Top 36 Music Albums of 2024 by 
DommeDamian 
- Chart updated: 05/24/2025 20:45
- (Created: 03/05/2024 16:17).
- Chart size: 36 albums.
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75/100
I almost didn't check this one, both because I'd rather focus on music coming out of preferred genres as well as unknown musicians I haven't heard of, but mainly cause I really dislike Billie Eilish's music, for the most part. When she has a great song, it's bullseye (like Everything I Wanted, Ilomilo, When The Party's Over, Happier Than Ever just to name some of them are all incredible), but most of it is drenched in pretentious studio wizardry, phoned in singing style, and uninteresting lyricism.
But it's great I ended up checking this new out, Hit Me Hard And Soft, the first out of three albums of hers that I not only like but really like. Ms Eilish has not taken steps up, but a mountain in terms of singing ability; now she uses the quiet sphere to ethereal and comforting advantages; she now even sounds like a friend to the listener. Finneas' production style is also more consistent in sound landscape, and knows what it does good so it sticks with it. A few of the tracks, principally on the back end, have a switch up, and with the big exception of atrocious L'Amour De La Vie, they all work (Blue above all else, going from euphonious rhythm to quasi-metaphysical vocal jazz and organic singer-songwriter, with a sprinkle trip hot beat sandwiched between). All of the pretense of "ha spooky" and faux-avant garde mess of the previous tracks are all gone and sweetly replaced with more sterling lyricism alongside dancing intimacy.
For what I wonder, she is opening up to her queerness on this album. And surprisingly, the emotional maturity as well as the ambiguity Billie leaves with thematic, tensive prowess, really took me for a loop. Despite being the biggest artist at the moment, she chooses to look for the lesser "headline-grabbing" features of her sexuality as opposed to something that would get the press in sicko mode. And for that, the experience becomes even more unraveling in quality and personality. Good to hear her in the flirtatious/subtle humor-bag on Lunch (kind of the same musical vibe as Therefore I Am, wanna the only good songs on the predecessor), and that funky chorus with surf rock guitarisms elevate it higher. Even better hearing how healthy she is coping with guilt on the steady Wildflower. The Greatest is the most reminiscent of her past, lyrically, but much more aware and also in acceptance ("All the times I waited for you to want me naked" is a lyric I relate to more than I initially realized). She also pens wanna the best psychedelic trip hop songs I have heard in years, on The Diner (even if the main riff can remind me of Kahoot for some reason), and Bittersuite is a genuine indietronica artsy winner.
It's crazy how exceedingly popular Birds of A Feather has become, considering it's a rather weak track in the tracklisting. Todd In The Shadows says it sounds timeless because it could've been released anytime in the last 40 years. Kinda true, but it's ignoring the fact that there are countless tunes throughout that long period of time you could apply it to, that are catchier and more well-written than this, and yet a lot of them is still not considered "greatest of all time". It's too reminiscent of Wham!-styled unoriginality (quite the opposite of ALT-pop), and that makes it more safe than anything. More than that, this song is mostly impressive because Billie showcases a rarity of her belting notes, but in the grand scheme of music, it isn't too outstanding. And the way it's nestled into the mix, it's not reaching for a gear worthy of mastery. The main melody is rather tame, especially with its repetition, and the lyrics couldn't be more generic. The overdone faux-chillwave drumkit, combined with faux-hypnagogic pop soundscape isn't exactly Beethoven either. With all that aside, I do still really enjoy the song; the semi-cutlery percussion, Billie's voice is very pretty even when it doesn't resemble her established sonic identity, I don't doubt what she's singing to her love, and all her four refrains melodically do stick together at the end of the day. Not falling for overcooked hype on this composition, but still good.
Her voice is of course quiet on Chihiro, but its controlled, it's breathy, like a wind with its destination into your heart (the song's build-up in the synth and bouncy bass is also worthy of notice! Especially in the "Did you take, my love away, from meeeeeeeee" damn, it's so harmonious.) However, the album peaks with its opener Skinny, an ambient pop swimming pool fragmented with soulful bliss, it's almost breathtaking. But generally, the pacing and songwriting are both great and enthralling, growing on me for every spin I give this. Good job Billie and Finneas, this is the first time Billie has gotten #1 on Spotify and me thinking it's a breath of fresh air; she really dropped the richest and most characteristic pop album of the year. Feels great to be in tune with the zeitgeist finally.
Sorry for the cringe review, but I really like the album, that should be the takeaway :) [First added to this chart: 06/09/2024]
I almost didn't check this one, both because I'd rather focus on music coming out of preferred genres as well as unknown musicians I haven't heard of, but mainly cause I really dislike Billie Eilish's music, for the most part. When she has a great song, it's bullseye (like Everything I Wanted, Ilomilo, When The Party's Over, Happier Than Ever just to name some of them are all incredible), but most of it is drenched in pretentious studio wizardry, phoned in singing style, and uninteresting lyricism.
