Here’s part 4 of our list of the top 100 albums of 2016. You can find the first 3 installments below. We’ll start this countdown with a fresh face on the scene, a band with arena-sized ambitions…
#25: Bad Omens (Bad Omens)
What makes a band like Bad Omens so interesting is, in actuality, a number of traits. Whether it’s their fairly standard metalcore/alt-metal sound that effectively toes the line between ferocity and honest-to-God accessibility, their ability for writing choruses that get stuck in your head, or the fact that they add just enough variation on a familiar sound to avoid stagnation, it’s clear that Bad Omens know the sound they’re going for. There’s an uncanny resemblance to Bring Me The Horizon’s Sempiternal album here, but it’s not a carbon copy of said album. Their influences are all over the place, and when they are really trying something different (the painful, gritty “Enough, Enough Now”, “Crawl”, and album closer “The Fountain”), Bad Omens excels. Couple that with masterful production that highlights the band’s competent and vocalist Noah Sebastian’s versatile range, and you have a recipe for success. Bad Omens sounds like the work of a veteran band, not one that is just starting what appears to be a fruitful career.
#24: Dissonants (Hands Like Houses)
On their 3rd album, Dissonants shows Hands Like Houses aiming for the arenas. Vocalist Trenton Woodley’s massive range buoys standout tracks like “Colourblind”, the infectious “Division Symbols”, and album highlight “Stillwater”, the latter of which simply explodes into a two-part chorus that most bands of their genre would sell their souls to write. Album opener “I Am” is the band showing that they haven’t really abandoned their heaviness – the song truly stretches Trenton’s voice to the limit, and it’s one of the heaviest (yet still catchy) songs the band has written, period. What Hands Like Houses excels at is occasionally heavy alternative rock that excels at great choruses and solid songwriting, and on Dissonants, that formula is done to near perfection.
#23: Pure In The Plastic (Polyenso)
The follow-up to 2013’s excellent One Big Particular Loop, Polyenso (formerly post-hardcore darlings Oceana) go for a sound that both continues what the aforementioned album did (a spacey, experimental indie rock sound) and adds even more electronic and soul influences. For the uninitiated, it might remind listeners of Sigur Ros and Radiohead (the latter is really, really obvious), but it’s the fuller expansion of their sound like the bright and sunny “17 Years” that makes the album work even better.
#22: Everything Was Sound (Silent Planet)
In 2013, I was lucky enough to be able to go to Scream The Prayer in Orlando, Florida. The tour had bands like Impending Doom, Gideon, Wolves At The Gate, and Fit For A King on it. But the most impressive band of the day no doubt was Silent Planet, who at the time had only released one EP and a couple singles, were led by enigmatic frontman Garrett Russell. And all it took was seeing their passionate 30 minute set for me to realize that this band was going to be huge after a record or two.
Fast forward to 2016, and the band completely delivered on that potential with sophomore album Everything Was Sound. Silent Planet is a metalcore band through and through, that much is known. But what’s not typical for the genre is both the absolute passion exhibited by Garrett Russell, and the lyrical proficiency the band carries as well – touching on everything from mental disorders (“Psychescape”), suicide (“Understanding Love As Loss”), and historical events and figures (“No Place To Breathe”). These lyrics are also written with incredible detail (in the lyrics, you can actually read where they referenced certain parts of the Bible, books, and other quotes by historical figures).
This is surely fascinating from anyone screaming that metalcore is “dead”. In the capable hands of a band like Silent Planet, it clearly isn’t – Everything Was Sound is an example of a sophomore album that doesn’t flop – it innovates and pushes the band to the absolute limit. And we haven’t even discussed slow-burning album closer “Inhabit The Wound”, possibly the best track the band has written thus far in their careers.
#21: A Moon-Shaped Pool (Radiohead)
Yeah, this is a really good Radiohead album. It’s miles better than TKOL, and proves that the 5 year wait was totally worth it.
