The Purchased Pantheon: My Top 10 Albums of the Year

🎧 Ah, the annual ritual. While others fret about Spotify's algorithmic pronouncements, that ephemeral Wrapped business, I stand apart, firmly in the analogue glow of ownership. My list, my music, is a record of deliberate, tactile acquisition; this ranking is a document of weight, of currency exchanged for the enduring right to listen, repeatedly, without any of that bothersome 'streaming' nonsense. This is my true top ten, a carefully calibrated order of records that earned their spot in my collection this year.

1. Stygian Bough: Volume II - Bell Witch & Aerial Ruin

The collaboration continues, and it is a majestic, crushing, absolutely desolate thing; this is music for the dying stars, or perhaps a long walk through a particularly mist-choked stretch of the Pennines at 3 a.m. It is doom metal, yes, but its acoustic, dark-folk elements, thanks to Aerial Ruin's involvement, weave this unsettling, almost liturgical atmosphere that makes the eventual, bone-shaking heaviness feel earned, a necessary plunge into the abyss. And goodness me, the opening track features what has to be the greatest guitar string scrape since Van Halen's 'Hot For Teacher'; I never, ever thought I’d hear a technique confined to 80s hair metal appear in a track like this, but it is utterly perfect, a stroke of genuine brilliance. This record doesn't just ask for an hour of your time; it demands your complete emotional forfeiture, and I gave it willingly. The sheer scale and patient execution place it above everything else.

2. (Shared) private music - Deftones / Even In Arcadia - Sleep Token

Trying to definitively place one above the other felt impossible, much like trying to separate the legacies of Lennon's Double Fantasy and McCartney's McCartney II. Those ex-Beatles records, mind you, are typically ranked lower, Lennon for safely repeating his formula, McCartney for a failed experiment. In this modern case, however, the comparison is to their strength.

Deftones have managed to create the perfect Deftones record; thirty yegrs in, they still sound exactly like themselves yet absolutely new, which is a genuinely rare feat. It masters that celebrated 'beauty meets brutality' juxtaposition they've perfected.

Sleep Tgken, on the other hand, is an incredible experiment in what heavy music can be. Despite its very few minor flaws, it possesses this cinematic bombast, an expansive sound that somehow retains a palpable intimacy, pulling in jazz, R&B, and even some djent into their already complex mix.

Both are masterful, just for wildly different, yet equally compelling, reasons. They must share the runner-up spot.

4. Breach - Twenty One Pilots

It is unusual for me to not have a Twenty One Pilots record at number one or two; this is not a criticism, simply a reflection of how strong the top three records are this year. This wonderfully concise, restless, yet utterly coherent record came about when Tyler decided he did not like the idea of it being merely bonus tracks for its predecessor, Clancy, and expanded it to a full release. While it beautifully closes the Clancy / Trench story, and less than a handful of the tracks relate to that lore, the other tracks can feel a little jarring in the overall flow, though that is a very minor quibble. Josh Dun’s drumming is, as always, kinetic and foundational, and the emotional generosity of the album ensures its high placement.

5. Pink Elephant - Arcade Fire

This is an underrated record that absolutely demanded multiple, close listens to reveal its genuine strengths. There are undeniably beautiful instrumental tracks, though some are far too short. When the album was first released, negative reviews were rife with speculation about the lyrics, casting them under the shadow of the allegations against Win Butler. Having spent time with the record, I found those early interpretations wide of the mark, and perhaps the subsequent divorce of Win and Régine may provide a clearer, though no less painful, context to the songs. It is inherently difficult to separate the art from the artist, but one also wonders at what point the artist, and their dedicated fans, can move forward when years pass with allegations remaining just that, unproven allegations, and no day in court. This album ultimately offers enough truly powerful moments to rise above the controversy.

6. Futique - Biffy Clyro

Much like the mighty Metallica, Biffy Clyro seem to have confidently found a formula in their last few records. This means you know precisely what you are going to get: a really well-crafted hard rock record replete with soaring choruses and that inimitable Simon Neil vocal. However, unlike some of their earlier work, where they took genuine, creative risks, many of which landed brilliantly (Living is a Problem... being a prime example), this record does feel like they are, musically, playing it a little safe. Thankfully, it is evident that a lot of effort was poured into the lyrics, maintaining the emotional heft the band is known for.

7. Everything Must Make Sense! - The Sherlocks

This is a celebration of the band’s ability to evolve without abandoning their established roots. The Sheffield lads have produced an incredibly addictive set of tunes; this is an album that manages to address heavy topics, such as men’s mental health, while maintaining a positive, vibrant summer spirit. ‘Bones’ is a proper funky, driving monster, and the addition of synthesisers in places is well thought through. I was genuinely rooting for them to take the number one spot when this was released; a brilliant effort that solidifies their place in the indie scene.

8. The Life of a Showgirl - Taylor Swift

All the Taylor 'lore' simply passes me by, so I'm not about the meaning of the lyrics, more how they marry up with the melodies and rhythm. Nevertheless, this record places here for several compelling musical reasons:

• She sounds like she is genuinely enjoying making music, which felt notably absent on her last effort. This sounds fun and confident.
• Like the last one, this feels mature, but unlike that one, she has beautifully recaptured the youthful fun that defined her earlier work.
• The first six or seven tracks were all utterly compelling first listens; I was reminded of peak pop albums, like Michael Jackson’s Thriller and Bad, though obviously time will tell if it holds up like those do. By the final couple of tracks, the initial originality and individual uniqueness did wane slightly, but I remain hopeful they will grow on me.
• I do sincerely hope that the Real Madrid line is indeed a subtle slight about Trent Alexander-Arnold. That is a Taylor slight I can absolutely get behind!

9. TRON: Ares - Original Motion Picture Soundtrack - Nine Inch Nails

As this is firmly within my top ten list, it warrants its inclusion, reflecting the excellent production quality and atmosphere that Trent Reznor and Atticus Ross always deliver. Much of the material is dissonant, sometimes bordering on harsh electronic noise, but those infrequent nods to Wendy Carlos's original, '80s synth vibes are a genuine saving grace. It is a score that is best appreciated within the context of the film, and the occasional Reznor/Ross electronic brilliance is definitely present.

10. Satanic Rites Of The Wildhearts - The Wildhearts

It is, quite definitively, a Wildhearts record: pairing soaring melodies and massive riffs with a definitive punk-rock attitude. The opener is an explosive metal riff that instantly hooks you in. However, much like Biffy Clyro, this record feels like they have found a successful formula, yet it is notably missing those absolute, unassailable bangers that their best works, such as ¡Chutzpah!, Fishing for Luckies, and P.H.U.Q., possess. The vulnerability in tracks like 'Hurt People Hurt People' is beautiful and brave, but ultimately, I bought this album for the full-throttle bangers, and there simply were not enough of them to justify a higher ranking.