Users’ Top 50 Albums of 2016: 30 – 11

Published: January 10, 2017

50-31 | 30-1110-1 | EPs

30. Jimmy Eat World – Integrity Blues14. Jimmy Eat World - Integrity Blues

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Jimmy Eat World perhaps saw the biggest return to form of any artist this year. After three albums passed and faced mixed reception from fans and critics alike, Jim Adkins took a step back and dove into more personal lyricism, with the band following suit. There is a lot more emotion in everything this time around without feeling like they are trying too hard, and Jim replaces the “you”s that he has been singing about since Bleed American and replaces them with “I”s. While the album dives into some territory the band have previously delved into – such as the incredible post-rock bridge of “Sure and Certain” and the swaying acoustic ballad of “The End is Beautiful” – there is something new to be found, such as the progressive rock conclusion of “Pass the Baby”. If there are any doubts about the band’s ability to write strong material, the final two tracks could go down as some of their best. Integrity Blues sees the return of Jimmy Eat World to their absolute potential, showing that maybe the best has yet to come. –Hogan

29. Blood Incantation – Starspawn34. Blood Incantation - Starspawn

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Given the prevalence of the OSDM revival recently, it’s refreshing to see a band like Blood Incantation abandon the caverncore cavemen aesthetic for more upward-facing death metal inspiration. Rightly hailed throughout the underground as a modern classic, Starspawn’s miasmatic blend of celestial atmosphere, technicality, and jugular-shredding death metal vehemence makes Blood Incantation’s Immo-tating peers look almost pedestrian in comparison. Their instrumental prowess would make even Necrophagist blush, but it never gets in the way of a killer riff or a drop into more tranquil, quasi-melodic territory. While extreme metal has a tendency to prioritize sheer aggression above songwriting, Blood Incantation crafted an extremely dynamic record that borrows, deconstructs, and then reassembles elements from every end of the death metal spectrum, displaying them in awe-inspiring fashion. Bolstered by a production that is warm and spacious without sacrificing any of the trademark filth we death metal fans are accustomed to, Starspawn feels like a death metal classic, while also letting it explore uncharted territory. I hate to end it this way, but Blood Incantation’s Starspawn is out of this world. –TheSpirit

28. Weezer – The White Album
28. Weezer - The White Album

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In 2014, Weezer unexpectedly started being good again. In 2016, they unexpectedly started being great. After years of almost irredeemable garbage with the occasional bright spot – this reviewer still spins “Freak Me Out” and “The Angel and the One”, if nothing else – Weezer closed out 2010 with a cobbled-together B-sides compilation and the announcement that a new album, scheduled for 2011, had been put aside. The unexpected four-year break between Hurley and Everything Will Be Alright in the End was evidently just long enough for Rivers Cuomo to remember both who he was and how to write songs again. The White Album takes Everything‘s messy, sprawling focus and finesses it to a razor-sharp edge. The first half of the record is the best Beach Boys tribute you’ll hear in the 2000s, with harmonies and jangling guitars dominating the proceedings. The second half takes a darker turn, with the songwriting gradually becoming more complex to suit; the straight-off-Pinkerton sounding “Do You Wanna Get High?” and the groovy piano jam “Jacked Up” serve as examples. Only in the final seconds of “Endless Bummer” do Rivers and co. really go for broke, and it feels more like a coda than a climax proper. Having said that, the emotional satisfaction of “L.A. Girlz” and “Jacked Up” is more than enough to make up for the lack of an epic to match “The Futurescope Trilogy”. With Rivers already in writing for the hopefully-superb Black Album, now seems as good a time as any to catch up on Weezer and remember that miracles do happen. –Rowan

27. A Tribe Called Quest – We got it from Here… Thank You 4 Your service25. A Tribe Called Quest - We Got It From Here

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Critics face a challenge talking about We got it from Here… and not referencing Donald Trump, potentially because they aren’t bothered to locate any other references, or because the spectre of the tangerine-tinted terror looms large over a black, politically-charged collective. Truth is, despite what parting shots the record offers in criticizing political celebrity and dubiously positioned racism, A Tribe Called Quest’s final effort works better as a celebration of the perennially underrated Phife Dawg. On The Low End Theory, The Five Foot Assassin bragged about having “No shame in [his] game ’cause [he’ll] always be the same.” On We got it from Here…, both he and Quest respond to their own rhetorical posturing: “Who can come back years later, still hit the shot?” Answer? It’s certainly not The Wu-Tang Clan, that’s for sure. –Elliott

