Colin’s top 10 for BRUTALISM 2024
This has been a good year for Metal all around, and it’s been a while since I could say that. If 2023 was a year for Death Metal, 2024 was the year for comeback records. Bands that have been defunct for almost 10 years have come back swinging hard, some with great success like Brodequin, Job For a Cowboy, Darkest Hour, Nachtmystium and Kittie and others that were a bit lackluster like Alien Ant Farm. There were also new project debuts like Seven Years After Violet that are great ‘entry bands’ for those who are riding the fence between Rock and Metal, so while not in my top 10 they do deserve accolades just like the others mentioned. As usual, the albums listed here are in no particular order of favorite release and spread between genres and stuff we didn’t get a chance to cover in BRUTALISM’s reviews for 2024, so without further nonsense…
Oh and I got my Christmas wish- Old Man’s Child is finally back together! One down, one to go (still looking at you Vital Remains!)
OK, NOW without further nonsense:
Blood Incantation - Absolute Elsewhere
We’ll get this one out of the way now. Yea it is a shoe in considering it pretty much made lists everywhere, but it shines as a fantastic example of how Colorado’s Blood Incantation can stay consistent but also push their boundaries. A little less noisy Death Metal and more 70s Prog than Psychedelic infused, this epic is more varied and thicker without the overstaying the welcome in length of tracks. 2 parts split into six tracks, the album is a roller coaster up and down of heavy and softer moments, some spacey like that on ‘Tablet II’ and some energetic and melodic like ‘Tablet I,’ this Morbid Angel influenced effort cleans itself up a bit and sheds a bit of dissonance for a record that almost any Metal fan can enjoy.
Job For a Cowboy - Moon Healer
It was hard to pick a comeback album for the year, but Job For a Cowboy is one I found myself spinning on repeat often (the killer artwork helped too!). Continuing their trek into Technical Death Metal waters since their last release in 2014, this record is full of everything that makes this AZ band great. While some might have been hoping for some return to the EP days of “Doom” with their Deathcore elements, some of that is sprinkled here, but the band has never been more clearer or exciting when it comes to tracks like the jarring ‘Etched in Oblivion’ which really set the standard for these guys on how to create interesting riffs that are also extremely heavy.
Pain - I Am
After a string of singles over the last seven years, Sweden’s Pain return with another strong catchy Industrial effort that shows more of what Hypocrisy mastermind Peter Tagtgren can do. Whether it’s the bouncing ‘Go With the Flow’ or the dramatic ‘My Angel,’ the band brings back a bit of that less commercial, but equally likeable flair that was heard on their earlier albums before 2010. Those who like Hypocrisy or his work and Bloodbath will find a very different side, but more melodic effort of Tagtgren and even a bit of Hypocrisy influence in the closing track ‘Fair Game,’ so there is even some heaviness to loved here aside from the electronics.
Artefacts - The Titan Chronicles Part II
A late entry to my list but Twan sent me this promo and it re-ignited my love for Symphonic Black/ Death Metal that got me into the heavier side of Metal in the first place in the early 2000s. Those who have a soft spot for earlier Dimmu Borgir or post “Revolution DNA” Septicflesh will love this dramatic epic as this Belgium band presents the grandiosity of Therion with the powerful storytelling of the likes of Symphony X. It’s heavy, melodic, somber, and beautiful, but mostly beautiful. A great Black Metal effort for anyone who wants to get into the genre but needs a bit of cushion so it isn’t so abrasively ‘kvlt.’
Ad Infinitum - Abyss
This album is a bit divisive. This Swiss band did say that “Abyss” would be a lot more experimental than their other efforts, and they delivered on their promise. The band seems to have almost completely departed from the Symphonic side that made their “Chapter 1” so impressive and opted for more of that Post Metal almost Pop blended effort that make bands like Spiritbox or Poppy so addictive. Like any good Disturbed record, “Abyss” is steered by Melissa Bonny’s voice which shines in aggressive fashion between singing and growling on ‘Outer Space’ or electronic soothing like ‘Euphoria.’ While some of the symphonic traces are there like the opening ‘My Halo,’ it is safe to say that “Abyss” will probably be the band’s “Host” and all the more reason one should check it out simply because it is different.
