Here’s the state of our fair nation in 2017: The Manus Island ‘solution’ is still a complete, shameful fucking mess. Our elected representatives apparently forgot who birthed them, and where. The Big Banks continued doing a bunch of shady shit, and then got upset when people asked why they were doing shady shit. Still, the year was not without positives: Triple J threw common decency a bone and moved the Hottest 100 countdown date, and inevitably pissed people off. There was an overwhelming landslide for the Yes Vote on marriage equality, which showed that love is, and always should be, love—nothing less. And as always, Aussie artists churned out the goods this year, and there was plenty of gold to choose from: including, but not limited to, great stuff from Earth Rot, Bare Bones, Dune Rats, Deadlights, Northlane, Pagan and sleepmakeswaves.
Here are my picks for the Top 10 Australian Albums of 2017:
DEAFCULT – ‘Auras’
“On ‘Auras’—their much-anticipated, full-length album—the sextet ease into the album format with noticeable restraint, and it’s this awareness of the limiting factors of ‘loud-for-the-sake-of-being-loud’ dynamics that make ‘Auras’ feel like a god-damn revelation. Ostensibly a record about dreams, ‘Auras’ guides the listener through twelve haunting and hallucinatory tracks, with lofty melodies and super-massive fuzzed-out riffs that will reverberate through your skull cavity. On tracks like ‘Summertime’ and ‘Stars Collide,’ the through-line of influence from landmark records like ‘Loveless’ and ‘Souvlaki’ is an obvious one, while the reverb-heavy moments of ‘Secret Wisdom’ and ‘Sparkle’ deliver a knockout not unlike an iron fist wrapped in a velvet glove… ‘Auras’ is powerful, evocative and meticulously crafted; a confident record that will easily raise DEAFCULT to near-mythic status in the shoegaze community.” Read the full review here.
Frenzal Rhomb – ‘Hi-Vis High Tea’
“As any dedicated fan will tell you after a gutful of drink and illicit materials, Frenzal aren’t ones to deviate greatly from their sonic blueprint, with an uncanny ability to stay relevant within the emerging trends of punk and alternative music, whilst simultaneously remaining true to their roots and ‘underdog’ status… In this respect, ‘Hi-Vis High Tea’ rings true with all the trademark Frenzal elements that fans know and love: the tongue-in-cheek lyricism and nasal vocal prowess of affable frontman Jason ‘Jay’ Whalley; crisp power chords courtesy of Lindsay McDougall; percussionist Gordon ‘Gordy’ Forman’s cracking snare hits; and the throttled, funky grooves and harmonised backing vocals of bassist Tom Crease… ‘Hi-Vis High Tea’ can be easily summarised using a slight paraphrase of a 90’s smoked meat ad: ‘Is Frenzal. Is good.’ And if that’s not convincing enough, then I’ll let a Frenzal classic speak instead: ‘Get fucked, you fucking fuckwit/You can’t move into my house.’” Read the full review here.
Gold Class – ‘Drum’
When up and coming post-punk outfit Gold Class dropped their debut ‘It’s You’ in 2015, it came entirely out of left-field. I was still completely enamoured with Royal Headache’s stellar second effort ‘High’ from that same year, but there was something equally raw and impactful about ‘It’s You’ that instantly resonated with me upon first listen. And now, on their much-anticipated follow-up record ‘Drum,’ I feel that sense of intent and wonder all over again. There’s a moment on ‘Rose Blind’ where vocalist Adam Curley name-checks (either deliberately, or perhaps subversively) the band’s first record, singing “It’s you, and me/Drifting between” over the top of Logan Gibson’s gliding hi-hat and Jon Shub’s thrumming bass. Later in the track, Curley opines: “I’m yours, you’re mine/You breathe, and I breathe/Rose blind, and now I see.” And it’s telling that Curley could just as easily be speaking to the immediate listener, or a distant lover. While many bands are reviving and re-contextualising the dreary and synth heavy, 80’s post-punk soundscape, Gold Class have a knack for making it feel personal—like being in a noisy club, and having someone lean in to whisper a sweet nothing in your ear. Album highlights like the melancholic slow-burner ‘Trouble Fun’ or the energetic ‘Lux,’ showcase Gold Class at their most brooding and enthusiastic, zigging and zagging with angular glee to make ‘Drum’ an emotional roller-coaster ride of post-punk discourse. Stream the album here.
