Albums of the Year 2020

2020, what a shit show eyy? What’s left to say about this plague year that you haven’t heard a million times already in every single retrospective? On a personal note, I had to work from home for half the year so my listening habits changed enormously. I finally got into ambient, giving me hours and hours of unheard music to check out and keep me ticking whilst I stared at screens for almost eight hours a day. I couldn’t get into many of the year’s acclaimed releases (The Microphones, Fiona Apple, Adrianne Lenker, Phoebe Bridgers et al), so spent a lot of it listening to speedy hardcore punk or The Magnetic Fields’ near perfect ‘69 Love Songs’ loads instead.

Here’s a very quick write-up on some of my favourite releases of the year…

Nine Inch Nails – ‘Ghosts V: Together’ & ‘Ghosts VI: Locusts’

As I’m typing up these words, I’m spinning Trent Reznor and Atticus Ross’ excellent score to Pixar’s new flick ‘Soul’. They’ve come along since the heady industrial metal days of ‘Broken’ to shaping plenty of classic soundtracks and some quality ambient records too. Ross and Reznor gave this pair of ambient works away for free as the pandemic began to take its hold on the world, with ‘Locusts’ displaying a dark Lynchian quality, whilst ‘Together’ is conversely a much more soothing and ethereal affair. Despite being instrumental and full of longform drones, they’ve left their NIN stamp all over these – Trent has a distinctive melodic sensibility and certain way with chord sequences that’s for sure.

India Jordan – ‘For You’

Doncaster born and London based India Jordan was just awarded with Resident Advisor’s Track of the Year for the eponymous track here, and it’s definitely well deserved. This was one of my most played dance releases of the year, becoming a favourite as it comes across like a journey through the last twenty years of club culture. From the upbeat French house of the opener, to thumping UK garage, rave throwbacks, and gleaming drum and bass, Jordan covers all bases here. It’s a refreshingly upbeat and dancefloor primed EP which never wastes a moment to dazzle in its 31-minutes.

Green-House – ‘Six Songs for Invisible Gardens’

Green-House’s debut EP is some pure Mort Garson worshipping loveliness. Directly referencing the proto-electronic curio ‘Mother Earth Plantasia’ in both its title, sleeve, and content, ‘Six Songs’ is a soothing release of ambient, new age, and kosmische synths, complete with birdsong, playful melodies, and programmed cadences. Fans of Garson, Eno’s ambient work, and Hiroshi Yoshimura will find lot to love here.

clipping. – ‘Visions of Bodies Being Burned’

These lot just keep on getting better and better. The industrial hip hop trio unite once more for a direct sequel to last year’s horrorcore influenced ‘There Existed An Addiction To Blood’. With its embracing of horror cliches, gothic lyricism, murky soundscapes, and harsh yet inventive beats and production, ‘Visions’ is a similar beast but manages to better its predecessor. It wouldn’t be a stretch to say it’s like a team up between John Carpenter and Death Grips.

Daniel Avery – ‘Love + Light’

UK electronic producer Daniel Avery really came into his own on this one. Whilst his debut was packed full of big beat-tinged tech house and ‘Song For Alpha’ was a classicist homage to ambient techno, Avery has fine-tuned his craft and production here. ‘Love + Light’ is a record of contrasts, as rave euphoria is assumed by haunting ambient, breakbeat led numbers bleed into psychedelic downtempo, and techno thumpers meet stargazing synths. Some may be put off by its mixing up of assorted styles and lack of cohesiveness, but to me, the range is mightily impressive and adds to its charm.

Vinnum Sabbathi – ‘of Dimensions & Theories’

Sci-fi stoner metal? Count me in. Mexico’s Vinnum Sabbathi pen a concept heavy album full of spoken word snippets, big riffs, and driven space rock. ‘of Dimensions & Theories’ initially caught my attention as the vinyl release plays out like a choose your own way novel, etching the space travel concept right into its core. In simple terms, it’s about mankind’s last grasp for survival on Earth, as a team of astronauts are sent to the depths of the cosmos to find a piece of lost tech that will ensure a life in space for all. The samples are engaging and incredibly well thought out, with the instrumental moods reflecting the subject of the speeches. Imagine if Godspeed You Black Emperor hooked up with Hawkwind and Electric Wizard for a jam and this would be the result. Hail Sagan indeed.

冥丁 [Meitei] – ‘Kofū / 古風’

Following two excellent releases of ambient evocative of Japan’s history, Meitei switches proceedings up on ‘Kofu’. An incredibly inventive and original release, the producer opts for chopped up sample flips of aged recordings (namely Japanese folk) with an approach similar to both J Dilla and The Caretaker. It takes a few songs to hit its stride, and then you warm to the album’s off-kilter charm. It mirrors instrumental hip hop with its propulsive rhythms, yet uses voice, tape manipulations, and obscure sample plundering’s as opposed to kicks and snares. I’ve never heard anything quite like this slept on release before, and I reckon Meitei deserves rave reviews and a great deal of popularity for this one.

Run the Jewels – ‘RTJ4’

Four albums in and the Run The Jewels formula still continues to marvel. El-P and Killer Mike have written their most confrontationally political work to date, releasing ‘RTJ4’ a few days early to give America’s protestors a soundtrack to their activism. ‘Ju$t’ hears Pharrell Williams craft the catchiest hook of the year whilst Zach De La Rocha spits bars of pure rage, ‘Walking In The Snow’ hits hard as fuck, ‘The Ground Below’ flips a sample of Leeds’ funk-punks Gang of Four, ‘Pulling The Pin’ sounds forebodingly gothic, and 2 Chainz hits it out of the park on ‘Out of Sight’. A dynamic, fiery, and heavy work which shows the pair show no signs of slowing down.

Pictish Trail – ‘Thumb World’

One of the more obscure releases on this listicle, I heard this one at work early on in 2020 and it’s remained a constant listening fixture. ‘Thumb World’ is just so chill and catchy that it doesn’t get boring with repeated listens. Johnny Lynch lives on the tiny Scottish island of Eigg (population of less than 100!) and runs the Lost Map label. He’s won the Scottish Album of the Year award for past releases and he writes psychedelic embellished alternative and indie rock music. Fellow Scots The Beta Band crop up as frequent comparisons, but he’s definitely left his unique stamp here. A concept record regarding our obsession with mobile phones and other digital devices, ‘Thumb World’ is packed full of humour, knotty chord sequences, trippy electronics, and earworm melodies. It isn’t some boomer “technology bad”, Black Mirror sorta scare story however, think Grandaddy’s ‘The Sophtware Slump’ for the influencer generation.

Pearson Sound – ‘Alien Mode EP’ & Anz – ‘Loos in Twos (NRG)’

Leeds’ favourite dance label Hessle Audio coming through with the bangers this year. I’ve been familiar with the imprint for a while as they’re important fixtures of the live electronic scene up here in Yorkshire (and beyond), but previously I’ve found their left-field take on club music a bit much, perhaps a little too experimental and not dancefloor primed enough. They really caught my attention here with this pair of incredible singles however. Manchester DJ Anz impressed with three rave referencing bangers which mix UK bass with breakbeat, whilst Hessle label co-founder Pearson Sound’s ‘Alien Mode’ sounds like an evil take on the early hardcore sound. It’s releases like this which make me long for a return to clubbing. Fingers crossed for late 2021 eyy?

