24 Jan 2nd-Jan 8th, 2025 phoenixnewtimes.com PHOENIX NEW TIMES | NEWS | FEATURE | FOOD & DRINK | ARTS & CULTURE | MUSIC | CONCERTS | CANNABIS | Year-End Rewind The 15 must-hear records of 2024. BY CHRIS COPLAN N o one could blame you for not staying on top of new music this year — with the sheer amount dropping weekly, you’d need a full-time job to keep up. This list is a tiny consolation prize, a guide to great music that you may have missed We hope it makes you feel better about your listening habits in 2024. Omni, ‘Souvenir’ This Atlanta trio’s spent a few years honing their precise but potent take on post-punk. “Souvenir” is Omni swinging for the fences, coming off more cool, compelling and wholly inventive thanks to a few gimmicks and an injection of ‘80s-style goodness. Omni are also tighter and more daring as they further rely on their favorite power chords and leather jacket swag. It’s the dawn of a new era, and one where they’re stepping out of the basement and into the realm of big-time rock. Charli xcx, ‘Brat’ You had to have your head stuck under a rock to have missed “Brat Summer.” XCX did some clever, inventive things on the way to having the year’s definitive pop album: holding her own during a Billie Eilish duet (“Guess”), forging a viral TikTok that was genuinely cool (“Apple”) and spoofing celebrity “culture” with a proper electro jam (“Von Dutch”). All that was possible because XCX never settled, bridging the divide between Top 40 and underground music with spontaneity, spunk and big-time hooks. Forget summer; try “Brat Calendar Year.” Fontaines D.C., ‘Romance’ Ireland’s Fontaines D.C. weren’t an over- night success. But though they’ve been rocking out since 2014, “Romance” was a massive, ear-grabbing super-achievement. And rightfully so: There are the electro flir- tations (“Starburster”), the subject matter (living in a deceitful world) and the sheer bravado (“In the Modern World”). Really, it was a case of a young band growing up, and their skills elevating and ideas expanding to make a big-time rock album. Timeline aside, “Romance” deserves all the corresponding attention. Caribou, ‘Honey’ Dan Snaith’s musical journey has spanned some 23 years, yet his sixth LP, “Honey,” may be the thing that introduced him to the most people. That’s because Snaith did away with a layered approach and an inventive streak for a wholly accessible collection of dancefloor anthems. It’s a record that relies on soundscapes to bring us together without ever feeling reductive or overly preachy. And in that process, Snaith emerged more free, charming and potent than ever before. Kali Uchis, ‘ORQUÍDEAS’ Yes, releasing a Spanish-language album in 2024 isn’t risky, but it’s still a bold move. Kali Uchis managed that big crossover effort by leaning into a few key elements/ themes, such as her rich, textured vocals that exude heart and power in any tongue; the dreamy, electro-leaning production that adds a richness and playful quality to balance the emotionality; and an over- arching sense that the LP spoke to a moment and cultural traditions and yet felt delightfully timeless. Say it with me now: “Así se hace música pop.” Paper Foxes, ‘Paradise Deluxe’ Paper Foxes aren’t the same band that released 2019’s great “Popular Confessions.” But regardless of any changes, the Phoenix band are more savvy and dedicated than ever. That resulted in an album with bigger grooves and hooks alike; a more cohesive presence and conceptual interests; a stronger showing from frontman CJ Jacobson; and a vein of indie rock vibes to augment this dance party. Maturity and growth don’t have to be hard, and Paper Foxes wield those with the grace and energy to create something novel. Welcome to adulthood, gents. The Cure, ‘Songs of a Lost World’ Before their 14th album, The Cure hadn’t released an LP since 2008’s mostly great “4:13 Dream.” In some ways, “Songs...” is a reflection of their age, as frontman Robert Smith leads the band through deeply personal songs about loss and change. At the same time, the band buck certain expectations (like a more inherently poppy sound/sheen) to instead cut as deep as possible. In that way, The Cure prove just as fresh and relevant as ever, showing that their emotionality and theatricality are always relevant. It’s no “Love Cats,” but it’ll move ya. Cindy Lee, ‘Diamond Jubilee’ Admittedly, a two-hour runtime is pretty daunting for a modern rock record. But Cindy Lee (lead up by ex-Women frontman Patrick Flegel) makes your movie-length commitment more than worthwhile. “Diamond Jubilee” is a sprint across the