#Albums Of The Year

[tlouloser]

The amount of times I teared up while watching the Grammys was insane

Everybody’s speeches where so empowering and I’m so proud that they actually took the time to use their platform to speak up

[junkshop-disco]

Sneaking in with my top albums of the year right before we bid goodbye to 2024.

Pet Shop Boys / Jamie xx / Beabadoobee / Rachel Chinouriri / Clairo / Laura Marling / The Last Dinner Party / Maggie Rogers / Kim Gordon / Charlie xcx

[amber-lucca44]

Favorite 2024 albums (with rating and favorite song 💖)

Post Human: NeX GEn (Bring Me The Horizon), 9.5/10

Plastic Death (glass beach), 9.5/10

Dostrotime (Squarepusher), 9.5/10

GNX (Kendrick Lamar), 9.5/10

brat (Charli XCX), 9/10

Duality (Lindsey Stirling), 8.5/10

Negative Space (Poppy), 8.5/10

Dark Matter (Pearl Jam), 8/10

Saviors (Green Day), 7.5/10

The Tortured Poets Department (Taylor Swift), 7.5/10

[newmusickarl]

Top 50 Albums of 2024: #10-1

10. Prelude To Ecstasy by The Last Dinner Party

The singles in the build-up to the release of The Last Dinner Party’s debut album, Prelude to Ecstasy, made it obviously clear that the art-rock group were well worthy of all the attention they were receiving. Baroque pop bangers packed with jaw-dropping vocals, scintillating guitar riffs, poetic lyrics rooted in feminism and, of course, their own captivating energy. So, I naturally went into this album back in February expecting greatness - and that is exactly what I found.

From the moment the grand orchestration of the opening title track greets your ears, you are pulled into The Last Dinner Party’s stylish, richly-textured world. Burn Alive cranks things up several gears, with singles Caesar on a TV Screen and On Your Side also carrying the momentum.

But as the album title would suggest, the first half is merely the build towards the triumphant grand crescendo at the end. From the dramatic transition from Gjuha into Sinner, the towering guitars of Portrait of a Dead Girl and then the fist-in-the-air elation of the anthemic Nothing Matters, it pushes the album into masterclass territory. Closing track Mirror then brings everything full circle, pulling together all the elements that have made the previous 11 tracks so utterly engaging and life-affirming.

This debut from The Last Dinner Party really felt like a moment for British rock music, and it’s a shame to have seen the band spend much of 2024 battling with harsh online criticism. Like it or not, The Last Dinner Party are the future – and with Prelude To Ecstasy, they’ve made one hell of a statement as to why they are the chosen ones.

Best tracks: Portrait of A Dead Girl, Nothing Matters, My Lady of Mercy

Listen here

9. Mountainhead by Everything Everything

Back in 2022, Mancunian indie outfit Everything Everything finished as my runner-up Album of the Year, with Raw Data Feel narrowly losing out to joint winners Kendrick Lamar and Little Simz. While at first their seventh studio album Mountainhead felt like a slight step down from Raw Data Feel, simply due to how much I still love that record, I can safely say now that I adore Mountainhead just as much as its predecessor.

For me, it’s the perfect companion piece to Raw Data Feel. Where that album was this tapestry of ideas and sketches focussed on our digital world, they’ve followed it up with this abstract concept record that looks at humanity’s relationship with nature - and each other - through the lens of this dystopian, mountain-based world. Conceptually and thematically it’s the perfect follow-up to Raw Data Feel, while sonically not straying too far from the addictive hooks and vibrant sounds that made that album such an absolute joy.

The record also boasts some of their very best singles, such as the artsy shimmer of Enter The Mirror and the endlessly infectious grooves of Cold Reactor. There’s plenty of high points elsewhere too though, with the duo of Buddy, Come Over and R U Happy impressing early on, before the string-tinged TV Dog and glistening guitars of City Song dazzle in the back half.

Arguably their most cohesive, ambitious and fully realised project to date, Mountainhead was a record I just couldn’t stop revisiting in 2024 – ending the year as my most played album of the last twelve months by some distance.

Best tracks: Enter The Mirror, Cold Reactor, Buddy Come Over

Listen here

8. Fine Art by Kneecap

There were a handful of artists that truly owned 2024 and provocative Irish rappers Kneecap were most certainly one of them. Not just one of the biggest breakthrough acts of 2024, but also the best debut and best hip-hop record of the year. On top of that, they even had one of the best films of the year for their self-titled music biopic, in which the trio played themselves – a film that is already in contention for the Oscars next year!

Going back to Fine Art though, it’s a high energy debut that is brash, controversial, filled with infectious beats, sharp lyricism, and just a whirlwind of edgy fun from start to finish. Presenting a concept that sets the album in a busy Belfast pub, each track plays out like another chapter in the evening’s events, with comical interludes guiding the listener through the story along the way. It makes for an experience as joyously chaotic as a trip to your own local boozer, with the trio frequently jumping between English and Gaelic with their vocals. Never straying too far from their heritage, there’s also hints of Irish trad on occasion within the array of hip-hop beats and synth-driven bangers they create.

Instrumental opener 3Cag is an immediate highlight, the electro-string composition easing the listener into the calm before the storm. Title track Fine Art then sees the group fire back at some of their critics, turning controversial commentary into this thumping garage number. I bhFiacha Linne then samples 808 State’s Cubik to great effect. I’m Flush is then the most ferociously fun track on the record, with Grian Chatten collaboration Better Way To Live, the pulsating Love Making and the tension-fuelled Harrow Road all standing out too.

Whilst the controversial statements and aggressive nature of the songs won’t be to everyone’s taste, anyone searching for Ireland’s answer to artists like The Streets, Stormzy or Bob Vylan – you’ve well and truly found it. A highly addictive and landmark first outing, it’s an album that has deservedly taken them from complete unknowns to festival headliners in the space of a year.

Best tracks: I’m Flush, 3Cag, Better Way To Live

Listen here

7. Midas by Wunderhorse

Another band that has truly owned 2024, rock outfit Wunderhorse showed their superstar potential back on their excellent 2022 debut Cub - an album that only just sneaked into my Top 50 for that year. However, Midas saw them transcend to another level altogether, putting them firmly on the brink of being one of the most adored new bands in the country.

While Midas for the most part just builds on everything that was great about Cub, the biggest difference this time around is that Wunderhorse no longer sound like Jacob Slater’s solo project – this is the sound of a united quartet ready to take the world by storm. By no means a perfect record, part of the appeal of Midas is just how rough and raw it is around the edges, bringing a timeless power to these songs that only true rockstars can conjure. As a result, listening to this record awakens a nostalgic and quite emotional connection for me that’s hard to put into words.

The other big strength of this record though is the songs themselves. Boasting five singles and filled wall-to-wall with anthems, it’s easily one of the best pure rock records I’ve heard in years. From the instant singalong choruses of 90s-tinged cuts like Emily and Silver, to Jacob’s soul-stirring vocal performances on Superman and Arizona, it’s an album that gets your blood pumping and your spine tingling. And while many will point to the memorable riffs of July and the title track as the album’s high points, for me it is the blissed-out beauty of epic closing track, Aeroplane, where this album truly soars.

Released in a month where everyone was losing their minds over the Oasis reunion, Wunderhorse proved that, while nostalgic acts will continue to sell and take the bulk of the attention, there is still plenty of fascinating work happening in today’s rock scene too. With big headline dates and festivals already confirmed for 2025, I also think we’re still yet to see the full extent of where Midas will take Wunderhorse’s exploding popularity.

Best tracks: Silver, Aeroplane, Emily

Listen here

6. In Waves by Jamie xx

An electronic record that is as hypnotic and intoxicating as the album art would suggest. While Jamie’s first solo effort In Colour finished a few places higher almost a decade ago, making it into my Top 5 Albums of 2015, In Waves surpasses its predecessor in every single way.

This is an album so expertly crafted, you can not only take most of the tracks here and enjoy them in euphoric isolation, but brought together they also mould and transcend into a glorious overall listening experience. Here, The XX producer has woven a magical sonic tapestry, with spellbinding features and flourishes that play out like a hit-filled DJ mix.

In terms of high points too - where to begin?! There’s the breathtaking Treat Each Other Right, with its incredible synth beat and brilliantly chosen sample. We then get an unofficial XX track with Jamie’s bandmates Romy and Oliver joining him on the outstanding Waited All Night. There’s also the funky stomp of Baddy On The Floor and the Robyn-featuring banger Life. Even when it’s just Jamie on tracks like Breather, Still Summer and especially The Feeling I Get From You, he still delivers the uplifting grooves and positive energy in abundance. All that said, my favourite moment on this record is still Jamie’s phenomenal collaboration with The Avalanches, All You Children – a track that emerged as my Song of the Summer for 2024.

Regardless of whether it’s as a solo artist or with The XX, Jamie continues to deliver the goods, with his discography near faultless at this point. Seemingly incapable of making a bad record, In Waves is as close to a perfect as you can get and the standout in a year of exceptional electronic releses.

Best tracks: All You Children, Treat Each Other Right, Waited All Night

Listen here

5. BRAT by Charli XCX

Let’s face it – if my Album of the Year was simply based on cultural impact alone, there would be no contest. From iconic lyrics and viral dances, to dictating 2024’s festival fashion, through to entering Presidential campaigns and being named the Collins Dictionary Word of the Year, 2024 was – above all else – very Brat.

