It’s early July…..it’s mid-July, which means it’s time to gush about the best stuff of the year so far. I’m behind my normal numbers, but I’ve still listened to 169 new releases (counting EP’s and live albums). Since I have a tendency to overload myself at the end of the year, I’m limiting my midyear post to just 25 albums. It’s a mix of perennial favorites and new surprises, and hopefully you’ll find something new and wonderful too! If your favorite isn’t here, well there’s currently 130 on my list to listen to as well. I’m sure I’ll write my favorite 1000 at the end of the year or something tedious. Let’s go!
25. The Men – Buyer Beware
I’m a simple man; at the end of the day, I just love some whiplash garage rock. Doesn’t have to be good, just has to be fast and loud. Luckily, The Men are also good, and they’ve delivered another back-to-basics album after last year’s excellent New York. This is the band’s 100th or so album, incredible that they are still so locked-in. This band has done some more experimental or slower works, but they’re at their best with no-frills old-school rock.
24. Beach Bunny – Tunnel Vision
No secret that I’m a huge Beach Bunny fan. Their mix of fun, fuzzy punk and squeaky-clean vocals and lyrics makes for a super unique band, even if there are tons of similar acts out there. Their third album doesn’t change the formula, thankfully, it just locks in and delivers some whipping indie-punk tunes with a saccharine touch. Fun fact: my partner and I’s song is “Cloud 9.”
23. Model/Actriz – Pirouette
The first Model/Actriz album was like nothing I’ve heard before – electro-noise that counts as dance music, but for an indie crowd, with music based largely on staccato notes, and lyrics and vocals that are raw and often frighteningly vulnerable. Their sophomore album digs more into the dance side, more melodic and less noisy, to almost equally good outcomes. The lyrics are more of a focus here, and they’re a lot clearer – this album is a therapy session, and it feels uncomfortable to dance to it. But damn do you have to.
22. Lambrini Girls – Who Let The Dogs Out
A riotous, raucous debut from England that was set to be the punk breakthrough of 2025 before Bob Vylan got censored for truth. Dogs hearkens back to riot grrrl in spirit, blending it with the punk of 2025. It’s a load of fun, and also viciously satirical and angry. Songs like “Company Culture” and “Filthy Rich Nepo Baby” have specific targets behind them. Some of it feels a little like 2010’s-era Tumblr feminism, but when the songs are this good that doesn’t matter.
21. SPELLLING – Portrait of My Heart
This has already been a solid year of me checking out artist I’ve heard of but never heard. I had Spellling pegged as an indie-R&B singer in my head, and while that’s accurate, she’s very rock too. The songs on Heart pull from equally from Motown and Subpop, diving headfirst into sultry R&B or double-bass drums on a whim. The only constant factor is energy, the rest is entirely unpredictable. Really had fun listening to this. Three L’s in the name but none to be found on the record.
20. clipping. – Dead Channel Sky
On the flipside is artists I’ve loved for years. The experimental rap group clipping. are a personal favorite, and their fifth album delivers on all fronts. The band’s abrasive music mixed with Daveed Diggs’ lightspeed rapping make for consistently thrilling tunes. There isn’t necessarily anything new here, but the formula still works – heavy, fast rap songs that very rhythmic but still shun any radio-friendly elements.
I found myself surprisingly disappointed with Pigsx7’s previous album, 2023’s Land of Sleeper. They remained one of my favorite metal bands, but I was worried that their continued trajectory from doom metal into psychedelic rock would render them boring. Alas! Their fifth album is just as good as albums 1-3. Heavy riffs and dense songs abound. There’s classic, doom-y Pigs (“The Wyrm”) and there’s entirely new ideas (“Glib Tongued” which features El-P of all people). This band is about as much fun as you can have in metal. Oh by the way, covered them.
18. Baths – Gut
I hadn’t kept up with Baths after his first two records, both electro-indie albums that presented two sides of a coin; the debut was fun and bubbly, the sophomore record much gloomier. I wasn’t sure what to expect with Gut, but I really wasn’t expecting a Perfume Genius record. This is a set of vulnerable, pretty, shaken and queer indie songs, written in the same manner as Michael Hadreas does. You can make the argument that the album’s front half is too similar, but there’s a lot of open space for this kind of thing. It’s gorgeous, I was floored. Grab the tissues. And as for Perfume Genius himself, well I haven’t worked up the willpower to listen to his new one yet. Expect it on the EOY list.
17. DARKSIDE – Nothing
This one caught me way off-guard. I only really knew on Darkside song prior to this, “Liberty Bell,” and I really love it. But the band’s atmospheric, electro-indie is akin to a handful of other bands that I appreciate but don’t really like. The same goes for Nicholas Jaar’s solo music. But this album is just a blast. These songs are light and vibe-y, but they’re still funky and fun. I listened to this on a morning commute and it really set my brain in a righted mood for a workday. Definitely an album I’d revisit, and I rarely do that. Summer music!
16. Billy Woods – Golliwog
Another perennial favorite of mine, his presence on this list shouldn’t be surprising at all. It’s also one of the most acclaimed albums of the year in general. The indie rap hotshot has already released a number of great records both solo and as a member of Armand Hammer, but this is his magnum opus. A tough record about a tough life, an autobiography the artist’s fascinating life and his experiences in NYC. Sure, that album’s been done a million times, but if it’s earnest then it’s justifiable. This is not only earnest, it’s raw, nervous, and at times still redacted, as if Woods immediately regrets telling the listener something.
15. Smerz – Big city life
It’s rare in today’s music melting pot that you hear something that sounds totally new. This sounds totally new. The best I can surmise Smerz is that they are trip-hop indie, with a little extra -hop, and some jazz. Short, funky blasts that sound like the coolest thing this side of Jon Spencer. I’ve already deep-dived their previous albums – their two prior full-lengths are ones where they serve as a backing band for an indie-pop singer, and an avant-garde choir. This band is hitting originality on all fronts.
14. Paris Texas – They Left Me With A Gun
You may be noticing a trend in the rap that I like the most. Intense but vibrant indie-rap is my go-to; if Denzel Curry drops anything this year then it’s gonna be a heyday. The new PT release is just an EP, and I’m always hesitant on ranking EP’s against LP’s, but when something is this good it’s worth it. A quick, nonstop collection of fast rhythms and big beats, and all without the boisterousness of top 40 rap.
13. Bad Bunny – Debí Tirar Más Fotos
I pity the people who don’t listen to music in languages they don’t speak. I don’t understand a word of this album and, as a pasty white man in Boston, I’m not exactly the target audience. But Bad Bunny has such an inherent skill at taking reggaeton – a genre that comes off as exceedingly repetitive to a pasty White – and making every song feel important and special. Reggaeton, rap, R&B, pop, there’s a touch of everything popular here. And even at 62 minutes, it doesn’t feel overstuffed or tedious. Put this on at a party – any party – and you’ll get everyone moving in no time.
12. Ela Minus – DIA
I went into this one totally blind, having heard one song from it many weeks prior. Obviously, I was floored. I was expecting some light-electro indie, and probably “just another indie album” like the influx I’ve already heard this year. It’s electro-indie, for sure, but it’s very experimental and not afraid to take risks. Pop songs are meshed with ambient drone, and enough dense electronica to make Dave Gahan smile. It’s a truly unpredictable album and had me clapping my hands like a seal.
11. ameokama – i will be clouds in the morning and rain in the evening
The first of three regional Boston* discs to make the list, this is another entry in the “wildly unpredictable” canon. But instead of sticking in the world of electro-indie, this cements itself in black metal. ameokama, who is also the singer for metal group A Constant Knowledge of Death, explores every boundary of black metal, and pushes past them. They’re confrontational at points, atmospheric at others. The defining focus of this album is existing as something you can get lost in. You know how Deafheaven went from black metal to ambient? Imagine all of that across one album (more on them later). There’s still time for some doom and shoegaze elements too, because it simply can’t stay contained.
*- ameokama dropped this album and promptly moved away, but it counts as a Boston album.
10. Little Simz – Lotus
It’s always a safe assumption that Little Simz will make my lists whenever she releases something, but Lotus is excellent even on a grading curve. After the monumental, unexpected success of her album Sometimes I Might Be Introvert, she stepped away a bit and released some cold, confrontational albums. But Lotus is plain old fun. The UK rapper sounds like she’s having a blast, with big beats and bouncy rhythms. It’s a different and somewhat relieving direction, as it sounds like Simz has learned to leverage her platform (a guest appearance on last year’s Coldplay album hinted at this too). As expected, there’s a lot of quick, flowing ideas and most of them work very well.
9. mclusky – the world is still here and so are we
And thank your god for that. mclusky could release an album of fart noises and I’d find a way to justify putting in on my list, but luckily I don’t have to. The band’s first album in 21 years picks up exactly where they left off, and why shouldn’t it? The things they satirized so heavily in the early 2000’s have only gotten worse! This is full of short, heavy post-hardcore songs that could easily get mistaken as punk. And as expected, the lyrics range from corny and silly to deeply political and courageously specific. I was a huge fan of Future Of The Left, Andy Falkous’ band he formed after mclusky’s initial break-up, but this album scratches a slightly different itch.
