2023 has been another excellent year for music. Some old favourites returned and newer bands continued to push the boundaries of rock and metal alike. These are the albums that recieved the most plays, those that resonated with me personally and those that were simply vastly entertaining.
40: Lanayah – I’m Picking Lights In A Field…
Lanayah’s third album covers a range of genres including shoegaze, post-metal, post-rock and even some moments which drift into black and doom metal. I’m Picking Lights In A Field... is a dark and at times impenetrable album. The subject matter by nature is taxing but it leaves you with a deeper understanding of the overriding and exhausting emotions experienced by those suffering due to their mental health. Read my full review here: https://shorturl.at/dnOQ2
Favourite track: Picking Lights In A Field
39: Rise To The Sky – Two Years of Grief
Rise To The Sky is the doom / death metal solo project by Chilean multi-instrumentalist Sergio González Catalán. Released just seven months after his previous album, Every Day A Funeral, Two Years Of Grief sees the culmination of a series of releases (which began with 2021’s Per Aspera Ad Astra) dealing with grief directly linked to the death of Catalán’s father, the passing of time (while experiencing mistrust, uncertainty and misgivings) and the event that would bring some peace. Lyrically the album will resonate with many people and Catalán’s father would be proud of the commitment of his son in telling his story over the last two years of his life. Read my full review here: https://shorturl.at/eqHKV
Favourite track: From My Blood I Bring You Home
38: Aldaaron – Majestic Heights, Melancholic Depths
Developing the worlds created on their third album, 2022’s Arcane Mountain Cult (the title of which speaks of a secret, hidden and forgotten religious order, whose members worship a mountain), Aldaaron once again display their prowess in using enticing combinations of intense sonic assaults and eerie, tranquil moments. Self-described as epic, melancholic and fierce black metal, Majestic Heights, Melancholic Depths certainly encapsulates these elements within its vast musical landscape and combination of French and English lyrics. Read my full review here: https://shorturl.at/npqL6
Favourite track: Chroniques des jours d'alors
37: Insomnium – Anno 1696
Insomnium have fully earned their reputation as one of the heavyweights of Melodic Death Metal. Recent albums have focussed on telling longer, epic stories and Anno 1696 continues that trend. With a solid understanding of how to structure an album, the band balance power, emotion, darkness and aggression to captivate the listener. Notwithstanding the odd section that could easily be trimmed from the running length, this is a worthy addition to their discography; however, I felt that the three tracks on the Songs of the Dusk EP better summed up the band’s true capabilities.
Favourite track: White Christ
36: Ne Obliviscaris – Exul
Combining progressive metal, elements of blackened death metal, classical influences and even moments of jazz, Ne Obliviscaris are anything but easy to classify. Exul furthers their passion for expansive songwriting, belligerent guitar and solemn instrumentation. As another opulent album from the Australian sextet, it is clear that they are not prepared to compromise on the depth and textures that they create so well. Lyrically, Ne Obliviscaris continue to draw attention to the state of the planet. Opening track Equus, is dedicated to the lives lost during the lethal bush fires that scarred their country in 2019-2020.
Favourite track: Equus
35: Swans – The Beggar
At over two hours long, The Beggar is not an album to be taken lightly. While all Swans’ albums are profound, deep and adventurous in nature, The Beggar is a hypnotic and almost shamanic experience. Recalling The Doors at their distinctive best, Michael Gira takes us on cinematic and bewitching journey. At a shade under 44 minutes, the first track of disc two – The Beggar (Three) – pushes this dark beauty to the limit but such is the band’s ability to make the most unsettling of atmospheres beguiling, it is impossible to resist.
Favourite track: Michael Is Done
34: Trevor Rabin – Rio
As an avid fan of the Rabin era of Yes, his return to solo work (not that he has not been busy with many soundtracks and the like) was a pleasant surprise. That he should produce an album this good on his return will have delighted fans of not only his more progressive material, but also - as evidenced on several tracks - his capability for rock and plaintive atmospheric pieces. Rio has excellent production values and clearly time has been spent making the album as precise and exacting as possible.
