2017 Albums of the Year

2017 has been another odd year for music: LCD Soundsystem reunited, a million moments of teenage catharsis were ruined with allegations against Brand New’s Jesse Lacey, Brockhampton took the music world by storm, Radiohead headlined Glastonbury, Mastodon finally made a bad album, Tyler, The Creator finally made a good album, everyone hated that Arcade Fire record (which wasn’t actually that bad), Gorillaz returned to a muted response, Harry Styles became David Bowie reincarnate, and King Gizzard & the Lizard Wizard proved they’re one of the most exciting bands on the planet by releasing a whopping four records.

Unlike lists from earlier years, there’s no ranking this time, merely a selection of my favourite albums and stand-alone singles from this year in no particular order.

Kendrick Lamar – DAMN.

The excitement around DAMN. was unreal. Surrounded by the hype from the success of To Pimp A Butterfly and the cryptic nature of its release (that second album in a week rumour seemed to be just hearsay after all), Kendrick Lamar had a lot of people questioning the direction he’d take on his fourth full-length.

After being disappointed by TPaB, Kendrick has won me back with DAMN.. It’s undeniably a more immediate record; the bangers such as ‘DNA.’ and ‘HUMBLE.’ have returned and its shorter length is welcomed. On ‘LUST.’, the beat provided by BADBADNOTGOOD bears similarities with Outkast (particularly the Stankonia era), ‘FEEL.’ showcases Kendrick at his most viscous in lyricism and flow whilst ‘FEAR.’ features a chill, West Coast style beat courtesy of The Alchemist. DAMN. does suffer from a few problems, such as in the confused ‘XXX’ where the instrumental seems like a mish-mash of various songs; just as you’re enjoying the beat reminiscent of Public Enemy, it flips to an OTT trap track with a ridiculous bassline which then reverts to a meeker beat. The track ‘Loyalty’ which features Rihanna is skippable, one of the few times a guest or production spot doesn’t work on the album. DAMN. was probably the most discussed album this year, and whilst many may feel it’s a step down from TPaB, I welcome the direction and hope Kendrick will start streamlining his ideas even more-so for his next release.

The Flaming Lips – Oczy Mlody

The Flaming Lips’ Oczy Mlody was the first album of the year I listened to, and despite the strong singles in the run up to the influential groups fifteenth studio effort, I was left feeling slightly disappointed. It’s subtle and ambitious, yet the elaborate ideas are often grating and fail to add up to anything memorable. The narrator’s section in ‘There Will Be Unicorns’ is an appropriate example of an idea that attempts to be theatrical yet ends up debasing a great song just as it nears its close. Seemingly, Wayne Coyne is experiencing a midlife crisis, leading The Flaming Lips into peculiar territories such as collaborating with Miley Cyrus (who features on ‘We A Famly’) and covering various classic albums such as The Stone Roses and The Dark Side Of The Moon in full and this confused direction is displayed throughout Oczy Mlody. So, if I found it that disappointing, then why am I featuring it in this list? Well, despite my reservations and criticisms for this album, I still found it interesting, excellently produced and positively bizarre in places. Tracks like ‘How??’ and ‘The Castle’ are incredible slices of psychedelic pop and are some of my favourite songs from the Lips. Perhaps if they had concentrated on executing their ideas with added competence, Oczy Mlody had the potential to reach the dizzying heights of excellence which their dream pop masterpiece The Soft Bulletin achieved.

Bedwetter – Volume 1: Flick Your Tongue Against Your Teeth and Describe the Present.

Travis Miller, the mastermind behind the Lil Ugly Mane project returns under the alias of Bedwetter with Volume 1: Flick Your Tongue Against Your Teeth and Describe the Present., the broadly titled follow-up to 2015’s Oblivion Access, a release which saw Ugly shedding the Memphis rap influence for a grittier, abrasive and more experimental sound. Flick Your Tongue Volume 1 continues in a similar vein to Oblivion Access, however Ugly sounds more anxious and paranoid than ever before, bestowing the record with a feel of menacing, icy claustrophobia. It is by no means an easy listen; those who aren’t acclimatised to experimental strains of hip hop may be put off by its depressing aura. The lyrics are incredibly personal and offer a glimpse into Miller’s emotional state and (lack of) mental wellbeing, and the manner of his delivery sounds twistingly convincing. The beats and instrumentals will grab your attention immediately thanks to their harsh atmosphere and uncompromisingly in-your-face rhythms; fans of Death Grips, El-P and Danny Brown’s Atrocity Exhibition will find more than enough to love with Volume 1.

 Ty Segall – Ty Segall

Returning to the psychedelic rock sound presented on Manipulator with added consistency, diversity and brevity, Ty Segall offers an incredibly enjoyable record here on his second self-titled LP. The 10-minute track ‘Warm Hands (Freedom Returned)’ sees Ty at his most ambitious, the T. Rex influence runs solidly throughout, and the folkier tracks are reminiscent of Neil Young at his most stripped down. With a sound that’s beefed up in the guitar and drum departments thanks to the production talents of Steve Albini, Ty Segall is a step up from the seemingly rushed Emotional Mugger thanks to its interesting interpretation of a variety of genres and the increased memorability of excellent tracks which include ‘Orange Color Queen’, ‘Take Care (To Comb Your Hair)’ and the opener ‘Break A Guitar’.

King Gizzard and the Lizard Wizard

With the ridiculous volume of material King Gizzard and the Lizard Wizard have put out this year, I’m just going to give a brief run down on each LP:

Flying Microtonal Banana – Flying Microtonal Banana sees the group experimenting with microtonal instruments, amounting to a sound comparable to a bizarre trip into the far-East. My favourite LP of the bunch (get it?!?!), FMB has the strongest and most striking tracks of their 2017 output.

Murder of the Universe – A mammoth psychedelic rock opera complete with spoken word poetry snippets separating each “act”. The band’s darkest album to date.

Sketches of Brunswick East (with Mild High Club) – Gizzard team up with LA psych-poppers Mild High Club for their first collaborative album, and it’s a funky, breezy and upbeat homage to Miles Davis’ classic Sketches of Spain. Sketches is a fun take on 70s jazz-rock, and fans of Frank Zappa and The Soft Machine will find more than enough to love with this LP.

Polygondwanaland – “We do not own this record. You do. Go forth, share, enjoy.” The concept of this albums release was incredibly cool. The band offered it up as a free download, but urged fans to create physical copies of the record on CD, LP and tape and distribute them with their friends and beyond. They even provided high resolution album and booklet art for the physical formats.

King Gizzard are by far one of the most exciting bands at the moment. If you haven’t checked these guys out, then delve in immediately and get lost in their weird and wonderful psychedelic utopia.

Remo Drive – Greatest Hits

Woah, it’s Remo Drive’s debut album and they decided to call it Greatest Hits? Super cool guys. Aside from that, this is an album which is simultaneously gritty and melodic; it’s packed full of excellently written hooks, lively riffs and heavy dynamic shifts, with the occasional micro-section within songs to keep you on your toes. Greatest Hits is equal parts indie rock, emo revival, power pop and post-hardcore, which makes it a must for fans of Jeff Rosenstock, PUP, Sorority Noise and Joyce Manor. Remo Drive show a lot of potential and I hope to include them on future lists.

Loyle Carner – Yesterday’s Gone

I first heard British MC Loyle Carner featured on Rejjie Snow’s excellent and massively underrated EP Rejovich on the track ‘1992’. A few years down the line, I hear ‘Ain’t Nothing Changed’ played on the radio and it near enough stopped me in my tracks. Firstly, the sample was the jazziest I’ve ever heard, even more-so than artists who championed the jazz rap genre (such as A Tribe Called Quest or Digable Planets) have utilised and secondly, hearing a British accent rap over a clearly US instrumental was odd, yet highly satisfying. The track eventually featured on Carner’s debut album, Yesterday’s Gone; a relaxed, emotive and reflective record indebted to J Dilla, Common, and newer rappers such as Isaiah Rashad. The obvious golden age hip hop influence may be off-putting to grime fans who prefer their MCs with a gritty flair which only the UK underground can provide, however Carner offers enough personality in both his flow and lyrics to display inventiveness. The theme of family is an important component of Yesterday’s Gone; his mother features in skits such as ‘Swear’, and Carner’s lyrics impart a great deal of insight into his education, upbringing and adolescence. Yesterday’s Gone is an impressive debut packed full of melancholic, jazz influenced beats and monotone diction reminiscent of Gang Star’s Guru. The qualms I have with Yesterday’s Gone are more personal ones; I would prefer he left out the overly-poppy hooks and the sung vocals as I’d prefer to hear more of the sparse beats, such as those heard in the brilliant ‘The Seamstress (Tooting Masala)’. Loyle Carner certainly has heaps of talent; he’s selling out venues, getting radio play and gaining a huge cult following, and with a record as reflective, nostalgic and refreshing as Yesterday’s Gone, it’s easy to see why.

