My top 20 albums of the year 2024

I think it might be safe to say that my 2024 was the year of the unassuming record—the year of the feel-good classic.

Give yourself a hand! You made it to the end of the year! I don’t know about you, but I couldn’t be more excited to put 2024 in the rearview. It’s been a stressful year, on virtually every level, but I can't pretend it was all bad. I made a conscious effort to listen to more new music this year, I got back into writing poetry, and my daughter is happy and healthy. Life is good.

I don’t want to take too much of your time, so let’s cut the niceties and get into what this post is all about—music in 2024. I think this year in music was pretty solid, albeit disappointing at points. Records that I had high hopes for came out this year. Some of them didn’t make it on this list. If there’s an album you think I snubbed from the list, go ahead and leave a comment below. I always respond to comments. Chances are that you are right, and I made a mistake. However, I don’t think those chances are very high. In all seriousness, this list was actually pretty hard for me to narrow down, and I think that’s a good problem to have.

So without further ado:

20. Hiatus Kaiyote, Love Heart Cheat Code

The award for “album that I listened to once in June, completely forgot about for the rest of the year, and then snuck up on me at the end of the year” goes to Love Heart Cheat Code by Australia’s own Hiatus Kaiyote. HK isn’t exactly a band that I have a history with. In fact, I haven’t even bothered to check out their other stuff, but I’d be lying if I didn’t say there’s something special about this record. Imagine Erykah Badu meets Lonerism-era Tame Impala: killer performances, great songs, and a willingness to drift into the experimental. This is my sleeper hit of the year, and I think it’s got legs.

19. Pomme, Saisons

I will always admire prolific artists who provide me with lots to chew on. Pomme is certainly one of those artists. She is also one of my wife’s favorites, which is partly why she has fixed herself on my radar. (I’m sure she’ll be surprised, and excited, to see that Pomme made her way to this list!) Saisons exhibits Pomme’s continued evolution as a master of lush, vibrant soundscapes. I’ll always have a soft spot for her earlier lo-fi bedroom songs, but for my money, I think Pomme in 2024 is producing some of her best work yet. It also doesn’t hurt that The National’s Aaron Dessner and artist Flavien Berger were involved in Saisons’ composition. Their involvement, along with the many other talented collaborators, lends the project a significant element of musical precision and warmth. I’m excited to see what Pomme does next.

18. This is Lorelei, Box for Buddy, Box for Star

There was no shortage of feel-good indie rockers this year, and I’m not ashamed to report that this list is bound to reflect that. This Nate Amos project adds another great addition to the post-Alex G wave of indie rock. It’s a gorgeous array of great tunes dressed in down-tempo electronica and acoustic pop. There’s an almost androgynous spirit in this record too, it reminds me of some of those great Elephant 6 bands like The Olivia Tremor Control and Apples in the Stereo. This isn’t an album that’s asserting its greatness or string to be bigger than it is, but that’s part of what makes it great. I think it might be safe to say that my 2024 was the year of the unassuming record—the year of the feel-good classic.

17. Tim Heidecker, Slipping Away

Songs by dads for dads. I’ve been a fan of Tim Heidecker the comedian for quite some time, but with the release of his last album, High School, in 2022 I began to appreciate him for his singing and songwriting too. For someone whose whole shtick is often disingenuous self-representation, it’s cool to see a normal dude behind the curtain. A normal dude with creative aspirations like me. Truthfully, I don’t think Heidecker’s music is legendary or even masterful. However, what it lacks in sparks it makes up for by simply being real. Slipping Away isn’t just a collection of songs, it’s a collection of truths. When I hear it it’s like I’m seeing the clearest version of a person, and perhaps myself.

16. Speed, ONLY ONE MODE

Right now, I think we are living during a bona fide Hardcore renaissance. There are so many great Hardcore bands making boundary-pushing records right now. Rock and Roll might be dead, but look no further than groups like Code Orange, Militarie Gun, and Knocked Loose for proof that Hardcore is alive and well. If you’re not on the Hardcore train right now, that’s ok. Part of what makes it great is that it’s not for everyone. For that reason, I don’t think we’ll ever see Hardcore have a “Grunge moment”. But if you’re looking for a place to get on that train, look no further than this record right here. Speed is out here making music that I didn’t think bands were allowed to make. So much of what they do feels so classic; they’re not reinventing the Hardcore formula or anything, and yet ONLY ONE MODE is the freshest hardcore album I’ve heard all year. Like any creative group, Speed brings a fair amount of bells and whistles to the table, but they do it with such finesse, such taste!

