Well 2019 certainly was a year, wasn't it? We may have only just made it through by the skin of our teeth but we did it, and we don't know about you but for us, music was a huge part of that. So sit back, try to relax, and enjoy the top 25 albums that helped get us through 2019.
25. Hobo Johnson – The Fall of Hobo Johnson
Divisive as always, Hobo Johnsonâs strangely enrapturing fusion of spoken-word, hip-hop, rock, and folk return in his third full length outing – but while he was held back by his somewhat cringe-inducing interpretations of love and loneliness in previous works, this time we see a far more introspective Johnson, with lamentations over his inability to find love now rooted in his own failings and misconceptions. Itâs rarely pretty, at times returning to that uncomfortable level of awkwardness, but itâs refreshingly honest and sincere in a way his previous works werenât, and displays a talent for performing in a host of genres throughout the wildly varied album. Johnson may not be for everyone, and thatâs fine. The self-proclaimed âfirst human being born and raised in a 1994 Toyota Corollaâ has made a wonderfully vulnerable, high quality album that shows there’s a razor sharp musical proficiency behind the awkward exterior. [Fiachra Johnston]
24. Throes â âIn The Hands Of An Angry Godâ
This debut full-length from Idaho noisemongers Throes is comfortably the heaviest release on this list, but the quality of it is undeniable, and itâs not hard to see why Holy Roar Records – who have their finger firmly on the pulse of the best underground heavy music – chose Throes to be one of their rare international signings. Throes take influence from across the spectrum of extreme music, showing elements of Converge, Cult Leader, Neurosis, Amenra, and even Deftones, and savagely blend them to create a record that is absolutely disgusting in the best possible way. From the blistering pace of âBad Meatâ to the unflinching trudge of âThey Never Spokeâ, thereâs something in here for absolutely anyone who likes their music to kick the shit out of them in one way or another. [Liam Knowles]
Read our full review of ‘In The Hands Of An Angry God’
23. Tiny Moving Parts – ‘breathe’
Flying the flag for modern day emo music, Minnesota trio Tiny Moving Parts return with âbreatheâ, their most ambitious album yet. Heavily themed around death, the album is lyrically morbid, but that doesnât stop the likes of âVertebraeâ and âMedicineâ from being some of the biggest singalongs of the year. You can hear the emotional torture that singer and lead guitarist Dylan Mattheisen has been going though as his unique voice screams âI need to forget who I amâ on the latter. The upbeat riffs and unique solos of Mattheisen stand out head and shoulders above many of their contemporaries. Itâs rare to see the high standard of musicianship that âbreatheâ oozes in this corner of the alternative genre. [Louis Kerry]
22. Stray From The Path – âInternal Atomicsâ
Stray From The Path have never been ones to bite their tongue when it comes to speaking on the state of the world, and âInternal Atomicsâ sees their signature brand of rage soar way past boiling point. Each song has been written for one purpose, and one purpose only – to clock you square in the jaw and leave a lasting impact. Itâs no secret that this band have been angry for years, but theyâve never sounded as pissed off as they sound on this album. From the brutal assault of âSecond Deathâ focusing on paedophilia in the church, the politically venomous âSomething In The Waterâ, the personal ode to mental health struggles in âHolding Cells For The Living Hellâ and the “think for yourself” call to arms blaring out of âRing Leaderâ, there is no stone left unturned and no issue ignored. It goes without saying that, for a large number of us at least, the world is a pretty bleak place to be right now. A lot of us are being discriminated against, intimidated, abused, and we simply are not being heard. âInternal Atomicsâ is a molotov cocktail, and they want you to get angry enough to throw it. No, they NEED you to get angry enough to throw it. Where Rage Against The Machine were the voice of one generation, Stray From The Path are the voice for this one, fuelling listeners with the passion and confidence to use their own voice and stand for something instead of silently sitting back and watching their world change without them. The time for action is now, and this is the soundtrack to that action. In the words of Drew York: âThe choice is yours – change the world.â Without a doubt, the most furious, seething, and infectious record of 2019. [Dave Stewart]
