2022 has been a bit of a mixed bag, with political parties changing leaders more than they change their underwear, a cost of living crisis and an ongoing war in Eastern Europe. Itâs fair to say itâs living up to the new standards created since 2020. However, the big change from the past few years is this â LIVE MUSIC IS BACK BABY! Weâve had a full festival season, bands fully back on tour and countless albums to drown in. As we rest our weary joints and voices after dozens of gigs over the last few months, Team Punktastic have gathered round the fireplace to reflect on what a year itâs been. Pull up a chair, grab a mug of cocoa (whiskey not required) and settle yourself in as we tell the tale of Punktasticâs Albums Of The Year, 2022 edition.
25. Pale Waves – ‘Unwanted’
Three albums in, and Pale Waves continue to be the gift that keeps on giving. ‘Unwanted’ sees the band return to their roots of providing heartbreak anthems you canât help but sing along to, with the riffs to match. The band continue to dip into early 2000âs pop punk and give it a new lease of life, with songs offering the perfect mix between a ballad and the pop punk theyâre known for. Heather Baron-Gracie has once again delivered catchy lyrics which no doubt will continue to become firm favourites in their live shows. Inspired by Avril Lavigne, Paramore and Sum 41, this album borrows from the golden pop punk era for a new age of listeners. Songs like ‘Jealousy’ and ‘Alone’ were made for live audiences and will no doubt become a staple within their sets. Overall, this record is the perfect mix of chaotic and angsty, an album that keeps on giving. [Kirsty Fox]
24. October Drift – âI Donât Belong Anywhereâ
With a title of âI Donât Belong Anywhereâ, you could be forgiven for thinking October Driftâs sophomore album is a bit of a disjointed anomaly compared to their previous releases; in reality, itâs anything but. Building on their back catalogue, and with the familiar vocal qualities of Kiran Roy, October Drift havenât necessarily strived for progression, but have managed to hone their sound perfectly. Tracks like âAirborne Panic Attackâ and âWebcam Funeralsâ touch on the fragility of the planet and human nature, with the latter being particularly effective at touching on the pandemic. âWaltzerâ and âParasiteâ heavily lean into mental health and wellbeing, and whilst being a little bleak, the choruses are catchy and anthemic. âOld and Distant Memoryâ closes at a slower pace but builds vocal harmonies and a delicate string refrain that take the edge of what could be a bit of a mournful ending. Ironically, its closing line of âIâm an old and distant memory / I got cold and you got bored of meâ is the very opposite of the repeatability of this album. With a tinge of realistic angst that lingers throughout, this is an album that doesnât just have its heart on its sleeve, it rolls them sleeves up to show you every cell of its limbs. October Drift have honed their craft, and âI Donât Belong Anywhereâ is them at their best. [Andy Joice]
Read our full review of ‘I Donât Belong Anywhere’
23.The Chats – âGet Fuckedâ
These really are boom times for Australian bands screaming in your face. Alongside compatriots Amyl & The Sniffers, the Sunshine Coastâs The Chats continue to make waves across the punk landscape. This snotty, scrappy, garage band three-piece blew on to the scene shouting about pub grub, smoke breaks and venereal diseases. Their third record, âGet Fuckedâ, shows their variation as they now shout about knackered vans and getting drunk in the bars of Brisbane. Of course, thereâs much more to The Chats than this. Behind the frantic chords and the Queensland slang-heavy vocals, thereâs social commentary. Whether itâs the racism in surf culture (âEmperor of the Beachâ), the rise of inflation and cost of living crisis (âThe Price of Smokesâ), the overzealous nature of authority figures (âTicket Inspectorâ) or the value of strong unions (âDead on Siteâ), The Chats cut through the bullshit with a searing wit. âGet Fuckedâ comes and goes in just under 28 minutes, but it leaves a lasting impression. Itâs the throwback punk of the Buzzcocks with the sneer of the Sex Pistols, and it absolutely rips. [Tom Walsh]
Read our full review of ‘Get Fucked’
22. Nova Twins – ‘Supernova’
