Jim Testa
Paul Silver
Richard Quinlan
REDD KROSS – Redd Kross (In The Red Records)
(reddkross.com) Brothers Steve and Jeff McDonald have been Redd Kross since puberty, and despite a few hiatuses, have never really gone away. But this collection of 18 new songs proves that the brothers may only just now be peaking. Catchy, colorful, jubilant, snotty, and psychedelic, Redd Kross is just part of a landmark year for the band, which includes the publication of a memoir and a feature-length documentary.
AMY RIGBY – Hang In There With Me (amyrigby.bandcamp.com)
Milestone birthdays hit us all differently. Turning 60 inspired Amy Rigby to pen this beautiful album, much of which deals with aspects of aging. Of course, it's Amy Rigby, so the songs are tuneful, bright, and clever, even when tinged with sadness. She’s long been one of my favorite singer-songwriters and this has been a huge year for her, with an international tour and a move from the Catskills to England (with her husband, “Wreckless Eric” Goulden.)
KAL MARKS – Wasteland Baby (kalmarks.bandcamp.com; Exploding In Sound Records) >br>
Founding frontman Carl Shane and the Kal Marks 4.0 lineup (bassist John Russell, drummer Adam Berkowitz, and guitarist Christina Puerto, Shane’s life partner) have taken the angry, brittle post-punk they’ve made up to this point and expanded it in ways both musical and philosophical. At times, Wasteland Baby sounds like a transmission received inside a bunker, complete with radio static and other effects. But then the title track explodes like a pop superhit from the MTV era, with a soaring vocal and glorious melody, the way you sing when a war has been won. With an apocalypse seemingly right around the corner, we’ll need songs like this.
CARNAGE ASADA – Head On A Platter (carnageasada.net)
These East L.A. punk rock lifers bonded as middle school cholos in the early 80’s and have forged indestructible bonds through the years, playing in a bevy of bands that have influenced generations. As Carnage Asada, a band that’s been knocking around since ’93 but only now releasing a full-length, they bring swagger, grit, and humor in heavy doses, with crunching guitars, ear-stabbing bass, and roiling drums, fusing punk, metal, and post-punk. They sing of the streets they grew up on, alleys and slums littered with discarded needles, rusty nails, and broken glass, but their brotherhood in music elevates those hardscrabble memories into something magnificent.
CATHEDRAL CEILINGS – La La La… Whatever (Dromedary Records; cathedralceilings.bandcamp.com)
These rock ‘n’ roll lifers from the swamps of Jersey have credits as long as your arm and a seemingly endless array of chunky riffs that they pile into terse, frantic, imaginative three minute miracles, every one on point and memorable. There are melodies here, lots of ‘em, enough for me to make a laundry list of all my favorite bands from the 90s and 00s which these guys unabashedly and unashamedly worship. Cathedral Ceilings blow your mind by how friggin’ good they are at sounding like all your favorite loud, fast records. That is their genius.
J. ROBBINS – Basilisk (Dischord)
J. Robbins has fronted quite a few bands over the decades – Jawbox, Burning Airlines, Channels, Office of Future Plans, not to mention his early days in Scream and Government Issue. But on his second solo album, besides adding electronic elements not heard in previous work, Robbins brings an immediacy and urgency that’s nothing short of electrifying. Robbins is writing for himself here, not to fit the style of a band, and while he’s always been a keenly intelligent and articulate songwriter, there’s a laser sharp focus to these tracks, whether singing about personal tumult (“Automaticity”) or the existential danger to democracy posed by January 6 (“Last War”).
JESUS LIZARD – Rack (Jesuslizard.bandcamp.com)
On their first new music since 1998, Jesus Lizard reclaim their rep as one of the fiercest and most confrontational post-punk bands on the planet. The original lineup remains intact: the electrifying David Yow on vocals, Duane Denison’s acid-drenched riffing and David Wm. Sims’ bass pummeling the listener over Mac McNeily’s explosive drums. When the band does take its collective foot off the gas for a bit – these guys are, after all, sexagenarians – the results remain vital and interesting. And even as these guys bludgeon your ears, they’re tickling your cerebral cortex as well, with a sly wit that swirls under the surface of even the most frantic tracks.
