Jimmy "Explosive Diarrhea" B's 2024 Musical Obsessions

New Model Army, Unbroken (2024). 

I know this album is going to appear on other lists. To prevent redundancy, I will refrain from saying very much about it. NMA is an amazing band and every album is fucking great.

The Doors. 

It is weird to me that prior to 2024 I didn’t have a single studio release from The Doors in my collection. This year I purchased every album both with and without Jim Morrison. There were surprises. I expected the two albums the band made after Morrison’s death to be shit. They are weak compared to the Morrison output, but all in all they are passable records. I was also surprised by how bad the LA Woman record is. And finally, I was surprised by how great the deep tracks are on most of the records.

Voltozash.  

I heard this band while messing around on Bandcamp late one night. I was so blown away by them that I ordered a copy of every album where the band had a physical copy. They call themselves a jazz-metal band. I can’t improve on that.

Karaba, Pheremon Crumble Wax (2020). 

Karaba plays psychedelic jazz with a heavy groove. If that is your jam, then Karaba might be what you need.

Deceased, Children of the Morgue (2024). 

1980s influenced thrash metal is the stuff of my youth, and I seek it out. I had never heard of Deceased, and they started putting out music in the late 1980s or early '90s. How did I miss this wonderful band? This is the metal release of 2024 for me.

Black Tusk, The Way Forward (2024). 

I am sometimes a finicky fucker. There are bands whereI want a style change to keep me interested; other times I get pissed off when a band changes their style (fuck you Pallbearer!). Black Tusk is one of the latter bands. I can’t imagine them doing anything else, and I would be disappointed if they tried. The Way Forward is typical Black Tusk – fast, brash, and dirty, and I love it.

Rotting Christ, Pro Xriston (2024). 

It has been decades since Rotting Christ released an album I didn’t think was great. Pro Xriston continues the trend of great albums, and it is my favorite since 2016’s Rituals.

Trilok Gurtu, One Thought Away (2022). 

Trilok Gurtu is a talented percussionist who has played with a lot of jazz musicians over the decades. I was surprised to see that he had also played with the art-rock band Swans. I really enjoy Gurtu’s version of jazz, which I would call Indian jazz. Most people would call it world music. Of the Gurtu’s albums that I have heard, One Thought Away is my favorite.

Aziola Cry, The Ironic Divide (2021). 

My first listening session of The Ironic Divide left me with the impression that I was listening to a progressive-metal album. I have subsequently changed my mind. There are a lot of different styles presented in this instrumental metal album, and there are progressive elements. It’s plain metal and it is very good.

Angel Witch, Angel Witch (2018). 

I bought this record out of curiosity. I read a couple of books about the New Wave of British Heavy Metal, and a lot of pages were devoted to Angel Witch. I expected the album to have cheeseball elements like some of the other NWOBHM bands that didn’t make it to the big league. I can definitely see why the mid-1980s Los Angeles-metal scene was heavily influenced by Angel Witch. The album holds up.

Beak, >>>> (2024). 

A friend who rides motorcycles with me recommended this record while we were sitting around in a motel room after a day of hard and dusty riding. Beak is not an easy band to define, so I will try a comparison instead: I sometimes like to call the post-Barrett Pink Floyd albums background music. Beak does not sound like Pink Floyd, but the same principal applies. If you drop your book, or pull up your pants and listen closely to the music you can get caught up in it. Or you can play it in the background as a soundtrack to whatever else you are doing.

High Tide, The Complete Liberty Recordings (2023). 

Here is a bit of trivia for you Hawkwind fans, what band did Hawkwind violinist Simon House play in before joining Dave Brock and  Hawkwind? Clearly the answer is High Tide. I read in a Hawkwind biography that the record company (or was it their management?) believed that their break out band was going to be High Tide rather than Hawkwind. This didn’t happen. High Tide released two albums and were gone. They are two great albums. Sometimes when a band doesn’t make it big, it makes sense – they were the wrong band at the wrong time, or they just weren’t good enough. High Tide should have been much bigger than they were. The two albums in this box set are fucking great. The guitar playing will be interesting to any guitar players who read my rambling description. This band disbanded in 1970, and Tony Hill somehow managed to play with a style and tone that were 15 years too early. The intermingling of lead guitar and lead violin make High Tide unique and very intriguing.

Musical Obsessions of 2024

By Null

Here I am, the day after x-mas, trying to get my Musical Obsessions of 2024 list together. As I stated in previous years, I feel that my consumption of music has slowed dramatically. I still bought a few records though, well, more than a few. The biggest event this year was that I bought some Space Saving Sleeves, as my CD collection was bursting at the seams. I had no other choice but to get rid of some of my jewel cases and transfer about half of my CDs to Space Saving Sleeves. Originally, this caused me great anxiety, but I feel much better about it now. While doing this, I was reintroduced to many CDs I had not listened to in a long time. Thus, my list here reflects that. A lot of the selections below are from the early 1980s. 

The coolest thing this year was that I finally collected all the Dead Moon and Joy Division records on vinyl. I love to hold them, look at them, and, on occasion, lick them. 

Here’s the damage from 2024:

Manfred Mann’s Earth Band, Somewhere in Afrika (Bronze, 1982).

I picked up The Best of Manfred Mann’s Earth Band this year for the sole reason that their cover of Bruce Springsteen’s “Blinded by the Light” is a masterpiece for the way in which it was mixed, let alone all the other great things about the track. At any rate, I was taken aback by all the different styles and sounds on The Best of. For whatever reason, this led me to pick up their album Somewhere in Afrika. I listened to this record repeatedly. It is quite near a perfect 1980s synth record except that there is great musicianship throughout the work. Great guitar solos, rhythm sections, and oddball covers. The entire record is an anti-apartheid declaration smattered with unusual cover songs and African musicians. Though many people would probably find this record cheesy, it brought me endless smiles this year.

Black Dots, EP2/EP3 (Rabbit Rabbit, 2024).

This is punk rock for the soul from Denver, Colorado. See my review on this website: 

https://tickleyourtaint.blogspot.com/2024/06/black-dots-ep2ep3-lp-rabbit-rabbit.html.

The Cure, Faith (Fiction, 1981).

I’ve been listening to this album for over 35 years. How does it retain its power? Why do the synths and bass lines still sound cooler than anything I’ve ever heard? I listed to Faith a lot this year.

The Cure, Songs of a Lost World (Fiction, 2024).

I suspect that this album will be on my musical obsessions list for next year too. This is because I feel that I still need to spend some more time with the record to internalize it. It is one of The Cure’s best albums. It’s yet another masterpiece. As a meditation on mortality, it hits home for many of us old fucks, but it is not as if it is the first time I, or Robert Smith, has explored these subjects. Muddy and moving.

Phil Collins (in general).

I’m pretty sure Phil Collins has become my “safe space” from a world I barely understand or relate to anymore. His work is endless, from Brand X to Genesis to solo albums. He’s weirder than people think. Also, the free documentary Phil Collins: Drummer First came out in December and is available on YouTube. It’s a detail-oriented drummer nerd fest. I loved it.

Songs From Under the Floorboard, Vol. 1: A Compilation Benefiting Planned Parenthood (Accident Prone Records, 2018).

This is simply one of the greatest compilations I have ever heard. See my review from earlier this year: https://tickleyourtaint.blogspot.com/2024/07/great-soundtrackscompilations-vol-2.html.

Billy Bragg, The Roaring Forty (1983–2023) (Cooking Vinyl, 2023).

This box set contained 14 CDs that covered the last 40 years of Billy Bragg’s brilliant output. Though I already own the vast majority of what is contained here, it has been a sheer pleasure to revisit his work. His politics are solid, and his storytelling is often nuanced and heartbreaking. I adore Billy. Meeting him in person is still one of my favorite moments. Viva la Revolution!

Majestic Crush, Butterflies Don’t Go Away (Numero Group, 2024).

This is a beautiful 2 LP release from the Detroit “shoegazing” group which recorded from 1991–1995. Here you get an album, singles, rarities, etc. They had a cool and unique sound. I dug this record a lot.

Ozean (Numero Group, 2023).

Like Majestic Crush above, this is another “shoegazing” group from the Midwest, which recorded only 3 demos. They appear on this release. I find the bulk of “shoegazing” groups fairly boring, but these 3 demos, originally recorded in 1993, are simply beautiful. It’s 15 minutes of dreamy bliss. The bass player took a few hints from Peter Hook. Apparently, they are recording new music to be release in the coming year.

