Favorite Albums of 2024

Prettifun – Pretti

Genre: Trap

Must Listens: Ice Cream, Light, Wings

Kendrick Lamar – GNX

Genre: Rap

Must Listens: Squabble Up, Luther, Heart Pt. 6

Deathbrain – A Slice of Life

Genre: Drum n’ Bass

Must Listens: State of Happiness, Remember Tomorrow, Stargazing With You

Joanna Wang – 破爛酒店 (Hotel la Rut)

Genre: Art Pop

Must Listens: She Had a Habit of Meeting All of the Artists Backstage, Strange Beast, The Detective

Vince Staples – Dark Times

Genre: Rap

Must Listens: Black&Blue, Étouffée, Little Homies

Alva Noto – Xerrox, Vol. 5

Genre: Ambient

Must Listens: Xerrox Topia, Xerrox Ascent II, Xerrox Xenonym

The Cure – Songs of a Lost World

Genre: Gothic Rock

Must Listens: Alone, I Can Never Say Goodbye, Endsong

Galneryus – The Stars Will Light The Way

Genre: Power Metal

Must Listens: The Reason We Fight, In Winter’s Gaze, I Believe

Salute – True Magic

Genre: House

Must Listens: Saving Flowers, System, Perfect

FM Skyline – Images

Genre: Chillsynth

Must Listens: Fresnel, Motion Pictures, In the Hills

25. Louie Zong – RAT TAXI

Genre: Nu Jazz

I don’t think I’ve ever encountered an album that so succinctly captures its sound through its title. The cover alone should be enough to tell the tale: a Dreamcast-era game of a rat taxi driver that cruises through New Cheese City as the sun sets to the tune of fusion jazz. The concept is surprisingly well thought out as it cranks the ignition on “Traffic Jam” to blaring horns and chopped vocal samples. Moving from the acidic squelches on “Rush Hour” to the chiptune synths of “Dumpster Disco”, each song features tight programming and an addictive groove that finds its way into your head.

Where RAT TAXI excels is how it filters jazz grooves through a frame of video game nostalgia. Much like other recognizable soundtracks in Jet Set Radio and Crazy Taxi, Louie Zong crafts a story in between the melodies. Arpeggiated movements convey a sense of urgency, instrumental breaks indicate a setting shift, and the slight reverb underscores a feeling of familiarity. RAT TAXI is a sharp 24 minutes of funky grooves and nonstop fun dropped onto a colorful palette of fusion jazz. What more do you need?

Must Listens: Traffic Jam, Basement Boogie, Rush Hour

24. Meaningful Stone (김뜻돌) – Angel Interview (천사 인터뷰)

Genre: Dream Pop

Meaningful Stone’s name sounds a little strange initially, but it makes a lot more sense when you dive into her music. A mix of psychedelic dream pop and shoegaze riffs, she searches for the meaning in even the smallest of things. Where her debut was focused on her life story as a teenager, Angel Interview is more of a philosophical affair. Centered around her ethereal vocals, the songs tell dream-like tales of love, ennui, death, and societal woes. Throughout the 12 tracks, she experiments with various genres that help convey the sentiment of these vignettes.

Angel Interview starts off with echoing guitars on “Supernova” and “Mikael” as she murmurs words of comfort to the stars above. “A Missed Call From My Dream” is a wistful voicemail that favors a charming twee pop sound. Most of the time, the album is deeply sentimental: “우리의 심장이 같은 속도로 뛸 수 있도록/내가 좀 더 천천히 천천히 걸을게” she promises. Yet just as suddenly, the last two tracks deviate to something completely different. Venting her frustrations about beauty standards and societal conformation, “Esc” draws from punk rock influences and distorted guitars. The closer is another left-field change as it shifts into deep house with an acidic bassline and looped grooves. Angel Interview is all over the place but that’s what makes it so compelling as she navigates her vulnerabilities.

Must Listens: Supernova, Mikael, When Our Hearts Beat at The Same Pace

23. Sinema – Fear of the Fall

Genre: Screamo

Although the cultural obsession with nostalgia revivalism has produced plenty of forgettable acts, there are also rare moments when a band strikes gold. Sinema’s debut LP Fear of the Fall is built on 2000s screamo influences but the Denton, TX quintet carves out a sound that’s undeniably theirs. Taking a heavier melodic approach, there’s a far more subtle balance between the screams of Hunter Wilson and the clean vocals of Caleb Molina. The dynamic between both vocalists propels Sinema into a territory different from that of their contemporaries. Fear of the Fall doesn’t suffer from the vocal clichés of shrill shrieks suspended over breakdowns because they prefer to bleed into harmonics and upbeat grooves.

