2024 was a great year for music, seeing releases from legendary acts (The Cure, Kendrick Lamar, Beyoncé), upcoming and budding artists (MJ Lenderman, Doechii, Mk.gee), and some of KCOU staff’s all time favorites (Charli xcx, JPEGMAFIA, Adrianne Lenker). Collectively, music staff ranked their personal favorites, which was averaged to create this top 20 list of albums. DJs then wrote blurbs detailing what makes these records so amazing. Keep reading to see what we love about different albums, and maybe you’ll be convinced to spin one of these standout releases from this past year!
20. Songs Of A Lost World – The Cure
Songs Of A Lost World is The Cure’s fourteenth studio album, released on November 1st, 2024 following a suspense-filled album rollout, and ending the 16-year drought of new music from the band.
The opening track “Alone” rings in a dramatic start to the album. Listeners are thrown into an all-surrounding ocean of sound; layers of strings and echoing drums are accompanied by Robert Smith’s lyrics, lamenting the lost-ness that comes with getting older. The orchestral sound remains in “And Nothing Is Forever,” an obligatory Cure-album love song, before it’s replaced with a guitar-heavy atmosphere and darker lyrics in “A Fragile Thing” and “Warsong.” The thickening atmosphere culminates with “Drone:Nodrone,” the album’s heaviest and most fast-paced track, with synth arpeggios and a growling bassline that adds to the urgency.
We return to a more somber tone with “I Can Never Say Goodbye,” which extends into “All I Ever Am.” The album ends, aptly, with “Endsong,” beginning with slowly-layering instrumentals and ending with compelling vocals from Smith grieving the loss of the life he once lived and the relationships he once had. The last few seconds of the track itself are definitive, not just tying off the end of the song but the entire album.
This is definitely The Cure’s most cohesive album, and the most cohesive album I’ve listened to in a very long time. Themes are woven through every track, both lyrically and instrumentally. However, each song remains unique, while carrying echoes of tracks and albums before it; the overarching theme of getting older, and the pain that comes with it, bears resemblance to Bloodflowers (2000). Synth lines echo Wild Mood Swings (1996), while Songs Of A Lost World brings a modern twist on the 80s-era denseness to their sound that was lost in The Cure’s post-2000 albums.
As a longtime Cure fan, it’s great to see the praise this album is receiving. The past 16 years certainly shine through in each track, and they’ve paid off, too; Songs Of A Lost World earned the band their first U.K. No. 1 album in 32 years (the last being Wish in 1992). by Anvitha Boosani
19. Submarine – The Marías
The Marías’ Submarine is a sonic dive into uncharted waters, blending the familiar intimacy of bedroom pop with the magnetic pull of the dancefloor. The oceanic motif isn’t just a concept—it’s a mood and feeling that seamlessly saturates every note. Synths ripple across the album, merging with melodic bass lines and ethereal, dreamy vocals that invite you to get lost in the tide. Tracks like “Vicious Sensitive Robot” capture the band’s unguarded emotional sensitivity. At the same time “Lejos de Ti” reminds listeners of the band’s ability to craft universes where language barriers dissolve into pure mood. The bilingual vocals from María Zardoya enhance the album’s charm. Allowing the track to transition between genres, emotions, and languages fluidly. The Marías soak their lush, intricate instrumentals into lyrics that feel deeply personal, yet universally applicable. They traverse genres, languages, and emotional tones with ease, creating a project that feels like floating between dimensions. Submarine is a project with the kind of catharsis only music this immersive can provide. by Chase Zeller
18. COWBOY CARTER – Beyoncé
In Beyonce‘s second act, Cowboy Carter, Beyonce doesn’t just provide her entry into country music, she is reclaiming it. Beyonce boldly ventures into the roots of country music and like Beyonce always does, flips it on its head with more precision and prowess than ever. The album is a vocal exploration of the foundational contributions to country music made by people of color. The album, born out of a painful 2016 experience at the Country Music Association Awards, where she was met with both sneers and vitriol despite her Houston roots, is Beyonce’s assertion of her rightful place in a genre undermined by its ubiquitous racism and sexism. This album doesn’t aim to be a ‘country’. Cowboy Carter is not a country album, but a Beyonce album. It reimagines Americana by steeping in cajun country, folk, and gospel, which are used to confront the long-overlooked contributions of black artists to the genre.
In every sense, Beyonce excels throughout this album, a magnum opus to her vocal virtuosity. She ties genres from folk to rock n roll to create an atmosphere that expands on the common imagery and banter associated with country music. Beyonce carves out her own space – doing it her way. “American Requiem” paints Beyonce as a deeply political figure, her voice echoing with righteous fury indicating American hypocrisy. But it’s not all anger; the album’s tone shifts with the haunting, hopeful cover of “Blackbird” and the easy-grooving “Sweet ★ Honey ★ Buckiin’,” where Beyoncé masterfully blends the melancholy of classic country with modern-day trap beats. Beyonce doesn’t just bend, but she breaks the rules, to create a sonic blend that beckons us to look toward the future.
