Hey, it’s that time of year again! That’s right, the time of year when I look back on the random-ass music I’ve listened to, most of which no one has heard of or cares about! If you’re curious about last year’s picks, you can read the list here. I decided to change up the title of these lists going forward because, while “Favourite Albums” is less wordy, by no means do I want people seeing some of the low-ranked crap on this list and thinking it was one of my favourite albums of the year.
Also, in February I had the pleasure of seeing In This Moment and P.O.D. in Detroit, along with opening acts New Year’s Day and Ded! It was a fantastic time and I’m so glad that I got to see two of my favourite bands live. Was also a great experience to share with with my fiance, along with my longtime friend and fellow blogger at The M.
19) Evolution, Disturbed
Oh how the mighty have fallen. About a decade ago, I would have said that Disturbed were one of my favourite bands. You could justifiably say that their songs all sounded pretty similar, but it was hard to deny that they weren’t refining their sound for the better with each successive album.
…and then the big four-year hiatus happened. At the time I had hoped that this break might give them a creative refresher, but their triumphant return Immortalized was anything but triumphant. It was a creative mishmash and definitely felt like the band’s first major step backwards. The only breath of fresh air was the band’s surprisingly evocative cover of “The Sound of Silence”, which became a major radio hit and changed the public perception of the band. This surprising hit most clearly influenced the band’s direction on Evolution, as Disturbed splits the album evenly between their traditional hard rock sound and slowed down ballads… and the results make me wish that “The Sound of Silence” never happened, because Evolution sucks.
The album opens with “Are You Ready”, which is probably the best song on the heavier-half album, but doesn’t really hold a candle to Disturbed’s previous singles. It also doesn’t help that it’s a totally empty protest song that doesn’t dare make any sort of actual statement. Bland, uninspired and not daring enough to make any sort of statement is pretty much what you could say about almost all the heavy songs on this album. Considering that Ten Thousand Fists had “Deify”, an overtly political song criticizing the presidency of George W. Bush, you’d think that Disturbed could find something to take a stand on, right?
If Evolution was just a bunch of bland heavy tracks, it would be a mediocre album, but it wouldn’t be awful. However, half of this album consists of slowed-down ballads which make you realize that Disturbed don’t really understand why “The Sound of Silence” was such a hit for them. For one thing, the songwriting is (again) really bland at best and the slowed down tracks utterly waste the talents of the rest of the band. David Draiman seems to be going for an inspirational tone with his singing, but when the most “inspirational” track “Hold Onto Memories” has nothing more to say than “appreciate life”, it comes across as weak. Album closer “Already Gone” ends the whole thing on a dull, unsatisfying note. Even worse, the album has four bonus tracks on the deluxe edition, one of which is by far the best track on the whole album, let alone the best ballad: “Uninvited Guest”. The fact that it’s a bonus track is baffling and I can’t help but think that this was done for cynical reasons to shift copies of the deluxe edition.
As a longtime fan of Disturbed, I say with confidence that Evolution is the worst album that they’ve ever released. It’s just a total mess and far from the step forward that the title would imply. Even if the individual songs didn’t range from mediocre to bad, the album’s structure just makes things worse, threading between heavy and slow songs haphazardly and with little sense of flow. By the time the album comes to an end I literally said “wait, that’s it?” Immortalized was bland enough, but after this album, all I can think is that it’s about time that I evolved beyond Disturbed.
18) And Justice for None, Five Finger Death Punch
As you might have gathered from my recent blog post, I really hate Five Finger Death Punch, so the fact that their newest album comes in ahead of Disturbed should just further illustrate how bad Evolution is. On paper, they seem like the sort of band that I should like: I had heard a bunch of songs of theirs which were really enjoyable and I typically enjoy aggressive, angsty heavy metal. However, Five Finger Death Punch embodies the absolute worst elements of that type of music, pushing their macho rhetoric to the point of toxicity. A band can only rage so much at the world, blame everyone else for their problems and posture about how they’re going to beat your ass before they come across as a bunch of whiny losers instead of the badasses that they think they are. This also isn’t helped by the fact that their songwriting is some of the most embarrassing stuff I’ve ever heard, repeating the same kinds of macho phrases and chalked full of swearing thrown in for no other reason than because they think it makes them sound tough. The end result is a “tired formula that makes wannabe badasses swoon”. They might be the only metal band that I actually like more when they’re selling out for radio hits, as their slowed down stuff tends to be better written and lacks the toxicity of their typical material. Their radio hits also tend to be covers, which admittedly they are usually fantastic at and really give a unique spin to (again, not having to write their own material helps significantly). It’s actually too bad that FFDP’s songwriting is so cripplingly abysmal because they clearly are a talented band that can make good music.
