1- Paradise Lost – Medusa
2- Blondie – Pollinator
3- Depeche Mode – Spirit
4- Life of Agony – a Place Where There’s No More Pain
5- Dead Cross – Dead Cross
6- Butcher Babies – Lilith
7- Arch Enemy – Will to Power
8- Fozzy – Judas
9- Scott H. Biram – the Bad Testament
10- Crystal Fairy – Crystal Fairy
Paradise Lost need to retire.
Yes, that’s how I’m starting off my Album of the Year post. Yes, that’s how I’m talking about the band responsible for the album that I believe is the best album to come out in 2017. The reason I say they need to retire is that their sound has gone full circle. The evolution of Paradise Lost from beginning to now makes a lot of sense if you listen to their albums in order. You may be confused if you skip around without prior knowledge of their changes. Medusa’s sound is very much like their original sound. That does not mean they’ve regressed, it means they just got back to the sound. And I’m glad they did. This album has a great mix of death metal vocals and clean vocals. It also has the signature doomy sound from the guitars that Paradise Lost is known for. I don’t know where they can go from here. They keep reinventing themselves and genres, but what’s left? If you’re a fan of Paradise Lost and you haven’t heard this record, you’re really missing out.
Some of the better tracks on Medusa include “the Longest Winter,” “Shrines,” “No Passage for the Dead,” and especially “Fearless Sky.” I’ve joked that “Fearless Sky” is the best Opeth song to be released in 10 years. It’s over 8 minutes long and it takes me on a slow musical rollercoaster. It’s a great song.
I don’t know if I could praise Blondie’s Pollinator enough. Like Medusa, it’s reminiscent of its band’s early work. Blondie has been around since the mid-1970s and there’s songs on this album that will most definitely be a “best of” compilation one day. It’s just a damn good record. It starts off with “Doom or Destiny” which reminds of their hit “Call Me” with the tempo. It has a few good songs after that one, my favorite song on the album, “Fun” comes on. It sounds like it could have come out during the end of the disco era, and that’s not a bad thing at all. Just like I said about Paradise Lost’s Medusa, if you’re a fan of Blondie and you haven’t heard this one, you’re really missing out.
“Long Time,” “Too Much,” and “Love Level” are also some of my favorite tracks from Pollinator. “Love Level” also features the What Cheer? Brigade as the horn section. They’re a fun act to see.
Depeche Mode’s Spirit is a bit political. But, it resonates with me. And it resonated enough to be ranked as the 3rd best Album of the Year. “Going Backwards” is the opening track and it is a damning view of the world’s political scene as it currently is. The album continues to strike chords about the direction of the world, but with the classic Depeche Mode sound.
“Going Backwards” is my favorite track from the album. I think it’s the most damning song I’ve heard about the current state of the world. “Poor Man” is another song that I relate to. “Where’s the Revolution?” and “Poison Heart” are also worth checking out.
Life of Agony hadn’t put out an album of new songs since 2005. Their 2017 release, A Place Where There’s No More Pain, picked up right where they left off. It’s like they didn’t miss a beat. Of course, they had been touring on and off since then, but that doesn’t necessarily mean new material would be good. In this case, the songs are good. They didn’t play a lot of the new songs during their 2017 tour, and honestly I like the album enough that maybe if I had heard a few more of them done live, I may have ranked this album higher. Live performances can make a difference sometimes, but regardless of that, they put out a damn good album.
“Meet My Maker,” “A New Low,” “Right the Wrong,” and the title track are some of my favorites from this album and I think they fit in with the Life of Agony catalog very well.
Mike Patton has appeared in my Top 10 lists with Faith No More, Peeping Tom, Tomahawk, and his Mondo Cane project. He’s one here again with Dead Cross. I never know what to expect with Patton. Dead Cross’s sound is a mixture of punk, thrash metal, and grind core. With Patton screaming and growling throughout most of the album, it just works. I saw them perform this album in its entirety in September and it was worth it. I’ve never seen Mike Patton so aggressive on stage.
The album starts off with “Seizure and Desist,” which I really enjoy. I also really like their cover of Bauhaus’ “Bela Lugosi’s Dead.” But, I think my favorite track is “Shillelagh.” It’s probably the best example of what Dead Cross is. This album may not be for everyone, but if you’re a Mike Patton fan, it’s worth checking out.
