Continuing our yearly tradition, we’ve come together to compose a list of some of our favorite releases of 2024, listed in no particular order. See below and let us know what we missed! (Note: each photo included on this page, of our mentioned artists, was taken by Penny contributors!)
Write-Ups by James Ammirato, Erin Christie, Kate Christie, Sara Collins, Anya Dakota, Max Hartenstein, Maranda Leecan, Camryn Montebruno, Jeremy Philip
MAGDALENA BAY - IMAGINAL DISK
Picked by Anya Dakota
Imaginal Disk by Magdalena Bay was my favorite album this year It’s incredible from the production, to the storytelling and the visual aspects Fun pop music is so back!
Favorite Tracks: tunnel vision, cry for me, killing time
MJ LENDERMAN - MANNING FIREWORKS
Picked by Jeremy Philip
After the quiet triumph of 2021’s stellar Boat Songs, MJ Lenderman firmly steps into the role of unlikely guitar hero and storyteller on Manning Fireworks. Harry Crews-esque tales of sordid men unfold over squealing southern guitars and wistful lap steel The protagonists may be slimey, but the songs here pulse with a vivid, and unforgettable sincerity
Favorite Tracks: You Don’t Know the Shape I’m In, Joker Lips
CLAIRO - CHARM
Picked by Kate Christie
I have always enjoyed Clairo’s music but I particularly liked this album because of its references to music of the past The song I liked the most was “Glory Of The Snow” because of its references to “Seabird” by the Alessi Brothers; the melody is very calming. I was able to see her concert where she performed almost the entire album in full and I really loved how she expanded on each track so there were long interludes between each song I thought that that was very powerful
JULIE - MY ANTI-AIRCRAFTFRIEND
Picked by Erin Christie
In some cases, what I really NEED is a ‘multi-tasking record’, and I’ve found such in julie's my anti-aircraft friend
Off the bat, I totally understand how praising a record for its ability to seamlessly blend into the background of your life while you complete your silly little tasks such as laundry and writing your mindless little emails might seem derogatory; like the music is not compelling enough for active listening or that t’s lower-tier in the grand scheme of piquing interest. However, to me, this is a great quality in a record this means it’s not super disruptive, has no skips, and is consistent! From my perspective on top of this hill I’ve chosen to die on, that’s pretty commendable and not necessarily easily done. So yes, it's a compliment (to me!).
Beyond fitting into this category, my anti-aircraft friend is also, simply, a good album; it perfectly fits into my preexisting shoegaze-heavy autumnal rotation. I also weirdly saw julie live before I got really into them (back in 2022), and that experience blew me away the compelling on-stage synergy that I found that night is easily translated into their recordings, and I’m reminded again of that here
Favorite Tracks: tenebrist, feminine adornments, i’ll cook my own meals
TROPHY WIFE - GET UGLY
Picked by Erin Christie
I think it’s generally the norm for people to, in the grand scheme of social politics, adopt a nonchalant “congrats, dude” type of energy when your peers and/or friend-of-a-friend acquaintances release a new album, but I’m genuinely not into subscribing to that if we’re friends even a little bit and I admire what you’ve put out into the world, you’re going to know and I might even be a little bit embarrassing about it!
In turn, I’ve been an unapologetic champion of the band Trophy Wife since my Boston college days, and I’ve been fairly vocal about how truly cool I think they are (notably, their debut album Bruiser is featured in Penny's third print issue and "Knife Fight" was my most-listened-to track in 2021) Cringey to admit or not, it’s honestly been really inspiring as a peer and a music fan to witness their trajectory in real-time, and this is especially true with the recent gargantuan release of their debut album, Get Ugly, this fall
Despite any bias I may have, Get Ugly is truly masterful in many respects, not only succeeding as a tracklisting composed of infectious and absolutely NASTY passages of distorted guitar and propulsive drum patterns (RIYL artists such as Blondshell or Momma), but also as a heart-wrenching, gut-spilling portrayal of 20-something turmoil via moments of hot-girl lustiness and ghostly lamentations on growing pains. It presents an unafraid snapshot of this aptly 'ugly' period in life, written from the depths of learned experience decorated with falling-down-the-stairs-and-pretending-you-didn’t-bruise-your-tailbone and sending-that-horny-drunken-text-and-regretting-it-immediately-after temperament If you're not yet convinced, listening to the record's full 40-ish minutes is sort of like listening to Wunderhorse's Midas if frontman Jacob Slater was a sexy lady belting from a void of rotted limerence inhabiting her soul (see: “Again” and “I Will Be Here”) To me, this is literally the ideal listening experience
Favorite Tracks: Spit, I Will Be Here, Magnet
JUSTIN DEENER - MULLIGAN
Picked by Sara Collins
The album is a collection of songs written by Justin 10+ years ago that had never been properly recorded. There’s an authenticity that leaks out of the album.