Shostakovich: The String Quartets (‎Deutsche Grammophon, 2023).

Performed by The Emerson String Quartet between 1994-1999, this box set was originally released some 20 years ago. I have two copies of it from back then, as it is one of my favorite sets of recordings I own. I saw this new repackaged box set this year and jumped on it. Finally, they got rid of the horrific multi-disc jewel case and replaced the packaging with singular paper sleeves in a carboard clam shell box. This is one of the greatest pieces of music I own.

Motorhead, Under Cover (WEA, 2017).

Once I heard Motorhead’s cover of Bowie’s “Heros,” I had to get this record. Though some of these tracks I have on other Motorhead albums, I really enjoyed this covers album because it has all the weirdness in one place. I never really thought their cover of The Stones’ “Sympathy for the Devil” was very good, yet when I hear it in combination with these other covers, it seemed to sound better. A Motorhead covers record...a fun novelty in its own right. I dig this record just because it’s a weird one. Also, their version of “Cat Scratch Fever” is better than Ted Nugent’s. 

Alcest, Les Chants de l'Aurore (Nuclear Blast, 2024).

The music has been called “blackgaze” meaning, a combination of black metal and shoegaze. All I know is that this album is beautiful. Imagine sleeping in a hut on the beach while listening to the power of the ocean all night. That’s what this album sounds like.

Night Ranger, Dawn Patrol (Boardwalk, 1982) and Midnight Madness (RCA, 1983).

I am fully aware that Night Ranger’s first two albums are not chockfull with life-changing poetry; however, they are filled with catchy-ass guitar pop tunes. Though I was never a fan at the time of these releases, somehow, I found intense comfort in listening to these albums in 2024. I always had a deep sentimental love for ‘Sister Christian,” and “Don’t Tell Me You Love Me” is up there with some of the best Rick Springfield/Pat Benatar classics. It may be that I am just in my 50s now and look to escapism through nostalgia. Some people binge on Netflix. I listen to old records.

The Cars, Heartbeat City (Elektra, 1984).

Like the Night Ranger records above, Heartbeat City was in heavy rotation for me this year. Some of the singles used to drive me crazy in the early 1980s, as they were in constant rotation on MTV and the radio. However, enough time has passed that I can see them in a new light. This album is a masterpiece with the desperate loneliness of “Drive” as its centerpiece.

Big Country, The Crossing (Mercury, 1983).

SoDak has been singing the praises of Big Country for years. I have heard several of their albums and have fallen in love with the powerful lyrics and music. I just never felt that I gave them enough time. However, this year I spent a considerable amount of time with their big hit record from 1983, The Crossing. It’s so good. The song “Chance” became one of favorite songs of this year.

Immediate Family Documentary (Mongolia Pictures, 2023).

Immediate Family is a great documentary about a group of studio musicians who played on half of the songs you know. It is highly recommended. I am in love with Leland Sklar.

December 2024 Loveland Colorado

By Jack Stephen

 

A vignette:

I’m riding my bike south back home to Loveland on the Front Range Trail. I’m startled by another biker passing me on the left. He has a white mustache and says “that’s a nice old bike you got there” as he flies past. I slow and downshift as I head up the rise with some lost momentum. It levels off, where sometimes you see a llama herd grazing. I see a bald eagle sitting on the ground. He’s maybe surveying the area after missing a prairie dog. He startles and takes flight. Beautiful and graceful, he glides through the air at a slow speed, attentive to everything in the area. I wonder what he sees? He hears a series of high-pitched cries, and recognizes his mate perched on a telephone pole. He lands on the post right next to her, and they look out over the flatland with the mountains behind them. It’s just another day for them, another chance. I drop my head and pedal on into the headwind.

2024 Soundtrack:

Weyes Blood, “It’s Not Just Me, It’s Everybody.”

Maceo Parker and the JB’s, “Cross the Tracks.”

Black Pumas, “Black Moon Rising.” 

Cotton Jones, “I Am the Changer.” 

Kurt Vile, “Another Year for the Roses.” 

Jenny Lewis, “Psychos.”

Jan Hammer, Miami Vice series soundtrack.

Outkast, “SpottieOttieDopaliscious.”

Jacob Fred Jazz Odyssey, “Crazy Fingers.” 

MC 900 ft. Jesus, “Meat Beat Manifesto.” 

Nick Shoulders, “Too Old to Dream.” 

Roy Ayers, “Coffee Is the Color.” 

Beck, “Hollywood Freaks.” 

Mac Miller, “Come Back to Me.”

Rufus Wainwright, “Coffee and Chocolate Cake.” 

2024 Reads (selected):

Peter Matthiessen, Blue Meridian. 

Fiona MacFarland, Highway 13.

Lenny Bruce, How to Talk Dirty and Influence People. 

Sam Tallent, Running the Light.

Herman Hesse, Demian.

Jay Sankey, Zen and the Art of Stand Up Comedy. 

Ann Tyler, Breathing Lessons.

Another trip around, some folks I could have spent more time with, others maybe a bit less. Best of luck next year, love your fate, be creative, be kind, don’t be scared to change your personal narrative, and focus on the positive. Even as the world seems to be imploding slowly but surely; remember, you can always smile. Most important…we are still here. 

“When the world is running down, you make the best of what’s still around”—The Police.  

Kloghole’s Festivus Grievances and Music “List”

By Kloghole

It has been a rather uninteresting musical year for me. One thing that I did recently, out of morbid curiosity, was to watch the Netflix documentary on Nickelback. It was about as uninspiring as Nickelback. They were portrayed as pretty approachable fellows, but the “controversy” over people hating Nickelback was only superficially analyzed despite the trailer anchoring it as the keystone of the documentary.

What struck me about the band members’ pondering of the hate they encountered is their complete obliviousness (and the documentary as well) to the fact that music can be popular and still suck. That is a little strong, but popularity and talent, musicianship, or artistic depth are not synonymous. To salve their wounded egos, they fall back on the records sold, awards, and radio play.

What was intentionally avoided is that popularity and mundane are nearly equivalent whether it be music, retail stores, or food.

Let me put it this way. If someone tried to argue that Dairy Queen soft serve is the best ice cream out there, people would shake their heads in derision. No doubt it sells, and I ate enough of it in my day, however people have no fucking problem arguing their vanilla soft serve music is fucking great.

The banality and formulaic approach is exactly what makes them popular. For the members of Nickelback to not see that amazes me.

Here is the problem I have with Nickelback, Taylor Swift, and their ilk. It is not that they “suck,” so much that their admirers try to argue that they are incredible artists, etc. They are not. At least they are not more talented than others who are less uninspired in their craft. Sure, they are obviously popular, and many folks find these artists meaningful to them, but please stop trying to argue mashed potatoes are better than shiro wat. I love mashed potatoes, but they are not culinarily complex by any means. I would look like a fucking idiot if I tried to go on and on about how fucking complex and deep the art of making mashed potatoes is and how it is the best food ever. I would look like an even bigger fucking idiot if I got all bent out of shape with folks who say mashed potatoes suck, or worse yet, did a documentary defending how fucking great mashed potatoes are.

So, people are fucking clueless who do not get why “popular” artists suck. Wake the fuck up. You like shit music. Get over it. News flash, I like my share of shit music (shallow, enjoyable, competent musicians) too, but I do not try to say that it is the best fucking thing out there. It’s not, but that is okay. 

This brings me to the next “grievance” I have. In the past, perhaps I was deluded, but I felt as though there was a clear distinction between people who listen to popular music and those who listen to underground music. Popular music was enjoyed by “popular” people, i.e., conceited, fucking, privileged assholes. I am not sure if it was ever true, but most things that I have ever really liked have been marred with assholes who also like the same thing. Assholes seem to be dropping out of the trees like leaves on a blustery fall day. Not only have people completely fucking forgot how to drive, I was recently treated to an especially annoying trip through Costco where people pushed around their carts like they all had life-threatening brain injuries. Apparently, moving down the aisle to one side or another is too difficult to manage. They were darting around the main aisle like ping pong balls in a tile bathroom.

