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My 40 Favorite Songs of 2024

Well, that’s done. Welcome to the first installment of my yearly series where I write thousands of needless words on all the music I loved this year. If you actually read what I do on this blog (why?) you may know that I attempted to chronicle every new release I listened to in blast reviews. I mostly kept up until mid-November, when year-end posts started looming. There’s a stalled-out half-post in my drafts that probably won’t ever get finished. It was a bad year to try and do this project – because this may have been the best year for new music of my whole life.

Every year I say the same thing – I prefer listening to and discussing full albums as opposed to songs. There are never as many songs I’m eager to discuss at year’s end as there are albums. But, I couldn’t narrow my list of songs down to any fewer than 40 (and I narrowly avoided a last-minute bump up to 45). One interesting trend in this list is collaborations: there’s five collabs on this list, and two more that initially made the cut but got dropped. I’m not sure why that is, exactly, but it really caught my eye. It’s also, much more predictably, an indie-heavy year. Most of my favorite albums this year were indie releases, which is the standard. It follows true for individual songs; 31 of the 40 songs here are ones I would describe as indie, and I’m being conservative. I promise I like every kind of music, I’m just an indie kid at heart. Alright enough talking, here’s 40 great ones.

#40. Orville Peck & Willie Nelson – “Cowboys Are Frequently Secretly Fond of Each Other”

Sure, the song is a joke, but it was written for a reason. The culture of cowboys being hyper-masculine and tough is one that really isn’t true historically, and this one takes a delightful dig at homoeroticism from cowboy to cowboy. Who better to do it then the most famous outlaw country singer, and the gay upstart in his wake? The song was initially made famous by Nelson in the 80’s, but was already a cover then. Nowadays it’s a lot less controversial, but the tongue-in-cheek lyrics remain provoking. Also, it’s just a great country collaboration. Hearing Peck’s bass voice sing about sexuality and even gender questioning is itself comical, if also lending credence. It’s a light, fun and eye-opening tune.

KEY HUSH HUSH: And a small town don’t like it when somebody falls between sexes / No, a small town don’t like it when a cowboy has feelings for men

#39. TORRES – “Collect”

There’s always two sides of TORRES. The side that’s more common is the easy-going, tender side of her music, emphasized by the recent surprise collaborations with Julien Baker. But TORRES separates herself from indie contemporaries by sneaking in some menacing songs every so often. No secret that “Strange Hellos” is one of my favorite indie songs. The centerpiece of her new album – the best TORRES album yet – is this song that’s got a nice vocal melody undercut by lyrics that sound ripped from a gangster movie. It’s a tense song, and much the album surrounding it is softer and sweeter. People have been sleeping on TORRES for far too long; wake up before she comes to collect.

KEY TORRES MISSION STATEMENT: Did I hit a nerve?

#38. Sheer Mag – “Eat It And Beat It”

I’m usually against singers changing genders when they do a cover (looking at you, Buble), but this one I’ll allow. And no, this isn’t a cover, but it is a tune that sounds ripped from the 70’s. An obvious play on P-Funk’s “Hit It And Quit It,” this song has the aura of a classic rock tune, and inverted gender dynamics via singer Tina Halladay. Sheer Mag have always adapted a 70’s-rock style sound, but this might be the best and most unfiltered 70’s song yet. It’s Thin Lizzy or Deep Purple reawoken in 2024. Outside of some cool glitchy production that happens during the guitar solo, this is just a straight old-school rock song. Halladay sounds excellent on vocals, and the whole band is energized. I feel like I’ve been waiting for Sheer Mag to let loose on a song like this for a while. You like rock music? It’s alive and well.

KEY DOUBLE ENTENDRE I THINK: And when you hear that dinner bell ringin’ / You’re for whom it tolls

#37. The Body – “A Premonition”

The mark of a great band is one where you can hear a song you don’t know by them but instantly recognize who it is. The mark of a better band is when they can still experiment within their own unique style and produce something new. There is no band out there like The Body, and they’ve never made the same album twice. Chip King has some of the most, erm, distinctive vocals in all of music, and the band always finds new ways to incorporate them into the songs. This song takes King’s signature squawking and chops it into little metrical bits, as if it’s a remix of some sort. To be clear – this is not a song that will be enjoyable to most people. It’s relentlessly heavy, moody, devoid of rhythm and centered around unintelligible yelling. The Body are the kings of extreme music and this is one of the more rousing songs they’ve put in the last few years. Layers of suspiciously dormant synths sit under drums and squawks without a true song structure. This is far and away the most inaccessible song on this list (though I challenge the common man to test #15). Ready yo have your concept of music challenged? 

KEY TOTALLY UNINTELLIGIBLE LYRIC: Flames reflect on the low clouds

#36. Misuser – “Behind the Fence” 

I did a much better job at paying attention to regional New England music this year, and it was a truly fruitful experience. This isn’t the only Boston artist on the list! I stumbled onto Misuser totally blind while wandering around Nice, A Fest this year in between sets I had mapped out. I stepped into a goth party at the Rockwell, and this new one is the epitome of the sensation. This sounds ripped from the 80’s with breathy vocals, layers of synths and damp production. It’s a moody and engrossing song, one that’s easy to get lost in. Dark pop at its finest. Add in some excellent vocals and you’ve got a real great local gem. 

KEY VOCAL BREAKTHROUGH: On the outside! 

#35. Ducks Ltd. – “Train Full Of Gasoline”

I mentioned at the top that there’s a few truly dissonant and disruptive songs in this playlist, and you may think this is one based on the title. Nope! This is a very fun little indie ditty, just one that moves at a lightning speed. I wasn’t familiar with Ducks, Ltd. before this year, but it seems that most of their songs to date are like this one. It’s jangly, fun and clean guitar pop, not too far out of the realm as a band like The Hives. The lyrics are gleefully bombastic, and the vocal melodies are catchy as he*k. Despite the violence in the lyrics, there’s something about this song that feels purely innocent. Had I not heard this one a million times on indie rock radio I may not have warmed up to it so much, but I did, and it’s been stuck in my head since maybe March. 

KEY PLEASE SEE THE MOVIE SORCERER: A way to get yourself set Up to roll back down that same long track / Set up to explode like a train full of gasoline

#34. Arab Strap – “Allatonceness”

You can thank my constant indecisiveness for this song making the cut. Initially this hefty Arab Strap tune sat at #41, only making the list at the last minute because I didn’t feel like writing about (spoilers) a second Decemberists song. My list is mostly full of soft indie anyways, so let’s get some chugging bass going. This song is a mission statement, one that feels ripped from the IDLES song “Colossus” – an album opener with spoken-word vocals, bluntly left-wing lyrics and bass that sounds like it’s going to kill you. This is an intimidating song, one about the slow conservative takeover of the world. There’s no love lost in the lyrics, taking aim at grifters, groomers, rapists and the freaks who imploded their own lives because Buzz Lightyear kissed a guy or whatever. What I’m saying is: bring this energy into 2025. 

KEY SAY THIS WHILE IT’S STILL LEGAL: They’ve got your attention / The groomers and griftеrs and they’ve all done thеir own research / They’ve got your attention / Antagonized fanboys while Nazis and rapists sell merch

#33. Katy Kirby – “Hand To Hand”

Angel Olsen didn’t really do much in the public eye in 2024, so Katy Kirby was here to pick up the reigns. Her excellent second album is full of indie-folk tunes, but this one in particular sounds like Angel Olsen. Maybe a backhanded compliment to highlight it for sounding like someone else, but it’s here because it’s a gorgeously sung and expertly crafted song.I love music that’s ambitious and experimental, but sometimes a warm, beautiful indie song can really scratch an itch. This is mid-00’s forest indie at its best. 

KEY LYRIC: It’s a pact, it’s a covenant / Handshake deal, turning hand to hand

#32. Sasami – “Honeycrash”

Sasami is largely unclassifiable, and the fact that I heard this song on indie rock radio sort of proves that. Her previous album Squeeze saw her take a more industrial approach to her music, coupled with the very nu-metal album cover. And yet she’s still welcomed by the indie crowd. “Honeycrash” is somewhat similar, it’s a heavy song marked by blaring guitar and withdrawn (but gorgeous) vocals. But it still feels alternative, because it isn’t really dissonant or off-putting in a way that even basic industrial can be. Also, it’s a love song. This is a song that is easy to get lost in, one that feels way longer than it is in a good way. It’s pained and slow, and the only real melody comes from the vocals, but intoxicating nonetheless. A unique entry on this list. This is the first slice of a new album, and I’m already hype. 

