2012: The year the world was supposed to end per the Mayans who didn’t know how to count past said number and a bunch of crackpots on Facebook who thought some dancing Korean was a prophecy of Nostradamus. Of course, this proved not to be the case, but even if it was, the world would’ve ended on a high note. When looking back on this pivotal year, a year in which I essentially “grew up” due to a variety of personal circumstances, I’m blown away how many stone cold bangers were released. Some are personal favorites I’ve returned to time and time again. Others are staples of those halcyon days that I haven’t revisited since. Regardless, they’re all modern day classics that proudly make up our Top 10 Metal Albums of 2012.
10. Deathhammer – Onward to the Pits
After the first wave black metal worship explosion that ensued in 2011 via the likes of Midnight, Toxic Holocaust, and Antichrist, it only made sense there’d be some aftershocks in 2012. None shook the underground metal world harder than Deathhammer’s sophomore album, Onward to the Pits. Modeled after the likes of early Destruction, Sodom, and Sabbat (Japan), Onwards is an all killer, no filler platter of blackened thrash straight from the pits of hades (hence the name). United by metal, Sergeant Salsten and Sadomancer prove themselves the most dynamic and devilish duo in all of metal on this here release. Over a decade on and a few more albums later, their infernal majesty remains to be touched.
9. Attic – The Invocation
As much as I lament today about how its been (checks calendar) 25 years since we last got a Mercyful Fate album, I did so equally as much back in my teenaged headbanger youth. Little did I know that I’d STILL be waiting a lifetime later! What softened this blow back in 2012 was the unexpected arrival of a German band who channeled the infamous desecrators of souls, Attic. On their debut album, The Invocation, Attic ever so blatantly, yet faithfully channeled the operatic vocals, enchanting twin guitars, and sinister atmosphere that made Fate a force to be reckoned with in the early ’80s. Most importantly of all, the song themselves were strong and stood on their own, daring all other ’80s metal revivalists of the day to take a step back.
8. Pharaoh – Bury the Light
After rightfully topping our 2011 list with his one man band High Spirits, underground titan Chris Black returns in 2012 not just once, but twice. While we’ll get to said second entry latter, for now, we’re focusing on the band he ever so tremendously held down the beat for, Pharaoh. This is a band who’s no stranger to our year end lists, and for good reason. Bury the Light, like every Pharaoh album before it and the unintentional swansong that would follow, is a masterclass in US power metal, wielding steely riffage, heroic vocals, and valorous bombast like a Metal Blade release circa ’84. Considering the increasing Disney-fication of power metal come the ’10s, Bury the Light did a great job at burying said dreck.
7. Black Breath – Sentenced to Life
In hindsight, Black Breath’s Sentenced to Life was a blessing and a curse. It was a blessing in the sense that, at the time, its lethal blend of Entombed-esque death metal, breakneck thrash, and misanthropic crust rage absolutely kicked the asses of myself and tons of others metallists alike. It was a curse in the sense that it subsequently spurred an entire wave of death/hardcore/crust amalgamations, all of which sounded like a clone of a clone and were consumed largely by the hipster audience. Nevertheless, its consequences aside, Sentenced to Life was the spiritual successor to Entombed’s Clandestine that the metal world never received proper. For that alone, they deserve maximum respect. Rest in power Elijah Nelson!
6. Dawnbringer – Into the Lair of the Sun God
Enter Chris Black entry #2! Although it’s hard to pin down a single Dawnbringer album as “the best” (each boast its own unique qualities), there’s good argument for the case of Into the Lair of the Sun God being the band’s creative triumph. Melding thick doom metal riffs, progressive musicianship, and unabashed old school traditionalism into one lengthy conceptual piece, Into the Lair of the Sun God is a mind expanding metallic journey. It definitely boasts the same otherworldly qualities of a ’70s rock/metal “album listen” like say Black Sabbath’s Sabbath Bloody Sabbath or Judas Priest’s Sad Wings of Destiny: A real trip, if you will!
