25) Ritual Hymns, Worm Shepherd (Bandcamp)
I wasn’t sure quite what to expect out of Worm Shepherd, but the album cover and title had me intrigued and, honestly, the opening of the title track really had me intrigued and primed for some epic metal. However, Ritual Hymns quickly establishes itself as a very heavy death metal album, which isn’t a bad thing by any means, but it’s less interesting than the epic, moody, atmospheric metal that the title track hinted at. If you’re into death metal then there are some decent tracks here but it’s very heavy and punishing and I lost most of my interest as the album dragged on.
24) Days of the Lost, The Halo Effect (Bandcamp)
The Halo Effect are made up of ex-members of In Flames, which is not a band I’m really familiar with, but you can feel their collective experience here on their debut album Days of the Lost. There’s a level of polish and confidence on display here, with an epic, melodic death metal sound that reminded me a lot of Dethklok. It’s very well-made and makes for a good listen, with no tracks really standing out as poor, but on the other hand the whole package lacked that extra bit of “special something” which pushes it from good to great. I could very well end up liking this album a lot more in future if it grows on me with repeat listens, but at this juncture Days of the Lost feels like a good starting point in need of a bit more distinct flavour.
23) Rashomon, Ibaraki
Going into Rashomon I had absolutely no idea what to expect. All I knew was that this album had a really badass cover and it was a metal album, that’s it. Turns out that Ibaraki are basically a rebranded version of Trivium where Matt Heafy leans into his Japanese heritage. Despite the Japanese influences, Rashomon still basically sounds like a North American heavy metal album, which is fine but I was hoping for something a bit more interesting. Highlights for me would be “Ibaraki-Doji”, “Jigoku Dayu” and “Ronin”.
22) Dawn of an Eyeless Realm, Xenotheory (Bandcamp)
I’m a simple man, you put a xenomorph on your album and I’m going to check that shit out. Dawn of an Eyeless Realm is only really going to appeal to you if you’re looking for some extremely heavy death metal with a few samples from Alien and, for some reason, The Fellowship of the Ring thrown in, but I really dug it. I may be being a bit generous putting this album so high up the list considering that none of the tracks stick out to me individually, but as an album I could just put on to vibe for ~40 minutes this is a great listen.
21) Zeit, Rammstein
One of my friends was really into Rammstein in high school so naturally I got into a lot of their stuff as well. That said, I haven’t really kept up with their music since then so I’m around 15 years behind on their music, so I wasn’t entirely sure what I was going to get out of Zeit. For better or worse, Zeit is very much the Rammstein I was familiar with, the exact same industrial metal sound and Till Lindemann’s velvet vocals. There’s some stuff here that holds up amongst the best of Rammstein, my favourites would be “Giftig” and “Angst”. Zeit is happy to remind me though that a lot of Rammstein’s songs are cool because they’re in German and I can’t understand them, but if they were translated and sung by someone else they’d be extremely silly. This is best demonstrated by “OK” (abbreviation of a German term for “Without a Condom”) which is about getting fucked, and “Dicke Titten”… which is literally “Fat Tits” and is about a loser whose only wish is for a wife with big tits. All-in-all, it’s Rammstein and it’s solid although the fact that they sound basically the same as they did 15 years ago makes me somewhat concerned that they haven’t evolved at all.
20) Requiem, Korn
Korn have really turned their fortunes around in the last half decade. Even in their hey-day they didn’t get a lot of respect, but the one-two punch of The Serenity of Suffering and The Nothing have established Korn has one of the best mainstream rock/metal bands in the industry. In particular, The Nothing silenced a lot of critics as it came off of the very public suicide of lead singer Jonathan Davis’ ex-wife, causing a lot of people to re-evaluate that, yeah, maybe there’s a reason why Korn have always been so depressed. Requiem is an appropriate follow-up to The Nothing, it feels like Korn are grappling with the emotions that come after a period of suffering. This makes Requiem, weirdly, one of the most hopeful albums Korn has ever released. Several tracks, such as “Let the Dark Do the Rest”, look forward to a better time while going through a period of depression rather than just wallowing in sorrow (“On and on, this lucid darkness is filling up my soul / And how can I be all alone here? / Constant ridicule / And I just wanna go / And I just want to see what the future holds / Had a hell of a time, I’m suffering in / God my life was a mess / And I will never forget it haunting it / Let the dark do the rest“). However, the closer “Worst Is on Its Way” puts a bit of a damper on that hopefulness, as Jonathan Davis remembers that a period of peace is eventually going to be shattered with more suffering (which is pretty familiar to someone who struggles with cycles of depression).
