End of Year List Zess' Best of 2013

[Zeus 7997]

Zess' Best of 2013

You know what this is and you know what I'm about to get into.
 
And in case you don't, at the end of each year some of the staff members who have more music to talk about outside the scope of the staff list start their own list. Here, anything from anywhere can pop up. This is mainly for those adventurous people wondering about potential albums you may have missed, or people that come to see what my personal taste can best be summed up as. And if you didn't come here for either of those reasons, hopefully what I share doesn't bore you to death. Consider this my Christmas present to MH.

And since I'm always experimenting with the most concise way of sharing this information with you all, this year I'm grouping albums by "genre", or as close to genre as they all fit. I'm also going to make a directory so that you can skip straight to the stuff you care about. So, feel free to respond to anything in this topic.

• Day 1: Pop
• Day 2: Jazz
• Day 3: Rap
• Day 4: Rock
• Day 5: Metal (Part 1)
• Day 6: Metal (Part 2)
• Day 7: Metal (Part 3)
• Day 8: Metal (Part 4)

[Zeus 7997]

 

Best of 2013: Pop

 

The World In My Eyes by 歌者森

Here's the contender for Most Overlooked Album of 2013.

I have not yet heard, and I doubt that I will hear, any other female pop artist that nails the EDM x pop craze to this degree. She does it by virtue of meshing the predictable with the unexpected, forging The World In My Eyes into an over the top, distinctly Chinese avant-garde electro pop record. And if that wasn't already enough, she pays just as much attention to the visual aspects of her music, mixing the ethereal with the weird and the macabre.

And if that wasn't enough, SingerSen has what many other unknown pop artists lack: natural talent. She won the attention of top Chinese and American producers by winning a music competition, and this album shows that she put them to work. This album is so great partially because it's a collection of people good at their craft, partially because SingerSen can deliver a knockout performance on every track without having to rely on studio pyrotechnics to make up for what she lacks.

She won my heart with Drunk on the first listen, so I believe there's the chance for her to get really big. I've been waiting all year for some news from her and I hope that in 2014 she'll announce her second studio album. If she can keep up the level of experimentation and musicality that she displayed here, it will be massive.

Songs: Drunk and Cables

The Electric Lady by Janelle Monáe

Janelle Monáe is here to give you what you love. And if what you love happens to be soulful pop with meaningful song content sitting on top of a well-executed artistic vision, you're going to really love this.

The Electric Lady is billed as the second installment of a concept album whose end remains locked inside Monáe's brain, but you don't need to understand the entire concept to dig this album. It's a breath of fresh air blowing over a genre that's long been reduced to vapid, catchy hooks over a 4/4 beat. Monáe herself isn't your typical pop artist. She prefers to wear a tuxedo over more revealing get-ups, sports a wacky hairstyle because she can, sings about instilling humanity in a futuristic society of androids, and even goes as far to describe herself as "robosexual", which is Monáe-speak for "it doesn't matter who I love just enjoy my music".

This year, she singlehandedly put the "music" back in "pop music", and it appears that her endgame is a musical revolution designed to leave everyone both inspired and baffled, and I'm glad that it's happening. It's about time.

Songs: Dance Apocalyptic and Q.U.E.E.N.

魔女図鑑 by 吉澤嘉代子

This mini-album is unapologetically adorable and is so infectiously catchy that it should be used as an industry standard for diagnosing depression.

It took me too long to take Miasma up on her suggestion and take this album for a spin. The minute I did, I was transported to the front seat of a yellow Ferrari in the middle of summer (they still make those, right?), wind blowing in what little hair I have, and Kayoko Yoshizawa at the wheel putting the pedal to the metal. Or in other words, I fell in love at once, and this is how I imagine love and exploration of music to coincide in the crossroads of WHAT IS THIS and I CAN'T EVEN in the recesses of my brain.

