Staged Haze Presents: The 50 Best Albums of 2024

As December rolls around yet again, I feel like I’m having deja vu. Nearly every year I feel as if I end up writing about a Cloud Nothings album. The Cleveland-based band has been prolific throughout their 15-year tenure, releasing Final Summer, the band’s eighth studio album earlier this year. I also included 2021’s The Shadow I Remember among my favorite albums that year, and I loved 2020’s The Black Hole Understands, as well as the band’s 2018, 2017, 2014, 2012 and 2011 releases. They’re a consistently solid band—and that’s not something you can say about a lot of artists who have put out a volume as extensive as Cloud Nothings.

Final Summer, the band’s first release on Pure Noise Records, has a more significant production value, but never steers away from Cloud Nothings DIY sound that they’ve carried throughout their career. The sonically larger album doesn’t have any filler, its 10 tracks come in at a quick 29 minutes, each one of them quality indie rock. – Erin

Standout tracks: “Final Summer,” “I’d Get Along,” “Common Mistake”

I am so alone in this one, I know, but I am a BROCKHAMPTON widow! And I genuinely think this album is much better than I thought a Matt Champion record could be. Becoming a solo artist when you’ve gained recognition from a decently successful boyband can be quite difficult for some; you have to find your “own” sound, reinvent your persona, find a way to show people that you’re more than the collective identity they’ve assigned to you and your bandmates. Champion was able to do so in a seamless way, while also keeping close to his heart some of the weirdness and genre-bending-ness that BH was always praised for. After all, he created his former band as much as the rest of them did.

This album is definitely not everyone’s cup of tea, but that is also not what Matt Champion has ever wanted. Even before the BROCKHAMPTON days, he was releasing music that played with rap, R&B, and pop influences, and he seems to have returned to that but with a much clearer vision. Produced by Henry Kwapis, mostly known for his work with Dominic Fike, Mika’s Laundry truly begins weirder than it actually is, and slowly becomes a cohesive project that nicely marks the new beginning of Matt Champion’s promising solo career. – Javi

Standout tracks: “Dogfish,” “Aren’t You Excited,” “Steel” (feat. Dora Jar)

There’s nothing specifically Texan about English Teacher’s debut album This Could Be Texas, which was released earlier this year. In fact, the indie band is based out of northern England, originating in Leeds. But, like the state of Texas, this album feels big. It’s an experimental, genre-melding impressive first release from the band who formed in 2020. This Could Be Texas jumps from the prog-influenced “The World’s Biggest Paving Slab,” to drawing from folk, dream pop and post-punk influences as well. It’s such a daringly creative first output from a band, it’s hard not to be wowed.

And it’s not only a creative album for the sake of creativity, it’s also a really great listen, and something that I returned to time and time again throughout the year. Throughout the album, vocalist Lily Fontaine sings of prejudice and mental health issues, packaged with consistently intriguing instrumentation. – Erin

Standout tracks: “Broken Biscuits,” “I’m Not Crying, You’re Crying,” This Could Be Texas“

Including an album full of–as the title says– songs that aren’t the artist’s, might seem kind of ridiculous—but I think Matt Maltese found a way to make old songs appealing to a new audience that might just prefer them in a softer style and at a slower pace. And yes, these new versions might sound like background music for a coffee shop or bookstore, but that is exactly Matt’s brand, and also guess what?! I WORK at a bookstore, and would love to hear this record at work.

The 27-year-old’s calm, incredibly-British energy and charm really take over these covers of Prince, Bob Marley, and Neil Young, among others, but the whole album brings a sense of familiarity and nostalgia with it, because these are mostly songs that we know, and that we’ve heard at some point in life even if we’re not actively fans of that period of music. I honestly think this was just a passion project for Matt as he works on new music, but what a treat it was for the year! – Javi

Standout tracks: “Philadelphia” (with Searows), “Kiss Me, Cosmic Dancer” (with Dora Jar)

They had me at “welcome back to Trench” to be honest. As a clikkie (the terrible word we have for Twenty One Pilots fans) through and through, and an underwhelming run with Scaled & Icy, it was so exciting to get back to what made their previous albums Blurryface and Trench so compelling. They didn’t only go back to a darker sound like the one that broke them into the mainstream (re: “Stressed Out” and “Heathens”) but they also bring their glorious lore back.

Ever since Blurryface (2015) Tyler Joseph and Josh Dun have been world building a place with heroes, villains, sidekicks, and just way too many things for a casual fan to fully grasp. I won’t go into the details, but Clancy is actually the main character in this decade-old story, and this album seems to be him finally breaking free from the forces working against him. I sound like a nerd that plays Dungeons & Dragons weekly, but that’s okay. Clancy is almost like a reward for those who stuck around while their sound morphed and seemed to become something completely unfamiliar, but now we’re so back. – Javi

Standout tracks: “Next Semester,” “Backslide,” “Vignette”

Decades after Sleater-Kinney first formed, the iconic band has nothing left to prove. They’re one of the most highly-regarded bands in whatever genre people want to place them in: indie rock, punk, riot grrrl—with a slate of incredible releases under their belt. Little Rope, their 11th studio album, is another incredible release to add to that list. 

The album is the band’s second after drummer Janet Weiss’ departure from Sleater-Kinney in 2019, and one that they weren’t sure if they would make. A large part of the album was written by co-guitarist and co-vocalist Carrie Brownstein after her mother and stepfather died in a car accident in 2022, so it’s packed full of a range of emotion, from anger to hurt to all-out grief.

It’s not just grief for beloved family members that has fueled the album, though. The band sings about their despair after the repeal of Roe v. Wade in one of the album’s highlights, “Untidy Creature,” which features co-vocalist and co-guitarist Corin Tucker almost howling with pain through the song as she sings “And it feels like we were broken, and I’m holding the pieces so tight. You can try to tell me I’m nothing, and I don’t have the wings to fly.” – Erin

Standout tracks: “Untidy Creature,” “Hell,” “Don’t Feel Right“

Dua Lipa’s Radical Optimism is a 2024 standout, reaffirming her ability to evolve and take creative risks. Following the era-defining Future Nostalgia, Dua delivered something fresh and unexpected, leaning into her signature groove to create an album that feels confident, cohesive, and joyfully experimental.

The album is a masterclass in funky, groovy pop, blending shimmering disco vibes with bold, futuristic beats. Collaborating with Tobias Jesso Jr., Kevin Parker, and Danny L Harle, Dua crafted a sound that’s sleek yet effortless, with introspective lyrics balanced by irresistibly danceable tracks. Her vocals shine more than ever, anchoring the album’s dynamic range and emotional depth.

