Atwood Magazine’s Top Artist Discoveries of 2024

A reoccurring, musical blessing has befallen me this year time and time again, and that is the prevalent serendipity of the YouTube algorithm. The YouTube algorithm is your friend. It wishes to gift you gems you would have never uncovered from the heaving amalgam that is the platform’s deepest annals. This is a sentiment shared by Adam Bosarge himself, who made sure to illustrate his gratitude, albeit a confounded one, when I interviewed him earlier this year. His catalogue is a myriad of wonders, a plethora of mysteries, a gauntlet of adventures, a gamut of short stories to peruse, be amused by, be enamoured by their individual personalities and whimsy, before being swept up in the next captivating vignette.

“Structures Without Rooms” is a personal favourite; it is an arcade of artistic liberation and folly. It never takes itself seriously, but it offers such a scope of musical bounty. It handles percussion in a particularly mesmerising way. Adam Bosarge is a musician with a consistently unique catalogue. Whatever he makes next will be up to him – and that’s beautifully exciting.

Alex Banin

The most intimate, ambient, and vulnerable record I heard this year was, without a doubt, Alex Banin’s achingly dreamy sophomore EP, Since Winona. “And to be somebody’s someone; to feel like I was something for once…” she trails off in the EP’s opening minute, her voice a lightning rod of raw emotion in a sea of seductive drum work. “I can’t stay involved with your choices. I can’t afford what you do in boredom these days.” It’s a spine-chilling introduction, and one that perfectly sets the tone for the next fifteen minutes as the Los Angeles-based singer/songwriter pours her heart out, bringing listeners into her inner sanctum with soul-stirring finesse. Personal highlights have included the intoxicating, utterly mesmerizing “Doc Whiler,” the tender and turbulent “IN FEAR, ETC.,” the loss and longing-fueled “FKA Passat,” and the beautifully gut-wrenching, hypnotic, and heartrending “From a Different Life, It Seems” – each of which stands on its own, but is made better by the songs around it.

While she’s been active for five years, this EP served as my gateway into Banin’s oeuvre – and it’s opened me up to a whole world of wonderfully atmospheric, brooding, and alluring alternative- and (at times) pop-adjacent music. Like all the best records, the true power and strength of Since Winona comes out when you listen to the record in full, allowing Alex Banin to take your mind, body, and soul on a sweetly spellbinding journey that, while fleeting, proves instantly memorable and irresistibly moving.

Alex Pattle

by Hamish Monk

Part of Alex Pattle’s allure is the mystery he’s shrouded in. He seems to be very new to the indie scene, but the music is curiously developed. A trifecta of tracks is all that exists under his name, though all are bound by a shared lore – which conveys a life story of heartbreak, dislocation, and haunting memories. My favourite track of his is Pears And Ghosts, in which he describes “picking pear trees” with a ghost. There are plenty of references to places across his work, including “Berlin,” “Rome,” and “Heathrow,” which in some forums has generated speculation as to where his roots really lie. I will enjoy sticking with this artist, hearing him grow, and hopefully enjoying more additions to the sound; such as some gritty electric guitar work.

Amanda Bergman

by Bárbara Martínez Campuzano

Ever since I first pressed ‘play’ back in June, Amanda Bergman’s sophomore album has become a constant companion to my daily comings and goings. It’s a soothing, soul-stirring, endless lullaby; a spellbinding set of sweet serenades that envelop the ears while warming the heart and nourishing the soul. Calm yet cathartic, charming yet charged, Your Hands Forever Checking on My Fever is a breathtakingly beautiful triumph of the human spirit. It’s at once tender and dramatic – an infectiously catchy, all-consuming collection of radiant reveries, intimate inner reckonings, and vulnerable reflections on life and death, purpose and place – what it means to live, and what it means to live well.