Kelly Lee Owens – ‘Inner Song’

Techno/house producer Kelly Lee Owens is a musician who ticks a lot of boxes for me. I’m equally into dance music as much as a wealth of alternative guitar music, so to hear these two styles combined so seamlessly into one ethereal and euphoric mix provided the originality I often crave. Owens offers a human touch to techno’s bassy throb and electronic pulse, with gorgeous vocals from the Cocteau Twins school of thought falling on ethereal soundscapes and rolling club rhythms. From the opening notes of her radical reversion of Radiohead’s ‘Weird Fishes’, ‘Inner Song’ immediately engages with its meticulous arrangements and tracks which flow beautifully into each other. Pair with her close friend Daniel Avery’s ‘Love + Light’ for a nice double feature. A gorgeous and addictive listen which would probably take the numero one spot here if there was an order here.

Oranssi Pazuzu – ‘Mestarin kynsi’

More sci-fi space metal! I’ve been following these Finns for years now, as their psychedelic-laced black metal captured enough intrigue to write this little piece on. ‘Mestarin kynsi’ is their most ambitious and out-there work to date, boasting an unusual atmosphere, kinetic rhythms, and horror cinematics. There are so many genres on show in this dense, sprawling and unforgiving listen – trip hop, minimalism, space rock, ambient, krautrock, shoegaze, industrial, and avant-rock all feature in this hypnotic creature. It’s been an incredible year for extreme metal, and Oranssi Pazuzu show they are at the top of their game and are finally getting the acclaim and increased popularity they deserve.

The Soft Pink Truth – ‘Shall We Go On Sinning So That Grace May Increase?’

I’ve not yet delved into the world of experimental electronic production duo Matmos (bar their work with Björk of course), but the rave reviews surrounding the latest release from Drew Daniel’s The Soft Pink Truth project caught my attention. Daniel looked at all the shit going on in his native America and decided to eschew reactive and outraged moods in favour of a reflective and life-affirming record. On ‘Shall We Go On Sinning So That Grace May Increase?’, he’s assuredly achieved that. It’s a meditative piece brimming with positivity and warmth, as soothing ambient meets deep house and minimal electronics. Perfect minimal electronic music for early mornings.

Roza Terenzi – ‘Modern Bliss’

Australian dance producer and DJ Roza Terenzi released her debut album on Planet Euphorique in April, though I was pretty late to the game on this one despite seeing an incredible set of hers last year. ‘Modern Bliss’ is a concoction of a whole heap of dance subgenres, namely the more progressive strains of house and techno alongside some old school acid, bleep, and rave. Some of the tracks are sauntering atmospheric numbers, whilst others slap hard. There’s a load of depth and detail to the production so it’s perfect for a headphone listen, and despite clocking in at almost an hour, it never gets dull or repetitive.

Rafael Anton Irisarri – ‘Peripeteia’

Here’s a timely release from prolific Seattle based ambient musician Rafael Anton Irisarri, as ‘Peripeteia’ sounds like a soundtrack to imminent doom. The album has a grainy quality running through its droning hellscapes, switching between tones of dense melancholy and ethereal fog. A deep and engaging listen, ‘Peripeteia’ is assuredly one of the year’s ambient highlights. Now to check out his past work…

Mary Lattimore – ‘Silver Ladders’

Sorry Mary, I had you down as some new age hippie bullshit music before I took the dive with this one. Maybe that’ll teach me not to judge a book (album) by its cover (genre) eyy? Anyway, Lattimore’s latest details the LA based ambient and new age composer’s time spent on these shores, more specifically on the sun-kissed beaches of Cornwall. Here she linked up with the record’s producer, Neil Halstead of Slowdive, for outings ranging from pub quizzes, coastal swims, gazing at wild waves and the moon’s reflection on the seas. Evocative huh? I can almost taste the cream teas. Hypnotic harps are adorned with electric guitarscapes and flowing synths to shape songs which feel simultaneously slightly ominous and serene. The sprawling, lengthy number ‘Till A Mermaid Drags You Under’ and the bittersweet ‘Sometimes He’s In My Dreams’ are the highlights here.

Mutant Joe – ‘Operation Chaos’

Wall to wall bangers! Brisbane producer Mutant Joe lands on Manchester’s forward-thinking, genre-mashing label Natural Sciences with a four-track EP of energetic heaters. ‘Operation Chaos’ blends Southern hip hop with Chicago house and shades of high energy electro and jungle. Looking forward to hearing more from this fella in the future.

The Chats – ‘High Risk Behaviour’

Now this one takes the cake for being the most fun album of the year. You’ve probably heard of these Aussie garage punks through the YouTube algorithm doing its thing, but their debut is miles better than their EPs and standalone singles. It’s easy to tell that these are three best mates, writing sincere punk tunes in their sheds about small town life down under. ‘High Risk Behaviour’ will make you long for the days of booze filled gigs, summer days and house parties, meaning its both an ideal escape from hours of being cooped up in front of screens, and will make you look forward to a return to normality. Think Fidlar if they could actually write more than a couple of good tunes.

ACxDC – ‘Satan Is King’

ACxDC (aka Anti-Christ Demon Core) are a household name in the relatively obscure hardcore punk subgenre of powerviolence, but as I’ve been on the search for quality fastcore this year I decided to check out their latest and my I was mightily impressed. ‘Satan Is King’ lands on the punkier and less serious side of PV/grindcore than many of their uber-serious peers, offering breakneck blastbeats, insane tempo switches, and vocals which jump from gang chants, guttural growls, and caustic shrieks. Bonus points for flipping the title of Kanye West’s much reviled gospel record on its head too.

Deftones – ‘Ohms’ (& ‘Black Stallion’)

Following the dreadful ‘Gore’, alternative metal giants Deftones return to form with ‘Ohms’. Here Chino Moreno and co. blend the big riffs and grooves of the ‘White Pony’ and ‘Around the Fur’ eras with their shoegaze influenced recent endeavours to sculpt a real crowd-pleaser. They also celebrated 20 years of ‘White Pony’ with a reissue of the classic record, complete with a bonus disc of remixes from the likes of Clams Casino, DJ Shadow, Squarepusher, and Purity Ring. I adored the ‘Black Stallion’ companion piece as it saw plenty of my favourite names in dance music and beyond leave their mark on many a classic track.

Pigs Pigs Pigs Pigs Pigs Pigs Pigs – ‘Viscerals’

Geordie heavy hitters Pigs x7 return with their leanest and meanest cut to date. The stoner metal group blend the riffs of Sabbath with the gruff vocals of The Jesus Lizard, add a touch of the Melvins’ sludge, and a flair of trad metal and classic alternative rock here on ‘Viscerals’, their catchiest record yet. Pigs are easily one of the best bands in their genre to emerge from these shores in an age, and they deserve the acclaim they generate here oversees. Surprised they haven’t made it over in the US as their gruff hard rock is bound to appeal to the yanks. Their pals over in Hey Colossus released a good’un this year too.