Itâs no question that Nova Twins have already had quite a significant year, and âSupernovaâ marks a poignant moment within it. The album is loud without being obnoxious, inclusive without pandering, and relevant without feeling overdone. Itâs expertly crafted by vocalist/guitarist Amy South and bassist Georgia Love who execute and design every element of their craft â even down to the clothes on their back – this roots the act in authenticity that not only makes the music great, but the duo captivating. âSupernovaâ is a striking record that makes decisively bold choices in a fun and refreshing way, playing with genre and the unexpected. The duo arenât just ahead of the curve, they are paving the way. [Jessica McCarrick]
Read our full review of ‘Supernova’
Read our live review of Nova Twins at 2000Trees
Read our live review of Nova Twins at Slam Dunk
21. Joyce Manor – ’40 oz to Fresno’
In the era of bloated deluxe editions and multiple remixes to game the charts, a 16 minute album is more than a novelty – itâs a clear statement of intent. On the excellent ’40 oz. to Fresno’, Joyce Manor took their signature pop-punk sound and further refined it, concluding so quickly that they left you shellshocked. A charming record, littered with the
nostalgia that keeps fans returning, ’40 oz.’ is a true highlight of 2022. Look no further than âGotta Let It Goâ, a late-stage Joyce Manor classic that typifies the album entirely. This was a sign of a band at the very peak of their powers, and it’s left us hoping theyâll be back again sooner rather than later. [Alex Sarychkin]
Read our full review of ’40 oz. to Fresno’
20. Viagra Boys – ‘Cave World’
Viagra Boysâ third album âCave Worldâ follows on from last years âWelfare Jazzâ as the perfect accompaniment. Where âWelfare Jazzâ focused on a more singular subject – the band and, specifically, frontman Sebastian Murphy – âCave Worldâ takes a more encompassing look at society as a hold. Or, more aptly, the dregs of society. Pointing the finger at conspiracy theorists, internet trolls, and the less educated but more vocal political followers (itâs one hell of a Venn diagram), Murphy and the gang pepper each track with their discordant sounds and subtle yet effective melodies. Full of snark and witty putdowns, Viagra Boys have an edge thatâs as visible as it is jagged. Theyâre not afraid to throw pointed barbs at anyone that takes their fancy and, although it may seem aimless, theyâre thrown with accuracy and near deliberate malice. Thereâs a sardonic tone that resonates throughout the record, with ups and downs that matches the sometimes muted, sometimes chaotic instrumentation. âCave Worldâ is another successful venture from the Swedish outfit, fitting nicely in the slightly genre-bending area of post-punk that Viagra Boys have made their home. [Andy Joice]
Read our full review of ‘Cave World’
19. Mom Jeans – ‘Sweet Tooth’
Evoking imagery of sunny day drinks on the beach in favour of the traditional sobbing alone in your bedroom, âSweet Toothâ is a refreshing and cathartic listen. Fear not, purists, the thirteen tracks are still dappled with malaise; this is, after all, a Mom Jeans record rooted in emo sensibility. However, itâs far less edgy. From a songwriting standpoint, it feels as though the band arenât trying nearly as hard as they were on previous efforts⊠and it works. Loosening the shackles that caused their second album âPuppy Loveâ to fall flat after the impressive debut of âBest Budsâ has resulted in a far superior end product. Itâs hardly a revolution, but âSweet Toothâ is the kind of fun that reminds us why we enjoy music in the first place. [Aaron Jackson]
Read our full review of ‘Sweet Tooth’
18. Spanish Love Songs –Â ‘Brave Faces Etc.’
Like almost all of us, Spanish Love Songs spent the best part of two years isolated. It allowed the quintet to engage with fans through Patreon, yet in the case of ‘Brave Faces Etc.’, it provided them with the opportunity to experiment. Going beyond the standard “reimagining” treatment, ‘Brave Faces Etc.’ elevated the bleak lyrical nature of 2020’s ‘Brave Faces Everyone’. On tracks such as ‘Kick’ and ‘Self-Destruction (As a Sensible Career Choice)’ there’s an aching fragility to Dylan Slocum’s vocals, whereas ‘Losers’ and ‘Brave Faces, Everyone’ are hauntingly executed and compelling. Flashes of synths, lo-fi electronica and distant piano keys appear throughout, complementing the downbeat lyrical nature. It’s a touching, relatable record that undoubtedly hits hard emotionally. [SĂȘan Reid]
Read our full review of ‘Brave Faces Etc.’
