My Top 10 Albums of 2016 (in no particular order)

Architects – All Our Gods Have Abandoned Us

Legally, I’m probably too old to listen to Brighton’s favourite sons but Architects keep churning out quality albums so it’s hard to ignore them.  2012’s Daybreaker and 2014’s Lost Together // Lost Forever took them to what I assumed was the natural peak of their math/core sound, having wisely ditched the naïve Dillinger-isms of their first couple of records. I was wrong, as I normally am, and AOGHAU is another triumph for British metal.  Here’s hoping they keep it going after the tragic loss of founding member Tom Searle, aged only 28.

Dinosaur Jr. – Give A Glimpse Of What Yer Not

J. Mascis’ slacker-grunge combo have always bothered me.  Capable of both genius singles (‘Freak Scene,’ ‘Whatever’s Col With Me,’ or the grunge-era breakthrough ‘Start Choppin’’) and dull shoegaze album tracks, they have always been patchy for me, but with Mascis’ guitar sound, never less than distinctive. Glimpse shows them consistently at their best, with some absolute tunes on show.  Driving rock riffs on ‘Goin Down’ and melancholy melodies on ‘Be A Part’, all cut through by Mascis’ massive guitar tones and sloppy-sounding but actually perfectly pitched solos.  Showing us how it’s done, and we should be grateful for it.

Bob Mould – Patch The Sky

The world’s least rock star-sounding rock star released probably the best rock album of the year.  Former Husker Du and Sugar frontman Mould has always had a knack for marrying punk riffs to glorious melodies and this record saw him produce some of his finest material in ages. Mould’s influence on my record collection is huge and it’s refreshing to hear him release a record so vital after 30-odd years of influencing other musicians to do so. With songs like ‘The End Of Things’, Mould is still showing people how it’s done.

Every Time I Die – Low Teens

I wasn’t a huge fan of 2014 album From Parts Unknown, a (relative) lack of variety married to a muted production left me feeling unsatisfied after 2012’s fine Ex-Lives, but I always have faith in the Buffalo, NY bruisers to keep the quality barometer high. Low Teens boasts everything you’d want from them: Keith Buckley’s articulate lyrical invention; a barrage of riffs; breakneck tempo changes; and more ideas than you can shake a Cancer Bats record at.  Showcasing full throttle hardcore (‘Petal’, ‘Glitches’), epic slower tunes (‘Two Summers’, ‘It Remembers’, ‘Map Change’), chugging riff machines (‘Religion Of Speed’, ‘The Coin Has A Say’) and the downright weird (‘Fear & Trembling’), Low Teens has a bit of everything and it’s all done so well.

Ginger Wildheart – Year Of The Fan Club

Currently in a career renaissance, having discovered crowdfunding, he’s now managed three fine solo albums on the bounce following 100% and Albion, and long may it continue.  Also releasing the 2^nd Hey!Hello! (bubblegum pop with added riffs) record an 3^rd Mutation (art-noise, industrial kinda stuff) record this year, South Shields’ answer to Lennon, McCartney, Kurt Cobain and that Gallagher dickhead is a busy man (and none of them wrote ‘Geordie In Wonderland’…).  Containing by far and away the best tune of the year in ‘Only Henry Rollins Can Save Us Now’, this is as varied as Ginger has ever been. The folky ‘Toxins and Tea’ and ‘The Pendine Incident’, the wistful ‘If You Find Yourself In London Town’ rubbing shoulders with multifaceted epic ‘Don’t Lose Your Tail, Girl’, which sees Ginger paying tribute to positive female influences in his life.  Any album containing the lines “in the grim North East they all laugh at least” and “ok, calm down, let’s get fucking Zen about it,” deserves to sell millions.

Kvelertak – Nattesferd

Having evolved beyond the barmy Black Metal assault of their first album, 2013’s Meir saw them experiment with 70’s stadium rock, and Nattesferd sees them go full retro.  The triple-guitar lineup allows them to layer up their sound, which works to great effect here with melodic leads cutting through riffs that could have come from early Aerosmith or KISS records.  ‘1985’ could easily have come from a Van Halen album (probably 1984) and ‘Svartmesse’ is a Scandinavian earworm.  Within two albums, these Norwegian psychopaths (don’t believe me? See them live.) have gone from blast beats to catchy choruses. Praise be to the Odinson!

Heck – Instructions

The artists formerly known as Baby Godzilla returned with a new name and the same fierce sound.  Somewhere between anything Nirvana did that wasn’t Nevermind, and The Dillinger Escape Plan, Heck are raw, furious, and full of invention.  Punchy, multi-tempo songs build to a brilliant, 16-minute album closer.  Never a dull moment. More, please.

The Fall Of Troy – Ok

Having disappeared after 2009’s In The Unlikely Event, Washington state’s own Muse-on-crack returned in triumphant fashion with Ok.  The title is misleading; far from mediocre, this shows off the full range of Thomas Erak’s extensive guitar skills and the band’s formidable rhythm section. Seemingly impossible riffs welded into catchy, unique tunes like ‘401-K’ and ‘Suck-O-Matic’ with Erak’s manic yelp and slacker croon over the top.  Also, they decided to give the album away for free, making it the year’s best bargain.

Ihsahn – Arktis

Former Emperor man Ihsahn has been churning out solo albums for several years now, and not one of them has interested me.  This, his sixth offering, might change my mind, such is the quality and variety on display.  Not a hint of the symphonic black metal with which he made his name, Arktis is eclectic, exciting collection of tunes covering several genres. Hard to pin down and hard to predict, vocally and musically this is a beautiful experience.

Black Peaks – Statues

Brighton is apparently battling Leeds for the title (given by me) of England’s Seattle, and its latest export, Black Peaks, are destined for greatness.  Part Mastodon, part Reuben (whose singer Jamie Lenman guests on one track), they were a breath of fresh air in 2016.  Downright bizarre riffs, time signatures and textures are cut through by Will Gardner’s versatile vocal delivery.  Songs like ‘Saviour’ and ‘Glass Build Castles’ were complex enough to mark them out as unique, but catchy enough to be Karrang! Radio hits.  Like Marmozets a couple of years back, this is a band with immense promise.