WTHB Top Albums of 2024
With the year coming to a close, it is a time for reflection. What has the year of 2024 brought the music industry? Dua Lipa headlined Glastonbury, Chappell Roan took over the world with her magic and we saw the Oasis brothers return for a big tour. So this year has certainly brought us something to look back on. Our writers took a moment to talk about their favourite releases over the past twelve months.
Nick Cave and the Bad Seeds
“Fucking London.” And just like that, Nick Cave and the Bad Seeds deliver. It’s a powerful album – that reckons with an ode to joy, but also joy born as a victim of grief – Cave’s loss of his two sons is a heavy burden for anyone to bear but at the same time, if you’d have told me this was from the same artist as Tupelo, I’d be questioning for a second. A prophet of doom and destruction talking about hope? Who are you, and what have you done with Nick Cave? In hindsight it makes perfect sense – it’s the natural evolution of the grief process that out comes of it, relief and reward.
Performed live, at the 02 – Wild God is a triumph – working in tangent with the Bad Seeds, particularly the legendary Warren Ellis Cave fills the post Bowie, post Cohen void superbly, questionable politics aside. His celebrity is heavy over the shadows of Wild God – its track Joy, is a fully blown triumph. “We’ve all had too much sorrow, now is the time for joy”, Cave is at his best here; irresistibly appealing, earning praise from Bob Dylan who rarely, if ever, dares to speak about other artists outside himself. That’s how you know it’s something special – it’s an album designed to make you fall back in love with life itself – whether it’s an ancient epic like Final Rescue Attempt or something sweeter and more emotionally charged like Long Dark Night, all have that connective tissue linking them together.
It's an emotional album. Anyone who’s ever connected with grief or joy and processing of that grief will relate. It’s happiness because of what feels earned – you don’t get it given to you, you must go out there and find it. That’s what makes this album so special; romanticized joy both personal and real – a Wild God roving the world; “going to the cradle of Africa, Russia and China” – a completely different beast from Carnage; his solo partnership with Warren Ellis, and Skeleton Tree, and even the hangover haze of Ghosteen, this is Cave unmatched in his purest form – yet at the same time, it feels like a culmination of his past work not possible without what he’s learnt - – “the stars stand above the Earth, bright metaphors of love,” and it’s clear he’s at once an everyman and a master songwriter – you watch his poetry soar. From progressing from its despair of life to a newfound sense of hope, it’s not all happiness, but then that’s what life is – a mixed bag, full at once of suffering and joy – and never has Wild God been more meaningful in its words.
Words by Miles Milton-Jefferies
Georgie Greep
The New Sound is not only a superbly assembled record by some of the most talented young musicians in the world, but also an ode to so many distinguished records that have paved the way forward in the last century.
With influences of classical music, jazz fusion, folk, prog-rock, blues, bossa-nova, and so many more, this album takes you on an hour-long ride through these complex genres with an unblemished flow.
Like a loupe lens through musical history being seen through a kaleidoscope, colourfully amplifying each distinct sound with his own style, Greep showed with this album that he is a force to be reckoned with when it comes to songwriting.
The opening track “Blues” dabbles through complex rhythms with even more complex guitar riffs, a piece that could easily have fit in with his work for black midi, which would make sense as it has been revealed that this was arranged with drummer Morgan Simpson and multi-instrumentalist Seth Evans around the time the band decided to go on hiatus.
“The Magician” and “Walk Up” are the only two songs that had originally been played with black midi, but had never been recorded and released.
The first single before the album’s release, “Holy, Holy” is one of the most striking tracks on the album, kicking off with a guitar solo within the first 30 seconds before turning into something completely different with an ending that sounds just as ethereal as it is perplexing.
The lyrics are said to be influenced by men Greep met whilst touring the world, and their peculiar and eccentric way of life. This makes for some great storytelling in each song, with some uncanny lines in songs such as “Blues” and “Holy, Holy”, where the ego of these characters is displayed in sets of lyrics that will make you gasp.
The track “As If Waltz” is by and large one of the most delicate and exquisite tracks of 2024, with elements of classical and flamenco ruling over most of its length, before an audacious burst of energy towards its end evokes the likes of jazz-fusion greats such as Masayoshi Takanaka or Casiopea.
The last song is a cover of “If You Are But A Dream”, a composition that was regularly performed by Frank Sinatra in the 1940s, in what is a fitting tribute to the project's vast scope of influences.
If you have not yet listened to The New Sound, now is the time. A true and magical piece of sound that will more likely than not sway you away to another world for just over an hour.
And what a sweet hour.
Words by Jay Cohen
Fontaines D.C.
It is fair to say that 2024 has provided us with some absolutely incredible, life-changing albums. From Laura Marling with Patterns, the Brit-pop queen Charli XCX with Brat, Amyl and the Sniffers with Cartoon Darkness, and even Kendrick Lamar’s surprise drop of GNX. However, I feel it’s important to mention that whilst Ireland has always provided the world with a never-ending list of musical talent, the Irish have been in a league of their own this year with bands such as NewDad and Gurriers with their respective albums Madra and Come And See, alongside Kneecap who have taken the world by storm with their film and album, Fine Art.
