30 Best Albums of 2024 (So Far)

Amigo the Devil (aka Danny Kiranos) isn't shy about naming his biggest musical heroes as Tom Waits and Leonard Cohen, and the influence of those legends is clearly apparent on the folk-rock troubadour's latest album, Yours Until the War Is Over. While Amigo's music isn't heavy — in fact, it's quite stripped down on this LP —  his dark lyrics on songs "Cannibal Within" and "It's All Gone" continue to make him a favorite within the metal community. — Spencer Kaufman

There's an elevated air to HIT ME HARD AND SOFT, Billie Eilish's romance-ridden third album. On the one hand, the record epitomizes Eilish's growth; her soaring, aching vocals throughout are miles away from her usual whispered croons and are dripping with genuine vulnerability. But sonically, Eilish and her brother Finneas sound energized and inspired. Almost every instrumental choice is tasteful, and that's with the myriad of beat switch-ups. Eilish manages to create a cohesive statement without overstuffing the album — a major mark of maturity. — Paolo Ragusa

plastic death is such a ripping good time that it's easy to miss the complexity underneath. glass beach use time signatures as an expression of a mood, with each shift punctuating an emotional transition. Taking from rock, pop, and whatever we're calling emo these days, plastic death presents a relentless onslaught of interesting musical ideas. Even as the final minutes of closer "abyss angel" wind down, fresh sounds keep us from getting too comfortable. — W. Graves

People Who Aren't There Anymore had been trickling out for two and a half years before it was even announced — which probably goes towards explaining its somewhat "under the radar" status in 2024. But that belies the fact that this is Future Island's most cohesive release since Singles, a pleasure of a no-skips listen. Transportive synth-pop paints a twinkling gothic landscape through which Samuel T. Herring rides, emoting in ways only Samuel T. Herring can emote. — B. Kaye

At only 22 minutes, EVILSLIME is shorter than many EPs. However, Slimesito's endless delivery packs enough rhymes to fill a project twice as long, and he finds every pocket in Surf Gang producer evilgiane's skittering instrumentals, which run the gamut of Atlanta trap, sample drill, and plugg music. For novices, it can be a lot to take in at once, but the best part of the short runtime is you can just hit play all over again. — Eddie Fu

There's a distinctly magical quality to the fourth LP from Arooj Aftab, the first Pakistani person to ever win a Grammy. Night Reign focuses on exactly what its namesake might suggest, reveling in all that happens after dark, and Aftab's utterly singular musical DNA makes this album one for the ages. Others have explored similar themes before, but there's rarely been a record that embraces jazz, poetry, and the magic of midnight like this one. — Mary Siroky

Erika de Casier's third album is incredibly nostalgic and totally sublime. Her pop vocabulary — undoubtedly influenced by early 2000s R&B, percussive palettes, and late career Janet Jackson — is singular and infectious, each song splitting the balance between sedative and club-ready. It's a curatorial mix from the Danish singer, songwriter, and producer, with sly-but-engaging contributions from Blood Orange, They Hate Change, and Shygirl. And once you hit play, you enter a hypnotic whirlwind of pop in de Casier's inimitable language. — P. Ragusa

With his most recent release, Vince Staples has mastered the art of using music as a way to unpack trauma and make light of the difficult parts of his life. Being another narrative-driven project, Dark Times takes cues from his previous works, Ramona Park Broke My Heart, and his self-titled LP. The Long Beach rapper explores themes of grief, survivors guilt, heartbreak, and loss by presenting ultra-vivid scenarios to make sense of it all. “Shed so many tears, lost a hundred friends,” he raps on “Étouffée,” looking back at all of the odds he beat out while also attempting to find beauty in the darkness. — Sun Noor

Hovvdy's self-titled album is not meant to be a total encapsulation of their sound. With its sprawling, double album format and unexpected-but-satisfying left turns, Hovvdy ends up being an expansive, risky experiment from the Texas duo. But just as their voices seem to blend together in a perfect, homespun mix, Hovvdy make everything they do sound natural. The hooks, like on standouts "Forever," "Jean," and "Meant," can come seemingly out of nowhere, and they land harder than ever. — P. Ragusa

The debut record from South African crossover star Tyla proves that her breakout smash, "Water," wasn't just a flash in the pan. With a great mix of collaborations and solo offerings, Tyla is engaging and warm, anchored by track after track of rich vocals. Let the record wash over you and get excited, knowing that this is surely just the beginning for the young artist. — M. Siroky

