The best and most anticipated music of 2017

No value assignedJ.I.D. | The Never Story (Dreamville)

More Goodie Mob than Gucci Mane, J.I.D is classic Atlanta in the mold of Andre 3000. The Never Story introduces a true MC’s MC, with the type of attention to melody that allows the Spillage Village MC the opportunity to fluidly move between both hip-hop worlds. It would be a disservice to the album itself to cite one track as a stand-out, however, “Hoodbooger” is an effective illustration of J.I.D.s full skill set. Montana Samuels

Mastodon | Emperor Of Sand (Reprise)

Next time you see one of those “rock ‘n’ roll is dead” articles floating around the internet, please take a second and point the author to Mastodon. Too often, Atlanta’s biggest heavy band is dismissed as “too metal” for mainstream rock consideration. A decade ago, when Mastodon was churning out near-perfect prog-sludge concept albums such as Leviathan, Blood Mountain and Crack the Skye, that would’ve been fair. But with the group’s 2014 full-length Once More ???Round the Sun, the band traded in many of its weirdest, heaviest tendencies for clean vocals, soaring melodies and a straightforward hard-rock sound. This year’s follow-up, Emperor of Sand, finds the band bridging the gap between its past and present. Ultra-catchy songs such as “Show Yourself” and “Steambreather” continue Mastodon’s march toward maximum accessibility, while “Word to the Wise” recalls the band’s classic, labyrinthine prog-metal. In recent years, Mastodon seems to have been trying to figure out how to reach skyward without tearing up its roots. With Emperor of Sand, the group gets that balance just right. Ben Salmon

No value assignedThe Whiskey Gentry | Dead Ringer (Pitch-A-Tent)

There is much to be said about a band that actually shows notable growth and maturity as it navigates the music business. Many find it far too easy to remain in a predictable, safe rut, and to give the fans what they think they want. On Dead Ringer, the Whiskey Gentry’s third studio album, the group turns most of its attention away from the good-time party mentality of previous releases and writes about itself, its members’ lives and what matters to them. It is a bold step for a band that has a devoted following of loyal fans who expect the high energy acoustic-based “yeehah!” of the past. And while there is still plenty of that vitality in the music, the words are a bit more introspective and the electric guitars are a little bit louder. JK

No value assignedMoon Diagrams | Lifetime of Love (Geographic North/Sonic Cathedral)

Deerhunter drummer Moses John Archuleta has been meticulously crafting his debut album, Lifetime of Love, for nearly 10 years. Culled from three distinct periods of recording, the album’s eight tracks find Archuleta experimenting with electronic sounds amid tumult and isolation, as he faced the dissolution of his marriage and a self-determined seclusion during the second and third recording periods, respectively. Lifetime of Love echoes these themes, its beats and textures often chilly and meditative, but its closer, “End of Heartache,” offers a danceable moment of redemption despite the turbulence. Andy Barton

No value assignedDelta Moon | Cabbagetown (Jumping Jack)

Delta Moon’s eighth studio album, Cabbagetown, finds dueling guitarists Mark Johnson and Tom Gray ramping up the rock in their tough yet progressive blues concoctions. They’ve even added Franher Joseph’s baritone voice to Gray’s dusky singing to energize the group’s swampy sound. As the album’s title implies, the songs are admirably rough around the edges, but brimming with the soul and sweat of an internationally touring band that proudly represents Atlanta’s roots. Hal Horowitz

Faun and a Pan Flute | Self-titled (Self-released)

Experimental jazz-rock nonet Faun and a Pan Flute are set to release their fourth album, 2014-2016, later this year. The group is known for combining harmonious tactics of classical discipline with more exploratory vibes of cacophony, to create a strange and beautiful concoction. Since the group has had time and space to configure every instrument’s true strengths and contributions, the six-track album shows a further dive into the sprawls of Faun’s collective. As described by composer and marimba player Chris Childs, “Sometimes this album feels as tall and robust as a prehistoric tree, and sometimes it feels as sneaky and ephemeral as a bit of fog that’s slipped into the sewer drain.” Aja Arnold

