Kerrang!'s 50 Albums That Shook 2018

On their second album, young hardcore heroes Turnstile slice, dice, and defy genres at every turn. Leadoff ripper \"Real Thing\" cranks a turbocharged riff against melodic backing vocals and a loungey piano outro, while \"Generator\" spins a Helmet-esque groove into a psych-grunge bridge and hyper-metallic guitar solo. Bassist Franz Lyons takes over for frontman Brendan Yates on the soaring staccato groove of \"Moon\" (which also features subtle backups from Sheer Mag\'s Tina Halladay) and \"Right to Be,\" which boasts spacey production from Diplo.

The word tends to get abused, but the California metal innovators’ fourth album exists largely to make sure “epic” won’t lose its proper meaning—and not just because four of the seven tracks clock in at over 10 minutes, although that doesn’t hurt. It’s the familiar squall of guitars, rapid-fire drums, and George Clarke’s curdled screaming, combined with more mannered flourishes like piano, spoken word, and Chelsea Wolfe’s guest vocals (“Night People”) that feels huge and relentless and wholly unique, surpassing the scope of even 2013’s instant classic *Sunbather*.

Maynard James Keenan’s rock supergroup has seriously grown up in the 14 years since their last album. The Tool frontman’s band is still angry—they’ve just found new, different ways to express it. The gargantuan riffs of APC’s past now make room for strings, piano, and post-rock builds. *Eat the Elephant* is thoughtful and brooding, but still heavy as ever (tracks like “TalkTalk” would fit right in on *Thirteenth Step*). Harps and horns make slow-burning “The Contrarian” frighteningly ominous, and “So Long, and Thanks for All the Fish” sounds so uplifting it’s unsettling—but its lyrics reveal a sardonic ode to modern life, while lamenting the loss of David Bowie and other legends.

NOTHING’s third full-length recording, Dance On The Blacktop, is the next chapter in the band’s tumultuous story and like its predecessors, pulls from all corners of life with a focus on the bleak and despairing. Captured by renowned producer John Agnello (Sonic Youth, Dinosaur Jr., Kurt Vile) at Dreamland Studio in Woodstock, NY, Dance On The Blacktop is a stirring collection of songs accentuating the band’s love for all sounds 90s from both sides of the pond; from alternative rock and shoegaze to the realms of pop and post-punk. Across the course of 45 minutes, NOTHING weave together nine tales of heightened confusion, anxiety, paranoia, depression and chronic pain juxtaposed against angelic yet apocalyptic, reverberating walls of shimmering sound. Dance On The Black Top is a fervent, emotional tour-de-force, the sound of a band at the peak of their individuality.

Behemoth’s 11th album doesn’t blast open with a gust of thunderous drums or shredding guitars. Instead, something far more terrifying: a children’s choir. Innocent voices, possessed, chant: “Elohim! I shall not forgive!/Adonai! I shall not forgive!/Living God! I shall not forgive!/Jesus Christ! I forgive thee not!” The unholy mantra sets a nightmarish scene for the Polish blackened death metal band’s most accessible—but no less diabolical—album yet. Flipping a middle finger at their nemesis, Christianity, Behemoth relish flaying and twisting hymns, Bible references, and prayers into infernal noise. The trembling “Havohej Pantocrator” revises the Lord’s Prayer: “Our father, who art in hell/Unhallowed be Thy name/Thy legions come/Thy enemies begone/On Earth as it is in the Netherworld.” Like 2014’s masterpiece *The Satanist*, *I Loved You at Your Darkest* pushes far beyond the extreme sound that they\'ve perfected for more than 20 years: Rock rhythms, acoustic guitars, and atmospheric melodies slice through pounding riffs and brutal howls in ways that, surprisingly, make this journey even *more* intense and exhilarating than ever.

Alice In Chains, the 10-time GRAMMY®-nominated grunge icons, return with a sixth album of bluesy psychedelia and crunchy hard rock. Group founder Jerry Cantrell and co-lead singer William DuVall’s vocal melodies set the band apart, whether yearning over the throbbing metal of “Red Giant” or exploring their insecurities on the grunge throwback opener “The One You Know”. Decades after their ‘90s peak, Alice In Chains continue to mine a sound they pioneered without sacrificing the freshness and originality that makes their work distinct.

One of the best damn rock bands this side of Hades is back, led as always by inimitable vocalist Neil Fallon, whose burly howl only gets better with age. *Book of Bad Decisions*, their 12th album, picks right back up where their 2015’s *Psychic Warfare* left off, peddling a similar strain of weaponized funk that’s been winning over rock-hardened hearts since 1991. Decades in, Clutch’s jammy, wide-open blend of jubilant blues, ’90s alt grooves, and Southern rock swagger is still its own kind of monster. “Are you cool? Well I’m cool. Is everybody cool? Well let’s get hot!” Fallon warbles on the barn-burning “How to Shake Hands” before segueing into the second-line stomp of “In Walks Barbarella,” playing with psychedelic shimmers on “Emily Dickinson,” and taking it down home on “Hot Bottom Feeder,” a crab-cake recipe—and homage to their Maryland roots—spun into song.

