My 26 Favorite Albums of 2024

Up next for my series of long crazy lists is my 25 favorite albums released in 2024. I’m just gonna get right into it because I know this one is really gonna be a long one.

*FUTURE ALEX HERE* wow this took so long. Sorry I’m like a week late on this. I know we should be done with 2024 stuff by now. It just took so long to write all this stuff and to come up with everything I wanted to say. But hopefully you learn of some cool new music from this. Also this article is by far the longest I’ve written, so good luck with all of that. Anyways here we go.

#26: Childish Gambino - Bando Stone and the New World

July 19, 2024 - Alternative R&B, alternative hip-hop, alternative rock, pop

Kind of a funny or even questionable album to start this list off, but I do have my reasons. This album feels like Gambino kind of returning to his roots, making the closest thing to Because the Internet that he ever has. What made that album special is how eclectic it was, and this album is very similarly eclectic but more reflective of the current state of music, just as Because the Internet was in 2013. This album features different varieties of pop, hip-hop, rock, R&B, and electronica and manages to display various talents of Donald Glover in one album, an aspect of his music that I wish we would see more of. In particular, I’ve always wanted to see him try rapping again and it’s nice to see him excel in it on tracks like "H3@RT$ W3RE M3@NT T0 F7¥" and “Yoshinoya,” where he is honestly rapping better than he ever has before. Overall it seems like the styles of all of Gambino’s past musical efforts have come together rather harmoniously on Bando Stone and the New World. That being said, the album does struggle with cohesion and consistency at times. It’s an album where the highs are really high but the lows definitely take away from the album’s momentum. But this album has so many great qualities it makes it pretty easy to overlook some of those songs that don’t stand up to the rest. Very happy to see Gambino in his lane again. And I know this is supposed to be the last Childish Gambino album, but I’m choosing to believe it won’t be (he’s said that before hasn’t he?).

Fav songs:

"H3@RT$ W3RE M3@NT T0 F7¥", "Lithonia", “Talk My Shit (feat. Amaarae and Flo Milli)”, "Got To Be", "In The Night (feat. Jorja Smith & Amaarae)", "Yoshinoya", "Cruisin' (feat. Yeat)", "Happy Survival (feat. Khruangbin)"

#25: Shellac - To All Trains

May 17, 2024 - Post-hardcore, punk rock, noise rock

I just started getting into Shellac early this year. I don’t remember why it was that I started to listen, but I remember being excited that a new album was going to drop soon. That was all before their frontman, the iconic punk rock producer Steve Albini, had a heart attack and died. To All Trains was not meant to be a posthumous album from the band. That being said, it sure does feel like a fitting end to the story of Steve Albini. The band sounds as raw as ever, thanks to everyone’s approach to playing as well as the production provided by Albini. Shellac is such a strong operating three-piece band. The dynamic between all three members is so fantastic. They are all so good and finding their own little pockets of the song to own themselves while still serving the bigger picture so effectively. Musically, Shellac continues to make rock music influenced by punk and noise music, very much in the same lane as everything they’ve made before. They’re one of those bands that have been able to kind of coast through their career making music that’s very similar without really further developing their sound too much, but you can always count on their music being on par with everything else they’ve done and very enjoyable (Dinosaur Jr. and Built to Spill are other examples). It’s a quality I really appreciate in a band, and even if the music isn’t too different from what they’ve done in the past, it sure is a hell of a fun record with tons of personality that could only come from Albini and company.

Fav songs:

"Wsod", "Girl from Outside," "Chick New Wave", "Tattoos", "Days Are Dogs", "Scabby the Rat"

#24: Xiu Xiu - 13" Frank Beltrame Italian Stiletto with Bison Horn Grips

September 27, 2024 - Experimental rock, neo-psychedelia, noise pop

Xiu Xiu is a band I have never listened to before this year. There are actually quite a bit of those on this list. I really have been trying to get better at paying attention to new music that’s dropping, and part of that includes listening to artists that you’ve heard of but never listened to before. It’s a very interesting way to digest music because I don’t know how to compare this long-named album to past albums from Xiu Xiu. But I’m confident that sometime soon I’ll be diving deeper into their discography, because I was pretty damn impressed by this album. The style of this album is pretty hard to describe. It’s like moody pop music, but also noisey rock music. But also pretty ambient at times, and sometimes it’s all of those things at once. Their singer Jamie Stewart reminds me a lot of David Bowie but more dramatic and moody. This seems like the kind of music Bowie would be inspired by if he were still with us today. It’s fearlessly experimental but still really catchy at times. I guess I don’t really know what else to say about it other than it’s super cool and that I feel like there isn’t much out there I could really compare it to. It feels like such a unique sound that I can hardly describe. I guess another thing I could say is that it’s synth driven and that the production is really noisy and disorienting. Very fun and intense experimental music that definitely deserves a listen. Let me know if you have any recommendations for other Xiu Xiu albums to check out!

Fav songs:

"Arp Omni", "Common Loon", "Pale Flower", "Veneficium", "Sleep Blvd.", "Piña, Coconut & Cherry"

#23: Yeat - 2093

February 16, 2024 - Trap, rage, industrial hip-hop

Young rage rapper Yeat was never someone who was seriously on my radar until he featured on a Drake song called “IDGAF” and stole the show. Even after that fun feature I never would have expected something as creative and conceptual as 2093 from him, at least not anytime soon. 2093 is a concept album about a dystopian society in which Yeat is presumably in a position of power and control. He raps from the perspective of a CEO and speaks about wealth and excess, talking about buying the Earth and then selling it right afterwards. His pen game is surprisingly well thought out in this regard, most of his lyrics feeling like they add to the world he’s building on this album. It’s truly surprising to me that he made this. The beats on this thing also add to the themes and concepts presented above. While this album is still rich with trap and rage influences, there is also a strong element of industrial hip-hop influencing the sound of this album. There are so many noisey synths and heavy blown out drums that sound like the soundtrack of a space armada getting ready to invade a powerless planet. On top of all of this, there are even dance and techno influences on this album. All these genres blend together so cohesively and give Yeat an incredible canvas to leave his dystopian narrative on. The album is really long: 22 tracks, an hour and eleven minutes. There are definitely tracks that could be cut, but for an album this long it’s surprisingly consistent. Overall, this album is a shocking new direction for Yeat that not only opens new doors for himself but for trap music as a whole.

Fav songs:

"Psycho CEO", "Power Trip", "Breathe", "Bought the Earth", "Nothing Changë", "ILUV", "Shade", "Riot & Set it off", "1093"

#22: Peggy Gou - I Hear You

June 7, 2024 - House, dance-pop, tech-house

Peggy Gou came into my life in a time where she was just what I was looking for. I’ve been in the middle of an electronic odyssey for the past year and a half. It’s been a slow process because I’ve had to learn that lots of electronic music requires a different approach to listening than pop and rock music does. Song structures are less important than textures and grooves. Sometimes it’s less directly engaging and something that thrives when you allow yourself to get immersed and lost in the soundscapes. I’ve grown to love so much of the music that fits this description, like Boards of Canada, Autechre, Underworld, etc. But there was still a longing I had for some electronica that can thrive within simplicity and pop song structures, and Peggy Gou’s debut album delivered this to me on a silver platter. This album sounds like classic 90’s house music that was made solely for the purpose of groovin’ on the dance floor. It’s catchy, it’s funky, and it’s easy to move to. The instrumentation is super simple but effective. Most songs here are equipped with danceable house drum beats, spacey soundscapes, one or two different synth melodies, and simple vocal lines provided by Gou herself. The songs on I Hear You are immediately gratifying and stick in your head effortlessly. I really love how well produced the album is as well, as it always feels like every instrument fits so well in the mix. This kind of music really makes me wanna go out in the world more and dance. While it feels most apt for a live and drunk setting, it’s also very enjoyable to listen to in headphones on a walk through a park. It’s really a simple and delightful listen that I’m very happy I stumbled upon this year.

