BEST OF 2017: TOP TEN
The TOP TEN, a collection of my 10 favorite albums of the year. These were the albums that demanded the most of me and the ones I found myself repeatedly going back to again & again…
CIVIL LUST
‘CONSTITUTIONS’
SELF-RELEASED
CIVIL LUST combine, then blend, all the aesthetic pleasures that make a great Goth Pop record on their debut LP ‘CONSTITUTIONS.’
The Salt Lake City based duo (Christian Riley and Isaiah Michael) are masters of their craft, who nail the details to a tee. 'Constitutions’is an exercise in classic post-punk tropes, but ones that have been further refined by years of study and more than capable craftsmanship.
The Cure bass lines, the Ian Curtisian vocals, to the Tears for Fears exuberance, Civil Lust create art that is sinewy yet soft (take one listen to “Receive” and tell me I’m wrong).
“Even Further” literally pulls you further into Civil Lust’s majestic ways with an echoed drum machine beat, tingled guitar lines, and Riley’s longing while the slow groove of the sensual “A Man You Will” is the type of sound the group perfect. The devil’s in the detail.
‘Constitutions’ and its able bodied creators construct a seamless 7 track album and further enrich an already fertile modern goth landscape...
DEATH BELLS
‘STANDING AT THE EDGE OF THE WORLD’
BURNING ROSE / FUNERAL PARTY
DEATH BELLS, the Sydney based group of: Maurice Santiago (Bass), William Canning (Vocals), Aron Postolovic (Guitar), Rimas Veselis (Guitar), David Gauci (Synth), and Luca Watson (Percussion) seem to understand the power of gloomy guitar based indie, the kind that held court throughout the genre’s most influential decade and like many of the amazing groups mining these fields, they seem to understand the importance of detail and the need to move beyond mere homage.
DB’s beautifully bleached William Canning is a frontman to be reckoned with, as he parlays the looks, voice, words, and bravado into a force that demands attention, but not at the expense of working as an important cog to his band’s sturdy wheel. A singer is only as good as the foundation that surrounds him, so luckily for us the rest of the Bells are a top-notch unit.
‘STANDING AT THE EDGE OF THE WORLD’ is a pure guitar record through and through, one that borrows equally from paisley jangle, arena reaching grandness, and moody post-punk while being executed with aplomb by Veselis & Postolovic’s dual attack.
“Only You” finds guitars loudly pinging over a steady rhythm section, allowing the coldly effervescent vocals to take center stage. The group hold court and have once again presented a lively, yet somber piece of buttoned up pop with “Only You.”
Death Bells sound hopeful yet weary on their engaging debut album, coming together as a cohesive & bold unit unafraid to reach big while retaining all the detached cool of their forebears...
DRAB MAJESTY
‘THE DEMONSTRATION’
DAIS
DRAB MAJESTY, the project created and fronted by premiere goth alien Deb Demure, returned in 2017 with their second proper LP.
‘THE DEMONSTRATION’ sees Drab Majesty doubling down on what they do so well, finely tuned new wave goth, but better. Demure’s former LA based bedroom experiment (which has morphed into a two-man group with the addition of Mona D) has seen its profile & popularity rise, after successful tours supporting the likes of King Dude and Cold Cave.
Drab Majesty are the torchbearers for a certain strain of Goth, where the dark wave crashes full on into brooding Reagan era new wave pop. Demure captures a specific sound, whereas every production trick is precise and aesthetic rules the land. This attention to detail, along with Deb’s unique and heavily treated guitar style, is what sets Drab apart from the sea of Goth indebted groups.
The guitar tones captured throughout the album are phenomenal, as witnessed on the sci-fi waltz of “Not Just A Name.” Reminiscent of Duran Duran’s more subdued moments, only way fucking spacier.
Drab Majesty are masters of ethereal Goth, steeped in dated production tricks, while literally reaching towards the cold vastness of space. What was once a solo affair has morphed into a full fledged entity, and as the popularity grows, so to does the quality of the Drab output....
FEARING
‘A LIFE OF NONE / BLACK SAND’
FUNERAL PARTY
The kind of dark, brooding, and equally booming rock music that FEARING create on their EPs ‘A LIFE OF NONE’ & ‘BLACK SAND’ has been sorely missing in recent years.
Fearing are exactly what I look for in a great gothic rock band, they capture a mood & essence that rings true while blowing past any attempts at modesty. And while I enjoy when things are minimal & low-key, I can’t help but gush when a band, especially one steeped in gloom, comes along sounding all huge. Which is precisely how fearing Fearing operate, they create big sounding rock songs that take elements from post-punk, 90′s Alt-Rock, and deathrock and combine them into one brutalist take on Goth.