There's just something about the way Yoshizawa's sweet vocals mesh with the doo-wop feel and acoustic passages of the music. Majou Zukan has a throwback 50s Beach Boy/Greasers vibe to it is just irresistible, especially since it comes from someone my age! It's absolutely incredible that she was able to cross musical boundaries and envelop someone like me into her world, someone who normally avoids all pop music out of some poorly defined principle. What makes this one of the greatest releases of the year is that her debut material is this good. I'm convinced she's a musical witch who concocts spells to get me moving in my rocking chair whenever this album plays. That won't stop me from looking forward to much more material from her in the upcoming years.

Songs: 未成年の主張 and らりるれりん

空中ランドリー by エリーニョ

eri-nyo is indie even by indie standards. She doesn't have many listeners or shouts on last.fm and in order to stumble across this gem I had to talk to the king of Japanese indie pop himself (that being Aion). I asked him for the pop album of the year that he liked the most, and he responded with this. And I can see why this won him over.

The charm in Kuchu Laundry is it's simplicity. It bounces between textured, upbeat pieces hazy enough to get lost in to stripped down, short acoustic numbers, but the emotion and lyrics are always front and center. Unlike many other albums I find myself liking, Kuchu Laundry doesn't reinvent the wheel. There's nothing new here, just indie pop done well. Sometimes it feels like there's no room in the Japanese indie scene for another female vocalist with breathy vocals playing indie pop. They seem to be of a breed that's a dime a dozen, although if you ask me to name any I don't have any. But there is always space for one more if the music is good, and I welcome eri-nyo to the table of wholesome goodness and calm, midtempo pop for as long as she's willing to stay.

I'm happy that I got the opportunity to listen to this before the end of the year, as both Aion and Ito told me Kuchu Laundry was a wonderful album that I should give a spin. So add me onto that list as well, because this album is fantastic.

Songs: highway and ピクニック

浮き名 by 椎名林檎

The queen of Japanese music is back, and this time she brought an entourage.

Things looked a little dicey when when Tokyo Jihen disbanded and Ringo disappeared from the music scene for a bit. But the righteous Queen eventually revealed that she was not yet done with her solo career, and announced a single and a couple of features with some other artists here and there. It didn't seem like she was planning to do too much too soon, and it was expected that she would take a small break before jumping back into her lucrative solo career. So it's a surprise that Ukina was released, even though what's on it isn't.

Ukina is the compilation of all of the collaborations Shiina has been working on for the past year. From ZAZEN BOYS to SOIL&"PIMP"SESSIONS to TOWA TEI, there's a lot of different styles and a lot of different Shiina on this CD. That's saying something, considering Ringo always brings a lot to the table. None of her solo albums fall into one particular genre. Her work with Tokyo Jihen, while more consistent, incorporated so many styles and influences that the jazz label associated with the band was mostly formality. But Ukina is a different beast entirely, being a part of everything and nothing at once. It is easily the most varied release she's ever stamped her name on.

And even though Shiina takes a backseat in most of these songs, her guiding hand and good sense of judgment is enough to keep Ukina from exploding amid the flurry of unrestrained ideas. It's finally nice to see she's back. And she's still got it.

Songs: 熱愛発覚中 and IT WAS YOU

[greeeeen 49]

Great. Should definitely try SingerSen... I remember sai once said that she liked her stuff (which I believe was through your recommendation) and I know it's 'something' on the account of the challenging effort required to please her. Shiina has also been on my list for a little while and everybody always talks about how marvelous her releases are and everything but I just don't know where to start.

 

Looking forward to another genres.

[Peace Heavy mk II 7200]

I don't see why the internet is in love with Janelle Monáe. I saw her open for No Doubt 5 years ago and thought she was awful.

[Shmilly 519]

Wow, SingerSen has a really powerful voice and an impressive vocal range. I'm definitely going to give her album a listen. Asura really caught my interest. This is coming from someone who rarely listens to anything resembling pop. I agree, one to watch.

[fitear1590 2414]

I don't see why the internet is in love with Janelle Monáe. I saw her open for No Doubt 5 years ago and thought she was awful.