Anyway, that brings us to And Justice for None. I skipped Got Your Six when I heard just how lame the lead single “Jekyll and Hyde” was, but it’s immediately obvious that the band hasn’t changed a bit since I last checked in on them. For what it’s worth, the album is 100% typical FFDP. There are some enjoyable songs (“Top of the World” and, awful title-pun aside, “Sham Pain”), some good songs (“Blue on Black” and “Gone Away”, both of which are covers which just further illustrate this band’s strengths and weaknesses), lots of mediocre stuff and some utter garbage (“Rock Bottom” and especially “Fake”… just look at these lyrics and try to imagine taking them seriously). Unexpectedly, the second half of the album is actually somewhat slowed down compared to the first half, kind of like Evolution (although it never goes quite that far into ballad territory). This works better than expected since it actually makes the album itself have some flow to it, although I feel like it’s ultimately just a weak attempt to pander to a wider audience.
Like I said at the start, And Justice for None is better than Evolution, if only because I know for a fact that I’m going to come back to some of the songs on this album again someday. While it definitely has its lower points and hasn’t changed my opinion on FFDP in the slightest, at least it has some moments of enjoyability.
Also, just because I don’t have anywhere else to put this, have a good laugh and look at this stupid fucking mic-stand that FFDP uses!
17) Oblivion, Smile Empty Soul
This is the first entry on that made its way onto this list thanks to random Spotify recommendations. While listening to a random discover station, the song “Bottom of a Bottle” came on and I was digging the sound, while also being floored by the brazenly hedonistic lyrics (although apparently they’re meant to be metaphorical, you’d never know it though) and the ridiculously emo band name. I was pretty intrigued in any case and decided to check out Smile Empty Soul when I saw that they had a new album named Oblivion. Unfortunately, Oblivion is pretty forgettable and has basically turned me off from bothering to spend much more time on Smile Empty Soul. Oblivion is a passable but mediocre post-grunge hard rock effort that doesn’t seem to have much to say (the fact that their one protest song is yet another “the whole system sucks!” anthem is distressing). Hell, the only song which had any sort of impact for me was “Small Incision”, which is just a short, moody piano interlude… yikes. If you’re into post-grunge then you might enjoy Oblivion more than I did, but I can say with reasonable certainty that this is an album I will probably never listen to again.
16) The Hallowing of Heirdom, Winterfylleth
Winterfylleth are a band that I got into early this year while hungering for something to fill in that Agalloch-shaped folk metal hole in my soul. Winterfylleth don’t exactly meet that lofty expectation, but they do put out some decent black metal, even if all their songs all sound pretty similar. Their last album, The Dark Hereafter, took some steps to differentiate each song and incorporated more clear folk influences, which was a welcome step and which made seeing where they were going to go in the future more exciting.
When a new album for 2018 was announced, Winterfylleth were quick to clarify that they were doing something completely different and it’s probably a good thing that they did so. Whereas their previous albums were raw, black metal with plenty of folk inspiration, The Hallowing of Heirdom goes full-on traditional English folk music. It’s an understandable fit for the band considering the style that they’ve carved for themselves, but it’s a major departure from their usual sound and definitely takes some getting used to.
For my own part, I don’t have a ton to say about this album. I preferred the harmonizing of black metal and folk on The Dark Hereafter, but The Hallowing of Heirdom presents an intriguing experiment for Winterfylleth. I just hope that this isn’t indicative of the band’s long-term future. The Hallowing of Heirdom is a decent album, really well-crafted and beautifully atmospheric, but it’s also just not really something I can see myself listening to on a regular basis. It would make for really atmospheric background music in a Dungeons & Dragons session, but that’s about the only way that I can see myself interacting with this album again.