Favourite track: Oklahoma
33: Thy Art Is Murder - Godlike
Despite the furore around both the dismissal of CJ and the re-recording of his vocals, Thy Art Is Murder seemed to ride the backlash from some fans. Seeing them play at the Roundhouse in London earlier this year, they were rapturously received. They are becoming increasingly adept at writing songs which work well as live anthems while maintaining the sound of previous albums. Thy Art Is Murder may need to become more inventive to maintain the interest of fans going forward but here they have produced another very solid album.
Favourite track: Blood Throne
32: Dying Fetus – Make Them Beg For Death
Make Them Beg For Death is one of the most brutal albums that I heard across the entire year. Condensing ten tracks in 37 minutes further crystallises that savagery and every moment here matters. For a trio, they make an unbelievable sound and for such an intense album, the production by Steve Wright and mixing by Mark Lewis is handled with poise and assurance. Every instrument can be heard and the drumming (so often not the case on such albums) is well balanced.
Favourite track: Unbridled Fury
31: Obituary – Dying of Everything
Masters of the Florida death metal scene, Obituary are now almost 40 years into a career than has seen them attain the rank of legends within their chosen field. Dying of Everything is an album that takes its time to reveal its strengths. Technically, Obituary are as good as they have ever been and there is variation here too. From the pummelling, rapid opener Barely Alive, to the groove of Without A Conscience to the sludgy, doomier elements on My Will To Live, or album closer Be Warned, the quintet are firing on all cylinders throughout.
Favourite track: Without A Conscience
30: Cannibal Corpse – Chaos Horrific
Anyone who imagined that Cannibal Corpse might let their grasp on the death metal crown slip with their latest album was proved wrong with the release of Chaos Horrific, their sixteenth album. Continuing the excellent songwriting found on their previous release, Violence Unimagined, Cannibal Corpse continue to reshape and microscopically hone their music. Some bands are criticised for never truly evolving their sound but Cannibal Corpse are experts of the areas of metal they patrol. George ‘Corpsegrinder’ Fisher’s vocal powers show no signs of diminishing and the band meld their collective talents seamlessly.
Favourite track: Overlords of Violence
29: King Howl – Homecoming
King Howl have established themselves as a band who produce natural, organic music which displays consistently high levels of song writing and understanding of structure. Homecoming (their third full length album) builds on their established sound percolated through a range of influences including psychedelia and 70s classic rock. The album tells the tale of a youthful protagonist in 1960s America who flees from a quiet and uninspiring rustic homelife and embarks on a train journey. King Howl have created a well-balanced, entertaining and hook-laden album. Fans of blues and stoner rock will find much to savour. Read my full review here: https://shorturl.at/suBX9
Favourite track: From The Cradle
28: Shepherd’s Reign – Ala Mai
Hailing from New Zealand, five-piece metal outfit Shepherds Reign are fiercely proud of their Polynesian background. While Ala Mai is a metal album at heart, Shepherd Reign’s sound encompasses a range of sub-genres within this wider definition. Well structured, multi-textured and performed with virulent virtuosity, Ala Mai should be on many a metal fan's list to explore. Singing in both English and Samoan, Shepherd’s Reign tackle difficult personal subject matter with a dignifying complexity. Read my full review here: https://shorturl.at/fjtRZ
Favourite track: Ala Mai
27: Einar Solberg – 16
Straying away from his day job as the singer of Leprous, Einar Solberg collaborated instead with a range of artists across his debut solo album. He clearly set no boundaries for genre straddling as it does a range of musical areas. Deeply personal Solberg explains,”It’s called 16 because that’s when the first really, really bad things started happening to me in life. From 16 to 19, there were a lot of very life-defining moments that happened to me, and that changed me,” and he describes the record as “the closest I’ve ever come to writing a concept album”. At almost 70 minutes, there are times when the album meanders a little; however, there is enough of quality to overcome this minor concern.
Favourite track: A Beautiful Life
26: Hellripper – Warlocks Grim and Withered Hags
Metal Hammer once called James McBain (the one-man army behind Hellripper) “Scotland’s king of the arcane mosh”. There is much truth in this statement as Hellripper cunningly blends influences ranging from 80s black metal, an amalgamation of the faster and anthemic moments of NWOBHM, and combining them with a modern twist. Drawing on witchcraft, the occult and the paranormal, McBain also roots his lyrics in Scottish history, his country of origin. Growing as a musician, songwriter and producer, he has stepped up a level with this third album of blackened thrash.