KEY WEEPING ON THE FLOOR: Honey, crash into me / Like a storm into the sea / Like blood on the silver screen

#31. Hinds – “En Forma”

I’ve been in the Hinds camp since the beginning, something about the Spanish band’s joyous indie really touches me in a way a lot of indie bands don’t. The duo-turned-quartet is back down to a duo, and they’re freer than ever. Nowhere is that more obvious than in the song and video for “En Forma,” a rousing and emphatic vocal-and-percussion tune. Now I don’t speak a word of Spanish, but the energy of this song is easily infectious enough to where it doesn’t matter. Besides, why limit yourself to music you understand? This is energetic, poppy and supremely confident. Hinds have always been fun, but they’re better than ever. 

KEY MAKING RELATIVE SOUNDS WITH MY MOUTH: Mírame no puedo más

#30. Beach Bunny – “Vertigo”

I love Beach Bunny so this is a loaded statement: I think this may be their best song yet. Despite losing a member, the band has never sounded so locked-in. The energy in their power-pop is always infectious, but it hits a new high here. The guitar rhythms are simple but effective, and Lili Trifilio’s vocal melody is a best-ever. BB’s music is often at the edge of punk, but too innocently sweet to be lumped in the genre. The energy here is high-octane and the closest they’ve come to punk yet (though it’s still decisively pop). This band excels at making songs you can hear a hundred times, and this is one I don’t think I’ll get sick of for a while. This might be the taste of a new album, I’m not sure – I hope it is. 

KEY ENTIRE BAND MISSION STATEMENT IN ONE LINE: I’m protecting myself from emotional healing.

#29. Tunde Adebimpe – “Magnetic”

This is absolutely the song on this list I’ve heard the fewest times. Most of these I’ve heard 10+, maybe 20+ times. This one was a shoo-in the second time I heard it. I love TV on the Radio, but I was only ever into their high-energy stuff. The indie band had a knack for making ruthlessly fast-paced and danceable tunes, and the singer’s first true solo song picks up where the band left off a decade ago. Although the band has reunited for some shows, it seems this is the first taste of a solo record. This song is all about the whiplash tempo and Adebimpe’s adept vocals. He sounds as good as ever, keen to deliver standard lines like the opener “I was thinking about my time and space / I was thinking about the human race.” Just throw this one on and try not to snap your fingers.

KEY TUNDE HAS BEEN MISSED: I know the skill of doing loops in the fire / What they gonna do with a lightning rider?

#28. JPEGMAFIA – “don’t rely on other men”

I’m the specific blend of caucasian where there’s only one rap song on this list and it’s from JPEGMAFIA. Peggy is at his best when he leans into the heavy synths and unpredictability – the gnarlier the beat, the better the song. The beat of this one isn’t complex, it’s just a loud, plodding thump of a synth and a sample of the word “down,” taken from the line “I hear you went down.” Who spoke this? Brian Cox, in “Succession.” Beside the point but neat. Add in some metrical guitar and Peggy’s characteristically precise flow and comical-but-tough lyrics and you’ve got a classic JPEGMAFIA track. This one arguably stretches closer to hyperpop than full hip-hop.

KEY CLASSIC PEGGY LINE: I’m with my bi bitch, we being bipolar / Together we burn through that bread like a toaster

#27. Alluvial – “Death Is But A Door”

There isn’t much to say about this one – it’s a death metal song centered around a sick, one-note riff. The whole crux of this song is one guitar bend through distortion, and I can’t explain why it wails so hard but it does. By purist standards, this sneaks in as my favorite metal song of the year (although there’s one coming that I’d argue fits the bill). I don’t even particularly like this band but the mix of the punishing djent tempo and the nu-metal guitars is just heavy. 

KEY WELLNESS CHECK: An empty gun on the floor / To show you time is but a window / And death is but a door

#26. Vampire Weekend – “Gen-X Cops”

Vampire Weekend’s fourth album, Father Of The Bride, went the way I was afraid it would – complacent adult alternative. The whole album was somewhat boring, too sunny and devoid of the manic energy of early Vampire Weekend. Thankfully, they’ve kicked back into high gear. The intensity of this one rivals anything on their debut, and with better production. And in classic fashion, they’ve taken the throwaway name of a Hong Kong action film and turned into an examination of generational differences. It’s not profound, exactly, but it is poetic amid the mania. The guitar riff is sleek and energetic, there’s a great harp line in the chorus, and Ezra’s vocals are at their best. 

KEY INSIGHT: Each generation makes its own apology

#25. King Hannah & Sharon Van Etten – “Big Swimmer”

What a calm song. This is a very peaceful indie tune, with a unique format. The song is split into halves, with the same lyrics. The first half is acoustic, the second half electric. It’s the paralysis demon of Guided By Voices. Singer Hannah Merrick has a very smooth, soft voice, and her borderline-spoken word approach works magnificently here. Even in the electric portion, this song never gets very loud, it’s all about the beauty. Magnificently subtle and gorgeous, and a hell of a lot different than the boisterous songs peppering this list. 

KEY NOT SURE WHAT THIS LINE MEANS: I’ll swim at anything

#24. The Last Dinner Party – “Sinner”

These ladies shot to the top of the music world so quickly that I was initially very skeptical. But once their debut album came out, that was erased – yeah, they’re really that good. I got pretty obsessed with this song, their second single as a band, early in the year. The indie band has an aura of being fun but respectful, raunchy but sweet, and this song lives up to it. The music is straight indie, a classic verse-chorus-verse tune. There’s a healthy guitar lick that kicks in during the chorus and disrupts the metrical and balanced music around it. Vocally, their rhythms are always great. And lyrically, this song has that same tight balance – innocent, but hinting at a veiled provocation. It’s a full song, with many individual pieces. Most work in harmony, a few in discord, and the end result is one of the finest indie songs of the year. But also not even my favorite from them. More on them in a bit. 

KEY SECULAR FLESH: I wish I knew you / Before it felt like a sin

#23. Blondshell – “What’s Fair”

Sheesh this one is rough. There’s no sugar coating – this is a call-out to mom for doing a bad job. Blondshell, the solo project of Sabrina Mae Teitelbaum, dances around blaming her mom, herself and fate for her mom’s job as caretaker, or lack thereof. Blondshell’s music is guitar-heavy indie, largely a throwback to 90’s alternative fare. This song specifically wouldn’t sound out of place on Exile In Guyville, it has the 90’s snark and poppy vocal rhythms layered over a healthy guitar lick. It’s a despondent and self-critical song, but it’s somewhat easy to gloss over it because it is infinitely catchy, too. And if you think this is as mean as Blondshell can get, well, keep reading. 

KEY EVERCLEAR INSPIRATION: What’s fair, what’s a fair assessment of the job you did? Do you ever even regret it? 

#22. Lily Seabird – “Grace”

In a just world this would’ve been a breakout song. I heard this one on Allston Pudding radio (live on uncertain.fm every Monday 4-6pm and Tuesday 10-noon), and it’s just one of the most unique songs of the year. The intro piano rhythm has the innocent sound of a 2010 indie song, and Seabird’s voice matches it. It starts off as a pleasantly melodic little tune, until the guitar kicks in. The chorus is a rollicking, heavy guitar drone ripped from Dinosaur Jr., and it disappears just as quick. Listen closely and you’ll pick up the 5-second Neil Young guitar lick, too. This song is a true amalgam of just cool stuff, a lot of individual elements that shouldn’t work together and maybe don’t, but it’s extremely interesting. 

KEY PAINFUL RELATABILITY: I won’t forget the color of her eyes / The way she smiled when she said goodbye

#21. Yard Act – “We Make Hits”

I appreciate a good honest song. And “We Make Hits” might be the funniest song of 2024, a meta and self-effacing song analyzing why exactly Yard Act exists in the first place. It’s a song about remaining anticapitalist despite signing to Universal, because I mean, they’re poor and climate change is gonna get us all anyways. It’s existentialist, maybe, but it’s also very tongue-in-cheek. The culture of “selling out” seems pretty dormant (thankfully) and this song really puts it to bed. Oh also, it’s just a jam. Yard Act puts the -punk in post-punk, a genre that was surprisingly fruitful in 2024. It’s funky and energetic, obviously a song made to be played live. Even if you don’t pay attention to the lyrics, it’s easy to get lost in how hyper-catchy this one is. 

