Top 100 Music Albums of 2024
by JamesMowbray 
- Chart updated: 01/22/2025 11:15
- (Created: 01/31/2024 11:35).
- Chart size: 100 albums.
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Diamond Jubilee is an epic of longing, sadness and joy. Across its 32 tracks it manages not only to hold such a high quality track for track, but also establishes and sticks to a clear musical identity. Tracks might vary in tone, instrumentation, vocal delivery or even whether there are instruments at all, but it all seems to come from its own place, separate to anywhere else. I've always been fascinated by the ability some artists have in creating music that seems to come from a separate world, I'm thinking of artists like Joanna Newsom or the Microphones/Mount Eerie here. The latter stands out as an example of an artist who can significantly change their sound (think of the differences between The Glow Pt 2, Wind's Poem and Dawn) whilst maintaining a clear musical identity, it all evokes a rainy and wild pacific north west with a kind of mythological streak. The same thing happens on Diamond Jubilee. Stone Faces into Gayblevision into Dracula should be jarring in how the tracks vary, instead the common feel of these tracks coming from a gentle but sad place holds them together. A lot is down to the production, nothing's allowed to dominate too much, least of all the vocals, which still manage to be the centrepiece of each track.
I found the record a bit much to take on when it first released, often listening to the first dozen tracks or so and then zoning out a bit more with time. Since the bandcamp release I've got more in the habit of starting at different points and familiarising myself with each of the songs. I really recommend this approach to anyone who's finding the runtime an issue. Some of the real treasures here are the instrumentals and it took me a while to really appreciate them. Olive Drab is bold and energetic, it feeds beautifully into Always Dreaming's harps; Darling of the Diskoteque evokes empty spaces and past times; 24/7 Heaven lives up to its name, it's one of the most beautiful things I've ever heard (it's interesting how this record focusses more on heaven where What's Tonight to Eternity, a record which makes this sound like the top 40, was more concerned with hell).
A lot's been made of the record's sadder elements, which it does evoke powerfully, but I also find it very romantic. There's a sense of love unfulfilled, by separation or otherwise, but the feelings of emotional closeness are still there. Tracks like All I Want is You or Kingdom Come are really good examples of this, they are ostensibly sad songs, but there's a warmth that comes through, either from Pat's vocals or the instrumental sections, which are often just as revealing. I've recently had to move away from my partner for work and there's a sadness to it, but in those moments of longing you have the time to really appreciate someone for who they are and there's a weird kind of joy in that. It's this type of conflicting emotion that Cindy Lee manage to evoke in so many different ways across Diamond Jubilee, a record that seems to take you to another place. [First added to this chart: 04/23/2024]
I found the record a bit much to take on when it first released, often listening to the first dozen tracks or so and then zoning out a bit more with time. Since the bandcamp release I've got more in the habit of starting at different points and familiarising myself with each of the songs. I really recommend this approach to anyone who's finding the runtime an issue. Some of the real treasures here are the instrumentals and it took me a while to really appreciate them. Olive Drab is bold and energetic, it feeds beautifully into Always Dreaming's harps; Darling of the Diskoteque evokes empty spaces and past times; 24/7 Heaven lives up to its name, it's one of the most beautiful things I've ever heard (it's interesting how this record focusses more on heaven where What's Tonight to Eternity, a record which makes this sound like the top 40, was more concerned with hell).
