With these first few days of limbo in 2025, we can use it for what is most important. Reflection, binge-eating leftovers from meals of the previous year and promising ourselves we will engage with more. More what? For some that is rigging electrics in a way which keeps people safe to provide necessary healthcare to the vulnerable. For others, it is a chance to listen to more music and receive poorly written comments from fans of said artist. Cast aside those wishes to excel at what we want to do best. Accept the need for new sounds and sparks of experience. There were plenty of exceptional releases last year – a few perfect, even – and more than a few are on this list. One hundred barely scratches the surface, but we must start somewhere. One hundred is enough to fill the hours of January quiet.
100. ANOTHER SKY – BEACH DAY
With four years between their debut and Beach Day, Another Sky hopes to showcase what they have learned and gained from time on the road. Returning to the studio for Beach Day provides the band with some exceptional, promising material. Pieces like A Feeling or I Never Had Control become supremely reliant on the vocal work from Catrin Vincent. Those moments where the instrumental joy or emotional imprint leaps from the role Vincent plays here. A tender boost of strong form for Another Sky is what Beach Day offers the band, and what it offers listeners is an exceptionally bright and consistent experience.
Read our review of Another Sky’s Beach Day here.
99. PIXIES – THE NIGHT THE ZOMBIES CAME
A legendary band which had not quite hit the ground running ever since their reformation over a decade ago, Pixies finally has something to shout about. The Night the Zombies Came is a puzzling release in all the right ways. Enjoyable, punchy works which lean into everything from country tropes to rock stereotypes. But it is Black Francis and the gang reinventing those formidable and understood positions which comes through best of all. Chicken, of all songs, may be their best since the Surfer Rosa days while pieces like Jane and Primrose hint at some of the band’s finest work since their original run. There is hope on the horizon, and the dawn stars with The Night the Zombies Came.
Read our review of Pixies’ The Night the Zombies Came here.
98. MARY HALVORSON – CLOUDWARD
Every year brings at least a few imperative jazz releases, and Mary Halvorson has been circling the contemporary peak for years. Her consistency comes not just from a desire to create but a necessity, a real and truthful urgency, to her instrumentals. These avant-garde mixtures are of masterful appeal. Cloudward features plenty of gothic pangs and scrapes of sincerity the likes of which jazz is such a playful genre for. Desiderata and Unscrolling are definite standouts for an album as reliant on the inevitable group occasion as it is on the independence and personable charms of an artist putting themselves on the line yet again.
Read our review of Mary Halvorson’s Cloudward here.
97. KYLE DION – IF MY JEANS COULD TALK
A short and sweet listen from Kyle Dion, and plenty to like about it. If My Jeans Could Talk has plenty of synth sharpness to it but its best moments come from slick basslines, the groovy opportunities of contemporary R&B adaptations. What they do for Dion is provide some neat flourishes which further their sound. The likes of Let’s Get It On and Put Your Hand In My Pocket feel right at home with the attitude of the neo-soul swing and the adaptations made to the modern day. Nice work all around, and a thoroughly solid, short piece of work.
Read our review of Kyle Dion’s If My Jeans Could Talk here.
96. BRITTANY HOWARD – WHAT NOW
Seeing Brittany Howard open for Hozier earlier this year was, hopefully, for those in attendance, a chance to hear from an exceptional voice. While her stage presence and power as a live act may shine brighter than her second record What Now, her efforts here are nothing short of exceptional. When even the interludes sound exceptional, you know you’re in for a treat. Patience and Samson are standouts too, but if you can, see Howard live. The electricity and energy of these soul-adjacent works are masterful if you can hear them at the right time, in the right place.
Read our review of Brittany Howard’s What Now here.
95. DEA MATRONA – FOR YOUR SINS
Promising singles preceding For Your Sins pinned Dea Matrona as a duo of interest. Too many artists are merely modelling themselves on music of the past. Few are actively pursuing the next stages those glam rock and 1970s-styled musicians are offering. Dea Matrona are, and they do so in style with a tremendous debut release which celebrates its influences and moves them along well with some modern flourishes. Lend an ear to Black Rain or Dead Man’s Heart and get a feel for the future of punchy rock with a glimmer of nostalgia, but plenty of bold new boundary-pushing moments.
Read our review of Dea Matrona’s For Your Sins here.
94. MGMT – LOSS OF LIFE
Some may forget just how longstanding MGMT is given how fresh Loss of Life sounds. This is an energy which usually leaves a duo just a few years after their debut, yet their dedication to consistency strikes through once more. Five albums in and over a decade on from their blistering Oracular Spectacular, the group continues to push and pull at the fundamentals of pop, never forgetting the fun pairing necessary to bolder moments, as is the case for Mother Nature and Nothing to Declare. Plenty more where that came from on an album which boasts a Christine and the Queens collaboration.
Read our review of MGMT’s Loss of Life Here.
93. POND – STUNG!
Solid psychedelic pop may be rarer now than ever but Pond are toiling away with a prick of fine quality. Stung!, their latest effort, features more than enough of that glam rock style to make for a thoroughly fun time. From midpoint highlight Edge of the World Pt. 3 to Yukio Mishima-influenced closer Fell From Grace With the Sea, there is much to love about Pond as they enter into a playful space rock-like space. Modern swings at life, on life, are found throughout and make for such a tremendously fun time.
Read our review of Pond’s Stung! here.
92. CRAWLERS – THE MESS WE SEEM TO MAKE
A long-awaited debut album from Crawlers finally dropped this year. It did not disappoint. The Mess We Seem to Make would be easy to write off as more of those break-up horror concepts but those who have been around and listening to the band for a tad longer will know this is not the intention. Drug imagery as a route through to the meaninglessness of the modern world is crucial here, and it makes all the difference for Crawlers on tracks like Call it Love or something as unrelated yet brutal as Golden Bridge. Spots of brilliance throughout this debut, which builds well on those preceding mixtapes and EPs.
Read our review of Crawlers’ The Mess We Seem to Make here.
91. SONS OF KEN – WE ARE THE KENS
While artificial intelligence in art may have little, if any, use, it does mean independent artists like Sons of Ken can cut a few visual corners to focus on great works elsewhere. We Are the Kens remains a nice surprise from two men whose fathers were named Ken, Michael Moran and Spike Burridge, with their wizened hands dabbling in electropop-like beats, DJ death rattles and a sense of desperation for dancefloor wisdom. It all comes together well on We Are the Kens, their first proper release and a strong pairing of their best material so far.
Read our review of Sons of Ken’s We Are the Kens here.
90. VAMPIRE WEEKEND – ONLY GOD WAS ABOVE US
A quiet build towards the outrageously fun Only God Was Above Us has been a delightful treat this year. Vampire Weekend storming into view once more not with repetitive sounds of their past but matured and steady understandings of what made their works so great, and what maintains it now. This passing of the torch, this sense of self-discovery in a new decade and age, is all found on the chamber pop charms of their latest album. The Surfer and Mary Boone are the cream of the crop on an album filled with opportunities for self-discovery and effective contemplation. Perfect for the New Year rush.
Read our review of Vampire Weekend’s Only God Was Above Us here.
89. ELBOW – AUDIO VERTIGO
Guy Garvey may settle as a half-remembered household name but Audio Vertigo, the latest Elbow album, looks to reinvent this. He is not a man of previous hits but a competent and ever-capable frontman looking to the future. The hopes and highlights which feed our fear, the contemplation which brings on those moments of self-doubt, are all found in this latest effort. A strong piece of work from Elbow that rests itself on the romantic likes of Lovers’ Leap and the suggestion of growth, for holding out for what the future holds with From the River.
Read our review of Elbow’s Audio Vertigo here.
88. FUTURE ISLANDS – PEOPLE WHO AREN’T THERE ANYMORE
Overcoming the bar and popularity set by Seasons (Waiting on You) is no small feat but Future Islands has leaned into a lighter approach for their efforts on People Who Aren’t There Anymore. Their latest album is a doubling down of their instrumental style while a complete reinvention for frontman Samuel T. Herring. From bold opener King of Sweden to more opine yet elusive works on Say Goodbye and Peach, what occurs for the band is an assured and compelling piece of work. Flashes of the past which form the future, that is what Future Islands provides here, and the bulk of it is as charming as it is effective.
