2024 is almost over…that’s means it’s time for a celebration! The Milk Crate staff picked 25 of the year’s best albums—15 honorable mentions and a very special ranked top 10. Follow along to reminisce on a great year for music with us. As always, thanks for reading!

honorable mentions

i lay down my life for you by jpegmafia

Jpegmafia’s fifth studio album, I Lay Down My Life For You, encapsulates the chaotic and topical pop culture moments of 2024. So it feels wrong to make an end of year wrap and not give this album its flowers. From allusions to America's foreign policy to features from rappers like Vince Staples and Denzel Curry, I Lay Down My Life feels like a time stamp of the year. Jpeg used this album to charter new production territories, sampling traditional Brazilian tracks and gospel hymns in tandem with electronic chopping and looping. This album was an interesting release in the atmosphere of re-releases and remix tracks (no digs at remix tracks–I love a good remix), and its ability to produce a world tour. This album feels like the introduction to more dance heavy electronic work from Jpeg in the future. —Rachel Charles

Havens by Alan Licht

On his first solo release since 2015, Alan Licht meditates with the strings of his guitar. Licht’s instrumentals burst with patterns, spreading from finger-picked romances to fuzzy meshes of noise, all at once ambient, lyrical, and empathetic. Havens is a wonderfully singular work; Output that calls back to Licht’s sensibilities in the avant-garde while bringing along the quirk and appeal of a home-spun folk tune. At base, it’s explorative guitar playing done by one of the greats, a warm, eclectic collection of recordings which urge you to spend time inside them. —Nathan Hilyard

P.O.P. by Marina Satti

It’s rare that someone known for participating in the Eurovision Song Contest makes something as fascinating as this EP. Marina Satti’s P.O.P. is a freewheeling and impishly chaotic collection of bangers perfect for fans of artists like M.I.A. and Rosalía. Opener “TUCUTUM” is a messy, out of step, onomatopoeic banger, while single “ZARI” has some of the most beautiful, soaring vocals I’ve heard this year. This is a fascinating, underrated project that could only come about when an artist is truly themselves. —Bennett Himmel

HIT ME HARD AND SOFT by Billie Eilish

Some could say that Billie Eilish is the voice of our generation. Yet again, she proves to be a powerful force on her latest album: HIT ME HARD AND SOFT. She showcases a newfound maturity on this record, conquering the whispering allegations with songs like “CHIHIRO” and “THE GREATEST” while still serenading listeners with “WILDFLOWER” and “SKINNY.” On this album, she experiments with pop and hyper-pop with songs like “BIRDS OF A FEATHER,” and “L’AMOUR DE MA VIE.” Although the album only has ten tracks, each song packs a powerful punch. Eilish didn’t lie: some songs hit you hard, while others hit you soft. —Delaney Roberts

Melt the honey by packs

How’s this for some mega chill girl music? PACKS’ latest album–a 28-minute breeze–is meticulously lazy and sonically vivid. The warmth of the Mexican recording studio where Melt the Honey was crafted sprawls and lingers from the introductory synths on “89 Days” all the way to the closing murmurs of “Time Loop.” Lo-fi and gritty, standout track “AmyW” keeps the listener’s attention, strategically placed halfway through to let that good, good guitar distortion shine. The vulnerable lyricism and funky noise on the album’s latter half (“Her Garden,” “Paige Machine,” “Missy”) prove that PACKS is at the top of their game, slacker rock and all. —Sofia Giarrusso

AMAMA by Crumb

Mmmmm, psychedelic goodness. Crumb is an influential force that came out swinging with their 2016 self-titled EP, and has only upped the ante since. This year’s AMAMA brought the group’s most polished work yet. While this cleaner take often backfires for other experimental artists, Crumb somehow balances precision and all out chaos without feeling commercial. Take the titular track, “AMAMA,” as example: the almost haphazardly distorted vocals paired with the bitchin’ beat takes us on a glorious, hazy ride. Calmer vibes follow with “(Alone in) Brussels” and “Sleep Talk” as the synthy bass of “XXX” closes out yet another collection of tasty tunes by Crumb. —Sofia Giarrusso

