|KT's 2018 Top 10|
Happy New Year Sput! These were my favorite albums from 2018
This album is basically what Lamb of God would sound like if they were ever cool. It’s redneck bar rock as interpreted by Pig Destroyer, which shouldn’t work at all but somehow it does. What JR and co. lack in intensity, they make up for it in personality. Easily one of the most fun releases of 2018.
|9||Harms Way (USA-IL)|
If I had to make this list earlier in the year, this would have easily cracked the top 5. Harm’s Way managed to take the parts from Rust that weren’t a complete snooze fest and bring the groove from previous releases back into the fold. The Fear Factory-esque industrial effects are just the icing on the cake. Also, they absolutely killed it live on this tour.
|8||Tiny Moving Parts|
Like Posthuman, this is a record I listened to a lot when it initially came out but haven’t revisited much lately. For me, Swell is basically Celebrate 2.0 but more sugary and catchy.
Bill (accompliceofmydeath) actually introduced me to Hopesfall this year and this album and The Satellite Years were the first two I listened to by them. Arbiter is a rock solid comeback album that sits comfortably in the middle of the band’s legendary discography. Not quite as great as Satellite Years or Magnetic North, but leagues ahead of A-Types and other prior releases.
Given the band’s turbulent history and constantly shifting line-up, it’s a miracle that this turned out so good. While it isn’t as cohesive as their previous album, it’s a fun sample platter of a multitude of directions that the band could take. Some of these conflicting influences don’t bounce off each other as gracefully as they could, but as individual songs, they are executed to near-perfection. From metalcore ragers like “Give a Name to Your Pain” to goth-tinged new wavey cuts like “Beauty Mark” and the occasional Glassjaw worship (“Stripes”) — Glow has something for everyone.
|5||Portrayal of Guilt|
Let Pain Be Your Guide
This album reminds me of ‘Roots of Earth’-era Full of Hell meets 90s screamo; two of my favorite things. The actual songs on here are phenomenal; however, the band uses just a smidge too many interludes within this record’s 22-minute run-time.
The most relentless album of 2018, almost to a fault. Jackhammer riffs, mammoth breakdowns, and screeching noise effects roar through Annihilated’s 43-minute run-time. Long enough to be agonizing, just short enough not to overstay its welcome. One this year’s finest albums and a much-needed breath of fresh air for metalcore.
Ordinary Corrupt Human Love
This is Deafheaven at their cheesiest. This is Deafheaven at their best. Deafheaven thankfully abandons the outside pressures they yielded to on New Bermuda and craft an album that surpasses their previous efforts. Ordinary Corrupt Human Love is as beautiful as it is campy: an amazing and articulate reflection of where the band is at now.
A Patient Man
If Lightless Walk wasn’t enough to wipe the memory of the collective’s previous incarnation, this should be more than enough to do the job. The heavier songs are the best the band has ever done (“Isolation in The Land of Milk and Honey” and “I Am Healed”) and the melancholy balladry found in songs like the title track and “To: Achlys” are perfect for introspection during the cold Winter months.
Out of all the albums I’ve listened to and loved this year, Errorzone is the one that keeps me coming back the most. Vein has carved out their own sound through channeling the best of what bands like Botch and Slipknot had to offer. While Errorzone IS an album deeply rooted in nostalgia, the band injects enough personality to set them apart from their influences. Tight songwriting, phenomenal drumming, and dedication to their craft (seriously, see these guys live) put them leaps and bounds ahead of their contemporaries. As far as debuts go, this is on par with albums like American Nervoso and I have no doubt that this generation’s We Are the Romans is lying dormant somewhere in them.