Favourite Albums of 2024
My album choices from 2024
Songs of a Lost World, by The Cure
[Gothic Rock, Alternative Rock]
The Cure, the iconic goth-rock and space rock band, has returned with their fourteenth studio album, Songs of a Lost World, after a 16-year hiatus. This highly anticipated release has been met with critical acclaim, with many hailing it as a return to form for the band and a worthy successor to their seminal album, Disintegration. The album is a deeply personal and introspective work, with frontman Robert Smith exploring themes of loss, grief, and mortality, inspired by the recent deaths of several close family members, including his parents and older brother. This personal tragedy is palpable throughout the album, giving it a raw emotional honesty that is both moving and unsettling. Smith's signature vocals, both ethereal and powerful, are as captivating as ever, and the music is a rich tapestry of layered instrumentation and haunting melodies.
Overall: Songs of a Lost World is a triumph for The Cure. It is a powerful and moving album that will resonate with longtime fans and newcomers alike. It is a testament to the band's enduring creativity and their ability to create music that is both timeless and deeply personal. While the album is certainly melancholic, it is also ultimately life-affirming, finding beauty and meaning in the face of loss and despair. This album is not just a continuation of The Cure's legacy; it's an evolution. It builds upon the band's signature sound while exploring new depths of emotion and sonic complexity. Songs of a Lost World is a testament to The Cure's enduring relevance and their ability to create music that is both deeply personal and universally resonant.
Wall of Eyes, by The Smile
[Art-Rock, Post-Rock]
The Smile's sophomore album, "Wall of Eyes," is a subtle but confident evolution for the Radiohead side-project. Thom Yorke, Jonny Greenwood, and Tom Skinner continue their exploration of minimalist textures and uneasy grooves, but with added warmth and vulnerability. The album's title hints at a world under constant surveillance, a feeling amplified by the recurring use of off-kilter synth lines and Yorke's signature falsetto, often echoing and layered upon itself.
Thematically, "Wall of Eyes" is a meditation on anxiety, alienation, and the search for connection in a coldly digitized world. Tracks like "The Smoke" wrestle with environmental anxieties, while "We Don't Know What Tomorrow Brings" and "Thin Walls" offer glimpses of hope amidst the digital noise.
Sonically, the album expands upon their debut, incorporating elements of ambient electronica and even hints of jazz in Greenwood's intricate arrangements. Standout tracks include the opener "Panavision," driven by a jittery drum pattern and Yorke's mournful vocals, and the surprisingly lush "You Will Never Work In Television Again," where acoustic guitar and orchestral strings offer a brief reprieve from the album's electronic leanings.
While "Wall of Eyes" lacks the immediacy of some of The Smile's earlier singles, it rewards careful listening. This isn't background music – it demands attention. If "A Light for Attracting Attention" was the trio flexing their creative muscles, "Wall of Eyes" sees them settling into a more assured and intimate musical space.
Overall: Fans of The Smile and aficionados of Radiohead's more experimental work will find much to appreciate here. While not for casual listeners, "Wall of Eyes" is a haunting and introspective album that underscores the trio's unique musical identity. That is very much a plus in my book.
Only God Was Above Us, by Vampire Weekend
[Indie Rock, Chamber Pop]
Vampire Weekend's Only God Was Above Us is a departure from their previous, more upbeat sound. The album delves into darker themes, with lyrics exploring anxiety, loss, and societal decay. Musically, the band experiments with a wider range of genres, incorporating elements of classical, jazz, and psychedelia.
While some fans may find the shift in tone jarring, others appreciate the band's willingness to evolve and explore new musical territory. The album's production is top-notch, with lush arrangements and intricate instrumentation. Overall, Only God Was Above Us is a complex and ambitious work that adds a new dimension to Vampire Weekend's discography.
Overall: Vampire Weekend's Only God Was Above Us is a bold and ambitious album that marks a significant departure from their previous work. While it may not be for everyone, the album's intricate songwriting, lush production, and thought-provoking lyrics make it a worthy listen for fans of indie rock and experimental music.
Only God Was Above Us, by Vampire Weekend
[Indie Rock, Post-Britpop]
Fontaines D.C.'s latest album, Romance, is a departure from their previous work. While still rooted in their post-punk sound, the band experiments with new textures and melodies, creating a richer and more nuanced listening experience. The album explores themes of love, loss, and identity, often with a melancholic undertone.
