The following, based on Mr Trezeguet's extremely complicated 'Hamster's Tersticles' Theorum*, will explain how I determined what albums I would listen to and get aroused by and which albums would make me want to shit myself and cry.
The albums which featured in the latter included a number of artists I simply wouldn't be seen dead admitting to listening to and a few which I went into expecting more of.
Then there was the small list of stuff that either didn't make the 25 short list because I wasn't terribly impressed/didn't grab me by the nads/weren't played enough to stimulate my musical OCDs. I could simply have listed a top 50 albums of the year and hope that no one notices there's only 49.
The albums that didn't quite make it were offerings from Ulva (was a tad disappointed as I like some of their earlier stuff), The Horrors (nothing new to see here), London Grammar (bland in comparison to their debut), Lorde (not risque enough to warrant my calling her the 21st century Kate Bush), The Flaming Lips (a real improvement on recent years, but no longer have any pulling power). I also haven't got some albums, including the most recent Amplifier album, so I can't really rate the album until I've got it and played it to death (or not).
I had a bit of an experiment this year and several stuck, others weren't so lucky - these included: Susanne Sundfor, Ex Eye, Royal Blood, Blanck Mass and an album which covers Floyd's Dark Side of the Moon, but re-imagined as a heavy metal album - it was surprisingly better than it sounds.
Plus some old favourites missed out for various reasons. Ulrich Schnauss's collaboration with fellow (nu) Tangerine Dreamer Thorsten Quaeschning didn't make the cut because it was a bit dull. Hammock's film soundtrack to Columbus didn't make it because I haven't yet got a copy of it and from what I've heard I'm not really missing out.
Most importantly, there is probably 1000 different albums out there I never discovered and we all know the word 'discover' has a disco in it.
Now the tough part and because ranking records is a pisser at the best of times, I'm listing 25-6 in alphabetic order - these are the albums I liked this year, but not as much as the top 5.
All Them Witches - thanks to Mr Tremulous for this worthy addition to my year. Top 10.
Bent Knee - marvellous wailing and screeching with fine musicianship, man.
Eat Lights, Become Lights - Krautrock infused electronica.
Foo Fighters - surprisingly entertaining psyche-rock from the most well known on my list.
Hammock - the band finally do an album about death rather than just alluding to it constantly.
Michael Head - it's not Shack but it's still a damned good sound.
Mark Lanegan - my first real exposure to him since his band work; great album for a drive.
Mew - big contender for album of the year, in January. A real return to form for the Danes.
Mogwai - I tend to avoid well known 'post rock' bands, I didn't with this and was glad.
Nordic Giants - big chance to make a bold statement and blew it with more of the same.
Orange Clocks - madness from Northants. Nothing quite like this anywhere else in 2017.
Radiohead - yes, it was a reissue, but the 2nd album was all new to me.
Shaman Elephant - stumbled onto these after discovering someone else; groovy.
Space Above - New Zealand ambient pop - picked up from Radio6.
Stellardrone - the 'new' album features 5 tracks, 3 of which have been out for two years.
Stone From the Sky - bitching heavy grooves from Franceland.
Tangerine Dream - in name only. One track might pass off as a TD track, just. OK though.
Temples - Like psychedelia forced through Mercury Rev's socks.
War on Drugs - probably shouldn't even be played by me but surprisingly listenable.
Steven Wilson - his latest album was so commercial he appeared on BBC Breakfast. Sell-out.
This brings us to the Top Five albums of the year...
If I was to tell you that there were up to seven albums this year vying for the top spot and it has changed in the last week, that would be what the year in music has been like for me. None of the bands or artists I regard as my current favourites did anything much this year, so it was always going to be a case of whatever's been floating my sneakers in the drain of life. Or in other words, there be no real IT album because many have their merits and all did the job that was needed when it was neededed.
So, not really in a definitive order, as it might change as often as a very hygienic person's underwear.
At 5... Jonas Munk & Ulrich Schnauss - Passage
I like Manual (Munk's project) and I've enjoyed Schnauss's collaborations more than his solo stuff for a few years now. This is electronic Krautrock with added Dane that has an ambience about it that borders on post rock. There are some cracking bits of music on it too.
At 4... Elder - Reflections of a Floating World
One of those 'WTF' moments when a heavy rock band flicks all the right switches and reminds you of classic heavy riffs mixed with modern production values. These guys are so heavy they sound like a heavy rock orchestra. It's been there or thereabouts since I discovered it.
At 3... Motorpsycho - The Tower
This was at #1 until last week. I played all my favourites over the last 3 weeks and while this is a cracking album by a Norwegian band that never fails to deliver something to put on repeat play, this album is marred by a couple of, what can only be described as, 'weak' tracks, the rest are borderline classics; Ship of Fools becoming their latest epic monster.
At 2... Ride - The Weather Diaries
And #1 on and off since its release. This is one of those 'triumphant return' albums, 25+ years after their last, presumed final, poor disintegration on vinyl. The time off has done them a lot of good and this is jam-packed with excellent pop psychedelia with a shoegaze feel and a 21st century sensibility. Favourite bands of the 90s on comebacks rarely live up to expectations, this exceeded mine (and many critics too).
What a truly gorgeous piece of work this is and I stumbled across it, after repeated prompting, on You Tube, while listening to Stellardrone's latest. One day in October, I finally listened to it and then again. I couldn't work out if it was electronica or post rock; it seemed to merge the two at times and steer clear in others. Gradually, various tracks began to burrow their way into my head until it became the most played album of the last three months. As a largely instrumental work of sometimes minimalist qualities it is akin to modern classical music while remaining strangely ethereal and quite odd. Several tracks are classics. It's Swedish, and completes a Scandinavian trio with Denmark and Norway. I can now call myself musical hygge. You can call me Al.
Any thoughts, Mr Trenstein?