Very few front men in the Prog genre are as highly regarded Tom Englund of Evergrey, Redemption, and a hundred other projects. He is a chemist of blending heavy guitar tone with emotional melodies. Redemption is one of the most popular Prog acts of the last two decades, but has not managed to become stale. Englund and guitarist Nick Van Dyk don’t focus on being diverse or reinventing themselves, and yet the music doesn’t become repetitive like some Prog bands tend to have a formula. It’s crazy Progressive Metal, harrowing from the classic Prog bands like Genesis. Me being the least fan of Genesis, I have never listened to Redemption before. I love Prog, but I am extremely picky with the genre (and all music to be honest). So 2023 album, I Am The Storm, is my introduction into the massive world of Redemption. My expectations for this album were nonexistent as I expected utter musical chaos like Genesis, Dream Theater, and Symphony X. As much as this album is typical musical masturbation, it is also filled with the melodic genius of England and keyboardist Vikram Shankar.
“I Am the Storm” is a bombastic, passionate, technically astounding album that is not to be digested with one listen. This is an emotionally and musically complex album that demands your attention. Van Dyk and Englund command the airwaves with every note either punching you in the face or soaring through your gut. It combines Iron Maiden, Genesis, Power, Prog, and Thrash all blending seamlessly throughout each track. Songs like the title track and “Seven Minutes From Sunset” hammer down with heavy Prog Metal guitars and rhythmic sections, breaking down into virtuoso guitar and keyboard solos. “Resilience” screams Petrucci amd Portnoy chemistry into “shreddy” soloing and a catchy vocal line. Englund might not have an enormous range, but his utter power into a tone heavy vocal can become so addictive. The highlight of the album, for me, is not the crazy guitar solos or loud technical prowess, it is the ballad of the album. “The Emotional Depiction of Light” is a hugely complex emotional track that is a must listen track of 2023. There is something so immensely haunting and grabbing about this track with the piano intro and soft vocals, building into an absolutely wailing track. To build up a song such as this takes immense restraint and musical ambition. It is pure emotional expression, and that is what I like to hear in Prog Metal.
Overall, this album is absolutely another Prog masterpiece that Redemption probably always puts out. It has everything a 10/10 Prog Metal record should have. “I Am The Storm” is musical mastery and emotive complexity perfectly. Does it show ingenuity or invention? No, in most ways it is what Dream Theater has been doing for almost four decades as well as dozens of other Prog Metal bands. Musically, while the technicality is vastly impressive, the musical masturbation is a huge turn off for me. Musical Masturbation is a term my brilliant older brother came up with to describe bands like Dream Theater where every break from vocals is a solo. It’s where subtlety and airiness die in music, allowing no time for the listener to digest and feel something other than an onslaught of notes. If this is not your thing either, Redemption is not for you. If you can’t get enough of virtuoso abilities and crazy musical changes, this album is going to absolutely blow you away.
Newly signed to Frontiers Records, Hard Rock band Demons Down is bringing back old 1980’s hooks and Arena sized reverb with brand new album “I Stand” (out March 10th). Frontiers Records strives to bring back the catchiness and epic sounds of 1980s Hard Rock and Metal one band at a time. Demons Down is a sign that this wide stereo sound is here to stay forever. Fronted by Chilean born multi faceted vocalist, James Robledo, the band has planted into its roots with Iron Maiden, Queensryche, and Quiet Riot. He has the vibrato of Bruce, the heavy and aggressiveness of Kevin Dubrow, and the clean soars of Jeff Scott Soto. The band has its influences coming from former Quiet Riot bassist, Chuck Wright, who was partially responsible for Bang Your Head in the 1980s. This band maybe new, but their chemistry is ancient history.
“I Stand” sounds like its right of the 1980s and early 1990s with uncompromising heavy metal themes made to pump you up. It is simplistic yet massive in sound. The solos, vocals, bass guitar, and ringing rhythms fill up the space without playing musical masturbation. As far as Debut Albums go, Demons Down has made an enormous statement of who they are and what they plan to accomplish with their music. Songs like I Stand, Disappear, and Follow Me come in hot and hard with Arena sound that is making its way back to popularity. This album is very Melodic, which is not what I expected. I would’ve liked some more crunch in the guitars and some bigger drum fills to break up that nostalgia and stay modern. If you’re looking for grit or chuggy guitars, this album is not for you. But, if you want straight up Hard Rock to sing along to, these guys really deliver. I am interested to see what their live performances bring and what they do with follow up albums.
The Melodic Death Metal titans hailing from Joensuu, Finland have been putting out heavy poetry since 1997 now; So you’d think we would know what to expect, but every album turns out to be more surprising than the last. Generally, if you haven’t heard Insomnium before, you can expect the Nihilistic Finnish downtrodden Death Metal sound but with a modern twist. Insomnium added melody to this classic angry and sad boy sound, converting experienced Death Metal fans and new to the ways of melodeath. Guitarist Markus Vanhala and Bassist/Vocalist Niilo Sevanen along with founder Ville Friman put out brutally epic music that’s a storyboard of Finland throughout the ages. We had ancient Viking history with Winter’s Gate, which is one of the most successful Death Metal concept records I’ve ever seen. We had modern to futuristic trials with Shadows of the Dying Sun. And now, we have a historical journey of Christianity making its way to Finland with Anno 1696, mixing with the local Mythology Insomnium has always kept true to, and it truly feels older.
This album blends classic Insomnium sounds that Friman and Sevanen built with melodeath touches from Markus, and then reverberated modern drumming. It feels like a 1990s Death Metal record in a nostalgic yet not derivative way, but with echoey pounding drums. I didn’t expect such a huge modern drum tone from Insomnium, but it works. Insomnium’s DNA of their sound is fine-tuned on this record. It is tighter, more well-composed, and a whole thought than 2019’s Heart Like A Grave. This album is a perfect example of the quintessential Insomnium sound with some new sounds. Anno 1696 is a mastery of melodeath and shows what Insomnium is truly capable of when they take their time. The tracks White Christ, the opening track, and The Witch Hunter blend their acoustic guitar breaks, melodic on-the-nose leads, distorted vocals, and beautiful folky-clean singing in the tightest and interwoven ways I have ever heard. This album may not be their best, but it is Insomnium straight through the vein.
Danny is a powerhouse with a pretty impressive range used widely over Voyager’s 20+ year career. He uses an eclectic throwback sound to the New Wave days in the 1980’s and layers in Power Metal influences and occasional grunts. It’s an incredibly complex vocal that I don’t think anyone else could replicate. You hear him sing one note and you know it’s him immediately. No matter what style Danny may emulate, Voyager is an absolute party to listen to and a truly happy Metal band with sick riffs and catchy vocals.