Read our review of Future Islands’ People Who Aren’t There Anymore.
87. FERAL FAMILY – WITHOUT MOTION
What are we without motion? Feral Family finds out with the aptly titled Without Motion. A neat debut album from the start of last year, the Bridlington-based band has much to work with on this ambitious first effort. Thumps of daring intent can be heard the whole way through and it makes all the difference when introducing yourself to the band, a creative force to be reckoned with. Identify that bold push with the likes of Ciaro and Deep Cuts, a treat of an album and peppered with the joyful spirit of a band barging through, debut darling in hand.
Read our review of Feral Family’s Without Motion here.
86. MOUNT EERIE – NIGHT PALACE
Ambition is what drives the best albums of 2024. For Mount Eerie, the continued success of longform approach, the staggering effectiveness of Night Palace, is its great draw. Five years on from their Lost Wisdom Pt. 2 release and much has been learned for the slacker rock stylings which dominate this release. Ambition is not just the driving force but the desire, the hunger, for great works. Night Palace has plenty of those moments through its double-sided release, from the Bluured World to the charms of (soft air). Where it may sound insulting to suggest an album has something for everyone, this does, and in the best way imaginable.
Read our review of Mount Eerie’s Night Palace here.
85. WILLIE NELSON – LAST LEAF ON THE TREE
Cover albums are nothing new. Artists have resorted to covering their own works as of late, and while those have been horrific examples of gluttonous reinvention, the likes of Willie Nelson are keeping it real. Refitting his country twang to songs far removed from his and the country genre influence is a bold retelling of tales. Last Leaf on the Tree is a gut-wrenching album not just because the last of The Highwaymen is laying down strong work still, but because that strong work, which touches on everything from Tom Waits to The Flaming Lips, is carried by a stalwart of music. This is not a nostalgia trip but a brilliant traipse through songs of old with a new, resourceful voice leading the way.
Read our review of Willie Nelson’s Last Leaf on the Tree here.
84. GIA FORD – TRANSPARENT THINGS
Artists must redefine themselves constantly to keep fresh in the eyes of a listener. Just look how many different personas David Bowie took on for the first two decades of his career. Gia Ford makes for an ambitious getaway from her debut effort with Transparent Things, a slick piece of work where the best tracks build up those experimental efforts around it. Album closer Our Mutual Friend remains the high point for an album with plenty of intense moments to share, from the bold Housewife Dreams of America to mood-setting opener Poolside.
Read our review of Gia Ford’s Transparent Things here.
83. TWIKIPEDIA – FOR THE REST OF YOUR LIFE
Another album where ambitious changes in image and style are rewarded, and rightfully so, Twikipedia changes the instrumental style up on For the Rest of Your Life. It is a change which greatly benefits the creator at the heart of this and, in turn, the open-minded listener. Risk-taking tones are heard throughout but what brings out the brilliance of For the Rest of Your Life are the fundamentals Twikipedia has always displayed on their works. Consistency, a creative spirit which runs through the likes of glitch-pop charms and noise pop stylings.
Read our review of Twikipedia’s For the Rest of Your Lives here.
82. BAT FOR LASHES – THE DREAM OF DELPHI
Not the only album on this list to find an artist rediscovering themselves after major life changes, Bat for Lashes’ The Dream of Delphi is a charmed and slow, moving piece of work. Its neo-classical flourishes are all part of the show, which features an ambitious title track which also closes the album, adding a few new string elements into the mix. But all the emotional turmoil sandwiched between is mesmerising, pieces like Breaking Up and Her First Morning are dripping with emotionally charged lyrics, tinged by the instrumental delicacies which make The Dream of Delphi a reality.
Read our review of Bat for Lashes’ The Dream of Delphi here.
81. DABEULL – ANALOG LOVE
Expand your taste and listen to albums made by people who look like they were cryogenically frozen when synth was not a dirty word. Dabeull’s Analog Love has a novelty layer to it that, once cut through, never returns. In its place comes a quality succession of songs which rip up the boogie fun of the 1980s, modernising them one note at a time. Frequent collaborations from Holybrune, Ferdi and Reva DeVito to name but a few is the key to Analog Love, and unlocking it is a wonderfully fun experience.
Read our review of Dabeull’s Analog Love here.
80. NEIL YOUNG AND CRAZY HORSE – FU##IN’ UP
Neil Young does as he pleases. Rightly so. He has done for some time and pairing himself back with Crazy Horse has been, for the most part, an exciting experience. Fu##in’ Up, a live album with plenty of country jam swing to it, has plenty to love if you like the modern works of Young and the Horses. That said, there are still moments of real joy for the passing listener, the likes of City Life (Country Home) and To Follow One’s Own Dream stand out not just as highlights, but as signs that Young and Crazy Horse has still got it.
Read our review of Neil Young and Crazy Horse’s Fu##in’ Up here.
79. DAVID GILMOUR – LUCK AND STRANGE
Another studio album from David Gilmour was a long time coming and, nearly a decade on from his previous release, Rattle That Lock, the Pink Floyd guitarist has provided an exceptional piece of work. Luck and Strange has some outstanding moments to it which rely on his instrumental vision more than anything, but efforts like the Romany Gilmour-featuring Between Two Points stand out as marvellous spectacles. The Piper’s Call and the album title track too present moments of genuine and affectionate desire. Gilmour has plenty to give still, and Luck and Strange proves it.
Read our review of David Gilmour’s Luck and Strange here.
78. FEET – MAKE IT UP
Post-punk thrills and the spills of endearing, familiar territory are marked by Feet on second album, Make It Up. It was a long-time coming and we are all the better now it is here. A sense of liberation in the everyday is what guides Feet through their guitar-led powerhouse, a rocking fury which serves as both escapism and acceptance. Make It Up is what you make of it, as is life and so comes the crashing of two walks of the world. Give yourself and the band a chance, it will make all the difference in the end.
Read our review of Feet’s Make It Up here.
77. PAUL HEATON – THE MIGHTY SEVERAL
Paul Heaton remains a familiar draw and his turn of contemporary material rivals that of his best-known efforts. That is the dream scenario for any established act. That their work can maintain as good, if not better form, than the songs and sounds which define him, is the sign of a great album. The Mighty Several may not appear to delve into its swinging western cover but there is more than enough variance, far more charm than expected, to be found within than first thought. Such a difference maker this is, and with a set of wonderful new songs on their hands, the Heaton and Rianne Downey team staggers on into a blindingly bright future.
Read our review of Paul Heaton’s The Mighty Several here.
76. BOB VYLAN – HUMBLE AS THE SUN
Bob Vylan remains one of the few voices of punk and post-optimism worth listening to. Humble as the Sun is an essential next step for the duo, an exceptional continuation to the values heard on Bob Vylan Presents The Price of Life. What is the price of life, after all? Humble as the Sun finds the cost has increased while the value has decreased. We are in rapid cultural and individual decline, and those artists who are hellbent on hauling us into the New Year should be applauded. Bob Vylan riffs on the world around him with such grace, and much of that can be heard on Humble as the Sun.
Read our review of Bob Vylan’s Humble as the Sun here.
75. CHELSEA WOLFE – SHE REACHES OUT TO SHE REACHES OUT TO SHE
Confidence is crucial for a down-tempo release such as She Reaches Out to She Reaches Out to She. Chelsea Wolfe has plenty of it, and it is well-placed on her ambitious latest album. We all need to know how to feel, but finding a way through, to cut through those cravings and shortcomings is almost impossible. Not for Wolfe. Her grasp on the world around her, the fundamentals of what make or break us, is a key part of this release and we would be far better off should we listen to what she does in these wonderous songs of percussion-led persuasion.
Read our review of Chelsea Wolfe’s She Reaches Out to She Reaches Out to She here.
