and treat as a single, as delving into the entire 16 tracks of this sonic cacophony headfirst is a daunting prospect for listeners, even those who are well acquainted with this style.  Reminiscent of Loathe, this aggressive mathcore track unexpectedly gives way to ambience and atmospheric clean vocals, before delving back into the chaos.  I particularly like the way Frontierer incorporates this contrasting melody surrounded by the tumult on both sides.   The band made Oxidized available on Bandcamp as a free/pay what you want download.

The Breathing Process - Labyrinthian

 

My first encounter with this band was their 2010 album Odyssey Undead, which combined a European symphonic black metal flavor within the context of an American death metal band.  Between that time and the present, the sound of The Breathing Process has streamlined to symphonic deathcore and more closely resembles the likes of Shadow of Intent and Brand of Sacrifice.  Their latest album Labyrinthian comes shortly after they were signed to tech-death/deathcore label Unique Leader Records.  Guitarists Jordan Milner and Sara Lorelein also incorporate some riffs reminiscent of black metal such as on "Wilt".  Subtle dissonant melodies and prominent orchestration throughout provide a sense of grandeur.  While the drum production is somewhat muffled, Labyrinthian is a cohesive record and the band's technical skill comes through clear.

Arch Enemy - "Deceiver, Deceiver"

Arch Enemy have roared back with a new track, "Deceiver, Deceiver".  This is a standalone single and for now, nothing further has been announced.  Barring a January 2019 covers compilation, the song marks the first new material for the Swedish melodic death metal crew since their 2017 full-length Will to Power.  Vocalist Alissa White-Gluz sounds as fierce as ever.  Her aggressive delivery combined with the chaotic atmosphere and blast beast drumming make her chastisement of a duplicitous antagonist especially convincing.  A tradeoff of lead guitar riffs between Jeff Loomis and Michael Amott provides a suitably dark backdrop.  Amott stated that the track is "not the happiest of tunes, but believe me - we're ecstatic to be back!"  That feeling seems to be mutual among metal fans, as "Deceiver, Deceiver" has already received over 600 thousand Spotify streams within 10 days of its October 21 release; an impressive feat for material this heavy.  

Veil of Maya - "Outrun" 

 

Like Arch Enemy, Veil of Maya's last released album also dates back to 2017.  However, the Chicago progressive metalcore band has remained on the radar and released four standalone singles in the last three years.  Veil of Maya's latest song "Outrun" is as catchy as it is unpredictable.  Starting off with an aggressive djent sound and harsh vocals, the music switches to a synth pop instrumental as vocalist Lukas Magyr sings a Weeknd-style R&B melody in the chorus, and then transitions right back.  Guitarist Marc Okubo also has a moment of homage to Iron Maiden.  His guitar harmonies in the bridge are an intentional nod to 1983 hit "The Trooper".  "Outrun" could become a future staple at live shows, as indicated by the music video, which features live footage from the band's tour with Dance Gavin Dance.  

Trivium - In the Court of the Dragon

 

This stellar and surprisingly ambitious record was the only release that could rival Mastodon's double album this month in terms of quality.  Trivium's new album In the Court of the Dragon has drawn some well-deserved comparisons to perhaps their most acclaimed work, Shogun.  In fact, the closer "The Phalanx" was originally written during that era but remained unused until now.  The title track is a relentless, take no prisoners beginning much like Shogun opener "Kirisute Gomen".  Trivium's 2020 effort What the Dead Men Say indicated that Matt Kiichi Heafy and company were comfortable in their lane and had settled on their sound.   What the Dead Men Say was not a bad album by any means, but it went through the motions and was not nearly as impressive as its predecessor The Sin and the Sentence.  Some tracks sounded like B-sides from that album.  That's not the case on here.   The sound is unmistakably Trivium, but the songwriting is stronger and more adventurous.  Subtle symphonic flourishes also give this a more epic tone.  The strings are most effective on the three 7 minute songs "Shadow of the Abattoir", "Fall Into Your Hands" and "The Phalanx", which are strategically placed as tracks 6, 8, and 10.  There's also some throwbacks to their early Ascendancy era, especially "A Crisis of Revelation", and more subtly, Matt Heafy's singing style on "Shadow of the Abattoir", which is reminiscent of the dark penultimate Ascendancy song "Departure".  This is easily among Trivium's best - I'd give it the edge over Shogun and What the Dead Men Say on a good day.

On a side note, 2021 isn't the first time Trivium have used dragon imagery.  Dragons appeared in the artwork for the Shogun cover and The Crusade singles "Becoming the Dragon" and "The Rising", as well as some tour merchandise during that era designed by Paul Romano, so Trivium hearkens back in more ways than one.

Territory's Edge - Best Metal of September 2021

Following some inactivity, I plan on reviving this blog through a new review format.  Here I discuss my own favorite new releases in the world of heavy music within the previous month in a feature called "Territory's Edge".  Like a wildcat patrolling and roaming the edges of his or her home range, the act of finding and listening to new metal music is an often solitary one of exploration.  Whether it's current material from personal favorites or discoveries of exciting new or underground artists, there's always more metal to track down.  In the midst of long full-time work hours, my goal is to make this a recurring feature.  Singles, EPs, and albums are all eligible for this list.  As always, go purchase the music and support the bands if you like what you hear!