Either she had a totally off-performance or her music just isn't your type at all.  IMO, Janelle Monae is one of the FEW artists that deserves the hype.  Although she seems to have gained a bit more popularity with this album, I still think she's a bit underrated (or "rated" for the wrong songs, at least).

She's one of the only American musicians I can think of right now that combines grandiose eccentricity with mainstream accessibility.  Even though their musical styles are totally different, I think her approach is comparable to Shiina Ringo.

PS: Zess, how did you like this album compared to The Archandroid? Overall, I still prefer that one I think.  Dance or Die -> Faster -> Locked Inside is such a great way to start an album!

[Jigsaw9 6783]

Kewl to see Janelle Monáe on the list, I always feel she is severely underrated (or maybe just on the sites I frequent, or over here in Hungary).

[Guest Magatsu]

female pop and I don't know any of them.

 

Maybe I gonna try them out later...

 

But I doubt so, I'm not that big fan of female pop voice...

[Zeus 7997]

PS: Zess, how did you like this album compared to The Archandroid? Overall, I still prefer that one I think.  Dance or Die -> Faster -> Locked Inside is such a great way to start an album!

So far I've listened to the second more than the first, so that's naturally what I prefer. I'll need more time to digest both before I came up with a definite favorite.

Also, thanks for all the feedback so far guys!

[Zeus 7997]

Best of 2013: Jazz

jizue - Journal

Journal is unlike many other jazz and post-rock albums in that it is not demanding. It's a straightforward album with an almost intuitive progression. For as much as jizue engrosses themselves within jazz experimentation, the album uses very standard and predictable post-rock structures. This predictability is the album's greatest strength, and the secret lies within the name. jizue constructs music like a writer does thoughts into a journal, recording them as they come with minimal reorganization of them later. Thus, the music they craft feels so natural that it takes on a life of it's own.

Journal caught me by surprise on first listen because of this. Each song has a concept that it develops from organically and the entire album progresses in this fashion. The dynamics may swell and fade, but at no point does the album lose its sense of direction. jizue nails their style of jazz mixed with post-rock so well that each song from beginning to end is an engrossing love affair of guitars, drums, and piano. This is definitely one of my top favorite albums of this year.

Songs: 5 and clock

ジルデコ5 by JiLL-Decoy Association

Jill-Decoy association has been trying to bridge the gap between jazz fusion and pop for over a century now, with mixed results. This has left JDA stuck in a niche of catering to those that love jazz with pop sensibilities. Until now.

Opener じゃあね、ダーリン sets the tone for the rest of the album perfectly. There hasn't been an opening track since the flop that was ジルデコ2 that starts an album on anything other than a jazz number, but unlike their previous attempt they don't shed their roots. Jill-decoy association has learned to let their influences shape, not dominate their tracks, and in the process have learned how to best incorporate multiple styles. There are bits of everything they've ever done in ジルデコ5, from the acoustic guitars from the lovely e.p. to the jazzy pop style they first cultivated in 2002. But don't be mistaken! There are plenty of tracks where the slower pace and Chihiro's soaring vocals indicate that this is a jazz album at heart. ジルデコ5 is just a much more inviting and digestable work than their previous efforts.

Songs: シングルマザー A GO GO!! and パパのベイビー

CIRCLES by SOIL&"PIMP" SESSIONS

Don't ask me what death jazz is. I don't know and when I hear it I can't tell the difference, but if you were to ask S&P what genre of music they played that would be the answer you get back. It's not like that helps you too much, since you should throw out all notions of what to expect before putting CIRCLES on.

CIRCLES has a constant current of jazz bubbling under the surface, but what's going to catch your attention first are all the other influences you'll find here. This album bounces back and forth between genres like a ping-pong ball due to all of the collaborations. Some work how you expect, some work better than you expect, and some may not appeal to your tastes as a listener. For me, the experimentation was overall a success. I really enjoyed tracks like Bon Bon Villa or 殺し屋危機一髪, where the collaborators played to each other's strengths. Then again, I also like Iceburn, which is the most polarizing and ambitious attempt on this record and the mash-up of EDM and jazz works better than expected.

