2024 Music Reviews

Bat for Lashes, The Dream of Delphi (2024)   F
Possessing a very good singing voice is a gift, but you have to do something meaningful with it - the opening track is repetitious, "Christmas Day" and "Letter to My Daughter" don't sound like they're complete, "The Midwives Have Left" is a lot of "oohing"... and that's only the first half. Did anyone in the studio recognize "Breaking Up" is a shameless Ryuichi Sakamoto ripoff?

Benny the Butcher, Everybody Can't Go (2024)   D+
There are a plethora of contributors (Lil Wayne, Snoop, Jadakiss, the Griselda Gang, etc.) and Benny's fond of blurting out a ton of words, but they don't add up to anything noteworthy (it's the usual bragging, talking about dealing drugs and so on). Even the production (in part by The Alchemist) isn't enough to make it even semi-memorable.

Beyoncé, Cowboy Carter (2024)   B-
The amount of flack Ms. B. received for making a country record shows there's still some (ahem) ... "discrimination" in the genre, but this is a sweet and fun release that should at least be given a chance by fans of that type of music: crack open whatever beer doesn't offend your fragile sense of "masculinity," have a few sips and realize the lady's got it (she is originally from Texas, after all). Personally, I could have done without the covers of the Beatles and Dolly Pardon (or the Beach Boys interpolation on "Ya Ya"), but the inclusion of the likes of Pharrell, Miley and Posty is most appreciated. Heck, if Zach Bryan ever decided he wanted to make a death metal record I'd certainly give it a spin.

Black Dresses, Laughingfish (2024)   C
There's no way to be sure, but it feels like this is the last release by the pleasantly prickly Canadian duo: aside from a few scattered chaotic moments, it's largely (for them at least) a restrained LP ... and it seems like they just wanted to get out of the room as quickly as possible. They don't care all that much, so why should you?

Bleachers, Bleachers (2024)   B-
Look, I like Bruce Springsteen ... as do my parents, several friends and quite a few co-workers. He's an icon among American singer-songwriters. But I think Jack and his team go past simple homage here, with the horns that emerge out of nowhere and even the black and white cover photo. Yet, despite all that (and a few lackluster songs at the tail end), this still manages to be consistently engaging, with a clean production (which is expected at this point) and even a light dose of attitude. Welcome to Jersey, please see yourself out, etc.

Sabrina Carpenter, Short n' Sweet (2024)   B-
Quakertown's own Ms. Carpenter adds her own (trim) LP to a year that's surprisingly full of some decent pop records - she slips, on a few tracks, into "country mode" (which seems to be a part of a trend) but the writing is (mostly) above average ("Lie to Girls") and she has a soothing delivery. I think it's fun that she had the opportunity, a few years ago, to headline a summer festival (Musikfest) held in my hometown every year (I didn't see the performance but heard about it): I like seeing fellow Pennsylvanians making it huge.

Nick Cave & the Bad Seeds, Wild God (2024)   B-
Mr. Cave's been at this so long (along with Warren Ellis) it's tempting to forgive him for his clearly embellished lyrics about salvation and calling to the heavens for mercy ... or beginning the album with lines from a children's song. Is he claiming he's a wild god or that God is wild? I do know this: he really believes in Love, and that's all that matters.

Chappell Roan, The Rise and Fall of a Midwest Princess (2023)   B
Here's your latest post-Gaga glam-and-glitz LGBTQ+ star - whose reputation was helped by touring with Olivia Rodrigo, rave reviews from critics and a taste for extreme outfits - and it clearly displays the brash confidence of a young lady in her mid-twenties who left (but never forgot about) the Missouri trailer she was raised in. There's room to improve - the pop cuts are more distinctive than her "ballads" - but her lyrics are sharper than many of her peers. Also: things that happen after midnight can be fun ... just in small doses.

Charli XCX, Brat (2024)   B-
She has swagger - and loads of self-depreciation - to go along with the much-better-than-average beats, and it helps that her and her production team are aware that hooks aren't things to be disregarded. The music video for "Von Dutch" plays up her image of being a "hot mess" ("I'm your Number 1") - appropriately, she follows it up with the more restrained "Everything Is Romantic" (when she repeats "Falling in love again and again," it's the pessimism showing). Is she the nightmare Tinder date who winds up getting you arrested after she starts a fight at Nando's? Probably not, but she wants you to think she is.

Chat Pile, Cool World (2024)   B
Although it isn't as memorably written as their monstrous debut LP (and somewhat repetitive in parts), this is all right for a sophomore release mostly due to its heavy sound, and Raygun is back exploring such themes as toxic masculinity, a fear of human connection and disgust with the world ... and it's only appropriate that the record closes out on a song called "No Way Out."

