Every year, I always feel the need to contribute my opinion on what band or artist blew my mind with their musical offerings, and by the gods, is it always a difficult task. Yes, I know, it’s already March of 2011 and I am absurdly late, but I tend to take my time with these things, as it is serious business, goddammit. I feel the need to get the word out that there is incredible music coming out every year if you only take just a little bit of time to search rather than stick with what the mainstream is shoveling out with its Lil Waynes and Justin Biebers. So while trying not to get too fancy with my words, without further ado, here are THE top 20 music albums of 2010, and man, was it a damn good year.
20. Ludicra – "The Tenant"
Originally, I wasn’t quite sure how I felt about this album. On one hand, there are a lot of black metal roots and the monstrous mid to high pitch vocals just screams for the attention of hardcore black metal fans. On the other hand, there is so much more going on with the riffs rather than distorted, low quality rawness that fans of the genre are used to. Actually, “The Tenant” has pretty excellent production and works very well with what Ludicra is trying to accomplish here. A ton of the riffs on the album feel like they should be used in a heavy metal album instead, which make me pick out subtleties on each song that remind me of bands like Slough Feg and Hammers of Misfortune, acts that guitarist John Cobbett is associated with. We even have soft female vocals that just call out Hammers, as well as soaring guitar solos and audible bass lines. That’s all well and good, but does it impact the final product? Does it lose focus because Ludicra is a heavy metal band trying to sound black metal? I think not. I would even say that they are successful in grasping the essence of what black metal should be. “The Tenant” is a very strong effort from Ludicra and something I hope they continue. I don’t listen to Ludicra as much as others, but with this album, I find myself excited to investigate their earlier works as well as looking forward to the next few years and releases. San Francisco surely has a talented metal circle.
19. Reflection Eternal – "Revolutions Per Minute"
Alright, so I’m going to be honest with you guys here. I think Talib Kweli is an extremely talented MC whose rhymes are pretty dope. But I have to admit that I find most of his beats to be hit or miss and consider his solo efforts to be average at best. However, that’s not to say I don’t like any of his work, though. When Talib Kweli does collaborations with guys like Mos Def and DJ Hi-tek is where he truly shines and shows his full potential. In this excellent case, it’s Kweli’s collaboration with DJ Hi-Tek, Reflection Eternal and their latest album “Revolutions Per Minute”. While I don’t think this effort is as good as “Train of Thought,” Talib and Hi-tek still manage to give us some of the best beats I’ve heard in a hip hop album in a long time, and we’re talking about a 10 year difference between the two album releases. Not only are the beats pure bliss, songs such as “City Playgrounds” and “Ballad of the Black and Gold” show off how creative and on point these guys still are. Like I said, Talib’s full potential comes out in his duos and his rhymes are both eccentric and smoothly connect with each verse. This is, in essence, how a hip hop album should be made. It is essential that people who limit themselves to listening to Lil Wayne or Soulja Boy need to understand that this commercial garbage is NOT hip hop and never was. It is these figures, as well as the big time labels who limit their artists, that has pushed pure hip hop into the underground. Perhaps, it’s for the best though, at least for now. We wouldn’t want corporate labels to dumb down good hip hop, right?
18. Immolation – "Majesty and Decay"
One of the best shows I’ve ever been to was in Oakland’s Grand Ballroom, year 2008. Belphegor, Immolation, and Rotting Christ played the night and literally destroyed us. But from all the bands, it was Immolation that had me the most impressed, and I hate to say it, but at that time, I was not much of a fan at all. Before the show, I had always written this band off as a generic death metal act, and perhaps some people may still think so. But there’s no denying that Immolation may quite possibly be the most talented death metal band to ever form. When I got their latest album “Majesty and Decay,” I had already grown a bit weary of death metal music (I tend to do this from time to time) and wasn’t very excited to take the album for a spin. Little did I know that this album would eventually take me for a spin into a filthy abyss of pure death and reinvigorate my interest once again. “Majesty and Decay” continues Immolation’s formula of well-executed death metal that grows on you with several listens. As a casual fan of death metal, I really do appreciate the well timed subtleties in each of their songs that get you to come back for more. From the oddly timed drum fills that work very well to the incredible guitar work of Robert Vigna and Bill Taylor, Immolation once again manages to create a death metal opus worth noting in a world full of cloned death metal acts. Oh, and did I say how great the production of this album is? Man, they really got it right this time around. Immolation continues to stay on my death metal big three: Nile, Origin, and these guys. Keep rockin’.
17. Rakaa – "Crown of Thorns"
Okay, first off, I’d like to thank the product that introduced me to Rakaa. I wouldn’t have known about this guy if I didn’t start playing NBA2K11, which has a pretty decent soundtrack. Like Reflection Eternal’s “Revolutions Per Minute,” Rakaa’s “Crown of Thorns” is a pure hip hop album that adds, in my opinion, catchier hooks, making this album a little more fan-friendly. Of course, I highly doubt you’ll be hearing Rakaa on MTV or BET anytime soon. Anyways, while the lyrics are very well written and the beats are what I can only describe as “dope,” the first thing anyone is going to notice is the heavy hitting bass that slaps you in the face on almost every single song. Yes, this album is not for the unfortunates with sensitive hearing, as even deaf people could hear the bass…well, maybe not, but they would certainly feel the vibrations. While that’s definitely an aspect that caught my attention, as I LOVE heavy bass when used right, going back to the lyrics, Rakaa makes it obvious that his inspirations are drawn from his spiritual background. I always enjoy a rap artist who isn’t afraid of letting his/her listeners into his personal world, and Rakaa gives a very stimulating experience to his fans, drawing from both life and nature. I will say this with the utmost confidence. “Crown of Thorns” is not an album any hip hop fan should miss and I urge all of you to seek this out. Get to it, or consider yourself a fool.
16. Daughters – "Daughters"
I admit that I haven’t liked, or at least been interested, with Daughters since “Canada Songs” was released in 2003. That album was brilliant, and I have not found any album or band that managed to get me so excited for the genre of noisecore. However, when “Hell Songs” was released, I was left disappointed with an album that seemed confused, as if they wanted to change their sound, but wasn’t sure how to execute it, which resulted in an ultimately incomplete effort. While the album wasn’t as bad as some people say, I did understand the division of fans who disliked “Hell Songs.” It’s an album that I can’t even listen to in one sitting and that does not bode well in the noisecore genre. So when Daughters released their self-titled in 2010, I entered the experience with lower expectations, which may have helped me with the verdict. “Daughters” musically is closer to “Hell Songs” but with far better execution. The songs are much more drawn out, but manage to keep that deliciously frantic approach that “Canada Songs” used so well. Maybe this was what Daughters’ wanted “Hell Songs” to be. Either way, I was pleasantly surprised with their self titled and enjoy every second of it. For hardcore Daughters fans, it may still be a long shot, but like I said, you may be surprised with your reaction. I won’t call myself a hardcore Daughters fan, but I was one of the “Canada Songs” fanatics and there’s a lot to like with this new one.
15. Ghost – "Opus Eponymous"
Are you ready for some ultra-hyper, horrific, murderously satanic heavy metal occult destruction?! Well, surely, Ghost’s “Opus Eponymous” and their super evil ideologies are the answer for you! Actually, the answer to that is a firm NO. I’ve read several reviews of this album, emphasizing how evil these guys are and how satanic this album is. But what I hear is an extremely well made rock album created by a bunch of guys who just want to have fun like we were still in the 70’s or 80’s. While the ritualistic lyrics about Satanism definitely add to this belief that these guys are the epitome of pure evil, just one listen will make people realize otherwise. I mean, come on…the 70’s nostalgia? The B-horror feeling? The catchy pop-vibe? There were points where I even heard Beatles influence in the music. Keep playing those cheesy organ keyboards! They’re damn epic, if you ask me. I had a lot of fun listening to “Opus Eponymous,” feeling both awesome and evil at the same time. Don’t tell the hardcore metal fans that they’re listening to what can be mistaken as pop-influenced rock n roll/metal. They might get mad and snap their cd into pieces to prove they’re still metal as fuck! Of course, you’re also risking the evil spirits of Satan flying out of your broken cd and taking your soul, but don’t say I didn’t warn you.
