[Graphic courtesy of Julia Weber]

By the ACRN editorial team

Each year, the ACRN editorial team sits down together to discuss their favorite new music and compiles a list of their favorite and most disappointing releases. Read about some of the most exciting releases of 2024 in our writers’ choices below.

20. Cold Visions — Bladee [Trash Island]

A return to form, continuing the sound of previous hard-hitting mixtapes like Working on Dying, Cold Visions flaunts 30 tracks for blown-out subwoofers, sleazy rage beats and vagrant one liners. From “I bought a thousand shrooms off Ebay, I was on shrooms needless to say,” or “Man, you’re watching YouTube shorts,” or “Excel at everything, I ain’t talking about an Excel sheet,” Bladee’s miraculous ability to get away with rapping pure nonsense is on full display. And still, through the surrealism, Bladee finds room for introspection, coming to terms with addiction, self-loathing and an uncertain career trajectory: “Did this ten years, how many more? / When I retire, burn the corpse.” Cold Visions is an irresistible listen all the way through. All of its idiosyncrasies (e.g. the dizzying, off-kiltered producer tag interjections) give the record such a singular personality. And who could forget the unexpected detour to Detroit trap on “END OF THE ROAD BOYZ,” which proved to be one of Bladee’s hardest hitting tracks ever recorded. 

— Rocco Prioletti, News Editor & Copy Editor 

19. My Method Actor — Nilüfer Yanya [Ninja Tune]

British pop artist Nilüfer Yanya’s My Method Actor strikes a fantastic balance between starkly emotional and unwaveringly unshakeable. Yanya’s alternative pop sound incorporates percussive and synthy backing tracks with layered vocals for a result that is minimalist, but certainly not lacking. Even at her most intimate moments like “Binding” and “Ready for Sun (touch)”, Yanya’s tracks harbor an underlying self-assuredness in her technical craft and creative direction. Throughout the album, Yanya’s production is kept fairly basic, leaving her songs open and unhurried for listeners to find themselves in. By bringing pop, alternative and electronic influences to the table in her third album, Yanya proves herself as an artist worth keeping on one’s radar.

— Julia Weber, Editorial Director

18. The Thief Next to Jesus — Ka [Iron Works]

Ka’s death has put this album in a much different light. The way his deep voice is able to seep into the dirty beats makes the listener hang on to every word. It’s difficult to separate the beat from the lyrics solely because their other-worldly pairing will make this the defining work of Ka’s decade-long career. The historical significance of Christianity within African-American communities frames this album as a timeless piece. The themes are reminiscent of early Nas albums. The droning beats and church testimonies never give the album a grand feel, but Ka has never been attracted to that aspect of hip-hop. It’s leaving the audience with a feeling. This album is the thesis for Ka’s work. 

— Cody Englander, Copy Editor

17. Tigers Blood — Waxahatchee [ANTI-]

For me, Waxahatchee’s 2024 project, Tigers Blood, is one of a handful of albums that has truly outlasted its initial hype and press cycle. Following the release of decade-defining Saint Cloud and side project Plains’ I Walked With You A Ways, Waxahatchee’s Katie Crutchfield continues to strengthen her sound. Stylistically, it’s fairly similar to Saint Cloud, filled with slow guitar slides, unadorned vocals and a general feeling that the world is going to be okay. Subtly though, Tigers Blood brings an unrushed lean toward perseverance and self-assuredness Crutchfield’s poised and unapologetic nature puts forth a rightly confident album that will stand on its own for a long time to come.

— Julia Weber, Editorial Director

16. A Dream Is All We Know — The Lemon Twigs [Captured Tracks]

On their fifth album, the D’Addario brothers skim through the ole 60s psych-pop playbooks for some inspiration, and then rip them to shreds. A Dream is All We Know is 2024’s cornerstone of guitar pop. This album contains razorsharp songwriting, loaded with countless colorful detours, thoughtful lyricism and hooks too extraordinary for words — all packed within string-kissed sunshine rock and effervescent power pop.

Right from the magnificent intro, “My Golden Years,” the group channel the Records, the Three ‘O-Clock and the dB’s into their own melodic multiverse, spitting out the most blissful jangle tune of the year. Other highlights include the bright, snappy “They Don’t Know How to Fall in Love,” dramatic mod rocker “Peppermint Roses” and the groovy “A Dream is All I Know,” guaranteed to make you feel among the clouds.

