Last Rites spent a lot of time as a crew digging deep into the roots, branches and seedlings of prog (metal and rock). We spent time endlessly talking about Rush and mourning the passing of Neil Peart. We spent time listening to Van Halen and mourning the passing of Eddie. Actually, we spent a lot of time mourning the passing of greats this year. But it was the togetherness and the collective exercise of working through that loss that brought us closer to musical truth.

And to put aside the negativity, death (wow did we lose some heroes) and destruction of 2020 for a minute there are plenty of things to be happy about. For starters, I got married. The pandemic afforded me the opportunity to spend more time with my family, get back to the slower lifestyle of country living and generally reflect on just how badly I have messed up more than a few aspects of my life. So another year goes by and we hopefully work on ourselves, improve, be better to both those we love and those we detest and inch closer towards understanding just what it all means.

Below are some albums that sounded super great over many, many listens. There were others of course. Many others even. The year was creepy in that it didn’t appear to be so stockpiled with absolutely jaw-dropping music but, like usual, it was. And that’s not just in metal (of course) but across the board.

Enjoy this list of tunes. Reach out if you have anything to add and as always, stay safe. Stay tuned for a special personal message at the very end of this whole pantomime.

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Midnight Violence Rock ‘N Roll

20. Defeated Sanity – The Sanguinary Impetus

This album could pretty much end up (almost) anywhere on this list. It’s great. An exploration in brutal death metal that is brief, harrowing and altogether slam-happy. It’s great. Potentially their best. I hate myself for leaving here at number twenty but please don’t take that as meaning it’s the least of the greatest. It’s possible the greatest. Why don’t you be a big adult and decide for yourself?

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19. The Spirit Cabinet – Bloodlines

Here’s a fun one that my buddy Ryan tipped me off to. In fact, he had to tip himself off to it because without PR this guy almost went completely unnoticed. Thankfully, it did not. This doomy piece of brilliance enjoyed many spins in 2020 and will hopefully continue that treatment through the rest of my life. Look, I didn’t even make a joke about how he sings!

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18. Molassess – Through the Hollow

Speaking of albums I almost missed here comes Molassess. Were it not for our Great Leader (Captain) I would have never heard this release. Mostly due to my idiocy. Thankfully he wrote a lovely review and I pressed play on the Bandcamp embed and history was made. Eighteen is a very important number for us Jews and it’s no mistake that Through the Hollow occupies the space on this list synonymous with the word “life.”

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17. Shards of Humanity – Cold Logic

Hello death metal my old friend. You’ve come to ruin me again. Last Rites has gone by “Generally Impressed With Riffs.” We even put it on a sticker! So when an album with this many riffs comes along you know that Jeremy Morse and Co. are going to LOVE it. And I do love it.

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16. Circle of Ouroborus – Viimeinen Juoksu

“This journey of life is long, my friends. Endlessly long, in fact. We will forever endeavor to propel our bodies towards the horizon of death. We can do nothing else, for progress is our biological imperative. The overall journey, however, is broken up into smaller quests… Some of those quests will be full of color, strong emotions and heartbreaking joy beyond our comprehension… It’s th[e]se quivering quests that Circle of Ouroborus’ latest masterpiece is here to accompany.”

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15. Devangelic – Ersetu

“Look, you clearly like metal. And you clearly thought the album cover was neat. And you clearly trust me to some extent. And finally, you clearly know that Devangelic is going to enhance your day, month, quarantine, life and certainly your death as you cross the River Hades to the Euphrates Gates of Zion.” Listen now.

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14. Elder – Omens

Sometimes I find myself questioning where in the world Elder comes from. Then I remember that they come from Massachussetts and therefore all their influences are very, very obvious. But what isn’t obvious at first blush is how great they are. Elder albums can be spun endlessly and without tiring. Omens is another one of those great, timeless, endless loops of awesome music fronted by ethereal vocals.

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13. Enslaved – Utgard

Hello. Enslaved is probably my favorite heavy metal band. They are also probably one of my favorite bands. Up there with The Band and John Coltrane and Joe Henderson and Dinosaur Jr. Why? Because they are never, ever afraid to take risks, write unconventionally progressive tunes and flat out dominate that style no matter what it is they attempt. Utgard is another jaw-dropping mix of styles, experiments and some of the loveliest human beings on the planet. Live, Laugh, Love and definitely see Enslaved live as many times as you possible can.

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12. Katalepsy – Terra Mortuus Est

“Katalepsy’s Terra Mortuus Est is ready to stand strong with the bro-power of slam metal alongside any of the contemporary greats. This album is not only proof of that fact, it’s proof positive. A double negative has led to proof positive.” I’ve seen this album ranked as high as number one on some people’s lists and I certainly do not take issue with that ranking. I think Katalepsy and scratch that itch for a lot of people and I very much hope you’re one of them.

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11. Undergang – Aldrig i livet

I have long loved the sewerfest that is Undergang. In fact, when I married a lovely lady who had access to the EU I suggested moving to Copenhagen just so I could get a job with city works and watch them rehearse in the sewers. While I was never ready to call Misantropologi their best album (I’ll always have a sweet spot in my rectum for Døden Læger Alle Sår) I recognized the slight shift towards the more plodding, melodic take on putrid death metal that Undergang was beginning to spew. And it was very, very good. For Aldrig i livet the band pushed the needle even further in that direction and the results are just marvelous. As Cap said (gee I’m quoting him a lot, eh) this is “DISGUSTING MUSIC FOR DISGUSTING PEOPLE” and it is certainly very much that done very much right. I still don’t have the heart (or cajones or huevos) to call it their best but I wouldn’t begrudge you if you went ahead and did that.

ALSO: Can’t forget to note the subtle nod to some great Totalitär artwork though.

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Jet Rock ‘N Roll

10. Cardinal Wyrm – Devotionals

If you have not heard this album yet you can go ahead and kick yourself in the face. Mostly because this album is flipping awesome. “Devotionals truly is a work of genre-bending art. A musical performance piece of desperation, hope and collective rallying. The band stated that their wish for this album was to dial it back to DIY roots. The result is an album that is masterful in composition, execution and packaging. The entirety of Devotionals is something to behold. Do as the band commands and remain independent and confident in your own space, and absolutely powerful in community. And, of course, let this album be the soundtrack of your staunch revolution.”

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9. Pharmacist – Medical Renditions of Grinding Decomposition

I mean, you see the cover and the title. What do you want me to say about this? I could say the spicy thing: the best Carcass album of 2020 was not put out by Carcass. But that would be selling Pharmacist short because they are far more than some Carcass clone. They are a gory, deliciously rotten bowl of steaming hot death metal ready for you to cram into your face. There really isn’t a more fitting cover, sound or collection of tunes for 2020 than Medical Rendition of Grinding Decomposition. So go purchase the cassette or CD or vinyl or digital copy (whatever the hip cats are doing now) and spin it endlessly until your entrails fall out of your nose. You’ve earned it.

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8. Katatonia – City Burials

“If it’s not clear: Katatonia has delivered us a wonderful gift in 2020. As the band builds in complexity and finds even more confidence in their subtleties, they become a band worthy of more deep-diving adventures. The comparison between City Burials and their earlier work reveals stark differences, and more importantly, some beautiful similarities, allowing the heart of Katatonia to continue beating long after humanity has destroyed this beautiful earth.”

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7. Malokarpatan – Krupinské ohne

“They’ve switched vocalists! Oh no!” That was actually my reaction kind of when I heard that Tremnohor had left the band (presumably to become a street vendor in the art of cured meats). When I was fortunate enough to stand in the physical (not mental mind you) shadow of Mr. Duvall and see this band LIVE at Brooklyn Bazaar in, well, Brooklyn, you could say that I was a bit enamored with their vocalist. His presence, mustache and sweet shades (along with his HADES shirt) were more than enough to capture the attention of a very young (thirty-seven) me. “But I was so much older than I’m younger than that now.” I’ve gotten over it. Why? Because Krupinské Ohne is totally rad and doesn’t end up sounding like Krolok v2.0 just because they share a vocalist. As I have previously said, Malokarpatan is a traditional heavy metal band masquerading as a black metal band. I mean that as a massive compliment. Their mix of styles and their unique output simply can’t be underrated. Plus, look at that flipping cover art! Seriously though, this album is tremendous and it’s great to see a band prosper after parting ways with what I had previously assumed was their heart and soul.