Cheekface, It's Sorted (2024)   D+
There's nothing wrong with putting humor in your music, but there's something irksome about this band's approach: they're more smug, snarky and "hip" than necessarily "fun." Thumbing your nose at things can sometimes work, but don't forget to mock yourself first.

Childish Gambino, Bando Stone and the New World (2024)   C
Glover recently announced he was doing away with the "Childish Gambino" moniker (that he originally got from a rap name generator) although it doesn't seem like a big deal since it was never much of a "persona" to begin with, and when he tries to sound "tough" in parts it rings false. A few more thoughts: (1.) I don't think he's even close to Spike Lee, (2.) the Prodigy sample on "Got to Be" wasn't a good idea and (3.) no one brags about having sex with their spouse. However ... I agree with the sentiment on "Lithonia."

Cloud Nothings, Final Summer (2024)   D+
On the plus side, they don't use up too much time with their summer-y proto-garage rock and on a few tracks they crank it up ("On the Chain" especially), although it still feels half-hearted ... and even at their best, they come across as a Weezer clone (although Rivers is sometimes more clever with his songwriting).

Coldplay, Moon Music (2024)   C-
Asking Jon Hopkins to help out on the opener was a good move - he contributes to the "big and cosmic" sound the band's trying for - except the rest of it seems like a collection of half-formed tracks that they would have made sure never set foot on their earliest (and best) albums. They've gone well past their expiration date and there's a sense of staleness - hell, they played a concert on home shopping channel QVC a few weeks ago - although Martin's optimism, while corny, hints that he still thinks everything's not lost. Let's hope he's right.

Collective Soul, Here to Eternity (2024)   F
It's not everyday you hear a band morph into a cover band of themselves, but they've managed to do it. Also, could they have come up with anything lazier than "La Dee Da?"

A. G. Cook, Britpop (2024)   C+
The chipmunk sound effects are incredibly annoying and I'm not sure why he likes them so much and several of his "whispering" tracks are tedious but he does pay homage to Aphex Twin ("Luddite Factory Operator") and continues to show off his creativity and diverse skill-set over all three discs.

Cumgirl8, The 8th Cumming (2024)   B
Ahhh sweet, more riot grrls have landed on stage: it takes nerve to name your opener after a famous Radiohead song (it's not a cover, it's about them losing their belongings) and they're equally as capable of being sweet ("Mercy") as they are direct about female issues ("UTI"). I'd dare even suggest, despite their frequent nudity and confrontational nature, they really just want some genuine affection ("Something New"). But what I need to know is: what about the first seven cummings? Weren't those enough?

The Cure, Songs of a Lost World (2024)   B+
Confession time: I haven't listened to a single record from the Cure since I was in college (when someone literally forced me to listen to several of them) and haven't revisited their output since then, but it's an absolutely wondrous thing to find, over twenty years later, that Robert Smith has not only kept his voice intact but his band is just as foreboding (while sounding sparkling and fresh). Some might say Smith, who's currently 65, is a little "old" to be as pessimistic and moody as he was in his twenties, but I believe every word he says ... and know he believes it too.

The Decemberists, As It Ever Was, So It Will Be Again (2024)   D-
It's not a smart idea going from a mariachi-inspired track ("Oh No!") to a corny folk ballad ("The Reapers") and then to several mediocre country imitations ("Long White Veil," "William Fitzwilliam," etc.) before settling back into their own familiar "style" with the endearing "All I Want Is You" ("Born to the Morning" isn't bad either) ... and then botching the close with the twenty-minute "epic" "Joan in the Garden." They should have checked their egos ... their talent might have expired.

DIIV, Frog in Boiling Water (2024)   F
Without question, this is the least interesting album they've released to date (which isn't saying much), and an insult to shoegaze-adjacent bands trying to make a name for themselves. Maybe it's time to hang up the over-sized pants thrifted from the Salvation Army, take a break and reconvene at a later date to do something that can, at the very least, make a tiny ripple in a pond.

Dizzee Rascal, Don't Take It Personal (2024)   D+
It's been a while since I checked in with what Captain Rascal's been up to ... and it seems he's a shameless cheeseball, rhyming everything together he can think of (on "Swerve and Pivot": "Weekender, East Ender / Not tender, no pretender / Stick 'em in a blender / He's peak and stick it when I enter"). "You Can Have Dat" is about as sincere as he gets - he wants to see his kids - and yet a little while later he's talking about spicy chicken and rice.

Billie Eilish, Hit Me Hard and Soft (2024)   C
She's moved just a little bit away from that tiresome whispering phase and starting to stretch her vocals out - as well as becoming more open about her sexual preferences (she expresses her admiration for women on various songs) - but there are moments on this that are closer to Pat Benatar and similar less-than-ideal 80's pop stars than her fans might want to admit (or are aware of). The strings on "Skinny" make me think her and Finneas are really into scoring Hollywood movies and making appearances at the Oscars ... so be it.

