Ordo Ad Chao cover Black Metal is always going to be a point of contention. And people who love black metal can’t agree on any single incontrovertible thing about it, especially what’s “true.” But if there were such a thing, or even something close, it’d definitely be Mayhem. After all, hidden in the gnarly spires of their logo are the words “The True.” This self-declaration is as good an endorsement as anyone else’s, considering this band’s been at it pretty much longer than anyone. Sure, there are precursors, like Venom and Celtic Frost, but Mayhem is Norwegian black metal at its apex. From their nasty lo-fi beginnings through the sordid events covered in the book Lords of Chaos (an excellent read) that have been recounted so many times I’m not going to bother, and through to today, they remain musical evil in its truest form. I think. Even this a lot of people will argue with you.

Ordo Ad Chao is their first studio album since 2004’s fairly forgettable Chimera, but in some ways it continues along the same return-to-”roots” path while expanding on that sound. You won’t find any of the extended spoken word pieces, Wagnerian orchestral excursions, or drum machines that enhanced/marred (depending on who you ask) the very experiemental Grand Declaration of War. They have imported some of that album’s sense of patience and effective use of silence, which elevates them above the typical wall-of-noise approach of either minimalist or orchestral black metal. It’s almost straight-up Mayhem, the heir apparent to De Mysteriis Dom Sathanas in more than one way: the sound and character are similar, and singer Attila returns.

One thing I always thought about De Mysteriis, aside from the brutally evil riffs (evident here as well by Euronymous’s successor Blasphemer, especially the obnoxiously evil second half of “Illuminate Eliminate”), were Attila’s positively nasty vocals. Listening to that album has made me want to vomit numerous times, and frankly that’s enough to make any record a classic. He picks up right where he left off here. Most times I’m going to tell you that Maniac is a better black metal singer, but Attila’s voice is so unconventional and evil-sounding it’s hard to beat.

“Illuminate Eliminate,” at 10 minutes, is the clear centerpiece of this record, and also the evil-riffing highlight. It’s one of the best pieces Mayhem have churned out of their Satanic instruments in years.

But it’s not all puppies and roses in Norway. The production and mixing, credited to Mayhem and Knut Valle (of Arcturus) is atrocious. While Wolf’s Lair Abyss and Grand Declaration were two of the most amazingly-produced black metal records ever, this is murky, free of treble, and sort of sounds like a pillow is over the speakers. While sole original member Hellhammer is quoted in Lords of Chaos as being disgusted that lots of black metal bands are trying to recreate Deathcrush’s terrible production in order to sound “true,” the production here is no better than many of those (well, it’s not early Darkthrone, but it’s not good either). It jumped out at me first thing, and I haven’t been able to shake the desire to hear some of these good tunes with better sound.

So there you have it. The best riffs in years, solid Attila vocals, and a trim, muscular, no-frills approach make this a great record. However, the production makes it a terrible one. So that leaves us somewhere in the middle with a pretty good album. And thankfully, a Mayhem album.

I might be packing it in soon, really don’t have time to blog. But if there’s any way to go out, it’s with a year-end bonanza of the best. I was hoping to get this out early, but hey… I do what I can.

No surprises really, it’s probably the same stuff on your own list.

The Came Into Their Own Award: Neko Case / Ratatat.
Ratatat’s first is not something I care a whole ton about. But the new one, Classics, finds them with a pile of success and a pretty solid set of songs. The melody is the focus, and guitars are the unlikely hero. Don’t believe the M83-with-guitars stuff: this is not soundtracky or overly melancholy. Each tune is a pocket-sized anthem made for lighters and pumping fists.

Just because I stuck Neko Case (Fox Confessor Brings the Flood) in here too doesn’t mean they tied. In fact, her album has few equals this year. What happens when she finally writes all her own songs? Apparently, great things. This is the Neko Case album that you always hoped for. Plus… Garth Hudson.

Best Genesis Breakdown: The Decemberists.
You never know what to expect from a band who pose with their accordions for pictures, but even so, the Tony Banks craziness 3/4 of the way through their suite “The Island” was not what I expected. The first single from the Crane Wife album, “O Valencia!” made me expect a more straightforward album for a major-label debut. But the rich baroque elements are still in place, Colin Meloy is in better form than ever on the singing front, and this ultra-proggy moment throws every expectation to the wind. It also made me use a form of the word “expect” about 8 times. Above all, this is still a Decemberists record, and it’s one of the best.

Best Packaging: Matmos.
I can’t say that I think The Rose Has Teeth in the Mouth Of The Beast is the greatest Matmos album, in fact it recalls some of their less interesting older stuff. The concept is cool– one song each for a series of gay icons. But it comes together in the package, a digipack with a bunch of cards devoted to the songs. Very nicely done. I haven’t seen an LP copy, but I would hope it’d be at least as well thought out.

Dark Horse of the Mainstream: Gnarls Barkley.
This stuff is good. For real. Forget that everyone and their aunt likes it. Easily Danger Mouse’s hookiest bit of songcraft, and Cee-Lo’s singing is far beyond what you’d expect from a supposed rapper (which he also happens to be great at). The depth of the lyrics and atmosphere, both moody and cinematic, belies the throwaway one-off nature of the recording. One take? For real?

Best Transition to a Major: TV On The Radio.
Yeah, the Decemberists did a fine job in showing up plenty of major debuts, including (in my mind) The Moon and Antarctica. But TV On The Radio’s crazily anticipated Return To Cookie Mountain is the sound of a band who are fully ready to take over the world. And who have zero doubt they can do it. Not only did TVOTR not suffer when going bigtime, they one-upped themselves.

