Is it just us, or has this year moved at lightening speed? It seems like only yesterday we were donning our wellies to jump about in muddy field, surrounded by likeminded people. Moving away from our aging bones, it's been a year of breakups, reunions, super groups and super sets, and we've been treated to some absolutely astounding music. So put your feet up, rest those weary joints and slap on some headphones as we take you down memory lane. From old bands returning to this list to new ones making a name for themselves, this is Punktastic's Album Of The Year list; voted for by Team PT.
25. Blood Incantation – ‘Absolute Elsewhere’
What if Pink Floyd made a death metal album? With ‘Absolute Elsewhere’, Blood Incantation have answered the question nobody was asking. And the answer is, it would’ve sounded incredible. That might be a bit reductive, but it does give you a flavour of what this supremely heavy, psychedelic, and occasionally downright bizarre record sounds like. As we approach the halfway point of the decade, it doesn’t feel hyperbolic to say that this is likely to be looked back on as one of the finest extreme metal albums of the 2020s. But to simply categorize it as extreme metal feels incomplete. There are sections on the record that wouldn’t sound out of place on Glastonbury’s Pyramid Stage that’re nestled alongside sections that are so heavy they’ll provoke a visceral reaction in the listener, for better or worse. ‘Absolute Elsewhere’ is nothing short of a masterpiece, and is easily the finest extreme metal release of 2024. People will be talking about this record for many, many years to come. [Ash Bebbington]
24. Zeal & Ardor – âGREIFâ
The first album with a full band, Zeal and Ardor are branching out on âGREIFâ while still retaining that trademark chain gang-meets-mosh-pit wall of sound that made them great. As the whistling intro to opener âthe Bird, the Lion and the Wildkinâ builds to martial snare and ominous strumming, you find yourself immersed in frontman Manuel Gagneuxâs vision of a world populated by dark beasts and even darker riffs, all hidden shapes and intelligent oddities. Ferocious single âKillanovaâ burns slow, igniting itâs status as a Zeal and Ardor fan favourite, and the surprisingly tender âto my ilkâ salutes all of us standing in awe at the intensity of their evolving sound. Ever-menacing, tracks like âClawing Outâ prove that Zeal and Ardor are now at the next stage of their evolution, and whatever they become next canât be anything less than hugely impressive. [Kate Allvey]
Read our full review of ‘GREIF’
23. thrown ⠑Excessive Guilt’
Thrownâs debut long play is unapologetically heavy and bone-crushing. Despite being short â only 20 minutes for 11 songs â it is incredibly catchy and, similar to Siameseâs ‘Elements’, makes use of great electronic samples like in ‘backfire’, ‘bitter friend’, ‘look at me’ or ‘on the verge’ that distracts you from noticing how short they are. It’s not a mistake that they are already an award-winning band and this album continues to prove it. The mix of hardcore vocals and the signature metalcore sound made in Sweden are immaculate and placed on a silver platter like the nicest afternoon tea you can get in London. The production by the bandâs drummer, Buster Odenholm, is extraordinary, resulting in a powerful, dynamic and well-paced record. Odenholmâs previous experience with producing music for Vildhjarta and Humanityâs Last Breath shows here and makes the newcomers sound like seasoned players in the game. With a debut record this coherent, both musically and lyrically, a big future for this band is surely on the horizon. [Karolina Malyan]
22. Giant Walker â âSilhouettesâ
For months, the sun has been absent. Day after day, grey clouds have shrouded the sky, trapping this part of the world in perpetual gloaming. Giant Walkerâs second album âSilhouettesâ captures this mood perfectly. Everything from the artwork, to the mournful singing, to the carefully deployed riffs sketch a series of images and dares you to fill in the outlines, making it a record about absence and, by implication, loss. The illusion is constructed around two key pillars; space and time â but it doesnât rely on your imagination.
