A Stranger in Olondria.

Sonia Samatar’s first novel, A Stranger in Olondria, first crossed my radar because N.K. Jemisin recommended it – many years ago, maybe close to ten at this point, enough so that I don’t remember even what Jemisin said beyond praising the book. It is an unusual work of fantasy literature, with a real emphasis on the second part: Samatar’s prose and narrative are smart and challenging, taking the reader on a vast, epic journey through a new world of literature, poetry, religion, war, and bigotry, all in service of her hero’s quest to give solace to the tortured soul of a girl who died without a proper burial.

A Stranger in Olondria starts in another place entirely, and seems almost mundane by comparison to what will follow. We meet young Jevick, the second son of his strict, wealthy merchant father; his older brother was born simple, and thus was a disappointment to their father, who wanted an heir to his trade. Jevick’s father hires a tutor to help Jevick learn the Olondrian language and some of its culture, a choice that turns out to be timely as Jevick’s father dies suddenly, leaving his son to take over the family business without any direct training from his father.

On the ship he takes with his small retinue to get to Olondria, he meets a couple with a young girl, Jissavet, near his own age, who is dying of a form of curse, the true nature of which will become apparent in very small slivers as the story progresses. Jevick reaches Olondria and is overwhelmed by the luxury and iniquity of the big city, but soon afterwards he is visited by a ghost, that of the young girl, who promises to haunt him until her body is found and cremated in accordance with her culture’s norms. These visitations mark Jevick as a holy man, as the Olondrians believe her ghost is an angel, and drops him directly into a simmering religious/political conflict (really, when are the two ever separated, in life or in fiction) that will eventually put him on the run even as he tries to assuage the ghost and find her body for a funeral pyre.

This is a work of depth, in almost every way. Samatar is writing for people who read literature, using words typically not found in contemporary fiction but more common in British literature of the 19th or early 20th centuries, and crafting a layered and unsimple narrative that demands your constant attention. This is not merely the story of a haunting, which would have given us just a rote adventure as Jevick and whoever his companion or the moment might be have to flee from one spot or another while also trying to figure out where Jissavet’s body is. Samatar has instead laced the story with epic, narrative poetry, and built a world beneath the plot where unseen forces are simmering just below the boiling point, an uneasy peace in Olondria that Jevick shatters simply by being there and confiding in one person that he has been visited by a ghost. (That person was his landlord, which shows you that you should never, ever trust a landlord.) Rather than populating the novel with idiosyncratic side characters, Samatar populates it with flashbacks, stories, and myths that further build out the world and explain different aspects of the various cultures in this world she’s created. It feels scholarly, unsurprising as Samatar is a professor at James Madison, and a poet, and the daughter of a Somali scholar/historian of some renown as well.

In December, I read Vajra Chandrasekera’s The Saint of Bright Doors, which won the 2023 Nebula Award for Best Novel, but I never reviewed it in large part because I couldn’t decide what to say. Chandrasekera has also built an incredible, immersive world in his novel, one with political and religious undertones, but in the end, it’s unclear if the building was in service of anything other than itself. The story doesn’t really resolve – the bright doors of the title are a Macguffin, I’d argue – and the protagonist is in some ways a pawn, lacking the agency we expect in a main character. I liked the book as I was reading it, but then felt let down enough by the ending that I punted on a write up. A Stranger in Olondria helped me articulate why: If you’re building a fantastical world, I’m probably going to get sucked in fairly quickly, but you still have to pay it off in the end in the plot and/or the main character’s arc. Chandrasekera didn’t do that; Samatar did, and the Jevick who returns home at the end of her novel is an entirely different young man than the child who left it only some months earlier. It deserves a wider audience – and that’s probably why Jemisin was talking it up whenever she did.

Next up: I’m reading Robert Walser’s peculiar novel Jakob von Gunten, after which I’m going to try to tackle W.G. Sebald’s Austerlitz.

Stick to baseball, 2/16/25.

My entire offseason prospect rankings package is now up for subscribers to the Athletic, and you can find links to all 33 lists/articles on this index page. If you just want the highlights, here’s the top 100, the farm system rankings, and the two Q&As I did around the package on February 12th and January 28th.

I reviewed the family board game Fairy Ring over at Paste about two weeks ago; it’s really great, easy to learn for kids 8 and up, but with enough mental calculations on each turn that it has enough to keep adults engaged. My review of Harvest will go up this week.

I got back to my free email newsletter in the last few weeks, and hope to get back to posting more regularly on the dish as well now that the mad rush of the prospect rankings is over.

There were way too many articles to link to since my last roundup to include them all, so here’s a quick list of high (or low) lights…

  • The Society for the Study of Evolution issued an open letter to the President and Congress on the current scientific understanding of sex and gender, a small but important gesture against the Republican Party’s relentless war on trans people – which included a threat to pull all federal funding to the National Center for Missing and Exploited Children if the group didn’t remove all mention of trans kids from their site. And the cowards complied.
  • The title of this New York Times op ed keeps changing – I have it saved on my phone as “Why Would We Undermine the Marvel of American Science,” now it’s showing up on my laptop as “I Used to Run the N.I.H. Here’s What Worries Me,” and Chrome shows it as “American Science is Under Attack” in my history. Whatever the title, it’s worth a minute. The wholescale assault on American science research will destroy American health and wreck our economy, which depends on innovation since we have long lost our competitive advantages in manufacturing.

Music update, January 2025.

This playlist is a bit late as I was finishing up the last of the team rankings, but it includes songs released between when I published my top 100 songs of 2024 and January 31st, so anything that’s come out in the last eleven days will go on the next playlist. As always, if you can’t see the widget below you can access the playlist here.

SAULT – The Lesson. SAULT dropped an album with no warning, as they typically do, right before Christmas, the religious-themed Acts of Faith. It’s a more subdued effort and has less of the over social activism of their previous albums, still with several really compelling tracks even though much of the lyrical content is foreign to me.

Little Simz – Hello, Hi. A surprise drop from the Mercury Prize-winning British rapper, her first new music since the too-brief Drop 7 EP came out this time last year, although there’s no word on a new album.

Goat feat. MC Yallah – Nimerudi. I knew Goat, but not MC Yallah, a Kenyan-born rapper now based in Uganda who rhymes in four languages. She’s great, combining technical skill and a really easy flow, so I was into it even when I didn’t get the language she was using. I feel like she must have grown up listening to a lot of Queen Latifah and Native Tongues.

Skunk Anansie – An Artist is an Artist. Definitely didn’t know Skunk Anansie was a going concern, or that Skin was 1) the chancellor of a British university and 2) awarded an OBE, but I don’t know a lot of things, so there’s that. Anyway, this is the first new music from Skunk Anansie since 2022 and they’ve hinted that there might be an album coming in 2025, which would be their first in nearly a decade. I know their ‘90s output more than anything from the last 20 years, but this song is one of their most accessible – without losing any of the rage and fire that made them icons in the first place.

Doves – Cold Dreaming. Musically, this is one of their best tracks post-Last Broadcast. I wish Jimi had handled the vocals, and the opening line of “God knows, it ain’t easy” is hackneyed, taking the song down a peg, but it’s still a great sign for Constellations For The Lonely, which comes out on Valentine’s Day.

Courting – After You. Courting’s last album, New Last Name, made my list of the top albums of 2024, and they’re already back with another LP, Lust for Life, Or; ‘How To Thread The Needle And Come Out The Other Side To Tell The Story’, dropping March 14th with this track and last fall’s “Pause at You.” I’m just a fan of their angular art-rock sound, and they seem to have an endless supply of melodies to throw on top. Plus they just always sound like they’re having fun.

Swervedriver – Volume Control. Swervedriver often get lumped in with the Britpop and/or shoegaze movements because they were contemporaries of those bands and sometimes had some similarities in the production style, but they had a harder rock edge and more blues influence. I believe this is their first new song in six years, since their last album, Spiked Flower, came out in January of 2019, and once again it has that heavier rhythm guitar and bass presence that I think brings almost a metal influence to their alternative rock vibe.

WOOZE – Running Outside with Heather. Every time this song comes on, I think it’s from one of my playlists of 1970s rock, but then it shifts gears into a sort of dance riot – which is WOOZE’s specialty.

The Darkness – Rock and Roll Party Cowboy. Not their strongest, I admit, but “I’m a rock and roll party cowboy/and I ain’t gonna read no Tolstoy” is a hell of a couplet. The guitar solo’s appropriately ridiculous as well. Dreams on Toast comes out March 28th.

Sunflower Bean – Champagne Taste. I find it fascinating that Sunflower Bean had a hit with “Moment in the Sun” and immediately changed their sound to a harder-edged, almost glam rock circa 1978 vibe, rather than leaning into the song that made them somewhat popular. Good for them.

Lambrini Girls – Nothing Tastes as Good as It Feels. This punk duo’s debut album Who Let the Dogs Out? has 11 tracks and runs just 29½ minutes, but it’s packed with witty, incisive lyrics about misogyny and gender politics. “Company Culture” is still my favorite from the record.

Heartworms – Extraordinary Wings. Jojo Orme released her debut album Glutton for Punishment in January, and it’s packed with tracks like this one that blend industrial, new wave, and goth elements but that still end up with memorable hooks.

