Territory’s Edge - Best New Metal of January 2022

One month in and 2022 already has an impressive selection of material to cover.  

Meshuggah - “The Abysmal Eye”

Widely credited as the forefathers of the djent movement, this influential Swedish technical death metal band just released their first new song in six years.  Meshuggah is the kind of name whose music speaks for itself, and "The Abysmal Eye" is reliably aggressive, with a blistering guitar solo to boot.  An April 1 release date has been set for their ninth album, Immutable.  It's new Meshuggah, they deliver their signature sound, complete with off-kilter time signatures, and not much else needs to be added.  The Swedes' technical sound occasionally experimented with avante-garde compositions, especially on the underrated Catch Thirtythree.  The band may venture into a similar headspace on Immutable, which they summarized as "their wildest sonic adventure yet."

Loathe is currently working on a full length album to follow up their breakthrough 2020 project I Let It In and It Took Everything.  This abstract, experimental track appears to be a stand-alone single.  "Dimorphous Display" remained unreleased in demo form for a while before Loathe finished it last year.  The song still maintains the spontaneous nature of a demo, as well as the spirit of a 1990s alternative track, much like I Let It In and It Took Everything deep cut "Screaming".  Frontman Kadeem France's feral snarls interject at the just the right moments, countering the brooding clean singing that comprises most of the vocals.  The sonic cacophony represents a raw expression and experimentation moreso than an indication of how their upcoming material will sound, so it’s still a question of where Loathe will go next.  The sky's the limit for the Liverpool band's creativity.  Don't forget that they had the boldness to put out an entirely ambient instrumental project the previous year.

Northlane - “Plenty”

Now an independent band, Northlane return to the signature cyber-djent style they perfected on 2019’s Alien.  The third single from their upcoming April album Obsidian is dark and technical, forgoing the poppy nature of the previous two.  A stunning vocal performance from Marcus Bridge alternates seething snarls with his impeccable clean singing on the chorus.  Over an unorthodox time signature, "Plenty" contemplates the question of whether you would start your life over again if given the chance.  It is by far my favorite of the three Obsidian singles.  While the first two took a few listens to get on board with, I found myself loving "Plenty" almost immediately.  While Northlane have received multiple ARIA awards in their home country of Australia, I still think they don't get enough credit for their ability to hybridize genres - and blend the old with the new - in a way that rivals crossover superstars Bring Me the Horizon.  Northlane's recent material masterfully incorporates early 2000s influences (the first Celldweller and Linkin Park albums come to mind) within the context of a heavier, modern progressive metalcore sound.   They are also one of the frontrunners in terms of promotion, writing a theme for a tactical video game esports league and launching the Worldeaters patreon this past year.  With tracks like "Plenty" in the band's arsenal, Obsidian is on track to be one of the best heavy albums of 2022.

Wolves at the Gate - “Lights and Fire”

Wolves at the Gate got their start as an aggressive, fervent post-hardcore band with a dichotomy of light and dark, tension and release, screamed and clean vocals.  That duality was in full force on the band's debut full-length Captors, one of the finest metalcore releases of the 2010s.  Every track on that album, including the heaviest ("Amnesty") and the softest ("Safeguards" and "Man of Sorrows") incorporated both aspects of their identity.  In contrast, "Lights & Fire" is an entirely melodic rock track that exhibits Wolves at the Gate at their most accessible, and in fact has been receiving some attention from satellite rock radio station SiriusXM Octane.  There are no screamed vocals here, which is rare for a non-acoustic Wolves at the Gate track.  What hasn't changed is the band's love of Thrice, and their creative interpretation of that influence continues to take on new forms.  The lyrics are also evocative, as vocalist Steve Cobucci sings about about a moment of clarity that came with the realization that he was holding on to something self-destructive.  While upcoming album Eulogies is unlikely to top their first three, this is a strong single that proves "radio-friendly" doesn't always mean stale. 