Read our full review of ‘Internal Atomics’
21. La Dispute â âPanoramaâ
Five years after âRooms of the Houseâ, La Dispute returned this year with fourth fullâlength album âPanoramaâ. The album is bleaker than its predecessor and deals with more personal subject matter. Front man and chief lyricist Jordan Dreyer, though now based in Seattle, turns to car journeys through his old native Grand Rapids, Michigan, neighbourhood, and anxiety-inducing conversations heâs had with his current partner for thematic inspiration. The guitars are more subtle here and feature less immediate sounding riffs than they did on âRoomsâŚâ. The band reteam with producer Will Yip, who handles this softer playing style, as well as the unobtrusive introduction of instruments like trumpets and synths, deftly. âPanoramaâ showed the post-hardcore quintet have lost none of their talent for effective and affecting musical storytelling. [Greg Hyde]
Read our full review of ‘Panorama’
20. Dayseeker – ‘Sleeptalk’
Immaculate production, ethereal soundscapes, heaviness by the bucketload, and emotionally devastating lyrics â Dayseeker pulled out all the stops to deliver their fourth full length album in the form of an almighty gut punch. If that sounds bad, it shouldnât do â so majestically crafted are these ten tracks that itâs often difficult to stop listening, despite the soaring choruses being cause for overwhelming emotion at times. Balancing an almost poppy approach to melody with plenty of atmospheric layering and electronics, itâs all brought together by hefty, no-bullshit breakdowns for a unique metalcore/post-hardcore sound thatâs as rowdy as it is heartfelt. Dayseeker may have been flying a little under the radar so far, but âSleeptalkâ is the album that will surely put them firmly on the map across the globe. [Gemma Rogers]
Read our full review of ‘Sleeptalk’
19. Dinosaur Pile Up – âCelebrity Mansionsâ
Wonderfully sardonic and snide, the post-grunge Dinosaur Pile-Upâs fourth album deals with modern life, mental health, and acceptance, asking the question âis anything worth it?â If nothing else, this album is. The devil-may-care attitude throws back to the pop-punk of the early 2000s with bands like Green Day, but the punky alt-rock of the Foo Fighters in âPouring Gasoline’, or the spoken word style in âBack Footâ, suggest a band comfortable with dipping in and out of styles without succumbing to temptation and falling into one. Itâs quite the homage album, but one that stands out as one of the grungier highlights of the year. [Fiachra Johnston]
Read our live review of Dinosaur Pile Up’s show at Boston Music Rooms, London
18. Refused – âWar Musicâ
In a world where the smell of discontent is thick in the air, who better than to light the fuse of revolution than Refused. Ever since the Swedish punks ended their lengthy hiatus they have continued their crusade against capitalism, and make the sort of siren songs that are very much perfect for the time we live in. âWar Musicâ, their second album since reforming in 2014, is a riposte to the greed, misogyny, and outright tyranny that seems to be engulfing the world. At a time when the forces that be attempt to drive us apart, Dennis Lyxzen and co speak of the importance of community and ultimately a desire for something better. Musically, itâs as visceral as their chaotic earlier material, but polished with slick riffs and a maturity that comes with years of facepalming at each crooked turn the world takes. Lyxzenâs signature screams and message seem as poignant as ever and tracks such as âI Wanna Watch The World Burnâ, âREV001â, and âEconomy Of Deathâ are as powerful as anything Refused have penned in the past. If this is how a revolution begins, âWar Musicâ is the soundtrack you want ringing in your ears. [Tom Walsh]
Read our live review of Refused’s show at Academy 1, Manchester