Sinema often reminds me of early Saosin or Hopesfall who also favored vocal harmonies and delayed riffs to create contrast. Adding a metallic flourish on songs like “02” with alternative chord progressions or explosive drum fills on “Weather to Believe”, Fear of the Fall sways naturally between the heavier and softer passages. With such a ferocious start right out of the gate, Sinema will be a band to watch out for as they continue to hone their sound.

Must Listens: 02, Weather to Believe, At Least Be Human

22. Cece Natalie – Miss Behaves

Genre: Electropop

There’s something so eeriely specific about the aughts revivalism that Cece Natalie captures on her debut album that it feels almost foreboding. Flip through the 2000s nostalgia farmers on YouTube or Soundcloud and everything sounds identical: amateurish recreations of trends from a bygone era that few were even alive for. But whether Cece intended to or not (she wasn’t around for the 00s heyday either), Miss Behaves hints at the consuming darkness buried under the shining club lights. The album starts with a very Britney-influenced vocal chop on “Limit” before swerving into the club bangers in “Exitin” and “Ambulance”. Beneath the flashy neon glow, though, a creeping anxiety permeates the frigid, almost synthetic production.

The echoing, ethereal vocals are dissociative: something vaguely familiar that you latch onto as you stumble out of a club at 4 AM. There’s this anxiety-inducing quality about Miss Behaves that other 00-obsessed acts ignore in favor of idealism. As the choruses slowly fade into the synths and drum programming, you can feel that familiar chill run down your spine. Miss Behaves isn’t just the party, it’s also the come-down that you’ve long forgotten about.

Must Listens: Ambulance, 754, Tennis Court

21. Bloom Dream – It Didn’t Have To Be This Way

Genre: Post-Hardcore

It Didn’t Have To Be This Way seemingly materialized out of thin air. As Bloom Dream’s debut album, it’s forgone a lot of the sounds they worked with on their initial EPs and feels like an entirely new band instead. Incorporating post-hardcore breakdowns, ballistic riffs, and an atmospheric approach to skramz, the album is a relentless barrage of bloodlust and rage. Opening with “No Tomorrows 1999”, a Sopranos sample becomes a sinister affair with the creeping instrumentation before exploding into pained howls and pounding drums.

The album revolves around the concept of violence and not just bloody conflicts overseas. Instead, it locks onto the violence of a state and those that perpetrate it: police brutality, wealth disparity, gun culture, and the hypocrisy that pervades it all. The intensity of the tracks culminates in “Violence”, a harrowing song about an uncle gunned down by police. You can feel the fury that can never be satiated through the tortured screams and regret. “I never met you but I still love you/And I’ll never fucking forgive him for taking you away from me/I’m so sorry, tío, you deserved better”. Bloom Dream crafts a visceral experience that serves as a chilling wake-up call: what if it really didn’t have to be this way in the first place?

Must Listens: No Tomorrows 1999, Blackwater, Violence

20. Anciients – Beyond the Reach of the Sun

Genre: Progressive Metal

The return of Anciients after eight years finds them in peak form on Beyond the Reach of the Sun. This is their best work to date, as they effortlessly blend technical riffing with entrancing melodies and sludgy passages. Based on the concept of a society being enslaved by outer dimensional forces, the brutal grooves and blistering drums carve a tale of resilience and destiny. Anciients have come into their own here as they trace through the rhythms with progressive elements and a focus on clean vocal melodies. Taking influence from blues, psych rock, and atmospheric sludge, the heavier sections are balanced by their experimentation as they branch out to different sounds.

Despite the lack of emphasis on harsh vocals, the weight of the riffs still shakes your bones. The frantic tremolo-picking solo on “Is It Your God” dissolves into a crushing solo riff before igniting into an explosive keyboard and synth finale. “Cloak of the Vast and Black” might be one of their best songs yet, as the acoustic guitars transform into chugging guitars and searing growls. The shift in focus toward more atmospheric elements has helped Anciients shape their sound and construct each song as an independent arc to convey their myth. Fusing their ambitious ideas with tight instrumental interplay, Beyond the Reach of the Sun is a masterclass in composition and storytelling.