Building on their striking debut, the music intertwines hard-rock and a progressive metal groove to create a sound thatâs as much Blues Pills as it is Karnivool. Itâs deliberate and spacious, giving Steff Fishâs vocals space to paint pictures. On every song, she varies her tone, weaving between the riffs, leaving you with a sense of something indefinable just out of view. From the opening refrain of âon and on and onâ the songs ruminate on the passage of time. Repeated references to âwaitingâ point toward a break in the clouds and a desire for something better and, though permeated by a sense of loss and regret, the chorus of âUse On Youâ literally offers hope; âIt ainât so badâ. âSilhouettesâ is a record obsessed with the passage of time that lingers in the imagination long after its journey has drawn to a close. Itâs a beautiful, complex spiderweb and you canât help but get trapped in. [Ian Kenworthy]
21. Siamese – ‘Elements’Â
If you have missed Issues after disbanding â fear not â Danish quintet Siameseâs seventh album fills that gap within the melodic metalcore genre. The August release is packed with ten incredible bangers starting with great collaborations from ten56âs Aaron Matts and Resolveâs Anthony Diliberto – ‘The Shape of Water’ and ‘Through My Head’ respectively. ‘Elements’ is an incredibly versatile album; from a cover of Ariana Grandeâs ‘God is a Woman’ to the electronica and drum and bass samples within ‘Predator’ and ‘Chemistry’, while ‘Hurricane’ is anthemic and the ironically titled ‘This Is Not A Song’ pokes fun at the overused voice effect from Tik Tok. There’s also some clever use of violins to create an ethereal sound and builds atmosphere. The Danes have delivered a complete, modern sounding album in ‘Elements’, and it’s an absolute must listen to album for 2024. [Karolina Malyan]
20. Chat Pile – ‘Cool World’
It’s strange to think that Chat Pile only formed five years ago. In that short space of time, the Oklahomans have rocketed from obscurity to critical adoration. And there’s a reason for that – their music is some of the finest noise rock of the 21st century. Their latest release, ‘Cool World’, only cements that reputation, delivering an album that is more accomplished than its predecessor (2022’s ‘God’s Country’) without losing any of the bite that made that record so special. The album is jam packed with heavy moments, of course, with album opener ‘I Am Dog Now’ being among the heaviest tracks Chat Pile has ever recorded. This isn’t necessarily unexpected, but more surprising are the softer tracks such as ‘Shame’ and ‘Milk of Human Kindness’ which show a more melodic – but by no means gentler – side to the quartet. This record is essential listening for fans of any type of rock music, and is quite simply one of 2024’s most electrifying releases. [Ash Bebbington]
19. The Chisel – âWhat A Fucking Nightmareâ
âIf I knew how to do it again, I would”. These are the words of The Chisel guitarist Charlie Walker-Manning on the bandâs rise from obscurity to leading the new wave of British punk. Building on the success of their debut âRetaliationâ, âWhat A Fucking Nightmareâ brings thrashing hardcore and Oi! riffs to the masses. As you can imagine, itâs a record that takes no prisoners. Fast, furious and up for a scrap, The Chisel donât do things by halves. Song titles like âBloodsuckerâ, âLying Little Ratâ and âFuck âEmâ live up to their titles as they take pot shots at the former Tory government, slum landlords, neo-Nazis and everything in between while championing the working class. For a band that was created by some bored punks during lockdown, theyâve absolutely whacked it out of the park once again, helping to drive forward the revival of the UKâs hardcore scene. [Tom Walsh]
18. The Home Team – ‘Crucible of Life’
There have been a lot of up-beat, feel-good records this year, but the latest release from The Home Team sits comfortably atop the pile. Filling the spiritual and musical void that Issues left behind after their split earlier this year, ‘The Crucible Of Life’ is full of groovy disco basslines, funky guitar licks, thick riffs, insatiable vocal hooks and more melody than you thought was possible. There’s attitude and swagger oozing out of every pore of this record, from the insatiable ‘Turn You Off’ to the jazzy flirtatious ‘Loud’ and everything in between, brimming with life-affirming positivity and that ever-desirable quality to turn any frown upside down. This should be the soundtrack to every summer from here on out. [Dave Stewart]
