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Jessica Pratt - Here in the Pitch
Jessica Pratt, often associated with freak folk, presents a softer, more ethereal sound compared to her genre peers. Her fourth album aims to evoke “big panoramic sounds that make you think of the ocean and California,” capturing the post-Summer of Love era with its mix of bright Hollywood stars and underlying darkness, referencing cultural moments like Helter Skelter, Kenneth Anger, Eve Babitz, and the Beach Boys’ Friends-era.
Collaborating with producer Al Carlson, Pratt experimented with microphone placements to create varied atmospheres that are unique to each track. Here in the Pitch, the album’s title, signifies deep darkness. “World on a String” embodies this with its blend of twee and pastoral elements, coupled with a somber psyche, as reflected in the lyrics: “She’s got the world on a string/ ‘Bout the time she comes around here anyway/ And it’s only lasted for a while/ And it’s only luster for the tide.”
Rosie Frater-Taylor - Featherweight
Rosie Frater-Taylor uniquely blends indie pop and jazz, with influences from PJ Harvey and Kate Bush. Rooted in jazz, the Brit studied at the Royal Academy of Music and released her debut album, On My Mind, at 18, which was praised by Jazzwise magazine. Her second album, Bloom (2021), garnered 3 million streams. Her latest work, written during her 2022 international tour, explores her personal journey and love life.
Frater-Taylor emphasizes capturing her live band’s energy to give the album its “punch.” This album, while described as “featherweight,” showcases her powerful lyrics and a diverse musical palette, featuring complex jazz harmonies, rock influences on “Get In Line,” neo-soul on “Heartbeat,” and flamenco rhythms in “Falling Fast.” Frater-Taylor is a modern young woman with a distinctive musical style that conveys superhuman strength through her compositions.
The Smile - Wall of Eyes
One of the finest albums of 2024, Wall Of Eyes by The Smile, features Radiohead’s Thom Yorke and Jonny Greenwood, and Sons Of Kemet’s drummer Tom Skinner. Released a year after their Glastonbury livestream debut, their first album A Light For Attracting Attention, this new album expands on their complex sound. The album benefits from the strings of the London Contemporary Orchestra and prominent brass and winds from the London jazz scene, including Chelsea Charmichael and Robert Stillman.
Wall Of Eyes includes eight tracks, starting with the tropical bossa acoustic guitar and Yorke’s reverberating vocals on the title track. Smooth synths of “Teleharmonic” and the rock riffs of “Read The Room” and “Under The Pillows” follow. The dreamy piano ballad “Friend Of A Friend” and the synthetic layers of “I Quit” lead to the distortion-heavy “Bendic Hectic.” The album closes with the cinematic “You Know Me!” showcasing the trio’s full alchemy and live show seasoning. Recorded at Abbey Road with producer Sam Petts-Davies, this album is a masterpiece.
Charli XCX - brat
After her commercially successful 2022 album Crash, Charli XCX chose to return to her alternative roots with brat. She ended her contract, rejecting industry norms, and created an album that defies convention. brat is designed for the pre-party, the club, and the journey home, with distorted bass, crunching percussion, pulsating beats, and Auto-Tune, evoking the pulsing energy of iconic yet dingey East London venues. Despite the party vibe, Charli reveals vulnerability in tracks like “Sympathy is a knife,” “I might say something stupid,” and “Girl, so confusing,” addressing industry rivalry, the pressures of motherhood, and personal insecurities. The most touching moment is “So I,” a tribute to the late SOPHIE, whose influence permeates the album.
Produced by A.G. Cook, Hudson Mohawke, Easyfun, Gesaffelstein, and Cirkut, brat showcases Charli’s underground-pop style. Collaborating with boundary-pushing artists, Charli elevates the album’s communal spirit, reflecting the synergy of like-minded creators. brat is subversive, relevant, and culturally “now,” demonstrating what happens when artists create freely.
Peggy Gou - I Hear You
Peggy Gou’s debut album I Hear You marks a significant artistic statement, blending a decade of musical exploration with her unique style. Opening with “Your Art,” Gou sets a contemplative tone before diving into exuberant dance music. Her journey through genres—from drum & bass to Chicago house and Berlin techno—reflects her deep knowledge of electronic dance music.
The album’s standout, “(It Goes Like) Nanana,” with its infectious chorus and 1990s rave energy, has already captivated social media. Tracks like “Back to One” and “I Believe in Love Again” showcase Gou’s versatility, the latter featuring a dynamic collaboration with Lenny Kravitz. “Seoulsi Peggygou (서울시페기구)” adds a global twist with drum & bass and a koto melody. Rejecting contemporary trends, Gou draws from 1990s house and techno, delivering a fresh yet nostalgic sound. “Lobster Telephone” and “1+1=11″ highlight her ability to blend influences seamlessly, making I Hear You a thrilling, genre-spanning debut.
Shabaka - Perceive Its Beauty, Acknowledge Its Grace
Shabaka Hutchings’s solo work, beginning with 2022′s Afrikan Culture and now Perceive Its Beauty, Acknowledge Its Grace, marks a significant shift in his musical journey. Known for his energetic contributions to groups like Sons of Kemet and The Comet Is Coming, Hutchings’s new direction emphasizes introspection and the use of wooden flutes. Inspired by the serene experience of playing the shakuhachi in Richmond Park during the pandemic, Hutchings explores smaller, more dynamic sounds.
