Something was in the air in 2024 (and for one of the first times this decade it wasn’t primarily COVID). There were some MAJOR records this year that all feel very distinct and fully visualized. This post-pandemic era of music has been something wonderful to behold which made it extra hard to narrow to only ten. Hope you enjoy and throw on some of your blind spots while reading đ
10. Imaginal Disk – Magdalena Bay
Magdalena Bay once again came through with the most lush pop record of the year, overflowing with twinkly synths and Y2K mall music soundbeds. Mica Tenebaumâs silky lead vocals serve to reinforce the dreamlike hyperreality of Imaginal Disk which basically begins with a DVD Menu-esque interlude and slowly crashes through bigger and brighter indie pop cuts. The whole thing feels like a sugar rush with an ambitious central concept and aesthetic. Itâs a high you wonât want to come down from.
Favourite tracks: Killing Time, Image, Death & Romance, Vampire in the Corner, Thatâs My Floor, Cry for Me, The Ballad of Matt & Mica
9. I LAY DOWN MY LIFE FOR YOU – JPEGMAFIA
JPEGMAFIA has often had a way of coming across as overly abrasive. No one wants to rap on his production? Fine, heâll do it himself. Labels trying to tone down his style? He doesnât need them. Canât clear a sample? Release it anyway. Itâs this anarchist streak that has characterized his career to the point of feeling distant. Weâve seen his forward-thinking production and flow in action but when do we get to really know the man behind it?
Maybe thatâs what makes I LAY DOWN MY LIFE FOR YOU so appealing. For the first time, Peggy brings a sense of vulnerability to the table while still keeping a few cards up his sleeve. The record is more conceptual than usual while still drawing from the gospel-based production in a way that seems to highlight some sort of spiritual or interpersonal struggle. Heâs laying more of his life down than he ever has but his uncompromising spirit still shines through as he delivers on more forward-thinking production, deliveries, bars, and general presence on the mic. Who else do you know that can pull off bars about Joe Biden and nepo babies and still maintain a good sense of emotional flow? Thereâs only one JPEGMAFIA and itâs an honour to bear witness to his sacrifice.
Favourite tracks: i scream this in the mirror before i interact with anyone, SIN MIEDO, Iâll Be Right There, vulgar display of power, JPEGULTRA!, either on or off the drugs
8. The New Sound – Geordie Greep
I must confess – I never cared much for Black Midi. They always felt more fascinating to observe than to consume (something Greep himself has discussed after their sudden disbanding). And upon hearing the lead single âHoly Holyâ I was⊠taken aback. It was strange, profane, abruptly shifting in sound and tone on a dime. Little did I know that the record that followed would be equally as bewildering and, yet, one of the most rewarding listens of the year.
Make no mistake about it: this is a concept album about an isolated lonely man who wields pride, hatred, and the internet as weapons for all who may reject him (said to have been inspired by prevalent, controversial online figures such as Andrew Tate). As such, itâs frequently brash, as the character builds up a sense of greatness around himself as a defence mechanism against the crushing sense of rejection. Perhaps itâs a tale well-told in the digital age but the way it slowly twists into a grand exploration of the common need for love and community we all share is empathetic and beautifully rendered. In one of the albumâs most inspired choices, the sonic landscape of the record noticeably shifts to embody the characterâs mental state, from shimmering jazz fusion chaos to showstopping Broadway balladry, at times riding the line between mortifying and beautifully sincere (look no further than âThrough a Warâ). If you can stomach the wild ride, youâll feel the euphoria of revelation at the climax of the album as the full weight of this crushing character study comes to light. Itâs a one-of-kind record to behold and reckon with
Favourite tracks: Terra, Holy, Holy, The New Sound, Through a War, As If Waltz, The Magician
7. NO HANDS – Joey Valence & Brae
When I say that seeing Joey Valence & Brae in concert was one of the best live shows I’ve ever attended… it’s not hyperbole. The energy they bring to the stage is the same off-brand, nerd ferocity they bring to the mic. I was a sweaty mess by the end of it and I still could’ve easily raged for another two hours.
That said, the artistry is still there. Their 90s-style, sample-heavy production is the perfect compliment to their Beastie Boys-esque delivery but most of the time their rhymes hit more like punch-lines: self-deprecating or overly braggadocios. It feels like hip-hop culture turned in on itself and amped up to 11 which is ironically the best tribute to the brash, rebellious nature of hip-hop in the first place.
Instead of bragging about a garage full of cars, they’re more likely to mention their affinity of Pokemon cards (and display handfuls of them on stage, given by adoring fans). Plus, there’s Olivia Rodrigo bars, “your mom” jokes, and comparisons to saucy pasta – and thatâs just all on PACKAPUNCH on which they somehow managed to bring to the ring the incomparable Danny Brown. It’s a wonder of indie music production – another important thread throughout the record. They made what they love, stayed true to who they are and refused to compromise. And it worked. Because at the end of the day, there’s no party like a Joey Valence & Brae party – and this record is the proof.
