If there’s one thing Metal Twitter™®© is good for, it’s manufacturing non-controversies within the scene. The latest of these flare-ups occurred when Philly-based death metallers Pissgrave unveiled the cover art for their new album Posthumous Humiliation, set to be released March 1st via Profound Lore.
With the dawn of the THKD YouTube channel, I decided to do something a little different this year. I’ve split my year end top 20 metal albums list in two; half of them can be found below, the other half on YouTube. So, once you’re done reading this list, head on over to THKD TV and check out the rest of the list… if you don’t mind watching a semi-drunken nerd rant and rave about heavy metal for thirty minutes. But enough of my rambling; as I’ve been saying for almost a decade now, long-winded intros are bullshit. Let’s get on with it.
Has it really only been a month and a half since I last posted one of these? That’s got to be a new record. Whatever the case, we’ve got a lot of crucial slamz and mandatory brutality to cover this time around, from the nearby Bay Area all the way to the Land Down Under, so without further ado, let’s dig in…
Where has this album been all my life? It isn’t every day that you find a record that seems to have been tailor made to satisfy your personal listening palette, but on Future Cult, St. Louis-based trio The Lion’s Daughter have managed to successfully combine a few of my most favorite things, namely pulverizing extreme metal and creepy, John Carpenter-esque synthesizers. I’m not quite sure yet if it’s as delightful a combination as chocolate and peanut butter, but they’re definitely two great tastes that taste great together.
It seems that not enough people are talking about Green Druid, but they damn well oughta be, because the quartet has released what should rightfully be considered as one of the stickiest of the icky doom metal releases of 2018 in the form of Ashen Blood, out now on Earache Records.
My wife recently surprised me with tickets to the Smashing Pumpkins reunion tour, and as such I’ve naturally been compelled to revisit their catalog. For the longest time I’ve proclaimed that the band’s 1993 breakthrough Siamese Dream was my favorite Pumpkins album, but right now I’m thinking it might actually be Mellon Collie and the Infinite Sadness.
I wasn’t terribly familiar with Harm’s Way prior to getting the promo for Posthuman, but I was somewhat aware of the buzz their previous album Rust had garnered, so I decided to give them a try. I was pleasantly surprised to find that Posthuman is a burly-as-fuck collection of non-stop mosh riffs mixed with electronic elements that wouldn’t be out of place on a late-nineties Godflesh record. It’s an odd combination to be sure, but I’ll be damned if Harm’s Way doesn’t make it work.