2017 was a bit of an odd year for me and music. There were the usual bands sticking to their standard release cycles, a couple of uninspiring efforts by established artists and some surprisingly excellent records by new kids on the block, but it’s taken the full 365 days (plus a couple more) for me to figure out which were my favourites, with no real runaway winners like last year.
Old stagers Marilyn Manson and Sepultura produced their finest efforts of the past decade in Heaven Upside Down and Machine Messiah respectively, both proving they’ve not lost the fury so prevalent in their earlier careers. Someone who seems to have never stopped meanwhile, Mr Mike Patton produced another raucous cacophony with new band Dead Cross, whilst the softer side of Americana saw Mark Lanegan produce another effortlessly amazing record in Gargoyle and All Them Witches fuzz us all up with the delirious Sleeping Through The War. Queens Of The Stone Age, Trivium and Mastodon all struggled a little this year with each of their new releases just failing to capture what went before; victims of their own success perhaps?
Cranking up the heaviness, Cannibal Corpse and Obituary both gave the new death metal generation a run for their money with a pair of crushing albums, whilst Behemoth frontman Nergal took a slightly different route, exploring country music alongside John Porter on the fascinating Me And That Man. Another new take on extreme music saw Blood Command turn many heads, their third album of deathpop, Cult Drugs, finally pushing them into the mainstream, something that Vukovi will be hoping to replicate as they grow their alt-rock sound off the back of their excellent self-titled debut.
Back over in Blighty, the UK scene continued to go from strength to strength with a reborn Pulled Apart By Horses leading the charge on the excellent The Haze. Frank Carter banged out his second, slightly tamer solo effort whilst much-touted Bristol punks Idles turned numerous heads with their vitriolic debut, Brutalism. There was still room for a few old hands to get in on the act though with Cradle Of Filth launching another grandiose platter in Cryptoriana, and Black Star Riders taking their sound another step further on Heavy Fire.
If you’d told me five years ago that we’d see new records from Akercocke and Iron Monkey in 2017, I’d not only have looked at you like you were a mentalist but also been as giddy as the proverbial kipper. Although the Monkey were never likely to hit Johnny Morrow-era levels of brutality, 9-13 was still a solid outing and Akercocke proved they’ve still got that wicked Satanic glint on Renaissance In Extremis.
Paradise Lost also went back to their darker routes on modern doom classic Medusa with guitarist Gregor Mackintosh pulling double duty by banging out another crushing Vallenfyre opus, Fear Those Who Fear Him. In fact doom started to rediscover some real form with bands like Spaceslug, Pallbearer and Elder bringing the genre bang up to date with a trio of modern classics.
Of course there’s always a section on here for Ginger Wildheart-related releases and 2017 was no different with friends and former collaborators releasing a ton of new material this past 12 months. Chris McCormack and Tom Spencer helped bring a modern punk ethos to the latest outing from stalwarts The Professionals, 20 years after their last record. Role Models showed no signs of slowing down with the high-energy rock and roll explosion Dance Moves, whilst Hellbound Hearts pulled out all the stops on a modern metal classic in Film Noir. Ginger himself explored a more country vibe with Ghost In The Tanglewood, inspired perhaps by recent collaborations with Ryan Hamilton who himself launched his catchy-as-anything The Devil’s In The Detail. CJ Wildheart meanwhile went the other way, blasting out the heavy Blood with a new-found fervor after a difficult 12 months.
But none of these records quite managed to make my top picks of 2017. To find out what did, stay tuned pop pickers…