The Top 10 Metal of 2010 - #6

Flung throughout the cosmos we pass out of this existence and fall into the crushing darkness and into...The Void!


#6 
Dark Tranquillity - We Are The Void
Some bands are born great, others acquire greatness and few have greatness thrust upon them. Dark Tranquillity is one of the rare bands that have only served to improve their standing within metal over time, consistently releasing quality records that set trends rather than pander to them.

We Are the Void is a remarked improvement on Fiction, an album I felt was more of a proving ground for what was to come. Spine-chilling in its execution, the openers possess a burning despondency as an undercurrent – riffs are mammoth and unrelenting. Tracks like The Fatalist recaptures their death metal meets Depeche Mode bleakness they once had undisputed dominion over in Damage Done but until now left by the wayside. Mikael Stanne’s clean vocals make a welcome return in the successor to Format C: For Cortex, The Grandest Accusation.
They drain us with the colorless and inhuman Arkhangelsk only to amp us up with I Am the Void, a jagged riff plunging like a snarling beast baulked of its prey, guitars wreaking havoc as they streak by.

There’s scorching headbangers on here, pensive moments and everything that makes melodic death metal great – as well as some new sinister tricks and turns. It’s definitely not metal by numbers and the leadwork sounds lush yet jarring but endlessly enthralling. Mr. Stanne’s lyrics are insightful and chilling as always, his use of the English language almost peerless in metal. The combination of modern crunch and their classicalist dalliances as heard in their earlier work is simply a delight to behold. Well done, Dark Tranquillity!

(Kudos to Niklas Sundin appearing twice in my end of years honors list...again.)

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The Top 10 Metal of 2010 - #7

Seeing as we're already in space we hop aboard the Discovery One to rendezvous with the Star Child at Saturn...

#7
Martriden - Encounter the Monolith
Martriden are troupers. Being dumped from their previous label they did what any other reasonable musician would do - go ahead and record an album anyway.

Thus we have Encounter the Monolith, a curious and intriguing mixture of their uniquely pummeling blackened death metal, acoustic meanderings and Gojira style obliqueness, topped off with galactic sweeps of keyboards, bludgeoning guitars and gruff, acidic vocals. Inspired by 2001: A Space Odyssey, it does somewhat feel like an authentic yet abstract musical version of the book; alienating and wonderful yet somehow human and triumphant in its approach.

Made up of six lengthy songs - more like movements - it has an uninterruptable and trancendental flow to it, much like Green Carnation's Light of Day, Day of Darkness or Crimson by Edge of Sanity. Similarly, they have a penchant for writing complex jams and venturesome riffs that strengthen the integrity of the concept while upholding their renowned granite-like edge. If only all blackened death metal could be this down to earth and true to its black and death metal roots as well as this good at the same time!

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The Top 10 Metal of 2010 - #8

We've been half-way across the globe already; so we prepare ourselves to project into the stars with my #8 pick...or is that picks?


#8
The Ocean - Heliocentric & Anthropocentric

I know, these are physically two albums; but in my view, selling them as such is like offering a car only to charge the exact same sum again for the keys. It is a double record and should be treated as such, much like Therion's Lemuria/Sirius B or Opeth's Deliverance/Damnation binaries. One simply cannot exist without the other.

Thus for 1hr and 40sec we thoroughly explore the fringes of science, philosophy and our understanding of the cosmos throughout the ages. Recorded in seclusion in the Swiss alps, the records form their scathing criticism of Christian fundamentalism.

Replete with sprawling, Herculean and delicate guitars they forge into the psyche of men in their gormlessness and grandeur. Jazzy textures, freewheeling horns and woodwind, Baroque piano interplay and undulating strings are performed with as much aplomb as their crushing guitar riffs and cage-rattling drum fills. For example, in the Heliocentric track Ptolemy was Wrong baritone extraordinaire Loïc Rossetti dramatically laments his realization that the Earth orbits the sun - a soulful piano dirge accompanies his passionate outcry.
I genuinely felt for the resonant Mr. Rossetti, the pain in knowing his character can never tell anyone in fear of persecution - much like Jean Valjean's "Who Am I?" lament in Les Miserables. As the facade of human irrationality peels away, the music really imbues that feeling of enlightenment which is a feat in and of itself, all the while exploding with polyrhythmic jam-style fury and colorful harmony.

Even his brutal vocals are to be commended especially in the weightier and punchier Anthropocentric, as is the warm and layered production that binds together a collective of eight highly talented musicians. Much like the Orphaned Land record that came in at #10, its depth is almost fathomless and requires careful attention, although individual tracks taken out of context are quite capable of holding their own.

Much like Between the Buried and Me, The Ocean are certainly poised to write the next chapter of forward-thinking progressive metal history with this stellar effort - a real piece of metal art!

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