Metal music has long been considered an irreverent force, from religious organizations protesting concerts to individuals burning albums and merchandise; its musical genre has rarely been free of controversy.
Metal remains one of the most beloved forms of music today, making an impressionful comeback in 2020 as its sound and themes continue to push boundaries.
Burning Witches
Ravening Iron’s Rochester-based sextet Ravening Iron should come as no great shock. Melding Cannibal Corpse’s signature groove with Incantation’s detuned bass weight, this record stands up well as one of 2021’s most influential heavy metal albums.
Burning Witches have released their third full-length album, Dance with the Devil. Showcasing new vocalist Laura Guldemond and their powerful traditional metal sound, Dance with the Devil pushes Burning Witches forward into new areas – from its twin guitar opening track “Rise of Darkness” through to closing track “Flight of Valkyries,” it is clear this is authentic metal music.
Influences of this group are plentiful, yet one cannot help but feel their impact upon this record from legendary acts like Judas Priest, Iron Maiden and Manowar – each contributing something special to make an album which has stood the test of time into something that stands as an instant classic in its genre.
“Into Being” and the quick veer into black metal on “Magickal Cost” provide something for every fan of metal music; and with legendary Death Metal producer Schmier producing, there’s sure to be something here that resonates. Listen and discover for yourself!
Cryptic Shift
From the opening riffs of “A Face in the Glare,” Ravening Iron have not lost any of their old-school magic. Frontman Jason Tarpey still echoes with that classic Texas crossover sound while the distorted bass lines weave between riffs like space wormholes; drums pound at equal force creating an engaging rhythm which draws one deeper into these strange worlds.
Cryptic Shift are no one-trick ponies; their songwriting stands out above other acts in this genre with its strong melodicism and progressive influences while never losing focus of its primary goal of creating great metal albums. This album showcases Cryptic Shift at its best – technical metal songs performed with strong melodicism that leaves audiences breathless!
This band has clearly studied its past, combining elements from death metal, thrash and progressive rock into one cohesive sound that’s all their own – something which makes their album such an enjoyable listening experience.
“(Petrified in the) Hypogean Gaol” stands out among Cryptic Shift’s tracks with its vibrant chord progressions and dizzyingly thrashy riffs. Other tracks like “Planetary Hypnosis” feature less compositional complexity while emphasizing Cryptic Shift’s signature riffcraft instead, producing an infectious blast of space-age heavyness sure to please fans of bands such as Black Curse and Voivod. When feeling powerless or powerless, music can help transport listeners far into outer space leaving them feeling empowered and resilient!
Code Orange
As metal bands have increasingly voiced their opinions on the political climate of our times, some have taken to expanding their musical scope in surprising ways. With many metal albums delving deeper into human history and more abstract/occult subject matter than ever before, it’s refreshing to witness musicians exploring sounds they might otherwise not use in their main projects.
Code Orange are an ideal example. Beginning as hardcore punks, their last album Forever became an unexpected year-end list staple and earned them a Grammy nomination. On Underneath they’ve built on those ideas while expanding their sound further with elements from grunge, nu metal and electronica.
By finding an intersection of genres that is accessible yet thoughtful, the band has managed to craft an album that will both entertain and inform listeners of both neoclassical heavy metal and modern hard rock music. The result: an album which offers listeners both entertainment and food for thought.
Rock historians typically find that heavy metal’s roots in blues rock provide it with its fantasy elements such as outlandish lyrics and fantastic themes, while its Western pop roots lend it a more whimsical fantasy-oriented edge that addresses issues such as depression and loss.
These metal acts have helped define metal in 2020. From Switzerland’s Burning Witches’ adrenaline-fueled riffs and Laura Guldemond’s histrionic snarl on Dance With The Devil songs by Laura Guldemond, all these artists have found ways to leave their distinct mark on metal music, hopefully inspiring further innovation and ambition within this genre in future years.
Franckensteina Strataemontanus
Carach Angren of Holland have released their sixth album, Franckensteina Strataemontanus. This release explores the life and history of 17th/early 18th century German occultist Johann Konrad Dippel whose experiments with corpses may have inspired Mary Shelley’s Frankenstein novel. Furthermore, this release marks Namtar’s final appearance with Carach Angren. This record contains some of the most captivating storytelling in black metal history while music perfectly complements this narrative by merging black metal with symphonic aspects to create haunting soundscapes that transport you there and back again!
