Top 17 Music Albums of 2024 by 
DommeDamian 
- Chart updated: 05/01/2024 16:15
- (Created: 03/05/2024 16:17).
- Chart size: 17 albums.
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75/100
A mixtape from wanna the most solid-build musicians and artists this decade. Quadeca managed to make a top 20 album in 2021 (From Me To You, solid one), and a top 10 album in 2022 (I didn't mean to haunt you, a record I still have a hard time describing - but easily wanna the biggest sonic artistic statements of the 2020s). No surprise, every new release sounds different but inspired. This new one, Scrapyard, is the most varied one yet, sparing from emo rap to shoegaze to art pop to psychedelic hip hop. At first, this feels like a drug trip but a cute one. The tape has its own flow and brings the listener along with it. The switch-ups in genres when it comes to single tracks (particularly Pretty Privilege) go over so well, and he continues to elevate it the deeper into the (scrap)yard ya go. Easier is emo-folk but with a flanger that makes it sound trippier and honestly it tastes and feels good, and then gets a slow trap hi-hat drum, but then is a hypnagogic pop song. Even If I Tried is a Playboi Carti-styled song, but is buried under noisy synths that float on a cloud 1 kilometer too high in altitude, and we are taking to them for sonic clarity in the second half that exceeds the first. The stream-of-consciousness lyricism displayed on What's It To Him oddly conveys the musical sphere that is going on underneath, a mixture of Cloud Rap and more hypnagogic pop, though not in the sense of what it sounds like on paper. Again, Qua outdoes any average composer's expressions. The utterly wonderful melodic progression on U Don't Know Me Like That, mixed with trippy-pitched vocals and cutsy synth drums is like a warm nostalgic summer dream, and the autotune is something adopted from Bladee's universe. And the same can be said about I Make It Look Effortless, basically Exeter's 10th song. Every single throwback rapper of this era that is not Joey Bada$$ gets their ass handed to them on Way Too Many Friends, because this dynamic mix of 90s hip-hop drums and that piano, literally sounds forward-thinking even in 2024. But that's because of Ben's filters of driven delivery, as well as his way of writing a melody that syncopates on beat, truly excellent. Guess Who contains a dose of electronic effects, both the hi-hat and synth lines, and the only low point on the tape. No means terrible like most of its brothers and sisters, but terrible for Scrapyard's standards. Under My Skin is a deconstructed late-era XXXTentacion-tune, with a reverb as choir, some snares as musical flashing lights, and a drenched violin as thunder strikes. Being Yourself might be the most surrealistic song here, and if I didn't notice it, my enjoyment wouldn't be as strong, but this is a David Lynch short movie in music form, and it's like it gets druggier by the minute as the music is copping out...until there is 20 seconds of rhythmic cop-out. This is unbelievable. Right after that, we go electronic bleeps coupled with laughing ASMR-style vocal engineering on U Tried That Thing Where Ur Human, is this still Quadeca? Or is he just on another level... Either way, this is the song that, comparable to the experience of insane colorful magnitudes, is the moment of lying on the shore, half-passed out and the sun reaching your consciousness here and there. It connects to Guide Dog which is the most accessible song here, a straight indie slacker folk tune, worthy of early Bright Eyes and Dashboard Confessional. The drug trip concludes on Texas Blue, and it isn't as amusing as the previous, however, it definitely belongs here because it is in family with the un-pigeonholable compositions that preceded it.
