Angry Metal Guy<p><a href="https://www.angrymetalguy.com/doom_et_als-and-dear-hollows-top-tenish-of-2024/" rel="nofollow noopener noreferrer" target="_blank">Doom_et_Al’s and Dear Hollow’s Top Ten(ish) of 2024</a></p><p><i>By Doom_et_Al</i></p><p><strong></strong></p><p><strong><span><strong>Doom_et_Al</strong></span></strong></p><p></p><p>2024 was the year my reviewing fell off a cliff.</p><p>I had plenty of good excuses. An infant son (<span><strong>Grayskull</strong></span>) who totally rocks my world but who gobbles up free time and good sleep habits like Pacman on a tear. A new role at the hospital, for which I was initially out of my depth, and that required enormous effort to stay afloat. An exhausting book tour for a memoir I published earlier this year. These are all incredible things for which I am extremely grateful. I just found that at the end of every day, when I should have been critically assessing music, all I wanted to do was sleep.</p><p>This significant reduction in free time has forced me to reassess my relationship with metal. In the beforetimes, I would inhale it. I was not picky; the more the merrier. Now, I have to be judicious with what I listen to. I have a lower tolerance for bad music, and less inclination to listen to it multiple times. I sometimes yearned for a time when I could focus on music I wanted to listen to, not music I was being asked to critique. This caused me to wonder if I had any business reviewing music at all.</p><p>I can’t tell you if 2024 was a good year for metal or not, because the free time I had was focused on music that brought comfort. I therefore spun fewer albums, but those I did spin got a <em>lot</em> of earball time. I do know that despite everything, metal continued to bring me enormous joy and happiness. Part of this is thanks to the incredible AMG team, and <span><strong>AMG Himself</strong></span>, who have created, without question, the best metal site on the planet. Special thanks to the <span><strong>Steely One</strong></span>, who could have fired me many times, but didn’t for some reason. I’d also like to thank my fellow writers who are good, kind, supportive people whose only flaw is their collective questionable taste.</p><p>Returning to the question of why I’m still here: a few weeks ago, I was playing <strong>Gaerea </strong>softly on the stereo. <span><strong>Grayskull</strong></span> crawled in, heard the music, stood up, and with the biggest grin on his face, began growling and gesticulating. He was loving it, and his unbridled joy reminded me of how glorious good metal can be. It inspired me to try to review more next year. I hope some of that rubs off on you and that you have a beautiful, prosperous and happy 2025</p> <p>#10. <strong>Sgáile</strong> // <em><a href="http://www.angrymetalguy.com/sgaile-traverse-the-bealach-review/" rel="nofollow noopener noreferrer" target="_blank">Traverse the Bealach</a></em> – This type of noodly prog isn’t usually my thing. But <strong>Sgáile</strong>’s Traverse the Bealach is so damn catchy and epic that it transcends the usual pitfalls of the sub-genre. Importantly, it captures the essence and majesty of the Scottish Highlands (albeit in post-apocalyptic form) in a way matched only, perhaps, by countryman <strong>Saor</strong>. It’s also an album that improves the longer you listen to it. An unexpected delight.</p><p>#9. <strong>Misotheist </strong>// <a href="http://www.angrymetalguy.com/misotheist-vessels-by-which-the-devil-is-made-flesh-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Vessels by Which the Devil is Made Flesh</em></a> – A band that hasn’t forgotten that black metal is supposed to feel ugly and <em>dangerous</em>, <em>Vessels</em> picks up where <em>For the Glory of Your Redeemer </em>left off, and is just as remorseless, claustrophobic and scary as its predecessors. <strong>Misotheist</strong> do their usual thing and knock out 3 dissonant bangers in under 40 minutes. When people complain that black metal has gone soft, point them in the direction of <strong>Misotheist</strong></p><p>#8. <strong>Dissimulator</strong> // <a href="http://www.angrymetalguy.com/dissimulator-lower-form-resistance-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Lower Form Resistance </em></a>– Thrash so tasty, even non-thrash fans like myself had to take notice. Complex, technical, ferocious… the only thing I don’t love is the vocals, and those I can get past because the rest is so good. Loaded with killer riffs from start to finish, this should appease the cave-man in you, while tickling those neurones as well. This one stayed in rotation for me all year. Thrash never does that. Which should tell you all you need to know.