Superorganism – It’s All Good / Nobody Cares (Single)

Superorganism are going to be huge, just you watch. These two singles are fantastic slices of upbeat psych-pop and they’ve really got me hoping for a full album early next year.

Wiley – Godfather

Could this be the last album from the ‘Godfather of grime’? There are some real stand-out moments here on Godfather but it can get a bit repetitive for its near hour-long runtime. Highlights include the opening bass-heavy track ‘Birds n Bars’, and ‘Pattern Up Properly’ which features a standout verse from Flowdan.

Vince Staples – Big Fish Theory

Big Fish Theory is undeniably influenced by Britain, as if Vince Staples has spent all his time since Summertime ‘06 listening to tracks from the glory days of UK garage and the sub-genres which grew out of it. Of course, it’s a hip hop album at heart, but the influence from electronic dance music is all-over the production here and it sounds unlike anything ever released in rap music. Whilst Drake and Kanye West have flirted with grime and the sounds of British club culture, Staples dives headfirst into it for almost every beat and bar of Big Fish Theory’s duration. As the title suggests, the record is an attempt to expand the horizons of hip hop in terms of the music which shapes its influence, but it’s also a declaration of intent for Staples’ to grow as an artist. One of 2017’s most interesting statements, Big Fish Theory is definitely worth a listen out of intrigue alone, though you’ll be left mulling over those fantastic beats for some time.

Your Old Droog – Packs

Packs is a solid hip hop record influenced by Nas and MF DOOM which features some first-rate guest spots from Danny Brown, Wiki, Heems and Edan. Not to be missed by those who love 90s hip hop.

Ho99o9 – United States of Horror

United States of Horror is a chaotic, constantly fluctuating, anarchic debut record from New Jersey punk-rap duo Ho99o9. I reviewed this record here if you fancy reading into this exciting group more.

Julie Byrne – Not Even Happiness

Julie Byrne’s debut solo album is a minimalistic and sparse take on the folk genre and it’s short, sweet, charming and never outstays its welcome. In a year of established singer-songwriters investigating untried sounds and moods of grief (Mount Eerie), piano rock (Father John Misty), and unflustered pop tones (Mac DeMarco), Not Even Happiness offers a familiar folk sound with great song-writing and guitar-playing to boot.

Boris – Dear

Dear is a massive return to form for the Japanese metal experimentalists Boris, whose recent output has often been greeted with a lukewarm reception. By returning to the sludge metal sound they became renowned for, the band are definitely back on track. Dear features mammoth riffs, heavy-as-hell drones and stunning psychedelic soundscapes, serving as a sample-platter of all their notorious characteristics. Those unfamiliar with this amazingly rewarding trio should check out this article I wrote to introduce newcomers to Boris.

Oh Sees – Orc

Another name change, another take on the (Thee) Oh Sees sound. More progressive elements and heavy riffs are strewn throughout this thoroughly entertaining LP. Long-time fans will not be disappointed.

Sufjan Stevens – Carrie & Lowell Live

Sufjan Steven’s Carrie & Lowell is one of the most beautiful, heartfelt and morose albums of recent memory. It’s a piece of work exploring parentage, grief, death, mental health and mortality, however Sufjan’s live arrangements here on Carrie & Lowell Live provide an immensely different take on the original record. Compared to the sparse indie folk of the 2015 LP, the live version sounds densely orchestrated and triumphant. Whilst I prefer the original, this live record is essential for any Sufjan fan and it makes me wish I was there in person to witness this tour. Oh well, maybe next time, I’ll only have to wait another five or six years for the next Sufjan album.

Courtney Barnett and Kurt Vile – Lotta Sea Lice

Kurt Vile is one of my favourite songwriters of this decade, but I became apprehensive after it was announced that he would be collaborating with Australian indie rock musician Courtney Barnett, whose album Sometimes I Sit and Think, and Sometimes I Just Sit I found dull and uninspired. My disposition changed as soon as I heard ‘Over Everything’, the first single from the collaboration. Kurt and Courtney’s musical interplay is fascinating; they trade charming jokes and anecdotes, confer upon song-writing and tour life, and exchange guitar licks with nimble effortlessness. The chemistry in Lotta Sea Lice is obvious; it’s the product of the relaxed hang-out sessions shared by two friends with a mutual love of Fender Jaguars, folk rock, and Pavement. I love Lotta Sea Lice because it sounds unforced, relaxed and pleasant, it isn’t trying too hard to break new ground or be overwhelmingly ambitious. Lotta Sea Lice has certainly changed my opinion of Courtney, who often surpasses Kurt lyrically and vocally, thus inviting me to revisit her debut and earlier EPs. It surprised me how much I enjoyed this album, and I’ll be listening to it for months to come as it’s just so re-playable and entertaining.

Kamasi Washington – Harmony of Difference

Kamasi Washington blew up in 2015 in the most unlikely way possible. The US musician released The Epic, a highly ambitious triple album of avant-garde jazz with a running time of nearly three hours. Did I mention it was his debut release? He’s also lent his unique saxophone stylings to high-profile releases including ­Flying Lotus’ You’re Dead!, To Pimp A Butterfly and Run the Jewels 3. Harmony of Difference is the first release I’ve listened to featuring Kamasi as the bandleader and I was highly impressed by the uplifting choirs, meditative repeated refrains and graceful arrangements. ‘Truth’ is the essential track here, and it could be my favourite song of the entire year. A bold statement I know, however with its dazzling instrumentation, lush choirs, and measured crescendos, it’s easy to comprehend why there is so much acclaim surrounding Kamasi Washington.

Neil Young – Hitchhiker

Taken from a single session of recordings from 1976, Hitchhiker is a collection of stripped down folk tracks from legendary songwriter Neil Young. Featuring the instrumentation of just Neil and his acoustic guitar, Hitchhiker is a bittersweet and melancholic record where Young’s song-writing ability shines through.  Neil Young after all, was one of the most consistently ground-breaking and interesting songwriters of the 1970s, and it’s testament to his talent that he shelved an album of this quality. Those familiar with Neil will be aware that many of the tracks on here are featured on numerous other releases of his (such as the classic live album Rust Never Sleeps), however, Hitchhiker is an essential release as it forms a unified collection of sparse and stunning versions of familiar favourites alongside previously unreleased tracks. Hitchhiker reminded me of why I love Neil Young so much in the first-place, and prompted a revisiting of his discography.

Milo – Who Told You to Think??!!?!?!?!

Milo is one of the most interesting rappers in modern hip hop. He’s part of the new crop of alternative rap talents such as Busdriver, Open Mike Eagle and Jonwayne who pair intellectual and cryptic lyricism with interesting beats comprised of samples plucked from the most unlikely places. Who Told You to Think??!!?!?!?! is a varied, introspective, and often melancholic record which invites comparisons to the sullen mood of Earl Sweatshirt’s I Don’t Like Shit, I Don’t Go Outside, however Milo executes melancholy with greater precision and variety to create a much more memorable record. Milo’s third album is his best effort yet, and it’s easily the best hip hop album this year.

Full of Hell – Trumpeting Ecstasy

Full of Hell return with their first studio album in four years with Trumpeting Ecstasy, but these young chaps have been far from lazy. They’ve worked with Merzbow on a challenging yet brilliant collaborative double album, issued a split single with similar torchbearers of modern powerviolence Nails, released several noise EPs, and have worked with drone doom heavyweights The Body on a couple of occasions, all whilst touring relentlessly. On their first full length since 2013’s Rudiments of Mutilation, Full of Hell stick to a sound displayed on their earlier works, and it is this familiarity where Trumpeting Ecstasy excels. Whilst I’ve appreciated the past few collaborations and experiments, it’s great to hear FoH sounding as intense and straightforward as they were on their excellent debut The Roots of the Earth are Consuming My Home.

Death Grips – Steroids (Crouching Tiger Hidden Gabber Megamix)

It wouldn’t feel like a proper year in music without a Death Grips release now would it? The Sacramento trio have been steadily issuing music since 2011’s Exmilitary, and Steroids is a follow-up to their excellent Bottomless Pit, my favourite album of 2016. Steroids (Crouching Tiger Hidden Gabber Megamix) is an EP consisting of one, 22-minute-long track of fierce industrial hip hop. It’s challenging, constantly fluctuating, heavy, and chaotic; this EP is not to be missed by those who like Death Grips’ most intense and hardcore punk influenced tracks. Steroids is a great teaser of what’s to come from Death Grips in the future and it’s another exciting issue to their collection.

Protomartyr – Relatives In Descent

Detroit post-punkers Protomartyr return with their best album to date with Relatives In Descent, a sullen and driven record which is a big step up from 2015’s decent but largely unmemorable The Agent Intellect. The lyrics are cryptic, the rhythm section is incredibly tight and punchy whilst the guitar shifts lucidly to impeccably support the sombre delivery of vocalist Joe Casey. Protomartyr take the post-punk aesthetic and execute it with enough passion and creativity to create memorable and exciting music. This is how modern post-punk should be done. Repeated listens are essential, Relatives In Descent gets better each time I hear it. They’re also an incredibly tight live band, so go and see them if you get the chance.

