The 40 Best Albums of 2024 (So Far)

We're halfway through 2024, and tons of albums have come out. This is our honest list of the best ones so far. We think other media lists are funny; we don't try to make everyone happy with ours.

Looking back, this time last year was marked by the celebration of outstanding albums from both rising stars and seasoned indie artists. However, there was a noticeable absence of releases from top-tier superstars. It turns out many were hard at work in their studios, aiming for a Spring/Summer 2024 release. Some of these projects were challenging and missed the mark, but others emerged as bold, legacy-enhancing experiments.

Even for those not drawn to country influences, 2024 has proven to be a stellar year for music. These highlights cover only the first half of the year. Discover our top picks for the best albums of 2024 so far below.

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

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

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, Church delivers 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

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

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.

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

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

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

Cavalier: Different Type Time

Cavalier’s rapping exudes an almost supernatural elegance and calm. Though he hails from New Orleans, he’s linked up with billy woods’ Brooklyn-based Backwoodz Studioz for Different Type Time. On this project, the MC’s delivery is effortlessly fluid, akin to a star athlete moving through a game with an uncanny sense of timing and poise. The title track sets the tone, exploring concepts of time and trends, followed by “Déjà vu / Tydro ’97,” where Cavalier employs geometric imagery over a thick, funky beat. In “All Things Considered,” he navigates Wino Willy’s cascading piano melodies to reach a realization. The album concludes on a contemplative note with “Flourish,” where associate producer Quelle Chris’s shifting backdrop underscores Cavalier’s introspective thoughts, culminating in a smooth assertion of his impeccable style. — Harry Brown

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

Nascent: Don’t Grow Up Too Soon

Nascent, whose real name is Christopher Ruelas, is a distinguished producer with Mexican-American roots and operates out of Chicago. His impressive list of production credits includes major artists like Ye (formerly Kanye West), SZA, Chance The Rapper, and 50 Cent. The album titled Don’t Grow Up Too Soon carries an unmistakably clear message. This motto is one that Chicago-based producer Nascent has come to embrace and is now eager to impart to an audience open to living by these words. Nascent’s latest project highlights his development, marking his most sophisticated work to date while still maintaining a playful edge. In one track, Ab-Soul delivers a reflective verse over a somber jazz sample, emphasizing the value of taking your time with the phrase, “Live slow, die old.” By contrast, another track presents an energetic hit featuring BJ the Chicago Kid, Maxo Kream, and Paul Wall. This juxtaposition creates a cohesive duality within the album. — Harry Brown

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

Sinéad Harnett: Boundaries

Sinéad Harnett’s third album is a cathartic and purifying experience, which Harnett explains is her way of confronting past traumas, processing them, and ultimately releasing them. She navigates the delicate balance between acknowledging pain without becoming consumed by it and the necessity of letting go without fully confronting it. Having relocated to Los Angeles amid the pandemic, Harnett has expanded her musical horizons. It’s been three years since her previous album, and although the album’s scope and scale have grown, her writing remains deeply personal and introspective in Boundaries. — Phil

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

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 Fold remains 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

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

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

Tha Dogg Pound: W.A.W.G. (We All We Got)

Even though Tha Dogg Pound hasn’t been in the spotlight as much lately, they are most fondly remembered for their 1995 debut album Dogg Food. Recently, they have teamed up with West Coast icon Snoop Dogg to release a full-length collaborative album called W.A.W.G. (We All We Got). Snoop Dogg, an early influence on their sound and a cousin to Daz Dillinger, joins them in this project. With this album and beatmakers from DJ Premier, Mike & Keys, Rick Rock Battlecat, and Soopafly, Tha Dogg Pound are far more than a mere nostalgia act relying on their earlier hits. Although this record might not be heralded as the best album of the year for others, it is bound to be played frequently. Fans who miss the genuine West Coast vibe will particularly appreciate its return, which is evident throughout this project. — Brandon O’Sullivan

