The 100 Best Albums of 2024

As winter approaches and 2025 is on the horizon, it’s clear that this year has been prosperous with outstanding music. We’re here for the comments.

As winter approaches and 2025 is on the horizon, it’s clear that this year has been prosperous with outstanding music. We’ve compiled our top 100 albums that have made a significant impact on us in 2024. These records span a diverse range—from the most rebellious rave-pop albums and the heaviest metalcore bands to various styles of psychedelia, emerging punk groups, unconventional rappers, contemplative jazz, and remarkable solo projects from former band members. Selecting these albums meant leaving out many of our personal favorites. If something you love isn’t included, it might be that we heard it, and it’ll be on our honorable mentions list, or perhaps it’s one of those overhyped releases that social media buzzes about one day and forgets the next. We haven’t ranked the albums, but we invite you to explore the list in order of their release dates.

Arrested Development: Bullets In the Chamber

Bullets In the Chamber marks a delightful resurgence for Arrested Development. More than twenty years later, the group’s lead, Speech, has every right to be proud, as he declares on the album’s opening track, “Hello.” He characterizes Arrested Development as a group that has always been part of the scene yet is still distinct from the mainstream. The album, produced by UK’s Configa, spans 21 tracks that infuse the calming vibes of soul, blending uplifting melodies that highlight Speech’s hopeful tone. A standout track, “Hip-Hop Saves Lives,” features Chuck D and delves into reflections on rap careers and personal growth, with the iconic Public Enemy rapper effectively echoing Speech’s initial message (“And it don’t stop and it don’t quit/ Yeah, we don’t care if it don’t fit”). — Brandon O’Sullivan

Kali Uchis: Orquídeas

Kali Uchis has crafted a catalog rooted in tales of seduction and despair, weaving fantasies where women and femmes exhibit fierceness and tenderness. Her album Orquídeas amplifies the ideology, portraying divine goddesses who never feel the need to respond. Crucially, it encapsulates the fluid identity of being a diaspora child, a nuance often overlooked by corporate entities. — Charlotte Rochel

Brittney Spencer: My Stupid Life

Brittney Spencer dedicated much of her first ten years in Nashville to honing her craft and paying her dues. Her debut country album, My Stupid Life, is poised to establish her firmly within the genre. Though the album initially takes a few tracks to hit its stride, it eventually takes flight with a remarkable stretch of songs. Beginning with the introspective self-recovery anthem “The Last Time” and culminating in the poignant sorrow of “If You Say So,” this five-song sequence stands out as one of the most compelling in recent country music history. — Tai Lawson

Masta Ace & Marco Polo: Richmond Hill

A much-anticipated sequel to Masta Ace and Marco Polo’s A Breukelen Story, Richmond Hill draws its inspiration from Marco’s early years in a quaint Ontario town near Toronto. This album intersperses narratives about Marco’s love for hip-hop and cartoons, his battle with substance abuse, and the unwavering support of his parents. Together, Marco Polo and Masta Ace confront contemporary issues directly, with the rapper leveraging his extensive experience to incisively navigate through the producer’s soulful melodies and sharp beats, and also solidifying that Ace has one of the best discographies in hip-hop. — LeMarcus

Sy Smith: Until We Meet Again

Sy Smith has held a plethora of supporting roles, shining as a backing vocalist for the legendary Whitney Houston and becoming a prominent figure in Chris Botti’s trumpet ensemble. She has contributed to several of the Foreign Exchange’s projects, solo endeavors by founders Nicolay and Phonte, and each of Zo!’s records under their label, culminating in the collaboration called Abstractions with Tall Black Guy. Smith’s sixth album emerges naturally from this extensive background. Released by Foreign Exchange and predominantly produced by the Abstractions team, this time, Smith focuses primarily on vocal production and arrangement, highlighting the contributions of six talented backing singers. True to her form, Smith also excels as a songwriter, making Until We Meet Again stand out as her most polished album to date. — Harry Brown

Brittany Howard: What Now

What Now can be seen as a response to Jaime—both as an album and in its title. Brittany Howard’s 2019 release, Jaime, was a deep dive into her personal experiences, dedicated to her late sister and the enduring trauma of that loss. Merging elements of a breakup album with reflections from the pandemic, Howard introspects lyrically while also reaching toward the outer limits of her musical vision. Although she reunites with Shawn Everett, who was the engineer on Alabama Shakes’ Sound & Color and now co-produces this album, she does not revert to the Americana roots of her original band. Individual tracks hint at Howard’s broadened emotional and musical spectrum, but the album is precisely cohesive, where each part interconnects and enhances the overall unity. — Imani Raven

Lizzy McAlpine: Older

On her third album, Older, singer/songwriter Lizzy McAlpine delivers an unexpectedly affecting and musically sophisticated collection of songs. McAlpine’s intimate and folky compositions, reminiscent of well-crafted diary entries, establish her unique position within the contemporary pop landscape. McAlpine meticulously constructs raveled piano and acoustic guitar arrangements with her collaborators, incorporating unexpected instrumental elements such as pedal steel guitar, reeds, and orchestral strings to frame her understated yet impactful vocals. While Older explores the complexities of heartbreak, McAlpine grapples with the dissonance between the idealized perception of love and its often painful reality by guiding through a touching closeness of cherished romantic moments and the underlying emotional wounds they conceal. — Charlotte Rochel

MK.gee: Two Star & The Dream Police

Under the moniker Mk.gee, Michael Gordon produces music that bubbles, fizzes, and occasionally takes unpredictable turns. The 12 tracks on his recent release invite limitless analogies. “I Want” delivers a brooding, sophisticated pop vibe reminiscent of the Blue Nile, whereas “Rylee & I” conjures the essence of his influences, including Bon Iver, Arthur Russell, Jai Paul, and John Mayer. In the track “Candy,” Gordon’s joyful yet heartfelt guitar work suggests a private, playful affection as if he’s grinning widely while playing. — Javon Bailey

Revival Season: Golden Age of Self Snitching

The Atlanta-based duo Revival Season epitomizes the dynamic essence of today’s music scene. They create an innovative fusion, where Brandon “Bez” Evans delivers adaptive and diverse rap lines over Jonah Swilley’s eclectic production that integrates elements of rock, funk, and electronica. Their daring style echoes the experimental yet approachable spirit of predecessors like the Beastie Boys and Gnarls Barkley. This influence is evident in their strikingly original debut album, The Golden Age of Self-Snitching. Sporting a highly energetic and novel rap-rock fusion (admittedly a simplification of their sound), the record, launched through the genre-blending Heavenly Recordings, powerfully asserts their unique artistic vision. Revival Season’s inaugural release brims with a vibrant energy that distinctly marks its creative territory. — Brandon O’Sullivan

Amaro Freitas: Y’Y

Amaro Freitas crafted this work following a 4,600-kilometer journey to the Amazonian wilderness of Manaus. Y’Y is structured in two distinct parts. The initial section explores Freitas’ spiritual connection to nature, ancestral spirits, and the earth. In contrast, the latter half emphasizes his ties to global Black music traditions. Throughout, Freitas aims to unearth pre-colonial elements. Freitas’ extensive trek through the Amazon inspired the album’s creation. This experience profoundly influenced the work’s environmental consciousness and spiritual reverence themes. Y’Y presents a unique reflection on these subjects, along with an examination of ancestral history. Despite its complexity and occasional enigmatic qualities, Y’Y remains engaging. The album combines solo performances with collaborative pieces, creating a diverse musical landscape. Its structure allows for a deep exploration of Freitas’ artistic vision, bridging personal experiences with broader cultural themes. — Reginald Marcel

ScHoolboy Q: Blue Lips

With Blue Lips, the Los Angeles rapper revisits the vibrant energy reminiscent of his standout 2016 album Blank Face LP, introducing some notable changes along the way. The album balances openhearted tracks such as “Cooties” with a predominant presence of aggressive bangers like “Thank god 4 Me,” “Pig feet,” and “Pop,” featuring the spirited Rico Nasty. His fluctuating rap style, juxtaposed with often ethereal production, envelops Blue Lips in a trance-like ambiance. Despite the years and his extensive career, ScHoolboy Q’s enigmatic persona continues to intrigue and captivate listeners. — Reginald Marcel

Cory Henry: Church

Deeply influenced by the rich heritage of Brooklyn’s Black church community, a place renowned for producing exceptionally talented individuals, Churchdelivers a complex and flavorful fusion of melodies, harmonies, and compositional methods. Cory Henry epitomizes a complete Black church service, guiding us through a musical journey from start to finish, with Kierra Sheard, John P. Kee, Donnie McClurkin, Kim Burrell, and others joining for the ride. This album provides a full experience, capturing the essence of the black gospel tradition. It traverses through the introductory stages, the uplifting praise and worship, and the collection offerings and concludes with a heartfelt benediction. Its spiritual depth and significance remain potent and undiluted, offering a harmonious blend of musical complexity and profound meaning. — Brandon O’Sullivan

Moor Mother: The Great Bailout

The Great Bailout springs from Moor Mother’s deep research into British colonialism and its enduring effects. The album intensely critiques the Slavery Abolition Acts of 1833 and 1835, when Britain took a monumental loan to compensate former slave owners rather than the enslaved, a debt only settled in 2015. Featuring a vast array of collaborators, the album opens with “Guilty,” where Mary Lattimore’s ethereal harp and Raia Was’s harmonies frame Ayewa’s deliverance of her poignant, multi-tracked lyrics alongside Lonnie Holley’s emotive crooning. “All the Money,” co-produced with Vijay Iyer and adorned with Alyaal Sultani’s operatic voice, questions the financing of historical events. Meanwhile, “God Save the Queen,” with contributions from trumpeter Ambrose Akinmusire and vocalist Justmadnice, provokes thought on societal values regarding the British monarchy. Guitarist Aaron Dilloway adds disconcerting soundscapes to “Liverpool Wins,” drawing parallels between British football rivalries and the competitive nature among port cities during the slave trade era. — Randy