8. TAKAAT – Is Noise, Vol. 1
Remember when I said I always debate whether to include EP’s? This is the same boat. But let me say that this is the exact type of thing I’m into. This 4-track is the first music released by the band, but you may be familiar with them already – it’s Mdou Moctar’s backing band, without Moctar himself. These four songs mix African rhythms with dense, heavy noise production to make something wholly unique and separate from the artist they’re associated with. I saw these guys play a very early show and they managed to stretch these four songs into an hour-long set, it was face-melting stuff. I can’t wait for more.
7. Deafheaven – Lonely People With Power
The kings reclaim the throne. Deafheaven’s Sunbather is arguably the best metal album of the last 20 years, whether you like it or not, and they’ve been on a tear ever since then. But where each subsequent album has explored a different facet of their sound, Lonely People With Power combines everything into one. It’s their best since Sunbather. Pulverizing black metal, blissful ambient, riffs, beautiful lyrics completely lost through guttural screaming, and occasionally just…rock music? Also these are shorter songs than normal, which gives the band more branches to show themselves off. It’s like a Greatest Hits of all new tracks. Bring earplugs.
6. nurse joy – can i say something…?
The second local act to make the list – yes, there’s still another one here. I caught nurse joy by chance at a festival last year when I had downtime, and their set in a cramped Rockwell was a damn party. Their debut full-length is a dance-punk whirlwind, a bunch of raucous loose anthems that transcend genre but never stray too far from being -punk. It’s fun as hell. I’ve seen them twice more since last summer, always a fun show.
5. Backxwash – Only Dust Remains
Another shoo-in, every Backxwash album I’ve listened to has made my best-of lists. There was never any doubt here. The Zambian-Canadian rapper is freed from her now-concluded trilogy of dark, religious albums, but Dust isn’t a whole lot different. We do see some different and more experimental sides of her, making this her most well-rounded album to date. But it’s also dark, heavy, conscious and sometimes just plain nasty. This isn’t something for everyone, it’s deliberately off-putting at points; but it’s yet another triumph in a catalog full of them.
4. Laura Stevenson – Late Great
Laura Stevenson’s classic “Master Of Art” is my all-time favorite song. She’s got one of the best singing voice I’ve ever heard. It’s not necessarily a given that she shows up on these lists, but it’s likely – and Late Great is her best album in a long while. Touching, gorgeous indie songs that can stretch into “fun” or “haunting” territory real quick. Stevenson is excellent at making songs that are drawn-out and dense, and following it up with something minimalistic and catchy. Everything is all under the guise of Stevenson’s beautiful vocals. She’s one of my favorite artists and she’s back even stronger than she has been in many years.
3. Paper Lady – Idle Fate
The third and final local release on this list, this album is nuts. Another debut full-length, this one is somewhere in the realm of heavy alternative/shoegaze, even just rock music. These tunes are dense and unpredictable, sometimes putting everything upfront and other times opting for a slow-burning bruiser. Their live show is feral even as the songs are patient. If you’ve been missing some heavy alternative, then have no fear, Paper Lady is here.
2. Sharon Van Etten & the Attachment Theory – Sharon Van Etten & the Attachment Theory
Time to get the tissues out. I mentioned my favorite song, but SVE’s “Seventeen” is close behind it, and the song guaranteed to make me to weep. SVE’s first album crediting her backing band is her best in a long while. It’s apparent that the band were more involved in the songwriting, as these tunes are denser and more instrumental. Guitars are largely ditched for synthesizers, itself a big change for her traditionally folk-inspired indie (and usually a kiss of death for me). But her gorgeous voice still prevails and makes these songs vulnerable, shakeable. Remarkably beautiful indie record.
1.Bartees Strange – Horror
I’ve been a fan of Bartees for a while, but I never predicted that he would put out a record this good. Horror does indeed dig into the macabre, adding yet another element to his already-stewing melting pot. The indie/rock/rapper delivers a chaotic album of high-speed rap, pretty R&B and catchy indie songs. It’s fun, wildly so, and delivers from start to finish. It’s easy to see an influence of TV On The Radio here, although the more macabre parts come from elsewhere. Some of these songs absolutely boom, but not all of them do, it’s a very well-rounded affair. Fun as hell.
Note: While compiling and writing this list, I did listen to two more releases that would probably slip in somewhere here, so let me do two little flashes. You had to know this wouldn’t actually stay at 25:
Songs By Jonas – “The “Everything Is Wrong” Album” – I know nothing about this artist, but this was a whirlwind of bedroom emo and experimental noise. Most songs are short and acoustic, and make clever use of double-tracking to make it sound like a full band instead of one person. But there’s plenty of fuzz and glitch, too – it’s wildly unpredictable.
The Croaks – Menagerie – Another favorite local band (and one that features Paper Lady frontwoman Alli on bass), this is some Ren Faire indie. A 4-track EP of songs with full minstrel influence, even though some of them go off the rails into punk territory. Seen them live multiple times, one of the most fun bands you’ll find in Boston.
Hello again, welcome to another edition of me writing way too much about albums you haven’t heard of or didn’t like. There’s a massive range here, from Latin pop and country to industrial metal. I’m not going to repeat everything I said in the intro to my first post, just know that this year was truly remarkable for new music. There’s definitely some albums in here that topped other year-end lists, so if you’re mad about something being low, please understand that we’ve entered the territory of albums I truly loved. There was just a lot of them this year.
Also – these mini-reviews were copied directly from earlier posts, I edited but if there’s a reference that doesn’t compute, that’s why.
I hope you find something new through these posts! On with it:
#74. Blood Incantation – Absolute Elsewhere
I’ve said elsewhere that death metal is one genre where bands don’t have to be innovative and often aren’t – because even the most template death metal bands will still find a big audience. But some bands do experiment, none more so that Blood Incantation. Their 2019 record Hidden History of the Human Race is no less than one of the five or so best metal records of the last decade. The band has only grown more experimental, as this record edges hard on progressive rock alongside death metal standards. It’s only two songs – six on streaming, each song broken up into three sections – both over 20 minutes. Both tracks are odysseys, with sections of unfiltered death metal in parts. But both songs embrace prog rock just as much. The second track, “The Message,” takes an obvious inspiration from Animals, the best Pink Floyd album. It’s a purely unique record top-to-bottom, and an obvious candidate for metal album of the year.
#73. Katy Kirby – Blue Raspberry
An album as sweet as its title. This is standard-fare pretty indie, to the point where one of the singles sounds a little too reminiscent of Angel Olsen’s “All Mirrors.” But when everything works as well as it does here, who cares? I was taken aback by how much I liked this one, something I mindlessly threw on based on two songs I’d heard. Very patient, gorgeous indie-folk that knows when to be soft or bombastic. The focus is on melody above all, with obvious care put into every track. And while it mostly stays soft, the whole album builds to a much grander, 2-minute finale that takes you by surprise. Genuinely loved this one.
#72. Shellac – To All Trains
Rest in peace Steve Albini. If you’re reading this, then you’re probably well-versed in Albini’s work already, but he was a god in the music scene. A talented musician who utterly despised the industry, most of his work was production behind the scenes. He produced records for anyone ranging from Nirvana to your shithead neighbor’s weird noise band – and never took a penny for his work. His last record as a musician came only days after his sudden passing, and it’s hauntingly beautiful. It’s also a pretty normal Shellac record; chunky and bass-heavy post-punk with snarled and often witty lyrics. The band was self-described as “minimalist,” I wouldn’t exactly use that term but these songs are all surprisingly easy. Most of them are perfectly digestible and just off-putting enough to drive away casual folks. Opener “WSOD” jams on a fun riff for a while. But the real ominous standout is “I Don’t Fear Hell,” where Albini sings about waiting to join all his friends down below. Classic Albini – dark, funny, groovy and hauntingly prescient. Albini was one of the best guys around but if he ended up in Hell, then brother, we’ll all see you there.
#71. Chick Corea & Béla Fleck – Remembrance
I am but one man who mostly loves garage rock, so I simply don’t keep up with modern jazz like I wish I could. Imagine my surprise at seeing two of my favorite jazz artists collaborating, hit immediately by the shock of remembering that the former artist has passed. This record is technically a compilation, a mix of studio songs, improvisations and live tracks, but it doesn’t feel like one. Everything is coherent and similar, and the smatterings of applause throughout signify a captive, sometimes nonexistent live audience. With Corea on piano and Fleck on banjo, you likely know what you’re going to get – and there’s a lot of it. It’s a beautiful set of collaborations, often just the two men alone, together. Very pretty and very fun music for any jazz fan.
#70. Fange – Perdition
Like some of the best metal albums I’ve heard this year, I don’t actually know where this recommendation came from. The French band is on their seventh album, but were totally off my radar until this year. It’s catch up time for me, because I loved this. The French band does a punishing mix of industrial, death metal, sludge and a touch of rock (for melody seasoning). The vocals are menacing and the music is both metrical and unforgiving. It’s all very heavy and intense, but the band finds ways to warp a little melody in there as well. It’s closer to industrial than anything else, but you wouldn’t even confuse this with Nine Inch Nails. It’s straight metal, too.
#69. Vince Staples – Dark Times
This album shares much in common with the rapper’s 2021 self-titled album, and 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.
