Rise to purity and silence
If I had a nickel for every prog album that came out in 2023 with a cover art containing a crusading knight and some odd image of a horse, I’d have two nickels; which isn’t a lot, but it’s weird that it happened twice. Anyway, I listened to over 60 new albums in the year of Our Lord 2023, and despite great showings across all genres, prog still ruled the day, and even the not prog in this list is still progressive leaning or prog adjacent. Without further ado here are the Top Ten (or so) of 2023 along with plenty more to explore at the bottom. (editors note: if there is an “hv” in the genre tag for a record, it means that it has “harsh vocals,” such as growls or screams. Tread lightly.)
OR SO…
The next three records are really good, and would perhaps crack the top ten in any other year, but as it sits are just on the outside looking in:
TesseracT: War of Being
(prog metal, djent)
1. Natural Disaster (6:06)
2. Echoes (5:46)
3. The Grey (6:07)
4. Legion (6:00)
5. Tender (4:37)
6. War of Being (11:02)
7. Sirens (4:57)
8. Burden (6:34)
9. Sacrifice (9:34)
This is easily the best TesseracT album in years, and has gotten me to pay attention to them again. I was glad to pick up a ticket to see them in Buckhead in November, racing back from Jacksonville to catch them on a Sunday night. It’s like TesseracT have remembered how to write good songs again, and not just show off that they are really good at their instruments. Sure, its djent, so its kind of stupid, but stupid talented. The boy-band-ish vocals are a turn off sometimes, but overall everyone is killing it from track to track.
Top Tracks: Sacrifice; Natural Disaster; Legion
Bell Witch: Future’s Shadow Part 1: The Clandestine Gate
(funeral doom, doom metal, hv)
1. The Clandestine Gate (1:23:51)
Movement 1 (22:04)
Movement 2 (20:47)
Movement 3 (19:25)
Movement 4 (19:24)
Whilst prog has won the day and snagged most of the top spots, it was also a banner year for doom metal, and especially Funeral Doom. Bell Witch have cemented themselves as the masters of the genre, crafting album-length songs that somehow still captivate and enthrall. Mirror Reaper was a masterpiece, and this reaches for those heights. While not quite reaching the summit, this is still some of the most well-arranged music of the year, if one has the patience for it. It may rank higher in the future, as it is meant to be part of a tryptic of albums. I think it will be better to judge the whole trio once its complete. But, as for part 1, it is excellent through and through. This is not for the faint of heart and will probably bore any unfamiliar listeners and not interest most.
Top Tracks: I mean, technically, there’s just the one…but I suppose Movement 3 is my favourite.
Convocation: No Dawn for the Caliginous Night
(funeral doom, death doom, hv)
1. Graveless yet Dead (9:32)
2. Atychiphobia (8:50)
3. Between Aether And Land (6:05)
4. Lepers And Derelicts (11:21)
5. Procession (12:36)
This album dropped in November, and I hardly had enough time to give it a spin before moving into list-making mode in December. If I’m being honest, I didn’t really give it a fair shake after the first listen. I knew it was good, but I kept getting distracted by something else one or two tracks in and never finishing it again. All that to say, once given more listening, I knew it belonged on the list. The opening track is one of the best of the year. Convocation make us of choirs, violins, organs, all the funeral doom bells and whistles to create a masterful record. Neumann is all over the map vocally, and he takes you on a journey with him amidst the crushing riffs and lugubrious rhythms. The album is expertly balanced, with the instrumental track dead center. Its 48-minute runtime is also a welcome sight in the funeral doom world and helps elevate this album above its peers. Maybe a revised list has this higher, as for now, it’s just on the outs.