26. Aesop Rock – The Impossible Kid
26. Aesop Rock - The Impossible Kid

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For a man surpassing forty, Aesop Rock sounds entirely sure of himself throughout the entirety of The Impossible Kid. There is no doubt or cowardice to be found here, only some of the year’s best hip-hop formulated by Aes’s dark humour and interesting production. Opening track “Mystery Fish” sets the example of what is to come early, with a beat comprising of muffled snares and a pretty awesome siren that is repeated after each verse. Even without the aid of any features, there is not a single moment of The Impossible Kid that feels lethargic or boring; combined with its endless replayability, the album makes for one of this year’s most fierce and best hip-hop records. –Hogan

24 (tie). Katatonia – The Fall of Hearts27. Katatonia - The Fall of Hearts

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I was honestly a bit taken aback when I first heard The Fall of Hearts; I haven’t listened to Katatonia in years, and it’s far from often that a band can dive into more palatable territory without sacrificing SOMETHING. And yet, The Fall of Hearts feels unquestionably like Katatonia. Their ambition is almost stifling, fusing their penchant for dismal, monochromatic atmospheres with bursts of progressive rock spontaneity to create a musical terrain that lies somewhere in between apathetic and energetic. The gothic rock sound doesn’t sound a million miles away from latter-day Anathema, and when they throw prog into the mix we get a record that corrects everything Opeth have been doing wrong on their last two albums. Above all though, Katatonia’s personality cuts through the gloom to create a truly special listening experience. While some fans may miss the death/doom of yore, The Fall of Hearts will have many more still looking forward to the future. –TheSpirit

24 (tie). Death Grips – Bottomless Pit
24. Death Grips - Bottomless Pit

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The other day I fell asleep with Bottomless Pit playing in the background, which says a lot about the listenability of Death Grip’s latest offering. Previous Grips records would have left me wide awake, red-eyed, and paranoid, but there’s something about Bottomless Pit that is well suited to slumber. Perhaps it’s because Bottomless Pit is relatively commercial sounding, featuring danceable and occasionally radio-friendly electronic warbling captained by “hook machine” MC Ride at his most charismatic. It could also be due to the short length of the tracks and the way they all bleed together in an atmospheric way. Although relatively pleasant, Bottomless Pit is still distinctly a Death Grips record, as MC Ride’s incoherent screaming and Zach Hill pummeling his drums like they owe him money are not likely to attract any newcomers. Full of energy and low on filler, Bottomless Pit isn’t the most experimental or exciting Grips record, but it puts me in an agreeable trance every time I give it a spin. –Robert Lowe

23. Stimming – Alpe Lusia
23. Stimming - Alpe Lusia

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About 6 and a half seconds into Alpe Lusia, I slapped a motherfuckin’ 5 on this bitch with more commitment than Batman is committed to justice. Never looked back, either. In addition to his Hamburg-based studio work, immersive field recordings – taken from his time in the Alps – add to the mesmeric listening experience. “Sailbot”‘s orchestra, “22 Degree Halo”‘s majestic choir, and the stirring “For My Better Half” – an obvious album highlight that Stimming had always wanted to complete for his wife after many years of it going unfinished – are all specific examples of his creativity and perseverance during what was an oftentimes-isolated recording experience.  The backdrop to “Trains of Hope” – written at a time when the refugee crisis was reaching its zenith in Germany – is attentively-crafted with its rolling thunder and gentle bells that eventually give way to a plush, pulsating theme. It’s basically the best electronic album of this year.  –LordePots

22. Alcest – Kodama50. Alcest - Kodama

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It is no secret that dynamics can work in favor of music. When properly used, they can have such an immense effect, but at the same time, bringing diverse influences together can be a challenging task. It requires strong songwriting skills and an ability to match seemingly dissimilar elements while keeping a sense of continuity. It goes without saying: this is easier said than done.

