Ty Segall – Emotional Mugger
Ty tends to do a release every few years, and in 2016 we were graced with Emotional Mugger. With a live band made up of Kyle from King Tuff and longtime bandmate and friend Mikal Cronin, Mugger brought a supergroup vibe to Drag City’s January release. He announced the album in typical off-kilter style by sending a VHS to Pitchfork with the tracklist on the label and no explanation. This is an album that has been in my car CD player since it’s release, and it’s definitely one that will grow on you. Make sure to listen to “Squealer,” “Diversion,” and “Candy Sam” if you’re new to the album. It’s not Segall’s strongest release, but it’s still a heavy psych-rock banger and probably my single favorite release of 2016. – Elessa Boiko
BIGHAND//BIGKNIFE – Winner’s Cup
Denton’s own Bighand//Bigknife delivered the most fun metal release of the year. Considerably faster than their doomy debut from last year, “Winner’s Cup” is sludgy and alive with noisy guitar effects and rhythms that should make Big Black fans excited. The gear aficionados are consistently loud and heavy. Their influences are clear, but “Winner’s Cup” is never derivative. While they’re taking a step away from the stoner metal vibes of their previous release, this EP proves that Bighand//Bigknife has found their own voice. It’s hard not to get excited with “Winner’s Cup.” – Savannah Sherer
Car Seat Headrest – Teens of Denial
After running through 11 self-released albums, singer-songwriter Will Toledo digs deep within his psyche to craft a youthful ode to depression, confusion, and apathy. Drawing influence from slacker indie rockers like Pavement and Dinosaur Jr., Teens of Denial combines incisive lyrics with fuzzy guitar bravado. Destructive tracks like “Fill in the Blank” and “Destroyed by Hippie Powers” have Toledo creatively analyzing his mental state while still managing to craft some of the catchiest rock hooks this year. Along with these shorter, more poppy songs, the album offers epic tracks like “The Ballad of Costa Concordia” in which Toledo muses over his failures and mistakes over eleven minutes of building tension (it also includes an awesome Dido reference). Ultimately, Teens of Denial effectively establishes Will Toledo at the forefront of modern indie rock. – Grant Hardaway
Mitski – Puberty 2
Puberty 2 serves as a catharsis – a release of the most heart-wrenching, romantic emotions that could possibly be had. Mitski follows up 2014’s Bury Me at Makeout Creek with even more deeply personal lyrics detailing life’s greatest tragedies and loves. We, as listeners, follow Mitski’s journey, exploring her moments of happiness and sadness. A culmination of explosive emotion, she keeps us moving along. “Your Best American Girl” was the anthem you shout as you speed down a highway. “I Bet On Losing Dogs” remains reserved for the days spent alone in your room. Puberty 2 is the path to self-discovery and Mitski is our guide. – Nini Troung
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Emma Ruth Rundle – Marked for Death
Marked for Death is heavier than Emma Ruth Rundle’s 2014 release Some Heavy Ocean,
thanks to the addition of a full drum kit. Her uniquely haunting voice draws together captivating and emotional atmospheres over the dark, reverb-drenched instrumentation. Some songs are crushingly heavy while others are devastatingly delicate and bare. Her vocals are gorgeous and uplifting despite the depressing tales she delivers Rundle’s gothic folk is brought to a powerful new level, not unlike Chelsea Wolfe’s Abyss. Marked For Death is one of the strongest, most interesting albums of the year. – Savannah Sherer
Naked Giants – R.I.P. EP
Naked Giants was an unknown band for me and for many until they released their “R.I.P.” EP from Miscreant Records in mid-October. It’s only six tracks but it packs a punch with funky basslines and psych-riffs. The second half of the EP really brings it home, make sure to check out “Ya Ya” and and “Twist” for some high-tempo rock n’ roll tracks. – Elessa Boiko
Swans – The Glowing Man
While filled with moments of vigorous intensity, The Glowing Man is a perfect record for meditation. Like the previous 2-hour epics The Seer and To Be Kind, Swans composed many of these tracks through improvisations during their worldwide tours. Yet, this album, more than anything else the band has made, is able to truly capture the loose, improvisational nature of their live act. Powerhouse long form compositions like “Cloud of Unknowing,” “Frankie M,” and “The Glowing Man” slowly achieve transcendence by crafting purposefully repetitive instrumental passages that are filled with bandleader Michael Gira’s dark, shamanic mantras. In between these awe-inspiring tracks, Swans perform gorgeous interludes that include Gira’s best songwriting since Angel of Light’s How I Loved You. Altogether, The Glowing Man is one of Swans’ most sonically rich and emotionally powerful albums to date. – Grant Hardaway
Miserable – Uncontrollable
Miserable, Kristina Esfandiari of King Woman’s lo-fi solo project, is an excellent purveyor of
dark, sleepy bedroom shoegaze. Her voice is unusual for dream pop standards— warm and
deep, lending itself beautifully to her sadder take on dreamy songs. The songs on Uncontrollable are vulnerable and earnest, helping Esfandiari to heal the emotional wounds that come with a lack of closure. Uncontrollable flows gracefully, and Esfandiari pours her heart out into her swirling songs of sadness and anxiety. It might not be easy listening for a sunny day, but Miserable never promised it would be. – Savannah Sherer
Joyce Manor – Cody
True to Joyce Manor’s usual fashion, Cody clocks in at about 25 minutes. However, this album took a step back from their punky selves and explored more introspective themes – and they even have a song that barely surpasses four minutes. But have they matured? Tracks like “Addiction” and “Stairs” refer to more relatable topics such as living at home and drug addiction. As the members reach their thirties, the lyrics become more poignant, more personal. Joyce Manor grew up with Cody, not necessarily abandoning their punk sounds, but finding their identity and dealing with the natural progression of age. – Nini Troung
Full of Hell/the Body – One Day You Will Ache Like I Ache
Chaotic dissonance permeates every facet of Full of Hell and the Body’s collaborative album One Day You Will Ache Like I Ache. The Body draws out Full of Hell’s typically short, explosive song structures and increases their overall impact. Noise dirges like “Himmel Und Hölle” relentlessly pummel the listener with distortion and screeches. Chip King’s unique vocal delivery fits perfectly with Full of Hell’s manic sonic assaults. Most significantly, the album has great replay value with more and more intricacies being revealed with each re-listen (a rare feat in extreme music). Extreme metal has always struggled to be genuinely terrifying but Full of Hell and the Body have found the right mixture to successfully delve into terror. – Grant Hardaway