CTRL+ALT+Repeat: The Best Albums of 2024
After a year that birthed breakout stars, iconic music moments and generation-defining songs, 2024’s soundtrack is coming to its end.
There’s no better way to sum up 365 days worth of music than through the industry’s staple release method: albums. As scene dominators and newcomers alike graced this year’s New Music Fridays with comprehensively stunning LPs, here are the albums Off the Record couldn’t get enough of in 2024.
Mk.gee, Two Star & The Dream Police- Feb. 17
Reegan-Tate Johnson, Co-Editor-In-Chief
Known for his rather shape-shifting sound, Mk.gee’s Two Star & The Dream Police is a heavy testament to that. The 12 tracks take emptiness and negative space in with prominent individuality. Landing between familiar and foreign, the album anchors itself with the comfortability of “I Want,” where he takes on the wishful hero hat, and “Little Bit More,” a song that unveils itself under a foggy facade. Yet, Mk.gee twists around himself sonically in “Rylee & I,” a scratchy and compelling composition, and “Candy,” an informally pop-adjacent song.
Although each track finds its disconnect, they are all interwoven with warm and sharp guitar tones, moments of self-recognition, and impressive textures, making it a stride in modern experimental music. Each listen is a new discovery, understanding, or another aspect of relatability that brings you closer into the Two Star universe, and justly so.
Maggie Lindemann, HEADSPLIT - March 8
Cece Faulkner, Interview Editor
Maggie Lindemann in Chicago last year. Photo by Natalia Pfeiffer.
Maggie Lindemann is one of the most incredible artists spearheading a new wave of women in alternative metal. Her second EP, HEADSPLIT, brought so many different elements to the table. It’s filled with heavy guitar riffs, electronic details and even some stripped back, vocally-oriented moments. Songs likes “24” and “taking over me” exemplify her ability to make hard-hitting rock tracks, while “you hold my love” displays her knack for writing gut wrenching love songs. She dives deep into what it means to be in an all-encompassing love and portrays it in many beautiful ways. Not only that, but she successfully bounces from many different genres while still building a sound that is so uniquely her own. HEADSPLIT is a perfect reflection of Lindemann’s progress and growth as both an artist and a person.
Lizzy McAlpine, Older - April 5
Cassidy LaPointe, Senior Writer
Lizzy McAlpine’s third studio album, Older, marks a deviation from the lighter pop sound of her sophomore album Five Seconds Flat, opting for a more folk-rock style — and arguably, the record is all the better for it. Older’s lyricism seems heavier and notably less green than its predecessors, a direct indication of McAlpine’s artistic — and personal — maturity. In the middle of the recording process, McAlpine enlisted Ryan Beatty’s band for help. Their work especially shines on tracks like “All Falls Down” and “Broken Glass” — the instrumentation is lush,powerful and haunting when coupled with McAlpine’s dulcet voice and biting words.
Six months after Older’s release, McAlpine dropped Older (and Wiser), which might be one of my favorite deluxe albums, full stop. The five bonus tracks easily fit into Older’s zeitgeist, a natural continuation of McAlpine’s bittersweet authenticity. Older is a clear catharsis for McAlpine, a record that’s raw and honest in a way we haven’t seen her, and a symbol of her artistic evolution.
Maggie Rogers, Don’t Forget Me - April 12
Dany Mireles, Staff Writer
Don’t Forget Me is a heartfelt exploration of emotions coupling Maggie Rogers’ signature earthy folk-pop sound. The album feels intimate and expansive, as Rogers’ vocals soar through each track with power and vulnerability. Don’t Forget Me features songs like “So Sick of Dreaming” and “It Was Coming All Along” that stand out for showcasing the singer’s raw lyricism. The production of the record feels polished and warm, accompanying her storytelling with a rich soundscape. With a smoother and more stripped-back sound than her previous works, Don’t Forget Me cements Rogers as one of today’s most authentic artists in the industry.
