Top-10 Best Metal Records of 2016

Today's the day! I'm doing my personal top-10 list of the ten very best metal records of 2016, plus a bonus mention section of those contestants who didn't make the list. Before we start I would like to briefly summarize the year as a whole down below.

2016 has been a very action packed year to say the least. Lots and more lots of metal records coming out this year. In fact, I've had a strong feeling this year's been more productive than the past few years. Something that's been particularly present for metal records this year, I think, is hype. It just seems like 2016 has been a very dedicated metal year.

Lots of people have also been saying it's been a great 30th anniversary year for thrash in particular, whereas 1986 was argubly the best year in thrash history. Many of the bands that released great albums in 1986 have also released great efforts this year, according to many thrashers and metalheads out there.

Personally, however, I've been standing at the crossroads all year. There's been so much coming out this year, including some personally anticipated releases, but I just kind of feel like most of the stuff left more to be desired. That's left me very confused to say the least. On one hand I've got this really rich metal treasure, but on the other hand there aren't really any real treasures in the chest. Do you catch my drift?

Some of the records that came out this year, some of which have even been majorly anticipated by the common metal scene, have simply left me so unimpressed I kind of thought they sucked. Another truth I feel should be told is the year's rather slow start. Yes, a lot of records this year were planned for release later during the year, making the first bunch of months this year particularly uninteresting to me. That, in turn, also left me somewhat uninterested in checking out more new music altogether as the year progressed.

With all that said, maybe the first few months disappointed me so much that my own hype/interest just got "drained". I dunno. What I do know, however, is that I didn't discover nearly as many new records as I should've done because of that. So to all record labels: please plan your releases somewhat more strategically month by month, rather than "nah, we'll drop 'em all this summer."

2016 to me personally has unfortunately been a rather "boring" year for metal, despite a lot of releases including some major names. But here's ten metal albums which left the most marks with me personally:


10. Exumer - The Raging Tides 

One of the best thrash albums of the year, if you ask me. I just love their debut, "Possessed By Fire", which was originally released in 1986! They've now done four albums in total (two in their original run, two since reforming). This is the best one since the debut.


9. Khonsu - The Xun Protectorate

Never heard of these guys before. I happened to stumble upon them as the cover art drew the attention of my eyes, as I'm a solid sci-fi fan. Turned out it was one of those great stumbles. While I'm not entirely sure as to what label these guys as (fuck strict labeling anyway, really), they're along the lines of ... progressive black metal? Whatever, their shit kicks dicks. They actually remind me a lot of a Czechian group called Gorgonea Prima which I really like. A lot of stuff going on here.


8. Amon Amarth - Jomsviking

At first I was rather unimpressed with this one, just like with their previous album "Deciever Of The Gods" (2013), just like so many other fans. As the year has gone by, however, this one actually grew on me a lot. It's definitely the biggest grower of the year for me. I think it's still got a few flawed tracks (including a collaboration with Doro) but also a few epic gems, and those are exactly what I love about Amon Amarth.


7. Fallujah - Dreamless

One word: atmospheric! You know, I was skeptical about this one seeing as I was not really a fan of their sound prior to this one, but lo and behold: this one has some truly amazing soundscapes going on. At times it's progressive metal with jazzy-like guitars and at other times they just rock a U2 kinda vibe (yes, I'm a U2 fan. I love U2). Perhaps the biggest surprise record of the year? Very possibly so.


6. Lucifer's Hammer (Chile) - Beyond The Omens

Okey, so the name is a blatant rip-off from an old legendary band, but if you (can) look past that you'll have yourself a mighty fine heavy metal album right here. This one's one of the absolutely best NWoTHM releases this year, much in the vein of old Maiden, Satan, Angel Witch and other lovely bands from back in the day.