74. FOLLY GROUP – DOWN THERE!
Tapping into the cultural rot of the world around us is a constant for artists in 2024. Folly Group makes for an ambitious debut with Down There!, an album which remains discontent with the state of things and has a strong go at understanding why there is hate and horror out there. Explosive punk offerings are all too common, standing out in that sea of rage is no small feat. Yet Folly Group does and they manage this with experimentation the likes of which we may never hear again from this group. Fine form provides the real spoils of this release, one where the joys of pressure and droning shots at the world pay off.
Read our review of Folly Group’s Down There! here.
73. DESPERATE JOURNALIST – NO HERO
Desperate Journalist has been in consistent form for some day and, bolstered by a post-Suede opening act resolve, No Hero was born. It sounds as strong as expected from Jo Bevan and the band, who are constantly evolving and whirring away with the frenetic energy you can find in their live performances. A few punchy singles, some experimental flavour to share along the way, and a harsher fundamental is found. Over a decade on from their formation and this may be their best yet.
Read our review of Desperate Journalist’s No Hero here.
72. SHELLAC – TO ALL TRAINS
With the tragic passing of Steve Albini, what we have left to remember him is an abundance of brilliant musical moments. Bands and artists with incredible status now have him to thank for it. Shellac’s final piece, To All Trains, is a mesmerising and effective piece of work which gets to grip with the fundamentals which Albini rarely ever strayed from. It is this which makes their first album in ten years, a post-hardcore offering where the defiance of I Don’t Fear Hell blurs with the touching openness of Tattoos, all the better.
Read our review of Shellac’s To All Trains here.
71. WUNDERHORSE – MIDAS
Better late than never to the Wunderhorse party. They outshone Sam Fender on his People Watching tour and make the most of it on their second album, Midas. A staggering bit of punchy, guitar-led fun. Frontman Jacob Slater leaves no stone unturned here. Memorable clangs of devastating instrumental work back a confident and often bold indication of what Wunderhorse can do, from Cathedrals to Rain, there is a slick and consistent form to Midas which other bands may kill for. It comes naturally to Wunderhorse.
Read our review of Wunderhorse’s Midas here.
70. DIIV – FROG IN BOILING WATER
Shoegaze charms from DIIV is just the tip of the iceberg for Frog in Boiling Water. It is an album defined by its melancholy but makes the most of its bitter rage, too. Finding the balance between those lush moments and languid days spent fretting and worrying in the dark is a muddled and joyous experience in equal measure. Perplexing yet subtle, bold yet afraid of the spotlight. Some outstanding moments from DIIV are right there for the taking, with album closer Fender on the Freeway a highlight of the year.
Read our review of DIIV’s Frog in Boiling Water here.
69. JUSTICE – HYPERDRAMA
A long-awaited return for Justice is no disappointment. The electro-pop stylings of Hyperdrama are as bold as hoped for, they just take some getting to. A run of exceptional form towards the end of the album is what holds this up – a blur from Explorer to closer The End is what seals it. But preceding track Generator, perhaps one of the best songs the band will ever and has ever put out, is the tightly tied bow around what is a very slick and cool piece of work.
Read ourreview of Justice’s Hyperdrama here.
68. JSCHLATT – A VERY 1999 CHRISTMAS
What could have been a cheap, novelty pop record of Christmas covers from an established YouTuber turns out to be an earnest and excellent adaptation of songs of a previous generation. Jschlatt turns up the charm and reveals a genuinely impressive vocal range for A Very 1999 Christmas which serves as an in-joke to delight fans but also as a very accessible and enjoyable, albeit brief, collection of covers from the most wonderful time of the year. There is nothing wrong with brushing up the classics when handled with care, and that is exactly what happens here.
Read our review of Jschlatt’s A Very 1999 Christmas here.
67. LES SAVY FAV – OUI, LSF
Heading back through these lists is a revealing experience. Les Savy Fav removes their post-hardcore nature and lets a freer, post-punk spirit run wild. The difference is paramount. For Oui, LSF, the horrors of the real world are still on their mind despite a fourteen-year break from the studio. This has only sharpened their qualities and while the middle-of-the-road start is unsure of where to go, it soon blossoms into a defiant album filled with the sort of punk-tinged instrumentals you would hope a group of this longevity would hold onto.
Read our review of Les Savy Fav’s LSF here.
66. LOLA YOUNG – THIS WASN’T MEANT FOR YOU ANYWAY
Zooming around in a beat-up ’05 Mini is the best way to experience This Wasn’t Meant for You Anyway. Lola Young is a marvellous talent and shows as much on this album. There is an articulation in the face of uncertainty which develops this piece so well. Young has maintained an intrigue and mystery not to herself but the situations, the parts of the world she finds influence. All the better for those wanting a piece of work with enough to learn from, but plenty to consider as those furies and passions bleed into one another.
Read our review of Lola Young’s This Wasn’t Meant for You Anyway here.
65. DELE SOSIMI – THE CONFLUENCE LP
Being a band member associated with Fela Kuti is surely a way to inspire interest. For their latest works, Dele Sosimi has found love in the jazz and soul fundamentals. It makes The Confluence LP an afrobeat masterclass, a sincerley enjoyable and boundary-pushing experience which sets in tone the patience and love required for those who are present in hardship. Those trivialities of life are put to the test, burnt through as a way of showing just how futile and effortless they can be. Sosimi has created an album where our perception is what we need to challenge.
Read our review of Dele Sosimi’s The Confluence LP here.
64. ACASIA – SELF-TITLED
Dungeon synth has such a menacing tone to it. Acasia, the self-titled ambient album, is a wonderful and often mellow experience which serves as more than just background noise for themed parties. Atmosphere is the crucial part of this piece and for much of it, juxtaposition is utilised. Find yourself in the quiet Acasia offers and lose that feeling of completion all over again when it pulls the steadiness from under you. That is the power of ambient music, and that is the power Acasia holds.
Read our review of Acasia here.
63. KATHERINE PRIDDY – THE PENDULUM SWING
A confident folk boom should have been expected, and yet it remains a joyful surprise from Katherine Priddy, who makes good on a long-established increase in quality for the genre. Her singer-songwriter charms make all the difference here, establishing a creative flow to her writing which pairs incredibly well with those sprawling thoughts on the future and of where the world will take us next. The Pendulum Swing remains an ambitious attempt at classy, rich and textured songs, and it remains a success, too.
Read our review of Katherine Priddy’s The Pendulum Swing here.
62. PILLOW QUEENS – NAME YOUR SORROW
Many artists this year have managed to blur the line between affection and articulate tenderness. Pillow Queens’ Name Your Sorrow is one such example, one that is, frankly, better than most. A perfect storm of relatable yet defiant messages and an instrumental quality which rings through the whole project is crucial and, for what it is worth, remains a shockingly great development. Accelerating through tones of self-belief, of confidence, this is without question one of the best records to start the New Year with. It will, should it work its charms on you, give you that extra boost needed to kick off in good stead.
Read our review of Pillow Queens’ Name Your Sorrow here.
61. IDKHOW – GLOOM DIVISION
Gloom Division, more than anything from I Don’t Know How But They Found Me, is a reaction. Finding themselves as a solo artist, the creative banner still flies high and mightily so for the creative charmer at the core of this album. Dallon Weekes pools together what he can and steadies the course with plenty of engaged, head-spilling moments of wonder. Gloom Division is a powerhouse not just because it has the opportunity to reinvent something already established but also because there is a sense of liberation to the likes of Sixft or Sunnyside.
Read our review of IDKHow’s Gloom Division here.
60. NORAH JONES – VISIONS
A pop-soul reworking which makes good on the tones of the nostalgic times. All well and good. It is what Norah Jones does around this comfortable base on Visions that makes all the difference. A classy dive into the past with more than a few internalised memories making all the momentum feel both natural yet familiar. Not familiar in that heard it all before way but in a comfortable yet evocative one, where the punches are never pulled and the succession of instrumental aesthetics and broader strokes in the flavour of the music are all accounted for. A truly wonderful experience.