With this record, Charli created a cultural phenomenon that would define the summer, and indeed the entire year, like no other album has in recent memory. From club-ready beats to stinging gut punches, BRAT is a rollercoaster of sounds and emotions that only got more intoxicating with each new spin.

With most tracks hovering around the three-minute mark, it’s a punchy, wild ride through some vibrant dance-pop, ranking right up there with Charli’s very best work. Channelling her recent Boiler Room appearances, BRAT was the perfect summer soundtrack, with everyone the world over seemingly raving to tracks like the Armand Van Helden-influenced Von Dutch, the trancey pulse of Mean Girls and cocaine-taking anthem, 365. Raising a few eyebrows, let’s not forget the latter did incredibly make Barack Obama’s famed summer playlist too!

But for all the hard drug references and party bops, there’s also equal parts introspection and vulnerability too. There’s the uncertainty on tracks like I might say something stupid and Sympathy is a knife, as well as her heartbreaking tribute to producer and friend SOPHIE on So I. She also talks about the struggles of female friendships in the music industry on Girl, so confusing, with Lorde also appearing on the more popular remix of the track, having been alluded to as the song’s subject matter. That’s another point worth making too – the remix version of this album is also fantastic and possibly one of the few that lives up to the original, thanks to features from The 1975, Bon Iver, Jon Hopkins, Julian Casablancas, Billie Eilish and many more.

Charli well and truly stormed 2024, proving once again that there is no popstar on the planet quite like her. Long overdue her flowers, having directly influenced other great recent popstars like Caroline Polachek, CMAT and RAYE, it was incredible to see Charli finally transcend in 2024 from cult favourite pop alchemist, to a true global sensation.

Best tracks: 360, So I, Von dutch

Listen to BRAT here

Listen to Brat and It's Completely Different but Also Still Brat here

4. Romance by Fontaines D.C.

Everything Is Romantic…and Romance Is A Place.

While Charli may have owned the pop world in 2024, Irish outfit Fontaines D.C. most certainly owned the rock world. Having been steadily making a name for themselves across their first three records, fourth album Romance has been a complete game-changer, rocketing them into the mainstream and to new heights of popularity around the world.

Although everyone will have their own favourite Fontaines record, with each album subtly different in style but equally as great as the last, there’s no denying Romance is certainly their most accessible project to date. For my money, it’s also their most sonically ambitious too, with the band showing they’re not just a post-punk outfit anymore but a true rock band, adding elements of shoegaze, grunge and indie to their already impressive sound. And while I was initially disappointed that Dan Carey wasn’t on production duties for this one, the legendary James Ford does an exceptional job of making the music sound as colourful and vibrant as the instantly iconic album art would suggest.

On top of all that, I think it goes without saying that some of the best songs of Fontaines’ young career are featured here. From the hip-hop inspired Starburster, one of the definitive singles of 2024, to the string-drenched majesty of In A Modern World, the radiant Sundowner, the stomping rhythms of Bug and the endlessly hypnotic central riff of Favourite, there is nothing but utter brilliance at every turn.

Like it or not, Romance is the album that cemented Fontaines D.C. as THE band of the 2020s thus far, elevating them to new levels of superstardom. Boasting some of the year’s finest singles and a tracklist that would make any band as green as some luminous lime tracksuits and balaclavas with envy, Fontaines have forged a classic that I think we will be revisiting for years to come.

Best tracks: Starburster, Favourite, In A Modern World

Listen here

3. Big Sigh by Marika Hackman

Into the Top 3 then and these next two albums were tough to separate – both tackling the pain and anguish of toxic relationships but in very different ways. First up is an album that I’ve lived with since January and have continued to play pretty much every month since the very start of the year. Brutal yet beautiful, it is the incredible Big Sigh by singer, songwriter and multi-instrumentalist, Marika Hackman.

A record that deserved so much more attention than it received in 2024, Big Sigh is a towering work in so many ways. Sonically it is rich with some exquisitely composed, multi-layered instrumentation, all of which is incredibly played by Marika herself (bar the gorgeous string arrangements that also feature on occasion). The music has to be uplifting here as lyrically the album is devastating, with Marika laying bare her deepest thoughts and emotions during a tough time of high insecurity and low self-esteem. It’s a record that will frequently punch you in the gut and emotionally manipulate you, but then also soothe your wounds afterwards through the majesty of the music.

What’s more, every moment on here is just breathtaking in its own way. Whether it’s the enchanting and inventive opener The Ground, quietly anthemic single No Caffeine, the bluesy title track or the acoustic haunt of Blood, it’s an album that pulls you into its grip straight away and then refuses to relinquish. This is best demonstrated on album highlight Hanging, a hard break-up song juxtaposed on the hurt and relief of this relationship coming to an end. Then, after a short piano interlude, the record enters a more stripped-back second half, with further highlights such as Slime and Please Don’t Be So Kind.

Pulling me back in again and again into her bleak, melancholic yet uplifting and richly textured stratosphere, this is without a doubt Marika’s best work to date. A stunning album that set a very high bar for me right back in January, there were few records that could match Big Sigh’s emotional power or raw beauty in 2024.

Best tracks: Hanging, No Caffeine, Blood

Listen here

2. This Wasn’t Meant For You Anyway by Lola Young

South London songwriter Lola Young is an incredible talent, one that has been on my radar for a while now. Having first seen her perform at 110 Above festival a few years back, I was later swept up in her conceptual 2021 EP, After Midnight, and have since continued to follow her progress.

However, when she finally released her debut album last year, My Mind Wanders and Sometimes Leaves Completely, I was left a little lukewarm. It wasn’t the same revelation as her early EP, in fact it sounded quite ordinary. Her poignant lyrics were still there, but she suddenly resembled a lot of other pop singer-songwriters. I thought it was a bit of a misfire and with most artists only getting one shot at a first impression these days, I sadly expected Lola to fade into obscurity – boy was I wrong. From TikTok stardom and a Tyler, The Creator feature, to even a massive Top 10 single now trending around the globe, Lola came back swinging in 2024.

Going back to the drawing board and fuelled by a brutal, toxic relationship, her second outing This Wasn’t Meant For You Anyway is one of the best records of the entire year. Bringing together angsty lyrics that are vicious takedowns of her ex in one breath, to moments of stark vulnerability the next, with an eclectic mix of sounds and styles providing the sonic backdrop, it’s just an absolute tour de force for 38 minutes.

Channelling the spirit of Amy Winehouse and Lily Allen but with the artistic flair of artists like Cyndi Lauper and Kate Bush, the first half is one of the best runs on any record all year. From the echoey instrumentation of Good Books to the punk thrills of Wish You Were Dead, through to the catchy frankness of Big Brown Eyes and the rock stomp of album highlight Conceited, every song is seemingly better than the last.

If that wasn’t enough, we then get to my personal song of the year – Lola’s big breakout single, Messy. While Lola shields behind her brash persona for the first few tracks of the album, Messy is then the record’s centrepiece and first big gut punch, as she asks, “I want to be me, is that not allowed?” The intense insecurity is sad to hear, and that’s soon followed up by the deflated despair of “A thousand people I could be for you, and you hate the f*cking lot.” It’s a song that captures toxic relationships and feelings of hopelessness to devastating effect, and it’s no surprise that its raw sentiment has connected with so many people in 2024.

There’s plenty of highlights in the back end too, such as the string-tinged rawness of You Noticed, the torment of F*ck and the self-loathing of Intrusive Thoughts. It then ends in a spoken word outro, where Lola details the catharsis of writing the record and how it taught her how to love herself and music once again.

They say the finest art comes from the darkest times and - just like Marika’s album - Lola’s record is a testament to that age old saying. Coming through this bleak time in a damaging relationship, she’s emerged out the other side with an exceptionally honest album and renewed belief in herself. While Charli, Chappell and Sabrina took the headlines, for me there was no pop record this year that was as unflinching and soul-baring, but also where the songwriting and musicianship did justice to the impactful story being told, as this one from Lola.

An immensely talented artist that deserves all the praise in the world, and so pleased to see word finally getting out thanks to Messy’s viral success – my runner-up Album of the Year for 2024.

Best tracks: Messy, Conceited, Intrusive Thoughts

Listen here

1. Ness by Hayden Thorpe

If you’ve been following me in 2024, or indeed before that, this being my Album of the Year probably comes as no surprise. Hugely ambitious and a listening experience truly like no other, as soon as I hit play on the first listen, I knew there was only going to be one winner this year – Ness by Hayden Thorpe.

Singer, songwriter and multi-instrumentalist Hayden Thorpe is no stranger to my year-end countdowns – in fact, every project he has released either as a solo artist or as part of Wild Beasts since I begun these countdowns in 2013, has made it into my Top 5 for that year. If you’re wondering what exactly it is that makes these albums resonate so much for me, I think everything that makes all his projects so uniquely intriguing can be found here on Ness.

An adaptation of Robert MacFarlane’s book of the same name, the album explores the site of Orford Ness - a coastal nature reserve down in Suffolk that was also at one point, a military testing site during both World Wars and the Cold War. The Atomic Weapons Research Establishment had a base there and conducted environmental testing of the Nuclear Arsenal at that point. However, the Ministry of Defence sold it to the National Trust in 1993 who left it to rewild, and it is now this place where nature lives and breathes once again.

So at the heart of Orford Ness, you have this fascinating collision of man-made destruction and natural life. This is what Robert MacFarlane paints in his book, and in-turn Hayden has brought to life on this album. Given the state of the world in 2024, it’s a place and subject matter that feels all too timely to explore.

