By Abbie Oppon

As the year comes to a close, the season of list-making comes upon us. It has been made considerably easier this year as 2024 was a year overflowing with great music — as well as a dearth of trends and controversies to keep public interest going. Whether it was Kendrick Lamar continually doing to Drake the musical equivalent of The People’s Elbow, BRAT summer reaching the annals of the US election, or Taylor Swift’s rumoured chart misdemeanours, there was something to keep every single music fan listening and spectating.

As section editor, I thought the best way to close out this year would be by cutting through the sea of endless releases to give a curated sample of this year’s best albums. Some deservedly gangbusting, some woefully underrated — but all deserving to be on this list.

24. Charli XCX — BRAT

Getting the obvious out of the way, 2024 was the year of Charli XCX. Since her chart success in 2014 with ‘Boom Clap’ and Iggy Azalea’s ‘Fancy’, Charli has consistently been a pioneer of the pop genre. With her erratically blaring synths and processed vocals, elements of hyperpop (and more specifically, the influence of producers A.G. Cook and the late great SOPHIE) have finally become mainstream after bubbling under with the likes of 100 gecs. BRAT was a perfect storm. A recession, 00s club boom nostalgia, and a generation of young people deprived of a partying youth meant that her 30-something party girl persona resonated deeply, and she finally cemented herself in the canon of pop greats. The album is not without its depths, however — its magic lies in both the technicolour of the production and the honest simplicity of its lyrics and melodies. For fans of BRAT, an exploration into her back catalogue is a must.

23. Sabrina Carpenter — Short n’ Sweet

2024 was also an establishing year for Sabrina Carpenter. Like Olivia Rodrigo, the former Disney star has seamlessly shed the label without furore (and thankfully, seemingly without trauma too). No longer simply “the blonde girl” from ‘drivers license’, Carpenter is a pop pin-up for a new age, singing about her powers of seduction on ‘Espresso’ and a troublesome boyfriend on the witty ‘Please Please Please’. To me, she seems like the Katy Perry of the 2020s: hyperfeminine and playfully sexy, delivering fun and bouncy songs to fit with the image. The lyrics of ‘Espresso’ tell clear enough that mindless pop is back, but only time will tell whether Carpenter will survive the inevitable pendulum swing the other way.

22. Claro — Charm

Clairo’s sound palette is perfectly balanced on Charm. From the mellotron flutes and off-kilter honky-tonk piano of ‘Sexy to Someone’, to the staticky synth pad on ‘Echo’, Clairo’s singer-songwriter pop gains that little bit of edge. Clairo finds a little bit of soul here too, seen clearly on the popular ‘Juna’ but also on ‘Terrapin’ in their Motown influences. Charm is a thoroughly easy listen, and even the sad songs make you feel good when you hear them.

21. Vince Staples — Dark Times

Vince Staples has always had an eye for a riff and an eye for a hook. ‘Little Homies’ from this album first caught my eye, someone who hadn’t listened to him since Big Fish Theory. That song is maybe the most similar to that album with its bravado and blocky bass, and along with Étouffée, it features one of many catchy choruses. The album is also full of laid-back cuts like ‘Black&Blue’ and ‘Government Cheese’ with their trip-hop beats and retro feel. Dark Times lacks the in-your-face bombast of Staples’ previous work, but it possesses a confidence in its relative minimalism.

20. Remi Wolf — Big Ideas

Big Ideas is a suitable title for Remi Wolf’s sophomore album, which is overflowing with potential. Wolf got her start as a high schooler on American Idol, but after, went to USC Thornton School of Music. Both of these parts of Wolf’s earlier career are indicative of her music: a magnetic persona needed for a talent show and the serious sense of musicality gained at music school. From the first track ‘Cinderella’, Big Ideas is fun, and moreover, funky. The funk-pop and Latin aspects seen on songs like ‘Pitiful’, and the heavier rock of ‘Kangaroo’ and ‘Wave’ work best over some of the tamer synth-pop cuts, but overall, not a second is wasted on this album.

