The Top 25 Albums Of 2014 (So Far)

We're officially past the halfway point for the calendar year – and sitting at the cusp of a brand new financial one – so it seems like the perfect time to reflect on the albums that have shaped our soundscape for the first six months of 2014.

We polled the editorial staff in The Music's offices around the country to find out what has kept their ears happy so far this year, and it turns out that listeners have been utterly spoiled for choice across a wealth of genres as far as quality releases since January.

Rising locals, international post-rockers, global country legends, Aussie stalwarts, certified face-melters and newly minted world-dominators all get a look-in among the ranks – so, without further ado (and, as always, feel free to tell us in the comments where you think we went wrong or went right), our top 25 albums of the year so far are, in alphabetical order…

“New opus Grassed Inn  [is] resplendent with [Blank Realm's] trademark wonky melodies and incessant hooks.” – Steve Bell

Brissy-based four-piece Blank Realm got the year off to a cracking start for everybody with their newest full-length, Grassed Inn, which first graced our earholes back in January. The album, the BIGSOUND-bound band's follow-up to their assured debut Go Easy (2012), finds them with a refined sense of focus and accessibility, the result of which is a finely tuned pop streak across their layered mix of influences.

As vocalist/drummer Daniel Spencer told The Music: “Our other records have had a bit more of a long-form, improvisation vibe or had been distilled down from longer improvisations, whereas with this one we wanted to keep that kind of meandering to a minimum.”

“Faceless emanates a slick, punchy sound … A welcome prospect for the pit ninjas.” – Brendan Crabb

Sydney-based metalcore stalwarts Buried In Verona challenged expectations with fourth LP Faceless, a continuation without being a repetition of the sonic structures and set-ups the band has begun using since the Midyear Mayhem heavyweights first started growing beyond their less-melodic roots.

It was always bound to happen, though — as head shouty-man Brett Anderson told The Music: “I think Buried In Verona will never write the same record twice, because it's just boring to us. We try and reinvent what we're doing all the time, and have a bit of a fresh sound. People can say we're trying to copy other people or whatever, but this is fresh to us."

“A well-rounded record, finding [Faker] continuing to … create mellow vibes that roll with laidback beats.” –  Guido Farnell

ARIA Albums Chart-topper Chet Faker showed us he means business with his exemplary debut long-player, Built On Glass.

The record immediately impressed our reviewers with its polished demonstration of the historically hirsute performer's acclaimed genre-crossing electro-tinged compositions.

We'd say it's an enigmatic package, but Faker doesn't seem one to buy into his own hype. "I think people think I'm mysterious because they don't know anything about me," he said, "but that's because I don't go out of my way to tell everything about me because I'm a musician, I'm not a TV personality."

“By the end of it all you're left dazed, wondering what the hell just happened.” – Ben Doyle

If it seems like the vocals on Here And Nowhere Else, the fourth album from Ohio-based indie stalwarts Cloud Nothings, are more than a little improved than what we heard on 2012's Attack On Memory … there's good reason for that.

But it's not just the microphone department that's improved — a fact that becomes clear literally ten seconds into proceedings as the record sinks in its devilish talons and it quickly becomes apparent that even if, impossibly, the band was less than happy with any aspect of this album, you certainly won't be.

“Parton shows no signs of slowing down with Blue Smoke; rather quite the opposite.” – Tyler McLoughlan

Shut your trendy pie-holes, Dolly Parton is a legend. By all accounts, the 68-year-old veteran performer has absolutely still got it when she does her thing in front of a cheering crowd of people.

And, as it turns out, so too does she very much rock the house when pumping out of headphone and speaker alike, with Blue Smoke — her 42nd (!) LP — doing much to show that age has done nothing, or at least very little, to dull her eternal charm.

“You can't stay young forever ... [DZ] sound like they're starting to come to grips with this realisation.” – Tom Hersey

Aaaand we're back! Party time, yeww! Except, despite appearances, hard-rockin' Queenslanders DZ Deathrays seem to be rather the astute business types, having signed an international label deal before they dropped their super-fantastic sophomore effort Black Rat.

Then again, they haven't earned their reputation as being music-slinging harbingers of madness incarnate for nothing, so despite their corporate clout, yes, this is very much a party and you are all invited forever.

