Best Albums of 2019 - A Year In Review

As I put the finishing touches on this article, it is currently five months after the original publishing goal. Deadlines and expectations are interesting beasts, but given the dreadful state of this year so far, hopefully this list can provide some form of consumable enjoyment. To say 2019 was a strong year for metal and its related musical styles would be a drastic understatement. It felt like every week was punctuated with several immensely strong releases from every corner of the heavier music world. The past year contained bands paying homage to the greats while refining a novel element of their sound, artists charting entirely new sonic territories through wild blends of unrelated styles and everything in between. This list could have easily been 100 entries long with plenty of fantastic records still being left on the cutting room floor. Many have called the 2010’s the “golden age” of contemporary underground metal and the decade's final year seems sufficient proof of that. So far 2020 has done a fine job of continuing this wonderful trend and an abysmal job at everything else. The crushing weight of an international pandemic, the impossibly unjust nature of our national systems of oppression and general worldly malaise seem to eclipse whatever good might remain and in times like these, art is more necessary than ever. These albums represent what we believe to be the strongest releases of last year and this ranking is the end result of much internal debate. The records on display here most acutely distill the human experience in an exclusively aural form and in times like these they’re needed more than ever. So sit back, relax and get lost in the long-awaited Post-Millennial Metal Guide’s top albums of 2019. - SG

Adam's Honorable Mentions

SeeYouSpaceCowboy - Songs For The Firing Squad (Mathcore/Screamo)

The strongest mathcore album of the year, SeeYouSpaceCowboy’s compilation shows years of systematic anger brutally churned and spit out in some of the heaviest and unabashedly aggressive songs in the genre today.

Swans - leaving meaning
(Experimental/Post-Rock)

Swans' massive catalog is as daunting as it may seem, and leaving meaning adds another wonderfully unique and equally frightening blend of experimental rock on their 16th studio album, which showcases songs solely written by multi-instrumentalist and front-man Michael Gira.

Have A Nice Life - Sea of Worry
(Post-Punk/Gothic Rock)

Another band whose experimentation and influence has superseded genre boundaries around the music-verse, Have A Nice Life's third release is a counter to their previous effort, boasting gaudy and straightforward post-punk tunes similar to the vibrant cuts off of their opus Deathconsciousness.

Abigail Williams - Walk Beyond the Dark
(Atmospheric Black Metal)

Perhaps one of the albums that should be on this list over any other, the fifth album from Ken Sorceron's solo project is a masterclass display in modern atmospheric black metal, each track's dynamic song-structures go from engaging riff-centered breakdowns to explosive and ferocious climaxes, all of which beg to be listened to again and again.

Lord Mantis - Universal Death Church (Blackened Sludge Metal)

In their best effort to date, Lord Mantis channels the anger of the times and sorrows of the death of founding member Bill Bumgardner to create a visceral, noisy, and ear-pounding carnage of blackened sludge metal that has been missing in the scene for the past few years.

Sam's Honorable Mentions

Baroness - Gold & Grey (Progressive Sludge Metal/Progressive Rock)

The finale to Baroness’s color saga is a brooding piece of artistic reflection, chock full of sonic diversity, and augmented by some truly bizarre production choices.

100 Gecs - 1000 Gecs (Bubblegum Bass/Deconstructive Pop)

By far my favorite non-rock album of the year. Ludicrously fun, garish and deconstructive, this post-internet nightcore bonanza has produced endless bangers I’ll be two-stepping to for years to come.

Pup - Morbid Stuff (Pop Punk)

Pop-punk might as well be a dead genre, but Pup’s modern take on it feels impossibly refreshing and their latest album is arguably their best.

Inter Arma - Sulphur English
(Sludge/Death/Black/Post-Metal)

Inter Arma makes music that sounds like every Brooklyn metal critic’s wet dream. Personally, I think that’s a good thing and their 4th album is phenomenal in the way one would expect it to be.

clipping. - There Existed An Addiction To Blood (Industrial/Experimental Hip-Hop)

Visceral, unique and incredibly timely, Clipping’s horrorcore revival is without a doubt 2019’s best hip-hop release.