#68. The Body & Dis Fig – Orchards of a Futile Heaven
The Body are a band who can do basically no wrong by me. If you read my favorite songs of 2024 post, I went into what makes them special. The song chosen for that list does not in fact come from this album, so more on that later. This release is a full-album collaboration with Dis Fig. The band is used to these collabs, they’ve done a ton of them. This is standard Body stuff, which is to say purely dissonant, extreme noise music. It isn’t metal, but it’s less anything else. Dis Fig is an artist I’m wholly unfamiliar with, but her vocals help cement these otherwise exploratory or nonconformist extreme songs, in one of the band’s more logical collaboration efforts. This is music for a small audience but damn is it good.
#67. E L U C I D – Revelator
Although I’ve been a fan of the duo Armand Hammer for a few years, I didn’t know E L U C I D by name until he popped up on the excellent album that Shabaka released earlier this year. This new solo record is a whirlwind of avant-garde rap. Much of it is low-key, opting for bars over vibes. The first few songs are electrically thrilling, high-energy bangers with totally unpredictable instrumentation. The running thread is a nonadherence to traditional song structures, a very free-form work similar to the jazz album he popped up on. It’s all smooth, and his flow is excellent. It’s funny at points, at other points daring. The whole thing is unpredictable, even as it settles in a more relaxed state. It’s just extremely fun. I always seem to love the rap that’s on the fringe of the mainstream.
#66. Kali Uchis – Orquídeas
My knowledge of Latin music is limited, and my knowledge of the Spanish language is nonexistent, so I will always have to view music like this as an outsider. This album is a companion piece to last year’s Red Moon In Venus – an English language album and #63 on my 2023 year end list. Orquídeas is a blast, a comprehensive album that both sticks to traditional reggaeton and strays well beyond it. Even as a companion piece, it feels distinctly separate from Red Moon, highlighting Uchis as a multi-threat artist. Have fun with this one.
#65. Machine Girl – MG Ultra
There’s nothing out there like Machine Girl. They have a lot of elements that I theoretically shouldn’t like, but I love their music. I guess the way to describe the duo is techno-hardcore, hardcore music with a lot of glitchy electronic elements and unpredictability. More often than not, this album is heavy and gonzo, which is right up my alley. It’s fun as hell, while still being mildly off-putting to anyone trying to embrace traditional electronic or hardcore music. Though Machine Girl have been at it for over a decade, I can see this unholy hyperpop-metal concoction being a new scene soon.
#64. Fontaines D.C. – Romance
The previous Fontaines D.C. records were inconsistent in how much they grabbed my attention, but they were consistent in that the songs all kinda sounded the same. The (very) Irish post-punk band has had a relatively standard sound prior to Romance. Well the book’s out the window. This record actually has a majority ballads, but the band hits the highest energy of their career too. They rap, there’s punk, and there’s tender love ballads. The band has always sounded a little inauthentic in their emotions previously; not here. This is earnest and real from a band that has never sounded so ambitious or energized. Don’t go in expecting the high-octant energy of the singles, but do go in expecting what is easily the band’s best album to date. This will go down as a highlight in a stacked indie year.
#63. Kacey Musgraves – Deeper Well
There’s been a few examples this year of artists I love rebounding from weaker albums (Vampire Weekend, St. Vincent, ScHoolboy Q). Add Kacey to the mix. Coming off her breathtaking and Grammy-crushing country album Golden Hour, Kacey turned to a more pop-focus for Star-Crossed, and it was, bluntly, meh. For Deeper Well, she’s gone back to the atmospheric country that made her an arena star. It’s a welcome return, as the whole here is excellent. It’s a dreamy album, the same summer-y camping vibes as before. She’ll probably never make another record as good as Hour, but that’s an immense bar to clear. This one doesn’t really have standout songs like that record did, but the full product is wonderful. She’s also shifted her lyrics into a more serious zone. So many of her previous songs coupled breezy music with lyrics about wasting time and days spent milling around. Here, she’s quitting weed and strengthening her relationships. This serves as both a sequel and companion piece to Hour. Loved it.
#62. The Only Humans – It’s a Beautiful Night. I Think I’ll Disappear Forever.
Full disclosure – I know most of the members of this band. I’m ex-coworkers with three of them, and am actively friends with one. But removing any bias, I’m including a lil review here because this album is genuinely excellent. The band has the proper and orchestral look of the Decemberists, with the music to boot; and, singer Tim Howd sounds like a dead ringer for John Darnielle. The expansive album is a conceptual one, as death invades from all angles. But the record is a lot of fun, and no two songs are really the same. My personal fave is the maximalist “Esplanade.” I know it’s a way overinflated year for indie, but if you’re trying to look beyond the headliners, please check this one out.
#61. Hinds – VIVA HINDS
It’s been a long four years since the last Hinds album. In that time, the bassist and drummer both left, reducing the band back to the two vocalist-guitarists that initially formed it. That might be a disaster for some bands, but for Hinds it was freeing. I’ve been in their camp since the first album from the Spanish indie group (duo), and this record is probably their best one yet. These songs are sweet and unassuming, but confident and broader. That last note is important – this is the widest-ranging Hinds album, with tender songs, rousing ones like the excellent “En Forma,” and space for both Beck and Grian Chatten to show up and do their own thing. The 2024 indie pot has way overflowed, and in a different year this would be a standout. It’s still a real winner.
#60. Cursive – Devourer
When all is said and done and the dust on Cursive’s career is settled, they’d better be recognized as one of the most underrated groups in music history. Ask a casual indiehead and they’ll say they love The Ugly Organ. Well folks, Cursive is still putting out records that good twenty years later. Their tenth album Devourer is simply one of the best rock records of the year, and it doesn’t even have a damn Wikipedia page. It’s apocalypse time on Devourer, in case you were expecting the mood to have softened. But it is very fun, the band is still treading the same thin line of emo, indie and rock, and in the last few years they’ve expanded to include a full-time trumpeter and cellist. It’s a unique affair even if it doesn’t sound like one at a first glance. People are sleeping on Cursive, y’all should get with them.
#59. Camera Obscura – Look To The East, Look To The West
Another legacy indie artist, and 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.
#58. Godspeed You! Black Emperor – NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD
I never know how to write about Godspeed. I don’t even really like drone music that much or post-rock at all. But these folks operate on another level, and even a “lesser” album from them can still be extraordinary. Despite being fully instrumental, the band manages to capture the plague and despair of the ongoing genocide of Palestinians in touching and intense pieces. There’s also some of the inspirational music that has touched their more recent albums, too. If you’ve never listened to GY!BE, this may not be the best place to start. But their music can only be heard to be experienced.
#57. Torey D’Shaun – Come And See.
I’ll take music recommendations from anywhere – including music a Lyft driver is playing that I like. I don’t know much about the rapper, but a song came up on shuffle on the drive home from the airport and I saved it, only to see a full album coming out ~2 weeks later. It’s a gem. The self-described Christian rapper does tackle the concept of faith across this album, sometimes more devout than others. Some songs here are life-affirming, others are doubtful tales of tragedy, sometimes with no resolution. The songs here are earnest and poetic, whether you’re religious or not. And if you’re not, well the beats are great and his flow is solid anyways. Well-rounded lyrics, big beats, and a ton of pathos. This was an unexpectedly great find.
#56. GUHTS – Regeneration
A decade removed from Deafheaven’s tectonic plate-shifting black metal album Sunbather, another band is going the pink cover route. While the book cover-judging comparison can be made, this album packs a different punch. Sludgy, unpredictable post-metal dominates this release, hitting all points between smooth and sinister. It’s abrasive, but not the point of, say, Full Of Hell or anything. It’s one of the most well-rounded metal albums of the year so far – and one of the best of the genre in any capacity. Don’t sleep on this one, if it’s your tune.
#55. Little Simz – Drop 7
I debated on even considering this one eligible for my list – it is a drop, after all, and clocks in at just under 15 minutes. But when you’ve got the dark horse candidate for best current rapper in play, even the one-offs are extraordinary. While some of Little Simz’s previous works have been steady and heady, this is her at her most impatient, firing a bunch of short songs off the cuff. Big beats and quick tempos make this a whirlwind of a little EP.
#54. 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.
#53. Chat Pile – Cool World
Chat Pile had an incredibly high bar to clear on their sophomore record and, if we’re being honest, they didn’t clear it. Their debut God’s Country remains one of the best records of the past 5 years. But the rafters aside, this record rips. The band continues their manic blend of post-hardcore and sludge metal into something that seems obvious but is wholly unique. The riffs are heavy as hell, the lyrics political and the vocals anguished and immediate. These guys are simply a band with a lot to say. The first two tracks on this album haven’t stuck with me, but the run of songs in the middle is nuts. “Frownland” and “Funny Man” are two of the best heavy songs of the year. Unpredictable and urgent, and loud as all hell. Chat Pile are here to stay.
#52. Beth Gibbons – Lives Outgrown
I’m not overly familiar with Portishead, what I’ve heard I’ve liked, but it isn’t music I feel any nostalgia for personally. I’m even less familiar with solo endeavors from their singer, Beth Gibbons, who dropped her first proper solo album 33 years after the first Portishead record. It’s a gorgeous album, one that starts innocently before expanding into something grander. The cover implies a folksy affair, and at most times it is. It’s brooding chamber pop, sometimes soft but sometimes sinister, like slipping back into a nightmare. It’s also usually acoustic, but when the guitars kick in, they really kick in – some of these songs drone and shout loudly, unexpected explosions after multiple songs of slumber. It’s a gorgeous record, one of both extremes, yet often just restrained chamber pop. We expected nothing less.