17. Stray From The Path – ‘Euthanasia’
There arenât many more consistent bands than Stray From The Path, who released another healthy dose of rap punk fury. Drew York has penned some of his most ferocious lyrics on the bands tenth record, and considering the current climate we live in, is it any real surprise? Lead single âGuillotineâ buzzsaws its way through the speakers, whilst âIIIâ is the third of the series of âBadge & a Bulletâ songs, taking aim at the police forces who have made questionable choices and walked free from court. âLaw Abiding Citizenâ invokes so much Rage Against The Machine influence and âBread & Rosesâ sees Jesse Barnett of Stick to Your Guns give a career best vocal feature on a very Deftones-like track. âLadder Workâ closes ‘Euthanasia’ in a way that a movie soundtrack finishes, a giant soundscape that the band have thrown their paint over, resulting in the biggest sound theyâve ever committed to record. Stray From The Path proved that they can still deliver meaningful and relevant music which is consistently brilliant and thought provoking. [Adam Rosario]
Read our full review of ‘Euthanasia’
16. Conjurer – ‘PĂĄthos’
The thing about Conjurer is that they let the music they create speak for itself. ‘PĂĄthos’ is their latest output, and it feels cathartic to listen to, with its heaviness in sound as well as the subject matter. The album takes you through an emotional journey, especially with the song ‘All You Will Remember’. With eight tracks on the album, ‘PĂĄthos’ doesnât overstay its welcome and keeps the listener immersed in the music. Conjurer are a band that still stands out in the UK metal scene, and itâs going to be exciting to see what happens next for them. [Sarah Tsang]
Read our full review of ‘PĂĄthos’
15. The Wonder Years – ‘The Hum Goes on Forever’
Throughout The Wonder Years’ career, there has been a sense of optimism through all the self-doubt Dan Campbell and company have expressed. Having welcomed fatherhood, ‘The Hum Goes on Forever’ looked to accept that constant subconscious feeling of uncertainty. Lyrically rich and earnest, songs such as ‘Summer Clothes’, ‘Lost it in the Lights’, and ‘Oldest Daughter’ are sentimental. Whereas, ‘Wyattâs Song (Your Name)’ and ‘Low Tide’ showed The Wonder Years haven’t lost the ability to write massive hooks. Anchored by a consistent rawness, ‘The Hum⊒ is built on The Wonder Years’ emotional foundations and has organically evolved it into another captivating collection. [SĂȘan Reid]
Read our full review of ‘The Hum Goes on Forever’
Read our live review of The Wonder Years at The Electric Ballroom, London
14. Parkway Drive  – ‘Darker Still’
Parkway Drive have fought tooth and nail to see this album released, and deservedly so. While the dry humor of previous albums isnât as present here, âDarker Stillâ is no less of a PD album for it. It is a tale of resilience in the face of overwhelming opposition and, at times, it feels as though we are listening to a record meant only for the band itself, with promises upon promises to keep struggling through, no matter the circumstances. âGround Zeroâ feels like the perfect encapsulation of the albumâs journey; moments of honest fragility peaking through the coal performances interspersed with brutal, defiant guitar lines. They never shy away from their origins though, and while the record is full of unfamiliar territory for the band, their classic old hardcore vibes still bleed through the cracks on tracks like âGlitchâ. Though âDarker Stillâ might become one of the quintetâs most divisive pieces, it is by no means aimless. Parkway Drive deserves all the recognition coming to them for producing a record that is wholly theirs, a self-reflective piece thatâs without compromise in its composition. [Fiachra Johnston]
Read our full review of ‘Darker Still’
Read our live review of Parkway Drive at Alexandra Palace, London
13. Polyphia – ‘Remember That You Will Die’