Fav songs:

"Back to One", "Lobster Telephone", "Seoulsi Peggygou (서울시페기구)", "I Go", "Purple Horizon", "1+1=11"

#21: Four Tet - Three

March 15, 2024 - Electronica, downtempo, dance

Also along the lines of electronica, we have Three by Four Tet. Four Tet’s music is very much aligned with both sides of the electronica coin that I mentioned earlier. On one hand, it’s the kind of music you can immerse yourself and get lost in that thrives on the basis of the texture of the instruments and the atmosphere they create. On the other hand, the instrumentation is rather simple in comparison to music made by similar artists. The music he makes doesn’t require complexity to achieve emotional depth. It’s this quality that makes Three a standout electronic album of 2024. Three combines elements of dance, ambient, downtempo, and IDM to celebrate all these different worlds of classic electronic music whose spirits, in regards to many modern mainstream electronic releases, seem to have fallen to the wayside in favor of more aggressive dance genres like dubstep or drum and bass. While Four Tet has managed to enter into this world of modern electronica, he was able to do it without compromising his sound and while continuing to build on his legacy with music that is just as unique and singular as it was in the early 2000’s. This album has so much character spread throughout its eight songs. Each song really has its own identity while still meshing with the album’s other songs. Songs like “Skater” and “Gliding Through Everything” carry very different energies but still work harmoniously together to build something greater than themselves. Three, of all albums on this list, feels the most like a blast from the past of the electronic world that I not only welcome with wide open arms, but also pray for more of in the future.

Fav songs:

"Loved", "Daydream Repeat", "Skater", "31 Bloom", "So Blue", "Three Drums"

*BONUS EP*: ⣎⡇ꉺლ༽இ•̛)ྀ◞ ༎ຶ ༽ৣৢ؞ৢ؞ؖ ꉺლ - ̟̞̝̜̙̘̗̖҉̵̴̨̧̢̡̼̻̺̹̳̲̱̰̯̮̭̬̫̪̩̦̥̤̣̠҈͈͇͉͍͎͓͔͕͖͙͚͜͢͢͢͢͢͢͢͢͢͢͢͢͢͢ͅ ̟̞̝̜̙̘̗̖҉̵̴̨̧̢̡̼̻̺̹̳̲̱̰̯̮̭̬̫̪̩̦̥̤̣̠҈͈͇͉͍͎͓͔͕͖͙͚͜͢͢͢͢͢͢͢͢͢͢͢͢͢͢ͅ ʅ͡͡͡͡͡͡͡͡͡͡͡(̸̢̛̼̞̭͋ͅ)̸͚̰͛̔̾̀̿͒͂ ʅ͡͡͡͡͡͡͡͡͡͡͡()ʃ͡͡͡͡͡͡͡͡͡͡ ꐑ(ఠీੂ೧ູȯ̶̞̮͖̑̈́)̸̳̥̰̜̥̺̐ͅv̴̢͚͚͎͎̞͒͊̎ȯ̶̞̮͖̑̈́̿)̸̳̥̰̜̥̺̐ͅ࿃ूੂ✧⃛✧⃛)̴͎̜͍̱̋̌͋̓̾̚͜ ̷̨̢̥̅͝ͅ(̸̢̛̼̞̭͋ͅ)̸͚̰͛̔̾̀̿͒͂

August 4, 2024 - Electronica, downtempo, dance

This may look like a bunch of nonsense to you. Well as the person writing this dealing with the Unicode, I can assure you it is a bunch of nonsense. But if you’re unaware, Four Tet often releases singles and EP’s under this alias. The music, in my opinion, is quite similar to the music he releases under the Four Tet name, however it usually feels a bit grimier and more dance oriented. This EP is definitely worth checking out, especially if you like what you hear on Three. We really were spoiled this year by Four Tet. Both of these projects kick ass! If you wanna find the project, just copy this into whatever search browser you’re using: ⣎⡇ꉺლ༽இ•̛)ྀ◞ ༎ຶ ༽ৣৢ؞ৢ؞ؖ ꉺლ

#20: Magdalena Bay - Imaginal Disk

August 23, 2024 - Synth-pop, art-pop, experimental pop

This is probably considered by many to be one of the best pop albums of the year. For me, the potency of Imaginal Disk couldn’t be denied from the very moment I heard it. That being said, it took some time for the album to grow on me before I could return to it on my own and appreciate it as much as I do now. It will probably grow even more the more I hear it, it’s just that kind of album to me. But even when I wasn’t feeling it as much, I knew it had to end up somewhere on this list. The production and instrumentation on this album are so unpredictable and abstract, but simultaneously lush and fine-tuned with robust songwriting beneath it all that provides a strong foundation for all the experimentation. It’s very much an otherworldly kind of pop album, an ultimate demonstration of conceptual and world-building creativity from a relatively new duo that’s quickly making a name for themselves as creative pillars of modern pop. The album really does feel like a journey from top to bottom, with each song experimenting with different elements of pop music and claiming their own identities. There are so many great synth sounds on this album, these sounds often being what I consider the defining characteristics of the album. The vocals from frontwoman Mica Tenenbaum have been this album’s biggest hurdle for me, as her voice is super breathy and at times comes across to me as a bit put-on and overdramatic. Her voice has definitely grown on me with more listens, as it does feel very fitting on many songs and forgiving on songs that are just absolutely badass regardless. No matter what gripes I may have, this album is remarkable and definitely deserves all of the attention it has received this year. 

Fav songs:

"She Looked Like Me!", "Killing Time", "Image", "Death & Romance", "Watching T.V.", "Tunnel Vision", "That's My Floor"

#19: Better Lovers - Highly Irresponsible 

October 25, 2024 - Metalcore, hardcore punk, mathcore

It’s always a pleasure when an artist joins a side project that can stand on its own two feet. This might be a me problem, but often times I feel like artists’ side projects frequently fall flat in comparison to what I think the artists’ capabilities truly are. I think that’s certainly an overgeneralization on my part, but it’s a negative attitude I carry with me occasionally that impacts the way I digest side projects; it’s something I ought to be more open minded about. All this being said, I’m an absolute sucker for Greg Puciato and his scream vocals, so I had to check out Highly Irresponsible. To my surprise, this album was much better than I had anticipated. I was expecting the album to be a less complicated and frantic version of what you’d hear from The Dillinger Escape Plan. Well, that pretty much is what it is, but considering how absolutely insane TDEP is, this less complicated and frantic version is still really complicated and frantic. It’s really unfair that I immediately started comparing this to TDEP, and once I decided to stop doing that, I realized that this album is fucking phenomenal. The band, who aside from Puciato is comprised of past members of metalcore band Every Time I Die, blends hardcore punk, metalcore, mathcore, and at times alternative metal to craft a sound that feels influenced by but independent from both acts that preceded it. The music is heavy, hectic, and unpredictable, and Greg’s screams are as punishing and gut wrenching as ever. We even get some cuts here where Greg sings and croons over some appropriately melodic and moody pieces of music, a pleasant change of pace in the album that shows the band’s ability to tug on your heart strings before it totally obliterates them. I’m very happy for Greg Puciato for finding a new band that can match his freak. He might be the greatest metal vocalist of all time (yeah, you read that right) and Better Lovers have proved to be worthy of his singular talent on their debut record.

