review – KennyBloggins is Kenny Bringelson

Top 10 Must-Hear Albums of 2024 by Kenny Bloggins

Music is the soundtrack to my days, what helps me process the world, and makes life experiences even more memorable. As such, I put together a list of the best and most important records that made my year, in the hopes that you find something new to listen to.

Curated Playlists:

Find these albums on a streaming service or use these playlists to listen to just the best songs (standout tracks):

Apple Music | Spotify

1) Phantogram – Memory Of A Day

I sat there floored after listening to the entire album end-to-end, taking a few seconds to think about what I just heard before leaping up to hit start on the first song again. Phantogram have been a favorite of mine for years, and with this year’s under-the-radar Memory of a Day they have released a full collection of songs that left me in deep thought—its vampiric grip sinking deeper with every listen. Co-founder and lead vocalist Sarah Barthel is equal parts ethereal and haunting, writing songs that deal with some of the heaviest life experiences (some of which I can relate to myself), often veiled by the band’s distinctive pop-infused sound which blends elements of trip-hop, electronic and indie rock. ‘All A Mystery’ sounds like a 1950s doo-wop song reimagined for 2050, ‘Attaway’ and ‘Happy Again’ beg you for a shoulder to cry on, and ‘Come Alive’ lives up to its title’s namesake. Here’s one for the long late-night drives, spontaneous bedroom dancing, and the future listeners who become just as captivated as me.

2) Nada Surf – Moon Mirror

Claiming the second spot for 2024 is Moon Mirror by Nada Surf, an album brimming with heart and purpose. Each moment is filled with signature elements that define the band—90s alt-rock roots, jangling guitars, and melodies that resonate deeply. These songs masterfully balance introspection and optimism, with music crafted to be emotionally stirring and thought-provoking. With poetic lines like, “I am drifting, I’m a cloud… I am bending, I am bowed… I’m just atoms in the air… Dissipating and I don’t care,” Nada Surf challenges listeners to explore existential themes through beautifully wrought, immersive storytelling. Moon Mirror is just the type of thing we need in order to bring balance and resilience to our lives in the face of modern-day challenges.

3) The Smile – Cutouts

The Smile make their return to my list with Cutouts, climbing higher this time to surpass 2022’s A Light for Attracting Attention, which landed at #4 (and they almost nabbed a third spot with Wall of Eyes, another outstanding 2024 release). Tracks like ‘Foreign Spies’ could easily soundtrack a scene from Stranger Things, while ‘Zero Sum’ and ‘Eyes & Mouth’ showcase some of Jonny Greenwood’s most mesmerizing, wandering guitar lines from anything Radiohead-related. This album brings a loose, sprawling energy, blending funky grooves with strong rhythmic depth. Thom Yorke is unmistakable, but this time his voice feels drier, more grounded, and somehow less alien than ever before.

4) Guster – Ooh La La

The bridge in ‘When We Were Stars’ is one of those super rare moments where a song gives you goosebumps, but Guster’s latest album, Ooh La La is filled with countless other instances that truly showcase the magic of recorded music. The hooks on tracks like ‘The Elevator’ sink in deep and refuse to leave, but that’s far form a complaint, given how irresistibly captivating these songs are—drenched in reverb, warmth, and profound contemplation. While I typically gravitate towards their poppier tracks, it’s the softer songs like ‘Black Balloon’ and ‘Maybe We’re Alright’ that I think will go down with the best of their already illustrious catalog.

Standout Tracks: When We Were Stars | All Day | Black Balloon | Keep Going | The Elevator

5) Dustin Kensrue – Desert Dreaming

Imagine driving through the desert, the scent inside your rental car hinting of past journeys, a paperback copy of “All the Pretty Horses” sitting in the back seat, and the road ahead looming of promise with a cotton candy sunset. Desert Dreaming became the perfect soundtrack for a roadtrip my wife and I took to The Modernist Mecca, Palm Springs, for a wedding this spring. Dustin Kensrue talks about legends of treasure in the west, paints a picture of what his granddad’s upbringing may have been like in the heart of the Sedona desert, tells the story of “high scalers” (AKA Hoover dam construction workers) and colorfully illustrates the beauty of “Joshua trees flaunting their silhouettes” on this modern folk country masterpiece.

