Quick Album Thoughts | Leftovers 2020

So, 2020 is finally just a dark, forbidden chapter in the books and 2021 is quickly proving to be it’s sequel. Just a week in and we’re already onward to more fuckery and more reasons to be either disgusted or amused with the human race (I’m somewhere in between). I won’t get into the specifics of what’s gone down over the last few weeks, but because it’s all we fucking hear about from dusk ’till dawn. I’m not here to talk about that right now anyway, it’s time for me to reach into the musical fridge, open up that leftovers container, and talk about the good jams that I was either too busy, lazy or depressed to get around to covering this year, just like I do every year at this time! There’s a lot of stuff that I either couldn’t get around to, or just came out too late in the year, especially the first two releases on this list, that came out in mid-fucking December, both of which would have undoubtedly made my top 50 of the year. This time around, I’ve given 12 of these my thoughts, and listed a few other worthy mentions. I was going to talk about the rest of them on the next podcast episode, but I unfortunately came to realize it that it’s quite a bit of stuff to cover, and would make for too long of an episode, so I had to scrap it. All of these are good and worth your time, in my eyes and ears, and highly recommended for all of ya’ll, whatever you’re into. You know how it goes by now!

I couldn’t fucking wait to get this post done and over with, and finally but this shit year to rest once and for all. It certainly wasn’t a shit year musically, which is great, because it’s pretty much the only thing I have left to enjoy. So, let’s get this over with and talk about the bangers that this year’s leftovers stash had to offer.

My 2020 leftovers:

Horna: Kuoleman Kirjo (WTC Productions)

I think it’s time I started making my year-end lists at the end of December, instead of in the middle of it, because mid to late Dec 2020 really gave us one final blast of rippers to go out on, including a new album by the almighty fucking HORNA! One of Finland’s greatest exports, who’s sound has always been something of an evolution of the dark, scathing, classic-style Finnish Black Metal, a la Behexen and Satanic Warmaster, into their own, unique style, that solidified their own identity. Not much has changed over the last five years and these guys remain one of the most evil and provocative acts in modern Black Metal, and this album only ups the ante and brings back that eviscerating darkness and ungodly mysticism, through a barrage of sharp, melodic riffs and blasting ferocity, in an endless, suffocating torrent. One of the true purveyors of Satanic Black Metal that’s real to it’s core and punishing in it’s delivery. Would have definitely secured a spot on the year-end list had it come out sooner or had I made the list sooner. Another fucking modern Black Metal ripper that solidifies Horna’s place as Finnish Black Metal’s top titans! Wimps and SJW Twitter warriors can get fucked.

Hate Forest: Hour of the Centaur (Osmose Productions)

After a 15-year absence, Hate Forest, one of the most prolific acts to grace the cold, stark landscape of the post-second wave Black Metal scene, have returned sounding more barbaric and mightful as ever! I always thought Death growls were a ‘make or break’ type of deal in Black Metal, but they way it’s blended with chilly, windy atmosphere and thick, bassy instrumentation, is so well done and makes the overall sound that much more ruthless and primal. Comeback albums are usually hit or miss, but this one is a fucking home run as far as I’m concerned. Great riffs, immensely aggressive and forceful in it’s delivery. Another top-tier Black Metal release for 2020, that just came out a bit late.

Abogir: Totschläger (A Saintslayer’s Songbook) (WTC Productions)

Abigor continues to take modern Black Metal to creative and psychedelic planes, by channeling the genre’s deepest and most dissonant roots and twisting them into their own warped vision. Abigor have always been a sonically ambiguous act, but their last few outings have been some of their best work yet, and this one is no exception. This is another twisted amalgamation of melodic, but razor-sharp riffs and wailing scattered melodies, that wail chaotically through a storm of dissonant guitars and blasting drum; the same form of controlled chaos you’d get from Leviathan or some of the early works of Blut Aus Nord. Chaotic and uneasy at times, intricate and melodic at other times, which all spirals into one spellbinding whirlwind of progressive Black Metal mastery. Great stuff overall, which stands on it’s own sonic merit, not having to be compared to many of it’s peers. Abigor have yet to disappoint me!

Omegavortex: Black Abomination Spawn (Invictus Productions)

A budding act in Blackened Death Metal, that lured me in with it’s cosmic horror aesthetic and delivered with it’s suffocatingly cavernous and hellish soundscapes. A mix of muddy Death Metal, with thick, smoldering riffs and crushing drums, and the stark atmosphere of Black Metal, blended into hellish Blackened DM, in the vein of Antediluvian, Adversarial or Cosmic Void Ritual. Not the most groundbreaking of sounds, but very well done nonetheless. Dark, dense and crushing, living up to it’s name and title. Aural cosmic hell at it’s finest.

