By Featured Writers for Epigram Music, curated by Benji Chapman, Music Editor
This year, Epigram opened its doors to any University of Bristol students keen to celebrate their love of music with a contribution towards a well-celebrated yearly tradition. Coming in at just under six and a half hours of music, this article is the perfect send-off before the clock strikes midnight, or perhaps a more reflective soundtrack to the day-long hangover that inevitably follows.
Epigram is celebrating another year of stellar releases with our yearly top 100 picks from our editorial and contributor teams' favourite songs released in 2024.
You'll need snacks, drinks, and of course a quality pair of headphones. Whether you flick through to see where your dearest artists rank, or take on the behemoth in one sitting while listening to the ordered playlist, the choice is yours but only one will make it to the number one spot.
100 | Caesar on a TV Screen - The Last Dinner Party
By Hana Sakurai Wernham, First Year English
A beautiful, strange song hailing from The Last Dinner Party’s acclaimed debut, Prelude to Ecstasy. Effortlessly switching time signatures and imbued with all the drama of a teenaged girl yearning for the glittering power of mythologised men (relatable), 'Caesar on a TV Screen' is a thrilling, provoking listen.
99 | play with earth! - wave to earth
Molly Pullen, First Year English
'play with earth!' is an upbeat additon to wave to earth's discography, with the euphonious chorus creating an overall optimistic atmosphere to the entire song.
98 | 7 Horses - The Voidz
Ruby Butler, Second Year Classical Studies
Lulling but powerful, '7 Horses' is the pinnacle of the new album Like All Before You from The Voidz. Characteristically auto-tuned electronic vocals from Casablancas uplift the gentle composition, creating a fantastically visual combination of retro and futuristic to which the band always strives.
97 | You're Mine - Coco Bryce
James Lewis, Scitech Subeditor
Coco Bryce has been at the forefront of the recent jungle revival. The Netherlands native has pushed this quintessentially British sound forward by including a cool and vibe-y aesthetic over Jungle breaks. ‘You’re Mine’ has been anticipated for some time, having been a feature in his sets for the last few years.
A mellow breakbeat, atmospheric vocals and a strong bass line makes up a sound that is characteristic of Coco’s production – energetic yet soothing. A firm favourite amongst junglists, the rest of Coco’s discography is well worth a listen.
96 | Loud Bark - Mannequin Pussy
Tim Harris, Second Year LLB Law
Sonically, ‘Loud Bark’ starts off deceptively soft. Its instrumentation is subdued and haunting. Yet from the beginning of the first verse, the lyrics speak with an honest and raw candour, providing an introspective rejection of societal expectations of submissive and gentle femininity.
The name Mannequin Pussy itself is an unfiltered and vulgar take on femininity, a reclamation of a word used to represent weakness as a means to express power. In ‘Loud Bark’, the band lives up to this name, fully unleashing the pent-up rage of the Philadelphia band.
95 | Tunnel Vision - Magdalena Bay
Louis Fowler, Second Year English
On a craft level, ‘Tunnel Vision’ from Magdalena Bay’s stunning release Imaginal Disk is the band at their technical best. From an album full of contenders for song of the year, the duo’s dreamy synth pop mastery is on full display – the song begins simple enough, with Mica’s celestial voice gliding over Matt’s smooth keyboard arpeggio, before the singer’s voice is harmonically doubled.
These aspects continue overlapping themselves with complex rhythms and instrumentation, while never becoming sonically tangled. For the latter part of the song, a heavy, driving bass kicks in and the song completely descends into a gloriously chaotic prog-rock instrumental outro, not allowing the listener a breath until the abrupt and dissonant final chord.
94 | Crystal Breath - Kim Deal
Benji Chapman, Music Editor
With an opening reminiscnet of 1993's hit 'Cannonball', 'Crystal Breath' captures the signature ingredients of Kim Deal's songwriting style with the unfamiliar addition of keyboards and kooky guitar effects that revisit her recognisable Pixies flair with a new spin.
Her first (and hopefully not the last) solo album sees Deal revive songs that were written more than a decade prior, before being honed in the studio alongisde the recently and tragically deceased Steve Albini. One such track that embodies a harmonious blend of the two creatives' styles is 'Crystal Breath', with its grating and distorted elements that follow elegant passages of lofty ambiance.
93 | Saturn - SZA
Alex Hill, Designer
SZA juxtaposes ethereal melodies with the desire to escape the despair of reality and float away from Earth. Her weightless vocals paired with soothing ad-libs add a new dimension to her established neo soul and pop fusion, demonstrating her ability to continually transcend and 'drift away' from the confines of genre and style.
92 | Summer of Hate - Do Nothing
Alice James, Second Year History and French
Do Nothing’s standalone single ‘Summer of Hate’ is another showcase of their surrealist style. The off-kilter, stumbling melody and rhythms are playful, seemingly to be made up of different threads following their own direction. Rather than becoming discordant, this creates a unique sound with momentum that you can’t quite keep ahead of.
Chris Bailey’s haunting vocals shine above it all, a characteristic display of Do Nothing’s frankly odd lyrics. ‘Summer of Hate’ is a tour of fleeting images and thoughts, their deeper meanings difficult to decode, but vivid and intriguing nonetheless. No one else is doing it like Do Nothing.
91 | Shepherd's Carol - Ugly (UK)
Nina Curmi, Third Year Liberal Arts
The final single debut of their EP Twice Around the Sun, 'Shepherd’s Carol' showcases the brilliance of the upcoming British band Ugly (UK). The song opens with an insanely catchy riff by guitarist Samuel Goater.
It is one of their most playful songs as we hear the different choral harmonies and the use of synths which ultimately builds to an incredibly folky and choral climax. Their music is truly unique, Ugly (UK) are one of the best British bands out there and I highly recommend listening to their EP in its glorious entirety.
90 | eva - Ezra Bell
Sean Lawrenson, Co-Deputy Sports Editor
Ezra Bell’s album For Our Mothers is absolutely mesmerising, and this track encompasses what makes the band so compelling. From the storytelling of a relationship faltering in the wake of death, to the stellar violin solo that comes towards the end of the track.
Sadly, in late October this year, frontman and lyricist Ben Wuamett passed away, and it is his observations that keep bringing me back to this track. Lines like ‘Where nothing said was said enough / Till silence fell we’d said too much’ stay with you long after the near four minute song is up.
89 | Girl from NYC - Brògeal
Megan Foulk, Co-Deputy Music Editor
Inching into the spotlight with the help of Irish folk legends The Mary Wallopers, Brògeal hail from Falkirk, Scotland with a unique blend of Scottish and Irish Gaelic folk, punk, garage and rock. Chaotically fast paced, ‘Girl From NYC’ has the jangly patent of a bouncing Irish bar mixed with the gravelly undertones of punk guitar. Like pouring a shot of Red Bull into a condensated pint of Guinness, think Dexy’s Midnight Runners meets Joan Jett with a side of accordion and banjo.
88 | Florida!!! - Taylor Swift ft Florence and the Machine
Sofia Webster, Co-Deputy Editor
This song arguably symbolises Swift entering a different territory to what she has done previously, and compared to the themes and genres she dabbles with on the rest of the album - The Tortured Poets Department - but equally is a powerful song which has been on repeat for me, and showcases both Florence Welch and Taylor Swift as a fantastic collaborative duo.