What sets Radical Optimism”apart is its relaxed confidence. While many artists aimed for complexity this year, Dua kept it cool, delivering music that feels both timeless and fresh. It’s an album that invites listeners to have fun while showcasing her growth as an artist.

For more of my thoughts, check out my review.
– Jesse

Standout tracks: “These Walls,” “Watcha Doing,” “Happy For You“

I first found Thomas Headon when he had one officially released song, and for at least the first few years of his career, he seemed to just be making feel-good music, songs that I enjoyed mainly because of the “vibes” and not necessarily the substance in them. At twenty-four-years old though, Thomas seems to have come out of his shell, or forced out of it maybe, particularly by his  most recent breakup and/or his coming-of-age that has made him revisit his relationship to music.

Insanely influenced by The 1975 (which is a good thing here!!!) wasn’t a fighting kid is the British-Aussie’s most solid project to date, delivering a new vulnerability that was unheard of from him. It’s a great match to his goofy, unserious online presence, in a way showing his audience that he, truly, contains multitudes. I feel a sort of mother’s pride towards Thomas and this EP, because it shows such growth and willingness to learn, and I am so excited for him and what’s to come! – Javi

Standout tracks: “she’s everything but mine,” “Chicago,” “Why do you think you’re Jesus?”

Over the past decade-plus, Kate Nash’s career has been a rollercoaster ride. The British musician blew up with her debut single “Foundations,” in 2007, but was dropped by her record label before self-releasing her third album, Girl Talk, in 2013. After a Kickstarter-funded release in 2018 (the fantastic Yesterday Was Forever), Nash had experiences with being both a pop star and a DIY artist.

All of those experiences have helped to shape 9 Sad Symphonies, Nash’s fifth studio album, and her first with her new label, Kill Rock Stars. It seems like a perfect fit so far, and it’s reflected throughout Nash’s most recent album. Throughout the twists of Nash’s career, there’s always been a few things that have stayed consistent: her deeply personal and always relatable lyrics, especially on tracks like “Horsie,” which captures the monotony of the pandemic, especially in lyrics like “I’m crying in the car park of Home Depot.”

Whether Nash has the power of a label behind her, the musician is determined to make her art on her terms. It’s inspiring to see Nash continue to work so hard to maintain her creative vision, and I will absolutely continue following along in the future to see where that takes her. – Erin

Standout tracks: “Millions of Heartbeats,” “Horsie,” “Space Odyssey 2001“

After their former lead vocalist, Chester Bennington, died in 2017, I thought that was the end of Linkin Park. Seven years went by and the band would occasionally release previously-unreleased demos, and remastered versions of their albums, but there was never a mention of moving on after the loss of Bennington, until this year. It wasn’t just the old band back on board either (minus former drummer Rob Bourdon). They added a new drummer, Colin Brittain, and vocal powerhouse Emily Armstrong from the band Dead Sara as the band’s new lead vocalist.

Armstrong immediately won me over with the track “The Emptiness Machine.” She has a powerhouse voice, and it’s exemplified so clearly once she takes over for Shinoda in the debut single’s second verse and chorus. With a new singer, a new drummer and a return after seven years away, this album marks a sort of rebirth for Linkin Park, which is acknowledged in the album’s title, From Zero. But it also references Xero, the band’s initial name when it was formed by the members while they were still in high school, and shows how far the band has come since their early days, and how they’re continuing to evolve. – Erin

Standout tracks: “The Emptiness Machine,” “Two Faced,” “Cut the Bridge”

Honestly, I just thought Maya Hawke was a nepo baby with a passion project when I first saw that she was releasing music. I didn’t expect much from the daughter of Uma Thurman and Ethan Hawke. That’s where I was dead wrong. Sure, she is totally a nepo baby, but one with an extreme amount of talent, and that’s evident on Hawke’s 2024 album “Chaos Angel.” The folky, alt-pop album left me floored, and seriously impressed with Hawke’s songwriting throughout the album.

She paints a vivid scene through each of the album’s 10 songs, especially “Missing Out,” the album’s debut single. The song is a vulnerable snapshot into Hawke’s fear that she’s missing out on big life experiences, and was written about the singer’s experience living near Brown University, where her brother attended, after never having attended college herself. Hawke has a soft, delicate voice that fits perfectly within the album’s oftentimes soothing and vulnerable tracks. 

It’s safe to say that I misjudged Hawke, but I’m glad I gave “Chaos Angel” a spin this year, because it’s an album I kept returning to time and time again. I’m excited to see what she continues to make in the future. – Erin

Standout tracks: “Missing Out,” “Wrong Again,” “Black Ice”

A celebrated DJ and producer, Kaytranada has long been the king of groove, and with Timeless, he solidifies his place at the forefront of electronic and dance music. Known for his unforgettable live sets that electrify audiences, this album translates that energy into a cohesive, genre-bending masterpiece.

The album shines with its infectious beats, lush production, and Kaytranada’s unparalleled ability to make every track feel alive. Collaborations with artists like Channel Tres add layers of funk and soul, creating moments that are irresistibly danceable yet emotionally resonant. Each song feels crafted for both packed dance floors and solo listening sessions, making “Timeless” an album that lives up to its name.

Kaytranada’s gift lies in his ability to seamlessly blend elements of house, funk, and R&B into something wholly unique, and “Timeless” exemplifies this. From pulsing rhythms to hypnotic melodies, the album takes listeners on a journey through soundscapes that feel simultaneously fresh and nostalgic. With Timeless, Kaytranada proves once again why he’s a leader in dance music, creating a body of work that will undoubtedly be celebrated for years to come.

Standout tracks:  “Drip Sweat” (ft. Channel Tres) “Lover/Friend” (ft. Rochelle Jordan), “Snap My Finger” (ft. PinkPantheress)

Despite Katelyn Tarver being in the industry for nearly twenty years, including several acting and songwriting credits, it seems like she still hasn’t fully broken into the mainstream pop landscape.

If you’re a fan of singer-songwriters like Kacey Musgraves and Taylor Swift, I can almost guarantee you’d have a spot in your heart for Tarver’s 2024 album, Quitter, which succinctly and successfully tackles the nuances of growing up, choosing a path, and then completely changing your mind, and trying to be okay with it. The album’s title track, along with songs like “Starting To Scare Me” and “Japanese Cafe” feel the most formative to Quitter’s themes and nuances of coming to terms with knowing you’ll never fully come to terms with much of anything, and that we’re all pretty much winging life as we go. 

