2018 Album Round-Up (Part 2)

WORDS: Joanne Gray

Forever behind, I’m just now getting to the second part of looking at some of the albums I’ve found interesting throughout the year (the first part is here). As I’ve not listened to as much new music in the second half of the year, I’ll just list 15 albums and some others I’ve went back to from earlier in the year. One of the my 2019 ‘resolutions’ as such, is to keep this blog updated more often, so I’m trying to be more concise with these. Hopefully I’ll be able to go to more gigs in 2019 as well that I can talk about. Going well in on the ‘new year, new me’ stuff, I know. Here goes…

1) Deafheaven- Ordinary Corrupt Human Love (13^th July: Anti- Records)

'Ordinary Corrupt Human Love’ is the fourth album from Deafheaven, who have long played an important role in the ‘blackgaze’ scene. As I’ve only ever listened to this album in full and some other parts of their back catalogue, there’s one major thing I can take from this album. This is the ‘brightest’ Deafheaven have ever sounded. Throughout this album, there is less of a focus on the extreme side of things, with vocalist George Clarke’s screams largely placed low in the mix compared to the instrumentation. Even in the heavier songs here, such as ‘Honeycomb’, ‘Canary Yellow’ and ‘Glint’, there is always a sense that his vocals act as another instrument rather than the focal point of the songs. Often that focal point is instead in the guitars, which have some incredible melodic moments throughout that crisscross multiple genres. ‘You Without End’ and ‘Honeycomb’ both bring soaring leads to the table halfway through which just seem to work perfectly against the heavier background material. ‘Near’ and ‘Night People’ (the latter including vocals from Chelsea Wolfe) are a lot more subtle, utilising clean vocals and tones throughout which continues to point to Deafheaven spreading their sound that bit further. Although the length of the album and challenging nature of the combination could put some people off who may not want to wait for those melodic parts, they are certainly worth it, in my opinion. By further placing the indie and shoegaze elements to the forefront rather than those extreme metal aspects, they’ve possibly made their most accessible (but arguably more extreme as a result) album, and it’s definitely a good starting point for Deafheaven.

Songs to check out: ‘You Without End’, ‘Honeycomb’

2) Powerwolf- The Sacrament of Sin (20^th July: Napalm Records)

Onto their seventh album, this was the first time I’ve actually listened to the Swedish power-metallers and I’m quite surprised that the success of bands like Sabaton and Ghost haven’t made Powerwolf a bigger prospect in metal. Where Sabaton write about historical warfare, using cheesy Euro pop keys and huge melodies, Powerwolf implement Ghost-esque occult lyrical themes and dramatic organ sounds.‘Stossgebet’ is the best example of this fusion using driving rhythms and Latin hymn verses that manage to sound theatrical and massive in a way that only Scandinavian metal can. ‘Demons Are A Girl’s Best Friend’ may just be the catchiest song I’ve heard all year but practically every song on here has a huge chorus which can get stuck in your head for days (‘Fire & Forgive’ and ‘Killers with the Cross’ in particular). Ballad quality often suffers in power-metal albums, but Powerwolf’s ‘Where the Wild Wolves Have Gone’ builds up with piano and strings to such a huge chorus that it would be difficult for anyone who enjoys the rest of the material here not to get swept up in. There’s a killer guitar solo here as well that brings everything together really nicely. By the time the album gets to the title track, I find the songs to be less memorable than the others, but they still retain those soaring choruses and a sense of fun that stops boredom from ever kicking in. The last track is pacey, with an epic galloping guitar solo section that ends the album on a high. Honestly, this album is the most fun I’ve had with a metal album in a while. If you like your metal big, theatrical and silly, then this should appeal to you. I would personally take this over Sabaton’s last few albums.

