If 2016 was to be known as ‘The Year of the Clusterfuck,’ then 2017 is simply ‘Clusterfuck 2: Electric Boogaloo’. With Trump’s unique brand of narcissistic pandering, war-mongering and general incompetence, all under the threat of nuclear annihilation, along with rampant exposure of sexual misconduct from virtually every industry on the planet—what a god-damn shit show. Thankfully, the only (mildly) comforting thought is that 2017 was likely just as awful for everyone else as it was for me. Nothing like a little mutual commiseration between friends, right? Musically speaking however, 2017 had many stand-outs, with great records from All Pigs Must Die, Counterparts, Integrity, ’68, He Is Legend, Remo Drive, Glassjaw, Your Old Droog, Darkest Hour, AFI, Eighteen Visions, First Blood, The Contortionist and many more. Not to mention three (yes, tres!) banger records from hip-hop, self-styled ‘boy band’ collective Brockhampton (more on those later).
Here are my picks for the Top 10 International Albums of 2017:
The Afghan Whigs – ‘In Spades’
“No one tells honest tales of sin and redemption with the same menacing, evocative and transcendent grace that Greg Dulli wields. It’s no surprise then that ‘In Spades’ – the band’s eighth studio album, and second after returning from the hiatal abyss in 2011 – finds the group mid-revelation, seemingly re-energised by their resurgence, eager to tackle a whole new decade’s worth of torment, debauchery and middle-aged introspection. Dulli’s dark genius lies in his ability to make rock music feel cinematic in scope, best exemplified by the dazzling brilliance of ‘Arabian Heights’. Building off an infectious, bop-ready backbeat, soaring guitar leads crisscross with duelling harmonies, as Dulli oozes sleaze and seduction with every line (“Don’t you cum when they call for me/Get around it, love/Don’t let ‘em know what you know”). As the track reaches its climax, Dulli kicks the doors down in hypnotic synthesis, dragging the listener kicking and screaming out to the gutter, only to stomp on a cigarette and sink his boot in with one final, devastating declaration: ‘Love is a lie/Like a hole in the sky/Then you die.’” Read the full review here.
Converge – ‘The Dusk In Us’
“Converge are in a league of their own musically, and have consciously pushed the envelope for what forms the dark fusion of metal and hardcore punk can take. ‘The Dusk In Us’ isn’t confined by the limitations of the genre, but instead, uses those limitations as a crucible to deform and re-contextualise their sound into an ever-changing chimera of stark and savage beauty… It’s impossible to judge/appreciate/comprehend a Converge album from outside the context of other Converge albums. While particular tracks may push or pull in disparate sonic directions, the core of the band’s artistic drive remains steadfast; as visceral, emotional and cutting-edge as they’ve been for the last 27 years. And in terms of ‘risky things’, Bannon perhaps sums it up better than I ever could on ‘Under Duress’: ‘The delusions of control/Are rotting the root of the tree/It’s the fear that keeps you there/And it’s mine that sets me free.’” Read the full review here.
Elder – ‘Reflections of A Floating World’
“Taking this penchant for daring and innovation to its logical conclusion, ‘Reflections…’ features flowing, labyrinthian compositions, versatile riffs, warm vocal melodies and some of Elder’s strongest hooks to date – compacted to six mammoth tracks, enmeshed over the album’s hour-long runtime. In this sense, ‘Sanctuary’ makes for the perfect introduction and encapsulation of Elder’s musical ethos here, featuring all of the aforementioned structural elements, rendered across three distinct movements. This 11-minute monster unfurls with a mid-tempo intro, interspersed by brief crunches of doom, as guitarist, keyboardist and vocalist Nick DiSalvo provides his hypnotic refrains over the top of fuzzed-out bliss. Around the three-minute mark, a pronounced change-up heralds the progressive stretches, while DiSalvo drops out entirely, letting the rhythms ebb and flow with every bend, slide and solo. Racing to the climax, DiSalvo’s refrain resurfaces to bring it all home, just as the track abruptly careens off into the abyss at the nine-minute mark, dropping into a haunting, cavernous outro that explodes like a sonic supernova.” Read the full review here.
