In-Depth Analysis: Joyless' Wisdom & Arrogance

Not quite what one would expect from a band called Joyless.

Depression and experimentalism are two attitudes common in (modern) black metal but what happens when they are taken to their absolute limit? 

The short answer is that you leave black metal. Originally [1], black metal's primary motivation was hatred but in recent years suicidal black metal (also known as depressive black metal or DSBM (depressive suicidal black metal)) has leaped into good fortune with adherents of the subgenre. Bands including Shining, Lifelover and Xasthur have gained considerable recognition within black metal circles with their bleak attitude and self-destructive themes. It is not all positive though; many detractors think such misery is merely 'emo'. 

Regardless of attitudes, Joyless are are interesting study in black metal becoming so depressive that they waive the metal component of their music. The earliest origins of Joyless can be traced back to 1991 with the conception of Forgotten Woods in Norway. Alongside Buruzm, Forgotten Woods are considered the pioneers of DSBM. Penning two full-length albums before they initially split up at the end of the '90s, they played emotive, black metal, drawing influences from rock genres. It sounds very organic and melancholy without resorting to the post-rock overload that many contemporary DSBM acts employ. Influences include Celtic Frost, Bathory and European thrash metal alongside The Velvet Underground and The Doors [2]. They reunited in 2007 and released Race of Cain, a raw and intolerant release with memorable melodies.

Joyless' birth was in 1996 with a line up composed entirely from the then defunct Forgotten Woods and their first release was the full-length Unlimited Hate. Some of the songs are old Forgotten Woods ones, recorded between 1994 and 1996. Like Forgotten Woods, the metal on this endeavour is atmospheric, despairing black metal with a good sense of emotion and hints towards more general rock music.

By 2000, the rock influence took over in time for Joyless to release their sophomore album Wisdom & Arrogance. This album strips Joyless of their black metal casing in favour of a depressive rock stance with a pop mentality. Although they pre-date Lifelover by almost a decade, this release can be described as Lifelover's bipolar younger sister. The most striking asset of the band which appears to divide listeners is the voice of new singer Ida Helleboe. Her voice sounds juvenile, nearly whiny and on the spectacular 'Transpire', she practically launches herself into a vocal tantrum.  Theoretically, these vocals sounds challenging to endure but in reality, they compliment Joyless marvellously and sum up the attitude of the band succinctly. Her vocals are greatly varied but within the boundaries of pop music and inscribe accessibility on to the release. The spirit of teenage curiosity, angst and innocence is preserved flawlessly in her voice. The closing track, 'Room of Velvet Splendour', sees Olav Berland handle lead vocals and his deep, clean voice (no growls here) takes repeated listens to get used to, after hearing Helleboe throughout the release, but compliment the lengthy number perfectly. He sounds depressed but insightful. The vocal duet on 'Why Should I Cry?' is nothing short of sublime, with the different vocals bizarrely gelling seamlessly together.

The music is varied throughout the album and the entire release lacks unity, save for the introverted and/or sardonic lyrics. Sometimes the guitars play icy leads with the most subtle of guitar fuzz in the background (a hang-over from their black metal origins) as can be heard on 'Close to God' or 'Room of Velvet Splendour'; sometimes they bounce with a near-bluesy feel on the poignant 'Transpire'; sometimes they joust with post-rock such as on 'Stand'. The drums are usually simplistic but occasionally make a departure from this, promoting dynamic rhythms with a progressive flourish, 'Close to God' being a great indication.

Although the music is inherently depressing, the mood it harbours is not entirely melancholic at certain points: 'Divine' and 'Isn't It Nice' are edged with rich and decadent textures, much like The Velvet Underground while the aforementioned bouncing blues-cum-rockabilly guitar rhythms on 'Transpire' actually contradicts the frustrated vocals of Helleboe. 'The Nails' has no music; it is simply a recital of a striking and thoughtful poem by Helleboe in her thick Norwegian accent. In spite of these diversions, Wisdom & Arrogance is wholly miserable over all.

Lyrically, the band deals with poetic imagery, depressive/frustrated emotion, irony and inner struggles. The lyric for the entirety of 'Stand' are:

Happy be a face
Nobody understands.