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6. Undeath – Lesions of a Different Kind

Simply put, this is the greatest straight up, no frills, old school death metal album of 2020. Without a doubt. Plus – look at the cover! It’s awesome. When people want to know why you like something that involves screaming you show them this. And then kick them right in the testicles. “You will be hard pressed to find a better death metal release in 2020… You will be hard pressed to find a better way to spend a night in. So find your favorite puppy and curl up on the couch with a nice glass of sewage and sip until the wolves howl and the witches cackle. And don’t forget to put the Genesee on ice.” I still stand by that paragraph despite what is below. Undeath rules and represents all that is pure and wonderful about death metal and sweatpants and hi-top sneakers and posing for photographs in graveyards atop the gravestones of people you don’t even know. POSTURE FOR LIFE.

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5. Eternal Champion – Ravening Iron

Eternal Champion is flat out awesome. So awesome that we spent hours at Last Rites HQ (secretly located way underground near the arctic circle… or is it?) debating which of their two full-length albums is their best. And guess what? I still have no idea. Ravening Iron and Armor of Ire are clearly somewhat different kinds of iron & steel heavy metal. But they are both equally, endlessly awesome. Epic, adventure-focused, sword-happy and fantasy-fueled Ravening Iron saw a more clean version of Eternal Champion turn our desires for battle into desires for headbanging adventures with our best buds, the bed of our El Camino laden with broadswords, beer and chain mail. If you’re fortunate to have friends you should put this album on and explore those adventures just waiting to be embarked upon.

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4. Fates Warning – Long Day Goodnight

Fates Warning has hinted that the moody, mostly dark Long Day Good Night would be their final album. I prefer to say “hinted” because the reality of that statement is just simply too much to handle. Much like the depth of emotions explored across the more than one-hour and twelve minutes of music contained herein. As Captain pointed out, “[v]eteran Fates Warning fans really don’t need reviews to impact whether or not a new album will be added to an existing collection.” It’s true. We will buy pretty much anything the band puts out. And I agree wholeheartedly with him that Fates Warning has never put out a bad record. And they definitely haven’t put out a bad track with Bobby Jarzombek (aka Bobby Jarz) on the kit; meaning it was a great choice to use him for almost the entire album here. If Long Day Good Night proves to be the final album for Fates Warning it will be some final statement. If it doesn’t, then hooray for falsely reading in between the lines and please sir may we have some more. Fates Warning are the absolute kings of progressive metal and they will remain there regardless of future output. That is, in many ways, thanks to every single element that makes this album absolutely great.

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3. Gorephilia – In the Eye of Nothing

In the past I’ve felt like I was living on an island in the middle of Jellyfish Lake over in Palau. Back in 2017 I told you that despite losing 50% of its members Gorephilia was slamming ahead in brutally tremendous fashion. And this year it took Cap to let you know that In the Eye of Nothing was a tremendous, tremendous take on the early Finnish death metal scene. And I really can’t say it any better, especially more simply, than Cap did: “Pure and simple: If you love death metal, you’ll need this here record.” It’s funny. When this list started Gorephilia was somewhere below fifteen. And it slowly, but surely climbed up. As each death metal album was pitted against the others Gorephilia continued to stand out with squeals, brutally jagged riffs and pure headsmash enough to bring it all the way up here to the Top 10. And that is the power of suggestion. In this case suggestion through brutal riffs, thundering double bass and throat-obliterating vocals good enough to merit the annoying “vokill” denomination. I’m not even sure that I’m tough enough to listen to this album. I mean, I ride a bicycle now instead of deadlifting. But I still feel PRETTY AWESOME and VERY ALIVE when I spin it. So that counts for something. Right?

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2. Wytch Hazel – III: Pentecost

If it wasn’t for curtains it would be Venetian blinds for us all. And if it wasn’t for Hällas it would be number one for Wytch Hazel. This album is a bonafide metal classic. As I previously said: “I would like to put this simply and without hyperbole: Wytch Hazel’s III:Pentecost will figure very high in my year-end voting. But what is year-end voting worth? Many of those albums rank highly only to go and fade into distant memories. This album will figure heavily in my life. It is a work of timeless brilliance that is not likely to become irrelevant in theme or composition. This album will not take much time to sink in. It won’t hide out on your shelf, waiting for the right time to be played. It’s more like love at first sight, but instead of love, it’s obsession, and instead of a sexual partner, it’s the warm embrace of heavy metal.”

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1. Hällas – Conundrum

The amount that I adore this album cannot be understated. And to my colleagues that moved it to the non-metal list (which cost it the No. 1 slot on the team list) I say “hooey on you!.” This album remained my number one from the moment I heard it in early January. It’s tremendous. From my review: “[a]t this point, Hällas seems more like they are creating a cult rather than a single album, career or song. They’ve created a universe complete with multi-dimensional planes of existence, afterlife lore and plenty of hypnotizing rhythms and melodies. It’s a single universe experience on the level of Star Wars or Malazan. A universe in which certain creatures, planets and planes exist singularly and exclusively. Conundrum is the best example yet of Hällas creating a complete and compositionally cohesive record. The band seems like something that can never not be there, like something that has just always been part of our souls. And for those that get it, they believe fully in the vision, passion and endless surge for adventure at the core of Hällas’ music.”

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Midnight Blood Pump 

5. Muscipula – Little Chasm of Horrors

“So, musically, let’s take Bolt Thrower and some of the angular, creeping Finnish death metal bands and drop those 45RPM records on down to 33RPM—let those guitars just sliiiiiiiiiiiide into a slimy down-tuned demolition hammer of swampy death. Like an airboat that’s blown an engine, the tunes slowly knife through milky water; vines from overhang slapping the blade as dank water slowly leaks in. This music crawls—about as slowly as your great-grandfather trying to get out of his favorite La-Z-Boy after one too many boxes of Ensure. Sure, compare this band to some of the greats, but they are actually doing something quite their own, thanks to production values centering around a putrid vocal delivery.”

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4. Engulfed – Vengeance of the Fallen

“Don’t miss out on this EP even if you’re the type of idiot that merely watches social media feeds for the latest band of the day. Engulfed is metal. Engulfed is death metal. And if they put out material on a more frequent basis they just might be the “it” band of January 15 to January 19 of 2021.You know, if Blood Incantation takes a fucking break for a god damn minute! RETHINK YOUR LIFE, idiot.”

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3. Midnight Dice – Hypnotize

You see that sweet cover and amazing layout? You think an EP that has all that hard work from Lauren Gornik and Annick Giroux (two ladies I have previously praised) isn’t going to bring the fire? Well you bet your ass it does. If you are a fan of the screaming 80s style of heavy metal and you want to be a true metal warrior that headbangs in the face of hurricanes then you sure as shit better spin this EP. And spin it loudly. Midnight Dice is the truth of heavy metal power.

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2. Septage – Septic Decadence

Yeah. I know. Second time I put a disgusting album cover on this list. You think I’m not upset about it? I’m actually not. Here’s another fun example of “band puts out Carcass EP better than Carcass EP.” But again, that’s selling Septage short. What you get here is the pure weight of it all. The entire mountain of deathy goodness falling upon you and beating you into a banana cream pie of submission. You are the goo, Septage is the acid. Become the acid, you putz.

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1. Blazon Rite – Dulce Bellum Inexpertis

For fans of Legionnaire, Brocas Helm, that one Lunar Shadow album (Far From Light) and Isen Torr the debut EP from Philadelphia’s Blazon Rite seems tailor made to fit their armor wearing endeavors. From cooking omelettes in the morning to vacuuming up those hard to get at hairs in the corner at night every activity will be enhanced by the heroic riffs and vocals on Dulce Bellum Inexpertis. The point is, your life might be as boring as the rest but it doesn’t have to feel that way. While vacuuming throw a fist up against those dust balls! Reach into your sheath an unleash the power of the spatula while flipping that Boca burger. There is no reason that your Geo Metro (do they still make those?) shouldn’t feel like a glorious steed clad in boiled leather and strapped with a quiver of arrows tipped with poison and meant for the heart of the evil empress. Your life is your life. You choose how to live it. Don’t be lame and not try to at least make it fun. Put on Blazon Rite and ENJOY YOUR LIFE.

