The 100 Best Albums of 2024
A ranking and review of this year’s best releases from Korean, Japanese, and Chinese artists!
Note that…
To qualify as an album, a release had to have three or more songs on it.
There were no differences when considering EPs and mixtapes compared to full-length albums.
Some of these reviews are excerpts from ones that were written earlier this year, hence the “…” and “Read more here!” links.
#100: 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 more here!
#99: hyeminsong & GEMma, SCENARIO
SCENARIO is an unsettling but intriguing concept album. While addressing heavy subjects like self-loathing and perpetual loneliness, the alternative instrumentals form the soundtrack of an off-the-rails stage production. The bleak lyrics and instrumental-only moments make the listening experience feel like witnessing a tragic play - although songs like “CIRCUS” make it sound like more of a tragicomedy! Further bringing into focus the image of a play in listeners’ minds are the “REHEARSAL SKIT” and the outro, the latter sounding like a worn-out, glitchy audio or video recording of practice time. Also, theater-themed analogies abound, from putting on a “costume” and “mask” before facing the world to bemoaning how a lover has not hesitated to “Bring down the curtain.” This album is indeed like one long “SCENARIO”: the putting on of an act, a singular, surreal act - which this album argues is really all that life is!
#98: GOOD BYE APRIL, HEARTDUST
HEARTDUST keeps the throwback city-pop vibes strong, and tedium is avoided thanks to spread-out collaborations. Asako Toki and Ai Higuchi add their own separate colors to “Summer BGM of Us” and “Your Nuance,” respectively. Other standout songs include “Ride on a Dawn Train,” for the killer saxophone solo, and “The Gentle Song,” a feel-good finale and the epitome of the band’s “roll with the punches” outlook. The group’s sound stays neither excessively chill nor excessively celebratory, making their mood contagious instead of annoying! Overall, these songs sound like what they probably are: the products of genuine music lovers just jamming out together and seeing what magic gets made!
#97: Cha Eun-Woo, ENTITY
Through repeated references to rain, oceans, flowers, and dreams, ENTITY paints poignant pictures of lingering love… ENTITY follows a natural post-breakup emotional evolution, and Cha Eun-Woo’s vocal and acting skills ensure its vividness and effectiveness are absolute. Read more here!
#96: 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.
#95: ROSÉ, rosie
Throughout this album, ROSÉ acknowledges ignoring her better judgement and making the same mistakes again and again. “Call us what we are, toxic from the start / Can’t pretend that I was in the dark,” she says on “toxic till the end.” “Shame on me for trusting you once, trusting you twice,” she says on “not the same.” “We wanna talk, but we don’t wanna listen / We play pretend, but we both know it’s missin’,” she says on “too bad for us.” She sums it up most succinctly in “call it the end”: “Part of me lost hope / And part of me just can’t let go.” While her voice stuns just as much with an acoustic guitar or a synth beat, the most remarkable songs are the gut-wrenching piano ballads. “number one girl” overtly stresses ROSÉ’s need for validation, and “stay a little longer” begs a lover to stay, even though that lover is toxic (“I can’t stand these four walls without you inside them / Build us a castle, then leave me in silence,” she reflects). The album does sometimes head in a lighter direction, but she constantly circles back to the topic of a toxic romance, reinforcing how drawn-out and complicated it truly is to close the door fully on even the most flawed former flames.
rosie presents ROSÉ not as a savvy advice-giver who has been through the worst emotional pain and has completely come out on the other side, but as a peer who is still navigating that pain imperfectly. These diaristic songs offer refreshingly raw reflections on heartbreak, and by showing such humility and candor, ROSÉ validates the intensity and longevity of post-breakup pain that young people experience. In other words, ROSÉ reminds other young people that not just their feelings, but those feelings’ contradictions and perception of their permanence, are normal.
