The 50 best albums of 2018

Hello everyone. Its been ages since I’ve written anything on here – I started a new job working as a reporter for a magazine publisher in June, and its taken up pretty much all of my time since. But the list of my favourite albums of the year is a fixture on this blog, which I’ve turned out every year since I started it.

So – lets jump straight in to the list. I’m going to fit it all into one post, moving to #1 in ascending order. Once we get to the top 20, as per usual, I’ll fill in a bit more detail on why I loved each album. Enjoy! Let me know your thoughts in the comments – did you agree or disagree with my picks?

#50 Nostrum Grocers – Nostrum Grocers (Abstract Hip-hop)
#49 Orbital – Monsters Exist (Acid House)
#48 Tim Hecker – Konoyo (Ambient, Experimental)
#47 The Field – Infinite Moment (Ambient Techno)
#46 Beach House – 7 (Dream Pop)
#45 Rayland Baxter – Wide Awake (Country, Indie Folk)
#44 Soccer Mommy – Clean (Indie Rock)
#43 Ovlov – TRU (Shoegaze, Indie Rock)
#42 Brockhampton – iridescence (Hip-hop)
#41 Kurt Vile – bottle it in (Psychedelic Folk, Indie Folk)
#40 Mick Jenkins – Pieces of a Man (Hip-hop)
#39 Aphex Twin – Collapse EP (IDM, Experimental)
#38 Mount Eerie – (after) (Indie Folk)
#37 DJ Koze – Knock Knock (House)
#36 Iglooghost – Clear Tamei / Steel Mogu EPs (Drum n Bass, IDM)
#35 Sons of Kemet – Your Queen is a Reptile (Jazz)
#34 Clarence Clarity – THINK:PEACE (Alternative Pop)
#33 Robyn – Honey (Pop)
#32 Laurel Halo – Raw Silk Uncut Wood (Experimental, Ambient)
#31 Pusha T – DAYTONA (Hip-hop)
#30 Jeff Rosenstock – POST- (Pop-punk)
#29 Tropical Fuck Storm – A Laughing Death in Meatspace (Psychedelic Rock, Noise Rock)
#28 Denzel Curry – TA13OO (Hip-hop)
#27 Turnstile – Time & Space (Hardcore Punk)
#26 Death Grips – Year of the Snitch (Experimental Hip-hop)
#25 Kali Uchis – Isolation (Pop)
#24 HMLTD – Hate Music Last Time Delete EP (Glam Punk, Post-punk)
#23 Hop Along – Bark Your Head Off, Dog (Indie Rock)
#22 Rolo Tomassi – Time Will Die and Love Will Bury It (Post-hardcore, Math Rock)
#21 Janelle Monae – Dirty Computer (Pop, R&B)

earl_some rap songs

#20 Earl Sweatshirt – Some Rap Songs (Experimental Hip-hop)

Earl emerged from his underground bunker in 2018 with Some Rap Songs, his most introspective and intriguing release to date. Knotty and technical lyrics inside an anxious haze of weed-smoke, like you forgot to turn off Dilla’s Donuts before you went to bed, and then had a terrible nightmare.

kero kero bonito_time n place

#19 Kero Kero Bonito – Time n Place (Pop, Garage Rock)

Shapeshifting pop trio KKB transition from hyper-glossy J-pop to a blend of garage/noise/twee pop in their quest to be the most relentlessly fucking FUN band on the planet. Few artists could pull off such a range of styles, but KKB do it. ‘Sometimes’ was so disarmingly sweet it brought a tear to my eye on first listen.


#18 Parquet Courts – Wide Awake! (Indie Rock, Post-punk)

Parquet Courts’ agressively wordy punk songs were wry, witty and woke. You could probably write a thesis about this album if you followed all the lyrics on Genius, but its to Wide Awake‘s credit that you could just as easily stick on the title track and shake your butt in blissful ignorance of all the world’s problems.