Favorite Tracks: Today Is Gonna Be A Good Day, Like I Used To
JESSICA PRATT - HERE IN THE PITCH
Picked by James Ammirato
In 2024, it’s easy to be bogged down by tedious discussions, whether that be about microgenres or which TikTok artist is getting their fifteen minutes of fame Jessica Pratt’s Here in the Pitch is unconcerned with belonging in the current era, and in fact sounds like it could be a long lost record from the ‘60s, perhaps a production from the mind of Phil Spector. Pratt’s vocals on the record are crystal clear and right at the forefront of every mix, typically accompanied only by guitar or piano, the sound of a drum here and there, though it sounds like the kit may be in the next room Such a stripped-down record is vital at this point in time, when music is so heavily saturated with influences and can easily be waterlogged by sounds that pull the composition every which way like a raggedy ann doll. A record like this reminds me that the less there is to hear, the more focus each sonic element receives by the listener, and on Here in the Pitch, every second deserves the utmost attention
Favorite Tracks: Nowhere it Was, The Last Year
NILÜFER YANYA - MY METHOD ACTOR
Picked by Erin Christie
If you could have a crush on an album, I might have one on this one My Method Actor presents a visage of British singer-songwriter Nilüfer Yanya in advanced, contemplative form, recognizing her previous reservations in 11 tracks that are utterly sincere, self-assured, and subtly beautiful There's a quietly venomous sting to its tracklisting despite its ethereal and silky quality, as well Amidst Yanya's wispy vocals, lush harmonies, and sparsely intricate rhythms, she portrays a sharp-tongued yet melodically tender critical prognosis of her own innermost self-critic; a cohesively powerful and introspective confrontation of her intrusive doubts, fears, and woes Where you might find yourself swaying along to the record's deeply infectious yet not-too-in-your-face oscillating alt-R&B / purely indie-rock hooks and getting lost in Yanya's heavenly vocal delivery, you might also feel compelled in cultish fashion to follow in her unabashedly earnest footsteps. While we can't all be cool-girl musicians crafting contenders for AOTY, we can still take a page out of Yanya's book in our everyday lives: perhaps 2025 should be all about admitting our faults, gassing ourselves up, and also calling out our naysayers If anything, I'll keep it in mind and do my best! PS: The strings on "Faith's Late" ... dude ...
Favorite Tracks: Binding, Just A Western, Faith's Late
RYDER THE EAGLE - AUTOTANGO
Picked by Sara Collins
It’s a very romantic album and I like picturing my life while listening to it - being in love, worrying, and trying to make myself someone I want to be.
Favorite Tracks: Autotango, There’s Always Another Me
MANNEQUIN PUSSY - I GOT HEAVEN
Picked by Max Hartenstein
This was a year of nonsense, as AI-generated content swelled an already oversaturated information landscape and politicians ran record breaking campaigns without so much as a platform. No one is capable of even writing an email without ChatGPT anymore, never mind something as arduous as a creative essay or personal as an obituary only a coded program could string together the exact buzzwords to build a statement with such little substance. We are saturated in platitudes, in ‘In This House We’ signs, and in the bio pronouns of people working in buildings with bathroom bans. Where every virtue is a signal, there is nothing to be seen behind the flashing Perhaps this is the natural conclusion to the age of social media platforms, wherein everyone has everything to say and suddenly there is nothing more to However, in this age of slop, Mannequin Pussy cuts the shit.
I Got Heaven is the culmination of every sound the band has been touching on since their 2010 screaming basement punk debut, and through the 2019 success of their wrenchingly vulnerable breakup single “Drunk II.” The album moves between artful melodic pop and headbanging riffs with no effort at all as frontwoman Marisa Dabice uses masterful vocal control to convey a slew of emotions, each as piercing as the last Growling and whispering, the album oscillates between fear and desire until they blur into one sense of ecstasy Each song is on the brink of desperation, but still grounded by the Dabice’s effortless swagger. On I Got Heaven, not only does Mannequin Pussy have something to say, but they know you’re going to listen. Themes of the album center on sex, power, and religious oppression and in its performance, there’s an emphasis on a lack of shame Dabice may be on her knees, begging, but it’s really your pleasure.
The album was highly anticipated, and rightfully so Mannequin Pussy is one of the bands often cited in notations of the ‘90s punk revival. They’re hot, they’re angry, and they can open up a pit. But almost more importantly, the band fosters an atmosphere of genuine inclusion. Seeing Mannequin Pussy live cements a sense of awe in their showmanship and authenticity Everything the band does is performed deeply Dabice struts around the stage with intoxicating confidence and infuses each lyric with intent, both organic and focused. When bassist Colin “Bear” Regisford takes the mic, my favorite part of every show, he screams with a rage that makes my vision red in turn. Banter with the crowd is flirtatious and then serious, as Dabice gives a fuck-you to sexual oppression or announces unwavering support of bodily autonomy Everyone is welcome under Mannequin Pussy, unless you’re a hateful bigot. They know that openness does not mean neutrality, that love and rage are often one in the same, and that the whole point of being alive is to do something. I Got Heaven is infused with the rage of life, and from its lyrics to instrumentals to live performances to recorded mixes, Mannequin Pussy expresses it wholly Simply put, it’s the most real thing I heard all year
Favorite Tracks: Loud Bark, Sometimes, OK? OK! OK? OK!
