Back when I first moved to London, I worked shift work. I’d have a lot of dead days off with nothing to do and no friends to meet, so I’d go to a lot of nights that I’d refer to as frog kissing gigs. Bands that I wasn’t really into but I had nothing better to do. Sometimes they were a winner, most times not. But, on one fateful night, Teeth of the Sea were doing an album launch and I turned up to have a beer and see what was what.
They blew my mind and had a good try at my eardrums. I was mostly deaf for the rest of the night and had become a fan for life.
(When I was doing a bit of research for this piece, I discovered that the gig is on youtube! If you’re interested just have a look and imagine it’s so loud you can’t hear yourself think.)
Teeth of the Sea started life as a bunch of mates who went to see a Wolf Eyes gig and were so inspired by it they decided to start a band. Their first few releases were psychedelic post rock, but with Master, they found their voice.
If I was to describe what I thought the high concept pitch for this album was, I go for John Carpenter making a soundtrack for a cyberpunk film while taking inspiration from spaghetti westerns.
There really is nothing out there like TotS and they are one of the best examples of blending your influences to make something new.
After a short intro track, Reaper hits with a descending synthline that screams 80’s neon and chrome, and is strapped to a bassline that will not stop. Then the guitar kicks in and we’re off to cyberspace but also, somehow, that mountain top Slash played that solo on for the November Rain video. None of this should work but this is alchemy.
After that strong open, the mood crashes. The bpm plummets, the feeling of dread encroaches and the band starts a game of bait and switch with the listener. For every banger there’s going to be a track seeped with paranoia, probably involving some barely made out spoken word, synth drones and a trumpet.
Don’t fear the trumpet. TotS would be nothing without that trumpet.
Black Strategy is another highlight. They still had a live drummer at this point and here they made him work for this space on the stage. The pace increases and keyboards start to fill the soundstage. The trumpet soars over the repeating synths and it all feels like it’s going to boil over. It never really does on Master though, most of the songs on here are a tease like that. This album only brings release on the band’s terms, not yours.
One of the more remarkable slower tracks, Pleiades Underground, has an unsettling horror film soundtrack vibe, with soft echoing piano and children’s voices down the mix. What’s not expected is the most evil Overkill style doom riff that comes out of nowhere and menaces the hell out of the listener. It’s so fantastically filthy it’s almost impossible not to play air guitar as it roars into life.
The closer, Responder, marries trumpet, that filthy guitar and huge beats in a way I don’t think anyone else has even dreamed of, let alone made their signature sound. It’s a slow build over four minutes. Carpenter-esque synths, a slowly building guitar solo and some vocoder mumbling set the scene before it all kicks off into a delirious melting pot that spirals around itself before fading out an instrument at a time. It feels exhausted, put through the wringer but euphoric at the same time.
Master isn’t an easy listen, it’s not something you’re going to want to put on for a sunny evening in the garden. But when you’re in the mood for something a little different, something a little challenging, but something that will reward you with a world class banger at the end of it, this is for you.
It honestly doesn’t sound like anyone else I’ve heard and more people should hear this band.
Welcome to the third birthday of The Ways of Exile!
This blog was never intended to be a long term thing. To be honest I never had any plans for it, TWoE was always just to give me something to do in lockdown to keep myself sane and to wave my hands around and bang on about the music I love in a different way.
I’m pretty sure that without the Drowned in Sound forum I wouldn’t have lasted more than a few months, at thanks to everyone on there who look in every month and show interest.
I’m also delighted over the years just how many acts have read the blog as well. I’ve never been the kind of person who hangs around at gigs and talks to the bands so it’s nice to be able to tell people that their music is having an impact on me and that I think their work is great.
It always reads a bit hollow when someone says thanks for reading but I really mean it. The numbers for my end of year write up were more than double my normal readership and I’m still a little in shock about it.
But thank you, I really love getting feedback people’s feedback and obviously I enjoy trying to signal boost the music I love further out into the world.
Anyway, let’s talk about 2024. And a few albums I missed from 2023.
The Songwhip links will bring you to a page with a link for the song featured on all the streaming platforms.
