my top albums of 2024
these are my top albums of 2024, chosen not just for their rankings on my full list but for their uniqueness and musical talent in many different facets. you can also view my entire 2024 list on RYM here: https://rateyourmusic.com/list/sagacious13/2024-album-list/ |
| 54 | | Matthew Bourne
Harpsichords
*HONORABLE MENTION* the true embodiment of a self-indulgent inclusion. if you really are so keen to check this release, you will find a double album consisting of improvised pieces performed on long-dysfunctional and disrepaired harpsichords, producing sounds that are extremely strained, out of tune, and sometimes flat-out cringeworthy. the first disc is performed by main artist Matthew Bourne and two other musicians and is my preferred of the two. unlike some improvisational albums, I can really sense a synergy among these three even with such unruly instruments, playing screeching yet somehow melodic patterns. on the second disc, Bourne performs solo with live sound editing performed by his frequent collaborators Adam Martin and Mark Slater (a.k.a. Nightports). it provides for a more subdued but spookier atmosphere than the chaos of the first. this is not for the easily dissuaded, but if you enjoy the weird and discordant, this could be perfect for you. |
| 53 |  | Kate Bollinger
Songs From A Thousand Frames Of Mind
*HONORABLE MENTION* I had the pleasure of seeing Kate open at a concert I attended in 2023 and was positively floored by the stage presence commanded by her soft-spoken demeanor and vocal style. on her 2024 full-length debut, that same quiet confidence shines through in the studio as she delivers a set of her trademark stripped-back yet infectious tunes. seeing an artist you are a fan of possibly taking off feels like watching your sports team win a big game - “maybe this is the year we’ll finally do it” - and I hope that this album can be a launching pad for Kate to get to headline status. |
| 52 |  | Rich Ruth
Water Still Flows
*HONORABLE MENTION* while perhaps too inconsistent to make my list proper, this effort from Rich Ruth seriously impressed me in its two chosen modes: expansive and expressive new age jazz and jazz rock that borders on metal, usually alternating between the two modes. Water Still Flows just missed out on my list because I felt it wasn’t cohesive enough, but Ruth’s talent in shaping and expanding an atmosphere on the spacier parts makes you feel like you’re at an art installation at a museum. the contrasting heavy parts are equally expertly crafted, creating an oppressive and hostile feel equal in strength to the ambient ones from earlier. if Ruth could synthesize these powerful aspects better, it would serve for a stronger record and show the progression of his talents as a songwriter. |
| 51 |  | Omar Souleyman
Erbil
*HONORABLE MENTION* Arabic pop artist Omar Souleyman is definitely not an artist I could have found without the Internet and the connections it has allowed us to make, and for that I am thankful. while some songs may overstay their welcome and get a bit stale, Souleyman unleashes some incredibly danceable rhythms and melodies on this release that can’t be ignored. there is a rich tradition of Arabic music I need to uncover, but based on this release I have to feel that Souleyman plays some part in the contemporary aspect. |
| 50 |  | Aluk Todolo
Lux
*HONORABLE MENTION* an addicting serving of repetitive droning and screeching guitar lines. there’s a sort of occult feeling to this album like it’s meant to be performed at some kind of cult ritual. the bass occasionally takes the lead at times to provide melodic direction, only to be cut off again by the guitar with force and malice. all the while the drums keep steady time as the hi-hat cymbals rattle constantly under vibration against each other. some of the guitar riffs almost feel surf rock influenced at times with the fingering techniques. even with some of the out-there choices I made on this list, this one felt like too much to include, but the dark allure of this album was too much for me to leave it off completely. |
| 49 |  | JPEGMAFIA
I Lay Down My Life For You
I believe that JPEGMAFIA now holds the honor of being the only artist to make my list two different years (in the two years it has been run). does that say more about my taste, knowledge, and exploration of hip-hop or the talents of JPEGMAFIA? regardless, this one feels just as deserved as he comes out swinging with the same confidence and energy he did on Scaring the Hoes. this time there’s a distinct rap rock influence as well which adds to the intensity and adds to his unstoppable momentum. I also find myself enjoying a different song and beat every time I come back to it. I guess we’ll have to check in next year to find out if he can make it three years in a row. |
| 48 |  | Charley Crockett
$10 Cowboy
two solid and similar releases from Crockett this year that highlight his songwriting and consistency. he doesn’t need anything huge or flashy to draw your attention; just some catchy songs and witty lines to keep your attention and swaying along. these may not be the best or most essential releases on the list, but Crockett can write a fun song and stay true to what makes him and his music enjoyable. |