A lot's been made of the record's sadder elements, which it does evoke powerfully, but I also find it very romantic. There's a sense of love unfulfilled, by separation or otherwise, but the feelings of emotional closeness are still there. Tracks like All I Want is You or Kingdom Come are really good examples of this, they are ostensibly sad songs, but there's a warmth that comes through, either from Pat's vocals or the instrumental sections, which are often just as revealing. I've recently had to move away from my partner for work and there's a sadness to it, but in those moments of longing you have the time to really appreciate someone for who they are and there's a weird kind of joy in that. It's this type of conflicting emotion that Cindy Lee manage to evoke in so many different ways across Diamond Jubilee, a record that seems to take you to another place. [First added to this chart: 04/23/2024]
Year of Release:
2024
Appears in:
Rank Score:
766
Rank in 2024:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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My favourite thing about music (and art more generally) is that it can reach out to and express places where language falls short. For years, Xandra Metcalfe has been the absolute greatest artist in expressing the extremes of negative emotion this way. It's not always an easy listen, but there's been a truth to what's expressed by bursts of noise, muted screams, intakes of breath, beautiful but distant melodies and the sounds of creaking and breaking in the background. I imagine that a lot of your reaction to her work will be somewhat dependent on the experiences you've had, I can confidently say that she's been the most important musician to me for some years. This newest record marks the biggest change in tone in her work to date. The harshness is still as present and well expressed as ever, but it's joined by something more positive, a fragile sense of hope in a cruel world, a recognition of the strength it's taken to get this far, and impossible light.
As I understand it, Impossible Light has been recorded, or at least written, over some years. Some of these tracks feel closely related to Uboa's late 2010s output. The building atmosphere of Endocrine Disrupter is like a more dynamic take on 2019's An Angel of Great and Terrible Light and A Puzzle would not stand out in the brutal early section of The Sky May Be. The attention to detail on all these tracks remains one of their strongest qualities, I've always found that it's the stuff on the edges that really elevates Xandra's work. There's also the same poetic quality to the lyrics, in that they can be hard to make a literal sense of whilst still evoking emotions and reactions in the same way as the music itself, I don't always find them easy to make out so it's worth looking at a lyric sheet on at least one listen.
So far all the good things I've had to say about Impossible Light could apply just as much to Xandra's previous work. There are differences to be found across most of the tracks, for example everything sounds a bit cleaner than I'm used to, it takes away some of the rawness but works well for these tracks. The main differences really come at the end, particularly on the final track. The multi section composition of Impossible Light / Holy Flower is more reminiscent of the longer tracks that Xandra tend to contribute to EPs than anything off of here studio albums and its collaborative nature also calls some of those EPs to mind. The track itself though is unlike any of that earlier work, it might be her greatest triumph as an artist. The gentleness, the sense of wonder and the sheer beauty of it go beyond some of here best work. I can't even really describe the effect of some of the moments here, the introduction of otay:onii's (she's also had a great record this year, check it out) spoken word section and the way it unifies with the song's key motif some moments later, the transition from spoken word to sung vocals and the explosion of sound it culminates in. They're like nothing I've heard before and again, they're reaching to an emotional state that can't really be described. Maybe all I can say is that there's a lucidity to it that there very deliberately seemed to not be in similar moments across other albums (the main example is probably the early section of the title track of Origin which has a surface level gentleness which is made unsettling by the light headed feel of the track), it's a wonderful progression in the narrative surrounding the project, pulling it out of the abyss. It can be hard to be inspired in a world that feels so brutal and sardonic, it makes work like this so precious. [First added to this chart: 07/29/2024]
As I understand it, Impossible Light has been recorded, or at least written, over some years. Some of these tracks feel closely related to Uboa's late 2010s output. The building atmosphere of Endocrine Disrupter is like a more dynamic take on 2019's An Angel of Great and Terrible Light and A Puzzle would not stand out in the brutal early section of The Sky May Be. The attention to detail on all these tracks remains one of their strongest qualities, I've always found that it's the stuff on the edges that really elevates Xandra's work. There's also the same poetic quality to the lyrics, in that they can be hard to make a literal sense of whilst still evoking emotions and reactions in the same way as the music itself, I don't always find them easy to make out so it's worth looking at a lyric sheet on at least one listen.