Every track is laced with Mikey and Brian’s harmonies and vocal interplay, weaving together into a sparkly, tape-warm production to create euphoric whirlwinds that are otherworldly. The band also unlocks a whole new sandbox of sounds for the brothers to play with — be that a couple throwback Motown horns, some elegant folk pop, and a few healthy sprinkles of Nilsson throughout…just to be safe, y’know? 

This album is hit after hit and is one of the most heart-warming LPs I’ve heard in a very long time. It’s truly lovely, proving the D’Addarios can go toe-to-toe with anyone who thinks they got hooks in the indie circuit. Still not sure if bell-bottoms are my thing, though.

— Roman Salomone, General Manager

15. Passage Du Desir — Johnny Blue Skies [High Top Mountain]

After rupturing his vocal cords in 2021, Sturgill Simpson left the public eye and traveled the world, reemerging as the dread pirate, Johnny Blue Skies. Fans of Simpson’s work waited in the wings, not knowing what to expect for this next project. Just moments into Passage Du Desir, listeners are serenaded by an accordion in what I believe is the best album opening in Simpson’s discography. “Swamp of Sadness” sets the stage for the rest of the album, relating topics such as evenings in Paris, France and Homer’s The Odyssey, removing any expectations listeners may have brought with them. Passage Du Desir is a collection of love songs in the same sense Derek and the Dominos’ Layla is, just without anything tethering it to any genre, or reality for that matter. Sturgill Simpson — excuse me — Johnny Blue Skies creates a beautiful, tragic and desirous sonic landscape from front to back with this album. Be sure to stick around for the final track and the climax of the album, “One For The Road.”

— Dylan Thatcher, Features Editor

14. Big Ideas — Remi Wolf [Island]

Remi Wolf’s 2021 album Juno was easily one of my favorite albums of that year. Wolf’s off-beat and sometimes irreverent sense of humor paired with assertive vocals, colorful instrumental choices and relentless dance grooves made it an instantly memorable experience, and one I’ve found myself returning to many times. Big Ideas takes the general eccentricity of her previous output and incorporates more refined production and dazzling pop hooks, culminating in her most commercially-appealing record to date. And though it takes fewer stylistic detours than its predecessor, this album displays Wolf’s ability to build upon her sound without sacrificing the distinctive personality that made her music so endearing to begin with.  

— Grant Kelly, Contributor

13. Fearless Movement — Kamasi Washington [Young]

Kamasi Washington’s 2024 release Fearless Movement was met with high expectations in the world of jazz. Washington pushes the envelope and exceeds these expectations yet again in this project by creating one the most unique and genre bending albums of the year, making it worth a try even if you aren’t studying music theory in college. The collaborations on the first half of this album are fantastic, featuring artists such as Thundercat, André 3000 and George Clinton. In “The Visionary,” Washington and Terrance Martin conspire to explore the outer extents of their imagination and deliver a stunning piece of sound, despite the track clocking in at a minute and 10 seconds. The next track is a collaboration between Washington, D Smoke and George Clinton, bringing some fun and unexpected party vibes in the classic style of Clinton’s Parliament/Funkadelic work. D Smoke also adds a fresh angle to this sound, providing some laid-back rap verses. The second half of the album returns to more traditional jazz, all while retaining the cutting edge sound of the previous songs. Fearless Movement is an album that has something for any listener.

— Dylan Thatcher, Features Editor

12. Two Star & The Dream Police — Mk.gee [R&R Digital]

Mk.gee has been getting all the hype this year and rightfully so. We can give all the flowers and thank his release Two Star & The Dream Police for kickstarting his breakout. This album references 80s pop and brings unusual, yet groovy tones that only make his music more addicting. Mk.gee’s sound is very dreamy and this album is a reliable listen.

The subtle percussion and bass makes you feel like you are collecting yourself in a bathroom at a house party while Mk.gee layers his whiny but ethereal vocals over top of this new and interesting production. This well-polished album has deservingly earned its spot on our best albums of 2024 list.

— Kate Tocke, Public Relations Director

11. No Name — Jack White [Third Man]

Over the summer, Jack White released his sixth studio album, No Name, consisting of nine powerful tracks. No Name is reminiscent of White’s earlier sound explored in the group White Stripes, and is an intriguing amalgamation of blues and punk rock. While White’s voice is nearly drowned out by the distortion of his guitar, it still breaks the surface with the pure vigor and grit he sings with. Tracks like “Archbishop Harold Holmes” and “What’s The Rumpus?” are particularly groovy. “Archbishop Harold Holmes” takes on a preacher-like tone as White sings of religion, and “What’s The Rumpus?” uses fun and funky rhymes in the final verse. The Album is simply jam-packed with energy, boisterous both in sound and lyrical content. If you’re ever in need of an album to amp you up for 40 minutes straight, No Name is here to get the job done.