All in all, I am in awe of Ben's passion and unapologetic way of creating idealistic music, going beyond stereotypical sub-genres and experimental cliches. Though not as much conceptual depth and storytelling as IDMTHY, and even if the replayability isn't as strong as the compositions themselves, the tape is rewarding when I do feel the need to relisten. Rarely since Gorillaz has someone consistently mixed so variable genres into so fascinating and original musical recipes. [First added to this chart: 03/08/2024]
A mixtape from wanna the most solid-build musicians and artists this decade. Quadeca managed to make a top 20 album in 2021 (From Me To You, solid one), and a top 10 album in 2022 (I didn't mean to haunt you, a record I still have a hard time describing - but easily wanna the biggest sonic artistic statements of the 2020s). No surprise, every new release sounds different but inspired. This new one, Scrapyard, is the most varied one yet, sparing from emo rap to shoegaze to art pop to psychedelic hip hop. At first, this feels like a drug trip but a cute one. The tape has its own flow and brings the listener along with it. The switch-ups in genres when it comes to single tracks (particularly Pretty Privilege) go over so well, and he continues to elevate it the deeper into the (scrap)yard ya go. Easier is emo-folk but with a flanger that makes it sound trippier and honestly it tastes and feels good, and then gets a slow trap hi-hat drum, but then is a hypnagogic pop song. Even If I Tried is a Playboi Carti-styled song, but is buried under noisy synths that float on a cloud 1 kilometer too high in altitude, and we are taking to them for sonic clarity in the second half that exceeds the first. The stream-of-consciousness lyricism displayed on What's It To Him oddly conveys the musical sphere that is going on underneath, a mixture of Cloud Rap and more hypnagogic pop, though not in the sense of what it sounds like on paper. Again, Qua outdoes any average composer's expressions. The utterly wonderful melodic progression on U Don't Know Me Like That, mixed with trippy-pitched vocals and cutsy synth drums is like a warm nostalgic summer dream, and the autotune is something adopted from Bladee's universe. And the same can be said about I Make It Look Effortless, basically Exeter's 10th song. Every single throwback rapper of this era that is not Joey Bada$$ gets their ass handed to them on Way Too Many Friends, because this dynamic mix of 90s hip-hop drums and that piano, literally sounds forward-thinking even in 2024. But that's because of Ben's filters of driven delivery, as well as his way of writing a melody that syncopates on beat, truly excellent. Guess Who contains a dose of electronic effects, both the hi-hat and synth lines, and the only low point on the tape. No means terrible like most of its brothers and sisters, but terrible for Scrapyard's standards. Under My Skin is a deconstructed late-era XXXTentacion-tune, with a reverb as choir, some snares as musical flashing lights, and a drenched violin as thunder strikes. Being Yourself might be the most surrealistic song here, and if I didn't notice it, my enjoyment wouldn't be as strong, but this is a David Lynch short movie in music form, and it's like it gets druggier by the minute as the music is copping out...until there is 20 seconds of rhythmic cop-out. This is unbelievable. Right after that, we go electronic bleeps coupled with laughing ASMR-style vocal engineering on U Tried That Thing Where Ur Human, is this still Quadeca? Or is he just on another level... Either way, this is the song that, comparable to the experience of insane colorful magnitudes, is the moment of lying on the shore, half-passed out and the sun reaching your consciousness here and there. It connects to Guide Dog which is the most accessible song here, a straight indie slacker folk tune, worthy of early Bright Eyes and Dashboard Confessional. The drug trip concludes on Texas Blue, and it isn't as amusing as the previous, however, it definitely belongs here because it is in family with the un-pigeonholable compositions that preceded it.
All in all, I am in awe of Ben's passion and unapologetic way of creating idealistic music, going beyond stereotypical sub-genres and experimental cliches. Though not as much conceptual depth and storytelling as IDMTHY, and even if the replayability isn't as strong as the compositions themselves, the tape is rewarding when I do feel the need to relisten. Rarely since Gorillaz has someone consistently mixed so variable genres into so fascinating and original musical recipes. [First added to this chart: 03/08/2024]
1
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75/100
After an unremarkable intro we get Bleed. Just like Slint is post-rock with punk influence, Talk Talk is post-rock with jazz breezes, this tune is post-rock flowing in ambience. Visiting reminds me of the subtle vaporwave notches he played with on the latest Eoin O'Sullivan EP. Although still not fullblooded in its genre, the song still opens a portal to a blurred parallel universe of some sorts. Not quite the masterpiece it could be, however the guitar itching elevates it to excellent. Silent Spirit is wanna the most adventurous-sounding ambient tunes I have heard in years, it really felt like the milky way was sort of moving with the track sluggishly. Whereas a lot of ambient can just repeat a sonic refrain, this track has a backbone which makes it stand out. Then it's Sleep, which is just a sweet little dream pop instrumental but in terms of its fellow songs isn't too much to write home about (pun intended). The one thing that stands out is that Davis doesn't abuse the reverb, he dances with it. And I don't really think the title is accurate, as this feels more like a quiet observer rather than to sleep. It then wonderfully transcends into Lonely Ghost and does what ambient is supposed to do; pull you in. This sonic ghost of reversed sound texture and a lingering synth so subtle the average listener won't ever recognize it, tries to communicate a broken tale from a few centuries ago. But it remains mysterious and eerie, and it gives the best impact. That one is a straight masterpiece, and elevates it to a higher plane of sound art. This one managed to send chills down my stomach. It closes out with What's Left, the least nocturnal song on Home/Sweet's s/t, and it just acts like some sort of tagged-on interlude at the end, but it's still pleasant.