However, for me, there has been one stand-out album this year and that is the latest release from the Dublin-formed band Fontaines D.C., who have continued pushing their own limits, resulting in possibly their best album yet, Romance.
From the release of the first single ‘Starburster’ back in April, I immediately had an inkling that this album was going to be special. ‘Starbuster’ sounded bigger, bolder, brighter. The perfect introduction to an album that provided us with more than anyone could have anticipated. I am very much one of those people who can spend literal hours daydreaming up different scenarios in my head, and the music I am listening to at the time always has a huge influence over those daydreams. And I am not condoning violence in the slightest, but I have directed many an imaginary fight scene with ‘Starburster’ as the musical score. The mix of spoken word rap of standout lyrics “I’m the pig on the Chinese calendar, I got a show like a .58 Caliber, I wanna move like a new Salamander”, backed by violent punk-like drums and guitars along with the guttural intakes of breath throughout was enough to prove that the band were entering a new era.
They continued to build anticipation of the album’s release with singles such as ‘Favourite’ and ‘Here’s The Thing’. Tracks that are inherently different to each other and previous works, but snippets of the band’s earlier sounds still manage to bleed through. I think it is so important for bands and artists to be able to grow and push themselves to new limits, but not entirely lose themselves in the process, which is perhaps one of the main reasons Romance is such a stand-out album for me this year.
Since the release of the album back in August, I can hand-on-heart say that I have listened to it in its entirety at least, AT LEAST, once a day. My Spotify wrapped is quite frankly…a little bit embarrassing. I am not sure I have been part of the 0.005% before in…well, anything, but there we go. The fact that there isn’t a single song on the album that I’d skip speaks volumes, and I’ve only ever listened to it in order, never on shuffle, otherwise, you don’t get the full effect. The album is a journey through the darkest stages of love into the light. The title track, which also opens the album is dark, and ominous, questioning whether love and romance can be a physical place as well as a feeling, while they close out the album with ‘Favourite’, which carries a simple message “you were my favourite for a long time.”
It’s near impossible for me to pick a favourite track because each one stands out in its own way, but of course, there are some that I could have on repeat for hours and not tire of. ‘Bug’, with its catchy chorus and deep lyrics on false promises and how they can lead relationships to ruin. ‘Horseness Is The Whatness’, which is elevated by the inclusion of strings, feels heavy and is full of melancholy and the question Chatten asks will stick with you longer after the song is done “Will someone find out what the word is that that makes the world go round? Because I thought it was love”. While ‘In A Modern World’, for me, is probably the most beautiful song on the album. It is musically extremely strong, the addition of strings and the slow beat of the drums behind are captivating and really shows off Chatten’s vocal range. It is a mix of angst and hope, as it is often quite easy to bury our heads in the sand with what is happening in the world today, but the ability to still feel love in a world that feels bleak is evident in the song. “If it matters, you complete me” are probably my favourite lyrics from the album. Simple, but effective.
Fontaines D.C. have proved to themselves and the world that they cannot be put in a box with this album. They have evolved throughout each of their albums, however Romance has transported them to an entirely different level. Lead singer, Grian Chatten, spoke about their constant need to grow in an interview with Rolling Stone earlier in the year, “It’s easy for people who want to hear ‘Boys in the Better Land’ over and over again to decide that that’s what aspects of this record are doing, and we wanted to push away from that. You can feel consistently trapped by people’s ability to perceive you as just one thing.” One listen to Romance is proof enough that they have successfully avoided being trapped and are certainly on the path to becoming one of the world’s best bands.
Words by Angela English
Bleachers
Each album that Bleachers put out move them forward as a band in several different ways. Their self-titled record released back in March continues to do this.
Best known for their big, euphoric songs and sound, they switched things up quite a lot on this album. And it’s beautiful. Even though I am a die-hard Jack Antonoff and Bleachers fan, I don’t think that my bias has much influence over my opinion about the album.
It opens with what I would call a classic Bleachers song, I Am Right On Time, which is up tempo, and a perfect opener. It’s a retrospective, introspective song, and actually very comforting and affirming. “For once in my life/I am right on time” he says during the outro.
There is so much heart and energy on this album, exactly what Bleachers are best at getting across. A clear highlight is the lead single Modern Girl, led by epic saxophones. It’s another faster song, about being young, going out and having fun.
Antonoff wrote a handful of songs about his wife Margaret Qualley, and lyrically, those are my favourite. In particular, the song Isimo. Throughout the song, the ‘you’ in question is Qualley, as it’s a song directly to her and her younger self. The chorus is one of my favourites from any song released this year; “But you were just a kid when they told you/You’d been built to bleed, little solider/With your garden heart and sentimental bolder/It pulled you down, look at you, you made it out” Antonoff sings. The track is filled with so much love and tenderness, you can feel it so deeply.
This is definitely Bleachers’ lightest album tonally. Jack Antonoff has also said so himself, but it is clear upon listening to it. You see the world in a different way when you truly fall in love, which is proved here.
