Please note: This list is my personal picks, not the Readers Poll, which is ongoing — if you haven’t added your list yet, please do.
As ever, I’ve kept a Post-It note on my wall all year long, and as the weeks and months have ticked away, I’ve added names of bands to it in preparation for putting together my Top 20 of 2012. There was a glut of excellent material this year, and I know for a fact I didn’t hear everything, but from bold forays into new sonic territory to triumphant returns to startling debuts, 2012 simply astounded. Even as I type this, I’m getting emails about new, exciting releases. It’s enough to make you lose your breath.
Before we get down to it and start in with the numbers, the hyperbole, etc., I want to underscore the point that this list is mine. I made it. It’s not the Readers Poll results, which will be out early in January. It’s based on how I hear things, how much I listened to each of these records, the impressions they left on me — critical opinion enters into it, because whether or not I want to I can’t help but consider things on that level when I listen to a new album these days — but it’s just as much about what I put on when I wanted to hear a band kick ass as it is about which records carried the most critical significance or import within their respective genres.
With that caveat in mind, let’s do this thing:
20. Mos Generator, Nomads
Released by Ripple Music. Reviewed Sept. 7
Over the last couple years, I’ve come to think of the #20 spot as where I put my sentimental favorite. That was the case with Suplecs last year, and in 2012, the return of Mos Generator earns the spot. The band being led by guitarist/vocalist Tony Reed, Nomads marked a rehifting of Reed‘s priorities from Stone Axe, with whom he’d proffered ’70s worship for several years prior, and wound up as a collection of some of my favorite heavy rock songs of 2012 — tracks like “Cosmic Ark,” “Torches” and “Lonely One Kenobi” were as strong in their hooks as they were thorough in their lack of pretense. But the bottom line is I’m a nerd for Reed‘s songwriting, playing and production (more on that to come), and at this point it’s not really something I can even pretend to judge impartially. Still, the record’s friggin’ awesome and you should hear it as soon as you can.
19. Golden Void, Golden Void
Released by Thrill Jockey. Reviewed Nov. 20.
Seems like it would make sense to say Golden Void would be higher on the list if I’d spent more time with it — written up just a month ago, it’s the most recent review here — but the fact is I’ve sat with Golden Void‘s self-titled debut a lot over the course of the last month-plus, and I’ve been digging the hell out of it. Really, the only reason it’s not further up is because I don’t feel like I have distance enough from it to judge how it holds up over a longer haul, but either way, the Isaiah Mitchell-led outfit’s blend of heavy psych, driving classic rock and retro style gave some hope for beefing up the US’ take on ’70s swagger — usually left to indie bands who, well, suck at it — and also showed Mitchell as a more than capable vocalist where those who knew him from his work in Earthless may only have experienced his instrumental side. A stellar debut, a wonderful surprise, and a band I can’t wait to hear more from in the years to come.
18. Wight, Through the Woods into Deep Water
Released by Fat & Holy/Bilocation. Reviewed Aug. 3.
This was basically the soundtrack to my summer. From the catch-you-off-guard aggression in opener “I Spit on Your Grave” to the extended stoneralia of “Master of Nuggets” and the jammy “Southern Comfort and Northern Lights,” the follow-up to Wight‘s self-produced debut Wight Weedy Wight (review here) showed an astonishing amount of growth, and though it had the laid back, loose feel that distinguishes the best of current European heavy psych, Through the Woods into Deep Water was also coherent, cohesive and impeccably structured. I thought it was one of the year’s strongest albums when it was released, and its appeal has only endured — as much as I listened to it when it was warm over the summer, now in December I put it on wishing the temperature would change to match. The songs showed remarkable potential from the German three-piece and cast them in an entirely different light than did their first out. Really looking forward to where they might go from here, but in the meantime, I’m nowhere near done with Through the Woods into Deep Water yet.
17. Lord Fowl, Moon Queen
Released by Small Stone. Reviewed Aug. 29.