However, on Kodama, nothing feels forced; rather, everything feels natural. Influenced by Hayao Miyazaki’s Princess Mononoke, Alcest’s fifth installment is both a return to their roots and to form. Going back to the concept of dynamics, Kodama is an emotional trip dealing with the often contrasting themes of the human and natural world. Throughout the album, feelings of melancholia, inspiration, and finally catharsis are omnipresent. Call it blackgaze, postgaze, or whatever you like, but Kodama is simply music for people who like to look outside their window and into their soul. –manosg

21. Thank You Scientist – Stranger Heads Prevail
30 Thank You Scientist

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Four years ago, Thank You Scientist crafted a prog-rock powerhouse in the form of their debut, Maps of Non-Existent Places. With their newest release, titled Stranger Heads Prevail, the seven-man band have managed to establish their place as one of the next major acts in modern progressive rock for the near future. “Prologue: A Faint Applause” and “The Somnambulist” are captivating from the very beginning, with the a cappella intro and violin on the former and the fusion of guitar and trumpet harmonies in the chorus of the latter indicating that this is going to be quite an intriguing experience. What Thank You Scientist excel at here is keeping their compositions dense, but not cluttered. It always feels like something is going on, but you never get the sense that there’s too much happening in one particular place. “Psychopomp”, the longest track on the album, is a great example of this; the amalgamation between guitar, trumpet, violin, and saxophone comes together perfectly, with no one instrument overpowering the others while simultaneously allowing each one to stand out from the rest, whether it’s the sharp, technical guitars or the duality between trumpet and saxophone. From start to finish, Stranger Heads Prevail is a compelling listen and perfectly represents Thank You Scientist as a group in all its flashy, dramatic glory. –ExplosiveOranges

20. Dance Gavin Dance – Mothership
20. Dance Gavin Dance - Mothership

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It’s a bit crazy to see how this iteration of Dance Gavin Dance has grown up in the past few years. Starting out on Acceptance Speech as endearing but awkward, and then coming to find themselves a bit more on Instant Gratification, Mothership is the product of a band whose chemistry has finally come to life this third time around. Restraining their chaotic post-hardcore antics by just a bit, Mothership is a stronger, catchier, and leaner effort without the feeling of losing anything integral. In many ways it feels like a culmination of the band’s history: “Young Robot” has a funk slap that echoes Happiness, and the playful guitar noodling of “Frozen One” wouldn’t have sounded out of place on Downtown Battle Mountain. That’s not to say the band haven’t taken any risks this time around, though. Remove Jon Mess’ vocals from the intro of “Petting Zoo Justice” and you practically have a post-black metal song, while the disco-ball bridge to “Inspire the Liars” is an easy album standout. Though each member is at the top of his game here, Tilian Pearson really steals the show with his much-improved vocal range, giving the impression he was really meant to be in Dance Gavin Dance all along. Mothership is not just the best album of this current line-up, but an album that contends as one of the best albums in Dance Gavin Dance’s eccentric canon. –TheSpirit

19. Thrice – To Be Everywhere Is To Be Nowhere2. Thrice - To Be Everywhere is to Be Nowhere

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It’s a breath of fresh air to finally hear Thrice playing music again. Their evolution has been nothing short of intriguing to experience. From their post hardcore roots to their sudden increase in enveloping atmospherics, the band have never released a bad album. In the process, they stayed true to themselves, clearly had fun, and weren’t afraid to take things down a notch with Major/Minor. With their comeback album To Be Everywhere Is To Be Nowhere, they continue down that path in favor of an even more hard rock/alternative rock-driven atmosphere while remaining surprisingly consistent. It feels so great to be able to welcome Thrice back with open arms. Their signature brand of post-hardcore sounds and dreamy, soothing tones still impresses after all these years. Rest assured, Thrice are back, and while it they may not be better than ever, it’s still a welcome return. –Mongi123

18. Ulcerate – Shrines of Paralysis6. Ulcerate - Shrines of Paralysis

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Shrines of Paralysis is atmospheric even by Ulcerate’s usual standards, a more even fusion of post- and death metal to make their usual metallic black hole simulator all the more engulfing. It doesn’t riff quite like their masterpiece, Everything is Fire, but in exchange there’s a stronger focus on songwriting. It pays off for the most part, with songs like “Chasm of Fire” being some of Ulcerate’s best to date as well as oddball tracks like “Bow to Spite” erasing expectations of what the band is capable and willing to do. While there’s not the same exponential growth some may have wished for, it’s not wrong to claim that Shrines is just the fourth and slightly-altered version of Everything is Fire. A more generous observation, though, would be that they’ve shaved the lengths of their footsteps so as not to miss any of the sights along the way. Regardless, there are worse things to be than the fourth edition of an exceptional record, and Shrines of Paralysis is a sublime, claustrophobic, and pummeling exercise from one of modern death metal’s best. –Gameofmetal

17. Frank Ocean – Blonde

21. Frank Ocean - Blonde

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On Elliott Smith’s posthumously released From a Basement on the Hill, Smith made constant and cryptic allusions to his own increasingly crippling mental health. None of it better or more directly articulated his condition than “A Fond Farewell”, in which he desperately pleaded with the disease and made his case succinctly: “This is not my life.

