Best of 2011: Tobi & Dave (Effloresce)

Tobi’s favorites:

Opeth – Heritage

I have to admit that this was the first Opeth record that made me raise an eyebrow when the first details about the different direction were revealed. But luckily, I was so relieved when I first listened to it. If you’re not just after the metal in their music and appreciate that they are passionate artists in everything they do, you won’t be disappointed.

And it’s not even that weird as I thought it would be. After a couple of spins I began to witness the beauty of this, and the first thing I realized was that profundity and silence play vital roles here .

The band somehow manages to keep the songs interesting enough to always make you wonder what the next part might be – even when you listen to a few seconds of almost entire tranquillity. Of course you also got more straightforward songs, but they never stray too much from the overall atmosphere, which partially even reminds of „Damnation“.

In combination with the falling leaves outside and the sometimes melancholic atmosphere of the album, it was just the perfect record to listen to last autumn.  Leave it up to Opeth to create a true modern masterpiece.

Dark Suns – Orange

I got my hands on this just by coincidence, and understood that this band now danders on a similar path as Opeth with „Heritage“ (even though Dark Suns’ realignment is probably not that unexpected). By now their defined goal is „vintage“, and carrying that flag the band released an album which every fan of 70’s Prog and rather obscure stuff can fall in love with.

As far as I know,  the only overdubs were the vocals and some brass instruments. Everything else was recorded live, which shows the band’s convincing skills as dedicated musicians. They serve a mix of Deep Purple, Pink Floyd, King Crimson as well as some Faith No More and their own spice, garnished with sugar-piano and goose-bumps. And the latter is really injected into you like a drug: Just listen to the epic closing track and let yourself carry away to another world by the massive layers of guitar, piano melodies and melancholic vocals. A hippie’s drug trip is nothing compared to this.

Of course the other tracks also offer so much to discover and to really feel the fun and dedication the guys apparently had while recording these tunes.

I’m convinced that the opinion about a record is greatly influenced by the time in which it is released. So, if this had been released in the 70’s, it would be one of those „legendary“ records that everybody would refer to when talking about the good ol’ days. Personal tip!

Bronze goes to: Obscura’s “Omnivium”! Not quite my album of the year, but pretty bad-ass as well!

Dave says:

Well, I’d probably have to praise “Heritage” here also, since it’s probably my favorite 2011-record, but Tobi already did, so I can talk about a couple of other records that come pretty close to this masterpiece by our Swedish friends from Opeth.

Steven Wilson – Grace for Drowning

Well, Porcupine Tree is one of my favorite bands for many many years now, and when I first heard of Steven Wilson making a solo record, my expectations were pretty high. But he fully delivered and stunned me with “Insurgentes” in 2009. And his latest solo record “Grace for Drowning” does even more for me! Steven kept this mystique and bizarre mood from Insurgentes – again perfectly visualized by the fabulous Lasse Hoile by the way – and combined it with some lighter “almost Pop”-tunes on this record. That’s the instant impression at least… but listening to it over and over again, digging deeper and consciously enjoying this record reveals tons of details which simply make it an enormously rich experience overall. The tension built by unorthodox chord progressions or multiple vocal-layers like in “Raider Prelude” just twists ones mind and touches you emotionally at the same time. This unique combination created by the collage of many different sounds and instruments, written by a man whose musical knowledge and abilities seem to be boundless, makes “Grace for Drowning” a true piece of art and a record that mentally takes you on a ride. I love stuff like that!

Haken – Visions

Why is this one of my favorite albums of 2011? Well, I’ve been lucky to be able to meet the guys during their journey to Germany in September, when we played together at the Generation Prog Festival (along with some other badass bands, but that’s a different story…). And the Haken-dudes are just so nice, so humble and damn funny. Very cool people to hang out with… and hell did they put on a show that evening! Lots of energy, pure joy and excitement… plus: Prior to the actual release they sold some copies of their new record “Visions”! I loved their previous album “Aquarius”, because it’s so fresh, full of skill, epicness and melody… so I’ve been wondering how they would develop this unique style and what they would come up with on a new record. Fact is: Visions is the album that I have been listening to the most since September 2011. They really put out another masterpiece here and I basically love everything from the very first second to the last note of this record. With the closing epic tune “Visions” being my favorite, I guess… that one just has everything that Haken stands for: Melodic and sophisticated guitar work, funky and weird keys (Hey, Diego is a weird guy, so that fits, right?), lots of cool vocals, groovy drums and (what impressed me the most!) some terrific bass-work! Tom really did some huge steps basswise from the Aquarius-record to Visions, kudos for that! Well, altogether “Visions” is a delicious piece of modern Progressive Rock music, one of my favorites from 2011, that’s for sure! And everyone of you cats out there should give that one a few spins!