Your mileage with CIRCLES will vary depending both on how much diversity is too much diversity for you, and how much you like the artists S&P chose to work with.

2013 seems to be the year of collaboration in Japan, because not one but two albums featuring artists venturing outside their comfort zones managed to catch my attention! How interesting...

Songs: 殺し屋危機一髪 and ジャズィ・カンヴァセイション

steal a person's heart by EGO-WRAPPIN'

I have never been the biggest EGO-WRAPPIN' fan. They have a very insular tint to their laid-back pop jazz sensibilities, which requires me to be in the mood for precisely what they offer. And because of this, EGO-WRAPPIN' songs have the tendency to blur together as I listen to them, with two exceptions. One is one of my favorite jazz albums of all time (EGO-WRAPPIN' AND THE GOSSIP OF JAXX). The other is this.

It was a slow process to steal my heart. This album is only marginally more upbeat than their typical work. What happened here to change my opinion of them was that they've suddenly become much more musically approachable. More importantly, the tracks are all consistently engaging. There are still the slow burning numbers that are EGO-WRAPPIN's bread and butter, but there are more of the lively, layered numbers with brass and acoustic flourishes appearing right where they need to be. It may be one of the most challenging albums of the year to dissect, but if given enough time it will steal your heart too.

Songs: 女根の月 and 水中の光(Live)

[nekkichi 6042]

singersen's videos r very cute, but her music sounds like a dubstep remix of any

when she's not copying utada/yoko kanno (cough-cough, cables)

 

(& I was basically lurking here for new work playlist jams. maybe those 2 rihanna albums next year, idk)

[Zeus 7997]

If you're reading this post right now, you'll notice how much faster the topic just loaded. That's my fault because I should have anticipated what trying to load 40 YouTube videos would do to a topic ahead of time. I've put all the videos into spoilers, so click on the spoilers to uncover a video for any artist on the list. ^_____^

[D.L.S 11]

I love singersen!! I remember her being in cat's best of 2012 and I was hooked instantly. 

[Zeus 7997]

Best of 2013: Rap

Run the Jewels by Run the Jewels

El-P is a monster with these beats.

Run the Jewels is a group comprised of Killer Mike and El-P, underground rappers who are no stranger to each other or to the stereotype that rap has. That's why they make it their mission in life to produce honest, earnest rap about whatever they damn well feel like. Artists with mutual interests tend to hook up and collaborate, but rarely does the sum exceed its parts.

But here it does. Run the Jewels is a ten track album with some of the most bumping beats I've ever heard El-P record, and the two emcees take turns destroying said beats with their complimentary rapping styles. Imagine taking one part braggadocio, two equal parts lyrical skill, throw some Big Boi at the end of a track, and then sprinkle in themes of paranoia, distrust, wealth, street life, and racism. Then shake it up in a blender and offer it to your friends for free, because this is what Run the Jewels is in a nutshell.

Songs: 36'' Chain and Sea Legs

Doris by Earl Sweatshirt

While Tyler, the Creator and OFWGKTA have devolved into the butt of many jokes, losing much of their hype and fanbase after they've quit rapping about murder, rape, and coke, Earl Sweatshirt finds himself poised to be the sole exception to the group's eventual fate.

It's obvious that the rapper is transitioning from who he once was to who he wants to be as a rapper, and the dark, grimy beats of opener Pre is the first - and most immediate - acknowledgement of this. He's shifted from the first person narratives of psychotic, antisocial behavior to multisyllabic tongue twister commentary on the world around him, the curveballs life has thrown him so far, and even reflections on those deep, dark feelings we like to pretend we don't have. And Doris is all the better for it, because it uses emotion as it's main tool instead of relying on shock value and word play for longevity.

That must be why I've been spinning this album non-stop all year.

Songs: Whoa and Hive

BetterOffDEAD by Flatbush ZOMBiES

BetterOFFDEAD won't jive with many people here because it's a product of the culture it describes, and I'm fully aware of that. But if you're able to put aside the wrapping the album comes in and dive in, you'll enter the audio equivalent of a world many people never have to step into.

