The Boar’s albums of the year 2024

As the year is coming to a close, it is time for The Boar‘s albums of the year! Is your favourite release from this year featured on our list?

Lucy Gibbons – Music Editor 

Midas – Wunderhorse 

Wunderhorse’s Midas signifies the return of guitar music. Opening with the eponymous ‘Midas’, an allusion to the King Midas of Greek Mythology, each of the 10 tracks weaves through a plethora of themes. The album also proves the band’s versatility, from the heavily layered ‘Rain’ and ‘Silver’ to the raw and more stripped-back, ‘Superman’, which allows lead singer Jacob Slater’s vocals, and wailing, to take centre stage. It is not only Slater who is given a chance to shine throughout the album, Harry Tristan Fowler on guitar, Peter Woodin on bass, and Jamie Staples on drums are given a platform to express their talents.  Ending the spectacular run of songs with the nearly nine-minute-long ‘Aeroplane’ illustrates that Wunderhorse are refusing to be placed in a box in terms of their sound. Although Midas is Wunderhorse’s first venture as a four-piece, it is clear that the band are the future of rock music.  

Ruby McDowell (she/her) – Music Deputy Editor 

Short N’ Sweet – Sabrina Carpenter 

Short N’ Sweet satisfies a craving for fun, flirty pop instantly. It must be a welcome taste too, with all 12 tracks landing in Billboard’s Hot 100’s top 50 after their release back in August. Yet it would be short-sighted to suggest that this is all listeners are offered. The album treads a fine line between not taking itself too seriously (many tracks are rife with innuendo and suggestive lyrics, but this is executed in a way that never feels seedy or forced), whilst remaining honest, self-aware, and raw elsewhere.  

Short N’ Sweet marks Carpenter’s sixth studio album, so for fans of her earlier work, her skyrocket to stardom off the back of this release has been a long time coming. With infectiously catchy lyrics, Carpenter has officially cemented herself as a star who will only continue to grow (although likely not literally: her short stature is essentially part of her persona).  

Empowering, refreshing, carefree pop, through and through.  

Meera Nair (she/her) – Music Deputy Editor 

This is How Tomorrow Moves – beabadoobee 

This is How Tomorrow Moves (TiHTM) is a testament to beabadoobee’s growth as an artist and individual, with her songwriting transcending the realms of indie pop to provide a fresh, new sound. Utilising elements of alternative rock and folk-pop, TiHTM has undeniably allowed her to carve out her place as a musician and, crucially, a storyteller. The production of this album allows an intimate relationship to be created between her and the listener, with stripped-back acoustic pieces leaving only her vocals as the main medium for her poignant storytelling. Indeed, her songwriting is the main credit of this album, with her vulnerability allowing her to explore the nostalgia of lost love and the relief of closure. Her maturity as an artist is evident through this album and is reflected in her acceptance that although tomorrow must always come, we need not be afraid but, instead, accept and move with it. 

Martin Day (he/him) – News Editor 

GLOOM DIVISION – I DONT KNOW HOW BUT THEY FOUND ME 

And then there was one. GLOOM DIVISION is Dallon Weekes’ first solo project, having progressed from lead for The Brobecks, a bassist for Panic! At the Disco, and a double act with Brobecks drummer Ryan Seaman under the iDKHOW monicker. Seaman’s departure from the project in September 2023 came as a shock to fans, yet thankfully Weekes seems all the stronger for it. His new album is a deeply personal romp that loses none of the ‘razzmatazz’ swagger that defined iDKHOW’s first release. Added to the mix is a sleek, mature quality throughout that, if mishandled, could well have killed the project’s originality so beloved by fans. Instead, it only propels Weekes’ production to intoxicating new heights: GLOOM DIVISION is a triumph that dispels fears that iDKHOW was a mere flash in the pan while setting the stage for surely greater pursuits to follow. 

Anna Bickerton (she/her) – Deputy Editor-in-Chief (Digital Media) 

Prelude to Ecstasy – The Last Dinner Party  

Unapologetically feminine and gloriously theatrical, indie rockers The Last Dinner Party truly delivered on the hype — and then some — with their debut album Prelude to Ecstasy. It is a record that moves between grandiose anthems and intimate ballads, punctuated by haunting hymn-esque interludes like Albanian track ‘Gjuha’. Saturated with historical and religious references, the lyricism of ‘Caesar on a TV Screen’ elevates the album to a truly artistic level. The true magic, however, lies in the band’s musicality. Morris’ ethereal vocals drive the album’s emotional depth, whilst its thrilling unpredictability is balanced by an almost magical sonic cohesion perhaps best exemplified by the visceral melodrama of ‘The Feminine Urge’. With its dramatic flair to accompany electrifying performances, it seems Prelude to Ecstasy was always destined to make The Last Dinner Party the live music sensation they are. 

Charlotte Cunliffe (she/her) – Writer 

eternal sunshine – Ariana Grande 

Ariana Grande’s most vulnerable and coherent album to date, eternal sunshine delves deeply into themes of lost love and new beginnings. Opening with the question, ‘how can I tell if I‘m in the right relationship?’ and closing with heartfelt wisdom from her Nonna, Grande’s mesmerising harmonies and raw, expressive lyrics convey a narrative unlike any of her previous albums. The album moves from the bittersweetness of leaving a toxic relationship in ‘don’t wanna break up again’, to the blossoming of love in ‘supernatural’, to the frustration of public and media scrutiny in ‘we can’t be friends’, to the gut-wrenching honesty of ‘i wish i hated you’. Each track flows seamlessly into the next, creating an album that captivates from beginning to end, making the skip button futile.  

