30. La Dispute – Rooms Of The House

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Stream: ‘Woman (Reading)’ (3:30)

La Dispute’s third full length release sees the bands continually shying away from their flashy post hardcore roots, instead focusing on cohesiveness, both musically and lyrically. And while Rooms of the House has been met with mixed critical reception, it personally seems clear that this record is one of the better efforts La Dispute have put forth, as this record strikes the perfect balance between harmonic brashness and quiet contemplation. While Rooms of the House’s subject matter regarding loss of love is nothing new to Jordan Dreyer and company, the approach to such a topic vastly differentiates itself from past albums, telling the story of a couple falling out of love, but mixing in real life locations and referencing past songs on the album. And while this approach to songwriting is not immediately rewarding, the intricacies found on tracks such as ‘Woman (Reading)’ or ‘Stay Happy There’ make revisiting this album a pleasant and necessary experience. — Alex T.

29. Weezer – Everything Will Be Alright In The End

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Stream: ‘Back To The Shack’ (3:05)

Of all the emotions that fell out upon listening to Everything Will Be Alright in the End, I can easily say with retrospect ‘relief’ was the most prominent. Relief, that is, that for the first time since Pinkerton, Weezer managed to make an album that wasn’t utter shit. Many fans will point towards Maladroit and Hurley as obvious respite; neither of those albums had as sincere apologies as the ones on offer in ‘Back to the Shack’, ‘Eulogy for a Rock Band’, and ‘I’ve Had It Up To Here’. I don’t doubt that Rivers Cuomo is going to lose touch of his pop choruses, faux-metal postulation and indie rock humor perfected here- I don’t give a fuck, though, because I have ‘Da Vinci’ to keep me sate until Judgement Day. — Jordan

28. Have A Nice Life – The Unnatural World

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Stream: ‘Burial Society’ (6:43)

Following an album as huge as Deathconsciousness was never going to be easy, especially with the inevitable weight of expectation that has grown over the six year period following its release in 2008, since when it has been lauded by those who have been charmed by the album’s unashamedly overblown nature. However, not only is The Unnatural World a more than worthy follow up, it’s one that shows a great increase in maturity, particularly with regards to the band’s decision to adopt a much more refined approach compared to that of its predecessor.

Ultimately it’s this refinement and the great care paid to song craft that is The Unnatural World’s biggest strength. The immersive atmosphere that was there on Deathconsciousness is still very much present, particularly during the droning soundscapes of ‘Music Will Untune the Sky’  and the slow-building ambience of ‘Emptiness Will Eat The Witch’ but it’s during the more structured tracks where the album really excels. ‘Defenestration Song’ is built on memorable vocal hooks and a pounding rhythm whilst the hazy shoegaze of ‘Burial Society’ is equally infectious and stands as a testament to the band’s newly refined songwriting abilities, as does penultimate track, ‘Dan and Time, Reunited By Fate’, another notably accessible track on what is a surprisingly immediate and superbly crafted album that is easily one of the most rewarding releases of 2014. — Jamie Twort

27. Chevelle – La Gargola

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Stream: ‘Choking Game’ (5:19)

Chevelle has always been nothing if not consistent.  However, for the past couple of albums the pattern Chevelle had carved out as their foundation was becoming horrifically stale.  It seems they realized this, as La Gargola turned out to be one of the most surprising albums of the year.  Songwriting chances were taken, a renewed sense of venom was brought back into the fold, and Chevelle, after 19 years together, released their strongest album since their major label debut.  It is confusing to be excited about the future of Chevelle again, but damn it feels good. — Josh Fountain

26. Thee Silver Mt. Zion Memorial Orchestra – Fuck Off Get Free We Pour Light On Everything

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Stream: ‘Fuck Off Get Free (For The Islands Of Montreal)’ (10:53)