Bergman is by no means “new” to the music scene – she released her debut LP Docks in 2016 – but Your Hands was her first release in several years, and a bona fide “return” to the spotlight for the Swedish singer/songwriter. Bergman has described music as “the answer to life,” and this album certainly feels like the full-bodied realization of that philosophical statement. From the smoky, scintillating seduction of album opener “Wild Geese, Wild Love” and the heartrending romantic ache of “I Love Him Til I Love Him Right,” to the exhilarating propulsion of “Day 2000 Awake,” the cinematic, ethereal exhale of “My Hands in the Water,” the gentle, tranquil ebb and flow of “The World Is Tired of You” and beyond, Bergman unpacks life itself – the world around us, as well as her very own existence – through songs filled with light, love, and an intimate, undeniable sense of awe. Like a waking dream or a fantasy fulfilled, Your Hands Forever Checking on My Fever feels otherworldly, yet comforting. It’s the musical blanket we didn’t know we needed, ready to tuck us in every night. – Mitch Mosk

Ax and the Hatchetmen

by Isabella Le

Some of the best music finds you when you least expect it. In my case, I discovered Chicago’s Ax and the Hatchetmen purely by happenstance earlier this month when the band stopped by my university’s radio station for a studio session. It wasn’t ideal, as I was anxiously running back and forth to set up studio lights, tripods, and double-checking camera settings, priming the space to properly accommodate a six-piece band of two guitarists, a bassist, trumpeter, saxophonist, and cajon player. As the chaos subsided and the band started playing, however, it wasn’t long before I found myself caught between the roles of the head videographer and an awestruck first-time listener.

Just when you think everything’s been done, Ax and the Hatchetmen venture into uncharted sonic territory and rightfully claim it their own. Having six people in a self-identified rock ‘n’ roll band has to be calculated and intentional, especially within a genre that tends to cap bands at four. Ax and the Hatchetment fuse jazz and blues with catchy alternative rock, offering a dynamic and refreshing listening experience sure to pique ears and hearts. Otherwise simple and sunshiney indie rock is made intricate with rich layers of horns and warm percussions, as the band combines formal jazz education with rock ‘n’ roll propensities to keep spirits high and stress low.

Being Dead

by Jake Fewx

Nihilism has never sounded more jovial than on Being Dead’s Eels. The Texas-based indie trio explores the surreal humor of living in a reality of crushed dreams and unrealistic expectations, spinning tales of mundanity with the charisma of a sunscreen advertisement. Being Dead approaches their music with a storybook-like charm, layering their complicated sentiments under a simple, nostalgia-laced guise, and like any memorable story, Being Dead thrives on unpredictability. Gritty garage rock to 60’s pastiche, impressionistic bedroom pop to haunting avant-garde folk, the band seemingly does it all. But Being Dead is not impervious to brief moments of depression. “There’s no one to rely on … there’s no map left to guide us” they sing on the somber “Dragons II”, pausing to lament the loss of a fairy tale innocence (though it doesn’t take long to continue the rager). Showcasing an impressive aesthetic of talent, intelligence, and versatility, Being Dead’s creative force is not to be trifled with, making for one of, if not the brightest young acts in the indie rock.

Beverly Glenn-Copeland

by Josh Bloom

A discovery that originated in 1971! So much happens on TikTok before it happens anywhere else. Or, in this case, before it happens again? A casual scroll can lead to the most pleasant places in the past. For instance, the moving music of Beverly Glenn-Copeland, who recorded a self-titled sophomore album in 1971 to follow up a debut released under his previous name, Beverly Copeland, recorded prior to the artist’s gender transition.

The story of adversity kept me, but the song stopped me. “Colour of Anyhow” evokes everything that I remember as a ’70s child falling in love with the simplicity of singer-songwriters possessing rich, hypnotic voices thickened by triumphs (and the troubles that initiated them.) For fans of Tracy Chapman, Joni Mitchell, and Judy Collins.

BIRTHE

by Danielle Holian

Earlier this year, I discovered BIRTHE, an extraordinary songstress whose sound is a melting pot of Soul, R&B, Pop, Funk, and Jazz influences. Currently on the brink of a remarkable breakthrough in the music scene, BIRTHE’s artistry shines through her intricate use of strings and wind instruments, weaving a rich, evocative soundscape. Her ability to balance comfort with vulnerability is nothing short of mesmerizing, a stand out single this year from her is “Strangers,” serving as a testament to her dynamic range. A dark Latin pop track with a danceable groove, The song captures the tumult of a toxic relationship with an introspective lens, delivering both heartfelt intensity and irresistible rhythms. BIRTHE’s raw passion ignites every moment of the song, leaving listeners enthralled by her authenticity and depth. “Strangers” is a sensory journey that underscores her commitment to artistic integrity. With her forthcoming album promising to delve further into this deeply personal yet universally relatable narrative, BIRTHE is undoubtedly an artist to watch.

