The best Irish albums of 2024

25.

Deathbed Convert

Inverse Field Vol.1 – Inishowen

(Touch Sensitive)

Taking the wilds of Donegal as inspiration,  Connor Dougan aka Deathbed Convert, approached this project with an idea of inverting the norm of field recordings. Instead of imbueing the recorded music with the sounds of Inishowen, Dougan instead improvised the music through a portable speaker, and captured the musical results and the coastline environment around him, imprinting the sounds of waves, dogs and a passing singing musician on the album.

Inverse Field Vol.1 – Inishowen takes its inspiration from the outdoor recording techniques employed on John Martyn’s One World album (in which the music was amplified over a lake during recording and captures the sounds of the farm where it was recorded)  and a video of Pharaoh Sanders playing in an abandoned tunnel in San Francisco.

Dougan, who has released music as Ai Messiah & Defcon, infuses the music with a dubby ambient minimalism that makes for a transportive work. You can almost taste the sea salt.

24.

Thee U.F.O

Beaming A Moments Reflection

(Gelatinous Records)

The Dublin garage-psych duo Thee UFO released a succinct seven-track 30-minute album in March.

The album is full of psych-rock band jams, from the King Gizzard-esque ‘Bursting Egos’ to the off-kilter guitar pop of ‘Junk Funk Garbage’ to the frenetic ‘Surveyor’, an almost instrumental that sounds like drums and bass are fighting each other falling down the stairs. Fun!

It’s already been followed up with Irradiated Rainbows: A Collection Of Tape Recordings From 2020​-​2022.

22.

Villagers

That Golden Time

(Domino Records)

Now six albums deep, Conor O’Brien is a songwriter with little to prove to the wider world. An established artist of songs that speak to the personal and profound which sweat the small stuff, O’Brien’s latest finds him following a creative path that leads to well-written and elevated subtle music that draws you in a world that shouts headlines and drama to grab your attention.

That Golden Time is a less thematically-driven record than previous Fever Dream, and largely written and played by O’Brien in his home, purports to be his most vulnerable album to date, and it’s possibly his most individual.

21.

Mohammad Syfkhan

I Am Kurdish

(Nyahh Records)

The Ireland-based Syrian/Kurdish artist Mohammad Syfkhan’s debut album I Am Kurdish was released on the Leitrim label Nyahh this year, and finds a bright and energetic release filled with bouzouki, singing and music drawn from Middle Eastern and North Africa.

Surgical nurse Syfkhan fled to Ireland in 2011 after the war broke out in Syria, and his son was killed by ISIS. Syfkhan moved to Ireland in 2017, and was housed at the Mosney Direct Provision Centre before moving to Carrick-on-Shannon, where he met Willie Stewart of Nyahh, leading to this album recording, which is a vibrant delight.

20.

Pillow Queens

Name Your Sorrow

(Royal Mountain Records)

The third album from the Dublin indie rock band finds them dwelling in a new era.

There’s a fresh feel to these 12 songs on Name Your Sorrow as new producer (Collin Pastore) bringing a distinctly different sonic palette to the band’s heart-soaked tales of trials and tribulations of the human condition, while the band push themselves in new songwriting directions and offer new shades on their core sound.

19.

Carlos Danger Presents

Irish Hash Mafia

Prolific Irish producer Rory Sweeney’s Irish hip-hop mixtape under the pseudonym Carlos Danger is pitched as “a celebration of Irish rap from Belfast, to Mullingar, to Tallaght and beyond,” inspired by Southern American rap mixtapes.

Eschewing Sweeney’s normal modus operandi of bass, jungle and club sonic sweeps, the album is a rap mixtape, a fine example of the form, with MCs and cohorts Emby, Curtisy, Ahmed, With Love; E The Artist, yeire13, Lonely Chap, Keanu The Pilot and Smokey doing their thing over a collection of productions that generally could be marked “classic rap beats”, with dips into alternative electronics, grime and samples that are front-loaded and mixtape-ready. Plus, bonus points for the Eamon Dunphy “I’ll tell you who wrote it” Rod Liddle clip.

Irish Hash Mafia is a beacon of creativity and a document of a scene happening right now.

18.

Ahmed, With Love.

COMMA, FULL STOP.

(Brook Records)

Dublin/Sierra Leonean rapper Ahmed Karim Tamu’s debut mixtape COMMA, FULL STOP. (actual instructions for the stylising the spelling of his name) is a  25-minute 9-track collection of music that put Karim centre stage, when he’s often playing support to others, most notably, his close friend Curtisy.