Wonderful stuff. Literally keep it up, Davis if ya can. If you cannot, it's also okay, cause this little superb work will stand tall. [First added to this chart: 04/05/2024]
After an unremarkable intro we get Bleed. Just like Slint is post-rock with punk influence, Talk Talk is post-rock with jazz breezes, this tune is post-rock flowing in ambience. Visiting reminds me of the subtle vaporwave notches he played with on the latest Eoin O'Sullivan EP. Although still not fullblooded in its genre, the song still opens a portal to a blurred parallel universe of some sorts. Not quite the masterpiece it could be, however the guitar itching elevates it to excellent. Silent Spirit is wanna the most adventurous-sounding ambient tunes I have heard in years, it really felt like the milky way was sort of moving with the track sluggishly. Whereas a lot of ambient can just repeat a sonic refrain, this track has a backbone which makes it stand out. Then it's Sleep, which is just a sweet little dream pop instrumental but in terms of its fellow songs isn't too much to write home about (pun intended). The one thing that stands out is that Davis doesn't abuse the reverb, he dances with it. And I don't really think the title is accurate, as this feels more like a quiet observer rather than to sleep. It then wonderfully transcends into Lonely Ghost and does what ambient is supposed to do; pull you in. This sonic ghost of reversed sound texture and a lingering synth so subtle the average listener won't ever recognize it, tries to communicate a broken tale from a few centuries ago. But it remains mysterious and eerie, and it gives the best impact. That one is a straight masterpiece, and elevates it to a higher plane of sound art. This one managed to send chills down my stomach. It closes out with What's Left, the least nocturnal song on Home/Sweet's s/t, and it just acts like some sort of tagged-on interlude at the end, but it's still pleasant.
Wonderful stuff. Literally keep it up, Davis if ya can. If you cannot, it's also okay, cause this little superb work will stand tall. [First added to this chart: 04/05/2024]
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75/100
Apart from opening with city sounds, this album introduces itself with psychedelic drones, sonically clean yet lo-fi. Then after the intro, Prison Song Quake bursts into the atmosphere with Neutral Milk Hotel-sonic inspired drums, Mercury Rev-styled vocal- but wait what's that. The song suddenly shifts into lo-fi post-punk territory with scatterbrained guitar riffs, until the changes again for an emotional run, derivative of intelligent slacker rock. The track ends with a mixture of all worlds, and it never once feels forced (now the drums work as a backbone for the mood-storm). Apart of me thinks it's a bunch of recorded stems, with vocals and guitar layering, slapped together, however everything has a purpose. This is how you make progressive and psychedelic folk music, complete DIY-style! The lyrics aren't to be forgotten either, they glide between late-night thoughts (No-one really cares about me / So I climbed on top of the train / And on its rickety roof I lay / Absorbing the heat of the white stars) to feelings about a specific individual (Hello, how you been? / You’ve got new life and new friends / But I don’t / You are such an out / Such a tool to fix my mouth / And all its screaming). All in all, this song has the structure of mood-swings yet musically handsome material all-round.
The song Pebble is a great example of how to take inspiration from a great artist without a shred of imitation; Pocket Land has taken notes from Phil Elverum but the result is so actual, one forgets its similarity for quite a while. Granted, the song doesn't contain a very original form of songwriting, lyrically or vocally, but the part where a gloomy voice (supposedly representing the society around the protagonist) says "Just as I thought, you are normal" was hard-hitting.
They then hit us with newschool Magnetic Fields habits on The Red Skeleton And His Silent Six's Final Ambush. The floaty indie part around 1:15 sounds like Jeff Mangum took some LSD in a basement. So far, the album keeps being adventurous, but even though the last three minuts of this song are enjoyable, it felt a bit vague benevolently. Ms Bantam jumps around different guitar melodies, just when the listener is about to settle in one, a reminder that it isn't supposed to be a very pleasant moment, whilst Pocket Land mourns enigmatically as the song ends with rain, vinyl crack, nightvision-drone and a saying "How can a train get lost, it's on rails?".
