50).Todd Terje â Itâs Album Time [Olsen]
Nothingis more cheeseball than an intro to a record that has what sounds like aEuropean dude whispering âItâs album time!â backed by some dancey beats and synths straight out of the cosmos. But I guess this Norwegian DJ and producer Todd Terje can pull that off on his debut LP (appropriately titled Itâs Album Time). This 21st Century rendition on space disco is a surprisingly addictive release with catchy hook after hook. Terje wasnât kidding when he said âItâs album time!â Each song flows into the next taking listeners through a myriad of sounds, textures, and styles that make you groove.
49). ScHoolboy Q â Oxymoron [Interscope / Top Dawg]
Each hip-hop persona presents themselves amongst the L.A.-based group Black Hippy quite clearly. Since his 2011 debut Setbacks, various guest appearances on other Black Hippy releases and his more well-known 2012 release Habits & Contradictions, ScHoolboy Q set himself up as a drug slinginâ gangsta. Here on Oxymoron, ScHoolboy takes an approach that standout Detroit MC Danny Brown has perfected on his two excellent releases XXX and Old; get conscious and personal while still making bangers. âHoover Streetâ finds ScHoolboy reminiscing on his youth telling stories of his uncle stealing money from his mom and gang life on the infamous Hoover Street in L.A. Centerpiece âPescription/Oxymoronâ portrays ScHoolboyâs darkest times being in a prescription drug coma in front of his daughter.
48). How to Dress Well â âWhat Is This Heart?â [Weird World]
Building on the success and momentum of Tom Krellâs two earlier releases from 2010 and 2012, âWhat Is This Heartâ portrays Krell as a leading alternative R&B figure in the 2010s. 2010âs Love Remains was incredibly lo-fi and minimal, which translated into 2012âs Total Loss where Krell integrates a more synthetic, produced soul song. Here, the production increases and the songwriting improves to form one of the better singer-songwriter, electronic records of the year.
47). St. Vincent â St. Vincent [Loma Vista]
If Strange Mercy was any indication to surplus of electronic guitar cleverly orchestrated around the centerpiece of Annie Clarkâs vocals. Bouncy âDigital Witnessâ rattles around Clark sassily singing, âI want all of your mind.â Slow jam âI Prefer Your Loveâ, refreshing finale âSevered Crossed Fingersâ, and hook heavy âRegretâ all exemplify Clarkâs ability as a songwriter first and foremost continuing to diversify her sound and abilities.
46). Cloud Nothings â Here and Nowhere Else [Carpark / Mom & Pop]
Cloud Nothings, like a good post-hardcore act bring out the sheer raw, aggression that is so melodically sensible. The chorus of the final track âIâm Not Part of Meâ annunciates the improvement in Cloud Nothings songwriting. Sure 2012 sophomore Attack On Memory had a few shiny spots of ambitious, shred-worthy jams like nearly nine minute powerhouse âWasted Daysâ and the Slint-like intro âNo Future/No Pastâ, but Here and Nowhere Else consistently is a better body of work for the Cleveland natives.
45). Death Grips â Niggas on the Moon: The Powers That B Disc 1 [Third Worlds]
Ironically 2014 was a relatively quiet year for Death Grips considering they broke up. 2012 and 2013 were the two golden years for West Coast experimental hip-hop oddballs Death Grips. They did a total âFuck you!â to Epic Records where they prematurely released their major label debut and current magnum opus The Money Storeâs follow up NO LOVE DEEP WEB. It didnât help matters the cover was of an erect penis. That was 2012, but Death Gripsâ supposed first part finale album The Powers That B is amongst us in 2013. Sub-titled Niggas on the Moon finds Death Grips at their most experimental utilizing Björk vocal samples. There doesnât seem to any apparent flow or lyrical theme MC Ride follows where he tells a kid to âplay deadâ in âSay Hey Kidâ and the infamous lines of âhave a sad cum babyâ, in of course âHave a Sad Cumâ. Only Disc 2 will tell what kind of release The Powers That B will be.
44). Spoon â They Want My Soul [Loma Vista]
Austin-founded Spoon has done one of indie rockâs most solid jobs at being a strongly consistent act. They Want My Soul is the first record since 2010âs much more dissonant Transference. They Want my Soul is a return to form of easy-listening pop hooks intertwined with rustic indie rock guitars that Spoon exploded onto the indie rock scene with in the early 2000âs with Girls Can Talk and Kill the Moonlight. âDo Youâ may very well be one of the best  indie rock cuts of the year with lead singer Britt Daniel asking urgently, âDo you want to get understood?â
43). Ricky Eat Acid â Three Love Songs [Orchid Tapes]
This is a curious release from an electronic artist that has incredible potential to make some interesting material in the future. Maryland-based Sam Ray aka Ricky Eat Acid crafts at times heartbreaking confusion in the form of ambient cuts that either sound straight from a tape disintegrating or an isolated dance floor. Minimal techno fueled âIn my dreams we're almost touchingâ builds up like some of The Field or Aphex Twin utilizing an ebbing female vocal sample. On the flip side of styles Ray portrays, âIn rural virginia; watching glowing lights crawl from the dark corners of the roomâ where Ray uses samples of a foreboding, fundamentalist preacher behind a rush of Godspeed You! Black Emperor-level ominous noise, that sometimes sounds truly magnificent.