Pain of Salvation – Road Salt Two

Just like their previous record (the first of two “Road Salt”-CDs), that one again twisted some heads and caused some controversial discussions among die-hard fans. The consciously chosen “70s”-sound, comparatively short and – at least superficially – simple songs as well as their withdrawal from the “Prog-Camp” towards more straightforward Hard-Rock-music turned many many people off. Well… as much as I can understand all of those points, I refuse to judge a band on scales like that. I support bands who have the courage to evolve and walk on fresh, differents paths. And as long as the result is as interesting and profound, multi-layered and intense as “Road Salt two” I totally dig it! Daniel Gildenlöw’s godlike voice leads through a number of interesting and well structured pieces here and basically through the whole bandwidth of human emotion. Like always! “Healing now”, “To the Shoreline” and “1979” are just out of this world in my opinion. Such a flow, amazing melodies and intimate moments combined with beautiful and ambiguous lyrics, carefully arranged and combined with simply mature and deep music. Sounds suspiciously like a Pain of Salvation-album, huh? And yeah, that’s what it is after all! No matter what they changed at first sight, it still is clearly a PoS-record and carries all the qualities they are known for. I think this kinda retro style suits them well and I eagerly await their next move!

There have been a few more records from 2011 which I dig a lot, so very close behind those that I’ve been talking about, a few more “honorable mentions”:

Symphony X – Iconoclast
Pagan’s Mind – Heavenly Ecstasy
Mr. Big – What if…
Andromeda – Manifest Tyranny
Dream Theater – A Dramatic Turn of Events

Ponamero Sundown

Oliver (bass):

Artist: Chris Connelly
Album: Artificial Madness

I´ve been stuck in a “post punk” period for quite some time now, listening to all the great music that developed out of the British punk scene in the late 70´s. This album definitely nods (According to me anyway) at this era with its relentless rhythm section and great chaotic guitar layers (Less traditional riffing), building a huge wall around the songs to Chris Connelly´s vocals that somehow float between spoken word and concrete singing. It´s an awesome album!

Anders (guitar):

So this is supposed to some sort of a closure of the music year of 2011. It got me thinking a bit of what I’ve acctually been listening to during the year. I guess that these five records are the ones that have made the biggest impression on me, but perhaps more as a music fan than as a musician though.

Graveyard – Hisingen Blues

I heard the record and saw one of their release party gigs on the same day. And then everything really made sence. All those things that perhaps doesn’t really reach out on the record does sound totally natural live. One huge record…

J Mascis - Several Shades of Why

Mellow, laidback and J is delivering as only J can. Some really nice acoustic playing and J seems to be pourings his heart out through the 10 songs of the album.

Dropkick Murphys - Going Out in Style

My ”going to work” record of the year. If the mood is down just throw on Hang ´em high and you´re ready to conquer the world. Basically nothing new but the Boston lads sound more engaging than they have done for years.

Mastodon - The Hunter

What can you say? Impressing stuff as usual. By now you´re almost getting used to the band always reinventing themselves so it’s kind of neat with the sometime more straight forward approach on this album.

PJ Harvey - Let England Shake

Dark, moody, engaging and really beautiful… Polly Jean has a voice like nobody else.

Nicke (vocals):

I dont really listen to whole albums nowadays with spotify and grooveshark and what not but here it is… Not necessarily in this order.

Noah Gundersen - Family

Michael Dean Damron - Plea from a ghost

Joe Bonamassa - Dust Bowl

Motorjesus - Dirty pounding gasoline

Machine Head - Unto the locust

Danilo Nikodinovski (Consecration)

Foo Fighters – Wasting Light

The Foos have made a fantastic album. Back to analogue mixdesk with no computer in sight for editing and by recording the drums in Dave’s garage, Wasting Light was going back to the old form of how the greatest rock n’ roll albums were made. It was not only the production though; the songs were more epic than ever. Dear Rosemary, Walk, Rope, White limo, Arlandria and especially the ballad I should have known (dedicated to Kurt Cobain, including Chris Novoselic on accordion and additional bass) were all the reasons I fell in love with this record. A friend and I were discussing that these days there would hardly be rock bands that were yet to become huge as Floyd, Zepps or AC/DC were, but Foo Fighters and Queens Of The Stone Age were the closest one could get, you know? Hands down to Mr. Grohl and the guys, Wasting Light is the essence of rock music and how it should be played.