So why is Ness my defining album of 2024? Well, let’s look back at my criteria for what I look for in an Album of the Year:

Had the biggest impact on me

I would argue there are few better feelings in the world than listening to a new album from one of your favourite artists, and it being right up there with their very best work. Ness gave me that feeling every time I hit play, while also magically transporting me to this real place that I’ve never even visited – you simply can’t put a price on that.

Was a landmark culturally or within the wider music world

While it wasn’t culturally impactful in the same way a Romance or a Brat was in 2024, it did get people learning about this lesser-known National Trust site, with some even travelling there for Hayden’s own album launch shows. It also turned me onto Robert’s book, something I likely would not have purchased and explored otherwise. For that, I also give Hayden big kudos.

Showed ambition or had something unique to offer

This one almost goes without saying, with the project’s ambition and uniqueness speaking for itself within the music. But having now read Robert’s book and having seen the alchemy with which Hayden has picked apart and redacted the source material to turn it into this wonderful musical experience, is quite extraordinary. Few artists would dare to even attempt a bold adaptation such as this, let alone pull it off to such mind-blowing effect.

I played the most during the year

Having only been released at the end of September, it finished as my second most played album on my Apple Music Replay statistics, while also finishing top on my YouTube wrap-up too. That’s not even including the pre-release streams and vinyl plays – so yeah, safe to say this is one I played a fair bit!

Ultimately produced my favourite front-to-back listening experience

For this part, and to officially close out my Album of the Year countdown for 2024, I’ll turn to the words I wrote in my CLASH review back in September, that still ring true now:

“Hayden Thorpe’s Ness ends up being more than just another album. Where Macfarlane’s book was part-novella, part-prose and part-poem, Hayden too has crafted a piece of art that blurs the lines between music, audiobook, spoken-word and classical composition. It’s simply a one-of-a-kind auditory experience, one that whisks you away to a place full of historical dread and natural wonder, which feels all too relevant for today’s world. Through Hayden, Ness Speaks – and it’s quite unlike anything else you’ll hear all year.”

Best tracks: The Whole Damn Thing!

Listen to my 2024 Album of the Year here

Read the full 9/10 album review for CLASH here

Watch or listen to my exclusive interview with Hayden on the making of the record here

Thanks for following along with my 2024 Albums of the Year countdown – still to come over the festive break, stay tuned for my Top 100 Songs playlist, Top 10 EPs and Best Gigs of the Year!

[emilyaxtell]

my albums of the year 2024!

in no particular order. i had a note on my phone where i'd write what albums i'd been listening to on loop throughout the year, so interestingly (to me) a couple of these i haven't listened to in months, but deserve a place on the list bc i listened to them a lot in like, january/february of last year - polly scattergood and the japanese house being two examples.

fightstar won the spotify wrapped war, i cannot tell you how many times i listened to that album, it is too embarrassing.

[von-vom]

my albums of the year for 2024!

[manysmallhands]

Top Albums of 2024: #8 - 'Alligator Bites Never Heal' by Doechii

I find a lot of rap quite grim and hard to embrace these days, so the appeal of Doechii’s breakout mixtape for me is in the way it references a lot of retro focused Hip Hop and RnB but in a way that still feels relatively fresh. There are some very familiar sounds on here - the menacing sax on "Boiled Peanuts" has a distinct ring of Cyprus Hill about it - but because it never allows itself to get stuck in one mode, Alligator Bites doesn’t end up coming off like a tired retread. Tho the more explicitly 90s focused hip hop is a key element, the floating, modern underground style beats on tracks like "Boom Bap" recall the likes of Westside Gunn or Mike more than any older artists. There’s also a drift thru various styles of RnB, so the woozy "Hide N Seek" feels like a trippier version of Erykah Badu, while "Slide" has a more explicitly up to date vibe that fits in comfortably on daytime radio. 

Doechii has a masterful range of vocal styles in the Doja Cat mode, able to move easily between hard aggressive rhymes and something more charmingly conversational, as well as having a melodic RnB singing voice that she can twist and bend into all sorts of odd permutations. And while there’s plenty of snappier material (as befits an alligator bite), the LP occasionally moves into more experimental areas too, making for dreamlike zones which feel semi-detached from the harder edged tracks. The hazier focus of songs like "Bloom" and "Fireflies" is not so immediately gratifying but these respites work better with repeated listening, forming islands in the sound that let you drift away a little.

Day to day concerns are central to the lyrics throughout: Alligator Bites is primarily diaristic, a record about the hustle of the modern music industry, trying to become a star without losing yr integrity or even just trying to keep a basic grip, as on the hilarious therapyspeak pastiche "Denial Is a River". An idea that returns several times is the frustration of being unable to feel like yr across everything: this is best heard on "Wait", a mix of gorgeously melancholy RnB and pointed, technical rapping where Doechii seems at once resigned to and exasperated by the stuff she’s being forced to let go of. "Profit" and "Boom Bap" look more closely at her place in the rap world, with the latter especially going off hard at people who try to pigeonhole her. It’s as close to a definitional moment as you could get on Alligator Bites, a record that refuses to stay in one place and where that restless energy constantly channels itself into more than the sum of its parts.

[musickickztoo]

CONTRA2024-19 ALBUMS OF THE YEAR (not ranked)

PLAYLIST: https://www.mixcloud.com/Contraflow/contra2024-19-albums-of-the-year-not-ranked/

PLAYLIST:

Shellac - WSOD

Kim Deal - Nobody loves you more

Kim Gordon - I Don't Miss My Mind

Amyl and the Sniffers - Motorbike Song

Osees - Also The Gorilla...

Meatbodies - They Came Down

MJ Lenderman - Rudolph

Waxahatchee - Evil Spawn

Die Nerven - Ich Will Nicht Mehr Funktionieren

The Courettes - Keep Dancing

Hurray For The Riff Raff - The World Is Dangerous

Jack White - Underground

The Black Crowes - Wilted Rose (feat. Lainey Wilson)

Jessica Pratt - Better Hate

Daniel Romano - State Of Nature

Nick Cave & The Bad Seeds - Long Dark Night

Peter Perrett - Women Gone Bad

The Jesus and Mary Chain - Second Of June

The Smile - Eyes & Mouth

Gut Health - Separate States

Chime School - (I Hate) The Summer Sun

Neutrals - The Iron That Never Swung

Jon Spencer - Fancy Pants

Th' Losin Streaks - Rue De Montreuil

Mdou Moctar - Oh France

Beak> - Secrets

Split System - Hold It

Thee Headshrinkers - Head On

[musicmattersmedia]

Before we dive into a whole new year with plenty of new music on the horizon, in this episode, we talk about our favorite albums of 2023. Listen as we discuss our honorable mentions list, and of course, our official top ten picks of the year. Find out who ultimately stole our hearts to take each of our number-one spots of 2023, and stay tuned for our next episode, where we share our unforgettable concert experiences of 2023!

Visit Our Website: MusicMattersMedia.com All Music Matters Media Links: linktr.ee/musicmattersmedia Buy Our Merchandise!: MusicMattersMedia.com/Merch

[tomsmusictaste]

Tom’s Top Ten | ALBUMS OF 2023

It's (belatedly) that time of year again, let's get into it.

10. Hotel Bleu - Broadside

I’ve made peace with the fact that Broadside record is likely to top Old Bones for me but Hotel Bleu is choc full of plenty of upbeat catchy tunes, a refreshing dose of positivity after their more sombre previous record Into The Raging Sea.

Favourite song: Dazed & Confused

9. Past // Present // Future - Meet Me @ The Altar

MM@TA have delivered a very solid debut record. One downside is the lack of easycore-style riffs and breakdowns (one of the main things that drew me to this band’s previous EPs) in favour of a more generic pop-punk sound - that said, all songs are plenty catchy and do a great job of showing off Edith’s vocal range, which is front and centre of this record.

Favourite song/s: Say It (To My Face) / It’s Over For Me

8. Childhood Eyes - Yellowcard

A big year for Yellowcard putting out their first new music since breaking up in 2016, and it delivers. It may just an EP but it's earned it's spot on the list and made me incredibly excited to see what else is on the way from this new era of Yellowcard. Also a collab with Dashboard Confessional? A Spider-Man 2 soundtrack reunion, you love to see it.

Favourite song: Childhood Eyes

7. Slow Burn - Conquer Divide

One of the later albums from the year but I'm glad that I didn't miss this one - Conquer Divide have been something of a 'background band' for me up until now, but this is a record I found myself listening to front to back over and over.

Favourite song: N E W H E A V E N

6. One More Time - Blink-182

I have to confess I have mixed feelings on Blink-182's big comeback album - great to see Tom back in the band and the band back to their classic lineup, lots of great emotion on the title track. Maybe contro but I do think some of the non-single tracks feel a bit pale or watered down compared to the singles, but the singles themselves do have a lot of what I love from that classic Blink sound.

Favourite song: Dance With Me

5. Postcard From A Living Hell - RedHook

RedHook were a new discovery for me this year, and a welcome one at that. This is one of those albums that soon as it came out I had on constant repeat, just banger after banger, not to mention a collab with Mik from Yours Truly; that gets a hell yeah from me.

