Top Albums of 2024

As we enter into 2025, it’s abundantly clear that 2024 was a great year for music with so many bold artistic statements, sonic reinventions, and deeply-personal themes from some of my favorite artists. Whether through electronic experimentation, folk intimacy, or blistering hip-hop lyricism, these artists pushed boundaries while refining and staying true to their unique voices. This end-of-year list, as always on this blog, isn’t just about which records I thought sounded great — it’s about the albums that really stuck with me, the ones that I returned to and discovered something new on every listen. Some transported me to other worlds, and others felt like they were giving a voice to my own experiences. These records defined the year for me, and I have a feeling that many of them will continue to resonate long into the future.

Honorable mentions (in no particular order):

Fearless Movement - Kamasi Washington
Where we’ve been, Where we go from here - Friko
SMILE! :D - Porter Robinson
Cowboy Carter - Beyoncé
The Great American Bar Scene - Zach Bryan
Charm - Clairo
The Tortured Poets Department - Taylor Swift
Chromakopia - Tyler, the Creator
Tigers Blood - Waxahatchee
Deeper Well - Kacey Musgraves
Short n’ Sweet - Sabrina Carpenter
All Born Screaming - St. Vincent

10. The New Sound - Geordie Greep

Best known for his bombastic work with Black Midi, Geordie Greep’s solo debut is as eccentric and adventurous as one would come to expect. Fusing avant-garde jazz, art-rock, and surreal lyricism, it’s an album that never overstays a single identity for too long. There’s an undeniable playfulness to this project, but it also has a clear sense of purpose — every detour and left-field decision feels intentional, making it one of the most thrilling and tantalizing albums of the year.

Score: 8.6/10

9. Mahashmashana - Father John Misty

A deeply immersive experience, Mahashmashana finds Father John Misty embracing a more esoteric, almost mystical approach to his songwriting. The arrangements are rich and varied, blending folk traditions with sprawling orchestral moments. It’s a record that demands full attention, rewarding patience with layers of meaning and some of his most ambitious compositions yet. There’s a thematic sense of finality that lingers throughout the project — hopefully not Josh Tillman’s last under the Father John Misty stage name.

Score: 8.6/10

8. HIT ME HARD AND SOFT - Billie Eilish

Billie Eilish continues to evolve, as evidenced by this album being a striking blend of her signature intimacy with grander, more cinematic production from herself and her brother FINNEAS. There’s an undeniable confidence making its way into her songwriting, as she effortlessly shifts between vulnerability and defiance to the norm. It’s an album that lingers long after its closing track “BLUE” ends, showcasing an artist fully in command of her sound.

Score: 8.7/10

7. I Lay Down My Life For You - JPEGMAFIA

Chaotic, confrontational, and unpredictable as always, this album cements JPEGMAFIA as one of the most exciting forces in experimental underground hip-hop. The production is as abrasive as ever — filled to the brim with distorted textures and relentless energy. But there’s also a newfound clarity in his vision. It’s a record that challenges expectations at every turn, making for one of the year’s most electrifying while admittedly challenging listens.

Score: 8.8/10

6. Songs of a Lost World - The Cure

The Cure’s long-awaited return is a triumph of mood and melody, capturing the same melancholic grandeur that made them legends while embracing a new sense of maturity and loss. The production is lush, the songwriting is deeply evocative, and the atmosphere is unmistakably theirs. It’s a record that bridges past and present, proving that their ability to channel beauty through sorrow remains as powerful and poignant as ever.

Score: 8.9/10

5. Patterns in Repeat - Laura Marling

Laura Marling has long been a master of folk introspection, and this album finds her refining her craft even further. The arrangements are deceptively simple, allowing her voice and lyrics to take center stage, but there’s a quiet complexity to every single song. It’s an album that feels lived-in and cared for, full of wisdom and reflection, making it one of her most affecting works yet as it explores the cyclical nature of parenthood. The full-circle parallels between this project and her album Song for Our Daughter are beautiful.