Guhts
Regeneration
Opening your debut album with an eight minute epic called White Noise is a hell of a statement for a band to make. The fact that the song is sludgy, uncompromising and a little disorientating makes it an even bigger ask of the listener, but you know what? That’s fine. Consider it a litmus test. If you’re in on this, then Regeneration is an album you’re going to love.
Guhts (Guts) aren’t really in the game to pander to the listener. Amber Gardner’s vocal style is very unusual and the way it writhes and contorts along to the music rather than sticking to the song’s melody is almost unique. I think Julie Christmas is the only person who would be anything similar.
However, she does dial the strangeness back when needed. During Til’ Death, the riffs drop out and she almost coos “Dance with me”. It’s alluring but also feels like something very bad is going to happen, as the band’s slow dissonant vibe isn’t what most would consider come hither music.
Regeneration should be more a challenge to listen to than it actually is. This is a great heavy album and interesting take on post metal, with its use of electronics for texture helping it stand out from the crowd. Gardner’s vocals are going to be marmite for people but hopefully people are up for something a bit unusual these days.
Sometimes I find it very difficult to write about electronica. There’s a few touchstones like genre and acts the artist in question sounds like, but that’s leaving me very little to go on here. What I can tell you is that this is a lush album of slow, warm techno. At 35 minutes seems very short for a dance album but not a second is wasted, Resound gets in and gets out leaving you wanting more.
I may not have a lot that’s in depth to say, but this album has been helping me through winter. Its warm club vibes keeping the cold out and reminding me of brighter days to come.
It feels that in the last few years, a lot of bands have been hiding behind the Post Punk label while being obviously influenced by the classic Goth bands. However, Cold in Berlin have always been refreshingly up front about being Goth as fuck and this ep isn’t any different.
The Body is the Wound is their first release since 2019 and the band come storming out the gate with Dream One. It kicks this ep off with a deliciously heavy, doomy goth headbanger and the mix of stabbing synth lines and Maya’s soaring vocal provide more drama and atmosphere than I’ve heard in a long time.
The rest of the ep lives up to the promise of the opener, the moody plaintive cries of Spotlight, the filthy low end of When Did You See Her Last and the vocal pyrotechnics of Found Out make this a very welcome return for the band.
I was a big fan of Volkor X’s album, The Loop. It’s an epic story of an exploratory space mission that mixes narration with music and feels like a cross between an audiobook and soundtrack. Unfortunately, there are only so many times you’re going to go back and listen to the same story, and while I enjoyed the album, it was always going to have a limited shelf life.
With the release of the instrumental version of The Loop, the album has none of these drawbacks. While most of the dialogue tracks were quite short, songs like Float really come into their own as an instrumental track, all the warmth and wonder comes through without someone speaking over it.
Previously, the long run time was a bit of a effort, now the album flies by, starry eyed and full of synths. Volkor X’s mix of post rock and the wide eyed electronica of the early M83 albums lands perfectly here, allowing you to feel the wonder of the soundtrack they’ve made.
I do think it’s funny that without the narration, you would never realise that The Loop is a horror story. For a self styled intergalactic despot, Volkor X makes some very pretty music.
Post metal is one of those genres that people just can’t help but cross pollinate with other sounds and Bipolar Architecture have thrown Slow Death, and Blackened Prog into the mix. Metaphysicize is the unholy result and is a must for fans of slow and heavy music.
The title track starts with some moody post metal driven by the bass and drums, almost reminiscent of Tool, before the kick drums rush in and give us our first taste of the death metal that lurks around this album.
The third track, Death of the Architect is the album highlight for me and again it’s all about the drums. Huge sounding toms slowly batter into the song before the double kicks assault your ears. It’s a heaviness that kind of reminds me of Bolt Thrower, but more in spirit than sound.
As I always say on this blog, it takes a lot to stand out in these oversaturated genres. It’s very easy to sound like just another copy, but Bipolar Architecture do more than enough to stand out from the crowd with this entertaining and really satisfying slice of heavy music.
The Fauns have been on hiatus for a long time now, their last album was released in 2013. And while the world may have moved on a lot musically, shoegaze has never been as popular as it is today. So this is obviously the best time for a shoegaze band to start up again.
However, The Fawns have moved on as well. Instead of jumping onto the current wave guitar fuzz that’s out there, How Lost embraces dance music to wonderful effect.
