(Part 2) The 100 Best Albums of 2024 So Far
A ranking and review of the best releases from Korean, Japanese, Chinese, and Thai artists!
Check out part 1 of this list (No. 100 - 76) here!
#75: Rei Yasuda, Ray of Light
Ray of Light speaks to the steadfast presence of hope in even the darkest times. In “Koenokakera,” Rei Yasuda acknowledges how hard it can be to focus on that hope; the song is about a memory of someone so strong it is like a physical presence that follows her around, “fragments” of a presence she carries with her through life’s ups and downs. She concludes the story with “Turn the Page,” which is about her state of fresh resolve to look ahead and remember she only has this one beautiful and “messy life” to live. Ray of Light is about putting the pieces back together after a dark time and cherishing the mosaic those broken pieces create, and the songs through which this catharsis is channeled couldn’t be performed by a more suitable singer.
#74: Vanillare, Smoking with the Angel
Vanillare have an admirably alternative take on rock music. The album is at times in-your-face and at times relatively subdued, but it is always entertaining! When the group does not mess around with the instrumental arrangements, like the strings and percussion in “Left Behind,” they play around with vocal filters, like in “The Outsider,” or add other little twists that make a big difference, like a rattling sound in “Horizon.” Another welcome example of straying from expectations: The most melodic songs tend to have the most angst-fueled delivery, and breezier songs tend to be less melody-centered. The best song is an older one, “Alive,” while the best new song - particularly for fans of WOODZ - is “Hollow.”
#73: Moon Byul, Starlit of Muse
Starlit of Muse has a great tracklist order, with slow songs (like “After Sunset” and “Like a Fool”) and dark, attitude-drenched songs (like “DARK ROMANCE” and “Attention Seeker”) interrupted by light, upbeat tunes (like “TOUCHIN&MOVIN” and “NOLTO”). The album also aces the assignment of showing Moon Byul’s multitudes by including many firsts for her solo discography. “GOLD” is her first solo English-language song, “After Sunset” features her first co-composing credit, and her first-time collaboration with the ONEWE members as a full group proves she pairs well with them. She further proves to shine solo with an album intro as personality-packed as the one on a MAMAMOO+ subunit project. Lastly, her vocals undergo many changes throughout the album, from the expected rapping to a delicate delivery and back again. Moon Byul proves to be a multifaceted “muse” and gives her many artistic dimensions time to shine.
#72: MY FIRST STORY, The Crown
The Crown combines new and old songs for an album that is both a trip down memory lane and an exciting re-introduction to MY FIRST STORY. New listeners get to witness the band’s multitudes, from operatic leanings to more pop-rock offerings. The band proves to be as ready to deliver the perfect score for a movie’s opening sequence as they are the score for an ending one. The final treats are a live version of “Home” and a remix of “I’m a Mess” that is just as good as the original version. Besides these two, the most can’t-miss songs are “Tokyo Midnight” and “Ambitious.” The former is about throwing caution to the wind for a night, with the dance-remix-ready instrumental to match, and the latter has thought-provoking lyrics about how people often unconsciously make things harder than they need to be on themselves. The Crown will please pop and rock fans alike and speaks to the group’s earned broad appeal.
#71: YUQI, YUQ1
Besides drawing inspiration from well-known pop culture and making those stories her own, YUQI incorporates messages of past (G)I-DLE songs into her solo material. She details what led to her becoming a vengeful person in “Red Rover,” which brings to mind the group's song “VILLAIN DIES.” Also, she sings “Our story’s never ending” in “Everytime;” in “VILLAIN DIES,” the members sing about a definite ending to an adversary’s story. YUQI takes the lessons from (G)I-DLE’s songs about reclaiming one’s narrative and repurposes them, and her openness to creative reinterpretations lines up with her album’s opener, “My Way”: “We can be the fighters / And write down what we deserve… no matter who tries to stop [us] / [We can] feel free.” YUQ1 and its corresponding videos merge the familiar with the unfamiliar to tell a one-of-a-kind tale about confidently shaping one’s own character arc. Read the full review here!
#70: AKMU, LOVE EPISODE
It makes sense for AKMU to include the older songs “Fry’s Dream” and “Love Lee” on this new mini-album; LOVE EPISODE is a natural extension of their premise. They harken back to the sound of AKMU’s earlier eras and would not be out-of-place as part of “Circle Time” at preschool! Their cute and youthful sound is maintained with the new songs, with lyrics out of a children’s TV show soundtrack… LOVE EPISODE uses the little things in life - toys, sweets, games - to celebrate the biggest thing: love. Read the full review here!