Lil Yachty | Teenage Emotions (Quality Control)

As the most polarizing voice of the most polarizing scene in rap, Lil Yachty’s bubble gum trap is built to transcend the underground. Teenage Emotions is sprawling. Hip-hop purists will hate it, but the crossover appeal is as undeniable as Lil Boat’s energy. There are a litany of tracks to choose from that could garner not just hip-hop radio attention, but syndicated pop stations as well. The YG and Kamaiyah featured “All Around Me” is the type of “achieve in spite of” feel good anthem that could play on both Hot 97, and out of a soccer mom’s car speakers. MS

Death Stuff | Self-titled (Monofonus Press)

Over the course of Death Stuff’s nearly two-year existence, the group has successfully discovered how to fuse contradictions into punk symbiosis. The group’s self-titled debut showcases a pummeling sound fuller than one might expect from a three-piece, and more refreshing than its claustrophobic thickness suggests. On “Surprise Ex” and “Cuddlers,” singer Lloyd Wingard alternates between apathetic delivery and anxious screeds at the drop of a hat, heightening the trio’s exhilarating unpredictability. AB

No value assignedSt. Pius X Catholic High School Symphonic Band | “St. Pius: Spirit Rising” 7-inch (Self-release)

When Helmet was on the road celebrating the 20th anniversary of its 1994 album Betty, St. Pius’ band director Chad Paetznick struck up a conversation with singer and guitarist Page Hamilton. Their meeting led to Hamilton composing a piece of classical music for the symphony band, titled “St. Pius: Spirit Rising.” Now, a live recording conducted by Paetznick is being pressed onto a limited edition white vinyl 7-inch that’s due out later this year. Chad Radford

Material Girls | “Drained” b/w “Tightrope” 7-inch (Self-released)

Mum’s been the word regarding details on Material Girls’ debut album and, likewise, the band in general but a limited edition 7-inch released in late 2016 shed some light on a group that features current and former members of Chief Scout, Concord America and Slang. “Drained” b/w “Tightrope” introduced listeners to the band’s dark and mysterious demeanor; the two tracks, with their punchy sax and nimble bass, evoke the Birthday Party and Tom Waits in equal measure. While those singles offer a glimpse of what the proper full-length has in store, the band’s hush hush online presence might just keep us guessing until the July 21 release. AB

No value assignedGeorgia Soul Council | What’s For Breakfast (Self-released)

A killer lineup filled out by seven of the city’s tightest and finest players laying down thick grooves of organ, horn and rhythm-driven instrumental jams. The album’s middle section explodes with a funky trio of back-to-back dance floor excursions “Get Up And Do It,” “Gravy Flavored” and “The Grimace.” Those horns embody the ultimate cool and unstoppable flow, fleshing out a nuanced record that sounds just as fresh in 2017 as it would have circa 1967. Pick this one up and keep it on hand as the perfect background music for weekend gatherings, backyard barbecues, or any other occasion that needs a funky and soulful soundtrack.

No value assignedBlack Lips | Satan’s Graffiti or God’s Art? (Vice Records)

As the story goes, Black Lips’ singer, bass player Jared Swilley was driving through rural Georgia when he had to do a double take after driving by a church sign sporting the words, “Will you be God’s art, or Satan’s graffiti?” It’s a striking phrase that’s loaded with ham-fisted fire and brimstone. It also projects a mystical yin and yang quality that encapsulates an exciting new chapter for Black Lips. Released May 5 via Vice Records, the album’s first single, “Can’t Hold On,” arrived as a harbinger of change for the group. First the shifting lineup: Guitarist Jack Hines is on board as a full-time member replacing Ian St. P̩ who left the group after 2014’s Underneath the Rainbow. Drummer Joe Bradley has parted ways with Black Lips as well. In his stead, drummer Oakley Munson (formerly of Athens, Georgia weird rockers Puddin’ Tang). Saxophone Zumi Rosow has also joined as a full-time member of the group, leaving the most indelible mark on the Black Lips’ sound, bringing a dose of feminine energy and skronking and wailing sax to the mix. But the most shocking turn of events is a guest appearance by Yoko Ono adding subtle vocal textures to “Can’t Hold On” one of the perks of hiring Sean Lennon, son of Beatles guitarist John Lennon, to record the album. Songs such as “Occidental Front,” “Crystal Night” and “Can’t Hold On” push the group’s haunted garage rock sound into colorful new terrain, but Rosow’s sax is the star of the show, ushering in a much needed change of pace for the group. CR

