Welcome to my 2024 year-end review of rock and metal, or as I like to call it, “The Year I Tried Really Hard to Care.” Certainly, there were some stellar albums that hit all the right notes, but overall, the scene felt a little... meh? Every hot new band either sounded like the same old rehash, or–if they dared to be different–didn’t have the songs to back up the innovation. Is metal on a downswing, or am I just in the thick of subclinical depression? Either way, here are the releases that managed to rise above the malaise and make me feel something.
A former member of In Solitude and Ghost, Henrik Palm brings a mix of influences that’s hard to pin down—his music feels as much inspired by the cosmic oddities of David Bowie and Gary Numan as by his previous band experiences. Blending angular riffs, dark atmospheres, and interesting tunings, Nerd Icon sounds unlike any album I heard this year. It's trippy and moody, yet surprisingly accessible, especially in the first half where the energy is palpable, and the songs are really dialed in. If you haven’t heard Henrik Palm yet, do yourself a favor and give Nerd Icon a spin.
It’s Judas Priest filtered through a Terry Gilliam fever dream. As I wrote in my mid-year review: “Their image is pretty bonkers, but the band takes their influences seriously, fusing them in surprising and often very satisfying ways. Time will tell if Battlesnake has staying power, but there’s no question they’re a mandatory listen right now.” While this didn’t end up being a list-topper for me, it was definitely my go-to any time I needed something to plaster a grin on my face.
Arka’n Asrafokor, Togo’s only metal band, delivered one of the most exciting albums of the year. The fusion of their African roots with the raw energy of Pantera and Sepultura is a refreshing and authentic take on modern metal. It’s a wild ride, especially in the first half, where their unique blend of Togolese culture and heavy riffs creates something downright thrilling. The album does lose some momentum in the second half, but the quality of those first four tracks is so damn inspiring, I’m highly inclined to give them a pass.
These guys first came to my attention with 2016’s fantastic Repeat Until Death. While their follow-up Vulture Culture fell a little short for me, I’m thrilled to report that the band is more than back on track with their Motörhead-meets-KISS blend of gritty biker metal and cock rock swagger. If you’re not already into them, prepare to meet your new favorite band. You're welcome.
The Duality of Decapitation and Wisdom is the kind of chaotic, dissonant metal that should, by all rights, be completely headache-inducing. Imagine Nile’s ferocity, Leviathan’s bleak madness, and Oranssi Pazuzu's general weirdness all thrown together into a blender, and you’ll have a vague idea. Yet somehow Veilburner makes it all work. Perhaps it’s their uncanny ability to throw in a memorable riff just when things start teetering on the edge of pure chaos. Whatever the reason, I found myself surprisingly drawn to this album, despite its unhinged, often dizzying approach. It’s a punishing listen that’s oddly easy to return to.
You know these guys. You love them. There was never a question whether this album would kick ass, only how much ass it would kick. The answer is quite a bit. This is upper-mid shelf High on Fire, not quite up top with Death is This Communion and Blessed Black Wings, but shining brightly right there next to De Vermis Mysteriis, beckoning you to come have a nice, stiff drink.
Br00tal death metal had a tough time making a lasting impression on me this year, but Brodequin were a notable exception. They delivered crushing heaviness, riffs galore, and somehow made pig squeal vocals sound shockingly tolerable. Harbinger of Woe is a tight, relentlessly brutal package of utter sonic chaos—and I loved every unintelligible second of it.
This one didn’t quite hit the heights of 2019’s True North for me, but Fall still delivered plenty to love. To borrow a sentiment from my brother's spot-on commentary, ICS Vortex and Lazare could release an album of Imagine Dragons covers, and I’d still spin it non-stop. These guys possess two of the most captivating voices in metal, and they wield them with an emotional depth that feels downright otherworldly at times. Even when the material didn’t fully land for me, their performances always did.
Talk about a full-throttle thrash assault. These guys are like early Kreator—back when they were just a blur of pure, terrifying, headbanging intensity. Oxygen Destroyer isn’t here for complex song structures, highbrow lyricism, or nuanced choruses. They came to thrash like maniacs and shriek about kaiju stomping you in the face. And sometimes, that is precisely what you need.
As I wrote in my mid-year review, “Brutal electro-symphonic death metal. You’re either on board with that combination of words or you’re not, but if you think you’re in the “no fucking way” camp, I’d suggest at least giving the track ‘Kindertodeslied MMXXIV’ a chance. It’s a dizzying mixture of crushing riffs, roboto voices, samples, and death metal growling that sounds something like Ministry, Rammstein, and Cannibal Corpse getting together for a jam session.”
What’s left to say about Judas Priest at this point other than, “I can’t believe how fucking amazing they sound!” All hail Faulkner and Sneap for being the wind beneath the wings of these metal legends. I didn’t think it was possible, but I’d put this neck-and-neck (maybe even a cut above) 2018’s Firepower. It’s a slightly less consistent album than that one, but the highs are so much higher. ‘The Serpent and the King’ is an undisputed banger of a tune, and I maintain their best track since ‘Painkiller’. May the Metal God’s reign continue here on Earth forever and ever.
This one really took me by surprise. First off, it came from a Spotify recommendation, which almost never holds up. Then, there’s the fact that I’m typically bored to tears by instrumental metal. But if you know me, you know Chris Poland’s Return to Metalopolis cracked my cold heart just enough to leave an opening for the occasional lone shredder to sneak in. Enter Ross Learn of Tyrannosaurus Dimension. The guy knows how to write gnarly riffs and stitch them together in ways that are consistently badass and never dull. Bring on part 3! I’m hooked.
This one made it onto our mid-year review thanks to my brother Brian, who seems to have some weird complex about the band’s ability to mix Cynic-level progressive death metal with Disturbed-level vocal hooks. I have no such qualms, especially since it all comes together so damn well here. The choruses keep you coming back for more—and each listen only lets you dig deeper into the intricacies lurking beneath the surface. This album didn’t get nearly enough love outside of us Gmutza brothers, but I’m convinced it’ll be a prog-metal classic before long.
Hands down, the best thrash album of the year. The Horror and the Metal gives you everything you want from the genre—killer riffs, solid songs, and some seriously clever lyrics…and then there’s vocalist Larry Lethal. The man is sheer thrash vocal perfection. How he's not a household name in every metalhead's home is beyond me. According to my Spotify Wrapped, I listened to F.K.U. more than any other band this year (top 0.005% global listeners, fools!), and 3 of my 4 top songs were from this album! Consider this interchangeable with my top spot AOTY on any given day of the week. "Never part of any trend, it’s horror and metal till the EEEENNND!!!!!!"
This album earned a spot on my mid-year list, and while I knew it had serious staying power, I’m still a bit surprised to see it rise above some stiff competition to claim my AOTY. Disastroid delivers top-tier 90s-inspired grunge metal—an instant win for me—but it’s their exceptional songwriting and ability to craft a cohesive album that sets them apart. Every track feels like it belongs, building naturally to the next, creating a seamless and rewarding experience from start to finish. All year long, no other record kept me coming back quite like Garden Creatures.
Ὁπλίτης - Παραμαινομένη
Hexenbrett - Dritte Beschwörung: Dem Teufel eine Tochter
Comeback Kid - Trouble EP
Primal Code - Opaque Fixation
Jerry Cantrell - I Want Blood
