Each year we pour over literally hundreds of albums as we determinedly mine for the best in new music to create our monthly calendar of album reviews. At the end of each year we agonize even further to rank the best albums we received. In 2017 — much like the last four years — it’s not really a matter of, “If we have enough to make a list,” more of a, “How on Earth do we pick only fifty?” The task is arduous and is being scrutinized until literally the last moment that we start to write the copy you’re about to pour through. This year, our list features the best and brightest from one of the most confounding years ever for the American public.
Yes, while politically our country devolved into utter chaos, the music industry acted like nothing had ever changed. When, in truth, we all know, nothing will ever be the same again. While some cravenly howl for further insanity, most folks grow ever more worried by the day. The causes of diversity, sexual inequality, income disparity and just downright decency hanging in the balance, the music industry acted like it was still a 2015 pre-Donald Trump world. Here’s a new Kendrick joint. Here’s a new spiffy Lorde album. Here’s a booty shaking QOTSA release. But most records put out in this manic, endlessly shocking year failed to capture the frantic anarchy and illogical madness that all of us were subjected to on a daily basis.
This year, our Album of the Year list splits the difference between the uncontrolled dread and insistent optimism that permeated the best of this year’s art and music-related commerce. Some, like Myrkur, captured the most elaborate of our thought-provoking nightmares. Others, like Karen Elson’s sophomore release searched for confidence in the ashes of a great folksy fire. Titans from years past Gary Numan and Slowdive returned with a vengeance balancing the subtle serpentine of darkness and the dreamy love-filled euphoria of negative space. Chelsea Wolfe and Mount Eerie fearlessly plunged the depths of sadness, both emotionally and literally. St. Vincent wrapped it all up in a polished artsy package that David Bowie would be proud of.
Yes, our world is terror and dread right now, but as with the roughest of generations past, the most intrepid, fearless, optimistic and determined of our creators and citizens is what will carry us through. It is an imperfect world, but our faith, our hope and our resilience will be our deliverance. Here, for your reading pleasure are the Best Albums of 2017. — Raymond Flotat
50. Godspeed You! Black Emperor – Luciferian Towers
Sometimes the greats fall by the wayside; sometimes they become legacy; other times they become legend. With their continued post-hiatus output and Luciferan Towers, Godspeed You! Black Emperor plants themselves as masters.
– Drew Pitt
49. Iron Reagan – Crossover Ministry
Iron Reagan set the world afire with this full length thrashterpiece. All hail the new masters of thrash metal.
– Jon Weigell
48. INVSN – The Beautiful Stories
The side project of Dennis Lyxzén from Refused provides a poppier outlook that shadows more ‘80s goth than the hardcore punk he’s known for.
– Chris Fastiggi
47. Crystal Fairy – Crystal Fairy
The supergroup consisting of members from The Melvins, At The Drive-In and Le Butcherettes provides brutal, noisy riffs for all hard rock fans.
– Chris Fastiggi
46. Laetitia Sadier Source Ensemble – Find Me Finding You
Sadier pairs blissful melodies and instrumentals peppered with experimental flair and Marxist ideals, uneasy with late capitalism.
– Vanessa Phan
45. Courtney Barnett and Kurt Vile – Lotta Sea Lice
A throwback to the great singer-songwriters of the ’70s, with purely professional guitar tones and lyricism throughout.
– Alex Muñoz
44. Moby and the Void Pacific Choir – More Fast Songs About the Apocalypse
It would be an understatement to say the 2016 presidential election influenced Moby on this album; it practically orchestrated the entire track list. From “Trust” to “It’s So Hard To Say Goodbye,” Moby’s view of our present apocalypse is abrasive, albeit danceable and a little close-to-home. That, however, makes for important listening in a year marked by more political harm than good.
– Ben Jardine
43. The National – Sleep Well Beast
The National’s seventh record Sleep Well Beast is a slight turn from its predecessors. A few well-placed synths here, some loud guitars there and the band are one step closer to defining rock music for an entire generation.