Standout Tracks: The Heart of Sedona | Treasure In The West | High Scalers | Desert Dreaming | Death Valley Honeymoon

6) Fontaines D.C. – Romance

Romance is a captivating blend of driving beats, 90s influence, psychedelic flourishes, and charged anthems from Fontaines D.C, the Irish post-punk band formed in Dublin. Front man Grian Chatten has a raw and distinctive vocal delivery that is addictive and seductive, with a clarity that’s anchored in both palpability and a slacker mentality. Listening feels like an exercise in push and pull mechanics, with as much punk intensity as there is compelling poetry–there’s hardly a skippable track for those of us still reeling for the next REM, Smashing Pumpkins or even Interpol.

Standout Tracks: Here’s The Thing | Desire | Bug | Sundowner | Motorcycle Boy

7) Billie Eilish – Hit Me Hard And Soft

There are plenty of other reviewers covering Billie Eilish and Hit Me Hard and Soft this year or talking about her part in Charlie XCX’s unavoidable Brat Summer with their collab ‘Guess’. Instead, my focus is on what sets this apart from her contemporaries: Billie’s voice which continues to be haunting and breathy with incredible range, and Fineas’ minimalist, immersive, and unconventional production/playing techniques. I don’t fall into the age group of people Billie wrote these songs for nor relate to the lyrics on the same level, but that doesn’t take anything away from how quickly I latched onto how amazing and rich they sound—it makes me wonder how other independent artists with similar writing chops could benefit from similar access to top-tier studios and professionals to amplify their records.

Standout Tracks: Chihiro | Lunch | Wildflower | Skinny | The Greatest

8) The Early November – Self Titled

The Early November’s self-titled album released in the summer of 2024 highlights a stripped-back, punchy sound propelled by immediacy. Catchy and intense, it’s like an “ear worm” on fire (watch out cochlea). What really excels are the moments that build gradually like on ‘We Hang On’ or the unexpected bursts such as the soaring chorus of ‘Tired of Lying’. These alt-emo New Jerseyans did lots of playing around in the studio with elements of electronic production to lift their already excellent songwriting to the next level, resulting in one of the best post-hardcore albums of the year.

Standout Tracks: What We Earn | We Hang On | Tired Of Lying | About Me

9) Abandoned Pools – The Haunted House

Tommy Walter, the multi-instrumentalist, composer and singer/songwriter behind the moniker Abandoned Pools steps into new territory with The Haunted House. This album marks his most cohesive and inviting record yet, weaving together threads as previous work with fresh blends of electronic, alternative rock, and pop. The result is a tapestry of reflective lyrics and moody vibes—lively, thoughtful and enchanting.

Standout Tracks: In Your House | Big Eyes | Going South | Only So Many Days

10) Snow Patrol – The Forest Is The Path

On their eighth studio album, Northern Irish-Scottish ensemble Snow Patrol have reimagined their soundscape with a refined lineup while enlisting the fabulous Fraser T. Smith to co-produce. The Forest Is the Path marks a triumphant return to their signature indie-rock sound, weaving haunting melodies with raw, evocative storytelling. Softer tracks like ‘What If Nothing Breaks?’ and ‘Talking About Hope’ echo the poignant simplicity of early Snow Patrol, while ‘All’ and ‘Years That Fall’ chart a bright path to come—there should be no worry about the future of this band that means so much to so many.

Standout Tracks: All | Talking About Hope | What If Nothing Breaks | Years That Fall

Best Albums of 2018

10) Mitski – Be The Cowboy

Standout Tracks

Nobody
Lonesome Love
Washing Machine Heart

What it sounds like: carefully crafted songs that get fired into your cortex like a slap shot taken with hyper-accurate succinctness (most clocking in at less than three minutes each). Hard to classify as straightforward pop, the prominent bits and hooks get locked into your unconsciousness right out the gate.

Why I love it: punchy anthems that grab you by the shirt collar, toss you to the floor, and carefully dust you off–all before you can realize what just happened. This is suave and cheeky artistry worth assimilating.