Requiem has much of Korn’s sound, but most of their signatures, such as their heavy guitars and scatting are almost entirely absent. In fact, when they do show up on “Worst Is on Its Way” it made me realize that I had really missed these elements throughout the album. Tracks like “Lost in the Grandeur”, “Disconnect” and “My Confession” are certainly not bad, they just don’t stand out and they lack the bite that Korn had in The Serenity of Suffering and The Nothing, aiming more for a commercial-friendly rock sound that loses a lot of what makes Korn unique. It also doesn’t help that Requiem is barely over 30 minutes long, it comes and goes very quickly. All that said, Requiem is still a solid album, it just pales in comparison to Korn’s best work. It’s got the same sort of issue that Iron Maiden’s Senjutsu had for me last year: it’s not the first, or second, or third, or fourth, or fifth Korn album I’m going to want to listen to, but I expect that in the future I’ll give it a listen every year or two and enjoy it every time.
19) Atlas Ruinica, The Wise Man’s Fear (Bandcamp… they did not post any of the songs from this new album there though, much to my annoyance)
The Wise Man’s Fear have put out some of my favourite metalcore of the last decade and with the conclusion of their Codex Trilogy in 2020 I was looking forward to see where they would take their musical talents next. The answer to that was Atlas Ruinica, a new fantasy metalcore journey which would be released as a series of singles over the course of the year. It was an interesting distribution method for the modern era, but in practice this has been really annoying because they only released them to streaming sites and didn’t release a compilation version of the album. This means you have to track everything down individually, which is more effort than it really should be just to listen to new music from one of my favourite bands.
Anyway, all that out of the way, Atlas Ruinica is… basically just more The Wise Man’s Fear. That probably shouldn’t be too surprising, but after The Valley of Kings ended, I was hoping that their follow-up would be just a bit more different and interesting. Instead, we get more of the same, but lesser because it doesn’t have the same sort of weight and scale as the Codex Trilogy did. It’s still The Wise Man’s Fear, meaning that you’re still getting some solid metalcore/deathcore with a fantasy sheen, but I can’t help but feel a bit disappointed.
18) Skin & Sorrow, Frayle (Bandcamp)
Frayle are one of those bands that seem custom-built for me, being a witch-themed doom metal outfit. Going in I was definitely hoping for good things and Frayle left me very intrigued to explore more of their work in future. Unlike most doom metal bands I’m used to, Frayle is a female-fronted band and that lends an entirely different experience to their music. Gwyn Strang’s vocals are haunting and ethereal, reminding me a lot of Maria Brink’s “witchy” vocals on the last couple In This Moment albums. Musically, this is definitely doom metal, although Frayle aren’t afraid to get heavy and more energetic at times than most doom metal bands I’m used to listening to do. This is especially clear on “Treacle & Revenge” and “Sacrifant”, which are probably my two favourite tracks on the album too. That said, the title track is a good example of how Frayle will take a more standard doom metal sound and lend it a haunting energy through their vocals.
On the more negative side of things, the mixing on the album leaves the vocals lost at times and really difficult to understand, although this is probably an intentional, artistic choice so your mileage may vary on that. Some of the tracks can also feel a bit “samey”, but all-in-all I really liked Skin & Sorrow and will be undoubtedly checking out more of Frayle in future.
17) Hell Is Where The Heart Is Pt. I: Love, Pt. II: Longing & Pt. III: Clarity, OCEANS (Bandcamp)
OCEANS were probably my favourite new band of 2020 and, despite not making the top 5 of that year, I am confident that I listened to The Sun and the Cold more than any other album that year. Suffice to say that I’ve been eagerly awaiting a follow-up to see where the band would go… and, I have to admit, I goofed last year. Early in 2021 they released a handful of singles and I assumed these were ramping up for a full album, so I didn’t include them in the 2021 album rankings. However, by my own rules, I could have, because they ended up releasing them all in one collected EP, We Are Nøt Okay, before moving on to their next project. I feel particularly bad about this because that EP was great, the natural follow-up I’d been dreaming about and it would have easily cracked the top 10 on my 2021 ranking.
