25. Mk.gee- Two Star & The Dream Police

Distinctively grainy and hard to put in a box, this is the album that introduced me to the music of Mk.gee and his intoxicating blend of genres. Soulful and distorted, Two Star & The Dream Police delivers tune after tune that will get stuck in your head all day. It’s the simple melodies and rhythms beneath a layer of murky brain fog that really transform this album from any old pop album to something memorable. (Ewan)

24.Fat White Family- Forgiveness is Yours

Dysfunctional as ever, Fat White Family are back with their first full length release since 2019’s Serfs Up- an album that revolutionised the bands sound and took them to new heights. While Forgiveness is Yours may not reach the lofty sonic benchmark set by their previous effort (likely due to band members departing), the lyricism on display here is among the best we have seen from frontman Lias Saoudi. Overall and enjoyable headache of an album that feels like it could have been great. (Ewan)

23. Kneecap- Fine Art

West Belfast trio Kneecap have cemented their place in the cultural canon this year with both a debut album and film being released in 2024. Lyrics changing from English to Irish over beats inspired by dance and hip-hop music is a cocktail that no one had seemingly thought to shake before now. An impressive undertaking that while sometimes feels a bit basic musically is kept fresh with features from other talented artists. While the storytelling elements of the songs may feel a bit half baked, especially when considering their movie serves this very purpose, the ambition of this album alone makes it one of the most unique albums you’re likely to hear anytime soon. (Ewan)

22. Kim Gordon- The Collective

Alternative rock icon Kim Gordon has returned with an album that builds on the sound of her last full length solo project from 2019, No Home Record. This latest entry into Gordon’s hall of fame worthy career sprinkles in some modern hip-hop influence amongst the noisy chaos that is synonymous with her work. The albums is host to many great moments but I did occasionally found myself taken out of the moment with Gordon’s signature slam poetry style, which takes aim at social media in particular here. The very embodiment of the punk spirit, Gordon has always been acquired taste and it is encouraging to see her still doing what she does best. (Ewan)

21. The Cure- Songs of a Lost World

New music from old rockstars can have that washed-up, over-produced tang to it – not so with The Cure’s latest effort, Songs of a Lost World. Seeing them live at The Troxy on the album’s release day was a gig experience that won’t be repeated for as long as I live. They began their set (and their album) with the single ‘Alone’, an ambitious moonshot of a song which dares for a three-and-a-half-minute instrumental intro as its opening statement, the sound and lyrics soaking in a feeling of forlornness that generations of Cure fans continue to find identity with. Father of Goth frontman Robert Smith sounds as sensational on the new album as he ever has, with tracks like ‘Warsong’ and ‘I Can Never Say Goodbye’ carrying glimmers of all their best work. I hope and pray this isn’t their last outing. (Charlie)

22. Geordie Greep- The New Sound

Seemingly out of nowhere and prematurely Black Midi announced an indefinite hiatus this year, along with the launching of (at least) two new solo careers for the previous band members. Frontman Geordie Greep emerged from the sad end of a great band firing on all creative cylinders with this debut record that ties in jazz fusion, latin music and the disheveled, desperate characters that could at once be found in the pages of Dostoevsky or the pubs of todays UK. The vocal style of Geordie Greep will certainly not be for everyone and it is a complaint I’ve heard even back to the days of Black Midi, but the musicianship and creative drive of this record is undeniable. (Ewan)

19. Moin- You Never End

A band that I was admittedly unfamiliar with prior to 2024, Moin impressed me greatly with their latest album and gave me a new hope for the future of the ‘guitar band’. Each member has a mastery over their role in the group and the tight rhythms that result from this make the perfect base for songs that are supplemented by vocal features and samples. There’s an uneasy and challenging feel to the album that I think is the result of having no singular voice guiding you thought the record and the swooping effects used create depth on certain tracks. Definitely one to check out and I look forward to hearing more from Moin. (Ewan)

18. Vince Staples- Dark Times

Long Beach, California native, Vince Staples is one of the most interesting rappers to come out of the US in the past decade and he continues to impress with his latest record. One of his more autobiographical and personal releases, Dark Times feels like an artist who has come to grips with fame and celebrity but is still dealing with the basest human problems. Searching for meaning in relationships, questioning the problems he sees in his hometown and opening up with a vulnerability not seen before by the artist, this album is a standout in Stapels’ already fantastic discography. (Ewan)

16. Wunderhorse- Midas

Wunderhorse might just be the next big British indie band, and they’ve made waves this year with live shows that have attracted tens of thousands of fans across the UK and beyond. Midas encapsulates what makes this band great, with raw yet simple songs that tick all the right boxes for an indie record. Building on 2022’s Cub, the band has refined their sound without switching up what attracted fans initially and the result is a more well-polished and impressive sophomore record. (Ewan)

17. Kendrick Lamar- GNX

After a year in the limelight following his beef with Drake that sent the internet into rapture for most of the year, Kendrick has delivered yet another excellent record in amongst the madness. Definitely a switch up and changing gears from his previous releases, GNX ties in the different vocal styles explored in standalone singles between his last full release but brings them together with brilliant features from a supporting cast of features, the standout of which is RnB star SZA. (Ewan)

