Noizze Presents: The Top 50 Albums Of 2023

This year went pretty fast didn’t it? Almost indiscernibly fast in fact; it only feels like last week that we were saying farewell to 2022 and crowning Ithaca’s They Fear Us as our album of the year.

But lo and behold though, for another year is up. And what a year it was. We saw legends affirming their status, emerging acts come screaming from the shadows with truly phenomenal work, heroes surviving tragedy and trauma in spectacular form and even Slayer’s Dave Lombardo collaborating with members of Wargasm on a synthwave record. 2023 was host to a brilliant year in music, and all of that made crafting this list a borderline impossible task. Clearly we got there in the end though, otherwise this would just be a blank page.

Now, before we delve into our top 50 records of the year, a little disclaimer is needed. The eagle eyed amongst you may notice a discrepancy between the ranking of this list and individual review scores. Throughout this list a number of records we gave perfect 10/10 scores will be placed lower than albums we gave scores of 9 and 8. The reason for this is that whilst reviews are the opinions of a single writer, this list was decided as a collective. As you can imagine it took a lot of discussion and maybe even some arguing, but we got there eventually.

Now with that in mind, here is the top 50 records of the year.

50. Blank Atlas – Dawn Chorus

The debut LP from the South West alt-rockers, Dawn Chorus is a creation of three vital ingredients; massive harmonies, endless riffs and pure undiluted chemistry. Effortlessly upbeat whilst still sounding suitably crushing when required, Dawn Chorus sees Blank Atlas pave their way to what should be a promising career. – Dan Hillier

49. Pleiades – Affinity With

One of the best post-hardcore records of the year? A tall claim indeed, but the debut from Pleiades ticks all the right boxes. Serving as a collection of tales exploring the tribulations of real people who experienced the very limits of humanity, Affinity With explores the nature of our being with a profound sense of emotion. Not since the work of Defeater have we seen conceptual post-hardcore this brilliant and arresting. – Dan Hillier

48. Black Honey – A Fistful Of Peaches

Snatching tops spots on the charts while warming their dedicated fans’ hearts; the Brighton indie rock trendsetters Black Honey, veered from the tried-and-true sonic disposition for a contemporary indie gem exploring the experience of neurodivergence, mental heath issues, simmering rage plus so much more. – Bennie Osborne

47. Teenage Wrist – Still Love

A fuzzed-out mix of laconic guitars, shoegazey texture and grungy anthems, Teenage Wrist’s Still Love is another reliably great instalment of their blend of ethereal rock and massive hooks. Boasting a bevy of guest appearances to boot, Still Love is the perfect accompaniment ot a lazy summer at the beach. – Will Marshall

46. Tomb Mold – The Enduring Spirit

The standard of death metal releases was set exceptionally high this year yet The Enduring Spirit managed to surpass this. Dawning a new era and direction for Tomb Mold, their latest record pummelled parameters inviting melodic-rich prog to play with cavernous death metal. Was the 4 year wait worth it? Absolutely. – Amy Bowles

45. Spanish Love Songs – No Joy

With their sound evolving from Menzingers worship to Killers infused alt rock, yet without any lyrical sacrifices, Spanish Love Songs’ fourth full length is a triumph of emotive, relevant anthems. No matter how dark the present may seem, the California natives always strive to see the smallest speck of light. – Chris Earl

44. Durry – Suburban Legend

A comforting blast of emo tinged indie-rock, a knack for writing catchy, relatable chorus lyrics, this sibling duo from Minnesota make a strong impact with their underdog spirit and plucky attitude infused anthems. Durry’s Suburban Legend is a thrilling ride-along of joyous catharsis from start to finish. – Elliot Grimmie

43. Allfather – A Violent Truth

Underground British metal legends Allfather take absolutely no prisoners on A Violent Truth. Mixing the bile of British hardcore punk with ferocious extreme metal, the record is filled with politically charged lyrical fury. This is a band who deserves to be much bigger and hopefully this record helps them on that journey. – Chris Earl