15) The Now Now, Gorillaz
Gorillaz usually release one album per presidential term. This irregular cycle has left me wondering if the band had dissolved unceremoniously on more than one occasion, although it does give new albums an “event” status and a provides a unique flavour on each release. The one time they broke this pattern was with 2010’s The Fall, which was recorded on an iPad during the touring for Plastic Beach, which was released less than a year earlier. It was by far their weakest and most throwaway album at the time, owing to its spontaneous and experimental nature.
I mention all this because The Now Now came out just as unexpectedly, a little over a year after last year’s Humanz and I was left wondering whether it would be another The Fall. The Now Now is thankfully better than that, although it definitely feels like a “lesser” Gorillaz release. The album has a very chill tone to it, much more cohesive than the chaotic grab bag that was Humanz and with far less guest contributions. That said, the only big standout is “Hollywood”, which meshes the album’s chill tone with a really mesmerising house/dance sound. Other than that, none of the songs really stand out to me as being anything special. The Now Now isn’t a bad album, it it lacks that special feel that a Gorillaz release typically has. I know Damon Albarn has said that he doesn’t know how many more years the band has left in it so he wants to release albums while he can, but if that means that we get more albums like The Now Now rather than a Plastic Beach or Demon Days, I question if it’s worth it.
14) Attention Attention, Shinedown
Shinedown are one of those bands that I have heard and enjoyed on the radio, but have never really looked into. However, when I heard that there was a new Shinedown album out and that it was supposed to be pretty good, I decided to give it a look. I had always dug tracks like “Devour”, “Sound of Madness” and “Cut the Cord”, they had an undeniable, hard-hitting energy to them which always made Shinedown stick out amongst the hard rock crowd, so I was excited to see how Attention Attention would harness that. Unfortunately, this expectation might have blunted my enthusiasm for the album, because Attention Attention is very unlike Shinedown’s heyday. There are some fairly heavy songs, such as “Devil”, “Black Soul”, “Evolve” and “The Human Radio”, which are where the album shines brightest. However, Shinedown have apparently taken a turn into pop rock on Attention Attention, because the album as a whole is much lighter and poppier than their previous work. Like, throughout this album Shinedown sounds like a heavier version of Imagine Dragons (most evidently on “Darkside”). Attention Attention isn’t exactly bad, it’s just not my thing at all and is just even more disappointing considering that it’s not the sort of product that I look to Shinedown to create. Maybe you’ll dig it, but I definitely did not.
13) Outsider, Three Days Grace
Other than what I hear on the radio, I’m not particularly familiar with Three Days Grace’s catalogue, other than the fact that founding singer Adam Gontier (the most notable aspect of Three Days Grace’s sound) left the band a few years ago. I figured that would be the end of the band, but here were are with the second post-Gontier Three Days Grace album and they seem to be going about as strong as ever. In fact, there are some songs here on Outsider, such as “The Mountain” and “Infra-Red”, which are about as great as any of the other major hits of the band’s earlier years. That said, the album is very much typical Three Days Grace, for better or worse. If you already have feelings about Three Days Grace’s brand of angsty, radio-friendly rock, then they are unlikely to change any. For my own part, I feel like Outsider has a few strong songs, but most of the album is fairly forgettable and is unlikely to leave a major impact.
12) Erase Me, Underøath
As someone growing up with Christian metal, I’ve always been aware of Underøath, but I’ve never really listened to them. This puts me into a weird place with Erase Me, as I have no real measuring stick for this album’s place in their career. What made me check this album out was the story of the band’s lead vocalist and last-remaining founding member, Aaron Gillespie. To put it simply, Aaron had a major falling out with evangelicalism and came back to Underøath on this album with a new direction for the band. Rather than continuing to just crank out music for the Christian music scene, Underøath are just playing what they want, including such “controversial” things as swearing in their music (as the reaction to P.O.D.’s Murdered Love shows, this is a MAJOR no-no in the evangelical scene). Honestly though, the controversy is pretty silly to me because thematically this is still very much a Christian album, featuring songs about hope, sacrifice and struggles which somehow get completely invalidated by the fact that Aaron punctuates them with a very real and raw “fuck” on occasion. Interestingly, these struggles with faith might have actually led to some legitimate angst which those who have had a falling-out with religion can relate to. Songs such as “ihateit” are infectious and enjoyably angsty and there’s a strong metalcore vibe to most of the album.
