MOPE: The Top 20 Albums of 2021

We're back, baby. Thanks for checking out my fourth(!) annual AOTY list on MOPE.

Before we get stuck in to the actual list, here are a few honourable mentions:

• Converge & Chelsea Wolfe - Bloodmoon: I: Difficult one, this, because I can almost guarantee that it would've been in my top 20 (maybe even top 10) if it'd come out in, say, April? The only reason it's been relegated to an honourable mention is because I simply haven't had enough time with it yet and it's so much to take in on one listen. As it stands, this collaboration between the two world-class artists came out in mid-November and it's an absolute match made in heaven, with both bringing their A-game. A perfect tonal balance of uncompromising heaviness and porcelain beauty. Listen here.
• Knocked Loose - A Tear in the Fabric of Life: It doesn't qualify for the end-of-year list because it's an EP, but holy fuck are Knocked Loose at the height of their destructive powers on this release. Accompanied by a haunting animated short film, A Tear in the Fabric of Life was a surprise in more ways than one; nobody expected this band to drop their best ever music out of absolutely nowhere. Unadulterated anger and intensity in the form of murderous metallic hardcore, darker than a black hole and twice as heavy. Listen & watch here.
• Bo Burnham - Inside (The Songs): Beyond the memes, Inside is a generation-defining comedian's lockdown-era opus, and the music is what the Netflix special builds itself around. I've excluded the album from my list because... well, it's a soundtrack, but a lot of these songs are extraordinary. Whether we're talking the brilliantly satirical 'Comedy', a deconstruction of online life in 'Welcome To The Internet', or epic closer 'All Eyez On Me', Burnham uses this music to provide more pertinent and intelligent commentary on the last two years than any other artist out there. Listen & watch here.

I've also been enjoying albums this year from (deep breath) '68, JPEGMAFIA, The Chisel, Employed To Serve, The Coral, Black Midi, Death Goals, Green Lung, Gojira, JOHN, Dave, Regional Justice Center, Backxwash, Amyl & The Sniffers, Citizen, Spellling, Noctule, Mogwai, Arlo Parks, Portrayal of Guilt (twice), Cruelty, Injury Reserve, Dying Wish, The Bronx, Knoll, and - yes - Kanye West.

Alright, now onto the 20:

Number 20: Pupil Slicer - Mirrors

Best tracks: Martyrs, L'apell Du Vide, Wounds Upon My Skin, Mirrors Are More Fun Than Television

FFO: The Dillinger Escape Plan, Knoll, Rolo Tomassi, Today Is The Day

Never has a band's name suited their sound more. Mathcore upstarts Pupil Slicer made substantial waves in the scene this year with their debut record, Mirrors; a caustic blast of frantic percussion, panic chords, throat-shredding screams, and titanic distorted guitars. Alongside the obvious, mathy reference points in early Converge and Dillinger, there's plenty of even heavier influence from deathgrind and powerviolence mixed in to absolutely crushing effect. Vocalist/guitarist Katie Davies is the driver of this runaway train, commanding 100% of your attention at all times and offering up a fantastically versatile performance along the way. Songs like 'Mirrors Are More Fun Than Television' and 'Collective Unconscious' prove that beyond the brutality, we can expect some even more astonishing work from Pupil Slicer in the future.

Number 19: Black Country, New Road - For The First Time

Best tracks: Athens, France, Sunglasses, Opus

FFO: Slint, black midi, Squid, Dry Cleaning

I remember first hearing Black Country, New Road on 6Music when their debut single, 'Sunglasses', was released; a sprawling, 9-minute-long, arty post-punk track which (on the surface) did absolutely nothing for me... but I started to find myself enjoying it more and more each time it came on. Eventually, I'd go back to it of my own accord pretty much every day, and after a couple months I was shouting along to "Leave Kanye out of this!" while driving in my car. Fast forward two years and the hype train for BCNR has lived up to its lofty expectations on their first full-length album. Admittedly, this re-recording of 'Sunglasses' is slightly inferior to the more chaotic single version, but other tracks like 'Opus' and 'Athens, France' have that same quality of improving with every subsequent listen. There are so many elements to uncover, from the dry wit of the lyricism and drawling vocal delivery right down to the bed of complex percussion, atmospheric horns and strings, grooving basslines, and angular guitarwork. Promising stuff from the London 7-piece.

Number 18: IDLES - CRAWLER

Best tracks: The Wheel, Car Crash, The Beachland Ballroom

FFO: Fontaines D.C., Parquet Courts, shame, Death Grips

A band who really need no introduction at this point, IDLES' latest effort is the biggest and boldest evolutionary step they've taken thus far. Not every experiment here works equally well, but it's a fascinating and varied listen which far surpasses 2020's Ultra Mono; a record which felt like the group playing it safe, and weaker for it by the band's own admission. CRAWLER, on the other hand, sees the Bristol post-punks travel further outside their comfort zone than ever with tracks like 'Car Crash' (a bass-heavy Death Grips/Ho99o9-style jam), 'The Beachland Ballroom' (a soulful waltz through gritted teeth), and 'Wizz' (a 30-second burst of noise rock kicked off by a blast beat). The lyrics are poetic and introspective rather than blunt and confrontational, and cutting-edge production from Kenny Beats is stellar as always. These stylistic shifts - representational of the album as a whole - feel incredibly refreshing; the start of an exciting new chapter for IDLES.

Number 17: Tyler, The Creator - CALL ME IF YOU GET LOST

Best tracks: CORSO, LUMBERJACK, JUGGERNAUT (feat. Lil Uzi Vert & Pharrell Williams)

FFO: MF DOOM, Earl Sweatshirt, Vince Staples, BROCKHAMPTON

Tyler, The Creator, easily one of the most interesting and exciting rappers of the 21st Century, continues his spectacular artistic progression with CALL ME IF YOU GET LOST, a record which introduces a new persona in "Tyler Boudelaire". It's almost a summation of his work up to this point, blending everything from R&B to jazz to the dark, hard-hitting hip-hop that made him famous - and it ends up feeling simultaneously like a mixtape and a concept album (both in equally brilliant ways). These songs are coated in a heavy layer of nostalgia, looking through rose-tinted glasses at a wide range of subject matter, specifically with a focus on Tyler's personal relationships, his (often-controversial) rise to fame, and the unimaginable level of success he now finds himself at. Creative use of sampling and ambitious songwriting prevail, with two tracks clocking in at over 8 minutes long but never once outstaying their welcome. Through it all, it's crystal clear that this album is a strong musical vision which has been realised to its fullest extent.

Number 16: SeeYouSpaceCowboy - The Romance of Affliction

Best tracks: Misinterpreting Constellations, Anything to Take Me Anywhere but Here, Melodrama Between Two Entirely Bored Individuals

FFO: Underoath, Fear Before, Static Dress, Kaonashi

Connie Sgarbossa, SYSC's charismatic and enigmatic frontwoman, went through hell around the release of their sophomore record, The Romance of Affliction; attempting suicide by deliberate drug overdose just two weeks after their time in the studio. This being the band's strongest work yet, that darkness and pain behind the songs is palpable, and yet they manage to retain the same energy and unhinged playfulness that has served them so well thus far. It's a wonderful blend of 2000s metalcore and "sasscore" revivalism, with genre legends like Keith Buckley and Aaron Gillespie both providing stellar vocal features. Hand claps, disco-beat breaks, huge soaring choruses, and crushing breakdowns combine to create a uniquely addictive listening experience. More please.

