PMMetalGuide's Best Albums of 2020 - A Year In Review


It goes without saying that 2020 was an unforgettable and unforgivable 366 days that no one in this lifetime could have predicted. This pertains to all forms of life, from politics to worldwide pandemics to creepy Trapt tweets. But one thing always holds true, even despite its constant bombardment of corporate lobbyism, authoritarian power grasps, nationalistic idiocy, and racial discrimination, the search for (and expression of) freedom, in every facet, has persisted into the next year, where more and more strides will be made to bring forth the best humanity has to offer. This year was full of challenging music, with a good deal of excellent albums pushing against an oppressive force of some kind, like Fetch The Bolt Cutters or RTJ4. Others forced reflection inward, challenging our worth and senses of self, such as Folklore/Evermore or Punisher. We had the advent of the quarantine album, which forced us as listeners to step back and appreciate what artists are going through and accept the minimalistic and otherwise stripped-back styles that we were caught up in. The most exciting thing, however, was the brutally difficult year we've had, because of the music we will hear in 2021 and 2022. Pens and fingers are fluttering, drums are blasting, and basses are thumping. We thought 2020 was exciting for music (and in a lot of regards, it was), but come the next few years where so much resentment, hatred, neglect, disappointment, and longing has processed into an auditory form. Look forward, for the future is brighter than now. All we can hope to do is hit that point sooner. In the meantime, we have a collection of amazing records that in our unqualified opinions served as the greatest of the last year, and although we have discussed many of them through reviews and podcasts, they need to be highlighted in an arbitrary format that excludes so many phenomenal records from last year. We also surely missed a lot of amazing records due to either release date inconveniences or mind slips or complete obliviousness to them. But without further ado, we bring you PMMetalGuide's Best Albums of 2020

Adam's Honorable Mentions


The Reticent - The Oubliette (Progressive Metal/Rock)

As much as I say this on various episodes of the PMMetalGuide Podcast, if you're a prog-head, this is the album for you. Borrowing from innumerable influences, The Reticent's fourth LP bounces between styles faster than a culturally appropriated seed pod. Dream Theater, Tool, and Opeth are among the groups whose sounds are sampled from, and with some of the most accurate interpretations of these credits I've ever heard, an extremely interesting prog epic is born. Aside from this, The Oubliette has great theming, tons of great moments, and amazing performances from Chris Hathcock in every aspect.

Cavern - Powdered (Progressive Sludge/Thrash Metal/Rock) 

Like an almost sped-up Big Brave, or an optimistic Trees of Eternity, Cavern's fourth effort is a stunning example of post-metal that pushes the limits of the subgenre, speeding through each cut with a mature prowess that you don't usually hear among their contemporaries. Kurt Ballou's production makes all three members heard fairly equally, and while the harshless vocals of bassist Rose Heater take the forefront of the mix, they are beautifully sung, and arguably the strongest aspect of the group, hypnotizing with each lyric and melody. These short 24 minutes keep drawing me back in, and I bet you will be hypnotized just the same.

Green Druid - At The Maw of Ruin (Stoner/Doom Metal)

Here's a disclaimer: a lot of the picks on this list are going to be described as 'mature.' But if any group exemplifies this for the year, Denver's Green Druid should be placed highly among them. At The Maw of Ruin is exactly the follow-up this four-piece should have made: It's more focused, tighter written, and equally as menacing as their debut. As diabolically lyrical and hauntingly fuzzy as Ashen Blood, these six tracks trudge you to hell and back and don't hesitate to hit every pile of bones that stands in their way. Round this out with stunning production and even better climaxes, and you've got yourself a record robbed of a spot on the main list due to its release date.

Sumac - May You Be Held & "Two Beasts" (Atmospheric Sludge Metal)

Sumac time and time again deliver on every step they take. While May You Be Held landed a bit short of expectations after their previous release, it is still another leap for an extremely talented and even more so bold three-piece. By pulling back on the free-improvisation present on Love in Shadow and their collaboration with Keiji Haino, room was made for expansive soundscapes, and an almost return to form to days of The Deal or What One Becomes, allowing Turner, Cook, and Yacyshyn to find themselves in their relative musical limelight again. And we couldn't just pass over their brand-new single, "Two Beasts," which would have made a good album even greater. 

Golden Ashes - In The Lugubrious Silence of Eternal Night (Atmospheric Black Metal/Drone)

There is nothing** like this record. Incredibly noisy, In The Lugubrious Silence of Eternal Night almost feels synthetic. The whirling, fluttering synthesizers that drive this octet of tracks make this record symphonic without the unfortunate tag. Maurice de Jong cements the tag 'blackgaze' with this release, so much to the point where the tracks actually feel like you are listening to drone. This is easily one of the most surreal listening experiences that I have had in a long time, so I can do nothing more than pass it on to the next soul brave enough to be consumed by the ever-spinning nexus Golden Ashes creates.

