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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80/100
How to make a comeback record or how to make a compelling disc that sticks to your roots whilst you are grandpa age?
When I heard upon it's release, it was like the worst song was Alone and then the record slowly progressed in a more dynamic route until we reached the end with the biggest masterpiece. The reason why I found Alone to be mid at first, was highly cause of the keyboard through the whole song: it's as amateurish as a person with no musical knowledge thinking "how should I set an atmosphere" and playing the most simple notes. That said, all other instruments, especially the wavy guitar and earthly bassline, create a satisfying scape. That is a common throughout the album's best tunes, they're all atmospherically THICK. Robert dreams of past times and subtly mourns "where did it go?". Typical, but the execution is all but plain, it's great.
Though Drone:Nodrone is said by many by most to be the absolute weakest on the record, and you know I just, don't, get it! If there ever was a spiritual and thriving counterbrother to Fascination Street, it's this. The difference here is that the drums, although still derivative of the 80s new wave but set to a 2020s production, are organic; the guitar are washing them in Yo La Tengo-ish gestures, unlike FS where they sounded a bit more orchestrated. Previously, it was the guitar who brought most of the hard riffs, here the guitar is influencing the atmosphere whereas the repeated piano gets more shine.
Lastly, the engineering of not only FS but all of Disintegration was brilliantly lush, this song is fuller and punchier. If Fascination Street was a main theme of a cool nightmare, Drone:Nodrone is a speed drive where the nightmare have become reality. It almost ends as disappointingly as some of the other, but those 10 seconds of scatterbrained synths kind of makes up for it because they sound awesome.
Because yeah a few of the songs have a lackluster ending, case in point the warm A Fragile Thing. However the worst one being Warsong, it's kind of sudden and goes against the typical Cure-characteristic of letting the song live out fully. To its defense, the topic of war and poison can lead to sudden death, and maybe that's why it can have a purpose, and even in the midst of the Cure-world of musicianship, that funereal keyboard is quite excellent of a touch. The band shows in I Can Never Say Goodbye they have that songwriting where it feels like you've heard it many more times than you initially have because of how familiar and welcoming it is. Mostly the piano melody is classic Cure, but also the words to his brother grates the song to higher territory. "Something wicked this way comes, to steal away my brother's life" almost hurts.
I would say that And Nothing Is Forever could be the most lighthearted and hopeful song here. Mostly cause the keyboard's harmony with piano is even less of post-punk, and it lyrically covers the hope of Robert wanting to be with his brother (in my interpretation), calling out to him. Also love the callback to Lovesong ("However far away"), the brightest song on Disintegration. SellMeAGod called it poppy depression, and who can beg to differ?!
I would say the oldest sounding song on SoALW is All I Ever Am, cause this could've been on the deluxe of Seventeen Seconds. This is also the only song that grew off me a little bit. I still enjoy it, but it does not contain any of the otherworldly melodiousness nor the melancholic soulfulness that fuels the greatest material. Just like Alone, the keyboard is amateurish. The best part, other than Robert's observant statement of "I lose all my life like this, reflecting time and memories (...) All I hold to in belief that all I ever am, is somehow never quite all I am now" is that piano lick that reminds me of Gorillaz' Desole. If it wasn't for the Rob's performance in the chorus nailing it, I would take this as an intermission between the predecessor and succeeding track.
And then, Endsong, like...wow. Endsong. I...., this is one of the best songs of the 2020s. Almost their longest song, if not slightly beaten by Watching Me Fall, it incorporates the hypnosis of Yo La Tengo with the psychedelic depth of The Doors, and then with the utter melancholia, the stunningly ethereal idiosyncratic soundscape of themselves. Has anybody said that the drum groove is perfect, I cannot help but bop my head as if it's an MJ song, despite it being so dreamy and moody simultaneously. Colossal. Everything you see fading away from your spiritual eyesight is captured by the lingering guitar riff. This time, it takes almost seven minutes of awe-inspiring musicianship before you hear Robert transporting in with the dear and heartbreaking statements about old age. "It's all gone" and "Left alone with nothing at the end of every song" not only are devastating, not only communicate his status of where he is late in life but also summarize his philosophy and sophisticated emotions he's had his entire life. Yet, if we take I Can Never Say Goodbye into account, it also illustrates the fact that he can never come to terms with it; he wants content in his life and that's part of why he feels alone. Even if we take the record's last seconds of fuzz, it's himself dusting away, being gone. Looking at the big picture, it's a potent description of Robert's inner feelings.