17. Northlane – ‘Alien’
2019 has been a hell of a year for Northlane, and they owe a lot of their success to âAlienâ, their fifth full length record. Musically it doesnât hold any punches back, winding up haymaker after haymaker with complete disregard for your safety. Blending their already established djenty onslaught with hints of nu-metal and expansive electronic landscapes, they morphed their metal monster into a towering futuristic colossus, both beautiful and intimidating in stature. Thereâs the unrelenting carnage compressed within âDetails Matterâ and âTalking Heads’, the gloomy industrial ripples of â4Dâ and âEclipseâ, the melodic monoliths âBloodlineâ and âJinnâ, the serene and poignant âSleeplessâ – Northlane have shown exactly how far their songwriting has come and masterfully displayed it with class and clarity. Not only did the band change the way the music sounded, but they also completely changed their approach to the lyrics too. Vocalist Marcus Bridge delved deeper into his psyche than ever before, writing the most honest, personal and moving material in Northlaneâs career. Every single pained word that leaves Bridgeâs body adds so much extra weight to the music, making it their most devastatingly unique offering to date. âAlienâ saw Northlane dig deeper than ever before in search of gold, and they found it in quantities larger than they couldâve imagined. One of the most refreshing metal releases of the year. [Dave Stewart]
Read our full review of ‘Alien’
16. Cory Wells – ‘The Way We Are’
âThe Way We Areâ is an authentic heartbreak album imbued in sorrow, grief and pain, where songs like âKeikoâ, âWildfireâ and âBrokenâ all tell their stories as listeners journey through what feels like the stages of an ending relationship. But youâd be wrong to think itâs a record filled with run of the mill sad songs. Growing up playing in metal and punk bands shaped Cory Wells to not only be able to effortlessly shift between singing and screaming parts, but to also think about song structure in a different way. Wells also does a phenomenal job of keeping his lyrics free of the mysticism emo acts so often dip into, choosing instead to write in a way thatâs relatable. The album also features one of the best duets of the year as Wells and Lizzy Farrellâs voices blend together in torrential emotion on âFall Apartâ. Thoughtfully structured and brilliantly performed, âThe Way We Areâ is ultimately an acoustic post-hardcore album with emo tendencies thatâs achingly beautiful. [Renette van der Merwe]
Read our live review of Cory’s support slot with Dashboard Confessional
15. Crystal Lake – ‘Helix’
Every year, thereâll be an album that comes seemingly out of nowhere to make an instant and phenomenal impact; an album that pushes the boundaries of genre and expectation to create something wholly unique, and incredibly exciting. This year, that album is âHelixâ, from Japanese metalcore powerhouses Crystal Lake. Bringing melodies as intense as their fearsome heaviness, âHelixâ is jawdropping from start to finish, from the pummelling opening of âAeonâ through to the final devastating roars of âSanctuaryâ, and itâs not only the music thatâs heavy â the deeply emotional words of songs like âDevilcryâ show a band capable of producing quality and depth across the board. When it comes to metalcore, you donât get better or more innovative than this. [Gemma Rogers]
Read our full review of ‘Helix’
Read our live review of Crystal Lake’s show at Star & Garter, Manchester
14. The Rocket Summer – ‘Sweet Shivers’
Prior to the release of his seventh studio album, The Rocket Summer’s Bryce Avary shared his experience of synaesthesia, with the feeling and sense of colour being intrinsically bound to the music he creates â and, in âSweet Shiversâ, it shows. Bright, vivid colours are swirled into the core of this beautifully vibrant album as it spins chaos into hope, voicing our innermost battles as only Avary can. This is a deeply personal record, yet finds more relatability as a result; Avary opens his heart and mind in a way that allows us in, to find our own comfort and joy in his words and music as we absorb the light it generates. The production, too, is stunning, making every moment a delight to revel in, from the danceworthy (â5 4 3 2 1 Zâ, âShatter Usâ), to the delicate and uplifting (âApartment 413â, âWorldâs Greatestâ). âSweet Shiversâ feels like a warm welcome home after a lifetime out in the cold and rain, and The Rocket Summer continues to be one of the greatest artists of our generation. [Gemma Rogers]