#51. Bruiser Wolf – My Stories Got Stories
Bruiser Wolf and Danny Brown go way back, and it shows here – this album is full of darkly comic tales of binges and dangerous situations. Brown guests early too, on a whiplash track. Bruiser Wolf builds his lyrics in the same way DB does, poetic and funny with dense meters. But he also couldn’t sound different, rapping matter-of-factly and methodically, like he’s teaching a lesson. His vocals and lyrics are engaging, all bolstered by booming and exciting beats behind him. This is my first foray into his music, I’m gonna check out the previous album now too.
#50. Sabrina Carpenter – Short n’ Sweet
I love the harmless pun of the title, referring to both the 36-minute runtime and Carpenter herself. Now, surely you’ve already heard this album, I got to it a bit late. It’s utterly delightful, I loved it. It scratches the same itch that Carly Rae Jepsen does – bouncy pop songs that deal with the complexities of relationships that also aren’t plastic. It can be difficult in today’s landscape to make pop music that’s truly authentic but this album is top-to-bottom. It’s raunchy and clever, nearly every song is a winner. It’s easy to see why this is the album that’s really broken her out of Disney containment; if it wasn’t for Chappell Roan, this would’ve been Carpenter’s year to lose. And if it wasn’t for Charli, this would probably be the best pop album of 2024. Those aren’t exactly setbacks, this is an album we’ll be talking about for years to come.
That’s a wrap on this part of the list, which has grown long and sour. Check back tomorrow for the next installment!
Because I cannot ever help myself, here’s five more albums I wanted to include: The Bug Club – On The Intricate Inner Workings of the System (lo-fi post-punk with goofy lyrics), Bat For Lashes – The Dream of Delphi (atmospheric indie legend), Full Of Hell & Andrew Nolan – Scraping the Divine (noise), Couch Slut – You Could Do It Tonight (gritty post-hardcore), Esh & the Isolations – Nowhere, To Be Found (indie rap)
Welcome back, time for another quick rundown of some 2024 albums I’ve listened to! You can check out the January edition, where I did brief reviews of about a dozen 2024 releases. This time around, I’ve got 14 quick blasts, and one local rec for good measure. First time around the albums were ordered by grade, this time around it’s by release date. I hope you like the number 7.5, because there’s a disproportionate number of albums with that grade. I still haven’t done the Smile’s album, somehow, whoops. Let’s crack on:
Infant Island – Obsidian Wreath
I’ll be honest, I put this one on when I was putzing around the apartment cleaning, so it didn’t quite get the same kind of attention that most albums get (when I’m mindlessly processing stuff at work with headphones on). That said, I deeply appreciated the way this band made a wholly unique and creative blackgaze album within the confines of traditional metal. There’s nothing particularly special on a surface level, but scratch even just a bit into these songs and they reveal a density, a cruelness, and a certain sereneness that counteracts the volume. It’s always refreshing to hear a cool blackgaze album like this.
Initial release date: 1/12/24 Grade: 7.5/10
Kid Cudi – INSANO
Oof. First off, I respect that Cudi isn’t trying to make a grand statement. This is an issue that plagues modern albums, especially in hip-hop – the thought that every record needs to be an Atrocity Exhibition or an Astroworld, something Earth-shattering. Cudi eschews this for a relaxed, fun reminder of his strengths. The monkey’s paw of that is that this album is just weak all-around; loud but boring beats are matched with bland lyrics. Cudi sounds like he’s having fun, which does translate over, but it isn’t enough to carry the record’s ridiculous 64 minute runtime. You can extrapolate the best five songs or so and trash the other fifteen. It’s a stopgap album.
Initial release date: 1/12/24 Grade: 5.5/10
Katy Kirby – Blue Raspberry
An album as sweet as its title. This is standard-fare pretty indie, to the point where one of the singles sounds a little too reminiscent of Angel Olsen’s “All Mirrors.” But when everything works as well as it does here, who cares? I was taken aback by how much I liked this one, something I mindlessly threw on based on two songs I’d heard. Very patient, gorgeous indie-folk that knows when to be soft or bombastic. The focus is on melody above all, with obvious care put into every track. And while it mostly stays soft, the whole album builds to a much grander, 2-minute finale that takes you by surprise. Genuinely loved this one.
Initial release date: 1/26/24 Grade: 8/10
Vitriol – Suffer & Become
Not much to say about this really other than it’s some articulated, dense, and rip-ass death metal. This feels akin to the band Aborted, featuring maximalist songs with little to no breaks, chaotic rhythms and pristine production. It’s not as tongue-in-cheek as those legends though, played very seriously here. I ended up having to listen to this one in parts, which I don’t like doing, so once I give it a full one-day runthrough I might bump the grade up.
Initial release date: 1/26/24 Grade: 7.5/10
J. Mascis – What Do We Do Now
Ok so same thing goes for this as with the Infant Island record – I was moving around the apartment with this one playing. I’m always a bit trepidatious about J. Mascis’s solo music, because it’s often just him and a guitar, which is my least favorite version of him. But this is much more, it often sounds like a full band, just one that is a lot janglier than Dinosaur, Jr. is. This music is loose and midtempo, enough energy to be fun but not so much so that it just sounds like more Dino. The album does suffer from repetition, as practically every song follows the same template. But, the best tracks here do what J. does best; jangly guitar, lyrics about regrets and miscommunications, and strained talk-sung vocals. Definitely one of his better solo releases.
Initial release date: 2/2/24 Grade: 7.5/10
Little Simz – Drop 7
I probably wouldn’t review something this brief – it is a drop, after all, and clocks in at just under 15 minutes. But when you’ve got the dark horse candidate for best current rapper in play, even the one-offs are extraordinary. While some of Little Simz’s previous works have been steady and heady, this is her at her most impatient, firing a bunch of short songs off the cuff. Big beats and quick tempos make this a whirlwind of a little EP.
Initial release date: 2/9/24 Grade: 8/10
Chelsea Wolfe – She Reaches Out To She Reaches Out To She
If you’re a Chelsea Wolfe fan, you pretty much know what you’re going to get here. This album is full of slow, patient, goth-folk. The tracks here are brooding, dark and still melodic. Though the songs are not lengthy, the consistent eerieness and relaxed tempos give them a lot of space (and make them feel longer – which is not a complaint). This is Southern Gothic at its finest, a soundtrack for a Flannery O’Connor work. It falls victim to repetition on the back half, which is unfortunate, but the whole thing is saved with a stunning closing track. It’s not Wolfe’s best, but that’s a high benchmark.
Initial release date: 2/9/24 Grade: 7.5/10
Laura Jane Grace – Hole In My Head
I appreciate how Laura Jane Grace always makes sure that her solo albums are not just Against Me! records under a different name. I haven’t been too fond of some of her more pop-punk solo outings over the past few years, but this one worked for me. The first couple songs on this one do sound like Against Me! runoffs, aka excellent punk bruisers, but most of the album has more of a folk-punk feel. It’s largely acoustic, but still energetic, witty and original. It does feel like a solo record in the proper sense – put a backing band and you’ve got an AM! record, but they’re not missed, either. It’s a fun avenue for Laura, one she really hasn’t explored since Reinventing Axl Rose all the way back in 2002. There’s nothing life-changing here, but it’s a very fun and earnest record if you’re a fan.
Initial release date: 2/16/24 Grade: 7.5/10
IDLES – TANGK
I’m doing the exact thing I shouldn’t do with an album like this and vomiting some thoughts immediately after listening to it. I love the UK indie-punk hybrid IDLES, but I specifically love Joy As An Act Of Resistance. and I always want my IDLES albums to sound just like that one. Naturally, they don’t, because staying fresh is always the name of the IDLES game. TANGK, in fact, tries to be the polar opposite of Resistance, in that it relies heavily on slower tracks. There’s a haunting quality to this one, even with bangers like “Hall and Oates” and the LCD Soundsystem-assisted “Dancer.” The opening and closing tracks are particularly slow and quiet, but there’s patience throughout. I don’t think it really works well! The band utilizes these downbeats effectively when they’re infrequent – but here it’s every other song. Going along with that, it doesn’t feel like the band has much to say this time around. Admittedly, I haven’t dug into the lyrics much yet and I should, but this band has always been at the forefront of urgency, and here they sound like backseat drivers. With all of that said, the album still bangs hard sometimes, it’s still a solid release – I just expected more oomph.
Initial release date: 2/16/24 Grade: 7/10
serpentwithfeet – GRIP
I simultaneously went into this one having never really heard the music of serpentwithfeet and still getting exactly what I expected – sultry, beautiful R&B. This exists in the realm of artistic R&B artists like Janelle Monae that make rhythmic, seductive music that nonetheless feels like it eschews any kind of “radio value.” Chalk it up to the homoerotic album cover, maybe, but this is absolutely on the alternative, experimental side of things. Breezy and hypnotic, this is a gem.
Initial release date: 2/16/24 Grade: 7.5/10
MGMT – Loss Of Life
A lot of the albums on this list I’ve had to listen to in segments (because I’m listening at work – don’t ask). For this one, I’m glad I did. This is a quietly gorgeous album, from a band not really known for that type of thing. Their first album is of course an experimental classic, but the next two shit the bed. Album #4 was a great-if-not-standard synth pop record, and it’s what I expected here. Really, it’s more guitar-focused, the plainest songs they’ve written to date but far from the worst. There’s some fun ones (especially the whiplash “Bubblegum Dog”) but a lot of songs are just excellent indie ballads. The back half has some patient, subtly impactful songs, and I would’ve missed them if I did this record in one swoop. Allow yourself some time to absorb these songs.