Another highlight is Self Respect, which Antonoff penned and co-produced with Florence Welch. The song is further proof that those two are a match made in heaven, musically, after they worked on Dance Fever together in 2022.
There is pulsating synths and percussion which mimics a feeling of anxiety and restlessness, exactly what the song is trying to portray. “I’m on my hands and knees begging you to kiss me/When I’m not around, do you even miss me? I’m so tired of having self-respect/Let’s do something I’ll regret” Opens the song, which is also the chorus. Again, simple yet very effective.
There truly isn’t a bad song across the album, a fact that was proved to me even more so when I had the pleasure of attending the band’s From the Studio to the Stage UK headline tour in March. It was easily one of the best shows I’ve ever been to, they really do excel at performing live, and there is nothing at all like witnessing it. What a privilege it was.
Words by Lucy Skeet
Magdalena Bay
My favorite album of the year, and the best, in my opinion, is Imaginal Disk by Magdalena Bay. As I said in my initial review of it, this record is Magdalena Bay at its strongest. It’s the duo doing what they do best, pushing their limits and continuing to evolve artistically together. With this release, they created an entire new world, from the sound, music videos, and already iconic cover art, recreated by many including Rosalia. It is an unapologetic record that shook the indie music world (and Twitter) in the middle of the summer.
It is a record that I can listen to on any occasion and one of the most impactful releases of recent years. It is not afraid of trying every sound and absurd idea in the mix, resulting in a both fun and cathartic listening experience that flows perfectly and still surprises you after many listens. The thing that I love the most about it is how profoundly personal it feels while still being a highly conceptual LP.
This album was highly anticipated ever since their superb debut Mercurial World, and release of the singles “Death & Romance” and “Image” in the spring, and ever since its release it has continued to capture me more and more. The track “Watching T.V.”, initially one of my least favorites, has become my favorite song of the year. It is for me, the most vulnerable point of the record, containing raw and disturbing lyrics such as “If you wanna be clean / You better scrub until the blood comes out / Get those spots in between / Slip your skin right off and hang it out” and an outro that if listened, pretty much explains my over the top excitement about this song. Lyrics such as these can go unnoticed behind the synths and upbeat production with many artists, but in this record they somehow made it work, not taking a single ounce of vulnerability away from it.
It is clear how much love Matt and Mica put into this album, to their collaborators, to their fans, and mostly to each other, something shown in tracks such as “Angel on a Satellite” with the lyrics “Damn, man, play that thing / Keep on pulling at my strings / ‘Cause when I see me through your eyes / I love me so don’t leave my side / You always see the sky / Angel on a satellite.” or in the album closer, “The Ballad of Matt & Mica”, “Open heart, old cliché / Two kids in a new town, baby / Is it my turn? Small-time fame / Bang-bang and a happy ending”.
Magdalena Bay is a clear indication that pop is headed in the right direction, and that there are artists out there with intention that are not scared to try things out and enjoy the process of making music. An enjoyment that you can also notice in everything they do, from the promotion to their live shows which I was lucky to witness. A concert that felt both like a DIY theatre play, but also the best live performance you will see all year, bringing their entire album and its characters to the stage. It is original, thoughtful and incredible to watch.
Words by Marcos Sanoja
Kid Kapachi
Kid Kapichi are responsible for some of the most immediate rock songs of recent years, yet with their third album ‘There Goes The Neighbourhood’, the Hastings punks have made a record so stuffed with artistic subtleties that it not only warrants, but demands repeat listens, and does so without sacrificing the visceral energy which initially established the four-piece as one of the most formidable bands of the 2020s.
The fact that ‘There Goes The Neighbourhood’ was released way back in March, and I’m still regularly listening to it in December, is testament to the strength of the songwriting on show, as well as the ingenious production choices. On every level, these songs have been designed to instantly impact, but also slowly reveal themselves, and the result is deliciously addictive. Take ‘Tamagotchi’, which I initially felt took the band a little too far from their punk roots, swapping guitar-driven establishment bashing for trivial, electro-pop silliness. Today, it’s one of my favourite songs from the band, repeat listens having proved rewarding as the hypnotic, beefy riff gradually lodged into my skull, and the seemingly throwaway lyrics began to resonate as a witty meditation on the passing of time. Much of the album grows on you in this way, and that, above all, is why I believe ‘There Goes The Neighbourhood’ is the best album of the year: it has an infectious replay value which remains unmatched in the current rock sphere.
If SOFT PLAY’s ‘Heavy Jelly’ hits you like a sharp right hook to the head, and The Libertines’ ‘All Quiet on the Eastern Esplanade’ makes you think about modern England with a mellow maturity, then ‘There Goes The Neighbourhood’ lands perfectly in between these two highs, effortlessly mixing personal introspection with political pushback, and utilising an eclectic sonic palette to do so. From the dark, dense riffage of ‘Artillery’ to the joyous synth-pop of ‘Angeline’, the bruising onslaught of ‘999’ to the tender balladry of ‘Jimi’, the band expand their musical repertoire with ease, moving beyond the confines of a traditional punk band, and onto something harder to classify - and infinitely more interesting to listen to.
