The Best Albums of 2014 (So Far)

Related: The Best Songs of 2014 (So Far)

Related: The Best Music Videos of 2014 (so far)

Release date: May 13, 2014

With West Coast-flavored, club-ready bangers like "No Secret," "Only That Real," and the Mustard-eqsue "T.W.D.Y.," it's hard not to compare Iamsu!'s Yours Truly to YG's My Krazy Life. But there's a charm to Iamsu!'s album that doesn't exist with YG, or most of the other popular California rappers of the moment. Iamsu! sounds like modern day hip-hop from California, but he also sounds like the product of lighthearted, down-to-earth Cali groups from the past, like Hieroglyphics and Souls of Mischief. It's not backpack rap, but there's a relaxed, fun element here that makes Iamsu!'s Yours Truly one of the most enjoyable rap albums of the year so far.—Jacob Moore

Release date: March 4, 2014

This four-piece from Britain spent a lot of time working on their self-produced debut album, and it shows. After getting early blog coverage towards the end of 2011, Arthur Beatrice disappeared for a while, returning in 2013 with a carefully curated collection of crystal-clear indie-rock/pop songs. Across their debut album, every sound—every vocal harmony, shimmering chord, and beautiful piano melody—is there for a specific reason. This is the antithesis of punk rock's wild energy, but that is no bad thing. Sometimes it's exactly what you need.—Constant Gardner

Release date: February 4, 2014

The UK is known for its rich musical history, but there are very few rap acts that the US has had to play catch-up with. Anticon signees Young Fathers are not only changing that, but they’re also attempting to make it as difficult as possible. The Scottish trio’s debut, Dead, unapologetically stomps through a true mish-mash of genres. There’s beauty to be found in its destruction of genre conventions, even when it’s purposefully ugly. Menacing intensity broods in the foreground, whilst grieving lament froths in the background. It’s not the easiest listen in the world, but it’s definitely one of the most rewarding of the year.—Joe Price

Release date: March 17, 2014

British producer Wen's formative musical experiences came listening to grime freestyles on London pirate radio stations and dubstep sets by the likes of Youngsta and Kode 9. All that and more is reflected in his debut album Signals, which combines some of the dark lurch of and space of early dubstep with brilliantly used vocal samples and radio freestyle snippets to create a moody and expansive album. If you don't class yourself as an electronic music lover, but are a big fan of Burial, maybe this album can appeal on a wider scale in a similar way, thanks to its sense of space and atmosphere.

Really, this is an album that should be experienced in one sitting, but if you're pressed for time or wondering whether to dive in or not, highlights include "Intro (Family)," "Swingin'," and "Nightcrawler (Devils Mix)."—Constant Gardner

Release date: June 13, 2014

The hip-hop landscape has changed considerably in the past few years, and it seems that rappers are a lot quicker to embrace their weirder side. ZelooperZ, however, takes it a step further than the rest. It's hard to find any equivalent to his vivacious delivery, and HELP is all the better for it. It comes on strong, instantly leaving an impression—there’s no mistaking his voice for anyone else, even when he seemingly loses control of it. ZelooperZ doesn’t give a fuck if he’s following the rules of hip-hop or not. What’s he’s doing is fresh, exciting, and disruptive in the best way possible.—Joe Price

Release date: April 8, 2014

It was a whole two years after the release of his break-out single "The Wheel" before SOHN was finally ready to share Tremors, and at first listen, you can tell that the Vienna-based producer used his time wisely. The album is a breath of fresh air, providing a fresh take on the now ubiquitous sound of synth-heavy pop music.

Tremors is cinematic and uplifting, as Christopher Taylor brings his picturesque Austrian surroundings to life through skittering synths and his wispy falsetto. What makes the album most impressive—other than the fact that Taylor is a one-man band—is its cohesiveness. Tremors is an album that's seamless from start to finish, and its progression makes sense. The transition from the swelling "Bloodflows" to "Ransom Notes," to the macabre piano-led "Paralysed" reflects SOHN's meticulous planning, which has resulted in a thoroughly impressive debut.—Joyce

Release date: April 8, 2014

RATKING rides an interesting wave when it comes to their place in the hip-hop scene. With everyone still trying to figure out where "real New York hip-hop is," Ratking's sound might be the closest to what New York actually sounds like. Not the stereotypical "real hip-hop" or backpack stuff, but New York right now, in 2014—a dizzying, slow-brewed melting pot of influences and aggression. While inherently "rap music," So It Goes seems to draw from a number of sounds, including dub and jungle, as well as the oppression and frustration that high school grads who aren't trying to 9-to-5 it experience on the regular.