Number 15: Little Simz - Sometimes I Might Be Introvert

Best tracks: Introvert, Woman, Standing Ovation, Rollin Stone

FFO: Sampa the Great, Injury Reserve, Tyler, The Creator, Cleo Sol

London rapper Little Simz has been at the forefront of British hip-hop for a number of years now for good reason, and on Sometimes I Might Be Introvert, she wrestles with the pedestal that her brilliant music has put her on - as an introvert in the showbiz world of extroversion. Lyrically, she also covers a smorgasbord of other pertinent topics (from systemic racism to female empowerment) all with their own style and flair. The production and use of samples, interludes, and interesting guest features ensures that this album feels like a proper journey; constantly taking the listener to places they may not expect, never once settling into a formula, and always radiating an incredibly strong sense of personality and artistic expression. It's one of the most thoroughly engaging records of 2021.

Number 14: Teenage Wrist - Earth Is A Black Hole

Best tracks: New Emotion, Wear U Down, Wasting Time, Earth Is A Black Hole

FFO: My Vitriol, Can't Swim, Narrow Head, Citizen

I hope you like massive hooks, because Teenage Wrist's Earth Is A Black Hole hardly ever goes a single minute without introducing a new one. Leaps and bounds ahead of their debut LP, this is a perfect mix of chunky instrumentation, shoegazey effects, lavish production, and world-beating choruses which fully embrace the pop in their songwriting. One listen to the title track alone will have you singing and dancing to it for days on end, while 'Wear U Down' and 'High Again' recall the best of 90s alt-rock in all their slacker-esque glory. Sure, sometimes it can be incredibly sugary (almost saccharine on a track like 'Yellowbelly') but when the songs are this irresistible, there's nothing wrong with indulging. Big tunes, good vibes.

Number 13: Wolf Alice - Blue Weekend

Best tracks: Delicious Things, Safe From Heartbreak (if you never fall in love), Play the Greatest Hits, The Last Man on Earth

FFO: HAIM, Beach House, Gengahr, Black Honey

Maybe a scandalous statement for long-time fans of the band, but Blue Weekend is easily the Wolf Alice album I've listened to the most. There simply isn't a single skippable track on this thing, which takes the band's signature sound and sinks it even further into their dreamy, spaced-out indie rock world. A couple of more up-tempo bangers ('Smile' and 'Play the Greatest Hits') are nestled amongst an overall more low-key and progressive sound; singer Ellie Rowsell always shining at the forefront with a voice and lyrical turn of phrase to die for. One notable highlight is the almost a-capella track 'Safe From Heartbreak (if you never fall in love)', which features nothing but a picked acoustic guitar and layers upon layers of beautifully harmonised vocals. With an aesthetic to match the sound and a series of music videos easily amongst the best of 2021, what's not to like?

Number 12: Delta Sleep - Spring Island

Best tracks: The Detail, Planet Fantastic, Old Soul, Hotel 24

FFO: TTNG, Feed Me Jack, Wild Cat Strike, Beach Fossils

Brighton math-rockers Delta Sleep's third full-length, Spring Island, is an album born out of lockdown living as much as it is a celebration of life and love out in the big, wide world - and a warning regarding the future of that world. The opening lyric of "I've been dreaming / About leaving the house" sets the scene perfectly and subsequent songs range from explorations of human relationships to the ever-present fear of climate change. Musically, it brings everything wonderful to the table that we've come to expect from Delta Sleep: shout-along gang vocal refrains, intricate and mathy lead guitars, a masterclass in dynamics, and yet another man-of-the-match performance from drummer Blake Mostyn. As always, they make the most challenging instrumentation look easy, with guitar riffs and leads snaking around one another seamlessly atop a mind-blowing rhythmic bed. Spring Island cements the band as one of the best math-rock groups in the world today.

Number 11: BROCKHAMPTON - ROADRUNNER: NEW LIGHT, NEW MACHINE

Best tracks: BUZZCUT, WINDOWS, THE LIGHT, DON'T SHOOT UP THE PARTY

FFO: Kevin Abstract, slowthai, Denzel Curry, Duckwrth

Don't let the lackluster name or artwork fool you: this new BROCKHAMPTON record is the best of their highly-prolific career.

The hip-hop collective seem to be looking to shake off their "boyband" moniker here, on what is supposedly their penultimate album. Sure, there are a fair few pop-laden bops to jump up and down to ('DON'T SHOOT UP THE PARTY', 'BANKROLL') but for the most part the songwriting is more nuanced and reminiscent of old-school rap. This is the perfect middle ground between their hyped-up early days in the SATURATION trilogy, a more experimental record like iridescence, and the sickly-sweet GINGER; balancing the best elements of each to create a more well-rounded sound. It also provides a platform for the previously more "gimmicky" members of the group to show us what they're really made of, as Merlyn Wood gives the best performance of the entire album on 'WINDOWS' and Joba's verse on 'THE LIGHT' (about the recent suicide of his father) is deeply affecting to hear.

Number 10: Full of Hell - Garden of Burning Apparitions

Best tracks: Guided Blight, Burning Apparition, Industrial Messiah Complex, Reeking Tunnels

FFO: Nails, Black Breath, The Body, ENDON

Listening to Garden of Burning Apparitions by Full of Hell feels like being bludgeoned to death. In a really good way. 

A constantly-evolving beast of a record, this is ugly, abrasive, violent, and unfathomably dark, melding grindcore with death metal, noise rock, and powerviolence to create something which feels alive - and insidiously so. Dylan Walker's demonic vocals continue to astound me in that they don't sound human whatsoever, but the same could then be said for Dave Bland's drumming ability. Equally impressive bass and guitarwork combined with huge production and engineering from legendary noisenik Seth Manchester makes Garden of Burning Apparitions absolutely mighty in every sense... and even in amongst the madness, there are pockets of accessibility. From the demented but infectious rhythm of 'Reeking Tunnels' to the chugging riff at the centre of 'Burning Apparition', there's stuff here to latch onto for those not yet initiated into FOH's personal world of extremity. For established fans, on the other hand, this is simply another step up. Disgustingly good.

Number 9: Frontierer - Oxidized

Best tracks: Heirloom, Southern Hemorrhage, SVVANS, Removal of the Copper Iris and the Lightning Pill

FFO: Car Bomb, Meshuggah, The Armed, Gaza

This third record from Frontierer goes above and beyond their usual masterclass in overwhelming mathy tech-metal maximalism to deliver something even more spectacular. The band continue to push the boundaries of extreme metal further and further here, with results so intense and deranged that it's literally impossible to take it all in on a single listen. I'm on maybe my 8th or 9th at this point and I've only just begun to scratch the surface.