Four Tet – New Energy

Four Tet returns with New Energy, an album hailed as his best work since 2010’s There Is Love In You. Four Tet has always been an odd one to pin down due to the eclecticism of sounds and styles he employs; whether it be future garage, downtempo, ambient or house, Kieran Hebden combines the styles fluidly to create truly incomparable music. New Energy is awash with strings, warming ambient atmosphere, indistinct house rhythms and IDM familiarity. The standout tracks are where Hebden allows room for the tracks to breath, making way for the repetitive grooves to transcend into layers of cascading sound. ‘SW9 9SL’ is a future garage club track comparable to his work with Burial, ‘You are Loved’ feels like a tastefully executed tribute to Boards of Canada, whilst gorgeous ambiance is unearthed within the harp arrangements in ‘Lush’. Through his time spent conducting dancefloors across the festivals and nightclubs of the world, Four Tet has channelled both club culture charm and time-honoured electronic sounds into a record to soundtrack hazy afternoons post-rave chillouts.

Open Mike Eagle – Brick Body Kids Still Daydream

Brick Body Kids Still Daydream is indie rapper Open Mike Eagle’s most thematically and musically cohesive outing to date. Mike offers twelve tracks of delicate hip hop comprised of subtle beats to canvas an overarching concept of the struggles and triumphs of Chicago’s public housing residents. The production, beats and instrumentation are incredibly lush, encompassing wind instruments, analog synths and smooth, jazzy percussion. Brick Body Kids Still Daydream is a unique album; it’s as if Mike is scoring a film soundtrack to the topics and concepts he presents, with the struggles and tribulations of the inhabitants coming to light as he digresses during each track.

Thundercat – Drunk

Virtuoso bassist Thundercat returns with his third full length studio album Drunk, and it’s one of the most interesting listening experiences of this year as it’s so different to anything out right now. Whilst Thundercat’s music can be disorderly and the arrangements are often confused, Drunk is just an undeniably fun, funky, groovy and entertaining record. As a bass player myself, it’s great to see a bassist making waves in the music industry the way Thundercat is: he’s earning Grammy’s for his session work with Kendrick, climbing to the top spot of BBC6 Music’s End of Year list, and jamming with some of the hottest producers and musicians right now. Whilst Drunk is overlong and often difficult, it’s still a great album to stick on and not take too seriously.

Objekt – Objekt #4 (Single)

Objekt released one of dubstep’s greatest singles with Objekt #1, a release comprising of ‘Tinderbox’ and the stone-cold classic ‘The Goose That Got Away’. Since his first release, Objekt has delved into IDM, UK Bass, and techno, masterfully mixing the far afield genres with ease. On Objekt #4, he mixes icy IDM with hints of jungle and UK garage, sounding futuristic whilst acknowledging the old-school.

LCD Soundsystem – American Dream

LCD Soundsystem return for their first album in seven years with American Dream, the highly anticipated follow-up to 2010’s This Is Happening. Once again, James Murphy’s extraordinary revivalist yet forward-thinking musical vision is on display, yet with a few crucial differences in mood and tone. American Dream is full of slow-burning new wave songs such as the waltzing synth-pop title track and the sullen opener ‘Oh Baby’, whilst there’s a fair share of punchier numbers like ‘Tonite’ and ‘Emotional Haircut’ which recall LCD’s dance-punk work. Taking influence from the art rock audio delights of David Bowie and Brian Eno, and the forlorn post-punk of early U2 and New Order, James Murphy has crafted a varied and restrained record which is a welcome addition to their already consistent discography. Although it’s been a long time since LCD Soundsystem were one of the most influential bands of the alternative music scene, American Dream is a triumphant return and is everything a long-time fan could have asked for.

Iglooghost – Neō Wax Bloom

The debut album from Belfast musician Iglooghost is a dizzyingly chaotic mixture of the electronic dance music witnessed in the UK over the past fifteen to twenty years. Neō Wax Bloom is a maximalist record; it’s hectic, erratic, technical, challenging, unusual, over the top, and cartoonish, yet it’s easy to tell Seamus Malliagh has painstakingly crafted the record. At times, Neō Wax Bloom operates with the precision of math rock and tech metal musicianship, whilst still sounding fun and entertaining enough to be dancefloor suitable. Taking influence from wonky, UK Bass, glitch, footwork, grime, and the label PC Music, Iglooghost has created a bat-shit crazy album which is larger-than-life in every sense of the phrase. Possessing the unique sound and technical know-how, it’s easy to envisage Iglooghost reaching the dizzying heights of fame and success of Flying Lotus and Arca.

Jay-Z – 4:44

With a discography as patchy as Jay-Z’s, I’m always a bit dubious before I tackle an album of his, especially after the critical panning of Magna Carta… Holy Grail. Armed with the production talents of No I.D., Jay creates an immediate, reflective and bittersweet record, a refreshing contrast to a musical catalogue which often revels in tall tales of crime and daring braggadocio. 4:44 is stripped-down yet lavish, featuring smooth, soulful samples, and a meticulously chosen array of guest spots. Whilst it doesn’t reach the peak of classics such as Reasonable Doubt and The Blueprint, it’s great to see Jay-Z is back on track and creating music with an atypical approach.

Wand – Plum

Plum is a huge change in sound for Wand. Whilst Planet Golem had its fair share of psych freak-outs and heavy riffing (which sometimes even bordered on stoner metal), Plum is a refined exercise in psychedelia, with influence from art rock, psychedelic pop and alternative rock. Wand’s harmonic and melodic sensibilities have been brought to the forefront of Plum; there’s a clear Beatles influence in the song-writing throughout, whilst it features flourishes of Radiohead’s guitar-led work in tracks such as ‘Plum’ and ‘Bee Karma’. Whilst some fans have dismissed Wand’s newfound musical ventures, I believe the approach sounds fresh and accomplished rather than a wrong-turn into dull dad rock. Psych fans should not miss out on this record.

Marika Hackman – I’m Not Your Man

Marika Hackman is a name I’ve been hearing crop up all over the place this year. She’s mentioned often on the radio, in music publications and online, and it’s easy to see appreciate the hype after listening to her sophomore album I’m Not Your Man; a diverse, sharp, and accomplished indie rock record. Marika delivers her wry observations of the world over articulate 90s alt-rock influenced instrumentation from her backing group The Big Moon, amounting to a sound similar to Pavement, Built to Spill and Nirvana. You’d be hard-pressed to find a better indie record than I’m Not Your Man this year.

Animal Collective – The Painters and Meeting at the Waters

Animal Collective released two EPs this year, and they’re quite different affairs.

The Painters is a short EP which manages to surpass its companion album Painting With, last year’s largely maligned effort from the Baltimore experimentalists. For some odd reason, ‘Kinda Bonkers’ and ‘Jimmy Mack’ didn’t make the cut for Painting With, a highly strange decision considering these tracks are some of the best the group have created recently. The other two songs are forgettable, but the EP is worth a download for the two excellent bookends.

Meeting at the Waters is a loose, improvised psychedelic folk collection similar to their Sung Tongs work. The EP features Avey Tare and Geologist creating songs in the Amazon rainforest alongside field recordings from their surrounding wilderness environment, commissioned by Vice and Live Nation as part of their Earthworks TV series. After their recent miss-steps, it’s great to hear Animal Collective making a creative, immediate and meditative record. The documentary is a must for fans of the group, or anyone curious minds interested in nature, rainforests and wildlife.

Blanck Mass – World Eater  

World Eater is Blanck Mass’ crowning achievement. Benjamin Power’s third album as Blanck Mass sees the industrial musician experimenting with impenetrable walls of sound, abrasive bouts of noise, bizarrely danceable rhythms and thumping percussion. The Fuck Buttons member manages to find the perfect middle ground between coarse industrial soundscapes and the rhythmical throb of electronic music…

Read the rest of what I had to say about World Eater here as part of Broken Amp’s staff Albums of the Year.

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Check out the Spotify link below if you fancy listening to a selection of tracks from the featured albums.

