You’ll be happy, or sad, to know that this list is the last negative one to drop all year though all that means is that the team are gonna blow their collective loads over the worst music we’ve been subjected to all year.
Of course, this is entirely subjective and if you find any joy from the below albums then we’re glad you did: we didn’t. If you do have any grievances with our choices then you know where to send them so let’s batter on, shall we?
10. Wonderful Wonderful
by The Killers
If you’re familiar with The Killers, you might know that they have released their first album in five years in 2017. If you’re not, you might have not even noticed they were gone. Wonderful Wonderful picks up as if they never left, neither improving nor maturing upon their last effort, Battle Born. Wonderful Wonderful does not act as an improvement in The Killers’ discography, but instead, plays the same formula they’ve been following for the past 13 years.
Wonderful Wonderful would have sounded better had it been released in 2013, back when Get Lucky by Daft Punk was the biggest song in the world. Maybe then, The Man could have stood as a decent radio single. Almost every element of Wonderful Wonderful sounds incredibly stale in the current genre of indie rock. Making songs like Rut, fueled by frontman Brandon Flowers’s distress with trying to help his wife’s PTSD condition, feel passionless. Like Rut, most of the songs off Wonderful Wonderful try to sound like the grand stadium-closer track that electrifies the crowd and instead sound like the deep cut off their new album that nobody knows the words too.
The Killers lack a certain element that makes their songs sound as grand as they want them to sound. What made songs on Hot Fuss sound as exciting and fresh as they did at the time, and endless revisable as they do today, has been poorly executed throughout their following studio albums. Wonderful Wonderful, not acting as an exception, but further proving the point that The Killers are not as great as you would like them to be. – Ryan Martin (@ryanmartin182)
9. Going Grey
by The Front Bottoms
The Front Bottoms have been one of the biggest stars of the underground indie community of this decade. Originating as a duo of simple acoustic power chords, provocative lyrics, and catchy melodies, TFB have managed to retain their dedicated fan base since the release of their self-titled 6 years ago. Surely, fans must expect the raw, emotional, amateur sound of the early releases to evolve and mature over time.
This was hinted at with 2015’s Back On Top, which incorporated a fuller and more mainstream sound to what fans were used to expecting from the New Jersey duo. TFB’s latest, Going Grey, takes a strong lead into the direction Back On Top foreshadowed. With heavy synths, trap hi-hats, and minor use of the acoustic guitar, it’s leaving day one fans scratching their heads.
Going Grey plays front to back much less like an album but more as a collection of songs. There are too many skippable songs for an 11-track record and not enough heartfelt moments for it to even feel like a Front Bottoms record. The only consistent element throughout TFB’s discography is the vocal range that Sella has kept throughout the years. It’s the only thing that still feels in place about the band but also sounds so out of place when backed by a sound that sounds desperate for radio play.
Going Grey may have added more elements, instruments, and layers to TFB’s early minimalistic approach, and there are definite highlights to be found in Vacation Town, but the result sounds less like an evolved, matured version of the band than a sell-out, cheapened version. – Ryan Martin (@ryanmartin182)
by Taylor Swift
When following up a successful record, 2 of an artist’s main goals should be not to repeat what they did on their previous LP, and for this progression to make the new record better as a result. However, on new album Reputation, Taylor Swift did neither of these things.
In short, her tacky new trap sound found on roughly half of the record’s tracks (…Ready For It?) was so hideous that it saw insufferable lead single Look What You Made Me Dovoted as Blinkclyro’s worst track of the year. On top of this, Swift made the bizarre decision to unsubtly write all her beef into her music for the first time, literally beating listeners over the head with the knowledge of how detestably petty she is.
To be fair, there were 2 excellent tracks on Reputation: Getaway Car and New Year’s Day. The only problem? Getaway Car sounds exactly like what Swift did on 1989 and New Year’s Day is a bizarre hark back to her Speak Now days.
