2024 was a
puzzling and exciting year, at once innovative and predictable, over-hyped but
under-studied. Musicians getting lost in the Spotify forest, both the big shots
and the little upstarts, learned that you have to turn a new release into a
marketing event to be remembered. Thus we saw endless campaigns for M.J.
Lenderman, The Last Dinner Party, Clairo, Post Malone, as well as the giants of
industry. It all boiled down to at least one industry happening per week.
In many cases, this led to some artists
getting snubbed. It’s understandable that Beyonce and Taylor Swift failed among
many listeners to break the Top Ten, even though their works were long and
exhaustive. But some reviewers didn’t think the two women were worth mentioning
at all, which is simply absurd. (I personally thought that Charli XCX’s brat
was overhyped, good but not worth a #1 slot, but certainly belonging in Top
20 – though maybe that’s just me.) Many people chasing the 2024 country craze
got left on the line-dancing floor – Post Malone’s multi-guest album and
Orville Peck’s third studio effort were widely ignored. Sometimes, new studio
albums, like those from Glass Animals and Japandroids, simply weren’t that
good, but other decent efforts, like the latest releases from Dawes and Bodega,
got cricket responses. Maybe there’s just too much damned noise out there. In
any event, I’m listing 150 or so studio releases I tend to favor, and you
really can’t go wrong with any one of them.
The ground rules on physical releases get
stickier every year. I allowed Cindy Lee’s massive Diamond Jubilee to
make a showing this year, because FLAC files are available and triple-vinyl is
coming in the spring, But Kendrick Lamar’s latest is still streaming-only,
while Tyler the Creator’s Chromakopia is in a strictly-limited
double-vinyl set that will set you back $300 or so. Tyler and Kendrick will be
pushed to 2025.
More deaths in 2024, nearly as much as
2023, and I guess we have to assume this is the pattern as we all march toward
our glorious ends.
A
final toast to Kate Bush sessions-musician Del Palmer, Magnum guitarist Tony
Clarkin, avant-garde droner Phill Niblock, Soft Moon composer Luis Vasquez, Shangri-La’s
founder Mary Weiss, Woodstock waif Melanie Safka, jazz guitarist Dean Brown, MC5
guitarist Wayne Kramer and MC5 drummer Dennis Thompson, Bob Marley musician
Aston “Family Man” Barrett, country legend Toby Keith, Spinners vocalist Henry
Fambrough, country-punk hellraiser Mojo Nixon, Jeff Beck Group vocalist Bobby
Tench, singer-songwriter Cat Janice, Steely Dan keyboardist Jim Beard, Blackberry
Smoke drummer Brit Turner, punk singer Michael Reidy, World Party songwriter
and singer Karl Wallinger, Pig Destroyer founder Blake Harrison, Pretenders
bassist T.M. Stevens, Raspberries singer Eric Carmen, Wild Colonials singer
Angela McCluskey, Cockney Rebel singer Steve Harley, Jethro Tull drummer Gerry
Conway, Wallflowers guitarist Michael Ward, Pale Saints guitarist Graeme
Naysmith, FireHouse vocalist C.J. Snare, occasional vocalist for The Fall Lucy
Rimmer, Tavares singer Arthur “Pooch” Tavares, Allman Brothers guitarist Dickey
Betts and Allman composer Johnny Neel, Moody Blues keyboardist Mike Pinder, roots-rock
guitarist Duane Eddy, ELO keyboardist Richard Tandy, Gary Floyd of The Dicks
and Sister Double Happiness, Shellac and Big Black frontman Steve Albini, Jefferson
Airplane drummer John Barbata, saxophonist and TV music producer David Sanborn,
Strawbs keyboardist John Hawken, Staind drummer Jon Wysocki, Train guitarist
Charlie Colin, Iron Butterfly lead vocalist Doug Ingle, Zappa drummer Ed Mann
and Zappa bassist Tom Fowler, 2 Live Crew rapper Brother Marquis, The Selecter
vocalist Gaps Hendrickson, French pop legend Francoise Hardy, singer-songwriter
Angela Bofill, experimental music composer Dean Roberts, Contortions founder
James Chance, original Texas Jewboy Kinky Friedman, songwriter Dave Loggins, early
folk singer Happy Traum, Moby Grape founder Jerry Miller, blues master John
Mayall, Four Tops singer Duke Fakir, Vibrators bassist Pat Collier, Chills
guitarist Martin Phillipps, Snarky Puppy founder Shaun Martin, Great White
singer Jack Russell, Bay Area wonderkid Greg Kihn, Muffins bassist Billy Swan, bossa
nova king Sergio Mendes, Sha Na Na pianist Screamin’ Scott Simon, Jackson 5
older brother Tito Jackson, country-rock composer J.D. Souther, Electric Flag
founder Nick Gravenites, saxophonist Kim Richmond, Reagan Youth guitarist Paul
Cripple, ABBA drummer Roger Palm, actor and singer Kris Kristofferson, Anvil
guitarist Dave Allison, Madonna’s brother Christopher Ciccone, Flaming Lips
singer Nell Smith, One Direction singer Liam Payne, folk-music activist Barbara
Dane, Iron Maiden singer Paul D’Anno, It’s a Beautiful Day singer Linda
LaFlamme, Grateful Dead founder Phil Lesh, producer Quincy Jones, trombonist
George Bohanon, jazz drummer Roy Haynes, King Crimson lyricist Peter Sinfield, Bee
Gees drummer Colin Petersen, Blues Image guitarist Mike Pinera, Olivia Tremor
Control and Elephant 6 founder Will Cullen Hart, tabla virtuoso Zakir Hussain, Simply
Red bassist Steve Lewinson, Replacements guitarist Slim Dunlap, Michael Brewer
of duo Brewer and Shipley, Chic singer Alfa Anderson, pop producer Richard
Perry, agile blues singer Sugar Pie DeSanto, jazz bassist Barre Phillips, and
blues/folk singer Josh White Jr.