The opener, Mixtape Days combines chiming guitars, dance beats and breathy vocals to create a sound far more like the lush synths of Ladytron than any shoegaze band. The second track, Shake Your Hair somehow manages to up the bliss levels from the opener and will be a showstopper live.
It took me a while to realise that Doot Doot is a Freur cover, which to be fair, is pretty obscure track selection for anyone. Freur were the band that went on to become Underworld so The Fauns have obviously been digging into the roots of dance music. Thankfully, they manage to improve on the admittedly dodgy original.
Now, all this talk of dance music doesn’t mean that the band have put their guitars away, there’s a few songs here that remind me of Curve and the closer, Spacewreck is a beautiful, languid slice of blissful shoegaze.
As comebacks go, How Lost is an incredible reintroduction to a band who will hopefully make a much bigger name for themselves on their second go round.
The first I heard of Shipwreck Karpathos was a review that said that the album sounded like Midwestern Emo mixed with post rock. Now, I had no idea what the hell that would sound like so checked it out and, well, here we are.
The album starts with an energetic bang as Don’t Panic comes crashing out with some high speed, riffy indie rock, but it quickly slows down and takes on a more thoughtful pace. What I wasn’t expecting was the trumpet to kick in, and there’s very little I like more in my guitar music that a trumpet.
So, what you get on Being Human is some very pretty thoughtful, instrumental indie, interspersed with some breakneck, heavy riffing. And sometimes it’s adorned with strings and brass. It really doesn’t sound quite like anything else I listen to, but it does sound amazing.
The title track reminds me a bit of Broken Social Scene at their most joyful, jamming with And So I Watch You From Afar, while the trumpeter really brings the song to life.
This is an incredibly uplifting album and there’s just something about the arrangements that puts a huge smile on my face. Don’t sleep on this record and let it bring some sun into your life.
If I’d managed to see Heathyliving live a few weeks before I started to write up my albums of the year, Songs of Abundance would have easily made its way into the top 10. Over the last two months I’ve fallen head over heels for this album, so I’m going to add this review here.
The band cover a lot of ground on this album, from racing alt rock to post metal riffs, to the more atmospheric passages, but manage to assemble it in a way that sounds unique.
While the songs are great, the band’s not so secret weapon is Amaya López-Carromero. Whereas a lot of female singers in metal use an operatic style, the way Amaya hits the high notes feels far closer to a soul singer.
As amazing as this album is, Healthyliving are somehow even better live. This is a band that could be huge if the music god’s smile on them. With bands like Sleep Token proving there is an appetite for melodic mixed with the Heavy, hopefully Healthyliving can catch this rising tide because god knows the world needs more bands like this to break out.
I’d like to apologise to Final Coil, who’s album The World We Inherited is a fantastic post prog metal album. It’s really interesting, has rich electronic textures, great riffs and, for some reason, I’ve been completely unable to put together a coherent thought to explain why you should check them out.
Seriously, The World We Inherited is the first album on my best of the year list and I still can’t explain why.
As a reviewer this is more than a little embarrassing. Normally when this happens I just sack off the review and pretend it never happened, but I like this album too much not to recommend it. Sorry Lads.
But! If any of this sounds like your thing, run for this album.
I could start this year’s round up with a think piece about the state of modern music and my thoughts on it, but I’m pretty sure no one wants to read that. So let’s just say, there was a mind boggling amount of music released this year, an honestly overwhelming amount, but I’ve sifted through as much as I could, and this is my top 10.
As always, there were bands who just missed being on this list. Therapy?’s album, Cold Hard Fire, is really good. If you were a fan in the 90’s, it’s well worth a listen. bdrmm’s mix of indie dance and shoegaze is great as well and just missed out getting in here. I’d also like to give a shout out to Atlas Castle, who’s fantastic album, Patterns was at number 5, till I realised it came out in 2022.
But this list could go on and on, so, without further ado, in descending order.
10
Leonov
Procession
This album came out only about 3 weeks ago, so is it fair that it’s made its way onto this list?