Favourite track: Poison Womb (The Curse of the Witch)
25: Steven Wilson – The Harmony Codex
The Harmony Codex has divided those who follow the Porcupine Tree frontman. However, this is nothing new as some were not happy with the direction that Wilson took on The Future Bites and even moments such as Permanating on To The Bone. Notwithstanding this shortsightedness, those albums still proved immensely popular with much of the fanbase. The Harmony Codex challenges listeners to join Wilson on a lengthy, odyssey which musically draws from older material (on Impossible Tightrope for example) with which he has been associated, while concurrently aiming to weave the electronic influences most evident on The Future Bites into the music and his own short story into the lyrics.
Favourite track: Staircase
24: Metallica – 72 Seasons
Being in Metallica must be both a blessing and a curse. Whatever type of album they produce, the scrutiny will be intense. Since the release of Death Magnetic, Metallica (unlike some of their fans who endlessly clamour for a Master of Puppets or Ride the Lightning facsimile) have found the balance between producing material which incorporates the original heart and soul of the band and their modern sound. Yes, it is overlong but with each release since 2008, they have been increasingly successful at maintaining this equilibrium across the entirety of an album. Lyrically, this is not unfailingly the strongest offering in the band’s catalogue but as Hetfield’s most introspective album, it also draws the listener in further with every listen.
Favourite track: 72 Seasons
23: Svalbard – The Weight of the Mask
As a band, Svalbard have never sounded better and the exposure that being on a label such as Nuclear Blast will bring is well deserved. At 44 minutes, the album is perfectly structured, as is the delicate act of balancing of lyrical darkness and musical light. Ruthless yet exquisite, The Weight of the Mask (the cover of which is adorned with incredible artwork by Hester Aspland) is the album Svalbard have been building towards since their formation. It has been quite a journey for the four-piece band - often lazily pigeon-holed as post-hardcore but whose music clearly draws on post-metal, shoegaze, blackgaze and even elements of black metal. Read my full review here: https://shorturl.at/cqzBY
Favourite track: How To Swim Down
22: Therapy? – Hard Cold Fire
One of the hardiest, hard-working bands of the last thirty years, Therapy? show no signs of slowing down and Hard Cold Fire (their sixteenth full-length album) sees a band completely at home with their own abilities, direction and status. Capturing the vitality of Troublegum and building on the direction established with Cleave, while maintaining the intensity of an album such as High Anxiety, Hard Cold Fire can be considered one of the best albums of their career. Too big to be underground but not too big to have felt the need to compromise, Therapy? should be valued like a national treasure. Read my full review here: https://shorturl.at/suDGQ
Favourite track: Two Wounded Animals
21: Panopticon – The Rime of Memory
Panopticon is the one-man atmospheric black metal project of Kentucky based Austin Lunn. Performing on a range of instruments including vocals, guitars, bass, drums, percussion, keyboards, accordion, flute, whistles and even singing bowls, Panopticon is a labour of love for the American. The Rime of Memory ranges from moments of elegant, reflective heart-rending melancholy to intense, explosive black metal. In Lunn’s words, the album has two meanings, “You can see this album solely as a rant about the climate crisis and wilderness advocacy. Or you can see this album as a coming to terms with the aging process…Or, as I do, you can see it allegorically about both.” While other long albums (this last 75 minutes) released this year do not all maintain the attention throughout, The Rime of Memory has no such issue. It is an illusory, enveloping and unrelenting triumph.
Favourite track: Winter’s Ghost
20: Fen – Monuments to Absence
Probably my favourite post / atmospheric black metal band of the last ten to fifteen years, Fen continue to do things their own way. Bands of this genre aim to find the balance between the intense urgency of the blackened side of their music and the more transcendent, diaphanous passages. Monuments to Absence, however, sees a return to lengthier periods of aggression and Fen (named after their place of origin in Eastern England) appear consistently angrier than they have ever been. Previous album, The Dead Light was more glittering, yet fragile and with this new release, the band appear to be more focussed on creating something darker. At 67 minutes long, it could be argued that for new fans, this may be a step too far to entice them into the fold but for those have appreciated Fen for any length of time, this is the perfect counterbalance to its predecessor.