Radiohead – The King Of Limbs

Probably one of the most important band of the 00’s, with masterpieces such as Kid A and Amnesiac under their belt, Radiohead returned with the most minimalistic album since those two diamonds came out. A lot of people seemed alienated by the openendedness that was all around the Limbs but I loved it. Codex was the most beautiful piece Thom wrote since Pyramid song andLotus flower and Feral were the more dynamic ones, embraced by Thom’s remarkable voice. The Basement sessions emphasized the fact Radiohead knew what they were doing, not just with style but also with great less-is-more approach, more suitable than ever. Bringing in the second drummer for the sessions, the awesome Clive Deamer of Portishead fame, was such a classy move – too bad the track Staircase didn’t make it on the album, as it’s my favorite song of the whole year and maybe my all-time favorite from Radiohead, ever.

Mogwai – Hardcore Will Never Die, But You Will

I love these guys. I never cared so much for their postrock era, cause they seemed to have so much more to say musically speaking, no matter what kind of genre it was. On Hardcore they brought the old producer to revisit the loud/quiet/louder! dynamics and the songs were better than ever. Mexican grand prix, Death rays and Letters to the metro were my faves, showing not only the so present joy of guitar playing but also the excellent taste for arrangements and the moody atmosphere. I heard Hardcore on the 30^thDecember 2010 (it leaked earlier, charged guilty for downloading) and I was in such a jolly mood in the middle of all that New Year euphoric madness so the traces of that pleasant feeling remained whenever I played the record later again. I watched Mogwai live in Zagreb couple of years ago and after numerous listens of Hardcore I just can’t wait to catch them again somewhere – Hardcore just might be Mogwai’s best album.

Opeth – Heritage

I’m so glad Mikael did a record like this. I wasn’t this surprised since Deliverance/Damnation pair of albums that were sort of peak of what were Opeth about – Deliverance was their most aggressive record and the Damnation the most gentle one, distortions-free. Growling vocals seem to bore me to death for some time so Mikael’s decision of abandoning them was a right move for my taste.Heritage was a retro record, a prog one and Mikael’s legacy and homage to the records he grew up to. What I liked most aboutHeritage was the production – it was minimal yet crisp and clear. No ridiculous compressions and triggered drums that gave you headaches after more than five minutes of listening. The less-is-more approach to the songs seemed to work perfectly, although lots of fans misunderstood the point of record like this. The audiophile quality of catching the right vibe of the song (bass line in Folkloreor the powerful riff in Famine) were all over Heritage, creating a special record with a 70’s vibe made forty years later for some new generations. Opeth were always about art, not just about marrying Morbid Angel with Nick Drake or Voivod with Camel convincingly – and with Heritage, they made something truly unique considering their rich back catalogue.

Anathema – Falling Deeper

Anathema has to be my favorite band ever, so whatever they release I seem to fall in love with and cherish like a true gift. The idea of going back to their oldest stuff and rearranging it for the orchestra and piano might sound weird (although not if you ask bands like Ulver for example) but it worked. Kingdom and They die, once powerful doom dirges, have become grandiose soundtrack sounding pieces of the same epic proportions they were back in the days. Although more of background music piece than a full rocker, Falling Deeper seemed to inspire me in lots of ways, even influence my own guitar playing. Alone and some tracks off new Opeth for instance had some fantastic classical guitar playing that made me pick up my nylon string guitar after a long time and even record some of the ideas for a new Consecration release. Falling Deeper was more of a filling-a-gap kind of record before the guys released something new, yet I caught myself playing it awful lot. I’m not surprised though – Danny Cavanagh and Mikael of Opeth were my main guitar influences for some time and they didn’t fail me; they didn’t stop to impress me either.

Zombi – Escape Velocity

I always loved the old sounding synthesizers that made John Carpenter’s movies famous – without those haunting themes The Fog,Halloween, The Thing or Assault On Precinct 13 wouldn’t be half as good. Zombi had a thing for Italian gore movies too, Dario Argento, Lucio Fulci and the other guys that made horror genre much more interesting. It is fascinating how much two guys can do with a couple of synths, samplers, sequencers and drums. I knew Zombi from before but Escape Velocity seemed to have all the right things and hit me on all the right spots. DE3 and Shrunken heads were hypnotic and mesmerizing, making a perfect vibe for those car rides when you’re going to a gig or traveling alone to some other place.

Temple Of The Smoke – …Against Human Race

It’s not that these guys are my friends, it’s a lot to the fact they made a hell of an album. Simply put, everything I like to listen to, all the genres and stuff (especially some dub) are represented here with style and good taste. From Electric Wizard to King Tubby via Ozric Tentacles and undeniable Floyd influence, it’s a sheer joy to watch these guys making music and developing their mix of styles into a mindblowing jam with every new song they create. Dub wasn’t always my thing, but Into the storm was just a right tune that was much listened throughout 2011 and Tortoise du mars was this space rock/metal kind of track that would give a hint where the band would go next. Watch out for these guys, as their new stuff would be even more interesting than on Against Human Race.