Having vaulted to new heights with 2015’s *Blurryface*, followed by nearly two solid years of touring, twenty one pilots were in need of a break. Recorded primarily in the band’s Columbus, Ohio, studio during a yearlong public silence, their fifth album *Trench* picks up where the band left off in both sound and subject, exploring rugged emotional terrain in a style by turns cathartic and cryptic. If *Blurryface* was, as Tyler Joseph told Beats 1 host Zane Lowe, a “mirror” for his insecurities, *Trench* is a place where he could go to regain control—or, as he puts it on the tender, album-closing “Leave the City”: “But this year/though I’m far from home/In trench I’m not alone.” What continues to resonate is Joseph’s ability to turn his personal pain into shared experience, his inner dialogue into public art. “Surrounded and up against a wall,” he sings on the disco-ish “My Blood,” “I’ll shred ’em all and go with you.” Whoever he might be talking to (his fans, his wife, his friends), you get the sense the words double as a promise to himself. “I never would have turned to music if I didn’t feel like I need to change or cope with something,” he told Beats 1. “I was perfectly fine before music, and then something happened where I just felt a buildup of some sort. I didn’t know how to decompress that and to have an outlet for it—I was forced to learn how to play the piano.”

*Through a Wall* opens with the sound of rapturous, arena-sized applause. But the rock-star reverie is rudely interrupted by a voice blurting “shut up”—and we’re instantly hurtled back into London, Ontario, punks Single Mothers’ familiarly dank universe via the sludgy pummel of “Marathon.” Even coming from a band whose most charismatic quality has always been their crankiness, *Through a Wall* is an unrelentingly surly record: The grime-coated production and murderous hardcore energy give frontman Andrew Thomson’s ravaging rants an even more serrated age on blitzkrieg strikes like “Dog Parks” and “Catch & Release.” However, momentary relief from the onslaught arrives in the form of “Stoic / Pointless,” a lost-youth lament that dials down the velocity but greatly increases the emotional wallop.

As Carpenter Brut, French synth master Franck Hueso unleashes his first studio full-length of (mostly instrumental) throbbing night jams inspired by electronic dance grooves, hip-thrusting disco, and John Carpenter\'s soundtracks of the \'70s and \'80s. With the neon triumph of the title track and smooth sax solos of \"Sunday Lunch,\" Hueso revives the pulsing nostalgia of a bygone era. He also enlists Ulver\'s Kristoffer \"Garm\" Rygg and Grave Pleasures\' Mat \"Kvohst\" McNerney for some gloriously stentorian vocal accompaniment on \"Cheerleader Effect\" and \"Beware the Beast,\" respectively.

Trophy Eyes’ third album forsakes their hardcore past for a brighter mixture of punk, rock, and pop. For all the album\'s softer moments, however, frontman John Floreani’s reflections on his history of drug abuse and violence make for a harrowing lyrical ride. After moving from Australia to Texas, he found that the physical and mental solace of his new surroundings provided him with a greater perspective on his past. The confessions continue with themes of addiction and self-loathing (“More Like You”), suicide (“Something Bigger Than This”), and the passing of youth (“Autumn”), making *The American Dream* the most personal and solemn Trophy Eyes album yet.

Theatricality has long been a part of Panic! At the Disco’s DNA. But following a 10-week run playing entrepreneur Charlie Price in *Kinky Boots* on Broadway, Panic!’s lone full-time member, Brendon Urie, has infused his unique brand of emo-pop with renewed song-and-dance-man vigor. Each track feels humongous, swirling with strings and shiny horns and topped with Urie’s now theater-tested voice. “Say Amen (Saturday Night)” and “(Fuck A) Silver Lining” are on par with PATD’s most grandiose hits, while “High Hopes” and “Hey Look Ma, I Made It” take inspiration for their brassiness from Urie\'s mother (“Mama said, ‘It’s uphill for oddities/Stranger crusaders ain’t ever wannabes’” goes one memorable line). Even the piano-and-strings ballad “Dying in LA” radiates enough charisma to reach the top deck.