Devin Townsend
My favorite singer of all time and one of the most technical on this list. Devin has a four octave range that he utilizes in over twenty styles of music and 25 years of creating. He is a vocal shapeshifter, switching from harmonic screams to tenor vocals in the smoothest transition. It is astounding to watch what he can do with his voice as he goes to the absolute limit in every performance, “Screaming until he tastes blood” doesn’t get any more brutal than that. I will definitely cover this astonishingly beautiful artist throughout my entire career as a Metal writer. He is one of the greatest singers, forget genres, forget tastes and subjectivity, he is supremely talented.
Phil Romeo- Countless Skies
One of the most surprising voices on this list, Phil Romeo is an operatic tenor Power singer and bassist in British Melodeth band Countless Skies. The first time I heard Phil sing was on the track Zephyr, and not knowing anything about this band, I thought it was a Devin Townsend feature. I was astounded to find out that it wasn’t Devin and that it was this unknown bassist laying down one of the most passionate vocal lines I have ever heard.
Tom Englund- Evergrey
I know, Evergrey is a well known Power Metal band with nearly 30 years of experience under their belt, but I have to say that Tom is a hugely underrated vocalist. I don’t see him come up on any vocalist list and I think he’s overlooked. He has such a unique and recognizable smooth tone. It’s almost a bluesy style, but with insane power. Nobody sounds like Tom.
Joseph Michael-Witherfall
I only discovered this incredible Doomy Progressive Metal band last fall and I was utterly bombed by Joseph’s voice. His delivery of vocals in the cover of Foreplay/Long Time by the great Boston is absolutely spectacular and not what I expected in the slightest. Witherfall is one of the most musically talented bands out there today, and Joseph is the frontrunner of the dynamics.
Dan Cleary- Striker
Striker (not to be confused with 80’s Stryper) is a Epic Power Metal band from Alberta, Canada that is known for playing throwback traditional style Metal. They are a nostalgic cheesy Metal band part of a collective touring group NWONMB, that features Lords of The Trident, Unleash the Archers, Seven Kingdoms, and more. Dan has immense power and range that definitely reminds me of Dokken, Queensrhyche, and Whitesnake. It’s just good clean Metal with soaring vocals.
Daniel Helman- Lost Horizon
One of the more unknown names on this list, Dan Helman led the great Lost Horizons from Sweden and created a sound that would go on to influence some of the newest and most powerful singers today. I hadn’t heard of him until Brittney Slayes of Unleash the Archers mentioned LH as an influence. The song below is an absolute vocal masterpiece of shocking proportion.
Joacim Cans- Hammerfall
I can’t talk about male singers without talking about Joacim Cans. I don’t see this fantastic melodious Power singer on any list, and it’s an absolute crime. He is one of the best vocalists I have ever seen live. His control, consistency, and power belts are unreal. Hammerfall has been around for three decades and hasn’t received nearly enough credit.
Damian Wilson- Threshold, Ayreon, and more.
Damian is one of those singers nobody talks about, and yet has one of the most distinctive voices of all time. I was introduced to Damian Wilson on Arjen Lucassen’s Star One and was blown away by his tone. It’s unlike anything I’ve ever heard. He goes from singing soft ballad vocals to high powerful belting. No matter what he’s singing, his vocals are angelic and crystal clear.
Mike Mills- Toehider, Ayreon
Possibly possessing one of the biggest ranges on the list, Mike Mills has been Arjen Lucassen’s go-to singer for fifteen years. The Australian Singer, Guitarist, and Songwriter does vocal gymnastics in any song he’s ever done. He pushes the limit of male vocals, reminiscent of the great Freddie Mercury with his high Soprano operatic vocals and having easily a four octave range. I have honestly never heard another singer like Mike. The song below is just five percent of what this guy can do. I highly recommend checking out his entire discography.
Patrik Selleby- Bloodbound
There’s quite a lot of Power Metal vocalists on this list, not on purpose but by sheer will of talent. The subgenre of Metal just has a knack for using the best, most versatile vocalists. Patrik Selleby has that belting higher range vocal that just captivates crowds. He has so many different techniques he uses. He can do soffty tenor vocals, dipping into baritone. He can scream and wail with precise vibrato reminiscent of 80’s Heavy Metal. He can also use fry vocals to accentuate vowels. I absolutely love his style and Bloodbound’s overall sound.
Isahn- Emperor
Isahn has one of the most piercing and soul haunting screams I’ve ever heard, but his clean vocals are what truly astonished me. I hadn’t heard him sing until the release of the EP “Pharaohs” and I have craved his voice ever since. If you could ever describe a man’s voice as sultry, it would be Isahn’s.
Einar Solberg- Leprous
Out of all the singers on this list, Einar possibly has the most shocking and distinctive voice on the list. This man’s voice is breathtakingly beautiful. I don’t describe male vocals as “beautiful”, but it’s the word that comes to mind. It is light, airy, and angelic upon every note he sings. His range is just massive, reaching into the rafters with soprano operatic and epic falsetto that bring chills and tears alike. It is impossible not to listen to Leprous and not get emotional. Nobody sounds like Einar. He is absolutely sensational. He’s just a brilliant vocalist and songwriter. The song below says more than I can ever say.
Mathias Blad- Falconer
Falconer is a legendary Medieval Folk Power Metal band with quite the cult following. The band tried to hang it up in 2016, but due to a high demand, they keep returning for exclusive performances and one final album. They officially disbanded in 2020 sadly, but Mathias’ legacy lives on.
Kobi Farhi- Orphaned Land
I have always been enchanted by Middle Eastern vocals since Sting’s “Desert Rose”. It’s never been a style I thought “oh, that would work in Metal”, but it absolutely does. Kobi Farhi of the Israeli Heavy Metal band proves the unique technique fits the Western Heavy Metal instrumentation. This singing style, Mizahi or monotonic, requires a lot of control and technique to stay in pitch. His ability to switch into this and keep it perfectly within the music is spectacular. He is truly one of the most talented male singers out there.
Spencer Sotelo- Periphery
I could write an entire article about this vocalist and his range. I didn’t expect to become obsessed with his voice as it is a lot higher than I am usually into. Spencer has insane control over his instrument, able to switch from screams to falsetto to a softer vocal. He also has a nu-metal style fry rap in “Marigold” which is just sublimely executed. He’s effortless in his delivery, as with most singers on this list. His range also frequently rises to harmonics, which is one of the highest sectors in music. He is an unbelievably skilled vocalist and truly doesn’t get enough credit.
Jeff Scott Soto- Sons of Apollo, Yngwie, Trans Siberian Orchestra.
I only see this guy talked about in Prog channels and not more globally honored for some reason. Soto has a unique style that blends 90’s Hard Rock, Power Metal, and Soul aspects into one powerhouse vocal. Sons of Apollo is an American supergroup of some of the most talented musicians of all time. Soto fits this bill and the resounding emotive Heavy Metal style. He brings the melody so smoothly on top of very rhythmic music, which is hard to do. He has a massive range from Baritone to high screams, and I don’t think there’s a limit to it.
