2018 was a bit of a strange year for music, with a number of high profile releases appearing to be particularly divisive for once-partisan fanbases. The most obvious examples are Machine Head’s Catharsis and Ministry’s Amerikkkant – the former album receiving criticism for diversifying too far from the still-feted the blackening, whilst the latter caused considerable ructions with its ferocious skewering of America under Donald Trump. 2018 also saw the return of 3/4 of the original Pumpkins’ line up (the reformation in itself proving controversial thanks to the very public war of words with former bassist D’arcy), and the triumphant return of the much-missed Belly.
One thing is clear – no one person or website is going to be able to come up with a definitive ‘best of…’ list in so febrile a musical atmosphere, so what follows are the twenty releases that, for one reason or another, truly stood out for SonicAbuse. The list is in no semblance of order, with each release making the grade primarily because these are the records to which we returned time and again over the course of the year.
Smashing Pumpkins – Shiny and oh so bright. Vol. one.
What a triumphant return! Shiny and oh so bright sees all the positives of its predecessor, monuments to an elegy, refined to form a gloriously coherent and memorable collection. Billy, joined by original members Jimmy Chamberlin and James Iha, gives full voice to his pop muse, crafting a number of memorable gems in the process. Not to say that the band’s well-documented love of the riff is ignored. Two snarling monsters emerge in the form of the hulking Solara and the blistering Marchin’ on, both of which boast some absolutely killer drumming from Jimmy. Pared back to the bone, Shiny and oh so bright is a lean, mean album that shows the Pumpkins on their strongest form in years.
Haken – Vector
A phenomenal success on every level, Vector stands as Haken’s finest work to date, the band offering up a mature, expansive collection of songs that builds upon their not-unimpressive back catalogue and takes it to the next level. Melodic, metallic and filled to the brim with imagery as oblique as the Rorschach image that adorns the cover, Vector is a dense piece of work indeed. As evidenced by lead single, the good doctor, Haken’s ability to tell an engaging story remains undimmed and Vector is everything we could want from the band at this stage.
Arabrot – who do you love
Following on from the quite outstanding the gospel, Arabrot have continued their artistic growth on who do you love, refining (without overly restraining) the noise-rock elements and drawing from the pitch black stylings of Nick Cave and Afghan Whigs to create something that is every bit as emotionally challenging as the band’s earlier works but with a greater sense of purpose. Tracks like astonishing first single Maladoror’s love showcase Kjetil’s ability to give voice to the literature that inspires him, whilst a stunning cover of Nina Simone’s Sinnerman is placed at the very heart of the album, the band very much making the track their own in the process. With its gently disturbing cover art, who do you love is dark perfection and one of the year’s most enigmatic releases.
Belly – Dove
Returning after twenty-three years, Belly released a glorious and uplifting album in Dove. With lead single Shiny One serving as a blueprint for the album, it is clear that Belly have lost none of their flare for producing tracks that draw on pop melodicism and alt-rock diversity in equal measure. When you also consider its stunning, 4AD-referencing artwork, dove effortlessly recalls the halcyon days of the mid-90s when bands such as Belly seemed poised to take over the world and the album is an absolute delight from start to finish.
Idles – Joy as an act of resistance
Every once in a while, a band come along where the hype is entirely justified and Idles are one such band. It’s impossible to consider the numerous plaudits that JAAAOR has racked up as bandwagon jumping because the band’s music is simply that good. Idles are one of the few bands brave enough to tackle the toxicity of self-denial, emotional repression, racism and xenophobia head on, and their message is a refreshing one: when all around you is negative, what better act of rebellion than to spread a little love? The bravery of the lyrics – particularly the heart-breaking June – cannot fail to resonate, whilst the fierce passion and energy of the music (not to mention the unparalleled live show that goes along with it) is simply irresistible. Idles matter, and JAAAOR is a searingly brilliant musical statement from a band who are, one suspects, just getting started.
Six Months Of Sun – Below The Eternal Sky
Drawing from the ethereal grandeur of early floyd and the might of Sabbath, Six Months Of Sun are one of those three-piece bands that seem to rend the fabric of time and space itself with their ear-splitting riffage. With stunning artwork, packaging and (most importantly) an impeccable set of songs, below the eternal sky is both mind-bendingly trippy and fiercely heavy and it’ll remain in your CD player for some time to come.
