Kelly’s EOY roundup — The Scene - Music, Radio, Zine (2024)

Returning to the world of music journalism was unexpected for me, having long departed from this realm. But when conversation sparks action, who am I to impede it? In truth, I'm the last person to interrupt momentum. I love doing things on a whim.

Coincidentally, the year we embark on this journey to build The Scene aligns with the return of some of my favourite artists. Yet, as I explore beyond the familiar styles, I find myself astounded by the wealth of talent discovered this year. Exceptional music is emanating from every corner of the UK and beyond, and we take pride in playing even a modest role in bringing this music to the forefront.

With so much incredible music, one end-of-year list isn't enough. I encourage you to explore the roundups from Josh, Nic and my partner - in The Scene and in life - Thom.

And now for my list. Not only are these my favourite releases this year, but they are without a doubt, creations that will stay with me for many years to come. So, in my entirely biased opinion and no particular order….

Top 10 releases

This is Why, Paramore

We try to protect what little airtime we have to offer for the acts who need it most, and this first selection does not fall within that category. I know Paramore does not need our help. But I can’t not talk about this record.

We listen to a wide range of music here, and while so much is so excellent, there’s none I feel I can directly relate to as much as I can with this record. Or anything really that Paramore has created. As a 30-something woman, living in the world we’re in, each track seems to have a turn of phrase that perfectly articulates the feelings I’ve been searching to express.

“Crave” is a stand out number, which I felt personally vindicated to learn was the encore song of their big tour this year. This band just continues to be exceptional.

Heaven Is a Junkyard, Youth Lagoon

I’ve not written about this record previously, mostly due to timing. We launched this magazine the same day Heaven Is a Junkyard was released and I couldn’t bear the thought of piggybacking off the success of a pal. Which might sound silly, because this record deserves every ounce of attention, and then so much more.

Trevor Powers, known by his moniker Youth Lagoon, has created a vivid story scape that’s both dark and light, gritty and awe inspiring. This album sounds more like Powers than, I think, anything ever has. Where “Rabbit” is touching and warming, “Deep Red Sea” sounds like what my memories feel like, and nothing feels more like driving through a dusty Treasure Valley than “Prizefighter” does.

It sounds like home, and I adore you for it.

The Great Overgrowth, SUDS

This is one I did already write about, as well as chatting to half the SUDS band at 2000trees, nearly smack in the middle between releasing their EP In The Undergrowth and this LP, The Great Overgrowth.

This is one of the sweetest records I’ve heard, which is an entirely insufficient way to describe it. There’s an effortless fragility, juxtaposed against the complexity of exasperation, while beautifully blending the best of British and American indie/folk stylings.

Listeners will truly feel like they’re pulling through the weeds and reaching a clearing. As I wrote in my review, this record “will undoubtedly be a poignant companion for anyone seeking direction and hope in a season of change.”

I just love it.

Ubiquity, Haunt the Woods

Quite a few things took me by surprise this year, and Haunt the Woods is one of those things. I feel as though we’ve come full circle at this point, reviewing the album, interviewing the band and finally seeing the new tracks played live at one of Bath’s Mole venue final shows.

As I wrote in my review, Haunt the Woods possesses that rare ability to artfully balance all the elements of a fantastic rock song. This release is full without being excessive, poetic without pandering, balanced between forceful highs and the softest lows. Month’s later, I continue to be impressed with every piece.

Mono Tape 5: Lower Your Voice, Bradley Hathaway

One of the greatest joys of running your own magazine, besides endlessly talking about music, is as I alluded to early on in this review, giving airtime to the artists that I love. I’m so proud that one of our most visited writings this year continues to my review of Mono Tape 5: Lower Your Voice from Bradley Hathaway.

It was another of those surprises to find that this artist I so admire is still creating and sharing music. For anyone looking for real, authentic American folk music, everything from Hathaway is a must listen. This release aroused some of our most thought-provoking and stimulating conversation around the kitchen table.

Make (Less) Babies, The Guru Guru

I joked when penning the review for this one that every song is my favourite song. But they’re all so good! I haven’t heard anything like this release in a long, long time, and almost forgot how passionately I love this style of art rock.