Fav songs:

"A White Horse Covered in Blood", "Future Myopia", "Deliver Us From Life", "Drowning In A Burning World", "Everything Was Put Here For Me", "Superman Died Paralyzed", "At All Times" “Love As an Act of Rebellion”

#18: death’s dynamic shroud & Galen Tipton - You Like Music

March 15, 2024 - Experimental dance, IDM, electronica

It’s time to open Pandora’s Box and start talking about death’s dynamic shroud. While the group is made up of three members, I believe they often release solo efforts under the group name as well and I believe that is the case here with You Like Music, a mixtape presumably made by one member of the group and collaborator Galen Tipton. How do I describe the group? Honestly I really don’t know. I don’t know what to call this music because I’ve never heard anything quite like it. A Google search would tell you it’s vaporwave and dance/electronic. I would argue that those titles are not only inept at describing the music but also misleading. It’s like calling Aphex Twin dance/electronic. He definitely has those qualities present in areas of his catalogue, however that label doesn’t even begin to describe the sound that he’s carefully cultivated over his career. I think the same can be said of DDS. This music is really at its core a new class of IDM. The vibe is absolute insanity that doesn’t even allow the listener to think while listening. It’s often built up of many fragmented samples, punchy hectic drums, and synthesizers. The songs typically follow an evolving groove that is relatively simple at its core. However these grooves are often very fast-paced and paired with glitched out samples and deafening distorted synth sounds that are both engaging and extremely overstimulating. I guess that’s the best word I could use to describe the music on this mixtape: overstimulating, but in the most creative and exciting way possible. This project is overwhelmingly fresh and innovative, something I don’t say lightly. There’s nothing I can do to describe this mixtape that will prepare you for the glitching madness and harsh electronics present on You Like Music, a hilariously modest title for a project that is anything but modest. 

Fav songs:

"You Like Music", "Herobrine Shell 2049", "Generate Utopia", "Drifting on Bethel", "Crypto Resort Grift", "No Worries If Not", "Full Body 2 flip"

#17: Jessica Pratt - Here in the Pitch

May 3, 2024 - Folk, folk-pop, dream-pop

I believe this is the album on this list I most recently heard (*FUTURE ALEX HERE* - this is no longer true, more on that later). If you read my other list about my favorite songs, you would know that Jessica Pratt is featured on my #1 slotted song “HIGHJACK” by A$AP Rocky. That song is so rad and I’m very thankful it exists, not only for its radness but also for introducing me to Jessica Pratt. The music on Here in the Pitch is very different from “HIGHJACK,” so it took a couple of listens to really understand the vision. But it finally clicked for me and I think the sound of this record is so cool. On one hand, the music sounds very inspired by folk music, with very simple and minimalist instrumentation usually built on a foundation of acoustic guitar or piano. In that sense it’s probably easiest for most people to call this a folk album. But there’s tons of different aspects of the music that makes me wanna call it something different. For starters, the vocal mixes on all of the songs are so perfectly layered with reverbs that give the songs a touch of dream-pop influence. Also, the way she sings — her melodies, her vocal inflections, her voice in general — is at times really reminiscent of 60’s pop music. Some of the additional instrumentation found in songs like “Better Hate” or “By Hook or By Crook,” as well as some of the chord structures and progressions found throughout the album, bring an element of world music to the table as well. Lots of the music sounds like it might be modal, also taking influence from jazz and bossa nova. With all of this to consider, I really don’t know what to call it, but it provides a really unique listening experience. It feels very spiritual and meditative at times but very pop-forward at other times. I guess if I had to compare the music to anything, I would say lots of these qualities are somewhat reminiscent of the work of Joni Mitchell. However, I would consider the sound on Here in the Pitch to be incredibly unique to Pratt herself. And at under a half an hour runtime, this album really concisely makes a name for Jessica Pratt as an artist with a really new musical perspective to share with the world. PS. This is a great album to fall asleep to, it’s so soothing and I would definitely recommend trying that.

Fav songs:

"Life Is", "Better Hate", "World on a String", "By Hook or by Crook", "Empires Never Known", "Glances", "The Last Year"

#16: ScHoolboy Q - BLUE LIPS

March 1, 2024 - West coast hip-hop, gangsta rap, experimental hip-hop,

Writing this on Christmas morning, Merry Christmas! What better way to celebrate the spirit of Christmas than by discussing ScHoolboy Q?? (Turns out that was all I was able to finish on Christmas, too much mingling to attend to). Anyways, I was quite sure BLUE LIPS was going to be my favorite rap album of the year around the time it dropped. That was before (spoiler alert!!) two generational artist boogeymen decided to surprise release killer albums in the late half of the year. I never expected to see this album as low as #16 on my list, but this really was a crazy year for music. It’s no poor reflection on ScHoolboy Q, who really outdid himself as a rapper on BLUE LIPS. He is rapping more confidently than ever on this album. His lyrics, his flow, his delivery, and all other aspects of his artistry feel more robust and dominant than ever before. It seems to me like Q was attempting to solidify his legacy as a rapper and a figure in hip-hop culture on BLUE LIPS. His rapping on every song feels like a victory lap, so consistently impressive in its scope and intensity, no matter what kind of emotions the song cultivates. The album really shows how versatile of a rapper Q can be as well. Some of these songs are hard-hitting bangers full of 808’s, some are really soft and jazz influenced. Some beats seem influenced by modern trap music and some feel like classic hip-hop instrumentals. The music is grimy, intense, lush, and beautiful, either in increments or all at once. It feels like a hell of a journey that not only demonstrates the growth of Q’s musical skills but also the growth of the genre over the last 30 years. In fact, this may be the most conceptual and experimental gangsta rap album I’ve ever heard. It is as boastful and as strong-willed as ever, but also at times very vulnerable and honest, much like the work of his past labelmate Kendrick Lamar. While it seems Q may have been living in the shadow of Lamar for a long time, BLUE LIPS is certainly a statement from him that proves he should never be underestimated ever again. He has joined the big leagues and I don’t think he’ll be going anywhere anytime soon.

