Top Albums ov 2024 w/ Aaron & Metal Aged Mom!
Few things in this life are guaranteed beyond death, taxes, and a big, steaming pile of lists from our devoted Dumplings. Year after year, Toilet denizens old and new digest countless rekkids to bring you, the beloved readers, the cream of the crap in all manner of genres, subgenres, and microtonal dissogenres. That’s right—it’s LISTMANIA 2K24 DAY 1, and woe be upon thy wallets, for Aaron and Metal Aged Mom are here to wring the pennies from your pockets. Don’t look at me—go blame them down in the comments (and give ’em a smooch for the hard work they put in)!
Aaron
2024 was a sleeper year for fantastic records. I was enjoying albums piecemeal, bit by bit, until around August where I realised: “Fuck, there’s been a lot of great music. This’ll be a nightmare to whittle down to a top 10.” I started writing mid-way through 2023 for ToH, so I wasn’t quite as locked in, and had a lot of non-metal in my list; this year’s been so damn bountiful with metal records that I had no choice but to go all-metal.
Serpent Column – Tassel Of Ares
Independent | Disso Feature
In a year where Hoplites took centre stage for many as the angular, math-y black metal band of choice, Serpent Column made an unexpected comeback with a brighter, denser record than they’ve done before. Within the increasingly fucking bloated world of disso-black, Serpent Column retain a proper ugliness to their sound, with writing that’s undeniably intricate and frantic. It’s the natural cohesion of the earlier sound of Serpent Column with the more recent Theophonos records.
Ὁπλίτης (Hoplites) – Παραμαινομένη (Paramainomeni)
Independent | Disso Feature
Speak of the devil! Παραμαινομένη has been a deeply divisive record this year, seemingly lauded and derided in equal measure over the same qualities. Combining elements of hardcore, black metal, zeuhl and Zorn-flavoured alto-sax attacks, its an undeniably strange record with fittingly strange production choices, whether it’s the vocals that flit back and forth in the mix, or the occasionally inhuman tin-can blasts of the drumming. The chaos coalesces into what’s easily their best record—the ambition and scale of their earlier material collapsing in on itself to form an unwieldy, endlessly replayable highlight of 2024.
The Black Dahlia Murder – Servitude
Metal Blade Records | Review
A record indelibly defined by the passing of former vocalist Trevor Strnad, The Black Dahlia Murder could have recorded Servitude on autopilot and received just as much laudation for simply carrying on, for showing strength in just continuing as a band. Instead, the band delivered not only one of the year’s best albums, but an honest-to-God top 3 record in their own discography; written with immense precision, Servitude manages to be as riffy and immediate as you’d expect, but has this sense of weight and power behind it, the sound of a band not just soldiering on but powering through.
Scarcity – The Promise Of Rain
The Flenser | Review
The follow-up from one of metal’s most unique projects wasn’t as widely celebrated as their debut, an album with markedly different production and songwriting sensibilities. But for me it’s the more repellant nature of The Promise Of Rain that makes it the more interesting record—the less layered, dense sound being replaced by a more improvisational, deliberately “natural” approach. For as much is made of Scarcity’s place in a totalist lineage, The Promise Of Rain succeeds in part due to how crushingly primitive it can be at times; a proper unrelenting listen.
Full Of Hell – Coagulated Bliss
Closed Casket Activities | Review
An album that takes the self-authentic, inherently insular qualities of metalcore and grind, only to inject them with the pomp and ceremony of an arena rock act. In its incredulous bombast, in its unrelenting ferocity, and in its surprising catchiness, Coagulated Bliss might just be Full Of Hell’s best record yet.
Thou – Umbilical
Sacred Bones | Review
A record that’s grown on me a lot over the year, I described Umbilical as an iterative album at times but I really overlooked how it showcases Thou at their most uncompromising and lethal. Again, I’m a fool for any record with tasteful hardcore roots, and Umbilical manages to deliver that alongside some of the most memorable songwriting in their career. The sheer ferocity of their delivery elevates the material on an album that’s arguably their heaviest yet.
La Torture des Ténèbres – V
Independent
After a 6-year gap in full-length material, the Ontario-based blackened noise project came back with a pair of unrelenting records, the first of which is among the harshest listening experiences I’ve had this year. Unlike earlier records like Civilization Is The Tomb Of Our Noble Gods that at least had some pretense of conventional black metal atmosphere, V is 40 minutes of electroshock stimulus, where the only respite is the suggestion of a guitar or synth lead faintly bleeding through the acidic white noise. Not easy chewing, but a big highlight.
Kidnapped – Disgust
Daze
Despite the relatively clean production—the word “relatively” is doing some leg-work here—Disgust still manages to be an unceasingly filthy listening experience, largely due to the prominence of the low-end, making every bassline resound like a churning stomach in the mix. Disgust shows the huge strides the band have made in quality in the three years since 2021’s Nothing Is Sterile; it’s an album that’s more immediate, accessible even, without losing its grit.