#94: KnowKnow, Mr. Enjoy Da Melody
Mr. Enjoy Da Melody is an impressive reinvention. Although known for his rapping, KnowKnow focuses on flexing his vocal chops this time, which are plentiful in both quality and quantity. He shows off rougher and lighter dimensions to his voice, sometimes within the same song. He also plays with his delivery, through filters (like the auto-tune in “Play It Cool”) and volume changes (like the whispering in “No Pressure”). Instrumentally, he navigates and blends different musical worlds with just as much ease. This collection of songs is a deft display of KnowKnow’s singing abilities and musical instincts, and it justifies the addition of yet another self-proclaimed moniker to his ongoing list!
#93: 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.
#92: THE BOYZ, Gibberish
Gibberish is the best kind of sonic whirlwind! The title track literally howls, “Shout it out” offers a welcome blast of EDM, and “SKIN” surprises by pairing a sultry tone with bouncy synths. The other songs show off a wide instrumental range and an array of vocal strong suits, often in unexpected ways (for example, whispering the chorus of “Criss Cross”). Gibberish proves that THE BOYZ have the dexterity to flex new sides to their musicality on a dime, and they do so nonstop. Read more here!
#91: P1Harmony, SAD SONG
SAD SONG is a durable addition to the top tier of P1Harmony’s discography. The title track unquestionably earns a spot on fans' lists of the group’s catchiest songs, and each B-side shines in its own right. The songs tend to fall into comfortable rhythms, but with constant switch-ups along the way, the group proves that repetition and tedium are not the same thing. SAD SONG can be considered “easy listening” more often than not, but without sacrificing P1Harmony’s signature finishing touches. Overall, SAD SONG is a musical embodiment of the group’s colorful, confident, can-do style, and its openness (both “openness” in terms of the lyrical conversations with their audiences and “openness” in terms of musical experimentation) guarantees a good time for all! Read more here!
#90: imase, BONSAI
BONSAI is an album-length reminder to look on the bright side… imase compounds his album’s sense of authenticity by circling back to the same metaphors and expressions across different songs. He starts the album by calling BONSAI his “monologue,” so it is only natural for the songs to stay topically connected, like each song is a different entry from the same journal. The metaphorical voice throughout BONSAI stays imase’s, and that voice is a likable one to which a wide audience ought to be receptive. Read more here!
#89: Yves, I Did
In addition to wanting space, Yves clearly wants more time, and her energy decreases as the EP continues. The energy she brings to the hyper-pop “Viola,” the spunk in “Hashtag,” and her disarming choice words in “Gone Girl” are not qualities that continue into the second half. “Tik Tok” is a plodding song, and “DIM” is the sonic equivalent of fatigue. “DIM” ends with an extensive, clubby instrumental, as if Yves has left an ongoing party in which she lost interest! The repetitive, wordless ending portion of “DIM” suggests that Yves even needs space from her own thoughts! I Did is an interesting project that purposefully loses steam as it goes on, and the lack of a happy ending or clear lesson makes it refreshingly relatable. Read more here!
#88: Stray Kids, HOP
Like a portfolio that compiles a student’s best work from throughout a semester, Stray Kids’ HOP compiles examples of the musical strong suits at which they improved throughout 2024. The “group project” part flexes both rapping and singing skills; the group’s timelessness, thanks to an old-school hip-hop focus and a collaboration with industry veteran TABLO; and lyricism that humors as much as it empowers, giving each song its own brand of dynamism. The “individual assignment” part of the project features a solo song for each member, and the prompt appears to have been very vague. Some choose to focus on melodies over rapping, and others choose vice versa; some leave lyrics up to interpretation, while others stick to straightforward messages; and there is no rhyme or reason to their style choices, both genre-wise and visually, in terms of the corresponding videos. Giving HOP some “extra credit” is its clever title: “HOP” translates to “unite” in Korean, continuing the group’s trend of having album titles with dual meanings (the other meaning referring to hip-hop). HOP is a fitting last hoorah for Stray Kids’ massive year and celebrates each member’s graduation onto the next class!