Absent in Body - "The Acres/The Ache"

Composed of Neurosis vocalist/guitarist (and frequent Mastodon collaborator) Scott Kelly, former Sepultura drummer Igor Cavalera, and two members of Belgian doom metal group Amenra (Colin Eeckhout and Mathieu Vandekerckhove), Absent in Body has proven to be a formidable metal supergroup.  The first released song from their upcoming five-track album Plague God is powerful and surprisingly dynamic.  Starting with a measured drum cadence over an ominous hum, "The Acres/The Ache" descends into Stygian depths with Igor Cavalera's echoing percussion evoking a dark underground dungeon.  This crushing sludge metal onslaught suddenly gives way to atmospheric post rock halfway through.  Around the four minute mark, a slow melodic guitar line breaks through the gloom, and ghostly clean vocals follow.  The dark, cavernous atmosphere returns in the end, capping off an otherworldly eight and a half minute journey.  This song proves to be an intriguing start to a promising collaborative project. 

Erra - “Nigh to Silence”

 

This new track was recorded last year for a special edition of Erra's self-titled album.  "Nigh to Silence" starts off sounding like a track from Jesse Cash's Ghost Atlas project, before incorporating previous eras of Erra into one song.  "Nigh to Silence" is a song about loneliness, which Jesse described as "set on an empty earth observed by the moon."  As proven before, the band's lyricism continues to stand out, with lines like "wolves of ash, howling in a present past" and "walking in the shadow of my own ghost" vividly describing a cold solitude.   Simultaneously emotive and pummeling, "Nigh to Silence" displays Erra's mastery at progressive metalcore. 

Fit for an Autopsy - Oh What the Future Holds

While rooted in deathcore, Fit For an Autopsy have always worn their Gojira influence on their sleeve.  This is most notable in "Far From Heaven," with a memorable guitar rhythm and chorus hearkening back to Gojira's album L'Enfant Sauvage.   Produced and written by guitarist Will Putney, Oh What the Future Holds spans a spectrum of heavy music that incorporates more subtle influences.  Whereas some deathcore records follow the same formula for every song on the album, Fit For an Autopsy make a clear creative choice to branch out.  Of special note are the contemplative, melodic "Two Towers" and "The Man That I Was Not", spaced apart as tracks 5 and 10 respectively, which venture into progressive metal.  Elsewhere, straightforward deathcore cuts like "Collateral Damage" are absolutely relentless.  As one of several albums released by prominent deathcore bands on the same day (January 14), this held its own against some competition.

Underoath - Vouyerist 

 

Underoath have left a lasting legacy over the years.  The band's sound has always been distinct and recognizable, particularly since Spencer Chamblerlain came into the fold, but the Florida metalcore stalwarts never made the same record twice.  Nothing will top ø (disambiguation) for me (one of my favorite albums of all time), but Underoath's latest project is very solid.  The self-production has a heavy, sludgy tone that works well for the bleak mood of the album, especially on the experimental closer "Pneumonia".  The two-track sequence of ambient Sleepwave-esque interlude "(no oasis)" and fierce post-hardcore dichotomy on "Take a Breath" is the finest moment on Vouyerist.  The only aspect that might prevent me from listening to this album more throughout the year is its relentlessly bleak and futile lyrical tone.  I can certainly relate to the Ghostemane-featured "Cycle" as it echoes the frustrated inner dialogue when my mind is on a negative spiral, but it's not a headspace I want to succumb to or remain in for long.  However, that brutal honesty also works in the favor of an album this cathartic and furious in sound.  Vouyerist leaves no doubt that Underoath still has new avenues to explore. 

 

Other Noteworthy January Releases:

Singles:

Haunted Shores - “Hellfire” (Jan 12, instrumental djent)

Bad Omens - “Like a Villain” (Jan 18, post-hardcore)

Ghost - “Call Me Little Sunshine” (Jan 20, doom/rock)

Vein.fm - “Fear in Non Fiction” (Jan 24, hardcore)

Shinedown - “Planet Zero” (Jan 26, rock/post-grunge)

Albums/EPs: 

Animårum - The Gaian Mind EP (Jan 14, djent/technical death metal)

Shadow of Intent - Elegy (Jan 14, deathcore)

Enterprise Earth - The Chosen (Jan 14, deathcore)

Worm Shepherd - Ritual Hymns (Jan 14, blackened deathcore/symphonic black metal) 

Pridelands - Light Bends (Jan 14, metalcore)

Mizmor - Wit’s End (Jan 14, black metal/doom)

Aethereus - Leiden (Jan 14, technical death metal)

Great American Ghost - Torture World EP (Jan 20, hardcore)

SOM - The Shape of Everything (Jan 21, doom/shoegaze)

Krosis - E.V.I.L. (Jan 31, deathcore, technical death metal)

On the Psychology and Theology of Silent Planet: "Am I Terminal?"

