The Top 100 countdown continues! We are getting closer to the top of the list, this time covering the albums ranked between 40-21.
40) DAMPF – No Angels Alive
The name might carry a German flair, but DAMPF is a Swedish project led by singer/songwriter Martin Erikson. The other members include people from several well-known bands: lead guitarist Tommy Johansson (Sabaton), guitarists Love Magnusson (Dynazty) and Sam Söderlindh (Crashdïet, Art Nation), bassist Pontus Egberg (King Diamond, The Poodles), drummer David Wallin (Hammerfall), and vocalists Olivia Thörn (clean) and Björn Åkesson (harsh).
No Angels Alive is their second album. Thematically it revolves around an overall theme of contrasts in life, such as light vs darkness, hope vs despair, and war vs peace. These themes are set to diverse musical styles, resulting in a 10-song storytelling experience full of theatrical chaos and colour, with a fascinating blend of opposites that still make sense as a whole.
Musically, DAMPF blends styles like hard rock and metal, electronica, thrash, folk metal, and melodic power metal. The music swings between lighter and darker moods, creating a rich, layered sound. The instrumental and vocal dynamics on display are impressive.
The opening track No Angels Alive is a great example, setting the tone for the entire album with its exploration of human darkness and resilience. The music is driving and dynamic with an empowering atmosphere, while the lyrics explore the struggle against inner demons and the notion that there are no angels left to save us – we must find strength within ourselves.
The best song on the album is however the darkest one: Might As Well Have Died delves into themes of hopelessness and despair, reflecting on moments when it feels like all our efforts are in vain. The song does a good job of capturing the cold, empty feeling that can arise from personal struggles, failed relationships, or – perhaps especially fitting these days – the overwhelming impact of global events. The music is powerful and emotionally charged, giving the song even greater resonance as it reflects those dark thoughts that could keep you awake at night.
39) Von Hertzen Brothers – In Murmuration
The Von Hertzen Brothers’ music is a dynamic blend of different types of rock – classic, progressive, hard, and psychedelic. They are typically full of prog pomp, with intricate arrangements and psychedelic/folk influences that adds lots of unique textures to their music.
In Murmuration is the ninth albums by the three Finnish brothers who make up the band (Mikko, Kie, and Jonne von Hertzen), and judging by the up-tempo adrenaline shot of opening track The Relapse it could seem like they have finally found their inner arena rock alias. But things are never that straightforward with these guys, this being yet another example of their own changeability and diversity.
The album is a smorgasbord of wonderous tracks, styles, and approaches. Even in their more experimental moments, these guys are catchy and feel meaningful at the same time. They deserve to be so much bigger than they are.
38) Amaranthe – The Catalyst
For years, I have referred to Amaranthe as ‘millennial metal’. I’ve never meant this as badly as it perhaps sounds. It’s primarily an acknowledgment that younger bands tend to approach metal differently than the classic bands did, embracing different styles and newer trends, molding them into their own expression.
Amaranthe have always been very good at capturing these newer metal trends. Their sound these days contains traces of metalcore, symphonic metal, electronic influences, melodic death metal, power metal, and for that matter, pop metal. Syncopated and stop-start rhythm patterns is also a huge part of their sound. They are also notable for having three lead vocalists of different styles – clean (female and male) and harsh (male).
Founding member and vocalist Elize Ryd has always been a noteworthy member, but the extraordinary vocalist is without question Nils Molin. His clean and powerful vocals soar to the skies with a power and control that few others can match. I am no fan of the harsh vocals, especially as they take up space that otherwise could have given the wonderful Nils and Elize more lines to sing. Others may have opposite preferences.
Overall, I feel The Catalyst is a solid addition to their discography. It might perhaps not quite reach the levels of my favourite release (2020’s Manifest, which didn’t feature growling vocals), but they are clearly getting even more ambitious in their songwriting and production which continues to make them an exciting band to follow.
