TH’s Top 64 Albums of 2018
I’ve been passionate about a lot of things in my life. Wrestling, sports, and food probably occupy the top three spots, but music has always held a high spot in my cultural attaché. The highest point was probably when I used file-sharing programs at the dawn of this century and hung out at the STP message board with a various collection of connoisseurs, snobs, fanatics, and cool kids. Both file-sharing programs and message boards, specifically ones dedicated to grunge bands with intermittent outputs in the last decade, kinda fell to the wayside, and my attempts at staying ahead of the curve musically were thwarted.
Fast-forward to now, and music streaming services and a vast Twitter following that includes some of the coolest of the cool kids, and I have returned to the game, attempting to discover new acts and artists and be immersed in something that can make my time at work or in the car feel a little less oppressive. With that, I present to you my favorite albums of the year in some kind of rough order. Is the order exact? No, so don’t get mad that one album is ranked above another album by one slot. It’s inexact, okay? Also, I like all of these albums. I listened to a few albums that I didn’t particularly get (like the latest from Amen Dunes) or ones that I just didn’t like (like Alice in Chains’ Rainier Fog). I don’t want to waste time on those. I want to spend it on the stuff I like. So here you go:
Honorable Mention — Car Seat Headrest Twin Fantasy — Originally recorded in 2011, this one got a shiny new remaster and showed everyone who didn’t originally listen to it on Bandcamp or Reddit or wherever a taste of what might be the group’s best album. Living up to the title, it’s a portrait in symmetry, combining arena rock riffs and chords with prog rock sensibilities of prolonged, layered songs with recursive callbacks. It certainly contains the amplified emotional distress of a 19-year-old boy finding things out about himself and dealing with some heavy shit in his life.
Song Picks: “My Boy (Twin Fantasy)” “Beach Life-in-Death” “Stop Smoking (We Love You)” “Famous Prophets (Stars)” “Twin Fantasy (Those Boys)”
64. Clutch Book of Bad Decisions — The stoner rock icons’ latest album maybe saw them switch to beer, as it contains a rollicking slate of songs you might hear in a smoky dive somewhere in the Midwest, swimming in blues influence. The main problem it has is that after a certain point, it sounds like the same song over and over. Luckily for the listener, that song is a good one. Neil Fallon brings gruff energy to all his vocals, especially on “How to Shake Hands,” the best and most unique song on the album.
Song Picks: “Gimme the Keys” “How to Shake Hands”
63. The Love Language Baby Grand — Honestly, I realized listening the first time that I was predisposed not to like it just because it hit all the tropes I’ve found annoying in alt-rock: the solo artist calling himself a band name, the way-too-glossy production, faux deep lyrics, artificially hopeful and upbeat tone. Despite all my prejudices, I found this album to be satisfying. The hooks catch you and don’t let go like veritable earworms, and the layering on the synths, especially with the haunting echo on songs like “Southern Doldrums,” really tug on the emotional split ends.
Song Picks: “Southern Doldrums” “Glassy”
62. Rolling Blackouts Coastal Fever Hope Downs — I don’t want to call this “post punk easy listening” because that might give off the wrong connotation. That being said, this effort from RBCF is mostly nondescript but relaxing and pleasant album. The highlight songs will catch your ear, but otherwise, this is an album you put on while relaxing with friends in your living room.
Song Picks: “Bellarmine” “Cappuccino City”
61. Lucero Among the Ghosts — I’ll admit that my Lucero knowledge is lacking, having only listened to Tennessee before the newest release. This album has much more rounded edges, although it does haunt pretty hard at some points. The intense longing in Ben Nichols’ voice on the title track ranges out to stark frankness on “Everything Has Changed,” which has a matching, almost matter-of-fact piano backing. Some of the lyrical content and melodies run a bit flaccid, but overall, it’s a worthwhile listen.
Song Picks: “Among the Ghosts” “Bottom of the Sea”
60. Thin Lips Chosen Family — The album kicks off with the lead singer ostensibly recounting their first memories of knowing they were gay, so you know that this is one of those albums borne from them experiencing, as the scholars say, “some shit.” It’s a solid mix of lo-fi punk with rollicking rhythm. While it’s lack of hooks hurts it, this album is still something you should listen to.
Song Picks: “Gaslight Anthem (The Song, Not The Band)” “South America”
59. Dimmu Borgir Eonian — It’s funny to look back onto a band you’ve sorta lost track of over the years and find that they’re still fucking the same chickens from 2002. Not that it’s a bad thing to mix black metal with symphonic orchestral music; it worked well for the group’s seminal Puritanical Euphoric Misanthropia, and by God, it works now, only now they’ve added a choir singing on some choruses. It’s a nice throwback to a simpler time when I was in college looking for the heaviest fucking music I could find.
Song Picks: “Council of Snakes and Wolves” “Archaic Correspondence”
58. Unknown Mortal Orchestra IC-01 Hanoi — Obvious, this isn’t UMO’s marquee release from this year, but for a fuck-around instrumental jazz album recorded in a Southeast Asian hotel room, it’s pretty impressive. Some of the beats can get repetitive, and it’s not nearly as immersive as some other instrumental-only releases this year, but again, it does the trick if you just need some background music while you’re doing housework or whatever.