– Brian Furman
42. Gorillaz – Humanz
Humanz marked the first studio album from Gorillaz in seven years. The hip-hop infused album features collaborations from an array of artists including D.R.A.M., Vince Staples, Grace Jones, De La Soul, Danny Brown, Pusha T and more.
– Adrianna Fuji
41. EMA – Exile in the Outer Ring
Here, EMA showcases pure feminine grittiness, never hesitating to highlight the dregs of suburban middle America with prophetic wisdom.
– Vanessa Phan
40. Ibeyi – Ash
All it takes is the first few seconds of the neo-soul Gregorian chants of this album to stop you in your tracks and be informed that Ibeyi means business.
– Alex Muñoz
39. Boris – Dear
Whenever Boris does something, it deserves attention. Not only because they’ve been around for almost 25 years, but because they’ve also managed to keep their experimental noise rock innovative and always dark and doomy. Dear is exactly that, and a 2017 year end list wouldn’t be complete without it.
– Cervante Pope
38. Kendrick Lamar – DAMN.
He did it again. From the dramatic “BLOOD.”/”DNA.” first act, to the sensitivity of “LOVE.,” Lamar holds back even less on doing right by his city of Compton.
– Alex Muñoz
37. Lana Del Rey – Lust For Life
Featuring a much more happy and lively theme than previous work, Lust For Life is an album that provides an escape from reality while alluding to the current political climate.
– Sophia Gragg
36. Soulwax – From Deewee
The question facing fans of Soulwax with the release of From Deewee was simple: how would they follow-up the monster of an album that was 2005’s Nite Versions? From Deewee makes for another impressive release of electronic music from this Belgian group.
– Matt Matasci
35. Feist – Pleasure
Feist continued to provide listeners with quirky and whimsical tunes with the release of her fifth full-length album Pleasure. Each track takes the listener to another headspace, having its own reasons to be someone’s favorite song on the album.
– Jamie Hampton
34. Primitive Race – Soul Pretender
Soul Pretender is the perfect second album of the ever-changing supergroup Primitive Race. Chris Kniker, the creator of the group, engineered a masterpiece, featuring the vocals of the now late Chuck Mosley of Faith No More.
– Caitlin Herrera
33. Queens of the Stone Age – Villains
Queens of the Stone Age delivered another hit this year with Villains. With standout songs like “The Way You Used to Do” and “Villains of Circumstance” it’s catchy, rhythmic and made for new fans and old.
– Caitlin Herrera
32. Laura Marling – Semper Femina
British folk darling Laura Marling’s sixth album is both earthy and ethereal, exploring themes of femininity and identity with deep sensitivity and sensuality. Mature and confident, the Grammy-nominated record is her best work yet.
– Phoebe Silva
31. Lorde – Melodrama
Capturing emotions like no other, Lorde’s self growth plays a huge role in Melodrama. Challenging the pop scene with her intimate vocals and bittersweet tones, this album exemplifies the outcome of maturing musically and as a person.
– Sophia Gragg
30. Portugal. The Man – Woodstock
It has the grooviest track of 2017 on it, combines synths and killer melodies and most importantly, makes you think. That’s The Lords of Portland and their stellar 2017 album Woodstock.
– Ally Tatosian
29. Pixx – Age of Anxiety
This is one of those album titles and covers that, after one glance, the listener just thinks, “Yup. That’s a 2017 album.” Anxiety is a strikingly accurate summary of the time we live in, giving off a barely-tempered stress in the dissonant chords that appear here.
– Alex Muñoz
28. Wavves – You’re Welcome
The sixth album from the garage, pop-punk band lives up to the title of the album — a message to all their long time fans. You’re Welcome offers up a further evolution of the catchy, head-banging, good ol’ rock n’ roll we always loved.
– Ally Tatosian
27. Septicflesh – Codex Omega
A hard-hitting, gargantuan album nestles Septicflesh into a spot they wholly deserve. Codex Omega brought so much to the table in its beautifully-complex rhythms, dastardly vocals and glorious string ensembles. Every track from “Dart Art” to “3rd Testament” has something to listen for and praise, showing that Septicflesh are only getting better at what they do with each and every album installment.
