Every year I sit down to pen this article and every year I’m reminded of just how robust and diverse the music scene is on our little corner of the world. Connecticut may be home to a lot of tiny scenes scattered across the state, but when put together the massive amount of talent that exists within its borders is astounding.

Below you will find my top 20 favorite CT albums of 2024. This isn’t a “best of” list necessarily, but one guy’s opinion on the albums you should start with if you’re looking for something new to listen to (or revisit), listed in pseudo-alphabetical order by artist. I hope you find your new favorite album on this list. I’ve also included a bunch of honorable mentions as well.

In years past when I put this list together, both for this site and formerly for the Hartford Courant, I would hold myself to only including full-length albums, mostly as a way to keep the list from becoming unruly. However 2024 saw so many acts releasing absolutely jaw-dropping EPs that I decided to expand the list this year to include some of them. (Minimum 5 songs and/or 25 minutes in length.) Will that be the norm going forward? I guess that depends on next year’s releases.

Thank you, Connecticut musicians for providing so many countless hours of entertainment and sharing your talents with the rest of us. On to the list…

American Thrills – Milestone
One export Connecticut has excelled at for a long time is punk rock in all of its various forms, including the pop-punk/emo variety. American Thrills has been continuing that tradition for a hot minute now, and their newest release Milestone continues building on an already solid and growing discography. Filled with catchy hooks, memorable riffs, and enough sing-a-long sections to fill a car ride across the entire state, American Thrills truly did create a milestone in their recorded output.
https://americanthrills.bandcamp.com/album/milestone

Audio Jane – We Always Make a Mess of Things
There are few bands I have such an unabashed love for than Audio Jane. Their brand of dreamy, atmospheric rock has always reminded me of so many bands I gravitated to in my youth, and yet each release feels so fresh and different from the last. Their newest EP feels lighter and more airy than their most recent output, giving their sound an even more atmospheric vibe, which I honestly didn’t think was possible, but also love without question. I’ve had the privilege of seeing some of these songs played live in 2024 and they are perfect fits for an already memorable live set.
https://audiojane.bandcamp.com/album/we-always-make-a-mess-of-things

Bap Pack – First I Heard…
Bap Pack is not the first local hip-hop super group to emerge from CT, but they are absolutely one of the best. Featuring four of Hartford’s best MCs – Hydro 8Sixty, Klokwize, RapOet, and Tang Sauce – Bap Pack came together not just out of a love of hip-hop but out of a desire to celebrate hip-hop culture and both their home city and state. The end result is an album that feels like its got one foot firmly planted in hip-hop’s golden past and another in its platinum future. Hip-hop might not be the first genre I personally grab for off the shelves, but I spent a lot of time with this record which should speak to its accessibility and messaging.
https://bappack.bandcamp.com/album/first-i-heard-dirty-version

Ceschi – Bring Us The Head of Francisco False (Vol. 1 & 2)
There are few names as recognizable in the history of Connecticut hip-hop as Ceschi Ramos. The double album Bring Us The Head of Francisco False marks the end of an era for Ceschi as he announced that these will be the last of his solo recordings. He honestly could not have picked a better way to go out. This is a roughly 70-minute love letter to hip-hop, the scene, his influences, and at the end of the day himself. (Which is a lesson we should all take, that sometimes we need our own love letters, even one that just recognizes how far we’ve come and how much we struggled to get here.) Wherever the journey takes Ceschi next I’m sure it’s going to be amazing, but for now we have 20 years of phenomenal material to celebrate him and his art, this album being one of the best of the lot.
https://fakefour.bandcamp.com/album/bring-us-the-head-of-francisco-false-part-1

Curse the Son – Delirium
How good is the new album from stoner/doom merchants Curse the Son? Good enough that it made the Top 20 in my annual metal albums list on this very site. Here’s what I had to say on that post: This year saw the return of one of CT’s absolute best metal acts, Curse the Son. For almost two solid decades Curse the Son has been delivering crushing stoner/doom metal of the highest order. Truly one of the most underrated bands in the entirety of the genre, Curse the Son dropped one of their best efforts yet back in September. Delirium contains some of their most memorable riffs and songs, and continues to add to a growing legacy of doom and gloom classics.
https://cursetheson.bandcamp.com/album/delirium

Ginger Bug – My Magnolia
I love when a band can seamlessly blend indie rock with folk rock/Americana aesthetics. Enter Ellington’s Ginger Bug to the conversation. Taking cues from a wide array of influences My Magnolia is a record firmly rooted in the indie rock template, but has enough dirt road beneath the tires to pique the interests of those who care to partake in the Americana pantheon. It’s an album not afraid to wander a little too far only to make it back home with wondrous stories to tell. I made the mistake of missing last year’s album, but the music gods smiled upon me this year when this one showed up in my social media feeds. Definitely a band I’ll be keeping an eye on moving forward.
https://gingerbug.bandcamp.com/album/my-magnolia

Heather McLarney – There To Be Found
Hartford-based songwriter Heather McLarney started teasing her new full-length album at the beginning of the year with the release of a couple stand out singles. By the time the dust had settled in May, McLarney had delivered arguably her best album from a discography that continues to grow more and more impressive. Pulling from indie and alt-rock catalogues, and weaving in a distinct predisposition for pop sensibilities, McLarney has created an album filled with memorable songs you’ll be humming to yourself hours after the record has stopped spinning.
https://heathermclarney.bandcamp.com/album/there-to-be-found

Hell Fairy – Don’t Thank Us, Thank God
Sometimes you just have to look skyward and do what this album title is telling you – thank the music gods you’ve been gifted a new band you hadn’t heard before. Earlier this year some live footage of New Haven’s Hell Fairy obliterating a local stage popped up in my Instagram feed and I honestly couldn’t believe what I was watching. (How had I not seen this band live yet?!?) Hell Fairy are a garage rock band, with extra emphasis on the ‘garage’. They make music that’s a little dirty, a little unkempt, a little cold, and filled with hidden treasures waiting to be uncovered. Not the heaviest album on this year’s list but also not for the faint of heart either.
https://hellfairy.bandcamp.com/album/dont-thank-us-thank-god

Manners – Heavenly Violence
When I first came to CT in the mid-90s one of the styles of music this state was most known for was hardcore. One of the bands that kept me interested in the scene into the 2010s was Manners. Thankfully after an elongated absence Manners has returned with newest full-length Heavenly Violence. Manners plays hardcore the way I like it best – metallic and overtly dark in nature with a mean streak ten miles wide. This is a gritty, violent album that will have you thinking a ‘wall of death’ is about to break out in your living room. Get enough people together to listen to this album and it just might.
https://mannersct.bandcamp.com/album/heavenly-violence

Mercy Choir – Pea Shoots and Prayer Cards
If you’re a regular reader of this year-end list and it seems to you like there’s a Mercy Choir album on here every year…I think that might actually be true. It would be a drastic understatement to say that Mercy Choir mastermind Paul Belbusti is a prolific musician. 2024 alone saw Mercy Choir release two full-length albums, Pea Shoots and Prayer Cards being the second, dropping in May. Filled with Mercy Choir’s patented psychedelic-tinged alt-rock, this album waxes and wanes from lo-fi acoustic odes to material that’s full to the brim in production values and back again. This album also shows off Belbusti’s prowess as a top-notch lyricist, weaving stories of the human condition with aplomb.
https://mercychoir.bandcamp.com/album/pea-shoots-and-prayer-cards

Pat Stone – Between Apathy & Opposition
Americana artist Pat Stone emerged in 2024 without his “Dirty Boots” and with his first solo album. For fans of his previous project there’s a lot to like here, but this record is also less twangy and anyone expecting status quo is going to be left in the dust. Stone deftly spreads his wings on Between Apathy & Opposition, allowing his rock, indie rock, and even pop influences to shine. The end result is one of the better rock n’ roll records to come out of Connecticut in some time.
https://open.spotify.com/album/1XimRkUjMwRSnkeU9a9Hgm

Riley Cotton – The Falling of the Fervor
If asked at the beginning of the year what my most anticipated album from a CT artist was in 2024 the first name that would come to mind was Riley Cotton. Between my love of her last record, knowing some of the exceptional players she was recording with, and seeing the beginnings of some of these songs in the live setting, I had a deep-seated feeling this record was going to be top notch. My intuition was rewarded. Every now and then you hear a record from an artist and think, ‘this is the record that’s going to put them on the map’. That’s the kind of potential harnessed on The Falling of the Fervor. Cotton writes songs that not only tell stories but they relate back to the human experience in a way that tap dances along the very heart strings of humanity. Powerful, introspective lyrics are woven through a patchwork quilt of Americana and alt-country giving this record a simultaneous fresh and familiar feeling. Riley Cotton is an old soul and thankfully for us shares that soul through her music.
https://rileycotton.bandcamp.com/album/falling-of-the-fervor

Rusty Things – Body
One of my favorite developments of 2024 was the full return of New Haven’s Rusty Things. For years this band ruled stages and stereos across the state with their blend of punk and Americana. Body marks their first full album in eight years and that’s a damn long time to wait, but the juice was worth the squeeze. Taking those punk and Americana roots and stretching the definitions of both Rusty Things’ return was not just some re-hash of previous material. This album almost felt like a brand new band had emerged on the scene, and for a band doing it so well for as long as they have that’s a massive compliment to hand out.
https://rustythings.bandcamp.com/album/body-2 

Still Rivers – Our Little Life
Still Rivers is husband and wife duo Muddy and Chandra Rivers, the former of which happens to be one-third of one of Connecticut’s best folk/Americana outfits, The Bargain. Filled with stories of ‘their little life’ and the observations of the world spinning (sometimes out of control) around us, Our Little Life is an emotive folk record. Featuring guest appearances from some of Connecticut’s best folk players, including Seth Adam, Stephen Peter Rodgers, and fellow The Bargain members Frank Critelli and Shandy Lawson, Still Rivers has pieced together an album that hits on all folk cylinders.
https://stillrivers.bandcamp.com/album/our-little-life

Tessa Brown – Alchemy, Undone
One of my favorite musical things in life is when an artist I’ve never heard of releases a debut album that completely blows my doors off. A close second would be when that same artist gets on stage and proceeds to blow everyone’s doors off. This year that artist was Tessa Brown. When you listen to Alchemy, Undone you’d swear this was the work of a seasoned vet of both the music business and life itself, yet Brown is not long in the tooth professionally or personally, belying a certain songwriting maturity that’s usually reserved for people old enough to be her parents (or at least much older siblings). Brown’s songwriting is exceptional but her delivery is even better. Armed with a voice that can only be described as angelic, Brown works absolute magic on these six songs. Tessa Brown has a very bright future as a songwriter and a musician and this album is bedrock solid foundation to build off of.
https://open.spotify.com/album/7BwaK7TJDfHlSoQBcCibKZ

The Midnight Anthem – Here’s To The Dreamers
Too many artists shy away from using the country moniker because there are too many pop acts calling themselves “country” today. So I get a little giddy when a country act puts out a record and isn’t afraid to lean into the country label. Family band The Midnight Anthem released their debut album in 2024 after spending several years honing their sound and songs across stages all over the state. Sisters Cat and Sophia Malli and their cousin Grace Cuccia can pull together harmonies the way that only blood relatives can, and each one has their own moment to shine on this record as well. This record is for people who like their jeans ripped, their boots scuffed, and hats with a mesh back.
https://themidnightanthem.bandcamp.com/album/heres-to-the-dreamers

The Moon Shells – Throwing Sparks
I have no idea how, but I almost missed that New Haven’s The Moon Shells released another stellar full-length album in July. The fact that I’ve been a huge fan of this band for several years made my discovery a couple months after its release date sting even more. Better late than never has always been my musical discovery motto (and always will be). Once again drawing from various traditional musical wells from all over the world – Appalachia, the deep south, west Africa, etc. – The Moon Shells have created another album that’s entirely infectious. Whether it’s writing toe-tapping ditties or more introspective folk tunes, this band has the ability to inspire with each release.
https://themoonshells.bandcamp.com/album/throwing-sparks

The Problem With Kids Today – Born To Rock
I love when rock bands just don’t give a shit – not about how they are classified, how they are written about, how their live shows are unabashed parties, and how their recordings are completely unhinged. That kind of punk rock aesthetic is on full-blown display on the debut album from The Problem With Kids Today. This record is as loud, as abrasive, and as fun as their live sets and I would expect nothing less from this band. Released back in February this was one of the first truly great records to come out of Connecticut this year and almost a year after its release it still sounds fresh as ever and warrants multiple return visits.
https://theproblemwithkidstoday.bandcamp.com/album/born-to-rock

The UnAvailables – The UnAvailables
New Haven’s The UnAvailables have been making music together since 1981 and have the photos to prove it. Being a transplant to the state in the mid-90s I’m not going to pretend I know the history of this band, so instead I’ll look to the future with them. In June The UnAvailables dropped a full-length album that perfectly wed punk, indie rock, and college/alt rock. Equal parts catchy and powerful, this album is a perfect bridge from the music of their past to the sounds of the present. Fantastic production and musicianship from start to finish. This is a band I’m hoping to hear more from in the future.
https://theunavailables1.bandcamp.com/album/the-unavailables

VRSA – Saltwater Circadian
The name of this blog probably belies how much I love heavy metal in all its forms. Connecticut has a rich and diverse metal scene, and one band that’s been making waves for quite a while now is stoner/sludge/doom act VRSA. Saltwater Circadian was their first full-length album in nine years and it was fantastic to have them releasing new music again in 2024. As outstanding as their first three releases were it’s not out of the question to state that this may be their strongest effort to date. Firing off progressive doom and stoned out sludge metal, while not afraid to stretch the boundaries of their chosen genres, VRSA delivered one of the heaviest and most unique albums to emerge from Connecticut this year.
https://vrsa.bandcamp.com/album/saltwater-circadian

Honorable Mentions:

Alora Crucible – Oak Lace Apparition
Apathy – Connecticut Casual: Chapter 2
Asher Kai – Eyes of the Lamb
Autumns Eyes – Grimoire of Oak & Shadow
Functional Mushrooms – Sol
Kevin MF King – Hello From The Gutter
Kidnapped – Disgust
Legalized – Stoppin’ By
Mile Marker Zero – Coming of Age
Mister Council – Better Man Chronciles Vol. 2
North County Band – Lay It On The Line
Shirese – Hardly Cricket
The Simulators – The Simulators

Best Metalcore Albums 2024

This year, The Best Metalcore Albums of 2024 remember that evolution doesn’t mean abandonment. While the genre keeps mutating, this year’s standouts prove there’s still blood pumping through its mainstream stereotype. Boundaries turns Death Is Little More into Dante’s personal pit, while 156/Silence finds new shadows to explore in People Watching. These aren’t just heavy records – they’re weight with emotion and fury.

