Swim Into The Sound’s 15 Favorite Albums of 2024
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This year frightened me. Too often, it felt like things could turn on a dime at any moment. I’m talking about that sudden, drop-in-your-stomach type of worsening that is both abrupt and disorienting. There were also moments where it felt like everything was gliding along effortlessly: complete bliss, total contentment, and unadulterated happiness, if only for a short bit. 2024 was a year of bouncing around, saying “yes,” and trying to follow my gut. Quite often, it led me to some beautiful moments.
This year contained some of my greatest personal strides, painful lows, and profound revelations. I experienced strife in my career (both internal and external) for the first time in like a half-decade. Over the course of 2024, this job wound up contorting my heart and warping my brain in really painful ways. It was uniquely distressing, but I’m free now and on to better things, which is all that matters. On a more light-hearted note, I also kept a mustache all year, so that felt like a real marker in my life. This year, I saw Sufjan on Broadway and got to take in Niagra Falls with my own two eyes. I saw 36 immaculate concerts and listened to a ton of incredible music. Oh, I also made a documentary with my buddy about a sick-ass band. That was pretty rad.
I don’t want to blather too much, but I do want to speak genuinely. I have felt more love and support this year than ever before in my life. Love from people who follow or write for this blog, love from friends and colleagues, love from people out on the street just passing by. I think it’s important to feel that love, recognize it, and spread it around as much as you can. I got fatter and happier and hairier and sillier and closer to who I want to be as a person. In those moments where I fell catastrophically short, I tried to take them as lessons of who not to be. I’ve felt an immense amount of appreciation, growth, and progress this year, and that’s only because I’ve allowed myself to open up and feel it. It’s really scary, but I swear it’s worth it.
Anyway, let’s talk about music.
This year, more than any other, the title of this article feels like a misnomer. In previous iterations, I’ve questioned what this publication’s “album of the year” truly means, but now that we have a sizeable team of writers, each with their own favorites, it’s evident that “Swim Into The Sound’s 15 Favorite Albums of 2024” is really just “Taylor’s 15 Favorite Albums of 2024.” In other words, this is a hyper-subjective list because it’s all from one point of view.
As I sat down to list out my favorite albums of the year, there was a clear tendency to lean toward the genres that seem to be my “beat,” meaning emo, punk, shoegaze, and indie rock. I listened to a ton of music this year, but I won’t pretend I listened to everything. As such, this won’t be the most diverse AOTY list you’ve seen all season (it contains albums from Gleemer, Gulfer, and Glitterer), but it will be the most singular because it’s all from the mind of one weird guy typing this into his soon-to-be-revoked work laptop from his childhood bedroom. These are the albums that stuck with me all year and made a difference. In some cases, they’re weeks-old releases that have already connected to something deeper. Regardless of how long they’ve been in my life, these are pieces of art that I’ve found refuge and understanding in–collections of songs that make me feel seen and heard; it only makes sense to hold them up so others can hear them as well.
To circle back to the beginning of this intro, it feels like we (collectively) have experienced several Events™ this year that have acted as drop-of-the-hat paradigm shifts. From presidential elections and assassination attempts to an avalanche of regressive policies, “natural” disasters, and forever wars that turn into forever genocides, there’s a lot to be upset about. With the rise in fascism, racism, and every type of phobia in the book, I think there’s been a lot of forced introspection, admission, and reconciliation over what’s happened in the last 360-some-odd days. I’m sure you had a few moments like that in your own life, and I’m sure that we’ll have many more in the coming year. To that end, at the onset of 2025, I’d love to be more explicit about where we stand: trans rights, free Palestine, healthcare + clean water for all, and defund the fucking police.
I want Swim to be a safe space for writers, artists, fans, and people to discuss things they love. To that end, let’s get the fuck into it and talk about the music that has soundtracked my year. As always, I hope you find something here to love because, at the end of the day, that’s all we got.
