Passive Aggressive Staff Top 10 of 2018 Lists
James Ballinger
10. Beach House “7”
I’ve always liked Beach House, but I’ve never considered myself a big fan or anything. This was a nice change up with tons of synth and some of their best songwriting to date. Super infectious record.
9. Cypress Hill “Elephants on Acid”
Any Cypress Hill album released in 2018 doesn’t have any business being this good, or this fun, but it’s both. Classic DJ Muggs production returns on their best record since IV released 20 years ago. I can get hiiiiiiiiiigh while, like, listening to songs about getting hiiiiiiiiiiiigh. What a concept.
8. Immortal “Northern Chaos Gods”
The solo Abbath record seemed to split the metal community down the middle, but I really enjoyed it. That being said, I didn’t have any real expectations with this Immortal record without him, but this absolutely blew me away.
7. Sleep “Sciences”
Sleep shows up on 4/20 and releases a secret record showing all the clones who the granddaddy is, with a new perfect record. Yes, the High on Fire record was also fucking awesome. I think I just listened to this more, while getting, like, hiiiiiiiiiiigh.
6. Will Haven “Muerte”
The EP Open the Mind to Discomfort in 2015 was a welcome surprise during the seven year wait between full-lengths, but this record absolutely crushed all expectations. Great guest spots from Yob frontman Mike Scheidt and Deftones guitarist Stephen Carpenter make this complete a pretty flawless discography with original vocalist Grady Avenell.
5. Sandrider “Armada”
As I stated in my review earlier this year, this record was what we all needed at the time, and we still do. Crank this up one last time in 2018 and bring in the New Year with a terrible cheap beer hangover. Or listen to it on the treadmill at the gym, what the fuck do you want from me?
4. Yob “Our Raw Heart”
One of my most anticipated albums of this year was the new Yob album, and it’s a crusher. We all know the story about vocalist/guitarist Mike Scheidt’s recent health trouble, and like few others, is able to use all the pain, torment, uncertainty, into something powerful, painful, and beautiful.
3. Daughters “You Won’t Get What You Want”
Yowza. The permanent answer to the question: What reunion record is as good as the band’s previous work? This. This is. Yowza.
2. Cardi B. “Invasion of Privacy”
I absolutely love this record. It’s an interesting album for the fact that its lead single came out in summer of 2017, yet it’s just now recently getting a physical release, but only on LP. A year and a half for a mainstream release to stay current and fresh these days is pretty rare. And with all those Grammy nominations this probably won’t slow down until summer. I had to tell dozens and dozens of people asking for it (at my day job) that it was streaming only at the time. People do still buy CDs, and it’s a shame it’s slowly being phased out. Anywho, Cardi straight up kills every moment here, it’s all clever as fuck and worth your time.
1. Great Falls “A Sense of Rest”
If this would have been released earlier in the year, you’d see this on all the big lists in my opinion. If you didn’t get around to it in 2018, better get on it in 2019. Great Falls have gotten so much better over the years, yet they were never short of brilliant. This is the best sounding, best written, and best document of the band absolutely operating at their prime. I implore you, please, get on it.
Matt Scherer
- We Hunt Buffalo – Head Smashed In
This massive hunk of riff-driven fuzz-rock is groovy like a drive-in movie and catchy like a cold sore. The Vancouver B.C.-based 3 piece isn’t reinventing the stoner rock wheel on this album, but every song is so incredibly well-crafted that it makes for a very engaging and memorable listen throughout. Fans of Swedish riff worshippers like Dozer, Truckfighters, and Greenleaf certainly won’t want to miss it.
- Uncle Acid and the Deadbeats – Wasteland
Wasteland continues Uncle Acid’s meteoric rise as the modern retro-doom scene’s most crucial band. Their sound hasn’t changed all that much over the course of 5 albums, and fans will instantly know what they are in for: lo-fi groove, filtered through a dark early-70’s inspired lens. What really what sets this album apart from its predecessors is cohesive storytelling about a dystopian 1984-esq society of brainwashed drones, which seems all too fitting given our country’s current situation.
- A Storm of Light – Anthroscene
Speaking of politics, in my mind there was no better politically charged album to come out this year than the latest rager from A Storm of Light. Equal parts Ministry and Neurosis, front man Josh Graham (who is well-known for his work as Neurosis’ visual artist) delivers line after damning line about our nightmarish political climate and the apathy we are all guilty of. As he so eloquently puts it on “Slow Motion Apocalypse” – “Nothing is stopping these circles of violence, life keeps moving, we stand here in silence.”