Must Listens: Melt the Crown, Cloak of the Vast and Black, In the Absence of Wisdom

19. Wapddi (왑띠) – Like Our Friend Murphy (우리의 친구 머피처럼)

Genre: Indie Rock

Unlike his Korean peers in the indie scene who’ve gained traction internationally over the past few years, Wapddi has preferred to stay out of the spotlight. As the founder of the 6v6 Recordings label, he’s much more involved with discovering new artists and helping the Korean scene grow. As a result, his music doesn’t often receive the same attention that Parannoul or Asian Glow might. But 우리의 친구 머피처럼 is proof that his songwriting and emotional crescendos are just as good, if not better than his contemporaries. Throughout the album, Wapddi shows an intuitive understanding of what makes a hook infectious and plays with the ebb and flow of passages using mathy riffs.

The longer tracks like “Two Points”, “I’m Still Trapped”, and both “6v6” songs give Wapddi room to slowly build up an emotional crux. The long instrumental passage on “6v6 Pt.1” transforms into a relaxing sample of crickets and marching drums, bringing forth a nostalgia for long-lost summer days. In the end, the guitars swell up once again and explode into punchy riffs that pierce the night sky. “I’m Still Trapped” flickers with glistening synths that shift with the vocal harmonies and bleed into a blazing climax. Touching on influences of emo, math rock, and power pop, 우리의 친구 머피처럼 brings together the electric sounds of the Korean underground as a new paradigm for the scene.

Must Listens: Story, Two Points, I’m Still Trapped!

18. Aquilus – Bellum II

Genre: Symphonic Black Metal

Bellum II functions as the second companion piece to Horace Rosenqvist’s decade-long project under the Aquilus moniker. With such a massive album, he eventually split it into two parts with Bellum I released in 2021. The sequel follows much of the thematic elements of the first, weaving together classical folk influences with black metal. However, the blackened aspects have become less prominent here as Rosenqvist relies heavily on his piano melodies to guide the session drummers, violins, flutes, and vocalists. The result is a gorgeous touch of classical orchestration that tinges the thundering blast beats and blistering riffs.

The album revolves around its two massive centrepieces, “Nigh to Her Gloam” and “My Frost-Laden Vale”, both of which clock in at 17 minutes. This is where the parallels are most striking as the heavier dynamics bleed into the moments of serenity. Rosenqvist moves through the labyrinth with chaotic precision, shifting from soft piano melodies to explosive guitar solos that underscore anguished screams. The crescendos are frequent but purposeful as they branch out in multiple directions. Everything is deliberately planned and refined with no improvisation to speak of. Moving gracefully through its tonal shifts and cinematic pacing, Bellum II is a stunning conclusion to the Aquilus storyline.

Must Listens: Into the Earth, Nigh to Her Gloam, My Frost-Laden Vale

17. Iglooghost – Tidal Memory Exo

Genre: UK Bass

Iglooghost has always loved worldbuilding, crafting outerdimensional narratives for each album he releases. Tidal Memory Exo is no different, as his promotional site constructs an alternate UK where creatures and artifacts have begun appearing on tidal coasts. The diagrams of greyscale sound equipment and fossilized critters drive the post-apocalyptic atmosphere found on the tracks. The ethereal vocals and slow wobbles on “Spawn01” are contrasted by the mechanical jitters of “flux•Cocoon”. Like tidal waves crashing into each other, Iglooghost connects the squiggly IDM melodies with punchy UK bass to form a consistent shuffle.

Deconstructed piece by piece and interspersed with repetitive vocal samples throughout, Tidal Memory Exo is a chaotic amalgamation of layered synths that conceal a deep vitality within. Iglooghost is a master of breathing life into even the most complex glitches and structures. Using vocals as an extension of the instrumentation, he maneuvers the melodies to mimic the oscillation of the tracks and give a touch of humanity to the walls of sound. Bursting through the speakers with its metallic textures and massive treble, Tidal Memory Exo goes deep into the ocean to find ancient secrets buried underneath.