Beyoncé deconstructs and redefines these genres, reshapіng them into something entirely her own. By mixing genrеs that have long been dictated by white narratives with her multifaceted cultural heritage, she opens up a new world of sound and storytelling reaching for the future but also for the neglected past. Through this album, Beyoncé does not merely nod to tradition; she rеvises it, acknowledging the roots of country music while rejecting the genre’s mainstream erasure of Black artists. Her sound is both an homage and a challenge to the convеntions of country music. In Cowboy Carter, Beyoncé demonstrates that the future of music, much like the future of the country itself, is not a return to old tropes or tired fоrmulas, but a bold reimagination where all voices are invіted to contribute, shape, and redefine what came before.
by Chase Zeller
17. The New Sound – Geordie Greep
Geordie Greep’s first solo album after the unfortunate parting of Black Midi is nothing if not new. The New Sound, released at the beginning of October, is a combination of Black Midi’s familiar style – intense guitar and rich, harmonic vocals – and Bossa Nova. Greep delves into an intense character full of idiosyncrasies and perversion, masking a longing for comfort and mixed emotions about lovers. While a lot of people believe this album to be too much, I think it is perfect. Greep pushes all the buttons he can lyrically, and the intense beauty of the album’s composition almost brings you to make excuses for him. He describes the inspiration for this album being from observing the intensity of people in the modern age and how that makes our relationships with others and ourselves complex. He takes on the role of a deeply insecure man almost to a ridiculous level to poke at its absurdity while also making listeners sympathize with someone they also feel disgusted by. And although I think that idea is stellar, and he pulls it off well, the music is what really shines here. You could listen to this album five times and still hear something new the sixth time around. The best song is hands down Track 10, The Magician. The duration might intimidate you but just trust me. by Kenzie Ripe
16. “NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD” – Godspeed You! Black Emperor
Canadian Post-Rock legends Godspeed You! Black Emperor’s 9th album No Title As Of 13 February 2024 28,340 Dead is a droning masterclass in soundscapes whose music style feels like a representation to the somber realities of its title. No Title As Of 13 February 2024 28,340 Dead’s sound is one that resonates with the horror facing Palestinians on the Gaza strip. While the album is defined by its droning and bleak sound, there are moments of hope and ambiance that shimmer bright. Despite its on the nose title, No Title As Of 13 February 2024 28,340 Dead is not as explicitly political as some of the band’s earliest works. Outside of a single sample of a Palestinian child, the album uses the sound of droning guitars, bleak violins and ambient drones to tie the album together into a haunting and eerie landscape that creates an impactful emotional experience. Across the records 54 minute runtime, No Title As Of 13 February 2024 28,340 Dead creates an emotional experience that mirrors the grim realities of genocide and apartheid, while also advocating for resilience amongst the destruction. More poetic than practical, No Title As Of 13 February 2024 28,340 Dead builds contrast between the lightness and darkness, between melodic tracks like ‘BABYS IN THUNDERCLOUDS’ and BROKEN SPIRES AT DEAD KAPITAL to more apocalyptic tracks like RAINDROPS CAST IN LEAD. This distinction between bleakness and melodic tones shows the realities of ethnic genocide and the innate courage of the Palestinian people, where constant devastation is often met with an enduring spirit of resistance. While no words or sounds from an American band will ever be enough to encapsulate the scale of suffering the Palestinian people have faced across the last through the rubble, entire cities have collapsed to dust, and yet the album’s melancholy cradle a message of defiance. No Title As Of 13 February 2024 28,340 Dead laments for those who’s lives have been lost and provides a hope that can flicker in sparse moments of clarity. The same hope that is hidden behind the desolate atmosphere of hypnotic droning instruments and tape loops, is the same hope being pushed as a call to free and safe Palestine.