KEY UNDERSTAND THE NUANCE: I’m still an anti-C-A-P-I-T-A-L-I-S-T / It just so happens that there’s other things I happen to be

#20. Friko – “Crimson To Chrome”

The first time I heard Friko on the radio I was convinced it was a mid-00’s deep cut that I had missed. The band has the punk spirit and rough production of the dance-punk heyday. But no, they’re fresh out of the oven, and their debut is chock full of indie goodies. This song has like three or four insanely catchy rhythms, a rare song where the verses are just as memorable as the choruses. But that chorus, it’s perfect. The vocals are despondent and paranoid, the rhythm is unstable, and yet it’s all a giant jam. High-energy indie tune and one that sounds ripped from the same year that these youngsters were born. 

KEY THESE KIDS ARE WAY TOO YOUNG TO FEEL THIS WAY: We’re either too old, too bold or stupid to move, I guess we’re / Caught on the wrong side of the shoe again

#19. Rick Rude – “Wooden Knife”

One chronic problem I have with media is that I’m rarely ever interested in revisiting something. I almost never listen to an album twice, even ones I really love. This year, I tried to do flash reviews of every one I listened to, and Rick Rude’s Laverne fell through the cracks. The period between me listening and me attempting to write a review was so large that I had nothing to say. Thankfully, I listened to it again – which is when I fell in love with the opening track, one that I hadn’t even earmarked on the first listen. This is just a rousing punk song, one that’s got splashes of emo and pop-punk, but still stays firmly in raucous territory. Loud, fast, fun, and extremely catchy. And it’s all named after Rick Rude? Ravishing work. 

KEY alright i was afraid this was going to happen at some point, the lyrics of this song don’t seem to exist online anywhere. given the name of the band, i can instead offer a FIVE-STAR WRESTLING MATCH OF 2024: Donovan Dijak vs. Anthony Greene at Beyond Wrestling

#18. The Last Dinner Party – “The Feminine Urge”

You can pretty much transpose everything I said about “Sinner” here. A lot of the songs on their debut record have a bit of raucousness to them, but this one is mostly a ballad. Surprisingly, it’s my favorite track on the whole album. It’s not as baroque or full-band as most of their songs, opting instead to be a vocal-forward song. Lead singer Abigail Morris already has an excellent voice, and this one has a legendary vocal rhythm to lend an assist. The whole instrumentation of this song, and even the verses, are not the strongest work the band has done – but this song has maybe the best chorus of 2024. It’s one that plays on a loop in my head for hours, never getting old. 

KEY BEST VOCAL KEY CHANGE OF THE YEAR: Do you feel like a man when I can’t talk back? / Do you want me, or do you want control?

#17. The Smile – “Read The Room”

It is kind of amazing how Thom Yorke and Jonny Greenwood have managed to make a new band that simultaneously does and does not sound like Radiohead. This song on paper has the elements of a late-career Radiohead song, but in practice it’s not all that similar. A laggy, prog-like guitar line lumbers through this song and gives it an almost drone-like quality. Yorke provides a typical high-pitched vocal line, but it’s also more droning than normal. The song is tantric, at first middling but increasingly tantalizing, like a snake charmer. There’s also a nice left-field bridge where Greenwood briefly remembers that chords exist. These guys are kings of patience, and this is a fine example of how slow, droning and simple rhythms can still make something catchy and complex. 

KEY ATYPICAL THOM YORKE LINE: But I am gonna count to three / Keep this shit away from me

#16. Ride – “Portland Rocks”

While I always respect a band leaving their comfort zone, Ride’s seventh album was ultimately a big misfire. The best song on it, as it goes, was the only truly traditional Ride song. The shoegaze revival is just as alive as the nu-metal one, and Ride were originators. This song is centered around a spacey and heavy guitar riff, one that’s naturally melodic but also layered under enough distortion to make it sound like it’s actively fighting gravity. That alone would be enough for a classic song, but the vocals add another element here. The vocals are urgent and emphatic, a call to anyone listening. It gives the song a slightly unstable feel, even though everything exists in harmony. But more than anything else it’s just a great rock song. These guys can still kick absolute ass.

KEY VOCAL HOOK: Why do I feel this way? / Like I’m hanging off the edge of the world

#15. Uniform – “This Is Not A Prayer”

You can record all the death metal songs called like “Putrid Pus Seeping Out Of A Baby’s Anal Wound” all you want, stuff like this is the most unsettling music out there. Uniform are a melodic band, but they’re the most miserable band in music. Angry, misanthropic and passionate, this is music for people who feel bad. Their songs always fall through the cracks of genre, following basic rock structures but not really being rock, metal, or post-hardcore. They’re closer to industrial than anything, but even that isn’t quite right. Regardless, this is the best song they’ve ever done. Michael Berden’s signature growl renders most of the lyrics unintelligible, and sounds genuinely threatening. This is a percussive song, with a pounding drum line hitting for all six-plus minutes straight. It’s loud, frantic and paranoid. These are all the elements of Uniform’s music, but the band just keeps improving on them with every album. One of the most unsettling songs of the year, and despite all the earworms on this list, this is truly me music. 

KEY EVEN GENIUS ISN’T SURE: I’ve got a wish to be as lithe as a sapling / Waist pulled back into spine ([?])

#14. IDLES & LCD Soundsystem – “Dancer”

No reason to mince it, the new IDLES record was a major disappointment. The nominally punk band took a turn towards ballads, and most of them just didn’t work. The lead single is an absolute banger, one of the most bass-heavy songs in a bassy catalog. The music here is intimidating and the chorus is huge, one of the biggest sing-along songs they’ve done yet. Frustratingly, they don’t really have anything to say here – and they’re known for hyperspecific points of interest, political targets and satirical aims. I can’t find an angle here that’s anything than just dancing. And yet, the song is so huge that it doesn’t really matter. Only IDLES can make a song so danceable and raw at the same time. Also this “features LCD Soundsystem,” but it doesn’t – James Murphy and Nancy Whang sing background vocals in the chorus. Still a wild get!

KEY STILL KINDA IDLES: Shoulders back, chest out, I’m poised / Like a goddamn ape, so to speak

#13. Pissed Jeans – “Everywhere Is Bad”

The beauty of Pissed Jeans music prior to 2024 was the way they would take their sardonic pessimism and roast some very specific subject – middle managers, guys with fetishes for being ignored, etc. For their sixth album, though, they’ve expanded their horizons and overcorrected. The album’s best song satirizes the very concept of a place, in case the title was not enough of a clue. It’s the antithesis to the hokiness of “The Heart of Rock and Roll,” in that they list off place by place and why it sucks. Sure, it goes from Boston to Austin to Vegas, but in case you think they’re serious, they roll through Heaven to Proxima B to nonexistence, too. It’s low-hanging fruit, but it’s funny, and it rips. The band drains the normal sludge out of their music in favor of bulging hardcore, and even with normal lyrics this would be one of the best punk tunes of the year. As you can expect with these guys though, it’s funny as hell.

KEY ONE THAT’S PROBABLY ACCURATE: Hell? Too many dudes!

#12. Father John Misty – “She Cleans Up”

If you look closely, you’ll notice that Father John isn’t really doing his gimmick anymore. He’s quietly stripped away a lot of the ostentatious and questionable parts of his ‘personality’ in favor of just focusing on music. His new album sees him doing long songs – even by his standard – with a lot of folksy meandering. This one, though, rips. This is one of the most fun and lively songs he’s done since his early solo days. The chorus to this one is catchy as all hell, with a wicked guitar riff accompanying the otherwise jolly music. If you’re like I used to be, on the fence with this madman, then let this song sway you. Think this is the only FJM song on this list? Time will make a fool of you.

KEY OH BROTHER HERE WE GO AGAIN: I had a vision that Mary of Magdalene / Saw the future that awaits us just before Good Friday eve

#11. The Decemberists – “Oh No”

Outside of a few songs, the Decemberists never really hit for me. I think it’s on me, but I always found their style and aesthetics a little pretentious. Their ninth album was fine, I enjoyed it somewhat, but I do think it all ‘clicked’ for me. The second single and second track is fun, it’s got gleeful pessimism. Some soft horns kick it off, and the central, pulsating rhythm almost feels culturally mariachi or Latin. There’s some sort of dinner party feel to this, even as the lyrics cryptically hint at multiple evils befalling a wedding night. It’s good old sinister fun, and one of the best indie songs in a stacked year. Is this one of their best songs or did I finally just get older?

