2024 Not Metal Year-End Review

While we're all about keeping it real here at Firesideometer, windmilling and donkey-kicking our way through every circle pit in town, sometimes even the most hardened riff junkies need a breather from all the br00tality in the world. There are days when (whisper it) Prostitute Disfigurement or Torsofuck just don’t fit the vibe. For those moments when our ears craved something less pulverizing but just as captivating, these albums delivered the goods. From Trentemøller’s cold, atmospheric dreamscapes to Jonny Polonsky’s glam-tinged indie rock gems, these artists proved that not all intensity requires machine-gun drumming, absolutely disgusting riffs, or lyrics about rape, murder, and medieval torture methods. Without further ado, enjoy our Top Ten Not Metal Albums of 2024.

Trentemøller -  Dreamweaver

It’s been a while since I last checked in on Trentemøller, and Dreamweaver is a surprising departure from what I expected. The album blends somber, atmospheric slowcore with M83-inspired electronic dream pop and a touch of new wave, reminiscent of The Cure. Iceland's Disa Jakobs is the real surprise here–her ethereal vocals perfectly complement the album's cold, distant vibe, easily making Dreamweaver one of the most hypnotic albums of 2024. - Eric Gmutza

Rachel Chinouriri- What A Devastating Turn Of Events

What an album title! It was the sole reason I decided to check out this album, and I’m so glad I did. From the first listen, Rachel pulled me into her world, and I never really left. The title itself is so stark and provocative—you can’t help but wonder about the events behind it. Once you dive in, though, you’re met with a remarkably fresh British indie record that blends rock, soul, indie, and R&B into something both cool and contemporary. ‘Garden of Eden’, the opening track, sets the stage with a clicking tape loop, while ‘The Hills’ delivers an indie rock vibe, and ‘Robbed’ turns into a sultry ballad. Her vocals are a perfect balance of sultry and gritty, never overwhelming, just drawing you in. - Chris Coleman-Peers

Cities Last Broadcast & Fractalyst - Phantasmora

A couple of years ago, I reconnected with a dormant love of Dark Ambient music and found Cities Last Broadcast to be an excellent modern carrier of the torch. This set with Greece’s Fractalyst is everything I love about the genre: dark, chilling washes of sound and recovered voice recordings that serve as the soundtrack to a Lovecraftian nightmare. Speaking of Lovecraftian nightmares, honorable mention goes to Lustmord’s latest (and also great) release Much Unseen is Also Here.  - Brian Gmutza

Jonny Polonsky - Supernatural Radio

Another year, another showcase of Jonny Polonsky’s gift for crafting songs that you’ve never heard before, yet feel you’ve always known. On Supernatural Radio, Jonny embraces his glam rock influences, often delivering vocals in a Marc Bolan-esque whisper—something I’m not always fond of, but the quality of the songs overpowers that personal preference. The album’s standout tracks include the unpredictable, winding journey of ‘Bottom Feeders, Leaders & the Rank and File,’ the catchy, Frank Black-esque ‘Go, Go, Goddess!’ and the hauntingly beautiful ‘In Deepest Dark’. I had the pleasure of seeing Jonny live at a record store performance in 2024, and it was one of the most memorable shows I’ve ever experienced, and the man was a total sweetheart to us all after the show. Further proof that you absolutely should meet your heroes…if you’ve got one of the good ones. - Eric Gmutza

Tears Run Rings - Everything in the End

It’s been eight years since their last record In Surges, and the band came storming back with the best Shoegaze record I heard this year. Everything in the End calls back to the genre at its birth, with guitars bathed in effects and ethereal vocals designed to make even the most jaded shoegeezer (among which I count myself) swoon. They wear their influences on their sleeves, but it all comes together brilliantly enough to be forgiven. Honorable mention also goes to Air Formation’s self-titled record, which was also a very welcome return after a six year break.  - Brian Gmutza

Pete Yorn- The Hard Way

Before hearing this album, I could have sworn I’d come across some of Pete Yorn’s work before. But once I hit play, I realized I hadn’t. It’s strange, given that I know his name and am aware he’s been a fixture on the fringes of the rock/indie scene for quite some time. That made it all the more special when the first track, ‘The Hard Way’, kicked in—its “ooh, ooh” refrain in the chorus is just beautiful, warm and inviting. That sense of warmth and intimacy flows through the entire album. Pete's voice is stunning, the production is clear and intimate, and the record just sounds lovely. It’s the perfect soundtrack for a rainy Sunday afternoon, curled up in front of a log-burning fire.- Chris Coleman-Peers

Pat Metheny - MoonDial

I love everything that Pat does, but this is an exceptional collection of solo pieces done on baritone guitar with no overdubs. It’s a quiet, contemplative album that is the perfect soundtrack for an evening alone with a glass of bourbon and your thoughts. - Brian Gmutza

Ezra Collective – Dance, No Ones Watching

Ezra Collective have been a prominent force in the UK jazz scene for over a decade, and I’ve been a devoted fan since hearing their debut album Juan Pablo: The Philosopher back in 2019. The band masterfully blends jazz, funk, soul, and rock into a modern, dynamic sound that’s been garnering widespread attention. It’s clearly paying off—this year, they won the Mercury Music Prize for their latest album, Dance, No One’s Watching. This record is grown-up party music, and it’s a lot of fun. The band’s musicianship is exceptional, and the album’s feel and flow are both expansive and warming. To be honest, I may write for a rock and metal site, but this is the kind of music I find myself gravitating toward most of the time. - Chris Coleman-Peers

Starflyer 59 - Lust for Gold

Starflyer 59 continue the roll they’ve been on since 2019’s Young in My Head, immersing listeners in a moody, surfy atmosphere, where shimmering guitars and introspective lyrics make for a quiet, reflective alternative to my usual diet of thrash and death metal. Jason Martin, who has been grappling with themes of aging and artistic relevance for decades now, delivers songs that remain as resonant as ever—proof that reflection and reverb never get old. It’s timeless and authentic in a way I found myself wishing Frank Black and the Pixies could have been for me in 2024. - Eric Gmutza

Uncle Acid & the Deadbeats - Nell’ Ora Blu

After five albums of Occult Stoner Doom Rock, Uncle Acid & the Deadbeats took a hard turn to Nell’ Ora Blu, an album that can only be described as a love letter to 70’s Italian gialli. It’s a cinematic story with vintage keyboards and bits of spoken dialogue done by veterans of the Italian film scene that really must be taken in as a whole to be appreciated. It’s definitely an album that requires a certain frame of mind for listening, but it’s mesmerizing if you’re so inclined. - Brian Gmutza