#17 Daughters – You Won’t Get What You Want (Noise Rock)

A harrowing and highly tense album, somewhere at the crossroads of rock, industrial and noise music. Not background listening. YWGWYW inspires the kind of cathartic terror that a good horror movie does, and you’ll feel like you just barely made it out alive after breathless closer ‘Guest House’.


#16 Sleep – The Sciences (Stoner Metal)

A towering colossus of slow-motion powerchords and fuzzed out basslines. Sleep pick up where they left off, 15 years after their last album, with another stoner metal classic for the ages. Many bands in the genre could pull off the atmosphere, but almost none could achieve this sense of vertiginous size and scale. Big.


#15 Saba – Care For Me (Hip-hop)

Super-relatable Chicagoan Saba put together a melancholy breakout hip-hop record with Care For Me. The debt to Frank Ocean and Chance the Rapper are clear, but the interest paid is generous. Grief, friendship and love are handled with a deft touch and luscious production. One to keep an eye on in 2019.


#14 IDLES – Joy as an Act of Resistance (Post-punk)

IDLES continue to fight the good fight against toxic masculinity, nationalism and general misery on their provocative sophomore album. Nobody could preach self-love and tolerance with such ferocity as frontman Joe Talbot, and nobody could release a punk album better than IDLES in 2018. I FEEL FREEEEEEEE!



I suspect this one will only get better with time, too. SOPHIE’s experimental pop music was on the very cutting edge in 2018. Her fractured and unstable songs often deal with themes of trans- gender identity, but electric ballads like ‘Infatuation’ go straight for the heart, not the brain.


#12 Milo – budding ornithologists… (Jazz Rap)

Milo followed up my AOTY for 2017 quickly, with a dreamier and more esoteric record than his last. budding ornithologists is equally fluent in moments of astral jazz-rap transcendence, but brings with it a a newfound sense of playfulness. Yes, there is a song called “thinking while eating a handful of almonds”.

2012 - 2017

#11 AAL – 2012-2017 (House)

Nicolas Jaar adopted a pseudonym to release his most explicitly danceable record yet, a deep/tech house excursion that proved an unlikely crossover hit in 2018. It yielded irresistible, ultra-modern singles at every turn, from the pulsating ‘Some Kind of Game’ to the euphoric ‘Know You’ and expansive closer ‘Rave on U’.

Let_s Eat Grandma_ I'm All Ears

#10 Let’s Eat Grandma – I’m All Ears (Alternative Pop)

Perhaps the biggest surprise of 2018 was Let’s Eat Grandma, a young but prodigiously talented pop duo from Norwich. They turned away from the psychedelic quirkiness of their first album to drop the most chameleonic and exciting pop album of the year with I’m All Ears. Beautiful, abrasive, and oozing confidence.


#9 Car Seat Headrest – Twin Fantasy (Indie Rock)

A re-recording of the lo-fi breakout album that Will Toledo first caught ears with, Twin Fantasy is a 70-minute prog epic of joyous, widescreen anxiety containing the catchiest goddamn indie rock songs of the year. Existential angst between moments of pure childish glee, like ‘Bodys’ and ‘Nervous Young Inhumans’.


#8 boygenius – boygenius (Indie Rock, Singer-songwriter)

Like-minded songwriters Julien Baker, Phoebe Bridgers and Lucy Dacus came together to form a melancholy indie rock supergroup as boygenius. Together they were greater than the sum of their parts, crafting an agonisingly short but endlessly replayable set of bittersweet, intergalactic love songs. Please, please more.


#7 Choker – Honeybloom (Alternative R&B)

Another surprise – Choker went from being a Frank Ocean wannabe to releasing the most compelling R&B album of 2018. Honeybloom was an impressionistic collage of memories and sepia-tinted imagery, set to a series of dreamy R&B instrumentals. A revealing but mysterious album best listened to in its entirety.


