2024 outliers by 
DommeDamian 
- Chart updated: 05/24/2025 21:15
- (Created: 05/24/2025 20:58).
- Chart size: 100 albums.
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65/100
Some of the songs are pleasant yet non-investing (like the fine Any Light, the passable Gift, the lesser passable To Turn), and others (like Uncanny Valley's summery doses, Ask Direction's colorful wizardry, interlude acoustics and hypnagogic synths on The Light In You, the small country side breezes of No Mast, Blue with a morning-like asepticness, the alt-country ditty On My Way To You, and especially the immaculate and tender Medicine) do the job.
Also this is 29 minutes, but it feels like 42 minutes. But this is one of those rarities where it's a positive. If you were a fan of the (overhyped) Clairo album this year, this Loving album (with those quiet vocals) will surprise you.
Some of the songs are pleasant yet non-investing (like the fine Any Light, the passable Gift, the lesser passable To Turn), and others (like Uncanny Valley's summery doses, Ask Direction's colorful wizardry, interlude acoustics and hypnagogic synths on The Light In You, the small country side breezes of No Mast, Blue with a morning-like asepticness, the alt-country ditty On My Way To You, and especially the immaculate and tender Medicine) do the job.
Also this is 29 minutes, but it feels like 42 minutes. But this is one of those rarities where it's a positive. If you were a fan of the (overhyped) Clairo album this year, this Loving album (with those quiet vocals) will surprise you.
Year of Release:
2024
Appears in:
Rank Score:
2
Rank in 2024:
Rank in 2020s:
Average Rating:
Comments:
0
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60/100
Standard Godspeed You Black Emperor yet again, but this time the politics of Palestine is obvious, so bonus points for that.
Standard Godspeed You Black Emperor yet again, but this time the politics of Palestine is obvious, so bonus points for that.
Year of Release:
2024
Appears in:
Rank Score:
416
Rank in 2024:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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55/100
What you know and have read of this album, musically, is true, so I'll just describe the tracks: the first song, the title track, has a decent-good riff but nothing is remarkable. There's no hypnagogic pop finesse on Stone Faces, it's just tacky slacker pop. Olive Drab actually sounds like E-tier Gorillaz from the 2000s, a tame parody. I don't hear the difference between Wild Rose and any amateurish stomp and holler, surf rock when it's childish. Realistik Heaven and Durham City Limit are too disjointed to evoke the intended feelings. And 24/7 Heaven is the cheapest orchestral pop song I have heard in a minute. There's actually not enough lo-fi filter on Dracula, and it ends up being fillerish. Boredom and awkwardness was Always Dreaming. To Heal This Wounded Heart was a great song, until it is ruined by the most airy melody-writing on the whole album, reducing it to background floss.
Glitz has a bit more bite, the lack of good vocal performance keeps it from replayability though - that's also why the folky second half of the song is much more solid. So do Government Cheque, it lacks a certain grip to sell it for me, even if the tune is sufficient. The progressiveness in If You Hear Me Crying makes it the most memorable song on the album, both with a noisy Velvet Underground guitar-part (a la The Gift) that then gets to a small atmospheric interlude (a la Heroin) with Nico-inspired vocals all over, it's such a great tune. I also dig the transition from Darling of The Diskoteque having a lo-fi industrial intro, to then a soothing easy listening mood, to then occasionally use more lo-fi drums to give it its own identity.
A bit of the hypnagogic pop that I was looking for comes on Baby Blue, but it's actually thriving more from the 60s influence than the typical 80s glamour that dominates the genre. And the nostalgic dream-thingy gets to fruition on Kingdom Come: the double-guitar and child-y harmony accompanied with sloppy drums makes for the imperfect and amazing experience of hypnagogic pop's beauty. That can also be said for Til Polarity's End, with reverb so good it fills the room. My two favorite hypnagogic pop musicians, John Maus and Charlie Megira, gets fused on the instrumental GAYBLEVISION's gay-vision of rockabilly rhythm and anthemic melody.
Someone in the RYM comment box said it was like Twin Peaks Roadhouse music, and Wild One is prolly the best track in that vein (count in Lockstepp's subtle sinister approach, Don't Tell Me I'm Wrong's quasi-angelic ambient doo-wop, Deepest Blue's dream country too). It probably also could have been the best here, a stellar humble-strum, and careful harmony that simultaneously a big atmosphere. But, I only wish that one was 3 minutes longer. Unlike the song after that, Flesh And Blood, which should've been a short 2 minute song, cause the rhythm and ditty riff have gotten tiresome. Crime of Passion also could be a highlight, but it just misses that whimsical melody as it has everything else going for it. La Machiniste Fantome sets a cool tone, an enjoyable cool tone, but is cut short at just a minute. In that case, the cryptic or noir riff of I Have My Doubts has greater effect.