Fav songs:

"THank god 4 me", "Blueslides", "Yeern 101", "Love Birds (feat. Devin Malik & Lance Skiiiwalker)", "Cooties", "Foux (feat. Ab-Soul)", "Back n Love (feat. Devin Malik)"

#15: Clairo - Charm

July 12, 2024 - Soft rock, jazz pop, indie-pop

At #15 we have an artist that I have hardly ever listened to before this year. I suppose what I have heard of Clairo’s older music doesn’t resonate much with me, although I’m much more inclined to listen again than I was before Charm. That being said, I don’t think any of her older music will ever impress me as much as Charm does. Charm feels like a defining album for Clairo, an album that sees her utilizing her strengths as a singer over a style of music that feels like it was destined for her. The album borrows from old school soul, jazz, Motown, and R&B and combines it with Clairo’s signature indie-pop style of singing. The result is a pop album that feels equal parts retro and modern. The sound is very chic and captivating, but it would be more or less a gimmick if there wasn’t quality songwriting to back it up. Fortunately, there is plenty of that on Charm. The performances are lush and beautiful, and the songs are hard to get out of your head once you hear them. They all carry the same infectious and touching nature and demonstrate Clairo’s talent in crafting soothing melodies that beg to be listened to over and over again. Every song feels like a hit, like they could all be lead singles to the album. It must have been hard for her to choose! But seriously. This album doesn’t really reinvent the wheel or anything, but rather it rides the line between catchy modern pop and classic soul music with major ambition, and does feel like a successful experiment on Clairo’s part in that sense. I think one thing that could improve Clairo’s future music would be a little more variety in her vocal delivery. Her whisper vocals are immaculate on this project, and I’d consider her one of the best modern singers to adapt that style of singing. That being said, it can only take you so far. Sometimes a little more intensity and dynamics in someone’s singing can help bring music to new heights of emotional depth. That being said, Charm really does a lot with a little in that sense. The album is aptly named after its greatest quality, which is what has made this album one of my most listened to albums of 2024.

Fav songs:

"Nomad", "Sexy to Someone", "Second Nature", “Slow Dance”, "Terrapin", "Juna", "Echo", "Pier 4"

#14: Iglooghost - Tidal Memory Exo

May 10, 2024 - Experimental electronica, IDM, garage, drill

The first time I heard Iglooghost I was 20. He had just dropped Clear Tamei - EP and a friend showed it to me. At the time it didn’t resonate much with me, but I was pretty amazed that he was able to pretty much create a whole new language on the EP. Even listening back to the EP today I wouldn’t really consider it something I’m a huge fan of. Feels a little more in the lane of bass music, which isn’t really something I’m too interested in. But whether or not you’re a fan of it, you can’t deny the man’s talent. Now fast forward to 2024. I haven’t heard or thought of the name Iglooghost since 2018. But I hear he’s dropped one of the best electronic albums of the year, so I decide to listen. I can report from personal experience that he indeed did drop one of the best electronic albums of the year, in fact I would say it is THE best. Stylistically, I guess I’d call this experimental dance music. There are definitely some drill influences on the album as well. Wikipedia says it’s UK garage, which I don’t really know how to describe or identify to be honest. What I can say is that the songs are often built on pretty fast or driving drum beats that are reminiscent of club music. It kind of feels like club music if you were hearing it during a bad acid trip. There’s lots of really detailed synth sounds and samples coming at you from all directions at all times. Sometimes they sound like wubs, sometimes more stabby synths, sometimes they sound more like percussive hits. There’s literally so much happening at all times it’s kind of impossible to decipher. In that sense it’s kind of like some of Aphex Twin’s more experimental music. It also kind of sounds like a wave of electronic noises, like the artwork would suggest. Iglooghost’s weird unsettling rapping is really great too. It helps move the songs along pretty organically and serves as a really welcome centerpiece to all of the surrounding madness. While the music on Tidal Memory Exo is overall pretty similar to what I heard on Clear Tamei - EP, it seems Iglooghost’s focus on this new album may have been more directed towards classic electronic dance vibes rather than a more modern bass-centric style. And that’s a major plus for me. This album is so layered and complex, and if he continues down this path Iglooghost might be my favorite modern electronic artist.

Fav song:

"Blue Hum", "New Species", "Alloy Flea", "Coral Mimic", "Spawn01 Ft Cyst", "Echo Lens", "Nemat0de", "Green Chrism", "Geo Sprite Exo"

#13: Joey Valence & Brae - NO HANDS

June 7, 2024 - Alternative hip-hop, experimental hip-hop, electronica

At #13, let me introduce you to some new heavy hitters in the world of experimental hip-hop. This album is relatively low on this list considering how much I listened to these fools this year. When the album started popping up on my twitter feed I assumed the duo was a novelty act. For some reason I was under the impression they were like YouTube rappers or something, and the album art looked so campy. So I quickly made assumptions and judgements. Then I saw they had Danny Brown on a song, so I had to give it a listen. And just like that I was hooked and realized I made a huge mistake by judging this album before listening. This album is so rad. Joey Valence & Brae take a really unique approach to experimental hip-hop on NO HANDS. Rather than channeling the likes of Death Grips or JPEGMAFIA, they channel classic hip-hop artists like Cypress Hill and Beastie Boys. While this can be seen as the root of their sound, the production, handled entirely by Valence himself, also takes influence from electronic genres like trance, dance, house, and electro-pop. So at times it could sound like some aggressive 90’s rappers hopping on a beat from A.G. Cook. It’s an awesome blend of styles that feels really one of a kind. The music is also very much influenced by the goofy personalities of the two rappers as they rap about butts and Shirley Temples. While it can be incredibly immature, which is very much by design and done in the most creative way possible, the album also has lots of sincerity to be found in it when they rap about their accomplishments and the pride they take in their ability to work as independent artists. I think the album would have surely been a top ten album for me had it featured some more refined rap performances. While refinement and technical prowess were likely not the duo’s primary goals with NO HANDS, I do think there are certain bars that pop up at times that feel a bit too awkward or unimaginative for my liking (“feeling like Drake, God had a plan”). While I think their pen game could grow a bit, their delivery as rappers is absolutely fantastic. They’re so sharp and aggressive, and the two play off of each other super well. Overall, this album is loads of fun and has successfully put Joey Valence & Brae on the map, and I’m really hoping they’re not going anywhere anytime soon. 

Fav songs:

"BUSSIT", "PACKAPUNCH (feat. Danny Brown)", "NO HANDS (feat. Z-Trip)", "WHERE YOU FROM", "DOUGHBOY (feat. Terror Reid)", "WHAT U NEED", "OMNITRIX"

#12: Kendrick Lamar - GNX

November 22, 2024 - West coast hip-hop, conscious hip-hop, progressive rap

Kendrick was kind of man of the year in the world of music. Not only did he totally body Drake in maybe the most high-profile rap beef of all time, but he did so in very creative ways. Outside of just dropping way stronger diss tracks, he also held the year's most celebrated live event that culminated in his hit Drake diss “Not Like Us” being performed six times with half of Compton on stage with him. To finish up his victory lap, he surprise-dropped GNX, an album that follows the style of “Not Like Us,” follows up on the events of the past year, and proves that Kendrick has the wit and stomach to do it all over again if he is pushed to do so. The album is full of small LA rappers, further demonstrating Kendrick’s allegiance to his city and the people in it. I feel like the sentiment of this album kind of revolves around his conflicting desires of war and peace. As much as he wants to think that he doesn’t like the negativity that comes with a public rap beef with so many players involved, there’s a part of him that likes putting people in their place because he knows he can do it better than anyone. He really is the fucking boogeyman and he loves it, but he also has a conscience. It’s a lot of fun hearing him discuss the events from his perspective. I do think the context behind GNX makes it one of Kendrick’s best albums in a long time, but another aspect that makes the album stand out is the music behind the bars. It may be Kendrick’s most simple and straightforward album to date, dealing with less of an overarching concept and serving more as a counter piece to one of Kendrick’s greatest accomplishments. Musically, spiritually, and thematically, this album is pure West Coast hip-hop. In that sense, I consider it to be his most musically focused album since To Pimp a Butterfly. I think GNX will forever be remembered as one of Kendrick’s crowning achievements and an album whose release will be remembered vividly by everyone who was present at the time, and for that I think the album could be considered among his best.