No value assignedCoco and Clair Clair | POSH (Self-released)

With their first full-length album, bedroom rap duo Coco and Clair Clair serve up all kinds of bops: self-love mantras for petty girls, melodramatic heartbreak ballads, and even a catchy take on the “Sims 2” theme song. Featuring airy layers of angelic synth and dreamy vocal reverb, POSH is heavenly, with just the right amount of demonic rage scorching beneath. Tracks like “Cute But Psycho” and “The Love Song” are perfect for wearing silk, ignoring DMs, and dancing in the mirror. Meagan Mastriani

Faye Webster | Self-titled (Awful Records)

Awful Records’ folk songstress Faye Webster got her hands on an electric guitar, and the results are dazzling. Her self-titled album starts strong with the single “She Won’t Go Away,” the first song Webster says she wrote with her new instrument. The following nine tracks continue to expand her repertoire of sounds as Webster tells emotional tales of losing her first love, the Braves trading her favorite pitcher, and growing apart from old friends. Meagan Mastriani

No value assignedCLAVVS | World Underwater (Self-released)

Every summer needs poolside jams, and hypnotic electronic duo CLAVVS provides. With World Underwater, collaborators Amber Renee and Graham Marsh sought to create lush new worlds with their soundscapes, inviting listeners to drift away through the long hot days ahead. Slip on a swimsuit and queue up the banger “Bloom” to feel like the aquatic queen (or king) of the sirens. These danceable, atmospheric songs will stay on playlists well through 2017. MM

Pamela_and her sons | Hurt Plaza (CGI)

After a few years of captivating audiences with her electrifying live performances, Pamela_and her sons, aka Alessandra Hoshor of dance duo BIG DED,released her first studio full-length. Named after a street in Downtown Atlanta and a silk tapestry she designed in 2015, Hurt Plaza is an inexplicable collection of techno-inspired cuts and experimental electronics, with Hoshor’s deliberately unintelligible vocals providing surreal textures, as on album highlight “Sad Laugh.” It’s a self-aware enigma, balancing subtlety and terror. Ben Braunstein

Arbor Labor Union | ALU’s Blues (Self-released)

Arbor Labor Union’s new three-track EP, ALU’s Blues, follows last year’s full-length, I Hear You (Sub Pop). On the nine-minute jammer “Choppin’ Block,” which has been a live staple for a while, the ???Dead influence is particularly pronounced. The closing title track, however, brings the cosmic American music influence, a la John Fahey and Six Organs of Admittance, to the forefront. The song is carried by a fiddle-punctuated chord progression and a lyrical odyssey that comes off somewhere between half-baked and James Joyce-esque. BB

No value assignedFit of Body | “Healthcare” 12-inch (Ransom Note)

On the long-awaited “Healthcare” 12-inch, Fit of Body producer Ryan Parks flirts with house, techno, synth, and R&B. The melancholy of “Riding 2 That Trap or Die” and “All That Time (Since)” is perfect for the late hours of the night, and the collective comedown in the club, as folks begin to trickle out. “56K,” on the other hand, is an upbeat number; you’ll be shouting “It’s a good day, it’s a good day” and “We’re from Atlanta / We all say shawty” in no time. Fellow Atlanta producer Divine Interface contributes a narcotic, Auto-tune-bolstered “56K” remix as well. BB

Doesin | The World Below (Self-released)

Heavy psych-rock trio Doesin released its second album on May 25, a concept album that chronicles a journey from the underworld to the surface and beyond. The album begins with emotionally-driven, fast-paced tracks “Katabasis” and “Duende,” and dives into darker looming tracks such as the scathing “Helen.” The album’s pinnacle, “Seven,” is more eloquent in composition with brighter riffs, removing the group from its comfort zones of funk and stoner rock jams closer to place of enlightenment, self-improvement and expansion. AA