Honourable Mentions

• Action Bronson – ‘Only for Dolphins’
• Four Tet – ‘Parallel’
• Working Men’s Club – ‘Working Men’s Club’
• Daniel Avery & Alessandro Cortini – ‘Illusion of Time’
• Gulch – ‘Impenetrable Cerebral Fortress’
• Makaya McCraven (Gil Scott-Heron) – ‘We’re New Again: A Reimagining by Makaya McCraven’
• Knxwledge – ‘1988’
• Terrace Martin & Denzel Curry – ‘Pig Feet’
• JASSS – ‘Whities 027’
• Rian Treanor – ‘File Under UK Metaplasm’
• Rival Consoles – ‘Articulation’
• dgoHn – ‘Undesignated Proximate’
• Napalm Death – ‘Throes of Joy in the Jaws of Defeatism’
• Freddie Gibbs & The Alchemist – ‘Alfredo’
• Animal Collective – ‘Bridge to Quiet’
• Windy & Carl – ‘Allegiance and Conviction’
• Oliver Coates – ‘Skins n Slime’
• Sven Wunder – ‘Wabi sabi’
• Dropdead – ‘Dropdead 2020’
• Horse Lords – ‘The Common Task’
• John Frusciante – ‘Maya’          
• Denzel Curry x Kenny Beats – ‘Unlocked’
• Little Simz – ‘Drop 6’
• Pole – ‘Fading’
• Slift – ‘Ummon’
• Meg Ward – ‘Meditate’
• Squarepusher – ‘Be Up a Hello’
• Andrew Wasylk – ‘Fugitive Light And Themes Of Consolation’
• Various – ‘What Is This That Stands Before Me?’ (Sacred Bones records take on Black Sabbath classics)
• Various – ‘Black Riot: Early Jungle, Rave and Hardcore’ (Compilation of the year right here!)

Albums of the Year 2019

The final year of the decade saw Kanye West write a gospel album which no one cared about, Lana Del Rey released a hugely successful Fiona Apple covers album, Lizzo declared that all music journalists deserve to be homeless following an above average review, UK tweens black midi came out of nowhere, Nick Cave made us all cry again, Billie Eilish became the millennial’s answer to Avril Lavigne, and Kim Gordon created a distinctly modern sounding first solo record, showing every rock dinosaur just how to do it. Here’s a quick write-up of some of my favourite albums of 2019…

10. Full of Hell – ‘Weeping Choir’

Maryland grindcore group Full of Hell return with a supposed companion piece to 2017’s ‘Trumpeting Ecstasy’, though this record sounds markedly different from the former record with a more prominent death metal style. This is probably my joint favourite from Full of Hell alongside their split with Merzbow from way back in 2014. ‘Weeping Choir’ is packed with chaotic and dissonant riffing, blistering vocals, pummelling drum work and hues of noise and sludge, complete with a gloomy and menacing atmosphere to keep things interesting for its 25-minute runtime.

9. Föllakzoid – ‘I’

Chilean psychedelic group Föllakzoid wipe their space/krautrock template clean and opt for a sound which mirrors minimal and dub techno. The Sacred Bones signed group channel the influence of the Berlin club scene and seminal techno acts like Basic Channel to shape a record where repetition is the main musical theme. ‘I’ is a spacious and hypnotic listen where it’s so easy to get lost in its grooves and nocturnal march. Föllakzoid are an interesting live act too; performing with next to no lightning save for a single candle, they offer shuffle inducing rhythms that could soundtrack many an early hour at a techno night. ‘I’ is a very Germanic album, its sound brings to mind Neu! and Kraftwerk just as much as Gas and Plastikman. Alongside acts like Bristol’s Giant Swan, Föllakzoid showcase the limitless possibilities of creating electronic and club music with ‘rock’ instrumentation.

8. The Comet is Coming – ‘Trust In The Lifeforce of the Deep Mystery’

I’ve been following Shabaka Hutching’s work since I heard the brilliant Sons of Kemet last year, and this one blew me away just as much as ‘Your Queen Is A Reptile’. Dubbed the key player of the much-conferred ‘London jazz scene’, Shabaka plays in Melt Yourself Down, The Ancestors and the psychedelic rock influenced group The Comet is Coming. ‘Trust In The Lifeforce of the Deep Mystery’ really brings out the ‘fusion’ in jazz fusion, combining genres as far afield as space rock, Afrobeat, funk, dance music and deftly modern jazz into one futuristic and surreal mix. The energy and performances here are gripping, often matching the pace of jungle and the dense rhythms of hip hop. If you’re ever looking for jazz that could be considered psychedelic music, then this one is an excellent starting point. There’s a lot of interesting jazz that’s challenging its traditional roots right now and The Comet Is Coming take the crown as far as quality and vigour are concerned.

7. Danny Brown – ‘uknowwhatimsayin?’

Detroit’s finest MC Danny Brown returns with ‘uknowwhatimsayin?’, a corker of a record with nods to jazz rap, 90s hip hop and stand-up comedy. Following the resounding success of the decade’s finest hour in hip hop ‘Atrocity Exhibition’, Danny’s fans were eager to see what he had in store for his next LP. ‘Atrocity’ was defined by its incredibly dark lyrical content and experimental, post-punk flavoured production which challenged the idea of what a modern rap record could be. On ‘uknowwhatimsayin?’, Danny sounds like he’s having a huge amount of fun and is just doing what he wants to be doing. Brown’s previous album reflected on his own mortality, addiction and the public’s perception of him, so its excellent to hear him sounding happy again following his brushes with death.

6. Lingua Ignota – ‘Caligula’

‘Caligula’ shares numerous qualities with extreme metal without actually being a metal record. Marrying feudal operatics with gothic darkwave, industrial and noise, the Profound Lore signed Lingua Ignota shapes one of the most thrilling and powerful albums of the year. It’s effectively a record you’d get if you crossed Dead Can Dance with Puce Mary and Godflesh. It would be impossible to discuss ‘Caligula’ without talking about Lingua’s incredible vocals which flip between classical theatrics and blood curdling screams. The classically trained vocalist has a keen interest in history, Catholicism and noise music, influences which are skilfully ravelled into the DNA of ‘Caligula’.

5. black midi – ‘Schlagenheim’

There’s been much deliberation regarding newcomers black midi this year, namely due to their Brit School origins and coming out of nowhere to land themselves a deal with Rough Trade and getting nominated for the Mercury Music Prize. Admittedly, I was a bit sceptical at first, though as soon as I heard ‘Schlagenheim’ all my worries were eased. A dizzying mix of math rock precision, noise rock dissonance, taught post-punk and old-school post hardcore, ‘Schlagenheim’ is the crowning achievement of guitar music for 2019. The performances are incredibly tight (those drums!), the lyrics are cryptic and surreal, and the bass lurches and undercuts the fiddly guitars brilliantly. It’s great to hear such a young and interesting band get nominated for big awards, sell out tours and get radio play, especially when their music is challenging compared their peers. Thousands of people are eagerly awaiting what these guys are going to do next, let’s hope they’re around for years to come.

