Asthenia–Nucleation
Genre: Black Metal, Post Rock
FFO: Agalloch, Wolves in the Throne Room, Harikiri for the Sky

Chinese “blackgaze” act, Asthenia, illustrate beauty through their instrumentation in refreshing, unique ways with their sophomore LP.

Nucleation doesn’t rely entirely on ambient, atmospheric build-ups but rather consists of strongly layered, movements a various tempos using a variety on instruments.

Stay away from Ghostbath and gravitate towards Asthenia for an inspiring piece offered to this scene.

Autobahn-The Moral Crossing
Genre: Post Punk, Goth Rock
FFO: Joy Division, Killing Joke, Bauhaus

Leeds quintet Autobahn offer a dynamic sophomore LP exploring the nostalgic sounds of early Post Punk and Goth Rock while experimenting with various instrumental layering and unique strong structures.

String instruments are incorporated adding subtle theatrical flare and the vocal-work alternates between the genre’s signature baritone style as well as occasional spoken word pieces.

The Body/Full Of Hell–Ascending a Mountain of Heavy Light
Genre: Industrial, Drone, Noise, Sludge Metal, Powerviolence, Grindcore
FFO: Godflesh, Nails, Thou

Rhode Island-based Industrial Sludge act The Body and Maryland Powerviolence act Full of Hell reunite cross paths once more for their sophomore collaborative LP Ascending a Mountain of Heavy Light.

The two drastically different takes on aggressive music once again function like two peas in a pod creating a more extreme yet somehow more accessible take on The Body‘s sound and adding horrifying, Industrial layering to Full of Hell‘s sound.

These bands sound best when they are together and this record shows it.

Death Of Lovers–The Acrobat
Genre: Post Punk, Synth Pop, New Wave
FFO: New Order, Depeche Mode, Nothing

Nothing/Whirr collaborative effort Death of Lovers stray away from the gloomy, primarily Gothic sounds of their debut EP Buried Under A World of Roses shifting towards the brighter, poppy, synth-happy side of the Post Punk genre for the debut LP.

The Acrobat bathes in pure ’80s nostalgia and (as the album art suggests) features a much more bright, upbeat direction and direction for the group.

Desolate–Lunar Glyphs

Genre: Electronic, Dance, Ambient

FFO: Brian Eno, Aphex Twin, Boards of Canada

German Producer Swen Weisemann (Desolate) returns after a five year break with a beautiful, tranquil third LP basking in ambience and soothing atmosphere.

I don’t share Instrumental Electronic releases too often, but this release stood out and I highly recommend it for fans of any genre.

Quicksand–Interiors

Genre: Post Hardcore, Alternative Rock

FFO: Helmet, Rival Schools, Shelter

New York Post Hardcore veterans Quicksand return for the first record in over two decades.

Despite mixed reviews, I feel Interiors is a more relaxed, mature take on the group’s stapled sound but still manages to rock hard enough to make it a worthy comeback record in the massive tidal wave trend of nostalgic reunions.

Teen Daze–Themes For A New Earth

Genre: Indie Pop, Dream Pop, Ambient, Electronic, Synthpop, Synthpop, Chillwave, Post Rock

FFO: Explosions in the Sky, Neon Indian, Washed Out

Canadian electronic artist, Jamison Isaak, returns again this year under the Teen Daze alias offering a sister record to February’s Themes For A Dying Earth.

Themes for A New Earth channels lush, atmospheric soundscapes providing further thought-provoking ambience.

YLVA–META

Genre: Post Metal, Sludge Metal

FFO: Neurosis, Isis (the band), Pelican

Australian Sludge quartet YLVA storm the scene with a haunting, powerful debut balancing the sheer power and haunting ambience their inspired acts deliver.

META features six refreshing, monstrous tracks of pure atmospheric sludge and stands as one of heavy music’s most mandatory records this year.

Airiel–Molten Young Lovers
Genre: Indie Rock, Shoegazing
FFO: Death Cab for Cutie, Chapterhouse, Pale Saints

Despite a full decade passing since their debut LP, Chicago Shoegaze act Airiel deliver a beautiful sophomore LP illustrating how they haven’t missed a step.