#69: AB6IX, THE FUTURE IS OURS: FOUND
THE FUTURE IS OURS: FOUND is the perfect follow-up to THE FUTURE IS OURS: LOST. While the latter dwelled on internalized frustrations and fears, the former looks outwards and finds optimism through openness… When they are not singing about becoming their own light in the absence of any, they sing about the key to discovering that inner light: love. “GRAB ME,” “ALL NIGHT,” and “ILY (I LOVE YOU)” thank their loved ones for helping them see possibilities where they used to see just shut doors. THE FUTURE IS OUR: LOST did have a “The future is ours for the taking” mentality, but it was muted in comparison to how prepared for that future they seem now, thanks to the strength they have found through companionship. This AB6IX era furthers a motivational story about what makes journeys worth the roadblocks. Read the full review here!
#68: ATARASHII GAKKO!, AG! Calling
ATARASHII GAKKO!’s music is an acquired taste, but that’s just how they like it! AG! Calling is the quartet’s most true-to-them, out-of-the-box project yet. While there is extensive instrumental busyness, with collisions between and among hip-hop, electronic, and brass-band sounds, the lyrics intrigue for the opposite reason: They are often straightforward, short, and repetitive, like sporting-event pep-talk chants… What makes ATARASHII GAKKO!’s unconventionality likable is their self-awareness of it. They overtly eschew J-pop stereotypes and expectations. When it comes to their intent to be seen and heard, they are anything but subtle, and there is something refreshing to that bluntness! Read the full review here!
#67: H1-KEY, LOVE or HATE
While the “Let It Burn” video visually represents the end result of H1-KEY’s makeover, the album’s B-sides explain how they mentally got there. They sing about feeling like they lost themselves while trying to fit a certain mold, and they liken a turbulent emotional time to an unreliable weather forecast. The B-sides contrast with the main track, which is a pop-rock and boom-bap hybrid. Throughout this era, H1-KEY reckon with both what has made them “LOVE” and “HATE” themselves, and they conclude the answer is not that simple. They accept the twisted, less-traveled paths between the “zero self-esteem” and “full self-esteem” ends of the spectrum, and [LOVE or HATE] is a fitting soundtrack for that journey. Read the full review here!
#66: May J., AURORA
Fortunately, May J.’s latest batch of enchanting songs sticks with her R&B origins, although there is also an organic evolution to her sound. A sunnier sheen covers these pop gems, sweetening her delivery and warmly welcoming new fans into her dreamy musical world. Named after the Roman goddess of dawn, AURORA signifies the sun rising anew, and the songs are fittingly filled with uplifting messages, often without pretexts. Songs like “Spread Love” and “Be Free” are self-explanatory, ensuring their encouragement is easily felt by all listeners. While the best instrumental is in “Sweetest Crime,” the all-around best song is “Superwoman;” it is the perfect example of May J.’s ability to effortlessly deliver a sparkling vocal performance that is accentuated by, rather than a distraction from, instrumental busyness.
#65: ARTMS, <Dall>
While variety is the name of the game visually, this era’s songs are strongest in their commonalities. Dreamy synth hazes carry the members’ harmonies like alluring waves over the instruments. Lyrically, there are numerous references that, whether intentionally or not, remind LOONA fans of the “LOONAverse” (such as “Butterfly Effect,” in the song of the same name, and “Eden,” in “Virtual Angel”). A strong desire for connection is also a recurring theme. The story begins with them saying “Wait for me” during the intro (“url”), and they strive to get in touch even across different planets in “The Hitchhiker’s Guide to the Galaxy.” Their hopefulness ebbs and flows somewhat, but their drive to experience a rebirth is everlasting. Read the full review here!
#64: yanaginagi, White Cube
White Cube is what the best anime albums are made of: instrumentals with an ear for detail and music that easily prompts visualizations. Also worth appreciating is the way the highlight from song to song changes. The most shoutout-worthy element of “Yukuharuame,” for example, is its post-chorus, while “Shirushibi” impresses the most for its high notes. The lullaby quality to “Art Lounge,” the echoing that compounds the message of longing in “Partie de ton monde,” the rapid synths that match the fast speed of her voice in “Inochibi”... Put simply, White Cube is dynamic musical storytelling done right.