Silent Planet's frontman Garrett Russell has never been one to shy away from the subject of mental health.  He lives with bipolar depression and anxiety, and has been very open about his diagnosis in several interviews.  The band's second album Everything Was Sound has an entire meta-narrative about mental illness, informed by Garrett's master's degree in clinical psychology and internship as a college counselor.  However, his own struggle with mental illness would soon inform the band's music in a rawer, more painful way.  In November 2019, Garrett attempted to take his life while suffering a scary mental breakdown in Belgium in between shows on a European tour.   Shortly after, he checked himself into a psychological rehabilitation facility for a month.  Hospitalized and at the lowest point of his life, with the band's future in doubt, he tried to make sense of the broken pieces.   That traumatic 24 hour span and the resulting psychogenic struggle shaped Iridescent, the band's fourth album.  In Garrett's capable hands, lyrics about living with a stigmatized mental health condition are written with a rare depth, care, and raw honesty.  

Iridescent is visceral in sound.  Like  “Native Blood”, which I wrote about previously, the intensity of the lyrics is matched by the music.  Throughout, Alexrene Camarena's relentless percussion and Mitchell Stark's fast technical fretwork keep pace with Garrett's rapid-fire vocal delivery.  Atmospheric passages both melodic (the ending of "Second Sun") and ominous ("liminal") weave in and out.  Bassist Thomas Freckleton has traditionally handled almost all of the clean singing, but on here the duties are much more spread out, which adds further to the unpredictability.  The opening tracks "112" and "Translate the Night" convey a dissonant, eerie atmosphere on the same level as Loathe, while the aggressive industrial-laced djent of "Anhedonia" and "Panopticon" echoes Northlane's recent forays on Alien.  The emotive "Second Sun" and "Terminal" counter the chaos.  On tracks like "The Sound of Sleep", this album is also reminiscent of Underoath's Ø (Disambiguation) (Garrett's favorite Underoath album as well as mine).  Like that landmark album, Iridescent reflects its dark sound with desperate, soul-searching lyrics. 

Whether intensely personal or discussing broader overarching issues, every track on Iridescent conceptually fits into place.   "Trilogy", initially a standalone single on February 2020, was penned in one session by Garrett during his hospitalization.  The band finished and recorded the song shortly after he was released.  In it, he expresses a longing to heal and feel human again amidst the cyclic, clockwork structure of life in a mental facility.  The sole break from the chaos is when Thomas enters on the chorus, singing "Be still and human."  This frantic, fast-paced song encapsulates the manic state, as he screams about static in his head before the sound dissolves into distortion in the final seconds.  Iridescent's second single "Panopticon", named for an observation tower centralized within a circle of prison cells, alludes to a concept introduced on Everything Was Sound.  In an in-depth 2016 interview, Garrett explained how the panopticon on that album represents "the stigmatization of mental health and the way that we understand disorders", with the prisoner of each cell representing a different mental illness.  At the end, the prison is destroyed.  The track "Panopticon" has no guitars at all - just bass, drums, and electronics - and takes this concept in a more dystopian direction ("They see all but we see one/Shut down the system/Burn away the veil/What waits? A face behind a face behind a face").  The buzz of the bass strings is audible as Thomas’ low-end crunch provides the ideal backdrop. Lyrics allude to addiction to technology and screens, something Garrett was experiencing in an unhealthy way prior to the November tour.

