In a year defined by surprise releases, stellar debuts and triumphant comebacks, The Pace Press celebrates the albums that set the tone for 2024. Be sure to check out a special Pace Press Playlist with all of our top picks in this article. These are The Pace Press’ top 25 albums of 2024.
25. “Triple Seven”- Wishy
Propelled by killer, infectious guitars, Wishy’s “Triple Seven” radiates the aura of a summery shoegaze daydream. Hazy chord progressions and wistful vocals on tracks like “Persuasion” and “Honey” meld seamlessly into a laid-back, enveloping sound. Beneath the layers of fuzz and reverb lies an unmistakable warmth that feels refreshingly intimate and inviting.
The Indianapolis rock outfit never rushes the tempo, instead allowing every note to linger and each melody to bloom, drawing listeners deeper into their gentle swirl of guitar fuzz and soft vocals. As a debut, “Triple Seven” wholeheartedly embraces shoegaze’s dreamy, unhurried essence while confidently carving out a sound that is distinctly Wishy. – Jules Kelly
Our top picks: “Sick Sweet,” “Persuasion,” “Spit”
24. “NO HANDS”- Joey Valence and Brae
If the Beastie Boys were born 30 years later, they’d be making music that sounds like “NO HANDS.” Loud, ridiculous and entirely unserious, Joey Valence and Brae deliver one of the most contagiously fun records in recent memory. A proud throwback to ’90s hip-hop, the album drips with vibrant energy and youthful exuberance. The duo’s playful banter and cartoonish delivery bring an over-the-top charm to the album, with each and every song featuring an idiotically memorable line (a standout being “I feel like Michael Cera in his swag era” on “WHERE U FROM”).
Despite their blatant absurdity, Joey Valence and Brae prove they’re more than capable of running with the best, matching the unhinged brilliance of Danny Brown’s verse on “PACKAPUNCH.” It’s a celebration of chaos, nostalgia and humor, cementing the fact that the “Yo mama” joke will truly never go out of style if Valence and Brae have a say in it. – J.K.
Our top picks: “BUSSIT,” “LIKE A PUNK,” “THE BADDEST”
23. “Mahashmashana”- Father John Misty
Josh Tillman dives headfirst into symphonic grandeur on his sixth Father John Misty album, weaving his signature baroque flair through a velvety tapestry of strings and swelling build-ups. “Mahashmashana”—Sanskrit for “great cremation ground”—signals a creative rebirth for Tillman, who shifts his gaze from personal introspection to broader narratives of rulers, power and those who dare challenge authority. This pivot allows Tillman to inhabit a variety of perspectives, delivering a deeply cinematic album that marries majestic orchestral arrangements with the nuanced, evocative storytelling he has perfected over his career.
“I Guess Time Just Makes Fools of Us All” and “She Cleans Up” tackle themes of public perception, fame and misogyny, with bluesy horns and rock-tinged crescendos underscoring Tillman’s biting lyrics: “Man, I hope nobody messes with the wrong rejected men/I know just how this thing ends/Sure your politics are perfect with the gun against your head.” These songs are just two of the loosely connected vignettes that make up “Mahashmashana;” collectively, they solidify Tillman’s status as one of the most meticulous and thought-provoking songwriters of our time. – J.K.
Our top picks: “Josh Tillman and the Accidental Dose,” “Screamland,” “Being You”
22. “Only God Was Above Us”- Vampire Weekend
On their fifth album, “Only God Was Above Us,” Vampire Weekend crafts a record that marks both a return to form and a bold evolution, reaffirming their place as indie rock royalty. The album masterfully blends the band’s signature baroque-pop sound with sweeping orchestration and deeply introspective lyricism, creating a listening experience that feels simultaneously grounded and transcendental. Tracks like “Classical” and “Prep-School Gangsters” feature some of the band’s sharpest lyricism to date, weaving Ezra Koenig’s unmistakable voice into sweet, intricate melodies.
What makes “Only God Was Above Us” exceptional is its remarkable balance of ambition and intimacy. The sprawling arrangements—complete with strings, horns and choral harmonies—are as breathtaking as they are reflective, capturing a sense of beauty that is quintessentially Vampire Weekend. With this release, the band doesn’t just reach for the heavens—they manage to bring a piece of them down to earth, offering one of their most captivating albums yet. – J.K.