The Top 25 Albums of 2019

25. Blood Incantation - Hidden History of the Hidden Race 

(Death Metal)

It’s rare that a metal artist in any subgenre—much less an OSDM band—garners immense praise from the wider world of music coverage. It should stand as a testament to the sheer quality of Blood Incantation and their sophomore record then, that Pitchfork gave Hidden History of the Human Race the coveted “best new music” tag. Across a mere 4 tracks, the Colorado shredders manage to conjure colossal heaviness and boundless atmosphere in equal measure. “Slave Species of the Gods'' and “Inner Paths (To Outer Space)” are full-on death metal rippers, complete with capital R riffs and ominous leads. “The Giza Power Plant'' is a vital mood piece that fully utilizes a harmonic minor ambiance to soothe the listener in a way only the trvest of metal musicians could. However, the cherry on top of this blood-encrusted alien cake has to be 18-minute closer and monstrosity “Awakening From the Dream of Existence to the Multidimensional Nature of Reality (Mirror of the Soul).” It’s a serious contender for song of the year and somehow earns every minute of its lengthy runtime. Individuals with far more death metal knowledge than myself have called this record a possible contender for album of the decade, so that must count for something. Hell, if I was a bigger fan of this particular style within a subgenre I could almost guarantee it a spot atop of this larger list. In the meantime, enjoy this fantastic slab of space-tinged riff mastery until Blood Incantation inevitably gifts us another modern masterpiece. - SG

24. No One Knows What The Dead Think - No One Knows What The Dead Think (Technical Grindcore)

Broadcasting a transmission of destructively intense technical grindcore, No One Knows What The Dead Think's self-titled debut breaks the mold of watered-down bands that permeate most of the subgenre and shines brightly among those that were expected to gleam. Full of Hell's Weeping Choir is a strong release from the veteran band, and fluoride's Disentanglement affirmatively cements the underground group as one to watch out for, but the combination of ferocious drumming and hypnotic, cosmic riffage present on this album requires the listener to kneel and submit to Rob Marton and Kyosuke Nakano's symphony of carnage, as Jon Chang presents one of the most annihilating sermons of ruination performed all year that begs a stage dive from the pulpit. Even with a mere 18-minute runtime, this release captivates and rewards on every listen. No One Knows What The Dead Think is the next big grindcore band, so keep your eyes out (also, check out the full review that I wrote about this album in November if you want to learn a bit more). - AR

23. Olam - I Will Guide Thy Hand (Mathcore/Metalcore)

Converge is one of the most important heavy bands ever. Defining both mathcore and metalcore as what it is today, too many bands would not exist without their influence, and their opus Jane Doe. While Olam is one of those bands, do not think that this Indianapolis-based three-piece is a copycat. On the contrary, I Will Guide Thy Hand is an innovative reinvigoration of the genre as we know it. I said in our 'Albums You Should Definitely Listen To' post in June that I would highlight this album at the end of the year, and still, it is undeniably the best metalcore album released in the last 365 days by a long mile, as this debut takes every trope cleanly laid out by its predecessors and tackles it with a masterful stroke. In a genre that has such a poor reputation in the metal community, songs like “Beth, The Birds, The Grip” and “Razorblades as Neckties” reaffirm and give a nod to groundbreaking songs like Botch's “To Our Friends In The Great White North” and any Jane Doe track. However, they rework and experiment with dynamic intensity and occasional emo sensibilities to create a marvelously passionate work. We must also not forget the self-titled final track, which is perhaps one of the best songs of the year, with its likeness to “Jane Doe” not being limited to its structure and sound. As this is Olam's debut, and Converge's debut was their worst, I can only see the band enormously improving on their already solidified sound over time. - AR

22. Helium Horse Fly - Hollowed (Avant-Garde Metal/Experimental Rock)

An eerie, fuzzed-out bassline lays atop a vile snare groove, undulating in and out of synchronicity as an ever-changing odd meter pulses on and on. An unnerving synth wail grows louder and louder until the siren-esque murmur of “Somewhere in happiness, flowers on the ground, tamed dolls held spellbound, and all the little kings drowned” seems to offer a brief respite from this frightening cacophony, before giving way to rampant aural chaos. These are the opening moments of “Happiness,” the explosive opener to Belgian group Helium Horse Fly’s 4th album, Hollowed. Self-described as “Experimental rock, venomous noise, and progressive baroque hardcore,” it’s clear that this band’s sound is not easily confined by genre norms. To put it bluntly, these Belgians make incredibly weird and enormously heavy music. The group pulls clear influence from noise, jazz and even metal, yet unlike many pieces of this ilk, the songs on Hollowed feel fully written. Every element of tempestuous anarchy on display feels carefully crafted and the record leverages the use of dynamics to great effect, lending the feel of an absolutely formed work. Every year, countless albums from the more eclectic side of the underground disappear into the void, so if you’re in any way a fan of anything labeled “experimental,” do yourself a favor and press play on this labyrinthian journey of deliberately devised oddity. I promise you won’t be disappointed. - SG