In Perceive Its Beauty, Acknowledge Its Grace, Hutchings draws on the spiritual jazz of Alice Coltrane, Don Cherry, and Pharoah Sanders, blending it with the airy new-age flute music of artists like Dean Evenson. The album features short, evolving tracks, showcasing a wide range of influences and guest artists such as Jason Moran, Brandee Younger, Saul Williams, Elucid, and André 3000. This introspective work highlights Hutchings’s versatility and commitment to exploring new musical landscapes. Truly a revelation.
Arooj Aftab - Night Reign
Arooj Aftab’s Night Reign is a mesmerizing evolution from her Grammy-winning success, showcasing her rich contralto against a backdrop of nocturnal musings and intimate reflections. Released on Verve, this album delves into themes of parties, solitude, and whisky-fueled confessions, each track structured yet allowing for moments of improvised bliss. From the cosmic groove of “Aey Nehin” to the bewitching blues of “Bolo Na” featuring Moor Mother, Aftab’s voice captivates with its depth and emotive power.
Collaborations with artists like Cautious Clay, Marc Anthony Thompson, and Petros Klampanis enrich the album’s sonic tapestry. Tracks like “Whiskey” and “Raat Ki Rani” blend Urdu verses with evocative instrumentation, demonstrating Aftab’s ability to craft music that transcends boundaries. Night Reign confirms Aftab’s status as an artist committed to her craft, reminiscent of icons who have shaped their own musical landscapes.
KNEECAP - Fine Art
Kneecap’s album Fine Art boldly merges political activism with a celebration of artistry and cultural expression. Known for their uncompromising stance against authority and their outspoken support for human rights causes like Palestine, Kneecap confronts societal issues head-on. The album’s title track, featuring bilingual lyrics, in Gaelic and English, and a sharp critique of elitism through a BRITS OUT mural protest, exemplifies their confrontational yet insightful approach.
Across 18 tracks, Kneecap navigates themes of resistance and hedonism with lyrical dexterity. From gritty narratives of hardship and nightlife in “Better Way to Live” to the provocative “Drug Dealin Pagans,” which blends Irish folk elements with modern beats, their music oscillates between social commentary and unabashed revelry. The album’s production, influenced by dance music, adds a layer of accessibility to their rap style, emphasizing their message that art and enjoyment should transcend systemic constraints. Fine Art showcases Kneecap as both provocateurs and artists, challenging perceptions while crafting a vibrant, politically charged musical experience.
Adrianne Leneker - Bright Future
Adrianne Lenker’s latest solo effort, Bright Future, showcases her prolific songwriting prowess amidst a backdrop of intimate recording sessions. Recorded in an analogue studio with a close-knit group of musicians, including Nick Hakim and Mat Davidson, the album exudes a raw, earthy quality enhanced by acoustic guitars and spectral piano. Tracks like “Real House” set a confessional tone with vivid, stream-of-consciousness lyrics, while “Candleflame” and “Fool” delve into introspective themes with solemn acoustic melodies reminiscent of early Liz Phair.
Lenker’s vocal range shines on “Evol,” blending seamlessly with delicate piano arrangements. The album also revisits Big Thief’s “Vampire Empire” in a lo-fi indie rock rendition, adding new depth to the original. Closing with “Ruined,” Lenker delivers a poignant reflection on love and loss, framed by spacious production and ethereal textures. In the end, Bright Future illustrates that Lenker’s quality control never wavers despite her songwriting productivity—and celebrates the joy of collaboration and creativity.
Anastasia Kobekina - Venice
Anastasia Kobekina’s album Venice presents a unique blend of original compositions and reinterpreted classics, all unified by her deep connection to the titular city. While initially resembling a classical “greatest hits” compilation, Venice diverges sharply with Kobekina’s personal touch and innovative arrangements. Her solo cello pieces, alongside compositions by Bach, Britten, Monteverdi, and Vivaldi, feature distinct accompaniments that sometimes depart significantly from the originals, such as a jazz-infused rendition of a Vivaldi concerto.
Traditionalist listeners may challenge the recomposition of revered works, yet Venice transcends conventional recital formats by inviting listeners into Kobekina’s intimate artistic journey. Rather than seeking a clear roadmap, experiencing the album from start to finish allows for a more profound connection with Kobekina’s expression. Regardless of personal reception, one undeniable aspect is Kobekina’s exceptional talent and artistry as a cellist, ensuring Venice stands as a testament to her musical creativity and virtuosity.
Julius Asal - Scriabin – Scarlatti
Julius Asal’s debut album is a profound exploration bridging the musical worlds of Domenico Scarlatti and Alexander Scriabin, two composers separated by centuries and stylistic epochs. Scarlatti, a pivotal figure in Baroque music from Naples, and Scriabin, a Russian modernist deeply influenced by spiritual and philosophical currents in early 20th-century Moscow, may appear disparate at first glance. However, Asal’s interpretation reveals their hidden connections and shared musical essence. At just 27 years old, Asal demonstrates exceptional musical and philosophical depth, distinguishing himself not only through technical skill but also through insightful artistic vision. His debut with Deutsche Grammophon showcases a meticulous approach to programming, aiming to recontextualize classical masterpieces while preserving their inherent character.
The album’s centrepiece is Scriabin’s monumental Piano Sonata No. 1 Op. 6, alongside selections from the composer’s Préludes and Études. Asal’s interpretation of Scarlatti’s keyboard sonatas adds historical depth, presented with authenticity and nuance. Asal’s original compositions, TRANSITION I & II, highlight the album, seamlessly integrating with the classical repertoire to create a cohesive and personal narrative. This debut not only highlights Asal’s exceptional talent but also marks a significant achievement in classical music interpretation, earning accolades for its innovative approach and artistic maturity.
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