The sun is hot, but the air is warmer. We’re only halfway through 2024, and some of the biggest names in the world music have already released albums.
That’s a good reason to take stock of this year’s releases. Here are The Associated Press’ picks for the best of the year…so far.
POP POWERS:
Beyoncé, “Act II: Cowboy Carter”
It’s rare that a pop album functions as a catchy work and an accessible masterclass on an underserved and under-celebrated story. But on “Act II: Cowboy Carter” Beyoncé’s epic 78 minute release, 27 trackswhich is exactly what she accomplishes. Throughout this album, B positions herself in opposition to the rigid power structures of country music and educates listeners about her origins in black music.
Taylor Swift, “The Department of Tortured Poets”
Swift 11th album is an amalgam of his brooding synth-pop (as heard on “Midnights” of 2022 ) and folkloric literary compositions ( “always” and “folklore”) – the direct result of an artist who has spent the last few years re-recording and combing through the material of her life’s work. The narration is at the forefront, delivered through an ascending vocal journey or an elegiac verse that highlights its narrative powers.
Billie Eilish, “Hit Me Hard and Soft”
that of Eilish Album of 10 tracks is filled with rewarding fake outs. Like opener “Skinny,” which launches into the sugary falsetto of her award-winning “Barbie” ballad “What Was I Made For?” ” only to abandon the format for the thrilling pop and sapphic desire of “Lunch.” There’s techno and hyperpop, acoustic ballads and a return to his gothic vaudeville.
Ariana Grande, “eternal sun”
For Large first album in four yearsthe pop singer teamed up with mysterious Swedish hitmaker Max Martin for a collection of songs that range from filtered ’90s house music (“Yes, and?”) to wobbly 2000s R&B pop (“True Story”) , through the year 2000. revivalism (“The Boy Is Mine”, inspired by the Brandy and Monica classic) and Robyn-style euro-pop (“We Can’t Be Friends (Wait for Your Love)”).
Shakira, “Women don’t cry anymore”
In the seven years since Shakira’s last album, she split from footballer Gerard Piqué, leading to what she calls the “dissolution of my family,” and she was accused of tax evasion in Spain. But she transformed this pain into art on “Las Mujeres Ya No Lloran,” from the bachata “Monotonia” to the electro-pop “Te Felicito” to the mega-viral “Shakira: Bzrp Music Sessions, Vol 53” and beyond.
HONORABLE MENTION: Dua Lipa “Radical optimism” Tyla, “Tyla” Kacey Musgraves, “Deeper Well” Usher’s “Coming Home”
RENASSIANCE RAP:
Chief Keef, “Almighty So 2”
Something changed when Chief Keef released his mixtape “Almighty So” in 2013. An example of Chicago Drill, the rap subgenre that would define its moment, Chief Keef was a viral teenager whose sound would be heard around the world . Eleven years later, its long-teased sequel, “Almighty So 2,” offers the immediacy of the first — but it’s markedly different. Keef has never looked more polished and professional – but he remains true to himself.
Schoolboy Q, “Blue Lips”
On his sixth album, Los Angeles rapper Schoolboy Q strives to tread new and unexpected territory — five years since 2019’s “Crash Talk,” and it’s undeniably worth the wait. There are some good time songs (“THank god 4 me”) and songs of disruption (“Germany ’86”). This creates an interesting tension – and a space for discovery with each listen.
Sexyy Red, “In Sexyy We Trust”
Last year, “Hood Hottest Princess” introduced listeners around the world to a young and sexy new MC from the Midwest – a fearless and funny rapper named Sexyy Red. This year, she followed up with a mixtape, “In Sexyy We Trust,” a collection of bright and exciting, dangerous-for-work rap records. If you thought she was going to settle for just one viral moment, guess again.
HONORABLE MENTION: Future and Metro Boomin, “We Don’t Trust You,” Young Miko, “Att.” Flo Milli, “Bien Ho, stay”, Vince Staples, “Dark Times”
RULE BREAKER:
Charli XCX, “Brat”
English pop singer-songwriter Charli XCX’s sixth album oscillates between hedonism and anxiety — the euphoria of a night on the dance floor and the creeping worry of the next morning — as much as her in-between status as queen of underground pop and sometimes mainstream success story. As the summer of “Brat” is in full swing, it seems like she’s leaning more and more toward the latter.
Kali Uchis, “Orchids”
On his fourth studio album, “Orquídeas” in Spanish (“Orchids” in English), Colombian American singer Kali Uchis’ ability to create lush, fluid worlds of sound reaches new heights. On “Orquídeas,” it’s just sensual songs about love, loss, and divination. These are songs mastered across a spectrum of heritages, made cohesive through his unique filter.
RM, “Right Place, Wrong Person”
The thoughtful leader of BTS, RM is generally philosophical in his solo work, unafraid to take big sonic risks, sometimes with big rewards. On “Right place, wrong person” his second solo album, RM continues to ask the big questions atop elastic, genre-bending production, from the damp, funky bass of “Nuts,” the avant-garde “Around the world in a day” to the surprising shoegaze from “Heaven”. .”
HONORABLE MENTION: Carin León, “Boca Chueca, Vol. 1″, Brittney Spencer, “My Stupid Life”, Álvaro Díaz, “Sayonara”, Ayra Starr, “The Year I Turned 21”, Shaboozey“Where I’ve been, that’s not where I’m going.”
ALBUMS YOU MIGHT MISS:Cindy Lee, “Diamond Jubilee”
Where does the “Diamond Jubilee” come from? Cindy Lee — the drag alter-ego of girl group Patrick Flegel, a staple of Canadian indie rock since the early 2010s — released this lo-fi gem as an unbranded YouTube link. That meant listeners had to fully immerse themselves in its psychedelic, garage rock – for two hours and 32 minutes. It’s unusual that an album this surprising, expansive and below the mainstream manages to make the best lists.
Waxahatchee, “Tiger Blood”
Independent artist Waxahatchee, known for her heartbreaking alt-country, demonstrates mastery of her craft on her sixth studio album, “Tiger Blood.” Waxahatchee, Katie Crutchfield’s musical moniker, is at its most evocative when documenting everyday realities. “Tigers Blood” finds simple joys; gone are the tortured emotions and self-doubt communicated through distorted riffs of her previous work. Start with “Right Back to It,” with guitarist MJ Lenderman, which transitions from country to indie rock seamlessly. It’s about approaching the final years of a stable, reliable relationship – and it sounds exciting.
Model P—-, “I Had Heaven”
Philadelphia punk band Mannequin P—- has never been accused of being overpowered. On their latest album, “I Got Heaven,” ferocity, confidence and desire become one. The band moves from lust and fear (“I Got Heaven”) to domination (“Loud Bark”) and freedom (“Aching”), playing with Christian lyricism and sexuality in the same breath. It’s a high-octane listen – not for the faint of heart, but certainly for anyone looking for an energizing record that transitions easily from dreamy pop to abrasive hardcore.
Adrianne Lenker, “A Bright Future”
It may be summer, but it feels like spring. Big Thief’s Adrianne Lenker’s fifth solo album is simple, refined and unique. Her folky vocal tone, instantly recognizable to her most devoted listeners, is age-old – with little more than an acoustic guitar and harmony, she crafts elegant songs with a classical sensibility. Sometimes the most thoughtful creations use the fewest tools.
HONORABLE MENTION: Kim Gordon, “The Collective” Black ice, “Phasor”, Long live the Riff Raff, “The past is still alive”, Modu Moctar, “Funerals for justice”