Make Them Suffer’s self-titled rebirth shows what happens when you add new colors to the palette without washing out the old ones. Meanwhile, Within the Ruins returns to familiar ground with Phenomena II, proving technical ability can still draw blood when wielded with conviction. Darkest Hour’s Perpetual | Terminal demonstrates why they’ve survived every trend – they know exactly which roots to keep and which to reshape.

The year’s some of the most intriguing turns come from the edges: CANDY’s It’s Inside You corrupts hardcore’s DNA with industrial virus, while Profiler makes nu-metal’s revival feel like prophecy rather than nostalgia in A Digital Nowhere. Each release finds its own path through metalcore’s evolving landscape, reminding us that sometimes the heaviest impact comes from knowing exactly when to mutate.

Metalcore Albums Tier List 2024

2024’s metalcore cuts deep and clean. From industrial corruption to melodic evolution, these albums don’t just repeat formulas – they rewrite them. Some drag machinery into the pit, others find new paths to explore, but they all remember why this fusion of hardcore and metal still matters.

If your favorite’s missing, it might be demolishing other rankings. But these are the ones that don’t just play metalcore.

Metalcore Albums of 2024 Ranked

The mosh pits are done. Here’s what defined the best metalcore albums of 2024.

Sylosis – The Path (EP) review

Sylosis‘ The Path EP is a lean, muscular statement from a band that’s mastered their craft without letting it calcify. Following 2023’s A Sign of Things to Come, these tracks – originally album cuts that apparently didn’t make the sequence – shows why Sylosis remains one of modern metal’s most consistent bands. The title track, featuring Heriot, hits with particular savagery, driven by the notable precision of Josh Middleton’s fretwork and that signature blend of melodic death metal complexity with metalcore aggressive sound. While it doesn’t radically reimagine their formula, The Path demonstrates why evolution isn’t always about reinvention – sometimes it’s about refining what you already do better than most. For a band whose towering Edge of the Earth set such a high bar, this EP proves they’re still finding new angles of attack within their established framework. It’s a signal to their consistency that even their cutting-room-floor material hits harder than most bands’ marquee releases.

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Profiler – A Digital Nowhere review:

In A Digital Nowhere, Profiler isn’t just updating nu-metalcore’s firmware – they’re rewriting its entire operating system. Their debut full-length hits like a glitch in the matrix where Limp Bizkit’s swagger collides with modern metalcore’s technical precision, creating something that feels both instantly familiar and startlingly fresh. The band weaves rap sections through their metallic assault with the confidence of veterans, while progressive elements add unexpected depth to what could have been pure nostalgia bait. All In Forever exemplifies their approach – hard-hitting yet accessible, complex without losing its swagger. By threading spiritual and philosophical themes through their pop culture nature, Profiler crafts an album that works both in the pit and on headphones.This isn’t just another revival act – it’s proof that nu-metalcore still has untapped potential when wielded by hands that understand both its history and its future. In an age of endless throwbacks, A Digital Nowhere actually remembers to bring something new to the party.

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Cyborg Octopus – Bottom Feeder review:

Deep in the prog-metalcore journey, Cyborg Octopus has found an unexpected path – restraint. Bottom Feeder strips away the manic genre-hopping of their past, revealing something more potent beneath the technical pyrotechnics. Here, Patrick Corona’s saxophone doesn’t just decorate but haunts, weaving through the mathematical precision like a ghost in the machine. Ian Forsythe’s cleaned-up vocals cut new channels through the band’s dense instrumental display, while tracks like “Dreamkiller” prove they can still compress a universe of ideas into sub-three-minute bursts. The real revelation isn’t in what they’ve added, but what they’ve dared to subtract. Each composition feels less like a frantic sprint through their record collection and more like a deliberate excavation of their own DNA. There’s something compelling about watching a band this technically gifted learn to wrestle with two different genres. In an era where progressive metal often mistakes complexity for content, “Bottom Feeder” suggests that true progression might mean knowing exactly when to experiment and launch the refined final product.

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Make Them Suffer – Make Them Suffer review

Make Them Suffer’s self-titled release isn’t just a statement of identity – it’s a complete rewiring of their DNA. With Alex Reade’s arrival as co-lead vocalist and keyboardist, the band hasn’t just added new colors to their palette; they’ve fundamentally reimagined what those colors can do. The djent elements that punctuate Make Them Suffer feel like evolutionary steps rather than trend-chasing, each rhythmic stutter landing with seismic impact while preserving the melodic complexity that’s always set them apart. This is electronic integration done right – no cheap synthetic flourishes or formulaic beat drops, but carefully crafted layers that enhance the songs’ architecture. The vocal interplay between Reade’s crystalline cleans and Sean Harmanis’s animal growls creates emotional dynamics that elevate rather than interrupt the flow. In threading the needle between accessibility and ambition, Make Them Suffer proves that metalcore’s boundaries are still elastic when stretched with purpose and vision. It’s that rarest of self-titled albums – one that actually earns its claim to redefinition.

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Boundaries – Death Is Little More review:

Death Is Little More finds Boundaries turning Dante’s rings of hell into sonic form. Drawing from the infernal source material, the band crafts their most suffocating atmosphere yet – a 40-minute descent where metalcore collides with hardcore raw nerve endings. “Turning Hate Into Rage” sets the infernal template early, but it’s tracks like “A Pale Light Lingers” where Boundaries truly excels, building ethereal melodies into crushing breakdowns that feel less like cheap catharsis and more like narrative purpose. The compact brutality of “Blood Soaked Salvation” proves they can still deliver concentrated violence, while “Darkness Shared” weaves melodeath influences through their metallic hardcore foundation with surprising grace. When “Inhale The Grief” brings the journey to its close, Death Is Little More reveals itself as more than just another heavy record – it’s grief and rage channeled through technical creativity, where every breakdown and melody serves the descent. In a genre drowning in empty brutality, Boundaries remembers that the heaviest moments hit hardest when they’re carrying actual weight.

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CANDY – It´s Inside You review

CANDY’s It’s Inside You is a digital virus masquerading as a hardcore / metalcore record. Working with Uniform’s Ben Greenberg and mixed by Kurt Ballou, the band has crafted a mutant strain of aggressive music where industrial machinery collides with hardcore’s raw nerve endings. This isn’t just genre fusion – it’s genre warfare. The cyberpunk-tinged “eXistenZ” sets the template, but it’s tracks like “Dancing to the Infinite Beat” – possibly hardcore’s first legitimate flirtation with trance – that prove CANDY isn’t just experimenting for shock value. Guest spots from Integrity’s Aaron Melnick and Justice Tripp ground the album in hardcore lineage, while the digital elements feel less like accessories and more like necessary evolution. When the title track drops record scratches and nu-metal swagger into the mix, it feels earned rather than ironic. It’s Inside You is what happens when hardcore stops trying to preserve its purity and starts embracing its mutations. While their contemporaries chase hooks, CANDY chases the pure rawness- and that rawness sounds gloriously unhinged.

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156Silence – People Watching review:

In People Watching, 156/Silence plunges into the darkest corners of their sound and emerges with something beautifully grotesque. The Pittsburgh outfit crafts a suffocating atmosphere where sludge-thick riffs and post-hardcore experimenation mixed with metalcore collide, creating a soundscape as unsettling as the funhouse-mirror horror of its album art. Jack Murray’s vocal performance is a masterclass in dynamic contrast – his feral growls tear through the mix like barbed wire, while his clean passages add ghostly depth to the band’s increasingly complex arrangements. Drawing from the mathematical chaos of Botch and the ethereal weight of Deftones, while nodding to modern heavyweights like Alpha Wolf, People Watching stretches hardcore’s DNA into new shapes across its 14-track runtime. This isn’t just heavy for heavy’s sake – it’s weight with purpose, where every ambient passage and noise experiment feels earned. In a genre often stuck between tradition and repeated formulas, 156/Silence finds power in the shadows between.

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Poppy- Negative Spaces review:

On Negative Spaces, Poppy finally writes her own rulebook. Under Jordan Fish’s pristine production, she crafts 42 minutes of chaotic contradiction – industrial metal’s mechanical heart beating beneath layers of ghostly synth-pop. It’s her most focused work yet, trading the shock-value genre shifts of earlier albums for something more nuanced: the raw scream of “The Center’s Falling Out” doesn’t feel like a metal cosplay anymore, but a natural evolution of her increasingly notable musical taste. Fish’s production fingerprints are all over this – that same clinically precise edge he brought to Bring Me The Horizon – but Poppy twists it into darker, more personal territory. “Crystallized” proves she can still conjure perfect pop phantoms when she wants to, but it’s the moments of genuine heaviness that hit hardest, finally matching the weight of her themes of digital-age alienation and deferred growth. This isn’t just Poppy’s best since I Disagree – it’s the first time her music feels less like performance art and more like pure performance, where every genre blend serves the song rather than the concept. In a time filled with countless stereotypes and baseless criticism, Negativer Space acts as a bridge between the mainstream and high-quality accesible music.

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Within the Ruins – Phenoma II review:

Ten years after Phenomena, Within the Ruins returns to its conceptual playground with Phenomena II, a tech-metal fever dream where comic book mythology meets video game virtuosity. Joe Cocchi’s guitar work remains the star – his signature digital-precision leads carve through tracks like “Castle in the Sky” with the calculated fury of a speedrunner breaking world records. The album’s 50-minute runtime weaves through 11 tracks, including three instrumentals that showcase the band’s progressive evolution beyond their metalcore foundations. “Demon Killer” exemplifies their modern approach, where djent’s mechanical groove provides the framework for melodic experimentation. While some might find the pristine production almost too clinical, it serves the material’s cybernetic nature – this is metal programmed for maximum technical impact. Phenomena II proves Within the Ruins hasn’t lost their hunger for perfectionism, even as they lean harder into their conceptual strengths. It’s the rare sequel that understands what made the original work – precision, power, and just enough pixelated nostalgia to keep the combo counter rising!

Album buy link

Darkest Hour – Perpetual | Terminal review

On Perpetual | Terminal, Darkest Hour proves that ten albums in, they can still find new wrinkles in melodic metalcore weathered face. This isn’t just another entry in their catalog – it’s a masterclass in tension between preservation and progression, where Swedish-style guitar harmonies dance with modern metalcore’s muscular production. The title track sets the template early, building from crystalline clean passages into thrash-fueled fury with the kind of confidence that comes from decades of refinement. When they stretch into more atmospheric territory on “One With the Void,” it feels earned rather than obligatory. Again, I must say the title track might be their most ambitious composition since years, even if some purists might I am overrating it. Perpetual | Terminal is what happens when a band stops trying to recapture past glories and starts building on their foundation instead. In 40 minutes of melancholic aggression, Darkest Hour reminds us why they’ve outlasted so many of their peers – they’ve mastered the art of evolution without abandonment.

Amazon buy link

Which is the Best Metalcore Album of 2024?

In 2024’s metalcore panorama, Darkest Hour’s Perpetual | Terminal strikes the perfect balance between preservation and progress. By sharpening their melodic death metal roots into modern metalcore, they’ve crafted something that hits both emotionally and powerfully – deserving the prize for the best metalcore album of 2024.

Final Ranking of the Best of Metalcore 2024:

• Sylosis – The Path (EP) | 10º
• Profiler – A Digital Nowhere | 9º
• Cyborg Octopus – Bottom Feeder | 8º
• Make Them Suffer – Make Them Suffer | 7º
• Boundaries – Death Is Little More | 6º
• CANDY – It´s Inside You | 5º
• 156Silence – People Watching | 4º
• Poppy- Negative Spaces | 3º
• Within the Ruins – Phenoma II | 2º
• Darkest Hour – Perpetual | Terminal | 1º

Remember that all of the albums which are listed in our rankings are featured in our official Spotify playlists!

And if you would want to apply to be featured among these great albums, you can apply via Musosoup or Sound Campaign and let us discover your material!

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Welcome to part two of our annual year-end metal list, where we count down our Top 20 favorite metal albums of 2024. As I mentioned in the previous post this top 40 list culls together my personal favorite albums of the year. In no world would I pretend to have listened to enough new music over the last twelve months to say I could create a definitive “best of” list. With that said, I highly recommend every album listed below and suggest you spend as much time with each as you can afford. I hope you find one of your new favorite records as well.

For those who’d like to hear tracks off each record outside of the provided links make sure you check out the two year-end episodes of The Metal Dad Radio Show on Cygnus Radio.

