For the third year in running, The Young Folks music staff has compiled a list of our Top 50 favorite albums of the year. As with last year, the list was compiled through the votes of our music staff, plus the editors of other sections. Writers were asked to compile a list of their Top 25 favorite albums of the year, which were then compiled into our list.
First, here are some albums our staff loved, but did not make our Top 50
Honorable Mentions
Angélique Kidjo – Remain in Light
Beach House – 7
BTS – Love Yourself: Tear
Ceramic Dog – YRU Still Here?
Charlie Puth – Voicenotes
Flatbush Zombies – Vacation in Hell
Idles – Joy as an Act of Resistance
John Hopkins – Singularity
Kim Petras – Turn off the Light
Lena Raine – Celeste soundtrack
Lori McKenna – The Tree
Low – Double Negative
mewithoutYou – Untitled
OHMME – Parts
Playboy Carti – Die Lit
Public Service Broadcasting – White Star Liner EP
Rosalía – El mal querer
Sarah Davachi – Let Night Come On Bells End The Day
Sleep – The Sciences
Suede – The Blue Hour
Tropical Fuck Storm – Laughing Death in Meatspace
U.S. Girls – In a Poem Unlimited
Wussy – Getting Better
YUNGBLUD – 21st Century Liability
Please use the box below – and on the top of all other pages – to navigate through the list.
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50. The Good, The Bad & The Queen – Merrie Land
You know that feeling you get when you’ve just finished reading a horrendous newspaper article, and you glance out the window, hoping to see a blue sky, but your view is relentlessly cloudy and grey? Damon Albarn sure does—and thankfully, he’s written yet another beautiful album to guide us through it. In Merrie Land, he joins forces with legendary collaborators Paul Simonon, Simon Tong, and Tony Allen once more, bringing us his most cohesive, thematically intense release in years. Much of the album was written as a reaction to Brexit and the associated political upheaval, but chances are, you’ll be able to identify with its unease no matter where you live. Albarn and Co. use a variety of musical styles to weave theatrical tales about society’s failings: the reggae-inspired “The Truce of Twilight” would blend well with a Clash album or Gorillaz’ Plastic Beach, while “The Great Fire” has a dark carnival vibe with Demon Days-esque background vocals. The album is best listened to alongside its accompanying videos, which show each track being performed by eerie, yet somehow stately puppets—a creative choice that makes sense given Albarn’s penchant for the theatrical. – Brittany Menjivar
49. Empress Of – Us
With Us, Lorely Rodriguez has crafted a short and oh-so-sweet electronic-dance-pop record that is supremely satisfying from track one. The first five songs in particular waste no time at all in building earworms with seductive and energetic beats, starting with “Everything To Me,” co-written and performed by another artist on this list, Devonté Hynes, to the slow, bilingual burn of “Trust Me Baby” into the ecstatic “Love for Me” and “I Don’t Even Smoke Weed,” which is one of the most straightforward and unexpected titles of the year, but also a song with a great, wordless hook. The second half of the album slows just a bit, but it doesn’t contain any filler. In just 10 songs, Empress Of created a joyful and essential pop album of 2018. – Beth Winchester
48. JPEGMAFIA – Veteran
Veteran is one of those records that will hit you right away. JPEGMAFIA, or as he refers to himself “The Left-Wing Hades”, put out an album that is both a biting critique on anyone that he sees fit. Peggy has become numb to societies many faux embellishments and postering pseudo-intellectuals. All throughout Veteran, it’s clear that he is frustrated at how the world is turning out. He’s angry, and this album is his way of letting out that raw emotion. Peggy’s guttural and unfiltered energy lead to Veteran being one of the most intense rap albums of the past few years. No one is safe from his vexation; music critics and even The Smiths’ own Morrissey get a bar or two. His unique production only furthers this, as Peggy works in different genres like noise and experimental electronics. These elements are what make Veteran a tour de force within the landscape of rap. More importantly, it introduced us to JPEGMAFIA, who is quickly becoming one of rap’s most refreshing and welcome additions. – Mark Wesley
47. Let’s Eat Grandma – I’m All Ears
After their, er, more challenging debut I, Gemini, it’s pretty shocking to hear Let’s Eat Grandma’s follow-up contain something as straightforward as the crystal perfect “It’s Not Just Me,” a totally by-the-book bit of indie synth pop, especially when it immediately follows SOPHIE’s other writing credit, the temple-thwacking “Hot Pink.” Playing with that duality is what makes I’m All Ears a real breakthrough, with the tender “Ava” sandwiched between two tennish minute messes, and “Falling Into Me” falling from one mode to the other. – Joey Daniewicz
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46. Sheck Wes – MUDBOY
When Sheck Wes’ “Mo Bamba” exploded into America’s consciousness this fall, it was unexpected in every sense of the word—the song, a freestyle completed in only 20 minutes, was rapped by an unknown kid from Harlem and hyped up a largely unknown basketball player; had no radio or label promotion to speak of; and had been released over a year prior. Moreover, the song was unexpected because it was utterly incredible, great enough to elevate Sheck Wes from a rapper struggling to get his foot in the door into one of the most talked-about prospects of 2018. The album that followed, MUDBOY, was equally unexpected. Filled with reckless, deceptively simple raps detailing Wes’ coming-of-age in Milwaukee, Harlem, and Senegal, his debut both thrills sonically—every song, from the amped-up “Live Sheck Wes” to the eerie “Fuck Everybody,” is tailor-made to be screamed by moshing fans—and lyrically, as he delves into his own origin myth and the struggles he faced as an Islamic black boy growing up in the projects. MUDBOY not only meets the expectations set by “Mo Bamba” but exceeds them; in the process, it heralds the arrival of one of rap’s brightest new stars. – Drew Norman
