WEBVTT - The best music of 2024

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<v Speaker 1>From Schwartz Media. I'm Ruby Jones and this is seven

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<v Speaker 1>AM Summer Series. Twenty twenty four was a blockbuster year

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<v Speaker 1>in music. Beyonce went country, Taylor Swift went everywhere, and

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<v Speaker 1>we all went brat. Today with the Saturday Papers music

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<v Speaker 1>critic Shad De Souza, we're exploring the albums that defined

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<v Speaker 1>the year. That includes Charlie XCX, of course, but also

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<v Speaker 1>a surprising new album from Sonic youth Kim Gordon, and

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<v Speaker 1>a tender exploration of modern masculinity by MJ. Linderman. It's Wednesday,

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<v Speaker 1>December twenty five, HiPE Christmas, So Shad welcome. It's great

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<v Speaker 1>to have you in the studio.

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<v Speaker 2>Thanks NXE for be here.

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<v Speaker 1>So we're talking about the best music of the year,

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<v Speaker 1>and I think we should just go straight to the

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<v Speaker 1>main event. It's really been Charlie XCX's year, hasn't it.

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<v Speaker 2>It's been amazing to see, you know, her going from

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<v Speaker 2>this kind of niche concern that a few people were

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<v Speaker 2>really banging the drum for to yeah, it's kind of

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<v Speaker 2>the year of brat and you know, she's basically released

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<v Speaker 2>two amazing albums that totally owned the year critically, commercially,

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<v Speaker 2>they kind of set the tone. It's pretty incredible to see.

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<v Speaker 1>So there was Bratt, which was released in June, which

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<v Speaker 1>was obviously huge, and then a few months later we

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<v Speaker 1>got the remix version Brat and it's completely different but

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<v Speaker 1>still Bratt. So tell me about the remix.

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<v Speaker 2>Yeah, I really like singling out the remix album because

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<v Speaker 2>I think it really shows kind of what she's about

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<v Speaker 2>and kind of how deaf she is as like a

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<v Speaker 2>producer and an A and R. Obviously, it's really kind

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<v Speaker 2>of dereger for artists to release full remix albums or

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<v Speaker 2>release kind of deluxe versions of their records nowadays, because

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<v Speaker 2>it boosts being at both sales chart positions. That kind

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<v Speaker 2>of thing. This, I think is that, but it's also

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<v Speaker 2>a little bit different. It's kind of a full reimagining

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<v Speaker 2>of the album. She recorded new vocals for every song,

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<v Speaker 2>and a lot of songs are like totally overhauled to

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<v Speaker 2>the point that maybe you wouldn't even be able to

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<v Speaker 2>make the connection with the original, And it kind of

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<v Speaker 2>serves as a commentary on the original record, which was

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<v Speaker 2>like a risk when she released it. You know, it

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<v Speaker 2>was never guaranteed that it was going to be huge.

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<v Speaker 2>She's never had huge commercial success, and this was an

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<v Speaker 2>album all about her place in the industry and you know,

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<v Speaker 2>her relationships with other women in the industry and wondering

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<v Speaker 2>whether she can whether she still has a gas in

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<v Speaker 2>the tank basically to keep going. So then obviously she

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<v Speaker 2>becomes really successful, and it's kind of surprising that it's

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<v Speaker 2>on this album, and then you know, the natural thing

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<v Speaker 2>for her is to reimagine the record but talking about

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<v Speaker 2>everything that's happened in the intervening few months. So it's

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<v Speaker 2>kind of headspinning conceptually. But if you've been following, you know,

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<v Speaker 2>the whole brat train for the year, it's actually kind

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<v Speaker 2>of the perfect counter point to the original album.

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<v Speaker 1>Yeah, I don't know if you like me. Sometimes I

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<v Speaker 1>think you might hate me.

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<v Speaker 2>Sometimes I think I might hate you.

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<v Speaker 1>Maybe you just want to be me. You always say yeah.