Terje Haroy- Pyramaze
Now, I know 99% of Metal listeners have never heard of Terje, making him one of the most unknown on the list, but he is a MUST hear vocalist. The power, the emotion, the clarity, and the grit of this singer is monolithic. He produces so much sound from just one held note. I have no idea how he pushes it to the limit while staying in perfect pitch. His vocals range from deep drones, to power belting, screams, and sounds I cannot even begin to describe. Pyramaze has been around for two decades and has been led by some amazing vocalists, but this guy is on a whole other level. His vocal energy could probably power the entirety of North America. The song below is one of the best vocal performances I have ever heard in my twenty two years of listening to Metal.
Markus Vanhala- Insomnium, Omnium Gatherum
A backing vocalist normally known for his songwriting and guitar playing, doesn’t get much credit as a vocalist. But when Markus’s clean vocals come in, it sets the whole tone for any track. You know it’s going to be a deeply emotional track when Markus sings. His tonal quality and breath control is astounding to me. He can hold notes for two measures without any vibrato or notational deviation. I had to include him because he is just so distinctive and such an underrated musician. After hearing him sing live in person twice, I have been in love with his clean vocals ever since. He could honestly front a band all on his own instead of being in the background.
Yannis Papadopoulos- Beast in Black
One of the craziest voices I’ve ever heard (besides Mark Slaughter) Yannis has what is best described as a Soprano Male Vocal. He is only one of the only males I’ve mistaken as a female, and that definitely makes an interesting reaction. After hearing this guy do operatic soprano, fry vocals, and crazy high screams, I never thought I’d hear him use a more beautiful and emotive vocal. Once you hear Floor Jansen sing “Ghost Love Score”, you may say it is the only version, but I highly recommend Yannis’ beautiful cover of the Power Ballad. He has immense range and one of the highest technical abilities I have ever heard. I think he’s one of those singers that could sing just about anything. So, I really want a covers album from this incredible Norwegian Power Metal band.
Honorable Mentions
JB- Grand Magus
Dino Jelusick- Trans Siberian Orchestra/Whitesnake
PelleK
Andrew Kingsley- Unleash the Archers, Sleeper Ship
Fang VonWrathenstein- Lords of the Trident
Todd La Torre- Queensryche
Tommy Giles- Between the Buried and Me
Rou Reynolds- Enter Shikari
Who did I miss this time? Who are your favorite male vocalists?
Disclaimer: This article is written based on my opinions. It is not meant to be taken as a factual research paper.
August has been a fortuitous month for Metal music. There are so many clips coming from Metal festivals in Europe that keep us Americans daydreaming about Wacken and Hellfest. Here are some of the best new videos out now.
Infected Rain “Fighter” at Wacken
This is a fantastic showing of just how good IF is live.
Epica “Illusive Consensus”
Epica is celebrating its 20th Anniversary in September. They have remastered their very first DVD which was created as a promo for Epica. This is truly a monumental in-studio performance. It is one of the most special sets I have ever watched. They are also celebrating the special occasion with a live stream on this Saturday. You can buy tickets and merch for this special stream at epicastream.com
Soen “Trials” Performance
Soen is an emotive mix of Doom, Progressive, and Orchestra that captivates upon listening. This video comes from their tenth anniversary DVD and includes an orchestra. I’m most interested to see their reimagined version of Slipknot’s “Snuff”. You can preorder the Dvd here https://lnk.to/SoenATLANTIS
The 2022 Return of Queensryche
Queensryche is a classic Progressive Metal band from Bellevue, Washington. The legends seem to evolve in every era, and this track is the height of modern Queensryche. I hated that Geoff Tate left, but this new sound contains everything I loved about the original band. Todd La Torre is everything we could’ve hoped for and has become a quintessential addition to the band. This guy has one of the best voices I’ve ever heard. Digital Noise Alliance is out October 7th
“Pale Tortured Blue” by Draconian at Hellfest 2022
This video is sadly the last performance of Heike Langhans with Draconian, making way for Lisa Johansson to make a surprising return to the band. This is an absolutely classic track for Draconian, being the perfect send-off for one of the most beloved replacement vocalists in Metal history.
While I’m not a fan of this new direction so far, Architects seem to keep evolving and changing their sound and not settling in one genre. It’s sounding much less epic and heavy than the previous album “For Those Who Wish To Exist”. But, I honestly don’t expect a redux of that album. That album is so monumentally good, it’s one that there can’t be a sequel.
“King of Nothing” Threshold
One of my favorite British bands of all time is coming back in 2022. It’s weird not to hear the great Damian Wilson leading the gorgeous vocals. But, Glynn Morgan returning has breathed new life into the band and huge sounds. His range is delectable as well as his guitar playing. I can’t wait to hear what they do with this record. It’s sounding heavy and even more Progressive than past releases. You can pre-order the new album and save it here https://bfan.link/dividing-lines.yde
“Pazuzu” Therion
The original Symphonic Metallers are back with catchy Pazuzu off of Leviathan II out October 28th. This album features the epic Israeli choral group Hellscore led by Noa Gruman of Progressive Metal band Scardust. Therion always stacks the deck, putting the most they can into every release. I am not a huge fan, but I actually really enjoyed this song.
Is There Anybody Out There? Beyond the Black
German Hard Rock band Beyond the Black always brings a powerful and catchy chorus with some absolutely sick riffs. This song is completely different from the other single, Reincarnation, and even more different than the previous album “Horizons”.
“Shadowminds” by The Halo Effect at Wacken
The Melodeth Supergroup has a legendary debut at Wacken, helping celebrate the might festival’s 31st Anniversary. This is their debut single live. The mix leaves little to be desired, but it’s always a pleasure watching Mikael Stanne perform.
What are you currently listening to? Let me know below!
Seven Kingdoms is an independently funded and run Metal band from Deland, Florida that has virtually come out of nowhere. Being a band for fifteen years, this band has fought and conquered its way through some hard times, working day jobs and trying to navigate record deals that seemed to be unfavorable. Napalm Records, a record company I often despise, dropped this brilliant fresh Power Metal band. Only just having been signed to small Distortion Music Group, this band has gained its success through an avid fan group, funding any releases by fan-backed Kickstarters. This has allowed the band to explore and shine through their immense creativity and stunning American Power Metal. Seven Kingdoms is not just a band or a business venture, it’s really a community supporting four great musicians and even better people. This band has worked their fingers and nerves to the very edge through blood, sweat, and tears to put out music that people need to hear; And “Zenith” is the pinnacle of that hard work.
