50. Gates – Bloom And Breathe

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Stream: ‘Not My Blood’ (5:56)

Many have taken to calling Gates “Thrice with post rock”, which, while meant as a compliment in most cases, does a massive disservice to what they’ve created with Bloom and Breathe.  Gates have crafted a deeply affecting and unique album which deserves to be heard on its own merits – not by way of piggybacking or association with the now deceased (or not??) post hardcore band. Bloom and Breathe’s swirling melodies make a foundation which allows for huge moments, placed in such a way that allows for it to wash over, creating a sense of catharsis. So much more than the sum of their parts, Gates have put together something special with their sophomore release. They may not have been on too many radars before 2014, but over 50-minutes they prove themselves to be a must-listen. — Josh Fountain

49. Manners – Pale Blue Light

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Stream: ‘Binge’ (2:29)

Manners so perfectly encapsulate what it’s like to be depressed, alone, and under the influence; it’s kind of scary. There’s a connection that’s felt with the members of Manners through their music; like these guys aren’t just dudes that make catchy and hard hitting hardcore music, they’re my kind of guys. This is the kind of music one can relate to so well, but probably wish they didn’t. But hey, “Sink or swim, it’s all the same“. — Robert Lowe

48. Aaron West & The Roaring Twenties – We Don’t Have Each Other

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Stream: ‘Divorce And The American South’ (4:19)

While many great albums are growers, there’s something to be said for a release as endearing and easy-to-love as We Don’t Have Each Other. It is here that The Wonder Years frontman (Dan “Soupy” Campbell) hits the height of his storytelling career, crafting a meticulously detailed narrative that is simultaneously easy to follow; and making himself the envy of many genre compatriots in the process. The attention to detail displayed in describing the minutiae of Aaron West’s depressing everyday life completely sells the tale, irrespective of how trite the subject matter of a breakup may be, and the instrumental diversity keeps the music fresh and exciting at every turn. The omnipresent acoustic guitar lends a degree of simplicity to everything, while the earthy folk instruments like banjos and harmonicas provide more rustic colours to the otherwise bleak canvas woven throughout these harrowing 38 minutes.

The story is nearly tangible, and seems more like an uncomfortably personal look into the singer’s life rather than a fictional character’s. It’s the depressing realities that you know many people face, but try to avoid looking at too closely – and here, they’re thrown at you with every bit of fervor Soupy can muster. His raw honesty makes it hard to believe all the events laid out are fictitious, but that’s exactly what makes this work such a resounding success. Above all else, it feels real. — ComeToDaddy

47. Fallujah – The Flesh Prevails

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Stream: ‘Levitation’ (5:30)

Technical death metal is a stale genre. Yeah, I said it. It’s no secret. It’s a genre based entirely on technicality over songwriting, which is a method that falls flat more often than not. That is the case, at least, until bands like Inanimate Existence and Fallujah come in and shake things up a bit. The Flesh Prevails meanders in a progressive glaze, from the bright-as-day production, occasional operatic female vocals, right down to the long-winded instrumental breaks; and this is on top of its traditional tech death traits, like the sweeping guitar solos, methodical blast beating, and the like. Fallujah simply make it fun, and interesting, never sticking to an idea long enough for it to get boring but just long enough to leave an impression. It’s an excellent formula. The Flesh Prevails is certainly a highlight of 2014, if only for being a breath of fresh air in an otherwise tepid genre. — Andrew Gold

46. Taylor Swift – 1989

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Stream: ‘Style’ (3:51)

Two of the most common comments I heard about 1989 were “it’s good… for a pop album” and “it’s the album Taylor Swift was born to make!” I don’t particularly agree with either sentiment. 1989 doesn’t feel like any other album in her (surprisingly expansive) catalog, and it’s the first of which with Swedish uber-producer Max Martin as her official co-pilot, a position once occupied by her mentor, Liz Rose. In his hands, Swift’s sound is pushed to new sonic extremes and pushes aside any shred of country influence she might have had. There is nary a banjo or affected twang (or, mercifully, the dubstep of Red) in sight;  hands claps and late-80s synths are on the menu this time.