5. Eternal Champion - The Armor Of Ire

This one appeared to me through Blake Ibanez whose work I'm very familiar with (and a fan of) from the Texas hardcore-thrashers Power Trip. This band plays old school (epic) heavy metal. I'd say their spirit/feeling is reminiscent of Manowar while the music is perhaps more towards early Savatage, Manilla Road and Omen. A mighty fine and refreshing old school-influenced release in this day and age of metal, and also a proof that some Americans can still crank out some good ol' heavy metal. The only downside is the album's somewhat short duration - six songs and two instrumental pieces. The biggest upside - I want more!


4. Cauldron - In Ruin

I've always been a somewhat casual fan of Cauldron. They're good but not awesome was what I used to think about 'em. Their previous album "Tomorrow's Lost" (2012) was a real solid album, though. Somehow I never thought they'd do another one like it, why that was I dunno, but four years later they actually returned - and topped it! I was very impressed with this one. The songs are stronger, more energetic, there's more melody and the vibe brings out just about everything I love about 80's heavy metal.


3. Sumerlands - S/T

And the biggest heavy metal bomb of the year is none other than the mighty Sumerlands. A relatively new band, also featuring Arthur Rizk who also plays on the Eternal Champion record. I guess the guy knows his shit like a real pro, making two of the top-5 best records of the year. Without a doubt the guy is the future of metal. This album sounds like a great mix of 80's solo-era Ozzy Osbourne with a touch of Dio (band) as well as Dio-era Sabbath. Further add some Queensrÿche, Savatage and Van Halen into the mix and you've got Sumerlands. The production is also really nice, warm and old school sounding without sounding too clean or too cheap. The best heavy metal album in a long time.


2. Death Angel - The Evil Divide

These dudes together are one of my favorite bands these days. Their last three albums including this one are all killer! While I think I do prefer their previous album slightly more, the ultra-thrasy "The Dream Calls For Blood" (2013), this album's definitely as good as a great follow-up gets. The music is a lot more varied on this album, which I also believe is one of its strongest features, but it also takes the cake for being the best thrash I've heard all this year. I don't think there's any other record from this year which has spun more times than this one. Gongrats guys, you officially won the "thrash of the year"-award from me.


1. Devin Townsend Project - Transcendence

And winner of the year is...*double bass-blast and tom-tom roll attack*... DTP! I'm a long-time fan (for my age) of Devin's and I love a lot of the man's musical work. His last few releases, however, have been somewhat ... less interesting, I think. Particularly "Epicloud" (2012) is an effort I found quite uninteresting and it made his music sound somewhat stuck in a rut, maybe? I wasn't really expecting too much from this album to be honest, but when I finally heard the thing I was blown away! This is truly one of Devin's finest hours (and he's got quite a few) and I absolutely love the "celestial sounds" which dominate this album. The songs are huge, epic, beautiful and together they just make one hell of a musical journey. Congrats Devin and DTP - you are the album of the year!

• Bonus: Noteworthy mentions and opinions of albums that did not make the list...

DevilDriver - Trust No One

I really liked "Winter Kills" (2013) unlike most fans who seemed not to. This album, however, left a few things to be desired. A bit too safely played and also a bit too repetitive, perhaps? But for being the first album by a whole new line-up, it's pretty solid. The previous album brought more variety to the table. A few great tracks are to be found (particularly "For What It's Worth"), as well.


Testament - Brotherhood Of The Snake

Back in like 2010 or so, I kind of worshipped (old) Testament. They're one of the greatest and most important thrash outfits of all time, but their past three albums have all been kind of "meh" in my opinion. This one didn't really disappoint as my expectations were relatively low, but on the other hand did it not do well in surprising me either. What it did do, however, was making me appreciate "Dark Roots Of Earth" (2012) a lot more (in comparison). It's something, I guess.


Tygers Of Pan Tang - S/T

I still haven't heard this in its entirely yet (I think), but what I did hear so far sounded solid. I'm happy they're still around and rocking.


Hatebreed - The Concrete Confessional

I liked this one a lot but I just don't think it's a top-10 contestor. Best album they've done in a while, though.


VOLA - Inmazes

Don't think I've managed to go through this whole thing yet. It's a bit too djent-y for my taste so I take it in bits and pieces, but it's got some great soundscapes going on which makes it worthy of listening to.