“Oh, Moon Queen! Flyin’ down the world on a moonbeam!” Somehow the first lines of the opening title-track to Lord Fowl‘s Moon Queen always seem to wind up stuck in my head. The Connecticut foursome made their debut on Small Stone with the loosely thematic full-length, and touched on a sense of unabashedly grandiose ’70s heavy rock in the process. That said, Moon Queen wasn’t shooting for retro in the slightest — rather, guitarist/vocalists Vechel Jaynes and Mike Pellegrino fronted the band’s classic sensibilities with a wholly modern edge, like something out of an alternate dimension where rock never started to suck. The classic metal guitar in “Streets of Evermore” and the swaying groove from bassist Jon Conine and drummer Don Freeman under the wandering leads of “Hollow Horn” made Moon Queen more stylistically diverse than it might otherwise have been, but at its core, it was a collection of stellar heavy rock songs, unashamed of its hooks and unafraid to put its passions front and center. They packed a lot into a 47-minute runtime, but I’ve yet to dig into Moon Queen and regret having pressed play. Another band to watch out for.
16. Pallbearer, Sorrow and Extinction
Released by Profound Lore. Reviewed Feb. 14.
It was impossible not to be swept up in the hype surrounding Pallbearer‘s Profound Lore debut, but one listen to Sorrow and Extinction and it was clear that its resounding praise was well earned. By blending thickened psychedelic tonality and emotionally resonant melodies, the Little Rock, Arkansas, four-piece concocted the single most important American doom release of the year. Their efforts did not go unnoticed, and as they supported the album on tour, the swell of the crowds spoke to the right-idea-right-time moment they were able to capture in songs like the stunning “An Offering of Grief” and “The Legend.” There’s room for growth — I wouldn’t be surprised to find guitarist Brett Campbell‘s vocal range greatly developed next time out — but Pallbearer have already left a mark on doom, and if they can keep the momentum going into wherever they go from here, it won’t be long before they’re being cited as having a significant impact on the genre and influencing others in their wake.
15. Kadavar, Kadavar
Released by Tee Pee. Track streamed July 9.
I already singled out Kadavar‘s Kadavar as the 2012 Debut of the Year, so if you need any sense of the reverence I think the German trio earned, take whatever you will from that. There really isn’t much to add — though I could nerd out about Kadavar‘s ultra-effective retroisms all day if you’re up for it — but something I haven’t really touched on yet about the record: When I was out in Philly last weekend, the DJ cleverly mixed Kadavar into a set of early ’70s jams, and it was all but indistinguishable in sound from the actual classics. That in itself is an achievement, but Kadavar‘s level of craft also stands them out among their modern peers, and it was drummer Tiger‘s snare sound that I first recognized in “All Our Thoughts,” so right down to the most intricate details, Kadavar‘s Kadavar was a gripping and enticing affair that proved there’s still ground to cover in proto-heavy worship.
14. Stubb, Stubb
Released by Superhot Records. Reviewed Feb. 2.
The fuzz was great — don’t get me wrong, I loved the fuzz — but with Stubb‘s Stubb, it was even more about the songs themselves. Whether it was the interplay between guitarist Jack Dickinson and bassist Peter Holland (also of Trippy Wicked) on vocals for the chorus of “Scale the Mountain” or the thickened shuffle in “Soul Mover” punctuated by drummer Chris West‘s (also Trippy Wicked and Groan) ever-ready fills, there wasn’t a clunker in the bunch, and though it’s an album I’ve basically been hearing since the beginning of the year, its appeal has endured throughout and I still find myself going back to it where many others have already been forgotten. With the acoustic “Crosses You Bear” and more laid-bare emotionality of “Crying River,” Stubb showed there was more them than excellence of tone and with the seven-minute finale “Galloping Horses,” they showed they were ready to jam with the best. Truly memorable songs — and also one of the live highlights of my year.