It’s feeling certain in uncertainty, and figuring out what’s important to one’s happiness. And as we continue growing up and getting older, our priorities will inevitably change. And that’s something that this album has reminded me to not only be okay with, but to embrace. – Kristin

Standout tracks: “Quitter,” “Starting To Scare Me,” “Japanese Cafe”

Clairo’s Charm is a stunning highlight of 2024, solidifying her evolution into an artist who balances vulnerability with boldness. This album is sexy, intimate, and emotionally raw, showcasing a side of Clairo that feels more confident and fully realized than ever before. With Charm, she moved beyond her bedroom-pop beginnings into a mature, layered sound, proving she’s one of the most exciting voices in contemporary music.

The album became a massive hit, connecting deeply with listeners while catapulting Clairo into an even broader spotlight. Tracks like “Sexy to Someone” and “Slow Dance” are sultry and magnetic, capturing an energy that’s both sensual and emotionally resonant. Clairo’s lyricism remains as poignant as ever, but there’s an added sense of self-assuredness that makes Charm transformative. It’s an album that’s both deeply personal and universally relatable, offering moments of quiet introspection alongside vibrant, unforgettable tracks.

Charm is a testament to Clairo’s ability to reinvent herself while staying true to the authenticity that first made her beloved. This album isn’t just a hit; it’s a declaration of artistic growth, firmly placing Clairo among the year’s brightest musical stars.
– Jesse

Standout tracks: Sexy to Someone, Juna, Add Up My Love 

Reinventing himself with each album, Zach Taylor has released three equally different projects under the pseudonym Dreamer Boy, exploring different styles and genres each time, as well as a variety of visuals and aesthetics that accompany each record. This year’s LONESTAR immediately became my favorite album of his and of my favorites of the year, as he incorporated aspects from past music legends both to his sound and performance.

LONESTAR is invigorating from start to finish, making you want to jump around and scream the lyrics in your room. It’s Taylor’s strongest release when it comes to the vocal front too; the 28-year-old seems liberated, singing in a much rougher way, making it clear that these emotions are more dominant than the melody itself. I have enjoyed this album since it came out in May, replaying it an absurd amount of times and including certain songs in every single one of my playlists, and still don’t seem to get bored.

Dreamer Boy has always been willing to embrace who he is at the time of making an album, but I think this time he truly gave it his all and shared every bit of him in these songs. – Javi

Standout tracks: “If You’re Not In Love,” “Heartbreaker,” “Baby Blue”

Magdalena Bay, comprised of Mica Tenenbaum and Matthew Lewin, first crossed paths back in their hometown of Miami during an after-school music program. The bond they shared for music led them to creating together, initially starting a progressive rock band called Tabula Rasa before eventually reconnecting in college and starting an electronic pop group: Magdalena Bay was born!

Imaginal Disk is a concept album, which follows the story of a girl named True, as she learns what it means to be human after receiving a consciousness upgrade in the form of an “imaginal disk” inserted into her forehead (very ‘Pixel Perfect,’ if you ask me). If you’re into the Black Mirror of it all, you’d find this project to be quite riveting: the songs are mostly structureless, the melodies are simultaneously progressive yet retro, and if you look deep beyond the fun aesthetics, you’ll get the feeling that something dreadful is going on. – Kristin 

Standout tracks: “Killing Time,” “Image,” “Death & Romance”

23-year-old Eliza McLamb’s origin story starts back in 2020, when McLamb was working on a farm in Kansas. Her single “Porn Star Tits” went viral on TikTok, leading to a record deal and a popular podcast titled “Binchtopia,” where McLamb co-hosts. Going Through It, McLamb’s debut record, dropped in January of 2024, which basically feels like an eternity ago. More often than not, records that I come to enjoy that are released this early into the year regularly fall off for me, but Going Through It had the staying power to end up on my list of favorites. 

It’s ironic that as a newly 30-year-old, I feel so far away from being 23, and tend to feel disconnected from musicians who are this age, but McLamb’s music strikes a chord with me. Produced by Grammy-award winning Sarah Tudzin—best known for her work as the frontwoman of pop punk band Illuminati Hotties—Going Through It is a fantastic representation of what it means to be a ‘modern woman’ (fans of McLamb’s understand the pun). I mean, what adult woman can’t relate to navigating relationships, coming to terms with adulthood, and “Buying clothes on Instagram and standing in front of my fridge eating deli ham?” – Kristin

Standout tracks: “Mythologize Me,” “16,” “Modern Woman”

Adrianne Lenker’s Bright Future earns its place among the 50 Best Albums of 2024 by delivering an unparalleled listening experience that feels like reading a diary left open just for you. Lenker’s songwriting cuts to the bone, offering raw, gut-wrenching truths that linger long after the music stops. Her lyrics are as evocative as they are unflinching, drawing listeners into her world with an intimacy that is both delicate and daring.

The album’s sparse, understated production lets Lenker’s voice and words take center stage, creating a soundscape that is deeply personal and hauntingly beautiful. Acoustic guitar strings hum with warmth, while her layered vocals feel like whispered secrets shared in the quiet hours of the night. The simplicity of the arrangements belies their emotional complexity, making each track a deeply introspective journey.

What sets Bright Future apart is Lenker’s ability to articulate universal feelings through deeply personal storytelling. It’s an album that invites you to sit with your own truths, however difficult they may be. For more on why this album has left such an indelible mark, check out my review. – Jesse

Standout tracks: “Sadness As A Gift,” “Fool,” “Ruined”

5 Seconds Of Summer fans really have it good (me, I am 5 Seconds Of Summer fans.) On top of the fact that they have miraculously not broken up in over a decade, their solo projects seem to be just as fun and exciting as their albums as a band—with Luke’s music being potentially better than some of 5SOS’s music but don’t tell anyone I said that. On boy, the former teenage heartthrob experiments both musically and lyrically, creating a perfect follow up for his 2021 debut solo album.