Eminem, The Death of Slim Shady (Coup de Grâce) (2024)   C-
Loose "concept album" from fifty-one year old Mathers where his old "offensive" persona is supposedly "killed off," but not before he gets in several shots at the usual "targets" of his (wealthy) "rage." Of course, he's still doing that thing where everything has to rhyme together but takes it so far it sounds like it belongs on a show for children (minus the cussing), and it might be a good idea to skip past the horrifyingly bad songs where he talks about how much he cares about his daughter. She's almost thirty, married, and no stranger to media attention....

Father John Misty, Mahashmashana (2024)   A
Mr. Tillman, who is not exactly everyone's favorite poet, pops out another masterful collection of his deep musings ... which may or may not have been influenced by various chemicals and/or an overpowering feeling of melancholy (or perhaps both). The strings and horns compliment his weary - and deeply sarcastic - vocals, and he's even willing to get a little disco-ish on "I Guess Time Just Makes Fools of Us All." What do you make of a lunatic who admits he's out of his mind but wants you to follow him off a cliff anyway? I'm not certain, but you should make sure you're wearing a nice pair of hiking boots.

Foster the People, Paradise State of Mind (2024)   C-
He's always veered quite close to the dreaded "disco" style of music ... and now he and his bandmates have leaped over that "forbidden line." To make things considerably worse, he's trying to sound like Justice ... and then there's that inexplicable attempt at emulating Prince on "Feed Me": "And let me kiss your screen, and free the dopamine." No thanks, mate.

Four Tet, Three (2024)   C-
All due respect to Mr. Hebden, but it's painfully clear he could have made this collection of eight ambient pieces in his sleep after taking a few capsules of melatonin ... but "Daydream Repeat" is quite beautiful, so maybe that was made after he woke up with a nice espresso and maybe some buttered toast.

Future Islands, People Who Aren't There Anymore (2024)   D
No one can ever knock Herring for not having an impassioned delivery, but the lyrics could have used a major overhaul (the whole "lovesick" angle is played out) and the rest of the group is rehashing the same monotonous backing tracks that they've been using their previous records.

Liam Gallagher & John Squire, Liam Gallagher & John Squire (2024)   D+
Brotherly discontent continues, as Liam is still trying to compete with Noel in going the singer-songwriter route ... except with help from Stone Roses guitarist Squire. What neither of them want to hear is that they're better off when they put their booze-addled brains together, because individually they just do the barest minimum ("I'm a wheel, keep turning / Fire, keep burning"). Sometimes you need a good bare-knuckled brawl to assemble a memorable record.

Girl in Red, I'm Doing It Again Baby! (2024)   C
As a fellow sufferer of OCD, I appreciate Ms. Ulven's candor on the subject (and mental health in general), and the cheery music helps combat the self-critical lyrics. The issue, however, is that even at a young age (she's currently 25), the few songs she has on this are Disney-fied (aside from a few spread out curse words), and veer tiresomely between her being in and out of (what she thinks is) "love." Fittingly, she opened for Ms. Swift this past year....

Glass Animals, I Love You So F***ing Much (2024)   F
We already have one Everything Everything, and I don't think we need another one. And we also have no use for a version of Muse that's about as potent as a Twinings tea bag reused for the fourth time.

Kim Gordon, The Collective (2024)   C+
It's Kim versus the patriarchy: for eleven tracks she rants in a deadpan voice about the arrogance of men, getting away from said creatures and expressing a general sense of despair. The creaking/screeching industrial sounds in the background contribute to the bleakness ... but after a while it becomes a bit monotonous, like she's just hitting the same piece of steel with a metal hammer repeatedly. Still, it's impressive for a female musician in her seventies (who is close to my mom's age) to be making experimental music quite like this (my mom prefers knitting).

Goth Babe, Lola (2024)   D+
Chillwave is a genre of music I can kind of get into - especially in the Summer months - but the sole standout track on here (which I heard last year thanks to Spotify) is the entrancing "Bioluminescence," which is where his aesthetic fully comes together. He claims he works on everything in his solar-powered truck with Ableton ... all he needs to do is stay in the sunlight and cobble together a more consistent LP.

Green Day, Saviors (2024)   C-
They've been at this long enough to have the pop-punk template down pat - speedy guitars, "self-loathing," some "current" political commentary and a ballad tossed in for good measure ("Father to a Son") - and they can most likely keep on cranking these records out until they're using walkers with the tennis balls on the legs and a nurse has to spoon apple sauce into their mouths. That said, I appreciate Billy Joe changing the lyrics to "American Idiot" on New Year's Eve ... you know, just to irritate the MAGA cult.

