Abby Holliday Adrianne Lenker Amanda Bergman Angie McMahon Ariana Grande Bailen BANKS Beth Gibbons Beyoncé Billie Eilish Blair Gilmour Blind Pilot Carly Cosgrove Caroline Polachek Cave Sermon Chai Sinclair Chandler Leighton Chappell Roan Charli xcx Charli xcx feat. Lorde Cian Ducrot Clairo Coco & Clair Clair Confidence Man The Cure Daffo The Dare Del Water Gap & Holly Humberstone Devon Thompson Doechii Fontaines D.C. Future Islands Glass Animals Grace Kay Gracie Abrams Holly Humberstone IDLES John Vincent III Joy Oladokun Kendrick Lamar The Killers Kowloon Lady Gaga The Last Dinner Party Lauren Mayberry LCD Soundsystem The Lemon Twigs Lola Young Mannequin Pussy Mara Liddle The Marías Medium Build MJ Lenderman Mk.gee Mt. Joy Natisa Gogol Noah Kahan Origami Angel Pencil Legs Pouty Previous Industries Sabrina Carpenter Scowl Shaboozey Soda Blonde Spiritbox St. Vincent Stevie Bill Stevie Nicks Taylor Swift ft. Post Malone Valley Vampire Weekend Waxahatchee Winnetka Bowling League, Medium Build, & Dawes Wishy The Wonder Years Wunderhorse Xiu Xiu

From all of us here at Atwood Magazine, we wish you a happy and healthy new year!

2024 has been an inspiring year for music. Living legends have further solidified their legacies, whilst fresh faces have become new favorites.

Atwood Magazine has always had at its core the mission to celebrate music of all genres, and this year we continued our goal to be a space of inclusivity and representation by consciously highlighting art and artists from around the world. The year in music was made all the more exciting because of the broad range of music we featured and focused on – from those familiar names in the Top 40, to creatives in the most underground, indie, and alternative of circles.

For so many of these artists, music is more than a mere means of self-expression; it is a vessel full of awesome potential. In recent years, it has felt increasingly important to acknowledge and elevate those who use their art as a voice for the disenfranchised; the oppressed; the underrepresented; and the underprivileged. This year, we continue to recognize those who speak for more than just themselves, while at the same time indulging in the familiar, timeless themes of love, loss, hope, connection, courage, change, and the never-ending pursuit of happiness.

As the year comes to a close, our staff took a step back to honor the songs, albums, EPs, concerts, and artist discoveries that had the greatest impact on our lives. Without further ado, Atwood Magazine is proud to present our curated list of 2024’s Songs of the Year, in alphabetical order by artist.

These are our favorites – the tracks that influenced and inspired us the most. Please join us in celebrating 2024’s contributions to the music world!

Mitch Mosk, Editor-in-Chief

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Atwood’s 2024 Music of the Year 

2024’s Best Songs of the Year

Click on the artist’s name to skip right to their song’s entry!

Abby Holliday Adrianne Lenker Amanda Bergman Angie McMahon Ariana Grande Bailen BANKS Beth Gibbons Beyoncé Billie Eilish Blair Gilmour Blind Pilot Carly Cosgrove Caroline Polachek Cave Sermon Chai Sinclair Chandler Leighton Chappell Roan Charli xcx Charli xcx feat. Lorde Cian Ducrot Clairo Coco & Clair Clair Confidence Man The Cure Daffo The Dare Del Water Gap & Holly Humberstone Devon Thompson Doechii Fontaines D.C. Future Islands Glass Animals Grace Kay Gracie Abrams Holly Humberstone IDLES John Vincent III Joy Oladokun Kendrick Lamar The Killers Kowloon Lady Gaga The Last Dinner Party Lauren Mayberry LCD Soundsystem The Lemon Twigs Lola Young Mannequin Pussy Mara Liddle The Marías Medium Build MJ Lenderman Mk.gee Mt. Joy Natisa Gogol Noah Kahan Origami Angel Pencil Legs Pouty Previous Industries Sabrina Carpenter Scowl Shaboozey Soda Blonde Spiritbox St. Vincent Stevie Bill Stevie Nicks Taylor Swift ft. Post Malone Valley Vampire Weekend Waxahatchee Winnetka Bowling League, Medium Build, & Dawes Wishy The Wonder Years Wunderhorse Xiu Xiu

One of the biggest life lessons, for me, has been the slow but steady acceptance that everything and everyone I know is temporary and liminal. Just because people come and go from our lives doesn’t mean we can’t appreciate them for who they were to us when they were with us and we knew them best – whether it’s a friendship, a lost love, or someone’s passing.

Clearly, I’m not the only one ruminating on these things, because Abby Holliday‘s “The Price” takes this same thought and turns it into a spellbinding, soul-stirring song. A catchy, cathartic, and churning inner reckoning, “The Price” is aching, emotionally charged indie pop at its finest, and another undeniable “win” from the Cincinnati-bred, Nashville-based singer/songwriter (and longtime Atwood favorite). Taken off her third album CRACK A SMILE COME ON STAY A WHILE, “The Price” acknowledges the past’s strain on the present, and all our lingering trauma and scars that never fully heal or dissipate: How we can think we’re unequivocally “over” something or someone, only to be thrown right back into the messy metaphorical trenches just by a chance encounter.

Born out of one such experience with a ghost from her past, “The Price” sees Holliday dealing with those raw, visceral emotions in real time, trying to untangle her present self from the person she used to be, all the while acknowledging just how hard it really is to live and let die, so-to-speak. She hits a fever pitch in the song’s irresistible and spirited chorus, dwelling in pools of bright, bold sonics and vulnerable, exposed depths as she comes to realize “it’s not a crime to love somebody and let it die if it needs to die.” At once heavy and light, “The Price” proves a hypnotic, mesmerizing force on both the ears and the heart as Abby Holliday spins together her very own anthem of hard-won acceptance. Whatever we’re dealing with or working through, be it a fresh scab or an old wound, it helps to remember that healing is a long and winding road; some days and weeks will inevitably be better than others, and sometimes we may find ourselves back at square one – but there also comes a time where we wake up, and we aren’t bothered anymore; we go about our days and we don’t think about it, and life goes on like it always does. – Mitch Mosk

But all at once, I’m met with my past
It’s like I’m looking at the bottom
of a looking glass
All at once, I realize
It’s not a crime to love somebody
And let it die
If it needs to die

I keep thinking there is no way Adrianne Lenker can ever outdo herself, and somehow she finds a way. This song is absolutely stunning with its bouncy strings and lyric sensitivity to detail. She is an absolute master songwriter and this song has to be the best of 2024 for me. My other mantra: “Half a margarita, have a little dance. Let’s fine dine the demons and give peace a chance.” – Hannah Burns

Maybe it’s the warmth of the guitars as they gently rise and fall around the ears, or maybe it’s the intimate ache of Amanda Bergman’s voice as she sings hot on the mic; whatever the case, “Wild Geese, Wild Love” struck me in a way that no other song did this year. A graceful, golden-hued reverie, the opening track off Bergman’s sophomore album Your Hand Forever Checking on My Fever marries grief and love into a poetic, breathtaking expression of raw humanity. Written in the final days of her father’s life, the song gives a voice to those who are in between life and death; those whose journeys have begun – they’re ‘taking off,’ but not completely gone yet.

All you said to me
“you gotta give the truth to me”
The ventilation buzzed
The situation screwed into me
Hurting enough,
Is it hurting enough?

Gonna get used to it,
life has not been true to me
(Still) waiting outside that room
wasn’t ever new to me
Hurting enough,
Is it hurting enough?
Wild geese, wild love

For me, it’s the passion, the vulnerability, and the heat Bergman packs into these five and a half minutes that make it one of the most memorable and meaningful pieces of music released all year. Beautiful and brutal, dreamy and dramatic all at once, “Wild Geese, Wild Love” is absolutely magnificent. – Mitch Mosk

The dramatic, visceral unveiling of a heavy heart and aching soul, Angie McMahon’s “Untangling” off her Light Sides EP is a masterclass in cinematic vulnerability: At once intimate and all-consuming, unfiltered and raw throughout, it’s a cathartic confessional that doesn’t so much swoop high, as it does spread out all around us. From the steady, percussive pulse of the drums and bass to a deeply expressive, effected, radiant electric guitar melody, the Australian indie rock singer/songwriter creates a world into which artist and audience alike dwell in life’s depths. Carefully, she picks open emotional scars, allowing us into a private therapy session where she candidly acknowledges, just as she did throughout her last album, 2023’s Light, Dark, Light Again, her own perceived shortcomings and failings – and how she ultimately overcame them in order to persevere through hardship.

I didn’t want to stay the same
I didn’t want to hear the change walk in
I didn’t want to hurt you and
It’s always going to start and end
With I didn’t want pain, with I was afraid
With I didn’t want pain, with I was afraid

I needed rewiring
And breaking this open
meant starting a riot
My least favourite feeling
Is hurting someone
’cause I was slow at healing

Whether or not we’ve gone through our own ‘untangling,’ Angie McMahon’s performance is yet again singular and stunning, beautiful and breathtaking. One can’t help feel the weight lift from their shoulders as McMahon reaches the final minute, her spirited voice ringing out as she rises our of pain, resolved to hold her head high and look forward, not backward. “I am untangling you from my centre,” she declares in her most powerful mantra, and chorus, yet. “I am untangling you…” We won’t always be happy, and we won’t always be able to avoid heartache, but we are not our pain; we are not our suffering; we are not our agony. Angie McMahon has been singing truth to power for six years now, and “Untangling” may very well be her most exceptional offering to date – if anything, it’s just proof that she’s firing on all cylinders. – Mitch Mosk

Go angel, it’s okay,
sometimes things are gonna feel this way
Go angel, it’s okay,
sometimes things are gonna feel this way…
I am untangling you from my centre…

A tearjerker and an impressive hit, “We Can’t Be Friends” has become a heartbreak anthem and perhaps one of Ariana Grande’s best tracks. Although there has been discussion about whether the song talks about Grande’s relationship with the media, it is in no doubt a journey into a distressing and shattered relationship. The story that this Eternal Sunshine track tells is relatable and profound: it is painful and impossible to remain friends with someone when the relationship has failed or gone wrong.

