According to not-quite-relevant Rolling Stone magazine, these are the 50 best indie albums of 2024. Let’s give them a listen.
- MJ Lenderman, ‘Manning Fireworks’
He’s getting a lot of buzz for sounding like he could be from any modern era, notably the 90s — the universality being a good thing, why? I love the songwriting on this album, but can’t stand his voice. He holds notes without vibrato or timbre, something like braying. He’s also just a quarter tone flat as if he’s singing just below the melody. Maybe it’s because I came up in the Bono/Vedder/Cornell era and prefer a robust vocal. Would love to hear this album covered by someone else. - Waxahatchee, ‘Tigers Blood’
This one is a winner! There are already two or three songs on repeat. Melodies that stay in mind after the song is over, and lovely harmonies throughout. - Cindy Lee, ‘Diamond Jubilee’
An unstructured soundscape. Could not stay with it. - Jessica Pratt, ‘Here In the Pitch’
Has a retro quality like the music from a supper club. Did three songs and bailed. - Mannequin Pussy, ‘I Got Heaven’
The first song is ultracool and sounds like the second coming of Courtney Love (a good thing!). But the album is too schizo. Hardcore punk alternating with sweet songs just didn’t work for me. Courtney could do a high-low Pixies vibe but MP’s version isn’t good. - Kim Gordon, ‘The Collective’
Way too avant-garde with feedback and wah-wah peddle and too-clever-by-half lyrics like Kim reading a suitcase packing list. The only time that’s worked is in Radiohead’s “stronger, fitter” bit. I never really liked Sonic Youth, except for their album “Dirty” their most melodic and commercial. Love that Kim is the grandma of indie rock, but this album is not for me. - Faye Webster, ‘Underdressed at the Symphony’
Love the title! But the music and lyrics are boring and repetitive. Hate that breathy voice. No. - Soccer Mommy, ‘Evergreen’
- Illuminati Hotties, ‘Power’
Both these albums have the same essence. Pleasant enough, catchy tunes, but thin, whispery vocals thrown to the back of the mix. I don’t actively dislike these albums, but certainly wouldn’t feel compelled to listen to them again. - Fontaines DC, ‘Romance’
I love this album. Every track is great. Has a very 2010s Article Monkeys/Blur/Oasis vibe.
Winner of this cohort is Waxahatchee; runner-up Fontaines DC, honorable mention MJ Lenderman. Now onto the next. - Adrianne Lenker, ‘Bright Future’
The first song was so boring that I skipped through. On the second the baseline was thrown way up front, with the singer’s thin, whiny voice in the back of the mix. Did not continue. - This Is Lorelei, ‘Box for Buddy, Box for Star’
Off-key and lacking song structure. No. - Allegra Krieger, ‘Art of the Unseen Infinity Machine’
A little too experimental. Fine, not terrible, but just not for me. The discordant piano playing
reminded me of visiting the Salvador Dali museum in Barcelona many years ago, where a pianist was banging out one long avant-garde tune for 20 minutes at a time. Nice background music at the Dali, but would I listen to a whole album of that? No. - Rosie Tucker, ‘Utopia Now’
Self-consciously hipster, weird song structures, “edgy” lyrics that are just annoying: “Sitting in the dark, picking at my nose with the invisible hand.” She does that thing where she holds a note then goes off-key. Quit after the fourth song. - The Hard Quartet, ‘The Hard Quartet’
When one embarks on a project like reviewing 50 albums, one hopes to find a brilliant discovery or two. Such was this band fronted by Steven Malkmus of Pavement. I love this album in all it’s guitar-driven glory: from shredding on that one searing note, to melodic strumming, to psychedlic fuzz box. Lots of influences here (Bowie, Joe Walsh, Lou Reed, Wilco), but it never feels derivative. Total winner. - Charly Bliss, ‘Forever’
High-energy, sparkly pop songs featuring tight melodies and big bouncy choruses. Love this album! Even the slight autotune works. - Claire Rousay, ‘Sentiment
Whiny, self-indulgent experimental “music” combining spoken word, industrial soundscape, and a mopey synthesized voice. Stopped halfway through the second track. No coming back from the first four minutes. - Liquid Mike, ‘Paul Bunyan’s Slingshot’
- Hinds, ‘Viva Hinds’
Love this one. Big pop songs with sing-along melodies. Where a garage band meets two women harmonizing with a punk sensibility. Viva, indeed. - Sleater-Kinney, ‘Little Rope’
This should be number 1, not 20. I knew one of my fav bands, Sleter-Kinney had come out with a terrific new album, but I hadn’t heard it, but I worked my way patiently through the list. ‘Little Rope’ is so good! Feels like a reunion to me, as I’m very familiar with their work but haven’t listened in awhile. “Give a reason, give me a remedy” — so many riffs hanging out in my head, where they belong. Love it.
Winner of the second tranche is Sleater-Kinney, with The Hard Quartet a close second. Honorable mentions to Charly Bliss and Hinds. So much great new music!