MOPE: The Top 20 Albums of 2019

2019 has been an interesting year in music. For the first few months, it looked to be a bit of a dud, punctuated by the odd great release, but as we got deeper in the year, more and more unexpected gems began to surface. It even ended up being a struggle for me to narrow it down to 20 records for this list, so before we kick off, I just want to briefly give a shout-out to some honorable mentions:

• Knocked Loose - A Different Shade Of Blue: Hardcore's new biggest export delivers an improvement on their debut in every way, and I'm staggered it hasn't made it onto my top 20.
• Gender Roles - Prang: Some of the best pop choruses of the year nestled amongst creative instrumentation and just a jolly good time. Original review here.
• SeeYouSpaceCowboy - Songs For The Firing Squad and Year Of The Knife - Ultimate Aggression: Both omitted from the list on the grounds that they are compilation records as opposed to actual albums, but both outstanding and exciting nonetheless. Original review of the former here.
• Injury Reserve - Injury Reserve: Experimental hip-hop of the highest order, and a good alternative to actually-slightly-disappointing 2019 releases from JPEGMAFIA and Danny Brown. Original review here.
• Venom Prison - Samsara: My favourite death metal release of the year, and a brilliant follow-up to Venom Prison's iconic debut, Animus. Original review here.

And now onto the top 20 proper. Enjoy!

Number 20: Otoboke Beaver - Itekoma Hits

Otoboke Beaver are a band from Kyoto, Japan, who seem to exist to drop jaws... and trust me; after Itekoma Hits finishes, you'll have to scrape yours off the floor. This is an utterly unique album, powered by boundless chaotic energy and taking influence from all corners of punk (huge nods to riot grrrl especially), noise rock, and indie. Otoboke Beaver have no regard for your preconceptions of what they should sound like, just as they have no regard for typical song structure or conventional time signatures; Itekoma Hits is a hyperactive, off-the-wall extravaganza which really is nothing short of amazing.

You can read my initial review of this album here.

Number 19: clipping. - There Existed An Addiction To Blood

One of my favourite hip-hop records of 2019 came out of absolutely nowhere. I hadn't listened to clipping. before the release of There Existed An Addiction To Blood, and the more I found out about the group and read up on the themes of this particular project, the more I was prompted to keep going back to it. This "horrorcore" epic is the work of two incredible producers and one outstanding rapper; William Hutson and Jonathan Snipes create immersive and unnerving industrial-influenced soundscapes for Daveed Diggs to shine on top of. Diggs made his name starring in the broadway phenomenon Hamilton, but this is a far superior use of his talents. The man is a lyrical genius, and the fact that he utilises this fact to produce some horrific, gory, evocative imagery on this album makes me very happy. To top it all off, the final track - called 'Piano Burning' - is an 18-minute recording of... a piano burning. Nice.

Number 18: Endon - Boy Meets Girl

With 2019 being a big year for me really getting into harsher noise and experimental stuff, Japanese trailblazers Endon heralded the charge. Boy Meets Girl is a nightmarish trip that was apparently created as the soundtrack to a non-existent film, the narrative of which primarily focuses on a teenage love story... though you'd be forgiven for missing out that aspect of the record upon first listen, as really it feels more like the soundtrack to a cyborg snuff movie. Still, my favourite thing about Boy Meets Girl is that the further you fall down the rabbit hole, the more everything starts to somehow make fucked-up sense. The second half of the record pulls clarity from the jaws of chaos, with the riffs and undeniably bouncy sections of 'Final Acting Out' and 'Not For You' putting everything into focus.

You can read my initial review of this album here.

Number 17: Pkew Pkew Pkew - Optimal Lifestyles

The best Menzingers/PUP-esque album not released by The Menzingers or PUP this year, Pkew Pkew Pkew's Optimal Lifestyles radiates nostalgic joy upon each and every listen. It's a marginally more grown-up effort than the band's first, self-titled LP, but they're still having so much fun here reveling in the limbo of their late 20s/early 30s. Songs like '65 Nickels' and 'The Polynesian' work so well because they're so simple; just heart-on-sleeve punk bangers with big choruses that exist to make the listener smile. Some of the best shout-along moments of the year can be found here, alongside some of the best lead guitar lines and funniest lyrics (see 'I Wanna See A Wolf'). And I challenge you to find a better saxophone solo in 2019 than the one in 'Point Break'. Joyous.

You can read my initial review of this album here.

Number 16: Car Bomb - Mordial

When was the last time you heard someone make a brand-new sound with a guitar? If you can't quite recall, maybe you should give the latest Car Bomb record a go, and have your mind obliterated. This fourth full-length release from the New York experimentalists sounds like what would happen if the Matrix glitched whilst Meshuggah were recording a new album. There's incredible creativity and incomprehensible heaviness at every turn, including a couple moments which made me go "phwwooaarr" out loud upon first listen (see 'Scattered Sprites' and 'Xoxoy'). Mordial is an acheivement: technically flawless, pioneering, and loud as fuck. Car Bomb have produced one of the finest metal records of the year here.

Oh, and on Dissect Yourself, the guitars sound like laser guns, so...

Number 15: Thy Art Is Murder - Human Target

Those who know me (and those who have read this blog before) will be well aware that I'm a huge sucker for a meat-headed mosh-call breakdown. It shouldn't be a surprise, then, that Thy Art Is Murder find themselves so high up in my AOTY ranking - despite pretty much doing the same thing they've been doing for the past ten years. It might not break much new ground, but on Human Target, the Aussie deathcore godfathers sound more ferocious than ever, and their technical side is arguably more impressive to witness than on their previous efforts. CJ McMahon once again proves his worth as the best vocalist in the genre, delivering a demonic performance and commanding the instrumental thunderstorm around him like the underworld's answer to Thor. Human Target is utter brutality at its best.

You can read my initial review of this album here.

Number 14: Slowthai - Nothing Great About Britain

My highest-ranking hip-hop album of the past 12 months comes from one of 2019's biggest breakout stars; Slowthai has kicked up more of a fuss on a mainstream level than just about any other artist on this list, and for good reason. The Brit-Award-nominated Northampton upstart released perhaps the most politically-pertinent record of the year in the form of Nothing Great About Britain: a furious debut which melds grime and UK hip-hop with real punk spirit. The title is self-explanatory, with brilliantly sardonic lyrics tearing through the many flaws of British society, tradition, and politics, and making no apologies for crudeness or taboo along the way. It's an album which is fiercely proud of its working-class roots and is happy to spit at those who look down on it; Slowthai ends the title track of this record with the line "I will treat you with the utmost respect / Only if you respect me a little bit, Elizabeth... you cunt". That alone is enough to earn a spot on this list.