“Beyond Light” sticks to the aggressively dark template of chiming guitars, thick bass, and wallowed out vocals while “Other Life” opens up with big thunderous drums, rolling bass, and moody synths before linking with a pinging guitar and layered vocals. “Other Life” shows a growth in Fearing’s songwriting, with sprinkles of piano notes adding new depth and has easily become one of the finest entry’s in the group’s catalog.
The EP format is surely the way to go in our modern times and the Oaklanders have taken full advantage of our attention-deficits by breaking us off a nice four track stretch, as they satisfy our itch and keep us wanting more…..
GRIZZLY BEAR
‘PAINTED RUINS’
RCA
Grizzly Bear, survivors of: the Brooklyn Sonic Boom, side projects, Indie Rock’s halcyon days, expectations, New York Magazine spreads, NYC itself, personal turmoil, indie labels, adulting, Taylor Swift, and most improbably…..themselves, have triumphantly returned with their first album in 5 years titled ‘Painted Ruins.’
‘Painted Ruins’ shows the no-longer-in-one place based group of Ed Droste, Daniel Rossen, and the two Chris combo of Taylor & Bear expanding on their already impressive sonic palette, while turning the focus inward. Grizzly Bear is the perfect example of “The whole is greater than the sum of its parts,” and for a group consisting of 4 very distinct musicians/personalities it’s really saying something. As corny as it sounds, when these four get together in a room, something special happens.
Album standout “Mourning Sound” is the straight ahead rocker we’ve been waiting for, a no BS thumper filled with gorgeous guitar work per Rossen. Truly one of the best things the group has ever penned as it manages to combine wistful regret (”I made a mistake….”) with a thick groove while deploying a goosebump inducing twinkle of synth.
Like most great albums, ‘Painted Ruins’ is a grower, with each subsequent listen revealing a new hidden nugget. The foursome known as Grizzly Bear have ended their 5 year absence with something meaningful, powerful, and refreshing…
HUMAN LEATHER
‘LAZY KARAOKE’
CERCLE SOCIAL
HUMAN LEATHER, comprised of Adam Klopp (Choir Boy) & Chaz Costello (Sculpture Club), are a self described “shitty version of Tears for Fears mixed with Depeche Mode,” but don’t let the humble self-deprecation fool you, because the duo tap into something so pure and unfettered that you simply have no choice but to succumb.
And I hate to be the bearer of bad news to those who feel the need to cling onto originality, but everything’s been done already, so get the fuck over it and stop missing out on some truly great modern acts.
The Salt Lake City duo aim to break your fucking heart on their debut LP ‘LAZY KARAOKE’ which is chocked full of Reagan era bangers and aesthetically dripping odes that nail every aesthetic detail.
“Ugly Sister” is a pure synth-pop ditty cloaked in the aforementioned Tears for Fears (who at this point are impacting this generation on some Joy Division type levels) influence. The devil is in the detail, something Klopp & Costello clearly understand, as the intricate production alongside the airy & emotive vocal courtesy of Adum (who recalls Wild Beasts’ Hayden Thorpe) is something to behold.
‘Lazy Karaoke’ was easily the most talked about album within the goth/post-punk community and with good reason.
“Everything is fucking scary……”
JOHN MAUS
‘SCREEN MEMORIES’
RIBBON MUSIC
Well……..the wait is officially ended as JOHN fucking MAUS returned in 2017 with the long awaited album ‘SCREEN MEMORIES.’
The Minnesota (by way of the the World) based project never ceases to capture the imagination and does this by creating unfuckable with Goth Pop. Maus is the undisputed master of the deconstructed gem, and will remain so by adding the aesthetically pleasing extra mile in everything he touches.
‘Screen Memories’ is a fluid & fantastic listen proving that Maus hasn’t lost a single step since we last heard from him years ago. Maus, ever the pop-deconstructionist, is so well adept at creating nuanced pop songs, steeped in goth, that you almost take him for granted at this point.
While a melancholic crop of songs litter the album, the taut “Walls of Silence” allows Maus’ reverb drenched chant to roam free atop a bed of driving bass, eerie synths, and compressed snare snap. Limber, yet driving, this slice of gothic minimalism benefits from not only its creators expertise, but gains so much power from its brief 2 minute and 23 second run-time.
If you’ve been sleeping on Maus, well shame on you, it’s time for you to wake the fuck up, press play, and soak up his mile-a-minute brilliance…
NEW TODAY
‘BETTER THAN DEATH’
SELF-RELEASED
Goth comes in many shapes and sizes, from cold wave to guitar driven gloom rock and everything in between. NEW TODAY, the under the radar post-punk duo of Dante Palomba (Casuistry) & Daniel Srungaram (Two One Six), fall into the latter camp with their latest LP ‘BETTER THAN DEATH.’
The group bring the big 80’s post-punk ala the Sound, the Chameleons, and Love & Rockets, while pairing it with minimalist detail. Taking Interpol-like guitar work, which at its best has always been minimal yet evocative, while juxtaposing it with substantial movements and huge vocals that take their place in the front. Dante Palomba’s voice is a viable instrument and the group treat it as such, which is exactly why New Today fall into the Romance/Trad Goth grouping.