Our top picks: “Ice Cream Piano,” “Classical,” “The Surfer”
21. “GNX”- Kendrick Lamar
Fueled by an undying hatred for Drake, Kendrick Lamar unleashed one of the year’s most striking releases. A surprise release, “GNX” is yet another daring expedition from one of hip-hop’s most influential artists, further cementing Lamar as one of the best to ever do it. Blending razor-sharp lyricism, soulful undertones and experimental production, Lamar delivers an album that is ambitious and unmistakably his. Thematically, “GNX” delves into the social and spiritual with equal fervor, presenting genius lyrics and dynamic musical shifts that push Lamar’s sound into uncharted territory.
Tracks like “squabble up” and “tv off” exemplify Lamar’s lyrical dexterity, seamlessly pairing incisive commentary with moments of braggadocious self-assurance. The production is equally intricate, shifting between chaotic aggression and meticulous precision, reflecting the tension in his storytelling and the intensity of his delivery. With “GNX,” Lamar once again demonstrates his fearlessness in pushing the boundaries of rap. It’s an unapologetic statement that challenges the genre and its audience, asserting why Lamar remains one of the most vital voices in modern music. – J.K.
Our top picks: “squabble up,” “tv off,” “gnx”
20. “Prelude to Ecstacy”- The Last Dinner Party
“Prelude to Ecstasy” by The Last Dinner Party is a midnight waltz through a luxurious, candlelit banquet hall, an intoxicating blend of theatricality and glam rock grandeur. With their signature flair for the dramatics, the band delivers soaring choruses and intricate melodies that feel plucked from another era yet undeniably modern. Tracks like “The Feminine Urge” and “Portrait of a Dead Girl” transport listeners into an ethereal, immersive world, balancing baroque opulence with sharp, modern wit.
“Prelude to Ecstasy” highlights the band’s ability to merge extravagance with intimacy, creating songs that feel as personal as a whispered confession yet as grand as an opera. It’s an album that seduces you with its beauty, charms you with its storytelling and leaves you utterly spellbound. The Last Dinner Party didn’t just set the table with their debut—they delivered a feast that confirms they’re here to stay. – J.K.
Our top picks: “Burn Alive,” “My Lady of Mercy,” “Nothing Matters”
19. “No Name”- Jack White
Jack White was born to play guitar. That isn’t a groundbreaking statement—White has been hailed as one of the greatest guitarists of all time for almost half his life—but his latest release, “No Name,” reaffirms why he deserves a permanent seat at the Guitar Legends table. Across its tight 43-minute runtime, White explores practically every guitar-driven subgenre imaginable, all filtered through his unmistakable production style. Blues, garage rock, punk, noise, southern gospel—if there’s a guitar involved, it’s on this record, and it’s paired with White’s signature mix of precision and reckless abandon.
White’s lo-fi production gives the record an untamed, live-in-the-room feel, channeling the spirit of garage rock’s golden era—the very sound he helped pioneer in the 2000s with The White Stripes. On “Archbishop Harold Holmes,” White’s guitar howls with a ruthlessness that feels like it could tear through a bayou, while “Bombing Out” leans into riotous punk energy with choppy, high-speed chords. Tracks like “It’s Rough On Rats (If You’re Asking)” balance a bluesy rawness with playful eccentricity, showcasing White’s unbelievable versatility.
It’s not like Jack White was in jeopardy of losing his edge anytime soon, but “No Name” is a gnarly, undeniable reminder of just how effortlessly cool he still is. – J.K.
Our top picks: “It’s Rough On Rats (If You’re Asking),” “Archbishop Harold Holmes,” “Bombing Out”
18. “Alligator Bites Never Heal”- Doechii
Doechii’s third mixtape, “Alligator Bites Never Heal,” is a raw, fearless album that slashes through the boundaries of contemporary rap, announcing a visionary artist unafraid to shatter expectations. Infusing elements of Boom bap, pop and Southern hip-hop, the Florida rapper creates a chaotic yet mesmerizing fever dream highlighted by unabashed humor and piercing introspection. Tracks like “DENIAL IS A RIVER” and “NISSAN ALTIMA” show her seamlessly pivoting from scathing observations to vulnerable confessionals while maintaining the album’s biting intensity.
Doechii’s embrace of experimentation–swampy, distorted beats, bizarre vocal effects and gut-punching basslines–breeds an unpredictable soundscape that challenges the boundaries of hip-hop. She doesn’t shy away from messy emotions, instead leaning into themes of heartbreak, survival and power with trenchant precision. The result is a bold and visceral album that captivates from start to finish, firmly establishing Doechii as one of the most innovative voices in mainstream hip-hop. – J.K.