Silent Planet - "Terminal"

 

 

The Azusa, California resident metalcore band unleashed a fantastic pair of songs this year from their upcoming album Iridescent, which releases on November 12.  The two tracks provide a study in contrasts.  While "Panopticon" is characterized by glitchy industrial electronics over aggressive bass lines (no guitar appears on that song) and contains only screamed vocals, the newest single, "Terminal", explores Silent Planet's most atmospheric and experimental depths to date.   Ambient verses flow into bleak, crushingly heavy guitar riffs.  Frontman Garrett Russell's incisive, spiritual and eloquent lyricism - an aspect that helped Silent Planet stand out from the crowded metalcore pack during their early years - takes a more personal turn on this song.  "Terminal" addresses Russell's experience with mind-altering medications while he was admitted to a mental hospital in November 2019.  Ethereal clean vocals convey that disassociation and undercurrent of despair.  The music video ties in with the one for "Trilogy", released last year and inspired by the same events.  Iridescent is ultimately an overarching story meant to be listened to as a whole - "Terminal" is one piece of that narrative.  To say I anticipate hearing the new Silent Planet project in full is an understatement.  We've got a potential album of the year.

Rivers of Nihil - The Work

On their fourth full-length album, Rivers of Nihil expand the boundaries of their progressive/technical death metal sound.  The Reading, Pennsylvania band are coming off their critically acclaimed 2018 project, Where Owls Know My Name.   Like its predecessor, The Work integrates saxophone (courtesy of Zach Strouse) within Rivers' dark, expansive soundscapes.  Melodic and versatile, this album comes across like a tech death take on Pink Floyd.   Of particular note is the track "Focus",  with guitarist Brody Uttley's programming lending a sinister Neurosis/Nine Inch Nails industrial atmosphere.   The Work is a multi-faceted experience, ranging from more straightforward death metal of "MORE?" to the progressive rock balladry of "Wait".  While sticking closely to its concept, the album has no shortage of variety, and individual songs incorporate a range of push and pull dynamics of their own.   At 64 minutes in length, there's plenty for fans of complex and heavy music to consume here.  Rivers of Nihil are poised to continue their trajectory as true juggernauts within the metal scene.

Inferi - Vile Genesis

Since their formation 2006, Nashville technical death metal ragers Inferi have not let up in intensity.  Their particular breed of death metal is a fearless yet calculated aggression, much like a snarling mongoose about to sink his teeth into a cobra.  The band's sixth full-length album, Vile Genesis, is a relentless onslaught of speedy melodic guitar shredding and death metal ferocity.  The clean guitar break on the title track provides a sparse moment of contrast that further emphasizes the surrounding chaos.  These eight tracks average five minutes in length, yet maintain a breakneck tempo through the guitars - Inferi packs plenty of technical riffage here.   "Carving Thine Kingdom" is a standout cut that recalls Brand of Sacrifice with its backing orchestration and infectious guitar riffs, and "Heirs of the Descent" fades out with a ominous final note. 

Invent Animate - "The Sun Sleeps, As If It Never Was"

Shortly after signing to UNFD, Invent Animate released their latest single, which is split into three separate tracks but is in essence a single ten and a half minute song.  "The Sun Sleeps, As If It Never Was" comes on the heels of 2020's full-length Greyview, the band's first album to feature new vocalist Marcus Vik (ex-Aviana).   The result is an ambitious single that impresses more than the album that preceded it.  Thematically, this techy metalcore composition explores the impact and aftermath of addiction from dual perspectives.  Drummer Trey Celaya has called the release a highly personal one, as it was inspired by his family's drug addiction crisis.   "The Sun Sleeps" is an honest discourse about a real-life scenario that allows the music to speak for itself. 

Spiritbox - Eternal Blue

 

It's no exaggeration to call Spiritbox's debut full-length one of the most anticipated releases of the year.  Led by singer Courtney LaPlante and her husband, guitarist Mike Stringer, the Vancouver based band has built up momentum steadily until they have become one of the biggest new names in the hard rock and metal world.  Spiritbox strategically released many singles spanning late 2019 to 2021, including a few that came long before the release date was announced.  Between the buzz that these songs created and Courtney's multiple guest features on other bands' songs, Spiritbox has made a seismic impact in 2021.   Their breakthrough song is "Holy Roller", originally released in summer 2020 and by far the heaviest on Eternal Blue.   Cold, mechanical and caustic, a spoken word verse drops into a brutal breakdown, and back again.  Other highlights include the haunting Evanescence-style opener "Sun Killer" and the venomous "Yellowjacket", the latter featuring guest vocals from Architects' Sam Carter.  The closer "Constance", titled in memory of Courtney's late grandmother, concludes the album on a moving note.  While one of the few songs to contain no screaming, it is perhaps the heaviest of all in tone.  The music parallels the slow loss of memory to dementia by initially sounding calm and serene, gradually growing more dissonant, and finally fading into a void of distortion.  With just one album, Spiritbox has lived up to the hype and are here to stay.