During the entirety of the disc, Robert Smith does not sound a day over 30. If you gave me Disintegration and this album back in 2019 and said to me they were released the same year, I would believe you in a heartbeat. Maybe he doesn't feature as many high note moments, but again he's 65. The grief is authentic and contagious. Singing about his brother and also his own mortality, it ends up sending chills down my spine. Here, I'd like to point out that the effect is stronger since it's been decades since they peaked; it's like life goes by so quickly for Robert and now this is where he is left. And also considering the hiatus where he and co. probably have had lives to deal with (including Robert doing his night-farm thing), people've lost families and those old depressing feelings have found their way back, but in a different light. And that different light is also what differs this album slightly from Disintegration and Pornography.
Spectrum Pulse made a point about "it also feels like a phenomenal capstone to a legacy rather that one that adds new dimension". To me, that's totally fine, because (and maybe it's my amount of stupidity) that I cannot imagine more scapes coming from them, so them coloring the same house with new brushes is enough, yeah. Being in their 60s and still showing all the sauce, it signals that no one can sound like The Cure quite like The Cure. [First added to this chart: 11/11/2024]
How to make a comeback record or how to make a compelling disc that sticks to your roots whilst you are grandpa age?
When I heard upon it's release, it was like the worst song was Alone and then the record slowly progressed in a more dynamic route until we reached the end with the biggest masterpiece. The reason why I found Alone to be mid at first, was highly cause of the keyboard through the whole song: it's as amateurish as a person with no musical knowledge thinking "how should I set an atmosphere" and playing the most simple notes. That said, all other instruments, especially the wavy guitar and earthly bassline, create a satisfying scape. That is a common throughout the album's best tunes, they're all atmospherically THICK. Robert dreams of past times and subtly mourns "where did it go?". Typical, but the execution is all but plain, it's great.
Though Drone:Nodrone is said by many by most to be the absolute weakest on the record, and you know I just, don't, get it! If there ever was a spiritual and thriving counterbrother to Fascination Street, it's this. The difference here is that the drums, although still derivative of the 80s new wave but set to a 2020s production, are organic; the guitar are washing them in Yo La Tengo-ish gestures, unlike FS where they sounded a bit more orchestrated. Previously, it was the guitar who brought most of the hard riffs, here the guitar is influencing the atmosphere whereas the repeated piano gets more shine.
Lastly, the engineering of not only FS but all of Disintegration was brilliantly lush, this song is fuller and punchier. If Fascination Street was a main theme of a cool nightmare, Drone:Nodrone is a speed drive where the nightmare have become reality. It almost ends as disappointingly as some of the other, but those 10 seconds of scatterbrained synths kind of makes up for it because they sound awesome.
Because yeah a few of the songs have a lackluster ending, case in point the warm A Fragile Thing. However the worst one being Warsong, it's kind of sudden and goes against the typical Cure-characteristic of letting the song live out fully. To its defense, the topic of war and poison can lead to sudden death, and maybe that's why it can have a purpose, and even in the midst of the Cure-world of musicianship, that funereal keyboard is quite excellent of a touch. The band shows in I Can Never Say Goodbye they have that songwriting where it feels like you've heard it many more times than you initially have because of how familiar and welcoming it is. Mostly the piano melody is classic Cure, but also the words to his brother grates the song to higher territory. "Something wicked this way comes, to steal away my brother's life" almost hurts.
I would say that And Nothing Is Forever could be the most lighthearted and hopeful song here. Mostly cause the keyboard's harmony with piano is even less of post-punk, and it lyrically covers the hope of Robert wanting to be with his brother (in my interpretation), calling out to him. Also love the callback to Lovesong ("However far away"), the brightest song on Disintegration. SellMeAGod called it poppy depression, and who can beg to differ?!
