1. Various Artists –
“Gutenberg! The Musical! (Original Broadway Cast Recording)” (2024)
Among the endless number of shows that premiered on Broadway from the past season, there was one that I was beyond eager to see. Gutenberg! The Musical! may never have aspired to be the greatest piece of theater, but it had one thing that was irresistible. After last seeing each other in 2011 for the Tony-winning The Book of Mormon, actors Andrew Rannells and Josh Gad were reuniting for a limited run. What was the story, you may find yourself asking? Well, for two men who reached new levels of fame by talking about one book changing your life, they decided to focus on something just as important: The Gutenberg Printing Press.
Whereas The Book of Mormon was meticulously crafted to the point it became a modern favorite among theater-goers, Gutenberg isn’t likely to win as much longevity. The story is bare bones, featuring them using their limitations to tell a grand history with a cast of hundreds. Sure, there is one guest star towards the end of the record, but it comes after a desperate push for Rannells and Gad to mount a production that producers actually want to see. In some ways, this is the ultimate inside joke of a show as it goes from mocking tropes to finding an emotional depth of creator not dissimilar from A Chorus Line. It flies more often than not by the seat of its pants, relying on the appeal of its actors and how much you find Gad imitating old women to be peak comedy.
For me, this record is special less because it enters any pantheon of immortal cast recordings and more because of what it symbolizes to musical fans who came of age during 2011. It’s a chance to watch two very talented actors having fun. There’s no expectations for this to be a masterpiece, and thus allows for a less guarded performance from each. Credit should also be given to the songwriter for making this all work while still keeping a somewhat truthful retelling of The Gutenberg Printing Press. Fusing it with drama allows for an addictive meta-narrative that only occasionally delves into fiction. It may not break any records, but how many shows from the 2023-2024 season end with someone asking the audience to sing along to “We eat trees”? That alone makes this a special, once in a lifetime reunion of a duo who changed the stage over a decade ago. They have only gotten more comfortable in their skin since, and it allows every minute to produce delirious laughter.
2. King Crimson – “In the Wake of Poseidon” (1970)
Among the things that I didn’t have on my 2024 bingo card was getting into prog rock. It should be said that I’ve listened to less than five albums from the genre and don’t actually care to expand my pallet anytime soon. However, I became transfixed by King Crimson one weekend when I couldn’t stop watching videos about their artwork. I needed to know more. To say the least, their first album impressed me. It has earned is place in rock history, but I found something even more shocking emerging with an indulgent second helping. In my opinion, “In the Wake of Poseidon” was even better.
That may be suggestive, especially given that I don’t exactly disapprove of their first. It simply felt a little too flabby at points and never fully captured its potential. With that said, I was amazed at how well the band fused together rock music with jazz and folk. The lyrics weren’t just providing glimpses of a self-made world. The instrumentation was allowed to venture out into sonic textures that were meditative and alluring. Often I found myself in the middle of a seven minute ditty and wanted everything for the notes to continue improvising. Maybe it’s because I also have formed an affinity for 60s jazz (less so new jazz), but the way hey bent notes and used horns blew me away.
Maybe this record isn’t as commercial as their first. I don’t know that the songs I assumed were radio hits necessarily would become inescapable. However, I do think they presented a band from a time where mainstream rock music was more ambitious. It challenged the listener to imagine a world where rock stars could mold symphonies into something grander and more avant garde. While these are the only two records by King Crimson I’ve heard, they have quickly become favorites and ones that perfectly capture emotion with cerebral precision. I love the experience of getting lost in a record, never wanting it to end, and just having my surroundings seem a little more surreal. Few records compare to the feelings I had listening to “In the Wake of Poseidon.” Here’s hoping that could change as I continue through their catalog.
3. A.G. Cook – “Britpop” (2024)
Few have had an audacity quite like producer A.G. Cook. With each album, he openly admits that he’s not making music for cohesion. There’s usually a thematic tie, but nothing fluid enough to call the work a full picture. That is why it was amusing that his debut, “7G” was almost three hours long and his first Post-P.C. Music solo project sits at roughly 100 minutes. He’s clearly an artist with a lot on his mind and enjoys fiddling with melodies of any kind. It’s lead to some fascinating work for his old label as well as side projects like Thyy Slaughter. Nobody needs to worry about Cook. He’s going to be just fine, especially as his achievements feature some unlikely heavyweights and a stall of collaborators like Charli XCX and Caroline Polachek.
