Distorted Sound’s Albums of the Year 2018
Well, what a year. It seems that we say this every year, but by God, has 2018 delivered a year of incredible music. With every genre and style delivering across the board, as well as a crop of incredible emerging bands pushing the boundaries of what we understand with heavy music, this year has been an absolute pleasure to cover for us here at Distorted Sound. What hasn’t been a pleasure however, was trying to work out what we believe are the best 20 records from this year. After weeks of heated debate amongst our editorial team, we now present our Top 20 Albums of 2018.
20. Revelations of the Red Sword – SVARTIDAUÐI (Ván Records)
Iceland has been a bubbling hotbed for black metal for some time now and SVARTIDAUÐI had stood at the epicentre of the movement. With Revelations of the Red Sword, their second full length record, the band present a visceral, unforgiving and relentless listening experience. Dissonant and icy riffs flow at thunderous pace, the howling vocals from Sturla Viðar only enforce the gripping atmosphere and the subtle tricks up the band’s collective sleeves only continue to keep you on your toes. With a thoroughly fascinating concept at the heart of their ferocious sound, what SVARTIDAUÐI have crafted with their new offering is nothing short of remarkable. An astonishingly excellent record and one that stands as of the best black metal releases of the year.
Words: James Weaver
19. Tū – ALIEN WEAPONRY (Napalm Records)
If you weren’t aware of ALIEN WEAPONRY at the start of the year, you will be well accustomed with the youngsters from New Zealand by now. Having taken the European festival circuit by storm, ALIEN WEAPONRY also came equipped with a raging debut album in the form of Tū. Representing a new step in the crossover genre, the teenage trio boast a huge thrash influence that is fused with primal Maori war chants that add a level of intensity most only wish for. The singing in native Maori also lends itself to ALIEN WEAPONRY’s unique sound, showing them to be proud ambassadors for a country that often keeps itself to itself. This is all set to change now though, as Tū was a rhythmically brilliant collection of fantastic riffs that will keep the band going until they gift the world a new selection of primal aggression.
Words: Eddie Sims
18. On Dark Horses – EMMA RUTH RUNDLE (Sargent House)
The subtlety of an album like On Dark Horses makes EMMA RUTH RUNDLE’s appearance on this list something of an unusual pick for a metal magazine’s top twenty. Yet, the power and control of this record speaks volumes. Dreamy soundscapes layered together on distorted guitars and tumbling drums, all working as a backdrop for EMMA RUTH RUNDLE’s incredibly memorable, emotional voice.
The experimental nature of the shoegaze heart of this album is what brings even the hardiest listener in, to soften into the mindset of the this incredibly crafted record. There’s a real fragility that runs as a current through On Dark Horses, mostly through the ebb and wave of the vocals, the rise and power, and the slow and quiet. Equally, the enormous weight behind the lyrical content is just as drawing. Effectively, the key component to EMMA RUTH RUNDLE’s solo success is truly the unspoken control of a forceful performance, steered by a haunting vocal that captures the sombre and the mournful in all of us.
Words: Laura McCarthy
17. The Outer Ones – REVOCATION (Metal Blade Records)
Arguably one of the most consistent bands on the metal circuit REVOCATION have continued to expand and diversify their sound throughout their career without alienating their existing fan base. Their latest Lovecraft-infused effort The Outer Ones sees them channel their death metal influences and boundless virtuosity into another remarkably constructed release. The experimental melodies shine through in amongst the ferocious shredding as their fearless approach to song construction provides another round of intense, engaging content. Their thrash metal roots are still evident in places but REVOCATION have evolved greatly from the three piece which burst onto the scene back in 2009 and have become a force to be reckoned with.
Words: Dan McHugh
16. Leather Teeth – CARPENTER BRUT (Caroline Records)
The monumental amount of synthwave around these days is almost overwhelming, not least as the vast majority pile into a dystopian mess of mediocrity. With his second full length studio record, CARPENTER BRUT was up against the nemesis of relevancy and originality in these complicated, monolithic genres. However, out of the shadows he emerged with beats and hooks as his weapons and with dance worthy tune after wickedly dance worthy tune, Leather Teeth rose as a terminator of averageness.