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Honourable Mentions

Dizzee Rascal – Raskit

Mall Grab – Pool Party

Forest Swords – Compassion

Tyler, The Creator – Flower Boy

Alvvays – Antisocialites

The Body & Full of Hell – Ascending a Mountain of Heavy Light

Kahn & Commodo – Fierce (Commodo Remix) / S Is for Snakes (Single)

Paul White ft. Danny Brown – Accelerator

Angelo Badalamenti – Twin Peaks: Limited Event Series Soundtrack

Mastodon – Cold Dark Place

Priests – Nothing Feels Natural

St. Vincent – New York (Single)

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Biggest Disappointments

Mastodon – Emperor of Sand

Queens of the Stone Age – Villains

Mac DeMarco – This Old Dog

Morrissey just being Morrissey 

Josh Homme violently assaulting a woman trying to do her job

The fact that XXXTentacion is still making music

The album art to LCD Soundsystem‘s American Dream 

Brockhampton – Saturation II – Fair play to these guys for reaching their amount of success with no major label support, but I don’t think the hype is justified

Jesse Lacey being a bit of a nonce

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Best Live Moments

Joyce Manor at The Brudenell Social Club

Radiohead at Lancashire County Cricket Club

Run the Jewels and Danny Brown at Victoria Warehouse

The Abstract Orchestra performing Madvillainy at The Wardrobe

ho99o9 at The Brudenell Social Club

Nails at Damnation Festival

Lone Taxidermist at The Brudenell Social Club (supporting Pissed Jeans)

Every single SubDub

 

 

2016 Honourable Mentions

 

Honourable mentions for 2016’s album of the year.

Nicolas Jaar – Sirens

Sirens seems worlds apart from the live sets and studio outputs I’ve witnessed from Nicolas Jaar. Having first heard the mellow house album Space Is Only Noise and seeing him perform a live DJ set in Manchester, I wasn’t expecting him to release an ambient record. There’s a lot more going on than the usual ambient album; Jaar takes influence from art pop and ambient pop to create an album of lush urban soundscapes and subtle electronics.

The Body and Full Of Hell – One Day You Will Ache Like I Ache

Heavy as fuck, seriously extreme stuff and definitely an interesting collaboration of two artists who share one thing in common; they’ve released some of the most disturbingly heavy stuff out there. Both groups continue to release some of the maddest material going and are known to raise eyebrows with who they work with (see Full Of Hell’s collab with Merzbow). I managed to catch them on a co-headlining tour together and was blown away by both acts, here’s the review.

David Bowie – ★

The death of David Bowie was one of the most shocking and talked about events of all of 2016. A figure who has channelled and influenced pop culture for five decades passed away, but left us with a narrative of his struggles with illness and acceptance of mortality. Blackstar is poignant in both lyrical content and sound; dark, brooding atmospheres and twisted jazz that recalls the thick funk-soul-jazz hybrid of D’Angelo’s Black Messiah (you might say To Pimp A Butterfly, but that’s where Kendrick Lamar copped the sound from). It received great acclaim when it was released, but the work became eerily touching when his death was announced two days later. Blackstar is a great album that will top many (if not all) “best of lists” this year, but Bowie is a figure in music I’ve appreciated but never adored, so it will only remain a good record and not something I view as a classic.

 Kendrick Lamar – untitled unmastered.

It would be an understatement to say this album/mixtape/leftover material compilation generated a huge amount of hype in March when it was released. Following hot off the heels of his Grammy performance, numerous award wins and nominations and the overblown amount of album of the year nominations he received for To Pimp A Butterfly, Kendrick unexpectedly released untitled remastered to huge Internet hype. Sure it sounds like outtakes, they are ‘leftover’ tracks from his past two studio albums (referencing his preceding record numerous times, it’s in the same spirit of TPaB and you can hear his interactions with the other musicians in the studio for the recording sessions) but untitled unmastered is still a decent set of tracks of thick, dark jazz with Kendrick’s solicitous lyricism and constantly manipulated vocals.

Here are a few more:

Martha – Blisters in the Pit of My Heart

Holy Fuck – Congrats

Andy Stott – Too Many Voices

Parquet Courts – Human Performance

Car Seat Headrest – Teens Of Denial

Childish Gambino – “Awaken My Love!”

Jeff Rosenstock – Worry

Asteroid – III

White Lung – Paradise

Wormrot – Voices

the i.l.y’s – Scum With Boundaries

Preoccupations – Preoccupations

Pity Sex – White Hot Moon

The Wytches – All Your Happy Life

Weezer – Weezer [White Album]

2016 Albums of the Year

2016 has been an incredibly gloomy year for music. We unfortunately parted with Leonard Cohen, David Bowie, Phife Dawg, Prince, Nick Menza and George Martin, all highly influential figures who will be dearly missed. Elsewhere this year, Frank Ocean released two albums after a sixty-four year wait, Kanye West made the best album of all time in addition to recently announcing Donald Trump will replace Jay-Z on the follow-up to Watch The Throne, Beyoncé and her seventy-two writers single-handedly ended patriarchal oppression with a beverage and somebody forgot to tell Bon Iver that Sufjan Stevens did the “sensitive indie songwriter goes electronic” thing six years ago. So, that’s the cynicism out of the way, here are my personal favourite albums from this year.

Here are a few things I’m looking forward to in 2017.

* Edit – Run The Jewels released Run The Jewels 3 a few days after I finalised this article. It’s barely had time to sink in but my first impression is that it’s unreal; it would have appeared high in this list. It will have to feature in next year’s list thanks to its awkward release date.

30. Kaytranada – 99.9%

Kicking off the list is Kaytranada’s debut album, which features some of the best beats of the entire year; tracks like ‘Bus Ride’ and ‘Weight Off’ are straight up irresistible. For those more in tune with the hardcore side of hip hop, 99.9% can often be a little too poppy, bordering on the saccharine side of 2016’s trendiest genre, R&B, exemplified in Craig David’s guest spot on ‘Got It Good’. Although it’s confused at times, there are some hard-hitting beats, funky moments and influences creeping in from all sorts of genres including wonky and house. Due to its upbeat nature and a healthy amount of guest spots, 99.9% is an incredibly varied and house party ready album.

29. Show Me The Body – Body War

Show Me The Body’s debut album is a blistering mix of post-hardcore, industrial hip hop and punk. Body War is discordant, groovy, aggressive and exciting. Fans of Death Grips may appreciate this album.

28. Dinosaur Jr. – Give A Glimpse of What Yer Not

Give A Glimpse of What Yer Not is essentially a return to the classic sound of Dinosaur Jr., especially the Bug and Green Mind eras. Their previous album I Bet On Sky saw an increased Neil Young influence creeping in and an expansion into more instrumentation however, Give A Glimpse by way of gritty, straightforward alt. rock; ‘Tiny’ in particular sounds like one of their iconic singles from the late eighties/early nineties. Whilst it may not be regarded as being as great one of their classic post re-union albums such as Farm and Beyond, it’s still solid. This year I was lucky enough to see them live after wanting to for years and they didn’t disappoint. I hope the group continue to make music together for as long as humanly possible.

27. Animal Collective – Painting With

Painting With, like Animal Collective’s previous album Centipede Hz is extremely busy in sound, accentuating their defining qualities to the maximum. This will be  off-putting to AnCo sceptics yet loved by many a hardcore fan. For the majority of the record, the sound is colourful and vibrant. This works with occasional brilliance in the likes of the sunshine pop ditty ‘FloriDada’ and the kitsch ‘Golden Gals’ yet in other parts, it can be their downfall. Parts of Painting With sound like the audio equivalent of a pack of jelly beans melting in the blistering sun, creating a sickly sweet, unpleasant mess. Panda Bear and Avey Tare’s vocal mannerisms are in your face and heavily manipulated with echoes, overlaps and overdubs throughout and this gets tiresome, unlike the similarly playful Strawberry Jam and Panda Bear Meets the Grim Reaper (my 2015 album of the year) where studio and vocal enhancing techniques were executed brilliantly.

26. GOAT – Requiem

GOAT reveal a sprawling set of psychedelic tracks with sounds that span the world over, from Swedish folk to Nigerian afrobeat, Requiem is GOAT’s best album since their debut. Reviewed in more detail here.

25. YG – Still Brazy

The majority of the time, “unoriginality” is frowned upon in music. Other times, however, firmly showcasing retro influences can work brilliantly thanks to the unique way the sounds return to the modern era. This is certainly the case for YG’s Still Brazy. The record is a shameless throwback to the synths, heavy beats and minimalist instrumentation of G-funk, the influence of Dr Dre., Snoop Dog and Warren G are all over Still Brazy. The retro beats and gangster lyricism results in an album that’s one of the most enjoyable of the year.

24. Black Mountain – IV

These guys have been on my radar for years now and after IV was slated as a return to form, I decided to finally delve into Black Mountain. I discovered ten tracks of individual character that fit seamlessly together as a whole record. The opener ‘Mothers of the Sun’ will immediately pull Black Sabbath lovers in with its fuzzy soundscapes whilst tracks like ‘(Over and Over) the Chain’ feature expansive spacey synths and there’s early krautrock on ‘You Can Dream’ and there’s a nod to The Brian Jonestown Massacre on ‘Crucify Me’.. This was one of those “wish I’d checked it this band sooner” moments; IV is a glorious fifty-six-minute trip into the fuzzier side of psychedelia, prog rock and every accompanying genre in-between. I’m by no means opposed to ‘retro-rock’ but Black Mountain manage to look to the past for influence yet execute it with modern prowess.