20. Aptorian Demon – Liv tar slutt
I love, love, love Second Wave black metal, and while admittedly some of that love is the consistent tug of nostalgia, there were always musical elements that made the music so alluring (even despite low production values and occasionally low talent levels as well).  So when a band puts out a record that sounds like it could have been lifted from the vaults of early ’90s Scandinavia my attention has been grabbed. When they can hearken back to that mighty scene and add their own personal touches to it? Sold. This record is steep in atmosphere, razor-sharp in its delivery, and holds some of the more captivating vocals in black metal today. Aptorian Demon hadn’t put out a full length album in 12 years prior to Liv tar slutt dropping last month, and I’m not going to pretend to know what was keeping their members busy over that time. By the sounds of this record it probably had a lot to do with worshiping Satan.
https://aptoriandemon.bandcamp.com/album/liv-tar-slutt   

19. Black Pyramid – The Paths of Time Are Vast
I stated in our previous post that 2024 wound up being an exceptional year for stoner/doom metal. Part of what made it so great was the number of bands who returned to the fold with full-length albums after long hiatuses. One such band was Massachusetts-based Black Pyramid. Outside of one single and a split release in 2020 this album was the first new Black Pyramid material in eleven years, and it has quickly become one of their best. Taking the stoner rock blueprint they perfected on their 2009 debut album and infusing it with even more psych rock and trad doom elements, this album finds Black Pyramid stretching their aural limits to new and exciting places. Filled with Sabbath-worthy riffs and songs that aren’t afraid to explore the nether regions of stoner doom, we may be calling this album Black Pyramid’s Sabbath Bloody Sabbath before its all said and done.
https://blackpyramid.bandcamp.com/album/the-paths-of-time-are-vast

18. Perchta – D’Muata
Some time ago their record label, Prophecy Productions, shared live footage of Austrian black/folk metal act Perchta and it wound up as a suggested post on my Instagram feed. I’ve been slightly obsessed with this band ever since. Built around the Perchta persona from Germanic/Slavic/alpine folklore, this band deftly combines black metal with various folk metal elements to create a theatrical brand of black metal. It’s a style and level of musicality that many have tried and miserably failed at attaining, yet Perchta has now come to perfect on two exceptional records, with D’Muata being the best thus far. Vocals wax and wane between tortured screams and gorgeous clean singing, with the occasional spoken word passage thrown in. The music often follows suit, going from traditional black metal brutality to atmospheric folk metal and back again. This album is an absolute journey and best played from start to finish when possible.
https://perchta-official.bandcamp.com/album/d-muata

17. Chained to the Bottom of the Ocean – Sisyphean Cruelty
For the second year in a row Massachusetts-based blackened sludge/doom act Chained to the Bottom of the Ocean dropped an album I was not expecting at all, and for the second year in a row they completely blew my doors off. (Resulting in a second year in a row in the Top 20 on this list.) This band writes music that’s meant to pummel the listener into submission and this album could be listed as Example A. Sisyphean Cruelty continues and seemingly perfects their absolutely sadistic blend of sludgy, heavy riffs, unholy vocals, and overall unsettling vibes. As the title suggests there is an element of cruelty here culled from the darkest recesses of humanity’s crumbling existence. There is no hope for those who attempt to pass through here.
https://chainedtothebottomoftheocean.bandcamp.com/album/sisyphean-cruelty

16. Curse the Son – Delirium
I love when a band from my home state of Connecticut is able to make this list. This year saw the return of one of CT’s absolute best metal acts, Curse the Son. For almost two solid decades Curse the Son has been delivering crushing stoner/doom metal of the highest order. Truly one of the most underrated bands in the entirety of the genre, Curse the Son dropped one of their best efforts yet back in September. Delirium contains some of their most memorable riffs and songs, and continues to add to a growing legacy of doom and gloom classics.
https://cursetheson.bandcamp.com/album/delirium

15. Ischemic – Condemned to the Breaking Wheel
I won’t pretend I was super familiar with Canada’s Ischemic prior to the release of this year’s Condemned to the Breaking Wheel. But after sitting with this record through multiple listens I certainly wish I was. Taking sludgy doom metal and running it through a blackened prism, Ischemic write music that just feels entirely suffocating. This record weighs on you and just stifles out any sense of hope the way few others did this year. Gritty riffing, a pummeling rhythm section, and dire vocals combine to send you on trip to a dark corner of the metal world where doom and black metal conspire to burn their dead and bury the ashes.
https://ischemic.bandcamp.com/album/condemned-to-the-breaking-wheel

14. Brume – Marten
This is easily one of the more interesting and unique albums I came across this year. How interesting and unique? So much so I was convinced I wouldn’t find them on Metal Archives because they most certainly would have been deemed not “metal enough” for the admins. (To my pleasant surprise they are indeed listed on the site.) Mixing doom metal with goth and even indie rock aesthetics Brume writes songs that are not only monolithic in nature but wholly accessible for fans who don’t necessarily partake in the extreme corners of the metal pantheon. On this album their sound expanded further with the addition of a full-time cello player, giving them even more ammo for the metal purists to get uptight about. Make no mistake, there are sections (and sometimes entire songs) on this album that will make you question what genre you’ve actually wandered into, like someone lost in a city they’ve never visited before. But when you do touch familiar ground it makes the entire journey all the more rewarding.
https://brumesf.bandcamp.com/album/marten

13. Winterfylleth – The Imperious Horizon
Now on their eighth full-length album, British black metal act Winterfylleth continue to make the case for ‘legendary’ status within the genre with newest offering The Imperious Horizon. Once again focused on being as atmospheric as they are heavy, Winterfylleth have delivered another set of tracks that transports the listener. Where and when they are transported to matters less than the actual trip itself. Few black metal bands seethe atmosphere and mysticism in their music the way Winterfylleth does and this album is another astounding testament to that fact.
https://winterfylleth.bandcamp.com/album/the-imperious-horizon-standard-edition

12. Unholy Altar – Veil of Death! Shroud of Night
Easily one of the best debut albums of 2024 came from Philadelphia-based black metal horde Unholy Altar. This is a raw, unrelenting album that fans of black metal’s storied second wave should be all over. The entire record is just beastly and unforgiving, yet there’s enough atmospherics here to make it feel like you’ve accidentally stumbled upon some secret, evil ritual. It’s a sonic ritual you have no right beholding, yet are gloriously welcomed to with cloven-hoofed arms. Frankly, I’m a little obsessed with this record and just how completely depraved it all sounds. I cannot wait for the follow up. Unholy Altar is a force to be reckoned with.
https://unholyaltar666.bandcamp.com/album/veil-of-death-shroud-of-nite

11. Hulder – Verses in Oath
No band over the last five years has risen up the ranks of the USBM scene the way Washington’s Hulder has. Prior to the plague times Hulder was a little known one-woman project who had grabbed the attention of the metal underground with a run of killer demos and a two-song EP. Fast forward to 2024 and when USBM bands are discussed one of the first names to cross many lips is Hulder. Second full-length album Verses in Oath is a huge reason why. Hulder is an act that continues to evolve with each release, and this album continues to see their sound move away from the lo-fi machinations of second wave black metal into something more atmospheric and all-around epic in its presentation. Released at the beginning of February this was one of the first truly great albums of 2024 and one that remains a perfect listen as we drift back into the cold embrace of winter.
https://20buckspin.bandcamp.com/album/verses-in-oath

10. Spectral Wound – Songs of Blood and Mire
If you were to ask me to name the greatest black metal scenes in the world today at some point early in the discussion I’d say Canada. If you were to in turn ask me about Canadian black metal one of the first bands to cross my lips would be Spectral Wound. Since 2015 this band has delivered majestic album after majestic album every three years like some ancient beast being summoned from the darkened abyss. And every three years I sit in awe of their songwriting prowess and ability to create some of the most crushing and unique black metal the world around. So when I say that Songs of Blood and Mire might be their best album yet you should take heed. Unafraid to mix in shots of melodic black metal, blackened death metal, and even the occasional black n’ roll aesthetic, Spectral Wound delivered an album that not only will appease long time fans, but should find them bringing even more followers into the cult. A majestic black metal triumph from start to finish.
https://spectralwound.bandcamp.com/album/songs-of-blood-and-mire

9. Neon Nightmare – Faded Dream
I’m fairly certain that Nate Garrett, mastermind of the outstanding Spirit Adrift, created Neon Nightmare as an homage for his love of all things Type O Negative. Yet why do I feel guilty for being the roughly one millionth person to liken this project to one of my all-time favorite metal acts? Probably because whether Garrett intended for this album to be a direct homage or not he actually wound up creating one of the best metal albums of 2024. Fans of goth and doom-infused trad metal should have this record on constant repeat. From the heavier, dreamier aspects that run throughout like a gloomy current to the downright catchy hooks of a track like “They Look Like Shadows” this is easily one of the most memorable releases of 2024 and one that I’ll personally be revisiting for a long time to come.
https://20buckspin.bandcamp.com/album/faded-dream

8. Tribulation – Sub Rosa in Aeternum
I’ve been completely infatuated with Tribulation since their inception, and even more so when their sound shifted to a more gothic black n’ roll style. There just aren’t any other bands in the world that sound like Tribulation and in the underground metal world that’s possibly the highest compliment I can offer. This is another album that I wish had released earlier in the year so I could have spent more time with it. Fans of previous efforts will agree that this record continues to add to an amazing legacy. Best listened to in the dead of night, possibly while trolling through town looking for haunted buildings or old cemeteries.
https://centurymedia.bandcamp.com/album/sub-rosa-in-ternum-24-bit-hd-audio

7. Slimelord – Chytridiomycosis Relinquished
If you’ve ever listened to The Metal Dad Radio Show on CygnusRadio.com you know that my co-host The Candyman prefers his death metal to be technical and somewhat progressive (think Human and Individual Thought Patterns era Death). While I’m a fan, I personally prefer my death metal to be sludgy and doom-crusted (think Slowly We Rot era Obituary). When I played a track from the new Slimelord album on our show we agreed that their debut full length may actually be the perfect record for us to meet halfway on. While Slimelord wade neck deep in the primordial pools of death doom there is a layer of technicality to this record almost unseen in these darkened corners of the death metal pantheon. At times the guitar work is completely unsettling as they bend and twist notes in interesting and often discordant ways, and you’ll be hard-pressed to ever find bass lines on a death doom record that dance up and down the fret board the way these do. Highly recommended for fans of death metal that refuses to paint by the numbers.
https://20buckspin.bandcamp.com/album/chytridiomycosis-relinquished

6. My Dying Bride – A Mortal Binding
I’ve been a My Dying Bride fan since the early ’90s and will freely admit that this was my most highly anticipated album of 2024 (especially after previous album The Ghost of Orion topped this very year-end list in 2020). Unfortunately, shortly after its release in April the band put themselves on indefinite hiatus. What? While they’ve announced a return to the live stage (with a guest vocalist?!?) I can’t help but think this might be the final My Dying Bride record. If so, they leave this mortal coil gifting us one of their better releases, which after 15 full-length albums over 30+ years is pretty damn impressive. I won’t bore you with trying to describe the gloomy beauty held within this release, especially if you’re a longtime fan like myself. Just go listen to this record post haste.
https://mydyingbrideofficial.bandcamp.com/album/a-mortal-binding

5. Apes – Penitence
I’ve been listening to hardcore music for more decades than I care to admit out loud but I’ll freely admit that my favorite hardcore bands have always been the heaviest, darkest, nastiest bands on the scene. (i.e. Integrity, Coalesce, Bloodlet, Acme, etc.) Quebec City’s Apes are exactly the type of hardcore band I still keep one eye on the scene for. Mixing in elements of grind and even some black metal aesthetics, Apes are the type of band that would be at home playing shows on almost any type of bill. While their 2017 debut album slipped entirely under my radar, Penitence is the type of album that will keep them firmly planted in my mind’s eye for as long as they are releasing new music. Gritty, violent, and with a nasty streak ten miles wide, this record will get you ready to run through whatever brick wall you need/want to.
https://apesqc.bandcamp.com/album/penitence

4. Iotunn – Kinship
I have to admit that sometimes I even surprise myself with certain albums that make this list and how high some of them climb. I think those who know me well know that the more progressive a band or an album get the less likely I am to tune in. Yet, every so often there’s an album that tap dances along progressive lines while incorporating other musical elements I value more and something really clicks. This years example is Kinship by Denmark’s Iotunn. Taking queues from melodic death and black metal and melding it with progressive, trad, and even doom puzzle pieces, Iotunn created an album that quite literally presents something new on every repeat listen. It’s an overall captivating experience and one that feels almost cinematic in scope and execution. Some of the best soaring clean vocals of the year, absolutely electric riffing, and enough melody to really dig its hooks in you make this album worthy of as much time as you are willing to give it.
https://iotunn.bandcamp.com/album/kinship

3. High On Fire – Cometh The Storm
It’s been six years and one Matt Pike solo record since the last High On Fire long-player and frankly that’s about five years too long for me. Now on their ninth full-length album High On Fire still don’t pull any punches and still don’t give a shit about simply pummeling their fans into sonic oblivion. Cometh The Storm is the type of record that comes out of the gates firing and doesn’t stop until the needle hits the end of the line. Matt Pike and the boys sound refreshed and ready for battle on this record and at the end of the day may have delivered one of their absolute best. For my money it’s the most engaging High On Fire record since 2012’s De Vermis Mysteriis, and one that I’ll continue to revisit.
https://highonfire.bandcamp.com/album/cometh-the-storm

2. Diabolic Oath – Oracular Hexations
Through the first half of 2024 this was hands down my most listened to record. We played multiple tracks on The Metal Dad Radio Show and every time we did it stood out from everything else we played and just hammered home how absolutely crushing this record is. Diabolic Oath play a brand of death metal with blackened and doomy elements and this record is pure, unadulterated death metal alchemy. It’s as captivating as it is brutal, just absolutely unrelenting in both its sheer heaviness and its ability to transfix you. On multiple occasions I found myself just stopping whatever it was I was doing and allowing this record to wash over me one vile wave after another. It would not be hyperbole to state that Oracular Hexations has vaulted Diabolic Oath to damn near the top of the current death metal pinnacle.
https://diabolicoath.bandcamp.com/album/oracular-hexations 

1. Mother of Graves – The Periapt of Absence
My radio show co-host likes to try and guess what my top 20 albums are before the list is revealed and honestly he should have had his sights set on this one, not only because I’m a sucker for melodic/gothic death doom, but because I’ve been listening to this album practically non-stop since its release in October. Mother of Graves is the type of band that has no shame in hearkening back to their influences, but is also able to make something fresh and exciting out of the recipe. After the success of their 2021 EP and 2022 full-length it was really only a matter of time before this band took their rightful place atop the US melodic death doom scene and The Periapt of Absence announced their coming in mighty fashion. It’s as gorgeous as it is heavy and one of the few albums I will happily attach the sometimes overused “epic” moniker to. A truly magnificent record from start to finish.
https://motherofgraves.bandcamp.com/album/the-periapt-of-absence

Best Doom Metal Albums of 2024

When everyone else sprints, The Best Doom Metal Albums of 2024 walk. This year’s harvest brings raw grief, cosmic dread, and sounds that sink into your bones rather than bounce off them. Some bands dig up old graves while others build new tombs, but they all remember the genre’s golden rule – heaviness isn’t measured in speed.