Davis Gestiehr

by Joe Beer

Nashville artist Davis Gestiehr may not be a new artist, but in 2024 he certainly made a splash, releasing a plethora of tracks (and an EP!) that caught my attention. Most notably was “Cool With It,” a single which I think perfectly sums up who the artist is. For fans of The Strokes and other early 2000’s New York artists, Gestiehr captures that same raw edge and gritty tone, taking music back to the basics. A common theme throughout his songs are the driving guitars and crashing percussion, which set the backdrop to his confessional lyrics.

Never failing to provide uplifting, feel-good anthems, it’s to no surprise that Gestiehr has amounted to over two million streams and counting. He has even performed with Billie Joe Armstrong at a Green Day concert, who stated it was “the most memorable moment of [his] entire life”. If that isn’t proof enough that Davis Gestiehr is an artist to watch, then I don’t know what is!

Deacon

An independent artist whose beats and sound mixtures demonstrate his passion for music and production, Deacon uses music to capture listeners and make people feel good. With his music career as a mission for others more than for himself, his art takes an autobiographical essence, mostly covering ideas, emotions, and thoughts about life and love. With airs of synth-pop, electronic, and pop music, Deacon has made two albums (A NEW EARTH and JUSTAKID), and has also collaborated with artists such as Nina Nesbitt, Loren Gray, and Jack Rucker. Not only is Deacon the child of Reese Witherspoon and Ryan Philippe, but also and incredibly a young singer and producer who is tries to discover sounds and share love and feelings through his thriving music career.

Dion Berardo

I made a real push to discover new jazz acts this year, and after attending the festivals in Montreal, Burlington and Washington, DC— not to mention a few extra venues in New Orleans, Boston, Paris, and other cities— it’s fair to say I had already managed to succeed in that regard by the time December came around. Nonetheless, I am very grateful to have squeezed in another great jazz artist discovery in the final month of the year: Dion Berardo! He’s a true Mediterranean native, having been born in Campobasso, Italy and raised in Megara, Greece. He now is based in New York City, though, and has been performing at multiple venues around town there these past few weeks (Pi Bakerie, the Zin House, and the Rum Bar) for the purposes of building anticipation for the release of his new LP, All in My Head, which finally came out on December 17th.

All I can say is: The anticipation was certainly justified! All in My Head features 12 delightful arrangements of various lengths, each one of which showcases Berrardo’s impressive talents on the electric jazz guitar. He’s also accompanied by his backing organist, Tommaso Perazzo, and drummer, Marcello Cardillo, who have long performed together as a trio. Their seasoned in-studio chemistry shines throughout— as I write this, with the track “Gone With the Wind,” Dion’s delicate guitar playing has just given way to Marcello’s masterful work on the drums; impressive stuff! I’m very happy to have encountered Dion Berrardo’s work just in time to include him in our piece on the “Best Artist Discoveries of 2024” piece and hope to see him perform in concert some day— if he makes it a little bit north of his current hometown of New York up to my current hometown of Boston, you can definitely count me in for that one!

Doechii

by Olivia Martinez

I had heard about Doechii a few months ago, but didn’t really listen to her music until I saw her performance on Colbert. It is very exciting to see an emerging rapper who puts so much effort into her live show. To be clear, Doechii is not a new artist. She has been releasing music for years, but has recently received a large amount of recognition for her mixtape, “Alligator Bites Never Heal.” Doechii’s lyrics are simultaneously raw and clever, maintaining a keen sense of modern relevance without ever trying to be too trendy. Her music is great on its own, but its genius is elevated through her live choreography. Her recent performances on Colbert and Tiny Desk show Doechii’s dedication to her artistry both through her musical performance and stage presence. Her cutting edge lyrics combined with 90’s inspired hip-hop arrangements create an incredibly fresh sound, which I hope continues to develop in 2025.

Elephante

Originally from Michigan and of Taiwanese descent, Elephante is now based in Los Angeles and pursuing a career as a DJ/producer after a previous stint in the corporate world turned out to be not his calling. He is now several years and albums deep into his music career – his first LP came out in 2016 and he’d made plenty of remixes for other artists before then – but it’s fair to say that he’s hit as great of a creative stride as ever before with the release of his latest album, COPE.