by Esther Brandwein
15. Cold Visions – Bladee
Bladee’s journey through the panopticon of pop culture has been a decade-long experiment in evolution. Having first emerged in the crowded SoundCloud scene of the mid-2010s, the Swedish artist quickly made his mark with tracks like “Who Goes There” (2016) and the 2017 mixtape Working On Dying, named after the production collective that shaped much of his early sound. As Bladee’s fame grew, so did his enigmatic aura, moving from underground music communities like Rate Your Music and /mu/ to mainstream spaces, where he has now collaborated with Charli XCX and has modeled for Marc Jacobs. However, the Bladee of today is far removed from the artist who once was embodied by his chaotic, clouded energy. As he approaches his thirties, Bladee has embraced a more mellow, bubblegum-pop sound. Yet, on Cold Visions, Bladee revisits his earlier, darker styles. On Cold Visions, Bladee reflects on the grim reality of aging out in an industry that prizes youth. Cold Visions taps into his most morbid and introspective impulses, showcasing a more vulnerable, pessimistic side of the artist that contrasts sharply with the upbeat, experimental tones of previous works like 333 and Icedancer. The album is a panic attack in sonic form: dark, anxious, and deeply existential. Bladee’s reunion with Working On Dying producer F1LTHY marks the first time in years that they’ve teamed up. This collaboration brings Bladee back to the sound of his and his affiliate’s early career while simultaneously propelling his artistry forward. Cold Visions functions as both a love letter to his roots and a reflection on the weight of his journey so far. What stands out most about Cold Visions is its cohesiveness. Despite the ambitious scope of its 30 songs, the album flows seamlessly, with each track blending into the next. The listener is swept into a continuous experience where the album’s emotional and sonic journey feels uninterrupted. This sense of cohesion is something Bladee’s previous works have lacked, but here, it elevates the project, making it feel like a singular vision rather than a scattered collection of tracks. At 30 years old, Bladee’s Cold Visions marks a new chapter in his career: an artist coming to terms with his past, confronting the present, and looking uncertainty toward the future. by Esther Brandwein
14. Bright Future – Adrianne Lenker
No one’s writing breakup albums like Adrienne Lenker. Composed with heartbreaking lyrical feats and folk melodies with no flicker of attenuation to the genre, Lenker’s artistry was unparalleled in many ways this year. Standout songs like “Sadness as a Gift” and “Free Treasure” make Bright Future one of the best 2024 had to offer. After her popular albums songs and abysskiss as well as an impressive repertoire with her band Big Thief, Lenker released her newest album Bright Future, in which Lenker’s beautiful vocals are well paired with her heartbreaking lyrics that tells a beautiful story of the complexity of love and relationship. Lenkers lyrics are one of the most beautiful and powerful aspects of the album depicting the hardship and beauty in love, grief, relationships, life, and a person’s role in the world. Another stand out track on this album is “No Machine” which focuses on wanting to understand your partner and to know them and their world. Lenker grapples with the idea of living in a world without her partner and what that would look like. The line “to the ocean of your love, I am a river” stands out in this track, Lenker expresses how she is a mere part of their love feeding into a river compared to an ocean. This also may address a feeling of co-dependency that Lenker feels in the relationship and the need to as “the river” that “the ocean” depends on her and her love. The album is coated with a beautiful combination of guitar, piano, and violin, the production best described to give an intimate feeling. When listening, you feel as if Lenker is sitting across from you pouring her heart out. The album overall has a folk feeling about it, the intimacy of the production as well as the songwriting showcase the true and raw talent Lenker possesses. The ninth track on the album “Already Lost” really drives the folk feeling of this album home, the banjo, guitar, and light percussion under Lenker’s voice accompanied by her beautiful harmonies showcase the signature sound Lenker is known for. Overall this album is a beautiful testament to Adrienne Lenkers songwriting abilities, Bright Future was no doubt built upon Lenkers impressive resume as a solo artist as well as a member of Big Thief, however, it also felt like its own unique thing in her discography. Lenker’s intimate and intricate songwriting paired with her warm and tender vocals are the foundation of what makes this album so spectacular.
by Laila Hallom & Aine Bradley
13. Tigers Blood – Waxahatchee
Katie Crutchfield, the singer and songwriter behind the crisp, poetic country released under the Waxahatchee moniker has cemented herself as a modern day force of Americana lyricism with her 2024 album Tigers Blood. This is evident as her sixth album is now nominated for the Best Americana Album at the 2024 Grammys.
At its core, the album stirs up the feeling of warm memories of time spent navigating relations in anytown USA. Crutchfield sets a new precedent of writing lyrics that are simultaneously unspecific yet relatable. The song “Crowbar” exemplifies this with the metaphor of a tense relationship bending a crowbar.
Sharing in an interview from her NPR Tiny Desk concert in which she played songs from the album, Crutchfield explains her songwriting process includes drawing inspiration from a list of words and phrases she is fond of. “Tigers blood” came from a memory of her favorite snow cone flavor growing up, which demonstrates the album’s ways of invoking memories.
Tigers Blood’s roots are in the US south and midwest. From Alabama herself, Crutchfield has spent more time in the midwest with her partner, Kansas City singer/songwriter Kevin Morby. This likely influenced the song “Lone Star Lake,” which logs a lazy day’s adventure to the only lake in Kansas. Additionally, collaboration with the rising guitar hero from Asheville, North Carolina and KCOU Top Albums artist MJ Lenderman saw the album’s biggest song, “Right Back to It.” The steady banjo, vocal harmonies and stellar guitar solo from Lenderman marked the first of many instances these artists worked together, aiding the re-emerging country influence back into the forefront of the alternative music scene.