So far all the good things I've had to say about Impossible Light could apply just as much to Xandra's previous work. There are differences to be found across most of the tracks, for example everything sounds a bit cleaner than I'm used to, it takes away some of the rawness but works well for these tracks. The main differences really come at the end, particularly on the final track. The multi section composition of Impossible Light / Holy Flower is more reminiscent of the longer tracks that Xandra tend to contribute to EPs than anything off of here studio albums and its collaborative nature also calls some of those EPs to mind. The track itself though is unlike any of that earlier work, it might be her greatest triumph as an artist. The gentleness, the sense of wonder and the sheer beauty of it go beyond some of here best work. I can't even really describe the effect of some of the moments here, the introduction of otay:onii's (she's also had a great record this year, check it out) spoken word section and the way it unifies with the song's key motif some moments later, the transition from spoken word to sung vocals and the explosion of sound it culminates in. They're like nothing I've heard before and again, they're reaching to an emotional state that can't really be described. Maybe all I can say is that there's a lucidity to it that there very deliberately seemed to not be in similar moments across other albums (the main example is probably the early section of the title track of Origin which has a surface level gentleness which is made unsettling by the light headed feel of the track), it's a wonderful progression in the narrative surrounding the project, pulling it out of the abyss. It can be hard to be inspired in a world that feels so brutal and sardonic, it makes work like this so precious. [First added to this chart: 07/29/2024]
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Night Palace has been celebrated online as the Mount Eerie album that sounds the most like Phil Elverum's work in the Microphones. It's interesting that this would happen when the solo project has covered so much ground that builds on different aspects of the Microphones sound, whether that's the quiet and intimate songwriting (Dawn, No Flashlight), the fuzzy loudness (Wind's Poem, Ocean Roar) and intensely personal lyrics (A Crow Looked At Me, Lost Wisdom), so why does Night Palace evoke these elements more? I think the key property of the record is its willingness to mix loud and quiet and to build on particular ideas. The first point in particular helps create that epic scope associated with Phil's 2000s era work, a completely loud album doesn't necessarily have this effect because there isn't a point of reference, whereas songs that include both create small and massive objects, with the former often swallowing up the latter. Think of the transition from the closing chords of I Felt Your Shape into the opening of Samurai Sword, that track would always sound noisy but after something so gentle it's like the loudest sound you've ever heard. The album Mount Eerie pushed this further, with fragile sounding vocals and acoustic guitars crashing up against thunderous drums, piercing electric guitars and walls of noise. It happens again here, the slow opening of Breaths is expanded by distorted drums and guitars, this is then ripped apart by Swallowed Alive (I'm still not 100% sure what we're even hearing on this track). I Need New Eyes is built around Phil's ever gentle vocals, but even the backing vocals are bolstered by an electric fuzz, making it all feel enclosed in something massive.
Night Palace isn't just great because it recalls some great records from 20-25 years ago though. Many tracks have a cleaner sound and more straightforward progression, both of which work brilliantly as they never totally dominate the tracklist. The guitar work in Huge Fire is stunning, there's a beauty in the soft smoothness of I Walk and the quiet interplay between the piano and backing vocals at the start of I Heard Whales provides a strong counterpoint to the build up of noise. Like a number of Phil's recent records this one looks to and draws from the past without just emulating it, instead these ideas are reapplied to the less harsh and experimental music that he makes now.
Maybe the biggest departure from previous work is the introduction of a political viewpoint regarding the land and nature that's always played a huge role in Phil's music. The land of the Pacific North West has often had this almost scared feel in the past, an unchanging landscape that creates a humility in how small it makes one feel. Night Palace deals with much tougher questions of how this land came to be what it is, observations like "only ten thousand years ago there were meadows here" and talk of mountains running like a stream that we are too short lived to see flow view this are as changing like everything else. It makes it as susceptible as anywhere or anyone else to the forces of greed (November Rain, Co Owner of Trees) and imperialism (Non Metaphorical Decolonisation and the mention of fighter jets on Demolition). Its a radical step into new territory for a project that's focused on the self and on the universe, without considering much of what's in between. [First added to this chart: 12/11/2024]
Night Palace isn't just great because it recalls some great records from 20-25 years ago though. Many tracks have a cleaner sound and more straightforward progression, both of which work brilliantly as they never totally dominate the tracklist. The guitar work in Huge Fire is stunning, there's a beauty in the soft smoothness of I Walk and the quiet interplay between the piano and backing vocals at the start of I Heard Whales provides a strong counterpoint to the build up of noise. Like a number of Phil's recent records this one looks to and draws from the past without just emulating it, instead these ideas are reapplied to the less harsh and experimental music that he makes now.