17. Gaffa Tape Sandy – âHold My Hand, God Damn Itâ
Gaffa Tape Sandy have finally released their debut album after the best part of a decade and, as with all their releases, itâs wall to wall with catchy songs chock full of delicious harmonies and earworm melodies. Thereâs been a clear development in their instrumentation with this album, able to dip between their uptempo tracks that made their name and the more intricate, mature sound. From the anthemic âEnergyâ to the delicate âHolding Handsâ, stopping by the thunderous âDevourâ and the atmospheric âQueasyâ, itâs difficult to pick out a single song that doesnât hold its own. Couple that with their riotous live shows, and it’s proof that Gaffa Tape Sandy should absolutely be on both your radar and your record player. [Andy Joice]
Read our full review of ‘Hold My Hand, God Damn It’
16. Kneecap – ‘Fine Art’
One of the stand out bands of 2024, it’s been an incredible year for Kneecap. Making their Hollywood debut and putting the Irish language back on the map, this year saw the release of the Irish rap trio’s debut album ‘Fine Art’. Opening with ‘3CAG’, the album immediately lets you know who the group are. Mixing English and the Irish language to great success, but also showing the flow of well crafted lyricism, complete with the sprinkle of their tongue in cheek humour, and also their pulsating beats that just hook the listener in. You don’t need to be an expert in Irish language or Irish history to understand the many references on this album, but having that knowledge gives a deeper meaning to the lyricism which makes it all the more impressive. While standing impressively on their own, some of the standout moments on the album feature the guest appearance of their peers in Radie Peat of Lankum on the above mentioned ‘3CAG’, or Grian Chattan of Fontaines DC on the outstanding ‘Better Way to Live’. The group show their multiple genre inspirations and it’s difficult to fight the urge to start a one person moshpit whilst listeneing to ‘Rhino Ket’. ‘Fine Art’ isn’t just an album. It’s a statement. Kneecap are here and you need to be paying attention. [Glen Bollard]
15. TouchĂ© AmorĂ© – ‘Spiral in a Straight Line’
TouchĂ© AmorĂ©’s sixth album takes cues from much of their rightly highly-regarded discography. ‘Disasters’ is as fast and uncompromising as anything from their 2009 debut, whereas ‘Mezzanine’ displays the kind of disarming tonal shift they perfected on 2013’s ‘Is Survived By’, and lead single ‘Nobody’s’ doesn’t represent too much of a departure from some of the material on 2020’s ‘Lament’. There are some new influences, such as the ominous choral thread that looms in the background of ‘Altitude’ and the faint traces of 1990s British indie on singles ‘Hal Ashby’ and ‘Goodbye For Now’. It’s also their shortest record since ‘Is Survived By’, and although there are only a few minutes in it, this does ensure that ‘Spiral…’ fizzes with an urgency and claustrophobic energy that their more recent output had often moved away from.
Lyrically, vocalist Jeremy Bolm is on familiar ground – but where he might have once seemed preoccupied by the linear passage of time, here he digs deeper into his exploration of how that time might be better spent. There are repeated references to forming and breaking routines, as well as the need to recalibrate and find new viewpoints. The overarching theme of striving for forward motion despite the unavoidable impermanence of life has never been more relatable, and in some ways – the depiction of the band’s logo in condensation on the cover being the most obvious visual signpost, but it’s also evident in their choice to bring back previous collaborators Ross Robinson and Julien Baker – the record itself is a clever extension of these themes. It might not shoulder the enormous emotional weight of some of their earlier material, but few bands deliver such consistently interesting ruminations as TouchĂ© AmorĂ©, and ‘Spiral…’ is no different. It’s earnest, inspirational and like everything they’ve done to date, the guitars sound incredible. It’s absolutely worth your time. [Rob Dand]
Read our full review of ‘Spiral In A Straight Line’
14. While She Sleeps – âSelf Hellâ