Mourn – Verdura y Sentimientos. Mourn’s garage-rock sound hasn’t changed much over the last decade, since the early single “Gertrudis (Get Through This)” hit my radar, and I’m good with that – it’s raw, emotional, tinged with post-punk, and never overproduced. This was one of two songs they released together, with the other titled “Alegre y Jovial.”

Momma – I Want You (Fever). I like Momma, and I like this song a lot, but my God is this derivative of … well, listen to the track and sing it with me: “I want you/Fever/Can’t fight/the seether.”

Tunde Adembimpe – Drop. The singer of TV on the Radio gave his debut solo album a name, Thee Black Boltz, and a release date, April 18th, along with this second single, not quite as strong as “Magnetic” but still pretty good if, like me, you like some of TVotR’s more rockin’ stuff.

Bartees Strange – Wants Needs. Strange had my #1 song of 2022 with “Heavy Heart” off his sophomore album Farm to Table, but since then he’s just had a few scattered singles, nothing with the same energy – until this one, the first single ahead of the release of his third album, Horror, this Friday.

Lord Huron feat. Kristen Stewart – Who Laughs Last? I mean, is it a gimmick? It kind of feels like one to have Stewart read some pretentious lines over what is otherwise a strong backing track with a pounding electronic beat and a solid hook in the chorus.

Mogwai – Fanzine Made of Flesh. This Scottish experimental rock band released their eleventh album, The Bad Fire, in January. I’ve never been a huge fan because I don’t find a lot to grab onto in their songs, but I do appreciate that they’re generally pushing boundaries – their songs are interesting even if they’re not catchy.

Population II – Le thé est prêt. Population II does really old-school psychedelic/prog rock, right down to mimicking the production style; it’s an anachronism and I kind of dig their willingness to lean into the quaintness of the sound. They’ve released three albums, the first of which comprised just two songs but ran about 35 minutes; their fourth LP, Maintenant jamais, comes out on March 28th.

clipping. – Change the Channel. Not quite as strong as “Run It” but still compelling work from Daveed Diggs & company ahead of their more industrial-leaning album Dead Channel Sky, due out March 14.

bdrmm – Infinity Peaking. bdrmm’s third album Microtonic comes out on the 28th; I keep seeing them described as “shoegaze,” a label that gets slapped on everyone now, but they are way more avant garde than typical shoegaze. It’s just that they have some of that wall of distortion going on around all of the experimentation. This is where I thought black midi was headed before they broke up or went on hiatus. (I’d say that twice over for Squid, whose newest album is once again ambitious and experimental, but the lyrics are often disturbing and the music heads too far afield.)

The Horrors – More than Life. Another single ahead of the release of their sixth album, Night Life, which will be their first full-length record since 2017’s V., their best to date and one of the best albums of that decade. This is a little more downtempo than “The Silence that Remains,” the first single this psychedelic/shoegazey rock band put out from the record late last year.

Pastel – Heroes’ Blood. This British band that blends shoegaze and Britpop elements put out their debut album, Souls in Motion, last month; the best songs are mostly ones we’ve heard already and that I’ve put on previous playlists, including “Your Day” and “Leave a Light On.” This was my favorite of the songs they hadn’t released before.

The Weather Station – Neon Signs. The Tamara Lindeman-led alternative folk project released their seventh album, Humanhood, in January; I found it a mixed bag but there are a couple of standouts, including this and “Window.”

Miki Berenyi Trio – 8th Deadly Sin. This track from the former lead singer/guitarist of Lush has a similar vibe but lacks the acerbic wit of Lush’s best tracks like “Single Girl” and “Ladykiller.” Her new group will release its first album Tripla on April 4th.

Japanese Breakfast – Orlando in Love. I really need to read Crying in H Mart, Michelle Zauner’s acclaimed and best-selling memoir, since I like at least some of her music – although this track leans towards the lighter end of her music. Her stuff is so poppy that she’s often on that line between stuff I find very catchy and stuff that feels a bit twee.

Freckle – Paranoid. Freckle is Ty Segall plus Color Green’s Corey Madden; they put out their self-titled debut album on the last day of January, and a lot of it is mopey and boring, but this song is fantastic – you can hear both artists’ influence here, with the swirling chord changes I associate with Color Green and Segall’s brand of off-kilter melody in the vocals.

The Tubs – Narcissist. A little janglier tune this time from this Welsh band that rose from the ashes of Joanna Gruesome.

The Wombats – Can’t Say No. I’m a little concerned about the upcoming Wombats album Oh! The Ocean, due out on the 21st, as the singles they’ve released so far have a definite album-tracks feel to them, with neither the big hooks or the clever lyrics of even their last album, 2022’s Fix Yourself, Not the World.

Brooke Combe – This Town. I had Combe’s “Black is the New Gold” on my top 100 tracks of 2023, then lost track of her (no pun intended) until this ebullient song, from her new album Dancing at the Edge of the World, popped up on a playlist I subscribe to on Spotify. It’s quite different from the earlier song beyond her vocals, still in the intersection of pop and R&B but with more of the former in some of the vocals and the string arrangements.

NIJI – Mo ti délé. I’ve had a few of NIJI’s tracks on playlists over the last year-plus, but just learned that he was the organist for Knicks games at some point. The jazz pianist’s next album, Oríkì, comes out on the 28th.

Samba Touré – Assouma Kagne. Touré is a Malian desert blues guitarist, no relation (as far as I can tell) to his late mentor, the legendary Ali Farka Touré, or Ali Farka’s son Vieux, sometimes known as “Samba.” This Samba’s style is more acoustic than that of either of those two artists or of the Nigerian superstar Mdou Moctar, which to my ears makes it seem less rooted in the American blues tradition. Samba just released his tenth album, featuring this midtempo track.

Cymande – Chasing an Empty Dream. I had never heard of Cymande before this track, even though the band is older than I am, releasing their self-titled debut album in 1972. They put out four albums in ten years, broke up in 1981, then reunited to play some shows in the early 2000s after their music found a renaissance through sampling and via Spike Lee’s use of one of their tracks in two of his films. They put out an album in 2015, their first in over 40 years, and then just released their next one, Renascence, in January. It’s very old-school 1970s funk with a Caribbean tilt; I hear a lot of Commodores, Ohio Players, even some R&B like Curtis Mayfield in this particular song. Also, bassist/singer Steve Scipio was once Attorney General of Anguilla. How many bands can claim that?

Stick to baseball, 1/25/25.

I had two posts for subscribers to the Athletic this week, on the signings of Anthony Santander and Jurickson Profar. My ranking of the top 100 prospects in baseball will go live on Monday morning; the content is all written but I am still tweaking the final order.

At Paste, I reviewed the game Gnome Hollow, a medium-weight family game of tile placement, set collection, and some market selling, along with gnomes. I liked it but I would say I didn’t love it.

I did send a short newsletter out to subscribers earlier last week; you can subscribe here for free and get the next one, which I hope will go out Monday/Tuesday to go along with the unveiling of the top 100.

As the social media landscape has lurched to the right, I’m posting links on several sites but only posting other content or answering people on Bluesky, so if you want to interact with me that’s the spot.

And now, the links…

  • Longreads first: Molly White writes in her newsletter, [citation needed], about Elon Musk’s and the right’s war on Wikipedia, a source of information they can’t easily control.
  • An independent journalist is going to trial over her coverage of the police response to a pro-Palestine protest at Portland State University. Alissa Azar has already been convicted once for her work, as the police claim she’s not a journalist, but “antifa.” How convenient for them.
  • Joe Kahn, the executive editor of the New York Times, said that defending democracy would amount to “abandoning its central role as a source of impartial information.” His comments, made to a former colleague of his now at Semafor, didn’t go over well.
  • Just days after a (so-called?) cease-fire in Gaza, Israel launched a major offensive against Palestinians in the West Bank city of Jenin. La plus ça change.
  • I hate to link to the dumpster fire that is Politico, but they have a good piece on how RFK Jr. might try to remove vaccines from the market entirely if he’s confirmed as HHS Secretary. And his buddy Sheldon Whitehouse (D-RI) might vote for him. If you live in Rhode Island, you need to call Sen. Whitehouse’s office on Monday morning.
  • Florida has benefited from net positive migration for years because of its weather, cheap real estate, and general economic growth. That may be changing, as more people left Florida in 2023 than any other state but California. Climate change and the state’s hard-right shift are likely causes.
  • My former colleague at the Athletic Lindsey Adler has a newsletter of her own now after she left the Wall Street Journal, and her latest issue, “Ten Years in a Crumbling Industry,” is an excellent look at her decade in (mostly) digital media and what it’s been like to work in a field that’s imploding around you like the Hamptons sequence in Eternal Sunshine of the Spotless Mind.
  • Character.AI has been in the media more for problems with its software, including one user’s suicide after he became obsessed with a chatbot modeled after Daenerys Targaryen, than for anything good about the product. So why would any media brand want to partner with them?
  • Jeb Lund writes at Truthdig that AOC ’28 needs to start now – not necessarily because she’ll win, but because she is the right person to stand front and center as the leader of the opposition to the President. And I agree. I don’t think concerns about “electability” are even relevant any more; Trump should have been the most unelectable candidate ever, and he just won his biggest victory yet.
  • At Slate, Dan Kois writes about The Straight Story, David Lynch’s most conventional film, and an absolute fucking masterpiece.
  • Outgoing President Joe Biden commuted the sentence Leonard Peltier, who spent nearly 50 years in prison for a murder he says he didn’t commit. The federal government withheld a ballistics report that showed the fatal shots did not come from Peltier’s gun, and no witnesses identified him as the shooter.
  • Support our troops! But don’t give them houses! Oklahoma scrapped a plan by the Veterans Community Project to build tiny homes for homeless veterans in Oklahoma City after neighbors objected. I bet they stand for the anthem, though!
  • Elon Musk made a Nazi salute at the inauguration, twice. We know that’s what it was because neo-Nazis online said so – and they loved it.
  • Greg Sargent of the New Republic says that Trump allies are conceding they don’t have a huge “mandate” after all. I’m not sure this means much if no one is willing to stand up to him.
  • The New England Patriots set up a Bluesky account and the NFL told them to shut it down. Then the league announced a new partnership with Twitter.
  • The Columbia Journalism Review has a story on how the White House press corps is looking forward to a second Trump term. It’s the most effective way I can think of to make someone hate the media. The people they spoke to do not care who’s hurt or what the long-term effects on the country might be, as long as their individual jobs are easier.
  • One of Trump’s barrage of executive orders tried to erase the existence of trans people. It is cruelty for cruelty’s sake. No one benefits from this – certainly not the very women who such orders are supposed to protect, not as their rights to basic medical care are also under assault.
  • Another order froze pretty much all business at the NIH, which is going to seriously impact critical scientific research on things like cancer treatments and disease prevention. NIH, NSF, and other federal agencies fund all kinds of research into medicine, mental health, and other areas of science that have helped keep the American economy among the world’s strongest and driven continued improvements in global health. That’s all at risk now.
  • The American Association of University Professors put out a statement called “Against Anticipatory Obedience.” Do not comply in advance. It’s not hard to remember.
  • We have a new Fabio Lopiano (Merv, 3 Ring Circus) game up on Kickstarter, called Baghdad: The City of Peace. I love Lopiano’s games – they’re medium-heavy but manageable – and this one looks like it’ll have great art similar to that of Merv, which I own and have played just once but kept because it’s so gorgeous.