KEY COLIN MELOY HAS NOT CHANGED: And it seems that we’ve caught you in tow / Between the devil and the devil you know

#10. Real Estate – “Water Underground”

Another classic example of the “did I include it last year?” thing where a single comes out in one year and the album another. I’ve never been a fan of Real Estate, to me they’re always template indie, the most basic and diluted form of the genre. But sometimes it works, and I love this song. A bubbly guitar line matches a practiced vocal rhythm into something that’s just simply pleasant. It’s a very melodic song, a tick above their normal standard songs. Sometimes you just need a little feel-good burst, and this makes me feel nice and warm. It’s a summery song, good for laying down in the grass and watching the clouds.

KEY LINE THAT HAS BEEN STUCK IN MY HEAD ALL YEAR: Water underground / won’t you cool me down, wash over me?

#9. Blondshell & Bully – “Docket”

It was a quiet year for two of indie rock’s most detached ladies, but they did both jump on this stellar song. It’s a logical pairing – Bully, an established grunge singer with a pessimistic catalog, and Blondshell, a youngster who runs a bit poppier but still with heavy guitar. This song rips – still indie and melodic, but with a guitar-heavy chorus that would bring a tiny smirk to the face of J. Mascis. Also, in a cold year filled with international misery, this is just fucking mean. It’s about hoping your boyfriend leaves town so you can start scouting other guys for fun. It’s sung with a cold intensity that implies this one is 100% real. Still an earworm, though.

KEY PLEASE DON’T DO THIS TO ME: I put men on the docket / Give me a curse, I caught a bug / He should be with someone who’s more in love / Not someone eating for free

#8. Fontaines D.C. – “Starburster”

Fontaines D.C. were probably already drying up the well across their first three albums, of midtempo and metrical post-punk. So they delivered a massive left-turn with a rap-rock song. The nu-metal revival is alive everywhere you look, and it’s infected the very Irish alternative band. This song is rousing and mean in a way that’s super fun. Grain Chatten is simply not a man who I ever expected to have bars but he does. He dominates this song and is clearly having a blast. It’s raucous and loud, a wild fusion of alternative, hip-hop and electronic with a jokingly somber bridge too. The power play worked – these guys are on top of the world now. 

KEY LINE I KEEP SINGING IN A BAD IRISH ACCENT: I wanna head to a mass and get cast in it / That shit’s funnier than any A-class, innit?

#7. Father John Misty – “I Guess Time Just Makes Fools Of Us All”

Papa Drizzle does his best Dylan impression here, though the end result probably sounds closer to The War on Drugs. This 8+ minute folky meanderer sounds musically and lyrically ripped from Highway 61 Revisited, a loose but metrical and repetitive tune with a pleasant full-band melody and predictably forlorn lyrics. It’s the breeziest and most unwound that he’s sounded, even if the subject matter is more melancholy. This one hooked me immediately, it’s rare that I get obsessed with a tune as quickly as I did here, it’s also definitely the best song he’s put out to date, even if it does sound recycled from others. It’s refreshing to hear him shake off all the gimmicks and controversy and just embrace the raconteur elements he’s always had. The music speaks for itself.

KEY DYLAN INSPIRATION: The greatest minds of my generation gladly conscripted in war / Of defending any Goliath that would darken the door

#6. BRICKLAYER – “Gay Breakfast”

Punk’s not dead, it’s just gay now. This song from a short-lived local group (they’re already done) immediately caught my ear in the spring and it’s become a staple for me. When it comes to dance-punk, I’m very basic: I like it. Doesn’t matter if it’s the high-octane guitar frenzy of the Hives or the synthy repetition of LCD Soundsystem, I like it. This is the former, an excellent guitar ripper with earworm melody and punk energy. The vocals are strong and the production is humble, it has the warm and echoey production of a 00’s indie tune. Just fun as hell, to be honest. This one puts me in a good mood and has me shadowboxing the ceiling. Fun!

KEY BREAKFAST ITEM MENTIONED IN THE LYRICS: Lucky charms!

#5. MJ Lenderman – “She’s Leaving You”

I’m convinced that there’s nothing this guy can’t do. The Wednesday guitarist has a solo career that’s starting to surpass that of his primary band. I’ve been comparing him to Neil Young, with his off-the-cuff americana indie songs that can range from acoustic meanderings to gnarly grunge. I thought the reason I loved him was for how loose and seemingly semi-improvised his songs sounded, but this one is very metrical and stable in its structure, and it’s one of my favorite songs from him yet. With the exception of the first verse, it’s devoid of specific references and unique scenarios, and has a reasonable vocal meter. His vocal delivery is resigned, which matches the song’s “back to business” lyrical meaning. It’s a serious song from a guy who put a 10 minute song about Guitar Hero on the same album. Lenderman’s vocal delivery is the star. He’s an excellent guitarist but more often than not, his off-kilter vocals are the winner. Same goes here. Try to not start randomly singing the chorus to yourself during the day, I dare you. 

KEY RELATABLE LISTLESSNESS: You said “Vegas is beautiful at night” / And it’s not about the money, You just like the lights

#4. Mannequin Pussy – “Sometimes”

The beauty of all of Mannequin Pussy’s previous songs was their ability to take chaotic punk energy and cram it into the walls of an indie tune. The beauty of their true breakout hit, however, is Marisa Dabice’s vocals. This song takes what are admittedly barebones and thin lyrics and lets Dabice scream them into relevancy. She sings the extended climax of this song as if she’s screaming for help buried underground. It sends a chill down your spine. This song starts off a little more restrained than the band is used to, though still clearly punk. It’s a bit of a red herring; this isn’t a verse-chorus-verse song but one that crescendos to a huge climax. This might be the band’s biggest and most conventional song to date, so it’s surprising that it’s also their best. 

KEY SCREAMING IT IN THE SHOWER: I’m a giver I would give it all to you / Even if it meant that I would have to choose / Between my life and now it’s aging fast for you / Sometiiiiiiiiiiiiiiiiimes

#3. Warpaint – “Common Blue”

There’s a specific type of song that makes me feel like I’m on an airplane. It’s a spacey breeziness, and even most spacey songs don’t have it. The list is short, and I do have a playlist specifically for plane travel (“The New Pollution” by Beck, “1/1” by Brian Eno, “Miss U” by Kitty). I love air travel, and making this list is an extremely high honor in my eyes. This song is crafted in such a way that I always feel like I’m floating in the atmosphere, even when it’s on the car radio. Warpaint are always queens of breezy, light harmonies, but the real beauty lies in the production. Bands don’t always record together in the studio, something masked by producers. But here, it’s obvious that every element was recorded individually and textured together. Elements work against each other, not with. One synth line plays in the back of your ears when a vocal line suddenly plays at the front. It’s a simple song at its core, but sounds like a completed puzzle. And all of the pieces are calming – especially that synth line that plays before the chorus. It’s only a couple notes, but it’s like melodic Xanax – with headphones on, it’s something that soothes my brain immediately. This is a song to cure a headache, to disappear from the world, to listen to on liftoff, or just any other time you need a quick break. It’s a top 5 of the year easily.

KEY BRAIN MASSAGE: Maybe, baby, we only have one life to live / Maybe, baby, we can be a butterfly

#2. Kim Gordon – “BYE BYE”

I desperately want to know the story of how this song came to be. All eleven tracks on Kim Gordon’s beyond excellent record The Collective are centered around beats from Justin Raisen. Allegedly, he designed these beats for rapper Playboi Carti. Instead, they ended up in the hands of 71-year-old alternative legend Kim Gordon. The album’s lead single is the best of the bunch, and sounds like no wave updated for a mumble rap era: huge, menacing beats and Kim Gordon talking ‘lyrics’ that are just a list of things to do and pack before leaving for a vacation. And then two minutes of absolute guitar shredding. This is a dense and foreboding song, but if you’re into it, it’s an earworm. It’s one of my most played songs of the year. Few people have ever operated at Kim’s level, and she’s still doing this. 

KEY THINGS TO PACK: Eyelash curler, vibrator, teaser, bye bye!

