This all feels too familiar but with the general album release schedule now slowly drying up in favour of cash-in compilations (Rolling Stones, Girls Aloud etc); those who buy just a few albums a year (namely Mumford And Sons, Adele and anything falling under the “New Boring” umbrella), and whoever won the last X Factor (that would be Little Mix), now is a good time to reflect on the past twelve months to see who actually delivered in terms of artistic quality. This year sees some surprises creep in, which is why it’s always such a challenge compiling these lists. So here are the twenty albums I rated most highly in 2012.
20. Fang Island – Major (Sergent House)
We may not have had much of a summer this year, but on the few days the sun actually came out, this was the perfect soundtrack to accompany it. When Fang Island released their self titled debut in 2010, it was heralded as the sound of everyone high fiving each other, and with their follow up “Major”, the same description could apply. Rather like a combination of early Weezer and the oddly delightful time signatures of Minus The Bear this is genuinely the ultimate record for raising smiles across the nation, however cringe-worthy that may sound.
19. Band Of Skulls – Sweet Sour (Electric Blues)
Another Blues-influenced garage rock revival seems to be in full swing again. Black Keys have finally made it into the arenas after constant touring, Jack White still manages to fill large venues without the assistance of his acute anxiety-prone companion of a drummer; and Southampton’s very own Band Of Skulls are starting to build a very respectable following. Their sophomore effort “Sweet Sour” saw them slide away from their Black Rebel Motorcycle Club worshipping debut and find their feet with some organic tones that show signs of coming into their own. From the stoner rock-esque title track to the filthy sounding “Devil Takes Care Of His Own”, not to the mention the subtler “Bruises”, there is enough going on here to merit the attention they have received this past year or so. Sweet Sour > Stone Sour.
18. Pond – Beard, Wives, Denim (Modular Recordings)
Kevin Parker has had a hectic schedule over the past twelve months. Better known as the brains behind Australian psychedelic rock troupe Tame Impala, the frontman/drummer found some time earlier this year to release a full length LP with side project Pond. His role in the latter, however, is strictly behind the kit. Frontman for this outfit, Nick Allbrook, provides bass duties for Tame Impala, but seems to be more comfortable striding around the big stage. Tame Impala’s recently critically acclaimed “Lonerism” focused more on retro psychedelia elements than guitar driven parts that were heavily present on their debut “Innerspeaker”. Hence it seems a logical step to shift that side of the band into Pond’s main creative space. There’s a touch of prog to be found in the same vein as Mars Volta, but the majority of the time is spent cranking out blissful sounding noises that are rarely delivered so well. In essence, they sound like the Wolfmother it’s okay to like!
17. Fighting With Wire – Colonel Blood (Xtra Mile)
Until September, fans of Fighting With Wire had to endure an excruciatingly painful four year wait for new material to emerge, thanks to the clueless individuals at their then record label Atlantic Records, who deemed that the Northern Irish trio’s sophomore effort was not worthy of funding. But a trusty investor at Xtra Mile came to the rescue and gave “Colonel Blood” the light of day. Producing an accessible sound akin to that of Foo Fighters and the more recent Biffy Clyro material, it is executed perfectly – unlike a certain five piece from Weybridge. The eponymous title track and “Graduate” are the best examples of how to pay homage to early 90s rock. Better still, one of their biggest influences Soundgarden just released their comeback record but it simply isn’t a patch on this fine piece of work.
16. Rush – Clockwork Angels (Roadrunner Records)
This year saw the release of Muse’s latest record, “The 2nd Law”, the sound of a nail in the coffin of whatever credibility they had remaining. What they possibly haven’t realised over their past ten years of dominance (and they probably couldn’t care less either, as they are one of the few acts in this climate to, you know, actually be seen as profitable), have been aping the sound of 70s progressive rock giants Rush. Muse could certainly have learned from the Canadian’s impressive nineteenth full length how to master such an expansive but not OTT produced record. It is astounding to think a band of their ilk has been able to survive at least four generations of musical history and still make worthwhile material. As demonstrated in “Headlong Flight” and “Caravan”, you simply cannot find that chemistry in any other act today. Although it may not be deemed “cool” to praise the band in this era (where many music fans would raise an eyebrow as to who they are), without them, rock music would be in a poorer state. Their influence has spread as far as the likes of Metallica, Smashing Pumpkins, Primus and numerous other forward thinking acts that have spawned an array of sub genres within the musical spectrum. This album proves that Rush are still very much an essential force in the twenty-first century.
