As the year comes to a close, we thought it would be only right to share some of our writers' favorite albums from this year. Year-end lists serve as a time capsule and an immediate portal to nostalgia from the year prior. Often times, they remind me of great records I might've missed or ones I haven't revisited since their immediate release. As listeners, we all experience music so differently, but collectively come together to share our love and praise it in a such a universal way. At Tonitruale, our lists remain subjective and casual, and there may be a few repeating favorites you see!
Helen's Favorite Albums of 2024
Honorable Mentions:
Charli XCX - BRAT
Erika de Casier - Still
Jessica Pratt - Here in the Pitch
Cameron Winter - Heavy Metal
Cassandra Jenkins - My Light, My Destroyer
A true sense of bliss came over me the first time I listened to My Light, My Destroyer, the follow up to Cassandra Jenkins' 2021 breakthrough record, An Overview on Phenomenal Nature. Jenkins has a voice, both in sound and in her writing, that is so clearly expressive that it can't help but command listeners' attention. From dream-pop earworm ballads like "Only One," to darker and more psychedelic explorations on songs like "Delphinium Blue," Jenkins never loses her focus in these ventures. It's cinematic at times, and continually expansive, leading the audience on a sonic journey that at times feels cosmic, complete with field recordings leading you to the next feeling. "Tape and Tissue" is the album's magnum opus.
Chanel Beads - Your Day Will Come
To this day, I still find it hard to put my finger on what Chanel Beads' debut album sounds like exactly, and perhaps that sort of hexing je ne sais quoi is what I find so beautiful about it. It's enlightening, yet evokes the grime of nightlife in a cityscape. It's emotionally honest, but remains cloaked in a haze, not always allowing you to fully grasp the gravity of its weight. Frontman Shane Lavers, might be intending to play it cool, but he doesn't really have to try. Combining organic and electronic instrumentation and elements of post-punk, pop, and rock, I find myself finding a new groove each time I listen.
claire rousay - sentiment
There's something almost more human about music that intentionally sounds inhuman and otherworldly. claire rousay's first venture in creating a singer-songwriter album doesn't sacrifice her ambient and experimental nature, instead, it elevates it to another level of music making. rousay's vocals, shrouded in autotune, coupled with organic instrumentation such as lush string arrangements and rousay's guitar playing, create jarring, haunting, and moving musical movements that leave the listener emotionally expelled, but fulfilled in the exercise of feeling a full range or emotions so fully. After discovering this album, I went on a deep dive watching rousay's live performances, which completely mesmerized me. Hearing her experimental rock, emo, and ambient balladry complete with fuzzy field recordings only created a more holistic understanding of sentiment as a body of work. Hearing pieces of songs infused in other compositions or certain movements reprise showcased to me how expansive rousay's compositions truly are, and how sentiment as an album presents them in a more linear fashion, not shortening or stifling the work, but simply remolding it to fit another medium. One of those repeated phrases is, "mental blasts of the best parts," and I feel as though sentiment contains multitudes.
Mannequin Pussy - I Got Heaven
I Got Heaven is an album that contains more power than I could ever express. I knew upon its initial release that this would be one of the year's most memorable for me, despite it being such an early release in the year. "I Don't Know You," stunned me as a single, becoming one of my favorite love songs ever. The heavier tracks like "Loud Bark," and "OK? OK! OK? OK!" balance out the dreamier shoegaze-adjacent ones like "Nothing Like" and "Softly." The closing track, "Split Me Open," is one of the year's best album closers, with its cathartic build up to Missy Dabice's powerful cry of, "Nothing's gonna change!" This was the last song I played on college radio, so perhaps it has a special place in my heart for that reason too.
MJ Lenderman - Manning Fireworks
I talked a lot in my September releases piece about MJ Lenderman and his significance in the independent music zeitgeist. Seeing him come fully into the frame has been so rewarding as a longtime fan, and Manning Fireworks does feel like the perfect album and cycle for it to happen during, as the album perfectly encapsulates his alt-country sound, cynical yet lackadaisical humor, and sharp songwriting. Lenderman can write a song like "Joker Lips" with lyrics like "Please don't laugh, only half of what I said was a joke, every Catholic knows he could've been Pope," and ones like "Rip Torn," with lines like, "You said, 'There's milkshakes and there's smoothies,' you always lose me when you talk like that."
So many beautiful and differing factors can be true and present all in the same glorious album.
Kora's Favorite Albums of 2024
Mannequin Pussy - I Got Heaven
Everyone seemed to be talking about Mannequin Pussy this year, and for good reason. This Philly band is insane. I Got Heaven deserves every ounce of praise it’s gotten. It’s done perfectly. No skips in this album. It’s pure punk, even its slowest song, “I Don’t Know You” (which was my favorite song of the year). Marisa "Missy" Dabice, lead singer, lets her lyrics breathe and comes right back to knock them out in her thorny voice. It’s this perfect balance of letting the listener sit and keeping them on their toes waiting for the next guitar riff to come in. The lyrics are smart, the instrumentals are loud, and every part of it hits you in the face till you start smiling. “And what if I'm an angel?/Oh, what if I'm a bore?/And what if I was confident/Would you just hate me more?” This album does contradictions perfectly, begging you to be okay with two things being true at once. It walks a line the whole time, and maybe that’s why I love it so much. If you are able to catch Mannequin Pussy live you need to.
