BLANK’s Best of 2024
Albums
25. Bill Orcutt – eight different albums
Bill Orcutt and his Palilalia Records label owned my turntable this year, with 10 stellar releases. Seven of those featured Orcutt himself, including four live duo or trio releases, one documenting his crowd-pleasing 2023 Big Ears set with drummer Chris Corsano. His Guitar Quartet offered the best double live album in many a moon, and Quartet bandmates Shane Parish and Ava Mendoza put forth memorable recordings, as did rising improv star Zoh Amba. Then there was “The Four Louies,” Orcutt’s latest conceptual riff on his Fake Estates label, in which he stacked and folded the Farfisas from The Kingsmen’s “Louie Louie” and Steve Reich’s “Four Organs” into a whole new delightful confection. He saved the best for last, though, issuing “How to Rescue Things” in early December. Orcutt adding his inimitable guitar stylings to Perry Como Christmas songs might seem like a punkish stunt on paper, but the album fuses two different emotive modes of music to create an unexpected new Christmas classic.
These were all more or less surprise, limited-edition releases. A weird perk of having a fake email job is getting a notification that Orcutt has put a new record on Bandcamp, because you only have a few hours to smash that ‘buy’ button before they sell out. – Eric Dawson
24. Godspeed You! Black Emperor – No Title as of 13 February 2024 28,340 Dead
Referencing the number of Palestinians killed by Israeli strikes on Gaza since Oct. 7, 2023, up to the date in the title, GYBE’s latest release adds another strong chapter to the band’s stellar discography of instrumental post-rock with another unsettling yet beautiful album. While a standard formula for the band, the slow-burning and haunting tracks often build into cacophonous anguish and sound as emotive and powerful as ever. Why change a good thing when it’s this good? – Kyle Przybyszewski
23. The Smile – Wall of Eyes
In July 2023, I had the pleasure of seeing The Smile at the Thomas Wolfe Auditorium in Asheville, North Carolina. They were on tour supporting their first album, “A Light for Attracting Attention.” During the performance, I noticed they were interweaving new tracks into the set, and little did I know that they were debuting “Wall of Eyes.”
The trio of Thom Yorke, Jonny Greenwood and Tom Skinner are able to create honest, uninhibited and sincere music without the constraints of a huge rock enterprise like Radiohead. 2024 has been an extremely prolific year for them, with not one, but two great albums. “Wall of Eyes” and “Cutouts” both made my personal top 5 this year. Thom and Jonny have always been great together, but Skinner adds a depth to their rhythms that has not been present before, and it really shows in these two records. I believe both are unique, stand-alone albums and some of the best work of their musical careers. – Paxton Sellers
22. Kim Deal – Nobody Loves You More
Thirty-seven years after her first recording with a band, Kim Deal finally got around to releasing a solo album. The leader of the Breeders for decades of intermittent activity and the bassist for the Pixies before that, Deal has brought a sort of cracked affect to all of her projects – her takes on the world, on music, on singing are all delightfully visceral and weirdly askew. “Nobody Loves You More” reflects and refracts that cockeyed perspective across 11 songs and almost as many settings, from the orchestral sweep of the title track to the death disco of “Crystal Breath” to the Crazy Horse crunch of “Come Running.” It’s a pleasure to hear from her. – Jesse Fox Mayshark
21. The Smile – Cutouts
The Smile were busy in 2024 releasing two albums of material recorded during the same sessions. Both albums stand up as two of the year’s best; however, it’s “Cutouts” that really seems to bring it all together for the band. Meticulously crafted songs combined with Jonny Greenwood’s guitarwork and strong compositions give off “In Rainbows” vibes at times. The album starts out with back-to-back mesmerizing numbers in “Foreign Spies” and “Instant Psalm” before picking up the pace with one of the album’s best tracks, “Zero Sum,” that once again showcases Greenwood’s riffs. “Cutouts” is chock full of haunting piano and electronics, both of which give the album a beautifully haunting sound, which have become a trademark of the group in very short order. While Radiohead has been on hiatus for several years, The Smile have filled the void admirably by releasing three studio albums and consistently touring, giving fans of Thom Yorke, Jonny Greenwood and Sons of Kemet’s Tom Skinner much to be excited about going forward. – John Flannagan