15. Circa Survive – Violent Waves (Self Released)
In 2010, Circa Survive released “Blue Sky Noise”, which saw them pointing in the right direction when it comes to experimental post-hardcore. Following their departure from a major label, the five piece took matters into their own hands by self releasing their fourth album “Violent Waves”, which offers a clear vision of where they want to take their already vivid musical canvas. This latest effort has certainly paid off and tracks like “Birth Of The Economic Hit Man” and “Sharp Practice” showcase a much-improved Circa Survive, particularly in the case of frontman Anthony Green’s vocals. I have to confess on first listening to the band, my impression was of a child strangled at birth, but several further attempts down the line revealed there was an inner beauty to be discovered within his vocal chords! There really is no one out there in this niche environment who can pull off such tremendous and captivating melodies. Plus there’s a guest appearance featuring Geoff Rickley, one time frontman of the sadly defunct Thursday. All that’s left is for them to book a promotional UK tour. We’re ready when you are!
14. Every Time I Die – Ex Lives (Epitaph Records)
As far as hardcore is concerned, there hasn’t been that much to write home about in 2012. The new Converge was definitely one of the more impressive efforts, although I’ve always thought there is a lot more to that band than the average hardcore outfit. Elsewhere, the new Gallows and Cancer Bats records had a few decent numbers. But for the real meat and veg, Every Time I Die have always managed to perfect this sound far better than many contemporaries. Although their last record may have begun to get a little stale, “Ex Lives” is a visceral and raw sounding effort, creating numerous anthems ready-made for the pit. “Underwater Bimbos From Outer Space” and “Holy Book Of Dilemma” seemed to get just as positive a reaction as “The New Black” and “We’rewolf” at their recent live shows. The slow- burning “Revival Mode” is another highlight to consider. Aside from the music, frontman Keith Buckley is sporting one of the greatest beards at this moment in time. Take that Movember! Make way for Beardecember.
13. Blacklisters – BLKLSTRS (Brew Records)
One thing I just happened to notice when compiling this list was that three of the bands amongst the twenty records listed all hail from Leeds. So I’d like to take this moment to say well-done South Yorkshire! Small in population you may be, but you certainly produce your fair share of talent. As for the guys in question, Blacklisters are one of those bands who just want to have fun (you better believe it!) and their debut record is pseudo-angry in perhaps the most ironic way possible. Comparisons with Glassjaw and The Jesus Lizard have been made due to their ability to go with the flow whilst throwing in some mild ferocity for good measure. But the title tracks have been the standout points. A couple of examples are “Club Foot By Kasabian” (which isn’t even a cover) and “Ask Your Question If The Answer Is Go Fuck Yourself”. The winner in this case goes to “I Can Confirm That Ruth Abigail Holmes Is Not Dead And Is Planning To Make A Move About Her Life”. Also, they have the privilege of being the funniest band I’ve interviewed to date. Have a gander at the interview section for further evidence.
12. BATS – The Sleep Of Reason (Richter Collective)
There simply isn’t enough progressive post-punk math rock coming out of Ireland. Yes, I may have just conjured up that genre, but BATS really are the best band you may have never come across. Back in 2009, they brought out their debut, “Red In Tooth And Claw”, finally restoring faith in the fact that southern Ireland isn’t just about U2 and Westlife and any other atrocities the country has given birth to. Their follow- up “The Sleep Of Reason” is the final release on the sadly defunct Richter Collective, home to similar acts which had the same mindset as BATS display in this very record. Perhaps it is their rich accents or maybe their clever lyricism but it is simply outrageous in the best way thinkable. A lazy description – it’s as if Foals were playing Faith No More style riffs, whilst overdosing at the same time. “Wolfwrangler” is by far the catchiest song you will hear, in fact much catchier than anything you will find in the top 40 right now. There are no other words to elaborate on this phenomenon – just go buy the record, buy a ticket when they come over blah blah blah etc. Just anything to keep a roof above their heads.