Must Listens: New Species, Spawn01, Geo Sprite Exo

16. TURQUOISEDEATH – Kaleidoscope

Genre: Drum N’ Bass

Last year, Turquoisedeath cemented themselves in the Drum N’ Bass scene almost immediately with Se Bueno, an unforgettable ride into the atmospheric strain of the genre. Now returning on Kaleidoscope with polished breaks and even more melodic synth pads, the album takes a deeper dive into progressive territory. While atmospheric drum n’ bass is usually restrained in an attempt to evoke specific feelings, it can fall victim to droning progressions and stretched-out empty spaces. Turquoisedeath runs contrary to this notion as each song evolves constantly throughout its runtime. Just take “Leviathan Sanctuary” as an example. What starts as standard DnB breaks quickly shifts into chopped vocal samples that explode into a cosmic breakdown.

None of the songs fall victim to repetition because there’s always an indication of gradual momentum swings. Even the longer passages have post-rock and shoegaze influences attached to them that diversify the trajectory of the melodies. Like its namesake, Kaleidoscope is less focused than Se Bueno as it branches out into an array of experimentation and sonic hues. Despite this, it never loses its footing as Turquoisedeath grounds the album with clever motifs and familiar breaks. Kaleidoscope is full of ambition and wonder, a testament to how much can evolve out of the simple amen break.

Must Listens: Glimmer, Leviathan Sanctuary, Underneath

15. FLO – Access All Areas

Genre: R&B

Girl groups in the West have been diminishing over the past decade, but FLO seeks to correct that course on Access All Areas. Bringing back the starry-eyed ballads, catchy anthems, and the vocal agility of 90s R&B, the trio have quickly ascended into mainstream attention. On their debut, they compile their experience over the past three years and craft a singular vision. Full of homage to the glory days of R&B, FLO play up their influences in gorgeous vocal harmonies and tight choreo reminiscent of TLC or Destiny’s Child.

Despite the promise to revive the 90s sound, Access All Areas keeps a contemporary edge thanks to its production. MNEK works with hip-hop, soul, and electronic sounds to build a foundation for the girls. Combined with string arrangements from violins, cellos, and guitars, each song props up their little vocal intricacies as they shift from syrupy hooks to double-time flows. Their chemistry is best exemplified on “Check”, featuring a bouncy double-kick beat with the girls listing off a list of green flags. Access All Areas is a definitive debut from a girl group that exudes every bit of charisma and idealism that we’ve been sorely missing.

Must Listens: Walk Like This, Check, Caught Up

14. Godspeed You! Black Emperor – NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD

Genre: Post-Rock

As of December 2024, this harrowing title for the newest GYBE record has now become well over 40,000 and that’s only the “official” figures. “No Title…” is a reminder of the destructive genocide in Gaza that is happening in front of our very eyes with the support of our governments. With what appears to be a hastily thrown-together album cover and no real title, the music feels secondary to the message itself. Nevertheless, the album carves out the grim realities and confronts us with the evergrowing apathy toward Palestine.

Opening with a slow dirge in “SUN IS A HOLE SUN IS VAPORS”, the sound is apocalyptic and crushing in weight. The band’s shift towards linear rather than lateral sounds since their reformation helps place a sense of urgency upon the dynamics. Each sweeping crescendo and melody change is predictable, almost as if pushing us towards a pre-defined path. As a result, even the glimmers of hope scattered throughout the climaxes still touch upon the desolation leading up to it. The brutality has given way to fearlessness and resilience, but even at the end of “Grey Rubble – Green Shoots”, a lingering unease pervades the delicate movements. Palestinians should never have been asked to show this courage in the first place.

Must Listens: Babys in a Thundercloud, Pale Spectator Takes Photographs, Grey Rubble – Green Shoots

13. Jackzebra – King of Kings (王中王)

Genre: Cloud Rap

Of all the global rap scenes, perhaps one of the best-kept secrets is China’s underground. Where mainstream Mandarin rappers favour crisp production and pop melodies, underground artists like Bloodz Boi, Billionhappy, Miraisenshi, and Jackzebra are far more experimental with cloud rap and Pluggnb influences. Though he’s drawn comparisons to Bladee and Lil B from his indifferent delivery and melodic mumbling, Jackzebra carries a poetic flair made possible only through his Autotuned deliberations in Mandarin. Lamenting his angst and self-doubt one minute before dropping literary allusions to existentialism the next, 王中王 shifts through a wide spectrum of emotionality. Backed with production that’s halfway between the icy landscapes of early Drain Gang and the triumphant sounds of Chicago Bop, the album features a gigantic list of collaborators with some big names like Surf Gang’s Evilgiane and graveem1nd’s Kuru.