42). Mac DeMarco â Salad Days [Captured Tracks]
I had no idea that the goofball of jingly singer-songwriter pop would comeback from his sophomore 2012 record 2 with such strong form on Salad Days. Canadian singer-songwriter Mac DeMarco assembles eleven highly enjoyable and moody jingle pop tunes that showcases DeMarcoâs ability to set a pace with his record. Salad Days doesnât feel like 34 minutes, in fact youâll be at finale âJonnyâs Odysseyâ before you know it with DeMarcoâs adorable thank you to fans at the end. Perhaps the most experimental DeMarco has gotten is laid out on âLet My Baby Stayâ with a Beatles-esque dizzying guitar line underneath DeMarcoâs lulling vocals.
41). Azealia Banks â Broke With Expensive Taste [Prospect Park]
Thatâs how the internet works; artists get discovered out of nowhere and are plastered with usually ridiculous expectations for LPs in their future and honestly get lost in the muck of other up-and-coming artists. Harlem-native Azealia Banks may never live up to the expectations following â212ââs original release as Banksâs first single in 2012, but Broke With Expensive Taste is a promising glimpse into Banksâs talent. Mixing a multitude of genres like UK bass, 2-step, trap, rock, experimental electronic, and hip-hop, Banks crafts 2014âs most diverse and surprising record. âDesperadoâ mixes 2-step with Banksâs unique flow and builds in perfectly to the next two âbangersâ (if you will) of the record âJfkâ and â212â; but the tail end of the record focuses on catchy deep house that Banks sing-raps like no other female rapper. Azealia Banks may yet find that niche and live up to the hype.
40). Amen Dunes â Love [Sacred Bones]
New York-started Damon McMahon aka Amen Dunesâs third record Love is a unique transition from McMahonâs previous bedroom-friendly improvisation tracks to Loveâs expansive, thought-out compositions. McMahon establishes himself as an excellent singer-songwriter working through the effects of slow-burning psychedelic folk. This is a soundtrack to a skinny dip at the crack of dawn, much like the cover art suggests. Standout cut âSplits Are Partedâ showcases McMahonâs raw, booming vocals behind a steady wall of guitars, keyboards, percussion, and bass that reverberates beautifully.
39). Parquet Courts â Sunbathing Animal [Whatâs Your Rupture? / Mom & Pop]
New York-based four-piece Parquet Courts donât necessarily follow the trends of â00s New York garage rock revivalists like The Strokes and Yeah Yeah Yeahs, but the comparison is relevant due to the interesting take Parquet Courts have taken on the genre. Intertwining simple song structures resembling punk and indie rock that sounds straight from the â90s, Parquet Courts craft a strong record and improvement to 2012âs Light Up Gold. Driving tracks to sound incredibly dissonant like the sought-after â90s act Pavement and then coming together in some sort of harmony to cap off the intriguing vocals of Austin Brown and Andrew Savage. Parquet Courts, however, are at their best when they are jamming for over six minutes on âSheâs Rollinâ and âInstant Disassemblyâ and the build-up of spiky guitars and commanding vocalizations.
38). Carla Bozulich â Boy [Constellation]
If the opening bass guitar strum alongside L.A.-based singer-songwriter Carla Bozulichâs foreboding line of âAinât no grave that can hold me downâ isnât any indication to Bozulichâs intentions in the next 42 minutes of her fourth solo record Boy, I donât know what is. Bozulich transfixes the sound on Boy to a dark, sinister energy that is almost as demented as another record on this list. Deep with bass and urgent darkness, Boy acts as another excellent singer-songwriter record that diminishes any light-hearted and bright feelings you came into the record with.
37). Objekt â Flatland [Pan]
German-native producer TJ Hertz aka Objekt crafts one of electronic musicâs most forward-thinking records of the year with his debut Flatland. Combining the frantic breakbeat, acidity of electronic music superstar Aphex Twin, the technical minimalism of Autechre, and a balance that sounds so incredible hi-def. To add to Hertzâs pallet is the incredible use of ambient textures that reach into the depths of bass. On highlight âOne Stitch Follows Anotherâ, the thumping dance floor-like beat and main infrastructure of the song is constantly interrupted by sputtering, chatoic noises that smartly morph the song. Objekt is an easy artist to put in the category of up-and-coming experimental electronic producers.