Stick to baseball, 1/18/25.

One new piece this week for subscribers to the Athletic, my reaction to Roki Sasaki’s announcement that he’s going to sign with the Dodgers. I also contributed to the Athletic’s Hall of Fame ballot roundup, listing my selections with a brief explanation.

I do have another board game review going up at Paste next week, but most other writing has been on hold as I work on the top 100 prospects ranking, which is due to go live on January 27th. I actually still haven’t settled on who’s #1 – I see six or seven worthwhile candidates, but nobody is a clear leader. I do hope to get a newsletter out in the next few days as I feel more comfortable about my progress on the top 100.

And now, the links…

Stick to baseball, 1/12/25.

I took a month or so off from these Saturday posts, mostly because I was busy just about every weekend in December – PAX Unplugged, hosting two holiday parties, getting ready for Christmas, then traveling. I do plan to return these to their normal format, but for now I’m doing a briefer one just to get one posted after I was out of town for the weekend (we went to NYC to see friends and to watch SIX).

I did have one story up this week for subscribers to The Athletic, covering the Gavin Lux trade and associated signing by the Dodgers of Hyeseong Kim.

Over at Paste, my review of the excellent board game Tower Up went up this past week; that game appeared on my list of the top ten games of 2024.

And now, the links…

  • Longreads first: Defector’s exhaustive history of the barely-a-company Color Star, which first appeared on anyone’s radar when they signed a partnership deal with the 76ers in 2021 that the team quickly rescinded, is completely bizarre and an amazing piece of investigative work. The short version is that the company looks like it’s been running some kind of stock scam for at least five years, and has never produced any actual product or service.
  • The New Yorker has the story of one author’s copyright infringement lawsuit alleging another author, an editor, and a publisher stole the plot and many key details from of one of her unpublished novels, which delves into the question of how far you can copy an idea before it might cross into infringement, but also explains the anti-literary world of “romantasy” and other fast-fashion books that are written to chase trends on TikTok and other social media.
  • ProPublica published an exposé from and about a man who, on his own, infilitrated multiple right-wing militias, collecting data on members and recording conversations with leaders. He believes they’ll take the country down if they’re not stopped soon.
  • Dogs who press buttons to ‘talk’ to their owners are all the rage on Instagram and TikTok. Is there any science behind this? I’m a strong skeptic here, and I think the experts quoted in this New York Times Magazine piece lean that way as well, although there are experiments underway to try to understand better what dogs really can understand and express.
  • Editorial cartoonist Ann Telnaes quit the Washington Post after the paper refused to run a cartoon she drew that depicted billionaires bending the knee to the incoming President. She explained why on her Substack.
  • Coffee futures prices hit record highs in December and haven’t come down much thanks to below-average rainfall in Brazil and bad weather in Vietnam, the two largest coffee producers in the world. Between weather, climate change, and rising demand, coffee futures prices are up over 75% in the last year.

Castle Combo.

Castle Combo is the latest in Pandasaurus’s line of imports of smaller-box titles from Europe, following previous hits Sea Salt & Paper and Faraway (the latter of which made my top ten games of 2024). It’s a tableau-builder with a few quirks to the selection mechanism to distinguish it enough from the flood of similar titles on the market, and does share some DNA with Faraway in the way it ultimately scores. It’s from two designers who have another game coming out later this year called Zenith; one of the pair, Grégory Grard, co-designed the 2023 game In the Footsteps of Darwin, which earned a Spiel des Jahres nomination, but which I didn’t care for much because it had about as much to do with Charles Darwin as Monopoly does.

Players in Castle Combo will select nine cards to build 3×3 tableaux in front of them, taking one card from the six on display in each turn. The display itself is split into two rows, one of cards with grey/silver backs and one of cards with tan backs, and you may only select from the row where the messenger token sits. Each card has a cost in coins from 0 to 7?, one or two shields in any of the game’s six colors, an immediate power or benefit, and an end-game scoring function. Players begin the game with 15 coins and 2 keys; you can spend one key per turn to either move the messenger to the other row in the display, or to refresh the three cards in the current row with new ones.

Selecting some cards moves the messenger to the other line

Those immediate powers can give you coins or keys – more on those in a moment – usually based on what else is in your tableau already, or other benefits like 1 coin discounts on silver -or tan-backed cards. The end-game scoring is much broader, as nearly all cards give you some number of points per something else in that row, or column, or your tableau as a whole, or where you placed the card, or if some shield color is missing, or too many other things to list. It would be such a point-salad disaster if it weren’t limited to just nine cards all neatly arrayed in a square.

If you can’t afford any cards, you must take one and play it face-down for 6 coins and 2 keys, receiving 0 points for it at game end. After the ninth round, players score all of their face-up cards according to the rules on each. Leftover coins have no value unless the player has ‘purse’ cards on which you can store gold during or after the game; coins not in purses do come into play as the tiebreaker. Leftover keys are worth 1 point each.

There isn’t a ton of player interaction here, which is fine given the number of things you have to track and consider on your turns. Before choosing a card, you have to see how many coins you have and how many you’ll have afterwards (since many cards give you coins back), and then consider its immediate and end-game effects while also figuring out the optimal place for it in your tableau. Actually, you’ll do that for many or all of the six cards on the market at that time; trying to also figure out, say, which cards your opponents might want, or which ones might hurt them more, would be overload for a game of this weight.

The theme doesn’t tie all that well to the game, although I appreciate the comic nature of the art on the cards. You’re supposed to be collecting characters from the upper and lower classes of your city to come live or work at your castle, but even though each card has a character type I find I play without ever even looking at the text. It’s all about the abilities and how they fit into my tableau at that point or will determine my strategy for cards going forward.

Castle Combo plays 2-5 players and promises playing times of 10-25 minutes; I think 10 minutes might apply to a game of two players who’ve played a few times before, but the 25 minutes is probably about right as an upper bound. You only have nine turns and you have just a few choices on each turn, so even though you will find you’re putting a lot of thought into each buying decision, there’s only so much of that you can do before the next player smacks you in the back of the head. I do prefer Faraway, which has a similar weight, playing time (eight turns per player), and even box size, because its main mechanic is more novel. Castle Combo takes a lot of aspects of other games and skillfully smooshes them together into a smart filler-game experience.

Kneecap.

Kneecap tells the story, loosely, of the founding of the popular Irish-language rap trio of the same name, with the three members playing themselves. It’s mostly fictional and entirely hilarious. (It’s on Netflix in the U.S.)

The band Kneecap has risen to significant prominence in both their native Northern Ireland and in Ireland over the last decade, but this biopic blends truth with fiction, although writer/director Rich Peppiatt told NPR that the wilder stuff is the truth and the “mundane” stuff is fabricated. The two MCs switch between Irish and English, between pro-Republican and pro-Irish language activism and rhymes about drinking and drugs, rapping over beats that draw more from the golden age of hip-hop than anything in the last 30 years of American rap. Their second album, Fine Art, featured guest spots from Fontaines D.C. vocalist Grian Chatten and British rapper Jelani Blackman, and the song “3CAG” became a top 10 hit on Ireland’s pop chart.

Kneecap’s script creates some structure around the group, from member Naoise’s father being an ex-Republican paramilitary who faked his death to avoid arrest to a story about how the two rappers connected with their schoolteacher DJ. The throughline, and the real heart of the film, is the rapid, organic rise in popularity that came from their live gigs and a protest campaign that got one of their first songs played on an Irish-language radio station across the island. It has some of the trappings of classic up-from-obscurity music biopics, but avoids many of the tropes of the genre – the drug use is almost entirely comic, rather than leading to some sort of tragedy or downfall; the band doesn’t break up only to come together at the end; there’s a love interest that doesn’t divide the band or otherwise derail them.

