October had a vast number of albums that came out. There was plenty to choose from for this month’s edition of “Best of” but I have narrowed it down to a select few that I enjoyed the most. Take a look, find something new you like, and let me know what your favorites are!
Cult Leader – Lightless Walk
Lightless Walk represents a return to grace for the remaining members of the defunct Gaza. It is crushing, raw, and full of power. Cult Leader mash sludge and bone-rattling hardcore together to create a proper debut album after a string of smaller EP releases.
Deafheaven – New Bermuda
You can check out my review of Deafheaven’s newest album here. It’s AOTY material.
He Whose Ox Is Gored – The Camel, The Lion, The Child
Seattle’s He Whose Ox Is Gored also goes down as my discovery of the year. Their latest album, The Camel, The Lion, The Child, is a result of patience, diligence and bold experimentation. They utilize inspirations from fellow Seattle brethren YOB and Brothers of the Sonic Cloth as well as other groups like ISIS and Torche.
Panopticon – Autumn Eternal
I wrote a review for Panopticon’s stunning ode to fall over at Bearded Gentlemen Music, you can find it here. Austin Lunn has stripped away much of the folk and bluegrass in Autumn Eternal and has opted for a melodic black metal.
Pinkish Black – Bottom of the Morning
I have been developing a strong attraction to a lot of experimental metal this year. I was a big fan of Prurient’s Frozen Niagara Falls as well as Locrian’s Infinite Dissolution. I am adding Pinkish Black’s Bottom of the Morning into the group of experimental metal albums that have captivated me this year. Pinkish Black’s new album sounds like the soundtrack to a twisted and emotionally distraught horror movie.
So Hideous – Laurestine
There’s been a boom in post-black metal. So Hideous stand out in this growing genre with their special brand of atmospheric black metal and classical instrumentation. Laurestine is a unique experience. It follows a story of a man’s brain seven minutes postmortem and continues the trend of sevens in time signatures and number of songs. It is ominous and operatic, and an exceptional example of how classical music has always been a source of influence for metal.