A gem for me this year has been the collaborative project between the veteran minimalist composer Chihei Hatakeyama and jazz drummer Shun Ishiwaka, Magnificent Little Dudes Vol. 1. It’s an album I stumbled upon, not being familiar with either artist, but which has taken me down many rabbit-holes and soundtracked my year. 

The descending refrain opening the song isn’t unusual but attention is instantly attracted as it’s played on a harpsichord. Equally instantly, an elegiac atmosphere is set. The voice, coming in just-short of the 10-second mark, is similarly yearning in tone. The song’s opening lyrics convey dislocation: “You and I travel to the beat of a different drum.”

Does absolutely everything have to get more difficult with each passing year? Apparently so. The amount of time I’ve spent deciding which of the many truly excellent albums I’ve reviewed this year should get the ‘top prize’ has, frankly, been ridiculous. I’m not an indecisive person. And, for God knows that reason, I feel personally loyal to the artists upon whom it would have been easier to bestow this huge honour (Nadine Shah, Elbow, Joan as Policewoman, see below). I am choosing the road less travelled. Sort of.

Mk.gee has been an unexpected thread in a year of music that’s pulled me in many different directions, punctuating the need for unique, sonically interesting music alongside the huge pop and rock albums that we’ve also been treated to in 2024.

Young eldritch junkie Nick Cave would have struggled to predict his maturity as a font of wry and sacred wisdom, or the fathomless loss he reckoned with en route.

A reissue can be an aide-mémoire, a reminder that a record which has been off the radar for a while needs revisiting, that it deserves fresh attention.

Beth Gibbons’s latest album touched me more deeply than most of what I heard in 2024. She’s true to herself and honest in a way that’s extraordinarily disarming. Her vulnerability matches, in a microcosmic and yet authentic way, the unutterable pain and suffering that has coursed through the year, amplified by the media-boosted repetition of horrific news cycles.

From the iconic Pop anthems that dominated this Summer, to the Pop Punk resurgence that is still going strong, it’s been an exciting twelve months of new music. I haven’t struggled to choose an album of the year, but I acknowledge that my choice is in great company. To Dream of Something Wicked by Mat Kerekes deserves a mention before I continue, the solo career of the Citizen lead singer receives a criminal lack of attention, and his latest album is a perfect addition to his growing catalogue.

Back in November Katherine Priddy released a winter single with the Poet Laureate, Simon Armitage, “Close Season”, wrapping the spirit of winter and snowfall into the uncertainty and possession of attraction, possession, desire – warm things that glow in the seasonal dark.

Travis arrived onstage with the theme tune from classic sitcom Cheers as an accompaniment. The cavernous OVO Hydro might not be a place where everyone knows your name, but a Glasgow homecoming by local lads made good certainly tapped into a festive vibe of friends and familiarity, with singer Fran Healy making ample reference to the group’s roots during their set.