The appeal of the Beach Boys-ian Dreams of You is subtle and enigmatic, maybe it's that the reverb has been worked with painstakingly care rather than just slap-dashed on top of the instrumentation and harmonies. The appeal of Brill Building-era music on Demon Bitch is also reminiscent of Magnetic Fields in some way, in a joyful way. Golden Microphone is if the Beach Boys had a jazz drummer and more space between the verse-lines. For the record, I have no problem with summa the cuts having abrupt endings, I think more songs should have that to throw the listener off, instead of ending it when there's nothing more to play (like most pop songs). Dallas is also Beach Boys-inspired, but with way fewer results, here it sounds derivative and lame. On the other hand, What's It Going To Take is almost a baroque pop tune with an explosive outro, pretty impressive. Sadly, I think All I Want Is You is one of the songs on the record where the lo-fi production prevents the emotional haymaker the clearest: the guitars are too low, the synth and drums are too in-front (other than that, the song is well-done).
It's a fine album, but again two hours is not wanted from me. This paragraph of Spectrum Pulse I agree with:
"the feel of Diamond Jubilee is of a sprawling lost artifact from a different time, where the creaking lo-fi textures, thick cushion of reverb, and especially the eerie synths on the back half surround something reminiscent of obscure vinyl you’d find digging in the crates, or a transmission from a public access station decades past where the haunted mystique has you wondering what might have been, framed as all the more impressive as Patrick Flegel bends across voices and gender to showcase their impressive talent. And especially as you let the album wash over you, especially on the back half, it’s designed to construct the dreamlike questions of what might have been; what Flegel is doing compositionally isn’t that unique in terms of construction, if you know the hallmarks of 60s baroque pop, psychedelia, progressive rock, and even soft rock and country everything will feel distinctly familiar from hard panning to every trick in Phil Spector’s playbook, enough to have you wonder what queer voices have been lost to decades past who deserved but never got the spotlight despite the talent to have it, especially as it is genuinely impressive how many melodic flourishes and detours Flegel will take."
So it's clear as day what it's meant here, and I do not blame a single soul in the world who'd love the world out of Diamond Jubilee, but for me it's not always Patrick's ideas get translated into music that is as enjoyable. Here is my reduced version of the album:
01: Whats It Going To Take (3.29)
02: Baby Blue (3.55)
03: Dreams of You (2.46)
04: Wild One (2.04)
05: Kingdom Come (4.42)
06: Demon Bitch (4.24)
07: I Have My Doubts (3.32)
08: Til Polarity's End (4.04)
09: GAYBLEVISION (2.56)
10: Lockstepp (4.39)
11: Deepest Blue (2.57)
12: If You Hear Me Crying (4.01)
13: Darling of The Diskoteque (3.04)
14: Dont Tell Me Im Wrong (4.48)
Length: 51:21
What you know and have read of this album, musically, is true, so I'll just describe the tracks: the first song, the title track, has a decent-good riff but nothing is remarkable. There's no hypnagogic pop finesse on Stone Faces, it's just tacky slacker pop. Olive Drab actually sounds like E-tier Gorillaz from the 2000s, a tame parody. I don't hear the difference between Wild Rose and any amateurish stomp and holler, surf rock when it's childish. Realistik Heaven and Durham City Limit are too disjointed to evoke the intended feelings. And 24/7 Heaven is the cheapest orchestral pop song I have heard in a minute. There's actually not enough lo-fi filter on Dracula, and it ends up being fillerish. Boredom and awkwardness was Always Dreaming. To Heal This Wounded Heart was a great song, until it is ruined by the most airy melody-writing on the whole album, reducing it to background floss.
Glitz has a bit more bite, the lack of good vocal performance keeps it from replayability though - that's also why the folky second half of the song is much more solid. So do Government Cheque, it lacks a certain grip to sell it for me, even if the tune is sufficient. The progressiveness in If You Hear Me Crying makes it the most memorable song on the album, both with a noisy Velvet Underground guitar-part (a la The Gift) that then gets to a small atmospheric interlude (a la Heroin) with Nico-inspired vocals all over, it's such a great tune. I also dig the transition from Darling of The Diskoteque having a lo-fi industrial intro, to then a soothing easy listening mood, to then occasionally use more lo-fi drums to give it its own identity.
A bit of the hypnagogic pop that I was looking for comes on Baby Blue, but it's actually thriving more from the 60s influence than the typical 80s glamour that dominates the genre. And the nostalgic dream-thingy gets to fruition on Kingdom Come: the double-guitar and child-y harmony accompanied with sloppy drums makes for the imperfect and amazing experience of hypnagogic pop's beauty. That can also be said for Til Polarity's End, with reverb so good it fills the room. My two favorite hypnagogic pop musicians, John Maus and Charlie Megira, gets fused on the instrumental GAYBLEVISION's gay-vision of rockabilly rhythm and anthemic melody.