Meshuggah - The Violent Sleep Of Reason

What can I say? Just another Meshuggah album. Nothing more, nothing less.


Vektor - Terminal Redux

People have gone apeshit over this one but I personally just don't hear what's so great about it. "It sounds like Coroner". Hey, I love Coroner. This does not sound like Coroner! Maybe someday, though.


Destruction - Under Attack

I do like some of Destruction's works, both old and more recent, but this one was rather bland.


The Browning - Isolation

Like the case with Meshuggah - just another Browning album. Also somewhat arguable if it's really metal or not. I enjoyed it nonetheless. Just nothing extra ordinary about it.


Vicious Rumors - Concussion Protocol

The same case again - just another Vicious Rumors album (but it's good).


Metallica - Hardwired...To Self-Destruct

I've seen this on several lists already (no wonder). Some first spots as expected as well, 'cause it's Metallica after all, you know? But in all honesty though, when they announced this I didn't know what to expect. I liked "Death Magnetic" (2008) but it wasn't awesome. However, I do think they did a solid one with this album. A few tracks are kind of "meh", but some others are really nice with a good variety, and Thrash(y)tallica is always nostalgic and welcome to me, so...yeah.


Megadeth - Dystopia

I liked "United Abominations" (2007) a lot, and you know what? It was the last Megadeth album I liked a lot. This one is better than the previous two crappy outputs by MegaDave, but way overhyped and not nearly as good as all the fanboys make it out to be. The title-track was the best Megadeth song in years, though. Love that one!


Anthrax - For All Kings

Most disappointing album of the year for me. It just sounds boring to my ears. And for fuck's sake, can the new lead guitarist try to at least look happy on stage once in a while. The guy always looks like he despises being in the band. Joey sounds great, though.


Revocation - Great Is Our Sin

A solid release but they've done better ones. This one simply didn't make the list.


Denner / Shermann - Masters Of Evil

The first full-lenght release from these Danish guitar masters in quite a while. A satisfying album no doubt, but it does fall somewhat short in comparison the duo's previous works (I guess mostly because the vocals - we all want KD, obviously).


Oceans Of Slumber - Winter

This one's the coolest modern female-fronted metal I've heard in quite a while. Why didn't it make top-10? I guess I just enjoyed the actual top-10 a bit more.


Khemmis - Hunted

It's been many years since I last had a something of an interest in doom metal. Don't ask me why 'cause the riffs and sound are usually crushing, but I guess the slow tempo just bores me too much in the long run. You know, I'm a huge Black Sabbath fan so that's pretty much all the "doom" I need. I used to be a big Candlemass fan back in the day as well, but I haven't listened to them for ten years now. These guys, however, actually made doom metal kind of interesting to my ears again.



There are tons and tons more of metal records released this year. I haven't gone through an ounce of them all yet. If a record wasn't mentioned it's because;

1. It simply blew.
2. I forgot about it.
3. I haven't heard it at all.
4. It wasn't anything particular or noteworthy in my opinion.

I hope you enjoyed the list!

Cheers!

My Top-10 Death Metal Albums Of All Time

It's time to my top-10 list of my personal favorite death metal albums ever! Just like the other two lists before this one, I'm just gonna choose one record for each band that will represent the best of that band specifically. Here goes...

#10: Bolt Thrower - The IVth Crusade (1992)

Bolt Thrower will start off this list with the last spot. There were many bands and albums battling for this spot, but I guess BT just had a great artillery at the end of the day. I really dig their made-for-combat death metal sound, even though it tends to get somewhat repetitive, but I just couldn't deny them a spot on this list. Choosing a favorite album of theirs was no easy task either. Ultimately I came to the conclusion that this one is one of their more varied albums, including some doom-y influences to make their sound even more heavy. Think like if Black Sabbath made death metal. Well, that's kind of it, I think. This album is just shit-heavy fucking death metal perfect for fighting!