Gary Clark Jr.: JPEG RAW

JPEG RAW encapsulates the richly textured experiences of an American dad navigating daily life in a chaotic world infused with a stoner’s vibe. This album merges a diverse array of sounds, cultural influences, riffs, and samples, maintaining space for the electrifying guitar solos that have cemented this Texas blues visionary’s legacy. With contributions from legends like George Clinton, Stevie Wonder, Valerie June, among others, Clark showcases his mastery in transforming robust blues tunes into futuristic auditory experiences. — Nehemiah

SiR: Heavy

Resonating with a suave and mature charm, SiR’s rich vocals signify his seasoned elegance. Hailing from Inglewood, California, this R&B singer and songwriter blends meticulous craftsmanship with influences drawn from the timelessness of Stevie Wonder and the tender nuances of John Mayer. Nearly half a decade later, since Chasing Summer, his newest project, Heavy, unveils SiR’s substantial personal growth. Despite perfecting his signature sound, the album reveals his internal conflicts spilling into the external world, striving throughout the tracks to map their origins. This work marks a period of significant self-reflection and development for the artist, showcasing a deep introspection previously unseen. — Phil

Adrianne Lenker: Bright Future

Adrianne Lenker’s latest solo LP, Bright Future, offers an unfiltered glimpse into her expressive pursuit, embracing raw authenticity over polished perfection. Unlike her entirely solo 2020 releases, Songs and Instrumentals, this album sees her collaborating with a band. Joining Lenker are frequent Big Thief collaborator Mat Davidson on guitar and piano, singer-songwriter Nick Hakim on piano, and Swedish composer Josefin Runsteen on violin and percussion. All three contribute vocals alongside Lenker. Philip Weinrobe returns to his familiar role, adding piano and banjo. The album hops through a spectrum of styles, from piano ballads to gentle folk and country tunes. Moments of spontaneity shine through in an off-the-cuff campfire rendition of Big Thief’s “Vampire Empire” and the whimsical bounce of “Fool,” where bent, plucked strings evoke the playful spirit of Dragon New Warm Mountain I Believe In You. The diverse approaches to songwriting and performance come together seamlessly, showcasing a variety of styles that coalesce into a cohesive work. — Charlotte Rochel

Empress Of: For Your Consideration

On her fourth studio album, For Your Consideration, Lorely Rodriguez, the artist known as Empress Of, crafts an intricate and sensuous blend of dance and electropop. This album represents Rodriguez’s most elaborate work to date, highlighting her distinctive vocal stylings and inventive production techniques as she explores the exhilarating highs and lows of passionate love. Executive producing the album herself, Rodriguez collaborated with a cadre of rising producers and songwriters, including Casey MQ, Umru, Cecile Believe, and Nick León, resulting in an unpredictable and playful sonic palette. The songs contort and manipulate Rodriguez’s malleable vocals into mesmerizing patterns and textures, evoking comparisons to the avant-garde vocal experiments of Björk’s Medúlla. For Your Consideration dives into the tumultuous waters of romance, desire, and self-empowerment through elastic vocal manipulations, bilingual wordplay, and pulsating beats. — Harry Brown

Waxahatchee: Tigers Blood

A decade and five albums into her journey as Waxahatchee, Katie Crutchfield reached new heights with 2020’s Saint Cloud. This album marked a natural progression for the Alabama-born singer/songwriter, aligning with an indie rock community increasingly enamored with country influences—a trend that has only intensified in the past four years. With more attention on Waxahatchee than ever, Katie teams up again with Saint Cloud producer Brad Cook to keep the twang alive on Tigers Blood. This time, her songwriting exudes a calmer, more peaceful tone compared to the darker themes of her previous work. The album features songs about love and growing apart from old friends, embodying a sense of personal growth and the wisdom gained from her extensive career. Just as Tom Petty and Lucinda Williams found new peaks two decades into their careers, Katie Crutchfield continues to reach impressive milestones. — Brandon O’Sullivan

Beyoncé: Cowboy Carter

Beyoncé has set the record straight: Cowboy Carter, the sequel to her 2022 dance album Renaissance, is not a country album. Instead, she has delved into diverse cultural landscapes, from Louisiana’s Cajun country to the rivers of Alabama, the streets of Memphis, the sweeping plains of Oklahoma, and her memories of Texas rodeos. She does it well seamlessly with the help of legends like Willie Nelson, Dolly Parton, and Linda Martell, as well as newcomers with Shaboozey, Willie Jones, Tanner Adell, Tiera Kennedy, and many others. Beyoncé continues her longstanding endeavor to honor and elevate Black culture. It’s astonishing how she consistently sparks significant conversations on such a grand scale; for weeks, social and traditional media have been engaged in discussions around the history of Black country musicians, effectively challenging and revising the American musical narrative. Although lines such as ‘Can we stand for something?’ may seem broad, her message remains unmistakable: Beyoncé is asserting her American identity, challenging listeners to reflect on theirs. — Jamila W.

Cindy Lee: Diamond Jubilee

The seventh full-length project from the enigmatic Toronto-via-Durham musician Patrick Flegel under their lo-fi, “confrontation pop” drag performance moniker Cindy Lee, Diamond Jubilee is a sprawling 32-track double album that showcases Flegel’s singular artistic vision and the dedication of their small but ardent fanbase. Released exclusively on YouTube and the antiquated GeoCities platform, the album’s obfuscation masks its dense, psychedelic pop soundscapes that intertwine aggressive noise-rock with blissful classic pop melodicism, channeling the intricate legacies of Flegel’s inspirations like Karen Carpenter and Faye Dunaway while evoking the spectral qualities of long-forgotten acts from the 1960s girl group and soul music underground. While intentionally inundating in magnitude, Diamond Jubilee recompenses profound engagement, operating as a magnum opus that coalesces decades of popular and alternative music into an outlandish yet utterly captivating gestalt. — Charlotte Rochel

Roc Marciano: Marciology

Roc Marciano has amassed a loyal following that is deeply engrossed in his music. When he pivoted his career with the release of Marcberg in 2010, Marciano cultivated a dedicated fan base that holds him in high esteem for revitalizing the underground rap scene with his stripped-down beats and gritty, rhythmic poetry. Listening to Marciology, one gets the sense of a seasoned fighter working a heavy bag, weaving stylish jabs with rapid, complex verses delivered at varying tempos and angles. Roc Marciano’s raw and unembellished style has cemented his place among the elite of the underground rap movement. — Harry Brown

Alice Russell: I Am

After To Dust’s release, Alice Russell experienced significant personal upheaval: her father’s death was soon followed by the unexpected news of her pregnancy. She began therapy shortly after giving birth, deeply engaging in her healing process, which continued with the arrival of her second child. Throughout this challenging period, she channeled her experiences into writing. In November 2023, after a decade-long hiatus, she returned with “Rain.” This was followed by “I See You” in January and “Gravity” in March. All three songs are featured on I Am, an album that vividly portrays Russell’s intense emotional, spiritual, and psychological transformation, captured with raw honesty and distinctive production by her longtime collaborator, TM Juke. This record marks Russell’s return, presenting an album that declares her understanding of her strengths, vulnerabilities, and determination. It reveals her transformative process and personal growth with deep honesty through glorious modern soul. — Jamila W.

Fabiana Palladino: Fabiana Palladino

Incorporating elements of new wave, particularly within the new romantic subgenre, sophisti-pop thrives on its elegant atmosphere. Fabiana Palladino pays homage to this vibrant era by curating a collection highlighting the finest aspects of the genre’s standout tracks from that time. “I Can’t Dream Anymore” features verses enriched by mellow keyboards and Palladino’s vocals, while the chorus transitions into a powerful eighties-style ballad. Palladino’s artistic influences throughout the album are unmistakable, successfully evoking the sophisticated love songs characteristic of 80s sophisti-pop. However, the heavy reliance on existing references somewhat obscures her unique creative voice, making distinguishing her style as a British singer challenging. While the album adeptly reinterprets the dominant styles of the 80s and 90s, the songs could easily fit within any of the original artists’ repertoires that inspired her work. As a debut effort, the album hints at Palladino’s potential, and with continued refinement in future projects, she is poised to develop her distinctive identity further. — Imani Raven

Marv Won: I’m Fine, Thanks for Asking

Well-known in Detroit and highly respected within the battle rap community, Marv Won shifts from his usual combative intensity to heartfelt, everyday reflections on his 10-track project, I’m Fine, Thanks for Asking. In the central track, “It’s Okay,” Marv delivers comforting words over a groovy, psychedelic tune, offering listeners a sense of calm. Adding to the approachable and genuine atmosphere Marv creates, Freeway makes an appearance on the motivational track “Roc Nation Brunch,” recalling his industry experiences. Rapper Big Pooh lends his voice to “Nosy” with a perspective on parenting, while Quelle Chris enriches the piano-driven, contemplative song “Good Thangs” with his vocals on the hook. — Phil

Vampire Weekend: Only God Was Above Us

From its title onward, Only God Was Above Us by Vampire Weekend embraces grand concepts that could seem pretentious in less capable hands. Orchestral arrangements and studio wizardry enhance an art rock approach that remains adventurous even when stripped to its core elements. The playful chaos of their earlier work resurfaces in fresh forms as they delve into themes of philosophy, sociology, religion, and war. The album opens with “Fuck the world” on “Ice Cream Piano,” setting a tone that starkly contrasts with the summery, breezy—and deceptively upbeat—Father of the Bride. Only God Was Above Us adopts the darker, colder, and more claustrophobic vibes reminiscent of 2013’s Modern Vampires of the City. Yet, as with every Vampire Weekend album, it feels familiar and invigoratingly new. The band consistently reinvents itself without veering from the distinctive path established on their blog-rock-dominating debut over 16 years ago. They’ve long since transcended genre and scene—five albums in, they’re still exceptional at being Vampire Weekend. — Oliver I. Martin

Nia Archives: Silence Is Loud

Drum and bass have become a familiar element in contemporary pop music. Many have experimented with incorporating its fast-paced rhythms, but Nia Archives distinguishes herself by exploring a less-explored facet of the genre: jungle. Once known for its raw intensity, jungle features robust breakbeats and fierce bass lines—traits primarily softened as drum and bass evolved. Archives revives these vigorous elements in her album Silence Is Loud, crafting a dynamic and electrifying soundscape. She masterfully infuses jungle’s chaotic drums and aggressive bass with mainstream pop sensibilities, creating a compelling fusion of powerful electronica and catchy melodies. Her compositions frequently delve into the complexities of interpersonal relationships, as exemplified in the opening track, “Silence Is Loud.” Here, she poignantly expresses the void left by a loved one’s absence: “And if I ain’t got you around/Then I’m lost, and I don’t wanna be found/You’re the only thing keeping me sound/And without you, the silence is loud.” — Jamila W.