This isn't typical trap rap, even if the beats sound similar to something you've vaguely heard before but tuned out. The haunting, atmospheric production was done to perfection and bring to mind dark alleys in seedy neighborhoods, which goes with the nature of the group so well. The varied flow of the three emcees see them bouncing from topics, some serious, some not, but the moments of lyrical sobriety where they discuss nihilism, religion, or inequality showcases how stunning their wordplay can be.

Perhaps you have to be familiar with their struggles to see the brilliance underneath the death threats and constant drug references. And if you're of the mind that all rap is about men talking about imaginary mansions they don't have, imaginary women they haven't met, and drugs that control them instead of vice versa...well, you might find that. BetterOFFDEAD works because it discusses these topics from a new angle with an attitude missing from the standard rappers who cover the same topics with less finesse.

Songs: Death and Bliss

[Jigsaw9 6783]

Really liked Earl's album too, a nice and consistently quality sound.

[Zeus 7997]

Best of 2013: Rock

フルコースは逆さから by LIPHLICH

Once in a while, a visual kei band will catch my eye with a unique concept and stylish execution. LIPHLICH has officially become one of those bands. They've been on my radar since 2011, but I was never too big on their subdued visual image and funhouse circus themed rock. フルコースは逆さから turned that around and is the album that catapults the band to the position of premier art-rock visual kei band. It is everything a second album should be. I would say they "stuck to their guns" on this release, but this band never had a consistent style they pull influences from. There's just lots of ideas, lots of influences, and many different styles and interpretations of styles that the band can both draw me in and still manage to stay mysterious with their concept and overall band image. This is the underdog visual kei album of the year.

Songs: Ms. Luminous and MANIC PIXIE

All Of Them Witches by Hedvig Mollestad Trio

Toeing the line between raucous psychedelic freakouts and intricate jazz fusion with doom metal and stoner rock influences, All Of Them Witches finds itself silently creeping onto my favorites. From the monstrous double bass to the adroit drum work and Mollestad's insane riffs, constantly changing tone and time signature, All Of Them Witches paints ten very different, distinct pictures with just guitar, bass, and a simple drum kit. No lyrics are necessary for this trip.

If there's one thing I've learned about trios from Boris, it's that they're capable of ridiculous feats far larger than their ranks would suggest. The sound that Hedvig alone can carve into the sonic scape with just her guitar is immense. Add in the other two members who pull their own weight, and Hedvig Mollestad Trio proves that the rule of thumb stands even outside of Japan. All Of Them Witches is a true sophomore effort that channels the essence of the band, while progressing in every aspect possible.

Songs: Indian Driving and The Rex (live)

人間 by 385

This is one of those records that are just so annoying, it's hard to see what's good in it until it grows on you like a fungus. In terms of sound, this band is one of the closest to reaching the style 88 Kasyo champion. Functioning as much more than their shadow, 人間 is a far more raw, gritty effort featuring a vocalist that can't sing and a bass guitar that cuts through the songs like a knife. The songs themselves feel unrefined and unfinished, as the tone of the guitar or the throaty yells of vocalist Miya lend themselves to the psychotic, unrestrained atmosphere. 人間 toes the line between genius and irritation and will keep you on your toes and have you wondering what you find interesting about the music and why you continue to listen.

Songs: 恋がわからない and 物欲ソサイエティー

0088 by 八十八ヶ所巡礼

88 Kasyo Junrei is a very eccentric band. The music they play tends to be a frantic, psychedelic, experimental cocktail of creative rock music, but it has the effect of sedating and hypnotizing the listener. Their album titles are strange and often feature non-conventional symbols for the hell of it. 0088 begins with a bang and ends with a bang, but the beginning and the end is completely arbitrary within the context of the larger work. The music is built on the same formula they've been using since day one, but for as much as everything sounds each song retains it's own identity and character. 0088 goes so far away from what's considered even conventional rock music that it enters into it's own realm of musical sounding noise, and becomes impossible to truly describe outside of "this is 88 Kasyo".

