Ba'al

Timely as ever, a few of us have selected our album highlights from last year. Read on to see our picks, and listen to one track from each release in the Spotify playlist below.

Chris – Guitar

I listened to a lot of albums this year, in an (ultimately futile) attempt to dislodge Nick from his “most music consumed” throne within Ba’al. The final tally was 207 albums released in 2023, and 254 that were new to me overall – and quite frankly, that’s far too much music to keep track of, so I won’t be doing it again! It starts to reduce listening down to a tick-box exercise, about gathering data for the sake of it rather than actually trying to achieve anything, so this coming year I’m just going to listen to whatever I feel like and make notes about any particularly good albums I come across. All that said, here are the 5 best albums I heard from 2023:

5. The Ocean – Holocene

If I ever do an AOTY list in a year when the Ocean have released a new album, and they’re not on that list, please check whether I’m being held hostage by ne’er-do-wells. As is well established, probably my favourite band, and one of the most consistent groups out there – their quality level never dips below “great”, and Holocene continues that trend. It’s not as riff-heavy or guitar-focused as previous albums (which was an intentional choice) but it retains their lyricism, their experimentalist tendencies and their penchant for big atmospheres.

4. Wounds of Recollection – Warm Glow of the End of Everything

Starting off with some tinkly, almost Christmas-like chimes, this album very quickly unfurls into an absolutely gorgeous slice of blackgaze, with lush, shimmering chords and tremolo sections over anguished vocals. It calls back to the more shoegaze-y bits of Deafheaven for me, which is very much a compliment – I have a limited tolerance for atonal black metal where everything sounds the same, so the variety and melody on show here is very welcome. The whole album feels suffused with warmth and light in a way that really lifts my spirit.

3. Warrington Runcorn New Town Development Plan – The Nation’s Most Central Location

“Melancholic brutalism” is probably my best description of this – an album of electronica with an incredibly specific sense of time and location. It evokes the brutalist attitude to town building in 1970s UK in a way that I can’t really articulate – the album name and cover do a lot of the lifting on that, but you can feel it in the music. My listening notes say: “Experimental electronica about the collapse of the ‘New Town’ in England – wistful with an undercurrent of anger at our current concrete dystopia” which I still think sums it up pretty perfectly.

2. Hellish Form – Deathless

This album kind of reminds me in places of Sojourner, who I absolutely love. Big, epic, atmospheric doom-death, with towering walls of crashing distortion that envelop you in sound. It has that feeling of a soundtrack from a far off (horrible) land, which is definitely helped by the Blasphemous-esque cover artwork. Put it on, turn it up, lose yourself in a world of big chords, mournful leads and screaming. Bliss.

1. Gunship – Unicorn

This ran away with my number one slot pretty much from the second listen. It’s just an incredibly polished record, in a way that really works for the style of music on display – beefy, bouncy synthwave rock with soaring choruses and a staggeringly deep list of guest vocalists. I dare you to listen to ‘Empress of the Damned’ and not get the hook stuck in your brain – real “put it on in the car and sing along as loud as you can” stuff. Highly, highly recommended.

Richard – Bass

This year I listened to 134 albums, which is a strikingly high number for me and meant I couldn’t whittle my list lower than a top 40… The closest runners up for my top ten were Panopticon, Nightmarer, FVNERALS, Torpor, Steven Wilson, Periphery, Föllakzoid, Mitski, Rorcal and ТДК. As for the agonised-over top ten itself…

10. Ostraca – Disaster

Emo/screamo-inflected post metal that also builds in the building-levelling, grim grooves of Amenra. Smash your face on the floor and have a good cry about it.

9. Enslaved – Heimdal

There’s no such thing as a bad Enslaved record, but for me this is the best since the mighty RIITIIR. It’s refreshing for a band now known for being so expansive, proggy and psychedelic to retain such a clear fondness for the straight-up, aggressive and fun black metal riffing of their youth alongside everything else.

8. Austere – Corrosion of Hearts

After a 14-year hiatus, the Australian atmospheric/post-black metal icons have managed to top their previous work with this slab of hypnotic, emotive power. Apparently another new album is already coming next year, too, so that’s nice, isn’t it.