Our top picks: “DENIAL IS A RIVER,” “CATFISH,” “NISSAN ALTIMA”
17. “Cartoon Darkness”- Amyl and the Sniffers
Amy Taylor is pissed off. After an international tour as the frontwoman of one of punk’s most exciting acts, Taylor is still not receiving her deserved respect from men in her local music scene. The Melbourne singer channels this frustration into “Cartoon Darkness,” a 33-minute sucker punch that tears apart the gender gap while celebrating the resilience of being a woman in punk.
There are no misconceptions about what enrages Taylor. On “Motorbike Song,” she snarls, “Support the girls in the industry/You got the money, better pay the fee,” a direct and unapologetic demand for equality in a male-dominated music scene. It’s not just anger—it’s a rallying cry, cutting through with the confidence of someone who’s fought tooth and nail for her place here. Taylor basks in her accomplishments over thunderous guitar solos on tracks like “Jerkin’” and “U Should Not Be Doing That.” These moments of victory balance the rage with a rush of exhilaration, capturing what it means to be a woman in punk: fighting for respect while reveling in the joy of unapologetically taking up space.
Embracing the chaos of the rockstar lifestyle, “Cartoon Darkness” is an anthemic, unfiltered screech that refuses to go quietly. – J.K.
Our top picks: “Tiny Bikini,” “Motorbike Song,” “U Should Not Be Doing That”
16. “LANA”- SZA
It’s not recency effect: “LANA” is the most exhilarating record SZA has delivered to date. Although technically a deluxe version of her 2022 release “SOS,” “LANA” arrives in the eleventh hour with 14 new tracks and an intermission, each rivaling the original lineup. SZA’s graceful vocals meld seamlessly with airy production, fostering a seductive mood that feels more confident and carefree than ever before. Tracks like “30 for 30” and “Love Me 4 Me” prove that she’s still pushing her sound to new heights, layering silky harmonies over hypnotic beats that envelop the listener in an atmospheric, sexy dreamscape.
Few albums released this late in the year can justify upending planned year-end lists, but “LANA” demands exactly that—stopping you in your tracks and insisting on its well-deserved praise. – J.K.
Our top picks: “30 for 30,” “Scorsese Baby Daddy,” “Kitchen”
15. “Night Palace”- Mount Eerie
“‘Who do we think we are to be doing this here; now?’” Phil Elverum, the singular force behind Mount Eerie, wonders on “Demolition.” It’s an invasive and provoking question that he dissects throughout “Night Palace,” compelling listeners–and himself–to confront the dissonance between day-to-day survival and a political landscape that feels perpetually on the brink. Rather than neatly offering solutions, Elverum lays bare his own uncertainties, turning each track into a delicate confessional—a personal diary of sorts—that resonates on both intimate and collective levels. His guitar work, stark and experimental across the album’s 26 tracks, and hushed vocals create an atmosphere where even the smallest moments feel monumental.
While “Night Palace” doesn’t pretend to answer its existential inquiries, it offers a rare glimpse into how one artist grapples with the question of how to keep creating—how to keep living—when the world seems beyond saving. By persistently asking, rather than answering these looming questions, Elverum elevates “Night Palace” into a poignant, meditative work that stands as one of his most transfixing releases to date. – J.K.
Our top picks: “I Saw Another Bird,” “Writing Poems,” “Demolition”
14. “COWBOY CARTER”- Beyoncé
Not many artists can seamlessly transition from pop to country, but you make it look easy when you’re the Queen. Beyoncé’s “COWBOY CARTER” is an audacious genre experiment that marries country with soul into something only she could create. Beyoncé doesn’t just flirt with country aesthetics—she reclaims them, exploring every conceivable facet of the genre. Tracks like “YA YA” and “RIIVERDANCE” delve into elements of country music that haven’t graced the mainstream since the 1960s, combining vintage charm with her innovative vision.
“COWBOY CARTER” is equal parts homage and reinvention, intertwining the storytelling traditions of country with Beyoncé’s unmistakable artistry. It’s a love letter to her Southern roots, steeped in twangy guitars and rich harmonies. This is Beyoncé at her boldest, pushing creative boundaries and redefining what modern country can be. – J.K.
