Ohio might be a ****hole, but if it can produce a band as good as Red Sun Rising maybe there's more than meets the eye out there. Distilling the best ideas and essence of grunge and mid 90's alternative rock into new forms circa 2018 wasn't what I was expecting in this particular era we live in, but they pull it off with a surprising dose of that oh-so-rare thing in an LP experience: variety.

Opener 'Fascination' is a groovy early Alice In Chains meets Zeppelin barnstormer, but when they turn up the tempo on 'Veins' you see more of their range. Puts me right back into my favorite era of radio-oriented rock and nothing gets to my sweet spot faster than some nostalgia criss-crossed with above average (and even excellent) songwriting. 'El Lazo' is probably my favorite cut overall, featuring a soaring hook and smile-inducding melodic progression straight out of Superunknown-era Soundgraden with a touch of Vertical Horizon.

For those of you that appreciate some of the 90's, this will induce some fuzzies. The rest of you might like it too!

Now here's a fun one: Hidden Details is a new outing, built from the ground up by a mix of older members (AKA the classic era) and a host of others led by flute & sax heavyweight Theo Travis. Whilst lacking some of the psychedelic, mind bending charm of their late 60's through mid 70's period, where Hidden Details really succeeds is in its unique atmosphere (which has a lot of great flute) and its subtle adventurous inclination that border on the free jazz sounds of groups like Tipographica.

This is a case where the new tracks actually stand up to the older cuts covered by this particular lineup. The opening title piece in particular comes at you right away with a capering groove, punctuated by blasts of sax moving further and further away from the central bassline but really selling the improvisations. Another big highlight is 'Heart Of Guard' which features prominent acoustic guitar and woodwinds that lends it a certain moodiness. Just wonderful material, really, and it's been a bright spot in 2018 for sure.

2016 2017 2018 2019 2020

Member of the Year & Journal of the Year Champion

Behold the Writing of THE LEGEND:

https://www.musicbanter.com/members-...p-lighter.html

Tom Scott isn't a household name yet in the rap game, but this album might just make him one. The live instrumentation and In A Silent Way-esque jazz atmosphere crossed with Scott's snappy flow is infectious (to put it mildly). Whilst coming across as autobiographical to an extent, the lofty synthesis of Avantdale Bowling Club's approach is reminiscent of Kendrick Lamar's efforts around To Pimp A Butterfly...but honestly, I think this album crushes that lauded release where it counts. Personally affecting yet socially observant, this may be (in Tom's own words) "irrelevant jazz from an island nation off the coast of Antarctica.", but that doesn't mean it isn't damn good. Keep your ears on New Zealand my friends: there's some serious lyrical and compositional powers beginning to stir there.

2016 2017 2018 2019 2020

Member of the Year & Journal of the Year Champion

Behold the Writing of THE LEGEND:

https://www.musicbanter.com/members-...p-lighter.html

More than one synthwave album made my top 30 this year, but this one has the most "retro" charm of the bunch, especially in regards to classic video game soundtracks. More cohensive and fun to listen to than a lot of his actual albums, Mitch Murder has synthesized the perfect crossover experience for this particular style: a lineup with variety with a mix of vocal and instrumental stuff, and some absolutely inspired melodies to boot. He has an obvious love for Japan's City Pop era as well, seeing as Satellite Young guests on 'Time Paradox'. 'The Line' has a juicy AOR bounce to it whilst 'Refresh' and 'Rad Flute' take me back to the mid 80's vaguely tropical sounding electronica era where Paul Hardcastle ruled the dancefloor.

Not a game changer by any stretch of the imagination, but easily the best BGM I've pocketed this year by a country mile. Nostalgia doesn't solve all the world's woes, but it'll definitely get you on my good side!

Gloriously morbid and evil sounding synthpop for the modern era. A duo made out of Steve Moore (Zombi) and Daniel O’Sullivan (Sunn O))), Ulver), Miracle take my favorite things about classic John Carpenter soundtracks and the vast umbrella of 80's/90's dark ambiance and bring it all together into a manifold outing that somehow manages to disturb and move despite the familiarity most likely have of the era it draws from.

The album hits a massive peak about midway through on the medieval-sounding 'The Seventeen Nineties' where every cliche is turned on its head into something amazing that might have ruled the charts as a single on Depeche Mode's Violator LP back in 1990. There's nary a weak moment to be found though, with the militant opening cut 'The Parsifal Gate' being particularly fun and the Orbital-esque closer 'Angelix' serving as a great ambient showcase of Moore's keyboard prowess, like going from the Tower Of London to Ibiza in one fell swoop of the time machine.

There were a number of industrial-tinged albums this year that really caught me for one reason or another, but Miracle's material was especially sumptuous and highly replayable. Grab it if you haven't.