Initial release date: 2/23/24 Grade: 7.5/10
Mannequin Pussy – I Got Heaven
This album had a lot to live up to. Mannequin Pussy are one of the only bands where I generally love every song they’ve put out. Ferocious, unpredictable and catchy, they’re a punk band that doesn’t really seem to think they’re a punk band. And on their fourth album, they do branch out a lot more. I don’t think the 100% streak continues, however, the best songs here are the best they’ve ever done. It’s a ripper of a record, and one that has more ideas and, *ahem,* patience than previous releases. Missy Dabice gives her best-yet vocal performance on “Sometimes,” a song that stretches closer to indie than anything else. But there’s still punk bruisers everywhere, too. Tremendous stuff.
Initial release date: 3/1/24 Grade: 8/10
Pissed Jeans – Half Divorced
In direct opposition to a lot of albums in this post, and the norm in general, this is the leanest and meanest version of Pissed Jeans we’ve ever seen. The post-hardcore band has always treated its aggressive music as a pseudo-joke, as they satirize specific topics like middle managers and guys who have humiliation fetishes. There’s some of that here, specifically in screeds against used underwear sales and guys who disturb you when you’re on break. But there’s also a general, visceral anger here. These songs are way shorter than normal, most under two minutes, just ferocious punk blasts from a band that normally stretches things out. The best song is still tongue-in-cheek; “Everywhere is Bad,” a parody of songs where singers get easy clout by listing cities, instead decrying every city, planet, galaxy, and dimension. Best album of the year so far.
Initial release date: 3/1/24 Grade: 9/10
Kim Gordon – The Collective
Haha what the hell. The beautiful thing about listening to the solo projects from Sonic Youth members was seeing what influences they individually brought to the table – Thurston Moore brought the noise guitars, Lee Ranaldo brought the classic rock vibes, and Kim supplied the most experimental elements. On her second solo record (mind you, she is SEVENTY years old), she creates something entirely new and diabolical. This is noise-trap. It’s a noise-rock record centered around hip-hop beats, but not in any kind of Death Grips way. Some of these songs were intended for Playboi Carti, but somehow ended up in her lap. And that’s really the only way to describe them. I’ve never heard anything like this, even from Kim. It’s pure experimentation, and it certainly won’t work for everyone. But I absolutely loved it. 2016 rap filtered through 80’s no wave. After several decades, Kim is still just operating on a different level.
Initial release date: 3/8/24 Grade: 8.5/10
LOCAL NOOK: So, given that I already write for a local blog, and I naturally listen to artists I or we cover, it feels a little weird to me to write about them here too. However, I’ll use some space for recs. The indie group Happy Just to See You dropped a great, fun and heartwarming indie album, garnering yet another 7.5 rating from me.
That time of year again! The time of year where the talking heads all list out their own “definitive” Best Of lists and drive up their ad revenue through rage clicks. Normally I love to participate, but this year I’ve decided not to do any sort of rankings and just list a bunch of albums I enjoyed. This is because 1) some of these bands I covered in other publications, and it feels weird to insert them into a ranked list, 2) how am I supposed to compare and contrast the house revival of Beyoncé with the industrial rap of Backxwash, the the disco pop of Charli XCX with the post-hardcore of Chat Pile, the low-key jazz of King Gizzard with the high-stakes prog of King Gizzard, and 3) I’m so tired, man. So these albums are ranked only alphabetically. However, I’ve thrown in some songs for some albums I do find particularly noteworthy. I finished the year having listened to 414 albums released between January 1st and mid-December. Yes, that’s a personal record. So without further adieu, here’s 75ish albums from this year I am simply excited to talk about!
Note: The original version of this list included the album Erebos by death metal group Venom Prison, but right before I edited it, the singer got outed with some transphobic nonsense. We don’t support that here. If you’re looking for good metal, stream their album on Spotify so they don’t get paid.
The 1975 – Being Funny In A Foreign Language
I’ve been pro-1975 for a while, but their biggest fault has always been bloat. Their albums – even at their best – have been overlong and suffering from inconsistent ambitions. This one is shorter, leaner and more scaled-down while still sounding distinctly 1975. It’s a nice surprise that’s well-needed after their previous, overlong ho-hum affair.
Actor|Observer – Songs For the Newly Reclusive
The first local entry on this list also gives me the opportunity to share the best piece of writing I did all year, when I premiered this album’s lead single. The whole album that follows is effortlessly brutal hardcore that shows both an urgency in its lyrics and a patience in the songwriting, a difficult balance to pull off. This is not hardcore for the sake of hardcore, this is a band that has a lot to say, and those messages are delivered successfully and angrily. Consistently one of the most underrated groups, Actor|Observer have done it again.
Alvvays – Blue Rev
The first two Alvvays albums were great little releases of radio-friendly powerpop, so it was a shock for their third to turn up the edge and turn down the song lengths into something that feels a little more punk-inspired. It helps to round out the band’s image and distance themselves from the overall bloat of bands they resemble. Even though it sounds smaller in scale, the album feels bigger than the ones they’ve done before.
Backxwash – His Happiness Shall Come First Even Though We Are Suffering
I’ve been a huge Backxwash fan since the moment I pressed play, so it’s no surprise that I loved her newest offering. The albums follows in the footsteps of her previous releases – finishing off a trilogy – with industrial rap/horrorcore that puts some absolute respect on the genre’s name. She’s backed up by some excellent features with Pupil Slicer and Ghais Guevara (more on him later), though as always her forceful rapping and controlled chaos beats are the focus. There’s simply no one else operating on her level.
Bad Bunny – Un Verano Sin Ti
Nothing to say that hasn’t been said already; Bad Bunny is just on another platform. The man has been releasing music like crazy, all of which manages to be breezy pop for the masses that has tons of depth and personality, and all in a language foreign to half of his American listeners (myself included). What a king.
Beach Bunny – Emotional Creature
Similar to Alvvays, Beach Bunny are one of the best in a bloated genre, and this album sees them breaking out. The album feels fuller and more mature, even though a youthful immaturity was their previous selling point. Beach Bunny are destined for megastardom, and this is another wonderful stepping stone. Pretty funny that we got two straight bunny entries, huh.
Beach House – Once Twice Melody
And right into two straight Beach entries. We gotta diversify these artist names. Anyways, Beach House had really fallen off the radar prior to 2022 – only one album in seven years, after a much more regular release schedule. That was undone with this sprawling 18-song, 84 minute sectioned album. There’s sections of classic shoegaze Beach House as well as parts that see the band dive into even more lush, dreamy territory. It’s certain to be one of their best albums, which is high praise, though anyone looking for bangers should seek elsewhere.
Beyoncé – Renaissance
The Queen was in a tough position after her album Lemonade, a decade-defining, genre-sprawling masterclass destined for the record books. No follow-up was going to feel as important or immediate, so she instead did a lower stakes house revival album. It was a necessary and perfect left turn; far from her best work, but it isn’t meant to be, and what it is still damn near perfect.
Big Thief – Dragon New Warm Mountain I Believe in You
Similar to Beach House, this is a behemoth, brass ring-grabbing mission statement of an album; it even came out the same week! Possibly the best indie release of the year, it sees the band take their normally reserved album ideas and stretch them into grander territory. Everything feels expanded and yet distinctly Big Thief – warm, earthy melodies accompanied by Adrienne Lenker’s tender voice and emotionally crippling lyrics. In an era where album bloat plagues every genre, Big Thief delivered an 80-minute album that still leaves the listener begging for more. They elevated themselves to Best Indie Band in 2019, a title that I believe they still hold.
billy woods – Aethiopes and Church
First double-entry! The Armand Hammer member has had a wildly prolific solo career, and both of his 2022 offerings are just great, low-stakes hip-hop albums. While the alphabetical and chronological antecedent was the better of the two albums, both showcase woods as a humble and intelligent master, unafraid to challenge rhythm and tropes.
Birds In Row – Gris Klein
Straight up one of my favorite groups, France’s Birds In Row have delivered another visceral, powerful and understated album of hardcore that establishes them as one of the genre’s most creative forces. Too many hardcore bands sound interchangeable, but Birds have always been sonically challenging, genre-defying and socially conscious, trends that have all kept up on Klein. One of the most criminally underrated groups in all of music, even if they set themselves up to have a limited audience.
Björk – Fossora
There’s a number of entries in this post that feel pointless to write – if you’re reading this on my blog, with the type of stuff I cover, then you’ve already heard Fossora. Björk rarely misses, and hasn’t missed in many years, but even for her this is a triumph. Few artists could think about the concept of mushrooms and produce an album that actually feels like the damp moss of a forest floor, but that’s what Fossora is. The mysteriousness of the forest – both innocent and unforgiving – litters this album in a way that’s pleasant and so entirely original. Quintessential Björk.