Amyl and the Sniffers - Cartoon Darkness
“DON'T WANNA BE STUCK IN THAT NEGATIVITY.” I’m a sucker for Australian punk and Amyl and The Sniffers got me once again. Cartoon Darkness sticks its tongue out to the listener asking you to ‘NANANA’ with them. It’s the perfect album for running, for being pissed off, and when you really really just wanna tell someone off, hoping they’ll see you run right past them in every aspect.
Hurray For The Riff Raff - The Past Is Still Alive
This year was huge for a folk and Americana reboot. Waxahatchee finally getting her flowers, MJ Lenderman coming into his own space, and Hurray For The Riff Raff releasing a beautiful, poetic, grounded album. The Past Is Still Alive reminds me of all the good parts of my hometown. Alynda Segarra, lead singer, is relaxed, kicking her feet up on the dash of the broken down pickup in my mind. It’s giggling in fields, smelling old dirt from the barn, and not being able to see your hand in front of your face once it hits 8 p.m. The cherry on top is the album closer, “Ogallala.” If you don’t know this town, it’s basically the last place you can pee before you drive into Colorado. She depicts it perfectly. “Hiding from the cops/In Ogallala, Nebraska/You were so mean/But I had to keep walking.”
Katy Kirby - Blue Raspberry
I’ve been singing Katy Kirby’s praises to everyone that’ll listen honestly. Her lyrics are smart, creative, and oh so heartbreaking. Blue Raspberry builds perfectly off of her other work. Kirby effortlessly paints this picture of tender moments. Every track feels like a hand outstretched to another.
Hinds - Viva Hinds
Comeback album of the year in my opinion. Hinds has a lore that could be made into a multi-season TV show, yet they’ve stuck to their guns and brought a fun and creative new album while sticking to their garage rock roots. This album is perfect for all of those 20-something anxieties and late nights talking around a table, faces flushed, until someone realizes they have to be up at 8 a.m. tomorrow. “I like black coffee and cigarettes/And flowers from boys I’m not sleeping with/I like trees when they let go of their leaves/They’re so wise, they get rid of their shit.” Hinds has lived a million lives and will not stop pushing, Viva Hinds for real.
Carolin's Favorite Albums of 2024
Honorable Mentions:
The Last Dinner Party - Prelude to Ecstasy
Suki Waterhouse - Memoir of a Sparklemuffin
Wallows - Model
Taylor Swift - The Tortured Poets Department
Orla Garland - Everybody Needs a Hero
Orla Gartland is easily one the biggest breakout stars I saw live this year. Not only is the album fantastic, but it’s even better live. The album is all about finding yourself in your twenties and is painfully relatable at times. “Kiss Your Face Forever” is an absolute jam with an infectious bass riff. “Late To The Party” featuring Declan McKenna has Orla pondering a new partner’s past loves– a feeling that’s all too familiar. “Little Chaos” may or may not have been listed as my Tinder anthem at one point this year: “Pick me up, take me home. Turn me off, turn me on. I'm your friend, I'm your girl. I'm your little chaos.” If you’ve never felt that way at one point, I think you’re lying. Who doesn’t love a little chaos?
Eliza McLamb - Going Through It
For fans of sad-girl indie, Eliza McLamb needs to be on your radar. Her debut album Going Through It is a near-quarter-life-crisis album that’s been on repeat since January– proof is in my Spotify Wrapped. From the ethereal coo of “Before” to the indie-rock jam “Modern Woman,” there’s a track on here for every level of angst. Whether you wanna roll the windows down and scream the lyrics to “Mythologize Me” or sob quietly to “16,” Eliza’s got you covered.
Various Artists - I Saw The TV Glow (Original Soundtrack)
I wasn’t expecting to have a movie compilation album in this list, but this is easily one of the best soundtracks for a movie ever. Jane Schoenbrun wrote and directed I Saw The TV Glow– a coming-of-age psychological horror that debuted earlier this year. Schoenbrun commissioned their favorite artists to write/perform songs for the movie’s album, and wow, it’s a masterpiece. You’ve got yeule opening it up with their version of Broken Social Scene’s “Anthems for a Seventeen Year-Old Girl” which is trippy and whimsical. Then it’s got one of my favorite songs of the year, “Starburned and Unkissed” by Caroline Polachek. I feel like I could go sprinting down a street the second the guitars in the chorus kick in. The album also has songs from Bartees Strange, Jay Som, King Woman, and L’Rain…just to name a few. “Claw Machine” by Sloppy Jane featuring Phoebe Bridgers is a heart-wrenching ballad that captures the vibe of the film so well. Even if you never watch the movie (which you definitely should watch), the soundtrack on its own is worth listening to for a deep dive into coming-of-age discovery and dissolution.