Top Tracks: Graveless yet Dead; Lepers and Derelicts; Procession
TOP TEN
10. Theocracy: Mosaic
(power metal, prog metal, Christian metal)
1. Flicker (3:58)
2. Anonymous (5:49)
3. Mosaic (5:25)
4. Sinsidious (The Dogs of War) (6:45)
5. Return to Dust (4:26)
6. The Sixth Great Extinction (5:26)
7. Deified (4:17)
8. The Greatest Hope (3:14)
9. Liar, Fool, or Messiah (7:37)
10. Red Sea (19:07)
Theocracy plays a particular brand of power-prog that I just eat up. It’s riff-heavy, but fast and showy with soaring vocals and pounding drums and explosive solos. And oh, yeah, it’s also all about Jesus. The premiere Christian metal band is back, and boy are they back! I was pretty disappointed with Ghost Ship, and aside from a couple tracks hardly return to it. I thought it may have been the death of the band, as they have been silent for years. But, much-like their Saviour, they’re back from the dead! This version of Theocracy now features the talents of Taylor Washington, the frontman from local Atlanta band Paladin, and his presence is noticeable to say the least. I’ve had the pleasure of meeting Taylor a few times, including in the run-up to this album, and he is as nice and humble as can be, always happy to talk to a fan. Then he melts your face off with his incredible guitar work. If one has the ear for it, the soloes on this album are markedly better than the previous effort. But it’s not just Washington and the lead guitar, this whole album just blows Ghost Ship out of the water. What I love about Theocracy is their ability to write condensed and punchy power-prog that doesn’t often overstay it’s welcome. Opener Flicker is a perfect example, as even the lyrics emphasise. It hits hard, does what it needs to, then ends. Sinsidious is another example of the band hitting particularly hard, it has no business being that heavy but I’m hear for it. But, as the title track highlights, this record is a shifting Mosaic of sounds. It gets light where it needs to, like in that particular track. Matt Smith’s vocals really shine as with every Theocracy effort. However, the middle of the album sags a bit. The Sixth Great Extinction is boring, and whilst The Greatest Hope shows off Smith’ vocals, it could be cut from the record with no love lost here. Then the band roars back with Liar, Fool, or Messiah, a blistering track exploring C.S. Lewis’ trilemma. Red Sea, this album’s epic, is really quite something for the first 12 minutes. Then it loses me for the remainder as it becomes a little too on-the-nose and preachy. It’s still good, but I think some trimming is in order. Don’t spell it out for me, let the music speak (seriously though, that instrumental section is killer). Overall, a welcome return for Theocracy, one of the best prog bands out there, Christian or otherwise.
Top Tracks: Liar, Fool or Messiah; Return to Dust; Sinsidious
The choices are one of three: liar, fool, or Messiah!- 8/10
9. King Gizzard and the Lizard Wizard- PetroDragonic Apocalypse or, Dawn of Eternal Night: An Annihilation of Planet Earth and the Beginning of Merciless Damnation
(prog metal, prog rock)
1. Motor Spirit (8:32)
2. Supercell (5:05)
3. Converge (6:16)
4. Witchcraft (5:03)
5. Gila Monster (4:35)
6. Dragon (9:44)
7. Flamethrower (9:21)
GILA! GILA! Just look at that album cover! Look at that title! Look at that lizard! This album was one of the biggest surprises of the year, and perhaps the most fun of any record on this list. I saw someone describe this as Rush + Motorhead, which doesn’t necessarily sound good on paper, but in practice it’s absolutely killer. For a band that doesn’t often foray into prog or metal, King Gizzard really show their chops here, outdoing quite a few prog metal stalwarts in the process. My biggest complaint for this record, and the reason that it doesn’t rank higher, is it gets a tad repetitive. This comes with the territory when you put out as many records as King Gizzard does. The chorus for every song is just a repetition of the song title and it gets stale by the end. I find that works really well for tracks like Motor Spirit and Gila Monster, but less so for Converge and Witchcraft, the two songs which make up the low-point of the album. Certain riffs and rhythms repeat to a noticeable degree as well. Despite those shortcomings, the album really comes together as a whole with the proggy Dragon and Flamethrower to close it out. These tracks really showcase the bands songwriting and ability to stand toe-to-toe with prog giants. There’s really not much more to say. It’s silly and fun and stupid, and that’s why it rules. All hail king Gila!