We live in an era when assholery is celebrated, elevated, and even elected. There are very few arenas where I can avoid fucking stupidity of incomprehensible dimensions. Seriously, this era will be embodied by Anthony Fauci’s facepalm. For all of us who have four firing neurons or more, I am daily stunned by the sheer ignorance. I have two retreats from this onslaught of imbecility, the vegan Tea Shop (which is closing soon) and the record store. My visits to the record store had been very intermittent until recently.

Earlier in the year, I picked up a couple of extended discs. The first was a remastered version of Whitesnake’s Slide It In UK and U.S. release. Since I liked the bluesy early Whitesnake with Mickey Moody and Bernie Mardsen, I wanted to finally get a listen to the earlier version. It was enjoyable, but like pretty much everything else, I think there was a newer remastered version I spotted a few weeks later. The other disc was Geoff Tate’s Frequency Unknown, “FU” to the rest of the band. Queensryche’s Operation Mindcrime and Rage for Order are still among my faves. I could not pull the trigger on the tickets to the Queensryche tour playing the EP and Warning in their entirety - just too expensive for my budget right now. Frequency Unknown’s extra disc was largely unnecessary releases of previous material or reimagined versions of old hits.

After work, my partner stumbled upon a treasure trove of used discs from someone who traded in their Iron Maiden, Bruce Dickinson, and Blue Oyster Cult collections. There were some others in there like Forbidden, Sepultura, and Metal Church. After working my way through this expansive collection, I did add to my Venom and Iron Maiden related catalog. I felt a little melancholy working through someone’s discarded discography. In addition to the Sepultura and Metal Church, there were some burned copies of singles from Iron Maiden and Bruce Dickinson. I grabbed more than I could afford, and then went back when, surprise, the burned discs skipped mercilessly. I left with another stack that was out of my budget. In the pile, I found some Gordon Lightfoot and a number of Blue Rodeo releases. There were some very pricey CDs of Mason Profitt that I left in the store hoping to win the lottery so I could pick them up later.

Overall, this year was generally better than those recently, but I have had little time for music. I tend to lean heavily on James McMurtry and similar artists. I vacillate these with thrash metal. For all my bluster, music is one escape from the lunacy. If you are hurt by people like me shitting on your musical choices, join the club, grow a pair (of your choice), and move on. I still love you, just not your musical choices. I hope you could say the same about me.

Sweet Dreams Motherfuckers.

Satan Revisited

By Jimmy "Explosive Diarrhea" B

This narrative that follows is not a music review; it is a thought I had at some point in the past year.

Some material things that I enjoy are huge trees, wild horses, wild raspberries, large stereo speakers; the sound the wind makes as it blows through a pine forest; the feel and smell of a book in my hands; and the braap of a four-stroke motorcycle picking up speed.

Many of these things are temporary. Eventually motorcycles with combustion engines will no longer be sold, and higher average temperatures and fucked up weather patterns will wipe out native trees in many forests. I suppose the fascists will eventually come for my books. 

The abstractions, the meta-philosophies, appear to be more permanent. The myths of good and evil are stuck to humans like stink on shit. I suspect that as the Earth's temperature continues to rise many more people will turn to their sky wizard to smooth out the pain of material change. I will turn to Satan.

The abstract belief in a creator is among the dumbest things I can fathom. The belief in an abstract figure of evil is nearly as idiotic. Fortunately, the Satan I love is very real; Satan is an English metal band, a great one at that.

Music is interesting; it is somewhere between the abstract and the material. Band members will die; physical copies of music will degrade, but the feeling and memory of the music we love will exist as long as we draw breath. In a dying world, we will be stuck with mythological gods. We will also continue to have the music that brings us joy.

Anita Papsmear’s Best of 2024

By Anita Papsmear

This year was a pretty great one for music. On my list this year, I have included my favorite singles, a few perfect full albums, and some releases of note. In a singles-oriented musical landscape, it seems increasingly rare to hear an entire album with no “throw away” tracks, but I found a few. This year also seemed to bring a nice blend of new artists and old, releasing their art into the world. This makes for a tasty musical stew. Here’s wishing you all a fantastic 2025. Let’s hope we are all okay, despite the upcoming horrors we are about to endure via the incoming administration. I may be homeless by this time next year, but I will (hopefully) continue to bring you a year-end list worthy of your time and attention. Hope you all enjoy it and find something worthy to add to your playlists. Sending my best, Anita

All songs have received the coveted 5 out of 5 Smears rating according to Anita Papsmear’s Rating System (refer to past year-end lists for the Papsmear ratings system).

Perfect 2024 Albums:

The Cure, Songs from a Lost World.  

Absolutely one of their best albums to date—and that’s saying alot! It’s everything you want from this band, laid right on your soul. #chefskiss.

White Rose Motor Oil, Preowned Songs.  

This is an amazing collection of covers from this Denver band. It covers a wide range of styles, from Cheap Trick to Elastica to Maria McKee. This is a super fun CD to add to your collection. Also, their cover of “Hooray for Santa” is a favorite holiday nugget.

Wine Lips, Super Mega Ultra.  

Saw them live in Denver this year—so good. This album is solid!

Jack White, No Name. 

It’s nearly perfect, but then, what did ya expect? He’s a master.

Nick Cave and the Bad Seeds, Wild God.  

This album is a tribute to the human spirit and its capacity for love and forgiveness. It’s a beautiful collection of songs that feels like a rainbow after a storm.

The KVB, Tremors.  

Fantastic through and through. It is hard to describe their music—dark, synth wave with some swirling, mesmerizing guitars, cool melodies, and great songwriting. It all comes together in this subtle masterpiece.

The The, Ensoulment.  

Matt Johnson is a master lyricist and musician. So happy on a cellular level that he is making and publishing music again. Love the album, saw the tour, bought the t-shirt. #iwantsomemore.

Amyl and the Sniffers, Cartoon Darkness. 

Those who know, know. Amyl and the Sniffers are one of the greatest bands out there. Handcrafted punk rock with something for everyone—even your granny.

Best Singles 2024:

Luvcat, “He’s My Man.” 

A dark tale of woe…for her man, anyway. Hailing from Liverpool, Luvcat is going places. 

Loose Articles, “Mr. Manager.” 

Band from Manchester—so good and fun!

Griefcat, “Carbon Footprint.”  

This band went straight to the top of my favorite bands list as soon as I heard them. It’s refreshing, woman-centered punk rock, but their musical styling isn’t limited. Their 2024 album, Late Stage Capitalism, showcases their very capable talents in several different genres. At times, they channel The Andrew Sisters with a sprinkling of The Judds—they can do it all. Their songwriting however is current, tackling issues like the environment, crypto-currency, pooping at work, corporate takeovers—it’s anti-establishment at its best. #newheroes.

The Albinos, “Bet You Don’t.” 

Hard to pick just one song, as I have loved every song I have heard from this Houston band. Catchy, grainy psych rock. #yummy.

Sleaford Mods with Amy Taylor, “Nudge It.” 

It’s fucking catchy as hell. The Mods vocal styling is like no other and the addition of Amy Taylor’s vocals just adds that magic touch that only she can.

Haute & Freddy, “Scantily Clad.” 

Saw the video on TikTok—immediately catchy and fun.

John Grant “All That School for Nothing.” 

Funky and delicious.

The Howlers, “El Dorado.” 

Catchy as hell

Girl And Girl, “Oh Boy!” from Call a Doctor.  

Still my favorite band of 2023/2024. Missed seeing them live twice in the span of a couple days. Top of list to see! Great songwriting.

Trent Reznor/Atticus Ross, “Yeah x 10” and “Compress” from the Challengers Soundtrack.

The Mysterines, “Junkyard Angel.” 

Another band on my list hailing from Wirral/Liverpool. Lia Metcalfe’s voice is powerful. Lots of good tracks on their latest record, Afraid of Tomorrows.

Sofi Tukker, featuring Kah-Lo, “Woof.”  

Super cool world music feel, dancey and catchy. Play this at your next party.

Geneva Jaccuzi, “Dry.” 

Her new album, Triple Fire, is filled with atmospheric, dark, and dancey tunes.

Tori Amos, “Trouble’s Lament.” 

Another gem from the goddess

Ministry, “Cult of Suffering,” featuring Eugene Hütz of Gogol Bordello. 

So good.

The Courettes, “You Woo Me,” “Shake,” and “Here I Come.” 