Shabaka: Perceive Its Beauty, Acknowledge Its Grace

Shabaka Hutchings announced last year that he would be taking an indefinite break from playing the saxophone. This decision marked the end of his influential bands, Sons of Kemet and the Comet Is Coming, which were crucial to his acclaim. A hint of this change came in November 2022 with the release of Afrikan Culture, where Hutchings mostly performed solo using the shakuhachi, flute, and clarinet. In 2023, he introduced a cryptic blend of jazz and hip-hop with Flowers in the Dark under his alter ego, Kofi Flexxx. Perceive Its Beauty, Acknowledge Its Grace was recorded in 2022 by Maureen Sickler, and it’s unlike anything Hutchings has produced before, deriving its essence from his subconscious through his cleverness and instinct. The project features a lineup of talented musicians, including flutist Andre 3000, percussionist Carlos Nino, harpists Brandee Younger and Charles Overton, bassists Esperanza Spalding and Tom Herbert, multi-instrumentalist Miguel Atwood-Ferguson, Floating Points, and vocalists such as one of the top 25 MCs, ELUCID. — Phil

Seafood Sam: Standing On Giant Shoulders

Seafood Sam exudes a unique blend of polished retro-futurist charm that evokes visions of an imaginative, funk-infused fusion of his influences from the LBC. The artist and producer’s smooth delivery bears the unmistakable influence of the 1970s, brimming with sleek confidence. His preferred mode of transportation is a Cadillac, and he is never without an indulgent supply of caviar. The brass-accented, easy-flowing opening track “Saylo” showcases Sam’s casual dismissal of extravagant parties as mere mundane occurrences typical of a Tuesday night. While reveling in this luxurious lifestyle, Sam delves into spiritual reflections with tracks like “Can’t Take Tthe Hood to Heaven,” exploring themes of mortality and ethics—though he does so while sporting alligator shoes and a pristine new church suit, topped off with an elegant cologne. — Brandon O’Sullivan

Tei Shi: Valerie

In her latest independently released album, Valerie, Colombian-Canadian artist Tei Shi transmutes the trauma of a devastating breakup with her former record label and management into a resplendent musical opus. She seamlessly oscillates between electro-pop, early 2000s R&B, and guitar-driven ballads, all while effortlessly code-switching between English and Spanish lyrics. The singer-songwriter’s eccentric approach to pop music and facility for crafting irresistibly catchy melodies, coupled with her Aaliyah-esque vocal runs, command attention. While a series of slower ballads nestled in the album’s midsection may temporarily slacken its momentum, the emotionally raw title track, accompanied only by a plaintive electric guitar as she extends compassion and grace to herself in the wake of others’ misdeeds. — Jamila W.

Brother Ali & unJUST: Love & Service

Love & Service delivers a rich experience across its aura by Brother Ali and unJUST. It offers an unembellished yet captivating presentation that raises thought-provoking questions. The album seamlessly blends a diverse range of styles while maintaining a natural and unified feel. Through its exploration of the various ways humanity falters in its relationships, it ultimately underscores the message that everyone deserves love. When music began to take form, unJUST provided the project with a distinctive visual essence. With a passion for hand-drawn illustrations and cartoons that span his entire life, he crafted an animated, dynamic canvas that visually narrates the concepts Brother Ali was exploring. Every song is paired with a distinct animation style that evokes the nostalgia of pen doodles and charcoal sketches. — Brandon O’Sullivan

St. Vincent: All Born Screaming

Annie Clark dives headfirst into the chaos of existence with her latest venture, All Born Screaming. Drawing inspiration from the raw intensity of ‘90s alternative rock, she abandons the stylistic constraints of her previous work. The album pulsates with industrial rhythms, searing guitar work, and inventive synthesizer textures, all meticulously crafted under her sole production. From the industrial blues-rock of “Broken Man” to the shimmering tribute “Sweetest Fruit,” Clark explores a range of emotions with unflinching honesty. Her lyrics paint vivid, often unsettling scenes that rifle through love, mortality, and human endurance in a post-pandemic world. All Born Screaming showcases her bold artistic vision, revealing her willingness to confront inner turmoil while pushing her sound into unexplored territories. — Charlotte Rochel

Jessica Pratt: Here In the Pitch

As a lyricist, Jessica Pratt evinces a predilection for the verse over the chorus, abstaining from the conventional catharsis or resolution that a chorus typically provides. The timbre of her voice evokes a breathy saxophone, reminiscent of the cool, bossa nova stylings of Paul Desmond—precise, languid, and technically surprising. The deliberate nature of each note is readily apparent, imbued with Pratt’s idiosyncratic interpretation of American vowels. Here in the Pitch, more subtle post-production effects are employed, epitomized by the dizzying and abstruse highlight “Empires Never Know,” a rare piano-driven composition featuring a brief but crucial backmasking effect on the vocals. This temporal displacement and imagistic writing imbue Here In the Pitch with an initially vaporous quality that gradually transforms into its mesmerizing language. — Brandon O’Sullivan

Kamasi Washington: Fearless Movement

Kamasi Washington is known for his grandiose musical expressions that take jazz as a central motif and then venture into various directions while maintaining a cohesive entirety. This is exemplified in his expansive triple albums, The Epic and Heaven and Earth. In his first release in six years, Fearless Movement, Washington opts for a more streamlined approach by omitting choirs and orchestras, yet the album still stretches over nearly 90 minutes across 12 tracks. Utilizing his touring band and an array of contributors (including André 3000 and George Clinton), this project was brought to life. Rather than merely placing instruments and sounds side by side, he meticulously integrates them, creating a vibrant fabric that exudes joy, intensity, and a profound sense of political, social, and spiritual significance. His vision is strikingly concentrated, yet it brims with a restless and playful energy. — Phil

Rachel Chinouriri: What a Devastating Turn of Events

In What a Devastating Turn of Events, Rachel Chinouriri, a Zimbabwean-English musician, explores the exhilaration accompanying upending one’s status quo. Chinouriri’s work evokes nostalgia with its early 2000s British pop and alternative influences. Yet, her neo-soul vocalization, contemporary references, and centering of the dark-skinned female experience distinguish her artistic identity. The album’s quieter vocal delivery, a vestige of familial constraints during recording sessions, is juxtaposed against tempestuous guitar-driven soundscapes. Chinouriri’s songwriting rummages into weighty themes such as mental health and socioeconomic disparities, all while capturing the vibrant yet challenging realities of working-class Black British life through a lens of dark humor and emotive intimacy akin to Michaela Coel’s Chewing Gum. — Tai Lawson

WILLOW: Empathogen

WILLOW’s new album marks a promising shift after two projects that rode the pop-punk wave. Though solid efforts, they lacked many standout moments. Empathogen maintains a pop-rock foundation but allows for more creativity and experimentation, resulting in her strongest work to date. The album’s lyrics stem from this place of discovery, with WILLOW navigating an existential journey filled with conflicting emotions and a yearning for change and renewal. This is reflected in her personal life and the new sonic territory she explores. With a concise and well-constructed composition, WILLOW demonstrates growth and maturity, showcasing her ability to evolve while staying true to her rock roots. — Brandon O’Sullivan

Andra Day: Cassandra (Cherith)

Describing the period of nine years between the albums Cheers to the Fall and Cassandra (Cherith) as momentous for Andra Day would be an euphemism. During this time, she notably took on the lead role in The United States vs. Billie Holiday. Her performance earned her a Golden Globe and a Grammy, and she also received an Academy Award nomination. The singer’s second album shares the same themes of heartache as her debut but takes a distinct approach—it’s less polished, more up-to-date, and appears more intimate. Day once more took on the roles of co-writer and co-producer for the entire album, yet collaborated with a nearly entirely new set of partners. The overall sound often resembles that of a band, adept at blending classic soul and pop with modern elements seamlessly. — Imani Raven

Yaya Bey: Ten Fold

In Ten Fold, Yaya Bey predominantly uses the deeper tones of her voice to create an alluring effect. However, the higher notes often carry more emotional weight, whether she is conveying happiness or sorrow. Unlike her previous projects, she entrusts a larger portion of the production to collaborators this time, including Corey Fonville and DJ Harrison from Butcher Brown, Detroit producers Karriem Riggins and Jay Daniel, as well as Boston Chery and Exaktly. Despite the significant collaborative efforts, Ten Foldremains deeply personal. It features songwriting that feels spontaneous and experiential, along with recorded and sampled contributions from her late father, Grand Daddy I.U., a Juice Crew affiliate. — Jamila W.

