2013 wasn't a great year, for me or for metal. At some point around May or June, I wasn't even sure I would have a top ten worth trumpeting to anyone. It was that bad the first six months. Then, surprisingly, things started picking up.
But I have to emphasize that 2013 was not a good year for metal. Not only were there disappointments, but there was a lot of overrated crap too. I won't name-check them, for obvious reasons.
I'll just say that my list probably doesn't look much like any other that's been posted so far. There may be a couple albums shared between mine and the rest of the metal critics out there.
Now, to the list. First, a short explanation of the criteria I used to pick these specific albums: riffs and enjoyment. As a guitarist, the only thing I really listen for (or notice, in some cases) is the amount of riffs the bands in question are throwing into my ears. Some that other people like, I don't get. I can shrug my shoulders at them and move on to something that I'd rather listen to. I think enjoyment is also key. These ten albums are what I really enjoyed listening to most.
But there's also a bit of intuition involved. For example, the top five were albums that I was damn certain would be there. This is especially true for the album that ended up being my #1. More on that below.
That's enough of the generalized rambling. Let's get a little more specific, shall we?
Showing posts with label Vhol. Show all posts
Showing posts with label Vhol. Show all posts
January 1, 2014
July 17, 2013
Vhol - Vhol (2013)
UPDATE: listen to Vhol on Bandcamp! Yeah!
Before I heard a second of music from Vhol, I knew their album was a must-have. Any time a group of musicians like this gets together, I think it's worth at least a cursory listen. And even though they're all involved in underground bands, this band evokes a "supergroup" in the classic sense.
Usually, supergroups are disappointing. With so much expectation behind what they'll sound like and how great they'll be, it's no wonder. Vhol sidesteps the expectations by going back to their roots instead of trying to build on what came before. Instead of trying to write The Tenant 2.0 or make blackened doom (or some such combination of Ludicra and YOB's aesthetics), the band goes back to basics while adding elements of crust and melodic guitar playing heard in Hammers of Misfortune.
After nearly 90 listens, I feel like I have a handle on Vhol. The music is generally fast-paced, with tremolo lines alternating with melodic leads. Mike Scheidt's vocals are often doubled with an emphasis on low growls and higher-pitched shouts/screams. These often occur simultaneously, much like Chris Cornell's vocals on Superunknown.
The standout tracks are "Grace" and "Arising". Upon first listen, "Grace" didn't really grab me. Of course, hearing the song in context is different. A common thread between both tracks is that they are even more aggressive than the rest of the record (no small feat, itself).
Still, despite those great songs, and a generally strong album overall, I feel like Vhol have merely scratched the surface. Yes, this is a great album, and one of the best of 2013. I feel like they can do more and do it better.
Before I heard a second of music from Vhol, I knew their album was a must-have. Any time a group of musicians like this gets together, I think it's worth at least a cursory listen. And even though they're all involved in underground bands, this band evokes a "supergroup" in the classic sense.
Usually, supergroups are disappointing. With so much expectation behind what they'll sound like and how great they'll be, it's no wonder. Vhol sidesteps the expectations by going back to their roots instead of trying to build on what came before. Instead of trying to write The Tenant 2.0 or make blackened doom (or some such combination of Ludicra and YOB's aesthetics), the band goes back to basics while adding elements of crust and melodic guitar playing heard in Hammers of Misfortune.
After nearly 90 listens, I feel like I have a handle on Vhol. The music is generally fast-paced, with tremolo lines alternating with melodic leads. Mike Scheidt's vocals are often doubled with an emphasis on low growls and higher-pitched shouts/screams. These often occur simultaneously, much like Chris Cornell's vocals on Superunknown.
The standout tracks are "Grace" and "Arising". Upon first listen, "Grace" didn't really grab me. Of course, hearing the song in context is different. A common thread between both tracks is that they are even more aggressive than the rest of the record (no small feat, itself).
Still, despite those great songs, and a generally strong album overall, I feel like Vhol have merely scratched the surface. Yes, this is a great album, and one of the best of 2013. I feel like they can do more and do it better.
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