*Bad Witch* was first envisioned as the final installment in an EP trilogy, following 2016’s *Not the Actual Events* and 2017’s *Add Violence*. But, wary of falling into patterns of musical predictability, Trent Reznor scrapped the concept, and instead released the project as NIN’s ninth, and shortest, full album. It feels like pure experimentation—a direct rebuttal to that sameness he was worried about. It alternates between anxious beats, jarring vocals (“Ahead of Ourselves”), and intriguing ambience (“I’m Not from This World”), clearly influenced by Reznor’s masterful score compositions for films including *The Social Network* and *Gone Girl*.

If you missed Led Zeppelin the first time around and wondered what all the fuss was about, well, you’re in luck: A band of (mostly) brothers from Frankenmuth, Michigan, is here to carry the torch for blues-based howling, loud guitars, and tight pants as mass entertainment. “Rock ’n’ roll is a lost ideology,” bassist Sam Kiszka tells Apple Music in the group\'s *Up Next* interview. “It turned into a niche thing. You’ve got to hit the roots again.” That’s exactly what the band does on their debut album, which feels of another time. Swirling together the techniques and textures of rock and blues greats—The Allman Brothers Band, Cream, B.B. King, Neil Young, Jimi Hendrix, and most recognizably Zep, among others—*Anthem of the Peaceful Army* delivers monstrous riffs (“When the Curtain Falls”), jangly strummers (“The New Day”), and earnest acoustic ballads (“Anthem”). The end result is a nostalgia rush for those who know the references and a thrilling point of entry for those who may not. It helps that frontman Josh Kiszka, born with an engine of a tenor, has perfectly mastered Robert Plant’s shrill yelps and yowls (\"Watching Over”) and rock ’n’ roll attitude—which covers everything from wardrobe and stage presence to the album as a stand-alone experience in the streaming era. “We’d like people to listen to this all the way through,” Kiszka says. “And f\*\*king loud.”

Not content to stick to a single genre, Melbourne, Australia\'s Pagan blend elements of punk, emo, black metal, and even dance music on their controlled frenzy of a debut album. Vocalist Nikki Brumen takes an ex to task over the slashing guitars of “Death Before Disco” and delivers scorched-earth proclamations on the blast beat-driven “Imitate Me.” The bouncy, bass-propelled groove of “Year of the Dog” has echoes of Death from Above 1979 with an aggravated edge and hardcore-style gang backups.

The debut album from Melbourne's blackened rock 'n' rollers Pagan.

While their 2014 debut album garnered them comparisons to The Darkness, there’s little that’s tongue-in-cheek about English hard-rock throwbacks The Struts. Instead, they’re out to sincerely revive the genre’s most headbanging and hip-thrusting moments. On their second album, the band taps into the supercharged swagger of The Rolling Stones circa “Brown Sugar” (\"Primadonna Like Me”), revels in the raunchy excesses of ’70s glam (“I Do It So Well”), and teams up with pop singer Kesha for a fierce duet (“Body Talks”). Pumping even its Britpop-like power ballads with adrenaline (“Somebody New”), *YOUNG & DANGEROUS* is aimed at anyone who thinks modern rock has gotten a little too genteel.

What pushes Fall Out Boy after all these years is being open to change. *M A N I A* is filled with unexpected delights. “Young and Menace” drops steep breakdowns, vocal manipulation, huge drums, and an “Oops!... I Did It Again” interpolation into a confetti cannon. Even the most fervent fan won’t see “HOLD ME TIGHT OR DON’T” coming, with the guys locking into a tropical groove. “Champion” and “The Last of the Real Ones” are classic FOB: Patrick Stump’s proud, keening voice, catchy choruses, and heart and mind hurtling together toward the finish. Stump’s inner soul man comes out on “Heaven’s Gate” and “Wilson (Expensive Mistakes),” the latter blessed with the most perfect lyric: “I’ll stop wearing black when they make a darker color.” *M A N I A* is aptly titled, a riot of electronic pop and rock, color and conviction.

Thrice has announced a September 14th release date for their new album Palms. The album is the first Epitaph release for Thrice, who are widely regarded as one of the most innovative rock bands of their generation. Co-produced by Thrice and Eric Palmquist and mixed by John Congleton, Palms encompasses everything from viscerally charged post-hardcore to piano-driven balladry. The most sonically expansive album so far in the band’s 20-year-history, Palms follows the critically acclaimed To Be Everywhere Is to Be Nowhere (released via Vagrant Records in 2016).

When Motörhead’s Lemmy Kilmister was still alive, Matt Pike—singer/guitarist in High On Fire and the iconic stoner-metal band Sleep—often found himself compared to the late legend. Once, he even dreamed that Lemmy got mad at him about it. So, three years after the legendary frontman died of cancer, Pike’s Oakland-based sludge trio released a tribute album in his honor. It’s their most diverse—and maybe best—record yet. The riffs are loud, the rhythms are dizzying, and the Motörhead influence is obvious, but it’s still very much a High On Fire album. Land speed record contenders such as “Spewn From the Earth” and “God of the Godless” sit alongside more than 10 minutes of crushing doom in “Sanctioned Annihilation.” The title track, directly inspired by Pike’s dream, pays homage to the late, great Ace of Spades himself. Loud, brutal, nostalgic: *Electric Messiah* is proof that 20 years in, High On Fire is only getting better.