Regular Studio Albums, 2024
1. Bodega,
Our Brand Could Be Yr Life – Bodega was well-loved in pre-Covid and
pandemic days, as the nuttiest thing out of NYC in quite a while. This new one
integrated Situationist politics and sparkly pop in just the right mix, and no
one paid attention. Huh.
2. M.J.
Lenderman, Manning Fireworks – Sure, Lenderman’s solo efforts got a
prompt from the fact he’s guitarist for the band Wednesday, but to all the nay-sayers
claiming this is overhyped, I would put forth the first hearing of “She’s
Leaving You,” where the guitars come in Crazy Horse-style, and you realize how
perfect the rest of the album is.
3. Hurray
for the Riff Raff, The Past is Still Alive – Compared to the hype two
years ago for Life on Earth, Alynda Segarra snuck this one out in the
spring with not much fanfare. It’s the best and most understated of all the pop
stars trying country albums in 2024.
4. Drahla,
Angeltape – One of the U.K.’s lesser-known art-rock newcomers, Drahla
knows how to meld saxophone a la Squid with droll female vocals reminiscent of
Dry Cleaning. Except that Luciel Brown delivers the lyrics in a costume hinting
at a Seanchan sul’dam from Wheel of Time. Some may find Drahla a little
too contrived, I think they’re great.
5. Being
Dead, Eels – The Incredible String Band-style hippie harmonies of the
last album have been tweaked by John Congleton without giving too much polish. Remember,
you can always trust a band whose primary songwriters release under the names
“Shmoofy” and “Falcon Bitch.”
6. Beth
Gibbons, Lives Outgrown – The Portishead lead vocalist made us wait a
while for her first true solo album, but it was more than worth the wait.
7. Billie
Eilish, Hit Me Hard and Soft – This release combined ethereal
arrangements with frank statements, which made it a tougher listen than her
earlier works, but it rewards repeated listens.
8. Yard
Act, Where’s My Utopia? – So many of the U.K. mania bands of the 2020s
have figured out how to make over-the-top art-rock palatable, and Yard Act’s
Glastonbury performance of “Trenchcoat Museum” proves the case.
9. Mount
Eerie, Night Palace – Phil Elverum’s most important work since A Crow
Looked at Me, which should cement his reputation for life. More fragmented
and electronic than Crow, the new two-disc set is vast.
10.
Halsey, The Great Impersonator – Some critics
thought that Halsey went a bit over the top with her accolades to all the
performers and musical styles that have influenced her, but I thought this was
exquisitely done.
11.
Charli XCX, brat and brat remixes – The
remix album will be listed in specials as well, but I wanted to lump these
together to recognize the overall impact “brat summer” had in 2024. There are
many great tracks here, but it didn’t stun me like some of Charli’s earlier
works.
12.
Adrianne Lenker, Bright Future – This must be
taken at face value, a minimalist companion to Lenker’s work with Big Thief,
but those attending Lenker’s solo shows will testify that the performances may
have been more powerful than Big Thief.
13.
Shellac, To All Trains – It’s interesting that
the return of Shellac, and the band’s best album, turned out to be a last will
and testament for its founder, the astounding producer Steve Albini. Sometimes
things just work out that way.
14.
Waxahatchee, Tiger’s Blood – As someone who’s
followed Katie Crutchfield since early Cerulean days, it’s easy to say
this is her finest album by far, and one of the best country-flavored releases
of the year.
15.
Arooj Aftab, Night Reign – If you caught Aftab’s
work in the Love in Exile trio tour in 2023, you know. If this is your first
exposure, welcome aboard.
16.
Cindy Lee, Diamond Jubilee – Patrick Flegel
seemed to go to great lengths to make this album unavailable (a 21st-century
queer Nick Drake?), but the effort in crafting such a masterpiece is obvious.
It might suffer a bit from being overstuffed a la new works by Beyonce, Taylor
Swift, and Post Malone, but it’s worth the listening effort, as it will be
remembered for decades to come.
17.
Clairo, Charm – Women pop vocalists were on a
roll in 2024, and Clairo veered the closest to serious jazz arrangements,
making this release a pure pleasure.
18.
Kim Gordon, The Collective – There’s a certain
karma in the fact that Kim provides the best works from the ruins of Sonic
Youth, and has turned into a bona fide NYC style leader as well. Her ex-husband
Thurston Moore may continue to crank out guitar composition albums that are
decent in their own right, but Kim is the real deal.
19.