Opener 'Heirloom' should adequately prepare you for the insanity of what follows, and is a good respresentation of the album as a whole. Beyond the inhuman screams, impossible drumming, and walls of distorted guitar and bass (making noises you've never even heard before), however, there's more experimentation with electronic and noise elements. 'SVVANS' is the standout in this regard, taking a page from the book of experimental hip-hop in all its grooving, bass-boosted glory - and segueing flawlessly into the brutal 'Stereopticon', heightening the impact of both songs. Oxidized is a sonic tornado made of razorblades and computer glitches, but when you manage to reach the eye of the storm and marvel at the chaos around you, the reward is easily worth the risk.

Number 8: Chubby & The Gang - The Mutt's Nuts

Best tracks: It's Me Who'll Pay, Coming Up Tough, Lightning Don't Strike Twice, I Hate The Radio

FFO: Big Cheese, Ramones, Violent Reaction, The Clash

Staring down the barrel of 21st-Century life in Britain with a chip on their shoulder, Chubby & The Gang spit in the face of authority with glee on this sophomore record. The Mutt's Nuts blows their first album (a loud, bold statement of intent) out of the water with bigger and more versatile songs (but no less energy). This is raw, catchy punk rock at its finest - and with much more to offer than might first meet the eye.

A killer rhythm section and beautifully reckless guitarwork sets the stage for "Chubby Charles" Manning-Walker to run the lyrical punk gamut here. Whether it means taking on racist cops, the capitalist rat-race, an unjust justice system, or the vicious cycle of poverty, everything is worded with sharp wit and a disgusted snarl. 'It's Me Who'll Pay' takes the cake, on which the chorus rings out: "Sell my soul to the fucking job? No way / If time is money then it's me who'll pay / And all the coppers and politicians keep it all in place". To break up the anti-establishment onslaught, we're also treated to more melodic, emotive cuts like 'Take Me Home to London' and closer 'I Hate The Radio', proving that C&TG have an impressive grasp on light, shade, and structure which puts them far ahead of most of their peers.

Number 7: Tigercub - As Blue As Indigo

Best tracks: As Blue As Indigo, Stop Beating on My Heart (Like a Bass Drum), As Long As You're Next To Me, Beauty

FFO: Royal Blood, Queens of the Stone Age, Muse, Phoxjaw

Tigercub's 2017 debut album, Abstract Figures in the Dark, should've catapulted them to stardom just like Royal Blood's self-titled did for them. It was ambitious, creative, and intelligent as well as being a brilliant rock record, with tracks like 'Control', 'Memory Boy', and 'Omen' sounding absolutely huge and all standing the test of time. As it happened, AFITD was criminally overlooked, and with their comeback LP, it feels as if Tigercub have said "Oh, that wasn't enough? Well, have this then, you bastards."

Heavier, more mature, more expansive, and even catchier - As Blue As Indigo is as thrilling as it is nuanced. The journey it takes you on is immense, bursting out of the gates with an unbelievable run of four bangers before an emotive, progressive, and forward-thinking side B which refuses to sacrifice the bold energy of the opening salvo. These tracks call to mind musical giants such as Muse, QOTSA, and Jack White, and at the centre of it all is Tigercub's frontman, Jamie Hall. This is his album, in both the fuzzed-up earworm riffs and the brooding, thoughtful lyricism. Rock music is simply at the height of its powers in small venues across the UK, and As Blue As Indigo is the latest stadium-sized offering from a band that deserve much more attention.

Number 6: Manchester Orchestra - The Million Masks of God

Best tracks: Inaudible, Keel Timing, Let It Storm, Obstacle

FFO: Band of Horses, Frightened Rabbit, Wilco, Bon Iver

A band that rarely (if ever) put a single foot wrong, Manchester Orchestra returned this year with the apparent intention of making everyone who listened to their new record turn into an emotional wreck. It worked, guys. Hope you're happy.

The Million Masks of God feels like a natural continuation from their 2017 masterpiece A Black Mile to the Surface, in that it utilises the same low-key style of evocative and subtly dynamic songwriting. Guitars, bass, and drums intermingle with synthesisers, strings, and sampling to bring the sound of the record into three dimensions; an all-encompassing sonic experience. Lyrically, Andy Hull is on fine form once again, but guitarist and co-songwriter Robert McDowell takes centre stage as much of the record really focuses in on the recent death of his father. These songs are for driving late at night; for lying on your bed in the dark; for watching the sun set. Gorgeously melancholic in a way that only this band can pull off.

On a more personal note, 2021 has been a year of pretty intense ups and downs for me. Going through said downs, this album and this band have been a constant presence, and for that I'm incredibly grateful. Long live Manchester Orchestra.

Number 5: The Dirty Nil - Fuck Art

Best tracks: Doom Boy, Ride or Die, Damage Control, To the Guy Who Stole My Bike

FFO: Weezer, Metallica, PUP, Thin Lizzy

Let's all just take a second to appreciate how ballsy it is of the The Dirty Nil to release one of the year's best albums on January 1st. The sheer confidence and knowing swagger in that decision alone is enough to give you an impression of what Fuck Art sounds like; a raging, rollicking, rock n' roll bombshell, their best album from a near-perfect run of 3.

This record wears its influences on its sleeve, and that mainly means going back to classic rock and metal. Lovesick opener 'Doom Boy' kicks off with a big-four-style thrash chug; 'Ride Or Die' takes its percussion from "Philthy Animal" Taylor; the bridge of 'Possession' is straight-up glam-rock stomp. At the forefront of all of this, of course, we have Luke Bentham's signature guitarwork and stratospheric choruses keeping everything fresh and exciting, seemingly made for main stages of festivals the world over. The lyrics are as witty as they are catchy, with lines like "I'm done with drugs, I hope they're done with me" delivered with tongue audibly in cheek. 

If there was any justice, this band would be unbelievably huge. For now, they feel like the rock world's best-kept secret. The question is - for how long?

Number 4: Lingua Ignota - SINNER GET READY

Best tracks: THE ORDER OF SPIRITUAL VIRGINS, I WHO BEND THE TALL GRASSES, MANY HANDS, MAN IS LIKE A SPRING FLOWER

FFO: Diamanda Galás, Emma Ruth Rundle, Fiona Apple, Pharmakon

Somewhere between a desperate confessional and an apocalyptic sermon; a preacher at the end of the world speaking to God one last time. SINNER GET READY finds Kristin Hayter at her most musically dynamic and emotionally vulnerable, which is an immeasurably powerful combination. The follow-up to 2019's CALIGULA (a furious, terrifying, raw record), this album touches upon the same motifs of abuse and oppression whilst also encompassing the topic of religious devotion; linking the relationship between a devotee and their God with a victim and their abuser.

From the initial wail of "Hide your children, hide your husbands" to closer 'THE SOLITARY BRETHREN OF EPHRATA's hymnlike comedown of "No longer shall I wonder / Ugliness my home / Loneliness my master / I bow to him alone", SINNER GET READY is no less thematically or lyrically intense than its predecessor - arguably more, in fact - but the approach to songwriting and structure is somehow more impressive. Lingua Ignota's signature multi-tracked vocals are haunting as ever and unbelievably brilliant on a technical level, combining a plethora of singing styles at once to create something truly distinctive. The instrumentation used is based largely in traditional Appalachian folk music, and combined with audio samples from televangelists and bible thumpers, this is probably the most quintessentially Pennsylvanian record you'll ever hear (not released by The Menzingers, that is). It examines the state's relationship with religion as much as it exposes Hayter's own feelings about living there during a dark time in her life.