Favourite track: Thrall
19: Enslaved – Heimdal
Citing influences as wide ranging as Pink Floyd and Mayhem, Enslaved continue to carve their own characteristic path through the metal genre. Heimdal draws on progressive rock, progressive metal, doom and heavy rock, without ever completely abandoning their black metal roots. While there is some of Utgard that I enjoyed, Heimdal is a more cohesive and ultimately more rewarding album; there are more wonderfully incendiary moments and increased focus on the structure of each track. The band seem to operate in complete unison and each member contributes fully. However, there is still room for some unpredictability, meaning that throughout its running time, Heimdal never becomes mundane.
Favourite track: Kingdom
18: Tomb Mold – The Enduring Spirit
The fourth album from Canadian death metal band Tomb Mold was one of the most intriguing albums released in 2023. While undoubtedly still a death metal album at heart, the band have imbibed The Enduring Spirit with moments of progressive metal, doom (Derrick Vella has brought in some of the influences from Dream Unending) and even flashes of jazz - it is a masterclass in building textures to serve the song rather than for their own sake. With an extreme and experimental energy (coupled with some excellent vocal and guitar hooks), the album dismisses any notion that all death metal is unintelligent and one-dimensional.
Favourite track: The Enduring Spirit of Calamity
17: Rolling Stones – Hackney Diamonds
Eighteen years after the release of their last album of original material, the legends of Rock n’ Roll returned. Such is the passage of time since A Bigger Bang, that it would be easy to be caught up in hyperbole and call Hackney Diamonds a return to form. The truth is that it is an album of the Stones doing what they do best – playing joyous, emotional and crowd-pleasing material. It is not a flawless album (and has one of the worst covers of any album this year) but it shows a band unified in producing something to be proud of. Guitars sparkle and pop in the mix, Jagger is as animated as he was 30 or even 40 years ago and while The Stones did not need to add to their legacy, an album this good will only solidify it.
Favourite track: Live By The Sword
16: Wayfarer – American Gothic
Wayfarer are a distinctively exclusive black metal band merging hints of folk, bluegrass and country into their sound. Lyrically, they also tread a unique path focussing on the American frontier. Previous albums had greater reliance on longer songs and while many were of high quality, some had more ambling, less relevant moments. With American Gothic, the band have combined longer songs with shorter, more immediate material, Wayfarer have judged the structure of this album proficiently. The atmospheres, moods and sensations created by this album are irresistible; even the lyrics are printed as if news in a 1930s newspaper and the whole package is totally compelling.
Favourite track: To Enter My House Justified
15: In Flames – Foregone
Following yet another line-up change and a series of albums during the last decade (since Sounds Of A Playground Fading) on which they seemed to have lost some bite, direction and impetus, In Flames released their fourteenth album, Foregone. Despite being a fan of both early and mid-period In Flames (I value Come Clarity just as much as Colony), I am not a listener who begrudges bands experimenting or evolving but the last three albums, while not totally without merit, seemed poor relations to what the band were capable of and it seemed they themselves were being pulled in different directions. Therefore, it was with a sense of delight that with Foregone, the band have produced their best album since A Sense of Purpose, if not Come Clarity. In Flames will never again make an album like Whoracle but fans prepared to give the band another listen if they have strayed away over the last two or three albums will not be disappointed.
Favourite track: In The Dark
14: Baroness – Stone
Somewhat familiar with their work but never having fully dived into their back catalogue, 2023 was the year that Baroness became an integral part of my listening. That unfamiliarity meant that I approached Stone as a standalone album rather than detailed comparison to previous releases. Melding heavy rock, sludge, metal, blues, psychedelic, experimental and acoustic ingredients, Stone makes for a varied but rewarding listen. Throughout, there is convincing groove and vital energy meaning the album never becomes stale and its forty-six minutes seem like twenty.