Calvin Harris, 96 Months (2024)   B
Ever since I heard "Summer" and "Feel So Close" several years ago I had a feeling I'd found a DJ who is one of the best in his field ... even though some might dismiss him as being "just another drab producer." "This Is What You Came For," "My Way" and "Promises" are simple, catchy and honestly fun to listen to - and possibly spill your own drink over yourself while jumping around in a crowded room - and help balance out a few of this compilation's "weaker" numbers ("Giant," "Lovers in a Past Life," the ill-advised "Nuh Ready Nuh Ready").

Julia Holter, Something in the Room She Moves (2024)   D
We already have one Björk, so I'm not sure why we need another: the entirety of this carries a sense of phony self-importance (and is unnervingly repetitive), like Julia genuinely believes she's a woodland elf after taking ayahuasca. Opening track "Sun Girl" is horrendous, but at least she's letting you know early what the rest of it is going to be like....

Hooverphonic, Fake Is the New Dope (2024)   F
It's been decades since I caught up with these Belgians, and even though they got their original singer (Geike Arnaert) back, it's just a string of banalities ("I can't believe in a plastic world," "You've set the bar, you set it too high" etc.) over beats so weak you might barely budge out of the chair you're most likely sitting in. How can you even think of having a "cappuccino without the cream?" Maybe it would have sounded smarter in Flemish....

Brittany Howard, What Now (2024)   B
With the possibility of an Alabama Shakes reunion not happening anytime soon, Brittany continues on her own, and she's got a handle on things: this collection of tracks is a fun combination of different genres (including traces of the blues and gospel, among others), and her delivery is a powerful tool at her disposal. The title track is a strong moment, but so is "Prove It to You," which is ... basically club-ready? Get dancin' you suckers.

Ice Spice, Y2K! (2024)   C-
This quick and ditzy LP from Gen Z's Ms. Gaston isn't long enough to really wear itself out, and someone was smart to hire Mike Dean to clean up a bunch of the tracks. I'm not going to pretend it isn't petty and extremely childish (who else in their right mind would include a song called "Think U the Shit (Fart)" or reference Dragon Ball Z?), but I'll also admit she has a charming personality (check out her interviews!), so if she drops out of the rap game, I'm sure she'll find other work as an interviewer or talk show host.

Idles, TANGK (2024)   B
A pleasingly raucous album from Joe and the Lads, as they go back a tad to their politically-conscious earlier material: they experiment (briefly) with electropop ("Dancer," a collaboration with LCD Soundsystem), give a two-fingered salute to King Charles III ("Gift Horse"), show off their "softer side" ("A Gospel") and Joe declares his 'enthusiasm' (ahem) for "brotherly love" ("Hall and Oates"). It tails off a bit at the end, concluding on a defeated sigh, but I can't think of another band that can make "dancing cheek to cheek" sound more like a threat than an encouraging statement.

Jamie xx, In Waves (2024)   C
For any other DJ in the world, this might come across like a semi-decent record, but this is Jamie xx we're talking about: sometimes the beats are fine while other times it seems like he's lazily tinkering with pre-sets, the vocals are pitiful and even a collaboration with the Avalanches ("All You Children") fails to make much of an impression. It should come as no surprise the lone standout is "Waited All Night" ... which also features Romy and Oliver Sim.

The Jesus and Mary Chain, Glasgow Eyes (2024)   B
In case anyone forgot how irreverent these Scottish brothers could be, the first two tracks ("Venal Joy" and "American Born") should serve as a good reminder, and the regular use of elements of electronica shows they aren't afraid to try to "energize" their droning, usually morbid style. They even pay homage - if you could call it that - to several of their musical peers (even though closer "Hey Lou Reid" is the weakest bit on here): could they finally be softening up? Time does that, ya know....

JPEGMafia, I Lay Down My Life for You (2024)   B
While there's something missing to Peggy's music when Danny Brown's not around - ironically, I think Danny gets him to settle down a little bit - this is my favorite solo album by him so far. Here, he reviews some personal issues: his bad terrible childhood, his time serving in the Air Force and future aspirations. Sometimes he tries a little too hard to be an edgelord, but I suspect it's because of him spending entirely too much time on some questionable forums on the 'net. But I believe in him (despite his questionable politics) ... never cross a military man or woman.

Justice, Hyperdrama (2024)   B
There are pieces in this fourth LP by the dynamic duo that work quite delightfully - most notably "Generator," "Afterimage" and "Saturnine" (with Miguel) - although there are other parts that just sort of spin themselves in circles and don't produce much of an effect: consistency is still something of an issue with them ("Muscle Memory" comes across like a bad John Carpenter imitation). The pros outweigh the cons, however: make sure you listen to it covered in cigarette ash and spilled Lillet Rouge.