42. Cauldron – Suicide In The City

Suicide in the City is not only an record that evokes old school 00s metalcore, brimming with ferocity and melodic heaviness but also a harrowing concept album, portraying the struggles of a group therapy session influenced by vocalist, Frazer Cassling’s personal experiences. The merge of exceptional songwriting and raw storytelling makes this a standout from 2023. – Amy Bowles

41. The Guru Guru – Make (Less) Babies

Taking on topics of climate change, society collapsing and the undeniable stress of it all through a humorous lens, backed by fantastical grooves is fine balancing act. Yet electrifying Belgians The Guru Guru do this in spades. Butt shaking grooves on ‘Make Less Babies’ and the swaying rhythms of ‘Lotta Tension’ take all that pain away. – Adam Vallely

40. Joey Valence & Brae – Punk Tactics

Miss a certain Brooklyn trio? Don’t worry Joey Valance & Brae have exploded onto social media timelines across the globe with their DIY videos and spitting rhymes that fill the void. They really do ‘keep droppin’ them bombs’ across 14 tracks of pure fun. No doubt this duo is going to be massive. – Adam Vallely

39. PEACH – PEACH

Embracing equal parts post-punk and desert-rock, PEACH kept this absolute monster of a debut album tucked into their back pocket for the better part of 18 months. Recorded with minimal processing, authenticity is the name of the game, lyrically and instrumentally raw, PEACH sound simultaneously familiar and unique in their own right. – Harry Shiels

38. KEN Mode – Void

“Why would anything feel right again?” frontman Jesse Matthewson bellows out on ‘These Wires’ and he is absolutely right. The world has gone to shit and nearly everyone is suffering because of it. A companion piece to 2022’s NULL this record covers yet more pain with an apt soundtrack. This is a noisy, disgusting, uneasy record yet with glimpses of hope buried in the darkness. – Adam Vallely

37. Broken Vow – Anthropocene

Following their 2021 EP, Sane Minds End, Anthropocene welcomed a heavier direction from Broken Vow. Keeping within the band’s influence and ethos, Anthropocene focuses on our environmental impact on the earth and unleashes a slaughtering of unforgiving riffs and ignorant breakdowns that are akin to humanity’s relentless relationship with the planet. – Amy Bowles

36. Mutoid Man – Mutants

Ben Koller & Steve Brodsky return with High on Fire’s Jeff Matz in tow for the mutants’ first release in six years and when you have a trio of undoubted legends it will be nothing short of an extraterrestrial standard. Koller’s killer and unmistakable machine gun beats, Brodsky’s noodling fingers, underpinned by Matz’s rumbling bass topped with catchiness very few metal bands can achieve. This is just world destroying. – Adam Vallely

35. Gunship – Unicorn

British synthwave trio Gunship are proving that the 1980s are alive and well. Their new album Unicorn breathes new life into retro-inspired, neon lit soundscapes with standout features from Dave Lombardo, HEALTH, Carpenter Brut, John Carpenter and iconic sax playing vampire Tim Capello. Throw on your chunkiest pair of sunglasses, hop in your Delorean and blast Unicorn as loud as you can. – Tom Bruce

34. Jesus Piece – …So Unknown

…So Unknown opens brutal and closes brutal leaving you in the same dismay as you would feel emerging from the middle of a Jesus Piece pit. Tightly packed into 28 minutes, …So Unknown delivers huge impactful riffs and stinking breakdowns with every track managing to remain unique in its own right. – Amy Bowles

33. Underdark – Managed Decline

A cross-generational story of a northern town condemned to misery through callous Thatcherism, Managed Decline bleakly draws parallels between the institutionalised agony of yesterday and the seeds of hardship currently being sown by those who are meant to lead us. This isn’t easy listening – especially given the suffocating atmospheric post-black metal that binds it – but Managed Decline is a record that bares witness to Underdark’s brilliant ability as storytellers. – Dan Hillier