Holy Holy – ‘PAINT’
“Highlights include the buttery smooth, opening synth-scape of the R&B-influenced ‘That Message’; the persuasive guitar-pop of ‘Elevator’ and ‘Darwinism’; or the euphoric, 80’s balladry of ‘True Lovers,’ which could easily moonlight as a Phil Collins B-side, thanks to Tim Carroll’s impressively sultry vocals. Mid-way point ‘Gilded Age’ finds Holy Holy embracing their inner psych, with crashing instrumental freak outs and racy vocals, almost like someone’s fucking with the RPM on a Pink Floyd LP. Other jams like ‘Willow Tree,’ ‘Shadow’ and the folk-inspired ‘Amateurs’ recall the kaleidoscopic touch of the band’s debut, with synth squelches, brisk drum tempos and thrumming bass notes. On longer cuts like ‘December’ and epic closer ‘Send My Regards,’ Oscar Dawson’s ear for detail comes to the fore, with complex compositions and delicate guitar licks which accentuate the duo’s mural of soundscapes. With huge choruses, dense musical layers and heartfelt lyricism, ‘PAINT’ is Holy Holy’s most vivid and colourful album yet, one that’s set to push their profile ever higher.” Read the full review here.
Hypergiant – ‘Father Sky’
With every AOTY list, there’s always one late inclusion which slinks its way through the end-of-year release cycle, dropping unceremoniously in your lap, leaving you slack-jawed with disbelief, forcing you to hastily rearrange your list like a nervous card-dealer shuffling a deck. Progressive heavy metal – in all its chimeric permutations – had some fantastic releases in 2017; standout efforts from Pallbearer, Elder and Paradise Lost come to mind. And locally, we can now add ‘Father Sky’: the debut album from Sydney quartet Hypergiant. Much like the band’s namesake (which excites the dorkish, physics-loving sci-fi nerd in me, along with the nebulous cover art), everything about this record is massive: Nathan Lee and Gordon Hammer’s monolithic guitar tones, echoing the labyrinthian textures of The Sword’s stellar debut (‘Colossi’ and ‘Island 3’); the driving and relentless rhythms of Lachlan Davidson’s lumbering bottom-end and Julian Moxon syncopated percussion, throttling tracks from a murky standstill to near lightspeed (‘Ryu-Un Maru’); nods to the quaking heaviness of fellow genre-benders like Mastodon, Baroness and High on Fire (‘Entropy’ and ‘Solar Landslide’); Lee’s roaring vocal performance, punctuated with high melodies, raw shouts and cosmic lows (‘Retrograde’ and ‘No Way Out’). Do seek this record out, before the band goes supernova. Stream the album here.
Justice For The Damned – ‘Dragged Through The Dirt’
“If you enjoy any variety of heavy things, then what JFTD have crafted here should leave you positively elated. For a debut album, ‘Dragged Through The Dirt’ is less a bold statement than the sound of five young men dropping an anvil on everyone’s expectations… When the band really drops the hammer, like the double-kick fuelled mayhem in ‘Those Eyes’ or the gargantuan breakdown in grim album closer ‘Bearing The Crown Of Lies,’ they want you to really feel it. Production from Ocean Grove’s Sam Bassal brings a level of clarity to JFTD’s murkiest depths, keeping the group’s grit and razor-sharp edge firmly in check; the record practically explodes in your ears with every buzz-saw lead and percussive barrage. With eleven tracks packed full of stomping HM-2 riffs, earth-shattering grooves and Bobak Raifee’s caustic growls, ‘Dragged Through The Dirt’ is a dark, abrasive and supremely volatile listening experience; a monstrous ensemble of destructive metallic hardcore.” Read the full review here.