Remi Wolf - Big Ideas
Somehow, I didn’t think Remi Wolf could get any better. Juno was a dazzling debut album with songs like “Quiet on Set,” “Anthony Kiedis,” and “Sexy Villain” that owned my playlists in 2021/22. Needless to say, Remi Wolf is back at it again with funky grooves and witty lyrics on Big Ideas. “Cinderella” is easily one of my favorite tracks of the year, and it never fails to NOT be stuck in my head– catch me randomly blurting “Me and the boys in the hotel lobby” at any given moment. “Toro” is sexy, silly, and also ridiculously catchy. “Soup” is a belt-able banger that gives off a Broadway essence. I missed seeing Remi Wolf live this year, but she’s at the top of my concert bucket list for 2025.
Twenty-One Pilots - Clancy
If I’m being honest– I did not think this album would be in my top five when I first listened to it. As a longtime Twenty-One Pilots fan, I found myself initially underwhelmed by Clancy, but all that changed when I saw their live show supporting the album– I should never have doubted them. The lead single “Overcompensate” brought me back from the dead the morning of February 29th. The new era was teased a week prior with the video “I Am Clancy,” which outlined all the band’s lore leading up to the end of their previous release Scaled and Icy (2021). My teenage self who lived and breathed Trench (2018) came back immediately upon hearing the words “Welcome back to Trench” in the beginning of “Overcompensate.” I have so much respect for the creativity of the Blurryface/Dema/Clancy saga that has lasted the past nine-or-so years across four albums. Some of the tracks in Clancy did fall flat for me, yes, however; it feels like a triumphant end to a musical storyline I’ve held so dearly for ten years. Is this REALLY the end of this era for Twenty-One Pilots? Whatever, it was never just a phase, mom.
Mike's Favorite Albums of 2024
Billie Eilish - HIT ME HARD AND SOFT
Oh, you’ve heard this album already. Well, I’m not surprised considering it pushed Billie Eilish to become the most streamed artist on Spotify worldwide. She said it was the album that she felt she had the most control making, and it definitely shows in the results. Personally, I think “CHIHIRO” and “L’AMOUR DE MA VIE” are the best tracks on the album but through and through you won’t find too much to complain about. Sometimes I feel I need to be in the right (which might be the wrong) headspace to truly connect with the album, but it doesn’t make it any less powerful. Not to mention she also topped the charts with a feature on another top 2024 album, BRAT… if you’ve ever heard of that one lol. It also needs to be mentioned how great a job Finneas does producing so much of this music. Brother Sister duos are dominating the music industry right now.
Twenty-One Pilots - Clancy
This is up for debate as the best Twenty-One Pilots album. They have definitely come a long way from the “mainstream” days of blurryface. In the last few albums they have played with a new sound, trying to figure out what fits their current state best. The composition has a lot of little complexities and it's a weird thing to say directly, but they just sound like they are happier than they have ever been. Tyler and Josh have had many “low” songs, and still do, but you can really tell how grateful and happy they are with the current state of their lives. Tyler is always mentioning his kids at shows, Josh is married and living his best life (shout out Debby Ryan), and these moments they have had are reflected in their new sound. “Navigating” was always my favorite track off the album, but “Lavish” and “Oldies Station” continue to climb up my ranks in what is a really solid album through and through.
Lil Dicky - Penith
This one can be explained very easily. This album is incredible because it is a story. If you’ve never seen Dave on Hulu, this is the soundtrack for the show. Due to this, Penith just has a lot more deep and personal songs. “Harrison Ave” and “Ally’s Song” are by far the stand-out tracks in my opinion and they provide a great look into the life (semi-nonfiction) of Dave Burd a.k.a Lil Dicky. Don’t worry though for all the deep and meaningful tracks, there is an equal amount of just goofy, maybe more standard, lil dicky songs. It's definitely a well-rounded album and deserves a little more recognition than it may have gotten.
Dua Lipa - Radical Optimism
It might be the end of the Future Nostalgia Era, but Dua Lipa kept the hits coming with Radical Optimism. I know that this might be a bold take but I feel the composition of a lot of Dua Lipa’s music is towards the top of all pop music. She seems to really enjoy a funky bassline on her tracks and I will never not respect a good bass. “End of an Era” is definitely my favorite off the album but there are plenty of solid tracks from “These Walls”, “Illusion”, and “Maria”. This was also her first No. 1 on Billboard's Top Album Sales chart.
Lawrence - Family Business
Welcome to the Family Business. “Make yourself at home” with the talented soul-pop brother and sister team of Lawrence. Whether you want some upbeat tracks to jam to, or prefer falling into a beautiful existential crisis, this album is definitely a great listen. While I love the dancy vibes of songs like “Hip Replacement”, nothing for me stands out more than the deep questioning of “Something in the Water”.This has been not only a top album but a top artist for me over the last five years and I have loved seeing them grow both as a group and among the music community. Side note, go watch Noelle on Disney+, it features a whole Lawrence soundtrack and the amazing Gracie even makes an appearance alongside Anna Kendrick!