Wolves In The Throne Room – Celestial Lineage

This was actually a last minute add-on. I’m usually not crazy about black metal but these guys really made it special. I’m a sucker for suspense and the atmosphere and Wolves seem to have plenty of it. Celestial Lineage reminded me of why I once listened to the few black metal bands in the first place – some Emperor, old Ulver, Agalloch, some Enslaved songs and, most important of them all, my favorite black metal record of all times, In The Woods’ Heart Of The Ages. I wonder if Quorthon had a dream in 1981 in which he listened to Thuja magnus imperium and then decided to make some of his own music. Celestial Lineage has the atmosphere so unique black metal never seemed so epic in its melancholy.

Honorable mentions:

I liked My Dying Bride’s Evinta and The Barghest O’ Whitby EP they made. The Evinta piece had some fantastic keyboard pads (And then you go, A hand of awful rewards) and it was pleasant to hear some of the band’s best melodies in different arrangements/instrumentation, while The Barghest was just pure fun listening to the guys going back old style. Bohren & Der Club Of Gore’s Beileid surprised me big time with the opening track; Zombies never die (blues) being one of the best jazzy/doomy tracks they made. I liked Primus’ Green Naugahyde pretty much (Eyes of the squirrel is beyond awesome), although it was not as good as their previous works album-wise. I liked Mastodon’s The Hunter too, although I always have problem with listening to their albums in one take – they have some great songs, but albums as a whole are bit too much to swallow at once.

Gig of the year:

Portishead at Exit festival, Novi Sad. Probably the most important gig of my life. I was lucky that I played earlier the same day on Main stage and met the guys. It was 40 degrees out and we were all melting but the second they hit Machine gun and Roads on the soundcheck… I froze instantly. Needless to say the actual concert was a pure bliss. Pure emotions and the most perfect sound I’ve ever heard in a live show. Kudos for sound engineer for using two old Roland SRE-555 devices, real actual tapes for the echoes. The honesty of this band is beyond words and they let their music say everything.

Påhl Sundström (Klotet)

Kuedo - Severant

An album belonging to the genre we could call “music inspired by the Blade Runner soundtrack”. Simply fantastic melodies and ambiances propelled by an unusually frantic rhythm section makes this the most intriguing and enjoyable release of 2011 for me.

Deerhoof - Deerhoof vs. Evil

Probably the most diverse and worked-through recording by this super group. An album that, in my opinion, grows with each listen.

Advisory Circle - As the crow flies

Any full length released by the Ghost Box label in 2011 would have made my list. Nothing really groundbreaking about this album, just amazingly epic instrumental miniatures with a fun narrative. As usual.

Gösta Berlings Saga - Glue Works

Although this brilliant album sees the band stretching the genre’s formula quite a bit, I can not think of any band that could threaten GBS’s position as the number 1 prog band in Sweden. Or in the world, in fact. I’m so proud to have been a follower of these guys since the demo stage & I wish them all the success they can get.

Chad VanGaalen - Diaper Island

I have been a fan of this crazy Canadian since his first full length, and for me all of his albums are such goodie-bags of experimental and unpredictable weirdness. I believe Diaper Island to be darker and a bit more aggressive than his earlier work, without loosing the playful touch.

Housse De Racket - Alesia

Since Chateau Marmont’s album wont be released until next year this will have to do for 2011, regarding French electronic pop. I very much fell in love with this incredibly charming album, which I find to be more intricate and sinister than what the first impression might hint at.

Kebnekajse - Idioten

Swedish prog(g) band fronted by one of the world’s best guitarists if you ask me. This album really surprised me in being so deeply inspired and brooding – not something you take for granted from a band that formed 40 years ago.

Virus - The Agent That Shapes The Desert

I can’t understand why Virus hasn’t gotten wider attention since they are clearly the most original and inventive band springing from Norwegian 90’s black metal. “The Agent that Shapes the Desert” is just a stunningly powerful release that’s quite impossible to pigeonhole.

Disma - Towards the Megalith

Disma aren’t the only ones these days who tries to emulate the genius of death metal masters Incantation, but this album has such great production and odd songwriting that it surely stands out. None of the songs here have characteristic parts like verses, choruses or reappearing hooks, which makes for a surreal and mindcrushing experience when listened to as a whole.