9) The Magic Gang – The Magic Gang

Standout Tracks

All That I Want Is You
Jasmine
Fade Away

What it sounds like: the most earworm-worthy and addicting release on this list (hard to believe it’s a debut effort), The Magic Gang give a thoughtful nod to clean-shaven Beach Boys, early Weezer and even minor tinges of guitar influence from Strokes era stalwarts. But there’s a uniquely refreshing hint of British snark and maturity that will likely help their self-titled debut sound even better for summers to come.

Why I love it: the nerd rock torch was dropped a while ago (at least in regards to front-to-back albums worth mentioning). The Magic Gang somehow reignite the flame with hook, fuzz and harmony for one of the best straightforward rock records of the year.

8) Death Cab for Cutie – Thank You For Today

Standout Tracks

Autumn Love
Your Hurricane
Northern Lights

What it sounds like: Gibbard’s airy crooning prospers from gentle guitar melodies and atmospheric electronic tones. Thank You For Today borrows elements from the classic Death Cab rulebook, but also expands into different sonic territories, thanks to the addition of two new band members.

Why I love it: I have a special relationship with Ben Gibbard’s catalog–various projects have been in fairly constant rotation throughout the years–and Thank You For Today is destined to sit alongside their best work. It’s been both a challenge and blessing to be a dedicated Death Cab fan due to how easily they can become attached to dramatic real life experiences. Instead, Thank You For Today feels more like a dreamy serenade than a somber soliloquy.

7) Tash Sultana – Flow State

Standout Tracks

Murder To The Mind
Salvation
Big Smoke

What it sounds like: we wouldn’t have Tash Sultana without 90s R&B or Hip-Hop, but equally important are the flashes of Hendrix, Buckingham and a pantheon of jazz guitarists crawling through Flow State. This musical virtuoso can pick up and play over twenty instruments, but has the insight to leave space in compositions so listeners can enjoy each masterfully crafted moment.

Why I love it: bluesy and breathy narrative carries you through intricate guitar work and powerful beats, all written and beautifully performed by Tash. This is the cure for your Sunday morning hangover, an elixir of subtly lush yearning and provocative confidence.

6) Soccer Mommy – Clean

Standout Tracks

Your Dog
Cool
Last Girl

What it sounds like: with a vulnerable intensity that’s fueled by punchy guitars, Clean has finite pure moments but more often penetrates through your ears with a carefully disguised acid tongue. This is angsty guitar rock that rotates between impressive production and performance, both techniques used to highlight Clean’s dynamic elements.

Why I love it: there’s no doubting how well Soccer Mommy can sing with blunt honesty. As you dive into this album, you’ll think you’re feeling empathy for the authors long-lost love, when in reality she’s helping you look more closely into the mirror of your own failed romances. Label this one pre/post break-up album of the year and one that’s guaranteed to inspire a new generation of singer-songwriters, locked away in bedrooms for hours on end.

5) Israel Nash – Lifted

Standout Tracks

Rolling On
SpiritFalls
Looking Glass

What it sounds like: reflections of Neil Young, Wilco and Gram Parsons with luscious three-part harmonies lurking below a layer of Israel’s tender lead vocals. Slide guitar and pedal steel help bridge a path between the vibrant acoustic work and splashes of piano.

Why I love it: Lifted is the perfect album to put on while sitting by a warm fire, savoring a glass of whisky and taking in the mountain air. But it’s just as enticing through the trials and tribulations of everyday life–here’s a record that has the ability to lift your spirits and cleanse your soul.

4) Leon Bridges – Good Thing

Standout Tracks

Shy
Bad Bad News
Bet Ain’t Worth The Hand

What it sounds like: smooth as ever, Leon on Good Thing isn’t quite as distant as the one found on Coming Home like some reviews may lead you to believe–but this certainly is a new phase of Bridges’ career. Leon moves past the innocence of 50s/60s Motown and starts tipping his hat to other R&B influences more closely traced back to the 70s/90s.

Why I love it: Bridges found even more groove and control while creating this example of neo soul perfection. Recognition must be granted to the ultra talented backing group, with extra accolades directed at the rhythm section on tracks like “ Bad Bad News” and “Shy”. Good Thing is like a two ingredient cocktail—one part will make you move, the other will move you.

3) Franz Ferdinand – Always Ascending

Standout Tracks

Paper Cages
Feel The Love Go
Always Ascending

What it sounds like: pronouncing guitars battle against seismic choruses, loaded with tranquilizing backing vocals that slide in between Kapranos’ trademark howls. This one’s a party of snappy indie rock.