</p><p>#7. <strong>Spectral Wound </strong>// <a href="http://www.angrymetalguy.com/spectral-wound-songs-of-blood-and-mire-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Songs of Blood and Mire</em></a> – Although not as immediately spectacular as its predecessor, <em>Songs of Blood and Mire</em> is still a ferocious collection of vital and vivid black metal. Melding melodicism with fury, <strong>Spectral Wound</strong> create music as monstrous as it is catchy. Perhaps because it lacks the outright bangers of <em>A Diabolic Thirst</em>, perhaps because it is even more caustic, this one flew under many a radar. Don’t let it fly under yours.</p><p>#6. <strong>Kanonenfieber</strong> // <a href="http://www.angrymetalguy.com/kanonenfieber-die-urkatastrophe-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Die Urkatastrophe</em></a> – Building on the promise exhibited in earlier albums and EPs, <strong>Kanonenfieber</strong> realize their full potential with <em>Die Urkatastrophe</em>. So aggressive, so confident, so accomplished that I knew after one listen that it would list. The notion that “war is hell” is patently clichéd, yet <strong>Kanonenfieber</strong> subvert the usual trappings by cleverly mixing the faux-sunniness of war propaganda with the brutality of black metal. It works brilliantly.</p><p>#5. <strong>Selbst</strong> // <a href="http://www.angrymetalguy.com/selbst-despondency-chord-progressions-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Despondency Chord Progressions</em></a> – Don’t let the hideous AI art turn you off. <strong>Selbst</strong> have come out of nowhere to create the year’s most chaotic, yet compelling, collection of tracks. Channelling <strong>Suffering Hour, </strong>this is music that finds the beauty in the messiness of its composition. Miraculously, the insanity never becomes wearying, only more interesting. By the time the final chords fade, you’ll want to throw yourself in all over again.</p><p>#4. <strong>Dawn Treader</strong> // <a href="http://www.angrymetalguy.com/dawn-treader-bloom-decay-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Bloom & Decay</em></a> <em>– </em>File under “surprise of the year.” I nearly snapped this one up from the promo sump, and then, like an idiot, passed it by. Joke’s on me. Capturing the warm, fuzzy side of black metal (a la <strong>Deafheaven</strong>, or a good version of <strong>Ghost Bath</strong>), <strong>Dawn Treader</strong> manages to pack a deep emotional punch despite all the prettiness on display. Alcest’s effort this year was fine… but when I wanted that transcendent experience only good black metal can provide, it was to<em> Bloom & Decay</em> that I kept returning.</p><p>#3. <strong>Gaerea</strong> // <a href="http://www.angrymetalguy.com/gaerea-coma-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Coma</em></a> – <strong>Gaerea</strong> have always been absolute masters of catharsis. The ability to take music that is baseline intense, and ratchet it up even further, is a rare gift. With <em>Coma</em>, <strong>Gaerea </strong>dial things back. Their tenderest, most intimate collection benefits from adding a gentler emotional core. This makes <em>Coma</em> less immediate than, say, <em>Mirage</em>,but ultimately more varied. And when it hits, the highs are some of the best of <strong>Gaerea</strong>’s rock-solid career.</p><p>#2. <strong>Ulcerate</strong> // <em>Cutting the Throat of God</em> – Arguably the best band in metal release another absolute barnstormer. Using every trick learned over the previous albums, <strong>Ulcerate</strong> deploy a devastating assault of dissonant death metal that captivates as it overwhelms. Insane drumming, complex time shifts, forceful melodies, thematic cohesion… <em>Cutting the Throat of God</em> has it all.