Top Albums ov 2024 w/ Gage & Brock Samson!
Oh, you’re back for more lists? You epicurean. You glutton! Very well, we are a kind and generous Toilet, even to the detriment of our audience. On this, LISTMANIA 2K24 DAY 2, we sacrifice your savings at the twin altars of Gage and Brock Samson. If you manage to sail through this soiled strait with funds intact, you didn’t read carefully enough. Back to the front!
Gage
This year has been an unusual one for me musically; at the beginning, I kept feeling like my library was getting stale and I was pigeonholing myself into a specific style that kept getting harder and harder to find more of. With that in mind, I decided to take a step back and start just listening to all kinds of things that I wouldn’t normally get to. I think my list reflects that well; as diverse and eclectic as my top 10 is this year, I think each album fully deserves its place.
Logic – Ultra 85
Bobby Boy, Three Oh One, BMG
Aight hear me out… I figure I’ll get this one out of the way first just because it’s the one the most people will shake their heads at, so let’s rip that band-aid off.
I have never once in my life prior to the release of this album listened to anything Logic has put out and enjoyed it, but this album is special. This is a very introspective record with heavy emphasis on the struggles of growing up biracial and being outspoken about mental health in a crowd where that’s generally discouraged. Rather than continuing to chase the limelight offered by commercial success, he took a step back and made something more substantial, and even more importantly, something for himself. As a concept album, this one follows two main characters by the names of Captain Quentin Thomas and Private William Kai floating through space in search of a habitable planet due to the destruction of Earth. There are various skits throughout the album with the two characters coming to terms with their situations in a very campy, comic relief-heavy type of way, interlaced with songs from the album the captain is playing—which happens to be the album we’re listening to. The production is fantastic, the lyrics are meaningful and impactful, and the campy skits give good comic relief for the emotional heaviness of the tracks in this record. You don’t need to agree with me that this album is good, but I seriously recommend giving it a chance. It may not be the type of thing you’d normally listen to (it isn’t for me either) but you may just end up liking it. I know I did.
Aborted – Vault Of Horrors
Nuclear Blast Records | Review
Back to our regularly scheduled programming. This record is fucking nuts, balls to the wall insane death metal ragers back to back to back to back for 10 tracks of absolute gruesome brutality. Ever wanted to hear the sound of a thousand souls being scraped violently down to hell? Ever wanted to know the feeling of being run over by an 18-wheeler practically severing your body in half? If you answered yes to either of those questions, I think this is as close as you can get with an auditory experience. I’ve probably listened to at least one track from this record every time I’ve been to the gym since it came out; if you’re looking to just turn your brain off for a while and listen to something abrasive at above safe-volume levels this one is for you.
Heriot – Devoured By The Mouth Of Hell
Century Media | Review
I’ve already spoken at length about this record, but given that it was my first 5/5 review, I figured it deserves a spot on my top 10 as well. It’s been a while since its release now and the initial excitement has died down a bit, but my feelings about this one haven’t changed. I think that this album is masterfully crafted; it’s a very rare situation where I don’t think it’s missing anything. For being a shorter album I’m still impressed by how long it feels and it’s a very cohesive project that I think is best enjoyed all the way through. There’s a bit of everything on display with this one: there’s heavy neck-breaking sludgefests but also more chill tracks that provide a breather between the more dense and experimental ones. I could keep talking but I think you’re better off just giving that song below a listen. If you do want to know more about my thoughts on it check out my full review!
Sorcerer – DEVOTION
Frozen Records, Deliverance Records
Where to even start with this one… I found it not long after it released back in April, and didn’t really have any expectations for it. I listened through it once and didn’t really feel a connection, but something in the back of my mind kept drawing me to it so I gave it another go. Since then it seems like every time I listen to it I find even more that I absolutely adore about it. I had never heard of Sorcerer before; they’re a hardcore band from France with a modest following mostly based in the EU. I normally wouldn’t have thought to give it a chance but some combination of the artwork catching my eye and feeling like I needed something new to listen to got me to go for it. While it’s definitely a hardcore album, I think that’s selling it a bit short stylistically: the vocals are raw and aggressive in a way I’m not used to from any genre, and the instrumentals are very unusual for a hardcore album, much more melodic and impactful than most. This record continues to impress me nearly 8 months later and probably will continue to do so for quite some time.