The evolution of Seven Kingdoms, from changing singers and being a Fantasy-based band, to “Zenith” is a staggering advancement. Zenith is a Heavy Metal 80’s fusion record with modern Power Metal synths and dirty riffs and vocals so expertly and powerfully delivered by Sabrina Valentine Cruz. The riffs from Kevin and Camden echo those of Iron Maiden, Dokken, and Unleash The Archers with immense speed. I consider SK to be the more heartfelt and accessible sister of Unleash The Archers. Zenith is an emotional roller coaster, full of emotion and gratitude. They took their hardships and compressed them all into a diamond of a record. “Diamond Handed” is a soaring battle anthem with dreamy synths and vocals, mixed with unbelievable speed. When starting this track, my whole family thought they had Youtube on 2x speed. It’s a perfect jaw-dropping start to this record and is maybe one of my favorite songs of all time. And, it only gets better from there.
“A Silent Remedy” is a perfect mix of old SK sound and the refinement they’ve achieved. The sheer melodic sense of this track is impressive; layers upon layers of technically perfect vocal lines contrast the heaviness. This song has some insanely high notes that you’ve just got to hear to believe. This song has a darker feel to it, and it’s a welcome contrast. It’s interesting and takes time to indulge upon. Oh man, but “Love Dagger” is a highlight of epic throwback 70s/80s sound that I can’t get enough of. This song’s quality, rhythmic sense, vocals, and tone just screams 38 Special to me, which is one of my favorite bands of all time. I love every aspect of this song and could see it hitting the radio. It sounds old, but there’s nothing like Sabrina’s voice in any decade. This song is so accessible and relatable, but so high quality and not derivative radio-friendly trash. “Chasing the Mirage” turns up the speed again with a more Thrash riff and dueling stereo guitar melodies. The range Sabrina shows on this record is a span I rarely hear in modern music. Her lower range ins strength and tonal quality remind me of Noa Gruman from Scardust, who is arguably one of the greatest singers of all time. This track is guitar-heavy compared to the others, letting the two guitarists, Byrd and Cruz, do their thing by killing it. The chugging riff is grabbing and crunchy, gets your attention, and then the song just goes off. It’s so progressive and all over the place. It’s such a different track for them, and I love this new sound.
The band pays homage to their infinitely dedicated fan base by including newly mastered favorites. “Valonqar” is an epic Game of Thrones ballad that has impressively long notes and epic thematics. The melodic dueling guitars pull you in, on top of booming bass, and stunning vocals that float over this melancholy feel. The long notes held by Mrs. Valentine Cruz are seemingly endless and pitch-perfect on record and also live. The power of this vocalist is awe-inspiring. “Empty Eyes” is yet another radio-friendly bombastic riff-heavy track that I admittedly have listened to on repeat for hours. The lead riff is a perfect hook into this Heavy Metal throwback. I cannot get enough of this band’s riff sense. These guitarists are some of the best I’ve heard in a long time, without committing musical masturbation. The drums on this track feel so forward and heavy, like a march into battle or just down the street to kick someone’s ass.
“Magic in the Mist” is a cool melodic power track that throwbacks to SK’s fantasy-based days. It’s dreamy, thematic, complex, and strong. Zenith doesn’t seem to quit with the epic soaring solos and perfectly executed rhythmic drums. It bangs right into the Progressive Metal track “Universal Terrestrial” which defines the spacy theme of the album. This song is staggeringly fast and epic, introducing choirs and a melodic. This is not my favorite SK song but has a lot of good things going for it. The backing vocals and vocal runs on some of the outros feel unrefined, almost like an afterthought, which is not up to par with the quality of the song. I feel like a remaster on the vocals would do wonders for this track. The Water Dance is a throwback track and another fan favorite. This is a very strong track with a great groove to it and more juicy Game of Thrones lore. This song is more Thrash based, reminding me of old Blind Guardian or Man O War in the best of ways. The breakdown is cool on this song with some delicious solo work. Life Signs is another brand new track that is full-on Power Metal. It’s a surprising new sound, building on the evolution of Universal Terrestrial. I enjoy Sabrina’s lower range on the verses. This song is well written and epic, the choirs hint at some Devin Townsend influence as well as the guitar work. It’s one of the more musically diverse songs on the record with a fast chord progression. I feel like they pulled out all the stops on this record with progression and using their diverse range of influences and writing techniques.
“I Hate Myself For Loving You” is a song with a long history. Originally written by Desmond Child and Runaways guitarist Joan Jett, it was released in 1988 and became the biggest anti-love song of all time. It was also rewritten for NFL’s Sunday Night Football anthem and covered by Carrie Underwood. Regardless of this song’s history and prowess, I have always had a strong dislike for this song. The key it’s in plus the original vocals make me want to drill any part of my auditory senses right out of my head. When Seven Kingdoms announced they were covering this song, I cringed. However, upon listening to it the first time, I was hooked. The band refreshed this dirty old track and turned it into a complete jam. I love the cover and find it to be the biggest improvement of a song I’ve ever heard.
The only two issues I have with this album are mix and length. I would’ve liked a double album: The first disc should have all-new tracks focusing on the Zenith extraterrestrial theme and the new SK sound. The second disc could be remasters of old SK fan-favorite songs and maybe a couple live versions. I understand budgeting would limit this greatly and probably why it’s reduced to a single album. I just find it jarring and disjointed, because I expected an overall alien theme, and it was GoT references thrown in with older songs. I understand the purpose of the album is to sate fans’ appetites and put out new music to put themselves on the map in US-born Power Metal, but I find it confusing for the direction it’s supposed to go in. Maybe I’m missing information in promotion packets or missed something in the Kickstarter information, but it’s just a strange album to me as far as wondering what it’s supposed to be. Maybe I misunderstood the purpose of the record because I thought it was some kind of concept album, but I would’ve liked a more succinct record. Each individual track is good on its own, but none of them go together perse.
The other problem I have with the record is in the mix. On streaming and Disc format through studio speakers and headphones, I find the mix to be boomingly bass-heavy. Normally, I love a lot of bass in the mix, but there are some parts in the record where the bass is overpowering. It’s as if someone’s using a super low-frequency bass drop sample and randomly placing them in songs like Diamond Handed and Chasing the Mirage. It’s an odd phenomenon, but not uncommon in modern mixes with compression where inconsistencies like this happen when a 5.1 mix is transferred to CD MP3s. I like dynamics, but I don’t think the weird low bass drops are purposeful. The mix on Universal Terrestrial is not my favorite; It sounds rushed and there are some really high frequencies that I would’ve leveled out, but maybe this only appears on certain formats. These issues are easily looked over, however and I am able to enjoy the record regardless.
Zenith is a hell of a unique record, and I hope it skyrockets Seven Kingdoms in popularity. There’s nothing quite like them in America right now, and I feel lucky to have them in my home country.
