I thought 2024 started slow, but it picked up!

10. Grandaddy: Blu Wav

Jason Lytle, 55, has been working under the moniker Grandaddy for years. He has also branched out solo. Here, he re-unites the band for their first album in seven years. The result is lovely… “I don’t ever want to leave… because this life is not a dream.” he sings in Cabin in My Mind. It is Americana, and pedal steel is at the forefront. You can leave it on repeat. It will play for an entire afternoon without you even knowing it. It’s dreamy, melancholic wonderfulness.

It all flows beautifully.

9. Brigette Calls Me Baby: The Future Is Our Way Out

Oh boy, this took me by surprise. Yes, let’s get the Morrissey comparisons out of the way… particularly when you sing in one of their songs, Pink Palace, the lyric: “Decapitation and masturbation. Don’t go hand in hand.” It’s all fun and games. That is Track 2 on this debut banger from Chicago-based Brigette Calls Me Baby. There is a lot of Roy Orbison, The Strokes, and even Elvis on the last track, Always Be Fine, to hear. This is one great listen. At 38 minutes, it is perfect. The band leader and singer, Wes Leavins, will be one to watch.

8. I DON’T KNOW HOW BUT THEY FOUND ME: Gloom Division

Fun. iDKHOW, which is really now just Dallon Weekes (formerly of PANIC! AT THE DISCO), pounds out indie/emo tracks at such an infectious pace that it is hard to keep up. I anticipated this release in early 2024, and it hasn’t disappointed me. Dave Friedman, who has worked with Tame Impala, MGMT, and The Flaming Lips, produced Gloom Division. This album marks the follow-up to iDKHOW’s critically lauded 2020 full-length debut RAZZMATAZZ. The first song, Downside, starts: “I know that I can be impossible. I’d say I’m sorry, but I’m never gonna let go. It feels like my heart broke. The second I said “no.” But I regret it now. I didn’t know.” His struggles continue, but the album is fantastic to listen to. It is enjoyable to hear the flows Weekes makes from art-pop and new wave to post-punk. It is a fascinating piece of work and deserves plenty of Album of the Year lists…

7. Billie Eilish: HIT ME HARD AND SOFT

I love everything about this pop album. Underline the word “pop” here regarding what Billie Eilish has made. It is refreshing, and it could have ranked higher on this list. The 22-year-old Eilish and her producer and co-writer brother Finneas O’Connell have created an album that remains a pop album. However, it is likely the most instrumental album on this list. In their review, the Telegraph said it was “great enough to stand alongside Joni Mitchell’s Blue.” It is sensual. This isn’t hard, hearing Eilish’s vocals. It is explicit, romantic, heartbreaking, and powerful. More than anything, it’s a lot of fun.

“I’m trying my best. To keep you satisfied,” the album starts with the lovely SKINNY. Billie Eilish has done a fantastic job with this album.

6. Hurray For The Riff Raff: The Past Is Still Alive

The album The Past Is Still Alive is the latest release from Roots/Americana artist Hurray for the Riff Raff. Alynda Segarra leads the band and identifies as nonbinary. Segarra released their highly rated 2022 album Life on Earth. They began working on The Past Is Still Alive in March 2023. This was just one month after their father’s death. You can feel it throughout the album—it is personal but never weighty. Its production, led by Brad Cook, effectively supports all of the song’s narratives without overshadowing them.

Overall, The Past Is Still Alive is a significant release from Hurray for the Riff Raff.

It combines musical simplicity with complex, heartfelt storytelling to create a compelling listening experience. Within its 36 minutes, The Past is Still Alive offers a captivating listen. It balances the heaviness of its themes with musical upliftment. 

5. Charli xcx: brat

Charli xcx’s brat is a bold, high-energy return to her rave-inspired roots, blending raw, gritty production with emotional vulnerability. Critics have hailed it as one of her best works, praising its sharp, club-ready sound and confident lyricism. Tracks like 360 stand out for their minimalist yet infectious beats. They showcase Charli xcx’s signature blend of attitude and cool detachment.

Beyond the music, brat has been a commercial triumph. It debuted at number one in multiple countries. It secured Charli xcx’s highest-ever Billboard 200 placement in the U.S. The album’s “add-on” release is a two-disc triumph called brat. It’s completely different but also still brat, with brat as disc 2. It features high-profile collaborations, including duets with Lorde, The 1975, and Billie Eilish. These collaborations add layers of depth and contrast to the record. My favorite remains “Guess,” with Billie Eilish. I love it partially because I think Billie’s sultry vocals blend well with Charli xcx’s. The music video for this song is so stupidly fun. Their contributions highlight Charli xcx’s ability to merge her avant-pop sensibilities with mainstream appeal so seamlessly. Additionally, brat has sparked cultural discussions, reinforcing her reputation as a fearless pop innovator pushing boundaries both musically and socially.