Overall, Tigers Blood is a masterfully crafted album that stands out as a positive cornerstone of American culture blending sneakily dense instrumentation with Crutchfield’s crystal clear voice to create a sense that the country can still house good times with good people. by Charlie Warner
12. Manning Fireworks – MJ Lenderman
MJ Lenderman is at the forefront of guitar music for this generation. Releasing his fourth studio LP Manning Fireworks in September, he also appeared on Waxahatchee’s album, as well as touring as lead guitarist of Wednesday. Earning comparisons to Neil Young, J. Mascis, and Jason Molina, Lenderman is being credited for the recent excitement surrounding country songwriting and loud guitar solos in alternative music.
On Manning Fireworks, Lenderman writes songs mostly about moments of misery, whether from drinking too much or rough patches in relationships. Overall, he leaned towards a softer and more dynamic sound than his last album Boat Songs. Many songs have a clean electric and acoustic guitar playing rhythm, then turning on the fuzz for catchy licks, such as on songs like “Wristwatch” and “She’s Leaving You.” Additionally, he employs instruments like the violin/fiddle, pedal and lap steel, and even the clarinet, expanding his songs’ timbré throughout the album. On “Joker Lips” the bass provides a warm, enveloping foundation for a beautiful duet on the songs main riff between a guitar with Waylon Jennings style phaser and a pedal steel. Lenderman pleads for some peace as he observes he’s only half joking about whatever misery he’s found himself in that morning. “Rip Torn” opens with a strikingly bittersweet and dissonant fiddle part, with the bass holding the song’s momentum with an R&B style groove, demonstrating Lenderman’s maturity as a songwriter and composer, typical of an artist evolving in their fourth time around making an album. “You Don’t Know the Shape I’m In” shows Lenderman’s softer side, writing a tune that sounds like a walk in the park, while “Rudolph” channels his Dinosaur Jr. influence with cracking distorted guitar licks.
With Manning Fireworks, Lenderman submits his longevity as a songwriter and guitarist, skillfully blending what audiences loved from his past works and trying out new things. Lyrically he ponders relevant questions, like what could possibly turn a sweet little baby into a jerk, earning himself a spot as a defining voice for the new generation of alternative artists. by Charlie Warner
11. Underdressed at the Symphony – Faye Webster
On her fifth studio album, Underdressed at the Symphony, Faye Webster takes playful self-awareness to new heights by embracing acoustic melodies and getting lost in the music. On the first track, Webster meditates on the simple refrain, “I’m thinking about you.”
Listeners will recognize Webster’s dreamy vocals, but her message deviates from the nonchalance of her past writing. Right away, Webster starts to explore romance and heartbreak deeper than she ever has before.
Throughout the record, Webster opens up without getting too serious. The top single, ‘But Not Kiss,’ is simultaneously humorous and somber. She sings, “I want to sleep in your arms, but not kiss” expressing a longing for someone, but a hesitation about intimacy. Webster continues to blend clever lyrics with soothing instrumentals to fashion a deeply enjoyable listening experience, and collaborations with Lil Yachty and Wilco’s Nels Cline compliment her talents beautifully.
Overall, Webster brings us into her world on this album. If she can show up to the Symphony in a hoodie in sweatpants, so can we—but we don’t have to. With rich arrangements and soft vocals, Webster brings the music to us, and Underdressed at the Symphony is perhaps her most accessible, cohesive album yet. by Luke Duffy
10. I LAY DOWN MY LIFE FOR YOU – JPEGMAFIA
JPEGMAFIA’s I LAY DOWN MY LIFE FOR YOU, released August 2024, is another vividly produced and uniquely presented album from the eclectic rapper and producer. JPEGMAFIA is able to world-build over one 40-minute project between intense but seamlessly mixed guitar riffs and heavy drums. With a hard style of rapping utilizing the highs and lows in his voice to deliver intensity in his bars, he blends these elements with different electronic music production styles. He also utilizes unique samples from outside his genre as well as classic samples from inside the hip-hop genre. He does this all while staying true to his unmistakable ear catching sound and style.
“SIN MIEDO,” which translates from Spanish to “without fear” in English, is the second song on the album and easily one of my personal favorites. The song opens with a sample from “Hoochie Mama” by 2 Live Crew. He samples the words “big booty hoes” from the track which is energetically shouted, perfectly on brand for Peggy’s style of hip-hop. Along with rolling rap bars about his own greatness in comparison to his competition, he quickly moves the song into what is reminiscent of dance/hardstyle club music with emphatic 808s. It’s danceable and fun, but leaves room for an interesting bridge that has heavy hitting drums and rolling electric guitar solos that all eventually come to a climax until the song abruptly ends.