Top Tracks: Gila Monster; Motor Spirit; Flamethrower
I'm the Gila, card dealer, fate sealer! GILA! GILA! I’m the gila blood-spiller witch-killer. GILA! GILA!… 8/10
8. Haken- Fauna
(prog metal, djent, prog rock)
1. Taurus (4:49)
2. Nightingale (7:24)
3. The Alphabet of Me (5:33)
4. Sempiternal Beings (8:23)
5. Beneath the White Rainbow (6:45)
6. Island in the Clouds (5:45)
7. Lovebite (3:49)
8. Elephants Never Forget (11:07)
9. Eyes of Ebony (8:32)
Let no one call me simply a Haken fanboy, because this record was dangerously close to dropping off the rankings all-together. Whilst I am excited for every new Haken release, as they have written some of my favourite music of all time, I am also an honest critic of their music. In all honesty, this album almost lost me through the first three tracks. I had heard Nightingale as a single, and had seen it performed live and liked it very much, but the other two tracks did almost nothing for me, and I was worried that a return to a more complex sound (coming off 2020’s relatively straightforward Virus) was going to cripple Haken. But, just in time to save the day, Sempiternal Beings smacked me across the face with everything I love about Haken. It is a stellar track, and indicative of the bands evolving style and dynamic songwriting. I was so glad to see it on the setlist when I saw them on the Fauna tour. It’s got that huge chorus and the pounding riff that I’ve come to expect from the band. From then on, the rest of the album works to near perfection. It’s quirky, it’s weird, it’s heavy, it’s beep-boop…it’s Haken. Don’t get me wrong, I love the straightforward djent of the last two records, and they still rank higher in Haken rankings than Fauna, but Fauna sounds like a fusion of that and old-school weird-prog Haken. They continue to throw all sorts of stuff at the wall, like Lovebite, which has grown on me after seeing it live, and Elephants Never Forget, which harkens all the way to Aquarius days. Indeed seeing these songs live, within touching distance of Charlie Griffiths, has pushed this record to the high-spot it earned. I’m looking forward to seeing it played in full in a couple months. Overall, a back-heavy album that show-cases the immense talent contained in this band, and why they are currently the reigning kings of the prog world, even if some others are coming for that crown.
Top Tracks: Sempiternal Beings; Elephants Never Forget; Beneath the White Rainbow
And the ocean between us is where we find inner peace. When will we cease to convince ourselves we're sempiternal beings?…8/10
7. The Anchoret- It All Began With Loneliness
(prog metal, prog rock, jazz fusion)
1. An Office for... (2:40)
2. A Dead Man (6:32)
3. Until the Sun Illuminates (6:40)
4. Someone Listening? (8:05)
5. Forsaken (7:26)
6. Buried (4:28)
7. All Turns to Clay (8:32)
8. Unafraid (7:18)
9. Stay (7:00)
“You just listen to jazz metal!” said a friend once, with a hint of derision at the concept. Guilty as charged. I love a good fusion, and The Anchoret has talent in spades to create such a one. Perhaps more than most records from this year, this album works best as a cohesive whole, and I’ve enjoyed the songs less whilst not listening to the whole album. But I suppose that is a positive, as the art works as a single piece. There is plenty of flashy guitarwork to be had, but also saxophones, horns and flutes thrown in the mix for good measure. It has a big sound to it for sure, one that fills the whole space its in. The first three tracks, each transitioning seamlessly into the next, showcase an insane amount of talent. A Dead Man leaves space for everything to be highlighted: everyone gets a solo! And the drums, oh my the drums. The drumming on this album is absolutely bonkers. Just try not to air drum along like JK Simmons is yelling at you, I dare you. Despite the music not being nearly as heavy as all the doom metal from this year, this record may have touched the my sad side more than any other. It’s odd that the jazz elements can work so well with the metal to convey the sadness of the lyrics, but it works. And when they need to, the instruments all drop out and allow the rather raspy voice to tell the tale, like in album closer Stay. Lyrically it tells a lonely tale that anyone who has experienced can relate to, and probably tear up a little. My biggest complaint with the record is that some songs overstay their welcome. I love a long song, but a few of these 7+ minute ones dwell a bit too long. It really makes me appreciate Buried as it does its thing and moves along. Buried is one of the best cuts on the record, that blasting double-bass and tremolo-picked guitar are killer. The choruses of A Dead Man and All Turns to Clay are also particularly excellent, and all around the record is a testament to the innovative modern prog scene. I look forward to more from this project as this debut has incredibly impressed me.
Top Tracks: A Dead Man; All Turns to Clay; Buried
A dead man to the living. A ghost behind these walls. I dream of love now failing. God save us from us all… 8/10
6. Sacred Outcry- Towers of Gold
(power metal, heavy metal)
1. Through Lands Forgotten (02:14)
2. The Flame Rekindled (05:06)
3. The Voyage (05:11)
4. Into the Storm (04:40)
5. Symphony of the Night (05:33)
6. A Midnight Reverie (01:41)
7. The Sweet Wine of Betrayal (07:52)
8. The City of Stone (05:21)
9. Towers of Gold (14:52)
10. Where Crimson Shadows Dwell (02:55)
The year 2023 saw new releases from plenty of power metal stalwarts, nay, legends. Kamelot, Galneryus, Angra, Virgin Steele, Gloryhammer, Twilight Force, and Jag Panzer all dropped new records dripping with cheese and melody. Yet, if you had me that none of those veritable giants would even come close to the best power metal of the year, I wouldn’t have believed you. It’s not even that any of those releases are bad (some are coughVirgin Steelecough), it’s that none of them had the secret weapon: Daniel Heiman. I’m sorry everyone else, you never stood a chance.