Happy be a face

Nobody understands.

No, stand.

Stand, stand.

Happy happy happy happy

Happy happy happy happy

Happy be a face

Nobody understands.

Happy be a face

Nobody understands.

The last note is higher than the pentultimate one, turning the statement into a question, interestingly. Less subtle are the teen angst lyrics of 'Transpire'. The opening lyrics are:

Hey, do you know where I am going? (I can hear something has happened)
I'm going angry
On you (I can feel it)
It didn't matter anyway (Something is wrong)

Fuck off (Look where are you)
And still you are signing my song along
And that is (Everything)
Fuck off (I'm going crazy)
Did you understand me? At all, at all, at all. 

These lines are straight-forward and totally imperfect, marking them all the more human and genuine. 'Why Should I Cry?' opens by taking a typically poetic image and ruins it:

The swans appear
And they sing the loveliest song I’ve ever heard
I gently caress
I believe I broke their necks
My eyes no tear shed. 

My eyes no tear shed.

The chorus of the same song relinquishes any chance of hope:

I have reached the end (The End)
I've reached my earthly end. (The End)
And I do know that all I do is die
So why should I cry?


'Isn't It Nice?' has lyrics that would not be out of place on a modern DSBM band's album, expressing the disaffection of life and hatred of the world:

I am lost
And I feel so alone
But it really doesn't matter
There ain't a thing I can do.

Judgment day
Let me know when you are here
I want to see
The world go down

Drag me deeper down
I don't care
Down here there is nothing
Nothing but myself

and concludes with:

Point a gun at my head
Do you think I care?
Point it at yourself
And pull the trigger now.

Could you give me a reason to celebrate?


Throughout the album, there are plenty of references to the colour blue and velvet, particularly velvet shining. The latter could be a  reference to the Forgotten Woods song 'The Velvet Room' (which also mentions dying swans in its lyrics). The associations of the colour blue are quite obvious and Joyless have mentioned it poignantly a few times prior to the release of Arrogance & Wisdom; Unimited Hate debut had a song entitled 'Blå melankoli' (blue melancholy); the EP Blue in the Face, released 1999 [3] has 'Room of Velvet Splendour' and 'Room of Velvet Splendour pt. 2', divided by a track entitled 'Swansmile'. 


This is actually a beautiful record that finds some comfort in defeatism and solace. The title sums the music up perfectly. Its amalgamation of personalities and its flaws work in its favour, mirroring the human psyche. The music is recorded impulsive emotion. It is a struggle to find a band as raw, emotive and unrefined as Joyless. They have not recorded an album since but 2009 was a busy year for the band with three different splits and a compilation. It seems impossible to imagine a follow up to Wisdom & Arrogance but it would be wonderful to see such a release.

---

[1] Referring to the second wave bands, not first wave.

[2] Mortem Zine interview with Forgotten Woods, 2007.
[3] But recorded in May 1996 and arranged in 1995.

The Best Metal Albums of the 2000s

Another decade is behind us and the amount of treasures metal offered us this decade is alarming. Metal is so articulated now, so easy to access, I wonder if it is at its peak of popularity currently. Anyhow, I present my favourite metal albums of the past decade (2000 - 2009 inclusive) in no particular order. I've only allowed one entry per band otherwise it'll be too taxing to compile such a list.

1. Dream Theater ~ Six Degrees of Inner Turbulence [2002]

Dream Theater's sixth studio effort is quite stunning. I've talked about this disc too much so I shall simply copy and paste my description of this release from my post entitled 'A Succinct Commentary on Dream Theater' Studio Albums' from 2008:

"Dream Theater accomplish another first with this release; this marks the first album composed of two discs. The second disc is one song - the title track, clocking in at a devastating 42:04 minutes long. The primary disc is sinister but not the kind identified in previous Dream Theater releases. The production makes it sound far more clinical and functional. All of these songs are lengthy in duration, appropriating the mega-long songs archetypal to progressive music. The moods of each vary greatly: 'Glass Prison' is tenacious and a harbinger of the future Dream Theater to come; 'Blind Faith' is uplifting whilst heavy with a nod to traditional heavy metal/hard rock inPetrucci's riffing during the chorus; 'Misunderstood' is a stormy piece, boasting more power without being as outwardly aggressive as the opener; 'The Great Debate' is defiant; 'I Disappear' is ghostly reserved and concludes the first disc perfectly. Dealing with various mental conditions, it is befitting of the title track (broken into eight tracks) to cycle through varying moods in grandiose fashion. LaBrie gives several touching vocal performances, namely 'Goodnight Kiss'. This album also sees the debut of Portnoy'sbacking vocals which inevitably lead to a contribution of crippling the progressive metal innovators but are capable of being ignored on this release. 'Six Degrees of Inner Turbulence' is a fantastically turbulent song, propelling its listeners through a barrage of emotional responses and unusual musical techniques, as featured on 'The Test That Stumped Them All'. Overall, this opus is one of Dream Theater's strongest due to its multi-dimensional magnitude."

2. Fozzy ~ Happenstance [2002]

Apparently 2002 was a great year for metal. This is the album that actually got me into metal, back in 2003. Fronted by WWE wrestler Chris Jericho, Fozzy's Happenstance was predominantly a cover album with four original songs thrown in. The covers were of '80s heavy metal bands and I believe they are better than the originals (with the exception of Motley Crue's 'Livewire' and possibly Priest's 'Freewheel Burning') because the updated and modern take makes the guitars sound sharper and the overall sound clearer. Jericho's vocals are ridiculously unconventional - gravelly with a tendency to shoot into vibrato zone. The four original songs are distinctly more modern and sound like they could be classed as melodic death metal without the death. Ultra melodic modern heavy metal, possibly. It's tedious to define but it sounds fantastic. 'End of Days' has a insistent and great riff that throws the song forth with an appreciative melody. 'With the Fire' emanates glory and 'Crucify Yourself' is beautifully dark. It is a shame they did not carry this sound on to their 2005 follow up All that Remains. Who knows, perhaps their new album that comes out later this month will see a return to this sound but I doubt it. Nonetheless, I still listen to Happenstance every other night when I'm at home.

3. Subterranean Masquerade ~ Suspended Animation Dreams [2005]

Suspended Animation Dreams is the most ambitious album I have ever heard. Think maudlin of the Well just about to come down from an LSD trip. Employing clean vocals and growls (courtesy of November's Dooms' Paul Kuhr so you can expect a commendable effort) alongside the odd moment of female vocals, keyboards, trumpets, saxophones and mellotron...this album has nothing but effort compacted into it. Progressive avant-garde metal has never sounded so strong. Guitars range from nostalgic, fearful, painful, aggressive to lovelorn. They literally depict every emotion imaginable. Although it sounds crazy and erratic, it is a truly cohesive and emotive effort. There are not awkward fragmentation problems and nothing jars or sticks out unkindly. Each song is a miniature masterpiece with something different to offer. 'The Rock 'n' Roll Preacher' is immensely addictive which is a celebration considering the song clocks in over nine minutes long. There are so many layers to this observation that is demands countless repeated listens to appreciate the experimentation and creativity forming it. There are no instances of riff salad or guitar masturbation here, just infinite creativity. Also, Andy Winters contributed to this project so consider that a good seal of approval, alongside Travis Smith's suitably deranged artwork. I thought last year they were supposed to release the sophomore album In Pastille Colours but I guess it still needs to be worked on? They have high expectations to meet.

4. Katatonia ~ Viva Emptiness [2003]

Although not strictly 'metal', Katatonia's shoe-gaze classic Viva Emptiness deserves a spot on this list. Coming a long way from their death/doom origins, Katatonia release a slab of sleek draconian misery. It is amazing how cold this release sounds without veering into isolating black metal riffage. It is a painful listen (though not as depressing as '99s Tonight's Decision), monochromatic and concrete-endorsed. It is so well composed and united in atmosphere that it seems like a concept album. The music is brutality honest, occasionally entering dreamscapes before being harshly confronted by a gritty reality check which wallows towards depression. Not a celebratory record but too often in life does one want to recede into negativity and this is the album to do it. There is an unconventional vein of romance in this album, best personified by songs like 'Evidence', 'Sleeper' and 'Omerta', which keeps the listener loyal to this release. It seems surprising that Katatonia never broke into the mainstream and over take Opeth in terms of popularity. Perhaps it is for the best.