And while there is a method to Ratking's madness, there are times when the album seems to falter. For every standout ("Canal," "Remove Ya," or "Snow Beach"), you get cuts that take more time to get used to ("Eat" or "Puerto Rican Judo"). How one of the albums true gems, "Cocoa '88," got relegated to "hidden track" status is beyond me; there's something about the droning piano loop and Wu-Tang kung-fu slices and samples building an eerie, epic soundbed that makes it insane to have this cookie residing under the pillow of "Take." Maybe that's the point, though, for as gritty and industrial as New York can be, there are hidden gems all over the Big Apple.—khal

Release date: March 8. 2014

No matter how much we plead, it seems like Madvillainy 2 will never come out. But you know what? That hardly matters any more, because we’ve got Piñata. The poignant combination of Freddie Gibbs and Madlib obviously brings to mind comparisons of the much-lauded Madvillain pairing, but it’s an entirely different beast. If Madvillainy was a comic book, then Piñata is the gritty graphic novel counterpart. Grounded in realities that are quite often foreign to Madlib’s vibrant production, Gibbs elevates some of Madlib’s best instrumentals with vivid storytelling. These aren’t fantasies that are fun to follow; they’re realities that are hard to look away from.—Joe Price

Release date: March 4, 2014

Over two years since the release of their fantastic Days album, Real Estate returned with a flourish, releasing their brilliant follow up, Atlas, in early March. The record is a mellow and subdued journey, tip-toeing on the borderline between sunny day music and a lonely introspective sounds. It’s just that aesthetic that gives the album such a human quality, its moods—slightly darker than its predecessor—act to mirror many of the trials and tribulations of daily life.

Calm but thought-provoking, the instrumentation seamlessly sets the scene for lead singer Martin Courtney’s soothing stories, and whether lyrics such as, “This is not the same place I used to know, but it still has the same old sound,” or “I’m just trying to make some sense of this before I lose another year,” resonate or not, Atlas provided an honest home; a safe place to be pulled towards.—Jules Muir

Release date: April 1, 2014

GoldLink might just be on the verge of blowing up. You can feel it in the air. It's rare that it happens like this. Usually, rappers spend years grinding locally and building up a reputation. Then they drop that one mixtape that's a game-changer. For Drake it was So Far Gone, For Chance it was Acid Rap, for Kendrick it was Section.80.

Virginia rapper GoldLink is only 20 years old. The God Complex isn't his breakthrough tape, but it's (most likely) that tape right before the breakthrough. It's like, whenever you talk about Acid Rap to a big fan of Chance they'll say something like, "Oh yeah, I knew he was gonna blow up when he dropped 10 Day." This project is GoldLink's 10 Day, as long as he can keep moving in the right direction from here on out.

The only reason this project isn't higher is because a lot of GoldLink's best songs ("Sober Thoughts," "Wassup," "On & On") aren't included on it. The God Complex shows off a style that's being called "future bounce." It's full of restless drums and jazzy synth stabs sped up to a dance tempo. It's a fun sound, but GoldLink's delivery is so animated and packed with so much energy already that the project is a hectic listen. He holds his own and establishes himself as one of the most exciting new rappers on the come-up, but the album could use a little more negative space. Once the production lets up a little and gives GoldLink room to breathe, that big breakthrough moment should follow.—Confusion

Release date: January 21, 2014

2013 was our formal introduction to Young Thug with his wild, other-worldly 1017 Thug mixtape. Since then, his popularity has skyrocketed thanks to hits "Stoner" and "Danny Glover." The success of those songs has seen him co-signed by Drake, Kanye West, and Nicki Minaj, and helped cement his spot—official or not—in Birdman's Young Money crew.