The production is top-notch, with each instrument carefully crafted to create a dense and immersive soundscape. The vocals are raw and emotive, conveying a sense of vulnerability and despair. Overall, Romance is a mature and ambitious album that solidifies Fontaines D.C.'s place as one of the most exciting bands of their generation.
Overall: Fontaines D.C.'s Romance is a bold and captivating album that showcases the band's growth and evolution. It's a record that will resonate with fans of post-punk and indie rock, as well as anyone who appreciates well-crafted and emotionally charged music.
Night Reign, by Arooj Aftab
[Chamber Jazz, Chamber Folk]
Arooj Aftab's latest album, Night Reign, is a captivating and immersive musical journey. Building upon her previous successes, Aftab explores new sonic territories, blending elements of jazz, classical, and her native Pakistani folk music. The result is a rich and textured tapestry of sound that is both hauntingly beautiful and emotionally resonant.
Aftab's voice, as always, is a force to be reckoned with. Her ethereal vocals soar effortlessly through the intricate arrangements, conveying a depth of emotion that is both poignant and uplifting. The album's production is impeccable, with each instrument carefully crafted to create a lush and immersive soundscape.
Night Reign is a testament to Aftab's artistry and her ability to push boundaries. It is a record that will stay with you long after you've finished listening, leaving a lasting impression on your heart and soul.
Overall: Arooj Aftab's Night Reign is a masterpiece of musical craftsmanship. It is a record that is both bold and innovative, yet deeply rooted in tradition. Aftab's exquisite voice, coupled with the intricate arrangements and lush production, creates a truly unforgettable listening experience. If you are a fan of world music, jazz, or simply beautiful music, then Night Reign is an absolute must-listen.
Lives Outgrown, by Beth Gibbons
[Chamber Folk, Singer-Songwriter]
Beth Gibbons' long-awaited solo album, Lives Outgrown, is a testament to her enduring artistry. Building upon her acclaimed work with Portishead, Gibbons explores new musical territories, blending elements of folk, jazz, and classical. The result is a rich and textured tapestry of sound that is both hauntingly beautiful and emotionally resonant.
Gibbons' voice, as always, is a force to be reckoned with. Her ethereal vocals soar effortlessly through the intricate arrangements, conveying a depth of emotion that is both poignant and uplifting. The album's production is impeccable, with each instrument carefully crafted to create a lush and immersive soundscape.
Lives Outgrown is a testament to Gibbons' ability to evolve and reinvent herself as an artist. It is a record that will stay with you long after you've finished listening, leaving a lasting impression on your heart and soul.
Overall: Beth Gibbons' Lives Outgrown is a masterpiece of musical craftsmanship. It is a record that is both bold and innovative, yet deeply rooted in tradition. Gibbons' exquisite voice, coupled with the intricate arrangements and lush production, creates a truly unforgettable listening experience. If you are a fan of world music, jazz, or simply beautiful music, then Lives Outgrown is an absolute must-listen.
Wild God, by Nick Cave & The Bad Seeds
[Art Rock, Singer-Songwriter]
Nick Cave & The Bad Seeds' latest album, Wild God, is a testament to the band's enduring power and creativity. Building upon their rich legacy, the album explores new sonic territories, blending elements of rock, folk, and gospel. The result is a rich and textured tapestry of sound that is both hauntingly beautiful and emotionally resonant.
Cave's voice, as always, is a force to be reckoned with. His distinctive baritone, imbued with both vulnerability and strength, conveys a depth of emotion that is both poignant and uplifting. The album's production is impeccable, with each instrument carefully crafted to create a lush and immersive soundscape.
Wild God is a testament to Cave's ability to evolve and reinvent himself as an artist. It is a record that will stay with you long after you've finished listening, leaving a lasting impression on your heart and soul.
Overall: Nick Cave & The Bad Seeds' Wild God is a masterpiece of musical craftsmanship. It is a record that is both bold and innovative, yet deeply rooted in tradition. Cave's exquisite voice, coupled with the intricate arrangements and lush production, creates a truly unforgettable listening experience. If you are a fan of rock, folk, or simply beautiful music, then Wild God is an absolute must-listen.
