Annus in Cvltus – The Year in Black Metal 2024

As a German myself, a band being noticeably German is not always a good thing. Especially in regards to black metal, this often means extreme kitsch, a very soft approach and a an uncomfortable closeness to the tropes and mannerisms of German Gothic music. Narzissus has all of that, but Akt III: Erlösung is assembled in a way where none of these are negatives. Erlösung feels like kitsch, yes, but it also feels honest. Narzissus might be overly gentle, but that attitude never becomes overbearing. The music captures the bittersweet feeling of modern life quite well, constantly being torn between gentle comfort and a certain indescribable melancholy. Furthermore, Narzissus do all of these things in interesting ways. The music is varied, the lyrics are multilingual, and the album has great flow. This is German black metal to a 'T', but somehow, I don't hate it. A surprise for sure, but a welcome one.

Doedsmaghird is the evil twin to Dødheimsgard (DHG), standing with one hand manically fingering a keyboard and the other taking turns twirling its moustache and editing away all of the atmospheric bits in DHG's sound to allow Omniverse Consciousness to present leaner and meaner. While it's entirely possible that this material has been picked up from the cutting room floor off the Black Medium Current sessions, there is something to be said for splitting it all to make a great album and a good one, instead of making a bad one by jamming all of it all together. And that is thankfully (allegedly!) what has happened with Omniverse Consciousness. The less dramatic black metal sound of Doedsmaghird doesn't quite measure up to Black Medium Current, but for anyone that wants a more direct blackened kick from one of the OG second wave musicians can find just that in "Endless Distance" without losing DHG's oddball flavor. "Death of Time" also features a moment I can only describe as blackened trip-hop. Imagine that. Vicotnik is likeably weird.

I listened to Despondency Chord Progressions while shopping at Ikea, with children screaming at their parents in the background occasionally breaking through the sound in my headphones. With an album cover fitting the situation well, it's a wonder the modern Swedish church did not burn on that day. Tragically missed opportunity aside, Selbst surprise in that they are a black metal band that uses more than two riffs in their songs. It's subtle at first, since Despondency Chord Progressions favors slowly building numbers focusing heavily on emotional expression. But there is always a lead riff ready to take each song to the next level. The drums, while sometimes falling for the snare-abuse trope that's ripe in black metal, find plenty of pattern switches as well. Selbst comes off as an alternate reality version of Behemoth that took the blackened forest path instead (much because of the vocalist). You needn't be ready to burn down your nearest Ikea just yet, but put on Despondency Chord Progressions at home and light a match to stare menacingly into. You'll get there.

Releasing something during the ass-end of the year (Christmas shittings to you all) is a surefire way to get your release overlooked. The relatively unknown nea selini should have a shot at catching your attention, however, as they've released the second actually good meloblack album this year (the first one being Narzissus' Akt III: Erlösung). Drawing from the same pool as the posty black metal of Asu no Jokei, Alcest, and the energetic shredding of Bloody Cumshot (have a red and white Christmas!), Une pluie incessante takes several interesting risks. Post rock and electronica find a tasteful presence, but nea selini never lose sight of energetic riffing. Even when the songs go into full blackgaze mode they do so building up to some great riffs. Eventually, some heavy metal crawls in along with some EDM and.....uh, Japanese rap. The latter is a left field influence that makes an amazing trapeze jump straight into a furious black metal section that just rips when it has no business to. Multi-instrumentalist Yota Yajima has me impressed as he's the sole member of nea selini, and he manages likely programmed drums and good sounding production all by himself. Get on it!

Black metal that sounds like the stuff of nightmares is my favorite kind of black metal. Last year we had Hasard as well as Mêlée des Aurores. And this year we have the newcomers Parfaxitas. A supergroup of sorts containing members of Suffering Hour, Oculus, Sinmara, and Whoredom Rife, Parfaxitas fills Weaver of the Black Moon with evil atmosphere and menacing tremolo-riffs against a fretless bass that snakes its way back and forth through the murk and gloom. Taking a heavy influence from acts like Akhlys, Bestia Arcana, Aoratos, and Nightbringer (but without the questionable political leanings), Parfaxitas opts for a bass-forward approach, which is a refreshing change from the norm — shrill trem-blasts can get exhausting after a certain length of time. Songs such as closer “Sea of Blood/Fields of Nightmares” compliment this approach perfectly, including a delicious bass solo at the beginning of the song before sweeping the listener away to the nightmarish depths. If you like black metal, especially with fat bass, don’t miss Weaver of the Black Moon.

A cistvaen is a stone burial chamber popularly associated with Celtic saints. Cistvaen’s mix of atmoblack and doom metal does a spot on job of evoking the atmosphere you might associate with such places; somber, contemplative, and rough-hewn. Guitarists Lee Meade and Mark Sanders carry the bulk of Cistvaen’s sound, from the Insomnium-meets-My Dying Bride melodies of “Epitaph” to the shrill tremolos of “Cessation of Hope”, but the rhythm section carry their weight too. Drummer Ed Wilcox’s patterns add texture and propulsion, and bassist James Mardon even gets involved in the melody on “Time The Mournful”. Throw in Guy Taylor’s meaty gutturals and you get a solid all round performance that just oozes bleakness and desolation. Cistvaen write long songs - the majority of At Light’s Demise’s songs exceed nine minutes — but never lose the thread doing so. Nor do they fall into the trap of writing the same song over and over, which is impressive considering this is Cistvaen’s full length debut. But then Cistvaen are impressive, full stop. At Light’s Demise might be the best atmoblack record of 2024, and hopefully a record label will give Cistvaen’s next release their backing.