DREGG – The Art Of Everything
Epitaph Records
This is a weird one—another hardcore album, although this time from a band based in Australia. Stylistically, I’d say it falls somewhere between hardcore and nu metal with various ties to both, but it also has some very experimental parts: the main guitar line on “Transparent,” which sounds like it was written by some art rock indie-head who just learned how to use distortion, or the instrumental from “Butterscotch Biscuits” which somehow makes me feel like I’m streaking down the sidewalk in a suburban neighborhood drunk at 5AM on a Sunday morning. The only reason I didn’t review it when it came out is because frankly, I don’t think I even know how to describe it accurately. Just listen to it, I promise it’ll be fun.
Job For A Cowboy – Moon Healer
Metal Blade | Mini
I’m not even gonna lie, this made it on the list almost entirely because of their bass player. Tech death isn’t usually my jam, but this record is a big exception to that; it has all of the best qualities of the genre with insanely detailed, highly complicated instrumentals but with a melodic quality that I’m not used to within the tech subgenres. Especially on the track “Grinding Wheels of Ophanim,” the bass is so juicy and well-executed I just can’t get enough of it. The guitar work and drums are also nothing to scoff at; everything is timed perfectly and the guitars are laser-precise. The whole record is just so enjoyable to listen to that I don’t know how it wouldn’t belong in my top 10.
Darko – Starfire
Independent
If you’ve heard Darko before, you already know what you’re getting into with this one, but if you haven’t, allow me to introduce you. Darko has got to be one of the most insane industrial deathcore projects I’ve ever heard and with each subsequent album release they somehow manage to make it even crazier. Violent, distorted synths; 8-string guitars tuned lower than the human hearing range; world-class vocals; drums that sound like gunshots going off—what else could one possibly ask for? There are a handful of slower, more artsy tracks that I don’t love, but the record is 19 tracks spanning well over an hour and they release an album almost every year, so I’m not going to count those against it too harshly. This is another one of those turn your brain off and let the music take you type of albums, and I love it for that.
Knocked Loose – You Won’t Go Before You’re Supposed To
Pure Noise Records
Anyone around the Bowl who knows me won’t be surprised to see this one here; Knocked Loose finally released their third album after 5 long years, and it’s easily the best one so far. High-pitched shrieking vocals coupled with arguably over-distorted guitars has always been like bread and butter for me; aside from that I’m also happy to see a modern band keeping the original Converge-esque metalcore style alive. This record is just unapologetically brutal in all the best ways. It’s great for when you’re pissed off and need an outlet. It may be short, but by no means does that make it worth overlooking.
Better Lovers – Highly Irresponsible
SharpTone Records
This band is to Every Time I Die what Audioslave was to Rage Against The Machine. It’s the same band but with a different vocalist and an extra guitarist. Unlike Audioslave, this band maintains almost all of the style of the original but with Greg Puciato (Dillinger Escape Plan) on vocals and Will Putney (Fit For an Autopsy) on second guitar duty, making it arguably even better. It’s just pure adrenaline-fueled hardcore with a message to deliver and some of the best musicians in the world behind the wheel. It’s an easy recommendation for anyone that enjoys hardcore, and I can’t wait to see where they go from here.