SPRINTS – Letter To Self (City Slang; sprintsmusic.bandcamp.com)
Following in the footsteps of Idles, Shame, and Fontaines D.C., Sprints’ Karla Chubb unleashes the vitriol of a new generation of disaffected U.K. youth, speaking/singing/spitting out lyrics and riffs with unbridled passion. Reportedly inspired to start a band after seeing Savages perform in 2016, these Dubliners unleash a barrage of questions, emotions, and pain summed up in Chubb’s wailing cry of “Is anybody happy?” Fuck no. That’s the point, innit?
EARLY LIFE – Big Life (Asbestos Records; eearlyriserrr.bandcamp.com)
With the ubiquitous Mikey Erg on drums and Heidi Vanderlee’s enchanting cello adding an unexpected sound, Early Life’s third full-length proved to be my favorite pop-punk release of the year. Lots of acoustic guitar and the vocals of Kiri Oliver bring a welcomed light touch and an engaging buoyancy, even when Oliver advocates for female empowerment, brushes off a loser boyfriend, dreams about leaving left alone (her idea of that titular “big life,”) or wonders what to do when “you’re a superstar in a shit town.”
THE ZATOPEKS – Loitering & Sauntering (Stardumb Records)
On their first new album in a decade, the Zatopeks prove they remain one of pop-punk’s great gifts to the world. Will DeNiro’s rapid-fire vocals and the band’s unending supply of melodies meld political fervor, musical verve, and unbridled, infectious enthusiasm into an unstoppable force. The opening track delivers a treatise on the British economy, another reclaims an anti-fascist marching song from the Spanish Civil War and makes it the Zatopeks’ own, and the lyric that begins “it’s a fine sunny day and I’ve got to go” morphs into an indictment of the British justice system. Catchy, smart, and infectious, Loitering & Sauntering is a keeper.
The years grow more chaotic and turbulent, but music is a constant source of joy. 2024 was no exception, and it produced a bumper crop of solid contenders for the Best of the Year list. So here it is, my choices for the best of 2024, culled from all of the records I reviewed this year. And, as usual, this list is presented in the order the records were released, not in any order of preference.
GRAZIA – In Poor Taste (Feel It Records) – EP – released Feb 2
Grazia’s debut is four songs filled with a mix of 80s post punk and new wave sounds with some power pop tossed in for good measure. The songs have a great driving rhythm, deadpan vocals, and impossibly bright guitars. It’s retro and modern at the same time, evoking the best aspects of 80s music but sounding entirely fresh.
J ROBBINS – Basilisk (Dischord Records) – LP – released Feb 2
Solid indie rock imbued with feeling and emotion. Melodic lines and rhythms are often fragments that suddenly shift direction, something I love about Robbins’ songwriting. And his arrangements are always rich, with the right balance of grit and luxuriance.
STATES OF NATURE – Brighter Than Before (Sell the Heart Records) – LP – released Feb 16
Powerhouse post-hardcore songs, with a manic energy, hard-edged and urgent. States of Nature tempers the fury with great melodic riffs and even some poppy hooks. Soaring vocals mix with those that are veritably spit out, recorded with a thin veneer of distortion over them, giving the album a great garage-like vibe.
JADE DUST – Grey Skies (Council Records, Extinction Burst, GGT Records) – mini-LP – released Mar 1
Jade Dust has a distinctly Dischord-like sound, playing melodic post-hardcore along the lines of many of that storied label’s bands. They echo early Midwest emo, melding east coast post-hardcore emo and Bay area poppy punk. This hits me square in the sweet spot.
COFFIN PRICKS – Semi-Perfect Crimes (Council Records) – LP – released Mar 1
Recently uncovered tracks from the short-lived Chicago band. Fans of Circus Lupus and similar bands with a more melodic approach to post-hardcore that maintains a hard-hitting edge and a snotty attitude will love this record, as it features raw, powerful music and biting vocals. Every song throws punches to the gut.
EXIT ANGLES – Iterate (Intentional Grounding Records) – LP – released April 26
Exit Angles’ melodies are rooted in minimalism, with repeated riffs, and the guitar tone is clean and clear. Vocals are reminiscent of early punk singing, loud and emphatic, but it’s singing. And the rhythm section is intentional, methodic, and driving. The songs do remind me a bit of DC post-emo, and even with the minimalism, the guitars sound complex, weaving around. It sometimes makes for a hypnotic sound.