Our top picks: “BODYGUARD,” “II HANDS II HEAVEN,” “SWEET ★ HONEY ★ BUCKIIN’”
13. “Imaginal Disk”- Magdalena Bay
Magdalena Bay’s “Imaginal Disk” is a dazzling dive into futuristic pop, a dream transformed into sound. The album sees the duo embracing their experimental instincts, composing a surreal world where shimmering synths, glitchy beats and fragmented melodies collide in breathtaking chaos. Tracks like “Image” and “Tunnel Vision” seize the record’s boundary-pushing spirit, layering hypnotic production with an enchanting sense of wonder that pulls listeners deeper into its dizzying, dreamlike orbit.
“Imaginal Disk” showcases Magdalena Bay at their most ambitious, fearlessly challenging conventions while maintaining the infectious hooks and emotional resonance they’ve delivered on past releases. Bold, unpredictable and endlessly imaginative, the album is a radiant testament to the duo’s creative evolution. – J.K.
Our top picks: “Death & Romance,” “Tunnel Vision,” “That’s My Floor”
12. “Almighty So 2”- Chief Keef
To understand “Almighty So 2,” you must understand the legacy of “Almighty So.” The 2013 mixtape perfectly captured what mainstream rap had evolved into at the time, setting a standard for the genre’s future. “Almighty So 2” picks up where its predecessor left off, reflecting the evolution of mainstream rap in 2024, a seamless blend of Midwest production, strong women and bold lyricism–both unserious and poetic. Chief Keef uses this landscape to his advantage, creating a new definition of mainstream rap while simultaneously honoring what it is now. Iconic contributions, like Shadoe Haze’s signature voice from the “Damn son, where’d ya find this?” and “Trap-A-Holics!” clips add nostalgia to the mixtape, while Michael Blackson’s monologue nods back to Keef’s 2013 release “Bang, Pt. 2.”
The Chicago rapper isn’t one to shy away from a good feature, and “Almighty So 2” proves that. Although not every feature hits the mark (hint: it starts with “Lil” and ends with “Gnar”), high-quality verses steal the spotlight. Banded Up” showcases Tierra Whack’s energetic flow, while Sexyy Red’s raunchy, playful lyricism on “Grape Trees” pairs effortlessly with Keef’s commanding vocals over booming bass. Confident female rappers have redefined the genre in the 2020s, and “Almighty So 2” leans into this shift, highlighting their importance.
While not perfect, the album comes impressively close. Every beat is bold, balancing Old Keef and new. The fact that it’s almost entirely self-produced adds an extra layer to the experience that is “Almighty So 2;” each track feels like its own distinct project, yet the album remains cohesive. With that, I’ll leave you with the words of Chief Keef himself: “I’m ‘bout to drop like the crotch on Rick Owens pants.” – Gabriel Giberson
Our top picks: “Almighty (Intro),” “Runner,” “Grape Trees”
11. “The New Sound”- Geordie Greep
Geordie Greep’s “The New Sound” is as strange as it is hypnotic, a labyrinthine blend of avant-garde jazz, post-punk and experimental rock that defies convention at every turn. Known as the enigmatic frontman of black midi, Greep steps further into his eccentricities with this solo venture, crafting an album that feels like a late-night fever dream set in a smokey jazz club. It’s disorienting, chaotic and utterly captivating.
The twisted melodies and lyricism on “The New Sound” display Greep’s uncanny ability to walk the line between absurdity and brilliance. “As if Waltz” pairs some of the most sincere reflections of love’s corniest moments with biting humor and explorations of desperate devotion (and the idea of cuckoldry). His signature vocal delivery—a half-crooned, half-perverted stream of consciousness—serves as the perfect guide through this sonic maze. Meanwhile, tracks like “Through a War” and “The Magician” lean into a more cinematic approach, layering sweeping strings and discordant guitars over Greep’s musings, evoking a sense of beauty that lingers long after the album ends.
On “The New Sound,” Greep dismantles genres and reconstructs them on his own terms, challenging listeners to embrace the unpredictable and surrender to music that is as perplexing as it is rewarding. – J.K.
Our top picks: “Blues,” “Walk Up,” “As if Waltz”
10. “Foxing”- Foxing
Missouri rock legends Foxing have seemingly peaked. The band has climbed to heights few artists in a niche subgenre could ever dream of–their 2013 debut, “The Albatross,” is widely considered a modern classic and, in late 2023, Foxing took a well-earned victory lap with a nearly sold-out tour celebrating the album’s 10th anniversary. From such a triumphant milestone, it would be easy to assume there’s nowhere left to go. Yet, Foxing’s latest release not only defies that assumption but cements itself as their finest work to date.