11. Future Of The Left – The Plot Against Common Sense (Xtra Mile)
Andy Falkous (or Falco as he’s known to the majority of his followers), is perhaps one of the most provocative figures in music today. All is revealed to those who follow him on Twitter, where he regularly speaks his mind, particularly if he has played a show and found the audience reaction wanting. Even in the days of McLusky, he took sly digs at society and ten years after the substantial “McLusky Do Dallas”, he is still on the same bandwagon with current outfit Future Of The Left. Their latest opus “The Plot Against Common Sense” was awarded The Welsh Music Prize, and for once, such an award may have been justified. His new targets are clothes chain stores Topshop/Topman (check out: “Sheena Is A T-Shirt Salesman”), the 2012 Olympics ( “Failed Olympic Bid”), and, best of all, pointless franchise movies (“Robocop 4: Fuck Off Robocop”) where he compares Billy Corgan to Voldemort. He does have a point, they do look like a match made in heaven. If you are reading this Falco, please make your next record a concept surrounding the consequences of Disney acquiring the rights to Star Wars.
10. Bloc Party – Four (Frenchkiss Records)
Now this was by far the definitive surprise record of the year. Never in 2012 did it seem comprehendible that Bloc Party would release an album that was worthy of anyone’s ear time. Back in 2008, they released the underwhelming “Intimacy” which sounded a little too rushed but mainly suffered from a lack of chemistry within the band. So it was for the best that they embarked on an extended hiatus shortly afterwards. During their downtime, bassist Gordon Moakes joined forces with former Yourcodenameis:Milo/The Automatic man Paul Mullen, forming the post-hardcore tinged Young Legionnaire. It would seem their influence carried its way into the next Bloc Party effort, almost making this a rebirth for the band. Sure enough, the results to be found in “Four” have shown it’s more than just paid off. Tracks such as “Kettling”, “Coliseum” and “We Are Not Good People”, go beyond what most would have thought them capable of in their early days ; and the album owes more to At The Drive In than it does to Joy Division. The only downside here is that it doesn’t quite capture the moodier elements of “Silent Alarm”, but then again, the Bloc Party of today are very much a different beast compared with their earlier post-punk influenced material. More of the same please, Kele and co.
9. Hawk Eyes – Ideas (Fierce Panda)
As you can see over in the Reviews section, I highly praised the first official LP from Leeds noise merchants Hawk Eyes. And I still happen to stand by my claims, hence the relatively high position. Since their re-christening from their previous guise as Chickenhawk, fans of the four piece have been steadily growing, thanks to high profile support slots (one of which included Andrew WK), and sporadic festival performances. For fans of Queens Of The Stone Age, Refused and Dillinger Escape Plan, there are plenty of elements that appeal here, whilst the band are undoubtedly developing their own signature sound. In other words, if you like riffs, there be plenty of those to find here! Whilst not one to encourage violence, cinematically this album could be the background to a killing spree, and would also be the perfect soundtrack for a Comedy/Horror epic. Let’s be calling those film directors asap!
8. Torche – Harmonicraft (Volcom Entertainment)
Quite some time ago, I remember reading a review in a certain magazine highly praising a band, which they characterised as “Fall Out Boy attempting to play Mastodon style riffs”. Indeed, the contrast of those acts was certainly the pulling factor for my first listen to the Miami based four-piece Torche, and for once, I was inclined to agree. The band certainly know how to find a hook around their collection of stoner pop tunes on latest effort “Harmonicraft”, particularly the first single to be taken, “Kicking”, which showcases their impressive ability to deliver a diverse sound. Much of the same can be found elsewhere on the record, making this a very refreshing listen. If you’re in need of enlightenment about the future of guitar music, this is definitely worth a spin.
7. And You Will Know Us By The Trail Of Dead – Lost Songs (Superball Music)
It’s been a while since (in my opinion) there has been a worthwhile Trail Of Dead record. Thankfully, after a gradual improvement on previous efforts, “Lost Songs” might just be their strongest material since “Worlds Apart”. Last year saw the release of “Tao Of The Dead” which was also on the right path. However, this time round it sounds somehow as though it’s all come together. Perhaps it’s due to the inclusion of a couple of recent members who have rekindled the same spirit Conrad Keely and Jason Reece had when they first started out as a duo. The dynamics here are splendid, and also find the band returning to their accustomed irony, with “Catatonic” depicting what might have been had Mitt Romney come to power. Thankfully of course, that wasn’t to be and we even get an ace video to accompany said track, with Reece playing the part of a failed presidential candidate, Rich Dobney. Not only has their form been revived, but their predictions on presidential elections have come off as well!