Someone in the RYM comment box said it was like Twin Peaks Roadhouse music, and Wild One is prolly the best track in that vein (count in Lockstepp's subtle sinister approach, Don't Tell Me I'm Wrong's quasi-angelic ambient doo-wop, Deepest Blue's dream country too). It probably also could have been the best here, a stellar humble-strum, and careful harmony that simultaneously a big atmosphere. But, I only wish that one was 3 minutes longer. Unlike the song after that, Flesh And Blood, which should've been a short 2 minute song, cause the rhythm and ditty riff have gotten tiresome. Crime of Passion also could be a highlight, but it just misses that whimsical melody as it has everything else going for it. La Machiniste Fantome sets a cool tone, an enjoyable cool tone, but is cut short at just a minute. In that case, the cryptic or noir riff of I Have My Doubts has greater effect.
The appeal of the Beach Boys-ian Dreams of You is subtle and enigmatic, maybe it's that the reverb has been worked with painstakingly care rather than just slap-dashed on top of the instrumentation and harmonies. The appeal of Brill Building-era music on Demon Bitch is also reminiscent of Magnetic Fields in some way, in a joyful way. Golden Microphone is if the Beach Boys had a jazz drummer and more space between the verse-lines. For the record, I have no problem with summa the cuts having abrupt endings, I think more songs should have that to throw the listener off, instead of ending it when there's nothing more to play (like most pop songs). Dallas is also Beach Boys-inspired, but with way fewer results, here it sounds derivative and lame. On the other hand, What's It Going To Take is almost a baroque pop tune with an explosive outro, pretty impressive. Sadly, I think All I Want Is You is one of the songs on the record where the lo-fi production prevents the emotional haymaker the clearest: the guitars are too low, the synth and drums are too in-front (other than that, the song is well-done).
It's a fine album, but again two hours is not wanted from me. This paragraph of Spectrum Pulse I agree with:
"the feel of Diamond Jubilee is of a sprawling lost artifact from a different time, where the creaking lo-fi textures, thick cushion of reverb, and especially the eerie synths on the back half surround something reminiscent of obscure vinyl you’d find digging in the crates, or a transmission from a public access station decades past where the haunted mystique has you wondering what might have been, framed as all the more impressive as Patrick Flegel bends across voices and gender to showcase their impressive talent. And especially as you let the album wash over you, especially on the back half, it’s designed to construct the dreamlike questions of what might have been; what Flegel is doing compositionally isn’t that unique in terms of construction, if you know the hallmarks of 60s baroque pop, psychedelia, progressive rock, and even soft rock and country everything will feel distinctly familiar from hard panning to every trick in Phil Spector’s playbook, enough to have you wonder what queer voices have been lost to decades past who deserved but never got the spotlight despite the talent to have it, especially as it is genuinely impressive how many melodic flourishes and detours Flegel will take."
So it's clear as day what it's meant here, and I do not blame a single soul in the world who'd love the world out of Diamond Jubilee, but for me it's not always Patrick's ideas get translated into music that is as enjoyable. Here is my reduced version of the album:
01: Whats It Going To Take (3.29)
02: Baby Blue (3.55)
03: Dreams of You (2.46)
04: Wild One (2.04)
05: Kingdom Come (4.42)
06: Demon Bitch (4.24)
07: I Have My Doubts (3.32)
08: Til Polarity's End (4.04)
09: GAYBLEVISION (2.56)
10: Lockstepp (4.39)
11: Deepest Blue (2.57)
12: If You Hear Me Crying (4.01)
13: Darling of The Diskoteque (3.04)
14: Dont Tell Me Im Wrong (4.48)
Length: 51:21
Year of Release:
2024
Appears in:
Rank Score:
557
Rank in 2024:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
Total albums: 3. Page 1 of 1
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2024 outliers composition
| Artist | Albums | % | |
|---|---|---|---|
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| Borderline Issues | 2 | 2% | |
| Haley Heynderickx | 1 | 1% | |
| Cristóbal Avendaño & Silvia Moreno | 1 | 1% | |
| Amaro Freitas | 1 | 1% | |
| Claire Dickson | 1 | 1% | |
| Shabaka | 1 | 1% | |
| Novo Amor | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
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| |
52 | 52% | |
 |
20 | 20% | |
| |
5 | 5% | |
 |
3 | 3% | |
 |
3 | 3% | |
 |
2 | 2% | |
 |
2 | 2% | |
| Show all | |||
2024 outliers similarity to your chart(s)
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We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.