Read our full review of ‘Sweet Shivers’
13. The Menzingers – ‘Hello Exile’
For a band known for waxing lyrical about youth and excessive drinking, some may have wondered what The Menzingers would sound like as they entered their thirties. âHello Exileâ answers those questions, and then some, from the politically charged eco-anthem âStrawberry Mansionâ to the mournful and introspective âI Canât Stop Drinkingâ. The Menzingers innately possess the rare ability for their stories to feel like yours; that youâve driven the same roads as them, youâve drunk too much in the dive bars they frequent and reluctantly stayed in the cheap motels they so lament, and âHello Exileâ hones in on this skill. With this in mind, sadly the line âwhat kind of monsters did our parents vote for?â in âAmerica (Youâre Freaking Me Out)â has taken on a new meaning for those of us in the UK given recent political events, but offers a sliver of comfort in solidarity. âHello Exileâ is the sound of The Menzingers all grown up, and they sound all the finer for it. [Romy Gregory]
Read our full review of ‘Hello Exile’
12. Ithaca â âThe Language Of Injuryâ
London hardcore mob Ithaca FINALLY released their debut album this year after delay upon delay, but it was more than worth the wait. âThe Language Of Injuryâ takes the emotional metalcore of Poison The Well and mixes it with the angular intensity of Botch to create a truly triumphant record that somehow feels simultaneously intimate and expansive. This album has been on a difficult journey, which makes vocalist Djamila Azzouzâs lyrics about letting go of the past and pushing forward on tracks like âNew Covenantâ and âClsrâ feel almost allegorical, or at least it would do if they werenât clearly so deeply personal. âSlow Negative Orderâ is perhaps the song with the clearest message; Azzouz has had enough of living for other people and is ready to live for herself, and her acerbic vocal delivery will ensure no-one would ever dare challenge her on this. Itâs also impossible to talk about this record without talking about the riffs. Dual guitarists Sam Chetan-Welsh and Will Sweet have absolutely mastered the combination of antagonising panic-chords and sludgy palm-muted chugging; the breakdown at the end of âImpulse Crushâ alone will leave even the strongest neck in absolute tatters. Ithacaâs lineup, which boasts a variety of ethnicities and genders, makes âThe Language Of Injuryâ feel like a record thatâs more reflective of heavy musicâs diverse fanbase than most of 2019âs releases. The value of being inclusive in a genre rife with gatekeepers cannot be understated, and the fact that Ithaca can generate this feeling whilst also writing an album of absolute stonkers like this makes them one of the UKâs most vital bands. Make sure you donât sleep on them. [Liam Knowles]
Read our live review of Ithaca’s support slot with Bleeding Through
11. The Murder Capital – âWhen I Have Fearsâ
Bands like Girl Band and Fontaines DC have helped bring the Irish punk scene to the forefront of rock worldwide with sound and fury, with vicious guitars and roaring percussion. But by all accounts, The Murder Capital have taken this movement and tweaked it to perfection. Out of all the fantastic Irish releases this year (and there were many), âWhen I Have Fearsâ is the most complete, the most well defined, the most heart-wrenching of them all. Covering a swathe of topics, from grief in âGreen & Blueâ, to impermanence in âDonât Cling To Lifeâ, and life after loss in âOn Twisted Groundâ, it ranges from explosive and violent to sweet and tender at the drop of a hat, and as heartbreaking as their stories are, itâs an utterly infatuating collection of tales. Itâs not the easiest of albums to get through without shedding a tear for the suffering the band have gone through, but itâs a reminder the Irish punk scene is perhaps the most flourishing music scene in the world [Fiachra Johnston]