87 | Danzig with Myself- The Dandy Warhols, (ft. Frank Black)
Aditi Hrisheekesh, Co-Deputy Music Editor
Fresh from their experimental masterpiece ROCKMAKER, ‘Danzig With Myself’ casts a scathing eye on human nature and the corruption of political frameworks. Taylor-Taylor’s electrically ashen grey vocals claw through the smokey fabric whilst Pixies darling Black Francis’s falsetto vocals adorn an astral canvas of heavy drums and a noodling guitar.
Spun like a psychological horror, they remain faithful to their artpop name — all scuffed leather, bursts of technicolour, and astral blitz. The song hinges on an uncanny edge with a sense of existential dread — ultimate artistic madness that boldly impales the boundaries of musical normalcy.
86 | A Soul With No King - AURORA
Sofia Lambis, News Investigations Editor
AURORA’s fourth album What Happened to the Heart? was released in June 2024 and explores connection, apathy and what humanity has lost touch with. ‘A Soul With No King’ is the ninth track on the album, and stands out thanks to the Norwegian singer’s haunting vocals.
It begins with delicate vocals and a simple rhythm before building into a sweeping, ethereal harmony. It seems to be about freedom and feeling disconnected from the world, fitting nicely into the general theme of the album. The Norwegian singer’s layered harmonies and use of percussive rhythms gives the song a folkloric, almost mystical feel.
85 | BOOM BAP - Doechii
Esther Smears, Second Year History
Alligator Bites Never Heal is the biggest project in hip-hop right now and ‘BOOM BAP’, a standout track, tells you why. Vivacious and phonetically addictive, it is an apt moment for Doechii to exclaim; ‘I am everything!’, as she reconciles playful lyricism, speaking in tongues and blowing raspberries with a smooth jazzy instrumental. Punchy, radical and hilarious – it's everything you want from hip-hop in 2024.
84 | Veneficium - Xiu Xiu
Dan Phillips, Third Year Maths
Since moving from Los Angeles to Berlin, ‘Veneficium’ tears through a prism into a foggy amalgamation of prog-pop poison. Stewart’s theatrical vocals reverberate across the synths and riffs leaving a sense of desertion and confusion. Although performed outwards, his paranoid delivery skepticizes the instrumentation's own captivating lead. This parasitic act cultivates into a melodic schism, proving Xiu Xiu are still ‘numero uno’.
83 | The Real Thing - FEET
Meadow Wattret, Film & TV Co-Deputy Editor
From what I believe was a severely underrated 2024 LP, FEET’s lead single is proof alone that if anyone has mastered the combination of simple, swaggering vocal performances and twangy guitar hooks, it’s them. A chirpy electric riff jolts you from the off, and rhythm and lead marry together to create these big, fuzzy strums that keep quick and heavy momentum.
This sits perfectly behind the lead singer’s boisterous, britpoppy voice, especially as he throws himself into the song’s perfectly indie, upfront refrain ‘Is this the real thing?’. Everything crashes into a nice and clean close with some charming and quintessentially Pulp-y ‘Oo-Oo-Oo-Oos’ and crisp drum lines. While staying true to the ‘if it ain’t broke’ indie mentality, this single refreshingly offered a baggier, janglier and noticeably individual take on an oversaturated genre.
82 | Grindin - Main Phase
James Lewis, Scitech Subeditor
2024 should go down as the year garage became cool again and none can take as much credit for this as the Copenhagen based producer and DJ, Main Phase. While not as well known as Interplanetary Criminal or Sammy Virji, his influence is second to none.
His track ‘Grindin’ is a dance floor filling, high-energy, head bop inducing banger. Incorporating several trends that has hallmarked the recent resurgence in UK garage known as NUKG. Ragga vocals, playful organ melody and a heavy bassline make for a track that is a suitable example of the brilliant garage that has been produced this year.
81 | To Believe (to Repel Ghosts Part 2) - Saint Jude
Bruno Bridger, Arts Editor
However the South-London based artist Saint Jude chooses to innovate and evolve his sound seems to yield the same results; intensely beautiful and melancholic approaches to melody and compoition. Moving away from the rave tinged beats of his debut album Signal, 'To Believe' serves as a minimal but evocative reimagining of an earlier song, that feels like an evocation of Billy Bragg for the modern day.
80 | Condensation - Sports Team
Sophie Scannell, Music Subeditor
‘It’s a song about sweat’ declares guitarist of Sports Team, Rob Knaggs, and the characteristically-carnage music video to accompany it leaves no doubt about that. The song’s punchy opening settles into a strident bassline, and fluttering keys ooze cool from the get-go, setting the stage for charming frontman Alex Rice to charge over the track.
It’s hard to keep a poker face listening to boasts like ‘call me a letter ‘cause I, I deliver’. Closing the year on this track has geared the band up for an exciting 2025, with new album Boys These Days set to release in February.
79 | Brown Paper Bag - DIIV
Anna Dodd, Third Year English
Avid participators in the new shoegaze scene, Brooklyn-based band DIIV continue to reach new heights in their 2024 record Frog in Boiling Water, blending dreampop and indie rock, overlaid with cryptic lyricism focusing on introspection in an age of societal collapse.
‘Brown Paper Bag’ is an ethereal and textured single, that equips heavy reverb and atmospheric guitar riffs to achieve their signature immersive sound. Listening to the song ultimately gives the effect of floating through a hazy liminal space, as the lead voice mulls over their melancholy, ‘So there I go / Torn, faded’ comparing themselves to a brown paper bag ‘stuck on the ground.’
78 | GET HIGH - Creative Differences
Hunter Grasdal, Liberal Arts
A different sound from the band's previous projects, 'GET HIGH' tells of how the only way to tune it all out is through getting high. The lead singer, Ryan Petersen, tells of depression, fearing death and the intergral wish to overcome the low points. The track is electronic, perhaps a bit hyperpop, and a brilliant ending to the Waveshoes EP.
77 | All I Ever Asked - Rachel Chinouriri
Molly Pullen, First Year English
Chinouriri's 'All I Ever Asked' is a lamentation of relationship passed, with her haunting yet sweet vocals overlaying a soft instrumental, paced by a catchy drum beat.
76 | Coffee - Hinds
Sophie Scannell, Music Subeditor
If you like ‘black coffee’, ‘cigarettes’, and ‘crying to hard rock on your holidays’, then ask yourself why Spanish-hailing Hind’s ‘Coffee’ wasn’t the soundtrack of your summer. It oozes that feeling of happy-go-lucky holiday living, and always has me contemplating a spontaneous one-woman mission to Madrid every time I listen to it.
It’s a fitting sentiment, too, given the duo’s resurgence after two members left the band in 2023, leaving Carlotta Cosials and Ana Perrote to put their heads together for what became a triumph of an album this year. At a time when all was up in the air for the future of the band, ‘Coffee’ is the perfect anthem for not taking it all too seriously. Viva Hinds!
75 | Patterns - Laura Marling
Megan Foulk, Co-Deputy Music Editor
A delicate exploration of motherhood, ageing and the intricately woven threads that connect generations, ‘Patterns’ - lead single of eighth studio album Patterns In Repeat - offers a touching insight into Marling’s adjustment to motherhood and its new creative avenues.
A perspective not often shared by artists, the gentle folk melody is beautifully vulnerable, yet solid and reassuring. A crisp gulp of reality amid the fabricated chaos of the modern world, the song offers a necessary reminder not to fight life’s natural course, providing a counterargument to ever-obsessive anti-aging culture that can only be received with open arms.