19. Loukeman — SD-2

Characteristic of the new age of music that TikTok has ushered in Loukeman’s SD-2 is perfectly transient. Most songs are less than three minutes long, small explosions of a concept. ‘Ride’ is a slowly crescendoing track of breakbeats, ‘6ix’ mixes breathy vocals with an 80s drum machine, while ‘Giverr’ is centred around a whining vocal sample, fuzzy bass, and a clashing acoustic guitar. ‘Baby You’re a Star’ flips samples of Mario’s ‘Let Me Love You’ into a slightly bizarre snippet of electro-country. This album is another that has something for everyone due to its scattershot nature, and the standouts for me would have to be the dark ‘Won’t U’, with its slowly unfolding throbbing sub-bass, and ‘JUMZZ’, which creatively distorts guitar loops.

18. Fontaines D.C. — Romance

Just as I discovered the likes of Portugal. The Man, Sam Fender, and Phantogram on the FIFA games of old, the kids of today should be happy to discover Fontaines DC on the newest FC game. The Irish post-punkers go more mainstream on Romance, a concept album soundtracking a fictional city. Breakout single ‘Starburster’ is cold like the London skyline, frenetically cool like a soon-to-be-gentrified suburb. The intricate rhyme of the verses and pre-choruses showcase lead singer Grian Chatten’s background as a poet, the relentless pace a reflection of the panic attack that inspired the song’s writing. Contrastingly, ‘In the Modern World’ is more obviously pessimistic about urban life, portraying it as a numbing agent. ‘Favourite’ feels like driving through a sunny suburb with the wind running through your hair, hearkening back to the 2000s sound of bands like Stereophonics and Coldplay. Overall, Romance has a rich soundscape that makes good on its multiple sources of inspiration.

17. FLO — Access All Areas

After Little Mix’s 2022 hiatus, the UK was crying out for a new girl band. They have been a staple of our music scene since the 90s, and FLO have answered the call. I was skeptical at first, but they have delivered on the promise of their 2022 single ‘Cardboard Box’ and subsequent EPs on Access All Areas. Renée Downer, Stella Quaresma, and Jorja Douglas effortlessly melt together: Renée’s low harmonies, Stella’s airy riffs, and Jorja’s rich tone prove they have memorable traits while not feeling too obvious an attempt at making sure they are recognisable. In a classic girl group move, FLO featured on-the-rise rapper Glorilla on the infectious ‘In My Bag’. The music video for this song features carefree, arena-ready choreography, showing that FLO are the full pop package.

16. Tyler, the Creator — Chromakopia

I came into this album as a Tyler-skeptic. His reputation as the edgier member of Odd Future with his abrasive songs, some about graphic assault, (that, perhaps unreasonably, got him banned from the UK) never appealed to me. However, I can say that while retaining the bite and honesty that has always been a part of his style, Chromakopia is far more mature, carrying on from IGOR and Call Me if You Get Lost. This album’s highs include the deeply personal ‘Like Him’, the satirical ‘I Killed You’ (which turns his predilection for violence into a regretful tale of texturism in the black community) and the catchy ‘Balloon’.

15. Billie Eilish — HIT ME HARD AND SOFT

Billie Eilish’s unpredictability might be her biggest strength. She pivots from moody to melancholic to now-jubilant with ease: her newest record, in contrast to the ironically mournful Happier than Ever, is about her newfound feelings of love and happiness. ‘BIRDS OF A FEATHER’, one of many songs of the summer, sees Eilish take on the summery early aughts sound that has recently become popular, and her vocals skilfully vacillate from whisper to the hints of a belt. ‘LUNCH’ sees her address her sexuality in a way that gives nothing the voices who demanded she speak on it, cheekily alluding to more risqué acts with the food metaphor. Other songs to check out would be ‘CHIHIRO’ and ‘BLUE’.