In all seriousness, I went into Towers of Gold not knowing that the former Lost Horizon vocalist was fronting the project. What pleasant surprise to my ears then when I heard his wails soaring above the mix. What a snag for this band to add him for their sophomore effort. I haven’t really listened to any of the small projects he’s been involved with since Lost Horizon, but it seems to me he hasn’t lost a step, and is back to reclaim his throne as the king of power metal vocalists. He absolutely nails it across the album. The rest of the band is in lock step as well, but it is telling that none of them shine too brightly. The riffs are great, the rhythms are tight, and the solos are shreddy, yet no one really stands out. Some people have criticised this for being bland or boring, but just because its sticks to the principles and does them well does not a boring record make. It’s not beyond criticism: some of the transitions between songs and within songs are a little clunky, and perhaps some trimming is necessary, but overall I was excited and engaged throughout. It’s dynamic enough to keep you interested, with speedy tracks such as The Voyage, a slowed down offering in The Sweet Wine of Betrayal, and mid-paced offerings in between before hitting a heavy wall in The City of Stone. The title track is absolutely killer, and everyone really pulls it together for that climax.
Top Tracks: Towers of Gold, The Voyage, The City of Stone
You'll never leave the towers…There's only one way home... 8.5/10
5. Nospun- Opus
(prog metal)
1. The House at the End (01:53)
2. Implosion Overture (05:14)
3. The Death of Simpson (09:10)
4. Dance With Me! (03:48)
5. Tougher Love (02:56)
6. Earwyrm (05:21)
7. ...And Then There Was One (07:16)
8. 4D Printing (06:42)
9. Within the Realm of Possibility (15:23)
10. Back, Yet Forward (09:18)
11. The House at the Beginning (03:57)
This debut came out of nowhere to absolutely smash my list to pieces at the eleventh hour. My prog-loving friend told me to drop everything I was doing and listen to this. I was floored, and as I was already finalising the list, I suddenly I had no idea what to do. I would describe it as a love-child of Visions era Haken and Metropolis era Dream Theater, that somehow has the voice of Devin Townsend. Those are some remarkable comparisons, but boy howdy do these guys have the chops to stand alongside their forebearers. The instrumental overture showcases a dazzling display of technical prowess, and highlights the bands abilities as a tight-knit rhythmic unit. But that is all just a precursor, and Death of Simpson is where it all really kicks off. This song, the chorus especially, slaps my potatoes every which way. It just hits so hard after the build-up and is Song of the Year material. Overall the band is able to keep the momentum going throughout the rest, though I find the softer tracks are weaker than their surroundings. Whilst the aforementioned Death of Simpson was my initial favourite, and Earwyrm races out of the gates as another banger, later listens saw the more sombre …And Then There Was One rise to the top as perhaps the best cut on the record. That opening solo is magical, and doesn’t feel the need to shred to show off, and the funky groove plus a sad chorus makes for a whirlwind of a song. Whilst their technical ability is certainly a strength, it also turns into a weakness as they show off a couple of times in pointless wankery, as Dream Theater-esque prog bands are wont to do. The biggest drawback though, is the lyrics. I love me some cheese, but some parts of this make me cringe a bit, most especially the spoken word bit in Within the Realm of Possibility, which brings an otherwise stellar song to a grinding halt. These quibbles aren’t big enough to detract from my overall enjoyment of the record. It is super fun, and any fan of this type of prog would enjoy. I’m excited for what comes next for this new band.