- Carpenter Brut – Leather Teeth
My obligatory inclusion of a top Synthwave album this year goes to the almighty Carpenter Brut and his epic soundtrack to a slasher flick that doesn’t exist (but I really wish it did). Although there were some great dark synth albums to come out this year (Gadgetor and Gost both come to mind) Leather Teeth really shines due to its lighter tone and extremely tight focus. Some synth albums can meander and drag on, but Leather Teeth cuts right to the good stuff. “Sunday Lunch” is a standout track for being a piece of pure vaporwave inspired cheese.
- The Lions Daughter – Future Cult
When a band decides to experiment with their sound, it can go one of two ways: either it can be a total mess, or it can knock the band up into a new creative echelon. Thankfully for St. Louis based The Lions Daughter, their latest album Future Cult falls into the latter camp. While the band’s trademark blackened sludge is still present for the most part, there is now a heavy horror synth influence that integrates flawlessly and serves as the backbone of the whole album. Imagine a black metal band covering a John Carpenter soundtrack and you have an idea what this sounds like. Standout track “Grease Infant” is my favorite song title of the year.
- Un – Sentiment
Un, which had previously been Seattle’s and funeral doom’s best kept secret, is about to hit it big. Already garnering critical acclaim in major music publications, Un’s new album will no doubt end up on many best of 2018 lists. Sentiment builds on the foundation laid by their previous LP The Tomb of All Things and brings a greater sense of melody which contributes to the lush and epic atmosphere. While many doom bands go to great lengths to sound dreary and dead, Sentiment comes off very much as living, cathartic, and (dare I say) even a bit hopeful. Being some of the nicest guys you’ll ever meet, I can safely say any success they have is well earned.
- The Atlas Moth – Coma Noir
Chicago-based The Atlas Moth has long shown the uncanny ability to seamlessly dance between heaviness and melody and that is on full display on Coma Noir. The album (their best to date, which is really saying something given the strength of their back catalog) blends a wide variety of music styles together into a progressive psychedelic post-sludge masterpiece. There is so much going on in each song that every listen reveals new elements and continually draws you back to discover more. Also, they absolutely killed it at this year’s Northwest Terror Fest, so the live show absolutely lives up to the high standard set by the record.
- Sandrider – Armada
I don’t think we stop and realize, as Seattleites, just how lucky we are to have Sandrider. They continue to forge on, trends be damned, writing kick ass rock music and doing it on their own terms. It’s hard to pick favorite tracks, but “Creep” and “Banger” seem specifically designed to whip the crowd into a headbanging frenzy and will likely be staples of their infectious live show for years to come. Taken as a whole, Armada ends up being both their heaviest and most rocking album to date and further solidifies them as a crucial piece in the pantheon of Seattle’s rock legends.
- Rivers of Nihil – Where Owls Know My Name
This is one that really surprised me. Not being the biggest fan of technical/progressive death metal, I wasn’t expecting much here, but what I heard instead blew me away. Occasionally, an album comes out that completely redefines a genre and sets a new bar for others to follow. Where Owls Know My Name is one of those records. It takes the dizzying tempos that tech death is known for and filters it through a King Crimson tinted lens. It incorporates Jazz saxophones, synths, acoustic guitars and the kitchen sink, coming off like a death metal version of Dark Side of the Moon. Even if you don’t like tech death, if you give this one a chance you will be absolutely rewarded.
- Skeletonwitch – Devouring Radiant Light
While some records redefine genres, others simply redefine the band itself – sometimes to even more impressive results. After losing their long-time front man Chance Garnette, who had appeared on their previous 5 albums, the future of Skeletonwitch looked dim. However, recruiting Adam Clemans (also of Wolvhammer, Iron Thrones, and Veil of Maya) as a replacement turned out to be one of the best possible moves they could have made. A major leap for the band in terms of overall maturity, Devouring Radiant Light has a decidedly less “party” vibe, instead focusing on mood and ferocity, both likely influenced by Clemans more diverse metal background. There is even some surprising experimentation here, “The Vault” approaches doom ala Pallbearer, something that would have been unthinkable a few years ago.
