From The Cure’s long-awaited comeback to Fontaines D.C. cementing themselves as one of the best artists of the 21st century, 2024 has been anything but a boring year for music.
As we look ahead to the new year, we asked our writers to choose their favourite record of 2024.
George Palmer-Soady, Editor-in-Chief – Fontaines D.C., Romance
Romance may not be Fontaines’ best album – it’s not got the edgy overdrive of 2022’s Skinty Fia or the raw post-punk tones of sophomore A Heroes Death.
But no other record better sums up this year and where we are in the world.
The title track kicks off the record, setting the cinematic and chilling scene, before kicking into lead single ‘Starburster’, one of the band’s best.
Punchy, bombastic drums and earthy guitars back a raucous four minutes, led by frontman Grian Chatten’s rapped musings on panic attacks.
‘In the Modern World‘ slows down the pace with its pop and acoustic sensibilities, while ‘Here’s The Thing‘ provides a dash of radio-friendly pop-punk.
‘Favourite’ – easily one of the best songs of the year – closes the album with themes of nostalgia, angst and longing for better times.
Hearing that song live when the Dublin boys played Motorpoint Arena was a personal 2024 highlight. It’s a song that will, as a result, always remind me of my final year of university.
From the panic attacks to the drunken night outs – the subject matter of Romance’s varied tracklist is much more personal than previous offerings.
Fontaines D.C. may now be working in a different field with different sounds, but this record beautifully provides a fantastic soundtrack to 2024 – and everything that came with it.
It makes the record an easy personal choice for top album of the year.
Roisin Turner – Amyl and The Sniffers, Cartoon Darkness
Melbourne’s punk rockers Amyl and The Sniffers are nothing if not provocative: characteristically, 2024’s Cartoon Darkness beginnings with the gloriously potty-mouthed ‘Jerkin’, in which frontwoman Amy Taylor encourages the haters to keep fantasising about her, because they’ll never get the real thing.
Taylor is who I think of when old folks complain about the lack of ‘real’ rock stars these days.
She has the icy glamour of Debbie Harry, the frenzied charisma of Iggy Pop, and a brash, distinct presence that is entirely her own. Also, she seems like she’d be a blast on a night out.
Backed up by the ‘sniffers’ (drummer Bryce Wilson, guitarist Declan Mehrtens and bassist Gus Rohmer), Cartoon Darkness takes on topics like body image (Tiny Bikini) and consumerism (Chewing Gum). Taylor’s vocals are defensive, but never defeatist, telling off her inner critic on ‘U Should Not Be Doing That’.
The instrumentals are tight – the band even experiment with acoustics on ‘Bailing on Me.’ But the record primarily sticks with the hard-edged, grinding electrics that gained the Sniffers prominence.
Closing track ‘Me and The Girls’ makes it clear that Amyl and the Sniffers embrace their female fans, a welcome change from a historically overwhelmingly male scene.
I wonder if I can put ‘Amyl thinks I’m snazzy and hot’ on my CV from now on…
Aisha Alli-Balogun, Culture and Entertainment Editor – Ateez, Golden Hour Part 2
When I thought about my favourite album of the year, I was conflicted as Doechii’s Alligator Bites Never Heal was stuck on repeat – but it was just overtaken by Ateez’s Golden Hour Part 2.
The record is a powerful continuation of the K-Pop group’s artistic journey, blending mesmerising visuals with compelling musicality.
As part of their discography, the sequel takes the concept of the ‘golden hour’ – a fleeting, magical moment of light – and transforms it into a metaphor for ambition, brief success, and cherished memories.
The release highlights the group’s ability to transcend the boundaries of traditional K-Pop, showcasing intricate choreography and a diverse range of vocals.
Musically, the record explores a fusion of genres and influences, spanning pop, EDM, and rock.
The short but sweet tracklist exhibits a careful balance between high-energy anthems and emotionally resonant ballads, which are sure to connect with listeners.
Lyrically, the record touches on the passage of time, self-reflection, and striving to capture moments of brilliance in the fast-paced world we all live in.
Each member’s unique contributions amplify the project’s depth – whether through charismatic rap verses, harmonious vocals, or the groups collective unique stage presence.
This is what left me wanting more, especially listening to tracks ‘Selfish Waltz’ and ‘Ice On My Teeth’ – they have been stuck on repeat, fuelling my excitement for when I see the group live in 2025!
This release exemplifies Ateez’s dedication to storytelling and artistry, cementing their status as one of the most innovative acts in contemporary music.
Fans – like myself – will be no doubt left eagerly anticipating what comes next in this captivating album series.
Callum Wright – The Cure, Songs of a Lost World
2008 was the last time goth legends The Cure released an album. Understandably, fans had questioned whether they would see another one, despite frontman Robert Smith’s promises.
But in 2024, after much speculation, the eight-track Songs Of A Lost World was announced and released.
In the years since their last offering, Smith had encountered personal tragedy, losing several members of his family including his older brother – the topic of the incredibly personal ‘I Can Never Say Goodbye‘.
That mood is reflected in this album, by far the moodiest and melancholic the band has released to date.
And that’s really saying something for a band who have always been known for their gloomy and gothic image and music.
The record could almost be described as a train ride to the end of the world. A ghostly journey with thoughts of sorrow and regret – but with a haunting beautifulness as you move towards the finale.
The Cure have produced lots of happy, adrenaline inducing, minor-key pop anthems over the years – namely ‘Friday I’m in Love’ and ‘Just Like Heaven’. You won’t find any of those on this album.
The closest the album comes, however, is ‘Drone: Nodrone,’ which comes at a perfect point in the album. It’s a funky-gothic tune lined with screaming guitars and furious drums. The track at times even sounds reminiscent of shoegaze.
It breaks up the slow, bleak tone that follows the record from opener ‘Alone’ to closing act ‘Endsong‘.
It’s an incredibly grand finale which feels synonymously like an end to the band as well as the album, with the repetition of “it’s all gone” in the lyrics.
While the record has a coherent overall mood, no one track sounds the same, seen from the parallels between the brutal ‘Warsong‘, ending with the lyric “for we were born to war,” and the bittersweet ‘Nothing is Forever‘ with the line “promise you’ll be with me to the end” repeated near the end.
SoaLW proves that The Cure haven’t lost their touch of being surprising and innovative; there’s nothing in their discography that sounds like this record.
It’s not only unique in nature but unique in the feeling that it conveys. Whether the record is the band’s swan-song or not, we don’t know – but if it is, its one hell of a send off.
Featured Image Credit: Louise Walt