7. Daughter – Stereo Mind Game

Not to be pluralised and confused with the noise rock band ruined by that abusive wanker, Daughter trade in much prettier, dreamier textures, plus just plain superb songwriting. It’s the real attention to detail in the production and their ear for an absolutely magnetic, emotional yet understated hook that makes this one a winner.

6. Harboured – Harboured

You know when a band just do a genre pretty straightforwardly but absolutely fucking nail it? Harboured have done just that with post metal on their pleasingly succinct debut. Cult of Luna grooves, Mastodon energy, The Ocean melodies, and just an unstoppable force of riff and texture.

5. Hasard – Malivore

You know when a band just do a genre in a way that sounds totally fucking alien and unlike anything else? Hasard have done just that with black metal on their first album since shortening their name from Les Chants du Hasard. It’s the modern classical keyboards and strings that take these already avant-garde compositions into a completely other realm, and it’s a whole world of melodrama all its own.

4. Telos – Delude

The midpoint between Amenra and Fronteirer that I never knew I needed. I have to thank Nick for alerting me to this absolute monster of aggression, because itreally hits the spot when it comes to pummelling groove with a chaotic edge and an unrelenting nastiness.

3. Sci-Clone – Radio Therapy – Pt. 1

Jazzy drum’n’bass powered by organic instrumentation, good vibes and shiny production. It’s like if someone took Louis Cole’s energy and melodic sensibility but smoothed it all out into a polished, serene but still endlessly uplifting, groovy package that is impossible not to nod along to.

2. Ne Obliviscaris – Exul

There was a lot of discussion in the Ba’al chat over the course of 2023 about the bizarre bass tone on this album, which is unreasonably twangy and sticks out like a sore thumb. However, such is the strength of the songwriting (and my existing love of some NeO of old) that even that couldn’t stop me having Exul on repeat. As well as being the best bunch of songs they’ve written since their debut, it’s the real step up in string arrangements that made this one stick for me, with Tim Charles really expanding into multiple layers of violin that were a very timely inspiration for our own new material.

1. Model/Actriz – Dogsbody

Timely as ever, a few of us have selected our album highlights from last year. As ever, we were spoiled for quality new music and we’re so thankful to every artist who made the year more bearable. A track from each of our picks is included in the Spotify playlist too, for you to get stuck into as you read…

Chris – Guitar

Every year, I struggle with the pull between listening to new music and going back to my comfort listens – especially given the state of the world, there’s a lot to be said for the warm blanket of an album that you know inside and out. It was tough to populate a top 10 list this year, but that isn’t a reflection on the number of quality releases – more my relative inability to absorb new albums particularly fast! Nevertheless, here are the ten albums that particularly stuck with me this year and soundtracked a tumultuous, terrible, and sometimes triumphant 2021.

10. Panopticon – …And Again Into the Light

Folk and metal, the two great tastes that taste great together. Except, despite my 10-year history in Northern Oak, I’ve always been quite leery of the “mead and wenches” variety of folk metal which favours cheesiness over actually trying to write good songs. Thank fuck, then, for Panopticon – a solo project from Austin Lunn, who mashes together mournful American folk/bluegrass with melodic black metal and does a damn fine job of it. Powerful, relentless and cathartic.

9. Underdark – Our Bodies Burned Bright on Re-Entry

I’d probably class this as more of an EP than an album, at 36 minutes – but quibbling aside, it’s a tumultuous blast of fierce post-black metal with a staunchly antifascist/pro-LGBTQ stance that ticks a lot of my boxes. If I have one criticism it’s that the vocals are mixed a little too low, which means they’re occasionally overpowered by the music – having seen them live earlier in the year I know that vocalist Abi has some serious lungs, so hopefully they’ll address that on future releases.

8. Noctule – Wretched Abyss

“Melodic black metal inspired by the videogame Skyrim” feels like the most “me” sentence ever written, and I’m pleased to confirm that this solo album from Serena Cherry of Svalbard absolutely nailed the brief – every track on this release evokes the wintry mountains of Skyrim, wrapped in atmospheric production and peppered with soaring leads. Serena is apparently working on more tracks for a follow-up, which is great news!

7. Maybeshewill – No Feeling is Final

I wasn’t expecting to get a new Maybeshewill album this year – the last I heard, the band had split up, so this was a delightful surprise. It doesn’t quite reach the lofty heights of their previous releases (particularly the extremely post-rock-titled I Was Here For A Moment, Then I Was Gone) but it’s still a very well-constructed chunk of ambient post-rock from a band with masterful control over their sound.