| 47 |  | Tucker Zimmerman
Dance Of Love
Zimmerman is another name on this list whose credits go back to the 1960s. here he teams up with modern indie folk giants Big Thief and other collaborators iji and Twain to deliver some masterful and moving folk. leading vocalist for Big Thief Adrianne Lenker also had a solo release this year which got a good deal of acclaim, but in her backup vocal accompaniment here she shines in her own way by providing intriguing harmonies with a higher, stronger contrast to Zimmerman’s lower, huskier register. to my delight there’s also a great deal of slide guitar on here which is a highlight. each of these songs feel so comfortable and inviting; it’s a great album with an infectiously positive yet unassuming attitude to put on for a day to explore outside or when it’s raining out and you want to get some cleaning done indoors. |
| 46 |  | Rachel Chinouriri
What A Devastating Turn of Event
Rachel Chinouriri is another artist on this list who has spent some time honing her craft before attempting many full-length releases. this being her first as well as the first of any I have listened to, I feel that time has been well spent. Rachel embraces that songwriting formula that so many have found success with which combines deeply personal feelings and narratives with the more broadly relatable emotions surrounding them. far from just crowd-sourced love songs though, Chinouriri has plenty of fuzzy guitar and booming drums to give her songs some oomph. her voice is the sealing element on each of these songs, breathy and sweet yet still strong and biting when she needs it to be. |
| 45 |  | Thank
I Have A Physical Body That Can Be Harmed
have no fear, there’s another British-accent-shouty punk release on this list. Thank have established for themselves a brash, noisy, and unapologetic form of synth punk that honestly can be a bit hit-or-miss with a spoken-word tirade sort of style at times. when it does work however, they can just about blow the roof off with their intensity and blaring guitars and synths. take the plodding longest track “The Spores” or the shorter “Down With the Sickness” (not a cover) and “Writing Out a List of All the Names of God” to get a sense of their full power. this may be one of the more abrasive choices on this list (or maybe not), but I’m proud to stand behind it and really enjoyed this album’s controlled chaos - and its cover art. |
| 44 |  | Matthew Halsall
Bright Sparkling Light
Halsall’s 2023 album An Ever Changing View actually missed the cut for my list as I didn’t listen to it in time for the list I made. this was a regret of mine because I truly thought highly of it after listening, but thankfully he rewarded me with another opportunity by distributing his companion EP for the album on Bandcamp this year. Bright Sparkling Light takes another step from the direction he intimated on his ‘23 release fully into the soft spiritual jazz territory. additional instruments such as flute and percussion contribute to the dreamy, relaxing feel that feels like drifting off to sleep in an enchanted forest. I especially enjoy the slightly off-kilter, rocking back-and-forth feel of the rhythm on the second track. here is another blissful break from every other noisy and discombobulated album on this list that you can take comfort in. |
| 43 |  | Crizin da Z.O.
Acelero
an absolute explosion of electronics, samples, and imposing monotone vocals blast out at you as you are enveloped in the soundscapes of Acelero. at times it feels almost like industrial metal as the assault washes over you. these blaring electronics form the basis for the beats which go off like alarms and electromagnetic pulses, all while the rhymes drone on in Portuguese. I’m reminded in a way of the ТДК album from my list last year and the “technological nightmare” analogy I made. if you enjoy hip-hop with an industrial or electronic twist, you owe it to yourself to check this. |
| 42 |  | Hannah Frances
Keeper of the Shepherd
while some folk music can be defined by its simpler side, Hannah Frances seems to want to push those boundaries. with an indie rock twinge to her songwriting, Frances’ longer songs tend to evolve and grow over time; this also provides a great relistening experience. her fantastic vocal performance with layered harmonies is also not to be missed. Keeper of the Shepherd is an excellent demonstration of both Hannah Frances’ musical and songwriting abilities. |
| 41 |  | Nadine Shah
Filthy Underneath
I had to place these albums next to each other because they feel like looking in a circus mirror of each other. think about everything I wrote about the Orla Gartland album and twist it in an opposite kind of way - all the pop hooks now off-kilter alt/goth rock riffs that still somehow work in a pop context. Shah also combines synth elements in a spooky yet compelling feeling that get you tapping your feet to the rhythms. both albums share that dark, murky production that gives them a sharper edge they greatly benefit from. however where Gartland dabbles in it to add to her pop sensations, Shah fully dives in and comes out the other side with a still somehow dancy and rhythmic collection. |
| 40 |  | Orla Gartland