Highlights: A Silent Remedy, Love Dagger, Diamond Handed
I used to be an avid fan of the newer genre, Symphonic Metal. I foamed over bands like Epica, Delain, Within Temptation, After Forever, Stream of Passion, and the older catalog of Visions of Atlantis and Amberian Dawn. I truly believed that this was the world’s best music. I thought that these bands contained the best musicians since Bach, Beethoven, and Tchaikovsky. I grew up listening to classical music, even taking classes and studying music theory. Symphonic Metal piqued these roots and moved me more than most music ever had before. I saw Epica live in 2012 and it led me to start this blog and explore Metal in depth. I’ve seen Nightwish, Delain, Xandria, Epica, and Within Temptation and it was an absolute blast to experience. Symphonic Metal didn’t keep my interest much longer, however. I became entranced by the sheer raw power, speeds, and lack of backing tracks of vocals of Power Metal.
I gave up on a lot of Symphonic Metal, finding that new bands were contrived and new releases formulaic or boring. I love the classics still, but my attention and admiration have gone to other genres. You can imagine my surprise when hearing the first single from “Pirates” by Visions of Atlantis. Legion of the Seas blew me away. I had written this band off originally due to vocalist changes that disheartened me, and I quickly learned I made a mistake. Visions of Atlantis bring Symphonic and Power Metal together with gooey cheesiness that I love. Pirates convinced me Symphonic Metal isn’t dead. This is the best record of the genre since Dark Sarah’s “Grim”.
Visions of Atlantis pulls out all the classic Symphonic aspects, mixing with Clémentine Delauney’s Classic Soprano vocals, and Michele Guaitoli’s Power Metal belts and perfect vibrato. “Pirates” is straight out of the realms of Nightwish and Blind Guardian. While not a groundbreaking or immensely innovative album (Pirates and Metal go together like green chili and burritos), is it a fresh new take on an inundated genre. It is epic and exciting beyond the usual keyboardist egoist-ridden records with long pointless interludes. “Pirates” melds rhythmic driving riffs and drums with all-consuming melodies. It flows effortlessly between power and airy piano. Catchiness is also a huge factor with tracks like Melancholy Angels, Legion of the Seas, Clocks, and Master of the Hurricane. Interesting Folk touches like flutes and horns come into play, breaking up the Power Metal instrumentation. But, it is not over-saturated with layers, leaving room for two brilliant vocalists to thrive. The harmonization is spectacular, some of the best I’ve heard. This album has everything the Symphonic Metal fan desires, but can also cross over into the Power Metal head’s realm of battle music. There’s something so reminiscent of Hans Zimmer, which is ironic because he wrote the soundtrack to the brilliant Pirates of the Caribbean. This album ticks so many boxes for good Metal.
“Pirates” surprised the hell out of me. It has restored my faith in the Symphonic Metal genre and even brought me back to listening to it again. It’s unpretentious, playable live, and brings a new dual vocal style that I haven’t heard since Floor Jansen first joined Nightwish. It’s a familiar sound, but so refreshing to me. I’ve liked newer Epica releases, Illumishade’s debut, Dark Sarah, and Ad Infinitum, but “Pirates” from VoA is a marriage of sound I’ve been dying for. They delivered on every aspect I critique albums on; Emotion, execution, instrumentation, repetitiveness, movement, lyrical themes, and notation. It deserves an even more positive reception.
Out of nowhere, successful Metalcore band Architects drop a new single “when we were young” yesterday. I missed the initial release, as I was dealing with having no power or Wifi for most of the day due to a quarter of my town being on fire. I’ve been awaiting something new from Architects but thought they’d ride the wave of the popular For Those Who Wish To Exist longer. I find the track to be interesting, but quite light and radio-friendly. I am hoping it is a soft release for an upcoming assault of a new record just to whet appetites. No other information was released with the track, but expect more from the band very soon. Listen to the new track below and see what you think.
Another exciting and surprise release from the day before was from We Came As Romans ft Brand of Sacrifice. It’s an Electronic and Metalcore mash-up reimagining of their breakout hit Darkbloom. I had never listened to either artist before and was immensely astounded by the quality of what I was hearing. the growls are stunning and deep to the point of Deathcore heaviness at the end. It is absolutely addictive. Check it Out below:
Metalcore is often a genre overlooked by the elitists. Often the genre is associated with more “Emo” themes. That is simply a misnomer. Metalcore is arguably the most diverse of all subgenres. It is a broad subgenre with millions of possibilities; some bands have a Metal version of Punk Hardcore, some Extreme Metal with Meshuggah-Esque breakdowns. I was originally a naysayer of the subgenre. I expected whiny, high-pitched, off-key screams, and generic guitar riffs stolen from Killswitch Engage and All That Remains. Those derivative instances may exist, but the juggernauts of the new wave of Metalcore are reinventing the wheel. I became educated in Metalcore really fast upon my first listen of “Circle With Me” by budding Vancouver Island Progressive Metalcore band, Spiritbox. From there, my glass house of elitism was shattered forever.
Spiritbox’s Eternal Blue is the album that changed Metalcore forever but seemingly came out of nowhere. Between lineup changes and the pandemic, Spiritbox didn’t necessarily start successfully. They were unable to tour, put the new album together in the studio on the original timeline, and were forced to find a drummer remotely. The strife this band faced was formidable, but they turned it into something immensely positive. Eternal Blue is a true example of “pain turned into art”. It is a masterful record. It is beautiful, angry, tragic, and devastatingly good. It’s not what I expected; Holy Roller was a track that threw me off. It’s dense, abrasive, and completely heavy. It took me months to appreciate it. Once I heard Circle With Me, however, I immediately understood why this band went viral. Now, I can’t stop listening to Eternal Blue. The dramatic, sometimes bipolar, djent down-tuned chugging riffs to beautiful intricate melodies grabs every fiber of my being. I crave their sound to the point of obsession, and I think this album did the same thing to everyone who’s heard it.
There’s a wide spectrum of sound in Spiritbox that I’ve never heard before. It’s an assault of layers upon layers. Mike Stringer is known for maxing out the session data in Protools with these layers: Specifically on the beautifully heart-wrenching Alzheimer’s inspired track, Constance. This is the emotionally heaviest song I’ve heard in nearly fifteen years (Devin’s Deadhead takes the crown for me there). His musical composition is the most interesting I’ve heard since Devin Townsend. The way he aligns heavy guitars or melodic shredding with Courtney’s vocals is nothing short of visionary. Many bands have attempted this sonic chemistry, but Mike and Courtney have a cornerstone on the chemistry that I don’t think will ever be matched. This is why Eternal Blue is one of the greatest Metal records of all time and has brought Metalcore back to the forefront.
Once I became obsessed with Spiritbox, I went on to find other bands that shared a pension for Progressive Metalcore. Below is a list of bands that add to why I think Metalcore is the best subgenre in 2021 and 2022.