⭐️ | Carpool – My Life In Subtitles
SideOneDummy Records
I want to start this off with an album that feels like it’s on a secret third plane of AOTY existence: My Life in Subtitles by Carpool. This is a loud-ass, real-ass rock album. I’m talking guitar solos, vocal acrobatics, infectious moshpit choruses, piano balladry, the whole package. This album has shaped my year more than any other after spending all of 2024 with it and spending three days on the road with the band in an attempt to capture their amazing live show. It resulted in a 17-minute documentary and accompanying two-part essay. It’s all very DIY and scrappy from my heart, and it was infinitely fulfilling to create. I want to do more stuff like it.
If you want to know what record was truly indispensable for me this year, it was My Life in Subtitles. The rest of this is a numbered list, but Carpool had to start it off. In my Google Doc, it’s actually denoted with a “★” bullet point rather than a number, so if those 8k words linked above aren’t enough, I hope that star tells the rest of the story.
Read our full review of My Life In Subtitles here.
15 | Gleemer – End of the Nail
Other People Records
Even though it’s only a couple of weeks old, the new record from Gleemer has utterly floored me. The band has been iterating on a particular strain of shoegaze for three albums, plus a couple of EPs and adjacent projects, but pivot to something with distinct character here. On End of the Nail, the Denver group sound nothing but authentic. As you would expect from a cover like this, these are dark and frustrated songs that openly grapple with feelings of dissatisfaction and pain. There are still moments of dreamy shoegaze distortion, but there’s also a grungy emo edge that pairs well with Nick Manske’s cool-guy deliveries. This record sounds like your brain throwing itself against the walls of your skull, thrashing around until it either reaches a conclusion or tires itself out. There are individual phrases and riffs that land like punches in a back alley fight, but it all coalesces into an immensely satisfying listen.
14 | Glitterer – Rationale
ANTI-
How much can a band realistically fit into 21 minutes? When it comes to Glitterer, it turns out quite a lot. Rationale takes the once-solo project of Ned Russin and transforms it into a collaborative full-band effort where all the pieces gel together in a swirl of bass, keys, and disaffected bellows. Just like his tenure in Title Fight, Russin utilizes his signature shout and melancholy strum to evoke a powerful reaction from his audience, but this time, his creations are honed into finely pointed tracks that often hover around the one-minute mark. From the reclusive abandon of “I Want To Be Invisible” to the synthy strut of “Plastic” and the utterly heartbroken “No One There,” it’s astounding how much catchy relatability Glitterer is able to fit into these one-minute slices. Occasionally, they might leave you wanting more or waiting for a resolution, but after a while, you realize that’s preferable to overstaying your welcome.
13 | see through person – every way of living
Klepto Phase
For a good few years, see through person had exactly six songs to their name. Throughout chariot and sun, the trio fleshed out their own thrashy brand of emo punk built on jittery guitar slashing and Robin Mikan’s passionate wail. The songs were immediate, electrifying, and constantly circling around some deeper truth. On every way of living, that truth comes to bear with a record about self-discovery and trying to experience every way of living you possibly can.
While this process includes everything from moving across the country to experiencing fallout in your old friend groups, the most interesting moments on the record are the ones where Mikan writes openly about her exploration of gender identity and subsequent transition. We’re placed right there alongside her as family members use dead names and awkward small talk devolves into feeling out of place. This is all scored with jagged, ever-shifting instrumentals. Between Robin’s Fall of Troy-level heroics, you’ll hear Nikolas Kulpanowski’s bodyslamming bass and the bouncy dodgeball snare of Ethan Thomas. These are restless songs that exude an awkward, compelling, anxious energy. While see through person are tied to the emo music scene, their debut leans far more into mathy post-hardcore than anything else, an apt way to capture the frustration and elation that comes when you look inward and honestly ask yourself who you are. There’s a lot of feeling unheard, silencing yourself, and lonely reflection, but the band harnesses everything into these outpourings that are pure catharsis to hear. The inscription, written in emphatic all-caps, at the bottom of the album’s Bandcamp page summarizes things far better than I ever could, reading: “IN A DREAM YOU SAW A WAY TO SURVIVE AND YOU WERE FULL OF JOY. EVERY WAY OF LIVING.”