#63: Yves, LOOP
LOOP contains compelling contradictions. Yves sounds flirtatious yet somewhat hesitant on “DIORAMA,” confused but content on “LOOP,” and nostalgic for a relationship and glad that it’s over on “Afterglow.”… She goes from looking like a nervous new kid at school to being okay with all eyes on her in the video for “LOOP,” and she tries being playful with some of the B-sides (“Sorry just for me,” she says in “Afterglow;” “Just give me the good love / Or give me the good luck,” she says on “DIORAMA”). Yves interestingly makes “breaking out of a loop” synonymous with breaking out of her shell. Read the full review here!
#62: Hui, WHU IS ME : Complex
The two words that best sum up Hui’s solo debut: “surprise party”! The pivot from funk-pop and dance-pop to pop-rock mid-album, the distinct collaborators, Hui’s enviable vocal flexibility, and the “Hmm BOP” music video’s surreal dance party all keep audiences on their toes. Hui boasts a prolific resume of writing and producing credits, so it is about time he gets to have his own solo moment in the spotlight! WHU IS ME : Complex is that much-deserved moment and is like a box that overflows with contagious feelings he has been stockpiling for years! While no song deserves to be overlooked, “Hmm BOP” is a smart choice for a main promotional track and matches the exuberance of its music video.
#61: E’LAST, EVERLASTING
“Intro Dystopia” proves to be the perfect scene-setter for EVERLASTING. It starts out like the “Gasoline” music video does: innocuously. Both the intro and video evolve into something much darker and more dramatic. The album features dynamic and climactic mixtures of rapping and singing, backed by fast BPM rates, and an apocalypse unfolds in the video. The video’s story ends with an “All’s well that ends well” sentiment. Compatibly, the album ends with softer songs, including the slow, consoling “Forever and one”... EVERLASTING tells a full-circle story with the needed dexterity. Read the full review here!
#60: WayV, Give Me That
This EP is flirty and forward but has fun surprises too, thanks to the main track’s music video. The songs take inspiration from nineties R&B, hip-hop, and pop, and the result is a zero-skips compilation of easy-to-love songs. The natural synergy among the WayV members ensures that the likeability of the songs translates into sustained interest. While “She a Wolf” proves to have deserved its initial focus-track contention, “Give Me That” earns that role with its meta music video. Read the full review here!
#59: ITZY, BORN TO BE
Both sonically and visually, ITZY make their mark as a group and on their own, making BORN TO BE feel like many comebacks in one! The group-wide songs on BORN TO BE are assertive, enthusiastic anthems. Their vivaciousness rises tenfold with the corresponding music videos… This comeback proves ITZY were “born to be” eye-catching, multifaceted entertainers. Read the full review here!
#58: MC Jin, Roller Coaster
This trilingual album excels at encapsulating the “roller coaster” that is life… The mix of Mandarin, Cantonese, and English lyrics might be for the sake of things like syllable counts, but the linguistic choices also add personal depth… Roller Coaster tells MC Jin’s life story in an effective and thoughtful way. Read the full review here!
#57: Sheena Ringo, Carnival
Carnival is about living loud and living large! A flute and rattling percussion start the party with “offering sake,” which leads into a big and bold warning to not get on Sheena Ringo’s bad side in “i’m free.” With few exceptions, the rest of the album stays loud in every meaning of the word. Even the more low-key instrumentals are shaken up by sporadic piano notes, a sudden switch into a mocking tone, and/or strange sound effects! A stomp-along-ready, big-band sound is a staple, sometimes to a comedic extent, like in “open secret,” which belongs in a movie’s sped-up chase scene! What is commendable about Carnival is not its aptly party-ready atmosphere, though. What makes this a “carnival” worth hearing is its depth. The full sound is not just for the sake of bells and whistles; important reflections lie underneath them with surprising frequency. Read the full review here!