One More Thing by Lime Garden

The Brits of Lime Garden remind us that rock can still be fun on their debut album. From top to bottom, they delight with a plethora of headbanging tracks. Singles like “Love Song” and “Nepotism (Baby)” are reminiscent of the golden days of garage rock with a slight electronic tinge. Personal favorite “Pop Star” prances through an electronic frenzy of nihilistic lyrics and burnt-out apprehensions. A handful of slower, earnest tunes scatter the second half of the record with “Looking” being a standout closer. It’s evident Lime Garden’s future is promising, and One More Thing is a clear indicator of who just might be the next stars of indie. —Sofia Giarrusso

The Collective by Kim Gordon

Sometimes, as artists age, they lose their edge. Thankfully, Kim Gordon proves cool is immortal and great music has no age limit. The Collective speaks to a brain-fogged, hive mind generation. It’s a collection of anthems for looking at your phone. Gordon recites lists: things to do, drugs to take, chores to be done, all peppered over rumbling, distorted trap-rock beats. The Collective is a once-removed masterpiece, songs so warped and cracked they never fully sink into a translucent groove. Instead, Gordon layers years of punk rock with years of buying and selling, songs so frustrated they’re bored, yet still ripping with her immortal rock-chick energy. —Nathan Hilyard

Tyla by Tyla

I’m ashamed to say I’ve never met a pretty girl from Jo’burg. At least not until I heard Tyla’s crisp debut, Tyla. The South African songstress blew up with lead single “Water” and rode the wave all the way to the R&B holy land. Recorded in seven countries over a period of two years, Tyla soars over borders both geographically and sonically to produce the slickest beats of the year, amplifying South African amapiano to fit the packaging of a big label debut while transcending the artistic limits expected of a viral star. Thankfully, this girl from Jo’burg has a whole lot more than pretty to offer. —Nathan Hilyard

CHROMAKOPIA by Tyler, the Creator

Tyler, the Creator’s eighth studio album, Chromakopia, is a powerful, genre-defying blend of pop and hip hop. Featuring artists such as Daniel Caesar, ScHoolboy Q, and Lola Young, Tyler successfully taps into a unique pocket of the music industry. While the album loosely resembles some of his earlier work like Wolf or Cherry Bomb, its sharp style and production make it truly unique. The album's rich texture and thematic depth enhance an already dynamic, striking listening experience. Chromakopia not only showcases Tyler, the Creator’s unbelievable technical skill, but also his ability to weave charged social commentary into his work. —Maddie Decina

Submarine by The Marías

The Marías’ sophomore album, Submarine, is their best yet. Released at the end of May, this album came just in time for the sensual sweat of summer. Beginning with the opening lyrics “We can make a movie / We can take our time / Introducing submarine” on the track “Ride,” the album is self-referential and opens up a world of possibilities. From tracks like “Paranoia” and “Run Your Mouth,” the record is danceable and somehow devastating with their especially impressive “Sienna” and “Lejos de Ti.” Spanning grooves of recollected sadness, The Marías have proved themselves time and time again to be true dream pop perfection. —Sophie Parrish

Two Star & The Dream Police by Mk.gee

Mk.gee’s album, Two Star and the Dream Police, merges ‘80s pop, modern R&B, and classic rock—an unlikely combination that just works. Released on February 9th, the New Jersey native’s project quickly found its niche in the bedroom pop scene, with songs such as “Are you Looking Up?” and “Candy” achieving mainstream success. The album’s intentionally dissonant composition creates a rich, textured backdrop that allows Mk.Gee’s guitar work to shine. Combining innovative instrumentals, poignant lyricism, and fearless experimentation, Mk.Gee sets a new standard for contemporary music. —Maddie Decina

Miss Behaves by Cece Natalie

On the surface, 19 year old Connecticut based producer and singer Cece Natalie’s album seems like it could blend in easily with all the TikTok-friendly, Ayesha Erotica-ripoff, nostalgia-bait pop that seems to be taking over the internet right now. However, with Miss Behaves, Cece has managed to replicate the paranoia and spaciousness of late aughts-early 2010s pop so perfectly that it wraps back around and sounds fresh again. Production-wise, the album has the low-key intimacy of some of the best bedroom pop, but the hooks and vocal lines are stadium-sized. A star is born. —Bennett Himmel