#20: Low Teens (Every Time I Die)
How the hell is Every Time I Die incapable of making an album that’s even average? Low Teens is yet another killer ETID album that both hones in on their signature sound, while adding more left-field surprises, like the Southern-rock tribute “Low Summers”. It’s a groovy, melodic single that’s mostly devoid of screaming, and while it’s a bit jarring at first, it’s a sound that Every Time I Die pulls off effortlessly.
#19: American Nightmare (Bad Rabbits)
Surprise! Bad Rabbits have graced us with a new album, their first in 3.5 years. What’s not surprising is that it’s a great album despite a major stylistic shift. Adding some much-needed aggression and loud guitars in the mix, the additions never feel phony or tacked on, merely an extension of the band’s already soulful, groovy sound. Opening track “Stalker” is a perfect encapsulation of what Bad Rabbits are attempting to accomplish – passionate vocals with music that hits hard, yet remains hooky and catchy.
#18: Meta (Car Bomb)
Car Bomb marries the chaotic noise of bands like Meshuggah with clear technical proficiency and occasional melody. And the band completely knocks it out of the park here, as that added melody really buoys the band, and prevents them from coming across as too stagnant and or bland. There is no “heavy for the sake of being heavy” here – only great songs, like the start/stop dynamics of mid-album standout “The Oppressor”, which features a cleanly sung section and the band’s dynamic push-pull dichotomy.
#17: Let The Silence Stay Where It Was (Sparrows)
Essential post-hardcore bands like Thrice, Thursday, Hopesfall, and Finch will never really go out of style or not be very influential. Toronto’s Sparrows are really, really good at the “loud, then quiet, then loud again” dynamic that so many of their peers fail to master, and their new full-length Let The Silence Stay Where It Was is proof of that. Whether it’s bombastic, post-rock influenced opener “Three Four Two Five, Three Four Two Five” or the slow buildup and subsequent explosion of “The Written Rules Of Choking”, you are looking at a band that can be one of the greats, in time. You could probably even compare it to a seminal release like Full Collapse – huge in scope, and influential to this day. Sparrows is a special, special band.
#16: Newborn Mind (Napoleon)
On Newborn Mind, the long awaited full length from self-styled “melodiposipassiongroove” band Napoleon, the band couples a catchy, fairly standard melodic hardcore sound with the technical proficiency you’d hear in a band like Scale The Summit or Polyphia. That dichotomy works really well in tracks like “Brought Here To Suffer”, this is exciting music that might cover the path between fans of hardcore and progressive music. Clearly the band is skilled at their instruments, and tracks like “Afterlife” show this very well. If the band can change things up a bit and keep injecting fresh ideas into future releases, Napoleon has major crossover potential. For now, Newborn Mind will likely dominate your speakers for a while.
#15: Help! (Sylar)
Where to begin with New York nu-metal/rock band Sylar? Their debut album To Whom It May Concern was a solid foundation (that got them on a number of prominent tours, to boot), but Help! is a phenomenal improvement and growth spurt, it’s honestly leaps and bounds above any of their previous work. Buoyed by a cleaner production that accentuates the band’s strengths (namely the vocal tradeoffs between Jayden Panesso and Miguel Cardona, along with stronger and insanely catchy choruses), the band is poised for big things, even in a watered-down genre like nu-metal. What’s most interesting about Help! is when Sylar reaches out of their comfort zone, especially on tracks like album closer “Maintain Closure”. Previous tracks like “Never Let It Go” hinted at a more accessible, cleaner sound, but that’s nearly perfected on Help!. Tracks like the hyper successful singles “Assume” and the P.O.D.-influenced “Dark Daze” are good introductions to the band’s evolving style. Finally, you have the lyrics. They aren’t anything poetic necessarily, but they are relatable and memorable. “Soul Addiction” shows all the aforementioned traits of the band the best, remaining varied throughout, with one of the catchiest choruses you’ll hear all year. “You know that I’m addicted to your soul.”