37) Dominum – The Dead Don’t Die
Dominum released their second album at the very end of the year (27 December) which is too late to be part of most end-of-year countdowns, but a lot of the songs have been released as singles for the past half year – especially around Halloween – so most of the contents of this album was already on my radar.
The band are known for their blend of melodic metal with horror-themed storytelling, and titles such as Hey Living People, Happy Deadly Ending, and Don’t Get Bitten By the Wrong Ones reveals that they do it with a glint in their eye. Thematically, they are more Ghost than Mayhem, so to speak.
Dominum are skilled at combining the energy of melodic metal with the drama and intensity of horror movies, and have built up a universe all of their own with thematic consistency and entertaining tales. A band worth checking out.
36) Opeth – The Last Will And Testament
Half a year ago, I had not yet listened to a single Opeth album. Just a few stray songs here and there – enough to be familiar with their overall sound, but without being familiar with their records or even remembering specific songs.
In fact, I didn’t really take the plunge until the release of this year’s new album, The Last Will And Testament, which appeared on 22 November. It wasn’t lack of interest. More like lack of initiative, lack of time, lack of just getting around to it. There are hundreds of bands that I intend to check out at some point when I just get around to it, and for the longest time, Opeth just happened to be one of them. The new album provided just the leap-on point that I needed.
There might have been some trepidation over the fact that a lot of their musical output isn’t what I consider ‘my thing’. When they started out in the 1990s, Opeth was deep in their extreme death metal era, complete with growling and harsh instrumentation – albeit with a few progressive/melodic twists and turns. The 2000s would become their progressive death metal era, where they still embraced their death metal roots but with more obvious progressive rock influences than before.
The era I have been the keenest to explore is their pure progressive era, which began with 2011’s Heritage and has continued on up to this year. Starting with that album, Opeth shifted away from death metal to a more subdued, introspective 1970s-inspired progressive rock style. The growling vocal was totally abandoned, while the band embraced pastoral progressive influences as well as jazz, folk, and classical music. This is without question the most interesting era to me, and everything I heard from those years made me want to explore it deeper.
Given this short history of the band’s development, the biggest headlines and talking points about The Last Will And Testament has been about the return of the death growl for the first time in 15 years. Bravewords opened their album review with “To growl or not to growl? That is the question.” And indeed it is a big deal. “People were apparently crying that it was back,” vocalist Mikael Åkerfeldt bemusedly told Classic Rock, “but I still get criticised because you can actually hear what I am singing.”
The return of the growl does not equal a similar return to their death metal era. If anything, The Last Will And Testament has become a quintessential Opeth album in that it is the first one to embrace every musical era of their past. The album is nothing less than a mini-tour of Opeth’s complete musical journey up to this point, touching on everything they have done before. As such, it might work quite well as an introduction to the band.
The concept album contains eight songs, each of them representing a chapter in the story. Set in the 1920s, it is centred around the reading of a wealthy patriarch’s will and the responses his children have to their inheritance – or lack of it. Each song represents a section in the will, carries a paragraph title, and each song has been given its own musical expression to suit the emption of what is going on. As you can imagine, there will be anger, surprise, joy, sadness, and anything else that goes along with it. The return of the growl actually makes total sense in those terms.
The album has interesting guest cameos from Jethro Tull’s Ian Anderson, which makes total sense, and from Europe’s Joey Tempest, which will probably raise a few more eyebrows. His spoken word interaction with Ian Anderson is quite memorable, though.
A few Opeth double albums also appeared under the Christmas tree this year, and those have also been part of the Opeth experience for me at the very end of 2024. While they are not my favoute band yet, it’s been a great experience to explore them more. There was only time for so much Opeth at the end of the year, but I really look forward to continuing exploring these Swedes in 2025.
35) Kobra Paige – Like No Other
Kobra Paige is a Canadian musician and the lead vocalist of the hard rock/heavy metal band Kobra And the Lotus. She founded the band in 2009, and they have released several albums which all feature Kobra’s clear and powerful voice.