Molten Young Lovers explores the wonders of adolescent romance through a fun collection of layered, upbeat tracks. Frontman/Bassist Cory Osbourne brings a unique set of pipes to the genre I personally find strongly reminiscent of Ben Gibbard.

I recommend this record to any Death Cab fans that appreciate Shoegaze and want a new album to dance to.

Flower Crown–Glow

Genre: Indie Rock, Dream Pop, Psychedelic Pop

FFO: Slowdive, Turnover, Real Estate

Pittsburg Dream Pop duo Flower Crown generate a lush, melancholic debut LP on Flower Pot Records.

Glow has a very coastal, somewhat aquatic vibe sonically painting the image of a sunset at the beach on a warm, summer evening.

Makthaverskan–III
Genre: Post Punk, Dream Pop
FFO: Joy Division, Jesus and the Mary Chain, Alvvays
Swedish Post Punk/Dream Pop hybrid act Makthaverskan grace our ear drums once more with a third LP leaning more towards the dreamy side of things.

The Gothenberg group fixates their sound around the vocal abilities of frontwoman Maja Milner birthing a darker, more mature follow up.

Nai Palm–Needle Paw
Genre: R&B, Soul, Folk
FFO: Amy Winehouse, Erykah Badu, Hiatus Kaiyote
Australian artist Naomi Saalfield (aka Nai Palm) provides listener with her more intimate, vocally powerful side on her debut solo album.

Needle Paw shifts away from the layered future soul sounds of her flagship endeavor Hiatus Kaiyote for a more quiet, folk sound.

This LP consists of originals, covers, and reworked Hiatus tracks retaining all of the power, soul, and raw emotion by honing in primarily on Saafield’s vocal talents.

Quiet–Infinite Regress
Genre: Post Hardcore, Post Rock
FFO: Brand New, Godspeed! You Black Emperor, This Will Destroy You

I felt like Brand New’s Science Fiction was a boring, sloppy disappointment of a record far before the accusations of Jesse Lacey began to surface.

The only two things I ever felt the group accomplished was worth noting included The Devil and God Are Raging Inside Of Me and remaining relevant despite an eight year album gap.

The good news is LA-based up and coming Post Hardcore act Quiet released a debut LP this year that sounds identical to how I had hoped Science Fiction would sound.

The vocals are eerily similar to Lacey without the creepy child predator undertones and the instrumentation retains an emo-esque foundation while experimenting with droney Post Rock and pummeling gazey walls of sound.

It’s like a better Brand New without the guilt.

Sound of Ceres–The Twin
Genre: Dream Pop, Synth Pop
FFO: Cocteau Twins, Beach House, Purity Ring

Colorado-based Dream Pop duo follow up last year’s debut, Nostalgia for Infinity, with a strengthened sophomore LP further exploring their orbiting, dreamy, spacey soundscapes.

Recommended for fans of Cocteau Twins and Beach House, this album is a beautiful journey that will make you feel like you’re in a Lynch film.

Spotlights–Seismic
Genre: Indie Rock, Dream Pop, Shoegazing,  Post Rock, Doom Metal, Drone, Ambient
FFO: Jesu, True Widow, Cloakroom

New York-based Alternative outfit Spotlights provide a record balancing the dreamy, thought-provoking aspects of ambient, Shoegaze-esque Post Rock and crushing, abrasive sludgey, Doom Metal.

Seismic is a well-structured, layered example of the modern “Doom Pop” movement additionally pulling influences of 90s acts such as Failure and Hum.

Alvvays–Antisocialities

Genre: Indie Rock, Jangle Pop

FFO: Best Coast, Angel Olsen, Diiv
Toronto indie pop outfit, Alvvays, follow up their 2013 Self-Titled with a charming, focused sophomore effort.

Frontwoman Molly Rankin enchants the listener with yet another fantastic vocal performance with pristine yet fun instrumentation as  its backdrop. 

Antisocialities is a bright, summery pop record worth your time for fans of Best Coast.

Dälek-‘Endangered Philosophy”

Genre: Hip Hop, Rap, Shoegazing, Industrial

FFO: Cannibal Ox, Clouddead, Jesu

Jersey-based hip hop group Dälek remain far more obscure than they should be despite six fantastic records spanning across two decades experimenting with Hip Hop/Rap in ways most artists could barely dream of.