45. Dream Wife – Dream Wife
“Dream Wife for life!” That’s one of many rallying refrains on “F.U.U.,” the grand finale to Dream Wife’s self-titled debut. Presumptuous of the band to assume you’ll be screaming their name by the end of the album? Not when the music is this good. These British punk goddesses are indeed a dream come true for all the fired-up young women who want music that fearlessly embraces the female experience but don’t find themselves identifying with the bedroom pop darlings who have recently risen to fame. The girls are fierce and relentless on “Somebody,” where they fight against objectification, and “Act Your Age,” where they refuse to be patronized. At the same time, they’re unafraid to show their vulnerability and sweetness—on “Hey Heartbreaker,” they talk about fancying the wrong man, and on “Kids,” they celebrate friendships that stand strong even as both parties evolve. All in all, listening to Dream Wife is like going to a super-fun sleepover where you share secrets and talk about the revolution while painting your nails red. – Brittany Menjivar
44. Superchunk – What a Time to Be Alive
Like Parquet Courts, these are decent leftist punks who have felt compelled towards violence by recent political events. Except they’re older and, amazingly, less forgiving than Parquet Courts. I think this is a less mature record than Wide Awake! – it’s got no ‘Tenderness’. But there’s no denying the power of its thrash, and how its aural and lyrical depiction of the terrible nihilism that underpins the Trump movement perfectly encapsulates the despairing current moment. They can’t believe they were so stupid to miss the real ‘Reagan Youth’ uprising in the 80s. So they make sure they won’t make the same mistake twice, and confront the current crop of nihilists head-on with some of the most bracing guitar music of the year. – Oliver Hollander
43. CHVRCHES – Love is Dead
Something more exciting than seeing a new band debut is watching a new band grow into something greater. The Scottish synth-pop trio CHVRCHES have been one of the most consistent bands of the decade and their third album continues their roll towards becoming one of alternative rock’s finest acts. Their longest endeavor to date is also their most synth-heavy as the production by Greg Kurstin and Steve Mac makes for the thickest and biggest music of the band’s career. The sonic structure of “Get Out” and “Never Say Die” call for handclaps and pumping fists in stadiums. And for someone with such a delicate voice, frontwoman Lauren Mayberry sounds like a tidal wave on the microphone. As far as CHVRCHES go, sky’s the limit for them. – Jon Winkler
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42. The Beths – Future Me Hates Me
The New Zealand foursome’s first full-length release doesn’t initially appear to be an album that would stand out from other indie debuts. There are so many every year and often these young bands tend to sound the same in their infancy, but The Beths are different. Their songs are immediately accessible and catchy, with the influences of surf rock and classic group harmonies shining through in the choruses that are built for sing-alongs in the car on a sunny day. Future Me Hates Me is the rare album that, upon first listen, already feels familiar to you, as if it is, in fact, your tenth listen. It’s a self-assured, fun, breezy listen that includes a necessary, grounding dose of relatable weariness and cynicism (see: the title track and “You Wouldn’t Like Me”). It’s a very promising start to a still-young band’s career. – Beth Winchester
41. The Aces – When My Heart Felt Volcanic
This quartet has somewhat quietly created one of the catchiest indie-pop albums of the year. With a confectionery sugary sweetness that permeates the tone of the music with an edge by women whose anger and disenchantment bleed behind the bubble gum sheath. Not to say there’s no fun to be had and songs such as “Volcanic Love” make a great argument for this genre mixing group to get their moment in the spotlight. – Allyson Johnson
Up next: 40-31
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40. Ashley Monroe – Sparrow
Sparrow recalls traditional country more than the Kacey Musgraves album that overshadowed it, and yet the first thing that its lush, soulful string arrangements bring to mind are Al Green and Memphis-era Dusty Springfield. Meanwhile, the lyrics encapsulate a level of fear, frustration, and desire—sometimes sexual, other times not—that allows Monroe’s voice to excel in ways it hasn’t before. – Matt Rice
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39. Bettye LaVette – Things Have Changed
This album of Bob Dylan covers comes, amazingly, from a woman who doesn’t even particularly like the man’s music: “I’ve never just sat and listened to Dylan. This is strictly the idea of the executive producer,” she told Rolling Stone, “I have not heretofore been a Dylan fan, per se.” Yet that lack of reverence is exactly what makes this collection so electric; worshipping at the altar of an artist saps the life out of all too many tribute albums. 72-year-old soul singer Bettye LaVette has the guts to mess with the Nobel Laureate’s work, adding a ‘fucked up’ or a ‘bullshit’ here, a reference to Bruno Mars there, and swapping the gender pronouns on several tracks. What’s more, she deletes several verses of “Ain’t Talkin’”, adds her own lines to some songs, and perhaps most impishly of all chooses to cover tracks mostly from his ’80s to early ’90s “lost” period, which is by far his most critically maligned. This idiosyncrasy suits the restlessly rebellious nature of Dylan. “Mama, You Been On My Mind” soulfully tips the hat to LaVette’s mother where the original seemed to kiss (or piss) off a lover. And “Do Right to Me Baby” actually generates some heat, a fast plane zooming rather than a Slow Train Coming. – Oliver Hollander