6. Tribulation – Where The Gloom Becomes Sound

Just scraping into consideration (by virtue of being released in January 2021, which feels like a decade ago and yesterday all at once) is this follow-up to the incredible Down Below – and while it doesn’t quite match up to the previous album, it certainly doesn’t disappoint. Tribulation’s sound is hard to pigeonhole easily – guttural death vocals and some pretty bouncy riffs and melodic guitar lines – but it’s absolutely, 100% my shit.

5. CHVRCHES – Screen Violence

CHVRCHES are probably the most consistent band I know – every album they’ve released has a high number of bangers and is overall very enjoyable. Screen Violence just continues that trend – it doesn’t really stray from their formula, but when the formula works so well, why should it? This was another album that I kept coming back to this year – it falls into the “comfort listening” category for me, and I’m excited to (hopefully) see them live in 2022.

4. Spiritbox – Eternal Blue

If Taylor Swift got into djent, it’d probably sound a bit like this. Delightful pop vocals on top of some big, meaty riffs – crucially, this album doesn’t fall into the trap of recycling tired breakdown after tired breakdown, which is what often turns me off djent. They’re comfortable with melodic riffs that compliment the soaring vocals, and know when to apply light and shade. Now, does anybody have Tay-Tay’s number so I can talk to her about guesting on the next Ba’al album..?

3. Daniel Hart – The Green Knight (Original Motion Picture Soundtrack)

I listen to a lot of soundtracks (both movie and videogame) because I love the way that music can deepen my appreciation of another piece of media. In the case of The Green Knight, the music was absolutely integral to the whole (spellbinding) experience I had with the film – it complimented the bleak, fantastical landscapes perfectly and suffused the whole thing with an otherworldly medieval vibe. The OST stands alone as a worthwhile listen even if you haven’t watched the movie, which is a rare feat.

2. VOLA – Witness

I’d never heard of VOLA before 2021 – Luke mentioned them in our band chat so I went to check out this album, and was absolutely blown away by it. The main thing that characterises Witness is extremely catchy hooks, both vocally and musically – this is music to sing along to in the car, but with the added frisson of some excellent djent-inspired breakdowns and proggy time signature fuckery. Highly recommended, but be warned, you won’t be able to get the choruses out of your head…

1. Wolves in the Throne Room – Primordial Arcana

Less ambient and drifting than their previous albums, with a greater sense of urgency and snarl, but without sacrificing the atmosphere – I think Primordial Arcana is my new favourite Wolves album, narrowly beating out the transcendent Celestial Lineage. I decided not to listen to this album until I could sit down with the vinyl and give it my full attention – and then I kept coming back to it throughout the back half of 2021, finding new things to love each time. Listen to this album, journey into the mountains and revel in the magick and majesty of nature.

Richard – Bass

2021 has been another bumper year for great music. I listened to 75 albums this year, which is a total I’m very pleased with. As ever, a top 10 was an incredible challenge, and I had about 30 that could have made it in… Those that came closest were Hong Kong Express (specifically ‘L.Y.F’ out of the several albums he released this year), Ed Scissor & Lamplighter, Mol, The Hyena Kill, Amenra, Emma Ruth Rundle, Wolves in the Throne Room, Autarkh, Hellish Form and finally the album with which I had the most stupid fun this year: Kurupt FM.

10. Lingua Ignota – Sinner Get Ready

Stripping away almost all of the industrial/drone/metal elements to her sound this time around, Lingua Ignota continues to make some of the most emotionally punishing and anguished left-field music going. The orchestrations and additional instruments this time around allow for both some of her most beautiful music so far as well as some of the most sinister and disturbing. Listening back to this after the revelations came out about Kristin’s horrifying personal ordeals this past few years, it’s impossible not to be deeply moved and powerfully affected. Not an easy listen.

9. Violet Cold – Empire of Love

As I’ve mentioned here before, this is the album that finally got me properly into Violet Cold and had me exploring his other records, where before I’d been so-so on what I knew. I’d be lying if the blatantly pro-equality and anti-fascist message (shown in the face of great adversity) wasn’t part of the reason I like this album so much, but it’s mainly just the overall euphoric, passionate and uplifting feel to this exploratory and eclectic post-black metal. Earlier this year I was sure this would be top 3 material, but over time I’ve realised I’m not the biggest fan of the first couple of tracks, which feel a bit clunky. The rest is stellar, though.