Man... goes a bit back to the wool-gathering territory of Piston Song Quake, though not as abrasive and unpredictable, with more organization and straight-forward songwriting. Also, I feel you, people spelling a name wrong can give more negative feelings than some might think it should. I also love the expression of spiritual longing (Your spirit pierced the village / It affected every citizen's heart / So when you took off for the stars / They gave themselves all kindsa scars) as well as self-pity (I’ve just been digging up entropy / With my shovel of messed up fantasies / I’m such a fool for you / I’m such a fool for myself), I would lie if I said I wished to write that. Though I am not a fan of the drums near the backend, but the lo-fi flute does its best to compliment it.
Those psychedelic drones from the Quiver intro comes back on the third Piston Song called Voices, before they descend into the most beautiful guitar playing on the entire record. This is also the most normal sounding track here, sounds like a Mark Kozelek song, though much more poetic than what he would come up with these days, it all ends with a Microphones-inspired acapella-with-one-tone-of-guitar-as-well-as-nature-in-the-background shebang saying "I can’t see my ocean when your moon is down / And your moon is down / But I can still see it’s reflection in the water / I tried to drink this tarn empty / But then some wraith drifted onto the dock / I feel out of the water and grasped my first breath), my interpretation is that they is positively reminded of his lover/close friend (?) whenever they are covered by nature. Very tender and sweet.
Pocket Land has stated this album ate them alive, and it's not hard to see why, as O Voices eats anybody who tries to pick it apart or be its friend. It was written as they were missing a close person, and during the album's highlights, managed to picture frame those chaotic thoughts in something powerful, heartfelt and nocturnal yet full of color. And honestly, I wouldn't have it any other way, who would?
PS: I hope you are doing okay and be getting a good night's sleep. [First added to this chart: 04/13/2024]
Apart from opening with city sounds, this album introduces itself with psychedelic drones, sonically clean yet lo-fi. Then after the intro, Prison Song Quake bursts into the atmosphere with Neutral Milk Hotel-sonic inspired drums, Mercury Rev-styled vocal- but wait what's that. The song suddenly shifts into lo-fi post-punk territory with scatterbrained guitar riffs, until the changes again for an emotional run, derivative of intelligent slacker rock. The track ends with a mixture of all worlds, and it never once feels forced (now the drums work as a backbone for the mood-storm). Apart of me thinks it's a bunch of recorded stems, with vocals and guitar layering, slapped together, however everything has a purpose. This is how you make progressive and psychedelic folk music, complete DIY-style! The lyrics aren't to be forgotten either, they glide between late-night thoughts (No-one really cares about me / So I climbed on top of the train / And on its rickety roof I lay / Absorbing the heat of the white stars) to feelings about a specific individual (Hello, how you been? / You’ve got new life and new friends / But I don’t / You are such an out / Such a tool to fix my mouth / And all its screaming). All in all, this song has the structure of mood-swings yet musically handsome material all-round.
The song Pebble is a great example of how to take inspiration from a great artist without a shred of imitation; Pocket Land has taken notes from Phil Elverum but the result is so actual, one forgets its similarity for quite a while. Granted, the song doesn't contain a very original form of songwriting, lyrically or vocally, but the part where a gloomy voice (supposedly representing the society around the protagonist) says "Just as I thought, you are normal" was hard-hitting.
They then hit us with newschool Magnetic Fields habits on The Red Skeleton And His Silent Six's Final Ambush. The floaty indie part around 1:15 sounds like Jeff Mangum took some LSD in a basement. So far, the album keeps being adventurous, but even though the last three minuts of this song are enjoyable, it felt a bit vague benevolently. Ms Bantam jumps around different guitar melodies, just when the listener is about to settle in one, a reminder that it isn't supposed to be a very pleasant moment, whilst Pocket Land mourns enigmatically as the song ends with rain, vinyl crack, nightvision-drone and a saying "How can a train get lost, it's on rails?".