Noah Kahan, Stick Season (We'll All Be Here Forever) (2023)   D
More than any other 2023 release, I was asked several times if I listened to this ... and it seems like Kahan is trying for this "wounded male" persona with the heavy coat and a beard standing in the snow surrounded by dogs while he sings about alcoholism and depression. Maybe everyone's memory is short, but we had a guy named Justin Vernon who essentially did the same thing years ago ... and I don't think Mr. Iver would ever write songs quite as bad as "She Calls Me Back" or "Growing Sideways."

Kali Uchis, Orquídeas (2024)   B-
Even though I needed a translation sheet to figure out what she's saying, this is the kind of delicate Latin music I wished my neighbors would be playing at full volume at 2 AM ... instead of Bad Bunny.

Kid Cudi, Insano (2024)   D
He's certainly not lacking in self-confidence and seems to think his emotional instability is something to be "proud" of (even though his delivery and the beats are basic), but it would be better if he could put together a collection of tracks that warrant an emotion other than annoyance ("Wow" and "At the Party" are particularly dreadful).

Kings of Leon, Can We Please Have Fun (2024)   C-
They've been at this long enough to know that their Southern swagger alone isn't enough to carry an album for them ... because the songwriting isn't what you'd call "inspired" (although there's some fun to be had with "Hesitation Gen"). Starting the record with the one of the most irritating songs on it ("Ballerina Radio") doesn't seem all that smart, either....

Michael Kiwanuka, Small Changes (2024)   B-
Mr. K. continues his special blend of quaint folk/soul for this, his fourth record - perhaps it's a little too understated at points not quite as rich as his previous release, but I appreciate his earnestness ("Follow Your Dreams"). It's tough to hold a smile when the walls keep crumbling down....

Kendrick Lamar, GNX (2024)   C-
Back in March of 2024, a "feud" started between Lamar and Drake (that still, as of December '24, technically carries on) in which both rappers released diss tracks about each other - the result for most people (with the exception of hardcore Drake stans) is that Kendrick wiped up the floor with him; even I think it was a complete no-contest. Perhaps feeling a bit cocky as a result, this latest LP has him obnoxiously gloating, acting like he's the greatest rapper of all time (which he certainly isn't) and really playing up how much he "wrestles" with his own conscience and the "evil side" he has to work so very hard to "suppress." To me, it sounds like a bunch of self-mythologizing nonsense, and only circle-jerking worshipers who think he's a philosopher can find a way to think his dorky beats are in any way half-decent.

Linkin Park, From Zero (2024)   F
Seven years have gone by since the suicide of former lead singer Chester Bennington and the rest of the band decided to replace him with Emily Armstrong, which was a controversial move considering some of her past behavior (which I won't go into here): they can act like they're starting from scratch (hence the title), but Bennington's spectre looms over every single track of this LP. I wish I could say something nice about it, but it's a struggle to get through (even though it's a little over thirty minutes long) since nearly every aspect of it is terrible ... especially whatever they're passing off as lyrics. I thought nu-metal was supposed to have gone bye-bye two decades ago?

Dua Lipa, Radical Optimism (2024)   D
Like a lot of current lady singers, she has a strong voice, but there's nothing of substance behind it: the eleven tracks are her belting out tired declarations about love over unimaginative and preset beats designed to generate clicks and streams. Side note for the anyone paying attention: if the individual you're either starting to date or in a relationship with boasts that "control is my religion," you might want to sleep with one eye open or tighten those laces and be ready to run in the opposite direction. Or perhaps that's my ingrained pessimism talking....

Local Natives, But I'll Wait for You (2024)   C+
When you've proven you're one of the better indie bands in the world, expectations tend to be higher, and though the album starts out in a strong manner (right up to an including "Camera Shy"), it proceeds to fizzle out after that, like they tacked out B-sides and other less-finished pieces from last year's record (and there's no Suki to come to the rescue).

Lupe Fiasco, Samurai (2024)   C+
Here's an instance where it helps to know the background of an album: apparently it's a concept album about Amy Winehouse, who once described herself as a "samurai" in a voice message ... and Lupe reinvents her as a battle rapper. I'm not sure it works entirely and not only is it a short record (only eight tracks), he has that Eminem-like tendency of trying to rhyme everything together ("Yeah, numero uno, Yokozuna and sumo / To try to run in my shoes, gotta throw yo' Pumas to Pluto / Karate in those huaraches, only zookas get that judo"). Take a step back, boss, take a deep breath and stop trying to "impress" everyone: it's a marathon, etc.

Mannequin Pussy, I Got Heaven (2024)   B+
Philly-based art punks mix in the serene ("I Don't Know You") and the obscene (the title track) and it's an engaging LP: they chirp and rage and then regret it a few minutes later. Listen to it with someone you're not sure if you want to dance with or forcefully shove down a flight of stairs.