The self-titled album is an accumulation of the band’s greatest musical strengths, encased in breathtaking vulnerability. Lead singer Conor Murphy reflects on the band’s 13-year journey, grappling with his past and questioning his future with an emotional intensity never explored to this depth in their discography. Nowhere is this more evident than on the eight-minute epic “Greyhound,” where Murphy confesses to feeling his best days are behind him and describes his emotional limbo: “I feel like I’m in a dream that’s described by a friend I am in, but have no interest in hearing.” The band’s instrumentals provide a merciless counterpoint to Murphy’s introspection, with bombastic drums and searing guitar solos on tracks like “Kentucky McDonald’s” and “Spit” acting as treacherous aftershocks to his words.
Foxing’s self-titled album is a triumph. Equal parts reflective and explosive, it captures everything there is to love about the band while proving they’re far from finished. – J.K.
Our top picks: “Greyhound,” “Barking,” “Kentucky McDonald’s”
9. “Manning Fireworks”- MJ Lenderman
On “Manning Fireworks,” guitarist and songwriter MJ Lenderman turns the mundane into magic, blending nostalgia with a twang of melancholy to create a reflective and timeless record. His offbeat, conversational lyrics and unpolished delivery make the album feel effortlessly honest, with instantly familiar yet refreshingly unique melodies. Tracks like “Wristwatch” juxtapose absurdity with emotional depth, while “You Don’t Know The Shape I’m In” pairs lo-fi guitars with quietly heartbreaking reflections on love and loss. Each track brims with raw sincerity, and the intentionally rough-around-the-edges production enhances its charm, creating a lived-in atmosphere that wraps around you like a bittersweet hug after a breakup.
Honest, unpretentious and packed with wry humor, “Manning Fireworks” is a testament to finding beauty in life’s most ordinary. Who knew being a giant loser could sound this good? – J.K.
Our top picks: “Joker Lips,” “Wristwatch,” “You Don’t Know The Shape I’m In”
8. “CHROMOKOPIA”- Tyler, the Creator
In a year stacked with heavyweights and surprise releases, Tyler, the Creator manages to make one of the year’s loudest splashes, proving that his creative well runs deeper than anyone ever thought. The rapper has never colored within the lines, but “CHROMOKOPIA” takes his genre-defying eccentricity to new heights. As vibrant as its title suggests, the album bursts with kaleidoscopic production, effortlessly shifting between incisive verses and introspective melodies. Tyler’s knack for self-revelation and sardonic wit remains intact, but here, it’s wrapped in a technicolor sound that feels as fresh as ever.
Exploring themes of aging, fatherhood and familial ties, “CHROMOKOPIA” dives deep into personal confessions without sacrificing Tyler’s playful irreverence. On tracks like “Noid” and “I Killed You,” Tyler weaves heartfelt introspections and ingenious wordplay over shimmering synths and chaotic drum patterns. “CHROMOKOPIA” is a bold step forward for an artist who refuses to stand still, once again reminding listeners why he’s such a vital force in music. – J.K.
Our top picks: “I Killed You,” “Sticky,” “Like Him”
7. “Cool World”- Chat Pile
Chat Pile has never shied away from showing off the disgusting underbelly of the American dream, and their latest record is no exception–“Cool World” is hauntingly mesmerizing, impossible to unhear. On their sophomore release, the Oklahoma metal band critiques the normalized violence seen globally, delivering brutal guitars and grimy production. Tracks like “Tape” and “Milk of Human Kindness” layer screeching vocals over guttural, grinding sounds to create what bassist Stin aptly describes as a “cacophony of evil,” a sonic assault that will petrify even the most seasoned metal listeners. Vocalist Raygun Busch is more daring than ever; his lyricism—primarily inspired by horror films—is spine-chillingly detailed, reading like confessions or grim real-life accounts.
While “Cool World” eases up on the industrial influence that defined their earlier work, Chat Pile introduces elements of nu-metal and alternative into their already expansive sound. “Masc” and “Shame” reveal a softer edge to their hardcore roots yet remain as bombastic as their heavier material. Don’t be fooled by the sound shifts, though: Cap’n Ron’s drumming is ear-splitting from start to finish, and the bass and guitar hooks are downright ghastly.