With the release of ‘New Levels New Devils’ in 2018, every Polyphia release since has felt special. Tim Henson and company have never had anything to prove, neither in their technical ability nor their writing creativity, but ‘NLND’ was perhaps their biggest leap forward yet. Itâs good to see the bag of tricks isnât running dry any time soon, as ‘Remember That You Will Die’, their first full LP since, is just as exciting as its predecessor. Amongst the classic instrumental displays of musical prowess, such as the Spanish-influenced âPlaying Godâ, and âEgo Deathâ, a truly grand collaboration with the legendary Steve Vai, Polyphia has upped their guest vocalist game as well. Chino Moreno of Deftones fame joins for the suitably distorted âBloodbathâ while Sophia Black adds an infectious positivity to âABCâ that should feel out of place but instead feels right at home. The biggest pull of ‘Remember That You Will Die’Â is that thereâs something for everyone here. No two tracks feel similar, yet its consistently stellar production means the album never lacks cohesion or feels disjointed in its presentation. In doing so, Polyphia have crafted their most well-rounded record yet. [Fiachra Johnston]
12. Boston Manor – âDaturaâ
The past few years have seen Boston Manor challenge themselves without limits, catapulting their music from their pop punk roots to a darker, more complex sound thatâs difficult to define. Their latest venture, âDaturaâ, showcases their phenomenal growth and further positions them as one of the strongest names in British music, giving us high hopes for whatâs next, and securing confidence that their trajectory will only continue upwards as we move into 2023. This is a band who arenât afraid to take risks and while âDaturaâ may not be everyoneâs cup of tea, itâs an authentic approach to a concept album that will draw in new fans as well as excite many of those who have been around from the beginning. This eerie, sultry, somewhat romantic record is a must listen. Â [Yasmin Brown]
Read our full review of ‘Datura’
Read our live review of Boston Manor at Electric Brixton, London
11. Kid Kapichi – ‘Here’s What You Could’ve Won’
With this album, Kid Kapichi have managed to strike a balance of irreverence and indifference â knowing just when to play the right hand. The track list is brimming with forceful narratives that are heightened with diverse, powerful, and downright dirty instrumentation, leaving the listener feeling fulfilled in every capacity. Itâs strongest attribute though could be the softness that is woven throughout; subtle and sombre heartfelt lyrics and production that highlight versatility. âHereâs What You Could Have Wonâ is a formative record for the band as they push the boundaries of their style and prove weâve not yet seen everything they have to offer. Besides, who doesnât like their post punk with a side of hard-hitting politics and social commentary that make you question everything as you headbang? [Jessica McCarrick]
Read our full review of ‘Here’s What You Could’ve Won’
Read our live review of Kid Kapichi at Electric Ballroom, London
10. Ghost – ‘Impera’
One question was on the lips of Ghost fans heading into album number five – what direction was Tobias Forge going to take them in this time? The mastermind behind the Swedish occult band has never been afraid to evolve their sound from album-to-album, and while 2018âs âPrequelleâ dipped its toes into the realm of arena rock, âIMPERAâ firmly steps onto that stage and turns the dial up to 11 with stunning results. Musical influences from Def Leppard to Van Halen, Europe and (quelle surprise) ABBA shine through across the record – thematically focused on the rise and fall of empires – as Ghost embrace the bombast of 80s rockâs biggest and best, with all of the hooks, riffs and pop sensibility that Papa Emeritus and his band of Nameless Ghouls have become known and loved for. From the rip-roaring opening salvo of âKaisarionâ and âSpillwaysâ, to entrancing power ballad âDarkness At The Heart Of My Loveâ and sprawling closer âRespite On The Spitalfieldsâ, âIMPERAâ is a stunning tour de force from start to finish, with its commercial success rightfully positioning them as future major festival headliners, not just in the UK, but worldwide. [Brad Stratton]
Read our full review of ‘Impera’
Read our live review of Ghost at The O2 Arena, London
9. Cave In – ‘Heavy Pendulum’
