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45 Best Albums of 2015 So Far

From Kendrick to Kacey, the best LPs from the first six months

45 Best Albums

Bob Dylan's 'Shadows in the Night' and Kendrick Lamar's 'To Pimp a Butterfly.'

It's nearly half over, but the year of the dueling streaming services has already given us plenty of reasons to press play. Mumford went electric, Dylan went Rat Pack and Mark Ronson went to the top of the charts. D'Angelo made a huge impact on 2015 with his bold return (after 14 years without a new album), which was followed by comeback LPs from Faith No More (after 18 years) and the Sonics (49 years). And of course there has been no shortage of newcomers — indie wordsmith Courtney Barnett, hip-hop's giddy Rae Sremmurd, high-concept dance crew Future Brown — turned heads as well. Here's the best of 2015's first six months.

Jack Ü, 'Skrillex and Diplo Present Jack Ü'

Jack Ü, ‘Skrillex and Diplo Present Jack Ü’

We Say: Skrillex and Diplo's first album together has one purpose: moving bodies. But that simple quest has led the duo to a wonderfully trim set that's as forward-sounding as any dance release in recent memory. In dubstep's peak days, Skrillex blasted through songs like these with overpowering explosions of computer-generated noise. Here, he and Diplo flip the script: On "Jungle Bae," "Febreze" (which features 2 Chainz) and the single "Take Ü There," sparse bass drops act as black holes, using negative space to change the gravitational pull of an entire track.

Mumford & Sons, 'Wilder Mind'

Mumford & Sons, ‘Wilder Mind’

We Say: Mumford & Sons are the defining act of the past few years' folk revival, but there's always been more rock in their blood than that label suggests. Folkie fans shouldn't be too alarmed, though. Even amid all the new sounds on Wilder Mind, the impassioned earnestness that made Mumford & Sons stars is still their driving force. The same clear-eyed, full-hearted intensity that set the table for fellow U.K. roots newcomers like Laura Marling and Jake Bugg animates highlights like "Believe" and "Only Love," where lyrics about balancing doubt and hope in the face of fading romance take on a universal power.

Learn More: Mumford & Sons Talk Going Electric on New Album 'Wilder Mind'

kacey musgraves

Kacey Musgraves, ‘Pageant Material’

We Say: Kacey Musgraves' follow-up to 2013's Same Trailer Different Park is more calculated and confident, intent on both courting and bending the mainstream with wit and timeless arrangements. It misses some of Trailer's storytelling wistfulness and formal experiments – but track for track, it's stronger, an object lesson in Nashville songwriting. Songs like the title track allude to Musgraves' whiplash fame, but she dodges any second-album slump with weed jokes and homegirl charm.

Learn More: Unbreakable Kacey Musgraves: Nashville's Sharpest Rebel Walks the Line

Florence and the Machine, 'How Big How Blue How Beautiful'

Florence and the Machine, ‘How Big How Blue How Beautiful’

We Say: Florence and the Machine's 2012 MTV Unplugged set was startling. The band's first LP since that session seems informed by it: Finally, Welch is leaning hard into the classic rock and soul sounds her vocals always flirted with, like Ophelia in a Mondrian miniskirt. Gone are the signature African-goth drums, replaced by a dry, midtempo Motown backbeat dressed in tambourine shimmer and orchestral flourishes.

Learn More: Florence Welch on Stripping Down at Coachella and Fooling Neil Young

muse

Muse, ‘Drones’

We SayDrones is a truly guilty pleasure, like watching The Daily Show and knowing Jon Stewart's best jokes start with someone else's colossal error or hurt. The concept here is even darker than Muse's 2012 planet-death treatise, The 2nd Law: the long-distance killing of modern warfare and the collateral damage in conscience and ideals. But Drones is also Muse's welcome jump back from recent ornamental extremes to the simpler brawn and riff heroism of 2001's Origin of Symmetry. The heart of the action in most of these songs is a chunky update of the guitar-bass-drums charge of Origin's "New Born" and "Stockholm Syndrome" on 2003's Absolution. It's what Muse do best; it's good to hear a lot more of it.

Learn MoreInside Muse's 'Drones' Strike: Matt Bellamy on High-Concept LP

Pops Staples, 'Don't Lose This'

Pops Staples, ‘Don’t Lose This’

We SayThis deep set by the great R&B-gospel mediator Roebuck "Pops" Staples is a rare example of a posthumous reclamation that feels stronger than the original might've been. Working with unfinished 1999 tracks (originally intended for a lost Staple Singers album), producer Jeff Tweedy isolated voices and Pops' quicksilver guitar — like his singing here, an object lesson in tender power — using minimal additions. The result is bracing, timeless gospel blues. 

Blur, 'The Magic Whip'

Blur, ‘The Magic Whip’

We SayBlur's classic lineup — singer Damon Albarn, guitarist Graham Coxon, bassist Alex James and drummer Dave Rowntree — has made its first new album in 16 years, one as quixotic and seductive in its modern searching and subversive pop highs as their Nineties winners. 

