Mitski – Be the Cowboy
After repeated tip-offs, I finally discovered the magic of Mitski on Be the Cowboy. The Japanese-American musician explores a wide array of sounds across fourteen short tracks on her fifth album, with only two actually passing the three-minute mark. This distinct structure, which could feel skin-deep in less capable hands, results in a thrilling record packed with a number of left turns. There are a few pinches of absurdism and humour to enjoy, backed by infectious melodies and clever instrument choices – the overdriven guitar on ‘Geyser’ feels purposeful, rather than for the sake of it. If this album is about loneliness, it’s not about wallowing in it; Mitski almost has fun with the feeling on ‘Nobody’, a stand-out track complete with an incredibly catchy one-word chorus. Each song absolutely brims with creativity, always leaving you excited for the next.
James Haworth
First Aid Kit – Ruins
Another emotional journey from the Swedish sisters, this time producing classic country echoes alongside their usual heartfelt lyrics. It’s an amalgamation of powerful poetry and dramatic drums with old country ballads, all of which will quickly having you reliving a few life struggles. It almost parts in two: one side with songs like ‘Postcard’ and ‘To Live a Life’ where Soderberg sings about an older woman troubled in love to an easy four chord strum, and the other side with tunes like ‘Rebel Heart’ featuring explosive trumpets and biting lyrics such as “nothing matters, all is futile.” They recorded the album in Portland with producer Tucker Martine, a producer well-versed in bringing a glossy sound to modern Americane. Title track ‘Ruins’ eloquently sums up the album: carefully dissecting the ruins of a relationship, but with hope for the future.
Suzie Frith
Machine Head – Catharsis
Following a career purple patch that produced a trio of the band’s most critically and commercially successful records, few could have begrudged Machine Head for adhering to the tried and tested thrash-prog formula that they have made their calling card when it came to recording Catharsis in 2017. But no, not these legendary groove-metal renegades. From the stirring folk metal of ‘Bastards’ to the brazen rap metal of ‘Triple Beam’, this fearless, genre-bending headfuck of an album is the sound of a band unafraid to take creative departures to redefine heavy metal in 2018. Opener ‘Volatile’ injects a hefty dose of the band’s trademark, vitriolic thrash, while the stunning title-track is the most essential metal anthem of the year. As extraordinary as it is divisive, it is by no means flawless, but it is a genuinely remarkable, warts-and-all statement delivered masterfully by metal’s boldest band.
Chris Lord
IDLES – Joy as an Act of Resistance
When it comes to picking an album of the year, I tend to look for a record which best represents the last twelve months: it has to be something I can listen to decades down the line and say, “Yep. That was 2018 alright.” I’ll look no further, then, than Joy as an Act of Resistance and its caustic takedowns of Brexit Britain (‘Danny Nedelko’ and ‘Great’), toxic masculinity (‘Samaritans), Gammon mentality (‘Scum’) and the importance of self-love (‘Television’). Much of this is delivered via the galvanizing roar of frontman Joe Talbot, thunderous riffs and cathartic explosions of ragged emotion. Not just the best album, but also the most important band of 2018 for me. Odds are we’ll need more music like this in 2019, and I think we’ll be in safe hands if these Bristol punks stick around.
Joseph Food
Tom Misch – Geography
A couple of months ago I decided that the time had come to treat myself and subscribe to Spotify Premium. And what a great decision that turned out to be, because it was there that I discovered Tom Misch’s debut album, which I have not stopped listening to since. A combination of lazy hip-hop beats, jazzy guitar, funky basslines and disco-like string stabs, the first time I heard the album it honestly made my day. There’s something about it that puts a spring in your step and a smile on your face. The laid-back guitar licks are enough to warm your soul on the coldest of winter days, and there’s a hugely reassuring quality to his voice.
Maddy Blatherwick-Plumb
Ezra Furman – Transangelic Exodus
There was nothing else this year like Transangelic Exodus, Ezra Furman’s glitchy, gritty and often unhinged ecstatic road movie of an album. Following a loose narrative arc, the concept – No, wait! Come back! – sees Thelma and Louise replaced by a transvestite man and his angel lover on the run from homophobic society. Tracks are intercut with found sound and gnarly vignettes, but the record as a whole is driven wildly by Furman’s heavenly melodic gifts, as he veers recklessly between genius high-octane power pop (smash cut opener – ‘Suck the Blood from my Wound’, ‘Maraschino-Red Dress’) and bruised torch songs (the achingly-gorgeous ‘God Lifts Up the Lonely’). Tunes, tunes, tunes. Air-punching loveliness. And Furman is on scenery-chewing form, giving this record his ALL. Woah! What a trip!
Julian Crockford
Parquet Courts – Wide Awake
In May this year Parquet Courts came out with their best album since Light Up Gold. As ever with the NY four-piece it is poignant, vibrant, sarky and invariably funk-laden. Andrew Savage bellows out tracks about global warming (‘Before the Water Gets too High), New York poverty (‘NYC Observation’) even footballing ideology (‘Total Football’), in a sometimes despairing, viciously angry album at the heart of which lies the question of how to act in an increasingly complex modern word. It’s not all deep though – if there’s been a better indie/punk song to dance to than the title track ‘Wide Awake’ this year then I haven’t heard it.
Benjy Taylor
Arctic Monkeys – Tranquility Base and Casino’
A controversial choice, but then so was the album. For me, it was Alex Turner really finally stretching his song-writing muscles, and the start of a new era for a very special band. It was only after four or five listens that I really started to enjoy this record, which some may consider a mark of low quality. However, I’ve grown to see it as an affirmation of quality and depth; it’s a truly timeless album that sounds different every time you listen to it. I guess that’s what you get if you want to make a simple point about peace and love, but in a sexy way where it’s not obvious…
Leo Burrell
