THE ILM METAL POLL 2011 RESULTS (All lurkers/non metalheads welcome to join in!)

18. Altar of Plagues - Mammal (855 Points, 26 Votes, 1 #1)
http://www.nocleansinging.com/wp-content/uploads/2011/03/Altar-of-Plagues-Mammal-PL-version.jpg
Profoundlore version
[img]http://www.thrashhits.com/wpress/wp-content/uploads/2011/03/Altar-Of-Plagues-Mammal-album-cover-artwork-packshot-Thrash-Hits.jpg[img]
Candlelight version
Spotify
http://www.last.fm/music/altar+of+plagues

Cork, Ireland’s Altar of Plagues was formed in 2006. Terms that are most frequently used to describe their sound include black metal, ambient and progressive or post metal, though it seems no one description can sum up the acts massive sound. The act themselves consider black metal to be the genre to which they are most attached, but on the contrary they have also been quoted to take influence from acts as diverse as Emperor, Björk and Arvo Pärt.

Review

by Gregory Heaney

At first glance, a black metal album of anguished contemplations about death and inevitability that opens with a nearly 19-minute song would seem impenetrable at best, but on Mammal, the second full-length offering from Irish experimenters Altar of Plagues, the whole thing somehow works. In the way that all great black metal albums are, Mammal isn't alienating so much as it is isolating, making the album not only a collection of songs, but a space in which to ruminate carefully over them. By putting the listener into the appropriate headspace, Altar of Plagues are able to exert total control over the listening experience, taking listeners on a journey that, through all of the brittle production and icy, unforgiving atmosphere, is remarkably thoughtful, introspective, and visceral. This feeling really shines through in how surprisingly dynamic the record is. The songs don't just pummel listeners into submission with their intensity, but are instead more tidal, ebbing and flowing between feverish, blastbeat-laden outbursts and quieter, more expansive passages. Combined with the spaciousness of the production, this push-and-pull approach speaks to a certain inevitability, as if to say that no matter how hard they fight, the songs always have to slow down. As an album, Mammal asks a lot of the listener. It presents an uncomfortable space in which to consider an uncomfortable subject with an austerity that will dispel any notions of black metal being only concerned with the evil or the brutal. Altar of Plagues have created something that's challenging and haunting, and those who are willing to put in the time will find an album that's not just effective, but affective.

john fix that img tag please

Turisas's Stand up and Fight is pure musical joy, one of the most inspiring, original, and fearless metal albums since, well, ever. I tried to give it a perfect score in Decibel, and my editor vetoed that, but they will always have a perfect score in my heart.

I bought the previous Turisas CD, The Varangian Way based on similar hype and was pretty disappointed. How does this improve on it?

more Vikings

guh fen sounds like a wack version of agalloch

Stand up and Fight just goes for it. Like I said, it's fearless. Doesn't feel constrained by any conventions or genre requirements.

I'm probably building it up too much, but it just hit all my buttons in exactly the right way.

'wack'?

ready for a shock low entry?

No.

Look what the Decibel hipsters are up to:

Blackened clouds are gathering overhead, and it's all our fault. North America's premier heavy metal magazine is launching the maiden edition of its annual earth-scorching tour this April. The inaugural Decibel Magazine Tour will feature not just the long-awaited stateside return of Polish blackened death metal overlords Behemoth, but support from Swedish black metal provocateurs Watain, Dutch prog mystics the Devil's Blood and Swedish old-school occultists In Solitude.

Tour dates and other details announced on Jan 24. Hope it's not too off topic, as it does include bands from the poll.

I wonder if I can get a discounted ticket if I promise to leave after the two openers.

weird lineup

I don't think I even knew there was an Asva album out last year

You know there is a rolling metal thread for news like that, right?

these two posts super otm

guh fen sounds like a wack version of agalloch

― call all destroyer, Friday, January 20, 2012 10:43 AM (11 minutes ago) Bookmark Suggest Ban Permalink

Stand up and Fight just goes for it. Like I said, it's fearless. Doesn't feel constrained by any conventions or genre requirements.

