This one certainly came out of left field. Suffice to say I’d barely heard of Massive Wagons this time last year, yet now they’ve laid waste to loads of other strong contenders to smash into my Top 3 of 2016, and it’s fully deserved.
As introductions to a band go, the hook-laden Tokyo is a hell of a way to begin, yet MW reeled me in after a few bars. A more stadium rock Black Spiders, Massive Wagons‘ sound is BIG and it feels like they’ve been in your life for an eternity after just one listen of this record. Songs like Ratio and The Day We Fell are instant hits whilst the band also prove they can ramp up the heavy with Nails or ballad the hell out of things on Aeroplane.
A breath of fresh air, Welcome To The World will get stuck on your death deck for ages, and rightly so.
I was first put onto Servers by my Daily Dischord editor back in 2014 and was immediately hooked after snaffling a copy of Leave With Us. Fast forward to 2016 and we arrive at the band’s latest cultish offering, Everything Is OK.
Modern heavy music has been crying out for someone to do something interesting for ages and not only did Servers well and truly break out on their second record, the expansive nature of each and every song gives the listener plenty to go back for.
Spells is probably the strongest album opener of 2016 whilst Unconditional contains more powerful orchestration than the Royal Philharmonic on steroids. To Hell With You is full of hypnotic bile and Recklessly Extravagant‘s carnival waltz gets you entwined deeper and deeper in its web.
Telling tales of conspiracy, cults and creepy relationships, Everything Is OK is simply stunning in both scope and ambition.
West Yorkshire mob Tropical Contact first came to my attention a few years back throwing out all manner of hip swaying grooves in support of Eureka Machines. It was a raucous closing cover of The Power Of Love that really drew me in and since then I’ve been fortunate enough to witness the UK’s Most Partiest Band (okay, I just made that up) more times than is safe without protection.
TC‘s Go Getters, Jet Setters, Heavy Petters mini-album showed the band were capable of writing the catchiest of musical bastards so the release of their debut long player was hotly anticipated by all of us who’d had the pleasure previously. And boy did TC not disappoint.
XS, complete with excellent booby artwork by Esme Sharples has barely been out of my ears all year, offering more sonic good times than any record of the past decade. From the opening monastic chant, to the brilliant fist-in-the-air rebellion of Hero Brigade and the 80s swagfest This Is Goodnight, there is absolutely no filler on XS. Even on the extended Pledge edition of the record, TC have casually thrown in a batch of additional songs that must’ve only just ended up on the cutting room floor in the first place. Take the epic Chemistry for example, a massive modern rock song that has absolutely everything; meandering, lilting verses and big, big singalong choruses wrapped up in that TC sense of humour.
An autobiographical record of sorts, XS plays like Son Of Rambow, relatable, funny, yet oddly endearing and chock full of clever lyrical puns the likes of which we haven’t seen since Terrorvision‘s heyday.
XS really is one of those albums you tell everyone about. Christ, everyone in my family nearly got a copy of this and nothing else for Christmas. If there’s any justice in this world, XS is the record that should take the world by storm, it’s that instant and grin-inducing. Okay, so maybe that’s not going to happen, but off the back of such consistent genius, TC certainly deserve the plaudits and of course my Album of the Year award.