Songs to check out: ‘Demons are a Girl’s Best Friend’, ‘Killers with the Cross’, ‘Where the Wild Wolves Have Gone’

3) Halestorm- Vicious (27^th July: Atlantic Records)

Halestorm have been one of my favourite bands for years, and even though I really enjoyed their third album, I was also looking forward to the band going back to heavier territory. The signs were good with the first single ‘Uncomfortable’, which brought a sense of pace, an odd chorus melody and heaviness and rollicking riffs. ‘Black Vultures’, ‘Skulls’, ‘Painkiller’ similarly revel in their riffage, and Lzzy Hale’s powerhouse vocals better some of the most lyrically dark songs Halestorm have written. ‘Killing Ourselves to Live’ in particular has a chorus which sounds utterly powerful, and the build to the galloping solo section leaves the song seeming incredibly vital in today’s climate. ‘Buzz’ and ‘Painkiller’ feel markedly less vital but they are still better than most radio rock songs out there. White Dress’ and ‘Vicious’ feel quite flat in comparison. These aren’t the worst songs on the album though. ‘Do Not Disturb’ was where I began to worry. Halestorm have never strayed away from sexually loaded songs but they’ve always really thrived on utilising innuendos rather than being so TMI about it. The song has gotten a bit better with repeat listens but there’s still a level of cringe that never leaves this clumsy, heavy footed song that sounds too much like latter-day Nickelback trying to be sexy. ‘Conflicted’ continues in a similar lyrical vein, but is sonically laid back and almost poppy in nature. Written by external songwriters, the song just doesn’t seem to fit in this album, and apparently the band thought the same back when it was recorded. They shouldn’t have bothered. Not when they can write songs like ‘Heart of Novocaine’ and ‘The Silence’, which are real gems in this album. The stripped back nature of the songs really complement Lzzy’s emotional performances here, and the last song particularly hits deep in the feels. Hell of a song. What is most frustrating about this album is that there isn’t a lack of quality songwriting, but the songs which don’t deliver those melodies that Halestorm are so good at, or those that feel out of place within this moderately darker album end up leaving me feeling a bit cold. Although I’ve grown to like this album more with time, it never sounds more mature, diverse or invigorating than their previous album, even if it is heavier in places. ‘Conflicted’ is the best word I have to describe how I feel about 'Vicious' as a whole.

Songs to check out: ‘Uncomfortable’, ‘Killing Ourselves to Live’, ‘The Silence’

4) Alice in Chains- Rainer Fog (24^th August: BMG)

Alluding to the city that the grunge legends started out in, and partly recorded at the same studio as their 1995 self-titled, ‘Rainer Fog’ is an album which has its roots more firmly in Seattle than 2013’s ‘The Devil Put Dinosaurs Here’. Musically, ‘Rainier Fog’ doesn’t stray too far from what Alice in Chains have done in the last few years, as one would expect. As the third album with William DuVall in the band, the new lineup has definitely solidified by this point. With Jerry Cantrell providing as much of a role as DuVall in the dual vocal lines, it can become difficult to distinguish between the two. This isn’t a bad thing that most songs here contain both voices in tandem though, as the combination works pretty well. ‘Never Fade’s verses in particular bear a striking resemblance to self-titled era Alice in Chains. This song and the other two singles, ‘The One You Know’ and ‘So Far Under’ are perhaps the best songs on the album, with just enough of a balance between being sludgy and doomy in a way that the band are so good at, and having a crisp production that allows the vocal melodies to shine through in the choruses. ‘Never Fade’ is particularly huge, but I really like the ominous feeling of the other two as well. Aside from a few of the more doomier riffy songs (‘Drone’ is especially Black Sabbath-esque, which is always a good thing for me), much of the rest of this album does tend to pass me by, however. Like with the last album, there are a good few tracks here that lose my attention, such as the softer outings of ‘Fly’ and ‘Maybe’, which don’t offer much in the way of vocal hooks like some of their previous acoustic tracks. Closing track ‘All I Am’ is heavier in parts but suffers from the same issue, and with the song being over 7 minutes in duration, it tends to drag on too much for my liking. Overall, this album follows a similar pattern to their last album, in that there are definitely some big tunes here that will sound great live, but much of the rest feels a bit padded out. At this stage in their career however, I don’t think it will do Alice in Chains too much harm.   

