Albums Of The Year: Writers' Favourites

In a year so rich with delicious musical treats, it's inevitable that some brilliant albums didn't quite make our Top 25. Here, our team takes you through what else has been rocking their speakers for the past twelve months...

Issues, Issues                                                                                                                          
My first encounter with Issues was after seeing they had been confirmed for this year's Reading and Leeds Festivals, and as I'd heard people raving about them I decided they were worth a listen. Upon hearing their single Hooligans for the first time, I remember thinking "why the hell would anyone think it was a good idea to mix metalcore and R'n'B?" However, as I proceeded to show this abomination to likeminded music fans, I found myself having a complete about turn and really started to warm to them. Ultimately, it's metalcore / nu-metal with elements of pop / R'n'B music and in the same way I didn't initially approve when Linking Park was mixed with Jay-Z, Issues have found a way of making it work really well. This year's self-titled effort is testament to how well they have combined the two genres together, with songs Stingray Affliction, Never Lose Your Flames and The Settlement bring particular highlights. Whilst Tyler Carter's lyrics are very 'diva-ish' at times, the heavy breakdowns and mean low vocals make up for it. It's certainly not for everyone, but the way they completely changed my opinion of this album has made it hard to ignore how much of a huge triumph it is. 
(Jamie Kerr)

Dan Le Sac vs Scroopius Pip, Repent Replenish Repeat

This album is a veritable goldmine of intelligence, intellectual debate, exquisite production and slamming break beats.  The combination of these two artists on this, their third and final collaboration is a masterpiece that has some very serious societal issues confronted as well as taking a tongue in cheek look at two-bit hiphop images and addressing deeply saddening stories with eloquence and beauty.

(Millie Manders)

Youth Man, Bad Weather

A blinding EP that's fast and fully twisted, from the lapel-grabbing opening Heavy Rain to the manic Inshallah, Youth Man's Heavy Weather defines the band as one of the most aggressive three pieces to be heard. The wayward song structures and interesting vocal delivery assures the album's distinctiveness.

(Ben Chapman)

Ghouls, Ten Thousand Words On / Great Expectations

The first time that I heard of Ghouls I had to listen to their EP repeatedly in part because I had never heard any brass based music within the genre of punk.  Ghouls are beyond sensational; with their Great Expectations EP being released this past Halloween as well as their previously released album Ten Thousand Words On, they've had a busy year. The unique sound offered to us by Ghouls will always inspire your body to move. One aspect from the song Being Me that I absolutely relished was the call and answer between the lyrics and the horns, let alone the elegant simplicity of the versification that was utilised though out the piece; something I found quite human and tender.

(Rania Watts)

Modern Baseball, You're Going To Miss It All

If you're currently at that point in your life where you aren't sure which direction you're heading (I'm 26 and very much still at that point), then this album will feel like it is written for you. Right from the off you know what you're getting with You’re Going To Miss It All, opening track Fine, Great opens with the lyrics  ''I hate worrying about the future / 'Cause all my current problems are based around the past.'' This is an album about their woes in love and growing up, so nothing new there then. But it's the way that it's so relatable, well thought out and honest that really appeals, especially as I never usually pay attention to lyrics. It's an album so full of angst that even older listeners will be able to relate back to their early twenties and remember how they felt about life. My favourite lyric has to be "I'll admit I'm in the same boat, / Caught between my adolescent safety net, And where the world wants me to be" from Going To Bed Now. I mean come on, we all know how this feels, right? That's what makes this album, it contains some of the best lyrics since Frank Turner's Love Ire and Song from way back in 2008. In terms of their musical style, think of the quirkiness of Motion City Soundtrack combined with the easy listening of Dashboard Confessional without the wimpy lyrics. Modern Baseball are cool and definitely worth checking out if you haven't already.

(Jamie Kerr)

Kill It Kid, You Owe Nothing

Kill It Kid's third album steps things up more than a notch. The stomping, bluesy strut of Black It Out and Sick Case Of Loving You, the rifftastic I'll Be The First and Don't It Feel Good and the epically anthemic heights of Caroline and Hurts To Be Loved By You give this album absolutely no weak links. It is a versatile mixture of distortion, slide guitars, sexy organs, quality song writing, great musicianship and dirty, filthy, bluesy atmosphere. Put simply, it is a fucking belter and I have no idea why Kill It Kid aren't much, much bigger than they are.

(Adam DT)

Decade, Good Luck

Another fantastic debut pop-punk album from a British band with a bit more grit when compared to everything else currently doing the rounds. Good Luck is full of catchy hooks and it's hard to find much wrong with it. After their opening track has played out it's obvious they have class and a good energy about them. Personal highlights include Coffin which opens with its soft intro, before building into a punchy verse and chorus. Brainfreeze is super catchy and shows a strong pop-punk influence, whilst Fake Teeth is a fantastic end to the album and gives frontman Alex Sears chance to really show off his impressive vocals. It's been a long time coming, but Good Luck is another hugely impressive debut, by no means groundbreaking but it is very good at what it sets out to be. 

(Jamie Kerr)

Knuckle Puck, While I Stay Secluded

Knuckle Puck are one of my favourite bands right now, they're playing everything I like about pop-punk: split 4, gruff vocals and hooks. There was not a chance in hell this wasn't going to be my record of the year. They have a winning formula and rarely move away from it. I think 2015 is going to be a big year for the KP! Although it came late in the year (and I was hoping for a full album), but this more than filled the void.

