My Top 10 Albums Of 2024

 
This years list practically picked itself with a clear distinction of eleven records above the rest, so special mention for Erang's The Kingdom Is Ours. A truly novel record, uniting a scene of isolated, anonymous musicians together for a love letter to the strange and wonderful worlds they have individually created.

(10) Billie Eilish "Hit Me Hard And Soft" (2024) link

Still on top of her game, Billie and brother Finneas continue to explore their musical passions. Not as experimental or impactful as prior adventures, the merits of her soft voice carry these great instrumentals to soothing places on a breezy record that's all too easy to enjoy and hard to forget.

(9) Boston Manor "Sundiver" (2024) link

Despite reveling in the echo's of 90s Alternative Metal, these songs transcend their inspirations, making anthemic strides fit for the big stage. Grabbing and infectious, big riffs and soaring vocals ascend. Its been hard to ignore this fresh crop of tuneful ear worms, often wriggling out my subconscious.

(8) Chaosbay "Are You Afraid?" (2024) link

Having firmly grasped my attention and consistently delivered memorable Metal for a few years now, Chaosbay return with one of their best efforts to date, continuing to wrap Pop sensibilities into punchy aggressions that sway from the extremes of rhythmic brutality to tuneful melodies, all within a distinct dystopian capsule.


(7) Sabrina Carpenter "Short N' Sweet" (2024) link

At thirty six minutes, Short N' Sweet is an apt title. Without a touch of filler, Sabrina navigates the current context of revivalist Pop music, weaving in soothing flavours of Country between flashes of Synthpop arcitetchure. She has the voice the match the mission, elevating these instrumentals to another level.

(6) Marilyn Manson "One Assassination Under God - Chapter 1" (2024) link

Although fresh in memory, Marilyn's latest offering has shudders of greatness. Its lyrical anger and relevancy to his recent legal proceedings channels something real through the filter of his cunning juxtapositions. Always one for clever lyrics provoking thought and reflection, his routine has felt somewhat played out over the years. Turning to personal woes with The Pale Emporer resurrected his career and although this chapter hasn't resonated on a broader scale, it feels like another signficant growth.

(5) Tyler The Creator "Chromakopia" (2024) link

Tyler's longevity is already impressive. Chomakopia just marks another chapter where he channels inspirations into grabbing music. The personal themes and intimate nature gives one a lot to chew on as he walks us through some of life's deeper challenges. Of course, its all backed by banging instrumentals to get stuck in your head alongside the topics he brings to light.

(4) Willow "Empathogen" (2024) link

What a voice! So expressive and dexterous, I love how Willow ventures around the flow of the music, complimenting and swaying with its candor. Given its her Sixth album, the maturity of a growing musician who's been at it since her teen years really shines bright on Empathogen.

(3) Knocked Loose "You Won't Go Before You're Supposed To" (2024) link

Metal album of the year, no doubts. The non-linear nature of its sporadic outbursts of frothing frustration had me questioning how long this magic would last. The verdict is in, these songs stick. Knocked Loose continue to refine and elevate their focus and bring us a horrifying indulgence in frenzied aggression, the soundtrack to all your woes.

(2) Kyros "Mannequin" (2024) link

Forging somewhat of a modern Prog masterpiece, Kyros put together a dazzling record. Indulging in musical dexterities, bombarding us with animated melody a rhythmic chops. The band dance through a love of Metal, Rock and Synths, all dressed up in big playful theatrics. Its bold, ambitions and delivers on its promise set by the mighty Showtime.

(1) Aurora "What Happened To The Heart?" (2024) link

Despite a stunning voice, this was somewhat unexpected. As a musician who does music for her fans, more so than herself, it was quite the shock to get such an emotionally resonating album. With Folk-like roots and world music inflections, Auroa's latest record reflects Pop music trends. Taking the care and craft of modern production, the lean towards these more ancient musical vibes resonates deeply with the journey her voice ventures on, routinely finding fantastic upheavals of emotion as the music flows into swells of intensity from soothing settings. Its a magic that's unforgettable.

Tyler The Creator "Chromakopia" (2024)

 
Yesterday's record, Man Down, concluded with an aging rapper losing focus and purpose. Although of a younger generation, Tyler, now fifteen years into his career, continues to mature and challenge himself. Far from reaching his fifties but the contrast emphasizes how vividly empowered by self expression he remains.

Chromakopia is a slice of life record, where Tyler articulates his thoughts on fame, professional stature, reminisces on Odd Future's history, expresses pains of his closeted sexuality and reflects on personal values as an emergence of new family members stands in comparison to his lifestyle and celebrity image.