Favourite tracks: NO HANDS, LIKE A PUNK, WHERE U FROM, INTERMISSION 2, THE BADDEST, OK, DOUGHBOY, WHAT U NEED
6. Tiger’s Blood – Waxahatchee
Sometimes simplicity is key. Now, thatâs not to say that what Waxahatchee accomplishes here is easy – itâs the culmination of 10,000 hours and then some to the point where she knows exactly what makes her alluring as an artist and songwriter. Tigerâs Blood is a collection of 12, all killer no filler, tracks that draw in you to moments of spellbinding campfire intimacy (âRight Back to Itâ, âCrimes of the Heartâ) before bringing the house down (âIce Coldâ, âBoredâ). Itâs surprisingly versatile for an alt-country record, boasting career best lyricism and melodies that make would-be clunky lines feel effortless and natural in the way only Waxahatchee can.
Her ear for a irresistible hook is almost pop-adjacent in how easily in will wriggle its way into your brain days later. The use of backing vocals, either from herself or recent collaborator MJ Lenderman of Wednesday fame, proves she knows exactly where and when to accent a moment for maximum impact. This is Waxahatchee at the peak of her powers, doing what she does best. If it ainât brokeâŠ
Favourite tracks: Evil Spawn, Ice Cold, Right Back to It, Burns out at Midnight, Lone Star Lake, Crimes of the Heart
5. SMILE! đ – Porter Robinson
The yearâs biggest surprise musically would have to be Porter Robinsonâs latest pop odyssey. After a streak of electronic records and a brief hiatus from music altogether, Robinsonâs latest outing is a shockingly personal glimpse into the psyche of a musician at the peak of their powers. Thereâs a subtle violence that surrounds the 2010s sugar-pop songwriting from the opening notes of âKnock Yourself Out XDâ – a braggadocios ode to being at the top while foreshadowing the free fall to come.
The screws tighten as Robinson grapples with lost love, regrets, toxic coping methods, and suicidal thoughts. His diaristic writing compliments the use of emoji shorthand in the titles: itâs a little cringe and playful but in a way thatâs earnest. And yet, he never once loses his ear for a perfect pop melody. Itâs such a deceptively accessible listen that it may be easy to ignore the craft behind the entire experience. The radio-ready nature of a majority of the album shines immediately but when Robinson busts out the guitar for the stunning balladry of âEasier to Love Youâ – a confessional about how we can never seem to see the beauty in ourselves as we are – itâs hard not to be entirely won over by his earnest, life-affirming treatise on the human condition.
Favourite Tracks: Knock Yourself Out XD, Cheerleader, Russian Roulette, Perfect Pinterest Garden, Kitsune Madison Freestyle, Easier to Love You
4. Only God Was Above Us – Vampire Weekend
In 2024, Vampire Weekend returned with their most cohesive âeraâ to date, one where the photo series that accompanies the record begs the question of what came first. The icy, surreal images are entirely evoked sonically throughout the record by various metallic and industrial punctuation. Itâs an album that is fully New York and takes the poetic lyricism and genre-fusions the band has been known for to the next level.
At its core, itâs a record about finding hope in the midst of the slow dissolution of modern society, giving up on the things that have previously held us back from coming together because our current state has forced us to reckon with the fact we do not have all the answers. We may feel lost, hopeless, nostalgic, apathetic, a lack of connection, but Only God Was Above Us suggests that we would be better to surrender to the current of life and focus on our commonalities than be swept away in our grievances. And, in typical Vampire Weekend fashion, itâs incredibly chic and well-composed.
Favourite tracks: Ice Cream Piano, Classical, Capricorn, Connect, Mary Boone, Pravda, Hope
3. COWBOY CARTER – BeyoncĂ©
After the cultural juggernaut that was Lemonade and the no-holds-barred house revival that possessed every minute of Renaissance, anticipation for what Act II of BeyoncĂ©âs rumoured 2020s album trilogy would have in store was at an all-time high. A shift towards country should theoretically have caught no one off guard (did we all hear âDaddy Lessonsâ?). And legend has it that after receiving a chilly reception at the CMAs upon performing her initial foray into country, BeyoncĂ© set out to double-down on this country sound. Because whether you make a song about riding horses down the old town road or were born in Texas, the gatekeepers of the country seem adverse to allowing Black artists entry.
But not only does COWBOY CARTER prove once and for all that BeyoncĂ© has the chops to tackle any kind of song or genre she wants (the operatic levels of âDAUGHTERâ are a perfect example) but the album serves as a thesis on the history of music, weaving together sounds, songs, and artists from the past and present in a grand treatise on the history and evolution of music. It succeeds in showing how genre-fusion and experimentation are at the very root of musical innovation – how remaining stagnant in stuck in tradition is detrimental to progress (and we wouldnât have the genre styles we know and love today). It also highlights the blatant hypocrisy of the gatekeeping of Black artists within the country genre when the roots of all music can be attributed to Black artists.