Luke writes and sings about mundane things in the least mundane way. Tracks about love, loss, and growing up turn out so much more complex than usual, the 28-year-old’s writing style is so unique and unguarded, and it works incredibly well with Sammy Witte’s production (responsible for a lot of Harry Styles’s greatest songs and Del Water Gap’s perfectly curated alt-indie sound). boy feels enormous and intimate at the same time, like you’re reading Luke’s diary but also picturing him performing at an arena. It’s a short 7-track record, but delivers everything you need in its 24-minute run. – Javi

Standout tracks: “Benny,” “Garden Life,” “Clothes My Eyes”

It’s hard to effectively describe Dehd, a Chicago-based indie band—but of course they’re far more all-encompassing than just an indie band. Dehd is such an experimental group, and they displayed that on their previous releases, including 2022’s Blue Skies, but the band arguably put out their best work yet this year with Poetry, an album that somehow swings from garage rock, to post punk to alt-country seamlessly.

Poetry is an impressive feat, as Dehd ranges their sound throughout each of the album’s 14 tracks. But some things stay consistent throughout, including vocalist Emily Kempf’s powerful vocals, which are especially on display in the twangy “Hard to Love,” Jason Balla’s steady guitar work and drummer Eric McGrady’s consistency. 

Dehd seems to be consistently reinventing themselves without seeming like they’re trying to, they just seem to be that creative, and it’s fun following along their career and seeing which turns they continue to take. – Erin

Standout tracks: “Dog Days,” “Mood Ring,” “Necklace“

A part of me felt like I was picking MAJORDOMO for the list because of the motherly attachment that I feel towards Aussie up-and-coming band Teenage Dads, but the more I listen to it, the more I believe it deserves its flowers. This record is pure fun and silliness (non-derogatory) transmitting the same energy the quartet delivers live.

The beachy guitars and beats along with the uplifting vocals and melodies, make for a great summer album (I write as it’s 32°F in my city) or one that can momentarily take you back to when you could go outside without a hat and a scarf and maybe some gloves. The 13-track record holds a steadiness to it with how much energy each song can bring out on its own, while also working perfectly as a collective. MAJORDOMO and Teenage Dads are honestly just a bundle of joy, whimsy, and truly just the perfect depiction of ‘Australianness.’
– Javi

Standout tracks: “Speedracer“, “I Like It,” “Tale Of A Man“

Ariana Grande’s Eternal Sunshine is a defining album of 2024, blending personal storytelling with pop brilliance. Released in March, the album delves into themes of love, loss, and self-discovery, reflecting Grande’s experiences with divorce and heartfelt tributes to Mac Miller. Tracks like “Yes, And?” and “We Can’t Be Friends (Wait for Your Love)” showcase her unmatched vocal talent, with the former debuting at number one on the Billboard Hot 100.

The album delivered major cultural moments, including a remix of “The Boy Is Mine” featuring Brandy and Monica, reuniting the original artists for a modern take on the 1998 classic. Grande also collaborated with Mariah Carey on a remix of “Yes, And?,” blending powerhouse vocals and honoring one of her idols. These collaborations, paired with stunning visuals and intimate performances like those on “Saturday Night Live”, made the album unforgettable.

Amid her role in “Wicked”, Eternal Sunshine reminds us of Grande’s versatility and depth as an artist. Its poignant lyrics, stripped-back production, and cultural resonance make it one of the most talked-about albums of the year, cementing Grande’s legacy as a pop powerhouse who continues to evolve and inspire. – Jesse

Standout tracks: “bye,” “eternal sunshine,” “we can’t be friends (wait for your love)“

I’m a bit biased when it comes to Waxahatchee: I’ve been a fan since Katie Crutchfield, the artist behind the stage name, announced the project. I was a massive fan of Crutchfield’s band P.S. Eliot.—I even convinced my parents to let me drive to the punk band’s final show in Brooklyn, from Chicago when I was 18. I went to Waxahatchee’s first Chicago show ever, in one of my best friend’s basements. I have loved everything Waxahatchee has ever put out. But even saying that, Tigers Blood is something special.

Tigers Blood is Waxahatchee’s sixth studio album, and her first Grammy-nominated one. It’s a departure from previous music, further embracing a country sound. It has some of Crutchfield’s most poetic lyrics, that break your heart and restitch it, all within a song. Tigers Blood has an impressive quality of making me feel nostalgic for a life I’ve never lived.

The singer’s duet with MJ Lenderman “Right Back to It” is an obvious standout, and a perfect pairing of the two artists, but the other songs on the album also have a strong sticking power to them, like “3 Sisters,” about trying to find independence and a sense of self in a relationship. – Erin

Standout tracks: “Right Back to It,” “Crowbar,” “3 Sisters“

Madi Diaz’s Weird Faith is a standout release of 2024, earning its place among the 50 Best Albums of the year for its fearless vulnerability and emotional depth. As I discussed in my piece for Staged Haze, the album captures Diaz’s willingness to confront life’s uncertainties and transform them into something deeply resonant. With Weird Faith, she invites listeners into a journey of heartbreak, renewal, and self-discovery, creating a body of work that is both profoundly personal and universally relatable.

The album’s standout tracks, like “Girlfriend” and “God Person,” highlight Diaz’s gift for raw, evocative songwriting. Her lyrics are unflinchingly honest, while the production strikes a perfect balance between minimalism and lush, atmospheric soundscapes. The result is an album that feels like a safe haven for anyone navigating life’s complexities.

At its core, Weird Faith is about surrendering to the unknown and trusting life’s process—a theme that resonates deeply in today’s world. Madi Diaz’s ability to channel this into music that lingers long after the final note solidifies her as one of contemporary music’s most compelling voices. For more thoughts, check out my full review—it’s an album worth celebrating. – Jesse

Standout tracks:  “Girlfriend,” “Don’t Do Me Good (ft. Kacey Musgraves),” “KFM“

Nemah Hasan, a Toronto-based artist whose family immigrated from Palestine, originally made waves back in 2022 for posting beauty content geared towards Muslim women on TikTok as well as various videos of herself covering Adele songs. She was eventually signed to a record label, but was dropped just days after the Hamas-led attack on Israel back in October 2023, for being outspokenly pro-Palestine. 

Nemahsis’ cultural identity is evident in her music: the lead single for her 2024 album, Verbathim, had a music video that was shot entirely in Nemahsis’ hometown of Jericho, in the occupied West Bank. Verbathim was independently released this past September, and has been making waves on the internet, as Hasan continues to be unapologetically herself, unafraid to speak up for the things she believes in. “Stick Of Gum” tells the disappointing, yet common story of being screwed over in the music industry, “you wore it better” is a glistening ode to a friend whose style and confidence made an ugly t-shirt beautiful, and “chemical mark” exposes the long lasting consequences of trauma. 