15. Cola- The Gloss

Originally a rehash of inertia favourites, Ought, Cola have been on the go for a few years now and have created a sound distinct from their original iteration without losing any of the melodic post-punk goodness. Searing lyrics sung in a Southern gothic drawl atop grooving rhythms, what’s not to like? The band have gone from strength to strength since their inception and The Gloss is a marked improvement on their debut, making them one of the most exciting bands in the alternative scene today. (Ewan)

14. Clairo- Charm

Transforming from internet beloved bedroom pop icon to a star in her own right, Clairo returns with her most complete and intoxicating release to date. Anyone that thought she may be merely a passing moment in the endless cycle of online musicians will be eating their hat after Charm, a refined pop album that hits all the notes and leaves you expecting even more to come from the American indie star. (Ewan)

13. Nadine Shah- Filthy Underneath

One of the gems of the UK indie scene from the past decade, Nadine Shah returned in 2024 with yet another impressive release to add to her stellar collection. Emerging from great personal strife and openly discussing the effects that this has had on you must be a Herculean undertaking, yet Shah accomplishes this and then some. As we’ve come to expect from Shah there is no shortage of post-punk edge or hauntingly beautiful vocal arrangements. The subject matter on this project ranges from mental health and relationships to wider cultural issues plaguing modern Britain, and there is never a moment that feels disingenuous or preachy. (Ewan)

12. MJ Lenderman- Manning Fireworks

A witty and honest fourth studio album from North Carolina’s own MJ Lenderman, Manning Fireworks is one of the best indie rock releases from the past year. The collection of songs is straight forward with no frills yet the albums flows smoothly and has just enough edge, largely from the brilliant lyrics, to keep you hooked the whole way through. I don’t really know what else to say with this album; if you like Americana style indie then you will almost definitely enjoy this one. (Ewan)

11. Mermaid Chunky- Slif Slaf Slof

Signed to LCD Soundsystem’s DFA records, Mermaid Chunky’s raucous live appearances have earned them a reputation and the resentment of a more than a few of the former’s fans, who they’ve opened for on a number of occasions. More for the rest of us, I say. Cornering the aesthetic market on rock pool art school audio-visual silliness, lead single ‘céilí’ from their debut LP is a captivating expression of what makes the band so unique. Each song on the album is borne out of their improvisational shows, germs grabbed from thin air and given the full space to grow and develop on their own. You’d do worse than check out wiggly tracks ‘frogsporn’ or ‘nature girl’, but never have I seen a band get a room going than when they whipped out funky cowgirl number ‘chaperone’ when I saw them earlier this year. It’s not easy getting a London crowd animated; I’m just glad I wasn’t the only one galloping and air-lassoing with wild abandon for once. (Charlie)

7. Nia Archives- Silence Is Loud

Perhaps the most well known face of the jungle revival tearing through UK electronic music, Nia Archives has been tearing into the mainstream over the past few years and her latest release shows that she is here to stay. Nominated for this years Mercury Prize, it’s good to see this record getting the attention that it deserves. What’s not to like here? Nia Archives is firing on all cylinders, bringing high energy and filling dancefloors across the country. This specific brand of songwriting feels reminiscent of the best of 2000s British pop artists and some tracks wouldn’t feel out of place in Skins or the like. (Ewan)

9. Tyler the Creator- Chromakopia

There is no rival or equal to Tyler the Creator in modern music. Just as you think you have him pinned down he reinvents himself with a new alter-ego that brings a developed sound and entirely new stage presence. The latest iteration of this creative powerhouse does seem to have a bit of disparity between the subject matter of the songs and the more visual elements of his work. Looking at just the songs themselves though, Tyler grapples with relationships and intimacy in a way that only he can. Revelations that can only come from years of self evaluation are stated clear as day and then we are whisked away into an incredibly catchy R&B song in an instant. Chromakopia is certainly a whirlwind and in many feels like a spiritual successor to Tyler’s 2019 magnum opus, Igor, although maybe that’s just me. (Ewan)

8. Nala Sinephro- Endlessness

Ambient jazz maestro Nala Sinephro blessed us with a return to form this year in Endlessness. It listens sort of like one of those solar system models with many different planets going at their different paces but ultimately orbiting the same centre, and while tricky to listen to at first repeat visits are rewarded with new sequences and sounds seeming to unravel with each listen. The tempo of this album is constantly in flux, seeming to dilate and contract at the behest of some unknown pattern. Put this album on loop and you can just about lose yourself in it. (Charlie)

7. Astrid Sonne- Great Doubt

A greatly talented emerging artist hailing originally from Denmark, Astrid Sonne is another artist that I have been introduced to in 2024. Using her abilities as a classically trained violinist to craft beautiful songs that are cut up by glitchy experimentation is an absolute revelation that I can’t get enough of. Melding classical and contemporary pop is no easy feat but Great Doubt strips each element back to the point where they seem inseparable. Simple yet impactful lyrics that are often repeated but avoid sounding drone-like give the album a sort of narration that helps give it a bit of shape and the resulting product is one of the best albums from the past year. (Ewan)

