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45 Best Albums of 2014 So Far

The best rock, hip-hop, EDM and country of this year’s first half

Skrillex, Recess

Skrillex, "Recess" album cover, 2014.

Courtesy of Big Beat Records, Asylum Records, and Atlantic Records.

From Skrillex's massive drops to Beck's sensitive simmer, from Miranda Lambert's rustic bite to Future's robotic croon, 2014's proving to have no shortage of excellent music across all genres. Here's an unranked list of the year's best so far.

Schoolboy Q, Oxymoron

Courtesy of Top Dawg Entertainment and Interscope Records.

Schoolboy Q, ‘Oxymoron’

With tough-as-nails beats (via Pharrell, Tyler the Creator and more) and boundless energy, Q's major-label debut positions him as the hardened triggerman in Kendrick Lamar's Black Hippy crew. "Fuck rap," he says, "my shit real." Truman Capote-level realness is what made Lamar a critical sensation, and Q is just as deft with detail, whether he's describing ice-cream-truck stickups or selling drugs from a Nissan.

Read our full review.

Lana Del Ray, Ultraviolence

Courtesy of Interscope and Polydor Records.

Lana Del Rey, ‘Ultraviolence’

On her second album, Lana Del Rey is still a sad tomato. Ultraviolence is a melancholy crawl through doomed romance, incorrigible addictions, blown American dreams. She has pulled back on nods to hip-hop and hired a new gun: the Black Keys' Dan Auerbach, who produced most of the LP at his Nashville studio. Auerbach introduces dashes of bad ass blues and psychedelic guitar, but Del Rey – who co-wrote every song but the closing cover of Jessie Mae Robinson's 1950s hit "The Other Woman" – holds tight to her pouty, cinematic aesthetic: the epic schmaltz of Ennio Morricone, reflected through the haze of a thousand dramatic selfies.

Read our full review.

St. Vincent

Courtesy of Loma Vista and Republic Records.

St. Vincent, ‘St. Vincent’

Annie Clark (a.k.a. St. Vincent) isn't just a great songwriter. She's a great song dissector, breaking down pop's essential rhythmic, melodic and emotional components, retooling every impulse. St. Vincent is her tightest, tensest, best set of songs to date, with wry, twisty beats pushing her lovably ornery melodies toward grueling revelations. This album is haunted by isolation, dark hungers, regret and even death. But the playful way these songs contort makes pain feel like a party.

Read our full review.

Against Me!, Transgender Dysphoria Blues

Courtesy of Total Treble Music, Xtra Mile Recordings.

Against Me!, Transgender Dysphoria Blues

There's a brave new world that's raging inside of me," rages Against Me! frontwoman Laura Jane Grace – formerly frontman Tom James Gabel – on the melodic and emotional peak of the band's first LP since Grace came out as transgender. Through the band's established brand of warrior-cry punk metal, its a series of bracing songs about a self-destructive girl in a boy's body.

Read our full review.

Toni Braxton, Babyface, Love, Marriage, and Divorce

Courtesy of Motown Records.

Toni Braxton & Babyface, ‘Love, Marriage & Divorce’

With its marital arguments, dramatic plot reversals and luxurious exteriors, this collaboration between two accomplished R&B sensualists is like a musical adaptation of Real Housewives of Atlanta. Few records have described marriage with so much honesty and complexity.

Read our full review.

Damon Albarn, Everyday Robots

Courtesy of Warner Bros. Records.

Damon Albarn, ‘Everyday Robots’

All of Blur frontman Damon Albarn's musical obsessions are present on his revealing solo debut: dubby textures á la Gorillaz, Caribbean and African notes, looming classical instrumentation and church choruses that evoke England's past – all wrapped around a singing voice that's become deep and searching where it was once sharp and snarky.

Read our full review.

The Roots, And Then You Shoot Your Cousin

Courtesy of Def Jam Recordings.

The Roots, ‘…And Then You Shoot Your Cousin’

Brutally bleak, shrouded in screwed hues, with a narrator "on my existential grind doing consequential dirt," this 33-minute concept suite is rap's own Downward Spiral. Pianos and strings clash in explosions of third-stream jazz, French electro-acoustic pioneer Michel Chion brings noise, deep-blue tones vibrate like Miles Davis' Porgy and Bess.