Everybody Needs A Hero
what blew me away about this album is how much it *almost* sounds like so many of her contemporaries, yet then veers away from it at the last moment. Gartland mixes the inescapable hooks and sweet-yet-sour delivery of her peers with a tougher indie/alternative rock edge that pays off in dividends. the darker production gives it an extra sharpness which adds to her vocal delivery and gives every cutting lyric that extra bite it needs. even some of the simpler and cringier lines or more synthpop-influenced hooks go down easier with the heavier feel and you’re right back in the groove. this is the perfect moment in pop music that Garland could thrive in and I hope she will continue to ascend from here. |
| 39 |  | Shannon And The Clams
The Moon Is In The Wrong Place
I am far from falling victim to some revivalism in my music taste, but I think you’ll find this one holds up. anyone who is a fan of this group will know, but as I was new to them this year I’ll explain: there is sadly a tragic backstory to this album. singer and bassist Shannon Shaw’s fiancé passed away in a car crash before they could be married; these songs were written and recorded in the wake of that tragedy. this finds the group gravitating between upbeat bops and slower, more melancholy expressions. yet even the bumpier tracks are marred with expressions of sadness and deeper commentary, like “Big Wheel” which talks about the inevitability of death and life going “off track” of where you expect it to. in moments of despair or hardship, sometimes artists can be said to produce more transcendent works, and this group gives their best bet with an album that recalls the best of ‘60s and ‘70s psych pop with their own twist, and an unfortunate but depressing twinge that’s relatable. |
| 38 |  | Shygirl
Club Shy
Shygirl’s EP warrants mention here for its strength in simplicity. she understands the hooks she wants to use and builds around them in continually interesting ways that never get stale. even the extended mixes continue to retain their appeal and try new things at the same time. Shygirl comes out swinging with her best and doesn’t leave any room for questions or mistakes - just some good bumping vibes. |
| 37 |  | Vylet Pony
Girls Who Are Wizards
another completely unexpected pick for me, this artist actually came on my radar from a noise rock release I found earlier in the year and enjoyed. as an Internet solo artist I was immediately taken aback by their production and talent in electronic music, even if it wasn’t something that would make my album-of-the-year list. then this release came along and proved everything I had surmised and more. this album is filled with all the glitchy wubz, breakdowns, and random samples that a recently converted EDM fan like myself would enjoy, but also with memorable melodies and of course the “music never stops” lyrical theme. Vylet Pony seems filled with random ideas to take on whenever they want to make their future as unpredictable as this album, but this one in my opinion is a testament to their talent and influences that pays off better than anything else that I’ve listened to from them. |
| 36 |  | Caoilfhionn Rose
Constellation
on first blush it may feel odd to call this a pop release. Rose’s soft voice provides a perfect sound for a folk or jazz record like some of the other descriptors here suggest. yet when diving into the album, there is no doubt about a certain pop influence and draw on many of these tracks. it may not be immediately danceable or catchy, but there is a subtle bounciness accompanying the soothing sounds from Rose and company. a beautiful voice pairing with compelling instrumentals yields predictably good results. |
| 35 |  | Doechii
Alligator Bites Never Heal
another rising voice in hip-hop experimenting across the board, Doechii’s first full release (is a mixtape considered a full release? let’s not get into it now) is more than the sum of its parts. as you work through each pastiche, most clocking in under 3 minutes, it becomes clear Doechii wants to dip her toes into all kinds of influences and make her own mark. just about any track could be your favorite on this one depending on your tastes, but consistent throughout is Doechii’s command of the mic and compelling delivery. each song is short enough to give her space to experiment while also not getting too bogged down, positioning her well to move ahead with what worked best and into new directions that interest her. |
| 34 |  | Chelsea Wolfe
She Reaches Out to She Reaches Out to She
this gritty, grueling collection shows Chelsea Wolfe in top form. from her breathy and mysterious vocals to the churning, buzzing electronics underneath, this album unfolds a dense dreadful environment that each song explores a new facet of. all this adds up to a feeling of trapped hopelessness, but yet you feel compelled to listen on. it’s as if Chelsea holds the key to escape and the only way to get it is to fall victim to her siren song, accompanied by droning synths and guitars. |
| 33 |  | cupcakKe
Dauntless Manifesto