Fit For An Autopsy – The Nothing That Is
Nuclear Blast Records | Review
Fit For An Autopsy has been a mainstay in my music library for quite some time now. I still think their best album is Oh What The Future Holds, but this new one is definitely no slouch. Pat Sheridan and Joe Badolato have got to be one of the best vocal duos in not just deathcore, but all of metal these days; the way Joe can make such harsh noises feel so melodic while Pat fills in the background with flawlessly executed cleans is something to behold. On top of that, the guitar work they seemingly never stop improving on is some of the best in the industry, planet-crushingly heavy while still being delicately nuanced. Not a lot of bands especially in deathcore are particularly innovative, but I think they do it better than just about anyone else. In a lot of ways the songwriting actually reminds me of Gojira but with the intensity cranked to 11. I’ve always said that I like an album that takes me somewhere and this one definitely does, with bleak, desolate imagery coupled with wicked melodies. If songs like “Red Horizon” don’t make you feel something in your heart, I don’t know what would.
Brock Samson
Approaching the end of each year is always accompanied by lists stating just how difficult it was to whittle one’s selections to a tight list of just a few entries. Well, since I certainly lack in creativity, allow me to explain to you just how difficult a year it was. I maintain a running list throughout the year for each release that I enjoy, including splits, demos, and EPs. In this year of our Underlord 2024, there were over 100 releases that made the esteemed list making the top 10 quite the task to wade through and decide upon. I was forced to leave off stellar records from such acts as Ulcerate, Convulsing, Mitochondrion, Aseitas, and Serpent Column. But let us stall no further. Here it lays before you to sift through and adjudicate. Enjoy!
10. Concrete Winds – S/T
Sepulchral Voice Records | Mini
War metal tends to be quite the divisive genre within the over-arching umbrella of extreme metal, and for good reason. However, the mad Finnish lads behind the death/black/grind/war monstrosity that is Concrete Winds bring all the noise, but with a level of precision and musicianship rarely seen by their fellow sewer dwellers. Harsh, abrasive, and unrelenting, the self-titled third LP from this duo wastes absolutely no time in attempting to kick your teeth in. In less than 25 minutes, all 9 tracks almost feel hostile to the listener, and that is something I consider high praise.
Along for the ride of standard blasts and noisy chords, there are a plethora of sloppy shreds, dive bombs, and mind-warping riffs that never let the pace slow or your attention wander. There does not exist such unnecessary tropes as atmosphere or nuance. Concrete Winds is a blunt instrument used to perform precise processes. The ride is over quick, but your mind and body will feel the effects of this auditory assault with no remorse from the perpetrator.
9. 
Ὁπλίτης –Παραμαινομένη
Independent | Disso Feature
Before Serpent Columnmade a surprise comeback, and with its successor Theophonos not quite scratching the itch, in stepped Ὁπλίτης, a one-man spectacle hailing from China. If you are at all aware of this project, then you likely know that its sole member J.L. is a busy individual, releasing 4 albums in 2023 across 2 projects. To follow up this insane output, he has decided to slack off with a measly single LP this year; however, Παραμαινομένη is the most hard-hitting, experimental, and fabulous release yet. If ADHD black metal was not a thing prior to this, it definitely is now. Seamlessly switching between ideas, riffs, and progressive components, there is little time to think about what you just listened to before the next idea besets you.
Adding to the frantic pace and skronk-ridden execution is a hearty dose of saxophone and even an occasional synthesizer. Music this frenzied can definitely be a turn off for many, but there remains enough catchy riffing and chugs to maintain one’s sanity. Sounding like a full band as a singular musician is no easy task, but Ὁπλίτης pulls no punches and leaves you with a sense of awe and admiration as to where the continuation of one-man underground black metal is headed.
8. 
Cosmic Putrefaction –Emerald Fires Atop The Farewell Mountains
Profound Lore Records | TTT
In the landscape of cosmic death metal, 2024 was the year of Blood Incantation due to their underground darling status that has slowly but surely seen them rise to the top of the extreme metal pantheon. BI has also delved deep into the realm of progressive music to pair with their metal output, serving to assist in their growth and notoriety. However, in my lowly opinion, there was another cosmic death metal offering that was released on the same day that is the superior choice. Cosmic Putrefaction is the output of sole mastermind Gabriele Gramaglia (G.G.) and his project’s 4th album feels like an exercise in precise execution of brilliant, yet punishing ideas.