Song Picks: “Hanoi 2” “Hanoi 6”
57. Muse Simulation Theory — Upon first listen, I could definitely say “Yep, this is a Muse album.” Subsequently, I was able to get a feel for it, but no matter what listen, it was a stark disappointment from their stellar previous album Drones and yet a successful endeavor in showing that no matter how stagnant their peers might be, they at least try to turn the page. It didn’t land as well as one might have hoped on some tracks, but on the best tracks, it was vintage Muse.
Song Picks: “Pressure” “Dig Down”
56. Metric Art of Doubt — While sonically, the album feels like more of a retread on prior work than something completely fresh, it’s notable for Emily Haines putting in some of the hardest vocal tracks in the band’s tenure thus far. While the back half of the release tails off a bit, the big hitters on the first half land big. You can almost hear the sweat wicking off Haines’ forehead as she strains on the title track, while the synthesizers lay a pillowy base for her to lament on “Love You Back.”
Song Picks: “Love You Back” “Art of Doubt”
55. Matthew Sweet Tomorrow’s Daughter — Speaking of artists who keep fucking the same chicken, Matthew Sweet released an album in 2018 that sounded like it could have been released in the late ’90s as a follow-up to Altered Beast or Blue Sky on Mars. Take that what you will, but without context, it’s still an incredibly easy listen. Sweet’s mastery of the guitar will do that for you.
Song Picks: “Lady Frankenstein” “Girl with Cat”
54. Vile Creature Cast of Static and Smoke — Admittedly, an album like this — four songs all clocking in at a shade under nine minutes at least with dense guitars and screamy vocals — isn’t for everyone. However, for those who do get it (like me!), it’s definitely worth the listen. It’s an ethereally heavy journey through the dark, damp woods in metal form.
Song Pick: “Water, Tinted Gold and Tainted Copper”
53. Drug Church Cheer — Combining pop-punk melodic sensibilities with hard hardcore riffs and gruff vocals, Drug Church put out an album that stood out from the pack just enough to get notice. While Cheer sort of takes a little while to find its footing, it roars in with a strong second half that gives some memorable hooks and catchy songs to make it worth the listen.
Song Picks: “Unlicensed Hall Monitor” “Conflict Minded”
52. Stone Temple Pilots Stone Temple Pilots — If you’re expecting Purple II or whatever, you don’t know the DeLeo Brothers, who to their credit have never released the same album twice. While STP has always had a vibe to it during the Scott Weiland (RIP, and also to Chester Bennington) years, they always tried something different. This album is no different, even if it feels more akin to the sound the DeLeos had with Talk Show or Army of Anyone than they did with Weiland or even on that lone EP with Bennington. Granted, the new guy can sound a lot like Weiland at times, which is probably what they were going for. Either way, it was satisfying even if it was missing something to me, one of the world’s biggest fans of the group.
Song Picks: “Middle of Nowhere” “Just a Little Lie” “Art of Letting Go”
51. Greta Van Fleet Anthem of the Peaceful Army — Yes, Pitchfork savaged this album pretty bad in a review that made the rounds for its aforementioned savagery. I’d say the review itself was lazy; to call this album a Led Zeppelin clone would be to look nothing past Josh Kiszka’s vocals (which evoke a little bit of Grace Slick and a lot of Janis Joplin on top of the Robert Plant cosplay). Sure, there’s Zeppelin in there, but they also draw influence clearly from Jefferson Airplane, King Crimson, and Dio among others. The review had some kernels of truth. This album treads absolutely no new ground, but since when was that a prerequisite for critical success? Oasis is what the Beatles would be if they let all the hostility they had for each other by the end of the group from 1968 through 1970 be embedded in their songwriting, and they’re one of the best-reviewed rock acts of the last 20 years. Maybe I’m just spending too much time worrying about what Pitchfork has to say, which admittedly is a site I’ve never really cared for.
Regardless, a better critique of the album would be that half of the songs are just sort of white noise, the ones where they musically sound the most like Zeppelin. Granted, it’s a pleasant white noise that rollicks and rolls and would be a decent soundtrack for a late summer evening drinking beers in the backyard. It’s just not high ceiling stuff. The best songs on the album, the ones that evoke the high grandeur of late-‘60s psychedelia or all-the-way slowed-down and mellow ballads, are worth pointing out.
Song Picks: “Age of Man” “You’re the One” “Brave New World”
50. Myrrors Borderlands — The best compliment I can pay this release is that it sounds like what a good time on the Spice Road in the Middle East would sound like, especially with that snake-charming horn so prevalent through each track. I’ll admit that the sprawling, jazz-infused instrumental tracks didn’t really land the way I would have liked them to, but overall, it’s a rich and intoxicating listen.