there is no bigger surprise to me on this list than this selection right here. before this year CupcakKe was merely a vague curiosity to me I never had any real interest in due to the highly vulgar and sexual content of her lyrics. (no judgment, it just isn’t for me.) but in a moment of intrigue and fairness, I decided to give her most recent effort a full check. what I found is that to go with her comedic and tongue-in-cheek lyrics, she has an impressive and unrelenting flow and also experimented with a number of different styles. this is not meant as any criticism of her previous work as I’m still largely ignorant, but CupcakKe genuinely and pleasantly surprised me with this album that can be as powerful and poignant as it can leave you laughing at a rhyme. |
| 32 |  | Maruja
Connla's Well
this group’s EP just missed out on my list last year, but this year wanted to make sure they would receive their flowers from me. Maruja deal in an extremely interesting combination of noise rock, jazz rock, and post-punk with an extremely murky and manic feel. this is all held together by a strong rhythm section providing everything from sparse quiet beats and ghost notes to fully swirling fills and wild patterns. the saxophone also features heavily, providing almost-guitar like tones at times and fully bringing home that feeling of desperation. whether intensely brewing and simmering or letting loose, Maruja capture this dark and complex vibe expertly. |
| 31 |  | Ezra Feinberg
Soft Power
this album probably takes the cake for “most descriptive title on this list” - an award I came up with just now for this album. but really, Feinberg’s subtle songs filled with gorgeous guitar and synths as well as many different collaborators on various other instruments like organ, flute, piano, harp, and others more eclectic comprise an album that feels like a soft, heavy blanket lulling you into warmth and comfort. at no point does it try to do too much or make itself known, you need to take that extra time and effort to listen closely to pick apart its intricacies. yet even if it fades into background noise, no song would lull you from its quiet trance, yet in your subconscious the playful melodies still wedge their way into your head. like I said to start, this album is the embodiment of its title which is also demonstrated by its wonderful album art, a bush growing into the side of a sidewalk and building, trimmed into the semblance of the surrounding shapes it occupies. |
| 30 |  | Lupe Fiasco
Samurai
if my subtle jokes and everything else about my music criticism hasn’t driven home the point yet, I tend to focus on instrumental parts first and lyrics often come second to me. this is admittedly a blind spot of mine, especially for a genre like hip-hop where lyrics tend to be a huge part of the equation. on Samurai, Lupe Fiasco delivers some truly wonderful lines full of multiple meanings or quirky wordplay that need to deserve that extra attention. all the while these are delivered over some excellent jazz rap and boom bap beats with impeccable flow. this shortish release barely cracking 30 minutes is more than worth that investment to take apart. |
| 29 |  | Darius Jones
Legend of e'Boi (The Hypervigilant Eye)
it’s strange but this is actually one of the more straight-ahead jazz releases here; I can’t remember having these lighter spacier choices on my list last year. Darius Jones demonstrates saxophone mastery with blaring and sometimes cacophonous riffs that feel freestyled over insanely consistent drums and bass. with each song coming in at least over eight minutes, it gives Jones and company the chance to establish a pattern while also slowly diverging from it over time. it takes skill to make an album like this pay off and it’s clear that these three have it in spades. |
| 28 |  | Baby Rose and BADBADNOTGOOD
Slow Burn
another jazz group that is endearing themselves to me quite a bit, BADBADNOTGOOD, instead found my favor with this collaboration with soul singer Baby Rose. eschewing their typical jazz fusion antics, they lean full into that smooth soul sound and provide simply sublime backing tracks for Baby Rose’s beautiful crooning voice. I feel like BBNG has the talent to pull off just about anything they try passably, but this experiment paid off big time and one hopes it’s not the last of this kind, either with this artist or in this genre. |
| 27 |  | Magdalena Bay
Imaginal Disk
for a sophomore album, Magdalena Bay have actually been around a good deal in recent years; this year they set themselves up for a breakthrough with their newest release. Imaginal Disk sees them at perhaps their most energetic, pumped up from some of the more laid-back mixes and EPs they have released at this point. the result is a bulking 53-minute album that sparsely holds off for a mediocre cut, proudly wearing their influences on their sleeve - far more than just ‘80s-inspired synthpop - while still being creative and catchy. mixing in even farther reaching sounds like baroque pop and alt-rock, Magdalena Bay cashes in on a hugely deserved payoff and I can’t wait to see where they go next. |
| 26 |  | Doedsmaghird
Omniverse Consciousness
