50-31 | 30-11 | 10-1

10. Against Me! – Transgender Dysphoria Blues

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Stream: “Transgender Dysphoria Blues” (3:16)

From the opening punch of the track of the same name, Transgender Dysphoria Blues is a haymaker of unapologetic transgender perspective made to come across in one of the few avenues of emotion we humans actually comprehend and respect: music. If Laura Jane Grace simply wrote a press release, or an essay, or spoke at a convention, it wouldn’t mean a damn thing, but the thousand pound hammer of “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” set to a marching, military snare beat is a statement that will wake people up and make them take notice.

Transgender Dysphoria Blues isn’t comfortable, but I’ve got to imagine it’s nowhere near as frightening and downright dangerous as it must be to actually live as a transgendered individual in our modern society. But the short life of punk has always been about questioning the status quo and getting you out of your comfort zone, and Against Me!’s eye-opening rally against an injustice swept under the rug only screams out as the loudest voice in the room on a topic everyone’s afraid to whisper about. From the abrasive and anger-driven “Drinking with the Jocks” to the vaguely hopeful “FUCKMYLIFE666,” Transgender Dysphoria Blues is an earnest journey that slams the door open and shut on the journey through trans depression.

But, hands down, the best thing about Transgender Dysphoria Blues is that its catchy, uptempo rock will keep you coming back to that subject you’re afraid to confront – that transgender singer in your ear – whether you like it or not. Will you see the faggot, or the ragged ends of her summer dress? –Thompson Gerhart

9. Caribou – Our Love

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Stream: “Back Home” (3:33)

I have to admit, it took me a while to get into Swim. At the time of that album’s release, I hadn’t quite acquired the love for electronic music that I have today, so when it came to Dan Snaith’s music, I tended to be more drawn to the totally immersing haze-pop of Up in Flames and the equally psychedelic (but in a totally different way) Andorra. Aside from immediately loving the irresistibly hooky melodicism in standouts like “Odessa” and “Leave House”, the rest of Swim’s menu took a while to woo my sonic taste buds. But once my music taste matured, I finally began to appreciate the sonic beauty and danceable grooves of Swim.

Given Dan Snaith’s reputation as a genre-hopping songsmith, it was surprising to hear Our Love fashioned from a sonic palette similar to its predecessor’s, but the resemblance between the two is purely superficial. Caribou’s newest batch of cerebral dance tunes have a refined sound to them here, emanating a more pitch-perfect balance of art, emotion, and appeal. Tracks like “Our Love” continue to show Caribou’s acumen for dancefloor dynamics, with steadfast beats and swooningly blissful melodies luring you into the song before taking you through a sonic roller-coaster of mind-warping brilliance. Although as top-rate as Caribou’s feel for sound and structure may be, what I found most compelling about Our Love‘s music is the voice behind the beats. The mournful undercurrent that flows throughout the lyrics in Our Love makes it one of the most relatable listens of the year. Tracks like “Your Love Will Set You Free” and “Back Home” especially exhibit such unexpected emotional depth, that they play like the perfect comfort songs after a terrible break-up. Caribou’s music has never felt this nakedly emotional before, and the unbridled sincerity in his narratives of love’s euphoric ups and gut-wrenching lows is simply moving. –Hernan M. Campbell

8. Kishi Bashi – Lighght

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Stream: “Once Upon a Lucid Dream (in Afrikaans)” (4:06)

Kaoru Ishisbashi (K. Ishibashi, or, finally, Kishi Bashi) proved on Lighght that he has the same je ne sais quoi as contemporary musical Illuminati and indie pop icon Sufjan Stevens. Blending orchestral finesse and pop brilliance into an easily digestible, low calorie package that keeps consumers coming back must be a part of it, but there’s also some manner of magic involved. Does it happen when you mix the high male vocals with non-traditional instrumentation and hand claps? When you drum up a core of electronic groove a la Animal Collective’s Merriweather Post Pavillion? When you shove a bunch of violins and cellos together, toss some squeaky noises on top of everything (oh, so carefully) and “philosophize in it”?