On a similar note, the furious "Alive, As a Housefire" rages against the dehumanizing, machine-like nature of unjust systems.  Written during the June 2020 protests, it lyrically parallels "No Place to Breathe" as both tracks reference police violence against African Americans and generational trauma ("Cold as the empire that stole away your breath... and long as the history they poured inside your chest").  "Alive, As a Housefire" notes how it often takes a drastic event to recognize corruption ("We hide in the guise of benevolence until the system burns").  While this track is obviously about brokenness on a large scale, its catharsis and anger make its inclusion on Iridescent ideal.  Fire is also referenced multiple times throughout the album, including "Terminal" ("Burn the forest for the splinters"), "The Sound of Sleep" ("Bastard sun/you'll burn alone"), and "Anhedonia" ("Lost inside a fevered dream/Set fire to the forgery").  The latter track specifically addresses the devastating fires that occurred in northern California, not far from Garrett's hometown of Redding.  "Anhedonia" takes its title from the depression and numbness he felt for a while afterwards, unable to take pleasure in things he normally enjoyed. 

While Garrett's mental health struggle has been referenced on previous Silent Planet material, Iridescent is more akin to a trip into his own psyche in metalcore form.  The beautiful, haunting "Terminal" reflects raw desperation with nothing lost in translation.  This song is dominated by disassociated sounding clean vocals (sung by Garrett and guitarist Mitchell) floating over dissonant guitar riffs.  The ghostly, detached atmosphere echoes Garrett's shift from reality as he took mind-altering medications in the hospital.  He wonders if the anesthetizing, mood stabilizing drugs are only masking the hopelessness and brokenness he feels.  The way he tentatively sings, "The hourglass is vacant/Sand turns to medication/You can fill me but I'll never be full/I'm slipping to sedation/The seconds are contagious/Can you tell me if I'm terminal?" is beautiful and heart-wrenching.  Every lyric reflects this existential and spiritual tumult as he underwent treatment.   During the months leading up to Garrett's mental breakdown, severe depression, anxiety and fear of failure (often centered around losing his voice) weighed heavily on him.  "The Sound of Sleep" is about his insomnia leading up to his mental collapse.  As a central symptom of bipolar disorder, disturbance in sleep cycles is very frequent during manic episodes. Garrett's thoughts of lying awake at night ("I learned to forget how to lose myself in a dream until I sink/I learned to forget the intervals of syllables that sound like sleep") tell just how routine his sleeplessness has become.  Alex’s drumming is standout here, as he lays down an ominous rhythm.

Garrett's lyrics contain many attachment themes of self-worth, despair, and questions of brokenness.  In his words, "This album, for me, was the first time that I allowed myself the space to look at my demons long enough to give them names and try and describe their faces."  Iridescent doesn't conclude with easy answers or a neat resolution, allowing room for a present ambiguity.  To do so on an album this unflinchingly honest would be disingenuous.  However, a few rays of light and faith remain present.  Most notable is the penultimate song "Till We Have Faces", which takes its title from a C.S. Lewis novel.  Metanoia, a term in Christian theology meaning spiritual transformation and repentance, is referenced in the lyrics.  In the midst of instability, he finds grace within the darkest depths ("Laying inside the lowland, I bowed within the reeds/I gave myself to consequence when grace devoured me").  "Second Sun" echoes faith in the divine presence in the closing line, "Every turn returns to You."  In the midst of self-doubt and guilt, the grace and support Garrett received from the band and community ensured that those 24 hours wouldn't mark the end of Silent Planet.  The Night God Slept's opening song "The Well", is also interpolated: "Hold us together when the fear tears us apart/Lovers, forever, you are the answer to the dark".  The closing title track, a tribute to Garrett's dog Birdie who passed away that year, contains glimpses of eternity in the midst of a farewell - where all that is broken will be made new again.

Silent Planet's Iridescent deals with mental health in a more personal and painful way than their previous material, and the entire band handles this concept to perfection.  I wish all the best for Garrett and his bandmates going forward and hope he can find a space of peace, recovery, and happiness.  Simultaneously volatile and introspective, Iridescent is well deserving of a 10/10 score.  I'll leave you with a link to a 2020 interview between Garrett and former Sleeping Giant vocalist Tommy Green.  While difficult to listen to (be aware that it contains detailed discussion of medication, mental illness and suicide attempts), ultimately grace, hope and resilience is present in the midst of darkness, much like Iridescent itself.  There is a beautiful prayer at the end that speaks of how every broken piece is gathered and not one lost.  If you are going through any of the struggles described here, please never be afraid to seek the help and support you need, wherever that help may be for you.  Lovers forever.  Birdie forever.