“New Black History,” featuring Vince Staples is an opportunity to show off both Peggy’s and Staples’ skills. They easily flow together on the same beat, which samples Future’s “Covered N Money.” While the beat may not be the most unique for a Peggy beat, as a fun tag-team between the two legendary MCs it is still a fun and interactive listening experience as the pair are able to build off each others’ energy.
“vulgar display of power” is an edgy track, even for this album. It sounds closer to metal with its breathy vocals and heavy electric guitar. This track, to me, between the screaming and heavy metal sounds on a hip-hop beat is like an alternate universe Playboi Carti if he fully embraced his rock influences.
“Exmilitary” is easily the most recognizable and likable song from the album. Its creeping beat is a sample from the Wendy Rene song, “After Laughter (Comes Tears),” which is also famously sampled on “Tearz” by Wu-Tang Clan. Peggy flips this sample by synthesizing multiple genre influences. He blends 90’s boom-bap rhythms with chugging metal guitars, as well as a Travis Scott-esque lead synth and bassline. This influence is unsurprising following his collaborative efforts on the recent album “Vultures 2” with Ye and Ty Dolla $ign. While he nods to several other classic rap legends through the decades, this sample choice is by far the boldest, as the iconic “Tearz” is on any quintessential 90’s rap playlist.
“Either on or off the drugs” is a huge switch-up from the previous songs I’ve mentioned, with a much slower tempo and smooth, slow rapping. The soulful vocal samples fit seamlessly into the background, with bluesy guitar licks sprinkled throughout. It’s a breath of fresh air after so much intensity and feels right as one of the last songs on the album, partly attributed to its swaying 6/8 time signature.
In conjunction with “either on or off the drugs,” “Loop it and leave it” flows right into its predecessor. As proclaimed, it is a simple beat, it has a lovely sparkling piano-like synth laid over top. Peggy’s flow is enjoyable, although the rap isn’t overly intricate.
JPEGMAFIA, through his expert producing, tasteful samples and skillful rapping has the ability to pull you into his world and spit you back out, with a fresh outlook on the genre. You’ll be hard pressed to forget his unique style. by Mae Savens
9. I Got Heaven – Mannequin Pussy
Mannequin Pussy pushes the box on new age punk rock music. Their lyricism shines on their newest album, I Got Heaven. Songs begin melodically, especially so in “Loud Bark.” As it progresses passion and angst fill the song with rage and fire. This becomes a recurring theme in many songs, a sweet tune turns into screaming and raw emotion. Each repeated lyric in the songs becomes a mantra.
In concert, this energy translated into Mannequin Pussy’s performance. Lead singer, Marisa “Missy” Dabice, brought an ethereal stage presence that made the show an amazing experience. She toys with the eroticism of it all, screams of pleasure and screams of pain sometimes feel similar from her. A power dynamic is created between the listener and the message.
“You think this pussy’s easy? You’re gonna have to beg. And heal, and learn” from “OK? OK! OK? OK!” is a clear example of this animalistic dominance that simultaneously shows vulnerability.
The album transitions from hardcore punk to a sweet sound in “Split Me Open.” The focus shifts from control, individuality, and needing freedom in a vulgar and sexy light, to a tragic yearning.
“My body’s a temple, it was built for you to do all the things you dreamed you’d do”
“I’m worried I want you with the power of a thousand suns burning as one.”
They toggle with needing time and space despite desire. It’s the understanding that wanting something to work doesn’t mean it will; knowing when to leave but not wanting to, is excruciating.