14. BERWYN — WHO AM I

Mercury Prize-nominated WHO AM I is a tale of identity formation in the face of a hostile Home Office. Trinidadian-born Berwyn Du Bois moved to Romford with his mum when he was nine, but visa difficulties stopped him from going to university. WHO AM I blends rap, soul, and R&B, flowing from softly determined tracks like ‘HATE’ to the locked-in groove of the title track. The spoken word ‘DEAR IMMIGRATION’ is framed as a voicemail to the government, outlining the arduous limbo of having uncertain citizenship status, and how the fatigue turns to resentment. Other songs like ‘MAMA’ and ‘NEIGHBOURS’ are headstrong, but also show the importance of love in a chaotic world. This album is as political as it is personal, telling the all-too-common story of a person at the mercy of an unfeeling system.

13. Nourished by Time — Catching Chickens EP

Every song that Nourished by Time (alias of Marcus Brown) makes is textured in a fascinating way, and this EP is a real grab bag of musical delights. The first track of this EP, ‘Hell of a Life’ layers sparkly play-piano with stacks of Brown’s idiosyncratic voice. ‘Hand on Me’ is anchored by a dance beat, adorned with washed-out vocals and an 80s synth breakdown. The slow Latin rhythm of ‘Poison-Soaked’ is entrancing and unsettling. ‘Had Ya Called’ works in a sample of a phone ringing without it being cheesy, mixing together midwestern indie guitars and a 70s soul sound. The final track ‘Romance in Me’, is a faithful homage to the likes of Marvin Gaye, incorporating fuzzy guitars for a grittier sense of desire. The sound of Catching Chickens (clearly) cannot be summed up by one genre moniker, and is a tantalising sample of what Brown’s next album might sound like.

12. Doechii — Alligator Bites Never Heal

This has been Doechii’s breakout year, as rap’s “Swamp Princess” brings an impish humour on her third mixtape. The album’s title comes both from her home state of Florida and her “fight back” against personal struggles, which are addressed with an enchanting mix of vulnerability and self-assurance. ‘DENIAL IS A RIVER’, one of many breakout songs, underlines her tumultuous personal life with nonchalance and a sprightly old-school beat. The self-soothing, mock-therapy outro of that, as well as ‘BOILED PEANUTS’, showcase Doechii’s talent for clever use of prosody, even when she’s not rapping actual words. ‘CATFISH’ and ‘NISSAN ALTIMA’ are both brag-worthy performances that, as all good songs should be, are a joy to rap along to. With a flawless Tiny Desk Concert, creative Colbert performance, and a Best New Artist nomination at the Grammys, the love of critics and fans alike is only hers to lose.

11. Mustafa — Dunya

Aptly on the back of the likes of BERWYN and Doechii, Toronto folk singer Mustafa’s sophomore album is an exploration of his life in his community, filtered through his soft and tender lens. This is the baring of Mustafa’s heart, from the first track ‘Name of God’, a stripped-back track about confused heartbreak in the wake of his brother’s murder, to the aptly named tale of cyclical gang violence, ‘SNL’ (‘Street N**** Lullaby’). An honest activist as well as earnest musician, ‘Gaza is Calling’ addresses how constant violence shapes a person, both him as a boy from the housing projects and his fellow members of the Muslim diaspora in Palestine. It is striking how similarly he frames both through a friendship he had with a Palestinian boy as a child, highlighting the impacts of such an environment on fraternal relationships. The obvious juxtaposition between the sound of his music and the album’ accompanying aesthetic is affecting; it doesn’t feel like an overcompensation, or a surface-level argument of the fact that Sudanese-Canadians from Regent Heights have feelings too.