#1. Waxahatchee & MJ Lenderman – “Right Back To It”

The list started with an indie-country collaboration and it’s going to end with one. This song came out in early January and by the third or fourth time I heard it, I already knew it was going to be a lock at #1. This was an insanely competitive year but it was going to take a “Dance Yrself Clean” to top this. “Right Back To It” is one of the most beautiful slices of Americana in years, from one established artist already well-known for beauty, and one fitful youngster known for warped sincerity. The calm banjo opening to this implies the breeziness of it, and the tear-jerkingly happy lyrics bring it home. It’s simply an easy, harmonic and gorgeous song about almost-unconditional love. A hundred times in and it still sounds as fresh as the first time I heard it. The best song in a deep Waxahatchee catalog full of excellent Americana tunes. It was always going to be this.

KEY DON’T CRY LYRIC: But you just settle in, like a song with no end / If I can keep up, we’ll get right back to it

And that does it! However, because I just can’t help myself, here’s five more I almost included: Suki Waterhouse – “Supersad,” Jack White – “That’s How I’m Feeling,” The Decemberists & James Mercer – “Burial Ground,” girl in red – “Too Much,” Jamie XX & Honey Dijon – “Baddy On The Floor“

Check back in starting tomorrow for my 101 favorite albums of 2024! It’s a hefty list.

The Rundown: July 2024

Well well well, we’re halfway into the year now. I hope you’re all having a nice year and a summer as equally busy and balanced as I am. The Olympics completely took hold of my media intake for the month, but I still listened to new albums as I commuted, at least. If you’re stumbling onto this, what I’ve been doing this year is monthly posts where I do flash reviews of (nearly) every new release I listen to. I had a week in the middle of the month where I unintentionally listened to a bunch of new releases from big name indie bands, so I balanced it out with a week of nothing but lesser-known artists. As a result, there’s a lot of smaller stuff in this month’s batch, and I really hope you find something that sounds interesting to you. I’ve got 36 flash reviews here, so apologies if this crashes your browser. Next month will be smaller, I’m starting to get burnt out a little.

Covered below is five big name indie groups, some impressive debuts, a handful of operatic metal albums, some excellent local picks, an album that’s going to hurt the tour, and a tribute album that was designed to fail. All that and much more, now half off. Let’s go ->

January | February | March | April | May | June

Maggie Rogers – Don’t Forget Me

I’m incredibly down with the y’allternative movement. Waxahatchee and Hurray For the Riff Raff have already released great albums this year, and we’re staring down a full release from Orville Peck. I was into the last Maggie Rogers record, but I’ve been waiting for a great one. I think she delivered one here. Some songs work better than others, but the combination of strong-yet-sparse guitar, Maggie’s excellent vocals, and nostalgic tunes about slow American life are designed to win. The best songs here are the melancholic personal ones, the ones that describe real personal experiences done in a “Glory Days” haze of relatable pining. Some songs get a little too quaint, or a little too individualistic to really grab ahold of. But, as someone who was also once young, many of these hit me in the heart. And Rogers, like many others currently, is expert at diluting these elements of country music and running them through a faint alternative structure. It’s music practically designed for me. 

Grade: 7.5/10   Initial release date: 4/12/24

The Bridge City Sinners – In The Age Of Doubt

Give a quick shoutout to water. A couple years ago I was at Riot Fest in Chicago when I took a break to refill my water at the sole hydration station on festival grounds. Right next door was the smallest stage, where the Bridge City Sinners were playing and readers, I was hooked immediately. Bands shouldn’t still be finding new ways to combine genres, but here we’ve got hardcore bluegrass. The band – and I was already a huge fan by the time the plane wheels touched back down in Boston – sings about heavenly bodies and beasts and mythical creatures, complete with occasional gnarly screaming, all done through acoustic Appalachian instruments. I imagine there’s other bands out there like this, and they’re not far removed from psychobilly, but I don’t know of anything in this alley. Their new album is as great as their previous ones. It’s a high 8, and one I’ll revisit and possibly bump up even more. A serious top 20 contender so far. 

Grade: 8/10   Initial release date: 7/12/24

Friko – Where we’ve been, Where we go from here

I’d been itching to get to this one! I’ve been loving both singles I’ve been hearing on the radio (“Crimson to Chrome” and “Get Numb To It!”). Both songs are guitar-forward bangers ripped from 90’s alt-rock, and with enough maturity and emotion in the rhythms and lyrics to hide the fact that this is a debut. But it is a debut, and these two youngsters seem like they already have a world of travel under their belts. The opener “Where We’ve Been” is a deeply patient ballad, something akin to Interpol’s “Lights” (or many other of their tunes). Truthfully, more than half of the album is slower songs, representing a wide range for a debut. It mostly all works, although there are a few too many down moments across the softer songs. The strength doesn’t lie in just the singles, there’s some other great bangers and a couple very effective ballads. There does need to be just a touch more energy, which is stopping this from hitting the elite 8 grade. But it’s a heavy 7.5, and with another listen it could easily rise. 

Grade: 7.5/10   Initial release date: 2/16/24

Mk.gee – Two Star & The Dream Police

This was a frustrating one. I had heard one or two of this guy’s tunes on the radio, and they sounded intriguing. But on the whole, I feel like I didn’t “get” this album. I try to like all music, but I would much rather dislike something than not really get it, because it means I failed to engage with it in the correct way. Mk.gee is a solo artist, making lo-fi indie centered around spacey guitar work. He’s a very talented musician, and his songs indicate a much more experienced and mature artist than his age – just like Friko. I’ve never really heard music like this, even within the realm of lo-fi. I will say, this was a rare example of an album where I enjoyed the back half more than the front. I’m not sure if I just clicked with the style more or whether the songs were more well-developed – I think both. These songs are soft and vulnerable, and often quite catchy. There’s a sultry element here too, these songs are so light and fluid that it’s inherent. There wasn’t enough for me to grab on to, mostly, and I think that was the point. Or maybe I’m just old. This is music for the kids.

Grade: 7/10   Initial release date: 2/9/24

Folterkammer – Weibermacht

Despite its origins in violence, hatred and intentional obscurity, black metal has become somewhat theatrical. Black metal bands are often so serious that it fishhooks back around into being comical. But Folterkammer are smartly leaning into this dynamic, with a record that is pure, operatic black metal. The album wastes no time in showing it, with Andromeda Anarchia’s legitimately operatic vocals belting within seconds of opening track “Anno Domina” starting. I have not heard this band before now, so let me say, I was floored by how powerful her voice is. This group bridges the gap between opera and metal in a way that most bands would performatively shun. This has the aura of Ghost, except Ghost constantly falters in image over music. I kept expecting the music here to get dull or repetitive, but it doesn’t. It’s ripping black metal start to finish. And in case you think this band is too serious – they’re American, but sing in German, and one song title translates to “Kiss My Feet!” It’s only fitting that the record ends with a cover of “Venus In Furs”; I wouldn’t have made the connection, but Velvet Underground are a band equal in their balance of comical performativity and genuinely great music. No, this is no Lou Reed, but it is one of the better metal albums I’ve heard this year. 

Grade: 7.5/10   Initial release date: 4/19/24

Couch Slut – You Could Do It Tonight

No, I don’t think JD Vance has heard this band. This is some extremely me stuff. Gnarly, nasty and intense experimental punk. I love stuff like this, and this band delivered. Yet another group that I know nothing about, I believe this was a rare algorithm-delivered gem. The best tracks here are “Couch Slut Lewis,” “Ode To Jimbo” and “Energy Crystals For Healing,” all of which are slamming, midtempo songs with guttural vocals. The latter track is the quickest one on the album, but it’s still slogging. This band is akin to METZ in that they know how to pummel someone while being measured about it. As is always the case with experimental punk, it doesn’t all work. Spoken-word track “The Donkey” is tedious in execution and fairly lame in content, although the story being told does highlight the band’s grimy authenticity. The finale “The Weaversville Home For Boys” is also spoken-word, definitely better because of pounding music but still among the weaker tracks. Still, this album has me wanting to check out more. 

Grade: 7.5/10   Initial release date: 4/19

Office Dog – Spiel

Forgot what I said about Couch Slut, algorithms are never your friends, and they’re bound to disappoint in music discovery. After starting to compile lists of songs & albums I’ve liked this year, the spotify algo kept suggesting songs from this album as additions, and the band name got me (as did the related artists). It’s fine, but I wouldn’t place it with many of the bands that the app thinks are similar. This album is a mishmash of indie and post-hardcore stuff. Naturally, I liked the heavier stuff more – namely the absolutely pounding song “Gleam,” which comes to us from the same side of the tracks as Cloud Nothings. One common thread the band uses is prolonged bridges, common in post-hardcore but not really elsewhere. It’s interesting to see the concept transposed to general rock/indie, and it sometimes works. Ultimately, the album is inconsistent in tone (complimentary) and inconsistent in quality (derogatory), with some songs really standing out against others. It’s unique, but it’s hit-and-miss. 