Number 13: Norma Jean - All Hail

Now on their eighth studio album, Norma Jean remain quite possibly the most underrated band of the century. All Hail is a strong continuation of the unstoppably dominant streak they've been on since (at the very least) 2013's Wrongdoers; the group don't have a bad album, in truth, but recently it seems they've been at the peak of their powers. All Hail opens with maybe the strongest 1-2-3 punch of ragers on any record this year, and doesn't slow down from there. It's just as pummelingly heavy as their last full-length, with '[Mind Over Mind]' and 'Trace Levels of Dystopia' being particularly compelling reasons to bang your head, but it's also more melodic and progressive at other points. Cory Brandan gives perhaps his greatest vocal performance yet on this LP, and is backed up by some weighty instrumentation throughout. Good shit.

Number 12: Brutus - Nest

Off the back of their explosive debut album, Burst, Belgian three-piece Brutus have slowly but surely been honing their craft and pinning down their distinctive sound since 2017, and it has all lead up to this: Nest. I'm usually loathe to use the word "ethereal" in reviews, but it's hard to describe this record as much else - it sounds almost transcedental a lot of the time, largely due to a combination of the production job, guitarwork, and Stefanie Mannaerts' stunning vocals. With the drumming and chunky bass thrown in for good measure, it's clear that there's a real, aggressive punk spirit underpinning the expansive world of Nest, which can most obviously be heard at the end 'Techno', and all the way through 'Cemetary'. It makes the soaring, emotive moments much more powerful in contrast. What an acheivement this is.

You can read my initial review of this album here.

Number 11: Dinosaur Pile-Up - Celebrity Mansions

I've been following the trajectory of Dinosaur Pile-Up since the release of their second album, and this year it has been an absolute pleasure to watch them explode off the back of Celebrity Mansions; unarguably their creative high-point thus far. Released back in June and subsequently becoming the record of the summer for everyone who heard it, this is simply ten tracks worth of big, dumb fun. It's a shit-eating grin of an album, sporting a lairy attitude and more tongue-in-cheek swagger than you can conceivably imagine. Each riff, bassline, turn of phrase, and drum fill is aware of how good (and cheesy) it is, and it absolutely rules. There are too many moments to individually single out as highlights, but off the top of my head: 'Back Foot' is the riff of the year, the title track is like Weezer's 'Beverly Hills' but ten times better, and 'Round The Bend' is the best driving song of 2019. If you don't like Celebrity Mansions, you don't like fun.

You can read my initial review of this album here.

Number 10: The St. Pierre Snake Invasion - Caprice Enchanté

Mr. Damien Sayell, frontman of The St. Pierre Snake Invasion, described his band's second album - Caprice Enchanté - as "a modern hardcore classic" on stage at 2000 Trees this year. Whilst clearly the man brags with a healthy dose of irony, he's not necessarily lying either... though maybe the addition of the word "cult" would make it more accurate.

After living with this record for half the year, I've come to really appreciate it for what it is: a much-needed shot in the arm of British punk. At first listen, it may just seem like a really good, creative noisy hardcore album - especially with the first three tracks being so utterly furious - but the further you go into Caprice Enchanté, the more interesting twists and turns present themselves. There's a lot of influence from British noise rock bands like Mclusky and Future of the Left, but you can also hear bits of post-metal, math-rock, and just straight up rock n' roll here and there. It's eclectic, exciting, and full of distinct personality.

You can read my initial review of this album here.

Number 9: Press Club - Wasted Energy

Punk youngbloods Press Club have really made their presence felt in 2019. Their debut full-length, Late Teens, was an unmissable statement of intent, and made waves upon its release (outside of their home country) earlier in the year. Then, almost without taking a breath, they bashed out another, even better world-class album in the form of Wasted Energy.

Recorded in the space of a single week, Wasted Energy really feels like a straight-up, zero-fucks-given outburst of passion and... well, energy. That's not to say it's not well-thought-out or unfocused - quite the opposite. Centred around Natalie Foster's charismatic, invigorating, no-frills vocal chops and motorised by a punchy rhythm section, each song on this record finds its target perfectly. Greg Rietwyk's hooky guitar leads stand out, too, even though they're almost always gone as soon as they spring up. Whether it's through a shotgun blast like 'New Year's Eve' or a more anthemic track such as 'Thinking About You', the message is clear: Press Club are a force to be reckoned with. And I, for one, welcome our new Aussie overlords.

You can read my initial review of this album on Already Heard here.

Number 8: Raketkanon - RKTKN #3

Ghent four-piece Raketkanon set out to make themselves the bane of every music writer's existence by being as indescribable as humanly possible. Their first two records (released in 2012 and 2015 respectively) were experimental, punky, heavy, and absolutely fantastic. Now, after nearly a decade of surrealist underground domination, Belgium's finest weirdos go out with their biggest bang yet on RKTKN #3.

That's right - this is the final album from Raketkanon, and whilst it's a shame to see them go, I can think of no better parting gift for them to leave us before they return to their home planet. Upping the focus on those throbbing synths and other electronic elements this time around has made the band sound even more otherworldly, and the fictional language of the lyrics only serves to confound the listener further. RKTKN #3 is the band's best record so far; a fusion of noise-rock, post-punk, indie, experimental, and electronica that turns so many sharp sonic corners in the space of 32 minutes that it's a wonder they fit everything in (and still make it feel so seamless). There is literally no other band who have ever sounded like this. I doubt there ever will be again.

You can read my initial review of this album here.

Number 7: La Dispute - Panorama

A band who I've appreciated from afar for a long time, La Dispute really clicked for me this year following the release of Panorama. It's an incredibly powerful record with a lot to say, and the way it's presented is in the form of a strikingly effective (and surprisingly addictive) slow-burn.

The narrative of Panorama is central to its greatness. Jordan Dreyer's lyricism explores grief through existentialism in an extremely poignant way, and no matter how he delivers each line (be it whispered or yelled), every single one will stay with you. The record is musically understated, but mid-range guitars working alongside subtle horns, tambourine, and spacious effects build a potent and transportive atmosphere. The world that this piece of art inhabits is gorgeously melancholic (as proven by the video below - my favourite of the year). It's utterly irresistable, no matter how sad it often makes me.

You can read my initial review of this album here.

Number 6: The Menzingers - Hello Exile

There's something about the way that The Menzingers write songs that will always give me goosebumps and make me cry. 2017's After The Party was the first album from the Philadelphia four-piece that made me realise this (and subsequently was my album of the year), and Hello Exile is no different.