23. Mark Pritchard – Under the Sun

Global Communication member and dabbler of various electronic genres evokes ambient and IDM with some cleverly positioned guest spots (such as Thom Yorke, Linda Perhacs and Bibio) on a record that’s Mark Pritchard’s first under his own name. Read the review I wrote here for a more detailed report on Under the Sun.

22. Conan – Revengeance

Liverpudlian metal trio Conan continue to make some of the heaviest doom imaginable on their fourth record Revengeance. If you fancy a more in-depth account of the album, read the review on Broken Amp here.

 21. Thee Oh Sees – A Weird Exits and An Odd Entrances

As Mutilator Defeated At Last was one of my favourites of last year thanks to Thee Oh Sees increasingly obvious explorations into psychedelia, I was intrigued to see what John Dwyer and co. would do next. Obviously, they were going to release something in 2016, but I wasn’t expecting two albums from them in such short succession. Both A Weird Exits and An Odd Entrances both delve into mind-expanding psychedelia, giving the impression they were set to be a double album set. A minor stylistic change from Mutilator, both albums take cues from krautrock and prog whilst featuring segments of energetic garage rock that defined their earlier work. Highlights from the two LPs include ‘Plastic Plant’, ‘Ticklish Warrior’ and The Beatles-esque ballad ‘The Poem’.

20. Nails – You Will Never Be One Of Us

After Abandon All Life became one of my favourite “heavy” albums of all time, I was intrigued to see what Nails would do next. Opening with the contender for the best introductory track this year and closing with a crushing epic, You Will Never Be One Of Us didn’t disappoint. Nails’ future is uncertain but I really hope they don’t call it quits just yet. In the meantime, read the full report of You Will Never Be One Of Us here.

19. Skepta – Konnichiwa

Possibly the biggest statement in British music this year, Skepta’s Mercury Prize winning album Konnichiwa mirrored Dizzee Rascal’s Boy In Da Corner in success and hype, despite being released thirteen years apart. Whilst it may not top Dizzee for the title of the most acclaimed grime album ever, Konnichiwa is full to the brim of gritty instrumentals and tales of inner-city London in addition to allowing for across the pond crossovers thanks to guest appearances from A$AP Nast and Pharrell Williams. It’s hard hitting and gritty, featuring a wide array of beats and samples, including Queens of the Stone Age’s ‘Regular John’ on ‘Man.’

18. Dälek – Asphalt for Eden

After a prolonged hiatus, industrial hip hop pioneers Dälek return with a solid collection of tracks and a revitalised line-up. Armed with a new producer, their sixth studio album oozes with noise and bleak uneasiness. Here’s a detailed report on the band and the industrial hip hop spectacle as a whole.

17. BADBADNOTGOOD – IV

Last year, BADBADNOTGOOD put some of the best instrumental tracks to record with Sour Soul, a collaborative effort that didn’t equate to the greatness it deserved due to a lacklustre performance from Ghostface Killah. On IV, BBNG move away from the dark jazz-fusion of III and opt for an increasingly modern approach centred on soul, funk and lounge. Frequent collaborator Leland Whitty became a permanent member and an array of guest spots are scattered through the record, allowing for a pop/soul crossovers. Whilst IV may not have reached the dizzying heights of brilliance which III achieved, it’s their most varied work to date and will introduce many new listeners to the young band who always have an interesting take on whichever genre they’re playing.

16. Denzel Curry – Imperial

Probably the only trap rap album I’ve ever enjoyed, Denzel Curry’s Imperial is a ten-track collection of hard-hitting beats, technical rapping and  sharp lyrical content. The instrumentals can either be or hard hitting or dreamy and Curry’s rapid flow perfectly complements the beats to create bangers such as ‘Story No Title’ and ‘Knotty Head’ and conscious tracks like ‘Pure Enough’ and ‘This Life’. ‘Gook’ is one of my favourite singles this year.

15. Ty Segall – Emotional Mugger

After the lush glam-psych of 2014s Manipulator, Ty Segall decided to change things up again and bring out a record which stands as the polar opposite to his previous release. Emotional Mugger often sounds irrational, spontaneous and wild. It’s carefree, dissonant, unpolished music with the fuzz turned all the way up. Ty just does what he wants, which will please his adoring fans who rarely have to wait more than a few months between recordings for a new album release. I was hoping for more of the same of Manipulator, but that’s both a pro and a con; artists who get stuck in the same sound quickly become stale so Ty’s experimentation is much appreciated. I saw this album being performed in full and it was an amazing experience, possibly my live highlight of 2016.

14. Xiu Xiu – Plays The Music Of Twin Peaks

Angelo Badalamenti’s compositions which blended dark jazz, dream pop and ambient perfectly heightened the strangeness of David Lynch’s ground-breaking series Twin Peaks. From the soothing theme song to the recurring ‘Audrey’s Dance’, the music has become inseparable from the iconic show. Experimental/post-punk group Xiu Xiu covered various songs from the soundtrack for an art exhibition regarding the work of Lynch and subsequently decided to record them for a Record Store Day release. The result is a fantastic and eccentric record which offers frequently intriguing and terrifying takes on Badalamenti’s work. The closer ‘Josie’s Past’, which features readings from Laura Palmer’s diary is a particularly unnerving highlight.

13. Oranssi Pazuzu – Värähtelijä

Oranssi Pazuzu are a Finnish black metal group who incorporate many genres into an atmospheric cocktail of sound which includes psychedelia, prog, noise rock and space rock. Bizarre yet surprisingly listenable, even non-black metal fans will appreciate Värähtelijä. Here’s an article I wrote exploring the phenomena of “psychedelic black metal”.

12. Joyce Manor – Cody

Joyce Manor throw their fans off-guard with every release. Their follow up to their highly acclaimed debut Of All Things I Will Soon Grow Tired was as experimental as pop punk gets; delving into R&B basslines, using spoken word snippets, covering 80s pop classics, referencing The Smiths several times and recording folk tracks on a tape recorder. Their third album, Never Hungover Again furthered their power pop influences and added clever instrumentation alongside sparkling production. Cody is their most poppy release yet and seems like a step down, understandably considering the quality of their past three albums. Despite this criticism, Cody features some of Joyce Manor’s best songs to date such as ‘Fake I.D.’, ‘Stairs’ and ‘The Last You Heard Of Me’. Here’s a more detailed account of Cody.

11. The Body – No One Deserves Happiness

The Body have once again proven they are one of the most ground-breaking groups in contemporary metal thanks to No One Deserves Happiness, “the grossest pop album ever made”. This was my favourite metal album of the year so it had to feature on my staff feature on Broken Amp.

10. The Hotelier – Goodness

A band photo instead of the edgy cover art

Goodness is a massive step-up in quality from the previous work of The Hotelier. They’ve stripped almost all of their pop punk sound off, resulting in a solidly enjoyable and consistent indie rock record which sometimes borders on the grandiose post-rock tendencies of The World Is… . There’s a sense of positive urgency in the vocal delivery, the guitars flirt with dynamics, and the track snippets are a cool little addition. Goodness is probably the biggest surprise of 2016 for me.

9. King Gizzard and the Lizard Wizard – Nonagon Infinity

It wouldn’t feel right if King Gizzard and the Lizard Wizard didn’t release something crazy this year and they didn’t disappoint with Nonagon Infinity. The album is designed as an “infinite loop”, basically meaning that as soon as the album ends, it loops back to the start so the end note meets perfectly with the opening one; possibly the only time in the digital music age that the repeat function has come in handy. Whilst many artists go for conceptual albums in musical content or lyricism, King Gizzard choose to explore the album format. For instance, last year’s fantastic Quarters! devoted an equal quarter of the record for each track (10 minutes 10 seconds to be exact) and Quarters! and Nonagon Infinity are as intriguing as they are straight-up enjoyable. So enough about the formats, it’s the music that shines through. Taking a healthy dose of Thee Oh Sees-esque lo-fi psych-fuzz and blending it with touches of heaviness and prog musicianship, King Gizzard blast through track highlights such as the funky ‘Mr Beat’ and the wild ‘Gamma Knife’ with repeated motifs throughout to create a sense of cohesion that fits the overlaying theme. The band currently seem to be on a creative streak on par with their influences and with a monstrous five albums expected for next year, King Gizzard will keep fans on their toes throughout 2017.

8. A Tribe Called Quest – We Got It From Here… Thank You 4 Your Service

We Got It From Here… is oddly A Tribe Called Quest’s comeback album and swan song. Surprisingly enough, it serves as both a return to form and a piece of hip hop history. Their first album in eighteen years offers a fresh take on their iconic blend of jazz and rap, soaking up a range of alternative hip hop influences who have come to prominence since Quest’s absence, exemplified in their sampling measures (such as using the same beat heard in Madvillainy’s ‘Meat Grinder’ on ‘The Killing Season’) and an impressive roster of guests spots from Kanye West and André 3000 to Kendrick Lamar. We Got It From Here… will be remembered as contextually significant as it was released shortly after the world found out that Donald Trump would be the next President of America. Tracks such as ‘The Space Program’ and ‘Conrad Tokyo’ explore the anxieties of minorities and the positive media portrayal of the reality TV star. It’s amazing to see one of the most important groups in musical history get the send-off they deserve, especially after the surprise death of Phife Dawg earlier this year. Despite a tumultuous relationship between the group, differences were settled and the creative chemistry inevitably flowed, resulting in one of A Tribe Called Quest’s strongest albums to date.