That’s a good question, but I’ve been listening to it every day since came out, so that’s enough for me to let them sneak in at number ten. (And as I’ve said, number five had to be dropped)
Leonov are a doom tinged post metal band who have a very cinematic feel to their sound. Painting what feels like shades of darkness rather than light. This is intense music, sometimes pretty, sometimes heavy, but never off putting. Their songs have great dynamics and always are allowed to breathe, to draw the listener in, rather than constantly bludgeoning them.
A large part of that is down to the singer, she has a voice that I would more associate more with indie than metal, but it works so well, really making this album stand out from the crowd.
Amer, the only song with a harsh vocal fits perfectly with the feel of the song and mood of the album. Mesos is much closer to an indie track, until the guitars slowly unfurl and the drums crash in, while Sora has that chunky, Sabbath-esque opening that gives the song a great Doom feel.
This is an album that would be a great introduction to post metal, it’s not anywhere near as abrasive as most of its genre mates, so unlikely to scare off people not used to crushingly heavy music. It’s also good enough that the long since converted will just be amazed just how great this album is. I’m so impressed with Procession. 3 weeks or not, it deserves to be at number 10.
The album’s title translates into English as “The fear of falling in love but I still do.” This might give the idea that El Miedo is an album of doomed romance, and to be honest, I don’t speak any of the languages used on this album, so it might be, I can’t tell. But without understanding what’s being said, this album feels far more esoteric than that. Dead Can Dance its most obvious influence here, there’s there’s as much world music on El Miedo as there is metal.
Rostro, the opening track sounds for all the world like Brendan Perry alternating between a ritual like intonation and singing over a doom tinged post metal band. It has more atmosphere and drama in its 10 minute run time than most bands manage on a whole album.
Things stay as dramatic when Maulén changes to a female vocalist. With Lo Siento, the singer’s classical vocal stands out starkly above the heaviness of the track, performing alchemy to make the two styles weave gold. The album also features some incredible dramatic instrumental tracks, with El Templo Mayor reminding me of the 2001 soundtrack of all things.
Having different vocalists can unbalance an album. Here, not only do you have multiple singers, they sing in multiple languages. But instead of this making El Meido feel disjointed, it gives the album a mysterious air. Something that feels almost like a travelogue in musical form.
This is not an album that is afraid to experiment with some dark ideas. But saying that, there’s no harsh vocals, nothing that might put off anyone wary of the metal tag. If you’re looking for something a bit different to soundtrack these cold winter nights, to transport you to different worlds as you shut yourself off from outside, then this can be your guide to more exotic places. Or as background for your unspeakable rituals. It depends on your plans I guess.
This is a record that you only come to when you’re in the mood for it, but it has stuck with me since it was released and transports me to far away places every time.
Things aren’t great in the Orbital camp these days. Since reforming for the second time, the boys have been musically adrift, seemingly unsure of their own voice. On Optical Delusion, the album is smothered in guest stars who just either aren’t used to their full potential or are straight up terrible.
If all this is true, it’s fair to ask, “Why is this album in your top ten?” The answer is simple. The band released extra tracks with different versions of the album, so with a little patience and some mp3 magic, you can turn a very average album into a great one.
Let me talk you through it.
Pretty much all the songs here are better in their instrumental versions. Ringa Ringa has a feel of something off the Middle of Nowhere, Dirty Rat sounds like one of the harder tracks of Orbital’s first album, and not having to listen to the gobshite from the Sleaford Mods is always a plus. All of the tracks with the band on their own are much better.
The New Abnormal is classic Orbital. Their trademark clockwork percussion combined with an acid synth line is the best thing that the Hartnol’s have done in years. Requiem for the Pre-Apocalypse flirts with the band’s D&B side and is always welcome when it rears its head.
It took a lot of effort to piece together this album. I had planned to link a youtube playlist with my tracklisting so you can check it out, but it turns out that the instrumental versions aren’t on there, or on streaming. So I guess you’ll just have to trust me and if you’re interested, go look for the mp3’s.
My track listing.
Is it fair that Optical Delusion is in here, seeing all the work and dubious legality* of what I had to do to make this album work? Maybe not, but it’s my blog and I’ll do what I like.
I’ve been listening to Teeth of the Sea for 10 years now and in those ten years they’ve always been evolving, growing and expanding with what they will sound like on any given album. Hive for instance is their first album with two vocal dance bangers on it.