― Gamera died for our sins (J3ff T.), Friday, January 20, 2012 10:44 AM (9 minutes ago) Bookmark

Fen are awesome and I'll sb anyone who disagrees!

17. Liturgy - Aesthethica (873 Points, 26 Votes, 2 #1s)
http://cdn.stereogum.com/files/2011/04/Liturgy-Aesthethica.jpg
Spotify
http://www.last.fm/music/liturgy

Review

by Thom Jurek

It's very tempting to break down Liturgy's sophomore album Aesthethica into the numerous parts that make it up, or point to the band's obvious influences. While Liturgy has gone to great lengths to insist they are a black metal band, the Brooklyn unit -- vocalist/guitarist Hunter Hunt-Hendrix, drummer Greg Fox, bassist Tyler Dusenbury, and guitarist Bernard Gann -- is much more. While it's true that Aesthethica reflects and retains the intensity and single-pointed, focused drive of their debut, Renihilation, their musical development -- as composers and players -- is undeniable. Where the former album relied heavily on simple song structures to anchor the overarching furiousness of their attack, Aesthethica, by contrast, is far more sophisticated; enough so to get them barred from the "black metal" club forever by purists. The minimal guitar plinks that intro the opener "High Gold" gain in frequency and become a blur before the entire unit kicks in on full stun. Fox's blastbeats quadruple-time the band, Hendrix shrieks incoherently, and the high-pitched, syncopated wall of guitars suggests an exponentially overblown version of one of Glenn Branca's guitar symphonies, but moves much further off the scale. "True Will" (whose lyrics are transcendentally spiritual) begins with a modern version of vocal polyphony before the violence of instruments creates a startling corridor of noise; before long, however, it reveals a very complex network of tones, sounds, pulses, and textures, and though it seems there are few of them here, actual spaces. Hendrix's screaming sounds more like ecstasy than pain, as if he is indeed communing with God in the outer reaches of the spheres. Each of these 12 tracks is so melodically and dynamically labyrinthine -- not too mention outrageously heavy -- they're exhausting. Other choice cuts include "Returner," "Red Crown," "Sun of Light," and closer "Harmonia" (the last of these at least appears to be slower, but that's deceptive). Aesthethica consists of intricate, sophisticated songs, full of majesty, nearly insane drive, intention, and the frighteningly unleashed power of emotion; and they all rock. Hard. This is extreme music. Period. It may come to define or utterly transcend metal; but it doesn't matter because this album is in its own class. Anyone remotely interested in heavy music needs to encounter Aesthethica at least once.

*Picks George up off the floor*

Well I just heard In Solitude for the first time through this, and on the same day it was announced they're touring. I might go because of this poll, just sayin'.

thank the mercyful fates!

Glad Liturgy wasn't top 10. Kind of annoying how critics who almost never listen to metal were so apeshit over it.

but those tr00 kvnts who hate them for being hipsters are equally annoying. I really like both of their albums. Who cares if HH-H is a pretentious twat

Liturgy - The only nominated album that I had actually heard! 'Veins Of God' is great, and I like the rest just fine.

xxp ha, I'm not a critic obv, but point taken.

Don't be a hipster, ASR.

16. Falloch - Where Distant Spirits Remain (874 Points, 27 Votes, 1 #1)
http://4.bp.blogspot.com/-IWhiHgOInPw/Tn9jm0ZTcJI/AAAAAAAAAMk/dWPpB0oXyas/s1600/Falloch-Where-Distant-Spirits-Remain-Artwork-2011.jpg
Spotify
http://www.last.fm/music/falloch

Falloch was formed in Glasgow, Scotland in 2010 by Andy Marshall and Scott McLean

Their sound draws inspiration from a variety of musical styles such as atmospheric rock, metal, post-rock, scottish folk as well as minimalist composers such as Arvo Pärt and Yann Tiersen.

Having a deep connection with nature the band is named after the Falls of Falloch waterfall in Crianlarich. Falloch (“Falach” in Scottish Gaelic) means “hidden/in hiding”.