That said, the music itself is going to be hit-or-miss for some people. On the one hand, their evangelical fanbase has been turned off out of the gate. Furthermore, metalcore fans might be turned off by the electronic elements of the album, such as “No Frame” which almost sounds like a weird pop song. Even general audiences could be turned off by the fact that Erase Me ultimately just sounds like well-made but fairly generic metalcore. I’d say that Underøath are clearly talented and make some pretty good music, but it suffers a bit for being a tad generic. It’s kind of unfortunate, I was so primed for this album and the mindset behind it, it’s just so much more compelling than the actual music is.
11) Ember, Breaking Benjamin
Breaking Benjamin are a band I’ve passed over for most of my life, but I’ve finally started getting into them late into this year. I like the band’s heavy, dour and angsty sound and thought that I would check out their newest album, Ember. A couple tracks in and I was having a pretty great time – “Feed the Wolf” and “Red Cold River” were very enjoyable, if a bit samey and very much in the mold of Breaking Benjamin’s usual fare (if a tad heavier that previously). However, as the album progresses, it becomes increasingly obvious that “that usual fare” is all that Breaking Benjamin is interested in producing, because all of the songs on Ember sound very similar. Some songs are a little better than others, but they basically all have the same sort of sound, the same tone and same angsty themes that Breaking Benjamin have been mining for their entire career. The only songs which change things up at all are “The Dark of You”, which is quietly moody, and “Close Your Eyes”, which is basically the same as the rest of the album aside from the fact that it’s the only song with any sort of hopeful tone to it. Other than that, Ember is only really going to appeal to you if you already are really into Breaking Benjamin’s sound. When the tracks are all so samey, only the strongest ones actually stand out, making half of the album pretty much throwaway. Ember certainly isn’t a bad album – in fact, I quite like it. However, the lack of ambition and willingness to try something different makes it considerably less than it could have been.
10) White Nationalism is for Basement Dwelling Losers, Neckbeard Deathcamp + United Antifascist Evil, Neckbeard Deathcamp/Gaylord
I’m putting these two entries together since they basically sound the same. Neckbeard Deathcamp is a pretty good black metal act that shot into prominence early this year with the amazingly anti-alt-right White Nationalism is for Basement Dwelling Losers, which was quickly followed-up with a split EP with Gaylord, United Antifascist Evil. Neckbeard Deathcamp are satirical geniuses, everything from the album covers, to the song titles, to the lyrics (“Chrischan Conservatism”, “Incel Warfare” and “Please Respond (I Showed You My Penis)” are probably my favourite songs of theirs) and even the band’s pseudonyms are absolutely amazing. Neckbeard Deathcamp absolutely hate the resurgence of the extreme right and have provided us with an appropriate soundtrack for the times that we’re living in. The only reason I don’t put them higher on the list is because of the low production quality and that the awesome lyrics are wasted on growled vocals (I know that that’s the scene they’re in, but it’s still unfortunate that you can’t hear any of it). Still, the releases are only a couple of dollars each and the music is still pretty solid black metal regardless, so if you’re interested then they’re definitely worth checking out.
9) Space Nazis Must Die, Countless Thousands
Space Nazis Must Die is a charming little bit-sized EP from Countless Thousands. The titular song plays very much like a track from their debut album called “The Devil & Davey Munch”, a delightful narrative-song which is a very obvious “The Devil Went Down to Georgia” homage (for my money, the resulting song is infinitely better than simply covering the Charlie Daniels Band, which most bands would have just gone and done). While “The Devil & Davey Munch” serenaded the band’s bassist (the titular “Davey”), “Space Nazis Must Die” pays tribute to drummer Jon David, who gets to dropkick AstroHitler to death with the power of rock before blasting “The Star Spangled Banner” as a victory celebration and telling all the nazis to “get off my moon”. It’s as epic as it sounds.