6. Japandroids – Celebration Rock (Polyvinyl Records)
When they first arrived on the scene, I was rather apathetic towards Canadian two-piece Japandroids. Not because I thought they were a bad act necessarily, but I just wasn’t sure why they had received a ton of critical acclaim. And having purchased their debut “Post-Nothing”, they still felt a tiny bit substandard. Now with their follow up, and just out of the blue, it appears they have emerged almost like a fresh outfit. Maybe it is because a better production is in place, or perhaps they have mastered the art of how to craft the perfect song. Whatever the case is, “Celebration Rock” is the most fun album you will discover all year. Described by many as a a roller coaster of a record, it’s certainly addictive, considering the number of replays for me in the month since the first listen. Highlights to be found here include “Nights Of Wine And Roses”, “House That Heaven Built” and a cover of The Gun Club’s “For The Love Of Ivy”. The fact that it begins and ends with fireworks is a tidy little bonus as well. This is the type of record we might have expected from The Gaslight Anthem this year, but instead they gave us the lacklustre “Handwritten”. For shame, Brian Fallon and well done Japandroids!
5. Pulled Apart By Horses – Tough Love (Transgressive Records)
Although the year may have ended on a limp note for Pulled Apart By Horses with the cancellation of their tour, the beginning saw them easing in what I would consider the first great release of 2012. And they certainly have done well to hold a high position, with just a few records pipping them to the post. Following on from their well-received self-titled debut, “Tough Love” sees them delivering much of the same when it comes to angular noise rock and roll (or if you want to be a little more pedantic, artcore). As great as the first record sounded, it seemed just a tiny bit rushed as there were several recordings there that had been kicking around for a couple of years. With Gil Norton at the helm of production, the vibe here is, for want of a better description, a lot more raw. The guitars are crunchier and Lee Vincent’s drumming actually sounds like he’s using a real kit, and not a pair of recycling bins. Tracks such as “Wolf Hand”, “Bromance Ain’t Dead” and “Epic Myth” come across as possible classics in the making, with “V.E.N.O.M” not falling far behind. It is great to see a band of their ilk grow steadily and garner a respectable fanbase. The knock-on effect is that the likes of Arcane Roots, James Cleaver Quintet and Hawk Eyes receive a little more attention than they might have gained had they emerged around ten years ago. As good a reminder as any to always support your scene, or it will end up in the graveyard.
4. Rolo Tomassi – Astraea (Destination Moon)
Perhaps one of the biggest regrets I have is labelling Rolo Tomassi as atrocious the first time their synth -laden hardcore entered my eardrums. Maybe I wasn’t particularly ready for their complex take on heavy music, but fast forward a few years and they have now become one of my favourite British acts to emerge over the past five years. There certainly isn’t any other act within the isles that can replicate their majestic style, and they have now built a consistent track record courtesy of their third LP “Astraea”. From the dense and “take no prisoners” attitude of their debut “Hysterics”, to their articulate progressive direction on “Cosmology”, this record combines the best parts of these two, perhaps due in part to the recent additions of a couple of new members from Brontide and No Coast. This always seems to be the case in respect of follow-ups, but the heavier parts take on an even greater stridency but the softer moments have a heavenly quality. Eva Spence really is the star ingredient in the band, and without her, there’s a chance they would never have reached the level they have achieved. While her screams put at least 95 percent of her male peers to shame, she also manages to pull off some angelic vocals. For the former check “Howl” and “Echopraxia”, for the latter “Empiresk”, and for a combination, see closer “Illuminare”. For once there certainly is a band that can proudly fly the flag for Sheffield. And no, Def Leppard, that doesn’t apply to you.