#9: Amon Amarth - Twilight Of The Thunder God (2008)

One of the "newer" (still old, actually, just a late bloomer) Swedish DM bands that has really become one of Sweden's biggest bands of the past ten years, Amon Amarth is a very nice and heavy answer on Sweden's Gothenburg death metal sound. While I never was quite a fan of Gothenburg bands like At The Gates or Dark Tranquility, AA really is something else. It's like they combine the Gothenburg melodies with the heavy approach of the Stockholm scene, which I really like. There is no other record in their discography that I think does this better than this one. This is an almost flawless metal album with many great songs that surely will get you headbanging. The band also manages something on this album, that I probably have to admit that no other death metal band ever has managed, and that is the inclusion of the closing-track "Embrace Of The Endless Ocean". I truly believe that it might be the most epic and amazing death metal song ever recorded.

#8: Carnage - Dark Recollections (1990)

Pretty much a hybrid record combining the sound of early Dismember and of what Carcass would become very soon. Featuring three members of Dismember as well as band founder and future Carcass and Arch Enemy, guitarist Mike Amott, this album is essentially a Dismember record with a strong Carcass '89-'91 era influence. Many of the songs even are old Dismember tunes that appeared on their demo-tapes back in the late 80's, and the sound is very obvious. This album also makes use of the legendary buzz-saw guitar sound that Dismember had used, but as Entombed had just put out "Left Hand Path" short before this one, that one got all the credit. Carnage eventually went on pretty unnoticed, as the band had already split-up by this album's release, due to Mike Amott joining Carcass (well fitting, though). The other guys quickly reformed Dismember and the rest is (great) history. But this album still is here, having caught the attention of death metal enthusiasts like me, and it's a damn good record. While the band splitting up paved the way for two of the best outcomes ever, it would've been fun to hear what else they could've put out.

#7: Unleashed - Odalheim (2012)

These Swedes were the first and true death metal vikings. Any fan of Amon Amarth should really give these guys some fucking cred - they're the old school, real deal kind of band. This is also really the only death metal band, at least in Sweden, that really manages to put out even greater records nowadays, than they did back in the death metal heydays. That's saying a lot. The only other band could possibly be Grave, but I'm not sure. At least no other Swedish DM band manages it. Unleashed has just gotten better with each album released in the last, like, twenty years. This album is my favorite of theirs, and their most recent one! That is not a bad achievement!

#6: Benediction - Transcend The Rubicon (1993)

A band whose sound is pretty similar to Bolt Thrower, but with more variety (though BT has made more records of great quality than Benediction has), this album is a raw, high-energy output. It's got some great riffing that fucking rips you apart. They do kind of a melodic yet raw approach to their riffing style, with some pissed-off drumming accompanied to it. The bass is also audible, even if not really as forthcoming as the other instruments. It's a well-balanced album and the songs are essentially very riff-oriented. I usually put this one on when I feel like doing some angry death metal air guitar.

#5: Carcass - Heartwork (1993)

Without a doubt Carcass' most melodic release, to my ears at least. This might come as an obvious choice, but hey, it's a fucking great record. This is very the band truly hit the spot-on button in the studio. I really like how this album is like death metal discretely flirting with stoner metal, really bringing forth a heavy-oriented side while maintaining the brutality and melody from their earlier death metal albums. I also really dig the production on this album. It's so clear yet raw and heavy, just a perfect balance and every instrument is audible and clear - rare for a death metal record. Just a masterpiece, nothing less.

#4: Entombed - Left Hand Path (1990)

My introduction to death metal. I remember putting this record on and instantly being blown-away during the opening. It was just so crushing and brutal, so spot-on what I needed to discover at the time. This is the first official release with the legendary Swedish buzz-saw guitar sound, and damn if I didn't cum my pants when I first heard it. Just is just some pure, hardcore-punky death metal that will crush your spine and neck because you will headbang too hard. It was a perfect introduction to the genre.

