It’s that time of year again when we rejoice that another absurd 12 months of shared existence is behind us. That’s not to say that 2024 didn’t strive to be different. It brought an absolute torrent of new music to the masses. More albums are being released today than all of 1989, and who knows where the peak is? What a time to love this art form.
This inaugural “Blank Tapes Rewind” highlights some of the many outstanding records, artists, and work done behind the scenes to keep this industry running.
Please read at your own pace. Let’s be honest, it’s a long piece. Or you can jump to each section below:
Favorite Albums
Cheekface – It’s Sorted
[Self-released]
Before 2024, I wasn’t blessed by the graces of America’s local band, Cheekface. Haters of CAKE-esque talk-singing might immediately turn off the record once the opening track, “The Fringe”, kicks in. But if they were to stick it out for 30 seconds, a glimpse into what makes this band so special would appear: they’re just so damn catchy.
Take the crowd favorite “Popular 2” for example. From the claps and “Woo!” to the singable chorus, this band blends sheer charm and dry (often sociopolitical) humor with Weird Al Yankovic-esque vocal performances.
“I Am Continuing to Do My Thing” and “Grad School” will align with the CAKE fans in the room, while “Life in a Bag” and “Don’t Stop Believing” show Cheekface’s knack for crafting earworms and twanging the ol’ heartstrings. The record flies by before you know it, leaving you wanting to hit repeat or dig into their impressive discography.
Top Tracks: “Popular 2”, “Grad School”, “Life in a Bag”
Combat – Stay Golden
[Counter Intuitive]
Stay Golden is a blistering shot of emo-punk energy in the arm, proving Combat is worthy of your attention. Frontman Holden Wolf’s mile-a-minute stream of consciousness captures a Jeff Rosenstock-esque restless bandleader with a mix of humor, heartache, and biting self-awareness.
Wolf’s confessional lyrics aside, the band behind him plays like a high-speed engine. Isabella Devarona’s drumming is a relentless backbone, Wolf and guitarist Max Slavich trade harmonies and riffs seamlessly, and Josh Bell’s basslines are downright groovy. Production from Ryland Heagy (Origami Angel) ensures every spastic fill and soaring hook lands with the punch it deserves.
Listening to Stay Golden thrusts you back into the chaos of your early twenties—when everything was uncertain yet charged with possibility. Combat has crafted a second LP that’s not just catchy and delightfully self-referential; it’s a snapshot of youthful grit and creative passion.
(Read my full review here).
Top Tracks: “Stay Golden”, “Happy Again”, “Epic Season Finale”
Foxing‘s self-titled fifth album is bold declaration of creative freedom. The fully self-produced record, released independently on their Grand Paradise label, is unafraid to stretch boundaries and redefine their sound. The result is an album that balances art-rock grandeur, experimentation, and raw introspection — a synthesis of everything the band has been and strives to be.
Sonically, the record is built on controlled chaos. Tracks like “Spit”, “Greyhound”, and “Dead Internet” burst with glitchy textures, noisy breakdowns, and spiraling instrumentation. Yet the band tempers these frenetic moments with melodic accessibility on songs like “Barking” and “Gratitude,” offering hooks reminiscent of Draw Down the Moon.
With Foxing, the band doubles down on their commitment to evolution. It’s an album that challenges expectations, rewards patience, and reaffirms their place as genre trailblazers. But more than that, it’s a testament to their artistic resilience.
(Read my full review here.)
Top Tracks: “Greyhound”, “Gratitude”, “Hall of Frozen Heads”
glass beach – plastic death
[Run for Cover]
For a record self-described as the “Pacific garbage patch,” plastic death is an appropriately dizzying, almost kaleidoscopic experience. glass beach continues to refuse any genre’s preconceived rules, weaving emo punk, synth-pop, jazz, and noise-rock into an exhilarating sonic tapestry.
I didn’t know what to expect when I heard it, but halfway through my first listen of “coelacanth” I was screaming in sheer delight. Each song on the record feels like a series of movements, seemingly disparate yet impressively woven together. It shifts forms, from the triumphant climax on “motions” to the dreamy yet metalcore-esque “slip under the door” and the delightfully jammy “cul-de-sac”.
