Tis the season for year-end best-of lists, and The Record Exchange is pleased to bring you our 2024 Staff Picks!
Today’s 2024 Top 10 is from Thomas – scroll down to read more about his picks!
Visit our staff picks display across from the main counter or the staff picks page in our online shop to preview and purchase titles!
DIIV
Frog in Boiling Water
TY SEGALL
Three Bells
THE SMILE
Wall of Eyes / Cutouts
EMAHOY TSEGE MARIAM GEBRU
Souvenirs
HERMANOS GUTIÉRREZ
Sonido Cósmico
MDOU MOCTAR
Funeral for Justice
NALA SINEPHRO
Endlessness
AROOJ AFTAB
Night Reign
NUBYA GARCIA
Odyssey
PEGGY GOU
I Hear You
Well folks, it’s that time of year again, a time for reminiscing on my favorite albums of the year. Like I say every year, it was really hard to narrow down my favorite albums because I was spoiled for choice. From shoegaze to African psych-rock to jazz, there’s something here for everyone. I will also list some albums that just barely missed the cut, as well as some of my favorite reissues to come out this year.
TOP ALBUMS OF 2024 LIST
- DIIV – Frog in Boiling Water
When DIIV announced this year’s Frog in Boiling Water, I was ecstatic. DIIV has made some of my favorite dream-pop albums (see 2012’s Oshin or 2016’s Is the Is Are), as well as one of my favorite shoegaze albums of the 2010s, Deceiver. I put Frogs at #1 because once I heard it, I couldn’t stop. Frogs takes the dark headspace that was present on Deceiver and ramps it up a notch. While DIIV’s older albums are pretty guitar-heavy, Frogs makes use of atmospheric synth pads, tape loops and weird vocal processing, as well as their bright, chorus-heavy guitars.
The phrase “frog in boiling water” was originally coined by Olivier Clark. Essentially the quote means if you drop a frog directly in a pot of boiling water, it will immediately jump out. However, if you drop a frog in normal-temperature water and slowly increase the temperature, the frog will not notice the boiling water. The album tackles themes of growing, unfettered capitalism and the anxious social climate of the world. The opening track “In Amber” reflects the anxiety of an uncertain future, where an elite few rule over the rest. The lyrics show how all we can do is look on in shock at the barbarousness that is happening around us.
“Brown Paper Bag” further expresses this feeling of helplessness, like a torn paper bag aimlessly blowing down the street. Another single, “Soul-Net,” contemplates the subject’s struggles with faith in humanity and their ability to see the B.S. for what it really is.
Overall, this album reflected my feeling of this year better than any other album I’ve heard. This growing uncertainty of the future mixed with these dark and heady tracks created a soundtrack for the year for me. Whether that’s a good or bad thing I’m not sure, but this album just perfectly captured my feeling of anxiety and concern around the state of the world, and ultimately influenced my listening habits the rest of the year.
Favorite tracks: “Brown Paper Bag,” “Somber the Drums,” “Reflected,” “Fender on the Freeway”
- Ty Segall – Three Bells
Ty Segall is no stranger in the modern garage rock scene. With a prolific output spanning over 15 years, Segall is never not busy making music. Since I started working at the Record Exchange, Segall has put out three albums: 2021’s Harmonizer, which saw him take his garage rock approach to songwriting and mixing in a little electronic production, 2023’s Hello Hi, where he stripped back the loud guitar distortion for a more mellow and acoustic sound, and now this year’s Three Bells.
Three Bells harkens back to his earlier albums, mainly the 2010-2015-ish era. This album has hints of the carefree and youthful energy of Melted, the Syd Barrett-esque songwriting on Manipulator (one of my favorite projects of his), and the fuzzy guitar tones present throughout Twins, where Segall was at the forefront of the 2010s garage rock revival.
Clocking in at just over an hour, it’s one of Segall’s longest albums to date. “Void” is a multi-part garage rock epic, starting with a slinky acoustic guitar before launching into a full-band driven jam. “My Best Friend” is an homage to his weiner dog, Fanny. But his dog is not the only one who gets a song dedicated to them, as Segall also penned a track for his wife and musical collaborator on the track “Denée.” Three Bells also takes the harmonizing guitar tones present on Manipulator and expands on them with lengthy jams and piercing fuzz tones.
Altogether, Three Bells is one of my favorite projects from Ty Segall, possibly ever? The throwbacks to his earlier works (whether intentional or not) really work on this new album, as it shows Segall’s progression as a songwriter who is not afraid to take chances and do weird stuff on his albums.
Favorite tracks: “The Bell,” “Void,” “Eggman,” “Watcher”
- The Smile – Wall of Eyes / Cutouts
Next up on my list is a two-way tie between Wall of Eyes and Cutouts, both by the band the Smile. Consisting of two members of Radiohead (Thom Yorke and Jonny Greenwood) and a member of the former jazz-fusion group Sons of Kemet (Tom Skinner), the Smile take the moody nature often found with Yorke and Greenwood’s other band Radiohead (you may have heard of them) and gives it a fresh makeover.