Throughout 王中王, Jackzebra never portrays himself as anything more than a regular guy. As he drops scathing critiques of materialism, nationalism, and the brutal work culture, there’s an authenticity buried under the reverbed Autotune. On “我永远的”, he mocks Chinese rappers who steal from black culture: “You imitate black people but why haven’t you become a legend yet?/There’s a Pacific Ocean-sized distance between you and street life” (你学那些黑人可你怎么还没变成传奇/你离街头生活差了一个太平洋的距离). Even if you understand Mandarin, it’s a Herculean task to determine exactly what’s underneath. But if you manage to make out the hidden musings here and there, something is captivating about his matter-of-fact approach to lyrics. There aren’t any delusions of grandeur about being something he’s not; what you see of Jackzebra on 王中王 is what you get.

Must Listens: 硬碰硬, 夜游台北, 囧

12. ARTMS – DALL

Genre: K-Pop

Not even two years ago, the idea that all of Loona would be able to settle their contract disputes and hit the studio immediately was almost unfathomable. Yet by summer 2023, they were all good to go, and the ODD EYE CIRCLE girls headed to MODHAUS with HeeJin and HaSeul to form ARTMS. Taking on a concept revolving around their namesake Artemis, the goddess of the moon, DALL serves as both a closing chapter to LOONA and a look forward to a brighter future. In classic LOONA fashion, the girls splice together sounds of future bass, garage, city pop, and synthwave effortlessly. Kicking things off with “Virtual Angel” (which might be the best K-Pop single of the decade so far btw), it’s as if they never left.

DALL weaves together a tapestry of memories from the dreamy samples on “url” to the ODD EYE CIRCLE callbacks on “Air” to the familiar vocal harmonies on “Butterfly Effect”. Each song feels like a full circle moment for ARTMS as they position themselves toward the future. The vocal work on the album is some of their best yet, as the girls alternate through haunting melodies and angelic passages. Cosmically aligned between the five members, DALL is an enchanting foray into what comes next.

Must Listens: Virtual Angel, Candy Crush, Butterfly Effect

11. Alcest – Les Chants de l’Aurore

Genre: Blackgaze

After five years, Alcest’s triumphant return sees them once again pivoting away from the darker edges of blackgaze in favour of a melodic approach. Focused on creating sweeping passages, Les Chants de l’Aurore constructs dynamics that open up each song to massive buildups and explosive crescendos. With Neige singing in French and relying on clean vocals more often, there’s a profound intimacy that parallels the ebbs and flows. Reflecting the title of the album, the ambient sections peek through heavier rhythms like the sun breaking through the treeline at dawn.

Even at the album’s harsher turns, the delicate foundation keeps it in balance. Tinged with lyrics of melancholy, “L’Envol” gradually erupts into screams and pounding drums before transitioning into the distorted shredding of “Améthyste”. Winterhalter plays a vital role here as he leans toward traditional backbeats instead of speedy blast beats. Though it sounds subdued, it breathes far more energy into the blackened sections. Les Chants de l’Aurore often meanders loosely as it progresses but it’s this carefree approach that gives a sense of freedom to its spectrum of sounds.

Must Listens: L’Envol, Améthyste, L’enfant de la lune (月の子)

10. Corey Lingo – For What It’s Worth

Genre: PluggnB

I will lose my mind if Corey Lingo doesn’t blow up on TikTok within the next year. How many PluggnB artists can actually sing like the pop crooners of the 00’s? It’s only fitting that one of the pioneers of the genre does it better than anyone else. Shifting from his producer work in BeatPluggz to a full-fledged RnB singer on For What It’s Worth, Corey pours his heart into the layered hooks and heavy autotune. The heartbreak ballads are callbacks to the pop stylings of Ne-Yo and Justin Bieber but give a distinct flair with the PluggnB production. The yearning in his vocals simultaneously conveys hope and regret in each bar.

Where almost all popular PluggnB acts are rappers first and foremost, Corey Lingo can genuinely sing his heart out. No one else can capture the same misty-eyed romanticism of that era as well as he can. This distinct crossover of genres is most evident in songs like “Hit You Up” and “Show Is Over” where his vocal harmonies have that specific 2000s electropop sound, but the upbeat VST leads take a life of their own. From the guitar-driven beat on “Skyfall” to the supercharged 808s of “Overthinking”, Corey compiles it all into one cohesive body of work. Interwined so effortlessly, it barely registers just how difficult For What It’s Worth would be to pull off for anyone else.

