Our 2024 year in review coverage ends with the top 10 albums of the year as voted on by the AllMusic community. Respondents from all around the world made their choices, and we’re excited to share the top 10 results as voted by you, the AllMusic reader.

“Amid mainstream rap’s stagnant waters, Tyler, The Creator can feel like a glitch in the system. While contemporaries reckon against trap fatigue or labor for social media relevancy, the maverick rapper-producer exists on an island of his own, sailing over the horizon like an indifferent mystic every 2 years to deliver another singular LP. But where the recent IGOR and CALL ME IF YOU GET LOST served up vibrant, neatly structured narratives, his seventh studio album, CHROMAKOPIA, proves a little harder to decipher.” (Read the review)

“Mahashmashana, which takes its name from a Sanskrit word meaning “great cremation ground,” offers a more concise evisceration of the self than its predecessor, administering the same musical opulence while digging deeper into themes of ego death and existentialism. Despite its weighty poeticism and nostalgic sonic grandeur, Mahashmashana feels rooted in the here and now. Tillman is still a keen and sardonic observer of the human condition, but here he directs the proceedings with a gravitas that finally feels earned.” (Read the review)

“All Born Screaming‘s carefully plotted emotional arc and tight musicianship only highlight how refreshingly candid it feels. Annie Clark has more than earned the freedom she gives herself to express so many different sides to her music, and it’s a thrill to hear her stretch out on these ferocious, heartbroken, and ultimately life-affirming songs.” (Read the review)

“Tigers Blood finds Waxahatchee abandoning the remaining indie accents that gave Saint Cloud, her 2020 album, such an exquisite out-of-phase quality. No longer lingering upon the delicate qualities of her music, Katie Crutchfield favors an immediacy that’s not necessarily visceral. Tigers Blood is the rarest of things: an album that feels familiar upon its surface and idiosyncratic in its details.” (Read the review)

“Appearing 22 years after Out of Season and a decade in the making, the album is steeped in the emotional and physical realities of living long enough to bring life into the world and to see it leave. As she ponders midlife’s growing consequences, dwindling chances, and fleeting moments of sweetness, the stakes in Gibbons’ music have never been higher. As she explores aging with haunting beauty and resolute honesty, Lives Outgrown reveals Gibbons’ music is only getting richer as the years pass.” (Read the review)

“Father of the Bride showed that Vampire Weekend’s willingness to challenge assumptions about their music was as important as their willingness to examine memories and history. They continue to do both brilliantly on Only God Was Above Us, albeit in radically different ways. Only God Was Above Us isn’t just a great album in its own right — it’s one that enriches the understanding of Vampire Weekend’s entire history.” (Read the review)

“In 2024, we got to see Kendrick Lamar in real time. The Compton native wasn’t descending from the mountain to deliver shrouded statement pieces and orchestrated opuses — he was battering Drake in lived hours, “put[ting] one hundred hoods on one stage,” headlining America’s most celebrated sporting event. Capping the year off with a focused set of West Coast scorchers, his surprise sixth set, GNX, sees the rapper embrace being the moment; this is lightning-in-a-bottle Kendrick.” (Read the review)

“There’s a hard-won undercurrent of joy in these songs, not forgetting what has happened to him and his family but embracing the future and its possibilities. Where the Bad Seeds’ work on the previous two albums was spare, Wild God is muscular and dynamic, with the musicians lending a broad and vivid tonal palate to Cave’s songs that feels theatrical without crossing the line into melodrama.” (Read the review)

“It’s a win against slim odds that the band would make a solid, listenable album almost 50 years in, and with almost 20 of those passing since their last new set of songs. Songs of a Lost World isn’t just an album of unlikely listenability, though. It’s a new chapter late in the game so unexpectedly powerful that it’s nothing short of stunning, and just as unexpectedly, it ranks among the band’s best work.” (Read the review)

“Right Place, Wrong Person is fundamentally a record of self-acceptance, but it’s a kind of self-acceptance that’s seen much less often — punchy and upbeat and even broken, it’s a reflection of a messy self-hood that never risks relying on vague, affirmative clichés. Of all the lessons he draws, Namjoon leaves us with one critical truth: much like the album itself, life is beautiful because of, not in spite of, its wonkiness.” (Read the review)