LAMBRINI GIRLS, WHO LET THE DOGS OUT

29 minutes and 27 seconds was all it took for Lambrini Girls to win me over with their debut album, Who Let The Dogs Out. That’s also about the max I could handle before its unrelenting energy laid me out. With distorted basslines, blistering guitar riffs, and hammering drums, Phoebe Lunny and Lilly Macieira don’t just play punk—they pummel you with it. But beneath the mayhem, Lunny’s sharp, biting lyricism keeps everything focused, fusing humor and fury to take on toxic masculinity, police brutality, gentrification, and homophobia. The result is an album that’s unapologetically loud, unyielding, darkly funny, and impossible to ignore. 

TOP 10 ALBUMS OF 2024

2024 was a fantastic year for new music. One of the best in recent memory. With this, here are my top ten albums of the year.

10. Phosphorescent, Revelator

I have been a big fan of Matthew Houk, aka Phosphorescent, for many years. He's a fantastic songwriter, singer, and musician and has this uncanny way of digging deep into the human condition, pulling up truths most of us try to keep buried. A highlight for me was his 2013 album, Muchacho. With Revelator, his eighth studio album and first in six years, Houk turns inwards to explore the “gravity of navigating home, partnership, and family, contemplating the dark sides bubbling beneath one's seemingly idyllic life." 

 

Houk's albums are always contemplative and heavy, but the instrumentation on Revelator creates a more dreamlike state than on past albums. It has a calming effect that is welcomed while pondering Houk's sharp introspection and the heavy truths he unearths. By the time the closing track quietly admits, "To get it right is hard to do," Houck has already shown how beautifully he’s managed to do just that. This may be my favorite Phosphorescent album to date.

9. Hurray For The Riff Raff, The Past Is Still Alive

Segarra, raised in the Puerto Rican section of the Bronx, left home at 17 to ride the rails and hitchhike across the country, eventually finding community and creative inspiration in New Orleans. This journey led to the formation of Hurray for the Riff Raff, where Segarra channeled their experiences into powerful, narrative-driven music. 

Their 2017 album The Navigator was a high point, a concept album about Navita, a 16-year-old navigating an over-gentrified city. It masterfully captured the challenges of cultural erasure and the fight to reclaim identity, blending storytelling and activism with stunning artistry. 

Segarra’s latest album, The Past Is Still Alive, delves even deeper, reflecting on their years on the road. Through vivid, autobiographical lyrics, the album explores themes of friendship, loss, identity, and the search for a true sense of home in an increasingly fractured world. Segarra’s Americana-infused indie-rock sound perfectly complements their introspective storytelling, creating a poignant and classic album.

This deeply personal album stands as a love letter to the people and places that shaped Segarra’s journey and is a reminder why of why they are one of the most compelling artists around today. The Past Is Still Alive is another wonderful album by Segarra.

8. Oisín Leech, Cold Sea

Irish singer-songwriter Oisín Leech, known for his expressive songwriting as one-half of The Lost Brothers, ventures into new territory with his debut solo album, Cold Sea. After 15 years and seven acclaimed albums with the duo, Leech delivers heartfelt storytelling and soulful melodies in a project that feels both personal and universal. While The Lost Brothers’ sound leaned on harmony and collaboration, Cold Sea embraces solitude, offering an introspective journey shaped by Donegal, Ireland's rugged landscapes and the quiet influence of poets like Seamus Heaney.

Cold Sea is a stunning exploration of space and emotion, blending sparse instrumentation with Leech’s unguarded voice. It evokes the introspective beauty of Nick Drake, balancing melancholy and hope. Produced by Steve Gunn, the album is enriched by contributions from musicians like Tony Garnier and M. Ward, giving its textured sound depth and intimacy. Tracks feel less like songs and more like streams of consciousness, touching on themes of healing, connection, and renewal.

With Cold Sea, Leech has crafted an album that lingers in the mind and heart long after the final note fades. Rich in atmosphere and emotion, Cold Sea feels timeless and is one of the year’s most memorable releases.

7. Kid Kapichi, There Goes The Neighbourhood

Hastings, UK band, Kid Kapichi, has been on quite a ride over the past five years. With their social commentary on daily life in Britain, these self-proclaimed "beat punks," have grown in popularity and stature. On their third album, There Goes The Neighbourhood, the band leans further into spotlighting the political landscape that has impacted that daily life. 