With “Cool World,” Chat Pile expands their sonic palette without sacrificing the ferocity and unease that make them so gripping. It’s a visceral and fearless evolution—one that cements the band’s place as one of metal’s most unrelenting forces. – J.K.
Our top picks: “Shame,” “Tape,” “No Way Out”
6. “Charm”- Clairo
Claire Cottrill–better known as Clairo–offers a sweet, inviting escape into the art of vulnerability and self-discovery on her third studio album, “Charm.” Through her delicate vocals and soulful instrumentation, she guides listeners along a journey that explores relationships, harmonious friendships and the nature of self. The opening track, “Nomad,” embarks on precarious thoughts of solitude versus genuine connection—preferring to be truly alone rather than only half-known by those around you. Meanwhile, the closing track, “Pier 4,” reflects on times when “close isn’t close enough,” hinting at fleeting moments of connection, lusting for a brief memory of a closeness that grasps your full attention.
Throughout “Charm,” Cottrill slow-dances with the ideas of and reluctance to love, self-love and the reluctance that accompanies both. In a way only Clairo can, she creates the warmth of a late-night phone call with a childhood friend, whispering the comforting reminder of “You know me.” It’s an album tailor-made for cozy, orange-hued lamplight, a glass of wine at a long day’s end and the company of a cherished friend (or pet). – Ashley Rosado
Our top picks: “Slow Dance,” “Juna,” “Glory of the Snow”
5. “I Got Heaven”- Mannequin Pussy
“I went and walked myself like a dog without a leash/Now I’m growling at a stranger, I am biting at their knees,” lead singer Missy Dabice howls on the title track. From the very first line, Mannequin Pussy seizes the listener’s attention and refuses to let go for the 30-minute rollercoaster that is “I Got Heaven.” The Philadelphia band brings righteous guitar riffs to the forefront, infused with a lushness reminiscent of 1990s alternative acts like Hole and Garbage, on wistful yet biting tracks like “Loud Bark” and “Softly.”
Dabice’s lyricism is poignantly raw and unabashedly earnest, delivered with a brazen short-temperateness that demands full attention. The instrumentals on “Aching” and “OK? OK! OK? OK!” hit like hockey pucks to the mouth, making the band’s shift to a dreamier, more atmospheric sound on tracks like “Nothing Like” and “I Don’t Know You” feel all the more striking. Despite these dramatic tonal shifts, Dabice solidifies her place as one of punk’s greatest frontwomen, commanding the songs and the listener’s emotions with ease.
With “I Got Heaven,” Mannequin Pussy hit their stride, delivering a record that is exhilarating and impossible to ignore. – J.K.
Our top picks: “I Got Heaven,” “Sometimes,” “Softly”
4. “Hex Dealer”- Lip Critic
As unrelenting as it is unserious, Lip Critic’s “Hex Dealer” is an explosion of noise, religious imagery and pure talent. The New York band has spent the past few years cementing themselves as legends in the local hardcore scene with riotous live shows, unmatched energy and an unconventional format—one vocalist, one mixmaster and two drummers. Yet their latest release surpasses any and all expectations. Connor Kleitz’s blistering mixing, paired with Danny Eberle’s rigorous drumming, pounds at your ears like a jackhammer while vocalist Bret Kaser spasms over the chaos, seemingly unable to decide whether to rap, sing, scream, talk or preach—or do all at once. On paper, it sounds disjointed, but in practice, Lip Critic’s signature sound is hypnotic. Tracks like “The Heart” and “Toxin Dodger” drill into your brain and linger there, a perfect melding of disarray and precision.
Lip Critic delivers some of the goofiest songs of the year; the over-the-top production of “Love Will Redeem You” and “Milky Max” borders on comical, a stark contrast to the chilling “Sermon” or the downright horrifying ending of “My Wife and The Goblin.” Even with the abrupt tone shifts, the band’s ferocity remains constant, pulling you back into the barbaric, unhinged world they’ve created. “Hex Dealer” doesn’t just break the rules of what music should be—it obliterates them, smacking you over the head like an anvil in a Hanna-Barbera cartoon while doing so. – J.K.
Our top picks: “Love Will Redeem You,” “Sermon,” “Toxin Dodger”
3. “Brat”- Charli xcx
It’s impossible to talk about the music releases of 2024 without mentioning “Brat.” More than just an album, it infiltrated culture to the point where even presidential candidates were referencing the “Brat summer” phenomenon on the campaign trail. Practically inescapable, but for all the right reasons, “Brat” is an electrifying explosion of bubblegum bass and some of the most infectious club hits since the days of Sisqó.