That ‘There Goes The Neighbourhood’ is Kid Kapichi’s third LP in almost as many years is truly impressive, not least from a production standpoint. While debut album ‘This Time Next Year’ is a fittingly ferocious introduction to the band, and home to songs which have become live favourites for good reason (‘Working Man’s Town’ and ‘Sardines’ still stand out in the setlist), production-wise it is slightly lacking. Sophomore record ‘Here’s What You Could’ve Won’ saw Nothing But Thieves’ Dom Craik join the band on production duties, bringing a newfound tightness to the recordings. But it’s ‘There Goes The Neighbourhood’, which saw Craik return with The 1975 producer Jon Gilmour in tow, that solidifies Kid Kapichi as a band deserving of a place in the nation's headphones, such is the sonic intricacy on display.
Lyrically, the band have always been in a league of their own (see: ‘New England’), and ‘There Goes The Neighbourhood’ continues this trend, with bitingly funny couplets (“I’m just a sucker for her big brown eyes/ She’s got me wanting to be euthanised”) sitting alongside scathing responses to serious social issues, including widespread police misconduct (“So many cases/ If they're not rapists, they’re fucking racists”). The consistent quality of the words throughout the record speaks to the lyrical versatility of lead singer Jack Wilson, who feels like a spiritual successor to iconic British songwriters such as Paul Weller and Alex Turner, his brand of street poetry a refreshing update of their famously observational songwriting.
When deciding which album to write about for this feature, I had to ask myself one thing: which record could I imagine myself still listening to in 30 years time? And when it came down to it, there was only one answer. While I may well return to the strongest cuts from the likes of ‘Heavy Jelly’ three decades from now, I can almost certainly guarantee that the entirety of ‘There Goes The Neighbourhood’ will remain in rotation, such is the timeless quality of its songs. It may not be the masterful double album that The Clash would release as their third LP, but ‘There Goes The Neighbourhood’ points to a future in which Kid Kapichi might just make something of the same magnitude.
Hastings Calling? They're not far off.
Words by Ben Left
AmyL and the Sniffers
Hopeful dreamers to big dreams: Australian punk band take on the world again with looming powerhouse third, ‘Cartoon Darkness’.
Ever since the Australian punk quartet of vocalist Amyl Taylor, guitarist Declan Mehrtens, bassist Gus Romer and drummer Bryce Wilson (her sniffers) fell together in Melbourne’s sticky pub-rock scene all but eight years ago, they have slowly become the masters of their own success.
The self-titled debut in 2019 was a remarkable addition to the powerful punk rock works of yesteryear – but their visceral follow-up of Comfort To Me in 2021 really was the ticket. Ever since I landed on their follow-up (and more importantly the ever-so eccentric Security), I've been hooked ever since. It was my cathartic release, like those in similar circles with Sprints and Mannequin Pussy, Amyl became my voice of reason in an irrational world. More an extending limb to the rather limited footfalls of punk rock, Comfort To Me allowed Amyl and co to delve into something far greater as it traversed over many avenues of glammy strut and classic punk. It was more than just a second record – it was a sign of things to come from a band who had undoubtedly broadened their vision to what they can muster from such a confined genre.
It’s this attitude that has tipped Cartoon Darkness to follow the same trajectory. The third is sharper and smarter in every sense of the word as they leap and bound into thematic swiftness as life’s future as a cartoon – “the perception is dark, but it’s novelty. It’s just a joke. It’s fun.” It’s this life’s-shit-but-we’re-having-fun-doing-it type of punk rock that has played such an integral life-saver to the mundanes of 9 to 5. Including me.
There’s a storm brewing with Big Dreams, a ballad placeholder for those that don't want to thrash around just yet, while swampy lead U Should Not Be Doing That is a wholly classic tip-off to the OGs as it crunchy bass and twitchy guitar licks mark up Bikini Kill of time before and Scowl of time today. Chewing Gum is an outlandish anthem of rip-roar funk, as Do It Do It and Pigs channels the fast chugga-chugs of locomotive punk. It’s an album decorative in looming slows and heavy lulls to the fast, tetchy grilling of mosh punk, losing all sense of feeling. As an album forever changing his spots in colour as each song shifts and changes, it seemed a resolute soundtrack for the life offerings of what the usual day-to-day may bring. Anger, sadness, tiredness, happiness, elation.
It's a record that has personified my year wholeheartedly throughout - a volatile sticky pub-rock substance of rebellious fire. The tough meetings with an equally tough boss who rubs you up the wrong way or your seedy landlord taking the majority of your monthly pay packet for a ramshackle house barely standing. Either or, it's an album pent up in angry punk - but also plays it up a playfulness that doesn't take itself too seriously. Racking your mind over the seemingly dark and foreboding future is never a fun experience, so why live like that? Live your future like a cartoon - no time for mourning: live it like a novelty. I feel like Cartoon Darkness has been a much-needed prescription for me during these late morning starts when the sun hasn't even risen yet and all those smiters in your life that are giving you a hard time.