Anyway, that brings us to their 2022 project, Hell Is Where The Heart Is, which has been split into three different parts released over the course of the entire year (and which I have chosen to include here as one entry for simplicity’s sake). Each part represents a different stage in heartbreak and the songs and sound correlate to these themes. Hell Is Where The Heart Is is a whole other beast for OCEANS compared to what they have given us before, as they clearly are trying to experiment with their sound, for better or worse.
Pt. I: Love is, appropriately, very raw, heavy, emotional and, at times, straight-up vicious. The highlight here is definitely “Sulfur”, which sees OCEANS sounding very much like Iowa-era Slipknot (to the point where I had to look up if it was a cover; I know Slipknot has a song with the same name on one of their albums I don’t really like/am not very familiar with). OCEANS are brutal on this track, the energy they put out here is infectious.
Pt. II: Longing is a slower burn in comparison, more mournful and contemplative, although no less emotional. The highlight for me would be “Living=Dying”, which sounds uncannily like OCEANS meets early-era Korn and provides a shot in the arm at the end of the EP. Viewed on its own, Longing is a bit of an unremarkable release, but viewed as part of a whole it works well as the middle point between Love and Clarity.
Pt. III: Clarity is easily the strongest of the three EPs and gives this collection a really solid (if depressing) ending. “If There’s a God She Has Abandoned Us” starts out as a sombre piano track but builds up and gets heavier as it goes along. Easily my favourite track on the album alongside “Sulfur”. “I Sing Alone” and the title track don’t disappoint either, both being delightfully-heavy tracks which close out this collection on a strong note.
That said, easily my least-favourite parts of these releases are the spoken word interludes, which are so angsty that they wouldn’t be out of place on a 13 year old’s Tumblr page. They’re fine as mood-setters, but I’ve gotten in the habit of skipping them entirely whenever I listen to the EP because they just make me cringe.
It took a while to see the whole picture, but Hell Is Where The Heart Is is an interesting evolution for OCEANS. While I’m glad the band’s trying something different, I’m not sure if the results are better than what we’re familiar with from them yet. Hell Is Where The Heart Is is messier than previous OCEANS albums/EPs and the staggered releases has made experiencing each part feel lesser than if we had gotten to experience them all together (in particular this made Love feel slight and Longing feel a bit mediocre and disappointing). Now that we’ve gotten all three I feel much better about them as a whole but it has affected how I view them as a whole.
16) Heavy Pendulum, Cave In (Bandcamp)
Another year, another band I checked out simply because they had a cool album cover. Apparently Cave In have been making music since 1998 and this is their seventh studio album, but I don’t recall ever coming across them before now. Perhaps unsurprisingly, there’s a level of maturity and professional craft on display in Heavy Pendulum, as Cave In show off solid hard rock/metal track after track. “Blood Spiller” is probably my favourite of the bunch, but there really isn’t a weak song on the entire album. Musically, this reminds me a lot of Mastodon’s output during the mid-2010s, it’s uncanny just how similar the two sound. It can start to feel like it’s dragging a bit towards the end, but Heavy Pendulum is a solid album nevertheless and if you like Mastodon then I think you can’t go wrong giving Cave In a look.
15) Eulogy, Wolves at the Gate
Eulogy is fairly typical by metalcore standards, but it’s well-written enough that it manages to stand out. I think the biggest asset is how Wolves at the Gate balance the heaviness with the lighter moments, drawing out stronger emotional resonance in the process than if they went hard one way or the other. It also gives Wolves at the Gate a sound that feels more approachable and “commercial”, kind of like Bad Omens. Eulogy is, perhaps paradoxically, not nearly depressing or aggressive enough to be something I’ll listen to over and over again, but I’d be a fool to deny the quality of tracks like “Peace That Stars the War”, “Euglogies”, “Weight of Glory” and “Silent Anthem”.
14) Darker Still, Parkway Drive
Parkway Drive combine heavy metal reminiscent of Iron Maiden together with nu metal reminiscent of Linkin Park and Slipknot to produce Darker Still, a polished and surprisingly radio-friendly album which had me headbanging on plenty of occasions through its runtime. Parkway Drive’s lyrics can skew towards typical nu metal angst, but their songwriting often eschews standard song structures and typically will leave tracks getting heavier and catchier, rather than running out of steam as they go. The tracks here are also distinct from one another, often willing to play with genre for a diverse track roster. That said, your mileage will likely vary as a result, and I found myself less than enthused with tracks that leaned more into half-baked country and rap styles like on the title track, “If a God Can Bleed” and “From the Heart of the Darkness”. Still, there are lots of quality tracks here, my favourites being “The Greatest Fear”, “Imperial Heretic”, “Land of the Lost” and “Glitch”, all of which I’d definitely recommend checking out!