Songs to check out: ‘The One You Know’, ‘Drone’, ‘So Far Under’, ‘Never Fade’

5) Wilson- Tasty Nasty (24^th August: RED Music)

Wilson are a band that I’ve had a soft spot for ever since I saw them as support on their first album cycle. Having given less attention to them on their second album however, it’s remarkable to see how much this band has changed from their debut to this third album. After having a musical ‘epiphany’ (and evidently consuming a ton of LSD along the way), Wilson are not the gruff high-octane party-core band they once were. The band were always a bit silly, but ‘Dumptruck’ and ‘Wrong Side of History’ leaves you in no doubt that the band have fully embraced this side of their persona. With utterly stupid lyrics, big riffs and a hip-hop bounce straight from the 90s, this song sums up how confusing this album is. It only gets weirder throughout, as the riffs are slowly replaced by a ton of 90s clichés. Honestly, you could name about any big meme worthy 90s band and there will be elements of them in this album. A pimped-out version of Limp Bizkit grappling with modern life? See ‘Like A Baller’. Jonathan Davis and Rivers Cuomo rapping over B-side Tom Morello riffs? See ‘My Hustle’ and ‘Summertime Treat’. Wheatus and Fountain of Wayne teaming up? See ‘Everyone Gets a Round On Me’. Easy going Latin pop? See ‘Spanish Coffee’. This album is so silly throughout, that the inclusion of two songs towards the end which actually sound more like the Wilson of old end up sounding out of place and somehow become a less interesting prospect. Honestly, I’m not really sure what I think of this album, as it’s so hard to take seriously. It’s stupid, dated, at times bordering on musical crime. It is also definitely lyrically questionable. In saying that though, it revels in a sense of 90s nostalgia that will appeal to more people than it should. What a weird time for rock music.

Songs to check out: ‘Dumptruck’, ‘My Hustle’, ‘Everyone Gets A Round on Me’  

6) IDLES- Joy as an Act of Resistance. (31^st August: Partisan Records)

Another band I was only vaguely familiar with before listening to this, the second album from the Bristol band has been contentious in rock circles since it was released. Landing on number 5 on the UK charts while being embraced by the likes of the NME has meant that this album has managed to appeal to fans of both punk and indie music. I suppose this combination is where the problem lies. Sonically, the album is very much a punk album with a dark aggressive vibe, reflecting some of their earlier post-punk elements. The best examples of this are probably in the opening track ‘Colossus’, as well as ‘June’ and ‘Love Song’, which sound dirge-y and bleak, both musically and lyrically. Much of the rest of the album is like a combination of 70s punk, garage and pub rock with a more up-tempo rough and ready sound (‘I’m Scum’, ‘Samaritans’ ‘Television’). All of this is accompanied by lyrics and a vocal style which gives this album much of its criticism. Vocalist Joe Talbot brings about much of the character in this album through his tongue in cheek lyrics and a Cockney delivery which sounds like a bit like a gravellier Slaves. Although the album does address some important themes such as toxic masculinity and mental health (‘Never Fight a Man With a Perm’, ‘Samaritans’), miscarriage (‘June’) and immigration/Brexit (‘Danny Nedelko’, ‘Great’), it’s this unignorable vocal delivery which makes this album a struggle for me. Although the repetition of particular turns of phrases and excessive rhyming is clearly intended to be used in a humorous way, I personally find it over the top and grating after a song or two. It doesn’t always come across as natural at times either, but I guess that’s a personal taste thing. Unlike most people who have listened to this album, I don’t have particularly strong feelings about it as I don’t hate it, but it’s not really for me. I doubt I’ll ever go back to it, to be honest. Fans of 70s punk (and Cockney accents) will probably enjoy this a good deal more than myself.