36). 100s â IVRY [Foolâs Gold]
Sporting one of hip-hopâs most interesting style with silky long hair and a suave distinction of urban clothing, Berkley, California-born rapper 100sâs Foolâs Gold debut IVRY is a sneak-peak at 100s potential. IVRY is Borderline cheesy yet oddly fresh like the smooth g-funk AndrĂ© 3000 toyed with on The Love Below side of OutKastâs fifth record. Production-wise, the Foolâs Gold producer army 100s had backing him on this brief release hit home in all spectrum of a g-funk record. Hopefully more coming from 100s soon.
35). Thom Yorke â Tomorrowâs Modern Boxes [Self-released]
Thom Yorke brought a nice surprise to 2014 with his second solo record Tomorrowâs Modern Boxes. And of course being Thom Yorke, he had to do something new and innovative in the realm of music distribution. This time Boxes was released as a BitTorrent bundle and became the most torrented album that you paid for of all time within six days of its release. Musically, Boxes is more of the same Yorke-isms with minimal instrumentation, melodic song structures, and Yorkeâs familiar croons. Highlight âGuess Again!â features a distant, nostalgic piano underlying a morphing rhythm that could easily be a great cut from The King of Limbs.
34). Ought â More Than Any Other Day [Constellation]
Hailing from Montreal, four piece Oughtâs Constellation debut More Than Any Other Day showcases the actâs incredible sense of post-punk sensibilities. Tracks like âToday More Than Any Other Dayâ and âClarity!â start with a base of guitar and sparse percussion with the former sounding like a tune off of Slintâs Spiderland and build up into flurries of angular guitars and a penchant at returning from the dissonant to melodic. This kind of release on Constellation is also a surprising one since that label is traditionally attributed to post-rock giants like Godspeed You! Black Emperor, but Constellation has expanded its horizons and offered quality records.
33). FKA twigs â LP1 [Young Turks]
For the longest time I was perplexed at who and what FKA twigs was. I started basic and found she was an English musician who is in her late 20âs. Born Tahliah Debrett Barnett, FKA twigs specializes in making heavily electronic and experimental R&B mixed with trip-hop. This debut, LP1 is an impressive display of Barnettâs potential as a musician. Backed by an eclectic array of producers like the Venezuelan Arco who helped Kanye West on a couple of tracks off of Yeezus, American downtempo duo inc., and prominent cloud rap extraordinaire Clams Casino, Barnett released one of the best produced records of the year. The delicate balance of idiosyncratic noises and bass in âLights Onâ relishes in Barnettâs beautiful, almost innocent whispers.
32). Open Mike Eagle â Dark Comedy [Mello]
L.A. hip-hop collective Project Blowed member Open Mike Eagleâs Mello debut Dark Comedy chronicles an abstract and conscious journey through the introverted mind of Michael Eagle II. The instrumentation and beats here warp around an aged grime. âGolden Age Rapsâ sounds like it suggests with a melodic sample that reminiscent of the abstract hip-hop of early â00s like Cannibal Ox and Viktor Vaughn that accompanies Mikeâs flow excellently. Dark Comedy prides itself on being conscious and meditative in Mikeâs flow, nothing here sounds forced or rushed, Mike has found his niche and sits comfortable telling us comedic situations and comparisons.
31). tUnE-yArDs â Nikki Nack [4AD]
New England native Merrill Garbusâs 2011 sophomore release w h o k i l l established Garbus as a truly unique indie pop singer-songwriter with her unorthodox vocals, esoteric worldbeat-inspired instrumentation, and interpretive lyrics that thematically spun around violence. Here on her latest effort Nikki Nack, Garbus embraces more traditional songwriting, yet still challenges to make beats and sounds unlike any other indie pop act. Highlight anthem âHey Lifeâ finds Garbus questions all of lifeâs quirks and challenges yet sounds confident and compelled to take it on face on. And I think thatâs Garbusâs appeal is her sheer strength and originality to keep doing what she loves.
30). Mick Jenkins â The Water[s] [Self-released]
On the second track of Chicago-based rapper Mick Jenkinsâs mixtape The Water[s] âTHCâ, the distant echo of the infamous reggae air horn is heard as if submerged by water. This significant nuance perhaps elevates Jenkinsâs game. Heâs satirizing the hype hip-hop shows that abuse the reggae air horn effect. Jenkins cre The Water[s] even sounds aquatic with meditative beats and instrumentals. Tracks like âVibeâ and âHealerâ crackle with and swim around Jenkinsâs already mature flow.
29). Real Estate â Atlas [Domino]
Thereâs nothing challenging, innovative, or remotely interesting about New Jersey indie rockers Real Estate. Yet their third studio album Atlas is in my top thirty records of the year. Perhaps itâs the irresistible jangle of the actâs guitars, the hooks that encompass every tune, or maybe its Matt Mondanile simple lyricism and delicate croon. Whatever it is, Iâm not going to fight it. Iâll simply let cuts like âCrimeâ and finale âNavigatorâ wash over me like most Real Estate tracks do with the unfaltering simplicity.