Pyramid Club | Cyclic Obsession (Unknown Precept)

In May, Darkwave/industrial music duo Pyramid Club, aka Matt Weiner (TWINS) and Chris Daresta, released their Cyclic Obsession EP via Berlin-based label Unknown Precept. The five-track EP draws from a post-punk minimalist aesthetic blended with pulsating beats, arpeggiating synths and strobing vocals. All elements peak in “The Law,” a daunting but danceable track that upholds the EP’s name, engaging listeners in an obsessive culmination of circular intricacies, inside the brain and out. AA

No value assignedBiters | The Future Ain’t What It Used to Be (Earache Records)

Biters are chasing rock stardom in a global musical climate that doesn’t seem to value rock stars. Despite facing an uphill battle, the glam and classic rock-inspired group has made tremendous strides over the years through nonstop touring and a pair of albums produced by Dan Dixon (PLS PLS). Some of the most memorable songs on The Future Ain’t What It Used to Be reflect the band’s tireless pursuit of greater success. Opening track “Let It Roll” is about chasing that dream, while album closer “Goin’ Back to Georgia” admits that even rock ‘n’ roll road warriors need a breather sometimes. Bobby Moore

No value assignedLee Bains III and the Glory Fires | Youth Detention (Don Giovanni Records)

Last November’s election results had the glass-half-full crowd hoping for a huge uptick in angry, politicized punk music during the Trump administration. The thing is, bands like Lee Bains III and the Glory Fires were already railing against political and social injustices long before finding out that the boogeyman is orange. The guitar-driven punk anthems on Youth Detention are chock full of overtly political snapshots of a New South still haunted by specters of the past. BM

Death of Kings | Kneel Before None (Boris Records)

Death of Kings stay true to the thrash and speed metal greats that made many of today’s performers want to pick up a musical instrument in the first place. That’s apparent on the new Boris Records-released CD Kneel Before None. Standout tracks “Regicidal” and “Plague (Upon the World)” recapture the hyena-like screams, fiery riffage and pulverizing yet precise drumming that remain surefire means to crafting blasphemous, brutal metal. BM

Morning | Morning Mouth (Self-released)

Cosmic rocker Chris Yonker has been busy since his former band, Hello Ocho, amicably split earlier this year. Yonker is putting the final touches on Morning Mouth, a solo creative project privately started in late 2016. The highly experimental Bedroom EP accidentally evolved into a full collaborative effort with credits from more than a dozen Atlanta artists including members of Hello Ocho, Little Tybee, Faun and a Pan Flute, and more. Yonker will release the record as a 40-minute film, stitched together from short music videos each made by different videographers. Alex Patton

No value assignedNurse | s/t 7-inch (Scavenger of Death)

Hardcore punk outfit Nurse, featuring former members of Dasher and Slugga, pressed its latest 7-inch in March. The six-minute four-song record is packed with antagonistic vocals, hard riffs and ferocious drums leaving listeners stunned from speedy bouts of hardcore noise. Except for the momentary lapse in “Moth,” featuring a creepy post-punk riff, the 7-inch doesn’t waver much; it revels in kick-ass hardcore speed and noise. Take it. AA

Mutual Jerk | “He’s Harmless” b/w “Parking Lot,” “S.S.W.M.” (State Laughter Records)

Mutual Jerk’s released its debut 7-inch in May, a three-track jam of nervy punk bravado featuring beguiling tonalities of expertise, but is actually experimental with members playing instruments they hadn’t played before. The result is a reeling avant-garde dissonance that makes listeners’ skin crawl in the best way. AA

Art School Jocks | Self-titled??EP (Father/Daughter Records)

The lo-fi “existential basement pop” quartet released its eponymous EP in June, after receiving attention from national outlets such as NPR for the single “Just a Gwen.” The five-track EP confronts matters of social dualities and sociopolitical tensions all while sustaining an alluring guise of addictive loops and lo-fi pop.?? AA