4. (Sandy) Alex G – ‘House of Sugar’

Easily the singer-songwriter highlight of the year, Alex G’s ‘House of Sugar’ is an album of contradictions and juxtaposition. Inspired by the classic Brothers Grimm tale ‘Hansel & Gretel’, the record marries bittersweet and yearning lyricism with ear-worm melodies. Everything from the album title and its concept to the enchanting production and lyricism is fantastical, often sounding seductively opulent with its otherworldly atmosphere. ‘Gretel’, ‘Southern Sky’ and ‘In My Arms’ deserve a spot in everyone’s 2019 playlists. If you’re looking for songwriting in the vein of Pavement, Elliott Smith or Sparklehorse, then you’re onto a winner with Sandy.

3. Freddie Gibbs & Madlib – ‘Bandana’

‘Bandana’ was one of the most anticipated albums of the year and oh boy it didn’t disappoint! Shadowing the modern classic that was ‘Pinata’ would be no easy feat, though this one smashed all expectations and added so much more to Madlib’s and Gibbs’ gangsta rap meets experimental hip hop sound. ‘Bandana’ is streamlined and polished without losing any grit or left-field flare. Freddie’s rapping here is the best of his career; he delivers felony fables through knotty raps and rapid-fire rhymes, weaving through Mad’s lush psychedelic beats with effortless ease. The beat flips are startling, the samples seem to be plucked from nowhere, and the guest spots from the likes of Pusha T, Black Thought and Mos Def are all incredibly executed. In a hip hop scene where trap and gangsta rap is incredibly popular yet maligned, and those who favour the old-school are touted as being archaic and stubborn, it’s records like ‘Bandana’ that show the huge amount of potential for cross pollination between these two opposing subgenres.

2. Little Simz – ‘Grey Area’

Little Simz has had an incredibly successful year in 2019, and she deserves all the credit she gets. Not only did she shape one of the best UK hip hop albums of all-time with her breakthrough ‘Grey Area’, she’s gained a huge amount of exposure, sold-out pretty much every date on her European tour, secured a bunch of modelling contracts AND landed a prominent spot on the crime drama ‘Top Boy’.

‘Grey Area’ is one of those albums where no second is wasted. The energetic opener ‘Offence’ kicks things off with the superb opening line ‘Me again, allow me to pick up where I left off’, setting the course for a perfectly paced and sequenced record where there’s a definitive beginning, middle and end. Oh, and bonus points for the nostalgia trip I got when I heard the Crash Bandicoot samples! Then comes ‘Boss’ with its lucid noir funk bassline and Simz’s lean flow, leading to the gorgeous neo-soul number and album highlight ‘Selfish’. ‘Venom’ is a hardcore hip hop banger with nods to trap, industrial rap and even trip hop, whislt ‘101 FM’ wistfully recalls Pirate Radio memories over an East Asian influenced beat which could slot perfectly into any Wu-Tang/RZA production.

Folk have compared Simz to Kendrick Lamar (who’s a huge fan of her work), but I find her a much more engaging MC who knows how take out the duff tracks and skits. ‘Grey Area’ is a defining moment in UK hip hop and Simz deserves a place at the table of international rap royalty. I hope to see her working with some big names in the future, especially producers who can provide her with top-tier beats to spit her fire over. Bravo Little Simz, you deserve everything you’ve achieved this year – apart from the Mercury snub of course!

FKA twigs – ‘MAGDALENE’

The very fact that FKA twigs managed to make an album of such quality despite going through a very public break-up with an A-list film star and undergoing serious emergency surgery is astonishing. ‘MAGDALENE’ reflects on these traumas in an honest and intimate manner, delivered with such potency that you hang on her every word.

‘MAGDALENE’ strives in its emphasis on the singular themes of emotion and sentiment, comfortably standing alongside the likes of Joni Mitchell’s ‘Blue’ or Bjork’s ‘Vespertine’ as far as sheer heart-wrenching beauty go. Her lyrics and the overarching concept deconstruct reviled Biblical characters (guess which one…), tabloid scrutiny and privacy, sombre reflections, and the associated difficulties of recuperation.

Each track is gripping and matchless, as twig’s imposing voice either towers over or snakes through the bass-heavy production influenced by dubstep, future garage, left-field club music and R&B. Oneohtrix Point Never, Nicolas Jaar, Arca and even Skrillex leave their mixing desk mark on ‘MAGDALENE’ with their widescreen, crystalline electronic production which eclipses all twigs’ previous instrumental efforts. Often I’m reminded of the chamber pop of Sufjan Stevens or the hazy-eyed art rock of Radiohead’s ‘A Moon Shaped Pool’ when listening to this LP.

Though I usually find sentimentality a huge turn-off in music, ‘MAGDALENE’ avoids such mawkishness with its pure candour and conquering posture. Though its candid introspection heartens tough contemplation, it’s so immensely addictive and gorgeous sounding that it begs repeated listens.

Honourable Mentions

• Djrum – ‘Hard to Say / Tournesol’
• Bobby Krlic – ‘Midsommar’
• American Football – ‘American Football (LP3)’
• clipping. – ‘There Existed an Addiction to Blood’
• Equiknoxx – ‘Eternal Children’
• Kim Gordon – ‘No Home Record’
• Gang Starr – ‘One of the Best Yet’
• Injury Reserve – ‘Injury Reserve’
• King Gizzard and the Lizard Wizard – ‘Infest the Rats’ Nest’
• Karenn (Blawan & Pariah) – ‘Grapefruit Regret’
• Massive Attack v. Mad Professor – ‘Massive Attack vs Mad Professor Part II (Mezzanine Remix Tapes ’98)’
• Nihiloxica – ‘Biiri’
• Quelle Chris – ‘Guns’
• Underworld – ‘Drift’
• Vanishing Twin – ‘The Age of Immunology’
• Xiu Xiu – ‘Girl With Basket of Fruit’

Albums of the Year 2018

It seems incredible to think that we haven’t got long left of the 2010s, and next year, every music journo will be compiling their Albums of the Decade lists. Until then though, let’s take a look at what this year had in store for us. 2018 was bookended with the deaths of two Manchester musical legends Mark E. Smith of The Fall and the Buzzcocks‘ Pete Shelley, Kanye West descended into unforgivable amounts of buffoonery (and released the worst album of his career with Ye alongside the underwhelming Kids See Ghosts), stoner metal titans Sleep dropped their first album in 15 years, Arctic Monkeys finally released music after a 5 year wait to a somewhat mixed response, XXXTentacion was murdered, an avant-garde jazz album was nominated for a Mercury, The 1975 gave us Snapchat’s answer to OK Computer, Bristolian punks IDLES sold out huge venues in 5 minutes, ‘emo rap’ became a thing, and Childish Gambino delivered one of the most damning incitements of American culture in recent memory. So, now that’s all out the way, here are my picks for the best music releases of 2018:

Denzel Curry – TA13OO

I’m going to go right ahead and say this now; Ta13OO is the greatest trap rap album of all-time. Floridian rapper Denzel Curry is a highly ambitious performer and a modern hip hop innovator and here’s why: the beats are otherworldly, his rapping performance remains unsurpassed this year, and Ta13OO’s concept is executed phenomenally. The interaction between Denzel’s vocals and the beats is astonishing; he manoeuvres his raps through the multi-faceted tracks effortlessly, spanning from frenetic raps, to sung hooks, to coarse shouts, and eases back into the tongue-twisting vocals, winding and turning with each changing mood of the instrumentals. Presented here are bass-boosted trap tracks, gothic chillers, laid-back synth funk numbers, and heavy-as-hell industrial influenced bangers. The album also stands as a conceptual masterpiece, tackling subject matter including addiction, drug provoked mindlessness, near death experiences, US politics induced paranoia, and child abuse. Split into three clearly defined ‘acts’, the moroseness of Ta13OO increases steadily through its runtime. It may be a difficult listen for some, but this is the essential hip hop record of the year. Trap and mumble rap naysayers will be charmed by Denzel’s wordplay and technical ability on the mic, and Ta13OO’s ambitious scope and variation of sounds is something any music fan can appreciate. After the two-year wait following Imperial and the buzz generated from his EP 13, the wait was truly worth it. Ta13OO is my favourite album of the year, and I’m so stoked to see Denzel finally getting the attention and acclaim he deserves.

