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Across all genres, 2014 was a stupendous year for music, and there are a handful of albums worthy of recognition. Barely out of their teens, California born The Bots made a huge splash in the music world this year with the release of their newest record Pink Palms. Respect the Architect by Blueprint shows what a talented mc and producer can do in the studio and compress it into a mere 8 tracks. With their sophomore album, The Glitch Mob has just begun to make their mark on electronic music. Catchy, reggae infused nu-metal that somehow is still surviving, Kill the Power is probably the catchiest metal song of the year. Rarely is pop music so menacing as when fashioned by Erika Anderson, the deadliest thing to come out of the Dakotas since cultural essayist Chuck Klosterman.
Brooklyn trio Hospitality’s release, Trouble, lives in a pop and rock mixed area with a driving bass and beat under a slightly distorted guitar and the sure vocals of its leads singer. Ty Segall’s blend of garage rock and guitar fuzz, along with his attention to detail, is what makes this 17-song double-album—by far the longest of Segall’s seven albums—easily one of indie rock’s best albums of 2014. Nickel Creek reunites with a record that gives us what we’ve been missing; peak songwriting with some interesting musical turns. The longtime New Orleans metallers have unleashed an album that balances pummeling fury with thoughtful, diverse songwriting and healthy helpings of NOLA’s distinctive southern sludge.
Damon Albarn’s solo debut album Everyday Robots recalls the existential dread of 2005’s Demon Days, but in a more beautiful, folktronic way. The Japanese duo of Yuka Honda and Miho Hatori stopped making music under Cibo Matto in 2002, but reunited after nine years in 2011.
Most high-profile tributes to recently deceased musicians are gaudily maximalist, but Joseph Arthur’s Lou finds a more tasteful approach to the passing of Lou Reed.
Formed by members of At the Drive-In and The Mars Volta, and with the Red Hot Chili Peppers’ Flea on bass, Antemasque has talent in spades. Singer-songwriter Angel Olson’s Burn Your Fire For No Witness presents a complex, rewarding musical experience. With his second solo effort, No-Man singer proved that he could do the remarkable; he made an album that was both filled with loneliness and positivity and great lyrics and musicianship. Out Among the Stars captures unreleased 1981 Johnny Cash songs mixed with more recent recordings for a combination of primetime Cash and the best modern studio work has to offer.. This Canadian electronic duo has been making music together for 12 years now and White Women showcases their maturity and growth. Americana, released on Mike Patton’s Ipecac by Guano Padano is a beautiful, soulful, and deep album.
The Bronx has been an innovative and talented punk band for many years, but in 2007 they announced that they’d be pushing their musical boundaries by starting to release mariachi music as well as their usual albums, under the name Mariachi El Bronx.
With a new drummer and a new guitarist, Allegaeon take a drastic step forward with Elements of the Infinite. For her third album, Lana Del Rey ditches her hip-hop inspired beats for the delicate guitar and producer stylings of The Black Keys’ Dan Auerbach.
With the release of Vita E Morte, Cross My Heart Hope to Die, the eccentric and eclectic trio of Cypress Hill’s DJ Muggs, producer Andrew Kline, and singer Brevi have hit with another four songs steeped in creepy beats and samples, and lyrics which reflect a life lived on the seedier side. Alt-J’s 2014 release faced the immense challenges of a) closely following their critically lauded debut album and b) the departure founding member Gwill Sainsbury.
Sean Lennon, the son of John Lennon and Yoko Ono and his lover Charlotte Kemp Muhl have created one of the best indie albums of the year: Midnight Sun. The Dillinger Escape Plan, Sepultura and Mastodon are all bands that have shaped heavy metal in meaningful ways with their respective works. Despite the deep specializations of each musician, Killer Be Killed is an accessible album – using its relative star power and immaculate production for the sake of inclusion. Heavy, vocally catchy, and enriched with ideas from several diverse corners of heavy music, Killer Be Killed is a supergroup album that actually lives up to the designation. Warpaint’s second full-length is an at-times brooding exploration into post-party depression, mulling over the chaos of the collective within the safety of solitude.
On the opening track Jeopardy on Run the Jewels 2, Killer Mike makes a bold statement that RTJ is the “top tag team for two summers,” and that’s just not a cocky proclamation, it’s the truth.
Combining pop, punk, and raw garage rock, Pink Palms is guaranteed to please any music listener.