Campy enough to entertain, yet dark enough to evoke great imagery in your head; nostalgic enough tap into your inner child, yet fresh enough to keep itself completely relevant to a contemporary audience. There’s a continual movement that shakes off the dank every day. Much like its album art, the mixture of gloom and neon brightness is palpable on this album. Collaborating with a smattering of great vocalist within the synth scenes, the semblance of big eighties voices is a wise step to balance the bombastic sounds on offer. For those looking for a little of that nostalgic eighties’ horror, clubs and arcades, CARPENTER BRUT has produced a record in Leather Teeth that captivates and stimulates.
Words: Laura McCarthy
15. To Drink From The Night Itself – AT THE GATES (Century Media Records)
Though Slaughter Of The Soul will always inescapably be AT THE GATES’ definitive album, over 20 years on from the genre-spawning album’s release the Swedes are arguably stronger than ever. Though fans yearning for a rehash of past glories in the form of Slaughter Of The Soul 2.0 are set to be disappointed, To Drink From The Night Itself is AT THE GATES at their best: unrestrained in their aural aggression, mixing the deeply melodic, emotional style of death metal they helped pioneer with a newfound touch of cold, blackened rawness. No album penned under the AT THE GATES name will ever be able to replicate the cultural significance of Slaughter Of The Soul, but removing the nostalgia and influence from their 1995 masterpiece and looking solely at the music, To Drink From The Night Itself shows a maturity in the song-writing and execution that makes it every bit Slaughter Of The Soul’s equal – at least. Even 20+ years after their supposed magnum opus, AT THE GATES are a force to be reckoned with, not merely a legacy band whose strongest days are behind them – and To Drink From The Night Itself proves that without a shadow of doubt.
Words: Fraser Wilson
14. Black Wash – PAGAN (Hassle Records)
Fusing the misanthropic and cacophonous nature of black metal with the infectious energy of good old fashioned rock ‘n’ roll is an interesting proposition and PAGAN achieved just that on their debut effort Black Wash. Sporadic blastbeats and nightmarish shrieks from metal’s most extreme genre intertwine with bouncy riffs and an impeccable vocal performance from Nikki Brumen across the record makes for a truly thrilling listen. Lead single Death Before Disco is an absolute triumph, encapsulating everything the band stand for, whilst the devilish charm of Silver or the frenzied nature of Imitate Me demonstrates the band’s versatility in their craft. Blending traits and styles from numerous genres is nothing new but PAGAN have forged a sound that is accessible as it is extreme and makes for one of the most enjoyable albums of the year. With the bar set outrageously high with their debut, we cannot wait to see where they go from here.
Words: James Weaver
13. Skald – WARDRUNA (By Norse)
WARDRUNA have been capturing the hearts of many music fans in recent years, their Runaljod trilogy showcasing the beauty between music and history. Skald is something on a more adventurous level by founder Einar Selvik, Skald being the name for a poet who recited at the courts of Scandinavia and Iceland, and the album is indeed poetry. It was recorded live in studio in order to capture the raw energy of a live performance, and brings something new to the table by using ancient talents and crafts. It doesn’t offer what might be expected from previous WARDRUNA albums, but it doesn’t stray from the path they are on either. Skald is an honest, respectful and elegant reflection on giving history and music a chance to bind together in more ways than one.
Words: Jessica Howkins
12. Northern Chaos Gods – IMMORTAL (Nuclear Blast)
IMMORTAL’s place in the future of metal had been up in the air for almost a decade before the release of Northern Chaos Gods this summer. Following an extended break in the wake of 2009’s All Shall Fall, a legal battle, the departure of iconic frontman Abbath, and years of silence, it was fair to wonder if IMMORTAL would ever retake their mantle as one of black metal’s biggest names. Then, seemingly out of nowhere, Northern Chaos Gods came storming into our collective speakers. It’s a landmark album for IMMORTAL for three reasons – it marks the return of long-time manager and lyricist, and former guitarist, Demonaz, to the band; it marks the return of IMMORTAL to the forefront of black metal’s conscience; and it’s easily the strongest album the band have released in almost 20 years. Demonaz’s vocal performance in particular deserves a special mention, as he outshines the later works of Abbath and proves he is more than capable of leading the band to future glory. Delivering excellence at every turn with its utterly ferocious, cacophonous assault on the senses, unrelenting sonic savagery and frozen atmosphere, Northern Chaos Gods is everything we wanted from IMMORTAL’s return and more.