Sam's Honorable Mentions


Code Orange - Underneath (Industrial Metalcore)

This is easily Code Orange's best release yet and the album which has solidified their place at the top of the "up and comers" list. Tracks running the gambit between metalcore, industrial, alt-rock, and unabashed nu-metal worship flow effortlessly across a solid 45-minute runtime. The whole thing is dripping with the brand of mid-2000s hot topic edge to the point that it would actively cut the listener if felt. At the end of the day, however, the album is a blast from front to back and filled with memorable hooks, breakdowns, and everything in between. Whenever live shows start up again, I'll be sure to go absolutely bananas to "Swallowing the Rabbit Whole."

Molchat Doma - Monument (Coldwave/Synthpop)

"The Doma" are in an interesting place for post-memetic internet musicians. The notoriety they gained off the backs of viral TikToks seems to have stuck and they now represent modern post-punk to a whole generation of music listeners (myself included). Monument is a worthy successor to the perfection of Etahzi and manages to expand upon the group's sound while retaining their signature neo-Soviet aesthetic. At the core of this deeply kitschy style lies an immensely strong ear for songcraft comprised of icy synths, eclectic drum loops, and passive-aggressive Russian machismo. Most importantly, the whole thing just "vibes."

Insect Ark - The Vanishing (Doom Metal/Psychedelic Rock)

I had the pleasure of witnessing Insect Ark open for Oranssi Pazuzu on their first American run last year, and the duo's live presence is downright menacing. Mammoth waves of drone cascaded over eastern melodies and sludgy beats to leave me thoroughly perplexed and terrified. Dana Schecter's third release is her most successful yet at distilling that controlled miasma of her sonic weight into record form. All the tracks here are fantastic, they have riffs and atmosphere for days and the whole thing is downright groovy. The Vanishing leans into the inherent nihilism of the moment, drops some acid, and has a hell of a fun time doing so.

Denzel Curry / Kenny Beats - Unlocked (Southern/Hardcore Hip-Hop)

At this point in his stellar catalog, we know Denzel Curry delivers. After a string of historic full-lengths and mixtapes, a victory lap with one of modern hip-hop's most notable producers feels well deserved. Kenny Beats' unique approach to beat-craft is intriguing in its own right, but these tunes absolutely come to life with Curry's vocals. Over the course of a lean 8 tracks, the South Floridian black metal terrorist pays homage to 90s boom-bap, NYC jazz rap, and even delivers a verse as DMX himself. The whole experience is shamelessly cathartic and serves as a testament to his skills as an MC. I can't wait to hear what Curry releases next. 

Cytotoxin - Nuklearth (Technical/Brutal Death Metal)

Usually, music in the technical/brutal death vein utterly fails to entertain - the ridiculous instrumental acrobatics obfuscating any semblance of songwriting priority - this is not the case on Nuklearth. The German Chernobyl-weeaboos have crafted an extreme metal album that is so over the top in every facet yet remains grounded in solidly crafted tunes. Ludicrous displays of virtuosity are met with uber-brvtal "brees" across sprawling compositions that dart in and out of surprisingly cathartic hooks. Each track is expertly made and the whole experience is unabashedly fun. 

PMMetalGuide's Best Albums of 2020

40. Cryptic Shift - Visitations From Enceladus (Technical Thrash/Death Metal)

Few releases feel traditionally "progressive" the way Leeds-based group Cryptic Shift's debut LP manages. Across 4 massive pieces and one 25-minute epic, the thrashers run the gambit of influences from Voivod to Rush and even Demilich. This melting pot feels thoroughly novel and the whole work is executed with a deft hand, lending to natural peaks and troughs in this dynamic, alien soundscape. It's memorable, effective, and spellbinding, and stands out from a crowd of relatively forgettable thrash records released this year. I look forward to tumbling through a kaleidoscopic void yet again with their eventual follow-up. - S

39. Xenobiotic - Mordrake (Technical Death Metal/Deathcore)

Deathcore has had a "rocky" relationship with the metal old guard and the critics who represent them. To me, Xenobiotic's Mordrake stands as one of the first purely deathcore releases to receive widespread critical acclaim, and for good reason. If the Lewandowski artwork is any indication, the Australian corers borrow heavy influence from the more traditionally loved worlds of black and prog to make a stunning final product. This album is unabashedly deathcore in every sense - the breakdowns, the high and low screeches, the clean callouts - yet it works and does so unbelievably well, hitting the sweet spot between immediate enjoyment and contemplative reflection. - S

38. Deftones - Ohms (Alternative Metal/Shoegaze)

Ohms is one of Deftones' strongest releases in a discography with no lows. It sees the veteran Sacramentons embrace each notable aspect of their sound and imbue it with the maturity of a group who have been redefining metal norms for nearly 30 years. Each track works well in a vacuum, but in context, provide a seamless listening experience that showcases the best of their signature sound. Steve Carpenter's thunderous djent coalesces with Frank Delgado's synths to create the perfect pillow for Chino Moreno's iconic croon. It's astounding just how good this record is for a veteran band and stands as a testament to the group's longevity and continued relevance. Check out the podcast we did on it here. - S