Score: 9.0/10

4. GNX - Kendrick Lamar

Kendrick Lamar continues to solidify his place as hip-hop’s most vital voice with GNX, an album that blends his razor-sharp lyricism with some of his most adventurous production choices yet. His storytelling remains unmatched, dissecting personal and societal struggles with a precision that few can rival. Every track feels like a puzzle piece, adding to a larger narrative that rewards repeated listens while also serving as a well-deserved victory lap and ode to Los Angeles after his feud with Drake earlier this year. MUSTAAARD!!!

Score: 9.1/10

3. Brat - Charli XCX

An artistic left turn from her previous work’s aesthetic, Brat is Charli XCX at her most unfiltered and exhilarating. The production is sleek and aggressive, packed with high-energy club beats and earworm-y hooks, but there’s also a sense of vulnerability lurking beneath the hedonism on tracks like “Apple” and “So I”. It’s a record that balances chaos with clarity, proving once again why Charli remains at the forefront of pop’s evolution. Brat Summer just may live on forever.

Score: 9.2/10

2. Bright Future - Adrianne Lenker

Few artists capture intimacy as effortlessly as Adrianne Lenker, and Bright Future is another masterclass in her ability to turn quiet moments into profound experiences. Her songwriting is even more unguarded here, with warm, organic instrumentation complementing her poetic and haunting storytelling. It’s an album that feels like a conversation whispered in the dark — achingly personal while universally resonant. Lenker continues to prove that she is one of the best living singer-songwriters.

Score: 9.4/10

1. Imaginal Disk - Magdalena Bay

Magdalena Bay continues to redefine modern pop with a sound that feels both meticulously futuristic and effortlessly nostalgic on Imaginal Disk. This album expands on their hyper-glossy aesthetic while delving into more intricate compositions, weaving together shimmering synths, warped production, and unexpected emotional and conceptual depth. It’s a dizzying, kaleidoscopic experience that proves they’re one of the most innovative acts in electronic pop. This album’s themes of introspective discovery, acceptance of imperfection, and self-actualization were very relevant to me this year, and its addictive and nearly flawless tracklist made Imaginal Disk my favorite album of 2024.

Score: 9.5/10

Looking back at these albums, I’m struck by the diversity of sound and vision that defined the past year of music. Each of these records, in their own way, pushed boundaries — whether through sonic innovation, emotional depth, or artistic ambition. Music has a unique and special way of anchoring us to specific moments in time, and these albums became the backdrop to a year with high highs and low lows.

2024 reaffirmed my love for music, and I want to do even more writing about it on this blog in 2025 — whether that means reviewing more releases or exploring older records. If 2024 proved anything, it’s that music remains as transformative, essential, and necessary as ever. Here’s to another year of discovery. Happy listening!

Album Review: Mr. Morale & The Big Steppers - Kendrick Lamar

After 1,855 long days Kendrick Lamar has returned with the release of his fifth studio album Mr. Morale & The Big Steppers. The follow-up to the critically-acclaimed and Pulitzer prize-winning DAMN. was very highly anticipated despite its remarkably short and mysterious rollout, as this project had neither a lead single nor a tracklist teased before the project’s debut. Even with the absence of these hallmark aspects of a traditional rollout, fans and critics alike tuned into Kendrick’s newest project with their curiosities piqued, ready to learn where the world-renowned artist would take his sound next, but more importantly, how he had navigated the tumultuous, unforgiving, and traumatic half-decade that had passed since we last heard from the Compton native. Luckily, Kendrick was more than willing to share what he has gone through, and with that, he has given us Mr. Morale & The Big Steppers: the most ambitious, revealing, and challenging album yet from his unrivaled discography.