32. Militarie Gun – Life Under The Gun

Life Under The Gun is sure to be remembered as one of the debut albums that defined 2023 with LA punks Militarie Gun aiming their hardcore pedigree towards a more accessible power punk meets alt-rock sound. Combining genuine personal introspection with catchy pop hooks and tough as nails punk attitude Militarie Gun are bound to have a bright future ahead of them. – Tom Bruce

31. Torpor – Abscission

Abjectly oppressive to a terrifying degree, Abscission is the sound of grief manifested. A tale of loss and the life-altering journey that comes with surviving catastrophe, Torpor’s new record utilises the power of sludge, noise and drone to it’s utmost maximum effect all whilst allowing spacious to take hold when required. It’s a record of two things; a record that perfects the dynamism between darkness and light, and a record that’s absurdly heavy. – Dan Hillier

30. Kim Dracula – A Gradual Decline In Morale

If you were to find yourself in the curious position of supplying the sonic equivalent to the definition of “batshit”, the debut album from the Tasmanian alt metal artist and TikTok personality Kim Dracula, would certainly be a solid choice. Born out of a distinct love and appreciation of diversified theatricality, A Gradual Decline in Morale is the prime example of how contemporary metal can beautifully blur the lines between genre-implosions and societal absurdities, all the while keeping their robust and dedicated audience consistently on their toes throughout its impressively layered and lengthy string of unhinged bangers. – Bennie Osborne

29. Holding Absence – The Noble Art Of Self Destruction

Album three finds Welsh rockers Holding Absence continuing to deliver emotionally and musically hard-hitting songs. From anthems like ‘False Dawn’ to hardcore-tinged ‘Scissors’ to the warm blanket of ‘Honey Moon’, this is a can’t-miss album. If you’re still saving your faith, catch one of their regular tours: Holding Absence put on a high-energy, high-kicking show. The Noble Art of Self Destruction is the culmination of four years of work on a trio of albums that began with their 2019 self-titled album and continued with The Greatest Mistake of My Life. The Noble Art is a beautiful closing chapter in this series from one of the UK’s most exciting bands. – Josiah Aden

28. Year Of The Knife – No Love Lost

Rage, pain and fury, condensed into a suffocatingly small space, Year of the Knife presents something truly special while the group still recover from the accident that nearly halted their ascent. Spreading their wings further than just metallic hardcore with flashes of death metal, black metal and a healthy dose of grind, No Love Lost is a blistering record that scratches a dark itch, while promising hope for the future. – Jude Bennett

27. Frozen Soul – Glacial Domination

Frozen Soul have delivered stone cold brilliance once again. Glacial Domination is quintessential brutal death metal leaving you feeling like you’ve taken a sledgehammer to the face. While overflowing with old school-esque brutality, Glacial Domination offers so much more as ‘Morbid Effigy’ featuring John Gallagher leaves you feeling trapped inside an 80’s horror film, the title track featuring Trivium’s Matt Heafy, will be permanently ingrained in your mind for weeks to come. The release of this album not only showcases how ferocious this band are, but demonstrates how they have truly perfected their sound making it easily one of the best death metal releases this year. – Amy Bowles

26. Din Of Celestial Birds – The Night Is For Dreamers

Ever since its inception, post-rock has been a vessel used to articulate the nature of emotion via often purely instrumental means. However, some of the classics sound positivity lifeless when compared with The Night Is For Dreamers. Infused with the whole spectrum of the human emotion, on this record Din Of Celestial Birds explore what makes us human in a fashion that’s truly beyond the ultimately limited and finite nature of language. As the record flutters through stages of anger, depression, joy and longing, it’s nigh o impossible not to be infused with the emotions in which this band perfectly encapsulates. Some may state that post-rock is becoming stagnant, but here Din Of Celestial Birds effortlessly counter such a notion. – Dan Hiller

25. Dying Fetus – Make Them Beg For Death

In short, Make Them Beg for Death is annihilating brutal, it’s slammy and it’s overall fucking disgusting. So, it’s everything you could possibly want from a Dying Fetus record. With over 30 years behind them, this record serves as a not-so-pleasant reminder that they are still front-runners and dominating the genre. From the unapologetically chaotic track ‘Throw Them in the Van’ to the smattering of stabbing riffs enlaced with Gallagher’s bone crunching gutturals in ‘Undulating Carnage’, Make Them Beg for Death effortlessly holds up in the “Hall of Fetus” albums and is arguably one of their best records to date. – Amy Bowles