The risks she took on Reputation flopped just about as badly as they could have, and anything good about the record heard her merely repeating what she’d done before. – Andrew Barr (@weeandreww)
7. Low In Highschool
Not since Breaking Bad can we recall the descent of a man quite like Morrissey: starting off in one of the most iconic bands of the 20th century, the quiffy man seems unable to close his big mouth and as he’s got older, the more he starts to resemble UKIP’s key demographic.
This bleeds into his latest album Low In Highschool, a record full of idiotic choices in terms of instrumentals & production (Spent The Day In Bed) to the idotic appraisal of war mongerers while…criticising warmongerers (Israel)?
The question of separating the art from the artist has come up time and time again this year but this Morrisey LP goes to show how near impossible it is to do so: it’s an insult to your brain as well as your ears. – Liam Menzies (@blnkclyr)
6. Memories…Do Not Open
by The Chainsmokers
A wise man once said: The Chainsmokers are the musical equivalent of those weird twenty-year-old guys studying photography in college who message sixteen-year-old girls stating they’re “fascinated by their minds lol xD”. That man is Josh Adams and he owes me a fiver, so if you see him, break his legs.
Memories…Do Not Open is enough to make me feel the anguish those who regularly slate chart music must feel as they exclude themselves from pop bangers: unfortunately, said bangers will not be found in this album. On all levels apart from physical, this album is sheer shite.
If you’ve ever heard an EDM song in your entire life then not only will you get deja-vu but you’ll get the unshakeable feeling that you’re witnessing a murder scene as this duo show off the drained remains of anything that could be considered “a tune”. In addition to the lacklustre production, the attempts of singing on this record are utterly laughable: Break Up Every Night is the manifestation of everything bad about this LP, featuring some of the poorest vocals to be put into an album all year along with some of the worst lyrics I’ve ever heard in my life;
“She wants to break up every night / Then tries to fuck me back to life“
“She got seven personalities, everyone’s a tragedy.”
If their name is anything to go by then it’s only a matter of time until The Chainsmokers quit the cigarettes, pick up a vape, lose their cool cred and fade into obscurity like they should have after that dreadful selfie song. – Liam Menzies (@blnkclyr)
by RAT BOY
Finally dropping their debut album SCUM, the album everyone wanted in 2015, Rat Boy added to the pile of mediocre indie rock to populate the British music scene. The only unique thing each track has is a different band or artist to rip off; think of any significant British act in the past 30 years and no doubt rat boy will have mimicked them with abysmal results on their debut album.
Any potential that the band had is buried in their influences and their desire for popularity has produced a safe and tedious effort that brings nothing fresh to the table at all. Even older songs such as Left 4 Dead have been butchered to death for the studio album and all the energy that the band could have had is replaced with cringe-worthy lyrics, forced themes and forgettable instrumentals.
Oh and if for some reason you actually still want to listen to this PLEASE don’t listen to the deluxe version; it has these radio “skits” that are just awful and make the entire thing even worse (if you can imagine that). – Ethan Woodford (@human_dis4ster)
4. As You Were
by Liam Gallagher
If there’s one positive thing I can say about Liam Gallagher, it’s that he’s got the marketing game down to an absolute tee: amassing a cult following thanks to his trademark Twitter ramblings, exposing a new age of fans to his erratic behaviour, it’s definitely helped him get back on his feet after the disaster that was Beady Eye and his media portrayal over the past few years.
That being said; why is his debut LP so painfully dull? I will admit that it was a clever move to get Greg Kurstin of Adele production fame on board to allow his songs to mutate into some earworms but there are delightful earworms and then there are the terminal ones that are injecting some sort of toxin into your membrane without you realising.
As stated, the biggest gripe I have with this album is just so by the numbers it is though unlike a coloring book, which provides some sort of vibrance, As You Were works with greys, dark greys and some slightly lighter shades of grey. – Liam Menzies (@blnkclyr)
3. Erratic Cinematic
by Gerry Cinnamon
What can be said about this Scottish upstart that hasn’t been said already? Plenty, apparently. Everycunt and their dogs seem to love Gerry Cinnamon and his HASHTAGRELATABLE songs. To be fair to the lad, they do cover a plethora of topics. From getting drunk to taking drugs… to girls… to… taking drugs and getting drunk! Truly a poet of our times.