Read our full review.

Sia Furler, 1000 Forms of Fear

Courtesy of RCA.

Sia, ‘1000 Forms of Fear’

Australian powerhouse Sia has written hits for Beyoncé, Katy Perry and Rihanna – the vocal dips and midtempo melancholy of “Diamonds” are Sia’s signatures – and this album will likely be just as ubiquitous. Her knack for heart-swelling choruses shines through on a set of tracks you might play while winning a marathon.

Conor Oberst, Upside Down Mountain

Courtesy of Nonesuch Records.

Conor Oberst, ‘Upside Down Mountains’

At 34, the former indie-rock prodigy still writes and sings about the high times and bad choices of adolescence, on the way to matured love and responsibility, like the sharpest kid in the room: a florid Midwest Morrissey with Jeff Tweedy's twisted-pop savvy. A sumptuous immersion in Seventies California folk pop, Upside Down Mountains is the most immediately charming album he has ever made.

Read our full review.

Tune-Yards, Nikki Nack

Courtesy of 4AD.

Tune-Yards, ‘Nikki Nack’

On her critic-wowing 2011 breakout, Whokill, Merrill Garbus made sexy, kinetic pop out of avant-folk vocal technique and hip-hop flow. Following such head-rush originality ain't easy. But her third LP, cut with bass-minded partner Nate Brenner, suggests an innovator in for the long haul.

Read our full review.

Calle 13, Multiviral

Courtesy of El Abismo.

Calle 13, ‘MultiViral’

Calle 13 have come a long way since their 2005 debut, when they were a smartass pair of twentysomethings from Trujillo Alto, Puerto Rico, riding the international reggaeton boom with a club-minded mix of sex talk and political invective. With their fifth disc, frontman Residente and his halfbrother Visitante have made as ambitious a hip-hop album – if that's not too narrow a term – as any in any language.

Read our full review.

Brody Dalle, Diploid Love

Courtesy of Caroline.

Brody Dalle, ‘Diploid Love’

With her solo debut (and first release after a five-year break), the passionate punk and ex-Distiller experiments with new styles – piano-based power ballads, anyone? There's plenty of chaos and roiling guitars, too, but adulthood has crept in. Clearly, she never really needed an amp to unleash her strength.

Read our full review.

Lykke Li, I Never Learn

Courtesy of LL Recordings and Atlantic Records.

Lykke Li, ‘I Never Learn’

This follow-up to 2011's Wounded Rhymes confronts a more deliberate truth, with melancholy songs full of heartbreak, disillusion and redemption. The simplest songs here are the most affecting. If this Swedish singer-songwriter keeps refining her voice, she'll soon rank as an A-list pop heart-crusher.

Read our full review.

Duck Sauce, Quack

Courtesy of Fool's Gold.

Duck Sauce, ‘Quack’

The sample-storming full-length debut from turntablist-turned-label honcho A-Trak and filterhouse master chef Armand Van Helden is undeniable – squarely in the tradition of stoned dance-floor hitmakers from decades past like Deee-Lite, Fatboy Slim and M|A|R|R|S.

Read our full review.

YG, My Krazy Life

Courtesy of Pu$haz Ink, CTE World and Def Jam Recordings.

YG, ‘My Krazy Life’

A 46-minute tale of celebrations and regrets, the debut album from West Coast hot property YG is the most ambitious hip-hop concept LP in a minute: a 24-hour ride where he gives detailed instruction on how to rob a home – then gives even more details about the consequences. The beats are the sproinging trampoline bounce of ratchet mastermind DJ Mustard, sounding like a lowrider fueled by Four Loko.

Read our full review.

Tinariwen, Emmaar

Courtesy of Anti.

Tinariwen, ‘Emmaar’

An undiluted LP from the group of veteran Saharan guitar slingers that's all circular Afro-Berber riffs, hypnotic hand claps, sun, sky and sand. With Tinariwen's members effectively refugees thanks to regional conflicts back home in North Africa, their blues are as deep as ever.

