I can’t speak for everyone, but I’d say 2024 was a great year for music. There were so many amazing albums released across a variety of genres, ensuring something new for everyone to enjoy. My 2024 listening catered to the indie side of things, so that’s what I’ll be highlighting on this list. Keep in mind, this is very subjective and the albums I talk about aren’t ranked, since the order would change depending on the day.
Starting off strong is Friko, with their debut LP, “Where we’ve been, Where we go from here.” It’s a powerful first statement by the fiery indie rock duo from Chicago. For 36 minutes, Niko Kapetan and Bailey Minzenberger slam out one anthemic rock powerhouse after another, only breaking stride for a few emotionally resonant acoustic tracks along the way. The Arcade Fire parallels are impossible to ignore, but Kapetan’s restrained yet tortured vocals, the heartfelt songwriting and the mastery of stripped songs set Friko apart from the early 2000s indie rock sound they capture. The delicate start to the opener, “Where We’ve Been,” along with its creeping build and the explosive climax, made it one of my favorite and most played songs of the year.
Next up is Mount Eerie’s “Night Palace,” a long but rewarding listen with experimental surprises around every corner. After a series of lyrically focused indie folk albums under the Mount Eerie name, this project sees Phil Elverum returning to his roots with the drowning noise, shorter songs and erratic track sequencing from his early work in The Microphones. “Night Palace” might be best classified as a slacker rock and avant-folk album, but if you checked out a random song, you might hear post-rock elements, spoken word delivery or even a trap breakdown. Elverum’s writing is as sharp as ever, always finding a way to connect intimate experiences with nature to emotions and societal issues. The lead single, “I Walk,” is commendable for how well the wind noises in the reserved beginning transition into overbearing guitar passages. “November Rain” and “I Spoke With A Fish” also stand out for their profound lyrics and unique sounds, not seen anywhere else on the album.
It’s time to get a little quieter with another one of my favorites, Adrianne Lenker’s “Bright Future.” This indie folk record is a cozy addition to Lenker’s solo discography. Her angelic vocals and the acoustic guitar-led instrumentation create an intimate atmosphere, as if you’re listening to a small group of musicians casually playing by a cabin fireplace. Lenker’s lyrics cover human relationships at every level, coming off as comforting and sometimes heart wrenching. It’s an incredibly consistent album, and it’s hard to choose my favorite between “Sadness As A Gift,” “Free Treasure” and “Evol.”
Staying in the folk area, I’d like to recognize the emerging English band Tapir!, with their debut LP, “The Pilgrim, Their God and The King Of My Decrepit Mountain.” It follows a three-act structure that details an ambitious pilgrimage. Most songs have a skeleton of folk instrumentation that’s filled with electronic drums and synths, creating a blend of folktronica and chamber pop. The drawling vocal contributions from Ike Gray complete their refreshing sound, and only time will tell where the band takes it from here.
On the opposite end of the spectrum is Parannoul’s “Sky Hundred,” the loudest album I listened to this year. Here, he shifts away from the lo-fi production and layered dream pop from his prior work and goes with a blend of deafening shoegaze and noise pop. While the tumultuous songs may sound indistinguishable on first listen, the entrancing vocal and piano melodies under the screeching guitars and blown out drums make each song distinct. “Gold River,” the lead single, is a dazzling display that shows how beautiful and catchy his noisy music can be.
Last but not least is Geordie Greep with “The New Sound,” his first solo project after the breakup of black midi. Greep injects progressive rock with Latin and jazz influences, bringing in a lot of eccentric instruments in the process. The dramatic vocal performances and incel caricature Greep brandishes can make it a divisive listen, but it’s meant to be satirical. “The Magician,” the penultimate 12-minute epic about a breakup, is the clear standout and my favorite song of the year. It’s Greep’s most sincere lyrical work and the expansive progression in the second half is downright breathtaking.
Here are a few honorable mentions for albums and EPs that stuck with me throughout the year, but didn’t quite make my top cut: “Only God Was Above Us” by Vampire Weekend; “Patterns in Repeat” by Laura Marling; “Connla’s Well” by Maruja; “Mahashmashana” by Father John Misty; “plastic death” by glass beach; “Seed of a Seed” by Haley Heynderickx; “Prelude to Ecstasy” by The Last Dinner Party; “Winter Break” by Five Point Palm Exploding Heart Technique.
I wish I could’ve gotten to more of the amazing music that came out in 2024, but I’m still walking away with many highlights. If you’re looking for more recommendations in different genres, or you hate this list for excluding your favorites, check out the music reviews from the Life section! There are a few dozen that cover a wide array of music released this year, and I can’t recommend them enough.
Great list! Friko❤️