But it's great I ended up checking this new out, Hit Me Hard And Soft, the first out of three albums of hers that I not only like but really like. Ms Eilish has not taken steps up, but a mountain in terms of singing ability; now she uses the quiet sphere to ethereal and comforting advantages; she now even sounds like a friend to the listener. Finneas' production style is also more consistent in sound landscape, and knows what it does good so it sticks with it. A few of the tracks, principally on the back end, have a switch up, and with the big exception of atrocious L'Amour De La Vie, they all work (Blue above all else, going from euphonious rhythm to quasi-metaphysical vocal jazz and organic singer-songwriter, with a sprinkle trip hot beat sandwiched between). All of the pretense of "ha spooky" and faux-avant garde mess of the previous tracks are all gone and sweetly replaced with more sterling lyricism alongside dancing intimacy.
For what I wonder, she is opening up to her queerness on this album. And surprisingly, the emotional maturity as well as the ambiguity Billie leaves with thematic, tensive prowess, really took me for a loop. Despite being the biggest artist at the moment, she chooses to look for the lesser "headline-grabbing" features of her sexuality as opposed to something that would get the press in sicko mode. And for that, the experience becomes even more unraveling in quality and personality. Good to hear her in the flirtatious/subtle humor-bag on Lunch (kind of the same musical vibe as Therefore I Am, wanna the only good songs on the predecessor), and that funky chorus with surf rock guitarisms elevate it higher. Even better hearing how healthy she is coping with guilt on the steady Wildflower. The Greatest is the most reminiscent of her past, lyrically, but much more aware and also in acceptance ("All the times I waited for you to want me naked" is a lyric I relate to more than I initially realized). She also pens wanna the best psychedelic trip hop songs I have heard in years, on The Diner (even if the main riff can remind me of Kahoot for some reason), and Bittersuite is a genuine indietronica artsy winner.
It's crazy how exceedingly popular Birds of A Feather has become, considering it's a rather weak track in the tracklisting. Todd In The Shadows says it sounds timeless because it could've been released anytime in the last 40 years. Kinda true, but it's ignoring the fact that there are countless tunes throughout that long period of time you could apply it to, that are catchier and more well-written than this, and yet a lot of them is still not considered "greatest of all time". It's too reminiscent of Wham!-styled unoriginality (quite the opposite of ALT-pop), and that makes it more safe than anything. More than that, this song is mostly impressive because Billie showcases a rarity of her belting notes, but in the grand scheme of music, it isn't too outstanding. And the way it's nestled into the mix, it's not reaching for a gear worthy of mastery. The main melody is rather tame, especially with its repetition, and the lyrics couldn't be more generic. The overdone faux-chillwave drumkit, combined with faux-hypnagogic pop soundscape isn't exactly Beethoven either. With all that aside, I do still really enjoy the song; the semi-cutlery percussion, Billie's voice is very pretty even when it doesn't resemble her established sonic identity, I don't doubt what she's singing to her love, and all her four refrains melodically do stick together at the end of the day. Not falling for overcooked hype on this composition, but still good.
Her voice is of course quiet on Chihiro, but its controlled, it's breathy, like a wind with its destination into your heart (the song's build-up in the synth and bouncy bass is also worthy of notice! Especially in the "Did you take, my love away, from meeeeeeeee" damn, it's so harmonious.) However, the album peaks with its opener Skinny, an ambient pop swimming pool fragmented with soulful bliss, it's almost breathtaking. But generally, the pacing and songwriting are both great and enthralling, growing on me for every spin I give this. Good job Billie and Finneas, this is the first time Billie has gotten #1 on Spotify and me thinking it's a breath of fresh air; she really dropped the richest and most characteristic pop album of the year. Feels great to be in tune with the zeitgeist finally.
Sorry for the cringe review, but I really like the album, that should be the takeaway :) [First added to this chart: 06/09/2024]
Year of Release:
2024
Appears in:
Rank Score:
740
Rank in 2024:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
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Top 36 Music Albums of 2024 composition
| Artist | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| Laura Marling | 1 | 3% | |
| Oranssi Pazuzu | 1 | 3% | |
| Billie Eilish | 1 | 3% | |
| Flower Face | 1 | 3% | |
| Jack White | 1 | 3% | |
| Greg Foat | 1 | 3% | |
| Adrianne Lenker | 1 | 3% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
20 | 56% | |
 |
6 | 17% | |
 |
2 | 6% | |
 |
1 | 3% | |
 |
1 | 3% | |
 |
1 | 3% | |
 |
1 | 3% | |
| Show all | |||
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Other year charts by DommeDamian
(from the 2020s)| Title | Source | Type | Published | Country |
|---|---|---|---|---|
| Top 3 Music Albums of 2025 | DommeDamian | 2025 year chart | 2025 | |
| Top 36 Music Albums of 2024 | DommeDamian | 2024 year chart | 2025 | |
| Top 49 Music Albums of 2023 | DommeDamian | 2023 year chart | 2025 | |
| Top 52 Music Albums of 2022 | DommeDamian | 2022 year chart | 2025 | |
| Top 29 Music Albums of 2021 | DommeDamian | 2021 year chart | 2025 | |
| Top 30 Music Albums of 2020 | DommeDamian | 2020 year chart | 2025 | |
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We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.