Read our review of Norah Jones’ Visions here.
59. PHOSPHORESCENT – REVELATOR
Insight is so tricky to navigate once we have hold of it. For something like Revelator, the task is never too far off impossible. But Phosphorescent places it on this mighty pedestal with purpose, with an acceptance that whatever we want to perceive is enough to get to work. Honest self-assessments are made throughout this piece of chamber pop charms, the likes of A Poem on The Men’s Room Wall or All the Same finds some sensible liberation in the everyday, but never let it be enough. Always hunger for more, that is what Revelator asks of us, and we would do well to listen.
Read our review of Phosphorescent’s Revelator here.
58. ARAB STRAP – I’M TOTALLY FINE WITH IT, DON’T GIVE A FUCK ANYMORE
A reunion was never likely for Arab Strap, and yet, here we are. I’m totally fine with it, don’t give a fuck anymore is exceptional. A tech-fearing piece of work which, rightly, puts us in a place where we should be very afraid of how reliant we are on phones, photographs in place of memory and the usual scrapes and wails of the always online arena. Such is life and it will not change any time soon. Among those worries and warnings is an instrumental style which sits so feverirshly well in the discontent generation.
Read our review of Arab Strap’s I’m totally fine with it, don’t give a fuck anymore here.
57. MOBY – ALWAYS CENTERED AT NIGHT
Many Moby listeners may be desperate for the man to return to original material, and he does somewhat with Always Centered at Night. He relies still on collaborative efforts and it is here they work best of all. Inspired by underground artists and giving them a leg up with works and sacrifice, Moby positions himself as a great admirer of sound. This may or may not be true. Whatever the case, the instrumental style and lyrical flavour found within Alwyas Centered at Night is thoroughly enjoyable.
Read our review of Moby’s Always Centered at Night here.
56. BILLIE EILISH – HIT ME HARD AND SOFT
Billie Eilish put out her strongest work to date in 2024. There is no way around it. Hit Me Hard and Soft is a staggering move in the right direction for Eilish, whose tone and form has hit an all-time high here. It is not a newfound maturity or a development of all the right pop beats but a conviction, a dedication, to great sound. Bittersuite and The Diner serve as a step above simple pop relics which, like Bad Guy, will date and spoil. Birds of a Feather may do, but the rest of the album is an articulate and interesting expression of solid alt-pop brilliance.
Read our review of Billie Eilish’s Hit Me Hard and Soft here.
55. PET SHOP BOYS – NONETHELESS
Pet Shop Boys tackled ageism on their previous album and then receded from public view. They evolved their sound at Glastonbury by keeping it the same. It may sound strange but the most provocative thing Neil Tennant and Chris Lowe ever did wass maintain their style. Tennant still sounds as incredible as he did decades ago, Lowe still as elusive as ever. Nonetheless toys with this in such a brilliant manner, their best in years by some margin. An ennui holds firm in this one but it makes all the difference when Pet Shop Boys apply thosee usual synthpop thrills to the meanings which dare to look back on the glory days.
Read our review of Pet Shop Boys’ Nonetheless here.
54. JUNODREAM – POOLS OF COLOUR
Junodream has been the best find of the year. They may not crack the Top Fifty here, but make no mistake they are a fascinating band. Pools of Colour engaged with the repetition of old self-confidence training tapes and finds itself appealing to that neat niché of people who wanted more from Solaris and the expected brainwashing of sci-fi madness. Their album serves a formidable moment in music from 2024, and still it sits as one of the most enjoyable, intense listening experiences of the year. The only way to feel for this unique occasion is to dive in and listen.
Read our review of Junodream’s Pools of Colour here.
53. THE LOVELY EGGS – EGGSISTENTIALISM
Eggs are indeed lovely, and The Lovely Eggs will try and scramble your mind with the in-your-face action of Eggistentialism. A title as tricky to spell as it is a rather wonderful summary of the decade so far, the brain-melting year is put to the test by the indie rock group as they make their way through the socio-political minefield with a whisk and some big ideas. Their straight punk routine is volatile, refreshing even, and when it comes to beating out the problems the world has in store for us, it works very well.
Read our review of The Lovely Eggs’ Eggistentialism here.
52. LIT. MAJOR – I’M GLAD THIS HAS BEEN SO EASY FOR YOU
LIT. Major remains an essential, underrated artist. Where so many can put their heart on the line, nowhere can you find a more lived-in and loved experience than I’m Glad This Has Been So Easy For You. It is a brutal, heavy listen which so constantly searches for the light. A shocking yet brutally beautiful album which takes care to showcase the heartbreak and horror. But there is light at the end of the tunnel, a new chapter, a turning of the page. Whatever you want to call it, it is out there and listening to the pains of others is as good a way to get there as any.
Read our review of LIT. Major’s I’m Glad This Has Been So Easy For You here.
51. MARC ALMOND – I’M NOT ANYONE
Soft Cell may still define Marc Almond but, frankly, he has not sounded as good as he does on I’m Not Anyone since Non Stop Erotic Cabaret. That is a forty-year gap and his solo effort from 2024 is a staggering approach to the age-old question those ageing pop stars must ask themselves. Who am I? Almond gets to the core of it with this piece, an inevitable case of reflections coming to a boil but with such a nostalgic flavour, such a desire to move on from the past and into a new, likely final era of sound, that it becomes overwhelmingly brilliant.
Read our review of Marc Almond’s I’m Not There here.
50. RURAL TAPES – CONTACT
Country living engagements from Rural Tapes are an envious series of memories. But sharing those moments with us on Contact, reaching out into the great unknown with stories of deep and meaningful impressions, of a misplaced part of life where isolation, while good for the heart and mind, brings out the primal horrors. Not all of that is heard on Contact, much of it is projection and a fear of living, but the jitters found in this Rural Tapes offering are an exceptional experience.
Read our review of Rural Tapes’ Contact here.
49. JACK WHITE – NO NAME
Sitting on a park bench and watching Jack White hammer away at No Name tracks just a few weeks after its sudden release was a great pleasure. Not just because one half of The White Stripes was tearing it up but because the urgency of an unnanounced album is like nothing else. Extraordinary. It was never going to be a drop in the ocean, there was always going to be a splash around the suddenness and for No Name, it means more eyes are on it. A gamble, sure, but a success story and one filled with eye-popping instrumental work. Such is the standard set by White.
Read our review of Jack White’s No Name here.
48. JOHN CALE – POPTICAL ILLUSION
John Cale could have fooled us all with Mercy. It felt like his last release. All the stops were pulled. He had a Weyes Blood collaboration. All was set to be a swansong. But no. POPtical Illusion turned us on our heads and we are left still blinking, wondering what has happened. An exceptional continuation of the late-stage form Cale has been offering as of late, and more of it to come we should hope. A thrillride from start to finish that is as much about pop music and culture as it is about pursuing whatever interests you, and maintaining it once you have it.
Read our review of John Cale’s POPtical Illusion here.
47. FRIKO – WHERE WE’VE BEEN, WHERE WE GO FROM HERE
For those who have stuck by Friko since their prison jumpsuit EP, Where We’ve Been, Where We Go From Here, will be a heartwarming moment. An album of great expectations made good on, a tremendous boom in the right direction which has made all the difference for the band and their listeners. An indie darling in the making and not without skill. Their debut album is a true achievement, an understanding of how perplexing it is to find yourself at a personal crossroads, and what exactly to do when you get there.
Read our review of Friko’s Where We’ve Been, Where We Go From Here here.
46. FAT DOG – WOOF
Fiery messages which simply cannot be stopped, Fat Dog leaves quite the impression with Woof. Not knowing what to expect from the group is the best way to be. Enter their debut album knowing as little as possible and be moved by the roaring thrills of a band with much to prove. But what they prove is we need to have fun. Everyone. This is an album for everyone with nobody in mind. Woof roars through some incredible instrumental and vocal periods, staggering achievements which the band can safely call their defining moments, for now, of course. Brilliant stuff and well worth a listen.