– Jon Weigell
26. Kid Koala featuring Emilíana Torrini – Music To Draw To
Kid Koala doesn’t demand a listener’s attention, he simply guides it. Through hills and valleys, mountains and canyons, every imaginable sound takes place on every single song. “The Observable Universe” blends a soothing bass and a static whine. “Fallaway” exercises a theremin and a fragile singing voice. The album will lull anyone to the brink of nirvana, it whispers for you to float away into the stars.
– Drew Pitt
25. Melvins – A Walk With Love and Death
Continuing to show The Melvins’ desire to break through any and all boundaries, A Walk With Love and Death is another rambunctious addition to the band’s impressive catalog. From the crazy song titles to the decision to separate the album into “Death” and “Love,” there is a true display of artistry in the songs here.
– Caitlin Herrera
24. Wolf Alice – Vision of Life
Vision of Life is a beautiful amalgamation of genres such as shoegaze, grunge and electronic. The contrast between tracks like “Yuk Foo” and “Sadboy” showcase this blend. The roller coaster of vocals that Ellie Rowsell presents are confrontational, yet at other moments can be soft-spoken. The group solidified their position in the English rock scene with this excellent second studio album.
– Chris Fastiggi
23. Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister / Planetarium – Planetarium
Defying genre and borders, Planetarium is a celestial opus the likes of which the world has never seen. The 2012 touring collaboration of Sufjan Stevens, The National’s Bryce Dessner, composer Nico Muhly, and drummer James McAlister, commissioned by a Dutch music hall, has come to this: a proper album release. 17 tracks, 76 minutes, a ceaseless exploration of our ever-expanding universe. Ambitiously elaborate, equal parts gloomy and ambient, and uniquely palatable, Planetarium reimagines what it means to be just a speck in our cosmos.
– Ben Jardine
22. Father John Misty – Pure Comedy
Josh Tillman’s third album under the persona of Father John Misty is a stunning meditation on all the bittersweet complexities of the human condition. In a staggering display of creative vision, Tillman and his team have mastered the concept album, picking up Grammy nominations for Best Alternative Music Album and Best Recording Package.
– Phoebe Silva
21. Alessandro Cortini – Avanti
It’s rare to find someone even touching the level of one of the all time greats. With Avanti, Cortini has managed to carve out a place for himself alongside legendary artists like Tim Hecker and Brian Eno. Beauty like this doesn’t just arise out of thin air, yet Cortini makes it seem as though it floated in on the crests of waves. This album is every emotion playing at once, it is soul rending in grandeur. Ambition like this is hard to come by, and harder to make sound as good as this does.
– Drew Pitt
20. The Black Dahlia Murder – Nightbringers
The Black Dahlia Murder came back with an energized consistency on Nightbringers. The album accomplishes an impressive feat in technicality while maintaining the band’s much sought after death metal sound. While it is not necessarily anything unexpected, The Black Dahlia Murder continue to deliver up to and past expectations with every album release; 2017 was no different.
– Jon Weigell
19. Tyler, The Creator – Flower Boy
Tyler, The Creator is finally up for a Grammy, and not a moment too soon, thanks to his most personal release to date, Flower Boy. As someone who’s taken a tremendous amount of heat over his career due to his brash personality, lines like “tell these black kids they can be who they are” hold extra weight now. He’s finally receiving significant mainstream acceptance while still refusing to compromise the elements that have endeared him to Odd Future fans from day one. The album benefited from an elevated level of sincerity as he scaled back the abrasiveness in favor of lush melodies.
– Kenan Draughorne
18. Miranda Lee Richards – Existential Beast
“History repeats” is the simple theme sung on the first track, “Ashes and Seeds,” and seems to be the premise for this album, which examines the political turmoil our country has been facing. The psychedelic folk and alt-country songs, which are reminiscent of the ‘70s Los Angeles rock sound, are the perfect vehicles for Richards’s messages. Dreamy sounds from Mellotrons and pedal steel guitars are accompanied by Richard’s ethereal voice. Lyrically, the tracks carry a breadth of poetic beauty. Things are wrapped up on a hopeful note with “Another World” where references her home state, “California don’t throw yourself to the sea / You were part of a bigger picture.”