10. Magdalena Bay — Imaginal Disk

Electronic pair Magdalena Bay (Mica Tennenbaum and Matt Lewin) continue to prove that the best electronic music comes from duos. Imaginal Disk is Frutiger aero on steroids, a mid-2000s future that never came to be. The bright-eyed expanse of ‘Death and Romance’, pensive funk of ‘Killing Time’, and futuristic disco of ‘Image’ are all highlights, but only provide a snapshot into this album: every nook and cranny of the record’s rich and explosive soundscape need to be listened to again and again to be properly experienced.

9. Justice — Hyperdrama

Electronic pair Justice continue to prove that the best electronic music comes from duos that are French. Gaspard Augé and Xavier de Rosnay have been active since 2003, known for their rock-influenced brand of electronic music and famous for songs such as ‘D.A.N.C.E.’ and ‘Genesis’. Hyperdrama is clearly a homage to psychedelic rock, cleverly pushing the boundaries between carefully-chosen synth and effect-laden electric guitar. Highs include the hypnotic ‘Generator’, ‘The End’ featuring Thundercat, and the soaring ‘Neverender’ in collaboration with Tame Impala. The last of those is such an obvious collaboration that the resultant song almost seems cliche, but it is also really good.

8. Geordie Greep — The New Sound

A Black Midi hiatus has not stopped lead singer Geordie Greep from continuing to make mind-meltingly intricate music. The New Sound is joyous and labyrinthine, equal parts samba, funk, prog rock, and so much more. The finger-breaking guitar of ‘Blues’ is as hilarious as it is incredible to listen to as it builds up upon itself. Lead single ‘Holy, Holy’ is deliriously horny at first glance, but slowly breaks down Greep’s character’s self-aggrandisement to reveal it as a front for a lack of self-esteem. This quasi-God persona is also found on ‘Through a War’, a delightful mix of genres that is as danceable as it is quotable. Greep wonderfully pokes fun at a kind of male self-superiority by using such venerated genres (and being from Black Midi), and The New Sound is through and through, such good fun.

7. Beyoncé — Cowboy Carter

Cowboy Carter is not for the faint of heart. Beyoncé’s utilisation of “classic” American iconography, typical trappings of Country music, have been ripped apart: this time, in the classic debate of whether the flag of a country that flourished on the backs of black labour can ever be used by a black person in a non-propagandist manner. That, alongside the Country industry decidedly turning its back on this album, is already a lot to grapple with, and that isn’t even getting into the 27 song-long track listing. Beyoncé’s voice shines alongside the dearth of featured artists, from greats like Willie Nelson to the slightly less convincing Post Malone. The album is chock full of rock and country interpolations, done to foot-tapping effects on ‘YA YA’, and decidedly less successfully on ‘JOLENE’. Its many seconds and numerous failings are somehow secondary to the cultural conversation that is sparked by a Beyoncé album, to the point where one might ask whether Beyoncé will ever be heard, messages or just music, without the cloud of billionaire superstar getting in the way.

6. Rachel Chinouriri — What a Devastating Turn of Events

Rachel Chinouriri’s career has only been on the up-and-up. From striking luck on TikTok with ‘So My Darling’, she has gone to support Sabrina Carpenter in her upcoming tour, as well as feature Florence Pugh in the music video for her biggest hit, ‘Never Need Me’. This pop-rock avenue is where Chinouriri sits best, seen on songs like ‘Marie Kondo’, ‘It is What it Is’, and ‘The Hills’. Chinouriri’s wit and affable personality comes through on the first two of these, the latter a spoken-word throwback to mid-2000s indie. However, her more earnest songs, like the title track, and ‘The Hills’, give a peek into Chinouriri’s live experiences in the UK, where she was born, and in Zimbabwe, where she was raised. Fans of Rina Sawayama need to experience this album.