The band went on hiatus in late 2019 due to financial difficulties. They were unable to break even, and the financial strain, combined with Kobra’s desire to start a family, led to the decision to pause the band’s activities. She married Tommy Karevik (vocalist in Kamelot) in April 2020.
The pandemic years had strong ups and downs, as it did for a lot of us. She has since become a passionate advocate for mental health awareness, using her platform to discuss mental self-care and the pressures of social media and living up to others’ expectations. She tackled her own challenges by redefining herself as an artist through a lot of self-reckoning and aligning with her true self.
This is all part of the pillar that her first solo album was built on. Page has emphasised that learning to become an authentic version of herself was the most valuable part of making the album, regardless of the outcome. Consequently, each song has been given its own form. Love What I Hate has a modern hard rock sound with powerful riffs and energetic rhythms, featuring the energetic vocal performance that Kobra is known for. Songs like Under One Sun and Freedom incorporate pop rock elements, blending lovely melodies with rock instrumentation. They are accessible but intense. The song Thank You showcases a beautiful adult contemporary style, with a softer and more introspective approach. Tracks like Dreamer and Epiphany feature acoustic and folk instruments, providing a more intimate and organic sound. The offering is very diverse, tied together by Kobra’s voice as well as an overarching feeling that every song matters. I can’t say that every song hits me with the same impact, but they all have an intensity in them that makes me give them time and take them seriously. In the end, the album is a nice journey and a very satisfying whole.
The album shows bravery and is clearly a deeply personal statement. Fortunately, it is also an enjoyable one.
34) Richie Kotzen – Nomad
Richie Kotzen has been an active musician since 1988 when he released his first solo album. He was initially showcased as an instrumental guitarist but got his big mainstream breakthrough by joining big bands such as Poison, Mr. Big, and later on The Winery Dogs alongside Billy Sheehan and Mike Portnoy. The latter group is much more representative of him as an artist than the first ones, as he is largely known as a progressive, genre-defying multi-instrumentalist of diverse influences. It is very hard to pinpoint him musically, but labels such as progressive and explorative always seem to fit.
Nomad is the latest of over 20 solo albums, which once again is a showcase of his ability to experiment with multiple genres, sounds, and styles. If anything, this time he frequently seems to touch on hard rock with elements of funk and R&B. He plays almost every instrument on the album, which is also written, recorded, and produced by Kotzen himself.
His voice is also very enjoyable, and I’m glad he didn’t stay on the instrumental route. He has a natural soulfulness in his voice that makes it very expressive. A song like Insomnia is a great example, where the restlessness, frustration, anciety, and physical fatigue of being unable to sleep is expressed perfectly, even though the song is way more groovy than insomnia ever is.
33) Powerwolf – Wake Up the Wicked
The wolves howled once again in 2024! The German power metal band has walked the earth since 2003. They are known for their theatrical stage presence, with elaborate costumes and a show that has kept growing in tandem with their popularity.
Powerwolf’s music blends their powerful heavy metal with gothic and symphonic elements. They often incorporate religious and supernatural themes in their music, including werewolves, vampires, and dark folklore. This continues on the new album Wake Up the Wicked, which features a grandiose production with anthemic choruses, the band’s signature theatrical style, choirs, orchestras, and their familiar bombast.
Within these soundscapes, there is a lot of variance. They have speedier numbers (Bless ‘Em With the Blade), bouncy, mid-paced folk melodies with singalong choruses (Heretic Hunters), folk metal with Celtic instrumentation (Vargamor), a children’s choir (We Don’t Wanna Be No Saints), and epic historical retellings of epic proportions (Joan of Arc).
I have a particular fondness for the maritime theme of Sinners of the Seven Seas, with choral elements and an orchestral arrangement which gives it a grand feel. The chorus feels very classical in its structure, but more than anything, it’s sounds colossal.