Top Tracks: Death of Simpson; …And Then There Was One; Earwyrm
When you find yourself alone, but you realize it’s been that way all along, just remember where you draw your strength from… 8.5/10
4. Fires in the Distance- Air Not Meant For Us
(melodic death metal,
hv
)
1. Harbingers (10:41)
2. Wisdom of the Falling Leaves (07:34)
3. Crumbling Pillars of a Tranquil Mind (09:23)
4. Adrift, Beneath the Listless Waves (06:01)
5. Psalm of the Merciless (07:05)
6. Idiopathic Despair (09:03)
Fun time is over, as the title Air Not Meant For Us or have of the track names should signal to anyone that such levity won’t be found in these parts. I don’t often us the term “beautiful” to describe melodic death metal, but it certainly applies here. And to be honest this isn’t your grandad’s melodeath, this is a slow and plodding exploration that happens to have the melodeath sound as a vehicle. This album is absolutely gorgeous, whilst still managing to be the most brutal album on the list. It’s “brutiful,” a term that will rear it’s head again in 2023. The melodies are perfectly written, and the use of the piano throughout is the touch this album needed to make it stand out from it’s peers. It’s really what the new Insomnium album should have been, but where Insomnium fell short, Fires in the Distance rose to the occasion. The soundscape is just breathtaking, with the piano, synth, and traditional death metal working in harmony. I love it when they let a fat power chord ring for a few notes while the piano fills in the rest. The piano and guitar really play off each other perfectly as two leads and each let the other breathe as necessary. The vocals are solid, no extravagant screams, nothing showy, just solid growls throughout, but perfectly fit the rather dark lyrics. Everyone is really in lock step, that crushing rhythm for the chorus of Crumbling Pillars of a Tranquil Mind is incredible. The melodies here are infectious. On repeat listens you find yourself singing along the guitar leads or the piano parts. My only critique is that across the whole album, things sound a little samey. The songs are dynamic and different enough to distinguish, but if dropped in the middle of one I might not be able to differentiate. Also the band pulls that trick of building up a riff and stopping it like a brick wall, only to have a lead break for the piano or guitar, just one too many times. There’s not a bad track amongst the bunch, and the instrumental track Adrift, Beneath the Listless Waves manages to tell its story without words almost better than the other tracks. That build up to a blistering solo before returning to a familiar riff is masterfully done. And just when you might think it’s getting tiresome, the last two tracks are the most killer and rewarding. Also, just stunning cover art, that doesn’t hurt.
Top Tracks: Psalm of the Merciless; Idiopathic Despair; Crumbling Pillars of a Tranquil Mind
Mercy escapes my grasp. Penance, your ask is vast. Mercy, where have you gone? Penance, to sing your psalm… 9/10
3. Sermon- Of Golden Verse
(prog metal)
1. The Great Marsh (1:15)
2. Royal (5:43)
3. Light the Witch (4:59)
4. In Black (1:06)
5. The Distance (6:36)
6. Senescence (7:47)
7. Wake the Silent (5:54)
8. Golden (6:56)
9. Centre (1:29)
10. Departure (6:57)
Despite my love of technical prowess and musical complexity, I’m also a sucker for simplicity. The beautiful yet minimal album art of this record betrays what’s inside: a record that is straightforward in approach, yet intricate in it’s details. It seems simple on the face: lots of riffs, powerful vocals, no dazzling solos or technical wizardry on display. Just a pic of some gold door on red, right? But then you look closer, then you listen closer, and you hear the complexity that makes up this perfectly structured masterpiece. You see the swirls and patterns of the design. They rhythms are just wild beneath the surface, the drumming is absolutely stellar, the guitarwork more nuanced that you first realised. The vocals are great, and the lyrics convey the subject matter at hand. He goes from an almost whisper to a primal yell and you’re with him the whole way there. This record is the epitome of “repetition legitimises.” They repeat ideas ad naseum except you don’t get tired of it. You want to hear that riff again. TOOL comparisons abound, but I find this much more engaging than any TOOL record. I wasn’t bored for a second, and this one really grabs your attention. The first time I tried to listen to it was during a workout and I was so distracted that I almost didn’t give it another chance. This is not workout music,. This is sit with it and enjoy it prog. There are no solos to be had here, just riff city, population: two. And this dynamic duo works absolutely perfectly together. Perhaps a little editing could be useful to trim the fat, a common complaint for prog records, but nothing is too overlong here. It’s a solid tapestry throughout just begging for a repeat inspection.