Words: Fraser Wilson
11. You Took The Sun When You Left – LEECHED (Prosthetic Records)
If you had the chance to catch the 10 minute blast of brutality that was the debut LEECHED EP, then you would’ve had a inkling of what to expect on You Took The Sun When You Left, but even then this record has a tendency to take everyone by surprise. Sounding like they’ve been freshly birthed from hell itself, LEECHED take bleak and cold atmospheres and inject them with violent, grinding noise that takes just as much influence from death metal as it does hardcore. LEECHED have been able to channel the industrial suffocation of their Manchester roots and have crafted an oppressive and recognisable sound that has highlighted them as one of the most exciting underground bands to graft their way to the spotlight. From the crushing grooves of Guilt and By The Factories to the grinding abuse of Raised By Lead and Mouthful of Dirt, this is a harrowing listen that will take you to the modern edge of extremity.
Words: Eddie Sims
10. All That Divides – BLACK PEAKS (Rise Records)
Coming off the back of their stellar Statues record, it was fair to say the hype machine was fully behind BLACK PEAKS as they began the process of penning All That Divides. Sounding like one complete piece broken into nine sections, All That Divides built upon every aspect of Statues and amplified it. From the progressive structures to the huge choruses and back again for the monstrous riffs, All That Divides is a complex and diverse record that has something for everyone to fall for. It also shouldn’t come as a shock that All That Divides has been in the pipeline since before Statues, and it’s clear how both the extended time and also the success the band have seen have seeped into making an even more confident outing for one of Britain’s shining new talents.
Words: Eddie Sims
9. Prequelle – GHOST (Loma Vista Recordings)
And thus, the touchpaper for world domination was lit. Not only have GHOST evolved into the greatest blend of pop metal that’s ever been attempted, but Prequelle will see them headline arenas across the world and push them into the echelons of festival headliner they so richly deserve. All you can expect with a GHOST album is the unexpected even if the direction they were going in was well previewed with the anthemic Square Hammer. The curveball came in the fact that, if the aforementioned single were on Prequelle itself, it wouldn’t even be one of the best five songs.
From the 80’s throwback on Rats to the foot-stomp of Dance Macabre, the sheer majesty of Faith and the sombre yet infectious tones of Pro Memoria, everything that Tobias Forge and co have delivered on Prequelle is pure gold. Oh, and the move to add saxophone on Miasma was a stroke of genius, turning an already great instrumental into one that was both bonkers and brilliant, culminating in the biggest of cheers at the Royal Albert Hall when Papa Zero emerged to take us all into the interval with class. Bill-toppers at Download Festival next year, anyone?
Words: Elliot Leaver
8. Trident Wolf Eclipse – WATAIN (Century Media Records)
Early 2018 saw the release of WATAIN‘s sixth studio album, Trident Wolf Eclipse. An album that was released so close to the new year stood the chance at being forgotten under the masses of material that was being released through the rest of the year, but the sheer force of this album would deem that an impossible move. Trident Wolf Eclipse feels so feral and is a constant reminder why WATAIN are in the driving seat of black metal currently. Closing Bloodstock this year on the Sophie Lancaster stage, fans flocked to see them in all their glory, and after such an almighty release as they have this year they have proven they are at one their strongest points in their career.
Words: Jessica Howkins
7. Era – BLEED FROM WITHIN (Century Media Records)
Scottish quintet BLEED FROM WITHIN have always threatened to be a huge force in the UK metal scene but they missed that killer edge to elevate them above their counterparts. After seemingly laying dormant for a few years 2018 saw them triumphantly return with their best material yet. Era is so full of riffs it is like the equivalent of trying to repack your suitcase on your way back to the airport whilst the zips are clinging on for dear life. The dual guitar combination of Craig Gowans and newly introduced Steven Jones is simply lethal as they combine scintillating energy and headbang inducing groove to devastating effect. Off the back of this release BLEED FROM WITHIN sealed a variety of festival slots at the likes of UK Tech-Metal Fest and Bloodstock Open Air so it will be intriguing to see if they can continue this momentum into the new year.
