AOTY (Part Four)
The Finale: Top Full Length Releases
On to the last round with the top 20 releases of 2025. The first half from 20-11 is largely dominated by black metal still, with the UK’s Hateful Abandon breaking the pattern with their uniquely distinct brand of industrial and punk - a surprise release and excellent follow-up to 2014’s “Liars/Bastards”
XX. Ukhu Pacha, “Yanantin”
Independent
Black Metal (US)
XIX. Warloghe, “Logos of All-That-Ends”
Northern Heritage
Black Metal (Finland)
XVIII. Fellwinter, “Dark Mediaeval Art”
Blood & Crescent
Black Metal (US)
XVII. Hæksenhamer, “Poisonous Heathenism +rabid:antikosmik:madness+”
Independent
Black Metal (Germany)
XVI. Ûlairi, “Winter Infernal”
Sonorous Night
Black Metal (Norway/Spain/US)
XV. Darvaza, “We Are Him”
Terratur Possessions
Black Metal (Italy/Norway)
XIV. Hateful Abandon, “Threat”
Sentient Ruin Laboratories
Industrial/Punk (UK)
XIII. KVAD, “Sort skogsmesse”
Sonorous Night
Black Metal (Norway)
XII. Volahn, “Popol Vuh”
Crepúsculo Negro
Black Metal (US)
XI. Clandestine Blaze, “Consecration of the Blood”
Northern Heritage
Black Metal (Finland)
The top 10 is where things start to look a little weird (at least if you’re the purist type.)
And, yes. I am aware that Whirr released “Raw Blue” in 2024, but that dropped Christmas day last year. We didn’t get a chance to really immerse ourselves in it!
X. Sluggwerth (Bigg Sluggathor), “The Wizard Behind the Curtain”
Slugged Out Records and Tapes
Hip-Hop (US)
IX. Kali Uchis, “Sincerely,”
Capital Records
R&B (US)
VIII. crushed, “No Scope”
Ghostly International
Dream Pop (US)
VII. Celestia, “Forever Gone”
Drakkar Productions
Black Metal (France)
VI. The Murder Capital, “Blindness”
Human Season
Post-Punk (Ireland)
V. Sargeist, “Flame Within Flame”
World Terror Committee
Black Metal (Finland)
IV. Serpent Dweller, “Arid Realm Beyond Death”
Victims of Fate
Black Metal (US)
III. Khaos Aura, “Thorn Bringer”
Sonorous Night
Black Metal (Norway)
II. Whirr, “Raw Blue”
Funeral Party Records
Shoegaze (US)
I. Bambara, “Birthmarks”
Wharf Cat Records
Post-Punk (US)
If you’ve followed-my Instagram (vegspell_omega) within the last 2-9 months, then you shouldn’t be remotely surprised that Brooklyn’s Bambara would take my number one spot.
I was uncertain how the band would top 2020’s “Stray,” (an album that I’ve considered an all-time favorite since) or even 2022’s EP (or MLP?) “Love on My Mind.” Both releases continuously evolving in their song-writing and musical textures - but it’s the lyrics that steal the show. Often approached as non-linear narratives, the album lyrics read more like a story, with characters or recurring themes connecting to different songs.
Do other bands do this? Probably. But as far as I’m aware, nobody does it quite like vocalist, Reid Bateh.
“Birthmarks” continues this, and (dare I say?) even improves on the storytelling of it’s predecessors. It illustrates a haunting, violent, erotic, depressing, and obsessive-love that one can almost imagine in a cinematic lens.
But don’t take my word for it. Listen and read along - there is no other way you can truly appreciate it.
“Don’t remember what she wore ‘cause she stripped at the door
Said, ‘Our clothes look better thrown on the floor, now that we’re alone.’
Never even heard her name,
But the sound that remains is a mix of moans
With the hiss of rain on the patio.
I touched her shaky thighs, all love-bite bruised,
As she sprayed her perfume
Said, ‘You think it’s strange that I’m kind to you?’
I said, ‘I kinda do.’
She said, ‘There’s just so much cruelty in everything, everywhere.
When I close my eyes against it, I still feel it in the air.
But when I’m in your arms, I could swear it wasn’t there’”