By far this is the most complete Thee Silver Mt. Zion have sounded in ages. Everything from the energetic wailings of Efrum Menuck and the colossal walls of sound the band creates is some of the most passionate post rock of the year. The album begins with a bang, a bang so loud that it can still be heard ringing in the listeners ear until the end of the experience. In a sense, ‘For the Islands of Montreal’ is what the band embodies everything that makes their music so wonderful and strange to begin with.It transports the listener into a realm where only sound exists, swirling into a beautiful universe of chaotic guitars, swirling violins, and explosive drumming. The band’s seventh full length LP is a very unique album of 2014, and post-rock fans will have a blast with it. — Hogan

25. Ben Howard – I Forget Where We Were

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Stream: ‘End Of The Affair ‘ (7:48)

Ben Howard would be the first to admit that the whirlwind success of his debut album was dizzying. Two Brit awards, a Mercury Prize nomination, and hundreds of shows later, it was only the penning of a second album which fully allowed him to make sense of a hectic few years. With his feet finally planted back in the present, I Forget Where We Were is an introspective, translucent album which spares no blushes as it taps into how Ben really feels. Whether he’s lamenting the passing of summers in the blink of an eye on the title track, or cautiously contemplating his sanity on the opener, all of the songs connect with you on a very human level. None hit home quite like ‘End of the Affair,’ though. The near 8 minute epic is as progressive a folk song you’re likely to hear, and it’s the pinnacle of not only the album, but of Howard’s entire career so far. — Dan H.

24. Grouper – Ruins

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Stream: ‘Lighthouse’ (5:44)

Some people say the draw of reverb comes from its similarity to the warm and muffled sound of being in the womb. If that’s the case, then a lot of sputnik users are obviously pining for the stage of pre-birth. Grouper is mostly reverb, and with Ruins Liz gives us a set of slow and sad piano songs to contrast a bleak and cold mood with the sound’s echoing, loving safety. What results is as close as you can get to catharsis without any discernable lyrics. — Jonny

23. Dead Congregation – Promulgation Of The Fall

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Stream: ‘Serpentskin’ (5:33)

OSDM fans look no further. Dead Congregation have released what many death metal bands only hope to create at some point in their career – an authentic record that sounds like it came straight out of the ‘80s death metal scene. While Graves of the Archangels was dreadfully monolithic in nature and used various plays out of the death-doom rulebook, Promulgation of the Fall is about as straightforward you can get when it comes to sheer trepidatious riffage. It’s filled to the brim with blistering riffs and evil droning passages, fit with one of the best death metal production jobs of the decade. Promulgation of the Fall is relentless from beginning to end and yet it still manages to throw in a few niceties, namely the seamless transitions between pummeling opener ‘Only Ashes Remain’, the ominous yet melodic title-track, and the five-and-a-half-minute death-doom opus ‘Serpentskin’; the last of which happens to have (excuse the hyperbole) the heaviest, grimmest riff ever. You’ll know it when you hear it. — Andrew Gold

22. Interpol – El Pintor

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Stream: ‘Anywhere’ (3:13)

Back in March, I was lucky enough to attend Interpol’s comeback, as they opened Newcastle-Upon-Tyne’s newly revamped Riverside venue. Their first show of any kind in over two years, the evening also saw the world premiere of three tracks from the New Yorker’s fifth LP; by then recorded and primed for release. Much like the performance itself, the impression they left was solid. They were, at the very least, a step in the right direction after 2011’s self-titled dirge, but equally I’d be lying if I claimed they flooded me with hope of a victorious, all-conquering return. Imagine my delight, then, when the next time I heard those three cuts – ‘All The Rage Back Home,’ ‘Desire’ and ‘Anywhere’ – they were collectively making up perhaps the most direct and purposeful opening to any record in 2014; not to mention setting the scene for one of the year’s most welcome yet unexpected triumphs.