there is so much metal to be found today that sometimes it takes something extra to stand out from the crowd. that’s not to say that this side project from members of Norwegian black metal group Dødheimsgard is unique in what it attempts, but in its execution it finds something special. seeing the description and genres provided for this album couldn’t prepare me for what I would discover. this fusion of black metal and electronic genres from synthpop to techno and house is done in a way that allows the strengths of each genre to play off one another. the power and force of black metal tastefully combined with the bounce and energy of a dance beat provide an intoxicating feeling like nothing I’ve heard before. while it primarily is a metal record, each song has its own intriguing electronic aspects that play out throughout their longer runtimes. one has to hope this will not be a one-off project for this group as it’s clear they have a lot to offer with this crossover of influences. |
| 25 |  | Trent Reznor and Atticus Ross
Challengers OST
I initially couldn’t picture putting a film score on this list, but if any from this year is deserving it’s this one. the soundtrack does what few are truly capable of in standing on its own and delivering the same amount of emotional weight as in the film. while I do recommend seeing the film as well, Reznor and Ross’ soundtrack is a techno dream with bouncing beats and deep pounding synths. it delivers all the tension and drama that the film has even by itself. while some of the later themes draw on the earlier ones and make it somewhat self-referential, they in a way serve as extended versions that allow Reznor and Ross to build on them and take them to a new level of intensity. not many film soundtracks get you to keep listening afterwards, at least for me - but this was one that wormed its way into my listening by force. |
| 24 |  | Arooj Aftab
Night Reign
everything about this release is hauntingly beautiful; it dances gracefully and delicately around and as you listen you are aware of its soft fragility that could be spoiled in an instant. yet in the careful hands of Arooj Aftab it never overextends, always landing perfectly and transitioning into the next step with ease. each of the featured instrumentalists and sounds play a perfectly cast role (the harp playing in particular is a delight when it appears) and Aftab’s soft, pleasant vocals carry the pieces into blissfulness. yet in spite of this all each piece contains a certain tension that reminds the listener of imperfection and impermanence. this album constantly plays on the edge of these ideas of peace and turbulence but ultimately comes down on the side of its charming, relaxing tendencies. |
| 23 |  | Skee Mask
Resort
a techno producer who’s been around the block a few times, Skee Mask operates in the same camp as Floating Points where he knows that sometimes less is more. Resort is a fantastic fusion of gorgeous synths and infectious rhythms that demonstrate his mastery. while Floating Points often draws you in early with a beat or hook to get things going, Skee Mask takes time to explore even further before diving in and taking full control. this exploration gives way for some truly sublime synthy sections like on “Nostaglitch” which in turn are capped off in the final minute or so with a clicking beat that scratches that itch you just realized you had. he seems to be a master at this, anticipating just the perfect choice to go next as you are ready for a little changeup. even if it’s not what you thought or wanted, it’s what he’s going with and you’ll see where he’s going in just a second. just a stellar album that is so underspoken yet strong. |
| 22 |  | Meridian Brothers
Mi Latinoamérica Sufre
how many cumbia albums have I listened to before this point? probably less than ten or five, but still I can tell there is something special about this one. the delicate, fast-paced guitar work decorates the verses and choruses of these songs, sometimes played sparsely and erratically while others freely. the rhythm provides a dancy backdrop for the quirky vocals and guitar to work over to great effect. this is quite the entertaining listen no matter what your persuasion because you are sure to be swaying along to some of these beats. |
| 21 |  | Billy Strings
Highway Prayers
another name I’ve heard tossed around but didn’t have much context for, Billy Strings showed me what he and his band are all about on this one. the banjo and fiddle playing on this album are clearly the focal point and they deserve all the credit they get, twisting in and out of each other to really emulate that old-time bluegrass feel. my favorite tracks are the occasional ones that only feature these instruments as the players let the most loose and show off. throughout this almost 75 minute album, Billy Strings has a great time leading you through jam after jam with plenty of tongue-in-cheek “modernized” country lyrics to go along with it. |
| 20 |  | Ill Considered and Rob Lewis
Emergence
Ill Considered are starting to become one of my favorite modern jazz groups, and while they had a few releases this year it was this one that really started to tip the scales for me. here on this collaboration with Rob Lewis, they release a collection of moody, meandering numbers leading down dark pathways to destinations unknown. earlier this year I completed the Twin Peaks series and I felt reminded at times of the broiling compositions by Angelo Badalamenti on his soundtracks. each song only gains intensity from where it starts as it builds slowly; the deeper and bassier tones set the pace while the higher-reaching ones expand the atmosphere. it’s a long and immersive listen of over 75 minutes, but the plunge will reward you with many nuggets of beautifully dark jazz. |
