You read, reread, and memorized
my year-end doom metal top 10. You sat, spellbound, as I listed off
my 40 favorite black metal records of the year. And now, I give you the best of the rest. Electronic, death metal, neoclassical, punk, experimental, basic-bish indie rock — all that shit. As always with these lists of mine, no download links 'cause it'd get this place shut down faster than you can say "You can probably find every single one of these on Spotify."
40.
Lawrence
Illusion
Lawrence (aka Dial label-head Peter Kersten) continues to make ambient tech-house in more-or-less the same fashion as he did in the early aughts — minimal, slightly warped, and heavenly.
Previously:
39.
E L U C I D
Shit Don't Rhyme No More
NYC rapper with a laid-back but off-kilter flow and experimental, noise-addled, but soulful production. I generally prefer rap that just goes super-hard over the artsy stuff — I’ll take DMX over Antipop Consortium every time — but with so many artists coming off as painfully forgettable imitations of Future and Migos, I’ve found my interest drifting back towards the fringes.
38.
Donny McCaslin
Blow.
Jazz-heavy art rock from saxophonist and bandleader of the group of musicians who helped to make David Bowie’s Blackstar such a brilliant swansong. It’s definitely not his first solo album, but it has the feel of a debut, as its song-based, vocal-heavy approach — surely an after-effect of his work with Bowie — stands in sharp contrast to the comparatively traditional jazz records that he's put out over the years.
37.
Ripped to Shreds
埋葬
Ass-annihilating solo US death metal. OSDM-worship with doom undertones and gnarly production.
36.
Wata Igarashi
Niskala
A cosmic trip through arpeggiating synths, pulsing beats, and colorful, hypnotic atmospheres. Only an EP, but I love it too much not to include it.
35.
Less Bells
Solifuge
Ethereal neoclassical from what sounds like a small chamber orchestra led by American violinist Julie Carpenter. Though the instrumentation is largely the same from song-to-song — stately violins, gauzy synths, and wordless choirs — there’s an impressive amount of emotional ground covered, from angelic ambience that would sound appropriate emanating from the gates of heaven, to dramatic, mournful peaks that you might hear playing as a camera pans over a massive battlefield covered in corpses.
34.
Vessel
Queen of Golden Dogs
A mind-melting collision of harsh electronics and chamber/classical music. Red-lining beats and various forms of digital trash intermingled with ethereal choirs, harpsichord, and dissonant string arrangements. The effect is jarring but immensely satisfying.
33.
City Hunter
Deep Blood
Blown-out, ripping, murder-happy hardcore with spooky synth interludes. Don’t gimme that “I’m sick of raw punk” line, 'cause City Hunter musically and aesthetically massacres 99% of their peers.
32.
Dead Can Dance
Dionysus
Dipping deeper and deeper into their seemingly boundless set of influences, Dead Can Dance have more-or-less completely abandoned the idea of being a rock band, and created an awe-inspiring synthesis of countless musical traditions from around the globe.
31.
Arp
Zebra
A shimmering, playful combination of electronic and organic elements. At first resembles something like modern-day krautrock, but gets looser and looser until it’s full-on space-age jazz.
30.
Ilyas Ahmed
Closer to Stranger
Cloudy, psychedelic folk rock. His sound’s a bit less abstract than it once was, but the stoned haze and phenomenal songwriting remains.
Previously:
29.
Undersave
Sadistic Iterations... Tales of Mental Rearrangement
Combines the angular guitar work of Morbid Angel with the lysergic aesthetic of Incantation. Honestly, after a number of listens, I still haven’t quite wrapped my head around this one. It’s not like they’re doing anything particularly groundbreaking — they’re essentially moving around the parts of classic OSDM to create something more modern — but it doesn't sound quite like anything else I've heard.
28.
GosT
Possessor
The best album yet from the best synthwave project currently in operation. Harsh and terrifying, with moments that are much more akin to metal than to anything John Carpenter ever recorded.
27.
Conway
Everybody Is F.O.O.D.
Creepy, borderline horrorcore NY hip-hop. Falls into the same nihilistic lineage as Mobb Deep, but feels more like an evolution of the sound than a throwback.
Previously:
26.