All of these themes may sound incredibly different, but what pulls the entire project together is the melodic cohesiveness: making it not only a beautiful album to listen to, but a powerful one, too. – Kristin

Standout tracks: “old body, new mind,’ “dead giveaway,” “stick of gum”

As an avid MUNA fan (I am proud to say that I was on the bandwagon as early as 2016), I knew that lead singer Katie Gavin would never disappoint with a solo album: and I was right. What A Relief showcases Gavin in a different light, leaving the heavy pop production that we’ve come to know and love in MUNA’s music at the door, instead opting for lighter production, folk influences, and a lot of fiddle. That’s right: Katie plays the fiddle, and she does it well!

The first single, “Aftertaste” definitely feels like it could have been a MUNA song, but songs like “The Baton” and “Inconsolable” channel artists like The Indigo Girls and Fleetwood Mac: “Sanitized” feels more Mitski and Fiona Apple. Gavin executes these new directions in sound as if she’s been living in them all along: and it turns out, she has been. The songs are a body of work that Gavin presented to her bandmates in MUNA, who didn’t feel like they were the right fit for the pop group. And that was probably for the best, because What A Relief gives a different side of Gavin the chance to stand on its own. – Kristin

Standout tracks: “The Baton,” “Casual Drug Use,” “Inconsolable”

Chicago-based power pop band Charly Bliss’ third album, Forever, comes over five years past their sophomore effort, Young Enough. The band, comprised of Eva Hendricks, Sam Hendricks, Spencer Fox and Dan Shure, sat down to start working on Forever in 2020…and you know where that led us. The band did manage to release the project, though, and in my humble opinion: it’s their best, most cohesive sounding yet. On Forever, Charly Bliss leans into the pop of their ‘power pop’ genre more than ever before: embracing shimmery and electronic production, with the help of Jake Luppen (Hippo Campus) and Caleb Wright (Samia) along with the band’s Sam Hendricks. 
 
It’s evident that on Forever, Charly Bliss took some time over the last few years to grow up: to come to terms with the stupid mistakes made in the past, the horrible break-ups (including being dumped on your birthday), and adapting to a life on the road as a touring musician. ‘I’d wish that I fucked up least twice as much, and had like double the fun,’ Hendricks sings on “I’m Not Dead,” a moment for the anxious girlies who were too scared of getting in trouble to party in high school (me). – Kristin

Standout tracks: “Calling You Out,” “Nineteen,” “I’m Not Dead”

Since the release of this album, Declan McKenna has gone on North American and European tours, jumped on Sabrina Carpenter’s Short n’ Sweet Tour as an opener, left his record label, and immediately released a double A-side. We all have lived multiple lives from the time What Happened to the Beach? came out, but this record remained in the top ten in my heart.

Although the 25-year-old has gained a lot more creative freedom after becoming an actual indie artist, The Beach? still felt extremely Declan, full of fuzzy guitars, peculiar sounds, and (at times incomprehensible) abstract lyrics. The difference in production and style throughout the songs create a collection of absolutely different but still coherent tracks. It’s almost like Declan’s creativity goes so beyond the norm that he just has to put it all in each song in one way or another, in different orders and intensities, making them all somehow work. I have no doubt that the Brit’s music will continue to evolve immensely, but What Happened to the Beach? also shows so much growth and willingness to experiment, and I’m glad it’s what closed down this era for McKenna. – Javi

Standout tracks: “I Write The News,” “Mezzanine,” “Elevator Hum”

On their latest album, Faith Crisis Pt. 1, Australian band Middle Kids experimented and grew their sound to include more pop influences and big hooks, and it paid off for the indie band. The album is one of the most infectious albums this year. After a first listen, it’s hard to get the album’s singles like “Dramamine,” as well as some of the album’s most sonically exuberant songs like “The Blessings” out of your head. 

The album’s not all infectious, bubbly joy, it reaches some of its furthest depth on “Bend,” a song that comes in halfway through the album, and has vocalist and guitarist Hannah Joy belting in a way that’s reminiscent of Florence Welch, through the chorus “I am one bend away, I am one step away, I am holding all the pieces in place but maybe you’ve got to break me to see what I’m made of.” – Erin

Standout tracks: “Dramamine,” “The Blessings,” “Bend“

Was there an album more theatrical this year than The Last Dinner Party’s Prelude to Ecstasy? You’d be hard-pressed to come across one. At points, the album feels more like a movie score than an album by a rock band, especially as the album’s title track blends into “Burn Alive.” It’s their ability to craft such impressive baroque pop, which blends together elements of classical music and pop and indie influences, that makes Prelude to Ecstasy such a unique album. 

Sure, the band’s single “Nothing Matters” seemed a little inescapable over the past few years, understandably, because it’s a great, powerful and catchy song, but it’s just one of many standout tracks within Prelude to Ecstasy. One of the other highlights is “Caesar on a TV Screen,” a song . 

While all of the members of The Last Dinner Party are supremely talented, lead vocalist Abigail Morris has such impressive range, running through scales and capturing so many feelings just with the power of her voice. – Erin

Standout tracks: “Caesar on a TV Screen,” “The Feminine Urge,” “Nothing Matters”

The sentiment of singer-songwriter NIKI’s fourth studio album, Buzz, can be perfectly encapsulated in one word: “anticipation.” Described in a press release, the meaning of the project is described as “the feeling of being on the precipice of something…the buzzing of an amp signals that music is starting, and a buzzy giddy feeling emerges at the start of a new romance.”

And to my fellow millennials who were raised on Disney Channel Original Movies, it can only be described as ‘the start of something new.’ Initially becoming a NIKI fan after the release of her 2022 album, NIKI, I’ve come to admire her songwriting skills greatly: they balance the line of heartbreak, anger, and optimism quite seamlessly, inviting you into her world of anguish, only to flip said invite on its head and go straight for the jugular.

It’s dealing with revelations that make you feel better than ever, yet still playing into the desire to burn down your enemy’s house just to feel something. “Is this what the kids call petty? Well, I’m happy to report that petty feels pretty awesome.” It’s the type of lyric that one of NIKI’s idols could have penned herself: and that’s probably one of the highest compliments I could give. – Kristin

Standout tracks: “Buzz,” “Colossal Loss,” “Heirloom Pain”

Listening to Nick Carpenter, aka Medium Build, is like engulfing yourself in a hug. His music is familiar, warm, inviting, and authentic. Country is full of songs so autobiographical, you’ll find it hard to believe that it’s so universally relatable: a snapshot of the human experience.