| 19 |  | Etran de L'Air
100% Sahara Guitar
as the title suggests, there is quite a lot of top-notch guitar playing on this album as multiple players interweave repetitive patterns in and out of each other. these are punctuated by the rhythm section which provides the sharp contrast that cuts through the lighter sounds of the guitars, sometimes just as complex and fast-paced as the rest of the group. while it may feel slightly repetitive at first, the precision of the players and tightness of the group is a primary focal point as their intricate parts come together. an expertly crafted album that feels like a soundtrack for a desert trip full of adventure. |
| 18 |  | BIG SPECIAL
POSTINDUSTRIAL HOMETOWN BLUES
sometimes you find a release that just exudes pure swagger; it’s infectious and exciting and it feels like nothing can stop you. Big Special’s debut release brings that exact feeling with loud stomping percussion, noisy guitars and synths, and shouted spoken lyrics that weave strange stories and pithy observations into entertaining verses. whether tongue-in-cheek or just plain off-the-rails, the British accent and unapologetic delivery bring the punk vibes and play perfectly with the bouncing rhythms. yet another debut on this list from a group I will be watching closely in the future. |
| 17 |  | Patricia Brennan Septet
Breaking Stretch
last year one of my top albums was a jazz project led by a drummer; this year I carry on that tradition with percussionist Patricia Brennan’s group’s Breaking Stretch. Brennan orchestrates a group that comes together to create wonderful noise as her vibraphone and marimba combine with wailing horns and bopping drums and bass. each musician gets a chance in the spotlight and background, performing admirably and complementing their fellow musicians. perhaps I am a bit fond of “controlled chaos” as a phrase but this album feels like it in many ways as the instruments pull at the seams of the song, threatening to break loose but never quite, maintaining a sense of order. no matter what you call it, this one is sure to excite the less traditionalist jazz fans out there - and maybe the more traditional ones but honestly I don’t even know what you guys like. |
| 16 |  | Oranssi Pazuzu
Muuntautuja
Oranssi Pazuzu have been known to resist total categorization, and on this release they try to throw a few more twists into the mix. while bringing out their traditional mix of black metal and psychedelic rock, on this record they experiment with dark electronic sounds to give an industrial sound. each song provides a different kind of blackened soundscape to wander through trying to find your way to the exit. there is something for almost all metal fans on this release, but it truly is worth picking apart to decipher what makes each track tick. |
| 15 |  | Foxing
Foxing
Foxing have always operated in that interesting space where I feel they are capable of something more but don’t quite reach that point. to be fair, I haven’t examined all their works in depth, but this really feels like that peak they have been striving for. on this self-titled release, they let loose with a sort of emo and noise rock sound they have shown to be capable of before, but never completely unleashed. right after the intro to the opening track “Secret History”, everything kicks in and you just want to scream and thrash along. yet even as this album feels like a cathartic release of anger and frustration, Foxing don’t lose their creativity and charm that has carried them to this point and made them into the art rock staples they now are. |
| 14 |  | Amaro Freitas
Y'Y
here’s one that captured my attention near the start of the year and didn’t let go. pianist Amaro Freitas puts together deep and contemplative melodies and patterns accompanied by percussion, flute, and other instruments that add to the hazy yet relaxing atmosphere. Freitas uses both sound and silence to create hypnotic, entrancing hooks that wrap you into each song. this is all capped off with the final song “Encantados”, which is my favorite of the year. embracing a more traditional jazz fusion feel with guest musicians, Freitas removes his self-restraints and flies across his piano while his counterparts likewise perform jaunty and fast-paced accompaniment. this, the longest cut, is a treat in a completely different way from the way the rest of the album, with both combining to form an almost transcendental listen. |
| 13 |  | Tiny Yawn
Paddle Ship
I don’t claim to have much familiarity with popular Japanese genres of music, but from what I could find about this descriptor it seemed like it slotted in perfectly. the bright and active guitar and vocal lines provide a colorful landscape for this simply fun and pretty indie rock release, and the rhythm section is along for every step of the ride. each track on this EP is bursting with creativity and happy vibes which make it a true joy to listen to, leaving you lamenting its short runtime. |