Maybe the biggest departure from previous work is the introduction of a political viewpoint regarding the land and nature that's always played a huge role in Phil's music. The land of the Pacific North West has often had this almost scared feel in the past, an unchanging landscape that creates a humility in how small it makes one feel. Night Palace deals with much tougher questions of how this land came to be what it is, observations like "only ten thousand years ago there were meadows here" and talk of mountains running like a stream that we are too short lived to see flow view this are as changing like everything else. It makes it as susceptible as anywhere or anyone else to the forces of greed (November Rain, Co Owner of Trees) and imperialism (Non Metaphorical Decolonisation and the mention of fighter jets on Demolition). Its a radical step into new territory for a project that's focused on the self and on the universe, without considering much of what's in between. [First added to this chart: 12/11/2024]
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I'm a big fan of artists creating an enveloping effect in their music by layering vocal on top of each other, it wasn't hard for me to get into Darning Woman. In about 20 minutes (one of the very few times I've paid more than £1 per minute of music when buying a record) Anastasia Coope packs together 9 experiments in vocal layering, often with very minimal instrumentation. Experiment kind of feels like the wrong word to use, because they don't normally have a 100% success rate. Subconsciously I've grouped these tracks into three when listening to them. The first three basically repeat the same lines over and over, gradually building the scope of the arrangement until there's a new and beautiful harmony appearing every few seconds. The next three are more rooted to the guitar work, which keeps everything anchored. This doesn't stop the vocals soaring, especially on Woke Up and No Feet, where smooth and staccato styles combine to create rhythms within rhythms. The last few tracks are maybe a little less complicated in their vocal arrangements but show off the strongest songwriting and song progression. In just 100 seconds Sorghum moves from the sprightly "I see something there..." to the more withdrawn middle section and concludes with the more direct "She is with me and I'm not happy about it". Every part connects and allows the feel of the track to just slowly shift around. Maybe the most exciting track here is Return to Room, where the gentle piano creates so much space that Anastasia's voice(s) fill. Here, the vocals and song structure are equally developed and there's new beauty to discover round every corner. If it's a sign of things to come (this album is already a big step up from the still very nice Seemely EP) then I can't wait to hear what comes next!
[First added to this chart: 06/21/2024]
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You Could Do It Tonight is one of my absolute favourite albums of 2024 and I've hardly listened to it. Leaving another fairly long gap between records, Couch Slut returned with their best so far, it feels more substantial than Take A Chance On Rock n Roll and the shortish track lengths let every track pack a punch and move on, something that didn't always happen on the still excellent Contempt. Megan Osztrosits' vocals remain the band's defining features, unleashing a punishing brutality as well as a disarmingly emotional honesty. They sound clearer here and it's no struggle to pick up the lyrics which are so vital to the record. Nothing is held back and really difficult topics are dealt with the seriousness they're due. The band translate this all so well into a harsh, noisy sound, with the two guitarists doing a particularly good job of making tracks sound busy and overwhelming without ever becoming chaotic. A record you might not listen to often, but one you're sure to remember.
[First added to this chart: 05/28/2024]
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I know for sure that I still loved this when I first heard it, but after seeing it performed live my view on it has definitely change. It's one of the stranger live music experiences I've had. The bulk of the performance, as with the album, was made up of the organ pieces, but with the organ being at the back of the church that I was watching in it felt unnatural (and uncomfortable) to crane your neck round for an hour and instead you looked right in front of you, at the empty stage, at the window, at the people sat in front of you, it didn't matter, the experience still made it one of the least distracting environments I've been in. When I hear All Life Long now I get into a similar state, the album makes me contemplative as I focus on the slow moving and moody organ pieces. It's a little bit like the effect ambient music can have, but the music here is really too present to fit into that category. Instead you become very aware of every change and the music kind of carries you along. This is also true of the brass pieces, which are so nicely sequenced to work with the rest of the album, including the choral passages which are used sparingly enough to never break up the flow. Overall it adds up to 80 minutes which can pass by very, very quickly, that is if you're into 10 minute organ pieces (you should be).