The melancholic subject and the truthfulness of the song has led to its critical acclaim, and along with its synth-pop, techno-pop production, and Grande’s sentimental vocals, it has become an example of vulnerability and relatability through music. The song’s video has received multiple nominations in the MTV Video Music Awards as well as the MTV Europe Music Awards, having captivated fans and audiences internationally. – Bárbara Martínez Campuzano

No one does emotional vulnerability quite as beautifully as BAILEN. Simultaneously exposed and raw, elegant and refined, the New York City trio radiate heartfelt harmonies as they dwell in life’s intimate depths, picking apart the delicate intricacies of the human experience – all those feelings we tend not to talk about, but have felt plenty of times throughout our lives. BAILEN let their inner light shine especially bright on “You Would Never Know,” a tender, achingly intimate and brutally vulnerable song featured on the recently-released expanded edition of their 2023 sophomore album, Tired Hearts (Deluxe). An enchanting eruption of inner turmoil and words unspoken, “You Would Never Know” finds siblings Julia, Daniel, and David Bailen spilling bruised hearts through rich, radiant melodies and breathtaking harmonies that send shivers down the spine. It’s a cathartic confessional that fits perfectly within Tired Hearts’ themes of “finding the beauty in all of that struggle,” as Julia poetically put it to me last year.

Starting mid-story (or really, at the tail-end of the story), “You Would Never Know” opens with an homage to the trio’s hometown and the tug of an impending, hard goodbye. Yet as soon as everything’s begun, it starts to breakdown – and BAILEN erupt into an enchanting, vulnerable, and cathartic confessional, their three voices resonating together in beautiful, bone-chilling harmony:

You’ve been saving it for never
Holding it together
But you would never know
I’ve been crying on the subway
Dealing with it my way
I can’t help that it shows
Somewhere underneath your silence
I can see the pain you’re fighting
But you would never know…

Tired Hearts is full of this kind of diaristic songwriting channeled through warm, wondrous sound. It’s one of BAILEN’s best qualities that they can find harness their combined talents and lived experiences to shine a light on life’s dark moments – or rather, to turn emotional pain into musical beauty. And perhaps that’s why I’m so drawn to this song; “You Would Never Know” is BAILEN at their best, unpacking heartache, self-doubt, longing, and more one second, one step, and one note at a time. – Mitch Mosk

For a decade now, BANKS has cemented herself as the queen of dark and heavy alt r&b. Always one to her lyrics do the talking for her feelings regarding love and life “Best Friends” does just that. In fact, the singer admitted she has held this particular song close to her for years, and has now finally released it to the joy of eager fans everywhere. From the first listen, it took my ears back to her Goddess and The Altar eras, this time with more of a refined twist.

Aside from the singer’s own emotional and haunting voice, the addition of elements like water and wind chimes pairs beautifully with the soft strums of a guitar and orchestra. Elements that combine to embody the overall heart wrenching ache of losing a loved one, especially one as dear as a best friend. The feeling of slowly watching that same person go from your side and then one day reduced to a stranger. Truly a very raw and painful thing. – Jada Moore

Warm, plucky electric guitar drifts for a few moments before being joined by a familiar voice, “On the path with my restless curiosity…” 30 years post her 1994 debut with Portishead, Beth Gibbons releases her debut solo album, Lives Outgrown. The 10-track record’s lead single, “Floating On A Moment,” chronicles life itself, beautifully tender and ultimately fleeting.

Building to a close, a children’s choir delicately sings around her, “all going to nowhere, to nowhere.” The gentle, airy sonics elevate the candid songwriting, acting as a bittersweet reminder that death is what makes life worthwhile. After all, as Gibbons closes, “All we have is here and now.” – Marissa DeLeon

Some would say, ‘History repeats itself,’ but to that Beyoncé opened her highly anticipated eighth studio album with, “Nothing really ends / For things to stay the same, they have to change again” (Simply put: History does not repeat itself — inaction, however, does).

“AMERIICAN REQUIEM” bounces between Southern-rooted racism, from imagery depicting slaveowners (“Pretty house that we never settle in / A funeral for fair-weather friends / I am the one to cleanse me of my father’s sins”), to autobiographical backlash from the country music scene (“Used to say I spoke too country, then the rejection came, said I wasn’t country ‘nough”). Between both of these images is a country rock break, and before and after them both are haunting choirs of Yoncés requesting a Mass for those who have passed in the name of being American. – Blake McMillan

I‘ma go out on a crazy limb and say that “Birds of a Feather” is my new favorite Billie Eilish song. “Even more than ‘bad guy’?!” part of me is thinking, and that’s a fair thought. But there’s something about that engrossing Finneas O’Connell beat; the sincerity and tenderness of lyrics like “I don’t know what I’m crying for, I don’t think I could love you more;” and her never-better vocal prowess when stretching out those ending vowels on lines like “Don’t wanna say goodbyyyye” that really gets to me. Plus, after watching a massive chunk of the Paris Olympics this summer, it was very fitting to cap off my Olympic experience by seeing Billie perform this song on the songs of Long Beach as part of the closing ceremony on August 11th. It’d be great to see her do it live at the Los Angeles games in 2028 as well! – Josh Weiner

At just 18 years old, Scottish artist Blair Gilmour creates music that feels far beyond his years, showcasing a depth and sophistication. His uplifting, dance-worthy banger, “Burning Up” demonstrates exactly that. As a debut release, it’s clear to see just how much talent this young artist beholds, while igniting an excitement for what’s yet to come! Determined to break away from the standard four-chord structure, “Burning Up” is a catchy, playful number that comes to life through energetic drums, gritty guitars and Gilmour’s raw, distinct vocals that give us a hint of his Scottish heritage.

His emotion-fueled vocals tell a bittersweet story of loving someone so much, despite knowing that they aren’t good for you. This battle of head versus heart is a relatable tale and Gilmour perfectly captures this internal conflict through vibrant, powerful instrumentation and heartfelt lyrics. “Burning Up” is an anthem for those experiencing this universal, emotional tug-of-war. – Joe Beer

Blind Pilot’s heartwarming, inclusive immigrant anthem “Brave” is exactly what 2024’s soundtrack needed. While I sincerely struggled to pick just one song to highlight off the indie folk band’s fourth album – “Jacaranda,” “Don’t You Know,” “Faces of Light,” and “Bitter Water” were all contenders – my decision ultimately came down to this song’s message, which makes it all the more meaningful, and for me at least, all the more memorable. “Hola, hello, I’m gonna walk with you, and share every place that we know,” Israel Nebeker sings soulfully, his arms outstretched and welcoming. “Hola, hello, I’m gonna welcome you, yes, you are part of my home.”

Blind Pilot emphatically break down borders and manmade constructs like ‘home’ and nationality, highlighting our similarities – those shared qualities that connect all peoples and bring us together. Through warm, dreamy instrumental melodies and rich, wondrous vocal harmonies, they enchant, inspire, and uplift – reminding us that “we’re not just the miles we walk, we’re not just the ways we talk, we have the same fire to feed.”

Released this August, Blind Pilot’s In the Shadow of the Holy Mountain is achingly heartfelt and emotionally nuanced, yet refreshingly lightweight and breathable: An expressive and energizing record you can play on repeat ad nauseam. It’s truly the band at their best, and “Brave” is the best of the best – a song that will stand the test of time.

Once again, emo nostalgia did big business in 2024. No band on today’s scene embraces their younger years with more cuddly, wide-eyed exuberance than Carly Cosgrove, who are named in homage to the former Disney Channel starlet. But their new album’s emotional centerpiece wasn’t so warm and fuzzy.

While stuffed with inside jokes from their favorite childhood sitcom, The Cleanest of Houses Are Empty took stock of a year-long depressive episode that was brought on by the band’s breakout debut. This one was a bit of a grower: less math rock bounce, more down-the-middle Weezer crunch. Even the arpeggios on “The Impact of This Exit” twinkled as if the shades are drawn. But while not the grand finale, the album’s penultimate roman à clef brought its internal conflict to a head. “Don’t you know you’re a winner?” Lucas Naylor barked at himself like a football coach who knows they’re on the hot seat.

Certain circle pits treat emo like punk’s whiny little brother, but this song resonated with me more than any other this year. American culture takes so much pride in doing it yourself that I too often mistake happiness for my own ideas of success. Carly Cosgrove are still going through growing pains, but “The Impact Of This Exit” disproved the theory that one must suffer to make great art. As the band rallied behind its chugging, gang-chanted crescendo, they turned ego death into the messy catharsis that keeps us coming back to this genre with every revival. – Will Yarbrough

“But mainly, and like everybody, I want to be loved…” Following the critically acclaimed success of her 2023 album, Desire, I Want to Turn Into You, Caroline Polachek found she had more to share. On Valentine’s Day, she delighted fans with the release of the Everasking Edition, an expanded version of her 2023 album that featured new tracks delving into themes of love, faith, and the intricacies of timing. Among them is “Spring Is Coming With a Strawberry in the Mouth,” a reimagining of Operating Theatre’s 2006 song. Polachek honors the original while infusing it with her distinctive style, layering lush instrumentation and intricate vocals to deepen its resonance. The result is a polished yet faithful rendition that feels both timeless and refreshingly new. Releasing this song just ahead of spring perfectly complemented the season’s renewal, offering a soundtrack for blooming flowers and budding trees. Brimming with yearning and optimism, the song is an ode not only to spring’s arrival, but to the hope it carries along with it. – Isabella Le

This year, I only got good and drunk on the increasingly off-chance of a work-free weekend. Perhaps that’s a sign of newfound maturity. Maybe I’m just boring now. But while the brats were getting tipsy off “Espresso” (a perfect song, by the way), I was painting the town red with Cave Sermon.