37. Antzaat - For You Men Who Gaze Into The Sun (Black Metal)

Of all the music we talk about on our lists, there is usually one black metal record that pushes their pure modern sound to the forefront of the genre (usually occupied by Mgla or their clones). Odraza or Gaerea (among others) could be fit this bill, but Antzaat's debut is a stunning slab of stone-cold Belgian black metal. With a heavy melodic edge, FYMWGitS charges into battle with a collection of stunning tracks that on every listen stick to your ears like ligament to bone. Each of the guitar leads drive the rest of the instrumentation and vocal performances to soaring heights, with no lack of aggression or technicality sacrificed in the process. Pure, solid black metal - A

36. Glorious Depravity - Ageless Violence (Death Metal)

You have arrived at the annual Doug Moore appreciation post! This time serving up some technical OSDM with the guys in New York-based black metal band Woe (who had a stunning record in 2017), our leading Pyrrhon/Seputus/Weeping Sores vocalist grunts and shrieks the group to battle with scabs, incels, and oligarchic exsanguinators. Moving at machine-gun tempo, the rhythm section supports the angular riffing which drives the songs, and the lyrics and vocal performances are as angry and disgusting as they get. This brief 29-minute jaunt is nothing short of remarkable, with each riff sticking to you like a tongue on a flagpole. Or a leech on a carcass. - A

35. Firelink - Firelink (Melodic Black Metal)

Firelink's debut slipped under my radar last year, an epic slab of melodic black metal inspired by the beloved game Dark Souls, but their 2020 follow-up tickles the same glorious itch. Featuring fuller production and moments which reach into other notable subgenres, Firelink reiterates upon the successes of its predecessor while improving in just about every way. This is videogame music that captures the unique strength of the medium which it draws upon and is filled to the brim with flourishes of extreme impact. I can't wait to see how Firelink tackles the rest of Miyazaki's notable series. - S

34. An Autumn For Crippled Children - All Fell Silent, Everything Went Quiet (Blackgaze/Post-Hardcore)

Dutch triplet An Autumn For Crippled Children sounds like Kevin Shields making ambient black metal. It's hard to find much punk in here at all, actually. It sounds like a violent, sloshing bubble bath, as strange as that sounds. For a sound so cathartic and calming with a destructive twist to it, I cannot find another way to accurately describe it. Whatever these sounds make you feel, I can guarantee it will be both joyous and emotionally trying as the next post-hardcore record. Seriously though, the blend of black metal and shoegaze is unbelievably memorable. - A

33. Sea - Impermanence (Sludge/Doom/Post-Metal)

Sea's brand of ethereal, droning post-metal never fails to entrance me. The guitars are incredibly massive, giving tons of room for the rhythm and vocal sections respectively to shine within the awesome riffage present on these five tracks. This record is perhaps also one of the most emotional of the year, exploding in anguish and barraging the listener with angered cries of desperation. This band also being local helps my love, as I expect to see them many times in the future when our COVID-19 world is in its new normal. But since its January release, Impermanence has shown that Sea is the future of post-metal, and we here at PMMetalGuide are loving every minute of it. - A

32. Kvelertak - Splid (Hardcore Punk/Black 'n' Roll/Hard Rock)

Moreso than any other record on this list, Splid distills the fun-loving essence of the genre's past into a cathartic and engaging album experience. Despite the loss of their founding vocalist, the Norwegian veterans have managed to drop the most exciting album of their career. Hard rocking guitar-fueled tracks combine with punkish vocal aggression and occasional forays into post-rock and psych-rock to make for a traditionally great album with just enough nuance for artistic exploration. It fills the listener with a strong urge to crack a beer, hop into an imaginary mosh pit and scream along to indecipherable Norwegian lyrics. In a year where metal's live show was tragically absent, Kvelertak managed to scratch that integral itch. - S

31. Kaatayra - Toda História pela Frente (Melodic Black/Folk Metal)

What's even more impressive than Kaatayra's four albums in less than two years is Caio Lemos' actual work on this LP. Here, three hulking 10+ minute tracks, the last of which rounds out at 26 minutes, perfectly encompass the dazzling beauty and ferocious peril of the rainforest. With a perfect amateur production aesthetic this album weaves you into a winding journey chock full of booming drums, brutal high harshes, and emotive tremolo picking, all while occasionally exploring sections utilizing acoustic guitar, tribal drums, electronics, and nature recordings. It's an extremely rewarding release that requires the willingness to walk off the beaten path to see this - A

30. Ainsoph - Ω - V (Post-Metal/Hardcore)

One of the earliest contenders for this list, Ainsoph's brilliant debut is as exhilarating and engaging as it was on its February release date. Its youthful energy and calculated monotony help propel the seven tracks of post-everything into an unforgettable half-hour of spiraling psychedelic rock music. Each song beautifully flows into the next, both thematically and literally, and with it, all sense of progression and time fades away. Its repetition, soupy production, songwriting style, and dynamic versatility meld to make songs that sound so similar to the one before it, while each secretly introduces new variables to the equation. Essentially, Ω - V is great trip music. - A