Songs to check out: ‘Colossus’, ‘I’m Scum’, ‘June’

7) The Dirty Nil- Master Volume (14^th September: Dine Alone Records)

Ontario punks The Dirty Nil are another band who I hadn’t really listened to beforehand. It’s safe to say that the second album from this band has gained a lot of attention from other people who were maybe in a similar position as myself. This is down to the huge step up in terms of sound quality here. Some of the leanings towards swaggering rock n’ roll infused punk appear to be evident in their first album but they’ve been refined and enhanced here. Opening track ‘That’s What Heaven Feels Like’ is the best example of this fusion, particularly in the use of Luke Bentham’s husky vocals which exude ‘Three Cheers for Sweet Revenge’ era Gerard Way. The huge chorus here and warm classic rock tone of the guitars here somehow makes the song sound effortless and energetic at the same time. Although this song is perhaps where this is done to the best effect, other songs like ‘Bathed in Light’, ‘Auf Wiedersehen’, ‘Smoking is Magic’, and ‘I Don’t Want That Phone Call’ all have that classic vibe throughout which have a similar vibe. Throughout the album, there always seems to be some melody within the vocals, riffs or lead lines that sticks within your head or is just really satisfying to listen to. To top all this off is a cover of Metallica’s ‘Hit The Lights’. The Dirty Nil manage to retain the energy that makes that song so great while putting their own stamp on it in a way which the best covers tend to do. Lasting just over 30 minutes, this album never lingers around long enough to get bored and after a few listens, 'Master Volume' has keep me going back to it as it’s such a fun listen. Hopefully this is just the start for The Dirty Nil in terms of popularity. Great album.

Songs to check out: ‘That’s What Heaven Feels Like’, ‘Auf Wiedersehen’, ‘Hit the Lights’

8) Thrice- Palms (14^th September: Epitaph Records)

The tenth album from California’s alternative rock band Thrice is the first release of theirs I’ve experienced since becoming familiar with their work. 2016’s ‘To Be Everywhere Is To Be Nowhere’ has very slowly became one of my favourite releases of the last few years, so I was very much looking forward to the follow up. Anticipating that Thrice would build on the off kilter stadium rock sound of their previous album, the fact that this album is a slow build was a surprise to me. ‘Only Us’ gradually builds upon pulsing electronics throughout, hinting at a big chorus which never arrives until the very end of the song, making the impact of it all the bigger. Much of this album takes such a subtle approach to songwriting which explores more general musical and lyrical threads, but still retaining that sense of societal turmoil that its predecessor had. From the Spanish-folk influences on ‘Blood on Blood’, to ‘Just Breathe’s quirky dreaminess to the laid back minimalistic ‘My Soul’ which almost sounds jazzy, Thrice’s already large range of sounds are further explored here and the album has an experimental feel, as a result. The nicest surprise here is that of the piano driven ballad ‘Everything Belongs’ which sounds absolutely gorgeous when all the different sonic layers come together, all the while never sounding overblown. There is still just enough urgency within several of the songs here which prevented my attention from wandering too much throughout these subtler moments. ‘The Grey’ hosts the album’s biggest chorus, and contains jagged guitar lines and more direct lyrics which wouldn’t feel out of place on the previous album. ‘A Branch in the River’ and ‘Hold Up A Light’ similarly turn up the distortion and pick up the pace, with a grungy, bass heavy sound that this band can pull off so well. This album is definitely not as instant as ‘To Be Everywhere Is To Be Nowhere’, but it is a rewarding listen in a different way after a few listens. Here, Thrice continue to explore different sounds without straying too far away from those moments that feel incredibly vital. Really special band.

Songs to check out: ‘The Grey’, ‘Everything Belongs’, ‘A Branch in the River’

9) Slash (featuring Myles Kennedy and the Conspirators)- Living The Dream 

(21^st September: Snakepit/Roadrunner Records)