Before discussing the tracklist, sounds, and themes on this project, it’s important to discuss the context in which it’s being released, the album’s overall concept, and how the gorgeous cover art helps frame an appropriate listen to the project. Up until the release of DAMN., Kendrick Lamar’s discography largely featured discussions of prevalent issues, critiques of broken institutions, and stories of an unspeakably difficult upbringing for himself and those in his community of Compton, California. After his debut Section.80, good kid, m.A.A.d city was a cinematic experience that outlined growing up with gang affiliations and the negative influence of peer pressure, while To Pimp A Butterfly was a poetic conversation and contemplation about the state of race, inequity, and self-acceptance at the time of its release. DAMN. found Kendrick vulnerable, discussing emotions such as how fear has affected him at each stage of his life and how his feelings often overwhelm him. Although DAMN. was a great record that wore its heart on its sleeve, the lack of a sense of closure and catharsis on this project made the great span of five years feel even longer than it actually was. Kendrick still had work to do, but this time not for his community or the world around him; instead, he needed to first look within and address the traumas that were affecting himself, his family, and, consequently, everyone that consumes his art.

Mr. Morale & The Big Steppers uses a unique framing device, which is a tactic that Kendrick has mastered over the course of his rap career. Essentially, this project demonstrates a series of therapy sessions that highlight the progression of his mental health, introspection, and eventual breakthrough that leads to the breaking of an intergenerational curse that he hopes to bring light to for others who have likely experienced or suppressed themselves. The album’s cover art seems minimalistic and straightforward at first, but upon further analysis, layers of duality and conflict arise. Kendrick and his family are rather distressed here - together, but in a less-than-ideal setting. Kendrick holds his daughter in his arms while shielding her from the outside world while wearing a crown of thorns and tucking a pistol, which represents his need to protect his family while choosing to represent himself as a savior figure to the community around him. All of themes — family, saviorship, trauma, mental health, and self-acceptance — are discussed on this 18 track double-album.

The album’s first song, “United In Grief”, adds to a legacy of incredibly captivating and stage-setting intro tracks through Kendrick’s discography. The album’s narrator exclaims “I hope you find some peace of mind in this lifetime,” and Kendrick’s wife encourages him to tell the truth to the therapist he has decided to see to address what he has been going through. Initially, Kendrick poses questions and answers them from unconventional perspectives - something that was promised with the release of “The Heart Part 5” just a few days prior to the album’s release. We discover that Kendrick has decided to see a therapist because he’s troubled by everything around him, depicting the world that he’s in as a cul de sac that he can’t find meaning in. Then, backed by a tempo-changing beat switch, Kendrick discusses the pitfalls and indulgences of his luxurious lifestyle, capping all of this off with the introspective excuse of “I grieve different (everybody grieves different)” that addresses the reason for his recent outlook, but without coming up with solutions.

“N95” follows - a hard-hitting banger that discusses the metaphorical masks that we wear in life and the vacuous emptiness that lies beneath them. At the beginning of Kendrick’s therapy, it’s important that he outlines distinctly what he sees wrong with the world around him before addressing why any of it is problematic, which is exactly what he does on this track. “Worldwide Steppers” is essentially disc one’s title track, finding Kendrick using a very direct and blunt delivery. He opens up about a previous lack of creative motivation with the lines “Writer’s block for two years, nothin’ moved me / Asked God to speak through me / That’s what you’re hearing now / Yours truly.” Kendrick then reflects on the internalized prejudices he has toward white women stemming from previous sexual experiences, which he believes his ancestors would view as retaliatory. Kendrick acknowledges the damage that can be done when caught up in the lifestyle, but also suggests those who are “noble” and live “like they’re supposed to “are just as ruthless, only with less direct and punishable consequences.

On “Die Hard”, Kendrick opens up about the insecurities that he has, primarily in his relationship. He questions the commitment and trust of his partner, while recognizing how difficult it is to put up with his uncertainties. Sonically, this track goes more in a pop direction, and while an interesting and revealing song, isn’t one of my favorites on the album. The exploration of trauma continues with “Father Time (feat. Sampha)”, which finds Kendrick discussing the complicated relationship he had with his father while growing up. “I’ve got daddy issues, that’s on me” is an incredibly vulnerable line that also serves as the first example of unspoken, communal trauma that Kendrick is bringing to light on this project, which we will see again multiple times later on. Sampha’s fantastic chorus and the production on this track are impeccable, and the discussions of the normalization of toxic masculinity in the Black community are poignant and impactful.