In an indie rock scene full of bands embracing power-pop's short runtimes, hooky priorities, and raw immediacy, very few acts are doing it as superbly as Liquid Mike. Their latest, Paul Bunyan's Slingshot, is razor sharp — 13 absolute rippers packed into a tight 25 minutes. Hummable riffs, huge choruses, and sticky refrains fly by at an incredible pace, resulting in one of the most fun rides 2024 has offered rock fans so far. — J. Krueger

The unexpected swan song for Steve Albini's long-running post-hardcore outfit Shellac, To All Trains is an idiosyncratic, irreverent, beautiful final offering from Albini and company. Clocking in at less than 30 minutes in runtime, the record distills the Shellac formula down to its essentials: off-kilter riffs, powerful drumming, and an aging punk's sense of humor. For fans, it's everything they've come to love, and for newcomers, it's a concise introduction to the trio's magic. — J. Krueger

It's been five years since 2019's Crash, and Q hasn't quite been idle — as he boasts on "Yeern," that Nike check from his 2022 Tiger Woods commercial paid for a lot of golf. After five years of a lower profile, he hasn't lost his existential dread or ability to make bangers. But the Q of BLUE LIPS is older and richer, and since his golf game is on the up and up, nobody's having more fun. — W.Graves

As one of the leaders of the modern hardcore revolution, Knocked Loose have been destroying venues all over the world with their no-holds-barred live shows. Their new studio effort, You Won't Go Before You're Supposed To, finds the Kentucky outfit going more extreme than they've ever gone before, while at the same time embracing melody in ways they never have before, including the experimental and expansive single "Suffocate" featuring pop-metal sensation Poppy. — S. Kaufman

The debut album from our April CoSign English Teacher is a challenging one to pin down, but it's nevertheless terrific. The Leeds quartet take sonic risks with fearless tenacity and virtuosic musicianship, but they never get too proggy or inaccessible. It feels like every choice lands, every line uttered by vocalist Lily Fontaine one worth paying attention to. This Could Be Texas isn’t just a phenomenal debut – it’s a promise for what’s to come from English Teacher. — P. Ragusa

On her latest album, Chelsea Wolfe attempts to break toxic cycles while also allowing for space to heal and grow. Each track paints a different picture, highlighting the process of shedding old skin. Alongside producer Dave Sitek, Wolfe and her band create a harsh, industrial metal-infused soundscape, bringing those emotions to life. She Reaches Out to She Reaches Out to She encapsulates the arduous process of rebirth and the transitional phases that allow for healing. — S. Noor

Over the past couple of years, MIKE has solidified himself as one of the most exciting emerging rappers. On Pinball, he joins forces with producer Tony Seltzer to craft an eclectic collection of songs that seamlessly blend into each other. With a wide range of guests including Earl Sweatshirt, Tony Shhnow, Niontay, and Jay Critch, the record taks a more lighthearted and joyous approach compared to MIKE's previous material. It's hard not to push the replay button when the 26 minutes are up for another session — just like a fun game of pinball. — S. Noor

As if Challengers weren't already enough of a thrill, Trent Reznor and Atticus Ross turned in arguably their best film score to take the movie to even greater heights. The pulsing score is heart-pounding in the context of the movie, but the Boys Noize mix provides the perfect backdrop to just about any day. Hot girl walks have actually never been hotter than they are here in 2024 with "Yeah x10" or "The Signal" providing the backdrop. — M. Siroky

The great, potentially sociopathic Robert California once said, "All life is sex, and all sex is competition. And there are no rules to that game." On their forceful fourth album, I Got Heaven, Mannequin Pussy engage the game with zeal, even while constantly shifting their interpretation of the principles of play. Throughout, they engage the many facets of sex and relationships we encounter as we gain experience in the fields. Horniness, solitude, desire, virginity, kink, status — every dynamic is questioned, if rarely resolved, through visceral indie punk. What's left is the thrashing, uncertain, self-aware hubris of longing. — B. Kaye

With their latest entry, BIG|BRAVE hone in on their abrasive, idiosyncratic sound and deliver a one-of-a-kind sonic experience. Building off from their previous release, 2023’s nature morte, the Montreal trio further expanded on their minimalist-yet-heavy and intricate sound. Beyond defying the structure of music genres and creating their own language, the band deconstructs traditional poetry and folk music, presenting an unparalleled oeuvre. The cacophony of distorted guitars pair well with Robin Wattie’s haunting vocals and poetry. A Chaos of Flowers is an emotive exploration of human emotion and refuses to hold back from showcasing vulnerability. — S. Noor