Night Reign by Arooj Aftab

There are some artists whose music defies the boundaries of language: Björk, Milton Nascimento, Ichiko Aoba, Sigur Rós, João Gilberto, Bad Bunny. Arooj Aftab is among them. Night Reign is darker and jazzier than 2021’s elegiac Vulture Prince. Aftab still sounds reverent on tracks such as the sparse “Zameen,” or the luminous “Saaqi.” But on the folk-trip-hop track “Bolo Na,” she delivers smoky riffs that twist and wind around a murky bassline and Moor Mother’s futuristic spoken-word. “Aey Nehin” is a shimmering tapestry of acoustic guitar, harp, bells, and shakers. Her English songs are no less interesting. “Whiskey” is a heady, aromatic ballad that literally sweeps you off your feet. And her percussive, monochrome take on “Autumn Leaves,” is not only one of the best covers of the song ever released, but one of the best songs of the year. It is truly a mystical experience. —Christian Jones

The New Sound by Geordie Greep

Black Midi’s separation quickly went from the tragic end of an era to a much-needed shift to evolve and move forward. Geordie Greep shifted from frontman to renaissance man on his debut album, The New Sound. Greep embodies his uncompromising dramatization and general weirdness in such a way lyrically, instrumentally, and vocally, that parts of the album were even propelled into TikTok fame. Greep tackles a much more approachable sound through Jazz-rock licks and samba-esque instrumentals, all while singing about uncomfortable sexual revelations. Clearly this proggy playwright needed to be separated from Black Midi to preach the daring image of Geordie Greep. —Sam Shipman

THE TOP 10!

Short n’ Sweet by Sabrina Carpenter

Sabrina Carpenter’s sixth and sexiest album yet, Short n’ Sweet, has cemented itself as a pivotal moment in pop culture, bringing a long awaited rise to Carpenters’ ten-year career. In every artist's discography, there is one album that changes the trajectory of their success and for Carpenter, it is clear her moment has come. Beginning its rollout with the smash hit “Espresso,” Sabrina surprised us all with the infectious soundtrack to our summer. A definite shift from her subtle presence as ex-Disney Channel star and Taylor Swift’s opener, the album that followed her early summer success situated her as her own headliner. From the first track, “Taste,” Carpenter leaves quite an impression with her subtle country twang and sexual innuendos that last throughout the album’s thirty-six minute runtime. In Short n’ Sweet, Carpenter expands on what she introduced in “Nonsense” with her comically seductive lyricism and her implementation of acoustic steel guitar and Antonoff inspired synth. The tracks might be simple but what she lacks in composition, she makes up for in vocal performance in the stand out “Bed Chem.” With impressive falsettos accompanied by an infectiously sparkling tone, Carpenter is a breath of fresh air that is decidedly here to stay. She’s effortlessly witty, full of surprises, and refreshingly authentic in the ever-changing landscape of pop music. —Sabrina Carpenter’s sixth and sexiest album yet, Short n’ Sweet, has cemented itself as a pivotal moment in pop culture, bringing a long awaited rise to Carpenters’ ten-year career. In every artist's discography, there is one album that changes the trajectory of their success and for Carpenter, it is clear her moment has come. Beginning its rollout with the smash hit “Espresso,” Sabrina surprised us all with the infectious soundtrack to our summer. A definite shift from her subtle presence as ex-Disney Channel star and Taylor Swift’s opener, the album that followed her early summer success situated her as her own headliner. From the first track, “Taste,” Carpenter leaves quite an impression with her subtle country twang and sexual innuendos that last throughout the album’s thirty-six minute runtime. In Short n’ Sweet, Carpenter expands on what she introduced in “Nonsense” with her comically seductive lyricism and her implementation of acoustic steel guitar and Antonoff inspired synth. The tracks might be simple but what she lacks in composition, she makes up for in vocal performance in the stand out “Bed Chem.” With impressive falsettos accompanied by an infectiously sparkling tone, Carpenter is a breath of fresh air that is decidedly here to stay. She’s effortlessly witty, full of surprises, and refreshingly authentic in the ever-changing landscape of pop music. —Sophie Parrish