#6 Pinegrove – Skylight (Indie Rock, Country, Emo)

Pinegrove’s thoughtful blend of emo, country and indie rock took a step forwards with Skylight. Its refined production and songwriting contained the perfect chemical combination of sadness and hope, which kept me coming back throughout 2018. Brief but beautiful, like so many of the best things are.


#5 Deafheaven – Ordinary Corrupt Human Love (Atmospheric Black Metal, Post-rock)

An album sure to offend the metal purists even more than Sunbather did, on account of its melodic (and, admittedly, a bit melodramatic) post-rock interludes. But the dynamic interplay between those moments of cinematic prettiness and pure black metal savagery provided some of 2018s most thrilling music, to my ears. Just listen to the way the bridge at the 8 minute mark of ‘Canary Yellow’ portends the most utterly destructive riff of the year. Crushing.


#4 Kacey Musgraves – Golden Hour (Country, Pop)

The soundtrack to a long, hot Spring that preceded a long, hot Summer. Golden Hour oozes warmth and optimism from its every pore, even when Kacey’s heart-on-sleeve lyricism dips into the melancholy. I have a very distinct memory of listening to this record while walking alongside the route of the London Marathon in June, in perfect weather, feeling completely and utterly content with life. Few albums inspire such a strong and seasonal sense of peace.


#3 Anna Von Hauswolff – Dead Magic (Neoclassical, Ambient, Experimental)

A mythical missive from a dark age of necromancy and superstition. Dead Magic is an imposing neoclassical beast containing 16-minute songs that build to eye-widening climaxes of stomping rhythms and maniacal organs. The primal music of Swans – particularly To Be Kind – is a definite influence, but Dead Magic contains a degree of Gothic romance entirely its own. The only album of 2018 that could have been released in 1618, except Anna probably would have been burned at the stake for being a witch.


#2 Noname – Room 25 (Jazz Rap)

Room 25 plays like a kind of time capsule. A repository for poetic everyday wisdom you didn’t know you needed in your life until you heard it. Noname’s stunning sophomore record delivers clear-eyed meditations on love, race, family, death, fame and so much more with the deftest of touches. Her rap style, bordering on spoken word, bends language playfully and easily. Her live jazz-rap backing is vibrant and deliciously groovy. Combined, they propelled this dark horse contender to an easy pick for hip hop AOTY. Essential.

Mount Eerie_ Now Only

#1 Mount Eerie – Now Only (Indie Folk, Singer-songwriter)

Phil Elverum’s harrowing quest to find solace in music continued on Now Only, following the death of his wife to cancer. This record was a stream of consciousness from the very depth of human suffering, leading to a place just a little bit brighter, and a little bit more manageable. Now Only is one the most singular, complete and affecting expressions of grief you’ll find in any art form.

The climax of ‘Tintin in Tibet’, which tells, side by side, the stories of the day Elverum met his wife and the day he watched her die, is devastating. Even a year on. And yet – that tiny glimpse of light, of hope for a better future – is what makes Now Only worth enduring. To me, this is not a sad album. It’s an album that reminds me even the most complete and consuming sadness imaginable can be managed. And it’s my favourite album of 2018.


Album of the Year 2017: The Complete List & Year in Review

Another year, another rundown of my favourite albums. It isn’t easy to write 50 record reviews in the space of a month, but that’s what I’ve done from the beginning of December to now, so thank you anybody who’s been reading. 2017 was the year I started trying to turn the Wooden Man from an internet dump of odds and ends into an active blog that I’ve been attempting to grow, and it’s exceeded my expectations so far. Here’s my complete list of 2017 albums, ranked #1 through #50, which was the basis for all the reviews. Clicking any album will take you to its individual post, and below the list are some thoughts about the year 2017 in music.