As you might expect, this album thrives on unpredictability. When you think you’ve grasped its direction, it pulls the rug out from under you. plastic death is ambitious and weird but also thrillingly alive, making it one of the most daring releases of the year.
Top Tracks: “motions”, “cul-de-sac”, “the CIA”
Good Looks’ second album feels like trekking through middle America. If you’re a fan of The War on Drugs, odds are their heartland rock vibes will scratch the same itch. Singer/guitarist Tyler Jordan can tug at the heartstrings like the best, especially on the closer “Why Don’t You Believe Me?”.
However, it’s the socially conscious lyrics that kept me coming back. “Day of Judgment” rebukes Christian fundamentalism at a head-bobbing tempo (“A day of judgment is nothing, A day of judgment is fear”). “White Out” feels like Parquet Courts post-punk with crushing jabs at gentrification taking over historically Black neighborhoods (“Who needs free produce / When your whole street / Shops at Whole Foods?”). “Vultures” is the folksiest track, reflecting the bleak reality our country’s growing lower class is forced to navigate (“They’re ripping at the safety net / So you got no place to fall / And if you won’t sell your time to them / Then you won’t subsist at all”).
Good Looks balance introspection and urgency, making Lived Here For a While a record that feels both personal and universal. Listen and teleport yourself to the dusty highways and quiet nights under endless skies.
Top Tracks: “Can You See Me Tonight?”, “White Out”, “Vultures”
Katy Kirby – Blue Raspberry
[Anti-]
Blue Raspberry enveloped me in its warm embrace on a rainy Friday morning in January. The blend of folk-pop instrumentation and more stripped-back singer-songwriter performances sucked me in immediately. Once “Hand to Hand” started playing, I had to text my partner about buying tickets to Katy Kirby‘s show at Cat’s Cradle, a mere week away. (We went, which only made me love this record more).
Despite being recorded in Nashville and across New York City, the production is polished yet intimate. On songs like “Wait Listen” and “Blue Raspberry”, Kirby invites you into navigate guarded secrets and self-discovery from her first queer relationship. In others, she’s weighing these experiences against an often repressive religious upbringing. As a result, Blue Raspberry is as an exciting second chapter in her career. I can’t wait to hear what comes next.
Top Tracks: “Hand to Hand”, “Drop Dead”, “Table”
Liquid Mike – Paul Bunyan’s Slingshot
[Self-released]
I’d be willing to bet that this is the best album fronted by a mailman all year. With heavy 90s alt-rock and power pop vibes ripping through 13 songs in under 26 minutes, what’s not to love?
Liquid Mike is here with non-stop summertime Michigan bangers, from “K2” to catchy B-side tracks like “Pacer”, “Small Giants”, and “American Caveman”. The standout track — “Mouse Trap” — has been one of my most listened to songs of the year. While they may not reinvent the wheel, singer/guitarist Mike Maple repeatedly shows that he is a student of pop sensibility with the sheer number of earworm vocal melodies or guitar riffs packed into this release.
While it may be brief and cover familiar ground, there’s an undercurrent of delightful songwriting that only cares about being fun to listen to and perform. Don’t miss this one.
Top Tracks: “K2”, “Mouse Trap”, “Paul Bunyan’s Slingshot”
Mannequin Pussy – I Got Heaven
[Epitaph]
From the moment you press play, I Got Heaven hounds you with punky barks and full-throated howls that make the calm moments blissful. Their message? Fuck off and fuck you. Mannequin Pussy’s fourth full-length channels their raucous live performances throughout an anthemic title track with reckless abandon.
The record’s first half feels like a well-produced blend of indie rock with brash heaviness (“Loud Bark”, “Sometimes”) and delicate reprieves (“I Don’t Know You”). A more polarized latter half ping-pongs between unapologetic hardcore punk and dream pop, capping off with the exceptional “Split Me Open”. As a whole, it is a satisfying listen from a band that fails to disappoint.