This may seem like an obvious name drop, as Architects have been dropping some of the best records in modern Metal for the last ten years. They write relatable, coarse, heavy, and melodic tracks with excellent breakdowns. They sit at the more aggressive end of Metalcore, with screaming and down-tuned guitars while staying accessible. The band has been millions of fans’ entry into the extensive world of Metalcore. Tracks like Minesweeper, Day in Day Out, and Doomsday are blisteringly heavy and coarse with newer addition Sam Carter’s style. His screams and cleans are drastically different from each other, to an almost bipolar level. Their music is catchy, but not repetitive or derivative. It truly sticks in your mind; Whether it’s a riff or a vocal hook, Architects becomes addictive just as well as Spiritbox. Josh Middleton, another newer addition officially joining in 2017, is a driving force on lead guitars. Coming from Progressive Metalcore powerhouse Sylosis, Josh has made his imprint on Architects’ riffs. I think the band has gained success due to the innovation of Sam and Josh’s contribution and unique styles. At least, I’ve enjoyed the band more since Middleton began riffing for them.
For Those Who Wish To Exist is the latest from Architects. Released at the height of Covid on February 26th, 2021, this is one of the most poignant records of the decade. In my opinion, this record is a momentous record for all of music. The album is one of the heaviest records to climb the US Billboard charts in my lifetime. It got the recognition and credit it deserved for tracks like Black Lungs, Animals, and Dead Butterflies all frequenting successful Satellite radio. This record is not what I consider radio-friendly, but it is deeply relatable and tragically accurate for Covid-19’/s terrorist reign on the world. It captures the loss, the loneliness, the falling to addiction, and the rage for stupidity amongst the human race. I unequivocally love this record and find it to be the highlight of Architects’ career.
Talk about underrated bands that seemingly come out of nowhere; the Progressive Metalcore scientists Erra hit me like a god damned truck. These guys put out harsh rap vocal lines over smooth clean choruses, right before obliterating breakdowns. Jesse Cash on vocals and guitars has written some of my absolute favorite riffs of all time. Dancing between Killswitch, Tool, and Meshuggah’s off-beat chugging, it’s a savory ride of guitar flavors that I am always impressed by. It’s impossible to get bored of Erra’s irregular and entropic music. It switches between fast down-tuned riffs, atmospheric interludes, and catchy vocals over blast beats. There’s also melodic shredding underneath the chunky riffs; a contrast I absolutely love. Cash and company compose songs with such deliberation and care so it flows through you like a symphony. I appreciate the music, but the lyrics are even more of a reason to listen to Erra. They eloquently talk about death, astronomy, psychology, neurology, societal issues with technological advancement, mythology, and mental health. Their storytelling and emotional transparency are what sets this band apart from all other Metalcore bands for me.
Erra, the self-titled record, is an astounding mix in a plethora of titillating ways. It’s grinding, blue-collar chuggy, and then refined and technical, and then warm and heartfelt. It’s surprisingly heavy, but the dynamics and smooth changes are what make it an essential Metalcore album. Snowblood opens with speed and breakdown shreds, continuing into equally disjointed Gungrave with an absolutely devastating breakdown at the end, and then it breaks and surprises into Melodic Divisionary. House of Glass is where the Prog shines through and captures me more than the Metalcore aspects. There’s a blinding ode to Tool in this song that is mouthwatering and unexpected. There’s a break in the music and this perfect off-time riff pre-verse that blows my mind every time I hear it. I won’t spoil the rest of the easter eggs in this brilliant record, but it’s a must-listen all the way through.
Essential Tracks: Snowblood, Vanish Canvas ft. Courtney LaPlante, Monolith
I doubt there’s a Modern Metal fan in America that hasn’t heard of Periphery, but just in case you need an incentive to listen to Prog Metalcore juggernauts Periphery, I’ll spell it out for you. Washington D.C may not be progressive these days, but at least it has birthed one of the greats of Progressive Metalcore. I have yet to see a band in the genre with more lineup changes, which is off-putting for me. It can cause inconsistencies and identity confusion, making the music derivative. Not with these guys. They are a band who have only improved with changes and time. The current lineup is a perfect medley of styles, technical ability, and some of the best musical chemistry I’ve ever seen. Periphery IV: Hail Stan is an album for the ages that went nearly viral. It is one of the highest-ranking Progressive Metalcore albums of the century, and rightly so.
While Spencer Sotelo’s vocals took a while for me to warm up to, it was their live videos that grabbed my attention. While some male vocalists in the upper register lose tonal quality and pitch control in a live setting, Spencer is an absolute rock. I am baffled by the lack of reaction videos to Spencer’s live and in-studio performances. His range and steadiness in infinite style changes and emotional dynamics are unbelievable. This is demonstrated best in the song Reptile, one of the craziest songs I have ever heard. His ability to keep up with the virtuoso composition while staying very current is unprecedented. He makes me angry. He makes me smile. And, he even makes me teary. Lune is one of the most beautiful vocal performances I have heard and destroys me every time I hear it.
Are three guitarists too many? Ask yourself that, and then listen to Misha Mansoor, Mark Holcomb, and Jake Bowen. Three very distinctive and different guitarists that ebb and flow and layer over one another flawlessly. The guitar riffs dance over Matt Halpern’s metronomic and catchy beats. Halpern has a pension for creating a perfect and effortless pocket, most evident in songs like It’s Only Smiles, Marigold, and Flatline. This band is one of the most talented bands I’ve ever heard, without being cheesy and neoclassical. Three technical shredding and beautifully melodic, atop a hell of an inventive drummer, underneath one of the most diverse vocalists I’ve ever heard; it’s a recipe for brilliance. This recipe is profoundly shown in Satellites, a song of their career, in my opinion. Not a fan of Metalcore? Listen to these guys, and you’ll be hooked for life.
Essential Tracks: Marigold, Satellites, Reptile, It’s Only Smiles, Alpha
On the heavier side of Metalcore, Monuments brings it hard and groovy. These guys have a lot of similarities to Periphery, but a completely different feel to the music. As a drum nerd, Monuments fills a need that no other band on this list can; a flair for flam. The use of flam on the snare adds urgency and a unique flavor to the music. Mike Malyan has an unexampled take on Metalcore drumming; it’s more of a Punk or Post Rock style that shows exceptional technicality. He can also blast well. The whole band is a quartet of sleepers. You’d never expect the caliber of a technical ability underneath the catchiness and softness of some radio-friendly tracks. Monuments is an interesting mix of styles. I had never truly listened to them until researching for this article, but they have piqued my interest. While they can be blistering and grinding heavy, they can also be almost sweetly melodic. The mix is crazy, but it works on every song I’ve heard so far.
I’ve found that most singular vocalists in Metalcore have bipolar styles. Howard Jones from KSE days had his unique belt and soaring vocals to supreme gutturals and harmonic screams. M Shadows of Avenged Sevenfold is another upper-level example of the range in Metalcore. Andy Cizek, the new addition in 2019 after the sad and unexpected departure of Chris Barretto, is a powerhouse of melodic and rhythmic texture. Andy has a hell of an upper range. It may not be for everyone, as it leans towards a twangy side of cleans, but I appreciate his quick switch from high twang to almost gutturals.