Counting Hours breaks Finnish ice with The Wishing Tomb, while Avernus ends 27 years of silence through Grievances – proof that some wounds take decades to heal. Their return feels less like resurrection and more like something that never died, just went deeper underground. My Dying Bride keeps their dark romance alive in A Mortal Binding, finding new shadows in their gothic halls. Meanwhile, Endonomos II turns stone to smoke in Enlightenment, each riff another step down forgotten stairs. Monolith makes insects sound like demons in Lord of the Insect Order, proving horror works better at half-speed and by adding shivering sound effects.

These doom metal releases trust the void – no need to fill every second with sound when silence hits harder. While some think doom means playing slow, these bands make time itself feel heavy. Each album opens a different door to the same dark room, where riffs move like funeral processions and feedback screams like old ghosts. In a year when most metal tried to outrun itself, these records remembered why we sometimes need to stand still and let the weight sink in.

Doom Metal Albums Tier List 2024

2024’s doom sounds like endings and beginnings wrapped in the same shroud. From church-burner black to deep-space cold, this year’s doomy albums speaks in dead languages while writing new scripture. Each album here opens different doors to the same dark room.

If your favorite isn’t here, it might be tearing it up in other rankings. But for now, these are the records which breath doom metal from their lungs and from their skin.

Doom Metal Albums of 2024 Ranked

The coffins have been sealed. Here’s what rose from the best doom metal releases of 2024.

Post Death Soundtrack – Veil Lifter review:

Veil Lifter stands as Post Death Soundtrack’s triumphant exercise in genre alchemy, where grunge’s raw electricity collides with doom’s crushing weight. The band’s masterful fusion transcends mere genre experimentation, as distortion-drenched guitars weave through glacial doom progressions with natural fluidity. Tracks like “Arjuna’s Hunting Hand” showcase their command of atmosphere, with ambient textures floating through the dense sonic landscape. Post Death Soundtrack’s fearless genre-bending approach yields rich rewards here, crafting an album that speaks equally to doom’s meditative depth and grunge’s visceral punch. For listeners craving genuine innovation in heavy music, Veil Lifter delivers a rare combination of adventurous spirit and masterful execution.

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Avernus – Grievances review:

Avernus returns from a 27-year album silence with Grievances, marking a decisive shift from their death-tinged past. The Chicago stalwarts shed the growls of 1997’s …Of the Fallen in favor of cleaner vocals and pure doom architecture. The album opens with “Calling the Void” and unfolds across carefully structured movements that prove their time away wasn’t spent idle. Founding members Rick Yifrach and Steve Murray maintain the band’s cinematic foundations while pushing into more ethereal territory, aided by Chris Predkiewicz’s atmospheric keys and a series of female vocalists that add crucial texture. What’s remarkable isn’t just that Avernus returned, but how naturally they’ve adapted to modern doom’s expanded palette. Where their early work merged death metal’s aggression with gothic atmospheres, Grievances shows a band comfortable enough to let space and silence carry equal weight. This isn’t a band trying to recapture past glories or prove their relevance – it’s one that understands how doom has evolved and finds its place within that evolution. Named for an ancient entrance to the underworld, Avernus proves some doors never truly close.

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My Dying Bride – A Mortal Binding review:

My Dying Bride’s A Mortal Binding shows these British doom pioneers still crafting daunting atmospheres. Seven tracks unfold with patient confidence, from “Her Dominion’s” immediate intensity to “The Apocalyptist’s” 11-minute journey. Shaun MacGowan’s violin continues to define their character, weaving through the dense guitar work of Andrew Craighan and Neil Blanchett. The return of drummer Dan Mullins brings familiar dynamics, particularly evident in “The 2nd of Three Bells” where Aaron Stainthorpe’s vocals shift seamlessly between growls and clean passages. Each composition demonstrates their gift for building tension across extended forms, letting riffs and melodies develop naturally rather than forcing change. After thirty years, My Dying Bride continues to expand their impact while honoring the foundations that made them essential to British doom. A Mortal Binding stands as proof that mastery comes not from reinvention but from deepening what already works.

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Fall of Leviathan – In Waves review

In Waves by Fall of Leviathan plunges deep into oceanic metaphor through masterful post-rock/post-metal architecture. The band navigates between serene, atmospheric passages and crushing climaxes with fluid grace, though occasionally these crescendos fall short of the genre’s most transcendent moments. Their aquatic theme permeates both sound and substance, with layered compositions mirroring the ocean’s depths – from surface stillness to turbulent undertow. The album’s greatest strength lies in its atmospheric cohesion, even when individual tracks might benefit from sharper dynamic contrasts. For devotees of post-metal’s meditative power, In Waves offers a compelling if not fully realized vision, its thoughtful marriage of concept and execution marking Fall of Leviathan as an act worth watching in the genre’s doom metal soundscape.

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Monolith – Lord of the Insect Order review

Monolith doesn’t just write about insect invasions – they make you hear the chitinous army coming. Lord of the Insect Order warps death metal, black metal, and doom into something that feels like an actual extinction event compressed into 32 minutes. This isn’t just riffs and blast beats with a sci-fi veneer. From the moment “Swarm Awakening” breaks ground with its subterranean growls, you’re caught in a genuine horror show where every sound choice amplifies the dread. The production deliberately strips away metal’s usual polish, leaving exposed nerve endings that make “Mammalian Effacement” feel like documentation of real collapse rather than mere performance. By the time “Unfurling of the Cosmic Caterpillar” closes this transmission, you realize why this UK outfit kept it lean – they’ve captured something primal that would evaporate if given room to breathe. In a genre full of conceptual apocalypses, here’s one that actually sounds like the end of human dominion, told by a band that understands true horror works better without filler. This is doom metal at its finest, especially regarding the topic.

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Endonomos II – Enlightenment review

Endonomos II turns ancient ground into fresh burial soil on Enlightenment. Their second offering through Argonauta builds temples from familiar ruins – doom’s granite foundation shot through with post-metal veins and death metal roots. “Atheon Anarkhon” and “Kafir Qal’a” aren’t just standout tracks, they’re proof that dissonance can be sacred geometry when wielded with purpose. The vocal interplay works like ritual here – clean passages serving as prayer before guttural depths swallow the light. Where peers like Pallbearer carved their names into doom’s canon through sheer weight, Endonomos II understands that true heaviness comes from negative space. Across 48 minutes, they build cathedrals just to watch them crumble, each collapse calculated for maximum impact. This isn’t momentum, it’s gravity – the kind that bends light and warps time. Enlightenment suggests Endonomos II has found something worth excavating in doom’s depths, and they’re patient enough to let us watch them dig.

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Hamferð – Men Guðs hond Er Sterk review:

Men Guðs hond er sterk finds Hamferð wielding death/doom with rare emotional precision. The Faroese band’s command of atmosphere serves a higher purpose here, with Jón Aldará’s vocals carrying ancient grief into the present. Where lesser bands might wallow, Hamferð builds monuments to survival and loss, each track a carefully constructed arc of tension and release. “Glæman” rises from gentleness to thunder without losing its contemplative heart, while the title track devastates with its narrative weight, turning island history into universal truth. Throughout, the band demonstrates masterful restraint, letting silence speak as loudly as their heaviest moments. It’s an album that understands doom’s true power: not just to crush, but to preserve stories that might otherwise be lost to time. In Hamferð’s hands, these tales of survival against nature’s might become something timeless – a before and after event to human resilience carved in sound.

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Ufomammut – Hidden review:

Ufomammut’s Hidden emerges on Neurot Recordings as a potent distillation of their otherworldly craft. The Italian trio harnesses mechanized dread and planetary mass, with “Crookhead” and “Mausoleum” delivering their densest material to date. Their production walks a tightrope between clarity and distortion, lending cosmic depth to even their most straightforward passages. Unlike peers who mistake effects for substance, Ufomammut’s approach to doom remains refreshingly physical – each riff lands with deliberate force, while electronic textures serve the songs rather than obscure them. The album stands as both refinement and expansion of their sound, proving there’s still fresh territory to be found in doom’s well-worn paths, provided you know where to dig.

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Alkymist – UnnDerR review:

Danish doom powerhouse Alkymist brought us UnnDerr, channeling Celtic Frost’s primordial darkness while forging their own path through modern extremity. Like Monotheist before it, this carries that rare gravity that marks genuine innovation in doom. “The Scent” demonstrates their masterful control of dynamics, building from spectral clean tones to seismic riffs that threaten to split the earth. Per Silkjær’s drumming brings crucial momentum, his seamless shifts between d-beat aggression and doom’s ceremonial patience giving even the slowest passages unstoppable force. The ten-minute title track “UnnDerr” stands as their defining statement, weaving doom, blackened sludge, and atmospheric weight into something genuinely transformative. The production captures both delicacy and destruction – every frequency purposeful, every riff given room to resonate and decay which in the end result in an perfectly reflected industrial, hostile ambience.

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Counting Hours – The Wishing Tomb review

Finnish outfit Counting Hours brings veteran insight to The Wishing Tomb. Born from the ranks of Shape of Despair and Rapture, they strip doom metal to its essentials while weaving in threads of melodic death and black metal. The three-guitar arrangement serves substance over spectacle – Petrushevski, Ullgren, and Loponen build harmonies that resonate in the bones, not just the ears. Köykkä’s drumming and Forsström’s bass work add gravity to even the quietest passages. “Unsung, Forlorn” demonstrates their grasp of tension, each note given space to decay before the next unfolds. “Timeless Ones” proves equally patient, letting its weight accumulate naturally rather than forcing immediate payoff. Throughout, the band trusts silence as much as sound, understanding that doom’s power lies in anticipation as much as delivery. Where lesser supergroups might lean on past achievements, Counting Hours channels their collected experience into something honest. The Wishing Tomb stands as proof that innovation often comes from refinement rather than reinvention. It’s an album that demands attention without begging for it – Finnish doom deepened rather than merely repeated, and that´s why the final result is great and accesible for all metal fans.

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Which is the Best Doom Metal Album of 2024?

In 2024’s doom releases, Counting Hours’ The Wishing Tomb combines emotional depth with meticulous craft. Building from their roots in other projects, they’ve created something that hits harder because it hits smarter – this year’s Best Doom Metal Album of 2024.

Final Ranking of the Best of Doom Metal 2024:

• Post Death Soundtrack – Veil Lifter | 10º
• Avernus – Grievances | 9º
• My Dying Bride – A Mortal Binding | 8º
• Fall of Leviathan – In Waves | 7º
• Monolith – Lord of the Insect Order | 6º
• Endonomos II – Enlightenment | 5º
• Hamferð – Men Guðs hond Er Sterk | 4º
• Ufomammut – Hidden | 3º
• Alkymist – UnnDerR | 2º
• Counting Hours – The Wishing Tomb | 1º

Remember that all of the albums which are listed in our rankings are featured in our official Spotify playlists!

And if you would want to apply to be featured among these great albums, you can apply via Musosoup or Sound Campaign and let us discover your material!

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Best Thrash Metal Albums of 2024

The Best Thrash Metal Albums charged through this year like a bat out of hell, proving there’s still plenty of life in those lightning-fast riffs and machine-gun drums. Both old-school veterans and hungry newcomers have been crafting albums that capture everything we love about the genre – the speed, the fury, the precision – while pushing into new territory. The recording quality has never been better, but don’t worry – nobody’s sacrificing an ounce of aggression for polish.

Leading the charge, Cavalera Conspiracy Schizofrenia hits like a sledgehammer to the chest, showing the old guard still knows how to bring the pain. Not to be outdone, Holycide’s Towards Idiocracy takes aim at modern society with the kind of razor-sharp riffs and neck-breaking pace that would make their ’80s predecessors proud. Their aggressive guitarwork and pummeling drums prove thrash isn’t just alive – it’s evolving.

This new wave of albums reminds why thrash metal rocks. The bands are taking everything great about the classics – the speed, the technicality, the raw energy – and cranking it up to eleven with modern recording techniques and fresh ideas. They’re not just keeping the genre alive; they’re giving it new life.

Thrash Metal Albums Tier List 2024

2024’s thrash metal scene emerges as a masterclass in genre evolution. The year’s standout releases prove that thrash isn’t just surviving – it’s thriving through a perfect fusion of old-school ferocity and modern innovation. These are the albums that made thrash metal in 2024 both a celebration of tradition and a bold step forward, reaching both die-hard headbangers and new converts seeking authentic heaviness.

If your favorite isn’t here, it might be tearing it up in other rankings. But for now, these are the records that best fit the thrash metal current.

Thrash Metal Albums of 2024 Ranked

The verdicts are in. Here’s the ranking of the best thrash metal albums of the year.

Master – Saints Dispelled review:

Master’s Saints Dispelled transcends mere genre exercise, emerging as a philosophical meditation on death metal’s enduring spirit through eight devastating tracks that bridge primal aggression with technical sophistication. Paul Speckmann’s distinctive vocals cut through Hammerheart Records’ masterfully balanced production, while Peter Bajci’s drumming and Alex “93” Nejezchleba’s guitar work weave between orthodox death metal structures and moments of avant-garde experimentation, particularly in standout tracks “Walk In The Footsteps Of Doom” and “The Wiseman.” The album’s true triumph lies not in its technical proficiency—though that remains formidable—but in its ability to transform death-thrash conventions into vessels for deeper artistic expression, questioning and reaffirming the genre’s capacity for meaningful statement in contemporary metal.

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Flotsam & Jetsam´s – I Am the Weapon review:

Flotsam & Jetsam’s I Am the Weapon roars as a masterclass in ageless thrash, proving these veterans haven’t lost their edge sixteen albums deep. The record strikes a perfect balance between scorching aggression and melodic sophistication, particularly evident in the anthemic “A New Kind of Hero” and the blistering “Burn My Bridges.” Eric A.K.’s commanding vocal performance soars with remarkable precision, his range and power undiminished by time. The production packs a contemporary punch while honoring their classic sound, with razor-sharp guitar work cutting through the mix with surgical precision. While tracks like “Primal” and “Black Wings” might not reach the dizzying heights of their standout moments, they maintain the album’s relentless momentum. The record showcases a band that understands their legacy yet refuses to rest on it, delivering complicated solos and dynamic arrangements that feel both fresh and familiar. I Am the Weapon stands as proof that Flotsam & Jetsam remain vital architects of thrash’s evolving landscape, crafting an album that honors their past while fearlessly embracing their future.