Top Tracks: “I Got Heaven”, “Loud Bark”, “Split Me Open”
Anderson .Paak and Knxwledge return after nearly eight years with Why Lawd?, a smooth, confident exploration of lust, self-doubt, and everything in between. The album is a bold improvement on their first project, both in Anderson’s soulful charisma and Knxwledge’s laid-back, sample-heavy production.
Lyrically, Anderson is caught between lamenting the end of his long-time relationship and flexing his newly-single swagger (or at least he wants you to believe). It all filters through the exaggerated boastful persona that he plays on these NxWorries songs, but that doesn’t mean he isn’t wearing his heart on his sleeve throughout the record.
Over 45 minutes, Why Lawd? feels both relaxed and precise — a sonic palette that shifts between breezy confidence and emotional depth. NxWorries isn’t in a rush; they invite you to sink into these grooves and stay a while.
Top Tracks: “Distractions”, “Battlefield”, “WalkOnBy”
Origami Angel – Feeling Not Found
[Counter Intuitive]
Don’t let the Owl City-inspired opener fool you; Feeling Not Found finds Origami Angel refining their “easycore” sound to the next level. When “Dirty Mirror Selfie” kicks in, the duo of singer/guitarist Ryland Heagy and drummer Pat Doherty will hook you with their emo-meets-pop-punk bangers (made sharped with a satisfying metalcore edge).
Beyond the record’s finely crafted instrumentation lies poignant reflections on parasocial relationships and the mental spirals from always-online exhaustion. Heagy uses snappy vocal melodies to get lyrics like “Tell me something good, I wanna smile one more time / Tell me I’ll be safe from the virus in my mind” trapped in your head. On “Sixth Cents (Get It?), he levies sharp criticism at a music industry meant to mine its talent or leave them for dead.
And yet, by Heagy’s admission, he can be as here and as real as he wants, no matter how much the world wants him to change.
Top Tracks: “Dirty Mirror Selfie”, “Underneath My Skin”, “Wretched Trajectory”
“What a fucking nightmare. What a fucking nightmare. WHAT A FUCKING NIGHTMARE!” Apt.
The Chisel, London-based punks and new wave Oi! leaders, break the sophomore slump with a blistering 16-track record that blows 2023’s Retaliation out of the water. Production-wise and musically, the band channels a “went to the pub and a hardcore show broke out” energy alongside apt working-class rage.
Lines “I just feel like living for myself / Life’s worth more than serving someone else” shows that the message doesn’t need to be overly complex for The Chisel to chip away at society’s flaws. Hell, one of the best songs is literally called “Fuck ‘Em”. I bet you can guess how the chorus goes. That doesn’t change the fact that it makes you want to hardcore dance right along to it.
Top Tracks: “No Gimmicks”, “Fuck ‘Em”, “Bloodsucker”
Tyler, the Creator – Chromakopia
[Columbia]
In many ways, Chromakopia is a bold departure from Tyler, the Creator’s past personas. And yet, it also continues a borderline unprecedented run of albums dating back to 2017’s Flower Boy. Tyler is firmly in the “Big 3” of modern rappers; pay attention.
The album explores the tension between self-image and self-awareness, swinging between ferocious bangers and introspective musings. Tracks like “NOID” fuse psychedelic rock influences with Tyler’s paranoia-fueled commentary on fame, while “Sticky” transforms whistles and erratic percussion into an unhinged sonic experience.
Tyler’s growth as a composer is on full display as he blends neo-soul, synth-funk, and layered instrumentation into a cohesive yet unpredictable journey. His rapping hits a career-high, from the CALL ME IF YOU GET LOST-esque “Rah Tah Tah” to the intricate and emotional storytelling of “Hey Jane”. Even the carefully curated features from Daniel Caesar, Teezo Touchdown, and GloRilla serve as expert tools to enhance his creative vision.
At its core, Chromakopia challenges listeners to confront what lies beneath their own masks, mirroring Tyler’s quest for authenticity. It’s raw, intimate, and creatively fearless — another masterstroke in a discography defined by constant reinvention.
Top Tracks: “Rah Tah Tah”, “Darling, I”, “Take Your Mask Off”
Honorable Mentions
Keeping up with hundreds of new albums often leaves little room for obsessing over a few dozen. While the records above were my absolute favorites, these honorable mentions round out a truly impressive year for music (while still managing to omit at least 10-20 excellent releases).