Shouldn’t be possible: Mission of Burma.
The Obliterati is even better than OnOffOn, the first “comeback” album from the post-punk granddaddies. It’s sort of like they never went away, but it’s also like they’re brand new. Bonus for being one of the best shows I saw all year.

Shouldn’t be allowed: Girltalk.
I’ve followed Girltalk for probably longer than most people putting out goofy end-of-year lists, because I had the virtue of being part of the Pittsburgh electronic scene for a while, back to when Gregg Gillis was part of the teenage cutup (in every sense) trio the Joysticks. This is the ultimate in cutup/mashup party music, and you can picture Gillis taking off his shirt and waving it around his head while jamming to any of these grin-inducing tracks.

Comeback Kid Award: Robert Pollard / Weird Al.
If this nod came from a legitimate source — whatever that may be — I’m not sure which of the two would find the honor more dubious. But they both renewed our faith. After a long streak of ho-hum who-gives-a-crap GBV albums, From A Compound Eye reminded everyone why we love Robert Pollard. On a double LP, no less. Normal Happiness may not quite live up to the promise, but Uncle Bob’s only consistency is inconsistency, right? In truth, he’s just a guy who happens to be great at writing songs, and who also happens to release everything. From A Compound Eye did a great job of re-inspiring me on the value of having him around.

Another less prolific writer also spent the bulk of his past few albums being uninspiring, maybe even straight up bad. But Straight Outta Linwood puts “Weird Al” Yankovic back on the map. He’s hasn’t been more in touch, brave, or funny in many many years. “Trapped in the Drive Thru?” Sheer brilliance.

An honorable mention here has to go to power metal giants Blind Guardian, who abandoned pseudo-operatic mincing about to just rock again. Granted, it’s Blind Guardian and it’s power metal, so I don’t blame you for laughing at it anyway, but for real: if someone who actually likes power metal thinks you’ve gone too far, you have.

Best Political Album: The Coup.
I love political and protest music, and in a time like this you’d think more people would be doing it. Instead we have to rely mostly on the people who are generally doing it anyway. Like The Coup. But the thing that makes the Coup best at what they do is the synthetic funkiness and easy flow. Political albums can get really dour and depressing, but Coup albums are fun, and Pick A Bigger Weapon is one of their tightest. Throw in a love tune here and a song devoted to boosters there, and you get a revolution anyone should be able to get behind.

Best Springsteen album: The Hold Steady.
No really… find me someone who tells you “nah, I don’t like The Hold Steady.” I dare ya. Now get them drunk and see how long it lasts. This one rips from the start, now pump your fists and let’s get some beers.

Victims of Their Own Greatness: The Hidden Cameras / Clinic.
The trifecta of opening tracks on AWOO is enough to make you weak-kneed: The joyous pop you’re used to, refined and honed to a sharp point. But it all eventually starts to blend into a mishmash of… Hidden Cameras-ism. Stylus mag had this to say about it: “…when a house style is this singular, with so few points of useful comparison outside of its own self-contained universe, then unfair charges of sameness are almost inevitable.” That about sums it up. And for who else?

My beloved Clinic. Visitations hasn’t been as universally panned as Winchester Cathedral was, and for me that’s surprising: it really lacks a track as standout as “The Magician,” which pretty much saved that album. However, it does have the closest thing to “Distortions” we’re likely ever to hear, “Animal/Human.” And the reaction to that proves (to me) that people aren’t looking for a solid Clinic album, they’re looking for deviations from the Clinic formula. Or they’re just looking for another Internal Wrangler. Visitations won’t give you either of those — in fact, it’s looser and simpler than anything since the original EPs, the more I listen to it the more value I find in those qualities. Not earth-shattering, but how many times do we expect one band to shatter the earth anyway?

Delivered Their Best Yet: M. Ward / Destroyer.
I liked Destroyer up to now, and I really enjoyed Dan Bejar’s sloppy tossed-off-sounding live show. Seemed appropriate for the music. But I just had a casual thing going with the tunes. Now I think I finally “got it” with Destroyer’s Rubies. The brilliant lyrics, the off-kilter phrasing, the hints of egomania — the audacity of starting your album out with a giant wandering epic. This is, in my unqualified but enthusiastic opinion, Bejar’s best.

Matt Ward, however, I’ve really liked in an album-on-repeat level for a while. But no album of his, and no album of this year, has been on repeat more than Post-War. He wasn’t really in any danger of being gimmicky, but he headed that off at the pass anyway by stretching out his band lineup and making some truly “large” sounding songs. And one of them is a Daniel Johnston cover. Beat that! If this were a ranked list, he’d be on the top of it.

Darkest Darkety-Dark Holy Crap: Scott Walker.
The Sun Ain’t Gonna Shine Anymore, indeed. The Drift is the sickest, scariest, bleakest, and yet most awe-inspiring album this year. Or for a long time. Possibly until the next Scott Walker album.

I’m A Believer Award: Belle and Sebastian.
To those who know me, I’m a notorious B&S hater. But The Life Pursuit made me think twice for the first time ever. I uh, like it. That’s about all I have to say about that.

Best Album That Didn’t Come Out: Throbbing Gristle.
Part Two is, by a certain set of people, highly anticipated. It marks the re-entry of some musical legends (fogies?) back into the world of antisocial “civilization wrecking.” But it was held back by Mute Records, and we have to wait for quite some time to see where it’s going. We like instant approval credit cards.