Beyonce, Cowboy Carter – Sure, you may think
it’s overblown and opportunistic, but I look at this as the country-flavored
Part 2 of her trilogy, and will reserve final judgment when the concluding
chapter is out. Besides, this album is fun! She gets some demerit points for
making six songs only available in streaming format, but I have a feeling that
may one day be remedied.
20.
Brittany Howard, What Now? – For her 2024 tour,
she performed these songs as though she was an Aretha Franklin from another
galaxy, which underscored the great arrangements. And in 2025, Howard plans on
launching her new punk band. And that’s Brittany for you.
21.
Taylor Swift, Tortured Poets Department – Yes,
the most expanded version of this is as exhausting as the “3 a.m.” version of Midnights,
but there are as many memorable songs on this new one as on her last. Yet
critics are snubbing her completely off their Top 50 or Top 100 lists. How
absurd! Swift is as on-target as ever, and I’m sensing a little jealousy for
the money made from the Eras Tour, or maybe just Taylor-fatigue.
22.
Richard Thompson, Ship to Shore – It’s a pity
Thompson released this in such a busy year, as this is his best and most
diverse in at least a decade, and ranks high in a portfolio that beats just
about any other artist.
23.
Brigitte Calls Me Baby, The Future is Our Way Out – Last
year, I put Brigitte’s debut EP in the #1 slot, and called them the best new
live act to see. The debut album relies on slower romance songs, hence the
ranking, but the band remains one of the best you can see live anywhere, any
time.
24.
Dawes, Oh Brother – Dawes can veer from clever
to maudlin at times, but Taylor Goldsmith provides some of his best songwriting
on this album – yet the album almost sank without a trace. Perplexing.
25.
Kim Deal, Nobody Loves You More – The veteran
Pixies and Breeders leader opts for strings and horns in her debut solo work,
but the Albini production works just fine.
26.
Fontaines D.C., Romance – If every song hit home
as well as “Favourite,’ this might be in my Top Ten, but it’s definitely the
best by Fontaines D.C.
27.
Ariana Grande, Eternal Sunshine – Maybe I still
shy away from her due to her haughty “Get Pete” days, but Ariana has grown up
in public more than many women pop stars.
28.
Hinds, Viva Hinds – Not sure what made this set
of songs superior to previous ones from the Madrid women’s pop-punk band, all I
know is, it works.
29.
Skylar Gudasz, Country – No, this is not a
country album, it’s the latest bunch of tunes from one of North Carolina’s
greatest song stylists.
30.
Kasey Musgraves, Deeper Well – At first, I
wasn’t sure this one lived up to some of Musgraves’ recent albums, but repeated
listens, and the punch of the song “Cardinal,” convinced me of its greatness.
31.
Maggie Rogers, Don’t Forget Me – Maybe only half
the songs are truly memorable, but Rogers has upped her live-performance game
so well in the last couple years, it enhances the studio work.
32.
Torres, What an Enormous Room – Normally, I have
a new Torres in my Top 10 or so. This one was a little hard to grasp, but with
a great live tour in 2024 and a country duo with Julien Baker set for 2025, I
have no doubt Torres will conquer the world.
33.
St. Vincent, All Born Screaming – This was
billed as a return to Annie’s roots, and it’s very good, but it didn’t hit me
like a steamroller.
34.
John Spengler, You Can’t Beat Fun – After a
couple intriguing EPs, Spengler’s first full-length studio outing features
production by Duke Davis, and great songwriting in the likes of “Walkin’ Out of
Texas” and “Bad Preacher.”
35.
Faye Webster, Underdressed at the Symphony – Atlanta’s
finest songwriter is in fine form for this fifth album, and is getting a wider
audience.
36.
Amyl and the Sniffers, Cartoon Darkness – Sure,
the punk is derivative and Amy sounds and acts a little like the Wendy O. types
of the past, but you can’t help but love The Sniffers’ silly selves.
37.
Sleater-Kinney, Little Rope – Are we done
snubbing S-K because Janet Weiss left the band, yet? Because Corin Tucker and
Carrie Brownstein have been penning some great songs while you’ve been sulking.
38.
English Teacher, This Could Be Texas – This
British band is still balancing strident delivery and lush arrangements, which
is achieved in the BBC Live EP, but only in off-on fashion here.
39.
Sabrina Carpenter, Short and Sweet – Sure, I’m
captivated by the bold lyrics and tight pop arrangements, but there are other
women pop artists who are her equal or better. Tough to balance them all out.
40.
Jack White, No Name – Make no mistake, the idea
of a return to roots is perfect for Jack, and the actual implementation is a
killer. But Jack still is a little predictable to make the Top Ten.
41.
Bonny Light Horseman, Keep Me On Your Mind/See You
Free – A double album of new work by Anais Mitchell and pals? Yes please!
42.
Father John Misty, Mahashmastiana – Some
ponderous and well-produced tunes, a few like “Mental Health” with the Nelson
Riddle orchestration found in Chloe, but with other tracks that are
crisp and short.
43.
Xiu Xiu, 13” Frank Beltrame Italian Stiletto with
Bison Horn Grips – Maybe the most melodic work in a while, these are nine
minor-key and partially orchestrated songs that will scare you as much as
anything Jamie Stewart does. Not an album to bring Stewart to a wider audience, but thoroughly
Xiu Xiu.