I Am All Wounds: Keep Me Breathing (Independent)

The husband & wife duo of Deadspace vocalist, Chris Hanzu and Lebenssucht vocalist, S. Cades (Anett), with a project that serves as a sonic liaison between the respective styles of both of their main bands, both of whom I’ve already praised highly, and it’s one of the most despondently evil sounding releases I’ve heard from 2020, that I should have gotten around to sooner. It combines the depressive doom of Deadspace and the cold-blooded viciousness of Lebenssucht in the ost balanced and cohesive way possible, and it’s super fucking intense in delivery and emotion. A depressively stunning mix of Black Metal and Doom, laced in spite and loathing, with a set of riffs that borrow from both respective acts both parties belong to. If you’re into Deadspace, Lebenssucht, or other bands like Forgotten Tomb, Shining, early Bethlehem or early Katatonia, this will scratch that itch for you, without question. Pure, cathartic nihilism, translated into sound, through unbridled talent.

Hwwauoch: Protest Against Sanity (Independent)

If the panic and anxiety that 2020 bought upon all of us had a sound, not even a musical sound, but a sound PERIOD, this would be it! The title of this album is as fitting as it can get, because the mysterious, esoteric entity known as Hwwauoch, who I’ve sang the praise of on social media a few times now, seemingly has a special talent for reaching into the deepest doldrums of one’s psyche and ripping out it’s most repressed and avoided fears and anxiety-inducing nightmares, and twists them into it’s own stomach-churning image, in the form of manic, spastic Black Metal, that’s just a bottomless pit of sonic hell, full of screeching instrumentation, blasting ferocity, akin to aggressive TV static, dismal atmospheric caverns and vile bellows, that sound like that of a throat-slitting victim. Just pure fucking insanity from start to finish that truly lives up to it’s name. This, as well as the other Prava Collective acts, is some of the most interesting Black Metal that’s coming out right now. Music that stares straight into the void and channels it’s dismal caverns into real sound, with horrifying results.

Ebony Pendant: Incantation of Eschatological Mysticism (Forbidden Sonority)

Very few traditional Black Metal acts catch my attention nowadays, but Ebony Pendant had an interesting enough name to pique my curiosity. The hype is definitely warranted with this one, because it’s majestically stark and atmospherically stunning. Best description I can give this one, is a meeting of the raw, scraping discordance of Judas Iscariot, and the chilling melody of Departure Chandelier; a fine blend of rawness and melody, woven into a bleak, but chromatic haze of mid-paced, 2nd wave-spirited Black Metal mastery. Very similar to the latest Begotten release, but beyond the realm of DSBM. Another one of the better BM outings 2020 offered, that, once again, I wish I got around to sooner.

Isolert: World in Ruins (Nihilistische KlangKunst)

What do you get when you take the philosophical nihilism of Mgla, strip away the doomy melodicism and turn the aggression and hostility up to (beyond) 11? Well… there’s been a lot of different bands full of blackpilled doomsayers, creating their own variation of the sound and melancholic lyricism of Mgla, like the doomier style of Gaerea, the groovy, ritualistic sound of Kriegsmachine, or the harsher and hatred-fuled sound of Human Serpent. Isolert is the latest crop to bud from the seeds of this style, and two full-lengths in now, they’re definitely the most aggressive and punishing of the bunch, and this one hit me like a ton of bricks and floored me on the first listen. This is as savage as modern Black Metal gets, and has some deliciously sinister riffs to boot! Chaotic I’m every sense, precise in delivery and dark, cold and shrouded in spite and filth; reminds me alot of Panzer Division Marduk in some aspects. Raw, honest and fucking powerful. Definitely and AOTY contender that I got around to late. Great stuff!

Uada: Djinn (Eisenwald)

I’m aware of the reputation that Uada has made for themselves over the last couple years, and I know they they’ve become the butt of a lot of jokes lately. I, myself wasn’t always a fan of these guys; their first two albums are honestly just very derivative and flat, save for a few good riffs here and there. Most of the time, bands who get rampantly compared to other bands, it’s really annoying (looking at you, Watain/Dissection crowd), but in the case of the endless comparisons to Mgla that get thrown at Uada, I feel it’s warranted. I wasn’t even planning on even looking at this album when it was first announced, but one morbidly curious listen of the title track, and that decision was reversed. Short story short, Uada have completely flipped the script on this album and may have finally found their own sound. This doesn’t sound like the same band anymore, it’s melodic, versatile, heavy, epic and spellbinding, with some complex, but memorable riffs and melodies seared through from front to back. It’s catchy at a lot of times, epically heavy when it needs to be, and actually really well-produced. I was shocked by how much I enjoyed this album and how well it turned out. Some of the track do go on a bit longer than they should, but even then things are versatile enough to keep things interesting and intriguing. Overall one of the better outings of the less obscure Black Metal acts out there, which I never thought i’d say about fucking Uada of all bands. I can’t say many negative things about this one, because it’s thoroughly enjoyable, and easily, EASILY the best release of Uada’s existence thus far. As dodgy as theye dudes come off on social media, they seem to be finding their footing musically and if they continue down this path, I’m all for it!