13. Orange Goblin, A Eulogy for the Damned
Released by Candlelight Records. Reviewed Dec. 15, 2011.
Orange Goblin‘s purpose seemed reborn on their seventh album and Candlelight Records debut, A Eulogy for the Damned. Culling the best elements from their last couple albums, 2007’s Healing Through Fire and 2004’s Thieving from the House of God, the long-running London troublemakers upped the production value and seemed bent from the start on taking hold of the day’s sympathy toward their brand of heavy. With tales of alcoholic regret, classic horrors and a bit of cosmic exploration for good measure, they marked their ascent to the top of the British scene and took well to the role of statesmen, headlining Desertfest and proceeding to smash audiences to pieces around the continent at fests and on tours. Look for them to do the same when they bring the show Stateside in 2013 with Clutch. Their plunder is well earned, and I still rarely go 48 hours without hearing the bridge of “The Fog” in my head. Can’t wait to see them again.
12. Ararat, II
Released by Elektrohasch Schallplatten. Reviewed March 28.
While I still miss Los Natas, my grief for their passing has been much eased over the last two years by frontman Sergio Chotsourian‘s doomier explorations in Ararat. The first album, 2009’s Musica de la Resistencia (review here), ran concurrent to Los Natas‘ swansong, Nuevo Orden de la Libertad, but with II, the new three-piece came into their own, setting space rock synth against low-end sprawl, thick drumming and Chotsourian‘s penchant for experimenting with structure. Extended tracks “Caballos” and “La Ira del Dragon (Uno)” were positively encompassing, and showed Ararat not only as a distinct entity from Los Natas, but a turn stylistically for Chotsourian into elephantine plod, wide-open atmospherics and a likewise expansive creative sensibility. The acoustic “El Inmigrante” and piano-led “Atenas” offered sonic diversity while enriching the mood, and closer “Tres de Mayo” hinted at some of the melding of the various sides that might be in store in Ararat‘s future. If the jump from the first record to the second is any indicator, expect something expansive and huge to come.
11. Ufomammut, Oro
Italian cosmic doom meganauts Ufomammut outdid themselves yet again with Oro, breaking up a single full-length into two separate releases, Oro: Opus Primum and Oro: Opus Alter. But the album — which I’ve decided to list as the single entity Oro rather than its two component parts basically to save myself some brain space — was more than just big in terms of its runtime. More importantly, Ufomammut were able to hold firm to their commitment to stylistic growth, drawing on their greatest triumph yet, 2010’s Eve (review here), the trio pushed themselves even further on their Neurot Recordings debut, resulting in an album worthy of the legacy of those releasing it. I don’t know if Oro will come to define Ufomammut as Eve already seems to have — dividing it as they did may have made it harder for listeners to grasp it as a single piece — but it shows that there’s simply no scaring the band out of themselves. Brilliantly tied together around a central progression that showed up in “Empireum” from Opus Primum and “Sublime” on Opus Alter, I have the feeling Ufomammut will probably have another album out before Oro‘s breadth has fully set in.
10. Conan, Monnos
Released by Burning World/Gravedancer. Reviewed March 1.
Behold the standard bearers of heavy. It wasn’t long after hearing UK trio Conan for the first time that I began using them as a touchstone to see how other bands stacked up, and to be honest, almost no one has. Led by the inimitable lumber provided by the tone of guitarist/vocalist Jon Davis (interview here), Conan stripped down their approach for Monnos, returning to Foel Studio in Wales to work with producer Chris Fielding — who’d also helmed their 2010 Horseback Battle Hammer EP — and the resulting effort was both trim and humongous. Early tracks like “Hawk as Weapon,” “Battle in the Swamp” (an old demo given new life) and “Grim Tormentor” actually managed to be catchy as well as sonically looming, and the more extended closing duo of “Headless Hunter” and “Invincible Throne” showed that Conan could both use their tone to build forward momentum and plod their way into ultra-slow, ultra-grim despairing nothingness. Monnos affirmed Conan as one of the most pivotal acts in doom, and with new material and a home studio reportedly in the works, as well as further European touring on the docket for early 2013, their onslaught shows no signs of letting up. Right fucking on.