7. Leon Vynehall – Rojus (Designed To Dance)

The follow up to the impressive debut Music For The Uninvited, Brighton based DJ Leon Vynehall brings his unique blend of catchy house with shades of techno and a flair of the experimental on Rojus (Designed To Dance). The record would sit comfortably at a house party and club setting thanks to its deep bass and punchy rhythms whilst being perfectly suited for home or headphone listening thanks to its layered approach. With so many house artists concentrating on minimalism and atmosphere, it’s refreshing to see a style centred on enjoyability, one that’s catchy, accessible and danceable in equal measures.

6. The Avalanches – Wildflower

Plunderphonics group The Avalanches return after sixteen years with possibly the most anticipated album of 2016, it’s only their second since the revolutionary classic Since I Left You was released. In my opinion, this is just as good as their debut but despite both albums sample heavy nature, it’s near impossible to compare the two; Wildflower is much more psychedelic. The trippy feel is exemplified on ‘Colours’ which features Jonathan Donahue of neo-psych pioneers Mercury Rev, featuring backwards vocals and numerous psych-pop quirks.  Wildflower showcases its fun and carefree side throughout; ‘Subways’ is a catchy little disco-funk track, ‘Frankie Sinatra’ is a delight with its carefree sound and excellent choice of guests (in the form of MF DOOM and Danny Brown) and ‘The Noisy Eater’ sounds like the best song Gorillaz they never released. It’s great to have The Avalanches back and it would be even greater to hear more of them in the future without waiting another sixteen years.

5. Radiohead – A Moon Shaped Pool

A Moon Shaped Pool came out of nowhere. There were no preceding interviews, advertisements, or sponsor encouragements regarding the release of Radiohead’s ninth album. Shortly after every trace of a social media presence was removed online, the first single ‘Burn the Witch’ was released and the compulsory hype ensued. The album was released five days later to mass critical acclaim. A huge improvement on the unremarkable The King Of Limbs, A Moon Shaped Pool is a collection of vulnerable, orchestrated art rock. The different approach from the Oxford five-piece is a welcome change, the group don’t revert back to the sounds of their previous work and offer something entirely different. As it’s subdued, it’s a grower and improves with every listen. The varied yet minimalist instrumentation, haunting vocals and sequencing are integral to the record. Radiohead will headline Glastonbury next year and it will be interesting to see these tracks being performed at a huge festival setting.

4. Aesop Rock – The Impossible Kid

Aesop Rock’s seventh album is possibly his best work to date. The beats are indebted to John Carpenter soundtracks and El-P’s cold electronic production (the influence of Run The Jewels and The Cold Vein are all over this), often sounding like sci-fi rap blockbusters. Despite the fantastic instrumentals, it’s Aesop’s flow and lyricism that drives the music. Deemed to be the wordiest rapper of all time, his multi-syllabic flow is rapid, technical, and often shifts within the beat. Lyrically, Aesop Rock is highly metaphorical, a flair which has often confused casual fans yet delighted the hardcore backpacker types who delve into the interpretations of each and every line. The Impossible Kid features the loquacious, cryptic stanzas of classic works such as Labor Days but pleasingly, he frequently delves into straightforward storytelling approaches. ‘Dorks’ deals with how musicians portrayals are steered by the media rather than the artists themselves and ‘Blood Sandwiches’ chronologically reflects upon parental worries of impressionable youth. Seemingly a serious album, Aesop is often sarcastic and habitually amusing, even writing about his pet cat in the track ‘Kirby’ so it isn’t all doom and gloom. Thanks to the improvements in Aesop’s nimble lyricism, storytelling and beat preferences, The Impossible Kid is one of the most memorable hip hop albums of the year.

3. Deakin – Sleep Cycle

Those who were disappointed with Painting With will find more than enough to love with Animal Collective member Deakin’s first solo album, Sleep Cycle. Deakin is the only semi-permanent member of Animal Collective, often being considered the “least significant member” of the group due to being absent in the creation of AnCo classics such as Merriweather Post Pavilion, one of the most acclaimed records of all time. He rarely tours with the group and until now, he’s never released any solo material, adding insult to injury when compared to Panda Bear who’s gained numerous album of the year and decade awards. Originally conceived as a project in 2009, Deakin (real name Josh Dibb) set-up a Kickstarter to fund both the album and a trip to Mali to perform at a festival to raise money for a charity. He scrapped plans for the album yet decided to finance the trip himself, donating all of the money raised and self-funding the expedition to Africa. After hearing about the project being postponed after little in the way of updates, fans were mortified. Dibb’s reasons for the adjournment stemmed from severe self-doubt regarding the quality of his material and singing.

Deakin silenced his own misled doubts and his naysayers with Sleep Cycle, an album which beats anything Animal Collective, as a band, have produced in nearly eight years. It’s a short and subtle record packed full of kaleidoscopic sounds, engaging vocals, delicate electronics and spirited experimentation. ‘Golden Chords’ delves into slow-burning psych-folk, there’s the melodious ‘Just Am’ with its beautiful shimmering keyboards and repetitive rhythmical backbone and ‘Good House’ is a perfectly fitting and gorgeously trippy album closer. For someone so insecure about their prowess as a vocalist and musician, Sleep Cycle seems so assured thanks to the rewarding brilliance of its finest moments. A joyous mix of organic sounds and layered repetition, Sleep Cycle is the best psychedelic album of 2016. Let’s hope we hear more from him in the future.

2. Danny Brown – Atrocity Exhibition

Detroit based rapper Danny Brown returned after a three year wait after the disappointing EDM/trap influenced Old and thankfully, Atrocity Exhibition is not only a massive improvement but an innovative step forward in hip hop. Citing the Joy Division track and J.G. Ballard’s surrealist novel ‘Atrocity Exhibition’ as the titular foundation and influence for the album, Danny Brown reflects on his demons extensively throughout the fifteen tracks presented to the listener. Brown states that he is the atrocity exhibition, frankly unveiling his reckless lifestyle without restraint for the public to see through his music.

If Old was the party, Atrocity Exhibition is the comedown. The lyrical content focusses on Brown’s struggles with addiction, paranoia, sleep deprivation, mortality, depression, delinquency, and dissociation stemming from his extensive drug abuse whilst the production echoes the unease with dense, challenging and highly experimental beats. Atrocity Exhibition is by no means promoting drug use as it may superficially suggest upon the first listen; Danny reflects on extremely dark topics such as damnation through overdose in the sarcastic ‘Ain’t It Funny’, if one more line could kill him on the spot on ‘White Lines’ and the deterioration of his mental health in ‘The Downward Spiral’, cleverly referencing a line from his breakthrough album XXX in the process. ‘Really Doe’ is possibly the greatest song this year, featuring an insane hook from Kendrick Lamar and exceptional verses from Ab Soul and Earl Sweatshirt whilst the post-punk influence is illustrated in ‘Pneumonia’ which showcases an ingenious pseudo-drop and an exceptional industrial-style beat. Brown signed to Warp Records for this album and it allowed him full artistic freedom over the direction over the record, with Warp stimuli even creeping in on the IDM influenced ‘When It Rain’.

The outcome of Danny Brown’s influences which stretch from traditional hip hop to industrial, post-punk and experimental rock result in a bizarre, varied, psychedelic, dense and abstract piece of work that will be remembered as a crucial milestone in hip hop. Continuing on from Vince Staples’ Summertime ’06, Brown similarly utilises the Joy Division/post-punk influence as the centre-theme for an album and the result is comparably thought provoking and gloomy. Atrocity Exhibition should be concentrated on from a perspective of despair and the vicious cycle of drug use rather than Brown’s past work which encouraged the party lifestyle. Atrocity Exhibition is possibly the biggest artistic statement of the year and just missed out on the top spot of this list by a fraction. I’ll be listening to this for years to come.

1. Death Grips – Bottomless Pit

In 2012, Death Grips became one of my favourite groups. I couldn’t stop listening to The Money Store, hearing it shortly after the massive hype it received that year died down a little. It was heralded by many as the best album of the year thanks to its sheer energy, shattering sub-bass, insane drumming and the vocal prowess of MC Ride. I was even more impressed upon delving into their previous work, their debut mixtape Exmilitary especially. It was a perfect mix of experimental hip hop, industrial rock and punk aggression with excellently selected samples ranging from Pink Floyd’s ‘Interstellar Overdrive’ and Black Flag’s ‘Rise Above’ to Link Wray’s ‘Rumble’. Distorting the line between experimental hip hop and punk, Death Grips became one of the most talked about groups of the 21^st century.