Metal archivists obsess over classifications, but Cave Sermon aren’t easy to paint into a corner. The one-man band slip between the many identified cracks in the underground, only to fall into the leaky catch-all bucket that is post-metal. Sludge, blackened death and droning atmospherics splattered sophomore effort Divine Laughter, but Charlie Park wasn’t just flinging subgenres against the aural canvas. Like hieroglyphics carved into a catacomb, “The Paint of an Invader” struck me as both ancient and alien. Tentacles of dissonance arm wrestled amidst a low end that rumbles like a thousand flaming chariots.

One of my favorite moments from 2024 took place roughly a third of the way into this 11-minute behemoth. As the battle died down, a lone guitar scraped the air, sharpening its blade. And then, in all it’s hideous, headbanging glory, the riff monster appeared. If our corporate overlords discover a way to bottle the rush that surges through my bloodstream in response to those downpicked chugs, then we, my friends, are doomed. I’d be crushing cans of the stuff by the gallon while laying waste to your local karaoke bar.

But Cave Sermon dug deeper than caveman metal. “The Paint of an Invader” wasn’t hellbent on total domination but capturing big, indescribable feelings. “This is not the ruinous inferno” guest growler Pablo Miguel Méndez beckoned from the other side of a soft, extended post-rock passage that glistened like tears from heaven. Lap it up. I promise, the taste is truly divine. – Will Yarbrough

It’s never occurred that an artist’s debut single truly strikes a chord with me, and even less, so much so to the point where I consider it one of the best releases of the year. That is, until I listened to Chai Sinclair’s “Take Time” this past September, an R&B-soul concoction that left my jaw on the ground, eyes widened, and ears searching for more.

San Diego singer-songwriter Chai Sinclair is a fresh face in the music industry, having built her status as an open mic performer at local cafes and bars and released her debut single less than three months past. Unassuming within the first few seconds, “Take Time” opens with a warped, groovy melody that ebbs, echoes, and decrescendos. Sinclair’s smoky-smooth timbre leaves an impressionable impact as she alluringly sings, “Take time, take time, take time on me / Don’t act so cold / I’ll give you control.” The track is equal parts romantic and hypnotic, driven by a gentle, steady beat and psychedelic instrumental melodies as the singer’s husky voice intimately glides over like silk on warm skin, teeming with love, lust, and luxury. If what she has in store is anything similar, trust me when I say that Chai Sinclair has already earned her place in next year’s list of best music. – Isabella Le

Chandler Leighton’s “pretty girl I’ll make you famous” is a compelling exploration of the seduction and pitfalls of fame, delivered through a haunting blend of pop and dark lyrical storytelling. The song masterfully juxtaposes enchanting promises with stark warnings, using metaphors like “a pretty garden full of snakes” to highlight the dangers lurking behind the allure of celebrity. Leighton’s emotive vocal performance and minimalist production enhance the track’s poignant critique of exploitation and the superficial aspects of the entertainment industry. The repeated chorus acts as both a hypnotic promise and a manipulative threat, encapsulating the song’s central tension. Overall, it’s a thought-provoking and richly layered commentary on modern fame, showcasing Leighton’s artistic depth. – Danielle Holian

No song has made bisexuals lose sleep at night quite like this one has, I can attest. There is no doubt in my mind this song deserves the Grammy. There has never been a bridge more iconic. – Hannah Burns

I got caught up in “Brat” summer, but it wasn’t until the winter that Charli XCX’s sixth album began creeping into my consciousness as one of my favorite albums of the year. The focus of my on-repeat listening marathons remained with the tracks “360″ and “Apple” throughout most of the fall. Then, Charli’s “Sympathy is a Knife” performance scrolled by the day after her SNL gig, launching the track onto my “This Will Motivate Me at the Track” tracklist. I am surprised at myself for glossing over a song positioned third in the album sequence!

Seeing Charli wearing a t-shirt emblazoned with the cover artwork of “New York,” one of my favorite Lou Reed albums and one that isn’t often named by the cool kids, made me wonder if this was for real fandom or merely fashion. Right on cue, I spied a “Most Listened To” list by Charli from 2023 that included Lou’s “Dirty Blvd.” Combined with how “Sympathy” forgoes the more party-leaning aspects of “Brat” for confessions such as “This one girl taps my insecurities, Don’t know if it’s real or if I’m spiraling, One voice tells me that they laugh, I’m embarrassed to have it, but need the sympathy,” made me feel so seen by a legit queen.

I am not alone. “Brat” is up for the Album of The Year Grammy against some of my favorites of 2024. Considering that Taylor and Billie already have plenty, and Chappell is only on her first album (and it is actually a 2023 release [don’t @ me, I adore it!]), if it’s not the long-overdue Beyoncé, we gays are ready for Charli to claim. – Josh Bloom

Ella Yelich-O’Connor did not lie when, after speculations of a feud with Charli xcx led to a remix, she sang, “And when we put this to bed, the Internet will go crazy.” For a moment, ever briefly, everything was just… green. One cannot reflect on this year in pop music without thinking of the moment Charli’s lime, low-resolution square descended onto the fabric of our existence. Lyrically, an album track titled “girl, so confusing” explores the nuances between women, and how it seems like even a friend can be a critic.

Two weeks after its release, though, much speculation followed the lyrics, “People say we’re alike, they say we’ve got the same hair.” Xcx contacted the inspiration for the track, Lorde, who hopped on a verse. It dove even deeper: “It’s just self-defense, until you’re building a weapon / Forgot that inside that icon, there’s still a young girl from Essex.” More prevalent here than on the original? The idea that sometimes, speculation alone is the feud. – Blake McMillan

Cian Ducrot’s “Can’t Even Hate You” is a bittersweet triumph that cuts to the core of heartbreak with poignant honesty. With a gift for untangling love’s tangled web, Ducrot captures the universal struggle of post-breakup ambivalence: Wanting to blame someone to ease your hurt but finding the love lingering, stubbornly intact. His soulful voice, rich with vulnerability, delivers every lyric like a confession, while the tender yet soaring melody swells with emotion, making it impossible not to feel every note. It’s a song that doesn’t just resonate — it leaves a mark, proving yet again why Ducrot is a master at turning personal pain into universally beautiful music. – Danielle Holian

From an album that is fully realized in its vision, “Nomad” served as the perfect introduction to where Clairo has landed sonically since the beginning of her career in 2017. She gradually has been making a seamless transition from the bedroom pop genre that defined Immunity to a soft ’70s rock vibe on Charm, one that feels tailor made for Clairo’s vocal styling and lyricism.

Hearing “Nomad” for the first time as one of the leading singles for Charm was characterized by those rare moments when you hear a single and think to yourself, “Oh, so this album is going to be a masterpiece.” From the upright bass to the drums that somehow feel both booming and gentle all at once, the song’s sound alone was justification enough for having the track on repeat all of 2024. Couple the marriage of vocals and sonics with Clairo’s unparalleled and nuanced lyricism and you get one of the most compelling listening experiences to come out of music this year. When you sit down to listen to Charm, “Nomad” reminds you of the quality and artistry that lies before you. – Marc Maleri

Coco & Clair Clair have been on the scene for over a decade now and have been cementing their status as THAT pop / rap duo. Known for their edgy, and unapologetic expressions of life (from friendships, sex and even haters) it’s easy to see why the two are so loved by fans. “Pop Star” and “Pretty” in particular are two of their most popular songs at the moment according to Spotify, raking in over 50 million listens (and “Pop Star” doubling that with over 100 million streams). So certainly the duo has been doing quite well for themselves, especially with the release of their second studio “Girl” released this past August.

“Girl” has quite an impressive slew of that edgy and unapologetic-ness that has in fact become characteristic of the two. The track “Martini” in particular is a more stripped down, verse heavy song differing from what the two usually put out. As Clair Clair said to Alternative Press: We wanted to make a more simple, stripped-down song with less repetition and generic pop qualities — we had been listening to “Stargirl Interlude” by the Weeknd and Lana Del Rey and liked the idea of having a song with only verses and no real chorus — and that’s how “Martini” was born.” The song’s softer beat, but enticing instrumental ties especially well with the duo’s voices as they tie in a discussion about friends, haters and their career. – Jada Moore

Ever since the release of their debut LP in 2018, Confidence Man have been making waves across the music world. It seems as though, not matter what your genre preferences usually are, you love Confidence Man unconditionally. Indeed, their crowds include he young, the elderly, and and everyone inbetween. Confidence Man’s captivating stage presence and unfettered energy is a unifying force. The light-heartedness, self-awareness, and determination NOT to take themselves so seriously is a gale of fresh air. I CANT LOSE YOU, a cut from their October release, 3AM (LA LA LA), is another great installment in their discography. – Hamish Monk

Songs of a Lost World is not a comeback album. It is a never-went-away album. Even though Robert Smith has not made a record in 16 years, as soon as I listened, it was clear that the album could only have been made by a man who has reached a particular point in his life. Smith prides himself on authenticity (see his much-publicized fight with Ticketmaster as recent proof), so if he wanted to sing about being a senior citizen, he would have to be a senior citizen, and now he is. “Endsong” is the album’s ten-minute epic closer, in which Smith sings, “I’m outside in the dark wondering how I got so old,” with a power that flattened fans of similar age this fall when Songs of a Lost World was released.