David's Favorite Albums of 2024
Mount Eerie - Night Palace
I’m still digesting this one and probably will be for some time. Phil Elverum has given us a towering eighty minute masterpiece that goes toe to toe with his best work, and in some ways cuts even deeper. It’s a complicated thing, grappling with the history of where you were born, feeling a love for the land and people but a deep horror for the blood that continues to be spilled in its name. This record somehow holds that weight with production that matches its gravity.
Charli XCX - BRAT
It's Brat.
Cindy Lee - Diamond Jubilee
In a world where everything is always accessible, it’s hard to imagine how exciting it must’ve been to come home for the holidays and comb through a dusty record crate in the attic. But surely experiencing this record for the first time comes close. It’s a collection of haunting hypnagogic pop that preserves an eroding Americana in passages that beautifully blend together to be forgotten and forever rediscovered.
Parannoul - Sky Hundred
I don’t know how Parannoul continues to outdo himself. He works within an innovative yet specific sound and somehow transcends it each time and finds a new place to set the bar. This album is so vibrant and full of life. It is incredibly distorted and blown out. It’s a complicated mess and it’s perfect in every way.
Daudi Matsiko - The King of Misery
This one caught me off guard. I’ve never heard an artist wield silence with such mastery, my ears hanging on every single note Matsiko lets slip off his guitar. It feels like he could break at any second, showcasing an emotional vulnerability too pure to deny. Sometimes the arrangements expand, and it is spectacular; in this world, every layer carries immense weight, so when they lift off it’s utterly spellbinding. He also has the voice of an angel.
Anais' Favorite Albums of 2024
Honorable Mention:
The Last Dinner Party - Prelude to Ecstasy
Taylor Swift - The Tortured Poets Department: The Anthology
Consisting of 31 tracks, The Tortured Poets Department: The Anthology by Taylor Swift ventured through many realms and countless emotions— all while staying tied seamlessly together in terms of sound and overall feeling. I chose The Anthology version of this record because the additional tracks added give it exactly what ‘The Tortured Poets Department’ lacked when standing on its own. It gave us more context to an overall story, with complex and gut-wrenching lyrics in songs like “How Did It End?” and “The Prophecy” to a sort of cheerful melancholy in tracks such as “thanK you aIMee” and “The Bolter.” It felt like a perfect continuation to what she had already began to unravel. Though some may say it was overwhelming and could have been more concise, I’d argue this one was for the fans, who eagerly yet carefully consume every note and every word. However, the sheer volume of the record also gives perhaps more casual listeners a much higher likelihood of at least finding one or two tracks that they can relate to and enjoy.
Charli XCX - BRAT
BRAT by Charli XCX hit the global population in a massive way, embracing fun and embracing pop in a manner that felt almost unprecedented. This was not only an album, but a cultural moment, which only enhanced the very strength of the music itself. On this record, there was absolutely a track for everybody. Even if you’re not one to get down with a classic party banger such as “Von Dutch” or “360,” you can find yourself reflecting deeply on lyrically powerful tracks like “So I,” which touches on the complexity of grief, or “I think about it all the time,” a song that explores the internal struggle of a modern-day woman debating whether or not to have a child of her own. Not only did BRAT showcase strong vocals, catchy and futuristic beats and brilliant lyricism— it captured such a specific moment in time for our youth and will certainly be going down in pop culture history and beyond.
Hozier - Unreal Unearth: Unaired
Unreal Unearth: Unaired by Hozier is a continuation of his 2023 record, Unreal Unearth and as a massive Hozier fan, I could not have been more delighted to have been receiving more from one of my favorite records of the prior year. Some songs, such as "Wildflower and Barley (feat. Allison Russell)" and ‘Fare Well’ were very chilled and laid back and I enjoyed listening to them the most while visiting Ireland. Being in the country Hozier often describes and vehemently defends in political anthems also on this record such as "Empire Now," bestowed upon these songs a new fire and made me appreciate them in a far more passionate light. It was the perfect addition to, I’d argue, an already near perfect album, as each track fit right into place, as though they were always meant to be there.
Paris Paloma - Cacophony
Since the explosive release of worldwide feminist anthem, "labour," I have been eagerly awaiting the release of Cacophony by Paris Paloma. Upon first hearing the track that invigorated an entire generation of women, I knew we were to be expecting great things from Paloma and she did not disappoint with her debut record. One song that stands out to me the most is ‘last woman on earth’ which explores the topic of asking to have one’s body destroyed and hidden after death, meant for only the animals to consume. This is because men historically have desecrated and disrespected the corpses of women and in this song, she fiercely rejects this. Paloma is not scared to venture into the dark and twisted because although uncomfortable, much of what she discusses is reality—especially for women. Her lyrical ability is coupled with subtle yet striking and dynamic production and instrumentation. In this political climate especially, this record is an absolute necessity.
The Dare - What's Wrong With New York?