 COMMA, FULL STOP. is a vibey collection of bright hip-hop tracks that underscore the artist’s breezy personality and confidence. Brazilian genres such as bossa nova, samba, tropicalia (as heard on the closing track ‘Até Logo’) are dominant along with tracks infused with Japanese city pop, Georgian melodies and Afrobeat, which suit Ahmed’s playful rap style to a T, Full Stop.

17.

Houseplants

Half Known Things

(Self Released)

Bell X1 frontman Paul Noonan and producer Daithí skip away from the pandemic releases with their first Houseplants release made in regular world, and it shows.

Half Known Things, the band’s second album, feels like it went out and discovered the world beyond the debut’s four walls, and returned with a verve for soundtracking nights out, festival sets and bringing people together. 

On that last part, Half Known Things was made with experience of playing Houseplants shows with a full band, in party mode, and some of that festive colour has seeped into the record, with additional vocals from live member Sinéad White. Half Known Things is at times pleasingly reminiscent of LCD Soundsystem and their dry drum thumping ilk.

Along the way, there’s much to enjoy by the way of Noonan’s engaged lyrics and Daithí’s buoyant rhythms that bounce around these tracks.

17.

Sprints

Letter To Self

(City Slang)

Irish garage punk band Sprints’ debut album Letter To Self on City Slang Records set about taking negative energy and turning into fuel for a cathartic sonic assault.

The music often walks the razor high-wire between hi-octane garage rock and feeling like it could all go kaputt on the next verse.

Bandleader Karla Chubb operates as a singer on the edge, addressing broad named topics like self acceptance, identity, mental health struggles, sexuality and catholic guilt.”

15.

Gurriers

Come And See

(No Filter)

That there is a constant showing of Irish punk and rock bands singing of disaffection and malaise speaks to the lack of political and societal progress in the country, as its people continuously vote back in the same two parties in different configurations.

Gurriers encapsulate the disillusionment of young people constantly let down by the older generation’s votes, felt locally and in a broader sense. Come And See is  a siren call (literally on opening track ‘Nausea’), a rallying cry to be heard.

Addressing mass emigration (‘Dipping Out’), the waning faith of Catholicism (‘Prayers’), misdirected anger (‘Close Call’) or the angst of living the modern world (‘Sign Of The Times’), Gurriers wrap up these thoughts frenetically charged punk and rock songs, ripping with low basslines, buzzing impact-exploding guitars and ALL CAPS vocals from Dan Hoff. 

Among the fury is a gentler side, that expands its gaze, in the style of early U2 or Jane’s Addiction, on the soft guitar rumble of the title track and the earworm repetition cinematics of ‘Top Of The Bill’, both among the album’s best tracks.

14.

Kneecap

Fine Art

(Heavenly Recordings)

The debut album from Mo Chara, Móglaí Bap and DJ Provaí goes HARD.

Fine Art is a riot of sound and a cacophony of energy – drawing on rave, grime, hip-hop, dub and ragga with lyrically dexterous raps as Gaeilge and English (and moves effortlessly between language), that is the most compelling argument for learning the Irish in recent memory (the film out in August is similar, albeit with more subtlety about the trauma that is passed to a younger generation in the backdrop of the aftermath of The Troubles).

The album was produced by Toddla T and features Lankum’s Radie Peat, Fontaines D.C.’s Grian Chatten, Irish language writer and thinker Manchán Magan and London rapper Jelani Blackman. It sounds like latter-era The Prodigy, and preoccupations with drugs and obliteration, with references Coke and MDMA (‘3CAG’ is 3 consonants and a vowel – Irish slang for MDMA), the reaction to their controversial mural, and drug-dealing before the album gives way to more genuine explorations of mental heath. But Fine Art is a pub party debauchery record first and leans on narrative and personality.

13.

Niamh Regan

Come As You Are

(Faction Records)

The Galway singer-songwriter Niamh Regan moves on from the classic folk sound of debut album Hemet, to embrace a wider full-band sound.

The attention to detail in the music and lyrics are very much still present, but Come As You Are is a more confident pitch, pushing the music into new territories, like the surprising Radiohead-esque ‘Nice’, but mostly, the album features assured songwriting on family and strife, that feels like it’s moving Regan towards her own patch in coming years.

12.

shiv

the defiance of a sadgirl

(Self Released)

Before the release of her debut album, the Irish-Zimbabwean producer, singer-songwriter shiv blew aspects of her life up. There was a breakup, the dismissal of a major label deal, moving to another country and she stopped working with her manager.