Tying it together is Swift’s distinct lyrical style, which is equal parts autobiography, fairy tale-style storytelling and unique phrasing. And it works! Which is why I don’t agree with the former statement: 1989 is a good album. Straight-up, no qualifiers necessary, stone cold good. She might be a bona fide pop star now, maybe the biggest one in the world, but 1989 has as much emotional depth and sonic variance as nearly every other album I’ve heard this year. Don’t be ashamed to sing along. — Nathan Flynn

45. Thou – Heathen

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Stream: ‘Ode To Physical Pain’ (11:46)

Baton Rouge’s Thou have been masters of their brand of immense, sludgy doom riffs since the start of their career, and Heathen is no different.  What is slightly removed, however, is how much they allow the listener to breathe.  It isn’t a big change, but what it does do is make their skull-crushingly heavy moments have even more power behind them.  The feeling of getting beaten down into the mud is still there, and arguably more effective than ever.  75 minutes of disgusting riffs while Bryan Funck’s otherworldly vocals wail into the night might seem like a lot for the uninitiated, but for those who enjoy the slow, sludgy dirge that Thou takes pride in, Heathen is the slow walk towards the apocalypse fans have been waiting four years for. — Josh Fountain

44. Saintseneca – Dark Arc

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Stream: ‘Happy Alone’ (3:18)

Saintseneca are firmly indebted to techniques found among just about every one of their indie-folk contemporaries – eclectic instrumentation, soaring choruses juxtaposed with subdued balladry, shaky vocals delivered with more confidence than they’ve earned. There’s a lot of familiarity to be found here, but everything seems to come naturally for Saintseneca, and they derive their own unique aesthetic from the blueprint, largely owed to the layered vocals that take central focus on much of the album – equal parts charming and infectious. But the key factor to Dark Arc‘s success is in the consistency and variation of the songwriting.

Much of the album’s powerful hooks lie perfectly in a delicate balance between restraint and indulgence, but Saintseneca aren’t afraid to let go of the reigns for some of the album’s more breathtaking moments. Dark Arc is packed with a fine attention to detail, with plenty of subtleties lurking below the album’s welcoming immediacy. There are unexpected climaxes snuck into the last 20 seconds of otherwise deceptively simple tracks, finely tuned song dynamics, gradual layer additions, delightfully creative transitions, and no dull moments to be found. — Tom Moberly

43. Lantlôs – Melting Sun

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Stream: ‘Jade Fields’ (6:29)

The loss of Neige, Lantlos’ most talented member, was certainly overcome to great effect here. His absence inspired the band to drop all evidence of black metal in favor of a more shoegaze-driven sound with many instances of adding post rock into the mix. From the very bright colors that illustrate the album’s inspiring mood to the many massive walls of sound, Melting Sun exists as a welcome addition into the extremely impressive 2014 catalog. Lack of variety and its short length aside, the album’s heavy shoegazing sound soars. — Nick Mongiardo

42. Joyce Manor – Never Hungover Again

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Stream: ‘Heart Tattoo’ (1:50)

Joyce Manor make the kind of songs that get stuck in my head.  They also make the kind of songs that come out of my head awkwardly at work. My co-workers all think I’m crazy because of how often I sing to myself  “I want a heart tattooooo”, or “Victoriaaaaaaaaa”, or even “You don’t even look that smaaart”. Never Hungover Again is short and to the point, and that point is “You should have a good time because we’re having a good time” –  and you really can tell that Joyce Manor are having a good time because of all the good vibes, charisma, and feeling that comes out through their music. Joyce Manor write ear wormy/catchy/pleasurable punk tunes that will get stuck in your head and come out at all the wrong times, but the shame of looking like a dork is totally worth having fun with Joyce Manor. — Robert Lowe

41. The Antlers – Familiars

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Stream: ‘Palace’ (5:36)

Familiars, at first glance, feels like nothing special. In fact at first I didn’t really understand it. A band that was built around atmospheric and brilliant vocals seemed to have taken a path in which I didn’t see coming. Yet, by the end of the album, it hit me all at once. The lyrics are beautifully strung together and with the aid of Peter Silberman’s unique false silhouette will have the listener begging to hear the vocals after every verse ends. The instruments, which seem simple at first, are some of the most upbeat and well structured the band has ever created. The horns are especially moving, with songs such as ‘Palace’ having one of the most beautiful bridges of the year, headed by a strong and uplifting trumpet. Familiars only gets better with age, and its one of the best blends of alternative and soft rock that I’ve heard in a long time. — Hogan

40. Nothing More – Nothing More

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Stream: ‘God Went North’ (6:09)

