Best of 2015

Essential albums

Whether it was tear-stained confessionals by Björk and Sufjan Stevens, love-struck pop bangers from Carly Rae Jepsen, or Kendrick Lamar’s outpourings of politically-focused fury, our favourite albums of 2015 have run the gamut of human emotions.

The Top 10

  • Grimes - Art Angels (Explicit) Contains explicit content
    • 16-bit FLAC
    Back in 2012, Claire Boucher’s disdain for perceived genre boundaries was genuinely revolutionary, and her penchant for blending seemingly-disparate styles made Visions one of the most influential records of the year. The fact that the Canadian producer’s eclectic approach is now common practice can’t help but remove some of the shock value from this follow-up, but only in the sense that we’re now prepared to expect the unexpected. Not only is Art Angels a more cohesive and consistently-melodic listen than Visions, it reaffirms Boucher’s status as a totally unique creative force. Seriously, who else but Grimes would even think to pair Taiwanese rapper Aristophanes with Dick Dale guitars (‘Scream’), K-Pop with country music (‘California’) or EDM with dream-pop (‘Realiti’), let alone pull it off with aplomb?
  • Björk - Vulnicura
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    Astounding as Medúlla, Volta< and Biophilia are, the more high-concept Björk’s work becomes, the further removed we listeners can feel from the human being behind the artist. Perhaps that’s why this ninth album feels especially arresting. Dealing with the disintegration of her relationship with long-term partner Matthew Barney, Vulnicura sees Björk detailing her fears and sorrows with astonishing candour, while stripping back labyrinthine layers of instrumentation to a staple palette of clipped beats, minimalist electronics and heart-tugging strings. The result is an extraordinarily brave and beautiful record, and arguably her finest full-length release since 2001's Vespertine.
  • Carly Rae Jepsen - E·mo·tion
    Take the royalties and exposure out of the picture, and you often find that a multi-platinum-selling single can prove a poisoned chalice for emerging artists. Just ask Carly Rae Jepsen, whose phenomenally-successful breakout hit 'Call Me Maybe' has overshadowed any material she’s produced since, largely because none of it has quite measured up to that unshakable earworm. Until now, that is, because Jepsen’s latest LP is so crammed full of killer hooks it makes selecting one standout track an utterly thankless task. Written in collaboration with Shellback, Sia, Greg Kurstin and Dev Hynes – and recorded with Haim-collaborator Ariel Rechtshaid – Emotion pairs voguish, 80s-style R&B production with timeless songwriting to quite magnificent effect. A pop classic in waiting.
  • D'Angelo and The Vanguard - Black Messiah
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    After a 14-year break from recording, D’Angelo finally dropped the follow-up to Voodoo in the dying days of December 2014, with zero forewarning. It was an extraordinary entrance for an album so extraordinary that we’re still digesting it. From commentary on environmental issues (‘Till It’s Done (Tutu)’) and simmering racial tensions in the USA (‘The Charade’), to songs deconstructing the cult of celebrity (‘Back To The Future (Part I)'), Black Messiah’s lyrical depth is expertly matched by its complex, jazz-infused arrangements. The result is a meticulously-realised, neo-soul tour de force, that was more than worth the decade-and-a-half wait.
  • Father John Misty - I Love You, Honeybear
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    Briefly Fleet Foxes’ (somewhat-apathetic) drummer, Josh Tillman returned to his solo career in 2012, rechristening himself “Father John Misty” simply because he enjoyed the bizarre juxtaposition of imagery. This irreverent approach to nomenclature gives you a fair insight into Tillman’s songwriting style too. Ranging from the string-driven, Mariachi horn-flecked Americana of ‘Chateau Lobby #4’ to the Harry Nilsson-style piano balladry of ‘Bored In The USA’, this latest collection excels in its pairing of absurdly beautiful melodies with hilariously deadpan lyrics. The result is a record that feels reassuringly “classic” and thrillingly original at the same time.
  • Jamie xx - In Colour (Explicit) Contains explicit content
    • 16-bit FLAC
    As full-time beat-maker in The xx, Jamie Smith has long been content to lurk in the shadows behind his band-mates, while quietly pursuing personal production projects on the side. This solo debut-proper marks the moment that his musical hobby becomes a genuine limelight-stealer. Boasting both emotional depth and an impressively progressive sonic scope, In Colour seamlessly weaves a broad spectrum of styles, moods, samples and types of instrumentation into one brilliantly cohesive electronic album. From the Popcaan and Young Thug-starring ‘I Know There’s Gonna Be Good Times’ to Romy Madley-Croft co-write ‘Loud Places’, this is the soundtrack to the summer and beyond.
  • Sufjan Stevens - Carrie & Lowell
    • 16-bit FLAC
    Speaking about his new album to Pitchfork, Sufjan Stevens stated, “This is not my art project; this is my life.” The moment ‘Death With Dignity’ ripples through the speakers, you’ve no choice but to believe him. Dealing with the loss of his mother to cancer, and picking over the details of their complex relationship, Carrie & Lowell is as personal a record as you’ll hear in 2015, and likely one of the most beautiful too. Peeling back the ornate arrangements and dense electronics of 2010’s Age Of Adz, here Stevens largely relies on fragile, acoustic guitar arpeggios and tremulous vocals to relay his grief, frustration and fear. The results are simultaneously totally spellbinding and utterly heartbreaking.