I Got Heaven is art in the rawest form of expression. It’s empowering, invigorating, and simultaneously excruciating. It’s everything being human is. by Daly Rosenbloom
8. Night Palace – Mount Eerie
Phil Elverum of Mount Eerie, a musical wizard who’s two and a half decade career of songwriting across two distinct pseudonyms, arguably deserves its own course. He is no stranger to critically acclaimed albums, with his 2001 effort ‘Glow Pt 2’ and his 2017 project ‘A Crow Looked At Me’ each landing themselves on end of decade lists across countless publications. As all of Elverum’s work, Night Palace is a testament to vivid storytelling and bleak cystic soundscapes. The record also has a myriad of textures and styles that encompass past works and new experimentations for Elverum, from humming instrumentations being drowned out by moments of noise to a 12 minute spoken word piece in ‘Demolition,’ Night Palace is a diverse sonic palette. Night Palace is a symphony dedicated to nature, a project that serves as a tribute to Elverum’s home of the Puget Sound and the issues that have arised under the development of the Seattle area as technological hub, Western colonialism and late-stage capitalism. On songs such as ‘November Rain,’ Elverum sings about the lasting impression of ethnocentrism and the neocolonialism that has taken place on the land under his own feet, and his own implicit activity within it. Despite Night Palace being Elverum’s longest album, sitting at 81 minutes, every elemented tightly composed, and creates a meditation-like journey rather than a conventional album. The chaotic boil of sonic mediums and concoction of themes merge into a coherent meditation journey that leads to a beautiful thesis statement. Night Palace philosophizes that the heat from a fire and raindrop on your back is sometimes all life is, and much like the trees and flowers around him, Elverum will also eventually turn to dust. This realization presents Elverum at his most content, and possibly his most hopeful since the death of his late wife, singing with an abstract warmth and shedding the grief that has haunted his extensive discography. In many ways, Night Palace is the most mature and fully fledged project Elverum has released under either moniker, a healing practice for an artist who’s craft has been defined by bleakness and pessimism. Despite the consistency of Elverum’s music across the past three decades, this triumph should not be discounted, Night Palace will be remembered as one of Mount Eerie’s and Elverum’s most ambitious and moving works for years to come. by Esther Brandwein
7. Two Star & The Dream Police – Mk.gee
Michael Gordon, better known as Mk.gee (pronounced McGee), has quickly become one of the most sought after songwriters/producers for hazily atmospheric and emotional tunes that evoke the masterfully produced pop of the 80s. His 2024 album Two Star & The Dream Police invites the listener into the moody sphere of anxiety and yearning created by Gordon’s unique toolbox of gear and his baritone guitar. The deeper pitch of his guitar combined with his ensemble of equipment mixes to create a warm, dissolving tone which makes it feel as if the songs are traveling to you through a time machine. Mixing in different sound effects such as the drill on “Are You Looking Up” furthers the ambiance of the album. Gordon’s dramatic and stretched vocals perfectly suit the palate of his instrumentation. Retro sounding drum machines hold the songs in place, such as the upbeat and all-too-short “DNM.” “New Low,” “I Want” and “Breakthespell” emote moody, chiller and slow R&B tracks, with lyrics all about navigating the yearning for the other person in a relationship.
The highlight of Mk.gee’s music is his virtuosic guitar playing. Taking tonal hints from legendary jazz bassist Jaco Pastorious, Gordon aggressively plucks his guitar playing in a fingerstyle manner. Intricate fills connect the chords he plucks, earning praise from Eric Clapton. His use of pedals and other audio tools (he plays through a TASCAM 424 Portastudio on stage) is innovative and signals the upcoming sea change of what it means to be an instrumentalist in the days of digital production. What is so exciting about this album is that it simultaneously bridges the 2020s to the 80s, with the implementation of technology in a way that will enhance the tonality while still keeping the imperfect, human aspects of creating music.
Having produced alongside Dijon, Omar Apollo, Drake and The Kid LAROI, Gordon is a unique and perfect mix of embracing old and new practices. With Two Star & The Dream Police, audiences very much have a glimpse into the crystal ball of music’s future to see how the adaptation of more and more technology in songwriting will blend with the human side of being a musician.
by Charlie Warner
6. Charm – Clairo
Clairo first broke onto the bedroom pop scene with a string of hit songs in the late 2010’s such as 4EVER,’ ‘Flaming Hot Cheetos,’ and ‘Pretty Girl.’ Like her second studio album sling, Charm marks an evolution in Clairo’s discography, ditching the bedroom pop sound that helped propel her career into mainstream stardom. However unlike the folk-inspired Sling, Clairo dives into a 1970’s soft rock, tapping into contemporaries like Fleetwood Mac, Carole King, and Blossom Dearie. Clairo’s ode to the genre leads her to create her warmest and most delightful project yet, an album that feels both nostalgic and fresh. Each song on Charm feels lush and introspective from front to back, from the ever so catchy love songs that include ‘Juna’ and ‘Sexy To Someone’ to more whispery jazz cuts like ‘Terrapin’ and ‘Glory To The Snow.’ Charm’s production is busy, including combinations of soft flute, bright keys, percussion and jingling bells that come together to highlight a soft featherness in her vocals. Despite wearing her influences on her shoulder (a la Tapestry by Carole King), Clairo does a fantastic job creating her own lane. Charm’s production and texture allows Clairo to play to her strengths and the album does not overstay its welcome. Clairo’s songwriting and artistry continues to mature and evolve, her ability to craft music that feels so personal and resonant. Charm is a testament to her own versatility as an artist and the album exhibits Clairo’s own personal growth as a songwriter and her own musical experimentation. Clairo stepped out of her comfort zone and stuck the landing with Charm, an intimate album about fleeting and tender moments that is as eloquent in its storytelling as it is sonically pleasing, and proves that Clairo as a songwriter is here to stay. by Esther Brandwein