It's a testament to the quality of Diamond Jubilee that despite songwriter Patrick Flegel's anti-establishment efforts, it nonetheless became one of the most talked about records of the year. Released exclusively via YouTube and a retro GeoCities webpage, Diamond Jubilee is a towering, hypnotic double LP that finds Flegel's Cindy Lee project shedding some of the noisy abrasion found on projects like What's Tonight to Eternity in favor of ghostly melodies and psychedelic soundscapes. The resulting listening experience feels akin to lying on the couch half-awake and mid-acid trip while the television loops I Love Lucy reruns — which is to say it's like nothing else. — J. Krueger

With her proper full-length debut effort, Tierra Whack has delivered a concept album inspired by the likes of Pierrot and Donna Summer while straddling the lines between hip-hop, R&B, and jazz. While the music is as daring as ever, the darker moments of WORLD WIDE WHACK are what often stands out. Whack addresses mental health struggles straight out of the gate with "MOOD SWING," elaborating on songs like "NUMB," and finding catharsis on "27 CLUB" after making it through. But that's not to say the album is without bangers; "CHANEL PIT" and "MS BEHAVE" in particular have never left our rotation. — E. Fu

Mdou Moctar’s latest effort presents the band's most raw and politically charged work to date. The record took form amid Niger's looming civil war and heightened political instability within the nation. The Tuareg guitarist and his band waste no time in addressing the violence and colonialism that have left his people devoid of stability: “The world rises and falls, meanwhile my people’s fate remains uncertain,” asserts Moctar on "Oh France," a poignant anti-colonial anthem. The collective rage is amplified through the blistering guitar riffs. Underneath all of the chaos, Funeral for Justice transmits a message of hope, a rarity during these turbulent times. — S. Noor

On Wall of Eyes, The Smile start to fully carve out their unique identity. Comprised of eight songs with extended lengths, odd time signatures, and sprawling structures, the record finds the trio moving away from the scattershot genre play of their debut, instead coming through with a meticulously focused project that feels much more like a pure collaboration between three incredible artists. In just 45 minutes, Thom Yorke, Jonny Greenwood, and Tom Skinner prove they've grown from merely being a Radiohead offshoot into an undeniable force of art rock worthy of its own praise. — J. Krueger

The release of the second installment in Beyoncé's RENAISSANCE project was undoubtedly the musical moment of 2024 so far. The sprawling tapestry dissects and reworks Americana and country hallmarks through the lens of one of our truly great entertainers, and the final product is something pretty magical. COWBOY CARTER allows Beyoncé to get personal in a way that feels like a real treat, but beyond the lyrical or thematic content, it's yet another incredible vocal and sonic production from the artist. There's never been anyone quite like Queen Bey, and COWBOY CARTER lived up to her pitch: It's not a country record. It's a Beyoncé record — and thank goodness for that. — M. Siroky

A lineup change can reinvigorate a veteran band, and that’s what happened when drummer Coady Willis joined High on Fire. The all-killer-no-filler Cometh the Storm is the most inspired and varied record from the sludge metal band in over a decade. Frontman Matt Pike’s vocal performances are consistently thrilling, and he tapped into his vaunted “riff vault” for the onslaught of thick, crushing riffage that makes up the backbone of these songs — all as Kurt Ballou’s production teases out the necessary low-end crunch. Cometh the Storm checks all the boxes of a classic metal album: lyrically fantastical, physically powerful, and a shitload of fun. — Jon Hadusek

Moving and thoughtful while maintaining an effortless, conversational feel, Kacey Musgraves' Deeper Well is the sort of balancing act very few people in music can execute. The LP is wonderful from top to bottom, and has failed to lose any of its shine in the months since its initial release — despite the fact that an endless number of repeat listens have been reported from multiple Consequence staffers. Musgraves reflects on humanity in a way that makes you feel like you're chatting with a friend; she crafts grounded melodies for existential questions, and uses familiar rhythms and rhymes to wonder at her place in the universe. By the end of Deeper Well, everything feels a little more clear. — M. Siroky

The songwriting capabilities of Katie Crutchfield were never in question. And yet, the artist consistently outdoes herself, even when it seems impossible to do so. The immaculate Tigers Blood picks up where 2020's Saint Cloud left off, finding Crutchfield embracing her rootsiest, alt-countryiest of tendencies, this time with the help of rising indie guitar star MJ Lenderman. The resulting 12 tracks boast effortless, near-flawless construction, over top of which Crutchfield delivers her abstracted, beautifully contradictory, poignant lyricism. It's a record that proves Crutchfield is still growing, both personally and artistically, and we're just glad she's invited us along for the ride. — J. Krueger