14. Crystal Castles – "Crystal Castles II"
Some of you might know that it was only until recently that I delved into the electronic genre. With only about a year under my belt, I still consider myself a casual listener at best, listening to mostly dubstep since I found its combination of electronic, dance, and heavy bass to be simply irresistible. However, during my limited investigation of the genre, there are a few acts that caught my attention immediately, and it was the electronic group Crystal Castles and their noisy techno approach that really opened my eyes. There is some damn good electronic music out there. Crystal Castles obviously know how to compose a track with well timed precision and perfection, as well as using a lot of outside influence. Throughout the song “Year of Silence,” they use a sample taken from the Icelandic post-rockers, Sigur Ros’ song "Inní Mér Syngur Vitleysingur" while under a very grimey bassline and synths. I find these type of composition to be absolutely brilliant and Crystal Castles does this all through the album, keeping me interested at all times. If you’re not a fan of any style of electronic music, I suggest giving this a shot. There’s a reason why they’re so critically acclaimed, and it’s a good reason at that. Plus, I just don’t know why I can’t get “Baptism” out of my head.
13. Therion – "Sitra Ahra"
Therion has always been in the top tier of my favorite bands of all time, releasing solid albums year in and year out. While 2007’s “Gothic Kabbalah” created a division of fans, one side praising the album’s direction while the other almost condemning it, I found this offering to be one of the greatest metal albums ever created. I thought Therion’s move to try something a little different than the usual symphonic epics they do was both bold and successful. So when I heard that they were releasing an album entitled “Sitra Ahra” in 2010, I jumped out of my seat in excitement. I could not wait to get my hands on more material from them, as the three year wait felt like a century to me. Unfortunately, my expectations were just a little too high, and while the album is still excellent, it is no “Gothic Kabbalah.” “Sitra Ahra” actually makes a trip back to the Lemuria/Sirius B days, the music depending much more on the epic choirs. So while it certainly isn’t a bad thing, and fans of older Therion material will likely embrace this album, “Sitra Ahra” may leave something to be desired for fans of “Gothic Kabbalah.” I, myself do not find it a big problem, as I am a fan of everything Therion and it deserves to be in any top 20 music list. By the way, the first three tracks to the album, “Sitra Ahra,” “Kings of Edom” and “Unguentum Sabbati” may quite possibly be the greatest beginning trio in Therion history. As for the last track “After the Inquisition: Children of the Stone,” I can’t get over the children choir…just…creepy…
12. The Glitch Mob – "Drink the Sea"
Ah yes, you can’t hate a genre like glitch, especially with groups like The Glitch Mob. If you’re looking for a well composed, extremely epic, electronic orchestra with badass bass frequencies throughout each track, look no further, as The Glitch Mob’s “Drink the Sea” is a massive musical opus that hits you hard from beginning to end. From the intro, “Animus Vox” to the final song, “Starve the Ego, Feed the Soul,” The Glitch Mob manages to build up each composition into a climax, and bring it down with mountains in marvelous fashion. It’s really a sight to behold, observing three incredibly talented producers (Ooah, Boreta, and edIT) working their magic, as all three have noticeably different styles and sounds from one another, even if all can be placed in the same genre. But with each different sound comes a lot of freshness and creativity seldom seen or heard in any genre of music. No, you will not be listening to a house album plagued by an ungodly amount of boring repetition. You will not be listening to the same old recycled synths used by every electronic clone. No OONST, OONST OONST. “Drink the Sea” is a powerful combination of desirable glitch work and epic hip hop beats, and an album worth the incredible journey. Don’t believe me? Listen to “A Dream Within a Dream.”
11. Shining – "Blackjazz"
Wow, talk about freshness and creativity. Shining’s “Blackjazz” is exactly what the album title implies. It is a powerful fusion of exhilarating jazz and strenuously punishing heavy industrial metal music, taking a ton of inspiration from both spectrums. Yes, I used the word strenuous, since my first thorough listen, I found myself exhausted out of my mind, having difficulties in my attempt to comprehend what I just went through. With that said, I guess I should put a bit of a disclaimer on this. “Blackjazz” is not an album any casual music listener can just pick up and automatically love or understand. First off, this album is extremely heavy; perhaps one of the heaviest I have heard, and adds a ton of oddly placed patterns and instrumentation throughout their tracks, an ode to their early days as an acoustic jazz ensemble. It is also a fitting touch that Shining has taken their past collaboration with progressive black metal band, Enslaved and incorporated noticeable elements into their music. But what truly stands out the most isn’t the ultra-heavy extreme metal or the daunting industrial synths being played, but the integration of their jazz elements, most notably, the spastic saxophone work. We rarely see bands combining jazz and metal in an original way, even if both genres have much more similarities than the average listener might think. But it’s a very refreshing feeling to see a band with this much talent try something this innovative and unique, and with that, I tip my hat to them.
10. Deathspell Omega – "Paracletus"
My thoughts on Deathspell Omega have always been consistent throughout their career: They are one of the reigning kings of black metal, inventively and successfully throwing us into a blazing firestorm of incredibly composed madness. So it’s no surprise that their latest opus, “Paracletus” makes an appearance in the top 10 of my list. It’s very bizarre, yet incredible that Deathspell Omega’s style of black metal seems to progress from track to track, rather than album to album. Their experimental tendencies have plunged Deathspell Omega into uncanny boundaries of the abstract, yet manage to keep its razor sharp black metal attack chugging through for the more conventional fans. However, “Paracletus” has taken a step into a more streamlined direction, refining and focusing much more on improving their musical structure on the album, which I think really helps in what they are trying to achieve in their hellish symphony of horror. That is not to say that Deathspell Omega has decided to settle down with their experimentation, as they continue to slither through doomy cadences and technical riffs amidst the chaotically grotesque atmosphere embodied in the album. It needs to be emphasized fully: Deathspell Omega creates some of the most terrorizing, horrifying, and downright gruesome music I have ever heard, and “Paracletus” does not disappoint. These French black metallers have done it again, reminding us that death is all around us, and their latest work of art is the rotting soundtrack to our demise.
9. Twilight – "Monument to Time End"
Before I begin my commentary on this, I’d first like to point out that the Twilight movie jokes are getting tiresome and everyone who laughs at the fact that this band is named Twilight needs to shut up and listen. No, there are no sparkly vampires and shirtless werewolves here. This is a very talented black metal band from San Francisco who has improved drastically since their self titled debut album. It’s no surprise however, as this is technically a black metal super group that consists of top figures like Wrest from Leviathan and Aaron Turner from Isis to name a few, and all they needed was good chemistry in the long run. With “Monument to Time End,” Twilight has vastly outdone themselves, creating an album full of massive atmospheric soundscapes and very distinctive riffs that obviously came from the influence of Aaron Turner’s presence. It is songs such as “Red Fields” and “Decaying Observer” that show the incredible work these musicians have done to combine post metal and black metal, something I have rarely heard done right. Each track builds itself and links to one another, creating an epic masterpiece that is, indeed, absolutely monumental. It’s quite obvious that “Monument to Time End” is a far different beast than their debut self titled album, and perhaps some may still prefer the depressive approach of “Twilight,” but there is no denying that this is something truly special, and a powerful contribution to a black metal scene that has revived itself through the last few years.