With “Britpop,” the cohesion comes less from any transitional motif and more the idea of a three-record theme. Starting with “the past,” he explores the concept of hyperpop presumably for the last time by making a celebratory 40 minutes. Even if he was never the most manic or aggressive, he brought an oddity to the genre that shines through in every loop and vocal alteration. The going away party transitions into “the present” where he finds himself doing more rock-centric tunes that capture his more emotional side. Even if this is my least favorite of the three, I adore Cook’s versatility.
It's with “the future” that everything begins to seem more exciting. Even if hyperpop is presumed dead, Cook isn’t done making pop that warps a melody while reconstructing nostalgia. Judged on its own, it’s the glimpse into what his career could look like in years to come as he assembles a new host of collaborators. Hopefully it will come with a rising status as a producer to watch, though only time will tell. For now, this is easily his most complete picture of who Cook ever was as a producer and a musician who loves to geek out over technique. Some may find it exhausting to listen to for 100 minutes, but for me there’s long stretches where it feels innovative and new. For that alone, it’s likely to be one of my favorite records of the year.
4. Lucy Rose – “This Ain’ the Way You Go Out” (2024)
For me, a lot of this year has centered around me listening to mopey artists. I can’t speak to why that is, but I’m attracted to singers who vulnerably open themselves to the audience and reveal dark emotions hidden underneath a catchy melody. There’s dozens already that I would call “really good,” but if there’s one that’s likely to raise above the rest, it’s Lucy Rose. As someone who isn’t necessarily a fan of the jazz-pop style she incorporates, I’m amazed at how well she crafts the tunes to mix upbeat chords with moody introspection. The gimmick isn’t dishonest and instead elevates everything to a spiritual level that makes me shiver.
This is the record of someone who has clearly gone through the wringer. She has experienced heartache and pain, and it informs every track. Much like Julie Byrne’s phenomenal “The Greater Wings” from last year, I am left speechless by how poetically each line is strung together. There is an envious level of clarity that makes you believe not only for Rose’s ability to overcome, but for your own. She validates the complicated emotions while allowing room for one certain realization. As the title suggests, this is not the way you go out. Things may be awful now, but chances are that you can grow and learn how to become a stronger person from this.
On some level, the jazz-pop may seem slight because of its contrasting style, but it allows for the dual feelings of depression to emerge within the tracks. No person is ever fully happy or sad. There can be optimism amid complete despair. What Rose finds is a chance to listen and critique her behavior before growing. By the end, the small things become worthy of celebration. Having survived your worst intrusive thoughts, you’re ready to become a better person. It’s time to heal and grow. Many have covered this material in 2024 alone, but Rose is at a point in her career where it feels more truthful and lived in. If anyone can match the despair and rejoice of this record by December, then 2024 will be one of the best years on record.
5. Various Artists – “I Saw the TV Glow” (2024)
An underappreciated art form is the movie soundtrack. Many were reminded of it last year when Barbie (2023) produced a handful of inescapable radio hits and Oscar winners. There is something incredible about creating your own world fully and having artists embody the very soul of your production. For Jane Schoenbrun’s latest, she invites some of the finest indie pop artists to create the moodiest teen anthem record in years. Every track finds a new revelation surfacing, causing the listener to discover something existing just underneath the surface. If any soundtrack is worthy of consideration as a modern masterpiece, it’s this one.
Sure, I think a lot of it is owed to my fondness for artists like Yeule, Caroline Polachek, and Phoebe Bridgers. A lot of my nights have featured me popping them on and just vibing. Having them ground the record in something often distorted and dysphoric results in the unease of the film’s characters and taps into inexplicable emotions. It’s a record where your heart beats too fast. Maybe your eyes water at the tragedy of lyrics, like on the closer “Claw Machine” by Bridgers and Sloppy Jane. Who would think that a film about watching too much TV would produce something this alive and unpredictable?
Not only does it sound fresh, but it also subversively sounds nostalgic without being too distant. A few songs feel like a callback to the 90s with grunge or even 80s with shoegaze and new wave. As a result, there’s a romanticism found within the playlist that is difficult to explain. Somehow the very compilation of tracks makes it feel like the castaways finally finding each other, taking comfort in their similar weird obsessions. It’s the nerdiest, most heartfelt ode to pop culture as a comfort blanket that is likely to be seen this decade. It’s also hopefully a chance when these artists get their due and break out to a new audience. I can’t think of the last time a soundtrack felt this inviting to new discoveries. It doesn’t come around often enough, and I’m glad to have been here for this one.
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