[First added to this chart: 02/19/2024]
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There's a great photo on instagram of Geordie Greep posing with like a dozen different Brazilian records. It's a nice little look into how The New Sound might have come together. Brazilian sounds are hardly the only influence on here, there's some carrying over of the modern post punk sound black midi was formed in as well as plenty of showtunes, though they're what stand out most to me and probably lead to the best tracks. These are the most danceable tracks you'll hear about a modern generation of pathetic men, whether their problem is self importance (Blues/Terra), a desire for control (Through A War/As If Waltz) or a misogyny tinged self consciousness (Holy Holy). It's hard to tell if there's anything inward facing or open about this music or if it's really just a parade of grotesque people, either way each track is sung with a real passion that you'll either be bowled over by or will drive you nuts depending on your opinion of Geordie's voice (I love it, why sound normal?).
[First added to this chart: 10/16/2024]
Year of Release:
2024
Appears in:
Rank Score:
963
Rank in 2024:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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Julia Holter's had quite a strange career. After slowly working towards a more accessible sound and building mainstream critical approval, culminating in 2015's Have You In My Wilderness, she followed this up with the sprawling and uncompromising (and also totally brilliant) Aviary 3 years later. It's been a long wait for a record since then and with that track record it's been tough to get a sense of what kind of direction would be next. We find out on Soemthing in the Room She Moves, a quieter album which follows all of Holter's fascinations into a minimal direction. Tracks are often long and repetitive, building atmosphere instead of playing as direct as prior releases. There's a lot that's familiar but as a collected work there's not much I've heard that's like it.
Holter is perhaps only second to MF DOOM in her interest in how the actual sounds of words can create strange shapes in music. As an example, on Spinning she tears apart all of the lyrics into paired up monosylables, giving them the exact same rhythm as the 1-2 of the instrumentation. The effect is that you become totally surrounded by the simple rhythm, it's all you can focus on. This ultra staccato approach is used a number of times across the record but it's far from the only technique Holter uses. Marteria is more classically put together, with words almost blending together, it would fit nicely on Aviary and Sun Girl makes use of repetition to the point that the title loses its sense of meaning and the title track alternates between a similar approach to Spinning and an elongating of certain syllables, I don't think I've heard a voice sound this much like an instrument. The record probably pushes things a bit far on Meyou, a track that sounds like Meredith Monk performing after leaving all her instruments at home, there's some nice harmonies but not nearly enough to fill 6 minutes. The record overall feels a little long for something that requires so much patience and attention, maybe a more slender 8 track release would have worked better? [First added to this chart: 04/09/2024]
Holter is perhaps only second to MF DOOM in her interest in how the actual sounds of words can create strange shapes in music. As an example, on Spinning she tears apart all of the lyrics into paired up monosylables, giving them the exact same rhythm as the 1-2 of the instrumentation. The effect is that you become totally surrounded by the simple rhythm, it's all you can focus on. This ultra staccato approach is used a number of times across the record but it's far from the only technique Holter uses. Marteria is more classically put together, with words almost blending together, it would fit nicely on Aviary and Sun Girl makes use of repetition to the point that the title loses its sense of meaning and the title track alternates between a similar approach to Spinning and an elongating of certain syllables, I don't think I've heard a voice sound this much like an instrument. The record probably pushes things a bit far on Meyou, a track that sounds like Meredith Monk performing after leaving all her instruments at home, there's some nice harmonies but not nearly enough to fill 6 minutes. The record overall feels a little long for something that requires so much patience and attention, maybe a more slender 8 track release would have worked better? [First added to this chart: 04/09/2024]
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I was listening to this again recently and thinking how it started really strong without realising I was already on track 7 of 12. The rest flies by in a similar way, it's a strong record all the way through. Adrienne Lenker does a great job of separating her solo work with her work as part of Big Thief without changing the sound very significantly, things are just a bit more stripped back and emotionally direct. There's a kind of weariness to her voice which just works so well for these tracks. I think it's the gentleness of the early tracks which made them feel like they went by so quickly, there's a warmth and vulnerability which ties them together as one block. It makes the (comparatively) louder intro to Vampire Empire stand out so much, this is still my favourite track here and I think it benefits from the rawness which marks a change of pace. After Evol the tracks start to mix together in a less effective way, nothing here is bad, but they don't reinforce each other in the way that the first six do. Final track Ruined sees a return to the record's highest points, as maybe the most minimal track here it's impossible not to hang on Adrienne's every word, the multi tracked vocals on the chorus are gorgeous and the piano does enough to keep everything together.
