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
What you would need in strong feminism music, you'll here in Pink Balloons; fearless sexuality but not gutless and lackluster, contagious energy in both the vocals and guitars and bass and drums, rebellious against the norms that have been treating us way too wrong, and a fresh sound of real garage punk. The more progressive you are in your politics, the more you'll find Holzman's attitude almost seductive. On top, it's not too serious. The less the better, like my favorite song musically is the interlude Make Me Young, it's so diy.
If only the songwriting could match the ambition on every track.
What you would need in strong feminism music, you'll here in Pink Balloons; fearless sexuality but not gutless and lackluster, contagious energy in both the vocals and guitars and bass and drums, rebellious against the norms that have been treating us way too wrong, and a fresh sound of real garage punk. The more progressive you are in your politics, the more you'll find Holzman's attitude almost seductive. On top, it's not too serious. The less the better, like my favorite song musically is the interlude Make Me Young, it's so diy.
If only the songwriting could match the ambition on every track.
0
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65/100
This is type of singer-songwriter album where is technically and sonically isn't anything wrong, everything is right (except when jangly guitar can be to much on Wishing Well). On the other hand, the lack of originality and stone cold hard melodies keeps it from an absolute masterpiece or something outstanding. Check it out nevertheless. This Cohen guy knows how to incorporate soft rock and lounge jazz elements into his lightheartedly psychedelic singer-songwriter tunes, unlike another certain one this year who gets all the hype for doing the same but worse. Because on Paint A Room, each instrument knows when and where to jump in and what to play, and Cohen knows how to use a bleak delivery to produce pacific result; the title track being a gem of that. An easy LP to enjoy, for the whole family.
This is type of singer-songwriter album where is technically and sonically isn't anything wrong, everything is right (except when jangly guitar can be to much on Wishing Well). On the other hand, the lack of originality and stone cold hard melodies keeps it from an absolute masterpiece or something outstanding. Check it out nevertheless. This Cohen guy knows how to incorporate soft rock and lounge jazz elements into his lightheartedly psychedelic singer-songwriter tunes, unlike another certain one this year who gets all the hype for doing the same but worse. Because on Paint A Room, each instrument knows when and where to jump in and what to play, and Cohen knows how to use a bleak delivery to produce pacific result; the title track being a gem of that. An easy LP to enjoy, for the whole family.
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65/100
Very run-of-the-mill folk album from a somewhat gentle soul. It can be a good little listen when you don't want to be sold something. Foxglove is a win with a compelling rhythm that matches the riff, that dynamic is repeated in Ayan's Song. The title track has a good balance between guitar, voice and strings. I have heard the exact fingerpicking on Mouth of A Flower, but I don't care the song's oh so wonderful. The best riff comes on Redwoods, though the rest is a bit too typical, and the best fingerpicking is on the semi-jazzy Sorry Fahey.
Very run-of-the-mill folk album from a somewhat gentle soul. It can be a good little listen when you don't want to be sold something. Foxglove is a win with a compelling rhythm that matches the riff, that dynamic is repeated in Ayan's Song. The title track has a good balance between guitar, voice and strings. I have heard the exact fingerpicking on Mouth of A Flower, but I don't care the song's oh so wonderful. The best riff comes on Redwoods, though the rest is a bit too typical, and the best fingerpicking is on the semi-jazzy Sorry Fahey.
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65/100
It is too long, side B being the all-killer no filler part of the album. There is nothing new in the Microphones world, but in the superb moments, which there are lot of, it doesn't matter. The imperfection-nature is still there and in thrive, Phil Elverum still sounds like himself. I know I am not coming back to this album often, but I also know that when I do I will enjoy it, skipping of course the last leg of dread.
It is too long, side B being the all-killer no filler part of the album. There is nothing new in the Microphones world, but in the superb moments, which there are lot of, it doesn't matter. The imperfection-nature is still there and in thrive, Phil Elverum still sounds like himself. I know I am not coming back to this album often, but I also know that when I do I will enjoy it, skipping of course the last leg of dread.
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65/100
Very enjoyable pieces, although it isn't every cut that features a genuine chill form of melodiousness, and the record can get a bit long. But easy to get into. The first disc is mostly the calm, the second disc is the storm with many more symphonic elements. Recommended listen for every chamber fan.