| 12 |  | Kendrick Lamar
GNX
it feels weird to say, but somehow a full-length release is just a victory lap for acclaimed hip-hop artist Kendrick Lamar in the wake of his beef with Drake and decisive victory with “Not Like Us.” it’s hard to think of some commentary I could offer on this album as well, and unlike Charli XCX I have no personal anecdotes that relate to Kendrick Lamar, so we will have to suffice with my musical analysis. this release really does read as a confident assertion of his top place in hip-hop and popular music in general. the most obvious example of this is the track “man at the garden” where in between his mantra of “I deserve it all,” Kendrick recounts his accolades and relishes in his success. yet coming off this release, it still feels in some ways like we have yet to see so much from Kendrick and this reviewer will be watching with rapt attention. |
| 11 |  | Floating Points
Cascade
Sam Shepherd AKA Floating Points buys into the less is more philosophy here with a wonderfully crafted album of IDM. where Shepherd succeeds and others may fail is his emphasis on simplicity over bombastic beats and sounds. his preference to start small and build provides a tension over each song that builds yet never seems to fully climax, leaving you wanting just a little more every iteration. take my favorite track from the album “Afflecks Palace”; it feels from first blush like it will eventually find its final form in a true EDM club banger by the end. yet once you reach the final execution of its motif and the expected drop, it hits - but not quite in the full force you expect. this subtle undermining of expectations is what makes Cascade so effective at creating attractive earworms that keep you coming back yet don’t quite feel totally satisfying until it all clicks. |
| 10 |  | Julie Christmas
Ridiculous and Full of Blood
some of the metal releases on here delight in their loudness and excess, but here is one for the people who feel like some of those others are too much for them. that’s not to say it’s any less dark or powerful, but the point of focus here is Julie Christmas’ vocal performance which carries and enhances every other part of the record. from a sharp breath before delivering a line to her full out screams, she is in complete control of her voice and belts out exactly what each line needs, whether a perfect note-for-note croon or a high-pitched tortured scream. Julie Christmas is everything you could want out of a metal vocalist and more, and this release sees her continuing down what is a well-deserved path of success. |
| 9 |  | Hoplites
Παραμαινομένη
remember that thing I mentioned just a minute or two ago about judging restraint in metal? well, I threw that one out the window again for this one. but seriously, that’s not to say it’s not a concern here, but instead that this project is simply not concerned with restraint. it constantly punches you with crunching riffs, pounding drums, and screaming vocals - not looking for a weak spot, just trying to overpower you by sheer force and might. you can’t really headbang or get a sense of the rhythm because it’s constantly changing and flipping on its head. then it hits you with a wild and discordant sax solo and you just have to wonder what happened. this is one more metal release that completely eschews any concept of control or limits yet still emerges on the other end feeling flat-out excellent. |
| 8 |  | Emahoy Tsegue-Maryam Guebrou
Souvenirs
while on the surface a solo album of piano and vocals doesn’t sound all that impressive, as a relic from a person in a different time and place the significance greatly increases. Emahoy’s simple yet effective piano lines and vocal melodies carry the quiet assuredness of someone confident in their abilities, yet also in their own privacy - which she was. these recordings were originally recorded by Emahoy on her own from 1977-85 and given out privately on self-made CDs. it was only after her passing in 2023 that the recordings were discovered among her belongings and compiled for release. many of the songs relate her experiences and thoughts following the Ethiopian Revolution. maybe it sounds a bit pretentious to say, but as an artifact of a musical figure and a piece of history, it feels somehow magnified. from the static of the lower-quality recording equipment to outside noise like birds chirping occasionally being heard, this feels like a truly personal labor of love. |
| 7 |  | Vijay Iyer / Linda Oh / Tyshawn Sorey
Compassion
piano, drums, and bass - one of my favorite jazz combinations and one comprising three extremely talented individuals here. Iyer’s piano playing is sublime as he whirls around the keys, complemented wonderfully by his rhythm section. no track is content to remain where it is for too long, constantly evolving and moving on to another idea. here we see some more contemporary musicians carry on the torch from so many great post-bop albums before them to create something both honoring those and looking forward with their own ambitions. |
| 6 |  | Geordie Greep
The New Sound