[First added to this chart: 04/09/2024]
Year of Release:
2024
Appears in:
Rank Score:
859
Rank in 2024:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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When Vampire Weekend reformed and released Father of the Bride in 2019 I was just glad that my favourite band in my teenage years could still produce fun and exciting music, even if the output was a bit less consistent in quality than the stuff I'd grown to love years earlier. Only God Was Above Us is a different prospect altogether, we're back to a shorter 10 track structure with each of these brimming with ideas and none having the throwaway quality of some of FotB's worse tracks. There's something else though, I've always found something very warm and reassuring in the band's earliest records and I'm finding it here as well, the baroque pop of Capricorn or Connect feels like the natural next step from Don't Lie and Everlasting Arms. It's a tough quality to completely describe but there's an effortless feel to these tracks, as though they simply grew from the emotions of the band members and the city setting. Maybe losing the pressure of delivering for a big comeback album has helped the band out or maybe they've just fully adjusted to Rostam's departure, either way they really feel back to their full powers here.
Through their early records, the improvements in the lyrics really charted the band's overall progress. The self-titled's sometimes anxious commentary on campus life gave way to something more emotionally resonant on Contra, before Modern Vampires of the City took the elaborate lyricism that the band were known for and twisted it into something strangely evocative and profound. Only God Was Above Us comes in at a similar level, there's lots of lines that I couldn't totally explain to you, but I could tell you how they made me feel. It's strong musically as well, the quirks in each of the tracks still hold close to the overall feel of a track and never feel like they were thrown in to try to make a song more interesting. None of the tracks stand out quite as much as Classical, where the multiple tracks of percussion, warm keys and wilder guitars & brass blend in this beautiful way. Ezra's vocals, reaching that mournful but not hopeless place he's so good at getting to, really wrap it all up as one of the band's best ever songs. There's no stand-out bad or even lacklustre tracks across the rest of the record, but it doesn't reach this level again. I'm also not always 100% sure about some of the more dissonant elements on some of these tracks, the final moments of Capricorn are especially guilty of this, as one of the better songs here starts to fall apart under the weight of the sound. Still, these are pretty minor points to make about an indie band which has had to adapt to so many changes in the musical landscape while either on hiatus or between albums. As a teenage Vampire Weekend obsessive I think I built myself up for the release of Modern Vampires of the City more than I have for any album before or since, I got a pleasant surprise with these subsequent two releases where I held much less of an interest in what was coming prior to their release, but with this I've really taken notice again and will be glad to be back on the VW hype train when it next rolls into the station. [First added to this chart: 04/17/2024]
Through their early records, the improvements in the lyrics really charted the band's overall progress. The self-titled's sometimes anxious commentary on campus life gave way to something more emotionally resonant on Contra, before Modern Vampires of the City took the elaborate lyricism that the band were known for and twisted it into something strangely evocative and profound. Only God Was Above Us comes in at a similar level, there's lots of lines that I couldn't totally explain to you, but I could tell you how they made me feel. It's strong musically as well, the quirks in each of the tracks still hold close to the overall feel of a track and never feel like they were thrown in to try to make a song more interesting. None of the tracks stand out quite as much as Classical, where the multiple tracks of percussion, warm keys and wilder guitars & brass blend in this