 His verses pull one in effortlessly, animating his world through the craft of lyricism dressing up plain language. Its the reason he connects so directly. If not already attentive, ears perk as a string of songs delve into an unexpected pregnancy. Tyler tells the tale from both sides of the relationship (referring to himself as T), delving into the hard realities of such a heavy situation. Its honest, sincere, humble and unique.

Getting past a lyrical highlight, the album loosens its peculiar mix of Soul, R&B and Jazz, throwing in dark bangers with big noisy baselines and drum groves pulling on worldly percussion beyond the traditional kick snare drum kit. His production calls back to the quirky magics of Igor, assembling tunes, textures and motifs from seemingly abstract moments, all drenched in the tone of aforementioned influences.

With an ear for voices, instrumentals flow woven between lyrics, vocal ad-libs and soulful singing, often leaning into the strange. Its as to be expected yet charming every time. I'm deeply impressed by how unique his voice and music remains. Familiar, yet fun and impactful through a new set of excellent songs.

Rating: 8/10

Tyler The Creator "Call Me If You Get Lost" (2021)

Keeping on track with a constant flow of records over the years, this sixth installment in Tyler's evolution feels like a step back from the striking charm of IGOR. Its personal preference but I'd argue the presence of DJ Drama drags this project down a notch or two. With his frequent commentaries, a steady flow of interrupting remarks bark over the musics atmosphere, seemingly disconnected in tone and temperament. At apt times he does indeed reinforces Tyler's words and points but mostly he seems like an obnoxious observer interrupting.

Blemishes aside, Tyler's production is on fire again, bringing cutting edge beats and grooves to his pallet of colorful quirky synths. Drawing from classic Soul and R&B vibes it ends up a flavorful show, rich in variety and some avenues into the dark and grizzly aggressive side of Hip Hop music. It would be hard to argue a favorite niche. Its perhaps the swings from the breezy love struck summer vibes of Sweet, into the funk and crunk of the bass driven groovier Rise that gives its flavors more spice as the record weaves past monotony much to the delight of this listener.

Getting both halves on point its the topicality that goes over my head at times but there is plenty of keen lyrical tales. Reflective themes of past triumphs and contemplating personal change illuminates alongside some of his most baited lyrics with the "Rolls Royce pull up" line on Lumberjack. It and other dives into social political topics come with clever rhymes and food for thought. He seems particularly on point in this regard, especially when in a more casual tone, opening up.

Call Me If You Get Lost also hosts a few guests of notoriety who bring some interesting verses. This paired with its fluid changing of instrumental ideas and DJ Drama's commentaries has the records quality feeling oddly fractured. Its a smooth, fun ride, visiting place to place like a road passing through villages, towns and cities. There is plenty to see and touch but as a whole... it doesn't have that defining piece or magnetism like IGOR did. Ultimately a very cool album brimming with talent and creativity but lacking a little glue? I can't quite land my finger on it.

Rating : 7/10

Tyler The Creator "Igor" (2019)

There is no doubt that Tyler is in an evolutionary stride as an artist. Two years off the back of the widely acclaimed Scum Fuck Flower Boy he returns with a similar tone and sense of theater that's channeled into a vulnerable, personal space. Its bold musical fun, flourishing with feeling, flowing with creativity and taking inspiration from classic Soul and R&B, the likes you might hear on Motown. These are just some specific moments though, it all comes through the filter of Tyler's quirky, synthetic world. Playful melodies and jiving percussive lines of intentional groove are a constant pleasure as we stroll into his oddball dreamworld of emotional pains.

The albums lyrical theme is bold and dominating. Relationships, breakups and the hardships of his love life surface through wording that feels fractions away from classic love songs. Its always shaded by these quirky compositions that imbued a playful, innocent, off-color harmony heard through its colorful instrumentation and singing. Sung wordings, talked raps or pitch shifted voices, Tyler vents his frustrations and heart aches with a raw authenticity, illuminating his organic and vivid backing tracks. The two just melt together effortlessly and make for a distinct experience.

This record does has two flavors to it. Many of the tracks play with bold, almost cheesy synths that lay bare strong melodies, often getting mini tangents, solos and plenty of expressive outlets to pull apart the repetitive nature of Hip Hop and let the music ooze. Deeper into the album we find more sample oriented songs with 70s Soul and R&B vibes. A Boy Is A Gun, Puppet & Gone Gone pivot on these oldskool vibes with the latter reminding me of a Jackson Five chorus. When Tyler pulls it together with vocals it finds its cohesion, more so when the bold synths drop in.