Whatever it is, Lighght has it in spades. With dynamics out the wazoo and layers upon layers of intricate and perfectly interlaced instruments from every corner you can imagine, it’s an album that caters to classical elements, folk stomp ‘n’ clap rhythms, glitchy twinkles and grooves, and so much more. Success on Lighght is built on tons of tiny little gears all working towards the same end result of a sound loosely rooted in our most known musical traditions and our most loved pop music ambitions. Through their combined power, the album transcends both the classical and the modern with a sense of childlike wonder that makes you feel that such joy is inherent to the sense of deliberate play that must have caused an album like this to take root and bloom into the miraculous indie pop flower that it is. Sharing that joy with the composer through a listen merely completes the magic of the experience by allowing his wonder to become yours. –Thompson Gerhart

7. Morbus Chron – Sweven

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Stream: “It Stretches in the Hollow” (5:10)

Death metal critics seem to have some sort of predisposition to name-dropping and comparing records to genre classics or describing a new act’s sound by way of allusion to a venerable band in the scene. There’s hardly any true originality left in the genre because of its obsessive fixation on paying homage to the albums of yesteryear, and in more ways than one that is causing the scene to become so inbred it no longer likes to look outside the now-accepted realm of what is defined as “true death metal”. Morbus Chron have no such barriers, and indeed have little ties to anything traditional or old school. Sweven is, in part, a defining album because of this ability to think so far outside the death metal box, but it is also so well composed and so flawlessly executed that it commands respect simply because its songwriting and instrumental talent is so far above and beyond typical death metal simplicity.

There is little rhyme or reason for why Sweven constantly cycles between spastic, shooting riffs, and even less of an explanation as to how the band manages to create coherence between the album’s 10 distinctly different pieces. How Sweven manages to find its way from black metal tremolo riffing in “Towards a Dark Sky” to a progressive metal instrumental epic in “Terminus” defies logic, but somehow these Swedes do so in a way that makes any other path seem illogical, when in reality it is they who are being the illogical ones. It is this renegade approach to songwriting that makes Sweven what it is, because unlike other more chained-down, traditionalist death metal that simply goes through the motions, Morbus Chron instead buck the trend and give us near-constant ear candy by way of every instrumental offering possible. Not only do the vitriolic yelps serve as more than adept vocals, but the bombastic and utterly incomprehensible drum patterns tear the guitars away from the chugging, deeply heavy filth that defines most other death metal records. Instead we are offered a wider palate of sounds, and Sweven is sure to highlight each and every one of the available choices.

No two songs are the same on Sweven, and no two listens to the album are the same either. There is the constant sense of wonder each time the record spins; wonder that comes with the discovery of something new that went unnoticed before. Morbus Chron have crafted an album that is instrumentally deeper than almost any other death metal band’s entire discography, and have done so on an album that is under an hour in length. Not only that, but they have made all of these divergent sounds seem complementary, and that is where the real victory comes into play. Not only are Morbus Chron masters of their instruments, they have the songwriting talent to control whatever twisted music spews from them. Sinister and mental as it may be, Sweven is the kind of record most death metal bands dream of having the talent and vision to create. –Kyle Ward

6. Dead Congregation – Promulgation of the Fall

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Stream: “Immaculate Poison” (5:07)

Dead Congregation are essentially Immolation if they had continued to make albums as good as Close to a World Below. This isn’t to say that the Greek death metallers don’t have their own sound, but they continue to perfectly implement everything that makes a wholly gratifying work in the genre. Like its predecessor, Graves of the Archangels, Promulgation of the Fall makes exemplary use of exceptional riffs, solos, and overall musicianship in songs that exhibit near mastery in utilizing dynamics and tempo changes throughout. Forgone, however, are some of the more theatrical elements and long buildups that make Graves so special, leaving only an unrelenting, adversarial assault of guitars and drums that crushes thoroughly at a breakneck pace or a lumbering chug. Promulgation‘s one outright improvement over the band’s freshman release is a richer production for the percussion to further highlight the outstanding work of Vagelis Voyiantzis behind the kit and really provide a strong benchmark for how a cleanly-produced, modern death metal album should sound. Now the Grecians can claim to have not one, but two of the best albums in the genre in the last decade and perhaps the best death metal release of the year in a year that’s been one of the strongest for the style since the ’90s. –Angel

5. The War on Drugs – Lost in the Dream

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Stream: “An Ocean In Between the Waves” (7:11)

Lost in the Dream was the product of a year-long spiritual odyssey. As frontman Adam Granduciel has revealed in interviews surrounding the album’s release, he struggled to keep his sanity from crumbling under the pressure of emotional angst and creative perfectionism. But like various artists plagued by spiritual anguish, darkness would go on to inspire Granduciel into constructing a plaintively confessional tour-de-force, that while melancholic in nature, is more about a man’s journey in conquering depression than readily wallowing in sadness. In other words, it’s soulful, not dark.