This is the coolest band on the planet right now.  

Goat, “Zombie.”  

This song is a great example of Goat doing what they do best. #tribaljourneys.

Black Doldrums, “Hideaway.”  

Gothy goodness.

Warmduscher, “Pure at the Heart.”  

Catchy ditty from a great band. Check out their latest record, Too Cold to Hold.

Noga Erez, “Vandalist.”  

This is a fucking great song.

The Hives, “Bogus Operandi.”  

So catchy it hurts.

Frankie Rose, “Sixteen Ways.”  

Subtle and lovely melodies.

MC5, “Heavy Lifting.”  

It’s been 53 years since there’s been new MC5 material. Luckily, the band laid these tracks down before the passing of Wayne Kramer. “Heavy Lifting” with Tom Morello is a definite highlight.

Corlyx, “The Letdown.”  

Just a great, dark pop song that’s dancey and catchy.

2024 Of Note:

Sprints, Letter to Self. 

#rocks

A Place to Bury Strangers, Synthesizer.

Check out “Disgust,” “Plastic Future,” “Don’t Be Sorry,” and other delightfully dark tunes.

    

Barns Courtney, “Golden.”

Orville Peck and Alison Russell, “Chemical Sunset.”

Peter Garrett, “Paddo.” 

So cool to hear his voice. #midnightoilisgodhead.

Pokey LaFarge, “One You One Me.”

Beth Gibbons, Lives Outgrown.  

Beth’s haunting vocals are so refreshing to my ears. Great new material here.

Hot Garbage, Precious Dream.  

Awesome stuff. #rocks.

Drunk Mums, Beer Baby.  

Out of Australia. Some fun stuff here

Dwight Yoakam, Brighter Days.  

Spinning more country gems from that fabulous mouth.

Suki Waterhouse, Memoir of a Sparklemuffin.  

So, so, so good. Check out: “Model, Actress, Whatever,” “My Fun,” and “Supersad.”

Gossip, Real Power.  

Great to hear from Beth Ditto and crew. Decent album.

Yard Act, Where’s My Utopia.  

Great album. Excited to hear more.

Jesus & Mary Chain, Glasgow Eyes.  

There are some great tracks here. I think what I liked most about this album is that the Reid brothers journeyed out of their comfort zone and that brought a new dimension to their music. Good on them!

Dandy Warhols, Rockmaker. 

Check out “I’d Like to Help You with Your Problem,” “The Summer of Hate”, “Alcohol + cocainemarijuananicotine,” and more. #worthy.

TR/ST, Performance. 

Love this artist and all he has to offer. A very solid release

Wolfgang Press, A 2nd Shape. 

Just excited this band is back at it after a number of years. Some cool tunes here.

Houses of Heaven, “Strange Temptation,” “The Depths You Hold,” and “Deserve.” 

Synthy goodness.

2024 Under the Covers:

Sierra Ferrell “Funnel of Love”

Bad Monkey Soundtrack.  

Awesome covers of some Tom Petty tunes. The Weezer cover of “Here Comes My Girl” is my favorite.

The Bellrays, “Ball Of Confusion.” 

#lisakekaula #enoughsaid.

Sponge, 1994. 

Highlights include covers of Oasis’ “Supersonic,” Morrissey’s “The More You Ignore 

Me, The Closer I Get,” and Sonic Youth’s “Bull in the Heather.”

Nouvelle Vague, “Should I Stay or Should I Go.”  

One of their better covers compilations

Andrea & Mud, “Just Dropped In (To See What Condition My Condition Was In).” 

#lovethisduo.

Me First & The Gimmee Gimmee’s, Blow It! At Madison’s Quinceaňera. 

This band is so fun and they prove it while live from Madison’s party. Includes some great covers like Captain & Tenille’s “Love Will Keep Us Together” and Juice Newton’s “Queen of Hearts.”

T-Pain, “War Pigs.”  

This cover was released in 2023 but I just found it this year. Killer!

Scott’s Favorite Music in 2024

By Scott

My listening in 2024 was pretty much split between new ones by old favorites and old ones that were new to me.

Opeth, The Last Will and Testament (2024).

I’ve enjoyed Opeth’s prog rock era and it makes me feel old to realize 2011’s Heritage was thirteen years ago. I still think of this as a recent development in their sound. But Opeth has meant a lot to me for many years, and hearing the return of the death metal elements in The Last Will and Testament was extremely satisfying. This album strikes a good balance between their classic and more recent styles, and including Ian Anderson of Jethro Tull for some spoken word parts and a bit of flute is a nice touch. The songs don’t quite jump out at me individually yet, but this is a concept album and meant to be appreciated as a whole piece of work.

Ihsahn, Ihsahn (2024).

This dude is no stranger to combining orchestral elements with metal, and as much as I love this approach at times, and especially the classic Emperor albums, I still think that style can be a little corny. But not here. Ihsahn’s solo albums are inventive and interesting, and this one adds a layer of orchestral accompaniment that’s unobtrusive, scaled back, and even a little weird, so that it actually complements the frenetic intensity of the music instead of smothering it.

Darkthrone, It Beckons Us All... (2024).

This was the year I caught up with Darkthrone’s most recent handful of albums and I’ve been enjoying the hell out of them, capped off with this latest one. This band has gone through a few stylistic changes over the years, but they’ve settled into a wide-ranging, expansive sound that comes across like a tribute to the idea of “heavy metal” itself. I also like the idea of these two dudes simply getting together every year or so, writing and recording an album, putting it out there, and going on with their lives, purely according to what they want to achieve as a band. 

Devin Townsend, Powernerd (2024). 

I love just about anything Devin Townsend releases, although I think he’s sometimes too prolific for his own good, and some of his more experimental/ambient stuff is fine but not for me. This album feels like a solid chunk of music, without excessive ornamentation or experimentation for its own sake: a straightforward, even simple bunch of songs that all have plenty of atmosphere but aren’t especially complicated. The bonus tracks, which sound like someone turning the dial through a series of radio stations, all featuring Devin in his more eclectic mode, are there if you need them. 

Pat Metheny, Dream Box (2023). 

I love the story behind this album. Metheny, like many musicians, makes little recordings for himself to capture ideas, try things out, and so on. He was on tour when one day he discovered a folder on his computer, full of recordings that he didn’t even really remember making. He listened to them and realized that there was an album in there, so he picked out the best tracks and voila: Dream Box. This is a very mellow, quiet collection of songs, all of them improvised and spontaneous, perfect late-night music. 

Neil Young, Archives, Volume III (2024). 

I splurged on this, in part because I already own the first two volumes in this archival series, and I suppose that one day they might be worth a lot of money...so, eventually, when our society collapses and we begin to experience the full onslaught of ecological destruction and dystopian terror that is sure to come, I will be able to barter my set of Neil Young archives for food and medicine. Also, the songs are pretty good! 

Alexander “Skip” Spence, Oar (1969).

The only album by a talented but troubled musician and former member of Moby Grape and Jefferson Airplane. Spence played all the instruments and recorded this at some point during a downward mental health spiral, and there are ways in which this album is not “good,” but it’s unique and memorable, and it draws you in unlike anything else I listened to this year. 

MC5, Back in the USA (1970). 

Many people disliked this album when it was released: the sound was too clean, too tight, and too carefully controlled, especially compared with MC5’s explosive debut, the raw live recording Kick Out the Jams. But in retrospect, this album sounds great—and like a forerunner of late 1970s punk to come—and I prefer it to the first one. 

Clutch live, performing all of Blast Tyrant. 

This band is always fun as hell to see live, and celebrating the 20th anniversary of this album, well, it was a lot of fuckin’ fun! Adding an encore of songs from their first album (and earlier!) was a nice bonus. 

 

Dave Marsh, Kick Out the Jams (2024). 

This is a long overdue, and necessary, follow up to Marsh’s 1985 collection Fortunate Son, and it contains samples of his writing from the early 1980s to the present. Even if you don’t always agree with Marsh, who can be feisty to the point of truculence, he’s very often insightful and funny, and he writes with a sense of political commitment that never devolves into mere rhetoric or one-dimensional thinking.