“Three terms and a potential fourth of Tory rule is enough to ‘inspire’ any band. Brexit has been the icing on the cake, and touring through it has been an experience. Seeing how our police and others around the world have protected those in power and behaved with impunity, as the right-wing legislations of our governments have become more and more radical and common, has been pretty shocking. To see how we’ve let this happen and given up our civil liberties, it is honestly scary. A lot of these thoughts have inspired the album.” -Jack Wilson, Frontman-

Kid Kapichi's rough, punk sound and catchy songs are the perfect package to deliver their acid-tongued lyrics and biting commentary. The album pulses with energy, blending gritty guitars and relentless drums with anthemic hooks that make their messages impossible to ignore. Tracks like Artillery and 999 channel raw frustration, but beneath the anger lies a defiant call for unity and resistance. The neighbourhood may be going down, but this band is clearly on their way up.

6. Color Green, Fools Parade

"All of us are fans of all types of music. We like to wear our influences on our sleeves, but we try to keep our eye on timelessness and originality within the process. We try not to be too obvious about where we’re pulling from, but rather aim to pay respect to the legends that have shaped our musical taste." -Corey Maden, Guitarist-

On their sophomore album, Fools Parade, California-based quartet Color Green straddle '70's psychedelic and southern rock as well as '60's SoCal folk-rock and '80's underground rock to great success. As soon as I started listening to it, I felt like I was revisiting a great forgotten album. 

But the real magic of Fools Parade lies in its ability to feel familiar without falling into nostalgia's trap. There’s a subtle edge throughout, as Color Green balances homage with some raw contemporary energy. Sun-drenched harmonies, wandering guitars lines, and steady rhythms evoking both the breezy charm of Laurel Canyon and the gritty allure of CBGB’s. It’s a love letter to rock’s golden eras for sure, but one written with fresh ink and a knowing wink, making it feel timeless yet undeniably of the moment. Perhaps someday I will forget about this album, but not anytime soon. 

5. Amyl And The Sniffers, Cartoon Darkness

Amyl And The Sniffers are back, and they really want you to fuck off. No, seriously—don’t even try to get comfortable. From the first note of Cartoon Darkness, frontwoman Amy Taylor greets us with a venomous spit: “You’re a dumb c**t, You’re an asshole, Every time you talk you mumble, grumble, Need to wipe your mouth after you speak cuz it’s an asshole.” After that intro, you’re either going to be shocked and/or offended and stop listening or submit to this Aussie band's brash and bodaciousness and hang on tight for the next 35 minutes. Either way, the band is not bothered. They’ve already moved on.

Cartoon Darkness is an album that doesn’t beg for your attention. It doesn't soften its edges. It's still got that relentless punk energy that made them notorious. But musically, Guitarist Declan Mehrtens has said he wanted to try and get a cleaner, less aggressive sound than what they've done in the past and experiment with some more nuanced sounds. That intentionality elevates the band's music to new heights while Taylor’s uncompromising wit still never dips below razor-sharp with her lyrics. The more you dig into Cartoon Darkness, the more you realize this is a band’s final word on anything resembling compromise. They’re unapologetic, untouchable, and undeniably one of the most exciting acts around right now.

Take them or leave them, the band really doesn't care. As Taylor has said, "If you don't like us, then that's on you." What's also on you is choosing not listening to Cartoon Darkness, and missing out on one of the best albums of the year. The ball's in your court.

 

4. Father John Misty, Mahashmashana

Let me get this out of the way: I’m not a Father John Misty fan. Since Josh Tillman stepped away from Fleet Foxes and adopted the FJM persona as a way to “spring free his sense of humor, absurdity, and playfulness,” I’ve found his music self-indulgent and pretentious. Yet, each time he releases an album, I can’t help but acknowledge his talent and the craftsmanship of his work. It’s incredibly frustrating.