44.
Oneida, Expensive Air – Moving their psychedelia
in more of a tense, minor-key direction ends up sending Oneida to more of a
Mogwai sound. Which is a very good thing.
45.
Dirty Three, Love Changes Everything – The
Australian instrumental band returns from hiatus with a suite honoring agape
love. Hard to go wrong.
46.
The Cure, Songs of a Lost World – A stunning
return after 16 years of silence, but the way Cure fans claim this is easily
album of the year, reminds me why I never went nuts over Robert Smith. Lots of
angst and great orchestration, but not a lot of riff development or evolution.
47.
John Craigie, Pagan Church – By this point in
the game, you’re either part of the cult, or wondering what’s going on. Craigie
put out both a studio and a live album in 2024, so wonder no longer, and simply
bask in the hero worship.
48.
Rachel Fey, Paper Cranes – A Colorado stage
actress tries her hand at songwriting and pop production, with better results
than anyone might have anticipated.
49.
Not for Pussies, Chiaroscuro – Another epic
production from the Kidd chambers, with better writing and arrangements all the
time.
50.
Pom Pom Squad, Mirror Starts Moving Without Me – Since
Mia Berrin uses her PPS band name, she’s often forgotten when the best new
women pop vocalists are discussed. That should not happen. Berrin proves the
debut PPS album was not a fluke, with ten new rich and brilliant songs from a
stunning songwriter and interpreter.
51.
Jessica Pratt, Here in the Pitch – There’s a lot
of love for Pratt among critics, a lot of placement in the Top Ten, but her
quiet delivery doesn’t always hit home for me.
52.
The Decemberists, As It Ever Was, So It Will Be
Again – Meloy really put his all into this one, including the 20-minute
song “Joan in the Garden,” making this the most important Decemberists album
since The King is Dead.
53.
Kamasi Washington, Fearless Movement –Washington
always goes for the epic, so the arrival of a two-disc set almost might be
called minimalist.
54.
Bleachers, s/t – Jack Antonov has evolved his
touring band to an approximation of the E Street Band or Gaslight Anthem, giving
these songs the kind of kick that only saxophones and dancing on grand pianos
can provide.
55.
Godspeed You! Black Emperor, No Title as of 13
February 2024, 28,3490 Dead – Not their most epic nor their most
experimental, but thanks for the Gaza name-check. The 14-minute “Baby’s in a
Thundercloud” is a career high.
56.
Laurie Anderson, Amelia – An intriguing story of
Amelia Earhart’s last flight, told through vignettes. Intriguing, but sort of a
placeholder as we wait for United States Live Part V.
57.
Nick Cave, Wild God – While Cave says he’s
gotten beyond the grief from the death of his son, this is sort of a happy
album informed by grief, if that makes sense.
58.
Hard Quartet, s/t – A new supergroup experiment
from Stephen Malkmus, Matt Sweeney and company. The fuzz can rival Jack White’s
latest, with hints of Sonic Youth, but the odd syncopated rhythms are
suggestive of Pavement.
59.
Nap Eyes, The Neon Gate – Nigel Chapman has the
kind of high-tenor nasally sorta-Donovan voice one might either like or reject,
but the band has moved well beyond the deep-lockdown-era Snapshot of a
Beginner. Plenty of new focus on asyncopated psychedelic guitar.
60.
Mary Halvorson, Cloudward – Our favorite Code
Girl offers up a delicacy.
61.
My Brightest Diamond, Fight the Real Terror – Probably
the strongest release of Shara Nova, and a political call to action – I need to
give this one more time to sink in.
62.
Post Malone, F1 Trillion – The idea of an
all-country album is great, and the guest stars are legion (both factors are
common with Orville Peck, below), but no matter how much emotion Post Malone
puts into the music, there is a feeling of a check-box of country styles here.
Still, when you listen to all the pop stars who went country in 2024, you get a
nice cross-section of Nashville.
63.
The Last Dinner Party, Prelude to Ecstasy – These
women sure generated a lot of buzz, first in the U.K. and then here, but the
baroque-rock Victorian-era-on-steroids style is interesting, but scarcely
revolutionary.
64.
Rainbow Kitten Surprise, Love Hate Music Box – This
album thinks big, with plenty of great ideas and riffs to go along with them.
65.
Melt-Banana, 3+5 – Yasuko Onuki is back, with
all the crazy noise of her Melt-Banana in fine form! This time, each song has a
single-word title like “Code” or “Puzzle,” which probably means something in a
parallel universe – or maybe not.
66.
IDLES, TANGK – Damn, how did this one get so
low? Some folk thought IDLES was losing its screaming edge, but I liked the
dark and slower, more majestic tilt here – a little less libertarian
self-centeredness means a little better IDLES.
67.
Glass Animals, I Love You So Fucking Much – The
2024 tour was decent, but this studio effort required several listens to
squeeze out the good stuff.
68.
Holly Macve, Wonderland – The woman who began
life as a British Patsy Cline has morphed into a fascinating country-pop artist
following in the Margo Price/Kacey Musgraves tradition.
69.
Gillian Welch and David Rawlings, Woodland – It
is so great to have Gillian back again, but make no mistake, this is true collaboration, with David offering his tenor
and falsetto vocals to such songs as the haunting “Hashtag.” Maybe some songs
are more traditionalist than the mystical pieces Welch was up to in the early
2000s, but “The Bells and The Birds” proves the mystery still lives.