13) Lotus, Within Destruction (Bandcamp)
My God, that is a beautiful cover art. Apparently I’m on a cyberpunk kick this year as I’m finding myself drawn to this sort of aesthetic more and more lately. The actual music of Lotus is a near-even blend of electronica and death metal (sometimes leaning closer to nu metal or deathcore at times), with very heavy and energetic music which will leave you in a constant state of head-banging. The tracks here are infectious and aggressive, with particular highlights for me being the title track, “Toxic”, “Dehumanized” and “Neo-Yakuza”. Within Destruction have put together a rather unlikely blend which works well and which is well worth a listen!
12) The Sick, The Dying… And The Dead!, Megadeth
Megadeth are yet another band that I was familiar with, but hadn’t heard a full album from until this year. If you’re familiar with the band you’ll know what to expect: energetic, old-school thrash metal with emphasis on guitar solos and Dave Mustaine’s unmistakable vocals giving the band its distinct flair. The best way that I can describe The Sick, The Dying… And The Dead! is that it’s a lot of fun. The songs in the first half remind me of Iron Maiden in their hey-day, focused on death and violence but not in a way that feels transgressive. Megadeth just sound like they’re enjoying themselves, showing off badass guitar work and they even have a rap interlude from Ice-T on “Night Stalkers”, easily one of the highlights of the album. I really enjoyed the first half of the album and would have definitely ranked this much higher if not for the back half. The songs here aren’t bad per se, but tracks like “Killing Time”, “Soldier On!” and “Célebutante” just feel like filler compared to the energy and fun of the first half. I can see these tracks resonating with others more than myself, and if they do then those people are going to love this album, but the back half left me a bit deflated.
11) The Monumental Mass: A Cinematic Metal Event, Powerwolf
Powerwolf are one of those metal bands that feel like they’re putting out new product for their fans to consume every year, be it singles, compilations, re-releases, special edition releases, live albums or, y’know, a new album every once in a while. As a result, I wasn’t all that excited for The Monumental Mass since it hasn’t been that long since the last time we got a live album out of them and the live albums they did put out were kind of annoying because there would be a lot of downtime between each song where they would be talking to the audience in German. I get that that’s part of the live experience, but when it’s happening for every song it starts to get annoying to me. Luckily, The Monumental Mass is easily my favourite Powerwolf live release and some of that would probably come down to this being a balls-to-the-wall COVID livestream concert. I haven’t watched the video of the concert yet but I’m sure it’s amazing because Powerwolf are putting on their A-game here and intend for this to indeed be an “event”. The setlist is packed with seventeen solid tracks (plus interludes) which sound pretty close to their studio counterparts. Some people might be disappointed by the similarity, but for me it just shows off how good Attila Dorn’s vocals are and how talented Powerwolf are. You’ll probably have your favourites, but for me “Demons Are a Girl’s Best Friend”, “Beast of Gévaudan” and “Where the Wild Wolves Have Gone” got the most excitement out of me. Really, the only tracks that left me feeling a bit deflated were “We Drink Your Blood” and “Armata Strigoi”, but they are very much outliers. Some people might also be disappointed that the album skews towards their newer material and there are curious excisions (particularly “Kiss of the Cobra King”), but these have appeared on previous live albums so I’m not too bothered that they went with something different. All-in-all, this is a great live album and a fantastic way to introduce someone to Powerwolf.
10) Necromantic, Draconian Reign (Bandcamp)
After the moody lead-in to “Awakening”, Draconian Reign assault you with some truly heavy death metal. It’s a great way to open things and primes you for the rest of the EP to come. Every track stands out in its own way and while it isn’t particularly unique or transformative, it is very enjoyable. It’s a pretty short package, coming in at just over 20 minutes, but if you’re into death metal then this is well worth a listen and gets a hearty recommendation from me.