Five-Inch Taint’s Favorite Music in 2024

By Five-Inch Taint

End of Year Music List (In No Particular Order…Loosely by Genre):

John Moreland, Visitor

Lost Dog Street Band, Survived

Johnny Blue Skies, Passage du Desire

American Aquarium, Fear of Standing Still

Willi Carlisle, Critterland

Sierra Ferrell, Trail of Flowers

Agalisiga, It Started in the Woods

Blood Incantation, Absolute Elsewhere

Trauma Ray, Chameleon

Undeath, More Insane

Chat Pile, Cool World

Civerous, Maze Envy

Godspeed You! Black Emperor, No Title as of 13 February 2024 28,340 Dead

Castle Rat, Into the Realm

Horse Burner, Voice of Storms

Bedsore, Dreaming the Strife for Love

Slimelord, Chhytridiomycosis Relinquished

Alcest, Les Chants de l’Aurore

Pallbearer, Mind Burns Alive

Abrams, Blue City

Terminal Nation, Echoes of the Devil’s Den

Lowent, Do Not Go To War With the Demons of Mazandaran

Black Sabbath, Anno Domini, 1989-1995

The Cure, Songs of a Lost World

Midwife, No Depression in Heaven

High Vis, Guided Tour

Nails, Every Bridge Burning

Karate, Complete Studio Recordings

Universal of Armageddon, Complete Recordings

Planet on a Chain, Culture of Death

Hermanos Gutierrez, Sonido Cosmico

Mdou Moctar, Funeral for Justice

Causa Sui, From the Source

Glass Beams, Mahal

Shabaka, Perceive Its Beauty, Acknowledge Its Grace

Nathanael Larochette, Old Growth

 

Favorite Concerts:

This was a year in which I drastically reduced my concert attendance. There were so many shows that I would have liked to see but could not make the drive. I was able to make it to some, though. Here they are:

 

Willi Carlisle, Mute Duo, Messa, X, Pallbearer, Conflict, Violent Testimony, Amenra, June Star

 

Favorite Record Labels:

While I enjoyed music from a variety of record labels, I think two deserve special mention for their quality output: Numero Group and 20 Buck Spin. Numero Group are masters at putting out high-quality complete collections and compilations of obscure/semi-obscure music. The music from 20 Buck Spin consistently kicked ass this year. I’ve probably been overlooking them for many years. Or, I just have not noticed that much of the music I have enjoyed was released by 20 Buck Spin.

Special Shout Out:

I wanted to give a special shout out to June Star. SoDak and I saw them in Chapel Hill, North Carolina many years ago. I was excited to see them in my small town this year. Due to poor marketing by the concert producers, I was the only one to attend their show. Despite this obvious disappointment, they still put on an incredible full set and hung out afterwards to talk.

SoDak’s 2024 Music Obsessions

By SoDak

My list of favorite music and other obsessions in 2024 is in no particular order.

Records:

New Model Army, Unbroken (2024).

New Model Army is a band that I depend upon. They ground me. I still get chills whenever I listen to their records. While they have changed through the years, there is always the distinctive New Model Army sound. Check out “First Summer After.”

J Mascis, What Do We Do Now (2024).

I love settling into J Mascis and Dinosaur Jr records. His voice provides comfort after so many years of listening to him. His guitar and voice swirl in my head. J has everything dialed in at this point. 

Pallbearer, Mind Burns Alive (2024).

I continue to stand by Pallbearer. I like the mellow, dreamy, melodic elements that are increasingly present. At the same time, Pallbearer is still heavy—musically and emotionally. The thread that runs through their records makes sense to me. I love their development. 

Tomb Mold, The Enduring Spirit (2023).

I did not pick up this Tomb Mold record until this year. This is my favorite record by them so far. I welcome the melodic elements within the songs. Tomb Mold is an innovative death metal band with catchy riffs and odd time signatures. Exceptional record.  

John Moreland, Visitor (2024).

John Moreland returns with one of his strongest records to date. His voice is strong and sits in the perfect spot for this folk-rock, Americana music. Get a copy to play in the car. Turn up the volume, roll down the windows, and just drive. You need this record and the experience. 

Blood Incantation, Absolute Elsewhere (2024).

Most folks are losing their shit talking about this record. The praise is justified. It is a stunning combination of death metal and 1970s prog-space rock. I really want to see them on tour for this record. 

The Cure, Songs of a Lost World (2024).

We have been waiting for this record for so fucking long. Glad that it finally arrived and that it does not disappoint. Very consistent record, as far as the mood and sound. The Cure remain a top-notch band. The record is also a good soundtrack for a world that is passing away. 

40 Watt Sun, Little Weight (2024).

Pairing The Cure’s new record with 40 Watt Sun is appropriate. Listening to both is quite emotional, as they are beautiful and mournful at the same time. It is a powerful combination to experience. Whenever I listen to 40 Watt Sun, I want to lay in the grass, as I slowly sink into the earth. 

Paper Kites, Roses (2020).

This is an absolutely beautiful record by an Australian, low-fi, indie-rock band. The record consists of stunning, moody duets, pairing female and male vocals, in haunting Americana sounds. Top recommendations.    

Gillian Welch and David Rawlings, Woodland (2024).

Feels like it has been a long time since we were graced with a new record by this combo. There is a slightly different vibe, as each of them sing lead vocals at times. It adds a little more diversity as far as the progression. Check out the opening track: “Empty Trainload of Sky.”

Cock Sparrer, Hand on Heart (2024).

For me, this is the best Cock Sparrer record to date. The production is excellent, as the record sounds great. Classic anthemic punk rock songs. Listening to the record makes me happy. I also like the love song “I Belong to You.”

Curtis Mayfield, Curtis (1970).

I returned to this Curtis Mayfield record this year, as it had been a long time since I heard it. His first solo album is much heavier, funkier, and psychedelic than the music of the Impressions. Curtis is also quite politically frank through most of the record. 

Bruce Dickinson, The Mandrake Project (2024).

I can’t get enough of Bruce, whether it is in Iron Maiden or solo. Very strong vocal performance, as is to be expected. The record sounds great. With each listen, I get more excited about the record. Roy Z and Bruce do great things together. 

Judas Priest, Invincible Shield (2024).

My favorite Judas Priest records are the ones in the 1970s, but the band continues to impress me. Their most recent record is among their strongest. Rob Halford sounds fucking great. Richie Faulkner is excellent. “Panic Attack” is my favorite track. 

Louis Michot, Reve du Troubadour (2023).

Null bought this record by the lead singer of the Lost Bayou Ramblers for me. These Cajun songs are reinterpreted via a mix of electronic, rock, and traditional approaches. There is a nice variety of sounds and instrumentation across the songs, yet the record feels cohesive. Check out “Ti Coeur Blue.” 

Drug Church, Prude (2024).

Every Drug Church record makes me bounce around the living room, as the propulsive beat and drive takes control of me. One second, I am playing air guitar, then drumming, and singing along. The discordant guitars really hold my attention. Give “Mad Care” and “Myopic” a listen. 

Willie Nelson, The Border (2024).

Yes, Willie Nelson’s voice has changed a great deal. He sounds old because he is ninety-one years old. Nevertheless, he is still capable of putting out strong records. This record has a strong collection of songs, and the production is done in a way that lets Willie’s voice resonate. 

Opeth, The Last Will and Testament (2024).

I am among those who were fine when Mikael Akerfeldt stopped incorporating death growls in Opeth songs. I really like the more mellow, progressive rock records as of late. Nevertheless, the blending of prog elements and death growls on the new record is wonderful. Very strong release. I will also be happy with whatever direction Opeth pursues moving forward, given the high quality of the musicianship. 

Jon Anderson and the Band Geeks, True (2024).

Jon Anderson’s new solo record was a complete surprise. Most of the record sounds like classic Yes. Jon’s voice is very strong. The only song that I would remove is the ridiculous closing track “Thank God.”

More Than a Whisper: Celebrating the Music of Nanci Griffith (2023).

This is a beautiful collection of cover songs in memory of Nanci Griffith. Very enjoyable. Great to hear new interpretations of Nanci’s music.  

Bent Blue, So Much Seething (2024).

More great hardcore punk from Bent Blue. They finally put out a full length. Check out “Born on Third.”

High Vis, Guided Tour (2024).

High Vis delivers another stellar record, mixing post-punk with punk elements here and there. The voice is captivating. I love the guitar work. 

Death Ridge Boys, Too Much Bullshit (2023).