Earth – Angels of Darkness, Demons Of Light 1

I’m one of those who never really appreciated the more ambient releases of this band’s past, but this one, together with their previous album, really hit home for me. Call me a poser if you will.

Scott Heller (Øresund Space Collective)

There were so many great records in 2011 and it is very difficult to choose my favourite but here are some that I have played a lot and have a special meaning for me. They are not in any real order.

Seun Kuti and Egypt 80 – Rise up for Africa (Knitting Factory)

I have been a long time fan of Fela Kuti and Afrobeat and Seun has created a really excellent double vinyl record of great classic style Afrobeat with a great production by Brian Eno. Slave Masters is a killer song. Great stuff.

Gösta Berlings Saga – Glue Works (Cuneiform Records)

This Swedish instrumental progressive rock band never fail to come up with cool and interesting musical arrangements that twist you around and suck you right in. Amazing record.

The Higher Craft – The Quest into the Stepping Stone Age (Yellow Taxi)

This is not just an ordinary record but one that must be listened to in one sitting with a concentrated effort or you won’t appreciate the hard work and magic the band put into this. It is an amazing 75min trip to another musical world. Amazing record!

Bong – Beyond Ancient Space (Ritual Productions)

This is one of my favourite records this year. I just love to crank this one up and have the walls shake from the powerful slow, heavy and spaced out doom. A total masterpiece. Where can the band go from here?

Radio Moscow – The Great Escape of Leslie Magnafuzz (Alive Records)

This record just blows me away. Hard driving 70s style blues rock with amazing psychedelic guitar. This is a band that each record maintains the bands trademark sound but somehow they just keep out doing themselves.

Øresund Space Collective – Entering into the Space Country LP (Kommun2)

I know this is my own band but I have to say I have played this record a lot and the guitar playing on this record is amazing. It is the first new material by famous Danish guitar player Claus Bøhling in some years and he performs well. A really solid release by OSC.

Vibravoid – Minddrops (Sulatron records)

Vibravoid manage to make a few singles and a new studio record nearly every year and Minddrops is an excellent psychedelic rock record. Powerful psychedelic sound and great songs. One of Germany’s best bands for sure.

Uncle Acid and the Deadbeats – Bloodlust LP (Rise above Records)

This was a real surprise and I was luck to get one of the 300 vinyls (Thanks Nils!). Think of 1972-73 Black Sabbath with a low fi production. Great songs, cool guitar riffs. Damn cool record.

Wo Fat – The Gathering Dark (Nasoni Records)

WoFat’s debut record has been released on vinyl by Nasoni and dawn, this has some totally killer stuff. A fantastic mix of great sound production, stoner rock, psychedelic guitar and blues! Great band..

Omnia Opera – Nothing is Ordinary (Umbilical Records)

The UK space rock band Omnia Opera are back with their first release in like 14 years and damn it is great stuff. The CD has a huge variety of fantastic tracks with great playing by everyone and a very cool package. If you like high energy space rock mixed with cool spacey tracks, this is the stuff..

Siena Root – Root Jam (Transubstans)

Siena Root have put together an amazing live record, mostly recorded in Stockholm in May 2011 and features many guests and great jamming. Most of their most popular songs in great versions. Fantastic 70s rock…

Causa Sui – Pewt’r Sessions 1 and 2 (Paraiso Records)

The Danish instrumental jazz stoner space kraut rock group Causa Sui have released two killer records this year of material recorded a few years back with one of the members of Sunburned hand of the Man. Some of the bands best material ever!

Electric Moon/Glowsun Split LP (Sulatron Records)

This is a great split LP. The Glowsun stuff is spacey stoner rock and the Electric Moon is guitar heavy psych rock and the best the band has released so far. Cool stuff and great artwork on this vinyl only release.

Premonition 13 – 13 (Volcom Entertainment)

Wino is back with a new project after a few solo records and released a great new collection of songs with his trademark sound. You get hooked after some listens.

Earthling Society – Stations of the Ghost (4Zero Records)

Earthling Society is one of the UK’s psych scenes hidden gems. The band is highly creative each new record is a sort of evolution in the band sound production and song writing. Amazing stuff.

The Cosmic Dead cassette (Who can you Trust)

This cassette and download only release from a new band from Glasgow, Scotland is just up my alley. Full on heavy space rock with a cool psychedelic sound.

Gregg Allman – Low Country Blues (Rounder Records)

I love the Allman Brothers and have also followed Gregg Allmans hit and miss solo career but this collection of new songs and a lot of covers is excellent. I love the laid back bluesy vibe. Great to crank up on a sunny day or Sunday morning..