Employed To Serve – ‘The Warmth of A Dying Sun’
“If there is truly any justice in this Trump-enabling, post-truth, self-obsessed, alternative-factotum world we live in, Employed To Serve are a band that you will be hearing a lot more of in the future. Building off of the framework set by their debut full-length, ‘Greyer Than You Remember,’ the Woking quintet dropped pre-release singles ‘Good For Nothing’ and the crushing ‘I Spend My Days (Wishing Them Away)’ in anticipation of their second full-length, which showcased their penchant for abrasive and frenetic metallic hardcore, tempered by subterranean, drop G#-tuned grooves… On ‘The Warmth of a Dying Sun,’ Employed To Serve have essentially levelled up as a band. The songwriting is tighter, the intensity is barely self-contained, and any nods to their influences are sincere and respectfully executed. It’s a veritable masterclass in how to create the perfect follow-up album. This shit will break you in half, and you will enjoy the fleeting, transient moment of your own destruction.” Read the full review here.
Frank Carter & The Rattlesnakes – ‘Modern Ruin’
“It’s hard to summarise an album like ‘Modern Ruin’. While not as explosive as ‘Blossom’, it’s a record that burns bright with anger, frustration and self-loathing. It’s darker and more dynamic than it’s predecessor, yet also has some of the best hooks and rock’n’roll melodies the band has ever written. Carter’s voice has improved by leaps and bounds, showing no sign of wear and tear, while the performances from his brothers in The Rattlesnakes are top notch, providing the perfect vehicle for Carter’s charisma and earnest lyricism. During ‘Acid Veins’, which closes out Side-A of the album, Carter screams, ‘Give me a Modern Ruin, I can be king of,’ … so, if anything, ‘Modern Ruin’ suggests that all those people patiently waiting for doom and gloom to arrive in 2017, may need to look a little closer to home. The end times are already here friends, and we just live in them. Yet rest assured, that however the end is written, Frank Carter & The Rattlesnakes will always be kings of the rubble.” Read the full review here.
The Menzingers – ‘After The Party’
“There’s a turning point in every twenty-something, young adult’s life – typically one that involves a shit tonne of booze, a mountain of illicit substances, or a cataclysmic relationship misfire – where they take a long, sobering, reflective look at their past, present and potentially dire future. Well, before an inevitable, soul-crushing self-realisation sets in: ‘What the fuck am I doing with my life?’ Sound familiar? Good! Then you’ll probably find a lot to love in ‘After The Party’, the fifth full-length album from Scranton, Pennsylvania punks The Menzingers… ‘After The Party’ is a perfect example of maturation without gross experimentation, where every little detail – from the rich instrumentation to the earnest lyricism – feels natural and wholesome, like you’ve already listened to, and thoroughly enjoyed, this record for your entire life. Just like Barnett said, ‘We’re still breathing and the party ain’t over.’” Read the full review here.
Oso Oso – ‘The Yunahon Mixtape’
“A mixtape should grab the listener by the hand and lead them on a musical journey, wandering effortlessly through hopes and dreams, highs and lows – and ultimately forge a lasting connection with its intended recipient. Luckily, on his second full-length under the Oso Oso moniker, Long Island multi-instrumentalist Jade Lilitri understands this concept better than most, and he’s not afraid to push the format in new and exciting directions. ‘The Yunahon Mixtape’ runs the gamut of early 2000’s indie, emo and pop punk flavours, with infectious melodies and purposeful instrumentation (Lilitri performs everything on the record apart from drums, handled admirably by close friend Aaron Masih). Across 11 instantly memorable tracks, there are hints of Death Cab’s raw vulnerability (‘Get There’); the driving intensity of Jimmy Eat World (‘Shoes’); the pop-tastic power chords of The Get Up Kids (‘Reindeer Games’); American Football’s delicate instrumentals (‘The Plant Mouth’); and the catchy refrains of Brand New’s debut (‘The Cool’).” Read the full review here.