Beth Gibbons: Lives Outgrown

From the outset of her career, Beth Gibbons’ voice has often been lauded for its timeless quality. Deservedly so: the sultry, tormented depth she infused into Portishead’s music not only called to mind past legends like Billie Holiday but also sounded profoundly mature for her age. When she incorporated British folk tradition into her collaborations, it seemed as if she transcended any temporal limitations. Yet, in Lives Outgrown, Gibbons channels the restless reflection characteristic of her work to address the reality that life is far from timeless. — Charlotte Rochel

Billie Eilish: Hit Me Hard and Soft

Billie Eilish occupies a unique position in the pop sphere. As one of the world’s biggest stars, she’s gearing up for an arena tour featuring multiple nights in major cities, and her upcoming third album, Hit Me Hard and Soft, is poised to debut at number one globally. Yet, she continues to surpass expectations by crafting music that’s more experimental than one might anticipate from an artist of her stature. Opting for no pre-release singles, Eilish presents Hit Me Hard and Soft as a cohesive artistic work that is best experienced from start to finish. The album showcases her proficiency in intimate, somber folk on tracks like “Wildflower” and “The Greatest,” the latter building to a suspenseful orchestral rock climax. She maneuvers seamlessly from jazz-pop to club beats and vocoder vocals on the notable track “L’Amour De Ma Vie,” with the energetic vibes continuing on “The Diner.” Opening with the string-laden ballad “Skinny,” the album also offers shapeshifting, elusive songs like “Chihiro” and the closing track “Blue.” As with her previous two albums, Hit Me Hard and Soft was created alongside her brother Finneas, and together, they prove to be as adept as any multi-member pop songwriting team. — Ameenah Laquita

Mach-Hommy: #RICHAXXHAITIAN

Mach-Hommy himself delivers an exceptional performance on #RICHAXXHAITIAN. His characteristic slow flow glides seamlessly over these abstract beats, and his lyrics remain consistently sharp and thought-provoking. He fluidly transitions between English, French, and Haitian Creole, adding a rich layer of complexity. From the soulful touches of Quelle Chris and Georgia Anne Muldrow to the eerie soundscapes crafted by Conductor Williams and August Fanon, the beats are stellar throughout. These instrumental backdrops, which often draw from jazz, reggae, and other genres, perfectly complement Mach-Hommy’s vocal delivery, and it also helps that features including Black Thought and Roc Marciano deliver exceptional guest verses. — Harry Brown

musclecars: Sugar Honey Iced Tea!

Craig Handfield and Brandon Weems, the duo known as musclecars, have carved out their niche in New York’s music scene for over a decade. Their debut album, Sugar Honey Iced Tea!, pays homage to house music’s percussive, jazzy side while capturing the essence of Black culture and New York City’s unique energy. The album’s opening track, “Ha Ya! (Eternal life),” showcases Mozambique-born singer Natalie Greffel’s mesmerizing vocals. Her voice meanders through the nearly eight-minute composition, each phrase repetition feeling like a fresh revelation. This sets the tone for an album that takes time to unfold, allowing it to savor every nuance. As the album progresses, it shifts towards a more luminous atmosphere. Synths glide effortlessly in myriad directions, accompanied by uplifting string arrangements. By skillfully blending various elements of house music with jazz influences and New York’s distinctive vibe, Handfield and Weems have crafted an album that resonates with their roots and artistic vision. — Imani Raven

Rapsody: Please Don’t Cry

The five years it took for Rapsody to make Please Don’t Cry feel worth it, primarily because of how deep and personal the themes are. The sound and lyrics are as soulful, sharp, and wise as ever, backed up by a calmer but still consistent production style. The big change is that she tackles topics like identity, grief, Black struggles, sexuality, family, love, mental health, and more in a way that’s a lot more straightforward, personal, and direct compared to the bigger concepts and stories she’s told on albums like Laila’s Wisdom. Rapsody faces plenty of obstacles that only time can fix, like illness, grief, fame, or systemic racism. But that doesn’t mean she can’t do something about those problems in her own life or that she can’t work on being at peace with the constant fight to make tomorrow better. In that way, Please Don’t Cry is a really healing, tender album that gives listeners the same peace Rapsody found for herself. — Brandon O’Sullivan

Vince Staples: Dark Times

As indicated by its name, Dark Times delves into rap tracks where Vince Staples reflects on his upbringing in Long Beach, California. A significant portion of the album portrays Staples grappling with the chaos of his surroundings, revealing how his past traumas have led to troublesome relationships. One of the album’s standout cuts, “Justin,” is particularly notable for narrating a story that methodically builds suspense only to conclude with an unexpected anticlimax. This brilliantly illustrates the constant and pervasive danger of street life. — Tabia N. Mullings

Arooj Aftab: Night Reign

Arooj Aftab’s fourth album, Night Reign, marks her solo debut on Verve. Though Aftab has been recording since 2014, many Western listeners first encountered her work with 2021’s Vulture Prince. In 2023, she collaborated with Vijay Iyer and Shazad Ismaily on the Grammy-nominated Love in Exile. Night Reign showcases Aftab’s growth as an artist, with her arranging all but one track and producing the entire album. The record’s title is reflected in its pervasive nocturnal atmosphere. Aftab’s goal was to musically portray the various spirits of the night, resulting in her most experimental and captivating work to date. This approach has yielded a mature, confident sound demonstrating her artistic evolution. The album’s sonic landscape invites listeners to experience the multifaceted nature of nighttime through Aftab’s unique musical lens. — Brandon O’Sullivan

Angélica Garcia: Gemelo

Angélica Garcia ventures into uncharted territory with her album Gemelo, drawing deeply from her Mexican and Salvadoran roots. Through this body of work, she confronts the anguish of a painful breakup, transforming heartache into artistic renewal. Gemelo is a montage of multi-layered vocals, electronic textures, and Latin pop patterns that craft a dynamic and stirring soundscape. Songs like “Reflexiones” and “Angel [eterna]” echo with haunting sorrow, while “Color de Dolor” offers lush reflections on beauty and spirituality. The journey culminates with “Y Grito,” a triumphant anthem of tenacity and resurgence. Garcia adeptly blends her multicultural heritage into her music, which is evident throughout. She boldly navigates her identity, probing the depths of her imaginative potential. This album is a deeply personal yet widely relatable work, offering a glimpse into self-discovery and healing through her artistry. — Oliver I. Martin

Charli XCX: Brat

A characteristic of Charli XCX is that the artist has never been against exploring new horizons. When she made her return in 2016 with the EP Vroom Vroom, following her more commercial era Sucker, she presented a new facet to an otherwise avant-garde record. In this sense, we come to Brat. This parallel is interesting because, as in many other moments in her career, the record is yet another innovative approach from Charli. Here, she decides to explore the different facets that makeup rave culture. Although some of her previous projects are aligned with club music, the singer has never set out to venture so intensely into the various forms of EDM that liven up the nightlife. The result is one of this year’s most chilling pop releases. — Charlotte Rochel

Nduduzo Makhathini: uNomkhubulwane

Nduduzo Makhathini goes beyond conventional paradigms of music-making to deliver his most profound exploration of creative mysticism with his eleventh studio album, uNomkhubulwane. This remarkable record, the third to be released under the Blue Note Records label following 2020’s Modes of Communication: Letters from the Underworlds and 2022’s In the Spirit of Ntu, showcases Makhathini’s expansive vision. The album is a transcendent three-movement suite dedicated to the Zulu Goddess uNomkhubulwane, delving into Africa’s harrowing history of oppression. Featuring Makhathini’s trio, with Zwelakhe-Duma Bell le Pere on bass and Francisco Mela on drums, the music serves as both an offering and an invitation for humanity to embrace ways of being that aspire towards freedom and equilibrium. — Phil

ShrapKnel: Nobody Planning to Leave

ShrapKnel debuted in 2020 with their self-titled album, and they haven’t missed at all. Throughout Nobody Planning to Leave, the duo demonstrates their lyrical dexterity, and Controller 7 showcases his production skills, bridging the gap between the duo’s playful and apocalyptic tendencies. The album’s soundscape ranges from eerie piano loops to boom-bap-inspired beats, providing a varied backdrop for Castro and PremRock’s impressive flows and wordplays. While maintaining their unconventional approach, the duo reveres hip-hop traditions, cleverly integrating homages to classic tracks and artists within their avant-garde framework. — Harry Brown

Tems: Born In the Wild

With her innovative approach, Tems has revolutionized Nigerian pop music, shaping it to reflect her unique style. Her first album encapsulates the intense inner journey that has brought her to this moment. Every aspect—from her career and family ties to her spiritual path—culminates in a record so opulent that it resonates on both a physical and emotional level. This album is a timeless creation, seamlessly integrating elements such as minimalistic ballads, the essence of 1990s R&B reminiscent of Sade, vibrant highlife, upbeat Amapiano, lover’s rock, and gritty hip-hop. — Murffey Zavier

Lalah Hathaway: VANTABLACK

Determined to make even the bleakest moments feel joyful once more, Lalah Hathaway named her eighth solo album the Blackest way possible and delivered the very same heartfelt melodies. Those approaching the Honestlyfollow-up with four guest MCs might shudder at the puritanical purity of the singer’s journey away from its straightforward title. Instead, VANTABLACK was created by Hathaway alongside Phil Beaudoin, Ariza, and Warryn Campbell, rotating at the controls as well as Eric Dawkins, With adjectives like “modern” or throwback” already implying a degree of soul, plus hip-hop, folk, and dance, Lalah delivered her most diverse album yet. — Brandon O’Sullivan

NxWorries: Why Lawd?

The 2016 release of NxWorries’ debut, Yes Lawd!, which came to parties and dash like a Dirty Mack album should—is markedly less naughty than its predecessor eight years later with Why Lawd? These differences help define the album’s musical porridge of emotion and excitement that NxWorries evokes. Despite Paak’s signature smooth-talking script dominating these songs, surprisingly, few of those casual connections are on display here. Instead, most interactions feel perfunctory or resentful because of changes that have occurred. Knxwledge and Paak’s respect for classic beats is evident in every bar of their music, yet it never strays too far away from their usual formula. — Harry Brown

Zsela: Big for You

Zsela’s otherworldly contralto, evocative of a spectral Sade, suffuses every track on her debut album, Big for You. This dynamic montage of art pop and R&B sets the stage for her unrivaled voice to transfix and captivate. The album opener, “Lily of the Nile,” compels obsessive replays as we attempt to unravel the intricacies of Zsela’s vocal sorcery. Her instrument shapeshifts across the album’s aural landscape, from a ghostly presence shrouded in austere instrumentation on “Watersprite” to an embodiment of sensual R&B on “Fire Escape.” There, she languorously elongates syllables over undulating synths, punctuated by clipped high-hat reverb. Her fearless vocal acrobatics and fusion of genres heralds a new talent with limitless potential. — Phil

Hiatus Kaiyote: Love Heart Cheat Code

Hiatus Kaiyote has broken their three-year silence with a new album, Love Heart Cheat Code, which appears to be their most conceptual work to date. Comprising 11 songs, this release showcases the band’s collective imaginative spirit, bottling the unscripted energy of midnight improvisations and the natural interplay of instruments rather than adhering to a rigid composition. The album is a testament to feeling over formula, born from mutual trust and countless hours of collaborative studio craft. The outcome is a collection that’s awe-inspired and harmonious yet maintains a sense of ease, revealing a profound self-awareness and a desire to connect with their audience through their art. — Jamila W.