In between Slash touring the world with Guns N’ Roses and Myles Kennedy with Alter Bridge and his solo material have somehow found time to realise their third studio album together. Arriving a full 4 years after ‘World on Fire’, this album has been a slow burn to write and release compared to the last two albums. Sadly, this impacts the album sonically. Clocking in at 52 minutes over 12 tracks, there is a sense that there isn't much diversity when compared to the last two albums, and it tends to drag a bit as a result. ‘Driving Rain’ is the most memorable song in this album, with an appropriately driving rhythm, bluesy guitar solo and big chorus that Slash and co. are more than capable of. Although Slash’s guitar work is always impressive to listen to, the fact that this album tends to stay in one musical lane and tempo throughout takes away much of the impact, as every song begins to blend into one another. Even worse is that there is a surprising lack of impactful choruses here, which were present in spades within the last two releases. Although the technical proficiency of the band here isn't in question, there is a sense throughout the album that there’s a lack of inspiration. I find it really hard to remember a song here once they’re finished. It's not surprising that perhaps less attention has been given to this album than the projects Slash and Myles are involved in, but it’s quite disappointing as they can and have done better than this before. With Guns N’ Roses also rumoured to be heading back to the studio, it becomes harder to see this project being vital to rock fans, and this album certainly doesn’t help.  

Songs to check out: ‘Driving Rain’

10) Fucked Up- Dose Your Dreams (5^th October: Merge Records)

A new band to me, but with nearly two decades under their belt, the Toronto hardcore punk band Fucked Up really make an impactful album with this fifth release. Following on from a narrative established in their 2011 album ‘David Comes To Life’, the album follows the exploits of the titular character with an even larger musical scope. ‘None of Your Business Man’ opens the album with a combination of tinkling keys, strings and female choral style vocals which hint towards the level of experimentation throughout this 18 track punk opera. All of this before the song bursts into a killer punk track with huge vocal and guitar melodies. That chorus. It’s this combination which makes this album so interesting to listen to. Songs like ‘Raise Your Voice Joyce’ and ‘House of Keys’ are the most straight-forward punk songs on this album, but vocalist Damian Abraham’s gruff vocals in addition to the selection of female singers are present throughout, which always ties the disparity of its musical styles together. And that disparity is huge. From breezy pop punk and indie (‘Tell Me What You See’, ‘Living in a Simulation’, ‘I Don’t Wanna Live in This World Anymore’, ‘Come Down Wrong’), to woozy psychedelia tinged with shoegaze elements (‘Dose Your Dreams’, ‘How to Die Happy’, ‘Joy Stops Time’), to unsettling minimalist songs (‘Two I’s Closed’, ‘Love Is An Island in the Sea’), to downright sonic assault (‘Accelerate’ and ‘Mechanical Bull’), this album is one of the most ambitious albums I’ve ever heard, let alone from a hardcore band. The latter of these songs sees Fucked Up going fully into industrial club music in a way which is deeply oppressive and dark sounding. It’s this contrast between bright and dark in addition to the musical diversity that stops this album from ever sounding too long or monotonous. And that’s quite an achievement for an album that’s nearly 72 minutes long. I’ll admit that the lyrical narrative of this album has passed me by, but the fact that I’ve kept going back to ‘Dose Your Dreams’ suggests that I’ll maybe get into that aspect with more listens. Regardless though, this is a hell of an album which stretches conceptual and musical themes further than most records I’ve ever heard. Get on this, as there’s really something for every rock fan to like in this album.

Songs to check out: ‘None of Your Business Man’, ‘Came Down Wrong’, ‘How To Die Happy’, ‘Mechanical Bull’

11) Black Peaks- All That Divides (5^th October: Rise Records)