Understandably so, the band is unperturbed by a straight-forward theme, as the album’s nuances rings and sing with enough diversity for it to be a fab, fab record – by a group who know exactly what they’re about.
Words by Alex Curle
Tyler, The Creator
Tyler, The Creator continues to redefine his artistic identity with Chromakopia, a vibrant and sentimental album that arrived in the last quarter of 2024. The release was both highly anticipated and unconventional, dropping on a Monday - a bold move that defied the standard Friday music release cycle. Tyler justified the decision in an interview, explaining his belief that listeners could better engage with music during weekday commutes. Leading up to the release, teasers like “ST CHROMA” & “THOUGHT I WAS DEAD” created buzz online, with speculation over features proving partly correct: though a theorised Kendrick Lamar feature was absent, Schoolboy Q and Donald Glover delivered standout contributions. The album unfolds across 53 minutes of eclectic sounds, blending seraphic synths, West Coast influenced beats and Tyler’s signature charisma. From the chaotic energy of “RAH TAH TAH” to the enchanting Spanish guitar on the second half of “HEY JANE,” Chromakopia offers a dynamic listening experience packed with many memorable moments.
Thematically, the album delves into personal and societal reflections. Tracks like “I KILLED YOU,” featuring the aforementioned Glover, explore themes of cultural identity, while “Judge Judy” pairs melancholic storytelling with a contrasting tropical beat, echoing similar techniques used on OutKast’s “Hey Ya!”. Tyler also delivers thought-provoking commentary on fame with the astounding “TAKE YOUR MASK OFF” a career-defining song that combines introspection with a breathtaking chorus and contributions from Daniel Caesar. “TOMORROW” pays homage to his mother, encapsulating the zenosyne imposed on Tyler’s life and the bittersweet realisation of growing older. Meanwhile, “LIKE HIM” stands as one of the album’s most poignant moments, addressing fatherhood and identity with stunning vocals from Lola Young. These deeply personal narratives underscore Tyler’s evolution as both an artist and a person, marking a stark contrast to the rebellious teenager who burst onto the scene over a decade ago.
Chromakopia ends on a celebratory note with the outlandish “BALLOON,” featuring Doechii, before closing with the reflective “I HOPE YOU FIND YOUR WAY HOME”. This final track encapsulates the album’s overarching themes of hope, compassion, and growth. As someone who’s feeling lost in their twenties, Chromakopia acts a beacon of hope; a potential payoff for pursing your dreams. Tyler’s relentless creativity and refusal to compromise on his vision solidifies his status as one of today’s most influential artists. With Chromakopia, he not only cements his legacy but also paves the way for the next chapter in his journey, demonstrating his commitment to pushing boundaries and remaining true to himself. The album serves as a testament to Tyler’s artistry, a compelling bookmark in his ever-evolving story.
Words by Alex Peters
IDLES
There’s no mosh like an IDLES mosh.
I’ve seen them twice this year, three times in total, and Joe Talbot and the boys put on a show each time – riotous punks with an edge – and when you’re holding one of the band members aloft in the pit it’s a good time. And that’s what the Bristolians deliver: few punk bands can get away with performing All I Want for Christmas Is You (backed by a tongue in cheek delivery of “this is why we’ll never headline [Rock Werchter]”) quite like IDLES can and that daring energy comes across in TANGK, an album that screams: rock and roll is still very much alive, thank you very much. From the quieter A Gospel, raw and emotional - to the louder, shoutier POP POP POP, its pride comes across in Gift Horse, and it’s an album ultimately about love, and deserving love.
Their mentality may be their hallmark: “No God, No King. I Said: Love is the thing”, and they wear it on their sleeve, and just like Wild God, it’s an album for joy – the rest of the world doesn’t exist when you’re in love, and it’s just incredible for it – they wear their heart on their sleeve and it’s very much a band with its heart in the right place; whether they’re taking potshots at the King, landlords, or the Tories.
“Fuck the King, She’s the King,” is brash and bold – not exactly subtle but it doesn’t need to be an ode to IDLES old sound as they look for a constant reinvention, purposely inclusive and for a band that preach that everyone is inclusive, they sure as hell know how to deliver – their passionate calling for a free Palestine rings loud and true at every show, something that bigger, popular artists have never truly been able to commit to. Even those that have haven’t quite spoken up for Palestine the same way IDLES have. Only few bands, like Kneecap perhaps – have done more. IDLES put their money where their mouth is – and TANGK is all the better for it.
“All Is Love and Love is All,” Talbot riffs in Gift Horse, and… look at it go – denouncing royalty and fascinating riffs on love songs and beauty and power. It’s hardly a unique rock song move, but it makes a change from the band that have arrived with anger in the heart, debuting Brutalism in the wake of Brexit and the death of Talbot’s own mother. Evolution is the watchword here – aggressive music built up at entering the range of advance punk LCD Soundystem energy. It’s hard not to like a band that doesn’t stick to the formula that made them famous; and IDLES defies its formula at every turn.
Words by Miles Milton-Jefferies
KneeCap
The best craic of 2024 - Kneecap ‘Fine Art’.