If you’re ever in the mood for the type of music that Powerwolf delivers, few bands hit that particular spot better. It is larger than life entertainment.
32) Anette Olzon – Rapture
Anette Ingegerd Olsson (or Anette Olzon, if you will) is best known as the former lead vocalist for Nightwish between 2007 and 2012. In Sweden, she is also known for being in the classic rock band Alyson Avenue. After Nightwish, she has maintained a solo career, has released an album with The Dark Element (a project she has with former Sonata Arctica guitarist Jani Liimatainen), and has collaborated with Sir Russell Allen on an Allen/Olzon collaboration album. Interestingly, Olzon also works as a nurse, balancing her music career with her full-time job.
Rapture is her third solo album, co-produced by guitarist Magnus Karlsson who has also worked on her previous projects. It features the symphonic metal she is known for, although this time it sounds like more time and focus has been given to the song arrangements and performances. Olzon is clearly pushing herself vocally, and the songs feature several passages with Anette performing tight vocal harmonies with herself. Her voice and the way it is used on this album is its key strength and simply a delight. I have always adored her voice, and her performances on this album are vibrant and strong.
In 2024, Anette Olzon released an album that I enjoy significantly more that of her former band. I think she’d be bemused by that.
31) Solaris – Martian Chronicles III (I or A.I.)
Solaris is a Hungarian progressive rock band known for their symphonic and space rock influences. They have been releasing a conceptual series of Martian Chronicles albums, of which the third instalment was launched in 2024 as a double CD. Over these two discs, we are treated to three long suites with several passages, themes, and subsections. This is a hallmark of Solaris.
There hasn’t exactly been a sense of urgency in completing the series. The first Martian Chronicles album appeared in 1984, with the second chapter following in 2014. If they stick to releasing this series in years ending with a 4, that means the earliest we can hope for a potential fourth instalment is 2034.
They have obviously released several other albums as well, but there’s something special about the approach and scope of the Martian Chronicles albums.
The music of Solaris is primarily instrumental, featuring intricate arrangements and a blend of symphonic prog and space rock, with extensive use of vintage synths, flute, cello, and violin in addition to familiar prog rock instruments. With compositions as long as these, the music is not always immediate. It will sometimes take the time to properly establish and build sonic landscapes, establish moods, fit in surprises, and take the listener on a journey. This is as fascinating as progressive rock gets.
30) The Courettes – The Soul of… The Fabulous Courettes
The Courettes (or if you will, The Fabulous Courettes) are a dynamic Brazilian-Danish garage rock duo consisting of Flava Couri (vocals and guitar) and Martin Couri (drums and vocals). Formed in 2013, the band is known for their energetic performances, for their punishing tour schedule (will play anywhere, anytime), and a sound that blends 1960s girl group harmonies with raw, fuzzy garage rock.
In general, the band’s love of all things 1960s has always shone through, from music to style, fashions, cover art, and overall presentation – right down to Flava’s black-and-white Emma Peel shoes. The Soul of… The Fabulous Courettes does not change this in the slightest, but shows some evolution by incorporating elements of Motown and adding an even bigger emphasis on Phil Spector’s ‘Wall of Sound’ production style into their music. The album also features contributions from notable 60s figures like La La Brooks of The Crystals, and Darian Sahanaja who worked on Brian Wilson’s Smile album.
In spite of any new ingredients, the seventh album from the dynamic duo gives you exactly what you expect and want. The album is a mix of catchy 60s pop melodies, soulful harmonies, and gritty garage rock, making it an utter delight for anyone who loves 1960s-styled music as much as I do.
29) Orla Gartland – Everybody Needs A Hero
Orla Gartland is an Irish musician who known for her blend of acoustic folk, indie pop and rock influences. She began her musical journey at a young age, learning violin and guitar before launching her YouTube channel at 13. Her videos gave her a strong grassroots following, with the mixture of cover versions and original material gaining a lot of attention.