Despite the heaviness and melodic twang vocals, I believe Monuments is a great introduction to Metalcore for people that usually listen to Punk or Rock, which is really what Metalcore is all about. It’s a transition between old hardcore and Modern Metal. Bands like Monuments could bring Metal back to the forefront where it belongs; Celebrated and appreciated. Their new album, In Stasis, drops tomorrow April 14th, and I highly recommend checking it out.
Essential Tracks: False Providence, Cardinal Red, Animus, Stygian Blue
A Deathcore band turned Metalcore, Chicago quartet Veil of Maya, have created their own style of Metal. If Periphery and Lorna Shore had an atmospheric baby, this band would be the maniacal product. Some tracks such as newer Viscera, Mikasa, and Members-Only remind me of European bands like The Unguided and Amaranthe. There are electronic and atmospheric aspects underneath yelling Punk vocals, and then full-on breakdowns with rhythmic screaming. The tracks are pretty chaotic and may be hard to follow at times. This is not your entry-level Metalcore band and is not necessarily my style, but there’s a lot to appreciate with Veil of Maya. Definitely check out Spanish beat-based Danger featuring legendary guitarist Jeff Loomis.
Wage War, the breakout band on Sirius XM Octane, is the quintessential mix of Hardcore and Melodic Metal band that illustrates Modern Metalcore at its height. They have a wide range of tracks that show what they’re capable of. Some songs echo A Day To Remember, some echo Killswitch Engage’s new era, and some echo the heavy breakdowns of Spiritbox. Where technicality may be forefront in the others on this list, Wage War is more brutal and Slipknot with their heaviness. They have no regard for song structure on songs like Stitch. It’s just all-out brutality and searingly slow breakdowns with strings flapping against fretboards, and I love it.
While most of the hit songs are not my desired flavor of Metalcore, deeper cuts are insanely tasty. Yet another American band, hailing from Ocala, Florida, is bringing Metalcore back to the masses. Wage War has already scored a tour with Three Days Grace in July. It’s a huge billing for them and will hopefully gain them even more respect amongst American Metalheads.
Essential Tracks: Take The Fight, Circle the Drain, Relapse, Surrounded
One day whilst browsing Youtube for good covers, I stumbled upon a rugby-player-looking big-necked dude in a black suit beautifully singing Diamonds by Rihanna. I almost closed the browser, until that scream and riffing hit, and my jaw unhinged. German Hardcore/Melodic Metalcore band Any Given Day went viral with this shockingly beautiful but heavy cover, and I fell in love with Dennis Diehl’s smooth delivery. This huge man has the sweetest and smoothest clean vocal I’ve heard since Howard Jones but has wicked gutturals rarely heard in Metalcore. His voice is stunning, mesmerizing on songs like Apocalypse, Home is Where the Heart Is, and Farewell. While very heavy and containing many breakdowns, they are one of the more melodic bands along with Spiritbox on this list.
This band is not a one-trick pony or formulaic, no two songs sound similar to me. It’s a very diverse and emotionally ranged catalog. They have breakdowns, rapping grunting vocals, and down-tuned guitars that echo the Hardcore veins of the band. The Melodic parts are echoing Killswitch Engage, Trivium, and heartful songs from All That Remains. Any Given Day incorporates guitar layering instead of Electronic effects for atmosphere, and that is something I appreciate. I love their flavor of Metalcore and hope they gain more popularity in the states for a North American tour billing.
Essential Tracks; Arise Ft. Matt Heafy of Trivium, Home Is Where the Heart is, Savior
After Lorna Shore dropped To The Hellfire in 2021, the world was finally exposed to absolutely brutal Death Metal, finally finding out the talent in this genre is unbelievable. The virtuosos in this genre parallel the speed Classical music began showing when Verdi started making violinists cry in the 1800s. Yngwie Malmsteen might’ve brought that speed to Neoclassical Metal, but Metal brought the quintessential aspect of true brutal speed;: The Blast Beat. I love any band that effortlessly integrates that level of controlled speed in a song. Whether it was Black Sabbath, Emerson Lake and Palmer, Asocial, or Napalm Death, Blast Beats have become integral in showing speed and intensity in the infinite depths of the genre. My first introduction to the Blast Beat was on Fear Factory’s 1995 album Demanufacture. They made this technique mainstream without being necessarily Death Metal.
Raymond Herrera played that first Blast Beat on Demanufacture, and I think it shook people even more than Lorna Shore has. Critics and Metalheads accused Herrara of using a drum machine for the bass drums because the speed was so precise and blistering. Upon accusation, many critics attended live shows in LA and were shocked by the speed of the entire band. Herrara said the speed came from using two bass drum pedals. The preciseness came from his use of a click track to play through the entire record. Maybe this is just the first popularly known blast beat or the first professionally recorded one, but it’s my favorite of the decade.
Now that we know where the speed came from, let’s list the bands that not only have speed but insane intensity and brutality. Of course, you can be a genre elitist dick wad and argue that the bands below are Deathcore and not “trve kvlt” Death, but if you’re looking for four dudes in Scandinavia beating their instruments to absolute submission while recorded on a Sanyo voice recorder, this site isn’t for you anyway.
Carnifex
Carnifex has been around since 2005 and has released some of the greatest Death Metal Records of the century. The Diseased and the Poisoned was the San Diego band’s first release to Victory Records, and it gained quick success. The US has always had a pension for Death Metal, but Carnifex brought a new wave of it from their Myspace days, gaining a cult following. They mix Hardcore, Death Metal, and Progressive fluidly in with gory and brutal themes as you would expect from any band in the genre. The vocals may not range or vary too much, but the little nuances in pitch and multitracking are quality. The breakdowns are fluidly mixed in, not looking for dramatics or massive bass drops, but absolutely sonically pummel you. They also have sick “:thrashy” and shreddy arpeggio guitar solos which differ from the typical rhythmic-based guitar riffing. If you crave that classic sound like Dark Funeral, Mayhem, and Immortal, but want an updated sound with dueling solos and drop tuning, this band might interest you. Slow Death is a perfect record to delve into the depths of to discover Carnifex’s multitude of layers and is personally one of my favorite records of the genre. However, this band simply doesn’t have a bad record and avoids algorithmic writing and cheesy themes.