I had never heard anything from Butcher Babies until a few months ago. They were recommended to me and I sought out a few songs. I was impressed. I noticed they had a new album coming out and I ordered a copy. I was even more impressed. I have no idea how they had escaped my radar. Their album Lilith is one that I will definitely be listening to for a long time. I’ve already listened to it A LOT. Their sound is a heavy and guitar driven. They have two female singers and I really enjoy how they trade back and forth.
“Burn the Straw Man” opens the album and blew me away. The title track “Lilith” is the second track and I had heard that before I got the album because they had a video for it. They continued with “Headspin,” which I really like, but the 4th track, “Korova” is probably my favorite track. Give them a listen.
It’s because I like bands such as Arch Enemy that I’m surprised I hadn’t heard of Butcher Babies before. Arch Enemy also put out an album in 2017, Will to Power. This is their second studio release with Alissa White-Gluz on vocals. As I said about her debut with them, I think she’s breathed new life into them. I know some fans weren’t happy that she incorporated clean (non-growl) vocals into one track, “Reason to Believe,” but I liked it. It was not expected and it works with the Arch Enemy sound. It’s my favorite song on the album.
Other tracks I really like include “Dreams of Retribution,” “the Race,” and “the World is Yours.”
Chris Jericho is a promotional genius. He knows how to get his name out there and how to get attention on himself. He had been playing the title track from his band Fozzy’s new album, Judas, on his podcast for months before it was released. I didn’t mind because it’s a good song. He was able to market the album in a way that I was very excited about the release date. Fozzy is consistently good. I’ve ranked them in my lists a few times.
“Burn Me Out,” “Drinking with Jesus,” and “Weight of My World” are other favorite of mine from this album.
I don’t know why Scott H. Biram’s the Bad Testament took a while to grow on me. But, once it did, I realized how damn good it is. Maybe I was thinking it would sound differently, but what I got was an album that reminded me of (what I think are) his best albums the Dirty Old One Man Band and Graveyard Shift. Those two albums were the first things I heard from him after I had been introduced to his act after I saw him open for Clutch. What I like about Biram’s stuff is that while each album is good by itself, I can put his catalog on random and just lose myself in his blues/country/punk style. That’s needed sometimes.
I know I’m saying this a lot, but if you’re a fan of Scott H. Biram, you need to hear this album. Some of tracks that stand out (more than others) to me include “Set Me Free,” “Still Around,” “Train Wrecker,” “Crippled & Crazy,” and “True Religion.”
2015’s 10th best album was A Raw Youth from Le Butcherettes. I saw them open for Faith No More and I was intrigued. Their singer, Terri Gender Bender is a captivating performer. She’s different. Along with some other people on the Ipecac Records label, she formed Crystal Fairy, and their debut album is this year’s 10th best album. They have a heavy sound and her vocal style ranges from singing, to screaming, to screeching, none of which is bad.
I recommend “Chiseler,” “Necklace of Divorce,” the title track “Crystal Fairy,” and “Secret Agent Rat” as songs worth trying.
A few albums that were good, but just didn’t crack my Top 10 list include Steven Wilson’s To the Bone, the Front Porch Sessions by the Reverend Peyton’s Big Damn Band, and TajMo by Taj Mahal and Keb’ Mo’.
Some notes about other albums from the year:
Anneke Van Giersbergen’s new project VUUR released their debut album In This Moment We Are Free – Cities. She’s my favorite female voice in music, but this album didn’t draw me in.
Anathema’s the Optimist starts off great, but lost my interest.
Moonspell put out 1775. But, all the lyrics are in Portuguese. I couldn’t follow along.
Ayreon’s the Source was a major disappointment.
Blackfield V was just boring.
Gov’t Mule’s Revolution Come, Revolution Go has good stuff on it, but it nothing too special.
Gregg Allman released what will likely be his final album, Southern Blood. He died during the year and that made this album difficult for me to listen to. There’s definitely good songs on it, but some of them deal with his impending demise and that made it too real. Gregg Allman and the Allman Brothers Band meant so much to me for so long. I wish this album wasn’t his last.
Neither Garbage nor Muse released new albums in 2017, but they both released one new song. “No Horses” and “Dig Down,” respectively. Both songs are fantastic and make me look forward to their next albums.
I know Clutch and Lacuna Coil have new albums being worked on and I think both will be relased in 2018. Lacuna Coil’s 2016 album, Delirium, was my album of the year. I really hope they follow up with something good. I guess time will tell.
A note about eligibility for my 2017 Album of the Year:
– the album must have had a United States street date in 2017
– the album must be new material (for the band or artist)
– live albums are only eligible if they’re new material
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