Amadeezy, 2 Lit 2 Quit
Local legend, and former PVRPLE ringleader Amadeezy bridges the coasts with his debut on LA’s Evar Records, 2 Lit 2 Quit. A head-knocking, sub-rattling, deliriously fun 25 (or so) minutes of hard house, ghettotech, and bass, the EP stands as a high water mark for a producer and DJ that’s been at it for a long time. Amadeezy’s past work as a pure hip hop producer is apparent in the thunderous drums and thick, heaving low end on tracks like “Choose Violence”, but it’s the technicolor, almost hyperpop-y helicopter synth stabs on ‘Go Beserk” that really stun here. Some of the most fun you’ll have listening to club tracks this year, that’s for certain.
–Dillon Riley
Amanda Shea, GOD, Again
GOD, Again is Amanda Shea’s debut EP, and demonstrates what it means to be an interdisciplinary and multifaceted artist. She shows us how spoken word is a part of all genres, and needs to be represented more in the music scene. Her journey of finding her purpose while dealing with grief and toxicity is so beautiful to hear, especially if you know the story behind this EP. She uses current events and her experiences to highlight the juxtaposition between empowering Black women and how social media ≠ reality through her pieces “God’s Gift” and “Social Media,” respectively. GOD, Again embodies that vulnerability is a sign of strength and that Amanda Shea has found her purpose.
–Tanvi Shah
Baby Baby Explores, Food Near Me, Weather Tomorrow
Somewhere on the great arc of music between DEVO and 100 gecs, there is babybaby_explores. The Providence art-rockers collapse bare bones punk and bedroom techno into psychedelic pop that you can picture the B-52’s Fred Schneider doing a funky little dance to. “Food Near Me, Weather Tomorrow” are as modern and banal as anything you can type into a search bar (making the title of their album hilariously SEO friendly), but they’re fundamentally human concerns. That babybaby_explores play with this dichotomy as their new wave forebearers did is a sign they’re onto something.
–Ben Bonadies
Bedroom Eyes, Turned Away
I am a simple man. Your songs have motorik drums, driving bass, and chorus-y guitars, I’m there. You throw in indescernable lyrics shrouded in reverb and you have an album I’m liable to throw on many a foggy night. Bedroom Eyes have been working on the heavy side of shoegaze for a couple albums now, but “Turned Away” is their turn toward gothic punk. The songs are tighter, the melodies cleaner, and at nine tracks, the band’s fourth album is their most focused release yet.
–Ben Bonadies
Brandie Blaze, Broken Rainbows
Broken Rainbows, Brandie Blaze’s latest album uses color to portray her storytelling. The 17-track hip-hop album takes us through 4 color suites — yellow, blue, black, and red; each one corresponding to an emotion. Brandie committed to the album even at her release show where she changed outfits between color suites. With interludes from spoken word artist, Amanda Shea, the album is a must-listen. “So Free” and “The Things That You Say” are the most evocative. “So Free” is about Brandie loving her body while rapping “Fuck the beauty standards” and “The Things That You Say” highlights the sadness and anger Brandie felt during an emotionally abusive relationship. Brandie Blaze is back and it’s time to remember her name.
–Tanvi Shah
Clark D, CLARKDPROPAGANDA
How fun can one album get? Clark D is here to find out. The rapper’s newest offering is eclectic, bookended by a pair of emotional, very real tunes. But the album sounds the best when it gets wild. The bangers here are just that – songs with big beats and boisterous lyrics, drawing equally from sources like Clark D’s Haitian background and bawdy jokes. These songs are mostly very short, creating a joyous whiplash effect as the listener rockets across different ideas in a gleeful passion. This record is very human, but still fun as hell. The wildest track, “It’s a Stickup!,” picked up a Boston Music Award nomination, and deservedly so.
–Andrew McNally
corporeal, wanting more
One of the more shadowy groups operating within the fruitful Allston underground right now, corporeal made good on the promise of a handful of demos and sketches with wanting more, their debut LP. Driving a through line between the skeletal horizon-wide ambient and post-rock of prime era Kranky Records and Too Pure and the sullen, autumnal glow of slowcore, corporeal have worked themselves into an enticingly unique sound. Mid-album cuts like “relinquish” lash out with blaring single note guitars and overwhelming washes of percussion, but the back half’s suite of quieter, sparser, and altogether more brittle songs are what really stun.