beautiful way. Ezra's vocals, reaching that mournful but not hopeless place he's so good at getting to, really wrap it all up as one of the band's best ever songs. There's no stand-out bad or even lacklustre tracks across the rest of the record, but it doesn't reach this level again. I'm also not always 100% sure about some of the more dissonant elements on some of these tracks, the final moments of Capricorn are especially guilty of this, as one of the better songs here starts to fall apart under the weight of the sound. Still, these are pretty minor points to make about an indie band which has had to adapt to so many changes in the musical landscape while either on hiatus or between albums. As a teenage Vampire Weekend obsessive I think I built myself up for the release of Modern Vampires of the City more than I have for any album before or since, I got a pleasant surprise with these subsequent two releases where I held much less of an interest in what was coming prior to their release, but with this I've really taken notice again and will be glad to be back on the VW hype train when it next rolls into the station. [First added to this chart: 04/17/2024]
Year of Release:
2024
Appears in:
Rank Score:
1,590
Rank in 2024:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
Total albums: 100. Page 1 of 10
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Top 100 Music Albums of 2024 composition
| Artist | Albums | % | |
|---|---|---|---|
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| Maya Shenfeld | 1 | 1% | |
| Jane Weaver | 1 | 1% | |
| Amen Dunes | 1 | 1% | |
| Couch Slut | 1 | 1% | |
| John Grant | 1 | 1% | |
| Lupe Fiasco | 1 | 1% | |
| Melt-Banana | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
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57 | 57% | |
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18 | 18% | |
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6 | 6% | |
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3 | 3% | |
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3 | 3% | |
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2 | 2% | |
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2 | 2% | |
| Show all | |||
Top 100 Music Albums of 2024 chart changes
| Biggest climbers |
|---|
| Up 3 from 6th to 3rd Night Palace by Mount Eerie |
| Biggest fallers |
|---|
| Down 3 from 48th to 51st Spectral Evolution by Rafael Toral |
| Down 3 from 49th to 52nd I Lay Down My Life For You by JPEGMAFIA |
| Down 3 from 50th to 53rd Up On Gravity Hill by Metz |
| New entries |
|---|
| The Way Out Of Easy by Jeff Parker ETA IVtet / Jeff Parker / Josh Johnson / Anna Butterss / Jay Bellerose |
| Attempted Martyr by Prostitute |
| Heavy Metal by Cameron Winter |
Top 100 Music Albums of 2024 similarity to your chart(s)
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Other year charts by JamesMowbray
(from the 2020s)| Title | Source | Type | Published | Country |
|---|---|---|---|---|
| Top 100 Music Albums of 2025 | JamesMowbray | 2025 year chart | 2025 | |
| Top 100 Music Albums of 2024 | JamesMowbray | 2024 year chart | 2025 | |
| Top 100 Music Albums of 2023 | JamesMowbray | 2023 year chart | 2024 | |
| Top 100 Music Albums of 2022 | JamesMowbray | 2022 year chart | 2023 | |
| Top 100 Music Albums of 2021 | JamesMowbray | 2021 year chart | 2021 | |
Top 100 Music Albums of 2024 ratings
Not enough data Average Rating = (n ÷ (n + m)) × av + (m ÷ (n + m)) × AVwhere:
av = trimmed mean average rating an item has currently received.
n = number of ratings an item has currently received.
m = minimum number of ratings required for an item to appear in a 'top-rated' chart (currently 10).
AV = the site mean average rating.
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| Best Artists of the 2010s | |
|---|---|
| 1. Kendrick Lamar | |
| 2. Kanye West | |
| 3. Tame Impala | |
| 4. Arcade Fire | |
| 5. Beach House | |
| 6. Frank Ocean | |
| 7. Sufjan Stevens | |
| 8. The National | |
| 9. Radiohead | |
| 10. Nick Cave | |
| 11. Lana Del Rey | |
| 12. Vampire Weekend | |
| 13. David Bowie | |
| 14. Car Seat Headrest | |
| 15. Bon Iver | |
| 16. The War On Drugs | |
| 17. Death Grips | |
| 18. Arctic Monkeys | |
| 19. Tyler, The Creator | |
| 20. Swans |
