undeniably the touchstone project of brixton's windmill scene, black country, new road's universally-acclaimed opus "ants from up there" is endlessly creative, smart, and complex—nothing less should be expected from aoty's highest-rated album of the decade thus far. the incredibly talented septet play with a palpable passion, making it easy to explain the band's continuous chokehold on modern art rock discourse.

"wish" is a can't-miss release in the canon of '80s japanese city pop with its shimmering, jazz-funk fusions, hiromi iwasaki's uplifting vocal performances, and the awe-inducing timelessness of each track; you are practically teleported to a nighttime tokyo scene filled with the lively colors, elegant outfits, and real excitement of an era with much to be nostalgic for.

"grip your fist, i'm heaven bound" is like the prospect of warmth in a desolate winter, a truly bittersweet soundscape induced by warmly-toned saxophones, hair-raising vocals, and wrecking bits of poetry. the debut album of rising rock powerhouse racing mount pleasant, then known as kingfisher, should be considered a touchstone of art rock for its stunning emotive power and daring, even madcap experimentation.

tyler continues to ride the high of his landmark "call me if you get lost" rollout almost two years after the fact with a batch of exceptional deluxe tracks still entrenched in its era's opulence and impeccable production, with the more confessional and personal cuts hinting at the creator's next artistic direction.

on the globetrotting escapade that is "call me if you get lost", everything from the diverse, first-class soundscape to the unapologetically boastful bars exudes lifelike imagery of the affluent beachside life, but when tyler lets us peek past the a-list features and dj drama's ad-libs, he proves there is still vulnerable humanity underneath all the braggadocio.

the shimmering "diamond life" is an extraordinary start to sade's illustrious career, a luscious, rich, and buttery-smooth debut album that easily soothes the soul with every listen. ms. adu's signature voice is as impressive and as effortless as the slick, silky saxophones at the heart of all nine tracks.

"love deluxe" is a cosmic odyssey, like drifting in a vast expanse of stardust or sailing home on wine-dark seas guided by unfiltered moonlight. the mystical, vivid experience is made possible by the raw and imperative storytelling, sade's sultry, unparalleled vocals, and her band's masterfully soothing instrumentation.

"the boy who played the harp" is a collection of raw and brutally honest sentiment, of stories told as dinner conversations, haunting anecdotes, and spiraling trains of thought— all made possible by the intelligent and precise word control of the uk's very own dave.

"tranquilizer" is perpetual motion and sonic limitlessness: an undulating, kinetic amalgamation of sounds defined by lush layering and tinges of transience that come with the most attentive listens. in other words, it could not possibly be reduced as just an hour of background music.

blackpink's very own jennie presents skillful versatility, respectable braggadocio, and plenty of dancefloor grooves on her debut album "ruby"; contributions by the stacked cast of featured artists bring another level of quality to the record alongside jennie's solo hits, but it drags in lackluster fashion by the final act.

proudly holding ann arbor, michigan in their hearts, racing mount pleasant's self-titled LP is simply gorgeous in its profoundly bittersweet lyrics and sweeping, sunlit zeniths in stories like "emily" and "call it easy," headlined by their versatile saxophonists and supplemented by quaint, folksy interludes.

maruja's long-awaited debut album is as impressive as it is vital, as vitriolic vocal delivery and fiery instrumentation continuously juxtapose the manchester band's spirited calls for unity and compassion against oppression by the powers that be, making for a truly metal experience every single time.

the highly-anticipated follow-up to 2022's legendary "the forever story" has jid dabbling with novel production and featuring an array of guest performances ranging from dazzling to disappointing, but when atlanta's finest takes center stage, he's still guaranteed to have you hooked on his every word.

"lux" is pop at its highest caliber, a record driven by inspiring ambition, otherworldly orchestration, and truly sublime vocal performances. tackling themes of faith, love, and healing in four movements and over a dozen languages, rosalía embraces one and all— and especially herself— in this inimitable gem of an album.

as composed and as herself as she's ever been, kali writes a pure and unabashed love letter in the form of a seamless psychedelic soul odyssey in her fifth studio release, flaunting honey-smooth vocals, a heavenly atmosphere, and held back only by spells of frankly elementary lyricism.

reliant on giant discordant walls of noise and overstimulating chaos that makes the eyes glaze over, "revengeseekerz" is an injection of maximalism as jane remover brings down the house with relentless production and saturated vocals for a headbanging, exhausting fifty minutes.

on "man's best friend," the veteran popstar, now seven studio releases in, retreads a lot of familiar ground with waning degrees of success; her production and witty, flirtatious wordplay are still strong, but it's hard not to feel like her formula is becoming trite, tired, and thoughtless.

admittedly, "short n' sweet" is at times bland and unengaging, but with her undeniable superstar presence, the chart-topping power of her timeless hits, and the unapologetic charm she brings to pop scene, it should not have come to anybody's surprise how inescapable sabrina carpenter would be in the summer of 2024.

despite some middling moments, the catchy and well-produced "emails i can't send" is handily sabrina's strongest work, in large part thanks to her earnest, mature, and thoughtful angles on her heartbreak— especially on the softer, more sentimental cuts on the album.

logic's most acclaimed album to date is not without its flaws— it's got some bloat, and the skits sometimes drag— but the production is mellow and brilliant and logic operates with the wit, growth, and clarity that comes with years perfecting his craft.