Top 10 Albums From 2013

10. Palms – Palms

Palms has the greatest elevator pitch of any album on this list: What would happen if Chino Moreno joined Isis? This album isn’t too far off from that. Musically, Palms is mellower than Isis, but it isn’t nearly as dynamic. Some of the songs also drag a bit, but that’s a minor complaint. I’ve always been partial to Jeff Caxide’s bass playing, and his part during the verses of “Patagonia” complements Chino’s soothing voice perfectly. Bryant Clifford Meyer (guitar/keys) and Aaron Harris (drums) distinguish themselves on “Mission Sunset,” which is probably the moodiest and most atmospheric song on the album.

Album Highlight: "Patagonia"

9. Anciients – Heart Of Oak

Heart of Oak is a veritable melting pot that is chock full of all kinds of cool stuff. There’s something for everyone: classic rock intros, blistering black metal verses, throwback vocal melodies, and drawn out Allman Brothers jams. Anciients are able to make this work because they can write songs with catchy hooks and incredible riffs. Album opener “Raise The Sun” sounds like the greatest song that Black Sabbath never wrote.

Album Highlight: "Raise The Sun"

8. Killswitch Engage – Disarm The Descent

When Jesse Leach rejoined the band in 2012 after a ten-year absence, I was excited for his first Killswitch album since Alive Or Just Breathing. Regrettably, Disarm The Descent didn’t come close to meeting my unrealistic expectations, but it’s still an encouraging return to form. The songs haven’t been this catchy since The End Of Heartache. The songs are packed to the gills with tasty riffs and guitar melodies. The highlight of the album is Leach, though. They digitally retouched his voice a bit more than I would have liked, but you can still hear the pain and urgency behind his voice. It’s also nice to have his uplifting lyrics (“In Due Time;” “The Turning Point;” “Blood Stains”) back in my life. People unfairly gave Howard Jones a lot of crap for writing about failed relationships, so I think it’s kind of funny that the best song on this album is a love song. Vide Infra, y’all.

Album Highlight: "Beyond The Flames"

7. Deafheaven – Sunbather

Until I listened to Sunbather, I could never get into black metal. I enjoyed traces of it in other bands’ music, but I couldn’t handle it straight up. Kind of like mayonnaise. Sunbather is different from most other black metal albums in all of the right ways. The guitars are majestic and glimmering, so much so that the music still sounds uplifting and cathartic even with George Clarke shrieking on top of it. The production is crisp and clear; most black metal albums sound like they were recorded in the back of an old van in the woods. The lyrical concept behind the album is refreshing as well; the last four lines of “Dream House” sent a shiver down my spine when I first read them. If you like U2 or Darkthrone, then you’ll probably enjoy Sunbather.

Album Highlight: "Sunbather"

6. Dead Letter Circus – The Catalyst Fire

Dead Letter Circus’ follow-up to This Is The Warning is the most impressive rock album I’ve listened to since high school. The band’s sound is still very similar to their Australian counterparts, Karnivool, but the songs are catchier and not as weird. The music is rich and atmospheric. There is clean guitar that's soaked in delay, and the bass and drums provide contrast with a dirty, growling low end. Kim Benzie’s unconventional voice is probably still a deal-breaker for some people, but this band wouldn’t be as good and the hooks wouldn’t be as strong without him.

Album Highlight: "Lodestar"

5. Revocation – Revocation

Revocation continue to find new ways to keep their modern brand of thrash metal fresh and exciting. The songs on Revocation are heavier and catchier than last year’s superb Teratogenesis EP. “Invidious” gets off to a raucous start that is punctuated by perhaps the most impressive use of the banjo in any metal song to date. Revocation’s music will always be driven by David Davidson’s blistering guitar playing, but drummer Phil DuBois-Coyne’s performance is just as impressive. The best song on the album is also its angriest; “Scattering The Flock” is the best anti-Christian song I've heard in years.