This record is built around an undeniable group of singles; absolutely world-class tracks which lay claim to three of the best choruses of the year in the form of 'Anna', 'America (You're Freaking Me Out)', and 'Strangers Forever'. True to form for the Menzos, there's storytelling to make Springsteen jealous to be found all over the place, mostly centred around wistful nostalgia and heartache. Greg Barnett in particular (who shares vocal duties with the fantastic Tom May) manages to touch upon a number of specific situations that most of the band's fans will able to relate to, and he does it really effectively; after all, who hasn't found themselves "getting fucked up with a high school friend, wondering where all the good times went"? Other songs like 'Last To Know' and closer 'Farewell Youth' are carried by lyrics as weighty as these, and they all hit with maximum emotional impact because of the way they're performed. It's another home-run here from The Menzingers.

Number 5: Employed To Serve - Eternal Forward Motion

If 2016's The Warmth of a Dying Sun made Woking wrecking crew Employed To Serve one of the most thrilling bands in the UK, Eternal Forward Motion makes them one of the most exciting heavy prospects in the world.

This record is a menagerie of unstoppable riffs; each is a furious beast, fighting its way out of your speakers. From the insurmountable groove of 'Force Fed' to the chaos of 'Dull Ache Behind My Eyes', nobody is as good at bang-your-fucking-head instrumentation as ETS are. They often sound like the lovechild of Converge and Pantera, so have pretty much nailed the best possible sound any band can ever make. Justine Jones and Sammy Urwin's dual vocal attack on this record is brilliantly done, with the latter playing a more crucial role than on their previous work (though Justine is still the ferocious focal point) - it often sounds like the two are battling it out over the insanely heavy backdrop. It's also worth noting that the production job here is possibly Lewis Johns' best work yet.

So yes - Employed To Serve are still the gnarliest band in Britain, and Eternal Forward Motion is just another step toward their eventual domination.

You can read my initial review of this album here.

Number 4: Her Name Is Calla - Animal Choir

My discovery of my fourth favourite record of the year (and the band that created it) was incredibly bittersweet. With Animal Choir, the now-defunct Leeds post-rock outfit Her Name Is Calla have produced an incredible piece of art, and the greatest swan song since The Dillinger Escape Plan's Dissociation.

Two important things about this record: firstly, it's a real grower - give it time and it'll bloom like a beautiful prog-folk flower. Secondly, you cannot just pick one of these songs at random and stick it on. When you listen to Animal Choir, you listen to ALL of Animal Choir, or you sacrifice the unparalleled journey it takes you on. There really is something for everybody here; whether it be the crushingly gargantuan 'Swan', or the beautifully evocative 'Frontier', or 'Kaleidoscoping', which could be a bonus track from Radiohead's In Rainbows. With everything but the kitchen sink thrown in (instrumentally, tonally, vocally, and structurally), this album could've easily been a bit of a mess of ideas - but it works so unbelievably well as one long, flowing, winding epic. It creates its own world in the truest sense, and I feel so privileged to be able to live in it occasionally.

You can read my initial review of this album here.

Number 3: Lingua Ignota - Caligula

I can count on one hand the albums I've heard in my life which have made me legitimately scared. I can count on one finger the albums that have chilled me to the bone, and almost made me reluctant to listen to them again. And here it is.

Caligula is almost too raw; too confrontational; too naked. Kristin Hayter, the woman behind Lingua Ignota, draws from her own experiences with sexual and domestic violence to paint a harrowing self-portrait over the course of the record, both in her lyricism and stylistic choices. It borders on unbearable, at points, to hear her near-hysterical with such vitriolic anger. Hayter is a classically trained vocalist, and uses everything from delicate, operatic intonation to utterly unhinged, almost demonic shrieking to instill a tangible sense of dread. Such contrast between beauty and horror can be seen in the musical canvas, too, with traditional baroque instrumentation often giving way to industrial walls of noise from which there is no escape. It's a sonic exorcism of the highest order, and often terribly difficult to listen to. Outstanding.

Number 2: Weyes Blood - Titanic Rising

If you would've told me when I first listened to it that Weyes Blood's Titanic Rising would be in my top 20, I wouldn't have believed you. If you told me it'd be in my top two, I would've laughed. And yet here we are; the man who will repeatedly tell you that The Chariot are the perfect band has placed an atmospheric, glossy, shimmering chamber-pop album at the top of his AOTY list.

This record really is special, and every time I come back to it I find something else to love. There are songs to capture you immediately alongside the slow-burners: the most instantaneous track being '70s-baroque-pop-worshipping 'Everyday', followed swiftly by gorgeous ballads 'Andromeda' and 'Something To Believe'. 'Movies' is an incredible feat, and the thematic centrepiece here; it anchors the record in an underwater world of blissful psychadelia. The second half of the album (being 'Mirror Forever', 'Wild Time', and 'Picture Me Better') continues to reward more upon each repeat listen - and it doesn't hurt that each of the three tracks are even more beautiful in a live environment. Every song simply serves to highlight Natalie Mering's artistry and talent; every time her vocals cut through, it's in order to offer up some shining lyrical poetry and remind us of her vision. Titanic Rising is pretty much perfect, and I am inexplicably, wholeheartedly in love with it.

You can read my initial review of this album here.

Number 1: PUP - Morbid Stuff

There aren't too many bands who can pull off a perfect run of three 10/10 albums, but with 'Morbid Stuff', PUP become one of them. In my humble opinion, it puts the Toronto four-piece firmly in the running for the title of "best band in the world right now".

There's not a single skippable song on this record. Almost any track (bar maybe 'City' and 'Full Blown Meltdown') could have been the lead single, with each boasting multiple brilliant hooks, deceptively complex instrumentation, and unapologetically pessimistic lyricism from Stefan Babcock. The ability of the band to balance such (appropriately) morbid themes with such an outright fun, up-beat, shout-along punk vibe means that the album has a real sense of duality in terms of tone; a huge part of what makes it so special. There's so much charisma and personality here, and it's all generated by each member's individual role. Alongside Babock's unmistakable vocals, guitarist Steve Sladkowski shines - his virtuoso licks acting as hooks almost as often as the anthemic choruses - and PUP's rhythm section is simply one of the best in rock music today.

Not only is Morbid Stuff PUP's most ambitious, artistically complete, and exciting record yet, it's also the best album of 2019. Long may they reign.

You can read my initial review of this album here.

  

Album Review: BROCKHAMPTON - GINGER

6.5/10

Best Tracks: NO HALO, BOY BYE, IF YOU PRAY RIGHT

FFO: Dominic Fike, Kevin Abstract, Tyler, The Creator

The fact that BROCKHAMPTON are one of the most important and prolific rap collectives of the decade despite having only been around since 2015 is pretty impressive. Their SATURATION trilogy, in particular, is surely destined to go down in history as some of the finest hip-hop of this generation.