20. Nilüfer Yanya – My Method Actor
On her third album, Nilüfer Yanya finds an effortless groove that most artists would kill for. An album about transitions in life and being in between two secure points, it would be perfectly understandable for “My Method Actor” to be laced with hints of indecision or nervousness. Instead, Yanya embraces the moment, creating the most self-assured work of her career. The vulnerabilities are still present, but she is facing them head-on. – Daniel Britt
19. Idles – TANGK
Art-rock punks Idles released “TANGK” last February, tabbing producer extraordinaire Nigel Godrich of Radiohead fame along with one of the best producers in the hip-hop game, Kenny Beats, to produce their fifth album. Guitarist Mark Bowen helped with the production, too, which stands as the most mature and ambitious effort by the Brit rockers so far. While not as angsty as previous albums, the content of “TANGK” is more personal and thus more emotional. “Dancer,” a collaboration with LCD Soundsystem and arguably the highlight of the set, incorporates layers of bass and guitars led by Bowen’s hot riffs. Other standouts include “Gratitude” and “Gift Horse,” which both possess the kind of poignant lyrical acumen that fans of the band have come to love. – JF
18. Charli XCX – Brat
One of the most prominent albums of the current decade, Charli XCX’s blockbuster 2024 album created shockwaves throughout the global music landscape and continues to serve as a voice for those who desire an uninhibited space to express who they truly are, free of judgement and ridicule. This album is chock full of floor-shaking kicks, poppy and melodic synths and a hefty U.K. garage/dubstep influence. Charli delivers a project that is borne of and for the dancefloor but simultaneously addresses the internal battles of self-doubt and insecurity that one may face on their journey to establish a true, confident identity.
Receiving critical acclaim en masse since its June release, “Brat” features something for everyone. Whether you’re looking for a club banger (“Everything is Romantic”, “Talk Talk,” “360,” “Mean Girls”) or hard-hitting lyrics about vulnerability and self-discovery (“I Might Say Something Stupid,” “Sympathy Is a Knife”), the album provides an intimate listening experience for both polarities. It’s that beautiful duality that makes this record such a monumental and moving experience. – William O’Brien
17. Sabrina Carpenter – Short n’ Sweet
I must admit, I was resistant to Carpenter at first, as it seems most were. The world was collectively vaguely aware of her existence but hadn’t gotten around to checking her out just yet. Well, time has made fools of us all, I suppose. “Short n’ Sweet,” her sixth (SIXTH!) studio album, is pure pop gold (or platinum, technically). Her first two singles, “Espresso” and “Please Please Please,” offered just enough to leave me salivating for more, and “Taste,” released simultaneously with the full album, had me hooked on hooks.
Those summer songs are accompanied by excellent deep cuts like “Bad Chem,” “Good Graces” and “Don’t Smile,” tracks that are so reminiscent of ‘90s R&B jams that they hit like a 10-year-old’s orange wheels on the skating rink floor. Carpenter proves her versatility throughout “Short n’ Sweet, even sprinkling in a country-inspired number with “Slim Pickins” for good measure. She has quite the sense of humor, too, which shines through as she’s poking fun at herself, her exes, or her ex’s exes. Every listen has me laughing, crying and dancing, and I can’t wait to see what she does on her next release. – Rocko Reynolds
16. BigXthaPlug – Take Care
2024 saw OGs like Snoop Dogg and Eminem drop new releases, and yet one of the best hip-hop albums of the year came from a newcomer in BigXthaPlug.