Hearing Smith question himself, whether you have wondered the same or are self-aware enough in your younger years to know that you will wonder one day, leaves little chance of remaining unmoved. I found it hard to believe there wasn’t already a song by The Cure named “Endsong.” That is probably attributable to Smith’s gifts. He is able to make me feel songs by The Cure were already written or were inevitable. “Endsong” may end Songs of a Lost World, but it isn’t the end of The Cure. According to Smith, two more new albums are on the way, but “Endsong” could very well be the most defining and glorious statement Robert Smith will ever offer on aging. – Josh Bloom

This the perfect song for that inevitable long walk where you need to scream and/or reconnect with nature. It feels like a sigh and I love it. My new mantra is “Slow down/if you look where you’re going you might/get a life.” – Hannah Burns

Okay, hear me out. 2024 was by most measures… not the best year. But when the world gets dark, escapism becomes all the more important. And I don’t think anyone in the mainstream embodies pure, unbridled, grotesque escapism quite like the dude who produced “Guess” for Charli XCX. Listening to The Dare’s music, you hear the same residue of “Guess’s” crunchy 2010s beat, staccato vocal delivery, and puerile lyrics that remind me Bloodhound Gang used to be a thing. “Girls” is technically two years old, but with the attention The Dare has been getting recently coupled with the song’s brief viral moment and the drop of his debut album What’s Wrong with New York?, it practically screams 2024. It’s a goofy, gross (and oddly inclusive?) little track that shakes the line between James Murphy idolization and downright theft like an etch-a-sketch, so much so that people are banned from talking about The Dare on r/LCDSoundsystem. You can’t deny that it’s catchy though. – Anthony Kozlowski

This is the best kind of pillow talk. Del Water Gap’s S. Holden Jaffe and Holly Humberstone are basking in a beautiful moment of raw intimacy and connection. A world full of responsibilities and obligations awaits them, but the world can wait: In “Cigarettes & Wine,” two souls combine into one for a dreamy, romantic rendezvous. “I think I’ll put you in another song – a little glimpse of you before you’re gone,” Jaffe sings. It’s a precious, fleeting moment of love and unity before their lives ultimately tear them apart once more – and while that time is fast approaching (it always is), for now they’re together; for now they’re one – and this is their heart-to-heart. Jaffe and Humberstone capture love’s weight, warmth, and wonder in their irresistible new indie pop anthem “Cigarettes & Wine,” a cinematic and soul-stirring ode to long distance relationships full of energy, urgency, and an aching euphoria.

“Cigarettes & Wine” brings the best of both worlds together as Jaffe and Humberstone celebrate a union, lament looming separation, and make the most of whatever time they have together. The pair rise to a fever pitch in the song’s breathtaking chorus, channeling all that built-up tension and the pressures of long distance into a spectacular sonic and emotional climax:

Let’s keep living on cigarettes and wine
Shut the curtains to keep the world inside
No it don’t make a difference
Who cares what we’re missing?
Let’s keep living how we’re living

“Cigarettes & Wine” ends on a high as Jaffe and Humberstone resolve to “keep living how we’re living,” embracing their love and their lifestyle. This is what real love looks like; this is how some love stories go – brief moments of intensity and euphoria, followed by dry spells of longing and long distance. And while the pair certainly capture a bit of that pain, “Cigarettes & Wine” is more about the passion they feel when they’re reunited with their loved ones. It’s that dynamic eruption of intimacy and intensity, making the most of every second, every minute, every hour – because every literal breath counts when they’re so few and far between. – Mitch Mosk

Devon Thompson is a Los Angeles based artist who’s revitalizing grunge, rock, and punk with her electric feminine rage. Her latest single “Parasite” is about her frustration with how women are percieved in society. Especially relevant in 2024, “Parasite” rides the heels of Trump’s reelection and addresses the turbulent issues of women’s health, safety, and rights. Bursting with cataclysmic riffs, frenzied percussion, and her iconoclast, spirited vocals, Devon Thompson brings the heat of surefired friction on this searing track. Not only is Thompson a masterful songwriter who stretches tension like a rubber-band before letting it snap at her chorus, she’s also a force of nature on stage. With 2025 just around the corner, the question that’s on everyone’s mind is what she’ll do next. – Grace Holtzclaw

We know Doechii moves fast, from her viral “What It Is (Block Boy)” to the Eurodance-meets-Florida “Alter Ego” and now a mixtape on which she crowns herself “Swamp Princess.” On “DENIAL IS A RIVER” she recounts a breakup she didn’t see coming, a quick rise to fame and the commotion that comes with it. Doechii is both the devil and angel on her shoulders. The confessional comes early in her career and makes for the perfect introduction to her artistry: unapologetic, bold, and dripping with personality. Her delivery is nostalgic, reminiscent of ‘90s legends like Wu-Tang Clan and Gang Starr. Nevertheless, it is clear that the term“stream of consciousness” has never applied more. – Nasim Elyasi

It’s been a big year for this literary-punk band of Irishmen. Nestled in the middle of one of the strongest records of 2024 is “Bug,” an intoxicating proclamation of coming up short. Chatten and O’Connell’s voices are both wist and angst as they sing above the postpluvial rhythm. An almost imperceptible swing and a boomy guitar make for a punk classic, best enjoyed over and over again. – Nasim Elyasi

Although it debuted in 2023 as the Baltimore synth pop band’s lead single off arresting, heartbreaking album People Who Aren’t There Anymore, make no mistake that “The Tower” deserves its moment in the sun. A testament to long-distance love, a belief in the promise of the future, and ultimately, an ode to what could have been, it’s one of the most affecting Future Islands tracks in a discography full of them. And it’s a reminder that Future Islands will be waiting on the other side to see you through. – Beau Hayhoe

Glass Animals without a doubt pushed themselves, and their art, with “A Tear in Space (Airlock).” One of the indisputable highlights off their fourth album I Love You So F***ing Much, the song is propulsive, intoxicating, and utterly unrelenting. Glass Animals hold nothing back as they unpack passion’s raw guts, basking in bold, thick sounds that evoke the fire we’ve all felt in our hearts. A song about infatuation’s intensity – and the ways in which something that seems so big to us can simultaneously be so small when we zoom out – “A Tear in Space (Airlock)” is a groovy, hypnotic, and deeply provocative fever dream: A pressure cooker of intense emotion and sound. In truth, it’s just as all-consuming as its subject matter.

We are so big, and yet so small, and in three and a half minutes, the British band capture both sides of that philosophical coin in a song that demands not only our undivided attention, but also our unrelenting movement. “A Tear In Space (Airlock)” is dramatic, immersive, and unrelenting; a pop song with an insatiable beat, just like the chart-topping, record-breaking “Heat Waves,” and yet one that, like so much of Glass Animals’ music, forces its audience to contemplate identity with fresh perspective. – Mitch Mosk

Water, running down my face
Water, running different ways
Water, like a billion waves
Water, just a tear in space
Water, running down my face
Water, running different ways
Water, like a billion waves
Water, just a tear in space

You know that moment when a song hits you right in the gut after it’s already sent you to the dancefloor? That’s exactly what Grace Kay delivers with “Actress,” a glittering synth-pop confession that dives deep into the roles we play in relationships. ​Over pulsing drums and ethereal production that would make Caroline Polachek proud, Kay unpacks the painful experience of losing yourself in someone else’s story.​ More than just another breakup track, she instead turns her heartbreak into a piercing meditation on authenticity – because let’s be honest, who hasn’t been a method actor in their own love life at some point? This is the kind of pop music we needed in 2024: smart, catchy, and unafraid to get real. – Anthony Kozlowski

TikTok loves this song, and for good reason. Abrams’ magic lies in her ability to effortlessly walk the fine line between delicate and deeply emotive vocals. When paired with her endearing lyrics, the finished product creates the sort of intimacy that has drawn fans to Taylor Swift (who Abrams opened for across multiple Eras Tour shows) for decades, causing young women everywhere to think, “It feels like she’s speaking directly to me.” The natural, unpolished quality of her delivery of certain lyrics – such as the infamous, “Lay on the horn to prove that it haunts me,” in the track’s live recording make the song all the more irresistible. I’ll have Abrams on repeat well into the New Year. – Emma Rayder

“Down Swinging” is inner strength personified; an achingly intimate unveiling of anxiety and angst channeled into an invigorating anthem of perseverance and possibility. The third track on Holly Humberstone’s work in progress EP, released in March, is a reminder that we all feel down and get low sometimes, but we never need to blindly accept that as our truths; or as Humberstone herself explains, “I constantly need to give myself little reminders like that to push myself through the bad days – not to let my brain win and to not go down without a fight.”

With a chorus that begs to send our spirits soaring, “Down Swinging” is about putting up that fight and pushing through the pain. “Let it rain on my failing light. I can take it, give me hellfire,” Humberstone sings in the refrain, a beacon of passion, infectious energy, and unfiltered vulnerability. Her voice is hushed, but hopeful as she welcomes a better, brighter outcome. “Watch me keep my cool tonight.” This song has been a pick-me-up whenever I needed it, and I’ll continue to hold it close in the months and years ahead.