Perhaps such obscurity is self-inflicted due to constant genre-blending and boundary pushing dabbling in Shoegazing and harsh, industrial drone.

Endangered Philosophy is a politically-centered record utilizing droney production to invoke a sense of spacious atmosphere.

Florist–If Blue Could Be Happiness

Genre: Indie Folk

FFO: Kimya Dawson, Frankie Cosmos, Told Slant

Emily Sprague returns following up her debut from last year, The Birds Outside Sang, with a strengthened sophomore release once more coping inner pain with the simplicity and beauty of nature.

If Blue Could Be Happiness is a delicate collection of quiet yet intimate bedroom folk tunes ideal for an early morning listen.

Protomartyr–Relatives in Descent

Genre: Post Punk

FFO: Nick Cave, Parquet Courts, Iceage
Detroit rockers Protomartyr emerge once more with a fourth LP maturing their established Post Punk sound.

Mentally prepare yourself before beginning the exploration of vocalist Joe Casey’s brilliant mind as he rants about various topics often alternating between his distinct style and the spoken word nature of Nick Cave.

The Stargazer Lilies–Lost

Genre: Shoegazing, Dream Pop

FFO: My Bloody Valentine, Slowdive, Chapterhouse

Pennsylvania trio The Stargazer Lilies deliver a powerful LP this year titled Lost emitting nostalgic vibes towards the genre of Shoegazing.

It is very hard to not draw a direct comparison to My Bloody Valentine but considering Loveless is my favorite record of all time I have no complaints.

Listen to this band.

Unsane–Sterilize
Genre: Noise Rock, Alternative Metal
FFO: Melvins, The Jesus Lizard, Today is the Day

New York noise act Unsane is one of the many bands appearing on these lists with a career spanning several decades still not receiving deserved attention.

Released through Southern Lord this year, Sterilize is the group’s eighth LP and first in five years.

This record is undoubtedly the most poorly named release thus far, because it is dirty, fuzzy, and abrasive as ever.

If you’re looking for harsh noise rock along the lines of The Jesus Lizard but also long for some crushing sludge, start with Sterilize and make your way down through a doozy of a discography spanning almost thirty years.

All Out War–Give Us Extinction
Genre: Metalcore
FFO: Hatebreed, All Out War, Earth Crisis

Legendary New York-based Metalcore legends All Out War return with their first LP in 7 years.

Give Us Extinction offers twelve tracks off face-melting, no nonsense Metalcore.

Crushing, riffs, lightning fast leads, and once more a horrifyingly agonizing vocal performance from Mike Score.

It’s an All Out War record through and through and in my opinion that’s a very good thing.

Cloakroom–Time Well
Genre: Indie Rock, Doom Metal, Dream Pop, Shoegazing, Emo
FFO: Hum, Jesu, True Widow

LP#2 from the Indiana “Doom Pop” trio perfects Further Out‘s formula while subtly shedding the group’s core Emo sound.

Time Well pays closer attention to the Doomy elements of Cloakroom‘s sonic blueprint serving less as a gateway record for Run For Cover kids and more as a solidified effort on the other side of the bridge.

Crushing riffage, thunderous drumwork, and pounding basslines generate a fun, heavy, yet poppy doom record with plenty of droney atmosphere and groove.

A Thousand Hours–Sleep
Genre: Dream Pop, Shoegazing, Slowcore, Chillwave
FFO: Slowdive, Cocteau Twins, Chapterhouse
Alaskan artist Red Collier returns with a second record in 2017 under the A Thousand Hours title serving as a drastic shift on the sonic spectrum compared his LP Endless Gray released only a few months prior.

Sleep maintains a much darker, gothic tone drawing influences from Garlands era Cocteau Twins and the melancholic opus Souvlaki from Shoegaze/Dream Pop legends Slowdive.

Collier achieves an authentic, nostalgic sound melding various influences across the board.

Avey Tare–Eucalyptus
Genre: Indie, Electronic
FFO: Animal Collective, Panda Bear, Deakin

Animal Collective’s Avey Tare returns with a second solo LP fans of the group’s older works are sure to love.

Avey Tare abandons the more pop-oriented sensibilities of Painting With and Panda Bear’s solo material to generate a bizarre, atmospheric listening experience.