8. Joe Budden – "Mood Muzik 4: A Turn 4 the Worst"
So what can I say about Joe Budden? Truthfully, he’s easily one of the best rappers that have come out in a very long time. All his rhymes are creative and on point, and his beats range from head bobbers to incredibly epic. It’s crazy how Joe Budden has not had a major release in about 7 years on a major label (def jam), yet he is able to independently sell out his mixtapes faster than big time artists like Drake and B.o.B. through his website, which gets mass traffic. Trust me; this guy is the real deal. If you’re looking for “hip hop” music about ridiculous dance moves, getting hoes in bed, and other bullshit to that extent, “Mood Muzik 4: A Turn 4 the Worst” is most definitely NOT for you. Just about every track gives us a very self-aware approach, keeping our attention focused on every second, every word, and every verse, even if tracks like the powerful “Black Cloud” and “Remember the Titans” are 6 minutes or over. Not a lot of hip hop MCs can compose a track more than 3-4 minutes that grasps your mind and never let’s go until it’s over. This man is absolutely legit. Some might remember him as the one hit wonder from that terrible song “Pump it Up,” but trust in what I’m saying. Forget about that, and give his mixtapes a shot. They’re real.
7. Blind Guardian – "At the Edge of Time"
And here we go! Finally, the Blind Guardian album that plunges them back to the top of the epic power metal genre! I’ve always been a huge fan of these guys, but I felt like the last good album they released was “A Night at the Opera” which was about 8 years ago. I wasn’t even sure if they would release another album after “A Twist in the Myth,” which I thought was mediocre at best. But fear not, long time Blind Guardian fans. “At the Edge of Time” is a return to form of what made these guys so special, with some added pizzazz, complimenting their speedy power metal with some well executed symphonic orchestration. I’m not kidding. Blind Guardian uses a massive dose of bombastic symphonic elements, and while some might be turned off by it, I find it to be a welcoming touch. Obviously, Blind Guardian are not, at all, new to using symphonic elements, but being able to play thrashy power metal while blending enormous doses of extravagant orchestration is a feat to behold, and Hansi and company have done a great job with this album. The grandiose and sheer epic songwriting of each track, especially “Sacred Worlds” does an exceptional job in powering this album to keep you interested throughout the experience, which clocks in at a little over an hour. Here, you’ll find everything you know and love about Blind Guardian, from catchy melodies to swiftly executed guitar solo battles. To beautiful acoustic folk passages to the commanding vocals of Hansi, which has not given in just yet. Even middle-eastern musical influences make it into this ambitious album, giving the final track “Wheel of Time” the perfect intro, and finally finishing off what I think to be their most enjoyable album yet. Let us hope that Blind Guardian continues to pump out quality music like this for the next decade or so.
6. Bonobo – "Black Sands"
I’m going to get to it immediately. Simon Green has crafted one of the most beautiful music albums I have ever heard in my life. As magnificent and accomplished as “Black Sands” is, there was nothing from his earlier albums that gave me even a hint that Simon would create something as emotionally powerful and elegantly composed as what we have here. It is apparent that Green is a mastermind of his work, expertly sliding through multi-layered synths and beautiful atmospheres throughout the whole album. From the intro track “Prelude” interweaving splendidly into “Kiara,” and the calm rhythms of Eyesdown, as well as the gorgeous vocals of guest singer, Andreya Triana featured in a handful of tracks, Green leaves a very mysterious touch to all the tracks, keeping it fresh and intriguing for the listener. There is so much going on with this album, every single song featuring different musical and instrumental influences that it’s difficult not to keep the listeners attention. I’m not too knowledgeable about this type of music, but I’ve research enough that the genre Bonobo is placed in is trip hop and chillout. Whatever one might call it, there are tons of different musical influence in this album that it makes me intrigued to investigate further. But are there trip hop musicians out there that even come close to the grand scheme of Black Sands? If so, then consider me excited.
5. Sigh – "Scenes From Hell"
The pinnacle of avant-garde metal rests in the hands of one band who has continually experimented with their music on every single album. Japanese band Sigh has been switching elements and influences on every release throughout their discography, making it undeniably apparent that each offering sounds absolutely different, while still executing that black thrash attack we all know and love. However, after 2007’s “Hangman’s Hymn” and their gloriously bombastic approach to their German-influenced extreme thrash metal, it was immediately clear that Mirai and the rest of Sigh wanted to delve deeper into grandiose symphonies and chamber choirs that held its own quite well, and by the gods, have they improved a mountain’s worth on their 2010 album, “Scenes From Hell.” There’s only one way to describe what this album is: A grotesque demonic symphony. It is, in fact, a morbid funeral soundtrack that incorporates well performed orchestrations with daunting atmospheric touches and aggressive black thrash metal. Sigh have always been masters of blending different genres and the masterworks done in “Scenes From Hell” is no exception. Powerful tracks such as “The Red Funeral” and “Summer Funeral” send the album into one of the most overwhelming climaxes I’ve encountered in any musical opus, forcing the listener to labor through haunting funeral marches, an obvious ode to Wagner’s legendary masterpiece. My only true gripe with album, however, is that the production, which isn’t as good as I was expecting, may be a turn off to newcomers. As an avid listener, I got over it almost immediately, but I think Mirai, who stressed in the past that he wanted to find the right sound and production, ultimately failed in getting it right. The album has a more “Hail Horror Hail” production that worked well for it because it’s black metal roots were still obvious. For an album using symphonic elements and a full chamber choir, it was disappointing to see that the production was dipped for a rawer feel. However, like I said, it was something that I immediately got over because of how impressive this album is. Sigh’s “Scenes From Hell” is one of their best albums to date, easily standing in league with the psychedelic “Imaginary Sonicscape.” Do not miss out on the glorious funeral to the end of the world.
4. Nas & Damian Marley – "Distant Relatives"
For those who know me well, I’m a huge Damian “Junior Gong” Marley fan and have been waiting for new material since “Welcome to Jamrock” was released. On the other hand, however, some of you might also know that I am not much of a Nas fan. With the exception of “Illmatic,” I’ve always found his music to be overrated, and average at best. He certainly has a lot of talent in what he does, and is very self-aware with his politically driven lyrics, but I’ve never been head over heels in love with his rhymes and beats. However, when I heard that Damian Marley was doing a collaboration album with Nas, there were no skeptical feelings from me, as every song they have done together in the past has been pure gold. “Distant Relatives” is, by far, the most introspective piece that the two of them have done in their respective careers. The album bombards the listener with thought-provoking messages, emphasizing the one blood that flows through all of us, that all conflict between one another should end and that we should all be fighting in unison instead. What’s even more impressive is the masterful blend that the two have done in making parallels between the music of Africa, America, and the Caribbean. Damian Marley has done an incredible job with the production of “Distant Relatives,” creating a powerful atmosphere suitable for the real education the two artists are attempting to teach to the world. With powerful tracks like the heart-pumping “Tribal War” and the beautifully paced “Patience,” Nas and Damian Marley have succeeded in creating an album exhibiting the best of two worlds without compromising the quality, an incredible feat for any artist. There is, however, one thing that I did not understand, and that’s the guest appearance of both Lil Wayne and Joss Stone on the song “My Generation.” This track is, by far, the worst and feels out of place in what is easily one of the greatest albums I’ve ever heard in my life. With the exception of that, this is truly an experience that should not be missed, as both Nas and Damian Marley have risen to a new benchmark in their prosperous careers.