As the title suggests, this album has mainly been made for therapeutic purposes (“Each of the songs is a different approach to coping,” Elephante explains). But no matter how things are going for your life, there’s plenty to appreciate across this 10-track package released last month. Heck, here I am, happily enjoying my winter vacation in Lake Tahoe, and I find myself plenty impressed by all of the encouraging messages Elephante has tucked into here for those whose spirits may need a little uplifting (“When the world is at its end and the dark’s about to win, all is not lost… ’cause I got you,” for instance). His work as a beat-maker impresses time and again, and all of the indie singers he’s brought aboard (Olivia Ridgely, Linney, Amber Liu, babyidontlikeyou, etc.) turn in mesmerizing vocal work, one after the other. In the end, I can “say it like i mean it” (to paraphrase the opening track’s title) when I say that COPE represents a meaningful emotional journey and a major artistic statement on Elephante’s part.

fantasy of a broken heart

by Kevin Cost

This band fell into my lap out of the blue, and I am so thankful (shout out to Tom Avis from Terrorbird Media). Their debut album, Feats of Engineering, released in September, is so delightfully obscure in every way. My initial impression felt like I was in a dingy basement, playing low-quality fantasy computer games, listening to something my ears should not experience. Bailey and Al have a playful relationship, creating their own universe and make sure you are apart of it. Their debut record is bright, buoyant, and a perfect soundtrack to dance or sulk into madness.

Freya McKee

by Jada Moore

Freya McKee has a soft melodic voice that truly captures the messages she conveys through her music. She has truly perfected a delicate balance of the whimsy, shoe-gaze like dream pop sound – which I love. I’ve personally been swept away by the flawless manner in which McKee is able to intersect both her love for fashion and music. In fact, the release of her first EP, Lychee Juice, coincided with the release of her SS24 collection.

My personal favorite song from the EP is “Lychee.” The song itself has such a heart wrenching vulnerability, with lyrics about life that I personally am able relate to. This is in a way comforting to me. Which is why I am always looking forward to McKee’s releases; whether that be fashion, music or both.

Hemlocke Springs

by Josh Bloom

Hemlocke Springs is one of those TikTok success stories that I hope we will continue to hear about. Others include Corook and FLYANABOSS. After the North Carolina-based artist posted what she called “the weirdest bridge you’ll ever hear in ur entire life” in late October 2022, she quickly realized that six million people found the snippet of her song “girlfriend” weird in the right way.

Being immediately thrust into a music career didn’t shake Springs from her ability to write these weird (and very catchy songs) at will, which include “Sever The Blight,” a 2023 single that I didn’t spend time with until this year when its rightfully expensive music video was released. I didn’t know if Hemlocke could bring the synthy, electronic beat-driven rock that supports her perfectly raspy pop vocals to another level. Good luck getting away from the chorus on this one!

Iress

by Marissa DeLeon

Iress’ latest album, Sleep Now, In Reverse, perfects the art of captivation. Slowly sinking, the doom-infused rock soundscape surrounds you, swallowing you whole as you surrender under its weight. Heavy, pulsing drumming maps a sonic path as a subtle, haunting voice navigates her way through layers of textured noise within the heavy, brooding atmosphere.

Despite my recent discovery of their existence, the LA-based outfit is far from new to the scene. Released earlier this year, the 10-track record is a culmination of their previous work, originating back to their 2010 formation by frontwoman Michelle Malley. The 4-piece welcomes newcomers and longtime fans alike to let go, fully immersing themselves in the experience that is Iress.

Isabella Storm

by Joe Beer

Hailing from Yorkshire, UK, Isabella Storm is a powerhouse artist that made waves in 2024 with the release of her fiery and unapologetic single, “CryBaby.” Giving listeners a taste of what is yet to come, the artist has revealed that there will be a new EP this year, that is set to be the perfect soundtrack for anyone going through heartbreak. Her honest and candid lyrics are refreshing, oozing with confidence and sass. Storm’s music is empowering and motivating, as she reminds listeners of their worth and encourages them to live their most authentic, badass selves.

Having already proven herself as a force to be reckoned with, she is the perfect new artist for a generation craving authenticity. Isabella Storm isn’t afraid to say it how it is, and “CryBaby” demonstrates just that. Described as an “aries scorned,” be prepared to witness more of her bold, passionate and courageous anthems.