Strums of an acoustic guitar ring sporadically accompanied by various noisey drone only an artist such as Avey could create.

Integrity–“Howling, For the Nightmare Shall Consume”
Genre: Metalcore, Thrash Metal, Melodic Death Metal
FFO: Hatebreed, Ringworm, Earth Crisis
Cleveland-based Metalcore pioneers Integrity are back with LP#12 and it easily proves to be their strongest work since 2003’s To Die For.

Howling, For The Nightmare Shall Consume sticks to the usual formula the act has become known for but experiments with a more Blackened sound incorporating blast beats and lightning-fast riffage.

It’s always a treat to see a legendary act return with such a powerful comeback record, and this is one you should NOT sleep on.

Japanese Breakfast–Soft Sounds From Another Planet
Genre: Indie Rock
FFO: Little Big League, Frankie Cosmos, Big Thief
Little Big League frontwoman Michelle Zauner returns to her (in my opinion) vastly superior solo effort, Japanese Breakfast, for a charming sophomore LP.

Soft Sounds From Another Planet features twelve layered, pleasant, and dreamy pop tunes making use of her delicate vocals and songwriting in the best possible way.

Pawns– The Gallows

Genre: Punk Rock, Goth Rock, Post Punk, Death Rock

FFO: Joy Division, The Damned, Bauhaus
New York-based punk outfit, Pawns, delivers a dark LP basking in the nostalgic sounds of early Post Punk acts melded with the Gothic sensibilities of Christian Death and Bauhaus.

Retrieval–Sleep Cycle

Genre: Alternative Rock, Shoegazing

FFO: Ride, Swervedriver, Silversun Pickups

Tunisian rock duo,Retrieval, offer a solid sophomore effort this year utilizing the hazy walls of sound the Shoegazing genre is known for yet successful capture it to write upbeat, rock tunes similar to the likes of Creation veterans Ride or Swervedriver.

Sleep Cycles is a mandatory listen in 2017 for fans of the scene that celebrates itself.

Star Tropics–Lost World
Genre: Dream Pop, Jangle Pop
FFO: The Cure, The Smiths, Alvvays

Chicago-based trio Star Tropics grace our ear drums this year with a beautiful record blending enchanting vocals with pristine licks that would undoubtedly flatter Johnny Marr.

The writing here specifically brings the obscure Strawberry Wine-My Bloody Valentine era to mind sandwiched between their humble post punk flops and their signature sound. Lost World offers 9 tracks of pure dreamy, euphoric pop music.

Aviator–Loneliness Leave The Light On For Me

Genre: Post Hardcore, Melodic Hardcore, Emo

FFO: Pianos Become the Teeth, Touchè Amore, La Dispute

Throughout my college years, I had numerous experiences sharing the stage with fellow locals Aviator.

Watching them progress over the years while many hardcore bands have come and gone has been an incredible experience. There are very few modern bands that capture the emotion, passion, and poetic lyricism the Boston-based quintet puts forth.

Their latest LP and sophomore effort, Loneliness Leave The Light On For Me, feels more raw and angry than their previous works while also progressing forward in maturity both sonically and lyrically. If you are a fan of any of any current trending emotional hardcore acts, you would be a fool to not give this record a spin.

Bison–You Are Not the Ocean; You Are The Patient

Genre: Alternative Metal, Sludge Metal

FFO: Mastodon, Baroness, Black Tusk

After a five year break, the artists firmly known as Bison BC reclaim the throne with their latest LP.

You Are Not the Ocean is not a record that can be pigeon-holed. All different assortments of Metal form together to create this killer album full of tongue-in-cheek lyricism, both doomy and thrashy riffage, and even some epic Neurosis worship incorporating various unique instruments.

If you’re a metalhead of any style whether it be Thrash, Sludge, Death, Post, Doom, and so on, be prepared to have some fun with this one.

Blackenberge–Radiogaze

Genre: Dream Pop, Shoegazing

FFO: Lush, Silversun Pickups, Pity Sex

Russian indie rock outfit Blackenberge deliver an LP sonically matching its title in a flawless fashion.

Radiogaze offers track after track of upbeat indie pop tunes drowned beneath reverb and thick layers of sound. Similar to the idea of Silversun Pickups but slightly less radio friendly.