Pallbearer – ‘Heartless’
“In a January interview with Rolling Stone, ‘Heartless’ was described as ‘even more radio-ready’ with ‘hooks that seem sharper and choruses that demand more attention.’ So, with ‘Heartless’ ready for public release and not having left this reviewer’s playlist for many weeks, what’s the verdict? Have Pallbearer sold-out, thereby diluting their intrinsic heaviness and streamlining their creativity for a better approach at perceived airwave domination? Nope! Not in the slightest. Self-produced by the band in a hometown studio and engineered by Jason Weinheimer, ‘Heartless’ is by far Pallbearer’s most adventurous, complex and daring record yet. From a pure production standpoint, the band has never sounded as raw, as organic and as unfathomably expansive as they do right here. Mixing from Joe Barresi (Melvins, Tool, Soundgarden) and mastering from Dave Collins (Alice Cooper, Chicago, Metallica) ensures that Pallbearer’s dynamic range is never buried beneath the many layers of sprawling guitars, quaking bottom-end and luscious, three-part vocal harmonies. In short, it’s a beautiful fucking record and one that Pallbearer have been gradually building up to throughout their nine-year career.” Read the full review here.
Power Trip – ‘Nightmare Logic’
“The magnificent ‘If Not Us, Then Who’ recalls classic, 80’s Metallica, with a catchy chorus refrain and guest leads from Ulsh, while the track’s bridge section barrels ever forward, with frenetic, razor-sharp riffage and massive reverse-snare hits. However, closer ‘Crucifixation’ saves the best for last, with an absolutely savage intro and Gale’s lyrics dripping with contempt: ‘Territorial pissing contest, it sickens my nerves/Atrophy of morality, the people left to burn/A foregone conclusion, the lock before the key.’ When a sudden drum break heralds the arrival of the record’s killer riff, the listener is propelled into a massive, head-bang inducing breakdown and swift, double-time shift, with additional leads courtesy of the record’s producer, Arthur Rizk… ‘Nightmare Logic’ is by far Power Trip’s most bankable effort to date. It’s a record which will solidify their place among the veterans and legends of thrash, with catchy grooves, outstanding songwriting, stellar riffs and a level of urgency and intensity that’s simply unrivalled by their peers. If you only listen to one thrash record in 2017, do not sleep on ‘Nightmare Logic’.” Read the full review here.
Spirit Adrift – ‘Curse of Conception’
Finally, the answer to that age-old question has arrived: what if post-‘84 Metallica had decided to turn ‘Master of Puppets’ into a full-blown doom record? Intriguing, you say? Unlikely, you scoff? Despite critics gushing all over the second full-length album from Phoenix, Arizona outfit Spirit Adrift, and name-checking comparisons to genre contemporaries like Khemmis, ‘Curse of Conception’ is so much more than a standard doom album—and all the better for it. There’s so much about this record that’s just plain fun: the roaring, full band ‘oommpphhh’ moment in the catchy-as-all-hell title track, followed by a closing section from the Kirk Hammett School of Ripping Solos; the Pallbearer-esque intro to ‘To Fly On Broken Wings’; the rocking, Dixie-tribute of ‘Starless Age (Enshrined),’ that hits like a lost and forgotten Pantera power ballad; the banger lead riff in ‘Graveside Invocation’ which is absolutely destined to result in some serious whiplash injuries. One-man riff-machine, vocalist and band mastermind Nate Garrett has pulled together a complete unit (including fellow Gatecreeper alumnus Chase Mason) to flesh out the sound of ‘Curse of Conception’: a record that pays homage to the best of doom, psych, thrash, progressive and straight-up heavy metal, yet steadfastly refuses to be defined by any one sub-genre. Listen to ‘Curse of Conception’ here.