I don’t think there’s such a thing as a quiet year anymore, but 2023 was pretty busy by almost any standard. No matter where you turned, it seemed like something monumental was happening. And 2024 certainly doesn’t look like it’ll get any calmer.
With so much happening and so many voices clamoring for attention, it’s easy to miss a heck of a lot of music. To help with that, I gathered together five of my favorite releases that might’ve slipped past you. I hope you find something you dig and here’s to the new year.
Carly Rae Jepsen — ‘The Loveliest Time’
Listen, if we as a culture are going to keep sleeping on Carly Rae Jepsen’s releases, then it’s going to remain my duty to remind people of how good they are and that we should appreciate them while we have them.
Just a year ago, Jepsen released “The Loneliest Time,” an introspective but still infectious album that found the Canadian artist exploring new lyrical and sonic landscapes. And as has become tradition, this year Jepsen released a collection of b-sides from those sessions. But the collection, titled “The Loveliest Time,” isn’t just a group of half-formed songs that never went anywhere — it’s as full of heaters any of her “proper” albums.
On this go-round, Jepsen is exploring more disco and European-inspired tracks, with stellar results. “Shadow” is as lovely an exploration of being love-struck as she’s ever turned out, but the real barnburner is “Psychedelic Switch,” which is guaranteed to bring the crowds to the dancefloor full of the emotion I most associate with Jepsen — joy.
Victoria Monét — ‘Jaguar II’
Atlanta’s Victoria Monét has it all — great vocal chops, a funny and sexy approach to writing and, most importantly, just the perfect amount of confidence and style. She’s been working in the industry for years, most notably with Ariana Grande, and after numerous EP releases she finally released her debut album, “Jaguar II,” this year. And I’m here to tell you, it absolutely goes.
With a seemingly effortless grace, Monét blends R&B, hip-hop and reggae, creating a bewitching amalgamation that moves as smoothly as the titular big cat. “On My Mama” is a sincere and groovy ode to her roots, while “Stop” is the kind of kiss off to a needy man that Erykah Badu would be proud of. For me, the real star is “Hollywood,” which features the legendary Earth, Wind & Fire and is one of the year’s most slyly infectious songs. Like everything else about the album, it gets under your skin and stays there.
Ratboys — ‘The Window’
There’s something special going on in “The Window,” Ratboy’s fifth album and the Chicago group’s best release to date. It’s like the band got the alchemy of emo, alt-country and indie rock exactly right, resulting in a release that is multifaceted without being over-cluttered. It’s one of those albums that rewards repeat listens because there are so many subtle touches spread over its 11 songs.
Produced by Chris Walla (formerly of Death Cab for Cutie), tracks like “It’s Alive” are catchy without being cloying, while eight-minute sprawler “Black Earth, WI,” can really breathe and suck the listener in. The title track is one of the year’s best songs, with singer/songwriter Julia Steiner going straight for the heart with her direct and powerful storytelling. I have no idea how they pulled it off, but the whole album is full of similar gems.
Sampha – ‘Lahai’
Nobody can know what becoming a parent will do to them until it happens. That’s a pretty universal truth and something artists have been exploring for centuries. But not many can take such a heavy topic and make it feel as delicate as Sampha, the U.K. singer, songwriter and producer, does on his long-awaited sophomore album, “Lahai.”
“Spirit 2.0.,” the album’s second track, is my favorite song of the year and ably displays what makes Sampha such a unique talent — his ability to layer vocals, to play with minimal instrumentation and make it all feel effortless is just stunning. You feel like you’re being carried away by the music, instead of merely going along. The blending of genres, from gospel and soul to dance and funk creates a feeling that is both familiar and just the slightest bit off-kilter.
The whole record embraces a light-inspired sonic palette as Sampha writes about becoming a new father and the power of family to provide a new perspective on life. The results take your breath away.
Morgan Wade — ‘Psychopath’
If you’re not familiar with Morgan Wade, then her sophomore album “Psychopath” is a great introduction to the Virginia-born country up-and-comer. Much like her debut album, “Reckless,” the record is chock-full of infectious hooks and sharp writing, but here she’s a bit more seasoned and her storytelling approach has gotten even more wry.
She looks to her past affectionately (but without too much sentimentality) on tracks like “Alanis” and “80’s Movie,” and the title track is as warm a love song as you’re likely to find on any release this year. But Wade doesn’t only stick to well-trodden paths — she discusses her sobriety and on album closer, “27 Club,” even delves into mental health and suicide. An artist as honest and fearless as Wade definitely deserves to be celebrated.
Clarke Reader’s column on culture appears on a weekly basis. He can be reached at Clarke.Reader@hotmail.com.