Favourite song: Inarticulate ft. THE FAIM

4. Join The Club - As December Falls

One of my hottest anticipated releases of the year, As December Falls have come soaring this year, with this their third album and constantly selling out their tours (before i can get a ticket >:( ). Every single song on the tracklist is single worthy and the record makes no shortage of showing off Bethany's vocals, in particular on the emotionally driven 'Home.'

Favourite song: Mayday

3. A Call To The Void - Hot Milk

After knocking out of the park time after time with their EPs, Hot Milk finally released their debut full-length and brought everything that's good about them to the table. From the very first listen I knew this was gonna be a strong contender for AOTY, and indeed was only beaten out by two others.

Favourite song: Alice Cooper's Pool House

2. The Surface - Beartooth

It should be no surprise to my followers seeing Toof pop up on the list, there truly never has been a Beartooth album that hasn't made my top ten and The Surface is no exception. Going against the grain of their MO up until now and releasing an entire metalcore album full of love and positivity was an incredible move, and wonderful to see Caleb find himself in a place where he can write this kind of lyrical content and celebrate his own journey overcoming mental health struggles. The Surface is a welcome addition to the Beartooth catalogue.

Favourite song: I Was Alive

Before we get to the Number One, I'd like to shoutout some honourable mentions that didn't quite make the cut - those being 'Til The Wheels Fall Off - WSTR, Tear Me To Pieces - Story Of The Year, Power To Play - McFly, Untitled Mixtape - Carousel Kings and Linkin Park's 20th Anniverary Edition of Meteora

Also a special shoutout to Sum 41, Neck Deep and Green Day, for their singles off albums that will be released in '24. Good stuff.

With that all out of the way, let's get into my NUMBER ONE ALBUM OF 2023...

1. So Much (For) Stardust - Fall Out Boy

It was tough to crack down on the order of the top three here, but ultimately the number one album couldn't be anything else. I've made no secret that I'm not the biggest fan of the three FOB records prior to this, but here the boys return with a bang combining all that's good about both their pre-hiatus and post-hiatus sounds, resulting in an incredible record that has been definitive for my 2023. What more can I say? Fold Out Bed bloody did it.

Favourite song: Love From The Other Side

And there you have it! Those are my top albums of 2023. We're already a fair way into '24 at the time I'm posting this and this year too is shaping up to have some strong contenders... bring it on.

[2009hondajazz]

A long write-up of some of my favourite albums released this year (2024), in a loose ranking of my favourites

Accompanied by a YouTube link to my favourite track from the album.

Originally a single post, I realised that this this write-up stands at over 7,000 words, and needs to be broken up to be easier to navigate. Bear with me as I try to figure out what would make this easier to navigate / a better reading experience. If anyone feels moved to send feedback my way re: the layout (or anything else, really), I'm all ears.

Index

Favourite 2024 Albums

NAYEON, NA Ariana Grande, eternal sunshine TWICE, With YOU-th LE SSERAFIM, CRAZY TWICE, Strategy Billie Eilish, HIT ME HARD AND SOFT TWICE, DIVE

Honourable mentions

Albums not released in 2024 that I listened to a lot this year

Parting thoughts for the year

/

NAYEON NA

I am almost certain that this was my most-played album of the year. I loved 'ABCD' as a title track; the dance break left me reeling after I saw it, with a fuck-you big budget of a music video that, for me, pays off as a viewer. Nayeon in that red dress looks like something out of my dreams. She's gorgeous. She absorbed a crater-sized hole of charisma at birth. She's a star. She's a Virgo born in 1995, and brother, am I a sucker for Virgos born in 1995.

I was listening to Nayeon's first mini, IM NAYEON, just a month before the announcement of her second. I had been astonished by it, giving it my first proper listen since its release in 2022, and thought, Wow. I'd love another Nayeon album. My dreams came true.

The NA mini overall is the exact type of music I love listening to—to the point that I feel so lucky it actually exists—with a stream of R&B running through it, yet staying true to Nayeon's sound, and to the K-Pop genre as a whole.

There’s a uniqueness to the way that Nayeon conducts her musicality as a K-Pop idol—a certain freshness and approachability to her vocals, dancing, and stage presence that catches my ear and eye; her ‘Alcohol-Free’ fancam comes to mind as a prime example. She is just so seamless to watch. It’s like there’s no film existing between me and my enjoyment of watching her as a performer. Where Jihyo and Momo exhilarate in their energies, and Sana shoots dopamine straight into my brain, Nayeon’s style is the closest expression of my natural self.

Nayeon is also very clearly a K-Pop fan who pays homage to idols of the past, while bringing her own personality into the fold, and this is a quality that plays a huge part in what landed her as TWICE’s centre upon the group’s formation. This sense of balance is a skill that she has fine-tuned over time.

There's a lot that can be said about determining what a group's centre is, let alone what makes a good centre. For me, a good centre is not necessarily the best performer, best vocalist, nor the most attractive member, but is the one who makes the group coherent.

In TWICE, Nayeon eases the high energies of Jihyo and Momo; ties their performance styles with Sana, Mina, and Tzuyu's clean dance angles; her even vocal style bridges Jihyo and Jeongyeon's powerful vocal tones; she's also a necessary gradient to sit between the group's vocals and Dahyun and Chaeyoung's rap lines—in 'Likey', for example, Nayeon is the last one to sing before Dahyun and Chaeyoung's rap.

‘ABCD’ is the title track that ties together all of Nayeon’s abilities as the idol she is, more so than ‘POP!’, which in hindsight is more like a caricature of Nayeon turned up to a hundred.

My personal metric for a good record or a good song is when the work demonstrates the artist's range, talent, and what makes them unique—which this EP does, over and over, with every listen.

I am a huge sucker for K-Pop idols releasing R&B, and, what do you know, my favourite active idol made a foray into the sound, her vocal integrity intact. It's like they engineered this album and its concept in a lab specifically for me.

She's mentioned in an interview/show appearance that the style of the album isn't something that she was familiar with, which makes sense, considering TWICE's large catalogue of bubblegum pop, and Nayeon's debut EP itself being a bubblegum pop masterpiece, though I think that her unfamiliarity makes the NA EP all the more exciting. She doesn't fall into many usual R&B vocalisations; she seems to simply follow the direction of the music production itself with her own voice and habits, and her expertise gathered from being a longtime recording artist shows through as she hits note after note with fidelity.

The track order flows well. None of the songs sound the same as one another, yet still work side-by-side. Her collabs are well-chosen, with 'HalliGalli' produced by AKMU's Lee Chanhyuk, being a standout; it's a B-side that I didn't enjoy as much as the others on my first few listens, but is now among my favourites.

'Count It' is my favourite song off of the EP, with Nayeon's sweetness and R&B vocal range on full display. It’s the exact type of song I am a sucker for. It sounds like a song played at the beginning of a relationship, when two friends-turned-lovers are regarding one another in a new light. It’s a song that makes me want to go take some Korean lessons so I can experience the song in the singer's native language. It's a song that makes me wish I could leave Nayeon a voicemail, telling her what a good job she's done.

My next wish for Nayeon is a full-length album. I'd be so excited to see what she'd do, and which genres she'd try next time around. I think a return to bubblegum pop would be an avenue, but it would be a misstep, if only for the been-there-done-that factor. Maybe a more overtly R&B record is on the cards. Maybe a foray into the singer-songwriter personal pop that's dominating the charts right now, though I don't know if that would still be popular by the time Nayeon starts prepping for another solo. What if she surprises us all and drops a rap/hip-hop record? Or what if she drops a straight-up club banger, similar to Yves' 'LOOP (feat. Lil Cherry)'? Wouldn't that be the move of all time.

Nayeon also didn't write any lyrics for this EP, as she did for two songs on IM NAYEON, so I'd also love to see her write some lyrics, or even compose/produce a few tracks.

Ariana Grande eternal sunshine

A couple months ago, soon after this album dropped, my friend asked me to play some music in the car, so I went straight for eternal sunshine. They said, 'Wow. You really are going through it,' because yeah, brother, I really was going through it, to the point where I started getting mad at people ranking the 'Saturn Returns Interlude' last on their lists. I wholeheartedly consider it as part of the next track, ‘eternal sunshine’, and I joked on Tumblr that a version of ‘Saturn Returns Interlude’ combined with ‘eternal sunshine’ ought to be nominated for Record of the Year.

I got mad because people just didn't get the magic of 'Saturn Returns Interlude'. People just didn't understand what it feels like to be on the cusp of their Saturn return year, fresh out of a life-rearranging breakup, and needing someone to just... hit you over the head, tell you what you need to be actually fucking doing with yourself, how to conduct your emotional life.

'Wake up! It's time for you to get real about life and sort out who you really are,' retired astrologer Diana Garland commands in the interlude as sampled by Ari. Yeah, dude. I felt that

'eternal sunshine' is one of the best tracks Ari's ever made. The quiet opening giggle that sounds like she's with a former lover, sounding something like—not like a wish but more like an acknowledgement of a happier time, which I think hits harder than yearning. The opening lyrics and the way she sings it—'I don't care what people say / We both know I couldn't change you / I guess you could say the same / Can't rearrange truth.’ I think it might have been easier to shoot me in the head.

The breathless fucking gut-wrenching bridge of: 'Won't break can't shake this fate rewrite deep breath tight chest life death rewind', and the way it plays underneath the next chorus until it becomes the outro. I think of that famous video of Ari layering her vocals during the 'positions' recording. Her talent is such that she can execute her vision with precision. Her talent is such that it unlocks her vision.