Lisa Gerrard & David Kuckhermann
Hiraeth
Another phenomenal solo record from the otherworldly Lisa Gerrard. Essentially sounds like a stripped-down version of the Dead Can Dance record above — here, though, her chill-inducing voice is front-and-center.
Previously:
25.
Marissa Nadler
For My Crimes
Dark, haunting, ethereal folk from an artist who’s spent the past decade-and-a-half perfecting and expanding the style. For My Crimes is a breakup album at heart, but it sounds and feels more like a collection of murder ballads.
24.
Nahja Mora
As Death
An imposing, meticulously constructed electro-industrial behemoth that finds Nahja Mora somehow entering even denser, more cacophonous sonic territory. Since this is the second time I'm posting about them, in the interest of full disclosure, I should maybe mention that I’ve known one of the dudes in this band since way back when, but 1) we were never that close and 2) I have hella friends in bands, and do you see their albums on here? Nope. Thank u, next.
Previously:
23.
Kamaal Williams
The Return
Explorative, smooth-as-butter, boogie-flavored jazz-funk straight out of the golden age thereof.
22.
Emma Ruth Rundle
On Dark Horses
Powerful — at times wrenchingly so — song-driven, atmospheric rock. Crystalline guitars give way to overdriven windstorms, with Rundle's haunted voice and cryptic, fantastical musings at their cores.
21.
Rival Consoles
Persona
Colorful, dreamy, synth-driven sounds rooted in techno and deep house, but with ethereal touches and an enveloping atmosphere that takes it far away from the dance floor and into a pair of headphones in a smoke-filled living room.
20.
Conner Youngblood
Cheyenne
Wistful, ornate, R&B-infused indie folk rock. Occupies a similar sonic landscape as the immensely popular self-titled Bon Iver record, but it's smoother, brighter, and has more of a groove. And "Lemonade" might be my favorite song of the year.
19.
Andrew W.K.
You're Not Alone
An expansive musical journey through all of Andrew W.K.’s favorite sonic touchstones — from Genesis to the Ramones to Meatloaf to the Beach Boys — and topped with his most starry-eyed, life-affirming lyrics and ambitious arrangements yet. I personally have never needed Andrew W.K. on the level that I did this year, so the fact that You’re Not Alone just so happened to be truly great was really just a bonus.
Previously:
18.
Scorched
Ecliptic Butchery
Hands-down, my favorite death metal record of the year. Old-school brutality, doom-y breakdowns, and tinges of horror and the paranormal. Apparently, I'm not looking for a whole lot of innovation from my death metal.
17.
Anenon
Tongue
Breathtaking ambient composed of synth, piano, sax, and field recordings. Remarkable sonic cohesion throughout makes the whole thing play like a patient, extended suite.
16.
Heads.
Collider
Droning, queasily melodic noise rock. Heavy-yet-barely-distorted guitars, understated vocals that at times take on a murmuring, shoegaze-like quality, and a hypnotic, plodding rhythmic consistency that brings to mind the great
Lungfish.
15.
The Caretaker
Everywhere at the End of Time - Stage 4
Leyland Kirby has an extensive discography based around exploring how the past — both forgotten and remembered — intrudes on the present. While it often comes across as a series of memories-as-musical-vignettes, here it sounds like a panic-ridden onslaught of half-formed memories, coming too fast and too blurry to be interpreted as anything but an overwhelming whole.
Previously:
14.
Arctic Monkeys
Tranquility Base Hotel + Casino
Never got into this band until they brought this weird-ass thing to life. An indie-lounge-glam concept album about life on a luxury resort on the moon. And what’s remarkable isn’t the concept, but that they manage to make an album that's built on such an inscrutable conceit feel so relevant to life here on earth in 2018.
13.
R+R=NOW
Collagically Speaking
Laid-back, R&B and hip-hop-flavored jazz from a ridiculously talented six-piece band assembled by keyboardist Robert Glasper. Synth and vocoder play major roles, which pretty much means that I’m automatically sold.
12.
Brigid Mae Power
The Two Worlds
A breakup album of the highest order. Clever, heartbreaking folk rock with touches of slowcore and jazz-folk á la Van Morrison. I must have listened to this record 25 times this year.
11.