Everybody Needs A Hero is her second album. The first one, Woman On the Internet (2021) explored themes of self-discovery, often delving into personal experiences and emotions which made her songs highly relatable. This continues on the new album, which continues exploring the experiences and challenges of growing up and navigating life. The title track reveals the overarching theme of the album, which revolves around the idea of being a hero in one’s own life.
Musically, Gartland is a bit of a chameleon. She seamlessly blends genres from indie pop to rock to folk, primarily creating a new sound which is her own. Some tracks are piano-driven, others have a strong band sound, others may be poppy. The emotion behind most of the songs feel very similar. There is a strong feeling of experimentation, and I get the impression that most of these songs have been tried in several different styles on the way to their final form.
The album is a bold and intentional exploration of personal and societal themes. Orla shows real growth as an artist, and continues to showcase her ability to connect with her audience.
28) Rosalie Cunningham – To Shoot Another Day
To Shoot Another Day is Rosalie’s third album as a solo artist. Some may remember her previous band project Purson, where she in effect created the albums similarly to how she does now, primarily calling on the full band when the time came to perform the songs live – also similarly to how she operates now.
No matter under which banner she has released music, she has always stuck to her personal brand of psychedelic-tinged progressive glam rock with obvious influences from the 1960s and 70s. You can find traces of both The Beatles and a young Kate Bush here. Not a whole lot of artists make this kind of music any longer, especially not on the level that Rosalie Cunningham does, so every new album is met with eager enthusiasm and anticipation.
The new album sees her continue to make intricate, carefully designed pieces of music. She is perhaps less psychedelically inclined this time around, focusing more on the progressive elements and the careful crafting of her material instead of vintage resonance. There are less straightforward choices than ever on the new album, which sees songs take all sorts of twists and turns, as the music becomes a central part of the song’s narrative, providing handcrafted, bespoke musical parts to go along with each individual lyric line. The album’s sound is rich and eclectic, with a very strong theatrical and cinematic quality designed to transport listeners into different worlds. The songs are often mini-epics in full-on storytelling mode.
As if to illustrate how important the cinematic aspects are, the title track To Shoot Another Day is inspired by classic James Bond themes of the early era, with lush arrangements and a dramatic chorus. Return of the Ellington is probably the album’s biggest accomplishment, not just because of its musical scope, but because it continues a narrative arc introduced on her previous album Two Piece Puzzle (2022). On that album, the tracks Donovan Ellington and Donny Pt Two told the story about the dissatisfied blacksmith Donovan, who wants to escape his humdrum life, responsibilities, and problems by running away to see the world. Both songs recount Mr Ellington’s escapades, with Cunningham conjuring up a unique world where a number of wondrous things happen. “I absolutely loved doing that,” she told Classic Rock Magazine at the time, “so much so that I feel I’m not really done with that story. I might just keep writing sequels to it, create some sort of Donovan Ellington World franchise.” The new album sees her doing just that, as Return of the Ellington details his return after a long absence. The song explores the reactions of those who remember him and the changes that have occurred in his absence. It blends nostalgic elements with a sense of renewal, with an interesting musical backdrop yet again.
The album is thoroughly enjoyable album. The artist has said it is her best one so far. In a sense she is not wrong, but as I enjoy my Rosalie a bit more psychedelic and vintage-flavoured than she is this time around, I feel I enjoy the expression of the material on some previous albums a bit more. We’re now talking about which type of spice we prefer on the dish, though. The main course is as exquisite as ever.
27) Big Big Train – The Likes of Us
The Likes of Us markes a significant evolution for Big Big Train, as it is their first full collection of songs since the passing of lead vocalist David Longdon in 2021. The new vocalist Alberto Bravin (formerly of PFM) brings a fresh yet fitting dynamic to the band, maintaining the thoughtful approach of Longdon while adding his own touches.