</p><p>#1. <strong>Iotunnn</strong> // <em><a href="http://www.angrymetalguy.com/iotunn-kinship-review/" rel="nofollow noopener noreferrer" target="_blank">Kinship</a></em> – First things first. <em>Kinship</em> not <em>Access All Worlds</em> <em>Part 2</em>. It’s more ambitious. It’s more sprawling. It’s shaggier and looser. And truthfully, on my first few listens, I thought it was a bit bloated and ill-disciplined. A 4.5 hiding in a 3.0, if you will. But a weird thing happened. I kept coming back. And every time I came back, I discovered something new. The incredible cymbal work on the chorus of “Mistland,” the gorgeous ending of “The Anguished Eternal.” Soon I realized <em>Kinship</em>, and its songs, are exactly as long as they need to be. Jon Aldara’s amazing vocal work elevates the stellar material even further, adding emotional complexity and yearning to the spell-binding complexity. The result is ethereal, complex, spiritually satisfying prog-death. It’s the best album of the year.</p><p></p><p><strong>Disappointment o’ the Year:</strong></p><p><strong>Zeal & Ardor</strong> // <a href="http://www.angrymetalguy.com/zeal-ardor-greif-review/" rel="nofollow noopener noreferrer" target="_blank">Greif</a> – I love the band. The live show still rocks. But this is a disappointing misfire.</p><p><strong>Songs o’ the Year</strong></p><ul><li>“Silver Leaves” – <strong>Wintersun</strong></li><li> “Mistland” – <strong>Iotunn</strong></li><li>“A Mercy Fall” – <strong>Counting Hours</strong></li><li>“Withering Flower” – <strong>Gaerea</strong></li><li>“Neuronal Fire” – <strong>Dark Tranquillity</strong></li><li>“Matricide 8:21” – <strong>Fleshgod Apocalypse</strong></li></ul> <p><strong><span><strong>Dear Hollow</strong></span></strong></p><p>Welcome to the end of 2024! We at <span>AMG </span>hope the year has been kind to you – that your lives are filled with love, your hearts with joy, and our world with peace. I hope that you have found your people, and have those you can lean on. If we have ever given you a voice, a platform, or just love and support when you need it, then we have done our jobs.</p><p>2024 has been a roller coaster for the <span><strong>Hollow </strong></span>household. Our toddler is now a three-year-old encroaching on kidhood, with all the sass and sick burns she can muster.<a href="https://www.angrymetalguy.com/doom_et_als-and-dear-hollows-top-tenish-of-2024/#fn-208990-1" rel="nofollow noopener noreferrer" target="_blank">1</a> Fun news: we will be welcoming another kiddo into the world come summer of 2025! I also finally graduated with my master’s in secondary education this past year (mainly for the pay raise). While I’m unsure how much I will use from those classes, I have stepped up my class offerings to science fiction, true crime, and archaeology, alongside myriad others.</p><p>My metal reviewing has found a bit of a crossroads in 2024. At the end of 2023, I was diagnosed with anxiety and depression with potential ADHD, with a ton of childhood patterns and religious trauma rooted in my upbringing. As I unpack my need for productivity, I have had to take some steps back and see where my values actually lie as I’ve acclimated to medication, counseling, and just trying to rewire my brain. I’ve been reading and relaxing more, instead of cranking out reviews as religiously as I have. I’m trying to live without religion – of any kind.</p><p>Special shout-outs to those who have been instrumental in my journey this year: the ineffable and tireless <span><strong>Steel Druhm</strong></span>, the genre-confusing <span><strong>Dolphin Whisperer</strong></span>, and those who have been supportive all year (<strong><span>Thus Spoke</span></strong>, <span><strong>Maddog</strong></span>, <span><strong>Carcharadon</strong></span>, <span><strong>Holdeneye</strong></span>, and <span><strong>Mystikus Hugebeard</strong></span>). Couldn’t have done it without y’all.</p><p>On to the metal!</p> <p>#ish. <strong>Sumac </strong>// <em><a href="https://angrymetalguy.com/sumac-the-healer-review/" rel="nofollow noopener noreferrer" target="_blank">The Healer</a> </em>– The amorphous and fluid nature of <em>The Healer </em>is exactly what I’ve wanted out of post-metal. Its organicity is its greatest asset, accomplishing rich and trembling tones across its mammoth 76-minute runtime. Improvised material largely fails due to its lack of direction, but direction was never a focus for <strong>Sumac</strong>; rather, it dwells in its own devastation – the warhead and the fallout. Electronics simmer, noise erupts, sludge riffs hit with the weight of a thousand suns, and vocals command the attack with vitriol and mania alike. <em>The Healer </em>wounds and heals.