Northern metalcore firebrands While She Sleeps arenât wasting any time on their sixth outing, âSelf Hellâ. From the moment they dropped the title track as a dark-nineties-turned-huge-banger first single, then followed with âDownâ, their huge and heavy collaboration with Malevolence, we realised this was going to be the year of While She Sleeps. Itâs not all crashing riffs and spitfire vocals though: the back to back duo of âThe The Flowersâ and âOut Of The Blueâ betray a depth of almost meditative sentiment like the eye of a scorching tornado. Bookended with songs that centre the power of the individual, you canât help but feel that While She Sleeps are on your side the midst of lifeâs daily struggles. This is the album that shows the full spectrum of what theyâre capable of, from twiddle riffs and scream along anthems to atmospheric strings, and itâs an absolute joy to listen to. [Kate Allvey]
Read our full review of ‘Self Hell’
Read our live review of While She Sleeps at Download Festival
13. Mannequin Pussy – âI Got Heavenâ
2024 has been the year of Mannequin Pussy. After a studio break of five years, theyâve returned with the uncompromising, fierce and seductive âI Got Heavenâ. Itâs ambitious and bold, floating along with sanguine melodies and whispered vocals before suddenly snapping and screaming âIâve got a loud barkâ. It is a pop record that could only be made by a punk band. Subtle moments such as the title track, âI Donât Know Youâ and âSoftlyâ are punctured with the rage-filled behemoths such as âLoud Barkâ and âOK? OK! OK? OK!â and âAchingâ. The whole record is a yearning for something you want, know itâs probably not a good idea but can’t help but do it anyway. It defies the accepted norms of gender and femininity, smashing through the glass ceiling and making Mannequin Pussy one of the hottest acts of the past 12 months. [Tom Walsh]
12. Julie Christmas – âRidiculous And Full Of Bloodâ
There has been palpable anticipation for this new album from underground cult hero Julie Christmas, who has been around in various projects since the mid-2000s but has not had a full-length release since 2016âs âMarinerâ, a collaborative effort with post-metal titans Cult Of Luna. âMarinerâ is widely considered to be a masterpiece by those who dwell in that scene, and has undoubtedly raised her profile. Whilst this isnât her first solo album, it does almost feel like a soft reboot of her career. With âRidiculous And Full Of Bloodâ, she has more than lived up to the hype currently surrounding her. It is an incredible record; an unhinged amalgamation of textured post-metal and glitching electronics, all carried by her distinctive vocal style that ranges from glass-like fragility to white-hot screams and everything in between.
The obvious (and possibly lazy) comparison is Bjork, but that comparison is not just about the occasional similarity in their voices; itâs also about the scope of Julieâs creative vision and her versatility as an artist. When she sings âIâve not yet begun to defile myselfâ on album opener âNot Enoughâ, it feels like a genuine threat, one that is followed up with the songâs violent ending. On âSupernaturalâ, she shows that post-metal can be catchy and have big choruses without losing any heft. âEnd Of The Worldâ features guest vocals from Cult Of Lunaâs Johannes Persson, and the contrast of their voices perfectly delivers on the songâs apocalyptic title. The quality never dips right up to brooding and hopeless closer âSeven Daysâ, which will leave you feeling like youâve had your soul pulled out. To be totally frank, this is an intense and sometimes difficult listen, and is unlike anything else released this year. Multiple listens are recommended to fully understand it, but once it has its hooks in, you wonât want it to let you go. [Liam Knowles]
11. Frank Carter & the Rattlesnakes â âDark Rainbowâ
âDark Rainbowâ is a step into darker territory for Frank Carter & the Rattlesnakes. Trademark ferocity mixed with an overall moodier atmosphere makes for the ideal setting of themes of mental health, alienation, and the abhorrent sides of human nature. Carterâs lyrical vulnerability is matched by his commanding vocal presence, with moments of raw power carefully balanced by introspective space. The production is more atmospheric, adding a layer of menace and depth, shaking off the rawness and instead opting to create a nuanced album that brings together all the best elements in their repertoire. It is a blistering, no-holds-barred exploration of both personal and societal turmoil and it not only evolves their sound but proves they are unafraid to dive deeper into the darkness. [Jessica McCarrick]
Read our live review of Frank Carter & The Rattlesnakes at Download Festival