Beach House – 7

The Baltimore duo Beach House have been winning over indie fans for the past 12 years, and are often regarded as the front-runners of the dream pop revival sound. They’ve won approval from all corners of the globe with critically acclaimed releases such as Teen Dream and Bloom, however I’ve always found they fell into the ‘atmosphere over songwriting’ troupes which many similar groups take advantage of. 7 however, is their most substantial, heavy and ultimately memorable release to date. Aided by the production talents of Sonic Boom of Spacemen 3, Beach House load up on psychedelia to create dense, ethereal, and driving noise pop. Of course, the Cocteau Twins influence still runs throughout, but 7 is the biggest departure of Beach House’s signature sound to date. If you’ve never listened to these guys before, then this is the place to start. It’s been on repeat for me since it was released in mid-May.

Daniel Avery – Song for Alpha

A record which I’d been waiting impatiently for five years for, Daniel Avery’s Song for Alpha was a shock to the system upon listening to it for the first time. Daniel has changed his sound so much that it’s almost unrecognisable from his previous work. The tech-house bangers of Drone Logic are been replaced by intricate IDM and Warp Records influenced ambience; it’s like stepping into the 90s and listening to the early demos of Aphex Twin, Autechre and Plastikman. Avery creates resonant washes of sound with layers upon layers of electronic bleeps and riffs, echoing snares and underpinning bass thuds. Song for Alpha is simultaneously minimalistic and meditative. Its unnerving mood owes to its overall nocturnal sound; it’s the perfect soundtrack to accompany post-club introspection. The ear-ringing begins, the seemingly distant beats repeat in your imagination, the weariness sets in, and the club is departed. If Drone Logic was the party, then Song for Alpha is the product of a dazed post-club mind.

Death Grips – Year of the Snitch

Death Grips previous record Bottomless Pit is one of my favourite albums of the 2010s, and was my Album of the Year in 2016, so my anticipation for Year of the Snitch was absolutely huge. Last year’s Steroids (Crouching Tiger Hidden Gabber Megamix) hinted at the approach the group were going for with Year of the Snitch, and it’s their most manic and experimental release to date. The titular ‘Snitch’ is a reference to the key witness of the Charles Manson prosecution, Linda Kasabian, who Death Grips demarcate in ‘Linda’s In Custody’. It’s a throwback to the Manson themes in Exmilitary, specifically Charlie’s speech which opens ‘Beware’. Though the themes of nihilism and cult of personality appear throughout Year of the Snitch, MC Ride’s puzzling lyrics and the off-the-wall instrumental approach of the album ultimately signifies there is no unifying concept.

Opening with ‘Death Grips is Online’, the Sacramento three-piece employ traditional hip hop aspects (such as DJ scratching) to a forward propelling instrumental which recalls both 70s krautrock and synth-punkers Suicide. The dense electronic production paired with the golden-age hip hop influence immediately evokes the sound of the Bomb Squad and Public Enemy, though Death Grips conjure a much more frenzied approach here on Year of the Snitch by virtue of MC Ride’s inimitable shouts and Zach Hill’s overexcited drumming. ‘Flies’ cements the unpredictability of Death Grips, sounding completely unlike the previous track thanks to its influence from the experimental corners of the electronic world, namely wonky and glitch hop. This sound resurfaces in ‘Streaky’, the album highlight which applies simple hooks to fragmented electronica samples and industrial grooves. ‘Black Paint’ is a straightforward stoner rock affair, with pummelling riffs and rhythmical chants, complete with a head-nod inducing breakdown. It’s a true standout in Death Grips’ catalogue as it sounds so unalike previous material, yet it’s one of their catchiest and memorable. Though the latter half of the album tails off a bit, Year of the Snitch is a triumph none-the-less, and will go down as one of their greatest achievements.

Year of the Snitch manages to divert Death Grips’ sound into new territories, effectively deconstructing their core musical values and inverting them. They will be a group who will forever keep their fans guessing what’s going to be around the corner. By straying away from the aggro-rap which has become all the rage in contemporary hip hop and directing a newfound carnivalesque approach, Death Grips have effectively cemented their position as the musical influencers and innovators we always suspected them to be.

Iceage – Beyondless

A surprising return to form, Beyondless rivals New Brigade in terms of quality and consistency, but Beyondless is much more diverse and ambitious than their enjoyably chaotic and youthful debut. Having not really got the sound and style Iceage were going for in Plowing Into the Field with Love, I was impressed that the Danish post-punks had managed to amend their sound once again, keeping it interesting without resorting to the Nick Cave indulgences of Plowing.. ‘Showtime’ is a particular highlight, as vocalist Elias theatrically recounts an actor’s on-stage suicide to the march of the vaudeville waltz of his fellow band members. Basically, it’s the best song Tom Waits never wrote.

Nine Inch Nails – Bad Witch

Nine Inch Nails revisit their classic sound with this half-hour short record. A departure from the electronic inspired sound of Nails’ last few LPs, the aggression, the mechanical industrial rhythms, and the crunching guitars that we all love in Trent Reznor’s work return, alongside elements of experimental and noise rock, free jazz, and dark ambient. It’s reminiscent of the brooding, atmospheric jazz which soundtracked Twin Peaks, David Bowie’s Blackstar, and Bohren & der Club of Gore. This miniature album is a step in the right direction for Trent Reznor and his collaborators, and it feels like a taster for what’s to come. Who knows, he might even write a record which rivals the masterpiece The Downward Spiral.

Parquet Courts – Wide Awake!

Parquet Courts have hinted at brilliance before, but have never managed to write an excellent record from start-to-back. On Wide Awake! however, the Brooklyn indie rockers satisfyingly compose track after track of irresistibly catchy bangers. It’s fun, it’s dancey, it’s funky, and it’s ultimately very entertaining and memorable. Danger Mouse lends his production to Wide Awake!, and the results are astonishing; the rhythm section is brought to the forefront, with seismic basslines and rolling percussion now leading the music and propelling it forward. The sound on show here is of course influenced by The Fall and Pavement, but Parquet Courts have upped the new wave, dance punk and post-punk influence; think Television, Elvis Costello, Talking Heads, Gang of Four, Liquid Liquid, and Devo. Wide Awake! sees Parquet Courts finally accomplishing their full potential, and it serves as a must have album for those craving a slice of excellent guitar music.