Song Picks: “The Blood That Runs the Border” “Biznagas”
49. Deafheaven Ordinary Corrupt Human Love — Imagine if you will riding down the street on a summer day, the breeze blowing through your opened windows and the sun shining through the windshield. Then imagine that you have a screaming banshee outside your window shrieking at you, but it’s okay because it’s keeping you motivated and adding just a little bit of hazard to your otherwise safe and relaxing day. Maybe it’s a little bit haphazard a description, but it’s how at least the longer, heavier songs on this album are, screamy lyrics over melodic and dreamy rock ‘n roll. It works in furious, harmonious balance, with interstitial songs like “Night People” and “Near” providing respite.
Song Picks: “You Without End” “Honeycomb” “Canary Yellow”
48. Kurt Vile Bottle It In — It can be rough to jump in on an artist’s career on their seventh release, so you’ll have to forgive me if I’m starting at a late point analyzing Vile’s oeuvre here. That being said, the big critique of this album is that so many of the songs hang around a bit too long. Like, I’m a prog rock guy in my soul, so I’m used to songs going longer than the near 11 minutes the title track clocks in at, but I’m not used to the repetition. Then again, on “One Trick Ponies,” Vile admits that he’s got a soft spot for redundancy. That, and well, the vibes put forth are a unique kind of sound, relaxing in one hand but also tense, agitative in others. Ultimately, it’s why I keep going back to this one, well, that and the blithe hometown pandering, like allowing his Philly accent on the word water to pop in and preferring Mike Schmidt to Roger Clemens.
Song Picks: “Yeah Bones” “Bassackwards” “One Trick Ponies”
47. The Sword Used Future — I got thrown for a loop with this moody, layered, more-instrumental album than I’m used to from these guys. Usually, the Sword induldges in hard-hitting throwback metal, and you get some of that here. But interstitial tracks with recursive callbacks and even a downright mellow intro in “Sea of Green” gives this album a different flavor. I’m not necessarily sure they knew what they were trying to do, and it didn’t completely stick the landing in all spots, but they showed they could branch out and make something vital from outside their comfort zone.
Song Picks: “Deadly Nightshade” “Don’t Get Too Comfortable” “Come and Gone”
46. Ilsa Corpse Fortress — In addition to having maybe the best cover art of any album and one of the most METAL album titles ever, Corpse Fortress blisters hard and heavy right out of th gates. The aggressive rhythm section provides a stout rail for the runaway train-fast riffs clobbering your ears with metal madness. While the title suggests this album is about waiting out a siege, the thrashy guitar assault and piercing scream-vocals give more of a visual of a hard charging Mongol horde sweeping across the plain, destroying everything in sight. Even if the charge peters out by the end of the album, it’ll still get your blood going enough that you’ll want to run through a cinderblock wall.
Song Picks: “Nasty, Brutish” “Cosmos Antinomos” “Rickenfigur”
45. Florence + The Machine High As Hope — Florence + The Machine always seem to adopt a mood for their albums, and it’s always, as the kids say, a big mood. On High As Hope, it seems that overall feeling is one of despair, regret, almost like Florence Welch is singing as if she’s gone through some shit. “Is it part of the process? Jesus Christ, it hurts.” “This is the only thing I’ve ever had any faith in.” “With your big heart, you praise God above. But how’s that working for you, honey? Do you feel loved?” Those aren’t the words of someone who’s not dwelled in the gutter for a few weeks, and she sings them with emphasis, with heartache. Of course, if you go to the final track, “No Choir,” maybe that’s by design since she sings of how boring being happy is to being a successful artist. Go figure.
Song Picks: “Big God” “Grace” “Patricia”
44. Courtney Barnett Tell Me How You Really Feel — I’ve often said on Twitter that Queens of the Stone Age Songs for the Deaf was the last grunge album, but this release from Barnett comes close to recapturing the mood while remaining current. A lot of the angsty sarcasm translates here lyrically, as well as her guitar reaching some of those distortion-laden riffs, but the sound switches into clean modernity with ease, especially on the final opus “Sunday Roast,” which is downright warm and wistful.
Song Picks: “City Looks Pretty” “Charity” “Crippling Self-Doubt and a General Lack of Confidence”
43. FAITH/VOID Embrace Nothingness — While at times this full-length debut from FAITH/VOID doesn’t seem to know if it wants to be lo-fi grime punk or shiny pop punk, it still goes pretty hard. It has driving riffs and a wry sense of humor in spots, especially on song slike “Dig Your Own Grave and Save!” It’s an album that doesn’t hit on every song, but it shows major promise and is a lot of fun in several spots.
Song Picks: “Dig Your Own Grave and Save!” “Revised Shoreline” “The Theme from ‘Embrace Nothingness,’ Pt. 2”
42. Antarctigo Vespucci Love in the Time of E-Mail — I’m not familiar with Chris Farren, but apparently most people either love his and Jeff Rosenstock’s solo work way more than Vespucci or they love Vespucci more than the respective solo work. Count me in the former, at least for Rosenstock. That doesn’t mean Love in the Time of E-Mail isn’t good though. It’s full of earworms that will stab at your heart. Its fast paced melodies belie the wistfulness of the lyrics, but it’s an effective juxtaposition.