70.
Julia Holter, Something in the Room She Moves – Julia
has lived on the outer perimeters for so long, when she moves into more normal
song-writing territory, it seems a bit mellow. But this is Julia Holter, y’all.
71.
Iron & Wine, Light Verse – It was a stroke
of genius for Sam Beam to bring Fiona Apple into these sessions, yet only about
half the tracks really made me sit up and take notice.
72.
Orville Peck, Rodeo – This is Peck’s third
album, but the first where he called on many country cohorts, and the results
are fun, but suffering from the Post Malone problem – too much of a feeling of
check-boxes being filled.
73.
Jamie Xx, Waves – Occasionally working with Romy
and Oliver, occasionally with other guests, Jamie has put together perhaps the
best dance-floor EDM of the year, challenged only by the posthumous Sophie
collection below.
74.
Shabaka (Hutchings), Perceive Its Beauty, Acknowledge
Its Grace – Offering up a solo album with great sax riffs and occasional
poetry/singing rambles, Shabaka comes up with something greater than his work
with Comet is Coming, Sons of Kemet, or Shabaka and the Ancestors.
75.
Sophie, s/t – I’m putting this under normal
studio releases, even though Sophie’s brother compiled it as a final posthumous
collection. Some say it suffers from the compilation nature, but I think it’s
more exciting than Oil of Every Pearl’s Un-insides.
76.
The Young Fables, Short Stories – Despite the
relatively low ranking, Young Fables are simply the best country duo in
Nashville, and dripping with indie cred.
77.
Johnny Blue Skies (Sturgill Simpson), Passage du
Desir – This is a well-crafted Simpson album, which begs the question of
why he is retiring his given name, the “Blue Skies” does not imply a big style
change.
78.
X, Smoke and Fiction – What a superb final
album! Despite the ages of the band, it ranks up there with the best 1980s X.
79.
Mary Timony, Untame the Tiger – An exceptional
solo outing for the founder of Helium and Wild Flag.
80.
M’dou Moctar, Funeral for Justice/Tears of Injustice
– I look to this Tuareg guitar virtuoso as the real instrumentalist of the
2020s, , more so than Mk.gee, whose new album didn’t rank this year, but that’s
mostly due to my own ignorance.
81.
Lauren Mayberry, Vicious Creature – Like the
best of Chvrches, only more theatrical and a bit sadder.
82.
Alan Sparhawk, White Roses, My God – This is a
grief album for the founder of Low, after losing his partner Mimi Parker.
Sparhawk has shifted persona into grizzled hippie, while pulling his music in a
heavy electronically-modified direction.
83.
The Smile, Wall of Eyes
84.
The Smile, Cutouts – Let it be said to doubters,
The Smile is a much better band than Radiohead, at least the Radiohead of
recent memory. Thom is obviously having a better time, and The Smile offers up
chill rhythms. But it functions more as good-spirit jam background.
85.
Kali Uchis, Orquideas – This album bursts with
such a multilingual bouquet of styles and ideas, it’s a guaranteed
crowd-pleaser. Yet to those who place it in their top 10, I still say Uchis
sticks to a chill ambience vaguely like
Khruangbin, which is certainly popular these days, though I find myself
drifting.
86.
Chromeo, Adult Contemporary – These guys are the
champs at seeing 1970s retro-funk as parody. Too fun.
87.
Tindersticks, Soft Tissue – Wow, it’s been 30
years since the early Tindersticks albums were released. Recent band works seem
like moody spotlights for Stuart Staples’ unforgettable baritone sorrows, but
that’s OK – even if Tindersticks rarely hit the late 90s majesty.
88.
Gossip, Real Power – The cover art might suggest
that Gossip’s reunion is meant to take us back to the punch of Music for
Men, but the reality is more a mix of older Gossip, and Beth Ditto’s solo
blues chanteuse material. The result is a slow simmer more than a howl.
89.
Ani DiFranco, Unprecedented Shit – This is Ani’s
finest in a long time, confronting becoming a middle-aged radical who still has
a beat, but the ranking indicates that Ani is now elder stateswoman.
90.
Beabadoobee, This is How Tomorrow Moves -- Beatrice Laus offers up pop that is both
sparkly and edgy, but she still is describing that teen-angst dimension.
There’s lots of room to grow.
91.
Sarah Jarosz, Polaroid Lovers – Other than
trying for a steamy persona that doesn’t quite fit, this is another fine work
by Jarosz
92.
Norah Jones, Visions – One of her poppier set of
well-crafted tunes, this one has riffs that will stick in your memory.
93.
San Fermin, Arms – If Ellis Ludwig-Leone wasn’t
always chasing away San Fermin’s best vocalists and string players, the band
would have really skyrocketed after “Jack Rabbit”. Nevertheless, the
compositions remain superb.
94.
Suki Waterhouse, Memoir of a Sparklemuffin – In
the huge pantheon of new women pop vocalists, I’m impressed with Suki’s writing
and delivery, but can’t quite figure out her center of gravity.
95.