38. Lady Gaga & Bradley Cooper – A Star is Born soundtrack
The affecting and emotional soundtrack to the fourth iteration of A Star Is Born is a great part of what makes the drama stand out. With Lady Gaga’s powerful vocals and Bradley Cooper’s not-so-bad rock-country twang, the album is bursting with romance, angst, and all the theatricality you would expect from both stars. The soundtrack’s lead single, “The Shallow,” which serves as Ally’s (Lady Gaga) breakthrough moment in the film, is the kind of contagious ballad that is sure to live on in film and music history. But it’s the smaller tracks that make this album an invigorating listen. This is where it’s easy to lost the film’s rockist narrative (if you skip the dialogue tracks) and truly enjoy Ally embracing her pop career with songs, “Hair Body Face” and “Look What I Found.” But even then, it’s the big emotive ballads and duets where the soundtrack really soars. The rousing “Always Remember Us This Way” and the huge closer “I’ll Never Love Again” join the lead single in making this soundtrack one of the most enjoyable musical experiences of the year. – Gabrielle Bondi
37. Christine and the Queens – Chris
Héloïse Letissier, the performer at the front of Christine & The Queens, has rocketed past the dreaded sophomore slump with Chris. While the Queens’ first album had a few breakout hits, it was largely a nocturnal, introspective affair. Chris feels like the flip-side of the first album, announcing itself right off in bold colors and looks with its album photo and launching you into a series of dance-ready pop hits as soon as the album starts. The pop songs are undeniably catchy and immediately accessible, but they aren’t empty-headed. Letissier explores deeper her usual themes of gender and sexual identity and relationships, with the added undercurrent here of the relationship between the musician and her audience. The album was again accompanied by fun, visually striking music videos where Letissier works out and dresses in a three-piece suit (“5 dollars”), throws herself around a parking lot (“Doesn’t Matter”), and dances on top of a skyscraper (“Girlfriend”). The videos are an essential component to the album because the indelible beats Letissier creates with each pop gem demands you to feel her music in your body, not just your heart. – Beth Winchester
36. Courtney Barnett – Tell Me How You Really Feel
As with her debut, Courtney Barnett shines on Tell Me How You Really Feel with her thoughtful, and often very funny, lyrics and striking guitar playing. On many on the album songs, such as “Nameless, Faceless”, the brilliant polemic against internet trolls that acts as the album’s centerpiece and first single, Barnett perfectly blends her wordplay together with punk energy and catchy melodies. Tell Me How You Really Feel is one of the best songwriter albums in a year full of good ones. – Ryan Gibbs
35. Earl Sweatshirt – Some Rap Songs
When Earl Sweatshirt released “Nowhere2go”, the first taste of Some Rap Songs, after three years of silence, a cursory glance may have left some fans wanting—coming in at just under two minutes and with an instrumental composed of warping loops and lo-fi percussion, it seemed at once both too brief and too oblique to explain the many months of silence from Sweatshirt. But with his third album’s full release, featuring many songs with a similar formula, the Odd Future expatriate proved the power in brevity. 15 songs float by in 25 minutes, providing a series of miniature musical canvasses over which Earl can paint vivid portraits of depression, grief, and isolation. Don’t be fooled by its short length, lack of big-name stars (other former members of Odd Future, such as Tyler the Creator and Frank Ocean, are absent), or the understated beats; Some Rap Songs is an incredibly potent portrait of loss and its aftermath, and it was well worth the wait. – Drew Norman
34. Superorganism – Superorganism
The most original indie debut of the year, courtesy of a New Zealand group led by a Japanese teenager. Wowee Zowee weirdness for another universe in which dance-punk and psychedelic are indistinguishable. – Matt Rice
33. J. Cole – KOD
As far as themes presented in music go, J. Cole’s KOD might very well be my personal favorite of them all – and that’s coming from someone who spends way more time perusing the folk and Americana sections than hip-hop. Cole wears his heart on his sleeve her, perhaps as always, but does so in such a raw way that it hurts as he spits truth after truth regarding the dangers of drug abuse and addiction. It might not be the “coolest” perceived thing in music, but it’s the most real, and Cole sears as much as he soars with this cautionary material. – Jonathan Frahm
32. Haley Heynderickx – I Need to Start a Garden