Dreamless Veil – Every Limb Of The Flood
Relapse Records
An unexpected black metal collaboration between Artificial Brain and Revocation‘s Dan Gargiulo, Inter Arma and Bastard Sapling‘s Mike Paparo, and David Haley, drummer of a million projects but most notably Psycroptic. Every Limb Of The Flood is surprisingly melodic but expectedly intricate black metal that manages to weave its tech-death lineage into its songwriting in an understated but effective way. Despite all its flair, it still feels like a grounded record, and I like it for that; it’s not ostentatious or overly flashy, and manages to be just as ripping as its pedigree would suggest.
Severe Torture – Torn From The Jaws Of Death
To say death metal comebacks are rarely as solid as Torn From The Jaws Of Death is a massive disservice to an album that might just be Severe Torture’s best record, full stop. Almost 15 years after their last record, Severe Torture honed in and crafted some of the tightest death metal of the year, a highlight in their discography; I’d honestly put it up alongside Misanthropic Carnage, it’s that fucking good. It seems weird to describe an album by Severe Torture as “mature” but Torn From The Jaws Of Death feels like it was written with the sort of scope that befits its crushing delivery. In a world of dire comebacks, this is a massive fucking thumbs up.
Metal Aged Mom
In 2015, cancer killed my dad. Just a couple of months later I found out that I, too, had cancer. The day after Trump was elected, I was in my car and AC/DC’s “Thunderstruck” came on the radio and I thought, “You know what? Metal is the only music genre that makes sense any more.” (And, yes, I know AC/DC isn’t metal, but it was the catalyst that led me here, so calm down.) I’ve immersed myself in metal ever since. Every year since 2015 has sucked in a variety of ways. But every year since 2015 has been great for metal music. So here are 10 of my favorite albums from 2024. We may be heading into yet another Trump presidency, but at least we have metal. We’re gonna need it.
Unto Others – Never, Neverland
Century Media
I’ve been a fan of Unto Others since I saw them open up for King Diamond (as Idle Hands) in 2019. I doubt if I’ve ever listened to an album from start to finish as much as I’ve listened to Never, Neverland. As soon as it ends, I play it again. Zero skips. I love Gabriel Franco’s gloomy goth vocals and Sebastian Silva’s guitar cuts off the top of my head like a cake knife. I almost bought a ticket to W.A.S.P. just to see Unto Others open earlier this year, but then I didn’t, and then they got dropped from the tour (which, honestly, is probably for the best because fuck Blackie Lawless). When Unto Others came to Michigan in November, 2024, there was too little notice for me to make it work. But at least I have Never, Neverland forever, everland. (P.S. To the person who pointed out that when written as a single word the band name becomes Untoothers, I will never forgive you.)
Zeal & Ardor – Greif
Independent
Black metal is largely white. Cartoonishly white when you consider the corpse paint. Then there’s the whole Nazi thing. So I love that Manuel Gagneux, a Black man, basically invented his own genre, combining metal and African-American spirituals and adding in Satanism for good measure. What’s that saying? Art should comfort the disturbed and disturb the comfortable? I think that’s the best way to describe how I experience Zeal & Ardor. I live in the United States and this country is racist as hell. Racist conservatives want to keep kids from learning about our racist past, deny the existence of our racist present, and pave the way for our racist future. And as a cis white woman, I have benefited from the systemic racism that shapes American life. All white people have. Zeal & Ardor doesn’t let me escape that truth, it forces me to confront it. As G.I. Joe used to say, “Knowing is half the battle.” Praise Satan.
Striker – Ultrapower
Record Breaking Records
The Canadian dudes in Striker made one of the best party metal albums of 1987 with Ultrapower. It’s been interesting listening to Striker evolve from the rather straightforward and serious trad metal of Armed to the Teeth to the party-hearty hedonism of Ultrapower. This album is not only really fun, but it’s really fucking good. “Live to Fight Another Day” literally has helped me do exactly that ever since the U.S. elected Trump again like a bunch of fucking morons. From the Reagan-era saxophone that opens “Give It All” to the woah-oh-ohs of “Sucks to Suck,” this is an album that burrows into your brain and, unlike RFK Jr.’s brainworm, airbrushes your insides in neon and gives you life.
Fourth Dominion – Diana’s Day
Independent
I only listened to a couple of Fourth Dominion songs before I ordered Diana’s Day from Bandcamp. The package came decorated with Halloween stickers. Inside a carefully packed box was the CD, a Fourth Dominion sticker, a couple other witchy stickers, a copal gem, and a handwritten thank you note reading, “We put a lot into this record and hope you love listening to it as much as we did making it.” I can say with no hesitation that I do, indeed, love listening to this album. Fourth Dominion makes, um, post-punk goth metal? Think The Cure meets Fugazi meets Unto Others. Meadow Wyand is Fourth Dominion’s singer, songwriter, and bass player. The lyrics are strong (she’s an English major and it shows) and the delivery is heartfelt. Also the cover art, by MarGoat and inspired by Judith beheading Holofernes, is fucking awesome. Just listen to it already.