Taken off one of the top guitar records of the year, “Gift Horse” demands attention from the off. Joe Talbot’s smouldering delivery laid on top of the swirling bass is texturally incredible, a hypnotic, robust aural aesthetic. It’s pure punk rock, with primal joy and a wry smile. The verses are ferocious, seething with the breathless energy of a bull run. The lyrics in this song can be furious or darkly humorous, but they don’t ask a single thing of you – they are ordering you to take notice. Uncontrollable change is coming. It’s time to embrace nihilism.

Whether the titular creature described in the verses is to be celebrated or not is irrelevant – “Gift Horse” is a song about inevitability, about barriers being smashed. The world will trample you if you don’t stand up for yourself. It’s coming whether you like it or not. When the choruses hit, and the repeated “Look at him go!” hook dares the boys in the pit to go full pelt, you have no control. On “Gift Horse,” Idles pose the simple ultimatum – Join us or fight us. I know which side I’m choosing. – Adam Davidson

He kept busy bringing his sweet, sun-kissed folk music to audiences around the world all year long, but that didn’t stop John Vincent III from releasing a new song from the road in 2024 – in fact, it’s all the more fitting that “Never, No Not Once,” in particular, would come during such a powerful inflection point in the singer/songwriter’s career. An intimate, heartfelt serenade about growing up – and all the hard changes that come over time – “Never, No Not Once” finds the 27-year-old Los Angeles/Houston-based artist embracing memories and the ones who matter most to him as he holds on to this unpredictable rollercoaster we call life, delivering a set of all-too-relatable, candid reflections through his signature spirited, enchanting folk-pop lens.

Ran outta gas somewhere in Arizona
So, I started walking through that red mud
You said you saw God
through one of them picture sliding viewers
And He walked with you through the rain

Remember running through
all them pine roads?
Back when we were just kids
and we swore we had everything figured out
Ain’t it something, how life keeps moving?
Heard you’re having a baby now and you’re moving

“Never, No Not Once” is a gentle giant; a blanket of love shining through charming acoustic guitars and Vincent III’s own captivating, emotionally charged voice. It’s not just a celebration of the relationships we cherish; ultimately, this song is a celebration of life itself. What more can we possibly ask for? – Mitch Mosk

On and on, we just keep
rambling down the road
Highways and skylines
take us back to places we’d been before
And your heart got me through it
Yeah, your heart got me through it (you)

Oh, how could I have ever held my breath?
I’m sinking to that dried-up riverbed, the older I get
So much more that I’m thinking
about ways I might wind up dead
But never, no, not once
do I think about my life without you in it

Joy Oladokun holds nothing back from sharing her raw, honest, visceral, and poignant truth in “DRUGS”: “The drugs don’t work, oh, I can’t get high. Oh, doctor, doctor, find me a new way to survive.” A highlight off her new album OBSERVATIONS FROM A CROWDED ROOM, “DRUGS” is modern-day pain, personified in song: An achingly vulnerable, impassioned anthem of anxiety, escapism, inner tension, and emotional reckoning that hits hard and leaves a lasting mark as the singer/songwriter bares her soul for all to see, hear, and feel:

What happened to the good old days?
Where you could take a hit of that good shit
And feel your troubles fade away?

I guess I’ve got to make a change
I’m not sober, I’m just over
Tryin’ to smoke away the rage

The 2020s have been a period of private and public rage, instability, struggle, and – perhaps most notably – personal and societal turmoil for so many. Recording artists have not been immune, as in the wake of rising labor costs, COVID, and more, many have been forced to cancel tours, delay releases, move home, and rethink their careers. Oladokun has, on more than one occasion, hinted at her own retirement from music; she discussed it after releasing last year’s critically acclaimed fourth studio album Proof of Life, an uplifting and inspiring record that featured on Atwood Magazine‘s Best Albums of 2023 feature, and she’s continued to openly consider it in social media posts throughout this year as well.

If Joy Oladokun really does retire from her music career, it’s clear that she’ll be going out on top: “DRUGS” and the rest of OBSERVATIONS FROM A CROWDED ROOM find her weaving catchy melodies in with the most vulnerable, confessional, and compelling lyrics she’s ever sung. This song is especially candid; like she did on last year’s songs “Changes,” Oladokun reflects on the turbulence of the world around her and the one within and try as she might, she can’t ignore or escape it. The burden of being alive and present to pain – whether it’s hers, or someone else’s – permeates throughout her expressive, emotionally charged vocals, her dynamic guitar and bass licks, her propulsive drum work, and more.

Ultimately, this is a cry into the darkness – one begging for the light that has yet to come. For all those who have felt some kind of gnawing, unrelenting ache over these recent years, “DRUGS” is a balm; a salve; a soothing, soul-stirring reminder that we’re not alone in our pain, even when the drugs don’t work. Ultimately, we’re all trying to find new ways to survive; as she’s done so well throughout her career, Oladokun sings all those things we’re too afraid to say out loud. – Mitch Mosk

The skewering “most trusted name in music” pissed me off when buried in a hurried sentence at the end of a pan-adjacent album review, they dismissed this cut as “unlistenable.” I posted a public response: “Anna Wintour’s music blog gets to publish a bit of rage bait. Music history gets a glimpse into the bruised mind of a master.” Oddly, another writer quickly hopped in my comments to construct what I called a “short story,” personally defending the piece’s writer without noticing that my grievance with this one-word toss-off was only about the one song. While building a case for a fellow critic, this “lawyer” amusingly came at me for my original post being “what stans do.” Amusing, because I am not with it enough to have heard a single note of Kendrick’s work until May of this year, when “Not Like Us” became a cultural phenomenon.

What I am a stan for is “reincarnated.” The only reason I can fathom why a critic would label this compelling, involved, emotionally confrontational bit of storytelling, wrapped in a stone-cold beat straight outta Tupac’s Oakland, “unlistenable” is because they can’t hear it. The vulnerability here demands that the listener be okay with themselves, or more realistically, to be okay with not being okay. As Kendrick goes beyond success in his musical genre, and even his status as the only rapper to win a Pulitzer Prize, he is finding new fans like me, who hear the mix of confidence and contrition that results from these achievements, but without the prologue to contextualize them. I do not claim to be so steeped in any artist that it keeps me from allowing a song to take me somewhere on its merits alone.

“I don’t know how to make friends, I’m a lonely soul. I recollect this isolation, I was four years old,” Kendrick raps, in character. I hear “reincarnated” with innocent four-year-old ears. – Josh Bloom

The Killers, with erstwhile, hard-working showman Brandon Flowers out front, just can’t seem to slow down, or to do things half-speed. As part of the 20th anniversary of groundbreaking debut album Hot Fuss, the legendary Las Vegas band doubled down and went all-in ahead of a summer residency in its hometown with the release of “Bright Lights.” The track feels like cruising towards the great unknown, but with confidence and swagger – it’s powerful and muscular (like some of the best Killers songs off Sam’s Town) and it’s as ritzy and stunning as a night out in Las Vegas. Endless stretches of desert road pave the path back to glory as the ever-stylish, humble and introspective Flowers reconsiders his hometown and whether he’s still got the chops for one last roll of the dice. If the band’s recent, anniversary-marking Rebel Diamonds Tour is any indication – one packed with hits and jaw-dropping spectacle – The Killers are still a “shoo-in tonight” after all. – Beau Hayhoe

It seems like there’s hardly anyone besides Kowloon who can make melancholy sound hopeful, almost anthemic. “No Good For You,” buoyed by a feel-good beat, describes a break-up between the narrator and his love interest, and while these kinds of feelings could lend themselves pretty easily to self-pity, there’s more of a wistfulness and detachment that still manage to be romantic. There’s no exemption from self-examination here, but it’s not a blame game either. Thumping percussion and Kowloon’s signature riffs give a groovy folksiness, and the shouted harmonies keep the misery at bay, making you feel less alone. That he combines these seemingly disparate themes and musical elements effortlessly is what makes Kowloon’s music so endearing and endlessly enjoyable. – Kendall Graham

Lady Gaga continues to define pop stardom with the release of her latest single, “Disease,” a gritty dance anthem that pulses with her signature sound. Drawing inspiration from and building upon the sonic and lyrical elements of her 2020 album release, Chromatica, the track features a sleazy dance beat layered with visceral lyrics. Gaga positions herself as the antidote to a figurative disease, offering salvation through her performance. The accompanying music video deepens this narrative, depicting Gaga as both her own savior and antagonist. Scenes of self-confrontation—being run down by a version of herself in a car or enduring a fight with her own doppelgänger—suggest an intense and violent battle with the self. These visuals present the song’s lyrics from a different perspective: the “disease” may represent Gaga’s internal struggles, and only she holds “the cure”, or the power to change it. With intoxicating beats and Gaga’s unparalleled vocal prowess, “Disease” is a dance floor essential. It’s an impressive reminder of Gaga’s ability to marry raw emotion with irresistible rhythm and pop. – Haley Mitchell

The Last Dinner Party dropped their debut studio album, Prelude to Ecstacy, in February 2024. It shot to the top of the UK Albums chart – propelled by their daisy-fresh, sortching hot, lead single, “Nothing Matters.” These days – as we plough into our shared, amorphous, metamodernist future; where art is derivative, hybridised, and worn – nothing quite engages the ears like “Nothing Matters.” It’s triumphant, arresting, fiercely catchy, and as kooky as a box of frogs. The Last Dinner Party are one of the headline acts of the year, and evidence that UK guitar music is as alive as it ever was. – Hamish Monk

The Last Dinner Party’s debut album, Prelude To Ecstacy, had some of the most musically intriguing and addictive tracks to release this year. “Nothing Matters” quickly became one of the most popular singles from the album, but the project was full of fantastic songs, “The Feminine Urge” undoubtedly one of the most impressive and gripping out of them all. The lyricism is beautifully poetic, “I am a dark red liver stretched out on the rocks / All the poison, I convert it and I turn it to love / Here comes the feminine urge, I know it so well / To nurture the wounds my mother held.” Writing this captivating and moving on the band’s first official release is promising for what we can expect after they become more seasoned in the coming years. The lyrics shine even brighter thanks to lead singer’s Abigail Morris’ powerful vocals. The melodies, storytelling, and meticulously tailored instrumentation makes this track one of most emotionally compelling and memorable moments to come out of artists in 2024. – Marc Maleri

Although it is not the first time listening to Lauren Mayberry manipulating societal issues and matters with her music, “Something In The Air” is a track in with the CHVRCHES vocalist expresses her feelings and frustrations on the amount of information and beliefs out in the world. Conspiracy theories and belief systems that overwhelm, divide, or attack us is what the singer reflects on in this track from her debut album Vicious Creature.