What’s Wrong With New York? by The Dare is certainly not a record that I expected to have on my list but upon my first listen, I was pleasantly surprised with just how much I enjoyed it. Many have said that The Dare is bringing back “indie sleaze” and although it is oftentimes said in jest, the nostalgia he brings on this record gives it strength and makes his sound stand out before the rest. The production is intriguing and energizing. The lyrics have shock-factor and are certainly rousing but that’s what makes it so appealing overall. The vocals are messy but in a way that ties it all together and makes it the impressive body of work that it is.
Cheryl's Favorite Albums of 2024
Cindy Lee - Diamond Jubilee
I may be joining in the cult favourite one this but this was the most captivating listen of mine this year. Exclusive available on YouTube and clocking in at two hours, it’s an album that sounds like an antidote to the hyper-polished digital landscape we’re steeped in. It’s haunting and cinematic, the kind of music that could effortlessly score a vampire film with its lo-fi eeriness and dreamlike quality. Admittedly, the album’s unpolished, almost draft-like production isn’t for everyone. But if you allow yourself to sink into its strange, off-kilter charm, it reveals itself as unexpectedly fun and oddly lighthearted. I find this album to work best as a sonic backdrop for myself, adding texture and intrigue to whatever task I'm working on. Outside of active listening, try allowing it to create an atmosphere around you.
Omni - Souvenir
Souvenir by Omni was the first 2024 album I played, instantly earning a spot on my list of quintessential post-punk records. Angular and quick-hitting, it’s the sonic equivalent of zig zags—sharp, precise, and relentless. Every second is a jagged turn, devoid of soft contours, yet brimming with staying power on repeat listens. Most tracks clock in under three minutes, delivering super-clean, mechanical precision without a hint of rust, even after a five-year hiatus. Their return felt like a true gift to kick off my year, and they delivered exactly what I hoped for.
HYUKOH & 落日飛車 [Sunset Rollercoaster] - AAA
This might just be my best music collaboration of the year. Two incredible bands, each remarkable in their own right, have come together to deliver a genre-blending masterpiece that exceeds all expectations. Everything about AAA is nothing short of extraordinary from, melding their distinctive styles into one seamless album with indie rock, jazz, psychedelia forming a retro-tripping journey—a performance in every sense of the word. Watching both bands play together felt like witnessing pure synergy. It’s hard to pick apart who contributed what, but that’s part of the brilliance. Their sounds merge so naturally that the album feels like a unified vision rather than a collaboration.
Across its eight tracks, every note feels meticulously crafted. It’s an electrifying, genre-defying experience that’s as thoughtful as it is fun—a kaleidoscopic indie-jazz-rock trip that’s impossible not to get lost in.
Phantom Handshakes - Sirens at Golden Hour
I first found Phantom Handshakes during COVID days, and their sound immediately transported me back to the forgotten haze of 2015 dreampop, layered with a darker, more brooding edge. Their latest release, Sirens at Golden Hour, feels like a richer, more expansive continuation of their debut, No More Summer Songs. It’s the kind of album you sink into—perfect for quiet evenings or rain-soaked afternoons.
Sirens at Golden Hour is not an album that demands attention through spectacle but instead weaves a mood. Vocalist Federica Tassano's breathy ethereal vocals are gracefully hypnotic, kinda exactly like what an MBV album would look like. The melodies on this album are lush and beneath it all there’s a push and pull of light and dark, building an atmosphere that feels golden hour fading into the shadows of nightfall.
Brainstory - Sounds Good
"Sounds Good" started as a cheeky nod of approval from the members of Brainstory, signaling when a track was complete—and the album more than lives up to its name. A vibrant blend of psychedelia, soul, and a touch of jazz, it’s a blissful and optimistic record, free of moody undertones. With the slick production by Leon Michels of Big Crowne Records, Brainstory's sophomore album feels more anchored while flowing with soulful calm.
Rob's Favorite Albums of 2024
Mk.gee - Two Star & The Dream Police
So much has happened this year; so much change and so much music has passed us by, and I still have this album at the top of my list. I’ve never considered myself a fanboy— a fanatic at times, definitely, especially when it comes to Dijon’s Absolutely, and the greater neo-americana-soul-fusion universe, but Two Star & The Dream Police was a turning point. Mk.gee revitalized my love for guitar music in a time when all the sounds were starting to blend together, a refreshing, cold pool in the murky dishwater of vapid, corporate, chart-baked indie music. Read the review, loser. Be an active listener.
Matt Champion - Mika’s Laundry
This record came out at a weird time in the greater BROCKHAMPTON storyline, following a series of disappointing singles and lackluster albums from other core members’ solo endeavors, and at a time when waves of fans were beginning to adopt a less than golden age view of the best boy band since One Direction. Kevin Abstract had begun to polarize long-time fans with his “sudden new musical direction” (side note, it wasn’t sudden, some of y’all just listen to music like an obsessive scroller watching a TV show. This is a gays only event, go home), Dom McLennon was trending in most major forums for some less uplifting comments about his former supergroup, and Merlyn Wood was nowhere to be found. Just when it seemed like there was no hope left, no one to revitalize the legacy, Mika’s Laundry hit shelves. Matt Champion’s Alabama blue (green) indie triumph is equal parts dance, dynamite and downbeats, tightly wound with themes of trust, growth, and a longing so pungent, it tattoos itself directly to your eardrums. It’s sweet yet sad in places you’d least expect, roping you in with its beautiful production and Dijon features, all the while chewing through your most tender and exposed nerves without notice. Mika’s Laundry is full of repeat listens, and I can all but guarantee you’ll be coming back to this album for a good long time, but I cannot recommend listening front-to-back in one sitting enough.