Why I love it: while the rest of us are doing our best to forget 2018, Alex Kapranos and co. are already looking forward to 2020 and beyond. Most may pass over this album while thinking it’s the same old mid-2000s indie marketed to meet the needs of today’s listeners. Instead, we’ve been graced with a band gravitating towards new heights and leaving behind the disciples who didn’t make it into the music streaming stratosphere.

2) Father John Misty – God’s Favorite Customer

Standout Tracks

Just Dumb Enough To Try
Please Don’t Die
God’s Favorite Customer

What it sounds like: Misty gets down to brass tacks on God’s Favorite Customer. There’s fewer quips than Fear Fun, more heartfelt memoirs than we heard on Honeybear, and a near-complete removal of the dismal world view found on Pure Comedy. These songs are concisely-constructed and calculated attacks on his own personal relationship fumbles.

Why I love it: Father John’s snarkier songs are undeniably enjoyable, but it’s always been the more sincere cuts that convey his full potential. Luckily, that’s exactly what we get here. On “Just Dumb Enough To Try” we get full-blown ballad Elton meets Nilsson, while “Please Don’t Die” begs to be played on repeat with the most impressive falsetto vocals we’ve heard from Father Josh. This might be his best yet (noting this is just the type of commentary he’d hate to read, and that makes it ever more important to write since it’s guaranteed to fuel his next effort).

1) Jump Little Children – Sparrow

Standout Tracks

X-Raying Flowers
Euphoria Designed
White Buffalo

What it sounds like: an elegant endeavor into infectious melodies and exciting musical arrangements. Jay Clifford’s soothing vocals glide across the speakers, pushing through with breathy undertones earmarked with gusto. The production and execution supersedes even heftier budgeted work from major league-level recording studios.

Why I love it: Sparrow is a valiant return to recorded music where Jump Little Children twist between variances of folk, jazz and orchestral rock. They’ve combined veracious lyrics with vital musicianship and tenacious rhythms to somehow breed an inspiring new form of baroque pop. If this your first foray into JLC’s catalog, you’ll quickly understand why you’ve been missing out.

Honorable Mentions:

Thomas Dybdahl – All These Things, Muse – Simulation Theory, The Coral – Moving Through The Dawn, The Vines – Miracle Land

About “The Best Albums of 2018” List:

The above list was developed to help readers find new music via the music service of their choice. I try to keep the commentary concise, only including the elements that I find most helpful when receiving a recommendation: brief list of my favorite songs, how each record compares to other artists/albums folks may know, and what’s unique (or what do I love) about these albums in particular.

– Kenny Bringelson

Vinyl View: Miles Davis – Sketches of Spain

January 19, 2014December 29, 201414 Comments

Cinematic jazz lead by a trumpet engulfed in purity, provacativity and unmatched prowess. It begins as a romantic journey that develops into a dramatic apex and finally returns to a gentle, comfortable location. More classical than the usual improv-based jazz that Miles Davis fans are used to.

Let me preface this review by stating a very important fact: I am no jazz aficionado. However, my qualifications for this review are as follows:

I own and enjoy multiple jazz records (including another Miles Davis/Gil Evans record, Quiet Nights)
I have always been extremely fascinated by 1940s Jazz, including Django Reinhardt’s two-fingered, French-Gypsy, swing-style
I believe that I have a good ear for understanding music that’s considered “different”, while enjoying modern progressive artists that reference Miles Davis as a major inspiration

Side I:

“Concierto De Aranjuez”

For the sake of this review, I have broken down this lengthy track into four sections – divided by tempo changes or other dramatic alterations

– Part I –

The album starts with the mysterious clattering of castanets, followed by some distant horns, strings and elegant percussion that builds upon a slow cinematic experience. Lead by Davis’ signature trumpet, the beginning of the marvelous “Concierto De Aranjuez” sounds like the start of a gentle rainfall. An elegant string section, gentle harp and perfectly supportive horn section join carefully placed hits of the high-hat and a muddled bass line. This part of the song would go well with a cloud-covered walk along the beaches of Cadaqués, or any other coastal town in Barcelona.