A few months after The Money Store, Death Grips released No Love Deep Web. They leaked the album as a free download before the formal release was set by their label, Epic Records. Although I found the stunt hilarious at the time (just look at that album cover), this seemed to be the beginning of several controversial stunts for the band. Additionally, No Love Deep Web was the first piece of music from Death Grips that seemed to be drop in quality. The following albums Government Plates and Niggas On The Moon just didn’t click, the catchiness appeared to be replaced by ill-fitting experimental tendencies. To add insult to injury, the band cancelled several tours and didn’t bother to show up at festivals, instead they wrote a “suicide note” and subsequently explained they never intended to perform at these shows in the first place. Despite being asked to perform alongside Soundgarden and key-influences Nine Inch Nails for a huge tour in the Summer of 2014, they disbanded, pompously stating they were a “conceptual art exhibition” and they were “at their best”, refusing to acknowledge fans disappointment at their intentional no-shows and the dip in album quality. I was just about ready to give up on the group so I was sort of satisfied upon hearing they had decided to call it a day. Although I understand the sense of immediacy is why people enjoy NLDW, Government Plates and Niggas On The Moon and their raucous, noisy experimentalism, I just didn’t personally connect with them. Jenny Death was a step in the right direction, however.

With Death Grips announcing their reversion to touring and making music, I was hoping they would return to form and cease the exploits. In 2015, they released ‘Hot Head’ and once again I was disappointed, the track sounded like a complete mess. When Bottomless Pit came around in May, I didn’t even bother listening to it until a friend convinced me it was “their best since The Money Store”. Initially sceptical, I decided to give their sixth studio album a go. After several listens that week and many more throughout the year, I came to the conclusion that this was my favourite album of 2016.

Bottomless Pit surpassed all expectations. From the thrash metal referencing opener ‘Giving Good People Bad Ideas’ to the closer ‘Bottomless Pit’, I was hooked, even growing to enjoy ‘Hot Head’. Bottomless Pit is perhaps Death Grip’s most diverse album thanks to thirteen genre-spanning tracks which reference industrial metal, noise rock, abstract hip hop, glitch and digital hardcore. Although it is often compared to The Money Store in terms of sound, it sounds like a sequel as opposed to a direct imitation. Although frequently noisy, brash and overflowing in layers of sound and instrumentation, Bottomless Pit is incredibly enjoyable, fun, sinister, interesting and doesn’t outstay its welcome.

Although preceded by several great tracks, Bottomless Pit hits a stride at around the halfway point with ‘Eh’ and its ingenious syncopated rapping delivery which perfectly fit with the unobtrusive beat and background electronics. There is no “drop” or aggressive instrumentation in ‘Eh’, it sounds like the group at their “most hip hop”. This style should be explored in more depth it would be great to hear Death Grips making an album with a similar sound to abstract hip hop artists such as MF DOOM or Company Flow, for example.

‘Trash’ is comparable to ‘Eh’, showcasing MC Ride’s clever wordplay and rapping virtuosity. Songs like ‘Bubbles Buried In This Jungle’, ‘Ring A Bell’, ‘8080808’ and ‘BB Poison’ feature throbbing riffs and dense beats reminiscent of industrial rock/metal acts Godflesh and Nine Inch Nails. Bottomless Pit also features excellent production, bone rattling sub-bass and intricate percussion thanks to drummer Zach Hill and producer Flatlander, traits which become increasingly apparent on tracks such as ‘Houdini’ and ‘Warping’.

Overall, Bottomless Pit is an exceptional return to form, incorporating all the elements of Death Grips’ previous releases whilst resuming the catchy hooks and head-nod inducing beats of Exmilitary and The Money Store. This album rekindled my love for Death Grips and seeing them perform at an insane sold out show in Manchester only furthered this. They are the band I’ve listened to the most out of any artist in 2016 as I’ve revisited their entire discography in addition to playing Bottomless Pit countless times. Although some will say there have been more ground-breaking albums released in 2016, it is this album which I keep coming back to over and over again. I discover new things upon every listen and rarely skip a track if one comes up on shuffle. The success of Death Grips comeback album and the ensuing tours which saw them performing to thousands whilst actually having fun again (the group performed in London in Halloween dressed in full suit attire) is a delightful feat. The group continue to shock and perplex in equal measure and recent social media uploads have seen bizarre imagery posted with no explanation, raising countless questions on what this could “mean”. There’s no doubt we’ll hear something from the prolific and eye-brow raising group but until then, Bottomless Pit, the best album of 2016, will be played continuously.

2016 Honourable Mentions 

 

Recent Listens Vol. 14

Dr. Dre – The Chronic (1992)

So after watching Straight Outta Compton, the exceptionally entertaining biopic on notorious gangsta rap group N.W.A. I decided to revisit them and the output of their respective members. The key three figures in the group were producer/MC Dr. Dre and rappers Ice Cube and the late Eazy-E who each brought an incendiary, individual style to the group. Dre was the latest out of the three to record a solo effort, but his became the utmost celebrated, influential and commercially successful. It influenced pretty much all of hip-hop for over half a decade, its patented sound defined the west coast hip hop scene in addition to a heap of east coast stuff (just listen to The Notorious B.I.G.’s ‘Big Poppa’, for example). It spawned the genre known as G-funk, a subgenre characterised by a style of production using limited samples, deep bass which drew on Parliament/Funkadelic grooves and live instrumentation such as high pitched synthesizers. Every song on The Chronic is exceptionally well produced; every track features memorable beats with brilliantly selected samples. The ominous bass, news report snippets and gang chants give ‘The Day the Niggaz Took Over’ an eerie, urbane feel (recalling the L.A. riots of 1992 after the not-guilty verdict of the Rodney King case) whilst ‘Lil’ Ghetto Boy’ is incredibly smooth with synths that border on symphonic. It goes without saying that the singles of ‘Let Me Ride’ and ‘Nuthin’ But A ‘G’ Thang’ are certified bangers. The Chronic positioned Dr. Dre at the forefront of gangsta rap and hip hop scenes in general with its controversial urban realism and futuristic beats. It fueled the fires of hullabaloo commenced by his former groups tales of violence and hood mentality, it saw the birth of G-funk and launched the career of Snoop Dogg. The Chronic is a stone cold classic; give it a spin if you’re even vaguely into hip hop.

The Olivia Tremor Control – Black Foliage: Animation Music Volume 1 (1999)

Wow, this one was just dripping in colourful weirdness. At nearly 70 minutes long, it’s a psychedelic pop mammoth, influenced by late 60s guitar pop such as The Beatles, The Zombies and The Beach Boys. It’s incredibly whimsical and its synthesis of sickly sweet melodically delivered ditties and obscure sound collage/field recording samples make for a dizzying trip of a listen. The Olivia Tremor Control are members of the indie rock and psychedelic pop collective known as the Elephant 6 which notably features the seminal indie/folk act Neutral Milk Hotel. The sound featured in Black Foliage… however is more closely affiliated with other artists in the commune, especially the quirky psychedelia of Circulatory System and Of Montreal. Part of the albums downfall is also its charm; the manipulations and medley of sound in the interludes give this album a ‘trippy’ retro feel whilst also seeming futuristic and fresh. It’s an album of juxtaposition and that leads to juxtaposed feelings. Usually I can’t stand meandering and strange trails of experimentation that go nowhere but here on Black Foliage, it adds to the charm of the record, making it sound like a gem lost somewhere in the hedonism days of The Summer of Love. Funnily enough, they never did make a Volume 2.

Foxing – The Albatross (2013)

This one was a definitely a surprise. Having disliked records by The World Is a Beautiful Place and I Am No Longer Afraid to Die (irksome band name, right?) and other post-rock inflicted emo, I was expecting to hate this band/album. What I found was ten gorgeous tracks with a chamber pop vibe; the overall melodramatic and spontaneous emotive feel is reminiscent of Arcade Fire’s debut Funeral. I really enjoyed ‘Inuit’ with its dynamic delving, the subtle anthemic quality and fiddly guitars in ‘Bit By A Dead Bee Part I’. Not even the glitch influenced percussion could ruin the brilliant ‘The Medic’. Emo is a genre I’ve put a huge amount of effort listening and looking into but the majority of it has fallen short. The Albatross, however was a more immediate record, I began to enjoy it within a few tracks.

Common – Like Water For Chocolate (2000)

Common’s Like Water For Chocolate is an exploration into soul and jazz by means of hip hop. The beats organic sound is due to production from the Soulquarians collective, an all-star cast of modern soul and hip hop musicians from the more alternative side of the respective genres including (but not limited to) beat making legend J Dilla, The Roots’ Questlove and D’Angelo. The sound is definitely comparable to Slum Village and The Roots; smooth, jazzy, and with a percussive flair. Jay Dee has some unreal beats of course, especially the psych alluding ‘Nag Champa’ which sounds like Hendrix playing solos backwards. The highlight however is the DJ Premier cut ‘The 6^th Sense’ which sees his signature turntable scratch imposed beats become the centre-piece of the album. Clocking it at nearly 80 minutes long, this isn’t something palatable in a single listen, it could definitely do with some of the fat trimmed. Its length means it isn’t an ideal introduction to those wanting to get into jazz rap and conscious hip hop, however it is regarded as a classic in many circles.