Jordaan Mason and the Horse Museum

Jordaan Mason and their ensemble of musical horses have one major album release to their collective name – ‘Divorce Lawyers I Shaved My Head’. It is a tough listen. A really tough listen. Not because it’s trite, or features lacklustre performances, but because it’s brutal. It is an album raw from crying, hoarse from screaming, bloody from bludgeoning itself out of frustration time and time again. Thematically, it tackles the bewilderment and despondency of trasngender living, from the desperation to be identifiable as anything, to the dread and struggle of intimacy. There are lyrics that floor you with how candid they are, and there are others that swell with profundity and double-meaning; ‘I would like to have a word with you’, or ‘our bodies will be avalanches’ ring around my head regularly. I think it’s an incredibly important album. It sheds light upon not just a mode of living that demands more discourse, but it proffers, without reticence or forgiveness, a perspective on it that is unfamiliar, and thoroughly awkward to contend with. I would recommend it to anyone for that reason, but with the caviat that it should be approached with caution – make sure you yourself are in a good place before attempting ‘Divorce Lawyers I Shaved My Head’, you will be flummoxed by unbated feeling.

Kneecap

by James Crowley

While the Belfast rap trio has been making music for sometime now, 2024 was truly a breakout year for Kneecap. In addition to their new album Fine Art, a biopic depicting the early days of the Irish rap group helped boost their image even more. Kneecap’s use of the Irish language is revolutionary, being some of the first to rap in Gaeilge, while also inspiring a new generation of Irish youth and people with Irish heritage to start learning the native language.

While Kneecap’s existence and decision to rap in Irish is inherently political, the songs themselves are total bangers. It’s hard to listen to something like “I’m Flush” or “Love Making” and not want to party. Even songs that have more straightforward messages, calling for a united Ireland, like “H.O.O.D.” or “Guilty Conscience,” are perfect for moshpits and banging back pints.

Letters Sent Home

by Kendall Graham

One day, I wrote a list of new bands to look into. Sometimes I play a roulette game and pick ones that I think may be cool, and, it just so happens, I turned out to be right about this one. Letters Sent Home is an alternative rock band from Germany consisting of Emily Paschke on vocals, Lara Ripke on bass, Robin Werner on guitar and Louis Schramm on drums. They play a really dynamic mix of rock with big, infectious melodies, introspective lyrics and hard-hitting production. They released their debut album, “Forever Undone,” this spring, and it’s full of dynamic, atmospheric tones that shift between ethereal rhythm and gritty, distortion-laden reverb.

What’s so compelling about this band is its ability to volley between tender, softer moments and driving, full-throttle rock. Tracks like “Request Denied” showcases Letters Sent Home’s knack for relatability and intensity in the same package. It’s a song that, to me, sounds like being surprised that you have not been granted certain death, especially when you’ve been depressed enough to start begging for it. Paschke’s voice is such an interesting juxtaposition to the band’s music. She sounds like she could be a straight-up pop singer; she’s so clear, bright and melodic even when she’s singing lyrics that make you have to listen twice because they’re so starkly different from the tone in her voice. This band deserves recognition beyond the German rock scene they are shaking up. “Forever Undone” is a fantastic debut album from a band with an already-clear identity and sense of purpose.

Lucy Kruger & The Lost Boys

by Marissa DeLeon

An intense, sonically charged atmosphere fueled by noise-infused rock, ambient pop and playful experimentation makes Lucy Kruger & The Lost Boys ever so addictive. Whether you ache for tender, finger-picked confessions or long for the release of gritty, guitar catharsis, the Berlin-based outfit offers a cure.

Kruger’s songwriting holds the occasional love letter awaiting postage and at other times a puzzled roadmap to make sense of. Fall in love as intimately as her and soon you’ll fall for her; longing to write her songs, send her books, do anything to make her listen and make her look deeply towards you (“Warm II”). Every word escaping Kruger’s mouth tastes like poetry, leaving you grasping onto every syllable, every sound – until it’s gone.

Thriving within the space between familiarity and obscurity, their six LPs navigate shifting soundscapes in just under four hours of listening. Released earlier this year, A Human Home dives into their latest exploration (and departure) of sound. Never knowing exactly what’s to come leaves you anxiously awaiting your next fix.

