2007’s Top Albums
I sat down to write this a few hours ago, and I’ve just decided I’m finished. Its like to back to the future, writing the beginning last, after I already wrote what comes next. I’ve put this list of 10 albums (plus one honourable mention) in no discernible order. Everything is here on merit, not on past glories (sorry Bad Religion, but you know, it was a backwards step). If you buy one of these albums, make sure it’s Circus Acts brilliant Sleepwalkingthetightrope.
This year, for perhaps the first time since I actually discovered music had words and songs meant something, I’ve struggled to listen to all the new music I’ve found. I’m not sure if its just a dwindling amount of time (new job, new house etc.) or if its also something to do with the explosion of underground promotion. Take Circus Act’s Sleepwalkingthetightrope. Before this year I’d have never heard of them. Not very well toured, not exactly breaking into the top 10. But, reading a review on punktastic lead me to their website. Obviously I downloaded the three free tracks. And you know what? Its the best album of the year, and better still, it cost a fiver. Within one listen of the first track I was laying down the paypal details. If you spend £5 on anything, make sure you get this album, which is like catchy pop played by At The Drive in with more than a few time changes, three vocalists and the dirtiest sense of self knowing you’ll hear. Brilliant music, and probably the best British release this year.
And it makes me think - how crazy are the piracy zealots? 6 of the 10 albums I’ve listed here I would never have even bothered with if it wasn’t for a myspace/purevolume and yes Oink. Circus Act I found through a webzine. They made three tracks available - for free. I was hooked. Making those tracks available didn’t bankrupt them - it earnt them at least one sale, probably countless others.
Another example is Massachusetts based Four Year Strong, with Rise Or Die Trying. Hyped to bollocks by the “underground scene” (read the internet kids) as the new Set Your Goals (dual vocals, beat downs, soaring choruses, melodic, uplifting…) although Four Year Strong are a little different. For a start they’re far more of a pop punk beast with a smattering of hardcore, as opposed to the poppy posi-core of SYG. However check out half the album on Myspace, and its pretty clear there’s no hype smoke without fire. Brilliant, and lyrically uplifting Four Year Strong have kept a shit eating grin plastered on my face for months.
One of the most anticipated albums of my year has to have been Career Suicide by A Wilhelm Scream. Pre-empted by jaw dropping single (song of the year, no doubt) 5 - 9, this album was always going to find it tough to live up to Ruiner and Mute Print, their previous efforts. And whilst they’ve already released their best song, this album literally blew me away. Nothing could have prepared me for such an amazing album. In terms of bat shit crazy, balls to the wall, melodic hardcore AWS are peerless.
Writing the record, I kinda talked the guys into a system I like to call “more is more”. Basically, musically and vocally, as much shit as you can possibly fit into a song and pull off live, fucking throw it in, that’s why there’s harmonies and fucked up beats and guitar crap all over the place.
Going for a change of pace, the summer was all about the blissful chilled out reggae of Tim Armstrong’s A Poets Life and Mad Caddies‘ Keep It Going. Whilst Tim Armstrongs album was originally recorded in 2006, its May 2007 release meant it dropped in time for summer and as Hold On demonstrates, it was all about sitting in the sun and relaxing. Mad Caddies however took the reggae vibe more in the direction of their traditional ska, and partially into the fringes of punk, but nonetheless, they’ve managed to produce their most accomplished well rounded album to date. These two albums were brilliant.
It doesn’t seem like any year can pass without Fat Wreck Chords releasing something that sticks in my head. Smoke Or Fire’s This Sinking Ship crept in and stayed there. Its really probably just more of the same, melodic punk rock that’s catchy but not sugary sweet, but its kept me entertained for the best part of the year.
Two more British bands that have really pushed the scene in this country are Capdown and The Ghost Of A Thousand. I’ve waxed lyrical about TGOAT and their brand of Refused style hardcore. If there’s one fault with their debut This Is Where The Fight Begins its that its not quite varied enough. But its head and shoulders above Gallows debut, which has been re-released 201 times. Its got groove and anger and some subtle melody - hopefully with a bit more variation they’ll get the recognition they deserve. Capdown are another band that have never really gained the recognition they deserve. Blistering live shows, huge songs - but they never moved out of the toilet circuit. Wind Up Toys was always going to polarise the existing fanbase, but a band can only release the same album so many times before people get bored. WUT is a brilliant record, slightly more straight laced, less punk, but no less furious - gone too is the plethora sax solos, and the band sound better for it. Gone is the simple verse-chorus-verse-PARP-chorus and in comes some tricky structures with every song having its own rhythm. A massive step forward, and shamefully set to be their last as the band have decided to call it a day.
Biffy Clyro’s Puzzle is one of those albums you feel like you waited forever for. Its a stunning work from start to finish - their fourth album, first on a major label, is a combination of everything before. I’ve yet to catch them live, and i guess i’ve missed my chance to see them in a small venue now.
Finally (and by no means at the bottom of the list) Reuben’s In Nothing We Trust. Reuben would probably have been in my list if they dropped a polished turd, but this album is amazing. Reuben have always had a knack at writing melodic rock songs, like an angry Foo Fighters with some angular leanings and a bit of heavy riffery. On this release though there are no obvious 3 minute pop songs. This is another stunning album, from another British band. There’s 9 minute prog-metal work outs and delicate acoustic ballads (with nasty words) - but its not just thrown together it all flows perfectly.
And finally, you can’t really consider a best of compilation for a top list, but No Use For A Name deserve an honourable mention for All The Best Songs which is obviously all the best songs. 26 of them.