24. Graphic Nature – A Mind Waiting To Die

Nu metal is big business again, but nobody dragged it into the 2020s like Graphic Nature did. Debut album A Mind Waiting To Die melds the aggression of early Korn with drum n bass interludes and an incredibly frank assessment of mental health driven by vocalist Harvey Freeman’s experiences. Caustic, heaving breakdowns pulled from the metalcore playbook sit alongside grooving heft and skittering electronics, the likes of bruising opener Sour and early highlight Killing Floor making for pit-inciting nightmare scapes. The vulnerability combined with abrasion has catapulted them swiftly, and deservedly, to the front of the UK’s burgeoning nu-metal revival. – Will Marshall

23. VEXED – Negative Energy

VEXED’s second full length release does not disappoint. Having avoided second album syndrome completely, the British group have compiled some of the gnarliest riffs and heaviest grooves of the year into one album for your convenience. Taking sonic influence from bands like Slipknot, Ithaca, and Poison The Well, Negative Energy is a viciously concise piece of work, furiously firing blows at a number of topics and concepts, all linked by the same thread of having negative energy. The musicality is phenomenal, and with such devastating vocal delivery put into the mix, VEXED have delivered us a surefire career defining album. – Jake Longhurst

22. Baroness – STONE

It may not actually be possible for Baroness to produce a bad album. Polishing the minor production woes that hampered Gold & Grey, new album STONE might be the best the band have sounded yet. Finally breaking the creative chains of the colour cycle found through their discography, STONE offers something a little different than what you might typically expect from the band, especially with lead guitarist/backing vocalist Gina Gleason fully integrated into the band. With the folk heavy influence of the albums opening and closing tracks ‘Embers’ and ‘Bloom’, there are still plenty of sludge riffs and massive choruses throughout to please long time fans. – Harry Shiels

21. Saint Agnes – Bloodsuckers

Providing an intensely intimate briefing on the painful realities of the several stages of grief, militant survivalism and individualistic liberty; the London “disgusting rock” agitators Saint Agnes, held nothing back with the ferocious strikes of their sophomore record Bloodsuckers. Riding a rage filled wave in which front woman Kitty Austen laid out her soul and her most agonising demons for a cathartic barrage of epic proportions, now in retrospect Bloodsuckers feels like the truest and devastating depiction of trauma re-immersion the alt scene has had for some years. The poignant mercilessness displayed across Bloodsuckers is defiant yet richly enchanting, which is ever more palpable and impactful when experiencing such curious brutalisation at a live performance. – Bennie Osborne

20. Empire State Bastard – Rivers Of Heresy

Biffy Clyro fans were excited to hear that their Captain Simon Neil would be sailing under a new flag this year. But this was no cod fishing boat, this would be a vast nuclear submarine destroying vessel in Empire State Bastard. On the bridge Mike Vennart would join him to steer them towards 50ft waves of pummelling riffs, vortex like noise and we haven’t even mentioned the lightning cracks of Dave Lombardo’s drums. This was teased for many years at sea, and it did not disappoint with the extreme metal tracks like ‘Harvest’ and dauntingly epic ‘The Looming’. – Adam Vallely

19. Zulu – A New Tomorrow

After making a stellar name for themselves from their pre-pandemic EPs, to say Zulu’s debut album was hotly anticipated in the hardcore community would be an understatement. The band easily surpassed expectations crafting one of the most unique releases in the genre. Presenting a voyage through Black history, music and culture, regularly weaving soul, R&B and funk samples in between their crushing powerviolence riffs. Despite the aggressive hardcore front, A New Tomorrow is very much a celebration and exploration of the positive aspects of the Black community, evicting the negative and embracing positivity. – Harry Shiels