3. Enslaved - "Axioma Ethica Odini"
Enslaved is a band that has always been consistent with their album releases, consistent enough that their last three albums have made it on the top five of my previous lists. However, as good as the last few albums of theirs were, none of them ever reached what I would consider the apex of their careers, which is the unbelievable “Below the Light.” After seven years, however, Enslaved have managed to create a powerful progressive black metal opus in “Axioma Ethica Odini” that can stand strongly beside “Below the Lights.” While the album will most definitely take a few listens and a knack for staying focused on each and every song, once it clicks, oh man does it click. HARD. “Axioma Ethica Odini” has literally destroyed me on each and every listen, barraging me with sonic drumbeats and epic guitar riffs. There is no doubt whatsoever that this is leaps and bounds ahead of their previous album, “Vertebrae,” which topped at number two in my 2008 list. But don’t let the higher rank fool you, as 2010 easily dwarfs the greatness of 2008, which was no picnic either. With a more trained ear and strong focus in paying close attention, the listener can really hear the complexities of Enslaved’s guitar riffs progressing exuberantly throughout the whole album, syncing beautifully with the odd drum fills and powerful high pitched screams of Grutle Kjellson, which sound as commanding as ever. However, as an avid listener and a long time fan of Enslaved, I have experienced the division of metal fans with this band, one half who absolutely loves them, while the others find them boring, a similar phenomenon plaguing bands such as Opeth and Neurosis, who also delve into much more progressive elements. Still, if you’re a fan of music in general and love to experience different takes of a certain genre, Enslaved’s “Axioma Ethica Odini” is an excellent album to explore. With such monstrous tracks like “Giants,” a powerful epic that begins with doomy guitar churns only to climax in mesmerizing progressive fashion, and “Lightening,” one of the most impressive final tracks I’ve heard from Enslaved in awhile, you can’t go wrong with giving this a try. Enslaved has been in the game for almost twenty years, constantly releasing exceptional albums and it doesn’t seem like they’re going to lose steam anytime soon. This is certainly a band of the century.
2. Negură Bunget - "Vîrstele Pămîntului"
It has been four long years since the release of the legendary masterpiece “Om,” created by the eclectic black metal adventurers from Romania, Negură Bunget. Four long years, yet “Om” still ranks number one in my favorite albums of all time. Regrettably, the band has a had a ton of offstage issues, concluding with two key members, Sol Faur and Hupogrammos, leaving the band to form their own, an unfortunate turn of events in this band’s rich history. Despite the band’s decision to split up, drummer Negru decided to take the reins on his own and form a new line-up to continue Negură Bunget. While this may not have been in good taste on Negru’s part, the new line-up has managed to create another incredible album in “Vîrstele Pămîntului,” and while it’s certainly no “Om,” it can easily hold its own in the black metal genre. Sure, key members who were a huge part in the songwriting of earlier releases are gone, but this is certainly still Negură Bunget. Heavy doses of traditional instruments such as the pan flute, kaval, and frula enrich the beautiful acoustic passages as well as the harsh black metal attack. The haunting ambience layered throughout the album leaves a sense of dread through this tribal, spiritual experience, making even the acoustic play evocative. There is no doubt that Negură Bunget has worked really hard in creating an album that can stand well against the likes of “Om” as well as the newly rejuvenated black metal genre. Obviously, a very complex band like this is certainly not for everyone, but this organic take on the metal scene is very intriguing, as you will not find any other band that sounds like this.
And finally…ladies and gentlemen…your number one album of 2010.
Drum roll…
1. Ihsahn – "After"
It is no secret. Ihsahn remains one of the most talented musicians in the metal genre. From his incredible contribution to legendary black metal band Emperor, to his experimental work with his wife on Peccatum, and his fantastic compositions on his solo effort, Vegard Sverre Tveitan has become an idol figure to metal fans all around the world. However, there have always been a huge number of black metal fans who have criticized Ihsahn’s solo works and claim that it sounds like his former band Emperor, or more specifically, Ihsahn sounds like the Emperor album “Prometheus: The Discipline of Fire and Demise.” While this isn’t entirely false, I have always believed that the opinions of the so called “elite” black metal fans were far too biased and actually quite ridiculous, condemning them to narrow-minded musical endeavors. So perhaps “The Adversary” and “angL” have similar elements to Emperor, but can we say the same thing for Ihsahn’s latest work? Absolutely not. Judging from just one listen of the album, Ihsahn’s “After” is an engaging transformation that will blow your mind away from beginning to end. The first thing you’ll notice is the surprising, and might I say clever use of the alto saxophone throughout several of the tracks. This is something rarely done in the metal genre and Ihsahn does an exceptional job incorporating the instrument while giving it fair command. Songs such as “The Grave Inverse” use the saxophone in a very unique way, syncing intensely with the aggressive guitar riffs, creating something that almost sounds like fluctuating basslines. It is an absolute treat hearing Ihsahn’s complex compositions at work, linking many songs together to keep the flow steady in the album. Epic tracks such as “Undercurrent” and the final behemoth “On the Shores” use the same main riff that is perfectly synced with the beautifully played saxophone to create a depressingly deep feeling, an excellent touch to what “After” is offering to the listener. If it’s not any of these complex musical techniques that will get to you, it will easily be the dark, haunting atmosphere throughout the album that fits perfectly with the extreme metal we have expected from Ihsahn. This is no joke, ladies and gentlemen. Ihsahn’s “After” is easily his best album to date and a musical journey that will turn your brain into mush. So with that said, there is unquestionably no way that any “elite” metal fans can say that Ihsahn sounds anything like Emperor. This is an experience. This is a masterpiece.
So there you have it, my friends. The best of the best in music for the year 2010, and it was a great year indeed. Here are a few other good things in music that should be mentioned, including excellent EPs and honorable mentions:
Originally, I wasn’t quite sure how I felt about this album. On one hand, there are a lot of black metal roots and the monstrous mid to high pitch vocals just screams for the attention of hardcore black metal fans. On the other hand, there is so much more going on with the riffs rather than distorted, low quality rawness that fans of the genre are used to. Actually, “The Tenant” has pretty excellent production and works very well with what Ludicra is trying to accomplish here. A ton of the riffs on the album feel like they should be used in a heavy metal album instead, which make me pick out subtleties on each song that remind me of bands like Slough Feg and Hammers of Misfortune, acts that guitarist John Cobbett is associated with. We even have soft female vocals that just call out Hammers, as well as soaring guitar solos and audible bass lines. That’s all well and good, but does it impact the final product? Does it lose focus because Ludicra is a heavy metal band trying to sound black metal? I think not. I would even say that they are successful in grasping the essence of what black metal should be. “The Tenant” is a very strong effort from Ludicra and something I hope they continue. I don’t listen to Ludicra as much as others, but with this album, I find myself excited to investigate their earlier works as well as looking forward to the next few years and releases. San Francisco surely has a talented metal circle.
19. Reflection Eternal – "Revolutions Per Minute"
Alright, so I’m going to be honest with you guys here. I think Talib Kweli is an extremely talented MC whose rhymes are pretty dope. But I have to admit that I find most of his beats to be hit or miss and consider his solo efforts to be average at best. However, that’s not to say I don’t like any of his work, though. When Talib Kweli does collaborations with guys like Mos Def and DJ Hi-tek is where he truly shines and shows his full potential. In this excellent case, it’s Kweli’s collaboration with DJ Hi-Tek, Reflection Eternal and their latest album “Revolutions Per Minute”. While I don’t think this effort is as good as “Train of Thought,” Talib and Hi-tek still manage to give us some of the best beats I’ve heard in a hip hop album in a long time, and we’re talking about a 10 year difference between the two album releases. Not only are the beats pure bliss, songs such as “City Playgrounds” and “Ballad of the Black and Gold” show off how creative and on point these guys still are. Like I said, Talib’s full potential comes out in his duos and his rhymes are both eccentric and smoothly connect with each verse. This is, in essence, how a hip hop album should be made. It is essential that people who limit themselves to listening to Lil Wayne or Soulja Boy need to understand that this commercial garbage is NOT hip hop and never was. It is these figures, as well as the big time labels who limit their artists, that has pushed pure hip hop into the underground. Perhaps, it’s for the best though, at least for now. We wouldn’t want corporate labels to dumb down good hip hop, right?