The trio’s ascent has been rapid enough that the screenplay instead layers on a political story, from Naoise’s father, played with brilliant understatement by Michael Fassbender, to a Northern Irish police officer who believes they’re dangerous activists, to run-ins with a group called Radical Republicans Against Drugs. Nearly all of this is made up for the movie, and it’s just about all funny even when there’s a serious subtext like the suppression of native Irish language and culture in British-ruled Ulster. The three members of Kneecap are natural performers, to the point where I thought for much of the film that DJ Próvaí was being played by an actor when he’s just playing himself.

The Irish Film & Television Academy submitted Kneecap as the country’s entry for this year’s Academy Award for Best International Feature, and it made the December shortlist of 15 titles. Only one Irish film has ever made the final list of nominations, 2022’s The Quiet Girl (which is fantastic), but Kneecap appears to have a real shot to become the second, and I’d be thrilled if it means more people seek this movie out. It’s a riot, and it’s something novel – it’s not a straight biopic, it’s not a parody or a mockumentary, and it’s about a specific culture that was mostly new to me (I mean, I’ve watched Derry Girls). And because it doesn’t take itself too seriously, or seriously at all, the underlying theme of pride in one’s culture and language is far more effective than it would have been if they’d played it straight. It’s not going to beat Emilia Perez for the Oscar, but it’s a way better film.

Top 100 songs of 2024.

Better late than never – here’s my ranking of my top 100 songs of 2024, a list that took forever to compile in such a fertile year for great music, a process further complicated by the short break between the holidays, a brief family vacation after Christmas, and life in general. You can see my previous years’ song rankings here: 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, 2012. I posted my ranking of the top 24 albums of 2024 just before Christmas.

As always, you can access the Spotify playlist here if you can’t see the playlist below.

100. Jamie xx feat. Honey Dijon – Baddy On The Floor. I’m not a big EDM guy, so I was disappointed with Jamie xx’s follow-up to his outstanding debut album In Colour; he went heavy into EDM-land rather than the hybrid, indie-dance sounds from the last record. This was the best track on his latest album, In Waves, which had an incredible array of guest vocalists and musicians but ultimately left me cold because of the monotony of the beats.

99. The Lathums – Stellar Cast. Iadmit this is music that is almost algorithmically designed to meet my tastes – the Lathums are a direct descendants of the ArcticMonkeys’ musical tree, and this is their most Alex Turneresque song yet.

98. Folly Group – Pressure Pad. Folly Group get lumped into the new post-punk movement that’s been thriving in the U.K. for the last few years, but their sound is more experimental and chaotic than that, best exemplified on this noisy, throbbing track from their debut album Down There!

97. Yard Act feat. Katy J Pearson – When the Laughter Stops. One of my favorite tracks from Yard Act’s sophomore album, the disco-influenced Where’s My Utopia?, features guest vocals from English indie-pop singer Katy Pearson (who eschews the period after her middle initial, Harry S Truman-style).

96. Ezra Collective feat. Olivia Dean – No One’s Watching Me. Ezra Collective won the Mercury Prize in 2023 for their second album, Where I’m Meant to Be, but I preferred their follow-up, this year’s Dance, No One’s Watching, a more melodic (and perhaps more mainstream?) jazz record with some great vocal turns from various guest artists, including neo-soul singer Dean.

95. STONE – Save Me. STONE released their debut album, Fear Life for a Lifetime, in September, and it’s a decent first record, blending elements of punk, indie rock, rap, and even a little pop on tracks like this one and “My Thoughts Go,” although I preferred some of the stuff on their earlier EPs.

94. Swim Deep – First Song. Despite the song’s title,Swim Deephave been around for over a decade and released their fourth album, There’s a Big Star Outside, in July. It’s a shoegazey record with some bigger guitar riffs, although I found the album more interesting for its overall sound than for individual tracks or hooks. This remains my favorite, thanks in part to that big guitar line that comes in before the first verse.

93. Sampha feat. Little Simz– Satellite Business 2.0. The original “Satellite Business” was an 84-second track on Sampha’s 2023 album Lahai without any guest vocals, but this new version features a verse from Little Simz and runs nearly five minutes, taking a forgettable interstitial track and bringing it up to par with the rest of Sampha’s album.

92. Chime School – Give Your Heart Away. More jangle-pop greatness from Andy Pastalaniec, who also serves as the drummer for Seablite (and is a big Giants fans). His second album under this moniker, The Boy Who Ran The Paisley Hotel, came out this summer and it’s full of sunny ‘80s hooks like this track has.

91. Wishy – Triple Seven. This is the title track from this Indianapolis indie-rock band’s debut album, which received pretty broad acclaim and was kind of unavoidable this fall in all the places where I typically find new music. I like their sound but didn’t hear a lot of memorable hooks on the album; this is the best track, but even here I don’t think it has a signature melody or anything specific to set it apart. It’s just a good example of their sound, which gets the “shoegaze” label like everything these days but which I don’t think applies here.

90. Elbow – Lovers’ Leap. This is the song that made me an Elbow fan, but by the time the year ended two other tracks they released this year surpassed it. I’ve said before that I’m late to this party; in my defense, I think they’ve evolved since their Mercury Prize-winning album The Seldom Seen Kid and become both more experimental and more uptempo. I love the horns in the intro here.

89. Kendrick Lamar – reincarnated. I have never been a big Kendrick Lamar fan, and even now I am probably one of the lower folks out there on his newest album, GNX. I admire his experimentation, and he did put out his best song every this year (hint: this isn’t it), but I find his music maddeningly inconsistent, and his delivery can vary widely too. When his lyrics are more driven by emotions, as on this track, his flow is worlds better than it is on some of his more mundane songs. I also happen to love the call-and-response at the end of this song, although Pitchfork’s review of GNX called this song “unlistenable.”

88. Pond – So Lo. I am pretty much a perfect mark for any artist that records an homage to Prince; Pond has certainly drawn from funk before, but the guitarwork here sounds like something that might appear out of Prince’s vaults.

87. Courting – Flex. It should be clear by now that I love Courting’s New Last Name, as it’s shiny and poppy but hasn’t lost its sharper edges with overproduction or even too many layers. I’m assuming the “now she’s calling a cab” is a Killers reference.

86. Lauren Mayberry – Change Shapes. I’d been clamoring for Mayberry to put out a solo album for probably seven or eight years, and she finally did so this year with Vicious Creature … and it’s nothing special. It’s extremely poppy, which is fine, but a lot of the lyrics are shallow and they’re extremely repetitive. Lines like “go to hell or go home/or you will die on your own” (from “Something in the Air”) make the whole endeavor feel superficial. I rather appreciated the Guardian’s mixed review of the album, which mirrored a lot of my own thoughts. This was by far my favorite track from the record, mostly for the memorable melody in the chorus.

85. Khruangbin – A Love International. Another album that disappointed me, A LA SALA is a surprisingly dour affair for a band whose previous output always pulsed with energy. Everything that worked on Mordechai, their 2020 album and first with extensive vocals, is gone here; the album feels like great background music, but that’s a letdown from their assertive work on the previous two records.

84. Corker – Distant Dawn. Corker hail from Cincinnati but sound like they should be from London, or maybe Brighton, with their clear influence from early post-punk – although the band they sound like more than any other is the contemporary group Preoccupations. They’re both more Joy Division than Wire or Gang of Four, with some of the gothic production style of Bauhaus and early Cure.

83. Crows – Bored. When I say 2024 was a good year for music, I mean that a band like Crows, whose first two albums I really liked and whose sound is very much in my personal wheelhouse, Reason Enough, came out in September and couldn’t crack my year-end list even though it is, once again, something I really like. This isn’t a criticism, but I don’t think the record pushed any new boundaries for them, which is why I ended up omitting it from my rankings. It’s also a darker record than the previous two, although that fits their hard-edged punk/hard rock hybrid style.

82. Childish Gambino feat. Fousheé– Running Around. I didn’t have Donald Glover releasing a peak emo-pop track à la Jimmy Eats World on his (supposedly) final album under the Childish Gambino name on my bingo card for 2024, but here it is – and it’s the best song on his fascinating if somewhat inscrutable Bando Stone and the New World record.

81. Hayden Thorpe – They. Thorpe was the lead singer of art-rock band Wild Beasts, who broke up after their 2016 album Boy King, which is one of my favorite albums of this century. His solo output has kept the art part but dispensed with most of the rock, so I haven’t enjoyed any of it as much as I did the work of his previous band. His third solo album, Ness, a musical interpretation of Robert Macfarlane’s 2019 book of that name, is challenging and smart and a little too quiet for my tastes, unfortunately.

80. Lambrini Girls – Company Culture. Lambrini Girls are a punk duo with strong hooks and wry, frequently off-colour lyrics that fit the left-wing roots of the genre. I assume the subject of this track is self-evident.

79. Opeth – §3. This is one of my favorite tracks from Opeth’s latest album, The Last Will and Testament, and also the most accessible song on the record for its scant use of death-metal vocals, making it more of a progressive metal song plucked from the larger and heavier album that surrounds it. It’s not Blackwater Park, but it’s good to see Mikael & company get a little heavier after a few albums that were more King Crimson than King Diamond.