Soul Manifest – White Season (Nighttripper Records)

This record came as a complete surprise. A new French band on a Swedish label. The band have really created a great 70s style hard rock record, where each song is quite different from each other from the start to the end of the record but damn good songs. Excellent record.

Pentagram – Live Rites (Svart Records)

I loved Pentagram in the 80s and sadly sold those vinyl records and now I am back into them again! This is a totally killer live concert from Helsinki with a monster sound with Victor in top form and Bobby about as good as he can get this day delivering a good performance.

US Christmas – The Valley Path (Neurot Recordings)

This is another one of those records for patient people. This is one 38 min song that you must hear many times and then you just get sucked into the amazing vibe and power of this band. I hope this comes out on vinyl. Powerful, psychedelic rock with a slight Hawkwind vibe.

Fuzz Manta – Opus II (Magnificient Music)

The Danish 70s rock band (previously they played more stoner rock) made a totally great record. A lot of variety from doom, blues to Deep Purple style stuff. Great record.

Steel Mill – Jewels of the Forest (Rise above Records)

This was another one of those total surprises and one you have to really listen to before you just go, wow… so many cool and powerful songs with flute, heavy bass lines, etc.. Progressive 70s rock and what an amazing package with a double lp gatefold and three 7” records!

Papir – Stundum (El Paraiso Records)

All instrumental Copenhagen band, Papir released their 2^nd record this year on the Causa Sui record label and this is amazing stuff. Super cool instrumental music with great guitar parts, powerful drums and very cool interesting bass.

Christian Peters (Samsara Blues Experiment)

I have to admit that picking out my fave records of the year 2011 was quite a hard task for me, even though it seems that in no year before I bought so many records, which are almost 100 LPs. But then most of these were released the years before or – and that would be much more often the case – come from almost four decades ago. Because I didn´t even find a mentionable re-release of 2011, I´ll just go for the following three newer records to be my favorites of this year.

Pater Nembrot “Sequoia Seeds”

You might call me biased for a bit, because I know these guys personally since we´ve been doing several shows together. But then still I think that especially with this album they are one of the most underrated bands of our times. You need only to listen to a song like “H.A.A.R.P.” or “Once were Mud” to see what i mean. Great songwriting and outstanding lyrics here, especially regarding this rather ineloquent “Stonerscene” we consider to be part of. Italy still has a high potential and many great bands. This is my favorite so far. There are hints to the Progressive 70s, to Stonerrock and to early 90s Grunge. Sometimes it reminds me of Soundgarden in their later days, but then for me personally these never have been so close to being “perfect” in a sense. I totally adore this record!

Orchid “Capricorn”

I think this is the only CD I bought in 2011, because there was no LP-release to that very day. Orchid exactly do the kind of songs that people would expect to come from Black Sabbath in the original line-up during their best days, but we all should know these times are over and to be realistic there´s few too expect of them. I saw Sabbath´s last reunion show at the end of the nineties and somehow ended that chapter. For now, it seems, Orchid are here to fill that hole of expectation and do it very well! This one is for pure entertainment though, they´re not much an “original band” in the sense of creating something very new, but on the other hand it´s really a great record.

Wight “Wight Weedy Wight”

Came off as a real surprise! These guys are from farther West Germany and they´re surely one of the best new Stonerdoom acts from our country, where I often missed both; originality and the ability to play or even write great songs. These guys have it and their frontman can really sing which somehow implies the only little thing I would dare to critizize: PLEASE do more vocals!!! All the rest is really in my kind of vibe.

David Lazar Galić (DRACONIC)

I turned 30 in 2011. Looking now at the albums I enjoyed most over the course of this year, and what made them enjoyable to me, it seems that the older I get, the more I just want to hear good songs.

If you don’t write songs that engage me and leave an impression on me after I have listened to them, if nothing motivates me to replay your album after I’ve finished listening to it – I don’t care about your scene cred, how many times you’ve change meter in a particular track, what pickups you’re using, your AxeFX presets, who produced your album, or any other superficial fact you throw my way.

Just give me something that’s honest, that reflects your influences in a sincere and unique way without trying to ride the coattails of any particular trend or manufactured movement – just give me some real, straight-from-the-heart heavy metal. That’s all I ask.

These are the metal albums that I enjoyed most this year.