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

KAYTRANADA: Timeless

Displaying remarkable consistency, KAYTRANADA continues to hone his fusion of house, compas, hip-hop, and diverse global dance sounds with his latest offering, Timeless. The album resembles his first two in its structure and enlists numerous old and new vocal partners. Much like Bubba, this work maintains a brisk pace, with only one track exceeding four minutes. Among the big-name collaborators, his younger sibling Lou Phelps, who has been working with KAYTRANADA since their collaborative efforts as the Celestics in the 2010s, stands out. Impressively, Phelps makes his debut on a KAYTRANADA album here, featured prominently on “Call U Up.” Another banger album was released just in time for the summer. — Oliver I. Martin

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

Fana Hues: Moth

With just one reference to Fana Hues’ songs in your playlist, if you’re content with her appearance on Tyler, The Creator’s last album—but trust us, give them a spin too—she’s got that very calming voice and real taste when it comes to music. Focused on Hues’ vocals, which are hypnotic and tranquil, Moth’s soundscapes evoke a sense of peace. Busting out of her pattern as a producer, she exec produces 2022’s follow-up, the riotous ‘R&B’-leaning “Rentals” and “Paper Tigers,” the lead single from Moth. The Californian singer has forged a melodic trip through soundscapes deriving largely from the psych-loving new soul palette and addressing matters of the heart. — Tabia N. Mullings

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 Honestly follow-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 does what the hell she wants. Big for You is partly artsy-pop/part soul musician exploring some of the most extraordinary sounds in her debut album and otherworldly. Zsela’s soft-low countertenor brimmed with elasticity and magic. On super smokey “Moth Dance,” there's a burst of energy that's reminiscent of FKA Twigs (and yes, this co-production credit should go to Daniel Aged, who also works with both girls AND is responsible for much lovelier electronica experimentation than anything you’ve ever heard). Though she sounded restrained and under control during “Still Swing”—which had moody, thinking-out-loud piano parts—you sense that given the right motivation, she’s got quite the walloping power inside of her. — 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. His talent as a songwriter later shone bright with the penning of “She Got Her Own,” a track that climbed to number two on the R&B/hip-hop charts. 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—a blend that defies easy genre classification. From R&B to Pop to Yacht Rock, Lucky Daye proves he will continue raising the bar in his field. — Brandon O’Sullivan

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Bonus:

Honorable Mentions:

Keyon Harrold: Foreverland

Rhymefest: James & Nikki: A Conversation

Shaé Universe: Love’s Letter

Ol’ Burger Beats: 74: Out of Time

Heems & Lapgan: LAFANDAR

Jordan Mackampa: WELCOME HOME, KID!

Erick the Architect: I’ve Never Been Here Before

Jae Skeese & Superior: Testament of the Times

MIKE & Tony Seltzer: Pinball

Moor Mother: The Great Bailout

Real Bad Man & Lukah: Temple Needs Water. Village Needs Peace.

Alice Russell: I Am

Devin Morrison: Dreamsoul Ballads

Fabiana Palladino: Fabiana Palladino

Blue Lab Beats: Blue Eclipse

The Amours: Changes

Ibibio Sound Machine: Pull the Rope

Saigon & Fredro: The Jordan Era

CRIMEAPPLE & Big Ghost Ltd: Bazuko

Marsha Ambrosius: Casablanco

Previous Industries: Service Merchandise

EP Shoutouts:

Che Noir: The Color Chocolate, Vol. 1 - EP

Annie Tracy: ACT II - EP

Alicia Creti: Self/Less - EP

Tyler Daley: Son of Zeus - EP

Baby Rose & BADBADNOTGOOD: Slow Burn - EP

Cash Lansky: Man of the House

Flwr Chyld & Grimm Lynn: Café Noir - EP

Vanilla Is Black: U.Aint.Neva.Lied!

Durand Bernarr: En Route - EP

Oddisee: And Yet Still - EP

IAMGAWD & Clypto: More Suede (BS2.5) - EP