Plug is becoming the face of Dallas/Fort Worth rap, and with “Take Care” he perfectly blends old and new, with beats recognizable to longstanding hip-hop heads and rhymes that sound fresh and innovative. The album holds up well in a live setting, too, as he juiced a late-night performance in June at Bonnaroo. Hop on board now and enjoy the ride. If this, his third album in the last two years, is any indication, more heat is coming from BigXthaPlug. – Rusty Odom
15. Beak> – >>>>
Fifteen years into their career, Beak>’s Geoff Barrow, Billy Fuller and Will Young have outdone themselves with their fourth major release. Seamlessly flowing from one track to the next, Barrow and crew tackle hints of folk, prog, metal and more, taking the listener on a sometimes-unsettling psychedelic journey. In addition to being one of the strongest albums of 2024, the album’s cover features arguably the best artwork of the year: a photo of Barrow’s late dog Alfie shooting lasers from his eyes at the band. – KP
14. Kasey Musgraves – Deeper Well
“Deeper Well” marks a bold evolution in Kacey Musgraves’ musical style, blending her signature country roots with indie, pop and folk elements. Lyrically, she dives into themes of personal growth, self-discovery, vulnerability and the complexities of relationships. Moving away from the more overtly traditional country sounds of past albums, “Deeper Well” is characterized by atmospheric soundscapes and layered instrumentation, creating a moody, cinematic feel throughout the record. – Jess Hale
13. Kelly Lee Owens – Dreamstate
British producer-vocalist Kelly Lee Owens has honed her atmospheric, beat-driven electronic music over three previous albums, and on “Dreamstate” she goes for widescreen effect. It’s a blissful album, a wash of sound and rhythm and Owens’ voice – sometimes angelic, sometimes ironic, always in control of the ride. She has said Madonna’s “Ray of Light” album was a sonic inspiration, and it shows in the luminous mix. – JFM
12. Tyler, the Creator – Chromakopia
“The biggest out the city after Kenny, and that’s a fact now” Tyler brags on “Rah Tah Tah,” the second track on “Chromakopia.” The boast is not unwarranted, as the production value and lyricism on display here rival that on any album in his impressive discography. But while his usual bombastic nature shows through on many tracks, “Chromakopia” is best in its more restrained, reflective moments. Songs about family trauma, aging, identity and fatherhood are spread throughout, creating a welcome foil to his usual antics. The antics still abound, though, and the full product is still boisterous, giving Tyler a valid claim as not just second-best in LA, but rather as second-best in the industry. – DB
11. Helado Negro – Phasor
Recorded in Asheville, North Carolina, the eighth studio album from Carlos Roberto Lange is his most innovative work yet. The sights and sounds of the Appalachian Mountains serve as the “sonic floor” for these songs, blending nature with Lange’s signature digital/analog fusion. Featuring the Sal-Mar synthesizer – a complex instrument embodying Lange’s creative unpredictability – the album feels like a journey. As Lange describes it, creating with the Sal-Mar is “like sailing: You set a destination, but how you get there always changes.”
This ethos shapes not only the music but also the album’s introspective stories about love, connection and human nature. The result is a stunning mix of dreamy melodies and thoughtful experimentation. “Phasor” has a fluid, immersive quality that invites listeners to lose themselves in each track. Lange’s gentle soul is evident in every note, making this a deeply personal and reflective experience. Helado Negro’s performance at Big Ears this May is one that should not be missed. – Matt Miller
10. Mk.gee – Two Star & the Dream Police
The new release from Mk.gee is a huge step forward for an already accomplished singer-songwriter. The songs sound like they’d feel just as at home on an ‘80s radio station as they do on Spotify. You’ll notice the influences immediately (Prince, Phil Collins, The Police), and the whole album really does have a feel of something familiar while being bold enough with musical and production choices to make it seem new. “Two Star & the Dream Police” is full of songs that pull you in on first listen, even if it’s just to confirm that you hadn’t actually heard it before.
There are a few standout tracks, but certainly nothing to skip. This album moves quickly; breezing through 12 songs in just over half an hour, Mk.gee does not waste time. You’re also treated to a narrative throughline that holds the album together. Definitely a top 10 listen for 2024 and probably the first of many great albums from this artist. – Zac Fallon
9. Lola Young – This Wasn’t Meant for You Anyway
It starts early and stays late on this one. And that’s why Lola Young is one of my favorite discoveries of 2024. The 24-year-old has been at it for over a decade but made two especially big splashes this year. One was a feature on Tyler, the Creator’s latest album, and the other was from one of her own releases. If “Pink Pony Club” owned last winter, “Messy” has owned the cold season in which we now find ourselves.