29. Unleash The Archers - Abyss (Power Metal/Melodic Death Metal)
On Abyss, it seems the Vancouver Power Metallers have finally broken into the proverbial "metal mainstream," and it's easy to see why. This thing is laser tight in every aspect. The guitars are virtuosic without being distracting, the rhythm section pushes each piece forward with surprising nuance and the ever-impressive Britany Slays reaches a career-high-standing out amongst prime musicianship to deliver raucous verses and fist-pumping hooks. The band's willingness to dabble in synthier territories bodes well for their continued success, but in the meantime Unleash The Archers can coast of off this record's success and become the festival powerhouses they deserve to be. - S

28. Greg Puciato - Child Soldier: Creator of God (Alternative/Industrial Metal/Darkwave)

After watching his 'F#CK CONTENT' live stream earlier this month, Greg Puciato has cemented himself as a true artist in my eyes. Aside from the creativity pulled off for that show, his debut solo LP has impressed me on every listen. With the ability to jump from industrial metalcore to grimy sludge metal to shoegazy alt rock to radio-friendly synthpop, The Dillinger Escape Plan's former vocalist holds nothing back on this release. His ability to draw on tons of prior experience shows its mettle here, showcasing a truly impressive and engaging work. This album seamlessly weaves throughout the many sounds to be fun, angry, and proficiently composed alike. - A

27. Dogleg Melee (Emo/Post-Hardcore)
As a member of Gen Z who was born just a tad too late for the mid-2000s screamo explosion, Dogleg make me feel like I'm actively experiencing it. On their debut, the Detroit four-piece conjures equal helpings of heart-wrenching angst and adrenaline-fueled primal fury. This record has several of my top songs of the year and is packed to the brim with highlights. I particularly love the use of emo chords and the warm production, which elevate the astounding tunes even higher. The whole experience feels surprisingly mature and I can't wait to catch them live (hopefully in a stuffed house show somewhere in middle NE) once the pandemic finally ends. - S

26. Farer - Monad (Sludge/Post-Metal)

Poor Sumac may have been excluded from the overall 40, but this leaves room for their mangled, jarring, and similarly crushing Dutch nephew, Farer. Monad may be their debut, but you can tell this band has been together for eight years, purely on the composition and delivery of this record alone. Tastefully noisy, crunchily distorted, and head-throbbingly powerful, the four monolithic tracks on this record make for some of the most weighted and despondent material of the year. Heartwrenching screams erupt from the dual vocalists/string players as the drums pound away into an echo chamber of massive proportions, as the down-tuned guitars round out the record incredibly. - A

25. Neptunian Maximalism - Éons (Avant-Garde Jazz/Drone Metal/Free Improvisation)

Éons is probably the best album of the year, and I don't want to meet anyone who will attempt to argue otherwise. Yet its unfortunately low placing on this list is not an accident. Neptunian Maximalism's multi-hour, free-improvisational, musical, and conceptual masterpiece is just that; a masterpiece. This album, purely on look, sound, and presence alone, is too far advanced for my small post-millennial ears to comprehend. Post-rock, jazz, drone metal, and tribal music all culminate among the 16 tracks on here, some of which climb to double-digit runtimes. The 11-piece has a ton of talent behind it, and each instrument and corresponding member brings another piece to the epic puzzle that embodies itself in these recordings. This music is weird, intense, and incredibly dense. You won't get this music, so just listen to it - A

24. Gulch - Impenetrable Cerebral Fortress (Metalcore)

Gulch has quickly become the newest "Pitchfork-approved" hardcore band. In the pandemic year, they achieved this status through a series of iconic live videos, uncanny merch drops, and by releasing the best record the genre had to offer in 2020. In a lean 15 minutes, the California brawlers demonstrate an uncanny affinity for pit-ready brutalist anthems. Animalistic punk yelps soar over skank-driven OSDM riffing with tempo changes and aggression aplenty. It's hard to pinpoint exactly what works so well on their debut LP, but the package works wonders. This collection of tunes is technical, catchy, and mind-bogglingly heavy and the Siouxsie cover at the end is a nice but wacky addition. - S

23. Pyrrhon Abcess Time (Technical Death Metal)

Anything Doug Moore touches turns to gold and nowhere is this statement more true than the dissonant Avant-garde labyrinth of Pyrrhon. While there was hearty debate in the PMMetalGuide headquarters over just where Abcess Time slots into the group's impeccable discography, we agreed that the record is ludicrously strong and stands as a monolith for 2020's releases. The Brooklyn boys have crafted a critique of late-stage capitalism which sounds just as grotesque as the horrors it portrays, utilizing a healthy helping of 80s no-wave influence to do so. It represents a substantial evolution for a band that is always growing and bangers like "Down at Liberty Ashes," "The Cost of Living," and "Rat King Lifecycle" still serve as high watermarks for the lauded group. This album physically hurts to listen to at times - the dissonant noise-owed stylings are simply that overwhelming - and I wouldn't have it any other way. - S