1.) Milo – Who Told You to Think??!!?!?!?!?! – 9.4
2.) Richard Dawson – PEASANT – 9.2
3.) Brand New – Science Fiction – 8.9
4.) Iglooghost – Neo Wax Bloom – 8.8
5.) Benjamin Clementine – I Tell a Fly – 8.8
6.) Kendrick Lamar – DAMN. – 8.7
7.) Mount Eerie – A Crow Looked At Me – 8.7
8.) Elder – Reflections of a Floating World – 8.7
9.) Perfume Genius – No Shape – 8.7
10.) Four Tet – New Energy – 8.7
11.) Protomartyr – Relatives in Descent – 8.7
12.) Chelsea Wolfe – Hiss Spun – 8.6
13.) Gas – Narkopop – 8.6
14.) Algiers – The Underside of Power – 8.6
15.) Big K.R.I.T – 4eva Is a Mighty Long Time – 8.6
16.) Idles – Brutalism – 8.5
17.) Angelo Badalamenti – Twin Peaks S3 Soundtrack – 8.5
18.) Jay-Z – 4:44 – 8.5
19.) Slowdive – Slowdive – 8.5
20.) Julien Baker – Turn Out the Lights – 8.5
21.) Kamasi Washington – Harmony of Difference – 8.5
22.) Converge – The Dusk In Us – 8.5
23.) Ryuichi Sakamoto – async – 8.4
24.) Rina Sawayama – RINA – 8.4
25.) James Holden – The Animal Spirits – 8.4
26.) Sufjan Stevens – Carrie & Lowell Live – 8.4
27.) Angles 9 – Dissapeared Behind the Sun – 8.4
28.) King Krule – THE OOZ – 8.4
29.) William Basinski – A Shadow in Time – 8.4
30.) Oddisee – The Iceberg – 8.4
31.) The Horrors – V – 8.4
32.) Joey Bada$$ – All-Amerikkan Badass – 8.3
33.) Max Richter – Three Worlds: Music from Woolf Works – 8.3
34.) Godflesh – Post Self – 8.3
35.) Tyler the Creator – Flower Boy – 8.3
36.) The National – Sleep Well Beast – 8.3
37.) Lorde – Melodrama – 8.2
38.) Billy Woods – Known Unknowns – 8.2
39.) Kelela – Take Me Apart – 8.2
40.) Grizzly Bear – Painted Ruins – 8.2
41.) Blanck Mass – World Eater – 8.2
42.) Sampha – Process – 8.2
43.) Fleet Foxes – Crack-Up – 8.2
44.) Amenra – Mass VI – 8.1
45.) Various Artists – Mono No Aware – 8.1
46.) The XX – I See You – 8.1
47.) Julie Byrne – Not Even Happiness – 8.0
48.) Vince Staples – Big Fish Theory – 8.0
49.) Alvvays – Antisocialites – 8.0
50.) Brockhampton – Saturation 2 – 8.0

So, 2017. The easy narrative of 2017 is the one about Trump and North Korea and Brexit, the one about impending doom and general gloom. And while I’m honestly bored of hearing that story, it is certainly true that politics was one of the biggest topics in music this year. Political music came out of every genre, from the mainstream to the underground, and some of my favourite albums came from artists with one eye on the streets.

IDLES, Joey Bada$$ and Algiers released the most overtly political records of the year, but it was everywhere you cared to look, from Vince Staples’ Big Fish Theory to LCD Soundsystem’s American Dream. While I loved a lot of these albums, it’s interesting to see that my favourite records from 2017 were those that were not political at all; instead they were the records that felt like self-contained worlds, records that offered a form of imaginative escapism. File under this category the latest albums from Milo, Richard Dawson, Iglooghost, Elder and Angelo Badalamenti, all of which were stellar.

My pick for the most original album of 2017 would be a close call between Iglooghost’s Neo Wax Bloom, Benjamin Clementine’s I Tell a Fly, and Algiers The Underside of Power. All three of these albums do things I’ve never heard before in their respective genres, and were at the very cutting edge of music this year. For anyone who wants to hear something new, give these three a try.