Prelude to Ecstasy, by The Last Dinner Party
[Pop Rock, Indie Rock, Glam Rock]
The Last Dinner Party bursts onto the scene with "Prelude to Ecstasy," a dazzling debut that gleefully clashes genres and explores the extremes of human emotion. Hailing from London, the band blends elements of indie rock, progressive pop, and baroque influences, creating a sound that feels both retro and refreshingly unique. Vocalist Zara Lane commands attention with her soaring vocals, diving effortlessly from hushed confessionals to grand declarations, all backed by dynamic instrumentals and lush orchestral flourishes.
Lyrically, "Prelude to Ecstasy" is a dramatic rollercoaster. Tracks like "Sinner" grapple with guilt and desire, while the anthemic "My Lady of Mercy" bursts with unbridled joy. The album's title track is an instrumental interlude, showcasing the band's musical complexity with shifting time signatures and a touch of melancholy amidst the grandeur.
Production-wise, "Prelude to Ecstasy" is rich and polished. Producer James Ford (Arctic Monkeys, Florence + The Machine) infuses the songs with a sense of drama, adding layers of strings and horns for cinematic impact. Standout tracks include the energetic opener "Nothing Matters," the haunting ballad "Caesar on a TV Screen," and the sprawling, epic closer "On Your Side."
With "Prelude to Ecstasy" The Last Dinner Party delivers an album that is both ambitious and accessible. The band references artists like Kate Bush and St. Vincent, yet ultimately carves out its own distinct and addictive sound. This album is for fans of bold musical statements and those seeking a soundtrack that captures the full range of life's highs and lows.
Overall: "Prelude to Ecstasy" introduces The Last Dinner Party as a force to be reckoned with. It's a captivating, self-assured debut that promises great things to come. I hope they keep up to and fulfill that promise.
lechyd Da, by Bill Ryder-Jones
[Chamber Pop, Singer-Songwriter]
Bill Ryder-Jones returns with 'Iechyd Da,' a deeply personal and warmly orchestrated album steeped in Welsh introspection. The title, meaning "good health" in his native tongue, sets a tone of quiet reflection and gratitude after years of creative expansion. While previous albums showcased Ryder-Jones' production prowess and his knack for wistful melodies, 'Iechyd Da' strips things back with a focus on intimate songwriting and heartfelt arrangements.
The album opens with the gentle "The Things That Leave You," where Ryder-Jones' hushed vocals paint a picture of loss and acceptance. Themes of family, memory, and finding solace in the simple joys of life thread through the album. Standout tracks include the strings-infused "His Mother's Eyes," a poignant tribute to a departed loved one, and the playfully melancholic "John," an ode to his father.
'Iechyd Da' sees Ryder-Jones at his most vulnerable, his voice occasionally wavering with raw emotion. Yet, underlying the sadness is a newfound warmth and openness. This isn't the sound of an artist wallowing in despair, but rather someone embracing life's bittersweet reality. The addition of delicate strings and woodwinds lends the album a cinematic quality that elevates the songs without overshadowing them.
Fans expecting the soaring guitars or expansive soundscapes of his previous work might initially be surprised, but 'Iechyd Da' reveals a different facet of Ryder-Jones' talent. This is a mature and contemplative album, one that rewards patience and invites repeated listens.
Overall: 'Iechyd Da' is a beautiful and understated work from an artist unafraid to embrace vulnerability. It's a poignant reminder that even in the quietest moments, music can offer profound solace and connection. We are in desperate need of both, these days.
TANGK, by IDLES
[Art-Rock, Post-Punk]
'TANGK', IDLES' fifth album, marks a seismic shift in their sonic arsenal. Known for their raw ferocity, the band takes a staggering detour, replacing their trademark sonic assault with surprising nuance and newfound emotional depth.
Gone are the relentless guitar salvos. 'TANGK' opens with a somber piano, features backing vocals from LCD Soundsystem royalty (James Murphy, Nancy Whang), and even teases with a sax solo. This is not the IDLES you're used to.
Joe Talbot's vocals stretch beyond the usual snarl. He delivers newfound tenderness and at times, soulful introspection. Lyrics abandon social critique for heartfelt odes to parenthood, love, and genuine connection. Tracks like 'Gratitude' surprise with soft melodies and a vulnerability rarely seen from the band.