On their fifth studio album, GINGER, the world’s greatest boyband take a far more lo-fi, laid-back, and melodic approach to their songwriting and production. It takes inspiration from many of the most popular artists in the genre right now, but still manages not to feel derivative. From the opening acoustic plucking (and gorgeous accompanying vocal refrain) of 'NO HALO', you'll likely be able to tell if the record is for you or not; it's a stark constract from BH's tendency to kick albums off with an absolute rager (see 'BOOGIE' and 'HEAT'). There's more of a focus here on atmosphere and melody than there ever has been before.

As always, there are a number of songs, moments, and verses across the track listing that stand out more than others. In particular, the run of four featuring 'BOY BYE', 'HEAVEN BELONGS TO YOU' (a great little standalone Slowthai feature), 'ST. PERCY', and 'IF YOU PRAY RIGHT'' is really brilliant. As always, Merlyn Wood steals the show on the few tracks he appears on with his unique delivery and intonation. The same could be said for Joba, the group's incredibly entertaining "wildcard"... though unfortunately his voice is distorted by over-the-top effects half the time. Bearface, however, really steps up to the plate on this album, as the sound of the record generally better suits the singer-songwriter's vocal stylings and creative ideas. Even in rapped verses on 'ST. PERCY' and 'BIG BOY', his voice is utilised so well and to such an extent that it'd be easy to argue the case that Bearface is the standout member of BROCKHAMPTON across the whole of the record.

Personally, my biggest issue with this album is that it simply lacks the pure, boundless energy and excitement of the group's previous material. It's true that GINGER feels much more like a cohesive body of work than any of their earlier projects, but that also means that once the album hits its second half, it starts to feel somewhat one-note, and even a little dull. There was a real charm and edge-of-your-seat feeling about the way that records such as SATURATION would flit from something wild to something more considered, and vice versa. Here, though, the album loses a bit more flavour with each new autotuned melody (a trend I generally can't stand anyway) and purposefully-understated verse.

GINGER is likely to please a whole lot of BROCKHAMPTON's current fans and bring in even more new ones. It's well-made, tonally consistent, enjoyable up to a point, and offers a fairly unique take on the current hip-hop zeitgeist. For my money, though, it's their weakest LP thus far.

Album Review: Slipknot - We Are Not Your Kind

7.5/10

Best Tracks: Unsainted, Nero Forte, Red Flag, Orphan

FFO: Korn, System Of A Down, Stone Sour

When chiseling out the Mt. Rushmore of metal bands, no group in the 21^st Century can be considered more of a candidate than Iowa legends Slipknot. Perhaps the biggest truly heavy band on the planet right now, the nine-person wrecking crew continue to sell out arenas worldwide on the release of their sixth studio album. 

We Are Not Your Kind is Slipknot’s best record in 15 years. It’s unique and original, it’s huge and accessible, and it’s still heavy as fuck. Where their previous effort, .5: The Gray Chapter, failed to deliver in terms of creativity and memorable moments, WANYK makes up for it in spades. It's a reminder of what made the band such a valuable commodity early in their career, but doesn't feel like they're trying to hark back to that earlier material in a cynical manner - this is a more mature piece of work, and a reflection on all that Corey Taylor and co. have learned in their time as a band.

Still, there are moments on this album that can hold up to some of Slipknot's most iconic work. With the album’s lead single (and first track proper), ‘Unsainted’, the band have crafted a chorus destined to go down in history alongside ‘Psychosocial’, ‘Wait and Bleed’, and ‘Duality’. There’s a good helping of sure-fire future setlist staples to go alongside it: the aforementioned ‘Nero Forte’;  full-on, mosh-ready ragers ‘Orphan’ and ‘Red Flag’; even album closer ‘Solway Firth’, with its oddly-enunciated intro. Corey sounds absolutely incredible across the board for a man who has been shredding his throat for so many years, and the instrumentation around him is just as furious as it always has been - from Mick Thomson and Jim Root's iconic guitarwork to Jay Weinberg's ever-insane drumming.

As always with Slipknot, though, there are a few more experimental tracks in amongst the gems which don’t work quite as well as the rest of the record. 'Spiders', despite its weirdly catchy refrain, features a number of questionable decisions in an apparent attempt to break up the intensity of the track listing. The same can be said for 'My Pain', a pretty dull, simplistic cut backed by electronic instrumentation and showcasing the worst of Taylor's vocals. Two out of three of the interludes peppered through the record also feel a little useless; the only one which serves a purpose is the album opener, 'Insert Coin' (and even that could be removed with minimal impact). Still, these hiccups are few and far between for the most part.

Although this album might not feel as wholly unstoppable as the band’s first few records, We Are Not Your Kind is still an outstanding success for Slipknot. Whether it’s viewed from a commercial or creative standpoint, this album is proof that an arena-level band 24 years into their career can still feel current, original, and often legitimately exciting.

Album Review: Guilt Trip - River Of Lies

8/10

Best Tracks: River Of Lies, Hand Of God, Thin Ice

FFO: Year Of The Knife, Judiciary, Trapped Under Ice

Ten tracks. Twenty minutes. You know exactly what you’re going to get with the debut album from Manchester hardcore upstarts Guilt Trip, and it doesn’t disappoint in the slightest. This record is very much My Kinda Shit™, so take the following review with a pinch of salt… but don't assume that the praise is misguided.

Here, Guilt Trip take the exact same bull-headed, hot-blooded approach to heavy hardcore demonstrated on their 2016 Unrelenting Force EP and transplant it onto an LP. The production sounds bigger and fuller this time around, though, and – despite having very obvious influences from groups like Trapped Under Ice - the band have more of a grasp on their defining personality. Primarily, it's an album built around riffage; mountains of powerful, palm-muted chugging accented by fleeting solos and gnarly pinch harmonics. Each new section is another reason to mosh until you break something, especially with tempo changes so often implemented at perfect moments. The band feel like a well-oiled machine a lot of the time, motorised by a destructive rhythm section and radiating sheer, ignorant energy (mainly generated by frontman Jay Valentine).

Within the 20-minute runtime of River Of Lies, there are a plethora of memorable moments which make this not-just-another-UKHC-album; from Alex Exemption’s barnstorming guest spot on ‘Hand Of God’ to the crowdkill-worthy double breakdown at the end of ‘Deceit’. The record's true highlight, though, is 'Thin Ice' - a song so adrenalised and in-your-face that it almost feels like it's emerging from the speakers to physically beat you down. Drummer Tom Aimson shines on this track, with thumping toms, creative fills, and great usage of the ride bell giving the percussion a distinctly unstoppable feel.

This full-length debut from Guilt Trip is quite easily one of the best hardcore releases of 2019. It's a testament to the strength of the British scene, and there's no reason for you not to check it out if you're a fan of heavy music and big fuck-off riffing.