One song does not a top 10 album make, however, and her depth of talent, songwriting and vulnerability are on full display throughout “This Wasn’t Meant for You Anyway.” This package deserves repeat plays, and with each one, listeners will discover new quirks in these tales of confidence, insecurity and even confident insecurity. I can’t wait to see the next step in Young’s journey – RO
8. Cassandra Jenkins – My Light, My Destroyer
10 years of writing and performing for what felt like an indifferent audience, Cassandra Jenkins’ 2021 album “An Overview on Phenomenal Nature” was meant to be her final project. Its unexpected success, however, paved the way for her excellent 2024 release, “My Light, My Destroyer.” This album is a stunning blend of ambient pop and genre-defying melodies. It’s a soothing, introspective collection with gentle compositions that explore the precariousness of the human condition. These melodies expand into ethereal realms, serving as a canvas for Jenkins’ most revealing and finely crafted songwriting to date. Each track captures the fragility of human experience with precision. Jenkins continues to push her creative limits on these tracks, offering a meditative journey that resonates long after the final note is heard. – MM
7. Vampire Weekend – Only God Was Above Us
Recapturing the magic that seemingly eluded them when founding member/multi-instrumentalist/studio whiz Rostam Batmanglij left the fold, the latest effort from this veteran outfit is more than just a welcome return to form – it’s strong enough to mount a serious challenge as the band’s best entry in a catalog that is almost above reproach. Present are all the elements – youthful energy, creative spark, varied instrumentation, unbridled joy, influences worn on the bandmates’ collective sleeves – that made Vampire Weekend so fun and refreshing when it first burst onto the indie scene in 2008. “Only God Was Above Us” doesn’t find the group attempting to reinvent the wheel; rather, it’s the sound of seasoned musicians collaborating more intuitively, experimenting more overtly, blending their inspirations more seamlessly and exhibiting their work more coherently. – Matt Rankin
6. Waxahatchee – Tigers Blood
Having previously embraced a punkish DIY aesthetic that generated frequently thrilling yet ultimately uneven results, Katie Crutchfield has musically reinvented herself as a standout alt-country performer with her last couple of releases. The most recent of these, her most accomplished creative statement to date, showcases her continued development as a songwriter. Implementing her distinctive voice as an apparatus to deliver devastating one-liners and arresting turns of phrase over beautifully constructed, hook-laden, largely acoustic arrangements, Crutchfield cycles between clearly elucidated sentiments and cryptic metaphors across the album’s 12 cuts.
Consumed along with Brad Cook’s syrupy production and warm instrumentation provided by session musicians and current it-boy MJ Lenderman, whose adroit guitarwork graces every track, the juxtaposition conjures a hazy, feverish effect – ironic, perhaps, given the lead artist’s newfound affinity for clean living, but it’s safe to say that sobriety has never sounded as enigmatic or enticing as it does here. – MR
5. Cindy Lee – Diamond Jubilee
Sprawling across 32 tracks and with a runtime of over 2 hours, “Diamond Jubilee” is anything but your average indie album. Patrick Flegel, performing under the Cindy Lee moniker, borrows elements from a bevy of genres but leans heavily on ‘50s pop sensibilities mixed with ‘60s psychedelia, all washed through fuzzy, lo-fi production that recalls the ‘90s. The finished product sounds like someone dreamed up a collaboration album between The Ronettes and The Velvet Underground and then executed it to perfection. There is no lull over the course of the album’s rambling duration, but at no point does it feel like the proceedings lose momentum, as each new number builds on the foundation of the previous one. Every song is familiar enough in its constituent parts but somehow feels new, as well, giving the impression that you are hearing the best tracks from a lost vinyl collection or firing up a jukebox that has been collecting dust for 50 years. – DB
4. Doechii – Alligator Bites Never Heal