Marisa Kaye Janke
Ordered by personal preference:
- Ungfell “Mythen, Mären, Pestilenz”
It is not uncommon for me to fall in love with that which initially terrifies me. I’ve been obsessed with this album since I discovered it and was tripped out on its fascinating expression of sorrow that harkens to the utter despair and panic of a plague- stricken world. This is anxiety inducing while boasting beautiful pastoral passages and a rich folk influence. There is also a constant interweaving of rippin guitar shred that is catchy and digestible despite the neurotic nature of the compositions. Ungfell is an impressively intricate two- piece raw black metal outfit from Zürich belonging to the Helvetic Underground Committee, a neatly curated collective “dedicated to the advancement of grotesque, vile, depraved and putrid audio torment”, and this release succinctly exemplifies said mission.
- Khorada “Salt”
Like an aggregant to an open wound, Salt incites a burning sensation that is passionate, powerful, and far too intense to ignore. It is well-aged, refined, intelligently preserved, and entrancing in a manner that is tactfully consuming… a grittiness that is unrelenting, yet laced in a soft fragility that is both sensual and impenetrable. Despite my bias for this being a dream come true combination band of my two favorite bands (Giant Squid and Agalloch), it stands alone as a creation worthy of repeated examination and consumption.
- Antlers “beneath.below.behold”
This album flows with precision that is equally graceful and intense. Gripping and catchy as hell, there exists within it unique structural subtleties; an ascending climactic repeated riff in 6/8 time near the beginning is referenced familiarly in a closing 4/4 descending pattern in a sort of reflecting long form progression. An active listen is highly rewarding as it plummets in depths of heaviness with brief beautiful interludes as if coming up for air in vignettes of delicacy.
- Un “Sentiment”
This is such a beautiful expression of vulnerability and tragic sadness. It hurts and heals with alluring melodies and truly pained vocals.
- Uada “Cult of a Dying Sun”
I can always get lost in the invigorating energy of this band. Consistently powerful and true to its intention of horrific grooves, Uada delivers yet again. Kings of the scene, undoubtedly.
- Wild Hunt “Afterdream of the Reveller”
This is wonderfully mystifying. It provides a texturally colorful plane within which to trance out, for the anchors of intriguing transitional passages offer stoicism amidst the abyss.
- Zeal & Ardor “Stranger Fruit”
- Windhand “Eternal Return”
- Deafheaven “Ordinary Corrupt Human Love”
- Dysphotic “The Eternal Throne”
Brian Kim
- EDWØRD – S/T
Fresh Portland outfit EDWØRD’s self-titled debut full length is a delightful tome of brutal riffs and blistering shredding from some veteran players. This album is an explosive introduction to a band’s proggy, hard-edged brand of death metal, and I’m sure they will be making a name for themselves quickly.
- Kaupe – The Depths
One of the downsides to Seattle’s giant music scene is that sometimes phenomenal bands fall through the cracks. One of those bands a few years back was Key of Solomon, and guitarist Brett Walker ended up moving back to his hometown in Florida and eventually formed Kaupe. Kaupe’s debut album The Depths is a high energy, well polished foray into face melting instrumental progressive rock/metal. Crossing my fingers they make it out to Seattle one day.
- Slow Code – Wastelayer
I’ve been digging on Slow Code for a while, but with Wastelayer, the band has really stepped it up to the next level. Listening to Wastelayer reminds me of listening to Fugazi for the first time, not necessarily sonically, but almost as if my idea of punk rock was being simultaneously emboldened and shattered. Wastelayer’s themes of crumbling modern society are felt deeply through the raw and aggressive instrumentation as much as in the pained, desperately shouted vocals.
- Khruangbin – Con Todo El Mundo
Houston based Khruangbin’s music sort of blindsided me this year. Their organic blending of a geographically wide array of influences tied together with a funky twist of psychedelia has kept Con Todo El Mundo in my regular rotation since its release in January, and it’s not likely to go anywhere anytime soon.
- Mouse On The Keys – Tres
Japanese trio Mouse On The Keys continue to create an unquestionably unique blend of jazzy, mathy instrumental post-rock. Tres sees their unorthodox instrumentation of two pianos and keyboards with a drummer unfold into mind-bending rhythms and cleverly captivating melodies.
- Sleep – The Sciences
As if anyone needed to be reminded, Sleep once again establishes why they are the undisputed champions of the stoner/doom genre. The Sciences showcases Sleep at their finest, unleashing a wild and dense sonic journey soaked in fuzz and cured in THC.