I would say the oldest sounding song on SoALW is All I Ever Am, cause this could've been on the deluxe of Seventeen Seconds. This is also the only song that grew off me a little bit. I still enjoy it, but it does not contain any of the otherworldly melodiousness nor the melancholic soulfulness that fuels the greatest material. Just like Alone, the keyboard is amateurish. The best part, other than Robert's observant statement of "I lose all my life like this, reflecting time and memories (...) All I hold to in belief that all I ever am, is somehow never quite all I am now" is that piano lick that reminds me of Gorillaz' Desole. If it wasn't for the Rob's performance in the chorus nailing it, I would take this as an intermission between the predecessor and succeeding track.
And then, Endsong, like...wow. Endsong. I...., this is one of the best songs of the 2020s. Almost their longest song, if not slightly beaten by Watching Me Fall, it incorporates the hypnosis of Yo La Tengo with the psychedelic depth of The Doors, and then with the utter melancholia, the stunningly ethereal idiosyncratic soundscape of themselves. Has anybody said that the drum groove is perfect, I cannot help but bop my head as if it's an MJ song, despite it being so dreamy and moody simultaneously. Colossal. Everything you see fading away from your spiritual eyesight is captured by the lingering guitar riff. This time, it takes almost seven minutes of awe-inspiring musicianship before you hear Robert transporting in with the dear and heartbreaking statements about old age. "It's all gone" and "Left alone with nothing at the end of every song" not only are devastating, not only communicate his status of where he is late in life but also summarize his philosophy and sophisticated emotions he's had his entire life. Yet, if we take I Can Never Say Goodbye into account, it also illustrates the fact that he can never come to terms with it; he wants content in his life and that's part of why he feels alone. Even if we take the record's last seconds of fuzz, it's himself dusting away, being gone. Looking at the big picture, it's a potent description of Robert's inner feelings.
During the entirety of the disc, Robert Smith does not sound a day over 30. If you gave me Disintegration and this album back in 2019 and said to me they were released the same year, I would believe you in a heartbeat. Maybe he doesn't feature as many high note moments, but again he's 65. The grief is authentic and contagious. Singing about his brother and also his own mortality, it ends up sending chills down my spine. Here, I'd like to point out that the effect is stronger since it's been decades since they peaked; it's like life goes by so quickly for Robert and now this is where he is left. And also considering the hiatus where he and co. probably have had lives to deal with (including Robert doing his night-farm thing), people've lost families and those old depressing feelings have found their way back, but in a different light. And that different light is also what differs this album slightly from Disintegration and Pornography.
Spectrum Pulse made a point about "it also feels like a phenomenal capstone to a legacy rather that one that adds new dimension". To me, that's totally fine, because (and maybe it's my amount of stupidity) that I cannot imagine more scapes coming from them, so them coloring the same house with new brushes is enough, yeah. Being in their 60s and still showing all the sauce, it signals that no one can sound like The Cure quite like The Cure. [First added to this chart: 11/11/2024]
Year of Release:
2024
Appears in:
Rank Score:
1,406
Rank in 2024:
Rank in 2020s:
Overall Rank:
Average Rating:
Comments:
11
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75/100
Instrumentation blending folk and jazz in a unique way in 2024. How do you make gentle spacey folk-rock without borrowing from ambient clothing? The answer is Constellation by Coilfhionn Rose.
The Spotify description is on point, Caoilfhionn Rose is an ancient taking you on an airy ride that not goes to her homeland, but to a scape of her own psychology. But an ancient also reads the minds of humans and she doesn't come too short of that here: Rose listens to your unspoken requests and also flagmentally motivates your spirit.
We enter places without true gravity but endless gentle glows (Rainfall (a collision for classical, jazz and new age, where the freaking drums are not even rhythmic, but...fulfilling rainy fuzz), Into Sky, title track, Fall Into Place) but the radical sense of Rose's voice keeps you from falling to instead wafting in its airspace. Instrumentally speaking, Constellation's secret weapon is the friendship of gentle saxophone and Tangerine Dream-ian keyboard plugs. The most unusual experiment is Wandering Mind because of how it uses the same ingredients as YouTube background muzak, but cooks something more artistic. Even the more humdrum-songs like Simple are still so enjoyable that you won't put a finger on them.