9. My Sleeping Karma, Soma
Released by Napalm Records. Reviewed Sept. 6.
In some ways, it seems like the easiest thing in the world, but with My Sleeping Karma‘s fourth full-length, Soma, it really was just a question of a band taking their sound to a completely new level. The German heavy psych instrumentalists brought forth the sweetness of tone their guitars have harnessed over the course of their three prior offerings, but the progressive keyboard flourishes, the warmth in the bass, the tight pop of the drums — it all clicked on Soma in a way that the other records hinted was possible and made the album the payoff to the four-piece’s long-established potential. Wrapped around the titular theme of a drink of the gods and with its tracks spaced out by varying ambient interludes, no moment on the album felt like it wasn’t serving the greater purpose of the whole, and the whole proved to be a worthy purpose indeed. Hands down my favorite instrumental release of the year and an effort that pushed My Sleeping Karma to the front of the pack in the crowded European heavy psych scene.
8. Graveyard, Lights Out
Released by Nuclear Blast. Reviewed Oct. 11.
The damnedest thing happens every time I turn on Graveyard‘s third album, Lights Out, in that before I’m halfway through opener “An Industry of Murder,” I have to turn it up. The reigning kings of Swedish retro heavy wasted no time following up 2011’s stunning sophomore outing, Hisingen Blues (review here), and with the four-year gap between their self-titled debut and the second record, it was a surprise from the moment it was announced, but more than that, Lights Out showed remarkable development in Graveyard‘s sound, offering elements of classic soul on songs like “Slow Motion Coundown” and “Hard Times Lovin'” to stand alongside the brash rock and roll of “Seven Seven” or the irresistible hook provided by “The Suits, the Law and the Uniforms” or the single “Goliath.” A landmark vocal performance from guitarist Joakim Nilsson and newly surfaced political bent to the lyrics hinted that Graveyard were nowhere near done growing, but seriously, if they put out four or five more records in the vein of Lights Out, I doubt there’d be too many complaints. Already one can hear the influence they’ve had on European heavy rock, and Lights Out isn’t likely to slow that process in the slightest.
7. Saint Vitus, Lillie: F-65
Released by Season of Mist. Reviewed March 26.
Three drum hits and then the lurching “Let Them Fall” — the leadoff track on the first Saint Vitus studio album since 1995 — is underway, and it’s exactly that lack of pomp, that lack of pretense, that makes Lillie: F-65 so righteous. Admittedly, it’s a reunion album. They toured for a couple years playing old material, then finally decided to settle in and let guitarist Dave Chandler (interview here) start coming up with a batch of songs, but you can’t argue with the results. They nailed it. With Tony Reed‘s perfect production (discussed here), Vitus captured the classic tonality in Chandler‘s guitar and Mark Adams‘ bass and kept to their sans-bullshit ethic: A short, 33-minute album that leaves their audience wondering where the hell that assault of noise just came from. Scott “Wino” Weinrich‘s presence up front was unmistakable with Chandler‘s punkish, no-frills lyrics (as well as his own on “Blessed Night,” the first song they wrote for the album), and drummer Henry Vasquez not only filled the shoes of the late Armando Acosta but established his own persona behind the kit. I hope it’s not their last record, but if it is, Saint Vitus came into and left Lillie: F-65 as doom legends, and their work remains timeless.
6. Ancestors, In Dreams and Time
Released by Tee Pee. Reviewed March 23.