On I Need To Start A Garden, listeners can witness the birth of a mighty, dexterous singer-songwriter in real time. Haley Heynderickx’s versatile voice often trembles as she stretches it to its tonal extremes, but it’s never out of self-doubt or anxiety. Through verbal gymnastics that range from indiscriminate compassion to biting wit, Heynderickx repeated proves that she knows precisely what she’s doing. To simply call her a folk singer distracts from the larger picture – because her impassioned vignettes bring in such a textured tapestry of sonic influences – but she certainly carries both the emotional fortitude and lyrical prowess of a Tin Pan Alley performer. First and foremost, Heynderickx is essentially a short story writer, and she crafts vivid, recognizable worlds for her stable of characters to explore. With this impressively robust debut, general audiences are learning what Portland locals have known to be true for years now: Haley Heynderickx a force to be reckoned with. – Brian Thompson
31. Liza Anne – Fine, But Dying
As the topic of mental health becomes more accessible to the general public, it’s important to reflect on the art that depicts what people experience every day. In Fine, But Dying, Liza Anne poignantly chronicles her experience with panic disorder— the track “Panic Attack,” literally describes the symptoms of her panic attacks in a way that makes you feel like you’re suffering right alongside her. Beyond the way anxiety and panic disorder can have a debilitating impact on your relationship with yourself, she also touches on the way such a personal battle can influence your relationships with the most important people in your life. Mental illness can understandably make you feel like you are going crazy but when artists like Liza Anne put their experiences into the world, they help the rest of us feel a little more understood. – Oleva Berard
Up next: 30-21
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30. Young Fathers – Cocoa Sugar
The Scottish hip-hop trio’s third full-length album is the first that matches the catchy and intense ferocity of their early EPs. Hooks like “You can be my only guest dressed in Sunday’s best,” “Tremelo my soul,” and “In my view, nothing’s ever given away” are their best since they belted “Inside I’m feeling dirty” in 2013. Meanwhile, the music—from the galloping beat of “Wire” to the video game synth on “Holy Ghost”—is simultaneously their most accessible and their weirdest. – Matt Rice
29. Vince Staples – FM
In a year where the rap genre was flooded with bloated records, Vince Staples’ FM inhabited a refreshing quality with its tight premise, and 22-minute run-time. The “Nawf Nawf Soldier” toys with irony on his third studio album, contrasting warm and buoyant production with dark and street-related lyricism. Narrated by LA radio host Big Boy, the record seamlessly weaves its way through its concepts as if one were actually listening to an FM station in the car. Whether it was unintentionally done or not, the album subtly represents the current state of our society, serving as a reminder to those who live in comfortable suburban homes that people are indeed out there struggling to find their own American Dream. By kicking off the record with the lines, “Summertime in the LB wild/We gon’ party ‘till the sun or the guns come out,” Staples wants listeners to know that the West Coast isn’t always fun and games. – Ryan Feyre
28. Yves Tumor – Safe in the Hands of Love
Safe in the Hands of Love sees Yves Tumor dipping into his seemingly never-ending experimental wheelhouse in hopes of creating an album that blends several different genres. Needless to say, he does so, and very well. The record features a huge stylistic shift from the distinct experimental noise and ambient soundscapes that been a staple in his earlier releases. This shift that is embarked upon pays off masterfully, despite the sheer cross-section of genres on the record. There is an innate sense of intricate craftsmanship that Tumor brings and it is present on every single track’s production. From the jaw-dropping instrumentation of “Lifetime” to the heart-breaking and socially conscious “Noid”, every single moment on the album is immersive and drenches you in the murky framework that Tumor paints. Yet, despite all of the arduous genre experimentation, Safe in the Hands of Love is still a gargantuan entry within the Yves Tumor catalog and well worth the price of admission. – Mark Wesley
27. Brandi Carlile – By the Way, I Forgive You
Carlile’s most sweeping foray into grandiose musical arrangements to date, By the Way, I Forgive You is as touchingly beautiful as it is burning with passion. Her fiery, ascending vocal performances and waxing on her dearest life reflections are met just as well by swirling symphonic arrangements that she manages to navigate way too well. Even for a singer-songwriter as accomplished in her lane as Carlile, this tear-jerker of an album feels like an achievement that breaks new ground. – Jonathan Frahm
26. The Carters – Everything is Love
A labor of love, Beyoncé and Jay-Z surprised fans with a joint album that continues the narratives that each started with Lemonade and 4:44 respectively. As their first full-length collaboration and released during the beginning of their On the Run II world tour, Everything Is Love is full of joy, emotion and absolution; an affirmation that after some difficult times and forgiveness, Beyoncé and Jay-Z are still a family and stronger than ever. The music itself is a balancing act between the artists, with Beyoncé dominating some of the best songs, like “APESHIT” by rapping. We’ve heard Beyoncé rap before, but leans much more heavily into on this album and gives her husband a run for his money on many of the album’s tracks. Overall, this collaboration is still a match made in heaven. Listen to “NICE,” “BOSS,” or get lost in the album’s opener “SUMMER” to see exactly why Beyoncé and Jay-Z are considered a couple of the best hip-hop artists ever. – Gabrielle Bondi
25. Troye Sivan – Bloom