“Rich - Interlude” utilizes the contributions of controversial figure Kodak Black - the perfect representation of a “big stepper” or contributor to “the culture.” It seems that Kodak has shown some maturation, though, recognizing how far he’s come on his own while still wary and aware of how far he has to go to escape his former lifestyle. “Rich Spirit” finds an irreverent Kendrick navigating criticisms that he has faced, remaining steadfast in a newfound confidence that is beginning to emerge due to his therapy sessions. “We Cry Together” is unlike anything I’ve heard before: an Alchemist-produced, nearly 6-minute-long argument that depicts “what the world sounds like.” The female voice found on this track is portrayed by Taylour Paige, who pours her heart out into her viscerally uncomfortable performance. Argument-style tracks have been attempted before, but none executed as memorably and impactfully as “We Cry Together” - this is a perfect track so uncomfortable, toxic, and unsettling that I will likely have to avoid it on future listens. Disc one closes with “Purple Hearts”, and while this is a melodic pop cut, it doesn’t add much more to the project’s narrative besides condemning the toxicity of the previous track, and the features here didn’t leave an impact on me. Luckily, though, there is an entire second disc to follow.

The back half of Mr. Morale & The Big Steppers starts with “Count On Me”, a breakthrough session with Eckhart Tolle that catapults Kendrick into confronting his traumas throughout the rest of the project. This track represents closure, acceptance, and a willingness to move on from prior negative experiences in his life. On “Crown”, Kendrick grapples with the idea that truly conquering his traumas and mental health journey will involve making decisions that can’t please everyone in his life, including the listener. Kendrick recognizes the savior role he has played in his career up until this point, with the lines “Heavy is the head that chose to wear the crown / To whom is given much is required now.” This piano-backed track builds and culminates in Kendrick choosing to pursue his mental health journey, accepting that he has to come first. “Silent Hill” is next, a mellow trap cut featuring Kodak Black that, while inoffensive, would’ve fit much better in the album’s first half of tracks. “Savior - Interlude” features Baby Keem, who echoes the opening refrain from Eckhart Tolle discussing the negative consequences of basing one’s identity on prior traumatic experiences. On “Savior”, Kendrick severs himself from the savior persona that many have associated him with. Toward the end of the track, he discusses how he was likely taken for granted, and states that while he was away, he was “protecting [his] soul in the valley of silence”.

Now that Kendrick has acknowledged that he needs help, that seeking this help will change the way others perceive him, and relieved himself from the self-imposed responsibility of solving other people’s problems (or so he thinks), he is ready to address and explain the traumas and experiences that shaped him. This, naturally, leads to three of the best songs that Kendrick Lamar has even written, starting with “Auntie Diaries”. The track opens with the lines “Heart plays in ways the mind can’t figure out”, and Tolle frames the song by stating “this is how we conceptualize human beings.” On this track, Kendrick outlines his relationships with two different transgender individuals close to him, using this narrative structure to address his internial biases, the hypocrisy of the church, and all-too-often societal condemnation and mistreatment of the LGBTQ+ community. After describing how he naturally accepted the transition of his Auntie and of his cousin, he reflects on the accidental mistreatment he partook in by deadnaming these individuals, using derogatory and hurtful slurs, and hiding their identities from those around him. In the moving track’s climactic moments, Kendrick likens the use of the f-slur to that of the n-word, attempting to convince an often homophobic and transphobic hip-hop community to recognize how their prejudices are hurtful by reflecting on their own inequities and mistreatment. Overall, this is an amazing track, and I personally excuse Kendrick’s use of certain language on the song as it serves a much greater, very necessary purpose. More pro-trans and pro-LGBTQ+ songs need to be normalized in rap, and I commend Kendrick for “Auntie Diaries”.