Irish trio Kneecap have swiftly taken up the mantle of protest music pioneers. With the release of their debut album ‘Fine Art’, Kneecap have provided a profoundly inspiring and motivating voice for many people in the face of severe persecution across the world. In a time of major disparity and violence, Kneecap have shone in the music industry as an example of the power musicians can undertake as political voices, educators and role models. ‘Fine Art’ has provided a mixture of comfort and motivation for people across various different racial, cultural and gender groups.
I strongly believe that it is vital for bands to utilise their influence for the greater good and it is admirable to see Kneecap respect this to the point of making action through music their ethos. Through their comedic charm and staunch politics, the band has nabbed the attention of multiple genre fans as well as the eyes of greater society. ‘Fine Art’ is enriching for the use of genre bending sounds, and Kneecap’s lyricism and protest for Irish independence, world peace and much more has sparked interest from news reporters and politicians for their overt disapproval and downright anger. The band has racked up strong support for their music and political concerns respectively, making them one of the most influential bands of 2024.
Their debut album ‘Fine Art’ has proved impressive for its ability to bring young people together and, most notably, reunite Irish people with their cultural heritage. Kneecap preach the importance of their native language Gaelige by utilising it in their rap lines. The band distinguishes themselves as unique and innovative by advocating for the protection of Gaelige. Their debut album showcases all that is ‘Kneecap’ - fun and energetic ravecore, fierce punk lyricism and ultimate Irish hip hop. The album is an unfiltered memory bank of raw Ireland that sparks feelings of nostalgia and passion for protest. The release of ‘Fine Art’ has proven Kneecap to be one of the pioneering protest bands in music right now, and thus important to the evolution of music as an art and protest form.
Kneecap has boasted global sold out shows with the release of ‘Fine Art’ and has gained a loyal fanbase. With the success of their album has also come the success of the band’s various fundraising efforts. The band have used their newfound success to help organise special charity gigs, football matches and more to support those in need. Alongside their album, Kneecap also co-created, composed for and starred in their self-titled docudrama which sweeped the British Independent Film Awards, taking seven awards home with them including the stellar Best British Independent Film Award. The success of Kneecap as a band is widespread and 2024 proves to be just the beginning for the trio on a journey of greater societal impact. Through empowering lyricism, catchy instrumental experimentation and vibrant personality, Kneecap are on track to be the leaders of a new wave of music.
Words by Erin Estelle Hill
Charli XCX
Most years, the challenge of discerning the best album of the year is uncomfortably complicated. Like searching for a needle in a haystack, such a process can uncover difficultly, disappointment and on the occasion, the pricking feeling that you might be wrong.
Charli XCX’s riotous, zeitgeist defining, noxiously-green masterpiece Brat is an album that thankfully erodes any concerns of making an error when deciding what the album of 2024 might be. Since its release, Brat has wallpapered over everything, whether it be social-media trends, political campaigns or even the commentary over one’s summertime experiences. However, it is not just the album’s impact on society and culture that has ramparted it into a position of magisterial importance. Artistically, Charli XCX’s record bolsters an impressively non-formulaic approach, excavating 2000s rave influenced samples, beats and loops, and adorning them with close-quarters Dionysian reflections that are both private and immensely universal in proportion. On the lyrical front, Charli poses with intimacy and vulnerability as she grapples with stardom, fandom and the dominative anxieties surrounding adulthood.
Brat flags up not only as an album that is nostalgic in it’s musical characteristics, but also in it’s intentions. On tracks such as 360, 365 and Von Dutch, Charli bleeds hedonism as she re-ignites a party mentality lost to the devastating advent of the COVID-19 pandemic, and in doing so reanimates her audience to fight against the internal and external restrictions that have cooped them up for so long. In a year where the world appears to once again be dancing with doom (whether it be in a political, nuclear or conflict-laden sense) Charli XCX has used Brat as both a pickaxe and a sledgehammer to breakdown existential concerns and instead mine or recover a freedom from fear. Distinctly, in tracks such as Sympathy Is A Knife, I Think About It All The Time and So I, Charli flaunts increasing sincerity. Sonically, these tracks are dialled down, and driven by less-dynamic synths. Gulches are allowed to widen and invite absences, suggesting that musically Charli is invested in minimalism aside from the overwhelmingly maximalist qualities of the remainder of the record. Meditations on parenthood, feminine friendships and grief resonate and rouse up our sympathies as Charli braves harsh environments to portray her true-self. Previously, our perception of Charli has been marred by her own edgy satire, or pop-star bravado, yet on Brat, Charli shines a spotlight on herself without a care for the consequences.
Brat is undoubtedly the best album of this calendar year, I could piece together a whole host of reasons why, but if you were to glance not only at the album as a work of art, look at its influence on everything around it. In spawning a successive, formidably experimental remix version, Brat fizzes with an alarmingly, well-earned arrogance that imagines Charli XCX as a party-girl, mean-girl and era-defining empress that has cultivated a civilisation that finds her contemporaries in awe. Helping construct the colossal aspirations of the record, producers A.G Cook and The Dare architect a sonic ambience that is engrossing and punctuated with relentless grooves. Without such production, Charli’s musicianship would struggle to ascend to the heights it does, proving that Brat is a product of many, not simply a few. Composed to be more than just another album, the collaborative and creative process that fuels the record imagines Brat to be a cornerstone of the culture that it has helped define, deconstruct and conjure up. Historically speaking, 2024 might now be remembered as a ‘brat-year,’ rather than the year that simply hosted a ‘brat-summer,’ and it is because of this, we can identify one nugget of truth; that Brat is undisputedly the best album of the year.
