Alex Swift’s Top 10 Hard Rock and Metal Releases of 2022
Alex Swift’s Top 10 Hard Rock and Metal Releases of 2022
By Alex Swift
Another year ends. I must admit that unlike the two years preceding, I’m sad to see the end of the year. I’ve been to a ridiculous number of concerts this year, including getting to see some bands I never thought I’d see, like Pixies and MCR. Whether it was the inner turmoil many felt in response to the aftermath of the pandemic or a number of albums that had been delayed due to lockdown finally coming out, this was a great year for music. While this is far from being only the case with rock and metal, with pop, indie and even country of all genres, having fantastic albums, the rock, metal and punk-adjacent records that did come out helped reshape the face of the genre in independent circles, or else proved that acts that had been with us for a while are still able to impress, which is why I feel the need to namecheck tome albums that didn’t quite make the cut, due to the sheer volume of competition they faced.
First, in a sentence I never thought I’d utter again, melodic metalcore had a fascinating year, with a number of acts striking a captivating balance of textures that’s needed to make the genre intriguing, so while I must extend my commiserations to Rolo Tomassi for continuing to prove why they are forebearers of this particular ethereal style of metalcore, I returned to the albums that made the list a little more. The new releases from established acts Alter Bridge, Rammstein, and Ghost are all worth your time and yes, I have heard the new albums from Lorna Shore, Chat Pile and Gospel, which while I respect artistically, I need more time to sit with and understand. Records that narrowly missed the list include “Free LSD” by OFF, “Origins” by Saor and “HIS HAPPINESS SHALL COME FIRST EVEN THOUGH WE ARE SUFFERING” by Backxwash simply because, while the artist spans the world of extreme metal this particular release is more in the hip-hop world to qualify. With that out of the way, here are my absolute favourite rock and metal albums of 2022.
10. Ibaraki – Rashomon
Ibaraki is a fabled Japanese monster, and Matt Heafy’s decision to title his solo project after the beast resonates with his Japanese American background. This project is a clear step in his claiming control of his black metal dreams. Heafy was in a blackened band before leading the well-regarded Trivium, but even so, he was familiar enough with the scene to understand what it would be like if a mainstream personality dabbled with black metal. Heafy was still inspired to forgo prudence and pursue his desire after receiving an early endorsement from Emperor’s Ihsahn. Overall, “Rashomon” reframes the imaginative core that made Heafy a hero of contemporary metal, even if it is not dissimilar to Heafy’s previous work. It’s difficult to downplay how important Ibaraki was for Heafy’s career. Rashomon’s replay value multiplies as a result of the authenticity with which it all blends together. The amount of work he put into each component is astounding enough. Ibaraki presents a profoundly unique version of a style that has not yet been experienced from a star performer. Heafy not only challenges himself but has also created an album that stands on its own in the chronicles of cutting-edge metal.
9. Black Midi – Hellfire
Einstein is oft quoted as having said that the definition of insanity is doing the same thing over and over again while anticipating different outcomes. Ignoring the fact that Einstein never said any such thing, and that the scientific approach actually involves doing the same experiment repeatedly, albeit making slight tweaks, that would mean that London’s Black Midi – an act often characterised for their maddened approach to composition – are of the utmost sanity. The group enjoys playing musical games even after releasing two albums that continue to confound and perplex the minds of anyone who hears them. They reject the status quo because they detest the madness of repetition, yet they desire disaster. To put it bluntly, they relish a violent, unexpected catastrophe where melodic and linguistic wickedness is rampant. Whatsmore, their newly released album, “Hellfire”, which is fittingly named, is the best method to satiate their desires for unpredictable depravity. One may certainly infer what is to be encountered from the bold declaration made by the album title. With “Hellfire”, Black Midi provides an exquisite soundtrack to the existential dread of existence, and to the endless suffering that awaits.