Album Highlight: "Scattering The Flock"

 4. Scale The Summit – The Migration

The instrumental metal scene has become crowded lately, and for the most part, listeners have been rewarded with diminishing returns. Scale The Summit are one of the bands responsible for the scene’s explosion in popularity, and The Migration is both a reminder of that and an illustration of why they will always be ahead of the curve. This record is as immersive as it is diverse. Scale The Summit have finally put out an album with production values that match the quality of the music; The Migration sounds organic and natural. The band’s bassist is finally high in the mix, and it adds to mellower songs like “The Traveler” and “Atlas Novus."

Album Highlight: "Atlas Novus"

3. Last Chance To Reason – Level 3

Level 3 is as impressive as it is bittersweet. The band recently decided to revert to a part-time project, which is disappointing because Level 3 is Last Chance To Reason’s best album by a considerable margin. They reined in their proggy weirdness just enough and wrote songs that are cohesive and consistent. Vocalist Michael Lessard is the star of the album; he showcases variety and range that weren’t present in the band’s earlier work. He also continues the video game storyline from Level 2 in the lyrics; the hero from Level 2 is somehow transported from the digital realm into our world. Anything that nerdy is bound to please me. “This can’t be the end / there has to be more.” Indeed.

Album Highlight: "The Artist"

2. The Ocean – Pelagial

The Ocean have a more holistic approach to music than any other band that I know of. No band has put more care into concept, composition, production, and packaging than The Ocean. Somehow, band mastermind Robin Staps outdid himself again on Pelagial, the album that will be remembered as The Ocean’s masterpiece. Staps originally envisioned Pelagial as an instrumental album and as one continuous piece of music. Musically, he wanted the album to represent a journey from the surface of the ocean to its lowest depths. As the listener traveled “deeper,” the music would get darker and heavier.  The journey is not linear, though. Each song is richly textured and filled with atmospheric flourishes like classical instruments and myriad aquatic sounds.

Fortunately, Staps decided to include Loïc Rossetti on the album when the vocalist learned he was no longer in danger of permanently losing his voice. This also allowed Staps to add a lyrical concept to Pelagial that serves as an allegory to an oceanic descent. The lyrics are loosely based on the film Stalker, where three protagonists travel to a zone where one’s innermost desires are believed to come true; however, as they come closer to their destination, each traveler is confronted with the notion that he may not even have control over his own wishes and desires. The synergy between the album’s concepts is just icing on the cake, though. Pelagial is the most impressive and rewarding listen of 2013.

Album Highlight: "Hadopelagic II: Let Them Believe"

1. Intronaut – Habitual Levitations (Instilling Words With Tones)

Pelagial is the best album I listened to in 2013, but it’s not my favorite. Intronaut and The Ocean are two of my favorite bands, and while both of them love to push the envelope with their music, they do so in their own ways. The Ocean pursue a grand and dramatic vision with their music; Intronaut try to do something different on every album. Habitual Levitations is their most mature album to date, and it's no coincidence that it’s also their lightest, pun not intended. It’s a prog rock album, and there isn’t one scream to be heard. Habitual Levitations sounds like Alice In Chains would have if they ate a bunch of mushrooms and listened to Tool and jazz. Album opener “Killing Birds With Stones” is comprised of seven or eight different parts, but Intronaut are talented enough musicians and songwriters to make it sound like one cohesive piece of music. The last minute of the song still gives me goosebumps when I listen to it. “Sore Sight For Eyes” wouldn’t sound out of place on rock radio, and its bridge presents the most dramatic moments of the album. “Harmonomicon” most closely mimics an Alice In Chains song, except with a bossa nova jam added on the end. “Milk Leg” starts out with some awesome syncopated grooves and ends with an extended jam session where all four members are doing their own thing.

On Habitual Levitations, Intronaut have finally tapped into the potential that they have hinted at in the past. The sung vocal harmonies, reverb and delay guitars, and jazzy and unconventional rhythm section blend together seamlessly to comprise a whole that is much more than the sum of its parts. 