Grade: 7/10   Initial release date: 1/26/24

BRICKLAYER – BRICKLAYER

Haha this rocks, what a surprise. Another local winner, and one I’ve stumbled onto while knowing absolutely nothing about the people behind it. This quick little debut (I think?) album comes rife with indie-punk jams, guitar-heavy and fun as can be. The band describes their own music as danceable thrash, which is pretty accurate. It’s not out of league with, say, The Hives. These songs are quick, many of them raucous but clean and bouncy. Can’t wait to hear them on a stage at some point. “Gay Breakfast” is already one of my favorite songs of the year. I rarely actually relisten to albums and I’ve already returned to this one.

Grade: 8/10   Initial release date: 3/1/24

Cage the Elephant – Neon Pill

Yeah, I was scared going into this one. The only reason I knew there was a new CTE album was because it popped up on my Spotify radar, I never heard any singles in advance anywhere. I’ve felt ever since their debut that this band was going to go the way of uninspired adult alternative, so massive props on it taking them this long. The band has navigated around some different influences in the past, from 60’s garage rock to psych-inspired indie, always with a youthful energy. Sadly that energy has finally drained. The songs across this album aren’t bad, really, just bland as all belief. There’s nothing particularly memorable about anything happening here, and what’s worse is that the band feels aware of this. I used to count this band among my favorites (nothing happened, I just don’t listen to them as much these days). Tis a shame. 

Grade: 6.5/10   Initial release date: 5/17/24

Justin Timberlake – Everything I Thought It Was

I put this on all ready to write a scathing, mean review but honestly, this album is frustratingly okay. Timberlake’s solo career has been marked by a big-budget arena star allowing himself a bit of left-field elements. This has usually come simply in the form of longer songs, but he’s always found ways to mix up some otherwise rote ideas. For some reason, maybe just age and waning general interest, I figured this would be the dullest album of the year. Some of it is fun! It’s inconsistent from song-to-song, but there’s some old school JT jams in here. There’s some good pop, good R&B, and a handful of songs that stretch out longer just to keep the party going. All of that said, it’s much too much. It’s 18 songs and 77 minutes when it only needs to be half of that. And, there’s plenty of cuttable songs. The album is bogged down in excess, something that Timberlake has made himself all too familiar with in other ways lately. By the time you get to the penultimate track, an alleged victory lap that comically “features” N*SYNC, the album is out of steam. That song should’ve been huge but it’s DOA. That goes for too many of these tunes. It’s far from bad, but it’s easy to see why people have kind of rejected this album. It’s going to hurt the world tour.

Grade: 6.5/10   Initial release date: 3/15/24

Rick Rude – Laverne

Take two! A chronic issue with me is that I’ll listen to something I moderately enjoy, but wait so long to grade and/or review it that it leaves my brain entirely. The new album from Rick Rude – no, not the king of the camel clutch – fell victim to my lethargy. I’m glad I revisited it, because I loved it more the second time around. The band seems to tease the audience by inviting in specific, familiar sounds and brush them off just as quickly. They’re not truly emo, but they’ve got the sensitive guitar licks. They’re not really indie, but they’ve got the fuzz. They sometimes rock harder than both genres (especially on the rollicking opener “Wooden Knife”). They’re appealing to anyone who likes shows in basements, be it acoustic guys or punk weirdos. Add in a very effective dual-singer approach, and you’ve got a winning record. Ravishing work.

Grade: 7.5/10   Initial release date: 2/2/24

Fabiana Palladino – Fabiana Palladino

This was refreshing. Like many recs, I don’t quite remember where this one came from, appearing on my catch-up list one day when I was hazily adding stuff. This isn’t really my normal vibe, but I was with it. Palladino is a throwback pop singer, mixing 80’s aesthetics with the soft 90’s sounds of, say, Enya. It’s an album that’s peaceful and relaxed without ever growing tedious. There’s a lot of ambition here, and every song manages to sound fresh despite the moss-covered influences. I would not call this “retro,” just inspired by the past and updated for the present. Great, lowkey pop for a calm, warm day.

Grade: 7.5/10   Initial release date: 4/5/24

Hiatus Kaiyote – Love Heart Cheat Code

Bear with me, because I fell behind in my reviews and memories are fleeting. I recall checking this band out a number of years ago and finding them to be a quirky, jazzy indie group in the same realm as tune-yards. I’m not sure if that’s true necessarily, especially considering that what I got here was somewhat different. This record is mostly very minimalist and ambient indie, and mostly very pleasant. It’s an enjoyable listen as long as you don’t expect anything too energetic. It is in the same world of moderate experimentation that I had the band placed in my head, just a different kind. It’s unique and very digestible. Oddly, the album kicks into high gear right at the end, finishing off with a trio of songs that suddenly kick up the fuzzy guitar into borderline punk energy. Fun stuff all around though.

Grade: 7/10   Initial release date: 6/28

This Is Lorelei – Box For Buddy, Box For Star

Water From Your Eyes is already a difficult band to classify, so when the singer broke off for a solo album, it was destined to be a mess of influences. The first half reminds me of hip-hop producer Nigo’s 2000 album Ape Sounds, an everything-at-the-wall indie release where the point was making it not cohesive (it also spawned “Freediving,” a top 5 all-time favorite song of mine). Here, the opening song is surprisingly country-fied. The following song is glitch-y, electro-rock, and the next is proper indie. It’s got that unpredictability. The back half of the album is much more straight indie, a lot of singer-songwriter vibes. It feels more like a “song dump,” though the songs are perfectly adequate. In all, it’s a bit too long I think. But if you’re looking for music that’s catchy and peaceful but somewhat messy in a fun way, it’s solid.

Grade: 7/10   Initial release date: 6/14/24

Vince Staples – Dark Times

This album shares much in common with the rapper’s 2021 self-titled album, yet the reasons why I didn’t like that album are why I do like this one. Staples made his name doing bass-heavy, aggressive rap that married huge beats with lyrics that were often shockingly blunt and depressing. But he’s always one for making what he wants to, instead of falling to fan service. Dark Times is much more minimalist, calculated and jazzy. While he explored this side on his self-titled, it was ultimately very repetitive. This album is an unpredictable delight through and through. Vince even directly references that he’s not making another Big Fish Theory. This record is patient and unique, and represents a proper shift in tone while remaining distinctly Vince. Almost definitely going to be one of my favorite rap records of the year.

Grade: 8/10   Initial release date: 5/24

Screaming Females – Clover

Rest in Peace Screaming Females. The final dispatch from the long-running NYC indie rock band was nothing out of the ordinary, a small set of punchy, fuzzy and guitar-focused tunes. That is to say, it’s real good. I was never quite as into this band as I wanted to be, owing maybe to the fact that the one time I got to see them was just an off-day for them (their live show was allegedly raucous, something I did not experience). But I do love some simple rock, and these songs have no illusions to them – fast, melodic and rough. More of the same, sure, but the same never expired. 

Grade: 7.5/10   Initial release date: 2/16/24

GUPPY – Something Is Happening…

I went into this one having no clue what to expect, and I’m not quite sure what I got. The opening track is a warm if not tepid ballad, but the rest of the album gives way to post-punk a la Cheekface. In fact, the band even shows up in Spotify’s Cheekface playlists. I didn’t gibe with it at first, but the very comical lyrics won me over quickly. There’s a lot of metrical guitar chords, fun percussion and spoken lyrics. I’ll say exactly for this what I said for Cheekface – you’ll like this if you think Gang Of Four is great but too noisy. This isn’t something I would listen to often, but it’s fun as hell. I liked it more and more as it went on. Best song title of the year: “I’m Fighting a 10 Foot Tall Nancy Pelosi.” 

Grade: 7.5/10   Initial release date: 5/17/24

slimdan – Second Dinner

This one slipped in right at the end of the weekly indie countdown I listen to, and something about the individual song chosen grabbed me. The song was acoustic one-man stuff, very off the cuff and storyteller-like, while also titled “Wienerschnitzel.” The rest of the album follows suit – music that’s one man’s life told through song, both honest and comical. Sometimes one song swings fully in one way, but many of them marry the two. Not all of it works, and some of it is just dull, but the good songs are striking. It’s imperfect, but it’s different. 