MGMT, Loss of Life (2024)   D
Here's the thing about drugs: sometimes you take too many and you actually believe a song called "Bubblegum Dog" is a good idea. Or that you can milk the whispering psychedelic "style" for multiple albums. Or that you truly believe you're relaying anything of substance about being a human on a very violent planet.

Moby, Always Centered at Night (2024)   F
He could resurrect Marvin Gaye, James Brown, Nina Simone and Amy Winehouse to provide vocals for him ... and the songs would still be terrible, since he's clearly forgotten how to assemble anything meaningful.

Mount Kimbie, The Sunset Violent (2024)   D-
They apparently think flat beats, barely-there guitars and the presence of King Krule is enough to sustain an already slimmed down record, but I've listened to high school kids practicing in a garage and posting it to Bandcamp to be more lively and checked-in than any of this. Their sunset can barely wield a butter knife.

Orville Peck, Stampede (2024)   B-
It's difficult to fathom folks who actually consider themselves "cowboys" will take to this record considering Peck's openly gay, the opening track (with none other than Willie Nelson!) is mocking their "macho behavior" and many of the songs have homo-erotic themes but anyone with a sense of humor and an appreciation for a masked man subverting an entire genre should find some things to enjoy - for example, if you can't find a song titled "You're an Asshole, I Can't Stand You (and I Want a Divorce)" to be a little fun, stay away. That being said, I do think there are way too many eclectic contributors - including Elton John, Kylie Minogue with Diplo, Noah Cyrus, Beck and so on - and the "novelty" of it wears quite a bit thin before it's over.

Real Estate, Daniel (2024)   F
They've been riding this folksy/non-offensive "sound" for over a decade and it's become officially tiresome: they try to present themselves as these gentle philosopher bums who claim to care about your feelings ... but they know they have a trust fund just waiting for them back home.

Porter Robinson, Smile! :D (2024)   D+
Robinson tries to get more "personal" with this latest LP, except his "pleas for sympathy" feel disingenuous - combining these "confessional" tracks with digital bleeps doesn't make it any more palatable. He's currently in his early thirties ... maybe the lyric sheet shouldn't read like something from a simpering boy band ("Crush me like a plushie, I'll bе one of your things").

Maggie Rogers, Don't Forget Me (2024)   D+
You have to wonder if the influence of Ms. Swift played a part in her switching from a dance-crowd style to this country-ish approach ("So Sick of Dreaming," "On & On & On," "Never Going Home" etc.), but it's an incredibly unwise choice, as she's not sure how to vary her songs ... and there's this reeking "sameness" to many of the tracks. There's only one Queen Porcelain Cat out there, and she rules the stage (as of right now).

Ty Segall, Three Bells (2024)   F
Interminable "garage rock" by Segall, who delivers his vacuous "lyrics" in a half-spoken/half-sung manner and they're accompanied by screechy, irritating licks. It isn't the 70's anymore dude, no one's stoned enough to find bits like "Hi Dee Dee," "Watcher" or "Denée" tolerable.

Sleater-Kinney, Little Rope (2024)   C+
Part of me is pleased they've kept this project going over the decades (even with the departure of their drummer ... and other problems), and while there are some stand out moments ("Hell," "Say It Like You Mean It") they're not going to get close to matching the best material of their past (the record runs a compact 34 minutes) ... and they seem comfortable with that.

The Smashing Pumpkins, Aghori Mhori Mei (2024)   F
Billy's been keeping the Pumpkins going all these decades, but the (unfortunate) truth is he's never managed to surpass the work he did in the 90's, and the use of strings over his yelping, creaky delivery simply doesn't "elevate" the material like it used to. He's been warning us for years that the world is a vampire, and now he's become one.

The Smile, Cutouts (2024)   B-
This is the second LP from the Radiohead side project this year, yet unlike "Wall of Eyes" it doesn't come across like a properly finished product: tracks just fade out like Thom and the lads got tired of playing, and it's more like a jam session that they may have recorded by accident. Fans will most likely want to take a listen anyway, mainly because there's no one else quite like them anywhere in the current world of music (or perhaps ever).

The Smile, Wall of Eyes (2024)   B+
It's surprising that Thom and Jonny are still going with this side project: I doubt life-long fans of Radiohead (myself included) ever anticipated they'd move in a jazz-influenced direction, but they're sticking with it ... while ensuring their "ethereal" aesthetic remains (like how "Under Our Pillows" dissolves into the ether). I selfishly wish they'd have put a killer rock track (or two) on here like they did with their first LP, but I'll settle for them in pensive, lounge room mode.

Sofi Tukker, Bread (2024)   C-
To their credit, they try for and mostly succeed at sounding like the kind of duo you'd like to hear under a small tent playing in Albufeira around mid-August, but that "beachy breeze" sensation is about all it has going for it: the beats are bouncy but they sound a little recycled and they've never been the strongest songwriters. Use the bread to sop up the glasses of port you should be enjoying while listening to it....