It’s really no secret that heartache and hardships can be the catalysts for creativity. Very often, a song penned in anger, in tears, or in grief carries more substance than one written while in a clear frame of mind, and it’s a notion which Jonny Hawkins and the rest of Nothing More attest to. The band has suffered more than their fair share of pain in the last few years, and it’s reflected in the 17 strong track list which they were unable to whittle down. The songs are crammed full of emotion, filler is kept impressively to a minimum, and the lyrics are more relatable than trite thanks to Hawkins’ intense delivery. The album’s greatest strength however lies in its ability to mesh catchy choruses, guitar solos and formulaic song structures together whilst keeping the end result fresh and interesting. Few bands manage to make music which strikes the balance between rich and radio friendly, but the Texans have got it down to a tee. — Dan H.

39. Spoon – They Want My Soul

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Stream: ‘Do You’ (3:32)

Inevitably, the need to attach a context, method, and madness to music is what plagues our critical thought in the ’10s. Stuck between wanting records to fit into our own narrative and tidying them into specific corners for others, no doubt the stoney-eyed cynicism we attack with is a little unwarranted. It’s refreshing then to encounter an album quite like They Want My Soul, an album delightfully ignorant towards a sense of obligations and context. Britt Daniel’s effortlessly molten swagger fits this vision, and that’s apparent throughout the rather consistent 10-track run. Topped off by a crisp production aesthetic, Spoon deliver a product that’s remarkably (and refreshingly) simple in its entertainment value. — Jordan

38. BADBADNOTGOOD – III

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Stream: ‘Triangle’ (3:47)

BBNG jammed their way into 2011 with feverish fusion renditions of hip hop tunes, and as if to silence the small crowd of naysayers shouting “gimmick” in the gaps between lapping up Katy B or Noah and the Whale or whoever we thought was interesting then – I mean as soon as an album is documented on an end of year list it’s hard to care, right? – III is original material all the way, baby.

Less hip, less hop; a little more jazz and a little less fever: III breaks away from those bar-soaked Kerouac chapters and follows the party home. Whatever is lost in sweaty energy is poured in to some lovely melodic composition to give us the most cohesive, easy going BBNG album yet; no bad thing, because it is still, and I’m not wasting a word here, fresh as fuck. — Jonny

37. Pianos Become The Teeth – Keep You

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Stream: ‘Say Nothing’ (7:03)

Before the release of Keep You, many fans of screamo/post rock band Pianos Become the Teeth were treated with a single off of a split, entitled ‘Hiding’. While the song shared similarities between the band’s previous material such as soaring climaxes and heavy instrumentation, many fans also noticed the change in the vocal performance. The vocals were subdued and calm, containing little to no screaming besides a slight strain in the climax. Not many fans understood at the time that it may have been a permanent change, as Keep You contains no screaming. While this may have been off putting to some, the change in direction benefits the atmosphere sublimely. Themes such as moving on and forgetting the bad things that happened in the past are realistically portrayed with the vocal tone, and the instruments are haunting, but also can be rather uplifting. Keep You is an album that takes time to understand, but is extremely rewarding with excellent build ups and some memorizing moments. — Hogan

36. Morbus Chron – Sweven

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Stream: ‘It Stretches In The Hollow’ (5:10)

Amidst the waves of trend hopping metal, there had to be a brief few that would stand above the stigma  created by samey and soulless acts. Sweven does not simply pile on its nuances, rather it melds them into a sheer and memorable effort. With extra focus on the instrumental aspects of the record, Morbus Chron’s latest album isn’t as vocal driven as other records throughout death metal, instead everything is crafted to compliment the next layer and the album as a whole. Progressive by nature, the death metal tag can be given loosely, there’s few albums like this and even fewer set to this standard. Sweven brings a rather artistic airy feel to its brand of metal, providing an otherworld-ly feel. Touches of black metal doodling meet almost thrash-like riffs. Meer words on a page cannot express what it is to listen to Sweven, only hint at its practiced sound. — Robert Garland

35. Against Me! – Transgender Dysphoria Blues

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Stream: ‘Transgender Dysphoria Blues’ (3:19)

While not one of the most musically intricate or challenging releases of 2014, Against Me!’s Transgender Dysphoria Blues is without a doubt one of the most important. Nowhere have I found a more poignant illumination of the struggles of a transgender woman through music than in the chorus of the title track in which Laura Jane Grace belts “You want them to notice the ragged ends of your summer dress. You want them to see you like they see any other girl. They just see a faggot“. Elsewhere the album delves into the relationship between Grace and Heather Hannoura, and various strains that coming out as transgendered has put upon their marriage. And while the record does seem to drag throughout the middle section, album closer ‘Black Me Out’ ends with a sense of hope and resiliency that perfectly recapitulates the stance Agasint Me! takes on Transgender Dysphoria Blues. — Alex T.