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Blood Feast – Infinite Evolution review:

Blood Feast’s Infinite Evolution rages back with lethal purpose, weaponizing their thrash legacy into nine tracks of cerebral destruction. Adam Tranquilli’s return ignites both guitar and vocals with renewed fury, while Mike LePond’s virtuosic bass work elevates epic standout “Eye of Glass” into uncharted territory, its seven-minute runtime exploring the bleeding edge where thrash meets death metal again. The production strikes a masterful balance between old-school organic warmth and modern clarity, allowing each instrument to carve its own space in the mix without sacrificing the primal aggression that made Blood Feast legends. This isn’t mere throwback thrash; it’s a masterclass in metal -infinite evolution- that proves these veterans haven’t just survived—they’ve sharpened their teeth on contemporary production values while keeping their old-school heart beating with newfound purpose and technical precision.

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Enforced – A Leap Into the Dark EP review

Enforced’s A Leap Into the Dark emerges as a brief yet explosive exploration of human consciousness through the prism of crossover thrash’s technical framework. The Richmond veterans have crafted an album that transforms hardcore’s raw aggression into a vehicle for examining societal collapse and personal transformation. Their signature approach to composition creates a dialectical tension between precision and chaos, while the production captures both their ability and the raw appeal without sacrificing any element, allowing Enforced to shine in their own darkness. The only issue with this EP is not being longer!

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Oxygen Destroyer – Guardian of the Universe review

Seattle’s Oxygen Destroyer unleashes their most ambitious work yet with Guardian of the Universe, a 33-minute onslaught that masterfully fuses thrash precision with death metal brutality. Released via Redefining Darkness Records, the album’s nine tracks showcase Lord Kaiju’s venomous vocals driving forward standouts like “Shadow of Evil” and “Eradicating the Symbiotic Hive Mind Entity from Beyond the Void,” while Noah Buchanan’s crystalline production at Mercinary Studios perfectly captures the band’s evolution from pure aggression to technical sophistication. The album’s Kaiju-themed narrative provides more than mere monster-movie homage, instead serving as a framework for compositional complexity that draws favorable comparisons to thrash titans like Kreator and Demolition Hammer, while maintaining a distinctly modern edge that firmly establishes Oxygen Destroyer as torchbearers of contemporary extreme metal’s most technically ambitious wing.

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Atrophy – Asylum review

After 34 years, Atrophy’s Asylum lands with the precise ferocity that made thrash metal a force in the first place. The revamped lineup, with Brian Zimmerman’s vocals leading the charge, delivers nine tracks that nail the sweet spot between technical prowess and brutal impact. Coglan and Montalvo’s guitar work weaves through standouts like “Seeds of Sorrow” and the Kragen Lum feature “American Dream” with a balanced mix of complexity and gut-punch riffing, while modern production gives the rhythms room to breathe without sanitizing the aggression. While Asylum isn’t breaking new ground, it’s a masterclass in what makes thrash work – calculated fury backed by genuine skill. In an era of endless comebacks, this one actually has teeth.

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Holycide – Towards Idiocracy review:

Holycide emerges as a notable force in contemporary thrash, masterfully balancing old-school aggression with razor-sharp modern relevance. Their latest opus, Towards Idiocracy, demonstrates the band’s evolution through crystalline production that amplifies their message without sacrificing their raw intensity. Born from Madrid’s metal underground in 2004, the band channels their Spanish thrash heritage while fearlessly tackling pressing issues – from the looming specter of nuclear annihilation to the grotesque face of modern political decay. Following the devastating impact of Annihilate… Then Ask! and the neck-breaking fury of Fist to Face, Towards Idiocracy stands as their most accomplished work yet, combining technical prowess with unflinching social commentary. The album’s ability to weave blistering riffs around thought-provoking themes demonstrates why Holycide continues to be a driving force in keeping thrash metal not just alive, but dangerously relevant in today’s landscape, amplified thanks to its accesibility and pristine production.

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Morbid Saint – Swallowed by Hell review:

Swallowed by Hell by Morbid Saint feels like reuniting with an old friend who’s grown stronger with time. The band, whose name brings back memories of thrash’s golden era, returns with an album that beautifully honors their roots while breathing fresh life into their sound. The album cover instantly catches your eye, bringing to mind those late nights at the arcade – a perfect visual companion to the musical journey ahead. When “Burn Pit” kicks in, you can feel the electricity in the air – it’s that magical moment when you know you’re in for something special. Throughout the album, the band weaves energetic riffs and dynamic rhythms that remind us why thrash metal rocks. What makes Swallowed by Hell truly special is how Morbid Saint balances their raw, rebellious spirit with impressive musicianship – while its intensity might overwhelm some, that’s part of its authentic charm. For those who’ve been missing the genuine fire of classic thrash, or newcomers ready to discover what this genre is truly capable of, this album stands as both a warm reminder of thrash’s golden age and an exciting glimpse into its future.

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Cavalera Conspiracy – Schizofrenia (Re-Recorded) review:

Schizophrenia emerges as both a masterful reimagining and a blistering glimpse to the Cavalera brothers’ enduring impact, transforming their 1987 Sepultura classic through state-of-the-art production while preserving its primal intensity. Part of their ambitious Third World Trilogy project, the 2024 recording sees Max and Iggor joined by virtuosic guitarist Travis Stone (Pig Destroyer), crafting a deliberately vintage-inspired mix at Focusrite Room that bridges thrash’s golden era with contemporary sonic clarity. Classic tracks like “From the Past Comes the Storms” and “Escape to the Void” gain newfound ferocity and dimension alongside the crushing addition of “Nightmares of Delirium,” while themes of warfare and societal collapse resonate with renewed urgency through sophisticated arrangements. The result is a masterclass in extreme metal that proves the Cavaleras haven’t lost an ounce of their fury – instead, they’ve refined it, delivering an album that balances technical precision with face-melting intensity, simultaneously honoring their legacy while asserting their continued relevance at the forefront of thrash metal.

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Dissimulator – Lower Form Resistance review

Lower Form Resistance by Dissimulator emerges as a groundbreaking force in contemporary technical thrash metal, earning its place among 2024’s most innovative releases. This genre-defying opus masterfully interweaves raw, old-school thrash aggression with cutting-edge progressive metal arrangements. The band’s virtuosic command shines through their seamless navigation of lightning-fast, technically intricate passages that dissolve into earth-shattering breakdowns, each adorned with labyrinthine riffs that demand repeated listens. A defining characteristic that elevates this record is the strategic deployment of vocoded, android-like vocals, which create an unsettling atmosphere of mechanical psychedelia. Particularly compelling are the improvisational segments that feel like controlled chaos before suddenly plunging into precisely calculated, skull-crushing breakdowns. This bold fusion of elements—coupled with the band’s exceptional prowess in rhythmic complexity and dynamic tempo shifts—establishes Lower Form Resistance as a landmark achievement in modern trash metal, for both its progressive approach mixed with traditional thrash features.

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Which is the Best Thrash Metal Album of 2024?

While 2024’s thrash metal scene has delivered powerful releases, Dissimulator’s “Lower Form Resistance” stands as a masterclass in combining old school elements with modern compositions. By blending Bay Area spirit with modern technical excellence, this German outfit has crafted the best thrash metal album of 2024. Outstanding work!

Final Ranking of the Best of Thrash Metal 2024:

• Master – Saints Dispelled | 10º
• Flotsam & Jetsam´s – I Am the Weapon | 9º
• Blood Feast – Infinite Evolution | 8º
• Enforced – A Leap Into the Dark EP | 7º
• Oxygen Destroyer – Guardian of the Universe | 6º
• Atrophy – Asylum | 5º
• Holycide – Towards Idiocracy | 4º
• Morbid Saint – Swallowed by Hell | 3º
• Cavalera Conspiracy – Schizofrenia (Re-Recorded) | 2º
• Dissimulator – Lower Form Resistance | 1º

Remember that all of the albums which are listed in our rankings are featured in our official Spotify playlists!

And if you would want to apply to be featured among these great albums, you can apply via Musosoup or Sound Campaign and let us discover your material!

La entrada Best Thrash Metal Albums of 2024 se publicó primero en .

This one might be a controversial one, but I think a new perspective is needed…

In case you haven’t seen it, Marty Friedman recently made headlines all over heavy metal news sites because we are now getting excerpts from his upcoming book, Dreaming Japanese. While some of these excerpts didn’t generate much conversation because they were rather innocuous, one about Megadeth’s failed reunion in 2015 did.

In one particular segment, Marty discusses how he was dissatisfied with the financial offer he received. Well, according to his words, he felt “angry” and then “sad” about it.

Here is what Marty is alleging, according to multiple outlets:

“If I’d had any idea they would lowball me like this, I never would have met with them in Anaheim,” says the guitarist, noting that “had I taken that offer, I would have been paid less in a week than I made in a normal day in Japan.”
“I was stunned and angry and told them I couldn’t even consider it. I made a counteroffer, which was the bare minimum I could accept, and far less than I have received from any of the artists I’ve toured with in Japan.”

Marty Friedman

Before I go any further, let me address one thing. As much as I enjoy Megadeth, I also enjoy Marty’s music. I’m a big fan of his solo career. I’ve seen him live with his solo band and followed his career since he left Megadeth. I have nothing against him. Furthermore, he’s entitled to his opinion about how the reunion talks turned out. But there is something that bothers me deeply. People online, in an extremely predictable fashion, called Dave Mustaine all kinds of names because Marty didn’t get the offer he hoped for. I have a problem with that. It’s not because Mustaine can’t be criticized. Everyone can and should be criticized when warranted! And I’ve done exactly that on this site. But the RIP era reunion attempt goes deeper. There’s a reason Marty was given an offer he didn’t like. Calling Dave Mustaine “cheap” over this is entirely missing the point! I don’t blame Dave or the Megadeth camp for not being able to match Marty’s expectations. When you know more, you won’t blame them either.

Back in 2015, Megadeth tried to reunite with Marty Friedman and Nick Menza. It was shortly after Chris Broderick and Shawn Drover left, leaving the band in search of new members. I will tell you honestly, this attempt was dead on arrival anyway. I thought then, as I think now, that a reunion with these guys, as much as I would have loved to see them in the band, was not going to happen! Nick, sadly, had some issues that David Ellefson discusses at length in his book, More Life with Deth. I won’t go into much detail, but suffice it to say he wasn’t physically fit enough to play Megadeth music, according to Ellefson. Marty also was never going to be satisfied. I don’t even know why he entertained the meeting. He left Megadeth because he didn’t wish to play riff-based heavy metal music. He enjoyed his musical freedom way too much. What made Megadeth think he would give that up is beyond me. I think, sadly, some fans contributed to this. The band faced the pressure. I remember the online comments. We forgot that Marty wasn’t fired in early 2000. He left! He didn’t want to be there. I love the guy, and I respect his decision. However, why would I want someone back in the band who didn’t desire to be there in the first place? Why would any fan want it?

But let’s move on from that and focus on Marty’s comments. So, he wasn’t happy with the financial offer. What exactly was that offer? And why couldn’t Megadeth meet him where he wanted to be?

I don’t claim to know all the details. But, we do have one source who was there and who has written about these topics. No, it’s not Mustaine. But we have David Ellefson’s book, More Life with Deth, to shed some light on what went on. I will now give you four excerpts from Ellefson’s book and then I’ll comment on them. Remember, the following are David’s words, not mine! And he was there at the negotiations!

“Dave and I were speaking almost daily during this period. Once again it was back to just ‘Dave & Dave.’ We discussed a shortlist of new potential guitar players, and one thing he assured me is that no matter who came into the band next, I would always be the highest-paid second member of the group. This was comforting, and I thanked him for it.”

“As a sober guy for almost twenty-four years at that point, I couldn’t put my finger on what was happening with Nick, but I knew he was not in possession of his full mental faculties. As always, I tried to be the cheerleader and diplomat for the effort, but just like in 1998, I had to agree with Dave that Nick was not going to make the cut.”

“One of the big issues was money. Nick’s manager had the grand idea of asking for $7,500 per week, which was far beyond the salary cap in the band anyway, let alone what a returning member who had been let go so many years before might deserve. In addition to that, he wanted to use his own drums and cymbals, and call his own shots, when in fact Dave had arranged through his endorsement deal with Dean to have their drum brand, DDrum, provide a kit.”

“Within a few days, Marty put forth his salary request, which was double what Nick was asking for, and now the entire deal was dead in the water. Honestly, I think Dave and I were relieved. As much as it meant we were back to the drawing board when it came to rebuilding the band, at least we could hold our heads high, knowing that we had explored every possible option to reunite the famed Rust In Peace lineup, and that it was not our fault that it didn’t work.”

David Ellefson

all excerpts from: More Life with Deth, https://books.apple.com/book/id1463224733

Let’s break this down, okay? Number one, Dave Mustaine was very protective of Ellefson at the time. They had a fallout a few years ago over Ellefson’s own actions, but back then, they were on good terms. Mustaine made sure that Ellefson’s status in the band was not affected. He’d already lost Broderick and Drover and didn’t need to lose his bass player. It would have been horrible news for Megadeth at the time. So, he made him a promise that he’d be the highest paid second member of the group. And David appreciated this. He was on board being that person. And that makes sense. Nick hadn’t been in the band since 1998. Marty hadn’t been in the band since early 2000. So, why would they get more than Ellefson? Not to mention Ellefson also speaks of salary caps in the band which indicates the band already knew what they would be able to pull off financially.

Then, you get into the salary requirements. Look, Marty deserves whatever money he’s made and continues to make. I have no problem. I want him to make as much as he can make! But as successful as Megadeth has been, I don’t know how they would afford such salaries when they didn’t even know how the chemistry would work. Nick asked for $7,500 per week, according to Ellefson. David then says Marty asked for twice as much as that, which makes $15,000. For each week. How are you affording this? We don’t know Megadeth’s finances. And they don’t owe us any info; I know it’s private. But can you at least see how they wouldn’t be able to meet this demand? If you engage in a 10 week tour and you make this requirement, you’re talking about $150,000. And that’s for one person! You have other members in the band and you have a whole crew to pay for. I don’t know about you, but I don’t think Megadeth is that big. I wish they were – I love this band! But the reality just doesn’t align with this. If you were one of those people who blamed Mustaine over the failed reunion, can you maybe now understand why this didn’t work?