Here in the pitch by Jessica Pratt

L.A. singer-songweaver Jessica Pratt’s fourth album is a beam of light shining onto a dusty, spinning carousel. Pratt opens Here in the Pitch with sunny major chords and a procession of airy drums that feel hopeful, determined. But uncertainty lingers beneath the surface of this bright veneer; Pratt sings in her signature croon, “And lately I've been insecure / The chances of a lifetime might be hiding their tricks up my sleeve.” The songs feel more lush than her previous albums, no doubt thanks to the full arrangements that accompany Pratt and her guitars. The track “Get Your Head Out” shimmers with a ghostly organ and mellotron that makes Pratt’s echoey sentiments sound like some washed-out amusement park from the ‘60s. This nostalgic delivery is no pastiche though. Pratt’s cryptic lyricism—“Get your head out, start your way up”—reminds us that we are in a dream that she alone could conjure up. Pratt is painting a fragmented dialogue with a past version of herself and the unresolved yearning that lingers inside of her, “‘Cause I keep comin’ back to what I left behind.” On “World on a String,” she urges herself towards some bright ideal and away from what is done and over: “I want to be the sunlight of the century / I want to be a vestige of our senses free.” Pratt embraces a sultry bossa sway on “By Hook or By Crook,” dropping the gorgeous line, “A gesture left in summer’s mind / Autumn’s come to find / And it’s the end of the dreams again.” She laments herself: “I’m gone with all the changes in my mind.” Here in the Pitch blooms into glowing mini-universes; anemones glittering quietly in shadow. —Christian Jones

Night Palace by Mount Eerie

If you’ve listened to even one record from Mount Eerie or the Microphones, you already know that Phil Elverum likes nature. The Washington-based artist has always found his muse in the Pacific Northwest woodlands, often channeling the inherent fury and mystique of nature into piercing drones and volcanic explosions of noise. And in that way, Elverum is not too different from the black metal he takes influence from on records like 2009’s Winds Poem and his latest, Night Palace. On Night Palace, his naturalism has gained a distinctly spiritual edge; “Living close to the ground / I talk to birds way more than I used to / A spirit world found,” he hymns on the opening title track over a thunderous, shrieking wall of synths. Throughout Night Palace, Elverum talks to birds, listens to whale songs, plays grindcore with his daughter, and decries the empire the US has built on blood-soaked colonial ruins. At one point, Elverum even chats with a fish about the impermanence of all things over a trap beat. It might be the most in tune with the natural world he’s ever been.

But Night Palace is anything but ridiculous. The Washington songwriter has famously spent the last seven years ridiculing his younger self, and while it feels disingenuous to call Night Palace “The Glow Pt. 3,” Elverum’s latest record is him finally finding peace with that younger, more naive version of himself. Sonically, the vignettes that comprise much of the record call back to every era of Elverum’s career, from the black-metal tinge on “Wind & Fog” to the guitar-distortion drone of “Co-Owner of Trees” to the literal Glow Pt. 2 callback on the thumping electronics of “the Gleam, Pt. 3.” Lyrically, Eleverum sees himself indulging again in the existential, but now, he’s older. He knows more and sees everything for what it really is. There’s a refined layer of wisdom in these songs, many of them pass by like wind: there for an instant, gone before you know it. —Lucca Swain

My Method Actor by Nilüfer Yanya

DUN DUN DUN, DUN DUN DUN. That’s my impression of one of the many shredding guitar solos on Nilüfer Yanya’s latest LP, My Method Actor. Except Yanya’s riffs are actually riveting and nowhere close to my corny and uninspired take. The brash guitars, synths, and drums set this album apart. Not only is the production heavily layered and complex, but My Method Actor also sees Yanya’s impressively personified instrumentation. It becomes a voice that works in tandem with her own iconic vocalization. The opening track “Keep On Dancing” makes all these observations clear as the song processes in a subtle crescendo. Starting with Yanya confessing over a hollow guitar, we are taken on an increasingly intense journey culminating in melodic confessions soundtracked to depleted everythings.

The following track, “Like I Say (I runaway),” switches tones with an assertive, head-bopping beat as Yanya repeats, “Like I say like I say like I say.” Though the noise takes reign throughout My Method Actor, Yanya’s vocal performance is not to be overlooked. Her tone, similar to that of Imogen Heap, is addictingly smooth and effortless. The chaos of the instrumentation floats around her vocalization and is simply hypnotic to listen to. An approach like this can often come off messy or jarring, yet Yanya has come to master the art of balance.