Various Artists – BC 35
Martin Bisi is one of those quiet figures who rarely (if ever) celebrates their own remarkable story. Yet, dig into his back catalogue and you’ll find that he has worked with some of the most influential artists in rock, not to mention on some of the aforementioned artists’ greatest albums. BC 35 is a celebration of the rich heritage that Bisi, working from his feted BC studio in New York, has amassed and it is nothing short of awe inspiring. With semi-improvised pieces worked up by members (and former members) of Sonic Youth, Swans, cop shoot cop, Alice Doughnut (Yes!!!) and many more, BC 35 is the sound of a once-in-a-lifetime collaboration being captured for posterity. A wild ride that traverses numerous genres and sub-genres, the highlight remains the beautiful, restrained take this ride, with Adja the Turkish Queen on vocals, although the beauty of this release is that different tracks will emerge as favourites depending upon your mood that day. Buy it, and buy it on vinyl -it looks and sounds immense.
Various Artists – Buzzhowl Records Vol. 1
It’s not often SonicAbuse gets to be present at the birth of a label that is set for iconic status, but this is where Buzzhowl is inevitably headed if it can maintain its fierce dedication to independent artists. Vol. 1 is one of those rare collections where almost every track is an unskippable gem, with arcing feedback, howling distortion and clapped out drum machines all vying for attention. Not only that, but great care went into making it a compilation that flows coherently from one track to the next, underscoring the attention to detail that went into it all. Highlights abound from Gravves‘ feral assault to the early-Swans sonic horror of Bo Gritz and, in the process of listening, you’ll not only discover your new favourite band, but also your new favourite label.
Riverside – Wasteland
Another fantastic progressive release, this time from Poland’s Riverside, Wasteland is the sound of a band finding their feet after the tragic loss of guitarist and the result is both bleak and yet suffused with hope. With less emphasis on electronic elements, Wasteland emerges as a more human look at the aftermath of cataclysmic, global disaster – Mariusz and his band exploring elements of folk, rock and even metal over the course of the nine tracks on offer. Best heard as a complete piece, there are, nonetheless, stand-out tracks such as Acid Rain to enjoy and there is no question that Wasteland is a very fine album indeed.
The Ocean Collective – Phanerzoic
A direct sequel to the stunning Precambrian, Phanerzoic is somewhat shorter than its predecessor, if only because the sequence has been split across two records, and the result is a ferociously tight selection of eleven songs that cements the ocean collective’s reputation as a creative force with which to be reckoned. Beautifully packaged (as we have come to expect from Pelagic records), Phanerzoic is a masterpiece and the icing on the cake is a guest appearance from Katatonia’s Jonas Renkse, whose haunting tones add considerable depth to the monstrous epic, Devonian : Nascent, that sits at the core of the record. A band that continue to surprise and delight, The Ocean Collective are very special indeed, and Phanerzoic is fantastic on every level.
Dirge – Empyrean
A late addition to our end-of-year list, Empyrean is a perfect album in every conceivable way. A journey that draws the listener away from the mundanity of the everyday world and leaves them staring at the sky and haunted by the stars, Empyrean is Dirge’s masterpiece. There’s so much depth in the composition and so much passion imbued in the tracking that it will take some beating, but then we’ve said that about every Dirge release to date…
OHHMS – Exist
Fueled by a powerful muse, Exist sees OHHMS place their strong convictions about animal rights to the fore. Where their concern was represented more metaphorically on previous releases, Exist dispenses with allegory and the result is an album driven by passion and seething resentment. Musically, it sees the band continue to evolve and develop. Where The Fool hitherto represented a towering achievement, it is now clear that it was only a step in OHHMS’ continued development and whilst it remains a stunning achievement by the standards of most artists, it pales in comparison to the dense material the band penned for exist. With opening track Subjects taking up an entire side of vinyl, the remarkable aspect is that the band sustain interest across it’s 22 minute run time, and the listener emerges from the other side breathless at the music and haunted by the lyrics. No other band comes close.
Behemoth – I loved you at your darkest
Following from the deeply progressive The Satanist, I loved you at your darkest sees the Polish metal titans tightening their grip still further on their exquisite song-writing skills to deliver a truly awe-inspiring set. Literally nothing feels out of place or left to chance, with every moment, challenging the senses. A perfect example of the album’s vast sonic tapestry is the epic Bartzabel, which opens on a percussive note before incorporating hymnal elements amidst the dense, swirling guitars. Behemoth only seem to be getting better with age and I loved you at your darkest is arguably their masterpiece.
Doyle Bramhall II – Shades
2018 saw a number of great blues albums, but an unexpectedly spectacular outing from Doyle Bramhall II pretty much trumped them all. Boasting guest slots from Eric Clapton, Norah Jones (who brightens the exquisite Searching for love), Greyhounds and the Tedeschi Trucks band, the highlights include the blistering opening track, love and pain, and the mysterious Parvanah, which builds to an explosive finale. A very strong album that certainly repays repeat visits.