Grade: 7/10   Initial release date: 7/19/24

The Decemberists – As It Ever Was, So It Will Be Again

I’ve never been on board the Decemberists train, I’ve felt that the criticisms levied at Arcade Fire could be transposed onto them instead; namely, that they seem too snooty and uptight for their own good. But I’ve liked some songs over the years, and I really like this album’s lead single “Burial Ground,” so I gave it a go. It’s mostly solid! This is the definition of a bookend album, where it starts and ends very strong but loses the way in the middle. It’s the first Decemberists album in a while, but the 67-minute runtime is daunting and a bit unnecessary. The two singles – “Burial Ground” and the equally fun “Oh No!” kick the party off, but it declines quickly. The next batch of songs are much more lowkey, sometimes just Colin Meloy and a guitar, and they’re meandering. Maybe it’s me, but if I’m listening to the Decemberists, then I want a big-band affair with lots of unconventional instruments and complex rhythms. The whole middle section of the album is lacking here, and the tunes just don’t quite cut it. Things pick back up with the very fun “America Made Me,” which gives some good momentum to bring them into the finale. “Joan In The Garden” is an unwieldy 19 minutes in length, and uses every second. It follows the format I expected – nineish minutes of standard Decemberists stuff, then a portion of quiet, experimental sound, then a rollicking finale. The end of the song admittedly rips off “Breaking the Law” (!!) in riffage, but whatever, it’s fun to see a normally strung-up band kick it into high gear. It’s a great song and worthy of the runtime. As for the rest of the album? Well, it’s solid, and the bigger fans will have a lot to like.

Grade: 7/10   Initial release date: 6/14/24

Iron & Wine – Light Verse

I’ve mentioned it elsewhere this year about other artists, but Iron & Wine is one of about ~15 legacy indie artists that I’ve always enjoyed hearing, but have just never done a deep dive on. I don’t always appreciate man-and-a-guitar music but this album is rock solid. It’s bolstered mostly by a couple of songs that sole member Samuel Beam knows are great, but the rest of the album cuts are all worthy. The opening track “You Never Know” will go down as one of the prettiest songs of 2024. The collaboration with Fiona Apple (!!) “All In Good Time” is, naturally, brilliant. There’s a couple great tracks on the backside that help the album to chug along. At base level, this is pretty music. A few songs go well beyond that. 

Grade: 7.5/10   Initial release date: 4/26

Camera Obscura – Look To The East, Look To The West

Another legacy indie artist, this time it’s one that I have relatively kept up with. Or at least I did during their original run, as this is their first album in eleven long years. It’s utterly fantastic, likely going to be one of the best indie albums in a severely crowded year. These songs are patient, mature and lowkey, and practically every one of them is extraordinary. My three picks are the opener “Liberty Print,” “The Night Lights” and the closing title track, but nearly every song works. Oddly, the only one that struck me as dull was “Big Love,” which seems to be the most popular so far. But, for all the hip parents out there still spinning Yo La Tengo and Hold Steady records, this is another entry for the record cabinet. 

Grade: 8/10   Initial release date: 5/3/24

Kerry King – From Hell I Rise

The Slayer break-up was never going to last. No metal band ever truly retires. By the time that Kerry King – Slayer’s lead guitarist throughout their entire tenure – had released his “solo” debut, Slayer had already announced a few reunion gigs. It’s nothing permanent, as King is focusing on a full tour of his own, but it does serve as a metaphor for his “solo” album in general. It’s a great album, it’s just that it’s a Slayer album. It sounds like a Slayer B-sides album, mimicries of and nods to all of the Slayer eras. That’s not a bad thing at all, we’ll all gladly take more Slayer. It does mean that King’s solo music doesn’t have an identity of its own, though, which is a missed opportunity after 40+ years of one band. It does both help and hurt that King is only present on this album through guitars, since he is not a singer; he also isn’t the only guitarist, which feels odd. It only adds to the Slayer vibes, who have always dual-wielded two incredible axemen. A lot of this is hokey, including an especially cringey ‘both sides’ political song. But that’s what you’d expect from Kerry King in 2024. So unsurprisingly, if you like Slayer, you’ll like this, and if you don’t, then you won’t. I do! 

Grade: 7.5/10   Initial release date: 5/17/24

Attic – Return Of The Witchfinder

This band owes a lot, and I mean a lot of debt to the always underrated metal group Helloween. Although the gruesome album cover invokes the current wave of death metal, this band is really more aligned with 80’s power metal. The music is mostly fast and heavy but in an inviting manner, and the piercing falsetto vocals from singer Meister Cagliostro soar above the guitars like a phoenix over a fire. The band does tell tales of violent imagery, but the Iron Maidenesque music makes the actual storytelling easy to glance over. This is definitely an exceptional power metal record – ripped from 1985. If you’re into that kind of thing, then make this one a priority. I’ve never been one for power metal, personally, in fact I’m very put off by it. Despite the incredible vocals and intricate music here, I was supremely bored. But power metal is one genre I’ve just never learned to love. If I were writing more serious reviews here, I’d grade this one highly. But speaking only for me, it’s way too much of an okay thing. 

Grade: 6/10   Initial release date: 3/24/24

PARTYNEXTDOOR – PARTYNEXTDOOR 4

Now there’s an artist I haven’t kept up with. To be fair, PARTYNEXTDOOR isn’t known as much for his solo music as he is for his collabs and production work. The man made his mark working with Drake, and it continues to show; this feels identical to a Drake album. That is to say, there’s a ton of songs with rudimentary beats and talk-sung lyrics that can really vary in quality. It’s more about vibes, sultry music for the bedroom. I mean, look at the cover. It’s easy to imagine this record getting put on in the mood; one can hope the coitus is not as dry as the music. Most of these songs are so minimalist and low-key that they border on not existing at all. Some songs have genuine heartfelt lyrics, but it’s mostly lifeless music start to finish. One of the most interesting things throughout is a near-silent (and uncredited?) DMX vocal sample that’s used as a beat, which is cool.

I will say this: I listened to most of this on the subway and moved to my laptop for the final four songs, and I got more into them. So I absolutely listened to this in the wrong setting. But if headphones on at a desk is the way to appreciate this, then the vibes still aren’t right, because I’m alone. This is designed for two or more people. Then again, look at the lyrics to “No Chill.” He’s been alone, too. 

Grade: 6.5/10   Initial release date: 4/25/24

Washed Out – Notes From A Quiet Life

The guy that did the Portlandia song 15 years ago used generative AI to make a music video for this album. If he’s not going to put any effort into his art, then neither will I. Fuck you.

Grade: 0/10   Initial release date: 6/28/24

Thou – Umbilical

Historically I’m very hit-and-miss on sludge metal, but Thou holds a special place in my heart. The prolific group hasn’t been consistent over the years, but when you release as much music as they have, some of it is going to hit. The worst thing a Thou album can be is boring, and Umbilical is never boring. The band hasn’t really changed their tune – grim opining, screeching, riffs with the thickness and speed of molasses, and morose black and white imagery. But they’re completely checked in, pummeling the listener with relentless guitar and screams, making sure to fill (nearly) every song with unique elements. Hopefully, this won’t get lost in the sea of their other releases. It’ll certainly be one of the best metal albums of the year. 

Grade: 8/10   Initial release date: 5/31/24 

Cardinals – Cardinals

Alright, we need to talk about British indie. Amidst the growing group of talk-sing indie punk bands (IDLES, Dry Cleaning, etc), there’s a thread of aggressive, artsy alternative. Bands like Cardinals – who I would liken to Black Country, New Road – feel born from the same womb. Though this is just a short EP, it’s riveting. It’s got that same feel as BC,NR, where it feels both jazzy and cynical despite never straying from alternative. Cardinals are more guitar-focused, but the feel is the same. These are super intriguing songs, and they hit a wide range of emotions in a short amount of time. “Unreal” is a great banger, while “If I Could Make You Care” is a wonderful closing ballad. Get your foot in the door on these guys, I think they’re gonna go places.

Grade: 7.5/10   Initial release date: 6/7/24

GUM/Ambrose Kenny-Smith – Ill Times

I don’t know much of anything about GUM but when you put a member of King Gizz on a record, I will listen to that record. To be honest, this just sounded like an off-brand Gizz record, one of the more lowkey ones like Gumboot Soup or Changes. Those records are fun and lighthearted, just some breezy jams. Same goes here. It’s low-stakes indie that floats around some jazzy and alternative influences; mindless summer music, really. This is not a record to return to or elevate much, but it’s fun enough for a listen.