“Don't stop, please just listen / I'm unchained resistance,” Yanya sings out in “Mutations” with a sense of unabridged awareness that saturates My Method Actor. She repeatedly invites us to overthink and freak out, so kick your feet up and enjoy the dazed ride. —Sofia Giarrusso

Diamond Jubilee by Cindy Lee

Late last semester my curiosity finally got the best of me and I clicked the mysterious download link on Cindy Lee's website. My computer hummed, whirred, and promptly overheated (all during a lecture mind you) as the magic of Diamond Jubilee transferred over from another dimension. Compiled of thirty-two songs all performed, written, and recorded by Lee, Diamond Jubilee is a monolith of quantity and quality. By purposefully bypassing streaming services or even payment, Lee’s work is a radical success story against the money-grubbing industry odds. The record hails from another world where ‘60s girl groups still reign supreme and the best guitar playing you can think of is all coming from the bejeweled hands of a drag queen.

The double LP is a time capsule from an artist working at their very best. A two-hour, kaleidoscopic, guitar-driven masterpiece where melodies bounce and contort against fun house mirrors. My initial skepticism at the harsh tones of her guitar melted away quickly with the dexterous finger-picking of “Kingdom Come” and the melancholic scoops and slides of “If You Hear Me Crying.” Beyond her playing, each song is packaged in an eerie murk of uncertainty, Lee referencing the conventions of a great rock song while in the same moment bursting them at the seams. Diamond Jubilee rages with originality, chock full of uncanny glamor and leaving behind the dull ring of having listened to something truly magical. —Nathan Hilyard

Manning Fireworks by MJ Lenderman

Well, an honest to God indie man playing an honest to God acoustic guitar with an honest to God drunk cigarette…how else to sum up 2024? With Manning Fireworks, Lenderman makes quite a splash with his lethal combination of witty all-American cynicism–“Well I’ve got a houseboat docked at the / Himbo Dome”–paired with genuinely devastating, down-bad post-breakup melodramas: “But all I really wanna see is see you need me.” The catchiest guitar riffs capture it all. From the I’ve-accepted-this-I've-moved-on moments (“She’s Leaving You”) to the oh-God-I-miss-you moments (“On My Knees”), Lenderman’s got it all written out in shaky handwriting on napkins at the bar. The only thing you’ve got to do? Get on your knees, buckle up, and sing along with your drunk priest, PBR in hand: “It falls apart / We all got work to do.” “What else can you say / To help a friend with a broken heart?” An album recommendation could be a good start. —Monika Krueger

Charm by Clairo

Getting Charmed takes a single interaction, but becoming enamored can take months. Such is the case with Clairo's third album, Charm. It’s alluring on first listen, a crush on the second, and a committed companion every time after. On each subsequent listen Charm acts more and more like a real romance–relishing in every flutter of the heart and flirtatious comment. Discovering the previously unheard layers inevitably keeps listeners coming back for more. The album's imagery of delicate cursive writing and forest creatures encapsulate its never-ending honeymoon phase with the listener sonically and visually. Since Charm's launch in July, it's harbored vast popularity, particularly on the track "Juna" through its social media flare. More niche examples of buzz include the remixing of songs from the record into strangely engaging mashups and videos of the elegant stage design of the Charm Tour creating an evergrowing community amongst new fans and Clairo apologists. What's most important to note about Charm, it's not a fad, but it’s not year-defining either. It's a sensual, forward-thinking soft rock record, provided by one of the most charismatic figures of the modern generation. Charm’s level of sheer polished production choices, paired with Clairo's iconic vocal timbre and stunning lyricism offer a glimpse into a romantic, bittersweet, and lush garden of sound. Charm surrenders its sweet, syrupy flavor to those basking in the “Glory of the Snow.” And for the listeners who know the tracklist as “Second Nature,” Clairo delicately teases listeners with her bubbly persona, easily gliding into the top albums of 2024. —Sam Shipman