21. Alcest - Spiritual Instinct (Black/Post-Metal/Shoegaze)

Every year when the writers at PMMetalGuide compile this list, I have to really stick my neck out for at least one album to be placed on the list. While the top ten albums this year were almost unanimous, the remaining picks were where the real battleground was held. Alcest's Spiritual Instinct was one of the most argued albums on this stage. While many may be tired of the Deafheavens, Harakiri For The Skys, and Woods of Desolations, I am not one of those people. Godfather Neige and company's sixth album is a new step for the influential band, as this release is arguably more post-metal than it is blackgaze. While it has always had an influence on the project, never have I heard more moments reminiscent of groups like Cult of Luna and Amenra on a project. Neige's airy, purifying voice is undeniably one of the best cleans in metal, and his harshes are nothing to turn one's head to either. The despondent melodies are addicting to listen to, and climax with great crescendos that reaffirm what the creator of the genre set out to do. Each spin of this album provides cathartic bliss contrasted by aggressive and belligerent flashes of anxiety and dismay, and while this is no Écailles de lune, it is certainly a step above Kodama and a positive sign of things to come for Alcest. - AR

20. Periphery - Periphery IV: HAIL STAN (Djent/Progressive Metal)

If there’s any black mark on my mostly clean underground metal resume, then it has to be my enduring love for “djent” and specifically my enjoyment of the style’s contemporary progenitors, Periphery. Periphery IV: Hail Stan is the album that 2016’s Periphery III: Select Difficulty wishes it could be. P4 appropriates the group’s now-signature blend of down-tuned Thordendal-esque riffs, catchy melodic metalcore choruses, and tastefully mind-bending instrumental wizardry and cleaves whatever songwriting fat which may have plagued their earlier releases. This makes for a wonderfully “compact” 9-track experience with cuts that run the full Periphery sonic gammit. “Reptile” scratches the ever-present prog epic itch while “It’s Only Smiles” represents the band’s most successful attempt at stupidly melodic rock. “Crush” is an interesting adventure into a more industrial-tinged sound and “Blood Eagle” could give Nails a run for their money with its on-the-nose heaviness. Each track sees the now-veteran group firing on all cylinders with cleverly written compositions that perfectly encapsulate the appeal of the fading subgenre. Where most of their peers have fallen, Periphery continues to advance their sound in a meaningful and immediate way. If this is the culmination of 10 years of artistic growth, then I can’t wait to see what Periphery VIII: These Titles Have Only Gotten Progressively Worse brings at the end of the 2020s. - SG

19. Fvneral Fvkk - Carnal Confessions (Epic Doom Metal)

I remember a time when Ghost was an up-and-coming heavy metal band from Sweden, releasing bangers like “Cirice,” “Monstrance Clock” and “Ritual.” I also remember the time when Ghost became an unlistenable pop-rock band plagued by Tobias Forge's hubris, multiple in-band lawsuits, and worst of all, unimaginative songwriting. However, my official falling-off point was with the release of their 7" this year, Seven Inches of Satanic Panic, which presented two uninspired 70s classic rock tunes that left old fans like myself isolated. What I wish I didn’t remember, however, is how I slept on the debut album released by German epic doom metal band Fvneral Fvkk for so long. A month is not that long of a time frame, but when a fantastic album gets released, I'm usually on top of it. Carnal Confessions gives everything the original Ghost fandom loved about that band; Hooky yet fvkked up lyrics totally not about the Christian church, catchy but hefty guitar melodies, and an image that is unique to the scene. Courtesy of Cantor Cinaedicus, Vicarius Vespillo, Frater Flagellum, and Decanus Obscaenus, this is one of the best doom metal albums of the year. The guitars sound awesome, the drums weighty, and the Cantor's vocals beautiful. Never before had I imagined I would be singing along to a song about fvkking myself with a crucifix. - AR 