Also, is it just me or does the bridge sound like a reference to Imogen Heap's 'Just For Now' at around the 1:28 mark? Or am I just making Imogen Heap connections where I wanna find them?

sweetener has been dethroned; eternal sunshine now reigns as my favourite Ari album ever (yes, this absolutely has to do with the fact that it kept me company during a uhhhh miserable time—and well. What else are albums for?).

TWICE With YOU-th

The album opens with Mina's sweet voice in TWICE's friendship anthem, 'I Got You', singing, 'A little reckless around the edges / Call it young dumb love and it's just enough / Keep me guessing / How the story unfolds with you'.

Her opening lines during their Killing Voice performance has brought me to tears multiple times. It's the way she sings, 'How the story unfolds with you', a simple lyric, and the way she sounds so sincere, like she really means it—and this, in combo with knowing so much of TWICE's story and their enduring partnerships with one another, unlikely in a group of nine, is what moves me.

A thought exercise formed in my head while I was listening to a (G)-Idle album. I was listening to a song that sounded like it could've been given to TWICE, and I thought: if TWICE had released this song, I probably would have listened to it with more attention, and I probably would have liked it.

From there, I started listening to a couple of TWICE B-sides, thinking, if TWICE hadn't released this, would I still like it? Am I that swayed by my fangirl chemicals?

Now. I am a 'One Spark' truther. I wasn't so hot on the concept, but I enjoyed the song itself. I enjoyed the falsettos, the music production. I enjoyed the choreography, enjoyed Tzuyu looking like she was having a blast during performances.

Would I still like 'One Spark', if it had been done by another group? If I do, it means that the song stands on its own, and I don't just like it because it's TWICE. To test this theory, I looked up 'One Spark AI cover' on YouTube (I know I'm sorry) and clicked on the IVE version.

The thing with thought exercises, is that most of them are a slippery-slope. I like TWICE songs because... I like TWICE. As a fangirl and because I am drawn to their sound. I listened to, and liked, TWICE before I was a ONCE. I also don't make it a point to stan groups whose music I don't like; I couldn't imagine a more miserable way to experience fandom, and music as a whole.

I liked the IVE AI cover, sure. But I also couldn't unhear the original (that Gaeul pre-chorus was something else, though). Is the song and concept kinda corny? Yes. Could they have done something better? Yes. Did I eat up 'One Spark'? Yes. My heart is burning, burning, burning, bitch. Did I need to harp on about 'One Spark' this much? Absolutely not.

The track ordering on With YOU-th is perfect. The sequence of ‘Rush’ into ‘New New’ into ‘Bloom’ ought to be jointly nominated for Record of the Year as a sequence.

I'm imagining a worse timeline where 'New New' plays right after 'One Spark', before 'Rush', creating an ill-advised twin combo of ‘Rush’ next to ‘Bloom’, two similar sounding songs that don’t have the space to breathe if placed side-by-side, and me having to cope by dreaming of a scenario where I get a business degree, learn Korean, and rise up JYPE's corporate ladder just to personally fire whoever decided the track ordering.

Luckily, we don't live in that timeline, and 'I Got You', 'One Spark', 'Rush', 'New New', 'Bloom', and 'You Get Me' play in the correct order, allowing the listener a journey of push and pull between songs without distraction, like God intended.

Billie Eilish HIT ME HARD AND SOFT

My little brother put me onto this album. He played 'BIRDS OF A FEATHER' in the car and I took to it immediately. As soon as we got home, I gave the album a listen.

The first four tracks of HIT ME HARD AND SOFT, 'SKINNY', 'LUNCH', 'CHIHIRO', and 'BIRDS OF A FEATHER' are placed in a satisfying sequence, with a bit of a drop off in energy afterwards, but nothing drastic.

'BIRDS OF A FEATHER' is the standout track for me. It sounds exactly what falling in love feels like. It almost made me wishing I was falling in love with someone again, so I could soundtrack the romance to this song. But the song will always be there if/when the time comes.

I can't believe HIT ME HARD AND SOFT is only made up of 10 tracks, with a runtime of 43:49. It feels like it's longer because I get so engrossed in the journey of the album, feeling like I've been transported into a different landscape than the one I'm in. How many late-night drives did I do to this album this year? I can't keep count.

LE SSERAFIM CRAZY

What’s there to say about Le Sserafim’s best title track to date? It’s like the powers-that-be over at Source Music have been building up Le Sserafim’s discography up to this moment; one of the earliest viral moments that Le Sserafim had was them voguing down a runaway, in a queer ballroom-esque setting, way back in 2022 (I cannot find this video atm... I’ll post later if I ever find it again). It’s almost as if they’ve been testing the waters with each release; their Unforgiven album contained swings towards the sound that ‘CRAZY’ was going to be, with ‘Eve, Psyche & The Bluebeard’s wife’, ‘Fire in the belly’, and ‘Unforgiven’ flavoured with a mild eccentricity that gets fully unleashed in ‘CRAZY’. The EASY EP, preceding ‘CRAZY’, laid the foundation that allowed Le Sserafim to understand their musical identity and impact within a more Western-style music production and vocal stylings—this can be heard in the languid R&B track, ‘EASY’; they tapped into the dancehall trend started by Tyla’s ‘Water’ with ‘Smart’; and ‘Swan Song’ sounds like it could have appeared on SZA’s SOS album. The EASY era was, by and large, a turning point that made ‘CRAZY’ possible.

Okay. I’m gonna go take my queer stan moment right here and say, ‘CRAZY’ is the first time I’ve ever seen Black, queer artists—The House of Juicy Couture—in a K-Pop music video, and actually be credited for their involvement. ‘CRAZY’ treats the culture with respect, and I commend Le Sserafim’s team for making an effort to acknowledge the origins of voguing and ballroom culture.

The music video, too, follows through with its promise. It’s not Crazy-lite. It really is ‘CRAZY’, with a voguing-heavy choreography, sharp lines, Miyawaki-fucking-Sakura doing a fucking duck walk singing ‘I’m an Otaku bestie’, jarring editing, abstract set design and costuming. The 5 members of Le Sserafim aren’t there just to be pretty; they’re there to perform. They’re there to deliver. Mother, bitch! I won’t lie! I cried watching the music video! Sue me! I was a closeted 14-year-old lesbian with a shrine to Girls’ Generation taking up one wall. I had NO CLUE K-Pop was gonna come this far. I was touched.

The song itself is still quintessential K-Pop, too, and one I’d argue is the one of the most ‘K-Poppiest’ songs of 2024, featuring the defining characteristic of the genre: it is strange and listenable at the same time. In the best way. It pushes its strangeness all the way it can, without giving up its listenability.

When I think of ‘K-Poppiest’ songs, TWICE’s ‘Likey’ comes to mind as the ‘K-Poppiest’ song of all time. It’s a weird song—the chorus being, ‘Me likey / Me likey likey likey / Me likey likey likey / Dugeundugeundugeun’, then capped off with a strangely pitched and addictive earworm: ‘heart-heart’. They sing the word, ‘likey’, 42 times. Momo sings, ‘BB cream, pa pa pa / Lipstick-eul, mam mam a’. I have no idea what it means. It’s got a punk pop-type percussion that reminds me of  Fall Out Boy’s ‘Grand Theft Autumn/Where is Your Boy’. In the words of my friend, one of the biggest punk/emo/metal rockheads I’ve ever known: ‘I never thought I’d sit in my car singing, me likey likey likey ever in my entire life.’ It’s addictive. It’s ridiculous. It’s my favourite TWICE title track. It’s among my favourite K-Pop songs of all time.

‘CRAZY’, like ‘Likey’, has got the addictive earworm, ‘All the girls are girling girling, all the girls are girling girling, all the girling girls’ (it’s actually got multiple addictive earworms... ‘I’m an Otaku bestie’, girl get up); it’s got the convincing beat; it’s got an addictive adlib in the form of Sakura’s repeated ‘da, da-da, da’, it’s got subtle samples for colour, like that little ‘what!’ that plays for the first time after Chaewon finishes the opening lines, and repeats throughout the song. ‘CRAZY’ isn’t my personal favourite title track from Le Sserafim (it’s ‘Perfect Night’), but it is certainly the one I admire most, and the one I’d send off to space to represent human music to aliens.

The EP’s B-Sides are faultless, and, in an EP of five songs, with a running time of only 14 minutes and 52 seconds, you’d hope they would be. Huh Yunjin is one of the talents of her generation, someone who moves me each time I see her express her passion for music, whose intelligence and honesty is a breath of fresh air, and I was astounded to learn that she wrote the lyrics for, composed, and produced the last B-Side on the EP, ‘Crazier’. I can’t say I enjoy the transition from ‘1800-hot-n-fun’ into an introspective singer-songwriter ballad, but it fits the ‘CRAZY’ theme of holding competing ideas within itself all at once, and for staying true (crazy) in service of one’s dreams and intentions.

TWICE Strategy

There's a part in the 'Strategy' title track where there's a few bars of a cowbell beat during Chaeyoung's lines at the 2:47 minute mark. The cowbells affected me so much that I talked about it for 30 minutes straight at various friends. I was driving my little brother (not by blood) and stopped talking mid-sentence just to take in those cowbells again, then continued with whatever I was talking about. I seriously considered getting drum lessons again, and maybe to go start hustling to be a sessional drummer on the side. I might really do it next year.