If you’re in the mood for some Shoegaze but don’t want to fall asleep, this is the record for you.

Deafcult–Auras

Genre: Dream Pop, Shoegazing

FFO: My Bloody Valentine, Whirr, Ringo Deathstarr

Auras is the debut LP from the Australian sextet known as Deafcult. It is a very similar record to the one listed directly before this but utilized its thick layers of sound to generate a more pleasant, ethereal ambience.

Deafcult would fall quite comfortably in the early 90s Creation Records roster and Auras serves one of my most recommended records this year for that particular demographic.

Elder–Reflections of a Floating World

Genre: Stoner Rock, Progressive Rock

FFO: The Sword, Monolord, Pallbearer

New England Stoner Rock trio Elder stray a bit from the traditional nostalgic doom sound in their latest record in favor of a more progressive, instrumentally impressive effort.

Reflections of a Floating World is an exciting, layered masterpiece with various guest musicians, long track lengths that do anything but bore the listener, and probably one of the best guitar tones I’ve heard produced.

Kamikaze Girl–Seafoam

Genre: Dream Pop, Riot Grrrl, Shoegazing

FFO: Bikini Kill, Pity Sex, Field Mouse

Leeds-based duo Kamikaze Girl storms the scene with their debut LP Seafoam. T

his is undoubtedly the most unique release of the year blending Shoegaze, Dream Pop, and Riot grrl flawlessly..somehow.

Vocalist Lucinda Livingston’s unwavering passion matches with each track ranging from droney, sorrowful emo ballads to upbeat, abrasive punk rock flipping off misogynistic behavior/people.

Day Wave–The Days We Had

Genre: Indie Rock, Synthpop
FFO: Diiv, Wild Nothing, Beach Fossils

I remember the first time I looked deep into the alluring stare of Jackson Phillips. The song “Deadbeat Girl” was playing on Music Choice on my girlfriend’s television and it seemed as if his promotional photograph was looking deep into my soul trying to seduce me.

Phillips still channels his seductive, clean, guitar pop on his debut LP. While more simplistic and not as atmospherically driven as previous EPs and Demos, The Days We Had is a well-written, well-produced, fun pop record similar to the likes of Diiv and Wild Nothing.

Hoops–Routines

Genre: Indie Rock, Jangle Pop, Post Punk

FFO: Mac Demarco, Diiv, Beach Fossils

Hoops began as a bedroom project of Indiana-based musician Drew Auscherman utilizing four tracks and tape reels to achieve a warm, nostalgic, sound.

Years have passed and their debut LP Routines basks in studio magic but finds the band at high points in terms of their writing. Twinkly, harmonizing leads mend well with Auscherman’s pristine vocal performance channeling the trending Jangle Pop comeback movement Mac DeMarco appears to be partially responsible for starting.

Routines is an ironic title as it appears to be absent of the routines the group previously utilized to record their music, but the makeover works in the favor delivering track after track of fun, upbeat, summery jams.

Loss–Horizonless

Genre: Funeral Doom, Death Metal

FFO: Bell Witch, Hooded Menace, Evoken

Tennessee-based Doom outfit Loss returns with a sophomore LP after a six year gap.

Crushing, spacey, sorrowful Funeral Doom along the lines of Bell Witch encompass the record. Like most records of this particular subgenre, this is not a recommended listen for anyone with a short attention span.

Lastly, check out that beautiful album art.

Lulls in Traffic–Rabbit in the Snare

Genre: Indie/Hip Hop/R&B/Ambient
FFO: Copeland, inc. no world, Foxing

I’ve been patiently waiting for this album for six years and it is currently at the top of my year end list. For those of you unaware, Lulls in Traffic is a musical duo consisting of Copeland’s Aaron Marsh performing vocals/instrumentals/production alongside Russian MC Ivan Ives.

Ever since Copeland released You Are My Sunshine (which I consider to be their magnum opus) it became clear Marsh’s pipes we’re the group’s biggest strength. I remember thinking to myself the first time I heard his stellar falsetto on “Should You Return” how incredible it would be if Marsh channeled his vocals skills and songwriting abilities into a solo R&B/Pop record.