AMYL AND THE SNIFFERS - CARTOON DARKNESS
Picked by Maranda Leecan
Lately, when I look at the state of the world, sometimes I think I’m stuck in a bubble made of material in which I can see the terrible things that others don’t. I don’t want to be painfully aware of the wrongs that are plaguing the world right now, that others seem to think are coming in years But in times of social turmoil, it’s the art and community that comes out in spite of it that makes you feel seen and not alone - Cartoon Darkness is an album that encapsulates that feeling sonically, lyrically and artistically. It’s an album of not just acknowledgment of the bad but also resistance against succumbing to it.
The brash instrumentals of this album get you up and rowdy - which is not new for Amyl and the Sniffers Their rowdy, racing, energetic sound has flawlessly navigated three albums now without sounding overwhelming or stale. The lead vocals of Amy Taylor are rally cries for a girl like me. Beyond ‘girls to the front’ calls at shows, her message is spat at you from the first song on the tracklist to the last “Jerkin’”, which was also fittingly a single, finds a paced guitar riff that perfectly matches Taylor’s cheeky and catchy drags of her critics Whether that be literal critics or the men in the world who spend their precious time criticizing women they have no chance with, none of them are spared. In all, the fight that ensues from being a woman in a man’s world (or really, being a minority in any world that is catered to a specific majority) is a strong theme throughout the album.
In the world of Cartoon Darkness, wearing a “Tiny Bikini” is an act of resistance, as Taylor sings, “If I didn’t show up in something spicy, the cold world would feel even more icy ” When those in the minority (women, people of color, people who are queer or trans) show up unapologetically, we give ourselves the space that the majority would never make for us With our tiny bikinis, our shorts, our hair, our makeup - we have the courage to demand for the space to be authentically ourselves, as we deserve. A similar theme is in “U Should Not Be Doing That,” where the lyrics almost sound like a manifestation of starting to learn and know yourself and doing whatever you want to do, despite what other people think or say It addresses the internal fight we have within ourselves, often resulting from others' opinions and standards. Knowing our worth and knowing we deserve space gives us freedom that others could never provide.
One of the biggest standouts on this record for me is “Big Dreams ” It chronicles a story that many people can relate to as we look toward even more cost inflation on everything we need to survive in the new year, while we’ve barely been able to get by on this year’s prices. As the instrumental builds up in the background, Taylor’s vocals relay a personable level of encouragement, so much so that it almost sounds like someone close to you personally trying to help you remember who you are when the world feels hopeless. She reminds us of what we can accomplish and where we can go, as the build-up blows into a folky, inspiring chorus of strings.
Taylor is a front woman of an all-male band, noticing the rapidly changing world around us and vocalizing the fears and concerns that we’re experiencing all the time. In turn, this album feels like it’s for those who can, and those can’t, see the effects of this right now. Dystopia isn’t a foreign concept, though. Oftentimes, we’re expected to be and act in one way if we care about worldly issues why are you crying over your personal strife when people are dying elsewhere? On the contrary, Cartoon Darkness serves as a mission statement that in spite of it all, we’re persisting, and we should: while we’re digesting it all, we’re still going through heartbreak, going out with our girls, and wearing our cute outfits. In the world of Cartoon Darkness, we see the dark and we care about it, but it doesn’t mean we’re dark, too. In fact, we can be the light that comes out of such a devastating time. Like Taylor sings, “Don’t you know the best roses are always grown out of cow shit?”
Favorite Tracks: Big Dreams, Jerkin’, Tiny Bikini
MK.GEE - TWO STAR & THE DREAM POLICE
Picked by Erin Christie
Not to sound like every other person on the planet, but this year, I became truly ensnared by Mk.gee. After hearing whispers about him for years but still not necessarily giving his music a chance (not for lack of want, but truly lack of time), I was inspired to change my ways with this record, finally, after it became nearly impossible to avoid In truth, it’s a godsend that I did Over the past few months, I found tranquility in the record’s twinkling undertones, soaring riffs, and delicate moments of silence; and I found an emotional spark in its ear-prickling innovation. At least from where I’m sitting, the hype is warranted ten-fold.
Favorite Tracks: I Want, Alesis, You got it
WAXAHATCHEE - TIGERS BLOOD
Picked by Camryn Montebruno
Tigers Blood has been in the upper ranks of countless best of 2024 lists and rightfully so Katie Crutchfield’s sixth album as Waxahatchee feels like a look into a world held close but at risk of slipping away at any moment. In 2020, Saint Cloud marked a stark shift from indie rock to Americana for Waxahatchee, a shift that brought a new life to Crutchfield’s music, and Tigers Blood has solidified her position as one of the greatest artists around.
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