- The Ocean – Phanerozoic I: Paleozoic
With the first half of this epic conceptual double album, The Ocean bring forth an immense and intricately crafted collection of dark, bleak, progressive metal. The tumultuous and expansive history of the phanerozoic period of our home planet are utilized thematically both musically and lyrically, and add an extra layer of depth to an already exceptionally solid album.
- Uncle Acid and the Deadbeats – Wasteland
Gloomy English psychedelic rockers Uncle Acid throw down yet another bold reincarnation of vintage heavy psych rock. Wasteland is a fuzzed out, reverb-drenched ride through the underworld, executing both raw, explosive riffage and spaced out, hypnotic reveries with effortless ferocity.
- Un – Sentiment
With four brilliantly composed tracks clocking in around fifty three mesmerizing minutes, Un have conjured one of the most impressive doom records in recent years. A slowly swirling cauldron melting together despair and hope, loss and triumph, executed with demonic precision, Sentiment is an incredible album showcasing some of the best of what the doom genre has to offer.
- Yob – Our Raw Heart
Epic, crushing, and beautiful, Yob’s newest effort Our Raw Heart is a dense and profound work of art that lifts the heart to transcendent highs, sinks it to suffocating lows, and repeatedly pulls it apart and reassembles it. With the added weight of vocalist/guitarist Mike Scheidt’s miraculous survival of near deathly illness, Our Raw Heart carries an enormous sense of consequence. The riffs are absolutely massive and Scheidt’s impassioned vocals cut and drift with ghostly gravity. With Our Raw Heart, Yob continues to master the craft of brilliant and breathtaking doom.
Jake McCune
Ten Records From 2018 That I Sure Hope You Know About, Bud. (Listed in Alphabetical Order)
Amarok – “Devoured”
Chico, California crew Amarok have been percolating their brand of drone-inflected doom metal on a number of incredible small and split releases for 8 years, each new 10+ minute entry numbered and entitled. Though they’ve only released a handful of tracks, the care and contemplation that goes into each is immediately evident upon listening. These are long songs that don’t feel it, expertly paced. Now the band have finally seen fit to release their debut long player, almost doubling their discography with one release. These four tomes are infinitely re-visitable, the perfect soundtrack for any long struggle you encounter in life.
Atone – “Atone”
California, especially the Bay Area, breeds metal excellence. This project represents the coming together of separate musical entities from Bay Area notables Swamp Witch and Body Void, both excellent sludge-adjacent projects in their own right. But while those projects branch out into psychedelic or other territory, ATONE hone in on capital S “Sludge” like a ceremonial knife, drawing from a historical and geographic well of legendary bands such as Noothgrush and Dystopia to bring groovy pain and misery into the new century. Four alliteratively titled bangers comprise this excellent debut EP, my favorite new act of the year.
Brainoil – “Singularity to Extinction”
Speaking of historical Bay Area Sludge, 2018 saw the release of a new Brainoil LP, effortlessly guaranteeing a slot within my favorite releases of the year. The math on this one is simple. Greg Wilkinson records most a bunch of your favorite metal bands. Every now and then, he teams up with guitarist Nathan Smith and drummer Ira Harris and together they create some of the most intense, groove-laden, noisy sludge of the year and then you listen to it and agree that it is excellent. The last time this happened was 2011’s “Death of This Dry Season” so we should all consider ourselves lucky this year.
The HIRS Collective – “Friends. Lovers. Favorites.”
I still don’t know what HIRS stands for, if it’s even supposed to, but I really don’t have to with a message as razor-sharp as theirs. On Friends. Lovers. Favorites the queer grindcore collective bring in just that, lining up a bevy of guest appearances from other queer punk contemporaries like Laura Jane Grace or G.L.O.S.S’s Sadie Switchblade, to rip through a debut full-length of grinding rage, directed at centuries of injustice inflicted against those who don’t fall in line with capitalist heteronormativity. If you’re pissed and tired of living in a world that doesn’t belong to you, this is it.
Intensive Care – “A Removal to Elsewhere”
In the band’s own words: “A constant reordering and reconfiguration of decay and failure.” Ever present in my year-end selections, Intensive Care is the project of cohorts and ex-The Endless Blockade members, bassist Andrew Nolan and drummer Ryan Bloomer. In stripping away guitars, the pair have stumbled into a decidedly more primitive, industrial inspired territory that twists its influences up with the bass/drum heavy noise rock of “pigfuck” distinction.