The second disc’s title track, “Mr. Morale”, is next. This Pharrell Williams-produced banger continues discussions of generational trauma over a bouncy instrumental with unique flow from Kendrick. The most important line to pull from this track is Kendrick stating “I’m sacrificing myself to start the healing” not just of himself, but of his community and society altogether. “Mother I Sober (feat. Beth Gibbons of Portishead)” is next, and is quite honestly one of the most moving songs I’ve ever heard. On this track, Kendrick reflects on his childhood, his mother’s experience with sexual assault, his shortcomings and disloyalty to his wife, and how the often under-discussed presence of sexual abuse of young members of the Black community is a generational curse that needs to be addressed before any advancements can be made. Kendrick’s initially quiet and raw vocal delivery builds in the track’s most impactful moments, with lines like “So I set free the power of Whitney, may she heal us all / So I set free our children, may good karma keep them with God / So I set free the hearts filled with hatred, keep our bodies sacred / As I set free all you abusers, this is transformation.” The track closes with a recording of Kendrick’s daughter thanking him for owning his shortcomings and allowing their household the freedom to begin healing, which is what Kendrick wants his entire community to do. The closing track “Mirror” reiterates that Kendrick is choosing to focus on healing himself and his family instead of addressing systemic issues as he did on previous projects, apologizing but definitively stating that this is the decision that his therapy has led him to. This closing track is cathartic and triumphant, demonstrating how far Kendrick has come from where he started the album. The Mr. Morale persona is now in full effect, and the healing can start.

But not just for him. Although throughout this project Kendrick Lamar seems to create a dichotomy between healing his own instead of healing the world, I think that he can do both incredibly effectively, and that this type of masterfully introspective, contemplative project is an example of how. By discussing issues like toxic masculinity, sexual abuse, toxic relationships, and internalized prejudices in his community, Kendrick is leading by example on how to reflect, put in the work, and heal instead of preaching or acting as a savior for others. Now a role model, Kendrick has proven that he can continue to grow, advance, and succeed as an artist, but more importantly as a man who escaped insurmountable adversity in his upbringing. Because of that, and because of all of the good that will do for anyone who truly listens, this project was absolutely worth the wait.

Favorite tracks: “United In Grief”, “N95”, “Worldwide Steppers”, “Father Time (feat. Sampha)”, “Rich Spirit”, “We Cry Together”, “Count Me Out”, “Crown”, “Savior - Interlude”, “Savior”, “Auntie Diaries”, “Mr. Morale”, “Mother I Sober (feat. Beth Gibbons of Portishead)”, “Mirror”

SCORE: 9/10

Analysis: The Heart Part 5 - Kendrick Lamar

He’s back. After five long years since the release of his fourth studio album DAMN., Kendrick Lamar has returned. To classify him only as a musician or rapper seems like a disservice; instead, I prefer to refer to him as an all-around artistic genius. His previous projects, from the critically-acclaimed good kid, m.A.A.d city and To Pimp A Butterfly to the aforementioned Pulitzer prize-winning DAMN., discussed a wide range of topics and themes like systemic racism, societal injustice, and self-empowerment. Most of these amazing eras, sonically and thematically unique from one another, were preceded by a stream-of-consciousness-style single that, together, make up “The Heart” series. The same is true for his upcoming highly-anticipated album Mr. Morale & The Big Steppers, as just yesterday, Kendrick Lamar released “The Heart Part 5”.

The unexpected and atypical release is easily my favorite from “The Heart” series. Unlike ever before, Kendrick released a music video alongside the song. Seemingly simple at first, with Kendrick performing in front of a red backdrop, it quickly becomes apparent that the visual aspect of this song is just as important as the written lyrics. In spoken word format, Kendrick opens the track by discussing how he’s realized, as he’s grown older, that understanding varying perspectives is hugely important in life, and that his perspectives on issues might differ from his listeners’. Suddenly, then, Kendrick ballistically starts his first verse, which explores his upbringing and the lifestyle he grew up trying to escape. This time around, instead of just depicting the atrocities he has seen growing up with gang affiliations as he has done previously, Kendrick begins to critique “the culture” he sees around him that perpetuates and sustains a lifestyle that leads to generational suffering among his community. The chorus follows, utilizing a classic funk sample from Marvin Gaye and introduces the topics to follow, with the lyrics: “I want the hood to want me back / Look what I done for you.”