I did get to chat to the group at ATG before the albums release, but I did not know then what I know now! While the band’s live show sits a bit on the heavier, noisier, slightly-more-chaotic-side, this records sound of fuzzy guitars, the lo-fi vocal distortion is reminiscent of early noughties garage rock in the best way. It has some of the best bass playing, and the thoughtful melody layering, that allows for poignant moments of complex, swelling phrases. This is so good.

Wildfire, Justin Mark Richards

This enchanting solo EP was one of the first things I reviewed for this magazine. My admiration for Justin Richards spans many years, and I have eagerly anticipated every release. Even as his music diverges from the alt-rock roots we initially associated with Richards, it gracefully transitions into the country style that he appears destined to master.

As I wrote in my review, this EP is “the most honest and open portrayal” we’ve ever seen from Richards. It stands out as one of the most romantic records you are likely to encounter. I’ll never stop gushing.

Wildflower, Slow Joy

Several surprises came my way this year, but Slow Joy was the only one that managed to elicit an actual gasp from me. I'm not sure if I can convey my thoughts about this EP, and the latest single, as eloquently as Thom did in his end of year review. But I’ll try.

When you’re open to it, the best things have a way of finding you (and for that, I owe a significant thank you to one of my closest friends for propelling this connection).

The Wildflower EP is an intensely raw and honest exploration of grief. Songs like “Crawl II” deliver emotions so vivid you can almost taste them. But nothing hits as hard as the final single “I Don’t Hate You”, which Esteban Flores - the man behind the southwest emo solo project - shared with us closes the book on the ‘Wildflower era’.

This is incredible already, and considering what’s ahead for Flores, we can’t wait.

Empty Airports, Aiming for Enrike

We spoke to the Oslo-duo at ATG this summer, and their album Empty Airports, which was released in January, was another of this years surprises. They were unexpected and I am utterly mesmerised.

“Feel No Threat/Absent Lovers” is a stunning tune, “Slopes” might actually be the most romantic track I’ve ever heard (all without any lyrics), but “The Castle” is definitely the most haunting piece I’ve ever come across.

While I listened to this record many times, and purchased the vinyl along with everything else in this list, it was this older live stream on Youtube that got me through hours of agonising work through the second half of this year.

This is incredible musicianship, please check them out.

Post-Genesis, Lake Malice

Best for last, right? Another friend that we will shamelessly plug with every last breathe, I could not be more proud and impressed by everything Lake Malice has achieved this year. Not to mention, being exceedingly gracious.

By chance, this duo was our first magazine interview at 2000trees (which at the time felt burdening but is now something I’m so grateful for) and granting us another after an exceptionally long day for us all at MLC.

You can read Nic review's of Post-Genesis, but as I haven’t penned one yet, the tracks from Lake Malice this year show immense growth, hard work and dedication. Each time I listen back, I am astounded and impressed. As I tagged into Nic’s review, while every song can be considered strong, the latest single “Mitsuko” is especially powerful. I think every woman will identify with the feeling behind Guala’s voice in the track’s final 20 seconds as she repeatedly screams,“This is not about you, it’s everything you make me go through.”

Your achievements have nothing to do with me, but I am so proud.

Let’s just make it top 12, shall we?

Think I’m Gonna Die, KC Rae

KC Rae is another of those artists I’ve been following for many years, eagerly awaiting any artistic release and always thankful when it arrives.

Think I'm Gonna Die is a beautiful collection from Rae and it is one of my favourite releases this year, even if I only just published my review this week.

As I wrote in that review, “There are no weak players in Think I'm Gonna Die. Every track occupies its own space gracefully and harmonises exceptionally well collectively.” Rae has an incredible ability to give memory a sound, creating texture and near-tangibility. This mix of sensory, simple lyricism and vocal softness blend into this incredible ability to create music that sounds like my deepest, most complex feelings.

The Laughter & One, Lawi Anywar

My last surprise again came at ATG while hovering at the fringes of the Elephant in the Bar Room between interviews. Grooving vibes captured all of my attention. This year Anywar released a double A-side, titled The Laugher & One featuring the live staple “The Laughter” and “Phone”, and penned special for us some of the most thoughtful insight into the two songs.

We didn’t get a chance to catch up with Anywar this year, but that is absolutely in the cards / on the table / high up my to-do list for 2024.