3. Metz – Metz (Sub Pop)
So, as you might have gathered from the list on display, I do very much like riffs. In fact, if you can name me anything that surpasses the power of the riff, please let me know in the comments box below. Childish statements aside, one particular thing that does grind my gears about the music biz is the number of predictions on who will break through in the new year. Ninety per cent of the time, acts that feature on these BBC Sound style polls fall by the wayside within the first six months. The lesson here is that music is for life and not for mass marketing campaigns. Hence, why I am glad that halfway through the year I discovered what would become my favourite new band. Canadian trio Metz embody just about everything that is great about guitar music – post-hardcore, punk rock and grunge in particular. With the latter in recent times, there have been some great records that have paid tribute to the raw quiet/loud formula such as Male Bonding and Yuck, and some less so such as Japanese Voyeurs. Metz manage to nail their sound as if 1992 had never gone away. The live aspect of the band is something I cannot wait to witness and savour the musicianship emanating from the drum crash tones of “Headache”. To sum up, this is the type of band I would love to have formed had I been any good at committing myself to learning an instrument (instead I opted for journalism so at least I can write about it). These guys need to show their faces at the festivals next summer to show the hype continues to be justified, which it certainly is right now.
2. Blood Red Shoes – In Time To Voices (V2)
If there is one band that I would have loved to have made the step up this year, it is Blood Red Shoes, who have accomplished just that. After a couple of enjoyable records full of noisy pop numbers, their third effort “In Time To Voices” seemed the right time to embark on a more expansive territory. Prior to its release, the two piece of Laura Mary Carter and Stephen Ansell name dropped influences such as Fleetwood Mac and Black Sabbath. Sure, this time round, it is a more melodic and concise outing. But this is where the band really do shine, and the album contains some of their best material thus far. Aside from a couple of familiar sounding tracks that wouldn’t have been out of place on their past efforts i.e. “Cold” and “Lost Kids”, there is a range of some of the noisiest material they’ve produced such as “Je Me Perds”, a couple of folk orientated tunes in the form of “Night Light” and “Slip Into Blue”, and they even showcase some dark and brooding atmospherics which can be found in “The Silence And The Drones” and the eponymous track. Essentially, Blood Red Shoes really hit the nail on the head this time round, demonstrating how to make the perfect alt rock album for this day and age. Another piece of shinfo that is worth mentioning is the equal amount of vocal trade offs between the two members, whereas on “Fire Like This”, it was leaning slightly too much towards a Stephen solo effort, on this album the balance is just right. It is great to see a band whom I have been following since their very early days managing to produce three consistent records, and in general, be regarded as one of the finest British bands of the past few years. They will be rounding off their promotional tour with a show at Shepherd’s Bush Empire supported by the ever-brilliant Rolo Tomassi. My suggestion is to go invest in that immediately before they take a lengthy break to record the (hopefully) even superior follow up!
1. Deftones – Koi No Yokan (Reprise Records)
It was inevitable this was going to reach the top of my list, even before hearing a single note. There simply is no other act on this god-forsaken planet that can match the majestic standards of Deftones. And for a band that are nearly 25 years into their career and still considered relevant, it is such a commendable feat. “Koi No Yokan” came as a surprise when its release was announced, purely because of the length of time its predecessor “Diamond Eyes” took to record. This was, of course, due to the tragic car accident, which their bassist Chi Cheng was involved in and from which he has yet to fully recover. Hence the arrival of Sergio Vega from Quicksand, and the scrapping of a whole body of work originally coined as “Eros”, which the band have stated will see the light of day in due course. “Diamond Eyes” was hailed as a triumph, not only because of some emotional draw due to what had happened regarding Chi but also the sheer quality of the album after what felt like a a bit of a dip in their career throughout the best part of the 2000s (although their self titled effort and Saturday Night Wrist are still great records), even drawing comparisons with their seminal masterpiece “White Pony”. It meant there was a huge amount of weight on their shoulders for “Koi No Yokan” to deliver the goods. What a relief then to find they still put the majority of metal bands in existence to fucking shame. This is not an attempt to emulate “Diamond Eyes”, but an evolution of that sound. Chino Moreno once again is the key force in this band. His vocals are as anguished as they are rapturous. The instrumentation on offer is second to none, from the bouncy nu metal-esque “Swerve City” to the visceral sounds of “Poltergeist” and “Goon Squad” with some empyreal moments to be found in “Rosemary” and “Entombed”. This record is a reminder to any band who want to be seen as challenging and turbulent of how masters play the game. There is no other act around that has released seven sublime records, and with each one found new ways of pushing boundaries. Right now, the only danger is that Deftones’ creative juices will run out of fuel, which of course would be the one of the saddest days we could contemplate.