Lucky Daye: Algorithm

Lucky Daye’s career trajectory is a unique tale of success. As a teenager, he captured the nation’s attention with a stellar performance on American Idol, securing a spot in the top 20. It took another ten years for him to emerge under the moniker Lucky Daye, but his rise to fame was swift and dazzling, amassing six Grammy nods that spanned both classic and contemporary R&B genres for his works Painted, Table for Two EP, and Candydrip. In close collaboration with D’Mile, a long-standing musical stalwart, Lucky crafted Algorithm and his previous trio of albums. Their partnership is evident in every note, with the pre-album singles hinting at the unique nature of the LP. From R&B to pop to yacht rock, Lucky Daye proves he will continue raising the bar in his field. — Brandon O’Sullivan

Mabe Fratti: Sentir Que No Sabes

Mabe Fratti exhibits her idiosyncratic blend of experimental music, post-rock, jazz, and classical styles. Sentir Que No Sabes acts as a compelling self-portrait, encouraging to find peace with their insecurities. Fratti sings about the struggle of processing emotions, making decisions, and facing uncertainty, often through self-interrogation. She ventures closer to pop and rock conventions than her previous work, maintaining an affinity for the oblique. “Oídos,” with its unsettling string arrangement, sparse piano notes, and Fratti’s plaintive vocals, evokes a pensive, art-house film aesthetic, even as they resist strict adherence to pop song structures. Conversely, “Kravitz” fully embraces a rock sensibility, driven by a grungy bassline and propulsive drums that underscore Fratti’s paranoid lyrics. Her writing style shares similarities with Clarice Lispector’s digressive novels, plunging into the chaos of the psyche in search of wisdom amidst the confusion. — Charlotte Rochel

Previous Industries: Service Merchandise

The inexorable march of time manifests itself in myriad ways, from the subtle aches that greet us upon waking to the fleeting nature of businesses that once defined our local landscapes. Open Mike Eagle, Video Dave, and STILL RIFT, collectively known as Previous Industries, have harnessed this shared experience of temporal flux in their debut album, Service Merchandise. The trio, whose roots trace back to Chicago’s hip-hop scene, crafted this work during pandemic-induced isolation sessions. Their album’s title, a homage to a defunct retail catalog, is a springboard for exploring the complex emotions associated with nostalgia and the passage of time. This approach complements the group’s lyrical focus on linguistic dexterity and unexpected wordplay, hallmarks of their street corner battle-rap origins. While the album does reference cultural touchstones familiar to Generation X and older Millennials, it transcends mere nostalgia, instead utilizing these shared memories as a lens through which to examine the collective experience of aging and the evolution of personal and cultural identities. — Brandon O’Sullivan

Cat Burns: Early Twenties

On her debut LP, Early Twenties, Cat Burns’ distinctive vocal style propels a deft fusion of R&B, pop, and folk influences. With captivating melodies and alluring vocals that pulsate with fans, Burns charts a refreshing perspective that distinguishes her from contemporaries. She eschews hackneyed tropes of sexuality and self-aggrandizement, instead opting for introspective lyricism that scrutinizes her own detrimental habits. Burns’ lyrics affirm the grit of the human spirit, suffused with candor, thoughtfulness, and reassurance. Honest and sagacious, the album heralds a dynamic new voice. Burns arrives as an artist to watch, introducing herself with a riveting montage that distills her potential. — Jamila W.

Clairo: Charm

Clairo first captured the attention of the bedroom pop audience with “Pretty Girl,” a song that deeply resonated with teenagers drawn to alternative and indie music. Her contributions were central in bringing this genre to wider prominence. Not content to remain within the boundaries of bedroom pop, Clairo sought to expand her musical expression. With Sling, she adopted a folk-inspired sound suffused with the passionate essence of the 70s, and her latest venture, Charm, signals yet another bold progression in her artistic evolution, executed with notable proficiency. Building on Sling’s influences in the 70s, she now intertwines the soft rock of that era with the sophisticated and soulful nuances of sophisti-pop featuring Leon Michels. This synthesis yields an enchantingly gentle album and radiates exceptional sophistication, wrapping the music in an exceedingly cozy atmosphere. — Imani Raven

Cassandra Jenkins: My Light, My Destroyer

After unexpected acclaim for her previous album, Cassandra Jenkins found herself isolated in an Illinois hotel room with a COVID diagnosis. This solitary experience led to the creation of “Aurora, IL,” a track that captures themes of perseverance and raw vulnerability permeating her new album, My Light, My Destroyer. Throughout the record, Jenkins’ songwriting shines as she delves into existential questions with a keen eye for detail, painting vivid scenes that negotiate from the cosmic to the mundane. Her unique perspective emerges through clever wordplay and unexpected juxtapositions, like aligning William Shatner’s space voyage with everyday anxieties. Drawing inspiration from ‘60s pop, the album’s sonic palette complements her warm alto voice, guiding listeners through an introspective exploration. Wry humor is sprinkled throughout, including an anticlimactic exchange about Clams Casino, adding layers to the emotional depth. — Charlotte Rochel

Common & Pete Rock: The Auditorium, Vol. 1

The collaboration between Common and Pete Rock on The Auditorium, Vol. 1, signifies a noteworthy convergence of two influential figures whose contributions have shaped hip-hop culture over the past three decades. Pete Rock’s production on the album demonstrates his exceptional aptitude as a master synthesist, seamlessly integrating samples as Common’s performances on the album exhibit a heightened luminosity in his vocal delivery, coupled with lyrical acumen that is replete with references and sophisticated wordplay. His narratives, imbued with wisdom, spiritual depth, and positivity, align cohesively with Pete Rock’s compositional vision. — Harry Brown

Remi Wolf: Big Ideas

Remi Wolf infuses the pop landscape with her signature blend of genres on her latest album, Big Ideas. A former Youth Olympic skier and graduate of USC’s music program, she channels her diverse experiences into a fresh and engaging sound. Under the production of Solomonophonic, the album spans an array of styles—from funky ‘70s production to reggae-tinged pop-punk—mirroring the emotional peaks and valleys she explores in her songwriting. Themes of love, imagination, and emotional turbulence are woven throughout the album, each track offering a different facet of Wolf’s artistry. Songs such as “Cinderella” and “Wave” highlight her versatility, transitioning from uplifting beats to raw, candid expressions. Across Big Ideas, her use of varied vocal techniques and inventive production creates a sonic mosaic that’s both playful and honest. Concluding with the disco-infused “Slay Bitch,” the album captures Wolf’s flair for blending fun with unpredictability. — Charlotte Rochel

salute: True Magic

salute isn’t aiming to revolutionize dance music; instead, he’s focused on crafting tracks that energize dance floors, and his latest record, True Magic, achieves that with electrifying results. From start to finish, the album rivets listeners with an irresistible blend of UK garage and house influences, showcasing his adept ability to make intriguing musical choices. The album’s intensely engaging nature is evident throughout. Take “Lift Off!” for instance—its savory speed garage becomes even more enticing with the addition of vocal chops. Then there’s “Maybe It’s U,” where the pulsating synths and drums create a seductive atmosphere. “System” arrives as a euphoric French house track, urging listeners to dance with abandon. Diverging from the heavier electronics of other tracks, “Luv Stuck” offers a softer take on 2-step, both in its instrumentation and the guest artist’s vocals. — Ameenah Laquita

Meshell Ndegeocello: No More Water: The Gospel of James Baldwin

Just a year after Meshell Ndegeocello’s album The Omnichord Real Book and four months since The Magic City, created in tribute to the Sun Ra Arkestra, her new work No More Water is here. This album coincides with the centennial of its subject—the great writer and civil rights activist James Baldwin. Baldwin’s book The Fire Next Time profoundly impacted Ndegeocello’s understanding of racism, classism, and their effects on her family. Inspired by this work, she conceived this piece, presenting it as a pan-African church ceremony, blending performances by instrumentalists, singers, and orators. The album constantly shifts in structure and sound. Songs unfold slowly or intensify unexpectedly, quickly moving into compositions or changing direction, interspersed with spoken interludes and asides while maintaining a sense of fluidity. Beyond funk and folk elements, the album incorporates 21st-century jazz and soul and aspects of soukous, samba, dub, and art rock. — Brandon O’Sullivan

Mavi: Shadowbox

Mavi has become increasingly straightforward in his approach. His latest album, Shadowbox, is his most candid and sincere work to date, offering some of the most genuine music of the year. He addresses themes such as loss, heartbreak, mental health struggles, addiction, and family dynamics with clarity and honesty, avoiding clichés. His delivery possesses a subtle melodic quality, and the emotion in his voice resonates deeply. Featuring one guest vocalist, Mavi handles all the rapping himself, navigating a range of soundscapes from jazzy to orchestral to hard-hitting boom bap. — Harry Brown

Milton Nascimento & esperanza spalding: Milton + esperanza

A friendship sparked nearly 15 years ago has blossomed into a musical partnership, culminating in Milton + esperanza. This album, recorded in Brazil throughout last year, brings together two exceptional talents: Milton Nascimento and esperanza spalding. Sixteen tracks comprise this collection, reimagining five of Nascimento’s beloved classics, and the rest are original compositions by spalding. Their collaboration shines through in exquisite duets that showcase their iconic voices and masterful musicianship. A central theme appears in this project: the importance of intergenerational creativity, learning, and world-building. The album’s tracks celebrate the rich musical heritage of Brazil while venturing into diverse musical territories. spalding’s original compositions sit alongside reimagined classics, creating a harmonious blend of old and new. — Brandon O’Sullivan