8. Other Joe – Jealousy Tulip

Other Joe is an ambient artist I discovered from a BandCamp email a few years back and one who I’ve enjoyed since, but never would have expected to end up in my albums of the year. In truth this was battling it out with Hong Kong Express’ album L.Y.F. for this spot in my top 10, as they both fill similar needs in my listening life: atmospheric, otherworldly, slightly melancholic, nostalgic and urban soundscapes. In the end, Jealousy Tulip won out just because of it’s more varied textures and more forthright beats which lend a slight sense of the sinister to some tracks.

7. Billie Eilish – Happier Than Ever

There’s a pattern emerging: this is another album I would never have expected to make it to my top 10, but here we are. I enjoyed Billie’s debut in 2019 when it first made waves, but aside from the standout, bass-heavy bangers, I didn’t go back to it too much. On her second outing, there’s a lot more variety and pretty much all of it lands for me. Sure, the aforementioned minimal bass wobbles aren’t there so much this time, but there are plenty of sultry grooves, atmospheric and soulful pop cuts and even a climactic outburst of heartfelt rock. The mid-album spoken word callout to all those who unfairly malign her for her appearance is just the cherry on top that makes Happier Than Ever even greater.

6. Rivers of Nihil – The Work

Whilst I did really enjoy 2018’s tech-death sax-fest Where Owls Know My Name, I never quite fully boarded the hype train and found it a little bit sterile after a while and stopped going back to it. Enter The Work, one of the most bafflingly ambitious releases I heard this year. There’s still plenty of technical brutality (and still a little sax goodness), but this time around there’s also a ton of other stuff going on, ranging from spacey synth noises, classic heavy metal leads, rich ambient textures and everything in between. Describing it accurately is pretty hard as I still don’t feel like I’ve fully got my head around it yet, but what I do know is that it is excellent.

5. Der Weg Einer Freheit – Noktvrn

This is by far the least surprising pick on my list, as I’ve been banging on about my undying love for DWEF since I was put onto them in mid-2019. On Noktvrn, the Germans continue their mastery of wringing immensely powerful atmospheres out of unstoppably powerful, precise and high definition black metal battery. Though it doesn’t quite match up to their previous effort – one of my favourite black metal records of all time – the range on display this time is wider, taking in some electronica, increased clean vocals and some other brief, surprising turns, making it something fresh for the band without sacrificing any of their strengths.

4. Voices – Breaking the Trauma Bond

For my penultimate surprise (to myself) for the year, I was taken aback at how much this album got under my skin. Successfully mixing the gothic and melody-focused elements of their last album with a return to the brutality of the stunning London that preceded it, Breaking the Trauma Bond is equal parts infectious hook and savage death metal riffery. Each time I listened to this album I forgot just how many strong moments there are, and how many of the random tunes I’d had in my head in the previous week were from it. Yes, it’s possibly a bit long, but it’s catchy, aggressive and steeped in the band’s unique voice (SEE WHAT I DID THERE).

3. Black Country, New Road – For the First Time

I’ve spoken about this album at length already, including reviewing it for an online publication, but I still can’t stop adding my voice to the burgeoning critical response this band are getting from all manner of people much cooler than me. Mash up some Slint, Oxbow, Swans, Black Midi and Jewish klezmer music, add a rambling and warbling storyteller up front and wrap it all up into the shape of a band who are young enough to make you want to throw all of your instruments away and give up and you’ll get close to this post-everything collective of musical wizards.

2. BRUIT ≤ – The Machine is Burning and Now Everyone Knows It Could Happen Again

The final time I’ll say I surprised myself this year is here. After hearing about them from that mind-bogglingly stacked ArcTanGent lineup (god I hope I actually get to go this year), I checked this out and was blown away – post rock almost never grabs me as much as this did on first listen. It’s simultaneously doing what the greats have done before (think the expansive tones of Godspeed! You Black Emperor with some of the bubbling electronics of 65daysofstatic) and doing something that feels totally fresh, all within an absolute cavern of reverb and drenched with passion. The band are strongly anti-Spotify, so they’re not on our playlist, but I urge you to head to their BandCamp and listen to ‘Industry’.

1. Daniel Avery – Together in Static