SINNER GET READY is a brave, beautiful and disturbing masterpiece; more so since the details of the abusive relationship at the centre of it have recently surfaced. Essential listening for 2021.

Number 3: Turnstile - GLOW ON

Best tracks: BLACKOUT, FLY AGAIN, ENDLESS, ALIEN LOVE CALL

FFO: Higher Power, Angel Du$t, Snapcase, Blood Orange

Turnstile had a challenge ahead of them this year - that of outdoing their damn-near-perfect 2018 album, Time & Space. As 1/3rd of the "big three" of 2010s hardcore (with Code Orange and Knocked Loose, since you asked), the Baltimore band clearly take pride in re-moulding the genre and pushing it ever closer to the mainstream, and the glittering, bouncy, irresistibly fun GLOW ON is the biggest release we've had in that regard for a long time.

Where Time & Space played around with pop, alt-rock, and electronic elements, GLOW ON throws itself headfirst into all those influences and more without ever compromising Turnstile's hardcore punk backbone. In fact, those lighter moments provide an ideal contrast with the chugging guitars, Daniel Fang's pounding percussion, and yelled vocal refrains from Brendan Yates, so all that stuff hits a little bit harder. Once again, the riffs steal the show, whether that be on the joyous 'HOLIDAY', grooving 'BLACKOUT', or 'FLY AGAIN' - vying hard for my song of the year. Atmospheric, spacy, melodic tracks like 'ALIEN LOVE CALL' and 'LONELY DEZIRES' provide the aforementioned juxtaposition; both featuring R&B artist Blood Orange, who adds warmth and a whole load of good vibes to proceedings.

With appearances on American chat shows and a headline slot at 2000 Trees over here, it looks like Turnstile are finally making substantial waves with their refreshing approach to hardcore - and GLOW ON is probably their best release yet, purists be damned.

Number 2: Every Time I Die - Radical

Best tracks: Dark Distance, Post-Boredom, Desperate Pleasures, All This And War

FFO: Norma Jean, The Damned Things, The Chariot, Stray From The Path

I know I'm prone to hyperbole, but at this point it's not an exaggeration to say that Every Time I Die are the most consistently brilliant band of all time. If there's another that can boast a run of EIGHT back-to-back albums of similarly outstanding quality (improving with each release, if anything), I want to know about it. Since their breakthrough classic Hot Damn!, the members of ETID have aged from their mid-20s to early 40s and showed absolutely no sign of slowing down in the process; instead opting to expand their sound in the best ways possible. Radical is the latest proof of their never-ending talent.

In many ways, this could be a greatest hits album, in that it takes the best stuff from every previous record and sticks it together in a beautiful amalgam of everything I love about the band; from the Parts Unknown and Big Dirty-style chaos of tracks such as 'A Colossal Wreck' and 'Planet Shit' to more melodic cuts like 'Post-Boredom' and 'People Verses', which recall the best hooks on Ex Lives and Low Teens. Keith Buckley is at the top of his game in both the "crazed Southern pastor" cleans and wild, animalistic screams, and he's backed by a range of outrageously great musicians who keep the mountainous riffs coming for 16 whole tracks. Josh Scogin and Andy Hull join the prestigious ranks of the ETID guest-feature hall of fame here, alongside the likes of Greg Puciato, Brendon Urie, Gerard Way, and Daryl Palumbo. Scogin's appearance on 'All This And War' is probably the best of them all, with the song itself being my favourite track of the year. On the other hand, Hull's voice adds another dimension to proceedings and brings out the softer side of Buckley's songwriting to gorgeous effect on 'Thing With Feathers'.

Radical is simply the best Every Time I Die record to date. And when you consider their previous output, that's a monumental achievement. 

 Number 1: The Armed - ULTRAPOP

Best tracks: A LIFE SO WONDERFUL, AN ITERATION, WHERE MAN KNOWS WANT, BAD SELECTION

FFO: Genghis Tron, Dan Greene & The Greenies, Converge, Andrew WK, Semisonic

Could it really have been anything else? 

The third full-length album from the greatest band in the world lives up to its bold proclamation of a name on every level. This is a brand new genre of music; a hypnotic, all-encompassing blend of everything from noise rock to synthwave to hardcore to post-punk which does not relent for one second and ultimately becomes the most artistically complex & profound release of the year. Utterly overwhelming upon first listen, ULTRAPOP rewards limitlessly each time you return to it, with layers upon layers to peel away and uncover. That said, much of the record is also instantaneous, and huge hooks on 'AN ITERATION' and 'BAD SELECTION' are only bolstered by their cryptic lyricism and unique delivery. Since The Armed are a largely anonymous collective, it's difficult to pin down individual performances which stand out more than others... but there's inimitable beauty in such a large collaboration producing such a singular piece of work.

On top of all this, though, there's the fact that ULTRAPOP is so much more than an album. If you know me personally you'll probably know that I was somewhat involved in the organic, fan-driven hype campaign for this record, at one point designing a billboard to promote the lead single which somehow ended up on display in Times Square. This feat of strength in numbers is down to the multi-dimensional world created by the collective through an ARG-style treasure hunt in January, which lead to an inner sanctum of fans ("Daniels", after the enigmatic ringleader Dan Greene) devoting themselves to the cause in a multitude of ways. That's all without mentioning the process of ascension, DJ John Toilet, the sacred Book of the Book of Daniel, or the best film of the year: ULTRAPOP: Live At The Masonic.

If I were to explain all the "lore" in detail here I'd end up producing a dissertation-length essay, but essentially what makes 2021 the year of The Armed is their attitude toward music and art as a whole. This record defies definition, breaks down barriers, and transcends any ideas or pre-conceptions you may have had about what music should sound like. It reinvents the wheel and feels like a catalyst for widespread positive change.

Refract.

MOPE: The Top 20 Albums of 2020

2020. What a year, hey?

Despite everything, the saving grace of my year (along with film) was music - as it has been for the past decade, more or less. Even with the lack of gigs, a non-existant festival season, and general bummed-out vibe, the sheer quality of musical material to be found in the world of "alternative" music has been absolutely staggering. We're on a roll right now, and it's joyous.

As always, there was too much good shit in 2020 to cram it all into a top 20, so I've got to shout out a few honourable mentions before we start on the list proper:

• 100 gecs - 100 gecs and The Tree of Clues: Omitted from the main list on the grounds that it doesn't technically count as a studio album, this remixed version of the debut record from St. Louis freaks 100 gecs is even more eclectic and weird than the original. It makes for a perfect companion piece, and features one of my favourite verses of the year from Rico Nasty. Listen here.
• Idles - Ultra Mono: It's been a pretty rough year for everybody's favourite/least favourite post-punks, who have learned that being the most talked-about band of the moment comes with its fair share of controversy and scrutiny. For what's it's worth, their new album is an excellent example of why they got so big in the first place: no-nonsense confrontational lyricism married to furious, often-angular, always-catchy instrumentation. Listen here. 
• Deftones - Ohms: 2020 marks the year that I, at long last, got into Deftones. White Pony and Around The Fur in particular have been on constant repeat, but their newest effort ain't half bad either. I feel like maybe those with years of investment in this band will have this album in a top 3 spot, but even for a noob like me, it's impressive enough to get an honourable mention. Listen here.
• Run The Jewels - RTJ4: This fourth record from the best hip-hop duo in the world was dropped at the height of the Black Lives Matter movement in June following the murder of George Floyd, and is quite possibly the most politically pertinent release of the year; systemic racism, police brutality, and the class divide in America are tackled head-on by Killer Mike and El-P, who effortlessly turn furious political statements into catchy hooks, poetic bars, and bombastic beats. Listen here.
• Biffy Clyro - A Celebration of Endings: Kilmarnock's finest return to form after a relatively forgettable outing in the shape of 2016's Elipsis - A Celebration of Endings sees another great marriage of the Biff's penchant for big stadium-rock hooks to their musically ambitious songwriting, and there's no shortage of riffage along the way. Oh, and on 'Cop Syrup', Simon Neil is screaming again. That's all I need. Listen here.