With the release of Black Portland at the beginning of this year, it became clear that Thug had no intention of slowing down in 2014. The compilation finds Thug more focused than his earlier work, as if the success not only made him a more popular rapper but a smarter one. His unique wordplay and bizarre flow are used here for the benefit of the song. As for Bloody Jay, the fellow Atlanta rapper manages to match Thug's ferocity and provides some of the tape's standout lines ("Are you an author? I guess that's why you get goosebumps when you see me. No R.L. Stine"). Young Thug has proven that when he's given a guest verse he'll almost always steal the show, but here it's a give and take between two artists, and Black Portland succeeds not depsite that, but because of it. —Katie K

Release date: January 17, 2014

From The Fool to Warpaint, it seems the all-girl quartet has gained confidence in their style, taking their aesthetic and running with it. Warpaint kept the electronics wonderfully simple, delicate, and ethereal, lulling you into calm on tracks like "Teese," and "Biggy." Pair that with the superbly soft vocals of lead singer Emily Kokal, and you have an album full of electric lullabies.

But it's not that simple, and definitely not that peaceful. The Los Angeles band delivers tenacity on"Disco//very"—the chorus casually threatening, "Don't you battle, we'll kill you / We'll rip you up and tear you in two." Warpaint has definitely formed their own style, but they aren't afraid to push it to its limits, and that is truly enjoyable to listen to.—Jules Muir

Release date: May 20, 2014

On the opening track of New Orleans rapper Pell's full-length debut, Floating While Dreaming, he tells listeners, "Give me 15 minutes, I'll turn it into forever." It's a confident claim, but one that feels increasingly justified as the album progresses. By the final note, Pell leaves very little doubt that his name is going to be one that's around for a while.

Floating While Dreaming provides a remarkably comfortable, almost dream-like listening experience, and its multitude of intricacies shine brighter with each listen. Pell floats over atmospheric production with healthy doses of rapping and crooning alike, drawing comparisons to Chance The Rapper, both in terms of his voice and his obvious sincerity. Features from Curtis Williams and Boldy James certainly corralled new eyes and ears, but Floating While Dreaming is Pell's album through and through.—Tim Larew

Release date: February 25, 2014

Wild Beasts are one of Britain's best bands. The four-piece have been quietly evolving ever since they released their 2008 debut album Limbo, Panto, but, although critically acclaimed, they are criminally little-known in America. If anything can change that, it's their fourth album, Present Tense.

It is a wonderfully balanced, mature record that sees Wild Beasts blending bold new electronic elements with the detailed, imagery filled lyricism, and the rich vocals of Hayden Thorpe and Tom Fleming that have become the band's hallmarks. "This record is intended to engage with the world a bit," Fleming told us, and where previous albums looked inward, mining the darker corners of the human psyche, this time there is commentary on society (with "Wanderlust" being the most obvious example) alongside really gorgeous love songs like "Mecca" and "Palace." This is indie-rock without being pretentious and pop music without being formulaic, and it's well worth your time.—Constant Gardner

Release date: April 22, 2014

Future Hendrix, the original title of Future's sophomore album, was first announced back in June of 2012. It would be almost two years and many features and one-offs later that we finally got Future's new record, now repackaged with the name Honest. Despite the wait, Honest doesn't aim to wow listeners by doing anything wildly different to what Future's done before. Instead it resides comfortably and confidently in the niche that he has carved out for himself in the hip-hop world. It weaves between the gritter Future of the past and the softer Future of the present, resulting in a range of material that accurately reflects how versatile he is as an artist .—Katie K

Release date: April 1, 2014

Slacker rock is such a backhanded label, and it’s one indie sweetheart Mac DeMarco has had to deal with since the release of Rock and Roll Night Club. To call him a slacker, or grease-ball may be fair game—the dude doesn’t seem too fussed about personal hygiene or his reputation—but, when it comes to his music, he’s as sentimental as they come. That bright, vintage guitar rock may sound untroubled, but it's anything but music from someone without a care in the world. His crooked grin might fool you into thinking he’s all smiles and goofiness, but Salad Days goes considerably deeper than that. Sonically, this album isn't a huge departure for Mac, but it's an album that's going to have people taking Mac DeMarco a lot more seriously.—Joe Price

Release date: March 18, 2014

It's hard to deny that—at the very least—YG made one of the most singular statements in hip-hop this year with the release of My Krazy Life. By the time the Los Angeles rapper's delayed debut studio album finally came out, all the right pieces seemed to be in place. The world was yearning for a hard-hitting concept album—in the vein of Good Kid, M.A.A.D. City, but more easily digestible—and YG delivered. Produced almost entirely by the in-demand DJ Mustard and powered by star-studded singles "My Nigga" and "Who Do You Love," MKL exceeded expectations and has been well-received by both fans and critics alike. It's bold, it's fun, and it's provides a ready-made summer party playlist that still manages to have substance.—Tim Larew

Release date: June 10, 2014

It can be hard to challenge, and in this case smash across genre boundaries, without becoming totally inaccessible. Clipping. aren’t exactly concerned with getting this balance “right,” they’re more intent on trying to bend the norms to their own ends. Paying tribute to the West Coast’s past whilse embracing all sorts of harsh noise, Clipping. have employed just the right amount of restraint  on CLPPNG following their unrelentingly severe debut, Midcity.