Textures – Dualism

With a heavy and obvious Meshuggah influence and a proclivity for creating delay-soaked melodic landscapes over hammering polyrhythmic riffing, Textures have all of the predispositions to become just another boring “djent” band in a sea of flaccid clones. With “Dualism,” they do exactly the opposite, carving a niche for themselves by purposely exploring territories that deviate from the norms of the genre in which they operate. Opting for a natural and roaring production style over the characterless, sterile and over-compressed sound most bands of their ilk seek out, Textures create an album that ebbs and flows like a restless ocean, with complex but still overtly melodic compositions, spearheaded by immensely talented new vocalist Daniel de Jongh (ex-Cilice), whose masculine and heartfelt tenor is yet another nice break from the whiny and sissified clean vocals so prevalent in modern metal bands today.

Ulcerate – The Destroyers of All

If you are looking for a fix of technical death metal that has more to offer than a wankfest of arpeggios and blast beats, Ulcerate is the band that you need to hear. The complexity of the music is only a backdrop for the band’s horrifically dense and smothering atmosphere that owes just as much to Neurosis and Deathspell Omega as it does to more obvious influences like Gorguts and Immolation. Churning with schizophrenic drum work and anguishing, dissonant and angular riffs, Ulcerate create an oppressive and suffocating atmosphere that pushes death metal into territories still unexplored.

Gridlink – Orphan

In the 12 punishing minutes that make up this album, Gridlink manage to outperform all of their peers in terms of scathing brutality and uncompromising fury. The most impressive thing about “Orphan” is the fact that amid all of the breakneck speed and utter chaos, Gridlink manage to write a fistful of melodic, memorable, almost anthemic riffs that really separate them from the rest of the pack in terms of sophistication and songwriting ability without compromising the savageness of their sound.

Fair to Midland – Arrows & Anchors

Successfully following up the brilliant “Fables from a Mayfly…” was a task that these Texans were clearly up to with this release. Though not as immediate and infectious on the surface as its predecessor was, “Arrows & Anchors” is just as impressive on repeat listens, with the band honing their songwriting craft to perfection, the only misstep being the pointless and completely unnecessary musical interludes between many of the songs.

40 Watt Sun – The Inside Room

It’s hard for me not to love this album, considering that Warning’s “Watching from a Distance” is one of my absolute favorite doom metal albums of all time. Picking up where he left off with Warning, band leader Patrick Walker continues to create some of the most honest and emotional doom metal ever recorded. The production is a bit of a departure from Warning’s sound, much warmer and more brooding, accented with glistening acoustic passages and Walker’s inimitable, sorrowful and beautifully tragic vocal delivery, which has been his calling card since day one.

Revocation – Chaos of Forms

Revocation has all the qualities needed to become a seminal metal band and maybe one of the best of their generation. Incredible chops, great songwriting, and a knack for not taking themselves too seriously – Revocation make metal fun and exciting again with their catchy, but still very complex death/thrash hybrid, led by Dave Davidson, who is easily one of the best young metal guitarists in the world right now. Revocation are the perfect combination of oldschool sensibilities and modern execution, which ensures that they will be around long after the thrash metal revival dies out.

3 – The Ghost You Gave to Me

This is one of those bands that needs to be ruling the world and on regular rotation on every radio station on Earth. Unfortunately, Metal Blade Records doesn’t ever seem to know what to do with the unique prog bands that it signs (remember Thought Industry?). Band leader Joey Eppard is one of the most gifted vocalists and songwriters of this generation, along with being a nasty guitar player to boot. It’s a shame that more people don’t know about this band, but hopefully their recent touring with Cynic has helped to up their profile. This album does not have one bad song on it and seriously threatens to knock “Wake Pig” off the throne as 3’s best album. A great return to form after a couple slightly lackluster releases.

Leprous – Bilateral

What would Pain of Salvation sound like in 2011 if they didn’t turn into a sappy hard rock band? Maybe a little bit like these Norwegian progsters. Great playing, lots of complexity and atmosphere, without losing the ability to write a focused and moving song – that’s Leprous in a nutshell. Leprous remind me of Pain of Salvation’s early records in the sense that they never sound like a derivative of any other bands, even though they are obviously not reinventing any wheels with their music. I managed to see them live twice this year, once opening for Therion and once as Ihsahn’s backing band, and they are easily some of the most exciting and electric live performers I’ve seen in a long time, especially in progressive metal.

Vektor – Outer Isolation

If there’s one retro thrash band that can stand shoulder to shoulder with the masters of the 80s and 90s, then it’s Vektor. They do not sound like Voivod per se, but there is something about their attitude and approach that is very reminiscent of the Canadian legends. Realistically, the only thing that makes them retro is their haircuts and hi tops, because this is forward-thinking thrash metal with a penchant for experimentation and complex playing that puts them in the same league as the best progressive thrash bands of the past.