These vocal approaches are a point to talk on. Many half hit notes, lackadaisical singing and off key notes exploit this place quirky, playful place where it manifests as authenticity. It plays wonderfully into this highly stylish record that feels very rooted in reality. Its a bright and gleaming light of artistic creativity and expression flowing effortlessly. He is certainly excelling as a music producer and composer, Igor has magic moments in droves. Its not all golden but its a hard record to knock down. Every time Ive spun it, I found myself completely locked into its direction.

Favorite Tracks: Igor's Theme, New Magic Wand, What's Good, I Don't Love You Anymore
Rating: 8/10

Tyler The Creator "Music Inspired By Illumination & Dr. Seuss' The Grinch" (2018)

Lets cut to the chase, this musical project is fantastic! Coming off the back of last years critically acclaimed Scum Fuck Flower Boy, a similar instrumental pallet is put to use on this Christmas EP that lasts only ten minutes. Every second however is lean and slender, a genuine Xmas record that balances the festive theme with its classy persona wonderfully. Quite often it is just the suggestion alone that makes you notice the season. It seems Tyler was genuinely inspired to make music for the new Grinch movie, of which two additional songs appear on its soundtrack.

With bright shiny synthesizers, punchy warm baselines and stuttering goofy Hip Hop percussion, Tyler composes cheerful music without forcing the mood or overtly wording a holiday theme. Instead he lets his guest vocalists Ryan Beatty and Santigold set the tone with endearing Pop & R&B vibes before dropping in with gentle wholesome raps about returning home to a loved one and pouring hot chocolate with cinnamon on top. Santigold lays down the hooks and Ryan soars with ascending notes reminiscent of Micheal Jackson when hes adding in a backdrop layer of vocals.

The tone is sublime and on closer inspection festive pianos, wintry bells and cascading strings deploy some more expectant holiday melodies but all tuned in with one another. There is a smooth, joyous cohesion, the chemistry and quality of the compositions outpaces any of the drag that comes from seasonal cheers and lets this project occupy a classy, soothing spaces that's indulgent, relaxing and really wholesome. I'm truly impressed, would love for more. Ten minutes is not enough!

Rating: 7/10

Tyler The Creator "Scum Fuck Flower Boy" (2017)

Ive vaguely followed Tyler and his Odd Future collective over the years. Seemingly always in a spot of controversy, Its his music I am more interested in however it only takes a spin to realize his lyrics are always going to raise some eyebrows and ruffle some feathers. As someone who's generally not offended, his lyrics about rape and violence come off as a dark sense of humor and youthful rebellion rather than anything to take seriously. On this record though there is obviously more to take seriously, Tyler expressing feelings of loneliness and supposedly comes out but given his reputation for stirring the pot you've got take it with a pinch of salt. "Flower Boy" is Tyler's fifth album in seven years and to my ears his most cohesive experience with a fruitful production style rich in colorful sounds, melodies and fun.

Although I'm not entirely versed with Tyler's back catalog, this release feels he like finds his voice, maturing, coming forthright and letting down his guard to express his feelings of living in the limelight. Its a refreshing break from the slew of controversy stirring I once knew him for. Although I found it amusing and entertaining, this side of Tyler is far more endearing and sensitive. It would indeed be the ideal moment for him to come out. Given his history, lines about making out with "white boys" could possibly be metaphoric rather than literal but more than likely its him just trolling us again.

His honesty and openness really finds its home in a musically colorful and textured record that brings a wide array of instrumentation and voices together in a fluid and inspired journey that's adventurous, mellow and summery. Even though his maturity may extended to inner doubt and self questioning, the vibes are warm and fuzzy. Lots of quirky, friendly synths and R&B voices join him for a fleshed out experience that takes many detours of the path of verse chorus rap. "Skits" mix in among the songs with context and direction, further decorating this diverse and adventurous record that features a lo of compositional variety and creativity. A great example is "Garden Shed", a slow atmospheric burner that lets a guitar lead, Prog synths and singing, some auto tuned, to come to the forefront as it slowly leads us into one of Tylers best verses of the record.

Currently this album stands on solid ground with me but its been a slow burner, something with depth that's chewy and substantial. I can't help but feel my appreciation of it will grow with time, its a colorful experience and ironically my favorite track is its most contrasting and straightforward song, "Who Dat Boy" with A$AP Rocky, a dark and gritty banger with menacing strings and a dirty sub baseline rocking a traditional son structure. At forty six minutes its a really sterling effort that may go down as the young rappers best.

Favorite Track: Who Dat Boy, Garden Shed

Rating: 7/10