74 | Steptronic - CASISDEAD, Conducta
Benji Chapman, Music Editor
This collab with a kingmaker in UK garage has been a frequent opener throughout the sets of CASISDEAD, an artist who's been touring relentlessly this year following success from collaborations with respective producers such as Mystry and Faze Miyake. The unabashed troublemaker of the UK's rap scene gets a fully-fleged extended remix of an interlude from his latest album, Famous Last Words.
His explicit lyrics, provocative themes, and hostile attitude make him a little too antagonistic for the mainstream, but something tells me that's just the result he's looking for.
73 | Starburned and Unkissed- Caroline Polacheck
Abbie Holmes, Second Year English
‘Starburned and Unkissed’ by Caroline Polacheck came from the soundtrack of A24’s coming of age horror/fantasy I Saw the TV Glow. The track, coming off of the tail ends of Polacheck’s deluxe edition of her Sophomore album Desire, I Want to Turn into You, showcases her stunning vocals alongside a production steeped in angst, with all the bass to match. Polacheck is an upcoming powerhouse in the industry, ‘Starburned and Unkissed’ showcases her versatility, alongside her unique and curated sound.
72 | Die with a Smile - Bruno Mars and Lady Gaga
Sofia Webster, Co-Deputy Editor
This duet was a standout song for me - an incredible ballad spanning pop, jazz and soul composed by such talented, creative musicians like Gaga and Mars, you just knew the song would be brilliant even before listening and in my opinion made after listening, was one of the most memorable duets of this year.
71 | Dog Dribble - Getdown Services
Amelie Peters, Music Subeditor
The satirical witty precursor to an album yet to come, the forever shirtless duo, Getdown Services have done it again. This latest single is a dark but incredibly humorous take on life in the modern age.
Divisive lyrics and joyous beats, this is a song you could sit down, read and have a bit of a giggle to. The pair are a mix on cold intelligence and a blindingly naughty side, the single displays their evident talent for mischief.
70 | Venal Joy - The Jesus and Mary Chain
Aditi Hrisheekesh, Co-Deputy Music Editor
'Venal Joy' sounds like starting up an old, cranky car - the sort that sputters with electricity in a chaotic way. It kicks off with an industrial, screwdrivery grind that morphs into a beat. Reid’s sharp-edged vocals sound like they’ve been aesthetically and purposefully dragged through dust, through a heavy post-punk haze.
The soundscape feels futuristic, dystopian almost and the fuzzed-out brooding vibe is like their debut album Psychocandy grew up. The song leans back into their original, well-oiled sound - and it honestly works. It sounds like anticipation — like something big is about to happen. Or maybe it already did.
69 | Spring Is Coming With A Strawberry In The Mouth - Caroline Polachek
Max Bradley-Cole, Film and TV Editor
In this song, Polachek covers the 1986 single of the same name by Irish duo Operating Theatre, rejuvenating this magnificent song that slipped through the cracks of time. Caroline Polachek is the Midas of music, everything she touches turns to gold.
She took the original, with its '90s era Bjork stylings its rustic, industrial, rough at the edges sound and sanded these jagged sides. The synths are sleek, the bass is smooth, her vocals are glossy, but the song’s essence, its soaring peaks and bounding energy remain. A forgotten song with new life breathed into it.
68 | Lavender - Kofi Stone
Eluned Darwin Goss, Second Year Law and French
Kofi Stone’s ability to create high energy from smooth and steady flow becomes all the more evident in ‘Lavender’. From his new album A Man After God's Own Heart, the song's peacful ambiance is somewhat different to old classics such as ‘Dirty Airforces’ and ‘Same Old’.
Kofi flippantly talks about a relationship and the absence of need to rush. The introductory strumming immediately draws in listeners, presenting melodic vocals. The track feels warm and affectionate yet purposefully doesn’t look into the intricacies of love. Its simple ambiance is a moment to waver from upbeat ‘Black Joy’ and ‘These Years a Golden’. It is a sweet ode to simple love.
67 | La waLa - El Khat
Ivor Starkey, First Year Spanish and French
Moving from Jaffa to Berlin, mute, the latest release from Tel Aviv collective El Khat, is transcending borders and genres. Influenced by traditional Yemenese folk songs as well as psychadelica, mute is a timely reflection of the Middle East’s multitude of heritages, faiths, and languages.
The second track on the record, 'La WaLa' echoes with DIY drums, brass and bass. The lyrics display El Khat’s attempt to capture the present moment and see fractured identities restored to a harmonious whole: 'Why can’t you never enjoy the moment you’re in/ And always say goodbye / Why? Why?'
66 | Little Chaos - Orla Gartland
Tim Harris, Second Year LLB Law
There is nothing better than a truly perfect pop song. Unfortunately, it seems that such a song cannot exist. But for those who wish to one day sip from this holy grail of pop music, at least let your thirst be somewhat quenched by this offering from Orla Gartland.
Loud, bouncy, and catchy, ‘Little Chaos’ is what pop music should be about - well-crafted, energetic tunes, with irresistibly satisfying choruses. It is a truly addictive record, and a masterclass in alt-pop songwriting.
65 | Holy, Holy - Geordie Greep
Following the unfortunate split of the constantly promising band black midi, fans were unsure of the future of Geordie Greep’s musical career. Fortunately, upon the release of his first solo single, ‘Holy, Holy’, it became apparent that the legacy the band had created was still very much alive. The song takes the elements that make a black midi song a black midi song and successfully modifies and amplifies them.
Almost nonsense lyrics, dirty guitar riffs and excessive drama almost resembling musical theatre – these elements are all magnificently apparent in The New Sound’s lead single. The song is drenched with clear influences, including but not limited to prog rock, Bossa nova, salsa and funk, all culminating in a deliciously groovy single from a future cult classic album.
64 | Mullhollands Dinner and Wine - Declan McKenna
Annie McNamee, Co-Editor-in-Chief
Now on his third album, indie darling Declan McKenna is anything but stale. ‘Mullholland’s Dinner and Wine’ is a highlight from his 2024 record What Happened to the Beach?, which has quickly become, at least for me, a definitive album for summer.
This track is swaggering and effortlessly cool, from McKenna’s nonchalant vocals to the meandering melody which feels almost like a liminal space in audio form. It’s a funny take on the vapidity of wealth and fame, yes, but it’s also a straightforward tune. There’s a lot to love about this track, not least how fun it is to sing the line ‘I’m fucking dangerous, I get want I want’ aloud.
63 | Being In Love - Songs Ohia, Jason Molina
Ivor Starkey, First Year Spanish and French
The spirit of the late Jason Molina lives on in the newly released album Live: Vanquishers by the Secretly Canadian record company. These tracks, recorded at a performance in the Netherlands back in 2000, have amongst their number jewels such as Lioness and Being in Love. A powerful testament to the man whose work would inspire rising star, MJ Lenderman.
62 | Cheerleader - Porter Robinson
Tim Harris, Second Year LLB Law
The first single from his 2024 album SMILE! :D, 'Cheerleader' marks yet another stylistic shift in Porter Robinson’s career. Departing from both the hard EDM sounds of Worlds, and the softer indie-electronica of Nurture, Robinson, with 'Cheerleader', takes a more pop-oriented approach - culminating in a catchy but abrasive electro-pop banger, complete with an ear-worm synth line and a classic pop-punk guitar section.