Esoteric – Paragon of Dissonance

The most consistent doom band on the planet, Esoteric really can do no wrong. Even though this double album is packed with all of the down tempo bereavement you have come to expect from the band, certain changes have been made to the sound this time around. The music is nowhere near as noisy and chaotic as most of its predecessors, with Esoteric choosing to give a more crystalized and clear definition to their bludgeoning riffs and haunting melodies instead of draping them in layers of horrific, Lovecraftian noisescapes.

Arch/Matheos – Sympathetic Resonance

A reunion with his original singer John Arch is exactly what Fate Warning leader Jim Matheos needed to get his creative juices flowing again after the dull “FWX” and OSI’s lackluster “Blood.” Though still very much an acquired taste, Arch hasn’t lost his edge, and still writes some of the most intriguing and unique vocal melodies in all of metal. This is melodic and engaging prog metal at its finest and easily the best Fates Warning-related project since 1997’s “A Pleasant Shade of Gray.”

Mastodon – The Hunter

Even though this is probably the least great record that Mastodon has released in their careers, it’s still better than most anything else that’s come out this year. Mastodon follow the ambitious “Crack the Skye” with an album that puts more of an emphasis on memorable and to-the-point songwriting than anything else, showcasing Mastodon as a band that really has nothing left to prove and is simply enjoying making exactly the kind of music they want to make. Though the sludgy anger of old Mastodon is almost nonexistent here, the band’s melodic sensibilities and ability to write great songs are continuously showcased in this modern day arena rock juggernaut of an album.

Earth – Angels of Darkness, Demons of Light I

The subtlety and sophistication of the music that Earth have been making in the second half of the band’s career is unparalleled in the world of droning, doomy rock. Hypnotizingly beautiful, the craftsmanship of this band is astounding. Earth weave together sprawling, expertly performed, circular compositions that tease the listener with mesmerizing melodies and themes that hint at crescendoing into a climax, but never actually do. This is music that both demands your full attention, but at the same time, invites you to get lost inside it.

Immolation – Providence EP

This is what death metal should sound like. Immolation continue where they left off with last year’s “Majesty and Decay,” showcasing five new songs that offer up some of the most evil and merciless riffs you’ll hear anywhere. All the Immolation intangibles are there – dark and sadistic atmosphere, unique drumming, dissonant but still incredibly memorable riffing – as the band continues to age like fine wine.

Protest the Hero – Scurrilous

If it ain’t broke, don’t fix it. There’s not much that’s different in “Scurrilous” compared to 2008’s “Fortress.” Regardless, Protest the Hero is at the top of the heap of today’s younger prog metal bands and has one of the most charismatic singers in all of metal, Rody Walker, who effortlessly creates memorable and impressive vocal lines over incredibly complex and busy music.

Primordial – Redemption at the Puritan’s Hand

The same goes for Primordial. Not much different in style to 2007’s “To the Nameless Dead,” though it may not be as interesting and complete on the whole. However, these Irishmen continue to write some of the best, most emotionally engaging metal in existence. Long, expansive songs chock-full of Primordial’s signature black metal meets Irish folk music style melodies, along with the passionate bellow of singer Ian Averill, put the signature Primordial stamp on yet another album by a band that looks to be one of the most consistent metal groups of all time.

Cynthesis – DeEvolution

After the departure of original Zero Hour singer Erik Rosvold, the band was never really the same. Cynthesis marks a reunion of the creative core of this great prog metal band, with the brother’s Tipton joining forces once again with Erik. Replace Zero Hour timekeeper Mike Guy with Enchant drummer Sean Flanegan and you have Cynthesis.  Think a lighter, catchier, more prog rock oriented version of Zero Hour’s classic first two albums with Erik and you’re on the right track to what Cynthesis sound like. A great return to form for the Tipton brothers, which proves that they and Erik share a very rare and unique musical connection.

Yob – Atma

Not as good as 2009’s “The Great Cessation,” but nevertheless, Yob remain one of the premier acts in the increasingly boring and one-dimensional stoner/doom metal scene. Though the album features Yob’s signature combination of crushing doom riffs and astral, psychedelic explorations, the dirges are not as urgent and earth-shattering and the melodic sections are not as transcendental on “Atma” when compared to the near-perfect previous record.

Trap Them – Darker Handcraft

Enlisting Kurt Ballou of Converge to beef up the production and provide some focus to the songwriting, Trap Them have crafted their most memorable album to date. Their sound is still heavily influenced by the chainsaw buzzing Swedish death metal style of Entombed and Dismember, but this album is less one-dimensional than their previous ones, with plenty of really catchy and pummeling mid-paced fist pumpers to go with the speedier Swedish death metal and D-beat influenced chugging usually associated with Trap Them.