Must Listens: Skyfall, Fell So Deep, Show Is Over

9. Rita Payés – De Camino Al Camino

Genre: Chamber Folk

How often have you heard that “life’s a journey, not a destination?” Yet, do you actually ever internalize what it means? Finding the subtleties in the world around us may seem simple, but our constant planning toward an uncertain future often leaves us unaware of the forks in our lives. On De Camino Al Camino (On the Way to the Road), Rita Payés converges her search for beauty into a singular path: a poetic journey that endlessly advances. Using her background as a trombonist in jazz, she meshes her ideas with the sounds of bossa nova, bolero, and folk. Aided by acoustic instrumentation, the songs carry a soft texture that melts into trombone solos and vocal harmonies.

What makes Rita Payés truly stand out though, is her distinctive voice. Airy and light but with a surprising amount of power when needed, she floats atop the brassy tones of her trombone with ease. Her music is based on her Catalonian heritage as she transforms folk influences into something mythical yet timeless. Bringing together the future and the past, De Camino Al Camino is a reminder that even without a destination in mind, we will always find a way down the long, winding road. “De camino al camino/No hay parada, no hay destino”.

Must Listens: El Cervatillo, Por qué será, Se transformará

8. Chief Keef – Almighty So 2

Genre: Drill

“I could lay in a forest in a tent, come out with a brown bear’s head/I could live in the jungle and come out with a hyena hat”. In the decade since Sosa released the original Almighty So, he’s become one of the most influential rappers ever as the architect of Chicago drill. His prolific output consists of a sprawling discography spanning fifty projects all before he’s turned 30. Despite this, he continues to adapt to rap’s constantly shifting directions effortlessly. Almighty So 2 is much different from its predecessor as Sosa personally takes over the producer role and works with a few collaborators to make the mix pristine.

Although the crisp production is a far cry from the grimy mix of the original, Almighty So 2 very much maintains the DNA of old Sosa mixtapes. Classic ad-libs, interludes from Michael Blackson and Donterio Hundon, and constant references to 4NEM Radio are strewn throughout the project. With his longevity in the rap game, it’s no surprise that much of the album reflects upon his journey to the top. “Bitch, I wake up in the morning, look in the mirror, and kiss myself” he raps on “Treat Myself”, a victory lap of his success. Having already cemented his legacy nearly a decade ago, Sosa has nothing left to prove. Nevertheless, Almighty So 2 maintains the raw energy and confidence that made him a star and is a triumphant celebration of the path he’s forged to get here.

Must Listens: Treat Myself, 1 2 3, I’m Tryna Sleep

7. Melt-Banana – 3+5

Genre: Noise Rock

In the decade since Melt-Banana’s magnum opus “Fetch” was released, the duo have toured constantly without any new releases. It wasn’t until 2019 that a new album was confirmed, and it would materialize five years later in the form of “3+5”. Picking up right where they left off, “Code” opens with an explosive start as they double down on their experimental side. Packed in a tight 24 minutes, it sounds like a culmination of the melodic approach on “Fetch” mixed with what they found most impactful during their touring circuits.

Yasuko Onuki’s shrill vocals are more intertwined with the chaos as they cascade with the synth melodies. On “Puzzle”, she contorts her voice to move up and down with Agata’s distorted guitar to sound like a revving engine. The abrupt stop-and-go movements of “Hex” result in a breakneck pace of electronic glitches smashing together. The vocals have a lot more focus on harmonics as well, with more attention given to the overall structure of the songs. Blitzing through from start to end, “3+5” is an exultant return for the pair and shows that despite their 30-year career, they have yet to let up.

Must Listens: Puzzle, Scar, Hex

6. death’s dynamic shroud – American Candy

Genre: Vaporwave

No matter how much experimentation in different genres that death’s dynamic shroud do, nothing feels more natural than when they return to their vaporwave roots. Their layering of vaguely familiar vocal samples atop reverbed synths and echoing melodies pulls at your nostalgia like nothing else. Produced by Tech Honors this time around, American Candy leans heavily into an art-pop direction as it connects with a vapor foundation. Whirring into life on the title track, the chopped vocal samples pool together in a sea of reverb sounds reminiscent of Faith in Persona, from DDS’s Keith Rankin. The emotional resonance that spreads throughout the tracks also carries a sense of unease at times as the haunting vocals coalesce into a fever dream. The nearly unrecognizable interpolations of Olivia Rodrigo, Rebecca Black, Yellowcard, Slowdive, and more become poignant vessels for the surreal ballads.