–Dillon Riley
The Croaks, Croakus Pokus
Certainly one of the more unique entries on this list, The Croaks throw in all things folksy to their debut album. Every song on this record is distinct from the other. “Big Bog” represents classic folk, while “Rainbow Trout” feels more akin to indie. “Lochness Lady” has an epic feel to it, complete with a flute solo. “Big Bug” is rollicking folk-punk at a lightning pace, “Cuttyhunk Isle” is a classically medieval song, and “Diana” has a drum solo. It’s nearly impossible to quantify this record as anything other than an absolute blast. Anna Reidister, Haley Wood and friends have cooked up one of the coolest debuts of the year. To cement the brand: they’re selling smoke kits on their bandcamp page.
–Andrew McNally
Dari Bay, Longest Day of the Year
Much has been made this year of the Burlington, Vermont sound, no doubt in response to the popularity of one Noah Kahan. Not since Phish has the Green Mountain State produced an artist with a following quite as cultish. But just downstream in Brattleboro, Zack James is cooking up his own brand of Americana, one that’s far brighter than the dour stomp-clap of Kahan and his cohort. On “The Longest Day of the Year,” James’ fifth album as Dari Bay, early experiments with psych yield to folk rock tunes that glow with a warmth all their own.
–Ben Bonadies
Dreamwell, In My Saddest Dreams I Am Beside You
There were a ton of records this year that messed around with the tired format of hardcore songs, few as good as Dreamwell. The Providence group’s second full-length expands on their first, mining hardcore and screamo and creating something much more complex. There is a lot of vulnerable emotion across the record, often poetic in a way that feels more akin to Deafheaven. The songwriting is dense and unpredictable, with moments of sheer beauty amidst the brutality. But it really is brutal too – deeply inspired songwriting does not get in the way of decibel dominance. New England hardcore will never die.
–Andrew McNally
FEARDOTCOM, Eternal Negative Energy
FEARDOTCOM makes a welcome back-to-back return to our local faves list with their latest LP Eternal Negative Energy. An emotionally draining, but impishly funny run through art-damaged and internet-fluent breakcore, drum and bass, and (un)happy hardcore, FEARDOTCOM builds off the steam of last year’s excellent Flip Combo Sixtynine, tightening the screws here and there and angling the rollercoaster curves to maximize the cheap thrills. There’s no wrinkles here too though: check the snaking Eastern synth melodies on “Drop The Weapon” or the soothing liquid pianos on “Shortwave Angel” for proof of concept. FEARDOTCOM’s set as part of this year’s Boiler Room has them in front of more eyes than ever before, so rave on.
–Dillon Riley
Fiddlehead, Death is Nothing to Us
There are area rock bands and then there is Fiddlehead. The Boston institution came roaring back this year with their fourth album of fiery hardcore. The guitars chug with punk velocity and Patt Flynn’s voice sounds perfectly warped and raspy. Come for the righteous tunes, stay for Flynn’s world-building lyrics.
–Ben Bonadies
Gollylagging, Going222Jail & Dino Gala, Fauna
The biggest crossover event in Allston DIY history or something to that effect. Astute readers of this website will note that we’ve been banging the drum for all three groups included on this split for the last year and change, and fauna was certainly (to quote myself) “an event horizon” for everyone involved. Gollylagging and Dino Gala have kept busy in the time since, playing gigs in even bigger rooms and working on new tunes that will blow minds, which we have on good authority. going222jail on the other hand have gone pretty quiet since release night, and If these truly are the final tunes we get from the foursome then what a way to go out. Which is to say that if every split is a competition then their trebly and tumbly “slipping” is top dog (sorry!) but there’s no filler here, just three young bands absolutely dialed in.
–Dillon Riley
Horse Jumper of Love, Heartbreak Rules
The story fit to print is that Horse Jumper Of Love’s Dimitri Giannopoulos went to the Catskills and came back as a folkie. That’s classic rock lore for sure, and also not entirely accurate, as he told us earlier this year. Heartbreak Rules, the mini-album as fruit of the sessions he conducted up there alongside superproducer/multi-instrumentalist Brad Kreiger certainly dials back some of the noise and lyrical abstraction on which Horse Jumper has made their name, but this there’s still plenty of rocking to go around. The short but terse “Snake Eyes” applies distortion on the vocals rather than the hard-strummed acoustic guitars, but Krieger’s supple drumming keeps things moving, while the range-y “Pendulum” might simultaneously be Giannopoulos’ loosest tune yet and also his expressive vocally.
–Dillon Riley
House of Harm, Playground
If it only seems like a few weeks ago when we wrote about Boston’s premier post-punkers, that’s because it was. Sliding in just before our voting period, the band follows up on 2019’s Vicious Pastimes with a natural sophomore effort. Tracks like lead single “Roseglass” and “Soaked in Pastel” find the perfect balance between moodiness and pop sensibility. The album is rife with as much raw emotion as it is danceable beats. If you’re a fan of dancing to Joy Division, the Cure, et al., then you’ll find a familiar home in House of Harm’s synth-laden landscapes that make you ask, “Is this tragically sad or touchingly romantic?” The best part about post-punk is that it is often both.