'TANGK' is undeniably ambitious, and while not every experiment fully lands, its risks should be met with critical praise. This is arguably IDLES at their most exposed, a sonic gamble that expands their territory.
The 'TANGK' world tour exploded onto the stage at Porto's Super Bock Arena on February 29, 2024. The setlist was a minefield, detonating new sonic experiments alongside their blistering back catalog. This wasn't the most predictable IDLES experience. Familiar rage was threaded with a strange beauty, leaving the crowd both electrified and unsettled. Yet, the raw energy that built their reputation remained. Even when the sound shifted, that sense of communal catharsis – the hallmark of an IDLES show – pulsed through the venue. I was there to witness it and thoroughly enjoyed every minute of it.
Overall: 'TANGK' is bold proof of IDLES' evolution. It's beautiful, unsettling, and at its core, still powerfully honest. The band is deliberately defying expectations, trading their signature fury for a slow-burn intensity that feels both disarming and thrillingly unpredictable.
Loss of Life, by MGMT
[Neo-Psychedelia, Progressive Pop]
'Loss of Life,' MGMT's latest release, is a testament to their restless creativity. The album weaves a tapestry of ornate pop, soft rock, and indie-folk flourishes, a sonic evolution that still feels distinctly MGMT. Tracks like "Mother Nature" and "Nothing to Declare" shimmer with deceptively simple melodies and lush arrangements that reveal deeper layers upon repeat listens. Christine and the Queens' guest appearance on "Dancing in Babylon" adds a hint of sultry melancholy that expands the album's emotional range.
Where 'Loss of Life' excels is its ability to feel both wistful and quietly joyous. MGMT has always walked a tightrope between light and dark, and this album is no exception. The upbeat vibes never feel forced, even when layered atop subtly melancholic lyrics. That tension is part of their charm and this album embodies it beautifully.
Overall: 'Loss of Life' showcases MGMT's ability to reinvent themselves while remaining true to their core musical sensibilities. Fans of their earlier work will find familiar comforts, while newcomers will discover a band both effortlessly catchy and unexpectedly profound.
Where We've Been, Where We Go From Here, by Friko
[Indie Rock]
Friko charts a sonic odyssey with 'Where We've Been, Where We Go From Here.' Their sound seamlessly melds electronic textures with indie rock soul, punctuated by flashes of synth-pop brilliance. Tracks like "Past Echoes" and "Future Hopes" reveal a band mastering both complexity and catchiness. Lorde's collaboration on "Present Tense" adds a darkly hypnotic edge, elevating the track into standout territory.
But this isn't just a well-crafted album; it's a journey. Friko weaves a powerful narrative about time, memory, and the unknown. This conceptual depth sets them apart, adding intellectual punch alongside emotional resonance.
Overall: 'Where We've Been, Where We Go From Here' proves Friko's artistic growth and their knack for crafting albums that are both musically adventurous and thematically resonant. I say this is a must-listen for fans of theirs and anyone seeking electronic indie rock that engages both the heart and mind.
Other favourites:
I Got Heaven, by Mannequin Pussy [Indie Rock, Harcore Punk]
Letter to Self, by Sprints [Garage Punk, Post-Punk]
Something in the Room She Moves, by Julia Holter [Art Pop, Ambient Pop]
Invisible Shield, by Judas Priest [Heavy Metal]
Y'Y, by Amaro Freitas [Post-Minimalism, Third Stream]
corpos de água, by sonhos tomam conta [Shoegaze, Dream Pop]
The Sky Will Still Be There Tomorrow, by Charles Lloyd [Post-Bop, Spiritual Jazz]
🔴 Please note that favouritism in music is a personal and emotional connection. It might be tied to nostalgia, a specific time or moment in my life, or a deep resonance with the lyrics or sound. And sometimes, it's simply the sonic alchemy – the beat that gets you moving, the haunting melody that lingers long after the song ends. These favorites become woven into the tapestry of our lives, marking milestones and providing a soundtrack for our most vivid memories. Favourite albums become like sonic companions, offering comfort, energy, or a sense of belonging. By no means am I judging or classifying these albums as "the best". Best albums often involve a more objective assessment. They might be critically acclaimed for technical brilliance, groundbreaking innovation, or lasting influence on a genre. Those factors, while clearly impressive, may or may not spark in me the same emotional connection of a favourite.