Learn More: How Blur (Finally) Got Back in the Studio

Jamie xx, 'In Colour'

Jamie xx, ‘In Colour’

We Say: What Joni Mitchell's "Woodstock" was to the hippie era, Jamie xx's solo debut is to British club culture: a wistful valentine conjuring a more innocent time. Exhibit A is "Gosh," which flips a sound bite from a pioneering U.K. jungle broadcast. But the track isn't jungle per se, because the head chef of the xx shoots for moods, not rote styles — which is why he's among pop's greatest producers. 

Learn More: Jamie xx on Breaking His Stereotype for Bright Solo Debut In Colour

Kid Rock, 'First Kiss'

Kid Rock, ‘First Kiss’

We Say: Now 44, Kid Rock finds himself looking back wistfully, tracking the passage of time. First Kiss presents few surprises, mostly because Kid Rock's journey from abrasive rap metal to unreconstructed heartland rock has landed him in a sweet spot: big guitars, big drums, big choruses and gravelly vocals. "I know what's right," he declares on the thumping "Ain't Enough Whiskey," and there's no arguing with music offered with this degree of energy, joy and conviction.

Learn More: The Killer Inside Kid Rock

Sleater-Kinney, 'No Cities to Love'

Sleater-Kinney, ‘No Cities to Love’

We Say: Sleater-Kinney called it quits in 2006, after a 12-year run as America's fiercest punk band. Once you get over your shock that this album exists, it comes on like one of their toughest ever — 10 songs in 33 minutes, not a dud in the bunch, all surging in uptempo stomp-down-the-door mode. There's more low-end thud to their sound than before. The whole album crackles with the palpable excitement of three rock lifers in a room, eager to see what happens when they plug in and let it rip.

Learn More: Sleater Kinney: Return of the Roar

Rae Sremmurd, 'SremmLife'

Rae Sremmurd, ‘SremmLife’

We SayThis brother duo from Elvis Presley's hometown of Tupelo, Mississippi, radiate an inescapable exuberance, shouting with the zeal of freshly minted stars as they build off the joyous bounce of last year's hits "No Flex Zone" and "No Type." Producer Mike Will Made It's phantasmagoric funk is a perfect backdrop for rhymes about safe sex and paychecks, emptying out the ATM, and the raw thrill of making it big.

Learn More: Flex Appeal: Meet Hip-Hop's Hottest Duo Rae Sremmurd

Marilyn Manson, 'The Pale Emperor'

Marilyn Manson, ‘The Pale Emperor’

We SayOn The Pale Emperor, Manson puts himself forward as a sort of trash-culture elder statesman, a freak of wealth and taste – "the Mephistopheles of Los Angeles," as he dubs himself on one pounding track. He wrote these songs with producer Tyler Bates, a movie and video-game composer whose résumé includes plenty of action and horror flicks. The music has a kind of sweeping creepiness that reflects that background. But it's usually pretty grungy, like Nirvana at their blankest or the Doors pulling an all-nighter in Trent Reznor's dungeon.

Learn More: Marilyn Manson: The Vampire of the Hollywood Hills

Alabama Shakes, 'Sound & Color'

Alabama Shakes, ‘Sound & Color’

We Say: On their 2012 debut, Boys & Girls, Alabama Shakes coined a hot retro mix of black Southern soul and white rock & roll that made the Shakes a rare success story among new guitar bands in the streaming era. Sticking to that formula must have been tempting, but Sound & Color shows that this band aspires to be much more than roots-rock poster children. This is a weirder, woozier, fiercer and sexier record than their debut in nearly every way. 

Learn More: How Alabama Shakes Gambled Big on Wild Second Album 'Sound & Color'

Leonard Cohen, 'Can't Forget: A Souvenir of the Grand Tour'

Leonard Cohen, ‘Can’t Forget: A Souvenir of the Grand Tour’

We SayThe fourth live album to come out of Leonard Cohen's 2008-2013 world tour is a fascinating glimpse into his creative process. More than half of its 10 songs were recorded in soundchecks, where Cohen and his band were able to test new tunes and refurbish standards like 1971's "Joan of Arc," heard here in a lustrous duet with Sharon Robinson.

Learn More: Leonard Cohen on Longevity, Money, Poetry and Sandwiches

Faith No More, 'Sol Invictus'

Faith No More, ‘Sol Invictus’

We Say: Sol Invictus, the band's first record since 1997's underrated Album of the Year, offers newer, better versions of Faith No More's formula: spaghetti-Western guitars ("Cone of Shame"), proggy keyboard drama ("Matador") and tons of vocal contortions from lead singer Mike Patton ("Rise of the Fall").

Learn More: Faith No More: How Rock's Most Contrarian Band Made Up and Came Back