On the whole, I would say 2017 has been a very good albeit not great year for music. Nothing except Milo came close to surpassing my favourite records of previous years, and only two albums reached a 9/10 rating. Nevertheless, the quantity of great albums released throughout the past 12 months was very high, and I was never short of amazing music to listen to.

I’d like to give a quick shoutout to Frank Ocean’s ‘Chanel’ as my favourite individual song of the year, because I tend to only write about albums and EPs on The Wooden Man. Frank has been the artist I think I’ve listened to most throughout 2017, an impressive feat considering he didn’t even put out a full length album. If I was rewriting AOTY 2016 I think it’s very likely blonde would come out on top, but that’s something to save for the list of my favourite albums of the decade, which you can expect in a few years time. Oh yes.

And that’s a wrap! Thank you everybody for tuning in to The Wooden Man in 2017, and if you check back tomorrow you can expect to find out what’s coming in 2018. I’m really excited for the year to come, and have lots of great content and ideas to share with you guys. Tell your friends, tell your Grandad, save me as a bookmark. See you next year.

Album of the Year 2017: #1 Milo – Who Told You to Think??!!?!?!?!?!

Number one! We made it. Drumroll please…my favourite album of 2017 is Who Told You to Think??!!?!?!?!?!, the latest record from underground MC and producer Rory Ferreira, AKA Milo. Milo has been on the scene for several years now, tempering his unique brand of comic-philosophic rap music. But Who Told You to Think??!!?!?!, his fifth album, is the culmination of all his training in the hip-hop dojo.

Milo has always been an abstract and very poetic lyricist, but on some of his earlier material, particularly A Toothpaste Suburb, he sounded like he was trying too hard to impress. This is a man who would regularly namedrop philosophers and obscure authors like Schopenhauer or David Foster Wallace, but for every line that came across as inspired, another felt like it was reaching a bit too far.

On Who Told You to Think??!!?!?!?!, Milo earns every allusion as he rises to the stature of mystical prophet MC, spinning mind-bending wordplay around beautiful, spacey production that brims with confidence. This is the tightest, densest, most poetic batch of lyrics I’ve heard from any rapper in years, with line after classic line that has me reaching for the rewind button.

Musically, Who Told You to Think??!?!?!?! is an atmospheric blend of jazz rap and cloud rap, with some sprinklings of boom-bap and Shabazz Palaces futurism. Each track (many of which were self-produced) reverberates with gorgeous keys, crispy drum hits and melancholy bass, always leaving plenty of space for Milo’s vocals which are placed front and centre in the mix.

This lends the album a strong sense of space and clarity, inviting the listener to pull some of Milo’s cryptic lyrics apart. Try these, from ‘Paging Mr Bill Nunn’: ‘The most understated mage / Flow monotone, how you sublimate the rage? / I be to rap what Keynes be to Locke / What scenes be to plot / Or a cop tappin’ on the glass like ‘what seems to be the problem?’’

Milo’s words have a newfound sense of purpose here, which grounds much of the esoteric imagery contained within them. This is particularly the case on touching personal tunes like ‘Note to Mrs’ or ‘Take Advantage of the Naysayer’, where he raps about his wife and father respectively. Elsewhere, he’s content to spit dizzying metaphysical boast raps: ‘Seen his hands fasten round the hilt of that rusted ruby scimitar / Speaking time-tested codas / Who them other rhythm wizards are?

It’s this confidence that really sets Who Told You to Think??!!?!?!?! apart from Milo’s earlier work. His performances throughout the record are so sharp that whenever a guest MC appears, I find myself waiting in anticipation for Milo’s next verse. Said guests still manage to hold their own, however, particularly Elucid and the enigmatic Self Jupiter.

The only complaint I have for this record is simply that I want more of it. 42 minutes isn’t short by most standards, but when what’s on show is so fearlessly creative, it seems to fly by every time I put it on. I’ll happily devour any EPs and leftover tracks cooked up from this record, and am eagerly awaiting Milo’s next project.