Top Tracks: Wake the Silent; Light the Witch; Departure
Wake the silent. Bless the weakness. Lеad them forward. Take the silеnce. Gazing into the unblessed… 9/10
2. Omnerod- The Amensal Rise
(prog metal, death metal, hv)
1. Sunday Heat (5:43)
2. Satellites (11:40)
3. Spore (12:32)
4. Magnets (9:48)
5. The Amensal Rise (11:33)
6. Towards the Core (7:50)
7. The Commensal Fall (10:32)
I don’t understand this album, and neither do any of you, and neither do your parents! Seriously, what the hell is even this? I’m not sure, but I am certain of one thing: I absolutely love it! It scratches that itch that I have for new Wilderun or Opeth, but is also just quirky and weird and all over the place. It’s a hard piece of music to digest, and my first listen left me bewildered as to what I just experienced. You’re telling me this is prog-death and beep-boop carnival prog? Sign me up! It is certainly the least accessible record on the list, and I wouldn’t recommend it to anyone who’s not already a fan of the genre. It takes a while to embed itself, as it is remarkably unrepetitive and in some ways unmemorable, at least until the third or fourth listen. And that’s just the thing, it’s so intriguing and hard to access that I keep wanting to come back over and over again. It’s essentially the polar opposite of the Sermon album above. If repetition legitimises, then Omnerod refuses to be anything but a bastard child and discards all rights to legitimacy, as the band never dwells on a theme or idea for very long. It’s a shifting chameleon that looks to be something odd, but is just stellar prog-death at its heart. The middle of the record really crushes it: Satellites, Spore, Magnets, The Amensal Rise; all just an amazing tapestry of sound that flows perfectly from one idea to the next. You almost get lost amongst the clouds and forget what song you’re on until it’s too late. As far as defects, that little country riff in Towards the Core is my biggest gripe of the record, as it almost takes me out of the song before the band comes back in and smashes everything up. Also, the last two minutes of The Commensal Fall is nice and all, but maybe cut it down a tad. That being said, I have nothing but praise for this. All hail! O M N E R O D
Top Tracks: Satellites; Spore; The Amensal Rise
We’re smart enough to read between the lines. And lost enough to believe what we find. And why would we find our way. When death is an open door? 9.5/10
1(b). Seven Spires- Live at ProgPower USA XXI
Wanderer’s Prayer
Gods Of Debauchery
Ghost Of Yesterday
The Cabaret Of Dreams
Succumb
In Sickness, In Health
Bury You
Drum Solo
Oceans Of Time
Shadow On An Endless Sea
Dare To Live
This God Is Dead (Feat. Roy Khan)
Through Lifetimes (End)
Ok, so live albums don’t usually count for these lists, as I want original music, but I should be remiss if I did not place this here where it rightfully belongs, as it was actually the new album I listened to the most in the year of Our Lord 2023. This is a special live record, and a real surprise, as I was there for the recording. It was one of the best sets of the entire weekend, and Adrienne Cowan was in peak form. Now I get to relive every moment whenever I should like, and I couldn’t be happier about that. All the little quips in between songs, the thunderous drum solo, the surprise appearance (the crowd lost their mind) of power metal legend Roy Khan for This God is Dead; my goodness what a show. And I suppose, since I was singing along and cheering, my voice technically appears on this record. This was the night that cemented Seven Spires as my current favourite band, and my most-listened for the past two years. To now have it immortalised forever on disc is a treasure. Apparently the ProgPower people just asked them off-hand if they wanted to record the set so they did. Other than a couple hiccups, the mix sounds great, and Adrienne really only misses a few notes. Her ability to effortlessly switch from harsh to cleans is amazing. This was also the first time they ever played Ghost of Yesterday live, which was my most listened to song of 2022 (and probably 2023 if you combine the live and studio versions), so it becomes even more special. Fans of the band will love it, newcomers will be left thirsting for more.
All I do is lose myself 'neath these watercolor skies and wander 'til I forget my name. She is an illusion, a ghost, but I don't mind at all, I'll dance with the ghost of yesterday
With that behind us, on to the real # 1.
1. Ne Obliviscaris: Exul
(prog metal, technical death metal, black metal, hv)
1. Equus (12:13)
2. Misericorde I - As the Flesh Falls (7:33)
3. Misericorde II - Anatomy of Quiescence (9:22)
4. Suspyre (10:09)
5. Graal (8:53)
6. Anhedonia (3:43)
There are some records that are just special, and you’ll never forget your first listen. This is one of those records. I can remember exactly where I was as the thunderous drums, whining violin, brutal growls, and piercing cleans coalesced with blistering guitars and thick bass to paint a brutal yet beautiful canvas across my ear-drums. Like I said above…brutiful. As the band name is here to remind you…forget not.