10. Bring Me The Horizon – ‘Post Human NXT GEN’
The long time coming album from Bring Me The Horizon was originally envisioned as a collection of EPâs. Instead, BMTH decided to surprise drop a full 16 track album to its eager listeners as the second chapter of the Post Human series. Once again, the band creates an album that finds them dipping into multiple genres, but still create something that flows from track to track and is uniquely Bring Me The Horizon. From the anthemic ‘Kool Aid’ to the balladic ‘sTraNgeRs’ to some dancey elements on ‘R.I.P’, BMTH truly makes an album that tips its hat at all their experimentations, including some interesting notable cameos from the rock and pop world. While some may argue that the six singles released by the band before the albums surprise drop gives the game away, the real gems can be found in between them, with a highlight being ‘Top 10 Statues That Cried Blood’ containing one of the strongest choruses of 2024. ‘NXT GEN’ sounds huge from the first note and stands to propel Bring Me The Horizon to even greater heights on the next go round. [Glen Bollard]
Read our live review of Bring Me The Horizon at The O2, London
9. Pijn – âFrom Low Beams Of Hopeâ
âEach day, time drops a tiny death at your door.â This is the opening statement of Pijnâs expansive and intricate sophomore album, and one that perfectly sets the scene for the emotional journey the listener is about to embark upon. Over the course of four stunning tracks, the Manchester based post-rock collective totally transcend the shackles of the genre they were born out of, and deliver maybe the most interesting (mostly) instrumental album of the year. Opener âOur Endless Hoursâ is an unsettling yet rapturous journey through layers of subtle strings, humming ambience and unusually percussive guitars, building to a false crescendo before hammering you with an off-kilter riff that is somehow a headbanger despite the unorthodox time signature. The synth-heavy âCarved Expanseâ expertly pulls off a similar trick; the main riff hits about halfway through the songâs twelve-minute runtime and manages to feel both wildly unpredictable and immediately infectious. Thereâs not a second wasted on this album. Pijn mastermind, Joe Clayton, has spent a good chunk of the six years since their last release. working on it, and itâs clear that he and his collaborators have taken a microscope to every single moment to make sure every detail is perfect. Six years is a long time between records, but âFrom Low Beams Of Hopeâ has proven to be well worth the wait. This is an. absolute must-listen for fans of post-rock and its adjacent genres, particularly if you love music thatâs chock-full of subtleties that you likely wonât notice on the first listen. [Liam Knowles]
8. Alkaline Trio – Blood Hair & Eyeballs
âI’m waiting to break like teenage heart in America,â wails Matt Skiba on âTeenage Heartâ, just on of a ton of superb tracks on Alkaline Trioâs first album in six years. Itâs a thoughtful record, the view of outsiders watching the world become even more unpleasant than their early lurid fantasies could have predicted, taking it all in with maturity and a raised eyebrow. Early single âBad Timeâ bursts with bewilderment and the desire to feel a human connection in the midst of insanity, as well as one of the most pleasingly nuts Alkaline Trio lines weâve heard in a while (âIâm being stalked by killer robots, and I’m pretty sure they’re bulletproofâ), but then thereâs the echoing post-punk shadows of âVersions Of Youâ to haunt your aching heart. All in, this is a record that once again proves why Alkaline Trio have achieved such enduring success over the last two plus decades. [Kate Allvey]
Read our full review of ‘Blood Hair And Eyeballs’
Read our live review of Alkaline Trio at O2 Ritz, Manchester
7. Foxing – âFoxingâ
If you thought after the release of their 2021 album, âDraw Down The Moonâ, that Foxing would be putting out more dance heavy, disco infused power pop ballads, you havenât looked at their discography and connected the dots. Never ones to rest on their laurels, theyâre constantly refining and developing their sound, taking inspiration from their past, present and future, and âFoxingâ defines that. As ever, Conor Murphyâs vocals are sensational; powerful, emotive and pitch perfect, while Eric Hudsonâs unclean vocals (yes, you read that correct. Unclean vocals in a Foxing record) add an unexpected but warranted weight.