18. END – The Sin Of Human Frailty

Few records this year will fill your ears with such apocalyptic nihilism than END’s The Sin of Human Frailty. The HM2 worship is obvious, with the grinding hardcore and wince inducing breakdowns making this a challenging listen, but one worth your time. One of its many highlights is ‘Thaw’, which features guest vocals from Debbie Gough of Heriot fame, blending her shrieks with Brendan’s gutturals perfectly. For the more old school extreme heads, there’s cameos from Full of Hell and Pig Destroyer too, adding to the carnage. – Chris Earl

17. Wallowing – Earth Reaper

Imagine Rush trying to play the score of War Of The Worlds with cinderblocks – congratulations, you’ve just envisioned Earth Reaper. Jokes aside though, whilst Earth Reaper is easily one of the best death and doom metal records of this year, it’s also one the most interesting and engaging. The musical soundtrack to the ongoing sci-fi narrative that Wallowing detail through specially designed merch, action figures and graphic novels, Earth Reaper is legitimately a fully fleshed and thoroughly immersive sci-fi epic packaged into an extreme metal album. Quite frankly, it’s Wallowing’s world and we’re just living in it. – Dan Hillier

16. Silent Planet – Superbloom

Delivering a standout metalcore release today is no small feat in its often saturated waters but Silent Planet presents an apocalyptic vision on Superbloom. Ever present ambience and electronic elements dance around tectonic sized devastation as we take a trip through the soundscape of near vehicular oblivion. Garrett Russell is the epitome of emphatic with a vocal evolution that rivals anyone in the genre. Instrumentally mesmerizing and armed with a storytelling ability that is unmatched it is going to be impossible to ignore Silent Planet in any conversations on the best and brightest in heavy music. – Andy Calder

15. Fuming Mouth – Last Day Of Sun

Concept albums and death metal are strange bedfellows, but Fuming Mouth officiate a brilliant ceremony on sophomore effort Last Day of Sun. Inspired by frontman Mark Whelan’s battle with cancer, the album portrays the last day of light before the world plunges into blackness. It is a bleak album, but it’s not despondent. ‘The Silence Beyond Life’ raises a defiant fist against the oncoming darkness, while ‘I’ll Find You’ is not a challenge, but a love song. Fuming Mouth’s willingness to push boundaries in a genre often hostile to change has paid off. Last Day of Sun is one of 2023’s best albums. – Josiah Aden

14. Hail The Sun – Devine Inner Tension

Six albums deep and Hail The Sun remain in a state of constant upwards trajectory with an album showing them at their poignant best, expertly weaving their accessible and technical ability all while tying a bow with their most emotionally rich songwriting to date. This album shows Donovan Melero relinquishing drums fully for the first time allowing him to assume the frontman role and his potential knows no bounds. No band in progressive post-hardcore has improved in every facet quite like Hail The Sun and Divine Inner Tension will see them be spoken in the same breath as their own influences. – Andy Calder

13. Drain – Living Proof

Another band that have set the hardcore world on fire in 2023, Drain have taken everything that worked from their debut and refined it on Living Things. Blending all of their branching influences in a more fluid and cohesive manor to create what truly feels like a celebration of a scene’s history and significantly polishing their production for a cleaner presentation. Primarily focussed on pummelling crossover riffs and lyrical authenticity, its no wonder that their live sets have become legendarily chaotic. At only 25 minutes in length, its stuffed with earth-shattering pit anthems and is frankly just a straight up fun time. – Harry Shiels

12. Green Lung – This Heathen Land

Seemingly born of moss, smoke and deer bones adorning the flesh, Green Lung have managed to create a record dripping in menace and the occult. Soaring melodies combined with some Sabbath Worship and more than a whiff of a familiar aroma make for a look into a world where Ghost didn’t leave Rise Records and remained in the underground. From the devilish earworm of ‘Maxine (Witch Queen)’ and it’s driving guitars and addictive chorus to the acid tinged ‘The Ancient Ways’, you’ll find yourself being sucked into the bands hazy, seductive world. – Chris Earl