Song Picks: “Breathless on DVD” “So Vivid!” “Not Yours”
41. Soccer Mommy Clean — The album cover shows the titual Soccer Mommy, Sophie Allison, in a ramshackle shed probably somewhere out in the woods, and that’s exactly the vibe that this album puts out. At times, it can be a little sleepy, but that’s not necessarily a bad thing. You might need to go through it two or three times to really get it, but once you do, it’s satisfying, full of angst and emotion with layered riffs and soft melodies.
Song Picks: “Your Dog” “Blossom (Wasting All My Time)” “Last Girl”
40. Bongripper Terminal — Excluding “Interlude,” the track titles spell out “SLOW DEATH.” However, the only real death you’ll experience is narrative only. Like any good instrumental album, the music itself tells the story, and Terminal comes in hard, heavy, and layered. You won’t be able to chop it up to put on shuffle on your playlist, but if you just need a complete piece of music to put on when you’re feeling dour, angry, or just in the mood for metal, this will do the trick.
Song Picks: No song picks, you kinda have to listen to the whole album as a piece
39. Cloud Nothings Last Building Burning — The latest from Cloud Nothings is just a fireball of energy that’s no better exemplified than on the track “Dissolution.” It starts out hot and then just sort of trails off into feedback before slowly picking back up again into a frenetic finish. There are a lot of slapper tracks on the album, but some of them don’t really land without jumble. However, it finishes strong. It’ll definitely give you a last bit of energy to power through your day if you put it on about a half hour before your shift’s over.
Song Picks: “On an Edge” “Leave Him Now” “The Echo of the World”
38. Kero Kero Bonito Time ’n’ Place — This album was weird because it almost felt too sheeny and sing-songy at points, almost like a Hello Kitty picture come to life, but for whatever reason, it was just weird enough to work. The peppy melodies really carry the front half of the album but then it starts getting a little rougher around the edges (in a good way, of course) towards the end. “Swimming” in particular is just a vast, dreamy track that would’ve been a perfect closer if it was just one track later. Time ’n’ Place is a weird, wonderful record that you should definitely try.
Song Picks: “Time Today” “Only Acting” “Swimming”
37. Laura Jane Grace and the Devouring Mothers Bought to Rot — The difficulty of solo artistry is if the original group is in good standing (and I have no reason to believe that Against Me! has broken up) then the soloist has to distinguish themselves from the original or else what’s the point? Bought to Rot falls slightly into this trap. At times, it sounds like the promised eighth AM! album. However, it has stunning moments where you can tell this is Grace’s own thing and that the Devouring Mothers are a separate entity. A huge part of that is the subtle change of her lyrical introspection going from her gender and transition to more general feelings of relationships and friendships. It might not seem like much, but it can definitely change the tenor of an album.
Song Picks: “Born in Black” “The Friendship Song” “Screamy Dreamy”
36. Fucked Up Dose Your Dreams — You kinda have to carve out time to listen to this one; clocking in at nearly an hour-and-a-half, it’s a whopper. However, it’ll be well worth your while. Mixing together hardcore with low-end synths and mind-bending sonic textures, it is one of the most unique-sounding albums of the year, and yet it works on the same level that whiplash does (only more pleasing).
Song Picks: “Tell Me What You See” “Torch To Light” “Joy Stops Time”
35. Arctic Monkeys Tranquility Base Hotel and Casino — Sometimes a left turn is what you need as an artist. Dropping the garage band aesthetic for a lounge act doing a residency on the moon certainly qualifies. While so many rock artists have taken the “standards” route later in their careers, the Monkeys show that even that trope can be turned on its head like a piledriver gone wrong. Even pianos and upright basses can be sarcastic and political.
Song Picks: “Tranquility Base Hotel and Casino” “Four out of Five” “The Ultracheese”
34. YOB Our Raw Heart — Our Raw Heart feels like the kind of album one might produce after surviving a near-death experience, as guitarist/vocalist Mike Scheidt did. Its haunting, melodic, yet heavy sound hearkens to some of the best early-00s Scandinavian black metal while retaining a certain vulnerability that almost brings one to tears. The melancholy vibe on this album is metal at its most beautiful and ethereal, and I think even folks who aren’t into heavier music would be better for checking it out.
Song Picks: “Ablaze” “The Screen” “Beauty in Falling Leaves”
33. The Beths Future Me Hates Me — Future Me Hates Me is an album that exists in two different worlds. On one hand, it’s fast rhythms and upbeat melodies make it feel sprightly and peppy. On the other, the vocals and the lyrical content give it such a brisk, December feel, tinged with regret and melancholy. It’s such a unique sound that produces some real bangers, especially on the first half.