Talk about a band who shirked expectation. Guitarist/vocalist Justin Maranga and I discussed that aspect of Ancestors a bit in an interview over the summer, but it’s worth underscoring. There was next to nothing in either of Ancestors‘ first two albums to hint at where they’d go with the third. Both Neptune with Fire and Of Sound Mind (review here) were rousing, riff-led efforts that headed toward a particular heavy sensibility, but it was with last year’s Invisible White EP (review here) that the L.A. outfit began to show the progressive direction they were heading. And In Dreams and Time is even a departure from that! It’s kind of a departure from reality as well, with the Moog/organ/synth mesh from Matt Barks and Jason Watkins (also vocals), dreamy basslines from Nick Long and hold-it-all-together drumming of Jamie Miller — since out of the band. Closer “First Light” was my pick for song of the year, and had the album been comprised of that track along, it’d probably still be on this list somewhere, but with the complement given to it by the piano sprawl of “On the Wind” and driving riffs and vocal interplay of “Correyvreckan” (if you haven’t heard Long‘s bass on the latter as well, you should), there was little left to question that this was the strongest Ancestors release of their career to date and hopefully the beginning of a new era in their sound. They’ve never been what people wanted them to be, but I for one like not knowing what to expect before it shows up, at least where these guys are concerned.
5. High on Fire, De Vermis Mysteriis
Released by E1 Music. Reviewed March 12.
After what I saw as a lackluster production for 2010’s Snakes for the Divine, Oakland, CA, trio High on Fire aligned themselves with producer Kurt Ballou (Converge) for De Vermis Mysteriis and completely renewed the vitality in their attack. Built on the insistence of “Bloody Knuckles,” furious fuckall of “Fertile Green,” unmitigated piracy of “Serums of Laio” and eerie crawl in “King of Days,” De Vermis Mysteriis was both aggressive in High on Fire‘s raid-your-brain-for-THC tradition and extreme in ways they’ve never been before. Groovers like the instrumental “Samsara” and earlier “Madness of an Architect” offered bombast where the thrash may have relented, while “Spiritual Rites” proved that guitarist/vocalist Matt Pike (also Sleep; interview here), bassist Jeff Matz and drummer Des Kensell had arrived at a new threshold of speed and intensity. Whatever personal issues may have been in play at the time, High on Fire delivered a blistering full-length that stands up to and in many ways surpasses any prior viciousness in their catalog, and their level of performance on their current tour makes it plain to see that the band is ready for ascendency to the heights of metal. They are conquerors to the last, and if De Vermis Mysteriis is what I get for wavering, then I’ll consider my lesson hammered home in every second of feedback, tom thud and grueling second of distortion topped with Pike‘s signature growl.
4. Neurosis, Honor Found in Decay
Released by Neurot. Reviewed Sept. 21.
When I interviewed interviewed Steve Von Till about Honor Found in Decay, the Neurosis guitarist/vocalist called the band “a chaos process” in reference to their songwriting. I have no trouble believing that, because while Neurosis stand among the most influential heavy metal bands of their generation — having had as much of an effect on what’s come after them as, say, Meshuggah or Sleep, while also having little sonically in common with either of them — it’s also nearly impossible to pinpoint one aspect of their sound that defines them. The churning rhythms in the riffing of Von Till and his fellow frontman, guitarist/vocalist Scott Kelly (interview here), Dave Edwardson‘s intensity on bass and periodic vocal, the assured percussive creativity of Jason Roeder and the experimental edge brought to bear in Noah Landis‘ synth and sampling all prove to be essential elements of the whole. On Honor Found in Decay — and this isn’t to take away anything from any other particular member’s songwriting contributions — it would be Landis standing out with his greatest contributions yet, becoming as much a defining element in songs like “At the Well,” “Bleeding the Pigs” and “Casting of the Ages” as either Kelly or Von Till‘s guitars. Had I never seen the band before, I’d have a hard time believing Honor Found in Decay could possibly be representative of their live sound, but they are every bit as crushing, as oppressive and as emotionally visceral on stage — if not more so — as they are on the album, and while their legacy has long since been set among the most important heavy acts ever, period, as they climb closer to the 30-year mark (they’ll get there in 2015), Neurosis continue to refuse to bow to what’s expected of them or write material that doesn’t further their decades-long progression. They are worthy of every homage paid them, and more.