As where BI decided to travel down the path of spacey prog rock and atmosphere, Cosmic Putrefaction leans in much heavier on the death meal components that are sprinkled with cosmic toppings. Heavier hitting and less meandering, Emerald Fires Atop he Farewell Mountains goes straight for the jugular while also embracing you on a harrowing journey through the terrifying cosmos—simultaneously presenting a sonic package as dense as a singularity and deft as the instruments required to view our universe.
7. 
Acathexis – Immerse
Amor Fati Productions
DSBM is a tricky and often goofy sub-genre of black metal that is more often than not executed in an embarrassing manner. So, for a band that falls under the purview of said styling to make an album this good is no minor feat. Acathexis is the result of 3 international members across 3 different continents combining their musical talents into something that is haunting and oppressive, yet emotional and warming. Carried by the stellar drumming of Jacob Buczarski (USA), guitar chops of Déhà (Belgium), and the inhuman shrieks of Danny Tee (Argentina), Immerse is a journey into the psyche of man and its struggles therein. Only 4 tracks in length, but with a runtime of nearly 50 minutes, here is an introspective assault on happiness and well-being.
Immerse is an experience, as it uses the wall of noise style of playing, but there isn’t anything muddled or left out. Each note is clear in the mix, but it still contains a massively abrasive edge. Despite the density of the sound waves coming at you, there exists beauty interwoven into each track as well. The opening song “Dreams Of Scorched Mirrors” might just be my single most listened to song this year due to its emotional heft, punishing production, and melodic climaxes that simultaneously make my mind soar and wallow. Now this group just needs to not wait another 6 years in between releases.
6.
Eye Eater – Alienate
Independent | Disso Feature
One of my favorite experiences in life is when something new comes around and makes me stop in my tracks—especially if it’s something that I normally turn my nose up towards. In this case, this year’s surprising experience came in the form of a dissonant melodic death/djent release from the New Zealand-based upstarts Eye Eater. There is so much about their debut Alienate that should not work for me, but the album simply does, whether using moody atmospheres paired with djenty chuggs or occasional clean vocals with bouncy rhythms. Normally, my deep down elitist side would scoff at such things in my metal, but the expertise with which these Kiwis play cannot be ignored.
A truly engaging listen from beginning to end, Alienate is both warm and unwelcoming to the listener. It’s as if Ulcerate decided to pull back on their style slightly to focus more on intricate melodies and head-banging grooves. A truly underground release as well with no listed band members, previous project information, or anything. Just a mysterious project casually dropping one of the single best records of 2024, and I have nothing but respect for that.
5.
Replicant – Infinite Mortality
Transcending Obscurity Records | Disso Feature
Weird and gross death metal. What more do I really need to say about this New Jersey-based outfit that continues to impress the unwashed and unloved masses of metalheads yearning for vicious and genre-pushing creations? I stated previously that Infinite Mortality is possibly the dumbest yet smartest death metal release of the year, and I still stand by that. It’s chock-full of riffs that hemorrhage the innards before smashing them with the unique but perfectly fitting shrieking barks of the vocalist. Constantly twisting with stand out moments in each track, this is a ride of dissonant, brutal, and technical savagery that sank its meaty hooks into me immediately and never let go.
Large swings are attempted throughout the runtime and it truly feels like each individual idea implemented works to grotesque perfection. Replicant have laid their latest offering to us ever-demanding listeners and have cemented themselves as a true genre-pushing entity that feasts upon our sanity. Just try and not windmill your arms repeatedly listening to this. Being so gross and heavy has rarely been this tight and enjoyable.
4.