On the Psychology and Theology of Silent Planet: "You Built Your Father's House Over My Mother's Grave"

 

Silent Planet.  Photo credit: Rod Cooley

While Silent Planet may remain under the radar within the broader heavy music scene, they've gained a substantive respect within progressive metalcore circles.  This band is truly one of a kind.  Conceptual lyrics are no anomaly for music dominated by technical riffs and crushing breakdowns, yet this Californian band's songwriting approach remains a unique one (though the riffs of their brilliant guitarist Mitchell Stark are definitely a selling point as well). Silent Planet's lyrics have a tremendous depth and sincerity that resonates with their listeners. 

Frontman and lyricist Garrett Russell has referenced indie rock bands mewithoutYou and Death Cab For Cutie as major influences on his songwriting.  While sonically dissimilar, Silent Planet's music reflects both Ben Gibbard's earnest conceptual storytelling on Transatlanticism and Aaron Weiss' theopoetic spoken word on Catch For Us the Foxes.  In an interview with theologian Mason Mennenga, Garrett cited hardcore band The Chariot as another inspiration.  He noted the gospel focus of Josh Scogin's lyrics, centered around, in his words, "a narrative of Jesus being poured out".  Silent Planet's lyrics frequently tell stories of people and subject matter on the margins of society, themes Garrett saw a lack of within metalcore during the band's early days.  A key part of this approach is observation of trauma and empathy.  Garrett Russell has experience as a college mental health counselor and a master's degree in psychology.  From the beginning, he has been very open about both his Christian faith and personal struggles with mental health.  While Silent Planet doesn't self-label as a Christian band, the influence of that faith is impossible not to miss.  

Above all else, Silent Planet's thoughtful and deeply spiritual lyrics emphasize humanizing the conversation.  This holds true whether the band is discussing historical, psychological, personal or theological topics.  One single off their debut album actually addresses all four.  Titled "Native Blood", the song discusses western expansion and colonialism told from the perspective of a young Native American girl.  The girl is one of the "Seven Sisters" referenced throughout the band's discography.   The Seven Sisters are the women whose stories are told from a first-person viewpoint on the album The Night God Slept.  Beyond the historical lens of a storyteller is a more personal meaning.  Garrett Russell is of white and Native American ancestry, and was inspired to write the song after attending a conference at restoration psychology.  When asked by a fan about the background of the song in a Reddit AMA thread, he said, "I was at this conference on restoration psychology and a Native American speaker was talking about generational wounds.  This really stuck with me and led me to think about my heritage, going back to my grandmother and how there are marks of this cultural genocide all across the USA."  The concept of generational trauma and displacement is reflected within the music video, filmed at Cuyamaca Rancho State Park near San Diego, California.  This site lies within the traditional lands of the Kumeyaay people.   Regarding the video, Garrett said, "Our videographer was brilliant and found lands that were Native lands and now used as state parks - which sort of fits our theme of Native people being removed from their lands and how history is always written by the 'victor'."  Throughout the video, images of Native Americans are shown among the trees and scenery, acknowledging them as the original caretakers of the land. 

Central to "Native Blood" is how America's legacy of expansionist persecution of indigenous people and the theft of their land was committed in the name of God.  Writing from the perspective of the Native American girl, one powerful line proclaims, "You built your Father's house over my mother's grave." This song is a lament, much like the psalms of grief written by the exiled Israelites in the Bible.  "Native Blood" contrasts Garrett’s theology of Jesus Christ as a revolutionary suffering servant with the Manifest Destiny worldview of empire, conquest, domination, and entitlement.  United States government policy not only encouraged but mandated the systematic destruction and displacement of the land’s native cultures, as well as the near eradication of wildlife sacred to them, such as bison and wolves. The Dawes Act is referenced in the lyrics, “Our race is a bloodstain spattered on a profane political campaign - manifest your destiny. Stars and Stripes comprise my prison bars - the cost of liberty.” 

