The 20 Best Albums of 2024 (So Far)
Ooh-ooohhh, we're halfway there.
I’m just going to come out and say it: 2024 is (at the time of this writing) the best year of this decade for new music.
From high-water marks for A-list artists to stunning creative breakouts from budding stars across a variety of genres, the qualitative batting average for new releases to this point in the calendar year has been exceptional.
All this means it was difficult to keep this list as short as it is. It could’ve easily been 40 or 50 albums deep. But, at a certain point, I had to rein it in. The final collection listed below is the epitome of all killer, no filler.
This mid-point recap gives you 20 titles that rank among the best of the almost 200 records I’ve listened to so far, plus a handful of honorable mentions that are also worth your time.
Two quick notes before we begin:
First, feel free to check out the newsletter archive for essays on more recent releases that I loved, including some that fell just short of making this list.
Second, a brief reminder to subscribe and share the newsletter if you haven’t already done so. It’s a crucial aspect of growing this fantastic community of music lovers on Substack.
First, some honorable mentions.
“Freedom Movement” by Kamasi Washington
Kamasi and an incredible cast of supporting players—including some names non-jazz fans will recognize—balance moments of high drama with flashes of laid-back, uber-confident funk and soul. A departure, but not in a negative sense.
“Ohio Players” by the Black Keys
Call me a sucker that fits squarely in the band’s target demographic, but I enjoyed this record more than anything they’ve released since El Camino, their runaway smash that’s more than a decade old. It’s a back-to-basics approach, and I’m here for it (though, based on recent reporting, I’m in the minority).
“On the Lips” by Molly Lewis
An entire record of nothing but whistling, backed by vintage-sounding cocktail lounge jazz instrumentals? It can’t actually be that engrossing, can it? Oh, but it can. This one’s filled with smoky, seductive elements that would sound right at home in a Twin Peaks episode.
“Pinball” by MIKE & Tony Seltzer
MIKE keeps his hot streak alive with this hypnotic mixtape. Coming off the critical acclaim of Faith is a Rock, a record that made my Top 50 list of 2023, there’s a different, arguably looser energy to this one that fans and newcomers should both dig.
“Three” by Four Tet
What I liked most about this record was its sonic foundations’ tactile, retrograde nature. It’s not a nostalgic retread of the house music of old, but it feels like an update of a well-liked formula, not unlike James Holden’s approach to his 2023 record. The stranger it got, the more I liked it.
And now, the best albums of 2024 (so far), in alphabetical order.
1. “Almighty So 2” by Chief Keef
11 years after the initial release of Almighty So, a mixtape that brought Chicago drill into the Soundcloud rap era, Chief Keef has released the long-awaited follow-up—the rare sequel that builds on and surpasses the original. The emcee, still only 28 years old, goes as hard as he ever has, backed up by hefty beats that, except one track, he produced as well. Rolling Stone called this record “the link between millennials and Gen Z that rap needs.” I couldn’t agree more.
2. “As Grande As” by Grande Mahogany
Grande Mahogany’s debut LP, As Grande As, is as mesmerizing as any artistic announcement I’ve heard in several years. By combining psychedelic rock riffs, P-funk grooves, and even some boom-bap hip-hop flavor here and there, his music genuinely sounds like something new and exciting instead of a copy of a copy of a copy. The glowing lo-fi production is a nice touch throughout, recalling the two clear influences here: Jimi Hendrix and Funkadelic.
3. “Bleachers” by Bleachers
Amid the Taylor Swift and Lana Del Rey backlash, Jack Antonoff isn’t exactly on everyone’s can’t-get-enough-of-this-sound list right now. I bring this up because his latest outing with Bleachers is not only a pleasant surprise overall but a knowing wink to some of his detractors. Beneath the pastiche of 80s sonic elements, Antonoff’s writing is, at times, brutally self-aware. It all adds up to songs that sound familiar and much fresher than a lot of today’s pop rock.