If I should say some weaknesses, is that Rose sometimes can get into odd melody-registering (the choruses of both Josephine and Fall Into Place), combined with lyricism that has direction but lacks the final bit of arrant poesy. I wish she did more what she did on the song ambient jazz cut Momentary that perfectly simply displays her philosophy of the aesthetic person according to Kierkegaard: it's momentarily pain or joy, because we live in the moment along with the soft saying "All I do is not what I feel". I wouldn't mind if she did one or two more instrumental cuts like the pen-ultimate Sigur Ros tribute Drifting Dust. The record ends with A Light In The Middle's ultimate 'n', again, motivational mantra to the listener: "It's possible", which also happens to be the one slightly (intended) melodic chorus here that sticks.
TLDR: wonderful to hear ancients are still alive and with us. [First added to this chart: 12/21/2024]
Instrumentation blending folk and jazz in a unique way in 2024. How do you make gentle spacey folk-rock without borrowing from ambient clothing? The answer is Constellation by Coilfhionn Rose.
The Spotify description is on point, Caoilfhionn Rose is an ancient taking you on an airy ride that not goes to her homeland, but to a scape of her own psychology. But an ancient also reads the minds of humans and she doesn't come too short of that here: Rose listens to your unspoken requests and also flagmentally motivates your spirit.
We enter places without true gravity but endless gentle glows (Rainfall (a collision for classical, jazz and new age, where the freaking drums are not even rhythmic, but...fulfilling rainy fuzz), Into Sky, title track, Fall Into Place) but the radical sense of Rose's voice keeps you from falling to instead wafting in its airspace. Instrumentally speaking, Constellation's secret weapon is the friendship of gentle saxophone and Tangerine Dream-ian keyboard plugs. The most unusual experiment is Wandering Mind because of how it uses the same ingredients as YouTube background muzak, but cooks something more artistic. Even the more humdrum-songs like Simple are still so enjoyable that you won't put a finger on them.
If I should say some weaknesses, is that Rose sometimes can get into odd melody-registering (the choruses of both Josephine and Fall Into Place), combined with lyricism that has direction but lacks the final bit of arrant poesy. I wish she did more what she did on the song ambient jazz cut Momentary that perfectly simply displays her philosophy of the aesthetic person according to Kierkegaard: it's momentarily pain or joy, because we live in the moment along with the soft saying "All I do is not what I feel". I wouldn't mind if she did one or two more instrumental cuts like the pen-ultimate Sigur Ros tribute Drifting Dust. The record ends with A Light In The Middle's ultimate 'n', again, motivational mantra to the listener: "It's possible", which also happens to be the one slightly (intended) melodic chorus here that sticks.
TLDR: wonderful to hear ancients are still alive and with us. [First added to this chart: 12/21/2024]
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75/100
Right from the get-go, this is much more outstanding than The Rituals of Infinity. The auditory aesthetic and decision made of instrumentation have a greater alternative pattern, and each segment is a sonic realm in and of itself.
Sea of Tranquility is the first and amazing cut here, a strong meditative piece where gravity is turned on its head, and where every instrument besides the keyboard is idiosyncratic extraordinarily. Then the title track demonstrates the difference between "Cool Jazz" and "jazz that is cool" by showing mostly the latter in having field recording feet, New Age shoulders, and a palpable rhythm as the remaining body. On the surface, it's like the song is continuing infinitely, but when you delve into the texture, the song is quite progressive, especially with how there's a saxophone character development. Almost like Endlessness by Nala Sinephro, those are the first two and long pieces of the record. The remaining songs are half their length. The art-rock rhythm and neoclassical organs of Novilunium make for a great musical make-out session with the saxophones. Foals of Epona and the lazy summer Clusters hit me with cocktail nation undertones, even My Love Has Green Eyes being a bit stonerish was joyful. But it's a shame that the lame and aimless O Sacrum Convivum! snatches away a perfectly solid 4-star record. Nevertheless, Glass Frog couldn't be more of a walk in the park when it comes to enjoyability. When you realize how wonderful the arrangements are played, it's like listening to one of those classic jazz albums for the first time as well. Let's give it up for Greg! [First added to this chart: 01/10/2025]
Right from the get-go, this is much more outstanding than The Rituals of Infinity. The auditory aesthetic and decision made of instrumentation have a greater alternative pattern, and each segment is a sonic realm in and of itself.