Get with the Program has Mike Bourne singing the band’s first clean vocal, while Butterfly House, sung by Kath Gifford is a straight up house number. Butterfly House was more than a little shock to the system when I heard it first. It’s only after a few listens you notice all the TotS trademarks are there, it’s just in a form you could play in a nightclub and no one would bat an eyelid.
The album’s most experimental track is the nine minute, minimal techno number. Megafragma will rattle your fillings if you play it loud enough.
But it’s not all dance numbers, the band are almost schizophrenic in the way they play loud, intense electronic music but they also have a side that is inspired by Ennio Morricone’s western soundtracks. There is dust dry guitar paired with Mariachi trumpet that brings an atmosphere that makes you think of wide open spaces and epic vistas. It’s not a combination that should work, but Hive continues to show the band’s amazing creativity, making these disparate moods sit together side by side in perfect harmony.
My only complaint is that the last two tracks on the album are too chilled out. It’s far too easy to have your attention drift. The album needs a stronger closer and I can’t help feeling that if it wasn’t for that odd choice, this album would be higher up this top 10.
Novere’s debut album was highly anticipated around these parts. Their first two releases were fantastic, so I had high hopes. Thankfully, the band delivered on their early promise and then upped their game even more.
The album opens big as Hydra comes raging out the gate, all huge riffs and bellowed vocals, but it calms down quickly, into a slow and very pretty section. It’s that slow, melodic side that make Novere stand out, Voi’s clean vocal is strong and holds a lot of emotion, while his harsh vocal is up there with the best of them.
The eleven minute track, Aphelion is the album stand out. I’ve gone on and on over the years about song length but here Novere earns their run time, their delicate touch perfectly matched with their raging tendencies give a perfect example of why this band does post metal better than a lot of other bands in the genre.
Four songs over forty four minutes is a big ask but here the band is worth your investment. This is an incredible album but I’m hoping that this is just the beginning of the band’s journey and that they have much more in store for us.
During the pandemic, Gregor Mackintosh of Paradise Lost was mucking around with some song ideas that he then realised wouldn’t work for a Paradise Lost album. Using these ideas, he decided to try and make a pop album, bringing in Nick Holmes from PL to perform vocals for the project.
Long time PL fans will notice that this project is named after Paradise Lost’s most divisive album. An album that was heavily indebted to Depeche Mode and lost the band a lot of it’s fan base. Thankfully, Host, the album, has been re-evaluated over the years and is now recognised as the classic it always was. IX feels like it’s natural successor.
Greg says that this is an attempt at a 80’s pop album but you have to remember that these are still the guys from Paradise Lost. Their idea of pop is not most people’s. It’s dark and gloomy, it has less riffs than his main band, but it’s no less good for it. But It is catchy in a ways that you might not expect.
There’s no growling vocal on the album, just Nick’s clean singing, his deep voice furthering the Depeche Mode comparisons. There are flashes of the Sisters of Mercy in here and even a little Duran Duran in places but this is music more fitting to goth club dance floors than the pop description that band gives may suggest.
IX delivers highly polished goth-ish, electronic tinged bangers. It could never have been a Paradise Lost album, but it’s an album that fans of their late 90’s albums will love. Goths in general should also have a good time here.
If you have a tendency to wear too much black and like a (Melo) dramatic singalong, Host have everything you need.
I’m not a big Surgeon fan, his brand of remorseless techno is usually too much for me. So much so that on one memorable occasion, I hid in a venue’s smoking area during his set because it all got too much.
Here though, that remorseless banging techno is restrained. Crash Tactics is formed like a live set, it moves carefully, perfectly controlling the pace as the album moves and builds. The songs have great dynamics and the momentum carries nicely over the album and to be honest, it can be difficult not to have a bit of a bop a long if you’re just pottering around the house while you listen to it.
I’m not really that much a fan of functional techno but this album stood out head and shoulders for me. If you want straight up, no frills techno then this is the best dance album I’ve heard all year.
You can tell that there’s no justice in the world because Spotlights aren’t headlining huge shows or on the front of every music website. (Yes, I know there are other reasons, just go with me here please.)