– Emerson Oliver
17. Sweet Apple – Sing The Night In Sorrow
Sweet Apple’s Sing The Night In Sorrow is a dirge lovers wet dream. The band itself is a legit supergroup, although most would never know. Most notably, Dinosaur Jr. and Alt-God-elite J. Mascis and his instantly recognizable guitar are sprinkled throughout the record. However, it’s John Petkovic and his sincere songwriting about loneliness that echoes the barren landscapes of his hometown of Cleveland that shines through the muck. Sprinkle in the cigarette-scarred baritone of Mark Lanegan and the frenetic energy of Guided By Voices’ Robert Pollard on some songs and you have one of the best records of the year.
– Brian Furman
16. Nicole Atkins – Goodnight Rhonda Lee
Returning to the studio after getting sober, Nicole Atkins set to strip away her rowdy rock n’ roll past to rediscover her own voice. That voice, truly one in a generation, is more powerful and stunning than ever on her rootsy, soul-infused fourth album. Steeped in classic country, retro pop and jazz, the record is a non-stop joyride full of heart and hard-earned wisdom. By putting her former party girl persona (referenced by the album title) to bed, Atkins has claimed her rightful place in the American music idiom alongside Amy Winehouse, Aretha Franklin, Carole King and Janis Joplin.
– Phoebe Silva
15. The New Pornographers – Whiteout Conditions
Few might have expected The New Pornographers to last this long. The group began seventeen years ago, as a side-project for semi-famous Vancouver-based musicians, but now, seven albums later, they have climbed to heights even frontman A.C. Newman may not have predicted at the band’s genesis. Whiteout Conditions sets itself apart from other music of 2017 because it plays like a rhythmic rock meditation, a remarkable insight into 2017’s political neuroses.
Full of effusive hooks, quick tempos, and the Newman-described “Krautrock Fifth Dimension” influence — this power pop album is a formidable recount of the year’s collective fears. Titular track, “Whiteout Conditions” is a slippery reflection of depression and Newman’s artistic challenges; and the anti-Trump anthem “High Ticket Attractions” packs bite into lyrics and musicality, with synth needlework weaving the panic of our post-election blues. Whiteout Conditions combines the best parts of the band’s earlier songwriting efforts with the power-pop influences of Arcade Fire and Spoon. The result is a propulsive and introspective look at the 21st century human condition.
– Ben Jardine
14. Torres – Three Futures
Three Futures, the third album from indie rock artist Torres, is the best release from her auspicious output yet. While earlier releases relied more heavily on guitars and a rock sound, this release opts for a halcyon glow. Where straightforward chords once existed, this album is awash in a delicate patience of elegant angular melodies and flouring synths.
Much like St. Vincent’s stunning turn in her breakthrough 2011 release Strange Mercy, Torres here wisely evolved her sound into a minimalist delight using sparse instrumentation and negative space to make an overall alluring composition. It’s the extra room here that allows you to fall into these songs. Each has just enough for what is needed to make it successful.
– Raymond Flotat
13. Mark Lanegan – Gargoyle
Lanegan proves once again that, with his 10th solo album, he can musically stand the test of time. “Beehive” and “Death’s Head Tattoo” are filled with room for his voice to drift off into the makeshift sunset our ears are carried to, with wondrous guitar and drum accompaniment.
Lanegan’s work with Screaming Trees, Queens of The Stone Age, numerous star-studded collaborations and years in the business have shown that, like a gargoyle, he fends off those from seeing him too well and getting to the root of his passion but gives glimpses when the time is just right.