18. Sunn O))) - Pyroclasts (Drone/Doom Metal)

Something truly remarkable about metal as a whole is that sometimes albums delivered by subgenre mainstays which simply tread a familiar path exceptionally well can easily be held in contention alongside newer groups pushing their respective styles ever forward. On that note, after a decade of experimentation, Pyroclasts feels like a true “return to form” for drone legends Sunn O))). Born out of a fairly novel conceit, the hooded druidic duo has once again managed to turn a perceived limitation into a definitive strength. Surprisingly stronger than their other record from this year, Life Metal, the four compositions on Pyroclasts are straightforward, no-holds-barred drone metal that truly shines under a phenomenal production job courtesy of underground legend Steve Albini. Every minute fuzz texture feels “alive,” and the warm analog mix adds another dimension to the band’s now-iconic monolithic guitar wall. From the opening burbles of “Frost(C),” this album projects a complete and singular auricular statement and allows the listener to comfortably submerge themselves in a tub of snug hum. Make no mistake, the robed dyad have not become orthodox cavemen, merely resting on their laurels, if anything Pyroclasts is a firm reassurance of Sunn O)))’s place in the contemporary drone pantheon and proves itself a more-than-worthy cessation before the group’s next cowled venture. - SG

17. Together To The Stars - An Oblivion Above (Blackgaze)

Solace is found in patterns, and people love what is familiar to them. When something wears its influences on its sleeve, yet is innovative enough, people flock to it. Therefore, it is strange that Together To The Stars’ debut album, An Oblivion Above, did not garner nearly as much praise as it should have this year. From January,

when this album was released, it has been a constant in my listening rotation. I reviewed it in February, claiming that it was my favorite album of the year at that time, and was the standard for modern blackgaze. While it is no longer my favorite album of the year, it is still a landmark release, as this Swedish two-piece is on track to spearheading the genre that houses it. Alluring and cathartic melodies pair nicely with ferocious vocal lines and poignant drums, all are used seamlessly to build to nearly orgasmic climaxes. Builds on “Sanctuary” and “Apathy” are some of the most fantastic displays of songwriting all year, as their blend of emotional performances and intensely beautiful atmospheres is nearly unrivaled in accessibility. Arguably one of the more listenable releases on this list, Together To The Stars write sadboi black metal that I can return to day after day and still feel satisfied on every spin. - AR

16. Tomb Mold - Planetary Clairvoyance (Death Metal)

At this moment in time, Tomb Mold do Bolt Thrower-esque capital R riffs better than any other group in the OSDM game and that is perfectly exemplified by their 3rd album, Planetary Clairvoyance. Across a lean 40-minute runtime that spans a mere 7 tracks, the Toronto 4-piece employ brilliantly gruesome low-string gallops, immensely destructive blasts, and malevolent minor leads in a stunning display of genre mastery. From the ominous tremolos of opener “Beg For Life” to the haunting sparsity of closer “Heat Death”’s final moments, every second of this horrendous mass of barbarity feels absolutely earned. Like 2018’s Manor of Infinite Forms, Planetary Clairvoyance feels like the final evolution of death metal as a genre and it ticks every box in the style’s listening intentions; it’s absurdly heavy, blisteringly technical and colossally cathartic. Nearly 20 years after the passing of underground metal’s patron saint, Mr. Schuldiner would be pleased to know that groups such as Tomb Mold are proudly advancing his signature song as we cross into the next decade. - SG

15. Schammasch - Hearts of No Light (Avant-Garde/Black Metal)

One release that has mystified and transfigured me then more than any other since its initial release was Schammasch’s third effort, Triangle. As my introduction to avant-garde black metal, it kickstarted the interest I had in the group and their genre mates, yet I felt like the 100-minute length prevented me from delving too much into that release. As a grown man who finds himself constantly listening to the likes of Godspeed You! Black Emperor, Bell Witch, and Swans, runtime bothers me no more, and Triangle has been revisited many times. While the band’s 2019 release, Hearts of No Light, has a 67-minute length that is nothing to scoff at, this record feels much more digestible as a whole in comparison to the Swiss quartet’s previous effort; the band’s riffing has never felt more concrete, vocals never as concurrently catchy and frightening, and songwriting never as ambitious. This album also shows Schammasch’s maturity, as the band seems no longer afraid to take risks. Moments like the piano breakdown on “I Burn Within You,” which continues to bring a worrisome smile to my face on every listen, and the 15-minute instrumental closer, “Innermost, Lowermost Abyss,” do a fantastic job of showing this group’s veteran writing chops. Also, we cannot forget one of the best metal songs of the year, “A Paradigm of Beauty,” whose infectious dark-wave-esque hook only helps perpetuate the marvelous performance black metal performance this band is able to generate during the first half of the track. In a year full of extremely experimental releases, Schammasch continues to create compelling, forward-thinking and downright addictive metal that provides a new sonic palette with every listen - AR