3. Greenleaf, Nest of Vipers
Released by Small Stone. Reviewed Feb. 28.
It’s hard for me to properly convey just how happy listening to Greenleaf‘s Nest of Vipers makes me, and I’ve got several false starts already deleted to prove it. The Swedish supergroup of vocalist Oskar Cedermalm (Truckfighters), guitarists Tommi Holappa and Johan Rockner (both Dozer), bassist Bengt Bäcke (engineer for Dozer, Demon Cleaner, etc.) and drummer Olle Mårthans (Dozer) last released an album in 2007. That was Agents of Ahriman, which was one of my favorite albums of the last decade. No shit. Not year, decade. With a slightly revamped lineup and Dozer‘s maybe-final album, 2008’s Beyond Colossal, and the never-got-off-the-ground side-project Dahli between, Nest of Vipers landed this past winter and with the shared membership, Karl Daniel Lidén production and consistency of songwriting from Holappa (interview here), I immediately saw it as a sequel to the last Dozer, but really it goes well beyond that. Tracks like “Dreamcatcher,” “Case of Fidelity,” “The Timeline’s History” and soaring opener “Jack Staff” show that although they’d never really toured to that point and been through various lineups over the years, Greenleaf was nonetheless an entity unto its own. Cedermalm‘s vocals were a triumph, Mårthans‘ drumming unhinged and yet grounded, and guest appearances from organist Per Wiberg and vocalists Peder Bergstrand (Lowrider/I are Droid) and Fredrik Nordin (Dozer) only enriched the album for repeat listens, which I’m thrilled to say it gets to this very day. If I called it a worthy successor both to Dozer and to Agents of Ahriman, those words alone would probably fall short of conveying quite how much that means on a personal level, so let its placement stand as testimony instead. This is one I’ll be enjoying for years to come, and when I’m done writing this feature, this is the one I’m gonna put back on to listen through again. It has been, and no doubt will continue to be, a constant.
2. Om, Advaitic Songs
Released by Drag City. Reviewed Aug. 13.
Go figure that the Om record two albums after the one called Pilgrimage would feel so much like a journey. Further including multi-instrumentalist/vocalist Robert A. A. Lowe (also of experimental one-man outfit Lichens) alongside the established core duo of drummer Emil Amos (also of Grails) and bassist/vocalist Al Cisneros (also of Sleep), as well as incorporating a range of guest appearances from the likes of Grayceon‘s Jackie Perez Gratz on cello and Worm Ouroboros‘ Lorraine Rath (who appeared on 2010’s God is Good as well) on flute, Om fleshed out what was once a signature minimalism to the point of being a lush, constantly moving and markedly fluid entity. Cisneros, as the remaining founder and lead vocalist, served as a unifying presence in the material — his bass still was still very much as the center of “Gethsemane” or the more straightforward and distorted “State of Non-Return” — but those songs and “Addis,” “Sinai” and gloriously melodic closer “Haqq al-Yaqin” amounted to more than any single performance, and where prior Om outings had dug themselves deep into a kind of solitary contemplation, Advaitic Songs looked outward with a palpable sense of musical joy and a richness of experience that could only be called spiritual, however physically or emotionally arresting it might also prove. I’ve found it works best in the morning, as a way to transition from that state of early half-there into the waking world — which no doubt has more harshness in mind than the sweet acoustics and tabla at the end of “Haqq al-Yaqin” — so that some of that sweetness can remain and help me face whatever might come throughout the day. A morning ceremony and a bit of meditation to reorder the consciousness.
1. Colour Haze, She Said
Released by Elektrohasch Schallplatten. Reviewed Sept. 18.