#3: Nocturnus - The Key (1990)

This is one of the most interesting metal records ever made, as well as pioneering. From what I've heard, this album, or band at least, is the first death metal band to make heavy use of keyboards in their music, and the result is phenomenal! This is very much a typical Tampa death style, very Morbid Angel (even containing former MA drummer/vocalist Mike Browning), records with great, atmospheric keyboard intros and supports throughout. The songs are great as a whole, too. The only thing really lacking with this album would be the somewhat primitive drumming. The bass drumming is rarely real solid, but I guess that's because they recorded it all live on tape, with Mike Browning being a little distracted while singing at the same time as drumming. I don't know. But nonetheless, this album is fucking killer! The best out of the American Tampa scene.

#2:  Septic Flesh - Mystic Places Of Dawn (1994)

This is an album that I discovered many years after I first ventured into death metal, but I'd be damned if it didn't struck me down with its huge, epic, melodic, and Gothic atmospheric sound. It's 99.9 % perfection here, the only slight miss being the use of a drum-machine. But it's one of the best-working (most acceptable) ones I've heard accompanied to the music it's serving. These Greek guys really know what they're doing on this album. An overseen masterpiece!

#1: Dismember - Like An Ever Flowing Stream (1991)

This one is the true one, my one true love of death metal. No other record of the genre, and not many other records in music overall, have meant as much to me as this one does. This one is like one sexy chick - it's got that fat, Swedish Sunlight Studios production, with them fat buzz-saw guitars (my favorite guitar sound ever), live-like drumming, and neat fucking riffs. On top of that is some creamy, melodic guitar soloing, which I just love. The album cover really suits the music perfectly as well. It's just as sexy as the music it's containing is. An immortal classic. One of my most precious records in my collection.

Dismember - A Swedish Death Metal Story

Dismember were a Swedish death metal band, quite a legendary in the genre as well. When death metal fans speak of Swedish death metal, which usually is considered split-up on two different scenes - the Gothenburg scene / sound, and the Stockholm scene. Dismember were from Stockholm and formed in 1988. Unfortunately, they called it quits in late 2011, before I ever had the chance to see them live. Or chance or chance, as I am Swedish, I guess there were at least a couple of occasions where I could've attended, but I probably didn't have the cash, ride or whatever just then. It fucking sucks, big time.

Dismember around 1991-1993, the "classic" line-up, from left to right ...

Matti Kärki - Vocals
Richard Cabeza - Bass
Fred Estby - Drums
David Blomqvist - Lead guitar
Robert Sennebäck - Rhythm guitar

Beginning as teenagers in the rising death metal underground scene during the late 80's, Dismember were along with Nihilist and the grindcore act Carnage, some bands to form the Swedish sound of death metal, particularly the Stockholm sound with its trademark buzzsaw guitar sound and heavy approach, rather than the ultra-melodic Gothenburg scene. After a couple of well-known demo tapes each in the tape-trading universe, both Dismember and Nihilist split-up in 1989. Nihilist's split was done because they had fired their bass player, Johnny Hedlund, who would form another important band in Unleashed. David Blomqvist was briefly a member in Entombed, being credited as the bass player on the band's last demo before their debut, though he didn't really play on it. Later on he, along with Fred Estby, would join Carnage with future Carcass and Arch Enemy guitarist and leader Michael Amott. They did one album which was released in 1990 called "Dark Recollections". While the album didn't achieve too much attention, maybe because the band broke up before it was released, and being in the shadow of Entombed's legendary and groundbreaking "Left Hand Path", it has gone on to have a cult following of dedicated fans of Swedish death metal.

After Carnage split, David and Fred, along with Carnage growler Matti Kärki, reformed Dismember and released their last demo tape in 1990. In 1991, the now full band recorded and released its legendary debut album "Like An Ever Flowing Stream" (due to a misspelling error, there are different versions with "Ever Flowing" being written as one word, as well as having a bar in between, as without). The album would go on to create debates whether it was Entombed or Dismember who "ripped off" the other, particularly the guitar sound. It would also gain media attention for the song "Skin Her Alive" in England, where the errand was even brought into court. There the band's music was called "indecent and obscene".