#56: aespa, Armageddon
aespa embrace a throwback style in more ways than one. “Supernova” borrows from an electro-hip-hop song from the eighties (“Planet Rock” by Afrika Bambaataa & The Soulsonic Force). Also, they have channeled the early aughts with their fashion and marketing choices, posting behind-the-scenes content on Pinterest and selling album copies with physical CD players!... Armageddon gives long-time fans plenty of new narrative fodder, while the throwback elements will excite the uninitiated. Regardless of how much people enjoy and understand this chapter of aespa’s story, though, everyone is sure to be entertained! The group continues to expand their repertoire, with unignorable, distorted instrumentals and breezy, simpler ones alike; with blends of 2D and 4D action in their videos in surprising ways (“Long Chat (#♥)” being the best example); and by shifting gears while still in character, like confronting a new villain in “Licorice” and using new superpowers in “Supernova.” Read the full review here!
#55: DK, NAKSEO[戀]
It might feel like NAKSEO[戀] trails off too soon, before DK has even verified what “Genre” his recollections are in, but it is just the first chapter in DK’s story. After all, “nakseo” refers to a doodle or a scribble, not a detailed final draft! Also, the album indicates more closure than what appears obvious. These songs compare the broad strokes of DK’s last romance to a butterfly, something that has flown in and out of his life in a beautiful but fleeting way. NAKSEO[戀] offers a rough sketch of what fans can expect from DK’s future musical chapters: more recollections that trigger mixtures of pain and nostalgia, brought to life with wing-related symbolism. The unfinished feel of NAKSEO[戀] appears to be by design, making it more genuine than if it had ended happily and with a clear lesson learned. Read the full review here!
#54: YOOK SUNGJAE, EXHIBITION : Look Closely
Each of the three songs on this mini-album packs an equally powerful punch. First is “BE SOMEBODY,” on which YOOK SUNGJAE repeats his desire to be seen and loved for who he really is… On the pop-rock “Without you,” he insists a lover tried to turn on the charm too late for it to matter and decides his time is better spent without that person. On the pop ballad “The Ghost,” he goes from agonizing over a lover’s memory haunting him to realizing that he has the power to stop letting himself be haunted… he gains a sense of autonomy that perfectly circles back to the first song’s message. Read the full review here!
#53: LIL LEAGUE from EXILE TRIBE, TRICKSTER
With a romp through a carnival and a surprising interpolation of “In the Hall of the Mountain King” by Edvard Grieg, “Lollipop” ensures LIL LEAGUE make their mark! The B-sides on TRICKSTER are equally oddity-filled, from the colorful cacophony that is “Hunter” to the silly, spooky “Monster” and the happy, bouncy “Coloring Book.” LIL LEAGUE’s goal seems to be having fun instead of proving anything. They are in a “league” of their own and trust that is enough to keep listeners hooked. If the explosive ending, “48 BARS RELAY,” is any indication, then mission accomplished!
#52: SUHO, 1 to 3
“A line becomes an edge, if you see it differently,” SUHO says in “1 to 3,” acknowledging how perspective is everything. Therefore, he consciously decides to see edges as lines, to see youth as something capable of prolonging (a view he elaborates on in “Alright Alright”), to see a lack of direction as a great opportunity (“Zero Gravity”), and to see unproductive days as just waiting periods before he really shines. Regarding that last message, SUHO compares “Moonlight” to a spotlight. When others have productive days and he feels insecure because he does not, he decides not to worry, because when the “spotlight” comes out is when it’s his time to shine! The text on the screen during the “1 to 3” music video includes “It’s never too late to be whoever you want to be,” and SUHO impresses with how he sends that downright-cliche message with original characterizations. Read the full review here!
#51: yama, awake & build
yama’s new album is hard to categorize but can somewhat be summarized as “city pop meets down-the-middle-J-pop,” although there is much more to it than that. There are ballad-like songs next to racing rock songs and some danceable moments. She keeps her soundscape vast and her vocals surprising. One moment, she is rushing through a song, and in the next one, she is slowing things down and unveiling her inner songstress. Her higher-pitched delivery is extra remarkable in “Hidamari,” keeping the audience’s attention during a relatively simplistic number. Her high voice also proves to be an asset in “Halo,” contrasting in a surprisingly complementary way with BotchiBoromaru’s voice. awake & build has an apt title, offering a soundtrack to the feeling of constructing something new in real time.
Subscribe here to find out what’s on the rest of the list as soon as it’s revealed!
More of the year’s best new music so far:
The Best K-Pop Music Videos of 2024, No. 50 - 26
The Best K-Pop Music Videos of 2024, No. 25 - 1
For even more music recommendations, revisit the “Best of 2023” lists!
The Top 100 Albums of 2023, Part Two