Luna Li: When a Thought Grows Wings

During a period of personal transition—ending a long-term relationship and relocating from Toronto to Los Angeles—Luna Li reflects on the self with poetic lyricism and multi-instrumental expertise on When a Thought Grows Wings. Her atmospheric soundscapes invite the audience to venture into self-discovery and personal growth, inquiring about the limitations of language in conveying human emotions and experiences. From the tender and inquisitive “Confusion Song” to the mythical and empowering “Golden Hour,” Li confronts uncertainty with courage, celebrating the creative power of the mind. The closing track, “Bon Voyage,” captures the album’s central theme: thinking and daydreaming affirm one’s existence, even amidst doubt and despair. Through measured production and confident vulnerability, Li encourages them to find comfort in their thoughts and embrace the potential of change. — LeMarcus

Magdalena Bay: Imaginal Disk

Magdalena Bay conjures an idiosyncratic fusion of luminous 3-D stereogram aesthetics, pop maximalism, and esoteric Internet-era nostalgia. On their sophomore album, Imaginal Disk, Mica Tenenbaum’s angelic vocals intertwine with Matt Lewin’s multifaceted production, which adeptly balances digital and analog instrumentation. Traversing myriad stylistic influences spanning decades, the album’s tracks evoke the ethereal ambience of new age music, dance-pop’s effervescent energy, and baroque pop’s introspective depth. This kaleidoscopic approach yields a romantically retrofuturistic soundscape that exists at the intersection of the spiritual and virtual realms, probing its prismatic, pastel-tinged reveries. — Oliver I. Martin

Sabrina Carpenter: Short n’ Sweet

With her latest album, Short n’ Sweet, Sabrina Carpenter unveils a fresh perspective, delivering an instant summer classic brimming with stylishly playful and smartly executed pop. This builds upon the foundations laid by Carpenter’s 2022 release, Emails I Can’t Send. At the heart of this sonic palette are producers Jack Antonoff and Julian Bunetta, whose empathetic touch is evident throughout. The production team also includes John Ryan, Ian Kirkpatrick, and Amy Allen as co-writers and producers. This collaborative effort has yielded a sumptuous fabric of sound that roams between sultry, ‘70s-inspired disco and soul and breezy, ‘80s-inspired pop/rock. “Espresso” swiftly arises as an indispensable summer anthem, epitomizing the infectious allure that permeates Short n’ Sweet. — Charlotte Rochel

Doechii: Alligator Bites Never Heal

Although neither of Doechii’s biggest tracks (“Persuasive” and “What It Is”) appears on her new 19-song major label project, Alligator Bites Never Heal, she may reserve them for a future album. Regardless, this debut mixtape showcases Doechii’s versatility, blending traditional rap, airy R&B, and modern electronic beats. The project is enriched with skits and interludes that contribute to its overarching narrative. At any moment, she can deliver hard-hitting verses reminiscent of ’90s street rap or exude the theatrical charisma of Ludacris, Ol’ Dirty Bastard, and Missy Elliott. While she balances her lyrical intensity with moments highlighting her vocal abilities, Alligator Bites Never Heal suggests that Doechii is just beginning to make her mark in the industry. — Tabia N. Millings

Tyrese: Beautiful Pain

Beautiful Pain offers a candid glimpse into Tyrese’s inner turmoil and healing challenges after divorce. Filled with emotional depth, he channels personal struggles into songs that explore love, heartbreak, and self-reflection. Many tracks examine the complexities of relationships and their inherent conflicts and disappointments. “Don’t Think You Ever Loved Me” is a heartfelt lament that questions the authenticity of past emotions, resonating with those who have faced the end of what they thought was genuine love. A sincere cover of New Birth’s “Wildflower,” dedicated to his late mother, symbolizes growth and finding beauty in pain, even beyond his public persona. — Phil

LL Cool J: The FORCE

The eagerly anticipated return of LL Cool J arrives with his latest album, The FORCE. Produced by the venerable Q-Tip of A Tribe Called Quest fame, this offering represents a fresh chapter in LL’s multifaceted 40-year career. Throughout the album, LL’s lyricism hasn’t lost a step. “Passion” impresses with cultural references, braggadocio, and street wisdom layered over a Herbie Hancock sample deftly reworked by Q-Tip. “Murdergram Deux” pits LL against Eminem in a display of wordplay and competitive spirit that highlights their unique strengths. Other standouts include the storytelling of “30 Decembers,” the celebration of African American culture in “Black Code Suite,” and the spiritual themes merged with social commentary on “Praise Him,” featuring a show-stealing verse from Nas. Q-Tip’s diverse production, spanning boom bap, uptempo beats, and hard-hitting tracks, provides a cohesive and refreshed sound. The album’s concise yet impactful nature leaves us hoping for further collaborations between these two influential figures in hip-hop history. — Brandon O’Sullivan

MJ Lenderman: Manning Fireworks

In Manning Fireworks, MJ Lenderman uncovers the extraordinary in everyday life, delivering folk-rock tunes that strike a chord with genuine emotion. Drawing on a wry sense of humor reminiscent of Warren Zevon, he transforms mundane moments into moving stories about life’s underdogs and heartbroken souls. His keen observational skills shine in tracks like “Kahlúa shooter/DUI scooter,” offering darkly comedic imagery, and “On My Knees,” where he reflects on unfulfilled dreams. Lenderman demonstrates his adeptness at distilling complex emotions into straightforward, relatable narratives. With Manning Fireworks, he solidifies his place in contemporary indie music as an artist unafraid to explore the depths of the human condition. — Oliver I. Martin

Nala Sinephro: Endlessness

With Endlessness, Nala Sinephro continues her unique fusion of spiritual jazz and ambient music. She presents a cycle in which each piece bears a consecutively numbered title: “Continuum.” The album’s opening track introduces Sinephro’s modular synthesizers with a gentle radiance. Despite the serpentine drums, the composition maintains a tranquil pace, complemented by gradually expanding strings and saxophone. “Continuum 3” marries elegant harp notes with dazzling synthesizer solos, while two brief, hazy interludes set the stage for “Continuum 6.” This latter piece exhilarates with its rapid arpeggios and optimistic energy. Sinephro’s ensemble for Endlessness includes familiar collaborators such as keyboardist Lyle Barton and saxophonist Nubya Garcia. New additions enhance the mix: Morgan Simpson of Black Midi on drums, Sheila Maurice-Grey (of Kokoroko and Nérija fame) on trumpet, and the string collective Orchestrate. It solidifies her position as an artist capable of creating expansively transcendent soundscapes. — Brandon O’Sullivan

Okay Kaya: Oh My God - That’s So Me

Okay Kaya’s skillful songwriting, enveloping melodies, and ability to conjure moods are evident in Oh My God. Throughout the album, Kaya’s vulnerability is underscored by a sense of impending destruction lurking at the margins. This is particularly evident in “My Berenice,” a deceptively pure and loving tale of obsession and heartbreak that escalates into hysteria by its end. Her rendition of Shirley Collins’ 1960 song “Space Girl” (subtitled “(Shirley’s)”) is a timely caution against the seductive allure of space technology. Meanwhile, “And I Have a Blessed Life” is a persistent chant of gratitude amid evocations of dread and powerful bass. The album culminates in an ecstatic finale with the line “Life is Nietzsche on the beach/And then you die,” capturing the tender, humorous, and peculiar nature of Kaya’s songs on Oh My God. Though presented in a softer light compared to her previous works, the tracks remain unsettling and thought-provoking. — Brandon O’Sullivan

Fousheé: Pointy Heights

Fousheé’s latest musical venture, Pointy Heights, arrives as a mellow counterpoint to her previous raucous offering, softCORE. Named after her grandfather’s Jamaican property, this album skillfully melds various musical styles, showcasing Fousheé’s adaptability and creative vision. The record’s Caribbean undertones surface in tracks like “War,” which reimagines a ska pioneer’s production, and “Birds, Bees,” evoking Nassau’s dubwise pop era. Collaborating with Steve Lacy and Karriem Riggins, Fousheé crafts an eclectic soundscape spanning from the gritty “Still Around” to the buoyant “Loversland.” The album’s range extends further with “Do You Have a Soul?,” a dreamy disco number, and “Rice & Peas,” an unexpected fusion of Italo disco and early Chicago house. — Imani Raven

Honeyglaze: Real Deal

Honeyglaze returns with their second album, Real Deal, with a new direction in their music. Departing from their debut’s sophisticated, jazzy indie pop, the London post-punk trio explores influences from the ‘90s and 2000s emo, math rock, and progressive rock. Recorded live with Grammy-nominated producer Claudius Mittendorfer, the album draws from various inspirations. Bands like Pinback and American Football helped shape the sessions, giving the record a fresh sound palette. Anouska Sokolow’s riveting, spoken-sung vocals anchor Real Deal. Her lyrics confront themes of self-examination, alienation, and heartache, offering an intimate portrayal of personal struggle. The band’s accompaniment provides a stirring backdrop, highlighting the emotional nuances of Sokolow’s words. They deliver simple hooks and emphatic rhythms that underscore the narrative’s highs and lows. From the proggy opener “Hide” to the episodic closer “Movies,” Real Deal presents a multifaceted sound-based expedition that captures the desire for escape amidst personal turmoil. — Oliver I. Martin

Nilüfer Yanya: My Method Actor

Nilüfer Yanya’s third album, My Method Actor, her first for Ninja Tune, finds the West London artist refining her signature sound in an insular setting. Working solely with her regular collaborator and producer Wilma Archer during the pandemic, Yanya has crafted her most nuanced work to date, an evolution of the style she honed on 2019’s Miss Universe and 2022’s Painless. Yanya’s voice is the linchpin of My Method Actor, often blending a lower register melody with a breathy falsetto that mirrors her use of melodic basslines and delicately arpeggiated guitar. This dynamic interplay is enhanced by the ever-present hint of noise, as evidenced by the sinister, crackling feedback reminiscent of David Lynch that swells alongside gorgeous strings on “Ready for the Sun (touch).” Yanya’s adeptness at weaving droney textures into pop music is unparalleled in the current landscape. — Murffey Zavier