22. Havukruunu - Uinuos syömein sota (Pagan Black Metal)

I adore black metal, but many contemporary releases don't feature fully formed songs. More often than not, compositions will swirl aimlessly for long periods of time without any strong songwriting core. On Uinuos syömein sota, Havukruunu has sidestepped this issue entirely, crafting their brand of maximalist pagan-tinged melodic bm with a near pop level of razor focus. These tracks have strong, well-written melodic cores which make for an immensely engaging record. The use of smooth leads, atmospheric builds, and tasteful Viking choirs lend the record a real "complete" sensibility and the whole experience is a pleasure to listen to. I'd also be amiss to mention the high-quality Immortal-riffing, putting Abbath himself out of a job with angular, catchy, and memorable mosh starters. I had no idea a black metal record would make for one of the hookiest releases of the year, but it seems the fearsome Finns have proved me wrong. - S

21. Caligula's Horse - Rise Radiant (Progressive Metal/Rock)

Caligula's Horse has always impressed us on this blog, and while this may be the first record we've covered from the Australian quintet, it certainly won't be the last. Rise Radiant is another stellar example of modern prog with a generous helping of djent that actually works. With each single elevating the rest of the tracks to a soaring statement, massive moments on every track explode into greatness. Thumping riffs and catchy melodies are responsible for the lead lines on tracks like "The Tempest," "Slow Violence" and "Oceanrise," while tracks like "Salt," and "Autumn"/"The Ascent" build into their peaks with dynamics at the crux of the brilliant songwriting. Rewarding more and more on each listen, while it may not eclipse Bloom or In Contact as our favorite Caligula's Horse record, it is still another stellar progressive metal release from a group that dominates in their field - A

20. Fluisteraars Bloem (Black Metal)

I love Fluisteraars, and while it took me a while to come around on the majesty of this band (sans De Oord), Bloem is what I needed to jump on board the hype train. While also landing a high spot on this list, they also hold the accolade of the strongest Eisenwald release of this year. Digs aside, this February release is among the most beautiful black metal albums I've listened to, on account of the ethereal guitars, sparse drum mix, and entrancing melodies created by the Dutch two-piece. Equally aggressive and emotive, this record shows both sides of the black metal coin in a somewhat lo-fi hypnotic aesthetic, and it is absolutely memorable because of this. While I've often credited a band like Deftones as a group that has major dynamic diversity, Fluisteraars should be revered just as highly for their expert blend of ferocious melodic black metal and entrancing post-rock passages. - A

19. Esoctrilihum - Eternity of Shaog (Black Metal)

French one-man weirdo black metal guru Asthagul makes sprawling music that is all but guaranteed to wet the pants of  Brooklyn metal elitists. His 5th full-length might just be his strongest effort to date, eschewing somewhat the pure Beefheart-esque forrays into novelty for something a tad more streamlined and melodic, but all the more poignant. Miasmas of layered blackened death metal, augmented by occasional horns and choral passages make up the bulk of this aural journey and somehow make the hour+ ride consistently compelling. At the root of these churning monoliths of songs are solid riffs, chordal ideas, and even the occasional sticky melody. The method behind this calculated madness is scientifically tested and makes for one of the most consistently engaging forrays into the uncharted territories extreme metal has to offer in 2020. - S

18. Fawn Limbs - Sleeper Vessels (Math/Grindcore)

Who knew Fawn Limbs were going to be the next big name in mathcore? I sure didn't predict it. Their debut Harm Remissions was good, but not even close to the sonic destruction displayed on Sleeper Vessels. Thanks to Pedram Valiani of Frontierer fame, this album sounds like if you just took Unloved and made it chordally more discordant, and sped each track up by about 200%. To save stress from the triskadekaphobics in our reader (and writer) base, the baker's dozen of tracks here are some of the most aggressive music put to recorded squiggly wave in 2020. Each track flies by at a breakneck pace, leaving you no choice but to be launched alongside the BrahMos as it speeds through the atmosphere to destroy its target. The only band I can really compare this to is Gaza, but with eight years gone, this three-piece is on their way to redefining heaviness in mathcore, and harsh music in general. - A

17. Wobbler - Dwellers of the Deep (Symphonic Progressive Rock)

I listen to an ungodly amount of 70s prog rock and Wobbler somehow nail the style as well as many of the classic bands. On Dwellers of the Deep, the Nords blend a deep appreciation of the genre's heyday with modern flourishes to great success. Album centerpieces "By the Banks" and "Merry Macabre" bounce dynamically through all of the genre pastiches. Mellotrons abound, driving basslines, jazz chords and choir boy vocals weave around immaculately written refrains, capturing the glory of the 70s at the period's absolute best. Meanwhile, the other two songs serve up stylistic variety and pace the relatively brisk tracklist quite well. Stellar performances are to be expected, but the production on this record is also amazing. The warm mix lends a real "homey" quality to an already comforting batch of nostalgic tunes, providing a much-needed respite in such a  dismal year. - S