Saidan – Visual Kill: The Blossoming of Psychotic Depravity
Jems Label
Japanese visual kei/melodic black metal duo hailing from Nashville, Tennessee. Yes, you read that sentence correctly. If you are unaware of visual kei music like I was, allow me to bring you up to speed. It is a term used to describe music acts that utilize extravagant and even over the top costumes that originated in Japan in the early 1980s. With that out of the way, Saidan have dropped what I consider to be the most catchy and relistenable melodic black metal release of the year. You want cheesy visual aesthetics? Done! Looking for melodies and riffs that are real ear worms? Look no further! How about technicality and shredding as well? Saidan has got you!
Every single track on Visual Kill is catchy, yet haunting in a the way only raw(ish) black metal can be. Although a bit rough in the production, there are so many parts of this album that have gotten stuck in my head several times. There is also a heavy amount of guitar heroics with shredding solos that fit perfectly into the music rather than overpowering the songs. Beautiful, melodic tremolos paired with raspy shrieks and powerful blasts. Man, what a joyous ride from beginning to end despite the Japanese horror-based lyrics and break-neck pacing. The cover art certainly helps this release stand, thanks to the work of Kelly Lu. Fun and harrowing, what else could you ask for?
3.
Apparition – Disgraced Emanations From A Tranquil State
Profound Lore Records | Death Doom Article
2024 has been a stellar year for metal of the death/doom variety, but standing atop the hill at the end could have been none other than Apparition. Even in a year where other stalwarts released amazing albums including Funeral Leech, Tzompantli, and Hamferð, Disgraced Emanations From A Tranquil State emerged victorious by seamlessly combining death metal tropes with punishing doom sections and technical guitar work above most of their peers. This Los Angeles-based trio held nothing back in crafting a meticulous album from the first note to the final guitar ringing.
They always know when to pull back the pummeling, slowing things down to weigh upon your consciousness; every head-banging moment and steady crawl feels earned rather than implemented simply because that’s what the genre calls for. Endlessly heavy, but not off-putting at any point, Apparition have crafted the perfect pairing between slow and fast, flattening almost all in their path.
2.
Leprous Vortex Sun – Шум небытия
Independent | Disso Feature
If I were to to describe the second LP—the first in 8 years—from this Belarusian project, it would simply be this: darkness in auditory form. Though I was unfamiliar with Leprous Vortex Sun prior to this year, the impression that was cast immediately upon me simply could not be ignored. An exercise in chaos and unsettling weariness, Шум небытия is a hallucinogenic nightmare packaged as a musical release. There are no such simple things as riffs and song structure. Each track is an entity of horror that wraps its indecipherable limbs around you as the light recedes from its very presence.
Despite the entire album being in Russian, the message of inexorable bleakness delivered here is crystal clear. A dizzying display of guitar work more akin to a panic attack than notes being played, a drumming assault that drives the tracks into unforeseen territory, and blackened wails of hatred all combine to deliver one of the year’s most devastating listening experiences. This is not a listen for the weary, but doing so will reward you as a true connoisseur of dissonant offerings.
1.
Ceremony of Silence – Hálios
Willowtip Records | Review
How could it have been anything else? These Slovakian black/death metallers have taken everything that was great from their 2019 debut and sharpened each aspect to an exact point. A swirling display of intricate guitar and drum work that seems to flow off each other as much as they crash together for domination; subtle bass in the undertow that assists in guiding each section; vocal delivery that acts as a summoning chant to ancient and otherworldly beings. Just like its album cover, Hálios is the perfect joining of something beautiful yet daunting—a journey through Indo-European mythology that embarks the listener on a harrowing yet triumphant adventure.
No other album this year has captured my attention and infatuation like the one Ceremony of Silence have crafted. Even if I wanted to listen to just a single song, I always found myself continuing through the entirety of Hálios just to experience each nuance and its bombastic execution. This feels like an old, wise storyteller from a time long passed portraying legends of an era lost to the modern world while gales and rain of tremendous force crash around you. What an experience, and what an album.
You can check out Listmania 2k24 Day I here!