Zahra Jazmina (she/her) – Writer 

Orange Blossoms – GoldFord 

The beginning of 2024 brought GoldFord’s soul-infused album Orange Blossoms. His sound bridges acoustic elements and raspy, heartfelt vocals with a twinge of modern soul. This harmony between the raw, soulful, and emotive storytelling of heartbreak, healing, and self-discovery crafts a relaxing foundation for his lyrical honesty. The title track, ‘Orange Blossoms’, captures a sense of nostalgia and hope that contrasts with a funk and soul-infused lightness that feels timeless and reflective. This album fills intimate dinners with a low rumble of light percussion and soulful vocal arrangements or infuses sunset strolls with a mellow atmosphere. His artistry is reminiscent of the folk-inspired sound of Ray LaMontagne’s soul and Aloe Blacc’s style of merging the pop appeal into soul.  

Tom Ryan (he/him) – Deputy News Editor 

poké melodrama – Angelina Mango 

Following on from her success for Italy at this year’s Eurovision, Angelina Mango delivered again this summer with her outstanding debut album poké melodrama. Encapsulating her breadth of capabilities, the album takes listeners on a journey from genre to genre, moving from the passionate vocals of the opening ‘giolleli di familia’ to the more earthy, contemporary sound of ‘crush’ whilst never moving away from the distinctive urban-pop sound that she stamped on ‘la noia’, her Eurovision entry.  

Mango may only be young, but she is already solidifying her place in the music scene, following in the footsteps of her father, who is seen as a pioneer of Italian music. The titular ‘melodrama’ is a standout song for me, showcasing Mango’s talents in a slick production which celebrates and highlights her capabilities, putting her alongside the likes of Rosalía and fellow countrywoman Annalisa. The album stands among the musical highlights of 2024 for me, and I am excited to see what more she can deliver in the future. 

Nehir Orhon (she/her) – Writer 

Older – Lizzy McAlpine  

With her third album Older, Lizzy McAlpine goes back to her folk roots and shares her experience of growing through truly fascinating lyrics. This album focuses on the themes of love, loss, and soul-searching. It is not only the raw and gut-wrenching lyrics that make this album hauntingly beautiful, but also the painstakingly crafted production and the selection of classic acoustic guitar and echoing piano. From the title track, ‘Older’, which highlights how McAlpine feels about her regrets and the agonising mistakes she made in the past, to the tragic ‘Like It Tends To Do’, which explores falling out of love, Older becomes a medium for McAlpine to reflect on her past.  

Hannah Guthrie (she/her) – Writer 

GUTS (spilled) – Olivia Rodrigo 

Olivia Rodrigo’s gloriously bitter sophomore album GUTS is even messier in the extended version: GUTS (spilled), which features five new tracks. 

From obsession with a partner’s ex to pushing yourself out of your comfort zone, Rodrigo continues to chart the crazed emotions of young adulthood. Edgier and more self-aware than ever, her ironic lyricism spills ego and insecurities over a mix of upbeat, playful tunes, and mournful ballads. 

Unlike the original, which concludes with the demoralised ‘teenage dream’ (“I fear that they already got all the best parts of me”), GUTS (spilled)’s final track, ‘so american’, is a homage to joy. The frenetic beat and energised vocals cry out the unashamedly hopeful “I might just be in love”, reminding the listener that it’s never too late to give love and life another chance. 

Ellen Bray Koss (she/her) – Writer 

Bright Future – Adrianna Lenker 

“Don’t it seem like a good time for swimming before all the water disappears?” Adrianne Lenker sings on Bright Future, just one of the many painfully earnest sentiments she expresses throughout the album’s 12 track run. Lenker so expertly captures the desperation to experience a love free of constraints and yet understands all of the devastating obstacles holding her back, specifically in reference to her relationship with her own mother. With the intuitive, empathetic production bouncing between brittle distress and the quietness of everyday heartbreak, Lenker’s faultless lyricism shines through front and centre where it rightly belongs. Is there a better album to encompass 2024 than one which encourages us to move forward, despite everything, with some cautious optimism?  

Rafael Duque (he/him) – Writer 

Underdressed at the Symphony – Faye Webster 

Faye Webster’s fifth studio album, Underdressed at the Symphony, released in March, delivers a refreshing blend of dreamy, ethereal melodies, with a grounded pop vibe that enhances her distinct indie-pop sound. Known for her understated yet resonant voice, Webster crafts tracks that exist in a unique and coherent sonic landscape, pairing intimate lyrics with lush, layered instrumentation. Featuring a surprise collaboration with rapper Lil Yachty, the album transitions seamlessly from deeply emotional, introspective ballads to lighter, groovier takes on heartbreak. 

Standout songs like ‘But Not Kiss’ and ‘He Loves Me Yeah!’ exemplify Webster’s ability to craft compositions that are both relatable and rhythmically captivating, drawing listeners into her world with every chord. Although Webster may not be pushing the genre’s boundaries, her inventive approach to instrumentation and refined production showcases her growth, cementing her as a consistent, enjoyable and alluring presence in indie pop. 

Honourable Mentions:

HIT ME HARD AND SOFT – Billie Eilish

Romance – Fontaines D.C.

BRAT – charli xcx

The Vandalist – Noga Erez