The Greek metal band fully utilize their orchestral palette while also mastering their dynamics. Using a Public Enemy and Kanye West sample to get it going , Skindred prove once again that they somehow write hooky metal songs and they don’t care what you think.
Now, three years later, they’ve released an album that’s reminiscent of their international-pop days in the 90’s, but with slick production that clicks on all cylinders. Arthur’s soulful baritone accompanied by minimal piano and acoustic guitar conveys the meaning behind Reed’s lyricism, while remaining both beautiful and sincere. This supergroup project had one of the most highly-anticipated albums of the year, and they delivered with a catchy, straightforward rock record. Whether its a stripped, vulnerable vocal and acoustic guitar track, or a grungier rock tune, Olson’s distinct voice, solid lyrics and wide range of genres and sounds make Burn Your Fire For No Witness great listening. All of which, is held together by his breathy vocals. Abandoned Dancehall Dreams is all about longing for the past, you will long to hear it again and again. Representing the best of classic country and Cash in his prime, Out Among the Stars presents emotional lyrics, Americana essence and classic Cash.
Truly deserving of praise, this album experiments with the concepts of a deep and meaningful venture through the desserts of the American southwest, and through the styles of southwest and western American music, with a feeling that can’t quite be spoken about and only truly experienced through the listening process. The song is an immaculate feat of the lo-fi, dream pop persuasion, making apparent font woman Dee Dee’s inherent knack for song writing.
Their newest mariachi record, Mariachi El Bronx (III) came out this year and proved to the music world that they are no novelty. Forging complex compositions that contain elements of melodic death, tech-death, black metal, djent, symphonic metal and more, the band carries listeners on an ambitious thrill ride through vast soundscapes of texture and emotion. Throw in collaborators like Herbie Hancock, Kendrick Lamar, Ennio Morricone, and Snoop Dogg – now the rest of the music world is running to catch up.
Each of Morte’s tracks unfold with beats which move the songs along at a molasses pace, as they are injected here and there with tinny pipe organ and haunting church bells, and electric guitar. Despite these considerably stacked odds, the Leeds trio delivers another modernist amalgamation of echoing guitars, oscillating sythns and nasal crooning with This is All Yours, a giant mess of staggering intimacy. Monikered as The Ghost of a Saber Tooth Tiger, this dynamic duo makes the ghost of Lennon proud combining pop, rock, electronic and experimental melodies to create a pop styled album that anyone can dance and relax to. Ghost of a Saber Tooth Tiger’s Midnight Sun is a unique, but reminiscent approach to the indie pop world. With Greg Puciato, Troy Sanders and Max Calavera combining their respective chops, the results are bound to be interesting. With a melding of aggressive styles that couch from each of the members’ specialties, the Killer Be Killed stays fresh and unpredictable, morphing constantly to showcase melodic and rhythmic ideas from the assembled luminaries. The eleven tracks, lifted from his releases The North Borders, Days to Come, and Black Sands, serve as a noble retrospective for Green’s career thus far.
The humbleness of the album tied in with Krell’s raw emotion makes for a very dark cohesive work. Her first solo album contains that sexy, raspy voice we all love and of course plenty of bass and guitar. In fact Too True might have one of the best hooks of 2014, with a circulating melodic tension that sticks in the memory like a souvenir. Effortlessly blending their long beloved hard rock sound with fun mariachi influenced music, Mariachi El Bronx (III) was a shoe-in for album of the year. But it’s not all grandiose concepts and neo-classical sweeps – Allegaeon also know how to pulverize, particularly when vocalist Ezra Haynes fully unleashes his guttural screams and growls. The group’s second LP is notably more six string-centered and consciously thematic with the sprawling “Nara” Suite. Bringing the modern indie approach of electronics to the classic approach of beautiful guitar solos complimented by Lennon and Muhl’s vocals, this album is a throwback into a time when music was always unique, beautiful, and especially full of love. Her funky psychedelic pop sound, various instrumentation and distinctive vocals show how she’s not afraid to push her limit. James’ waning relevance by recalling (if not borrowing heavily from) the bass and bass-synth workouts of Squarepusher and Dam-Funk, as well as wildly fluctuating technopop artistes like Mouse on Mars and Dan Deacon. Add drummer David Elitch, who has lent his impeccable rhythms to everyone from the Mars Volta to M83 to Miley Cyrus, and you have a spectacle in the making. The vocals alone are worth the price of admission, as the experience of hearing Calavera’s barks intertwining with Puciato’s screams and Sanders’ gruff croons is one of a kind.