It has undeniably been Doechii’s year. With standout performances at NPR’s Tiny Desk and on Colbert’s “Late Show,” she’s boldly introduced herself to a new audience and solidified her place as one of the best hip-hop artists today. On “Alligator Bites Never Heal,” she honors classic hip-hop with irresistible beats while bringing her own distinctive style to the forefront. Each track offers something unique. Electrifying as a storyteller, Doechii’s verses command attention. The rhyme scheme on “Nissan Altima” is jaw-dropping and perfectly complements its fast, piano-driven rhythm. On “Denial Is a River,” a ’90s-inspired groove showcases her raw, unfiltered storytelling. Kendrick Lamar recently called her the “hardest out” in hip-hop right now, and it’s hard to disagree. Doechii keeps hip-hop’s roots alive while revolutionizing the sound in her own way. The depth and energy of this album transcend words; it’s an experience you simply must feel. – MM
3. MJ Lenderman – Manning Fireworks
This Asheville, North Carolina, native’s fourth solo effort is a deeply dichotic listen. There’s gallows humor beset by searing guitar heroics; creaky Appalachian atmospherics countered by stately production values (heard for the first time outside of his work with Wednesday); provocative lyrical allusions followed by mundane observations; and majestic musical ambition tempered by an apathetic slacker attitude. The album is messy but focused, scattershot yet superbly paced and reverent of established sounds and traditions though very much a product of the here and now. These contrasts are difficult to reconcile, and the contradictions are maddening – but there is an immediacy, a substance and a promise to the recording that are impossible to deny and which suggest that Lenderman’s star, currently in only the beginning stages of its ascendancy, likely will burn hotter, brighter and for far longer than an artist of his ilk may find comfortable. – MR
2. Father John Misty – Mahashmashana
Josh Tillman’s “Mahashmashana” is yet another masterpiece, showcasing his consistency while elevating his musicianship and songwriting to new heights. With his sixth studio album, he offers his signature blend of introspection and wit across eight extended tracks, from up-tempo rhythms like “She Cleans Up” to melancholy ballads such as “Mental Health.” The album presents a bleak yet bright vision of the world’s end, exploring themes of finality with both darkness and light. “I Guess Time Makes Fools of Us All” stands out as a musically cheerful tale of inevitable failure, driven by a syncopated brass section, dreamy keys and a bongo solo. FJM describes the record as a “great cremation pit, where the universe goes to die after its cycle of birth and death,” a concept brilliantly represented in the ethereal beauty and storytelling throughout. – MM
1. Kendrick Lamar – GNX
I don’t care at all for beef between famous people. I didn’t listen to a single diss track this year and haven’t since Pac and Biggie were going at it. Or maybe Oasis and Blur, whichever came last. I just think it’s simple-minded, and a lot of the time it’s just a marketing campaign.
That’s why I’m surprised that I found Kendrick Lamar’s latest to be so compelling. I had grown weary of all the headlines that surrounded him in 2024, but then on a random Friday in late November, my rolling eyes straightened while my brow furrowed.
“GNX” is a revelation of a hip-hop album, with thought-provoking diatribes and beats that win listeners over on the first listen. While there’s nothing on the level of, say, “King Kunta,” this is the best Kendrick album in years. The same can be said about our No. 2 album, but that’s not where the connection between our first and second albums dies.
Somehow, the past five album releases for Kendrick have been accompanied by Father John Misty albums. Or vice versa. Most of the time the releases are within the same month, though there have been times when they both dropped the same week. It had never happened on the same day before, though – until this year when Kendrick dropped his out of nowhere. It’s fitting, then, that the top of our list, which was compiled by votes from a dozen or more people, features these two visionaries as the top pair. Here’s to hoping for a FJM cameo at Lamar’s Super Bowl show in New Orleans, a place that FJM once called home. – RO
Honorable mentions: Elbow, Samara Cyn, Caribou, Tycho, SZA, Fontaines D.C., Amyl and the Sniffers, English Teacher, Mdou Moctar, Schoolboy Q