Who Told You to Think??!!?!?!?! is the kind of album that I follow music so closely for. The kind of record that finds a promising artist emerging with a unique and engaging voice, fulfilling their potential in the process of creating something truly new. It’s my favourite album of 2017, and I would implore anyone interested in good music to give it a listen. Peace out.

Album of the Year 2017: #2 Richard Dawson – PEASANT

Richard Dawson is the most unsung bard in all of England. This short, stout, Geordie songsmith first caught my ear in 2014 with his album Nothing Important – on its sixteen minute title track, Dawson started by telling the story of his own birth, before embarking on a poetic odyssey through the most formative memories of his entire life, set to some absolutely wild guitar playing.

PEASANT, the follow-up to that album, is even more ambitious. This time, Dawson has turned his genius for storytelling away from his own life and – as you do – towards the Middle Ages. Yes, you read that right: PEASANT is a concept album that tells the stories of ten imaginary Medieval characters concocted entirely in Dawson’s imagination, each given name in the track listing: ‘Soldier’, ‘Weaver’, ‘Beggar’, ‘Prostitute’ and so on.

If that sounds intimidating, it isn’t. PEASANT is vibrant and uplifting music, and listening to it feels like charting an unexplored corner of a fantastical world. Anyone who appreciates an album like Joanna Newsom’s Ys will find in this record a kindred spirit: the winding songs and allusive stories are of the same ilk, though the songs are of a more digestible length.

The first time I listened to PEASANT, I was bowled over by its second track, ‘Ogre’, in a way that few songs managed in 2017. The song opens with lilting guitars and strings, which seem to come from a very ancient place. But the final minutes are what really took my breath away: a rush of harp, acoustic guitar and euphoric choir vocals form an invocation to the sun for three minutes, chanting over and over with increasing fervour: ‘When the sun is climbing…

Even after a year with PEASANT, that moment still gives me goosebumps. It makes me think of a community gathering in a tiny Medieval village in the middle of Spring, where all the children and cows and sheep are dancing around and clapping, celebrating the season with a kind of earnest joy that music seems hardly capable of these days. And something about it is so English in a way I find very endearing.

Smart of Dawson, too, to put this moment at the beginning of his record, because from here on in things get a bit knottier. ‘Prostitute’ tells the story of a downtrodden prostitute who steals a horse and escapes into the country, after her latest suitor chokes to death on his own puke. In ‘Shapeshifter’, the narrator gets lost in a mysterious place called the Bog of Names, before being freed by a benevolent animal spirit.

Each tale is strange and twisting, constructed with the kind of vivid imagination we might expect from a fantasy author like George R.R. Martin. And each one is delivered with Dawson’s absolutely marvellous voice, a thick and highly Northern drawl which is nevertheless capable of ascending to some perilous falsetto heights. The supporting musicians Dawson surrounds himself with, meanwhile, bring a huge amount of character and variety to each song, especially the fantastic choir vocalists.

Together, Dawson and his troupe of minstrels have put together one of the most ambitious folk records I’ve heard this decade with PEASANT. It is as uplifting as it is experimental, as intricate as it is inviting, and the tapestry of Olde English stories which it weaves is as compelling as any record I heard all year. Bar one, of course…

Album of the Year 2017: #3 Brand New – Science Fiction

I’m not sure about this one. Truthfully, I feel very conflicted. Throughout almost the entirety of 2017 I had Brand New’s Science Fiction at my number two or three spot for album of the year. I listened to it constantly, more than any other record except my pick for number one. I bought tickets to go see them live at the O2 Academy in Brixton. And then the gig was cancelled and the band’s career almost instantly brought to an end by the sexual misconduct allegations levelled at frontman Jesse Lacey in November.