Grade: 7.5/10   Initial release date: 7/19/24

Rusty Mullet – An Album About Home

By this point I’m going to just stop relegating local stuff to shoutouts, because so much of what I’m listening to is better than that. Besides, highlighting smaller acts is the point of all of this, no? Rusty Mullet have been on my radar for a bit, I dug their previous head-scratcher of an album, a whirlwind of indie, funk, rock, and jazz. Home is a little clearer in scope, both a plus and a minus. It’s still an eclectic album – the opening two tracks are almost suspiciously slow and conventional, and then they give way to the punk energy of “4313274.” Outside of that track though, the best songs are actually the somber ones, the opposite of their previous record. It’s a fun mix, and it could’ve used more energy peppered in, but it’s a strong local release. This one deserves more attention. It’s a strong 7. 

Grade: 7/10   Initial release date: 6/7/24

Camila Cabello – C,XOXO

I’ve always been partial to Cabello’s solo music, but I haven’t super kept up with her output. This is kind of a confounding album, it’s very much throwing tons of stuff at the wall and seeing what sticks. There’s some great pop songs, a great Latin track, and some fun dance stuff. And some of it really doesn’t work, either. Respect for trying lots of things, this is a rare case where I may award points for something that isn’t great. 

But also, Cabello gets overshadowed by her own guests here. She isn’t at her most confident on this record, and bringing in guests like Lil Nas X, Playboy Carti and Drake are missteps, because she gets lost in her own mix. There’s even an interlude that’s just Drake! It’s even credited as solely a Drake song! (Also yes – this came out in the middle of the feud, which is ill-advised). The whole thing wraps up in 32 minutes, which is great. This album would suffer from additional bloat, it already walks a thin wire at 32 minutes. But when this is fun, it is fun. And with an artist like Cabello, that’s the point. 

Grade: 7/10   Initial release date: 6/28/24

Dolmen Gate – Gateways of Eternity

If you weren’t aware, the name of Portuguese metal band Dolmen Gate refers to a Magic the Gathering card. I didn’t know that either, and you have to add “band” to the end of the Google search. But it’s helpful context, because the band makes the same kind of epic heavy metal that you’d associate with something like Magic. This is the type of metal that straddles hard rock more than anything – owing a lot to the propulsive but ultimately catchy music of Iron Maiden. It’s not normally the type of metal I prefer (Maiden aside), but I can appreciate something like this. These songs have a ton of energy to them, mostly fun energy and not ferocious. The tunes feel like part of bigger worlds, the album has a grand scope. There’s definitely some crossover appeal for power metal fans here, it has the same structure of being loud and aggressive without making any sacrifices to melody. I didn’t love it, but I did have some fun. 

Grade: 7/10   Initial release date: 4/25/24

Johnny Blue Skies – Passage Du Desir

Somebody sound the alarm, we’ve got another Chris Gaines! Well, kind of. Country singer Sturgill Simpson (who I am historically a big fan of) once promised to release five albums under his own name, and no more. I suppose it’s a way of staying fresh, although his previous foray into rock already accomplished that. No matter, long live Johnny Blue Skies. It’s just Sturgill, and he didn’t deliver what I expected. With a new brand, I anticipated (or hoped) for more rock ventures, as it’s some of the finest work he’s done. Instead he went softer, releasing a rambling set of feel-good, carefree country-soul. It’s got elements of outlaw country and even touches of yacht rock, though these songs seem determined to stay a minimum volume. I seem to be alone in thinking that this album is aimless and somewhat boring. Chalk it up to me expecting something totally different; I need to and will give my man another listen. But after a first pass? Call me disappointed. 

Grade: 7/10   Initial release date: 7/12/24

Tyla – TYLA

This one came to me via recommendation, and I’m indebted because I loved this. I’m normally hit-and-miss on R&B, but this was pretty much all hit for me. It’s worth noting that I chose to listen to this on an evening where it was very nearly 100 degrees, and this is hot weather music. It expertly blends many different pop music influences, roping afrobeats and R&B into African pop. It’s also very sultry music, as sweaty as this heat-stroked listener was. This has the makings of a third or fourth album from a big-name artist who is priming themselves for an arena tour – not a debut from a hot but still underground artist. It’s an extremely impressive debut, one of the best of the year. She’s gonna be huge in no time.

Grade: 8/10   Initial release date: 3/22

Jelani Aryeh – The Sweater Club

This is just some pleasant indie! Aryeh has been on my radar for a while, and I’ve always liked what I’ve heard. He blends indie with R&B in a way that seems to be quietly getting more popular. It’s music that is inherently catchy, breezy and a bit sultry, and mostly always fun. This record strays closer to the indie side, a collection of fairly rudimentary but entirely effective guitar-based tunes. A wheel isn’t being reinvented, merely rolling full-speed down a hill. This is a thoroughly pleasant indie-pop record that I’ll definitely think I’ll be coming back to. 

Grade: 7.5/10   Initial release date: 6/14

Local Natives – But I’ll Wait For You

I’ve always been partial to Local Natives, but not exactly a fan. They’ve had tons of singles I’ve enjoyed, from their debut to now, and I’ve liked some of the albums. But I still approached this one cautiously, as the lead single “April” didn’t hit me. I will never discourage a band from advancing or changing their style, but Local Natives adapting synths is not something I personally wanted to hear. The band’s tender, forest-y indie has always sounded ripped from a different era. Thankfully, most of the album doesn’t actually follow suit, but it is probably their weakest effort. “April” is the liveliest song on the record, as mostly the band sounds disengaged. It’s worked for them in the past, but not here. Many of these songs don’t move out of the starting gate, meandering without any growth. It’s a shame, but sometimes bands can whiff. 

Grade: 5.5/10   Initial release date: 4/19/24

Various Artists – Everyone’s Getting Involved: A Tribute to Talking Heads’ Stop Making Sense

On paper, this should be something I adore – a diverse group of artists I like getting together to pay homage to the unequivocal best live album of all time, Stop Making Sense. In practice, it doesn’t work. What is imagined as a crossover homage comes off like the antithesis to the album it kneels to. The beauty of Sense is how the sum is better than the parts. What starts as David Byrne with a boombox ends as a cocaine-fueled dance party of a dozen musicians and a full college auditorium, with every song enhancing the previous one. This mix meanders, with some solid songs but absolutely no cohesion, nothing solid to grab on to. 

As is always the case with covers, it’s interesting to see how artists interpret songs. There’s no rhyme or reason to which songs work or not. The Linda Lindas and Paramore do thrilling and loyal versions of “Found A Job” and “Burning Down the House,” respectively, and Kevin Abstract does an awesome reimagining of “Once In A Lifetime.” But the National’s safe version of “Heaven” is downright dull, and Miley’s left-field “Psycho Killer” doesn’t work well (and she normally nails rock covers). The low point is the dismal cover of “Life During Wartime” by DJ Tunez. Chicano Batman nail “Cross-eyed and Painless,” and my standards are high; the Stop Making Sense version is one of my favorite songs. It’s “Found A Job” that takes the top prize – recorded by the youngest musicians on the record. Ultimately, it’s a nice tribute, and it floats by on good intentions. But it’s a biopic of an album – pleasant, digestible and acceptable but something that adds little to any conversation. Like a biopic, the problem lies in roteness. It starts making sense.

Grade: 6.5/10   Initial release date: 5/17/24

I hope you’re not as burnt out on reading this as I am on writing it. Truthfully, I got about 95% of the way through the creation of this post and stalled out for two weeks. I am really enjoying this project though. Looking at my list of albums I still need to dig in to, there’s an incredible amount of heavy hitters and I know I won’t get to all of them. Normally I start kicking into a different gear in November but it’s gonna happen early this year (also, I will be on vacation for two weeks and probably won’t listen to anything!).

I hope you find some great stuff throughout this and other posts. While one man’s opinion on a months-old Timberlake album may add nothing to any conversation, it’s fun to write about, say, BRICKLAYER at the same time.

I tend to pick at random, so I can’t say for certain what will be in next month’s batch, but it will include Melvins, King Gizz, some indie girlies, the modern garage rock king, a triple album from a UK dance guy, and a pair of Mikes. See you in September!