Read our full review.

Parquet Courts, Sunbathing Animal

Courtesy of What's Your Rupture?.

Parquet Courts, ‘Sunbathing Animal’

These Brooklyn dudes have outgrown the Pavement comparisons – these songs make you wonder if you're hearing early Wire jam with Creedence while Thurston Moore brews the tea

Read our full review.

Old 97’s, Most Messed Up

Courtesy of ATO.

Old 97’s, ‘Most Messed Up’

On this most Old 97's-ish of Old 97's LPs, the hard-partying twang-punk quartet throw a 20th-birthday bash for themselves. It's yet another round of airtight songs celebrating life-as-sublime-train-wreck amid music that conjures the British Invasion landing in a Texas barroom.

Read our full review.

Katy B, Little Red

Courtesy of Rinse, Columbia Records and Sony Music.

Katy B, ‘Little Red’

Little Red showcases Katy B's vivid R&B songwriting over chic, chilly electro beats, from the aching "Jolene" reboot "Aaliyah" (co-starring fellow U.K. sensation Jessie Ware) to the tense smolder of "I Like You" to the head-over-heels endorphin rush of "Tumbling Down." She's still the sharpest storyteller on the dance floor.

Read our full review.

Sturgill Simpson, Metamodern Sounds in Country Music

Courtesy of High Top Mountain.

Sturgill Simpson, ‘Metamodern Sounds in Country Music’

Picture what Waylon would have sounded like if he had taken Willie's drugs: Kentucky's Sturgill Simpson made a is a record that is equal parts haunted, tender and trippy.

Read our full review.

Freddie Gibbs, Madlib, Pinata

Courtesy of Madlib Invazion.

Freddie Gibbs and Madlib, ‘Pinata’

Gibbs is a brusque street-rap purist with "an icemaker for a heart," Madlib a crate-digging cult hero with a taste for deep psychedelia and free jazz. The MC and the producer click in surprisingly satisfying ways on their first full-length album together, Madlib's beats add a druggy, unpredictable edge to Gibbs' hard-boiled grudges and regrets.

Read our full review.

Courtesy Jagjaguwar

Sharon Van Etten, ‘Are We There’

The magnificent fourth LP from Brooklyn singer-songwriter Sharon Van Etten grows her trademark examinations of romantic decay to cathedral-like scale. Like her tourmate Nick Cave, her darkness contains multitudes.

Read our full review.

Courtesy Matador Records

EMA, ‘The Future’s Void’

Erika Anderson's excellent second album builds on the stark confessional style of her low-fi 2011 debut, Past Life Martyred Saints, exploring piano ballads ("3Jane") and industrial rants ("Neuromancer") about social-media paranoia. ("Making a living off of taking selfies" is bad, TBH.) But the Hole-style "When She Comes" really sums up EMA's sinister charisma. Meet the new Miss World.

Read our full review.

Courtesy 4AD

Future Islands, ‘Singles’

Baltimore's Future Islands could be just one more band of Eighties-y synth romantics. The difference is singer Samuel T. Herring, whose intense rasp evokes Broken English-era Marianne Faithfull if she came down with a serious case of Ian Curtis. He pours out sad-ballad syrup like he's using it to clog a fresh wound.

Read our full review.

Courtesy Captured Tracks

Perfect Pussy, ‘Say Yes to Love’

These Syracuse art-punk kids hail rage with an emotional urgency that recalls Hüsker Dü or early Sleater-Kinney. Say Yes to Love is a heart-punch of an album – eight songs, 23 minutes – where the words are mostly buried under guitar feedback and synth squeals. Yet the raw passion comes across loud and clear.

Read our full review.

Lake Street Dive, Bad Self Portraits

Courtesy of Signature Sounds Recordings.

Lake Street Dive, ‘Bad Self Portraits’

Lake Street Dive's initials may spell "LSD," but the Massachusetts-bred quartet are mostly tripping on Motown-meets-Muscle Shoals soul nostalgia, while frontwoman Rachael Price's big voice triggers flashbacks of Amy Winehouse and her forebears. Their breakout LP shows a band so in command of its style that it rarely feels like shtick – and even when it does, it's tight, fun and feisty.