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BEST NON-METAL

Yes… we listen to that as well.

Motorcycle Leather Boy

20. Matthew Halsall – Salute to the Sun

It’s been quite a while since we’ve spoken about Matthew Halsall around here. At least publicly. I can assure you that behind the scenes a few of us (guess who) chat about him frequently. Halsall is everything from a master trumpeter to a record label owner (Gondwana Records) to a DJ. For Salute to the Sun he headed into earthy, primitive territory and made something that speaks to creation more than it does the forward-thinking nature of jazz. Improvisation at its best, this album shows just what can be accomplished when unmatched musicians are allowed to freely explore ideas centered around a theme without repercussion of having the tape stopped.

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19. Chad Taylor Trio featuring Brian Settles and Neil Podgurski – The Daily Biological

I don’t want to tell you what I thought of when I saw this album title. Suffice it to say that the album far exceeded those expectations. The debut recording from this avant-garde jazz trio uses plenty of polyrhythms and contraindicative melodies to create energetic bursts and explosions of conversation between instruments wielded by old friends. When people tell you that instrumental music isn’t conversational you can point them towards this record for proof that it most certainly is.

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18. Surrender – Surrender

Anything even somewhat associated with the band Crusades would have to figure on my radar. After about an entire year of releasing singles those three tracks joined others to make a self-titled full length that shows an endless amount of promise for the vocalists switch from hard, raw emo to something of a new wave revival. Get happy. Tap your feet and most importantly fire up the synths.

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17. 36 & zaké – Stasis Sounds For Long​-​Distance Space Travel

Here is the place where I will admit that 2020 was a rough year in many regards. It required a lot of quiet time and a lot of ambient sounds and calm music to help the body relax and detox from things being said in the media and reported from around the world. When my brain needed to shut off there was nothing I reached for more than this album. Chillax, bro.

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16. Busta Rhymes – Extinction Level Event 2: The Wrath of God

So he lost early on the show Masked Performer. Just proves that the show is stupid. Busta Rhymes has always been great. But in the past few years (mostly since his verse on A Tribe Called Quests’ “Mobius” (2016) Busta has been on a quest to cement his name firmly in the quest for best all time. Extinction Level Event 2 is another feather in that cap. He’s simply on a different planet. In a year of very sneakily phenomenal hip hop (Benny the Butcher, Roc Marciano, Conway the Machine, Nas, etc.) Busta’s output stands on the shoulders of monuments.

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15. William Ryan Fritch – The Letdown

Did you think I was going to talk about the other awesome album that William Fritch released this year? Because it’s really a toss up and either could be included here. What brings The Letdown to the front of the conversation is its vibe-centric composition. Eschewing the usual pomp that makes this writer so… happy The Letdown focuses largely on mood and the inclusion and interspersing of instruments not often juxtaposed so seamlessly. You will find moments of eerie terror, outrageous joy and some laid back passages. It’s an album for all seasons as long as those seasons are manic and unmedicated.

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14. Henrik Palm – Poverty Metal

Svart is a label that is often brave when it comes to the artist on their roster. Betting the house on a member of In Solitude probably didn’t factor as brave for them. But what Henrik produced might have shocked even them. It is extreme, particularly when it comes to experimentation. The album can also be stark, jarring and abrasive. But when taken as a whole it’s a work that actually ends up being quite inviting (you know, in that way Shellac was at times). For the more adventurous Poverty Metal should be a perfect fit for your bedtime nightmares and waking terrors.

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13. Gwenifer Raymond – Strange Lights over Garth Mountain

In this case the album cover gives you a pretty great idea of what to expect from the multi-talented genius of Gwenifer Raymond. Sparse and primitive her music channels the heart of Appalachia via the United Kingdom in a way that only Tompkins Square records could truly understand. Strange Lights twists and turns like a roiling serpent angry at its history and drenched in the blood of its earthly domain. At times haunting and at times mystically emotional, Gwenifer Raymond has outdone her already brilliant self here in 2020.

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12. Alvaro Rojas – Gran Kasa

When you have true friends like Dan and Captain you and your friends get together and make a spreadsheet of all the great jazz you need to check out over the year. Sometimes that spreadsheet includes some really awesome music that defies the straight jazz label. Alvaro Rojas is essentially a prog-jazz composer and Gran Kasa is one hell of an exploration of world music with plenty of chamber elements. Thanks to the funding from the Canada Council for the Arts (Canada!) for helping fund this beautiful record.

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11. Molchat Doma – Монумент

These Belarusian beauties got famous in the way most people can only do through plastic surgery – they got famous via memes on Reddit. But they have since become much more than a meme. Their 2020 release Monument is loaded with drum machines, synthesizers, killer vocals and some thoroughly perfect timeless production filters. One view of them live in Ljubljiana and you’ll understand just why they got so huge so quickly. And if that’s not enough for you take a spin through Монумент and try not to wiggle your way into beautiful goth happiness.

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Wild Beast Vibrator

10. Ambrose Akinmusire – On the Tender Spot of Every Calloused Moment

Being nominated for a Grammy doesn’t instantly mean that you will be included on this list. In fact, it’s usually quite the opposite. But when it comes to Ambrose Akinmusire all bets are off. Featuring a full bouquet of eleven unique new [mostly] instrumental compositions and a bevy of all stars sitting in On the Tender Spot of Every Calloused Moment truly welcomes the world to the universe of Ambrose. While the album might sound unique or jarring to those who haven’t checked in on the jazz universe it might also sound like a refreshing departure from the less accessible, perhaps less thrilling world of jazz they heard ten years ago. Life is different now. Jazz isn’t merely improvisational but it’s also emotional. Harkening back to the more fixed compositional styles of Mingus and Brubeck, Akinmusire composes work that is searing in intensity (often with spoken word) yet joyful in its output. If you’re not yet a fan or initiated please discover that this is a great place to jump in.

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9. Airbag – A Day at the Beach

Oh look. A bunch of teddy bears hid their heads in the sand. You have to wonder what they did wrong to deserve this self-inflicted punishment. As an adult who still holds onto his childhood stuffed animals I feel a personal responsibility to find the answer. The bad news is that the answer wasn’t in the lyrics on this record. We can only assume that it’s a live picture of music writers who did not realize Airbag was excellent hiding in the sand in shame. That makes the most sense. Also, given the situation in the world in re: pandemic the safest place for your head would actually be under the sand. So maybe it’s a great idea. I’m not really sure. The point here is that Airbag is rad. Just a tremendous prog band led by a man with a beautiful voice. A band not afraid to let the bass guitar shine and not afraid to point out the importance of having a good time with your friends while you smell the salty fresh spray of the ocean. So if you have friends do that. If not, which honestly seems more likely, put this album on and pretend. Either way, if Airbag’s A Day at the Beach is playing you will find some enjoyment in this lifetime.

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8. Death Bells – New Signs of Life

“A Different Kind of Happy” was among my favorite tracks of the year. A tremendous new wave bounce with tenor vocals and clever lyrics made it an instant standout. In fact, it saved the entire album from a cursory toss aside by me. Which would have been immensely stupid (but not out of character) of me. New Signs of Life, an appropriate name for a first album on a new label, features all the brilliant throwback touches aimed straight at my heart. They’ve got catchy rhythms, saxophone, singable lyrics and an overall sheen of drug-induced happy over the whole thing. Oh, and a singer that does not hide his accent while singing. I really love that and you should too. New signs of life approaching! They might be alien but they are absolutely going to get you shaking those hips and tapping those feetsies.