Troye Sivan has an inherent sweetness that masks some of the sobriety of his lyrics, a duality that works wonders in his sophomore album, Bloom. An album that can include a club bop such as “Dance to This” along with sultury and sensual “Bloom” about first sexual encounters and “My My My!” about the thrill of enchanting first love is worthy of discussion. Nothing is frivolous about Bloom and Sivan’s smooth vocals perfectly encapsulate a message about youth and wanting while brazenly addressing LGBTQ subjects. – Allyson Johnson
24. Cupcakke – Ephorize
Cupcakke’s always been a rapper willing to go further down the rabbit hole of raunchy than just about anyone else—just one listen to her viral hit “Deepthroat” proves that. But though her third album Ephorize continues her reign as the absolutely hilarious queen of the female sex positivity movement (rapping “Coochie guaranteed to put you to sleep so damn soon/Riding on that dick I’m reading Goodnight Moon” on “Duck Duck Goose,” for example), the fact that her enormously catchy bars have only become more introspective and her beats only more global (her native Chicago drill easily chilling next to tropical house and partying alongside New Orleans bounce on Ephorize’s tracklist) since 2017’s Queen Elizabitch shows that her creativity, fearlessness, and unbridled honesty certainly aren’t just restrained to innuendo. Cupcakke is a talent with something to say, and Ephorize perfectly captures her unique and wholly necessary voice. – Drew Norman
23. Robyn – Honey
It’s been eight years since Swedish pop star Robyn has released a full-length album, but with Honey she gives us another masterpiece, although of a different nature. Instead of trying to overcome or recreate the magic of Body Talk, she decides to take a more direct, more immediate approach, in which emotions flow in a larger space. What we see now is an artist in another moment of her life, in which she still recognizes her iconic past but celebrates the mental place where she is now, with its chiaroscuros and its particularities. And if that were not enough, she shows us how to take huge steps forward in terms of production. With Honey, Robyn teaches us that there is more than one way to make perfect pop. – Leonel Manzanares de la Rosa
22. Arctic Monkeys – Tranquility Base Hotel & Casino
For their sixth album, Arctic Monkeys could have continued their riff rock trajectory by making an album of stadium glam or another dusty, desert punk collaboration with Josh Homme, and it would have been received just fine. Instead, however, the British quartet took a complete stylistic 180 on Tranquility Base Hotel & Casino, a psychedelic lounge-jazz album that is in part a concept record about a tacky hotel on the Moon. While those looking for another “R U Mine?” or a return to the spunky sounds of “I Bet You Look Good on the Dancefloor” may walk away disappointed, Tranquility Base is an artistic triumph that rewards close and repeat listenings. On song like “American Sports” and “Four Out of Five”, they channel fellow Sheffield band Pulp and art-longue stars like Serge Gainsbourg and Scott Walker, all while still keeping the songs their own as opposed to tributes to those artists. Tranquility Base succeeds where a lot of other mid-career stylistic changes have failed: Not only have the Arctic Monkeys recorded an album that sounds completely unexpected, but they’ve made it just as compelling as all their records before it. – Ryan Gibbs
21. Soccer Mommy – Clean
It’s been a damn good year for indie rock written by hopeless romantics, chief among them was 21-year-old Sophie Allison. Her lyrics of lusting from afar and grimy guitar strumming made for the best young romance story than anything that ran in theaters this year. On her band’s quick but cutting debut album, Allison and co. chug out scrappy guitar rock for fans of Sonic Youth’s heyday and, as she said in a recent interview, “the emo bitches.” There’s bits of Wilco-esque twang on “Your Dog” and “Last Girl” with the band’s own style of youthful droll. But like most great singer/songwriters, Allison shines when she has the spotlight to herself on the aching slow songs “Blossom (Wasting All My Time)” and “Scorpio Rising.” Clean is a very rough draft of what Soccer Mommy could do in the future, but everyone likes a scrappy underdog. – Jon Winkler
Up next: 20-11
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20. Pistol Annies – Interstate Gospel
Wonderful crisp production, autumnal instrumentation, stories written using wonderful flourishes of words, and, above all, wonderful singing make this the ultimate triumph from the three current queens of country music. Apart, they’re simply three of the most intelligent songwriters in the world. Together, they’re untouchable. Come for the undeniable surface pleasures in the gorgeous harmonies and simple yet delightful acoustic arrangements. Stay for the decidedly far from simple subversive tales that simmer beneath the album’s warm surface, such as the one about a daughter who wishes her judgmental mother had had some fun and slept with the milkman (‘but mama never did love nothin’ but daddy and me’). – Oliver Hollander
19. Hop Along – Bark Your Head Off, Dog
“Strange to be shaped by such strange men,” hums the absorbing refrain repeated throughout Bark Your Head Off, Dog, Hop Along’s empathetic exploration of gendered power dynamics. Filled with captivating tales told over ever-changing movements, the Philadelphia rock outfit’s fourth studio album once again showcases singer-songwriter Frances Quinlan’s dazzling abilities as a storyteller. Her commanding voice is much more reserved here than on previous efforts, but it is no less potent, drawing her audiences in with tales of unmatched compassion and intense humanism. The album marks a vast expansion in the band’s aesthetic capabilities, refining the unabashed raw energy of 2015’s Painted Shut and trading it in for a softer, more deeply textured sound that incorporates a wide array of blurred genre lines. With sweeping strings and peppy keyboards, the band crafts self-reflective ballads and zippy dance tracks, continuing to defy easy categorization and taking their place as one of rock’s most skillfully chameleonic acts. – Brian Thompson