4. Mather John Misty: Mahashmashana

Mahashmashana is the sixth studio album by American musician Josh Tillman, known by his stage name Father John Misty. Released on November 22, 2024, through Sub Pop and Bella Union, the album offers a sweeping exploration. It delves into existential themes of mortality, identity, and societal decay. The album’s title is derived from Sanskrit and means “great cremation ground.” This sets the tone for its introspective and often darkly humorous lyricism. Musically, it shifts between lush orchestral arrangements and raw, live-band energy. Tracks like the sprawling, ten-minute title song show Tillman’s versatility. My favorite track is the disco-tinged I Guess Time Just Makes Fools of Us All, highlighting his range.

Tracks like Screamland delve into societal collapse with biting wit. Others, like She Cleans Up, balance frenetic energy with rich instrumentation. Mahashmashana ultimately feels like a reconciliation between Tillman’s satirical persona and a more earnest self-exploration. This solidifies his reputation as a masterful storyteller. He is unafraid to confront life’s biggest questions. As I mentioned in my review, it feels as much like a meditation on the human condition. It also resembles an album.

3. Jack White: No Name

When this album dropped in the summer of 2024, my jaw equally dropped. It came from nowhere, and immediately, I was online trying to buy the various vinyl versions of it. (OK, yes, I was streaming the heck out of it as well.)

Jack White’s “No Name” is a fiery return to his rock and roll roots. It is a visceral and exhilarating listen. The album channels the raw energy of the White Stripes while pushing his sonic boundaries. The album explodes from the outset with Old Scratch Blues. It is a whirlwind of distorted guitars, pounding drums, and White’s signature raspy vocals. Tracks like That’s How I’m Feeling, What’s the Rumpus? and Missionary are instant classics (it’s hard to pick out just three!), their infectious hooks and relentless momentum guaranteed to get your blood pumping.

White’s songwriting is, as always, sharp and insightful. It is imbued with a potent mix of social commentary. Personal reflections and surreal imagery also enrich his work. “No Name” shows his enduring fascination with the blues. It draws heavily from its raw emotional power and improvisational spirit. The album showcases his masterful guitar work. It ranges from blistering solos to intricate fingerpicking. His vocals are delivered with a raw intensity. Sometimes, this intensity borders on primal.

“No Name” inevitably invites comparisons to the White Stripes, and it’s undeniable that the album shares a similar DNA. Who cares? White has clearly evolved as a musician. The album showcases a broader range of influences. It also reveals a more mature approach to songwriting. Some may yearn for the stripped-down simplicity of the White Stripes era. However, “No Name” is a powerful statement of artistic intent. It reminds listeners that Jack White remains one of the most exciting and unpredictable figures in contemporary rock music.

This is unrestrained rock and roll, a sonic assault that leaves a lasting impression. It’s an album that demands to be played loud, an experience that will leave you breathless and wanting more.

2. The Cure: Songs of a Lost Word

“Songs of a Lost World,” released on November 1, 2024, marks The Cure’s long-awaited return. This comes after a 16-year hiatus since their last studio album, “4:13 Dream”. This album arrives with an air of weighty introspection, reflecting deeply personal themes of loss, mortality, and self-reflection. Frontman Robert Smith is known for his poetic lyricism and haunting vocal delivery. He channels his grief into the music. This makes it one of the band’s most emotionally charged releases to date. It carries the weight of the recent losses of his mother, father, and his brother.

The album consists of eight sprawling tracks. Each track is drenched in The Cure’s signature atmospheric textures. The songs blend ethereal guitars, brooding basslines, and swelling orchestral elements. The opening track, Alone, immediately sets the tone. It features an extended instrumental introduction that immerses the listener. This happens even before Smith’s vocals begin. This unhurried, immersive approach defines much of the record, demanding patience but rewarding listeners with deeply layered compositions. Meanwhile, the album’s closer, Endsong, stretches beyond the ten-minute mark, wrapping the experience in a grand, meditative conclusion. Smith doesn’t start to sing until well after six minutes, which I think must be a Cure record! It is my favorite song on the record. He ponders the passage of time. According to The Guardian, one early live performance of Endsong showed Smith in tears. As he sang, he said: “I’m outside in the dark, wondering how I got so old.” He then sings, “It’s all gone, nothing left of all I loved.”

“Nothing.” It finishes.

The album carries a sense of weight and grandeur. It is reminiscent of their seminal 1989 masterpiece “Disintegration.” Yet, it has a refined maturity that speaks to the band’s evolution. The production feels lush and meticulously crafted. It weaves together expansive instrumental sections. The lyrics are deeply introspective and explore themes of love, longing, and existential contemplation.