5. Alligator Bites Never Heal – Doechii
Doechii’s Alligator Bites Never Heal is an unapologetic manifesto of an artist who loudly proclaims their spot. The 19-track mixtape immerses listeners into the humid soundscape of Tampa, blending hard-hitting beats with sultry melodies with an atmosphere of rebellious confidence. “Denial Is a River” stands out with its raw vulnerability and introspection. Doechii contrasts candid self-reflection against a backdrop of hypnotic rhythms, emphasizing her story and struggles. Conversely, “Nissan Altima” is a quick-witted, sharp-tongued anthem oozing with personality, reminiscent of her older work; ultimately allowing Doechii’s knack for storytelling and charisma to shine. What makes this project remarkable is its unapologetic fluidity. Doechii doesn’t just dip into genres—she baths herself in them, from trap-infused moments to lullabies of R&B-inflected softness. The mixtape isn’t just an introduction; it’s a declaration of purpose. Balancing moments of intimacy with biting humor and audacious energy, Doechii makes Alligator Bites Never Heal as versatile as it is cohesive. This isn’t just an artist finding her voice—it’s one shouting her arrival loud and clear. by Chase Zeller
4. Imaginal Disk – Magdalena Bay
In August of 2024, the Los Angeles-based, Miami-formed alternative pop duo, Magdalena Bay, released their new concept album, Imaginal Disk. In 15 Sci-Fi tracks, songwriters and co-producers, Matthew Lewin and Mica Tenenbaum, tell the story of True, a fictional futuristic being isolated from her town who undergoes a reality-altering procedure known as Imaginal Disk insertion. With a double entendre like the title of track 11, “Feeling DiskInserted?”, this album is chock-full of punchy puns and inside jokes between Lewin and Tenenbaum. In fact, the very title of the album is a clever play on words. An Imaginal disc is a sac-like epithelial structure found inside the larva of insects that undergo metamorphosis, much like the Imaginal Disk that promises True a transformation of her own.
As their sixth album, Imaginal Disk is an ambitious change of pace from Magdalena Bay’s linear lyrics and Synth Pop background. Straying from their pop sensibilities, they lean into psychedelic and surreal rock elements pushing the boundaries of their old sound. As listeners, we are thrust into the rich soundscape of a phantasmic world with something darker lurking beneath the surface. Featuring the layered instrumentation of multiple keys, percussion tracks, a string section, and a synth harp, oh my! Imaginal Disk has a post-punk Madchester feel that conjures up the dreamy maximalist sound of bands like Orchestral Manoeuvres In The Dark and The Stone Roses. The end of each song transitions into the beginning of the next one effortlessly, and sometimes unexpectedly, like the jump from the dark and chaotic ending of “Tunnel Vision” to the disco-esque start of “Love is Everywhere.” Tenenbaum’s vocals have a spooky yet ethereal quality that evoke the gauzy style of Grimes and 90’s Gwen Stefani. The chewy synth bass line in “That’s my Floor” seemingly draws inspiration from Tame Impala.
Identity, love, and fear are explored throughout the album until True’s body rejects the disk, leaving her disoriented about her validity as a human being. It’s made clear in “Killing Time” that she longs to be admired at any cost. She declares “I don’t care if I don’t sleep // but someone better pine for me.” True describes the universal feeling of wanting to be loved and the desire to change yourself in order to get it. In “True Blue Interlude,” Tenenbaum takes on the persona of a TV Sales Woman cooing, “Say hello, it’s you, the purest you/The next stage, the next phase is here”. This theme of dystopian self improvement has been extremely prevalent in recent media such as Coralie Fargeat’s new film The Substance in which the main character takes a medication that promises a “better version” of herself – “More beautiful, more perfect”, but ultimately creates a monster. As the album progresses, True becomes skeptical of the too-good-to-be-true Imaginal Disk and becomes aware of the inevitable price of perfection. In the track “Fear, Sex” she says, “Shoulda known those dirty bastards/Would put wires in your head.”
Imaginal Disk is an epic of self-reflection that whisks listeners away to a far-out cyber world. It is a cautionary tale that begs the question of whether an upgrade is really an improvement. Similarly to True, Magdalena Bay evolves throughout the album, becoming more mature, sonically complex, and self-aware as a group. Imaginal Disk is one of the most effervescent, insightful, and all-round creative albums that simultaneously encourages fans to stay “true” to themselves. by Sadie Tanner
3. GNX – Kendrick Lamar
In the wake of an incredibly eventful summer, Kendrick Lamar rounded out 2024 with a surprise drop, GNX—a brazenly honest victory lap that caps off a year of continued success.