Essential Tracks: Die Without Hope, Slit Wrist Savior, Seven Souls, Dark Heart Ceremony
Pittsburgh, PA is one of the last places I would expect an animalistic Deathcore band to come from, but in 2014 Signs of the Swarm was born out of the Steel City. This is a band that makes you go “What the fuck am I listening to?” These guys are one of the most brutal and hair-raising bands I have ever heard. If you want Slamming Deathcore with gutturals that plummet lower than tectonic vibrations, these guys deliver. Breakdowns with pig squeals? Check. Brutally honest lyrics without horror or gore themes? Check. Blast beats with insane speed and well-tuned bass heads? Check. Signs of the Swarm have perfected every aspect I love about Deathcore, but added a crazy vocal range. David Simonich is simply maniacally brilliant in his delivery of gutturals, to screams, to harmonic squeals out of this world. The craziest sounds come out of this guy’s neck. It’s between animal-like and demonic aliens from a dark cold planet creating possessed clones. It is gloriously addictive and thought-provoking music. It’s shockingly good, much like Lorna Shore, but even more depressive and nihilistic. It’s amazing what these guys have achieved so far, and I really hope they continue despite so many lineup changes.
Essential Tracks: Nightcrawler, Cesspool of Ignorance, Cowards Deathbed
The mix of Doom and Death Metal is not a new innovation in music. We’ve had bands like Paradise Lost, Draconian, Candlemass, and Celtic Frost for three decades. They’re some of the most successful bands in the American market for Metal and worldwide as well. It’s a mix I enjoy occasionally. But as with all music I always say, “This needs blast beats”. Worm Shepherd is a band that was shared with me on Twitter upon asking what everyone’s favorite Death Metal band is. And, I was truly shocked that this band was the first response I received. These guys from Massachusetts have truly set themselves apart in this saturated genre. Their music is an assault on the senses, hard to process at first listen, and definitely not a band for rookies. They pummel with desperation and frantic beats. It captures you as you break down what is happening, and hooks you with pure dirge emotion. Worm Shepherd is one of the heaviest bands I have ever heard without being derivative or repetitive. These are some of the lowest sustained growls I have ever heard, maybe the lowest. They might be the most cvlt band on the list, but still have a modern refined touch that all generations can appreciate.
Essential Tracks: Ov Sword and Nail, The River Ov Knives, Ritual Hymns
Full disclosure: I am a huge fan of Dean Lamb and his wife on their Youtube series “4 Levels of Death Metal”. I watch it religiously and they are the most realistic and hilarious Metal Youtubers. So, when I found out Dean played in Archspire, I was immensely excited because he is a sensational guitarist always trying to innovate and improve. Hailing from Vancouver Canada, the five-piece Technical Death Metal juggernauts have recently gained a huge cult following. They’ve become Youtube sensations with their latest track Golden Mouth of Ruin which combines Tech Death with Numetal squeals and rapping gutturals. This band has staggeringly fast, catchy, and grooving rhythmic tracks. They are hands down my favorite Tech Death band. Drummer Spencer Prowett really leads this band with his exquisite drumming. He is one of the most flawless live drummers I have ever heard playing blasts at breakneck speeds of 250 BPM. Spencer’s snare hits are unbelievably fast, playing quadruplets with one hand like it’s just another day at the office. They are a complete aural assault and it’s hard to stop listening once you start, because you have no idea where each track is headed next. Dean Lamb and Tobi Morelli are two of the most underrated guitarists in Metal and deserve much more credit. They are innovators of the genre, at least if not all of music. With neoclassic perfection, these two shred harmoniously unlike anything else in Death Metal. Archspire is my number one most recommended band on this list, even if just shock value alone.
Essential Tracks: Drone Corpse Ruin, Rapid Elemental Dissolve, Bleed the Future
One of my favorite Death bands has to be young Belgian bruisers, Carnation. Jens De Vos, mastermind of Off The Cross and videographer for Epica, exposed me to this excellent band. 2020 album Where Death Lies was my first listen, and it is a satanic indulgence for the ages. It’s dripping with speed and gutturals and good old hardcore breakdowns. Simon Durson delivers compelling gutturals and screams, ranging three octaves of absolute endurance. The sure stamina of his voice is shocking. He is unreal in every track with such a unique take on Death vocals. There are so many influences in each track, it’s impossible to get bored. While the drums and vocals are typically shocking, Carnation’s guitar work is equally mind-bending. It’s the most melodic playing in the genre but still keeps within the heavy themes. It’s melodic, yet absolutely aggressive and dark. Carnation also has gore and horror themes, if that is in your sweet spot. They’re a band who have immense chemistry and fit in a pocket together so well, which is an aspect I never look for in Death Metal. I truly think this is attributed to great bassist Yarne Haylen. Bassists are being phased out in Metal, but let’s hope Yarne makes a case for hiring one and keeping a tight rhythm section.
Essential Tracks: Sepulcher of Alteration, Plaguebreeder, Napalm Ascension
Yet another abhorrent Belgium Death Metal band; Aborted, has been tearing up the gore scene for over a decade now. I was blessed enough to see its two founding members live, guitarist Mendel and vocalist Sven. It was my very first exposure to Death Metal in 2012 when System Divide opened for Epica. Since that decadent evening, my hunger for Death Metal has grown every year. System has since disbanded, but Aborted has only gained success. Maniacult released in 2021 received 90% ratings from over forty different review sites. When I crave blue-collar gory and angry Death Metal, I always go back to Aborted. This band is utterly relentless from start to finish on every track. They are mechanical, almost robotic, but in a good way. Each song drives with every note and beats in perfect synchronicity. Death Metal is a cornucopia of virtuosity, and Aborted is in the upper echelon. While legend Mendel Bij de Leij is no longer in the band since 2019, the band is still active and hitting harder than ever. I personally will always prefer their material with Mendel, but that may be for nostalgic indulgence.
Essential Tracks; Dead Wreckoning, Divine Impediment, Termination Redux
I know most of everyone in the Death Metal scene has heard of Greek heretics Septicflesh, but I couldn’t resist mentioning them. While the band has Melodic and Symphonic overtones, they’re still one of the heaviest bands I’ve ever heard. Codex Omega, released in 2017, is one of my all-time favorite records in any genre. Their capturing of Dante’s Divine Comedy Inferno is exquisite. It’s a trip straight to the horrific images in Aligheri’s head. There is something bone-chilling about Spiros’ voice that enthralls me. It’s the sure steadiness in his depth of gutturals. He doesn’t deviate or drop out from a deep slow guttural that sounds like it comes from the depths of the Inferno. Mind you, he can also spit out fast raspy vocals right to the blast of Internet sensation drummer, Krimh. Drummer Kerim Lechner has lent blasts to Tech Death band Decapitated, Thorns of Ivy, a fill-in for Behemoth, and put in an application to join Slipknot with a brilliant cover of People=Shit and Eyeless. I have a pure passion for Symphonic Death Metal and I find these guys to be criminally underrated. While you might be looking for something more blast beat and riffy, don’t overlook the shockingly good Septicflesh.
Essential Tracks: Dante’s Inferno, Portrait of a Headless Man, Neuromancer
These are bands that didn’t quite make the list for me, and I wanted to keep it short and bittersweet. Here are ridiculously heavy and unintelligible bands if you just can’t get enough of demon sounds in blazingly fast Metal.
Metal Valkyrie 