#14: Stranger Heads Prevail (Thank You Scientist)
One of the best progressive rock/jazz fusion/what have you albums of the year. In fact, you could probably throw a dozen or so genre descriptors around the band, but that just works in the band’s favor.
#13: Blackstar (David Bowie)
Probably the most incredible thing about Blackstar, David Bowie’s final album, is that it was recorded while he was dying of liver cancer. It was also released 2 days before he died. It’s an album that is essentially Bowie coming to grips with his own mortality and impending death, and in its 41 minute runtime, the album is one of Bowie’s better albums overall. With his death in mind, it’s the swan song to one of music’s most important performers – ever.
Somebody else took his place and bravely cried “I’m a Blackstar, I’m a Blackstar”. How many times does an angel fall?
#12: Drift (Erra)
Progressive metalcore band Erra could have easily phoned in Drift, their 3rd full-length with as many vocalists, but the adept JT Cavey (formerly in Texas In July) fills in here well. One can only hope that his vocal talents are used further on future albums, as this is a mostly Jesse Cash affair. And why not? His vocals are some of the best in the game, and though there’s nothing here remotely like previous albums (except maybe superb album closer “The Hypnotist”) here, the cleaner production and sound suits Erra very well – especially on album opener “Luminesce”. Drift may be a more melodic approach to their core sound, but there are still earth-shaking moments of heaviness too.
#11: Endless Light (o’brother)
o’brother puts on a phenomenal live show, and they sound great on 3rd full-length Endless Light, too. It’s a career defining record that incorporates elements of grunge, post-metal, post-rock, progressive rock, sludge metal, and folk to create something truly unique. At first listen, you might think they were Thrice if they went sludge metal and started listening to Russian Circles/Isis, and on tracks like opener “Slow Sin”, the band offers possibly its darkest work to date. It’s not easy listening, but more listens reveal Endless Light’s intricacies.
#10: Nexus (Dayshell)
Given the turmoil in the band as of late (member changes, record label shifts) it’s amazing that Nexus sounds as good as it does. Tracks like “FTNW” could easily garner radio play, as Shayley Bourget’s voice takes the lead, along with a prominent bass tone. Seriously, the improved and audible bass is one of the best things about this album, especially in a genre where that’s not very typical. Nexus is the rare sophomore album that improves on its strengths and adds new colors to the mix, like on the energetic track “Master Of Making”.
#9: Mariner (Cult Of Luna and Julie Christmas)
Vocalist Julie Christmas (Battle Of Mice) teams up to collaborate with post-metal veterans Cult Of Luna. The result is one that works exactly how you’d expect – though a jarring listen at first, tracks like the slow buildup of “A Greater Call” are not to be missed.
#8: Saboteur (Silver Snakes)
Compared to previous album Year Of The Snake, Saboteur is a marked departure from that sound. Instead, Silver Snakes opts for a darker approach on Saboteur, with a sludgy, dark industrial feel that wouldn’t sound out of place in the mid 90’s (seriously, you can’t tell me that tracks like “Devotion” and “Raindance” don’t remind you of The Downward Spiral). Then you have more straightforward songs like “Raindance”, which beg to be put on repeat over and over again.
#7: Dissociation (Dillinger Escape Plan)
Dissociation is a hell of a way for Dillinger Escape Plan to go out. They really left it all on the table on their swan song, and if anything, Dissociation proves just how influential the band will always remain to future generations of music. It’s still the chaotic energy you expect from them, tempered with calmer, experimental moments that never seem out of place.
#6: Rheia (Oathbreaker)
Oathbreaker is one of the best things to come from Belgium since waffles, and certainly, some of the best music too. And on the track “Second Son Of R”, the band effortlessly mixes Altar Of Plagues-esque black metal outbursts with calmer, more tranquil moments. Honestly, this track is truly something special and is worth the price of admission alone, but the album overall has a great ebb and flow to it that’s certainly captivating enough. Blast beats everywhere.