Words by Josh Mabbutt
The Last Dinner Party
Climax of the year: Celebrating the transcendental joy of ‘Prelude to Ecstasy’.
Released in a year gripped by an overwhelming angst amongst Gen Zs and Millenials, The Last Dinner Party’s debut album ‘Prelude to Ecstasy’ offered the perfect antidote of pure escapism in our troubled times. More performance art than bohemian indie rock, the band embrace the spirit of liberation in both their lyrics and flamboyant, theatrical dancing that the album’s majestic sound so effortlessly embodies. Formed at Kings College, their classical expertise, high emotional intelligence and phenomenal charisma combines to a produce an album of truly exceptional quality and essentially creates a timeless sound that promises to produce much more in the future.
An album rich with themes such as romance, debauchery and sexuality, its sheer joy lies in their irresistible ability to make you feel a part of their band - a vision they had in mind when writing the album. As the band described in a post Glastonbury set interview with The Guardian earlier this year, their vision for the album was simply but profoundly: “Being in a room of people jumping around. That’s what we wanted to create”.
With the raw boldness of lyrics such as “Do you want me or do you want control?” on the fantastically dramatic ‘The Feminist Urge’, the band channel the charisma of Kate Bush and the theatrical genius of Queen. This makes the album so deliciously compelling - every song is a love affair that as a listener you feel totally invested in from the sweet start to the defiant death as each song weaves its way through the joy and despair of romance in equal measure. With vocal contributions from each band member and sumptuous strings layered with menacing drums, their nuanced sound is a master class in what is perhaps best described as sophisticated rock opera.
And this they absolutely translated into their live shows- having been lucky enough to see one of their three sold nights on their major headline tour in October at the Hammersmith Apollo they were simply sublime. A moment of wild euphoria at such a fittingly beautiful theatre made for them, their performance of ‘Nothing Matters’ felt like a transcendental triumph where both the band and the crowd were at one in a higher realm of musical experience. If creating this moment alone as well many others doesn’t justify the album of the year award for ‘Prelude to Ecstasy’, then what does?
Words by Brendan Sharp
Sabrina Carpenter
As someone who listens to a wide variety of music genres and who likes to keep up with the newest releases, I spent a fairly significant portion of time pondering over which album I believe is THE album of 2024. Some of my favourite albums of this year include ‘Clancy’ by Twenty One Pilots, ‘From Zero’ by Linkin Park and ‘THE TORTURED POETS DEPARTMENT’ by Taylor Swift. However, I believe that there is one album that left a particularly big impact this year both on a subjective and an objective level and that album is ‘Short n’ Sweet’ by Sabrina Carpenter.
The stats alone demonstrate how much of a significant impact this album left on the music scene. Carpenter became the first female artist and the third artist overall to have a number one album and single at the same time with her album ‘Short n’ Sweet’ and her song ‘Taste’ respectively. Moreover, Carpenter became the first soloist to have her first three top five hits chart simultaneously, and the second artist to ever do this after The Beatles. Carpenter’s 19 weeks at number one on the UK singles chart in 2024 ties her with Ed Sheeran for the most weeks at number one in a calendar year this century. Carpenter’s song ‘Espresso’ was the most-streamed song on Spotify in 2024 and her monthly Spotify listeners have almost quadrupled this year compared to what they were in 2023, showing the rapid growth and success that she has faced thanks to her album ‘Short n’ Sweet’.
On a subjective level, this album particularly resonated with me due to its vulnerable lyrics and catchy, well-crafted hooks. Carpenter has managed to incorporate elements from several genres on this album, what with the disco influences on songs like ‘Espresso’ and the country tone in songs such as ‘Slim Pickins’. Lyrically, Carpenter demonstrates her sharp wit and at times self-deprecating sense of humour throughout this album with lyrics such as “You’re holding space for her tongue in your mouth” and “This boy doesn’t even know the difference between there, their and they are, yet he’s naked in my room”. The storytelling on this album is outstanding and the explicit lyricism makes it easy to listen to and to relate to.
I have been a fan of Sabrina Carpenter since 2017 after the release of her album ‘EVOLution’ and I still remember seeing her perform back then in a small venue with a capacity of just over 1000 people. As someone who has supported her since the early days of her career, it filled me with pride to watch her achieve success at such a major and global level in 2024. Going from performing in small grassroots venues to opening for Taylor Swift on the eras tour and selling out The O2 in London is a huge achievement and speaks volumes on how ‘Short n’ Sweet’ skyrocketed her success as an artist.