78. Blossoms – Perfect Me. Gary is a more expansive album than their previous work, with more influences and more musical ambition, but there’s nothing here to match “Ode to NYC” or “The Sulking Poet” from 2022’s Ribbon Around the Bomb. This song is easily the new album’s best thanks to the earworm chorus.

77. Soccer Mommy – Lost. I’vestruggled to understand the critical acclaim for Soccer Mommy, as her often-flat singing and funereal melodies just don’t do it for me. “Lost” might be the best thing I’ve heard from her, or at least close to it, as her ,vocals are much more expressive and the melody in the chorus balances its somber lyrics with a hint of sweetness in the vocal lines.

76. Blushing – Tamagotchi. Blushing are a dream-pop/shoegaze band from Texas who sound a lot like early Lush – and indeed they covered Lush’s “Out of Control,” which led to Lush singer Miki Berenyi appearing on their second album, Possessions. Their third record, Sugarcoat, is more of the same – imagine Lush but a half-degree heavier at times, with bright vocals shimmering above walls of distorted guitars. This track and “Silver Teeth” were my favorites from the new record.

75. Kamasi Washington – Prologue. I can’t pretend to know Washington’s work prior to this song, but it was everywhere this summer – I think NPR featured it on their extensive weekly playlist – and it’s the sort of jazz I find I can understand and appreciate (which is a criticism of my own tastes, not of any style of jazz). There’s a

74. Bob Vylan – Hunger Games. The best track off Bob Vylan’s album Humble as the Sun wasn’t actually the best thing the British duo did this year, but this grime/hard rock track highlights their viciously satirical lyrics and knack for finding heavy riffs to work along with the vocals. “You are more than your take-home pay” should be a slogan for the Working Families’ Party – or the Democrats.

73. GIFT – Going In Circles. I almost ended up with three GIFT songs on the top 100, with “Later” among the last few cuts from this list. Their album Illuminator was an instant favorite for me with its blend of psychedelia and dream-pop along with a slew of extremely memorable hooks.

72. Japandroids – All Bets Are Off. I’m a bit unusual for a Japandroids fan in that I didn’t love Celebration Rock, one of the most critically lauded records of the 2010s and the album that made and nearly broke them. I liked the two albums that followed, including their 2024 swan song Fate & Alcohol, significantly more, as they polished their sound up just enough to let me appreciate the lyrics and the interplay between the guitar and drums. It’s a shame that they’re done (for now), but at least they left on a high note. I have two Japandroids tracks on this list, and I would guess this is the one that would appeal more to fans of their earlier work.

71. Ride – Peace Sign. Ride’s second act has been something to behold, as they’ve been riding (pun intended) the second shoegaze wave and brought a more mature and more melodic sound to their three post-reunion albums. They’re still recognizably Ride, but it’s like they picked up where “Chrome Waves” left off and kept right on going.

70. Fontaines D.C. – Starburster. Honestly, if Grian Chatten didn’t do that weird inhaling thing before every line in the chorus, this would have been a top ten track of the year for me. Hearing that through Airpods is a bit much. It’s a great fuckin’ song, though.

69. Beyoncé– TEXAS HOLD ‘EM. Surprised? I believe this is the Queen’s first ever appearance on one of my top 100s, but I was captured by this track immediately – and it was the only original on Cowboy Carter that I liked enough for a second listen. Her taste in covers is exquisite, of course, and I hold out hope that she will one day put out an album of standards and torch songs while she still has the voice for it.

68. Charly Bliss – Calling You Out. Charly Bliss’s power-pop sound seemed destined for a breakout album at some point, and I think they had it this year with Forever, although I barely know what constitutes success for an album in the streaming era. The album was full of bouncy pop bangers like this one, which seems to subvert the typical sounds of a teenybop artist with grungy guitars and smart lyrics, although my favorite track from the record (much higher on this list) follows a totally different template.

67. Color Green – Four Leaf Clover. Thispsychedelic rock quartet from California put out their sophomore album, Fool’s Parade, in 2024; imagine Phish, but reined in by more conventional song structures and the limits of time and space.

66. Tunde Adebimpe – Magnetic. The lead singer of TV on the Radio and Star Wars: Skeleton Crew actor is working on his solo debut, due out on Sub Pop this year, and I believe this is his first-ever single as a solo artist. It’s very much in the “Wolf Like Me”/“Mercy” vein and I couldn’t be more pleased.

65. The Lemon Twigs – Rock On (Over and Over). The Lemon Twigs’ schtick does nothing for me but I concede that they do a credible impression of 1960s pop even if I don’t always love the results. There’s some Beach Boys in the vocal lines, sitting on a standard blues shuffle.

64. Nilüfer Yanya – Like I Say (I runaway). Yanya’s third album, My Method Actor, made a few best-of-2024 lists (including Paste’s, where it landed at #32), and after revisiting it at the end of the year I think I’ve underrated it, probably because her sound, with influences from her Turkish heritage, is so new I haven’t been able to pin it down.

63. clipping.– Run It. This hip-hop trio headed by Daveed Diggs (along with two producers) plans to release its fifth album some time in 2025, with this as the first single; Diggs often writes high-concept lyrics, and his delivery is outstanding, as he can use his voice almost as a percussion instrument with his rapid-fire rhyming.

62. Atlas Genius – Animals. I thought Atlas Genius had given up the ghost when my daughter, who loved their first two albums, happened to look them up while we were driving her down to college, only to see they’d just put out an album – their first in nine years. End of the Tunnel sounds just like their first two records, but perhaps a little lighter on the big hooks that made “If So,” “Trojans,” and “Molecules” hits. This was our favorite track by a wide margin.

61. Foxing – Barking. Foxing’s self-titled 2024 album was an ambitious, arduous listen with a lot of screaming and other harsh elements befitting the lyrics; I’ve said before it’s like hearing someone cracking up in album form. This was by far the most accessible track on the record, although even that probably undersells how haunting it is.

60. High Vis – Drop Me Out. High Vis blend a lot of styles in their music, but they’re a hardcore punk band at heart and that’s very evident here on the third single from their third album, Guided Tour. They twist the genre around by bringing in some dance elements and eschewing the most dissonant elements of hardcore.

59. English Teacher – R&B. English Teacher won this year’s Mercury Prize for their debut album This Could Be Texas; I was disappointed in the record after they placed songs on my top 100s for 2021 (“Good Grief”, not on the album) and “The World’s Biggest Paving Slab” (which is), as it moves them further away from their rock and post-punk influences and into something more proggy in a way that weighs many of the songs down. This was probably my second-favorite track on the album, ahead of “Nearly Daffodils.”

58. Elbow – Good Blood Mexico City. The track I come back to the most from Elbow’s latest album Audio Vertigo is this swirling, ebullient song that if anything ends far too soon, with a huge guitar riff that comes in at the chorus. The song is apparently a tribute to the late Foo Fighters drummer Taylor Hawkins.

57. Waxahatchee – Much Ado About Nothing. A non-album single Waxahatchee released in October, this track again features MJ Lenderman on guitar and fits very much with the vibe and style of Tiger Blood; it doesn’t appear that it was a bonus track or late cut but it certainly sounds like it could have come from the same sessions.

56. Mdou Moctar – Oh France. Moctar’s pyrotechnics on guitar are front and center of most of the tracks on Funeral for Justice, but this song opens with him noodling away before hitting that two-chord sequence that leads into each chorus. It’s a fireball of pure guitar energy and makes me want to flip on my amplifier and crank up the distortion pedal.

55. The Howl & The Hum – Same Mistake Twice. I wasn’t familiar with this British group before hearing this track, which was one of their first as a solo project for lead singer/songwriter Sam Griffiths after the other three members left the band in 2023 or so. He writes earnest, introspective lyrics over traditional indie-rock sounds driven by acoustic guitars … and yeah, this song does remind me a little of The Head and the Heart, which is kind of unfortunate in its way.

54. Lotte Gallagher – This Room. A singer-songwriter from Melbourne who is around 19 years old, Gallagher just released her debut EP, A Better Feeling, in October, featuring this outstanding indie-pop track that draws heavily on sounds from the ‘90s and the aughts.

53. Hundred Waters – Towers. Hundred Waters’ four-song EP, also called Towers, was the band’s first new music in seven years, so long that I thought they were done, especially since singer Nicole Miglis put out her first album as a solo artist this year. The four songs on Towers are actually unreleased tracks from their best album, The Moon Rang Like a Bell, so they have that same sound that I loved when the LP came out in 2015.

52. SPRINTS – Heavy. This Irish punk band released its first LP, Letter to Self, last January, featuring several songs they’d put out previously, including “Adore Adore Adore,” “Up and Comer,” and “Shadow of a Doubt.” This was the best of the new songs on the record – and I think it’s my favorite.

51. The Tubs – Freak Mode. When I first heard this track, I assumed the Tubs came from the Midwest, as their take on jangle-pop seemed so quintessentially American. They’re actually a Welsh band, started by two of the founding members of Joanna Gruesome after that group called it quits in 2017. The Tubs’ second album, Cotton Crown, is due out in March.

50. Oceanator – Lullaby. I love how this track starts out like it’s going to be a late-80s metal song with heavy, crunchy guitar riffs, before Elise Okusami brings in a vocal melody that sounds like it could come from a straight pop track. It’s the best track from her third LP, Everything is Love and Death.