This pop-rock song contains a catchy chorus, as well as the familiar and stunning Mayberry vocals that are accompanied by drums, guitar and electronics that may remind listeners of CHVRCHES’ style. Besides the track’s electronic production, there is a persistent ’80s and ’90s feel embraced by Mayberry. – Bárbara Martínez Campuzano

LCD Soundsystem’s new track, “x-ray eyes,” is the perfect example of an earworm. Stacked with irresistibly groovy synths, the song has drawn comparisons to tracks from their debut album, fueling discussion among fans that it could even be a resurrected B-side from their self-titled era. Whether it truly is an old demo or new track, this speculation is a testament to the iconic and signature sound that LCD Soundsystem has worked to curate over the last twenty years.

The song made its live debut during their recent Los Angeles residency at The Shrine and The Palladium, a refreshing addition to a setlist steeped in fan favorites. With its captivating beats and sharp, pithy lyrics, the track stays true to the band’s trademark blend of cool minimalism and danceable energy. For those who haven’t quite latched onto it yet, keep spinning – it truly gets better with every listen. “x-ray eyes” is an exciting hint of what could be on the horizon for LCD Soundsystem. – Haley Mitchell

Anybody would be hard pressed to find more fitting carriers of a flame that’s been blowing since the 1960s than The Lemon Twigs, who have welded melodies to power chords and jangly 12-strings since their inception in 2014. A Dream is All We Know is their most concise, to-the-point album yet, and it opens with the vibrant soda rush that is “My Golden Years.”

This song sounds like an adventure, with soaring vocals and harmonically-rich choruses packed in every single corner of the track. Every element and instrument pop with so much vigor and vivacity, from the bass lines to the melodic 12-string electric guitars. By the time Michael D’Addario reaches the highest of high notes in the song’s outro, they’ve practically conquered the power pop mountain – they have invented pure earcandy. – David Diame

Words like ‘smoldering’ and ‘seductive’ barely scratch the surface when it comes to capturing Lola Young’s essence and all those things that make “Messy” so intoxicating, infectious, and irresistible. Taken off the South London singer/songwriter’s sophomore album This Wasn’t Meant for You Anyway (which she’s candidly described as a massive ‘f-you’ to all her exes), “Messy” channels raw emotional tension and relationship turmoil into a white-hot soulful singalong. The friction is palpable, the passion visceral as Young embraces her so-called ‘imperfections’ and ‘faults’ – singing with an intense, unapologetic, and unfiltered attitude that one can’t help but want to be a part of.

The fire inside her becomes a fire all around us as an emboldened Young speaks truth to power, shining like the bold, brash beacon of truth that she is. Shameless, defiant, charming, and charged, “Messy” is, at the end of the day, a powerfully provocative ‘f-you’ anthem of uncompromising heat, self-love, and empowerment. It’s a roaring, resounding reminder to stand up for yourself; don’t let anyone gaslight you into believing you’re someone or something you’re not. Own your messiness and whatever else makes you who you are, courtesy of London’s Lola Young. – Mitch Mosk

With a name like Mannequin Pussy, it was almost certain from the start the band would not put out anything not striking and exciting – like the feelings their name evokes. The Philly band’s latest album I Got Heaven released earlier this year has certainly got a slew of great songs (including the track sharing the album’s name), though one in particular got mine and Spotify listeners’ attentions: “Loud Bark” is both loud and captivating. Since watching them perform it live in September, it’s been on repeat. The soft vocals of lead singer Missy Dabice start the song but then it transforms into overall shouts and, well, a literal bark – truly the best way to put it! Renewing the overall spirit of indie rock in one song! – Jada Moore

For fans of Charli XCX, fellow Brit Mara Liddle is the one for you. Her single “hush hush” beautifully blends dance, electro and hyperpop to create a colorful, kaleidoscopic sound that sucks you into her world. Her flamboyant sound and style is totally addictive, as she mesmerizes listeners with her luminous melodies and futuristic synths. “hush hush” features fast-paced, ethereal vocals that evoke an almost otherworldly sound, while the pounding beats transport you to a neon-lit dreamscape.

Taking inspiration from the digital age, Liddle delves into how reality TV shows and romcoms often exploit relationships in order to gain views. “hush hush” specifically touches on love triangles which we frequently bear witness to on our screens, but when it comes to real life situations, these unhealthy traits can have negative repercussions. “hush hush” is an absolute bop that will live in your head rent-free. – Joe Beer

Now one of their biggest hits, surpassing previous fan favorites like “Carino” and “I Don’t Know You,” “No One Noticed” is The Marías at their best, and the rest of the music community clearly agrees. Alluringly sultry, blue, and contemplative, “No One Noticed” gripped listeners with its raw storytelling, jazzy production, and Maria Zardoya’s hypnotizing vocals. Ultimately chronicling the relationship with a flighty partner, “No One Noticed” took a widely known experience and expressed it to perfectly embody the kind of loneliness and nuanced mix of emotions that come with being so strongly tied to someone who seems hellbent on being touch-and-go. From the addicting melodies in the chorus to the vocal layering and dreamily melancholy production, “No One Noticed” was an incredible show of the band’s talent and progress since their first two EPs. – Marc Maleri

This was a very tough call; every one of the twelve songs off Medium Build’s breathtaking 2024 masterpiece Country could (and should) be on this best-of list. It’s a testament as much to Nick Carpenter’s talents as a singer and songwriter, as it is to his (and producer Laiko’s) abilities as a world-builder: Country is a record of raw humanity, honesty, vulnerability, and connection, and these traits shine especially bright on songs like “Cutting Thru the Country,” “Knowing U Exist,” “Beach Chair,” and last but certainly not least, “Stick Around.”

A breathtakingly bold, grand finale worth it weight in gold, Country’s epic conclusion is an ode to those loved ones in our lives who support us and see us through our darker, tougher times. One of Country‘s few real anthems, “Stick Around” is an ode to living, to loving, and to being alive: “And I gotta thank you for giving me a thousand reasons to stick around,” Carpenter sings over pools of sleek, groovy piano chords and smoldering saxophone riffs. “And, baby, it came true: All the little things that I wished for that I never said out loud, out of my mouth! Oh my little, little lie…” This is Medium Build at his most euphoric, celebrating life itself; he’s still digging for meaning and looking for his place in the world, as he does throughout Country – but perhaps the biggest takeaway, as he closes his album, is that he’s not alone. It’s a lesson worth remembering and taking to heart. – Mitch Mosk

MJ Lenderman has a deep understanding, almost humorous take on how he envisions his sound. His lyrics are sharp and direct, striking with a precision that leaves no room for ambiguity. Every word feels deliberate as if carefully chosen to pack a punch. The result is a voice that feels both confrontational and inviting, balancing spite and humor in an exponentially real way. “She’s Leaving You” encapsulates the MJ Lenderman universe with subtle heartache and a severely catchy chorus that is a standout on his fourth album Manning Fireworks. – Kevin Cost

Mk.gee’s Two Star & The Dream Police still feels like one immersive song, chopped up into 12 parts – just like it did when I first heard it earlier this year. Sure, each track has its own lyrical and melodic contours; its own emotion, depth, and meaning; but for me, this breathtaking record is meant to be experienced in one comprehensive listening session – not broken up into parts.

So imagine just how tough it was for me to single out just one song for this list. Up until a few days ago, I was planning to go with the brooding, hypnotic “I Want,” whose seductive guitar work sends chills down my spine every time it plays. Or maybe the charming and churning “Candy,” the dark, spellbinding “Dream police,” the powerfully propulsive “Little Bit More,” or even the fiery, feverish “New Low”… Additional contenders included the angular and aching (and incredibly popular) “Are You Looking Up,” which never fails to tap a nerve deep down inside; and the dramatic, impassioned “Rylee & I,” whose searing guitar tones are matched by Mk.gee’s dynamic, emotionally charged vocal performance.

Ultimately, I landed on “Alesis,” a song that seems to highlight all of the qualities I just mentioned above – accentuating Mk.gee’s talents as a melody-maker, a guitarist, a producer, and more. It’s smooth and jagged, expressive and intimate all at once – an intimate confessional that still feels like it’s concealing secrets from us, and if we only listen closer and dig deeper, we might uncover more of Mk.gee’s musical gold.