One of the coolest things that ‘Strategy’ highlights for me is that TWICE’s title tracks orbit not just around the foundation of Nayeon and Jihyo’s vocals, but also on their harmonies, and in their lines’ proximity to one another—similar to Girls’ Generation’s Taeyeon and Jessica, way back when. You can hear it at 3:00, Naeyon and Jihyo’s adlibs weaving side-by-side until Nayeon closes out the song. It’s a great track for this added colour, and it makes listening with headphones a pleasure, with the way their adlibs play in different ears.

I very rarely like a title track more than the B-Sides, but ‘Strategy (feat. Megan Thee Stallion)’ just has it. The song is locked-in from a music production standpoint, the concept, the vocals, the music video, Megan’s rap and presence fitting in seamlessly despite all expectation that a Western feature would disappoint.

About ‘Strategy’, my little brother (again, not by blood) said something like, ‘It’s special when something simple is made to sound complex,’ and ‘Strategy’ is a prime example of a song that works, not because of particular strokes of elaborate genius, but because musical elements are placed exactly where they need to be.

TWICE DIVE

I went back and forth about this album. It was on my main list originally, then it got relegated, then I wrote about 'Echoes of heart' so passionately that I went, fuck it, actually this is a great album, and bumped it back up.

I first listened to DIVE in full on a 10km walk, sun on my face, and I felt moved to dance, my arms outstretched when Momo started rapping in ‘Beyond the Horizon’.

For my money, this is a great album to walk to. It opens strong, gets me hyped for the walk ahead of me. It saves the best for last, blasting me with the sequence of 'Peach Soda' into 'Echoes of heart'—a track that made me stop in the middle of the pavement as soon as it started—into 'Dance Again'.

‘DIVE’ is an easy song to listen to. It's the exact kind of song I want playing as I relax on the beach—this whole album is pretty beachy overall, too. I like that TWICE deviates from their go-to habits on their Japanese releases; Sana opens 'DIVE' where Nayeon usually opens title tracks, and the track is better for it. The album feels like the line distribution is a bit more even, if only because each member gets a chance to present their strengths.

‘Echoes of heart’ was the track that captured my attention on first listen, and it still continues to astonish me. I find new details even now. It’s the song I most wish to hear live, and is also the song I’m least likely to hear live as a B-Side on a Japanese album. If I ever get to see TWICE perform it, I think I'll go so feral that I get kicked out of the venue.

There’s a piano that opens the song that reminds me of something I’d hear on The Legend of Zelda: Breath of the Wild game soundtrack, specifically, ‘Field Battle’ (nobody else thinks this, lol).

I like the beat that comes in at the 0:25 second mark, and I really like when the piano and drums play together at the 0:38 second mark. 'Echoes of heart' has the type of instrumental I crave to hear more and more often as sampling becomes commonplace, and playing instruments less so. (Not that it’s necessarily bad thing—I like sampling as much as the next guy, and I think that there’s a boundless creativity to be found in sampling—but I can’t help but miss instruments when they aren’t around.)

Jeongyeon and Momo get lines that show off their vocals! There's a Mina rap! There are TWO NaHyo choruses sung in their signature style! The whole track centres around Sana's adlibs! (And for my money, Sana is the underrated adlib queen of TWICE.) There's a Nayeon high note that almost made me walk into oncoming traffic the first time I heard it! I replay the song just to hear Chaeyoung sing, 'Baby', at the 2:16 mark.

In a certain mood, the DubChaeng sequence starting at 2:12 into the NaHyo sequence at 2:20, into Nayeon's 'Don't wanna lose you / I'm ready' high note, is enough to bring me to tears. Really. Really.

/

Next: Honourable mentions

Albums not released in 2024 that I listened to a lot this year

Parting thoughts for the year

[strangledeggs]

The Best Albums Of 2018

If you want to see a full review of any specific album on this list, or are wondering why a particular album did or didn’t make the top 10, or are wondering why an album you like from the year in question isn’t on this list at all, send me an ask about it and I’ll try and respond!

The Top 10

Room 25 by Noname

Invasion Of Privacy by Cardi B

A Laughing Death In Meatspace by Tropical Fuck Storm

Wide Awake! by Parquet Courts

Whack World by Tierra Whack

Superorganism by Superorganism

Transangelic Exodus by Ezra Furman

Be The Cowboy by Mitski

Oil Of Every Pearl’s Un-Insides by SOPHIE

Três by Thiago Nassif

The Rest

Care For Me by Saba

Conexão EP by Amber Mark

DAYTONA by Pusha T

Dirty Computer by Janelle Monae

Ephorize by CupcakKe

Foreign Ororo by Riton + Kah-Lo

Guatemaya by Doctor Nativo

Hive Mind by The Internet

I Can Feel You Creep Into My Private Life by tUnE-yArDs

Interstate Gospels by The Pistol Annies

Queen by Nicki Minaj

Quite A Life by Lyrics Born

Record by Tracey Thorn

Snares Like A Haircut by No Age

Streams Of Thought Vol. 1 by Black Thought

Tantabara by Tal National

Temet by Imarhan

The Terror End Of Beauty by Harriet Tubman

DROGAS WAVE by Lupe Fiasco

There’s A Riot Going On by Yo La Tengo

Things Have Changed by Bettye LaVette

Twerp Verse by Speedy Ortiz

Twin Fantasy by Car Seat Headrest

Un Autre Blanc by Salif Keita

What A Time To Be Alive by Superchunk

What Happens When I Try To Relax by Open Mike Eagle

Your Queen Is A Reptile by Sons Of Kemet

Coming off of a previous year I described as lackluster, this is more like it. 38 albums in total, but more importantly, I had a particularly difficult time picking the top 10 for this year. The top 3-4 proved especially difficult – I was pretty certain after a while that Noname’s “Room 25”, perhaps the peak of what one can accomplish with the “personal is political” mantra, was going to take the top spot, but was I prepared to admit that Cardi B’s pop triumph “Invasion Of Privacy” was better than Parquet Courts’ best album yet? And so, apparently, was Tropical Fuck Storm’s unrelenting “A Laughing Death In Meatspace”? It hurt me to rank some of these things the way I did, but because of this, I’m fairly confident that you could pull any of the top 10 albums at random and have a great time regardless. Just make sure to watch the videos for Tierra Whack’s album, too, since they’re a whole work of art in themselves (it’s 15 minutes of your life for one of the most creative hip-hop visual spectacles of the century so far, come on, just do it).

What’s more, typing out the rest of the list made me realize what an awesome year this was simply by how many I realized I was sad to have to leave out of the top 10. Let me tell you, in any number of weaker years (like the last, or perhaps the next one, as you’ll see), contributions by Speedy Ortiz, Superchunk, Open Mike Eagle, Harriet Tubman, No Age, The Pistol Annies, Saba, Amber Mark and more would have made it into that upper tier. It’s a true testament to the strength of this year’s releases that they didn’t; I would strongly recommend checking out much of the second-tier list as well if you’re looking for the outstanding accomplishments in hip-hop, country, indie rock, desert rock and believe it or not, avant-garde jazz (Sons Of Kemet deserve a shout-out here, too, for their unique brass band approach).

One strange quirk I’ve noticed about this year is that it features several artists who seem either to have peaked here, releasing a lesser follow-up in the next few years, or who have yet to release a follow-up at all. Parquet Courts, No Age, Noname, Nicki Minaj, Pusha T, The Internet, Cardi B, Tierra Whack, Mitski, Superorganism and sadly even Tropical Fuck Storm and the aforementioned Sons Of Kemet all fall into these categories to varying extents. Hopefully I’ll be proven wrong in some way on at least a few of those soon, but even if they don’t bounce back, many of those artists can rest easy knowing they’ve created at least one masterpiece, which is more than most can say.

Speaking specifically to a few trends I noticed from the previous year, I will acknowledge that “mainstream”-leaning pop remains under-represented here, though I think this may just be my general bias as a critic to ignore most of it or even to recognize that the stuff that makes it on to my radar as interesting enough to write about is still too inconsistent to make a year-end list in terms of quality. Then again, I put Cardi B, breakout pop-star of the year, at #2, so you can’t complain too much there. Second, I should clarify that while I said in the previous year’s essay that I was ready to re-listen to Mount Eerie’s follow-up grieving-process album “Now Only”, I ultimately felt that it couldn’t hold its own against the other albums I selected for this year’s list. Which, again, is just an indication of how good 2018 was; nothing against “Now Only”, it’s still a very good album and you should listen to it if you...enjoyed(?) “A Crow Looked At Me”.

Finally, I’m glad to see a bit more music from outside the “western” pop sphere sneaking onto this year’s list as well. Thiago Nassif’s Tom Zé-like “Três” made the very end of the top 10, but you’ll find Guatemala’s Doctor Nativo, Nigeria’s Kah-Lo, Niger’s Tal National, Algeria’s Imarhan and Mali’s Salif Keita elsewhere on the list, each of which is worth checking out and each of which brings their own unique sound to the table. And on a sadder note, it’s still hard for me to believe SOPHIE is no longer with us after releasing such a final masterwork as “Oil Of Every Pearl’s Un-Insides”. We truly lost a once-in-a-generation talent with her.

[joemuggs]

Albums of 2023 part 3

And - continued from part 2 - some more! This one does what it says on the tin. Levon Vincent knows the old chestnut "dancing about architecture" is accidentally profound: this is 11 pieces of holy four dimensional architecture exquisitely designed for your body to move through.