All the preceding beauty culminates on “The Years” in the form of an icy synth that reaches for the ether, while being reminiscent of Interpol’s slower moments (which is basically how the XX got paid) but with far greater feeling and veiled optimism. “The Years” is an emotionally moving piece, the kind that builds yet sustains, and revels in its stark beauty.
At an even 10 tracks, New Today seem to know that leaving us wanting more is the key and ‘Better Than Death’ is one of the most fully realized and expertly executed albums I’ve heard in quite awhile.
It’s good to be goth….
PROTOMARTYR
‘RELATIVES IN DESCENT’
DOMINO
PROTOMARTYR triumphantly returned in 2017 with a new Long Player titled ‘RELATIVES IN DESCENT.’
This is a guitar rock record, which I know sounds like an oxy moron, but holy fuck the standard 4-piece is done proud throughout‘Relatives in Descent.’ This is the sound of an already great band furthering their footing and flexing their well defined muscle. Each member is in supreme control of their respected instrument: from the sharp lyrical prowess and spot on vocal take of Joe Casey, to the skeletal guitar riffs that blot entire song stretches via Greg Ahee, down to the powerful rhythm section courtesy of Scott Davidson’s driving bass and the chaotic (beyond time keeping) pace of Alex Leonard’s thunderous drums.
The groggy “My Children” takes its time with a slow build of doomed kinetic energy, before opening up and falling into a rangy Proto groove of guitars, rhythm, and wordsmith diatribes. “My Children” builds and builds into a melee of guitars/drums/bass until the clouds part and the song opens up offering a chill inducing moment while Casey commands the room. The track’s guitar work in the final third is awe inspiring and note worthy.
By doubling down on what’s made them so great, while stepping out of their comfort zone, ‘Relatives In Descent’ finds Protomartyr at their finest, proving once again that the sons of Detroit are in it for the long haul....
SEXTILE
‘ALBEIT LIVING’
FELTE
The Los Angeles based death-squad known as SEXTILE have triumphantly returned with the pristinely raw ‘ALBEIT LIVING.’
Sextile are the teeth, the brute truth, the harsh reality, the gritty glitz, and the creators of the mad mad world party record we need. The harbingers of bleached catharsis, consisting of the ridiculously attractive & stylish group of: Brady Keehn (vox/guitar/synth) Melissa Scaduto (drums), LA Eddie Wuebben (synths), and the newest addition Cameron Michel (guitar/bass), are trending upwards and with great reason.
That primal drive comes from Melissa Scaduto, not only through the floor shaking beats, but through her guidance, visual appeal, and aesthetic vision. Simply put, she’s the beating heart of the group, one that’s rounded out by Brady Keehn’s Cobra Kai-like bad-boy charisma, and Eddie Wuebben’s art damaged cool.
“Sterilized” is sinisterly delightful. A manic & breathy beast, where deathrock and new wave meet late at night to perform unspeakable acts upon one another. I found myself demonstrably head bobbing upon every listen (“can’t shake it”) while looking for the nearest dance floor thanks to the boogie down bass & drums. “Sterilized”allows Keehn to do what he does so well, that uptick coda (think “Can’t Take It.”), the melody of which is so fucking strong that I find myself walking around panting “Come on and sterilize me.”
Sextile have raised the bar for everyone on ‘Albeit Living’ as they establish themselves as Felte’s flagship group through hometown-hero sincerity and a cohesive album that never overstays its welcome...
***BONUS***
DEATH OF LOVERS
‘THE ACROBAT’
DAIS
2017 closed out with a tender aesthetic bang thanks to DEATH OF LOVERS’ ‘THE ACROBAT.’
The New York based group, boasting no less than three members of the emotional-gaze band Nothing and keyboardist CC Loo, create timeless New Wave ran through a gothic dream-pop portal. It’s not a disservice or slight to say that Death of Lovers created the long lost John Hughes soundtrack that we’ve been waiting on, it’s simply that good, that infectious, and that sugary.
“The Absolute” exudes a feeling of warm nostalgia, yet teeters with an anxiety inducing nervousness that’s coyly deployed over an upbeat arrangement of giddiness. The compressed echo beat, airy synths, and razor sharp guitar lines create a solid foundation for Domenic Palermo’s up in the clouds vocal (with a harmonious assist from drummer Kyle Kimball).
Death of Lovers are keen architects of the smooth delight, as “The Absolute” is five minutes of pure stylized bliss and that’s long before the sound of an aesthetically pleasing saxophone buries it’s reedy goodness into your brain which slides in well next to yearning moody bummers like “The Lowly People” and “Divine Song.”
This is what it sounds like when Hardcore vets find their inner New Romantic (take notes Head Automatica).
Seriously, that sax tho….