Lyrically it’s not as savage or biting as Neckbeard Deathcamp, coming across like more of an anti-fascist power fantasy, but God what a sweet fantasy that is in this modern political climate. And here I was last year saying that I had hoped Humanz would be the soundtrack to the Trump years – nope, it’s anti-fascist anthems like Neckbeard Deathcamp and “Space Nazis Must Die” which are really capturing the modern zeitgeist. Big bands such as Disturbed and Five Finger Death Punch don’t want to get into politics because it affects their bottom-line (hence the toothless nature of Evolution), but indie bands can actually capture the feelings of our times in a manner such as this.
I give Space Nazis Must Die the edge over Neckbeard Deathcamp’s output since you can at least understand the lyrics and it’s just straight-up delightful to listen to. I do wish that it was a bit more substantial (the entire package is about 8 minutes long), but at only $3 it’s hard to consider this an unfair trade-off by any means.
8) Black Reign, Avenged Sevenfold
I have been off of the Call of Duty train for about 7 or 8 years now and never really got into the Black Ops games, so finding out that Avenged Sevenfold have contributed music to all of Treyarch’s entries in those games came as something of a surprise. I mean, a Call of Duty EP from a major metal act? Perhaps even more surprising, there are some really killer tracks on this EP. “Carry On” really shows off the stellar guitar work of Synyster Gates, but “Not Ready to Die” is the real highlight of the album. Oddly enough, the one track written specifically for the EP and for Black Ops 4, “Jade Helm”, is by far the weakest of the bunch, often cutting to silence for seconds at a time as if it’s meant to be used in trailer snippets rather than actually listened to. Still, Black Reign is way better than a Call of Duty EP has any right to be, demonstrating Avenged Sevenfold’s talents in the process.
7) You’re Not Alone, Andrew W.K.
I really love Andrew W.K.’s ambitious, hard-rocking sophomore album, The Wolf, even more than his more popular debut, I Get Wet. However, nothing that he has put out since then has gotten my attention. You’re Not Alone is a decent course correction, feeling very much like a long-awaited follow-up to his first two albums. Everyone knows that Andrew W.K. loves to party, but on You’re Not Alone he combines that with the self-help philosophy that he has been developing over the last several years, to the point where this album almost feels like it’s forming the basis of a cult of partying (such as the highlight “Music Is Worth Living For”). The music itself is a classic Andrew W.K. overwhelming wall of sound, complemented by his awesome harsh vocals (which had been missing from some of his more disappointing releases). I do feel like the album itself, along with some of the songs on the latter half, are a bit too long though and the overall package could have done with some fat trimming. Still, You’re Not Alone is a pretty decent Andrew W.K. release, it’s just still nowhere near the same level as his first two albums and none of the songs stick with you quite as along either.
6) The Sin and Doom, Vol. II, Impending Doom
Impending Doom are, in my opinion, low-key one of the best Christian artists out there. There are few bands in the Christian music scene which could legitimately hold up against other bands within their genre, but Impending Doom put out some brutally heavy deathcore that can be appreciated whether you agree with their faith or not. Funnily enough for a deathcore band, their songwriting is a key component of this – most of their songs tend to have moments which you just want to scream along to. The Sin and Doom, Vol. II doesn’t stray too far from this formula, although it does take a little while to really hit its stride. The first few tracks are decent but don’t particularly stand out from the rest of Impending Doom’s output. However, by the time “The Serpent’s Tongue” comes up, the album really kicks into overdrive. The song itself is somewhat silly, disparaging Satanism in the black metal scene, but you kind of have to appreciate Impending Doom for having the balls to take a stand for what they believe in in this case (it doesn’t hurt that this track has one of those awesome “scream along moments” when lead singer Brooke Reeves shouts “Satan hates you because you’re made in the image of God’s only son!”; a classic Impending Doom moment if there ever was one). If there was any doubt about Impending Doom’s place in this scene after “The Serpent’s Tongue”, that’s totally washed away by the awesome “Unbroken” and “Devil’s Den” (which, again, will leave you screaming “Slaughter the demons that are crawling on my brother’s back!”). It takes a while to really get going, but once it does, The Sin and Doom, Vol. II makes for some really killer death metal. It certainly doesn’t reinvent the wheel, but it’s high quality and really gets your blood pumping and your fist bumping.