Beyond its artistic merits, the album has also resonated commercially, marking a triumphant return for the legendary band. It debuted at number one on the UK charts, making it The Cure’s first chart-topping album since Wish in 1992.

The Cure has crafted an album with “Songs of a Lost World.” It is both melancholic and majestic. This proves once again their ability to create music that feels timeless. Longtime fans will find solace in its haunting beauty. New listeners may discover a gateway into the band’s vast and storied discography.

I can’t wait for the next.

1. Magdalena Bay: Imaginal Disk

Magdalena Bay is a Los Angeles-based synth-pop duo. It consists of Mica Tenenbaum and Matthew Lewin. They have returned with “Imaginal Disk,” their highly anticipated sophomore album. Following the breakout success of their debut album “Mercurial World” in 2021 (which was #4 in my favorite albums of that year… https://cggarrod.dropmark.com/1123496), the duo takes an even bolder creative step, crafting an ambitious concept album that blends pop maximalism with surreal storytelling and introspective lyricism. If you’ve never listened to “Mercurial World”, then I’d first say “stop.” Go and listen to it first, please.

Then shift gears into the pop bliss that is “Imaginal Disk.” It is a concept album that will blow your mind if you allow it to.

As I said in my review, “Imaginal Disk” is a compelling chapter in Magdalena Bay’s artistic journey. It challenges pop music conventions, blending nostalgia with futuristic themes in an undeniably intriguing way. The album offers so many moments of pure, unadulterated beauty, introspection, and pop joy.

“Imaginal Disk” is a story-driven album. It follows a character named True. True exists in a technologically advanced society. In this society, individuals undergo a prescribed transformation through an implanted “imaginal disk.” The concept draws inspiration from the biological process of metamorphosis. It mirrors how caterpillars dissolve within their chrysalis. They emerge as butterflies. True, however, rejects this forced evolution, embarking on a deeply personal journey of self-discovery, rebellion, and identity crisis…. ok, got that?

The sci-fi-tinged narrative flows through the record’s lyrics. It intertwines with the sonic textures. This creates a listening experience that is thematically cohesive and wildly unpredictable. Magdalena Bay uses futuristic imagery and questions existence. They paint a world where technology and human consciousness collide in strange and fascinating ways. The themes could have become heavy-handed. However, the duo balances the conceptual weight with their signature playfulness. They also add a healthy dose of surrealism.

The sonic world of “Imaginal Disk” is lush and expansive. It moves between futuristic synth flourishes and dreamlike textures. There are sudden bursts of maximalist energy. The duo leans even further into their progressive rock influences, blending complex arrangements with hypnotic melodies. There’s a greater sense of fluidity to the album. Each song bleeds into the next. It forms a cohesive, cinematic whole rather than a collection of isolated moments.

Much of “Imaginal Disk” revolves around themes of self-perception, digital identity, and transformation. This is especially apparent in Image. The song interrogates self-worth in an era of endless projection. The track pulses with a hypnotic energy. Its lyrics reflect on the disconnect between how we see ourselves and how others see us. There’s a desperation to its repetition. It’s as if the song itself is caught in a loop of self-examination. It seems unable to break free.

In contrast, That’s My Floor is pure, unfiltered momentum — a high-energy, breathless escape. There’s a sense of exhilaration in its movement. It evokes a rush of feeling that captures the album’s overarching theme of transformation. This theme is not a passive process but an active, sometimes chaotic, sprint forward. It’s one of the most urgent moments on “Imaginal Disk”. It reminds us that change isn’t always gentle. Sometimes it is messy, abrupt, and overwhelming.

And then there’s Death & Romance, a track that distills Magdalena Bay’s ability to balance sincerity and self-awareness. The song’s massive, sweeping chorus is cinematic in its grandeur yet tinged with an eerie sense of longing. It carries the weight of nostalgia. Instead of settling into past memories, it feels like a desperate grasp for something fleeting. This could be an image, a feeling, or a connection.

There’s something intoxicating about how Magdalena Bay navigates this space between the artificial and the deeply human. “Imaginal Disk” isn’t just a continuation of their aesthetic; it’s an evolution, an expansion, a reinvention. The duo has always had a gift for making music that feels like it exists in its own universe. In this work, that universe feels more alive. It feels more tangible and more self-aware.

With “Imaginal Disk”, Magdalena Bay doesn’t just invite listeners into their world—they challenge them to reconsider their own. It’s an album that resists easy interpretation, one that lingers in the mind long after its final moments fade. “Imaginal Disk” captures the manic rush of movement. It enfolds the haunting echoes of nostalgia. It also portrays the relentless search for self-definition. This elusive quality is deeply resonant, like standing on the precipice of change and staring into the unknown… and leaping forward anyway.

I so want to see them live now…

Chris Garrod, January 20, 2025