I understand that those are large statements to be made about an album, but they are statements I believe to be true. Most artists don’t have an exemplary vocal talent and the ability to write lyrics that can make even the most stoic man cry, but songs like “In My Room” and “Can’t Be Cool Forever” are sure to make them crack. 

Country has a song for everyone: those who are still coming to terms with their trauma from childhood, for those who are struggling with what it means to be an “adult,” and for those who are still accepting that they’re no longer the coolest versions of themselves. And if you’re anything like me, you’re probably dealing with all three. – Kristin

Standout tracks: “In My Room,” “Can’t Be Cool Forever,” “Stick Around”

Slowly but surely, I’m Not Afraid Of Music Anymore became a permanent record in my rotation, as I rediscovered new songs a few months later and fell in love with new lyrics. Frontman Chase Lawrence did say that this was “the most Coin” music they had ever made, and I agree. They looked back at their beginnings, collected all the best parts of it, and came up with something even better.

Thoughtful and stupidly relatable lyrics are accompanied by energizing instrumentals, creating a comforting atmosphere where the struggles are acknowledged but looked at in such a positive and hopeful light. In all honesty, COIN has become a sort of place of comfort for me in the past few years, their music means so much to me in so many ways, and every album feels just like a big, warm hug. This album (just like their previous ones) makes you want to be candid, to wear your heart on your sleeve and embrace all your feelings, which I believe is something the world needs more of. – Javi

Standout tracks: “222,” “Along For The Ride,” “Problem”

Writing about Omar Apollo nowadays feels majorly odd, because it seems like he blew up exponentially all of a sudden and is also now a movie star! The buzz does make sense though; he is a super talented, original, and interesting artist, and his album God Said No really puts it all into perspective. The record feels not only well curated, but so grand and majestic, in ways he wasn’t able to evoke just yet in his earlier projects. It’s like he realized his full potential and finally unleashed it in the studio.

The Indiana-native was able to unfold creatively while at the same time setting a very distinctive style, one that has been there since the beginning but that has become a lot more defined in this record. The way he portrays his individuality visually and even off-stage, translates so well into his music, creating a whole concept of what Omar Apollo means and what he wants his artistry to leave as a legacy. It’s been such a pleasure to see him become the artist that he is today, and to see that he hasn’t lost himself in the midst of this new-found fame and world of opportunities. – Javi

Standout tracks: “Less Of You,” “Life’s Unfair,” “Spite”

Kacey Musgrave’s Deeper Well is a triumphant return to the heartfelt artistry that defined Golden Hour, earning its place among the 50 Best Albums of 2024. Often described as Golden Hour‘s “big sister,” this album builds on the dreamy introspection of its predecessor while reflecting a deeper maturity. Reuniting with producer Ian Fitchuk, Musgraves created a lush and deeply personal work that captures both the beauty and complexity of life’s big emotions.

At its core, “Deeper Well”  feels like an intimate conversation, drawing listeners into Kacey’s world with honest, relatable storytelling. The album is filled with standout moments, including “Heaven Is,” a breathtaking love song that showcases her ability to write lyrics that feel universal and deeply personal at once. Each track is thoughtfully crafted, with Musgraves’ trademark blend of lush instrumentation and understated vocals creating a timeless sound.

The deluxe version of the album adds even more layers, featuring bonus tracks that expand the album’s emotional scope. “Deeper Well” solidifies Kacey Musgraves as a master of blending the personal and the universal, offering a listening experience that feels like a warm embrace. It’s a testament to her continued evolution as one of country and pop’s most compelling voices. – Jesse

Standout tracks: “Cardinal,” “Heaven Is,” “The Architect“

Role Model’s Kansas Anymore was one of three albums that I could’ve chosen as my number one pick, and a part of me still thinks it might deserve it: I just had to make a difficult choice for the sake of this article. ROLE MODEL’s sophomore album is a perfect record from start to finish. Everything feels so cohesive, from the lyrics to the melodies to the production choices, as well as the emotions and situations that he alludes to, and the storytelling of the whole thing. It is a consistent record and a wonderful work of vulnerability with a degree of naivité from 27-year-old Tucker Pillsbury.

These songs obviously have some lore behind them (that I definitely know way too much about) but even individually, each song calls to mind so many things that we can’t help but relate to. The way love and grief are portrayed is so accurate and beautiful, it literally makes your heart (and tummy) hurt because you can’t help but feel for the narrator. This is Tucker’s most mature project to date in so many ways, and although a lot of it came from a place of pain, I think it has turned him into a much better artist and performer. – Javi

Standout tracks: “Writing’s On The Wall,” “Scumbag,” “Superglue”

I had never heard of Rachel Chinouriri before the English singer-songwriter released her debut album, earlier this year. What a discovery it felt like to come across this album. It was so creative, so emotionally raw and so packed with talent, I was floored on my first listen.

Musically, the album feels nostalgic: that was Chinouriri’s intention. She said that she was inspired by Britpop bands of the ’90s, like Blur and Oasis, as well as pop stars like Lily Allen. One of the most interesting aspects of What a Devastating Turn of Events is that Chinouriri split the album in half thematically.

With lighter, and more bouncy songs making up the front half, including one of my favorites, “Never Need Me,” which is about a former romantic relationship, the back half of the album takes a much darker turn. In some of the album’s latter songs, Chinouriri sings about a relative in Zimbabwe who committed suicide after finding out she was pregnant in the album’s title track, and feelings of body dysmorphia in “I Hate Myself.”

It’s one of the standout albums of the year, and impressive that this is Chinouriri’s debut. She made a strong case for herself that she is a force to be reckoned with within indie rock space. – Erin

Standout tracks: “Never Need Me,” “It Is What It Is,” “What a Devastating Turn of Events”

Maggie Rogers’ Don’t Forget Me is one of 2024’s standout albums, blending introspection with moments of joy. Written in one creative stretch with Ian Fitchuk, a frequent collaborator of Kacey Musgraves, the album is a cohesive exploration of memory, resilience, and growth, showcasing Rogers’ evolution as an artist.

While much of the album leans into vulnerability and reflection, upbeat tracks like “Drunk” and “On & On & On” bring an energetic, fun vibe that’s perfect for rocking out. These moments balance raw emotion with celebratory sounds, adding a dynamic range that makes the album endlessly replayable. In contrast, quieter songs like “If Now Was Then” and “I Still Do” highlight Rogers’ poetic lyrics and stripped-back production, capturing her emotional depth. Fitchuk’s influence adds richness to the arrangements, creating a soundscape that feels both comforting and bold.