Speed - ONLY ONE MODE
I really only got into harcore early last year when I started really getting into Turnstile. What was originally a minor obsession with a silly little heavy band, blossomed quickly into a healthy portion of my sonic dietary needs. After years of activity and two absolutely electric EP’s, the Siow brothers’ first full-length LP as Speed, ONLY ONE MODE, exploded into my headphones in late July and declared squatter’s rights. Speed is heftily passionate, aggressive and outspoken, but never hateful– they celebrate community and strength in numbers, championing personal expression and identity as rebellion, and reject all that would set us back. Side note, there are very, very few bands that could pass the flute off as a hardcore necessity. Speed don’t need.
Doechii - Alligator Bites Never Heal
Very rarely, I think, does an artist explode into the public eye with a bleeding heart so open, a mindset so eager to impart and have wisdom imparted upon, and an identity so rock-solid and grounded in the modern realities of art and business and the soul-crushing realizations that present themselves once the connection is made. Alligator Bites Never Heal is a tongue-in-cheek celebration of everything that makes Doechii— well, Doechii! She is a walking contradiction, vain, she’s self-conscious, confident, conflicted, non-conformist, and everything in between. She’s an East Coast girl turned West Coast superstar, trading “Live Baby Gators, Exit Now” signs for the blinding Hollywood letters, barreling headfirst into the brick wall that is public stardom. It might be an overstep to say, but Doechii holds all the pieces for a fruitful and impactful residency in the hot seat. But then again, it might not be.
The Dare - What’s Wrong With New York?
Brat summer may be over, but don’t think the hedonism stops there. What’s Wrong With New York?, the debut album by singer, songwriter, producer and former substitute teacher, The Dare, became the cultish, rose-colored lens that perfectly soundtracks your every waking fantasy. It’s a wild, carnal celebration of eroticism and metrosexuality, accented by a dainty, submissive underbelly that makes it’s life’s work not to let you leave the club sober or alone. What’s Wrong With New York? remains unbolted to any preconceived notions, choosing instead— nay, requiring that it exist within the fragmented, skull-piercing euphoria of all your best (and worst) hangover dreams; an animalistic concoction of free-spirited micro-rebellion best served neat in a half-washed rocks glass.
Vincent's Favorite Albums of 2024
Charli XCX - Brat and it's completely different but it's also still brat
As opposed to other Tonitruale members, I didn’t start 2024 a Charli stan. Matter of fact, I had only explored Crash and a couple tracks from the Vroom Vroom EP. I had heard countless times that her previous albums were worth the listen, but didn’t give them the chance yet. As BRAT was first teased in late February, and "Von dutch" started invading our FYPs, I stayed in my lane and refused to give it a chance. Charli then started playing DJ sets and appearing on my YouTube recommendations, it pissed me off. To this day, I believe that she contributed to making Boiler Rooms too mainstream. It could have been inoffensive, but I simply didn’t want to give BRAT a chance. A couple weeks after it initially dropped in June, and as everybody talked about it around me, I finally agreed to give it a chance. I got intrigued by the various clubbing songs ("Club Classics," "Von dutch," "Everything is romantic," "B2b," "365") and recognized the efficiency of these tracks. But I just couldn’t get into several of the pop songs such as "360", "Talk talk," "Rewind" and most definitely "Apple" for instance. Neither the extra three songs nor the first remix releases manage to attract me too. At that time, I considered that my time with BRAT came to an end. It was up until she announced that a full remix album would be coming out. I’m a sucker for these, and as the line-up grew more and more packed, I knew I’d give this new album a chance.
On October 11th, it paid off for me. On the “worst case”, for a very small portion of tracks, either I stick to the original version or none of the couple works for me. In many cases, the remix version really does it for me and I get to obtain some sort of a best of both worlds full album. And in the truly best cases, I enjoy both versions and it happened with songs such as "365," "b2b," "Club classics," "Von Dutch" and "Mean Girls."
The lyrics weren’t originally part of the album’s strength, exception made for "Everything is romantic" and "I think about it all the time." A few of the newly added verses caught my attention and toughened the overall quality and variety of lyricism. For instance, I’m particularly fond of Billie, Tinashe, Julian Casablancas, Bon Iver and Caroline Polachek’s parts on the remix versions. Another major aspect I’ve thoroughly appreciated on the project are the productions, how stress-inducing and drug-powered they were on the OG album, and how changed some of them are on the remix project. It wasn’t the case for the entirety of the tracklist, but for those that had a make-over, it provided me the pleasant feeling that I was almost discovering a new project.
As I’m not as much of a Charli fan as I am for the other artists I picked in my final five, listening to Brat wasn’t initially mandatory to me. But now, I gotta admit, it’s getting difficult for me not bumping Brat AICDBASB at least once a week.