Judas Priest – Invincible Shield
Epic
It could be said that I am gay for Judas Priest. They were the first metal band I ever saw live. I’ve seen them twice more since then, most recently a mere two weeks after having major abdominal surgery (I bought the ticket well before I knew I was going to need surgery). I was in a lot of pain, but it was worth it. There’s little a Halford-led Priest can do wrong in my eyes (their albums without Halford are not great). So when I first heard “Panic Attack” I was like, fuck yes. Inject that shit into my eyeballs with a side of Wellbutrin, please. This album, especially the title song, gives me strength in these dark times. “All of these songs are part of an invincible shield,” Halford told Metal Hammer in April. “Priest is an invincible shield. Metal is an invincible shield. Our fans create an invincible shield. I just love the visualization. Initially, a shield defends you, but it also lets you push forward.” I feel it and am grateful for it.
Pallbearer – Mind Burns Alive
Nuclear Blast | Review
I’m late to the Pallbearer game. Mind Burns Alive is the first album of theirs I ever listened to in full. I remember Forgotten Days was on a lot of top 2020 lists so I must have listened to at least a clip. Perhaps the wrong clip, because they soon slipped my mind. But when I heard “Where the Light Fades” I was like, wait, hold up, what is this gloriously beautiful sadness? And so, like I have with a number of other bands (Opeth and Soilwork, for example), I started with their most recent album and worked my way backwards, embracing the increasing heaviness. A gateway drug, if you will. It turns out I like drugs quite a bit! Life is full of crushingly sad shit, so I appreciate the beauty illuminating the darkness quality of Mind Burns Alive, allowing us to keep moving forward despite the murk.
Morgul Blade – Heavy Metal Wraiths
No Remorse
I’ve never read The Lord of the Rings. Or played Dungeons & Dragons. Or Magic: The Gathering. Unlike Morgul Blade, I have zero interest in any of those things. But you don’t need a master’s degree in Nerd to love this band. As my wife has pointed out, it’s kind of incongruous that I’d rather die than go to the Renaissance Festival but I dig metal about kings and wizards and shit. I can’t explain it other than to say that when I listen to a band like Morgul Blade there’s no theater-kid in tights following me around calling me, “M’lady.” I guess I like it when people leave me the fuck alone and let me enjoy sorcery and swords on my own terms. I really love Morgul Blade’s trad metal sound overlaid with blackened vocals (and the occasional cleans). I also love that they call themselves a “working class band.” Respect. “Eagle Strike,” the opening song on Heavy Metal Wraiths, is about football. My sister and her family live in Philadelphia and her husband is a huge Eagles fan. In that spirit I say, “Go Blade!”
Glyph – Honor. Power. Glory.
Independent
There’s a benefit of being an early-adopter of a new band. When they come to town opening for a band you do not care at all to see, you can get a spot right up front as the ignorant masses trickle in for the headliner. You also get to leave the show early. Glyph were fantastic live. A lot of fucking fun. One of the guys had a keytar. It was glorious. It was also educational, because I learned that an Alestorm show is also a pirate/nautical cosplay event. To each their own! I was only there to experience Glyph’s shimmering power metal in real life. I dig a good deal of power metal, but the needle has to hit the cheese-o-meter just right and the songs have to be catchy as hell. Glyph hits all the right marks for me. And, according to Spotify, the title song of this album was my #1 most played track of 2024. I don’t think that’s true? But I don’t mind anyone thinking it is.
I Am the Intimidator – S/T
Miserable Pyre
I have a special place in my heart for self-titled albums that include a self-titled song. I have OCD and find going on Spotify and looking for songs to add to my “Trifecta” playlist (which is over 1,000 songs long) very soothing. It is, in fact, how I found I Am the Intimidator, a concept album of sorts that tells the story of race driver Dale Earnhardt. Fun fact: on February 18, 2001, I went to a friend’s house to take them home. The Daytona 500 was on TV. When I stepped inside for a few minutes while my friend got ready to go, I witnessed the crash that killed Earnhardt live on TV. First and only time I’ve ever watched a NASCAR. What are the chances? Probably similar to the chances that a speed-metal NASCAR album I came across randomly would end up as one of my favorites of the year.
Sebastian Bach – Child Within The Man
Reigning Phoenix Music
When I was in junior high I was into mostly, shall we say, the lighter side of metal: Extreme, Southgang, Def Leppard. I still love that stuff and am not ashamed. But when I first heard Skid Row’s Slave to the Grind, a door opened revealing layers of increasing heaviness that I didn’t know existed. I loved it. Sebastian Bach’s voice was just so fucking good. But it wasn’t enough to keep the other guys in Skid Row working with him. I know that Bach still wants to front the band and is bitter about the whole thing, but I hope he can take solace in the fact that every one of his solo albums is better than anything Skid Row did after he left. Child Within the Man is a really good album. I enjoyed it way more than I expected to. Bach’s voice is still great. I suspect there’s some studio magic behind that, but I don’t care. 14-year-old me and middle-aged me are both digging it.