The 10 Best Performances From This Year’s 2000 Trees Festival

Credit: Gloucestershire Live

2000 Trees is my favourite UK festival, bar none. Three days of some of the most incredible bands the world has to offer set amongst the rolling hills and lovely forests of the Gloucestershire countryside? With a load of bacon rolls and cider? Yeah, don’t mind if I do. 2019 marks my third consecutive year at Trees, and it’s potentially the strongest in terms of line-up; I don’t think I saw a single bad set throughout the entire weekend, making this an incredibly difficult list to make. Out of the 40 bands I managed to catch, though, there were certainly some standout performances worth writing about.

Just briefly, I want to give some honourable mentions to the bands who narrowly avoided making the top ten amidst some strong competition. Haggard Cat, to no-one’s surprise, put on yet another incredible show early on the Thursday at Trees (despite some comedic mistiming on their confetti cannons), and get a great crowd reaction to boot. The new material they play sounds brilliant, and the bluesy two-piece further establish their place as a new staple of the UK festival scene. Later the same day, I see Comeback Kid for the second time in a week, and whilst their set on the Cave doesn’t quite match up to the intimacy of their gig at Boston Music Rooms a few days prior, it’s still nothing short of wonderful. The band feel like legitimate hardcore legends at this point, and for good reason.

On the Friday, Drug Church and Rolo Tomassi play back-to-back on the Cave, and both stand out for different reasons. The sheer punk-rock energy of the former (along with frontman Patrick Kindlon’s cheeky banter and effortlessly cool stage presence) ensures that songs such as ‘Foam Pit’ and closer ‘Weed Pin’ are highlights of the day. Rolo, on the other hand, are positively otherworldly. Last year’s record, Time Will Die and Love Will Bury It, has elevated them to a whole new level, and it feels like the band should be headlining stages like this in the very near future. Saturday is also chock-full of killer sets, with Lotus Eater putting on easily the most aggro performance of the weekend. Violently-Glaswegian vocalist Jamie McLees is hilariously up-front, telling the spin-kicking maniacs down the front that he secretly likes seeing people get hurt, before the band around him launch into breakdown upon breakdown. The St. Pierre Snake Invasion’s Cave-sub-headlining slot is triumphant and endlessly fun, as they celebrate the release of their new record by playing songs from it with bounds of energy and visible excitement.

I could go on, and chat shit all day about Brutus, Can’t Swim, Mongol Horde, While She Sleeps, and plethora of other artists, but let’s get down to it. Here are the top ten.

Number 10 - Soeur (Thursday, The Cave)

First up are a band who continue to get better every time I see them: Soeur. The Bristolian three-piece have done remarkably well in recent years to hone in on a sound which is uniquely theirs; catchy pop hooks nestled between thick, grungy riffs and math-rock rhythms. As soon as they open with the first unstoppably danceable riff of ‘No Fire’, the band have the audience on tenterhooks and don’t let them go until the final blitz of ‘Fight’ has faded from the speakers. Their on-stage dynamic works wonderfully; dual vocalists and guitarists Tina and Anya play off each other exceptionally well, with ever-complex drums holding it all together at the back. The set feels like a big moment for Soeur – there’s not a minute goes by that doesn’t see one of the members grinning from ear to ear at the packed tent in front of them - and it's only trumped by the significance of their main stage performance on Saturday (which I only manage to catch the end of). As exciting as it all is, there's a real sense that this is only the beginning for the band.

Number 9 – Higher Power (Saturday, The Cave)

Photo by Jez Pennington

Rightfully one of the biggest names in modern UK hardcore, Higher Power put on an absolutely brilliant set at Trees this year. With a unique style of classic, 90s-inspired hardcore doused in grunge and crossover thrash, the Leeds-based crew inspire no shortage of two-stepping and spin-kicking down the front from their small-but-dedicated fanbase. Utilising his signature repeated mosh-calls of "Where the freaks at?" and "For the moshers!", vocalist Jimmy Wizard eggs them on, and exudes a mountain of charisma at the same time. At one point, he climbs down to the barrier in order to get into the faces of those in the front row - an action which results in a pile-on, demonstrating that hardcore kids won't let something as simple as a barricade prevent the creation of the sweaty-club-show feeling that this band deserve. Higher Power stand out amongst their peers not only because of the originality of their music, but also because of the driving sense of personality they possess as a band. They're the British answer to Turnstile, and if you keep on reading, you'll understand how much of a compliment that is.

Number 8 – Indoor Pets (Friday, Neu Stage)

One of the best things about 2000 Trees is that they champion bands who should, for all intents and purposes, be fucking massive – but for some reason, are not. On the strength of their songwriting, Indoor Pets are a prime example. Fronted by the ever-charismatic Jamie Glass (how can a man with such small hands craft such huge choruses?), the four-piece play a pretty unique brand of pop-rock that revolves around sticky hooks and big, bouncy riffage, and they're absolutely on fire on Friday night. This is a band who play songs so huge that you could picture them headlining Reading Festival (see 'Electrify', 'Teriyaki', and 'Cutie Pie, I'm Bloated'), but also possess an utterly unique vibe that makes them feel almost like a punk band; their music in a live setting is more chaotic and heavy than on record. It's still poppy, sure, but it's also engaging and exciting in a way than most of their peers would kill for. I only catch the first three quarters of this set (Cancer Bats were calling me), but nonetheless, I find myself humming the songs from it over and over for the remainder of the weekend.

Number 7 – Turnstile (Thursday, Main Stage)

Photo by Abbie Shipperly

Turnstile are just one of those bands who can do no wrong in a live environment. This being the fourth time I’ve seen the Maryland hardcore upstarts, I know what to expect to a certain extent... but that doesn't stop me from being impressed all over again. With an opening riff-laden 1-2-3 punch of 'Generator', 'Drop', and 'Real Thing', it's easy to see that Turnstile are their usual incendiary selves, and they sound even better outdoors (and in the sun). The word of their prowess as a live act must have spread around, too, because they pull one of the biggest main-stage crowds of the entire festival. On stage, though, as always, bassist Franz Lyons is the one to watch, exuding ridiculous amounts of energy and getting the masses riled up like a commander leading troops to battle. Around him, Brendan Yates, Daniel Fang, Brady Ebert, and Pat McCrory are all doing their best to outdo one another in regard to power, kineticism, and brilliant instrumentation. Most hardcore acts would struggle on such a large platform in a festival setting; instead opting for the heat and intimacy of a smaller tent. Turnstile, though, do just as well here as they would do in a 300-cap no-barrier club show, because they're a band who transcend every boundary and cross every line put in front of them.