And, yet, in typical BeyoncĂ© fashion, these bold statements are also woven into a personal tapestry. Across the 27 tracks and interludes are near-stream of consciousness level mediations on her own lineage. Perhaps recalling âthe personal is politicalâ, BeyoncĂ©âs exploration of Americaâs past, present, and future coalesce with her own, as cheerfully boasted at the top of the record: âI am the one to cleanse me of my fatherâs sin/American requiemâ. There is more clever blurring of the lines between her experience of motherhood, jealousy, a spouseâs infidelity and her familyâs with lyrical nods that point to both Beyonce and her parents. The result is a certain timelessness to the record, not only in lyrical content, but in the vast sonic territory it manages to cover. It may have failed to capture the zeitgeist in the same way as Lemonade, but COWBOY CARTER stands on its own as BeyoncĂ©âs most complex and meaty record to date – while still bringing a sense of pure bliss throughout.
Favourite tracks: AMERIICAN REQUIEM, BLACKBIIRD, PROTECTOR, TEXAS HOLD âEM, BODYGUARD, DAUGHTER, ALIIGATOR TEARS, II MOST WANTED, LEVIIâS JEANS, YA YA, RIIVERDANCE, II HANDS II HEAVEN, TYRANT, SWEET âïž HONEY âïž BUCKIINâ, AMEN
2. Heavy Metal – Cameron Winter
Itâs not often that an entry this late in the year can place so high on a list like this for me. I find I get a better handle on my relationship to a record the longer it marinates. But Cameron Winterâs Heavy Metal swept me off my feet and left me speechless. I always strive to be able to articulate the way art affects me, drawing on my own experience as a way to open up the doors to larger conversations about a work. When a record can transcend my own understanding of its impact and strike such a deep chord emotionally is when I know Iâve found something special.
After loving Geeseâs 3D Country last year (it placed at number five on last yearâs list), perhaps I was primed for Winterâs debut solo record. Where 3D Country was abrasive and energetic, Heavy Metal seems to soften and splinter. There are some gorgeous instrumental arrangements that compliment Winterâs rough vocal delivery to a T (itâs hard not to recall Nick Cave in many of these moments in the best way). The record begins on a slightly polyrhythmic note before slowly unravelling into beautiful balladry. Itâs heartfelt and sincere in a way that feels almost subconscious, as if Winter were stumbling into beauty by accident. The melodies seem to find him, the instrumental segments almost forming this gorgeous pillow of sound for him to unleash whatever seems to cross his mind. In that way, â$0â is emblematic of what makes the record work. When Winter bellows âGod is real/God is actually realâ with the conviction and energy of a charismatic preacher after several minutes of bemoaning rejection in his life, the recordâs journalistic and deeply internal nature is out in full force. And how wonderful it is.
Favourite tracks: The Rolling Stones, NausicaĂ€ (Love Will Be Revealed), Love Takes Miles, Cancer of the Skull, Try as I May, Nina + Field of Cops, Canât Keep Anything
1. BRAT – Charli xcx
In true BRAT spirit, everything surrounding this album is over saturated. What more can truly be said about this year-defining record? The seamless weaving of Charliâs party girl persona with her hyperpop sensibilities, the surprising moments of vulnerability on the fringes of her grand night out, the epic, substance-induced climax at the end of it all. Itâs a record that so uniquely embodies the spirit and ethos of its creator: the true distillation of an artist at the peak of her powers. For many, this was the reintroduction to Charli after her string of radio hits in the early 2010s. For the rest of us, this was merely another monumental achievement in a career already pockmarked with the most impressive pop records of the last ten years.
And thatâs to say nothing of the deluxe tracks and remix album (brat and itâs completely different but also still brat) which not only expand the sonic landscape of BRAT but read more like a series of mirrors all reflecting in on one another. This top spot is truthfully for both projects whose identities are so closely related itâs would be detrimental to both to attempt to discuss them separately. This year was Charliâs in every way (although Song of the Summer has to be âEspressoâ and Chappellâs rise to fame is one for the history books) and BRAT is without a doubt her career-defining statement: subtly smart, effortlessly expansive, and endlessly entertaining.
Favourite Tracks on BRAT: 360, Club Classics, Sympathy is a Knife, Talk Talk, Everything is Romantic, Mean Girls, I think about it all the time, 365
Favourite tracks on brat and itâs completely different but also still brat: 360 featuring robyn & yung lean, club classics featuring bb trickz, sympathy is a knife featuring ariana grande, everything is romantic featuring caroline polachek, girl, so confusing featuring lorde, b2b featuring tinashe, mean girls featuring julien casablancas, i think about it all the time featuring bon iver, 365 featuring shygirl
Thanks for reading!