Magdalena Bay

by Marc Maleri

When a friend of mine sent over Magdalena Bay’s album, Imaginal Disk, I was immediately sucked into the world the synth-pop duo (Mica Tenenbaum and Matthew Lewin) were creating just off of the album cover alone, a young woman (Tenenbaum) willingly and curiously looking up towards a figure, some alien, ghostly-like creature inserting a disk into the woman’s head. What lied before was one of the most interesting and dynamic artists that I’ve come across in recent memory. I thought I had heard what futuristic pop had to offer, but Magdalena Bay’s discography is trip-inducing and moving in a way that I haven’t seen many artists successfully achieve. Tenenbaum’s airy, floaty vocals only strengthen the duo’s lyricism that unpack’s all kinds of issues that come with the human experience and Lewin’s skills in musical engineering are unlike anything I’ve ever heard. I hope this group gets the credit they deserve for creating unique musical masterpieces as they move forward in the industry.

Maudify

by Will Yarbrough

More music came out on any given day this year than during the entire coke-fueled binge of the 1980s. As someone who can’t seem to find anything better to do with their Saturday than troll Goodwill for CD jewel cases, this tidbit should bring me joy. But streaming has sucked the fun out of discovering new artists in 2024. Even when YouTube grooved a fastball into my rose-colored emo wheelhouse, I couldn’t help but feel manipulated.

Thankfully, we can still take advantage of Spirit Airlines’ business malpractice. Back in June, I flew to Chicago for Bummer Summer, a proudly DIY emo fest hosted by tenmonthsummer, who just dropped their first EP. Full disclosure: I would stan for this band even if they sucked. I consider their singer/Twitter mouthpiece a good friend, worthy podcast opponent and even better Mario Tennis partner. But fate lines kicks ass, so please, give them your money. Every artist on the Bummer Summer bill was worth the price of an all-expenses-spared flight, but my favorite was the one who challenged what I’ve come to expect from this scene.

Maudify calls herself Midwest emo’s reverse UNO card and I am picking up what she’s putting down. MAUDSTYLE filters the subgenre’s trademark twinkles through an upside-down prism that’s colored by hyperpop, cloud rap and queer rage. Maude really flips into scorched earth mode with her band Splitjaw, but on “Marble Studios”, she lets her softer side tell the bullshitters to stick it where the sun don’t shine. “You can take that fear and you can f* right outta here“. Her sticky sing-raps sync in perfect harmony with the meteoric shower of breakbeats and a riff that loop-de-loops like the tail of a comet. Not even the almighty algorithm could suppress her star power.

Medium Build

It’s wild for me to think about how, back in January of 2024, I had no idea who Medium Build was – especially considering just how much I covered his music this year! Yet as I wrote back in late March – around the time he released “Knowing U Exist” – the fun thing about discovering an artist a decade into his career is that there’s several hours’ worth of Medium Build music to dive into. Coming across him via Holly Humberstone’s Instagram page (he opened for her during her European tour in February and March, and later featured on an alternate version of her song, “Cocoon”), I was instantly enraptured and taken aback – and quickly found myself falling for his candid and cathartic songwriting style.

So dive, I did – headfirst, and all the way back to Nick Carpenter’s musical beginnings. 2016’s debut Falling Apart proved to be the start of something very special, and subsequent records softboy (2018), roughboy (2018), and Wild (2019) all found him evolving as a writer and performer, while consistently spilling his aching soul through a slew of catchy, comforting, compelling songs. Then came the major label signing, and in 2023 he released Health, his first multi-track offering via slowplay/Island Records.

While all of the above music is phenomenal in its own right, I’d be lying if I said his 2024 work wasn’t my favorite – because it is, and unequivocally so. I was telling the whole truth earlier when I wrote that every one of the twelve songs off Medium Build’s breathtaking 2024 masterpiece Country could (and should) be on Atwood‘s Best Songs of 2024 list. It’s a testament as much to Carpenter’s talents as a singer and songwriter, as it is to his (and producer Laiko’s) abilities as a world-builder: Country is a record of raw humanity, honesty, vulnerability, and connection, and these traits shine especially bright on songs like “In My Room,” “Cutting Thru the Country,” “Knowing U Exist,” “Beach Chair,” and “Stick Around.” Country is an intimate, unfiltered, and unapologetically exposed folk rock record that highlights and embraces Carpenter’s identity in a way that his past records, while personal to him in their own rights, never quite accomplished. It’s an album full of real, raw highs and lows – moments of heartfelt confession, human connection, spiritual release, inner reckoning, soul-searching.

And then came November’s five-track Marietta EP – a phenomenal fifteen-minute coda to what has, without a doubt, been one of the busiest – and most exciting – years of Medium Build’s career. Named after his first hometown back in Georgia, the five-track surprise release is a tight, turbulent, and masterful work, home to the hard-hitting “Triple Marathon,” the haunting “Yoke,” the dynamic and dramatic “John & Lydia,” and so much more.