Fav songs:

"wacced out murals", "man at the garden", "hey now", "reincarnated", "tv off", "peekaboo", "heart pt. 6", "gnx", "gloria"

#11: Nick Cave & the Bad Seeds - Wild God

August 30, 2024 - Alternative rock, art rock, orchestral rock

Ooooh we’re almost at the top of 10! It’s about time cuz it’s 3 hours until 2025 and I’m still writing this shit. To think I was planning a 3rd list 😂 well maybe if I find the time I’ll put it together still and keep it small (then again I’ve been saying that about every list since the collab list). But we’ll see. Anyways, at #11 we have an album I was expecting to be a for sure top 5. Once again, this speaks less to the quality of this album and more to how jampacked 2024 was with really great music. Nick Cave and the Bad Seeds have always been really special in the way that they have been a band for over 40 years and are still continuing to make career defining music. Wild God is no exception to this. Nick Cave and the Bad Seeds are as strong as ever on this album; in fact, this damn well could be my favorite album they’ve made. If I had to describe this album and what makes it special with one word, I would say bliss. The band sounds more hopeful and grateful for life than ever before. Nick Cave’s voice has aged second only to his poeticism, his use of words being his greatest virtue as a songwriter. The songs are full of storytelling like any good Nick Cave song, stories about things like a man’s ascension into heaven or more personal topics like the death of an old lover, complete with a voicemail she left for Cave before her death. The music is absolutely beautiful to match the stories, kind of similar sounding to Abattoir Blues / The Lyre of Orpheus. There’s tons of strings, pianos, and choir vocals that tie in with traditional rock instrumentation, crafting an orchestral and somewhat gospel sound that feels very classic for the band. It’s nice to hear the band in this lane again considering so many of their most recent albums have been a little more ambient focused. It’s also really nice to hear Nick Cave speaking from a place of positivity in the light of all of the suffering he’s endured in recent years following the death of two of his sons. Wild God feels like Nick Cave learning to love again while still stomaching the gravity of his situation. It seems like something of a therapeutic album for him, a breakthrough session at that. It continues him and his band’s long-standing artistic streak, neither showing any signs of slowing down. They continue to make some of the most emotionally thoughtful and compelling music you can find in the world. God bless him, God bless them, God bless Wild God.

Fav songs:

"Song of the Lake", "Wild God", "Frogs", "Joy", "Final Rescue Attempt", "Long Dark Night", "O Wow O Wow (How Wonderful She Is)"

#10: Adrianne Lenker - Bright Future

March 22, 2024 - Indie folk, alternative folk, singer-songwriter

Top 10 time! Let’s go!! In that spot we have the sophomore solo album from Big Thief frontwoman Adrianne Lenker. It was only this year that I really started to appreciate Big Thief. It really took some time, I don’t know why. But I’ve come to love their style and the emotional depth in their music, much of which comes through the in-depth personal singing and lyrics from Lenker. Considering that is perhaps my favorite quality of their music, I’m a real lucky boy to have had this album drop right when I became a fan, because this album takes Lenker’s beautiful vulnerability to new heights. The music feels somewhat reminiscent of Big Thief’s Dragon New Warm Mountain I Believe In You but much more stripped back, as one would possibly expect from a solo album. It leans much more into folk than it does into indie rock, which I think helps cultivate its personality as an album for Lenker to open up on more than I’ve ever heard before. Her lyrics on Bright Future are equally poetic and straightforward, often dealing with nostalgia or trauma associated with past memories surrounding friends and family. The album feels like a therapeutic outlet that could potentially help Lenker set herself up emotionally for a [insert album title here]. Musically, this thing is just so damn raw and emotionally potent. Lots of songs are built over super simple instrumentation. The first song “Real House” is literally just six minutes of Lenker singing over a quiet and simple piano piece and it’s the most beautiful thing ever. The album is characteristically somber and sad, there being lots of different emotions that can be interpreted from the album’s twelve songs including grief, desperation, longing, and more positive ones like love and forgiveness. She does such a great job expressing these emotions through story and the music rather than spelling it out directly. Even through all the grief and pain she allows the light to shine through at times on the record, particularly on “Vampire Empire” which almost sounds like a full on hoedown song being rehearsed in a barn. Every time I hear anything off of this album it absolutely blows me away. I need more music like this in my life. Adrienne Lenker is truly a master of words with one of the most beautiful and vulnerabile voices in modern music, and this album is a modern folk masterpiece. All-time classic.

Fav songs:

"Real House", "Sadness As a Gift", "Fool", "New Machine", “Free Treasure”, "Vampire Empire", “Evol”, "Candleflame", “Already Lost”, "Donut Seam"

#9: Fontaines D.C.: Romance

August 23, 2024 - Post-punk, alternative rock, dream-pop

Okay, I told you I was gonna explain myself at #17. So here’s the situation: I was driving to work on January 3rd shuffling my music library. On comes the song “Sundowner” off of the new Fontaines D.C. album. I heard the lead single “Starburster” when it came out. I enjoyed it for a bit but eventually kind of stopped listening. Unfortunately I’m not a major fan of modern post-punk. I think there are so many new post-punk acts that try so hard to sound different that they all kind of sound the same to me now. I kind of felt this way about “Starburster” after a few listens and for that reason never checked out the full album when it dropped. Of course my music library decided to inform me I made a foolish error at the beginning of the new year, right as I was finishing my article. This is the only reason this list has 26 albums. It was supposed to have 25, but if I didn’t include this here it wouldn’t have sat well on my conscience. This album fucks. It’s nothing of what I expected after hearing “Starburster.” I was expecting more of that standard modern post-punk vibe, but much of this album celebrates classic post-punk songwriting and builds on the genre by incorporating elements of dream-pop all over the place. As the album’s title suggests, the band explores themes of love and shows off their feminine side as they croon about desire and longing over music that mixes in alternative rock and shoegaze influences. The imagery that comes to mind when listening is two lovers floating together in the sky during a pink and yellow sunrise. This album is incredibly poetic, vulnerable, and absolutely beautiful. The melodies are so catchy and I absolutely love singer Grian Chatten’s use of falsetto vocals on the album’s more tender cuts. It adds such a strong layer of intimacy and character to the songs. In general, this album is full of really strong pop sensibilities that help separate the band from their peers. To be able to create hard rock songs that rely less on standard rock instrumentation and more on melodies and emotions is like summoning a unicorn in 2024. You never see it, and that’s likely why people always say that rock is dead. Well if I were them I’d listen to Romance, because Fontaines D.C. is really making a case here that rock music can very plausibly continue to thrive if people can accept a little more variety. Goddamn you Fontaines D.C. for fucking up my list you fuckers.