The heavier songs are like concrete, while the quieter tracks are as light as a feather. Itâs that balance that really shines throughout the record, sometimes feeling like it tiptoes along the line of chaos, but never actually stepping outside the lines.With elements of 80s synth wave scattered throughout their more traditional Foxing sound, youâre kept on your toes with a change in tempo that matches their change in volume. Amongst all of this, there is what can only be described as poetry layered amongst all the instrumentation. Foxingâs greatest strength is their storytelling, able to be relatable whilst still being metaphorical. Youâll be hit by different elements of each song as your mood changes, and that can only add to the longevity of the album. [Andy Joice]
Read our full review of ‘Foxing’
6. Kid Kapichi â âThere Goes The Neighbourhoodâ
Never ones to shy away from the truth, Kid Kapichi followed up their most commercially successful album with a record that is immediately as striking and potent lyrically as their previous work. It hits the same highs with a fresh perspective, cultivated no doubt through the years on the road, and the continued volatile state of UK political affairs. Thereâs a refreshing complexity to the sound on this record, as the band draws from a wider range of influencesâincorporating electronic beats, subtle industrial textures, and even moments of alt-pop influence that elevate the intensity of the material. What stands out is the balance they strike between chaos and cohesion, with a mixture of unrelenting energy and flashes of introspection. Ultimately, the album showcases Kid Kapichi at their most ambitious, proving they are not just a band that reacts to the world around themâthey are shaping it. [Jessica McCarrick]
Read our full review of ‘There Goes The Neighbourhood’
5. Chelsea Wolfe – ‘She Reaches Out To She Reaches Out To She’
Chelsea Wolfe is a shapeshifter when it comes to her songwriting, always experimenting with new ways to display her gothic folk extravagance, but she’s never changed form so fluidly as she does on ‘She Reaches Out To She Reaches Out To She’. The album floats somewhere in between a dream and a nightmare, with fragile melodies and fluttering atmospheric tones colliding with walls of distortion and ominous industrial eruptions to create a jarring but meditative experience. Frightening isn’t the right word to describe its impact, and neither is beautiful; this album is utterly ethereal, leaving you feeling like you’ve experienced a little bit of magic after its 43 minutes of bliss has washed over you.
The album sways in and out of so many different sensations, toying with tension, clarity, fear, serenity, shock, awe and everything in between, but at no point does it feel disjointed or erratic. Wolfe’s stunning voice commands and guides those feelings, perhaps more confidently than any of her previous work, and that conviction helps make the album wholly enchanting. Through the intense pulsating of ‘Whispers In The Echo Chamber’ and the haunting ‘Eyes Like Nightshade’ to the transcendent ‘Tunnel Lights’ and the lusciously sombre ‘Salt’, it feels as though you’re being walked through a dreamscape with Wolfe as your guide, holding your hand all the way. By the time the captivating crescendo of the graceful album closer ‘Dusk’ has played out, you won’t want to let go. A striking, profound, mystical gem. [Dave Stewart]
4. Boston Manor – ‘Sundiver’
Billed as a companion piece to 2022’s ‘Datura’, it would be convenient to position ‘Sundiver’ as a sequel of sorts; but it’s not a true follow-up so much as it’s a reimagining, based on the same photographic negative. Consequently, it doesn’t pick up where its sister release left off, instead beginning in exactly the same place – only this time, the window referenced in the very first line is open instead of closed, and the focus is on the scene outside as we watch an unidentified flower blossoming. This parallel narrative forms the hopeful, sparkling core of ‘Sundiver’.