Pusha T – DAYTONA

Yet another artist who’s managed to unlock their full potential this year, Pusha T has assuredly increased his fan base a significant amount with DAYTONA, a twenty-minute short record produced entirely by Kanye West. Not to steal the limelight away from Push, but this is the only record worth getting from Kanye’s productive yet ultimately disappointing streak this year. Here on DAYTONA however, Kanye delivers some of the best beats of his career such as the swaggering ‘Games We Play’ and the Clipse recalling gangsta rap of ‘If You Know You Know’. Pusha’s performance here is top-notch; every rhyme and lyric is calculated, his flow matches the beats seamlessly, and every bar is executed with precision. It’s the same length as an EP or prog guitar solo, so there’s no excuse to let DAYTONA’s twenty-minutes of brilliance pass you by.

Sleep – The Sciences

The Sciences is the biggest surprise of the year. Sleep fans have been eagerly awaiting new material since they reformed in 2009, and The Sciences is their first album since 2003’s stone cold classic Dopesmoker. Sure, they’d teased us with standalone singles like ‘The Clarity’ in 2014, but Sleep still left everyone wanting a significant slab of material. The Sciences is comparable to the group’s earlier work like Sleep’s Holy Mountain, yet with a few key differences such as Al Cisneros’ vocals which centre on recreating hypnotic, meditative chants. The production here is incredible, it’s as if those dirty Sabbath riffs we love in Sleep have been transformed into high-definition. It really enhances the cinematic scope and themes of science fiction, the Antarctic planes and mind altering substances. If you’re into Sleep or any riff-based stoner and doom metal, you will not be disappointed with The Sciences.

Sons of Kemet – Your Queen Is A Reptile

Sons of Kemet’s breakthrough album Your Queen Is A Reptile deserved to have won the Mercury Prize. It’s exciting to see the buzz around this album, as it’s a hugely unlikely success story. The London four-piece interestingly consist of two drummers, a tuba player, and a saxophonist. They have no double bass or bass player, no guitarist or keyboardist, and they play a mix of Afrobeat and avant-garde jazz with elements of dub, spoken word, and funk. There’s even a grime flair to sections of Your Queen Is A Reptile, especially in the tracks including vocals and rapping. The sound is unique; it’s like Fela Kuti is jamming with some of the greats of experimental jazz, albeit with a heavier low-end from the tuba. It would be impossible to write about Your Queen is A Reptile without explaining its concept. It’s a fiery outburst which takes aim at the tumultuous political climate of Britain and its capital, in particular aspects of the monarchy and republicanism, immigration, Windrush deportations and apartheid. Sons of Kemet state that the monarchy does not represent UK citizens, especially black immigrants and the past victims of the Commonwealth. The track titles (bar ‘My Queen Is Ada Eastman’, which references saxophonist Shabaka Hutchings’ grandmother) refer to significant and influential black women who are often whitewashed in the history books. Your Queen is A Reptile is one of the greatest albums this year has to offer, and I can’t wait to hear how they will follow this masterpiece.

Sufjan Stevens – Mystery of Love (EP)

Sufjan Stevens has slowly become one of my favourite songwriters of all-time. With albums as strong as Illinois and Carrie & Lowell, it’s easy to see why he has a cult following who endorse every new release of his. Sufjan may usually take five years between releasing studio albums, but he can be counted on to release singles, EPs, compilations, remixes, and even Christmas songs between waits. Mystery of Love is the first non-album Sufjan release I’ve enjoyed, since it’s simply three tracks which showcase his ear for striking, romantic melancholy. The tracks here all feature in Call Me By Your Name, with the first two being specifically penned for the film after Stevens turned down the role as narrator. ‘Futile Devices’ is a remix of the track from 2010’s The Age of Adz. Though Mystery of Love will leave you wanting more, its Stevens’ best work since the modern classic Carrie & Lowell.

Thom Yorke – Suspiria (Music for the Luca Guadagnino Film)

Horror may boast the most iconic soundtracks and compositions than any other film and TV genres out there. It’s become impossible to think of The Exorcist without thinking of Mike Oldfield’s Tubular Bells, the shower scene in Psycho without Bernard Hermmann’s staccato strings, or Twin Peaks without Angelo Badalamenti’s iconic lounge jazz score. Some directors such as John Carpenter even compose their own accompanying music to their films. The soundtrack to the original Suspiria is perhaps more famous than the giallo classic. Directed by slasher indulger Dario Argento and scored by progressive rockers Goblin, Suspiria became an underground classic and one of the most loved horror films of its era. The 2018 remake sees the Call Me By Your Name director Luca Guadagnino behind the camera this time, and instead of opting for the romantics of Sufjan, he enlists the help of Radiohead frontman Thom Yorke. Suspiria is a varied affair which takes influence from ambient, psychedelia, krautrock, choral, and progressive electronic music which achieves what any good horror soundtrack aims to; creating suspense and instilling fear in the listener / viewer. Suspiria is highly engaging and eclectic, and it’s the best solo release Thom Yorke has offered so far.

Unknown Mortal Orchestra – Sex & Food and IC-01 Hanoi

Unknown Mortal Orchestra have been my favourite discovery of 2018. Well, rediscovery to be exact. Even though I’m a huge fan of psychedelic pop, when I first listened to them half a decade ago, they didn’t really do much for me. After seeing them at a festival and being impressed by their performance, showmanship and unique take on psychedelia, and later stumbling across their debut for the first time and really enjoying it, I revisited their catalogue. They soon became my most listened to act. This year, Ruban and co. gave us two albums, records which are hugely different from each other.

First up was Sex & Food, which although patchy, has some of the best songs they’ve ever written. There’s the Hendrix-esque ‘American Guilt’, the classic UMO sound of ‘Everybody Acts Crazy Nowadays’, and ‘Hunnybee’, my favourite song of this year. All of these songs should be staples of their live sets.

IC-01 Hanoi feels gives the impression of a group desiring to stray away from traditional songwriting tropes, and instead concentrating on music which is loose, improvisational, and jammy. It’s reminiscent of Pink Floyd’s earlier work, especially Ummagumma, Atom Heart Mother, or A Saucerful of Secrets, with embellishments of experimental rock and jazz fusion. I was really surprised at the stark change in sound, and would love to hear the group experiment more with this untied mix of jazz and psychedelia.

Jonny Greenwood – Phantom Thread

It’s become impossible to separate Jonny Greenwood from filmmaker Paul Thomas Anderson in the past decade or so. The Radiohead guitarist has been soundtracking his films ever since the highly revered There Will Be Blood in 2007, and has since scored the music for The Master and Inherent Vice. Anderson has also directed the Radiohead video for the incredible ‘Daydreaming’ and stripped down live recordings of ‘Present Tense’ and ‘The Numbers’. Though I’m not really a fan of the films I’ve seen from PTA, the music here was too compelling to not give Phantom Thread a watch. On his most ambitious score yet, Jonny leads a 60-piece orchestra, offering an extravagant backdrop to the occurrences in the period drama. Phantom Thread is a classical masterpiece inspired by minimalism, romantic, and baroque music. It works incredibly well as a stand-alone piece, though after watching the film following the first listen, the music becomes inseparable from the film as it enriches it substantially. The orchestration is lush, the melodies inspire emotion, and the whole record feels like you’re following the cinematic journey. Phantom Thread has inspired me to listen to more of Greenwood, classical music, film scores, and soundtracks.