11. Pupil Slicer – Blossom

Those waiting in eager anticipation for Pupil Slicer’s second album were rewarded for their patience. Landing in the form of the undeniably ambitious, deeply personal, hard sci-fi/cosmic horror concept album/“rock” opera Blossom. The band took their abrasive core and weaved it into something a little more palatable, focussing on powerful hooks, strong melodic passages and monumental choruses (as well as their signature mind-melting technicality). Title track “Blossom” expertly subverted expectations as a lead single, with various album cuts revelling in pure fury and emotional turmoil that fans expected. Pupil Slicer crafted an undeniable classic with Blossom and it’s worth every second of your attention. – Harry Shiels

10. Death Goals – A Garden Of Dead Flowers

The second full length from queercore duo Death Goals, A Garden Of Dead Flowers is an outpouring of grief, rage and horror so self-destructive and intimate it would even make Converge anxious. Once again documenting the incomparable abject horror of body dysmorphia and living inside an ill-fitting flesh prison that’s truly not your own, the record is the sound of a panic attack manifested through enough panic chords to incite mass hysteria and breakdowns in every sense of the word.

But despite the non-stop frenzied agitation, there is composure and control. Within this record, Death Goals perfectly harness and discipline the often-uncontrollable sound of chaotic hardcore and articulate it perfectly. In result, every second of this record hits with the full emotion that is fuels it a body of work. It’s impossible not to be possessed by the rage, anxiety and downright anguish that powers this record, and nor is one able to not feel the urgency within tracks such as ‘Year of the Guillotine’ or ‘P.A.N.S.Y’ which see the band grapple with institutionalised bigotry and love-lost respectively. However, despite this sense of fury, what makes this record so brilliant is just how cathartic it is. In an age where fear reigns, A Garden Of Dead Flowers is a rallying call of those marginalised, and a record that celebrates inclusivity with pure antagonism. – Dan Hillier

9. The Armed – Perfect Saviours

Refract. Fellow Daniels, the greatest rock band in the world’s latest album Perfect Saviours has only placed 9th on the Noizze AOTY listing. Fear not, for it shall worm its way into everyone’s ear over time. A pop album with such bubbling intensity it takes a moment for the non enlightened, but a short moment indeed, before its glorious tracks bloom like a flower of mass appeal. The Armed have produced a record with a different type of depth from the previous offering Ultrapop, despite this it still maintains that razor edge that the band have become known for. The band cultured a veritable cornucopia of artistic collaboration over 18 months to create what could be their most densely packed work to date.

It definitely takes a miners attitude, digging down through the various layers of sassy brilliantly constructed pop music, to grasp the full qualities on show through the album. Instead of the obfuscating lightning fusillade of blast beats and rapidly picked guitar lines, Perfect Saviours opts for arena filling choruses, that are crying to be banged out in unison with the band. ‘Everything’s Glitter’, ‘Liar 2’ and ‘Clone’, in particular are perfectly formed pop bangers that slap harder than a shovel to the face. – Rob Bown

8. Cattle Decapitation – Terrasite

Cattle Decapitation cannot be stopped. The extreme metal legends have always been well respected critically and by their loyal audiences for the better part of 30 years now; yet they still managed to continue to produce not only some of their freshest material as a band, but some of the best in the genre. After conceptually exploring the end of the world on 2019’s Death Atlas (thanks for ‘Bring Back the Plague’ by the way), Terrasite explores the lengths humanity might have to go to survive and its as deeply misanthropic as you’d expect from the band.