I wrote a lengthy blog post about the allegations and the business of public shame a couple of months ago, which I would like to point people towards here. But the end result of it all is a strange feeling I haven’t experienced in music before: disappointed idol-worship, or the realization that an artist you admire has done some really terrible, terrible things. It completely ruined my ability to enjoy old Brand New material, particularly Deja Entendu, the lyrics of which now read as the callous and self-obsessed confessions of an emotional abuser.

So where does that leave us with Science Fiction? Truthfully, I haven’t touched it since the stories about Lacey broke. I debated whether I should scratch it from the list entirely, but it wasn’t until I came to writing this review that I revisited the album in its entirety. Having done that, I’ve made the difficult decision (and one which I may regret later) to try and remove the music contained within Science Fiction as much as possible from the ugliness that surrounds it.

Part of the reason I feel able to do that is because Science Fiction feels, not just lyrically but in every way, like a maturation for the band. Lacey’s lyrics throughout are repentant in tone, but they aren’t self-serving in the way a song like ‘Me vs Maradona vs Elvis’ is. The picture it paints for me, and I am very hesitant of sounding like an apologist here, is one of a man who is more than aware of the fucked up things he has done, and is still dealing with the damage and the emotional implications of his actions.

Opener ‘Lit Me Up’ sounds, in retrospect, like a song directly about sex addiction. And it even portends the way Lacey’s public life and career have been devoured on social media and in the music press: ‘It lit me up, and I burned from the inside out / Yeah I burned like a witch in a puritan town’.

The first half of Science Fiction contains a running theme of therapy and psychodrama. Tracks are interspersed with ominous voice recordings of therapy sessions and recalled dreams, while lyrics are heavy with psychological strife. ‘Lit Me Up’ and ‘Can’t Get it Out’ are among the most atmospheric and immediate album openers of 2017, while the next three tracks chart a difficult path through self-harming, death and religious doubt.

If ‘Never Be Heaven’, a plodding and mopey acoustic ballad, is perhaps the album’s only misstep, then it only makes the catharsis all the stronger when the record reaches the explosive religious apocalypse of ‘137’, where Lacey imagines himself being immolated by an atom bomb as his band reach a furious climax. Then comes ‘Out of Mana’, the most brilliant and visceral rock song of the year, with an unforgettable but deliciously simple guitar riff in the chorus.

Science Fiction’s second half delivers track for track the best guitar music of the year, the band shifting from melancholy to manic with ease while writing some fantastic melodies. The harmonized vocals of ‘No Control’ are another highlight, as is the whisper-quiet finale ‘Batter Up’, a song that seems all too aware of its position at the close of a chapter, and the bittersweet sadness of ending: ‘It’s never going to stop / Batter up’.

Some will be glad to see Brand New come to an end in light of the allegations against Lacey. Many hardcore fans have had to make a difficult choice between rejection and reconciliation with the band’s music. For my part, I have chosen the latter only for Science Fiction because I think it is an honest record that approaches the problems with a great deal of humility and artistry. For some that won’t be enough, and I respect that. But whatever your opinion on Jesse Lacey and his actions, it’s hard to argue with the music on Science Fiction, which is simply some of the best 2017 had to offer.

Album of the Year 2017: #4 Iglooghost – Neo Wax Bloom

Iglooghost’s Neo Wax Bloom is, unquestionably, the most fun record of 2017. Nothing else even comes close to the level of reckless abandon and hyperactive joy on show in this amorphous blob of an album, which is the best to come out of the Brainfeeder label since Flying Lotus’ Cosmogramma in 2010.

It’s not an easy album to pin down. The music contained within has a lot in common with drum ‘n’ bass and grime, but chopped up into an impressionistic splat and moving at extra light-speed. Like in grime production, there is a lot of empty space and use of found sounds, but instead of the characteristic gun clicks, these sound more like the noises that a two foot laser cannon might make while reloading.

Each song transitions into the next imperceptibly as in a DJ set, and truthfully the whole is so fast and disorienting that it can be difficult to pick out individual tunes. ‘White Gum’ is certainly a highlight: an enormous stomp of crashing breakbeat drums and grime vocals that have been chipmunked beyond comprehension. ‘Bug Thief’ is another, with its sticky and sentient keyboards warping around alien rhythms.