49. La Sécurité – Detour. A Montréal-based art punk collective, La Sécurité channel early U.S. new wave/post-punk acts like Blondie, Television, and even Devo on thisbouncy, sparse track that is their first new music since their mid-2023 album Stay Safe came out.

48. The Weather Station – Window. Tamara Lindeman’s ever-changing project The Weather Station will release their seventh album, Humanhood, in about two weeks, featuring this track that echoes School of Seven Bells in the ethereal chorus.

47. DEADLETTER – Mere Mortal. DEADLETTER’s label describes them by evoking Gang of Four and Talking Heads, but I don’t see how you could hear this track without thinking of Madness, just with more prominent guitar work. It’s incredibly catchy and the lyrics feature some clever turns of phrase, such as “Like a set of crutches set aside for optimists to walk with.”

46. Alcest – Flamme Jumelle. As with Opeth’s latest, Alcest’s new album Les Chants de L’Aurore is best digested as a whole, and some of the best tracks include harsher elements that deter me from putting them on this list; “Flamme Junelle” is the most straightforward track on the album and has the most prominent melody lines in the vocals and the haunting guitar lick that follows the verses (and reminded me, oddly, of a similar lick from My Bloody Valentine).

45. Geese* – The Bonecracker Acetates. Fun fact: This isn’t Geese, the Brooklyn-based band, but that’s how it ended up on one of my auto-generated playlists on Spotify … and I assumed it was those guys, because they mess around constantly with genres and styles, and their singer sounds different on so many tracks. This is a Lancashire-based blues/jazz/math-rock trio that also plays with genres. (I added the asterisk to their name; I assume at some point we’ll get a Geese UK and a Geese US or something to distinguish them.) Anyway, this song is built on a deep, bluesy shuffle that absolutely rocks.

44. The Killers – Bright Lights. Released in concert (hah!) with their Vegas residency, this is certainly my favorite of their tracks since “Dying Breed” in 2020 and represents the best of the Killers in my opinion – it’s big, it’s anthemic, it’s a little bombastic, and it builds to a rousing chorus.

43. The Mysterines – Sink Ya Teeth. The best track from the Mysterines’ sophomore album Afraid of Tomorrows gets Lia Metcalfe’s smoky voice front and center, and has a faster tempo with more prominent rhythm guitars than most of the tracks on their debut record. I’m still waiting for word on whether the band is still a going concern after they abruptly cancelled their fall tour in late August; they’ve had no social media activity since then.

42. The Cure – Alone. “Alone” is the critical consensus best track on the Cure’s magnificent comeback album Songs of a Lost World – and I agree that it’s great, but I have it as the second-best. This is what many people think of when they think of the Cure: dark, depressing, tenebrous, synth-heavy, ambient. That’s one of their modes, but they run deeper than that.

41. Royel Otis – If Our Love Is Dead. Royel Otis are huge in their native Australia, winning the ARIA awards (their equivalent to the Grammys) for Best Group and Best Rock Album for their debut LP Pratts & Pain, along with earning a nomination for Album of the Year. I wasn’t a big fan; I didn’t hear much in the way of hooks or other memorable lines on the record, but this track, from the deluxe edition, is a banger – and yes, it has a great hook in the chorus.

40. The Darkness – I Hate Myself. The Darkness refuse to change and I love them for it. Their music is a glorious throwback to the late 1970s and early 1980s styles of glam rock and early metal (particularly the New Wave of British Heavy Metal, popularized by Iron Maiden & Judas Priest). This single, one of two they released at the end of the year off their upcoming album Dreams on Toast, is vintage Darkness, combing a fast-driving hard-rock riff with ridiculous lyrics.

39. Jorja Smith – Don’t Let Me Go. One of two new-old songs Smith released this year, first written a decade ago but never released until this year; the other, “Loving You,” is also strong, but this track is such a beautiful showcase for her voice.

38. The Chameleons – Where Are You? The Chameleons are one of the forgotten bands of the new wave/post-punk movement in the UK that came to dominate American pop charts between Thriller and the rise of hair metal and then rap in the end of the 1980s. They broke up before the decade ended, re-formed once to put out an album in 2001, and then broke up again; that remains their last full-length LP. They put out two EPs in 2024, with the promise of an album (Arctic Moon) some time in the near future. This song is up there with the best of their early output like “Swamp Thing” and a harbinger of good things if that full-length record ever appears.

37. Kid Kapichi – Can EU Hear Me? Kid Kapichi might be my favorite band among the hordes of descendants of early Arctic Monkeys, as they combine the same sense of melody and wry, witty lyrics with more direct punk influences. This song, mocking Brexit as it deserves to be mocked, has the wonderful line “You can’t just separate a tectonic plate, mate!”

36. Miles Kane – Fingerless Gloves. I believe this is the only instrumental track on the top 100, driven by a great guitar hook by Alex Turner’s former bandmate in the Last Shadow Puppets and the former leader of the Rascals.

35. Hinds feat. Beck – Boom Boom Back. Beck isn’t on this track a ton, and I’m not sure it’s any different for his presence other than perhaps the marketing value, but it’s one of Hinds’ best songs ever, with higher production values than they’ve had before and their signature intertwined vocals that are always just slightly off from each other in time.

34. Jack White – It’s Rough on Rats (If You’re Asking). White’sback-to-basics rock album No Name starts off with a suite of ass-kicking guitar tracks, none better than this funky, bluesy number.

33. Pond – Neon River. Stay with this song through the oddly quiet beginning, as a huge guitar-driven chorus is about to hit you square in the face just before the one-minute mark.

32. The Libertines – Shiver. I’ve said plenty about All Quiet on the Eastern Esplanade, and I’ll say more about it later on this list, but “the last dreams of every dying soldier” is such a great opening line.

31. Kaiser Chiefs – Reasons to Stay Alive. I know Kaiser Chiefs’ very name probably sounds passé, but they’ve had quite a few great if totally ignored songs past their “I Predict a Riot”/“Ruby” days. Their latest album had two standouts, including this one, and I think Nile Rodgers’ presence on some of the tracks helped significantly.

30. Charly Bliss – Nineteen. You don’t hear me wax poetic about many straight piano ballads, but this song blew me away the first time I heard it and it still gives me goosebumps when it comes on. Charly Bliss ought to be superstars off this latest album, Forever.

29. The Smile – Eyes & Mouth. I want to like The Smile more than I do, but too much of their output has felt pretentious and noodly to me; this track has some incredible work from Tom Skinner on percussion and a simple but highly effective riff from Jonny Greenwood on guitar. I wish more of their songs sounded like this.

28. Doves – Renegade. Doves’ comeback single and their forthcoming album – their first since 2009’s Kingdom of Rust – feature singer/bassist Jimi Goodwin, but their tour hasn’t as he continues his recovery from substance abuse. This first single from Constellations for the Lonely has the broad, spacey, anthemic sound of their best work on The Last Broadcast and Lost Souls.

27. Griff – Tears For Fun. Griff’s full-length debut album Vertigo finally dropped this year,with two songs that made my top 100 last year in the title track and “Astronaut;” this is the best of the new material. She’s a legit pop star in her native U.K. already, and opened for some pretty big names this past year including Taylor Swift and Sabrina Carpenter.

26. Courting – We Look Good Together (Big Words). My favorite track yet from this English dance-rock-fun band, whose last album New Last Name came out in January but will see a follow-up early in 2025.

25. Japandroids – Chicago. I talked a bit about Japandroids above; this song really captures their best sound, where they blend high energy with the sort of despair that struggles to find words. They went out with a bang.

24. Sam Fender – People Watching. The best Killers song of 2024 was by Sam Fender.

23. milk. – Don’t Miss It. This Dublin band has only released a handful of songs so far, but I’m already a big fan, and this is their best track yet – a swirling indie-pop gem with a guitar line that seems very familiar (early Cure?) and a singalong chorus.

22. Kaiser Chiefs – Beautiful Girl. If this song had come out in 2006, it would have been a huge alternative-radio hit, but as I said above, I think people just dismiss Kaiser Chiefs as an artifact of the aughts even though they can still churn out a banger like this one.

21. Phosphorescent – Revelator. The title track from Matthew Houck’s latest album, his first since 2018, is the best song he’s ever written, accordingto Houck himself. I agree. This sort of modern folk-rock often misses me because it’s too slow and gentle, but that one extra chord change in the chorus is just (chef’s kiss).

20. Yard Act – We Make Hits. It ain’t braggin’ if you can bring it. I don’t know if this was an actual hit anywhere, but it should have been.

19. Good Looks – Broken Body. A handful of readers tried to turn me on to Good Looks when the Austin rockers released their latest album, Lived Here for a While; I loved this song, obviously, but it was the only memorable track on the album for me, with a jangly guitar riff that repeats for most of the song and a catchy vocal melody right from the first line.

18. Ezra Collective feat. Yazmin Lacey – God Gave Me Feet For Dancing. We’re in the part of the list where it’s mostly songs that I think should have been everywhere in 2024, but this one in particular just seems like one everyone should love. It straddles the line between jazz and jazzy, with beautiful vocals from Lacey and a great couplet in the chorus (“God gave me feet for dancing/and that’s exactly what I”ll do”) that you should be seeing on T-shirts.

17. Katie Gavin – Aftertaste. Gavin is part of the indie-rock band MUNA, but her solo debut What a Relief goes in a completely different direction, leaning more into folk and country in a way that elevates her voice, never more so than in the chorus on this lovely song.