I will reiterate (and I have to do this since this is the Internet) that I respect Marty’s decision to leave Megadeth back in the day and I also don’t blame him for negotiating. You are free to ask for whatever in any negotiation. But I don’t know why he was “angry”. The band certainly didn’t mean to insult him. They just couldn’t meet him where he was. It happens. It’s called a negotiation! But my issue isn’t even with Marty. It’s with everyone who jumped on the bandwagon to blame Mustaine for what they believe was a “cheap” response. Well, I guess they can now get their answer from another person – David Ellefson – who was there during these talks and who fully agreed with Mustaine that these demands couldn’t be met. They weren’t being cheap, they were protecting the entire Megadeth camp. Hopefully it’s now clear.

The truth is, these kinds of financial disagreements among our favorite musicians become intensely debated simply because we generally pick a side and we don’t allow ourselves to even consider there’s another side. We always see our favorite person who didn’t get what they asked for as the “victim” and the other side is the “abuser”. The details don’t even matter. I know that sometimes there are people who get insulting offers. I get it. But that doesn’t mean that’s true in every disagreement. Sometimes, it’s just a business negotiation that just didn’t work out. This is exactly one of those situations. If you don’t want to take my word for it, take it with David Ellefson who pretty clearly lays out what occurred. Megadeth was in no position to meet Marty’s demands. There was no insult intended and no one was some kind of victim in the end. Think what you like about Dave and David. That’s up to you. But in this particular case, I don’t blame them. I don’t understand what people suggest they should have done. If Dave had bet on Marty and met his demands, Ellefson was going to ask for the same amount of money or else he was going to quit. But even if the band was able to do this, which is doubtful, do you really want to put all your eggs in one reunion basket? You raise everyone’s salary, increase costs for the band, but if the reunion tour doesn’t work out and you still have to go your separate ways, now you have to pay someone else to join your band. It is a huge risk. Some bands take it (think of the first reunion Anthrax attempted and how that failed). But that’s a risk not every band is willing to take.

One thing I’ll also add here is that Marty claims Megadeth needed him more than he needed them. Sorry, but as fans who were already fans back then and who paid attention, that statement is not true. This is evidenced by the fact that Chris Adler and Kiko Loureiro brought a lot of great energy and Dystopia became the highest charting Megadeth album since Countdown to Extinction. This doesn’t exactly seem like the band was desperate to get him back now, does it? I respect Marty, and I will also acknowledge that his book might give me more context and I may not be getting his whole point of view. But from these excerpts, I can’t ever agree with that claim.

In the end, I think the Rust in Peace era reunion was a bad idea to begin with. My one criticism of Megadeth is them even attempting this in the first place. My opinion is that Marty was never going to join this reunion anyway. He was way too happy with his musical freedom to ever want to give that up. I’m also a little critical of some Megadeth fans who just couldn’t let go of this idea and kept pressuring the band to give it a try. Marty left for a reason. He didn’t want to play Megadeth music. I say this as someone who is a fan of both sides. But I’m glad Megadeth found Kiko Loureiro at the end of all this. I’m not a fan of trying to recreate past magic. I’m super glad Marty was in Megadeth throughout the ‘90s. But when he didn’t want to be there anymore, the band moved on and released some great records and Marty also released some great music. Megadeth didn’t need this reunion. It’s always better to look into the future. The past is the past for a reason…

Sources & Additional Reading

1. Ellefson, David & Hazaert, Thom. More Life with Deth (2019). By Jawbone Press.
2. Marty Friedman says he rejected Megadeth’s Rust In Peace lineup reunion due to “lowball” offer. (Guitar.com)

The post Megadeth Reunion Attempt: The financial side of reunions appeared first on Mega-Depth.

Best Death Metal Albums of 2024

The Best Death Metal Albums of 2024 emerge at a moment when the genre’s evolutionary arc bends back toward its own origins, not in mere reverence but in profound recognition of its primordial power. Like ancient rhythms echoing through modern chambers, this year’s releases reveal how death metal’s earliest incarnations – born in the pioneers Death’s Scream Bloody Gore and the otherworldly ferocity of early Morbid Angel – contained seeds of innovation that continue to bloom in increasingly diverse soils.

In this landscape of extreme agression, bands like Undeath demonstrate on More Insane how the genre’s raw essence can be filtered through contemporary clarity without losing its origins, while Necrowretch’s Swords of Dajjal weaves Middle Eastern mysticism through death metal’s fabric like threads of gold through darkened steel. These works don’t simply honor their predecessors – they channel that original spirit through new vessels, proving how the genre’s fundamental savagery can evolve without being tamed. Skeletal Remains’ transformation to technical brutality mirrors death metal’s own journey from primitive force to sophisticated destroyer.

Death metal’s evolutionary pulse hits fever pitch as HELL:ON and Devenial Verdict tear down genre walls while keeping brutality intact. Like Morbid Angel and Death before them, they’re looking to redefine what it is already set – transforming diverse influences into something uniquely good. This isn’t mere genre tourism; it’s death metal’s DNA mutating into a different forms. Engulf’s The Dying Planet Weeps embodies this spirit perfectly. In a nutshell, the best death metal albums of 2024 proof that death metal’s mutations aren’t weakening the beast – they’re making it popular, hungrier, more accesible than ever.

Death Metal Albums Tier List 2024

2024’s death metal scene shattered conventions and forged new paths. You won’t find the typical genre clichés here – no mindless blast beats or formulaic songwriting about standard horror themes. These are the records that led death metal in 2024 to both new audiences and veteran ones

If your favorite isn’t here, it might be tearing it up in other rankings. But for now, these are the records that best fit the standard or classic death metal category in 2024.

Death Metal Albums of 2024 Ranked

The corpses have been counted. Here’s the best death metal that carved its way through 2024’s flesh.

Necrowretch – Swords of Dajjal review:

Swords of Dajjal finds Necrowretch forging something genuinely compelling in the space where blackened death savagery meets Middle Eastern mysticism. The album’s exceptional production allows its dual nature to breathe – crushing riffs carve through atmospheric passages like desert storms while maintaining the haunting presence of its Dajjal-inspired narrative undercurrent. Tracks like “Ksar Al-Kufar” and “Dil Mauri” exemplify this perfect storm of elements, where melodic clarity doesn’t diminish raw aggression but rather enhances its impact. It’s a record that understands the difference between cultural incorporation and appropriation, weaving its Eastern influences into the fabric of extreme metal with both reverence and force. While plenty of bands have attempted this fusion, few have achieved it with such convincing final result.

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AydrA – Leave to Nowhere review:

Leave to Nowhere (late 2024) captures AydrA at a fascinating inflection point, where the raw intensity of their Italian black/death roots meets a more nuanced understanding of atmosphere’s role in extreme metal. Across its 40-minute runtime, the record navigates seamlessly between crushing death metal salvos and doom-laden passages. The production perfectly mirrors this evolution – there’s enough grit to satisfy traditionalists, but sufficient clarity to let the guitar work cut through the songs. What truly elevates this album is the ability to seamesly craft plenty of juicy riffs, making the entire album interesting and engaging. It’s the sound of a band understanding that true heaviness often lies in the spaces between the notes.

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Engulf – The Dying Planet Weeps review

After three promising EPs exploring death metal’s outer reaches, Hal Microutsicos’s solo vessel Engulf finally delivered its long-awaited full-length The Dying Planet Weeps. The New Jersey solo project (known for his work with Blasphemous) has crafted something that strikes a rare balance in modern tech-death – mechanical precision that never loses its humanity. While the album’s controlled fury might initially suggest clinical detachment, there’s an underlying groove sensibility here that reminds me of when Death first started incorporating progressive elements without sacrificing their old school focus. The record’s carefully calibrated breakdowns and thoughtful dynamic shifts suggest an artist who understands that true heaviness comes from contrast rather than constant assault, building on the narrative foundations laid in those earlier EPs while entering into more technical territory. It’s a debut that manages the impressive feat of being both a workout soundtrack and a headphone journey, proving that technical proficiency and gut-level impact aren’t mutually exclusive.

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Kanonenfieber – Die Urkatastrophe review:

Kanonenfieber’s second album “Die Urkatastrophe” elevates their exploration of World War I through a devastating musical lens, expanding on their signature intensity with newly refined melodic elements while maintaining their brutal approach. Under Kristian Kohle’s masterful production, every percussion blast and guitar assault carries the appropriate gravitational force, with songs like “Ausblutungsschlacht” seamlessly fusing historical weight with black metal aura in a way that blurs the line between musical intensity and actual combat. The strategic incorporation of authentic period recordings lends a scary credibility to the experience, while the enhanced focus on melody ensures these dark historical narratives leave an indelible impression.

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Vredehammer – God Slayer review

God Slayer (Indie Recordings, May 24, 2024) hits with the kind of conviction that reminds me why I fell for extreme metal in the first place. Vredehammer has long understood the sweet spot where black metal’s icy fury meets death metal’s technical muscle, but there’s something particularly potent about the way tracks like “God Slayer” and “From the Abyss” lock into their grooves here. Jacob Hansen’s mix deserves special mention – his work brings out every serrated edge of the band’s assault while maintaining that crucial sense of atmosphere that separates great extreme metal from mere technical exercise. It’s a record that feels like a gauntlet thrown down in an era where too many bands confuse complexity with impact, proving that sometimes the most devastating statements come from knowing exactly when to unleash hell and when to let the darkness breathe.

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Skeletal Remains – Fragments of the Ageless

Fragments of the Ageless marks Skeletal Remains’ most vicious metamorphosis yet. The California death metal outfit’s fifth offering abandons their roots for something far more visceral – unleashing a barrage of technical brutality that echoes Morbid Angel’s peak aggression. Chris Monroy’s vocals have evolved into an otherworldly growl, perfectly complementing the album’s relentless assault of surgically precise riffing. The crusher “To Conquer the Devout” emerges as a masterclass in atmosphere, proving these guys can build tension without sacrificing an ounce of ferocity. While some old-guard fans might bristle at this newfound extremity, repeated listens reveal intricate layers beneath the savagery. This isn’t just evolution – it’s a band finally unleashing their full potential.

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HELL:ON – Shaman review:

Shaman (Archivist Records, May 17, 2024) marks HELL:ON’s most ambitious fusion of extremity and tradition yet. The Ukrainian outfit masterfully integrates sitar textures and indigenous percussion into their thrash/death foundation without diluting either element’s power. Recorded at Zaporizhia’s TA Production Studio with remarkable clarity, standouts like “What Steppes Dream About” and “He with the Horse’s Head” achieve that rare balance where cultural elements feel essential rather than ornamental. It’s the sound of a band understanding that true innovation in metal often means embracing rather than escaping your roots, crafting something that honors both their heritage and the genre’s thunderous demands.

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Feind – Ambulante Hirnamputation review:

In a ruthless thirteen minutes, Feind’s Ambulante Hirnamputation rewrites deathgrind’s rulebook with surgical precision and sadistic glee. The anonymous German trio unleashes seventeen micro-nightmares that oscillate between dizzying technical chaos and primal savagery, with tracks like “Planet der Affen” and “3DPD” demonstrating how much sonic carnage can be compressed into mere seconds, while “Originale Nichtskönner” wields its calculated assault as a sneering critique of modern society. What elevates this debut beyond mere grindcore evolution is its dark intelligence, weaving subtle commentary on everything from internet culture to late-stage capitalism beneath its blistering surface, with each spin through these compact compositions revealing new layers of complexity like a malevolent jewel catching different angles of light – this isn’t just an evolution of the genre, but a revolutionary manifesto delivered in concentrated bursts of controlled chaos.

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Undeath – More Insane review:

Having spent countless hours dissecting death metal’s evolution since the tape-trading days, I find myself genuinely thrilled by what Undeath has achieved with More Insane – it’s the sound of a band understanding exactly what made their early work compelling while fearlessly pushing into new territory. Mark Lewis’s production serves as a revelation here, bringing a clarity to their assault that reminds me of hearing Death’s Human for the first time – that moment when technical precision and primal fury found perfect harmony. Alexander Jones still summons the kind of gut-wrenching vocals that first drew me to this genre in sweaty basement shows, but there’s a newfound control that makes tracks like “Brandish the Blade” and “Disputatious Malignancy” hit with devastating precision. While Matt Browning’s drum work benefits immensely from this sonic evolution, I can’t help but wish Tommy Wall’s bass had been given the same prominence that characterized those classic Morrisound productions. Yet even with this minor quibble, what we’re witnessing here is the Rochester squad masterfully walking that razor’s edge between honoring their old-school death metal roots and carving out their own distinct path in the genre’s ever-evolving nature.

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Devenial Verdict – Blessing of Despair review

On their second full-length Blessing of Despair (released October 4th, 2024 through Transcending Obscurity), Devenial Verdict confirms they’re much more than just a promising newcomer. The Finnish death metal collective has sharpened their atmospheric approach, delivering a record that pushes beyond their debut in both intensity and sophistication. The album excels in merging devastating heaviness with ethereal elements, as demonstrated perfectly in “Garden of Eyes”, which channels both Morbid Angel’s aggression and Gojira’s weight. “Solus” emerges as a particular highlight, offering one of death metal’s most memorable passages this year. The mix gives space to every instrument, from the callous beginning of “I Have Become the Sun” through to “A Curse Made Flesh” – though this final track’s restraint might disappoint those expecting a more explosive finale. While “Counting Silence” occasionally disrupts the album’s flow, this release represents atmospheric death metal at its most accomplished, establishing Devenial Verdict as an increasingly significant presence in extreme music.

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Which is the Best Death Metal Album of 2024?

While 2024’s death metal scene has seen many brutal offerings, Devenial Verdict’s Blessing of Despair stands as a masterwork of devastating intensity. By forging an unrelenting fusion of death and atmospheric elements, this Finnish collective has crafted the best death metal album of 2024. Well done!