Conceptually, American Candy revolves around heartbreak. The bright, explosive synths melt away into the crushing reverb and the weight of mournful vocals. There’s a sentimentality that latches onto your core and refuses to let go. The aching pain is underscored by the desperation tucked away in each chopped sample. You can feel your soul being ripped out as the regret and melancholy sink in. Tech Honors has accomplished an incredible feat by transforming the bittersweet nostalgia of vaporwave into something perceptible that lingers long after the final song closes.

Must Listens: American Candy, Desperation II, Bae Arisen

5. Willi Carlisle – Critterland

Genre: Country

Willi Carlisle knows how unforgiving the world can be. Alienated as “a queer and communist” within his own genre, Willi makes music about finding solidarity and moments of respite in life’s bleakest moments. Inviting his audience members to sing alongside him on Critterland, Willi hopes to ease the inevitable pain of human suffering. Much of the album features stripped-back instrumentation as Willi upholds the folk traditions of storytelling. A simple chord progression combined with banjos and harmonicas give way to tales of generational trauma, suicide and addiction. Despite this, Willi remains unwavering: “The blood is strong with victory that brought us our despair/I won’t waste a single moment of the love that’s buried here.”

Critterland is an album for those determined to make the most of a relentless world. In “Two-Headed Lamb”, Willi gives his own spin on the Laura Gilpin poem and muses on the beauty of outcasts. Even in the darkest moments, like in “The Arrangements”, where Willi eulogizes his father with a simple “It’s still sad when bad men die”, he still finds meaning in his own continued existence. “When the Pills Wear Off” is a heartwrenching story of past lovers lost to addiction and the haunting guilt that remains. Critterland is a reminder that we live fleeting lives, and though the junctures of anguish may seem all-consuming, there are also moments of love and tenderness that keep us going.

Must Listens: Critterland, The Arrangements, When the Pills Wear Off

4. Charli XCX – Brat

Genre: Electropop

Long before Brat put summer 2024 in a chokehold, Charli had been steadily changing the landscape of pop with PC Music. By the mid-2010s, she had blended club influences with hyperpop and glitchy bass music to form an inimitable style. That vision comes full circle on Brat, an album so colossal that it became the cultural zeitgeist. But beyond transforming Brat into an adjective and appearing in presidential campaigns, the music itself is Charli at her peak. Retaining the sleek production that she’s known for by bringing in big names like A.G. Cook, HudMo, and Gesaffelstein, each track is matched with addictive hooks and stretchy vocal inflections.

Thematically revolving around Charli’s “brat” persona, the songs are fueled by nonstop clubbing and endless lines of coke. Tinged with a dose of irony, there are also moments of jealousy, fears of inadequacy, and self-deprecating lyrics. Charli has always played up this duality, where she uses partying as a coping mechanism for deeper anxieties. In “Sympathy is a Knife”, they collide into something messier altogether: “I’m embarrassed to have it, but need the sympathy/Cause I couldn’t even be her if I tried.” But just as quickly, the hopeless romanticism in “Talk Talk” bursts out: “Talk to me in French, talk to me in Spanish/Talk to me in your own made-up language/Doesn’t matter if I understand it”. This complex whirlwind of emotions pulls back the curtain to reveal far deeper vulnerabilities than meets the eye. Constantly dancing on the precipice of the party and the comedown, Brat proves Charli has always been ahead of the curve, and it’s the rest of us who need to catch up.

Must Listens: 360, Talk Talk, 365

3. Ka – The Thief Next to Jesus

Genre: Rap

Brownsville Ka was a poet in the truest sense of the word and one of the few who remained dedicated to the craft. Minimalist in both music and real life, Ka’s gravelly voice carried the weight of a philosopher bounded by wisdom and sorrow. Each bar was an intricate contemplation from a man who seemed to have lived a hundred lives. The Thief Next to Jesus begins as an examination of the complex relationship between Christianity and Black Americans. On “Bread Wine Body Blood”, Ka draws parallels between each theme to critique hip hop: money to bread, drugs to wine, sexuality to body, and gang violence to blood. “It’s a shared struggle that we all go through/Don’t be the weapon they use to harm you.”