28). Busdriver â Perfect Hair [Big Dada]
With no prior listening experiences to L.A. rapper and producer Busdriverâs eighth release Perfect Hair may have struck me as one of 2014âs freshest and invigorating hip-hop records of the year. Busdriver is the definition of a wordsmith alongside the vocabulary-fiends like fellow Californian Aesop Rock, Wu-Tangâs GZA, and Del the Funky Homosapien. Highlight âBliss Pointâ portrays Busdriverâs spasmodic and experimental flow while rapping consciously over abstract instrumentals. One thought immediately came to mind when listening to Perfect Hair; âIâm listening to a hip-hop Captain Beefheart. The unpredictable production, the personality of somebody on the verge of mania (see âEat Richâ), and the eerily similar voice; why has nobody else made this comparison?
27). Kairon; IRSE! â Ujubasajuba [Self-released]
Finnish shoegaze four-piece Kairon; IRSE! have released both their records on the pay-what-you-want quota of Bandcamp where they allow $0.00 to be an acceptable purchase. Their latest work Ujubasajuba prompted me to pay a reasonably price of $12.00 (it seemed fair for a FLAC download). The inevitable comparisons to shoegaze legends My Bloody Valentine are impossible to ignore, but once fifth track âRulonsâ gets rolling, the already eclectic blend of shoegaze, post-rock, and experimental noise gets freakier; a distant, spooky saxophone part moves through the fuzz like Sirens depicted in Greek mythology. At times Ujubasajuba sounds beautiful, others itâs terrifying, but after the dusts settles after its thunderous finish the Fins crafted the best truly independent records of the year.
26). Thee Silver Mt. Zion Memorial Orchestra â Fuck Off Get Free We Pour Light On Everything [Constellation]
Though 2014 really took a while for music to get rolling (probably since I feel so spoiled already in January of 2015), Montreal post-rockers and Godspeed You! Black Emperor counterparts, Thee Silver Mt. Zion Memorial Orchestraâs seventh record Fuck Off Get Free We Pour Light on Everything was a very early standout. Thereâs nothing new and innovative here, but the finesse and execution of the record makes it. Eleven minute standout âWhat We Loved Was Not Enoughâ is like if Godspeed You! Black Emperor had traditional vocals; a build-up with a thick bassline, howling guitars, and a passionate array of vocals that mesh snuggly with the grandiose peaks and hills of the track. Post-rock in stellar form from veterans in even better form as of late.
25). Hundred Waters â The Moon Rang Like a Bell [OWSLA]
Hailing from Gainesville, Florida, itâs a fun fact that the art rockers Hundred Waters are label mates with the one and only Skrillex. Donât be fooled though, Hundred Waters are nothing like the current EDM superstar Skrillex. With their second LP, The Moon Rang Like a Bell, Hundred Waters, instead, effectively blends downtempo textures, electronica mixed with organic instrumentations, and intriguing vocal deliveries by Nicole Miglis. The great track âInnocentâ works on so many different levels of utilizing Miglisâs earthy vocals backed by layers and layers of complex instrumentation. Who knew an act of this talent could come from University of Floridaâs home Gainesville?
24). Iceage â Plowing Into the Field of Love [Matador]
There was nothing stranger seeing and sitting with four Danish dudes who are barely older than me in Lawrence, KS at the intimate venue and bar The Bottleneck. Iceage look bored; uninterested with Lawrenceâs downtown epicenter, Massachusetts Street. For them it was strictly business; chain smoke cigarettes and guzzles some Danish beer, play a less than half an hour and get the hell out of Kansas. This show was a part of a subsequent tour to their third record Plowing Into the Field of Love. Here the Danish punk rockers add a plethora of style variations and girth barely resembling their first two LPs. âThe Lordâs Favoriteâ is like a punk two-step, âHow Manyâ incorporates a multitude of movements ranging from hard-hitting punk to sequences of an unnerving piano, and âAgainst the Moonâ is the bandâs successful attempt at a ballad. Consider this record a restatement of Iceageâs artistry. Besides just the style changes, Iceageâs frontman Elias RĂžnnenfelt breaks out of his shell and delivers shattering passion that sounds controlled yet still charmingly belligerent.
23). Run the Jewels â Run the Jewels 2 [Mass Appeal]
On the surface New Yorker El-P and Atlanta-bred Killer Mike didnât look like a collaboration would be all that enthralling. 2013âs Run the Jewels was a very pleasant surprise to smite my doubts. With El-Pâs stapled grimy production and the twoâs in-your-face rapping Run the Jewels was really something I shouldnât be overlooking. On Run the Jewels 2, the duo amp up their game in all aspects and deliver another great effort that comes out near the top of important, quality hip-hop records of 2014. The moment you hear the Rage Against the Machine leadman Zack de la Rocha featured âClose Your Eyes (And Count to Fuck)â, youâre going to really want to ârun them jewels fast (fuck the slowmo).â The whole record is one blisteringly fast statement to hip-hop. Not quite meditative, not quite bangers, the tracks on Run the Jewels 2 find that perfect mixture of staying intelligent and knowing how to bump.