Favourite track: Choir
13: Puppet Cell – Freaks and Heathens
Puppet Cell’s debut album is certainly not something to reach for as an easy Sunday morning listen but the more discerning listener willing to give time to this unbending yet rewarding album will find there is a wealth of wonder to discover. Puppet Cell have been tweaking this album for some time and for a band of this nature, the production is flawless. Every driving groove and every metallic riff sparkles from the speakers. Each instrument is clear and vibrant; however, in no way does this diminish their grit, power or temerity. Imagine the groove of Pantera with the delivery of Soundgarden and you will not be far away. Read my full review here: https://shorturl.at/gnLPZ
Favourite track: Poison of Guilt
12: Sleep Token – Take Me Back To Eden
Sleep Token, like Ghost, have completely split the metal community. Taken in isolation, each track on Take Me Back To Eden would not be classified as metal but in all honesty, the band have been evolving towards such an album even since their debut. Sleep Token have produced an album of which needs to be experienced from start to finish. Genre-fluid (there is metal, pop, djent and R&B to be found), inventive, crushing and bewitching simultaneously, Take Me Back To Eden delivers on every level. Sonically awe-inspiring, it is also a stunning success in terms of production even though some have argued it is a little too polished. Sleep Token's latest is an album that you will love or will leave you totally cold.
Favourite track: Euclid
11: Peter Gabriel – i/o
Having not bought into the nonsense of releasing one track per month, I had only heard one track from this album before it was released in its entirety in December; therefore, I have not yet fully absorbed the qualities of the different mixes. Had it had more time to fully embed, it may well have appeared well inside the top ten of this countdown. However, what is clear even when only living with the full album for a week, is that Peter Gabriel has lost none of his magic. i/o might have been 20 years in making but it has been worth the wait. Gabriel’s voice continues to defy time and his ability for arrangement still walks in the realms of genius.
Favourite track: Playing For Time
10: Those Damn Crows – Inhale / Exhale
On the rise for the last several years, Welsh rockers Those Damn Crows produced another album of memorable, addictive rock. Having seen them twice this year (they are playing bigger and bigger venues on every tour), the strength of the band is that every song they have released works in a live environment; however, there is enough variety here to keep things interesting and at thirty-seven minutes, the album has no danger of outstaying its welcome. Where Those Damn Crows go next in terms of popularity and the venues they play will be interesting to see but without doubt, they have the songs to back it up.
Favourite track: Man On Fire
9: Green Lung – This Heathen Land
Subtitled A Journey Into Occult Albion, the inherent Englishness on This Heathen Land is obvious from the outset. With huge nods to the sound of Ghost but also to Black Sabbath, Rainbow and Led Zeppelin and encompassing doom elements and lyrically referencing paganism, landscape, nature and witchery, This Heathen Land ticks all the boxes to satisfy even the most passionate of old school heavy metal fan. Eloquent guitar work, old school organ and vivacious vocal delivery combine to make this their best album to date.
Favourite track: Mountain Throne
8: Soen – Memorial
Six albums into their career, Soen have become comfortable in their direction. Lotus (still their masterpiece for me) and Imperial cemented their reputation for adroit and cohesive songwriting. On Memorial, they once again prove just how effective their arrangements, lyrics and performances have become. It is is accessible but not overly commercial and lyrically resonates in modern society. While all the members of the band are excellent musicians, it is Joel Ekelöf’s vocals that make Memorial such as wonderful experience. Having seen the band perform much of this album live this year, I can attest that they sound just as infallible in that environment. Read my review of their London gig here: https://shorturl.at/zD179
Favourite track: Tragedian
7: Riverside – I.D.Entity
As the first album to feature Maciej Meller following the tragic death of Piotr Grudziński in 2016 (Mariusz Duda handled all the guitars on Wasteland), I.D.Entity once again saw Riverside as a quartet and willing to experiment once more. Wasteland, understandably, was a more brittle, mournful and introspective album. Here, the opening synth-driven track Friend or Foe (an attack on plagiarism that is resonant of a-ha’s more vivid moments) is punchy, vital and spirited and it sits perfectly alongside the rockier and more progressive songs such as the 13-minute epic and centrepiece of the album, The Place Where I Belong.