My Brat phase finally came strong in the fall and I enjoyed biking, focusing at work, doing my dishes and obviously CLUBBING with these club classics in my ears.
KAYTRANADA - TIMELESS
My most anticipated album finally landed and Kaytra delivered. TIMELESS, aka K3, or dare I say KAY-TROIS-NADA (French diphthong pun) outshined BRAT through the summer. In this project, the concept of a ‘Kaytranada beat’ was revised and updated. For the past five years, it has become usual to hear anyone and everyone in hip-hop, soul and r&b pose on a Kaytra beat, up to the point of being almost indigestible.
In the last three years, some of those tracks succeeded, enhanced an artist’s project and was even played in concerts. I’m thinking about Kelela’s "On the Run," Victoria Monet’s "Alright," JID’s "Can’t Punk Me," PinkPantheress’ "Do You Miss Me?" On other instances, the track doesn’t feel necessary, gets easily forgotten about, and Kaytra’s production may even feel wasted. While writing this, I’m definitely thinking about the KAYTRAMINÉ collaboration album which left many fans of both artists extremely disappointed. Most of the tracklist felt like a “filler track”, with a disposable Kaytranada beat and lazy Aminé verses.
Following KAYTRAMINÉ’s fiasco, my expectations for Kaytranada’s third album exponentially peaked. I just didn’t want another forgettable album. Thankfully, TIMELESS reached the standards I previously set for him. Kaytra brought back former collaborators whose features were never skipped during my listening sessions. I'm thinking about Tinashe, SiR, Anderson .Paak, Durand Bernarr, Lou Phelps and Charlotte Day Wilson. Most of them managed to do as good or even better on TIMELESS, except for CDW’s Still which is absolutely nowhere near BUBBA’s What You Need.
From these renewed collaborations, I’ve thoroughly enjoyed many sample flips and other moments: the "Dancing & Romancing" piano loop found in "Call U Up" which makes me feel like I’m on a yacht. Paak’s interpolation of Biggie’s "you know what you do to me’" as well as SiR’s verse–he’s good when he raps too! But the new collaborators don’t have to feel pressured, as many of their contributions easily enhanced KAYTRA’s discography.
First and foremost, I’m evidently thinking about Rochelle Jordan and Channel Tres, who both had the privilege of having two inputs in the project. Rochelle’s "Lover/Friend" and Channel’s "Stuntin" were the first peek we had at TIMELESS, six months before the album’s release. I enjoyed both of them back then, but didn’t expect that they’d be part of his next album, nor that the second track the two of them would interpret would do even better. Indeed, "Drip Sweat" and most definitely "Spit It Out" are part of my own highlights for the album. On the latter, Kaytra and Rochelle are both exploring and experimenting with their own contributions: the vocalist switches between pitches and flows, sings on the choruses and background vocals, raps on the post chorus and second verse. On his side, KAYTRA offers some variation to his signature sound with an harmonic bridge filled with strings, right before resuming to the up-tempo production on the outro.
Among the other newcomers, Ravyn spices things up with her lyrics on Video, Don Toliver doesn’t disappoint and even gets me hooked with his bridge on "Feel A Way," PinkPantheress gives the audience the collaboration we’ve been waiting for a long time with the addictive Snap My Finger and finally, TIMELESS’ viral song, Witchy, performed by Childish Gambino which is arguably in the top 3 songs he dropped this year.
I’m simply grateful by the album, considering the amount of songs that made it to my 2024 Top Tracks and KAYTRANADA being my most listened artist, TIMELESS is most definitely my album of 2024.
Doechii - Alligator Bites Never Heal
I never doubted her. As I’d been following the news for both Dreamville & Top Dawg Entertainment the past 8 years, the name Doechii has been familiar to me since 2021, three years after her streaming platforms debut. Her flow, cadence and use of various voice tones particularly caught my attention back then. Back in 2022, with the magnificent Persuasive & Xtasy remixes as well as the she / her / black bitch EP- massively underrated by the way, I became an attentive listener and she stayed on my radar. I didn’t care as much in 2023, and the justified drama around the Kodak Black feature didn’t interest me. That situation was a good opportunity to signal another instance of misogynoir in the rap scene, as Kendrick clearly didn’t receive such negative feedback the year prior, when he dedicated multiple songs & verses to the rapper.
And suddenly, 2024 was HER time. In a year filled with releases in all genres including hip-hop, as opposed to 2023 which felt lighter than usual, Doechii took the spotlight from everybody else. Near the end of a festive summer celebrating the West Coast culture, thanks to Kendrick’s Not Like Us, the Tampa-raised rising star delivered a mixtape which made everyone wonder "If that’s a mixtape, what is the debut album gonna be???"
Throughout the project, Doechii mentions her recent success, the stress she’s feeling from relationships, Top Dawg Entertainment, her own expectations for her life and career, and on the other side, the raw desire to be part of the greatest names. She displays much ease respecting the old-school hip-hop with beats such as the ones on "STANKA POOH," "BULLFROG" or her flow on "CATFISH" and "BOOM BAP." On other songs such as the highly popular "DENIAL IS A RIVER" and "NISSAN ALTIMA," Doechii pushes boundaries on creativity, cadence and flow. Not only her own boundaries, but the hip-hop genre’s too.