</p><p>#10. <strong>Sidewinder </strong>// <a href="https://www.angrymetalguy.com/sidewinder-talons-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Talon</em></a> – I never thought a stoner-inclined album would make it to my list, but here we are. I scoffed, but then the first riff of “Guardians” hit, and collided with vocalist Jem Tupe’s formidable and rich belts, the pleasure was so immense I threw a table over. The full-bodied, fuzzed-out blues riffs continue into jam seshes that keep me coming back for more, with them bluesy vocals floating like a weed-piloted spaceship atop the seas of psychedelia. The New Zealand act boasts range, zeniths in the low and slow, and cuts loose with southern fried riffage. I haven’t been able to shake the riff from “Prisoner” for months.</p><p>#9. <strong>Sleepytime Gorilla Museum </strong>// <a href="https://www.angrymetalguy.com/sleepytime-gorilla-museum-of-the-last-human-being-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Of the Last Human Being</em></a> – As a recent convert to 2004’s <em>Of Natural History</em>, <strong>Sleepytime Gorilla Museum </strong>scratches the itch I didn’t know I had. In essence, an art rock and jazz foray, <em>Of the Last Human Being</em> goes from snappy blasts of <strong>UneXpect</strong>-style metal meltdowns, multilayered vocal attacks, wonky and hypnotizing dream sequences,<a href="https://www.angrymetalguy.com/doom_et_als-and-dear-hollows-top-tenish-of-2024/#fn-208990-2" rel="nofollow noopener noreferrer" target="_blank">2</a> to brass drawls, anachronistic industrial electronic, to art-funk, and more! <strong>Sleepytime Gorilla Museum </strong>is confidently locked into its own stylistic fluidity – <em>Of the Last Being </em>picks up as if seventeen years haven’t passed since its predecessor.</p><p>#8. <strong>Mamaleek </strong>// <em><a href="https://www.angrymetalguy.com/mamaleek-vida-blue-review/" rel="nofollow noopener noreferrer" target="_blank">Vida Blue</a> </em>– Taking what made predecessor <em>Diner Coffee </em>so great and blowing it up with a palpable pomp, <em>Vida Blue</em> simultaneously pays homage to member Eric Livingston and the relocation of the Oakland Athletics to Las Vegas. <strong>Mamaleek </strong>establishes these tracks upon much shiftier sands, free jazz at its core, while jazz- and blues rock, post-punk, prog-rock, and pure experimentalisms are glossed over progressions rotten to the core. From flute and brass explosions to anarchic punk driving, you’d be hard-pressed to find an album as bewildering – and as utterly brilliant – as <em>Vida Blue</em>. Home run or whatever.</p><p>#7. <strong>Thou </strong>// <em><a href="https://www.angrymetalguy.com/thou-umbilical-review/" rel="nofollow noopener noreferrer" target="_blank">Umbilical</a> </em>– While <strong>Thou </strong>has always been excellent, <em>Umbilical </em>foregoes the post-metal sensibilities that populated <em>Heathen </em>and <em>Summit</em> in favor of a cutthroat hardcore influence. Blessedly, while it feels harsher than much of their previous material, it doesn’t change the core that defines this Baton Rouge collective. Doom and sludge still dominate the pain and smothering that <em>Umbilical </em>represents, with the thick riffs reeking with the putridity of swamp water and vocals haunting with the vitriol of the bayou’s ghosts dominating the ears aplenty, with a vicious hardcore urgency biting through the humidity.</p><p>#6. <strong>Ataraxie </strong>// <em><a href="https://www.angrymetalguy.com/ataraxie-le-declin-review/" rel="nofollow noopener noreferrer" target="_blank">Le Déclin</a> </em>– The bleak edge of funeral doom has never felt so appealing. Recalling Ingmar Bergman’s <em>The Seventh Seal </em>in its audio and existential weight, the French collective balances the heft of funeral doom with the punishment of death metal – without the bells and whistles of modern atmospherics. Leads dominate the melodic portions with mobility and competence, death metal collapses regularly imminent, tension and bleakness hanging high in an empty sky. Four tracks of patient starkness greet the ears with overwhelming weight and tortured meditations on devastation.</p><p>#5. <strong>Ingurgitating Oblivion </strong>// <em><a href="https://www.angrymetalguy.com/ingurgitating-oblivion-ontology-of-nought-review/" rel="nofollow noopener noreferrer" target="_blank">Ontology of Nought</a> </em>– Easily my most returned-to album of 2024, the German duo creates a death metal album that embodies the outer extremes of the style. It’s dissonant beyond what many consider dissonant, punishing beyond what’s considered punishing, and easily one of the most exploratory albums of the year. Five long-form tracks showcase labyrinthine songwriting, experimental melodic structures, mind-flaying technicality, and a strange sense of catchiness radiating from deep within. Perhaps the most puzzling release of the year that requires and demands your full attention, the unearthed rewards are plenty.