12 | Heart to Gold – Free Help
Memory Music
With soaring vocals, glimmering guitars, and a beefy rhythm section, Free Help is a pitch-perfect punk rock album. Press play on any of these ten songs, and you’re guaranteed to hear something hard-hitting, fist-balling, and filled with forward momentum. Outside the sturdy instrumental work, there’s an impressive economy of writing at play here: choruses where seven words are stretched across two bars, and it all works beautifully. There’s frustration and anguish, commitment and confidence, powerful strides, and meager progress. This is music for when you’re surrounded, overwhelmed, and backed into a corner. Shout it out.
Read our full review of Free Help here.
11 | Ben Quad – Ephemera
Pure Noise Records
Sometimes, I question where else there is to go for Ben Quad. The Oklahoma group’s debut was my favorite emo album of 2022 in a way that seems hard to top, yet they’ve seemingly spent every moment since then on the fast track toward world domination. The band spent 2024 ripping sold-out gigs on multiple nationwide tours, all while covering peers and fourth-wave forefathers alike. By the fall, Ben Quad signed to Pure Noise Records and released Ephemera, venturing into the world of screamo with effortless mastery. It’s not like this post-hardcore pivot was too much of a surprise. It turns out 2022’s “You’re Part of It” wasn’t just a Piebald-referencing one-off; it was merely the first entry in a larger vent session that appears to have been a long time coming. With a list of influences that range from Underoath and Norma Jean to Youth Novel and William Bonney, there’s no question that these four know their shit, synthesizing two decades of metalcore and skramz into a cathartic five-song collection to help listeners air out every ounce of anger and frustration they feel towards the people that hold us down. There’s no more waiting for things to fall apart; it’s time for action, and Ben Quad is ready to soundtrack every motion.
10 | Bedbug – pack your bags the sun is growing
Disposable America
Anyone who has driven across the country can attest to how monotonous it can be. Hours upon hours of shooting straight down the highway with expanses on either side punctuated by gas stations and rest stops. While that’s often a repetitive experience, it can also be meditative and downright sublime. There are grandiose moments of beauty where the highway seems to stretch out to infinity and you feel connected to everything. That sense of wanderlust is precisely what the first full-band album from Bedbug aims to capture. Pivoting from their humble bedroom pop origins to something that more resembles Modest Mouse with midwest emo riffs, pack your bags the sun is growing is a sprawling release that looks off into the horizon, ever-searching for that glint of heaven. The crazy part is they actually manage to embody it on at least a few occasions.
Read our full review of pack your bags the sun is growing here.
9 | This Is Lorelei – Box for Buddy, Box for Star
Double Double Whammy
Box for Buddy, Box for Star twangs to life with “Angel’s Eye,” a saloon-ready duet between an alien and a cowboy who fall in love in which bandleader Nate Amos sings both parts. An ambitious concept, but merely the opening salvo for a project like This Is Lorelei. Throughout the rest of the record, there are alarm clock wake-up noises, autotuned Steely Dan namedrops, music box breakups, and earnest Elliott Smith homage, all amounting to one of the most inventive, fun, and free-wheeling records I’ve heard all year. Despite the impressively diverse range of instrumentation and ideas, these are pop songs designed to be immediately enjoyed and endlessly returned to. After a string of numbered EPs and one-off singles, Box for Buddy, Box for Star arrives fully formed with a spirit of boundless exploration. This one’s for the losers, for the reformed stoners and ex-burnouts who realize there’s still more life to live. It’s affirming in the way all great music should be.
Read our interview with Nate Amos here.