8. Devin Townsend – Lightwork
Nobody can contest the fact that Devin Townsend has had perhaps one of the most legendary stints in music. He has always taken his own route and hasn’t catered to requests to repeat his prior successes. “Lightwork” is just another accomplishment for a real genius in his field. Coming off “Empath”, it is met with hopes that are almost impossible to meet. Therefore, it should not come as a shock that it falls short of the grand scale, varied palette, and sheer unpredictability of that work. Rather, it’s a really powerful compilation of songs that yet feels more like a declaration of change over time than a piece that’s wholly certain in itself. However, it’s still a great complement to this unique and varied discography. “Lightwork” was exactly the type of record I required in my life after a turbulent, demanding few months. As Devin continues to redefine himself while being recognisable and likeable, the musician has once again shown why he remains one of the most versatile artists ever to bless the business. Even if you prefer his darker works, it would be silly of you to ignore this magnificent endeavour.
7. Ashenspire – Hostile Architecture
If you reside in a big city, you are aware of the issue of homelessness and its impact on how we appreciate our environments – or rather, how others don’t. Hostile architecture is a staple of modern urban design and aims to make sure that public features are for public display, not public sanctuary. Rails on park benches, spiky floors below canopies, and relentlessly blinking lights in empty corners. The Glaswegian gang Ashenspire has opted to employ Hostile Architecture as a lens through which to observe the material and behavioural trappings of the contemporary world in order to emphasise concerns concerning stalled identity, income disparity, and class conflicts. Ashenspire bursts into its own twisting, caustic, but vibrating identity with controlled assurance. The album uses lyrical and dissonant violin sections in place of a second or main voice, like a page torn from a wounded theatre production. Also contributing to the cause is Matthew Johnson, who can be heard spitting ferocious retorts and frantic flutters on his saxophone. I’m unable to get rid of the memories Ashenspire have painstakingly etched into my brain; perhaps we already had some of the same wounds. I don’t believe the band has fully deciphered the meaning of their tale just yet, but I can state without reservation that they give a performance that begs for more investigation. You could be disturbed by “Hostile Architecture”, but as you give in to its rage, you can find yourself smitten with it.
https://www.facebook.com/Ashenspire/
6. Ithaca – They Fear Us
Few have stood out as much as Ithaca has in the latest wave of vibrant, captivating, and significant UK metalcore bands. Since then, they have been among the most engaging and uncompromising voices in the landscape, speaking out on topics of toxic misogyny, inclusivity, and sexual objectification. Their first full-length, The Language Of Injury, was a declaration of turmoil and revolt. They now channel that rage and fury into the record “They Fear Us”, which focuses on finding inner strength, vengeance, and payback for everyone who has been oppressed and disenfranchised. A fantastic follow-up to a preeminent debut, this has established Ithaca’s position in the world of ground-breaking metal. The issue of how they can sustain this trajectory will soon arise as they continue to grow in all directions while keeping all that makes them such an alluring possibility.
https://www.facebook.com/IthacaUK/
5. Porcupine Tree – Closure/Continuation
Between the release of Steven Wilson’s 2017 pop-opus “To the Bone” and 2021, something changed. “I would say the chances are zero,” Wilson said then, when asked what the chances were of Porcupine Tree returning. “Why would I go backwards?”. And yet, through changing answers, and evasive manoeuvres in interviews, fans started to speculate about a return all throughout that year. Little did they know that behind the scenes, Wilson was amassing a series of skeletal collaborations with drummer Gavin Harrison. Later, as the world was forced into hiding, he and keyboardist Richard Barbieri developed these ideas into songs and slowly the record that would become Closure/Continuation took shape. With bassist Colin Edwin out, apparently for simply not being in touch for years), the album feels an incredibly collaborative piece between a close-knit trio, ready to return to working together after time spent focusing on other projects. As per its title, the project acts as a final word on the aspects that made Porcupine Tree unique, furthering the experimentation and leaving the door open for future exploits. As Wilson’s lyrics summarise, the project is “the sum of all, new and old”.