Read our full review of ‘When I Have Fears’
10. Gender Roles â âPrangâ
Itâs difficult to understate the year Gender Roles have had. A successful headline tour, numerous festival and support appearances, and heaps of exposure thanks to their standout performance at Maida Vale for Annie Mac (and consequently shared by Daniel P Carter). The catalyst for this was their phenomenal debut album âPrangâ. The south coast trio have created a unique sound that melds grunge and punk into the purest example of the DIY sound of Brighton. Mixing grotty, distorted guitars with bounding basslines and jagged drums, it would be easy to assume itâs just⌠noise. But sitting above that is Tom Bennettâs vocals, and more importantly, their menacingly clever and deceptively moving lyrics. Touching on subjects as delicate as insecurity and anxiety, grief and loss, thereâs potential for it to be a somewhat difficult and depressing listen. And yet, throughout the record, thereâs a positivity that radiates â as if, whatever happens and however bad it gets, they can empathise. While singles âYou Look Like Deathâ and âHey With Two Whysâ are the perfect introduction to the band, the standout is closer âBubbleâ, a track that incorporates all the core elements of Gender Roles and rolls it into one, succinct six minute portion. Bouncy rhythms, memorable hooks and a chorus that sticks like glue, if thereâs one track to really sell the album, itâs this one. Overall, itâs an album that is of such a consistently high quality, you would expect it to be a couple records in. To pull this off as a debut isnât just impressive, itâs staggering. [Andy Joice]
Read our full review of ‘Prang’
Read our live review of Gender Roles’s support slot with Boston Manor
9. Dream State – ‘Primrose Path’
When youâve already developed a distinctive style and considerable fanbase long before you release your debut album, it adds more than a little pressure when that full length does come along. Fortunately, Dream State are the exact kind of band to turn that pressure into the most brilliant of diamonds; âPrimrose Pathâ takes their established sound and takes it on an emotional journey of heavy twists and beautiful turns for an album that far exceeds all expectations. It would take a hardened heart indeed not to be moved by the power of these songs, with the kind of varied and fresh feel that stands up to more than a few (hundred) relistens. If you said you could resist putting this on at maximum volume and belting out every word of tracks like ‘Twenty Letters’ and ‘Open Windows’, we simply wouldn’t believe you – this is music made to be loved deeply, and it’s only too easy to do so. ‘Primrose Path’ is only the start for Dream State, but what a start it is. [Gemma Rogers]
Read our full review of ‘Primrose Path’
Read our live review of Dream State’s show at ULU London
8. Holding Absence – ‘Holding Absence’
Debut albums often come with little expectation, but Holding Absence had built a loyal, intense fanbase long before theirs was released in March this year, meaning they faced more expectations than most. While that may be the case, these expectations were far superseded, as the bandâs self-titled album turned out to be one of the most beautiful records weâve seen from a new band, not just this year, but pretty much ever. Itâs haunting and devastating, uplifting and hopeful all at the same time, and within its confines thereâs something for every emotion, however powerful and overwhelming it may feel in the moment. As final track âWiltâ draws to a close, the catharsis peaks, and all at once you feel nothing but calm. As music becomes ever more vulnerable and candid, Holding Absence find themselves at the forefront of that movement, and this debut is one that fans will hold dear to them long into the bandâs career. [Yasmin Brown]
Read our full review of ‘Holding Absence’
Read our live review of Holding Absence’s show at Key Club, Leeds
7. Slipknot – âWe Are Not Your Kindâ