After helping define metalcore then space-rock, Cave In have spent nigh-on twenty years trying to combine the two. In the past, their ideas may have struggled to cohere but by pinning them to metal on âHeavy Pendulumâ they perfected it. This isnât an album, itâs a journey. Always creative, always restless, they always wanted to explore and that is also true here, but united under a singular vision, these fourteen songs feel focused, fresh and expansive, magical even. Stephen Brodskyâs singing is delightful and paired with carefully deployed yells for maximum impact. Each song is underscored by big metal riffs, easily drifting between genres and styles while being threaded together by twisting effects-laden guitars, resulting in a tour of every project theyâve been involved with. You can hear their major label hooks on âFloating Skullsâ, their underground roots on âAmaranthineâ and the Hydra-Head era interludes on âPendulambientâ all woven together in a tapestry where each part supports the next. And finally, after thirteen hard-hitting songs, they have the audacity to end the album with âWavering Angelâ. Eclipsing even the genius of the now-classic âSing My Lovesâ, it starts as a small acoustic song, slowly building layer after layer until the tension becomes too much and it erupts into a blistering guitar solo, only to fade into an outro riff with a whole planetâs gravity, ending what isnât just a record, itâs an entire career distilled into one epic tour of the cosmos. [Ian Kenworthy]
Read our full review of ‘Heavy Pendulum’
8. Architects – ‘the classic symptoms of a broken spirit”
Just over a year after their chart topping album âFor Those Who Wish to Existâ, Architects returned in 2022 with their tenth album and further pushed their sound with âThe Classic Symptoms of a Broken Spiritâ. The band stick to their stable sound, but with the addition of further electronic elements. While the last album brought the band to arena level, this album will have ensured it. The industrial thud of ‘tear gas’ shows the interconnectivity to the last album, but the band are not afraid to push into newer territories. ‘burn down my house’ becomes one of the standout tracks through its beautifully slowed tempo. While pushing into these territories, classic fans will be satisfied with the stomping closer ‘be very afraid’ and the return of the much lauded “Bleugh” in ‘spit the bone’. Architects find the perfect balance between the new and old with one of their most concise albums, cementing them as one of the top British bands on the scene. [Glen Bollard]
Read our full review of ‘the classic symptoms of a broken spirit’
Read our live review of Architects at Alexandra Palace
7. Bob Vylan – ‘Bob Vylan Presents The Price of Lifeâ
Here in Britain, thereâs an increasing feeling that those without inherent privilege are being punished for simply existing. Particularly pertinent today is the cost of living crisis, to state the fucking obvious. Of course, itâs not a situation unique to home but regardless, Bob Vylan arenât having it. Their brand of brash London punk/hip-hop/grime couldnât have resurfaced at a more apt time and, in âBob Vylan Presents The Price of Lifeâ this eponymous duo have launched a sonic statement loud enough to be heard across the nation and beyond. Crucial message aside, the album sounds fantastic, and there are plenty of hooks and riffs to warrant endless revisits. That said, the bottom line is that this is the most important album released this year, bar none. [Aaron Jackson]
Read our full review of ‘Bob Vylan Presents the Price of Life’
Read our live review of Bob Vylan at The Underworld, London
6. Rolo Tomassi – ‘Where Myth Becomes Memory’
Thereâs something thatâs so special about Rolo Tomassi and the way that theyâve shape-shifted from unpredictable math-metal meddlers into some of the most powerful and progressive songwriters that the UK has to offer. âWhere Myth Becomes Memoryâ further strengthens their claim to that title; an incredibly moving ten track outing that journeys through dizzying highs and devastating lows with true elegance and emotional potency, perfectly closing the book on their unintentional trilogy of albums. The crushing brutality in âDripâ and âCloakedâ is impossibly colossal, and the delicate piano sections on tracks like âMutual Ruinâ and âStumblingâ are so raw and spacious that the emotional weight is overwhelming. Throw in explosive and gloomy heavyweights like âLabyrinthineâ and charmingly serene epics like âThe End Of Eternityâ and youâve got yourself the whole package. A stunning album by a stunning band that just seems to get better and better. [Dave Stewart]
Read our full review of ‘Where Myth Becomes Memory’