Words: Dan McHugh
6. Holy Hell – ARCHITECTS (Epitaph Records)
When the curtain came down on ARCHITECTS’ career-defining show at Alexandra Palace in February, the expectation was that they’d give it a couple of years, perhaps more, to find their feet and then return to the studio to write new material. As such, when Holy Hell was announced barely eight months later, the anticipation hit fever pitch and, in true fashion, the band delivered on every single level. The addition of Josh Middleton in place of the late Tom Searle has seen the sound take on a new edge that could easily be described as ‘tech metalcore’ while Sam Carter turns in a truly world class performance, every word sung, screamed and spat with no barrier and every bit of energy he can muster.
It’s the lyrics where Holy Hell exceeds though, to the point that only the coldest of people won’t engage with the heartbreak felt during Mortal After All and opening track Death Is Not Defeat. Every track is an arena anthem waiting to be shouted to the highest of levels, and the band’s UK tour next month will be every bit of the emotional rollercoaster expected. Roll on Wembley Arena.
Words: Elliot Leaver
5. Constellation of the Black Light – WOLFHEART (Napalm Records)
Though WOLFHEART successfully tour internationally, and have a draw that would leave categorising them as “underground” to be a stretch, they have evaded the spotlight of metal’s mainstream eye since Saukkonen established the band in 2013. However, armed with a new record deal with one of metal’s heavyweight labels, Napalm Records, WOLFHEART have crafted the perfect album to catapult them to the next level. Coming at the perfect time, as the nights began to draw in and the air carried a nip of autumn’s chill, Constellation Of The Black Light proved to be a true gamechanger. Those who have followed the career of WOLFHEART’s leader and creative driving force, Tuomas Saukkonen, knew to expect something brilliant from the lyrical and musical genius – but no one quite expected Constellation Of The Black Light.
Constellation Of The Black Light is one of the most ambitious releases of the year, by some distance. Though the sound is truly rooted in the melodic death metal camp, the record harnesses such a huge variety of influences and channels them to a truly unique listen. It swings from dark and aggressive brutality with a raw, frostbitten, blackened edge to soaring, melodic and catchy to heartbreaking and melancholic without breaking a sweat. The experience Saukkonen has gained from his decades of work in the Finnish metal scene shines through the writing, as the record carries a distinguished sense of maturity throughout. In the truest sense of the word, Constellation Of The Black Light is epic in scale, with subtle orchestration giving the record an expansive sound. A beautifully composed symphony of emotional darkness that is spellbinding and ethereal, from the opening seconds of Everlasting Fall to the closing notes of Valkyrie, Constellation Of The Black Light is a truly enchanting listen.
Words: Fraser Wilson
4. Reverence – PARKWAY DRIVE (Epitaph Records)
Having taken the bold and brilliant leap on Ire from hardcore to more trad metal stylings, there were sure to be those who thought the change in direction would be a disaster in the long run for PARKWAY DRIVE. Regardless of the split in the fanbase, PARKWAY DRIVE has managed to maintain their winning streak with Reverence, demonstrating a solid belief in themselves and their music. The more mature mindset of a band dealing with grief, along with a solid central conflict with religion has totalled one of the great albums of a year filled with incredible music.
PARKWAY DRIVE flex their lyrical ideas, and still allow their instrumental sections to rain down heavy. The highs are battering, melodic and exceptionally good fun; there are moments of great theatrical riffs, anthems to shout along with, shifting into more groove laden, dirty territory. We even experience some softer moments, and an occasional hark back to the hardcore origins that brought us such a stellar band. The diversity of Reverence is a demonstration that the band has so much more to them than anyone could have predicted all those years ago. There’s real meat on this record, and more so the very bones of it profess a band that have just broken the surface of their potential. The flow of this sixth instalment is exceptional, as PARKWAY DRIVE have proven that this movement into new musical territory was the right one, and that they’re a long way from done on this new chapter of their career.