14. black midi - Schlagenheim (Noise/Math/Experimental Rock)

Black Midi feel like an incredibly timely band. Comprised of a bunch of teenagers from England’s premier performing arts school, the young group play an alluring brand of noise rock that certainly pays homage to the genre’s greats but iterates on said tropes in a way that feels distinctly novel. Their debut Schlagenhiem presents a varied batch of intriguing tunes that ooze to the brim with potential. Each member of the band comes across as impressive instrumentalists regardless of age, and vocalist Georgie Greep’s tepid snarl adds a simultaneous playfulness and intensity to each cut. Opener “953” ingeminates on a serpentine math riff in between subdued verses to create one of the better noise tracks in recent memory while lead single “bmbmbm” fully utilizes a syncopated jerky groove to reach dizzying heights during its climax. These moments of violence contrast nicely with slices of sonic beauty and lend the full album a wonderful flow which beckons repeat listens. More exciting than any of the obvious elements on display, however, is the impressive promise that Schlagenhiem shows. If this is what a group of green 18 year-olds can accomplish, imagine what a road-hardened collective of extraordinary musicians can conjure. I for one cannot wait to see what these budding Brits have in store, for it will surely be one of the stronger releases of its respective year. - SG

13. Big Brave - A Gaze Among Them (Drone/Post-Metal/Rock)

Big Brave has one of the most unique and bold sounds in their genre, which is often impenetrable due to the 20-minute long songs and repetitive instrumentation. While this Montreal-based three-piece is no stranger to lengthier song lengths, A Gaze Among Them showcases some of the band’s shortest tracks since their first album, which was a starkly different genre than the drone/post-metal that the group has put forward on their last 2 albums. In no way has this affected their performances, however. Tracks like “Body Individual,” “Sibling,” and “Muted Shifting of Space” strongly reinforce Big Brave’s classic mix of destructively heavy instrumentation and ethereal atmosphere courtesy of Robin Wattie’s vocal performance. This stark dynamic flux is arguably the most important and prominent aspect of their sound and is more explored on this album than ever before, as the band churns out a hypnotic listening experience that is unrivaled in individuality. Big Brave’s mainstream stride has not yet hit, but when it does, it will be explosive, and A Gaze Among Them is a substantial force pushing them in that direction. - AR

12. Jute Gyte - Birefringence (Experimental Black Metal/Ambient/Noise)

Through Jute Gyte, Adam Kalmbach has consistently been a flagbearer for innovation in the modern American black metal underground and Birefringence just might be his strongest outing to date. Jute Gyte’s music has always toed the line between conceptually intriguing and aurally satisfying, but this release finally fulfills the immense promise of his prior catalog. To call this music simply “heady” or “academic” would be a drastic understatement. Rather than me poorly attempting to articulate the aural chaos on display, let’s hear a straight from the horse’s mouth. Here’s an excerpt from a 2017 interview with Invisible Oranges where Kalmbach clarifies his writing process: “I don’t write anything down in traditional staff notation—I find microtonal accidentals one retrofitting too many of a system meant for modal or diatonic music with occasional accidentals—but I do write notes whenever I’m working on something complicated.” From the Bandcamp page is a description about the inspiration for some of the album’s tunes: “Several tracks on this album draw from the aleatorically generated 24-note series 0, 22, 14, 21, 2, 16, 8, 3, 18, 9, 4, 7, 19, 20, 5, 12, 1, 11, 13, 15, 10, 17, 23, 6. In "Angelus Novus',' all pitches and some rhythms are serialized; in "Prosopons" and "The Unformed Volcanic Earth," some pitches are serialized. "New Plastic'' is a piece for four guitars in which all pitches, rhythms, and ~372 effect parameters are serialized. Otherwise, this album was written more freely than the last few.” I can only glean a cursory understanding of these passages but hopefully, they convey some of the intellectual appeal. The music itself is quite remarkable and sounds like the darkest incarnation of a Byronian apocalypse and remains the most successful conflux of noise and black metal. If you’re ready to experience true sonic cacophony, do yourself a favor and check out Birefringence to experience the unadulterated stream of consciousness for what is undoubtedly the “smartest” metal currently being made. - SG