4. “Bright Future” by Adrianne Lenker
The best songwriting stays with you long after the music stops. Your mind lingers in the places it suggests and the memories it conjures up. Bright Future, the latest from Big Thief’s driving force, Adrianne Lenker, features some of the best lyricism you’ll hear in 2024. Covering a wide range of topics, from the tribulations of climate change to a deep sense of gratitude that she can exist as she does, Lenker’s writing elevates the sparse composition to a transcendent plane.
5. “The Collective” by Kim Gordon
If you summarize Kim Gordon’s career, from Sonic Youth to her more recent solo records, one word that comes to mind is “uncompromising.” Her latest, The Collective, is arguably her most head-spinning effort to date, sporting gritty, hip-hop-style production and simmering, stream-of-consciousness rants that take aim at mundane, everyday annoyances. It’s not necessarily a pleasant listen at times, but it’s as arresting as a singular vision.
6. “Cowboy Carter” by Beyonce
I’m usually loathe to make calls like this so early in the calendar year, but it feels unlikely that another album will push Cowboy Carter from the top of this year’s heap. It’s a daring, timely, and artistically spectacular statement on America’s relationship with country music and the minority voices its historical narrative consistently overlooks. I didn’t think it was possible to top Renaissance, especially with such divisive material, but this LP is an out-and-out masterpiece.
7. “Dark Matter” by Pearl Jam
Remember when Pearl Jam released albums that didn’t tinker with audience expectations and were chock-full of one rocker after another? Before Dark Matter, I did, but just barely. This record is a hard-charging return to form for fans like me who increasingly pined for the band’s 90s grunge glory days. For those lucky enough to have snagged tickets to their (at the time of this writing, mostly) sold-out supporting tour, you’re in for a treat when they play the new stuff.
8. “Don’t Forget Me” by Maggie Rogers
With more and more albums hitting streaming platforms and store shelves in various shades of bloated and underdone, Maggie Rogers’ Don’t Forget Me is a reminder that less is often more. Clocking in at a touch over a half-hour, the singer/songwriter’s streamlined approach fuels her rawest, most honest—and, yes, outright best—album yet. For a record all about growing up and, in specific ways, growing apart from your past self, it’s also her warmest and sweetest vocals ever.
9. “Eternal Sunshine” by Ariana Grande
Her first studio album since 2020’s Positions, Ariana Grande’s eternal sunshine is the pop star’s most complex, mature effort to date. Now in her thirties and picking up the pieces from her much-publicized 2023 divorce, her songwriting sounds far removed from the invincible tone of tracks like “break up with your girlfriend, i’m bored.” Beyond the club-ready jams like lead single “yes, and?” Grande’s vocal performance shines brightest when she’s at her most vulnerable, like on “Bye” and the title track, which references the film of (somewhat) the same name.
10. “Everybody Can’t Go” by Benny the Butcher
Like Conway the Machine’s mainstream rap breakout in 2023, Benny the Butcher’s Everybody Can’t Go is a coming-out party for the veteran emcee. Def Jam clearly thinks highly of Benny’s mass-market potential, too, surrounding him with big names, including Snoop Dogg and Lil Wayne. That said, the production steals much of the show here, threading the needle between hard-hitting grit and haunting, more abstract instrumental flourishes.
11. “Fabiana Palladino” by Fabiana Palladino
The fully-formed nature of Fabiana Palladino’s self-titled debut shouldn’t be a surprise if you know the backstory. The LP took years to finalize and was completed while she was working as a session musician for luminaries like Jessie Ware and Sampha via Jai Paul’s label, Paul Institute. With references to mid-80s synth-pop and new wave, it’s a meticulously crafted delight from start to finish.
12. “For Your Consideration” by Empress Of
Lorely Rodriguez’s fourth album isn’t just an excellent record—it’s a statement from an artist who’s fully come into her own. Her knack for earworm-y melodies has grown stronger over time, as has her ability to let eclectic production choices truly match her energy and style. With pulsing rhythms and lyrics that ride the highs and lows of a steamy night out, Empress Of has delivered one of the year’s most creatively inspiring records.