Man... goes a bit back to the wool-gathering territory of Piston Song Quake, though not as abrasive and unpredictable, with more organization and straight-forward songwriting. Also, I feel you, people spelling a name wrong can give more negative feelings than some might think it should. I also love the expression of spiritual longing (Your spirit pierced the village / It affected every citizen's heart / So when you took off for the stars / They gave themselves all kindsa scars) as well as self-pity (I’ve just been digging up entropy / With my shovel of messed up fantasies / I’m such a fool for you / I’m such a fool for myself), I would lie if I said I wished to write that. Though I am not a fan of the drums near the backend, but the lo-fi flute does its best to compliment it.
Those psychedelic drones from the Quiver intro comes back on the third Piston Song called Voices, before they descend into the most beautiful guitar playing on the entire record. This is also the most normal sounding track here, sounds like a Mark Kozelek song, though much more poetic than what he would come up with these days, it all ends with a Microphones-inspired acapella-with-one-tone-of-guitar-as-well-as-nature-in-the-background shebang saying "I can’t see my ocean when your moon is down / And your moon is down / But I can still see it’s reflection in the water / I tried to drink this tarn empty / But then some wraith drifted onto the dock / I feel out of the water and grasped my first breath), my interpretation is that they is positively reminded of his lover/close friend (?) whenever they are covered by nature. Very tender and sweet.
Pocket Land has stated this album ate them alive, and it's not hard to see why, as O Voices eats anybody who tries to pick it apart or be its friend. It was written as they were missing a close person, and during the album's highlights, managed to picture frame those chaotic thoughts in something powerful, heartfelt and nocturnal yet full of color. And honestly, I wouldn't have it any other way, who would?
PS: I hope you are doing okay and be getting a good night's sleep. [First added to this chart: 04/13/2024]
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65/100
Very enjoyable pieces, although it isn't every cut that features a genuine chill form of melodiousness, and the record can get a bit long. But easy to get into. The first disc is mostly the calm, the second disc is the storm with many more symphonic elements. Recommended listen for every chamber fan.
Very enjoyable pieces, although it isn't every cut that features a genuine chill form of melodiousness, and the record can get a bit long. But easy to get into. The first disc is mostly the calm, the second disc is the storm with many more symphonic elements. Recommended listen for every chamber fan.
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65/100
Shoutout Max for five stellar pop songs with no pretense, just straight catchy and easily digestible pop songs. The thing he does best. My favorites are Best4u with that guitar chord progression I am a sucker for in pop (Christian coming through with that maan it's awesome), and Salty with its profound groove. Lesgoo. [First added to this chart: 03/05/2024]
Shoutout Max for five stellar pop songs with no pretense, just straight catchy and easily digestible pop songs. The thing he does best. My favorites are Best4u with that guitar chord progression I am a sucker for in pop (Christian coming through with that maan it's awesome), and Salty with its profound groove. Lesgoo. [First added to this chart: 03/05/2024]
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60/100
Less thrilling than Lemonade but a big step up from the dumpster fire of Dance-House hell Renaissance, Beyonce makes a country-filled album in Cowboy Carter that impresses but never wows me, and features a few times where the experiment works like Daughter and the single Texas Hold Em, but not to the degree of Lemonade level memorability. Though credit to that it sounds and feels like a cohesive project, but most of the tracks have moisted arrangements and awkward lyricism. But good effort, probably will listen again sometime. [First added to this chart: 04/28/2024]
Less thrilling than Lemonade but a big step up from the dumpster fire of Dance-House hell Renaissance, Beyonce makes a country-filled album in Cowboy Carter that impresses but never wows me, and features a few times where the experiment works like Daughter and the single Texas Hold Em, but not to the degree of Lemonade level memorability. Though credit to that it sounds and feels like a cohesive project, but most of the tracks have moisted arrangements and awkward lyricism. But good effort, probably will listen again sometime. [First added to this chart: 04/28/2024]
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60/100
Even though this subgenre (Breakcore and Jungle) isn't of my taste at all, I will acknowledge the skill and talent put into Nothing Lasts Forever! SBGC2, at their best, has the urge to periodically play with the listener's mind when it comes to song structure. Plus some of uplifting synth snippets mostly do work and I quite enjoy it. Most of the album uses the same breakbeat, so it's up to the listener which songs it fits on, etc. I'm not a fan of Hyperactivity, but I see the reason behind every element of the instrumentation clear as day, which doesn't happen too often compared to much else music of this style - but I feel like some of the melodic refrains were a little too spotty for me on that one. And even if it isn't an album I loved, I will point out my favorite songs: Dynamo with harsh-noise heavy breakbeat alongside immaculate outro. I sort of really love how Soul Pollination's fast tempo makes me go insane for one minute, but enjoying going insane - not to mention the effortless progression that short track does. The title track is a starflyer, going 100,000 miles an hour into other galaxies and even features a sax sample that surprisingly doesn't at all feel outta place (that's style!). The liminal-spacey Beauty In Transit is a very warm welcome too, giving the record a bit variety with a neoclassical piano and hypnagogic elem....until the hardest breakcore beat curbstomps the song during the last half minute, giving it an epic status, by far my favorite on this thing but that's because it's more of my typea music. The remaining songs aren't as grabbing but props!