Songs: PALAMA・JIPANG and 霊界ヌ〜ボ〜♨

Fetch by Melt-Banana

Fetch isn't about the music; it's about the experience (much like how you probably don't want to be strapped to the top of a speeding car but the adrenaline rush is undeniable). It's pure energy pressed to disc and the production is acceptably lo-fi, which adds to the overall craziness Melt-Banana embodies. There is a definite improvement over Cell-Scape and Bambi's Dilemma here in that the songs fit together very well. Short songs and long songs work well together and the pace doesn't stop right up until the end, where it slows down just enough to speed right back up and end the album with a bang. On multiple listens, once you peel back the layers, you'll come to have an appreciation for how well the noise is integrated into the music. It's simple but complex at the same time.

Fetch isn't an easy album to listen to. It disregards a lot of what people have come to expect from their musical experience. It blends noise and music in a way that makes you either like it or hate it. There is no middle ground. If you don't mind high-pitched female vocals, evolving song structures and a lot of experimentation, Fetch may find a place in your heart. Stick with the title track Candy Gun, which serves as a composite for the entire album. If you like it, you'll like Fetch. If you don't, you won't.

Songs: candy gun and zero

Kveikur by Sigur Rós

Kveikur is one of those moments when a band rises from the ashes and successfully redefines themselves after reaching a musical dead end. If there was any doubt to the legitimacy of future efforts by this band, Kveikur has put them to rest. This is proof that no matter how long a band has been around, there's always something new to try. This is Sigur Ros' darkest, eeriest album yet, showing us a side of the band they've suppressed for quite some time. There's still enough of the angelic choruses and lyrics in fairy tale language for those that prefer the lighter, more traditional post-rock angle, but it's punctuated by turbulent, heavy songs that straddles the line between post-rock and post-metal. Describing them may be difficult, but there's no need when the music so effortlessly clicks with the listener. If you're a fan of post-rock and don't mind vocals being used as another instrument, Kveikur may be the album you're looking to lose yourself in.

Songs: Brennisteinn and Stormur

[Bear 1817]

What, no Ghostface Killah or Czarface?

[Zeus 7997]

What, no Ghostface Killah or Czarface?

 

Nope. I was going to include 12 Reasons To Die, but I wasn't inspired when I sat down to write about it. It's a good album, but not something I can get into. And there's no Czarface because I've never listened to Czarface before.

[Jigsaw9 6783]

Might check out that Hedvig Mollestad Trio album, I liked that song you played on plug.dj the other day.  (if it was you, I'm not sure now xD)

[Zeus 7997]

Best of 2013: Rock/Metal (Part 1)

Sunbather by Deafheaven

A black metal album with an electric pink cover just screams to expect the unexpected. And you should.

Sunbather is optimistic-sounding black metal, if such a thing can even exist. There are lyrics and vocal work on this album, but unless you have lyrics to accompany the songs they're nigh unintelligible. The way the music undulates over the 60 minute runtime of Sunbather is the main attraction, as Deafheaven have managed to take black metal and personalize it. Songs deftly move from dark foreboding to explosive passages of shrill shrieks and loud precussion and then back again. There are also short passages between the long songs that serve to give the user a break and reset the pace and atmosphere for the next song. Let's also mention the guitars, which features tremolo picking layered under highly distorted guitar solos which have an uplifting, purifying effect on the music. Sunbather does not envelop the listener in it's journey. The music gives the listener the impression of space, as if you're watching the music unfold before you. The cinematic and highly emotional approach Deafheaven took to this album makes it an intriguing listen and one of the greater metal efforts of the year.