Itâs difficult finding new and creative ways to innovate in metal, but Slipknot have seemingly found the solution: donât reinvent the wheel, reinvent the car around it. Those longing for the Slipknot of old will be let down, but honestly it’s hard to care when this new albumâs reinterpretations and fresh takes on old metal trends are so damn good. The gospel choir elements of âUnsaintedâ, the thundering stomping beat of âSpidersâ, the almost mechanical guitars of âCritical Darlingâ that could slice a car in half, every song is an experiment in both soundscapes and production – a musical thesis statement Corey and his band of misfits proselytise to the audience in a wonderfully successful attempt to show thereâs a lot more to the band than Iowa screams and 4/4 time signatures. This is perhaps their most significant work to date, and will be a keystone in metal going forward for years to come. [Fiachra Johnston]
6. Jimmy Eat World – ‘Surviving’
Ten albums in and Jimmy Eat World are still effortlessly making art that simultaneously pushes boundaries and warms hearts like your favourite old blanket. Every album over the past 25 years has brought something fresh to the music industry, and âSurvivingâ is no exception to this rule. Filled with new sonic risks and personal yet relatable themes, this record has been described by critics across the board as the bandâs best album since fan favourite âFuturesâ and, since its release, fans have been in agreement. As we roll over to 2020, weâre left feeling very lucky that we still have this band in our lives, and hope there are many more years of excellence to come from Jimmy Eat World. [Yasmin Brown]
Read our full review of ‘Surviving’
Read our live review of Jimmy Eat World’s show at PRYZM, Kingston
5. Fever 333 – ‘Strength in Numb333rs’
Jason Aalon Butlerâs reputation for releasing some of the most inspiring albums in rock almost every year speaks for itself – certainly with his former band letlive, and now with Fever 333âs debut full-length âStrength in Numb333rsâ. Filled with soaring choruses, aggressive rapping, and even elements of trap and electronic music, Fever 333 refuse to be confined to structure, mashing up genres as flawlessly as Linkin Park used to. âStrength in Numb333rsâ is completely focused on 2019 and every injustice going on in the world. Politically and socially conscious, the album spreads a message of unity and an uprising for their generation; released in January, âStrength in Numb333rsâ set the bar at a mighty high for the rest of the year. A modern day ‘Shape of Punk To Come’. [Louis Kerry]
Read our full review of ‘Strength in Numb333rs’
Read our live review of Fever 333’s show at O2 Forum Kentish Town
4. Knocked Loose – âA Different Shade Of Blueâ
Of all the heavy music subgenres that came to prevalence in the 2010s, one of the most surprising and exciting – particularly to fans of a certain age – was the revival of ârealâ metalcore, most shockingly at the hands of a brace of bands who were far too young to have experienced the original wave first-hand. Jesus Piece, Vein, Vatican, and most prominently Code Orange and Knocked Loose revitalised the kind of chug-chug-skreee breakdowns most commonly associated with mid/late-90s hardcore, only with an invigorated sense of adrenalin and attitude. In the middle of the decade, both of the latter two bands dropped scene-defining records in âI Am Kingâ and âLaugh Tracksâ, but when it came to following those records up, the bandsâ paths started to diverge drastically. Where Code Orange already seemed dissatisfied with their hardcore lineage and started to inject massive amounts of industrial and nu-metal into their approach on âForeverâ, âA Different Shade Of Blueâ, the second full-length from Knocked Loose, instead refined and damn-near perfected their sound without shaking the formula up too much. No awkward electronica passages or meandering goth breaks, just wall-to-wall riffs, squeals and slams created for the sole purpose of sending a seething pit apeshit. Front man Bryan Garrisâ shrill howl might grate somewhat, but it works in the bandâs favour, ensuring their sound is unmistakable from their peers, and whilst thereâs little to truly shock or surprise fans of the bandâs previous outing, the pin-sharp songcraft on display is second to none and cements Knocked Loose as hardcoreâs premiere merchants of no-nonsense mosh for the new decade. [James Lee]
Read our full review of ‘A Different Shade Of Blue’