Billie Eilish, HIT ME HARD AND SOFT - May 17
Brooke Shapiro, Music Extras Editor
Since their days releasing “ocean eyes” on Soundcloud, Billie Eilish and Finneas O’Connell have been a game-changing sibling duo in the world of pop. Songwriting is a labor of passion for the pair, and their mastery of the art is showcased at its best in Eilish’s third studio album, HIT ME HARD AND SOFT. A ten-track exploration of self growth, female sexuality and labyrinthine relationships, HIT ME HARD AND SOFT is an unapologetic ode to honesty.
The chart success of the love letter-like “BIRDS OF A FEATHER” speaks for itself, but it's the epicness of tracks like “CHIHIRO” and “THE GREATEST” that cements the album’s brilliance. From blossoming synths to mid-song sound switch ups and seamless transitions between tracks, listening to HIT ME HARD AND SOFT for the first time is a mind-bending sonic experience. But, after listening to the album again and again throughout 2024, I can confirm that pressing play on track one and listening to the record from top to bottom is a gift to the ears that never gets old.
Bad Omens, CONCRETE JUNGLE [THE OST] - May 31
Madison Avery, Music News Editor
Metal band Bad Omens has consistently proven they can push genre boundaries and set themselves apart from the rest creatively. Their sixth album, CONCRETE JUNGLE [THE OST], is believed to tie to the band’s eponymous comic book series and consists of a variety of new songs, collaborations, reworked/remixed tracks and live performances. To separate each section of the 26-track record, there is a cryptic voice message, which fans believe hides a hidden message that alludes to Bad Omens’ new era. The band scored features from Wargasm, Poppy, Erra, Thousand Below and many more. Each track is mixed to perfection and the amount of attention to detail is evident, with Noah Sebastian’s siren-like vocals reeling you in alongside the addicting instrumentals.
Raveena, Where the Butterflies Go in the Rain - June 14
Nymisha Mattapalli, Contributor
Raveena’s stunning third studio album, Where the Butterflies Go in the Rain, feels like sunshine finally peeking out after a rainy day. Perhaps her most diverse project as it pulls from jazz, r&b, country, folk and Indian classical music, the entire album maintains a cohesive, dreamy feel. She also delivers some of her strongest vocal moments on this album, with a plethora of riffs, runs and multi-layered harmonies. True to the title, this body of work provides a sanctuary for its listeners as Raveena croons about love and childhood alongside the album’s refined production.
Clairo, Charm - July 12
Avery Heeringa, Contributor
Clairo in New York City for her Charm Tour. Photo by Mia Barić.
On her third album, bedroom pop’s pouty-lipped darling Clairo merges the sounds of her first two LP’s to create her sleekest, most cozy record to date. Charm layers fuzzy, analog textures with the creamy, opaque smoothness of the singer’s hushed whisper across songs that capture mid-twenty-something-year-old musings on free flowing love, infatuation and longing to be sexy.
Released right as the midsummer purr of cicadas reached its apex and as warm days came to a close with peach-colored sunsets well after 8 p.m., Charm displays a singer who seems to have found the sound that befits her best. Though internet discourse may at times encourage one to miss the distinctly bedroom pop sound of 2019’s Immunity, Clairo’s third record harnesses her talents best: songwriting, hushed vocal delivery and instrumentals that evoke images of dropping the needle onto a spinning disc of wax lit only by glowing candles nearby. As they say, the third time tends to be the “charm.”
Fontaines D.C., Romance - Aug. 23
Mae Saunders, Contributor
Romance is an incredible eleven-track album that presents the very best that Irish post-punk band Fontaines D.C. has to offer. The album takes a unique but logical route away from their previous releases, highlighting a level of production and artistic curation that the band had not previously reached. Romance features several sure-to-be-genre-defining classics like “Starburster” and “Bug,” alongside strong supporting tracks like “Death Kink” and “Sundowner.” It truly is a no-skip album. The buzz around Romance has yet to subside since its release four months ago, even winning a Grammy nomination in the “Best Rock Album” category. One thing’s for sure: we will continue to hear about the significance of Fontaines D.C.’s Romance in the years to come.