All of the classic Cattle Decapitation hallmarks are present, the aptly inhuman technicality of their instrumental work, relentless pacing and guttural vocals, yet Terrasite feels different to anything that has come before. Whilst tracks like the lead single ‘We Eat Our Young’ and the excellent ‘A Photic Doom’ are absolutely unyielding in their barbarity; others such as ‘Dead End Residents’ revel in toying with expectations, fluctuating between lighter and more aggressive textures. Whilst still retaining their corner-stone of stark intensity and misanthropic lyrical themes, they manage to craft extreme musical experiences packed with emotion, subtleties and progressive sensibilities. – Harry Shiels

7. CLT DRP – Nothing Clever, Just Feelings

Despite it’s name, the second record from Brighton electropunks is anything but unintelligent. Bound by personal and off-the-cuff ruminations of self, identity, feminism and more, Nothing Clever, Just Feelings reaffirms their status as being one of the most exciting punk bands on the entire planet, and truthfully, there’s no other band on Earth that sounds anything akin to CLT DRP. Despite its tone and assembly baring motifs of acts such as The Prodigy and artists of their ilk known for utilising an array of electronics, there’s no synths to be experienced within this record or the work of CLT DRP as an entity; just pure unbridled chemistry, originating and a drive to push guitar-originated punk to it’s absolute limits in terms of sound and scope.

It’s also a record of pure intimacy. As Annie Dorrett details how they sing about sex as a desperate plea or attention or how they unflinchingly detail past experiences with problematic relationships and they have shaped their identity, CLT DRP perfectly showcase how intimacy is one one of the core elements of art as whole. The trio have never been one to shy away from expressing themselves in a pure and unfiltered form, but Nothing Clever, Just Feelings brilliantly shows CLT DRP being the most authentic and true versions of themselves. – Dan Hillier

6. Burner – It All Returns To Nothing

The signs were there. After their EP set their extreme metal stall out last year, it comes as no surprise that Burner not only built upon that release, but became one of the most exciting young bands in the world in the process. It All Returns To Nothing is the sound of all facets of extreme metal blended together in a vat of aural acid.

On a lyrical level, acerbic tales of, essentially, how fucked the world is are blended with violent fiction for an often uncomfortable experience. With a production job capable of levelling cities from Lewis Johns, the future for these Church Road inhabitants is extremely bright as they join the pantheon of exciting young British extreme bands. – Chris Earl

5. Dying Wish – Symptoms Of Survival

A relatively late entry, dropping in early November, comes the brutally honest and honestly brutal sophomore full-length from Portland, Oregon’s fastest rising metalcore stars Dying Wish. As the infamously difficult second album by one of the most exciting names in the current metallic hardcore revival, Symptoms Of Survival had fans across the world watching with bated breath, Dying Wish managed to not only meet expectations but absolutely blow them away, crafting a sound that’s melodic enough to bring in newcomers while upping the ante on ferocious breakdowns and fierce, distorted riffs.

While paying tribute to the genre’s classics like Converge and Unearth, Dying Wish forge their own path with an untamed love for crushing rhythms and a restrained melodic taste. In amongst the Symptoms Of Survival’s more savage moments, exemplified by tracks such as ‘Prey For Me’ and ‘Watch My Promise Die’, Dying Wish find time for moments of passionate clarity with tastefully employed clean vocals and soaring melodic guitar lines which elevate the album above the swarms of metalcore clones. With Symptoms Of Survival, Dying Wish manage to both demonstrate their own ability to write a career defining album but raise the bar by which all other heavy releases should be compared. – Tom Bruce

4. Svalbard – The Weight Of The Mask

Once again, Svalbard show they can simply do no wrong. The follow up their third full length When I Die, Will I Get Better? – which topped our 2020 edition of this list – The Weight Of The Mask sees Svalbard flawlessly alchemise post-metal, blackgaze and post-hardcore in order to present their most heart-wrenchingly open and inward offering to date. Void of flowery metaphorical prose in order to truly animate the isolating nature of depression and anxiety, here Serena Cherry and her bandmates authentically paint a harrowing musical portrait of what it’s like to live whilst encumbered with mental illness. There’s no poetic metaphrase here, just honest and crushing ruminations on one’s struggle straight from an embattled heart.