Read our review of Fat Dog’s Woof here.
45. MARIKA HACKMAN – BIG SIGH
Folk-loving life is that of a relaxed melancholy. Or it often should be the case. For Marika Hackman it is a call to arms. A burning of the soul and body which must be as grand as it gets. Her odyssey-like traipse through life is a monumental part of Big Sigh and one of the many reasons it works so well as a folk wonder. A constant pang of horror and sorrow can be found in the abandoned tones throughout, and yet there is something so comforting about it. Such is the use of folk metaphor, and such is the joy of Big Sigh.
Read our review of Marika Hackman’s Big Sigh here.
44. PIXEY – MILLION DOLLAR BABY
Pixey nailed her sound with Dreams, Pains & Paper Planes and follow-up Million Dollar Baby is all the more exciting. Songs of redemption are blurred with those cries to follow your creative spirit, to pursue those choices which will make you all the better. There is an intimate layer to this Pixey offering which, above all, builds from her earlier works. This is as complete a project as it gets for Pixey so far, the sky is the limit.
Read our review of Pixey’s Million Dollar Baby here.
43. WILLI CARLISLE – CRITTERLAND
Two decades ago and Critterland would have been the brainchild of Mike Judge and the South Park team. But we are far removed from a King of the Hill-themed album and, instead, we are treated to this Willi Carlisle country charmer. There is much to love about a man who can make bluegrass sound sweet, effective and contemporary, and there are plenty more reasons to love Critterland. A beauty to uncover the paths of life previously walked, to learn from them and to heal them in a special, spectacular way. It all finds a route through, a new purpose developed for those who want to be in the know.
Read our review of Willi Carlisle’s Critterland here.
42. HOLIDAY GHOSTS – COAT OF ARMS
Quietly prolific and remarkably so, Holiday Ghosts has given it their all in the last two years and come out the other end with quite a fine jangle and indie-oriented sound. Coat of Arms, their fifth album, continues their trend of exceptional works as a power pop collective with a point to prove. Frankly exceptional works on Shoot for Peace and Sublime Disconnect refit Holiday Ghosts as a new band entirely, one where the complexities of their sound are not just found in their instrumentation or their writing, but in their appearance, style, and what they stand for.
Read our review of Holiday Ghosts’ Coat of Arms here.
41. PARAORCHESTRA AND BRETT ANDERSON – DEATH SONGBOOK
Brett Anderson covering Echo and The Bunnymen and backed by an orchestra, what is not to love? Death Songbook plays around with songs of a fatal variety and in it finds plenty of love and light. There is a consistency found in Anderson leading this complex and often rewarding Paraorchestra piece, with plenty to love about the boom those orchestral bring to established tracks of the past. A few Suede numbers, a Nadine Shah appearance and plenty to love about the dedication needed to carry these songs to new fields of influence.
Read our review of Paraorchestra’s Death Songbook here.
40. NICK LOWE – INDOOR SAFARI
Ripping what he can from a previous EP release and having the guts to give us both barrels, Nick Lowe returns with Indoor Safari. His hunt for a new sound serves him well and it gives listeners a chance to hear some refreshing, introspective songs from a legend of the game. There is an obviousness to it, the ageing star at the heart of it worries about slipping away, about maturing with his friends and wanting it all to slow down. But such is life and Indoor Safari is one well-lived, one of experience and interest.
Read our review of Nick Lowe’s Indoor Safari here.
39. PAUL WELLER – 66
Paul Weller at 66, on 66, calls in all his favours. From Noel Gallagher and Richard Hawley laying down some slick guitar work to a Peter Blake album sleeve. In building this ensemble of talent and an Oasis alumni for good measure, Weller sets a standard. An expectation. He hits the mark well, though, and 66 becomes his best in years. The Modfather hits all the right notes on a piece which has some exceptional instrumental flavour to it, all backing Weller who remains at the top of his game with a series of songs blurring the common rock fad with the psychedelic sounds of the past.
Read our review of Paul Weller’s 66 here.
38. DUCKS LTD. – HARMS WAY
A tight half-hour is all Ducks Ltd. need for sophomore record, Harm’s Way. Their steady pop-like stylings are as tight as the time it takes to tell their stories and in those tales are moments of wisdom, of note. Thunderous passion presents itself more than a few times on this second album and the perils of the future have a brutish momentum to them, an almost clandestine detail, some nuance to be picked up on later down the line. It strikes well, often and becomes a firm favourite of 2024.
Read our review of Ducks Ltd.’s Harm’s Way here.
37. MJ LENDERMAN – MANNING FIREWORKS
Heartland and homeland are blurred together by MJ Lenderman on Manning Fireworks. Get to know yourself by learning of those around you, of where you plant your feet and why you do so. There is a caring consistency found within Manning Fireworks that just continues to tick on over the more it gets played. So play it. Play it often and learn from it, those experiences of lost loves and contemporary culture references which in just a few years will be lost to the back recesses of our mind. Learn from this and kindle your hopes for the future. Everything about Manning Fireworks hopes to help, and in it, MJ Lenderman becomes a voice of reason.
Read our review of MJ Lenderman’s Manning Fireworks here.
36. LOUIE ZONG – RAT TAXI
There will be no greater thrill in discovering music than finding it in a moment of near-death experience. Rat Taxi may feel like a strange inclusion, but the frenetic energy, the punchy fun of this Louie Zong piece, is more than worth a listen. You never know, it may save a life. If it does, then you have the title track to thank for it and its ability to become an immediate earworm with enough energy to it that it’ll keep you awake on a six-hour drive through a deadly storm.
Read our review of Louie Zong’s Rat Taxi here.
35. TIM HEIDECKER – SLIPPING AWAY
Artists can, on rare occassions, provide biting and brilliant works for their whole career. Most will have an unexplainable dip where they consider this aspect of their life or that aspect of their sound. Some are more aware of this than others, and for Tim Heidecker it spawns a point of fear in the artist, and makes for the fundamental point of Slipping Away. His fear is our delight as he puts a taboo subject to the test. Creating from the notion of lacking a creative surge, a dry spell, is a Catch-22 which works in Heidecker’s favour here.
Read our review of Tim Heidecker’s Slipping Away here.
34. BUZZARD BUZZARD BUZZARD – SKINWALKER
Darker themes guides Buzzard Buzzard Buzzard. This is a wild change-up from what some returning listeners may have expected. We are all the better for this fundamental change. Gone is the glam rock and in comes a new swell of sinister intentions where the pitch-black tones are often married with heartfelt and earnest responses to the horrors of the dark, the world out there which is unknowable, not yet seen. It all makes for a resounding moment of natural fears and preying eyes, but within is a hope which, when growing and growing, can only harm.
Read our review of Buzzard Buzzard Buzzard’s Skinwalker here.
33. GLASS BEACH – PLASTIC DEATH
Setting a genre standard for long-form intent, Glass Beach toys around with the indie and emo rock stylings which have remained, for the longest time, unchallenged. But they do well to reinvent themselves and the genres they find so much in with Plastic Death. Lightening the mood, bringing it down, swirling this lyrical proclamation from song to song with a sinister conviction is all part of the charm for this album. There is an exceptional quality of electronic manipulation, those short and sharp pangs make all the difference on an album which has an ambition burning through it.
Read our review of Glass Beach’s Plastic Death here.
32. THE LEMON TWIGS – A DREAM IS ALL WE KNOW
The Lemon Twigs has successfully reawakened a love for the 1960s themes of Americana without lifting enough to feel like a pastiche. Their latest effort, A Dream Is All We Know, remains a charmer. A well-intended continuation of what made Everything Harmony so charming, A Dream Is All We Know elicits everything which made Brian Wilson such a joy to listen to, and expands it, moulds it into a modern form which was so necessary to their artistic survival. Frankly brilliant works throughout which feel tinged in influence but thoroughly fresh in their own way.
Read our review of The Lemon Twigs’ A Dream is All We Know here.