Atlas Sound – Logos (2009)

Atlas Sound is the moniker of Bradford Cox, member of the neo-psych/dream pop group Deerhunter. There’s something with a lot of his groups music I find very pleasant and enjoyable, but rarely memorable. It’s usually a sound comprising of a haze of ambient textured guitars, breezily washing over me, making me unable to recall what exactly I liked most about it. This statement may seem a bit harsh, but their dreamy soundscapes are the main reason why so many of their cult fanbase are captivated by them. Logos is the best thing I’ve heard from them anything Deerhunter related since 2009s Microcastle. I love the pulsating bass in ‘Washington School’, the Panda Bear featuring ‘Walkabout’ and the warm, cyclical acoustic guitar strums on ‘Attic Lights’. With a few more listens, I feel I’ll be able to really dig this.

Other notable listens:

Thee Oh Sees – Carrion Crawler / The Dream EP (2011)

Kurt Vile – Childish Prodigy (2009)

Fennesz – Endless Summer (2001)

Holy Fuck – LP (2007)

Algernon Cadwallader – Parrot Flies (2011)

Boris With Michio Kurihara – Rainbow (2006)

2016 Anticipated Albums

Ty Segall – Emotional Mugger

Don’t get me wrong, I really like Ty Segall’s sound, productive mind set and a lot of his work; his previous album Manipulator was one of my favourites of 2014, but he has often verged on greatness but never surpassed it. Let’s hope on Emotional Mugger, Ty can deliver a consistently brilliant set of tracks. It’s set to be released on January 22^nd.

Animal Collective – Painting With

You’ve probably heard this album in full unexpectedly. Yeah, that’s right. Well, if you happened to be waiting for a plane at the time they were broadcasting it through the speakers at Baltimore Airport. Despite odd announcement stunts, it has been revealed that Painting With features Animal Collective minus Deakin (who did not feature on their ground-breaking late 2000s classic Merriweather Post Pavilion) and guest contributions from experimental composer Colin Stetson and former The Velvet Underground member/solo songwriter John Cale. Avey Tare has stated that Painting With will feature “really short songs” and “no B.S., get in, get out material” and both these things adhere to my favourite ways of writing music. After really getting into Animal Collective thanks to Panda Bear’s …Meets the Grim Reaper being my album of the year, I can’t wait to see what they bring to the table on this one and when I see them live.

DIIV – Is the Is Are

Oddly named dream poppers DIIV will release their follow up to their pretty good debut album Oshin on February 5^th. The tracklist seems interesting, being 20 minutes longer than Oshin and featuring a guest-spot from synthpop songstress Sky Ferreira. DIIV make pleasant and dreamy music but with countless acts sounding similar, Is the Is Are must be really special to make big waves in the scene.

Jesu & Sun Kil Moon – Jesu / Sun Kil Moon

An interesting pair: Jesu are a group known for its drone doom with shoegaze hybrid where-as Sun Kil Moon’s music is melancholic, mellow folk rock. They do share a characteristic of being gloomy though, so you can bet you’ll probably need a Happy Meal or two after listening to it.

Witchcraft – Nucleus

Having only heard their debut and loved their blend of doom metal, hard rock and stoner metal, I’m looking forward to what Witchcraft can bring to the table in 2016.

Quilt – Plaza

Boston psychedelic pop collective Quilt will release their follow up to 2014s Held In Splendor in late February next year. Let’s hope the content is good as the album art.

Conan – Revengeance

Conan are so unashamedly metal: the album art looks like it’s straight from a high fantasy comic or RPG video game, the song titles include ‘Earthenguard’, ‘Throne of Fire’ and ‘Wrath Gauntlet’ and you can bet half of the albums lyrics will concern Lovecraftian behemoths. If it’s anything like their previous work, Revengeance will be body shakingly heavy doom metal. If you aren’t familiar with Conan, soundwise they’re somewhere in between Sleep and Bongripper.

Pity Sex – White Hot Moon

The sophomore album from the wall of sound emo quintet is set to be released next spring and I simply can’t get enough of these guys. Fantastic EP, fantastic debut album and fantastic live. People will compare them to numerous shoegaze groups but to me they sound like Dinosaur Jr. with their drive and straightforward, noisy songwriting approach. A single of the upcoming album called ‘What Might Soothe You?’ was recently released and it’s a grower for sure. Plus the video is cool as hell.

Run the Jewels – Run the Jewels 3

Their debut self-titled release quickly became one of my favourite hip-hop albums of all time with its hardcore, straight to the point and take no prisoners approach yet their follow up didn’t do much for me, despite receiving greater acclaim. I hope they go back to a similar methodology of their debut, I’m sure Killer Mike and El-P have a lot of interesting things to angrily rap about regarding the state of contemporary American politics. Oh, and it will probably be released online as a freebie so there’s no excuse for not listening to it.

Nails – You Will Never Be One of Us

Abandon All Life became one of the most talked about extreme metal albums of the decade, and Nails are set to follow it up later next year. Expect aggression and punishing heaviness paired with catchy and groovy riffs. Nails blur the lines between hardcore, death metal and grindcore more effectively than any other band in their scene. I’m really looking forward to this one.

James Blake – Radio Silence

One of the most anticipated for sure, Blake hasn’t released any new music since 2013s Overgrown and Radio Silence was tipped to be out this year but never surfaced, leaving fans waiting in the dark a bit. The record is tipped to feature collaborations with Kanye West and Bon Iver.

Kanye West – SWISH

Kanye’s My Beautiful Dark Twisted Fantasy is probably going to be regarded as the best album of the 2010s but who knows how SWISH will be received or how it will sound. From the underground hip-hop and industrial appropriating Yeezus, the over-the-top, progressive MBDTF, the autotuned nonsense of 808 and Heartbreak to the soul revitalising beats of his earlier works, yet no one can guess what Yeezy has in store for us. Either way, it will probably attract A LOT of attention.

LSD and the Search for God – Heaven Is a Place

Cult shoegaze group have only released one EP and fans have been waiting to hear a full album. A promotional video has been posted online so it finally seems like their wait is over.

The Strokes – TBA

If The Strokes don’t make a good album this time around I’ll be sorely disappointed; their last two were awful and pale in comparison to their earlier output, it seems like they have no chemistry as a band anymore so hopefully they can prove doubters such as myself wrong.

The Jesus and Mary Chain – TBA

The Jesus and Mary Chain reunited and are now sounding better than ever before. Let’s hope they return to the sound of white noise feedback, sweet melody and chainsaw guitars of Psychocandy, an album which recently celebrated its 30^th anniversary.

Tool – TBA

Tool have appear on every “anticipated albums for next year” lists since after the release of 10,000 Days and it’s been nearly a decade since that album was release. Tool have a rabid, cult fan base who drool at every bit of news about a new record, but the band have announced they are in the process of recording a new one. After all these years, it’s finally not a joke anymore, but that was probably said last year, and the year before that…

Radiohead – TBA

Being one of my favourite all time bands, I’m eagerly awaiting this one. King of Limbs was a huge disappointed for me; it offered no memorable songs and tried too hard to be “interesting” rather than offering something both novel and with excellent songwriting such as their prior album and modern classic In Rainbows. They’ve been in the news recently, stating they recorded the track ‘Spectre’ for the newest James Bond film but it didn’t work out. It’s a great track and it’s a shame it didn’t feature on it, but here it is anyway

White Lung – TBA

Ferocious and intricate guitars, hardcore punk aggression have characterised White Lung’s work so far but if you haven’t heard of them, be sure to check out 2012s Sorry immediately. They have stated they are in the works for bringing out a new record next year.

Nine Inch Nails – TBA

Call me a weirdo, but I loved Nine Inch Nails previous album Hesitation Marks, preferring it to a lot of their work including With Teeth and The Fragile. Sure, it could be improved upon, and that’s exactly what I’m hoping for in their next LP.

Now Playing: Title Fight – The Last Thing You Forget (2009)

This compilation by Title Fight is fantastic, featuring their influential take on punk. Often labelled as pop-punk, the comp. which is an extension of the EP of the same name has various sounds ranging from post-hardcore/hardcore punk to melodic hardcore and emo but basically you get brilliantly melodic guitar lead-pop music. Although Title Fight have “matured” from their pop-punk sound into more shoegaze territories, it’s this one that I can keep going back to and was the first one I heard around 3 years ago.

Also, after visiting the brilliant Arctangent festival over this weekend I managed to obtain Floral Green by the band as well as Joyce Manor’s debut on LP from one of the merch stands, probably one of the reasons for deciding to re-visit the compilation.