Garrett Russell also alludes to the Christus victor atonement model in the footnotes that accompany each song.  Through the lyric, "The suffering cross that overcame/the name of love made concurrent with shame" he sharply juxtaposes the self-sacrifical love professed by Christ with the violence, imperialism and injustice committed in the name of western Christianity.  "Firstwake", another song on the same album, expands on this further.  "Firstwake" is written as a dialogue between Jesus and Mary at Calvary, and references Jesus' words from Luke's account of the Passion.  Throughout the song, Garrett addresses the disconnect between how Christianity is largely perceived (due to the ways it has been politically co-opted and used for persecution) with the subversive and revolutionary power of the Gospel, which at its initial founding emphasized closeness with God as well as compassion and hope for the marginalized in society.  

The closing lyrics are especially moving.  When Garrett screams these words you can hear the pain in his voice and the full weight of what he's singing about.   As a lament, this song speaks of a great tragedy and does not have an easy resolution. 

"This melody - I thought it familiar

It sounds like your heartbeat keeping time,

Then you turn and remind me that this pain has a purpose

And maybe we'll fall asleep tonight."

Silent Planet's first three albums each have a central concept, as well as larger, overarching themes that connect all of their discography together.  The Night God Slept dealt with women throughout history who had to make difficult decisions under oppressive ruling forces.  Everything Is Sound addresses various mental illnesses, while When the End Began is dark and apocalyptic in nature.  Throughout this series, I'll discuss different Silent Planet songs and how Garrett Russell's approach to psychology and theology informs the lyrics.  In an upcoming post, I'll delve into the band's latest album Iridescent, which is much more personal in nature, and talk about how it addresses recent trauma and recovery.  

Territory's Edge - Best New Metal of December 2021

Happy New Year 2022! As December tends to be, this month was lean for new metal albums, and none of these entries cover new full-length material.  However, heavy music still provided plenty to cover.  One particular song marked an exciting return for a band that has been essentially MIA for over eight years.  Arch Enemy and Venom Prison both released excellent second singles this winter, while other bands familiar to me like Sylosis, Nonpoint, and Fit For an Autopsy put out songs this month as well. 

Be on the lookout for several big posts on the way in January.  I'm currently working on finishing an in-depth breakdown of my best-of list for 2021, as well as a full-length review/essay on Silent Planet's Iridescent. 

Karnivool - "All It Takes"

Let's start with the big one first.  Australian progressive alt rock group Karnivool, whose 2009 opus Sound Awake combined an energetic catchiness with sprawling prog-rock ambition, is back. "All It Takes" uses the same producer as that album and marks the first stage of a new project with more to come.  While their vocalist Ian Kenny has remained active in the alternative group Birds of Tokyo, December 10th ended an eight-year-and-a-half gap since 2013's Asymmetry.  (In the interim though, Karnivool still played shows, including supporting Deftones for their 2016 Australian tour and recently livestreaming a playthrough of Sound Awake.)  It's suffice to say there's no rust in sight on the new single.

Sevendust - "All I Really Know"/"What You Are"

 

Reliable Atlanta alternative metal mainstays Sevendust put out a special edition of last year's Blood and Stone with two newly released tracks and three remixes.  "All I Really Know" and "What You Are" are the two B-side tracks recorded during the album sessions.  On a side note, while I'm generally not a fan of remixes of rock and metal songs, the three that appear are all mixed by artists well-versed in the metal world and retain much of the identity of the originals.  Jake Bowen (electronics in Periphery) produces a chilled-out take on opener "Dying to Live", and his solo ambient electronic project The Daily Sun is worth checking out as well.

Cult of Luna - "Cold Burn"

The Swedish post metal band releases their new album titled The Long Road North on February 11, which the band described as "big-sounding" and "cinematic".  "Cold Burn" is a slow-burning, brooding sludge metal track that opens up the upcoming 9-track project.  The black-and-white visualizer video doubles as a preview from The Long Road North game designed in collaboration for the album, representing a lengthy, uncertain journey.  Building visuals to accompany the music and taking it a step further by allowing listeners to interact within that visual plane is a creative premise.  The band aims to move forward and believes that adding these storytelling elements will be prevalent in the future of music video design. 