Song Picks: “Great No One” “Future Me Hates Me” “Little Death”
32. Joyce Manor A Million Dollars to Kill Me — Joyce Manor gets a lot of bonus points for writing the most relatable song of the year. For people who’ve spent the last decade on Twitter and even longer on Facebook or online message boards, “Friends We Met Online” is a warm blanket, a reminder that people that we may have never met — or may never ever meet — in person are still as vital and important to us as those we see every day in the flesh. The rest of the album is well worth your time as well, veering between soaked-in-emotion harder tracks and mellow, relaxing slower tracks.
Song Picks: “Fighting Kangaroo” “Friends We Met Online” “Up the Punx”
31. The Nude Party The Nude Party — The Nude Party’s debut LP saw them release a throwback late-‘60s album viewed through the lens of a spaghetti western. What’s even more surprising is that it matches thematically with a lot of ’60s rock music (anti-war, anti-capitalism) and because of society’s total and utter inability to move forward, it feels just as fresh today.
Song Picks: “Chevrolet Van” “War Is Coming” “Records”
30. ASG Survive Sunrise — Their 2013 release Blood Drive is one of my favorite albums of the decade, but their follow-up is more reminiscent of 2007’s Win Us Over, a more sprawling, unfocused release. That’s not a bad thing though, as Survive Sunrise still brings heavy riffs with bluesy foundations. Whether it be the tense title track, the almost sneaky “Hawks on the Run,” or the colorful and etheral interstitial track “Kubrick Colors,” ASG produces another lush and heavy rock record that belongs on your radar.
Song Picks: “Survive Sunrise” “Execution Thirst” “God Knows We”
29. Giraffes? Giraffes! Memory Lame — I’ve tried not making comparisons to other artists in this list for a reason (it’s incredibly lazy), but the best way to describe this album is if someone gave The Mars Volta a couple of lithiums and gave Cedric Bixler-Zavala the night off while recording. The intricate guitar noodling and the complex rhythm backbones won’t make you long for lyrics. It’s the platonic ideal of instrumental music. It won’t bug you if you put it on in the background with no thought, but if you do want to listen intently, it gives you a lot of meat for digestion.
Song Picks: “Heretical Doses” “Teenagers in the Woods Burning Things Lying Around” “Knife Eyes: ’04 Jailbreak”
28. Death Cab for Cutie Thank You for Today — True story, this is the first Death Cab album I’ve listened to more than once, so I have no real basis for comparison to older work. That being said, it’s a strong, wistful, atmospheric effort. It’s a record soaked in regret and the autumnal melodies and layered sounds reflect that. It’s not an album you listen to for a pick-me-up, but its emotional richness will leave you satisfied.
Song Picks: “Gold Rush” “When You Moved Away” “60 and Punk”
27. Gorillaz The Now Now — Bookending this album with two acoustic guitar-driven rock tracks was a bold choice, but one that worked. As with any Gorillaz album, you run the gamut of musical styles and rhythms. It’s a sleek grab bag of moods and paces, and the guest spots on “Hollywood” from Jaime Principle and Snoop Dogg are great features. Incredibly enough, perhaps the best track has no vocals on it at all; you’ll find yourself dancing wherever you are when “Lake Zurich” comes on.
Song Picks: “Hollywood” “Lake Zurich” “Fire Flies” “Souk Eye”
26. Snail Mail Lush — While the album title probably refers to a more colloquial definition of the word, the guitar layering and melodies are the textbook definition of the word “lush.” More than Lindsey Jordan’s vulnerable yet charming vocals, her ability to create beautifully muted and complex guitar riffs is ultimately impressive. It’s already one of the most essential breakup albums of all-time.
Song Picks: “Pristine” “Heat Wave” “Stick” “Anytime”
25. Ghost Prequelle — 2018 was the year a lot of people around me decided they’d get into Ghost, including myself. Granted, the band’s exterior might seem a bit corny (and lead singer Cardinal Copia did try to scam his bandmates out of royalties, yikes), but Prequelle brings the juxtaposition of melodic vocals with hard metal. “Rats” sets a big mood, and the rest of the album follows suit. Some of the lyrics are a bit cringey, but that is a minor complaint.
Song Picks: “Rats” “See the Light” “Miasma” “Witch Image”
24. Hop Along Bark Your Head Off, Dog — There’s going hard on vocals, and then there’s Frances Quinlan who sings like a folksy chanteuse but with the intensity of a Norwegian black metal singer. It’s quite a pairing with Hop Along’s pastoral, acoustic-heavy sound. Like, the band sets up this first-thing-in-the-morning soft atmosphere with its music, and Quinlan is the black coffee with an espresso shot waking you up with her passion. In fact, it’s almost as good as a nice French press in the morning in terms of energy.
Song Picks: “Not Abel” “The Fox in Motion” “One That Suits Me” “What the Writer Meant”
23. Sleep The Sciences — The stoner metal icons’ third album in two decades goes incredibly hard with all the intricacy and the low-fi, distortion-laced riffage that you would expect from them. The middle three tracks clocking in at over 10 minutes apiece might make it seem daunting, but once you start listening, you won’t stop head-banging until the album ends.