But the best way to listen to Neo Wax Bloom is not to pick out individual songs, rather to just let it wash over you in its entirety. I can’t help but think of this album as the musical equivalent of Katamari Damacy, for anyone who’s played that game. It’s like a huge, expanding ball of noise in constant motion, crashing through a surreal, whimsical landscape and absorbing everything in its path.

Neo Wax Bloom is fast and hyper-colourful in a way that could only have been put together by someone very young, and if you take a trip to Iglooghost’s bandcamp page it will tell you in uncertain terms that he is ‘13 YR-O OLD MAN FROM THE UK  ◑◑ EYEBALL PRINCE ◑◑.’ Whether or not you believe he really is thirteen years old (and honestly, a Google image search doesn’t rule out the possibility), one thing is certain: this kid is an electronic music prodigy.

No electronic album in 2017 felt so wildly creative, so head-spinningly complex and yet so simple in its childish innocence. The eleven tracks of Neo Wax Bloom were rhythmically combative and, fittingly, bore names that sounded like Pokemon attacks (one of them actually is). But also there was a kind of zen peace to be found in the eye of this record’s storm: a devotion to wildly imaginative silliness, even in the midst of chaos. I think 2017 needed that.

Album of the Year 2017: #5 Benjamin Clementine – I Tell a Fly

Benjamin Clementine emerged as a surprise winner of the 2015 Mercury Prize with his first album At Least for Now, a collection of eccentric but beautiful piano ballads. For many artists, such a successful debut would be the platform for a lucrative career pitched at the mainstream, and it wouldn’t have surprised me to hear a new record from Clementine that sounded accessible and easy on the ears.

I Tell a Fly is not that record. No – this is an example of an artist leveraging their initial success to pursue their own singular vision to completion, and it is one of the most bizarrely brilliant records I heard all year. It finds Clementine doubling down on all of his most eccentric tendencies – acrobatic & high-pitched vocals, obtuse and poetic storytelling, and a wide-ranging gamut of musical influences.

Many of the songs on this strange, unclassifiable record are fragmented, and move between several different passages which are often wildly at odds to each other. Opener ‘Farewell Sonata’ begins with an echoing drone which segways into a gorgeous solo piano, but at the two-minute mark a psychedelic synthesizer gurgles its way into the song, which then suddenly explodes for all of ten seconds into a passage of huge, booming drums. And then the song ends, rather abruptly, on that same wandering piano.

The structure is utterly confounding, but makes the record feel unpredictable in a way few others were in 2017. Nothing is off the table for Clementine – songs might take a thirty second detour through trip-hop, or even drum ‘n’ bass, before winding back to something resembling a chorus. And in between, you’ll hear a diverse range of instruments, with some particularly strange and creative use of the harpsichord in more than one song.

There are a few moments of more straightforward brilliance that will appeal to those who liked the sweeping ballads of At Least for Now. One hair-raising moment comes in the middle of ‘Better Sorry than Asafe’, where Clementine croons over a bed of plaintive piano chords: ‘If you won’t come with me, I understand / Give us a last kiss’, and then howls: ‘Bon voyaaaaaage…don’t know where I’m going’.

But these are the exception rather than the rule on I Tell a Fly, which is more often than not mysterious and avant-garde. Many will find it too obtuse, and there are certainly parts of the record (‘Paris Cor Blimey’ for one) where I would agree. But taken as a whole, I Tell a Fly is just so unique, and I can only admire the daring and dedication it must have taken for Clementine to push something like this through his record label.

Make no mistake – I Tell a Fly will not be launching Benjamin Clementine to widespread success, or netting him any more accolades. But it is irrefutable proof of an artist in sway to nobody and nothing but his own wild imagination, and was among my very favourite albums of the year.