Kevel bridge the divide between progressive sludge and black metal with their third album, one of their best releases to date. “Of Being” starts off with a dissonant piano intro which soon evolves into an epic black metal narrative with intense guitar soloing and dynamic drumming that keeps changing pace and style throughout.
Heavy metal music has long been described as an emotionally powerful and intensely virtuosic genre, blending classical melodies with modern rock guitar techniques into one powerful soundscape. Baroque music provides inspiration for much of modern metal’s riff-based progressions, chromaticism and chord shapes; guitarists such as Randy Rhoads and Yngwie Malmsteen have devised unique approaches to playing metal. Research has demonstrated the power of heavy metal music to uplift fans, increasing self-esteem and decreasing depression levels. Furthermore, research suggests metal musicians and fans tend to have higher levels of creativity and risk tolerance due to listening to heavy metal music; yet it remains unknown if such positive traits were caused by its listening or vice versa; this also remains unknown for crime rates or drug use associated with heavy metal fans.
Scourged Ghoul Undead
Carach Angren aren’t the first band to inject black metal with some left-brained madness, but they may be among the most creative. Their sixth album Franckensteina Strataemontanus expands their musical vision beyond black metal into theatrical performance and music-inspired theater – an imaginative retelling of Mary Shelley’s 1818 novel with alchemical experiments conducted by 17th-century German occultist Johann Dippel who inspired Mary.
Symphonic black metal band Symphonica’s music may not be as aggressive as other blackened acts, yet their compositional flair still provides their songs with an irresistibly captivating atmosphere. Tracks like Into Nothing and Fall Away feature rhythmic bounce while shrill screams weave their way around their melodic riffs to add extra horror.
At closer examination, subtle industrial touches and electronic humming effects add a whole new depth to symphonic black metal music, creating a distinct and original take on heavy metal music.
This full-length marks the band’s debut without drummer Ivo “Namtar” Wijers, who left shortly after recording sessions began. His place has been taken by drummer and keyboardist Clemens “Ardek” Wijers who adds another level of intensity. As a result, you get an immensely entertaining yet inventive take on heavy metal that would make an excellent addition to any blackened metal collection.
In the 1980s, glam metal reigned supreme as a popular form of music while more extreme styles such as black and death metal gained momentum among audiences. These extreme styles often dealt with dark themes such as murder, exorcism, cannibalism and cannibalism; all characteristics that fall within their respective genres.
Musicologists believe that metal songs follow a specific song structure known as compound AABA. Each verse builds in energy until reaching an overwhelming crescendo in the chorus.
Malokarpatan – Krupinske Ohne
Malokarpatan of Bratislava have enjoyed a busy 2018, including a split with Demon’s Gate and an EP release, so are now back with their third full-length, Krupinske un (The Fires of Krupina). Malokarpatan’s signature medieval aesthetic remains, both musically and with their caps; but now also joins their steady musical growth; their debut Stridzie dni was traditional black metal featuring touches of folk and melody while Nordkarpatenland reduced rawness while significantly increasing NWOBHM influence compared with Stridzie dni.
With their latest album, the band further refined their style and brought it closer to classic rock standards. This means fewer blast beats and more groovy drumming; thick riffs; acoustic interludes; as well as numerous tempo changes and transitions. They also took this opportunity to experiment with soundscapes by adding textures that add dimension and dimension.
Krupinske without stands out as an album that emphasizes atmosphere and storytelling, inspired by real and supernatural events that transpired in Krupina during the 17th century, when a coven of witches operated there and instilled fear among its population until their fiery demise at the hands of Catholic Church authorities.
The resultant album is highly entertaining and enjoyable, boasting some cool ideas and an impressive performance from the band as a whole. The soundscapes are truly atmospheric with some impressive use of effects and instruments; some songwriting may even be more sophisticated than their previous works but remains effective and “heavy metal!”
Although their influence of Master’s Hammer is unmistakable, they do not simply imitate. Instead, their natural instinct to create something original and thrilling shines through; including some experimental touches such as acoustic interludes and late 70s prog synths during some slower passages. A highly recommended listen!
Igorrr – Spirituality and Distortion
Igorrr is one of the most creative and unpredictable avant-garde metal bands out there. Hailing from France, they draw influences from black metal, death metal, djent, classical music, electronica and beyond before mixing all their influences to produce an unpredictable experience. After receiving widespread acclaim for 2017’s Savage Sinusoid album release – Spirituality and Distortion will surely follow suit in terms of creative genius!