Tindersticks: Soft Tissue

In their 30th year as a band, Tindersticks have ventured into fresh terrain with their latest album, Soft Tissue. Drawing inspiration from classic soul and the Memphis sound, the record is a warm, inviting montage of sultry grooves, horn arrangements, and backing vocals that hearken back to the golden age of Stax Records. The album’s soul influence is most evident on standout tracks such as “New World,” “Nancy,” and “Turned My Back,” where one can almost imagine the late, great Charles Bradley stepping in for lead vocalist Stuart Staples. While they’ve flirted with a soul before on 1999’s Simple Pleasure, the full-on adoption of Stax-style arrangements conjures up a milieu of late-night, closing-time vibes, with lyrics steeped in romance, regret, and red wine. However, Staples’ distinct voice stamps Soft Tissue as a Tindersticks record and one of their finest to date. — LeMarcus

Yolanda Adams: Sunny Days

Gospel music superstar Yolanda Adams has released her first new studio album in nearly 13 years, Sunny Days. The album, delayed by the COVID-19 pandemic and her role in the TV drama Kingdom Business, features production and songwriting from gospel legend Donald Lawrence and Rock & Roll Hall of Famers Jimmy Jam and Terry Lewis. Adams shares messages of hope, resilience, and empowerment that have sustained her through life’s ups and downs. The album displays her powerful voice and uplifting spirit on songs just as the title track, “Blessings,” “Powerful,” and the Jam and Lewis-produced “When We Pray.” Adams, who has a close bond with Jam and Lewis, aims to encourage and inspire listeners with her music, fulfilling her role as a “cheerleader” for others. — Jill Wanassa

Nubya Garcia: Odyssey

Before Odyssey, Nubya Garcia released the acclaimed Source in 2020, embraced by club audiences, jazz heads, and critics worldwide. Nominated for the Mercury Prize, Source boldly melded modern jazz with Latin, Caribbean, and African influences. In 2021, she followed it with Source: We Move, a collection of remixes, and subsequently released numerous singles. Her second effort represents a major advancement in her artistry, showcasing unrestrained inspiration, focus, and creativity. Co-produced with Kwes, this release continues her collaboration with the longstanding quartet: pianist Joe Armon-Jones, drummer Sam Jones, and bassist Daniel Casimir. “Set It Free” introduces the ensemble’s trombonist and vocalist Richie Seivright. Casimir’s rhythmic breakbeats drive the song, providing a foundation for mysterious Rhodes keyboard passages and a blend of horns, reeds, winds, and reverb beneath Seivright’s playful vocals. On “We Walk in Gold,” Georgia Anne Muldrow contributes her voice to a cinematic soul track. Hand drums and sparse piano accompany Muldrow in the introduction and initial verses before Garcia’s saxophone introduces motifs inspired by Ethio-jazz. — Phil

Ka: The Thief Next to Jesus

Ka has become one of the most prolific and consistently exceptional underground rappers. Every project he has released over the past 15 years has been gripping and immersive, and The Thief Next To Jesus continues that tradition. Like his 2020 album Descendants of Cain, this new release scours into themes of religion, particularly how it intersects with race, freedom, and life itself. Ka favors hushed storytelling over catchy hooks, but this album’s soul, gospel, and blues samples provide a melodic immediacy that sets it apart from his recent work. As always, the album boasts a darkly beautiful exterior and a deep interior that reveals more with each listen. Investing time into exploring it is worthwhile. Sleep well, Ka. — Phil

Jaz Karis: Safe Flight

With multiple EPs and numerous singles already under her belt, Jaz Karis expands her musical horizons with her debut album, Safe Flight. This South London artist, a BRIT School alumna whose gospel roots influence her traditional R&B sound, named the album after messages she received while traveling between continents to write and record in the United States. A highlight is the lead single, “Met You at the Bar,” featuring Tone Stith. Karis gracefully bids farewell to her duet partner in this song, and the engaging bassline competes with their vocals for attention. Another collaboration includes British R&B singer Mahalia on “Nice Girls,” a gentle ballad where Karis subtly conveys jealousy, bitterness, and temptation. A mellow yet passionate ambiance infused with cosmopolitan sophistication prevails throughout Safe Flight. — Tai Lawson

Alan Sparhawk: White Roses, My God

Blending experimental sounds with cryptic lyrics, Alan Sparhawk’s White Roses, My God ventures into uncharted musical territory. The album’s tracks pulsate between skepticism and spirituality, echoing his upheaval following his bandmate’s passing. Sparhawk’s voice transforms from fragmented whispers to mechanically altered utterances, adding to the dynamic soundscape. Despite its predominantly kinetic energy, the record concludes with an affecting, introspective piece. Beyond this project, Sparhawk engrosses himself in various musical pursuits, from funk outfits to noise-rock ensembles. White Roses, My God emanates unfiltered emotion and artistic daring, potentially challenging longtime fans while drawing in new admirers with its intensity and groundbreaking approach. — Charlotte Rochel

Bilal: Adjust Brightness

Bilal’s first studio album in nine years, following the release of Live at Glasshaus just a couple of months prior, kicked off with the track “Sunshine.” This song conjures images of clouds parting after a tempest, embodying positive and negative exhilaration. No matter how brooding and tumultuous this modern cosmic slop becomes, it never fails to mesmerize. While live instrumentation permeates the album, it also leans considerably more electronic compared to Bilal’s previous full-lengths, crafting slow to midtempo grooves that, while never quite reaching breakneck speed, constantly feel poised on the precipice. Adjust Brightness sees him embracing a more electronic-tinged sound while retaining his inimitable vocal ability and the musicianship of his tight-knit collaborators. It’s a dynamic, storm-tossed montage that draws you into its intimate yet expansive world—a kaleidoscopic journey that enthralls even in its darkest moments. — Phil

MICHELLE: Songs About You Specifically

Building on the foundation of After Dinner We Talk Dreams and Heatwave, the New York-based collective ventures further into their unique fusion of classic R&B, soul, and alternative pop with Songs About You Specifically. MICHELLE  demonstrates a heightened proficiency in their distinctive approach to music-making. They invite those into their dynamic soundscape, filled with warm atmospheres and grooves that resonate from start to finish. While longtime fans might recognize the familiar aesthetic, the group’s unwavering dedication to exploring new creative territories ensures the experience remains fresh and charming. — Brandon O’Sullivan

Mustafa: Dunya

On his album Dunya, Canadian singer-songwriter Mustafa seamlessly intertwines feelings of anguish and despondency with other nuanced emotions, deftly aided by collaborators such as Hessman, DJ Dahi, Aaron Dessner of the National, and Rodaidh McDonald. Their expert production imbues the compositions with multifaceted candences and textures, forming a lush sonic palette that captures the complexities of Mustafa’s emotional landscape. In “Hope Is a Knife,” lambent Rhodes piano and mellifluous flute melodies intertwine beneath Mustafa’s breathy vocals, while on “Leaving Toronto,” a recurring looped rap verse, presumably from a close associate, punctuates the track. These inventive arrangements underscore folk music’s expansive and eclectic nature. Mustafa adroitly incorporates instruments like the oud and masenqo alongside rap percussive elements, paying homage to the myriad genres and locales shaping his singular artistic vision. — Ameenah Laquita

Dawn Richard & Spencer Zahn: Quiet In a World Full of Noise

Quiet in a World Full of Noise originated from Spencer Zahn’s solo piano recordings, captured after a breakup, where his instrument was subtly retuned to match the room’s acoustics, yielding an unconventional sound that reflects his unsettled state. Zahn initially intended to release these pieces when Dawn Richard heard them and felt compelled to contribute. While Zahn navigates personal heartbreak, Richard confronts deeper traumas, including the murder of her cousin and the complexities within her family relationships, particularly concerning her mother and critically ill father. Themes of self-preservation thread throughout the album, notably in the delicate title track and later in “Diets,” where Richard softly tightens her inner circle. Quiet in a World Full of Noise emerges as a kind of survival mechanism and the most remarkable album they ever created. — Jamila W.

Geordie Greep: The New Sound

Geordie Greep dives headfirst into a undaunted mix of jazz fusion, mambo iterances, and progressive rock. Collaborating with over 20 guest musicians, he crafts a sound that feels wide-ranging and intimately detailed. The layers of instruments and styles combine to create a rich experience that’s hard to pin down yet easy to lose oneself in. Greep’s perusal of human vulnerability is at the heart of The New Sound. His lyrics tell stories of shattered individuals wrestling with their own choices and the harsh twists of fate. His portrayal of these characters is raw and honest, making their struggles feel deeply personal. “The Magician,” a notable track stretching over 12 minutes, captures this essence perfectly. It’s a worthy adventure through themes of regret, control, and a lingering sense of disillusionment. The song unfolds gradually, drawing you into its perplexing emotional landscape. With this solo project, Greep steps beyond the chaotic energy of black midi, opting for a more focused and emotionally charged approach. — Brandon O’Sullivan

Yasmin Williams: Acadia

With Acadia, her first album for Nonesuch, guitarist Yasmin Williams unravels a dynamic montage that roams between the worlds of John Fahey and American Football while venturing into blues, bluegrass, jazz, and African instrumentation. Nearly four years after Urban Driftwood’s slow-burning breakthrough set her on this path, Williams’ largely instrumental, acoustic guitar-driven compositions on Acadia expand that album’s palette and intensify its intimacy. On “Virga,” indie folk quartet Darlingside adds haunting vocals, while Aofie O’Donovan contributes wordless intonations to “Dawning.” These collaborations suffuse Acadia with an iridescent array of textures that surpass the austere beauty of Williams’ solo work without sacrificing the hushed ardor that made Urban Driftwood so riveting. — Phil