Revered as one of the most deeply emotive albums of the year by most, and beer-commercial guitar shit by one disgruntled folk-singer, The War on Drugs’ Lost in the Dream‘s batch of slow-burning, “gazey” roots-rock provides some of rock’s most compelling performances of the year. While a lot of the emotional gravity of the album is at its most profound within a wistful, dreary calm, particularly in tracks like “Disappearing,” but the album’s centerpiece “An Ocean In Between the Waves” really stands out as an epic mood-shifter. There’s an innumerable amount of brilliant moments throughout Lost in the Dream, but I love “An Ocean In Between the Waves” because it captures the album’s theme perfectly. It’s just as pensive as the slower tracks, but rather than just sitting still in mellow moodiness, it takes the listener through an emotional roller-coaster before building up to a cathartic climax. “An Ocean In Between the Waves” shares the signature crystalline and echoey guitar sound of the other tracks, but it’s driven by an upbeat ’80s-inspired rhythm which really gives it its emphatic groove. This is a really catchy song, and pretty much universal in terms of accessibility, but what I admire most about it is the idea behind its orchestration. The instrumental members of the band jam out this pulsing music filled with energy, and yet, there’s so much angst in Granduciel’s words. Even his voice expresses this feeling of defeat at the start. You can really feel the tension of the narrator, and it kind of replicates that feeling of wanting to rise above all thoughts of darkness and confusion, but yet feeling anchored by the weight of your own self-doubt that you end up sinking anyway. As the song gains more momentum, when the guitars start building up to an anthemic roar and Granduciel starts to get obscured by the volume of it all, you can hear him mumbling, “I’ve got to rise up against it! Holding strong!” with such optimism. It’s like he’s motivating all of us that are drowning in our own depression, as if he’s saying, “You’ll be alright too. Just hang in there.” –Hernan M. Campbell

4. Trophy Scars – Holy Vacants

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Stream: “Everything Disappearing” (6:31)

New Jersey quintet Trophy Scars pride themselves on a do-it-yourself existence that lends them complete artistic freedom and the ability to alter their style whenever they feel the need to do it. Their post-hardcore days are long gone, and the band’s gradual shift in style towards traditional blues rock has been equally surprising and desirable. They have never stopped to craft the music that wallows in darkness and raw emotion, yet the means of expressing themselves have significantly evolved. Expanding on two critically acclaimed EPs, Holy Vacants explores the band’s unique darkly-tinged brand of blues rock to the full, integrating paranoia and unease into sharply written, soulful songs that never fail to entice.

It’s a quintessential blues record that pulls absolutely no punches, being as visceral, genuine and deeply-felt as the genre conventions imply. The mythology-based lyrics only make it more eccentric and intriguing to decipher. Tales of ill-fated love and dissolution are as old as time itself, and Jerry Jones delivers them with fervent conviction, leaving a haunting impression on the listener. Add mesmerizing musicianship to that, and you’re left with one of the most memorable albums of the year. Holy Vacants was initially supposed to be the quintet’s swansong. Instead it may very well go down as a new beginning for a band that have always been eager to transcend their own limitations. –Greg Fisher

3. Sharon Van Etten – Are We There

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Stream: “Taking Chances” (3:51)

If someone had told me that Sharon Van Etten would release a follow-up album even more taxing than 2012’s superbTramp, I would have been seriously concerned for Ms. Van Etten’s health. Tramp was a singular case study in a singer-songwriter’s unrivaled control of tone and texture, the announcement of a talent arrived, fully formed and emotionally bare. Where Tramp outlined what Van Etten could do, Are We There is the realization of all her wonderful talent, a bloodletting that refuses to give its subject any hint of a respite. It’s a draining, exhausting listen, but it’s a fulfilling one, as well; facing one’s demons like Van Etten does here is as cathartic a therapy as it comes.

It’s clear that Van Etten’s time with Aaron Dessner of the National (who produced Tramp) was invaluable in defining her sound. Are We There is an incredibly nuanced listen, a production style that could best be likened to a majestic low roar, one that shapes itself around Van Etten’s sinewy vocals and light shadings of keys, spartan beats, and aching guitar. Yet the focus remains, as it should, on Van Etten’s own vocal prowess and lyrical switchblade, one that runs the gamut from the barely controlled rage of “Tarifa” to the numbing grief on “I Love You But I’m Lost”; and that’s just one stunning back-to-back sequence among many, many others. That she sounds just at home on the spindly, musically sparse “I Know”, picking splinters out of her heart, as she does on the grand, rollicking thunderstorm of “Your Love Is Killing Me”, is a testament to the breadth of her vision and the depth of her songwriting.

This is a statement record, to be sure, but it’s no mistake that the album ends with “Every Time The Sun Comes Up”. It’s a knowing wink in the direction of the audience, made explicit by its stellar, tragicomic music video and perhaps the record’s most indelible lyric: “People say I’m a one-hit wonder / but what happens when I have two? / I washed your dishes, but I shit in your bathroom”. That the song ends with Van Etten goofing off in the studio and laughing tells you all you need to know about what Are We There and the act of so bravely opening herself up to the world means to Van Etten. Here, the journey is just as much a part of the healing process as the destination. –Rudy K.