It’s braver to make those changes than go with the flow.  In the aftermath, Shiv resolved to remain through to herself and create the album she wanted to make.

Life is messy yes, but the artistry learning from it doesn’t have to be.  The defiance of a sadgirl is the work of a polymath comfortable playing with neo-soul, RnB and lo-fi hip-hop shapes, and representing her truths.

11.

A Lazarus Soul

No Flowers Grow in Cement Gardens

(Bohemia Records)

The sixth studio album from A Lazarus Soul (Brian Brannigan, Anton Hegarty, Julie Bienvenu and Joe Chester) feels seeped in local Dublin lore, history and the people of the city, taking its lyrical inspirations from a Marina Carr play, the Grand Canal, the Moore Street traders, addiction in communities and overzealous school punishment (as told to Eoghan TPOE).

Brannigan is a fine lyricist, a romantic of the ordinary perhaps, and his voice can soar with a singular wistfulness. The band match his storytelling with richly detailed, 80s-recalling rock arrangements with nods to The Fall and a Lee Scratch Perry sample to boot. 

10.

Bricknasty

XONGZ አስቀያሚ ጡብ.

(FAMM)

Bricknasty’s gravitational force continues to pull in unique and refreshing textures.

The Ballymun band quickly followed up last year’s short album/EP release Ina Crueler with a nine-track missive mixtape with a further collection of kaleidoscopic live band jazzy soul music, that covers “the band’s journey through loss, recovery, and the embrace of the unknown,” since that last release.

The band’s prolific live playing means they are able to easily make Prince and D’Angelo fit like a glove on ‘gas’ with Aby Coulibaly, create idiosyncratic R&B funk on ‘mouthy’ with F3mii, cathartic transcendence on ‘reprise’ with shiv matching the vibe, and a touching tribute to Ross McDonnell, the recently deceased photographer and documentarian on ‘joyrider’ who provided the artwork for Ina Crueler.

9.

Fynch

Youngfella

(Burner Records)

The Dublin 12 rapper says his debut album Youngfella “deals with a raft of issues which are directly impacted by Dublin’s housing crisis, with topics of emigration, nightlife, family, friendships and relationships all touched on throughout the album.”

The album captures the essence of a young man navigating early adulthood, making plans with friends, living with your parents, shouting out Republic Of Ireland players and bigging up your parish, set to gleaming jazzy rap instrumentals.

8.

Olive Hatake

Boys Need Love

(Self Released)

The Irish electronic producer’s second album (he was formerly known as OliveyOlive) features euphoric productions with features from Jafaris, Daryl Bengo, Ollie fay and Tony Konstone (Hare Squead).

Boys Need Love is informed by recent developments in Olive’s life and the world around him – “the growing right wing movement in Ireland, the conflict of masculinity, the nature of relationships, faith and a journey into the world of Brazilian Jiu-Jitsu that lead him to compete in the European championships in Paris earlier this year.“

What struck me most about the Kildare producer’s outlook and music is one of chasing joy and euphoria, even in the face of grief and personal loss.

7.

Sloucho

NPC

(Sweet Sun)

An Irish producer of hyperpop, bass Cloudclore-parallel electronic music with dips to Latin dance and garage rapa, Sloucho is an enigmatic artist who likes to play with form.

His debut album features guests EMBY, Rory Sweeney, Curtisy, Zack Oke, Yamagōchi, Rhosi, Vaticanjail and k-Caz, and NPC explores the duality of his main character, identity, and non-playable lives through club and minimal sounds.

6.

New Jackson

Oops Pop!

(Permanent Vacation)

David Kitt returns to his electronic project to release a second album, featuring collaborators Rita Lynn, Donnacha Costello, Riche “Jape” Egan, Yenkee, Kean Kavanagh,Margie Jean Lewis, Meg Cronin and Fehdah.

The album features that late-night gilded house and techno pop that established the New Jackson project, recalling Kraftwerk and inspired by Stock Aiken and Waterman, with more forthright vocal melodies not as covered in vocoder as before.

5.

Fontaines D.C.

Romance

(XL Recordings)

Romance feels like the start of a new era for the Dublin band, as they fold back in what they’ve learned making three albums in quick succession into a fourth that is more refined and expansive.

Production comes from James Ford after three albums with indie producer du jour Dan Carey, and Ford brings the band’s sound to a fresh place, one that is clearly ready for the stadiums and arenas the Fontaines are already playing with nods to Echo And The Bunnymen, Cocteau Twins, Stone Roses  and The Cure.

