“With this year’s Defectum Omnium, it’s clear Exhorder aren’t finished proving their relevance and reinventing themselves in the eyes of their dedicated fanbase. But, with such a strong outing five years ago, will Defectum Omnium be a step forward for the band or will it be, well… a defectum?” Omnium Blatherum.
October was a four-record month. And yet there’s still plenty of room to complain in the comments section because, damn, it was a good month.
“Black Sites has taken his entire collection of musical influences and presented it to you. What makes it unique is how he absorbs his love for bands like Van Halen, Judas Priest, Trouble, Black Sabbath, and Bay-area thrash (to name a few) and puts himself into them. We love Mark in these parts, but that doesn’t shadow the truth that he’s one of the best songwriters in metal today.”
“Yet, the success of a musician is only measured by one’s support and their growth in the field. Green Carnation’s Tchort has proved his worth and Bear Mace’s Sugar has done the same. Bear Mace’s newest release, Charred Field of Slaughter, is that proof. You want to know what a man can do with a guitar, with killer bass and solo partners, with one of the genre’s nastiest vocalists, and nearly forty years of death metal boiling through one’s head? Witness.” Bears, beets, burly death metal.
“Chicago’s Black Sites is the brainchild of guitarist and singer Mark Sugar, formerly of underrated modern thrashers Trials. It could be that Sugar and I are roughly the same age, both grew up on shitty post-glory-days ’90s thrash metal and/or are both from the Midwest, but whatever it is he seems to speak my language. Trials’ final album ended up on my Top 10(ish) in 2015 and Black Sites’ debut found similar acclaim in 2017. A songwriter with two albums that placed at #2 in my Top 10(ish) lists in the year they were released is about as close to a direct highway to “elevated expectations” as it gets. And when Mark sent me Exile, I can say that I was very excited.” Makin’ bacon (and metal).
![Acrid – Wonderland [Things You Might Have Missed 2018]](https://www.angrymetalguy.com/wp-content/uploads/2018/12/acrid-wonderland-768x768.jpg)
Acrid is a Dutch melodic death metal band that dropped its first album in 1999 after forming in 1994. The band still features three original members and they hail from The Hague in the Netherlands. Acrid plays tight, noodly death metal with a strong Gothenburgian timbre. And they do it remarkably well.
“Today I shall be reviewing Motherless, the third album by the Swedish Trial. They are unfortunately unrelated to the sadly-defunct but happily-reincarnated, Chicago-based thrash outfit Trials. Upon consideration, I’ve come to regard Motherless as an album which my superiors will detest.” The rabble are roused.
“Like the Trials album which preceded it, however, In Monochrome is unapologetically modern, but it has two feet firmly planted in the feel(s) of yesteryear. And it is the feeling of being a traditional metal album—without being remotely derivative—which makes In Monochrome an excellent album.” I mean, what more do you want for an endorsement than that!?
“Last year our very own El Cuervo started rating a consensus list based on the releases that were mentioned in various lists. Giving each release a score, we then tally the point totals for each release. Each of our unique lists has a number of releases that simply come nowhere close to the top list. But it’s cool to see that we do actually seem to rally around a few great releases and some releases that I am a little bit more shocked to see. Regardless, this final “meta-list” will round off the year of AngryMetalGuy.com’s list season.” Lists, man.
Twenty-fifteen has been a hell of a ride. It’s been one of my favorite years for music in quite a long time, and I’ve been struggling to prune this list down to 10(ish) records that I really love. But in some ways, the top 5 has never been easier for me to choose. What I find most fascinating about this list is how completely out of step I feel with what I see as being touted as the coolest parts of the underground. I seem to be pretty far afield while everyone else seems to be fawning over the latest ’70s retro doom phenomenon, hope drones, or the latest example of black metal kids missing that intensity not 15 minute songs was the cool part of black metal. This is what it feels like to have been left behind by a scene; to have lived long enough to be that old guy shaking his fist at new trends in metal.