Despite their steep decade-long downward spiral, it’s worth noting the trio didn’t exactly ring the changes with El Pintor. In fact, its general narrative was simply Interpol excelling once more at being Interpol, recovering their hunger amid the adversity of Carlos D’s departure and delivering the type of record many assumed they no longer had in them. From the vitality of the aforementioned trio to the no less excellent likes of ‘My Blue Supreme’ and ‘Tidal Wave,’ perhaps the biggest compliment one can pay is that it not only recalls the magic of Turn On the Bright Lights, but comes mightily close to matching it. For those who’d stuck by them, it was a case of their faith being vindicated. For everyone else, it provided a cue to come crawling back. — Ali

21. Circa Survive – Descensus

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Stream: ‘Only The Sun’ (4:35)

Based on a recipe for success that much of Circa Survive’s past work was built upon, Descensus‘ opening track ‘Schema’ is the most familiar piece to be found here. Filled with swirling guitar leads, slightly off-kilter rhythms, and a soaring, energy-filled vocal performance from Green, ‘Schema’ is powerful in the same way that tracks like ‘Get Out’ were before it. The only flaw comes from how easily comparable it is. Circa’s trademark sound is never lost throughout Descensus, but ‘Schema’s predictability is a flaw that’s completely eschewed for the rest of the album, as every track that follows shows Circa at their most ambitious and experimental in the songwriting category – a trait that Descensus shares with its predecessor Violent Waves, except here the experimentation hits its target far more consistently.

There’s a remarkable amount of variation in Circa’s approach here, and they seem to have a deft hand for delivering rewarding moments in unexpected ways. Obvious opportunities for climaxes are often avoided and replaced with passages full of reverb-soaked atmospherics with a slightly dissonant edge, and the payoff is usually delivered in a subtle fashion that removes much of the immediacy that the band is often known for. The end result is a work that rewards repeat listens and functions more cohesively as an album than any of their past work, and when they finally decide to fully capitalize on the built-up tension, the impact is viscerally forceful. Descensus is Circa Survive at their most diverse and arguably their best. Most importantly, it shows that the band is unwilling to stop evolving their sound, which continues to make every release of theirs surprising. — Tom Moberly

20. Musk Ox – Woodfall

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Stream: ‘Part IV – Above The Clouds’ (10:31)

Too often is neofolk music immediately dismissed solely because of its instrumental minimality. An unfair sentiment indeed, but the basis of it is understandable. Instrumental neofolk is an admittedly stagnant genre; much of it sounds alike and can easily be dismissed as nothing more than “decent study music”. While Musk Ox may appear to be minimalistic, consisting of only three members wielding a guitar, cello, and violin, their sound is anything but. In fact, the band’s latest release, Woodfall, goes above and beyond the boundaries of neofolk, sounding more akin to classical music than anything else.

Woodfall is far more than merely pretty acoustic strumming–it is perhaps one of the most ambitious and beautiful albums of 2014. Although each of the album’s tracks may exceed ten minutes, the wide array of influences displayed by the band allow for colorful, immersive atmospheres that showcase the remarkable skill of the three members. From the slow, swelling string melodies of ‘Part I: Earthrise’ to the sprawling, epic soundscapes of each track that follows; the album is crafted together with such expertise that it’s no wonder the album was six years in the making. With Woodfall, Musk Ox have truly pushed the boundaries of instrumental folk music and created one of the most immense albums to ever surface in such a minimal genre. — Nash J.

19. Mastodon – Once More ‘Round The Sun

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Stream: ‘Halloween’ (4:39)

It’d be absurd to claim any of Mastodon’s albums have fallen short, yet it’s fair to say the adulation which greeted 2011’s The Hunter wasn’t quite as universal as we’ve grown accustomed to. Sure, it provided many of the usual thrills, and marked a return to their natural tempo following the lavish prog of Crack the Skye, but even so its polished production and pop-metal hooks left certain factions of the quartet’s fanbase grinding their teeth. To many, Once More ‘Round the Sun may appear to follow the same script. As any truly great outfit would, however, this LP saw the Atlantans refine their craft, taking everything good about The Hunter (and, let’s be clear, that record did do an awful lot of things right) while sanding down the rough edges, the result being the most honed, consummate and concise effort in their revered catalogue.