In short, ‘Short n’ Sweet’ managed to break many records in music and opened up new doors for Sabrina Carpenter, making her one of the biggest popstars in the world right now. I don’t just believe that ‘Short n’ Sweet’ is the album of the year, but also that Sabrina Carpenter is the artist of the year 2024 due to the undeniable impact that this album release had on her career.
Words by Irina Atanasiu
Waxatachee
I had an intense love affair with Waxahatchee’s music during the first lockdown back in 2020. She had just released Saint Cloud, and there was a lot of buzz about the record across the Americana/alternative scene. I listened to it so much that I knew every chord, chime, and vocal note. So, I was a little apprehensive going into my first listen of Tiger’s Blood. But I needn’t have worried one bit.
Tonally, it follows on from Saint Cloud and feels like a natural progression musically. As per usual, though, Katie Crutchfield (lead singer and songwriter) never fails to blow me away with her lyrics. I truly believe that she is one of the best songwriters from the past 25 years. She is a big fan of icon Lucinda Williams, and you can definitely tell.
The opening track of the album is 3 Sisters, which is melancholic and retrospective, about the end of a relationship. “I don’t see why you would lie/It was never the love you wanted/” changes to “I don’t see why you would try/It was never my love you wanted” it’s a small change, but genius.
Track number 6 was the second single of the record, Bored, and it’s up-tempo, and very tongue-in-cheek, you can tell that Crutchfield had fun writing and singing it.
One of the things that Waxahatchee does best is metaphors, and that has always spoken to me deeply. This is particularly apparent on one of my favourite tracks, Crowbar. The production is full of guitars, acoustic and electric, and moves the song along at a perfect pace. “You can take it pretty far on a prayer that’s pale and synthetic/Bending my crowbar with tension, it’s telekinetic” she sings during the chorus. It’s incredible and carries powerful imagery.
Another highlight for me is The Wolves. At a glance, Tiger’s Blood appears to be a break-up album. But it’s Waxahatchee and as ever, there is much more beyond the surface. I think this track really shows just how talented she is as an artist. “You don’t ease up on me/You know I stay in a hurry, babe/I miss a lot of good things” she delivers in the pre-chorus. There is a quiet, steady undercurrent of anger throughout the song, and it is very powerful. “If I throw myself to the wolves/I did it all for the glory/Not the fruit rotting in my shade” is one of my favourite lines from the entire song.
Tiger’s Blood is an album that I will recommend to anyone whenever they ask me what I’ve been loving this year. The more people that listen to this album, the better.
Words by Lucy Skeet
Doechii
Doechii has solidified her place as one of the greatest rappers on the scene with one of the best drops of 2024, Alligator Bites Never Heal.
The Florida rapper’s talent is undeniable, and anyone who's heard her music knows that she's quickly emerging as the future empress of hip-hop. Drawing inspiration from legends like Kendrick Lamar, Beyoncé, Lauryn Hill, Eminem, and Nicki Minaj, Doechii's lyrical prowess is already on par with the best in the game.
But let’s slow down a bit…
While she’s not quite at their level just yet, and it’s taken a few albums for her international acclaim to truly take off, Alligator Bites Never Heal demonstrates that she’s on the fast track. The mixtape's calibre and inventiveness suggest that, in the years to come, Doechii’s name will stand alongside those giants.
The funky, fresh vibe of Alligator Bites gave the same euphoria felt after the first listening of Good Kid, M.A.A.D City. The overwhelming thought was, "rap is safe!" Unlike Kendrick’s project, though, Doechii's mixtape is more chaotic, with a loose structure and scattered themes.
What stands out most is how the tape showcases Doechii’s immense talent and potential. It’s easily her best work to date, with minimal features, letting her flaunt her skills solo. That’s not to say she’s not a great collaborator; this year, she’s been one of the standout features on tracks like Balloon from Tyler, The Creator’s Chromokopia, which is arguably one of the best songs on that album. Alligator Bites is as impressive a project as Tyler’s and that’s to compare his eighth studio album to her third.
This mixtape marks a major milestone for Doechii, cementing her place in the global spotlight. Her name will soon be synonymous with words like "queen," "rap," and "of." This is the moment where she blows up the way she’s destined to.
With incredible performances on The Late Show and NPR’s Tiny Desk, Doechii is sliding to the top of everyone’s favourites with a curious and charismatic performance style she emboldens every stage she takes to.
Doechii is a one-in-a-million talent, her skills don’t come around often and this is either her moment or the first of many. She can spit with the best of them, as she proudly declares, she’s a “trap Grace Jones.” This mixtape delivers a perfect mix of braggadocious, hard-hitting tracks, introspective storytelling, and zany character-driven tracks, all of which Doechii seamlessly weaves between.
This is the most important release of 2024 because it is going to be a project that fans look back on and think “that’s when it all changed”. The tape is flashy, arrogant, sexually explicit, and violent and yet simultaneously vulnerable, goofy and soft which combines every facet of emotion that hip-hop has been exploring since Duke Bootee said “sometimes it makes me wonder”.
Alligator Bites Never Heal sees traditions of contemporary and classic hip-hop brought to the forefront as the audience lays witness to history in the making.
Words by Adam Mir