11. Mgła - Age of Excuse

(Black Metal)

With no introduction needed, the “infamous” Polish-two piece has for the last two decades released genre staple after genre staple in the world of traditional black metal. It is unquestionable that their third LP, Exercises in Futility, was the best metal album of 2015, and many still would argue it is one of the best black metal albums of all time. Age of Excuse as a successor brilliantly holds the band’s throne, and while not as undeniably iconic as their previous work, is a masterwork of music in its own right. Aside from M.’s infectious tremolo melodies and fierce snarls, the true highlight on this album, and of the overall band as a whole, is the performance of Darkside, their drummer. Even forgetting about the immaculate tone of the kit itself, his utilization of each part of the set is unrivaled by any metal drummer today (other than maybe Baard of Leprous). He doesn’t rely too much on blast beats, as many black and death metal drummers do, and his cymbal work is so unbelievably meticulous that it is truly eye-opening to listen to. Mgła has never and is not reinventing the spiked wheel on this release, but they are sharpening the spikes and polishing the spokes like no other band in modern black metal, and Age of Excuse is the perfect reflection of that. - AR

10. An Isolated Mind - I'm Losing Myself

(Avant-Garde Black/Death Metal)

If my in-depth review of this album I posted earlier this year did not do it enough justice, I will try once again here - An Isolated Mind is the next important step for metal. Completely ahead of his time, Kameron Bogges post-hospitalization masterpiece is an emotional and cinematic piece of art that cannot be digested in just one listen. It took me many repeated listens to truly get this album, which I still do not feel entirely comfortable talking about. Quantifying mental illness in art is one of the most difficult feats to accomplish, but this particular album does one of the best jobs I have ever heard. On top of this, I’m Losing Myself is simply one of the best experimental records of the year. Only one other album on this list (which we will arrive at eventually) sounds more alien than this one, and that is its own beast. While many would scoff at two tracks totaling 26 minutes of ambiance at the end of their metal albums, we here at PMMetalGuide welcome it. These are in addition to the 4 masterfully crafted tracks that precede them, of course, which are each standout in their own right. An Isolated Mind is going to skyrocket. This music is simply breathtaking. Additionally, the band just released two EPs that are prequels to I’m Losing Myself, which I definitely recommend to fans of this debut or anyone reading this list in general. This is not the last we will be seeing of Bogges, and I hope there is even more music soon. - AR

9. מזמור - Cairn (Black/Drone/Doom Metal)

The four-track journey that occupies Cairn is one of the crowning achievements of doom metal of the year. When I reviewed this album a few months ago, I was floored. After seeing A.L.N. and company perform live, I was stunned. מזמור (Mizmor)’s third full-length LP grew on me as the year wound down, and I’m extremely pleased to place it here in the top 10 of this list. A seamless blend of black metal, doom metal, drone, stoner, and a bit more, each minute of this album feels carefully placed and created exactly the way it should be. With lyrics about hopelessness and absurdity, A.L.N. is becoming more and more outspoken about his battle with mental illnesses, and for good reason. This album is dark, depressing, angry; it is pent up primal rage that forms itself into audio waves of unrelenting heaviness that are as mesmerizing as they are obsessive. This on top of the fact that A.L.N. is one of the only vocalists I can think of with a successful inhale scream (aside from M.S.W., but they are effectively soul bonded). We cannot forget the grimy and brutishly heavy riffs and tones that pummel the listener into the ground. Without repeating too much of what I have already said, Cairn is fantastic, and מזמור is here to stay. - AR

8. Soen - Lotus

(Progressive Metal/Rock)

Soen’s Lotus is the perfect modern progressive metal album. Soaring baritone vocals rest atop thunderous odd-time riffs to create a succinct distillation of the best the subgenre has to offer. The Swedes provide a nuanced understanding of dynamics in relation to songwriting and as a result, the various sections of these tunes contribute beautifully to a well-rounded flow. The choruses are infectiously catchy and work wonderfully when juxtaposed against the subdued verses; both are augmented by poignant bridges. These traditional song structures lean wonderfully into Martin Lopez’s distinct “warm” percussion grooves and the cohesive result is an endlessly relistenable contemporary work that speaks to the unique strengths of its genre trappings. - SG

