2024 was a standout year for music, filled with exceptional releases and unforgettable moments. While mainstream artists dominated the spotlight—dropping blockbuster albums, headlining NFL halftime shows, and filling arenas—the indie music scene also thrived. From Cheekface’s It’s Sorted (New Professor Music) to Vincent Lima’s Versions of Uncertainty, the indie community delivered some of the most creative and expansive music of the year. While we can’t highlight every noteworthy indie release, here are some of CONE’s favorite albums from the past year.
Cheekface, It’s Sorted (New Professor Music)
It’s Sorted (New Professor Music), the fourth album from sardonic LA power trio Cheekface, dropped early in 2024 without any warning or preamble. This surprise release arguably became one of the main reasons it resonated so deeply throughout the year. As the saying goes, the first cut is the deepest, and Cheekface’s razor-sharp wit came armed with sharpened knives. But it’s not all about endlessly quotable lyrics. Highlights like “Life In A Bag” and “There Were Changes In The Hardcore Scene” are some of the band’s catchiest songs to date, matching bright, jangly guitars with earworm melodies and idiosyncratic musical quirks. The band knows they’re an acquired taste, but instead of backing down, they’ve doubled down on it—and if you’re not on board, they’ve got it covered without you.—David James Young
Vincent Lima, Versions of Uncertainty
Vincent Lima is a rising figure in the indie and alternative music scenes, known for his exceptional vocal delivery and genre-blending sound. Drawing inspiration from rock, folk, and violin, his music often explores themes of introspection, uncertainty, and personal growth. His 2024 album Versions of Uncertainty showcases the more refined and experimental side of his artistry. The album seamlessly blends acoustic, electronic, and atmospheric textures, highlighted by Lima’s soothing yet haunting vocals. The arrangements are lush, with intricate layers of instrumentation that amplify the emotional depth of the songs. Standout tracks like “Eurydice” and “The Fire” highlight Lima’s lyrical vulnerability and the layered production that defines the album. Its cohesive feel makes Versions of Uncertainty a unique listening experience. The fusion of introspective lyrics and experimental soundscapes sets it apart, making it a must-listen for fans of emotionally charged music.—Andrew Nelson
Chimers, Through Today (Poison City)
What began as a last-resort pandemic project between a restless husband and wife has become one of the more unexpected success stories in Australian music this decade. Chimers‘ raw take on proto post-hardcore has won them fans like Henry Rollins and Mudhoney. And on their second album, they’ve developed a better understanding of what they’re capable of. Through Today is more refined and better produced than their 2021 debut, thanks to Jonathan Boulet of Party Dozen. However, this newfound polish doesn’t dilute the band’s urgency and intensity—in fact, their deceptively powerful two-piece sound resonates even more clearly this time around. To borrow a phrase from the Beastie Boys, Chimers have once again delivered the sound from way out.—David James Young
Frenzee, What’s Wrong with Me (Poison City)
These three Greek siblings are the offspring of George Xylouris, one of the country’s most renowned folk artists and a globally recognized bouzouki player. This background is noteworthy, though you’d never guess it by listening to What’s Wrong with Me, Frenzee’s anarchic, riotous 21-minute debut album. The record is more Amyl & The Sniffers than Athens—an unapologetic burst of righteous rage, with shredding guitars and flurrying drums crashing together like an unstoppable force meeting an immovable object. At the forefront is frontwoman Appolonia Xylouris, whose gnashing delivery and politically charged, feminist diatribes take center stage. It’s the soundtrack to smashing things in a celebratory manner—crockery optional—and easily one of the best debuts of the year.—David James Young
Party Dozen, Crime in Australia (Grupo)
Sydney noise-rock duo Party Dozen has never followed the conventional path. From their 2017 debut The Living Man, the sax-and-drums duo pushed boundaries—boundaries that, by now, have long been transformed into makeshift confetti. Even so, it’s to the band’s credit that they continue to find new ways to expand their sonic palette on their fourth album. From the bongo-driven disco inferno of “Coup de Gronk” to the shimmering shoegaze of “The Big Man Upstairs” and back again, Crime in Australia is their boldest and most expansive work yet. It’s the farthest Party Dozen have ever flung themselves creatively, which says a lot given their catalog, and the high-risk has delivered high reward. Fearlessly experimental and unapologetically energetic, Crime in Australia takes the band directly to the world.—David James Young
The Singer & The Songwriter, Dreams! The Dead! Ghost! Future (Independent)
There was no great fanfare accompanying the release of The Singer & The Songwriter‘s third album—no themed summer, no viral TikTok moments, no online discourse. In fact, this lack of hype is part of what makes Dreams! The Dead! Ghost! Future feel like it comes from a time when such distractions didn’t exist. The stark, acoustic record unfolds like a quiet, intimate experience, immersing the listener in an isolated space. The stark, acoustic record unfolds as an intimate, isolated experience, with Rachel Garcia (The Singer) and Thu Tran (The Songwriter) reflecting on working-class struggles and familial memories. It feels as though you’re the only one in the room. With both melodic warmth and raw honesty, Garcia’s plaintive voice intertwines with Tran’s guitar, leaving a lasting emotional impact long after the final notes have faded.—David James Young
Wagging, My Own Private Rodeo (Wagging Industries)
The debut album from North Carolina indie-pop trio Wagging dropped so early in 2024 that some listeners were still nursing New Year’s Eve hangovers. With a release date of January 5, it was nearly lost in the post-holiday shuffle—but for those sharp enough to catch it, My Own Private Rodeo offered a warm dose of pristine indie pop. The album’s vocal harmonies, irresistibly sweet, could melt in your mouth (“Alien”, “Bound”), while its steely bass grounds the warbling guitars and syrupy synths. Unpretentious and utterly endearing, it might just be one of the year’s most underrated records of the year. Saddle up and take a ride—you’ll be glad you did.—David James Young