</p><p>#4. <strong>Orgone </strong>// <a href="https://www.angrymetalguy.com/orgone-pleroma-review/" rel="nofollow noopener noreferrer" target="_blank"><em>Pleroma</em></a> – Stephen Jarrett emerges from a ten-year hiatus of <strong>Orgone </strong>for a definitive piece of metal that defies explanation. Featuring a technicality that exists in a league of its own with an adventurousness and organicity that aligns its vast range of influences neatly, with its core landing somewhere among technical death metal and post-hardcore a la <strong>Amia Venera Landscape</strong>. Riffs and sweeps maintain a certain unhinged and intensely calculated tedium, while stylistic wilderness is explored in real-time. Post-metal, death metal, post-hardcore, and jazz are all tied together with crescendos and organic breadth that sway from lush harmony to scathing dissonance seamlessly. <strong>Orgone </strong>returns with an opus and pilgrimage of beauty, adventure, and pain.</p><p>#3. <strong>Ulcerate </strong>// <em><a href="https://www.angrymetalguy.com/ulcerate-cutting-the-throat-of-god-review/" rel="nofollow noopener noreferrer" target="_blank">Cutting the Throat of God</a> </em>– I was <em>this close </em>to writing off <strong>Ulcerate</strong>’s newest as too accessible and too forward, lacking the atmospheric prowess of <em>The Destroyers of All </em>or <em>Stare Into Death and Be Still</em>. Then I let <em>Cutting the Throat of God </em>whisper and breath. In between these stormy blusters came the answer, and a sentience emerged. It wasn’t about a broad showcase of dissonance and technical prowess, but a holistic cohesion that stitches the music together with the nuance and sinews of being. The vicious and the ethereal blended into unspoken horror, with meditations ranging from the frantic to the morbid. <em>Cutting the Throat of God </em>is the most human of its releases but in the tragedy it becomes and the metamorphosis it undergoes – the murder of God.</p><p>#2. <strong>Aborted </strong>// <em><a href="https://www.angrymetalguy.com/aborted-vault-of-horrors-review/" rel="nofollow noopener noreferrer" target="_blank">Vault of Horrors</a> </em>– I’ve never been terribly keen on the Belgian deathgrind legends, but <em>Vault of Horrors </em>curb-stomped a special place in me – namely because it sounds like deathcore. I’m not willing to banter about that specificity, but all I know is that <em>Vault of Horrors </em>kicks serious ass. Ripping tempos, bludgeoning riffs, and an unhinged technicality align for an album deserving of the act’s reputation, bolstered by a legion of guests.<a href="https://www.angrymetalguy.com/doom_et_als-and-dear-hollows-top-tenish-of-2024/#fn-208990-3" rel="nofollow noopener noreferrer" target="_blank">3</a> Highlight after highlight rolls by with reckless abandon and pulverizing intensity, until your body is so bruised and beaten you have nothing else to offer. I don’t care if it’s deathcore; it’s brutal, bouncy, and wicked, and I’m just happy to have my skull caved in.</p><p>#1. <strong>Convulsing </strong>// <a href="https://www.angrymetalguy.com/convulsing-perdurance-things-you-might-have-missed-2024/" rel="nofollow noopener noreferrer" target="_blank">Perdurance </a>– Thinking of the meteoric trajectory of Australian one-man project <strong>Convulsing </strong>and its albums, it’s no wonder that <em>Perdurance </em>has lasting success. Dissonant death metal has a high standard this year with established juggernauts <strong>Ulcerate</strong>, <strong>Gigan</strong>, <strong>Mitochondrion</strong>, <strong>Devenial Verdict</strong>, <strong>Pyrrhon</strong>, <strong>Replicant</strong>, and <strong>Ingurgitating Oblivion</strong> releasing scathing blight upon the world in monolithic and ruthless fashion. In this way, Perdurance takes the world in a whisper. Encapsulating a sound that is both unforgivingly dense and painfully claustrophobic, while also starkly and lushly atmospheric in its layered crescendos and exploratory songwriting, few artists profess the level of songwriting the way sole member Brendan Sloan utilizes: intricate and gradual evolution of riffs and melodies, achieving a level of organicity and sentience seen by few. Twisting convention with a knife firmly planted in devastation, <em>Perdurance</em> achieves a truly iconic and transcendent voice in the best album of the year.