30. Janelle Monáe – The Electric Lady
It’s official: Janelle Monáe is the queen of thematic, pop/funk/R&B/hip hop, sci-fi albums (not that there are many contenders). Monáe impressively toes the line between mainstream popularity and artistic talent, and absolutely refuses to give into expected ideas of what a pop star should be. She brilliantly declares her individuality on “Q.U.E.E.N.” over a groovy, calmly danceable bass line. The Electric Lady sees her masterfully jumping from futuristic, jazzy diva tunes (“Electric Lady”) to R&B ballads (“Primetime”) to a sexy, rolling pop-rock-jazz blend featuring fucking Prince (“Givin’ Em What They Love,” the best track, in my opinion). If the number of cameos on The Electric Lady is any indication, this tuxedo-clad, rule-bending diva has proven her worth in the popular scene and now comfortably sits on her own freaky pop throne. -Hannah Lorenz
29. Yo La Tengo – Fade
When I first heard Fade this past Spring, I listened on repeat from start to finish without hearing the words. Sometimes I still wonder whether I know what the album is about and it and whether I care, simply because I enjoy the sonic production above everything else. The carefree melodies, innovative vocal effects and clever instrumental production provided enough to accompany my long walks and much-needed naptimes, and that’s where Yo La Tengo found success in their thirteenth studio effort. Listeners coast, not cruise, to Fade. The harmonious, transcendental efforts brought a wondrous symphony of sounds so modern that listeners had not expected such a success from such an experienced act. This record was a quiet racehorse into the year’s top albums because no one had seen the colorfully rhythmic distortions coming our way. -Jason Radford
28. The Speed of Sound in Seawater – First Contact
The Speed of Sound in Seawater’s first full length release (along with their three previous EPs), set the group as potentially the best math rock band around. The album is a nice combination of complex instrumentals, poppy hooks, and unique song writing. Anyone who plays music will fall in love with how talented each member is and it’s just catchy enough to not turn off the casual listeners. -Sean Hatfield
27. Run the Jewels – Run the Jewels
El-P gave an interesting perspective on the hoopla surrounding Kendrick Lamar’s incendiary “Control” verse, basically saying that by excellently rapping and calling out those who don’t, Kendrick Lamar was basically just doing exactly what rappers should be doing. But those who had been paying attention to El-P and his partner in Run the Jewels, Killer Mike, over the past two years are well aware El-P thinks this simply by virtue of his incredible output. Run the Jewels is the culmination of two years of chest beating from both artists, resulting in a concise, menacing wallop of a record that pities no man and relinquishes no ground. El-P’s ultra-low end production (“DDFH”) and Killer Mike’s brutal, ten ton delivery (the first verse of “Job Well Done” is terrifying perfection). In a year dominated by lame duck braggadocio and put-ons by Drake, Kanye West, Jay Z and others, Run the Jewels just went out and did their damned business, and did it well. -Tyler Remmert
26. The Lone Bellow – The Lone Bellow
The Lone Bellow are changing the face of country-rock music. I never listen to that music, and although The Lone Bellow aren’t that country sounding, they changed my opinion on the potential of the genre. Their self-titled first release is a perfect blend of rock, soul, and country and is filled to the brim with emotion and power while still providing a few fun tunes throughout. And with Zach Williams’ wonderful voice leading the trio, they can do no wrong. The Lone Bellow is an album anyone can enjoy, country fan or not, and music lovers will be absorbed with the trio’s impressive vocals and emotion. -Sean Hatfield
25. Local Natives – Hummingbird
Local Natives’ debut, Gorilla Manor, was a consistently pleasant release, if slightly derivative. The band had a knack for a good tune and brilliant harmonies. If “Who Knows Who Cares” isn’t played at my wedding someday, well, I guess that means I never married. Needless to say, I was excited for the band’s return and Hummingbird follows through on the promise the band demonstrated three years prior. The influences still aren’t all that disuguised (You’ll swear the beginning of “Black Balloons” is Bon Iver’s “Perth” sped up), but for the most part it only serves to prove the power of good songwriting. Several tracks make a case to be considered among the year’s best. Taylor Rice’s vocals can be devastatingly frail and (“Ceilings” or the ode to bandmade Kelcey Ayer’s late mother “Colombia”) or downright forceful as on the aforementioned “Black Balloons.” These guys don’t have quite the identity to become iconic, but they often hit that sweet spot of melody and sentimentality that can make them anyone’s favorite band, at least for a time. -Chris Favata
24. Cage the Elephant – Melophobia
Melophobia is Cage the Elephant’s best album by a long shot. With dirty, bluesy guitar riffs and driving beats akin to The Black Keys, this album has a certain grunge-glam attitude that’s so damn good. But it’s more than just a fun, fast-paced blur; each song is unique, and “Cigarette Daydreams” is probably the best track, with its slow, sweet melody and beautifully vulnerable vocals. Compared to Cage’s first two albums, Melophobia is a huge step up in maturity and musical sophistication, without sacrificing the badass, punk vibe (see: “Teeth”). There are some duds – I can’t get used to “It’s Just Forever” even after multiple attempts – but overall, Melophobia passes the ultimate test of an album’s greatness: It’s nearly impossible to pick a favorite song.
23. Touché Amoré – …Is Survived By
…Is Survived By is arguably Touché Amoré’s best album yet and one of the best albums in the post-hardcore scene since La Dispute’s Wildlife. The band is part of a specific scene in the genre that puts more emphasis on lyrics and song writing. It’s a perfect album if you’re in the mood for something fast while still being able to listen to something meaningful. -Sean Hatfield
22. Washed Out – Paracosm
After two albums and a few EPs, it’s almost getting to the point where you won’t have to say the words, “you know that song that’s in the intro to Portlandia? That’s Washed Out.” The good thing about having to answer the question is that it’s because someone was listening to the beautifully crafted soudscape that Earnest Greene has perfected and needed more of it. Paracosm plays like the soundtrack to Nirvana, the profound piece of mind Nirvana, not the “Smells Like Teen Spirit” Nirvana. From the trance-inducing intro of “It All Feels Right” until the aptly named “All Over Now” gently fades out, you’re taken to a much better place that can only be attained through this album. It’s the best kind of high. -Matt Wink
21. Earl Sweatshirt – Doris
Earl came home. As if the bar wasn’t high enough already after the hype of “Earl” building during his mom-induced hiatus, he decided to immediately release “Chum.” One of the most honest and open pieces of music in years, dealing with his relationships with both of his parents and even shedding light on his own insecurities, only made the anticipation for Doris even more unbearable. Earl had grown up… but not THAT much. Doris was a lyrical feast from a skateboard junkie on the verge of adulthood. At times abrasive, at times brilliant. And, of course, Tyler, Frankie and the rest of OF donate their own brand of bravado throughout the album. With bangers like “Hive” and “Whoa” and introspective cuts like “Sunday” and “Molasses” Earl didn’t disappoint any one that sported a Free Earl shirt or any one with an hear for lyrical dexterity. – Matt Wink
