10 MORE albums I missed in 2017
Okay, so I’m feeling like a real numskull for this one here, not for missing out on talking about these albums in the first place last year, but because I already did a piece about albums I missed last year, and somehow completely forgot to include some of the albums I’m going to talk about here. Some of these I found out about this year and am giving my belated thoughts on because I think they deserve it. But some of these... I was just sterpid, and forgot to talk about them in the post I ALREADY DID about albums I forgot to talk about.
Anyway! Here we go, ten more albums I missed in 2017.
Arckanum - Den Förstfödde
This was one of the albums that made me originally want to make the first installment of posts on albums I missed last year, but in my infinite idiocy, I somehow left it out. And since Arckanum's mastermind, Johan Lahger, has now retired the project this year to focus on his writing career, I definitely wanted to talk about his last album under the Arckanum name. The occult mystique that has overlaid Arckanum's intimidating black metal aura from the start is here on Den Förstfödde as well. And this album ends Arckanum's artistic journey with such ritualistic and meditative tranquility amid the expansive spiritual darkness it conveys, and it does so quite powerfully, with a great, well-versed blend of slow-burning grooves and dark atmospherics to wrap everything great about Arckanum up in one final dark atmosphereic swell of slightly experimental, minimal, black metal. Another addition, a final addition, to the Arckanum legacy, Den Förstfödde is a grand and fitting conclusion to the catalog of one of black metal’s truly unique contributors.
I had heard a fair amount of hype surrounding this debut album, but I never really got around to checking it out somehow until earlier this year. A bit more of a slow drone-y sort of doom release, Horizonless is an example of something that usually isn't my cup of tea, but ended up being pretty potent and immersive. The band do focus on the more morose and mournful side of the genre, and they show themselves to be quite adept for the most part when it comes to capturing that doom somber. It's a sufficiently long project, but one that doesn't overstay its welcome, a good starting point for the band, but I think they are going to have to do some work on their compositional approach if they're to make a more noticeable mark on doom metal in the coming years. They have the sound narrowed down, and they do show some pretty impressive writing chops on certain tracks on here. I would just love to see this band take this sound to its highest heights with compositions that lend themselves more fully to the tone the band works best with.
This album came out at the tail end of 2017, and even though I was desperately looking for something better to end my year's worth of discussions on than Asking Alexandria's self-titled disaster, Vader's Dark Age didn't seem like the right kind of release (a compilation album of rerecordings of songs from the band's debut album) to end the year with. Also, it came out four days before the new year, while I was working on my year-in-review lists, hardly enough time to digest the thing and present my thoughts on it. However, as I've come back to this thing a few more times throughout this year, I've found the band's modern approach to their old songs an interesting alternative album experience at least. The steadfast death metal traditionalists make predictably little effort to shake up their sound stylistically, but this album, a rarity of its type, serves as a fascinating exhibit of a close comparison of old and new, showcasing how different they sound on the production fronts, where they differ compositionally, but also how the style of old would fare in today's studios.
I don’t exactly know what kind of Queensrÿche-esque split Venom is undergone, but I can say that this Venom Inc. offshoot has brought a more ambitious and refreshingly modern set of songs to the table than what Venom have been bringing for the past however-many years now. I have seriously not paid Venom much attention since hearing some of the goofy tracks off their previous few albums and giving up most hope of Cronos trying to seriously update his band’s prototypic sound. As vibrant and gruff as Avé is, however, it’s still incredibly drawn out and mostly just a surface-level modernization of the band’s evil thrash metal sound. Still, I appreciate the effort to bring a little bit of the kind of epic bombast akin to the likes of Behemoth to this album, and if this new appendage of Venom really puts its creative head down and focuses on trimming the fat and playing to the strengths of Tony Dolan’s gruff snarls and Jeff Dunn’s knack for groovy rhythms, they can make themselves a name to continue to keep an eye out for.
I'm still not sure how exactly I missed a new Godflesh album last year, but it was pretty crazy last year; I remember only hearing of a new Morbid Angel album coming down the pipes about a week or so before it's release, so I guess I'm not super surprised. But either way, it was a pretty unexpected release, somehow. Anyway, Godflesh followed up 2014's fantastic A World Lit Only by Fire with Post Self, an album that leans a little bit more on its portion of atmosheric experimental industrial pieces than its predecessor, but one that is not without its infectious, beat-driven cuts as well. Post Self is mostly the expected continuation of Godflesh’s extraordinarily flawless industrial metal legacy. The ingredients haven’t really changed all that much, but they never really have, and yet something about Godflesh’s consistency remains admirable in a way that hasn’t staled the way the singular motives and predictability of bands like Slayer, Megadeth, or AC/DC have all transformed from selling points to fans’ clamor for something different. Godflesh don’t really deviate, and it’s perhaps because they have such a dominant reign over their musical territory, and Post Self is as solid of a reinforcement of their stronghold as any. All in all though, it's as solid as any album by the mighty and reliable Godflesh, and one I wish I had gotten to sooner before it started distracting me from 2018's metal.