The album retains the band’s signature blend of 1970s Genesis-inspired prog-rock and the pastoral English classic folk-prog. The music feels both familiar and renewed, with tracks like Oblivion showcasing a more organic and live-recorded feel.
The lyrics on the album have taken on a more personal touch, reflecting the band’s journey through loss and renewal. Songs like Beneath the Masts and Miramare offer a mix of introspection and storytelling, adding layers of depth and emption.
The album was recorded with the band playing together in a room, which enhances the sense of connectedness and synergy in the music. This approach contrasts with their recent albums which were often assembled remotely.
Overall, The Likes of Us is a testament to Big Big Train’s resilience and ability to evolve while statying true to their roots. This is as heartening and healing to fans as it no doubt has been to the band. This album renews my faith in them as a band to count on for the foreseeable future.
26) Flotsam And Jetsam – I Am the Weapon
I must be honest and say that I haven’t really kept up with the thrash giants Flotsam and Jetsam over the years. I picked up their first album Doomsday For the Deceiver (1986) sometime in the 1980s – likely 1987 – primarily because it featured Jason Newsted on bass before he joined Metallica, and I was a huge Metallica fan at the time. I still have that vinyl record. After that though… nothing, until 2024 and their 15th album I Am the Weapon. Those 37-ish years might be the longest gap I have between picking up two new albums by the same band.
So what happened? I’ve heard a song here and there over the years, but this year, the for the first time in a very long time, they really grabbed me. Some solid music videos led me to start streaming the album, which led me to getting a copy. Simply speaking, the new album is rock solid, with several stand-out tracks in addition to an overall high level of quality from start to finish.
Perhaps stability is finally paying some dividends? Flotsam And Jetsam’s biggest problem has been an ever-changing line-up, with vocalist Eric Knutsom being the only constant member since the band’s formation in 1981. I Am the Weapon marks the first time since 2021 that the band recorded more than one album with the same line-up. I hope they have found their line-up for the foreseeable future, because the current version of the band is a delight.
Musically, the band blends their signature thrash metal sound with power metal and traditional heavy metal. It ends up sounding all the better for it. It helps that the production is crisp and punchy, with a clear and balanced mix that makes the album all the more enjoyable to listen to.
Some serious kudos has to be given to Knutson’s vocals. His performance is a standout on this album. He is a veteran in the game at this point, and whatever he does to preserve his voice really works. It is powerful and versatile, capable of delivering both aggressive thrash lines and more melodic, soaring lines. He is backed up by a band that shines on this album, individually and together.
25) Brothers of Metal – Fimbulvinter
How about some music from the Norselands, heavily inspired by Vikings and Norse mythology? Brothers of Metal is a Swedish power metal band from Falun, formed in 2012. The eight-piece band plays melodic power metal in an epic and theatrical style, with their songs often resolving around heroic tales and epic battles, delivered with a sense of fun and self-awareness.
Fimbulwinter is their third album, which largely is a continuation of their signature sound. We’re still talking about epic power metal with folk elements. There are heavy, fast-paced tracks (Giantslayer, Heavy Metal Viking) as well as more melodic and symphonic pieces (Rivers of Gold, Nanna’s Fate).
What I primarily enjoy on this album is the band’s growth as composers of epic and cinematic tracks. They have dabbled with this before and succeed really well this time. The opening track Sowilo sets the tone with grand symphonic elements and a slow, epic build-up. They have made sure to bookend the album with these type of tracks, as the album ends in similar fashion with the title track Fimbulvinter. This is a good showcase of the band’s ability to blend powerful metal with cinematic storytelling. The song is a retelling of the ‘fimbulwinter’ (meaning ‘mighty winter’) from Norse mythology, which refers to the harsh and prolonged winter that precedes the events of Ragnarök – the end of the world. During this time, it is said that two wolves, Skoll and Hati, will devour the sun and the moon, causing darkness to fall over the world. The earth will tremble, mountains collapse, and the seas will surge, leading to the release of the monstrous wolf Fenrir and the Midgard Serpent. All of these elements can be found in the song.