And if that wasn't enough for you, I've also been really enjoying new records from Trivium, Rico Nasty, Bell Witch & Aerial Ruin, Enter Shikari, Phoebe Bridgers, Big Cheese, Everything Everything, Gulfer, Jeff Rosenstock, The Hell, Bruce Springsteen, Anaal Nathrakh, God Damn, Killer Be Killed, Dune Rats, Chubby and the Gang, A.A Williams, Leeched, CLT DRP, and Napalm Death this year. Told you it was a good 'un.

Right, then... the 20 best records of 2020. Let's go.

Number 20: END - Splinters from an Ever-Changing Face

Best Tracks: Pariah, Fear for Me Now, Evening Arms

FFO: Cult Leader, Vein, Leeched

I'm a simple man, really. If you put a big, bruising metallic hardcore album in front of me which features blast beats, breakdowns, walls of guitar feedback, and throat-shredding screams, there's a 99% chance I'll fall head over heels for it. This debut LP from supergroup END (featuring members of Counterparts, The Dillinger Escape Plan, Fit For An Autopsy, Misery Signals, Shai Hulud, and Reign Supreme) ticks all the boxes and then some, with a new pit-worthy riff popping up approximately every 5 seconds. It's like each member brings the heaviest thing from each of their own projects and lends it to the proceedings here, from Brendan Murphy's vocals to Billy Rymer's frantic percussion. Lead single 'Pariah' sums the record up best: hard as nails from start to end, and ending on a mosh-call beatdown which rivals the very, very best of them. Absolutely delicious brutality.

Number 19: Elephant Tree - Habits

Best Tracks: Sails, Exit the Soul, Bird

FFO: Sleep, Pallbearer, Torche

In an age when we're all constantly bombarded with information at every second of every day, there's something to be said for albums that you can truly get lost in; music that takes you away for 45 minutes, into a world of its own. Habits, the second LP from London-based rifflords Elephant Tree, is a prime example. Offering up soaring melodies backed by stoner-doom guitar and basswork which hits like a ton of bricks, this record really is all-encompassing in the best way possible. From the minute that tone first hits your ears at the start of 'Sails', it feels like you're flying high over a crumbling mountain, watching boulders tumble down a cliffside from an ethereal vantage point. I cannot wait to see this band live as soon as humanly possible. Let's hope 2021 will be kinder to all of us.

Number 18: Lil Cucc - I'M JUST HERE TO HAVE A GOOD TIME and i'm doing a bad job

Best Tracks: WELCOME HOME, CHEEK SPLITTER, to you

FFO: Kanye West, Bo Burnham, Travis Scott

Very few fresh faces have emerged in British hip-hop over the last few years that have impressed me as much as Lil Cucc. On this, his third and supposedly final record, he completes a brilliant trilogy which clearly illustrates both the blossoming of his musical and technical ability and his own personal growth over the last two years. I'M JUST HERE TO HAVE A GOOD TIME... is a concept album through and through, full of self-referential comedy and returning motifs from Cucc's earlier work - he examines his own music and legacy with a fine-tooth comb, and eventually (on 'CHEEK SPLITTER'), the persona is put to rest once and for all. Lil Cucc is canonically sent to hell, and a phoenix rises from the ashes: somebody entirely new, bold enough to stray away from hilarity in order to confront their own personal struggles. The album's home stretch treats the listener to understatement and intimacy, juxtaposing those iconic trap bangers with something much more real.

It almost goes without saying that both halves of the record are brilliant in their own right, and Lil Cucc's longtime collaborators all leave their absolute best in the booth one last time. With a much broader creative pallette than ever to work with, the likes of Yxng Kids, Lil Cunt, and Yxng Gooch prove that they were always more than an occasional feature - instead, they're integral patches of fabric in a canvas woven by a bonafide prodigy. The sheer ambition demonstrated by the conductor of this mad orchestra is staggering, and to execute it all using an iPhone headphone mic and numerous Garageband files is nothing short of genius. Lil Cucc is dead; love live Lil Cucc.

Lil Cucc · I'M JUST HERE TO HAVE A GOOD TIME and i'm doing a bad job

Number 17: The Smith Street Band - Don't Waste Your Anger

Best Tracks: God Is Dead, I Still Dream About You, It's OK

FFO: Violent Soho, Jeff Rosenstock, The Front Bottoms

Throw Me In The River, The Smith Street Band's 2014 modern classic, is one of my favourite albums of all time, and was especially formative for me as a young teenager (going through everything a young teenager tends to go through). Two albums removed, and Wil Wagner and co. are still smashing out earnest emo-rock bangers like nobody's business. Don't Waste Your Anger finds the Aussies at their most understated and mature thus far, and certainly their most musically ambitious too - synths and backing vocals from new-ish members Lucy Wilson and Jess Locke add another dimension to their tried-and-tested sound. 'I Still Dream About You' is the standout track for me, but 'It's OK' is another highlight; consisting of nothing but an acoustic guitar, ambient birdsong, and Wagner's brilliant lyricism. It demonstrates strength in simplicity, and shows that great songwriting still lies at the unshakeable foundation of The Smith Street Band.

Number 16: clipping. - Visions of Bodies Being Burned

Best Tracks: '96 Neve Campbell, Check the Lock, Looking Like Meat

FFO: Injury Reserve, Ho99o9, Daughters

I can't remember the last time an artist appeared on my AOTY list two years running, but I'm not surprised at all that the band to finally pull it off are clipping. Visions of Bodies... is a kind of companion piece to 2019's There Existed An Addiction To Blood; playing with similar themes and occupying the same sonic "world", if you will. It's another horrorcore epic of (somehow) equal quality, with MC Daveed Diggs at the centre and producers William Hutson and Jonathan Snipes backing him up with the most creatively abrasive soundscape of the year. Diggs is absolutely incredible. The speed he picks up on some of these tracks, combined with the verbose, often-terrifying lyricism and impeccable flow, makes it feel like he's sold his soul to the devil in exchange for limitless hip-hop talent. I often don't really understand how the interplay between the instrumental/ambient elements and the vocals works so seamlessly, but the effect it ultimately has is uniquely haunting, technically impressive, and catchy enough to fill a dancefloor all at once.