Number 6 – A.A. Williams (Saturday, The Forest)

The only purposeful venture I make toward The Forest Stage over the weekend is to see A.A. Williams, and it’s absolutely magical. I’ve never heard the setting so quiet - usually there's a constant unwanted murmur from pricks at the back who decide the best place to chat is the acoustic stage, but this time you can only hear the rustle of leaves, the occasional click of a camera shutter, and every aural detail of the performance. Backed by two other instrumentalists for the majority of the performance, Williams creates an atmosphere which is at once haunting and angelic. Porcelain vocal lines drift over slowly-progressing soundscapes, and the utilisation of dynamics is one of the set's biggest strengths; the quietest moments focus the attention of the attendees so sharply that when a crescendo comes in, it feels almost emotionally overwhelming. In the midst of all the noise and excitement of 2000 Trees, A.A. Williams provides half an hour of real, awe-inspiring beauty.

Number 5 – Orchards (Thursday, The Axiom)

Photo by Jez Pennington

If you could hear happiness, it would sound like Orchards. The Brighton math-pop quartet take to the Axiom early on Thursday afternoon, and it’s a sun-soaked performance driven by pure joy and big hooks. As with Soeur earlier in the day, this might well be one of the biggest – and most involved – crowds the band has ever played to, and the fact that you can see how psyched they are about it just adds to the atmosphere that their bubbly, upbeat tracks create. With some glittery, pink inflatables (which survive to crop up in the audiences for other bands across the weekend) thrown out into the crowd setting the tone, songs such as 'Peggy', 'Darling', and 'Double Vision' are vibrant bursts of colour made all the more enjoyable by the exuberant stage presences of vocalist Lucy Evers and guitarist Sam Rushton. Disaster almost strikes as the powers-that-be look to stop the set before the very last song, but when the band urge those backstage to let them finish up (and they finally relent), the version of 'Luv You 2' that closes the performance is one of the most exciting, joyous, and memorable moments of the whole festival. 

Number 4 – Palm Reader (Thursday, Neu Stage)

Palm Reader have almost become a house band at 2000 Trees over the last few years, and I’ve seen them there every year since 2017 (each time better than the last). It’s incredibly infuriating that they’re still not at a level past sub-sub-headlining the smallest stage at a medium-sized festival, because honestly, I consider this band the gold standard for British heavy music. Their performance on the Neu stage here bolsters that view tenfold, as the Nottingham five-piece put on a metal masterclass focused around their seminal 2018 record, Braille. Every single member puts their absolute all into every song; with Josh McKeown's always-impassioned vocal delivery flanked by mesmerising guitar and basswork (and furious crowd incitement) from Andy, Sam, and Josh. Dan Olds, even from the back of the stage, is the driving force around whom the others revolve, pounding his kit into oblivion through immense tracks like 'Always Darkest' and 'Swarm'. This is the best crowd reaction the band have ever received at Trees, too - a promising sign of things to come. Toward the end of the set, Josh announces that Palm Reader are working on their fourth record, and (after a show so brilliant) one can only hope that this will be, at long last, the breakthrough that they've deserved for so long.

Number 3 – Raketkanon (Friday, The Cave)

Photo by Jez Pennington

Raketkanon are not your average band, and they sure as hell don’t put on an average festival set. Everything is off kilter even before they play a note - from the smoking guitarist playing a headless six-string to the minimalist percussion set-up; from the giant, angular, flashing scrawl of a backdrop to the weird stage blocking, this is a band who know how to get inside your head. Then they launch into ‘Fons’, and it’s outstanding. In the bridge of the song, the band encounter some technical difficulties, but they just extend it seamlessly until the issue is fixed (whilst frontman Pieter-Paul Devos asks if anybody in attendance has weed they can buy). As the Belgians blast through some of their oddest and most compelling tracks, Devos throws himself into (and around) the crowd whilst wearing one of Orchards’ inflatable donuts from the day before. The band's new record, RKTKN #3, serves them well here, with synth-heavy songs like 'Harry' and 'Hannibal' standing out as highlights amongst their classics. This set is the perfect storm, and it ends up being one of the best performances of the weekend. 

Number 2 – Every Time I Die (Saturday, Main Stage)

If the idea of Every Time I Die (one of the best bands in the world) playing Hot Damn! in full followed by a ridiculous run of big-hitters doesn’t appeal to you, then you might not actually like music. Especially considering that those big-hitters are ‘Underwater Bimbos’, ‘We’rewolf’, ‘Decayin’ With the Boys’, ‘It Remembers’, ‘The Coin Has a Say’, ‘No Son of Mine’, ‘The New Black’, and ‘Map Change’. Goddamn.

Photo by Gareth Bull

From the moment the Buffalo icons take to the main stage as sub-headliners on Saturday, it’s clear that we’re in for a special show. They rip through the first three tracks off Hot Damn! with reckless abandon, creating an immediate frenzy in the crowd down the front and demonstrating just how many people have been waiting with bated breath to see this band destroy 2000 Trees. There's just as much of a reaction for the album's deep cuts as there is for setlist mainstays like 'Floater';  the album's closer, 'Pornogratherapy', is a particular highlight, as frontman Keith Buckley confesses that it might well be the last time the song gets played live. As the track reaches its home stretch, Buckley launches the microphone from the stage into the audience and leaves the fans to do the honours. This brilliant moment spawns some technical difficulties, but once it all gets up-and-running again, the aforementioned run of classics which closes out the set is godly. Each member gets their own spotlight, from Andy Williams' incredible, muscle-bound riffs to Jordan Buckley's shamelessly in-your-face stage presence taking centre-stage at the end of 'Map Change'. It's an incredible show from one of the greatest bands to ever do it, and I can only pray for them to return to Trees in the near future (and maybe even headline next time). 

Number 1 – The Armed (Saturday, Neu Stage)

There is no band on planet Earth who can hold up to the insanity of a live set by The Armed. I arrive at the Neu Stage five minutes before they come on, still sweating from ETID (who had finished up moments before), to find a man in a ghillie suit sat alongside vocalist Cara at a table laid out with croissants, French cheese, and beer. In the middle of where the pit is sure to be. And it doesn’t get any more normal from that point on. I must confess that as a reviewer, I'm not particularly professional during this set. By that, I mean that at various points throughout, I jump off the table onto the crowd, get carried around the audience by the band's seven-foot frontman, and manage to get onto the stage to take the position of a vocalist for 'Fortune's Daughter'. Apologies if it's all a bit of a blur from my perspective.

