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.
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