Songs: Sunbather and Dream House

heaven in her arms x COHOL - 刻光

This is the one and only split-CD release that grabbed my attention enough to earn a spot on this list. Comprised of two excellent bands that have yet to gain enough momentum to break out of the indie circuit, heaven in her arms and COHOL together have released a very unsettling record. 刻光 is the sonic equivalent of an accidental stroll into the abyss. heaven in her arms leads the way with sparse, sprawling post-rock numbers with the occasional vocals and then halfway through explodes with rage that then follows with COHOL's fury, which doesn't end until the CD does. The two bands have found a way to rectify their disjoint styles and approaches to music into a coherent package that accentuates the strengths of both bands. There's no easy way to determine which band had a more solid performance on this record. In fact, without each other I would say that the two halves wouldn't have been as impactful as the whole. If you're a fan of post-rock or black metal, don't pass this up.

Songs: 終焉の眩しさ (heaven in her arms) and Depressive (live) (COHOL)

Paranoid Personality by D.I.D.

Member similarities and all, Para:noir and D.I.D. are two different beasts entirely. No matter what I can't compare them: Para:noir had a more solid concept, but D.I.D. excels better in overall execution, appearances, production quality, and skill. And after some comparisons of many of the tracks, I must say that D.I.D. covers Para:noir better than Para:noir. So treating Paranoid Personality like the album that it should have been, this is pretty beastly. I prefer all of the re-recordings to the originals and even the new track keeps up the standard for what I consider good from D.I.D. Other than that, there's not much to say because there isn't much new here. They took good songs and made them better.

I overlooked them for a long time but as far as new visual kei bands go, D.I.D. isn't too bad. They do the whole techno bleep-bloop thing better than expected.

Songs: Paranoid Personality and nihilism.

VILAGVEGE by Rorcal

If I had to pick a soundtrack for the apocalypse, this would be it. Or perhaps not so coincidentally, Világvége itself is Hungarian for "end of the world". So I'm not exactly spoiling the surprise for you when I describe this record as a behemoth of lo-fi sludge and doom metal. It's an unholy purée of all things that ruin even the disposition of the bubbliest metal fan, and at over an hour long it's a trek to sit through. The album cycles through different stylizations of negativity, emerging from the drone-laden atmosphere of the first two tracks into some post-hardcore numbers, which are brisker but no less depressing. It's a vapid, neurotic, and very violent album whose sole purpose in creation was to embody pain in musical form. What tops it off as an album to look into is the feeling of catharsis at the winding down of the last track, where the album leaves the listener fading out on a single note, drilling home the concept of "the end of the end". For fans of any of the aforementioned genres, this is an essential entry for your music collection.

Songs: VII and V

The Purging by Terra Tenebrosa

And then there's Terra Tenebrosa, whose approach to post-metal with a psychotic, eerie twist has set them apart from every other band in the scene. This is mostly due to their immersive approach to creating music, which comes across when it's played back and makes all the difference. In the right settings and under the influence of the correct substances, this record is truly terrifying. Everything that I loved about Terra Tenebrosa's first album is here, but they've added more spice to their music to propel this album past being just a rehash of The Tunnels. The suffocating atmosphere reflecting the psyche of an insane killer is complimented by the songwriting, which takes more risks and have become a few notches more complex. The delicate mix of all the elements that comprise Terra Tenebrosa's twisted world, which include layered inhuman vocals, haunting guitar tone, and an always shifting musical apex was deconstructed and reformed for The Purging. Their music still projects into my mind dark, dirty torture rooms, never ending underground tunnels, and cannibals who want to chop you up and use you for soup. The Purging shows another side to the twisted void that is Terra Tenebrosa, but no amount of metaphors can do justice to the truly dark trip that awaits within the grooves of this disc.

Songs: The Purging and At The Foot Of The Tree

[bonsaijodelfisch 328]

ok, grabbing actually everything from that metal-list as the samples sound awesome (totally forgot about Heaven inherarms, stupid me...)
/EDIT: save for terra now after second listen. this type of music certainly needs a real drummer. or if you by all means HAVE to utilise a drumsampler please don't use the very first factory preset of one of the most widely spread drumsamplers. that not only sounds crap, but also shows a bit of a lack of passion for your product which leaves a bitter aftertaste....

and probably the majority of the rest too

thanks a ton zess, it's nice to know i can count on you when i'm running out of new music
(btw some of those albums are for free on the artists pages or on their bandcamps, for anybody who's looking for them...)