In a very literal sense, the two records are as distinct as night and day but, sonically speaking, the differences can be more subtle. A good chunk of ‘Sundiver’ is as loud and immediate as anything Boston Manor have put out before – and vocalist Henry Cox screaming “everything is just getting worse” down a Matrix-style distorted phone line over a repurposed Limp Bizkit riff is every bit the turn-of-the-millennium throwback highlight it sounds – but sometimes there’s an exuberance to the climactic release rather than a catharsis. There’s variety too, in the addictive misty groove of ‘Horses in a Dream’ and the largely acoustic quasi-R&B of ‘What is Taken Will Never Be Lost’, but both of these softer cuts possess a consistent atmosphere that ensures they don’t feel out of place alongside the heavier material. At the other end of the scale, Debbie Gough of Heriot lends her voice to closer ‘DC Mini’. It’s a really clever guest spot that showcases both sides of her considerable vocal talents, and the harmonies that she sticks around to add to the final refrain are more delicate than you might think from someone whose band has just released an album called ‘Devoured by the Mouth of Hell’. All in all, ‘Sundiver’ pushes Boston Manor in a few new directions, while keeping all the hallmarks of their well-established sound intact. It’s probably their most well-realised project to date. [Rob Dand]
Read our full review of ‘Sundiver’
Read our live review of Boston Manor at O2 Forum Kentish Town
Read our live review of Boston Manor at 2000Trees
3. Heriot – âDevoured By The Mouth Of Hellâ
If youâve not heard of Heriot, youâve either had your head locked in a safe or havenât looked closely at festival lineups for the last few years. Theyâre putting out some of the heaviest, most important metal in the UK at the moment, reshaping what we know and love, and setting the benchmark unfathomably high. Tracks like âSiege Lordâ and âAt The Fortress Gatesâ are thunderous in their delivery, capable of causing severe neckache at a moments notice, and even thinking about the unclean vocals from Jake Packer and Debbie Gough are enough to leave your throat sore and bloodied.
And yet their ability to drop in the likes of âOpalineâ and âVisageâ, far more measured and gentler tracks, really show their ability to not only craft an excellent song, but structure a really excellent album. They donât feel lost or badly placed, but they roll from one to the next, continuing the tone and setting, deepening the layers and depth. Itâs worth pointing out that Goughâs clean vocals are mesmerising, angelic in nature and a real dichotomy to the hellish landscape they sit between.
Itâs an intricate jigsaw, marrying up such deftly weighty tones with ethereal atmosphere, and thereâs truly only a handful of bands that could tie them together so flawlessly. And yet, itâs so well delivered here that it genuinely does embody the strenuous, violent walk through eternal damnation. There is good reason Heriot are so highly touted as one of the best up and coming bands – and âDevoured By The Mouth Of Hellâ cements that belief. [Andy Joice]
Read our full review of âDevoured By The Mouth Of Hellâ
2. Knocked Loose – ‘You Won’t Go Before You’re Supposed To’
Following a surge in popularity, bands tend to lean a little harder into a more palatable and commercial sound in an effort to widen their audience even further. Knocked Loose did the exact opposite, releasing the most abrasive and terrifying album of their career without hindering their growth in the slightest. ‘You Won’t Go Before You’re Supposed To’ is the heaviest album to come out this year with very few albums contesting for that title, but it’s more than just a heavy release. It represents growth, persistence, authenticity and limitless power, making them global flag-bearers for hardcore along the way.
The album shows Knocked Loose operating at their absolute best, with tracks like the rapid ‘Thirst’, the ridiculously intense ‘Suffocate’ and devastating first single ‘Blinding Faith’ all throttling you within an inch of your life, just like they always have done. It’s not all about the brutality though, and that’s what really makes this shine. The band experiments with various ideas and textures throughout the record, and it makes the listening experience more immersive. The extra layers of spine-tingling percussion on ‘The Calm That Keeps You Awake’, the unsettling ambience within ‘Sit And Mourn’, the eerie ebb and flow of ‘Take Me Home’; they all deepen the cinematic side of the band’s sound, ensuring that the music keeps you on the very edge of your seat. This is a musical thriller, making you the protagonist as you’re being stalked through the woods by something terrifying, creating an adrenaline rush that few heavy records are able to replicate. This isn’t just an album; it’s an experience.