If I hadn’t made it abundantly clear, I hate Gerry Cinnamon’s music and especially his latest album Erratic Cinematic. I really, really do. It’s the exact opposite of what I would choose to listen to regularly, but I saw Twitter ranting and raving about this man and his guitar, so I lamented and had a wee listen. This was all after I seen his “Legendary” set at TRNSMT festival this year, which I absolutely fucking hated every second of. But I thought it was only fair to give his studio album a wee try, see what the craic was.
I have now decided to never be fair again because honestly and truly, this is one of the worst albums I’ve heard in years. I’ve been known to be hyperbolic from time to time, but I genuinely mean it. It’s so bad that I can’t bring myself to listen to it again. Just listen to Sometimes and Belter and if any part of you enjoys it, let me know so I can entirely block you from my life.
The only slightly redeeming quality of this album is Gerry’s vocals, which are fine. But on record, they sound like they were recorded when he was trapped in a fridge that’s orbiting Jupiter. So tinny and manufactured sounding. To be honest the entire album was recorded piss poorly.
Who knows, maybe if Gerry stumbles into an actual working studio one day, he might do a Jake Bugg and end up maturing into a decent artist, but for the moment this is by the numbers, utterly forgettable, “for the people” lad-folk that will leave a bad taste in the mouth of any self-respecting music fan. – Jake Cordiner (@jjjjaketh)
2. Pacific Daydream
When I listened to Pacific Daydream, Weezer’s 11th(!) studio album, I wasn’t angry or even disappointed, I was sad. Genuinely, actually sad. Coming off of 2014’s return to form Everything Will Be Alright In The End and 2016’s genuinely fantastic White Album, it was a great time to be a Weezer fan.
They’d gone back to the halcyon days of masterpieces Blue Album and Pinkerton and seemed to have abandoned the overly poppy sheen that saturated albums like Raditude or Red Album. Weezer were doing the impossible, they were winning back the fans they’d lost, and convincingly at that.
Then, earlier this year, they dropped Feels Like Summer, the lead single from Pacific Daydream, and everyone started to worry. This wasn’t Weezer. This was the disgusting, mutated love child of modern Fall Out Boy and naughties Weezer, and it wasn’t even as good as either of them. Transparent, nothing backing vocals. A jaunty wee piano line. Shite lead vocals from the more often than mot serviceable Rivers Cuomo. What the fuck was this? More importantly, why the fuck was this?
They stopped trying, Weezer stopped giving a fucking shit. I don’t know if Rivers and the lads just decided they were bored of writing actual good power pop and decided to just completely pull the rug from underneath all of the OG fans who thought it was safe to go back into the Weezer-infested water for a laugh. I cannot wrap my head around it.
The whole album is just like Feels Like Summer; boring, bland as you like pop-rock. Mexican Fender is a bit catchy, but it just sounds like a song they knew wasn’t good enough for White Album. I’m getting all fired up now so I’m away for a lie-down. I expect a written apology from Weezer for this abomination, and FAST. – Jake Cordiner (@jjjjaketh)
by Ed Sheeran
Ed Sheeran is a confusing man. Whilst he seems like a genuinely nice guy, his music is so bland and vanilla you’ve forgotten what the song sounds like before it finishes.
Despite the fact it was wholesomely boring, Shape of You seemed to be one of the biggest tracks of 2017, capitalising on a clearly large market of heterosexual couples who enjoy missionary sex, chicken kormas and racially abusing train guards after two mulled wines at the Christmas market.
Can you remember what Barcelona sounds like? Bet you thought Dive was on the last album, didn’t you? Whilst Multiply had a few choice cuts on it, Divide saw the ginger guitar grandmaster dive deeper into milquetoast music for people who just don’t care about what they listen to.
Agree? Disagree? Let us know what you think either in the comments below or beef us over on our Twitter (@blinkclyro).