5. Sabaton ~ Attero Dominatus [2006]

Sabaton are the kick up the proverbial backside that power metal needed to step up its game. I detailed Sabaton's studio attempts in a recent blog entry so again, I shall quote from that:

"It would be futile to argue that Sabaton's second album is wildy discernable from their debut (the closing track, entitled 'Metal Crue' is another jokey metal song with lyrics created by the names of popular metal bands) but Attero Dominatus does provide evidence of Sabaton's evolution over the last year. Songs are more streamlined and sound more like anthems, with offerings like the title track, 'Nuclear Attack', 'Back in Control' and 'In the Name of God' packing a hefty punch to the listener. These songs are Sabaton at their sharpest and most dynamic, comfortable in what they do with formidable execution. Sabaton's lengthiest song to date is on this album, the melancholy 'Rise of Evil', describing with accuracy the rise of the Third Reich. This is arguably the best song Sabaton have committed to tape for its abundant maturity, foreboding riffs and envious intensity. Although an improvement on Primo Victoria, a third album like this would do Sabaton no more favours; they have exhausted this style."

6. Kampfar ~ Kvass [2006]

Kvass was Kampfar's returning album. After a period of inactivity, they returned with this frost Viking offering. With hooking guitar melodies married with abrasive rhythm guitar, this album flirted with different atmospheres in the Viking/black metal style Kampfar are used to. One of Kampfar's greatest assets is their resistance to succumb to archetypal folk metal stylings to bolster their Viking imagery; this way they retain copious amounts of originality. The album is beautifully hypnotic and very Norwegian in sound. The trademark Kampfar guitar melodies are recognisable against any background and they sound enviably streamlined on this release. 'Ravenheart' is the song that appeals to their fanbase most (simply because of its English title, no doubt) but the war ravaged 'Til Siste Mann' and the melting sounds of 'Gaman av Drømmer' highlight this album as Kampfar's best since their debut. What a muscular return.

7. Pain of Salvation ~ The Perfect Element [2000]

The Perfect Element is one of the best metal albums ever, let alone this decade. As far as prog metal is concerned, it can go toe-to-toe with Dream Theater's mighty Awake. In fact, this is essentially an inversion of Awake. Where Awake's merits lie in genuine, unrestricted melancholy anger, TPE connects to the listener with relate-able rage-tinged sadness. The fixation is on the depressing rather than the angry. Both albums are studded with beauty, but it shines more on Awake because beauty compliments sorrow better than anger. This album is lucidly colourful and unashamedly inquisitive. The multitude of textures suits the variety of musical expressions. Daniel Gildenlöw's voice is stunningly versatile and could not be aped by anyone. Progressive metal compositions have never sounded so luscious with a focus on emotion rather than skill. Lyrically, there are manifestations of the human conditions that everyone will be able to relate to and it the level of accuracy this has been captured with is frightening, particularly since Pain of Salvation are a Swedish band. Despite being ten years old now, this album sounds like it was conceived yesterday.

8. Enslaved ~ Below the Lights [2003]

Enslaved's Below the Lights is unbelievably underrated. It marks the album that pulled the band out of their unsuccessful experimentation phase. Muscular Viking metal passages are twinned with thoughtful progressive metal moments. The black metal elements are slimmed down but add a level of viciousness unattainable by the other aforementioned metal subgenres. It's a sublime release with picturesque imagery and beautiful exploration not frequently associated with black metal; the introduction to 'Queen of Night' is perfect. The clean vocals are very appropriate for the guitar tone and although they are indifferent to the growls, the album would suffer without them. Some may consider this Enslaved's selling-out moment but this release just encourages black metal bands to think beyond the confines of '90s black metal.