22). Timber Timbre â Hot Dreams [Arts & Crafts]
Canadian act Timber Timbreâs fifth record Hot Dreams is an interestingly nostalgic record. Much like its album artwork suggests, Timber Timbre is looking to â50s and â60s California music like rockabilly, doo wop, and traces of psychdedelia. Put these genres in a smoothie with the ingredients Timber Timbre used on previous records and you have Hot Dreams. The title track is like a surreal time warp into a 1960âs homecoming dance with a steadily paced build-up that leads to easily the best and deceivably simple sax solo of the year from wunderkind Colin Stetson. Stetson makes another imprint on the record with another highlight âGrand Canyonâ with a more complex solo, but still fits well with the approach Timber Timbre takes.
21). Ty Segall â Manipulator [Drag City]
Since 2008, San Francisco-based garage rocker Ty Segall has released a studio record every year along with countless others as collaborations, live albums, and EPs. 2014âs studio album was Segallâs longest and easily best record thus far, Manipulator. Tracks like âTall Man, Skinny Ladyâ and âThe Handâ express Segallâs greatest asset; the ability to craft catchy jams. Though Segall emulates the likes of glam rock legend David Bowier, T. Rex, and Grateful Dead, his flair at having this mind for a godly amount of song ideas pushes Segall at the forefront of other modern â60s psychedelic sound-alikes. Segall, however, isnât a quantity over quality kind of musician though; his artistry is superb.
20). Black Milk â If Thereâs a Hell Below [Computer Ugly]
Detroit-based rapper and producer Black Milkâs 2013 record No Poison No Paradise certainly caught my attention with its jazzy beats and Black Milkâs engaging flow, but almost exactly a year later his 2014 release If Thereâs a Hell Below annunciated his ability as a producer-rapper combo. With what sounds like a darker J-Dilla, Black Milk inserts snippets of ideas and samples to kind of toss the record around and hint how the next track will sound and flow. Highlight second track âWhat Itâs Worthâ grooves through an excellently produced jazzy instrumental, really summing up how the record is such a sleeper hit this year in hip-hop.
19). A Winged Victory For the Sullen â ATOMOS [Kranky / Erased Tapes]
As much as the dark textures of Aphex Twinâs Selected Ambient Works, Volume II-era and Tim Hecker enrich the genre of ambient and drone, there has to be something brighter to juxtapose that darkness. Stars of the Lid member Adam Wiltzie and Dustin O'Halloran compose this yearâs defining ambient and classical music on ATOMOS as A Winged Victory For the Sullen. Working like a classical composition, the twelve part ATOMOS is meant for a concentrated, straight-through listening experience. The textures of billowing drones, strings, organs, pianos, and other sounds will wash over you as you imagine landscapes of epic mountains, rolling plains, and vast seas.
18). Ratking â So It Goes [XL]
New York rap group Ratkingâs debut record So It Goesâs album artwork features a map of the heart of New York City. The systematic look of it suggests Ratking is presenting us with a sketch of the New York City they know. So many hip-hop artists represent their old stomping grounds and try and one-up the rival MC from down the block. Ratking arenât about that. They represent this unknown entity that observe New Yorkâs essence. âSnow Beachâ talks about the weather of New York where they exalt â20 degrees outside! Toasty!â then the beef of the track finds main rapper Wiki reminiscing on his childhood and growing up in the rough impoverished areas of New York. Another interesting track is the following âSo Sick Storiesâ where XL label mate King Krule takes a gander at rapping with a really unique output that goes nicely with the rest of Ratking. Instrumentally, So It Goes is fast and furious with a progressive feel. Nowhere on So It Goes do the New Yorkers take it easy and back off the heat.
17). Perfume Genius â Too Bright [Matador]
Seattle-based singer-songwriter Mike Hadreas aka Perfume Genius broke souls with his first two records. 2012âs sophomore effort Put Your Back N 2 It showed signs of what was coming on Hadreasâs third LP Too Bright with likes of âHoodâ and âSister Songâ. The honesty and raw emotion Hadreas emits on Too Bright is aided by a much more hi-fi and traditional sound abandoning the depressive, minimal lo-fi aesthetic that encompassed his earlier work. âFoolâ is about as close as Hadreas has ever gotten to an epic with varying sections of soulful vocalizations and brilliantly composed instrumentation. Other highlight âQueenâ is one of Hadreasâs best cuts yet offering Hadreasâs new pursuance of diversity.