2. The Hotelier – Home, Like NoPlace Is There

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Stream: “An Introduction to the Album” (4:32)

Before The Hotelier played “Housebroken” during their pitch-perfect set at Fest 13 earlier this year, Christian Holden said by way of introduction, “This is a song about a dog.” In a way, that description sells the song short. Home is a record teeming with metaphor, so descriptive and rich in its language that you can dig deep into any of the tracks and find whole ecosystems under the surface. “Housebroken” is about domestic abuse, yes, and if you believe the band’s record label site, it’s also about the government’s systematic abuse of its citizens (some of the lyrics in the last verse lends itself to that interpretation). But sometimes a song is so much more effective when you don’t read into it, when you let the lyrics connect only the dots that are apparent. Because when I hear “Housebroken,” it’s the dog I’m thinking about.

That’s not to say that the album as a whole is just a collection of sad songs, or that it isn’t conceptually deep. But Holden’s voice is so clear and strong, and the music is so captivating, that sometimes it’s more rewarding to simply occupy the memories present in the songs than to worry about some overarching message. The songs speak of regret and pain and they flow into each other like a single feverish recollection, from the time Holden starts singing “An Introduction To An Album” as if he just stepped onto a Broadway stage to the final, wild stabbing of chords at the end of “Dendron.” Individual songs and moments stand out – the absolutely huge chorus of “Your Deep Rest,” the “oh whoa ohs” before the final section of “Among the Wildflowers,” the heights that Holden is able to reach with his voice in “Housebroken” – but you’ll get the most out of Home by listening to all of it with each sitting.

The Hotelier made something special with this record, and it’s tough to write about. By the time “Dendron” ends, I can’t help but think that the record can only be adequately described through glimpses at the lyrical content – the bits of conversation and the reflections and most of all the pleas that make Home such a draining listen. Even with the countless number of albums out there dealing with relationships and break-ups and betrayal, it’s very rare for a band to cut to the bone in song after song after song. The truth of Home is that eventually your pride wears out and you stop being afraid to beg: Tell me again that it’s all in my head. I’m desperate here, a couple steps from the edge. Help me down, hold me up, wake me up…

Open the curtain. –Channing Freeman

1. Flying Lotus – You’re Dead!

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Stream: “Turtles” (2:06)

The thing about death is that we can’t even begin to understand its profundity ourselves. We can witness it through others, perhaps through the heart-breaking disintegration of those we love, but that still doesn’t paint an accurate enough picture into what the everafter’s really like. Every person tends to have his own take on it, and some people – like producer Stephen Ellison – have been around death enough to begin cultivating their own specific images of it in their mind. Ellison has experienced the passing of numerous loved ones over the years, and in witnessing the experiences of those close to him, he’s spent enough time thinking about what follows life to channel those thoughts into his music pretty naturally. Ellison is, after all, the musician who recorded the sound of his mother’s respirator and vital sign operators onto his defining album, 2010’s Cosmogramma– he’s explained that he found the sounds to be hypnotic, that he used them in his music so he wouldn’t ever forget what he heard while spending his final moments with his mother.

It goes without saying that Flying Lotus’ music has done even more for him than it has for us. Ellison has often mentioned that Cosmogramma helped him work through his grief over his mother’s passing, so it’s not too surprising that the producer would eventually write an album that attempts to directly challenge the concept of death itself. Ellison has claimed that the opening of You’re Dead!, immense and weighty in nature, is meant to represent the instant life ends. And so with that realization in mind, his newest album is a full-fledged excursion into the afterlife – it’s an experience so surreal it could’ve easily been imagined in a grandiose lucid dream. And part of this experience is the colossal shift in style Flying Lotus has enacted on You’re Dead!. The fact that the album plays out like one huge nu-jazz acid trip makes it that much more busy, even though it is technically Ellison’s shortest release yet under the FlyLo pseudonym. Each moment has a kinetic and natural energy, with musicians like Herbie Hancock and Thundercat, as well as countless others, playing their instruments in real time.

You’re Dead! has an inherently interactive spirit that makes it feel immediately alive, and more so than anything Flying Lotus has made in quite some time. But maybe it’s because this album covers a topic with which we’re all familiar, or even that it seems to bring death down a peg, with song titles like “Fk’n Dead”. There’s no fear on this record – there’s only an understanding of what is to come. And nothing else here acknowledges the inevitable more than Kendrick Lamar’s opening line on lead single “Never Catch Me”:

I can see the darkness in me and it’s quite amazing
Life and death is no mystery and I wanna taste it

–Jacob Royal

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