— Sage Spirk, Contributor 

10. Manning Fireworks — MJ Lenderman [ANTI-]

Wednesday guitarist and honky-tonk hero MJ Lenderman’s latest project was one of the most talked about albums in the 2024 indie sphere — and for good reason. Following the acclaim of 2022’s Boat Songs, Manning Fireworks is a testament to Lenderman’s ability to refine his craft. Tracks like “Joker Lips,” “Rudolph” and “Wristwatch” prove that the MJ Lenderman we know and love is here to stay, while the ten-plus-minute experimental closer “Bark at the Moon” shows that Lenderman isn’t — by any means — planning to rest on his laurels. Oscillating between tender, muted and heavily emotional tracks and the rippers packed with earworm-inducing guitar licks he’s known for, the project is an ode to the lows in life and anything and everything it takes to get through them.

— Julia Weber, Editorial Director

9. Diamond Jubilee — Cindy Lee [Realistik]

To date, Diamond Jubilee is the longest studio album of psychedelic indie project Cindy Lee, at just over two hours. And while the album certainly feels that long in terms of sonic variety, it seems to pass by in the blink of an eye. The incorporation of country and Americana influences into the band’s usual 60’s pop sound makes this album feel like an auditory journey through the North American countryside. The profound sense of longing, heartbreak and sentimentality explored in the lyrics makes it easy to get lost in. Diamond Jubilee may be a bit of a stylistic change for Cindy Lee, but their lush soundscapes and keen sense of musical storytelling are still on full display here. 

— Grant Kelly, Contributor

8. GNX — Kendrick Lamar [Interscope]

The G.O.A.T. is back and I could not be happier. In the classic Kendrick style, the album starts off with an amazing, angry introduction and the energy in the first song is very high. Kendrick then leads us into the masterpiece that is GNX. 

There are some notable features, including two songs with SZA, “luther” being one of my personal favorites as well as a fan favorite. The song “hey now”, featuring dody6, is also a notable track and one I find myself revisiting often.

This newest record by Kendrick shows that he continues to be a legend and one of hip-hop’s greatest innovators. He constantly shows up to the genre more artistic than anyone else in this day and age. He has hit the nail once again both musically and lyrically.

— Kate Tocke, Public Relations Director

7. I Got Heaven — Mannequin Pussy [Epitaph]

Raving with vengeance and lust, I Got Heaven by Mannequin Pussy is one of 2024’s best albums for its searing and timely lyricism. As a female-fronted punk band, Mannequin Pussy’s fourth album saw lead singer Marisa Debice lament about the darkness that plagues daily life, such as the fetishization of women, existentialism and emotionally abusive relationships. 

However, it is also an album that deals with pleasure, evident in the growling climax of “Loud Bark” and the moaning chorus of “I Got Heaven,” two of my favorite songs this year. At its most adventurous and playful, this album gives permission to scream and shout without facing consequences; to go after a lover that you know is bad for you and give into temptation. At its most destructive and honest, the band is frustrated with power dynamics and loss on songs like “I Don’t Know You” and “Sometimes,” releasing a new kind of tension that hasn’t been heard on their previous records.

Overall, I Got Heaven didn’t limit the band creatively, instead it gave them a more useful outlet to vent than before.

— Grace Koennecke, Managing Editor

6. Alligator Bites Never Heal — Doechii [Top Dawg / Capital]

2024 has been the year of Doechii. From her stellar Tiny Desk concert for NPR and her feature on Tyler, the Creator’s Chromakopia to her three nominations, including Best New Artist for the 2025 Grammys, Doechii has really come into her own this year. All of this was spurred in part by the release of her excellent third mixtape, Alligator Bites Never Heal.  

On Alligator Bites Never Heal, Doechii’s lyricism is witty and fun. She balances humorous storytelling on songs like “DENIAL IS A RIVER” with the more abrasive quality of songs like “BOOM BAP” and “CATFISH.” Throughout the album Doechii is incredibly charismatic and shows off her technical prowess, specifically on the stand-out “NISSAN ALTIMA.” This album also includes some more down-tempo R&B inspired songs, such as “BEVERLY HILLS” and “SLIDE,” where she is also able to flaunt her smooth singing voice. 