9) The Path of Destruction, Overthrone (they have a Bandcamp, but this album isn’t on there for whatever reason)
The Path of Destruction has all the hallmarks that you’d expect from a metalcore band (shouted vocals, aggressive, energetic music, the occasional melodic section to balance out the heaviness, angst). Overthrone aren’t doing anything unique, but they still manage to succeed because the music they’ve crafted is really solid. They’re really at their best when balancing the heavy and the lighter sections in a song, best demonstrated by emotional and sincere tracks like “Watch the World Burn” and “A Better Man”. They also tease a heavier side with “Suffer”, which goes full-on deathcore, but it’s only a two minute track so feels more like a teaser than a proper exploration. Still, The Path of Destruction is good enough that it’s quickly become one of my most-listened to albums of the year. I’m curious to see where Overthrone goes next, although I hope they can carve a more distinct sound for themselves in future.
8) Venator, Mechina (Bandcamp)
I decided to check out Mechina on a whim because of the cool cover for Venator and I am so glad that I did. Musically, they’re very similar to Words of Farewell (particularly their 2016 album, A Quiet World), with a sound that I’d describe as epic, energetic, industrial/electronic metal. Musically they aren’t too far from melodic death metal, but the big thing that differentiates them from other death metal bands is that the vocals are mostly clean and soaring, more akin to glam or power metal. Taken all together, Venator is a really interesting album, feeling like a sci-fi epic and more than once I found myself thinking that it could be a great backing soundtrack for an anime series. There are several great tracks on here, including “Suffer”, “Praise Hydrus” and the title track, which had me headbanging along with a smile on my face. Definitely give Venator a glance, I’ve linked Mechina’s bandcamp above and would heartily give them a recommendation. I know I’ll be checking out more of their stuff in the future.
7) Silverline, Anberlin
Anberlin are one of my favourite bands of all time, which shouldn’t be surprising if you saw my list of best albums from the 2010s. It’s been eight years since their last album, so there has been no release this year that I’ve been more excited for than Silverline. The EP doesn’t disappoint, giving us five rock-solid tracks of Anberlin’s signature alt-rock flavour. A particular highlight is “Two Graves”, which kicks the EP off with a bang. This song is heavy by Anberlin’s standards, announcing that the band is back together and haven’t missed a beat since we last heard them. My favourite track though is “Body Language”, a piece which is just oozing with sex appeal and is going to find itself a place on a very particular playlist of mine… Anyway, Silverline is a solid return for Anberlin, whose only real problem is that it leaves me wanting more. Given that we haven’t heard any new music from Anberlin in eight years, that’s just me being dangerously greedy, but I hope that the band finds plenty of inspiration on this new chapter they find themselves in!
6) Immutable, Meshuggah
Meshuggah are one of those bands that all the big metalheads love, so I figured it was past time for me to check them out. Gotta say, the hype is real with Meshuggah, because Immutable was really solid, energetic, wall-to-wall heavy metal that had me headbanging on several occasions. Highlights for me include “Broken Cog”, “Phantoms” and the extended instrumental track “They Move Below”, but it’s hard to go wrong with any track on Immutable (other than the disappointingly limp closer, “Past Tense”). Definitely a band I’ll be checking out more of in the future.
5) STRATA, REMINA (Bandcamp)
I’ve really gotten back into Draconian this year (and grown much more of an appreciation for Under a Godless Veil), which made me really come to appreciate how much I love Heike Langhans’ voice; it’s so good that she single-handedly elevated Draconian from “decent” to one of my favourite bands since she joined them in 2012. It shouldn’t come as a surprise then that I was saddened earlier this year when the news that she was leaving the band came out. However, the one silver lining was that she was going to be using this opportunity to pursue her own passion projects with her partner Mike Lamb and be able to spend more time with her family as a result. I’m happy that she’s getting to live her dream as an artist and that this creativity is bearing fruit with a number of projects, including this year’s STRATA. Billed as a cosmic metal album, STRATA doesn’t stray too far from Langhans and Lambs’ roots, being very atmospheric doom metal, although the lack of any harsh vocals gives it a different sort of feel. The resulting music encapsulates what I love best about doom metal, it’s beautiful melancholy captured in song. Despite only having seven tracks, this is a surprisingly lengthy album, with each track typically starting chill and sombre and then reaching a heavier, emotional climax towards the end, and it all works simply because Langhans’ voice is incredible. It’s one of those albums that’s best as a complete work, but if you need a single song to sample REMINA, I’d recommend “Icarus Signal”.
4) Deceivers, Arch Enemy
I was so impressed by Alissa White-Gluz’s vocals on last year’s Powerwolf bonus album, Missa Cantorem, that I knew I had to give Arch Enemy a look. I have to say that Deceivers left me impressed. As expected, Alissa’s vocals are great, both harsh and clean, to the point where you’d swear that Arch Enemy had multiple vocalists. The songwriting here is also really solid, there isn’t a weak track on the entire album. Arch Enemy’s music is melodic, high tempo and epic, best described as being somewhere between power metal and death metal. Just a great album from start to finish, definitely recommend checking this out!