– Ally Tatosian
12. Zola Jesus – Okovi
Zola Jesus treads heavily and decidedly into the murky waters of depression and mortality on her latest album Okovi. Nika Roza Danilova candidly pens lyrics exposing her vulnerabilities and pairs them with hard-hitting instrumentals full of anger, frustration and chaos. Though Okovi begins and ends on quieter, slower notes reminiscent of hymns and orchestral pieces, the body of the album travels through the peaks and valleys of hellish human anguish. From the war-minded cries and the piercing strings layered atop insistent drum beats on “Exhumed” to the sour, menacing ambience and “Veka,” which deals with Danilova’s skepticism of the capacity that art and the legacy that follows it can capture a human being’s true essence, Okovi transcends earthly concerns and reaches deeply within.
– Vanessa Phan
11. LCD Soundsystem – American Dream
With an already-stellar discography, fans of LCD Soundsystem wondered how after a five-year hiatus and seven years since their last album, the electronic rock band would be able to meet expectations. Singer James Murphy and rest of the gang topped these expectations in most cases with their honest and sometimes frantic ode to aging, fear and moving on from their hipster heyday. Punchy ‘80s disco-funk grooves cover the album and lyrics range from cries for existential meaning to some commentary on the state of politics in the country. And it’s nominated for a Grammy. Not too bad for a reunion album.
– Emerson Oliver
10. Dead Cross – Dead Cross
Few hardcore records these days have the youthful energy and raw vision of the genre’s early years, but Dead Cross sounds straight out of a suburban high school thrash metal show. The fact that all of its members are seasoned musicians only adds to the grit, delivering high quality sound with a clear appreciation for the anti-frills tradition. Dead Cross initially formed with seasoned hardcore vets Gabe Serbian and Mike Crain plus scene legend Justin Pearson and legendary drummer Dave Lombardo of Slayer. Serbian left the group, making way for the addition of Mike Patton of Faith No More on vocals, whose contributions take the project to the next level..
Between the hypno-skeleton artwork and the choice to cover “Bela Lugosi’s Dead,” the album is vintage hardcore through and through. Patton’s vocal style adds a punk twist reminiscent of Jello Biafra or Kathleen Hanna, especially evident on “Divine Filth.” Dark, aggressive guitar accompanies songs about doom and gloom and Jesus Christ, making the album a refreshing homage to the metal heroes of their heyday. Their self-titled debut is what happens when a bunch of old hardcore buddies get together and jam in their basement with an 8-track, except they all just happen to be successful top-shelf musicians.
– Kellie MacDougall
9. Ulver – The Assassination of Julius Caesar
How much can be said of Ulver, the band that never stopped changing? In another Kanye West-style feat of transformation, they change again on The Assassination of Julius Caesar. They used to be black metal, though it would be impossible to guess listening to this album, which bears more resemblance to an ’80s synth-goth outfit. Dedication to evolution is one thing, ensuring that each change is a successful turn is another entirely.
There is something very true to the assertion that Ulver is the most talented costume change band in history — they even do it multiple times on this record. “Nemoralia” sounds like it could be played at Hawkins High School for a homecoming slow dance, while “Southern Gothic” takes the same vocal tones and applies a much more aggressive arpeggio of synths into the mix. No band changes like this; better still, no band has ever had so much success across so many styles of music. Who could know what Ulver has planned next?
– Drew Pitt
8. Mount Eerie – A Crow Looked At Me
Poignant and heartbreaking, this album finds singer-songwriter Phil Elverum dealing with the death of his wife, an artist and mother of his child, who passed away in 2015. The beauty, if one wishes to call it that, is within the painfully honest lyrics, a realistic attempt at understanding how to live when a person you love can one day somehow be gone. It’s raw and lifelike, from his thoughts on geese, flowers and forest fires, and all the introspective meditation necessary for a grieving individual. Elverum calls it “barely music,” given the soft, understated guitar work, but it’s the appropriate medium to speak directly to his late wife, and then by extension the sympathetic listener. Art can be used in so many different ways, and this is it in its most heart rending and moving form. It’s overall a touching tribute to the healing process told through music.