Didn’t it have to be Colour Haze? Didn’t it? Two discs of the finest heavy psychedelic rock the world has to offer — yes I mean that — plus all they went through to get it out, the drama of building and rebuilding a studio, recording and re-recording, pressing and repressing, what else could it have been but She Said? After two-plus years of waiting, I was just so glad when it actually existed. Late in 2008, the Munich trio released All, and that was my album of the year that year as well (kudos to anyone who has that issue of Metal Maniacs), but I feel like even if you strip all that away and take away all the drama and the band’s influence, their standing in the European scene, guitarist/vocalist Stefan Koglek (interview here) fostering next-gen talent on Elektrohasch and whatever else you want or need to remove, She Said still holds up. Just the songs themselves. The extra percussion layered in with Manfred Merwald‘s drums on “She Said,” the horns and Duna Jam-ambience on “Transformation,” the unpretentious boogie of “This” on disc one, or the rush of “Slowdown” on disc two and the culmination the whole album gets when the strings kick in on “Grace.” Those strings. God damn. Suddenly a 2CD release makes sense, when each is given its own progression, its own destination at which to arrive, and tired as I am I still tear up like clockwork when I put on “Grace” just to hear it while I type about it. Beautifully arranged, wonderfully executed, She Said couldn’t be anywhere but at the top spot on this list. The warmth in Koglek‘s guitar and Philipp Rasthofer‘s bass on “Breath” and the way their jams always seem to have someplace to go, I feel like I’m listening to a moment exquisitely captured. There isn’t a doubt in my mind Colour Haze are the most potent heavy rock power trio in the world, and that their chemistry has already and will continue to inspire others around them, but most importantly, She Said met the true album-of-the-year criteria in not seeming at all limited to the confines of 2012 — as though it had some kind of expiration date. Not so. Even though I’ve already been through them more times than I know or would care to share had I counted, I look forward to getting to know the songs on She Said over the years to come, and as I have with Colour Haze‘s works in the past, seeing their appeal change over time the way the best of friends do. It couldn’t have been anything but Colour Haze. Whatever hype other albums or bands have, for me, it’s this, and that’s it.
If this list went to 25, the next five would be:
21. Snail, Terminus
22. Revelation, Inner Harbor
23. Wo Fat, The Black Code
24. Groan, The Divine Right of Kings
25. Caltrop, Ten Million Years and Eight Minutes
Honorable mention goes to: Trippy Wicked and the Cosmic Children of the Knight (another one about whom I have a hard time being impartial), Mighty High, At Devil Dirt, Bell Witch, Samothrace, Enslaved, Viaje a 800, and Larman Clamor.
Also worth noting some conspicuous absences: Witchcraft, Swans, Baroness, Royal Thunder, The Sword, Torche. These albums garnered a strong response and have done well in the Readers Poll looking at the results so far, but please keep in mind, this is my list, I took a night to sleep on it, I stand by it and I’ve got my reasons for selecting what I did. You’ll find about 5,000 words of them above.
Thank you as always for reading. If you disagree with any picks, want to add your own take on any of the above, or anything else — really, whatever’s cool — please leave a comment below.Tags: Ancestors, Ancestors In Dreams and Time, Ararat, Ararat II, Colour Haze, Colour Haze She Said, Conan, Conan Monnos, Golden Void, Golden Void self-titled, Graveyard, Graveyard Lights Out, Greenleaf, Greenleaf Nest of Vipers, High on Fire, High on Fire De Vermis Mysteriis, Kadavar, Kadavar self-titled, Lord Fowl, Lord Fowl Moon Queen, Mos Generator, Mos Generator Nomads, My Sleeping Karma, My Sleeping Karma Soma, Neurosis, Neurosis Honor Found in Decay, Om, Om Advaitic Songs, Orange Goblin, Orange Goblin A Eulogy for the Damned, Pallbearer, Pallbearer Sorrow and Extinction, Saint Vitus, Saint Vitus Lillie: F-65, Stubb, Stubb self-titled, Ufomammut, Ufomammut Oro Opus Alter, Ufomammut Oro Opus Primum, Wight, Wight Through the Woods into Deep Water