The band’s visual style and music videos are frequently purposefully over-the-top with a sense of humour. This approach has earned them both praise and criticism. I have never had a problem with use of humour in iself, but there is a danger that an overall humorous image could bleed into situations when a band performs more serious material, ending up selling that a bit short. If you listen to the album it’s fairly typical of its genre thematically, so this is primarily an image concern rather than a musical one.
Fimbulvinter is a well-crafted album that demonstrated Brothers of Metal’s growth as composers. They are kicking down open doors as far as genre development, but there’s something about their approach to writing and performing that just makes this very entertaining and enjoyable to listen to. I did not expect to spend as much time with this album as I have, but there’s no regrets from this heavy metal viking.
24) Amyl And the Sniffers – Cartoon Darkness
Is this a band or a force of nature? Led by Amy Taylor, Amyl And the Sniffers from Melbourne, Australia plays a high energy blend of punk rock and pub rock characterised by its raw, unfiltered energy and aggressive sound. Their songs are typically short, fast-paced, and packed with intensity, reminiscent of 1960s/70s punk bands like Iggy Pop’s The Stooges.
They draw inspiration from the Sharpie subculture, a uniquely Australian style of punk that emerged in the 1970s. This influence is evident in their straightforward, no-nonsense approach to music. Their lyrics often tackle themes of rebellion, defiane, and working-class life. They have an unapologetic attitude and gritty storytelling.
Their third album Cartoon Darkness marks a significant evolution in their sound and thematic exploration. The energy is still very much there, with a more polished and diverse sound than before. Recorded with producer Nick Launay at Foo Fighter’s 606 Studios, it sees them incorporating more straightforward rock’n’roll, glam, and even some modern influences like Sleaford Mods.
The album perfectly balances rage and joy, punk and empowerment and important messages with silliness. This balance makes Cartoon Darkness a more dynamic and engaging listen than the more one-dimensional first albums. A song like Big Dreams with its country-noir tones is especially impactful as it addresses the struggles of achieving one’s dreams amid financial hardships, being stuck in a situation and/or place, and the pressures of everyday life. Every song is far from a party, but they hit you hard one way or another.
The album opener Jerkin’ is certainly livelier, with Amy screaming out themes of rebellion and self-expression set to high energy. Tiny Bikini is a playful yet critical song that uses vivid imagery to make points about conventional beauty standards. The first single U Should Not Be Doing That is a slower-paced song with a slinky groove, that sees the band in an assertive mood as they challenge the listener to question what is considered acceptable behaviour and to resist societal constraints. This was the song that made Mrs. Norselands sit up, take note, and declare that we needed to listen a lot more to Amyl And the Sniffers in our household. And so we have.
23) Lesbian Bed Death – Midnight Lust
The band with the unusual name that makes you look twice was yet another new acquaintance in 2024. Lesbian Bed Death are a gothic hard rock band from the UK, known for their horror-themed aesthetic and energetic performances.
Midnight Lust is their eight studio album, and it is described as the twin sister of their previous album The Witching Hour (2021), albeit with a somewhat heavier metal direction. This might be down to the fact that the album features no less than three new members: JJ Jackson (vocals), Aimee Violet (drums), and Leisl Heath (bass). They joined founding member Dan Peach (rhythm guitar) and Steve Lethal (lead guitar, synths) who joined in 2021. This makes this version of the band pretty new, although they have a long history.
The new album often has a very enjoyable dark, cinematic atmosphere, with several songs having haunting melodies and eerie soundscapes that enhance the horror-themed lyrics. Other songs could almost be described as horrific party anthems (Satanic Suicide Sex Cult, Reykjavik Nights), dark and personal tracks (Your Love Makes Everything Worse, The Woman Who Drinks Tears, Feral Eyes), or simply songs that play into the horrific type of storytelling which they do so well (The Mummy’s Tomb, Horrors of the Crown Hotel, Maria).