Frustrating is not a word I'd use to describe FJM's sixth album, Mahashmashana. It's a fantastic work of art. Taking its title from the Sanskrit word for ‘great cremation ground,’ the album picks up where his last album, Chloë and the Next 20th Century left off, with themes of death and self-erasure. Tillman has said this is a record about removing himself entirely, which raises the question: is this the death of his FJM persona or a deeper dissolution of identity? The album’s sprawling sound ranging from lush orchestration to surreal sonic textures, creates a disorienting but powerful atmosphere, feeling more like an experience than a conventional album.

In Mahashmashana's complexity, Tillman reveals some vulnerability. As his persona steps back, the album dives into deep existential themes with more open and conflicting emotions. The playful absurdity of his earlier work is replaced by a reflective and a more fragile tone. If this truly marks the end of the FJM project, as Tillman has suggested, it feels like a powerful farewell—an elegy to a self that was never fully real.

3. Charlie Crockett, $10 Cowboy

Charlie Crockett's output of studio albums since 2015 has been prolific. Twelve in all. For me, 2022's The Man from Waco was a highlight. But his latest album, $10 Cowboy, is in a league by itself. 

“America is a place where the casino that is America is rigged in favour of the house, but you can still win. Every American knows and believes that, on some level. That’s very much what makes us American. Travelling the world, you see the darkness and the beauty in it. There’s a lot of darkness. The fact that we even get to roll the dice, I know there’s a great amount of privilege that comes at the expense of a lot of the world that we just deal with or that I’m aware of as a traveller”.

-Charlie Crockett-

Crockett is a singular storyteller, and on $10 Cowboy, he weaves stories of this America. They are ones filled with characters who are struggling and succeeding, winning and losing, but hopeful and resilient. There’s a timelessness to his approach, as though these tales could have been told over campfires or in smoky backrooms of roadside bars today. Crockett’s ability to balance the grit of hard truths with the glimmer of hope feels uniquely his own. Backed by a stellar band, with horns that dance and strings that ache, Crockett has simply never sounded better. His voice, a mixture of weariness and determination, grounds each track with authenticity. A $10 cowboy…he is not, but he sure knows how to tell their stories.

2. Laura Marling, Patterns In Repeat

"Everything you want is in your reach right now

And anything that's not I have to teach somehow

Everything about you is intuitive

So those who miss the point might rush right through it

'Cause it's fine

But I don't want to miss it, child of mine"

Laura Marling is long from the young age of sixteen when she joined her older sister in London to pursue music. Now 34, Marling is a celebrated artists who has been recognized for her art with multiple Mercury Prize, Brit Award, and Grammy nominations. Most recently for her 2020 album, Songs Of Our Daughter, which Marling described as being written to an imaginary child.

Four years later, Marling is now a mother and has written and recorded a new collection of songs on which she celebrates her daughter and finds her ruminating about motherhood, the passage of time, and all the things that we inherit from our parents and the cycles we repeat. Recorded in her living room with her four month old daughter in the room, Patterns In Repeat, Marling's eight album, is an 'open-hearted' and intimate affair. Marling has never been more captivating. Patterns In Repeat is simply one of the most beautiful albums that I have heard in years and I found myself hanging on her every word, guitar note, chord, and strum.

1. The Cure, Songs For A Lost World

In 1988, nearing the age of 30, The Cure's Robert Smith was struggling with depression, the not-so-great parting of ways with his band's co-founder, coping with the band's increased popularity, and the pressure he felt to produce their next great album. It was a dark period of time, but rather than try to escape it, Smith embraced it and used it as the source to create the band's 1989 masterpiece, Disintegration. 

Thirty five years on, at the age of 65, mourning the loss of his parents and brother, and watching his band mates loose loved ones, Smith is acutely aware of the passage of time and his own mortality. And that awareness has washed away any of the romanticizing of death and dying that he felt or sang about in his youth. And once again, rather than try to escape what is real, Smith embraces it. 

On Songs Of A Lost World, the band's first new album in 16 years, Smith sings "I know, I know that my world has grown old and nothing is forever." It's a theme that stretches out across eight epic songs that ends with Endsong on which Smith sings, "And I'm outside in the dark staring at the blood red moon. Remembering the hopes and dreams I had and all I had to do. And wondering what became of that boy and world he called his own. I'm outside in the dark wondering how I got so old." It's powerful self-reflection that captures the weight of a lifetime's experiences, woven into a hauntingly beautiful meditation of loss, memory, and the passage of time.