EXTRA ARMS – Radar (Setterwind Records) – LP – released May 3
You can hear nods to bands like Cheap Trick, Elvis Costello, The Replacements, The Buzzcocks, and many others in their music, giving it a nice sense of variety within the power pop framework. It makes Extra Arms a band that’s very enjoyable and has something for almost everyone. There isn’t a bad song on this record.
ARMADA – Tales of Treason (Pirates Press Records) – LP – released May 10
Brazilian pop punk meets street punk. Many of the tracks are big and broad, crunchy and poppy. Armada may be one of Pirates Press’ best signings to date.
BERMUDA SQUARES – Outsider (Feel It Records) – LP – released May 17
This quartet plays powerful garage punk, filled with plenty of distortion and fuzz and loads of bouncy melody. This is punk music to pogo to, like in the old days. Listening to these songs is like being at a wild party.
FVRMN – Back to the Whip (Bifocal Media) – LP – released May 24
It’s almost as if The Jesus and Mary Chain were playing songs with a stronger beat and more bounce. This unique sound makes the band a real standout, with poppy melodies and a melancholy essence. This album is so good and so different from anything else out there today.
DRUNK UNCLE – O, Brittle Weather (Count Your Lucky Stars Records) – LP – released May 24
These songs are lush yet subtle. The band displays plenty of 90s Midwest emo influence from bands like Braid, and Cap’n Jazz, mixing in Slint influence, featuring a huge dynamic range, mathy meandering guitar lines, and impassioned vocals. Some unique touches include keyboards on some songs, and sometimes adding trumpet into the mix.
ULTRABOMB – Dying to Smile (DC Jam Records) – LP – released June 7
The bulk of these songs are a little bit frantic, loaded with pop melody and treble-heavy guitar, and backing vocals, reminding me a lot of a favorite band of mine, Hüsker Dü (unsurprising, since the band features Hüsker Dü bassist Greg Norton).
LORD BUFFALO – Holus Bolus (Blues Funeral Recordings) – LP – released July 12
I hear a foreboding sense of doom and the dustiness of the lonely, dark backcountry, places where the unwary meet an untimely fate. The darkness through these tracks is palpable, and the use of strings, sometimes risky in rock music, is absolutely spot-on here. They add to the eeriness, and the massive distortion in the guitars and bass lays down a thick layer of noise. Lord Buffalo’s “Holus Bolus” is a jaw-dropping masterpiece.
MELT-BANANA – 3+5 (A-Zap Records) – LP – released August 23
To state that Melt-Banana’s latest LP is full of manic energy would be the understatement of the year. The Japanese duo play music that’s experimental, electronic, industrial, rock, and punk, all fused together into a mass of ordered chaos played at breakneck speed.
OH, ARE THEY? – Guilt (oh-arethey.com) – LP – released Sept 13
These songs are more than solid. They’re in the post-hardcore realm, with strong, heavy, aggressive instrumentals and powerful, emotion-packed shouted and screamed vocals, but the songs are much more compelling and complex than typical post-hardcore. Unexpected chord changes and thoughtful arrangements with a sometimes near orchestral sensibility are evident. The songs get better and better as the album evolves, going from good to strong to phenomenal.
MATT CASKITT & THE BREAKS – California Dream Hearse (Loud Circles Vinyl) – LP – released Oct 1
The producer needs a band credit on this album, because the production really gives these songs an added dimension. From the reverb to the guitar tones selected, and the smooth harmonious backing vocals, the songs sound bigger, and dare I say, dreamier, than they do live. I can more clearly hear the emotion and passion in Matt Caskitt’s lead vocals, and the high-pitched jangle in the lead guitar gives the songs a bit of old honky-tonk feel. The songs sound breezier and more epic, and the keyboards add a new twist to the band’s sound. There’s more use of harmonized gang vocals on this album than there is in the live shows, and it really makes a positive difference, making the songs sound both bigger and dreamier.
DELTA SLEEP – Blue Garden (Wax Bodega) – LP – released Oct 11
Delta Sleep are one of the most unique bands around today. They combine mathy emo and breezy pop, using a creative mix of electronics and acoustic and electric instruments to create something new. They have developed a novel genre that they alone occupy; no one else sounds like them. They play songs that are smooth and relaxing, and songs that are emotionally charged and moving. They have incredible control over dynamics, going from quiet and solemn to explosive and back again at the drop of a hat. There are so many interesting creative touches on this album, and each listen brings something new to my ears. I love the jazzy pop rhythms, the shifting cadences, the huge emo guitar tone, and the quiet somber moments. There’s some amazing warbly electronics juxtaposed with subtle bass, and poetic vocals against hip hop beats.