Ne Obliviscaris is a unique animal, and Exul is the beast in peak form. It’s a thick and striated horse just pulsing with muscle and dexterity as it gallops across your eardrums and demands that you give this exceptional equine the full attention it deserves. It’s everything a NeO album should be and more. It’s sombre, haunting, melodic, brutal, and, in the end, an absolutely gorgeous piece of music. It requires to be listened to as a whole, and when you finish it all but requests a repeat. And then another. Some people think that Tim Charles’ violin becomes gimmicky across NeO albums, but I’ve never found it to be so. Describing this band as simply “tech-death with a violin” is selling them short of the absolute masters of prog songwriting that they are. In this album, I find that Charles’ violin is almost always used to perfection and dovetails beautifully with his clean vocals and the lead guitar to present this trifecta of melodic leads. It’s the best the band has ever sounded.
On rhythmic side, Xenoyr’s growls are some of my favourites in the business; I’ve always appreciated the sort of clarity they have. One can really understand his lines once you have the ear for it, and so the lyrical genius packs an even deeper punch as he and Charles’ sing simultaneously. Seriously, read along as you listen, they lines given to each perfectly fit the style. This album, more than most in recent years, makes me feel a bit sorry for those who can’t handle harsh vocals but otherwise like metal. This is how you do it, and do it well. The bass is ever present, and given time to breathe on its own for a few moments. And the drums, as ever, are laser-precise and used to perfection. They are the best Daniel Presland has ever shown, and I’m sad to see him leave the band. What a swan song though.
As for the tracks themselves, I’m not sure NeO is capable of writing a short song, but I’m also not sure they’re capable of writing a bad one. Not a one feels like it overstays its welcome despite the length; every second is necessary. Equus gallops out of the gates and really is a microcosm of the whole record, showcasing the light and shade that have always been the band’s bread and butter. The two-part Misericorde suite is beautiful. Seriously, listen to the first couple minutes of the second part and tell me that’s not just some gorgeous music.
I had the good fortune of seeing most of these tracks performed live this year, and it was one of the best shows of the year. The fill-in drummer Kevin Paradis was just as precise and unbelievably fast, but the fill-in for Xenoyr on growls left something to be desired. Tim Charles was having a whale of time though, a grin ear to ear as he sawed away on that violin. The show cemented each of these tracks as some of the best metal of recent years.
Like I said, no other record stood a chance this year. Not only is this the best album of 2023, its the best album that Ne Obliviscaris have ever recorded. Their other records seem almost ill-composed in comparison. It has stayed with me for months since, and will continue to do so. So don your armour, sign it with the Cross, and go on a crusade for the Holy Grail!
Top Tracks: Equus; Misericorde; Suspyre
All these memories. Fleeing, dying. Are these memories all dreams? All these memories. Fear and pain, all. Never to be free. All these memories…10/10
Song(s) of the Year
Ne Obliviscaris: Equus: I mean, you could throw a dart at the NeO record and pick one for Song of the Year. Whilst I adore the two-parter Misericorde, and Graal is absolutely savage, as a lover of horses, I still have to pick the opener Equus as my favourite. It’s quintessential NeO, and nothing will stand in it’s way.
Nospun: Death of Simpson- The chorus slaps harder than it has any right to, impossible not to headbang. The band pulls a nice Haken move by wandering from the chorus just long enough that you almost think it’s gone for good and then dropping it on you like a ton of bricks right at the end.
Theocracy: Liar, Fool, or Messiah- I had this track on repeat for a week after this album dropped. The little change-up in the chorus, the riffs, the solos. Top-tier Theocracy track right here.
Sacred Outcy: Towers of Gold- An amazing climax to an amazing record. Heiman is in peak form (that note at the same time as the pinch harmonic, so sweet) and the rest of the band is in lock-step for all fourteen of these glorious minutes.
Haken: Sempiternal Beings- Again, the best track of the new record and one I almost never skip if it comes on. Everything Haken is meant to be in a tight 8-minute package.
King Gizzard and the Lizard Wizard: Gila Monster- GILA! GILA! GILA! Seriously just listen to this, it’s so fun. GILA! GILA! GILA!
Honourable Mentions
Oak- Disintegrate (black metal, doom metal, funeral doom): Another worthy entry in the single-song funeral doom album. This one clocks in at 45 minutes, and I was not bored for a second. It shifts tempos and style far more than expected and keeps the listener engaged.