Knocked Loose used to be a band with a gimmick. So many just knew them as the “arf arf” band, that seventy-second section of their set always being the most manic. They’d already started to outgrow it, but Knocked Loose have now completely shed that label. They’ve blossomed into the most intimidating bands in the heavy music scene today and, at this rate, nothing can stop them. Listen at your peril. [Dave Stewart]
1. Better Lovers – âHighly Irresponsibleâ
Before placing a bet, you take a look at the odds. Better Lovers were a 50-50 gamble. We laughed when the remains of Every Time I Die said theyâd find a new vocalist. But we werenât laughing when they announced it was Greg Puciato from the Dillinger Escape Plan. Or when they announced a tour, and sold it out. Or when they released their hard-hitting debut EP. Every gamble paid off. So with a yearâs worth of hype and momentum, they made one more bet, an album. Put simply, it had to be good.
Art is always a gamble. Even if you love the disparate works of a âsupergroupâ, no amount of luck or statistics can guarantee success. âHighly Irresponsibleâ is a roll of the dice that came up sixes; arriving with so much explosive energy it blew away all doubts, and every other 2024 release.
Last yearâs âGod Made Me An Animalâ EP was a short, sharp introduction to their sound. Sure, we expected the back-and-forth southern riffs and aggression, but it wasnât just that. It was beautifully bookended by a yearning to be âCloserâ. This album rejects that idea. In fact it rejects a lot of things, including an easy route, in favour of something knottier and more distinctive. This might appear to be another gamble, but itâs clear they knew exactly what they were doingâŠ
Okay, not exactly â You get the feeling this is an album about capturing the thrill, the excitement of their live shows. In fact, the record seems to be named after their modus operandi (booking a headline tour with around 20 minutes of material being a good indicator). Take a look at the individuals involved their schedules are wild; Puciato is always on tour. So when they booked studio time earlier this year there was a self-imposed deadline, and it worked. The whole record crackles with seat-of-your-pants energy, be it the thrash-like âLie Between The Linesâ, the unhinged âFuture Myopiaâ or the duelling spirals of âAt All Timesâ it feels wild, but thereâs a clear underpinning vision; by building the songs around propulsive riffs thereâs a constant sense of momentum. Even the relatively straightforward âA White Horse Covered In Bloodâ flows through a series of ideas illustrating that the strength is not just what a song is doing but how itâs doing it.
The contribution of guitarist/producer Will Putney canât be understated. By giving each instrument and riff its own space, he ensures that even when that chaos descends, like on âYour Misplaced Selfâ, the songs feel uncluttered. Clearly he understands that the secret to landing a really hard punch is the space to swing. If youâre fighting, or indeed gambling, there are two ways to win, either have a good hand, or cheat. Greg Puciato qualifies as both. He plays such a good hand here it begins to look like magic, expressing himself in different ways and experimenting with his voice while maintaining the ferocious energy, basically by using his frankly unique ability to sound like four different types of chainsaw. Heâs not shy of singing on âDeliver Us From Lifeâ and âAt All Timesâ either which really give the album its sense of scope. For all its hostility, his lyrics align with trends in pop culture, be that the rejection of superhero narratives on âSuperman Died Paralyzed’ or its alignment with climate change on âDrowning In A Burning Worldâ. Even intimacy is rejected on âDeliver Us From Lifeâ with its refrain of âI donât need youâ. However you read the songs, you canât deny the power of statements like âHow can we survive when love as become an act of rebellion?â
What becomes clear is that the odds were always in their favour, the dice were loaded. Puciatoâs freeform style, Buckley recording hours of demos after each show, Putneyâs top level production credits and the bandâs endless experience all came together as something new and fully formed. Itâs not just a reheated version of their previous work, itâs not even a reheated version of their debut EP; these songs push as hard as they can to be something new and incisive that speaks to now. Cut from their context the record its filled with statements about the perceived way of the world. A simple scroll through the news and lyrics like âWeâre dying, nobody caresâ feel absolutely of the moment. Surprisingly, he record that defines this year doesnât come from a hungry, fresh-faced, artist. This grizzled bunch had the decency to make a record that goes so hard, with such creativity no one else managed to touch it. Simply, nothing says 2024 like defiantly screaming âLet the worst of us inherit the earthâ. [Ian Kenworthy]
Read our full review of ‘Highly Irresponsible’
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