In verse two, Kendrick demonstrates the reflections he has done on the importance of perspective by utilizing DeepFake technology in the song’s music video to “transform” into various icons whose relevance and important we will discuss later. This visual effect is jarring at first, but serves an important purpose in communicating that Kendrick is stepping outside of himself for this single, and will likely do the same on the following album, evidenced by the “I Am. All of us.” quote that starts the music video. Kendrick continues to discuss “the culture,” describing how desensitization to atrocities and exploitation have normalized inequality, especially in impoverished Black communities. By embodying the likes of O.J. Simpson, Kanye West, Jussie Smollett, and Will Smith, Kendrick argues that these culturally iconic Black men have moved their communities forward despite their shortcomings or the controversies they’ve found themselves in, but that those controversies are ultimately still damaging. Brilliantly, Kendrick pairs each DeepFake with relevant lyrics, such as “Friends bipolar” for Kanye West and “Hurt people hurt more people” for Will Smith.

On verse three, the drums drop out of the instrumental, and Kendrick begins discussing a way out of the systemic and perpetual struggles that his community continues to face: “Celebrate new life when it come back around / The purpose is in the lessons we learnin’ now / Sacrifice personal gain over everything / Just to see the next generation better than ours.” The third verse sees Kendrick transform into Kobe Bryant and Nipsey Hussle, two extremely culturally impactful Black men who were once embroiled in their own controversies only to eventually overcome them to serve change to those around them. “Reflectin’ on my life and what I done / Paid dues, made rules, change outta love / Them same views made schools change curriculums / But didn’t change me starin’ down the barrel of that gun'“ addresses the elephant in the room: untimely demise. Kobe Bryant became a cultural role model before his tragic death, and Nipsey Hussle vowed to better his community after prior gang involvement before being killed. On The Heart Part 5, Kendrick speaks from their perspectives and says that even though they were taken too soon, they should regret nothing because of the positive impact they had on those around them - despite the cost. The song closes on a hauntingly beautiful tribute to Nipsey Hussle from his perspective, and the closing lines “And though my physical won’t reap the benefits / The energy that carry on emits still”, a play on words and striking reference to Emmett Till, whose horrifying lynching was a turning point of the Civil Rights movement in the 1950s - a spot-on personification of paying the ultimate price of tragedy to spark an absolutely necessary movement.

Kendrick Lamar has once again proven his genius artistry with The Heart Part 5, and the most incredible part is that it likely won’t even be on his upcoming album. By defining and outlining both the problems his community faces and ways to fix them by embodying cultural icons, Kendrick sets the tone and precedent that the rumored double album Mr. Morale & The Big Steppers is going to be a very contemplative and dense project. My expectations are now at an all-time high, and I hope Kendrick continues to discuss topics like the separation of art and artists, the misnomer idea of a “cancel culture”, and the importance of art in search of solutions to society’s most pressing issues. This was everything I hoped for in the past five long years, and Friday’s album drop can’t come soon enough.

Albums Which Have Earned A Perfect Score (10/10) From Me

Music has become one of the central topics I discuss on this blog. Whether I’m reviewing a new album, making a ranking list of projects which have come out in a given year, or discussing how my taste in music has changed over time, I’ve found that I have a lot to say when discussing music. In one of this blog’s first posts, I outlined my rubric and criteria for scoring albums and giving scores out of ten. After writing over twenty album reviews on this blog, none of the new releases in recent months have received a perfect score of 10/10. I give this score out sparingly and infrequently, reserving it for only the most influential, masterful, and flawless records which also have personal significance to me. While Charli, IGOR, RTJ4, and The Highwomen have all come close on this blog with scores of 9/10, none have earned the highly coveted perfect score. In this post, I’m going to be discussing a few albums which I consider prime examples of albums worthy of such critical acclaim.