9. Freak Kitchen ~ Organic [2005]

It seems surprising that there aren't any other bands like Freak Kitchen (at least that I'm conscious of) but it could be due to their odd tuning, their musical wit and talent or the fact that people respect them. Generally considered playing a form of experimental hard rock, I will allow them in this list because they do have plenty of undeniably metal features and arrangements (not to mention an exclusive (prog) metal fanbase). Organic is the peak of their quirkiness (I'm currently excluding new album Land of the Freaks because I haven't given it a studious enough listen) and musical intelligence. Technicality is confined to the solos while the remainder of the song's body is built around unusual guitar employment. The solos have their own wacky sound that is the property of Mattias IA Eklundh exlusively. No one sounds like him. His vocals are perfect for a band like Freak Kitchen and on this album, bassist Christer Örtefors pitches in with vocal duties on 'Infidelity Ghost' with results to be applauded. The songs are outstandingly catchy and with the usual tongue-in-cheek lyrics, it is impossible not to fall in love with Organic. The only issue I have with Freak Kitchen is that for their experimental nature, they do not seem enthusiastic on experimenting with song structures a great deal. If it's not broken, don't fix it?

10. Joyless ~ Wisdom & Arrogance [2000]

Although Wisdom & Arrogance is not strictly a metal album, I will allow its inclusion for Joyless used to play black metal. Their second album is a massive departure from the melancholic black metal of their debut Unlimited Hate. Wisdom & Arrogance is like Lifelover's bipolar younger sister. This opus is hard to describe but it falls somewhere along the blurred lines of misanthropic depressive pop rock. Indeed it sounds like black metal musicians purposefully creating something accessible just to frustrate people (yes, this could also be the next Shining album). The title of the album could not be more appropriate in that way. There is far too much to say about this Joyless effort. Possibly its most striking feature is vocalist Ida Helleboe who has a child-like juvenile voice. In theory it sounds irritating but in practice it is perfect for this band. Melancholy, beauty and angst are carried off perfectly. The juvenile essence of her vocals make it seem like Joyless feel entirely helpless, beyond suicide. It is moody and bipolar, like a teenager. It is the male vocals of Olav Berland that take some getting used to on the final song 'Room of Velvet Splendour' but after enough spins, the song becomes as addictive and as beautiful as the rest. Somewhat like the adult apologising to you for their teen's misbehaviour but you realise that the adult and child are very similar. It is difficult to word Joyless but I suspect I shall be comprehensively discussing them in a later blog post. This is not the place for it. Mind-blowing album, nonetheless.

And the rest:

Another ten albums I thoroughly appreciated from this past decade are:

11. Lifelover ~ Erotik

12. Arcturus ~ The Sham Mirrors

13. Edguy ~ Hellfire Club

14. Opeth ~ Damnation

15. Putrid Pile ~ Pleasure in Suffering

16. Mystic Forest ~ Waltz in the Midst of Trees

17. Nevermore ~ This Godless Endeavour

18. Nunslaughter ~ Goat

19. Nile ~ Annihilation of the Wicked

20. Scythe ~ Decay

...of 2009

The end of 2009 has passed and my listening of new releases this year was worse than that of last year. Needless to say, this edition of 'best of' will be less wholesome than last years. I've altered some of the catergories to make it more economical.

Best Album

Dream Theater ~ Black Clouds and Silver Linings

Dream Theater apologise to their fanbase for releasing the poor Systematic Chaos in '07 by releasing Black Clouds and Silver Linings. Darkness meets heaviness in a convincing display of profound emotion. Lengthy numbers full of adventure ('The Count of Tuscany'), prog rock styled nostalgia ('The Best of Times') and themed frustration ('The Shattered Fortress'). The erratic solos have been considerably turned down with a focus more on overall composition as opposed to individual passages. Unfortunately, Portony's poor vocal efforts are around but are much less dominant than on their previous full-length. The songs are intensely visual and despite the remarkable duration of this album, it all sails by too quickly. Dream Theater are back. For real.

Honourable mentions: Porcupine Tree ~ The Incident; Putrid Pile ~ House of Dementia

Best EP
Lifelover ~ Dekadens


Sweden's finest DSBM band must be hard at work, with Dekadens following the recently released album Konkurs. Lifelover entreat the audience to a varied and uncomforable journey of solitude. From the sleek 'Luguber Framtid' to the dramatic 'Myspys' (with a rhythm that reminds me of Aura Noir for some reason) to the punchy 'Androider', this EP showcasing the band pushing their limitations further away. Can they ever disappoint?