Still, it's all par for the course at a performance from The Armed. With various members of the collective tormenting everybody in the audience (even those who think they're safe, lounging outside the tent), the soundtrack to it all is absolutely perfect; a typhoon of wild synthesisers, riffs, complex guitar passages, and intense drumming, all at once bastard-heavy and incredibly intricate. The band's second album, 2018's Only Love, was my record of the year, and cuts taken from it - like 'Witness' and 'Role Models' - are bouts of unstoppable madness when played live. Older ragers such as 'Future Drugs' are equally excellent, but plant more of a focus on Converge-esque instrumentation than usage of electronics. Either way, the blistering noise which constantly batters the audience is not for the faint of heart, especially with strobe lighting and fog machines adding to the chaos. The whole thing feels more like a hallucination or an out-of-body experience than a 45-minute festival set. It's one of the best 2000 Trees performances I've ever seen, and The Armed deserve their place at the top of this list.

Photo by Ben Morse

MOPE Mid-Year Review: The Best Albums I Missed in the First Half of 2019

As committed to MOPE as I try to be, there are always gonna be some albums which slip through the cracks. At the end of June, I decided to take a look back over the first half of the year and see which new albums that I love haven't been given a review on this site so far - either because I've been too busy or because I just didn't get round to listening to them soon enough. Even in this little feature, there are records I couldn't fit in, so I'd like to give a few honourable mentions to the following:

• Baroness - Gold & Grey 
• Full Of Hell - Weeping Choir
• Jamie Lenman - Shuffle
• Bad Breeding - Exiled (check out my review of this one on Already Heard here)
• Slowthai - Nothing Great About Britain
• The Wildhearts - Renaissance Men

So, without further ado, here are six albums from the first half of 2019 that you should be checking out right now. Enjoy!

Her Name Is Calla – Animal Choir

10/10

Best Tracks: The Dead Rift, Kaleidoscoping, A Moment of Clarity, Robert and Gerda

FFO: Radiohead, Godspeed You! Black Emperor, Mogwai

Animal Choir is special because it’s not too often you hear a genuine masterpiece. Often, when you do, it comes out of absolutely nowhere – and that’s the case with the final record from Her Name Is Calla (a band I hadn’t ever been exposed to before this album, and who have now called it a day). The post-rock visionaries flew very much under my radar until the LP was covered on the Riot Act Podcast (big up) recently, and now I’m kicking myself for not listening to them sooner.

The first thing I picked up on when I first listened to Animal Choir was how well-crafted it is in terms of flow and structure. As clichéd as it sounds, it genuinely feels like a journey, tirelessly leading the listener from one overwhelming sensation to another. Truly, it’s a record which needs to be heard in full to be appreciated properly. At the same time, though, there are countless moments that you could pick out which are just as powerful on their own: the intense, catchy, violin-led ending of ‘The Dead Rift’; the hugely immersive, Radiohead-inspired atmosphere of ‘Kaleidoscoping’; the gorgeous, floating vocal lines of the album’s best track, ‘Robert and Gerda’. Each song immerses and astounds in its very own way.

Musically, the album is a smorgasbord of intriguing influences and ideas put to use in a manner that comes across as wholly original and strikingly unique. Whilst - as aforementioned - Radiohead is the artist most easy to cite as an inspiration, there are also noticeable elements of folk in the record's instrumental choices, hulking post-metal on tracks like 'Swan' and 'Bleach', and even the outer reaches of ambient and post-rock on 'Pyre' and 'Deer Trapping'. Everything comes together to add to the distinctive aura of Animal Choir, and the listener is left feeling at once dwarfed by it and enveloped in its world. There's imagery scattered across the canvas of the record so rich that it feels like it stimulates all five senses, and a powerful use of dynamics which goes from one extreme to the other in the most effective way possible.  

It frustrates me that I’d never heard of Her Name Is Calla before this album was released, and now they’ve broken up. It’s a bittersweet way to discover such an outstanding piece of art, but it’s made all the more poignant for it. Animal Choir truly feels like the best swan song any artist could wish for, and – to be fair – you might as well call it a day after dropping a record this good. I cannot recommend it enough.

SeeYouSpaceCowboy - Songs for the Firing Squad

8.5/10

Best Tracks: I Am A Trans-Continental Railroad, Please Run A Train On Me, Stop Calling Us Screamo, Pep Talk From A Nihilist

FFO: Botch, Converge, Fear Before

I didn’t initially review this album upon its release because technically it’s a compilation, but having not stopping listening to it since, there’s no way I can go any longer without talking about Songs for the Firing Squad. California metal/mathcore/screamo (sorry) outfit SeeYouSpaceCowboy have garnered a lot of hype with these songs, and it’s easy to see why.

This record has absolutely everything I love most in music: dissonant, chaotic guitars; left-field structural shifts; manic, wild, screaming vocals; insanely brutal breakdowns; even lengthy, tongue-in-cheek song titles (how good is ‘Self Help Specialist Ends Own Life’?). The breakneck pace of this maelstrom is absolutely intoxicating, with the band managing to fit countless ideas and sudden changes into each sub-two-minute track (and thirteen songs into an eighteen-minute long record). The fourth track, 'I Am A Trans-Continental Railroad...', for example, starts off with violent, sporadic bursts of angsty dissonance and ends in a strange, off-kilter disco-beat breakdown. Even though this drastic switch takes place in just one minute and eleven seconds, the pacing seems to make sense (in a fairly deranged way). 

Whilst this album doesn't necessarily break any new ground within its genre, it doesn't really need to. It’s easy to make comparisons here to Jane Doe-era Converge, early mathcore bands such as Botch and The Dillinger Escape Plan, and even the best of early 2000s post-hardcore acts like Fear Before. Songs For The Firing Squad wears its influences on it’s sleeve in bold colours, but at the same time doesn’t feel particularly derivative - primarily because they explore so many different avenues, and never stay still in one place for too long. 

If you like your music fast, aggressive, and full of personality, you'll do no better this year than SeeYouSpaceCowboy. With their debut LP proper in the works and scheduled for release later in 2019, Songs for the Firing Squad should act as the first maniacal step on this band's path to infamy.

Green Lung – Woodland Rites

7.5/10

Best Tracks: Woodland Rites, Let The Devil In, May Queen

FFO: Ghost, Black Sabbath, Puppy

Take the huge, classic-sounding, doomy riffs of Black Sabbath, the modern-pop style hooks of a band like Ghost, and a heaping spoonful of stoner rock in the vein of All Them Witches, throw it all in a bubbling cauldron under the light of a full moon, and what do you get? Green Lung’s Woodland Rites.

As a wonderfully occult-driven rock record peppered with huge, sticky choruses, this debut LP from London five-piece Green Lung gives the Puppy album from earlier this year a decent run for its money. Through its themes of witchcraft, satanism, and the rituals that come with them, the record conjures a brilliant sense of atmosphere, helped along by skyscraper riffs and an emphasis on the low-end throughout. The rhythm section seems intent on keeping the listener headbanging for the length of the record, and it pretty much succeeds.