KEN mode – “Loved”
I know Canadians are supposed to be uber-polite and all, but holy hell are KEN mode angry. That’s a good thing, too. Can you imagine how boring their music would be if these handsome boys were having a great time? No, KEN Mode exists as a force to dispel human negativity through whatever sonic means necessary. They eat descriptions like “Noise Rock,” “Metalcore,” and “Post-Sludge” for breakfast. Their music is an act of pure aggression. “Loved” even finds the band throwing head-twirling saxophone into the mix on album highlight “The Illusion of Dignity.” In 2018, KEN mode prove once again that no other band is quite like them.
Knelt Rote – “Alterity”
A post-humous release for a band that never quite saw its due in the underground. Portland’s Knelt Rote was a project that garnered gushing enthusiasm from the few who gave their blend of grindcore, death metal and noise music a chance. In the six years since the band’s prior release of Trespass, this final statement finds the band further refining their sound into a non-stop, 22 minute ride through unease and tension. Here’s to going out on a high note.
Moloch – “A Bad Place”
Lots of bands in the extreme music space like to talk up being influenced by negativity. We get it dogg, you hate humanity. Moloch are different. These lads have tattooed their broken, torn up hearts directly onto their sleeves. Taking aesthetic cues from memorable moments of absolute despair depicted in popular media, Moloch’s no-frills sludge makes no apologies for being a downer. The aptly titled A Bad Place finds its cover art in the Steve McQueen/Michael Fassbender collaboration “Shame,” a film about a man who loses control of life to sex addiction. The image of Fassbender, ragged and worn, head in hands, is practically a universal symbol for mental anguish. The six dirges contained within are proof that Moloch are one of the greatest extreme metal bands working today.
Sissy Spacek – “Ways of Confusion”
The avant-noise-grind project named after the noted actress finally released a full length record on label Nuclear War Now. That’s a real English language sentence that I was born to write, I guess. Sissy Spacek is the long-time project of John Wiese, who has released an assortment of sounds under the moniker. Most notable is the blazing fast, bass-in-a-trash-can noisecore that he constructs with drummer/cyborg Charlie Mumma. This arm of the Sissy Spacek empire has finally put together a body of work longer than 10 minutes, but no less relentless. Between the cacophony of noise, drums and distorted bellows, you will come to find the meditative qualities of Mumma’s clacking drumsticks, counting off the limited space between tracks every 15-30 seconds.
Vile Creature – “Cast of Static and Smoke”
I’ve gravitated away from liking “concept albums” as, well, a concept, in my later years. Leave it to two queer, Fallout-loving Canadians to drag me back into the fold. Vile Creature’s proper debut full-length tells a radical science fiction tale of a world post-destruction across four hymns of doom. Though they do have friends and guests on the record, the fact that most of the cacophony comes from only two people make Vile Creature one of the most notable duos working in extreme music today.
Jeffery McNulty
10. Wild Powwers “Skin”
Last time I caught Wild Powwers’ live show was at this Summer’s Linda’s Fest. I was happy to see them as always, but their set was particularly bad ass that day and it wasn’t just because Lupe is one of the the top drummers in town (if not the best!) I now know it was because this record was about to drop and it has some of their best songs to date. Stellar production plus great songwriting equals good listening!
9. HEAD “Collider”
Fellow tape jockey Scott Evans turned me on to this record with a random FB post. I took his advice and checked it out. Crushing super heaviness from Berlin and Melbourne(?!?), recorded in Germany and Mixed in Sweden, this is a glimpse of things to come I think. Now, take my second hand advice: if you are a fan of Serial Hawk or Kowloon Walled City you will enjoy this immensely.
8. UNIFORM “The Long Walk”
How did I miss this band’s last album? They even had a couple songs on the Twin Peaks soundtrack. Thankfully my buddy Ajax turned me on to them and I’ve been listening to nothing but this record for a week solid. Totally distorted super shitty hit the tape too hard industrial noise metal that is simultaneously retro and somehow forward thinking.
7. Cardi B “Invasion Of Privacy”
God damn this record is heavy. Cardi doesn’t fuck around; she’s intense, irreverent and unrepentant, everything I love about Hip Hop. Drip is my current test song… if a PA can handle that it can take whatever I’m gonna throw at it. That being said Bickenhead is probably my favorite song of the year. I’m in love with the fact that something this rough and nasty lyrically is so damn popular.