Arch Enemy - "House of Mirrors"

 

December brought another single from Swedish death metal outfit Arch Enemy.  The melodic opening guitar riff from Michael Ammott immediately commands attention, in a track that vocalist Alissa White-Gluz described as being "about the dark twists and turns of the human psyche".  While its predecessor "Deceiver, Deceiver" was good in its own right, I consider "House of Mirrors" to the be the stronger single of the two.  While no additional full-length been confirmed at this point, a new album announcement within early 2022 seems likely. 

Venom Prison - "Pain of Oizys"

When covering "Judges of the Underworld" last month, I took note of the Greek mythology metaphors present on Venom Prison's upcoming album Erebos.  The UK band's most recent song holds true to that concept, taking its title from a lesser-known goddess of grief, anxiety and woe.  "Pain of Oizys", as interpreted through its music video, represents the struggle with inner torment - and ultimately finding liberation in the midst of it, as the protagonist finds her way to the dawn of a new day at the end.  The band's most dynamic track to date, "Pain of Oizys" is the first to completely pivot away from Venom Prison's established death metal style.  However, it does not sacrifice intensity as the subdued instrumentation hosts both cleanly sung and screamed vocals.  It's a song intended to lead the listener into a "false sense of security", as guitarist Ben Thomas described.  Vocalist Larissa Stupar has indeed made good on her word that Erebos would represent a new phase for her group while still remaining recognizable.  Larissa stated that "Pain of Oizys" ultimately represents a message of empowerment while acknowledging her own depression.  Saying, "It's about respecting that I want to live with it, instead of not wanting to live at all.  It's about catharsis; about feeling empowered in who you are instead of looking to find yourself as somebody different.  If you stay strong, you can survive anything." It's an excellent message of both honesty and hope, and one of the reasons why this band earned a spot here two months in a row. 

Territory's Edge: Best New Metal of November 2021

Territory's Edge entry for November, which proved eventful for heavy music.  Other noteworthy releases I enjoyed from this month include the brutal post-metal of Twin Dream by Glassing, the instrumental prog/post rock soundscapes of A Vast Field of Silence by Outrun the Sunlight, the symphonic alt-metal of Heaven in Hiding by Imminence, and the Christmas themed metalcore single "Lowborn" by Wolves at the Gate. 

MØL - Diorama

 

Here is a very good black metal/shoegaze combination similar to earlier Deafheaven material.  While Deafheaven’s most recent album Infinite Granite is primarily shoegaze with only trace remnants of black metal, Diorama is stylistically closer to Sunbather and is a near 50/50 split of the two sides of their sound.   Kim Song Sternkopf’s harsh black metal-style delivery is countered with melodic guitar riffs and ambient instrumental sections from Nicolai Bladt and Ken Lund Klejs.  The band takes their name from the Danish word for “moth” and writes both Danish and English lyrics, sometimes within the same song.  “Diorama” is the calmest and most atmospheric of the eight songs.  This closing title track is entirely in Danish, and features Sternkopf singing cleanly for the majority of it alongside vocalist Kathrine Shepherd.   Another clear standout is “Itinerari”, which uses ambient instrumental sections and clean vocals to great effect.  MØL sees shoegaze and black metal as styles that meld well with each other, and blend them together expertly.  They have also listed Gojira, Mastodon, and Danish alternative rock group Mew as influences, making for a diverse, well-rounded take on the genre.  

Venom Prison - "Judges of the Underworld"

  

Over their seven years of existence, Venom Prison have steadily gained traction within the metal underground.  “Judges of the Underworld” may be the song to break them out.  The Welsh band’s metalcore influenced take on death metal is just as fearsome as their name implies and remains so.  However, their purposeful message and frontwoman Larissa Stupar’s dual vocal style provide potential for the band to reach a greater audience, particularly fans of larger acts like Jinjer or Arch Enemy.  Larissa both sings and growls over a driving guitar riff on a song just as memorable as it is brutal.  The track marks Venom Prison’s first single from their February 2022 album titled Erebos, which in Greek mythology refers to the primordial personification of darkness.  Several song titles on this upcoming album allude to ancient Greek myth, including this one.  The underworld of Hades had three judges named Minos, Rhadamanthus, and Aeacus, who weighed the deeds of the deceased.   Lyrically, this song is about the criminal justice system – in particular the isolation of prison and the underlying factors of poverty and inequity that can lead to a cycle of violence.   The art of using myth as a lyrical metaphor by making a parallel with a modern situation often makes for a compelling message, as Trivium has shown on several occasions.  "Judges of the Underworld” is a ferocious and incisive single that marks Venom Prison as a band to watch in 2022.  