Favourite songs:

"Romance", "Here's the Thing", "Desire", "Bug", "Motorcycle Boy", "Sundowner", "Horseness is the Whatness", "Death Kink", "Favourite"

#8: Tyler, The Creator - CHROMAKOPIA

October 28, 2024 - Alternative hip-hop, jazz rap, art-pop

Boogeyman #2 incoming!! You already knew Tyler would be in a top 10 slot, cuz the dude never misses. The detail he puts into his albums are always over the top and exciting, whether it be his production, his rapping, or even the rollouts that are characteristically very sudden. We quickly knew that CHROMAKOPIA would be no exception when he dropped the first teaser video to the album, which featured the insane beat drop in “St. Chroma.” This album is kind of exactly what I thought his next album would be like. When he dropped the “Sorry Not Sorry” music video in 2022, he hinted that the next album would be his most personal and honest album yet in contrast to albums where he is more playing a character or even just portraying himself in a less honest way. He very much kept to his word as CHROMAKOPIA sees Tyler speaking more about his personal life than ever. He even has his mom speaking all over the album to make it even more personal. The album cover and much of the album’s promotional material features Tyler in a blank mask that covers his face to represent his discomfort opening up about his internal struggles and discussing his insecurities in his music. One thing he talks about pretty often on the album that really fascinates me is all the ways that him prioritizing his career for so much of his adult life has affected his personal life growing up and how his ever-growing celebrity status has made his life so different than the average person’s. He speaks about these things in such a vulnerable and down-to-Earth manner that shows that he is yet to lose himself in all of the fame. On top of all this, Tyler’s rapping is more confident than ever. His 5-star rapping mixing with these super personal and introspective topics makes this some of the best rapping he’s ever done. The music on CHROMAKOPIA kind of feels like it has qualities of every album that has come before it. One of my favorite moments on the album comes on “Like Him,” when towards the end a synth line begins that feels like it’s straight out of Wolf. Overall, the structure of the album reminds me a lot of IGOR, especially in the way he includes the featured artists. This album took some time and quite a few listens to grow on me, but it’s clear to me now that this album A) continues Tyler’s longstanding creative streak as an artist and B) acts very effectively as an insightful career retrospective from perhaps the most significant and important musical artist of the last 15 years. 

Fav songs:

"St. Chroma", "Rah Tah Tah", "Noid", "Hey Jane", "I Killed You", "Sticky", "Take Your Mask Off", "Tomorrow", "Thought I Was Dead", "Like Him", "Balloon"

#7: The Voidz - Like All Before You

September 20, 2024 - Experimental rock, new wave, neo-psychedelia

This will be the third article in which I’ve discussed The Voidz and their new album Like All Before You. I’m sorry for the extreme repetition of this topic, but I swear each time it’s been for good reason, the main reason being DON'T ABANDON THE VOIDZ!! This album slaps! It’s such classic Voidz material and such a natural progression for the band. They return six years after their last album in a new way, with more compositional songs that focus more on a new wave aesthetic. This aesthetic has always been there with the band, however there is much more of it on Like All Before You than lots of their older work, not to mention much less indie vibes. This is the prime reason I think lots of fans haven’t taken to it yet, but I’m all for it. I feel like I’m gonna repeat myself a lot going into what I love about this album, so I’ll keep it brief. I think the album is very otherworldly. It feels like it’s from a different planet in such an authentic way. This feeling comes from the aid of the strange songwriting, the lo-fi production, and Julian Casablancas’ use of autotune. I also appreciate that the album consists of eight longer songs along with an intro and an outro rather than many shorter songs. It creates a real cohesive listen that flows very nicely from start to finish. The songs complement each other very well while having their own unique qualities that give them their own identities. This album has killer guitar solos, ambient vibes, dancy songs, and tons of groovy and experimental sounds that are hard to categorize, a large variety that we’ve all come to love and expect from The Voidz. If you want to read more about the album you should check out this article I wrote about it. It’s a great album and a wonderful continuation for the band. If you are a fan of their older stuff but didn’t care for this album, I strongly encourage you to let the album grow on you. It’s very much a grower, not a shower. And I’m confident it would be on more year-end lists if people gave it more listens and tried to digest it more. But don’t do it for me, do it for The Voidz.

Fav songs:

"Square Wave", "Prophecy of the Dragon", "7 Horses", "Spectral Analysis", "Flexrocist", "Preserverance-1C2S", "All the Same"

#6: SPIRIT OF THE BEEHIVE - YOU’LL HAVE TO LOSE SOMETHING

August 23, 2024 - Neo-psychedelia, experimental indie, electronica

This is another album I’ve talked a bit about (all of them are at this point actually), but this album in particular will be the topic of a larger discussion soon that will be courtesy of my old bandmate and SPIRIT OF THE BEEHIVE expert Andrew (sorry it took so long to publish drew). I’m sure Andrew will be very happy to see this album so high up on the list. He’s been trying to get me into the band for so long and they just never clicked with me. I always felt they were kind of prioritizing experimental sounds and aesthetics over quality songwriting. Well I haven’t really gone and checked out any of their past work since listening to YOU’LL HAVE TO LOSE SOMETHING, so I’m not quite sure if they remedied this issue on this new album or if their sound is just so disorienting that it took time to grow on me. If I had to guess, I’d say it’s a mixture of both. But as you may have gathered by now, I reeeeeally like this album. I would consider it perhaps the most unique album on the list in terms of its production and its songwriting. To describe the sound in a real abstract manner, it kind of takes traditional indie music, throws it in a blender, and then pours it on a plate that spills everywhere. It kind of sounds like it’s regular music that’s glitching and melting in your ears/brains. They achieve this in a number of ways. First, they use tons of strange chords and chord progressions that often pair with guitar parts that have really hypnotic strumming patterns to really cultivate a psychedelic sound. Also, the song structures are super abstract, full of sudden changes that make the songs feel like collages of sounds. Lastly on this point, the band incorporates electronic elements all over the place, which is where a lot of the glitchy elements come from as well as lots of detailed ambient soundscapes. It all sounds so experimental, and it very much is. But these songs manage to do all of this while still remaining catchy as hell. Songs like “LET THE VIRGIN DRIVE” and “I’VE BEEN EVIL” are absolute earworms that excel in both worlds of experimental music and indie music. The whole album flows together very nicely with all these qualities and feels like the most pleasant fever dream you’ve ever experienced. To say I underestimated the quality and songwriting abilities of SPIRIT OF THE BEEHIVE would be an understatement. This band is crazy inventive and this album impressed the hell out of me. 