Album Highlight: "Killing Birds With Stones"

2013 Music Review: Part 1

VOCALIST OF THE YEAR

Loïc Rossetti – The Ocean 

The Ocean have always been heavy, complex, and unconventional, but for a long time the band lacked a vocalist that was as versatile as its music. That changed when Loïc Rossetti auditioned for the band in 2009. After a superb showing on The Ocean’s twin 2010 albums, Rossetti’s performance on this year’s Pelagial affirms that he is one of the best vocalists working in metal today. Frontmen that can both sing and scream credibly are rare, but a vocalist of Rossetti’s stature is even harder to come by. His singing voice is full-bodied, flexible, and smooth. His screams and growls can be just as visceral as those found in death metal songs. Interestingly, Rossetti doesn’t write lyrics until after he figures out vocal patterns and arrangements, so he just sings whatever comes to mind at first.  The Ocean will always be Robin Staps’ band, but I believe that Rossetti has become The Ocean’s other indispensable member. His continued growth as a vocalist and his chemistry with Staps will prove vital to the band’s future, especially as it continues to weather lineup changes.

GUITARIST OF THE YEAR

Chris Letchford – Scale The Summit

Scale The Summit’s self-described brand of “adventure metal” has earned the band praise from critics and a growing legion of fans. Every member of the band is incredibly talented, but Chris Letchford still manages to stand out. He is a gifted, formally trained guitarist who employs a variety of techniques in his playing. However, while many skilled players give in to temptation and just mindlessly shred or noodle about on their instruments, Letchford showcases his abilities within the confines of well-written and memorable songs. His two-handed guitar tapping at the beginning of "Atlas Novus" is soothing and gentle, and it sets the tone for a pensive, tender song. Letchford’s playing is more straightforward on album opener "Odyssey," but he also mixes in some tapping and sweeps. He has written three instructional guitar books already, and he regularly posts play-through videos on the band’s YouTube account. Letchford has already cultivated an impressive body of work, and there’s still much left for him to accomplish.

BASSIST OF THE YEAR

Joe Lester – Intronaut

Joe Lester makes up half of one of the strongest rhythm sections in metal today. His playing is highly original, and it is heavily influenced by jazz. He makes a variety of sounds with his bass, and my personal favorites are his pull offs that sound like a trombone with gas. He’s fearless and creative, which is fitting because Intronaut are one of the more fearless and creative bands in progressive metal. Sometimes he will play a samba part while the guitarists play power chords. Other times he will just double up what the guitarists are doing. He really shines when the band goes into an extended instrumental passage where they build upon and explore a seemingly simple groove, like the outro on “Milk Leg.” One of the joys of listening to Intronaut is discovering the little flourishes and subtle patterns lurking in the backgrounds of their songs. I always try to find Joe’s parts first, and I’ve never done that for a bassist before. 

DRUMMER OF THE YEAR

Danny Walker – Intronaut

Danny Walker is the other half of Intronaut’s wickedly creative rhythm section. He’s undoubtedly one of metal’s most talented drummers, and I’d argue that he’s more versatile than most of the genre’s top performers. While he primarily spends his time playing around with odd time signatures and grooves in Intronaut, he is also an accomplished grind and death metal drummer. He still manages to sound like himself across all three of these disparate styles. His playing is at times unconventional and unpredictable. He doesn’t do crazy fills like Brann Dailor, but he’ll throw in a crash symbol or a kick drum that seemingly makes no rhythmic sense before you discover that it’s just part of his mad plan. I’m still trying to figure out everything he does during the chorus and bridge of “Australopithecus.” He’s certainly capable of rolling off some impressive fills when a song allows it, but he’s able to exhibit his creativity and unpredictability while also providing a solid rhythmic base for the rest of the band. His tom and snare pattern at the beginning of “The Way Down” is soothing and complex. His performance on “Killing Birds With Stones” is as masterful as it is diverse, but my favorite part is at the end of the song where he alternates the beat every other measure. Job For A Cowboy recently announced that Danny will be recording drums on their upcoming album. I’m excited for him, and I can’t wait to hear it. 

FAVORITE MUSIC VIDEO

“Bathyalpelagic II: The Wish In Dreams” by The Ocean

The Ocean’s first-ever music video is pretty straightforward. Clips of the band performing are interspersed with bits from Craig Murray’s immersive Pelagial film. It’s always a joy to watch The Ocean play, but I will admit that Loïc Rossetti looks goofy without a microphone to sing into. The song itself is very catchy, and it’s also one of the shortest songs in the band’s discography. However, be warned: it does contain nudity.