spectrum, from glitchy ’90s indie rock to swinging ’70s psych and even a little splash of Kraftwerk for good measure. And that’s barely scratching the surface — this LP rewards true engagement with this all- consuming sonic experience that’ll speak to hearts and minds everywhere. Give it the time and it’ll change you. St. Vincent, ‘All Born Screaming’ Anne Clark started with weird, confronta- tional LPs like “Actor.” So, after a detour into other ideas/realms (including the ’70s-indebted “Daddy’s Home”), Clark is back to her OG madness with her seventh LP. But while she may be channeling more Nine Inch Nails over Iggy Pop these days, Clark is unabashedly herself, doling out dispatches about death and life’s chaos as only she ever truly could. “All Born Screaming” never flinches or backs down, but through it Clark shines as a singer-song- writer screaming from the edge of art and humanity. You better listen good and hard. tassel, ‘A SACRIFICE: UNTO IDOLS’ Phoenix band Tassel never try to make their music easy for anyone. The 13 tracks are all wrapped in extra-tight leather and rusty barbed wire, a collection of music as much an exercise in RTI. Yet the LP shines as a punk-industrial mutant, all big, pulver- izing emotions and midnight-black vibes that consume your very being. It’s not accessible to everyone, but those who get it will find an album that’s oddly affirming. Put it on for a while, and you just might enjoy the cuts and bruises. Vince Staples, ‘Dark Times’ If you want to know Vince Staples, he’s given us a trio of albums as “journal.” Following 2021’s self-titled release and 2022’s “Ramona Park Broke My Heart,” “Dark Times” is Staples at his most effective. His lyrical approach crafts sharp narratives (“Government Cheese”); he’s raw but always engaging (“Nothing Matters”); and he’s got an ear for great production (the Jay Versace/ Whosantoine-produced “Étouffée”). It’s not an evolution captured on wax, but the final chapter of a story of Staples as a hugely engaging chronicler of modern life. Staples is more vivid than ever, and he is undeniable. Amyl and the Sniffers, ‘Cartoon Darkness’ You may have noticed that the world’s a dumpster fire. Australia’s Amyl and the Sniffers can’t make you feel better, but “Cartoon Darkness” is a massively vital LP for our times. The 13-track collection offers a roadmap for everything from battling sexism (“Tiny Bikini”) to managing disas- trous relationships (“Bailing on Me”). And in laughing at our pain, we’re reborn, newly able to understand our place in this world and do something to make improve- ments. It’s a singularly classic record that outlines our next phase for survival. Tems, ‘Born in the Wild’ Tems’ debut had certain expectations: what could we expect from a young singer with both big-time collabs with both Drake and Beyoncé? But the resulting 18-track album proves that Tems is crafting her very own story. Whether she’s exploring faith and self love (“Me & U”), collaborating with J. Cole (“Free Fall”) or crafting a neo-soul music industry takedown (“Burning”), Tems is a vibrant, compelling presence. It’s an album that singularly defines her role as a bright soul within R&B, and someone who needs little help in shining. We’re all just lucky enough to witness it, really. Knocked Loose, ‘You Won’t Go Before You’re Supposed To’ Hardcore music won’t be mainstream any time soon. But if anyone could do it, Knocked Loose certainly made the case with their third studio album. Perhaps you heard the band (alongside Poppy) during a controversial performance on “Jimmy Kimmel Live.” The rest of the 10-track LP follows suit: brash, unrelenting noise that’s compelling and technically robust without ever coming off any less effective. Knocked Loose present hardcore at its truest and most venomous, and they do so with unde- niable prowess. Be prepared to have your brain chemistry altered. Last Dinner Party, ‘Prelude to Ecstasy’ What’s the difference between a great rock album and something good? The passion. Last Dinner Party’s debut hummed with passion — it felt like a return to the days when an important rock record could change the world. They were young and hungry enough to balance pop sensibilities with a baroque-ian spin. They knew how to expertly write big-but-weird hooks (“Nothing Matters”). And they looked good in smashing down all these barriers (see “Caesar on a TV Screen”). LDP didn’t try to make a modern classic — they did it because they’re that damn good. St. Vincent released the excellent “All Born Screaming” in April 2024. (Photo by Zackery Michael) ▼ Music