Very enjoyable pieces, although it isn't every cut that features a genuine chill form of melodiousness, and the record can get a bit long. But easy to get into. The first disc is mostly the calm, the second disc is the storm with many more symphonic elements. Recommended listen for every chamber fan.
Year of Release:
2024
Appears in:
Rank in 2024:
None
Rank in 2020s:
None
Average Rating:
Comments:
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65/100
Oh, we have American Primitivism on this one, but also in doses and sprinkles. The high arena rock-like and psychedelic rock-like riffs on Peridot and the slight hypnosis that is Albatross makes for another (though less) solid one for Jen Powers and Matthew Rolin, the most consistent group in the last two years.
Oh, we have American Primitivism on this one, but also in doses and sprinkles. The high arena rock-like and psychedelic rock-like riffs on Peridot and the slight hypnosis that is Albatross makes for another (though less) solid one for Jen Powers and Matthew Rolin, the most consistent group in the last two years.
Year of Release:
2024
Appears in:
Rank Score:
1
Rank in 2024:
Rank in 2020s:
Average Rating:
Comments:
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60/100
Damn, they take inspiration from all the greats of the genre; they do their homework.
Title track is like one of those Cure songs that doesn't have enough bite to be in league with their classic shit. I could also compare Remain to The Reds Pinks And Purples or early 2010s Real Estate, but it's missing the optimistic vocals of the former, and the slightly alternative melody of the latter to make it worthwhile. A tender closing riff saves She Won't Be.
Thoughtless, Isn't It, Shiver and Kissing Through The Veil have great terrific musical target but are not sticking the same.
Then there is I Am The Dancer, everything I could look for in dream pop. Starting out in Windy & Carl's drone landscapes, it departures into highly atmospheric, ghostly gestures, as if Cigarettes After Sex were an urban myth. It's honestly brilliant, full of wit, sometimes the words seem distant and cryptic like they should.
Damn, they take inspiration from all the greats of the genre; they do their homework.
Title track is like one of those Cure songs that doesn't have enough bite to be in league with their classic shit. I could also compare Remain to The Reds Pinks And Purples or early 2010s Real Estate, but it's missing the optimistic vocals of the former, and the slightly alternative melody of the latter to make it worthwhile. A tender closing riff saves She Won't Be.
Thoughtless, Isn't It, Shiver and Kissing Through The Veil have great terrific musical target but are not sticking the same.
Then there is I Am The Dancer, everything I could look for in dream pop. Starting out in Windy & Carl's drone landscapes, it departures into highly atmospheric, ghostly gestures, as if Cigarettes After Sex were an urban myth. It's honestly brilliant, full of wit, sometimes the words seem distant and cryptic like they should.
Year of Release:
2024
Appears in:
Rank in 2024:
None
Rank in 2020s:
None
Average Rating:
Comments:
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60/100
This is as straightforward of an indie folk album anno 2024 you can get. What you expect is what you get, for good and bad. Good vocalist? Check. Somber non-poetic lyrics? Check. Organic instrumentation? Check. Originality? Not a chance.
That being said, I love this music, and most of the album was nothing to be scoffed by. My favorite cuts being I Guess (an exercise in observance and confused feelings of love), Like It Tends To Do (best backing band), the piano detour Vortex, and obviously Broken Glass (acoustic guitar and lenient singing is my vibe). Lizzy does the latter again on Better Than This but with less direction.
This is as straightforward of an indie folk album anno 2024 you can get. What you expect is what you get, for good and bad. Good vocalist? Check. Somber non-poetic lyrics? Check. Organic instrumentation? Check. Originality? Not a chance.
That being said, I love this music, and most of the album was nothing to be scoffed by. My favorite cuts being I Guess (an exercise in observance and confused feelings of love), Like It Tends To Do (best backing band), the piano detour Vortex, and obviously Broken Glass (acoustic guitar and lenient singing is my vibe). Lizzy does the latter again on Better Than This but with less direction.