After building a reputation for themselves as being one of the most exciting bands in alternative music with 2016’s ‘Statues’, Brighton's Black Peaks follow up with the appropriately topical titled album ‘All That Divides’. ‘Can’t Sleep’ is perhaps the song here which is most similar to the material on ‘Statues’ with Mastodon-esque proggy low end riffing which is accompanied by frenetic vocals from Will Gardener, all the while containing soaring melodies in the chorus. ‘Electric Fires’ is somewhat similar in this regard except it is more wirey and angular in tone, with slightly less instantaneous vocal lines. This is something which continues throughout this album, which sees Gardiner and the rest of the band expand on these progressive elements rather than focusing on those huge choruses. ‘All That Divides’ therefore has more of a sense of restraint than the more chaotic ‘Statues’, but this tends to leads to a greater sense of thematic cohesion rather than a lack of energy. There is a sense of general discontent throughout this album that is hard not to relate to political issues in the UK and the wider world at this point in time, which is particularly highlighted in songs like ‘Aether’, ‘Across the Great Divide’ and ‘Eternal Light’. ‘Home’ and ‘Slow Seas’ stand out as being the most direct criticism of these elements. The former showcases the sheer technical ability of this band perhaps better than any song on this album, moving from vulnerable sounding clean sections to crushing doomy heaviness. The section in the second third then oozes frustration before ending with an absolutely huge drop. For me, this is probably the best song Black Peaks have written yet. ‘Slow Seas’ is markedly less heavy in its acoustic introduction but it is no less impactful. Directly related to topics of immigration and political division, this song is incredibly poignant. The guitar solo towards the end of this song is particularly good at accentuating this. ‘The Midnight Sun’, ‘Eternal Light’ and ‘Fate I & II’ are the songs within this album that have stuck with me the least, but I anticipate that may change with more listens. This album is definitely worth a listen if you like progressive minded music. It just may take a wee while longer to grab onto than ‘Statues’ did.

Songs to check out: ‘Can’t Sleep’, ‘Home’, ‘Slow Seas’

12) Behemoth- I Loved You At Your Darkest (5^th October: Nuclear Blast Records)

Poland’s premier extreme metal band return with their eleventh album which, when following on from 2015’s incredible work of ‘The Satanist’, has a hell of a high bar to reach. Behemoth have clearly realised this much and have not tried to replicate or outdo that album with this latest offering, instead taking aspects of that album that really worked and applying new approaches to them. Named after a passage in the bible, ‘I Loved You At Your Darkest’ points towards religious themes in a direct fashion here. ‘Solve’ and ‘God = Dog’ use a children’s choir, which may sound naff in the hands of other bands, but in the context of this album, the repetition of the line, ‘Jesus Christ, I forgive thee not’ from a group of children, is genius, to say the least. The latter track also begins with an almost goth rock-y guitar line which is unlike anything Behemoth have done before. This sense of experimentation is clear throughout this album, from the largely clean, choral driven ‘Bartzebel’ to the expressive guitar solos in ‘Angelvs XIII’ and ‘Ecclesia Diabolica Catholica’ to the use of acoustic guitars and horns in ‘Havohej Pantocrator’. Taking such elements from ‘The Satanist’, the most epic examples of the inclusion of these instruments is shown in ‘Wolves of Siberia’ and the last track ‘Coagvia’. Both of these, in addition to ‘If Crucifixion Was Not Enough’, ‘Sabbath Meter’, ‘Rom 5:8’ and ‘We Are the Next 1000 Years’ highlight the fact that even though Behemoth are implementing new sounds, they still deliver absolutely blinding extremity throughout this album. Even though the overall sound of ‘I Loved You At Your Darkest’ is less ‘huge’ in terms of its standout riffing or vocal lines than ‘The Satanist’, it is more likely to appeal to those who don’t normally listen to such extreme music. This can never be a bad thing when the quality is this high. Behemoth really are a stand out band.

Songs to check out: ‘Wolves Ov Siberia’, ‘God = Dog’, ‘Bartzabel’

13) Greta Van Fleet- Anthem of the Peaceful Army (19^th October: Republic Records)