Read our live review of Rolo Tomassi at Oval Space, London
5. Zeal & Ardor – ‘Zeal & Ardor’
Manuel Gagneux is Swiss-American, heâs a multi-instrumentalist and heâs the visionary behind Zeal & Ardor. Having gained praise for the bandâs eclectic blend of black metal and spiritualist singing, heâs already proved heâs talented. Heâs proved he had ideas. On this third album, heâs finally proved heâs a genius. Previous records sounded fresh and unusual, they were creative and always tried new things but thereâs no trying here, everything is deliberate, meaning these songs arenât just better, theyâre essential. Each dips into different genres in interesting, intoxicating and important ways, yet the album fits together perfectly. With a purposeful tone and careful structure, the raw and stripped back âGötterdĂ€mmerungâ sits easily beside the sumptuous âI Caught Youâ without compromising the overall vision. Thereâs a clear message and dissatisfaction bubbles beneath the surface but itâs all slickly executed in a way that previous efforts werenât, and although it trades gritty production for something a little more refined, their sound doesnât lose any of its edge. The real trick though is making avantgarde black metal accessible to a wide audience and songs like âChurch Burnsâ combine dark riffing and soulful gospel singing to create an intensely likeable package. The results are stunning and you canât doubt the conviction. Heavier, more melodic, restless and relentlessly creative, Zeal & Ardorâs self-titled record isnât just a chance to redefine themselves, itâs a chance to redefine what black metal can do. Itâs awe-inspiring. [Ian Kenworthy]
Read our full review of ‘Zeal & Ardor’
Read our live review of Zeal & Ardor at Electric Brixton, London
4. The Callous Daoboys – âCelebrity Therapistâ
Thereâs a certain breed of metalcore bands that can be loosely defined as âbands that really like Converge and the Dillinger Escape Planâ, but few of them manage to be as original, interesting, and batshit insane as their heroes. The Callous Daoboys have a relentless force of personality that allows them to absolutely nail it, playing angular, pacy, and technical metalcore while bringing plenty of their own twisted charisma to the party. And it really is a party. The lyrics are laugh-out-loud absurd, the instrumentals ludicrously heavy, and the melodic sections are palatable enough for anyone to get into – even if the rest of the album isnât. If you like your music fast, heavy, and unpredictable, thereâs every chance The Callous Daoboys will become your new favourite band. [Ash Bebbington]
Read our full review of ‘Celebrity Therapist’
3. PUP – âTHE UNRAVELING OF PUPTHEBANDâ
The Canadian kings of melodic punk returned to our speakers in 2022 with an absolute barnstormer of a record that blends irresistible hooks with a furious punk edge in their own inimitable style. Four albums in theyâre yet to put a foot wrong, and must now surely be considered one of the worldâs best punk bands of the last decade. The recordâs lyrics drip with irony as a three-part interlude sees singer Stefan Babcock sing from the perspective of a musician whoâs sold out to the âboard of directorsâ bankrolling the album. Thereâs also a song written from the perspective of a robot, and another from the perspective of a guitar. But above all else, this record is just an absolute blast to listen to. Songs like âTotally Fineâ and âMatildaâ are pure cathartic punk joy thatâll put a smile on your face and a spring in your step. [Ash Bebbington]
Read our full review of ‘THE UNRAVELING OF PUPTHEBAND’
2. Alexisonfire – ‘Otherness’
Is there anything better than one of your all time favourite bands getting back together? I mean, maybe – I hear childbirth is meant to be pretty magical and I imagine winning the Euromillions probably feels alright too – but when it comes to music, few feelings match up to having your one of your all time favourites release new material and simultaneously fix your broken heart. Alexisonfire did exactly that with âOthernessâ, a record that floods your senses with post-hardcore nostalgia and emotional power, helping to pick up all of the pieces that their hiatus created and put them back together over the albumâs 50 minute run-time. It has so many different sides and demonstrates just how far theyâve come as songwriters, including everything from