Earl Sweatshirt – Some Rap Songs

Earl Sweatshirt is easily my favourite member of the musical collective Odd Future. With his monotone raps, impenetrable and cryptic lyrics, and left-field beats, Earl is the millennial’s answer to MF DOOM. Earl is an interesting figure in today’s music scene as he goes about releases his own way; he doesn’t play to current trends, he doesn’t seem to care about profiting, and he unflinchingly unloads his harrowing despair on the listener. His 2015 album I Don’t Like Shit, I Don’t Go Outside offered a snapshot into his depressive state, an unflinching testament to the detachment of mental illness. It wasn’t an easy listen, and it seemed like an active attempt to shun the mainstream and fans of his previous work. He furthered the sentiment of unconventionality with the single ‘Solace’, a stand-alone single where spoken word trailed to lo-fi minimalism. On his first album in three years, Some Rap Songs sees Earl once again snubbing the mainstream and opting for the unorthodox. Experimental to its core, Some Rap Songs revels in unconventional instrumentals, muttered bars, dusty beats, and abstract prose. It’s by no means a straightforward listen, and like its oft-compared weirdo-rap record Madvillainy, it demands repeated listens and improves upon each spin. The influences here range from boom bap and jazz rap, glitch hop, and avant-garde jazz, yet interestingly, its air of psychedelia leaves the biggest impression. Some Rap Songs sounds unhinged and atmospheric, and rivals Doris in terms of experimentation and quality.

Bongripper – Terminal

Bongripper have slowed down a bit in recent years; they were relatively prolific when they first formed, releasing an album every year or two. It’s been a four year wait since 2014’s disappointing Miserable, and prior to that, fans had to wait four years after Satan Worshipping Doom. Maybe it’s all the weed… The wait for Terminal however, was definitely worth it. Terminal is completely instrumental, yet it’s engaging from start to finish. The Chicago four-piece write some of the heaviest music put to record, an antagonistic combination of doom, sludge and stoner metal, with flourishes of post-metal soundscapes and dynamic variation to keep the repetitive riffs interesting. With only two tracks titled ‘Slow’ and ‘Death’, Terminal isn’t easy to digest, especially for newcomers of the genres mentioned above. If you’re a fan of the heaviest strains of doom however, you will be absolutely over the moon with this record. It’s their best since the slept on classic Satan Worshipping Doom, thanks to the perfect production and  Bongripper’s ability to tactically augment their characteristic sound with minor variations. Listen to this loud on a big pair of speakers and prepare to be overwhelmed by Terminal.

Honourable Mentions

Julia Holter – Aviary

Kurt Vile – Bottle It In

Against All Logic – 2012 – 2017

Deafheaven – Ordinary Corrupt Human Love

DJ Koze – knock knock

Egoless – Empire of Dirt (Single)

MGMT –Little Dark Age

Anna von Hausswolff – Dead Magic

Jon Hopkins – Singularity

Saba – Care For Me

Curren$y, Freddie Gibbs & The Alchemist – Fetti

Lonker See – One Eye Sees Red

Melody’s Echo Chamber – Bon voyage

Christine and the Queens – Girlfriend (feat. Dam Funk) (Single)

André 3000 – Look Ma No Hands (Single)

Miss Red – K​.​O.

Tony Molina – Kill the Lights

Pigs Pigs Pigs Pigs Pigs Pigs Pigs – King of Cowards

Leon Vynehall – Nothing Is Still

Childish Gambino –This Is America (Single)

IDLES – Joy as an Act of Resistance.

Mitski – Be the Cowboy

Mid-Air Thief –무너지기

Commodo – Dyrge EP

SOPHIE – OIL OF EVERY PEARL’S UN-INSIDES

Best Live Moments

The Flaming Lips ­at Bluedot Festival

The Chemical Brothers at Bluedot Festival

Wand at Brudenell Social Club

Open Mike Eagle at Headrow House and The Parish

Boris at Brudenell Social Club

Mercury Rev performing Deserter’s Songs at Brudenell Social Club

Mogwai at 02 Academy

Jon Hopkins at Headrow House

Ought at Brudenell Social Club

Joe Nice at Freedom Mills (Beneath the Surface)

Objekt at Headrow House (Inner City Electronic)

Parquet Courts at Church

Turnover at Brudenell (Gold Sounds)

Unkown Mortal Orchestra – World Island Festival

Hold the Relish (Rumble in the Jungle)

Peanut Butter Wolf at Belgrave Music Hall

Thee Oh Sees at 02 Academy

St. Vincent at 02 Academy

Iceage at Brudenell Social Club

Sons of Kemet at Belgrave Music Hall

Portico Quartet at Belgrave Music Hall

Dead Meadow at Headrow House

 

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

 

 

Land of the Riffing Sun – A Primer on Boris

Very few other acts in metal have a discography as daunting as Boris’. The prolific Japanese trio have released twenty-three studio albums, numerous live records and several collaborative efforts which span genres ranging from sludge metal, noise-rock and drone, through shoegaze and post-rock, to stoner metal and seemingly every other subgenre in-between. The rackets created by Wata, Atsuo and Takeshi are almost always loud and experimental, with frequent explorations into psychedelia, noise and ambient.

With three completely different albums all under the name of Smile, two separate albums called Vein with identical album art and track-listing, and stark variances in run-time differences between formats, even a seasoned fan must approach a Boris purchase with care. Tackling Boris can be discouraging; however, their intimidating catalogue is well-worth confronting; listeners will be greeted with some of the most boundary-pushing and intense music in all of metal and experimental music. Ahead of their European appearance at Bristol’s Arctangent festival, it’s only right that their best albums are dissected and explored…

 

Read the rest here!

Originally written for Broken Amp

Live Review: Oathbreaker & Svalbard at The Brudenell – January 26th 2017

It isn’t often that a group is so difficult to pinpoint as Oathbreaker. The group from Ghent, Belgium alter their musical formula with each record, encompassing influences from every corner of the extreme music realm. A blend of black, sludge and post-metal with crust, hardcore punk and shoegaze – merely describing Oathbreaker to friends can be a bit tricky. Following a set of blistering post-hardcore from the exceptionally selected support group Svalbard, Oathbreaker deliver a seamless performance which mainly consists of material from their most recent critically acclaimed album Rheia to a crowd of excited spectators at Leeds’ Brudenell Social Club Games Room…

Read the rest here!

Originally written for Broken Amp

Transformer Adds Four New Bands To An Already Impressive Line-Up

Transformer is a brand new live music event hosted at Manchester’s iconic Victoria Warehouse, boasting an era-defying array of seminal acts from across the alternative music spectrum. It falls on the 27^th May in 2017, the Sunday of the Bank Holiday Weekend.