The lowlights take Nothing Lasts Forever a single notch below 2000 from last year (under the Seasons alias), but just based off the fact that the same person made this - safe to say - pretty different-sounding album, says a lot about the effort and talent. [First added to this chart: 03/08/2024]
Even though this subgenre (Breakcore and Jungle) isn't of my taste at all, I will acknowledge the skill and talent put into Nothing Lasts Forever! SBGC2, at their best, has the urge to periodically play with the listener's mind when it comes to song structure. Plus some of uplifting synth snippets mostly do work and I quite enjoy it. Most of the album uses the same breakbeat, so it's up to the listener which songs it fits on, etc. I'm not a fan of Hyperactivity, but I see the reason behind every element of the instrumentation clear as day, which doesn't happen too often compared to much else music of this style - but I feel like some of the melodic refrains were a little too spotty for me on that one. And even if it isn't an album I loved, I will point out my favorite songs: Dynamo with harsh-noise heavy breakbeat alongside immaculate outro. I sort of really love how Soul Pollination's fast tempo makes me go insane for one minute, but enjoying going insane - not to mention the effortless progression that short track does. The title track is a starflyer, going 100,000 miles an hour into other galaxies and even features a sax sample that surprisingly doesn't at all feel outta place (that's style!). The liminal-spacey Beauty In Transit is a very warm welcome too, giving the record a bit variety with a neoclassical piano and hypnagogic elem....until the hardest breakcore beat curbstomps the song during the last half minute, giving it an epic status, by far my favorite on this thing but that's because it's more of my typea music. The remaining songs aren't as grabbing but props!
The lowlights take Nothing Lasts Forever a single notch below 2000 from last year (under the Seasons alias), but just based off the fact that the same person made this - safe to say - pretty different-sounding album, says a lot about the effort and talent. [First added to this chart: 03/08/2024]
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60/100
Nothing new under the sun, but it actually doesn't really matter. Tarver writes with a better vocabulary and less image-driven aesthetics than the average mainstream pop star, which makes Quitter a sweet little listen. However, the majority of tunes lack bite which will make it hard for me to come back to. Even the greatest moments here like Japanese Cafe and the surprising Imogen Heap-esque Revisionist History fall victim to this in some way. It just drives through my ear, but it never hurts me. And in terms of albums not doing anything, it does that nothing more enjoyable and smoothly than most of what I've heard this decade.
I guess it is easier to digest when it isn't shoved down my throat of being artistic genius or trying to provoke any uncalled for emotions. In other words, it's actually pretty real. [First added to this chart: 03/05/2024]
Nothing new under the sun, but it actually doesn't really matter. Tarver writes with a better vocabulary and less image-driven aesthetics than the average mainstream pop star, which makes Quitter a sweet little listen. However, the majority of tunes lack bite which will make it hard for me to come back to. Even the greatest moments here like Japanese Cafe and the surprising Imogen Heap-esque Revisionist History fall victim to this in some way. It just drives through my ear, but it never hurts me. And in terms of albums not doing anything, it does that nothing more enjoyable and smoothly than most of what I've heard this decade.
I guess it is easier to digest when it isn't shoved down my throat of being artistic genius or trying to provoke any uncalled for emotions. In other words, it's actually pretty real. [First added to this chart: 03/05/2024]
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60/100
The artist said it to me himself, this is not my style of music. But I really have to admit, there is a lot more of an idealistic approach to the Borderline Issues music compared to about 96% of harsh noise music I have heard during my lifetime. What I mean by that, Hisses Without Kisses contains a sonic backbone, a druggy undertone and above all, a psychological twist to make it stand out. That was also the case for its predecessor, Nightmarish Paths, and even though HWK isn't as musically pristine as that record, I still admire some of the tough waves coming through here. I is basically a feline sound, incredibly distorted, but engineered to make it sound straight out of a terrifying fever nightmare. Minute by minute, the noise's initial identity clutters into pure torture static in an ocean of violent soundwaves. This sound art is not for the faint-hearted and for that I applaud.