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<v Speaker 1>I really enjoyed I think her exploration of her relationships

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<v Speaker 1>with these other artists, in particular, I'm thinking of the

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<v Speaker 1>song girl So Confusing, So that's about her and Lord,

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<v Speaker 1>and it's very specific to their relationship, right, So you know,

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<v Speaker 1>they're talking about how everyone thinks they should be friends

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<v Speaker 1>and they get compared. But I mean, I feel like

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<v Speaker 1>that is also an experience that like most people have

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<v Speaker 1>had in a friendship circle at some point, this idea

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<v Speaker 1>that there's someone that they maybe should be friends with,

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<v Speaker 1>but like maybe it's like a little bit awkward when

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<v Speaker 1>they hang out, and then they're not really totally sure

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<v Speaker 1>if they want to be mates with them or if actually,

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<v Speaker 1>like they kind of secretly hate them. So like there's

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<v Speaker 1>this real specificity to the lyrics, which are you know,

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<v Speaker 1>so clearly about the world that she's in and you know,

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<v Speaker 1>could be unrelatable, but they're not right.

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<v Speaker 2>And that's something I love about this record is that,

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<v Speaker 2>like a lot of really big pop stars are always

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<v Speaker 2>going for relatability at all of the costs. So it's

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<v Speaker 2>kind of like, I'm a normal girl, just like you.

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<v Speaker 2>You know, my struggles are just like yours. Charlie doesn't

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<v Speaker 2>do that. She's talking specifically, you know. On the original album,

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<v Speaker 2>it's just this song girl so confusing, where she doesn't

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<v Speaker 2>name the other pop stars she's talking about, but it

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<v Speaker 2>was very clear to a lot of people that it

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<v Speaker 2>was about Lord and that's not necessarily a relatable thing.

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<v Speaker 2>But I think she does this thing over and over

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<v Speaker 2>again on the album where it's not about, you know,

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<v Speaker 2>putting yourself in her shoes. It's about thinking about your

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<v Speaker 2>own kind of jealousies and rivalries and worst traits and

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<v Speaker 2>best traits and that kind of thing. And I think

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<v Speaker 2>that's ultimately why people connect with it more than maybe

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<v Speaker 2>some of the other bigger pop records that didn't necessarily

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<v Speaker 2>land this year. And then obviously, you know, releasing the

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<v Speaker 2>remix of Girls So Confusing with lord On it turned

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<v Speaker 2>it into this quite crazy you know, whether you think

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<v Speaker 2>it's kind of staged, whether you think it's kind of

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<v Speaker 2>off the cuff, it's a pretty remarkable thing to hear

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<v Speaker 2>these two extremely famous women be so vulnerable in this

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<v Speaker 2>quite intense way.

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<v Speaker 1>I think I know how you feel good, feels instize. Okay,

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<v Speaker 1>so let's move on. What's your next album of you?

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<v Speaker 2>I want to talk about this record, Imaginal Disc by

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<v Speaker 2>a duo called Magdalena Bay. I feel like it's helpful

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<v Speaker 2>to understand their origin story, which is basically they're a

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<v Speaker 2>couple and they were in a prog band and then

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<v Speaker 2>one day they kind of happened upon a Charlie XCX

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<v Speaker 2>concert and discovered that pop music could be interesting as well.

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<v Speaker 2>That's basically how they put it. And so now they

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<v Speaker 2>make this kind of very weird multi genre prog pop basically,

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<v Speaker 2>and this album is kind of their big opus. It's

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<v Speaker 2>really long, it's really dense, but it's also a blast

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<v Speaker 2>to listen to.

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<v Speaker 1>Yeah, listening at home, there was like a lot going on.

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<v Speaker 1>There was some like dance pop, there was some disco,

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<v Speaker 1>there was some psychedelic stuff happening. And like you say,

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<v Speaker 1>it was a really long album, like more than an

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<v Speaker 1>hour long, which I think stands in comparison to some

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<v Speaker 1>of the other pop albums of the year, like you know,

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<v Speaker 1>Short and Sweet.