– Emerson Oliver
7. Chelsea Wolfe – Hiss Spun
A dark, ambient and eclectic piece soared out of Chelsea Wolfe in the form of Hiss Spun. This goth rock masterpiece sets the bar for intensity and beauty in its eventful 12-song selection. While songs like “16 Psyche” and “Twin Farm” give a doom-y or hard-rock vibe, we’re also treated to a moody and hypnotic ambient breeze in “Vex” and “Two Spirit.” The variation within and between songs goes a long way for the career of Chelsea Wolfe and her work to come. 2017 marks an impactful LP return for Chelsea Wolfe and a huge jump for the gothic doom genre as a whole.
– Jon Weigell
6. Karen Elson – Double Rose
Karen Elson released her second album this year and it was one of the stand out albums of 2017 for the calm vibe achieved through her great musicianship. Elson shows the strength of her songwriting abilities and the lyricism on the album as a whole. While listening to the album, each song offers a different experience for the listener, transporting them through the emotions projected by Elson. The whimsical nature of each song on Double Rose encompasses the listener, placing them into another world. The soft, dreamy feeling of the album lingers, begging for repeat listens. Elson’s amazing vocal control achieves a sound few other artists could hope to create.
– Jamie Hampton
5. Gary Numan – Savage
Gary Numan released one of the best albums the synth-pop genre has ever seen; it is a genre-defining record. Numan was already considered by many to be one of the forefathers of synth pop, now in 2017 he has showed how to push the boundaries of the style. Savage provides listeners so much to enjoy, from the slick electronic production to the powerfully engaging vocals. The album also remains highly innovative, taking the original synth pop sound that Numan is known for and evolving it, creating a refreshing listening experience.
By intertwining both melodic and edgy elements on the album, Gary Numan gives fans a listening experience that shows both the darker and lighter sides of his work. At times the album has a gritty, industrial feel and at others it much more melodic and lulling. Numan creates this varied experience with masterful precision and astounding musicianship. All around, this album is a must listen, whether you are a fan of synth pop or otherwise. With the numerous musical acts that he has inspired, Gary Numan resets the bar high.
– Will Burton
4. Austra – Future Politics
Toronto-based synth-pop group Austra released their politically charged album, Future Politics this year. The album pairs upbeat dance tempos with light synths and trembling, operatic vocals. Singer Katie Stelmanis’ voice is strong and precise, her rhythmic style looming over the beats and synths as she sings in harmony with the instrumentation.
While the tempo keeps upbeat throughout Future Politics, there is a darkness and depth to the otherwise thin layers of sound that are sure to pique the listener’s curiosity. There is a variety of electronic sounds produced, from the low pulses and high operatic tones from “I’m A Monster” to the more pop-forward “I Love You More Than You Love Yourself.”
Politics come to the forefront in songs like “Future Politics” with lyrics like “The system won’t help you when / Your money runs out.” Stelmanis also comments on and ponders love and life itself in “Utopia” as she sings “A women screams, she’s looking for meaning behind / A man who made her cry her whole damn life,” speaking from her feminine perspective. “Deep Thought” leaves the listener in a dreamlike state, providing a beautiful harp inter-mezzo before the album completes with another electro-forward track, “43.” Future Politics is a message needed in today’s world, delivered in pleasantly digestible sounds.
– Ilana Tel-Oren
3. Slowdive – Slowdive
After a 22-year hiatus, Slowdive are back in a big way with a self-titled release. These eight new dreamy tracks reveal that Slowdive haven’t missed a beat since they first formed in the ‘80s, as they compile influences from their shoegaze roots and all that’s good about today’s post-punk and dream pop scene.
It’s easy to see the impact Slowdive have had on today’s indie rock bands, with dreamy yet driving songs songs like “Star Roving” and “Everyone Knows” drawing clear lines to DIIV and Wild Nothing’s modern-day sound. And while most of these tracks encompass that wash of sound that shoegazers revel in, Slowdive showcases thoughtful compositions, often adding arpeggiated pianos and hair-raising build ups and breakdowns, as seen in “No Longer Making Time” and “Falling Ashes.”