The beats are no less experimental, but they are less severe. The minimalism is used less to throw the listener off and more to build tension. This allows Daveed Diggs' lyricism to speak louder than before, with neither the production nor vocals outshining each either at any point. What makes the album so appealing, however, isn’t how it subverts rap's norms; it’s how it embraces them and pulls them into Clipping.'s uniquely twisted world.—Joe Price

Release date: June 10, 2014

When it comes to most dancehall, putting out a single that takes over the clubs for most of the year is the main goal. But once another hot artist comes along, that hit is a thing of the past. Dancehall—and the music world in general—moves at a pace too fast to keep up with these days, that’s why it’s important to provide more than just singles. After many years of hard work, Popcaan has finally done just that.

Popcaan’s debut album, Where We Come From, provides just the right blend of island vibes and gritty, street attitude. With just one listen you can feel the rhythm of each song beginning to force you to at least tap your foot along as you try to focus on the lyrics. Popcaan’s lyrical content ranges from the stress of living in the ghetto to wanting to pay for his boo’s visa, proving that even the toughest guys have a soft spot, at least sometimes.

Sonically, Where We Come From incorporates hip-hop inspired drums with bass lines ready for the dancehall. The variety of sound on his debut album is already helping Popcaan reach a broader audience, as he brings two almost separate fan bases together in a way that most dancehall artists can't. The Pusha T feature (on "Hustle") doesn't hurt. And the fact that the production strays away from the year’s hottest (but overused) riddims allows Where We Come From to have real lasting power.—Adrienne Black

Release date: February 17, 2014

Folk music is an echo from the past, so it's only right that it sounds a little ghostly. Angel Olsen’s voice is not one that you hear for the first time and think, "What a distinct, memorable voice." It's a strong, pretty voice, but it will take repeated listens before it becomes familiar. Then, all of a sudden, this voice will be dancing in the back of your brain when "Iota" starts playing in your head at 2 in the morning while you're trying to fall asleep.

Even at its most intimate, Angel Olsen's Burn Your Fire For No Witness maintains a haunting distance. Instead of feeling like you're right there with her as she sings, you feel like Angel is playing from a small, dimly lit room down the hall, with the door slightly open as you sit in the hallway. But even from a distance, Angel can pack a punch. Some of the standouts on this album ("Hi-Five," High & Wild," "Forgiven/Forgotten") are the ones that make the most noise, and even when she handles things solo, it's not the whimsical folk of the '60s.—Jacob Moore

Release date: May 9, 2014

Little Dragon’s new album Nabuma Rubberband is what fans of the band had come to expect—a collection of warbly, pop-laced songs with sensual R&B and uptempo dance music influences. In this case, predictability is not a bad thing.

Little Dragon demonstrate their versatility immediately on the album, with the grim, menacing "Mirror" ("Did you lose your playful mood?" Nagano whispers) leading right into "Klapp Klapp," a sexy dance song that doesn't try too hard to be a dance song. Across its full runtime, Nabuma Rubberband reaches the band's mainstream ambitions without losing Little Dragon's unique energy, an undoubtedly difficult balancing act that probably couldn't have happened this perfectly at any other point in their long career. In these difficult times for the music industry, a major label debut is often a recipe for disaster. Cheers to Little Dragon for doing it right.—Joyce

Release date: June 17, 2014

With pop charts and radio stations dominated by over-produced, auto-tuned productions, Sam Smith exists in a territory often reached for but rarely attained. Smith is a true vocalist, probably just as effective acapella as he would be backed by the Philharmonic Orchestra. He doesn't need gimmicks or bass-drops to sell music. His voice can make any song extraordinary.