Number 15: Rina Sawayama - SAWAYAMA

Best Tracks: XS, Comme Des Garçons (Like The Boys), Tokyo Love Hotel

FFO: Charli XCX, SOPHIE, Poppy

Yes, the rumours are true: I like pop music now. My caveman brain has evolved slightly over the past few years to appreciate sounds other than fat, distorted riffs, panic chords, and unintelligable screaming - although that stuff will always have my heart. I love Lily Allen, Sigrid, La Roux, Stromae... and most of all, in 2020, I love Rina Sawayama's new album. This is a complete artistic statement from the singer-songwriter, as she experiments with and twists the pop music "formula" to produce something uniquely exciting in both sound and concept. SAWAYAMA tackles both the personal and sociopolitical, especially concerned with Rina's family and her Japanese heritage; both the way it defines her personally and the way it's viewed from a western perspective (mostly brilliantly in 'STFU'). Songs like 'Dynasty' and 'Akasaka Sad' root the record in this idea, with the latter featuring a brilliant verse in the Japanese language. Everything from capitalism to misogyny to specific relationships are all put to the sword through a cascade of creative, intelligent dance-pop bangers here - oh, and did I mention? This has a fair few fat, distorted riffs on it too. 'STFU' is straight up nu-metal. Good shit.

Number 14: Drain - California Cursed

Best Tracks: Army of One, Bad Faith, California Cursed

FFO: Rotting Out, Mindforce, Power Trip

Who could've guessed that sun-bleached California hardcore and ultra-fast crossover thrash would make for such an incredible combination? Well... literally everyone - and Drain are here to show us precisely how it's done. An ode to their home state through and through, this collection of chugging riffs, scorching guitar licks, and two-step-inducing rhythm makes for an unbelievably fun listen, no matter how many times you hear it on repeat. California Cursed has been my go-to workout record in 2020 for good reason: I challenge you to listen to that mosh call on 'Army of One' and not feel like charging headfirst through a brick wall. Sure, this LP is a joyous experience, but it's also beefy as hell, especially towards the second half - tracks like 'White Coat Syndrome' and 'Bad Faith' pack a serious punch. Easily one of the best hardcore albums to come out of an especially impressive year for the genre.

Number 13: Spanish Love Songs - Brave Faces Everyone

Best Tracks: Routine Pain, Kick, Losers 2

FFO: The Wonder Years, The Menzingers, Captain We're Sinking

With 2020 being the year that it was, I'm sure everyone has had moments (or maybe just one elongated moment) of dejection, loneliness, and hopelessness - so who better to capture the international mood than Spanish Love Songs, who kick off their second LP with a track featuring lyrics like: "I just worry about the songs I'll never write/It don't matter, they don't wanna hear me on the other side" and "Have you ever felt lower than everyone else?". Frontman Dylan Slocum is powerfully emotive all throughout Brave Faces Everyone, supported by a band who sit somewhere between The Menzingers and The Wonder Years (with some interesting tonal shifts and additional synths/keyboards along the way). If you feel like a good cry, I probably won't be able to recommend a better, more cathartic musical experience for you this year.

Number 12: Year of the Knife - Internal Incarceration

Best Tracks: This Time, Stay Away, Manipulation Artist

FFO: Jesus Piece, Arkangel, Knocked Loose

What do you get when you cross one of the most aggressive and exciting bands of the last five years with the greatest producer in 21st century heavy music? That would be Year of the Knife's Internal Incarceration - a triumph in jaw-jutting, riff-heavy, terminally-furious metallic hardcore, miles ahead of most of the competition. Delaware's resident straight-edge pitmasters have been one of the world's most exciting prospects since emerging on the scene, and, having recently signed to Pure Noise Records, are now starting to get the international attention they deserve. Their debut LP finds Kurt Ballou at the recording desk (the man responsible for producing 3 of my top 10 albums of the past decade) whilst pure chaos is rendered in the studio. Featuring beatdowns galore and some of the outright toughest tracks of the year, this is the war cry of a band destined to go down as a generational staple in hardcore history.

Number 11: Imperial Triumphant - Alphaville

Best Tracks: Rotted Futures, Atomic Age, Alphaville

FFO: Oranssi Pazuzu, Liturgy, Altar of Plagues

I know what you're thinking: finally, one for all the avant-jazz blackened death metal fans out there.

In truth, Imperial Triumphant are hard to pin down. They take from an vast range of styles and influences and combine it all with raw musical talent to create something wholly unique; something that has to be heard to be believed. It feels almost as much of a cinematic experience as a musical one, taking you deep into the heart of a retro-futuristic New York metropolis with a dark and otherwordly take on the roaring 20s. The experience is almost overwhelming at times; such a dense record really requires repeat listens to be able to sink your teeth into it properly. Once you can manage to wrap your head around the maniacal drumming, off-kilter guitarwork, and total disregard for traditional songwriting, Alphaville blossoms into its own sonic galaxy - as awe-inspiring as it is terrifying. What an insane accomplishment.

Number 10: Dorian Electra - My Agenda

Best Tracks: Sorry Bro (I Love You), Edgelord, Ram It Down

FFO: 100 Gecs, Slayyyter, Kim Petras

Yet another record that the version of myself from two years ago would be amazed (and possibly concerned) to see in my top 20, Dorian Electra's My Agenda takes everything that the experimental-pop-master did on 2019's Flamboyant and condenses it into a 25 minute burst of insane, hypersexual energy and cutting sociopolitical commentary. Electra takes equal aim at toxic masulinity, heteronormativity, and conservative persecution of the LGBT+ community here, with lyrics often coming from the perspectives of incel types or right-wing caricatures: "I am the last living gentleman"; "We live in a society / That's always lashing out at guys like me"; "We're out here turning frogs homosexual". 'Ram It Down' is especially brilliant, taking that tired talking point of closet homophobes ("Hey man, love who you want / But just don't ram it down my throat") and turning it into the gayest double entendre possible. 

The actual sound of My Agenda is impossible to define, with elements of industrial music, hyperpop, trap, metal, and just pure fuckin' noise all amalgamating to form hook after hook and banger after banger. With features from the likes of Village People (yes, really) and Rebecca Black (yes, really) along the way, this really is a must-listen on every front.

Number 9: Haggard Cat - Common Sense Holiday

Best Tracks: First Words, Show Reel, Ghosts Already

FFO: Death From Above 1979, Turbowolf, Baroness

"Evolution" is a word thrown around a lot in our current musical zeitgeist, usually without a lot of weight behind it. Whenever a heavy band jumps off the perceived sinking ship that is guitar music and oversimplifies their sound whilst trying to appeal to a wider audience, any form of criticism will usually be met with cries of "It's just their natural evolution, they're evolving as a band!". Well, I call bullshit on trend-hopping metalcore bands, and present to you Haggard Cat's Common Sense Holiday; the sound of two excellent musicians taking their music to new heights through sheer creativity and songwriting prowess.