In 1992 the band released their debut EP in "Pieces", a release which saw a very raw sound with very much distortion, as well as a graphic cover art showing the band's beheaded heads tied together in their hair, making the same shape as that of a pentagram. It was successful and also included "Soon To Be Dead" from the debut album, which had been granted a music video. In November and December, the band went back into the legendary Sunlight Studios to record their second LP. This time around they used their media attention and decided to name the album "Indecent & Obscene", which was released in 1993. The album brought yet another graphic cover of a man's body whose stomach has been ripped open, and on top of all bloody intestines lies a Dismember belt-buckle. The album was another great success for the band and produced a video with the song "Dreaming In Red" that received heavy rotation on MTV's Headbanger's Ball. The band went on a worldwide tour in support of the album.

In 1994 the band began work on their third album. As time had passed on, things had changed in the death metal scene, particularly the Swedish "commercial" scene. Entombed, always being the kings, had in 1993 released their third album "Wolverine Blues" which had changed in style. The speed was gone and instead the the music was more swinging, yet very heavy. That album would create what fans call "Death 'n' Roll", which path Entombed has pretty much continued on since. With it turning into a hit album, for the death metal genre at least, Dismember's record label Nuclear Blast wanted Dismember to walk the same path - make a commercial record.

Dismember released another EP called "Casket Garden", which was the new album's lead single. It was granted a video and became a minor hit as well. The album, 1995's "Massive Killing Capacity", saw Dismember walking very much in the same direction as Entombed had done two years earlier. If there were any debates in the early days about who ripped off who, this was certainly not a good proof in favor for Dismember. The album was well-received, though reactions were mixed amongst the fans, just as it had been with Entombed and "Wolverine Blues". Sound-wise, Dismember kept its new direction more true in sound to their older material, with the riffs being clearly trademark Dismember riffs, and mostly the tempo / drums being the big change.

In 1997 the band would return to its original death metal sound, releasing an EP called "Misanthropic", whose title-track would act as the lead single for the new, fourth full-length album simply called "Death Metal". Nuclear Blast did not like the decision to go back to the old sound, even if it was now more melodic than before, taking large influences from the Gothenburg sound. The band also saw a new big change in the band with rhythm guitarist Robert Sennebäck leaving, apparently to be more with his family. The bands new tour in support of the album also wasn't very successful, with Nuclear Blast pretty much doing nothing to promote it nor the album. With many things suddenly going down the shitter, and death metal overall losing its popularity, bassist Richard Cabeza ultimately gets tired of the whole business and leaves in 1998. Now having lost two original band members, the remaining guys lay low for a while.

In 2000 the band returns, with a vengeance. The band have now recruited new guitarist Magnus Sahlgren as well as hired Sharlee D'Angelo as a studio musician, for their new album. Being pist of at Nuclear Blast and wanting nothing but their contract to end, they release their last record for that label, which they in tribute to the label name "Hate Campaign". Failing to create much fuzz around it, as well as getting mixed opinions amongst the fans, the album isn't a great success and the band finally gets dropped by the label. The band keeps touring and recording material for what will eventually be their debut live release, a concert DVD entitled "Live Blasphemies", released in 2004.

Over the years from the band's last album to the live DVD, some things have changed in the band again. Magnus Sahlgren has been replaced with new guitarist Martin Persson, who splits the lead duties with original guitarist David Blomqvist. Richard Cabeza has also returned as the bass player for the band. The band having signed a new record deal with Karmageddon Media, release their returning album in 2004 as well. The new album, entitled "Where Ironcrosses Grow" is a return to the band's quality song-writing and the album is acclaimed by the fans. However, things are soon to change once again. With bassist Richard Cabeza being married to an American woman, Swedish immigration won't let her stay and distance issues start to occur. The band ultimately has no choice but to replace him, adding Johan Bergebäck to the line-up, however, he leaves the following year.