</p><p></p><p><strong>Honorable Mentions:</strong></p><ul><li><strong>Paysage d’Hiver </strong>// <em><a href="https://www.angrymetalguy.com/paysage-dhiver-die-berge-review/" rel="nofollow noopener noreferrer" target="_blank">Die Berge</a> </em>– It might not best <em>Im Wald</em>, but it’s a damn good conclusion to the Wanderer’s journeys, scathing black metal and frigid ambiance conjuring the majesty of mountains.</li><li><strong>Stenched </strong>// <em><a href="https://www.angrymetalguy.com/stenched-purulence-gushing-from-the-coffin-review/" rel="nofollow noopener noreferrer" target="_blank">Purulence Gushing from the Coffin</a> </em>– I’ve never quite gotten what <strong><span>Steel Druhm</span> </strong>has been on about with filthy, putrid death metal, but now I get it. Ugh, I need to take a shower.</li><li><strong>Defeated Sanity </strong>// <em><a href="https://www.angrymetalguy.com/defeated-sanity-chronicles-of-lunacy-review/" rel="nofollow noopener noreferrer" target="_blank">Chronicles of Lunacy</a> </em>– Brutal death metal darlings don’t hesitate to bring the ouchy, but armed with enough technicality and insanity to keep us guessing, it’s a tough album to beat.</li><li><strong>Apes </strong>// <em><a href="https://www.angrymetalguy.com/apes-penitence-review/" rel="nofollow noopener noreferrer" target="_blank">Penitence</a> </em>– What appeared to be a total <strong>Nails</strong> ripoff turned out to be a much more atmospheric and thoughtful affair, the Quebecois group still managing to cave my skull in.</li><li><strong>Pillar of Light </strong>// <em><a href="https://www.angrymetalguy.com/pillar-of-light-caldera-review/" rel="nofollow noopener noreferrer" target="_blank">Caldera</a> </em>– With a pulverizing yet restrained palette aimed at evocation through sludge and post-metal, this Detroit collective scratches the itch that only <strong>Amenra </strong>could have.</li><li><strong>Charli XCX </strong>// <em>Brat </em>– Well, color me <em>Brat </em>green and call me 2012 <i>The Hobbit</i>’s portrayal of the Misty Mountains. It’s a pop album that caught me by surprise. Hooks and experimental sensibilities align with a deceptively bare-bones album with a strong and palpable theme coursing through. I have not been able to get “Sympathy is a Knife” out of my head.</li></ul><p><strong>Biggest Surprises:</strong></p><ul><li><strong>Everyone and their Kitchen Sink </strong>// <a href="https://www.angrymetalguy.com/kilter-andromeda-anarchia-growlers-choir-sevensuns-la-suspendida-review/" rel="nofollow noopener noreferrer" target="_blank"><em>La Suspendida</em></a> – What. The. Fuck.</li><li><strong>Jeris Johnson </strong>// <em><a href="https://www.angrymetalguy.com/jeris-johnson-dragonborn-review/" rel="nofollow noopener noreferrer" target="_blank">Dragonborn</a> </em>– “Siren’s Song” is a perfect holiday track, as <em>it interpolates the <strong>central melody of <span>“What Child is This?”!!!</span></strong> </em>Merry fucking Christmas. God.</li><li><em>Two </em><strong>La Torture des Ténèbres </strong>albums in one year – I like it raw, boys.</li><li><em>Three </em><strong>Monolith </strong>records in one year: blackened hardcore, doom/deathcore, and aquatic atmoblack. Impressive, fellas.</li><li>How crucial darkwave bands <strong>Lazerpunk</strong>, <strong>Perturbator</strong>, and <strong>Sleepless Droids </strong>were to finishing my master’s. Thanks for the recommendations, <span><strong>Mystikus</strong></span>!</li></ul><p><strong>Songs o’ the Year:</strong></p><ul><li><strong>Assemble the Chariots</strong> – “Evermurk”</li><li><strong>Firtan </strong>– “Hrenga”</li><li><strong>Melvins </strong>– “Pain Equals Funny”</li><li><strong>Shiverboard </strong>– “Vitamins of Darkness”</li><li><strong>Convulsing </strong>– “Endurance”</li><li><strong>Charli XCX </strong>– “Sympathy is a Knife”</li></ul><p><a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/2024/" target="_blank">#2024</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/aborted/" target="_blank">#Aborted</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" href="https://www.angrymetalguy.com/tag/apes/" target="_blank">#Apes</a> <a rel="nofollow noopener noreferrer" class="hashtag u-tag u-category" 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