31. BILL RYDER-JONES – IECHYD DA
One of the earliest releases of the year and, frankly, one of the best. Bill Ryder-Jones’ gut-wrenching openness on Iechyd Da makes all the difference. We head into music, album after album, to piece together some perception of ourselves we simply had not noticed. That is no reason to listen to Iechyd Da, but the responsibilities of an artist are not made any clearer than on here. There is an openness yet broadness to how Ryder-Jones makes his work and his experiences available to a wider public. It remains charming yet obtuse in its own beautiful, immaculate way.
Read our review of Bill Ryder-Jones’ Iechyd Da here.
30. CHARLI XCX – BRAT
While it may feel overwrought or even overexposed in the cultural decline, there is no denying the impact and charm of brat. A Charli XCX piece which was dragged over coals as she worked it out on the remix, the original concept of the so-called cocaine culture is secondary to the exceptionally slick beat and style found within this studio offering. Sharp measures of what we value, who we link them to and how we want to come off are all considered by Charli XCX here through a litany of experimental club house stylings which are, above all, an exceptionally fun and liberating listen.
Read our review of Charli XCX’s brat here.
29. AURORA – WHAT HAPPENED TO THE HEART?
More matters of the heart for Aurora to explore are a genuine treat. They so often are when this alt-pop consistency comes to light. Soulful and moving experiences, experiments with a genre Aurora is now so familiar with, are great fun on What Happened to the Heart?. Soothing moments filled with a biting energy and a boom of real intensity, the likes of which feed When the Dark Dresses Lightly and A Soul With No King so well, are the clear examples for what Aurora is reaching for. A connection with her listeners is developed further still, and the consistency of open creativity is what strikes so brilliantly throughout this one.
Read our review of Aurora’s What Happened to the Heart? here.
28. BROWN HORSE – RESERVOIR
Rarely is it easy to be the new band on the block, but for Brown Horse, their debut album is a standout of the genre. Reservoir serves the alt-country momentum so few are maintaining after a decade or more in the genre. Their commitment to the tonal scope of country tinges and the punk cries which rally through as some opposite to the lighter joys of Americana trips is a necessary balance. It means the likes of Shoot Back feel both contemporary in their ambition but reflect a softer flourish of those influences which are worn on the sleeve of Brown Horse band members.
Read our review of Brown Horse’s Reservoir here.
27. THE SMILE – CUTOUTS
Two albums from The Smile in 2024 is a bit of a hint as to how much strong material Thom Yorke and the band had. Cutouts is the second of the two releases from The Smile and certainly has the afterthought feeling to it. But put it to one side, park that feeling of post-release clarity and explore what becomes an effortlessly thrilling piece of avant-garde, jazz-like moments. Instrumentally sound and a force to be reckoned with, those moments are thoroughly consistent and though there may be no standout, there are plenty of opportunities to get to know that little bit more about the band.
Read our review of The Smile’s Cutouts here.
26. CROWDED HOUSE – GRAVITY STAIRS
From the men best remembered for Weather With You and a Glastonbury set three years ago which had no right to be as good as it is, Crowded House’s latest album, Gravity Stairs, is a stunner. With longevity comes vulnerability and for Crowded House this means one of their personable best with their best work since their debut. It truly is that good. An album where the passage of time is against them, where Neil Finn and the band puts their talent to the test in a series of outrageous and well-lived experiences. Song to song the passions of the band becomes clear. A sincere treat of an album.
Read our review of Crowded House’s Gravity Stairs here.
25. SUEDE – AUTOFICTION: LIVE
A Record Store Day exclusive? Filthy. But necessary. What Suede accomplished with Autofiction is a new benchmark for how listeners may view those so-called nostalgia acts. Suede may have been on tour most of the year with Manic Street Preachers in a double-bill which smells of vintage spirits, but the brilliance and heartfelt, microscopic occasions which forms the best of Brett Anderson’s writing, sounds all the better live. Furiously delivered, refreshingly independent instrumental sections and a pause for thought on what comes next for a band which has returned to its very best.
Read our review of Suede’s Autofiction: Live here.
24. COURTING – NEW LAST NAME
Courting improves on their debut with New Last Name and before the dust has settled, their follow-up album Lust for Life is prodding at our minds. But for listeners with time to kill before their third studio offering, New Last Name remains an essential from 2024. That broadsword is still for sale on their merch store. Distortion-heavy works which break from their first outing make all the difference. Courting shows no fear in alienating established listeners in the pursuit of an interesting new development, and as much can be heard on Flex or Babys.
Read our review of Courting’s New Last Name here.
23. CINDY LEE – DIAMOND JUBILEE
How we react at a time of creative indifference is how we define ourselves. For Cindy Lee it means hammering out a two-hour thrillride in the form of Diamond Jubilee. Malaise is merely the brain working out what to do next. Burnout is just the break before a moment of influence. Cindy Lee moulds a two-hour contemplative powerhouse which feels like an amalgamation of everything. An exercise in forgiveness, an experience in new attitudes, smells and places, all to the sound and beat of some of the most exciting instrumental selections you will find this year.
Read our review of Cindy Lee’s Diamond Jubilee here.
22. KING GIZZARD – FLIGHT B741
Somehow, King Gizzard remains a sweet reveal year on year. This excess of production, the sheer volume of their material, would be tiresome if not for the essential and amazing genre reinvention they provide. Flight B741 feels for a stretch of jumped-up and joyous rock and roll, a fundamental which has served the band well but has never been tapped into in such an innocent form. Here we are, then. It makes all the difference in this piece and those piggies flying high are a visual representation of the high-flying fun to be had. King Gizzard remains a consistent pull, and Flight B741 is an expectedly intense, exciting release.
Read our review of King Gizzard’s Flight B471 here.
21. CAMERON WINTER – HEAVY METAL
Taking what appears to be a brief break from Geese, frontman Cameron Winter releases what, on paper, seems like spare parts. Those bits and pieces which did not quite gel with one band or another project make themselves known on Heavy Metal, an album which could not be further from the genre suggested by its title. Acoustic tenderness is the name of the game here and for Winter, burrowing into hotel cupboards or quiet spots in his life on the road, finds something beautiful within. His folksy, instrumental collapse on We’re Thinking the Same Thing or the brutality which comes in the hang-ups heard on his stripped-back acoustic tone for Cancer of the Skull is the sort of career-cementing brilliance so many are still searching for.
Read our review of Cameron Winter’s Heavy Metal here.
20. IDLES – TANGK
There is probably a bias at play here, but such is the case for a list edited by one man and his penchant for a flat white or three. Idles provided some of the best live work around this year, and much of this was based on the Tangk material. From an LCD Soundsystem-featuring Dancer, which gripped the airwaves last year and turned them into gold to the genuine desire from Joe Talbot to turn the band into one fuelled by love, not hate. There is something of the hippie variety to it and many may spit in the face of that, but when it feels so sincere, so outrageous in places like Roy or Pop Pop Pop, it is hard not to love it.
Read our review of Idles’ Tangk here.
19. JOHN GRANT – THE ART OF THE LIE
Those usual chamber pop charms from John Grant are traded in for something that feels far bolder and depressive than first thought. The Art of the Lie stands as a conniving experience which still finds itself steeped in an awful honesty. Such is the heartbreak of being open with an audience yet wanting to hold yourself back from committing all too much. There is a depth here which relies on the personable cornerstones Grant is willing to give up to a listener, and he is open to offering much. Meek Af serves as a takedown of those structures which keep us in place while It’s a Bitch gives us the prompt and desire to challenge our unruly experiences. The Art of the Lie is a reactive piece of work.
Read our review of John Grant’s The Art of the Lie here.
18. ALLIE X – GIRL WITH NO FACE
Harsh and aggressive synthpop style is all it takes for Allie X to leave an impression. Girl With No Face is a masterclass in self-service, an outstanding example of why taking it all for yourself is the right course of action. A time where the world stands for greed and guilt-tripping is no time at all. Electronic charms and a cutting-edge few artists have ever displayed is what makes this so fresh, so liberating. Just one listen to You Slept on Me or Truly Dreams is enough to store that fire in your belly. Kindle it well into the New Year and just look how much you grow. Allie X is to thank.
