By Eleni P. Austin
I’m not going to sugar-coat it, I’m sad. No two ways around it. November nearly killed me, particularly when we had to say goodbye to our slinky and perfect girl, Denver two days before Thanksgiving. To say we’re heartbroken, is an understatement. But, as I have noted here before, music can save you. It’s been keeping me sane these last few weeks. Which brings me to the annual ritual of my favorite records of 2024.
- X – Smoke & Fiction (Fat Possum Records)
The members of X, specifically John Doe and Exene Cervenka have gone on record saying this will be their final album and tour. If so, they’re going out with a bang. L.A.’s premier Punk band, which included guitarist Billy Zoom and drummer DJ Bonebrake, formed in the late ‘70s. They released six essential albums in the ‘80s and after a short hiatus in the ‘90s, have spent the last 25 years on the road. It was a sweet surprise in 2020 when they released the Alphabetland record, their first new music since Hey Zeus.
This summer, they upped the ante with their 9th effort, Smoke & Fiction. This record is action-packed, a full-throttle, pedal-to-the-metal reminder why X has remained the non plus ultra of Los Angeles Punk. Even though they haven’t been a couple since the mid ‘80s, John and Exene exhibit the same symbiotic frisson on new songs like “Sweet To The Bitter End” and “The Way It Is,” that was originally present On “The Phone’s Off The Hook, But You’re Not. The combustible energy that characterizes their live shows is evident on tracks like “Struggle” and “Flipside.” From the gimlet-eyed nostalgia of “Big Black X,” to the jaggy intensity of the title track, the record is the perfect bookend to their legacy. As a fan since 1980, I selfishly hope X carries on a little longer on the road and in the studio. But if this is it, at least John, Exene, Billy and DJ have left us with this magnificent parting gift.
- bôa – Whiplash (Nettwerk Records)
I am so in love with the resurrection of British band boa (and not just because I am pals with lead vocalist, Jasmine Rodgers). Originally a five-piece, they formed back in the ‘90s, and in retrospect, it’s kind of shocking that their music didn’t garner massive airplay on MTV programs like 120 Minutes, Alternative Nation or Buzz Bin. Chalk it up to record label ineptitude, I guess.
But now, thanks to the wily ways of the interwebs, and TikTok in particular, their signature song, “Duvet” became a viral sensation and recently went platinum. But that might have remained a fluke if Jasmine, Alex Caird and Lee Sullivan had not opted to reunite and create new music. Songs like “Let Me Go,” the title track and “Beautiful & Broken” hit that sweet spot between pensive and restless. Most of the songs here could sandwich nicely on a playlist that included Kate Bush, Mazzy Star and innocence mission. But numbers like “Walk With Me” and “I Don’t Know” display a spiky, Punk sensibility that keeps this bandfrom being pigeonholed. As they rev up their 2025 (mostly sold-out) world tour, hopefully the inspiration will continue to flow and more new music will follow.
- TIM EASTON – Find Your Way (Black Mesa Records)
I first began paying attention to Tim Easton when he lived in the High Desert and consistently played Pappy & Harriet’s (back when that still meant something). This Hardcore Troubadour has been a solo artist for more than a quarter of a century, but this this year saw the release of his watershed effort, Find Your Way.
Lyrics are shot through with tenderness, wit and empathy, meanwhile, his melodies and arrangements feel as lived-in and comfortable as a well-worn jean jacket. Songs like “Here For You,” or “Everything You’re Afraid Of” display a grit, grace and wit that echoes antecedents like Loudon Wainwright III and John Hiatt. This album cements his place in the Folk Rock Pantheon.
- SON OF the VELVET RAT – Ghost Ranch (Fluff & Gravy Records)
These High Desert denizens never disappoint. Austrian natives Georg Altziebler and Heike Binder first formed Son Of the Velvet Rat at the turn of the 21st century, and for the last decade or so, have split their time between their home country and Joshua Tree. From the beginning, their sound has woven disparate influences like Jacques Brel, beloved Country-Punks Dead Moon, ‘60s Garage Rock and George Brassens into a sui generis aural tapestry.
On their latest album, they remain brooding, mysterious and world-weary. The song “Beautiful Day” twangs and jangles, aided by additional vocals from acclaimed singer-songwriter Jolie Holland. Dusty chansons like “Rosary,” brush up against the cerulean ache of “Southbound Plane.” Then there’s the tender paean of “Golden Gate” and the gossamer farewell of “The Waterlily And The Dragonfly.” Their music remains an intriguing synthesis monochromatic Austria and the expansive technicolor of the Mojave.
- PAUL WELLER – 66 (Polydor Records)
In Great Britain, Paul Weller’s music has consistently topped the charts since 1977. From his earliest days fronting Punk Power trio The Jam, to the Sophisto-Pop/Jazz Soul of his next band, The Style Council, to his solo years, which began in the early ‘90s. On his latest record, he tackles a surfeit of styles, Psychedelia, creamy Philly Soul, Electronica, languid Jazz and stripped-down Punk. There’s the finger-poppin’ cool of the opener, “Ship Of Fools,” to the Glam-tastic buzz of “Jumble Queen” and the elegant roundelay of “My Best Friend’s Coat,” he distills longtime influences like John Lennon, Curtis Mayfield, Marvin Gaye and The Who. With 66, he continues to follow his muse and kick over the traces.
