Top Albums of 2017 - Brian O'Neill

WITTR Thrice Woven

I spent the better part of two decades writing about music, mostly the metallic stuff, until a few years ago when life got complicated: the music biz started to fall apart, and my personal priorities changed for a variety of reasons – foremost among them, I came out of retirement (this year). Making this list almost made me regret the decision; it was torture knocking off some great albums to arrive at the list you’ll see below. But I think that means that in the years to come, 2017 will be looked back on fondly as a strong one for the dark arts. I picked a good year to come back, right?

Honorable Mentions:

20. Pyriphlegethon – The Murky Black of Eternal Night (Iron Bonehead, Netherlands)
19. Alestorm – No Grave But The Sea (Napalm Records, Scotland)
18. Pagan Altar – The Room of Shadows (Temple of Mystery Records, United Kingdom)
17. Myrkur – Mareridt (Relapse Records, Denmark)
16. Zeal and Ardor – Devil is Fine (MVKA, United States of America)
15. Mammoth Mammoth – Mount the Mountain (Napalm Records, Australia)
14. Tau Cross – Pillar of Fire (Relapse Records, United Kingdom)
13. Ufomammut – 8 (Neurot Recordings, Italy)
12. The Wizards – Full Moon in Scorpio (Fighter Records, Spain)
11. Beastmaker – Inside the Skull (Rise Above Records, USA)

Laster
Ons Vrije Fatum

Laster bills itself “Obscure Dance Music from Utrecht,” to which I can only say, “sure, why not?”

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The Obsessed
Sacred

Reforming under the hallowed Obsessed banner, Wino releases a crowning achievement in a career of distinguished doom.

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Like Blus Aus Nord on an acid-drenched trip worthy of Lewis Carroll’s most terrifying nightmare. Theatrical and ambitious but strangely catchy.

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One-man project from Azerbaijan incorporates Middle Eastern mysticism within lush, experimental, atmospheric blackgaze.

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Too much Gothic metal dilutes the majesty and especially the power of both genres. This debut should make all those bands feel the shame that they deserve.

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Australian band reimagines Sodom as NWOBHM expats with Gibby Haynes lurking somewhere in the shadows. The riffs go on for days!

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Kansas stoner rockers make a stripped-down, riff-heavy record that Tom Waits might have made had he grown up on Black Oak Arkansas.

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If Wolves In The Throne Room has taught us anything about black metal, it’s how gorgeous it can be.

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The metallic assimilation Wolfe started with Abyss is complete and perfected here.

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Former Refused cover band’s stunningly accessible debut is the shape of post-hardcore to come.

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