Fav songs:

"THE DISRUPTION", "THE CUT DEPICTS THE CUT", "LET THE VIRGIN DRIVE", "SORRY PORE PROJECTOR", "FOUND A BODY", "SUN SWEPT THE EVENING RED", "I'VE BEEN EVIL", "1/500", "DUPLICATE SPOTTED", 

#5: Quadeca - Scrapyard

February 16, 2024 - Folktronica, alternative hip-hop, experimental pop

HEY LOOK IT’S ANOTHER ALBUM I TALKED ABOUT EXTENSIVELY ALREADY. I guess I’ll just link my Quadeca article here and keep it short again. But at the same time, I don’t want my laziness to convey the wrong message, because this album (mixtape technically) and it’s songs were all over my Apple Music Replay. I’ve been pretty much obsessed with Quadeca all year and it’s really thanks to Scrapyard that I am a fan of his at all. The man has come a really long way from making YouTuber diss tracks and rap-impersonation videos. This album, while it was made as a collection of B-sides, serves as a grand expansion of the sounds and styles that we can expect to hear from Quadeca through the rest of his career. His most recent studio album I Didn’t Mean to Haunt You already demonstrated the scope he was capable of in terms of making emotionally rich music as well as building conceptual albums. Scrapyard naturally ditches the concepts in place for a larger variety of sounds and experimentation. While there is a lot more variety on the project, it still manages somehow to flow very naturally and feel like a very cohesive listening experience from front to back. Some styles of music you’ll hear throughout Scrapyard: alternative hip-hop, cloud rap, alternative rock, emo, folktronica, noise-pop, shoegaze, R&B, singer-songwriter, and experimental pop. Some songs lean into certain genres more than others, some utilize elements from almost all of these at once to craft a sound super unique to Quadeca. While this expansion of sounds and genres largely makes up the DNA of this project, Quadeca’s vocal delivery on lots of these songs serve as major highlights. Songs like “Dustcutter,” “U Don’t Know Me Like That,” and “Texas Blue” see Quadeca finding strength, confidence, and character in his singing voice like never before. He seems to have found the qualities that make his voice incredibly unique and learned to harness those qualities in a very calculated way. Between the production and the vocal performances, this album is full to the brim with character and ambition. For an artist to release a collection of B-sides that causes as much commotion as Scrapyard has is a major accomplishment for any artist, especially for one that is working with the reputation of a YouTube rapper. If anything is for certain, it’s that soon his reputation and legacy will be a whole lot different than what it is now, because he has twice now proved himself to be much more creative of an artist than anyone ever could have expected; in fact, I would call him a brilliant artist. And I would potentially call Scrapyard my favorite body of work from him.

Fav songs:

"Dustcutter", "Pretty Privilege", "Easier", "Even if I Tried", "U Don't Know Me Like That", "Way Too Many Friends", "Guess Who", "Texas Blue (feat. Kevin Abstract)"

#4: The Cure - Songs of a Lost World

November 1, 2024 - Alternative rock, gothic rock, new wave

I thought my list would be pretty much set in stone by November this year. I definitely wasn’t expecting anything to come out and crack the top ten. But this album is truly phenomenal, especially for a band that hasn’t dropped music in 16 years. To me, it feels like the darkest and most melancholy batch of songs I’ve ever heard from the band. Its style is somewhat hard to compare to the band’s past efforts. I guess I would say it resembles Disintegration in the way that it has lots of pop appeal while still coming across very melancholy. That being said, Songs of a Lost World has a very different aesthetic to it. This aesthetic is defined by its production, its instrumentation, and its lyrics. The production is kind of messy but in a very charming way. The drums often feel slightly saturated and blown out, and the guitars and bass are often heavily distorted like they were for a metal band. This makes the album sound really grimy in comparison to some of their older work, a change in sound that I think is really fitting for the band’s evolution. The music is still very lush despite this thanks to the help of a phenomenal string section. The way the album is mixed also makes the songs sound like they’re squished between the strings, which are hard panned to the left and right. All of these little details with the production and instrumentation cultivate a real strong effect on the vibe of the music. The songs are often pretty long and drawn out in comparison to their older stuff. Lots of the time Robert Smith doesn’t start singing until half way through the song. Lyrically, the album deals a lot with growing old, in the most gothic and depressing way possible. This may be the most defining characteristic of the album. While it feels like the band is more depressed than ever, they are known for being sad and melancholy. So for them to ramp it up on their comeback album all about aging and getting closer to death feels incredibly in line with the very essence of the band. It’s also a bit ironic though, because Robert Smith’s voice hasn’t aged a bit. He sounds as youthful as ever, and his voice still contains every bit of passion that it ever has. Overall, this is a very phenomenal album and it’s even more impressive as a comeback album. The Cure has effectively reminded the world of the power and influence they’ve had on the world of music since the 80’s and generously given us a look into what their genius would look like in a new world and from a new perspective. Thank you The Cure.

Fav songs:

"Alone", "And Nothing Lasts Forever", "Warsong", "I Can Never Say Goodbye", "All I Ever Am", "Endsong"

#3: Charli xcx - BRAT

June 7, 2024 - Electronic pop, dance, experimental pop

This list has taken me forever to put together, but it brings me great comfort that I’ve finally reached BRAT. That means I’m finally almost done. If I didn’t arrange the list and didn’t know the numbers, I’d know that we’d soon be done once I hit BRAT. Because not only was it so many people’s favorite album of the year, but it was also an absolute cultural phenomenon throughout the entirety of 2024. It’s hard to even know what to write about it. When writing this stuff I always come at it with the intent of informing people who aren’t familiar yet, and with most projects you can definitely assume people aren’t familiar. But is there really anyone unfamiliar with Cholly and BRAT at this point? It feels like describing the album is pointless because everyone has already heard it a thousand times and knows exactly what it sounds like. I guess I should give it a shot though, maybe there are some old heads who don’t know out there. The music on BRAT borders on experimental pop music and electronic dance music. Not like EDM, more like club and techno dance music. That right there is what captivated me about the album from the very start. It feels so authentic to what would be playing in clubs in the late 90’s/early 2000’s (I was 0-4 years old at the time so I’d know). Like its DNA feels equal parts Brittany Spears and Homework by Daft Punk. There’s so many absolutely disgusting synth sounds on this thing. The production in general is absolutely top notch, with super punch drums and perfect mixes on pretty much every song. Each song is a hit and absolutely infectious, even the slower and more emotional songs on the album. Lyrically the album deals with lots of personal topics for Charli, including her flawed relationship with the late producer and visionary artist SOPHIE, her struggles with fame and her reputation as a bonafide partygirl, her distrust in people around her as a result of her growing celebrity status, and even struggles with her body and physical image. What’s really interesting about all of this is that she manages to achieve this level of sincerity and vulnerability on the loudest and most upbeat aggressive bangers you’ve ever heard. It seems for the past ten years that Charli has quietly been a titan in modern pop, with her influence very strong in certain circles and moderately respected in the view of the mainstream. It was only a matter of time that she broke through and became a worldwide sensation. To do so takes a lot: quality music (not always actually…), attention-grabbing art, quality marketing, and constant public movement and promotion. With BRAT, Charli checked all of the boxes and has very much earned her status as 2024’s most celebrated artist. The cultural sensation that is BRAT is on a level that we will likely not see in a very long time. Not that I know her or anything, but I’m so proud of her and hope that her fulfillment from this year lasts her a lifetime, because her and her art are so awesome it was truly a spectacle to watch her take over the world in 2024. 

Fav songs:

"360", "Club classics", "Sympathy is a knife", "I might say something stupid", "Everything is romantic", "Rewind", "Girl, so confusing", "Apple", "B2b", "Mean girls"

*Bonus album*: Charli xcx - Brat and it's completely different but also still brat

October 11, 2024 - Electronic pop, dance, experimental pop

Once again, I’m sure I don’t need to tell you that this exists. I’m sure all of you have already heard this as well. But for those unfamiliar, this is the BRAT remix album. That’s what it’s referred to as anyways. Honestly, I consider most of these songs less of remixes and more complete reworkings of the songs. Like lots of the songs don’t even have the same melodies or instrumentals. Most of these songs feel completely different from their original counterparts. But I’m not complaining, no. It’s like hearing the album if it were made in an alternate reality with a slightly different vision behind it. Also, the album has an all-star list of features on it, which is really cool considering the original had no features. My favorite features include Julian Casablancas, Bon Iver, and Ariana Grande, and there are tons more. Overall, this remix album was not only super fun and creative but also a brilliant chess move by Charli that extended the life and hype surrounding her album using a whole new but related release cycle. Brilliant. Queen strikes again.