16). Isaiah Rashad â Cilvia Demo [Top Dawg]
Tennessee-native rapper Isaiah Rashad will obviously garner inevitable comparisons to the likes of Kendrick Lamar, ScHoolboy Q, and Ab-Soul to Rashad being the new kid on the block of the predominately West Coast group Top Dawg Entertainment. What Rashad does on his Top Dawg debut EP Cilvia Demo (which runs a healthy 49 minutes) is separate himself from the other offering a styles that combines jazzy cloud beats and Rashadâs southern-bred flow. Standout âHeavenly Fatherâ is a contender for hip-hop track of the year with a hazy, relaxed flow from Rashad where he gets personal recounting his rough childhood and the absence of a father. Perhaps the most striking aspect of the record is how it feels like Rashad is in the room with you as that charismatic guy you wish you hung out with as a late teen. Rashadâs silver tongue works through ideas that focus on the ups and downs of being a millennial. Top Dawg has picked up another potential hip-hop legend of the â10âs.
15). Hiss Tracts â Shortwave Nights [Constellation]
The simple fact of this drone duo featuring Godspeed You! Black Emperorâs David Bryant and Growingâs Kevin Doriaâs debut Shortwave Nights is that the record is pleasant and terrifying arrangements of noise. Bryant blends his apocalyptic textures that fueled moments in Godspeed You! Black Emperor classics (Lift Yr. Skinny First Like Antennas To Heaven, âAllelujah! Donât Bed Ascend) with Doriaâs minimalistic drones to formulate an incredibly moving concoction. âfor the transient projectionistâ billows with such sound that is really driven by its sense of strong mixing and studio work. The whole record feels like segments of thunderstorms in different forms; strong, weak, distant, terrifying, replenishing, and cleansing. The definitive pure drone and ambient track of the year.
14). Vince Staples â Hell Can Wait [Def Jam]
My first exposure to Long Beach, California rapper Vince Staples was on the Earl Sweatshirt cut âepaRâ where Staples delivers a cleverly placed feature, but it wasnât until Stapleâs later feature with Earl on Doris did Staples really show the rapper heâs going to be. This major label debut EP Hell Can Wait is a brief 23 minute sample to what Iâm calling to be next heavy weight rapper from the West Coast. Standout âScreen Doorâ has an impeccable bass presence with an ominous assortment of themes and instrumentation; Staples uses the âscreen doorâ as an allusion to his drug slinging and fatherâs irresponsible behavior. Staples also references the recent uproar on controversial police procedures with âHands Upâ where he chants that the Long Beach and Los Angeles Police Departments are simply âRidinâ âround these streets givinâ out full clips.â Donât be surprised if Staples produces something in the caliber of good kid, m.A.A.d city or channel ORANGE.
13). Owen Pallett â In Conflict [Domino / Secret City]
Canadian singer-songwriter Owen Pallettâs fourth record In Conflict is a continuation of the magical, balanced arrangements that drove 2010âs Heartland to its successful stature. In Conflict, however takes a more electronic initiative, but still has beautiful strings and Pallettâs silky vocals. Highlight âSoldierâs Rockâ begins with patient strums of Pallettâs violin and Pallettâs excellent lyricisms. Pallettâs impressive ability to coexist these electronic tinkered sounds and beautiful strings makes In Conflict one of the lushest and refreshing records of 2014. The way Pallett balances his dynamics and tempo speaks so strongly to his ability as a singer-songwriter and In Conflict will blow you out of the water.
12). Shabazz Palaces â Lese Majesty [Sub Pop]
When Seattle-based hip-hop duo Shabazz Palaces dropped their 2010 excellent debut full length Black Up, the duo redefined the poignancy of experimental hip-hop. The smart mixture of avant-garde jazz, cosmic energy, and Ishmael Butlerâs abstract rapping propelled the genre into new waters for the â10s. Four year later, their follow-up Lese Majesty takes to the cosmos as the record wanders through a journey of eclectic expression. The galactic groove âForerunner Forayâ features a bass drop and experimental progression that continues the duoâs dabble in as many exotic sounds and motifs as the duo can fit on the record. Though itâs not as immediate as Black Up, Lese Majestyâs end result is incredibly rewarding and revealing to the creativity of Shabazz Palaces.
11). Andy Stott â Faith In Strangers [Modern Love]
Manchester-based producer Andy Stottâs fourth record Faith in Strangers, though incredibly diverse, is his most concentrated effort yet. 2012âs stellar Luxury Problems was an excellent precursor to Stottâs direction on this record with the use of female vocalizations alongside his earth-shattering bass and robust electronic sounds. Instead of Luxury Problemâs glut of bass and low-ends, Faith In Strangers finds Stott incorporating eerie high-ends like the use of ear-piercing frequencies at the beginning and end of âOn Oathâ and industrial noises on âDamage.â Stottâs focus and familiarity with intermixing unusual sounds and textures makes this record one of the yearâs best techno-based releases.