18. Travis Scott – Astroworld
No one has had a bigger year in hip hop than Travis Scott. The Houston rapper came out with arguably his most complete and diverse record to date with the much anticipated “Astroworld.” Sonically, Scott finally puts his psychedelic influences to good use, specifically with the additions of Tame Impala and Thundercat on the tracks, “Skeletons,” and “Astrothunder.” The result is unlike anything I’ve heard before in modern-day trap music. Between the kaleidoscopic twists and turns on “Stargazing” and “Sicko Mode,” to the personal references on “Who What” and “Yosemite,” Scott seemingly creates his magnum opus. The aesthetically mindboggling production immerses listeners into the rapper’s own rendition of the torn-down amusement park, and doing so without ever showing an ounce of predictability. Astroworld was the ultimate triumph for an artist who continues to push boundaries within the Houston scene. – Ryan Feyre
17. SOPHIE – Oil of Every Pearl’s Un-Insides
SOPHIE’s 2015 EP PRODUCT was great, but though it was likely the best output of the PC Music era, it still felt like just a chapter, perhaps because it felt somewhat anonymous. So she showed her face and her voice for the first time on the glorious, gentle “It’s Okay To Cry.” The rest of the album spends much of its time pulling your hair and spitting in your face, right away on “Ponyboy” and then to close on “Whole New World/Pretend World.” Then we feel so compelled to return to such punishment, both because SOPHIE has otherwise cultivated a wondrous, unique sonic footprint and because of the sheer thrill that the best has been unleashed. – Joey Daniewicz
16. Lucy Dacus – Historian
Historian is one of the most lyrically captivating bodies of work of this year. One of Lucy Dacus’ talents as a songwriter lies in her ability to uncover the lessons that come with some of life’s most unpleasant experiences. Head on engaging with topics like her Grandmother’s death, a discovery of faith (or lack there of), and that unavoidable period of writer’s block, Dacus reminds us of why these moments in our lives are important. Experiences stick with us, good or bad, and have the ability to change us in ways that may be completely necessary. Historian is one of those albums that as you listen to it a second or a third or even a fiftieth time, you’ll keep uncovering new ways that her words stick with you – Oleva Berard
15. MGMT – Little Dark Age
Out of all the 2000s indie giants, MGMT has the weirdest track record. Their poppy, yet psychedelic debut Oracular Spectacular saw them sailing onto the scene like Bastian riding Falcor in The NeverEnding Story, armed with fervor, whimsy, and hooks galore. Then the guys made a sharp turn with Congratulations, a mystifying experimental follow-up, and more or less fell off the face of the Earth, except through continued streams of “Kids” and “Electric Feel.” That is, until Little Dark Age put them back on the map. The album is everything you could hope for in an MGMT comeback, whether you prefer the duo’s synth-y hits or stranger deep cuts. Highlights include the title track, which indulges in glistening dark wave influences; “When You Die,” an Ariel Pink collaboration that’s even more menacingly gorgeous than you’d expect; and “When You’re Small,” in which Ben Goldwasser takes Andrew VanWyngarden’s place as lead vocalist. – Brittany Menjivar
14. Pusha T – Daytona
Pusha T stated in a Tweet prior to the release of his new album that, “Daytona represents the luxury of time. That luxury only comes when u have a skill set that your confident in.” Time is all the coke rapper needed in order to put out his most complete record to date. With some of Kanye West’s best production from his tumultuous 2018, Daytona finds Push comfortably within his element of drug tales, but with more of a focus and purpose. At a cool seven songs and 21 minutes, the G.O.O.D. Music president delivers razor-sharp bars over soulful production, while seemingly never taking a breath in the process. Between memorable lines (“Never trust a bitch who finds love in a camera/She will fuck you, then turn around and fuck a janitor”), haunting piano chords, and subliminal shots at the one and only Drake (“Infrared;” which eventually lead to “The Story of Adidon”), Pusha T solidified himself as one of the best rappers of 2018 with Daytona. – Ryan Feyre
13. Blood Orange – Negro Swan
The career of Devonte Hynes goes all the way back to 2004 and during this time, he has steadily created a notable discography. Under his Blood Orange moniker, however, Hynes has crafted a slew of albums that feel like classics in the making. With that being said, Negro Swan is the magnum opus within the Blood Orange discography. The album is a stunningly beautiful and insightful venture into the minds of those in marginalized communities who suffer from mental illnesses. In contrast to the other albums within Dev Hynes’ catalog, Negro Swan may seem unassuming at first. It may not have the sensational danceability of Cupid Deluxe or the lush, soothing hooks of Freetown Sound, yet the album manages to be an even more of a sonically immersive experience. It sees Hynes working in elements of alternative R&B, hip-hop, and jazz to absolutely wonderful results. Despite the album dealing with such a grim topic, there is an atmosphere of hope permeated throughout the album’s narrative. This hope, on top of everything else, makes this release feel timeless. – Mark Wesley