- THEE SACRED SOULS – Got A Story To Tell (Daptone Recording Company)
I am a sucker for late ‘60s/early ‘70s Soul music. Marvin Gaye, The Spinners, Donny Hathaway, Aretha, O’Jays, Isleys, Curtis Mayfield, Minnie Ripperton and Al Green. I could go on and on. So I was completely dazzled and delighted to discover Thee Sacred Souls, the San Diego three-piece includes guitarist/drummer Alex Garcia, bassist Sal Samano and singer-songwriter Josh Lane. All three had separately pledged allegiance to Chicano R&B, Gospel, Northern Soul, Motown, Stax, Latin Jazz and Quiet Storm. So, when they came together, it seemed like a perfect fit.
Their self-titled debut arrived in 2022 and this year, they returned with a stellar sophomore effort, Got A Story To Tell. Much like their first album, this one drafted off that classic Soul sound. Silky, swoony, seductive and surprisingly socially conscious, these guys know what becomes of the broken hearted. With “On My Own,” they step out of their comfort zone, adding trace elements of Electronica and willowy Folk accents. “Waiting On The Right Time” advocates patience, while “MY Heart Is Drowning” wraps an anguished cri de Coeur in a slinky Northern Soul pastiche. Following in the footsteps of Curtis, Marvin and Donny, “One And The Same” offers a plea for some peace, love and understanding. The record brilliantly distills their influences into a heady brew.
- DAVE ALVIN & JIMMIE DALE GILMORE – Texicali (YepRoc Records) Dave and Jimmie have been legendary figures on the Roots-Rock scene for decades, and they’ve been pals nearly as long. But they didn’t officially begin collaborating until 2017 when they teamed up for a series of concert dates. Not long after, they hunkered down in the studio and recorded their first album, From Downey To Lubbock.
Their chemistry was so electric, they have now returned with Texicali. Like their debut, this one was a healthy mix of original songs as well as favorite covers. Jimmie Dale’s reedy Texas twang dovetails nicely with Dave’s commanding growl. Originals like the empathetic “Borderline” and the contemplative “Southwest Chief” are juxtaposed by rough and tumble numbers like “Broke Down Engine” and Betty And Dupree.” Jimmie’s Lonestar twang fuses with Dave’s Cali-Roots Rock and the result is a rollicking good time.
- THE LINDA LINDAS – No Obligation (Epitaph Records)
This distaff Punk combo, comprised of two sisters, a cousin and close friend, were between the ages of 11 and 17 when they formed the band in 2018. The L.A. four-piece hit the ground running, opening for legends like Alice Bag and Bikini Kill, appearing in Amy Pohler’s Netflix comedy Moxie, signing with iconic Indie label, Epitaph and releasing their debut, Growing Up in 2022.
This year saw the release of No Obligation. Taking a page from progenitors like The Go-Go’s, Bikini Kill, The Bags and Blondie, the new record delivers on the promise of the first. A sharp confluence of Punk, Garage Rock and Power Pop, it’s chockful of thrashy goodness. Sweet-sour sentiments cocooned in snarling vocals, infectious melodies and muscular arrangements. Their talent belies their tender age.
- KACEY MUSGRAVES – Deeper Well (Interscope/MCA Nashville)
Nearly 30 years after she wrote her first song, Kacey Musgraves has nothing to prove, she’s definitely paid her dues. Self-releasing her own music as a teen, competing on the TV show Nashville Star and earning her keep in Music City as a songwriter got her noticed. Signing with a major label, her 2013 record Same Trailer, Different Park was released to critical acclaim and commercial success.
Five albums in, she followed her muse with this year’s Deeper Well, she has become, to paraphrase Donny & Marie, a little less Country, and a little more Rock & Roll. Byrdsy guitars that jingle jangle happily coexist alongside breezy ukulele and barbed slide guitar. Honky-Tonk laments share vinyl space with ‘70s Soft Rockers and Baroque Folk Rock numbers that hew more closely to Simon & Garfunkel than Flatt & Scruggs. It’s a triumph from start to finish.
- REDD KROSS – Redd Kross (a.k.a. The Redd Album) (In The Red Records)
It’s been a banner year for Redd Kross. Andrew Reich directed the brilliant documentary: Born Innocent: The Redd Kross Story, which recently reached the theaters. There’s also an exhaustive oral history book, Now You’re One Of Us, that’s dedicated to the band. Best of all, they have just released their mind-blowing self-titled two record set.
Like their kindred spirits, The Linda Lindas, brothers and Downey natives Jeff and Steven started their band as kids, age 14 and 11. They wore their influences on their sleeves. Everything from Iggy & The Stooges, T. Rex, Kiss, David Bowie, The Who and Led Zeppelin, to Pop Culture touchstones like The Partridge Family, Saturday Morning Cartoons, Linda Blair, The Carpenters and Charles Manson. Between 1982 and 2019 they have only released seven albums, they wound up influencing everyone from Sonic Youth and Soundgarden and Nirvana to Shonen Knife, Teenage Fanclub and Jellyfish.
Their latest feels like their magnum opus. It’s wall-to-wall wonderful, from the Jangle-Pop of “Candy-Coated Catastrophe,” the Baroque majesty of “Back In The Cave,” and the thrashy goodness of “Stuff.” Meanwhile, there’s the Psychedelic Bubblegum crunch of “Good Times Propaganda Band” and the hypnotic groove of “What’s In It For You.” The record closes with “Born Innocent,” an infectious banger that acts as the band’s origin story. Much like The Beatles’ White Album, this record offers a kaleidoscope of aural colors and tactile textures.
I’m relieved to turn the page on 2024, this horribilis annus can’t end fast enough for me. Hopefully, when I look back, all I’ll remember is the music. See you in 2025.