Alchemy for the Dead is a masterclass of alternative rock, or Doomgaze, or whatever people are calling this kind of music these days. While there are a lot of bands out there melding grunge sounds with shoegaze, they tend to cover up their lack of songs with layers of distortion and dissonance. That’s not the case here, building on their stellar back catalogue and a touring schedule that would make most people run away screaming, Spotlights are a well oiled machine at this point.
The first song proper is The Alchemist has a great doomy bass riff to ease you into the song but once it fully builds, the picture frames are going to be rattling on your walls.
I’m prepared to make the argument that Sunset Burial is the best song I’ve heard all year. That bass, those huge riffs and the inter playing vocals that leave you wondering which one you want to sing along with. It’s just a joy to listen to and I have to fight the urge to play it on repeat.
Alchemy for the Dead is just an exceptional alt rock / metal album. No one else sounds like this, no one else is coming close to what Spotlights do. If you like melodic heavy music, say someone like Deftones, give yourself a treat and check this album out. You wont regret it.
They’re touring Europe with Mr Bungle next year and I hope I’ll finally get to see them live.
Up until fairly recently, if you told me I’d be championing a folk, prog indie album, I would have been very rude to you. Yet here I am, feeling slightly sheepish and telling you that an album that features a hammered dulcimer, isn’t just good, it’s the second best album I’ve heard this year.
When I first heard this album, I was unsure of it. There’s a T-Rex sound to some of the vocals and a folky feel that isn’t my thing at all. But even though that, there was something so catchy that I kept coming back.
Overseas Assignment has a vocal melody that carries me along with it every time. There’s an almost irresistible pull to the rhythm, as the music draws you through a story of broken dreams and loss. The aforementioned dulcimer sounds lush on Ark, bringing an interesting dimension to an already brilliant song. The track is one of the best songs about anxiety I’ve heard and again the vocal performance stands out over anything else I’ve heard this year.
All this is probably making Floodhead sound hard work, but that couldn’t be further from the truth. They have an incredible knack for melody and this album and fast paced indie numbers as well as the slow, downbeat songs.
Floodhead is a very unassuming album on first listen, but unfolds over time, but let yourself go and it will dazzle you with its relaxed feel and beautiful melancholy moments.
I’ve been in love with Slowdive’s music for a long time now, their first album will always remind me of my first year in university, so it’s hard to understate what the band have meant to me over the years. I’m delighted by the critical reappraisal they’ve received and the fact that they’re bigger now than they ever were in their first incarnation.
But could have put a lot of pressure on the band. Their first comeback album was as good as anything they had ever done previously, could they do it again?
Yes, they could.
That’s not to say that Everything is Alive didn’t take a little time to grow on me. Apparently the album was originally intended to be more ambient, but changed as the recording progressed. However, you can still hear that ethereal sound baked into the record.
There isn’t much of an edge to any of the songs, you have to pay attention on the first few listens or it will glide past you. But once you get a grip on the album, it slowly unfurls to reveal the beauty I hope for in a Slowdive album.
I was unsure of Kisses, the lead single, when it was first released, but it’s pure indie perfection. The sweet synth sound of Chained to a Cloud is as light and breezy as its title.
The album closer, The Slab, is everything I could want from this band. It’s a towering song, the drums are mixed to sound huge amongst the shimmering guitars and synth fuzz. The vocals are breathless and ethereal and feel as if they could drift away and take you with them. But that’s not going to happen, those drums have too much gravity, and they’re just cascading forwards. It’s dizzying, it’s driving, it’s relentless and it’s beautiful.
I can’t wait to hear it live in February.
It’s a weird thing to be proud of people you’ve never met, but I’m so proud of what Slowdive has achieved. Rising from the ashes of their first incarnation, and taking their rightful place in music history while still making beautiful music.
It’s getting embarrassing how much I’m banging on about Dawnwalker and this album. It’s just the best post, prog, folk, blackened metal I’ve heard and this remix / remaster has made it even better. Do you like heavy music? Then give it a listen.
Atlas Castle
Patterns
I figured that I’d just give this album a shout out anyway, even though I had to take it off the list.
Patterns takes its time to build its atmosphere and to set the mood but when it finally lets loose it just grabs you and doesn’t let go. Easily one of the best dance albums I’ve heard this year. It’s just that it was released in 2022. But you should check it out anyway.
The ways of exile 