Sea of Tranquility is the first and amazing cut here, a strong meditative piece where gravity is turned on its head, and where every instrument besides the keyboard is idiosyncratic extraordinarily. Then the title track demonstrates the difference between "Cool Jazz" and "jazz that is cool" by showing mostly the latter in having field recording feet, New Age shoulders, and a palpable rhythm as the remaining body. On the surface, it's like the song is continuing infinitely, but when you delve into the texture, the song is quite progressive, especially with how there's a saxophone character development. Almost like Endlessness by Nala Sinephro, those are the first two and long pieces of the record. The remaining songs are half their length. The art-rock rhythm and neoclassical organs of Novilunium make for a great musical make-out session with the saxophones. Foals of Epona and the lazy summer Clusters hit me with cocktail nation undertones, even My Love Has Green Eyes being a bit stonerish was joyful. But it's a shame that the lame and aimless O Sacrum Convivum! snatches away a perfectly solid 4-star record. Nevertheless, Glass Frog couldn't be more of a walk in the park when it comes to enjoyability. When you realize how wonderful the arrangements are played, it's like listening to one of those classic jazz albums for the first time as well. Let's give it up for Greg! [First added to this chart: 01/10/2025]
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70/100
The first song, Child of Mine, left me speechless. One thing I could do is just praise how awe-inspiring it is musically (total DommeDamian-core again), with a heartbending melody, but it's essential that this song made me feel the deep wonders of being a parent a way I haven't felt in a long time....if ever. I truly was embodying it through that song, the whimsical emotions of being loved by a mom or dad. While the remaining songs aren't a masterpiece like Child of Mine, I liked all of them. The 2-minute song of where Laura sings that no one's gonna love you like she can, though on the surface sounds generic, is very delicate. And you believe her with the amount of authentic care in the delivery she sings.
Strings and flowing guitar playing are keeping the wind steady around this record. And it's very fundamental that even the more "uneasy" sounding songs like The Shadows or Time Passages' odd but fun rhythm, still are delicious. And even if Time Passages' minimalism is here, the folk song here that sound less like the others here are Caroline, but because of the "lalala something something Caroline" which of course shows that even the humour is tender shown, but the guitar pattern is like Leonard Cohen's Avalanche, unlike most of the record's slower playing.
The preceding album Song For Our Daughter was about a fictional child, and that was good, but Patters In Repeat is about their real one, and even the music conveys the realness and Laura's fondness of being a mother in a way no other songwriter in this era can, or least where others came off kitschy. Patterns In Repeat is not only a collection of soothing songs for a child, but also a mature meditation on being a full-blown parent and showing what your child means to you: the best in the world. [First added to this chart: 01/10/2025]
The first song, Child of Mine, left me speechless. One thing I could do is just praise how awe-inspiring it is musically (total DommeDamian-core again), with a heartbending melody, but it's essential that this song made me feel the deep wonders of being a parent a way I haven't felt in a long time....if ever. I truly was embodying it through that song, the whimsical emotions of being loved by a mom or dad. While the remaining songs aren't a masterpiece like Child of Mine, I liked all of them. The 2-minute song of where Laura sings that no one's gonna love you like she can, though on the surface sounds generic, is very delicate. And you believe her with the amount of authentic care in the delivery she sings.
Strings and flowing guitar playing are keeping the wind steady around this record. And it's very fundamental that even the more "uneasy" sounding songs like The Shadows or Time Passages' odd but fun rhythm, still are delicious. And even if Time Passages' minimalism is here, the folk song here that sound less like the others here are Caroline, but because of the "lalala something something Caroline" which of course shows that even the humour is tender shown, but the guitar pattern is like Leonard Cohen's Avalanche, unlike most of the record's slower playing.