'Cheerleader' also showcases Robinson’s increasing confidence in his own vocal abilities; he abandons the signature effects-heavy, pitched-up vocal sound of Nurture in favour of a more raw, natural sounding vocal, which sits well on top of the almost over-produced instrumental. 'Cheerleader' is a masterfully produced track, showcasing Robinson’s pop prowess while maintaining his signature electronic flare, and is the clear standout track of SMILE! :D.
61 | Dream Job - Yard Act
Aditi Hrisheekesh, Co-Deputy Music Editor
‘Dream Job’, part of album Whee's My Utopia?, is a song so spunky and sharp, full of sardonic lines landing like tiny sucker punches — the album title itself nods towards political disillusionment. The jabs at capitalism and modern life are cutting and truthful, skilfully dangling from spiky grooves and wiry energy.
It’s their usual spoken word lyrics - slam-poetry-on-speed vibes - with biting digs and surreal humour. It’s somewhat less scrappy than their earlier stuff — as if early Arctic Monkeys meets Talking Heads. A song for dancing awkwardly whilst side-eyeing whatever the hell is going on in the world. They’re not reinventing the wheel - but they don’t need to - it’s fun and smart and got enough edge to keep you hooked.
60 | Bon Bon - Fcukers
Ruby Butler, Second Year Classical Studies
'Bon Bon' is the jewel of Fcuker's debut EP Baggy$$, a nostalgic yet innovative house track nodding to electronic tunes of the '90s/'00s. With enigmatic but deadpan vocals by Shanny Wise (previously of The Shacks) and energetic production by Jackson Walker Lewis, the song reeks of New York's newest dance frequencies hinting at an exciting future for house music.
59 | Round - Two Shell
Bruno Bridger, Arts Editor
The mysterious duo Two-Shell, whose origin story is alleged to have begun here in Bristol, producing scorched rave for local indepndent imprint Livity Sound (Run by local legend Peverelist) continue to enthrall. 'Round' cleverly incroproates a Sugababes sample that feels simultaenously akin to early-Burial, while one could equally imagine it becoming a hit on the radio. One of those rare dance tracks that manages to transcend a singular audience.
58 | Time - Olivia Dean
Megan Foulk, Co-Deputy Music Editor
Densely layered and drenched in rich, velvety reverb, Olivia Dean’s ‘Time’ is the perfect soulful pop record. Oscillating between dreamy horn riffs with gentle scatting to a powerful, driving chorus that you can’t help but sing along with, there’s chance for contemplation and relief. A radio favourite of this year, this track is an advert for traditional song making, with no risk of gimmicks or overproduction, it achieves its brief perfectly and with undeniable class.
57 | Doves - Armand Hammer
Daniel Tester, Third Year Politics and Sociology
For a decade or so, Armand Hammer’s duo of billy woods and ELUCID have been dropping two albums a year of the most searing, uncompromising rap music around. 'Doves' amps it up to siren-pitch, flitting somewhere between industrial headache and lullaby. when woods’ verse floats to the surface of the sonic mush, he’s at his most haunting, most apocalyptic: 'They called, said “come now he doesn’t have long to live,” / I dressed slowly, came back that night and took my baby out the crib so I could hold him''.
It’s end times music: music for rule by health insurance companies, ecological collapse, genocide; the worst things in life and the intimacies we forge in between. The 21st century’s poet laureate of doom makes hip-hop that ain't like any hip-hop you ever heard before, and 'Doves' is an all timer.
56 | Races - Interplanetary Criminal, Blanco
Benji Chapman, Music Editor
Interplanetary Criminal has been on a killstreak in 2024, following last year's stellar releases, with a host of EPs and collaborations with garage contemporaries like Sammy Virji and KETTAMA.
What differentiates 'Races' from Interplanetary Criminal's ususal production methods however is its varied intensity: traditional two-step rthymns are broken up with sporradic breakbeats, longtail 808s, and chirping dub sirens that are carried by Blanco's conversational tone behind the mic. Boasting his own release from 2024, Gilberto's Son, the staple drill rapper known best on the breakout hit 'Kennington Where It Started' escapes the creative limitations of the niche drill genre with this club belter.
55 | Motorcycle Boy - Fontaines D.C.
Hunter Grasdal, Liberal Arts
From their newest album Romance, the sound of 'Motorcycle Boy' is on the more melancholy side. The lyrics, though open to various interpretations, present themselves as someone coming to terms with the complex aspects of a relationship. And they accept that they may have to part with the person: 'It's fine, I know / You rain, I snow / You stay, I go'.
54 | Randy's Chimes - Chris Cohen
Dan Phillips, Third Year Maths
Although Cohen might be retreading long-distant memories of his neighbour, I’m seemingly echoing these events in a meta-ironic way. From his unorganised living quarters to his 3 AM karaoke routine of ‘Dancing Queen’, I am a contortion of ABBA and a perpetuation of Randy, performing these chimes in the shower as an out-of-tune alarm.
However guilty, Chris Cohen entrances me almost effortlessly every morning with a mirage of synths and dream-like motifs from the keyboard. I apologise to anyone I might’ve woken up, but I know any complaints will slowly become compassionate anecdotes once they’ve listened to ‘Paint a Room’ as well.
53 | You're So Impatient - Pixies
Aditi Hrisheekesh, Co-Deputy Music Editor
‘You’re So Impatient’ is a kind of throwback to the Pixies’ off-kilter brilliance, with just a tad bit more restraint - as if their notable jagged edges (heard in Doolittle) are sanded down slightly for the sleek modern age.
There is certainly a surf-rock edge to this song, somewhat reminiscent of the B-52s - an upbeat optimism differing from their more melancholy tracks. Guitar riffs are as impressive as ever and there is the trademark Pixies tension between Frank Black’s mutter and his scream. Sly and unsettling in a Pixies-perfect way, embracing the weird and wonderful.
52 | Nobody's Soldier - Hozier
Sofia Lambis, News Investigations Editor
Defiant and introspective, Hozier’s ‘Nobody’s Solidier’ is a powerful anti-war anthem that combines a catchy melody with poignant lyrics, alongside a striking music video. The seemingly upbeat tune is filled with the poetic lyricism typical of Hozier, and discusses global arms dealing and the warped view of humanity it has led to. It was released this year as part of the Unaired EP, a collection of music originally recorded during the making of his most recent album Unreal Unearth. The EP also features songs ‘July’ and ‘That You Are’.
51 | Nausicaa (Love Will Be Revealed) - Cameron Winter
Louis Fowler, Second Year English
From the frontman of one of New York City’s current most exciting bands, Geese, Cameron Winter strips back his hugely dynamic vocal capabilities present in 3D Country for a far more reserved, but no less beautiful performance on his solo debut album, Heavy Metal. ‘I wanna know you / Tell me how it feels’, Winter begs in delicate falsetto backing vocals, exemplifying the themes of love, empathy and longing abundant in much of his songwriting.
The song follows Winter’s gorgeous and introspective crooning overlapping a joyfully jaunty beat until the singer eventually erupts into forcefully bellowing the sole word ‘Nausicaa!’ by the end. The listener experiences the Julian Casablancas-esque emotion in Winter’s voice, undercut with beautiful brass stabs, forming the sonic groundwork for the rest of the ethereal album.