Both Charger and Challenger, the first two records from the ex-HECK two-piece, are absolutely fantastic in their own rights - but it'd be hard to deny that Common Sense Holiday stands head and shoulders above them both. Each and every track on this thing is a rager, that's a given, but it's also more varied and musically interesting than ever before, as well as catchier and sonically bigger. Songs like 'Human Animal' and 'European Hardware' offer souped-up choruses and memorable riffs in a blues-tinged garage rock format, not dissimilar to stuff like The White Stripes and early DFA1979, whilst 'Rational', 'The Natives', and 'Ghosts Already' have the melodic ear and epic scope of a band like Baroness. Tom Marsh's inventiveness behind the kit compliments Matt Reynolds' mastery of the axe perfectly, and alongside some nail-on-the-head lyricism, Common Sense Holiday becomes not only Haggard Cat's best, but also one of 2020's most enjoyable listens altogether. 

Number 8: Phoxjaw - Royal Swan

Best Tracks: Trophies in the Attic, Triple AAA, Teething

FFO: Biffy Clyro, Stake, At The Drive-In

If you've been paying any attention whatsoever to UK rock music over the past few years, chances are you'll be familiar with Phoxjaw already. The Bristol-based band have been a festival staple and support-slot surefires for a while now - I first saw them at the Louisiana, playing before The Armed - and the sheer charisma and personality in their music has always been at the core of the explosive live shows. As good as their first two EPs are, I'm not sure anyone was quite expecting Royal Swan. 

This is, arguably, the most exciting debut LP from a British band since HECK dropped Instructions in 2016. It's also a difficult one to review, because it completely refuses to be pigeon-holed from the very start - after a twinkly, ambient intro track, 'Trophies in the Attic' sets the tone by attacking from every possible angle... and the rest of the record follows suit. Post-hardcore rhythms, sludgy riffs, stadium-rock hooks, tongue-in-cheek wordplay and changes of pace to make a mathcore fan dizzy all come together in this bubbling melting pot, whilst the band stand around it and continually throw more stuff in, presumably cackling like the witches from MacBeth. Everything, from the way the lead guitar is played to the actual structure of each track, is invigorating and intoxicating; a breath of fresh air from up-and-comers in an already-incredible national scene.

Number 7: Fiona Apple - Fetch the Bolt Cutters

Best Tracks: Under The Table, Relay, Ladies, For Her

FFO: PJ Harvey, Tom Waits, Nina Simone

The unrivalled critical darling of the entire year, Fiona Apple's fifth studio album, Fetch The Bolt Cutters, was not only on the receiving end of Pitchfork's first 10/10 score in a decade, but also summoned a tsunami of praise from diehard fans and first-time listeners alike. As one of the latter, I'm inclined to say that it's bloody excellent as well.

This being the first full record from the singer-songwriter I've ever heard, I went in with no expectations and came out the other end pretty bewildered. Again, this isn't something you can fully take in on a single listen; there are so many layers to the earthy, largely percussive instrumentation and idiosyncratic vocals that I'm still uncovering new things to love upon each revisit. Fetch the Bolt Cutters, musically, is quite unlike anything I've ever heard before (who else would use the bones of their dead dog as an instrument?), but the star of the show is still the lyricism. Fiona Apple's poetic turn of phrase elevates a simple hook into a deeply personal and profound message in pretty much every track across this album - at times it feels like a sardonic confession, at others a defiant, scathing attack, and (most often) an enlightening deliberation on her own relationships, both social and romantic. It's a fascinating look inside the head of a musical genius, and it doesn't hurt that every song slaps too.

 

Number 6: Gulch - Impenetrable Cerebral Fortress

Best Tracks: Cries of Pleasure, Heavenly Pain, Fucking Towards Salvation, Sin In My Heart

FFO: Converge, Candy, Nails

"Gulch" has been something of a buzzword in hardcore for the past few years. From that video of frontman Elliot Morrow getting mass-whipped with belts during a live set to the infamous Sanrio hoodie (if you know, you know), it seems that an insane amount of internet hype has followed the California band since their debut 7" release in 2018. The question, then, was if their highly-anticipated full-length would live up to all the noise. The answer: fucking duh.

Impenetrable Cerebral Fortress is 8 tracks and 15 minutes long. That's more than enough time for Gulch to rip your goddamn face off with a fierce combination of unpredictable rhythms, wild guitarwork, abrasive production, and inhuman screaming. It's like every member of the band has been possessed for the length of the runtime, and none more so than Morrow, who sounds like Jacob Bannon after chaining a pack of Marlboro. Sam Ciaramitaro (also on vocals for Drain) pounds the drumkit into oblivion, and his unique style is actually responsible for the most memorable moments here; whether it's the ominous intro to 'Cries of Pleasure, Heavenly Pain' or the gradual build of 'Shallow Reflective Pools of Guilt'. If the first 12 minutes of sheer madness wasn't enough, the record also ends on a hulked-up Siouxsee and the Banshees cover. Hearing Impenetrable Cerebral Fortress for the first time is like no musical experience you will have ever had before - so stop reading my AOTY list right now, and check this one out real quick. Trust me.

Number 5: Creeper - Sex, Death, and the Infinite Void

Best Tracks: Cyanide, Thorns of Love, Napalm Girls

FFO: My Chemical Romance, Pulp, Take That, Roy Orbison

Have you ever wondered how many world-beating choruses it's humanly possible to fit onto a single album? I'll tell you now: it's probably about 11, because that's how many (proper) songs are on Sex, Death, and the Infinite Void. The second album from the Southampton goth-pop-punks might come as somewhat of a surprise to people familiar with their debut, Eternity, In Your Arms, which leaned far more heavily on the combination of fast, punky roots and big, theatrical rock. There's still a huge amount of dramatic flair (à la My Chemical Romance and Meat Loaf) on this latest offering, but the focus on guitars and pop-punk songwriting has been substituted for 90s Brit-rock, indie, and classic Americana. And it works staggeringly well.

This album needs you to surrender to a world of dark flamboyance, high concepts, and over-the-top gothic themes - and if you're willing to do that, you're in for a real treat. From the grand piano, to the borderline-doo-wop backing vocals, to the This Is Hardcore-era Pulp guitars and bass, to the lush production job, Sex, Death, and the Infinite Void is a perfect blend of influences which radiates timelessness and defies the era it has been released in. Frontman Will Gould is the beating purple heart of the record, providing charisma in spades through his unapologetic romanticism and unique cadence (the pronunciation of "Vamp-eye-uhhs" on 'Be My End'; the drawling ad-libs on 'Cyanide'). His grasp on a chorus is unmatched - pick literally any track off of this and have fun trying to get the hook out of your head for the next week - and the songs are tailor-made to be sung back by stadiums full of people. The ambition to reach that level is quite clearly there for Creeper, and honestly? If any fresh-faced British rock band can do it, it'll be them.

Number 4: Loathe - I Let It In and It Took Everything

Best Tracks: Agressive Evolution, Is It Really You?, Heavy Is the Head That Falls with the Weight of a Thousand Thoughts

FFO: Deftones, Employed To Serve, Cave In, Lotus Eater

I mentioned earlier in this post that 2020 was the year I finally got into Deftones, and that came about as a result of everyone and their mum making comparisons between them and this particular album - I Let It In and It Took Everything, from Scouse metal/hardcore crew Loathe. I'd been a casual fan of the band for a while, always making sure to catch them live when possible but never fully going in on the recorded material, so when this (their second full-length) dropped, it came as somewhat of a surprise. It is unbelievably brilliant, and for what it's worth, I think it's a hundred times better than the album Deftones dropped this year. I'm not sorry about it either.