15. American Football & Various Artists, American Football (Covers)

I wasn’t planning on this initially, but I think I’m starting a tradition to include at least one Compilation project in my Top 20 albums lists. Last year it was Secret Voice Records’ Balladeers Redefined, a compilation of tracks from contemporary Screamo bands. This year, it’s this: the American Football covers project which was released in tandem with the American Football 25th Anniversary Edition. I’ve always liked the original 1999 LP from American Football, specifically the song “Never Meant”, but it wasn’t until I listened to this covers compilation that the full scope of the record truly connected to me. Songs like “For Sure”, “Stay Home”, and “The One with the Wurlitzer”—which I’d sort of written off as wallpaper-math rock—have been totally opened up to me, like tulips in the sun. It’s the perfect covers compilation in that the songs were beautifully invented upon—taken into unique and creative places—and the pure, raw spirit of each was dutifully honored. The covers don’t replace the songs, they give keener insight. In that sense, it’s not unlike Johnny Cash’s Nine Inch Nails cover. If you’re a fan of the original album, I highly recommend this project. And if you’ve never heard of this band/album, check it out anyway.

14. Hurray for the Riff Raff, The Past is Still Alive

Interestingly enough, this spot on the list was initially reserved for the Waxahatchee album that came out this year, which is a pretty good album. But then I stumbled across this gem, and it was basically everything I wanted Tigers Blood to be, and more. I’m certain both records got a fair amount of praise from the music-writing outlets this year, but there’s only room for one great female-led Folk Americana record about nostalgia and the human condition on this list, so here we are, (that’s not entirely true by the way.) I think the reason Hurray connected with me a little bit more was because it leaned harder into that good ole Country vibe, plus Alynda Segarra’s songwriting is top-tier.

13. Johnny Blue Skies, Passage Du Desir

When an artist chooses to put out a project under a pseudonym, you don’t expect it to sound like this. What do I mean? I mean, you don’t expect it to sound like the most Sturgill Simpson-y album ever made. You don’t expect it to sound like the most straightforward, sincere, down-to-earth record Sturgill Simpson, AKA Johnny Blue Skies, has ever made. But here we are, and I’ve heard his live show is spectacular.

12. Touché Amoré, Spiral in a Straight Line

I haven’t been the same since Touché’s Lament became my go-to record during the Pandemic. I think that album single-handedly changed the trajectory of my music taste, and likely my life as well. That’s why I was so excited when I heard that legendary producer Ross Robinson was returning to work on their follow-up. Spiral in a Straight Line solidifies my love for this band, and especially the pure emotional power of Ross Robinson’s production. I love every record he’s ever worked on, even the Limp Bizkit ones. He has such a knack for bringing out the pure, raw energy from a band. That’s not the only thing great about this record though. I think Jeremy Bolm’s lyrics have never been more compelling. I expect this record to continue growing on me as we journey into the next year.

11. Mount Eerie, Night Palace

Does the world really deserve the gift that is Phil Elverum? Heck, he should probably be higher on this list, and he probably would be if this record had some more time to marinate within me. That’s kind of what makes Mount Eerie and The Microphones so great. These aren’t just projects to throw on and ignore. These are intense records, with dense production—the most gorgeous analog warmth you could conceive. Night Palace still has many secrets to unfold to me, and I’m ready to receive them.

10. Good Looks, Lived Here for a While

Good Looks is a band that I’ve been paying attention to since their debut in 2022 Bummer Year. I knew their follow-up was going to be something to look forward to, and I wasn’t wrong. Lived Here for a While successfully builds on all of the strengths from debut—the great guitar playing, the impeccable songwriting, and that undeniable Heartland Rock vibe. On top of that, the lead vocalist, Tyler Jordan, really outdid himself with the lyrics. Lived Here for a While is a sneaky little record, with good vibes on the outside/depressing lyrics about trauma and existential dread. Just a top-notch record from a band that should be bigger.