#87: IVE, IVE SWITCH
These polished pop songs are characterized by fast BPMs, high-pitched voices that contrast with the lyrics’ cold demeanors, and well-placed finishing touches, like echo effects. The album has its cuter moments… but the message IVE always circle back to is one of knowing their worth… IVE’s classic “better off without you” attitude is prevalent, as is their sweet delivery of even the most bitter comments. Read more here!
#86: aespa, Whiplash
Fortunately, aespa’s comeback dwells on their sharper edges more than their softer sides! Whiplash starts off with the best and boldest instrumentals, with the strut-worthy EDM song “Whiplash” and the in-your-face “Kill It.” Their self-assuredness remains even as the songs fall into a more easy-listening style. They embrace marching to the beats of their own drums in the mid-tempo “Pink Hoodie,” and they end the album with a scathing pop-rock takedown of a cheating ex (“Just Another Girl”). The other songs, “Flights, Not Feelings” and “Flowers,” are relatively subdued, but they maintain interest with ambiguous lyrics and an impressively softened tone, considering the songs that come before them. Read more here!
#85: yama, awake & build
awake & build 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 to “Halo,” contrasting in a 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.
#84: D.O., BLOSSOM
BLOSSOM is a touching ode to what love is all about. This set of gentle love songs sticks to an acoustic guitar or piano most of the time, allowing this charming crooner’s voice to stay the focal point. He celebrates how love makes ordinary days feel extraordinary in “Simple Joys,” likens a butterflies-in-stomach feeling to popcorn popping in “Popcorn,” and promises to be there for his loved one through both the best and worst times in “My Dear.” When he isn’t earnestly expressing his commitment to and joy over a relationship, he sings words that are meant to soothe. On “Good Night,” he encourages someone to try to fall asleep despite it being difficult, trusting that the worries of today might disappear by tomorrow. “About Time” is sonically similar but lyrically different, reminding listeners to cherish relationships before they are gone. The other song on BLOSSOM is “Mars,” which combines both the album’s instincts to console and to celebrate. Read more here!
#83: MISAMO, HAUTE COUTURE
In HAUTE COUTURE, flirtatious pop songs with high-pitched, heavenly harmonies abound, and the album has the same level of confidence that is expected from a runway show. They cut to the chase with lyrics like “Let’s get this romance started already!” (in “Baby, I’m good”) and “Say you need me” (in “Jealousy,” the best B-side). HAUTE COUTURE also shines thanks to its solos. Each MISAMO member thrives in her own right, MINA proving to excel with R&B material (in “Misty”), MOMO with hip-hop material (in “Money In My Pocket”), and SANA with pop music that keeps her voice the focal point (“Mirage”). But as much as the members thrive individually, their music videos emphasize a “better together” belief… Read more here!
#82: ONF, Beautiful Shadow
Lyrically and instrumentally, this is ONF’s richest project to date. They go all-in when it comes to singing about feeling intoxicated by love, losing control, and holding onto profound regrets. They flex their vocal skills in different ways while doing so, from shining one at a time in “Breath, Haze & Shadow” to two of them hitting an impressive note together in “Bye My Monster.” Even their lightest new song substantively, “Slave To The Rhythm,” sticks to the theme of emotions beyond their control. Read more here!
#81: TEN, TEN
TEN’s identity stays in flux. He is the epitome of boyfriend material and a smooth crooner in “Lie With You;” unleashes his inner rapper in “ON TEN;” breezes through the Latin-inspired “Water;” switches in and out of an impressive falsetto in “Dangerous;” and further proves to be an agile performer with “Shadow,” an R&B-rooted song that layers an ominous tone on top of a low-key one. Each song has its own colors, but the most memorable one is the main single, “Nightwalker.” Its electrifying instrumental and high notes keep the audience alert, and his music video character is the stuff of movie villains. Read more here!