BRAT by Charli XCX

What’s there to say that hasn’t already been said about Charli XCX’s summer defining album and cultural coup BRAT? It felt like within seconds, Charli XCX had been handed a first-class ticket out of the khia asylum, free to step into her imperial era and rule the pop landscape (and the summer) once and for all. It can be easy to get lost in the marketing hurricane that was “Brat Summer” with all of the chartreuse and the Parliaments and the coke and the white tank tops. I saw endless people online saying that all this partying seemed like performance, that nobody was actually having any fun. But when you look at the album that started it all, it becomes impossible to deny that BRAT is forty-one minutes and thirty seconds of bright, hedonistic, downright nasty pop music. On BRAT, Charli comes to terms with being the hot girl with low self esteem, the girl who wants to settle down but also wants to do coke in the bathroom. It’s Charli’s most honest, vulnerable, deeply relatable body of work to date disguised as a blockbuster pop classic. On the underrated track “Rewind,” Charli waxes poetic about whether or not she’ll ever achieve commercial success, or whether or not she even deserves it. Who could’ve predicted that this album would almost overtake Taylor Swift on the charts or influence the fucking election? So yes, though“Brat Summer” was annoying, the album behind it remains deeply beautiful. Charli has spent the last decade of her career touted as a pop futurist. With BRAT, Charli has trapped the year in amber. I can’t wait to listen to it next summer. —Bennett Himmel

Bright Future by Adrianne Lenker

It’s a travesty that my co-staffers opted for the transhumanist sugar rush that is Magdalena Bay’s Imaginal Disk over this masterpiece of hope and human tenderness. I get it. It’s in-fashion and so much fun—until it’s not. Imaginal Disk is a glittering irony; with its fluorescent production and neon hooks, it romanticizes the very ideal it interrogates (and no, Matt & Mica’s self-awareness of that fact does not change it). Adrianne Lenker plucks paradoxes like peonies and puts them in a vase with Bright Future. On “Sadness As a Gift,” Lenker alchemizes grief over an ended relationship into hope, reminding us that we will pass through it: “We could see the sadness as a gift and still / Feel too heavy to hold.” Lenker’s response to climate change on “Donut Seam” is “This whole world is dying / Don’t it seem like a good time for swimming / Before all the water disappears?” The track “Evol” is a brilliant play on homophones. Lenker points out that “Love spells evol backwards,” which sounds like “evil.” She weaves a poem out these fractal-like semordnilaps, dissolving the binaries that separate the world into dualistic categories. Taking and giving. Emptiness and fullness. Grief and gratitude. They each contain the other like yin & yang; she breathes new life into a timeless truth. Lenker transcends the paradoxes of our modern world and the human condition. Then she shows us how to follow suit: tenderness, vulnerability, non-dualism, possibility. Ten months after its release, and I am still reeling from the endless optimism of “Free Treasure,” the album’s crowning track: “Just when I thought I couldn’t feel more, I feel a little more.” Perhaps I will always be. —Christian Jones

Imaginal Disk by Magdalena Bay

If there was one big shift in music in 2024, it was a true return of pop to the mainstream. The year was all about candy-sweet hooks and vocal lines that lodge themselves deep in your frontal lobe and refuse to leave. Of all the pop albums that came out this year, none are more exemplary than the Los Angeles based futurepop conceptualists Magdalena Bay’s synthpop epic Imaginal Disk. The album is a patchwork of retrofuturist, YA-novel pastiche filtered through the lens of radioactive synthpop and smooth psychedelia. “But ohhhhh my God…twenty-two more minutes,” vocalist Mica Tenenbaum purrs on the brilliant and inescapable (on college radio) single “Image.” What’s to come exactly twenty-two minutes later in the album, you ask? Only a three minute prog-rock guitar freakout on the seven-minute centerpiece “Tunnel Vision.” Imaginal Disk does not, as many are saying, reinvent the wheel of pop. Instead, it’s an instantly rewarding album full of amusement park thrills and expensive synths. However, it reaches towards a kind of annoying theater kid perfection that we haven’t seen from any other record this year. By mixing sounds that have defined the decade so far with new visions rooted either far in the past or in the distant future, Magdalena Bay have made an album that sounds both like nothing this year and everything this year: the in-your-face synth ambush of Charli’s BRAT, the opaque, spiraling lyricism of Jessica Pratt, the warm funkiness of Clairo’s Charm, and the grandiosity of Cindy Lee’s Diamond Jubilee. With Imaginal Disk, Magdalena Bay have made a year-defining and possibly even era-defining pop opus. —Bennett Himmel

Milk Crate's Best Albums of 2024