Whereas previous outings have dabbled in experimentation, Once More ‘Round the Sun wastes no time in making it’s point, kicking off apace with ‘Tread Lightly’s customary avalanche of riffs and scarcely letting up throughout its blitzkrieg 54-minute runtime. It’s also a work of great variety, rocketing between streamlined blockbusters (‘The Motherload’) sludgy behemoths (‘High Road’) and breakneck thrash (‘Chimes at Midnight’), letting rip in each guise as you’d expect from a group of such expansive skill. All killer no filler, it was quite simply the sound of Mastodon settling and excelling within their own skin, and in doing so turning in their most fun and palatable release yet. — Ali

18. Ne Obliviscaris – Citadel

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Stream: ‘Devour Me, Colossus – Part I: Blackholes’ (12:37)

Ne Obliviscaris’ sophomore album Citadel is three tracks long with a 50-minute total runtime. That statement alone is bound to intimidate some prog skeptics, and will inevitably lead to blind accusations of pretension and hubris. The fact is, though, that Ne Obliviscaris only needed three beefy tracks to get their point across. The band polished their ambitious tendencies that encompass the full scope of what makes a progressive metal album great – tight and technical instrumentation, experimenting with jazz and classical elements, topped with a wide array of vocal techniques – and left the negative traits at the door, i.e. no awkward transitions or unnecessarily long wank passages. Citadel is a more concise, focused, and all-around better listen than its predecessor Portal of I, filled to the brim with great ideas and even better execution. The audacious violin leads are just the icing on the cake. — Andrew Gold

17. Damien Rice – My Favourite Faded Fantasy

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Stream: ‘Long Long Way’ (6:24)

On My Favourite Faded Fantasy, Damien Rice finally follows up the massively successful O with an album that may be even better. While at first it does sound and feel much like any other folk album, with a guitar being the background to the voice of the artist. But what is here, is something so personal and substantially profound. His lyrics are dripping with raw emotion, and his voice just fits so perfectly with the low-fi sound. However, what really shines are the moments on this album where other instruments join to add a post-rock vibe to the mix. Songs like ‘It Takes a Lot to Know a Man’ and ‘My Favourite Fantasy’ not only have subtle and beautiful folk verses, but breathtaking instrumental climaxes that contain serene strings, bombastic drums, and sweeping guitar chords as well. Damien Rice has created his best work to date with My Favourite Faded Fantasy, and it deserves its spot on this list without any doubts. — Hogan

16. Banks – Goddess

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Stream: ‘Brain’ (4:42)

As wonderfully over-saturated as PBR&B has become, it’s pleasant to listen to an artists like Banks. In regards to forebears a la Lorde and The Weeknd, Banks sets herself apart by assuming a role of strength that females often have to wrestle over in music; certainly, an issue that plagued the overly feminist readings of FKA twigs’ LP1. That comes across in the vicious lyrical bite that adornes the hefty tome Goddess; as quickly as she weeps for, “never see[ing] you ’cause we’re both on the stage” (‘Waiting Game’), she declares rather bluntly ‘Fuck ‘Em Only We Know’ less than half-a-dozen tracks later. It’s tempting to give a wide berth to this sort of music that can rather easily fade quick into the wallpaper. Thankfully, Banks’ catch of confident and vicious subtleties sets her work apart from the pack. — Jordan

15. Aphex Twin – Syro

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Stream: ‘CIRCLONT6A (Syrobonkus Mix)’ (4:08)

No longer the mystical electronic messiah figure of the 90s, Aphex Twin returned to us with a blimp, two kids and an album that, for once, faced backwards rather than reached forward to bring us the sounds of the future. Syro spruces up the post-DrukQs pallet to bring us an album of cross-genre bangers, a piano outro named after his wife and by far and away the best technical production on this list. Revolutionary? No, but no one can do it like Aphex Twin. — Jonny

14. Kayo Dot – Coffins On Io

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Stream: ‘Spirit Photography’ (10:05)