#2: MGMT - Loss of Life

February 22, 2024 - Neo-psychedelia, alternative rock, psychedelic rock

I been waiting to talk about this band for a long time. Truth be told, it all began in 2023 when they dropped the lead single for this album “Mother Nature.” I’ve always been quite a big MGMT fan. Every new release had more or less caught my attention, always seeming to impress me more and more. “Mother Nature” continued this trend. In 2023 it was my second most listened to song of the year (it dropped in October by the way), and in 2024 it was number one. This led me down a dense and serious MGMT rabbit hole, where I revisited all of their albums in preparation for Loss of Life. Well, I’m proud to report that I now consider them my fourth favorite music artist of all time. Every album they drop is more or less a complete reinvention of the duo in terms of style and genres. I know I’m supposed to be talking about the new album, but I think this context is important. I built up a lot of hype for this album in my head while awaiting its release. I had high hopes, but at the same time I couldn’t really tell what the sound of the album would be like because all the singles sounded so different from each other. Well. The album dropped, and it totally kicked my ass. It’s pretty much the absolute perfect follow up to 2017’s Little Dark Age. It feels like the second-coming on Congratulations in the sense that it’s a more experimental release following a very catchy pop-forward album. But stylistically, it very much has its own identity separate from Congratulations, or any of their albums for that matter. Loss of Life sees MGMT sounding more like adults than ever. In fact, I feel like you could consider a lot of the music on her adult alternative. In a lot of ways it feels like an homage to the 90’s. I say this not only because “Bubblegum Dog” is a super grunge inspired song that references multiple iconic 90’s rock videos in its own music video. “Mother Nature” has multiple elements of Britpop in it, “Nothing Changes” at times literally sounds like a moody Alice In Chains cut, and “People in the Streets” could even be a descendent of 90’s soft rock, something like Sinéad O’Connor. Pretty much all of the songs have elements of 90’s music, which I think is really cool. But in typical MGMT fashion, they soak all these influences in crazy amounts of psychedelia with layers and layers of intricate synthesizers. The music is generally pretty moody and sad, which feels like pretty new territory for the band that may have something to do with growing older. While this seems to be the grand sentiment and attitude behind the album, there are plenty of upbeat moments that differ from that vibe. It makes the album somewhat difficult to categorize compared to some of their older albums. Andrew VanWyngarden’s singing is as versatile as ever. He’s able to use all his different tambers and ranges effectively throughout the album to help convey different emotions that come about with aging and maturing. I feel like I’m rambling about the band and the album at this point, and for that I apologize. I’m just a major fan. This album, in comparison to some of their older ones, is a bit of a grower. It may take a few listens to click with you. But I promise you it’s worth it to put in the time, because this album has so much to offer. And at the end of the day, it really helps solidify MGMT’s catalog as one of the all time greatest that psychedelia has to offer.

Fav tracks:

"Mother Nature", "People in the Streets", "Bubblegum Dog", "Nothing to Declare", "Nothing Changes", "Phradie's Song", "I Wish I Was Joking"

Dope we’re almost done! Before I finish this off let’s get into some honorable mentions! These are some albums that couldn’t breach the top 25 (*26 now*) but still deserve a listen cuz they might resonate with you more than me!

• Alpha Kenny 01 - al doesn’t believe in anything or trust anyone  (😉)

• Bladee - Cold Visions

• Doechii - Alligator Bites Never Heal

• Father John Misty - Mahashmashana

• Floating Points - Cascade

• Geordie Greep - The New Sound

• Godspeed You! Black Emperor - "NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD"

• Jack White - No Name

• JPEGMAFIA - I LAY DOWN MY LIFE FOR YOU

• The Last Dinner Party - Prelude to Ecstasy 

• Mach-Hommy - #RICHAXXHAITIAN

• Osees - Sorcs 80

• Stone Salad - A Coffin for the Wheel

• twenty one pilots - Clancy

• Vince Staples - Dark Times

#1: Vampire Weekend - Only God Was Above Us

April 5, 2024 - Indie rock, chamber-pop, alternative rock

There has never been a better time to be alive and to be a Vampire Weekend fan. What’s funny about this though is that when the album first came out I really didn’t dig it much. I think frontman Ezra Koenig’s voice has developed quite a bit since the band’s first album in 2007, and I remember being hung up on the fact that he didn’t sound the same as he did back then. I really put Only God Was Above Us on the back burner because of this and because the songs just didn’t connect a lot on the first listen. Even as a big fan of the band and their past work I kind of subconsciously went in with a closed mind at first and didn’t even really give it a chance. I was a foolish fool. Now it’s #1. It goes to show how much music can grow on you through multiple listens. Anyways, the boys have really outdone themselves on this new album here. I’ve been a big fan for a few years now. I kinda jumped on the Vamp Weekend train a bit late as for a long time all I knew about was “A-Punk” (a common experience I think). Another band like MGMT where there’s a lot more than what meets the eye when looking at their whole catalog versus just the hits that took off. I was actually just having a conversation about this today. Anyways, the band is known for their colorful production, their playful attitude, and their various world influences that mix with an inviting upper class aesthetic. It seems like there isn’t any style of music that the band can’t weave into their own sound successfully. This is surely the case on Only God Was Above Us, an album I would consider to be career defining for the band. I would also consider it to be their most unique and ambitious album to date as well as a bit of a career retrospective album that combines elements present in each of their albums that came before. The colorful and experimental production makes the album feel like a spiritual successor to Modern Vampires of the City, meanwhile the songs are often very upbeat and reminiscent of their self-titled debut in their youthfulness. It’s hard to describe the allure of this album, and even the band in general, because the qualities that make it all so great feel so beyond me. But to take a stab at it, the sound is so entirely unique. I love the way the pianos sound all across the album. They are always beyond impressive and captivate my attention more than anything on most of the songs, particularly on the overwhelmingly ambitious “Connect” and the beautiful lead single of the album “Capricorn.” This album also sees the band introducing some strong elements of hip-hop on songs “The Surfer” and “Mary Boone,” the latter which utilizes a sampled drum loop and hardly features real-time drumming in the band’s live performances. There is tons of textbook Vampire Weekend orchestration on the album as well, including strings, winds, horns, and a whole ass operatic choir. Like in all of the band’s material, it’s the way they blend all of these different instruments and aesthetics together with top notch indie songwriting and an inviting educated worldview that makes them absolutely one of a kind. It feels like there is no culture left unturned or unexplored by the band on Only God Was Above Us. While all their albums perform this task in different ways, Only God Was Above Us learns from them all and does it larger and more effectively than ever before. I would handedly call this the band’s best album, and that’s a tall fuckin’ order for a band with a discography as tight as Vampire Weekend’s. But this album truly is remarkable. It’s visceral, it’s emotional, it’s intense, it’s beautiful, and it’s very much my favorite album of the year. 

Fav songs:

"Ice Cream Piano", "Capricorn", "Connect", "Prep-School Gangsters", "The Surfer", "Gen-X Cops", "Mary Boone", "Hope"