Final Ranking of the Best of Death Metal 2024:

• Necrowretch – Swords of Dajjal | 10º
• AydrA – Leave to Nowhere | 9º
• Engulf – The Dying Planet Weeps | 8º
• Kanonenfieber – Die Urkatastrophe | 7º
• Vredehammer – God Slayer | 6º
• Skeletal Remains – Fragments of the Ageless | 5º
• HELL:ON – Shaman | 4º
• Feind – Ambulante Hirnamputation | 3º
• Undeath – More Insane | 2º
• Devenial Verdict – Blessing of Despair | 1º

Remember that all of the albums which are listed in our rankings are featured in our official Spotify playlists!

And if you would want to apply to be featured among these great albums, you can apply via Musosoup or Sound Campaign and let us discover your material!

La entrada Best Death Metal Albums of 2024 se publicó primero en .

Best Progressive Metal Albums of 2024

For years, progressive metal meant endless guitar solos, dizzying time changes, and songs that seemed to go nowhere and everywhere at once. That’s all changed now. The best progressive metal albums of 2024 reveal a genre that’s finally grown up, with bands using their technical skills to tell real stories instead of just showing off. When Opeth brings back death metal growls on The Last Will and Testament, they relive their glory days and also they’re finding new ways to express the darkness in their story about family secrets. When Borknagar weaves Norwegian folk melodies through their black metal framework, they’re not just experimenting – they’re reconnecting with their roots in ways that actually matter.

But the biggest change in progressive metal isn’t coming from the same places as it used to. ARKA’N ASRAFOKOR from Togo has redefined what metal can be, bringing Ewe rhythms and instruments into heavy music without turning it into a gimmick. Brazil’s Piah Mater takes death metal’s intensity and twists it into new shapes that nobody saw coming. Even in places like Denmark and Scotland, bands like IOTUNN and Sgàile are breaking free from their local metal traditions. Each of these bands brings something personal to the table – their culture, their stories, their own way of looking at what metal can be.

The old barriers between metal’s subgenres are finally breaking down, and it’s making the music better. Caligula’s Horse can write about religious hypocrisy without sounding preachy. WHEEL can tackle political manipulation while keeping the groove. Dvne can get complicated without losing their punch. These bands have figured out that progressive doesn’t have to mean perfect – sometimes the rough edges and raw moments hit harder than the polished parts. In 2024, progressive metal isn’t about escaping reality through technical mastery anymore. It’s about using every tool available, from traditional African percussion to Norwegian folk melodies, to say something real transmitted through the power of metal music.

Progressive Metal Albums Tier List 2024

2024’s progressive metal scene broke every rule in the book and wrote some new ones along the way. You won’t find the usual prog metal suspects here – no twenty-minute solos about space travel or concept albums about quantum physics. These are the records that remembered progressive metal works best when it has something real to say.

If your favorite isn’t here, it might be tearing it up in other rankings. But for now, these are the records that made 2024 a year worth listening to prog metal.

Progressive Metal Albums of 2024 Ranked

The jury’s done deliberating. Here’s the progressive metal that actually mattered in 2024. No flowery nonsense, just the albums that lit our brains on fire.

IOTUNN – Kinship review:

Denmark’s IOTUNN has created something remarkable with Kinship, moving from the cosmic themes of their earlier work to the equally vast territory of human connection and loss. The band brings the same sense of scale to these personal themes that they previously applied to space exploration, creating sweeping progressive melodic death metal that never loses sight of its emotional core. Jón Aldará’s vocal performance throughout the album is a masterclass in range and control – his clean baritone conveys vulnerability while his growls pack serious power, and he knows exactly when to use each. The guitar work creates these broad, epic melodies that somehow manage to be both immediately grabbing and reward repeated listens. Take “Mistland” which unfolds over its runtime like a novel, each new section building on what came before while adding new layers of complexity and emotion. Bjørn Andersen’s drumming deserves particular praise – his subtle variations between bars keep even the longest tracks engaging, while his more explosive moments never overwhelm the songs’ melodic elements. While some might find the album’s closing track “The Anguished Ethereal” less immediately impactful than what came before, it serves as a necessary comedown after the emotional peaks of earlier songs. The improved production compared to their previous work gives the music more room to breathe, though there’s still some congestion in the busiest passages that slightly muddles the otherwise crystal-clear melodic lines.

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WHEEL – Charismatic Leaders review:

WHEEL’s Charismatic Leaders takes on big themes about populism and personality cults, but unlike a lot of “message” albums, the music hits just as hard as the lyrics. The Finnish band’s Tool influence is still clear – especially in those hypnotic, spiraling guitar patterns – but they’ve grown into their own sound. Opening track “Empire” shows their new, heavier direction right away, with this massive, surging riff that builds into something that’s both brainy and visceral. The production gives everything this huge, clear sound, with the kind of detailed bass work that prog fans love but enough grunt to satisfy metal heads. When they lean into their proggier side on later tracks, it feels earned rather than like they’re backing away from the heaviness. “Submission” stands out as the album’s high point, starting with this ominous, creeping rhythm that keeps taking unexpected turns without ever losing its grip on you. The vocals find this sweet spot between aggressive and melodic that perfectly matches the music’s intensity level. Even without obvious hooks or catchy choruses, these songs stick with you – they’re built on these deeply satisfying rhythmic and melodic patterns that reveal more details with each listen. The mix places everything exactly where it needs to be, especially the bass, which gets the kind of prominence that this style of progressive metal demands.

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Sunburst – Manifesto review

Sunburst’s Manifesto proves that Greek metal is about more than just the black metal scene that put it on the map. This is modern prog metal that knows its history – you can hear echoes of everything from Dream Theater to Symphony X, but filtered through a distinctly Mediterranean sensibility that gives it its own character. “The Flood” opens things with exactly the kind of energy this style needs, building from a relatively simple riff into these increasingly complex patterns that somehow never lose their grip on melody. Vasilis Georgiou’s vocals soar over everything without overwhelming the instrumental work – he knows when to push and when to pull back, something too many power metal vocalists never learn. Gus Drax’s guitar work throughout the album is just ridiculous, laying down these massive riffs one minute and pulling off face-melting leads the next, but always in service of the songs rather than pure showing off. The production might be a bit light on the bass for some tastes, but the overall sound is warm and dynamic, avoiding the brittle, computer-perfect sound that plagues too many modern prog metal albums. Even in its busiest moments, like the speed-demon sections of “Hollow Lies,” there’s always a sense of purpose to the technicality.

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Dvne – Voidkind review:

Dvne’s Voidkind shows the Edinburgh band tightening their grip on what makes progressive sludge metal work. Where their previous albums sprawled outward, this one punches straight through – but that doesn’t mean they’ve simplified anything. Take the opener “Summa Blasphemia,” where the band hits you with this knockout combination of roaring vocals and rolling drums that feels like getting caught in an avalanche, but in the best way possible. The whole album has this refreshing directness to it – even when they’re playing with complex time signatures or layering different guitar parts, everything serves the forward momentum of the songs. “Sarmatae” might be the best example of what they’re doing here: this whirlwind riff keeps spiraling up and up, but instead of getting lost in technical showing off, it builds to these crushing moments of pure metal catharsis. The production might not be what every fan expected – yes, the drums could hit harder in places – but it captures the raw energy of a band that’s found its sweet spot between progressive ambition and gut-level impact. “Abode of the Perfect Soul” particularly stands out, opening with this face-melting intensity before shifting through different movements that never feel forced or random. The way they handle dynamics throughout the album – knowing exactly when to pull back and when to unleash everything they’ve got. Even in its most aggressive moments, there’s always this underlying sense of melody and purpose that keeps you coming back for more. When people talk about the future of progressive metal, this is exactly the kind of fearless evolution they’re hoping for – music that has a clear objective while remembering why we fell in love with heavy music in the first place.

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ARKA’N ASRAFOKOR – Dzikkuh review

ARKA’N ASRAFOKOR’s Dzikkuh represents something genuinely new in metal, and we’re better off for it. This Togolese band brings their Ewe musical heritage to modern metal in ways that feel completely natural and earned. Ahavi’s seven-string guitar work provides more than just heavy riffs – he creates these winding patterns that complement the traditional percussion in ways that make both elements stronger. When the band locks into a groove, like on “Walk With Us” or “The Truth,” they achieve something unique: music that’s undeniably metal but doesn’t sound quite like anything else in the genre. The production strikes a perfect balance between modern metal punch and the organic sound of traditional instruments, particularly in how it handles Mass Aholou’s percussion work. Enrico Ahavi’s vocals – mixing harsh barks with occasional raps – add another layer of intensity without overshadowing the instrumental interplay. Even tracks like “Still Believe,” which lean more toward melody than heaviness, maintain the album’s cultural authenticity while pushing metal’s boundaries into new territory. The rhythm section of Francis Amevo and Richard Siko provides the crucial bridge between metal’s aggressive drive and traditional Ewe rhythms, making the fusion feel seamless rather than forced.

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Piah Mater – Under the Shadow of a Foreign Sun review

Piah Mater’s Under the Shadow of a Foreign Sun shows how Brazilian metal continues to catch some attention in unexpected ways. The band has taken the technical foundation of progressive death metal and built something that feels both familiar and strange – like watching a movie you swear you’ve seen before but can’t quite place. The production puts every element exactly where it needs to be, giving the blast beats and double bass the power they need without burying the more subtle elements that make this album special. “As Islands Sink” perfectly captures what makes this band worth watching: the way they build tension through these long, winding passages before releasing it in bursts of pure aggression. The guitar work throughout is stunning, but it’s how they use it that matters – these aren’t just technical exercises but actual songs that take you somewhere, like “Macaws Lament”, with some beautiful accoustics. The lyrics dig into some heavy themes about loss and change, but they do it without the usual prog metal pretension. When the heavy parts hit, they hit hard, but there’s always this underlying sense of melody that keeps things from becoming a pure technical exhibition. The drumming deserves special mention – it’s complex without being showy, always serving the song rather than drawing attention to itself.

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Sgàile – Traverse the Bealach review:

Sgàile’s Traverse the Bealach shows exactly what we’ve been missing. Tony Dunn has created something that captures both the harshness of Scottish winters and the beauty of Highland landscapes without falling into the usual Celtic metal clichés. Mike Lamb’s production work gives everything this huge sense of space – when the guitars ring out, you can almost feel the fog rolling in over the hills. Dunn’s layered vocals work perfectly within this context, sometimes barely rising above a whisper before building to these massive crescendos that never feel forced or theatrical. The whole album flows like one continuous piece, each track bleeding into the next in a way that makes it hard to pick favorite moments – it’s really meant to be experienced as a whole journey. The atmospheric touches never feel tacked on but grow naturally from the black metal foundation, creating something that works both as pure mood music and as a more active listening experience. The mixing is particularly clever in how it handles the layers of guitars – they’re clear enough to pick out individual lines when you want to, but they also blend together into these waves of sound that carry you through the album’s quieter moments.

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Caligula´s Horse – Charcoal Grace review:

Charcoal Grace shows Caligula’s Horse reaching new heights, building on everything they’ve learned while pushing into fresh territory. The Australian band tackles heavy subjects – religious hypocrisy, generational trauma, personal redemption – without falling into prog metal’s usual traps of pretension or excessive complexity. The title track suite perfectly demonstrates their growth: complex rhythms and technical playing serve the emotional weight of the songs rather than overshadowing it. The production brings out every detail but never feels clinical – when the band goes heavy, you feel it in your chest, and when they pull back for quieter moments, every note rings clear. Jim Grey’s vocals have never sounded better, equally convincing whether he’s belting out huge choruses or almost whispering during the album’s more intimate moments. The rhythm section deserves special praise too – the way the bass and drums lock together during the more technical passages creates a rock-solid foundation that lets the guitars and vocals soar. Even in its densest moments, like the climax of “The Breaking Light,” every element has room to breathe while still contributing to the overwhelming whole.

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Borknagar – Fall review:

Borknagar’s Fall marks the point where the band has finally mastered their transition from pure black metal to something far more interesting. The Norwegian group has spent years working toward this sound, and here they’ve nailed it – folky melodies weave through heavy riffs without losing their bite, while the vocals shift between harsh and clean with real purpose. “Nordic Anthem” shows exactly what makes this album special: the way the guitars create these circular patterns that somehow sound both ancient and modern, backed by drums that know exactly when to blast and when to breathe. The production deserves special mention too – where many metal albums these days compress everything into a wall of sound, Fall gives each instrument space to move. You can hear it best in quieter moments like the middle section of “Moon,” where acoustic guitars and clean vocals build tension before the heavy parts crash back in. The whole album feels like one complete piece, but “Summits” might be its highest point, starting with full-on black metal fury before opening up into these gorgeous progressive passages that never lose their emotional punch.

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Opeth – The Last Will and Testament review

On The Last Will and Testament, Opeth hasn’t just brought back Mikael Åkerfeldt’s death growls – they’ve found entirely new ways to use them. The concept behind the album, a reading of a will that uncovers dark family secrets, gives the band a perfect excuse to mix their death metal past with their progressive present. When those growls first appear in the opening track, they hit harder because they’re unexpected, used sparingly and with purpose rather than just out of habit. The production follows this less-is-more approach – sometimes letting the 70s-style prog rock sections breathe, other times building to these massive walls of sound where Åkerfeldt’s roars feel like another instrument in the mix. The seven-part main composition flows naturally, each section building on what came before while adding new elements. Even the controversial track “A Story Never Told,” with its sudden shifts between jazz fusion and death metal, makes sense in the context of the story being told. The mixing choices that some fans have questioned – like having the vocals sometimes sink into the mix rather than dominate it – actually serve the album’s theatrical nature, like different characters moving in and out of focus. What a way to bring back the awaited growls!

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Which is the Best Progressive Metal Album of 2024?

Although 2024’s progressive metal landscape has delivered countless gems, Opeth’s The Last Will and Testament emerges as something truly transcendent. In crafting this sophisticated mix of storytelling and music mastery, Mikael Åkerfeldt and company have delivered the year’s most compelling progressive statement. Congratulations – this is essential listening for anyone who cares about where prog metal can go!

Final Ranking of the Best of Progressive Metal 2024:

• IOTUNN – Kinship | 10º
• WHEEL – Charismatic Leaders | 9º
• Sunburst – Manifesto | 8º
• Dvne – Voidkind | 7º
• ARKA’N ASRAFOKOR – Dzikkuh | 6º
• Piah Mater – Under the Shadow of a Foreign Sun | 5º
• Sgàile – Traverse the Bealach | 4º
• Caligula´s Horse – Charcoal Grace | 3º
• Borknagar – Fall | 2º
• Opeth – The Last Will and Testament| 1º

Remember that all of the albums which are listed in our rankings are featured in our official Spotify playlists!