8 | Ben Seretan – Allora
Tiny Engines
Just to establish the backstory: Allora was recorded in Italy back in 2019. Ben Seretan, flanked by Nico Hedley and Dan Knishkowy, ripped through the LP in three sweaty summer days, creating a piece that’s endlessly reaching out for the divine. The whole thing starts with “New Air,” an 8-minute expedition that opens with a guitar solo before a lyrical refrain that repeats and circulates until it takes on a meditative quality. It prattles forward like a song by Wilco or Yo La Tengo, settling into a groove and gradually building to something hypnotic and transcendental. Beyond that, there’s post-rock ramble, synthy spirals, dust-caked exaltations, and modern hymnwork. The whole thing is explosive and expansive, with one powerful movement after another.
In the excellent album bio by Caleb Cordes of Sinai Vessel, he explains that there was a period of time when Allora was simply known as Ben Seretan’s “insane Italy record.” While that’s a funny way to pitch an album, the more apt articulation is found in its name: Allora being an expressive Venetian catchall that translates to “at that time.” While Cordes lays out what “that time” meant to the people creating this album, it’s impossible not to think about the infinite times that lay ahead: all of the people who will pick this record up and discover it in the coming years, all the times over the past months I’ve ventured into Allora and found something different within its walls. No matter when or where you come to this record, I can assure you that it’s ready to meet you in the present until ‘this time’ becomes ‘that time.’
Read our full review of Allora here.
Bonus points for having one of the sickest tie-dye shirts I’ve seen all year.
7 | Merce Lemon – Watch Me Drive Them Dogs Wild
Darling records
After an eventful summer zipping from the West Coast to New York, Chicago, and Rochester, I spent a month at my parent’s house back in Oregon. Just about every day, I’d get off my aforementioned soul-contorting job, sit in the backyard, and stare at the sky while listening to Merce Lemon. Some days, I would read a book or indulge in a backyard beer; other times, I would just sit and listen and breathe. It became a centering ritual for me, guided by songs like “Backyard Lover” and “Watch Me Drive Them Dogs Wild,” which proved to be wellsprings of empathy and beauty at a time when I needed them most. As a full-length experience, Watch Me Drive Them Dogs Wild is naturalistic and gorgeous, penned during a period when Merce Lemon was living off the grid gardening, farming, and sleeping outside as she looked inward to ask herself what she really wanted. The resulting album approaches the world with a sort of folksy reverence that makes you appreciate every atom of your surroundings. There are lyrics of birds and blueberries and mountains that tickle the sky’s belly. It’s a big, beautiful world, fleshed out even further by a standalone single and split of Will Oldham covers, all of which collectively prove that wonder is an infinitely renewable resource and beauty is always there, hiding in plain sight, so long as you’re willing to look for it.
Read our full review of Watch Me Drive Them Dogs Wild here.
6 | Oso Oso – life till bones
Yunahon Entertainment LLC
The fifth full-length from Oso Oso is a compact and unfussy indie rock album about how life continues even after the unthinkable. It’s littered with truths from the very first line, “I love you, but life is a gun,” acknowledging the soaring highs and painful lows of day-to-day existence. Whether he’s relaying charming dirtbag anecdotes, meditating on the passage of time, or memorializing the loss of a loved one, Jade Lilitri manages to make everything sound buoyant, with an unshakable brightness shot through every beat. There are anti-love love songs going toe-to-toe with actual love songs, because you can’t have one without the other. After nine tracks of these naturally occurring rises and falls, album closer “other people’s stories” questions exactly what it is we’re all doing here: “other people's stories got me feeling bored / yea, other people's stories aren't like yours / look at all the people, looking at their phones / with how much time left? life till bones.” It’s a series of lines that directly address the uncomfortable truth lingering at the center of it all. Like every other Oso Oso track, Lilitri delivers it with a smirk and a riff before jettisoning off to whatever’s next, acknowledging the bad and holding onto the good while knowing that neither are permanent.