FAVORITE ALBUM COVER

Sunbather by Deafheaven

The cover artwork for Deafheaven’s sophomore album is beautiful and iconic. Touché Amoré guitarist Nick Steinhardt designed the cover, and its rich colors are meant to illustrate what you see when you look at the sun with your eyes closed: assorted hues of pink and orange. It also complements the music perfectly. 

5 MOST ANTICIPATED 2014 RELEASES

1. Mastodon – TBA

After spending two solid years touring in support of The Hunter, the Mastodudes have finally settled down to record their next album. I’m anxious to see where they’re headed. I enjoyed The Hunter, but I felt that it wasn’t as good as the band’s other full-length albums. I’m selfishly hoping the next album is grand and epic, which is what drummer Brann Dailor hinted at earlier this year. Mastodon have chosen Nick Raskulinecz as their producer. He has an impressive discography, but his recent work with Deftones is reason enough to be excited. The band just entered the studio, and they reportedly have “21 or 22” songs to choose from. It really doesn’t matter what direction they go in; I’m just happy to be along for the ride.

2. The Atlas Moth – The Old Believer (TBA)

An Ache For The Distance is an incredible album. It’s impossible to succinctly describe what The Atlas Moth (pictured above) achieved on that record, but the music is dark, heavy, and epic. It is immersive and atmospheric with just the right amount of black metal crustiness. Every song is packed with lush guitar melodies and eerie keyboard parts. The interplay between Stavros Giannopoulos’ shrill, molten screams and David Kush’s haunting, mournful singing only adds to the atmosphere. The band is now in the studio, and there hasn’t been much other information yet. If they come anywhere close to matching An Ache For The Distance, then The Old Believer will be the same breakaway hit that Deafheaven’s Sunbather was this year.

3. The Contortionist – TBA

Nothing official is in the works yet, so this is just wishful thinking on my part. The band’s last album, Intrinsic, was a pretty big departure from their debut, Exoplanet. Intrinsic was an infectious blend of death metal and progressive metal that saw the band borrowing from Cynic, Isis, Deftones, and Between The Buried And Me in equal measures. After vocalist Jonathan Carpenter admirably stepped down from the band to start a family, The Contortionist invited Michael Lessard to replace him. I was disappointed when Carpenter left because he is a great vocalist and keyboardist, but seeing the band perform with Lessard a few months later eliminated any concerns I had about the band’s bright future. He is an electric live performer, and his work on this year’s Last Chance To Reason album has me really excited about The Contortionist’s third record.

4. Animals As Leaders – TBA

2011’s Weightless was an enjoyable album, but it was a disappointment in comparison to the band’s self-titled debut. The musicianship was remarkable, but the songs weren’t really memorable at all. I’m not sure exactly what was missing on Weightless. I’m still really excited about its successor, though. The band is in the studio right now, and Periphery guitarist Misha Mansoor is producing the album. Mansoor produced Animals As Leaders; he programmed the drums and atmospheric sounds while Tosin Abasi recorded all of the guitar and bass parts. I’m hopeful that with Mansoor back in the fold, Abasi will be able to recapture the magic that made Animals As Leaders such a seminal record.

5. Intronaut / The Ocean / Deftones / Baroness - TBA

In a recent interview, Sacha Dunable mentioned that Intronaut is hoping to release their next album by the end of 2014. The gap between Habitual Levitations and their last album, Valley of Smoke, was roughly two and a half years, so I’m cautiously optimistic about this. Of course, Intronaut putting out two albums in consecutive years would be a welcome development. Earlier this year, Robin Staps announced that The Ocean is going to work on two songs left over from the Pelagial sessions and release them as an EP sometime in 2014. Here’s to hoping that they are longer songs. Deftones posted this picture on Facebook last weekend. It might be nothing, but Deftones fans are all hoping that it’s some kind of tease for Eros, which has been shelved since Chi Cheng’s tragic accident in November 2008. Baroness has also recently teased its fans by posting a photo on Facebook. That photo was taken from inside Converge guitarist Kurt Ballou’s recording studio. After the band’s future was cast in doubt by a terrible bus accident last year, I could definitely see John Baizley and company being eager to record the follow-up to the superb Yellow & Green.