Song Picks: “Marijuanaut’s Theme” “Giza Butler” “The Botanist”
22. Alice Bag Blueprint — Imagine Eartha Kitt or Shirley Bassey fronting a punk band, and that’s how you get Alice Bag. The disconnect might seem a bit tough to digest at first, but man, once you get it, it feels like the perfect kind of weird pairing, like pineapple on pizza. The mixture of so many different genres of music combined with the pointed socially forward message makes this one of the most vital albums of the year.
Song Picks: “Turn It Up” “77” “Se Cree Joven” “White Justice”
21. CHVRCHES Love Is Dead — CHVRCHES’ third album is undeniably a CHVRCHES album and yet treads neither the same ground as either one of the first two. Musically, it captures some of the adventure of The Bones of What You Believe that made the group such a force upon their debut, and the pop sensibilities are rounded off more carefully so that it doesn’t feel as bubblegummy as Every Open Eye does at times. Thematically, it feels more resigned and world-weary, which gives it the most mature feel out of the three albums. That feeling bubbles to the surface most on “Miracle,” where Lauren Mayberry sings with almost a sassy defiance. Either way, this album shows that CHVRCHES has major staying power.
Song Picks: “Graffiti” “Get Out” “Miracle” “Wonderland”
***BONUS*** The best song that CHVRCHES released this year wasn’t on their LP, but it was a single compilation with Japanese pop group Wednesday Campanella called “Out of My Head.” With the booming synth riff intro and energetic vocals, it’s hard to ignore this number which is one of the best from any group — super or otherwise — all year.
20. Thunderpussy Thunderpussy — While it may not be the best album this year, this self-titled debut from the all-female rock outfit certainly qualifies as the horniest. Aside from the sex dripping from the lyrics (which is a good thing!), they put out one of the hardest-rocking albums of the year, which should be assumed when you find out that they were discovered by Pearl Jam guitarist Mike McCready. Whether going fast like on “Speed Queen” or the title track or when they slow it down on “All In” or “Young and Pure,” Thunderpussy gives you an authentic throwback rock experience without blatantly cloying to the past like some other acts have.
Song Picks: “Speed Queen” “Fever” “All In” “Thunderpussy”
19. Spider Bags Someday Everything Will Be Fine — Going through some shit is hell on the human psyche, but for artists, it can provide a muse for some of their best output. Silver linings and all, I suppose. Obviously, someone in Spider Bags went through some shit, because this album, seemingly borne of the pain of depression and a bad relationship, is one of the best of the year. It’s twangy, country-inspired alt-rock provides a jangling background that seems a lot happier than what the lyrics let on. For example, on “Alligator,” you might think you’re in for a party track until you hear “I’m feeling just like an alligator, cuz ‘see ya later’ is all she’s saying to me” and you get punched in the gut. Even more, I dare anyone to listen to “My Heart Is A Flame in Reverse” and not get their insides all twisted up.
Song Picks: “Oxcart Blues” “My Heart Is A Flame in Reverse” “Tonight I Walk on the Water” “Rollin’ with the Flow”
18. Zeal and Ardor Stranger Fruit — Bands like Dimmu Borgir and Metallica showed that symphony orchestras go well with heavy metal, but what Zeal and Ardor suggest is that maybe the sing-songy call-and-response gospel choruses might also pair well with the hardest kind of rock ‘n roll out there. AS it turns out, low-country spiritual singing when combined with black metal trappings and macabre and almost evil themes makes for some incredible music. Stranger Fruit features some of the most unique, soulful, and ear-splitting music of the year.
Song Picks: “Servants” “Row Row” “We Can’t Be Found” “Built on Ashes”
17. IDLES Joy As an Act of Resistance — What endears this album to me most is that it’s a Twitter shitpost come to life most of the time. The ease in which they can move from sarcasm and insincerity into moving sentiments like a stillborn child in “June” and comforting a friend who is depressed that they’re not as “pretty” as models in “Television.” Combined with burgeoning post-punk sounds and assertive vocals from Joe Talbot, and this is an essential release.
Song Picks: “Colossus” “June” “Television” “Gram Rock”
16. Wild Nothing Indigo — The big lie in music is that the 80s produced the most dated-sounding music when so much of that sound has inspired some of the best pop, rock, and even hip-hop music the last two decades. So Wild Nothing’s latest release being a total throwback to the decade of big hair and cocaine is not only acceptable but also appropriate. The ethereal synthesizers and the soft-landing vocals may confuse people who might have guessed this album was a 1983 release, yet it sounds modern and fresh as anything else this decade.
Song Picks: “Oscillation” “Partners in Motion” “Closest Thing to Living” “Canyon on Fire”
15. Naked Giants SLUFF — The Naked Giants set a chart on how to navigate as a post-punk/pop-punk band now after those mines have seemingly been comprehensively plumbed. One, make sure your faster meal-ticket songs really hit the mark. Two, explore other sound templates with the same irreverence you tackle your main sounds do, like on the more methodical “TV” and the slow, longing ballad “Slow Dance II.” Three, end it all on a memorable note, like they did on the sprawling, vacation-like “Shredded Again,” a song about dealing with a lot of the things on your mind with chemical aids, to say the least. Do that, and you may have something to hang your hat on.