16. Emma Ruth Rundle/Thou - May Our Chambers Be Full (Alternative/Sludge Metal)

From the first single, "Ancestral Recall," where Emma Ruth Rundle and Thou interpolate the classic A Perfect Circle track "Sleeping Beauty" to colossal effect, it was clear that this project would be special. The goth-tinged singer-songwriter and NOLA sludge heroes have joined forces to craft an utterly intoxicating concoction of tracks spanning the heavy music spectrum. Rundle's vocal performances are astounding, sitting atop cavalcades of guitar-driven ambiance and monstrous riffage. The two artist's takes on their respective genres have always been a little different, but together, they're able to converge on something that's greater than the sum of its parts. I dare you to find a record this year that hits quite so effectively with a distinct blend of tuneful, evocative, and haunting noise. - S

15. Primitive Man - Immersion (Sludge Metal/Noise)

As said by many journalists, musicians, and industry heads alike, Primitive Man is the heaviest band in the game right now, and with Immersion, the concrete riffs, pulverizing tones and enormous presences solidify the groups' apt moniker. In one of their shortest solo releases yet, the three-piece returns with 6 pummeling examples of why death sludge can be so unabashedly nihilistic and destructive. Walls of feedback blare while lead lines and the rhythm section slowly decimate everything in their path, as ELM evokes harsh words of indignance and misanthropy. With enough black and death metal moments to keep the faster side of their extreme side quelled, the intensity of the sludge and noise on this release may be their most focused and mature yet. The entire record is perhaps the perfect representation of this years' constant feelings of misery and pain. - A

14. clipping. - Visions Of Bodies Being Burned (Horrorcore/Industrial/Experimental Hip-Hop)

Talk about a record utilizing the innate horror of the moment to great effect! 2020 was a landmark year of racial realization for many Americans and clipping.'s second horrorcore album capitalizes on the fear, unease, and downright systemic disgust of that fact more than any other album. 2020's There Existed an Addiction to Blood was phenomenal, but the trio has somehow upped the ante in nearly every aspect. The beats are more creative and unsettling, the samples cut deeper and are utilized to maximum effect and Daveed Digg's bars are downright animalistic, depicting the horrific reality of now in a way that feels borderline uncomfortable. It scratches the post-Death Grips itch for groundbreaking rap music expertly while providing serious food for thought and I couldn't be happier with the result. - S

13. Svalbard - When I Die, Will I Get Better? (Post-Hardcore/Blackgaze)

Aside from The Drowned God's effort from last year, When I Die, Will I Get Better? is the first modern post-hardcore album I have actually enjoyed. Even if this album has heavy influence from blackgaze and screamo, I hesitate to classify it as anything other than that first sub-genre tag. But regardless of this, Svalbard's third full-length showcases some of the breathiest guitars, most aggressive vocal performances, and stunning songwriting efforts I have heard in a long time. Serena Cherry's vocal hooks and call-outs are as catchy as any good rock singer can muster, while the dueling guitars wear invisible corpse paint as they tremolo their way to breathtaking soundscapes, and the drums are as punchy and vicious as they are fast (which is very). With lyrical content that can make anyone oppressed or mentally ill shed tears, these tracks as emotionally impactful as they are sonically. Listen to this immediately. - A

12. Imperial Triumphant - Alphaville (Avant-Garde/Technical Black/Death Metal)

On their 4th full-length, the art deco Brooklyn trio successfully articulates the material woes of a Covid-affected America across a batch of searing, anti-hegemonic avant-garde death metal. The contrast of 50's era technological promise collides directly with the bleakness of our momentary constant to make for one of the most harrowing listening experiences of the year. Buried underneath skronktastic riffage and nearly illegal blasts is a hearty melodic core that keeps the listener begging for more. The instrumental work is straight-up delectable, and the constant forays into the avant-garde (whether they be taiko drum circles, barbershop quartets, and harrowing choirs) make an enticing release all the more welcoming. Imperial Triumphant have channeled the opposed duality of their home city once more to create one of the greatest and timeliest records of the year. - S
 
11. Serpent Column - Kathodos (Avant-Garde Black Metal)

Although we weren't aware of the masterpiece that was Mirror in Darkness from last year, we jumped on the hype train this time around and were stunned. Kathodos is bewildering; Akin to the aural aesthetic of Deathspell Omega with a healthy dose of Plebeian Grandstand, Serpent Column's third LP is nothing short of brutally intense. This album always stops me dead in my tracks, as the punchy drums drive the winding melodic lines throughout the eleven songs, each sticking with you as the aggression continues to pummel your senses to a blackened and obliterated pulp. The longer tracks bookend the release perfectly, with each cut holding your interest throughout its runtime, while the real meat of the aural assault is saved for the shorter, more visceral pieces. This record is as strong as it is technically proficient, and that is extremely in both regards***. - A