Greta Van Fleet’s debut studio álbum sees them expanding on the successes of their previous EPs. So much so that the Michigan band debuted at number 3 on the US Billboard Charts upon this release. I guess it’s a combination of this success and the continuing similarities to the legendary Led Zeppelin that sees this band becoming one of the most divisive in 2018. I can see the two sides to this. Yeah, they do sound eerily similar at times. ‘Lover, Leaver’ and ‘The Cold Wind’ in particular see Josh Kiszka’s high register wailing Robert Plant-eque vocals lock in within the bluesy instrumentals in a way that is reminiscent of Zeppelin’s more ‘hard rock’ sounds. It does seem quite reductionist to try to say this band is ‘merely’ a Zeppelin knock-off however, as they are a musically talented band for a start. The technical ability of Kiszka’s vocals shines in songs such as ‘Age of Man’, ‘When The Curtain Falls’ and ‘Watching Over’ but really, there is really no moment where they aren’t impressive throughout. Instrumentally, the implementation of folk elements such as acoustic, lap steel guitars, keys, and sitar sounds (‘You’re The One’, ‘Watching Over’, ‘The New Day’, ‘Anthem’) alongside lyrics that tend to promote environmentally conscious sentiments take the band into even more of a 'hippy' territory than their vintage influences. Personally, I think these songs border on being overly sentimental, and make the album drag out a bit, but it is still good to see Greta Van Fleet try out new things. Generally speaking though, I don’t really understand the hate behind this album, as it’s a decent listen. Yeah, they’re definitely not the most original band on the planet, but it would be hard to deny their musicianship. The modern production, some huge choruses and the youthful energy combine together to make an album which clearly ticks all the right boxes for people who love this sound. Mainstream rock music can do worse than having Greta Van Fleet as its flagbearer for the moment. As long as it's not claimed that they are the most innovative.

Songs to check out: ‘Age of Man’, ‘When The Curtain Falls’, ‘Lover, Leaver’

14) Muse- Simulation Theory (9^th November: Warner Brothers/Helium-3 Records)

I have never been much interested in what Muse do, since I’ve never been a fan of what I’ve heard. The eighth album from the band was one I had to check out, however. Needless to say by the album artwork, ‘Simulation Theory’ sees Muse move away from their previous prog-stadium rock style to a heavily 80s retro sound. Tracks like ‘Algorithm’ sound very much ‘in vogue’ at the moment, sounding like it could be from Carpenter Brut’s latest album (see below). Musically, this a thumbs up from me, even if it does seem a tad cynical considering how popular synthwave is at the moment. From here on out, the album never lets up in terms of its cheesiness. Even songs ‘The Dark Side’, ‘Blockages’ and ‘Pressure’, which are the most guitar heavy songs on the album, are accompanied by synth and electronic drums which place them entirely into retro territory. The rest of the album bounces about from uber 80s pop with Michael Jackson-esque vocals and that notorious compressed drum sound (‘Propaganda’, ‘Blockades’) to saccharine ballads (‘Something Human’, ‘Get Up and Fight’, ‘The Void’) and everything in between, stuck within an eternal pool of 80s throwbacks. Even though much of this album is naff and silly, the retro elements should be enough to appeal in part to anyone who is a fan of the 80s and/or Muse more generally. As I’ve never particularly liked Muse due to Matt Bellamy’s vocals and the band’s overall sense of pomposity more than anything else though, the change in musical direction doesn’t really change my mind about them. But this silly album that’s full of guff tracks is the most interested I’ve ever been in a Muse release, cynical move or not. Someone release an instrumental version of this, please.

Songs to check out: ‘Algorithm’, ‘Pressure’

15) Architects- Holy Hell (9^th November: Epitaph Records)

Following the death of guitarist and primary songwriter Tom Searle after 2016’s genre-defining ‘All Our Gods Have Abandoned Us’, it was unclear whether the Brighton metalcore forerunners Architects would ever release another album. Yet just over two years later, we have the incredible achievement of ‘Holy Hell’. Written in part using incomplete ideas from Tom, alongside drummer and brother Dan Searle and new lead guitarist Josh Middleton (of Sylosis fame), much of this album lyrically documents the struggles of grief. ‘Death is Not Defeat’ opens the album in a resilient way which hints towards the sense of catharsis which is evident throughout. Musically, ‘Holy Hell’ doesn’t take a massive stylistic jump from ‘AOGHAU’ but instead builds upon some of the most definitive parts of that album. There’s a greater use of electronic and atmospheric elements, which contribute to a general sombre mood throughout (‘Mortal After All’, ‘Holy Hell’, ‘Royal Beggars’ and ‘A Wasted Hymn’). Accompanying this is a greater prominence of cleaner sounds which partner emotionally charged lyrics with huge melodies, with ‘Hereafter’, ‘Modern Misery’ and ‘Doomsday’ being some of the biggest (and arguably the best) songs here. This greater focus on melody doesn’t take away from how heavy and progressively minded this album sounds at times however. ‘Damnation’ sounds like Meshuggah meets modern djent, while ‘Hereafter’ and ‘Doomsday’ contain blisteringly fast lines that put most modern metalcore bands to shame. ‘The Seventh Circle’ is perhaps the most sonically unique song in the album, utilising blast beats and pick scrapes in a manner which is reminiscent of Gojira at their most furious. Sam Carter also gives the vocal performance of the whole album in this song as he sounds so savage. Architects have definitely not reached the end of their creativity in a musical sense. Although ‘AOGHAU’ was such a seminal album, and is arguably still their magnum opus for me personally, ‘Holy Hell’ is perhaps an even more important album for Architects. It ensures that the band have obtained a level of release and can look towards a future beyond such personal and musical loss. For me, they continue to be one of the best modern metal bands out there, and this album helps prove that.