#80: Solar, COLOURS
This Solar era is one of her most literally and metaphorically vivid yet! She starts COLOURS with an empowering, runway-walk-ready anthem (“Colors”) and ends with her most powerhouse performance (“Blues”). Another highlight comes mid-album, when she updates her use of a honey metaphor. In an older song, “HONEY,” Solar insists she’s too sweet for someone to handle (“You’ll let me slip through your fingers”). In the new song, “Honey Honey,” she indulges in a hot and steamy romance (“Here, the taste that strongly resembles you and me”). Solar impresses with the many ways she makes a comeback theme as simple as “colors” memorable, and this ability extends to the “But I” music video... Read more here!
#79: J.Sheon, OUTCOMES
OUTCOMES proves that J.Sheon refuses to be kept in any specific musical box. He both raps and sings throughout the album, he proves to more than hold his own on solo songs but also vibes well with collaborators (both official ones and the backup vocalists), and the songs never hint at what the mood and sound of the next one will be. While each song is enjoyable, the best are the faster-tempo ones that emphasize the role of funky synths, like “WHY WOULD YOU” and “LFG.” The latter uses a warbly synth filter to give his voice a fake vibrato, just one of the many tweaks during the listening experience that keep listeners engaged and on their toes! The best song for R&B fans is “NEVER LET ME DOWN,” the best one for pop fans is “HOW’D YOU DO ME LIKE THIS,” and the best song for those who can’t decide what genre they want to listen to is the indescribable “MONTAGE”!
#78: miwa, 7th
7th is a fun and full emotional ride that speaks to miwa’s versatility. She starts out with soaring vocals in the anthemic “GIRL CRUSH,” and she takes on a cuter tone with the flirty “BUZZ!!!” She seamlessly transitions into a more piano-focused section of the album, singing about spring in a hopeful way in “Harunooto” before a more serious ballad, “Soredemo tada.” A guitar in “February 14” is a bridge into the sway-worthy, feel-good “Kimi ga sukidesu,” and miwa leans a bit more into pop-rock territory on the OST “Karappo.” After “oARTo,” a song during which a call-and-response or stomping along is in order, breezy synth-pop becomes the focus. The album then repeats itself pacing-wise, with another slow and piano-driven phase before guitars serve as a bridge between the ballads and the more up-tempo songs. Some hopeful mood-boosters round out the album and bring it back up to the high energy level with which it started. Overall, 7th is a satisfying, mood-boosting listening experience with songs that gently lean from one path into another.
#77: XG, AWE
Once XG have people’s attention visually, they hold onto it with their music, which has the same sci-fi-inspired, futuristic essence. They lean into this most fully at the beginning of AWE, with “HOWL,” “HOWLING,” and “SPACE MEETING Skit.” The second half taps into more R&B sensibilities and explains the reasons for their popularity outside of the storytelling: immense vocal talent and A-list approval (“WOKE UP REMIXX” features a lengthy list of famous collaborators, each one a notable musician in their own right). Read more here!
#76: Sunnee, Crimson
In understated yet effective ways, Sunnee sings about metaphorically seeing red. Her naturally subdued demeanor complements these songs, which always channel either a sense of malaise or an energy boost that turn out to be a temporary sugar high. The single “Numb” and its music video are the strongest example of Crimson’s theme of disillusionment… The B-sides also convey resentment in a way that favors quiet seething over loud rage. For example, “Dumb”’s ballad-style verses but synth-pop choruses reinforce Sunnee’s feeling of being directionless and constantly led astray. In both style and substance, Crimson is an effective messenger. Read more here!
#75: 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 more here!
Stay tuned for the rest of the countdown!
More of 2024’s best music:
The Best K-Pop Music Videos, No. 50 - 26
The Best K-Pop Music Videos, No. 25 - 1
The Top 150 Songs (featuring K-pop, J-pop, C-pop, and T-pop artists!)