Black Dresses – Forget Your Own Face
Hyperpop is maybe the first thing to come around in music that makes me feel like I’m too old to understand, and truthfully I don’t really “get” all of this, but I do love it. This doesn’t so much move the goalposts of what “pop” can be but uproots and incinerates them. The chaotic outbursts of glitchy synth, the pessimistic lyrics and the demon-fueled screams from Ada Rook (one of the best screamers in the game today) all make this a brief album that’s equal parts fun and terrifying. Pretty good for a duo that’s technically broken up!
black midi – Hellfire
Coming into Hellfire I was hit and miss on black midi – literally, I thought their debut was a hit and the sophomore record was a miss. So I had a little trepidation, but this is easily my favorite of the three. This is extremely “me” music. Hellfire is a ton of absolutely chaotic, noisy indie songs that sound like a frustrated band taking it out in studio. I’m sure these songs are written precisely, but they often sound improvised. A little noisier and they could be mistaken for prime era Lightning Bolt. Really loved this one.
Bonny Light Horseman – Rolling Golden Holy
I’m not 100% positive this one would’ve made the list if I hadn’t just seen this band a couple weeks ago, but it’s totally deserving either way. The folk supergroup released their second album in November and it follows their debut exactly. Soft acoustic folk is met with gorgeous harmonized vocals in a collection of songs that you want to just disappear into forever. The group sounds like Fleet Foxes if they had less of an indie bend and didn’t subscribe to the concept of a frontman; the three musicians here all work equally and in tandem with one another. It’s quite possibly the prettiest album I heard all year.
Carly Rae Jepsen – The Loneliest Time
My my, there were a lot of B artists for some reason. Carly is here to dance us out of it with another album of pure pop bangers. Her previous album Dedicated was a moderately solid release, but a drop in the bucket to 2015’s game-changing E*MO*TION. This album feels closer to the latter, a self-contained collection of bangers and ballads that never tries to reinvent the wheel, just makes sure it runs as smoothly as it ever has. Anyone that doesn’t like Carly is either lying or just simply hates everything fun.
Chat Pile – God’s Country
My god, where did this one come from? The best debut album of the year is also maybe the best damn rock album of the year, too. An uncompromising, bold and enjoyable noise rock album that takes itself very seriously even if it closes with a song called “grimace_smoking_weed.jpg.” While most post-hardcore bands try to eschew any metal influences from their music, Chat Pile lean right into it with gnarly vocals, screams and – especially on “Pamela” – riffs. This is a major play by a fearsome young group.
The Chats – Get Fucked
The Australian drunk punk band is rising in popularity and facing the same issue that’s plagued many similar bands prior – soften the sound for a bigger audience, or lean into the niche. Well the album is titled Get Fucked so they sealed their own deal. This is just great, old school punk twisted through ridiculously delightful Aussie accents. Coming in at 13 songs and 28 minutes, with titles like “The Price of Smokes” and “I’ve Been Drunk in Every Pub in Brisbane,” this is a loud and raucous good time.
Danger Mouse & Black Thought – Cheat Codes
Danger Mouse, as both a producer and active musician, has always been one to ignore trends and musical climates. His full-album collaboration with arguably the most underrated rapper in the world is a very fun whirlwind that combines a lot of soul, prog and psychedelic influences that flies right by. It’s very much a throwback album to older hip-hop and something that sounds totally unique in 2022.
Demi Lovato – HOLY FVCK
Following up on the Chats is another album title that makes a statement. I’ve always had a soft spot for Lovato’s music, more so than most, and this turn back to a pop-punk/rock base is a very interesting one for her. There’s a distinct and intentional lack in subtlety, filling the album with confrontational statements that jump between honesty, heartbreak and horniness. It’s a great rebirth after a difficult period for the artist, and an album that I feel got buried too quickly.
Denzel Curry – Melt My Eyez See Your Future
Curry is one of the most interesting and energetic rappers in the world today, which makes it all the more interesting that this album opens with some slower, reflective tunes. As it moves on, we get some of Curry’s more forceful songs, but it’s a surprising left turn by an artist that specializes in messing with the formula. All of Curry’s albums are great, but this is his best since TA13OO.
Diane Coffee – With People
This absolute indie gem from the former Foxygen drummer might end up being the most overlooked album of the year. Seven of the album’s ten tracks haven’t cracked 10,000 plays on Spotify yet, people are really missing out. It’s airy and fun in the way that Foxygen is, without any of the bloated ambition. It feels similar to some of Will Butler’s solo stuff – messy, low-stakes indie music that’s a lot more playful than you might expect. There’s some really fun stuff going on here.
Ethel Cain – Preacher’s Daughter
The very last album I listened to this year that made the list – listened to on 12/30! – is something I didn’t even realize I was sleeping on. This name was not on my radar until Obama of all people put it on his year end list. Cain is like Lana Del Rey filtered through the horror puritanism of Flannery O’Connor. Daughter is a lengthy, bold debut full of Southern gothic dream-pop ballads and old school Baptist existentialism. Every song sounds similar on paper, but there’s elements of everything from gospel to sludge metal across the album, a truly unpredictable concoction. That all of this was devised by a 24 year old is wild; the future is hers.
Florence & The Machine – Dance Fever
When it comes to the unique indie/baroque pop of Flo & co, there’s really nothing wrong with “more of the same.” This excellent album sees the group treading some similar waters, although there is blendings of many different facets; it’s as synthy and danceable as it is chamber pop, which still leads to some unpredictability. We can belabor about rankings, but this might be the most fun album from them.
foxtails – fawn
I went into this totally blind, and given the album’s title and very plains-inspired cover painting, I was expecting some soft indie. So credit me surprised when the screams started; this band is legit. Mixing classic screamo with post-hardcore, indie and even some jazz elements, this is stuff that’s supremely heavy and completely unique. I immediately ran through their other albums; not a bad song among them.
Gang of Youths – Angel in Realtime
The band name might imply some tongue-in-cheek rascalness, but this is a truly serious record written as an ode to the frontman’s father. The alternative band made an early AOTY contender with an impenetrable and difficult record, one that presents a ton of sonic ideas washed over by emotional lyrics. It’s too long – much too long – but it is super rewarding, comprehensive and effortlessly intelligent music.
Ghais Guevara – There Will Be No Super-Slave
One of the best underground releases of 2022 comes from experimental rapper Ghais Guevara, who litters his album with astounding beats, experimental structures and explicitly leftist lyrics. Songs like “This Ski Mask Ain’t For COVID” and “I Personally Wouldn’t Have Released John McCain” don’t just come out of nowhere. It’s witty, earnest, extremely loud and extremely engaging. Also, check out the “Breakfast in America” sample.
Gladie – Don’t Know What You’re In Until You’re Out
My big criticism of the bands that straddle the pop-punk/indie line is that they often play it safe and don’t explore their own energy. Gladie isn’t one of those bands. The band’s sophomore album (I have yet to hear the debut!) sees them masterfully navigate both tender pop songs and raucous punk, like in the fierce opener “Born Yesterday.” It’s simply a stellar record that is comprehensive and – most importantly – simply fun.
Harry Styles – Harry’s House
I still like his debut solo album more, but his third offering is such a delightful statement release. This is fun, humble and low-key pop, an album that was sorely needed in a year where his personal life was thrust into the spotlight (due to a bad film). He’s just great at this stuff!
Interpol – The Other Side of Make Believe
After the initial hot streak Interpol went on to start their career, it became apparent that they did slower ballads better than bangers (all exceptions to “The Rover”). Their last album, Marauder, was all bangers and it’s their only album I dislike. Thankfully they slowed things down for this somber, post-punk affair. They’ll never reclaim their highs again, but I do think this is genuinely one of their best records.
Ithaca – They Fear Us
Although I felt this year wasn’t as strong as most recent years in general, it was a standout for post-hardcore groups. This album blends those influences through traditional metal/hardcore into one of the rawest releases of the year. This is not music for the faint of heart, but it is a thrilling and emotional listen. Got this one via recommendation, I will be checking out their other releases.
Jack White – Fear of the Dawn
When Jack White announced two albums – a blistering blues record and an acoustic folk one – I knew I was going to like the former more. This packs all the punches of standard wild White stuff, from blues melodies to dizzying guitar licks. There’s even a Q-Tip feature, randomly. Some people might be tired of his schtick, but I’ll always take these records.
JID – The Forever Story
Many of the rap records on this list are here because they’re innovative, nostalgic or just different from anything mainstream. But for JID, this is just a good ass rap album. His flow is impeccable across The Forever Story, which helps bolster his convincingly autobiographical lyrics. It’s a soulful album too, and one complete with some guest spots from festival big-prints like Lil Wayne and Yasiin Bey. Top notch stuff!
Jobber – Hell In A Cell
This is a band called Jobber with an EP called Hell In A Cell, of course I’m into this. It’s an extension on the Mountain Goats album Beat The Champ in that it’s centered entirely around pro wrestling (more on them later). But even if you don’t have an appreciation for the art or aren’t familiar with the brilliance of Mankind, you can still appreciate the tunes. These are four energetic indie tunes with deceptively great vocals in a wonderfully fun debut. I’m not sure if the wrestling gimmick can stay fresh over time, but I’m positive the band can.
Julia, Julia – Derealization
The debut album from the lead singer of long-running punk band The Coathangers is anything but. The album tosses away all of the politically-charged punk energy in favor of soft folk. Most of these tracks are nothing but acoustic guitar and dreamy vocals from Julia. Hell it’s often barely audible! These songs mimic a soft spring day, a pleasant morning as the sun rises. This is probably the softest record on this list.