6. Exhumed “Death Revenge”
How do bands like Exhumed keep coming up with killer songs? Seriously, this record kicks all sorts of ass. I love all those incestuous Bay Area metal bands like Ghoul and Impaled. It seems, much like good horror movies, that they take the music seriously but not necessarily themselves. And the themes are always a little tongue in cheek, like, “Hey we get it: horror, Satan, gore and evil… fun stuff! Let’s thrash!!”
5. Nox Novacula “Self Titled EP”
Nox is the band I’ve been telling everyone about since I first saw them last year. They got a review that said something like, “This is what goth is supposed to sound like.” Well, I know they are a classic death rock band so let me tell you this IS what fucking death rock is supposed to sound like. Rikk and Rozz would be proud! A local record with production that is absolutely spot on; the chorus laden bass, the verbed out vocals and guitar all laid down to a perfect back beat.
4. Witch Ripper “Homestead”
I had this on my phone for a couple weeks when, while to ride the bus to work, I was searching for new shit and remembered Witch Ripper’s new record was hiding somewhere, HOLY SHIT!!!!! Why did I sleep on this one? I could have shredded my ears with this much earlier. Another local band that I’m buddies with that have created a total barn burner. Crushing from start to finish, with flawless production. It sounds like Curtis is punching you in the face with his voice. This is what happens when people grow up listening to Mastodon, kinda like how kids who grew up watching Tony Hawk eventually ended up out skating him.
3. Law Boss “Diminishing Returns”
Law Boss is one of my favorite bands from Portland. They also are three of the nicest chaps I know. Their first outing was a favorite of mine and I was lucky enough to get the job mixing this one. What a dream job! If Tar, Rapeman and Jesus Lizard had a baby it might have grown up to sound like this. Everything you love about the AmRep years and none of the junk!
2. Elephant Rifle “Hunk”
Everytime I put this record on between bands someone walks up and asks what it is. Elephant Rifle is simply one of the best heavy punk acts in existence right now, and I cannot recommend a band any higher than that! Their last record was also excellent. “Hunk” has great songwriting, heavy riffs and versatile vocals. It is weird that their opening track sounds almost exactly like an old Android Hero riff… but that’s totally besides the point.
1. Judas Priest “Firepower”
This is the metal record that I needed this year. I didn’t know I needed it but Judas Priest did. It has everything: Sick riffage, brutal drumming, killer production and hilarious lyrics (in a good heavy metal way). This record is kinda front loaded but I’d still be hard pressed to pick a favorite song. Trust me, I’d never put a major label type band on the list unless they deserved it.
I am always so stoked when a local band (especially one comprised of friends) comes up with a classic. This seems to have happened a lot this year. 2018 was, more than usual, the year of local music for me. With a few key exceptions I’ve been rocking Pacific Northwest bands almost exclusively. Full disclosure: the bands below are one’s I worked with. They’d still be on the list though so I’m making the exception. Shout outs to Oxygen Destroyer and Xoth for making Seattle’s metal scene so much better!
Impulse Noise “Stress EP”
I think Impulse Noise is the best grind band to come out of Seattle in a LONG while. Maybe ever. Just one person’s opinion. I’m just happy to have been part of documenting another highlight of Seattle metal history. Damn they are good. Someone stop Justin from moving back to Alaska.
Post/Boredom “Shaking Hands With Clients”
Something happened when Rachel joined the band, they kept the sense of irreverence but the music slowed down, got a little gnarlier and the lyrical content surpassed the ironically funny song titles. Having been a band for a while, growth is natural so Jeffrey and Billy’s rhythms got even tighter and Pam’s guitars became even heavier. BTW Pam is one of my favorite guitar players in town who, alongside Zu from Nox Novacula, proves that the boys club of heavy rock is long gone. Thank fuck.
Dustin Carroll
Ails – The Unraveling
Cult Leader – A Patient Man
Emma Ruth Rundle – On Dark Horses
Khorada – Salt
Megaton Leviathan – Mage
Panopticon – The Scars of Man and the Once Nameless Wilderness
Thou – Magus, Rhea Syvlia, Inconsolable, The House Primordial
Uada – Cult of a Dying Sun
Un – Sentiment
Zeal and Ardor – Stranger Fruit