“Despite the uncertainty of life I wouldn’t give up.” – Death Bells

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7. Arabs in Aspic – Madness & Magic

Like most people who read end of the year lists you likely scrolled to number one and worked backwards. Thus you already know that Last Rites has been deeply enamored with prog this year. Arabs in Aspic being another one of the flipping GEMS that crawled across our desks as we devoured the Karisma Records catalog. Moody, dark, brilliant and altogether mysteriously magickal this album taught many of us just how much we missed crawling into the underbrush searching for witches and goblins when we were young. As a singer once crooned, “When I was a boy I saw things that no one else could see. Why am I so blind at 22?” Well, Arabs in Aspic helped us find our vision and they certainly helped us find that glorious wonder and the positivity that comes with the spirit of adventure and belief. Anything is possible if you have the right soundtrack. Choose this one.

I vow to thee, my scream.

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6.

Lugubrum – Plage Chomage

Reviewing this amazing album with Cap was one of the most fun moments I’ve had at Last Rites. Actually, Ask 2 Idiots in general was the most fun I had here. Thus, we will blurb this album in the same style.

Five Words Cosmically Linked To This Album: Gumshoe, Sanitarium, Cathedral, Drips, Carrots

A Sentence: Lugubrum is to carrots as rabbits are to N, N-Dimethyltryptamine. So that’s an analogy and not a sentence. Guess what? The cosmos shame you for your boring accuracy that have robbed you of both your childhood and your good looks. We stole them. And we broadcast them on the 6EQUJ5 signal right back into the everloving center of nowhere (which, coincidentally is just to the left of Sagittarius). Your shoes are untied. But you’re also not wearing shoes. That’s the kind of WOW! that you need to get inside of if you want Lugubrum to ride you like the waves of vomit splashing into Jim Lovell on Apollo 8 more than one hundred thousand miles from earth. If you don’t dig then you don’t. Move on. But if you do then hop on board the spacecraft and zoom off with us. The royal we.

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5. Dropdead – Dropdead 2020

Why is Dropdead on my non-metal list, you ask? Probably because I separated out the punk because punk is even more serious business than metal. Is that true? I’m not really sure. But what I do know is that Dropdead has figured strongly in my development as a human growing up in New England where squat houses and dank basements hosted more than a few punk shows we didn’t tell the authorities about. And here in 2020 the boys are back spitting the same absolute brilliance that they knew all along. Ahead of their time lyrically, musically and technologically (but in reverse) Dropdead continue to just kick absolute ass, take no prisoners and worry zilch about making money off the whole damn thing. And remember, there’s nothing less punk than trying to define punk so don’t even try. Just accept this music as the truth (maybe my truth) and blow out your fucking storm windows by blasting it.

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4. Wobbler  – Dwellers of the Deep

Oh sweet 2020 the year of the Church of Prog here at Last Rites. Maybe it was the fact that Lone Watie finally put himself into a position in life where he could spend slightly more time with us and fewer hours healing the world and doing great things. As our resident prog expert he was certainly at the helm for much of it. But it is a mystery how Wobbler because maybe the most spun album of 2020 for a few of us. We went hard on From Somewhere to Silence when word of a new record was revealed and we went even harder on Dwellers of the Deep. Sure it helped that the artwork was remarkable and that the layout in the vinyl featured the source materials. Sure it helped that they released a video that showed just how beautifully weird they are. But what helped mostly was the release of this pristine forty-five minutes of progressive, adventurous, experimental loveliness full of keyboard riffs, jogging bass lines and vocals soaring forth from the pipes of the aptly named Andreas Wettergreen Strømman Prestmo. Wobbler is pretty much perfect (for those of you that love this stuff) and for those of you that don’t Wobbler would be a great intro to the world of having some meaning in your life for once. Would certainly make your parents happier than whatever it is you chose to do for a living.

• Last Rites Review
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3. Zephaniah Ohora – Listening to the Music

In an older world this album would be called Listenin’ to the Music. But this ain’t those times and this ain’t your momma’s country western. For his first album, This Highway, Zephaniah seemed to conjure his own version of Willy Nelson as he spun emotional tunes about heartbreak and country nights. For Listening to the Music he takes that spirits and blends it with Merle Haggard, a touch of Waylon and plenty of Patsy Cline. Let’s call it pan-country style. The fact that this album isn’t a smash hit in Nashville and pumping out of all the jukeboxes at your local honky tonk is testament to just how far the pop invasion of the country music industry has come. But if you’re looking for some good old down home country music with plenty of twang written by a guy that looks like Adam Driver went method then look no further. This album is for you and your pickup and your dog and probably your beer and also your drugs and your family and the generations that came before you and those that will come after you.

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2. The Psychedelic Furs – Made to Rain

It’s truly amazing to me that after a decade or whatever as a person who writes about music “seriously” I am putting words to internet paper about The Psychedelic Furs. As a band they put out a criminal amount of music. Seven albums (the first four 10/10 brilliant perfection) and then radio silence (as The Psychedelic Furs) until 2020. (The band, at least Butler, his brother Tim and Richard Fortus of Pale Divine (now of Guns N Roses) and the incomparable Frank Ferrer made [great] music as Love Spit Love.)  So what could we really expect? Well, for starters I don’t think anyone expected the raw emotions evoked by the absolutely brilliant cover art which is legitimate art. I don’t think anyone expected the rawness of the actual emotion contained between those cardboard images either. Made of Rain opens somewhat chaotically for a band normally associated with groove and pop. Tremolo rules as the album rolls into form presenting emotion over hooks and British sarcasm as a substitute for saccharin lyrics about the hazards of love and loss. All in all Made of Rain turns out to be one of the best albums ever put out by The Psychedelic Furs and maybe even the best by the instantly recognizable Richard Lofthouse Butler. More than simply a comeback album, Made of Rain is a brilliant piece of artwork in an of itself. It stands alone, even in 2020 as a testament to the music that made art today what it is. The inspiration has awoken to become a leader once again.

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1. Choir Boy – Gathering Swans

The most scared I’ve been in 2020 was when I thought that the crew here would vote to put Hällas on the non-metal list making me pit Conundrum against Choir Boy’s Gathering Swans. While I can’t tell you who would have won I can definitely tell you who would have lost. I would have lost. But enough about Hällas, right? Because this is all about Choir Boy. For starters, it’s been a very long time since I heard a singer in this genresphere (a word I made up because dream pop, new wave, dark wave, post punk, etc. need a catchall) with such an ensnaring, love-at-first-hear type voice. Adam Klopp channels the spirit of just about every genre hero across the forty-one minutes of this album evoking emotions even scientists didn’t know humans have. And the band heaps bravery in here by the boat load. You think doo-wop style 1950s bass vocals saying “sweet candy I want a candy uh uh” wouldn’t fit? You’d be wrong and I’d punch you. Because it’s PERFECT. You think that putting a photograph of yourself brushing your teeth as the promo photo wouldn’t entice people to listen? Think again. It works. Every single thing about Choir Boy is, as I said before, Perfect. While it was their Part Time Punks session that introduced me (and Cap) to Choir Boy it’s going to be Gathering Swans that forever ties them to the core of my being. I’m not sure what words I can use to tell you that you absolutely have to listen to this album. Would you like me to speak about the wonderful production? Would you like me to tell you about Jeff Kleinman’s moody synth and saxophone work that keeps the album glued together like a perfect wound? Or would you prefer to hear about Michael Paulson channeling Johnny Marr and Robert Smith in ways that you never knew would so deeply haunt you? Finally, I could tell you that Chaz Costello’s bass bounces, thumps and rhythmically causes your body to move in ways you thought only yogi masters could?

I could ramble endlessly about any of those subjects but the best advice I could give you would be to listen to this album on repeat until your insides melt and your heart melds with your brain. Please. Do it for the sake of the world.

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Refrigerator Zero

And with that, dear reader, my journey at Last Rites ends. As Mayakovsky said, “the love boat smashed up on the dreary routine.” And thus ends my tour of duty. Be well. Enjoy music. Be excellent to each other and always find ways to think, act and live outside the box.

R.I.P.

The post Best Of 2020 – Manny-O-War: Ookami Wakusei appeared first on Last Rites.

