Long ago, I learned that bum-rushing through all the music I haven’t listened to yet before list-making time is an ineffective way of composing my top albums of the year. I either don’t give the album the chance it deserves, or I knee-jerk decide it’s great and then never listen to it again. Instead, I take the time to go back and revisit the albums I genuinely enjoyed throughout the year and see if they still hold up for me. Or, if you’re Bell Witch, you win a spot on my list no matter what (spoiler alert). 

10) Ghost, Skeletá (Loma Vista)

I feel like Prequelle and Impera had smash hit singles that sort of dwarfed other songs on the album (these being “Dance Macabre” and “Call Me Little Sunshine” respectively). My initial impression of Ghost’s sixth album was similar, but Skeletá has grown on me, and I found myself drawn to it when I didn’t know what else I wanted to listen to. The first three tracks are a solid one-two-three, flexing Ghost’s heavier bits while also getting to play arena rock songs that sound like evil Journey. “Missilia Amori” is what cinched it for me because that song fucking rules.
Key Track: “Missilia Amori”

09) Deftones, private music (Reprise)

For me, Deftones never miss. Some albums might be better than others (though I still maintain that 2016’s Gore is criminally underrated), but I’ve never had a bad time listening to anything Deftones have done, and private music is no exception. The shoegazy passages that wash through this record are absolutely mesmerizing. While the band is no stranger to riffs that stick in your head hours later, this one is just bursting with some heavy, powerful shit that makes you want to pound the steering wheel during your commute (both morning and evening). For me personally, this is my favorite of theirs since 2012’s Koi No Yokan.
Key Track: “cXz”

08) Astronoid, Stargod (3DOT Recordings)

I listened to Astronoid’s 2016 debut album several times, liked it, and then failed to take notice of their subsequent albums. Until now. I jumped into Stargod completely on a whim, and boy, am I glad I did. That bright buoyant sound that made the band stand out when they first came on the scene is still present in full force, less as a gimmick and more in a “Hey this is what we’re good at” kind of way. “Love Weapon” is one of the single best riffs I’ve heard all year, and the title track is a great synth-driven ’80s rock track. So, Astronoid, if you’re reading this, I am sorry I lost track of you because this is great.
Key Track: “Love Weapon”

07) Bloody Valkyria, In Our Home, Across the Fog (Northern Silence)

Confession: I have not played Elden Ring yet. I loved Dark Souls and Sekiro: Shadows Die Twice, but I’ve yet to dive into what many consider FromSoftware’s magnum opus. Luckily, playing the game is not a bar for entry to enjoy Bloody Valkyria’s In Our Home, Across the Fog. The album is genuinely gorgeous and really nails the “fantasy black metal” atmosphere with beautiful symphonic arrangements that don’t really spearhead the album but rather support the heavier arrangements, striking a great balance in sound that never feels like the band relying too hard on their theme to sustain them. It’s all one guy, like so many of these projects are, but he’s really married his love for the concept with his musical talent in a way that pleases fans of both.
Key Track: “From Stormveil to Liurnia”

06) Castle Rat, The Bestiary (King Volume)

Castle Rat has the distinction of being the only band on my top 10 that I’ve seen live this year. Last year’s debut Into the Realm had a great old school doom vibe, so when I was invited to see them ahead of the release of their second album, I was interested to see their live schtick. Holy shit, what a great time. I’d be lying if I said my opinion of this album wasn’t elevated by that performance. But even without the stage show, The Bestiary proves the band’s music is capable of standing on its own. The album’s production is a big step up from its predecessor and the central concept about, well, a bestiary, cements that fantasy doom theme. I don’t think I’ve felt this way about an old school style doom metal album since The Sword’s 2008 classic “Gods of the Earth”.
Key Track: “CRYSTAL CAVE”

Matt Brown

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