50 | Child of Mine - Laura Marling
Max Bradley-Cole, Film and TV Editor
Sobbing, screaming, crying, balling up my fists and punching my pillows. That’s just a glimpse of what this quietly devastating song does to me. 'Child of Mine' is the album’s opening song, with scatters of domestic chatter, her husband and daughter cooing at each other, and Laura’s light plucking, you cannot help but sink into its maternal embrace.
One lyric reads, 'Sometimes you’ll go to places I can’t get to / But I’ve spoken to the angels who’ll protect you', and it reminds me of my mum, who always called my freckles Angel Kisses, and that she’d sent these angels to look after me. It is not a sad song, but it always makes me cry.
49 | Knitting Song - Paris Paloma
Sofia Lambis, News Investigations Editor
Paris Paloma’s debut album Cacophony was released earlier this year, captivating listeners with its lyricism and a structure that mirrors a hero’s quest. In an album filled with feminist anthems and hauntingly powerful vocals, knitting song stands out as soft, tender and laced with humour. Its gentle melody and poetic imagery explores the generational knowledge passed down between women. Drawing from mythology, literature and art, it acts as a sister song to the empowering ‘as good a reason.’
48 | The Albatross – Taylor Swift
Annie McNamee, Co-Editor-in-Chief
‘Less is more’ was most people’s takeaway from Taylor Swift’s The Tortured Poets Department, and while the album itself was undercooked and bloated at times, ‘The Albatross’ is a rare moment of clarity. A simple guitar allows for Swift’s delicate vocals, the eerie melody, and, most importantly, her lyrics, to take centre-stage.
It is strange to find the line ‘Cross your thoughtless heart, only liquor anoints you’, in the same record as ‘Now I’m down bad crying at the gym,’ but we all contain multitudes. ‘The Albatross’ proves that deep, deep down, there’s still a brilliant writer inside Taylor Swift when the fat is cut away – here’s to more of this Taylor in 2025.
47 | Alesis - Mk.gee
Bruno Bridger, Arts Editor
Sounding like Justin Bieber filtered through the lense of Arthur Russell-esque sonics, Mk. gee and his album Two Star & the Dream Police provided a sound like no other in 2024.
46 | Empty And Silent - Mount Kimbie (feat. King Krule)
Nina Curmi, Third Year Liberal Arts
The collaborative excellence of Mount Kimbie and King Krule shines through in 'Empty and Silent'. The first two minutes are essentially empty and silent as the band return to their electronic roots as all we hear is a synth and simple twinkling sounds. A loop is created as drums and electric guitar are introduced in this indie-electronic mash-up.
The loop and repetitiveness of the melody mirror the repetitiveness described in the song’s lyrics. Marshall’s vocals pair beautifully with Mount Kimbie member Andrea Balency-Béarn’s harmonies. There are also lyric references to previous King Krule songs, adding more depth to this incredible song.
45 | bluey vuitton - Babyfather, evilgiane
Esther Smears, Second Year History
The latest track from the elusive electronic project Babyfather sees Dean Blunt, DJ Escrow and Gassman D exchange the brash sirens and static infused soundscape of their debut album BBF, for a more dreamy and mellow sound. Featuring on ‘Bluey Vuitton’, evilgiane brings the glitchy percussion and ethereal synths of the up-and-coming New York ‘sample drill’ to London where DJ Escrow makes it at home with his parodic bars depicting the inner-city hustle.
A welcome lament on intimacy and a disjointed relationship is followed by Dean Blunt in his signature detached cadence. With a mesmerising beat and provocative lyrics, this highly anticipated fusion of peculiar forward-thinking sounds is executed in true Babyfather style.
44 | Everything and Nothing - SOFT PLAY
Alice James, Second Year History and French
Returning after a five year hiatus, ‘Everything and Nothing’ represents what is so great about their new attitude and their new album, Heavy Jelly. Their characteristic shouted vocals with stripped back drums, and switching guitar for a mandolin, the track is an emotional punch to the gut at the end of the album, the lyrics exploring loss and coming to terms with it.
‘Everything and Nothing’ represents how SOFT PLAY have been unafraid to play with their sound, producing an incredible album as a result. It is also simply one of the most powerful and moving songs out there.
43 | Haut Contre Bas - Fievel is Glauque
Dan Phillips, Third Year Maths
Fievel is Glauque seemingly never rest. After leaving Brooklyn to experiment with new material and returning on crutches, they released Rong Weicknes, a labyrinth of jazz-pop oddities. However, hidden amongst the latest tracks, 'Haut Contre Bas' traverses through as a love letter to their pursuit. Based on the original version Zach Phillips had self-released fifteen years ago in 'Jours Avec Jennie', the result of a challenge to learn enough French in a week, to record a whole album in the language.
This new rendition is revitalised with adapted vocals now sung by Ma Clement in her native tongue and a restructured piano solo for Zach. For the rest of the 'Fievel Family', the arrangement is re-envisioned with a triplicate hierarchy of overdubs, flutes, and jingle-jangle jazz. 'Haut Contre Bas' is the evolutionary visage of Fievel, exhibiting the beauty of their entangled innovation all throughout.
42 | Berlin Nightmare - SOPHIE, Evita Manji
Benji Chapman, Music Editor
The devestating loss of SOPHIE in 2021 was felt around the earth, but perhaps one place where this was felt most obviously was the dancefloor. Thankfully, fans of the dearly remembered mother of queer club music saw a posthumous self-titled release this year to quell a shortcoming in this regard.
We were graciously handed a full-length abum of unreleased material in 2024, but this single from the new album stands out from the rest. It's name was aptly chosen; instrumentally recollecting a hedonistic night in the industrialist clubs of Berlin with an industrial yet catchy bass hook, complimented by sparce vocals from SOPHIE's widowed partner Evita Manji.
41 | Turn The Page - Overmono, The Streets
Alex Hill, Designer
Teased in their 2023 tour before its release this year, this edit of The Streets' track of the same name is classically Overmono, interweaving tempo shifts and bouncy UKG beats into Mike Skinner's playful lyricism to achieve an effortless payoff at each listen.
40 | Beaches - Beabadoobee
Anna Dodd, Third Year English
Despite its tropical and summery feel, ‘Beaches’ from Beabadoobee’s This is How Tomorrow Moves stands as the perfect anthem for the end of the year, with its reflective lyrics denoting her finding herself at the right place, at the right time. She teamed up with Rick Rubin to achieve the early 2000s alt-rock sound that she has experimented with since the beginning of her career.
Amongst a sunny production and distorted guitar track, she recalls days where she lacked confidence, ‘afraid to fall down’. The song is ultimately marked by the refrain 'I’m sure now, I’m sure’, celebrating a newfound confidence.
39 | Mahashmasha - Father John Misty
Amelie Peters, Music Subeditor
Soul crushing imagery and gut wrenching depressive lyrics, Mahashmasha is beautiful, lulling then crashing the power of the song is oppressive. Haunting my mind, the song captures an apocalyptic narrative and leads a listener on a spiralling journey through the artists mind.
38 | Blowing Smoke - Gracie Abrams
Sofia Webster, Co-Deputy Editor
Trying to decide on a song from Abrams' groundbreaking album The Secret of Us, I settled on Blowing Smoke - a unique ballad (with minimalistic production) which showcases Abrams' ability to authentically craft a fantastic song featuring her raw emotional vocals, inspired by the likes of her friend Taylor Swift who features on the album.