THE DOPAMINES – 80/20 (Rad Girlfriend Records) – LP – released Oct 18
The Dopamines have a strong Midwest pop punk sound, akin to Dillinger Four, mixed with the immediacy of PUP. The songs are performed full throttle, with massive energy. Powerful vocals, including vibrant backing vocals, abound, and the instrumentals are lively and dynamic.
ST. LENOX – Ten Modern American Work Songs (self-released) – LP – released Oct 25
The songs are simple, just Choi singing gloriously and playing his keyboards. But the emotions conveyed are often incredibly heavy, and the sentiments full of gravitas. His albums revolve around a central theme, and this time it’s about work, labor issues, the hopes and dreams our parents have for us, and the realities in which many of us find ourselves. Those realities can include crushing student debt, hard long hours working, balancing the trade-offs between our passions and the reality of paying bills, what we give up for financial security, and those who sometimes literally work themselves to death.
GHOST WOLVES – Consumer Waste (Dirty Water Records / Saustex Records) – LP – Nov 1
What would it sound like if aliens from a 1950s science-fiction movie came to earth to play rockabilly music? If you want to know the answer, listen to this album! Ghost Wolves is a wild duo from Austin, Texas, but the rockabilly they play is insanely crazy, with manic vocals, discordant guitar, thumping bass, and sizzling synths.
1) SYLVAINE - Eg Er Framand (Season of Mist seasonofmist.com)
The majestic power of Kathrine Shepard’s voice left me sitting in stunned silence. This record demands complete attention and it impossible to appreciate all of her skills without numerous listens. Shepard balances the light and dark with remarkable precision and the sophistication of the songs are breathtaking. Fortunately, Shepard is on tour in the U.S this winter and will be a highlight of 2025.
2) BRODEQUIN - Harbinger of Woe (Season of Mist Records)
Brodequin play crushing, intricate death metal with a nod towards serious historical knowledge. The combination of intellect and fury makes them one of the most unique bands in the genre.
3) NAILS - Every Bridge Burning (Nuclear Blast Records)
The world is a better place when Nails releases a record of cathartic grind. This record in a punishing listen that encapsulated the rage felt throughout 2024. This one might get me through my 2025.
4) EINSTÜRZENDE NEUBAUTEN - Rampen (Potomak Records)
Truly brilliant innovators return with music as fresh and innovative as their first work. Brilliance only improves with age.
5) EIVØR - “Hugsi Bert Um Teg/Still Just You” single (Season of Mist Records)
This is a surprising release from Season of Must, as it does not fit in with much of their stable of acts. However, the beauty and limitless creativity of Eivør makes this among the best efforts of the year.
6) ROTTING CHRIST - Pro Xristou (Season of Mist Records)
Rotting Christ have been one of black metal’s most artistic and creative bands and even after more than three decades, their inventiveness has not waned. RC remain as terrifying and musically devastating today as they were over three decades ago which is an impressive feat in any genre, but particularly in Black Metal.
7) ATROPHY - Asylum (Massacre Records https://massacre-records.com)
Atrophy returns with another collection of thrash that claims to be released in 2024, but makes anyone listening feel like it is 1987. If you are of a certain age, you can turn this up and feel like a kid again; or maybe, enjoy thrash the way your dad did in high school.
8) ANTHROPHOBIA - Going Out Swinging (https://anthrophobia.bandcamp.com)
Some bands make the world a brighter place with their exitance and Anthrophobia is one of them. Frank and his mates only crank out hard driving, crisp, no-frills punk that never fails to be great. Never quit. Ever.
9) VLTIMAS - Epic (Season of Mist seasonofmist.com)
I sometimes get nervous with “supergroups”, but this one is an impressive sum of its parts. Featuring Blasphemer from Mayhem, Flo Mounier of Cryptopsy, and David Vincent of Morbid Angel, I was hooked before I pressed play. There is outstanding depth to all aspects of the record, and it is impossible to walk away from this record and not be immeasurably impressed with every aspect of it.
10) A PLACE TO BURY STRANGERS - Synthesizer (Dedstrange Records)
I am an longtime fan of the twisted genius of Oliver Ackermann and Synthesizer continues the glorious evolution of APTBS. This is a brilliant return by one of the most important bands in the world.
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