Half Time Review 2012

It's that time again; June, halfway through the year, the summer solstice. Half the year done with already, but what a cracking half a year it's been, musically speaking. Some surprises, few disappointments, many new and exciting things.

Getting straight on with business, here are my top 5 albums of the year to date. These are the albums I've got most excited about, tweeted about, played over and over and over, and generally got "in to". So, in no particular order:

Cormorant - Dwellings

A complicated mix of progressive black metal, a touch of folk and a good dose of hard rock. Starting the year with style, Dwellings was the first album I bought this year, and is still one of my favourites.

Anathema - Weather Systems

Anathema doing what Anathema does best, following nicely on from We're Here Because We're Here but improving in almost every respect. Heavier, noisier, calmer, cooler, and perfectly orchestrated.

Woods Of Ypres - Woods 5: Grey Skies And Electric Light

Doom, gloom and epic riffs. A collection of utterly miserable, yet somehow wonderfully listenable songs. More than a passing nod to the style of Type O Negative, throw in some black metal influence and add an oboe. Perfect.

In Mourning - The Weight Of Oceans

In Mourning create precisely the sort of melodic death metal I like. From the strident, monumental opening track to the more progressive latter half, this is as much a musical journey as it is an fantastic listening experience.

Krokmitën - Alpha/Beta

Why have multiple songs when you can have a single 46 minute death metal opus? When I first heard of the multimedia event that is Alpha/Beta I was fascinated. Then I heard it, and was amazed.

Of course, the problem with choosing the top five in a year like 2012 is that there are loads that don't quite make the cut, while still being great albums. Some honourable mentions include: Bloodshot Dawn, a cracking death/thrash explosion with some amazing artwork, Sanguine, with their self-titled debut hot on the heels of last year's Bloodstock New Blood appearance, Mortad, female fronted politic death metal with some clout, Gwynbleidd, proving that prog metal really can be all heavy, all the time, and Alcest, whose soporific blackened folk still chills me in two senses of the word.

There are a few albums who I would have liked to have heard this year but haven't. Maybe I'll get round to it later? A.A. Lucassen's Lost In The New Real is definitely on my to-get-round-to list, as is the new Before The Dawn, Phoenix Rising, conspicuous for its lack of clean vocals.

So, that's my quicky round-up for the first half of 2012. Marvellous. And now, on to Bloodstock, where much metal, mayhem and mild inebriation await!

Gwynbleidd - Nostalgia

One album I missed from yesterday's roundup of the last month's listening was the new album from Brooklyn prog death outfit Gwynbleidd. Nostalgia was actually released in 2009 but has taken a while to get across the pond and into my ears.

At first I assumed the band were Welsh, given the rather bizarre name, but no. New Yorkers they are. Well, expat Poles living in New York. The name apparently comes from A. Sapkowski's "The Sword of Fate" and is the name given by some elves to some other guy. I haven't read the book so I can't really elaborate meaningfully on it.

The album itself, then, is an interesting beasty. On first listen, your response is likely to be similar to mine; they sound just like Opeth. Except, they don't. There are many similar elements, downtuned riffs, mournful guitar punctuating the complex bass and drum backing. It's more like taking the heaviest bits of Opeth from Orchid to Blackwater Park, grinding them up and using them to inspire and fertilise a bush of progressive death metal. Sinuous vines of lead guitar weaving in and out of the dense branches of bass and growled vocals, the drum providing a solid, unmovable root and the topmost leaves comprised of the delicate percussion that gives texture and depth. Okay, so the bush analogy is a bit weird, but you get the idea.

The album flows from section to section, passage to passage smoothly and logically. The soundscape it creates sounds more like one long composition than separate songs, and this is definitely an album you'll want to listen to in its entirety. I'm not sure why it's taken so long to hear anything from this band, but I'm glad I finally have.