From the first few seconds of 'Agressive Evolution', it's obvious that Loathe aren't pulling any punches on this sophomore record, and by the time it gets to the chorus, it's even more obvious that this is something truly special. I Let It In... is a depthy album of thick textures, with euphoric melody and metallic brutality living side by side in perfect harmony, and it goes to so many more places than you might expect from a band who arrived on the scene with a relatively straightforward sound. There are moments of shoegazey atmosphere (on the verses of 'Two-Way Mirror' and 'Is It Really You?', two of the best tracks here), alt-rock bounce ('Screaming'), almost prog-like song structure ('A Sad Cartoon'), bone-crunching heaviness ('Red Room'; 'New Faces In The Dark'; 'Gored'), and even outright black metal ('Heavy Is The Head...', my personal favourite). Each new boundary-defying venture is executed perfectly and melded together seamlessly. The experience is all-enveloping, drawing you in and taking you on an incredibly complex emotional journey before spitting you out the other end. And the best part? You'll want to re-live it all over again, and again, and again.

And how about that fucking bass tone, eh?

Number 3: Greg Puciatio - Child Soldier: Creator of God

Best Tracks: Fireflies, Roach Hiss, Down When I'm Not, Evacuation

FFO: Depeche Mode, The Black Queen, Alice In Chains, The Dillinger Escape Plan

When The Dillinger Escape Plan split up back in 2017, I was banking on the fact that the members of my all-time favourite band would go on to create more incredible music with other projects - and they didn't take long to prove me right. Liam Wilson took the baton and ran with it in Asuza, Billy Rymer would go on to drum with END (see earlier in this article), and most crucially, Greg Puciato was putting his incomparable talent to good use in The Black Queen and Killer Be Killed (narrowly escaping the list this year) even before TDEP parted ways. With Child Soldier: Creator of God, the frontman has finally exercised full creative freedom... and produced a genuine masterpiece as a result.

This record has everything. There are ambient sections and full-on harsh noise moments; goth-tinged '80s synth-pop and darkwave; huge, grungy rock anthems and throwbacks to Puciato's wild Dillinger days. The sheer breadth of musical creativity on Child Soldier is mind-blowing, and all together it really shouldn't work as well as it does. This is a masterclass in album sequencing, with each track flowing cohesively into the next, no matter how disparate the styles may be (and as such, you'd be doing yourself a disservice if you didn't listen to the whole thing from front to back). The greatest tracks ('Evacuation', 'Down When I'm Not', etc.) bring all the separate elements together and combine them in ways which result in not only technical brilliance, but also massive hooks and mosh-worthy moments. Greg Puciato is my favourite frontman of all time, so it's not necessarily a surprise that I like his first solo full-length - but I wasn't anticipating anything quite this impressive.

Number 2: Palm Reader - Sleepless

Best Tracks: Stay Down, A Bird and It's Feathers, Both Ends of the Rope

FFO: Cult of Luna, Black Peaks, Will Haven, Rolo Tomassi

Palm Reader have been the best band in the UK for a few years now. From their starting point as bastions of gnarly British hardcore to their most recent release, the jaw-dropping Braille, it's been an absolute joy for me to watch them grow on a musical level over the past 7 years or so. Sleepless, the band's fourth album, is undoubtedly a new artistic high point, and catapults them comfortably into the highest echelons of heavy music. 

There's plenty of the savagery that I love here (see 'Stay Down'), but this record is also deeper, more complex, and more expansive than pretty much anything else I've heard in 2020, and it's largely down to the interplay between five outstanding musicians. Josh McKeown nails something on Sleepless that most vocalists fail to achieve throughout their entire careers: a wholly unique and distinct sound, both instantly recognisable and incredibly versatile. His ability to convey emotion through fierce, guttural screams and (now far more frequently) brooding melody is something to behold on this album, and his presence heralds the sonic storm created by the rest of the band. The dual attack levelled by guitarists Andy Gillan and Sam Rondeau-Smith is ferocious - switching from beauty to brutality and back again on a dime - and Josh Redrup's powerful bass playing is similarly brilliant; high enough in the mix that you'll feel it in your chest. As a drummer myself, though, I can't help but to focus on Dan Olds' percussive wizardry, and they ways in which he can control the pacing, style, and dynamics of any given track with a flourish or a fill (most perfectly demonstrated on 'Willow').  

I said this in 2018, too, but if Palm Reader aren't playing Brixton Academy by the end of this album cycle, there's no justice in the world. Everybody who knows them knows that they deserve to be playing rooms 50 times the size of, say, The Victoria in Swindon or The Joiners in Southampton (the two times I saw them last) - the problem being, of course, that simply not enough people are in on it. My advice to you is to listen to Sleepless, tell everyone you know about it, and get this band where they've long deserved to be: on top of the fuckin' world.

Number 1: Code Orange - Underneath

Best Tracks: In Fear, Sulfur Surrounding, Back Inside the Glass

FFO: Nine Inch Nails, Jesus Piece, Type O Negative, Disembodied, Machine Girl

I was 14 years old when I heard Code Orange's breakout album I Am King for the first time, and it was somewhat of a pivotal moment in my life. Immersed in the world of 2010s metalcore (think Memphis May Fire and Miss May I), I had no idea that music could sound so threatening - and then, of course, I watched that hate5six video, and suddenly American hardcore was the best thing in the entire world.

Six years down the line, I couldn't have anticipated that Code Orange would become what they now are: a genre-defying behemoth, named the most exciting band in heavy music by more than one major publication (for good reason). Following up a record like 2017's scene-smashing Forever was never going to be easy, but Underneath proves once and for all that the hype was never unfounded. Here, Pittsburgh's finest have produced something that transcends any label you'd try to stick on them, melding their decidedly hardcore roots with wild industrial/electronic experimentation and the scope of 90s alt-rock and metal (in the vein of Type O Negative and Nine Inch Nails). Everything they hinted at on their recent 2018 EP has come together completely on this full-length, in a perfect storm of neck-breaking mosh calls, huge riffs, unforgettable hooks, and reality-warping glitches. This band now creates music in such a way that it allows each member to hit their own personal creative highs - so when they come together, they sound like a motherfucking supergroup.

It helps, of course, that no band has tackled the challenge of COVID-World with quite as much force and drive as Code Orange this year. The sheer creativity involved in the various livestreams, artistic endeavours, promotional campaigns, and even merch drops connected to Underneath is absolutely mind-blowing, and only serves to boost the power of the record itself. The band are on another level to everyone around them, and they've created an nigh-on cinematic world for an already excellent album to prove it. If you're searching for the future of rock, metal, and hardcore, there is a single record you need to look to this year - and it's the one which can lay claim to both the gnarliest breakdowns ('Swallowing the Rabbit Whole', 'In Fear', 'Cold.Metal.Place', 'Last Ones Left') and the biggest choruses ('Sulfur Surrounding', 'The Easy Way', and 'Underneath').

Underneath is the best album of 2020. It's immersive, innovative, soul-destroyingly brutal, catchy, and a brand new benchmark for heavy music. Code Orange is forever. Thinners of the fucking herd.