cathartic angst-riddled riots to delicate and seriously moving masterpieces. Tracks like âDark Night Of The Soulâ, âBlue Spadeâ and âWorld Stops Turningâ all dip their toes in the rock epic world, âReverse The Curseâ and âSurvivors Guiltâ are classic early-band-days bangers, âSans Soleilâ and âSweet Dreams Of Othernessâ both pick up exactly where they left off on 2009âs âOld Crows / Young Cardinalsâ; it all sounds wonderfully effortless, almost like they never went away, making their decade of silence seem like but a moment. Itâs like they were never gone, and that really is a wonderful feeling. Welcome back, Alexisonfire – we missed you. [Dave Stewart]
Read our full review of ‘The Otherness’
Read our live review of Alexisonfire at O2 Academy Brixton
1. Ithaca -âThey Fear Usâ
One of the most common tropes amongst musicians is the concept of the âdifficult second albumâ, also known as the Sophomore Slump. When noisy London-based outfit Ithaca released âThe Language of Injuryâ in 2019, they set the bar for themselves incredibly high with their intense brand of off-kilter metalcore, heavily influenced by the âwhite-beltâ bands of the early 00s like Poison The Well and Misery Signals. Itâs a dark, angry record that bubbles over with energy and feels like it could fall apart at any minute due to its own momentum. Long story short: itâs a perfect metalcore record.
âThey Fear Usâ is, in no uncertain terms, a flawless follow-up. It is undoubtedly more polished than its predecessor but it hits with just as much power and acidity, as is immediately and abundantly clear on opening track âIn The Wayâ. âI take your calls in the bathroom so that no-one can hear, and wash your blood down the sink âcause we donât keep souvenirsâ may well be the HARDEST line on a track released this year, thanks in no small part to Djamila Boden Azzouzâ venomous delivery and the flurry of buzzsaw riffs the rest of the band backs her up with.
For the next few tracks, the album is pretty relentless. First single and title track âThey Fear Usâ is carried by a real neck-breaker of a riff, leading up to a staggering mosh-call of âBOW BEFORE YOUR BLOODâ into a savage breakdown, âCremation Partyâ is some serious circle-pit fodder, and âNumber Fiveâ (which is annoyingly the sixth track on the album) contains some lead guitar lines that sound downright unhinged. Ithaca have taken everything that made their debut album so great and somehow improved upon it without ever feeling like theyâre rehashing old ideas or over-treading familiar ground.
Up until this point, âThey Fear Usâ has been a metalcore record. A fantastic and innovative one, sure, but a metalcore record nonetheless. On the last three tracks, however, Ithaca break free of any genre restraints they may have felt shackled by and really let their diverse influences shine through. âFluorescentâ is a fantastic showcase for how far Djamila has come as a clean vocalist, working her way through their most measured song to date with really interesting phrasing and bags of style and charisma. âYou Should Have Gone Backâ mixes the band’s sound with post-metal atmosphere, but features a soulful guitar solo that Prince would be proud of. Closing track âHold, Be Heldâ is perhaps the biggest curveball, blending Bon Iver-esque electronic passages with gospel vocals (that repeated line of âhow much more can I take? When will I heal?â is absolutely heartbreaking) and prog-style callbacks to motifs from earlier songs. If Ithaca release a third record, and letâs hope they do, it would be fantastic to see them lean into their progressive side more; they clearly excel at it.
Whilst this is a review of the album itself, it feels remiss to not mention the album art and general aesthetic of this release and the campaign behind it. Very few bands would have the guts to put such a striking band photo on the front cover of their record, particularly in this genre of music, and the powerful, regal nature of Djamilaâs look in particular feels very appropriate for the content. âThey Fear Usâ carries a message of triumph and hope: your trauma does not define you. This record is emotional, passionate, introspective, and empowering. Itâs also just a seriously fun heavy metal record to bang your head to even if you donât feel like you need anything else out of it. What more could you possibly ask for? [Liam Knowles]