13. “GRIP” by serpentwithfeet
Maryland native Josiah Wise has crafted a stellar R&B&E record that takes carnal urges and steeps them in deeply personal storytelling. This approach somehow never feels forced or gimmicky, despite moments that feel like we’re eavesdropping on confessions we shouldn’t necessarily be hearing. The resulting listening experience is infinitely relatable for anyone who’s ever felt the pinch of unrequited lust.
14. “Hovvdy” by Hovvdy
The perfection of Hovvdy’s self-titled LP lies in its imperfections. Instruments are treated oddly, vocal harmonies sound slightly off, and some lyrics sound like they’re tumbling out of Charlie Martin and Will Taylor for the very first time. However, what it lacks in modern alt-pop gloss is that it more than makes up for the ability to fully envelope the listener. A muted magic makes several of these tracks nothing short of spellbinding.
15. “I Got Heaven” by Mannequin Pussy
Beneath its caustic exterior, Mannequin Pussy’s I Got Heaven frequently pulls the curtain back to reveal poignant moments of romantic longing. It accomplishes this by recalling 90s alt-rock from Sonic Youth, Hole, and the Pixies, updating several aesthetic commonalities for a younger (and very online) audience. Much of the credit must go to Marisa Dabice’s vocal performance, which deftly and sensitively handles lyrics that, in lesser hands, would’ve come across as schmaltzy or cheap emotional ploys.
16. “Orquídeas” by Kali Uchis
Kali Uchis’ latest, Orquídeas, is mesmerizing in its ability to shift effortlessly from one subgenre to another. On several occasions, those moves happen mid-song, yet somehow, they always feel organic and natural instead of jarring. From the disco hybrid “Igual Que un Ángel” to the cumbia and salsa stylings of tracks like“Labios Mordidos” and “Te Mata,” every moment is infused with a distinctive, sumptuous joy.
17. “Slow Burn” by Baby Rose and BADBADNOTGOOD
Despite what you may think while listening to this record, Baby Rose supposedly wasn’t yet 30 when she recorded Slow Burn with the purveyors of all that is jazzy and groovy, BADBADNOTGOOD. To some, it may sound blasphemous to invoke such names, but I couldn’t help but be reminded of greats like Nina Simone and Billie Holiday as I cruised through this EP. Her tone and command of the microphone is that good.
18. “Tyla” by Tyla
The full-length debut of one of Afrobeat’s rising stars signals the arrival of a major talent that can transcend pure party tracks, like “Water,” which has helped her cross over. Tyla’s sultry vocals, which sometimes seem to bend the R&B and amapiano instrumentals to her will, carry this record, positioning her for a sophomore breakthrough similar to the ones released by Rihanna or Aaliyah many years ago. You’ll undoubtedly be hearing more from Tyla in the near future.
19. “Wall of Eyes” by the Smile
This album doesn’t just one-up this group’s studio debut, A Light for Attracting Attention—it rises above other recent Radiohead side projects as the best collection of songs Yorke and Greenwood have released since 2016’s A Moon Shaped Pool. Tracks like “Teleharmonic,” “Bending Hectic,” and the stunning title track are among the most hypnotic listening material to emerge so far in 2024.
20. “What Now” by Brittany Howard
Anyone who reads this newsletter regularly knows I’m a Prince stan. Listening to Brittany Howard’s latest, What Now, I was reminded several times of what it’s like to be in the presence of a creative force akin to the Purple One. Howard is just as comfortable building a funky track around an undeniable pop hook as she is laying her soul bare in a low-key, jazz-inspired ballad. An otherworldly talent, this LP proves that Howard’s impressive debut was far from a one-off.
Which of these records is your favorite? Do you have a great LP to add to this list? Share your thoughts in the comments.
I've got to check most of these out Matt. Only a couple of them have been on my radar.
The Ohio Players are still active? Wow