While Kayo Dot’s previous effort Hubardo was widely praised for its incredible atmosphere and lyrics about the Earth, Coffins on Io is in complete contrast. Not only is the theme and atmosphere completely different, but the genre’s of the two albums also contrast significantly. Yet, it all works very well. The lyrics, which are heavily influenced by science fiction, work great with the space-like atmosphere induced by the synths and instruments, and Toby Driver’s vocals provide some of the best clean verses he’s ever done. The chord progressions are mesmerizing, especially those found on the track ‘Library Subterranean’, where the repetition helps build up the suspense and poignancy until a slick guitar solo plays into the song’s outro. Coffins on Io fits perfectly in the discography of a band that changes sound continuously, and it leaves a standing impression that there can be no predictions on what Kayo Dot is actually capable of. — Hogan

13. Saor – Aura

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Stream: ‘Aura’ (13:38)

Of all the black metal albums that were released last year, few stood out in terms of sheer creativity as much as Aura, the latest release by Scottish black metal soloist Saor. With Aura, Saor continues to pioneer his own unique sub genre of atmospheric black metal, mixing conventions of black metal with elements of celtic folk music. This combination could not have been more perfect. Throughout Aura’s five tracks, Saor utilizes atmosphere to transport the listener directly into the middle of a battle atop the hills of medieval Scotland. The instrumentation is extremely top-notch, especially when it comes to the frenetic riffs and crushing, military-esque drums courtesy of Panopticon’s Austin Lunn. The flute melodies and folk passages during each song help further create dynamic, chaotic and multi-layered soundscapes. Creating a genre as strange as “celtic black metal” is no easy feat; but for a visionary as talented as Saor, combining two seemingly unrelated genres of music is a walk in the park. — Nash J.

12. Animals As Leaders – The Joy Of Motion

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Stream: ‘The Woven Web’ (4:07)

Regardless of how you felt about 2011’s Weightless, it has little effect on how much you’ll enjoy the newest installment in Animals As Leaders’ impressive repertoire, The Joy of Motion. For starters, it could not be more aptly titled. Weightless lived up to its name due to its lack of focus on melodies and its heavy emphasis on grooves and atmosphere, allowing the music to feel, in essence, weightless. The Joy of Motion, however, is free flowing in nature. It’s in constant motion from the moment it begins and it doesn’t let up, throwing curve balls in the form of acoustic guitar chugging and soul-crushing grooves layered in an ethereal ambience.

Tosin Abasi is at his best here, both technically and musically. The Joy of Motion contains some of Abasi’s most jazzy and humble work, such as the fusion-grounded ‘The Future That Awaits Me’ and ‘Another Year’, without backing down from his dense polyrhythmic roots, as shown by aggressive cuts ‘Mind-Spun’, ‘Ka$cade’, and ‘The Woven Web’. The latter in fact features one of the most disgusting riffs Tosin has ever written, subsequently followed by one of the most beautiful soundscapes 2014 has to offer. Animals As Leaders’ talent for creating fretboard dazzling, immersive instrumental metal was never up for question – The Joy of Motion simply takes the cumulative talents of the trio and channels it into a blissful, entrancing aural blanket for the listener’s ears. Also, you just can’t argue with that production quality; it’s sublime. — Andrew Gold

11. Flying Lotus – You’re Dead!

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Stream: ‘Never Catch Me’ (featuring Kendrick Lamar) (3:54)

You’ve never heard a jazz album quite like You’re Dead!; you’ve never even heard a Flying Lotus album that sounds like You’re Dead! Given his tendency towards the avant-garde, there’s something genuinely surprising about that- keeping in mind the genuinely bizarre transmutations Stephen Ellison has authored up until this point. Observing the nature and definition of death, replete with the complex set of emotions it summons, You’re Dead!‘s free movement and playfulness opens way for a diverse set of sounds across 38-minutes of constantly shifting landscapes and textures.

Undoubtedly, results are mixed- clear highlights come in ‘Never Catch Me’ and ‘Dead Man’s Tetris’, boasting feature spots from Kendrick Lamar and Snoop Dogg respectively- while absorbing everything Ellison has to say in one listen proves suffocating. Regardless, Flying Lotus has not only managed one of the best jazz albums since Bitches Brew, but his most accomplished and textured to date. Miles Davis should feel suitably, “fucked up”. — Jordan

EPs // 50-31 | 10-1