12. Parquet Courts – Wide Awake!
Punks who sound like they listen to as much hip-hop or P-Funk as Clash or Ramones are my kind of punks. And this near-concept album about the joys and horrors of being ‘woke’ in today’s society hits twice as hard because of the boogie that sometimes underpins the guitar crunch and howled vocals. Violence is the running theme, about how it can infect just about anyone, even an inherently decent person, in the age of Trump and big business, which don’t give a toss about the (literal and metaphorical) waters getting too high because they’re already high and dry up there in their mighty skyscrapers. But the album invokes Otis Redding and finishes with a track called ‘Tenderness’ for a reason. – Oliver Hollander
11. Kali Uchis – Isolation
Don’t be fooled by her alluring poses in the finest dresses and makeup that makes her glow: Kali Uchis is a stone-cold killer. The more she looks into your eyes and hypnotizes you with her smokey voice, it gets her that most closer to ripping your heart out of your chest..and laughing while doing it. Her debut album is chock-full of smooth yet sharp lounge pop that shows off the bossy strut she exudes when she sings. It’s easy to picture her waving and snapping her fingers in defiance on “Miami” and the funky Steve Lacy-collab “Just a Stranger.” There’s plenty of glee to be had on Isolation but don’t mistake it for a lack of conviction as her words hurt like daggers (“See, you think you got problems with me/But baby I don’t even think about you”). And anyone blessed with the presence of the Starchild himself, Bootsy Collins” on a single must be doing something right. – Jon Winkler
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10. Kendrick Lamar & various artists – Black Panther: The Album
Soundtracks for superhero blockbusters are rarely memorable.Black Panther: The Album is an exception—which makes sense, as Black Panther was an exceptional film, in terms of both its heroic black protagonists and its stunning artistic vision. Ryan Coogler didn’t request an entire curated album from Kendrick Lamar; this was his labor of love for a movie that he saw as culturally important. That sentiment shines through in the songs, which feature a myriad of 2018’s leaders in hip-hop, rap, and R&B. Who’s here, you ask? Who’snot here might be a better question—vocal powerhouses SZA and Jorja Smith, groundbreaking rappers Vince Staples and Travis Scott, Rae Sremmurd member Swae Lee, and radio favorite The Weeknd are only a few of the artists who contribute their talent to the record. Certain tracks, like Lamar and SZA’s “All the Stars,” capture the film’s themes of ambition and revolution, while others, like “Black Panther” and “King’s Dead,” feature lyrics spoken from the perspectives of characters like T’Challa and Killmonger, adding new layers of depth to the story. – Brittany Menjivar
9. Snail Mail – Lush
Few musicians have had a better year than Lindsey Jordan. 2016’s Habit EP garnered Snail Mail a sizeable following, but with the project’s dynamic debut studio album, Jordan became lauded by many as the savior of indie rock. From its sleek, crisp guitar licks to its astonishingly unfiltered lyrics, Lush is bursting forth with fertile life, allowing intricate layers of sound to take swirling melodies and textured meditations to a new level altogether (Before 2018, who was expecting to hear a French horn solo on a Snail Mail track?). Here, producer Jake Aron has sanded down the edges and further accentuated this gem of a performer. Propelled by her majestic guitar shredding and her heavenly gift of sincerity, Lindsey Jordan is the indie-rock prodigy all other will soon be imitating – assuming they aren’t already. Right out of the gate, she’s created a hazy, bedroom pop masterpiece, and we will all be waiting in anticipation for whatever comes next. – Brian Thompson
8. Boygenius – Boygenius EP
On their own, singer songwriters Julien Baker, Lucy Dacus and Phoebe Bridgers are composing some of the most interesting and beautiful music in indie rock and folk, delivering three of the best albums of the last two years. With boygenius – their own on brand super group – and their self-titled debut they’ve combined their musicality and versatile, empowering voices to create a work that both transcends what they’ve done individually while never straying too far from what makes them all such evocative talents. Soulful with a sound that sweeps us away and lyrics that can devastate (“I want to be emaciated/I want to hear one song without thinking of you” in particular is a killer in “Me & My Dog”) boygenius rally’s the lovesick and forlorn, those looking for escape or salvation, those falling in and out of love and gives them a commiserating escape. – Allyson Johnson
7. The 1975 – A Brief Inquiry Into Online Relationships
The first of two entries in the 1975’s so-called “Music for Cars” era sees the British group fully embrace the label of being a guitar pop band as opposed to anything with the words indie or alternative in it. As with their last album, Matty Healy and company act as musical sponges who absorb and reconfigure unjustly forgotten subgenres while putting their own spin on the affairs. While I Like It When You Sleep leaned heavily on sophisti-pop, the only representation here is the majestic, Blue Nile-influence “Love It If We Made It”. It’s of the year’s best songs and one whose brilliance gets unsold when it is referred to as the millennial “We Didn’t Start the Fire”. The rest of the album is just as fantastic too, telling stories of Healy’s drug addiction and rehabilitation (“Living Is Easy If It’s Not With You”) and his fascination with his American fanbase told through a trap beat (“I Love America and America Loves Me”), alongside a darkly funny update of Radiohead’s “Fitter Happier” (“The Man Who Married A Robot”). For such an ambitious album, A Brief Inquiry Into Online Relationships is also a ton of fun, and it’s extremely rewarding for those who let go of their their preconceived notions of who The 1975 are supposed to be. – Ryan Gibbs