5) Circles, P.O.D.
I’m always a bit nervous whenever a new P.O.D. album comes out. They’ve been one of my favourite bands for almost 16 years and were what got me into heavy music in the first place. That said, they always try something different with every new release and I’m never really sure if it’s something that I’ll enjoy, that perhaps their new music will somehow hurt their legacy for me. For their last couple albums, P.O.D. have also been starting to feel like “the old guys in the room”, complaining about the current music scene and hearkening back to a time when music was better (their last album, The Awakening, was made as a concept album for this very reason). Thankfully, Circles doesn’t lean too hard into this negativity and reminded me just why I still love P.O.D. after so many years.
P.O.D. never really stick with one uniform sound from album-to-album. Circles sounds somewhere in the neighbourhood of Murdered Love and Satellite, with tons of different influences dotted throughout the album – lots of heavy hard rock, rap, reggae, funk, punk and even a gospel-flavoured tune. It’s also quite interesting that lead singer Sonny Sandoval raps the lyrics to nearly song on this album, something which P.O.D. hasn’t really done since their earliest albums. I know some people just can’t stand rap-rock, but I think it works and makes for an interesting mixture when you consider all the myriad of influences and styles P.O.D. works in throughout the album.
There are some real standout tracks here: the title track is really good and “Listening for the Silence” is fantastic, with a powerful chorus that you’re going to struggle to get out of your head long afterwards. These are definitely two of my favourite songs of the year, hands down. There are some other big standouts as well: “Rockin’ with the Best” is enjoyably heavy and I can see it being amazing live, “Fly Away” (the aforementioned gospel-inspired track) is really unique and “Soundboy Killa” is a really cool rap-rock fusion which would probably be even more of a standout if the band hadn’t released it as a single more than a year ago (having seen the song live though, it definitely is a killer track to witness). There aren’t really any stinkers on the album, although I’m not sure yet whether I like the really strained screaming on “Panic Attack”, and some of the songs have excessively repetitive and simple choruses. The album could also do with being a little longer (it’s less than 40 minutes in total), but the band really does make the most of each song and I really have to commend them on how they’re still trying to find unique avenues for their sound after 25 years (cough Breaking Benjamin cough). Circles is a very solid effort by P.O.D. and while not every track is top notch, even the weaker tracks are unique enough to be interesting and worth checking out.
4) When Legends Rise, Godsmack
Godsmack can usually be relied on to put out decent music, but they never have hit that “next level” and I’d struggle to say that they have ever put out a truly good album. They’re usually like Breaking Benjamin – releasing music which is largely the same as what they’ve done before. As a result, the fact that Godsmack named their newest album “When Legends Rise” made for a pretty big statement from them. While the album doesn’t really meet the lofty standard of “legendary”, it is definitely the band’s strongest release ever and puts Godsmack on a much more interesting course going forward. When Legends Rise sheds most of the aggression, angst and casual misogyny that defined their earlier, drearier releases, in favour of a more hopeful hard rock sound. It’s still familiar but refreshingly updated and (dare I say it) matured. “Bulletproof” is a particular highlight, sounding very different than anything else Godsmack has ever done and is possibly my favourite song of the year. That said, the album is definitely frontloaded – after the slowed-down “Under Your Scars”, the second half of the album is noticeably weaker than the first, feeling a little more like their usual output. Still, When Legends Rise was a pleasant surprise for me. I wasn’t expecting much, but Godsmack have put themselves onto an interesting track here and I’m very excited to see where they go in the future.
3) The Sacrament of Sin, Powerwolf
Powerwolf feel like the band that was made for me – a musical fusion of metal, werewolves and religious fanaticism. Sign me the hell up! They can usually be relied on to put out great albums, even if their sound and style has been set in stone for over a decade now. Enter The Sacrament of Sin, which goes to show that if you’re not going to reinvent the wheel, then make sure that that wheel is rock solid. Thankfully, even if it’s largely more of the same, Powerwolf have crafted some really high-quality tracks which show off their “metal mass” style (power metal with traditional Catholic mass songwriting and organs). “Demons Are a Girl’s Best Friend” is a particular highlight, as is the powerful “Where the Wild Wolves Have Gone”, which really shows of Attila Dorn’s operatic vocals.