22) Charlotte Wessels – the Obsession
Charlotte Wessels is best known as the former lead vocalist for the Dutch symphonic metal band Delain. She has been active in the music industry for over two decades, but only started releasing music under her own name after her line-up of Delain imploded in 2020.
Wessels is very much a DIY artist, maintaining a close relationship with her fan base through Patreon and similar online fan communities. Her solo music is a diverse mix of symphonic metal, gothic rock, alternative rock, and even touches of jazz and classical music. What frequently draws me in are her wonderful melody lines. She builds rich and varied soundscapes where her voice thrives.
She has mentioned being inspired by Kate Bush and Tori Amos, as well as fellow Dutch vocalists Anneke van Giersbergen and Sharon den Adel. This combination of names makes sense to me, and it all adds up to her own distinctive style.
The Obsession is her third solo album, and clearly her most ambitious to date. It has a more cohesive and unified sound than her first albums, which featured a wide range of genres and were more experimental. She was perhaps keener to distance herself from Delain on the first albums, whereas The Obsession sees her largely return to the symphonic metal she is known for, even featuring collaborations with former Delain bandmates. Fellow vocalists Simone Simons (Epica) and Alissa White-Gluz (Arch Enemy) also show up to offer some heartening support, even showing up in the music videos created for their respective songs Dopamine and Ode To the West Wind.
This could be the album that gives Charlotte Wessels the attention she deserves. She has developed her own style, which includes lovely touches of eclecticism that enriches the symphonic metal scene.
21) The Warning – Keep Me Fed
The Warning is a Mexican hard rock band from Monterrey, formed in 2013 by the Villarreal sisters: Daniela (vocals, guitar, piano), Paulina (drums, vocals, piano), and Alejandra (bass, backing vocals, piano). They gained widespread recognition in 2014 when a YouTube cover of Metallica’s Enter Sandman went viral.
It boggles my mind how young these women are. Keep Me Fed is their fourth album, and during its creation Daniela was 24, Paulina 22, and Alejandra 19. This means that they were 17, 15, and 12 (!) respectively when they recorded their first album XXI Century Blood in 2015, and 13, 11, and 8 (!!) when they started sharing performance videos on YouTube in 2013. How many people can call themselves a veteran of nearly a dozen years in the business, with four albums and several EPs under their belt before they are 20? Alejandra Villareal can!
They have had an incredible career trajectory. They got to appear on national TV in Mexico and America early on, with their age being somewhat of a novelty, but they also became known for their energetic performances from early on, building a fanbase based on their music and live shows. At this point, they are established as an international touring act with a worldwide fan base. They are one of rock’n’roll’s biggest success stories of recent years.
Musically, they play modern hard rock influenced by contemporaries as well as a variety of classic rock and metal bands, including Rush and Metallica. Their lyrics tend to be personal, ranging in topics from modern dilemmas, personal struggles, and societal critique, as well as messages of empowerment and resilience.
The album is strong from start to finish. It shows a band playing to their strengths, which means it is emergetic with a deep sense of urgency. Every note counts, every section that they are playing right now continually feels like the most important one on the album, and they really mean what they sing about at any time. They have a distinctive style that they manage to stay true to even as they explore different genres and new things. This is extremely promising for the longer term, as they have already announced a new album (and a world tour) for 2025, which has been described as a bold lineup of tracks that will explore deeper, more mature artistic directions.
Thanks for following me to the end of part 4 – see you in part 5!
The other parts of the countdown:
Top 100 Album Countdown 2024 – Part 1: 100-81
Top 100 Album Countdown 2024 – Part 2: 80-61
Top 100 Album Countdown 2024 – Part 3: 60-41
Top 100 Album Countdown 2024 – Part 5: 20-1
While you are waiting for the next part, why not revisit last year’s countdown? Start here: The Top 100 Album Countdown of 2023 – Part 1: 100-76
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