Cage the Elephant, Neon Pill – As CtE gets
bigger and bigger, its pop tunes become more predictable. Notice the band is
still well ahead of Pearl Jam, and I don’t point that out to be mean to Eddie.
96.
Bonzie, When I Found the Trap Door – Nina
Ferraro is a stunning writer and arranger with a great voice, but her fourth
album seems a little overproduced, maybe in a Weyes Blood sort of way. Which
many will like just fine.
97.
Arab Strap, I’m Totally Fine With It, I Don’t Give a
Fuck – The reunited band applies its trademark doom and gloom to social
media drama. But seeing as how the band was in its prime around 2000, there’s
something of a middle-age pisser feel to the sadness.
98.
David Gilmour, Luck and Strange – The Pink Floyd
wunderkind gives us a family affair album, where his wife Polly Samson provides
lyrics, his daughter Romany plays harp and sings, and both sons chip in on
vocals and lyrics. It’s a grim affair, but a damned sight better than anything
Roger Waters has done of late.
99.
Dua Lipa, Radical Optimism – This is the first
time Dua Lipa has charmed me with something that might be called substantive
amidst the dance steps. The philosophy cannot be slighted, either.
100.
Bright Eyes, Five Dice All Threes – Conor pulled
together all the members of his first band, only to fall sick just prior to a
tour. Here’s hoping for more from Mr. Oberst soon.
101.
Guided by Voices, Strut of Kings – This is the
first year in living memory when GbV has only offered us one studio album, and
this one just didn’t speak to me all that much.
102.
Bat for Lashes, Dream of Delphi – I adore
Natasha Khan and all her wild concept albums, but this Greek oracular
spectacular dedicated to her daughter Delphi seemed sort of ethereal.
103.
The Linda Lindas, No Obligation – Honestly, teen
women rockers should rank higher than this, particularly when they’re so
feisty!
104. Blue
Oyster Cult, Ghost Stories – Not as powerful as their 2022 reunion,
but not half bad for the ancient ones.
105.
Vampire Weekend, Only God Was Above Us – Seems
odd that a lot of reviewers had this in their top ten. I thought it sounded as
though VW was really treading water with preppie-rock that hadn’t moved from
undergrad.
106.
Mannequin Pussy, I Got Heaven – As much as I
understand some would see the band as one possible future of punk, I find them
only mildly interesting.
107.
Shovels and Rope, Something is Working Up Above My
Head – This salty-dog duo is always wry and ironic, though this outing
seemed more subdued than most.
108.
Ty Segall – Three Bells – Interesting
arrangements, but hard to get a handle on at times.
109.
Soccer Mommy, Evergreen – Many think this album
has her most mature compositions, maybe I need to let it soak in a little more.
110.
Rosali, Bite Down – It’s good to see this
songwriter get some belated attention, though I favor her live sets in the
Specials section.
111.
Wild Rivers, None Better – A Canadian folk
ensemble deserving of more attention.
112.
Anders Thomsen, Antlers – The king of Georgia
honky-tonk offers up his best batch yet.
113.
The Airborne Toxic Event, Glory – Mikel Jollett
returns from his book and album documenting being raised in the Synanon cult,
and the return maybe seems a little too normal by comparison.
114.
Blitzen Trapper, 100s of 1000s, Millions of Billions
– I thought the band’s last album was snubbed, but considering it along
with the new one, maybe Eric Earley’s songwriting is flagging a bit. Still
worth your time.
115.
John Cale, Poptical Illusion – Hey, I’m just
willing to praise the fact that this former Velvet Undergrounder is still
making relevant and funny music at 82!
116.
Six Organs of Admittance, Time is Glass – Gauzier
than some releases, but still impressive as hell.
117.
The Pixies, The Night the Zombies Came – I’ve been
a mild fan of the albums Pixies have made since their reunion, but this one
seemed a bit contrived.
118.
Chris Smither, All About the Bones – Chris is
sometimes considered an acquired taste in folk-blues, but BettySoo is with him
on this outing, so that’s all you really need to know.
119.
Tartie/In These Trees, The Quiver – A
fascinating collaboration between an Australian dream-pop singer and a
Connecticut DJ. Eclectic but worth your attention.
120.
Megan Burtt, Witness – An exceptional Denver
songwriter gives us an album with great arrangements, but so-so lyrics.
121.
Phantogram, Memory of a Day – This is actually
one of the duo’s better efforts, ranked lower because I haven’t given it enough
repeat listens.
122.
Empress Of, For Your Consideration – Widely
adored, but seems sort of ethereal to me. Maybe I need to let it sink in.
123.
Thurston Moore, Flow Critical Lucidity – An
interesting shoe-gazey turn to dreamland, Moore is hindered, at least in the
U.S., for those that snub him for his ex, Kim Gordon.
124.
Karen Hagloff, One Hand Up – With every album,
this electronic musician and prankster vocalist intrigues me more and more.
125.
Lake Street Dive, Good Together – Rachael and
Bridget seem to be trying as hard as ever, but the band seems in a bit of a rut
since Mike Olson left.
126.
Pissed Jeans, Half-Divorced
– The band has to work extra hard to avoid falling into punk repetition, so
give them credit for trying.
127.
Okay, Kaya – Oh
My God -- That’s So Me! – Kaya
Wilkins never ceases to intrigue me with her electronic horseplay.