After Copeland split in 2009 and Marsh focused on production, my pipedream became more and more real. In 2011, Lulls released their first single “The Rope to Pull Yourself Together” and I had been in deep anticipation ever since.

Rabbit in the Snare is a masterpiece honing in on all the strengths that made Copeland’s later work so memorable. I hear a lot of complaints about Ive’s vocal performance being underwhelming in comparison and waving the album down, but his lyrical content far outweighs  what many consider to be a lackluster flow. I view Ive’s work on this LP more as delicate spoken word gently coinciding with the beautiful ambience Aaron generates.

Highly recommend this record to anyone that loves Copeland, the “PBR&B” movement (Frank Ocean, Inc no world, How to Dress Well, etc.) and Post Rock/Indie acts such as Foxing or Caspian. The composition here is outstanding, and Marsh still remains one of my favorite current songwriters.

Ostraca–Last

Genre: Screamo, Post Hardcore, Powerviolence

FFO: Orchid, pageninetynine, City of Caterpillar

Richmond, Virginia-based screamo outlet, Ostraca, presents an excruciating, emotional thrill ride blending tendencies of modern Screamo with legends such as Orchid or Ampere.

Melodic yet ear-piercing- this release showcases what I consider to be the most promising young act in the New Wave of the genre.

Succumb–Succumb

Genre: Death Metal, Black Metal, Grindcore

FFO: Behemoth, Pig Destroyer, Full Of Hell,

Hailing from San Francisco, Succumb terrorizers listeners with a horrifying self titled debut seamlessly blending the opposing forces of Black and Death Metal.

He is Legend–few

Genre: Hard Rock, Stoner Rock

FFO: Alice in Chains, Queens of the Stone Age, Kyuss

It may seem strange seeing He is Legend on this list considering I Am Hollywood is regarded as a staple record in the Post Hardcore movement of the early/mid 2000s.

However, most of my music-loving peers are completely unaware these guys are still making music. It Hates You found the band abandoning the Tooth and Nail/Solid State “Alternative Youth Group Scene” and stripping their sound down to a more linear take on poppy Stoner Rock.

They were now free to use curse words and thus their Christian following largely diminished (which was a big deal in the mid 2000s in my opinion).

Despite this unfortunate setback and a brief hiatus, He is Legend is now in complete control of their sound and are still pumping out great records. Be sure to check this out especially if you are a fan of Alice in Chains, Queens of the Stone Age, and He is Legend’s earlier material. There is some fantastic guitar-work on this LP and Croom’s vocals are as powerful and melodic as ever before.

Night Sins–Dancing Chrome

Genre: Post Punk, Goth Rock

FFO: Sisters of Mercy, Bauhaus, Cold Cave

LP#3 from Philadelphia Goth Rock/Post Punk outfit Night Sins is not necessarily groundbreaking or genre-bending, but they still remain damn good at what they do and Dancing Chrome illustrates their mastery of the craft.

They remain pone of the better modern acts recapturing the magic of Eldritch and their usage of synthesized layers on this record and overall darker yet upbeat tones make this record a somber yet fun listen.

If you like bands like Sisters of Mercy, Type O Negative, or Bauhaus you would be an absolutely fool to not give these young musicians your attention.

Ulver–The Assassination of Julius Caesar

Genre: Experimental Rock, Psychedelic Rock, Synthpop

FFO: Depeche Mode, Pink Floyd, Duran Duran

Ulver is a heavily underrated project here in the states, but the legendary Norwegian Experimental act has undoubtedly reached a point in their career where they can do virtually whatever they want.

The group started their career in the early ‘90s with an ambitious trilogy of LPs channeling Black Metal, Folk, and Shoegazing (long before Deafheaven was ever blasted for cultural appropriation and the term “Blackgaze” became a staple to Pitchfork hipsters pretending to occasionally like Metal).

As their career progressed they began messing with all different sorts of genres including Classical, Drone, Electronic, Trip Hop, Jazz, and so on. Last year’s LP, ATGCLVLSSCAP, was actually a collection of multi-track recordings from various improv jams the band performed live.

2017 brings us a theatrical concept album regarding the death of Julius Caesar sonically similar to the dark yet upbeat Synthpop of stylings of Depeche Mode mixed with the atmospheric prog of Pink Floyd.

Alright, Ulver. You do you. I’ll take it.