Songs to check out: ‘Hereafter’, ‘Modern Misery’, ‘The Seventh Circle’, ‘Doomsday’

                                            
                                          Carpenter Brut- Leather Teeth (23^rd February: Caroline Records)

With synthwave seemingly coming back in style in the last few years, Carpenter Brut appear to have been largely responsible for this, and for good reason. ‘Leather Teeth’ sees the French artist taking the retro horror inspired sounds of the ‘Turbo Killer’ EPs and refining them into a 32 minute album. This sounds like a neon version of John Carpenter’s horror tinged electronica mixed with a touch of new-wave, post-punk and metal guitar licks. After getting into the Gost album earlier in the year, this one shortly followed, and has remained in constant rotation ever since. Really fun album if you like anything 80s.

Songs to check out: ‘Leather Teeth’, ‘Beware The Beast’

Conjurer- Mire (9^th March: Holy Roar Records)

Just one indicator that Holy Roar Records have had a belter of a year in 2018 (such as releases Møl, Svalbard and Rolo Tomassi), Conjurer’s debut album is as engaging as it is devastatingly punishing. Equal parts sludgy doom, blistering death metal and hardcore-influenced grooves, all the while being accompanied by remarkable technical proficiency, this album is hard to pin down to one particular sub-genre. But that is what makes it such an intriguing listen. This album’s worth a listen if you like any type of heavy metal. Extra emphasis on ‘heavy’ here.

Songs to check out: ‘Choke’

Judas Priest- Firepower (9^th March: Epic Records)

Although I haven’t listened to this album much throughout the year, it is really impressive that Priest sound as vibrant as they do on their 18^th studio album, nearly 50 years into their career. ‘Firepower’ sees the band firing on all cylinders alongside a crisp production job that gives Priest that punch they’ve been missing for the last few albums. I don’t think it would be stupid to suggest that this is probably their best album since ‘Painkiller’.

Songs to check out: ‘Firepower’, ‘No Surrender’

Bleed From Within- Era (6^th April: Century Media Records)

With an extra level of groove-laden metal muscle, Bleed From Within always did stand out among their metalcore peers amongst the early 2010s, and it’s good to see the Glasgow band return better than ever after a 5 year absence. Placing more emphasis on the ‘metal’ parts of metalcore, Bleed From Within’s fourth album sounds like a combination of later-era Parkway Drive and Lamb of God, along with a bit of Pantera for good measure. In my opinion, this is the best Bleed From Within have sounded. Big ups for this local band.

Songs to check out: ‘Clarity’, ‘Crown of Misery’

The Interrupters- Fight the Good Fight (29^th June: Hellcat Records)

Ska punk is one of those genres that people tend to really like or utterly despise, but I doubt there would be many people in either category who could think this album is terrible. ‘Fight the Good Fight’ manages to avoid that level of cheese that ska is notorious for, all the while retaining that sense of melody (shout out especially to Aimee Allen for those vocals), up-tempo bounce and posi vibes that makes the genre such a good time at its best. I think I’d be quite okay with ska coming back in fashion if it all sounded as good as this.  

Songs to check out: ‘Title Holder’, ‘She’s Kerosene’