18. Immolation – "Majesty and Decay"
One of the best shows I’ve ever been to was in Oakland’s Grand Ballroom, year 2008. Belphegor, Immolation, and Rotting Christ played the night and literally destroyed us. But from all the bands, it was Immolation that had me the most impressed, and I hate to say it, but at that time, I was not much of a fan at all. Before the show, I had always written this band off as a generic death metal act, and perhaps some people may still think so. But there’s no denying that Immolation may quite possibly be the most talented death metal band to ever form. When I got their latest album “Majesty and Decay,” I had already grown a bit weary of death metal music (I tend to do this from time to time) and wasn’t very excited to take the album for a spin. Little did I know that this album would eventually take me for a spin into a filthy abyss of pure death and reinvigorate my interest once again. “Majesty and Decay” continues Immolation’s formula of well-executed death metal that grows on you with several listens. As a casual fan of death metal, I really do appreciate the well timed subtleties in each of their songs that get you to come back for more. From the oddly timed drum fills that work very well to the incredible guitar work of Robert Vigna and Bill Taylor, Immolation once again manages to create a death metal opus worth noting in a world full of cloned death metal acts. Oh, and did I say how great the production of this album is? Man, they really got it right this time around. Immolation continues to stay on my death metal big three: Nile, Origin, and these guys. Keep rockin’.
17. Rakaa – "Crown of Thorns"
Okay, first off, I’d like to thank the product that introduced me to Rakaa. I wouldn’t have known about this guy if I didn’t start playing NBA2K11, which has a pretty decent soundtrack. Like Reflection Eternal’s “Revolutions Per Minute,” Rakaa’s “Crown of Thorns” is a pure hip hop album that adds, in my opinion, catchier hooks, making this album a little more fan-friendly. Of course, I highly doubt you’ll be hearing Rakaa on MTV or BET anytime soon. Anyways, while the lyrics are very well written and the beats are what I can only describe as “dope,” the first thing anyone is going to notice is the heavy hitting bass that slaps you in the face on almost every single song. Yes, this album is not for the unfortunates with sensitive hearing, as even deaf people could hear the bass…well, maybe not, but they would certainly feel the vibrations. While that’s definitely an aspect that caught my attention, as I LOVE heavy bass when used right, going back to the lyrics, Rakaa makes it obvious that his inspirations are drawn from his spiritual background. I always enjoy a rap artist who isn’t afraid of letting his/her listeners into his personal world, and Rakaa gives a very stimulating experience to his fans, drawing from both life and nature. I will say this with the utmost confidence. “Crown of Thorns” is not an album any hip hop fan should miss and I urge all of you to seek this out. Get to it, or consider yourself a fool.
16. Daughters – "Daughters"
I admit that I haven’t liked, or at least been interested, with Daughters since “Canada Songs” was released in 2003. That album was brilliant, and I have not found any album or band that managed to get me so excited for the genre of noisecore. However, when “Hell Songs” was released, I was left disappointed with an album that seemed confused, as if they wanted to change their sound, but wasn’t sure how to execute it, which resulted in an ultimately incomplete effort. While the album wasn’t as bad as some people say, I did understand the division of fans who disliked “Hell Songs.” It’s an album that I can’t even listen to in one sitting and that does not bode well in the noisecore genre. So when Daughters released their self-titled in 2010, I entered the experience with lower expectations, which may have helped me with the verdict. “Daughters” musically is closer to “Hell Songs” but with far better execution. The songs are much more drawn out, but manage to keep that deliciously frantic approach that “Canada Songs” used so well. Maybe this was what Daughters’ wanted “Hell Songs” to be. Either way, I was pleasantly surprised with their self titled and enjoy every second of it. For hardcore Daughters fans, it may still be a long shot, but like I said, you may be surprised with your reaction. I won’t call myself a hardcore Daughters fan, but I was one of the “Canada Songs” fanatics and there’s a lot to like with this new one.
15. Ghost – "Opus Eponymous"
Are you ready for some ultra-hyper, horrific, murderously satanic heavy metal occult destruction?! Well, surely, Ghost’s “Opus Eponymous” and their super evil ideologies are the answer for you! Actually, the answer to that is a firm NO. I’ve read several reviews of this album, emphasizing how evil these guys are and how satanic this album is. But what I hear is an extremely well made rock album created by a bunch of guys who just want to have fun like we were still in the 70’s or 80’s. While the ritualistic lyrics about Satanism definitely add to this belief that these guys are the epitome of pure evil, just one listen will make people realize otherwise. I mean, come on…the 70’s nostalgia? The B-horror feeling? The catchy pop-vibe? There were points where I even heard Beatles influence in the music. Keep playing those cheesy organ keyboards! They’re damn epic, if you ask me. I had a lot of fun listening to “Opus Eponymous,” feeling both awesome and evil at the same time. Don’t tell the hardcore metal fans that they’re listening to what can be mistaken as pop-influenced rock n roll/metal. They might get mad and snap their cd into pieces to prove they’re still metal as fuck! Of course, you’re also risking the evil spirits of Satan flying out of your broken cd and taking your soul, but don’t say I didn’t warn you.
14. Crystal Castles – "Crystal Castles II"
Some of you might know that it was only until recently that I delved into the electronic genre. With only about a year under my belt, I still consider myself a casual listener at best, listening to mostly dubstep since I found its combination of electronic, dance, and heavy bass to be simply irresistible. However, during my limited investigation of the genre, there are a few acts that caught my attention immediately, and it was the electronic group Crystal Castles and their noisy techno approach that really opened my eyes. There is some damn good electronic music out there. Crystal Castles obviously know how to compose a track with well timed precision and perfection, as well as using a lot of outside influence. Throughout the song “Year of Silence,” they use a sample taken from the Icelandic post-rockers, Sigur Ros’ song "Inní Mér Syngur Vitleysingur" while under a very grimey bassline and synths. I find these type of composition to be absolutely brilliant and Crystal Castles does this all through the album, keeping me interested at all times. If you’re not a fan of any style of electronic music, I suggest giving this a shot. There’s a reason why they’re so critically acclaimed, and it’s a good reason at that. Plus, I just don’t know why I can’t get “Baptism” out of my head.