Though Ka’s intricate wordplay is the focal point, it’s the spoken word samples and hooks that hold the overarching themes together. His lyrics are purposely vague, with few overt references to spirituality. But they take on new meanings as each song opens and closes. The verses on “Fragile Faith” allude to poverty, survival, and struggle but they feel disparate until the hook: “Ain’t nothing shook about me but my faith/Couple hundred years asking, nothing kept us safe.” Slowly, you see how Ka has built these ideas to question the foundation of religion and the spiritual disillusionment that Black people face. Ka’s music is very deliberate in how it unfolds itself as autobiographical elements become intertwined with reflections on faith and salvation. The Thief Next to Jesus is a fitting closer for one of rap’s greatest visionaries, the likes of which we will never see again. A true one of one.

Must Listens: Bread Wine Body Blood, Broken Rose Window, Such Devotion

2. Nala Sinephro – Endlessness

Genre: Ambient Jazz/Fusion

Nala Sinephro’s sophomore album is a vast, gorgeous dive into the duality that defines ambient jazz. Where others might aim to unravel both sides of the equation, Sinephro builds her instrumentation as a singular unit as it modulates over time. As the song titles suggest, Endlessness is best viewed as a complete continuum as arpeggios shift in tandem with their countermelodies. Though the progressions might appear subtle, rich complexities are always bubbling underneath the surface. Sinephro’s harp, synths, and piano lead the charge, but other musicians weave in and out of the lingering melodies adding flourishes of sax, trumpets, flügelhorn or drums.

Entirely produced and mixed by Sinephro, the album is a testament to her vision and understanding of purpose within each component of the orchestration. The chord movements on “Continuum 2” that melt into trumpet melodies, the melodies connected to harp arpeggios on “Continuum 3”, and the explosive drumming with an array of spacey synths on “Continuum 10” all integrate seamlessly. There’s a tacit understanding of how each melody is introduced and dissipates in the passages. Vanishing as if they were never there, the instruments create an otherworldly yet comforting feel. Endlessness is entrancing in a way that you don’t even notice until the twinkling melodies have been etched into your mind.

Must Listens: Continuum 1, Continuum 3, Continuum 10

1. Bladee – Cold Visions

Genre: Rage

In the decade since his debut mixtape GLUEE, Bladee has experimented with a dizzying array of sounds. Metamorphosing from the frozen ennui of Eversince and Icedancer to the spiritual hope of 333 and The Fool before branching out to the surrealism on Exeter and Spiderr, Bladee’s music is balanced on a dichotomy of fantasy and nightmare. Cold Visions further blurs this line as he looks back and reflects on his career. Circling back to the thematic elements of previous albums and songs, Cold Visions constantly alludes to his musical trajectory as he breathes new life into old samples and lyrics. Throughout the album, deep-seated anxiety permeates Bladee’s voice as he contorts his voice into murmurs, screams of anguish, and sinister laughs. The lyrics of emotional isolation and drug abuse aren’t new but it’s now set against a backdrop of unease as he begins to age and fears not living up to expectations.

Of course, a full circle moment wouldn’t be complete without all of Bladee’s collaborators over the years so he enlists the help of a star-studded cast. The feature list of Yung Lean, Thaiboy, Ecco, and Sickboyrari is unsurprising, but it’s the massive producer list that ties everything back to his different eras. Whitearmor, Yung Sherman, Woesum, Mechatok, WoD’s F1LTHY, Ripsquad’s Lusi, and even the OG of OG’s James Ferraro all play a role in connecting the dots of Bladee’s artistry. As the paranoia-inducing rage beats from F1LTHY bleed into Lusi’s bouncy synths, it’s as if you can trace the sound shift of Working on Dying to The Fool. Towards the end, even Bladee sounds uncertain about his path forward as he grapples with his legacy and hints at imposter syndrome. Though he’s achieved everything he’s set out to do and more, the emptiness doesn’t dissipate. It’s as if Cold Visions serves as the final answer to the concept of Drain as a whole, between gain and loss, as the separation becomes ambiguously nonexistent.

Must Listens: Flatline, Otherside, Cold Visions (Outro 2)