Honourable mentions: Pain of Salvation ~ Linoleum; Victimizer ~ Ressurrected Abominations

Best Song
Dream Theater ~ 'A Nightmare to Remember'
The opener from Black Clouds and Silver Linings is one of the best songs Dream Theater have penned in a while. The song opens strikingly heavy, with a tinged gothic edge before creeping into sinister territory, unfolding an adventure. The heavy passages are juxtaposed with a peaceful and medical one rich in textures and haze. There is a lot to praise in this songs (and unfortunately, Portnoy's vocals are hell bent on tainting the ending). The instruments support each other with no painful contradictions. Nothing is too distracting or over the top. LaBrie's vocals are beautifully versatile, underscoring this track as nothing short of magnificent.

Honourable mentions: Porcupine Tree ~ 'Time Flies'; Megadeth ~ 'This Day We Fight'


Biggest Disappointment
Queensryche ~ American Soldier


I probably enjoyed this album substantially more than everyone else but it is still disappointing by my standards. I like Tribe and Operation Mindcrime II but this album lacks the dynamic nature of the latter and the moving creativity of the former. Most people detract this album for its patriotic American concept, but I can look past that. It's the music that disappoints me. The ballad is terrible - Tate's daughter should NOT be on this album. She is distracting and not a particularly decent child singer. The rapping depletes the album further as does the tedious 'modern rock', heavy guitar riffage as can be heard during the chorus of 'If I were King' - what is otherwise a commendable and memorable rock song. I can deal with Queensryche not wanting to continue to uphold the metal banner but just be intelligent about the creative process. There are some gems in this album but it's covered in a fair amount of embarrassment to wade through. How this band have fallen from grace. I still retain my faith in them though, probably because they remain one of my favourites.

Honourable mentions: Dying Fetus ~ Descend into Depravity

Best Cover Art
The 11th Hour ~ Burden of Grief

Maybe I'm simply being lazy and can't be arsed to check out other album art this year but this cover is amazing (unlike the album...). In fact, it was so good I decided to sketch the crow with decent results. You know precisely what to expect from looking at the cover and that's what good album art does. Unusual yet moody tones, smoky atmospheres, a stone clock with the final number showing 23, branches in Autumn and the centre-piece - a painted crow looking rather sinister. The glowing light makes it look somewhat less melodramatic, although the over the top nature of the cover can not be disputed. Having said that, death/doom metal is hardly reserved. The detail on the crow is profound and a marvel to stare at. The effect of the individual features is a success. The realism is so great that the textures shine right through. Artist Mick Koopman should be very proud of this effort and the band were more than lucky to be able to work with him.

Honourable mentions: Pain of Salvation ~ Linoleum; Diablo Swing Orchestra ~ Sing-Along Songs for the Damned and Delirious

Best Lyrics

Porcupine Tree ~ 'Time Flies'

Freak Kitchen probably would have stole this section but I can't find their lyrics online. Listening to them make me smile as they've updated their inventory with all the fashionable pop culture staples like Facebook, optical mice etc. But this behemoth of a track literally flies by because it's so astonishing. Lyrically, it's concerned with archetypal and personal prog nostalgia but the way their written adds a maudlin and cute quality to them. They just feel so personal and have some great metaphors like 'suburb of heaven'. Catchy stuff.

Honourable mentions: Megadeth ~ 'Endgame'; Katatonia ~ 'Forsaker'

Best Newcomer

Fleshgod Apocalypse ~ Oracles

Think death metal-era Behemoth but with intricate spurts of technicality and classical interludes thrown in for good measure. Fleshgod Apocalypse are a remarkably talented trio, releasing their debut Oracles this year. Coupled with a compelling live show, this band is certainly worth keeping an eye on in the future. Hopefully a follow up explores more territories and doesn't stagnate the mediocre tech death scene.