34. Freddie Gibbs & Madlib – Piñata

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Stream: ‘Thuggin” (3:46)

Given their respective credentials and the trio of excellent preceding EPs, it’s a wonder Freddie Gibbs and Madlib’s full length bow wasn’t released amid more anticipation. That, though proved no hindrance once Piñata was eventually unveiled, with much of the hip hop community quick to proclaim it the genre’s newest classic. That particular mantle might have been superseded by Run the Jewels 2, but the pair’s collaboration remains a formidable listen; a perfect equilibrium between Gibbs’ sharp-edged, streetwise flow and Madlib’s superlative yet never flash production mastery. Indeed, with its abundance of soul and string samples and general rough demeanor, the record holds a certain old-school appeal, supplemented by a series of apt guests and an extended runtime that’s genuinely merited – something of a rarity in a genre notorious for excess. Let’s hope the acclaim sees their association extended. — Ali

33. Boris – Noise

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Stream: ‘Angel’ here.

Boris rarely disappoint – in their 20+ year career they’ve produced nothing but great albums that span a ridiculous amount of genres from drone to j-pop, and a sound that consistently captivates regardless of genre. Noise fits into their impressive discography as a Boris time capsule of sorts, serving as a sampler of all the different styles Boris have been experimenting with in recent years. Although Noise has the most diverse sound of recent Boris albums, it impressively manages to be more cohesive than the majority of Boris’ latest releases. Noise features Boris at the top of their game, and it’s a damn fine addition to any best of 2014 list. — Robert Lowe

32. Gazpacho – Demon

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Stream: ‘The Wizard Of Altai Mountains’ (4:52)

For all of its Celtic flourishes and streamlined songwriting, 2012’s March of Ghosts came far too close to feeling like a pale imitation of the band who’d created it. Sure, Ohme’s vocals remained as stunningly beautiful as ever, and the band’s signature brand of atmospheric art rock was unmistakable. But it wasn’t right. Much like the haggard, weary ghosts who narrated that album, Gazpacho seemed locked in a sluggish shuffle from track to track, feebly reaching for a fire they repeatedly failed to recapture. It would be dishonest to argue that the band has returned to their old selves on their eighth studio album, because the truth is that they haven’t. Demon isn’t such a brilliant, engaging listen just because of how good it is, but also because of how radically different it is from the rest of the band’s discography. Equal parts fearless ambition and bizarre experimentation, Demon is a return to the upper echelon for a band who just two years ago barely won out against the looming threat of mediocrity.

Before the release of Night, Gazpacho said that they’d begun a new musical endeavor: an attempt to create a series of films without pictures. With Demon, the band can chalk up yet another win on their board of concept albums, having created an eerie arthouse triumph. It’s a haunting journey through the ramblings of a madman’s diary, following the cause of every plague and every bomb that scoured and scorched the earth. Demon is equal parts Cthulu and Carcosa – a compelling tapestry of existential dread and unsettling abstraction threaded together by exceptional song-craft and remarkable beauty. Listen with the lights out. — Alex Kugaczewski

31. The Contortionist – Language

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Stream: ‘Thrive’ (6:05)

The addition of Last Chance to Reason’s vocalist Michael Lessard was undoubtedly the best thing to happen to The Contortionist. The band’s overtly deathcore debut Exoplanet had prominent progressive leanings which were further explored on Intrinsic, but something was missing; the songwriting, the vocals, it wasn’t all gelling like it should. Now with Language, The Contortionist are at their most comfortable. It’s the most organic the band has ever sounded, and with Lessard at the mic, they were free to pursue any style they wanted knowing that he can hack it.

Fans of the heavily distorted Exoplanet will likely be disappointed, but what Language lacks in heaviness it more than makes up for in authenticity and focus. The Contortionist has made their own language of jazzy, forward-thinking prog metal, and it effectively serves as a harbinger for even greater things to come. — Andrew Gold

EPs // 30-11 | 10-1