From Portland, Death Ridge Boys deliver straight ahead hardcore songs, with touches of oi! Listen to “Oh Fashy” as you punch a fascist in the face.  

Hellripper, Warlocks Grim and Withered Hags (2023).

Awesome, face-melting, speed metal. This is my favorite Hellripper record, as it actually sounds great. 

Nils Lofgren, Mountains (2023).

World-renowned Niles Lofgren has been playing with both Bruce Springsteen and Crazy Horse for decades. This is his first record of all new songs in over a decade. The guitar playing is great. I really like Nils aged, heartfelt voice. The vibe of the record is pretty mellow, somewhere between Springsteen and Neil Young, when the latter manages to put out good records. 

Trauma Ray, Chameleon (2024).

Five-Inch Taint recommended that I get this record. I generally do not care for many shoegaze bands, but Trauma Ray maintains my interest, from the dreamy to the driving songs. The record sounds great. Excellent songs. 

Cemetery Skyline, Nordic Gothic (2024).

Seems that there are quite a few gothic metal bands as of late. I like the mix of gothic, new wave, and metal. Cemetery Skyline have an interesting Sisters of Mercy sound. 

Planet on a Chain, Boxed In (2023) and Deprogram (2022).

Argh. Planet on a Chain play old school hardcore. Most of the songs are under two minutes. Tight and powerful songs. 

Shane Smith and the Saints, Norther (2024).

This red dirt country band really hits me in the heart. I fell in love with their earlier records, especially the song “All I See Is You.” Their most recent record is very strong, filled with finely crafted songs. The record always sounds good driving down the highway. 

Ghost Work, Light a Candle for the Lonely (2024).

This is the second record by Ghost Work, which includes folks from Seaweed, Snapcase, and Minus the Bear. Excellent melodic punk rock, in the vein of Samiam, Solea, and Ways Away. 

White Willow, Ex Tenebris (1998).

White Willow is a Norwegian progressive rock band with an expansive sound and both male and female vocals. The male vocals remind me of Craig Wedren from Shudder to Think, singing in a very different genre. 

Lost Dog Street Band, Survived (2024).

Lost Dog Street Band are an engaging Americana band, with lyrics that involve exploring uncomfortable truths and revelations. It is well worth spending time with their records. 

Hot Water Music, Vows (2024).

Hot Water Music still fills me with excitement, generating a huge emotional release as I sing along with their heartfelt, post-hardcore songs. I hope they keep moving forward putting out more releases, as we age together trying to foster love in this tragic world. 

Agusa, Tva (2015).

This record consists of two long wonderful progressive rock songs by the legendary Swedish band. 

Kim Richey, Every New Beginning (2024).

Kim Richey has been putting about solid Americana, singer-songwriter records for almost three decades. She has a gentle voice that accompanies shimmering chord progressions. 

Airbag, The Century of the Self (2024).

This Norwegian progressive rock band continues to capture my attention. They move between very lush, dreamy songs to more intense rocking songs on this release. The Pink Floyd comparisons, as far as the guitar tone, are still evident, but they are doing their own thing here. Wonderful record.  

Merging Cluster, Peak of Ephemeral Light (2024).

This is the first full length from this Italian progressive rock band. The singer reminds me, at times, of Geoff Tate, but the music sounds nothing like Queensryche. Not sure how to describe the music. Explore something new. 

Freak Accident, Octopus Head (2021).

Freak Accident includes Ralph Spight from the legendary jazzy-punk band Victims Family. This four-song release combines surf and psychedelic elements with punk rock. My favorite song on this release is “Oxygen Tent.”

Maxïmo Park, Stream of Life (2024).

I was first drawn to Maxïmo Park due to their post-punk, angular songs. I have enjoyed seeing how they continue to change, mostly within the indie rock realm. This is their eighth full length. I really like Paul Smith’s voice, as he has great control over how he uses it. 

Beverly Glenn-Copeland, Keyboard Fantasies (1986).

This record is a strange mix between early electronics and new age music. The voice is very ethereal, complementing the soundscape that is being created. Unique record. 

J Robbins, Basilik (2024).

Strong solo album by J Robbins of Jawbox fame.

Beardfish, Songs for Beating Hearts (2024).

Swedish prog rock, moving from contemplative pastoral songs to intense, sprawling organ-oriented numbers. 

Spectres, Nostalgia (2020) and Presence (2024).

These are two of my favorite records by this Canadian post-punk band. The influences of Joy Division, New Order, Modern English, and other 1980s new wave bands are delightfully evident. Catchy, melodic songs. 

Steve Hackett, The Circus and the Nightwhale (2024).

Steve Hackett of early Genesis fame has put out a masterful record. His exceptional guitar work runs through all the songs, adding intoxicating textures. 

Viima, Ajatuksia Maailman Laidalta (2006).

This Finnish band combines folk and progressive rock, with enchanting female vocals. This is my favorite record by them.  

Mass Arrest, Power (2019).

Hardcore punk, with oi! elements. The vocals are gruff, yet understandable. Short, punchy songs. 

Chronicles of Father Robin, The Songs and Tales of Airoea, Book 1-3 (2023-2024).

Members of Wobbler, Tusmørke, and Jordsjø are in Chronicles of Father Robin. They have released a series of three interrelated concept records focused on Father Robin. Stunning mix of 1970s influenced progressive rock. Brilliant.  

Johnny Blue Skies, Passage du Desire (2024).

Johnny Blue Skies is Sturgill Simpson’s new moniker. This new record still contains all the beauty and magic of his early records. 

Cloud Nothings, Final Summer (2024).

Cloud Nothings consistently put out catchy, hypnotic indie-rock records. Good music to get lost in. 

Black Tusk, The Way Forward (2024).

It has been a long six years since the last Black Tusk record. I needed this injection from them. Their sludgy, hardcore, metal gives me goosebumps. The dual vocals add power and punch to the songs. “Out of Grasp” kicks off the record in perfect order. 

Coffins, Sinister Oath (2024).

Why the fuck did I not know about Coffins earlier? They have been a band since 1996. Their style of grinding death-doom is right up my alley. Guess, I will start working backwards to learn more about their catalog. 

American Aquarium, Fear of Standing Still (2024).

American Aquarium consistently puts out great records. Some of the rough edges have disappeared over the years, but this Americana band kicks ass. Check out “Crier.”

Caligula’s Horse, Charcoal Grace (2024).

This progressive metal band from Australia released their sixth record. On it, they explore the loss, sorrow, and isolation associated with the global pandemic, hoping for a better tomorrow. 

Undeath, More Insane (2024).

I am finally on board with Undeath, as I love their new record. This death metal band is ambitious and experimental. Their new record melts my fucking brain with the expansive and experimental sound, as well as the constant changes. The songs are very distinct and memorable. 

Yang, Rejoice! (2024).

Yang plays some crazy progressive rock that is reminiscent of King Crimson and aspects of Gentle Giant. Carla Kihlstedt’s vocals are a unique addition, alongside the hypnotic guitars. 

Magnum, Here Comes the Rain (2024). 

This year I became fascinated with the hard rock band Magnum. I bought almost all their records. They formed in 1972. This year, their guitar player and creative force, Tony Clarkin died, around the time that their twenty-third record, Here Comes the Rain, was released. Bob Catley has a unique voice. While his voice seems limited, in some ways, he is an excellent singer. He evokes a lot of emotion. The pairing of his voice and the guitar tone is a wonderful match. Given their longevity, the band changed quite a bit through the years, following some trends. Nevertheless, there is plenty in their catalog to explore. 

Subsignal, A Poetry of Rain (2023).

Subsignal is German progressive rock band. Their emotional vocals and hooks are catchy. The patterns within songs are fascinating. They use plenty of ghost notes that hold my attention. At times, I hear the influence of Rush, new wave, and other classic rock elements. There is even a slight twang thrown in the mix on a song here and there.  

Chuck Ragan, Love and Lore (2024).

Chuck Ragan’s solo records get better and better. He has found the sweet spot for his voice within the instrumentation and songs he plays. One of my favorites is “All In.”

Anekdoten, A Time of Day (2007) and Nucleus (1995).

The Swedish progressive rock band Anekdoten has a wide-ranging sound, especially from album to album. This year I kept going back and forth between these two records. Check out “The Great Unknown” and “A Sky About to Rain.”

