The Top 50 Albums of 2024: Part One (Honourable Mentions)
Let the end-of-year madness commence...
When it comes to the quality of new music, my philosophy has remained fairly consistent over the years. I believe there is — and always has been — a steady, plentiful stream of good music. I’m talking about work that both merits and rewards our attention. Great music exists, too, but it is far from plentiful.
Great music endures, while good music is consigned to our memories, before being gradually offloaded, like an unloved App, as hard drive space becomes increasingly limited.
Great records change the conversation or find innovative ways to say the same old things, while good records merely repeat the conversation in a fun way. They are satisfying, but rarely make a lasting impact.
I still enjoy the comforting, nerdy habit of awarding new releases a score out of ten. Naturally, I keep a list. Looking back at January’s releases, there are many good records that I have already largely forgotten and will never revisit — apologies to Conchúr White, Eliza McLamb, Glass Beach, PACKS, Minor Holidays, and Ty Segall. These were decent efforts, but the new music juggernaut spares little thought for your 6/10 rating. There is always something new to jostle for attention with an ever-expanding collection of old favourites.
This series is a celebration of my favourite music of the year. At the business end of the list, I'm going to share some truly great records. Further down the pecking order—and kicking off with honourable mentions because, in a moment of weakness, I decided a Top 50 was far too limiting—the picks are generally good or very good albums elevated by moments of greatness.
The point of these articles isn’t to strive for an objective, definitive overview of the year — they are simply an excuse to heap praise on the albums that entertained, comforted, thrilled, and moved me in 2024. And with that, let’s dive in.
Explore The Top 50 Albums of 2024 Series
[Honourable Mentions] [#50 to #41] [#40 to #31] [#30 to #21] [#20 to #11] [#10 to #1]
Common and Pete Rock
“The Auditorium Vol. 1”
The Auditorium Vol. 1 is a smooth, easygoing collaboration between two classy operators at the top of their game. It’s a love letter to classic hip hop and one of the most accomplished releases the genre has given us in 2024, even if it says absolutely nothing about the state of hip hop in 2024.
Arab Strap
“I’m totally fine with it don’t give a fuck anymore”
A longstanding cult band releases their umpteenth album and critics unite to proclaim it a return to form. There’s one or two of these every year, and this year it’s the turn of Arab Strap to soak up the plaudits. Many of these records benefit by simply exceeding our diminished expectations, but this is something of an anomaly in that it still sounds pretty urgent and fresh months after its release.
Kendrick Lamar
“GNX”
This isn’t a timing issue. I had ample opportunity to consider Kendrick Lamar’s sixth studio album for my Top 50, but ultimately it isn't up to the required standard. Lamar himself is on top form, of course, but the uneven and often uninspired production job diminishes the potency of his rhymes. Many have rushed to hail GNX a work of genius, but when the dust settles it will surely be a footnote in his otherwise impressive catalogue of work.
NewDad
“Madra"
NewDad had me at “Irish shoegaze band releases Alan Moulder-mixed album” to be fair. Madra is an accomplished debut with more than enough highlights to overlook its few flaws.
J Mascis
“What Do We Do Now”
Dinosaur Jr frontman J Mascis’s collection of J Mascis songs, performed in the style of J Mascis, sounded like a classic J Mascis record. I’m being facetious, of course, but the ability of Mascis to draw something new from what superficially appears to be a tried-and-tested formula should not be underestimated. I thoroughly enjoyed this humble little release.
Marika Hackman
“Big Sigh”
This is one of those thoroughly decent records that I returned to because of a few songs. I really enjoyed No Caffeine, but the title track, an impeccably written pop song enhanced by a pleasant 90s grunge filter, was the real standout for me.
Benny The Butcher
“Everybody Can’t Go”
It was a busy year for the Buffalo MC, but this was his strongest release in 2024. Collaborations with Lil Wayne and Snoop Dogg provide a nice entry-point for casual listeners, but Griselda Express, featuring Buffalo contemporaries Westside Gunn, Conway the Machine and Rick Hyde, is highly recommended too.
The Chisel
“What A Fucking Nightmare”
Would I cross the road to avoid The Chisel? Yes. Would I cower at the back of one of their shows? Also yes. The Oi! revivalists are aggressive, direct, and certainly not to everyone’s tastes. This brand of punk rock isn’t generally my thing, but What A Fucking Nightmare is funny, political, anarchic, and bristling with raucous energy. Worth making an exception for, I’d say.
Yard Act
“Where’s My Utopia?”
I didn’t click with Yard Act’s wildly acclaimed debut The Overload. I found it overbearing, smug, and at times even a little irritating. Consequently, I had low expectations for Where’s My Utopia? but the Leeds band managed to win me over, as they ripped up the blueprint and started afresh. I will always respect a bold and risky move regardless of the results, but Utopia generally delivers and Yard Act deserve a lot of credit. Maybe it’s time I re-evaluated The Overload?
Hovvdy
“Hovvdy”
Hovvdy — the other band with the double ‘v’ that’s pronounced as a ‘w’ — quietly impressed with their self-titled fifth album earlier this year. I like the low-key ambition of a mid-career eponymous album, which seems to whisper “You think you’ve heard the best of us? Think again!” And in this case, Hovvdy delivers.
OTHER ARTICLES IN THIS SERIES
I’ve compiled everything above in a Spotify playlist, which I will add to as this feature progresses.
let's goooo. also I love the graphic