7. Wilderun - Veil of Imagination (Symphonic/Progressive/Melodic Death Metal)

More so than any other album from 2019, Wilderun’s third LP feels like a narrative experience, akin to the rich fantastical folklore it draws upon. The beautiful cover art hints at the exquisite tapestry of wondrous progressive/melodic/folk death within. Sprawling long-form compositions weave in and out of pummeling Opethian forest metal and balance immersive consonance with moments of stunning assonance. The Boston group adeptly draws on moments of wistful nostalgia and indescribable pathos to create a defining work of art that stands uniquely in the current metal landscape. The pastoral instrumental flourishes and the clear attention to the pacing of the minute-to-minute listening experience converge in a feat of masterful songcraft. From the fist-pumping ecstasy of the chorus of “O Resolution” to the genuine melancholy of the closing sour chords of “When the Fire and the Rose Were One,” this album stands as a testament to the variety of modern extreme metal and the intense emotions that lie within it. - SG

6. Liturgy - H. A. Q. Q.

(Experimental Black Metal)

Metal’s single biggest innovation of the 2010s is without a doubt “hipster black metal” and the various sounds and subgenres it encompasses. Since Pitchfork infamously catapulted it into the spotlight with an 8.9 review score for Deafheaven’s Sunbather, the niche has been the subject of much scorn and praise. Liturgy’s latest release feels like this movement pushed as far as possible in all of the best ways. Hunter Hunt-Hendrix and her band of merry black metal troubadours have crafted an album that truly transcends the traditional trappings of the tried and trve style. The spotlight tracks here all reach levels of unprecedented aural catharsis through walls of incredibly dense burst beats and for once on a metal record, the interlude tracks function as very necessary breathers. Genre lines are blurred in an organic and natural way and the final product is a thoroughly astounding piece of art. From start to finish, this is a challenging and engaging album that challenges its stylistic trappings in a novel and mature way and it’s incredibly exciting to think of what Liturgy and the movement behind them will accomplish in the 2020s.  - SG

5. White Ward - Love Exchange Failure (Experimental/Post-Black Metal)

White Ward’s second LP is nearly perfect in every facet. It is A: Hooky enough to continue to compel me to listen and sing along to on repeat constantly everyday. B: A great example of a natural progression of a band’s sound, even though it is still early on in their career. C: Well-enough written that it is both satisfyingly complex and accessible at the same time, drawing new and old listeners in alike. D: Packed with fast-paced bangers and slow burners alike. In a somewhat formulaic approach, White Ward’s song structures follow a black metal build with a dash of jazz, courtesy of the groups’ use of saxophone. On their 2017 album, Futility Report, they impressed me greatly, as the instrument felt written alongside the rest, rather than on top like many groups in metal often do. Love Exchange Failure takes this formula and exceeds its expectations, not only creating more vast and impressive compositions than before, but also utilizing the saxophone as a lead instrument similar to the guitar. This album blends its jazz elements even more with its metal components even more than their first, and often can be forgotten due to their seamless transition together. In my review from earlier in the year, I stated that it feels much stronger than it should be for an amateur group, and this still holds up. White Ward’s Love Exchange Failure is not the most groundbreakingly advanced black metal album of the year, but it is easily one of the most well-written and enjoyable listening experiences you will get from last year's vast catalog. - AR

4. Yellow Eyes - Rare Field Ceiling

(Atmospheric Black Metal)

At its core, atmospheric black metal is about romantic sublimity; the notion that nature is at once both awesome in its majesty and viscerally terrifying. Few bands embody this spirit as much as the phenomenal Yellow Eyes. The brother-led group has always been about the delicate balance between horrifyingly kvlt dissonance and blissful melodic release and they’ve shown a clear mastery of the style across 5 full-length albums. Like its predecessors, Rare Field Ceiling is chock full of swirling ambiance, leveraging the subgenres' distinctive tropes to create something truly special. High-pitched shrieks, blast beats, and tremolo picks are employed in a more direct manner than the group’s previous efforts, lending the piece an air of comforting familiarity whilst innovating in its own right. The work’s central motif, a field recording of a group of Siberian old women performing a particularly somber folk song, appears and reappears throughout, taking the listener into a dreamlike realm of uncanny intimacy. In this mystical headspace, Yellow Eyes' stark view of nature’s opposed duality is majestic and frightening, inviting, and foreboding. It is this key contrast that makes this album 2019’s best black metal offering in an absolutely stacked field. - SG

3. Sermon - The Birth of the Marvellous

(Progressive/Alternative Metal)