The opening title track on Wall of Eyes features an appearance from the London Contemporary Orchestra, providing a cinematic feeling throughout the song. “Teleharmonic” provides a dark-cold synth pad that I can only compare to that of a dense fog. Skinner’s precise drumming cuts through the mix, providing the foundational groove for the rest of the band to follow. “Under Our Pillows” sees Greenwood utilizing a digital-delay effect to essentially harmonize his guitar with himself, also present on their previous album A Light for Attracting Attention. It’s obvious that Greenwood is a fan of the more avant-garde side of music, in this instance taking inspiration from Steve Reich’s Electric Counterpoint, as well as providing orchestral scores for various films over the years, and often blending those orchestral moments into his other projects.
Lead single “Bending Hectic” shows the band at its most abstract, letting the song ebb and flow through slow chord changes and light strings, providing another cinematic feel with no rush to finish. Only later do we get smacked in the face by almost heavy-metal-like guitar chords that trot through the rest of the track like a giant’s lumbering footsteps.
Cutouts, released later in the year, feels like the group focusing more on the electronic side of texture, making more use of synthesizers and drum machines and an overall colder tone than on Wall of Eyes. Right off the bat we are introduced to light synth chords and Thom Yorke’s instantly recognizable voice on the track “Foreign Spies.” It’s clear that this album is more texture-focused, as we have gotten very little guitar up to this point besides the bass.
That is until we hit the track “Zero Sum,” where Greenwood again utilizes the “Steve Reich delay,” playing a dizzying lead line that plays against itself, showing that while Greenwood may be a prolific composer, he still knows his way around a guitar. This texture is also utilized on the track “Eyes & Mouth,” a track I first heard when the band debuted it on a Glastonbury live stream during peak pandemic times and had desperately been waiting for it to come out officially. The wait was well worth it, as the song incorporates strong grooves from Skinner and Yorke.
Ultimately, both albums are worth taking a listen to, because each one has its own distinct feel and aura to it. While the Radiohead comparisons might be unavoidable, the Smile’s current output should also be well-respected.
Favorite tracks:
Wall of Eyes: “Wall of Eyes,” “Teleharmonic,” “Bending Hectic”
Cutouts: “Zero Sum,” “Eyes & Mouth,” “No Words”
- Emahoy Tsege Mariam Gebru – Souvenirs
This album was a bit of a surprise for me. It wasn’t really on my radar until a few coworkers and friends told me to check it out, and I’m sure glad I did. Souvenirs by Emahoy Tsege Mariam Gebru is an album about longing, longing for peace in a region rattled and unstable (in this case, her home country of Ethiopia).
This album is really intimate, having been recorded in the late ’70s and into the early ’80s, but only now getting a widespread release. The album finds Gebru alone with a piano, singing about the fear of leaving her own home and the ensuing chaos that followed during a time of instability. Gebru’s vocals and piano give the album a somber feel, and it really hit the spot during the smokey days of summer.
The lo-fi nature of the recordings gives them another layer of intimacy, where they sound like they were just recorded on a 4-track in a dusty attic. It gives off the feeling of a home-recorded project, albeit in a church under heavy and dire circumstances. The birdsongs and creaking of the wood in the church give the songs a cozy, comfortable feeling, a stark contrast to the subject matter she is singing about.
Overall, if you’re feeling gloomy, this album truly hits the spot. I would highly recommend it if you are a fan of lo-fi, intimate recordings with a feeling of despair and melancholy throughout. Truly a powerful listen.
Favorite Tracks: “Clouds Moving on the Sky,” “Is It Sunny or Cloudy in the Land You Live?” “Ethiopia My Motherland”
- Hermanos Gutiérrez – Sonido Cósmico
Hermanos Gutiérrez first appeared on my radar with their previous album El Bueno Y El Malo. Hearing their unique blend of genres really made my ears perk up, along with the fact that they are signed to Easy Eye Sound (Dan Auerbach’s label). Their new album Sonido Cósmico, however, sees them expanding on their sonic footprint with more instrumentation and texture. Brothers Alejandro and Estevan Gutiérrez seamlessly blend elements of Spanish classical guitar, spaced-out atmosphere and groovy ’60s psychedelia to deliver an old-timey, yet fresh sound.
Sonido Cósmico is really the perfect name for this record, as it is more cosmic and atmospheric than their previous albums. The opening track “Lágrimas Negras” feels like the opening score to an Ennio Morricone film, with piercing lead guitar popping in and out over a lush, fingerpicked rhythm. Both brothers lay down their own unique style of guitar playing, incorporating fingerpicking elements that sometimes remind me of the famous Andrés Segovia, such as on the opening track, and mixing it with swirling phaser tones that reminisce on Pink Floyd.
Single “Low Sun” is a perfect tune for those late drives while the sun sets, stamping their sonic footprint over a light drum groove. The same can be said for the track “It’s All in Your Mind.” While the brothers’ talents shine on their own, the addition of a full band style really beefs up the tracks. “Cumbia Lunar” is a nice, slow and dance-y track, utilizing the wah effect on guitar to great extent.