[Augie1995 325]

I've heard many things about that Deafhaven album, I think I might have to give it a try

[Bear 1817]

You should check out their debut, Roads to Judah, instead/first IMO. Better songs, better production, better vocals and no annoying fillers.

[Jigsaw9 6783]

Oh dang, I downloaded that Terra Tenebrosa album ages ago (I guess when you mentioned it in the chat, Zess xD) but still haven't listened. D: Other stuff on the list are not really my cup of tea (except for D.I.D, didn't expect to see them listed btw; cool!) but looking forward to reading part 2.

[Zeus 7997]

2013: Rock/Metal (Part 2)

Sky Burial by Inter Arma

Sky Burial is the soundtrack to your death. Or more aptly, it's the soundtrack to your trip through the underworld.

I've never heard of Inter Arma before casually reading a review early on in the year. While the writing itself was verbose, claiming this band to be "sludge metal titans" and releasing "the album of the year", it wasn't far off. From jump, Sky Burial is an engrossing mixture of sludge and black metal that starts by pushing your head into the filth and then driving it down deeper. Moments like the opener The Survival Fires and single 'sblood have you wondering how a band can say so consistently heavy for so long. But for as much darkness and despair as the band channels throughout the runtime of this album, there are also moments of tranquility and beautiful instrumentation. Some may view these tracks as filler, but I believe they're perfectly necessary and add touches of variety to an album that would otherwise be consumed by it's own negativity. Sky Burial comes together as a reflection of what makes death so scary, so sublime, and so beautiful.

Songs: 'sblood and The Long Road Home

Blood Becomes Fire by BEASTWARS

I grabbed BEASTWAR's newest LP on a whim. It was offered for free on their Bandcamp and if anyone knows the Zess, it's that I love free music from Bandcamp! I was expecting something a bit more brutal and unrelenting judging from the album cover, but what I got was a solid slab of stoner metal. This was the album that I didn't know I needed in my life. Blood Becomes Fire is a love letter to the 70s, which is completely obvious from the approach of the vocalist to the psychedelic images and stylization of the PV. The selling point of Blood Becomes Fire is how it doesn't become tedious to listen to near the end. There is the perfect amount of riffs, meaty bass, rough vocals, and more riffs for any fans of stoner metal or the old school rock sound. Great stuff!

Songs: Dune and Tower of Skulls

Defeat of Civilization by Framtid

If you're looking for d-beat, look no farther than Framtid, the kings of d-beat themselves. Japanese or not, very few bands can reach the level these crust titans have carved for themselves. I was first introduced to Framtid on the Chainsawsplit-04 that they did with Disclose back in the day. While Disclose focused on noise and chaos, Framtid's approach is much more aggressive. In fact, their take on crust is so top notch that they can take a few years off, come back with a new vinyl release and still obliterate your world. It may not be very long but damn is every second of it good.

Songs: Nuclear Power Genocide and Will The World Change

Memorial by Russian Circles

I've come to expect a living, breathing brand of post-metal from Russian Circles. They're the kind of band that can move between slow, soft-rock passages to ridiculous heaviness in the blink of an eye, and the shift in dynamics always feels natural. Hell, the songs themselves tend to evolve over the runtime, focusing on repetition but never repeating the exact same passage twice. But here on Memorial, we get the darkest album from the Chicago trio yet. And if I've imprinted any doubt into your mind so far, introductory track Memoriam into opener Deficit proves my second sentence right. Memorial is a dark creature summoned from the abyss which can only be subdued by the vocals of Chelsea Wolfe, which is simultaneously a first for the band, an overall success, and is the most apt way to close an album this immense. After every album, I'm left wondering what ground is left untrodden by Russian Circles, and each and every year I'm proven wrong. No matter the progression, there's something distinctly Russian Circles about each and every song they stamp their name too. If you weren't following this band before, get on it!

Songs: Memorial and Burial