13. Therion – "Sitra Ahra"
Therion has always been in the top tier of my favorite bands of all time, releasing solid albums year in and year out. While 2007’s “Gothic Kabbalah” created a division of fans, one side praising the album’s direction while the other almost condemning it, I found this offering to be one of the greatest metal albums ever created. I thought Therion’s move to try something a little different than the usual symphonic epics they do was both bold and successful. So when I heard that they were releasing an album entitled “Sitra Ahra” in 2010, I jumped out of my seat in excitement. I could not wait to get my hands on more material from them, as the three year wait felt like a century to me. Unfortunately, my expectations were just a little too high, and while the album is still excellent, it is no “Gothic Kabbalah.” “Sitra Ahra” actually makes a trip back to the Lemuria/Sirius B days, the music depending much more on the epic choirs. So while it certainly isn’t a bad thing, and fans of older Therion material will likely embrace this album, “Sitra Ahra” may leave something to be desired for fans of “Gothic Kabbalah.” I, myself do not find it a big problem, as I am a fan of everything Therion and it deserves to be in any top 20 music list. By the way, the first three tracks to the album, “Sitra Ahra,” “Kings of Edom” and “Unguentum Sabbati” may quite possibly be the greatest beginning trio in Therion history. As for the last track “After the Inquisition: Children of the Stone,” I can’t get over the children choir…just…creepy…
12. The Glitch Mob – "Drink the Sea"
Ah yes, you can’t hate a genre like glitch, especially with groups like The Glitch Mob. If you’re looking for a well composed, extremely epic, electronic orchestra with badass bass frequencies throughout each track, look no further, as The Glitch Mob’s “Drink the Sea” is a massive musical opus that hits you hard from beginning to end. From the intro, “Animus Vox” to the final song, “Starve the Ego, Feed the Soul,” The Glitch Mob manages to build up each composition into a climax, and bring it down with mountains in marvelous fashion. It’s really a sight to behold, observing three incredibly talented producers (Ooah, Boreta, and edIT) working their magic, as all three have noticeably different styles and sounds from one another, even if all can be placed in the same genre. But with each different sound comes a lot of freshness and creativity seldom seen or heard in any genre of music. No, you will not be listening to a house album plagued by an ungodly amount of boring repetition. You will not be listening to the same old recycled synths used by every electronic clone. No OONST, OONST OONST. “Drink the Sea” is a powerful combination of desirable glitch work and epic hip hop beats, and an album worth the incredible journey. Don’t believe me? Listen to “A Dream Within a Dream.”
11. Shining – "Blackjazz"
Wow, talk about freshness and creativity. Shining’s “Blackjazz” is exactly what the album title implies. It is a powerful fusion of exhilarating jazz and strenuously punishing heavy industrial metal music, taking a ton of inspiration from both spectrums. Yes, I used the word strenuous, since my first thorough listen, I found myself exhausted out of my mind, having difficulties in my attempt to comprehend what I just went through. With that said, I guess I should put a bit of a disclaimer on this. “Blackjazz” is not an album any casual music listener can just pick up and automatically love or understand. First off, this album is extremely heavy; perhaps one of the heaviest I have heard, and adds a ton of oddly placed patterns and instrumentation throughout their tracks, an ode to their early days as an acoustic jazz ensemble. It is also a fitting touch that Shining has taken their past collaboration with progressive black metal band, Enslaved and incorporated noticeable elements into their music. But what truly stands out the most isn’t the ultra-heavy extreme metal or the daunting industrial synths being played, but the integration of their jazz elements, most notably, the spastic saxophone work. We rarely see bands combining jazz and metal in an original way, even if both genres have much more similarities than the average listener might think. But it’s a very refreshing feeling to see a band with this much talent try something this innovative and unique, and with that, I tip my hat to them.
10. Deathspell Omega – "Paracletus"
My thoughts on Deathspell Omega have always been consistent throughout their career: They are one of the reigning kings of black metal, inventively and successfully throwing us into a blazing firestorm of incredibly composed madness. So it’s no surprise that their latest opus, “Paracletus” makes an appearance in the top 10 of my list. It’s very bizarre, yet incredible that Deathspell Omega’s style of black metal seems to progress from track to track, rather than album to album. Their experimental tendencies have plunged Deathspell Omega into uncanny boundaries of the abstract, yet manage to keep its razor sharp black metal attack chugging through for the more conventional fans. However, “Paracletus” has taken a step into a more streamlined direction, refining and focusing much more on improving their musical structure on the album, which I think really helps in what they are trying to achieve in their hellish symphony of horror. That is not to say that Deathspell Omega has decided to settle down with their experimentation, as they continue to slither through doomy cadences and technical riffs amidst the chaotically grotesque atmosphere embodied in the album. It needs to be emphasized fully: Deathspell Omega creates some of the most terrorizing, horrifying, and downright gruesome music I have ever heard, and “Paracletus” does not disappoint. These French black metallers have done it again, reminding us that death is all around us, and their latest work of art is the rotting soundtrack to our demise.
9. Twilight – "Monument to Time End"
Before I begin my commentary on this, I’d first like to point out that the Twilight movie jokes are getting tiresome and everyone who laughs at the fact that this band is named Twilight needs to shut up and listen. No, there are no sparkly vampires and shirtless werewolves here. This is a very talented black metal band from San Francisco who has improved drastically since their self titled debut album. It’s no surprise however, as this is technically a black metal super group that consists of top figures like Wrest from Leviathan and Aaron Turner from Isis to name a few, and all they needed was good chemistry in the long run. With “Monument to Time End,” Twilight has vastly outdone themselves, creating an album full of massive atmospheric soundscapes and very distinctive riffs that obviously came from the influence of Aaron Turner’s presence. It is songs such as “Red Fields” and “Decaying Observer” that show the incredible work these musicians have done to combine post metal and black metal, something I have rarely heard done right. Each track builds itself and links to one another, creating an epic masterpiece that is, indeed, absolutely monumental. It’s quite obvious that “Monument to Time End” is a far different beast than their debut self titled album, and perhaps some may still prefer the depressive approach of “Twilight,” but there is no denying that this is something truly special, and a powerful contribution to a black metal scene that has revived itself through the last few years.
8. Joe Budden – "Mood Muzik 4: A Turn 4 the Worst"
So what can I say about Joe Budden? Truthfully, he’s easily one of the best rappers that have come out in a very long time. All his rhymes are creative and on point, and his beats range from head bobbers to incredibly epic. It’s crazy how Joe Budden has not had a major release in about 7 years on a major label (def jam), yet he is able to independently sell out his mixtapes faster than big time artists like Drake and B.o.B. through his website, which gets mass traffic. Trust me; this guy is the real deal. If you’re looking for “hip hop” music about ridiculous dance moves, getting hoes in bed, and other bullshit to that extent, “Mood Muzik 4: A Turn 4 the Worst” is most definitely NOT for you. Just about every track gives us a very self-aware approach, keeping our attention focused on every second, every word, and every verse, even if tracks like the powerful “Black Cloud” and “Remember the Titans” are 6 minutes or over. Not a lot of hip hop MCs can compose a track more than 3-4 minutes that grasps your mind and never let’s go until it’s over. This man is absolutely legit. Some might remember him as the one hit wonder from that terrible song “Pump it Up,” but trust in what I’m saying. Forget about that, and give his mixtapes a shot. They’re real.
7. Blind Guardian – "At the Edge of Time"
And here we go! Finally, the Blind Guardian album that plunges them back to the top of the epic power metal genre! I’ve always been a huge fan of these guys, but I felt like the last good album they released was “A Night at the Opera” which was about 8 years ago. I wasn’t even sure if they would release another album after “A Twist in the Myth,” which I thought was mediocre at best. But fear not, long time Blind Guardian fans. “At the Edge of Time” is a return to form of what made these guys so special, with some added pizzazz, complimenting their speedy power metal with some well executed symphonic orchestration. I’m not kidding. Blind Guardian uses a massive dose of bombastic symphonic elements, and while some might be turned off by it, I find it to be a welcoming touch. Obviously, Blind Guardian are not, at all, new to using symphonic elements, but being able to play thrashy power metal while blending enormous doses of extravagant orchestration is a feat to behold, and Hansi and company have done a great job with this album. The grandiose and sheer epic songwriting of each track, especially “Sacred Worlds” does an exceptional job in powering this album to keep you interested throughout the experience, which clocks in at a little over an hour. Here, you’ll find everything you know and love about Blind Guardian, from catchy melodies to swiftly executed guitar solo battles. To beautiful acoustic folk passages to the commanding vocals of Hansi, which has not given in just yet. Even middle-eastern musical influences make it into this ambitious album, giving the final track “Wheel of Time” the perfect intro, and finally finishing off what I think to be their most enjoyable album yet. Let us hope that Blind Guardian continues to pump out quality music like this for the next decade or so.