Medium Build’s music has been my personal soundtrack to a number of 2024’s highs and lows; beyond making for some great driving singalongs, his songs ache beautifully, authentically, and relentlessly – bringing out the best in me as he brings out the best in himself. Two interviews this year – one of which found us connecting over our shared love of The Office, the other of which saw him giving me some solid, much-needed home-buying advice – sealed the deal in making him one of my favorite people in the industry today. Needless to say, the artist I hadn’t even heard of a mere twelve months ago will forever be my “top” artist discovery of 2024.

Melissa Aldana

One look at the lineup for the 2024 Festival International de Jazz de Montreal, and it’s clear that there’s plenty of new artist discoveries to be achieved at such an event. One artist I’m going to give a shout-out to in that regard is Melissa Aldana, who delivered one of my favorite sets of the entire festival with her band, the Crash Trio, at Place des Arts on June 30th. On top of her impressive skills on the saxophone and chemistry with her supporting players, I also appreciate how she helped to justify the word “international” in the festival’s name, by delivering some Latin-tinged jazz charateristic of her native Chile. ¡Felicidades por una gran interpretación, Melissa!

Mk.gee

For me, 2024 was the year of Mk.gee – a singular artist whose talents cannot be overstated. Experiencing him and his music live was a religious experience; his debut LP Two Star & The Dream Police (released in February) is a force to be reckoned with, and has quickly become one of my favorite albums of all time – even if I did sleep on it for the first half of the year. All these months after I finally first heard it, the record still feels like one immersive song, chopped up into twelve parts. Sure, each track has its own lyrical and melodic contours; its own emotion, depth, and meaning; but for me, this breathtaking album is meant to be experienced in one comprehensive listening session – not broken up into parts. A singular and stunning triumph, Two Star & The Dream Police‘s magic – and, I think, much of its success – lies in the overarching journey it delivers as a full-length listening experience, and in the soul-stirring world Mk.gee deftly crafts for his audience.

In fact, I’ve learned that every Mk.gee song – from the ones on this album, to his more recent tracks “Lonely Flight” and “ROCKMAN,” and all the way back to 2020’s A Museum of Contradiction and 2018′ Pronounced McGee – contains multitudes, and every moment is worth revisiting five, ten, and twenty times, as you take more and more away from Mk.gee’s cryptic, cathartic, and all-consuming art.

Polaris

by Kendall Graham

I have become a baby metalhead over the past two years. I find myself voraciously consuming metal music and its subgenres; there is something so unexpectedly calming about listening to it. I think because it allows me to channel and cathart the chaos in my mind into something more manageable. Polaris has been helping me do that in 2024. The Sydney-based heavy metal band has been around since 2012, and I am so sorry I only listened to them for the first time this year.

Polaris has an electric balance between hard rock and metalcore that is widely accessible to more than just a metal audience. Their most recent album, 2023’s Fatalism, is both sonically intense and emotionally cutting; the song “Nightmare,” my favorite by them, exemplifies this balance in the best way. It is lyrically dextrous in describing themes of social indifference and the consequences of apathy. There is an added layer of sadness to this song as it was the last recorded with Polaris guitarist Ryan Siew before he passed away unexpectedly. That knowledge makes this track resonate all the more. Polaris is a beacon of resilience within metalcore right now, adept at channeling their personal and collective challenges into powerful songcraft.

Ratboys

by David Diame

Once again, the power of the internet impacts my life in meaningful ways, and I was formally introduced to Ratboys through a video gushing about their discography. Having heard this discography now, I can safely say that the gushing was warranted. I’m super impressed at how classic yet modern they sound, with their powerful indie rock blending all types of sounds from emo, Americana, punk, alternative country, and so many other disparate things in-between. Another great asset to their artistry? Their personality. Each and every song carry so much life-like energy, from euphoric rock-outs to slow-burning comedowns. Guitarist/singer/songwriter Julia Steiner’s lyrics hold tales from all sorts of places ranging from childhood experiences (on tracks like “Anj” off of Printer’s Devil and “Elvis is in the Freezer” from GN) to later-in-life snapshots (such as “The Window” from The Window or “Control” off of GN), while the rest of the band – Dave Sagan on lead guitar, Sean Neumann on bass guitar and backing vocals, and Marcus Nuccio on drums and percussion – rips through them with her with tons of joy, passion, and synchronicity. Seriously, it’s impressive how well the four-piece gell together, with their layered songs coming alive in such varied ways. It’s super hard not to fall in love with Ratboys, whose origins in underground college rock scenes give them the aura of chill people that you’d love to hang with. It has become one of my life goals to meet the quartet. My sincerest apologies for catching wind of them this late, but I am happy to be aboard!