Vince Staples, Dark Times (2024)   C+
While many people would agree we're living in a fairly troublesome era - there's violence taking place all over the world and a war on democracy in the United States - and Vince is making everyone fully aware he knows what's going on, except it doesn't help when his delivery on every song is mostly garbled and basically monotone (that is, when a female guest singer doesn't show up and liven things up). Feeling a sense of despair is normal, but maybe try not to sound like you just woke up ten minutes before stepping up to the mic? Is a bit of vitality too much to ask for?

Starsailor, Where the Wild Things Grow (2024)   F
The group from the early 2000's that came out with wonderfully over-dramatic songs like "Alcoholic" and "Good Souls" has, with age, transformed into a pub band playing for fish and chips. They're "grown" but not even close to "wild" ... unlike the Stones, who are at least twice their age.

Still Corners, Dream Talk (2024)   D-
Sorry, but breathy vocals accompanied by "dreamy" instrumentals - especially when the lyrics are this lacking - are not enough to sustain an entire album. They got the technique right on "Crying" from their previous record, but I'm not hearing anything similar on here....

STRFKR, Parallel Realms (2024)   D
They're really digging into the whole "sci-fi sound," but as several moments reminded me (including "Chizzlers" and "Running Around"), Air did this same sort of thing more effectively decades ago ... and with a considerable amount of finesse.

St. Vincent, All Born Screaming (2024)   B+
Ms. Clark has never been afraid of dabbling in experimental sounds, but it seems like she's really "feeling it" with this latest LP: there are touches of Talking Heads, some No Wave, and for the closing track, there's a Caribbean vibe (which is what you might expect to hear getting off a cruise ship in Mexico). Newer fans might be alienated a little: she's quite focused on tinkering around with beats and odd effects, but after a few spins they should be drawn into the whole "laughing at the madness" approach.

Taylor Swift, The Tortured Poets Department (2024)   C-
The same problems that have plagued her previous records (which have been cranked out at a regular rate) once again resurface here: she's 34 years old, but she's still making these bitter/lovesick ballads like a teenager ... and claims she was raised in an "asylum" (what's next, is she going to be grounded?). On the title track, which is presumably about Matty Healy, she claims "This ain't the Chelsea Hotel, we're modern idiots," but even that moment of "self-critical levity" isn't altogether credible: I think she does want to see herself as this "haunted" figure, despite the fame and cash. But she gives off a key clue in "I Can Do It With a Broken Heart": she faked it 'til she made it ... and she's still faking it.

Toro y Moi, Hole Erth (2024)   D
Chaz has a history of mailing in duds and unfortunately this is no exception, and while the production is tolerable, his lyrics on every single track are horribly bad ("plus her hair in a bun!"). Maybe he should stick to twiddling knobs and outsource the writing to someone who has something of substance to say about the world, grief, nostalgia for "simpler times," and so forth. Or he could just form a side project with Ben Gibbard.

Tyler, the Creator, Chromakopia (2024)   B+
For this latest release by one of the most idiosyncratic living rappers, Tyler expresses a concern for his own safety (echoing what Chappell said in a post) and believes he's becoming more mature (which is understandable since he is 33 years old) ... but he shows he's still prickly ("Take Your Mask Off") and hasn't totally put aside that juvenile side ("Sticky"). Is he genuinely contemplating fatherhood or is he being his typical prankster self? Eminem showed you can be a dad and still maintain your edgy side....

Vacations, No Place Like Home (2024)   D-
This is the kind of uninspired indie pastiche that sort of spoils the entire genre (middle school lyrics, drowsy delivery, "bright" guitar riffs ... you get the gist). I know he couldn't resist rhyming "pedantic" and "romantic," either....

Joey Valence & Brae, No Hands (2024)   D-
Neither of them would want to hear it, but they're closer to Fred Durst than the Beastie Boys. And about as clever with the wordplay.

Vampire Weekend, Only God Was Above Us (2024)   B+
It warms me up inside to know that our W.A.S.P. overlords can keep putting out stellar albums over the years ... at their own pace, naturally: opener "Ice Cream Piano" starts off with a line many of us have been thinking the last few years and throughout front-man Mr. Koenig imparts some wise words as to where we're at (and he's at) in these (typically?) troublesome times. Few bands know how to add just the right "touches" to their songs - a choir here, a piano there, some dance beats elsewhere - and it adds up to something warm ... albeit with a sense of reserve.

The Voidz, Like All Before You (2024)   C+
So after spending years with his fellow Strokes ... it turns out Julian really wanted to make a somewhat inconsistent multi-genre album that could have been produced in the 80's and fool around with voice-altering effects? Still, I don't think it's nearly as bad as some seem to make it out to be, especially if you're familiar with the era of music he's referencing.