And if you would want to apply to be featured among these great albums, you can apply via Musosoup or Sound Campaign and let us discover your material!

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Hard to believe its been almost a full year since I posted anything at all on this blog. I have no excuses except that other things took priority in 2024. What remained a priority though was consuming as much new metal music as time allowed. What you’ll find here is the first half of our annual Top 40 Metal Albums list. I won’t even begin to pretend that I listened to enough new music to ever call this a “best of” list. But what you will find are my favorite albums of the year in some sort of descending order (mostly based on how often I revisited each record, songs or moments on each that stuck with me, etc.).

As always, I hope you find something new that you love (and if you do go buy the record and support the band). Feel free to leave your favorite albums from 2024 in the comments. On to the list…

40. Goat Major – Ritual
2024 turned out to be a great year for stoner rock/doom in my humble opinion. From legacy bands returning to top form to relative newcomers lighting it up, I honestly felt this was the strongest year for all things “stoner” in quite some time. One of those relative newcomers who really impressed me was the UK’s Goat Major.  Taking a fuzzy page from acts like fellow Brits Electric Wizard, Goat Major combined some seriously catchy hooks with a heavy as bricks doom aesthetic. One of the better debut full-length albums of 2024.
https://ripplemusic.bandcamp.com/album/ritual

39. Vaticinal Rites – Cascading Memories of Immortality
Like our previous entry Vaticinal Rites is also from the UK and also dropped their debut full-length album in 2024. The comparisons stop there. Worshiping at the altar of classic, old school death metal, Vaticinal Rites hearken back to a time when the genre was new and exciting for all of us, while adding their own unique spin. Its not the most atmospheric death metal album you’ll hear this year, and it’s not the heaviest one I’ve heard either, but it’s absolutely one of the most technically proficient and delivers multiple tracks that are worth immediate repeat listens.
https://everlastingspew.bandcamp.com/album/cascading-memories-of-immortality

38. Void Witch – Horripilating Presence
Yet another band who delivered a stellar debut full-length this year (and label mates of our previous entry) is Texas death/doom outfit Void Witch. Labeling this album as simply death/doom almost does it a disservice. This band dives deeper into the atmospheric and technical death metal pools more often, and with better results, than many of their brethren. The end result is one of the more innovative death/doom albums I’ve heard in quite some time, and one that offers continued nuance upon every listen.
https://everlastingspew.bandcamp.com/album/horripilating-presence

37. Avmakt – Satanic Inversion Of….
2024 also wound up being a great year for the black metal genre as well. While some killer legacy acts like Darkthrone and Borknagar were still putting out quality material it really felt like a passing of the guard to me this year. There was a crop of bands that started truly claiming their rightful place at the top of the black metal food chain (especially here in North America), and peppered into that was another crop of bands dropping debut albums that blew my doors off. Norway’s Avmakt was one of the latter, unleashing an absolutely frost-inducing debut during the heat of the summer. Drawing direct influence from their home country’s storied second wave of black metal, Avmakt emphatically drove their flag into scorched earth, claiming their piece of black metal territory.  One of a handful of albums that are perfect to curl up with on those frosty winter nights.
https://peaceville.bandcamp.com/album/satanic-inversion-of

36. Nekus – Death Apophenia
This is the second year in a row that German death/doom merchants Nekus dropped a record I spent a lot of time with. While last year’s release barely missed the cut for 2023’s version of this list. Death Apophenia was too damned good too make the mistake of leaving them off a second time. Drenched in absolutely ghoulish atmospherics this album constantly sounds like some ancient beast awakening and emerging from some deep cavernous hole…and its really pissed off. Sheer brutality abounds on this record. Not for the faint of heart.
https://sentientruin.bandcamp.com/album/sepulchral-divination

35. Ploughshare – Second Wound
Hat tip to Starkweather vocalist Rennie Resmini for turning me on to the third album from Australia’s Ploughshare. (PSA: You should follow all the Starkweather social media and Rennie’s Substack page for killer music recommendations.) This is another album that when I sit down for re-listens I find all these musical Easter eggs I somehow missed the last time out. Bass lines that occasionally sound like something out of a David Lynch film? Check. Guitar work that flies up and down the fret board hitting notes you’re just not expecting? Check. Tortured vocals that perfectly add to the overall dank atmosphere? Check. Technical, atmospheric, blackened death metal at its finest.
https://ploughshare.bandcamp.com/album/second-wound

34. Ulvik – Last Rites | Dire Omens
I mentioned earlier that there are some black metal bands here in North America that have been around the block a couple times, but in 2024 really started to flex their muscle as one of the better bands operating in the genre today. Canada’s Ulvik fit that description. Last Rites| Dire Omens is the band’s fourth full length album, and you’d be hard-pressed in convincing me it wasn’t their best yet. Part of my reasoning is it may also be their heaviest album yet. While dark/neo-folk elements still abound, the entire tone of this album feels weightier and gloomier than previous efforts. While a lot of black metal albums with folk elements give you the feeling of being transported to some mystical forest, this album makes you feel like you’re trapped there, the sun has already climbed below the treeline, and danger looms in the shadows. A truly engaging album from start to finish.
https://ulvik.bandcamp.com/album/last-rites-dire-omens

33. Deadform – Entrenched In Hell
What I love about good sludge/crust punk is that it is often able to take some of my favorite elements from both punk and metal and blends them into this brutally heavy concoction. Enter the debut from Oakland’s Deadform. Made up of former members of some truly trendsetting acts, including Dystopia, Stormcrow, Laudanum, and Noothgrush, Deadform delivered by far one of the best crust/sludge albums of the year. Unafraid to toss in the occasional catchy hook amidst the brutality this was one album that I could picture the pits getting really active for at shows held in some holed out squat on the ‘wrong side of the tracks’. (I’ve been to too many of those shows to count in my time…) Get ready to circle pit in your living room to this beast.
https://tankcrimes.bandcamp.com/album/entrenched-in-hell

32. Sidewinder – Talons
Remember earlier when I was talking about how I thought 2024 was a great year for stoner rock/doom? Well, one of the better albums of the lot came from New Zealand’s Sidewinder. Possibly no other stoner album this year did a better job cascading from thunderous cacophony to more melodic elements, and then swimming back up stream with Sabbath-like precision than this one. Vocalist Jem Tupe delivered one of my favorite vocal performances of 2024 that fell along the doom/stoner pantheon, and the riffs on this album will stick with you long after the record stops spinning.
https://sidewindernz.bandcamp.com/album/talons-album

31. Crypt Sermon – The Stygian Rose
One of my most anticipated albums of 2024 was the new long player from trad/doom warriors Crypt Sermon. I’ve been a huge fan of this band since their 2015 debut and five years seemed like an eternity as we waited for album #3 to finally drop. (Especially with everything that transpired over those five years.) Needless to say, this album was well worth the wait. While I felt the first two albums leaned slightly more towards their trad metal influences, this album tends to skew slightly more towards their doom side, and that’s not a bad thing at all. Highly recommended for fans of acts like Candlemass and Solitude Aeturnus.
https://cryptsermon.bandcamp.com/album/the-stygian-rose

30. The Gates of Slumber – The Gates of Slumber
After their split in 2013 and the untimely death of bass player Jason McCash I honestly never thought we’d get another The Gates of Slumber album. Even after their reunion in 2019 and live album in 2020 I was still doubtful we’d get new material. Joke’s on me because The Gates of Slumber dropped one of the best doom metal albums of the year last month. I honestly wish this record had come out earlier in the year so I could have spent more time with it because it’s one of their strongest efforts to date, which if you are familiar at all with their exceptional back catalogue you know that’s saying something. A worthy addition to a growing doom legacy.
https://thegatesofslumber.bandcamp.com/album/the-gates-of-slumber

29. Immortal Bird – Sin Querencia
I’ve been a fan of Chicago’s Immortal Bird since their debut EP back in 2013, and their newest full-length album was another one of my most anticipated albums of 2024. Deftly mixing death and black metal with crusty and sludgy aesthetics, Immortal Bird’s sound is sometimes hard to quantify (which is certainly not a bad thing). What you can unequivocally say is that this is a fierce record that is completely unrelenting in its overall aggression from note one. Fans of all the aforementioned genres will find a lot to grasp here, and even more to hold their interest on repeat listens.
https://20buckspin.bandcamp.com/album/sin-querencia

28. Blighted Eye – Agony’s Bespoke
I love when a band is nowhere on my radar at the beginning of the year, yet by the end of the year I’m singing their praises to as many people as will listen. This year that crown may fall to Seattle’s Blighted Eye. Agony’s Bespoke will go down as one of my favorite debut albums in 2024 because it took a genre that I felt had grown somewhat stale (in this case melodic death metal) and infused it with new and interesting concepts. There are prog and technical elements here that collide with more doom-laden passages, all of which will keep you guessing. It will also keeping you wondering how a band so technically proficient and so good at what they do flew under your radar for so long. (Note: I also highly recommend the 2018 film The Nightingale this album’s lyrics are based on.)
https://beyondthetoprecords.bandcamp.com/album/agonys-bespoke

27. Laceration – I Erode
A lot of bands have tried to capture the essence of old school death metal over the last few years with varying degrees of success. Truthfully most of them have failed miserably. But California’s Laceration are the exception to what is fast becoming an unfortunate rule. Few recent albums can hearken back to death metal’s golden age of the early to mid ’90s while keeping one foot planted in the genre’s burgeoning future the way this one has. I’ve seen a lot of comparisons online to bands like Immolation, Suffocation, and various eras of Death. I wouldn’t necessarily disagree with any of those comparisons, but I also wouldn’t get lost in the sauce the fact that above all else Laceration sounds like…Laceration. And that’s arguably the biggest compliment you can give a band these days.
https://20buckspin.bandcamp.com/album/i-erode

26. Vircolac – Veneration
In 2019 Ireland’s Vircolac came out of nowhere to crack my Top 40 list that year. I wasn’t going to be caught off guard again when it came to this band. Released back in February, Veneration was one of the first truly fantastic albums of 2024 and one of the first that I spent an exorbitant amount of time with. Vircolac’s brand of blackened death metal melds ample melody with sheer brutality to create an album that is heavy on atmospherics. The album starts with a stirring neofolk intro, complete with chilling vocals from Irish singer Sarah McQuillan. It’s an unexpected tone-setter that let’s you know this band is not above stretching the boundaries of what blackened death metal can be. A highly entertaining album from one of the extreme metal world’s most underrated bands.
https://vircolac.bandcamp.com/album/veneration

25. Coffins – Sinister Oath
Sometimes a band gets into the practice room or studio and says, ‘we’re just going to write the heaviest shit we can’, and it works. Japan’s Coffins has been slinging sludgy, nasty, doom-infused death metal for a couple decades now, and with each record they seem to up the ante on how crushingly heavy their music can get. If you are looking for tech death where guitarists are trying to cram as many notes as humanly possible into a song or some type of post-metal/death metal hybrid, this probably isn’t for you. This is death metal as the old guard designed it and Coffins continues to perfect it.
https://coffins.bandcamp.com/album/sinister-oath

24. Funeral Leech – The Illusion of Time
New York has a pretty long and storied history with death metal so when I say that Funeral Leech is possibly the best death metal band to come out of New York in the last few years don’t take it as hyperbole. Existing in the darkened corner of the metal landscape where death and doom metal often meet to create an unholy alliance, Funeral Leech dropped their debut record in 2020 and immediately jumped towards the top of my personal death metal hierarchy. Two albums, two trips into the top 25 of my year-end list. The Illusion of Time is a bit more focused and leans harder into their doom aspects than their previous release, but the brutality factor that made them so appealing to begin with has not been lost at all. (Fun side note: Saw a dude in a Funeral Leech shirt at an event I was running in October and it was easily the best “nice shirt” moment of 2024.)
https://funeralleech.bandcamp.com/album/the-illusion-of-time

23. Vanhelgd – Atropos Doctrina
Ever since 2016’s Temple of Phobos album (which was their 4th full-length) Vanhelgd has been a band I’ve kept my eye on, patiently awaiting new material and happily devouring it upon release. The wait was longer than usual this time around as its been six years since their last release. But like some many great albums we had to wait for in the ‘time of the great plague’, it was worth it in the end. Vanhelgd have the innate ability to sound completely unhinged, yet entirely in control all at the same time, and this album is no different. There are melodic Swedish elements on this record that give it a semblance of accessibility, only for them them be buried under blackened cacophony within a few notes notice. Another strong outing for one of death metal’s most underrated acts.
https://darkdescentrecords.bandcamp.com/album/atropos-doctrina

22. Necrot – Lifeles Birth
I was first introduced to Oakland’s Necrot in 2016 when Tankcrimes released a compilation record culling together their demo material. If you didn’t know any better you would have thought that album was a compilation of some long lost band from death metal’s ’90s heyday. Fast forward eight years and now three proper full-length albums later and Necrot is still perfectly carrying the OSDM flag into battle. As a whole album I’m not sure yet where I’d place this album in a Necrot ranking, but I do feel it has all of the most memorable moments/songs if that makes any sense. Tracks like “Drill The Skull” and “Winds of Hell” will keep you coming back and again and again like a true glutton for aural punishment.
https://necrot.bandcamp.com/album/lifeless-birth

21. Spectral Voice – Sparagmos
At some point we’re all going to be talking about how Denver, Colorado changed the face of the extreme music landscape, right? (I mean, my #1 album from last year was from Denver’s Wayfarer so I’m on board I guess.) While one of Denver’s most acclaimed bands, Blood Incantation was catching shit from metal purists about their unique brand of death metal being a little too unique, three of their members helped unleash one of the best death/doom albums, not only of the year but possibly the decade back in February. I can remember the first time I sat down with Sparagmos from Spectral Voice and immediately thinking it would wind up somewhere on my year-end list. It was the perfect album to help guide me through the bleak winter doldrums, a cathartic 45-minute journey that stuck with me longer and harder than I could have ever been expecting it to.
https://darkdescentrecords.bandcamp.com/album/sparagmos