It's been a great year for old school BRAINDANCE, in no small part thanks to Mighty Force records releasing thick and fast, and this from Kams, straight out of Beckenham, is the best - just warm-hearted, melodic, acidic, danceable, classic electronica.

My old mucker Culshaw is a scholar, a gent, an adventurer, and on the sly a great musician. This comeback to the studio is MAGIC - global and spiritual and incidentally Balearic in a Jose Padilla sense - but its connections are based on highest common factors, never dully fusioneering.

Just fries my mind that Boris seem to get creatively hungrier and angrier with every passing year. This collab brings in all sorts - goth, thrash, synthwave - but what I really love is the unironic POWER METAL energy. Music to be struck by lightning to.

It's been an incredible year for electropop - and this album from producer turned singer songwriter Avalon Emerson is the *sweetest* of the crop, lighter than air, a gentle digital dream, but with surreptitious emotional heft. Reminds me a little bit of millennium era Morr Music, Tarwater etc? Must listen as a whole: it draws you in and in....

Even heavier than the Boris, and the record that made me fall in love with grindcore all over again - had to order the vinyl even given transatlantic premium. Nepalese band in New York Chepang TAKE. NO. PRISONERS. HUURUUUURURRGGHGHHH.

I was NOT expecting this from Anhoni - but I'm a sucker for Muscle Shoals style country-soul grooves, and though they risk getting "a bit Jools Holland", here they're delivered with total assurance plus the bleakness of the lyrics, fierceness of delivery and a few noises moments all adds some serious edge.

More electropop - this one from Jessy Lanza is not a million miles from the Avalon Emerson in its pristine futurist sound, but it's a bit spikier, eerier, like she is setting puzzles for you.

My most played record of the year. Like the Culshaw, a bit Cafe Del Mar in the most urbane possible sense - Sissoko & co's blend of jazz, classical, W African & European folk is done with unbelievable poise and emotion and is completely addictive.

This has been all-conquering this year and rightly so. It's not just the fearsome doom bits, it's the straightforward folk that's great: Lankum remind us of dreadful, beautiful paradoxes of being human that don't really change through the centuries.

Paul Simon says this was written in dreams, and it really sounds like it. Genuinely transporting, surreal, gorgeous and - I have to say it - roughly 10,000,000 times more interesting than anything Bob Dylan has done this century.

Completely UN-deconstructed trance... the way Romy taps into the melancholy of the most globe-conquering of 90s pop dance is something quite special and will serve as a real cynicism test... go on, let it twang your heartstrings!

I've kind of idly admired King Krule's music from a distance previously but that changed last year - he really is something special eh? Way more than the sum of influences, and a proper world-builder.

One of many where I missed the promo at the time (sorry PRs) but then discovered it via my sp****y recommends. Just beautiful post-classical, post-ambient musing music from Audrey Carmes that sounds like austere but lovely perfumes and crisp clean cotton.

Of course death is at the heart of Depeche Mode's music so how tragic but appropriate that it took Fletch's death to turbocharge them creatively. This is like a telescoping together of their whole history - but also still in love with new sounds...

More death, more darkness, with Amy Winehouse serving as a dark angel muse drawing together and crystallising the ambient, abstract and dream cabaret influences Kevin Martin has been incubating in his solo KRM albums since 2019. Crushingly sad and great.

Espec after seeing him rock it in the morning at We Out Here, I do feel like Joshua Idehen is in danger of becoming a late-blooming star, you know. Explicitly connecting David Byrne, Mike Skinner, Maxi Jazz and a finger-jabbing Nigerian preacher, he ROCKS.

Yes, Yussef Dayes really is all that and a packed of Pickled Onion Space Raiders. Brit jazz just seems to have been in a consistent triumphant state these last five years or so and there's no sign of it stopping being that way with albums like this still coming.

Ben Howard is an artist who'd completely passed me by despite being really quite big - but again the sp****y algorithm brought me this and it's really amazing, thought provoking, grown up pop. I *instantly* guessed it was Bullion on production too, no lie. ❤️

I've said for a long time that "mumble rap" has deep atavistic echoes of the blues and psychedelia - and here's the mumbler in chief Lil Yachty joining the dots back through the decades. Funkadelic, Hendrix, Beck, Outkast, BUTTHOLE SURFERS? Yeah it's all here. Not saying it's one those levels, but it's great and

Holy shit is Dot Allison on a roll or what? This is effectively 2021's Heart Shaped Scars growing in all directions: bigger, grander, more cosmic, even more beautiful. The partnership with Hannah Peel as arranger is front and centre and works incredibly.

Alright it's not as unique as Bad Bunny's 2022 masterpiece Un Verano Sin Ti - this is more trap, less overtly "Latin" - but it's really, really good. Sometimes not knowing the language can emphasise the emotion in the sound: the blues in the trap, the Spanish derived "tristeza"...

My fave Villalobos moments are often him working his wonky magic on "real" instruments and songs (see his Tony Allen / ECM reworks) so a whole album of him tweaking A Mountain Of One's Balearic soft rock is a real treat. Gets progressively "more Ricardo" as it goes on.

I love how Young Fathers have become such a beacon of what a "big festival band" CAN be when it broadens its influences out and grooves a bit. This album is such a big step up for them, and I really hope they keep this momentum because it's BIG FUN.

And talking of Scots "big festival bands" with diverse influences pushing the envelope and having fun with loading in more pop, dance, rap etc, The Djangos really went to town on this one and I was surprised not to see it getting more hype. A proper weird and wonderful party of an album.

Okayyyyyyyy last part is here, get stuck in!

[blouson-noir]

My Albums of 2023

Nico is my heroine of the year, along with PJ Harvey.

[newmusickarl]

Top 50 Albums of 2024: #30-21

30. A Dream Is All We Know by The Lemon Twigs

Last year, Everything Harmony from The Lemon Twigs finished at 35 on my year-end countdown. However, since revisiting the D’Addario brothers’ instant classic several times in the last year and it just getting better with every spin - as well as seeing them live for the first time in October - it’s an album that would definitely place higher if I were to redo that list again now. This year though, The Lemon Twigs go five places better with A Dream Is All We Know and this time around, the placing feels right.

While Everything Harmony just edges it still for me, The Lemon Twigs have to be commended for returning a year after that superb album with another excellent, timeless-sounding opus. Named as our Album of the Month once again back in May, it continues everything that was great about its predecessor, with big nods once again to the music of The Beatles and The Beach Boys. From infectious lead single My Golden Years to the charming How Can I Love Her More? and Status Quo-emulating Rock On (Over and Over), it’s a fun and joyous collection of songs that you can’t help but love.

The big question is now – can The Lemon Twigs keep their winning streak going with another album in 2025? I guess we will wait and see!

Best tracks: How Can I Love Her More?, Peppermint Roses, Church Bells

Listen here

29. Clouds In The Sky, They'll Always Be There For Me - Porridge Radio

Although an album I haven’t officially reviewed this year for either the podcast or the blog, I have been absolutely infatuated with this the latest offering from Porridge Radio, the Brighton rock band led by Dana Margolin, ever since its release back in October.

A band I discovered through their great Mercury Prize nominated sophomore effort Every Bad, Porridge Radio just seem to get better with every new release. Their previous effort – the exceptional Waterslide, Diving Board, Ladder To The Sky – may have finished slightly higher, landing in my Top 20 of 2022, but believe me - this latest record edges even its predecessor.

Born out of burnout, lost love and intense bouts of self-loathing, Clouds In The Sky… is understandably a dark and melancholic experience at times, but it is also lifted by some cathartic choruses and soaring instrumentation. From hard break-up number and one of the songs of the year, God of Everything Else, to the soft, spellbinding sounds of Pieces of Heaven and everything else in-between, this is an album that will make you feel something deep in your core at every single turn.

Best tracks: God of Everything Else, Pieces of Heaven, A Hole In The Ground

Listen here

28. Girl With No Face by Allie X

One of the biggest surprises of 2024 - an album I picked for our February podcast simply based on enjoying Allie X’s previous album Cape God back in 2021, Girl With No Face has turned out to be one of the best art-pop records of the whole year.

If you have been enjoying the music of Chappell Roan and Charli XCX in 2024 but have yet to get round to this one, you need to correct that immediately. Billed superbly by Apple Music as New Order and Kraftwerk meets Madonna and Lady Gaga, its pop music built in the electronic music world. This is evident on incredible lead single Black Eye, which is how I imagine Kate Bush would sound if she was performing New Order’s Blue Monday.

It's one standout on an album of many, which also includes the medieval stylings of Off With Her Tits, a genius track focussing on self-acceptance and gender identity, and the Eurovision-esque Galina, which is an ode to a revolutionary eczema cream manufacturer. No, you didn’t misread that – it is indeed what the song is about!

This type of quirkiness runs deep within Girl With No Face and it is what has made this album such a joy to revisit over and over again since it dropped back in early February. The sound of an artist hitting their creative stride!

Best tracks: Black Eye, Off With Her Tits, Girl With No Face

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27. People Who Aren’t There Anymore by Future Islands

One of my most anticipated records of the year and one that did not disappoint. Baltimore synth-pop outfit Future Islands served up their incredible seventh studio album all the way back in January - People Who Aren’t There Anymore - a record that I’m pleased to say delivered on its early promise. Playing out almost like greatest hits record at times, the more I spun it throughout the year the more it quickly became my favourite record of theirs – which given their discography is saying something!