- Adeem the Artist — Anniversary
- Adrianne Lenker — Bright Future
- Brittany Howard — What Now
- Chat Pile — Cool World
- Heems — Lafandar
- IDLES — TANGK
- Kendrick Lamar — GNX
- Mdou Moctar — Funeral for Justice
- Nia Archives — Silence Is Loud
- Sprints — Letter to Self
- Touché Amoré — Spiral in a Straight Line
- Wishy — Triple Seven
- Yard Act — Where’s My Utopia?
Rising Acts
A few acts (while not listed above) still floored me this year. Each of these artists released new music and have earned press accolades, but it still feels like their best has yet to come. They are all well deserving of the love they’ve gotten and will undoubtedly get in the future.
Ekko Astral
Ekko Astral’s pink balloons is a defiant burst of D.C. noise-punk, confronting our modern hellscape with fearless honesty and a relentless drive for joy. Fronted by climate journalist Jael Holzman, the band channels the aggressive spirit of their hometown scene with a natural evolution from the legends of Fugazi and Black Eyes. They don’t shy away from discomfort; instead, their music transforms themes of social upheaval, identity, and existential dread into cathartic punk anthems.
The trio’s blend of distorted hooks, abrasive punk, and experimental noise are on full display in songs like “head empty blues” and “baethoven,” which are as brash as they are catchy. Holzman’s unfiltered lyrics and the dynamic interplay of Miri Tyler’s drumming and Liam Hughes’ guitar work create community in chaos. Ekko Astral’s live shows double as spaces for radical honesty and collective joy, embodying a DIY ethos that thrives on action and connection. They are a band unafraid to vent, organize, and fight back — all while reminding us of the necessity of fun amid the mayhem.
Hey, ily!
Hey, ily! from Billings, Montana is the latest act to say hell with modern genre convention and blend their signature emo, chiptune, screamo, and indie pop sounds into a fine mix. Their latest album, Hey, I Loathe You!, channels the disorienting effects of online life and bottled-up frustrations into a whirlwind of frantic riffs, glitchy synths, and raw emotional outbursts. The band thrives on blending influences from across the musical spectrum, evoking the frenetic creativity of acts like glass beach and Crying.
Tracks like “(Dis)Connected” layer anxious lyrics over shapeshifting instrumentals, creating a scatterbrained energy that’s as cathartic as it is catchy. The band’s roots in friendship and DIY ethos fuel a collaborative spirit, allowing their songs to morph and evolve into their swirling, chaotic forms. As a result, Hey, ily! turns internet-induced angst into an exorcism of negativity, offering a space for connection and joy amidst the noise.
Robber Robber
As a former resident of Burlington, Vermont, I cannot let this section pass without shouting out Robber Robber’s brand of indie rock meets post-punk. Formed by long-time collaborators Nina Cates and Zack James, the quartet has evolved into a buzzworthy powerhouse after fleshing out their sound with the addition of Will Krulak on guitar and Carney Hemler on bass. Their debut album, Wild Guess, thrives on tension and release, with searing guitar lines, pulsing rhythms, and Cates’ ethereal vocals creating a mesmerizing push and pull.
The band’s creative energy extends beyond their music; as visual artists, they handle their own artwork and videos, reflecting a fully realized artistic vision. Their deep ties to the flourishing DIY punk scene in Burlington fuel a sense of community and bold experimentation. Robber Robber doesn’t just write songs and play gigs; they’re holding space for a shared musical catharsis.
Spaced
I also have to spotlight the most exciting band from my hometown of Buffalo, NY. Spaced delivers a satisfying hybrid of hardcore punk aggression, from the “old school” influence of Snapcase to more modern Turnstile-inspired genre-bending. Their debut full-length, This Is All We Ever Get, captures this unique aesthetic: combining driving riffs, distortion-heavy production, and Lexi Reyngoudt’s biting vocals.