3. While She Sleeps – ‘SO WHAT?’
While it may have been an early 2019 release, While She Sleepsâ âSO WHAT?â maintained its impact across the course of the year, allowing you to uncover new layers with each listen. Itâs an album wherein each and every song stands out from one another, making it almost impossible to pick a favourite. ‘SO WHAT?’ sees While She Sleeps take embark on a brand new sonic journey, and while it is a departure from past albums – taking full advantage of the genre-less streaming world that we live in today – itâs still so undeniably recognisable as a While She Sleeps album. This is a record that excited existing fans, while bringing in a whole new demographic of music lovers. Executed to perfection, itâs hard to imagine how While She Sleeps could possibly have done any better. Â [Yasmin Brown]
2. PUP â âMorbid Stuffâ
As 2019 closes, itâs difficult to quantify what a year itâs been for PUP. Aside from playing a staggering 125 shows across 15 countries, theyâve created their own record label, Little Dipper, with âMorbid Stuffâ being their first release. And what a first release. Given the strength of their two previous albums, 2013âs âPUPâ and 2016âs âThe Dream Is Overâ, it seemed it would be difficult to reach the starry heights of before. But, in typical fashion, their almost trademarked brand of snarky, snotty pop punk surpassed expectations, creating a trilogy of outrageously fun, catchy albums. While their humour still permeates throughout the record (âBloody Mary, Kate and Ashleyâ a prime example), thereâs a valiant step towards new ground. âSee You At Your Funeralâ utilises a basic chord structure peppered with intricate drumfills that throws back to 60s rock, including a delicate piano outro, but includes a modern twist â a focus on self-care and self-awareness. âScorpion Hillâ and âCityâ build from gentler slow tempos to rousing finales whilst telling stories of the downtrodden everyman. Nihilism (or, depending on your perspective, realism) is rife from start to finish, with such lines as âI’ve been having some pretty dark thoughts/I like them a lotâ and âAnd if the world is gonna burn/Everyone should get a turn to light it upâ resonate with those of similar mindsets. The chorus of âjust cause youâre sad again, it doesnât make you special at allâ in âFree At Lastâ gives the most insight into PUP as a band. What should be an achingly macabre view somehow feels uplifting and revitalising. Because if thatâs how you feel, you can be sure the band have felt it too. So while we thought it might be difficult to get near the quality of their two earlier albums, PUP have released what is potentially their most polished, most honest, and most fun record â and one that absolutely deserves to be this high in our Albums Of The Year ranking. There are clearly only three definites in life âDeath, Taxes, and PUP releasing utterly stunning albums. [Andy Joice]
Read our full review of ‘Morbid Stuff’
Read our live review of PUP’s show at Stylus, Leeds
1. Microwave – ‘Death Is A Warm Blanket’
Itâs easy to pour your soul into your art, itâs harder to make it tangible enough for people to lose themselves within it – but itâs something Microwave have no doubt achieved with âDeath Is A Warm Blanketâ. Sonically, itâs unlike the band weâve come to know over their first two albums. Where âMuch Loveâ and âStovallâ cleverly wrapped front man Nathan Hardyâs pessimism in cheery melodies, the third puts it on full display. After facing a year of both physical and mental ill health, Hardy has even taken it a step further by finding freedom in nihilism and giving free reign to his darker thoughts – and the sound reflects it.
Although more instrumentally diverse – something that can be attributed to a wide variety of influences – the overall sound is more urgent and brooding, the perfect soundtrack to Hardyâs catharsis. Itâs something that might not be audible in the first jazzy seconds of âFloat To The Topâ or the piano intro of âPullâ, but the helplessness of an entire generation is always pulsing just below the fuzz of wailing guitars if you choose to listen.
Hardyâs vocal range remains impressive, his voice tender, almost intimate, on tracks like âPart Of Itâ, âLoveâs Will Tear Us Apartâ and the first moments of opening track âLeather Daddyâ, while an edge of desperation creeps into the screams on âMirrorsâ, âPullâ and âDIAWBâ. As vulnerable as his voice is, itâs brimming with palpable emotion so magnetic that it becomes an orbit with an undeniable gravitational pull, and thereâs no escaping once youâre caught in it.
In an age of music where genres are dying, itâs refreshing to find a record so whole. Itâs not free of its nuances, often invading foreign genres, but it exists in its entirety as a post-hardcore record that walks an extraordinarly beautiful tightrope between light and dark elements. A true masterpiece, the album feels sculpted, but not overproduced to the point where it loses all heart. There are edges, some interesting angles, but it all comes together to create a listening experience that feels epic in the truest sense of the word.
Listening to âDeath Is A Warm Blanketâ feels big, like the first time hearing Nirvanaâs âNevermindâ or My Chemical Romanceâs âThree Cheers For Sweet Revengeâ – the three are in no way comparable, but theyâre all made of the same stuff. Magic. Undeniable talent. Superior craft. Itâs the thing that makes it feel like youâre experiencing something that will inevitably go down in music history as a crucial part of it. [Renette van der Merwe]