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<v Speaker 2>Yeah, for sure. And I think they have them like

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<v Speaker 2>a really big cult following. And I think the success

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<v Speaker 2>of this album, you know, it's huge online and like

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<v Speaker 2>you know, they did their first American TV performance this

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<v Speaker 2>year off the back of it, that kind of thing.

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<v Speaker 2>The success of it just shows the power of kind

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<v Speaker 2>of like building a cult fan base these days. Like

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<v Speaker 2>it's not about reaching everyone with this album. They just

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<v Speaker 2>kind of follow every instinct that they could possibly have

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<v Speaker 2>and it worked really well for them.

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<v Speaker 1>After the Break is Old Country Coming Back. So Shad,

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<v Speaker 1>we've spoken about two of the best albums of twenty

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<v Speaker 1>twenty four What's.

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<v Speaker 2>Next Manning Fireworks by Mjlenderman, which is kind of the

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<v Speaker 2>second studio album by this young North Carolina songwriter guitarist

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<v Speaker 2>Mark Jacob Linderman.

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<v Speaker 1>So same godn face.

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<v Speaker 2>It's a really remarkable indie rock singer songwriter record, although

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<v Speaker 2>I don't know if I would even call it that

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<v Speaker 2>because it totally rips, Like it's like amazing guitar solos,

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<v Speaker 2>really long, crazy songs, but at the same time, they're

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<v Speaker 2>really hooky and they're really emotional everything you want in

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<v Speaker 2>tern of a rock record.

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<v Speaker 1>And so this is his fourth solo album, but he

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<v Speaker 1>is the guitarist of Wednesday, which is an old country band, right, Yes, yeah,

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<v Speaker 1>an old country seems to be having a bit of

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<v Speaker 1>a moment.

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<v Speaker 2>Yeah, I mean, you know, this is like it's almost

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<v Speaker 2>kind of like a controversial thing because it's like, what

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<v Speaker 2>do you mean by old country or like Americana. I

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<v Speaker 2>know a lot of people who like just call it

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<v Speaker 2>country or whatever, But yeah, Wednesday do this really loud, noisy,

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<v Speaker 2>experimental rock. But then there's also elements of like drive

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<v Speaker 2>by truckers and other country stuff in there. And I'm

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<v Speaker 2>Joe Lenderman kind of does a similar thing. It's more

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<v Speaker 2>straight down the middle rock music with a twang. But yeah,

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<v Speaker 2>there is a lot of that stuff going around.

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<v Speaker 1>This year, and he's an amazing guitarist obviously, But it's

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<v Speaker 1>the lyrics of this album that I think really stood

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<v Speaker 1>out to me. The song Wristwatch in particular, it's so petulant.

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<v Speaker 1>It's great.

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<v Speaker 2>Yeah, he does this amazing thing, like he is so

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<v Speaker 2>good at picking apart modern masculinity in all its permutations,

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<v Speaker 2>from like the far right like Manisphere stuff, through to

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<v Speaker 2>like more innocuous but still insidious forms of modern marcho masculinity,

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<v Speaker 2>which is really he does it in a way that's

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<v Speaker 2>not like preachy or anything. It's just so smart and sad, yeah,

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<v Speaker 2>and depressing. But also the you know, the riffs and

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<v Speaker 2>the hooks are like so ingratiating that you just can't

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<v Speaker 2>STARp listening. It's it's a really cool, interesting mix.

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<v Speaker 1>Okay, So final album of the year.

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<v Speaker 2>Yeah, this one was from a bit earlier in the year,

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<v Speaker 2>and it's one that I just kept coming back to.

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<v Speaker 2>It's The Collective by Kim Gordon. It's her second solo album,

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<v Speaker 2>but obviously she's had a long illustrious career as part

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<v Speaker 2>of Sonic Youth, and it kind of follows this vibe

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<v Speaker 2>she started with her first solo record from a few

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<v Speaker 2>years back, called No Home Record, and it's basically her

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<v Speaker 2>rapping or doing spoken word over these insane, blown out

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<v Speaker 2>industrial beats. So crazy, but also kind of in character

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<v Speaker 2>with what she's number four.