After listening to Alligator Bites Never Heal, it is clear that Doechii is one of the most exciting breakout stars of this year. 

— Kate Wiselogel, Contributor

5. COWBOY CARTER — Beyoncé [Parkwood / Columbia]

Moving away from the club and ballroom-inspired tracks from 2022’s RENAISSANCE, Beyoncé’s COWBOY CARTER was a new challenge for the singer. After facing racist backlash for performing alongside The Chicks at the 2016 Country Music Awards, this album served as the ultimate comeback for Beyoncé, tying in her own personal research, Southern background and country music’s most influential artists to strengthen her case that she can, in fact, do country. And yes, she even got icons like Dolly Parton and Willie Nelson to sing alongside her.

With impressive and introspective ballads like “16 CARRIAGES” and “AMERIICAN REQUIEM” to folky square dance rhythms on “TEXAS HOLD ‘EM” and “RIIVERDANCE”, Beyoncé reflected on the history of the genre by personalizing it to her experience as a Southern Black woman and artist. COWBOY CARTER paid homage to country music, whose roots lie in the artists of color who came before. 

— Grace Koennecke, Managing Editor

4. The New Sound — Geordie Greep [Rough Trade]

In a lot of ways, The New Sound is the ideal solo debut from a popular band’s former member. On this record, vocalist and multi-instrumentalist, Geordie Greep, channels the prog-rock virtuosity of the recently disbanded Black Midi into more eclectic musical influences and first-person narratives. Intertwined with furiously groovy Latin rock and jazz passages are eccentric, yet compelling character studies of sleazy club-goers, that, in the midst of endless scenes of debauchery, provide surprisingly nuanced commentary on masculinity and human connection. This album captures much of what made Black Midi indie rock icons in the first place, while allowing Greep to spread his creative wings and make something uniquely wild and exciting on his own terms. 

— Grant Kelly, Contributor

3. Charm — Clairo [Clairo]

Clairo announced her new album, Charm, earlier this year, and as a Clairo fan, I was looking forward to this new record. Her indie-pop debut, Immunity, was a huge hit, and I appreciated the vulnerable and intimate folk-centered follow-up album, Sling.

After releasing the lead single, “Sexy To Someone,” it was clear that she was moving toward a more soft-rock centered genre for this album. She continues to use heavy instrumentation, similar to Sling, playing her clarinet throughout a majority of the songs. We continue to hear beautifully captivating saxophones, flutes, trumpets and piano chords as well.

Charm is an evolution and a level-up in Clairo’s artistry. This album is a perfect blend of her first two albums. Listeners get upbeat songs while Clairo retains her soulful and personal lyrics that demand attention.

— Max Cartwright, Reviews Editor

2. Imaginal Disk — Magdalena Bay [Mom+Pop]

Magdalena Bay’s newest album Imaginal Disk may have snuck under the radar for most mainstream pop fans, but it managed to be one of the most impressive albums of the year. As a culmination of sounds, this album stands out as one of the best by being catchy without annoying listeners. Little lyrics stay, begging the listener to return again and again, coming for one song and staying for the rest of the album. Even the intermediary tracks that in many other albums of the genre would be lesser, have a uniqueness that trances the listener. A song like “True Blue Interlude” allows the listener to break into the full concept of the album. The synth and dance inspirations make for a pop album that sounds truly original. No other album this year celebrates the human experience quite like this.

— Cody Englander, Copy Editor

1. BRAT — Charli xcx [Atlantic]

Arguably pop music’s biggest release from this year, Charli xcx’s BRAT proved that authenticity matters more than notoriety and numbers. The British singer embraced her roots of dancing in clubs and raving at DJ sets to create an album centered around the “party girl” aesthetic, as well as the highs and lows of womanhood. 

With the depth and range reminiscent of the genre’s most influential albums like Lady Gaga’s ARTPOP and SOPHIE’s OIL OF EVERY PEARL’S UN-INSIDES, this album was effortlessly fun and had a song for every kind of listener. BRAT also pulled off some of the best features of the year, including “Girl, so confusing featuring lorde” and “Guess featuring billie eilish,” forcing the mainstream into the iconic neon green backdrop that will forever be hard to miss. As a proud Charli xcx fan, it’s about time she got her flowers. Her genius marketing and commitment made her one of the most successful artists of 2024.

— Grace Koennecke, Managing Editor