Then again, any of the other songs I just named (and those I didn’t) would also do. A singular and stunning triumph, Two Star & The Dream Police‘s magic – and, I think, much of its success – lies in the overarching journey it delivers as a full-length listening experience, and in the soul-stirring world Mk.gee deftly crafts for his audience. Every track contains multitudes, and every moment is worth revisiting five, ten, twenty times, as we take more and more away from Mk.gee’s cryptic, cathartic, and all-consuming art. – Mitch Mosk

Earlier this year, Mt. Joy released three minutes of fiery, feel-good folk rock rapture, and I’ve been singing along with a big smile on my face ever since. A charming, heartfelt, and fast-paced reflection on love, outpacing your demons, and the highs and lows of life on the road, “Highway Queen” is an anthem for lovers and dreamers; a spirited song, born of intimate heartache, that ultimately makes us feel more connected to ourselves (and hopefully to our loved ones) that we could have ever possibly imagined. It’s exhilarating, impassioned, and absolutely enchanting. – Mitch Mosk

Based in Prague, Ukrainian singer/songwriter Natisa Gogol offers a unique and mesmerizing twist to her music. Always pushing boundaries with her artistic vision, her single “Heavens Create” sees the artist take her music to the next level. With the accompanying music video inspired by five specific Renaissance paintings, she transports herself to another dimension, where her powerful vocals, storytelling lyrics and modern production blends with classical Renaissance art, all coming to life in a harmonious fusion of past and present.

As she seamlessly blends two worlds, she demonstrates how her music transcends time and genre. “Heavens Create” is the perfect example of how Gogol can integrate both eras and cultures through the universal language of music to deliver a captivating experience. – Joe Beer

Tender, cinematic, and overflowing with love, “Forever” is a fitting finale to Noah Kahan’s Stick Season saga. A soft, soul-stirring folk-pop confessional that grows from gentle, hushed balladry into a spirited stomp-and-holler celebration, the track captures so many facets of the artistry Kahan has realized, and wholeheartedly embraced, over these past two years. The Vermont singer/songwriter creates an achingly beautiful experience that is at once intimate and epic as he wears his heart unconditionally on his sleeve, singing about eternity and fresh perspectives, old demons and insecurities, opening up and letting love in.

I won’t be alone for the rest of my life
I’ll build a boat for when the river gets high
And I’ll meet a girl in the heat of July
And I’ll tell her so she knows
That I’m broke, but I’m real rich in my head
That I broke a bone that
never healed in my hand
So, when I hold her close
I might loosen my grip,
but I won’t ever let her go
I won’t ever let her go

He’s still the same small-town kid from Strafford, population 1,075 – and letting someone in means sharing his special places – both physical, and in memory – with them. It also means letting go, to a certain extent, and creating space to make new memories and build a new life, together.

“Forever” is romantic; there’s an element of infatuation, of love’s intoxication, to the song, but this song extends beyond the experience of a crush; it’s about being open to what the world can offer us, if we open ourselves to it first. It’s about optimism, and learning to look up. This is what a musical smile sounds like. Graceful and gorgeous, vulnerable and dramatic, “Forever” is a powerful send-off; one that ends Stick Season on the highest high, as Noah Kahan lets the love in. – Mitch Mosk

When forever was a sentence,
sentence to death
Oh, when you were a running tear,
I was a drop of sweat
And, the edges of your soul,
I haven’t seen yet
Now I’m glad I get forever
to see where you end
To see where you end

Origami Angel has carved a well-deserved place for itself within the modern emo music scene within the past few years, commanding attention from many online community members as some of the most promising and powerful new faces in the landscape. Colloquially dubbed as Gami, the rock duo of guitarist-vocalist Ryland Heagy and drummer Pat Doherty released their latest album, Feeling Not Found, this past September, following the introduction of three incredible singles: “Fruit Wine,” “Where Blue Light Blooms,” and “Dirty Mirror Selfie.” My favourite, of not only the three tracks, but of all emo releases this year is the final.

Just when you think all has been done within the nostalgia-laden genre, “Dirty Mirror Selfie” pushes the boundaries of emo, combining metalcore and pop elements trademark of Gami’s sound and style. What piqued my ear the most, and continues to give me chills with every listen, is the guitar riff harmonizing with Heagy in the chorus. “There was something evil inside me,” he sings, as the drums pause to create space for the electrifying guitar-vocal harmony. Heagy’s vocals are bright and optimistic, and the title “Dirty Mirror Selfie” doesn’t lend much to create a sense of gravity; the hardcore breakdowns and transitions to metallic screaming, however, make for a dynamic listening experience that pushes the duo away from any genre (and non-genre) counterparts in the fifth wave. – Isabella Le

It is rare to run into a song that has such good vibes right off the bat, but there is so much here in Pencil Legs’s track “Dull.” It sounds like the best of each season, the joy of friendship, the freedom of childhood, and any other warm and fuzzy feeling you could think of. The melodies in the song from the instruments flow like waves, with the vocal delivery sounding so relaxing and inviting. This may be the best definition of “short and sweet” ever given. Special shoutout to the wonderful, home-y scene on the track’s visualizer as well. – David Diame

Rachel Gagliardi is a gift. An incredible musician who knows how to turn the emotions of heartbreak into joyous moments and then turn them into addictive hooks. Her lyrics are poignant and concise with a ting of spite but always exude playfulness in a raw way. “Salty” is a mega-anthem for accepting the past and moving on with a big middle finger to the sky and to everyone who may have wronged you. If anyone craves more after hearing “Salty” for the first time and needs a feel-good record where you can trash your hotel room, listen to Pouty’s debut album, Forgot About Me. – Kevin Cost

A collaboration that fuses the irresistible talents of Video Dave, STILL RIFT, and Open Mike Eagle, Previous Industries may have flown a little under the radar with some huge hip hop releases taking centre stage this year, but was well-received by the underground scene as this trio finally came together for a memorable and ultra-hip debut record, packed with trippy beats and laid-back rhymes. This isn’t the first time these guys have been on record together, but it is the first major project they’ve put out, and it’s as breezy and relaxed as a road trip with lifelong friends.

The choice pick is “Roebuck,” a tune that illustrates the core of the album’s concept. All the songs are named after defunct American retail chains, allowing for a walk through the group’s musings on society changing, entering middle age, and good old fashioned nostalgia. The wordplay and insight flow through the song like a gentle river, never demanding and always soothing. The beat is characteristically simple, a hazy reverberating soundscape, with treble-up snares and muddy vocal samples. It’s short and liminal, a daydream on a greyed-out afternoon. These guys have rhymes for miles, and it all sounds so easy. – Adam Davidson

“This song catchier than chicken pox is,” Sabrina Carpenter sang on her 2022 hit, “Nonsense.” Who would have known that she’d have an even catchier song than that in store for us a mere two years later: The almighty “Espresso,” which has been one of the most ubiquitous hits of the year and will surely go down as one of the songs that 2024 will be best remembered for. I mean, seriously, when will the sound of “Thinkin’ bout meeee, every night, ohhhh, isn’t that sweet, I guess soooo?” ever not transport us all back to ’24? When it comes to making infectious and delightful music, Sabrina Carpenter certainly Mountain Did it for us this year. – Josh Weiner

“Special” is the first solo studio track that Santa Cruz-based band Scowl have released this year, and although it’s short and sweet, like the majority of their music, it’s just enough to tide us over until the next drop. More of their songs lately have been less hardcore punk, more punk rock, but they are still as impassioned as ever. “Special” is a lament against the requisites that have been set against us. It’s a descriptor built entirely upon manipulation. There’s a fear, an uncertainty, a desire to get the eyes off of you and run from the spotlight and, consequently, the expectations foisted upon you because of that position. Guitarist Malachi Greene’s riffs are choppy and churning, buoying the song’s uncertain, precarious tone. Vocalist Kat Moss gives a mostly-restrained performance, but her trademark screech, peppered into the post-chorus breakdown, is cutting and sharp. Scowl is a band with bark, and all the bite to back it up, too. – Kendall Graham

Gotta make room for the biggest hit single of the year on this list. I’m pretty confident that, in the years ahead, practically every one of us will be able to recall a certain memory from 2024 as soon as the words “One, here comes the two to the three to the four, tell ’em bring another out, we need plenty more!” come back on the radio. It may be the simplest of lyrical themes, but it hella worked – Shaboozey scored 19 weeks at #1 with this song. Of the 100 billion people who have ever lived on Earth, only one other soul (Mr. Lil Nas X) can claim to have conquered the top spot of the Billboard charts for as long with just one single. Someone pour out a double shot of whiskey for “A Bar Song,” indeed – it’s earned it! – Josh Weiner

Soda Blonde’s spellbinding “Bully” is perhaps their boldest attempt yet to bring the darkness into the light, so that we may all shine a little brighter in our comings and goings. A dynamic, dramatic eruption of angst and upheaval, the Irish indie pop band’s first of two songs released this year is a beautifully cathartic release that moves us to dance, to dream big, and to fight the good fight for as long as we can, so as to never let the bad thoughts win. We are so much more than our lowest moments or our darkest days, and through three minutes of enchanting, catchy sonic euphoria, Soda Blonde remind us not just to smile and see the light, but to know, once and for all, that we can overcome the bully within us.