Song Picks: “TV” “Slow Dance II” “Goldfish II” “Shredded Again”
14. MGMT Little Dark Age — MGMT also went the 80s throwback route, although Little Dark Age has less gloss and more of a harder edge to it, even on the blither songs like “She Works Out Too Much,” “Me and Michael,” and “James.” It definitely spans a wide range of moods and tempos to great effect, and it’s lyrically as sharp as the group has ever been.
Song Picks: “Little Dark Age” “When You Die” “TSLAMP” “James”
13. Monster Magnet Mindfucker — Even though I love Monster Magnet and have loved them since I first heard “Space Lord” on the radio 20-some years ago, I didn’t expect them to release an album as vital as this in the year of our lord 2018. But Mindfucker feels like an essential rock record (whatever that means in this day and age) even if it feels like the natural progression of the band’s rollicking, high-energy stoner sound. It bangs heavy, gets tense, goes bluesy, and even gets a bit weird at times, and it appeals to both newer sensibilities as well as old curmudgeons who long for the days when the guitar, bass, and drum packet was the backbone of critically important popular music.
Song Picks: “I’m God” “Drowning” “Brainwashed” “All Day Midnight”
12. Janelle Monáe Dirty Computer — I’m ashamed to admit that I held off and held off on listening to this album, and when I finally got around to it, I was blown away. Monáe hits several pop-standard veins to great effect, never straying too far away from the boldest path she could take. Her lyrics are uncompromising and pointed, and she proves she can both sing and rap with the best of her peers in either direction. Add that in with some of the smoothest, groovingest music backing her, and you have the makings of a classic R&B album.
Song Picks: “Take a Byte” “I Like That” “Don’t Judge Me” “Americans”
11. Mitski Be the Cowboy — One thing I appreciate about Mitski on this album is that she’s certainly adept at showcasing her artistry but doesn’t need long, overly flowery songs to do it. She gets in and gets out. As a wrestling fan who’s had to endure matches that would have been great in 10 minutes stretched out to 20 or 30, I appreciate that. The only song that clocks in at close to four minutes is the closer, “Two Slow Dancers,” and that one warrants it. Another thing is her vocal range and its fit with the music backing her. Sometimes it seems off, but it’s in a way where it’s almost endearing. The album’s vibe overall is weird from the jump, so when she’s singing just a little off kilter from the music, it adds to the allure. And that’s not even getting into the musical moments that really stand out here. When that little guitar noodle comes in at the end of “Why Didn’t You Stop Me?” you realize that it’s not just this showcase for an A-plus singer, but it’s a complete package.
Song Picks: “Why Didn’t You Stop Me?” “Me and My Husband” “Washing Machine Heart” “Two Slow Dancers”
10. Foxing Nearer My God — One of the year’s weirdest and most sublime releases, Nearer My God sounds like a billion different genres tossed into a blender and spit out into one of the most enjoyable musical smoothies of the year. Part of that mélange is putting things that indie rock has frowned upon as a subversion of tropes. “Lich Prince” has a rippin’ guitar solo at the end, which has been rejected by most acts as a vestige of the excess of rock in the past. “Heartbeats” employs a wall of sound, something that critics have panned as part of the commercialization of certain acts. And all of it works behind the band’s stellar songwriting.
Song Picks: “Lich Prince” “Nearer My God” “Heartbeats” “Bastardizer”
9. Dilly Dally Heaven — If certain songs, albums, or bands evoke different kinds of weather, then Dilly Dally’s Heaven is a cold, rainy day outside of Addams Manor, which I mean in the most loving, positive way possible. The haunting guitars and melodies with Katie Monks’ screamy power vocals on top of it produce such a spine-tingling feeling. It’s such a big mood. No record from this year makes me want to feel sad and gloomy as much as this one.
Song Picks: “I Feel Free” “Doom” “Believe” “Bad Biology”
8. Parquet Courts Wide Awake! — I have a lot of respect for musicians who aren’t afraid to speak truth to power, and on the first track, they come out swinging yelling at the throng of pundits and politicians mad at football players kneeling in protest on “Total Football.” Tackling subjects from gun violence to climate change to revolution, Wide Awake! carries a tall order of things to say. But it wouldn’t be nearly as impactful if the songs didn’t slap. “Violence” wouldn’t work as well as it does without the tense and jittering rhythm and organ behind it. “Back on Earth” throws you for a loop with its falling melody. It’s a complete package.
Song Picks: “Violence” “Almost Had to Start a Fight/In and Out of Patience” “Death Will Bring Change” “Tenderness”
7. Beach House 7 — From the first moment you turn the album on, it engulfs you with a rich sound so much so that you start to look around you to see if you can see the sounds. That’s how immersive this latest Beach House album is. The moods shift around, but the constant is that lifelike synthesizer that coalesces into a sparse, distant piano at the beginning of “Last Ride,” the haunting and gorgeous closer to this phenomenal album.