10). The War On Drugs â Lost In the Dream [Secretly Canadian]
Hailing from Philadelphia, indie rock act The War On Drugsâs third studio release Lost In the Dream oozes the likes of rock anthem king Bruce Springsteen, psychedelic band Spaceman 3, and a multitude of other Americana acts. Sure pinpointing all the influences of The War On Drugs is easy for anyone who grew up with classic rock and found a liking to alternative and indie rock later on, but the meticulous arrangements of tracks like the slow burning âSufferingâ, the hustlinâ and bustlinâ âRed Eyesâ, and one of the actâs best tracks to date âAn Ocean In Between the Wavesâ where leadman Adam Granduciel delivers a poignant vocal performance. Lost In the Dream is a rare record that reaches back to classic rock in all the right ways and uses todayâs day and age production techniques to rummage around in nostalgia and clever songwriting.
09). DâAngelo and the Vanguard â Black Messiah [RCA]
The last time we had a new release from Richmond, Virginiaâs neo-soul icon DâAngelo, Y2k was only 25 days in the past. 14 years later and many rumors, supposed release dates, and interesting musical collaborations happening behind the scenes, DâAngelo comes out of nowhere to release his third record Black Messiah. Black Messiah works just as any great DâAngelo record should; the rhythm section establishes a rough sketch of the beat, funky instrumentation is added doodling, jamming, and doing anything in a freeform standard, and DâAngeloâs incredible, sexy vocals are in the foreground. The excellent cut âSugah Daddyâ like an avant-soul adventure into a surreal atmosphere only DâAngelo can pull off.
08). The Hotelier â Home, Like Noplace Is There [Tiny Engines]
This record gives me chills. The melodic, billowing presentation Massachusetts emo rockers The Hotelierâs second album Home, Like Noplace Is There evokes is unprecedented. Bassist and vocalist Christian Holdenâs performance is raw, cathartic, and beyond poignant and itâs what makes this little unknown emo record such an underground smash hit. Appropriately titled opener âAn Introduction to the Albumâ finds Holden confidently vocalizing in a way that borderlines spoken word poetry. Holdenâs lyricism and vocal delivery mesh so excellently with rest of The Hotelierâs well balanced emo sound. Jangly guitars are smartly paced with build-ups and explosions of exciting noise. Perhaps 2014âs highlight track âHousebrokenâ finds Holden using a metaphor of raising a dog as a statement suburban life and nostalgia in general. âMasters all that Iâve got / Keeps me having a purpose.â The buildup instrumentally on the track is the easiest moment in the record to lose control of body motion and just close your eyes and thrash in any way you see fit. Thatâs what The Hotelier are about.
07). Grouper â Ruins [Kranky]
âThe album is a document,â wrote Liz Harris on describing her upcoming release Ruins. This statement couldnât be any truer for Portland-native Harris whose solo project Grouper has produced a lot of great ambient pieces. None, however, have been like this tenth release. The ending of âLabyrinthâ contains a very obviously out of place beep resembling a microwave alarm following an onslaught of minimal, deeply moving piano. The idea that Ruins âis a documentâ plays into the aesthetic of the musicâs earthy emotion. Harris recorded this record in 2011 with a 4-track in a residency set up in Aljezur, Portugal, and emulates her talent as an exceptional singer-songwriter with such an expansive, ambitious tack on music. âHoldingâ, is a heart-breaking beauty with Harrisâs vocals seeping through an ethereal, lo-fi sound.
06). Freddie Gibbs & Madlib â Piñata [Madlib Invazion]
Is Madlib currently modern hip-hopâs best producer? Hereâs what Madlib did for Gary, Indiana-native rapper Freddie Gibbs: Madlib composes some of the freshest, soulful instrumentals and beat that Gibbsâ gansta-styled flow coexists with such class. Gibbs strays away from his usual hype-fueled trap rap flow to a much more relaxed flow. Whether itâs a coast to coast journey on back to back tracks âLakersâ and âKnicksâ where Madlib offers delicious beats and samples or a more freeform jazzy style that Madlib puts together on the Domo Genesis and Earl Sweatshirt featured âRobesâ (supposedly Gibbs spat his verse in one take almost blackout drunk), Gibbs adjust appropriately to fit the mood of the atmosphere. Gibbs lyrically doesnât glorify the gang life, but acts as an inside perspective looking from the outside critically telling stories and intertwining flavorful hooks. Yeah, Madlib is definitely a heavy contender as one of modern hip-hop best producers as he delivers the best hip-hop record of 2014.