Regardless of its brilliant portrayal of mental illness, musically, The Weight Of The Mask features Svalbard’s most emotional songcraft to date whilst still honing their metallic edge. The riffs and concussive blasts of their earlier work are reattained but are are infused with a sense of profound urgency that can only come from a creative mind desperately, urgently seeking solace and catharsis. It may be punishing in every aspect, but truthfully, this record is a source of comfort. It’s a wonderful, touching record born forth from pain that mirrors the pain of mental strife without glare, and a record that informs those among us struggling that we are not alone in their our fight with the mind. – Dan Hillier

3. Urne – A Feast On Sorrow

The UK’s answer to Gojira are here. Urne not only made a record that sounds bigger and more epic than their debut, but imbued it with incredibly personal yet profoundly beautiful lyrics around the horrors of degenerative disease. A record borne out of deeply personal pain, it’s perhaps the best British metal release of the decade so far and will take some surpassing.

Hooks and memorable instrumental moments are littered over every meticulously crafted track, not to mention massive choruses and battering heavy moments. The end section of ‘To Die Twice’ inparticular will smash your neck to smithereens. As the year ends with them finishing a mighty headline tour and a busy 2024 ahead of them (A french support slot with Avatar awaits) the sky is the limit for the progressive metal trio. – Chris Earl

2. Sleep Token – Take Me Back To Eden

A stunning start, a thrilling middle and a breathtaking close – the anonymous collective cement their place in modern metal’s pantheon with an epic, theatrical, passionate and often explosive 3rd full length offering. From the first electrifying synth whirs on opener ‘Chokehold’ to the final, crushing blows of the title track, the band successfully build on their previous works, finding new creative ways to lay out their musical genius. The sometimes formulaic structure of songs on previous albums has now disappeared. Though each track differs in dynamics and viscosity, the quality remains extremely high. The breakdowns are triple the previous intensity, the songs are more varied, and the vocal acrobatics from frontman Vessel approach a mythical level.

Amidst the naysayers and cries of cliche, this masked alt metal band crush all doubts to their talent, with singles that saw incredible streaming numbers, and a loyal fanbase enabling incredible feats – among them, a sold out performance at Wembley Arena. Take Me Back to Eden is a milestone release for both the band and the genre. – Jude Bennet

Album Of The Year: The St. Pierre Snake Invasion – Galore

In truth, this record shouldn’t work. Should rigid convention and formulaic music theory be respected and upheld, then this body of work should be a complete write off. The blueprint of this record is a mash up of Meshuggah and Soulwax – this album shouldn’t make a lick of sense. But lo and behold, Galore is a bastion of ingenuity, conviction, growth, persistence that’s delivered with nothing but unfettered flair and chemistry. This perfect record only works because The St. Pierre Snake Invasion made it.

The third record from the Bristolian bruisers, Galore sees The St. Pierre Snake Invasion evolve as a creative entity in every way possible without ever mutating the genes that form them. Thematically revolving around frontman Damien Sayell’s determination to be a better person following newfound fatherhood, the sound of Galore parallels Sayell’s ardent focus on undergoing a total overhaul in a way that’s tremendous and authentically staggering. By using their scrappy and pulverising take on post-hardcore and mathcore as a foundation, the band have incorporated elements of suave electronics in the vein of the aforementioned Soulwax and other acts of their ilk. The pulverising aspect of their earlier work remains unhindered, but the overall nature of Galore is a musical creation that’s fluid and quintessentially limitless. It’s pulverising, caressing, throttling – sometimes even strangely sexy – and expressed with pure finesse and charisma.

But still, what makes Galore so special is just how much of a risk it is for the band and how unapologetic it is. The St Pierre Snake Invasion had carved a nice and cosy niche within the scene as a band creating odd idiosyncratic post-hardcore prior to this record. They truly didn’t need to reinvent themselves. However, as a testament to their nature as artists, Galore witnesses the band forgoing comfort by stepping outside of their comfort zone for their own betterment. In an age where many an act are striking to tried and well-trod tropes for ease and familiarity, Galore is a rejuvenating breath of fresh air and truly something special. It’s the sound of a band making art not for others, but for themselves, regardless of whether it may be unpopular or too divergent. The creation of this record may have been arduous and as intimidating as Sayell’s journey through self-improvement, but as the record attests to, such jaunts through realms unknown make for the best versions of ourselves. – Dan Hillier