Magdalena Bay, Imaginal Disk - Aug. 23
Grace Moioli, Senior Writer
Toward the end of the summer, Magdalena Bay released a stunning retro-futurist synth-pop record that pulled them further into the spotlight than ever before. Imaginal Disk was the result of duo Mica Tenenbaum and Matthew Lewin leaning into the art that inspired them when they first met. Drawing from the music of Björk, Paul McCartney and Electric Light Orchestra, as well as films like Suspiria and Flash Gordon, they created a sci-fi universe to serve as the basis for their concept album. The freshness of Imaginal Disk’s otherworldly sound, captivating storytelling and artful visuals earned them critical acclaim and drew in a wider audience than Tenenbaum and Lewin anticipated. In the process, it caught the attention of Grimes, who remixed their song “Image” months later, putting a sinister spin on the dance-worthy track with space lasers and menacing synth chords. As superfans of the Canadian synth-pop legend, this collaboration was a full circle moment for the pair and further proof of Imaginal Disk’s impact on music this year.
Noah Kahan, Live From Fenway Park - Aug. 30
Madison Avery, Music News Editor
Noah Kahan in Milwaukee last year. Photo by Natalia Pfeiffer.
Noah Kahan has taken the world by storm ever since he released his hit album Stick Season in 2022, and over the summer, Kahan played two sold out shows at Fenway Park in Boston. Being his most meaningful hometown shows, Kahan then put out a live album from the shows . Live From Fenway Park is a moving live album and gives you goosebumps just from the pure emotion and passion that pours from Kahan’s voice. Throughout the album, Kahan stops multiple times in between songs to talk about how grateful he is to be there and share his music. Kahan of course had to bring out some special guests, which included Gracie Abrams, James Bay, The Lumineers, Mt. Joy and, of course, his family. To add to the surprises, Kahan also debuted a new song called “Pain is Cold Water,” a heart crushing song about mental illness. The pain drips from Kahan’s voice as he guides the crowd through his chilling music at one of the biggest nights of his career.
Blossoms, Gary - Sept. 20
Sinead Cochrane, Contributor
Who knew that an album inspired by a stolen Scottish eight-foot fiberglass gorilla would result in one of the best indie pop albums of the year? Gary is the fifth album from English indie rock band Blossoms and it is arguably their best yet. The album feels like one they have been trying to make for years, as it sounds like the band has fully come into their own, from the music to the aesthetic. It has all the typical Blossom elements: synths, unusual lyrics and unmistakable vocals from Tom Ogden, the band’s lead singer. This album transports you back to 80s pop music with a modern indie twist. Gary is quintessentially Blossoms: pure fun.
Amyl and The Sniffers, Cartoon Darkness - Oct. 25
Seay Howell, Senior Writer
Amyl and The Sniffer’s third album, Cartoon Darkness, is a beast of fun vulgarity packaged in rowdy riffs and pump-up melodies that are best listened to while screaming along. If you’re looking for some new daily affirmations to bring into 2025, try the expletive-packed lyrics of “Jerkin,’” such as “You are ugly all day, I am hot always!” Even if Cartoon Darkness was your introduction to these punk Australians, you’ll likely recognize frontwoman Amy Taylor, who has made a name for herself with her FAFO attitude and femininity-celebrating, 70s-inspired skimpy outfits.The song “Tiny Bikini” is an ode to her scantily-clad style. The cocky, irreverent spirit of Cartoon Darkness can be summarized by “U Should Not Be Doing That,” a diss track mocking the hypocrisy of critics. After all, what’s more punk rock than responding to raised eyebrows and moral soapbox finger-wagging with their own figurative (and sometimes literal) middle finger?