Annus in Morte – The Year in Death Metal 2023

Often when critics praise a band for their supposedly “controlled chaos”, the band is way better at the chaos part than the control part. Conjureth however sound chaotic and unpredictable without ever losing grip of the songs they craft. Sounding like a hypercharged, feral mixture of influences from both European and American death metal acts, Conjureth impress most with how cohesive their songs sound and how headbangable they are—and this despite their attempts to constantly change riffs, never repeat sections when possible and with a mix that feels alive and pleasingly dirty.

Death metal so avantgarde, Metal Archives apparently refuses to have them on the site. Sarmat are an avantgarde death metal band at heart, but maybe the multitude of ways that the band is intertwined with and takes inspiration from the New York jazz scene makes it all seem a little more out-there than it actually is. Sarmat features a cavalcade of guest musicians that showcase their different outlooks on jazz and experimental music and even hints of the band's fascination with video game tunes remain. Additional thoughts can be found in my original review and in my list of favorite albums from 2023.

While the initial instinct for most is probably to dismiss Otakuslam ❤️ Animecide as an irony filled shitpost, that's only because to a degree, it is. But it is a shitpost by committed, talented people who put the necessary work in to make the album more than just listenable, but enjoyable. Few slam albums have this much variety and manage to integrate their gimmick as seemingly and purposefully as these ero guro slammers do. Dehumanizing Itatrain Worship commands a good grasp of their rhythmic backbone, the production value is much greater than most slam deserves and the band constantly subverts and plays with expectations—not to mention they got the best feature of an alleged attempted murder in 2023. If you can get over a tongue planted as deeply in its cheek as possible, you shouldn't sleep on Otakuslam.

Anachronism play avantgarde death metal that is aware of the tropes of the genre, but uses it with more purpose and to greater effect. Meanders reveals that any musical device can be used to enhance emotional impact if done as a deliberate choice. Additional thoughts can be found in my year end list and my original review.

While it was immediately clear to me that Nithing would make it on the list of the best death metal albums of the year, how much I personally liked it and if it would end up on my personal list was a different story. Nithing is brutal death metal so dense and so high energy, it almost becomes avantgarde. Nithing requires more concentration than any brutal death metal act I know, usually an easy listening genre for me. After sitting with the album for a while, it becomes apparent that the band isn't only avantgarde for the sheer amount of aggression they can dish out, not only for how dense they are—no, they're also really fucking weird. Additional thoughts in my year end list.

Infecting the Swarm play technical brutal death metal. Mostly devoid of slam parts or breakdowns, this is brutal death metal for those who just want their death metal to go as hard as possible. Infecting the Swarm only rarely pumps the breaks and if they do so, it is so the next section hits even harder. The only real detriment is the vocals, who can be a bit too one note.

The trend of tech death bands looking to Hinduism for their lyrical inspiration has always been fascinating for me. 7 H. Target go a little further and actually take some influence from Indian music with abstractly grooving rhythms and an at times slithering and ethereal approach to lead guitar. Unfortunately they are prone to committing a bit too much to it, with "Shiva Yajur Mantra" being a glorified vocal interlude that goes on for way longer than it should. These Russians have always been one of the more interesting and unique slam acts, but they've also been hindered by problematic production. With a clean, suitably punchy mix on Yantra Creating, they've delivered the best album of their career.

The issue with melodic death metal is that most of it is either metalcore or outright pop. The few that actually do make Death Metal that is melodic have either been broken up for decades (Vehemence) or are nazis (Arghoslent). Luckily, Bogside Sniper Squadron are here to deliver their Irish folk tinged, slightly blackened underground death metal. The material is underproduced, which adds to its charme as the melodies can be surprisingly upbeat for a death metal album, which the DIY production counteracts to a degree. The fact that the lyrics are themed around the Irish republican army might be a deterrent for some, but I suppose this at least means the band isn't competing with Arghoslent for any lineup space...

Dummy is right. Snuffed on Sight are the premier act in the "slam so dumb, the recent cuts for the funding of special education have really hit it hard" subgenre of death metal. While it feels like cheating to call this a full-length (the release is 15 minutes long), Snuffed on Sight are still a great time.

Afterbirth are a fascinating creature. Less slam/brutal death metal this time around than it is straight progressive death metal, some of the songs take wild turns that make for truly enjoyable, if a bit random music. The back half slows things down a bit much and unfortunately drops it off my list proper, but the first half has plenty of creative insanity to make vanilla death metal avoiders like me perk up my ears. This is one to check out it you are chronically unable to understand death metal yet still want to try. Some fun makes the brutal medicine wash down easily.

