The Top 10 Metal of 2011 - #9

Discarding our robes to venture back into the grime-covered city, we make our way into the underbelly of...

#9
 Hammers of Misfortune - 17th Street

Seemingly the darlings of the mainstream press, Hammers of Misfortune are routinely overlooked by our bread and butter (anything with “metal” in the URL) instead lauded by the US National Public Radio of all places. They draw upon funereal doom as dark and foreboding as mahogany caskets resting inside pitch black hearses, soaring British New Wave pomp and pageantry, accursed piano driven dark cabaret in addition to plethora of other eclectic influences, crafting yet another sprawling and genuinely entrancing work. The songwriting sounds ambitious and impenetrably precise; a lesser collective of musicians could only aspire to butchery in contrast to HoM’s inspired finesse.  Careful attention is given to production; each track taking on its own unique character yet slotting in perfectly like a chapter in a chilling yet suspenseful mystery novel. Former Slough Feg guitarist John Cobbett and his accomplished company lovingly nurse the concept album back into its robust prime, layering sonorous guitar lines and counterpointed vocals that pay their respects to – but by no means shamelessly rip off – the greats of the past. It has been some time since a high concept record had the balls to tell a thought provoking story and just flat out rock.

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The Top 10 of 2011

The Top 10 Metal of 2011 - #10

Shuffling the honorable mention winners out the servant's entrance, we now don our black monastic cloaks and prepare for the unholy rites...

#10
 The Black Dahlia Murder - Ritual

I made evident in my review earlier this year; something had to give for The Black Dahlia Murder to continue at their breakneck pace lest they slammed into a creative brick wall. Ryan Knight, Arsis alumni and guitarist extraordinaire not only dipped his toes but unreservedly plunged head-first into the vast canon of metal but of all extreme music; like a deranged and alcohol-fuelled (possibly illicitly lit-up as well) metal necromancer, he charges through punk, death metal, black metal, metalcore and indeed the entire gamut, extracting the most brutal essences and discarding the bloated morass of insipid shit that’s gone wrong. It’s not an aimless or schizophrenic effort by any means; it’s cohesive, it’s modern and its heavy metal. It deftly bypasses any pretension that so many bands yearn for simply by rocking and rocking well…and that’s the heavy metal way!

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The Top 10 of 2011

The Top 10 Metal of 2011 - The Honorable Mentions

In carrying on the fine tradition established last year, I will be posting my Top 10 Metal albums of 2011 periodically throughout December right here on Crushtor.net. As is customary (as customary as only one year of precedent can establish,) here are my honorable mentions.

The Bronze award goes to:

Anthrax - Worship Music

If there’s one thing Anthrax can be accused of, it’s a tendency to self-implode. As soon as their line-up approaches a soupcon of stability, it ends up collapsing as soon as the last nail is hammered in place. For Worship Music, we few metalheads can truly supplicate before it, perched upon the thrash metal altar. Soundly trumping other forays by the big four (Megadeth’s Thirteen – an admirable record yet missing drive; and Metallica’s unspeakably heinous collaboration record) Anthrax dug their way to the very core of thrash – careering with maximum brutality at breakneck speed in a quest to summon the beast himself. Some may scoff, remarking that thrash metal is intravenously and hopelessly addicted to its own past. The rejoinder? Headbanging riffs trimmed with Sunset Strip groove, plunging bass lines and badass bellows never go out of style, especially when they’re executed this well.

We approach the other side of the dias to hang the Silver award around the abstract neck of:


Within Temptation - The Unforgiving

It’s undoubtedly fashionable to port almost everything over into comic book format and The Unforgiving was spared no quarter. Based on a story that’s made unclear by my reluctance to shell out for the special edition, the band have well and truly taken a bulldozer to Mother Earth, erecting gothic monuments in its stead, neon-signs buzzing above us in the moonlight. Heart-rending, scrunch-faced acoustic touches remind us of their considerable songwriting talent; luckily the blueprints were in place long before notes were committed to hard-drive, for Within Temptation bereft of a raison d’etre is an exercise in guaranteed mediocrity. Splashing into the perilous ocean of pop, the band emerge from the muddy waters slicker and wiser with a splendid array of string-swelled metal club anthems, seething (Shot in the Dark) sumptuous (Sinead), sinister (Murder) and sensual (Faster) all proudly lead by the passion and drama of Sharon del Adel’s sublime soprano.  


Now the crowd buzzes in anticipation for the Gold award winner, which is:

Amorphis - The Beginning of Times

Amorphis metamorphosed into faultless metal creatures upon the release of 2006’s Eclipse, their fealty to strident and lush psychedelic metal unwavering ever since. Tomi Joutsen snarls, swells and soothes as the band lays down arcane grooves upon resplendent 70s space rock soundscapes. It’s not all flowers, faeries and rainbows, though. There’s a helping of hulking muscle that weaves its way through tracks like My Enemy, conjuring up images of guitarists perched atop stage monitors, head banging violently in unison with the pounding riffs they’ve effortlessly condensed to a slick single that’s both uncompromisingly heavy yet still on speaking terms with pop radio deejays. Proposing they’ve stolen the pop-prog thunder of Genesis or Yes melded with cyborg-augmented Doors lightning would be a generous charge indeed, as we’re eternally grateful for their trippy, bewitching and alchemical metal brew.

Coming soon - the Top 10!