9. Annabel, Worldviews

2024 was almost the year I gave up on Emo. I just couldn’t stop shaking the feeling that I was getting too old for it, (which is actually so true for a lot of Emo records), but also I was starting to feel disappointed—even disillusioned—by what I saw as the unfulfilled promises of 5th wave Emo. If that sentence makes no sense to you, bear with me. There are at least a dozen people who understand what I mean. But then, alas, here comes Annabel: a relatively obscure Emo band that hadn’t released a record since 2015. I’ve gotta be honest, I wouldn’t have a clue about this band if it weren’t for Ian Cohen’s recommendation on Indiecast. Go check that podcast out if you like Indie Rock music, it’s so good. And if you love Clarity-era Jimmy Eat World-esque Pop Rock, go check out this album right away. This album totally took me by surprise, an unassuming classic indeed. It went from being a “Ok, this is pretty solid” to “Dang this kinda rules” to “I don’t want to listen to anything else for a while”.

8. Hovvdy, Hovvdy

What can I say about this record, a record that speaks so well for itself? I’ve been a Hovvdy fan since 2021’s True Love—a record that charmed me for its Alex G-esque presentation with simpler, straightforward Pop tunes. The 2024 self-titled album abandons the derivative nature of the former and presents a fuller, more assured work. Hovvdy is an excellent listen, front to back. It’s akin to sliding through a tube on a surfboard, (never done it but it looks sick), or reliving kind memories. Gosh, I wished more people knew about this band.

7. Vampire Weekend, Only God Was Above Us

It kinda took me a while, but 2024 was the year I finally decided to give Vampire Weekend a try. Sure I’d heard the big songs, but until the release of their fifth album in a sixteen-year career I hadn’t fully spun their albums. It’s safe to say I’m a fan now. However, that alone isn’t what gives this album a place on my year-end list. Only God Was Above Us feels too good for this world. It is far too creative, and far too boundary-pushing. The sonic palette on this album is incredible, and rewards listeners who return unlike anything I’ve ever heard. It’s a true masterpiece, from a band that has no reason to keep giving us masterpieces.

6. Foxing, Foxing

Foxing has always been one of those bands that I wished I liked more than I actually do. That is, until this record, which both feels like the ultimate combination of everything they do well and the crossing of a new threshold. I can say with absolute certainty, that I’ve never heard anything quite like this album. I mean this in the best possible way. That being said, if you’ve never heard of this band, I don’t think this will be the record that sells you. Foxing displays a particularly unique blend of rage, noise, and emotive potency. It’s an angry record, for an angry time. It might not get the praise it deserves now, but I hope as time passes Foxing will receive much-deserved recognition for creating music that was so unparalleled, and so groundbreaking for it’s time.

5. MJ Lenderman, Manning Fireworks

And with that, we continue to a less “groundbreaking” type of album, MJ Lenderman’s fourth record, Manning Fireworks. If this album got a specific award, it would be the award for “album that grew on me the most”. I don’t think it hurt that the Spotify algorithm kept throwing this album at me with everything it had. For whatever reason, I couldn’t listen to anything without Manning Fireworks manifesting in the “recommended songs”. However, I’m grateful it did, because I think this is a fantastic album. I love how Lenderman effortlessly brings together Neil Young and Jason Molina. The result is a tasteful crop of tracks with the perfect ratio of raucousness and reality.

4. Quadeca, SCRAPYARD

When I first heard the singles for this album, at the end of last year, I was pleasantly surprised. For one thing, I’d only ever known Quadeca for his YouTube exploits, (and most YouTuber musicians are bad. That’s a proven fact.) Even so, regardless of how low my expectations might have been, this is truly an incredible record, and unlike anything I’ve ever heard. This album is just bangers on top of bangers. Each song is unprecedented, perfectly crafted, and stunning. The song “Easier” specifically, is a song I come back to often—totally gorgeous for no reason.