Don’t Forget Me balances quiet reflection with lively energy, offering listeners an intimate and cathartic experience. Its dynamic blend of vulnerability and joy makes it one of Rogers’ most compelling works to date. For more insight into this beautiful album, check out my full review—Maggie Rogers continues to prove she’s a force in modern music. – Jesse

Standout tracks: “It Was Coming All Along,” “The Kill,” “On & On & On”

Beabadoobee’s This is How Tomorrow Moves stands out as one of the 50 Best Albums of 2024 for its perfect blend of cohesion, fun, and artistry. Released on Dirty Hit and produced with the legendary Rick Rubin, the album is an irresistible no-skip experience, making it one of my personal favorites of the year.

Every track feels essential, flowing seamlessly to create a cohesive sonic journey. Rubin’s production elevates Beabadoobee’s signature sound while encouraging fresh experimentation, resulting in an album that feels both nostalgic and forward-thinking. Its playful energy and introspective moments strike a perfect balance, making it endlessly replayable.

With each song equally strong, it’s hard to pick standouts—this album thrives as a complete work. Its ability to mix joyful creativity with thoughtful cohesion cements Beabadoobee as one of indie rock’s brightest talents.

For a more detailed take, check out my review.
– Jesse

Standout tracks: “Take a Bite,” “One Time,” “Girl Song“

Ten years after the release of their debut album, Bleachers is back with their self-titled, fourth album, and the first on their new label, Dirty Hit Records, as well as their own label: Bleachers Band Recordings. Frontman Jack Antonoff is most well known for his incredibly long list of production credits for none other than Taylor Swift, Lana Del Rey, Sabrina Carpenter, The 1975…the list goes on for very long. 

But Antonoff’s role as a performer is quite different from the work he does in the studio: it’s more personal. Despite many criticisms that Bleachers is, basically, a tribute band for Bruce Springsteen, there’s something about Antonoff’s vision that has hooked me as a fan and listener for the last ten years. 

Exploring themes of love, loss, grief, marriage, and the trauma that comes with losing a loved one (Antonoff lost his sister to brain cancer during childhood), Antonoff & co comes across as their most comfortable on this record: but not self-effacing or indulgent. It works because it’s genuine: which makes complete sense to me, considering Antonoff has mentioned that he fixates on writing about the past and the future in previous works, and the creation of this album was the first where he felt like he could write about the current moment.
– Kristin 

Standout tracks: “I Am Right On Time,” “Modern Girl,” “Call Me After Midnight” 

If I’ve learned anything in 2024, it’s that Remi Wolf’s world is where I want to live forever. It’s colorful, fun, noisy, big, bright, and unapologetically itself. And I think that sums up her sophomore album, Big Ideas, quite nicely.

Remi has never shied away from pushing the boundaries of her music: she has explained before that taking on Big Ideas was equally an attempt at trying something new but still a body of work that any fan could identify as ‘inherently Remi’—something that not many artists can execute well. Anyone who loves Wolf’s previous work knows she likes to have fun: and the tracks on Big Ideas are still fun, but feel more layered than previous work. Songs like “Cinderella,” “Soup,” and “Toro” bring the soul and the funk: “Alone in Miami” and “Cherries & Cream” are psychedelic anthems, “Frog Rock” samples the sounds of real frogs Wolf stumbled across on a hike. 

Pitchfork writer Boutayna Chokrane nails the sentiment of Big Ideas in her review perfectly: ‘If Juno was a hallucinogenic wonderland that painted the self-declared “Sexy Villain” as a comic figure, Big Ideas works to humanize Wolf’s music without sacrificing its theatricality.’ – Kristin

Standout tracks: “Soup,” “Toro,” “Cherries & Cream”

I have been listening to Royel Otis nonstop for at least the past two years. Their entire discography already seemed un-skippable, but PRATTS & PAIN still managed to be on a completely different level. The catchy and upbeat songs are inebriating, like shots of 3-minute-long dopamine, they take you up to a high that you obviously won’t want to come down from. I sometimes don’t even know what the lyrics are saying (in my defense, English is my second language) but it doesn’t seem to matter because it all just feels so right, like the best and most unique music you’ve ever heard.

Even choosing only three songs as the “best” was difficult, since the entire album could be the best song ever depending on your feelings. And to think that this is their debut album, one that they worked on for so long and then had to release under all the pressure that came after going viral for a cover song? It could’ve gone downhill from there, but they were able to ride the high and deliver an absolute triumph of a record. It’s clear that this is only the beginning for them and I can not wait to see what they give us next. – Javi

Standout tracks: “Claw Foot,“ “Heading For The Door,“ “Always Always“

I’ve been writing about Dora Jar for a couple years at this point, and I wasn’t quite sure how she would be able to outdo herself with the release of her debut album, but somehow, she absolutely did. On No Way To Relax When You’re On Fire, Dora Jar embraces her artistry fully, pushing the boundaries of her sound and exploring uncharted territory without straying too far away from what makes her unique. 

Clocking in at just 39 minutes and 29 seconds, the 13-track album showcases Dora Jar’s immersive inner-world, weaving through themes of existential dread and simultaneous awe, trying on genres as if she’s playing dress-up: expertly mastering sounds of pure pop, singer-songwriter, and even folk (“Cannonball” makes me want to run through a field). But Dora Jar shines brightest at her weirdest: she nearly raps on the first verse of “Ragdoll,” “Smoke Out The Window” feels like the soundtrack to a fever dream, and “Behind The Curtain” deserves an honorable spot in the Wicked movie.

But the absolute summation of the album comes to fruition in the title track: embracing what it means to be powerful, unstoppable, and simply beautiful.
– Kristin

Standout tracks: “Timelapse,” “No Way To Relax When You’re On Fire,” “Behind The Curtain”

Beyoncé’s Cowboy Carter is a groundbreaking release that rightfully claims its place as one of the 50 Best Albums of 2024. Following the genre-defying brilliance of Renaissance (Act I), Beyoncé takes another bold leap with Act II, blending country, rap, and R&B into a seamless and innovative sound. This fearless fusion not only garnered critical acclaim but also earned her nominations at the Country Music Awards—a testament to her ability to redefine musical boundaries.