5. Accept – Stalingrad
How do you follow up one of the most revered comeback albums in metal history? With a concept album on World War II era Russia, of course! Although the words “Accept” and “concept album” seem to go together like “Van Halen” and “Gary Cherone”, the newly invigorated Teutonic titans soldiered onwards, determined to continue their metallic reign. Indeed, they did exactly that, with yet another over the top album, filled with huge choruses and those colossal riffs Wolf Hoffmann has specialized in since the early ’80s. Indeed, they were still “Restless and Wild”, and would continue to be for at least another album, but more on that in a couple years.
4. Asphyx – Deathhammer
“THIS IS TRUE DEATH METAL, YOU BASTARDS!” With this exclamation, Martin van Drunen and the brutes in Asphyx proceed to absolutely slaughter their fanbase with their 8th studio album, Deathhammer. As if they hadn’t proven themselves already with a string of classic ’90s albums and the incredibly aptly titled Death…The Brutal Way (2009), Asphyx reigned supreme yet again, unleashing the best death metal album of 2012 by a landslide. And as I’ve said time and time again, they did so by being themselves, which is what they’ve been doing since day one. Unlike their peers, there was never an attempt to clean up their sound or hop on any bandwagons. The same can be said for…
3. Overkill – The Electric Age
The early ’10s truly were an “electric age” for Overkill. Although the thrash veterans never truly went away, 2010’s Ironbound reestablished them as a force to be reckoned with amongst the metal masses, thanks to a collection of songs that went toe to toe with their ’80s heyday. The Electric Age kept the thrashing going, staying true to the Overkill ethos, yet without sounding like a blatant rehash of what already was. The album’s lead single, “Electric Rattlesnake”, quickly became a crowd favorite and is still performed live regularly to this day. More than you can take? Make no mistake!
2. Eclipse – Bleed & Scream
Despite being most revered within AOR circles, Sweden’s Eclipse went full blown metal in 2012 and did so better than just about anyone else. Drawing from the melodic metal tradition of bands like Pretty Maids and Europe, and the euro power metal steel of Helloween, Bleed & Scream would quickly become the young budding band’s defining moment, and for good reason. In an age where labels and tags were becoming ever so prominent, it was hard to pin down this beast that was far too heavy for AOR, yet overly hook-laden/accessible for metal. When one puts their apprehensions aside, they’re treated to a euro metal tour de force that would only be topped by the likes of…
- Rush – Clockwork Angels
Ah yes, here come the “Rush was never metal” revisionist dorks. Funny enough, it was right around the time of Clockwork Angels release that I noticed this hip trend begin to pick up steam, so allow me to put you little twerps in your place once and for all. When Rush were releasing the likes of 2112, A Farewell to Kings, and Hemispheres, there was no such thing as “progressive metal”. The band was literally drawing the blueprint as they went along, allowing for bands like Queensrÿche, Fates Warning, and Dream Theater (for better or worse) to build and expand upon it in the decades to follow. This is all the more reason why Clockwork Angels, Rush’s final album, was all the more special.
Here was thee progressive metal band making a progressive metal album in a post-progressive metal world, specifically at a moment when progressive metal was HUGE. Meshuggah, Devin Townsend, and Opeth were packing concert halls from coast to coast, and don’t get me started on djent. The point being, the climate couldn’t have been more perfect for a Rush album that was a return to their heavy ’70s roots. Albeit rouneded out by a modern production sheen and forward thinking musicianship, Rush were able to reclaim their prog metal throne one final time before tragically calling it a day in 2015. The world is a better place for it.
“The measure of a life is a measure of love and respect
So hard to earn so easily burned
In the fullness of time
A garden to nurture and protect” – “The Garden”, Rush
Honorable Mentions
- Candlemass – Psalms for the Dead
- Desaster – The Arts of Destruction
- Enslaved – RIITIIR
- High on Fire – De vermis mysteriis
- Sigh – In Somniphobia
Always loved Clockwork, great list!