Read our full review of life till bones here.
5 | Charli xcx – BRAT
Atlantic
2024 was the year Charli xcx became inescapable. A fair bit of that is internet echo chamber, but as someone who’s followed the pop star since she was on the periphery of the charts a decade ago, it’s been surreal to watch her ascend the ranks of Spotify’s top 500 and fully establish herself as a household name. BRAT is more than just a collection of really good pop songs; it’s a genuine event-level album seeded by feverish singles, bolstered by hot girl music videos, and chased with a remix album that brought new definition to every track. There was a sold-out tour, countless magazine covers and interviews, plus a whole damn season shaped by the vernacular and attitude of Charli. There was a bottomless supply of hot looks, silly dances, and sleazy parties, each with their own dizzying ripples of discourse, but I suppose that’s how you know you’ve made it. This resulted in seven Grammy noms, a #1 album in the UK, and unparalleled cultural impact–one that feels increasingly remarkable in the ever-splitering landscape of 2024. The impressive part is that, despite how vast and multi-faceted its impact, BRAT still felt true to Charli. The record is catchy, dancy, exhilarating, cunty, fun, raw, tender, and honest. I guess that’s the true magic of pop stars: living an existence that’s larger than life which normal-ass people can still relate and aspire to, then make their own.
4 | MJ Lenderman – Manning Fireworks
ANTI-
At this point, I think even MJ Lenderman is sick of hearing about MJ Lenderman. I alone wrote like 3k words about his breakthrough Manning Fireworks, and this year was home to a bit of oversaturation for the Asheville rocker as he was subject to countless interviews, think pieces, magazine covers, profiles, and general writing. I’m reticent to add even another paragraph onto that tally with this blurb because sometimes it’s just not that deep. Lenderman makes hazy, funny, groovy indie rock that pulls inspiration from slacker greats of the 90s while simultaneously nodding to classic rock mainstays of the decades before that. MJ modernizes these influences and puts his own spin on things as he weaves tales of pathetic fuck-ups, dead-end wasters, and people who are too scared to try. It’s all delivered with a surprising amount of empathy and humor that makes these cautionary tales go down easier, plus a number of knockout riffs that make you want to hoot, holler, yelp, and wail. “She’s Leaving You”? Generational. “Joker Lips”? That’s a tasty lick. “Wristwatch”? I’ll never look at houseboats the same again. If I had one hot take to level at Manning Fireworks, it’s that the back half ventures into territory that doesn’t always land as hard for me, but even then, we have the masterful “Pianos” as a consolation. Despite all the hay that’s been made of Lenderman’s output this year, Manning Fireworks just plain rocks, and I’ve never had a bad time when I throw this record on. Lenderman is an artist who makes me hopeful for the future (both of music and in general) because I think his best work is still ahead of him.
Read our full review of Manning Fireworks here.
3 | Wild Pink – Dulling The Horns
Fire Talk
Dulling The Horns is a disorienting album about the impermanence and beauty of life. Its lyrics are a beautiful Rorschach Test of observations, phrases, and memories filtered through the eyes of bandleader John Ross. Recorded live in-studio, the album still retains the wide-set heartland rock lens found on previous Wild Pink releases, but cakes on layers of dirt and distortion that gives everything a much more compact, classic rock feel. The lyrics are abstract and difficult to parse, but that makes them all the more alluring as you attempt to peer into the album’s inner workings.
Everything buzzes and crackles with an excitable energy that shakes off the darker expanses found throughout 2022’s ILYSM. Instead, Ross and co. opt to bask in the light that comes from a million miles away because, as he explains, “we get a little every day.” Whether they’re recounting sports esoterica or retelling the story of “Lefty” Ruggiero before throwing to a crunchy shoegaze riff, everything flows with a sort of dreamlike logic with its own internal reasoning. All the while, there are folksy truisms strewn throughout, helping ground things between incendiary guitar solos, pedal steel weeps, and disintegrating fuzz. Dulling The Horns feels like a car console CD destined to be sandwiched between Tom Petty and The War On Drugs as it sits primed for cross-country road trips and short jaunts all the same. As Ross poses questions like “How can there be / Really nothing in between / That big-ass moon and me?” he places the listener alongside him, prompting them to ask the same questions as they wait to get swept up in the next riff.