Kal Marks – My Name Is Hell
This is one of a handful of local entries on my list, but this list would be incomplete without it. Hell is simply one of the best rock albums of the year, filled with post-hardcore tracks that are both patient and angry, heavy and melodic. The band really lays into the same space occupied by IDLES on this one, and for good reason, as they pull the sound off completely. It’s urgent and bitter, but without sacrificing some tongue-in-cheek funk as well. Absolutely hard-hitting stuff and this album should serve as a firm rebuttal to any inane person saying “rock is dead.”
Kim Petras – Slut Pop
No comment.
King Gizzard & the Lizard Wizard – Omnium Gatherum and Changes
Another double entry, although in Gizz terms that’s a poor year – this is just two of the five albums they released this year (six if you count a remix album)! I enjoyed all five, though none were among the highs in their still-young, dummy prolific 23 album career so far. And the two albums selected could not be more different; Gatherum is their most expansive album yet, clocking in at 80 minutes and filled with heady concepts and challenging prog elements (sometimes). Changes meanwhile is a fun, lowkey album of breezy, jazzy pop that acts as a follow-up to their delightful Sketches of Brunswick East. Gizz celebrated their second five-album year, and while it wasn’t nearly as unmissable as 2017, there was still a lot to love.
L. S. Dunes – Past Lives
I am always a little weary of supergroups, especially emo supergroups – they often produce some ho-hum music that is a fun change of pace for the performers, but not necessarily enjoyable for the listener. But L. S. Dunes, comprised of members of My Chemical Romance, Thursday, Coheed and Cambria, and Saosin, gave us a mission statement debut album. It sounds like all of their respective bands distilled, combined, and refined, into something that is both familiar and progressive. The album hits a wide range from personal to raucous, and it’s a high recommendation if you like all – or any – of the bands that contributed members.
Leikeli47 – Shape Up
One of the best breakthroughs of the year was that of New York rapper Leikeli47, whose album Shape Up is filled top-to-bottom with short, loud bangers that all flow together in constant whiplash. You’ve probably heard the album’s first track “Chitty Bang” in a (car?) commercial, but it’s such a great track and indicative of the whole rest of the album. Though she performs behind a mask, she’s destined to breakthrough much further than she already has.
Little Simz – No Thank You
My favorite album from 2021 came from British rapper Little Simz, who pushed herself out of her comfort zone with an uncharacteristically bombastic, overstuffed mission statement album. But the spotlight wasn’t kind, and her follow-up is a much more cynical release aimed at the music industry and at the very fans that propped her up. It’s tough and fair, and an extremely deep record that does not sacrifice energy or melody for its goal. It was also released mid-December, probably to avoid all of the gun-jumping publications that publish their best of lists a month early. We wait til New Year’s Eve, here.
Mammoth Weed Wizard Bastard – The Harvest
I wrote in my songs post about the title track from this album and how it advances doom metal beyond its shriveling template. Well, the album follows it, an absolute sonic pummeling of riffs, synths, and dreamy moments. It feels like a record that is not supposed to take place on Earth, something from a space wasteland. It is, simply, really cool music. Plus ten points for having my favorite band name.
The Mars Volta – The Mars Volta
I don’t think anyone saw a full Mars Volta reunion & album coming, especially after a full At the Drive-In reunion and album. And if anyone did, they surely did not predict that the band would entirely leave their prog-rock comfort roots in favor of shorter, blunter pop songs with Latin flare. Naturally, the group pulled it off, a totally enjoyable clean slate of a record. The lyrics are also less cryptic and often deal with singer Cedric Bixler-Zavala’s wife’s battle with the Church of Scientology – a heartbreaking and disgusting story, should you choose to look into it.
Meat Wave – Malign Hex
I’m a sucker for any kind of fuzzed-out garage punk, from The Trashmen to Ty Segall, and this album more than scratches that itch for me. This band does one thing and they do it remarkably well, just a full sonic blast of pedal-heavy guitar and drums. The lyrics range from tongue-in-cheek to political to honest, though the band’s punk energy is what the listener is more directed towards, anyways.
MJ Lenderman – Boat Songs
Lenderman’s name has been on my radar for a while but I had never listened until this album, as I was expecting more of a tepid, sad boy indie schtick a la FJM. To my surprise, it was an album of fun, humorous and fuzzed-out indie that sounded closer to the days of Pavement than anything else. It feels unserious and off-the-cuff, in all the best ways.
The Mountain Goats – Bleed Out
The Goats are never bad, but in their current prolific period, they’ve released some albums that don’t stand against their best. Bleed Out does. Like some other recent Goats albums, this is one is hyper-focused on a concept John Darnielle finds interesting; this time around we get songs about action films. This is also the loudest Goats album – the first to center around electric guitar and rock-driven songs, courtesy of production from Alicia Bognanno, from one of my favorite groups Bully. It’s one of my favorites of the year, and I think it’s a contender for top 5 Goats albums; impressive when you remember it’s their 21st (!!) studio album.
Nerina Pallot – I Don’t Know What I’m Doing
One of the most talented and underrated songwriters in all of music delivered again on her seventh studio album, a work filled with homely, lush and self-reflective ballads. She’s a talented musician, but her strength has always been her beautiful voice and her brutally honest lyrics. Her music has remained popular in the UK but she’s never been even a blip here in the States, I yearn for that to change.
Nikki Lane – Denim & Diamonds
One of the joys of maturity is realizing how stupid I used to sound when I would say something dismissive like “I don’t like country music.” While it’s true that the country-pop that dominated the charts when I was a teen still doesn’t appeal to me, I’ve come to appreciate outlaw country. This is the best country release I heard all year, a collection of low-stakes, unassuming country tunes that are simply fun as hell. These songs are personal, but they’re bops. The album is earworms galore. It’s an album that may not leave a huge impression on first listen, but one that draws you back multiple times. Really fun stuff and a nice antidote to many of the other entries on my list.
Oceanator – Nothing’s Ever Fine
This one was a nice surprise! I checked this one out as sole Oceanator member Elise Okusami was on tour with Jeff Rosenstock, an automatic win in my book. It’s a ripping, fun and earnest indie debut with a bit of edge on some tracks. There’s still room for some folksy elements too. It sounds well-worn and patient, all the more impressive for a debut!
Orville Peck – Bronco
I think it’s no secret that I’m a devoted Peck-head, his debut album Pony rapidly became one of my all-time favorites. I was a little concerned after his follow-up EP was frustratingly saccharine, but the proper sophomore album picks up exactly where Pony left off: alt-country bangers and ballads, all sung from behind a mask, from a gravelly voice with the gravitas of an old West gunslinger. But also, it’s queer. If I really had to choose – and the point of this list is that I don’t – this might be my favorite album of the year.
Otoboke Beaver – Super Champon
I knew in my heart that a band like Otoboke Beaver existed, such a delight to finally find them. The group mixes Japanese pop and noise influences into a blend of punk that’s both absolutely ripping and completely fun. It’s a balance of J-pop and Melt Banana, with bouncy, gang vocals and lyrics inspired by both feminism and comedy, all delivered in a micro package. With song titles like “Dirty Old Fart Is Waiting For My Reaction” and only two songs over two minutes, this is an absolute riotous, unique blast.
Perennial – In the Midnight Hour
I had the immense pleasure of interviewing 2/3rds of this band and hosting the album premiere, so I am a little biased here, but 11 months later and this remains in my top 5 releases for the year. The band, inspired heavily by noise-punk groups like Be Your Own Pet, mesh punk, post-hardcore and experimental elements into something that is as chaotic as it is fun. This album is an unabashed good time, an apocalypse party, full of spooky influences. My only complaint is that it’s over too soon; 10 of the 12 tracks don’t hit the two minute mark!
Perfume Genius – Ugly Genius
Perfume Genius is always an automatic shoo-in for any best of lists, and this year’s offering is no different. After his surprisingly guitar-driven album Set My Heart On Fire Immediately, he tones things way down for a sparse, dreamy production. It’s as brilliant and heartbreaking as anything he’s done before, and by this point I think he’s incapable of producing something that isn’t like this.
Petrol Girls – Baby
This album is a pure refusal of complacency. Loud, brash, dissonant and angry, this is what hardcore punk is really about. The British group funnels explicitly feminist lyrics and harsh vocals through pumping drums and power chords. Not every track kicks into the highest gear, but every one does crack with earnest fury and political anxiety that resonates across the pond. Punk can never, and will never die.
Porridge Radio – Waterslide, Diving Board, Ladder to the Sky
I never know quite what to make of Porridge Radio. On paper, you can call them an indie band, but they rope in many outside influences from post-punk to pop. It’s often loud, and it’s horribly depressing. Their unique sound is on full display here, through melancholic ballads and rhythmic ennui. It’s a top-heavy album, but the good is very good. Not for someone with a cheery disposition.
Pretty Sick – Makes Me Sick Makes Me Smile
It’s always refreshing to me, a total grunge head, to hear any band that hearkens back to the cursed early 90’s. Pretty Sick sounds like one step forward from bands like Hole, Lunachicks and L7, with a messy, angry and riot grrrl-adjacent sound. Pretty Sick doesn’t always push up the volume here, but when they do, their curated sloppiness could mark a dead ringer for a band thirty years their prior. What I’m saying is, this is extremely me music.