–Harry Gustafson
Kadeem, Who Cyan Hear Must Feel
Take a rapper with a flow that sounds like he’s never breaking a sweat – just effortlessly dropping bars off the dome – then throw some 70s soul samples at him. You really can’t go wrong, and Kadeem rarely does (c.f. the album he put out just a few weeks ago with Loman, Peace of Home). As the title implies, to be able to hear and react to music is one of the purest gateways through which we can express our souls. Sliding in at just under a half an hour total runtime, it’s the kind of album that you just want to restart after closing track “A + O” winds to a close. Also, Kadeem is an Arsenal fan, which would be enough to get me to support his music. Turns out it’s also very good music. Gunner excellence.
–Harry Gustafson
LAVAGXRL, Faith In Chaos
“Digital fairy pop” might be the best way to describe LAVAGXRL’s latest album. It’s certainly gorgeous at times, but LAVAGXRL’s production style affords room for plenty of dissonance. Icy synth pads, distorted vocals, and industrial influence easily find their way on tracks like “blood moon,” “save me,” and “demon.” Like a Hello Kitty doll dressed up like Trent Reznor, its bubblegum moments strike a nice balance with its more intense elements. With opener “incantation,” you might get the sense that LAVAGXRL has cast a spell on you. You’d be right, too.
–Harry Gustafson
Leopard Print Taser, Existential Bathroom Graffiti
Leopard Print Taser expanded their sound with 2023’s Existential Bathroom Graffiti, taking their fun punk ethos darker across the 11 tracks both sonically and lyrically. Songs discuss loneliness, fighting against capitalism, toxic masculinity, and more through blasting drum beats, guitar riffs, and chunky bass lines. Tracks like “Deep Dive” and “Tauroctony” are some of the most experimental ones with noisier guitar and talk-singing leaning into post-punk sensibilities. It’s fun to watch a band made up of Boston punk and hardcore veterans continue to experiment and have fun with one another.
–Christine Varriale
Luke Bar$, Angels Never Die
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Luke Bar$’s voice has a snotty-nosed punk quality that might sometimes distract from the depth of his lyricism. It’s not really the voice you expect to hear after the Life of Pablo-esque gospel choir of intro track “Faithful to the End.” But it might be the one you need to hear. Weighing the scales between mortality – both his own and that of those close to him (“4 Da Dead Homies”) – and the pursuit of a better life, Angels Never Die plays like its creator is hanging on the precipice of stardom. Guest features from Cousin Sties, Max Moody, Notebook P, and Dupes help ground the album that sets its sights on the most high (“I Feel Like Aaliyah”).
–Harry Gustafson
Nay Speaks, Nayborhood Healer
Nay Speaks has been lauded from publications like WBUR to local heavyweights like Avenue, and for good reason. She’s a talented songwriter, rapper, and singer bringing her personal perspective and love for Mattapan to every line in Nayborhood Healer. The production across the album is fun as hell too, best exemplified in tracks like “OverSplit,” “Nay Say,” and “Post Up.” I hope to see big things for Nay Speaks in the future outside of Boston.
–Christine Varriale
Niu Raza, Immigrant
Niu Raza takes us around the world, specifically Madagascar, with her latest album Immigrant. It represents her journey of being part of different cultures, which we hear in the Malagasy, French, and English lyrics. Niu is proud of her heritage and her name, and she makes the powerful statement that you should be saying her name correctly. “Immigrant” and “Homeless” blend a mix of afro beats, pop, rap, and a singer-songwriter feel, which shows Niu’s versatility and range of sound. If anyone can make you get up and dance, while also being in your feels, it’s Niu Raza.
–Tanvi Shah
NOVA ONE, create myself
The third album from Roz Raskin, the Providence singer-songwriter who records as NOVA ONA, finds them once again teaming with producers Bradford Krieger and Caimes Parker, whose cosmic rock tones give shape to Raskin’s 60s-inspired pop. Here they hardly sing above a whisper while dreamy guitars and thrumming bass drift in and out. “create myself” is a world worth getting lost in.
–Ben Bonadies
Paper Lady, Traveling Exploding Star
Paper Lady means business on Traveling Exploding Star – the five-song EP shows a newfound musical range and diversity for the dream-rock outfit. Somewhere between bedroom rock and shoe-gaze, the EP excites in its lack of compromise. Tracks like “Swan Song” and “Starcross” find lead singer Alli Raina’s voice peaking over the horizon of pedal-heavy riffing. “To the Moon” strips the group back with its bare-bones swing and shimmering guitar, while “Five of Swords” shows the ability to up and go for it with its pulsing beat and catchy melodies. The EP is crowned by “Violet,” a track filled with ominous lead playing and impressive harmonies. Both beautiful and haunting at every turn, Traveling Exploding Star leaves listeners with not only something to enjoy now, but with electrifying possibilities for what the group can do in the future.