6. Warmduscher- Too Cold To Hold

Another band to emerge from the consistently exciting South London scene of which the Windmill seems to be the epicentre, Warmduscher have been on my radar for a while but I was impressed by the new levels that they have risen to with this latest album. Prior to this album they certainly had songs that I liked for their groove and playful lyrics but I never found myself listening to their albums all the way through. Whether it’s down to the band maturing and entering a new ‘era’ or just them honing in on the elements of their music that has always made them stand out, the results are fantastic. Grooving backing instrumentation, gravelly vocal delivery and gritty lyricism are found in abundance and the opening track with Irvine Welsh sets the tone immaculately for this wild ride. (Ewan)

5. Beth Gibbons- Lives Outgrown

As a massive fan of Portishead, I was very excited to hear that Beth Gibbons would be releasing solo music this past year and the completely engrossing atmosphere delivered on Lives Outgrown was more than I could ever have hoped for. Devastating reflections on growing older, loss and motherhood make this a very heavy album to listen to, and it is by no means something that I’ve had on repeat throughout the year. The cuts made bare by Gibbons are deep and we see as deep into an artists soul as we are ever as likely to see. (Ewan)

4. Adrianne Lenker- Bright Future

At this point Adrianne Lenker has cemented herself as an unstoppable force in folk music. Between her solo work and the consistent brilliance of her band Big Thief, it appears that Lenker simply cannot miss. The uniquely colourful wordplay weaved through Bright Future paints a melancholic picture that it is easy to get lost in. A sense of longing and reflection seems inescapable on this record, even during some of the livelier singalong moments. I don’t think I’ll ever tire of Lenker’s vocals and how they interact with the violin, keys and guitar on this album, it really is crafted to near perfection. (Ewan)

3. Fontaines DC- Romance

In a year where the burgeoning next generation of stars seem to have really taken a hold of popular culture, Fontaines DC have culminated years of hype into their most widely promoted and popular album to date. Accompanied by an over the top rebrand for each member, involving vaguely Y2K visually abrasive outfits and haircuts, it seemed that Romance was destined to be a moment in culture from the star.

Like certain other albums from 2024, initially it was hard to tell if Romance was being promoted as an album or as simply a marketing campaign. This, of course, was proven to be of no concern to the band- who delivered some of their most memorable songs to date. Each single in the build-up to release compounded quality and anticipation to the point where there was no doubt in fans minds that this would be a defining project in the Fontainies DC discography and they delivered on these high expectations. (Ewan)

2. Charlie XCX- Brat

If 2023 was a Mattel hot pink following Barbenheimer, then 2024 was undeniably splattered in a CBBC slime-lime green. From the day BRAT came out it defined the zeitgeist, kickstarting a Brat Summer which saw everyone from American presidential candidates to sausage manufacturers to err… the North Atlantic Treaty Organisation? attempt to stake their own claim on the meme. And so they did, until there was nothing left but Michael ‘Last Guy at the Afters’ Gove complaining in September that Labour’s plans for an outdoor smoking ban were “certainly not very brat”.

So was it all just a cultural phenomenon, a vast, empty green canvas for brands and fun-sapping politicians to sell products and ideology with? Surely not. The trend might be done to death, but the music which birthed it all stands as a seminal collection of songs that spans the aggressively auto-tuned hyper-pop of Von Dutch and 365 to the tender confessionals Rewind and I think about it all the time. I have jars in the back of my fridge older than this album, but even from this not-so-distant vantage point in time it seems certain that all these songs have already cemented themselves as club classics for the ages. (Charlie)

1. Mount Kimbie- Sunset Violent

Mount Kimbie have been pulling in a few different directions in recent years, putting out some experimental electronic albums under the project which, while interesting, simply aren’t as consolidated as 2017’s Love What Survives. This year’s The Sunset Violent sees the band lean more heavily on their shoegaze and dream pop influences and embrace spacey-r soundscapes, but it wouldn’t be a true Mount Kimbie LP without their trademark arpeggiators and xylophones, which fuse surprisingly well with the drone-y guitars on loan for the season from My Bloody Valentine’s Loveless. Most obvious on the track ‘Boxing’, other belters on the album include ‘Dumb Guitar’, ‘A Figure in the Surf’, and unlikely anthem ‘Fish Brain’, which conveniently enough for my ear-worm-ridden brain can have its chorus adapted to pretty much any other two syllable word or phrase.

And my gosh, I haven’t even gotten round to ‘Empty and Silent’, The Sunset Violent’s send off and my uncontested favourite song of the year. The band combines forces with longtime collaborator King Krule to whip up a percussive, soaring swirl of a tune that bursts with soul and possesses that rare X factor of being a song you could both dance and cry to. Full King Kimbie album when? (Charlie)

Words by Ewan Blacklaw and Charlie Forbes