Though the next number, II, is not for me, typical harsh noise without anything interesting - though not the worst thing ever. Some of the distorted bumps sounds like it was mixed on a 2000s PC, not very good sonically. Those two numbers lasts almost ten minutes each, and the last one is clocking in under three: III, which features some sequences that reminds me of industrial waterpipes out of control. Honestly very cool. So yeah, enjoyable little noise project 2/3 tunes.
And I can already see this on my chart as my favorite Harsh Noise album I have heard ever. [First added to this chart: 03/08/2024]
The artist said it to me himself, this is not my style of music. But I really have to admit, there is a lot more of an idealistic approach to the Borderline Issues music compared to about 96% of harsh noise music I have heard during my lifetime. What I mean by that, Hisses Without Kisses contains a sonic backbone, a druggy undertone and above all, a psychological twist to make it stand out. That was also the case for its predecessor, Nightmarish Paths, and even though HWK isn't as musically pristine as that record, I still admire some of the tough waves coming through here. I is basically a feline sound, incredibly distorted, but engineered to make it sound straight out of a terrifying fever nightmare. Minute by minute, the noise's initial identity clutters into pure torture static in an ocean of violent soundwaves. This sound art is not for the faint-hearted and for that I applaud.
Though the next number, II, is not for me, typical harsh noise without anything interesting - though not the worst thing ever. Some of the distorted bumps sounds like it was mixed on a 2000s PC, not very good sonically. Those two numbers lasts almost ten minutes each, and the last one is clocking in under three: III, which features some sequences that reminds me of industrial waterpipes out of control. Honestly very cool. So yeah, enjoyable little noise project 2/3 tunes.
And I can already see this on my chart as my favorite Harsh Noise album I have heard ever. [First added to this chart: 03/08/2024]
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60/100
After the first two songs which were stellar folk rock tunes with delightful structure and writing, the record sort of looses identity and Bill's voice becomes a bit boring in length. Though it's never a tedious listen, but it never really wows me either. Towards the end, he pulls off a lyrically less-is-more ballad with How Beautiful I Am, as well as closing it out with a soft little harmonic instrumental that elevates it just to 3 stars. Not a record I wouldn't need to ever listen to again, but many better ones are standing in line too. [First added to this chart: 03/17/2024]
After the first two songs which were stellar folk rock tunes with delightful structure and writing, the record sort of looses identity and Bill's voice becomes a bit boring in length. Though it's never a tedious listen, but it never really wows me either. Towards the end, he pulls off a lyrically less-is-more ballad with How Beautiful I Am, as well as closing it out with a soft little harmonic instrumental that elevates it just to 3 stars. Not a record I wouldn't need to ever listen to again, but many better ones are standing in line too. [First added to this chart: 03/17/2024]
Total albums: 17. Page 1 of 2
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Top 17 Music Albums of 2024 composition
| Artist | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| Beyoncé | 1 | 6% | |
| MGK & Trippie Redd | 1 | 6% | |
| Spongebob Gore Compilation 2 | 1 | 6% | |
| Katelyn Tarver | 1 | 6% | |
| Borderline Issues | 1 | 6% | |
| Bill Ryder-Jones | 1 | 6% | |
| Vampire Weekend | 1 | 6% | |
| Show all | |||
Top 17 Music Albums of 2024 chart changes
| Biggest fallers |
|---|
| Down 1 from 4th to 5th It's Better Like This by Max Ulver |
| Down 1 from 5th to 6th Cowboy Carter by Beyoncé |
| Down 1 from 6th to 7th Nothing Lasts Forever! by Spongebob Gore Compilation 2 |
| New entries |
|---|
 Frieren: Beyond Journey's Endby Evan Call |
Top 17 Music Albums of 2024 similarity to your chart(s)
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Other year charts (from the 2020s) by DommeDamian
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DommeDamian (2024)Top 17 Music Albums of 2024 ratings
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We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.