PUP – The Unraveling of PUPTHEBAND
Another contender for my favorite album of the whole damn year comes from Canada’s pop-punk-kinda group PUP, who stuck a necessary landing. Each album of theirs has seen increased visibility and fans, as well as just being better than the one prior. So for their fourth album to be a meta concept album about whether they should sell out and go big or make a weird concept punk album, and how it tears the band apart, is bold, brilliant and damn near perfect. It’s fierce and rough, tongue-in-cheek while also being brutally critical of the music industry. It warrants repeated listens, especially to catch little narrative details.
Saba – Few Good Things
One of the most flawless rap albums of the year comes from Saba, who spends each track on his album wearing his heart on his sleeve and masking it at the same time. These lyrics are brutally honest and deep in a way rap lyrics often aren’t (and don’t have to be!). And yet, the music is soft and dense, mimicking the flowers on the album’s cover. There’s an affirming warmness to this record that separates it from the year’s other rap records, even the ones on this list. It’s a shame this one has yet to pull in a wider audience.
SAULT – Today & Tomorrow
I’ve been preaching the gospel of SAULT to anyone who will listen for a couple years now, so imagine my childish grin when the anonymous R&B group released not one but six albums this year. They range from their standard R&B, to borderline gospel and even an atmospheric ambient album. The best was this one, which sees them take their standard crisply produced R&B and up the ante with funk, disco and even some punk elements. This one was a party album, which perfectly soundtracked me wrapped Christmas presents. Long Live SAULT.
Slipknot – The End, So Far
Well, it finally happened – Slipknot made their critical darling record. Their sound, and more importantly their misanthropic angst, was never going to keep up through all the years. This aptly-titled album could serve as a turning point, as it does feature some loud, abrasive metal tracks but a softer side as well. It doesn’t always work – quiet opener “Adderall” is ironically interminable – but the signs point to a changing band, one ready to experiment and embrace the adulthood that washes away all that juvenile anger. It should’ve happened a few albums ago, but hey the formula still worked.
The Smile – A Light For Attracting Attention
Yeah, yeah, Radiohead is my desert island band so naturally I loved this offshoot project. It allows Thom & Jonny et al to let loose and have fun, while also making some songs that would be minimalistic even by Radiohead standards. It’s tough not to compare it to Radiohead albums – it doesn’t stand up to most – but that’s a high grading curve. It’s a great debut and a record that has deserved more of my time this year.
Soul Glo – Diaspora Problems
Credit to any band who can find a way to innovate within a scorned genre. Soul Glo are, by all descriptions, a rap-rock group, but one that play with full intensity and unpredictably. It’s part Death Grips, part 80’s experimentation, and no parts 00’s chuggy riffs and cringey lyrics. This is direct, honest and political stuff and it’s one of the most exciting records of 2022. It has no trouble getting abrasive and confrontational – it is supposed to be a shocking genre, after all.
Spoon – Lucifer on the Sofa
One of the very first albums I heard in 2022 was a welcoming breath of, well, stale air. Spoon’s tenth album sees the band reverting back to the fundamental indie music of their mid-00’s heyday. It’s a welcome joy, as the band proves they can still write some indie bangers, and it’s their best album in years. Focused, pleasant and timeless, this is a high notch in their catalog. Spoon is back, baby.
Sudan Archives – Natural Brown Prom Queen
The first Sudan Archives album was a patient and well-rounded R&B record that seemed to promise better things. Well, her sophomore album is the better thing. One of the best albums of the year sees the singer/violinist assume a first-person role in a concept album taking place in her Cincinnati hometown. It’s an overstuffed, comprehensive and funky release that never overstays its welcome and never teeters on self-indulgence when it could easily do both. It’s earnest and it’s refreshingly original. Truly remarkable piece of work.
Sylvan Esso – No Rules Sandy
This is easily the most ambitious album from the vibes-heavy indie band, a band who approach their albums with a “try anything” attitude. Although it rests at 16 tracks, it’s really made up of 5 or so sections with interludes, split into more bite-sized songs. It creates more of a nightclub DJ feel than their previous, minimalistic dance tracks. It’s still the same fun, warm and light-hearted music as always, though.
They Are Gutting A Body Of Water – s
This one was a wrench thrown into this list – I listened to it after 50+ of the entries in this post had already been written! I’d heard multiple people sing their praises but I jumped in totally blind. It’s shoegaze-based music, but with elements of trap, DNB and chiptune – really a hodgepodge of “off the beaten path” genres tossed into a blender. The result is something totally unique and nearly indescribable – all rules tossed out the window. I really dig this.
Titus Andronicus – The Will to Live
I wrote extensively about this album when I covered their live show, but what I’ll say here is that this is the first time Patty Stix et co. have successfully wrangled their ambitious side with their complying side; it’s really the first time they’ve even tried. This is a concept album, albeit a loose one, but not a hyper-inflated overlong grand affair like their other two concept albums (their best and worst releases, respectively). Instead, it’s a controlled record, one of a band recognizing their own heights but still reaching them. Seeing some of these tracks live helped me to contextualize how this is not a punk record but a rock and roll one, and even if this album was birthed from grief, they’re settling into adulthood surprisingly nicely.
Van Buren Records – DSM
Another local release that ranks among my very favorites from this year comes from Brockton MA’s rap collective. The album is bold and boisterous, with a cascade of different vocalists that allows each song and hell, each verse to sound fresh and fun. This album stays well within the realm of comfortability, and when the group is as good as they are, there’s no reason not to. It’s a blast, turn it up.
Vince Staples – Ramona Park Broke My Heart
Ramona Park acts as a follow-up to 2021’s weirdly disappointing self-titled release, and thankfully it reclaims the magic of older days. And yet, this doesn’t sound like Vince. Gone are the abrasive beats, experimental rhythms and worrying lyrics, replaced with beats and melodies that are crisp, fluid and conventional. Vince is still Vince though, and these tunes are grippingly reflective and earnest. This is as good as anything Staples has ever done. He barely misses.
Wet Leg – Wet Leg
I was absolutely delighted that the new duo Wet Leg was able to capitalize on their surprise debut hit “Chaise Longue” with a great first album. It did exactly what it needed to – prove the group wasn’t a one-trick pony, with a collection of songs that don’t exactly sound similar but feel similar. It’s infectious and hysterical, with tons of pop hooks and plenty of curveballs. The band sounds wise beyond their years, and yet songs like “Piece of Shit” and “Ur Mom” show off their playful immaturity. If by any chance you’re still reading this, then you’ve probably already heard this record, but what was I gonna do, not include it?
Weyes Blood – And In The Darkness, Hearts Aglow
I’ll be honest and say that I didn’t like Titanic Rising as much as most, so I approached this one with caution. It floored me. This album is filled with stunningly beautiful chamber pop that feels warm despite the cold, cynical lyrics. It really is unpleasant stuff but presented in a more welcoming fashion. After some disappointments from the likes of Sharon Van Etten and Angel Olsen, we needed a late-year album of breathtaking ballads like this.
Wilco – Cruel Country
In a way, this is Wilco coming full circle. They toyed early on with country influences before mostly abandoning them for an indie sound. And now, twelve albums in, they’ve embraced it entirely. After a few albums of comfortable complacency, Wilco gifted us with a double album of moody country that welcomes the sound Wilco pushed off twenty years ago. It’s maybe too long and a bit unnecessary, but it stands as a fun and welcome outlier in the catalog – their best albums usually are.
Yeah Yeah Yeahs – Cool It Down
What a relief this album was. The band’s quest for a total reinvention with each album petered out after 2013’s unlistenable record Mosquito. After nearly a decade of radio silence, they’ve done another full 180. Cool It Down, another in a series of aptly-named records on this list, comes close to ambient territory, with its atmospheric rhythms and airborne feel. It’s clearly a new territory for all members, and if the album had run beyond it’s short runtime it could’ve easily fallen repetitive, but the band keeps it tight. Fans looking for bruisers like “Man” are going to be severely disappointed, but this is a fascinating rebirth.
Zeal & Ardor – Zeal & Ardor
My favorite type of metal is usually “whatever would make the purists mad” and I figure this counts. Black metal, as much as I love it, has a storied history intertwined with full-on Nazism, so it is refreshing to hear a black metal artist who is, well, black. The album combines traditional black metal sounds with African influences, jazz, even a damn stomp-clap. It is sonically and lyrically subversive, a meting pot of influences determined to keep you guessing, especially in a genre where repetition is usually the biggest fault. I recommend this to anyone who even remotely likes metal.
Zola Jesus – Arkhon
Zola’s music expertly walks a line between conventional pop/indie and synthy goth throwback to the 80’s post-punk scene. Arkhon is no exception, as songs bounce to and from these competing influences to create a landscape that is hypnotically catchy and yet grim and moody. It’s often very fun and unpredictable, as some songs search for that catchy rhythm and others eschew it completely. This one flew well under the radar, and I wish it hadn’t.
Just for fun and self-indulgence, here’s some other albums I nearly included in this list:
Charli XCX – Crash (pop/hyperpop), Fontaines D.C. – Skinty Fia (indie/post-punk/Ireland), Froglord – Army of Frogs (stoner metal band that sings about frogs), Lizzo – Special (pop/R&B/it’s Lizzo), Sasami – Squeeze (indie/noise rock), Thee Oh Sees – A Foul Form (80’s thrash metal/hardcore throwback)
Post-Grad Music Reviews 