6. Bonobo – "Black Sands"
I’m going to get to it immediately. Simon Green has crafted one of the most beautiful music albums I have ever heard in my life. As magnificent and accomplished as “Black Sands” is, there was nothing from his earlier albums that gave me even a hint that Simon would create something as emotionally powerful and elegantly composed as what we have here. It is apparent that Green is a mastermind of his work, expertly sliding through multi-layered synths and beautiful atmospheres throughout the whole album. From the intro track “Prelude” interweaving splendidly into “Kiara,” and the calm rhythms of Eyesdown, as well as the gorgeous vocals of guest singer, Andreya Triana featured in a handful of tracks, Green leaves a very mysterious touch to all the tracks, keeping it fresh and intriguing for the listener. There is so much going on with this album, every single song featuring different musical and instrumental influences that it’s difficult not to keep the listeners attention. I’m not too knowledgeable about this type of music, but I’ve research enough that the genre Bonobo is placed in is trip hop and chillout. Whatever one might call it, there are tons of different musical influence in this album that it makes me intrigued to investigate further. But are there trip hop musicians out there that even come close to the grand scheme of Black Sands? If so, then consider me excited.
5. Sigh – "Scenes From Hell"
The pinnacle of avant-garde metal rests in the hands of one band who has continually experimented with their music on every single album. Japanese band Sigh has been switching elements and influences on every release throughout their discography, making it undeniably apparent that each offering sounds absolutely different, while still executing that black thrash attack we all know and love. However, after 2007’s “Hangman’s Hymn” and their gloriously bombastic approach to their German-influenced extreme thrash metal, it was immediately clear that Mirai and the rest of Sigh wanted to delve deeper into grandiose symphonies and chamber choirs that held its own quite well, and by the gods, have they improved a mountain’s worth on their 2010 album, “Scenes From Hell.” There’s only one way to describe what this album is: A grotesque demonic symphony. It is, in fact, a morbid funeral soundtrack that incorporates well performed orchestrations with daunting atmospheric touches and aggressive black thrash metal. Sigh have always been masters of blending different genres and the masterworks done in “Scenes From Hell” is no exception. Powerful tracks such as “The Red Funeral” and “Summer Funeral” send the album into one of the most overwhelming climaxes I’ve encountered in any musical opus, forcing the listener to labor through haunting funeral marches, an obvious ode to Wagner’s legendary masterpiece. My only true gripe with album, however, is that the production, which isn’t as good as I was expecting, may be a turn off to newcomers. As an avid listener, I got over it almost immediately, but I think Mirai, who stressed in the past that he wanted to find the right sound and production, ultimately failed in getting it right. The album has a more “Hail Horror Hail” production that worked well for it because it’s black metal roots were still obvious. For an album using symphonic elements and a full chamber choir, it was disappointing to see that the production was dipped for a rawer feel. However, like I said, it was something that I immediately got over because of how impressive this album is. Sigh’s “Scenes From Hell” is one of their best albums to date, easily standing in league with the psychedelic “Imaginary Sonicscape.” Do not miss out on the glorious funeral to the end of the world.
4. Nas & Damian Marley – "Distant Relatives"
For those who know me well, I’m a huge Damian “Junior Gong” Marley fan and have been waiting for new material since “Welcome to Jamrock” was released. On the other hand, however, some of you might also know that I am not much of a Nas fan. With the exception of “Illmatic,” I’ve always found his music to be overrated, and average at best. He certainly has a lot of talent in what he does, and is very self-aware with his politically driven lyrics, but I’ve never been head over heels in love with his rhymes and beats. However, when I heard that Damian Marley was doing a collaboration album with Nas, there were no skeptical feelings from me, as every song they have done together in the past has been pure gold. “Distant Relatives” is, by far, the most introspective piece that the two of them have done in their respective careers. The album bombards the listener with thought-provoking messages, emphasizing the one blood that flows through all of us, that all conflict between one another should end and that we should all be fighting in unison instead. What’s even more impressive is the masterful blend that the two have done in making parallels between the music of Africa, America, and the Caribbean. Damian Marley has done an incredible job with the production of “Distant Relatives,” creating a powerful atmosphere suitable for the real education the two artists are attempting to teach to the world. With powerful tracks like the heart-pumping “Tribal War” and the beautifully paced “Patience,” Nas and Damian Marley have succeeded in creating an album exhibiting the best of two worlds without compromising the quality, an incredible feat for any artist. There is, however, one thing that I did not understand, and that’s the guest appearance of both Lil Wayne and Joss Stone on the song “My Generation.” This track is, by far, the worst and feels out of place in what is easily one of the greatest albums I’ve ever heard in my life. With the exception of that, this is truly an experience that should not be missed, as both Nas and Damian Marley have risen to a new benchmark in their prosperous careers.
3. Enslaved - "Axioma Ethica Odini"
Enslaved is a band that has always been consistent with their album releases, consistent enough that their last three albums have made it on the top five of my previous lists. However, as good as the last few albums of theirs were, none of them ever reached what I would consider the apex of their careers, which is the unbelievable “Below the Light.” After seven years, however, Enslaved have managed to create a powerful progressive black metal opus in “Axioma Ethica Odini” that can stand strongly beside “Below the Lights.” While the album will most definitely take a few listens and a knack for staying focused on each and every song, once it clicks, oh man does it click. HARD. “Axioma Ethica Odini” has literally destroyed me on each and every listen, barraging me with sonic drumbeats and epic guitar riffs. There is no doubt whatsoever that this is leaps and bounds ahead of their previous album, “Vertebrae,” which topped at number two in my 2008 list. But don’t let the higher rank fool you, as 2010 easily dwarfs the greatness of 2008, which was no picnic either. With a more trained ear and strong focus in paying close attention, the listener can really hear the complexities of Enslaved’s guitar riffs progressing exuberantly throughout the whole album, syncing beautifully with the odd drum fills and powerful high pitched screams of Grutle Kjellson, which sound as commanding as ever. However, as an avid listener and a long time fan of Enslaved, I have experienced the division of metal fans with this band, one half who absolutely loves them, while the others find them boring, a similar phenomenon plaguing bands such as Opeth and Neurosis, who also delve into much more progressive elements. Still, if you’re a fan of music in general and love to experience different takes of a certain genre, Enslaved’s “Axioma Ethica Odini” is an excellent album to explore. With such monstrous tracks like “Giants,” a powerful epic that begins with doomy guitar churns only to climax in mesmerizing progressive fashion, and “Lightening,” one of the most impressive final tracks I’ve heard from Enslaved in awhile, you can’t go wrong with giving this a try. Enslaved has been in the game for almost twenty years, constantly releasing exceptional albums and it doesn’t seem like they’re going to lose steam anytime soon. This is certainly a band of the century.
2. Negură Bunget - "Vîrstele Pămîntului"
It has been four long years since the release of the legendary masterpiece “Om,” created by the eclectic black metal adventurers from Romania, Negură Bunget. Four long years, yet “Om” still ranks number one in my favorite albums of all time. Regrettably, the band has a had a ton of offstage issues, concluding with two key members, Sol Faur and Hupogrammos, leaving the band to form their own, an unfortunate turn of events in this band’s rich history. Despite the band’s decision to split up, drummer Negru decided to take the reins on his own and form a new line-up to continue Negură Bunget. While this may not have been in good taste on Negru’s part, the new line-up has managed to create another incredible album in “Vîrstele Pămîntului,” and while it’s certainly no “Om,” it can easily hold its own in the black metal genre. Sure, key members who were a huge part in the songwriting of earlier releases are gone, but this is certainly still Negură Bunget. Heavy doses of traditional instruments such as the pan flute, kaval, and frula enrich the beautiful acoustic passages as well as the harsh black metal attack. The haunting ambience layered throughout the album leaves a sense of dread through this tribal, spiritual experience, making even the acoustic play evocative. There is no doubt that Negură Bunget has worked really hard in creating an album that can stand well against the likes of “Om” as well as the newly rejuvenated black metal genre. Obviously, a very complex band like this is certainly not for everyone, but this organic take on the metal scene is very intriguing, as you will not find any other band that sounds like this.