Grian Chatten’s lyrics  might reference “the GPO and all the hits in it” and the obligatory Joyce reference on ‘Horseness Is The Whatness’  but Fontaines have largely wriggled free of the preoccupations of their Dublin roots (where they no longer live)  and embraced a universality in these songs, while relaying Chatten’s internal anxieties and malaise.

Chatten’s vocals have grown too: more soaring, melodic, brighter, less gutteral, more commanding and varied.

From the gargantuan singular event of ‘Starburster’, to the scuzzy rock of ‘Here’s The Thing’, the Lana Del Rey-esque string stirrer of ‘In The Modern World’ and the band’s frequent channelling of ‘90s Irish band Whipping Boy reaches its apex with the gorgeous love song ‘Favourite’.

Romance is their best collection of songs yet. 

4.

Silverbacks

Easy Being A Winner

(Central Tones)

The Irish six-piece fully embrace their indie rock tag on album three, a deft collection of arch guitar music with duelling Thin Lizzy-style six-strings, weird little country indie, lilting songcraft and Stereolab-esque bangers. vocals shared between Emma O’Hanlon and brothers Kilian and Dan O’Kelly.

Produced by Gilla Band’s Dan Fox once more, the 11 tracks here feel unburdened by exterior expectations, and you can sense the love, care and enjoyment of a band playing together for the sake of it more than ever before. 

Easy Being A Winner expands the band’s sound beyond the post-punk alt-rock that was present on the first two records, finding a new slipway of uniqueness to explore, while being their best work.

3.

NewDad

Madra

(Fair Youth)

The debut album from the London-based Galway indie-rock band NewDad lives up to the band’s early releases and then some.

The leap to a full-length, provides us with a smart, confident and superbly-produced (by Chris Ryan ) record.

Madra draws on shoegaze, the classic indie vocal style of Julie Dawson, a bit of grunge here and there, with pop melodies front and centre.

2.

RÓIS

MO LÉAN

(Self-released)

RÓIS is a Fermanagh composer, vocalist, multi-instrumentalist and electronic artist.

MO LÉAN blends sean-nós, folk and experimental sounds and was inspired by recordings of keening songs and the particular Irish traditions that surround death (“hymns based around the concept of death, life, mourning and catharsis”).

 The EP ( it is billed as an EP but fully worthy of inclusion on this list) was self-released, written and produced by RÓIS with additional production from John Spud Murphy (OXN/Lankum).

The death theme lends the work a liminal dark exploratory edge, and the combination of vocals and music that conjur up the otherworldly, place an emphasis on sonics, dynamics and the power of a voice, while channeling keening, wailing or moving impressively in scale, musically and literally, on tracks like ‘Caoine’ and ‘Feel Love’. 

A humorous nod to the Irish people’s fascination with death notices and RIP.ie is present on ‘The Death Notices’ and the Angelus is the basis of interludes on the 27 minute release.

 MO LÉAN is the most enchanting Irish release of the year.

1.

Curtisy

What Was The Question

(Brook Records)

The Tallaght artist’s debut album is the sound of a rapper operating at full tilt.

Where most new artists breaking through in Ireland are addressing the socio-economic and cost of living and rent crisis this country is currently going through, Curtisy’s debut album is on a different tack – insular, personal, addressing his own situation, what’s happening at home and whether we are destined to repeat the predilections of our progenitors.

There are lines about strained parental relations (“need the fam to intervene cause I don’t want to be me dad” – Last Time’ ), overindulgence and reliance on alcohol and drugs as coping mechanisms (“I’m the problem why’d I think I need different friends” – ‘Landline!’), growing up in a place considered to economically struggle (“where I’m from you’re told to lower your hopes” – ‘Lower Your Hopes’) and promising himself in the cold light of day to not to rely on addictive substances so readily again (“all these sessions get depressing chap it isn’t a buzz / you said this shit doesn’t slap but it literally does – ‘Wok To Blackrock’).

The beats by Rory Sweeney, D*mp, Walshy and hikii lend the album a woozy Earl Sweatshirt-esque air, the perfect foundations for Curtisy’s often funny colloquial delivery. He can spit, and he can turn a phrase. He makes it sound effortless with every line, playful, precise, casual, coherent and a lot of fun to listen to again and again.

With the help of talented cohorts Ahmed, With Love, Lonely Chap and Walshy, What Was The Question is filled with many memorable lines and some of the best beats in the country. 

To paraphrase the song ‘Tree Sap’, It’ll have you chewing your jaw, losing your keys, losing the plot and grinning from ear to ear.

Curtisy on prolific collaborations & making an Irish album of the year – Podcast