Wytch Hazel- IV: Sacrament (heavy metal, hard rock)- There’s always room for more Jesus on this list. It doesn’t reach the heights of their last two records, but is solid straight up metal/hard rock throughout.
Gorod- The Orb (death metal, technical death metal)- Some real blistering tech-death here from genre stalwarts. Definitely grabbed me on my first listen but didn’t have the staying power of previous records.
Aetherian- At Storm’s Edge (melodic death metal): The best straightforward melodeth of the year for sure. ΠΥΡ ΑΕΝΑΟΝ is a track I keep coming back to.
Rise to the Sky- Two Years of Grief (death doom, doom metal): Oof. Oof is all I can say after listening to this. Whew boy this album is absolutely brutal, and its timeliness and title leave a particular personal touch for yours truly. It’s the saddest record on the list, and not for the faint of heart. It hits like a truck to near despair.
Saturnus- The Storm Within (death metal, doom metal): Doom metal stalwarts that somehow keep churning out excellent material. The spoken word bits almost detract from the overall greatness of the music, but it remains a solid record start to finish.
Omnivortex- Circulate (death metal, technical death metal): My favourite tech-death release of the year. It had made the top-ten in earlier drafts, but kept getting pushed out by all the prog. It is fast, frantic, and full of fretboard antics to keep any fan happy.
Shores of Null- The Loss of Beauty (death metal, doom metal): Ever wonder what Alice in Chains would sound like if they did doom metal and not whatever crap they put out in the 90’s? Wonder no more, cause here it is! And it’s good!
Worthy Listening
(in no particular order)
Receiver- Whispers of Lore (heavy metal)
Gloryhammer- Return to the Kingdom of Fife (power metal, euro-power)
Finality- Technocracy (power metal, thrash metal)
Night Crowned- Tales (black metal, death metal, symphonic metal, folk metal)
Stortregn- Finitude (black metal, death metal, melodic death metal, technical death metal)
Lord Mountain- The Oath (doom metal, heavy metal)
Anareta- Fear Not (black metal, doom metal, gothic metal)
Night Demon- Outsider (heavy metal)
Helm’s Deep- Treacherous Ways (heavy metal)
Cirith Ungol- Dark Parade (heavy metal)
Megaton Sword- Might and Power (heavy metal, US power)
Foretoken- Triumphs (melodic death metal)
Dethklok- Dethalbum IV (melodic death metal)
Frozen Crown- Call of the North (power metal)
Angra- Cycles of Pain (power metal, euro-power)
Galneryus- BETWEEN DREAD AND VALOR (power metal)
Twilight Force- At the Heart of Wintervale (power metal, euro-power)
Ice Age- Waves of Loss and Power (prog metal, prog rock)
Riverside- ID.Entity (prog rock)
Ars Moriendi- Lorsque les cœurs s'assèchent. (black metal, prog metal)
Bound for the Bin
Metallica- 72 Seasons: I promise I’m not just turning my nose up at any new Metallica release. True, they haven’t put out anything worthwhile since 1988, but I had my hopes up. Lead single Lux Aeterna, despite Hetfield butchering the pronunciation (lucks) was promising. The solo was bland and uninteresting, but the song had some teeth, some of that old Metallica grit. I wish I could say the same about the rest of the record. What a boring snooze fest. I couldn’t get into any of it, and was just waiting for it to be over. Just hang it up boys, it’s time.
Virgin Steele- The Passion of Dionysius: Oh how the mighty have fallen. I can remember a time when Virgin Steele put out the best symphonic power-metal albums in the business. No it’s just more of David DaFeis’ ego. This album might not be half-bad if the production wasn’t so abysmal. Who mastered this garbage? It sounds awful, like DaFeis just programmed all the instruments on his computer. A complete waste of time.
Kamelot- The Awakening: I really don’t try to hate on post Roy Khan Kamelot. Indeed, I have a soft spot for Tommy Karevik era, as it was the first show I saw in concert. Karevik is a great vocalist in his own right, and Khan comparisons are downright unfair. However, this album is just not working. I’ve seen some high praise for it, calling it a prog-power masterpiece, but I’m not hearing it. Most of the songs fall completely flat. I saw Kamelot last year and not even knowing what songs were from this record, those were the ones that were least enjoyable at the show. I think Youngblood and crew have some good writing left in them, but it’s not on display here.
Yes- Mirror to the Sky: Indeed, Yes is still making music without Jon Anderson. Is it worth anyone’s time? Not really.