And finally…ladies and gentlemen…your number one album of 2010.
Drum roll…
1. Ihsahn – "After"
It is no secret. Ihsahn remains one of the most talented musicians in the metal genre. From his incredible contribution to legendary black metal band Emperor, to his experimental work with his wife on Peccatum, and his fantastic compositions on his solo effort, Vegard Sverre Tveitan has become an idol figure to metal fans all around the world. However, there have always been a huge number of black metal fans who have criticized Ihsahn’s solo works and claim that it sounds like his former band Emperor, or more specifically, Ihsahn sounds like the Emperor album “Prometheus: The Discipline of Fire and Demise.” While this isn’t entirely false, I have always believed that the opinions of the so called “elite” black metal fans were far too biased and actually quite ridiculous, condemning them to narrow-minded musical endeavors. So perhaps “The Adversary” and “angL” have similar elements to Emperor, but can we say the same thing for Ihsahn’s latest work? Absolutely not. Judging from just one listen of the album, Ihsahn’s “After” is an engaging transformation that will blow your mind away from beginning to end. The first thing you’ll notice is the surprising, and might I say clever use of the alto saxophone throughout several of the tracks. This is something rarely done in the metal genre and Ihsahn does an exceptional job incorporating the instrument while giving it fair command. Songs such as “The Grave Inverse” use the saxophone in a very unique way, syncing intensely with the aggressive guitar riffs, creating something that almost sounds like fluctuating basslines. It is an absolute treat hearing Ihsahn’s complex compositions at work, linking many songs together to keep the flow steady in the album. Epic tracks such as “Undercurrent” and the final behemoth “On the Shores” use the same main riff that is perfectly synced with the beautifully played saxophone to create a depressingly deep feeling, an excellent touch to what “After” is offering to the listener. If it’s not any of these complex musical techniques that will get to you, it will easily be the dark, haunting atmosphere throughout the album that fits perfectly with the extreme metal we have expected from Ihsahn. This is no joke, ladies and gentlemen. Ihsahn’s “After” is easily his best album to date and a musical journey that will turn your brain into mush. So with that said, there is unquestionably no way that any “elite” metal fans can say that Ihsahn sounds anything like Emperor. This is an experience. This is a masterpiece.
So there you have it, my friends. The best of the best in music for the year 2010, and it was a great year indeed. Here are a few other good things in music that should be mentioned, including excellent EPs and honorable mentions:
EPs of the year:
Borgore – “Borgore Ruined Dubstep”
Love him or hate him, he is not ruining dubstep. With the way things are looking for the dubstep scene, and by the gods, it’s looking pretty horrid (fuck you, house music!), Borgore seems to be the one dubstep DJ who can bring back what dubstep means to us fans: NASTY, FILTHY, GRIMEY, DIRTY!
The Redland – “Epic”
A hip hop duo I found on NBA2K11 (it really has a decent soundtrack), I’ve fallen for the chill approach that these guys take on the hip hop scene. Dope beats, sweet lyrics, and some smooth R&B style singing to add a nice touch to their raps, The Redland are a group that we all need to watch for in the future.
Dordeduh – “Valea Omului”
A two track EP by Dordeduh, the band that the two members who left Negură Bunget created. Extremely atmospheric, using minimalistic tones as well as traditional instrumentals, there obviously is a hidden Negură Bunget in here, and I’m not complaining. These are beautiful songs that kept me intrigued and excited for future material.
Borgore – “Borgore Ruined Dubstep”
Love him or hate him, he is not ruining dubstep. With the way things are looking for the dubstep scene, and by the gods, it’s looking pretty horrid (fuck you, house music!), Borgore seems to be the one dubstep DJ who can bring back what dubstep means to us fans: NASTY, FILTHY, GRIMEY, DIRTY!
The Redland – “Epic”
A hip hop duo I found on NBA2K11 (it really has a decent soundtrack), I’ve fallen for the chill approach that these guys take on the hip hop scene. Dope beats, sweet lyrics, and some smooth R&B style singing to add a nice touch to their raps, The Redland are a group that we all need to watch for in the future.
Dordeduh – “Valea Omului”
A two track EP by Dordeduh, the band that the two members who left Negură Bunget created. Extremely atmospheric, using minimalistic tones as well as traditional instrumentals, there obviously is a hidden Negură Bunget in here, and I’m not complaining. These are beautiful songs that kept me intrigued and excited for future material.
Honorable Mentions:
Negură Bunget – Măiestrit (A remake of Măiastru Sfetnic, an album Negru always felt wasn’t finished correctly. The remake is a powerful album and only did not make it into the list because it isn’t necessarily a new release. But please, give it a listen, as it is well deserving.)
Deftones – Diamond Eyes
Deerhunter – Halcyon Dygest
Broken Bells – s/t
Phantogram – Eyelid MoviesNegură Bunget – Măiestrit (A remake of Măiastru Sfetnic, an album Negru always felt wasn’t finished correctly. The remake is a powerful album and only did not make it into the list because it isn’t necessarily a new release. But please, give it a listen, as it is well deserving.)
Deftones – Diamond Eyes
Deerhunter – Halcyon Dygest
Broken Bells – s/t
High on Fire-Snakes for the Divine
Tech N9ne – The Gates Mixed Plate
Ghostface Killah – Apollo Kids
Brotha Lynch – Dinner and a Movie
Wu Massacre
Childish Gambino – Culdesac
Agalloch – Morrow of the Spirit
Burzum – Belus
Drudkh – Handful of Stars
Album I thought came out 2010 but came out 2009. Still should be mentioned:
The XX - "XX"
And here I was, totally forgetting about the handful of indie bands that I actually like…and when I say handful, I mean that in the most honest way. There are still a few bands that have caught my attention, examples being Deerhunter and Phantogram, but the one band that piqued my interest once again was The XX and their album “XX”, and to my pleasant surprise, I found out about them through a compilation album being played at Starbucks. The XX are a weird bunch, relying on very simple compositions, but at the same time using them brilliantly. You see, the difference between The XX and the thousands of lame indie rock bands is that The XX takes a minimalistic approach to their music, adding an almost depressing, yet cheerful atmosphere to their songs. It’s a very unique approach, especially for the indie genre, and I doubt you’ll find another band that sounds like this, or at least executes it with the same sense of awareness. This is an excellent debut album from a fairly new band, and it deserves a listen from any music lover.
Most disappointing album of the year:
Kamelot – "Poetry of the Poisoned"
While it’s not necessarily a horrible album, Kamelot, who has always been consistent throughout the years, has become somewhat stale, and it shows noticeably on “Poetry of the Poisoned.” Almost every song is below average to average at best, and there are only 2 or 3 tracks that remind me of how good this band once was. Unfortunately, this album doesn’t even come close to the big three (Karma, Epica, The Black Halo) and I am forced to wait another few years for a new album that is, at this point, unquestionable at best. Let’s just hope that Kamelot can bounce back because they’re such a talented group of musicians. Here's one of the better tracks of the album:
Thank you all for your time, as I worked extremely hard on this. Hopefully, there isn't as many grammatical errors as I imagine, but please bare with me.
Thank you all for your time, as I worked extremely hard on this. Hopefully, there isn't as many grammatical errors as I imagine, but please bare with me.
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