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<v Speaker 1>By keys Pants to the clean cigar routes for a

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<v Speaker 1>kid quite outside of Sonic Youth, which has that kind

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<v Speaker 1>of experimental rock format. I mean, this isn't rock at all, really, no.

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<v Speaker 2>Not really, and like there are guitars on it, but

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<v Speaker 2>I think you'd be pretty hard pressed to call it

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<v Speaker 2>a rock record, and like, I think it's all the

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<v Speaker 2>better for it. You know, it really allows her to

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<v Speaker 2>experiment with what she's saying and do this quite abstracted

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<v Speaker 2>lyrical style that still makes a sort of sense. It's

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<v Speaker 2>a really remarkable.

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<v Speaker 1>Record, and I also just love that this is the

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<v Speaker 1>album that Kim Gordon is making when she's like seventy

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<v Speaker 1>or seventy one. It's incredible. I mean it just shows that,

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<v Speaker 1>I guess, like true originality and creativity. I mean, there

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<v Speaker 1>is like no limit to it. It doesn't run out

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<v Speaker 1>if you're Kim.

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<v Speaker 2>Gordon, Yeah, and like you know, there's next week that like,

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<v Speaker 2>as you get older, your music should get safer maybe,

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<v Speaker 2>But I think Kim Gordon is kind of following in

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<v Speaker 2>this lineage of David Bowie, Bob Dylan, like in Lady

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<v Speaker 2>Years made some of their most radical records. Like Bob

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<v Speaker 2>Dylan obviously made Rough and Rowdy Ways, which is quite

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<v Speaker 2>a weird, crazy album. David Bowie read before he died

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<v Speaker 2>and made Black Star, which is very experimental and crazy.

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<v Speaker 2>And I think it's good that Kim Gordon, you know,

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<v Speaker 2>she's at this stage in her life where she probably

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<v Speaker 2>could just rest on her laurels, and she's really Yeah,

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<v Speaker 2>she's really pushing herself to do something new though, which

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<v Speaker 2>is part of what makes this so amazing.

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<v Speaker 1>In just a moment, a few honorable mentions, including an

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<v Speaker 1>incredible new Australian album. Okay, so Shah before you go,

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<v Speaker 1>any honorable mentions? What are you going to be listening

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<v Speaker 1>to on repeat at the beach?

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<v Speaker 2>Oh my god, Well I don't go to the beach,

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<v Speaker 2>but listening on repeat maybe like in my hotel room

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<v Speaker 2>as I yeah, with the air conon. Addison Ray had

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<v Speaker 2>a really big year it's kind of funny to say

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<v Speaker 2>she's like a TikToker, but who makes very great pop music.

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<v Speaker 2>She released two amazing songs, Diet Pepsi and Aquamarine, and

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<v Speaker 2>Ameil and the Sniffer has released a really incredible I

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<v Speaker 2>think it's their third album. It's called Cartoon Darkness. It's

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<v Speaker 2>almost like a bit intense. There's quite a level of

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<v Speaker 2>you know, the lead singer Amy Taylor clearly has a

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<v Speaker 2>lot of access to grind with Australia in general and

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<v Speaker 2>the way she's perceived, but I think that makes for

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<v Speaker 2>quite an interesting record. You know, it's defensive and it's

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<v Speaker 2>kind of mean, but it's also very funny in the

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<v Speaker 2>way that that band always is. I've been returning to

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<v Speaker 2>that record a lot.

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<v Speaker 1>Yeah, this might be an obvious point, but that album

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<v Speaker 1>is one that I think you need to play really loud.

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<v Speaker 2>Windows down, like it's so much fun to listen to,

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<v Speaker 2>like if you you know, thinking about your nemesis or whatever.

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<v Speaker 1>It's very free.

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<v Speaker 2>Yes, exactly.

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<v Speaker 1>Yeah, Shad, thank you so much for your time.

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<v Speaker 2>Thanks for having me