128.
Grandaddy, Blu Wav – As a long-time Grandaddy
fan, I’ll be the first to admit there’s not a lot of there there.
129.
Gracie Abrams, The Secret of Us – We often hear
Gracie is a Taylor Swift clone, but she really seems more a clone of
high-register singers like Beabadoobie and Suki Waterhouse. Her lyricism still
could use work, but this is only her second album (in two years), so I’m sure
she’ll get better with time.
130.
Green Day, Saviors – It’s worthwhile to
recognize when Billie Jo actually gets relevant again, and this album has its
moments.
131.
Illuminati Hotties, Power – Several critics,
including Pitchfork, thought that Sarah Tudzin was really advancing in the
third IH album, but I’m just not hearing it. Lackluster to these ears.
132.
Pernice Brothers, Who Will You Believe? – Hey,
Joe Pernice is back with full band, that’s all I need to know.
133.
Kaiser Chiefs, Easy Eighths – The brash power
band of the early 2000s tries at a midlife comeback with more success than
many.
134.
Hiatus Kaiyote, Love Hate Cheat Code – The mix
of funk and pop styles this band specializes in works for me sometimes, and not
others.
135.
Laura Marling, Patterns in Repeat – So many fans
called this one a stunning ode to her daughter, but I just didn’t get a lot of
inspiration from the tunes, and I’m a huge fan!
136.
Nellie McKay, Key Guys Watch This – Damn, I hate
it when a great artist has their work virtually ignored by everyone, even if
this isn’t Nellie’s strongest effort.
137.
Lemon Twigs, A Dream is All We Know – This band
has everyone ga-ga with their 60s/70s retro, but I’m only hearing about three
songs on this album that grab me.
138.
Japandroids, Fate and Alcohol – This duo got dubbed
with being “dad-rock” far too early, and then when they announced this would be
their last album, the moniker sort of stuck.
139.
Future Islands, People Who Aren’t There Any More – Fans
will tell you Samuel Herring’s rich voice can cover for all flaws, but this
album didn’t hit me the way the last two did.
140.
Mercury Rev, Born Horses – If you expect treacly
and well-meaning vocals from Jonathan Donohue, his spoken-word poetry delivery
will live up to (or down to) expectations, but what is surprising is the rich
arrangements with horns, thanks in part to keyboardist Marion Genser.
141.
Khruangbin, A La Sala – I’ve tried numerous
times, but I find the band’s style of chill-jazz to be pretty monotonous.
Sorry.
142.
PACKS, Melt the Honey – An interesting move
forward from the debut album from the Toronto band, and Madeline Link shows
every sign of more advancement in the future.
143.
Geordie Greep, The New Sound – Maybe I just
expected more from the founder of Black Midi, but what some fans see as
Broadway cleverness, I see as contrived.
144.
Pearl Jam, Dark Matter – I really feel for Eddie
Vedder, who is a kind and compassionate chronicler and collaborator for all
that is good in modern pop. Yet, like Dave Grohl with Foo Fighters, he has to
confront the fact that his band makes the same album over and over. At least
the new Pearl Jam does show signs of life.
145.
Real Estate, Daniel – The band is sort of stuck
in alt-country-breezy mode, with good effect, but few surprises.
146.
Luna Honey, Bound – Hard to believe the
Washington DC trio Luna Honey is on their sixth album, but vocalist Maura Pond
really seems to be showing her maturity with this one.
147.
Snow Patrol, The Forest is the Path – A few of
the songs here aren’t that bad, but Gary Lightbody’s increasingly narcissistic
way of looking at his band bugs me.
148.
Kings of Leon, Can’t We All Have Fun? – The
Followil brothers are stuck in the manner of Eddie Vedder or Dave Grohl. In the
last five years, KoL have been making the same album over and over, despite
trying hard.
149.
Julian Casablancas (solo), I Saw You Reflected from
the Sea in My Room
150.
Julian Casablancas (with The Voidz), Like All Before
You – While either of Julian’s solo efforts might cover for an absence of
The Strokes, they also show why he gets the most credit when he’s with his
original band.
151.
Foster the People, Paradise State of Mind – Not
to be harsh, but did anyone ask for a Foster the People reunion? And did anyone
get any more than they expected?
152.
The Libertines, All Quiet on the Eastern Esplanade –
What I just asked about Foster the People applies for The Libertines,
although they obviously have more juju. It’s honestly good to have Pete Doherty
back, though sometimes, the juju feels like Jujyfruits.
153.
Coldplay, Moon Music – I’m keeping this on the
list because of the band’s worthy work with Dick Van Dyke, but honestly, no
matter how hard Chris Martin tries to be un-gushy, he’s eternally gushy and
transcendent. The years with Gwyneth Paltrow must have permanently damaged him.
154.
Katy Perry, 143
- Sort of a feminist misfire, but I wanted to give Katy acknowledgement
for trying.
Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.)
1.
Various Artists, Cardinals at the Window, A Benefit
for Asheville – An exhausting nine hours, 136 artists, 136 tracks, all
going to Hurricane Helene relief. We
might expect the full range of Carolina and Texas Americana artists, but they
even invited improv weirdos like Bill Orcutt and Sunburned Hand of the Man to
sit in. Perhaps not just the best benefit album ever, but the best Various
Artists comp of any kind.