The deluxe editions of The Sacrament of Sin also come with a bonus disc called Cummunio Lupatum, featuring other artists covering Powerwolf tracks in their own style. I was super excited for this because Powerwolf’s last album had a similar bonus disc where they covered some of their favourite music, resulting in some absolutely killer tracks. Unfortunately, Cummunio Lupatum lands with a damp squib because most of the covers are either mediocre or straight-up bad. The only track which is any good is Kissin’ Dynamite’s cover of “Let There Be Night”, which sounds absolutely amazing. If the rest of the covers had been anywhere near as good then the deluxe edition would be a must-buy, but thankfully this doesn’t take away from the more consistent quality of The Sacrament of Sin.
2) Disobey, Bad Wolves
Disobey is the case-in-point on why Five Finger Death Punch’s abysmal songwriting is so crippling. Bad Wolves’ sound is very similar to Five Finger Death Punch’s – their style of metal is similarly heavy, aggressive and, hell, the biggest single off this album is even a cover. The key difference though is that Bad Wolves can write a damn song and don’t make themselves come across as assholes in the process. Disobey has a number of different lyrical topics, although it largely revolves around themes of protesting overbearing authorities. Tracks such as the killer opener “Officer Down” at least flirt with political topics, in this case police violence, which is more than you can say about many of the other toothless “protest” albums on the lower-half of this list. There’s also plenty of musical variety from song-to-song which always keeps things interesting. Disobey largely succeeds due to the fact that it’s a constantly inventive, polished and very high-quality release which isn’t afraid to say something. I can only hope that Bad Wolves can top it going forward.
1) Eat the Elephant, A Perfect Circle
I’ve been into Tool for quite a long time now, but I never really made the jump to James Maynard Keenan’s other band, A Perfect Circle. However, I was looking for new music for this list and remembered that A Perfect Circle had put out their first new album in almost 15 years. On a whim, I decided to check it out and… well, let’s just say that I thought that Disobey was going to be my album of the year until I was about 3 or 4 tracks into Eat the Elephant.
First off, if you’re expecting something like Tool, you’re not going to find it here. It’s quite hard for me to really categorize this album’s genre, because it’s so unique, although I might have settled on it being alternative rock or hard rock. Eat the Elephant really shows off James Maynard Keenan’s singing, which is immediately evident on the sombre but hopeful title track
One of the more refreshing aspects of Eat the Elephant is that the songs actually feel like they have something to say. From tracks calling to overcome the obstacles we face (or build) in our lives (“Eat the Elephant”, “Disillusioned”) to pointed political statements (“The Contrarian” for corrupt politicians, “The Doomed” and “TalkTalk” for the evils in evangelicalism), Eat the Elephant usually has something interesting to say. The album also has my hands-down favourite song of the year, “So Long, And Thanks For All The Fish”, which immediately gets points for the Hitchhiker’s Guide to the Galaxy reference. It’s a really cool song, alluding to the dolphins in Hitchhiker’s Guide to honour the deaths of celebrities in 2017, as if they’re escaping Earth before our nuclear annihilation. It’s a fantastic song, simply put. Most of Eat the Elephant is just well-crafted music, far more ambitious than basically any other album I’ve heard this year. Unfortunately, the latter quarter of the album isn’t quite as triumphant as the rest – tracks like “DLB” and “Feathers” certainly aren’t bad, but they don’t hit anywhere near as hard as earlier tracks. Worst of all though, the album ends on a really poor note with the overly-long “Get the Lead Out”, by far my least-favourite track and a very dull closer. It’s too bad that it closes the album out on a bit of a sour note.
I went into Eat the Elephant totally blind, not sure if I was actually going to like it. The resulting album really impressed me though and I’m certain that I’ve still got plenty more layers to uncover in further listen-throughs. I feel like I’m going to come back to some of the other, lower-ranked albums more often, but it’s hard to deny that Eat the Elephant is the best, most well-crafted album I’ve heard all year.