If you’re lucky enough to have tremendous knee pain, back pain or other similar joint pain, then it also means you’re old enough to remember the 1990s. (I don’t want to get into a whole thing here but the 1990s is really about 1988 – 1998 here.) I’m not talking about the 1990s that Zara and H&M are attempting to sell you now. I’m not talking about this revival crap or Dan Obstkrieg wearing an “interesting” cardigan. I’m not even talking about JNCO making (or at least attempting) a comeback. I’m talking about the real 1990s. The days of Saved by the Bell, Fresh Prince and Martin. The days of malls with shops like Pacific Sunwear (before they rebranded as PacSun), Merry-Go-Round, Structure and Claire’s. The days when Hot Topic was a great hang-out after getting some Häagen-Dazs (extra scoop because your friend worked there) with your mates. Those are the 1990s I’m talking about.

Those 1990s were also home to many forms of music besides the mantle-piece known as grunge. Chief among the other forms were sludge, punk, hardcore, emo and a totally diverse selection of indie rock (in addition to a complete R&B and hip hop revolution). Fortunately for you, Cardinal Wyrm seems to have taken notice of all of them. This doesn’t mean Cardinal Wyrm isn’t still a totally kickass doom band. That is precisely what they are. But they haven’t been this aggressive, this shreddingly awesome, or this vocally dominant before. Devotionals seems like a true coming out party for Cardinal Wyrm. They are now poised to break-the-funk out of their gloomy bubble and explode worldwide like we haven’t seen since Miley Cyrus toured with Taylor Swift and they both opened up for Lady Gaga.

Chief among the “way to go” trophies on Devotionals has to be the production. Credit to Greg Wilkinson at Earhammer Studios and Brad Boatright at Audiosiege for that. Where Cast Away Souls felt a bit thin, distant and removed, Devotionals does a complete 180-kickflip and pushes the production straight into your ear canals. The guitars are thickly stacked with a support beam of bass riding just below. The drums are perfectly mixed for a doomy affair, with plenty of cymbal separation and plenty of loosely-tuned tom drums slapping away. Another killer touch is the vocal layering where Leila Abdul-Rauf and Pranjal Tiwari (along with backing help from Nathan Verrill) provide some haunting harmonies that sit comfortably inside your midbrain. (And for you Vastum fans, Leila also provides her characteristically unmatched harsh vocals as well.) The result is an album that sounds just as great in your headphones as you fall asleep as it does blasting out of your PT Cruiser along Highway 1.

But that’s not all, Don! You also get more than fifty minutes of pure 1990s-tinged doom perfect for christenings, baptisms and dinner parties. Tracks like “Abbess” call to mind the Cardinal Wyrm of old. They are slow, plodding doom that you might have come to expect from The Cardinal. Services are in session as a guitar solo screeches over the opening riff. The track speeds up as the vocals shakily command the audience’s attention. The verse quickly passes by as the guitar takes control again, creating a sort of call and response between vocals and guitar. The effect is something reminiscent of the more active passages of doom legends Reverend Bizarre.

Earlier, tracks like “Mrityunjaya” reveal more of a trotting rhythm—much more riff-forward than other tracks, and without guitar solos throughout. Rather, the vocals dominate the landscape as the sludgy riff surges forward, supported by off-kilter drums that lurch and pound a steady rhythm that allows the listener to slowly let their tongue slide into the back of their throat. At about the two-and-a-half-minute mark, a guitar solo—less frantic than others—picks out a melody heavily altered with psychedelic effects pedals. All of this is to prepare the listener for the post-solo explosion of riff heaven. What is truly amazing about Cardinal Wyrm is revealed on a track like this; “Mrityunjaya” has plenty of passages and sections all stitched together seamlessly. It’s this adept composition that makes Devotionals such a smashing success.

Let’s talk about the opener “Gannet” briefly. The track smacks of early Nirvana (which, yes, was late 1980s and not the 1990s, but what’s the difference, really?) The solo on this one is just a straight ripper. Just after the three-minute mark, the guitar simply explodes into a fuzzed-out tone of eclectic energy and a frantic, spiraling vigor. This track alone proves that Cardinal Wyrm are here to set their stamp upon the metal scene.

Devotionals truly is a work of genre-bending art. A musical performance piece of desperation, hope and collective rallying. The band stated that their wish for this album was to dial it back to DIY roots. The result is an album that is masterful in composition, execution and packaging. The entirety of Devotionals is something to behold. Do as the band commands and remain independent and confident in your own space, and absolutely powerful in community. And, of course, let this album be the soundtrack of your staunch revolution.

The post Cardinal Wyrm – Devotionals Review appeared first on Last Rites.

The final track, “Scorched” –  which shares a name with another GREAT death metal band – features swirling guitars that frenetically tik and tok like a triple-dip cone getting that final layer of strawberry on a hot summer day. The riffs are so delicious you can almost taste their razory edge as they slide down your pathetic throat. The point is: these riffs aren’t full of arpeggios or notes that are five steps apart. They are closely knit, claustrophobic riffs picked at a consistently high rate of speed. The result is an unsettling, anxiety-riddled, and turbulent ride down the Chorokhi River.

Each track is imbibed with a broiling sense of courage to attack the dangerous. Rhythms gallop across class IV rapids like Burt Reynolds navigating the Okefenokee in an airboat. Guitars smash out riff after riff while still finding an appreciation of the sublime, allowing Spectral Voice-type passages in which the guitars hum, squeal and belch sulfurous odes to the other dimensional. And Engulfed provides just enough of a cool down to prepare you for the next round of face slapping awesomeness.

Across the entirety of the EP, the vocals are thick and untamed, spewing infected lava over the experience. In fact, the vocals provide enough sound to make it shocking that Engulfed is a mere trio. They sound much more like a quintet with a vocal soloist up front flexing oiled deltoids at the mere peons who felt worthy of attending their live show. (I mean, not that we will ever have the chance to see live music again.)

And therein lies what makes Vengeance of the Fallen so darn special even at a mere 24 minutes. These three dudes are capable of making massive sounds and composing masterful musical wizardry that is not for the faint of heart (unless you, like me, have a pacemaker in place to catch any missed beats). Take your elderly parents and lock them in a closet because this EP will very much ruin the concept of life they spent 90-some years developing.

Here’s where I make a complaint that is really more of an impassioned plea. This EP fucking rules. There are no ifs, ands, or butts about it (see what I did there?). What doesn’t rule is the production. While yes, the band has outdone themselves, the production lacks that final juicing that brings a band in this style to life. It’s not like this EP doesn’t kick all the ass in the world. It’s merely that this is the sort of album you’re going to want on cassette or CD and not vinyl. Honor the damn band!

Another complaint would be: why does Engulfed take so long between records? Is it because they have terrible stomach ailments that cause them to spend a lot of time in the bathroom? I can’t believe that’s true because many of the great guitarists have written some of their best material while on the toilet. What I’d like to think is that it’s because Engulfed like to put out a quality product. They don’t just jam a bunch of riffs into some cardboard box like a Whitman’s Sampler of Russell Stover’s factory seconds. No. They put in the goddamn work it takes to make sick ass riffs and sick ass rhythms meld up with sick ass vocals so what they produce and release is a sick ass collection of death metal. All hail Turkey.

Absolutely minor and mostly personal bitching aside, Engulfed have completely outdone themselves and that point cannot be stressed enough. This EP kicks all the buttocks in your local neighborhood and makes dudes that deadlift look like poseurs rocking dock shorts, boat shoes, and pink Iron Maiden hats. Old school death metal has frequently sounded this good. That’s precisely why we crave more and more of it.

Don’t miss out on this EP even if you’re the type of idiot that merely watches social media feeds for the latest band of the day. Engulfed is metal. Engulfed is death metal. And if they put out material on a more frequent basis they just might be the “it” band of January 15 to January 19 of 2021.You know, if Blood Incantation takes a fucking break for a god damn minute! RETHINK YOUR LIFE, idiot.

The post Engulfed – Vengeance Of The Fallen Review appeared first on Last Rites.