Every track on “Brat” is unapologetically bold, dripping in glossy production and bursting with cheeky audacity that feels refreshingly new. Charli exudes pop-star energy on dance anthems like “Von dutch” and “365,” pairing roaring, uncontrollable beats with effortless swagger. Yet, amidst the high-energy partying, there are moments of sincere self-reflection, creating a remarkably well-rounded album. Tracks like “Sympathy is a knife” and “Girl, so confusing” stand out as some of the most honest pop songs of the century, delving into themes of jealousy, regret over fractured friendships and the fragile hope of reconciliation.
“Brat” isn’t just an album—it’s an attitude. It’s a neon-soaked reminder that music can be fun and a little silly and still hit like a truck. In a world that often takes itself too seriously, “Brat” celebrates the joy of unbridled freedom. Simply put, 2024 belongs to “Brat.” – J.K.
Our top picks: “Von dutch,” “Girl, so confusing,” “365”
2. “Bright Future”- Adrianne Lenker
Big Thief’s lead singer and principal songwriter, Adrianne Lenker, is a true musical genius. Whether working alone or with her band, her songs exhibit an unmatched songwriting mastery. Her fifth solo album, Bright Future, features deceptively simple song compositions; the lightly strummed or delicately picked guitar lines are often accompanied by the occasional violin or steel guitar. Her seemingly straightforward lyrics are dripping with passion and laced with vivid, masterful imagery.
“Bright Future,” recorded entirely live on tape, feels refreshingly raw. Each song is like a candid photo—an unpolished snapshot of a fleeting moment in Lenker’s life. Her haunting, Dylan-esque vocals, paired with minimal instrumentation and the occasional violin solo, sit heavily on your chest and stay with you long after the song ends. Lenker’s ability to evoke a crushing, long-lasting melancholy is unrivaled by almost every contemporary songwriter.
While Lenker is great with Big Thief, her solo work reveals an even greater brilliance. “Bright Future” is her most compelling release yet, reaffirming her place as one of the greatest songwriters of her generation—and one day, of all time. – Sophia Patti
Our top picks: “Sadness as a Gift,” “Free Treasure,” “Donut Seam”
1. “Diamond Jubilee”- Cindy Lee
Ditching music streaming services in 2024 may be the riskiest move for any modern artist, but it feels like the perfect choice for Cindy Lee’s “Diamond Jubilee.” The album sounds as though it’s been ripped straight from a record player in a 1970s Canadian living room—crackling, intimate and timeless. Cindy Lee, the alter-ego of Women’s Patrick Flegel, mopes over the most gorgeous guitar solos of the year, channeling a pained gloominess reminiscent of a Charlie Kaufman film. “All I Want Is You” and “Dallas” evoke the loneliness of a solo cross-country trip, pairing unadorned lyricism with sparkling psychedelic guitars to produce a strain of sadness that feels both immediate and eternal.
At 32 tracks, “Diamond Jubilee” features some of the most daring dream-pop released this decade. Songs like “Always Dreaming” and “Flesh and Blood” build simple pop foundations into surreal masterpieces through clever synth work, while “Deepest Blue” stands out as one of the year’s most heartbreaking songs. Flegel doesn’t mince words; when language falls short, the guitar fills the void, speaking with aching clarity.
While “Diamond Jubilee” is more accessible than past Cindy Lee releases, the album still has a flare of experimentalism that Flegel fans have come to love. Tracks like “If You Hear Me Crying” and “What’s It Going to Take” drift into a cacophony of noise that recalls the sound of 2020’s “What’s Tonight to Eternity.” Instrumental tracks like “GAYBLEVISION” and “Olive Drab” are entirely unique in their sound while seamlessly complementing the rest of the record’s vintage sound. And then there’s “Darling of the Diskoteque”—a track that feels like stepping through a movie screen, landing in David Lynch’s “Blue Velvet,” and taking a seat at the Slow Club to watch Cindy Lee perform under a haze of surreal melancholy.
“Diamond Jubilee” doesn’t reinvent the wheel; instead, it deconstructs it, examines every piece and meticulously experiments with each element before rebuilding something wholly unique. – J.K.
Our top picks: “All I Want Is You,” “Demon Bitch,” “Dracula”