They started recording their debut album ’Where Distant Spirits Remain’ in 2010. Upon completion they managed to secure legendary producer Ronan Chris Murphy (Ulver, King Crimson etc.) to master the album in early 2011, with the chance to sign to the revered Candlelight Records following shortly after. Their album was released on 26th September to a great critical reception.

http://ripplemusic.blogspot.com/2011/08/falloch-where-distant-spirits-remain.html

With it coming down to the last days of August, the temperature here in Arkansas is still reaching a hundred and five degrees on some days. After going through the miserable heat wave that took several peoples lives when it got as hot as a hundred sixteen degrees at times, I was more than welcoming winter to completely destroy us and bury me in snow. While the majority of humans will say they love winter during the horrible summers and adore summer when they have to drive to work in the freezing cold, I’ve always been the type of person that could live in the winter-esk conditions, forever. So, what goes good with snow, freezing temperatures and icy roads? If I had to choose a new soundtrack to this coming winter, something that literally embraces winter for everything it is, Falloch’s debut record “When Distant Spirits Remain” is that record that will have you freezing to death.

Creeping very slowly out of the harsh winters of Glasgow, Scotland, this two piece atmospheric/post-rock/folk duo, does a spectacular job of setting a mood and sticking to it. “Where Distant Spirits Remain” paints a picture, a picture that may not make you literally freeze, it will place you in a position of whether or not you should cover up with a couple blankets while this record is spinning. From front to back, this record makes me think of snow mountaintops, lakes that are frozen over and old churches that have been abandon for years. Not to mention, even though this record does have speed and chaos, it’s presented in very small doses and those doses are lethal yet very enjoyable.

The one thing that always came back to my mind while this record was playing is that it’s a soundtrack, it could easily be used in a silent film and even in the background to some films. Even though it can get pretty intense with heaviness and pure

“Where Distant Spirits Remain” is magical, it’s passionate and without a doubt in my mind, this record is the most gorgeous yet honest records I’ve heard in the last several years. Even though I am very confident in knowing Falloch recorded this record inside of a very warm, comfortable studio, I can’t help but want to think that these two guys might of recorded it inside of an empty shack in the middle of nowhere. Now, while several tracks on the record such as “Beyond Embers and The Earth” and “To Walk Amongst The Dead”, may be driven with pure power and heaviness that may lead you to believe these two men could produce a very promising black metal record but it’s the sections of melody that tug at your heartstrings. In all honesty, for a debut record, I haven’t heard anything as flawless and down right gritty as this record is, that’s just the facts to.

I’ve said it before and I’ll say it again, any record that can place images of beautiful landscapes and monstrous mountain covered in pure white snow, that record deserves props on many levels. Hell, even a record that could sooth everything out in my life and tell me everything is going to be okay, that’s a record that will stick with me for a very long time. So the final verdict is this - seven tracks, that’s all this duo needs to give you before you fall madly in love with what they’ve done on this record. Some might argue that Falloch seems to be confused as to what genre they want to be but at the end of the day, you can call them what you want, folk, post-rock, black metal with folk influence, all I know is that Falloch has created a masterpiece, hands down. “Where Distant Spirits Remain” – The one record that can kidnap you and place you into a better situation than you might be in right now.

Official Site - http://falloch.com/

Creeping very slowly out of the harsh winters of Glasgow, Scotland

Great album from Scotland for a change too

Whose #1 was that?

I didn't like that Liturgy album; there I said it.

I wish the black metal voting contingent was a little more vocal. It's not my thing (for the most part), but I'd love to have people with more interest and knowledge discuss their thoughts on these records.

15. Krallice - Diotima (899 Points, 28 Votes)
http://cdn.stereogum.com/files/2011/07/Krallice-Diotima.jpg
http://www.last.fm/music/krallice

Krallice is a New York-based black metal project featuring the guitar work of notorious progressive/experimental metal musicians Colin Marston (Gorguts, Behold… the Arctopus, Byla, Indricothere and others) and Mick Barr (Crom-Tech, Orthrelm, Octis and others), along with Nick McMaster and Lev Weinstein of death metal band Astomatous.