These two kindred souls styles not only compliment each other perfectly, in the music you can tell they are having fun with what they are doing, and that’s something that’s missing in a lot of music today. Like Strange Mercy, the album uses guitars sparingly, peppering the mix with angular riffs or only brief chord progressions.
Along with catchy beats, Chromeo is known for the silly and playful lyrics that they feature. The Bronx will hopefully also continue to release their straight-ahead punk albums, but if they also put out records like this, there will be no reason to complain. Elements of the Infinite is dense and relentless, but never tiring, as the band deftly manage to keep their songs on the pathways of satisfying musical progression. From the compression and the sitar inspired guitar on the first track, you know this is going to be a cinematic ride. Alt-J channel their English rock forefathers to widen their stylistic range, from the earthbound bluesy raunch of “Left Hand Free” to the progressive, pastoral delicacy of “Warm Foothills”. The leading single off of the album “Girl You Look Amazing” balances both the disco rock vibe and her spicy attitude perfectly. Well now we have The New Basement Tapes, a super group that has produced a record so exciting that more than a few fans of all musicians involved have surely wept with delight. It is the perfect soundtrack for checking out with whatever poison you prefer, be it a bong, a bottle, or a sketchpad, lights low, alone with wandering thoughts and away from chattering crowds and the eyejuice-sucking glow of screens and headlights. Songs drenched in layers of fuzzed-out chorus effects, she chose to contemplatively wade through her emotions as if lost in a colorful haze.
Despite being only released in January, “Too True” holds the sort of familiarity seemingly reserved for the classics.
The frail ambient alt-rock weirdness that filled out An Awesome Wave still resonates tracks like “Choice Kingdom”, however, leaving the listener to believe that hypnotic bass thrum that carried “Breezeblocks” and “Bloodflood” (a track that gets its very own sequel in This is All Yours) never fully faded out. The musical content of this album really brightens up the dark undertone that this work truly carries. Take a newly discovered trove of lyrics penned by Dylan during the original sessions, hand them off to Elvis Costello, bring in Jim James of My Morning Jacket, Marcus Mumford of Mumford & Sons, Rhiannon Giddens of the Carolina Chocolate Drops, Taylor Goldsmith of Dawes and T-Bone Burnett as producer, then add a dash of Johnny Depp, and you have pure magic.
Sonically unified by the mix-mastery of Flood and Nigel Godrich, Warpaint’s characteristic rhythmic jams evolve almost imperceptibly, the instruments morphing and replacing each other as sleeping pill harmonies cast a witching, and at-times demon-summoning spell that floats over the eardrums and seeps right into the gray matter. The result was that each song gave the instrumentation ample room to breathe, nothing choked off the melody and bringing the idea home correctly was more important than rushing to the point. Each member has taken turns writing music, even producing multiple versions of the same lyrics. The sense that all of his skittish activity and electro tinkering is, for once, driven by unbridled joy and relentless fun.
Clocking at just over fifty minutes it is an event, with four songs hovering at the five minute mark, giving the grooving repetitiveness just enough space to gain meaning without giving way to boredom. Here, Clark coos playfully “People turn the TV on it looks just like a window” along a song that mutates as fluidly as one of Faith No More’s greatest songs.
The ghosts of Lotus’ many musical influences haunt this album, producing a kind of strange eulogy that turns out to be as dynamic and exciting as almost any record in rotation this year. Her dominant voice, captivating attitude, and bass tunes throughout the album string together to create this one striking album. Much heavier than their folk punk roots, this record shows how hard the members of Against Me! The final track, “Son,” opens like a Thom Yorke piano ballad, and with rolling snare and reflective vocals it creates a redeeming moment of clarity at the end of a strange trip through a multi-colored fog.
All of this is especially impressive considering that first and foremost she’s a guitarist.
Clark’s self-titled follow-up was an instant smash and a triumphant statement of music’s next credible female superstar. Annie Clark being un-concerned about flooding her album with guitar licks is like Andre 3000 generally not wanting to rap on his music anymore. Both individuals have paid there dues and it’s about time they get the accolades they deserve.

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