Favourite track: The Place Where I Belong
6: Cattle Decapitation - Terrasite
Cattle Decapitation are anything but subtle and nor should they be. Even by their own standards, Terrasite is a damning indictment of the state of the planet, the scourge of humanity and the ignorance of those with the power to do anything about it. Lyrically, it makes you question every action you take and in some way, everyone will be found wanting. Travis Ryan is performing better than ever and delivers every line with barbed venom. Picking up from where the story left us at the end of Death Atlas, Terrasite sees a new lifeform emerging to dominate the planet. Musically, Cattle Decapitation retain every ounce of viciousness and fury but there is metallic groove here too. Ranging from deathgrind to technical black metal to even progressive sections on Just Another Body, Terrasite is visceral, primeval and essential listening for any fan of extreme metal.
Favourite track: A Photic Doom
5: DHG – Black Medium Current
Although they have existed for close to 30 years, this is only the seventh studio album from Dødheimsgard (DHG). Few bands remain from the second wave of Norwegian black metal but DHG’s willingness and desire to move towards a more experimental, innovative and daring sound now see them as one of avant-garde metal’s vanguards. Black Medium Current is an ambitious and irresistibly alluring album that further highlights DHG’s odyssey well beyond the limits of traditional black metal. While not for everyone, those who appreciate pushing the boundaries with genre-defying music and demanding lyrics should fully avail themselves with this album’s dark delights.
Favourite track: Abyss Perihelion Transit
4: Katatonia – Sky Void Of Stars
For their twelfth full-length album, Katatonia went full tilt to show just how magical their songwriting and musicianship truly is. Every song on the album could be described as catchy – even the more progressive tracks such as Austerity or No Beacon To Illuminate Our Fall. Bubbling beneath however, Sky Void of Stars has innovative lyrics combined with depth of thought in composition and arrangement. The album is a pinpoint refinement of everything Katatonia has previously released. There are hints of doom, metal, progressive rock and even songs that by Katatonia’s standards approach pop (Atrium). Sky Void of Stars stands up to repeated plays and embeds itself in the consciousness for all the right reasons.
Favourite track: Opaline
3: Empyre – Relentless
It comes as no surprise that Empyre, one of the hardest working bands of recent years, with their insanely catchy and captivating yet mature music, have quickly built up a loyal following. The band, understanding the importance and the potential impact of this hard work, have named their second album and its title track (which opens the album) after their ethos. There are moments on Relentless that would sit happily on an 80s or 90s hard rock or even grunge album but that does not for one moment mean it is a nostalgic throwback. It is every bit a contemporary fuelled hard rock album. Once Relentless finds its way on to your playlist, it might take some shifting. Read my full review here: https://shorturl.at/bLT07
Favourite track: Forget Me
2: Frozen Soul – Glacial Domination
Frozen Soul’s rise through the ranks of metal has been rapid and well deserved. With the feeling of stark, cold landscapes pervading everything they produce, the band balance ruthlessness and accessibility with the dexterity of old hands despite Glacial Domination being only their second album. Incorporating synths effectively on tracks such as Annihilation (akin to material Tangerine Dream might have produced for a horror soundtrack in the 1980s) and drawing lyrical inspiration from John Carpenter’s The Thing (Frozen Soul and Assimilator – both of which feature synthwave eccentric Gost), they drive home the feeling of ice bound isolation. With further contributions from Matt Heafy (Glacial Domination and Abominable), the album is sure to attract even more listeners. I am looking forward to seeing them live for the first time next year.
Favourite track: Assimilator
1: Ahab – The Coral Tombs
Self-proclaimed Nautic doom metallers Ahab produce albums based on novels which take place on or (in this case) under water. The Coral Tombs is their take on the Jules Verne classic 20,000 Leagues Under The Sea. Telling the tale over the course of 66 minutes, the album mirrors the sheer depth, mosaic complexity and power of the ocean within its murky depths. Venturing between moody lamentation and twisted gutturals, vocalist Daniel Drosrte brings gravitas to the role of Captain Nemo and his descent towards the final maelstrom. The Coral Tombs is an absorbing retelling of the novel and although an understanding of the main story lines will no doubt enhance the experience, it is not essential. A worthy album of the year.
Favourite track: Ægri Somnia
Written: December 2023
Listen to my Top 40 Albums of 2023 sampler (my favourite track from each release) below.
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