5. Hurray for the Riff Raff — The Past is Still Alive

Bluegrass-folk-Americana project Hurray for the Riff Raff have a real knack for heartbreaking simplicity. The Past is Still Alive is another feat of storytelling, a spiritual successor to their 2022 album Life on Earth with its spiritual and, well, earthy focus. This album also incorporates more elements of country, seen on ‘Vetiver’, where Alynda Segarra, lead singer, sings of a nomadic rustic lifestyle in a changing world, and ‘Alibi’, which is wise in its enigma. The standout track is ‘Buffalo’, a slow tale of perseverance within nature’s guarantee of change. Segarra is phenomenal at writing songs of gentle resistance; while past albums were more overtly political, returning to a more positive relationship with nature implicitly provides a soundscape of solace.

4. Haley Heynderickx — Seed of a Seed

This is a long-awaited follow-up to Heynderick’s debut album — at least for me. She swaps the boxy, melancholic electric guitar of her earlier songs like ‘Fish Eyes’ and ‘Untitled God Song’ for a mellower, earthier nylon-string acoustic. Seed of a Seed is similarly quaint, but more worldly and mature. Gone is the friendly idealism, replaced with a world-wearier outlook on the title track, where a “glass of wine” might rescue her from the “consumer flood” of modern life. However, the subtle mysticism of her work remains on ‘Gemini’: as it spins a story about a spectre-like woman, it feels as if a cryptid has crossed the threshold to usher Heynderickx out of her tech-induced malaise. Fans of her first album might want to check out ‘Spit in the Sink’, which features the hallmark electric guitar, and ‘Mouth of a Flower’, which, like ‘The Bug Collector’, uses animal behaviour as an indicator of some worldly imbalance.

3. Nia Archives — Silence is Loud

Silence is Loud brings to the forefront the Jamaican and British heritage of Jungle, Drum and Bass, and all adjacent genres. The album cover features the glint of a Union Jack peeking from Archives’ front tooth, while the music video for ‘Crowded Roomz’ features a hybrid Jamaican-English flag emblazoned with “A QUINTESSENTIALLY JUNGLIST SUMMER” on it. Alongside Rachel Chinouriri and Beyoncé, it has been a big year for black women reclaiming flags and genres that wouldn’t exist without people like them, and Silence is Loud, for me, is the most successful. Archives’ brand of Jungle is emotional and desperate, lonely in the crowd. A thematic through-line of failing romantic and more interestingly, familial relationships anchors the album, done best on the trance-inspired ‘Tell Me What It’s Like?’, the off-kilter ‘F.A.M.I.L.Y.’ and ‘Forbidden Feelingz’, which feels like one for longtime fans of the genre. Overall, Silence is Loud has left me ravenous.

2. Kendrick Lamar — GNX

GNX is the crowning achievement on top of an unreal year for Kendrick Lamar. As if ‘Not Like Us’ wasn’t the victory lap against Drake, GNX confirms that Kendrick is the modern king of rap. GNX is preening, cerebral, introspective, castigating, and as always, incredibly clever. The album has something for every kind of Kendrick fan, and almost every song is a highlight. I would recommend ‘reincarnated’, which is a knowing look at Kendrick’s tendency to self-flagellate, as well as the assured ‘man in the garden’ and ‘gloria’ with SZA, which shows that the pair are a formidable duo whenever they unite.

1.Allie X — Girl With No Face

On GIRL WITH NO FACE, Allie X comes into her own. Songwriter, singer, and producer, she cleverly uses the roboticism, the coldness and inhumanity. associated with electronic music to explore the dystopian feelings that womanhood can evoke. ‘Off With Her Tits’ is the best example of this, a tongue-in-cheek look at the paradoxical humiliation of suddenly having a desirable body, and it does it with incredible groove. ‘You Slept on Me’ could come across as arrogant, but is deserved when she has been in the pop game for such a long time without due recognition (her 2020 album was really good too!) ‘Weird World’ explores how arbitrary gender roles that once benefit someone can suddenly render them an outsider. That is my favourite song of the entire year, topping my Spotify wrapped and soundtracking moments where I’ve felt my own place in the world suddenly shift. Allie X’s voice is smooth and wide-ranging as ever, and full of personality as she takes on the 80s sound with frantic joy and bewilderment.