Sly Jr.

The entire Sly Jr. project feels like a special treat for the real fans – not least because you actually had to be paying attention to even know this music existed! The solo project of Sir Sly’s Landon Jacobs finds him channeling his band’s signature angst-fueled sound into new terrain as he unpacks his life’s current chapter – exploring themes like marriage, fatherhood, sobriety, and faith with a fine-toothed lyrical comb and soul-stirring, emotionally charged melodies. He’s released an impressive, veritable trove of music since debuting with the stunningly vulnerable “piggy bank” in January – putting out a debut album, the ten-track procreation, in July, and even more singles this fall.

Thankfully, a nonexistent marketing budget couldn’t keep me from discovering – and subsequently falling in love with – Jacobs’ breathtaking, brutally intimate new songs. Sly Jr. is an achingly raw triumph of the heart and the soul, and if you were ever a fan of Sir Sly, then I am confident that, like me, you will fall headfirst in love with its son, Sly Jr.

Sone

by Danielle Holian

Meet Sone, a boundary-blurring singer-songwriter whose journey from the vibrant streets of New York to the cultural heartbeat of Hamburg has shaped her into a truly unique artist. Rooted in her classical opera training yet unafraid to embrace alt-indie sensibilities, Sone’s music brims with raw emotion and an uncanny ability to find beauty in life’s shadows. Her latest single “Happy” is a testament to her gift for storytelling – a cathartic anthem that navigates the darkness but ultimately celebrates light and happiness. With a voice as versatile as her influences and a knack for crafting melodies that linger, Sone is an artist destined to captivate hearts worldwide.

Supreme Particles

I would once again like to commend my friend, my spiritual shaman of many years now, the YouTube algorithm. There are some recondite depths that I would never be able to traverse unassisted. There are some troves of jewellery that my arms simply are not long enough to scour the bottom of. But in those most recluse vertices, the brightest, most flawless gems reside. The likelihood of me having discovered Supreme Particles by my own choice is innominate, but very low. This one is another blessing.

My understanding is that Light as Skin was composed for use as looped incidental music for the tunnel connecting terminals A and B at Frankfurt International Airport, which makes sense. It is a work that travels, and doesn’t. It is a collage of soundscapes: birds warble, chimes glimmer, chimeras of synth dialogue drone, glide, and bleet; motions blur, complete landscapes envisioned seen, but fleeting, melting into one another. Every gesture is evocative – it is surely one of the most redolent ambient records I’ve ever encountered – alluring, yet liminal; the album is always just beyond precise description. It is a dream, and one I discover something new in every time. I wonder if people holidaying from Frankfurt International Airport would have had trips that lived up to how enchanting their walk to their terminal would have been.

Th&o.

All throughout 2024, I managed to discover talented musicians from many parts of Africa. That includes the Nigerian group Seun Kuti & Egypt 80, who I saw at the Burlington Jazz Festival; a Malian/Senegalese/Ivorian trio at the Somerville Theatre; and the Namibian rapper Lioness, whose album If Not In This Life was one of my favorite indie discoveries for Atwood this year. One act I certainly have to add to that list before the year Th&o. (pronounced “Thando”) of Johannesburg, South Africa, who just put out his latest record, Emlotheni, last month. “This album to me is a series of tales from my heart to yours,” he says.“Tales of unrequited love and burned hearts.”

Putting the half-hour into listening to those tales being told across nine tracks is totally worth it. Along the way, you’ll be exposed to Th&o.’s elegant vocals and the multi-textured instrumentals he’s laid beneath them– R&B and funk are given a distinct African flavor and electronic touch when blended together here. The additional creative products he’s attached to this release are worth checking out as well – they include the short film to “Esuku,” and the music video to “Night Till Dawn” – in all my years of watching music videos, I can’t say across too many clips that consist of a series of pen drawings mapping out the song’s lyrics. Nifty concept! I can give Emlotheni a warm and heartfelt recommendation.

The Caretaker