Read our review of Allie X’s Girl With No Face here.
17. TYLER, THE CREATOR – CHROMAKOPIA
Reconnecting not just with listeners but their experience of listening, Tyler, the Creator, showcases a new respect for audience members old and new. An acknowledgement of the overhaul of new material released on a Friday sees Chromakopia shift to the start of the working week, and what a difference this makes. A displacement heard in the life of its creator is the bold core running through this, a sense of defiance in the face of new life choices and challenges which stands not just as Tyler, the Creator at a consistently sharp turn, but at a career peak.
Read our review of Tyler, the Creator’s Chromakopia here.
16. HAMISH HAWK – A FIRMER HAND
Staggeringly open material from Hamish Hawk is what makes A Firmer Hand shine. Caution thrown to the wind, staggering explorations and a self-exposé of the soul, and all to the mocking tunes and tones of those who affected Hawk and his outlook on life. These are moments of truly great feeling, and for the brutally brilliant songs throughout, Questionable Hit and Juliet as Epithet to be specific, it makes for an enlightening listen. Hawk toys with those recently healed wounds as he explores a hurting heart. He does so with conviction, with care, and above all, with clarity rare for the downtrodden.
Read our review of Hamish Hawk’s A Firmer Hand here.
15. YARD ACT – WHERE’S MY UTOPIA?
A band willing to take a risk is a band worth the time needed to hear them out. Where’s My Utopia? makes good on the sudden connections Yard Act made in the lull between their self-titled debut and the wonderfully pieced-together, Well Dweller-drawn, second album. Lead single Dream Job had the punchy anger at a placid world that Tall Poppies had, but with a funkier, instrumental drive and a risky change of pace for the band, it is delightful to hear those changes pay off. Yard Act risks it all and the payoff is magnificent. We Make Hits has grown into a crowd-pleaser while frontman James Smith is making good on a personable, open series of tracks like Blackpool Illuminations and A Vineyard in the North, where the experiences and regret are turned into blindingly strong pieces of work. Moments to learn and heal from. Magnificent.
Read our review of Yard Act’s Where’s My Utopia? here.
14. THE SMILE – WALL OF EYES
Dropping two albums in the same year suggests weaker leftovers for one and powerhouse pieces for another. The Smile overcomes this suggestion with music that, while lyrically dense, has a consistent and ever-present extreme to it. These are instrumental pieces with a Thom Yorke edge to them. Those flows of instrumental joy catering to jazz-rock fans and the many sub-genres of noise-rock are in a nice spot with the title track and Bending Hectic. A project where the aim is to create a path through the year, to find spots of consistency for improvisation to burn from. Under Our Pillows feels like the best entry point into this, but Wall of Eyes certainly has plenty of instrumental interest on offer. A bold piece of work, one that is far too easy to lose yourself in.
Read our review of The Smile’s Wall of Eyes here.
13. ADRIANNE LENKER – BRIGHT FUTURE
Splitting from Big Thief momentarily to try their hand at solo material once more, the riches to come from Bright Future should be no surprise. Adrianne Lenker remains one of the finest songwriters around and much of that is proven by their latest release. An immaculate example of what can happen when you endure your past long enough to learn from it, Bright Future pieces together the lessons learned, with the likes of Vampire Empire and Ruined, blurring that line between solo creativity and Big Thief influence. It is the best of both worlds, and the delicacies found in those simpler tones are all part of the charm.
Read our review of Adrianne Lenker’s Bright Future here.
12. RICHARD HAWLEY – IN THIS CITY THEY CALL YOU LOVE
Richard Hawley has not rested in the five years between Further and this, In This City They Call You Love. Not so much a return to form as a reminder of the crooner charms which defined the 2000s for Hawley, and what a time it was. He blurs this with the heavier electric guitar tones of the modern shift well, with an exceptional blend of riotous rocker moments and heartfelt, tender trials. Brilliant tributes to his past on I’ll Never Get Over You and Hear That Lonesome Whistle Blow are given plenty of room to breathe. Hawley maintains an exceptional blur of these two tones on Prism in Jeans and Heavy Rain, two singles which showcase Hawley finally getting his hands on a brilliant mixture of his past successes and his future highlights.
Read our review of Richard Hawley’s In This City They Call You Love here.
11. ENGLISH TEACHER – THIS COULD BE TEXAS
Mercury Prize winners English Teacher stand tall as the most deserving bunch in recent memory. This Could Be Texas is as immense as it is personal, a Lily Fontaine masterstroke where the delicacies of life led with purpose and ambition is enough to get by. A darker world surrounds this thirteen-track album but its brilliant consistency, the slow burn towards one of the best of the year, has been an incredible listen. Its title track remains a favourite while album closer Albert Road feels like a refresher course on the brutal power and charm of independent music, away from the buzz of the big city or the clawing hands of over-involved producers. As pure and great as music gets, and certainly one of the finest pieces of bittersweet art rock to come from this year.
Read our review of English Teacher’s This Could Be Texas here.
10. MAGDALENA BAY – IMAGINAL DISK
Experimental and unique in the same measure, Imaginal Disk is a charming experience. It has all the tech fears expected of this year, the consistent, running theme of artists old and new is an aversion or fixation on what will, in some time, be our undoing. For Magdalena Bay there is a nostalgia present in the CDs and retrofitted aesthetic, the 2000s vibe which now presents itself as a fresh break from the new build grey of the modern world. But to assess this as an album, to put song to those feelings of comfort and discomfort, whirring away despite one another, is to find the core of Imaginal Disk.
Nostalgia becomes the major load for Imaginal Disk but it does not define it. Frankly staggering work with songs burnt by passionate encounters or enraged experiences. Fear, Sex and Image stand tall as early moments of brilliance, an album which maintains such an extraordinary consistency as it staggers on. Stick around for Watching T.V. and Tunnel Vision before the staggering drop that comes with Cry for Me. Outstanding pieces of work found throughout are all the more reason to listen in to Magdalena Bay, to wait around and see what happens next.
Read our review of Magdalena Bay’s Imaginal Disk here.
9. FONTAINES D.C. – ROMANCE
Romance is a place, then. It is what you make of it and wherever you find yourself. Fontaines D.C. moves away from Spotify thriller and into an alternative thriller as their fifth album proves to be their best. A behemoth step where self-confidence and heavy tones of instrumental strength are the very backbone. The title track, Starburster and In the Modern World are nothing short of perfection. These are songs with as much heart as there is sin. That stretched, crying face on the front, the pig nose and unsettling lips, is what we become when we spread ourselves too thin.
But Romance will spell it out for you in subtler tones. From the punchy rock steadiness of Here’s The Thing to a breach of the unfamiliar horrors of something like Horseness is the Whatness, the band has a collection of fantastic, moody songs on their hands. It is not all sinister tones and regret, there is hope for the future which provides beautiful contrast to the opening fears. Favourite marks those long, long journeys. We make the most of those and the lighter love we experience along the way. Romance is more than a soundtrack for an emotion – this is an album which is more than ready for the long haul. Keep an eye on it.
Read our review of Fontaines D.C.’s Romance here.
8. THE CURE – SONGS OF A LOST WORLD
Sudden announcements and the eventual release of The Cure’s long-anticipated Songs of A Lost World built expectations stratospherically high. Few could bank that monumental expectation and make good on it. Robert Smith is one of those few. The Cure is at their reflective best here but this is not the usual looking back on the highs and lows of a career with more hits than harm. Smith writes with a conclusion in sight. Not for the album but for his career. There is something deep and rich, swirling under these endlessly replayable dedications to the band, his family and where he sees himself.
Smith’s openness in recent interviews has reached the assured point of no return. A complete reinvention of what we should expect from The Cure comes through, and in its place are wonderous, emotionally taxing pieces like Alone and A Fragile Thing. And yet their punk fundamentals are still in place. Warsong and Endsong feel like a beautiful pairing separated by the depths of I Can Never Say Goodbye and All I Ever Am. Those frank and open moments with an audience are rare to come by with most legendary bands. Smith offers a fifty-minute look at what the future holds and where the endpoint is.