37 | Glory of the Snow - Clairo
Bruno Bridger, Arts Editor
Clairo's third studio album Charm was one I often reffered to in passing as a 'guilty pleasure'. After repeated listens, I feel this title is ill-fitting. In reality it is pure production brilliance that harkens back to the golden days of studio production in the '70s, and one that deserves all the praise it has recieved this year and more. Taking cues from the solemn folk-pop of luminaries such as Andy Schauf, 'Glory of the Snow' is infectiously fun.
36 | Butterflies - TV Girl, George Clanton, Jordana
Zoe Tang, Third Year LLB Law
Returning in 2024 with a short album Fauxnellium, TV Girl and George Clanton are easily the two most distinctive and consistent Indie pop acts in the scene since the late 2010s. Together with frequent collaborator Jordana's melancholy voice, the song laments a failed relationship alongside the changing of seasons and nature, evoking a deeper zest for life beyond the immediate sadness caused by a distant partner.
35 | My Fun - Suki Waterhouse
Sophie Scannell, Music Subeditor
From the scrapbook-y feel of its artwork alone, this single will transport you out of your freezing student house and right into a deliciously sunkissed summer camp. Pair this with kooky recorder fills in between verses and an invitation to ‘Strip off your clothes, step into the sea’, and Suki Waterhouse’s ‘My Fun’ cemented a place in my summer rotation for months on end.
Bright, wistful, and earthy in its essence, this one is a strutting soundtrack - so get your fur jacket and superbly large sunnies on to ‘Take a hike up to the top of the sun’ in true Suki fashion.
34 | Om - Glasser
Dan Phillips, Third Year Maths
Om is the perfect introduction to Glasser for anyone desiring more Caroline Polachek whilst looking to spiral into something of its own. Ethereal and time-lost, Om opens crux (deluxe) with more avant-garde pop acting as a bridge to the themes endowed in the original release and an unsettling bassline lingering in the background.
Glasser merges the electronic and the orchestral with an elegant claw, lifting sharply to a woven thread of synthetic strings and transcendental vocals. Om’s resistance to letting go is immaterialised as a projection you cannot undo, ultimately pulling you further into the crux.
33 | DENIAL IS A RIVER - Doechii
Sophie Scannell, Music Subeditor
A nostalgic '90s hip-hop beat sets the stage for Doechii’s hypnotic story of industry success and personal turbulence. Bursting onto my radar after her CHROMAKOPIA feature, she quickly dominated my explore page for weeks – and I’m far from complaining.
Doechii’s artistry transcends the track itself; her viral Tiny Desk performance reimagines the song as a pacey jazz breakdown, and her meticulously choreographed performance on Stephen Colbert’s show was nothing short of captivating. Well-aware that her genius knows no bounds, the closing breathing exercise on the track is the perfect ending to regain composure after this masterclass of a record.
32 | Girl, so confusing- Charli XCX ft. Lorde
Abbie Holmes, Second Year English
‘Girl, so confusing’ originally from Charli XCX’s critically acclaimed Brat was already part of a cultural phenomenon that launched Charli XCX’s career to the heights she’s been striving towards for over fifteen years. However, the feature of Lorde made the song a cultural phenomenon of its own.
Lorde’s verse created a narrative, and was the first teaser for the exceptional remix album Brat and it’s Completely Different but Also Still Brat alongside the Addison Rae feature on ‘Von Dutch.’ The raw lyrics stand as a testament for female solidarity in the industry. Paired with A.G Cook’s distinctive production, the track is a perfect encapsulation of Charli XCX’s return to form, one that we’re all thankful for.
31 | eternal sunshine - Ariana Grande
Anna Dodd, Third Year English
In the title track to the pop princess’s return to the industry after a 4-year hiatus, Ariana Grande honors 2004’s Eternal Sunshine of the Spotless Mind in 'eternal sunshine' to cope with heavy grief following her divorce. She effortlessly finds the sweet spot between pop and R&B, accompanied by trap beats and richly stacked harmonies that have become the essence of her musical identity. The outro and bridge of the track interposes the flow of Imogen Heap’s ‘Just for Now’ and stands as a centerpiece for the album sonically and thematically, as she accepts the separation.
30 | Floating On A Moment - Beth Gibbons
Ruby Butler, Second Year Classical Studies
Intensely emotional, Beth Gibbons' vocals within 'Floating On A Moment' are sorrowful and transporting, and offer the best of her new album Lives Outgrown. Though renowned as the voice for Portishead, the peak of Gibbons' career is yet to come as her track offers fresh mystique and more ethereal elements than ever.
29 | greaser - The Crying Nudes
Bruno Bridger, Arts Editor
My song of the year. The mysterious group linked to Dean Blunt's 'world music' imprint, and fronted by Clarissa Connelly collaborator, Fine Glinvald, continue to impress and imrpove with each single. Certainly ones to watch in the coming years, alongside the rest of the burgeoning music scene coming out of Scandinavia.
28 | Messy - Lola Young
Megan Foulk, Co-Deputy Music Editor
Dubbed the ‘viral Gen-Z anthem’ by British Vogue, Lola Young’s ‘Messy’ is infectiously self-aware. Propelled into the mainstream by TikTok - a platform increasingly villainised for its one-hit-wonder-fication of the modern music industry - the track’s can’t win energy is refreshingly unapologetic and a satisfyingly tongue in cheek response to social pressure.
Melodically simple, the chorus’s hook stays with you long after the song’s end and is best sung loudly, fuelled by frustration during your post-argument-cleansing shower, heat on full.
27 | kms - Los Campesinos!
Molly Pullen, First Year English
'kms', like many other Los Campesinos! tracks, is a very memorable listen. Kim Paisey provides lead vocals with her mellow tone to contrast alliterative, melancholy lyrics and a grungy guitar backing.
26 | Reincarnated - Kendrick Lamar
Sean Lawrenson, Co-Deputy Sports Editor
What a year for Kendrick Lamar. I could have easily chosen two other worthy candidates from Kendrick’s diss tracks with ‘Meet the Grahams’ and ‘Not Like Us,’ but have instead opted for 'Reincarnation,’ from his surprise album GNX. A reclamation of the story of Lucifer, Lamar delves into issues like race, addiction, and conflicting feelings surrounding his purpose.
The best part of the track sees Lamar talk to God, questioning whether his actions inspire love or fuel further hate. It is an extremely introspective track which sees Lamar self-evaluate his own goals and morals more than we have ever seen before.
25 | Give my all - Astrid Sonne
Dan Philips, Third Year Maths
Anxieties about modernity, maternity, and the uncertainty of the future bleed throughout Great Doubt, with Sonne paralyzed at this liminal intersection. Emerging from an attempt to actualise a conclusion between her ideals and her reality, the mindscape becomes disoriented by the lyrics to Mariah Carey’s 'My All'. This cannot continue, how do we regain composure?
Although our beliefs should be built upon shared foundations, it’s easy to regress away from the crux of ourselves to find contentment with others. Breaking from this distortion, Sonne slowly reclaims her thoughts with her viola, and accompanying electronic structure with the skeletal RnB influences taken from Tirzah.
24 | Kimbara - Barry Can't Swim
Eluned Darwin Goss, Second Year Law and French
Barry Can’t Swim transforms Celia Cruz’s 1974 ‘Quimbara’ to a thrilling track which feels like driving through country lanes at high speed. Alongside 'Still Riding' and 'How it Feels', electronic ‘Kimbara’ delivers summery, festival vibes and embodies the feeling of letting go.
