Lenderman, M J

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    Best Albums of 2024: Charli XCX, Mk.gee, MJ Lenderman and More

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    Charli XCX, Mk.gee and MJ Lenderman top our pop music critics’ lists this year.Jon Pareles | Jon Caramanica | Lindsay ZoladzJon ParelesConcepts, Craftsmanship, Sensuality and Tidings of ApocalypseThe agendas for 21st-century musicians keep getting more complicated. They can try to out-game streaming and social media algorithms, stoking the celebrity-industrial complex or steadfastly ignoring it. They can lean into idiosyncratic artistic instincts and intuitions. They can channel the zeitgeist or defy it. Of course, listeners have choices as well. For me, there was no definitive musical statement for 2024, no obvious pathbreaker. But there were plenty of purposeful, heartfelt, exacting and inspired individual statements. I gave the top slot to a project that strove mightily to unite a glossy sonic (and online) presence with surprising confessions. But song for song, the rest of the list can easily stand alongside it. And if there’s more than a little apocalyptic gloom in these choices, well, that’s 2024.1. Charli XCX, ‘Brat’ and ‘Brat and It’s Completely Different but Also Still Brat’The year’s conceptual coup belonged to Charli XCX. “Brat,” the album she released in June, used dance-floor beats, blippy synthetic hooks and meme-ready graphics as she assessed just where she stood as a pop striver in her 30s, more than a decade into her career: pushing, partying, wondering whether to set it all aside to have a baby. Somehow, “Brat” landed as a full-fledged hit — and by September, Charli XCX had rewritten all the tracks and added star collaborators, dispensing hooks while trying to keep a level head about success. Amid all the hyperpop gloss and online chatter, she still sounded honest.2. Brittany Howard, ‘What Now’Brittany Howard’s second solo album tackles the contours of a relationship that is fizzling out.Ariel Fisher for The New York TimesBrittany Howard lays out the ragged emotions of a crumbling relationship on “What Now”: numbness, mourning, second-guessing, guilt and furtive glimmers of relief. While the tracks are rooted in soul, rock, R&B, funk and disco, they turn familiar styles inside-out with targeted distortion and surreal, displaced mixes. The songs capture all the disorientation that comes with a life-changing decision.3. Vampire Weekend, ‘Only God Was Above Us’Vampire Weekend’s once-meticulous musical universe gets punctured by noise on “Only God Was Above Us.” Its fifth album grapples with how what used to be called indie-rock can face a new pop landscape, and how determined innovators can keep pushing themselves. The answers include history lessons, quasi-sequitur lyrics and constantly morphing studio arrangements — a running, enlightening battle between strict song structure and an unruly world.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Meet MJ Lenderman, Southern Rock’s Tragicomic Poet

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      Hear tracks from his new album, “Manning Fireworks,” and more.Erin BrethauerDear listeners,One of my favorite albums of the year comes out today: “Manning Fireworks” by the North Carolina singer-songwriter-guitarist MJ Lenderman, a young artist with an old soul and a keen eye for observational detail that makes his canted portraits of small-town life come alive. I believe so strongly that Lenderman is worth your time that today’s playlist is an introduction to — or, if you’re already familiar, a refresher on — his music and his surrounding scene in Asheville.There’s a fine art to writing songs that are both comedic and heartbreaking, but Lenderman has the knack: His best lines smart like resounding wallops to the funny bone. “I wouldn’t be in the seminary if I could be with you,” he howls atop jangly, bittersweet chords on “Rudolph,” a single from the new album which you’ll hear on today’s playlist. I love that lyric because it showcases one of Lenderman’s songwriting superpowers, his sense of concision. There’s basically an entire tragicomic short story in those 12 simple words.The drollness and economy of his writing sometimes reminds me of the great folk singer Bill Callahan, so I wasn’t surprised when Lenderman mentioned, in Will Hermes’s recent Times interview, his love of Callahan’s earlier project Smog. Other Lendermanian touchstones include, to my ears, the shambolic blaze of Neil Young and Crazy Horse, the twangy sparkle of early R.E.M. and the sad-sack poetry of the Silver Jews frontman David Berman. But another thing I love about Lenderman’s music is the way he manages to carry the weight of rock history with both sincerity and an irreverent lightness. “Rudolph” and the final song on this playlist, “Knockin,” riff on Bob Dylan lyrics, while the new album’s closer, “Bark at the Moon,” is, in part, about playing the titular Ozzy Osbourne tune … on Guitar Hero.In addition to his solo work, Lenderman is the guitarist in the punky Southern rock group Wednesday and has also played on records by indie mainstays like Waxahatchee and Indigo De Souza. I’ve included tracks from those artists, too, to give a wider sense of Lenderman’s musical milieu.I don’t know what fans of Lenderman call themselves — Lenderheads? Lendermen? Lendermaniacs? — but regardless, count me among their ranks. Perhaps you’ll join us, too.Don’t move to New York City, babe, it’s gonna change the way you dress,LindsayWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More