With its brooding and atmospheric soundscape, Songs Of A Lost World feels like a natural successor to Disintegration. The album's lush melancholic aesthetic serves the perfect backdrop for Smith's lyrics and a welcomed return to form. This is the band's best album in 35 years and their second masterpiece.

AMYL AND THE SNIFFERS, CARTOON DARKNESS

Amyl And The Sniffers are back, and they really want you to fuck off. No, seriously—don’t even try to get comfortable. From the first note of Cartoon Darkness, frontwoman Amy Taylor greets us with a venomous spit: “You’re a dumb c**t, You’re an asshole, Every time you talk you mumble, grumble, Need to wipe your mouth after you speak cuz it’s an asshole.” After that intro, you’re either going to be shocked and/or offended and stop listening or submit to this Aussie band's brash and bodaciousness and hang on tight for the next 35 minutes. Either way, the band is not bothered. They’ve already moved on.

Cartoon Darkness is an album that doesn’t beg for your attention. It doesn't soften its edges. It's still got that relentless punk energy that made them notorious. But musically, Guitarist Declan Mehrtens has said he wanted to try and get a cleaner, less aggressive sound than what they've done in the past and experiment with some ‘softer’ sounds. That intentionality elevates the band's music to new heights while Taylor’s uncompromising wit still never dips below razor-sharp with her lyrics. The more you dig into Cartoon Darkness, the more you realize this is a band’s final word on anything resembling compromise. They’re unapologetic, untouchable, and undeniably one of the most exciting acts around right now.

Take them or leave them, the band really doesn't care. As Taylor has said, "If you don't like us, then that's on you." What's also on you is choosing not listening to Cartoon Darkness, and missing out on one of the best albums of the year. The ball's in your court.

MANNEQUIN PUSSY, I GOT HEAVY

Not many album covers grab my attention anymore. Just about everything has been done that can be done. But I was struck by the cover Mannequin Pussy’s new, fourth album, I got Heaven. A nude woman and a pig. Is she leading the pig to safety or slaughter? And why no clothes? This imagery reflects the album’s central themes of introspection and decision-making. Lead singer Marisa Dabice explains, “When you think about the relationships between beast and man, it really shows the type of person you are… Do you want to care for them and protect them? Or do you see them as fodder and something to be slaughtered?” Dabice’s use of nudity symbolizes solitude and self-discovery, as she has said, “At the end of the day, it’s just you and your body.”

I Got Heaven is a visceral, evocative punk/alt-rock record that tackles societal and personal themes with intensity. It explores the demonization of women and queer people, the struggle for self-acceptance, and the power found in solitude. These ideas are presented with raw emotion, making them both deeply urgent and relatable. Mannequin Pussy’s identities inevitably place their work within a political context. Dabice critiques the oppressive influence of Christianity in America, particularly the weaponization of shame: “If someone can make you ashamed of who you are, Dabice has said in an interview, then ultimately, they’ve won. 

The album becomes a sonic resistance against societal norms while maintaining an unrelenting punk ethos. The title track exemplifies the album’s duality, blending rage-filled verses with transcendent choruses. Dabice’s dark, critical humor adds accessibility to even the heaviest themes, giving the record a sharp, self-aware edge. Reflecting on humor, Dabice has said it became part of the creative process, balancing the weight of deeper discussions about humanity's violent relationship with nature and itself.

I Got Heaven is both a call to self-reflection and a fearless critique of societal pressures. Dabice encapsulates the band’s ethos perfectly: “We’re a paradox—absolutely righteous and utterly brazen.” Through intellect, irreverence, and relentless punk energy, Mannequin Pussy delivers an album that’s as thought-provoking as it is visceral.

PET NEEDS, INTERMITTENT FAST LIVING

Upon its release, Pet Needs declared that their third album, Intermittent Fast Living, was the album that they always wanted to make. This Essex punk-alt rock band from Essex certainly delivers with a supercharged punk fueled melodic set of songs with smart and witty lyrics that combined to create a 'vivid portrait of a band riding high on the rollercoaster that is the rock'n'roll life' It must be some ride and I'm glad to join them on it...at lease for 11 songs.