The word ‘Quimbara’ is said to derive from African origin as well as from roots associated with salsa. It simply means to have a good time and to relax. Barry’s disparate take on the original song is intense, its infectious repetition still allowing the spirit of salsa to make us dance –though perhaps in the club rather than the ballroom.
23 | Whiplash - bôa
Aditi Hrisheekesh, Co-Deputy Music Editor
Back after 14 years, this ‘90s female-fronted alt-rock band wield a sentimental gem, a song filled to the brim with nostalgia whilst looking to the future. Basslines run deep, with frontwoman Jasmine Rodger’s smoky vocals teetering on somewhat of an ethereal terrain. Loitering in the mix are hints of jazz with brooding guitar riffs, creating a tone that is familiar and cool.
There is a sliver of youthful angst, perfect for the biting cold of winter and rainy days (or for pretending you’re the frazzled yet endearing love interest in a 2000s rom-com). The lyrics are hard-hitting - as vulnerable as open wounds.
22 | Vegyn - The Path Less Travelled
Benji Chapman, Music Editor
'The Path Less Travelled' is a song that posseses the rare quality of making you feel as though you're flossing out your own ears with your headphones while you listen to it. It's a mystery to me that Vegyn hasn't started charging people on an indiviudal basis for the therapeutic qualities of his music.
This kind of music is a free masterclass in mindfulness: stick it on, take some deep breaths, and let the reveberated keys soothe you as the master producer does his thing. I don't even know what genre we're supposed to put Vegyn's music under anymore, but for now, I think I'll just keep calling it music for the soul.
21 | No Surprises (feat. Gregory Alan Isakov - Jeremiah Fraites, Gregory Alan Isakov
Lizzie Bickerstaff, Fourth Year English
Since his debut almost twenty years ago Gregory Alan Isakov has asserted himself as a conerstone of the contemporary folk scene. Following the release of his highly anticipated seventh album Appaloosa Bones in 2023, Isakov has appeared frequently over the past year in collaboration with names such as Noah Kahan and Shovels & Rope. It is not often a cover lives up to the gravity of the original but Isakov in collaboration with composer Jeremiah Fraites has surely risen to the challenge with a truly heart-wrenching reimagining of Radiohead’s 'No Surprises'.
An unexpected departure from his stripped-back banjo and piano arrangements, Isakov’s earthy voice blends perfectly with Fraites’s orchestral tribute to a classic. This genre-bending track not only showcases Isakov’s incredible diversity as a musician but further provides the perfect warming soundtrack for those long nights of winter term.
20 | Better Way To Live – Kneecap
Annie McNamee, Co-Editor-in-Chief
Between Paul Mescal mania and Guinness rationing its supplies, it’s been a great year to be Irish, and Kneecap are about as Irish as it gets. Dedicated to making gaelic cool again and getting choruses stuck in your head, ‘Better Way to Live’, a collaboration with Fontaines D.C. frontman Grian Chatten, is a pretty good summation of everything there is to love about Kneecap.
It’s catchy, the Gaelic rapping works far better than you’d expect, and the social commentary is clear without becoming preachy. Between this and their critically acclaimed 2024 film, the future is bright for this Belfast trio.
19 | Eusexua - FKA Twigs
Max Bradley-Cole, Film and TV Editor
Twigs defines Eusexua as a feeling of ‘momentary transcendence’, she elaborates further, 'its that feeling when you’ve been dancing all night, and you lose seven hours to music, [or] you meet somebody you like and you kiss for all hours. You lose time.’ Whilst filming for the god awful film The Crow in Prague, Twigs fell in love with its underground techno scene, and this song perfectly captures the sweaty, euphoric cavort that defines these spaces.
When I listen to this song in my bedroom, I throw my hands up in the air, in my perfect white-girl-wasted imitation and imagine I’m surrounded by sweaty bodies in a Czech basement, and I think, maybe this is my Eusexua.
18 | Capricorn - Vampire Weekend
Meadow Wattret, Film & TV Co-Deputy Editor
Swaying, dainty organ melodies and existential lyrics that reflect on age, time and uncertainty rear their head in Vampire Weekend’s lead single for their first album since 2019. In what’s arguably the strongest release from their latest record, Ezra Koenig’s vocals murmur and reverberate hauntingly, slowly building to a chorus that almost floats with harmonies and airy drum fills.
Slams of synth-like keys build to a peaceful ending with stripped-back strums of acoustic guitar and Koenig’s voice. The interesting blend of folk and pop make the song an easy-listen, perfect for a reflective walk in autumn, and marks a unique but welcome return for the long-time Indie rockers.
17 | Chewing Gum - Amyl and The Sniffers
Sophie Scannell, Music Subeditor
Scrappy and raucous, beaming and unforgiving, Amy Taylor’s stage presence has gained lots of well-deserved attention this year. Much of it, thankfully, also finds home in studio records thanks to her raspy, sultry yet strident pipes that, I think, are flaunted most vividly in ‘Chewing Gum’.
It’s a post-punk masterclass, and whilst the crashing cymbals and sonic overload of its guitar solo is undoubtedly something to behold, it also withholds perhaps the best lyric of 2024: ‘Life is short, life is fun, I am young and in love’. Like this line, the band are reigning champs for the ‘simple yet effective’ approach this year - pure punk delight with no faff.
16 | King of the Slugs - Fat Dog
Amelie Peters, Music Subeditor
Joe Love's letter to his own slimy stalkers is one that can't be missed off the list: synth heavy, and impossible not to dance to. The song is an instant classic.
Written as an ode to the suburban hellscape that is London, king of the slugs is absurd, wonderful and weird. Falling most definitely into the absurdist genre, the band do everything but take themselves seriously.
15 | God Gave me Feet for Dancing - Ezra Collective, Yazmin Lacey
Eluned Darwin Goss, Second Year Law and French
Inspired by Nina Simone’s 1965 ‘Feeling Good’, British Jazz band Ezra Collective and London soul singer Yazmin Lacey come together to compose a tune which is both calming yet energising at once. This track’s gradual implementation of new sounds builds to create a freeing notion and reminds us of the joys of dancing freely and carelessly.
From piano to vocals, strings to drums to sax, the song flows from ballad to upbeat poesy. It is Ezra Collective’s second single of the year after Ajala and is from their new album Dance, No One's Watching. Alongside other tunes on the album, this anthem’s nostalgic tones and lyrics convey a very simple yet moving message that dancing will give you 'good times', so why not dance?
14 | Joker Lips - MJ Lenderman
Sophie Scannell, Music Subeditor
It’s been a big year for Lenderman, reeling from Wednesday’s album success in 2023 and straight into his own big hitter, Manning Fireworks. Spoilt for choice amongst its gems, I’ve opted for ‘Joker Lips’, where mellow musings meet charming lament under a bed of homely country guitar twangs.
Its lyrics balance fragile sincerity and comical cynicism: a desperate ‘All I really want to see is see you need me’ is quickly undercut by the image of Lenderman fumbling a hill start with a ‘DUI scooter’. It’s the perfect embodiment of if you don’t laugh, you’ll cry, and this gorgeously comforting yet painfully honest album delivers opportunities for both in abundance.