Mindsnare – ‘Unholy Rush’
“Beltsy’s chainsaw guitar attack rears its ugly head throughout the record, like on the screeching, sliding scale riffs in ‘Winter’ (a dead-ringer for a ‘Hanged, Choked, Wrists Slit’ B-side) or the finger-blazing solo in the mid-section of ‘Lacerate To Exist’. Frontman Matt Maunder’s vocal hysterics once again play centre stage, with his dynamic range sounding as indomitable as ever, effortlessly switching between a hardcore bark, mid-range yell and a downright devilish shriek. Human metronome Gordy Fordman proves his skills as skinsman are second to none on the album’s title track, with tectonic drum fills, manic ride cymbal blasts and pummelling, double-kick finishers. Meanwhile, bassist Nigel Melder keeps the rhythm flowing thick and fast, with clapping bass and stomping verses on tracks like ‘Escape The Fallout’… ‘Unholy Rush’ is a punishing throwback to Mindsnare’s greatest era, and the record fans have been anxiously and desperately salivating for. Do not sleep on this shit, as it will no doubt be one of the best Australian hardcore releases of 2017.” Read the full review here.
Oslow – S/T
“After slugging it out for years touring Down Under, alongside recent success off the back of 2015’s ‘No Longer Concerns Me’ 7-inch, ‘Oslow’ is the band’s debut, self-titled full-length album, and it’s a total banger. Whether it’s through shimmering guitar passages (‘Asleep In The Hallway’), rich organic tones (‘Sewing’), or lofty vocal melodies (‘Cold Dark Space’), ‘Oslow’ is a record that confidently nods its head at 00’s nostalgia, while also acting as a signpost for inventive and memorable song-writing. This opening trifecta positions the listener at a crossroads of indie rock, alternative and post-punk sounds, similar to contemporary acts like Balance & Composure, Title Fight and Nothing. The lead riff that opens ‘Los Croydos’ will inevitably draw some ‘Hyperview’ comparisons, yet front-man and bassist Dylan Farrugia’s vocal timbre is distinctive, and when he hits the chorus and proclaims that ‘We don’t belong here,’ the effect is both atmospheric and hypnotic.” Read the full review here.
Polaris– ‘The Mortal Coil’
“On ‘The Mortal Coil,’ what truly sets Polaris apart from the sea of genre bottom-feeders, is their ability to transcend the confines of the standard metalcore template with diligent and conscientious song writing. Single ‘The Remedy’ is a natural fit for the band, channelling the infectious energy of Rage Against The Machine-via-Stray From The Path, with a unique chorus, off kilter, sliding beatdown, and a punishing rhythm assault from drummer Daniel Furnari. Instrumental ‘In Somnus Veritas’ incorporates moody atmospherics, while ‘Dusk To Day’ is a sombre slow burner, with a bludgeoning mid-section and progressive structure that successfully nods to Underoath’s dissonant best. Closing with ‘The Slow Decay’ and ‘Crooked Path,’ Polaris bring together a powerful blend of aggression and melody, punctuated by post-hardcore transitions and intricate guitar leads. In all, ‘The Mortal Coil’ is a strong, cohesive and confident offering; an album that’s destined to propel Polaris well ahead of their local contemporaries and land them on equal footing with the genre’s torchbearers.” Read the full review here.
Thy Art Is Murder – ‘Dear Desolation’
“Where old genre staples like Whitechapel and Suicide Silence faced heavy criticism for eschewing traditional elements in favour of rabid experimentation (groove, melody and clean vocals for the former; completely jumping the fucking shark for the latter), Aussie outfit Thy Art Is Murder continued to carry the torch and keep the flame alive; namely, making deathcore lethal again… Other bands in the genre may have their distinct little niche, yet few could challenge Thy Art for the claim of being the ultimate triple threat: with technical instrumentation, great songwriting, and respect for their fanbase. As a collective unit, Thy Art have never been ones for compromise, and ‘Dear Desolation’ stands as a sheer testament to the band’s tireless work ethic. As an album, it’s as thematically consistent as it is systematically engaging; playing like an elegy of existential horror; an acknowledgement that human existence is ultimately meaningless, lamenting our slow acquiescence to universal indifference. Heavy in both medium and message, ‘Dear Desolation’ is the most succinct, compelling and consistent release of Thy Art Is Murder’s career.” Read the full review here.