My Favorite Albums of 2017
Not meant to be a ‘best-of’ or anything of the sort, just what I loved this year. |
| 15 |  | Mastodon
Emperor of Sand
I’ve never disliked Mastodon’s pop metal sound, so it stands to reason that this mixture of that and a sound resembling that found on classics like Leviathan and Crack the Skye would be incredibly enjoyable to one such as myself. It’s definitely not perfect and definitely not their best, but much of the hate that you’ll find leveled towards this release is unfounded. |
| 14 |  | Paramore
After Laughter
Paramore returns after a hiatus to give us something completely new (for them), and it’s easily their best in my eyes because of it. It’s far from perfect, but a lot of fun anyways. And the closer even manages to tug some heartstrings. |
| 13 |  | Foo Fighters
Concrete and Gold
Another predictably enjoyable Foo Fighters effort, Concrete and Gold has no interest in reinventing the wheel, and while that would’ve been preferred, what we got instead is great nonetheless. |
| 12 |  | Ruston Kelly
Halloween
Another fantastic but less well known Americana effort, I actually discovered Ruston Kelly when I saw him open for Isbell this year, impressing me with his gorgeous, heartbreaking lyricism and fantastically produced and performed instrumental work. This one is definitely worth checking out if you have an interest in this kind of music, he could use a popularity boost. |
| 11 |  | Jason Isbell
The Nashville Sound
Americana’s modern hero brings us another fantastic album, this one more 400 Unit focused. Which is a welcome change, but not one that holds up as well against his softer solo efforts, and that’s really its only downfall. |
| 10 |  | Ryan Adams
Prisoner
There isn’t much to say about this one other than I’ve always been very fond of Adams, and he brings another consistently heartfelt breakup album, once again channeling the 80s heartland rock influences found on his self titled. Derivative, but I still loved it. |
| 9 |  | Creeper
Eternity, In Your Arms
Another pop punk release, Creeper’s debut has pretty much nothing new to offer, but shows both a mastery over their chosen style and heaps of potential. And Green Day and Alkaline Trio haven’t been enjoyable for years, so what else are our options? |
| 8 |  | Knuckle Puck
Shapeshifter
I was fond of Copacetic, but it didn’t impress or stand out all that much to me. But Knuckle Puck have matured beyond that, delivering a more cohesive and consistently enjoyable listen, and their best songs with the last three on the tracklist. Both enjoyable and thoughtful, this is by far my favorite pop punk release of the year. |
| 7 |  | Converge
The Dusk in Us
Converge continues to evolve their sound, now bringing one of my favorite projects of theirs thus far. The loud moments are as brutal and refined as ever, and the quiet moments feel refreshing and even beautiful. Required metal listening for 2017. |
| 6 |  | The War on Drugs
A Deeper Understanding
This was my introduction to The War on Drugs, and I don’t think I could’ve had a better one. The always fantastic production of Adam Granduciel shines as bright as it ever has, carrying this one to one of my most listened to albums of the year. |
| 5 |  | Brand New
Science Fiction
Another typical pick for year end lists, Science Fiction lived up to the years and years of hype and delivered the perfect goodbye to a beloved band. Controversy with a particular gross lead singer aside, this remains one of the year’s standouts. |
| 4 |  | Chelsea Wolfe
Hiss Spun
Chelsea Wolfe has absolutely outdone herself. I’ve been a fan of hers for years now, and I was completely blown away by her most recent effort. Hiss Spun contains easily the best production I’ve heard all year, unleashing a mixture of doom metal and what I can only describe as experimental gothic folk. From the brutal sonic nature of 16 Psyche, Vex, and Scrape, to the bare, emotional wastelands of The Culling and Twin Fawn, Wolfe puts together what I consider to be her best work. |
| 3 |  | Manchester Orchestra
A Black Mile to the Surface
An album that will likely see close to the top of many year end lists on here, I found the hype for A Black Mile to the Surface to be completely founded. A sonically gorgeous emotional odyssey that’s depressing and uplifting in equal measure, this is one I’ll be listening to for years to come. |
| 2 |  | Phoebe Bridgers
Stranger In The Alps
Far and away my favorite debut this year, Phoebe Bridgers’ Stranger in the Alps is a quiet, sorrowful affair that resonates with me beyond measure. It feels like a perfect encapsulation of the past two years, with songs of coming back home and seeing the people you used to know, funerals for kids a year older than you, growing up with your brother, being in love with someone you hate, and other topics that can appeal to just about anyone in one way or another. It also starts off with my favorite song of the year. Released in January, Smoke Signals has remained as liberatingly gorgeous and crushing as the first time I heard it. This is a nothing short of stellar debut, and I only look forward to hearing Ms. Bridgers’ next move. |
| 1 |  | The Menzingers
After the Party
I deliberated a lot over whether or not this was my favorite of the year over the aformentioned Stranger In the Alps, and eventually, it came down to the fact that I have listened to After the Party by the Menzingers at a minimum of twice a week since its release. It shows the perfect evolution of my second favorite band of all time, delivering both their lyrical and sonic best. While it would be difficult to top On the Impossible Past or even Rented World for my personal favorite due to my emotional attachment to those two albums, After the Party seems like the only thing that could’ve come close. |
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