10. Vile Creature - Glory! Glory! Apathy Took Helm! (Sludge/Drone/Doom Metal)

The Canadian queer music duo has utterly circumvented the usual pitfalls of sludge metal (the boring riffs, sluggish song structures, and asinine runtimes) and crafted an astounding artistic statement that stands tall in a year marked by landmark releases. Glory! Glory! Apathy Took Helm! remains a powerful exploration of gender identity in a hypermodern society that alienates its individual through media diaspora. The band's lyrics explore this weighty subject matter through Nietzchean existentialism and are backed by incredible guitar work, vicious percussion, animalistic shrieks, and a healthy helping of avant-garde flourishes. The horns, choirs, and strings add a lot to already strong compositions and help to elevate a great record to something truly unforgettable. Metal has been long overdue for LGBTQ music that moves beyond representation and actively explores nontraditional sexualities and identities, and Vile Creature is leading the charge. - S

9. Mamaleek - Come & See (Avant-Garde/Experimental Metal/Noise Rock)

Actually breaking genre boundaries is difficult, especially in metal. With so much influence from each and every subgenre being attributed to another, people like Mamaleek are hard to come by. Truly unique in sound, the anonymous duo (now with the backing of a full band) delivers arguably their most daring and impressive work on Come & See. The lo-fi live recording "with little to no overdubs" sounds amazing, and the Cronenberg creature that manifests as their aural direction on this LP is even more impressive. Blues, noise rock, black metal, jazz, and more can be found in these breathtaking 44 minutes, each of which either bashes your head in or puts you into seemingly unending hypnosis, both of which are pleasures to encounter. If you like your music eclectic, heavy, and entrancing, pop this one on and sink into the soup its buzz creates. - A

8. Couch Slut- Take a Chance on Rock 'n' Roll (Noise Rock/Sludge Metal)

Jesus, what a record. Take a Chance on Rock 'n' Roll is brutally honest, unabashedly uncomfortable, and also one of the most addicting releases of the year. Easily the most traditionally 'punk' release of any of our 'Best of' lists, Couch Slut is helping drive the anti-patriarchy movement with spades raised and fists clenched. Nine tracks of dejected, disgusted, and tortured recollection make your stomach churn and your head bang, each more sickening than the one before it. This record is important for multiple reasons: First off, it brings awareness to issues that permeate sexual politics and abuses, as well as many other subject matters contained within the band's lyricism. But also, it keeps noise rock (and sludge metal) respectively aggressive, without having to rely too much on experimentation and the slow BPM to keep the music interesting. - A

7. Haken - Virus (Progressive Metal)

A couple of years ago, I wrote this about their new album at the time: "Vector continues the group's artistic evolution, this time ramping up the heaviness by way of djent, and by cleaving the fat for the group's most straightforward release." That sentence applies doubly so to the far-stronger Virus, which is the band's best album since The Mountain and perhaps of all time. This modern prog odyssey is un-fucking-touchable, perfecting the Rush ratio and delivering on the promise of its companion album while meaningfully expanding upon its sonic template. "Messiah Complex" might be the best song the band has ever released and the rest of the record is as good and decently varied. The mosh-fuel of "Invasion," the soothing prog of "Canary Yellow" and the zaniness of "Carnival" all deliver in ways Vektor didn't and the production job is much more digestible. If they weren't already there, Virus firmly places Haken in the "prog-legends" camp, surpassing their contemporaries and earning a spot alongside influence Dream Theater for stellar musicianship and songcraft across a nearly perfect discography. - S

6. The Microphones - Microphones in 2020 (Singer/Songwriter/Indie/Avant Folk)

The first time I heard Microphones in 2020, I cried my eyes out. Phil Elverum's miasmic exploration of temporality, artistic legacy, and his personal universal role is an intensely intimate and emotional experience, unlike anything I've heard before. Musically, Elverum's 44-minute opus isn't particularly novel in the grander scheme of his discography, but the careful assembly, from the intricately layered guitars to the mellotron break, and immaculate attention to lyrical nuance elevate it to the heights of his already impressive achievements. This song/record is utterly devastating, oozing with the sense that both youth and maturity are ephemeral and idol worship is ultimately a false flag. Hell, I don't even like the Glow pt. 2, and I think the climax of this record and the piece as a whole are already legendary for indie music listeners. - S

5. Oranssi Pazuzu - Mestarin kynsi (Psychadelic Black Metal)

Oranssi Pazuzu may be my favorite group in this entire list. Their live show is unbelievably stellar, and that's on the backbone of the music they put out beforehand! Each one of these tracks is a different psychedelic trip that leaves one yearning to return to such sensations as strange and lucid. While less technical than some other fronts in this list, the five-piece more than hold their own with their respective parts, and the sounds they create make for some of the best moments of the year. The boys from Finland have already displayed a massive career, and their success is well deserved. Mestarin kynsi is as mature as the group has sounded yet, shooting higher into the cosmic realms than ever before. I never expected it after Värähtelijä, but the group wins again. They also put on one of the best live stream concerts of the year, which was almost as impressive as their actual live show itself. If you still don't stand for the orange bat-god, we pity thee. - A