“This is one of, if not the best album of the year.” - Adam Richards, June 2019, Albums You Should Definitely Listen To. Here it is. I finally get to talk about Sermon. Clearly, this is not the #1 album of the year - but it is undeniably my favorite. In terms of progressive metal, this is the gold standard for the genre. My background comes from Tool, Opeth, and the like, so having Birth of the Marvellous come out of left-field to release, arguably, the most well-written, stunningly breathtaking progressive album of the last few years (although The Contortionist’s Clairvoyant might give it a run for its money) was extremely exciting for a prog-nerd like me. Let us run through our checklist of great prog tropes: A unique blend of influences and sounds that are culminated to create their own sonic palette? Check. Vocal hooks and guitar leads that are just as listenable now as they were initially? Check. A rhythm section that is more complex and interesting than their melodic counterparts? Check. And a concept album that hinges not only on lyrical content, but also on instrumental themes and reprises? Check. This album really does it all, and best yet, it is only their first release. If any album is going to stick with me into the next decade, it will be this one. Great job Sermon, and here is to a long career of prog excellence. - AR

2. Weeping Sores - False Confession (Death/Doom Metal)

I have to admit, the worst post I have ever written, and my editor can affirm this, is my unreleased review for False Confession. By worst, I mean worst-written, most poorly structured; overall, it was a mess of journalism. Why is this? I still have not put my finger on it. Perhaps the subject of the piece was too artistically perfect and my mortal mind couldn’t comprehend it. Yet I will express the same opinion of this album that I did in that lost document, which is that Weeping Sores’ debut is a masterclass in death/doom. Unexpectedly beautiful, everything about this record is heart-wrenching at its core. Doug Moore’s vocals have never sounded more mournful than they do on this release, Stephen Shwegler’s drum tone and performance match the style to a tee and don’t even get me started on the violin performance of Gina Eygenhuysen, which is the instrument that ties the entire thing together. When a metal album is written with the composition of a traditionally classical instrument as a centerpiece, something truly magical happens, which is found here on False Confession. At this point, I’m just convinced that any product semi-related to Pyrrhon and its’ members (ie. Seputus, Weeping Sores, at one point Imperial Triumphant and Artificial Brain) can do no wrong, and this debut affirms this fact. What is the most well-crafted, forward-thinking, and undeniably perfect metal album of the year? It’s this one. - AR

1. The Austerity Program - Bible Songs 1

(Noise Rock)

In our humble opinion, Bible Songs 1 by The Austerity Program is the best album of 2019. Every record on this list is fantastic in its own right, but none of them present a wholly cohesive artistic vision where virtually every second counts. Critics will often use some variation of that cliched phrase, but in regards to Bible Songs 1, it’s no mere hyperbole. This EP doesn’t let up for its entire slim 22-minute runtime and every moment of every piece feels deserved. From the chilling opening salvo of “Isiah 63:2-6” to the closing animalistic belt of “2 Samuel 6:16-23,” the listening experience feels like a caged beast lying in wait and preparing to strike. The actual sounds on display take the form of utterly unhinged math/noise, barely held together by the strict rule of an all-powerful drum machine. The guitars and bass joined in unholy unison with a punky snarl resting on top and spewing direct retellings of the Old Testament’s ghastliest narratives. Conceptually, it feels incredibly cohesive. The gruesome realities of these old religious tales pairing exquisitely with the cacophonous dissonance of the group’s signature style. Each individual track is composed around standout moments, usually spearheaded by particularly cruel one-liners delivered by Justin Foley. The earsplitting conclusion at the end of the nearly 4-minute build in “Numbers 31:13-18” of “MOSES, WHAT THE FUCK?” is forever seared into my musical memory and remains the standout climax of 2019 for me. Thematically dark art allows one to cope with the bleaker aspects of reality by allowing for catharsis and personal reflection. Bible Songs 1 uses ancient biblical tales and an especially abrasive sonic palette to highlight the numerous open-ended issues of our own time and is executed perfectly. So as the world literally burns around us, this album is a fitting herald for the increasingly unsure future to come. - SG

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At long last, this concludes our Best of 2019 list! For those dedicated enough to make it to the end, thank you so much for your constant support and viewership. If you wish, reach out to us here or on our twitter to discuss not only this post but the rest as well! We will continue to release weekly reviews, with a special something snuck in here or there. We will see you again on Wednesday!