16. Michael Kiwanuka – Floating Parade. The best track on Kiwanuka’s latest album Small Changes calls back to classic R&B from the 1970s, and like the best tracks on his previous album, it’s driven by a prominent and complex bass line.

15. GIFT – Wish Me Away. This song evokes so much of the music that I loved in the 1990s that I was almost compelled to love it, although the two strong hooks – the opening guitar riff and the floating vocals in the chorus – didn’t hurt.

14. Humdrum – There And Back Again. One of the catchiest tracks of the year came from Loren Vanderbilt III’s debut album (as Humdrum), Every Heaven, powered by a guitar line that seems straight out of 1980s jangle-pop and a tremendous hook in the chorus.

13. Fontaines D.C. – Favourite. Fontaines D.C.’s latestalbum crosses all kinds of styles and genres, taking the band well away from their punk roots, and on this standout track they play it incredibly straight – it’s almost a pure pop song, and shows how far their songwriting has come in the last five years.

12. Kacey Musgraves – Deeper Well. I was never much for Musgraves’s music before this latest album, also called Deeper Well, but her sound on this record steers more into folk and a little away from country while working with sparser arrangements and production.

11. The Cure – A Fragile Thing. My favorite song from Songs of a Lost World is this dramatic, textured track that still brings the band’s trademark despair but offsets it here with an ominous piano line and then brings in a surprising guitar solo from new member Reeves Gabriels.

10. Parsnip – The Light. Parsnip calls back to 1960s power popthroughout their new album, Behold, as on this two-minute earworm powered by the vocal lines in the verse.

9. Mdou Moctar – Funeral for Justice. The title track from my #2 album of 2024 is another showcase for Moctar’s guitar heroics, and the fury of the music matches the tone of the lyrics (translated as “Dear African leaders, hear my burning question/Why does your ear only heed France and America?”), as the Tuareg musician was touring in the U.S. just as the Nigerien government fell in 2023.

8. Gojira, Marina Viotti, & Victor Le Masne – Mea Culpa (Ah! Ça ira!). The highlight of the 2024 Olympics for me was the performance of this song of the French Revolution, pairing the French metal icons Gojira with opera singer Viotti contributing a verse. Nothing could match the majesty and grandeur of the live performance, with Gojira’s members standing on balconies of the Court of Cassation while Viotti, dressed as a pirate, floated into the scene on a replica of the Liberté. The song earned a Grammy nomination for Best Metal Performance.

7. Elbow – Adriana Again. This track came out about seven months after Audio Vertigo and will be on a new EP coming out early this year; it ended up my favorite Elbow song of 2024, even ahead of the two album tracks on this list, because the chorus was stuck in my head for weeks.

6. Waxahatchee – 3 Sisters. Katie Crutchfield’s lyrics are powerful – “If you’re not living, then you’r? dying/Just a raw nerve satisfying” remains my favorite couplet on the album – but it’s how she delivers them that sets this track apart.

5. Nice Biscuit – Rain. I became a Nice Biscuit fan this year after finding this track from the Australian indie-rock band, off their second album, SOS. They draw heavily on psychedelic rock, which has been a signature part of a lot of Australian rock over the last five years, with some elements of shoegaze and other 1990s alternative music.

4. Bad Omens feat. Bob Vylan – TERMS & CONDITIONS. The best thing Bob Vylan did this year was the duo’s guest appearance on this Bad Omens track, which packs a hell of a punch in just 2:07, with two furious verses and one of the year’s most memorable choruses (“who they killing/when they makin’ a killing/conditions getting’ worse/ignore the terms and conditions”).

3. The Libertines – Oh Shit. This ended up becoming my favorite track on my favorite album of 2024, although it had some stiff competition in the 2023 single “Run Run Run” and this year’s “Shiver.” The lyrics here are fun if not as clever as some of the turns of phrases elsewhere on the album, and I have found myself walking around the house singing the chorus “Oh shit, oh shit/Let’s make some money/Just enough to get us by” more times than I can count.

2. Los Campesinos! – Feast of Tongues. Inmost years, this would have easily been the top track, but it had the bad fortune to run into the The Great Diss Track War of 2024. Los Campesinos! have probably gotten the most attention here for silly songs like “You! Me! Dancing!” and “Avocado Baby,” but this track is an anthem that should be blasted from phones and portable speakers at every antifascist protest for the next decade and beyond. The slow build and heavy drums give even more power to the couplet that closes the chorus: “When the black cloud comes, if one flame flickers/We will feast on the tongues of the last bootlickers.”

1. Kendrick Lamar – Not Like Us. Could it really be anything else? I’ve never been a big fan of Kendrick’s output, especially not his earliest stuff, but this song is a tour de force – not just as a diss track, although it obviously is that, but as an ambitious and wide-reaching piece of music that blends genres and styles, and that also features some unbelievable wordplay. I’ll never hear a reference to the chord A minor the same way again – and neither will you.

Top 24 albums of 2024.

My gimmick of ranking a number of albums equal to the last two digits of the year lives once more, although I think I may just have to cap it at 25 next December before it gets out of hand. I had plenty of albums to consider in 2024, though, as it was a strong year for albums overall and for albums that might be 1-1 worthy in any year. Some honorable mentions include Blood Incantation – Absolute Elsewhere (some brilliant music, but I just can’t do with that much of the death metal trappings), Childish Gambino – Bando Stone & the New World, Bob Vylan – Humble as the Sun, Katie Gavin – What a Relief, Parsnip – Behold, Japandroids – Fate & Alcohol.

You can see my previous year-end album rankings here: 2023, 2022, 2021, 2020, 2019, 2018, 2017, 2016, 2015, 2014, 2013, and my top albums of the 2010s. My top 100 songs of 2024 will go up some time in the next week.

24. Griff – Vertigo

Griff is a pretty big deal in the U.K. and opened for Sabrina Carpenter and Taylor Swift this year, although she hasn’t broken through at all in the U.S. yet. I’m generally not a fan of highly polished pop music, but her brand of sophisticated pop that isn’t overproduced and that lets her powerful alto voice shine is much more in line with my tastes. Highlights include the title track, “Astronaut,” and “Tears for Fun.”

23. Wheel – Charismatic Leaders

Wheel keeps changing personnel, with only lead singer/guitarist James Lascelles left from the original lineup, but the sound remains the same. This is heavy, crunchy prog metal, driven by powerful and intricate guitar work, but never deviates into blast beats or death growls that might destroy the intense vibe of the music. I don’t think this is their best album, but it’s so much in my wheelhouse (pun intended) that I still like it quite a bit. Highlights include “Empire,” “Submission,” and “Porcelain.”

22. Pond – Stung!

Pond are all over the place yet again, and I’m good with it because the highs are high enough. They’re an experimental rock band from Australia with a heavy emphasis on psychedelic rock, but are comfortable veering into funk-pop (“So Lo”) or a mélange of 1970s hard rock and 1960s Motown rhythms (“(I’m) Stung”), or just straight-up psychedelic rock that your parents might have heard at Woodstock (“Neon River”). The album is 14 songs and 54+ minutes long, so it does wear out its welcome a bit as it goes on, so it’s a little lower here than it would have been at midyear, when I had it on my unordered list over some other titles like Ride’s Interplay.

21. HINDS – Viva Hinds

HINDS went back to its original lineup, shedding two members to become a duo again, and their first album since 2020’s The Prettiest Curse is their most assured and polished record yet. HINDS has always thrived on a bit of chaos, the question of whether these two women can really even play their instruments or carry a decent tune, only to have them pull it together with a strong chorus or wry lyrics. On Viva Hinds, they’ve tightened things up across the board but haven’t lost that sense that they’re always on the verge of careening off the track. It’s lo-fi and proud of it, but now it’s not quite so rough around the edges. Standouts include “Boom Boom Back” (featuring Beck), “Mala Vista,” and “En Forma.”

20. Foxing – Foxing

Pitchfork summarized this album by calling it “Nearer My God’s evil genius twin,” and I can’t beat that. It’s wild and weird and ambitious and despairing, the sound of someone coming apart at the seams, with death metal-style screaming, soaring and haunting backing tracks, and despondent lyrics about mortality and isolation. It’s incredible, but also a difficult listen – and, as you might guess, it’s really hard to talk about individual tracks here, although if forced I’d highlight “Barking” and “Hell 99.”

19. GIFT – Illuminator

This Brooklyn psychedelic rock band put out an album in 2022, Momentary Presence, that was largely recorded by singer/guitarist TJ Freda during the early days of the pandemic, when getting the whole band together wasn’t possible, so while Illuminator is their second album, it’s also a first in some ways – and it shows. This is a stronger, more coherent record, and it’s full of bright hooks and a blend of psychedelia and shoegaze that manages to feel fresh even though those styles date back decades. Highlights include “Wish Me Away,” “Going in Circles,” “Later,” and “Light Runner.”

18. Elbow – Audio Vertigo

I admit to being very late to the party on Elbow; I didn’t love their most acclaimed album, The Seldom Seen Kid, winner of the 2008 Mercury Prize, and kind of wrote them off as a dream-pop band that was too chill to hold my attention. That was unfair to them and probably to my ears, as they’re way more ambitious and experimental than that, which showed on their tenth album, Audio Vertigo, a wide-ranging collection of songs that go from the mellower sounds of Kid to some aggressively uptempo and progressive tracks like my favorites on this record, “Lovers’ Leap” and “Good Blood Mexico City.”