Pusha T
Daytona
Seven tracks, seven absolute bangers. Push T has slid quite smoothly into the role of hard-as-fuck elder statesman, and Kanye “I Can Still Make Good Beats” West crushes it on production. Would have made the top 10 but for the inclusion of an ill-advised guest verse about wearing a MAGA hat from Kanye “I’ve Completely Lost My Mind” West.
10.
Father John Misty
God's Favorite Customer
Father John Misty may be a ham, and seemingly a bit of a prick, but he's also one of the most gifted songwriters currently alive. And with God's Favorite Customer, he's arrived at a rarely-found cross-section of ELO-level tunefulness and Randy Newman-level wit. The two most upbeat tracks ("Mr. Tillman" and "Date Night") both actually made me laugh out loud, while a number of the other songs got me a little verklempt.
9.
Autechre
NTS Sessions 1-4
Eight. Mother. Fucking. Hours. Of. Autechre. Came out back in April and I'm still excited that it even exists.
8.
Steve Tibbetts
Life Of
7.
Beach House
7
Another dream pop tour-de-force from Beach House. Surprise, surprise. They're such a shockingly consistent band that it's almost to their detriment — it's so expected that 7 would be amazing, a lot of you didn't seem to notice that it might actually be their best album. (Note: I swear that I didn't intentionally put this at #7 to be cute, but I like that it happened. It stays.)
6.
Kelly Moran
Ultraviolet
Awe-inspiring experimental abstractions made entirely of prepared piano and synthesizer. Chiming, bell-like notes ring out in flurries against waves of rich, sumptuous chords. One of those hard-to-come-by records that actually feel mentally and physically rejuvenating to listen to.
5.
Nine Inch Nails
Bad Witch
Not sure if y’all have noticed or cared, but Trent Reznor has been in fine form these past few years.
Bad Witch is the final installment of an artistically reinvigorating trilogy that he kicked off in 2016, and contains some of the best work Reznor’s done since
The Fragile. Catchy, chaotic anthems, paranoid instrumentals, and a pair of songs ("God Break Down the Door" and "Over and Out") that sound like nothing else in the NIN discography, and find Reznor adopting a wavering,
intentionally Bowie-esque croon.
4.
Tor Lundvall
A Dark Place
Listening to A Dark Place truly feels like entering another world. It’s a simple enough formula — gentle, pulsing beats, lush, nocturnal synths and drones, and whispery, reverberating vocals — but the effect is so dream-like and completely immersive, you'd be forgiven if you didn't notice that the songs themselves are utterly beautiful and heartbreaking.
3.
Mount Eerie
Now Only
Now Only is a continuation of the work that Phil Elverum began with
A Crow Looked at Me: a brutally direct chronicle of his life in the aftermath of his wife Geneviève's death from cancer. His songs find despair and hope in the most minute of details, in a way that's simultaneously plainspoken and poetic. All in all, these two albums amount to arguably the most profound and true-to-life exploration of grief that's ever been committed to tape. If the criteria for this list was 'which album made me cry the most,' this would be at #1 by a wide margin.
Previously:
Mount Eerie - Pts. 6 & 7 (2007)
2.
Oneohtrix Point Never
Age Of
A mind-melting fusion of numerous musical styles and ideas, including cosmic new age, chamber music, glitchy electronics, and auto-tuned pop. Along with its theatrical companion piece MYRIAD, Age Of explores a dystopian vision of humanity's absurd history and an AI-fueled, terminally overpopulated future. I should note, though, that I didn't need to know about any of these weighty concepts to have my goddamn head blown off the first time I heard it.
1.
Low
Double Negative
"It's not the end, it's just the end of hope."
In which Low, with the help of producer B.J. Burton, completely reimagine their sound and land in fascinating, uncharted territory. Could be likened to their
Kid A, but that doesn’t really tell the story. There are certainly Low songs in there somewhere — elegant, elegiac, and deeply sorrowful — but they’ve been torn apart, obfuscated, buried, exhumed, and shot through with shards of harsh noise, static, and all other types of glitchy sonics. As anxious and angry as they’ve ever sounded, and one of the best records they've ever made.
Previously:
Low - The Curtain Hits the Cast (1996)
Low - Songs for a Dead Pilot (1997)
Low - Murderer EP (2003)