05). Sun Kil Moon â Benji [Caldo Verde]
I could write a whole little paragraph on Ohio-origin singer-songwriter Mark Kozelek aka Sun Kil Moonâs publicity, interactions with fellow musicians, and his immediately pretentious persona. But, when you create something as moving and driving as his sixth Sun Kil Moon record Benji, thereâs no other action but describe the music at hand. Here, the storytelling is king. Kozelek usually doesnât follow any particular rhyming pattern, but instead takes to the mic to tell vivid, mournful, sad, riveting, and almost too awful to be true stories. From the depressing opener âCarissaâ which recounts his second cousinâs bizarre death to the progression of Kozelekâs sexual encounters in âDogsâ to Kozelek describing his middle aged awkwardness at a Postal Service concert in âBenâs My Friendâ; itâs all there. The instrumentation Kozelek creates blends superbly with the stories, thoughts, and ideas Kozelek shares on this yearâs best singer-songwriter record.
04). Aphex Twin â Syro [Warp]
Much like DâAngelo, this release from Irish IDM mastermind Richard David James is highly unexpected and wonderfully crafted. Syro is Jamesâs sixth record under Aphex Twin. Syro presents electronic wonkiness, beats, and an aesthetic like nothing else in electronic music. Funny thing about Syro is that it borderlines as one of Jamesâs most accessible work yet. Thatâs not to say itâs a simple process to listen to. âCIRCLONT14 [152.97] (shrymoming mix)â abstract mixing of drill beats and wonky noises can be unnerving and will through you for a loop of abstraction, but cuts like â"produk 29 [101]" bring about a certain cohesion to Jamesâs flow, something that was only explored in his Selected Ambient Works days. Opener âminipops 67 [120.2] (source field mix)â is like a sketch of everything that James has been working at in the last 13 years in around a five minute duration. The finale of the record is where James really reaches back to his ambient roots and composes a track so beautifully organic, you wouldnât believe itâs Aphex Twin if played randomly. The chirping birds and gorgeous piano is a wonderful ending to an already wonderful record.
03). Flying Lotus â Youâre Dead! [Warp]
L.A. producer, beat craftsman, musician, and now rapper Steven Ellison, more known as Flying Lotus, is on a serious role. Every even year, Ellison releases a progression of artistry unprecedented in experimental electronic music. From his rough debut 1983 in 2006 to the chaotic maelstrom of jazz, hip-hop, and experimental Cosmogramma in 2010 to 2012âs pensive and meditative Until the Quiet Comes, Ellisonâs maturation into a world fueled by young innovative musicians like him is outstanding. His fifth record Youâre Dead! continues to incorporate Ellisonâs ridiculous talent. With 1983 being the only studio album to clock in shorter than Youâre Dead! we get what feels like an extremely short view into Ellisonâs psyche as he introspects on the ideas of death and the afterlife. Kendrick Lamarâs groundbreaking feature on the immediate highlight of the record âNever Catch Meâ exemplifies Ellisonâs success at making hip-hop production unique to his own. Youâre Dead! is Ellisonâs most cohesive record in terms of listening to in order with each track quickly flowing into the next leaving little leeway to notice a transition. This aspect drives Youâre Dead! as another instant classic for the now superstar producer Flying Lotus.
02). Fire! Orchestra â Enter [Rune Grammofon]
Fire! Orchestra is a supergroup. A supergroup in the sense of combining every Swedish avant-garde jazz musician worth his or her salt into an epic experimental big band. On the bandâs debut Exit!, which is around the same stature as their follow-up Enter, jazz was brought on a new level with expansive musicianship, eclectic female vocalizations, and a penchant to jam. Now Enter turns the volume notch from nine to a solid ten with more chaos, experimentation, and groove. Split into two parts, Enter progresses through a multitude of movements, styles, freak outs, motifs, and a segment that still conjures shudders from me (youâll know when you get there before the halfway mark of âPart Twoâ). What this Swedish group is doing for jazz is extraordinary and perhaps may pave the path for more free jazz supergroups like this to form.
01). Swans â To Be Kind [Young God]
If music required you to wear a seatbelt, I think experimental rock group Swansâs thirteenth record To Be Kind would be a top contender for that distinction. Clocking in just over two hours, To Be Kind is something to marvel at. Much like 2012âs marvelous The Seer, this record separates Swans from the rest of the pack in any way imaginable. The billowing angst, systematic noise, punchy delivery, and the ability to excavate emotions that are dormant. Swans are the veterans of rock music. Since their reemergence with 2010âs My Father Will Guide Me up a Rope to the Sky, frontman Michael Gira and company have brought forth some of the â10s most enlightening, powerful, and cathartic releases. When the aggressive guitars announce the coming of Giraâs animalistic vocals on âOxygenâ, you canât help but feel the insanity coated in Giraâs voice. 34-minute and center-piece âBring The Sun / Toussaint L'Ouvertureâ exalts the sheer power and tenacity of the group with a dominating and out-of-this-world presentation. I can only say great things about this record, itâs simply an instant classic and a champion of 2014 records.