Some might say this album sounds a little too Sabbath-worship heavy for it's own good (even taking the famous "Oh lord yeah!" from 'War Pigs' to kick off the title track). It's true to an extent; Tony Iommi's influence on the riffwork is plain to see, as is Ozzy's on the vocal styling. There are, though, a few things which make it more interesting than all that. John Wright's work on the organ on a song such as 'The Ritual Tree', for instance, helps to make it feel like the record somehow heralds from a time of magic and rampant superstition. Vocalist Tom Templar's effortless grasp on the art of the catchy chorus is one of the primary selling points here, too, and songs like 'Let The Devil In' and 'May Queen' will be stuck in your head for weeks to come.

Woodland Rites is an album which can transcend genre boundaries, in that fans of rock and metal of any sort should be able to find something about it that they enjoy. Green Lung have done well to create as strong a debut as this.

Injury Reserve – Injury Reserve

8/10

Best Tracks: Koruna & Lime, GTFU, What a Year It’s Been

FFO: JPEGMAFIA, BROCKHAMPTON, clipping.

Injury Reserve have often been cited as one of hip-hop’s most unfairly overlooked artists, and rightly so. The experimental trio have been responsible for some of the most exciting releases of the past decade within their genre, with their last two mixtapes in particular (2016’s Floss and 2017’s Drive It Like It’s Stolen) gaining critical acclaim from those on board. Now, on their self-titled debut album, they aim to shake off the label of “underrated” and step into the spotlight.

Injury Reserve continue to break the boundaries of experimental hip-hop here. Some of the instrumentals, most noticeably, are just mind-blowing; opener ‘Koruna & Lime’ has a glitchy beat frankensteined out of clips of random yelps and screams which only starts to make sense once some percussion kicks in, and 'Jailbreak The Tesla''s instrumental appears to be accumulated from the sounds of the vehicle from which it takes its name. This exercise in pushing the envelope, as expected, results in a couple missteps - notably 'Rap Song Tutorial', which is effectively what it says on the tin, going through the elements of a typical track step-by-step in the manner of an instructional video. The song has an interesting idea behind it, but unfortunately the execution makes it feel a little too gimmicky. Still, one dud in thirteen ain't bad.

It's not just the wild experimentation on this record which make it stand out. After the hype of the album's first half dies down a little, songs like 'What a Year It's Been' and 'Three Man Weave' allow the group's lyrical prowess to shine through atop some more simplistic (and even jazz-influenced) production efforts. There are introspective, heartfelt, and emotional moments hidden on these tracks, which one might not expect from a record that also features a song consisting mainly of guest vocalist JPEGMAFIA repeatedly yelling "get the fuck up!".

Injury Reserve's debut self-titled album might well be my favourite hip-hop release of the year thus far. It excels at as many things as it subverts, and is more than likely to be the release which puts the group's name in many more mouths.

Weyes Blood – Titanic Rising

9/10

Best Tracks: Andromeda, Something to Believe, Movies

FFO: Kate Bush, Beach House, ABBA

So here it is: the year’s most surprising release, at least in regard to my personal tastes. Natalie Mering’s third solo LP under the Weyes Blood name, Titanic Rising is simply a fantastic pop record which continues to reward more richly with repeated listens.

From the actual sound of the record to its lyrical themes, such a palpable feeling of nostalgia, longing, and sadness is conjured over the course of these ten tracks that it can often end up feeling like a tidal wave of emotion. Second track 'Andromeda' is a prime example, driven by an acoustic guitar and simplistic percussion but surrounded by strings and near-ethereal effects. When Mering's voice cuts through with lines like "Looking up to the sky for something I may never find" and "Treat me right, I'm still a good man's daughter", it pulls at the heartstrings instantaneously. 'Movies' is the record's centrepiece, a six-minute slow build which uses arpeggiating synths and a chorus of backing vocals to evoke wonderment and deep-seated melancholy at the same time.

The influence of 1970s and early ‘80s pop music here is hugely apparent. In fact, when I first heard it, I described this album as “falling asleep underwater and having a dream about ABBA”, which is a comparison I still stand by. The vocal harmonies all over Titanic Rising are hugely reminiscent of the Swedish pioneers, and on a song like ‘Everyday’, you’d be forgiven for thinking a B-side from Arrival had slipped through the cracks. There are nods to artists like Kate Bush, David Bowie, and The Beach Boys (Pet Sounds in particular) which lend the record a tangible baroque-pop atmosphere, as well as a strong sense of timelessness. Play this to somebody unfamiliar with it, tell them it's a hidden classic of years gone by, and they'll have no reason to disbelieve you other than the outstanding quality of the production.

Titanic Rising may be far from standard fare for MOPE, but it’s easily one of my favourite records of the year. No matter who you are or what you like, I urge you to give it a listen.

The St. Pierre Snake Invasion – Caprice Enchanté

9/10

Best Tracks: Remystery, Casanovacaine, Pierre Brassau

FFO: Mclusky, Jamie Lenman, HECK

The long-awaited second full-length from Bristol noiseniks The St. Pierre Snake Invasion is finally here, and (spoiler alert) it’s worth the wait. 2015's A Hundred Years A Day, their full-length debut, was a brilliantly wild statement of intent, but Caprice Enchanté is something far more involved and richly-textured.

Still, the opening salvo of 'The Safety Word Is Oklahoma', 'Remystery', and 'Braindead' should be enough to signal to any listener that St. Pierre aren't pulling any punches on this album. With strong echoes of equally raucous bands like Mclusky and Future Of The Left (both self-admitted influences on TSPI), the record's most intense moments are arguably its best - from 'Remystery', with its repeating panic chords and outrageously heavy riffage, to 'Pierre Brassau''s snaking, math-rock inspired guitar lines and spasmodic rhythm section. Even some of the more moderately-paced tracks, like 'The Idiot's Guide To Music', still manage to maintain the same chaotic energy through instrumental ideas and production techniques.

I might be a sucker for the most frenetic stuff featured on Caprice Enchanté, but it’s definitely worth mentioning that the more melodic and atmospheric tracks stand out, too. ‘Things to Do in Denbigh When You’re Dead’ and closer ‘I Am the Lonely Tourist’ (which features an excellent melodica section) both showcase vocalist Damien Sayell’s dulcet tones, as well as the band’s ability to build some watertight tone in the midst of chaos. Sayell's lyricism lends the record another dimension, as well; whether he's lashing out at right-wing fearmongering on 'Braindead' ("There's someone in your garden and they've come for your kids") or dropping cryptic one-liners like "I'm a cyst for a heart / I'm a lung in a bucket", his words refuse to shift from centre-stage for one moment.

This album feels like an important moment. With the release of Caprice Enchanté, The St. Pierre Snake Invasion have not only started to truly come into their own as a vital institution of "underground" British rock music, but have bolstered the scene as a whole.