Rooted in DIY values and a refusal to blend in, Spaced is making a name for themsleves with a colorful aesthetic and socially conscious lyrics. They’re a band with something to say and they’ll make sure you’re screaming along by the end of the set.
Sweet Pill
Sweet Pill blends emo and pop-punk in a way that feels simultaneously nostalgic and fresh. They are fronted by the exceptional Zayna Youssef, who couples a gothic flair with her Hayley Williams-level vocal range. Behind her soaring vocals lies intricate guitar work and tempo shifts that please the math rock nerd in me. Lyrically, Youssef captures the turmoil of self-discovery, heartbreak, and anxiety that actually resonates.
When I first listened to their Starchild EP in March, I felt like I was in college, discovering a new band on the cusp of blowing up. Sweet Pill’s Hopeless Records debut is so expertly crafted that it leaves them poised to do just that. Whether sharing the stage with bands like La Dispute and The Wonder Years or headlining their own tours, Sweet Pill’s relentless drive makes them a force to look out for.
Artist of the Year
Each year, countless musicians blow up, completely elevate their craft, or achieve both. In 2024, none fit this mold for me like Liquid Mike did.
Not only did the band release their fifth full-length album since August 2021, but the record has received more press and attention than any of their previous efforts. Beyond the release, Liquid Mike found themselves in higher demand, securing coveted tour placements with Joyce Manor in the spring and The Wonder Years and The Menzingers this past October. That’s an impressive feat for any band, let alone one from the often-overlooked music scene of Michigan’s Upper Peninsula.
What sets Liquid Mike apart is an unwavering commitment to DIY practices, which have been at the heart of their ethos from the beginning. They’ve managed to stay true to their roots, even as their fan base grows. That’s a win for anyone craving success for authentic, self-reliant artists in today’s music landscape.
2024 has been a genuine testament to their hard work, passion, and resilience, and it’s just incredible to see them break boundaries. As they continue to rise, it’s clear that this year will be one chapter in a growing story.
Hottest Label
Many of our favorite records wouldn’t have been possible without a passionate person or team to get them pressed and into the hands of adoring fans. There is an immense amount of labor that goes into the infrastructure that musicians rely on to book tours and sell merch. A similar amount of work goes into finding up-and-coming acts to sign with instant classics to put out.
This year, Counter Intuitive Records has earned distinction, and for good reason. The Boston-based label put out powerhouse records like Combat’s Stay Golden, Origami Angel’s Feeling Not Found, and Riley!’s Keep Your Cool. They had their most prolific year yet, with ten total releases from an impressive roster of acts. And nearly 6% of my total music listening this year was dedicated to their signees.
Looking Ahead to 2025
That’s a wrap, y’all!
I’m eager for some much-needed recharging and personal reflection over the next few weeks, especially as I prepare for a busy 2025. I’m planning a “State of the Tapes 2025” reflection for January, but until then, here are my goals for the website next year:
- Write more!
As of publication, this is the 13th piece published to Blank Tapes. 10 of those have come since September 9th. I started the project as a monthly newsletter in February, got some creative fatigue took a few months off, and launched this website in September. It’s built up some momentum that I want to maintain with more interviews, reviews, and creative essays.
So, if I can write 10 pieces in 14 weeks, then hitting 30 in a year would be a satisfying milestone.
- Go to more local shows!
This year, I only went to seven concerts. (It would’ve been nine if not for missing a Mannequin Pussy show and a van breakdown for Foxing). Only two of them were local shows; the rest were larger national tours.
Well, next year I aim to flip that ratio. My goal is 12 (or at least one per month) and saving my touring budget for a couple of 10/10 lineups.
- Build a musical community!
Striving to be a more supportive component of the NC music scene has led to amazing connections already (case in point: Run Over by a Horse). When I’m not obsessing over the latest big releases, I’m digging into venues across the state to discover new local bands — both for interviews and in an ongoing effort to create a public NC Artist Directory.
All of this work brings me full-circle in a way. I was fortunate to collaborate with Vermont musicians as part of the non-profit Big Heavy World from 2014 through 2017. Their model is one I hope to emulate and expand upon, starting with a focus on the uniqueness of North Carolina’s music and artists.
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