Christened Transformer as a tribute to the late Lou Reed, a figure whose visionary approach in The Velvet Underground and solo work changed the musical landscape for ever. Mirroring the seminal influence of the genre-defying figure, the event displays an eclectic line-up of post-punk, experimental rock, psychedelia and noise rock artists from around the globe. In addition to being treated by exceptional musical performances in a setting reflective of an indoor festival, attendees can expect cinema screenings, food stalls, several bar areas, DJs and a record fair. Essentially Transformer will blend art and music into a cultural soiree in a similar manner to Andy Warhol’s curation of his ‘Exploding Plastic Inevitable’ events.

Past performances at the Victoria Warehouse have included Warehouse Project all-nighters, psychedelic extravaganzas and iconic performances from artists such as John Carpenter. Recently, Transformer have announced four new exciting acts to be added to an already incredible line-up of The Fall, Swans, This Is Not This Heat, Royal Trux, Loop and Mueran Humanos. Those artists in question are Suuns, Sex Swing, Little Annie, and JC Flowers.

Tickets for the event are on sale now and with the first tier of early bird tickets having already sold-out, it’s definitely a good idea to snap a few up before all are gone. The prices are set to increase as the event draws nearer and with special enactments ranging from a hometown gig from The Fall, This Is Not This Heat performing after a three-decade hiatus, the last tour of Swans’ re-incarnated line-up, and an incredibly rare gig from Royal Trux, Transformer is set to sell-out in the very near future…

Read the rest here!

Originally written for GIGsoup

2017 Anticipated Albums

So it’s the new year, and that means more music to check out. Here are some albums I’m looking forward to in 2017.

The Flaming Lips – Oczy Mlody (January 13th)

The singles ‘The Castle’, ‘How??’ and ‘Sunrise (Eyes of the Young)’ from The Flaming Lips‘ fifteenth studio album have been incredible so I have high hopes for Oczy Mlody. After a newfound experimental rock sound on The Terror and Embryonic, it seems like the group will return to the dreamy psych-pop of The Soft Bulletin and Yoshimi Battles the Pink Robots, two classic records in their own right. The Lips have been doing a few things that might be classed as a bit novelty recently, including recording with Miley Cyrus, covering classic albums in full and composing a song that lasted an entire day. Oczy Mlody thankfully appears to be a much more focused project.

The XX – I See You (January 13th)

Could this be the year I finally give The XX a go? Probably. I’ve really enjoyed Jamie XX‘s solo work so this could be a treat, who knows.

Code Orange – Forever (January 13th)

Code Orange have made a couple of records with a few standout tracks yet have had inconsistency issues and stretched ideas to the point of boredom (we get it, you like breakdowns). Perhaps Forever will be an improvement.

King Gizzard and the Lizard Wizard – Flying Microtonal Banana (February 24th)

The lead single from this titled ‘Rattlesnake’ is amazing. I can’t wait to hear what King Gizzard are going to do with their micro-tonal instruments for this record. They are also set to release a further four albums after this one…

Cloud Nothings – Life Without Sound (January 27th)

Cloud Nothings breakthrough album Attack On Memory became a frequently played record thanks to its blend of power pop indebted indie rock with dissonant post-hardcore. The follow up Here and Nowhere Else however left a bitter taste. Not because it was awful per se, but because it wasn’t memorable or catchy in the slightest. Maybe I need to give it another spin to form an improved opinion of it but either way, I’m eagerly anticipating what Cloud Nothings will do on Life Without Sound.

Ty Segall – Ty Segall (January 27th)

Does Ty Segall actually find the time to sleep? Eat?

Japandroids – Near To The Wild Heart Of Life (January 27th)

All I can say is I hope the music is better than the album art.

Sleaford Mods – English Tapas (March 3rd)

Nottingham’s Sleaford Mods have been steadily improving with every album, homing their craft and building upon their minimalist take on post-punk/hip hop. They could be in danger of self-parody (that album art and title is a bit “eh”) but I think they’ll pull through and make a banger.

The Jesus and Mary Chain – Damage and Joy (March 24th)

Please don’t suck please don’t suck please don’t suck please don’t suck.

Pallbearer – Heartless (March sometime)

Pallbearer are one of the most talked about groups in doom metal with two classic albums under their belt already. Looking forward to this one.

Denzel Curry – Taboo

One of the most talented rappers out there, I’m intruiged to see where Denzel Curry will go on Taboo after I enjoyed Imperial a tonne.

Freddie Gibbs & Madlib – Bandana

Come on guys this was meant to be released last year! The mix of gangster Gibbs and underground producer Madlib seemed a bit odd on paper when Piñata was announced but the finished product was nothing short of mind-blowing. Expectations are high for Bandana but I have a feeling it’s going to be similar to Piñata but accentuate and improve upon all of its defining qualities.

Mastodon – TBA

A double album that’s meant to be “dark, beautiful, spooky, funky, (and) ethereal”? Sounds amazing. This is according to guitarist Brent Hinds who states he has recorded one disc himself and the other band members have recorded the second. This alone is intriguing considering Mastodon click so well as a band but I think this could work thanks to Brent’s song-writing aptitude and array of influences (namely bluegrass and country – see the solo riff in ‘Megalodon’ before the breakdown). The last album Once More ’round the Sun was decent but felt a bit lacking compared to The Hunter and Crack The Skye (my favourite metal album of all time) so I’m hoping this is a progression and something different from the groundbreaking sludge metal four-piece.

St. Vincent – TBA

St. Vincent is an artist who is always intriguing, creating a unique take on whichever genre she decides to undertake on each different album. Her last was a slight departure from art pop; Annie’s second self-titled effort saw noisy, disjointed alt. rock meet electronic and 80s pop. It was rhythmical, discordant, playful and bittersweet in equal measures. It’s going to be difficult to follow it up for sure.

Ride – TBA

One of the UK’s most underrated guitar groups, the Oxford shoegazers recorded the classic album Nowhere in 1990 and it has been cemented as one of the cornerstones of the reverb-soaked genre. Shoegaze is still going strong nearly two decades after its emergence with countless bands borrowing Ride‘s sound so it’s going to be interesting to see what they can achieve.

Arcade Fire – TBA

With four albums of varying temperament under their belt, Arcade Fire are possibly the biggest indie rock band of their era. Funeral is one of my favourite albums of all time so obviously I can’t wait for this release.

Arcade Fire’s new line-up

Nine Inch Nails – TBA

Despite many Nine Inch Nails fans having reservations over their last album Hesitation Marks, I really enjoyed it. Sure another Pretty Hate Machine or The Downward Spiral would be amazing but at this stage in Trent Reznor’s career with hundreds of ideas flowing (numerous film soundtracks, producing and remixing), he isn’t a one trick pony. This man’s work will continue to keep people on their toes for as long as he’s making music, probably until the day he dies.

More picks:

Outkast – TBA

At The Drive-In – TBA

Grizzly Bear – TBA

Gorillaz – TBA

Tool – TBA. Meme.

Vampire Weekend – TBA

Sleep – TBA. PLEASE.

Zach De La Rocha – TBA

DOOMSTARKS – Swift and Changeable

Madvillain – Madvillainy 2

See also: 2016 Albums of the Year

 

 

 

 

 

 

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