Autumn Nostalgie: Esse Est Percipi (Maa Productions)

Some of the most calming and somber Black Metal I’ve ever heard. A weird, but engaging mix of Atmospheric Black Metal, Shoegaze, Post-Rock, Ambient and other elements, which sounds complicated on paper, but is actually crafted into a despondent, slow and dreamy, but depressive and passionate Black Metal that isn’t too drony or monotonous of a listen. It’s kind of hard to categorize, which can either make or break a band or album, because things can get too complicated at that point, but this is a very comprehensive, calming and dreary Black Metal album, that’s perfect for morning commutes with some headphones and coffee. Some may find it a little hipstery, but its right up there with the new Begotten album as one of the most pleasing BM releases of 2020, which there have been quite a few of. This should have been on my radar sooner, but better late than never. Very interesting stuff overall. Unique artwork too!

Old Growth: Mossweaver (Supreme Chaos Records)

The cover art for this one caught my eye, but I was kinda hesitant to give it a shot, because it does look a little hipstery, but I’m glad I did, because it’s very well-done, well-balanced Atmospheric Black Metal, that combines melody and foggy atmosphere in a very gripping way, and is loaded with emotion and urgency. It kinda sounds like a more despondent version of Wolves in the Throne Room or Ghost Bath, but more rooted in Black Metal’s more traditional ways; it’s very versatile and well-balanced, harsh and strident at times, soft and melancholic at times, shifting tempos, vibrant melodic passages, and some sweet, savory melodic riffs galore. I’m known for judging books by the cover (or in this case, albums), but this is one of the rare instances where that would have been a mistake. If you’re into the nature-worshiping side of Atmo BM, and want something that really lays the melodicism on thick, then this is for you. Really fucking good stuff overall, and a highlight of an otherwise saturated sub-genre.

Lebanon Hanover: Sci-Fi Sky (Fabrika Records)

Saving the best for last! I love Post-Punk, but I’m very picky. There are a few factors that need to be right for me to get into a Post-Punk act or release; vocal style, atmosphere, instrumentation, overall composition, etc. Lebanon Hanover is a band who I’ve always known about and have listened to a few times before this, but I can officially say I’m a fan of this duo, because this album fucking floored me from the click of play. This is the most well-composed, emotional, cathartic and searing Post-Punk albums I’ve ever heard, and I almost had to delay the making of this post due to it, because I got stuck listening to it for days and neglected the remainder of these outings that I had to listen to. It’s a deep, euphoric journey through a whole gamut of emotions, from sadness, melancholy, euphoria, exuberance, despair, you name it. It’s all of that manifested into a fog of radiant keyboards, rhythmic drums, the dueling vocals of Larissa Georgiou and William Morris, taking turns for each track (though i’d love more collaborative songs, but that’s a small criticism), foggy synths, ambient passages, etc. It’s amazingly crafted and beautifully executed. One of the best Post-Punk/Darkwave releases I’ve heard since Glaare’s To Deaf and Day. Amazing album that solidified my fandom of this duo. Melancholic brilliance through and through. definitely my #1 leftover release for 2020, if it couldn’t be on my year-end list.

Other Worthy Mentions:

Funeral Winds: Essence (Avantgarde Music)

Blattaria: Dream, Dwell, Die (Harlequinflesh)

Svartkonst: Black Waves (Trust No One Recordings)

Stormruler: Upon the Burning Eclipse (Independent)

Hellripper: The Affair of the Poisons (Peaceville Records)

Venom Prison: Primeval (Prosthetic Records)

Undergang: Aldrig i Livet (Dark Descent Records)

Revenant Marquis: Youth in Ribbons (Death Kvlt Productions)

Spider God: Den Inre Borgen/The Interior Castle (Independent)

Chambre Froide: Puissance du Vide – Triomphe des Morts (Independent)

Acherontas: Psychic Death: The Scattering of Perceptions (Agonia Records)

Convocation: Ashes Coalesce (Everlasting Spew Records)

Deeds of Flesh: Nucleus (Unique Leader Records)

Ingested: Where Only Gods May Tread (Unique Leader Records)

Cytotoxin: Nuklearth (Unique Leader Records)

Exocrine: Maelstrom (Unique Leader Records)

Putrid Pile: Revel in Lunacy (Severed Records)

Esophagus: Defeated by Their Inferiority (Realityfade Records)

Defenstration: Culpable Homicide (Realityfade Records)

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And that officially wraps up 2020 here at Thy Kingdom Scvm (finally)! I can finally take a deep breath, rest up a bit and officially move on to 2020 the sequ- uhh, 2021. It was a hell of a year in many ways, both good and (mostly) bad, and hopefully things can at least start to get back on track in the new year, but I’m not holding my breath. It’s time to move on to the current year, and I already have 2 new reviews ready to be recorded for the next podcast episode, which is coming shortly! The podcast goes into full swing this year, and I can’t wait to see where it goes. It’s something I’ve been wanting to do for a while and I’m glad I finally got it off the ground with the two episodes I’ve put out so far! The blog will still be active, absolutely, but I want to expand my platform to different outlets, and this is just another step. So, keep a lookout for the pod in 2021, because there’s much more to come!

Onward to more fuckery!