But there is a dichotomy here. Later that evening — pretend we don’t have a pandemic on — you head to a metal show. For this, you pull out all the stops: boots, best t-shirt, leather/vegan leather jacket, oil in the hair, and some of your most blasphemous denim. But when you walk into the venue you immediately become lost in the crowd. Everyone is exactly the same. So are you:
a.) among your people;
2.) as Jeru said “ya playin’ yaself”; or
D.) an option I haven’t previously thought of.

That’s not really much of a point to make but it’s definitely something to think about. In my opinion, which is not your opinion, it’s a quite welcome change from the standard Satanica towards the not frequently touted antidisestablishmentarianism. Speaking merely as an analyst of metal: It’s very nice to have something different to get lost in and review. And I’d like to point out, as I have frequently, y’all don’t get to have your SATAN without acknowledging that Satan is part of the Judeo-Christian pantheon. That is my analysis (as a Jew). Anywho…

Interestingly, Hendra is quoted as saying that he was thinking about Fleetwood Mac’s legendary Rumours while writing Pentecost. And it’s a completely apt comparison given the result. The album is filled with hits. Catchy hooks, sexual tension, and tremendous hair feathering are clearly audible across the whole of it, just like Fleetwood Mac. Alright, they probably aren’t audible, but the album is packed with hits, catchy hooks, and vocal melodies that make your knees weak.

Anyways. That’s a whole bunch of introduction, right? It’s 2020. Who wants to read WORDS? Just tell me what’s cool already, right?

Shades of Thin Lizzy immediately bash you in the face as the guitars tear a hole in your chest using harmonized guitar leads. Don’t worry, pal. That hole is about to be filled up with love and lyrics and adventure. And the best part, you ask? The togetherness. There’s a lovely warm sound to the production and a collective call to arms in the vocals that makes the listener never feel alone in this world. These aren’t the tales of a lone knight on a mission to avenge the murder of his father and siblings and the kidnap of his mother. No. Rather, the tracks imbue a collective excitement and pure feeling of collective energy driven by the simple, metronomic backbeats of Jack Spencer riding his steed beside his partner-in-crime Andy Shackleton (probably a distant cousin of the great Edward ‘Baron’ Shackleton).

Also from the get-go, this album is just endlessly cluttered with beautiful hooks, memorable lyrics, and super fun singalongs, thus strengthening the feeling of never being alone. Just speed ahead to “I Will Not,” and you will be coaxed into singing “I will not… stand for this” triumphantly in your dog’s face as that beast continues to pant and ignore your threats. The catchy riffs fuel fist pumping, jittery legs, and pure euphoria inside the brain. This album is not just about fueling up for war — it’s also about FUN. And who doesn’t need a little fun in their lives?

A theme that pops up over and over is the theme of responsibility or at least taking responsibility for the sadness, death, and general awfulness that we, as humans, have wrought upon this rock. Nowhere is that theme more in your face than “Reap the Harvest.” Followed by a heavily acoustic track (“The Crown”) that is dripping with emotional pleas, “Reap the Harvest” perfectly sets that second track up by slowly reducing the “fun” aspect and increasing the responsibility aspect. You took out all those dishes, now you sure as hell better put them away before they get knocked off the counter and break.

That said, do not take the themes as a definitive view of the pleasing style and totally rocking backdrop. Once the emotive cello drops out, Wytch Hazel falls squarely into the business of flat-out rocking and rolling all over the two-inch digital tape. Much like “Spirit and Fire,” a simple harmonic groove sets the tempo as the track canters along, cleaning up after generations of miscreancy.

A note that hasn’t been mentioned yet is how well designed III:Pentecost is. Take, for example, the sixth track “Sonata”: First the cello, the one you’ve heard before and will hear again, rings out the familiar theme of the album (one that peaks its little head up from time to time). That key, the pacing, and the familiar tones will jump up in an exciting, thrilling, and aggressive manner as “I Will Not” kicks in. The compositional structure of the album is superb, making the overall experience one that is not only a standout, but also wholly memorable. Especially in a time when the average attention span is down to :03 seconds — thanks, Twitter — it does wonders to consistently bring up the same and similar melodic patterns.

I would like to put this simply and without hyperbole: Wytch Hazel’s III:Pentecost will figure very high in my year-end voting. But what is year-end voting worth? Many of those albums rank highly only to go and fade into distant memories. This album will figure heavily in my life. It is a work of timeless brilliance that is not likely to become irrelevant in theme or composition. This album will not take much time to sink in. It won’t hide out on your shelf, waiting for the right time to be played. It’s more like love at first sight, but instead of love, it’s obsession, and instead of a sexual partner, it’s the warm embrace of heavy metal.

Rock on, 1970s. Rock on.

The post Wytch Hazel – III: Pentecost Review appeared first on Last Rites.

It’s almost Halloween and I feel like I’m taking crazy pills. I look at the social medias and I don’t see people flipping out about Undeath. I don’t see people posting selfies in their Undeath sweatpants. I don’t see people in the local park throwing around an Undeath logo Frisbee. Don’t worry, I wore a mask when I was there. I went to the dog store and saw absolutely zero Undeath brand dog beds. I wore a mask there too. What’s going on, America?

And for the rest of the world: wake up. You think you’re so great with your ancient history and your four thousand metal bands per capita. Well guess what: YOU’RE NOT. Because here in America we have Rochester, New York, and while Rochester might not be a shining example of industrialization anymore it’s certainly a shining example of what happens when a few dudes get together and make some of the best death metal on the planet. So take that Scandinavia. And take that EUROPE. America is IN THE HOUSE thanks to Undeath.

Why don’t you do me a favor and head down to the basement and grab your karate belt. Tie that shit around your head like a bandana and press play on track 5, “Acidic Twilight Visions.” Let that opening riff just wash over your face. Get yourself into the mood. Don’t go for broke immediately. Wait a few seconds for once in your Goddamned life. Wait for that oh-so-sick main riff to drop. You there yet? Yeah you are. Now start throwing karate kicks left and right and smashing the walls and tables in your immediate surroundings. You hear how those drums just rumble along with the bass while the guitar slices and punches with riff after riff after bloody riff? Now you’re getting the idea of what Undeath is all about.

Slide that little dial back to the title track (it’s track 3). You hear those roto toms preceding the absolute thunderous riff that drops? Yeah. That one. The one that made your neck snap and your left arm flash so quickly it gave you a concussion and broke your zygomatic bone. Pretty sick riff, eh? Fucking A right it is. Did you check out those sewer-dweller vocals? Yeah. The ones that sound like they came straight out of the Bausch & Lomb runoff pipe. Yeah. The one they share with Wegmans and Xerox. Track is fucking sick, right?

How can you not love an album with song titles such as “Kicked in the Protruding Guts” and “Chained to a Reeking Rotted Body.” If you said, “that’s right, Manny, you can’t not like it” then you’re correct.

So it’s almost Halloween. Get out there and get some candy. Wait. Don’t go out there. There’s a fucking pandemic, you idiot. If you leave the house you will get the plague and you will spread the plague. Stay home. Wear a mask at home. Don’t talk to anyone. Hang up the phone. Don’t go on Instagram. No one cares what you’re posting. No one cares about your new bathroom rug. Get your life together.

Stay home and blast Undeath. You will be hard pressed to find a better death metal release in 2020. (Certainly Necrot is in the running though.) You will be hard pressed to find a better way to spend a night in. So find your favorite puppy and curl up on the couch with a nice glass of sewage and sip until the wolves howl and the witches cackle. And don’t forget to put the Genesee on ice.

And also, for real, Rochester rules. Once a place for filthy industry that polluted their lovely Genesee River it’s now a hub for education and technology. And not like Silicon Valley. You won’t find a bunch of dorks driving tiny cars. It’s a nice nod to the roots of Rochester which are driven deep in the abolition and early feminist movements. Long live true upstate New York.

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The post Undeath – Lesions Of A Different Kind Review appeared first on Last Rites.

Let’s begin with the good: There are three very good original tracks here. “Spectre at the Feast” could be as comfortable on your home stereo as on some Sirius XM station called International HitFest 6000. In fact, if I was Norway, I would enter this track in the upcoming Eurovision contest because it’s probably worlds better than whatever they’ve got planned (although it might not touch Little Big’s “Go Bananas” GO RUSSIA).

