Elijah’s Top 5:

Ánv, Eluveitie (Nuclear Blast). The Swiss Celtic metal legends return six years after their magnum opus with a top-notch addition to their catalog, full of catchy choruses, some of the best riffs in today’s melodic death metal scene, and unbeatable hurdy-gurdy production.

Changeling, Changeling (Season of Mist). Fretless guitars and expansive arrangements abound on this technical death metal debut. Upon repeat listens, Changeling has stood out to me more and more, meaning it probably deserves a higher rating than I gave it in my full review.

The Film, Sumac & Moor Mother (independent). An inspired collaboration between the monstrous noise/sludge metal trio and the socially conscious, Philadelphia-based spoken word artist, this release offers the listener so much and does it ever delivers. The juxtaposition of disturbing sounds with challenging but important notions has scarcely been more effective. When devices like melody, riffs, and singing are introduced, sparing as they are across the record, they becomes all the more wonderful and poignant.

From Nothing, Benthos (InsideOut). Italian progressive metal that almost sounds like so many other bands that they actually don’t sound like anyone else. Graceful vocals floating across frenetic instrumentation, a sense of elation and energy exuding throughout, but when it gets heavy it will crush you.

Noble and Godlike in Ruin, Deerhoof (Joyful Noise). The Bay Area indie rock darlings give us yet another anti-pop masterpiece. Catchy melodies abound, often all at the same time, making for masses of tonality that become incomprehensible. Possibly their best release since the last similarly “inspiring” American presidential election, it seems entirely probable that political dismay is very conducive to Deerhoof’s work, for better and for worse.

Adriane’s Top 5:

December/Sedimonthole, Thaba (Brabant Road). Thaba’s second album carefully interweaves some of the final work of late founding member Khusi Seremane with the talents of producer Gabriel Cyr and a worldly list of collaborators. A DIY masterpiece of electronics, poetics, and southern African pop sounds.

Dracones, Hüma Utku (Editions Mego). Inspired by her experiences during pregnancy, Hüma Utku crafts moody ambience from synths and sonograms on smoky Dracones. Industrial electronics have never sounded as vulnerable as in exploring the often fearful excitement of creating life.

In Between, Elana Sasson (PKMusik). A luscious mix of Kurdish lullabyes, Persian art sounds, and folk jazz. Elana Sasson has an irresistible voice and a strong sense of both her roots and her creative aspirations.

Kiniata, Kin’gongolo Kiniata (Helico). With self-made instruments and tight chemistry, five-piece Kin’gongolo Kiniata brings their rumba-tinged rock from Kinshasa to the world. Day-to-day rhythms translate into thrilling funk.

Te Whare Tīwekaweka, Marlon Williams (self-released). Sung entirely in te reo Māori, Marlon Williams’ latest album of alt-country and folk-rock is yet another captivating gem. At times twangy, at times melancholy, and always deeply felt, this is another wondrous dimension of Williams’s soulful solo work.