There are many ways to play black metal. You can sound depressed, angry, depressed and angry, coldly aloof and evil in a way that’s probably masking depression and/or anger. You can also sound like you’re having fun. I am deeply suspicious of jollity in my music, but I see no other word for Houle’s ultra-energetic and melodic take on the genre. The good news is that they’re having fun by sounding a bit depressed and angry, so it’s okay. Ciel Cendre et Misère Noire is forty-five minutes of whiplash black metal, trad melodies, and crooning interludes that sound like what might have been if Dissection had been reared on trips to the French seaside. Where Houle falls down for me — other than merely being very good rather than great — is they don’t sound all that interesting when they slow down, focusing more on atmosphere than melody. But don’t particularly pull atmosphere off. This issue magnifies when Ciel Cendre et Misère Noire ends on “Née des embruns”, a twelve minute track with numerous slow parts. This issue aside, Houle’s rowdy black metal is a good time for all.

Some concepts are inherently metal: Satan, the Undead, attractive people who sold all their clothes to buy a sword. Brazil’s Litosth have gone for a double whammy with Cesariana - the world being so inherently foul a mother might prefer her child being dead than being in it, and refusing to be bowed down by the world anyway. Is this theme suggested some form of emotionally bipolar black metal then you’ve guessed correctly. Litosth go for a grand approach, by turns upbeat and gloomy, with plenty of trad or even poppy leads to go with symphonic touches and occasional blastbeat fueled touches of viciousness to prevent things getting too sugary sweet. The end effect is a touch like a more subdued Borknagar, or a doomy version of 90s Swedish meloblack, or a more punchy version of feel good atmoblack acts like Skyforest. As someone with an innate attraction to that sort of stuff, Cesariana has been getting spun on and off throughout the year.

I think by this point it’s clear I like most flavors of black metal, but I have a special affection for when it’s a little weird. Enter stage right Schammasch. I struggled to fully get The Maldoror Chants: Old Ocean for a while, possibly because I have the patience of a poorly trained puppy, but at some point it clicked. The best way I can think of to describe The Maldoror Chants: Old Ocean is the result of someone trying to write a folk-black metal album only using post-metal riffs. The product is somewhat akin to listening to oceans: mesmeric repetitions that grow louder and louder as the tide comes in. Imagine that only with lots of shimmering quiet parts, low end tremolo, and busy drumming and you’re roughly in the right water park as to what Schammasch are doing here. It’s not very immediate but as something to sink into and let your mind wander, The Maldoror Chants: Old Ocean delivers.

Spectral Wound dominates the black metal scene with their irresistible blend of infectious tremolo riffage. Songs of Blood and Mire builds on this foundation with a crisper, more polished sound compared to the raw ferocity of A Diabolic Thirst. Spectral Wound channels their signature malevolence into a slightly more accessible form, striking a balance between aggression and refinement. This shift both showcases growth and cements a unique identity. While some may prefer the rawer intensity of the previous album, the carefully honed sound of Songs of Blood and Mire delivers an unforgettable experience. Showy riffs and a stellar drumming performance shine against a haunting atmosphere, drawing listeners deep into a dark allure —not a reinvention of black metal but that finds amplification in emotional impact. Each track carries a poignant intensity that feels both powerful and calming. Spectral Wound once again proves their mastery.

Sordide’s Ainsi finit le jour delivers raw, emotionally charged black metal with a distinctively French character, its rough edge avoiding the chaos of pure raw black metal, embracing a maniacal intensity. Vocals oscillate between frantic pleading and defiant wails, pulling the listener deep into its misanthropic core. The tremolo riffs evoke not frozen Nordic forests but rather, dripping with disdain for societal decay, the suffocating, melancholic streets of a forgotten French town. Sordide’s music marches relentlessly forward, often slowing to a crawl before exploding into bursts of energy with a deliberate pacing that creates a palpable tension and draws you into its grim narrative. The DIY punk ethos underpins the album, giving it an unpolished authenticity that feels both rebellious and deeply personal. A standout track, “Banlieues rouges,” introduces sludge-laden riffs, amplifying the band’s antifascist message with raw power. This blending of influences — black metal, punk, post-metal, and sludge — creates a unique sonic identity that transcends genre conventions. Ainsi finit le jour seethes with melancholy and disdain, its music embodying the harsh realities it critiques. Sordide crafts an unforgiving yet captivating experience that lingers long after the final note. This is black metal with purpose, passion, and a grimly human soul.

Rhûn’s Conveyance in Death is an atmospheric black metal debut that strikes a balance between tradition and innovation. Helmed by Aaron Charles of Falls of Rauros, Rhûn blends classic black metal elements with melodic and post-black influences to create a rich, emotive experience. The six-track album offers a range of atmospheres, from the grandiose opener “Morningstar” to the brooding depths of “Tomb of Andesite,” where prominent bass shines. The guitar work, particularly on “Bone Ornament,” delivers precision and innovation, bridging the gap between black metal and cosmic, dreamy textures. Vocals run understated, serving the album’s melancholic and immersive mood rather than dominating it. Rhûn alternates between feral intensity and slower, contemplative passages, making the transitions seamless and natural. Each song feels like a self-contained journey, yet contributes to the cohesive, otherworldly atmosphere of the album. Conveyance in Death is more than black metal; it’s a thoughtful exploration of emotion and atmosphere, transporting listeners into its dreamlike realm. Rhûn’s careful experimentation and genre-blending make this a standout release, elevating the genre without compromising its essence.