That stellar track presents a perfect apex to the slower, more saccharine tunes that surround it. The opener is loaded with touches of desert ambience and ambient country guitar playing (something Ihsahn has employed before). The vocals are pillow soft, building into their bluesy groove with patience. Drum machines predominate, as Ihsahn’s thin voice contrasts their robust bottom end and his chunky guitar playing. On its own “Losing Altitude” might not be successful, but, when paired with what follows the track, it functions perfectly as an introduction to the absolute catchiness to follow.

Finally, the title track is another patient exercise in composition, this time loaded with acoustic flourishes and beats that slowly wash over the listener. The first two minutes are quite uneventful, until the electric guitar, bass drum, and choir vocals begin to enmesh themselves into something of a march. The composition will repeat this formula, before slowly drifting into nothingness.

And this is where the end of the “good” journey begins. Much like the first track, the title track needs something to follow. It’s unanchored, alone, floating in the ether with nothing to tie itself onto. Yet, as an experimental exercise the track could imply that Ihsahn is working on something remarkable in this direction. But…

For all the brilliant serenity that exists across Pharos, much like his last solo EP, Telemark, he has to go and ruin it with covers. Sure, the “Wrathchild” cover was cool in this way: I’d love to see Ihsahn live, and then for an encore, he comes out and rips through an Iron Maiden song, and the crowd sings along. It’s not something that an album needs to waste time on. And that goes for both the “Wrathchild” and “Roads” covers, both of which are well done and somewhat interesting.

But, like I said, the cover of Portishead’s “Roads” is actually good. Unnecessary, but good. And, in this case it’s something I would like to see from Ihsahn, maybe on an album of covers and not attached to an EP that has little to do with trip hop, although I see where some of his music from 2013 onward has been heavily influenced by it. The dusty crackles and the dull rhythms sound great with his voice softly crawling over the top. But the track is so in contrast to the three that precede it (and to the shitshow that is about to come) that it would almost work better as a standalone piece. Make this a 3-song EP, and I’m ranting about Ihsahn’s Telemark/Pharos EPs as a sort of Deliverance/Damnation package. But, sadly, we are absolutely not about to make that claim.

On the other hand, you have the inexplicable cover of Lenny Kravitz’ “Rock and Roll is Dead” on Telemark and the laughably awful take on a-ha’s “Manhattan Skyline” on Pharos. Even worse, that a-ha cover features the remarkably talented Einar Soldberg of Leprous. That’s right, folks: Two of my absolute favorite musicians collaborated to cover one of the most underrated and misunderstood bands of the 1980s (the best decade ever), and I absolutely hate it. It’s worth posting the video here and letting you take a minute to absorb it before we tear it apart.

It also might behoove us, at this point, to listen to the original. “Manhattan Skyline” was a 1986 single pushed by Warner Bros. for the band’s second album Scoundrel Days. The video was in the same style as the classic “Take On Me,” but the track was a stark contrast to the upbeat nature of their mega-hit. Yet, while it may have been a departure for the Norwegians from their tale of lost love and other dimensions, “Manhattan Skyline” maintained a romantic aura of loss, sadness, and most importantly, love.

Ihsahn chose to change the music… pretty much not at all. He did smartly team up with Soldberg (who was probably very influenced by a-ha frontman Morten Harket). At times, Einar does a stellar impression of the storied vocal range and effortless power of Harket, but, generally, the cover projects more of a “Miami-in-the-90s” vibe than the international power of a-ha’s original. Would this even be fun if Ihsahn toured with Einar handling backup vocals (as he has on so many Ihsahn albums)? The answer is “probably not.” The track chosen is largely lifeless, including Ihsahn’s solo, and while it closed the a-side of Scoundrel Days, it hardly held the power to close an entire album, EP, or a set of EPs, if we consider Telemark and Pharos linked.

It kills me to say negative things about Ihsahn (and also about Soldberg). His solo career has probably been one of the more exciting storylines of music in the last fifteen years. Thankfully, the first three tracks carry weight, and if the covers are discarded and joined with the three originals from Telemark, then you have a nice 1-2 punch of EPs showing two sides of Ihsahn. But as a connoisseur in 2020, a year where we need all the hope we can get, it would have been nice to see Ihsahn focus on one brilliant LP, rather than two somewhat concurrent EPs loaded with non-efficacious cover tracks, two of which are downright terrible.

The post Ihsahn – Pharos (EP) Review appeared first on Last Rites.

“We tried swinging, but realized we were all we need.” An apt title and something Ryan texted me late one night from his Lisa Frank phone.

The last few episodes of Death Metal Dossier opened the doors and allowed some people in. Ryan and I need to open up about something: they were not the right ones. And as we all know you’re only supposed to let the right one in. We don’t need other people to be excited. We don’t need something new and shiny. All we need is each other, and, of course, some sick ass death metal. Ryan making crepes on the wood stove we bought from that dead farmer and me lying on the couch reading W.H. Auden poetry aloud while the not-so-dulcet tones of Severed Survival drift in from the living room. That is the life we set up for ourselves and that is the life we are dedicated to. We only have so many years left and we want to spend them together. And while we open the door to you dear reader and allow you to see into our relationship we don’t need to be opening our bedroom door to anyone else.

So what have we learned from this experiment? We’ve learned what’s important and if you can’t garnish what that knowledge is from the prior paragraph then I don’t think you’ll be long for this world, emotionally speaking.

In this edition of Death Metal Dossier the attack brings you four tremendous little releases by four tremendous little outfits. Ryan and I spent long hours listening to them while watching the bluebirds nest and eat from our collection of dogwood trees. We watched the hummingbirds gather at our nectar feeder whilst Kuvotus romanced us. And most importantly we found ourselves in our own reflection. So please enjoy these four relationship-altering albums.

Madrost – Charring the Rotting Earth: So, if the earth is already rotting, why would you want to go ahead and char that fucker up? I guess maybe if the rotting smell is getting to you, then you could try to burn it off. Perhaps use the remaining ash as fertilizer and rebuild the rounded sphere from there? Yeah, that seems like a plan. And when you’re on a label called NO LIFE TIL METAL, you can pretty much do whatever the fuck you want with impunity. Slash and burn, man. Slash and burn.

Madrost are one of those bands where you listen to their album and wonder what in the absolute fuck they were on when they made it. The band is influenced by just about every genre of death metal under the sun. Dissonance leads the charge with plenty of thrash rhythms and vocals to keep the pacing frenetic. While Charring the Rotting Earth is above all else fast, the more fascinating aspects are what reside beneath that anal-suppository-like dose of speed.

Unsurprisingly, the main influence across their wide-ranging EP it’s the holiest of holy bands in Death. Are they progressive? You could say “almost,” if you felt like it. The band certainly pushes some boundaries and pops a bit of symphonic class to its delivery. The keyboards are a particularly nice touch when balanced with the more straightforward harsh vocals. There are also plenty of technical flourishes displayed by jealousy-inducing guitar work. Again, that jagged technicality is nicely counter-balanced with melodic piano and melodic solos.

For those looking to perk up their year and dip their toes into something new, Madrost is perfect for a Sunday drive with the family. For those of you well-versed in the more trigger-happy realms of death metal, this little guy will slot in nicely for your Wednesday morning coffee rituals. For the rest of you not neatly fitting into those categories, just go ahead and give this album a fucking spin. You’ll enjoy it. [MANNY-O-LITO]

Kuvotus – Kuvotus: As Manny revealed in the intro, I do, in fact, have a Lisa Frank phone. However, I can assure you the music I have on there is far from Lisa Frank tunes—Stratovarious’ Infinite being the furthest thing from the dolphins and rainbows adorning my mobile device. What I do have on there is a hell of a lot of death metal demos. One of the ones that has been particularly fun of late as I color my fuzzy posters of dolphins is the debut demo from Finland’s Kuvotus. Falling somewhere between the raw primitive side of death metal and the relentless blasting chaos of grindcore, Kuvotus (Finnish for “nausea”) is expectedly short, clocking in at just around seven minutes.