13 | flight fm - Joy Orbison
Alex Hill, Designer
Pulsing with drum patterns and heavy bass synths, 'flight fm' is an experimental electronic track tinged with UK garage. Quickly becoming a staple across warehouse raves and basement sets alike, the track later prompted Fred again..'s masterful 'flex fm (freddit)' remix that incorporates artists such as Lil Yachty, Future, and Playboi Carti.
12 | Favourite – Fontaines D.C.
Tim Harris, Second Year LLB Law
Characterised by a catchy and playful guitar riff that repeats throughout the song, 'Favourite' is an infectious single that marks the continuing shift in Fontaines D.C.’s sound away from the minimalist post-punk of A Hero’s Death and Dogrel, towards a more anthemic, alt-rock style - a move that persists throughout the band’s 2024 album Romance.
'Favourite' is an undeniably pretty track; its honest lyrics and light, upbeat instrumentation, as well as its slightly nostalgic feel, contrast with some of Fontaine’s D.C.s more poetic and darker releases. Nonetheless, it is a welcome addition to the band’s discography.
11 | Taste - Sabrina Carpenter
Sofia Webster, Co-Deputy Editor
Serving as the opening track to her acclaimed album Short n' Sweet, this punchy opening anthem captures the playful, comedic essence of Carpenter's whole album so brilliantly. It's spent several weeks and counting in the charts since its release in late August 2024.
10 | Punk's Dead - Soft Play
Amelie Peters, Music Subeditor
The duo's return to the punk medium is a perfect juxtaposition to the content it bluntly announces. Fiery and joyous, Soft Play are the epitome of the punk ideology.
Arriving back on the scene with a song so filled with expletives your grandma would tell you to 'wash your mouth out with soap'. Soft play do not care who they offend, weeding out the runts in their fanbase, soft play take no hostages.
9 | Alone - The Cure
Tim Harris, Second Year LLB Law
16 years after their last release, The Cure are back - and they are back. A slow-burn, heart-wrenching anthem, 'Alone' is a masterpiece of despair. Here, The Cure put a modern, atmospheric spin on their signature sound, immersing the listener into a world of pure existential dread, reinforced by Robert Smith’s repeating lyrical motif ‘Where did it go?’. 'Alone' is a majestic and poignant introduction to the band’s album Songs of a Lost World, which marks a remarkable return to form for the band.
8 | Sadness As A Gift - Adrianne Lenker
Megan Foulk, Co-Deputy Music Editor
Recorded on tape machines, Lenker’s ‘Sadness As A Gift’ has the addictive sting of lemon juice to a papercut. Cathartically raw, the opening violin melody is sickeningly beautiful, like the audio equivalent of a golden hour wash on a home video reel. It forces you into indulgent nostalgia, but not without consequence.
Echoing Tennyson’s sentiment ‘tis better to have loved and lost than never to have loved at all’, the lament makes a refreshing change from archetypal anger ballads soaked in resentment, instead extending a handshake of gratitude for the opportunity of experiencing one of life’s most powerful emotions.
7 | L’AMOUR DE MA VIE - Billie Eilish
Tim Harris, Second Year LLB Law
‘L’AMOUR DE MA VIE’ - or ‘the Love of my Life’ for any English speakers reading - is the crown jewel of Eilish’s album HIT ME HARD AND SOFT. It’s a record in two parts; in the first section, she sings softly about a past relationship over a clean bossa-nova style guitar. It's light, slow and carefree, with bittersweet and introspective lyrics.
Then suddenly, up goes the tempo and in come the '80s synthesizers. A heavily auto-tuned Eilish relishes in her new-found freedom, proclaiming, along with her new lover, about how glad she is to be rid of her previous ‘mediocre’ partner. These two sections are so distinct and unique, yet complement each other perfectly, creating one of Billie Eilish’s finest works yet.
6 | Juna - Clairo
Meadow Wattret, Film & TV Co-Deputy Editor
It’s fair to say that in her 2019 and 2021 records, the indie-pop golden girl dabbled in exploring love’s anxieties. In 'Juna', my personal favourite tune from her return to music after 3 years, Clairo refreshingly basks in the tantalising experience of being desired. Through overlapping, quintessentially soft vocals, the singer coyly admits to undeniable attraction.
Her typically vulnerable lyricism now captures the nervous excitement of infatuation, and how romance encourages the confidence to ‘try on feminine’. Everything sounds like a boiling hot bubble bath feels – sultry basslines glide alongside twinkly light piano chords. This seductive but sweet, smooth-jazz-fusion encapsulates the power and beauty of being charmed.
5 | Treat Each Other Right - Jamie xx
Benji Chapman, Music Editor
It may have taken 9 years to hear back from him, but I think we can all agree that a degree of patience is afforded in the case of Jamie xx. Resorting to a quiet life free of distractions from his mobile phone, he evidently found solace in his music throughout the production process of the introspectively meditative In Waves, but its club-friendly BPM and aggression really shines on the bounciest track of them all with 'Treat Each Other Right'.
The song is an affirmative victory chant for an artist who has fluidly returned to his spot in the limelight with renewed enthusiasm. We're glad to have you back Jamie.
4 | The World's Biggest Paving Slab - English Teacher
Alice James, Second Year History and French
‘The World’s Biggest Paving Slab’ is the lead single from This Could be Texas, English Teacher’s debut album that won them this year’s Mercury Prize. And it’s no wonder why. ‘The World’s Biggest Paving Slab’ is a masterpiece, both playful and powerful, impossible to listen to without it grabbing hold of you.
So much is packed into this one track – shifts between different styles, complex imagery – but it is done so in a deliberate, controlled way. English Teacher have created an intentional, genre-defying sound that is so distinctly theirs, and this track is one of their best.
3 | Sympathy is a knife - Charli XCX
Hunter Grasdal, Liberal Arts
Charli XCX's 'Sympathy is a knife' from her hit album Brat is incredibly personal. The lyricd tells of a person who reminds Charli of her own insecurities, and how this sends her into a spiral: 'One voice tells me that they laugh / George says, "I'm just paranoid"'. Saying she 'couldn't even be her if I tried', and that all the sympathy she gets simply feels like a lie. Though an album made for the clubs, 'Sympathy is a knife' is one of the more vulnerable songs to be found on it.
2 | Starburster – Fontaines D.C.
Annie McNamee, Co-Editor-in-Chief
It’s not often you hear a song and know on first listen that its creators are stars. Fontaines D.C. have been popular indie musicians for a good five years now, but ‘Starburster’, the lead single from their most recent album Romance shows a real elevation for these Dublinners.
This tune is moreish and winding in the best way – with moody vocals from frontman Grian and a melody that always feels slightly unresolved, you’ll never quite feel like you’ve had enough. It’s not easy to create something this original which still feels like a feast for the ears, easily putting this song amongst the best releases of the year.
1 | Good Luck, Babe! - Chappell Roan
Abbie Holmes, Second Year English
2024 was no doubt the year of Chappell Roan. Her newest single ‘Good Luck, Babe!’ launched her already rising career into the stratosphere, and for good reason. The '80s inspired production paired with Roan’s distinctive and powerful vocals creates a track that was destined for commercial and indie success.
The lyrics are both angry and intimate, offering a listening experience of pure emotion. the track, alongside the unreleased singles of ‘Subway’ and ‘The Giver’ have evolved her already fun and introspective sound into something more established, a development that I could not be more excited for.
Featured Image: Benji ChapmanWhat were your favourite songs of 2024?