Song Picks: “Pay No Mind” “Drunk in LA” “Dive” “Last Ride”
6. The Dirty Nil Master Volume — The Dirty Nil don’t particularly play at a blistering pace, but their big booming riffs and forceful vocals beg to be played at the, as Wayne Campbell would say, appropriate volume. It isn’t slow or plodding either like, say, doom metal. Master Volume is just a collection of big rockers that stomps around the plains until it mellows out into the false-bottom album closer “Evil Side.” But that’s what makes them covering Metallica’s “Hit the Lights” almost hilarious. They finish the album with the fastest song, and it works. When you do a straight up throwback rock record in 2018, it has to stick the landing, and this album with its assertive riffs and towering rhythms does just that.
Song Picks: “Pain of Infinity” “Auf Wiedersehen” “Evil Side” “Hit the Lights”
5. Unknown Mortal Orchestra Sex and Food — Sex and Food is a vibrant mélange of funk, R&B, and punk rock that is thrown into collection at various different paces. It’s the best album of the year that’s also a veritable roller coaster, and everything on it fits together like a chili or a curry. There’s a song for every mood: “Ministry of Alienation” for resignation, “American Guilt” for anger, “Hunnybee” for love, “We’re Not In Love We’re Just High” for when you’re not in love but just fuckin’ stoned. Okay, that last one might be a stretch. Anyway, Sex and Food is a great gateway album for people looking to step out of their comfort zones but not completely. It’s as the cool kids call a “tastebreaker” and one that will make you glad you listened to it.
Song Picks: “Ministry of Alienation” “Hunnybee” “Cronos Feasts on His Children” “American Guilt” “Everyone Acts Crazy Now”
4. Screaming Females All At Once — The Screaming Females produced an album with 16 tracks, and despite the number of songs on it, it’s an exceedingly smooth and quick listen. In fact, it feels like it could have gone even longer, which is the highest compliment I could possibly pay to it. All At Once, like Rose Mountain before it, does not take any respite. Every song is vital, energetic, backed by Marissa Paternoster’s deep vibrato vocals. Songs like “Black Moon” have such a punk vibe, and others like “Agnes Martin” have some of the best metal riffs of the year. Then you get to “Chamber for Sleep Pt. 1” which feels like something out of the Pretenders’ discography. No band should have those kinds of chops to put out this kind of record, but I guess that just goes to show that even though we don’t deserve the Screaming Females, we’re incredibly fortunate to have them.
Song Picks: “Black Moon” “Agnes Martin” “Soft Domination” “Chamber for Sleep Pt. 1” “My Body”
3. Hinds I Don’t Run — High energy garage rock doesn’t get much better than this sophomore LP from this Spanish quartet. Beautiful, sometimes dreamlike guitar riffs that give way to gruff vocals from both lead singers attains perfection in contrast. Their vocals attain outward angst and cynicism like some of the best ’90s acts, but they also have a soft, vulnerability like two different tones of Penelope Cruz (yes, I think they both kinda sound the actress). It feels new and fresh and familiar at the same time, one of the best total records of the year.
Song Picks: “Soberland” “New for You” “Tester” “Finally Floating” “Rookie”
2. Surfbort Friendship Music — I have a soft spot for throwback punk, the grungier and slimier, the better. Friendship Music sounds like it was recorded in a trashcan, literally. It sounds like you can smell the band. That’s why I absolutely fuckin’ love it. It’s everything that makes punk great: an angry and sarcastic vocalist, fast paced three chords, a healthy bit of humor, and knives pointed at deserving targets like stalkers, mental illness, the world in general, and of course, the asshole President. In a climate where the punk that came out of New York, Los Angeles, and London has evolved and mutated in so many unique ways, it’s still great to see acts like Surfbort doing it the way it’s always been done and kicking ass at it.
Song Picks: “High Anxiety” “Slushy” “Trashworld” “Stalker” “45”
1. Jeff Rosenstock POST- — It dropped on the first day of the year, and it has been the leader in the clubhouse ever since. Rosenstock’s trademark exasperated vocals over jangly riffs are there, which alone would have made this a strong album. Lyrically, he added more pointed attacks at the political landscape, especially with his bookend whoppers “USA” and “Let Them Win.” His frustration turned inwardly from himself to a nation that resigned itself to the presidency of a man whose torch lit the flame that cause the house to burn to the motherfucking ground. It isn’t just lyrically, obviously. The synth wash in the middle of “USA” was able to represent the shellshock of the first months of the Trump administration, while its recurrence on that closing track conveyed uncertainty. It was an incredible addition to his musical arsenal. Really, the entire album is so packed with a strong emotional punch: the helplessness of “Yr Throat,” the resignation of “TV Stars,” the urgency of “Melba,” the lovelorn longing of “9/10.” Honestly, POST- is just the perfect album to keep revisiting, which is why it’s my album of the year this year.
Song Picks: “USA” “Yr Throat” “Melba” “9/10” “Let Them Win”