Words: Laura McCarthy
3. Mire – CONJURER (Holy Roar Records)
Imagine the boulder in Raiders of the Lost Ark had actually taken out Indiana Jones and you come somewhere close to describing just how crushing Mire is. The potential from CONJURER was sparkling enough on debut EP I, but this full-blown release has sent their stock sky-rocketing more than anyone could have believed. A gargantuan beast in every respect, it’s staggering to think that this is the band’s first album, because the idea that they’re going to get even better is equally terrifying and scintillating.
It takes less than five seconds into the opening track Choke for the sludgy, sinister riffs of Brady Deeprose and Dan Nightingale to compress your head like a Coke can meeting its maker from the sole of a boot and this doesn’t let up for the full three quarters of an hour. It doesn’t matter whether they’re slowing things down such as on Thankless or the closing monolith that is Hadal or tearing through the likes of Retch, the craftsmanship is consistently brilliant and means the journey is just as brutal as the four piece from the East Midlands could have hoped for – and then some. Add Deeprose and Nightingale’s guttural vocals into the mix and you have a record of breathtaking savagery, the most potent Molotov cocktail ever created and hurled straight into the middle of an oil tanker for good measure. CONJURER have been on the lips of so many this year and with complete justification, because in Mire they have an utter maelstrom of riffs, breakdowns and moments that will be talked about for years. Quite how they’ll top this is anyone’s guess, but it’ll be a hell of a lot of fun finding out.
Words: Elliot Leaver
2. Jord – MØL
There have been numerous bands pushing the boundaries and concepts of heavy music to its very limits and MØL are in amongst the best. Building upon the foundations of the rising blackgaze movement, what this Danish collective presented with their debut effort Jord is nothing short of phenomenal. Moments of sheer visceral ferocity hammer home with bludgeoning force before subsiding into tranquil passages that are bathed with emotion.
On paper, the sound MØL strive for is something that we’ve become accustomed in recent years but the sheer quality on offer, especially for a debut record, is utterly staggering. The finely-tuned balance between the ferocious and the beautiful is so expertly woven, it’s nigh impossible to not get caught up in the occasion. From the emphatic soars of Bruma or the ambient-driven Storm, all whilst vocalist Kim Song deploys hissing vocal lines of sheer venom, the interchanging and evolving nature of their sound feels organic and it makes listening to the record a highly moving listen. Indeed, what MØL delivered with Jord is extraordinary and sets the bar of the blackgaze movement at a new level. Time will tell as to whether the band can develop their sound further down the line, but for now, Jord stands as, not only one of the best debuts, but one of the finest records to be released this year.
Words: James Weaver
1. I Loved You At Your Darkest – BEHEMOTH (Nuclear Blast)
Over the years BEHEMOTH have risen to the top of the extreme music tree. Their previous releases all cemented their climb, The Satanist saw a new chapter in their career, it showed true fury and a willpower to overcome any restrictions creatively. What 2018 offered though was something that nobody was expecting. I Loved You At Your Darkest, a quote from Jesus Christ, something to really affirm their fight for artistic expression, their feelings toward government and forced religion. However it wasn’t just the quote that did all of the above, it was every note, it was every beat, every lyric. After The Satanist frontman Nergal wasn’t sure if he had it in him anymore to create extreme metal, but after some time with his ME AND THAT MAN project, he returned to the genre that give him a voice to stand taller than anyone else. What BEHEMOTH delivered this year is an album of aggression, a theatrical work of art, and proof why BEHEMOTH are one of the best bands in extreme metal. They push boundaries with more than just their music, but what they do with their sound each release creates another notch above the last. I Loved You At Your Darkest is the album of 2018 for its intensity and honesty.
Words: Jessica Howkins
And that is our Top 20 Albums of the Year for 2018! This year has been an absolute blast for us and we have really enjoyed covering so many bands throughout the year. We’re already counting down until 2019 and what that will bring for our world. We’ll see you down the front!