Overall, Sonido Cósmico is a great album for relaxing at home and having in the background, but once you dive into the depths of its sonic characteristics, Hermanos Gutierrez really show their true talent. This album is a great mix of Morricone-style textures mixed with modern production and flair.
Favorite tracks: “Low Sun,” “Cumbia Lunar,” “Sonido Cósmico,” “Lágrimas Negras”
- Mdou Moctar – Funeral for Justice
I won’t go into too much detail here, as I have previously reviewed this album and his awesome live show. However, I cannot understate how epic this album is. Hendrix-style shredding meets Saharan Blues grooves and chaotic solos. Moctar should be seriously considered as one of the best guitar players out there today. This new album draws heavy inspiration from a real life coup taking place in his home country, using his words, and mainly his guitar, to express his frustration and anger. Check it out if you are lacking serious shred-fests in your life.
Favorite tracks: “Imouhar,” “Imajighen,” “Oh France”
- Nala Sinephro – Endlessness
This album popped up late in the year on my radar, but due to a couple of recommendations from my coworkers, I decided to give it a shot. I’m sure glad I did. In the sea of jazz that came out this year, this is one of the better albums that I have heard.
Some have said that it is reminiscent of the album Promises by Floating Points and the late Pharoah Sanders, which in some spots I can definitely see. The repeating motif molds and shifts throughout the album, keeping a consistent theme and tether to the earth, all while the rest of the instrumentation ebbs and flows, providing a great backdrop for the motif to simply exist in. The album doesn’t feel rushed or slow, and while not as sparse as Promises, the overall feel of this album is dense and definitely requires a listen or two to get the whole picture. Overall, one of my favorite jazz albums of 2024.
Favorite tracks: all of them!
- Arooj Aftab – Night Reign
Night Reign is another great jazz album that I enjoyed this year. Arooj Aftab is not a newcomer to the game, but this was my first exposure to her music. Luckily for me, Night Reign hits all the spots: beautiful production, great instrumentation, beautiful singing from Aftab and a balanced atmosphere that never overstays its welcome.
The opening track “Aey Nehin” showcases some pleasant harp playing, lying underneath Aftab’s soft and precious vocal harmonies. The track “Bolo Na” is arguably the darkest on the album; a steady bass and drum groove at points remind me of early Pink Floyd, specifically the track “Set the Controls for the Heart of the Sun.” The track “Raat Ki Rani” incorporates some tasteful use of auto-tune, not to correct her pitch but used as a texture to bring some depth to this open and sparse track. “Whiskey” introduces a nice bossa nova style into the album, showcasing Aftab’s love for different styles of jazz throughout history.
These tracks really bare their emotion, sometimes going from a full orchestral suite to a sparse piano ballad with Aftab at the microphone. Altogether, her unique blend of folk, jazz and world music make for a truly special listen.
Favorite tracks: “Autumn Leaves,” “Saaqi,” “Aey Nehin”
- Nubya Garcia – Odyssey
Another (!) jazz album that came out this year that I enjoyed was Nubya Garcia’s Odyssey. If Aftab’s Night Reign leans more on the soft and folky side of jazz, Odyssey definitely leans more toward the jazz fusion-y side. The album is full of energy, like the musicians are playing for their lives. Also thrown in are tracks like “Clarity,” where we get a breather from the fusion and calm down with some nice lounge-y style jazz. Garcia’s saxophone playing shines throughout the album, harking back to greats like Coltrane and Ornette Coleman. The track “We Walk in Gold” lays down a nice and light drum groove for the first half, only to explode into a section of intense fusion. Overall, this album is a must-listen for any fan of jazz.
Favorite tracks: “Dawn,” “Clarity,” “The Seer”
- Peggy Gou – I Hear You
Peggy Gou’s new album I Hear You is a great showcase of house and dance. The South Korean DJs debut album is great for getting your butt up and dancing, mixing elements of ’90s house underneath vocals that, at times, remind me of Sade. If you need something to get you up out of your chair, this is a perfect album for it. Thumping beats and icy synths are the perfect backdrop for your nights in at home or out at the club.
Favorite tracks: “I Believe in Love Again,” “Lobster Telephone,” “All That”
HONORABLE MENTIONS
While not every album I enjoyed can make the Top 10 list, here are some honorable mentions that landed just outside the list, but that I would still recommend.
Beth Gibbons – Lives Outgrown
Beth Gibbons’ debut solo album is a spectacular showing of her talents. While not completely abandoning the sonics of her previous band Portishead, Gibbons takes the eerie feeling found throughout Portishead’s discography and applies it to more of a chamber-folk style of sound. String swells accommodate her singing really well, providing a cinematic backdrop to her instantly recognizable voice. Definitely worth checking out!
Thom Yorke – Confidenza O.S.T.
Thom Yorke’s soundtrack to the Italian horror flick is an eerie soundscape of dark synths mixed with some jazzy instrumentation every now and then. Highly recommended for the fall/Halloween-vibe.
Amyl and the Sniffers – Cartoon Darkness
Pub punks Amyl and the Sniffers are back once again with another barn burner of an album. Grungy punk riffs under lyrics calling out creepy men and the lack of women in certain punk scenes, the band came out swinging, and they nailed it with another home run.