3. Father John Misty, Mahashmashana

Don’t call it a comeback, but this album from FJM felt like the comeback we (I) needed in 2024. I enjoyed Josh Tillman’s last two albums, God’s Favorite Customer and Chloë and the Next 20th Century, but neither of them had the same kind of bite or power as 2018’s Pure Comedy or some of the earlier records. Even though I liked the sort of chiller, less “angry” tone he had been cultivating, Mahashmashana was a welcome return to form. However, it wasn’t just that; this is a record that sounds appropriate for FJM in 2024. It doesn't ignore the realities of where he’s been and where we’ve (I’ve) been for the past six or so years.

2. Mk.gee, Two Star & The Dream Police

And then there were two. My top two for this year are virtually interchangeable, and also couldn’t be more different. One of them is a record that I devoured over and over again like crack-laced candy. The other is more profound, an extraordinary culmination of a decades-long career. Mk.gee’s excellent record, Two Star & The Dream Police is the former. I feel this is a juxtaposition I often enjoy making, I did the same last year with Noname’s Sundial and Sufjan Stevens’ Javelin. But it seems as if the veteran comes out on top again. Even so, I’d be remiss not to talk about how great this record is. I’ve described quite a few of the other albums on this list as being “unique”, “unprecedented” or unlike anything I’ve ever heard. I don’t take that back; I still feel that way, but believe me when I say Mk.gee encompasses that on a whole other level. I’ve never heard someone play their guitar like this. I’ve never heard someone fuse Neo Soul, Retro Pop, and Bon Iver-esque avant-electronica before, and especially not in such a way that leads to such immaculate vibes. This is an album brimming with exciting performances and perfect songs. Mk.gee is the most exciting artist of 2024, by an enormous margin. If you haven’t heard this yet, do yourself a favor. This is real game-changing music.

Honorable Mentions:

Knocked Loose, You Won’t Go Before You’re Supposed To

glass beach, plastic death

The Lemon Twigs, A Dream is All We Know

Friko, Where we’ve been, Where we go from here

Mannequin Pussy, I’ve Got Heaven

Alcest, Les Chants de l’Aurore

English Teacher, This Could Be Texas

Charli xcx, BRAT

Liquid Mike, Paul Bunyan’s Slingshot

Waxahatchee, Tigers Blood

Phosphorescent, Revelator

Fontaines D.C, Romance

Best EPs of the year:

Bon Iver, SABLE,

Holy Blade, Holy Blade

Deadbody, Tribal Glaze

Wilco, Hot Sun Cool Shroud

1. The Cure, Songs for a Lost World

I couldn’t have predicted that The Cure would put out an album in 2024, much less an album that I loved, much less an album that I loved more than any other album that came out all year. I’m speechless just thinking about it. This record is incredible, and it didn’t need to be. Maybe that’s why I love it so much. And that’s kinda why I love this band. Robert Smith is 65 years old. He’s created some of the most important albums in Rock history. He’s one of the greatest songwriters ever. He’s a true workhorse, a prolific creator—dedicated to the craft forever. I’ve noticed some who’ve been quick to compare this with Bowie’s Blackstar, another late-career triumph. However, I’m not so sure that’s the right Bowie album for this comparison. Smith has made it sound like he and the band intend to release more in the future, so with the hopes that those songs will be as impressive and important as Blackstar let’s call this The Cure’s The Next Day. Like The Next Day, Songs for a Lost World hearkens to the band’s classic sound and sensibilities, simultaneously carrying the strength and wisdom of age. I love this record’s willingness to lose itself in itself, something many great Cure records do. The songs are given ample time to breathe, to seep into your bones. This record isn’t just atmospheric, it’s a world unto itself, populated, colored, full. Songs for a Lost World doesn’t just top my list for being the triumph of an older act, that wouldn't be fair. It stands tall among the ranks of The Cure’s already impressive discography. It’s an album that will continue to develop and compound meaning for me as the years roll along. How lucky are we to be alive right now, and to enjoy the fruits of such excellent creative merit? What a treasure this record is!

~

And with that, I must bid you, and this year, adieu.

It’s been real.

Here’s to another year. May you live it with love in your heart, and especially with an ear set for picking up good vibrations. And don’t forget to tell me what I snubbed!

For want of another great year for music—and hopefully a better year for people—

Lewis