4. Avantasia – A Paranormal Evening with The Moonflower Society
For the last 20 years, Tobias Sammet has assembled eminent members of the metal community to make a new Avantasia album every few years. What was supposed to be a standalone record has evolved into a robust epic power metal undertaking. Avantasia’s eighth full-length studio album, “A Paranormal Evening With The Moonflower Society”, is another exquisite release. Since the beginning, Avantasia’s recipe has mostly remained the same: exciting power metal compositions with sweeping melodies, dramatic compositions, and an upbeat atmosphere. They completely stick to that here, which is excellent since it’s exactly what we have come to anticipate from them and it’s exceptionally well accomplished. The guests including Geoff Tate, Michael Kiske and Floor Jansen, excellently bring a sense of bombast to this release and ultimately, this set of songs by Sammet, and company is, like all Avantasia albums, masterfully organised, composed, and filled with catchy melodies and unforgettable moments.
3. Brutus – Unison Life
Brutus’ greatest strength has always been their capacity to transform the intensity and anger they bring to their concerts into intense, emotionally driven tunes. The beating heart of a pop group may be found among their engulfing clouds of post-metal noise and roaring post-hardcore push. That pop quintet may rip through ferocious outbursts or agonising slow burners. Even at their most bilious times, Brutus never lose sight of the value of the melody, and as far as heavy music is concerned, theirs is among the best in terms of approachable, hook-driven composition. The underlying principles of Brutus’ music continue to be suspense and contrast; this is what distinguishes them and constantly makes them exciting. Occasionally being a loud band alone wouldn’t be enough to make them stand apart, but the same could be said if you took away the power from their emotionally charged choruses. They cut deeper than most post-metal artists and hit much harder than your typical pop rock band. Be prepared when walking into this experience. It’s never entirely clear at first glance if they’re going for the throat or the heart.
https://www.facebook.com/wearebrutus/
2. Special Interest – Endure
If the New Orleans hardcore punk band Special Interest’s 2020 chart-topping “The Passion Of” didn’t make it clear, they are not messing around. “Spiralling”, the band’s quietly acclaimed 2018 debut, may feel like a long time ago, but the band’s rate of development between albums is evidence of their dedication to communicating their ideals and revolutionary takes on Feminism, Black Lives Matter and Trans Rights in ever more powerful ways. Special Interest take everything that made “The Passion Of” so passionate and increase it to the force of “holy shit” on “Endure”, their debut album for Rough Trade. Special Interest stand out from most in the genre thanks to the distinctive vocal talents of their lead singer Alli Logout. The band as a whole hammer’s strong melody after strong melody and bombardment by bombardment. Special Interest undoubtedly realised the responsibility of releasing a vicious third album after receiving more recognition. The band defies expectations by leaning more heavily into its complexity to make “Endure” a victory by taking into account a pandemic and the increasingly hellish political landscape. The album succeeds in covering more ground than their last release and conveys their messages in a manner that is both more passionate and relatable.
1. Soul Glo – Diaspora Problems
Philadelphia’s Soul Glo have been a staple on the hardcore punk underground for a few years. However, you get the sense from listening to the rapid-fire sermons delivered in hellish screams, and accompanied by frantic guitars and rhythms, that the band are less concerned with carving out a name for themselves and more with dismantling the stale white male-dominated hegemony of the scene they cut their teeth in. And wow, do they work to tear that apart, militantly chastising racist police, the music industry or even well meaning “white liberals”, who preach non-violence safe in the comfort of privilege and ignorance to what’s happening in their own country. Pointedly, it’s impressive how anthemic and uplifting the instrumentation is here. In fact, despite the ire they direct towards the scene they grew up in, they draw on multiple traditions from the genre from ska to the New-York hardcore scene in spite of the change of tone, and this feels in the tradition of the south American influences of Turnstile, the jazz samples used by Refused, or the reggae of Bad Brains! – I’m not exaggerating. It’s that impactful and should be remembered as genre defining. These stylistic shifts keep the listener invested as they are contrasted against the singer’s tales of abuse and mental illness in a shrieked torrent of trauma, the gigantic guitar, and drum presence soundtracking the generational oppression which has for centuries kept white, rich men in power while shutting others out. For all those reasons, Diaspora Problems stamps Soul Glo as a vital act in the musical landscape, and an important one for representation in a genre that desperately needs to reclaim its diversity and radical ideals.
https://soulglophl.bandcamp.com/
Disclaimer: This review is solely the property of Alex Swift and Ever Metal. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to adhere to this will be treated as plagiarism and will be reported to the relevant authorities.