3) Voyeurist, Underoath
I wanted to like Underoath’s Erase Me a lot more than I did back in 2018. The turn from evangelical metalcore darlings to losing their faith was a compelling story so it was unfortunate that the album didn’t resonate with me. With Voyeurist, it’s clear that the last four years have been a struggle for the band, and much of that is from dealing with the fallout of their crisis of faith, along with the band’s struggles with mental health and addiction. This clearly has provided the band with fertile ground not often tread by an act of this calibre and it makes Voyeurist a decidedly raw and compelling listen. You can feel their pain and anger towards evangelicals in tracks like “Damn Excuses” (“You never gave me anything I wanted but I’m stuck in the cycle with you / Fuck your revelation and fuck your weak conviction / I am finally exposing the truth“), “(No Oasis)” (“In the dark and overused / Left alone with the abused / I’ll never know if I matter to you / Hey, I was talking down to you / You objectify the truth / Every thing you thought you were is all wrapped up inside a lie / The kind that makes you blind / Falling over every line you believed so hard you hollowed out / Hollowed out your mind“) and “We’re All Gonna Die” (“Hey, we’re all gonna die, what difference does it make? / Don’t pray for me and my friends / I think you’re fucking fake“).
Emotion is one thing though, but thankfully Underoath back that up with some really strong songwriting throughout the entire album. “Hallelujah” is fantastic, the kind of song you’d want to shout along to live, “Take a Breath” makes you want to headbang, “Numb” is nice and heavy and “Pneumonia” is a really interesting and moody closer. Really, Voyeurist just keeps getting better as it goes, which is part of the reason why it’s one of my most replayed albums of the year.
2) Impera, Ghost
So I listened to Impera because I’d heard that it was really good, but I was not ready for what I was walking into. Ghost are straight-up a modern glam metal outfit in 2022! That is very much not what I look for in my aggressive/depressing taste in metal, but Impera is so well-written that it won me over. There are so many great tracks here: “Kaisarion” is a really energetic and catchy rock track, “Call Me Little Sunshine” is like a chill Andrew WK song, and “Watcher in the Sky” feels like the sort of 80s anthem you’d expect to hear Kiss or Styx signing in front of a crowded arena. By far the most impressive track though is “Twenties”, which I shit you not feels like a Disney villain song. It has the most swagger that I’ve ever heard in a metal track. Just listening to it makes me picture the choreography I’d use for it in a stage musical, it’s legitimately one of the coolest songs I’ve heard in years. Being glam metal also means that, unlike the majority of the music I listen to, it’s super accessible to a wide audience. It’s really no wonder that this album is getting as much accolades as it is, it’s truly fantastic and I would implore you not to pass it up.
1) The Death of Peace of Mind, Bad Omens
Finding God Before God Finds Me was one of my favourite albums of the last couple years, enough for me to consider Bad Omens one of my favourite new bands. Their radio-friendly metalcore style was surprisingly compelling, so naturally I was excited to see what Bad Omens would bring us next. The Death of Peace of Mind is an unexpected turn from the band, downplaying the metalcore (which was already downplayed on Finding God Before God Finds Me compared to their debut album) and leaning heavily into electronic and pop influences. While this change in style leaves me torn and alienated, I’d be lying if I didn’t admit that Bad Omens put full effort into this album and still deliver some absolute bangers. “CONCRETE JUNGLE” and “THE DEATH OF PEACE OF MIND” alternate between electronic music and heavy metalcore on a dime, making the most out of both styles and developing a sound that’s as compelling as nearly anything from their previous albums. Perhaps the most exciting tracks are “What do you want from me?” and “ARTIFICIAL SUICIDE”, which take traditional electronic sounds (feeling almost cyberpunk-esque at times) and then mix them like a metal track, creating a really energetic beat which is infectious.
The Death of Peace of Mind scares me. It’s a good album overall, but it also represents a fundamental change for a band I loved. If they continue on this electronic/pop journey and ditch their metal influences altogether then I’m afraid that I won’t still be on board with Bad Omens, which would be sad. That also makes it hard to judge this album fairly, but there’s too many great songs on here for me to be too harsh.