On Frank Ocean’s sophomore studio album, “A Fond Farewell” forms part of a larger narrative on “Siegfried”, contemplating homosexual love for a traditionally masculine figure, all whilst considering the traditional feelings that go along with love: loathing, admiration, and the concept of ‘us.’ For the most part, Blonde is occupied with this tortured frame of mind. It’s a modernist text, insofar as it is occupied with the self and the organic wanderings of an internal monologue. In places, it recalls texts as diverse as “Ulysses” or the Use Your Illusion albums, often sprawling whilst loosely connected to the ego of its main character. Axl Rose, Elliott Smith, and Stephen Dedalus might be odd reference points, but it is worth considering how Ocean internalizes the death of Trayvon Martin on “Nikes”, or the effects of Hurricane Katrina on “Nights”, and how these moments define the album’s better moments. Blonde is an album that is fully ingrained in the world it was created in, whilst preoccupied with the internal happenings of its creator.

Every moment and subtlety of Blonde is magnificent. The way Ocean harmonizes with Yung Lean of all people on “Self Control”, about “sleep[ing] between y’all.” Or the way that he agonizes too late about not expressing himself on “White Ferrari”. Or how Andre 3000 appears midway throughout to provide an empathetic voice in contrast to Ocean’s. Blonde is, to speak in basic terms, emotional. Though 2016 – and the ’10s more generally – are hardly lacking in affecting musical moments, Ocean’s effort is proof that, when it comes to composition, curation, and arrangement, he is unmatched. –Elliott

16. Norma Jean – Polar Similar
16. Norma Jean - Polar Similar

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Remember when metalcore was huge? With bands like Lamb of God and Killswitch Engage propelling the genre mainstream in its early days, many different bands followed, trying to capture the same ideas. It’s no surprise, then, that the genre has been dying off in recent years.

That being said, Norma Jean have constantly reminded us just how creative and entertaining the genre can be. Polar Similar is more or less a throwback to the genre’s golden years, with Norma Jean working harder on continuing the diversity and uniqueness found in Wrongdoers and Meridional. With the guitars as aggressive as they are and an intensely-pounding rhythm section, it’s no surprise just how catchy and incredibly creative the whole record is. Phenomenal musicianship aside, the heart and soul of the record is Mr. Team Spirit himself, vocalist Cory Putnam, in what is easily his best performance to date. His incredible vocal range and unpolished cleans help the album maintain its edge as he shouts “I hope you burn” in album opener “The Planet”. Polar Similar is another staple release in the band’s discography and possibly their best album to date, delivering a melodic brilliance that we rarely see in metalcore anymore. –Toondude10

15. The Dear Hunter – Act V: Hymns with the Devil in Confessional
10. The Dear Hunter - Act V Hymns With The Devil In Confessional

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On September 26th, 2006, Casey Crescenzo unveiled the first Act from The Dear Hunter, a saga about a young boy and the tragic events that occurred between his birth and death. Ten years and five albums later, we have now reached the story’s conclusion that began when our protagonist was born into the harsh reality of the world. While there are technically six Acts to be created altogether, Act V: Hymns with the Devil in Confessional is where the road ends for our protagonist and the experience that we’ve been through with him.

To be perfectly honest, it’s impossible to discuss this album without comparing it to its predecessor, Act IV: Rebirth in Reprise. Act IV was more or less a rejuvenation for the band, as it seemed that Casey and co. took time off from the story to find a way to truly bring it to life. With the amount of effort that went into the record, it came as a shock to find out that Act V would be released exactly one year later. As well-crafted as Hymns from the Devil in Confessional is, it seems that people are unsure if this album is the fitting conclusion that we were expecting after the cliffhanger of Act IV. In comparison, Act V is not as accessible or as musically diverse as Act IV; there aren’t as many hooks or gorgeous moments, nor are there any real big twists as in “A Night on the Town”. But if The Dear Hunter’s history has taught us anything, it’s that each album is completely different from the last. This final chapter is darker, more brutal, and much more emotionally resonant than any of the other Acts. You feel more connected to the protagonist as the desperation of his situation is made clear. You feel the guilt in Casey’s voice when he shouts “I’m a killer! I’m a killer!” in “Blood”, while the sad yet hopeful tone in “Light” helps you empathise with the character’s love for his son. There’s just so much to take in when it comes to Act V, and that’s why it’s a tougher pill to swallow. The story may be over, but that doesn’t mean The Dear Hunter are anywhere close to finished. –Toondude10