Opening track “Slomo” sets up the album for success, showcasing subtle, delicate soundscapes and reverberating vocals paired with shimmering guitar layers in a minimalistic yet captivating sequence. With each track, the vocals of Rachel Goswell and Neil Halstead simply dance off each other, and are often secondary to the instrumentation as they glide over the soundscapes.
There’s what can only be described as a “melancholic depth” to Slowdive. What makes this album so special is that each track stands out – there isn’t one song that’s necessarily more or less interesting than the other. It’s truly an enjoyable listen and a strong comeback as we reflect on all the bands that have been influenced by Slowdive in one way or another.
– Ilana Tel-Oren
2. St. Vincent – Masseduction
The last few St. Vincent records have left the music world wondering, “How can Annie Clark ever top this?” Strange Mercy and St. Vincent topped our Album of the Year lists in 2011 and 2014, respectively — pretty tough acts to follow. But St. Vincent only builds off that momentum on Masseduction, putting on display an artist who is working at the height of her songwriting abilities – it truly feels like there’s nothing this woman cannot do.
Now a staple of alternative radio, “Los Ageless” impresses with its off-kilter stomp, electronic-music undercurrent and a surprisingly infectious refrain. The swelling ballad “New York,” which details a relationship’s demise in stunning fashion, has all the trappings of a mega-hit. St. Vincent has been known for collaboration in the past and for Masseduction, worked with Jack Antonoff, one of the music industry’s hottest producers/songwriters.
Masseduction begins with a bang, kicked off by the churning “Hang On Me” and blissfully-sarcastic “Pills” – the latter featuring an extended Kamasi Washington saxophone. Side B is propelled by highlights like “Young Lover,” “Fear the Future,” and of course the aforementioned “New York.” What a privilege it is to witness this master artist operate at the prime of what promises to be a long and successful career.
– Matt Matasci
1. Myrkur – Mareridt
When determining one release that could be recognized as album of the year, it can be an impossibly hard task. When fully absorbing the realm of music in a given year without being beholden to what lands as the niche trend of the year, dozens of different releases could plausibly be “Album of the Year.” This requires looking for something that truly goes beyond mere quality. Something that reaches for the pinnacle of inspiration and sonic resonance. This year, only one album truly delivered a combination of elements that seemed to fly high above what every other band had assembled. Enter Danish musician/singer Myrkur’s second full-length album: Mareridt.
This project Myrkur is the pseudonym for Danish musician Amalie Bruun. mxdwn has been following Bruun’s career fervently ever since her project Ex Cops with Brian Harding came on the scene. Myrkur was initially unveiled without a clear identity for the person behind the band. Bruun’s name was unveiled later after the project instantly took off. While at a simplistic level, Myrkur’s music could be referred to as black metal, Bruun has taken this project already to operatic heights.
Here, she reinvents what metal could be fearlessly. Using the best methods of black metal (blast beat drumming, shrill histrionics) but mutating them constantly with a bevy of traditional folk instruments and serene falsettos vocals, Mareridt twists and turns without regard for the tropes that have handicapped metal music for years. The album’s title itself the Danish word for nightmare, the music begins ominously on the opening title track, a splash of synths and an unnerving wordless voice ring out, almost like a ghost emerging from a lonely, half dead forest. “Måneblôt” is an explosion of frantic drumming in terrifying screams. As the record progresses, everything is in flux from there. “The Serpent” plods forward under pummeling chords; “Crown” is angelic flutter of strings and multi-tracked vocals; “Elleskudt” blends the two, taking the assaulting d-beat and haunting upper register of Bruun’s voice and driving it to its conclusion, a fearful hopelessness befitting any inescapable night terror.
The artistry here is so multi-faceted that it defies convention. No one is thinking this way when it comes to the world of heavy music. In an insular genre, seemingly trapped between what it needs to feel safe and unwilling to do anything to evolve, Mareridt blows the doors off all established conventions. It manages to be plucky and folksy (“De Tre Piker” and “Kætteren”), fierce and menacing (“Ulvinde”) and at times achingly beautiful (“Gladiatrix”). There’s never been a metal album like this, and it’s about damn time.
– Raymond Flotat
Photo Credit: Raymond Flotat
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