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60/100
Even though this subgenre (Breakcore and Jungle) isn't of my taste at all, I will acknowledge the skill and talent put into Nothing Lasts Forever! SBGC2, at their best, has the urge to periodically play with the listener's mind when it comes to song structure. Plus some of uplifting synth snippets mostly do work and I quite enjoy it. Most of the album uses the same breakbeat, so it's up to the listener which songs it fits on, etc. I'm not a fan of Hyperactivity, but I see the reason behind every element of the instrumentation clear as day, which doesn't happen too often compared to much else music of this style - but I feel like some of the melodic refrains were a little too spotty for me on that one. And even if it isn't an album I loved, I will point out my favorite songs: Dynamo with harsh-noise heavy breakbeat alongside immaculate outro. I sort of really love how Soul Pollination's fast tempo makes me go insane for one minute, but enjoying going insane - not to mention the effortless progression that short track does. The title track is a starflyer, going 100,000 miles an hour into other galaxies and even features a sax sample that surprisingly doesn't at all feel outta place (that's style!). The liminal-spacey Beauty In Transit is a very warm welcome too, giving the record a bit variety with a neoclassical piano and hypnagogic elem....until the hardest breakcore beat curbstomps the song during the last half minute, giving it an epic status, by far my favorite on this thing but that's because it's more of my typea music. The remaining songs aren't as grabbing but props!
The lowlights take Nothing Lasts Forever a single notch below 2000 from last year (under the Seasons alias), but just based off the fact that the same person made this - safe to say - pretty different-sounding album, says a lot about the effort and talent.
Even though this subgenre (Breakcore and Jungle) isn't of my taste at all, I will acknowledge the skill and talent put into Nothing Lasts Forever! SBGC2, at their best, has the urge to periodically play with the listener's mind when it comes to song structure. Plus some of uplifting synth snippets mostly do work and I quite enjoy it. Most of the album uses the same breakbeat, so it's up to the listener which songs it fits on, etc. I'm not a fan of Hyperactivity, but I see the reason behind every element of the instrumentation clear as day, which doesn't happen too often compared to much else music of this style - but I feel like some of the melodic refrains were a little too spotty for me on that one. And even if it isn't an album I loved, I will point out my favorite songs: Dynamo with harsh-noise heavy breakbeat alongside immaculate outro. I sort of really love how Soul Pollination's fast tempo makes me go insane for one minute, but enjoying going insane - not to mention the effortless progression that short track does. The title track is a starflyer, going 100,000 miles an hour into other galaxies and even features a sax sample that surprisingly doesn't at all feel outta place (that's style!). The liminal-spacey Beauty In Transit is a very warm welcome too, giving the record a bit variety with a neoclassical piano and hypnagogic elem....until the hardest breakcore beat curbstomps the song during the last half minute, giving it an epic status, by far my favorite on this thing but that's because it's more of my typea music. The remaining songs aren't as grabbing but props!
The lowlights take Nothing Lasts Forever a single notch below 2000 from last year (under the Seasons alias), but just based off the fact that the same person made this - safe to say - pretty different-sounding album, says a lot about the effort and talent.
Year of Release:
2024
Appears in:
Rank in 2024:
None
Rank in 2020s:
None
Average Rating:
Comments:
Buy album
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60/100
Ms. Dickson keeps exploring her own sonic universe on The Beholder. Even though I do miss the spaciness of Starland, this follow-up, drenched in more traditional avant-garde oddities, shows its own identity with slow breaks and a few unpredictable vocal lines. She has a tad more poetic focus in the lyrics, and the best moments reinvents new concepts of how alternative ambient pop should be...if you could even categorize it as that. One thing for sure, Claire Dickson is interesting.
Ms. Dickson keeps exploring her own sonic universe on The Beholder. Even though I do miss the spaciness of Starland, this follow-up, drenched in more traditional avant-garde oddities, shows its own identity with slow breaks and a few unpredictable vocal lines. She has a tad more poetic focus in the lyrics, and the best moments reinvents new concepts of how alternative ambient pop should be...if you could even categorize it as that. One thing for sure, Claire Dickson is interesting.
Year of Release:
2024
Appears in:
Rank in 2024:
None
Rank in 2020s:
None
Average Rating:
Comments:
Total albums: 52. Page 1 of 6
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2024 outliers composition
| Artist | Albums | % | |
|---|---|---|---|
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| Borderline Issues | 2 | 2% | |
| Mount Eerie | 1 | 1% | |
| Denzel Curry | 1 | 1% | |
| JPEGMAFIA | 1 | 1% | |
| Jaubi | 1 | 1% | |
| Yung Pacman | 1 | 1% | |
| Windy And Carl | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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52 | 52% | |
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20 | 20% | |
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5 | 5% | |
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3 | 3% | |
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3 | 3% | |
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2 | 2% | |
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2 | 2% | |
| Show all | |||
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We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.