14. Bon Iver – 22, A Million32. Bon Iver - 22, A Million

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22, A Million is perhaps one of the most talked about albums of the year, and it might be one of Justin Vernon’s most popular. It is entirely ironic that his most popular album is perhaps also his most experimental. It is an album that fidgets and glitches across ten weirdly-named tracks that showcase what Bon Iver does best: providing an atmosphere. The distorted sound is echoed by the gibberish vocals that slide the album along, but even through the nonsense lyrics, there is meaning to each word — no matter how cryptic Vernon’s lyrics are. 22, A Million sees Bon Iver find himself lost in a world that is completely alien, but entirely beautiful at the same time. –Hogan

13. Touche Amore – Stage Four11. Touche Amore - Stage Four

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Dealing with the death of a loved one is hard, especially if you are Jeremy Bolm of Touche Amore. Stage Four is by far Touche Amore’s most depressing album to date, with the lyrical content focused mainly on the grief and tension provided with the loss of one’s mother. It can most accurately be described as a hardcore version of what 2015 saw with Sufjan Steven’s Carrie and Lowell, with the acoustic guitar replaced by some beautiful guitar lines and some of the band’s most melodic instrumentation. Yet, while songs like “Flowers and You” and “Water Damage” pose some incredibly heartfelt moments, nothing stands as tall and powerful as the grand finale found in “Skyscraper”. It is a song that gives perhaps not only the best send-off to an album this year, but one final goodbye to Jeremy’s mother, whose impact has been cemented in one of this year’s best albums. –Hogan

12. Cult of Luna and Julie Christmas – Mariner
12. Cult of Luna and Julie Christmas - Mariner

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So in 2016, Cult of Luna decided to experiment with a female singer. Well, let’s get one thing straight right off the bat: female vocalists in post-metal are not a new concept. There are other current bands in the genre sporting a lead female, and they’ve been around for quite a while. Julie Christmas herself spent some time recording music with post-metal supergroup Battle of Mice. And then there were Neurosis and Jarboe collaborating on an album in 2003, which unfortunately left listeners wondering what a hybrid performance from Scott Kelly and Jarboe could have sounded like. Cult of Luna alleviate this concern right off the bat on Mariner’s opener “A Greater Call”, letting you know that Johannes and Julie will be equally sharing vocal duties here. Tired of exploring the city (Vertikals I and II), the band also take a cue from their peers Rosetta and tackle the concept of space exploration. The result is a seemingly perfect blend of Cult of Luna’s signature sound mixed with Julie’s vocals and an overall spacier, ambient atmosphere. In fact, the mix feels like such a natural progression from their prior sound that one wonders why they didn’t try this sooner. Julie’s contribution isn’t all warm and fuzzy either, with her performances on “Chevron” and “The Wrecking of S.S. Needle” bordering on jarring and maniacal. It’s fresh and bizarre, and it’s not surprising why Johannes admitted early on that he wasn’t quite confident in what they had created, unsure of whether fans would enjoy it or whether they “might have recorded [their] Lulu“. Now that the finished product is here, one thing is certain though: fans will be clamouring for more of Julie, whether on a sequel to Mariner or maybe even a full-time role in the band. The limits are now as boundless as space itself. –PistolPete

11. PUP – The Dream Is Over17. PUP - The Dream Is Over

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PUP’s ability to create genuine hard rocking pop-punk is astounding. The ultimate blend of punk and pop, The Dream Is Over oozes passion and inspiration. PUP set the tone perfectly, as their latest offering is aggressive, yet funny and undeniably catchy. Dark, but humorous lyrics are spewed out by vocalist Stefan Babcock’s raw, damaged vocal cords in the form of hook after hook, and along with stellar guitar work (a myriad of chords and a barrage of riffs), the album’s ubiquitous fervor is what keeps PUP’s engine constantly chugging. The Dream Is Over sees PUP firing on all cylinders, and it’s one of the most impressive punk records of the last several years. –Robert Lowe

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