NEW YORK (AP) 鈥� At the end of every year, when critics rush to compile their great art inevitably gets overlooked. A top 10 list doesn't leave a lot of room for discovery and, in music, that sometimes means the most innovative records lose out to make room for other titles. In this list, The Associated Press attempts to rectify that.
Here are 10 of the of the year, in no particular order, as chosen by AP Music Writer Maria Sherman.
鈥淪till,鈥� Erika de Casier
In a just world, Portuguese-born Danish singer Erika de Casier would be one of the biggest names in pop, for her retro-futuristic R&B deeply informed by the of the not-so-distant past. It鈥檚 hard not to hear Aaliyah or Jennifer Lopez or Janet Jackson in her breathy vocal storytelling, but her songs are not simply nostalgic. They shapeshift in the inclusion of '90s U.K. garage production (鈥淓x-Girlfriend鈥� with Shygirl) or her creative collaborations, like on 鈥渋ce鈥� with Florida rap duo They Hate Change.
鈥淧sykos,鈥� Yung Lean and Bladee
One-fourth of the rap collective Drain Gang 鈥� (pronounced 鈥淏lade鈥�) 鈥� and emo rap prodigy Yung Lean teamed up for the surprise release 鈥淧sykos鈥� earlier this year, a genre-allergic, rock-infused hip-hop collection of depressive pop. It's a fatalistic record for a lost, moony generation, and it may take a few listens for these Swedes to connect. But once their music does, it sounds like a surrealist document on the current moment.
鈥淒unya,鈥� Mustafa
Sudanese Canadian singer Mustafa鈥檚 鈥淒unya鈥� (which translates from Arabic to 鈥渢he world鈥�) hits like ancient folkloric tradition and sounds like poetry. (It鈥檚 Mustafa The Poet, after all, though he鈥檚 also scored writing credits for the likes of and the Jonas Brothers.) He鈥檚 said the album works to 鈥減reserve and celebrate the ordinary life in the hood,鈥� what is delicately and purposefully articulated across vignettes of love, loss and his native Toronto. 鈥淟eaving Toronto,鈥� specifically, is a tearjerker 鈥� a touching tribute to his city and his late brother, who was shot and killed last year.
鈥淣ight Reign,鈥� Arooj Aftab
Pakistani American astral folk-jazz artist Arooj Aftab is celebrated in certain circles and lacks visibility in others: She鈥檚 who has been nominated the past three years in a row and is up for two more in 2025. She鈥檚 performed at the White House. Earlier this month, she delivered an evocative set on 鈥淭he Late Show with Stephen Colbert,鈥� a welcomed disruption from the kinds of artists who normally grace American late-night television. But she's far from a household name, more likely to be your favorite artist's favorite artist. Whatever the case, her fourth album is a testament to her greatness. 鈥淣ight Reign鈥� combines cultures and genres for a gorgeous matrimony.
鈥淓els,鈥� Being Dead
Those who declare there are no rock 鈥檔鈥� roll bands anymore aren鈥檛 listening closely enough. Enter Austin weirdos whose sophomore album 鈥淓els鈥� is an asymmetrical collection of egg punk, Devo-worship, a recording of a bus driver who has had enough, psychedelic harmonies and various other oddball sensibilities that make them the best college radio rock band in recent history. And if that isn鈥檛 enough to convince a nonbeliever, the proof is in the pudding 鈥� or in this case, the producer: Grammy winner John Congleton (St. Vincent, Tegan and Sara) took the reins on the 16-track collection. And his co-sign means something.
鈥淎肠谤辞蝉
s the Tracks,鈥� Boldy James & Conductor Williams
Detroit rapper Boldy James often works by finding a single 鈥� and singular 鈥� producer with whom he works closely for an album of distinction. This year, he鈥檚 found a partner in Kansas City producer Conductor Williams for 鈥淎肠谤辞蝉s the Tracks,鈥� a dreamy, loop-heavy record of rap excellence. It鈥檚 right there from the jump. Intro 鈥淭erms and Conditions鈥� is stuffed with vintage, soulful sensibilities and undeniable bars. 鈥淲as taught to always be the message I bring / Pulled the sword from the stone,鈥� he delivers in his cool monotone. 鈥淐ould never compete / They know the flow is rather unique (blocks) / I kept the receipts.鈥�
鈥淪entir Que No Sabes,鈥� Mabe Fratti
In a time where celebrity musicians strive to appear like they avoid categorization, Guatemala-born, cellist Mabe Fratti lives it. Her album, 鈥淪entir Que No Sabes鈥� (鈥淔eel Like You Don鈥檛 Know鈥�), thrives in the uncertainty of its title. Her inventive compositions contort her chosen instrument, as well as horns and drums and pianos, into something resembling free-form jazz. Or is it post-punk pop? Experimental electro-folk? These are never quite dissonant compositions, but they are unusual, askew. Language loses out here, and it鈥檚 a wonderful thing.
鈥淎bsolute Elsewhere,鈥� Blood Incantation
It is a failure of imagination that 鈥渂est of鈥� music lists often fail to account for metal and its subgenres, despite consistently being one of the most popular musical forms the world over. But sometimes a metal album is too grand to ignore. That is the case with American death metal band Blood Incantation, whose fourth studio album 鈥淎bsolute Elsewhere鈥� stunned even the genre's most transitory listeners for its prog rock spirit, synth detouring, hardened blast beats and throat-ripping vocals. It鈥檚 cinematic.
鈥淕reat Doubt,鈥� Astrid Sonne
There's something in the water in Denmark. In 2024, some of the most exciting singer-songwriters hailed from the Scandinavian country: ML Buch and Clarissa Connelly, as well as de Casier. But it鈥檚 the folk and classical songs of Astrid Sonne鈥檚 鈥淕reat Doubt鈥� that truly struck a chord with us. It answers the question: What would a classically trained composer making experimental, haunted pop music with detuned pianos and woodwinds and flutes and brass actually sound like? Great, it turns out.
鈥淒iamond Jubilee,鈥� Cindy Lee
The has been described as the result of 鈥渁nti-hype,鈥� an Internet neologism that doesn't mean much more than 鈥渓imited publicity inspired intrigue.鈥� Lee 鈥� the drag alter ego of Women鈥檚 Patrick Flegel, a fixture of Canadian indie rock since the early 2010s 鈥� originally released this lo-fi gem as an unmarked YouTube link. 鈥淒iamond Jubilee鈥� resonated with avid, curious listeners 鈥� the kind undeterred by the fact that listening to this album, at one point in time, meant sitting down with all two hours and 32 minutes of it. But it鈥檚 Lee鈥檚 ambitious and expansive psych and garage rock that kept them coming back.
Maria Sherman, The Associated Press