– Part II –

In the middle of a verse (near the three minute mark) the beauty is replaced by an outburst of electrifying sound, fronted by an aggressive array of horns. As the beat changes into a swing, the mood is carefully altered. Blistering horns and eerie strings support Davis’ provocative melody. The production here is superb – giving Miles Davis the ideal platform for showcasing his incredible talent alongside Gil Evans superb orchestral arrangement. The end of this section sounds like a theatrical form of jazz with a dramatic eeriness (I’m guessing Sondheim may have found inspiration here for elements of Sweeney Todd’s 1979 musical score).

– Part III –

Another significant development in “Concierto De Aranjuez” occurs right before the eight minute mark. The castanets return as Evans, once again, alters the arrangement to deviate his orchestra into a new direction. Davis’ muted trumpet creates a pure sound that compliments the adventurous mood of this third act. It now feels more like traditional jazz than any of its proceeding moments. An interesting bass line carries the majority of this section, until the climatic apex around the twelve minute mark.

– Part IV –

Another intense outpouring of trumpets and other horns prelude this final section. Aggressive tambourine shakes lead directly into an anxious arrangement of brass. A gentle array of woodwinds follow and seem to apologize for the previous hostility. The listener is taken on a new journey as quiet becomes the leading element. Davis’ signature trumpet closes out this track as the castanets return one final time – taking you back to the calming beach on Cadaqués.

“Will O’ The Wisp”

The second track, “Will O’ The Wisp”, has a contemporary structure (especially when compared to it’s predecessor). The catchy melody is easy to follow and the orchestra works to compliment Miles throughout the cut. A soulful bass provides bottom something primarily dominated by high pitched trumpets. “Will O’ The Wisp” feels more like an interlude than a complete song with the sole mission of preparing the listener for side two of the album.

Side II:

“The Pan Piper”

Side II begins with a brief declaration by Miles’ vibrant trumpet, followed by trailing flutes and breezy bells. “The Pan Piper” is a great song that fuses together Gil Evans’ excellent sense of certain classical elements with upbeat jazz. The real hero of this track is found in the partnership established between the bass and drums which gives Davis the perfect canvas to sketch his playing upon. You’ll wish the rhythm track went on forever or at the very least, spanned the entirety of the track (instead of just the second half).

“Saeta”

If the Spanish military had a soundtrack, “Saeta” would definitely be on it. Davis’ timbre is exceptional here as his instrument takes center stage. But the rest of the song seems odd with a marching drum beat that dominates, droning strings and a horn sound reminiscent of a réveil from a bugle. “Saeta” is strange when set amongst the other cuts on Sketches of Spain and is the only questionable moment on the record. It seems like there must be a backstory to this song, which could help give it context.

“Solea”

“Solea” also includes a similar military drum beat, but instead uses this more as a starting point, rather than the main basis for the song. Maybe the strongest piece of work on Sketches of Spain, this final track has near perfect production. A magnifying bass line fits in perfectly amongst the rhythm section. Evans’ arrangements help to compliment Davis’ playing in a way that feels planned but not stale in any way. For me, this is the song that includes everything I want from a Miles Davis record: a great melody played flawlessly by Miles, has both quiet instances and climactic apexes, and establishes a refreshing structure that is contained yet still feels improvised at times. Listeners of “Solea” are guaranteed to start dancing or moving in their seat during the concluding moments as Sketches of Spain draws to a close.

Final View: Sketches of Spain truly is a masterpiece – but it also requires an asterisk (*): this challenging record is not meant to be played in the background of a casual dinner party, like some other jazz albums. Careful listening is required to enjoy the moments of quiet beauty while the surprising outbursts of sound could send the wine glass of any casual listener flying across the room. Listener, consider yourself warned and appreciate this cliché – expect the unexpected.

Overall score: 9/10

Recommended if you like: Miles Davis albums, jazz with minimal improv, classical music

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10) Mitski – Be The Cowboy

9) The Magic Gang – The Magic Gang

8) Death Cab for Cutie – Thank You For Today

7) Tash Sultana – Flow State

6) Soccer Mommy – Clean

5) Israel Nash – Lifted

4) Leon Bridges – Good Thing

3) Franz Ferdinand – Always Ascending

2) Father John Misty – God’s Favorite Customer

1) Jump Little Children – Sparrow

About “The Best Albums of 2018” List:

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