The musical style of Krallice could be described as fairly clean by black metal standards, with long, dynamic songs containing some distinctive progressive metal influences. They’ve been compared to Weakling in some ways, although their music focuses much more on progressive song structures and less on the dissonant droning of Weakling’s Dead as Dreams. They released a self-titled album in 2008 on Profound Lore Records and a follow-up, Dimensional Bleedthrough, on the same label the next year. Double vinyl releases of the two albums were put out by Gilead Media in 2009 and 2010, respectively. A third album, Diotima, followed in 2011, once again on Profound Lore; a vinyl edition, once again by Gilead Media, is expected to ship around September 20, 2011.

Review

by Phil Freeman

The third album by New York-based arty black metal band Krallice is the group's best work to date. Though the songs were mostly written during the same sessions that produced their previous releases, they seem to exhibit evolution, and a gradually expanding sonic palette. The basics of their sound remain the same -- high-pitched tremolo guitar, blasting drums, rumbling and surprisingly full (for black metal) bass -- but some of these songs, the title track and "Telluric Rings" in particular, are downright progressive, their complex structures and pulsing rhythms as reminiscent of Mahavishnu Orchestra or early-'70s King Crimson as of Mayhem or Marduk. The vocals, depending on who's handling them (sometimes it's guitarist Mick Barr, other times bassist Nick McMaster), are either a harsh scream or an ursine roar; the latter is more effective for being unexpected. Krallice, like fellow Brooklynites Liturgy, aren't all that interested in preserving black metal in the amber of tradition. They're taking what they like from the genre and amplifying its power by adding elements from prog rock and minimalism, then stretching the songs to extraordinary length (12-15 minutes at times) in order to push the listener toward cathartic transcendence. At their best, they're an overwhelming sonic force, and Diotima is their best album to date.

assuming the liturgy cover is an explicit reference to

http://image.lyricspond.com/image/s/artist-slayer/album-god-hates-us-all/cd-cover.jpg

it was this overlay cardboard card that came over the "real" cover to god hates us all when i bought it in a store

Phil's review you chose for that Krallice record is really good. kudos.

i hope he doesn't mind. I'm taking them from amg if possible, if not, I try to find a good review.
I still want jeff to post his Turisas Decibel review

and yeah lurkers! delurk and give us your opinions!

Black metal folk are supposed to be too misanthropic to be loquacious about their love of black metal. I don't love nor dislike the Liturgy album. I like some typical "hipster" stuff. It's just an odd choice for a gateway album for non-metalheads.

that fen album isn't bad but the vox are sort of a turnoff, like i find myself skipping ahead through some songs on albums to check for growly vox b/c most of the time those just don't work for me. more my problem than the band's or genre's, maybe.

14. Absu - Abzu (901 Points, 26 Votes, 1 #1)
http://4.bp.blogspot.com/-YpIILwwmMKw/TsjsN6c2mxI/AAAAAAAAAhY/HL3hic7h_LA/s1600/Absu%2B-%2BAbzu.jpg
spotify
http://www.last.fm/music/absu

American black metal band with a sound informed both by thrash and death metal.