Read our full review of Dulling The Horns here.
2 | Gulfer – Third Wind
Topshelf Records
Given their decade-plus discography of mathy punk, midwest mastery, and monumental splits, it’s tempting to call Gulfer an emo band, yet everything on their fourth LP points elsewhere. Aptly titled, Third Wind sees the band set off from a fresh crossroads as guitarist/vocalist Joseph Therriault takes on principal songwriting duty. There are still glimpses of the band’s previous stylings strewn throughout, but for the most part, these are poppy indie rock songs with Rube Goldberg-like math-rock guitar riffs. It’s proggy but simple, with choruses that still manage to stick in your head despite the ornate instrumentation. There are left-field decisions that make each song feel distinct, like the winding whammy bar riff on “Cherry Seed” or the pummeling breakdown of “Too Slow” that expends all of its energy halfway through the song.
On tracks like “No Brainer,” the band hammers the same phrase over and over again as the instrumental rages around them, meanwhile, they take the exact opposite approach on songs like “Prove,” stretching the song’s title into an elongated “prooOOooOOooOOoo-ve” over some intricate guitar tapping that does my midwest emo heart good. There are love songs alongside reckonings of climate change and tales of exacting burnout-fueled revenge on an uncaring boss. It’s all assembled in a bleeding highlighter package of turquoise, yellow, green, and blue–an expired film strip that still manages to capture snapshots of absolute awe.
A few months after the release of Third Wind, Gulfer announced they were calling it quits, but not before dropping LIGHTS OUT, a five-song collection that only serves to further emphasize how high of a level they were operating at. While they’ll be forever missed, there’s no denying thst Gulfer went out on a high note. Bands should be so lucky to have a last album as good as this.
Read our full review of Third Wind here.
1 | Waxahatchee – Tigers Blood
ANTI-
I’m not sure what Tigers Blood is about, but it’s stunning. The sixth record from Waxahatchee captures the beauty of life in sun-dappled snapshots like a shoebox full of old polaroids or a night spent reminiscing with a long-lost friend. This is all run through with an undercurrent of delight and despair that feels true to life, a reminder that, while these events have passed, we can still appreciate and honor them for what they were. The songs are lush and elaborate, framed by sturdy drums and bass, splotches of banjo and slide guitar, plus additional guitarwork and occasional background vocals courtesy of MJ Lenderman. Pretty as it all sounds, the album is about people whose fire burns out at midnight. It’s about people who are beaten down, broken up, and bored. It’s about modest ways of life and individuals who are perpetually “Right Back to It” in the most Sisyphean sense.
Details come from allusions to the Bama heat and locks on doors that cost more than the beater parked out front. Much like 2020’s Saint Cloud, everything is still centered around Katie Crutchfield’s ironclad voice and poetic observations, but on this record, they take on a slightly more ragged alt-country tinge. Through the smoldering twang, a picture emerges of a humble, attainable lifestyle of living within your means, counting your blessings, and being thankful for what you have.
While the cover for Saint Cloud saw Crutchfield in a flowing blue dress perched atop a Ford with a truckbed full of roses, the cover for Tigers Blood sees her standing underneath a rusted-out neon sign. She’s wearing blue jeans and flannel over a red bikini top, plus a “KC” trucker hat that obscures her face as she stares down at the grass beneath her feet. The back cover of the vinyl focuses in on a snow cone, flush red with Tigers Blood dye–a simple pleasure in the final act of the good old days. A small consolation, but one we ought to indulge and find comfort in all the same.