It's this voice that makes the stories on Smith's In The Lonely Hour come to life. Issues like heartbreak, longing, and unrequited love are commonplace in music, but with Smith's emotive vocals, they become painfully relatable. That's how In The Lonely Hour truly succeeds. The songwriting is solid, but the connection Smith is able to make with his audience is unparalleled. The line between your history and his starts to blur, until eventually your heartbreaks become one. And that is what makes his music so powerful. —Katie K

Release date: June 23, 2014

Broad strokes have resulted in the best record yet from Tom Krell, aka How To Dress Well. Expanding his sound while polishing what made it so interesting in the first place, "What Is This Heart?” is an album to be intensely proud of. His voice is clearer than it was on Total Loss, and so are the words that he’s speaking. It’s ironic, but his presentation of vulnerability is his true strength. He crafts swirling soundscapes that are as disconsolate as they are inviting, and it makes for one of the most compelling albums of this year.—Joe Price

Release date: May 2, 2014

Alright, fuck it. I have written about Lykke Li too much to go on using adjectives and interview quotes and attempting an unbiased review. I’m rooting for Lykke Li like a fanboy. Every time Lykke Li drops an album, I want the world to love it. I can't even think about Lykke Li's music critically, because I think about it like a girl in a "Team Edwin" shirt thinks of Robert Pattinson's acting. I'm already on board. Whatever she does, I'm going to like it. Lykke Li could go off and make a concept album with old-timey circus music as the backing to every song, and I'd be like, "Whoa this is the best circus music-based pop album that I have ever heard. 10/10." If, for whatever reason, I didn't like it, I'd probably lie and say I did. Ride or die.

I was worried that this album was going to flop. Lykke has been open about not wanting to be a pop star, and with each album she positions herself further from the sugary sound of her debut album Youth Novels. I was worried that with this album, she’d have a project full of songs like “Love Me Like I’m Not Made Of Stone.” It’s a gorgeous song, but slow-moving, stripped down acoustic songs are risky for a singer whose biggest hits are upbeat (in tone, at least), hook-centric songs like “I Follow Rivers” and “Little Bit.”

I should have trusted Lykke Li. Pop sensibility runs through her Swedish blood, and even on an album full of heartbroken ballads, it takes hold on the sweeping choruses of “Just Like a Dream,” “Gunshot,” or the dramatic “No Rest For The Wicked.” These are Roxette-level hooks, but a lot more raw. On I Never Learn, Lykke Li sounds more mature, more focused in on a still-evolving sound, and just as beautiful as always.—Jacob Moore, Team Lykke

Release date: March 3, 2014

At this point, Pharrell’s "Happy" has basically transcended music. The lead single from G I R L dropped in late 2013 and spread literally everywhere, peaking at No. 1 in over 30 countries and powering the 41-year-old's latest solo album to the forefront of all music-related conversation. G I R L came out in early March, but it might as well have been the middle of summer because that's where listeners were transported to upon pressing play. P's impeccable falsetto and the lush, organic production (much of which mines '70s disco for inspiration) carries the album, and features from Justin Timberlake, Daft Punk, and Alicia Keys are effective and tasteful. Pharrell's been making hits for others for two decades, but with G I R L, he reminded fans that he can do it all himself with the best of them, too.—Tim Larew

Release date: February 25, 2014

Usually, an album described as “well-rounded” is one that meddles in the middle ground, staying safely from any extremes. St. Vincent’s self-titled masterpiece achieves balance with a different approach. Through striking contrast and wild variation, St. Vincent made an uncompromising album that, when taken as a whole, is just about as well-rounded as you can get.

The album opens with the robotically psychedelic “Rattlesnake,” goes into the high-energy, jagged pop rock of the lead single “Birth In Reverse,” and then slows down for the sailing “Prince Johnny,” arguably the prettiest song Annie Clark has ever written. The album continues on this path of highs and lows; beautiful vocals and grating electronics; aggressive guitar work and songwriting so gorgeous that it’s amazing some of these melodies are new to recorded music.

With this album, Annie told The Guardian that she wanted to live at “the intersection of accessible and lunatic.” The thing is, this intersection isn’t a fixed place. In a post-Yeezus world, it’s obvious that sometimes the best albums are the ones that venture into unexplored territory, forcing disparate elements together. St. Vincent isn’t just living at the intersection of accessible and lunatic, she’s clearing new paths that connect those worlds.—Jacob Moore