this solo release from black midi member Geordie Greep completely blew me away even after I was initially put off by one of the initial singles. for one thing, the pure musicianship on display in these arrangements is palpable, especially the main rock group components of guitar, bass, and drums; however on top of that there are plenty of others on the many tracks to add to the joyful noise. the Latin rock influence on this album is especially worth mentioning as its infectious rhythms and melodies in the guitar and percussion weave throughout tracks on this album. the final aspect which cannot go without mentioning is Greep’s vocals, delivered as a crazed narrator with downright distasteful attitudes towards women and the world around him in general. the semi-conceptual album demonstrates Greep’s prowess as a songwriter and musician as well as all the skill of all those around him - I have seen comparisons to Zappa and in my own limited exposure, I can’t disagree. |
| 5 |  | Charles Lloyd
The Sky Will Still be There Tomorrow
Charles Lloyd has been around in jazz since the 1960s as far as I can tell, so there’s no question he knows what he’s doing. not that I would be intimately familiar with any of his previous contributions, but this one feels pretty significant. on a sprawling 90 minute album, Lloyd’s saxophone playing takes center stage for a blissful and mellow listen free of all the chaos and craziness on much of this list. Lloyd’s accompanists know just how to supplement him with effective and moving backup. on tracks like “Monk’s Dance” the piano also features with some quite nice licks. it’s hard to say much about this release as it’s so consistent in delivering what it promises, but Lloyd certainly will add to his legacy with this one. |
| 4 |  | Blood Incantation
Absolute Elsewhere
I only tangentially knew about Blood Incantation prior to this year, and one of the main things I knew about them was their much-maligned electronic release in 2022 which interrupted a string of great death metal releases prior to that point. we don’t need to get into my thoughts or my thoughts on others’ thoughts about that ‘22 EP, but in short it meant that this year’s release had a heightened anticipation of a return to form. in my opinion, they absolutely delivered. the band has a great blend of death metal and progressive metal tendencies that allow their softer and heavier sections to transition back and forth. while some fans may wish to return to their previous albums more often for their greater heaviness, this album put everything great that Blood Incantation already had going together with their other burgeoning influences to make one of the best metal releases this year. |
| 3 |  | Pyrrhon
Exhaust
I find sometimes in judging heavier metal releases that restraint can be a big factor in quality. it’s easy to be really loud and throw everything at the wall assuming it will be good; it’s harder to throw the right things that will stick and work well together to make a cohesive composition. Pyrrhon appear to operate on the opposite end of this principle where they throw everything at the wall but still endeavor to hold it all up and make it work. combining screeching and growled vocal styles, mashing together riffs and sections with reckless abandon, bending their guitars past the point of being in tune - this shouldn’t mix well and yet somehow it does. everything whirls past at such a speed that you can hardly think about it, but it really does reach that next level of both musical competency and quality (as long as you’re into this kind of thing I guess). |
| 2 |  | Charli XCX
Brat
what’s even left to say about this album? what could I have to say about this album? well, I guess there’s one thing only I can say: years ago I expressed my appreciation for Charli’s first solo single “Boom Clap” to some of my friends, something they laughingly remind me of from time to time still to this day. my love for it then was somewhat tied to some embarrassing personal teenager reasons, but at some point while listening to brat I flashed back to “Boom Clap” and everything clicked and made sense. just like on her breakout single, Charli’s dominant understanding of pop hooks and synthy production feature in full force, alongside moments of vulnerability and lyrics that explore her fame and personal life. if you haven’t checked it out at this point I’d just assume you aren’t interested, but I couldn’t not include it on this list. |
| 1 |  | Ulcerate
Cutting the Throat of God
above all else this album to me has a pulverizing feeling of despair. through its nearly 1 hour runtime it is relentless in its pursuit. even the slower sections still have plenty of meat and aggression to them to show you they’re just gearing up for the next round. each track presents a new and deadly way to break through to you without becoming overexaggerated with riffs or complexity. I can’t claim to be a longtime fan of Ulcerate or anything, but this does feel in many ways like a veteran band in the midst of a creative peak fully confident in themselves and giving it their all. 7 tracks with the shortest coming in at just over 7 minutes - it’s a wild ride but truly worth it especially to get to the title track at the end. |
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