2.
The National, Rome (Live) – A more modernist and
obscure set than The National live cassette-only album of five years ago, this
double album explores Matt Berninger’s darker dreams over the last decade. Hearing
an Italian audience chant the lyrics, in English, to “Vanderlyle Crybaby Geeks”
was a real bonus.
3.
Linda Thompson, Proxy Music – Since Linda,
Richard’s ex, has been unable to sing or perform for the last several years,
she gathered Richard, the kids, and many friends to perform some of her recent
compositions. Bonus points for emulating the first Roxy Music cover.
4.
Bill Orcutt, Guitar Quartet Live
5.
Zoh Amba, Live in Italy
6.
Bill Orcutt, How to Rescue Things
7.
Bill Orcutt, Mouth at Both Ends – Releases 4
through 7 are from the bottomless Wurlitzer of Orcutt, who not only is as
prolific as GbV or Sunburned Hand in the day, but also has gained a large and
respectable audience one could never have dreamed of in his days with Harry
Pussy. All bow at the feet of the master.
8.
Aoife O’Donovan, All My Friends – A tribute to
the women’s suffrage movement, and a magnificent album in its own right.
9.
Various Artists, Watch Out for Joker Bob – Another
fine collection of GbV and Robert Pollard covers on the occasion of his
birthday.
10. John
Craigie, Greatest Hits….Just Kidding…Live, No Hits – Any live set from
Craigie is worth your attention, but this collection includes pre-lockdown,
lockdown, and post-Covid tunes that will never grow out of fashion.
11. Sam
Robbins, Live – A long house-concert recording assembling some of his
best work from three albums.
12. Charli
XCX, Brat and it’s the same but there’s three more songs so it’s not – More
than mere remix, this collection made “brat summer” an extravaganza.
13. The
War on Drugs, Live Drugs Again – Adam Granduciel offers fine production
for deep-cut tunes in the band’s third live outing, but honestly, finding the
CD at $10.99 clearance makes a heckuva lot more sense than paying $50 for double
vinyl.
14. The
MC5, Heavy Lifting – Seeing as how two members of the original band died
in 2024, wouldn’t it be better to call this a tribute of sorts? A good set of
songs, but would Wayne or Robbie approve?
15. Deadly
Headley Bennett, 35 Years from Alpha – The first proper release for the
1982 solo studio release of Deadly Headley, a saxophonist so prominent in
Jamaican recordings, it would be easier to say where he didn’t play.
16. Broadcast,
Spell Blanket – Another posthumous release from Trish Keenan and her
Broadcast cohorts, this one covering demos recorded between 2006 and 2009.
17. Rosali,
Live at Knitting Factory/Live at Tubby’s, April 2024 – These two
recordings from nyctaper.com give a more comprehensive picture of Rosali during
the release of Bite Down.
18. Neil
Young, F*ckin’ Up Live – An odd live recording of the 1990 grunge
classic Ragged Glory, performed in its entirety at a private birthday
party in late 2023. Since the Crazy Horse tour derailed in mid-2024, this may
be many people’s only chances to hear 2023-24 Neil and The Horse.
19. Lady
Gaga, Harlequin – A sort of soundtrack that is not without its high
points, but sort of a crashup, like the Joker movie.
20. Hannah
Marcus, The Hannah Marcus Years, 1993-2004 – Hannah worked with Godspeed
You! Black Emperor, Mark Kozelek, and many other Bay Area and Montreal
ne’er-do-wells. This is a compendium of her best work.
Singles and EPs
1.
M.J. Lenderman, “She’s Leaving You” – This deserves a
special mention separate from his studio album, because the song is so perfect
a radio tune, you can use it to demonstrate what good Top 40 AM radio once
sounded like.
2.
English Teacher, Live at the BBC Maida Vale -- An exceptional 10” EP with covers of songs
by Billie Eilish and LCD Soundsystem, spotlighting what Lily Fontaine can do in
a serious environment.
3.
Torres and Fruit Bats, “A Decoration” – A marvelous
little 12” single that gives us an idea what Torres and Julien Baker will be
giving us in 2025.
4.
Wilco, Hot Sun Cool Shroud – Notable primarily
for the song “Annihilation,” which may be the most exciting song Wilco has
released in a decade or more.
5.
Joan Shelley, Mood Ring EP – Five understated
and magnificent songs from the incomparable Joan Shelley and her usual gang.
6.
Bon Iver, Sable – In which Justin once again
bounces between electronic weirdness and pop mainstream.
7.
Shabaka, Possession – An EP of outtakes from his
wonderful studio album of 2024.
8.
The Killers, “Bright Lights” – A single from an
expected 2025 album, and one of their most exciting in a while.
9.
Sleater-Kinney, “This Time” – A decent single from the Little
Rope sessions.
10.
Deer Tick, Contractual Obligations – An EP of
extras from last year’s Emotional Contracts.
11.
Amyl and the Sniffers, Live at the Fonda 2024 – Well,
it has newer songs than the live disc that comes with the re-release of their
first album, so it’s a must for completeists.
12.
Pedal Steel Noah, Texas Madness – Another
teenage virtuoso a la Billy Strings, this time on the pedal steel.