4. Paysage d'Hiver - Im Wald (Atmospheric Black Metal/Ambient)

At this point, atmospheric black metal and the asinine details of the self-serious "wvnter" aesthetic are a joke within themselves. On his first proper full length, Im Wald, Paysage d'Hiver somehow embodies every aspect of the meme, amplifies the kitschiness, and delivers a classic black metal record all in the same breath. The shrieks are kvlter, the drums are fvster, the tremolo guitars are more aggrvssive, the sounds more lvyered and the whole record sounds like it was rvcorded in a tin can with the mic in the other room. Despite all these traditionally "negative" qualities, mastermind Wintherr uses them to transcend the trappings of the genre and finish what Varg started all those years ago. Im Wald is the final form, the super Saiyan blue of atmospheric black metal. At its core, the record is just executed masterfully, with attention to songcraft only a mad Swedish wizard could muster after 20+ years of experiments. The name literally translates to "in the forest," and I couldn't ask for a better encapsulation of one of modern black metal's strongest (and heavily memetic) outings. - S

3. Protest The Hero - Palimpsest (Progressive Melodic Metalcore)

Well, here it is. I finally submit. After deep thought (and pondering on the opinions of other credited academics on the subject), I'm glad to welcome Palimpsest onto our list with "All Hands." With the ability to shift dynamically from a beautiful "Soliloquy" to crushing aggression, Protest The Hero slither through their tight songwriting like "Little Snakes" on a "Hillside." While their melodic palate may smell too close to "Gardenias" for some metalheads, their rhythmic foundation is as solid as a "Mountainside," smashing and thumping along like "The Canary" dancing on the wind. "From the Sky" it may seem that this "Harborside" is polluted by these technically useful "Rivet(s)", but like "The Migrant Mother," Palimpsest creates a "Reverie" of the history we forgot, and won't forget again. - A

2. Mare Cognitum/Spectral Lore - Wanderers: Astrology of the Nine (Atmospheric Black Metal/Ambient)

Without question, both Mare Cognitum and Spectral Lore are tour de forces of the niche they occupy, and each brings their all on this collection of ten tracks. Wanderers: Astrology of the Nine, as we have stated before on our podcast, is incredibly demanding. 2 hours of rampageous atmospheric black metal, both one-mans bring their own styles to the tracks they perform, and the contrast is perfect. Ayloss's lo-fi and ambient-heavy songwriting leaves you gasping for breath as the sticky guitar melodies burn their notes into your mind, while Jacob Buczarski's menacing assault is rife with dissonant soundscapes and haunting guitar lines that drive the pummeling rhythm section. If you can handle the runtime and love black metal, this release could be no more perfect. Even after spinning this over and over all year, there is still so much to discover in this dense cosmic masterpiece, both sonically and conceptually. - A


1. Ulcerate - Stare Into Death and Be Still (Technical Death Metal)

Simply put, Stare Into Death and Be Still is a perfect record. 20 years into their career, the New Zealand lords of post/death have crafted a masterpiece that is at once impossibly heavy, dizzyingly technical, slyly hooky, and staggeringly emotional. Angular tremolo riffs wind their way across channels, interplaying between ever-changing off-kilter grooves and mammoth bass gurgles while demonic growls are unleashed repeatedly over a sonic voidscape. Ulcerate's use of dynamics is utterly masterful and not only grounds the individual songs in moments of placidity but lends a surprising ease to the 8-track hour-long runtime. It also helps that the entire record sounds immaculate, both impossibly modern and grounded in old-school warmth. Either way, every song here is untouchable in execution and the band has delivered a record that is timely in a way few works of art are. An album about the impossible weight of being and civilization collapsing in on itself after prolonged struggle and the shocking duality of the following horror and surprising catharsis seems a little too prescient given the pandemic timeframe of its release. If the world is burning, however, I might be fine with it if Stare Into Death and Be Still is the soundtrack to the true end of times. - S


** The only group I can think of similar has an album placed at #34. 
*** Most of these sentiments run the same for the Endless Detainment EP that Serpent Column dropped far earlier in the year


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Jesus Christ, it only took 6 months off procrastination spurred by a June 1st deadline to unleash this beast into the wild. It's been quite a while since most of these albums came out and with half of the country fully vaccinated, it can be easy to forget the dystopian hellscape that was 2020 and how important art is during times of worldly strife. Clearly, this was a strong batch of releases and it's been a pleasure documenting the metal underground and related niches for the past 2 years. 2021 is already shaping up to be amazing music-wise and maybe we can even release its list on time! Either way, keep your eyes peeled for more occasional articles and check out our podcast of varying quality if you haven't yet. In between the mixing issues and inconsistent schedule, I swear it's good! If you made it this far, thanks for reading, and stay safe. Hopefully, the worst is over. - Sam and Adam








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