• My Beautiful Dark Twisted Fantasy - Kanye West

This is an album which I grew up listening to on repeat throughout my teenage years. It’s one of the main reasons Kanye West is the artist I’ve listened to most all-time on Spotify. This album defines my favorite Kanye West era: Braggadocious, socially conscious, artistic, and self-reflective. Each beat is luxurious and grandiose, establishing the perfect backdrop for Mr. West and all of the accompanying features to advance the album’s enticing narrative. I think every song belongs exactly where it finds itself on the track-listing, and there is nothing I would change about this project. Tracks like “POWER”, “All Of The Lights”, and “Runaway” were classics the moment they released. The multimodality created by Kanye West’s short film Runaway adds even more to this project’s lore, and because of that, it earns a perfect score.

• The Money Store - Death Grips

This isn’t an album I recommend to everyone I meet. Death Grips’ The Money Store is one of the most influential experimental hip-hop albums of all-time, but it’s not for everyone. Its production was far beyond its years upon its release in 2012, and since then, it has proven to be a guideline for industrial and electronic hip-hop releases for a wide range of artists. Tracks like “Get Got”, “I’ve Seen Footage”, and “Hacker” are just as good now as when I was introduced to them years ago, and the chaotic energy this album presents is unparalleled. There’s nothing I could ever change about this album.

• Rumours - Fleetwood Mac

This may be the least controversial selection on this list. It’s fairly widely established that Rumours is one of the greatest albums of all-time by any metric. The circumstances in which it was written and recorded were both peculiar and necessary for the creative genius that went into crafting an album consisting of classic after classic. From “Dreams” and “Don’t Stop” to “Go Your Own Way” and “The Chain”, Fleetwood Mac was able to compile some of the most famous and critically acclaimed songs of all-time all on the same project. This album will never get old and will always have a special place in my heart and musical library.

• To Pimp A Butterfly - Kendrick Lamar

Kendrick Lamar’s 2015 magnum opus To Pimp A Butterfly is one of the most sonically and thematically masterful hip-hop albums of all-time. Its stellar production, thematic messaging, and creativity make it stand out not only as a great project, but as a very unique record as well. The jazz influences found throughout this album create the perfect backdrop and aesthetic for Kendrick’s intricate delivery of insightful political and socioeconomic commentary. I return to “u”, “Alright”, and “How Much A Dollar Cost” regularly. The usage of the continuing poem throughout this album which culminates in one of the best musical twists ever as Kendrick reveals he has been conversing with Tupac the entire time is still chill-inducing. I will forever love this project, and I’m so glad that Kendrick Lamar was the first concert I attended.

• Pure Comedy - Father John Misty

This is my favorite album of all-time. Josh Tillman’s take on an indie folk epic which discusses every element of American society hits on all cylinders for me. Each track is unique and offers relevant and potent critiques on the world around us. Some call this record too heavy or depressing to enjoy listening to, especially repeatedly, but I argue otherwise. The project’s final track, “In Twenty Years Or So”, is able to acknowledge that the world can be difficult, unfair, and make little sense, but that it’s worth living nonetheless with the closing lines “There’s nothing to fear”. I love every song here, but “Pure Comedy”, “Total Entertainment Forever”, “Ballad Of The Dying Man”, “Smoochie”, “So I’m Growing Old On Magic Mountain”, and “In Twenty Years Or So” are some of my favorites. Being able to see Father John Misty perform with my girlfriend after listening to him almost exclusively when meeting and getting to know her was an otherworldly, almost spiritual experience. I even got to touch his bizarrely cold hand from the front row, how cool is that? Pure Comedy epitomizes everything I look for in an album. It has complex lyricism, fantastic and creative production, heartfelt delivery, social commentary, and timeliness. This is the easiest 10/10 I could ever give.

I’m certainly not opposed to giving a perfect score to an album on a new review if any project is able to check all of the boxes and meet the standards set by the projects discussed here. Music is hugely important in my life, and I’m comforted by the fact that returning to these albums will always be an option for me. What are some of your favorite albums of all-time which earn a perfect score from you? Let me know. Thanks for reading.