#5: Inguz (Normandie)
For a debut album, alternative rockers Normandie are onto something particularly special. Their sound merges elements of rock, pop, and metalcore quite well, and what’s really interesting about the band is how they got here. Starting out as a fairly generic (though by no means bad) metalcore band, Normandie used the few years in between the single “Violence” and their full-length, Inguz. Whether it’s the nod to the past in aggressive yet anthemic opener “Fight”, or the uncertain chilliness in album standout “The Deep Cold”, the band writes choruses that simply erupt. Of particular note is the face that they’ve toured with Yellowcard over in Europe, which shows you the kind of arena-filling band they could be. Given time, they probably will become that band. For now, however, Inguz is the kind of release that will occasionally leave you breathless. Normandie is the future. That future is now.
#4: Kodama (Alcest)
Despite the apparent misstep of 2014’s sunny, warm Shelter (hint: it was actually good), Kodama is a return to the form found on previous albums like 2010’s Écailles de Lune. What makes Alcest special is their ability to effortlessly create sweeping, post-rock landscapes with shoegaze, ambient structures, and black metal influences – in a way that doesn’t sound too harsh to the listener, but may take some time for new listeners to digest. That being said, Kodama is both a brilliant record in the way that it mixes these somewhat disparate genres together, but also creates something that is distinctly Alcest. This is a powerful, emotional record that has some of the best drumwork you’ll hear on any record this year.
#3: Terminal Redux (Vektor)
Terminal Redux is a monumental achievement. Vektor’s 3rd full length is simply a god-tier slice of modern progressive thrash. Though the vocals may be jarring to new listeners to the band, rest assured when I say they get easier to digest over time. They are, after all, quite good. But given the high quality of Vektor’s songwriting, it’s likely that in the next years, this is the album that modern thrash will be defined by. In a sea of bands that aren’t doing much to innovate, Vektor executes their vision perfectly (on a concept album, no less!). It’s a 73 minute modern thrash journey with incredible drumming and frantic fretboard work. `
#2: Air (Astronoid)
Self-styled “dream thrash” band Astronoid have created something truly great here on debut full-length, Air. This is truly majestic music that marries dream pop, thrash metal, black metal, post-rock, and other disparate genres into something really awesome. Astronoid has created something that is truly unique, and the lack of black metal howling actually works in the band’s favor, as it creates a more accessible product. Standout tracks are all over, but the frenetic drumming of “Resin” and the slow buildup of opener “Incandescent” are not to be missed.
#1: Chemical Miracle (Trophy Eyes)
Here’s a few reasons why Trophy Eyes’ second full-length Chemical Miracle is the single best album I’ve heard all year…
*Trophy Eyes write some of the best lyrics in the genre, straight up. Relatable, catchy, and memorable. Emotional, vulnerable, and most of all, real.
*This isn’t a pop-punk record. Sure, there’s the inherent catchiness of the genre in full effect here. But there’s also clear hardcore, alt-rock, and even 90’s rock influences here, which keeps things fresh. In this genre of music (whatever you’d like to call it, really) I like my lyrics to be real, with a fresh sound that preferably innovates and consistently excites. Trophy Eyes does all of that and more. There’s isn’t really a song here that isn’t memorable, from the emotional, gripping opener “Chemical” to the penultimate track “Suicide Pact”, there is plenty of variation to make Chemical Miracle a modern classic.
*Seriously, look at the cover art. It’s definitely 90’s.
At the end of the day, the biggest reason why Chemical Miracle succeeds in all phases is its strong lyrics. Couple that with a catchy yet unique sound that stands out from their peers, and you have a sound that’s destined for the bigger lights. It’s as intense and aggressive as it is cathartic and moody, and with tracks like “Breathe You In” and album closer “Daydreamer”, Trophy Eyes are at the top of their game. Where they go here is anyone’s guess, but clearly, the sky is the limit.
I heard they cut you down in your own bedroom
I wonder if you’d still remembered
You gave it all away for a girl
You didn’t fix it, you just ended it
That concludes our list of the best albums of 2016. Did we miss anything? Let us know in the comments!