–Mikey Shaffer
Pile, All Fiction
You knew it would be here. One of the best rock records from any location, Pile’s seventh album is a confounding affair that gives equal weight to catharsis and complexity. Pile are tough to classify, but All Fiction often slides into post-hardcore territory. Some of these songs are extremely dense and abrasive, without ever straying too far from melodic territory. And some of them revel in a quieter and more relaxed atmosphere. What defines all of these tracks is patience; the band never infuses too much energy, drawing out every idea to their agonizing conclusions. It’s a marvelous and mystical record that takes rock templates and destroys them from the bottom up.
–Andrew McNally
Pink Navel & Kenny Segal, How To Capture Playful
Eventually, some indie game developer is going to have the good sense to tap up Pink Navel to do a video game soundtrack. Alternative hip-hop is no stranger to nerd culture, but only a select few have the breadth of knowledge coupled with inventive lyricism to pull off what the Pink Navel is capable of. Take a song like “Character Select,” which really doesn’t have any semblance of narrative; like the title suggests, it’s a showcase of the rapper’s geekhood, an ongoing list of famous fictional characters that somehow finds an inscrutable rhyme scheme. On top of that, this effort finds Pink Navel teaming up with LA-based producer Kenny Segal, who already put out one of the best underground rap albums of the year (Maps with NY rapper Billy Woods). If they ever give up the rap game, Pink Navel could find a secondary career as an English teacher; who else is dropping vocal like “akimbo” in their bars?
–Harry Gustafson
Puppy Problems, Winter in Fruitland
The second full-length from singer-songwriter Sami Martasian under the name Puppy Problems is a stripped down set of earnest folk tracks. Driven by acoustic guitar and honest lyrics, the emotional songs do not lack energy and continuously groove. “Scissor Snip” crosses the border into slow core with its fuzzy guitar, while the pedal steel-soaked “Him or Me” stays folky and dry. The wavey and sunny “Rainbow Flag,” with its harmonies and simple arrangement (and tongue-in-cheek observation of the Boston music scene), gives a glimpse into the catchiness of these songs. Winter in Fruitland has not filter, with the thoughtful lyrics seemingly be conveyed just as they emerged.
–Mikey Shaffer
shallow pools, I Think About It All The Time
shallow pools’ I Think About It All The Time has hooks for days. They’ve truly perfected their pop rock sound on their full-length debut. Songs like “IHYK,” “Say What You Want,” and “Now or Never” will have you dancing alone in your room or out at a bar. How are they not the biggest band in Boston yet?
–Christine Varriale
Squitch, Tumbledown Mountain
Writing this makes it hurt all over again, but what a way to go out. Squitch really outdid themselves with Tumbledown Mountain, a record so good the band immediately decided to break up afterwards. You can read our exit interview with Emery, Denzil, and Kit that proves otherwise, but what should stick is the tunes on their final effort, which stand among the finest you’ll hear coming out the city this year. Whether it’s the scene diary as fight song “Little Apartment”, the pounding “Cowboy Song” (sadly not a Thin Lizzy cover), or the twang-y closer “Another Way”, Squitch built on their prior works, reining in some of the ranginess, while dialing up the near-telepathic interplay. to produce a platonically perfect collection of indie rock songs. I speak for everyone at AP when I say I’m eager as ever to hear what’s next from this crew, solo.
–Dillon Riley
ToriTori, Pocket Knife
ToriTori’s debut EP, Pocket Knife transcends beyond what we know as R&B. It incorporates a fusion of genres that manifests through her love of live looping. “Places” is the sassy bop we all need to remind ourselves that we don’t need anyone to take up extra space in our brains when we can focus on ourselves. She makes every performance an experience to remember and immerse yourself in. The prominent bass lines in “Places” and “Sundown” add to the multi-stylistic sound of the EP. Pocket Knife transports us to another realm through ToriTori’s imagery, beats, and empowering lyrics.
–Tanvi Shah
The True Faith, Go To Ground
The True Faith are bringing the darkwave party on Go To Ground, a cohesive nine song jaunt. Chorusy guitars, whirly synths, a drum kit coated in hall reverb, baritone vocals, and punk bass make GTG a refreshing take on 80s nostalgia that feels right at home on label à La Carte (tapes distributed via Candlepin). Travis Benson’s powerful vocals and the band’s tight songwriting kept me coming back to this January release throughout the year.
–Dan Moffat