 

Northlane - "Echo Chamber" 

  

I named Alien as my album of the year in 2019, so anticipation remains high for anything this band releases.  After completing the recording this summer, Northlane finally announced the details of their 2022 album Obsidian this month.  In the meantime, my favorite Australian progressive metalcore band has certainly stayed active.  They’ve hosted live streamed shows, released acoustic and remix EPs of songs from Alien, and launched a new Patreon - not to mention frontman Marcus Bridge’s endeavors at building new guitars and recording instrumentals on his girlfriend's DIY punk project.  Their new single was written about addiction to social media.  Initially sounding like a synth-pop song with an electronic beat and upbeat singing dominating the first verse, “Echo Chamber” eventually grows more distorted and progresses into Northlane’s signature style.  They have a goofy video to go along with it, which depicts (very poorly) disguised mannequins performing in place of the band members before Marcus shows up in a black hoodie to take down the imposters – accept no substitutes!  The whole silliness of it all is a bit out of left field, though given the intensity of "Bloodline" and "Eclipse" (which dealt with subject matter of heroin and child abuse) I get Northlane wanting to make a less serious music video for once.  Guitarist Josh Smith said this was as poppy as Obsidian gets, so expect a heavy album in April. 

Slipknot - "The Chapeltown Rag"

  

Slipknot is now 22 years removed from their debut album, but show no signs of slowing down.   Their latest single is both aggressive and insightful.  Thematically, "The Chapeltown Rag" contains similarities to the previous song, also dealing with social media and the dangers of being addicted to life behind a screen.  However, it's specifically inspired by a true crime documentary the band’s vocalist Corey Taylor watched on the 1970s case of the Yorkshire Ripper.   The lead detective in the investigation trying to catch the serial killer mistakenly believed the Yorkshire Ripper only targeted “fallen women” and pursued that hypothesis even though there was no proof.  The press on the investigation soon focused on the alleged moral failings of the Yorkshire Ripper’s victims, rather than the actual crime committed.  Because the false theory wasted time, the serial killer was not arrested until five years after the first murder.  Corey Taylor noted similarities to the misinformation and distortion that can rapidly spread within social media today.  He described the track as “classic Slipknot” in sound.  This aggressive and catchy track is indeed reminiscent of the chaotic style of Slipknot’s first album, and is delivered with the razor-sharp precision of We Are Not Your Kind.  Jay Weinburg’s drumming in particular is a standout performance.  

Volumes - Happier?

  

Volumes has had somewhat of a revolving door lineup, especially for a relatively young band, with bassist/producer Raad Soudani the only constant member throughout every album.   The original vocalist Michael Barr reentered the band on Happier?, joining Myke Terry (formerly of Bury Your Dead) on vocals.  Following the loss of former lead guitarist Diego Farias, who sadly passed last year, the band does not currently have a permanent member in that role.  Max Schad played session guitar on this album as well as contributing to its fantastic production.  Volumes is coming off a 2017 full-length Different Animals, which suffered from a disjointed, directionless track listing, despite a fantastic vocal performance from Myke Terry being the one real saving grace of it.  Lineup changes aside,  Volumes actually play to their strengths here, and Happier? is a far more cohesive and consistent album than its predecessor.   The balance between aggressive djent groove and smooth R&B melody is expertly done.

 

Silent Planet - Iridescent

  

Silent Planet’s new album is darkly beautiful and deeply personal.   I’m writing a much longer post going in-depth with Iridescent, as I felt this space alone wasn’t adequate to cover my thoughts on this one.  Go listen to it now.  

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.