Jeremy Pinnell, Ties of Blood and Affection (2020) and OH/KY (2014), 

Jeremy Pinnel’s music is a mix of honky-tonk and folk-country. On songs such as “Ballad 1892,” his voice and groove are very reminiscent of Waylon Jennings. I really like his ballads, such as “Different Kind of Love,” “Rodeo,” “Sleep Song,” and “Them Days and Nights.” He does overuse the word “baby” in his songs. 

The Light Wires, The Light Wires (2021).

Jeremy Pinnell is also in the band The Light Wires. This is my favorite record by him. While the record still fits in the Americana genre, there are mellow indie-rock influences. The songs are very consistent, filled with yearning and heartbreak. It is a beautifully somber record. My favorite songs are “Never Heard the Pin Drop” and “Belly of the Beast.”

Concerts:

I missed quite a few shows that I wanted to attend, especially with multiple concerts on the same night. Nevertheless, I was able to see many great artists, while sharing time with friends. My wife and I attended three music festivals, including Kilby Block Party (horrible sound), Punk Rock Bowling, and No Values (very poorly organized). 

My favorite performances this year included: Neko Case, Bruce Cockburn, Dead Bob (three times), Lung, Devo (twice), X, Poison Ruin, Dinosaur Jr., Subhumans, Fiddlehead, Gaslight Anthem, Reckless Kelly, Journey, Spaced, Jeremy Pinnell, Sepultura, Obituary, Descendents (twice), Buzzcocks, Soul Asylum, Iron Maiden, Destiny Bond, Kruelty, Lydia Loveless, Thursday, Rival Schools, Twin Tribes, Urban Heat, Nadezhda, Militarie Gun, Toto, Peter Frampton, Jesse Daniel, Jesus Piece, English Beat (twice), Sam Bush, Messa, Show Me the Body, Iron Roses, Chats, Destroy Boys, Niis, Madness, Quicksand, Scowl, Stiff Little Fingers, Shattered Faith, Adolescents, Adicts, Selecter, Jesus Lizard, Bad Religion, Turnstile, Social Distortion, Chameleons, Missing, Pure Prairie League, Ryan Bingham, Drayton Farley, James McMurtry, BettySoo, Patterson Hood, Unwound, Girlschool, Del McCoury Band, Full of Hell, Spy, and Cloakroom.

Films:

I enjoyed quite a few music documentaries this year. My favorites included: Without Getting Killed or Caught: Guy Clark (2020), White Riot (2020), Punk the Capital: Building a Sound Movement (2019), Immediate Family (2022), Carmine Street Guitar (2018), It’s Only Life After All: Indigo Girls (2023), Joan Baez: I Am a Noise (2023), Herb Alpert Is… (2020), Duran Duran: There’s Something You Should Know (2018), Everything for All Reasons: Terry Allen (2019), Stevie Van Zandt: Discipline (2024), Yacht Rock (2024), What the Hell Happened to Blood, Sweat & Tears (2023), The Mojo Manifesto: The Life and Times of Mojo Nixon (2020), and Clean Cut American Kids: The Story of Ill Repute.

Books:

Jason Lamb, Nomeansno: From Obscurity to Oblivion (2024). 

I love Nomeansno—it seems that this feeling only grows. I usually do not care to read books that tell the history of the band by assembling quotes from interviews, but this approach works well in this case. The narrative provided a nice glimpse into the day-to-day lives of the band members and those who were close to them. 

Jim Ruland, Corporate Rock Sucks: The Rise and Fall of SST Records (2022).

Jimmy “Explosive Diarrhea” B sent me a copy of this book, knowing that I grew up listening to a lot of the bands that were on SST. Glad that he did, as this is a fascinating story, exploring the lives, connections, struggles, and music tied to this independent record label. 

SoDak’s Festivus Musical Grievances in 2024

By SoDak

Turnstile.

I finally saw Turnstile perform at the No Values festival in California. For the most part, they were incredible, minus the three electronic interludes. The grievance is that they played a very short set. They were higher up on the billing, so the time allotted to them was more than the bands earlier in the day. Most of the bands preceding them apologized for the short sets, wishing they were able to play longer. Turnstile finished playing with approximately 13 to 15 minutes more available to them. According to setlists online, they played fewer songs than they were playing the week before at other shows. This left a big gap until the next band played. Given that they did not give a shit, I wish the other bands before that actually wanted to play more songs would have been allowed to do so. 

Wilson Neate’s Wire’s Pink Flag (2009). 

The 33 1/3 book series can be hit or miss, but I generally enjoy reading the books. Wilson Neate’s book on Wire is a big disappointment. It is filled with exaggerated claims about what other punk rock bands did or did not do. This mischaracterization is simply a ploy to try to elevate Wire as a band. I wish the discussion would have just focused on what Wire did, as this interesting enough to distinguish them. This book is a very uninteresting exploration of this great band. 

Nick Cave and the Bad Seeds, Wild God (2024). 

While this record is being praised by many, it does not resonate with me. The music is not captivating or engaging. Each time I listen to it, I am eager to hear something else. The problem is likely with me. Oh well. 

Adam Ant.

I do not consider myself an Adam Ant fan, but I grew up at time when he was quite popular. I figured I might as well see him perform this year, mostly out of curiosity. I was hoping to see a good show. The percussive elements were wonderful. But all the songs were arranged differently. The guitar tones were very modern and created a wall of sound, drowning out the overall dynamics within the songs. Most folks in the theater seemed dissatisfied, as few stayed to experience the entire performance. 

Nouveau Riche People at Shows in Park City.

In Park City, Utah, there is a great music venue—the Egyptian Theater. It is a small theater with a capacity around 260 people. The shows often feature older acts. For the most part, I really like seeing shows there. However, from time to time, it can be a miserable experience, as the nouveau riche show up in numbers. They sit at the tables in front of the stage or in the first few rows of seats. When this happens, they generally talk throughout almost the whole performance, loud enough that it makes it hard to hear the music. Once the performer starts to play a “hit” song, these rich fucks get up, dance, and sing along, pretending that they are fans. When the song ends, they return to their seats proceeding to be disruptive pieces of shit. 

So Brick, Eh?’s Festivus Musical Grievances in 2024

 By So Brick, Eh?:

 

What the fuck NOFX? Are you retiring or something? Is this your last tour? You should probably let us know. But in all seriousness, my relationship with NOFX has warbled this year. My first attempt to see them got rained out, which isn’t their fault, but a bummer, nonetheless. But by their good nature they welcomed the rained-out crowd back to day two of the last Punk in Drublic showing in Denver, Colorado. And, to make up for it, they’d be playing TWO sets. A matinee and an end show. What luck! Timing made it difficult for me to see matinee, so I only caught the end show, and, to my dismay, they had spent the time between the matinee and end show drinking quite heavily. Suffice to say, not their best performance, but, hey, that’s punk rock baby! Because I think they’re retiring? I can’t remember if I heard that or not.

What the fuck is Midwest emo? There are some emo songs that are clearly about the Midwest. “Lansing, MI” by Public Transit and “Ohio Is for Lovers” by Hawthorne Heights come to mind. But there is not a distinctive or unifying sound that is genre defining and I am tired of people insisting that Midwest emo is somehow different from emo more generally. Perhaps it’s like the “British Invasion” and it’s about where the music originates. But then there’s my buddy’s band Collinsworth from goddamn West Virginia, which is decidedly not the Midwest, yet they self-label themselves as such. Is this a marketing move? Is this yet another authenticity digression? Jesus Save Me from The Glamorization of The Midwest. Who would willingly be proud of the same place JD Vance calls home?

What the fuck is going on in country music? Look, I get it. I really do. Music has long been a process of sampling, remixing, homa,ge and allusion. But some of these new country songs are just out of pocket. See Cole Swindell’s “She Had Me at Heads Carolina,” Jake Owen’s “I Was Jack (You Were Diane),” or, the most egregious, Dustin Lynch (ft. Jelly Roll)’s “Chevrolet,” if you aren’t aware of the light-to-moderate plagiarism that’s going on. Are they using Chat-GPT for lyrics?

And, what in the fuck kind of stage name is Jelly Roll?

Hinckleyhadavision’s Favorite Music in 2024

By Hinckleyhadavision

It seems like my year has allowed little time or access to new music. The music apps are the only way I listen to music, and they have commercials that I absolutely can’t stand, so I didn’t listen much—even during my long commute. Mostly, I drove in silence—stumbling through the cycles of my own thoughts.  