6. Noname – Room 25
When was the last time you could call a great hip hop album “cleansing”? After inducing the word “promising” from every music writer two years back with Telefone, Room 25 is the promise. And with the exceptions of the triumphant “Ace” and the swaggering “Part Of Me,” the entire album goes down so smoothly that on first pass you might not notice her effortless flow or her peculiar sense of humor. But Room 25 is the sort of album that keeps on giving, even the twentieth time you’ve heard it. – Joey Daniewicz
5. Ariana Grande – Sweetener
If 2018 belonged to anybody, it was Ariana Grande. Digging beyond her engagement, tabloids, her break up, her post-break up anthem and her post post-break up sex jam, you’d be forgiven if you forgot that she dropped the best pop album of the year. With the likes of Pharrell Williams and Max Martin behind the boards, Grande has never sounded more commanding or confident on record. The alluring presence she holds on “God is a Woman” is matched by the heavens her vocals reach on “Breathin’” or the joyous buoyancy she emotes on “R.E.M.” She also slides into some of the weirder beats Williams throws at her, like the kooky bounce of “The Light is Coming” and skittering tropical ticks of “Successful.” But it all comes back to her voice that soars beyond the Mariah Carey comparisons and finally becomes her own: equal parts graceful and powerful. Thank you Ari, next please? – Jon Winkler
4. Cardi B – Invasion of Privacy
2018 was a huge year for Cardi B. The rap artist broke out with “Bodak Yellow” and absolutely exceeded expectations with her album this year, Invasion of Privacy. Invasion of Privacy is intimate, funny, and emotional, an almost perfect reflection of Cardi B as an artist and social media star. She raps about everything from living her best life to cheating partners and moves through each emotional high and low effortlessy with this album. By Infusing her personality so tightly to the lyrics in this album it makes this album such an entertaining listening experience. While “I Like It” may be the biggest hit of the album with Latin artists Bad Bunny and J Balvin features, “Be Careful” is the gem of the album. Both tracks showcase Cardi’s latin roots, but “Be Careful” expands her emotional range, and the album slowly builds on that hurt she feels over being cheated towards the album’s end with tracks, like “Thru Your Phone” or “Ring.” Invasion of Privacy proves the naysayers wrong and cements Cardi B as one of the year’s best artists. – Gabrielle Bondi
3. Kacey Musgraves – Golden Hour
Upon the first thoughts you have when listening to Golden Hour, “is this… country?” rises to the top of the list. Because between existential questions and the unexpected use of vocoder, Kacey Musgraves managed to make a modern country album that transcended the often polarizing genre line. Crossing into unfamiliar territory when it comes to influences—like disco— Musgraves ties her lyrical honesty into a sonically cohesive body of work that sounds like a hug feels. It’s sleek, beautifully atmospheric, and is full of wisdom from Musgraves’ Texas roots. Going on to win the CMA Album of the Year award in a time where women were basically non-existent in country radio, Kacey Musgraves is basking in her definitely earned, golden hour. – Oleva Berard
2. Mitski – Be the Cowboy
Mitski’s biggest strength, perhaps more than any other artist on this list, is her ability to know exactly what she wants to say and to say it in the most immediate way possible. Only two songs of the 14 that comprise Be the Cowboy go over three minutes, but the songs never feel slight. Rather, each packs enough power to excite you and leave you wanting more without remotely leaving you unsatisfied. Mitski turns up her sound this time around, and it results in true guitar rock moments, particularly in “Geyser” and “Remember My Name,” as well as drily funny disco-pop tunes like “Why Didn’t You Stop Me?” and “Nobody.” The overall impression created is that of a woman unraveling in dramatically fantastic fashion, while the person telling her story is absolutely in control. Be the Cowboy is a buffet of expert instrumentation and vocals in the realm of rock, pop, disco, country, and torch songs and it signals the arrival of an undeniably essential artist. – Beth Winchester
1. Janelle Monáe – Dirty Computer
We made it through 2018, and in a year where a song like “Screwed” seemed so necessary, that wasn’t a guarantee. “You fucked the world up now/We’ll fuck it all back down.” Much of Dirty Computer concerns sex—sex to numb the pain, to bring some goodness into the world, to piss off the bastards, or just because. Why let them keep your libido down? She’s Prince-like in her belief in the healing powers of getting freaky, as well as in her otherworldliness. After the best four-song run of this decade (Screwed”-“Django Jane”-“Pynk”-Make Me Feel”), the record mellows, with songs like “I Got the Juice” and “So Afraid” that are merely excellent instead of perfect, but she always keeps it funky. “Black girl magic, y’all can’t stand it,” indeed. Cue the violins and violas. – Matt Rice
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