Joe Bonamassa – Redemption
It’s hard to imagine a year when a Joe Bonamassa release doesn’t make it to the end of year list and, true to form, Joe is back with the confessional Redemption. A more personal blues album than previous works, the darker, grittier tone lends greater weight to the material and the album features some of Joe’s most inspired lead work, not least thanks to the presence of additional guitarists Kenny Grinberg and Doug Lancio, who take some of the strain. Boasting the one-two punch of Evil mama and King Bee Shakedown (aired live before the album was even released), not to mention the beautiful, proggy, self-inflicted wounds, Redemption is another fantastic album to add to Joe’s ever-growing back catalogue.
Dimmu Borgir – Eonian
The return of the gloriously theatrical black metallers sees huge swathes of symphonic pomp rub up against industrial elements and tribal rhythms as Dimmu Borgir deliver one of their most enigmatic offerings to date. Tracks like Council of Wolves & Snakes see Dimmu Borgir deliver the sort of densely swirling and hypnotic piece that gave Abrahadabra such depth, and it serves as an album highlight. Meanwhile, tracks like (first single) interdimensional summit are more straightforward assaults, augmented by rich, choral elements. Typically ambitious, typically over-the-top and fiercely entertaining, Eonian is a most welcome return.
Ministry – Amerikkkant
Typically controversial, Amerikkkant was conceived on the day that Donald Trump took office and serves to rail against his leadership with a fire and fury unheard since Mad Al wrapped up the George Bush trilogy. With gleaming samples, monstrous drums and punk-metal lyricism all to the fore, Amerikkkant is music-as-protest in its purest form and whilst not everyone will approve the sentiment, there’s no question that the band are fired up by the subject matter. Tracks such as twilight zone, which opens with a simply phenomenal drum sound and then goes on to throw harmonica, icy Killing Joke paranoia and Trump samples into the mix, showcase Ministry at their best, whilst the blistering Antifa is punk-metal in excelsis.
Judas Priest – Firepower
The Priest have no right to sound as good as they do on Firepower, their eighteenth full-length album. With the combined skills of Tom Allom and Andy Sneap behind the desk, the Priest sound devastatingly heavy, the surging riffs providing the perfect backdrop for Rob Halford’s pitch-perfect delivery. Every song is a potential classic in the making, but here’s a strong argument that the opening triptych of Firepower, Lightning Strike and Evil never dies stands tall amidst the band’s strongest material, and it certainly sets the album off to a superlative start.
Barren Earth – A complex of Cages
With Opeth concentrating on the progressive elements of their music, there are few bands more suited to assume a place at the heavier end of the prog/death spectrum than Barren Earth. The band’s fourth long-player, a complex of cages, sees the band continue to explore a wide sonic spectrum from folk to prog via death and black metal and the result is one of their most expansive works to date. Indeed, the first exposure to the album leaves the listener (not to mention the hapless reviewer) unsure where to start. There’s so much depth in the band’s material and, aided by a gorgeous production job that sounds immense, the music slowly worms its way into your consciousness.
Suede – The Blue Hour
Long gone are the cellophane sounds with which Suede dominated the nineties and, in their place, an altogether darker strain of progressive rock. The blue hour, touted as the final part of a planned come-back trilogy, sees Suede exploring the slow decay of the countryside as urban sprawl slowly decimates nature. Brett Anderson has never sung better and the rich, cinematic arrangements suggest a latter-day Bowie, if jazz hadn’t provided his final muse. Lush yet dense, from the opening, remarkable as one through the harrowing roadkill, the blue hour is Suede’s finest moment since coming up and, proves that the band, once famed for their anthems of youthful rebellion, are more than capable of maturing alongside their audience to deliver music of real weight and merit. The Blue Hour is a truly stunning record that may, with time, be remembered as Suede’s enduring masterpiece.
Live album of the year
Alter bridge – Live at the Royal Albert Hall
After all the fire and the fury of their albums, Live at the Royal Albert Hall (featuring the Parallax orchestra) is the moment where, arguably, Alter Bridge emerge as true hard rock giants. Watching them perform a killer set, backed by an orchestra, the overwhelming sense is that the band have both the musical skill and the confidence to truly stand alongside the current crop of aging headliners. From the moment band and orchestra introduce themselves with slip to the void, it’s clear that this somewhat unlikely collaboration is, in fact, a perfect pairing. Beautifully shot, it is slightly annoying to note that interview footage is slipped into the concert, but the band prove so engaging and excited about the experience that it detracts from the overall experience far less than such things normally do. A near perfect concert, Alter Bridge have reached a new peak with this live album set.
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