(WatCo)

Alt-J, This Is All Yours

Alt-J's 2012 Mercury Album Of The Year winning first record took the country by storm and left many of us wondering "how they fuck are they going to follow that?" The answer, it would seem, is by producing a genuinely beautiful and original body of music that, if anything, makes the first album look a bit shallow. This Is All Yours has a depth and complexity that makes it hard to find any faults at all. It is less immediately rewarding than their debut, but stick with it: it gives way to a record that seems to tiptoe between delicate, raw loveliness and crunchy, catchy pop hooks with complete fluidity.

(Adam DT)

 You Blew It!, Keep Doing What You're Doing

You Blew It!'s newest record was the soundtrack to those first few cold months of the year, with the more mature hooks and vocal bringing back the feel of early 90's emo. This most recent release was a strong statement and for most of the year a contender for my number one album of the year. Probably missed by many as Wishful Thinking (Neck Deep) was released the same day. 

(WatCo)

Death From Above 1979, The Physical World

Two-piece dance-influenced noise-punks Death From Above 1979 broke up unceremoniously in 2006 after releasing just one album which, in my opinion, was one of the best of the decade. Apparently they didn't speak for some time, so when they announced that a new album was on the way their fans' general excitement was mixed with widespread apprehension: would this be a horrible, reputation marring mistake? We needn't have worried. The Physical World is every bit as groovy and catchy as their debut. Whilst it isn't quite as anarchic and noisy, it does have a couple of unexpected, progressive and swaggering extra gears that their first album did not. It is blisteringly wonderful, exactly what it needed to be and was well worth the wait.

(Adam DT)

Code Orange, I Am King

This second album by sickeningly young and talented hardcore punk outfit Code Orange (formally Code Orange Kids) is a more-than-worthy follow up to their outstanding 2012 debut Love Is Love // Return To Dust. Within the record there is almost nothing sonically consistent: it jumps unsettlingly between doomy, sludgy post-metal, thrashy, abrasive hardcore punk and some very progressive, deeply atonal insanity. It manages to forego the silliness of so much black metal and meaningless grindcore but maintain the relentless brutality and straight up heaviness of such genres. It is a punishing record that simply doesn't let you get comfortable: as soon as you think you have worked out roughly what to expect it changes, mutates and throws you entirely off balance. The varying low, high, frantic and downright evil screams of three of the members are matched by off kilter guitars, pounding drums and obscure feedback, all blend into an outstandingly well-crafted record.

(Adam DT)

Still Bust, 77 For You (57 For Me)

One of the heaviest in terms of throatiness, perhaps one of the most intense and audiologically offensive, 77 For You (57 For Me) manages to fit a lot of passion in alongside the thrashing. A challenging listen that's worthwhile but not always feasible due to it's power, there's foreboding and impressive vocal efforts, ridiculously dark mathcore noodling, a personal edge and intriguing lyrical subject matter. This progressive album has a truly distinctive sound, played out with an authenticity that doesn't require nor would accept exaggeration.
(Ben Chapman) 

The Talks, Commoners, Peers, Drunks and Thieves

This album had to go in.  I fell in love with The Talks back in May having seen them live at Dublin Castle in Camden.  Their sheer energy on stage and their classic two-tone vibe had me hooked from the start.  Their album is a collection of brilliantly constructed, summer-encapsulating ska tracks that are sublimely addictive.  Rude Boy revival to the max.

(Millie Manders)

Wank For Peace, Fail Forwards

A late but deserved entry, the thought (or movement) provokingly-named quintet from France have produced an album full of emergent riffs, huge choruses, and anthemic build-ups that's hard to fault. The melodic hardcore feel is met with an effective garage-rock chugging in tracks such as Heavy Shoulder and Friends First to create a catchy, emotional, and nostalgic feel that succeeds with an upbeat sort of heaviness.
(Ben Chapman)

K-Flay, Life As A Dog

I pledged for this album. Not only did I pledge, but I got a higher priced package just to get a pledge-only snapback too. This album is amazing and I have so much respect for this woman. K-Flay was on a major label.  That partnership ended unceremoniously and K-Flay worked her butt off to write all new songs and produce them for this album. She's given up her house to tour. She works 7 days a week to put her music out there. The songs are relatable, the beats and hooks infectious. I couldn't stop listening to this album for a good two weeks. It's a tragedy she hasn't toured the UK yet. I will be first in line for tickets when she does. It's hip-hop but not strictly so. There are dance and pop elements too with a really cool indie feel to it. (Millie Manders)

Itch, The Deep End

Itch is a spoken word/rap artist and former front man of The King Blues, but you won't necessarily recognise that here. This is eclecticism at it's best. Each track has a tapestry of genres interwoven that makes it stand out from the others.  With influences from hip-hop, dance, punk, doo-wop and grime, Itch has managed to create an album that is interesting and addictive. Each track is wonderfully different, but the album is still a perfectly complimenting collection.

(Millie Manders)

Owls, Two

With clean guitar tones, and sensitive (if scratchy) vocals, the premise is a different one from some previous entries on The Punk Archive. But listen to I'm Surprised: there's something about Owls' music, a sort of math-rock, eom-inspired, at times post-punk feel to proceedings. Some tracks pulse with a subdued Talking Heads sort of groove. There are some dodgy moments, and you can't deny the album is certainly a slow-burner, but amongst loose tempos and wayward melodies, there's enough dissonance, variety and skilled-playing stuck in the mess, not to mention Noel Gallagher's bloodied face on the cover art, to deserve this album a place here. (Ben Chapman)