Capped off by seeing them live for the first time at Live at Leeds back in May, here’s what I had to say in my review for Clash back at the start of the year:

“Whilst ‘People Who Aren’t There Anymore’ ultimately isn’t an album that breaks the Future Islands mould, it’s hard to hold that against them. This is their sound, and they prove here they can still do it better than any of their peers. And whilst the sonic evolution from their previous work may only be subtle shifts, the biggest change comes with the band leaning on personal stories this time around rather than more observational lyricism. Most importantly though Future Islands’ fans will find plenty to love with this album, with some of the songs here already instant favourites and others feeling like some of the best, most fully realised of their career thus far.”

Best tracks: King of Sweden, Deep In The Night, Say Goodbye

Listen here

Read my full review for Clash Magazine here

26. In Lieu of Flowers by Aaron West and The Roaring Twenties

The final part of a trilogy that had been a decade in-the-making and the brainchild of The Wonder Years’ frontman Dan Campbell, there were few better alt-rock records in 2024 than In Lieu of Flowers.

Blending all my favourite genres of music into one unique, heartfelt sound, Aaron West and The Roaring Twenties served up an incredible collection of songs that are as sonically satisfying as they are lyrically moving. On this record, you’ll find elements of indie, folk, Midwest-emo and even a dash of pop-punk too, while Campbell spins beautifully written stories of heartbreak, touring life and battles with the American Healthcare system.

Full of passionate vocals, delicate orchestration and anthemic choruses made to be sung full lung, every single song on here can be considered highlight. From the acoustic-angst of Roman Candles, the bluesy waltz of Whiplash and the triumphant burst of horns on the album’s title track, this is another highly acclaimed 2024 record that rightfully deserved all the praise in the world.

A truly captivating third act in what has been a sublime trilogy of albums – here’s hoping there is still more to come!

Best tracks: Paying Bills At the End of the World, In Lieu of Flowers, Alone At St. Luke’s

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25. Cartoon Darkness by Amyl and the Sniffers

Back in 2021, Aussie punk outfit Amyl and the Sniffers would finish in my Top 10 Albums of the Year thanks to their blistering sophomore record, Comfort To Me. While their new album places a bit further back this time around, the chances are if you loved Comfort To Me like I did, you’ll certainly love Cartoon Darkness as well.

Their latest album is mostly more of the same but in the best way possible, with the band doubling down on their straight-talking, in-your-face lyrics and face-melting guitar solos. Not a single moment is spared as the band shred their way through highlights such as stomping lead single U Should Not Be Doing That, the X-rated Jerkin’ and the impressive full-throttle riffs from Declan Mehrtens on Motorbike Song.

There is also at least one moment that suggests progression too with Big Dreams. It’s a more mellow moment with a terrific vocal performance from enigmatic frontwoman Amy Taylor, where she invites the listener into her apathetic internal monologue about being fed up and wanting more out of life.

Overall though, just another fantastic record from the Aussie quartet, one that looks at the state of the modern world and then violently spits it back out in these thirteen brutally honest, no frills punk tracks. A deserving winner of our October Album of the Month title!

Best tracks: U Should Not Be Doing That, Big Dreams, Motorbike Song

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24. Where’s My Utopia? By Yard Act

While I enjoyed The Overload upon release, the Mercury Prize-nominated debut album from Leeds post-punk outfit Yard Act, it was an album I went off quite quickly. So much so, it didn’t even make my year-end list in 2022.

Wrongfully writing them off as a flash in the pan, soon to be lost in the rapid oversaturation of the post-punk genre, I didn’t really have high expectations going into their second album, Where’s My Utopia, back in March. Thankfully, the record marked a noticeable sonic shift for the band and is an improvement on its predecessor in every single way.

With this record maintaining Yard Act’s witty, observational lyrics but musically seeing them be much more explorative and adventurous, Where’s My Utopia has been a delight to experience all year round. Blending elements of pop, soul, disco and funk into their classic post-punk palette, this one is an ambitious and enjoyable rollercoaster ride. From the super catchy We Make Hits, the Pulp-esque The Undertow through to the Katy J Pearson and David Thewlis featuring bop When The Laughter Stops, it is just an absolute blast from start to finish.

Successfully breaking free of their post-punk mould, this album was a big sonic evolution from Yard Act that impressed all of us on the podcast back in March, and has personally left me incredibly intrigued to see where they go next.

In short, it’s Ace! Top! Mint! Boss! Class! Sweet! Deece! Not bad!

Best tracks: Dream Job, When the Laughter Stops, The Undertow

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23. Foxing by Foxing

With Foxing’s last record Draw Down The Moon finishing well within my Top 20 for the year back in 2021, I certainly expected good things from this self-titled record. But even then, I don’t think I was prepared for this colossus of an album from the American post-rock/emo outfit.

Back in September, Foxing delivered easily one of my favourite first spins all year, knocking me for a loop straight away with their much heavier sound and ambitious scope. The record is a natural step forward from Draw Down The Moon, with Foxing finessing the experimentation from that record for an album that feels fully realised and more assured.

From the aggressive stomps, whirring synths and violent screams of Hell 99, through to the dreamy, synth-soaked 8-minute odyssey that is Greyhound, Foxing try their hand at everything here and the result is never anything less than scintillating. This is captured perfectly in album highlight Gratitude, which sees Conor Murphy deliver an outstanding vocal performance amidst a glorious barrage of static instrumentation.

Without a doubt one of my favourite heavy records of the year, Foxing delivered a masterfully crafted and eclectic sonic thrill-ride with this self-titled, which also ranks right up there with their very best work.

Best tracks: Gratitude, Hell 99, Greyhound

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22. Filthy Underneath by Nadine Shah

Whilst everyone was going through their own personal turmoil during the last few years, much revered musician Nadine Shah was going through a particularly tumultuous time. Not long after releasing her 2020 album Kitchen Sink, Nadine would tragically lose her cancer-stricken mother during the height of the COVID-pandemic. Locked in isolation with her grief, Nadine entered a downward spiral that would play out over the next two years, with heavy substance abuse leading to depression, divorce and even an attempt to take her own life in 2022. Thankfully Nadine survived, agreeing to enter rehab where she would get the help and support she desperately needed.

Now out of rehab, substance-free and most importantly finding her happiness again, Nadine thankfully returned with new album Filthy Underneath earlier this year - and it is just an absolute tour de force from beginning to end. Playing out almost like a cathartic exorcism of all the demons that have plagued her the last few years, Filthy Underneath is the sound of Nadine laying everything bare for the listener. Brutally raw, deeply personal and gracefully honest, the heavy lyrical inspiration for each track is carefully balanced with liberating, synth-drenched and  rhythmic instrumentation, with the live-sounding production adding a theatrical touch to proceedings too.

While it’s an album best experienced as a complete work from start to finish, there are a few standout moments here too. None more so than Greatest Dancer, a song where Nadine recalls getting high on her mum’s prescription medicine in front of an episode of Strictly Come Dancing, with pulsating synths reverberating and tribal drums pounding away as she recounts her feelings in that moment. Sad Lads Anonymous is another high point, a poetic spoken word confessional that sees Nadine describe her woes to a work experience kid in an awards show bathroom. Both these tracks present the whole album as a microcosm, filled with sounds that draw you in and make you want to dance, whilst the stories at the core are quite dark and harrowing. It all eventually culminates in the album’s hardest moment, French Exit, an ominously tense track on which Nadine openly confronts her suicide attempt. It’s a truly devastating end to an utterly enthralling record.

It’s no secret that often the darkest times can produce the greatest art. Filthy Underneath is a testament to that, with Nadine bravely and openly sharing her story as both a lesson to others but also, no doubt, her own personal catharsis. Shocking and upsetting at points yet always refreshingly honest and completely captivating, this is without a doubt one of the most powerful albums released all year.

Best tracks: Greatest Dancer, Sad Lads Anonymous, See My Girl

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21. The New Sound by Geordie Greep

Momentarily going back to my Honourable Mentions blog where I shared the basic criteria I look at when choosing my Albums of the Year, you’ll notice point three: showed ambition or had something unique to offer. Now, if I judged these 2024 albums on that basis alone, there would arguably be one clear winner - this spellbinding solo debut from Black Midi’s Geordie Greep.

Having raised eyebrows with the out-of-the-blue announcement of Black Midi’s demise, the concern quickly turned to rapturous applause as The New Sound instantly became one of the most critically acclaimed records of 2024 – and for good reason too.

Fusing prog-rock with jazz and plenty of theatrical flair, The New Sound makes for a dazzling and dramatic hour-long listen. From the vintage swing of Terra to the Steely Dan-inspired lead single Holy Holy, through to album highlights such as the punky Motorbike, 12-minute epic The Magician and the waltzing finale of If You Are But A Dream, The New Sound is a breathtaking masterclass in inventive genre-fusion.

Weird, wonderful and completely unique, The New Sound is no doubt far too out-there for some listeners to stomach. But for those with the patience to fully process the wild musical arrangements they are hearing, Geordie Greep’s music will no doubt leave you astounded.

Best tracks: Holy Holy, As if Waltz, Motorbike

Listen here

The Albums of the Year countdown is nearing its conclusion - up next is the penultimate part, highlighting albums #20-11!

[emilyaxtell]

Here are my albums of the year, printed onto old filofax note paper using a Canon Starwriter 30 computerised typewriter. Aly & AJ would have taken top spot if not for the release of Javelin, and they did win the Spotify wrapped war.