Whether BRAT soundtracked your summer, or you eagerly awaited the new Cure record for your favorite fall playlist, 2024 was another fantastic year for music. As it comes to a close, WRVU staff looks back on some of their favorite releases from 2024.
10. King Gizzard & the Lizard Wizard – ‘flight b741’
It’s hard being a King Gizzard and the Lizard Wizard fan. Flight b741, the band’s 26 studio album hit shelves a whopping 10 months after the band’s electronic outing The Silver Cord — the longest gap between KGATLW albums in over 5 years. After ages of anticipation, Flight b741 did not disappoint, bringing the classic Gizz fun with a bluesy twist. Standout songs “Le Risque” and “Antarctica” are some of the grooviest the group has put out since Gumboot Soup. The album does, however, leave the listener with one question: what do you call Australian Americana music? — GW Ruth
9. Bladee – ‘Cold Visions’
Bladee turned thirty years old this year, and he’s not happy about it. In the Swedish iconoclast’s 2024 release, he embarks on a dizzying thrill ride that jolts between reflection and rage. Topping off at just over an hour — with a song for each year Bladee’s been alive — “COLD VISIONS” features plenty of references to past projects and appearances from familiar collaborators in the Drain Gang universe. With shrieking vocals and suffocating production, Bladee affixes a new layer of apocalyptic urgency to his singular style, one that has captivated and resonated with his cult following since his teenage years. — Kath Oung
8. Chat Pile – ‘Cool World’
It only makes sense that Chat Pile’s second studio album is named after a forgotten 90s B-movie. When I saw them at The End, frontman Raygun Busch’s only between-song banter was referencing movies: Robert Altman’s Nashville, The Green Mile, Walk the Line, and the opening scene of The Matrix — all of which were filmed in Music City. 1992’s Cool World is far worse than any of those picks, placing a live-action Brad Pitt into an animated Looney Tunes dimension. Chat Pile’s album follows this same concept: the futility of being dropped into a dystopian, freakish world. Songs like “Shame” condemn neo-colonialism and bombs dropped in far-away countries, while “I Am Dog Now” is an enigmatic and grotesque caricature of a stray mutt. With more melodic riffs, heavier drums, and a certain punchiness reminiscent of Albini’s work with the Jesus Lizard, Chat Pile captures a certain modern malaise, striking a balance between the callous and the absurd. — Ben Arthur
7. Waxahatchee – ‘Tigers Blood’
Waxahatchee’s Tigers Blood may resemble the work of Gillian Welch and Dave Rawlings in its guitars and close harmonies (courtesy of MJ Lenderman), but it also possesses pop-rock sensibilities that put it beyond the realms of folk and country. Production-wise, the heavy drums lend a sense of propulsion, but an aural depth is supplied by subtle synth and pedal work. Katie Crutchfield’s vocals are at once laid back and incisive, with her melodies tending to pitch upwards, taking advantage of an airy, vulnerable falsetto. Appropriate, given the impressionistic lyrics which carry Southern detail but coyly withhold straightforward stories and meanings. “Evil Spawn” deserves particular mention, its second-half perspective shift at once elegant and illuminating. — Yuxuan Lu
6. Kendrick Lamar – ‘GNX’
Kendrick Lamar’s surprise drop was a late contender for album of the year but quickly rose to the occasion, going on to have the biggest debut week for a rap album in 2024. Following his summer feud with Drake, GNX continues Lamar’s claim that he has no competition. A love letter to the West Coast hip hop that raised him, think early Ice Cube and Death Row’s iconic g-funk, the record is punchy and aggressive one moment and smooth and syrupy the next. Lamar may have taken some recent criticism to heart, with features spanning the underground LA rap scene and multiple SZA appearances, but they prove that a true master of his craft knows when to listen. Simply put, he deserves it all. — Sydney Spangler
5. Magdalena Bay – ‘Imaginal Disk’
Imaginal Disk, the pop duo’s second LP, appeals to both parts of my music brain. On one hand, conceptually, the album is fascinating. The record follows a protagonist, True, and her process of getting the Imaginal Disk, an operation we see on the album cover. On the other hand, the record is just really fun. “Vampire In the Corner” and “That’s My Floor” are some of the best pop tracks to come out this year. Imaginal Disk is so good that WRVU would like to formally forgive it for creating a halloween costume for the most annoying person you know. — GW Ruth
4. The Jesus Lizard – ‘Rack’
Legendary noise act The Jesus Lizard returned this year with Rack, their first studio album in 26 years. With their classic bass-driven sound, David Yow and company are as aggressive and angry as ever. On “Hide and Seek” and “Alexis Feels Sick,” the band showed listeners they were back in full form, filled with gritty guitar riffs and haunting vocals. Even after a quarter-century hiatus, the band hasn’t missed a step yet. — Gaige Million
3. Adrianne Lenker – ‘Bright Future’
Adrianne Lenker’s ability to craft deeply emotional and introspective songs shines through in Bright Future. The album feels like an intimate conversation, with Lenker’s distinct voice and poetic lyrics guiding listeners through a journey of vulnerability and healing. As the album unfolds, Lenker invites us to sit with feelings that are often left unspoken. Songs like “Candleflame” radiate a delicate sense of tenderness, while “Sadness as a Gift” transforms grief into something unexpectedly beautiful. In an era dominated by overproduced and underdeveloped albums, Lenker’s release stands out with its raw production, where every chord and vocal crack feels deliberate, like a shared secret. In Bright Future, Lenker once again proves her artistry transcends trends, offering a timeless exploration of the human experience. — Disha Nambiar
2. MJ Lenderman – ‘Manning Fireworks’
Big day for guys in Brooklyn with mustaches that drink PBR and smoke Camels. Self-own, I know, but this is how people typically write about North Carolina’s very own MJ Lenderman and his work on Manning Fireworks. Propelled by instant-classic singles such as “She’s Leaving You” and “Wristwatch,” as well as previous live favorites like “Rudolph,” Lenderman’s Will Oldham-inspired lyrics transcend the dude-music label that publications have been so quick to slap on them and teach us, in his own words, that sometimes music is allowed to just be funny. Music will always be more encompassing than that, and for me, Manning Fireworks is what it sounds like growing up with parents who listen to both the Truckers and J Mascis. — Colin Vess
1. Charli XCX – ‘BRAT’
Pop innovator Charli XCX’s BRAT infected the world with bright green energy—a testament to the universal appeal of this record. Building on her signature hyperpop sound, Charli delves into her artistry with raw, conversational lyrics paired with captivating club beats. Tracks like “365” and “Club Classics” depict a bold, glorified party lifestyle, while “So I” offers a vulnerable tribute to the late, iconic experimental producer Sophie. In this album, Charli reflects on her own struggles with confidence as a pop star, with lyrics like, “But, now, I’ve started thinkin’ again/ Wonderin’ ’bout whether I think I deserve commercial success.” This album serves as an answer to her inner dialogue: through her evolution, Charli has proven that she is undeniably deserving of her place as a star. — Carolina Rodriguez