“I had a dream about Lemmy,” says Matt Pike, explaining the inspiration behind the title of High on Fire’s triumphant eighth album Electric Messiah. “When Lemmy was still alive I always got compared to Lemmy,” the gravelly-voiced guitarist elaborates, “so I had this dream where he got pissed at me. He gave me a bunch of shit, basically, and was hazing me. Not that he didn’t approve of me, but like I was being hazed. The song is me telling the world that I could never fill Lemmy’s shoes, because Lemmy’s Lemmy. I wanted to pay homage to him in a great way. And it turned out to be such a good title that the guys said we should call the album Electric Messiah. Although at first the working title was ‘Insect Workout With Lemmy’,” he adds with a big laugh. Electric Messiah, the best and most diverse of the band’s three albums with Ballou, and a record Pike cannot stop gushing about. Justifiably, too. There’s more speed than ever before (the aforementioned title track, the raucous opener “Spewn From the Earth”, and the thrashy, Sir Francis Drake-inspired “Freebooter”) but the dynamics of Electric Messiah hold the listener riveted. Of note is the nine-minute Sumerian historical epic “Steps of the Ziggurat/House of Enlil”, which Pike proudly calls his own “rock opera”. “The song is the creation story of the Sumerians, the weird dichotomy of two gods fighting over power. I put it into two parts because it’s my Sumerian rock opera. At the end I play three different characters: I play the two brothers that clash, and I play Isis, and there’s a high, medium, and low part. It’s very theatrical. I felt like Meat Loaf doing it, but at the same time Bryan Sours at the studio went, ‘I don’t know what you just did, but that’s fucking cool, just keep doing that!” For all the dream visions and historical epics, the state of the real world permeates Pike’s writing on Electric Messiah as well, none more blatantly than on the bluesy closing track “Drowning Dog”. “That one is about the media and the tomfoolery that’s going on,” Pike explains. “You’re either left or right. Do you see how they’ve divided us through the media? I’m basically saying, ‘Do you see how stupid we are?’ Someone’s gotta speak out and say shit like that, or we’re going to continue to be worse slaves over time. They set this shit up so they can keep us under wraps. What they’re afraid of is us ascending and evolving and understanding our past for real. That was the point of a lot of this last album. People not reading the writing on the wall.”

Formed in Chicago, IL in 1988, The Smashing Pumpkins released their heralded debut album Gish in 1991 and found mainstream success with 1993’s 4x multi-platinum Siamese Dream and 1995’s 10x multi-platinum Mellon Collie and the Infinite Sadness. Following the release of Adore, Machina/The Machines of God, and Machina II/The Friends & Enemies of Modern Music, the group’s original lineup disbanded in 2000. Singer/guitarist Billy Corgan reformed the group in 2005, enlisting various collaborators for Zeitgeist, Teargarden by Kaleidyscope, Oceania, and Monuments to an Elegy. In June of 2018, The Smashing Pumpkins released their new single “Solara” ahead of their monumental Shiny And Oh So Bright Tour. The track was the first song in over 18 years to feature founding members Billy Corgan, James Iha, and Jimmy Chamberlin, alongside longtime guitarist Jeff Schroeder and offered the first glimpse of music from the newly reformed lineup. In September of 2018, the band formally announced their forthcoming 10th studio album SHINY AND OH SO BRIGHT, VOL. 1 / LP: NO PAST. NO FUTURE. NO SUN. and shared its second single “Silvery Sometimes (Ghosts)”. Recorded at Shangri La Studios with legendary producer Rick Rubin, LP is due for release on November 16th, 2018 via Martha’s Music under license to Napalm Records. With over 30 million albums sold to date, the GRAMMY®, MTV VMA, and American Music Award winning band remains one of the most influential bands in history. © NAPALM RECORDS

'Master Volume' is released in September via Dine Alone Records. Want a physical copy of this album? Visit www.dinealonestore.com/collections/the-dirty-nil

Living the Dream is the third studio album to feature Myles Kennedy and the Conspirators. It was released on September 21, 2018 by own record label entitled Snakepit Records. The album was produced by Michael Baskette, who also produced the band's previous record World on Fire and also produced many of Kennedy's albums such as Year of the Tiger. The record features 12 songs.

This is our new album. It is a time capsule. Locked inside are people, ideas, times, places, and memories. Please take care of them all. We can't wait for you to add your own to them.