Tag Archives: Windhand

The Best Metal Albums of 2018

best-metal-2018It’s a bit trite to say that 2018 was a good year for metal; every year is a good year for metal, if you’re willing to put in the legwork. Yet the range of this year’s crop of great albums is particularly impressive. Metalheads were fortunate enough to get multiple new entrants to the canons of funeral doom, atmospheric black metal, old-school death metal, Euro-style power metal, and more. Each one of the albums below (listed alphabetically) is worth spending the rest of your life getting to know.

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The Best Albums of 2018: #80 – 61

best of 2018 80-61Let’s be honest for a second: No one clicks on these lists for the introduction. I don’t blame them! This is usually just the place where some routine throat-clearing goes, before we get to the main event. It’s also the place where I confess to the amount of anxiety involved with putting together a list like this—last year, I said, “Right now, there’s probably someone in their bedroom in Buenos Aires, making a record on their computer that is going to end up on next year’s list. So as comprehensive as we’ve tried to make this list, we realize that, even at 100 albums, we’re only scratching the surface of what’s available.” Guess what? That’s still true in 2018. That said, the albums that made the cut, to us, represent the breadth and scope of the many worlds available to discover on Bandcamp, and feel like the best musical summation of the last 12 months. When we make this list, we’re not only trying to assess the year’s best music, we’re also trying to tell the story of 2018, album by album, song by song. As always, being a part of Bandcamp Daily in 2018 was a true joy; we took a look at Extratone, the world’s fastest musical genre, got familiar with the New Face of Death Metal, and spent time with artists like Yugen Blakrok, Suzanne Ciani, and Kamaal Williams. Once again, the world of music is bigger than any one list can possibly contain, so consider this a starting point on the neverending journey to discovering new sounds, new scenes, and new voices. Alright, that’s enough throat-clearing. Let’s get to the list.

—J. Edward Keyes, Editorial Director

Best of 2018 Schedule:
December 10: #100 – 81
December 11: #80 – 61
December 12: #60 – 41
December 13: #40 – 21
December 14: #20 – 1

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The Best Metal on Bandcamp: October 2018

Metal

October means Halloween, which means firing up the King Diamond, Helloween, Type O Negative, and leaning into metal’s gloriously cheesy side. If you get sick of that, there’s also a ton of great new metal out this month, including a comeback single by classic trad metal kings, grunge-tinged doom, and a new batch of ten-ton Matt Pike riffs.

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Artist of the Week: “Eternal Return” is Windhand’s Most Gripping Record to Date

Windhand

Photos by Joey Wharton

In the opening moments of the fourth full-length from the Virgina doom band Windhand, just before the molten riffs kick in, comes a sound that’s familiar, but difficult to immediately identify—percussive, pitch-shifted, but unquestionably human.

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Doom Metal: A Brief Timeline

sleep-600-2

Sleep “Dopesmoker”

The core sound of doom metal is instantly recognizable—and has been for more than 45 years. No one’s going to confuse doom with death, thrash, or black metal. And even though modern practitioners of the form have modified the structure, blended it with other subgenres, and sped up or slowed down the tempos, doom will always have its place in the lexicon of metal.

The structure of the music is rooted in the same scales as the blues, and doom’s emotional impact parallels the drained, downcast spirit of artists like Robert Johnson and Son House. But the sound is amped up and magnified so the tone isn’t just sad, it’s mean and disconsolate too. From the moment Black Sabbath broke through with their self-titled debut in 1970—essentially defining metal in the process—they laid the foundation for doom.

Doom affects the gut and the psyche, conveying sensations of darkness and foreboding with fuzzed out guitars, mid-paced tempos and generally morose vocals. Groove is paramount, as is a certain amount of repetition, generally achieved with crunching, palm-muted guitar chords complimentary, minor key melodies and rhythms that wax and wane, only to rise again. Sometimes there are organs, samples, and variations in musical complexity. These sonic shifts are what have helped sustain the genre from one generation to the next. But even without the musical modifications, doom is forever because dread and grief are universal—and musicians will always be drawn to express universal feelings of anger, hopelessness, fear, and sadness.

Once bands in the ‘70s heard Black Sabbath and Paranoid (which came out later that same year),  they were indelibly impacted; some started tuning down their guitars, plugging into overdriven distortion pedals and writing the loudest and ugliest dirges they could conceive of. Between the substances they were consuming, the wave of occult literature they were drawn to by Anton Szandor LaVey, Aleister Crowley, and Austin Osman Spare, and popular films like Rosemary’s Baby and The Exorcist, a sinister, depression-fueled spirit spread through the counterculture and stoked the growing flames of metal. And once doom had a foothold in the music form it would never be the same.

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