The preceding album Song For Our Daughter was about a fictional child, and that was good, but Patters In Repeat is about their real one, and even the music conveys the realness and Laura's fondness of being a mother in a way no other songwriter in this era can, or least where others came off kitschy. Patterns In Repeat is not only a collection of soothing songs for a child, but also a mature meditation on being a full-blown parent and showing what your child means to you: the best in the world. [First added to this chart: 01/10/2025]
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70/100
I'm gonna write a long review soon, but this is one of the most diverse, well-played and delicately passionate jazz records of the year, also up there of the decade maybe (Water's Path could easily be on the Journey soundtrack). Listen to it. [First added to this chart: 01/10/2025]
I'm gonna write a long review soon, but this is one of the most diverse, well-played and delicately passionate jazz records of the year, also up there of the decade maybe (Water's Path could easily be on the Journey soundtrack). Listen to it. [First added to this chart: 01/10/2025]
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70/100
This feels like an underground Britpop-inspired dude from the 90s, transported into this decade with his music. Some will think it's decent, sometimes really good, but a lot of it isn't too exciting or risky. That is, until you realize he made ALL of this by himself. Composed, played, recorded, produced and engineered Boy. According to Bandcamp he plays: Vocals, Acoustic Guitar, Electric Guitar, Bass Guitar, Drum Kit, Sleigh Bells, Finger Cymbals, Harmonium, Piano, Virginal, Pump Organ Ukulele, Mandolin, Melodica, Yamaha DX27, Yamaha PS25, Wood Block, Bowed Bass, Harp, and Inhaler. Very cool.
Spiteful Song has an okay premise, but it being 7-minute and him only having one occasional melody line feels lazy. Cardamom tries for a mellow baroque and dream pop soundscape but fails excruciatingly, and Pester giving a melody-line that sounds too familiar to the predecessor; this song is so aimless. Moon Song is the first great song, bordering between the Leonard Cohen whisper, the Brian Wilson arrangement and the Nick Cave surrealism, also one spice of Blur's carefreeness. And Blur (and also Elliott Smith) gets more flowers on Lie There, a song that when listening to it, you'd think you've heard before. Controversial opinion, but this would be a highlight on Elliott Smith's album XO, it sticks to the humble instrumentation yet with a small band-feel, and a bigger sense of colorful melody writing than the previous songs here. Both Elliott Smith and Blur intertwine EVEN MORE on Tongue-Tied Tiger, because the emotionality of ES is clearer and the britpoppy charm of Blur rivals even their golden years. This is British art rock as its most enjoyable. His voice is a little scruffy on the title track, putting the track down, and the psychedelic pop lalala's doesn't suit him; his instrumentation save it but it's still not more than passable. Psychedelia gets a so much better tribute on Christmas, because the riffs are more full-blooded, his vocals are not reaching for too high notes, alongside the two-part compo of the track itself. He rivals the Beatles' lighthearted psychedelia and art rock from White Album on How Could He Change Your Way?, the fullest gentle song of the year, his way of fragmenting guitar bits to cute advantages is not something you will forget, no matter how much you think music has fallen off since your teenage years. Living In The World gets a marginally bit more edge from the 90s shoegaze fields, resulting in another highlight of dynamic sonic bliss; now Pester also sounds what he is, DIY. And he is nothing short of masterful at it, the song is like a kiss to the brain the way he kisses his girl in the booklet. I would say the same about The Rain (though not to the same visceral degree), basically a lost-tapes piano ballad from the 60s is what it sounds. Sad But True is if my favorite britpop band was strapped with a drum kit, and then played a wholesome love song. I Believe In Love disappoints because he goes back to his less compelling range and the way he plays his guitar throughout the entire song instead of maybe just a chunk of it makes it sound a bit derivative. Not to the extent of mediocrity that title track nor the awfulness of Cardamom because it does contain some sleigh bells that lifts it up.
All in all, I'm intrigued by this hidden gem.