Topping the list of albums I regret not banging out a review for, Chthon's Eremite is good blackened death metal that also dips its toes into doom metal in its oppressive feel. This is a tight yet organic blast of metal that sounds grand, foreboding and severe in its expression. Eremite also has some great vocal hooks that makes it stick in my mind (like the "Drink of the cup of disease" line from "A Legacy of Filth"). With some synth led accents that add more than they detract, the result is a worthwhile debut, and a band to watch.

Orchestrionic Abortion is one of the brutal albums that made me laugh the most this year. With their no fucks given-attitude to writing lyrics and absurdly grooving brutal death metal it was a blast to put the album on every time. Angelic Desolation isn't a name I knew before but they've definitely got my attention now. "Shake the Baby" and "Peterrordactyl Man" are songs that I will definitely come back to past this year, and they are great songs to share with non-metal co-workers for a good laugh.

For someone as deathcore-challenged like me, I mostly gloss over new releases in the genre as I find that most bands just endlessly repeat the same tropes in search for the next cool breakdown. Thank the devil for January then, when nothing good gets released. As I shrugged and put on Sagen's Roots of Proctor, I was hit with some kind of concept album about witch hunts, that contains loads of variety and thrives on its guitar leads. This highly unusual album stuck with me far into the year and always managed to be entertaining whenever I put it on. Check it out for a different deathcore vibe.

Want to hear some melodic death metal with folksy bits that actually sounds like death metal? Massen has got you covered. With a beauty and beast aesthetic that does not skimp on the heavy side of the equation, Gentle Brutality is a fun and catchy album where the female vocalist isn't just there as window dressing. Playing violin at the same time as handling the clean vocals, she is an integral part of the album and Massen make the most of it. Wonder why those folks on your local metal forum/chatroom are running around shouting "ENERGY SYSTEM"? Here is where you'll find out.

Adding technical death metal to slam might seem like ruining some perfectly good slam. But Wormhole manage to pick and chose the right parts to make the slams have the same impact at the same time as dazzling with tempo changes and some complicated playing. It is almost a shame to leave this one out of my honorable mentions, but I have not had enough time with it to say if it is one of the keepers of 23. Still, looking for some clever wank in your stupid? This elevated slam (just threw up a bit in my mouth) will surely hit the spot.

Switzerland's metal scene exploded this year. Bands like Anachronism, Kvelgeyst, Stortregn, and newcomers Dyssebeia all released extremely high-quality albums. Dyssebeia's blend of progressive and melodic death metal is at times bouncy, at times melancholic, and at all times no-nonsense. It's actually quite reminiscent of Stortregn, which is no surprise, considering half of the band are also active in Stortregn. While the album itself didn't quite land in my list, there's enough charm to keep you coming back for more, especially on tracks like "Moon Bearer" and "Apophenia". A band worth keeping your eyes on.

Portland lumbering death metal juggernauts Excarnated Entity released an album that was sorely overlooked this year, but they delivered a meaty slab of hard-hitting death doom. Their debut record, Mass Grave Horizon brings together crushingly heavy riffs and emotive leads, resulting in a concoction that has left me returning time and again. Notable songs include "Corridor of Flame" and "Irradiated Shadows". While this album did not completely land for me, I still revisit it on occasion to remind myself that Mortiferum-esque death doom is not dead in 2023.

Minnesota based death metal band Nothingness had a glow up this year. Their first album, sorely unnoticed, flew under the radar before signing with Everlasting Spew Records to release their follow up, Supraliminal. At times grinding, at times doomed, and at times blackened, this record has something for all different fans of death metal. Be it the almost catchy “Inviolate Viscera”, the menacing “Temple of Broken Swords”, or album highlight “Beacon of Loss”, this record has something for everyone and has earned Nothingness a permanent spot on my radar.

An album that has been sorely overlooked this year, Haxprocess’ debut takes all the best parts of Starspawn, throws in some Morbid Angel-isms, and adds in some technical wankery for an extremely fun release. The Caverns of Duat came out in an unusually packed January, and it’s been eating at the back of my mind for the remainder of the year. Progressive death metal itself has had a solid year, but in the sea of bands masquerading as this but are actually djent or metalcore, Haxprocess is one of the few who can call themselves truly solid progdeath. Songs such as “God Complex” and “At One With Time” are top-tier examples that showcase this group’s guitar wizardry, and I hope we get a follow up soon. Check these guys out.