As frontwoman Faye O’Rourke puts it, this new song channels her “brain rot” out into the world in a digestible, relatable framework. We hear and feel the full force of her convictions in the song’s spirited chorus:

Oh it’s the beginning
and we don’t know what we’ve got
They’re going to heaven
And you don’t know why you’re not

I don’t think you’re listening
I told you it would be tough
I don’t think you want it
You’re not trying hard enough

While its author may be drenched in dread, “Bully” is utter ecstasy: An uplifting, smile-inducing revelry that all but demands kinetic movement from its audience. So as Soda Blonde hopelessly dwell in anxiety on one hand, the other is busy getting lost in a moment of emotional and sonic release. The end result is a perfect marriage of intimate feeling and soul-stirring sound – and another reminder (not that we needed it) of Soda Blonde’s breathtaking talents and their enduring strength as a singular voice in the indie pop space and a need-to-know musical juggernaut. – Mitch Mosk

Spiritbox have already solidified their front-running place in heavy metal, and with each new song, they continue to prove themselves more than worthy of that status. “Soft Spine,” their first new song of this year, takes the cake for one of their most intense. Singer Courtney LaPlante has prefaced performances of this song with a dedication to “everyone [she] love[s] to f*cking hate” and the vitriol is palpable in her introductory scream. The battle between Mike Stringer’s riffs and Zev Rose’s pounding percussion is relentless and invigorating. “Soft Spine” is the first single from their recently-announced second album, Tsunami Sea (releasing March 2025) and if this song is any indicator of the ferocity of the upcoming tunes, Spiritbox fans, metalheads and music fans in general are in for such a treat. Sycophants, flatterers and lackeys beware: you will be found out, called out, and, as the breakdown in this song goes, “Your god will sort you when you die.” – Kendall Graham

The opener to 2024’s All Born Screaming is a toast to the gothic and grim, both of which St. Vincent is famously familiar with. Set alight by unintelligible whispering and a curiously funky bass line, “Hell Is Near” is the perfect way to ring in the witching hour. Clark has always had a penchant for seductive melodies and alluring production, and the unison drawn between. The second verse pairs twangy electric guitar with Clark’s crystal clear falsetto — each with a mind of its own. They come together for notes few and far between, but when they meet, it is positively spellbinding. – Nasim Elyasi

Stevie Bill’s “Hahaha” is no laughing matter: Between the celestial warmth of her stunning falsetto, the infectious energy of her melodic guitar work, and the raw ache embedded deep in her songwriting, the indie pop artist won me over instantly with her infectious breakup anthem. As charming as it is churning – and incredibly creative – “Hahaha” is one of those broken-hearted confessionals lifts us to greater heights, even as Bill dwells in her own achingly intimate depths.

So while it may not be laugh-out-loud funny, this enchanting song – and the entirety of the singer/songwriter’s sophomore EP, I was a platinum blonde – will without a doubt take your breath away, just as it did mine. – Mitch Mosk

The rock legend Stevie Nicks has said herself that “The Lighthouse” might be her her most significant contribution to the world, for the song is an anthem for women’s rights. Its backstory is just as moving as the lyrics of the song: Nicks began writing it after Roe v. Wade was overturned. With lyrics like “Try to see the future and get mad / It’s slipping through your fingers,” the Fleetwood Mac star warns and protests about the situation women are facing. The song starts out slow and increases in intensity, especially with the revelation of its lyrics or, better said, the cry for action. Nicks uses the lighthouse as the right metaphor to convey her message: she wants to be the reason or the person to inspire and move others into defending their rights in any way they can. – Bárbara Martínez Campuzano

Two of the biggest hit-makers of the modern era finally teamed up for the first time with this song, and the results were purely hypnotic. Kudos to T-Swift for making time to record this and other high-quality jams this past year, all while staying super busy as the Eras Tour continued and went international. I fully support the song’s Grammy nominations for Record and Song of the Year, and look forward to seeing what Swift will come up with now that her schedule has massively cleared up with the record-breaking tour having finally just wrapped up. – Josh Weiner

If I’m being honest – which I am – this song snuck up on me in the best way possible, and I now fully believe it to be one of Valley’s sleeper hits. A softer standout off the Canadian trio’s new album Water the Flowers, Pray for a Garden, “Bop Ba” is achingly intimate, beautifully bittersweet, and breathtakingly vulnerable: A tender, dreamy confessional about dependency, acceptance, and the inescapable pain of letting go.

If you caught Valley on their headline tour this fall, then you most likely heard “Bop Ba” as the concert’s enchanting finale – and what a sendoff it was: Lead vocalist Rob Laska, bassist Alex Dimauro, and drummer Karah James married their three voices into one with delicate grace, creating an unforgettable communal moment of catharsis and connection.

And that’s what I remember now, every time I hear this song: The real-life magic that happens (inside and out) when a group of people come together to share their hearts and spill their souls through music. Like a sonic hug, “Bop Ba” is a soft, emotionally charged blanket that I can always rely on for its warmth, its love, and its grace. – Mitch Mosk

Vampire Weekend’s 2024 release Only God Was Above Us helped me to establish something about my own personal taste in music; I have a penchant for artists taking a hiatus, maturing, and then releasing music that faces ageing, and the inexorable progression of time. The Strokes did it with The New Abnormal, and now Vampire Weekend have done the same.

In “Connect,” a piano jangles out eddying arpeggios, shimmering throughout the entirety of the track. Fragmented outbursts of “Mansard Roof” punctuate the song, each instance a musical anachronism. Ezra Koenig postulates on the feeling that he has ‘lost’ something as he has aged – an ability to connect the wider world, to himself, the macro to the micro. There is a general feeling of detachment, dissociation, and a spiraling lack of resolution. The song blisters on, but now we are too tired to ‘unmake the bed’, flirtations upon a chair now forming substantive ‘vacations.’ Things have changed, something has been lost, that now shall be ‘never found’. As the closing sentiments of the album advise, this ‘enemy’s invincible’ and we all should ‘let it go.’ – Frederick Bloy

“Right Back To It” solidified its spot on this list back in March, when Katie Crutchfield released Tiger’s Blood, her sixth album under indie-music project Waxahatchee. I’ve found myself returning to this track countless times throughout the year – during anxious moments on international flights, while tidying up my kitchen on quiet Sunday mornings, and with a glass of wine ahead of a night out. Crutchfield’s voice is beyond soothing, saccharine even, as she details the warm embrace of a relationship that has run its course (and then some). The lyrics are more poetry than prose, dotted with clever metaphors (“Your love written on a blank check / Wear it around your neck”) and careful paradoxes (“Lick a wound that was not ever mine”). Crutchfield takes the words we have all once held on the tip of our tongue, and arranges them in a way nobody else could – like an apology bouquet from that one ex you can’t forget. – Emma Rayder

An unexpected collaboration that immediately made its way to the top of my “new favorite songs” list, “This Is life” radiates with a deep sense of connection, nostalgia, warmth, and tenderness. It’s a song of perspective and reflection – of memory and time and life’s highlight reel. We all have one, and in this track we get to hear from Winnetka Bowling League’s Matthew Koma, Medium Build’s Nick Carpenter, and Dawes’ Taylor Goldsmith as all three artists take their own unique journey down memory lane, recognizing this existence for what it is: A beautiful jumble of highs, lows, and in-betweens.

Earnest and cheeky, “This Is Life” is as much a song about being a human being as it is one of kinship, with a newly formed friendship coming to life (and to light) in three and a half minutes of musical reverie. Wistful though this tune may be, it hits home in the very best of ways. – Mitch Mosk

Wishy storms onto the scene with their new album Triple Seven, a record full of intensity that’s impossible to ignore, bursting through with a nostalgic and catchy sound. Their approach to indie rock is a dynamic blend that effortlessly focuses on specific genres while invoking their unique take on particular sounds. The riff-heavy energy of the opening track, “Sick Sweet,” echoes the raw, unfiltered spirit of ’90s rock while still feeling like a breath of fresh air in today’s musical landscape. It truly reflects the energy of the six-piece band with all the “Woo’s!” throughout, demonstrating the joy they have making music together. – Kevin Cost

Vultures are birds of prey and scavengers, feasting on the already dead to continue to skate by. In yet another very trying year, it’s felt like so many people have had to pick at carcasses to try to make ends meet and get by. Still, if there’s one thing to be sure of about the human spirit, you’re going to go down swinging, and The Wonder Years’ February single (written for the WWE’s NXT theme song) fits that mold perfectly.

Incorporating hardcore shouts alongside their fast-paced pop-punk riffs, this is a song about giving your all and “dragging you down with me.” Even if the vultures feel like they’re creating a halo over you, it’s still worth trying to fight them off. – James Crowley

Wunderhorse – in some circles touted as the leaders of the contemporary resurgence of guitar music – released their second studio album, Midas, in August 2024. The title track has swagger, confidence, autheticity, and is reminiscent of some of post-punk’s greatest, like Richard Hell, or The Pixies. – Hamish Monk

Without a doubt, ‘13” Frank Beltrame Italian Stiletto with Bison Horn Grips’ is a very long album title. A point that is arguably as contrived, even beleaguered, is that this year’s release from Xiu Xiu is the band’s most palatable and digestible yet. Whilst, yes, it might form a more readily traversable entry-point for a band with a famously bewildering oeuvre, it would be foolish to go as far as to label it ‘mainstream’, or anything similar. This is the very reason it is so charming. It is a synergy of jarring, squealing, fizzing, cacophonous noise (naturally), and also moments of recognisable structure, or catchy hooks. “Maestro One Chord” is a great example of this, and one of my favourite tracks off the record.

It is a song laden with the recondite incantations of Jamie Stewart, as can so often be alluring. They detail snapshots of violence, frozen and hurtling through ‘space’, removed of any human purveyor or recipient, stripped down to the thing in of itself, made barren, made meaningless, made absurd. This is ensconced within a rattling drum groove and whirring guitars lifted from the heavier end of independent alt. rock acts of the ’90s. A highlight is the panicked, reoccurring, rhythmic hooting of Stewart. It is a feature that, like most good ideas when songwriting, defies explanation, because it simply works. – Frederick Bloy

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Music of the Year

2024