The band are sure to use this time wisely, however, packing it with plenty of riffs between the crushing chaos. A few surprises rear their head, such as brief hammer-on quasi-solo on “Digestive System Overdrive” or the somewhat shocking lack of melody on what is clearly a heart-wrenching tale of heartbreak on a song so lovingly titled “Bloodsoaked Shit Bukkake.” The varied vocals—delivered in rapid fire fashion, of course—on the effervescent “Lawnmower Accident” swap from growls to hoarse shouts to screams of terror before returning to the grooving riff that first bled out of the samples at the start of the track.

Kuvotus is a demo made for playing the lawnmower scene from Dead Alive in the background as one contemplates just how exactly it might feel to be shoved into a wood chipper. Fast, abrasive, and full of promise, Kuvotus are striking a balance between breakout riffs and locking grooves amongst a sea of gore and chaos. What more could you want from a hybrid of death and grind? [RYAN TYSINGER]

Please Note: The demo below is NAME YOUR PRICE on Bandcamp, so you have no excuse NOT to listen to it.

Ruin – Plague Transmissions, Vol. 2: Funny story: The original plan for this edition of Death Metal Dossier had yours truly slated to cover Ruin’s recent Infested Death EP before it was inexplicably removed from their Bandcamp page. I figured something was afoot with the death cult hailing from Phelan, California, and bided my time. Sure enough, Blood Harvest picked up a slew of their recent releases for the band’s third compilation, titled Plague Transmissions: Vol. 2.

What’s interesting about Ruin is they released their very first demo in 1991 before promptly disappearing from death metal until 2015, making them truly an “old school” death metal act. Yet, since the release of the Spread Plague Hell demo, the band have been making up for lost time, releasing no less than nine splits, two excellent full-lengths, and three EPs. Plague Transmissions: Vol. 2 comprises the work of all three EPs and their contributions to the Ruin / Anthropic split from 2018. With how many short-form releases Ruin have been putting out, a compilation is a fantastic way to experiment and discover the band if you aren’t familiar.

So, what does Ruin bring to the table? Imagine the sheer grittiness of Undergang coupled with the evil atmosphere of US black metal legends Demoncy, highlighted by truly ignorant caveman riffs. Sure, a lot of bands are throwing that term around willy-nilly these days, but Ruin are the real deal. Simple, ignorant and uncompromisingly heavy, Ruin should be at the top of the list of any fan of stripped-down evil, knuckle-dragging death metal. And yes, a lot of bands claim the caveman status, but one listen of tracks like “Manifestation” or “Trapped In Relentless Terror”—both with slow, droning strums that give way to that all-familiar syncopated death metal rhythm that has both the drums and guitars bludgeoning in tandem—will make it clear that these fellows are the real fucking deal. What sets Ruin apart from the other bands that do this these days is that they just make it grosser. The vocals sound like they’re coughing up a well-mixed cocktail of pus, phlegm, and blood; bubbling, gurgling word vomit of evil and yelps of anguish, particularly on the aptly titled “I Love Blood.” The serial killer and horror film samples make a nod to Impetigo, but the somewhat cartoonish sense of fun that Impetigo bring to the table is wiped entirely away, making Ruin really feel like the thing that goes bump in the night under Stevo’s bed as he’s wrapped snugly under his Cannibal Apocalypse comforter. [RYAN TYSINGER]

Hedles – Evil Empire at War: Here we have a “new to you” situation. Hedles hail from the western part of Ukraine and were active in the early 90s, just after their country freed itself from the Soviet regime. The band only ever recorded a handful of demos (two) and disappeared into the ether from there.

Evil Empire at War is an EP with an official title, but it’s clearly a demo. The recording is raw, with the vocals and snare drum revealing immature production and a cavernous room. Further, the mixing board, hyperactive with fade-ins and such, show a group that seem to have gotten the equipment and immediately set to making music without much thought for reading the manual. This is, of course, a positive, because manuals are for losers who play by the rules, and when there is an evil empire at war, you don’t have time to turn pages and learn which little knob goes where. You gotta get shit done!

What’s remarkable is to hear how ahead of their time the band was. They seamlessly blended pieces of 80s progressive thrash and LA’s punk scene into their brand of death metal that wouldn’t truly explode in America until two years after their first demo. As a bit of an addendum, and a late addition to this episode of Death Metal Dossier, Hedles certainly deserve the recognition previously lost before the internet could immortalize them on Geocities or Angelfire. Thankfully, Bandcamp is here to let you listen to this popping bass and thrashy soloing fueled by anger, the promise of freedom and the desire to be more. [MANNY-O-LITO]

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Before their brilliant debut the band had three demos (two in 2012 and one in 2014) that were conveniently packaged into a compilation for release in 2016. (Thank you, Tankcrimes.) That one was reviewed by our spiritual leader and maintainer of the Last Rites ant farm, Captain, who accurately stated in the way that only he can: “Still here? Or was your head nuked by the ruthless, mutilating, toxic, exterminating, voracious, calamitous, trampling, murderous, inhuman, ravaging, mammoth barbarism of Oakland, California’s most unmerciful death metal battalion, NECROT. Thankfully, some of life’s decisions remain as simple as simple can be: If you want to get killed by some wicked-sweet death metal, get those fat-assed wallets out and pick up The Labyrinth.” Necrot was, from their inception, “wicked-sweet.”

But, my dear, sweet reader, the metal world, much like most things commercially consumed in 2020 is a what-have-you-done-for-me-lately kind of world. So why are we even bothering to talk about Necrot’s history, and why in the world would I let other people at Last Rites speak for me? The answer is that Necrot rules, Last Rites rules, death metal rules, and it simply doesn’t get any simpler, more basic, or more earthquakingly bodacious than Necrot. And, on that note, I’ve got some great news for all you ADD, impetuous, “the news cycle is three months and no more”-type haters: Necrot’s Mortal fucking rules, and is probably Necrot’s best work to date, making it an album cover you can confidently airbrush all over your creepy van.

So let’s talk about Mortal a bit: The construction theory is still the same in that the foundation is built with riffs upon riffs upon bloody riffs. Each track cycles itself through a number of riffs that are good enough to be their own track or their own damn album; riffs that make you slap your knee and bang your head on the nearest piece of solid wood (or metal).

And now let’s discuss “Asleep Forever,” which is an all-time death metal track: It’s got everything from Obituary-slow crawling creepies and old school rips to shred-your-face-like-Velveeta solos. (Check out the killer shred on “Sinister Will.”) Opening with a time-tricking riff that loops over and over until you lose consciousness, “Asleep Forever” provides a perfect look at the signature composition and sound that is Necrot. They vacillate between a looped riff and a more straightforward headbanging one, using brief pauses or breaks to mark the changes in such a manner that those changes add to the drama and intensity rather than detracting from the consistency of composition.

The title track, which closes the brief crotch-melting affair, is another example or a gosh-darn certified ripper. (I’m purely speaking in death metal terms here.) Lay in your bed and let Necrot swirl over your corpse, with riff upon nasty riff chugging along at haltering speeds while their tough-but-not-tough-guy vocals (‘sup, Luca) shout ever-dizzying lyrics vehemently into your soul, which has now exited your body through what was your anus. The track also highlights what Necrot is so adept at now: change of speeds. Whether the track is pumping along led by staccato vocals, or crawling along led by didactic riffs, or launching itself into the ether led by blistering guitar solos, the band maintains their signature presence, metal hypothesis, and everything that makes them NECROT. They are, by themselves, a death metal experience.

Across the entirety of Mortal, Necrot makes sure to show you their versatility. They are adept at all pacings of death metal, and they are more than adept at creating an album that has beautiful rounded edges and a nice chocolatey center with nougat and caramel and toffee and marshmallow and nuts (unless you’re allergic to nuts). The band has never lost focus over their nine year career, despite each member playing in a myriad of other bands and tending to a dozen responsibilities outside music. They not only stand out among the volcano of bands attempting to recreate the old school death metal sound, they triumph at the top of it, creating a unique experience and pushing the genre forward.

Do not ever sleep on Necrot. Ever.

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