I enjoy making lists, so that’s motivating me here. But I have to say: This has been quite a chaotic year for me (and many others in the U.S.), and I have not had enough time to sit with these albums and make sure they’re really “best of the year” quality. Some of them I’ve only listened through all the way once or twice. But I liked what I heard.
For that reason, I’m not ranking these. It’s just a list of what’s in my playlist as contenders for the best of the year.
Let me know what I’ve missed. Argue with me if you think I’m wrong.
Baloonerism by Mac Miller (hip hop). I’ve never really “gotten” Miller before this album. Now I have his whole catalog and love it.
Can’t Rush Greatness by Central Cee (UK drill). The rapper’s official debut became, deservedly, the first UK rap album to break into the U.S.’s top 10.
Competition is for Losers by Rizzle Kicks (UK hip hop). It’s been a long time since we got a Rizzle Kicks album. Worth the wait.
Drive to Goldenhammer by Divorce (alt-folk/rock). Catchy. Hooky. Thrilling.
Evangeline vs. The Machine by Eric Church (country). I hear “Eric Church” and I think “bro country” and that’s usually the end of it for me. But this album is different. For one thing, the songs change tempo and theme across the album, and sometimes within the song itself. For another, he covers Tom Waits(!). And it’s not even something mainstream like “Downtown Train” or “Jersey Girl.” It’s Clap Hands, from Wait’s experimental folk album Bone Machine. Nicely played, Mr. Church.
Every Time I Feel Afraid by Carriers (indie). I’m betting many will find this album derivative. Every song reminds me of something else. But that level of accessibility isn’t always a bad thing, and makes for an album I didn’t want to end.
Exploding Trees & Airplane Screams by Patterson Hood (alt-country). More Southern Gothic romance from the greatest living master of the genre. Plus, how great is it to be able to make a mid-year list where Hood is immediately followed by his former bandmate?
Foxes in the Snow by Jason Isbell (Americana). Of course this is on here. Isbell is easily my favorite musician these days. This is his first solo collection and it’s…Outstanding. I have no doubt this will be in my top 10 at the end of the year.
Ghostwriter by Annie Stokes (folk). The title track, Country Wife, and Tarot Reader’s House give a good sense of the breadth and scope of this record. Stokes masters several styles and themes in what is far and away the best album she’s ever put out.
Hopefully by Loyle Carner (soul rap). True confession: I haven’t had a chance to listen to this one all the way through yet, but I like the first half and…it’s Loyle. There is very little chance it’s not great all the way through. Like most of the artist’s work, it can be classified as hip hop but it’s really just a warm record about love that has some of the elements of the genre, alongside many others. Carner is a truly slept-on talent here in America.
If You Asked For A Picture by Blondshell (edgy pop). Great songs and, frankly, sexy as all get out. Out of all the albums on this list, I think this one surprised me the most.
It’s Summer, I Love You, and I’m Surrounded by Snow by Dead Gowns (indie rock). There is more range packed into these 12 songs than most indie bands’ entire catalogs. Incredibly impressive.
Lotus by Little Simz (hip hop). Simz isn’t just a top British rapper or a top female rapper. She’s a top rapper, period.
Magic, Alive! by McKinley Dixon (experimental rap). A rap concept album about three kids who use magic to raise the dead. Dixon’s work is always intensely creative with powerful messages, and this album is no exception.
Phonetics On and On by Horsegirl (indie pop). Whenever I make a “best of the year” list and then compare it to the lists made by other sites, mine is always different. I have a lot more accessible music on my list, because that’s what I like, and I don’t do service to the stuff that I know everyone else will promote just so that my list will be seen as credible. But I’m confident Horsegirl’s album will be on a lot of peoples’ lists. Why? Because it’s that good.
Satisfied Soul by Brother Ali and Ant (conscious rap). Atmosphere’s producer teams up with one of raps most unapologetically political activists. Great record.
The Scholars by Car Seat Headrest (indie rock). This is the band’s least lo-fi, most arena-style rock record so far. CSH has become increasingly popular over the years. Perhaps they’re aware that arena rock fans are now hearing their music.
Send a Prayer My Way by Julien Baker and TORRES (country). This is a deceptive album that seems to be wispy, easy listening, but the instrumentation and the subtle vocals mask brilliant depth. I missed it on first listen, until someone I trust insisted that I give it another try. I’m grateful I did.
Sharon Van Etten and the Attachment Theory (self titled) (postpunk synth pop). Jagjaguar has been a top indie label for many, many years and albums like this one are exactly why. They really know how to find the right artists for the time. All of Van Etten’s catalog is respected, but this album might just be my favorite.
Sounds Like… by Florry (country punk jam noise). Like Drive By Truckers but wish they didn’t sing so well? Wish Uncle Tupelo was still around? Miss the early days when all the garage bands sounded like Creedence Clearwater Revival? Of course you do. And that’s why you should check this out.
Step Brothers 4 Life by Don Trip and Starlito (trap). Don Trip is one of the wittiest, most insightful, and smartest rappers out there. He can drop hard street bars. He can be tender towards his kids. He can be raunchy (but always about his wife). He can boast rap and mourn the dead. Trip is vastly underrated. And whenever he collaborates with Starlito, he seems to be at his best.
Token of Appreciation by Boldy James and Chuck Strangers (jazzy hip hop). I’ve lost count of the number of albums James dropped already this year. I think it’s like a half-dozen. When you put out that much stuff in a short period, it’s not all gonna land. Boldy is capable of greatness, but the current state of music rewards quantity over quality. Here, though, with skillful production by Chuck Strangers, Boldy is able to hit highlights he hasn’t achieved since years before his tragic accident in 2023. Well done.
Violence by Truck Violence (hardcore). In the tradition of Rollins-era Black Flag and modern experimental noise rock. Because I had to have one unlistenable album on here.
Who Let the Dogs Out by Lambrini Girls (punk). Yes. It’s fun to be angry. It’s cool to be outraged and not be a dick about it.
Worthy by Anderson East (country soul). Anderson is one of those singer/songwriters who have been around forever. His music is always good, but his stuff rarely sticks with me. I think Worthy may be, well, worthy of being on my final end-of-year list. His voice is stronger than ever, his lyrics are more thoughtful, and the music is his best ever.
You Wanna Fade? by Alien Boy (indie). This album is a perfect throwback to the early indie scene of the 2000s. It’s all summed up in one of the opening lines of the song Changes: “It didn’t cross my mind that I would start smoking again just to fill time…”
Honorable Mentions:
From Us With Love by Bad Seed and Murda Megz (rap). A solid album, but the songs Six Flags and 50 are fantastic grown-up rap. I wish the rest of the album was just as strong.
Planting by the Signs by S.J. Goodman (Americana/folk).