Artificial Brain - Infrared Horizon
The potential for a future, technologically induced apocalypse at the hands of AI seems like the perfect subject matter at the perfect time for a technical death metal project like this, and the sci-fi-minded Artificial Brain seem like just the group to make a statement on the subject. I enjoyed their Labyrinth Constellation album from 2014 for its merits as a solid, virtuosic death metal album, but I was looking for the band to expand their sound a bit more on Infrared Horizon. I don't base my critiques off what I was hoping for from a particular album, and I won't do this album that unusual unfairness here. But man did it feel like a missed opportunity, one the band luckily still has. They could have done so much more than simply spit out more instrumental prowess, which is fine and dandy by its own merits once again. But I was really hoping their expression of the celestial would involve more than the usual sustained dissonant guitar chords and their embodiment of the technological would involve more than robotic technicality. Complex drumming, dissonant guitar atmospherics, tasty slaps of unsubmissive bass, nasty snarls, deep and entirely unintelligible growls: this album has all the ingredients to make your usual techdeath chicken noodle soup. And that's kind of all the album amounts to, a slush of technical wankery. The few times the album ascends beyond techdeath's basic standards, it reveals the band's excellent writing chops and creativity, like the dynamic and bass-heavy "Static Shattering", that I wish popped up more frequently on this album. It's not bad by any techdeath standards, but it seems like this group are punching a bit below their weight, I hope. Definitely still worth the time to digest and appreciate.
Replacire - Do Not Deviate
I heard the hype around Replacire’s Do Not Deviate a little bit late (as in earlier this year), but I have not really connected with that hype. It’s an animated and dynamic progressive death metal release, but the sophomore project still has its kinks to work out, and I didn’t completely see what all the fuss was about. It’s definitely a cut above most of the techdeath crop, but I think there is definitely growth to be done upon the ground laid by this record in the small areas. The band clearly know what they’re doing when it comes to the basics of techdeath (as much of an oxymoron as that might seem to be), it’s just those few quirks to figure out and mold into an identifiably unique sound for the band. The quality playing and presentation of what Replacire are technically and imaginatively capable of does, of course, make a great case for the potential this band has, so I will be looking out for the mastery of the madness strewn about this album on their future releases.
I didn't really pay Scour much attention when their first EP, Grey, dropped in 2016, mostly because the thought of Phil Anselmo trying his hand at black metal seemed kind of goofy and like something that wouldn't end well. I thought this project would fizzle away not long after this second EP, but that was entirely me judging the book by its cover. One day earlier this year I figured that since they were just EPs I'd check 'em out, why the hell not? And I was pleasantly surprised with both. It's not the most groundbreaking black metal around, but it's hardly the amateurish embarrassment I thought it would be. Even though the black metal vocal style Phil employs on here isn't nearly as technical as his usual melodic gruffness or even other black metal vocal styles, his continued exploration of different techniques at his age continues to impress me. And he still manages to maintain his unique tone and tambre while implementing these new styles. As for how it compares to their first EP, Red is rather stylistically similar and similarly compositionally consistent, but it finds them seemingly more confident on all fronts: Phil with his improved black metal screams, his integration of his lower register growls, and the well-versed band (comprised of members of Pig Destroyer and former Cattle Decapitation bassist, Derek Engeman, who brings that band's guitar style all across the two records as a highlight feature) with their more confident writing and bolder instrumental performances. This EP and the last both possibly benefit from the potential hiding of any major compositional incompetence in the consistently short run times of the twelve tracks between them, but Scour's channeling of the sardonic, nihilistic side of black metal with compelling conviction across these tracks is respectable at the very least. Scour is no novelty side project and far more than just a curious experiment for Phil. The group has the chops to justify their entrance into the readily scornful territory of black metal. Perhaps these short, small releases mark the extent of their creativity, but perhaps not. I'm very curious now as to where this project will go from here and what they might put forth on a full-length.
I have stated don't like when bands name albums based on how many albums they have, but I should probably clarify that it doesn't bug me as much when it plays a clear role in their artistic intention as opposed to a lazy showboat of "look how many albums we've made". I don't mind Amenra's numbering of their albums as "masses" because they clearly put effort into embodying a metallic version of that traditional Catholic ritual (even if it's not as true to an integration of those traditional musical elements as Batushka are). Mass VI is perhaps the culmination of the band's work up until this point, with a steady improvement on their sludgy post-metal sound showing signs of crystalizing here on this record. It's not a particularly long album, but it does what it needs to in the time it has, and that is to set and maintain an atmosphere. Amenra do well to capture a sense of liturgical ambiance amid the clashes of sounds they play with across Mass VI, and they do well to expand on them beyond the simple fundamentals of post-metal mood-setting with some truly dynamic shifts between somber, sweetly sung ambiance and soulful crescendos of guitar distortion.
Heresiarch - Death Ordinance
This album is one I found out about this year, completely randomly. I was in a record store and I stumbled upon the band's EP, Hammer of Intransigence. I had never heard it and it was relatively cheap so I just went for it. I then went to find the rest of the band's catalog and found that they had released their first LP last year, Death Ordinance. The lesson from this I suppose is that I'm sure as long as I'm around, I will never find or cover everything I like from a certain year in that year. There will always be stuff I go back and find that I wish I would have known about earlier. As thorough as I am being this year, I'm sure I'll look back and find something I missed, possibly a favorite new artist I didn't even hear of this year. And that to me is wonderful, I'm so glad there is so much metal out there to find and enjoy through this constantly exciting musical journey. Death Ordinance is a meager, but solid enough gruff death metal project that focuses on drawn out sections of low-register guitar groove and bellowing growls to carry its dismal moods. I think the band will need to work on the arrangement of those grooves into more intentional structures on long-form projects like this going forward, but it's a decent enough start.
And that's it for albums I missed in 2017. I'm sure there's still plenty out there that I just have not heard that I am missing that I would love to not be missing, but for now, this is it.