Also, the packaging and the booklet things and CD are something else. [First added to this chart: 12/22/2024]
This feels like an underground Britpop-inspired dude from the 90s, transported into this decade with his music. Some will think it's decent, sometimes really good, but a lot of it isn't too exciting or risky. That is, until you realize he made ALL of this by himself. Composed, played, recorded, produced and engineered Boy. According to Bandcamp he plays: Vocals, Acoustic Guitar, Electric Guitar, Bass Guitar, Drum Kit, Sleigh Bells, Finger Cymbals, Harmonium, Piano, Virginal, Pump Organ Ukulele, Mandolin, Melodica, Yamaha DX27, Yamaha PS25, Wood Block, Bowed Bass, Harp, and Inhaler. Very cool.
Spiteful Song has an okay premise, but it being 7-minute and him only having one occasional melody line feels lazy. Cardamom tries for a mellow baroque and dream pop soundscape but fails excruciatingly, and Pester giving a melody-line that sounds too familiar to the predecessor; this song is so aimless. Moon Song is the first great song, bordering between the Leonard Cohen whisper, the Brian Wilson arrangement and the Nick Cave surrealism, also one spice of Blur's carefreeness. And Blur (and also Elliott Smith) gets more flowers on Lie There, a song that when listening to it, you'd think you've heard before. Controversial opinion, but this would be a highlight on Elliott Smith's album XO, it sticks to the humble instrumentation yet with a small band-feel, and a bigger sense of colorful melody writing than the previous songs here. Both Elliott Smith and Blur intertwine EVEN MORE on Tongue-Tied Tiger, because the emotionality of ES is clearer and the britpoppy charm of Blur rivals even their golden years. This is British art rock as its most enjoyable. His voice is a little scruffy on the title track, putting the track down, and the psychedelic pop lalala's doesn't suit him; his instrumentation save it but it's still not more than passable. Psychedelia gets a so much better tribute on Christmas, because the riffs are more full-blooded, his vocals are not reaching for too high notes, alongside the two-part compo of the track itself. He rivals the Beatles' lighthearted psychedelia and art rock from White Album on How Could He Change Your Way?, the fullest gentle song of the year, his way of fragmenting guitar bits to cute advantages is not something you will forget, no matter how much you think music has fallen off since your teenage years. Living In The World gets a marginally bit more edge from the 90s shoegaze fields, resulting in another highlight of dynamic sonic bliss; now Pester also sounds what he is, DIY. And he is nothing short of masterful at it, the song is like a kiss to the brain the way he kisses his girl in the booklet. I would say the same about The Rain (though not to the same visceral degree), basically a lost-tapes piano ballad from the 60s is what it sounds. Sad But True is if my favorite britpop band was strapped with a drum kit, and then played a wholesome love song. I Believe In Love disappoints because he goes back to his less compelling range and the way he plays his guitar throughout the entire song instead of maybe just a chunk of it makes it sound a bit derivative. Not to the extent of mediocrity that title track nor the awfulness of Cardamom because it does contain some sleigh bells that lifts it up.
All in all, I'm intrigued by this hidden gem.
Also, the packaging and the booklet things and CD are something else. [First added to this chart: 12/22/2024]
Year of Release:
2024
Appears in:
Rank Score:
0
Rank in 2024:
Rank in 2020s:
Average Rating:
Comments:
Total albums: 6. Page 1 of 1
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Top 36 Music Albums of 2024 composition
| Artist | Albums | % | |
|---|---|---|---|
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| Quadeca | 1 | 3% | |
| Willi Carlisle | 1 | 3% | |
| Micah Dailey-White | 1 | 3% | |
| Julia Holter | 1 | 3% | |
| Gerycz Powers Rolin | 1 | 3% | |
| 김반월키 [Kimbanourke] | 1 | 3% | |
| Jessica Pratt | 1 | 3% | |
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| Country | Albums | % | |
|---|---|---|---|
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20 | 56% | |
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6 | 17% | |
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2 | 6% | |
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1 | 3% | |
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1 | 3% | |
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1 | 3% | |
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1 | 3% | |
| Show all | |||
Top 36 Music Albums of 2024 chart changes
Top 36 Music Albums of 2024 similarity to your chart(s)
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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 53 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 | |
Top 36 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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Top 36 Music Albums of 2024 favourites
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Top 36 Music Albums of 2024 comments
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A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :(
We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.