Honourable mentions: Kalisia ~ Cybion; White Wizzard ~ High Speed GTO

Best Live Show

Kampfar, Underworld, London, 16th February

I was overtly thrilled when Kampfar anounced their UK debut show, an exclusive London date with coheadlining band Vreid and support from Iskald. Fortunately, Kampfar were last on and Dolk was a tremendous frontman, the audience never taking their eyes off him. His growls were intensive and enduring throughout. The setlist was beautifully varied, showcasing rarities and favourites from all of their albums. Opening with 'Vantro' as their intro tape they launched into a full-on attack with 'Inferno' and never laxed their iron grip. The encore was 'Bukkeferd' from their debut, which was surprising. Such a shame the audience did not react so enthusiastically and predictably 'Ravenheart' was the track greeted with the best ovation. People ruin the metal shows but without them, they cannot exist. Anyhow, these Norse pagans are lined up for Hellfest this year and I hope to be in attendance. I can imagine Dolk shining in an open air environment.

Honourable mentions: Putrid Pile, The Gaff, London, 1st July; Dream Theater, Manchester Apollo, Manchester, 9th October

Best Festival

Hellfest Open Air 2008, Clisson, 19th ~ 21st June

If I was to be calling this one based entirely on social factors, it would be awarded to Hard Rock Hell but based purely on line up and organisation, than France's premier metal festival reigns victorious again. Pulling out a line up that particularly excited the prog factor in me with Dream Theater, Queensryche and Pain of Salvation (all in one day) among others, I couldn't lose. Add in New York death metal favourites of mine Skinless and Immolation, along with bands who avoid London like Aura Noir and Manowar and this festival had me sold. I'd never see Motley Crue perform live because they are so poor but being one of my favourite bands and at the festival, I could watch them headlining without exclusively dropping a large sum of money to see them. I thought it would be impossible to top last year's line up, but I was indeed wrong. The festival itself ran smoothly despite the surge in numbers. Socially, it was hit-and-miss thanks to the conclusion of my two year relationship (avoid doing weekend long festivals with your ex and said ex's object of jealousy) but a great weekend of metal was not ruined by social politics. I talked to more people this year and yes, festivals surely due attract the mentally-touched metalheads in armies. The line up for 2010 so far looks stunning (Kampfar, Sabaton, Freak Kitchen, Urgehal and more) and has effectively confirmed my attendance. I suspect this time next year, I'll be listing Hellfest as festival of the year again.

Honourable mentions: Bloodstock Open Air, Catton Hall, 14 ~ 16th August; Hard Rock Hell III, Prestatyn, 4th - 5th December

Best Discovery

Forced Entry (US)

This year I discovered plenty of new bands I'd never heard of before but the best of these were Seattle's Forced Entry, a thrash metal band who formed in 1985. I discovered them via Metal Inquisition at the start of last year and was interested in the idea of technical thrash metal. Their second album As Above, So Below from '91 is incredible. It's technical thrash metal without being progressive such as bands like Atheist, Cynic, Anacrusis etc. They have their own particular style with angular riffs, well-timed pinched harmonics, amazing audible bass lines and their own style of thrashy vocals. The lyrics were usually intelligent (especially for thrash metal) but the band never took themselves too seriously, penning such party tracks as 'How We Spent Our Summer Vacation' and 'We're Dicks'. Unfortunately they only released two albums and one EP before being overpowered by the grunge movement and were coerced into splitting up after a flood of issues out of their control. It seems a travesty that bands like Sacred Reich made it (sort of) whilst Forced Entry are condemned to complete thrash metal obscurity, despite doing something creative and intelligent. What's worse is the contemporary thrash metal revival, spearheaded by such trite and unoriginal bands like Evile and Municipal Waste who rehash old ideas from thrash metal's heyday and consider themselves mind-blowing. Forced Entry need to reunite and bring real innovative thrash metal to the world. I truly believe they are metal's most underrated band and I listen to all the metal subgenres profoundly. I pray they will reunite this year, as they once did in 2002. They rereleased As Above, So Below last year so you never know. They're so compelling that I dedicated my Summer to them. This band is proof that there is no justice in the world. They truly deserve to be making a living off their music.

Honourable mentions: Internal Bleeding; Joyless

~~~

And that's about it. 2009 was a decent year of metal but I never got round to acquiring all the releases I so desired. Last year was a particularly busy year and I just didn't have the time. Hopefully 2010 will be less hectic and I can satisfy my desires. Already planned for release this year are the new Sabaton, Scythe, Nevermore and Dream Evil. Hopefully the live scene will be just as good, if not superior.