The album features standout tracks like “Sweet Honey Buckin” and “Texas Hold Em,” which pair storytelling steeped in country tradition with Beyoncé’s signature vocal depth and rhythmic flow. She brings an edge to country music, infusing it with soulful beats and swagger while staying rooted in its emotional authenticity. Her cover of Dolly Parton’s “Jolene” is another highlight, reimagining the classic with her powerful vocals and a fresh perspective that pays homage to the original while making it distinctly her own.

With Cowboy Carter, Beyoncé proves she’s a master of reinvention. The album is more than a genre experiment—it’s a testament to her artistry, blending worlds in a way only she can. It’s bold, innovative, and yet another reason why Beyoncé remains at the pinnacle of music. – Jesse

Standout tracks: “16 CARRIAGES,” “BODYGUARD,” “SPAGHETTI“

I have to say, I was initially not expecting Taylor Swift’s massively overwhelming, double album, which features a whopping 31 songs, to be included so high in our list this year. But I guess it goes to show that Taylor Swift’s B-game is most people’s A+ game. 

The Tortured Poets Department dropped in April of this year, while Swift was in the middle of her seemingly never ending Eras Tour (which just conceded the day before you’re probably reading this), lamenting Swift’s status as one of the hardest working artists in the industry today: something that’s undeniable whether or not you care for her work. 

TTPD is not Swift’s best work: it’s unpolished, messy, too long, and quite jarring. It showcases Swift at her worst: manipulative, self-indulging, and melodramatic. But those traits are what make it such a stunning effort at the same time: it’s honest, vulnerable, and tangential. And if you’re anything like me, those are the elements that make for a fantastic Taylor Swift record. If you want a more in-depth analysis, I wrote a very long review you can see here. – Kristin

Standout tracks: “Down Bad,” “But Daddy I Love Him,” “Guilty As Sin?”

On paper, Only God Was Above Us should not work. The album is a chaotic scramble of different sounds, ideas and themes, but somehow, of course, the visionaries behind Vampire Weekend were able to put this chaos together into one of the most eclectic, fun and interesting albums that came out this year.

Vampire Weekend has never been a band that’s been content to just stick to the traditional rock band instruments—guitar, bass and drums—but they really expanded their sound on Only God Was Above Us, from the wild pianos on “Classical,” to the instantly hooking screeching guitar intro on “Gen-X Cops,” to the classical choir on “Mary Boone,” there’s something for everyone.

Personally, this was the Vampire Weekend that hooked me. I’d been a casual fan of the band for years, and was sure to give Only God Was Above Us a listen, but I never expected that I would become obsessed with the album, and it would be one of constant repeat listens throughout the year. It helped to see them perform it live—Vampire Weekend’s headline set at Kilby Block Party, a festival in Salt Lake City, was one of the standout performances of the weekend. The live show, which at points turned into a jam band sesh, and at other points featured a cast member of the Real Housewives of Salt Lake City onstage playing corn hole, was wild, a bit chaotic and extremely fun—just like their incredible album. – Erin

Standout tracks: “Ice Cream Piano,” “Capricorn,” “Connect“

“Hit Me Hard and Soft” is a defining album of 2024, showcasing Billie Eilish’s growth as an artist and solidifying her status as one of the most influential voices of her generation. Recently named Spotify’s Artist of the Year, Eilish continues to push boundaries with a work that blends emotional depth and stunning production.

The album’s title reflects its dynamic range, shifting seamlessly between delicate moments and powerful crescendos. Collaborating once again with her brother and producer Finneas, Eilish creates a deeply layered soundscape that highlights her haunting vocals and poignant lyricism. The lush orchestrations and intricate arrangements elevate every track, seamlessly blending timeless and contemporary elements.

Hit Me Hard and Soft captures the essence of Eilish’s evolution, inviting listeners to experience the vulnerability and strength within her themes. The album’s ability to balance raw emotion with sonic experimentation makes it a standout in modern pop.

This album is more than a musical achievement—it’s a testament to Billie Eilish’s artistry and her ability to continually redefine herself. With Hit Me Hard and Soft, she delivers an unforgettable statement, proving why she remains one of the most celebrated artists today. – Jesse

Standout tracks: “BIRDS OF A FEATHER,” “WILDFLOWER,” “THE GREATEST”

What is there left to say about Short n’ Sweet? Or about Sabrina Carpenter’s sudden but long-overdue success? The girl’s been at it: perfecting her sound, her songwriting—and her sex life, as she has generously shared with us in the past year. With this being her sixth (!!!) studio album, one might think there were some outside forces coming into play, but once you listen to the 12-track album you immediately understand that the hype is simply deserved. Sabrina dropped all her inhibitions –some that might’ve been leftovers from her Disney days– and made an album that is truly one of a kind.Each song has its own flavor, but they all come together in a perfect package.

Sabrina’s emails i can’t send run was already very promising despite it being overlooked, like she had the whole concept figured out but some details were missing.  Now, she finally has all the ingredients at hand and has perfected the act of cooking (cooking up absolute bangers, that is.) In all seriousness, Short n’ Sweet is full of fun and femininity, jumping from rowdy to delicate, from unserious to blunt, but with Sabrina always remaining her true, tiny, humorous self. – Javi

Standout tracks: “Coincidence,” “Bed Chem,” “Juno“

Charli XCX’s Brat is undeniably one of the 50 Best Albums of 2024, capturing the cultural zeitgeist like no other release this year. Long celebrated for her pop innovation, Charli achieved a breakthrough moment with Brat, expanding far beyond her dedicated fanbase to dominate mainstream culture. The album’s influence was so pervasive that it was referenced multiple times on SNL, cementing its status as a defining cultural phenomenon of the summer and into autumn, fueled further by the release of the revolutionary remix album Brat and it’s completely different but also still Brat.

The music itself is bold, addictive, and unmistakably Charli, blending her signature hyper-pop edge with hooks and production that resonated universally. Paired with the iconic “brat green” branding, the album became a statement that extended beyond music, inspiring fans and casual listeners alike. From viral trends to a flawless marketing rollout, Brat became a symbol of 2024’s pop culture.

This album marks a defining year for Charli xcx, showcasing an artist at the top of her game, capturing global attention while remaining authentically herself. If she doesn’t win a Grammy for Brat, it would be a travesty for one of the most iconic albums and cultural moments of the year.
– Jesse

Stand Out Tracks: “360,” “Sympathy is a Knife,” “Girl So Confusing”