Washed Out, Notes From a Quiet Life (2024)   D
There isn't a much (if any) variation from his previous LPs and he can theoretically be accused of recycling/remixing himself ... but he's also greatly restricted himself by sticking exclusively with the forcefully upbeat "chillwave" style. If I had to pick my "favorite" out of the bunch, "Got Your Back" is fine ... and the rest are mostly negligible.

Suki Waterhouse, Memoir of a Sparklemuffin (2024)   B
Not only is Ms. Waterhouse an accomplished actress and model, but it seems like she's a legitimate triple threat with her musical endeavors: this is a very good rock LP (her second) that's capable of being thoughtful ("Faded"), soulful ("My Fun"), sarcastic ("Lawsuit"), radio-friendly ("OMG") and self-aware. She has indie cred too (she's already worked with Local Natives) and, as of right now, seems to have stayed out of tabloid trouble (motherhood can sometimes tame the wild ones) ... although I do think the album could have been slimmed down quite a bit (there's a bit of fluff in here unfortunately). But what I want to know is: what exactly is a sparklemuffin? Is it an Egg McMuffin sprinkled with gold flakes?

Waxahatchee, Tigers Blood (2024)   C-
Indie-fied country (or is it the other way around?) that must have been influenced by Big Thief ... except it's immediately forgettable, aside from Crutchfield trying to stretch her voice as far as it can go. When not singing, does she keep a piece of straw in her mouth? Or wear a cowboy hat?

Kanye West and Ty Dolla Sign, Vultures 1 (2024)   D-
Disclaimer: I was tempted to skip this out of respect for my Jewish friends (I have zero tolerance for anti-Semitism) but I was curious to see what he had to say (it's important to listen to all sides, especially the ones you don't agree with) ... and it seems he hasn't learned his "lesson": "Hoodrat" is irritating, "Back to Me" has him objectifying his chesty Australian girlfriend, "Fuk Sumn" is idiotic and both "Problematic" and "King" sound like him doubling down on being a bigot (although nice shout-out to the Poconos!). He'll 'get his paper right' when he realizes what he's been saying for years now is loathsome, like "slavery was a choice" ... or psychotically blaming everything in the world on a single group of people.

Jack White, No Name (2024)   A-
Isn't it the most Jack White thing in the world to quietly release a new album without a title? What's with the lack of a cover? Is Meg on the skins? Or is he just looking for an excuse to rock? Glorified jam session or not, turn this frisky monster all the way up ... it's one of the best and most addictive albums of 2024.

Chelsea Wolfe, She Reaches Out to She Reaches Out to She (2024)   C
It's good that Ms. Wolfe received some positive reviews for this record (her seventh), and while I confess to being a fan of hers, this is arguably her weakest: the tracks seem to "blend together" and sound a little too similar to each other, so it's just her murmuring gloomily for ten tracks with a grumbling industrial sound backing her up. "House of Self-Undoing" and closer "Dusk" have some gusto to them, however....

Xiu Xiu, 13" Frank Beltrame Italian Stiletto With Bison Horn Grips (2024)   B-
Comparatively speaking, this has to be one of the more "approachable" of Xiu Xiu's releases in the past decade: there isn't as much odd chanting, wild distortion or Jamie trying to terrify the audience like they're trapped inside a haunted house surrounded by chainsaw-wielding murderers (most of the lunacy is saved for closer "Piña, Coconut & Cherry"). Between this and 2002's "Knife Play," it's intriguing to know Stewart's interest in (ahem) cutlery ... hasn't faded.

Yard Act, Where's My Utopia? (2024)   C
Much of what they do is dependent on Smith's dry commentary on 'modern times' but, unlike their previous LP, the material's lacking here: "We Make Hits" and "Fizzy Fish" are both duds and lacking the sharp wit they've been known for, and "Blackpool Illuminations" is a chore to sit through. At this point, no one should be expecting a personal utopia, and just be content with the sun rising in the morning.



Other Notable Recordings (Mixtapes, Demos, EPs etc.)



Singles of the Year: Jelani Aryeh: "Shudder," Cumgirl8: "Karma Police," Goth Babe: "Bioluminescence," Brittany Howard: "What Now," Idles (Featuring LCD Soundsystem): "Dancer," Justice (Featuring RIMON): "Afterimage," The Kilans: "Mr. Smith," Mannequin Pussy: "I Don't Know You," The Marías: "No One Noticed," Michelle: "Mentos and Coke," Nemahsis: "Stick of Gum," Nia Archives: "Silence Is Loud," Real Farmer: "The Straightest Line," RiTchie (Featuring Aminé): "Dizzy," Vampire Weekend: "Classical," Wallice: "I Want You Yesterday," Wallows: "Going Under," Nick Ward: "Shooting Star," Suki Waterhouse: "My Fun," Lola Young: "Big Brown Eyes"


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