Immanuel Wilkins: Blues Blood

Inspired by Daniel Hamm’s heart-rending words—one of the Harlem Six wrongfully accused in 1964—the album looks into themes that remain unsettlingly relevant themes today. Co-produced with Meshell Ndegeocello, Immanuel Wilkins gathers his quartet featuring pianist Micah Thomas, bassist Rick Rosato, and drummer Kweku Sumbry. Guests like drummer Chris Dave, guitarist Marvin Sewell, and vocalists Ganavya, June McDoom, Yaw Agyeman, and Cecile McLorin Salvant join them in confronting ongoing racism, violence, displacement, class struggle, and oppression that continue to shape the lives of many in modern society. Blues Blood elevates 21st-century jazz, standing alongside influential works like Sonny Rollins’ Freedom Suite and Duke Ellington’s Black, Brown and Beige. “Motion,” with lyrics penned by New York-based singer June McDoom, delivered with limpid clarity, surrounded by atmospheric electronics as the ensemble extends across modern vocal jazz as Yaw Agyeman’s vocals soar over an abstract experimental piece that marries Afro-futurist soul with post-bop and modal jazz on “If That Blood Runs Fast.” — Brandon O’Sullivan

Samara Joy: Portrait

Samara Joy returns from her relentless experience abroad, distilling her experiences into Portrait—an album that paints the highs and lows of the road onto a rich musical canvas. She collaborates with Grammy-winning trumpeter Brian Lynch to knock out eight tracks that echo the profound connection forged with her touring octet—the arrangements pulse with the energy of their shared chemistry, both cohesive and spirited. The iconic Van Gelder Studio captured the album with assiduous precision, allowing Joy’s lyrical brilliance to shine. She incorporates her introspective words with the timeless compositions of Charles Mingus and Sun Ra, creating new pathways through familiar grounds. Through her spellbinding interpretations of jazz standards, she pays homage to tradition while embracing many influences. — Jamila W.

ELUCID: Revelator

ELUCID breaks new ground by collaborating with co-producer Jon Nellen to craft a noisier, glitch-driven electronic sound while embracing live drums. This approach departs from his work with Armand Hammer on We Buy Diabetic Test Strips, where live instrumentation took center stage. Drawing significant influence from Miles Davis’ avant-garde 1974 piece “Rated X,” the connection is unmistakable. “Rated X” stands among Davis’ most experimental and unsettling compositions, and ELUCID’s rapping would seamlessly meld with its chaotic essence—much like it does throughout Revelator. Spanning 15 tracks, ELUCID intertwines deeply experimental soundscapes with his ominous vocal delivery, resulting in one of his darkest and most unconventional albums to date—in the most captivating way. His Armand Hammer partner billy woods joins him on two songs, with Creature and Skech185 making the only other guest appearances. The rest of the album drenches you in ELUCID’s distinct psyche, offering a fascinating journey into his delightfully unconventional mind. — Phil

Laura Marling: Patterns In Repeat

Inspired by a candid exchange with filmmaker Darius Marder, Laura Marling searches through the intersection of motherhood and creativity in her album Patterns In Repeat. Expressing her worry that becoming a mother might take away her artistry, she was met with Marder’s reassurance that the two could coexist and even enhance one another. A month later, Laura became pregnant, leading her to write affecting songs that examine birth, life, caregiving, childhood, and the existential reflections that accompany new beginnings. Recording in her home to stay near her daughter, her subdued vocals often result from efforts not to wake the newborn, while subtle sounds of her child and the family dog weave into the background. After completing her recordings, she worked remotely with Rob Moose on string arrangements, purposefully excluding drums to keep the sound gentle. This tender album accentuates Laura’s trailblazing within folk music, drawing from Leonard Cohen and Sandy Denny yet remaining distinctly herself. — Oliver I. Martin

Ché Noir: The Lotus Child

Under the Buffalo skyline, Ché Noir crafts her long-awaited The Lotus Child, her third studio creation. Through partnerships with TCF Music Group, Apollo Brown, and her self-produced After 12, each record sharpens her artistic voice. Food for Thought, Noir or Never with Big Ghost Ltd, and The Color Chocolate showcase her maturing penmanship. Nine months past her previous offering, The Lotus Child demonstrates precise artistic timing. “Jodie Landon” rings with crisp percussion and upbeat, flowing aesthetics, speaking to universal enlightenment. “Wis Love” shifts toward brooding contemplation, honoring matrimonial bonds. “Choices” chronicles periods of uncertainty, while “Angels” pairs Statik Selektah’s gospel-tinged production with remembrances of Noir’s brother and cousin. — Tai Lawson

Ruthven: Rough & Ready

Like any other rising artist we come across, Ruthven unleashed loosies of singles before giving us his full-length debut with Rough & Ready. "Don't Keep It to Yourself" is three years old, but the electric guitar groove still fits within the album's context. Teaming up with A.K. Paul, the sound is modern sounds of today's time, but you can hear the influences of The Purple One on the one-two punch of "Itch" and "Thru the Walls," where you can listen to how the melodies that are illusorily abstruse and frequently circulate in unforeseen places. By ending the record with "Drive It," it is unpredictable for splitting the piano ballad with a Doobie Brothers-inspired latter half where his singing plays out like an instrument. With songs about his various love experiences, Ruthven delivered an eccentric body of work, even if it didn't get the full attention it deserved. — Brandon O’Sullivan

Tyler, The Creator: Chromakopia

Tyler, The Creator paints a picture of personal growth and introspection much different from his earlier work. It’s like watching a guy who’s spent years making noise finally hit pause and take a deep breath. Think of it as when you revisit your high school diary and cringe at how dramatic you were, but also give yourself a mental high five for surviving it. Tyler juggles heavy themes throughout the album, from grappling with his father’s complicated legacy in “Like Him” to the turbulent seas of impending fatherhood in “Hey Jane.” “I Killed You” feels like Tyler put his old self in the passenger seat only to drive through his conscience like a New Orleans parade. By encouraging Black folks to appreciate their authentic selves, it’s clear Tyler’s been on one heck of a self-awareness trip. And let’s face it, we’ve all wondered if we’re turning into our parents—he just turned that existential moment into art. While Chromakopia has enough heartfelt intensity to fuel a family reunion, the carefree, swaggering tracks like “Rah Tah Tah” and “Sticky” let Tyler breathe. His past may have been a rock-filled backpack, but he’s learning to put some stones down—though sometimes he can’t resist showing them off. — Phil

Freddie Gibbs: You Only Die 1nce

Freddie Kaine is never the one to pull no punches in his raps. Following $oul $old $eperately, he returns to the independent scene to confront uncomfortable truths about fame, crime, and redemption. You Only Die 1nce is an unflinching depiction of life’s volatility, articulated through Gibbs’ sharp and unyielding lyricism, which dissects the core of personal and collective struggles with a clarity that reveals and challenges the status quo. “Brick Fees” reflects on the broader implications of his experiences, which paint a vivid portrait of the impermanence of street credibility and the relentless pursuit of respect and self-preservation in a treacherous landscape. With his visceral prose, “Rabbit Island” paints a convincing picture of the razor-thin balance between aspiration and peril while underlining his struggle to maintain credibility while grappling with the pressures to evolve: “If I switch it up, changin’ my message, then they ain’t gon’ feel me.” — Javon Bailey

Contour: Take Off from Mercy

From the very start, the qualities are evident as Contour issues a soft, doleful plea, barely discernible amidst the intertwined bass and guitar lines. He finds himself in a bewildered, desperate state, struggling to stay upright. Regardless, he manages to regain his balance for a 40-minute session of cathartic musical expression. His trembling voice delivers poetic lyrics filled with unease, delving into the complexities of intrapersonal, interpersonal, and societal dynamics. The ballads often feel spontaneous, as if improvised and dubbed on the spot. Take "(re)Turn," for instance—one of the rare tracks with a rhythm that suggests progression rather than stasis. Contour's reasoning and questioning are subtle yet deliberate until the drums vanish and return in a chaotic form, echoing the album's recurring themes of instability and translation. And with the follow-up from the underrated Onwards!, Take Off from Mercy blends various genres by showing how his words are filled with profusion, which is incredible. — Imani Raven

Cavalier & Child Actor: Cine

Cavalier made waves earlier this year with the release of his underground hit, Different Type Time, in April. Now, he’s returned with another album, Cine, featuring a cover inspired by a 1975 Jean-Paul Goude photo and fully produced by Child Actor, who also contributed to Different Type Time. The album includes two tracks featuring Quelle Chris, with one also showcasing ELUCID. This project was released under billy woods’ Backwoodz Studioz label. Woods, ELUCID’s Armand Hammer partner, played a crucial role in initiating the collaboration between Cavalier and Child Actor, who first connected at a pop-up release show for Armand Hammer’s album from last year, We Buy Diabetic Test Strips. Now residing in New Orleans, Cavalier takes you straight into the heart of his old neighborhood, sharing vivid, personal narratives. Child Actor complements Cav’s storytelling with a diverse backdrop from jazzy boom bap to more experimental, psychedelic elements. Despite already delivering a major highlight in his discography this year, Cav’s ability to release another album of such depth and cinematic quality is truly remarkable. — Harry Brown

Kendrick Lamar: GNX

Drawing on his status as a trailblazer in the hip-hop world, Kendrick Lamar’s surprise release GNX challenges expectations by veering away from his typical conceptual framework. This time, the album lacks a central theme or narrative, opting for a collection of tracks that spotlight his West Coast roots without relying on the iconic sounds of classic local legends. The album’s production is laden with modern underground LA influences, giving it a distinctly gritty feel that contrasts with the polished sounds Lamar is known for. “Wacced Out Murals” and “Reincarnated” exhibit Lamar’s introspective and aggressive lyrical style, while collaborations with new voices attempt to bring local flavor. Standing in thematic opposition to its predecessor, Mr. Morale & The Big Steppers, his sixth release takes a more straightforward approach, with Lamar asserting his cultural dominance and talents through bold tracks. Songs such as “Man at the Garden” and “Hey Now” reflect a mix of self-aggrandizement and commentary on legacy, featuring moments where Lamar remains rooted in his strengths—contemplative storytelling, boundary-pushing production, and commanding performances—yet also hints at reaching for themes and relationships that don’t quite align with his established identity. — Brandon O’Sullivan