Without a bass player, the band starts working on their next album in 2005. David Blomqvist and Martin Persson handle the bass guitar duties for the album. In 2006, the band's new album "The God That Never Was" is released, to critical as well as fan acclaim. The album continues to grow from where the last album left off, taking up more high speeds and brutal influences, and ultimately becoming the bands most furious work. In preparation for the tour, the band adds new bass player Tobias Cristiansson to the ranks and the band goes out on tour. In 2007, a new big change awaits the band as original member and drummer Fred Estby decides to leave the band, so that he can be spending more time with his family instead. The band replace him with Thomas Daun, whose drumming is somewhat tighter and more strict than Fred's trademark free-drumming.

In 2008 the band announce their upcoming eighth full-length album, which is unnamed, or simply called "Dismember" / self-titled. The album drops some of the speed and aggression from the last album in favor of more melody and the album is yet another well-received release. The album's production duties are also handled by Entombed's then bassist (now current guitarist) Nico Elgstrand. The band goes out on another worldwide tour with lots of festival appearances. In 2009 they also release their second live DVD called "Under Blood Red Skies". The DVD includes a concert where they play "Like An Ever Flowing Stream" in its entirely, as well as a bunch of other songs.

After 2010, not much is heard from the band and its activities. With fans worldwide lunging for a new album, the only thing that is delivered is an official statement in October 2011 by bassist Tobias Cristiansson ... "After 23 years, Dismember have now decided to quit. We wish to thank all our fans for your support." And so there was the end of Dismember, a band that helped pave the way as well as create the Swedish death metal scene and sound. While they weren't the biggest death metal export out of Sweden, they sure were the second or third largest.

 

Dismember's last line-up in 2008, left to right ...

Tobias Cristiansson - Bass

Thomas Daun - Drums

Matti Kärki - Vocals

Martin Persson - Guitar

David Blomqvist - Guitar

Dismember to me has meant a lot. I started listening to death metal in 2007, and while that maybe ain't that long ago, those six years feel like a pretty long time for me. I have grown from a horny teenager to a ... horny dude. No but seriously, a lot has happened during that time, many things and phases in music to go through, pretty much a new one per year. 2007 certainly was my "death metal year", where I discovered all the bands and started listening, loving the music. While I never stopped listening to this music, it sure got somewhat in the shadow of the other styles I discovered, and as I said, the phases I went through. I was reading in some number of the Sweden Rock Magazine, I think it was in 2005 already, and Fred Estby was talking about their new album "The God That Never Was". There was also a conclusion of all their albums, with ratings of each one and some comments, so I checked that out and so one. Then what started it all was a history lesson, "the hard rock history, year 1990" I believe. They talked about how the Swedish death metal was commercially set free that year with Entombed's "Left Hand Path", which also became the first death metal album I bought. During the same time, I also discovered Dismember (I loved their logo!) as well as Unleashed, and I like Dismember the best out of all death metal bands on earth. I became somewhat of a freak about Dismember, I really listened to them a lot! I'm just very thankful for the great music they put out during their career, and I was saddened to see them quit so soon, but at least they did it with a good last album.

Thank you Dismember, for truly opening up my heart to death metal, literally change my life, and giving me countless hours of great music listening!

Death Metal inspired photo session

My homeboy Big D(ee) and I were out yesterday and took some photos around the city. In 2007 we had a massive year of death metal wankery, and this year it's come back. For how long, I don't know, however. But we decided to do something about it while it's "in action", so to speak, so here are a couple of photos I think turned out quite nice.

Also to state is that we pretty much "exclusively" listen to our kinsmen's brand of death metal, particularly the Stockholm death metal sound. We are also in the works for a tribute video to our favorite band of the genre - Dismember.

Here are the results, some melancholic, with varying weather of both snow and rain.

This one is just us doing a classic and cheesy death metal pose with our hair covering our faces.

 This is I at place where we took "death metal photos" in 2007.

Daniel outside of one of our two main / biggest churches.

Me outside the same.

 The graffiti says "Döden föder", which is Swedish for "the Death gives birth".

Me with the same graffiti.

Daniel at the other church of our two main ones.

And of course I, outside the same one.

Another cheesy and classic death metal pose, here with Mr. Slaughter Lord Rabbit.

 

And finally Mr. Slaughter Lord Rabbit and I rolling together.