17. Ride – Interplay

Ride hit their stride here on their third post-reunion album, with a more mature sound that blends the shoegaze of their first incarnation with mellower synth-pop sounds from their influences, producing a record that shimmers enough to stand apart even with the glut of neo-shoegaze releases that have flooded the scene in the last two years. Standout tracks include “Peace Sign,” “Last Frontier,” and “Portland Rocks.”

16. SPRINTS – Letter to Self

The long-awaited debut full-length from this Dublin punk-rock band did not disappoint, and it’s one of the most true-to-form punk albums of the last few years, with spare lyrics and repeated lines over fast-paced guitar lines that mostly get out in under 3½ minutes. (Unfortunately, lead guitarist Colm O’Reilly left the band abruptly in mid-May.) Highlights include “Heavy,” “Adore Adore Adore,” “Literary Mind,” and “Up and Comer.”

15. Kid Kapichi – There Goes the Neighborhood

They’re probably never quite going to match their incredible, no-skips debut album, but Kid Kapichi keeps churning out angry yet catchy working-class anthems with a touch of Alex Turner in the lyrics but a heavier, crunchier backdrop of guitars more inspired by punk and pub-rock. Highlights here include “Let’s Get to Work,” “Can EU Hear Me?,” and the wonderfully weird “Tamagotchi.”

14. Charly Bliss – Forever

This is the album I was waiting for Charly Bliss to make, after the promising but a little tepid Young Enough in 2019. It’s mostly sunny power-pop goodness, with bigger and better hooks than their previous albums, although the ballad “Nineteen” is a stunner on its own thanks to Eva Hendricks’s plaintive vocals. Other highlights include “Calling You Out” and “Back There Now.”

13. Mysterines – Afraid of Tomorrows

I was all about the Mysterines’ earliest singles and EPs, but was disappointed when their debut album, Reeling, saw them take the pedal off the gas, eschewing some of the heavier, snarling riffs and vocals that made me a fan of the band and specifically of singer/guitarist Lia Metcalfe. This is a much stronger, more confident record, and has far more hooks than its predecessor. Unfortunately, the band cancelled their fall/winter tour at the last minute with an ominous note saying it was “due to recent circumstances,” with no further word from the band since that message on August 31st. Highlights include “Sink Ya Teeth,” “Stray,” and “The Last Dance.”

12. Yard Act – Where’s My Utopia?

Yard Act’s first album, 2022’s The Overload, was my #3 record of that year, as they nailed their contemporary twist on the classic post-punk sounds of Gang of Four and the Fall; their sophomore album finds them expanding their musical palate, with more electronic and disco elements and less post-punk in the music, although that ethos remains in the lyrics. I preferred The Overload, but this one still has some bangers, including “We Make Hits,” “Dream Job,” and “When the Laughter Stops.”

11. Courting – New Last Name

Courting sound like they’re having a blast on just about every song they produce, and the result is that this album, their second full-length, explodes with joy and youthful exuberance throughout. They’ve dialed back a little of the weirdness from their debut, Guitar Music, but they’re still off-kilter in smaller ways, including some of the tones they use for the lead guitars and the often lo-fi production that contrasts with the electronic elements that seep in. Standout tracks include “Throw,” “Flex,” and “We Look Good Together (Big Words).”

10. The Cure – Songs of a Lost World

The Cure hadn’t released an album in 16 years, to the point where I assumed Robert Smith, now 65 years old, was probably done writing new material. Instead he surprised everyone (I think) with the band’s best record since their best album, Disintegration, came out 35 years ago. Songs of a Lost World is, of course, a dark and brooding record, with mortality a major theme throughout the album, anchored by the melancholy “Alone” and “I Can Never Say Goodbye,” although there’s more of a hint of the band’s prior melodic leanings in “A Fragile Thing,” my favorite track from the album.

9. Opeth The Last Will and Testament

When I heard Opeth was bringing back the death growls for their first new album in five years, I had mixed feelings; their 2001 album Blackwater Park, which is a progressive death metal record that has those vocals, might be my favorite metal record of all time, but they had gone so long without visiting that style that I worried this would come off as gimmicky or outdated. That worry was misplaced – this is a fantastic, complex, rich record that doesn’t overdo the death growls and still puts their intricate guitarwork front and center. It’s a concept record where all tracks but the last one are just named with the section symbol and a number, and if you listen straight through there isn’t the typical variation between songs, although if I had to pick one or two to isolate as the best it would be “§1” and “§3.” It’s a return to form, certainly, even though I liked their prog phase for what it was.

8. Jack White – No Name

Man, I’ve been waiting for White to rock out like this for a decade, at least, and he finally delivered. This is a crunchy, loud, old-fashioned rock album. It grabs you by the throat from the start, with the first four tracks all guitar-driven riff-fests, and doesn’t really let go. It’s not a White Stripes album, but it might be the most similar thing he’s done to peak White Stripes since they broke up. Highlights include “That’s How I’m Feeling,” “It’s Rough on Rats (If You’re Asking,” and “Old Scratch Blues.”

7. Michael Kiwanuka – Small Changes

Kiwanuka won the Mercury Prize with his last album, KIWANUKA, which leaned more into 1970s R&B with a dash of funk, including some unbelievable bass lines. On his follow-up, Small Changes, he goes for a much more understated sound, with slower tempos and sparse production (by Danger Mouse and inflo) that put much greater emphasis on his vocals. He doesn’t swing for the fences anywhere on the record, in his lyrics or the music, producing something that’s a little less immediate but ends up quite lovely in its own way. Highlights include “Floating Parade,” “Lowdown (part i),” and the title track.

6. Waxahatchee – Tiger’s Blood

I loved Katie Crutchfield’s 2020 album Saint Cloud, and still think that’s the superior album of the two, but she is on a heck of a run right now with those LPs and her newest single “Much Ado About Nothing.” Tiger’s Blood is a slower, more tenebrous affair than the previous record, and I prefer her music when she incorporates a little more rock or folk and works less in the traditional country lane. There are some great hooks here, though, and her voice shines throughout, perhaps even more so on the more somber tracks that don’t appeal to me as much with their music. Highlights include “3 Sisters,” “Evil Spawn,” “Bored,” and “Crimes of the Heart.”

5. Ezra Collective – Dance, No One’s Watching

This is the latest example of a band winning the Mercury Prize for an album that didn’t do much for me, only for their follow-up to become one of my favorites of its year; the same thing happened with Sampha, to pick one other case. Ezra Collective is a jazz quintet that brings in a lot of Afrobeat and other African musical traditions, and on their latest album they leaned a little more into Afropop and even just mainstream pop sounds to create an album that’s a bit more accessible and certainly more full of hooks. Highlights include “God Gave Me Feet for Dancing,” “Ajala,” and “No One’s Watching Me.”

4. Fontaines D.C. – Romance

Fontaines D.C. went from punk to something between punk and post-punk between their second and third albums, but on their fourth album, they went in a totally different musical and lyrical direction – several directions, really, delivering one of the most unusual and ambitious records of the year. Vocalist Grian Chatten is still front and center with his commanding delivery, while they go from sheer pop beauty on “Favourite” to something like nu-metal on “Starburster” to a bluesy, funky groove on “Death Kink.” There are elements of shoegaze, nods to rap, and still some vestiges of their punk origins. It doesn’t always work, but they absolutely went for it, and few bands have that kind of vision or musical courage.

3. Alcest – Les chantes de l’aurore

Alcest started out as a death-metal project for the musician who goes by Neige, then incorporated shoegaze sounds to create something called “blackgaze” that was later co-opted by Deafheaven (with whom Neige has worked), after which Alcest added a second member and released an album that was all shoegaze with no metal. They’ve varied their mix of genres on subsequent albums, but this latest one gets the balance right, as they did on 2016’s incredible Kodama. The album is primarily heavy shoegaze, with some very infrequent screamed vocals deeper in the mix, so the wall-of-guitars sound is really the emphasis. Highlights include “Flamme Junelle,” “Komorebi,” and “L’envol.”

2. Mdou Moctar – Funeral for Justice

Hailing from Niger, a country that has been torn by political strife including a military coup this time last year, Moctar blends Tuareg music with western rock styles, particularly psychedelic rock and blues rock, crafting indelible guitar riffs and furious solos beneath the protest lyrics (sung in his native language, Tamasheq) that have boosted his popularity in the Sahel. I caught the last show of Moctar’s U.S. tour, at Union Transfer in Philly, and he blew the doors off the place, with incredible shredding and extended jams for several of the songs he played, including jumping into the crowd for his final guitar solo. Highlights include the title track, “Imouhar,” and “Oh France.”

1. The Libertines – All Quiet on the Eastern Esplanade

I ended up flipping this with Funeral for Justice because this is by far the album I came back to the most this year; if I’m pretending to be a professional critic, I probably put Mdou Moctar first, but the fact is this was my favorite record of 2024 and nothing else was close. The likely lads came back better than ever, with a slew of intoxicating and surprisingly upbeat tracks – ”Oh Shit,” “Run Run Run,” “Shiver,” and “Night of the Hunter” – that still bear that clear Doherty/Barât sound, just with better production and less breaking and entering. That this album exists at all might itself be a wonderful gift to their fans; that it’s this good is musical miracle.