Then, I remembered coming across Justin Townes Earl’s “Harlem River Blues” this spring. I found it glorious in its darkness—the profound hope in the end of suffering. Justin, found it, sadly—for us all.

Gory Zaver’s Favorite Music in 2024

By Gory Zaver

Shredable stuff I listened to a lot in 2024 (not in any particular order):

1) Ghoul, Noxious Concoctions.

2) Negative Prayer, Self//Wound.

3) Morbid Stench, The Rotting Ways of Doom.

4) Necrot, Lifeless Birth.

5) Gatecreeper, Dark Superstition.

6) Coffins, Sinister Oath.

7) Thou, Umbilical.

8) Warcollapse, Deliberate Indoctrination.

9) Poison Ruin, Confrere.

10) Gel, Persona.

11) Habak, Insania (2024 reissue).

12) Generation Decline, Stygian.

13) Speed Plans, DUI (ep).

14) Nightfeeder, Cut All of Your Face Off.

15) Nightfeeder, Nightfeeder (ep).

16) Nightfeeder, Disgustor (ep).

17) Poison Idea, We Must Burn (2024 reissue).

18) Goetia, Tomb Essence.

Enforcer, Nostalgia (2023)

 

By SoDak

Null calls me up telling me he is obsessed with a band called Enforcer. He really liked the cover, so he bought their record Nostalgia. He remarks that they have a traditional heavy metal sound, with flourishes of Iron Maiden and others. All weekend, he is listening to it, subjecting his partner to the record. Two days later, a package arrives at my house, containing the Enforcer CD. Dutifully, I listen to the record several times and write to Null. 

Dear Null, 

I received the Enforcer CD. Thank you for sending it to me. It is a nice surprise. I remember the cover, perhaps from a review on Banger TV. I think it was the suggested pallet cleanser for one of the monthly recommendations. As you noted, the songs rock. The band is quite fascinating as they blend so many aspects of 1980s metal. The traditional aspects are present, especially given the guitar work. Enforcer also has a lot of hard rock and hair metal aspects, but from the more energetic and edgy aspects of these genres. To me, this is most apparent in the high pitch of the singer’s voice on certain songs, such as “Heartbreaker.” To me this is not a negative, as there are plenty of bands in this camp that I liked, especially those that are not forced into commercial, mainstream production. On the ballad “Nostalgia,” there is an interesting mix of metal from the 1980s, but there are moments within the song when the singer’s voice has a Freddie Mercury waver. It is subtle and takes place for just a few seconds, which is very interesting. I like the sweeping, epic singing on many songs. This record reminds me of all the cassettes that I had as a kid, especially those by bands that never got popular but were more interesting as a result. The Enforcer songs are raw, rocking, and quite fun, as there is an edge to them. I have listened to the record three times today, and I keep finding gems within the songs. The guitar leads are excellent, especially on “No Tomorrow.” The chorus on “At the End of Rainbow” is very catchy. This may sound odd—I hear a lot of early to mid-period Scorpions on some of these songs, but Enforcer is not as polished. Plus, there are so many other influences that are mixed into their songs. This record takes me back to being a geeky elementary and junior high kid, who was obsessed with hard rock and metal. I did not have too many friends at the time who also liked this type of music. I would go to the record store to flip through the import bin, hoping to find something intriguing or something that I saw in the back pages of Hit Parader. I would have definitely bought this record based on its cover. Thank you for sharing this music with me. It is great fun. 

Yours,

SoDak

So Brick, Eh?’s Favorite Music in 2024

By So Brick, Eh?

 

I suppose my first comment on my musical interests in 2024 is more a confession than anything else. I did indeed have a “brat summer.” Charli XCX’s Brat album is popular for good reason. Her previous work was too hyper and unlistenable, but songs like “360” are just damn catchy and much smoother on the eardrums. The early Euro-rave influence is still there, but the sound has matured. Whatever work is happening in production for Charli is clearly paying off. While snowboarders routinely rip 1440s and other dizzying spins, far surpassing Tony Hawk’s now tired 900, I’m quite content with one revolution at a time.

Like many bands of the 1990s and 2000s, both The Postal Service and Death Cab for Cutie (aka the Ben Gibbard show) had a joint anniversary tour this year. I caught them while back in Pittsburgh for a stint and even though I haven’t listened to much Postal Service in the intervening years, I was pleasantly surprised to remember so many of their tunes. Seeing Ben Gibbard perform was also a highlight, as he’s damn good—dances like a weirdo though.

Spotify informed me that I was among the top two percent of Misfits listeners globally this year, so there’s that.

I forced some of today’s youth to listen to Minor Threat. The ensuing discussion had us wondering, can one be straightedge without the edge? Can a Mormon be straightedge? Are they just straight without the edge? What’s more important, the not drinking or the “look?” Must both be present? And in what quantities? I’m a bit of a purist so, to quote Chuck Palahniuk, “sticking feathers up your butt does not make you a chicken” is my final verdict on the matter.

As a self-professed fan of the “you call that music?” genre, the tunes I dare you to listen to are: “The Genre Police” by AronChupa and Little Sis Nora, “Hentai” by S3RL, and “Miku” by Anamanaguchi and Hatsune Miku.

Ian’s Favorite Music in 2024

By Ian

1. Mefitis, The Skorian//The Greyleer (2024).

I think this is incredible as far as progressive black/death metal goes. There’s shades of real musical ability interspersed with the usual headbanging sorts of riffs. Plus, I dig it when an album or band really leans into the whole “concept album” bit. I imagine they probably wrote about their dungeons-and-dragons campaign or something, which to me is incredibly, awesomely self-indulgent, and I crave more. 

2. Duster, In Dreams (2024).

Duster returns to form with less scuzz and feedback, with slower, more thoughtful, songs making up the bulk of this record. Though it came out near the end of the year, it fits perfectly with the usual grey and brown that accompanies November and December. Those who know me know I love music that hits speeds around or above 200bpm, but Duster and other slowcore bands all have a special place in my heart. 

3. Hologram, No Longer Human (2021).

I have no fucking clue how I missed this band. Signed to Iron Lung records, this band is everything I crave from punk music. None of that self-indulgent “down with the system” stuff is here. Taking their title from the Osamu Dazai book of the same name, this album is pure “meanness” distilled into uncompromising, battering riffs that reek of inner turmoil, thrashing introspection, and a rage against society at large. It’s an album that, upon repeated listens, might give the listener a permanent stank face. It’s that good. 

4. Pyrrhon, Exhaust (2024).

Great dissonant death metal from Pyrrhon once again. I felt like it was a little more calculated and less spazzy than their previous output, but I love it all the same. The vocalist’s angsty, cough like yowls truly fit with the angular, jagged guitar work and breakneck drumming; it tells of a world headed for ruination with no looking back. 

5. Torture, 4: Enduring Freedom (2023).

The bassist from my band Chasmlurk turned me onto these guys while we were driving down to Vegas to play a show there. This is, by far, the most ignorant, caveman-esque shit I’ve ever heard. I hate breakdowns in metal or punk songs with a truly uncompromising fervor, but somehow Torture manages to sound like a brutal death metal breakdown for an entire song that stretches up to five minutes, and then they did that for 13 songs and called it an album. It is so blissfully, beautifully stupid. Slam riffs, pig squeals, zero guitar solos and the like. And it’s unabashedly Iraq War themed, with a fitting ignorant sound that reflects the sheer stupidity of our politicians who got our country into that mess. It’s brilliant. 

6. Adversarial, Solitude with the Eternal (2024).

Another dissonant blackened death metal record. I really like these guys in that they take dissonance to such an extreme that it somehow becomes melody again. And it’s fucking fast. 

7. Mamaleek, Vida Blue (2024).

Mamaleek is a strange band. They started off as “black metal,” but as their music has changed with each release it now resembles a weird amalgam of jazz, chamber music, rock, and a sprinkling of metal that I’ve not heard anywhere else. Apparently, this record is about a famous baseball player—in what way this is significant, I have no idea. This is one of those records where I didn’t do much digging about its themes or lyrics and just kinda let the album take me wherever. It’s a journey, for sure, and I recommend any fan of experimental music to give this a try.