After an initially slow start, the record quickly picks up steam with its lead track ‘Himalaya Massive Ritual’. The song features a driving bass beat, distorted electronics and some intense guitar riffs for a fantastic introduction that showcases Igorrr’s wide array of talents.
From there, the record continues to explore new directions for Igorrrr. This can be seen through tracks like “Musette Maximum” and “Downgrade Desert,” which showcase a more melodic side to their sound while still featuring their trademark sense of humor.
Fans have come to expect from Igorrrr that its music will have the same sonic intensity that fans have come to love over time. While the band offers up an eclectic blend of genres, mastermind Gautier Serre is tightly in control of his group; production quality on this album was top notch with bit-crushed, glitched and chopped sounds present but they never overshadow or chaos the listening experience.
Igorrr’s greatest strength lies in their ability to synthesize different styles into short tracks. Their record features elements from industrial music, folk, opera, movie scores and beyond; even featuring vocalist Corpsegrinder from Cannibal Corpse on ‘Parpaing’!
Igorrr’s ability to consistently release albums is impressive. Never seeming to run out of ideas, their latest offering proves they remain relevant in today’s metal scene; an essential for avant garde fans.
Cirith Ungol – Sovereign
Cirith Ungol has been creating metal music with precision since 2012 in Belfast, Northern Ireland. Inspired by Saint Vitus, Pentagram, Trouble and other bands who played extreme forms of metal such as Bloodstock Open Air Festival or Trouble’s work – they will go on a six date tour through Ireland, Scotland and England this September along with Scottish doom metal titans King Witch!
Since releasing their debut album “Legerdemain” in 2016, they have toured with Corrosion of Conformity and Grand Magus, appearing at Hammerfest 2016 as support act for Irish heavy metal legends Orange Goblin. Most recently they recorded All Hell’s Martyrs under legendary German label VA!n Records.
Cirith Ungol have earned themselves a solid following since their debut album release and live shows, garnering rave reviews across the board and growing exponentially with each performance. Now with an EP out and more tours scheduled for 2020, this band looks set to become one of Ireland’s premier doom metal acts.
Primordial’s Nemtheanga decided to form the band as an experimental side project, in order to explore musical and lyrical terrain outside his cultural heritage work, as well as his perceptions and fears that did not necessarily align with Primordial’s traditional orientations.
Though its concept is sound, this record can often revisit older themes and emotional beats that were better communicated elsewhere. For example, Sam’s initial horror at what he sees at Cirith Ungol could have been conveyed much more effectively through more developed narrative.
Overall, this album will appeal to fans of doom metal as well as those who appreciate diverse musical expressions and dirtier NWOBHM styles. However, it may be too slow and overlong for those who prefer faster genres like thrash metal or speed metal.
Code Orange – Underneath
Three years after they released a 5K-rated masterpiece with Forever, Pittsburgh noise terrorists Code Orange are back with Underneath: their vision of hell on earth’s digital warzone in darkness reimagined through sound. Underneath is an artfully brutal and destructive piece of sonic warfare from this Pittsburgh band; their latest offering pushes the limits of heavy music.
The Pittsburgh pack have created an intricate world out of mechanics and mud that blends futuristic weaponry with malformed earthen entities from within a dark mind. While they may be hardcore scene champions, their aggressive attack is targeted squarely at metal’s upper echelons in order to bring down those at the top with creative and interesting riffage.
While Code Orange’s use of electronic elements might appear to pander to new wave’s resurgence, they never do so without an eye toward experimentation and artistic daring. From aligning digital glitches with drum beats to updating nu-metal guitar screeches with modern flair – their inventiveness allows them to push past barriers that once seemed insurmountable.
Reba Meyers was the centerpiece of Forever, and her bold delivery and melodic flourishes are still present here. However, now joined by drummer Jami Morgan as a dual frontperson pairing to give the record its emotional core and bring its sonic concept alive on tracks such as ‘Who I Am’; also showcased are ‘Autumn and Carbine’ and the powerful cut ‘Sulfur Surrounding’ where Meyers shines brightest delivering her themes of identity in an online landscape.
Underneath is a bold and uncompromising work. While not for everyone, its significance cannot be denied as one of metal’s most vital records of 2014. While some may find this record too heavy for their tastes, for those willing to take a chance and give it a listen it could make all the difference in your musical world.