Read our review of The Cure’s Songs of a Lost World here.
7. NICK CAVE AND THE BAD SEEDS – WILD GOD
Religious intertextuality provides a slim line of defence for Nick Cave and the Bad Seeds, and it works. Are we falling for a cheap trick? Not quite. There is a spirituality in Wild God which remains astonishing and raw, something The Wild Seeds has managed, somehow, to maintain for forty years. Warren Ellis whittling the finer qualities of his string section down to essential, powerful punches across Wild God is a creative best for him. Cave writes with a swift and brutal appeal. His emotional clarity at this point is publicly questionable given his fence-sitting on events of real crisis, but the key for Wild God is, objectively, having nothing to do with the real world.
These are adventures in spiritual claims. How pure the spirit, or how tarnished it is by personal turmoil, is the point of Wild God. From the flowery language of Frogs to the religious obviousness of Conversion, there is a sense of momentum at this late stage of Cave’s career. An intense piece of work where the likes of opener Song of the Lake and single Long Dark Night do most of the heavy lifting. There is a steadiness, a consistency, to Wild God which makes the difference. Perhaps the final bold move of a career which has shifted with the turmoil and personal highs and lows which are now guiding Cave.
Read our review of Nick Cave and The Bad Seeds’ Wild God here.
6. JULIA HOLTER – SOMETHING IN THE ROOM SHE MOVES
There was no shortage of charming and heartfelt releases this year. Yet one of the standout releases where an artist’s heart is on the line comes in the form of Something in the Room She Moves, an agonizing and equally defiant series of songs from Julia Holter. Childbirth and isolation are the key themes of an album which rips at the heart in some unexpected ways, and more to the point, finds itself moved ever so slightly by the same tones and ideas of the late George Harrison. This rich intertextuality is just the tip of the iceberg for Holter, whose outstanding latest album is well worth a listen.
Marking an album of sincerity where the outdoors are pulled from as major influences is difficult at the best of times. In isolation, Holter provides a longing for the world around her, just out of reach. Something in the Room She Moves is a captivating experience. Therein lies its great strength. Moments of genuine beauty and a truth like no other guide what, on paper, are simple songs of love and patience. We would all do better to learn from the tones heard on Spinning or Evening Mood.
Read our review of Julia Holter’s Something in the Room She Moves here.
5. THE WAEVE – CITY LIGHTS
Topping our list last year (I say “our” as if there is more than one writer for Cult Following) and heading into the top five with their sophomore album, veteran experience marks The Waeve’s City Lights as a marvellous listen. With some slick Tom Verlaine influences on their title track and some heartfelt tributes to their daughter, Graham Coxon and Rose Elinor Dougal make good on their self-titled debut. Their experiences in the studio have evolved and, in turn, made The Waeve into a brutal force of interesting intent. Song for Eliza May stands tall as a song any parent would be proud of, a diary-like piece which makes good on the bond between generations.
Grand interpretations dependent on the monotone Coxon vocal style and the lighter flourishes Dougal can showcase. The likes of I Belong To… remove the muddier sound of their gothic-like debut and feel for a slight tinge of optimism, the instrumental changes made make all the difference. Another great album where the closing song is titled Sunrise.
Read our review of The Waeve’s City Lights here.
4. FATHER JOHN MISTY – MAHASHMASHANA
In hindsight, Mahashmashana felt like a quiet release from Father John Misty. That is not just because of a surprise Kendric Lamar release but because of how fatalistic and fascinating this project is. Rumours of retirement of the FJM character, of the gospel-tinged charmer of the stage, circulated before this album. They were put down before Mahashmashana released but every moment from then has felt like a final note. But elongate it a little more, there is plenty of fuel in the tank that is Father John Misty. His latest piece is an eventful heartbreaker filled with possessive lyrics and a wandering spirit.
Those moments are defiant interpretations of what the human spirit can accomplish. For Father John Misty, it is a presentation of what he has achieved, what he hopes to gain and where he is headed next. Mahashmashana feels far wispier and more lucid than anything to come before it. Gone are those joy-filled moments and in comes the baroque fundamentals of his sound. It certainly presents a new side to Father John Misty, one we should have known was there all along. Screamland remains one of the finest moments in his discography while self-referential moments on Josh Tillman and the Accidental Dose pursue a necessary and intense fourth wall break. There is hopefully more to come.
Read our review of Father John Misty’s Mahashmashana here.
3. ST. VINCENT – ALL BORN SCREAMING
Say what you will of St. Vincent in recent years but she has certainly found a consistency which burns through recent album, All Born Screaming. An intense spectacle brought to life by the fiery front cover and songs which match the burning passions and flailing ambiguity the real world brings us. All Born Screaming is not so much a call to arms for those who are already screaming but preparation for the next generation, a wave of people who will suffer at the hands of indifference. There are pockets of nostalgia buried deep in this latest piece from St. Vincent, the likes of Big Time Nothing forcing listeners to take note of their shortcomings.
But there is no sense of acting on the improvements necessary to a rewarding new life. All Born Screaming puts the pieces in front of you but does not have anything more to help with. It trusts in its listener to make the right call, to keep the fire burning but to extinguish those intrusive, fatal moments. Slick work from St. Vincent should be no surprise and All Born Screaming marks a complete revolution for her sound, for her writing. As authentic a listening experience as can be, filled with some misplaced but heartfelt words for the influences of St. Vincent’s work. Mighty in every sense of the word.
Read our review of St. Vincent’s All Born Screaming here.
2. THE LAST DINNER PARTY – PRELUDE TO ECSTASY
Any other year and The Last Dinner Party would find themselves top of the pile. Near enough is better than nothing for Prelude to Ecstasy, a remarkable album leaning into its regale aesthetic and cementing the band as an interesting collection of talent. Navigate yourself around the meaningless controversies of their origins – it does little, if anything, to damage the overwhelming confidence of the music within. Prelude to Ecstasy has an earnestness to it which is secondary to a brash and bold attitude, necessary to keep afloat in a genre of spirited projects, of talented musicians learning their trade.
As a piece of music it is astonishing. Filled with the joyous guitar solos which defined Nothing Matters as one of the finest songs of all, their follow-up singles and much of the album work after, particularly Portrait of a Dead Girl and Burn Alive, speak of a conviction to experimental tones which feel relatively familiar. And yet, The Last Dinner Party thrives on the unexpected and is now set to chase this high in future. Their Guildhall and Windmill roots are right there to hear, and the layering of their music certainly has the feel and thrill of the scene, and of the artist behind the best album of the year.
Read our review of The Last Dinner Party’s Prelude to Ecstasy here.
1. GEORDIE GREEP – THE NEW SOUND
The New Sound is not just the best album of 2024 but one of the most important releases this decade. Few albums from this century are as crucial or bold as Geordie Greep’s first solo effort. Remarkable from the first notes of beautiful opener Blues right through to the charmed vocal surprises of Frank Sinatra cover If You Are But a Dream. Deep cuts for those who feel fouled by the breakup of Black Midi can be found with Seth Evans’ Motorbike and The Magician. But beyond those callbacks or moments of familiarity, Greep and these marvellous session musicians adapt an array of genres, often smashing them into one another with smooth instrumentals or bold stories from characters worth discussing.
Lead single Holy, Holy is a masterpiece. A story like the others, of rot and sin and hope for a new day to come along and replace the past self. A new person, a new sound and another chance for redemption. But The New Sound is a series of songs where these protagonists fail to learn from their message. Where The New Sound shines is in its instrumental merit, the conviction to adventure and subsequent joys heard in the beautiful range. It is as complete as an album can get, one where the album tracks like As if Waltz and Terra take precedence over the powerful, roaring stories from London dance halls. One of the finest releases from any artist in some time. Once he starts playing, he never stops. He is one of a kind, truly.
Read our review of Geordie Greep’s The New Sound here.
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