Review

by Eduardo Rivadavia

Like a hibernating curse resurrected out of the depths of antiquity, Texan extreme metal mummies Absu returned from a nine-year recording hiatus in 2009, bearing an eponymous fifth album that fully reconfirmed their status as the world's preeminent -- OK, possibly only -- true purveyors of "mythological occult metal." Never mind that, though: the point here is that Absu have always stood alone, at first for being one of the few American bands to deliver convincing post-Inner Circle black metal during the early '90s, but later because group leader Proscriptor simply refuses to leave his mausoleum without draping his songs in mystifying layers of dense, Lovecraftian arcana. Released in 2011, the curiously named Abzu is no exception, and though apparently assembled quickly relative to its predecessor and marked by a brief running time (just 36 minutes, of which 15 are covered by one epic suite), it too has the regal bearing of a major musical "event." It's also rich in both extreme metal fundamentals and enough amusing quirks to once again distinguish Absu's vision from most of the competition, including piercing squeals ("Earth Ripper"), blackened thrash breakaways ("Skrying in the Spirit Vision"), and Spanish guitars ("Circles of the Oath"), not to mention the oft-recurring Celtic music ingredients. Thematically, the latter track delves into the Kabbalah, another, "Abraxas Connexus," into Gnosticism, and the spectacularly named "Ontologically, It Became Time & Space" into...who the f**k knows (though one suspects a mixture of Greek mythology, the Sothis mythos, and dark matter physics) while conically veering between Bathory and Behemoth and beyond. To put it simply, it's irresistibly confounding. And then there's the aforementioned epic, "A Song for Ea," which unfurls all of six distinct songs within a song, immersed one and all in Sumerian religion and specifically the mythical Abzu, from whence all of the earth's fresh subterranean waters supposedly flow. Catch the drift? Bottom line is that Absu's intriguing musical visions may fade into lengthy silence now and again, but whenever they emerge with something new, fans of thought-provoking black metal would do well to listen up.

I am prob one of the black metal dudes but tbh most of the stuff I liked this year has already placed - I mean I could say that I was meh about liturgy and disappointed with that krallice album I guess.

What about Absu?

we're closing in on the top 10 yet noones chatting. Where are the metallers?

13. Blood Ceremony - Living With the Ancients (1,014 Points, 31 Votes, 1 #1)
http://4.bp.blogspot.com/-tB06cmneeAQ/TXlOOf_X4eI/AAAAAAAAFGI/QL3__zoKNUE/s1600/BCLWTA.jpg
http://www.last.fm/music/blood+ceremony

Canadian retro-rock quartet Blood Ceremony plod the same groove worn deep by Black Sabbath, Uriah Heep, and other blues-rockers in the late '60s and early '70s. Their debut CD was a pretty decent effort, except for the vocalist, who was flat and tuneless. She's gotten better on this one, and her flute playing has improved, too; she multi-tracks herself on "Coven Tree" to excellent effect, sounding almost Ian Anderson-ish as the band cranks up the ultra-analog blooze/proto-metal riffage behind her. This record's sound is impeccable; it really could have been recorded in 1971. They even get the boxy drum sound right, something modern retro-rockers never manage. The lyrics are satanic hokum, calls to the Black Mass and whatnot, much like the similar Sabbath Assembly project, which set hymns written by post-hippie cult the Process Church of the Final Judgment to acid rock riffs. Living with the Ancients will absolutely appeal to fans of early-'70s proto-metal, but Electric Wizard fans should check it out, too; the band's songs have a similar incantatory power.

Wasn't that impressed with the debut lp but this one is really great.

Friday night, dude. In the pub already.

maybe we should resume monday for the top 10

Now this is more like it. The Blood Ceremony record is fucking awesome, just nails that sound perfectly. My #2.

And listening to Corrupted via Subsonic while wearing an Uncle Acid shirt.

Oh no, I'd rather see it wrap up today. Also, if you wait til Monday it'll be running along with the big ILM poll and that will definitely suck away attention.

Blood Ceremony rock. From my blog (not that anyone but Nate seems to like my write-up):

You know how I said I like retro-80s metal? I like retro-70s metal just as much, if not more. Throw in a dash of proggy hard rock from the era (there’s flute on this thing, in more than one song) and you’re tailoring it more and more to my personal tastes. I’ve also come to really enjoy female vocalists fronting heavy bands, something I could never have imagined as a teenager when I had Lita Ford and Warlock to chose from (I’ve come around a bit on Doro, but not fully) and little else. It seems like more and more the genre is opening up to the idea of female strength and power as valid expression. Kudos to meatheads like me, acknowledging the obvious. Long aside aside, this is a record that, if you told me was lost in a vault after a 1972 recording session I would believe without a shadow of a doubt. Rich and thick sound, with some amazing vintage organ work, Blood Ceremony’s leap from their debut to this album is as big as any I have recently seen. I can’t wait to see where their Hammer films and Devil worshiping asses go from here.