A Killer’s Confession - Victim 1
Former Mushroomhead Waylon Reavis from Ohio’s now full project as opposed to side, it finally feels like the band got their stride and hit the nail on their head for their sound in Alternative/ Nu-metal with “Victim 1.” Aside from the driving riffs and drumming and that similar Mushroomhead sound, Waylon’s vocals sound better than every and mixed well with tracks like ‘Greed’ and ‘Filth,’ and everything on this album hits home with fans of Rock or Metal alike. Another great ‘introduction to Metal’ album to get into for those on the fence. It is aggressive, yet melodic, and unique while retaining that catchy ‘near radio friendly’ sound and the best effort A Killer’s Confession have unleashed to date.
Thrown - Excessive Guilt
A new Post Hardcore mixed with Punk and Metalcore effort from Sweden, the album is full of short, biting tracks with quite a bit of bounce to them that make them stand to attention and don’t quite shred as hard as Kublai Khan TX, but still have a lot going for them, these guys are an up and coming band to watch. From the electronic laden ‘On the Verge’ laced with Downtempo to the back and forth tones of ‘Look at Me,’ this Hardcore effort stays away from the usual Hatebreed imitations and goes for something more modern and forceful, falling in favor with those who like other Downtempo based bands like Vctms. 
Zeal & Ardor - Greif
Zeal & Ardor have continued to progress more towards Avant-Garde Metal and Progressive Metal ever since their debut, but still retain their Black Metal roots. Swiss-American mastermind Manuel Gagneux continues to lean on the mix of blues and electronica to make this record an ever changing beast that is full of heavy and soft moments, but mostly soft. To the moody ‘Are You the Only One Now?’ to the more blackened and ferocious ‘Sugarcoat,’ it is safe to say that no track sounds the same and Gegneux has definitely fully delved into the Avant-Garde side of Metal, which should make his future with this project all the more exciting in years to come. This one is quite a roller coaster ride with a lot up highs and lows so enter it with an open mind. It’s crazy, but not too crazy.
Kerry King - From Hell I Rise
A Thrash supergroup effort spearheaded by the legendary Kerry King of Slayer and Death Angel’s Mark Osegueda, this feels like a continuation of Slayer’s more recent work with some slight changes, but still the core feels like “Repentless Part II.” King’s guitar work is flawless as ever and still catchy when it comes to songs like ‘Where I Reign’ or ‘Idle Hands’ while Osegueda’s vocals have their distinct tone, though he does a good job channeling that Tom Arya burst where and there. While not the most varied Thrash effort, those who want to feel the power of the Big 4 in a record will definitely find it on “From Hell I Rise” as it demands headbanging and moshing alike.
Worm Shepherd - Hunger
Ever since the break away from the Behemoth inspired debut, Massachusetts Worm Shepherd continued their evolution into the Downtempo Deathcore mixed with Symphonics, and on their latest effort of “Hunger” they took things even further by adding a more progressive side: clean vocals. While some bands this year in the Deathcore camp’s clean vocals were not such a success (like A Wake in Providene), the baritone haunting delivery of Devin Duarte amongst the growls presents a swansong right before he left the band when it comes to tracks like ‘The Anguished Throne.’ It’s captivating and fits right along with the dramatics of the riffs that are no less heavy from Tre Purdue who with the other members create a Deathcore opus that will stand the test of time probably as much as when Whitechapel unleashed “The Valley” back in 2019. While the former members will be missed, the new additions will prove a bright future for Worm Shepherd’s future.
Record Label of the Year: Unique Leader Records. Damn you guys always have the best Deathcore/Brutal Death Metal artists. Keep signing them!