The project seems to serve as a proof of concept for Lamar, with the entire track list in lowercase, giving them a seemingly meek appearance that contrasts directly with the brash and combative lyrical content of several tracks.
The opener “wacced out murals” is an aggressive start, mixing Spanish narration with a jaw-clenched attack at the state of the industry and those doubting Lamar. That track’s drive dissipates towards the end, leaving room for a more upbeat west-coast banger in “squabble up,” an incredibly charismatic track showing off Kendrick’s versatility and serving as an appetizer for the rest of the project’s direction. This tone can be found in several tracks, such as the iconic “tv off” with Lefty Gunplay and “peakaboo” with AzChike.
Of course, there are several pace changes throughout the record, the most notable being two tracks featuring SZA entitled “luther” and “gloria,” providing much appreciated tender moments on the record. The two vocalists’ chemistry takes center stage, again hitting upon the motif of complete and unapologetic honesty that serves as the undertone for the whole record.
Lamar also made sure to feature several smaller westcoast artists throughout the record, totaling out to ten total featuring vocalists making appearances. At just 44 minutes, this project’s density and complexity is the finisher on what has been a career-defining year for Kendrick as he seemingly stakes his flag at the top of hip hop. by Noah Schmitz
2. CHROMAKOPIA – Tyler, The Creator
Tyler the Creator’s 8th studio album was as infectious as it was touching. Tyler’s music has always grown with him, and this album is further proof. His technique is well-defined, his trademark flashy yet sensitive style is perfectly articulate and the hits deliver. It was difficult to avoid songs like “Sticky,” “Like Him,” and “Balloon,” in the later part of this year, a testament to Tyler’s ability to make hits at his own discretion.
Repeat features from Lil Wayne and Teezo Touchdown deliver just as well as they did in Tyler’s 2022 album “Call Me if You Get Lost,” while features Doechii, Daniel Caesar, GloRilla, Sexxy Red and others make their mark in the Tyler the Creator catalogue, each with their own distinct flavor. Tyler’s personal deep cut tracks round out this album to bring together another solid release from Tyler the Creator and one of the best albums of the year. by Luca Giordano
1. BRAT – Charli xcx
Brat was a prophesied album for critically acclaimed English singer-songwriter Charli XCX. Charli has been making music since 2008, first posting songs on myspace before entering the London rave scene when she was 16 when her parents would drop her off at shows. Her music career wavered. In 2014 she told Reuters in an interview, “I remember pretty much like every year for four years of my life being [named] ‘the one to watch’ obviously its a great compliment but I was kind of over it by like year two.”
Brat is Charli’s eighth album. Beginning at its creation last year there was a new vision for the approach. Recently she shared on social media the mission statement and descriptions she’d written for the album in the summer 2023. She’d written in the statement, “The artwork for Brat will be obnoxious, arrogant, and bold. Some people will hate it.” And many did at the initial reveal of the cover, myself included. It was so untraditional and seemingly low quality. But of course, like many others I came around to appreciate it as something new.
Brat is the complete opposite of overnight success. It was a planned theatrical performance, it’s a decade and a half of industry experience waiting for the industry to catch up to her. Before this summer the general public knew Charli from her 2014 feature on ‘Fancy’ with Iggy Azalea. But Azalea’s longevity is short-lived, Charli has moved within the music sphere in such a smart and genuine way. She’s done what she loves and worked with producers and musicians who impress her.
In March, three months before Brat would be released, in a man on the street video for SubwayTakes Charli shared her thought that, “A great artist to me is more than just the songs, it’s the entire culture and space that they inhabit. Music alone cannot create the world. The artist creates the world,” which was a wonderful predecessor to the world she was soon to release.
Brat is a true album of the year for 2024, the album is energetic, loud, and fun. It ruminates on cultural questions about female competition, fame and aging that have been at the forefront of the past year in other acclaimed releases such as movies like “The Substance” or “Babygirl” or novels like Dolly Alderton’s “Good Material.” 2024 has been a year where women are vulnerable yet still on an ever-performing pedestal. Considering this, Charli offers her commentary throughout the album in her own very personal and confessional manner. Particularly songs like ‘sympathy is a knife’, ‘girl so confusing’ ‘i might say something stupid’ and ‘i think about it all the time’ stick out.
Brat is a new classic and although may feel overplayed now, its tracks are here to stay on the dancefloor and will feel just as fresh years down the line. The album cycle which began when Charli teased tracks at a rave, to its now three editions has been a masterful execution on creating a movement and identity for a tracklist. Brat defined this year with its fun feature tracks with collaborators like Lorde and up-and-coming Addison Rae but also creating a character that listeners can aspire to be. You want to get in on the exciting scene it has with the party girl it generates in our minds. After your first listen of the album it’s undeniable to claim that you too, want to BE brat.
by Aurora Nicol