Read our full review.

Swans, To Be Kind

Courtesy of Young God Records.

Swans, ‘To Be Kind’

Experimental rockers Swans have only ever had one goal: to overwhelm. Their latest offers two straight hours of spook-house drones, battering-ram guitar blasts and Michael Gira's howled imperatives about love, sex and death. These days, they don't just crush – they hypnotize.

Read our full review.

Hurray for the Riff Raff small Town Heroes

Courtesy of ATO Records

Hurray for the Riff Raff, ‘Small Town Heroes’

Alynda Lee Segarra's folk-roots music feels both ancient and modern, from the title track's drug-damaged characters to the gunslinging young thugs in "St. Roch Blues" and the heroine of "The Body Electric," a feminist rejoinder to lady-killing murder ballads. Her supple, intimate vocals are about more than conjuring a musical past – she clearly wants to shape the future, too.

Read our full review.

Triptykon, Melana Chasmata

Courtesy of Century Media Records.

Triptykon, ‘Melana Chasmata’

Three decades after Thomas Fischer helped lay extreme metal's foundation on Celtic Frost's 1984 LP Morbid Tales, he has again redefined what the genre can do on the second album by his dark-metal group Triptykon. He and his bandmates juxtapose doomy death-metal riffs with gothic guitar textures and ethereal female voices that could have been culled from the 4AD catalog. Between Triptykon's brutal pummel and animal growls lies a delicate, fragile core that might be too scary for other metal bands to fathom.

Todd Terje it's Album Time

Courtesy of Olsen Records

Todd Terje, ‘It’s Album Time’

While the biggest names in dance music are raging on the blacktop, delivering hard beats to parking lots filled with sweaty festival-goers, Todd Terje is poolside, offering a cabana-ready combination of Patrick Cowley disco synths and Herb Alpert's Tijuana kitsch. Though the Norwegian remix champ has a few proven dancefloor fillers like "Inspector Norse" and "Strandbar," his debut's most affecting moment is "Johnny and Mary," a half-time Robert Palmer cover on which a weary Bryan Ferry sings of two people treading water in life's deep end.

 

Young Thug, Bloody Jay, Black Portland

Courtesy of Propane Media.

Young Thug and Bloody Jay, ‘Black Portland’

22-year-old Atlanta lunatic Young Thug gets over on pure, giddy eccentricity – breathlessly braying, cackling, even drunkenly crooning rhymes like "Foreign car outside, that bitch got two digits/Money stand like eight feet, just like two midgets." On this mixtape with his bud Bloody Jay, Young Thug also pushes at the sonic possibilities of his wild style.

Read our full review.

Ought, 'More Than Any Other Day'

Courtesy of Constellation

Ought, ‘More Than Any Other Day’

These Montreal punk upstarts establish their own sound right on their debut album – they're young men in love with their own misery, taking out all their frustrations on their instruments, until every guitar strum feels like a full-blown emotional breakdown. Lead yelper Tim Beeler commands your attention all through the six minutes of "Habit," sounding like David Byrne staring at his own reflection in the bottom of a glass, wondering how it all went so wrong so fast.

Read our full review.

White Lung, Deep Fantasy

Courtesy of Domino Recording Co.

White Lung, ‘Deep Fantasy’

Vancouver's White Lung are as furiously formidable as ever on their third LP. Mish Way's damning yowls offer profound ruminations on sex and body image, while guitarist Kenneth William's swift, discordant lashes resurrect the finer aspects of 2000s-era post-hardcore; drummer Anne-Marie Vassiliou holds down a steady velocity, pelting listeners with relentless rounds of thrash.

Read our full review.

Ben Frost Aurora

Courtesy of Mute Records/Bedroom Community

Ben Frost, ‘Aurora’

Unrelentingly menacing, Iceland-dwelling composer Ben Frost has created a 40-minute suite of VHS grinding, wistful Blade Runner synths, howling white noise and broken Detroit techno. The human attempts to fight the robots are provided by the junkyard clang of Swans percussion abuser Thor Harris.

Read our full review.

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