Given the amount of songs, the project may suffer from looking too packed, but its length (47 min for 19 min) makes it dynamic and engaging. I don’t necessarily feel attached to each song in there, but at least I get an idea of how diverse Doechii can get. With her showcased abilities, all I’m wishing for right now is a cohesive, memorable debut album that’ll remain in Hip-Hop history books. It’s everything Doechii deserves.
Kendrick Lamar - GNX
When Kendrick came back in 2022, an earthquake could be felt throughout the Earth. Everyone was so hyped. That year was THE year. He said it himself on track 1: “One-thousand eight-hundred and fifty-five days”. And yet, it wasn’t the 2020s year for Kendrick. An arena tour with his cousin Baby Keem, including one of the two Paris shows live-streamed on Amazon Prime (I was there!), numerous awards including the Grammy for Best Rap Album and quite alright charts performances. The reception may not have been as strongly excellent as for GKMC, TPAB and DAMN. yet it was obvious that another classic had dropped. Now after such a strong year, what could possibly happen? Were we supposed to wait another numerous number of years before getting a new Kendrick album? After all, untitled unmastered & the Black Panther projects released just a year after a previous album of his.
Well, that’s pretty much what happened in 2024. I won’t remind you of the entire beef between Drake and him, as it has been going on since "Control," and it was reprised intensely even before "First Person Shooter." But what this beef permitted is the reunion of the West Coast, all behind Kendrick. Not only the concert he gave in LA nor the "Not Like Us" music video were proof of it, his recently released GNX convinced everyone.
This album doesn’t feel like one, as Kendrick was expected to wait longer before dropping a new project. His new label PGLang and himself simply decided to surprise everyone and release it on a random Friday without any previous marketing or teasing. The expected effect occurred and in just an hour, everyone was playing it and sharing their immediate reactions on social media. Among all these feedbacks, we’ll keep in mind the couple SZA apparitions on "luther" and "gloria," the 2PAC sample on reincarnated, the amazing "Use Your Heart" sample on "heart pt.6"–oh how much I love this R&B classic, and the legendary Mustard warcry on "tv off."
I’ve also deeply appreciated "dodger blue" and its melodic production on the second verse and outro which makes the song difficult not to dance or sing to. "squabble up" will definitely be remembered for a very long time, we can collectively thank Jack Antonoff for his contribution on the production for that– it still doesn’t make any sense to me. "hey now" allowed us to hear Kendrick sing a little, which I appreciate from time to time.
Even though this album doesn’t feel as thought-provoking, ambitious and innovative as his previous records were, it’s an overall solid album. I haven’t been as convinced by other hip-hop albums on the first listening as I were for GNX and I’m simply grateful we finished the year with this high note.
070 Shake - Petrichor
Out of my five picks, this one must be the hardest to defend. It had strong competitors for that fifth spot (God Said No, HEIS, 1-800 FANTASY, HIT ME HARD AND SOFT) but I ended up choosing Petrichor. With both Modus Vivendi and You Can’t Kill Me, 070 Shake caught my attention and simply couldn’t let go of it. Her distinctive voice tone combined to (mostly) Mike Dean’s synthesizers generated unforgettable choruses ("Morrow," "Guilty Conscience," "Microdosing," "Under the Moon," "Skin & Bones," "Cocoon," "Vibrations") and harrowing ballads ("History," "Blue Velvet," "Body," "Divorce"). When Dani released the duet "Winter Baby/New Jersey Blues" I didn’t know about a third album coming. This double song, coming out just a month before the full project, instantly projected me into a wintry melancholy. Dani’s pen isn’t necessarily her most consistent skill, and Petrichor is another example of it. Yet, she’s surrounded by composers and producers doing an amazing work creating melodies, lyrics, instrumentals that reinforce and match her brand.
Obviously, I enjoy certain tracks much more than others yet I wouldn’t say the album contains skips: I legitimately enjoy each track, in that order, one after the other. I’ve appreciated memorable moments on each one of them: the various choirs in "Sin" and "Pieces of You's" outro, "Vagabond's" outro strings, the layered vocals in "Elephant" and "Lungs," "Into Your Gardens'" peaceful piano intro, Dani’s high background vocals on "Battlefield," "Winter Baby / New Jersey Blues’" melodies, Courtney Love’s apparition in "Song to the Siren," "What’s Wrong With Me’s" Jersey beat (which reminded me of "Cocoon"), the spectral instrumental of "Blood on Your Hands" and the distorted “I love you, yeah” at the end of "Love."
Not only does this album feel very consistent in its direction from start to finish–definitely a quality I haven’t found in many released albums this year, but it works much better as the entire piece. Probably one of the reasons the ballet she offered for her listening party was a fitting choice. Maybe it’ll take a few full album listens before getting into it, but I surely found the patience and got rewarded for it.
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