“It's the way [Zaba] plays out as a whole that's the true triumph – utterly killer.” – Ben Preece

British-bred four-piece Glass Animals recently swung through the country for their first Aussie tour, a couple of months before the release of their corker of a debut LP, Zaba.

It's a pity, too, as the longtime friends and unashamed Kanye fans are well known for their captivating live shows, and it'd have been nice to have some time with the finished product before they brought the goodness to our shores.

“The New Classic … marks Azalea's territory as more than just a hype machine and shows she's a force to be reckoned with in modern hip hop.” – Sally-Anne Hurley

What can we say about Iggy Azalea that hasn't been said already? The woman is unstoppable – a veritable rhyme-spittin', chart-destroyin', record-settin' machine.

Regardless of your personal opinion, there's no denying the commercial clout and success being enjoyed by the former Mullumbimby lass who saw greener pastures on the horizon and found them no less verdant when she got there.

Whether you know her for The New Classic smash hit Fancy (or earlier singles Work, Bounce and Change Your Life), her appearance on Ariana Grande's Problem, or her general inescapable ubiquity right now, be prepared to see a lot more from this incendiary Aussie rapper abroad.

“This new album serves as a new chance for The Jezabels to bring their strengths to the synth-pop table.” – Hannah Story

Everything's been just a bit grand for local indie-pop trailblazers The Jezabels of late, who followed up the January release of their sophomore full-length The Brink with a recent run of shows in the fancy-pants surrounds of the Sydney Opera House.

It's been an interesting run for The Jezabels, an award-nominated and Australian Music Prize-winning band that nonetheless, given their female-fronted nature, face challenges in the face of the male-dominated world of music criticism.

Damned if output like The Brink doesn't demonstrate they're accepting and beating the almighty heck out of such obstacles, though.

“Impressive and humbling in performance ... Tawadros' latest release can only be met with awe.” – Lukas Murphy

Much like last year's truly excellent Chameleons Of The White Shadow, Permission To Evaporate finds transcendent world musician Joseph Tawadros in as fine a form as ever.

Indeed, as our reviewers noted, it borders on the unachievable to fairly pay Tawadros the dues he deserves — his awe-inspiring talents serve not just to entertain but to guide, to evoke a sense of journey and wonder, not just about what an "oud" is but in a deeper, kind of wanky sense, too. It's really great.

“Our host's flow is on point, spitting poison darts as the beat meanders menacingly.” – James d'Apice

Writer, rapper, activist and YouTube star L-FRESH The Lion didn't totally convince our reviewer with his debut album, One.

Still, the beauty of music is the ability for it to be appreciated subjectively, and the final call is that the bearded wordsmith's distinct style, social awareness and deft lyricism found in cuts such as Faithful, Victory and The Time Has Come all conspire to help solidify his well-deserved place on this esteemed list.

“Rooms Of The House is an album that you'll keep coming back to, even if you're not quite sure why.” – Ben Doyle

The forever frenetic La Dispute, who were juuuust in the country on a tour with the similarly shattering Balance & Composure, deliver a ream of immersive tales on their third studio full-length, Rooms Of The House.

But these are no bedtime stories — the band's trademark dichotomy of spoken-word/screamed-out delivery courtesy of colourful frontman Jordan Dreyer ensure that even though we're three albums in, and even though the rooms of the house are polished — so to speak — tracks such as Woman (in mirror), Woman (reading) and First Reactions After Falling Through The Ice prove they're anything but overcooked.

“The lightning quick tempo ... will keep toes tapping and the raucously dancing listeners happy.” – Ash Goldberg

Oh, man — if you're not familiar with the rambunctious fun-time factory that is Sydney's Little Bastard, then Little Bastard is where you get on board.

The seven-piece punk-string took a while to settle on numbers, but the final line-up fills the soundscape beautifully as raucous guitar'n'banjo lines jostle for space with fiddle, mandolin, harmonica, bass and percussion alike.

Rollicking cuts I Just Want You Home, Bodies In The Water and first single High For You all stand out among the grab-bag of goodies, but the entire thing is well worth your time, as the recent FOUR|FOUR signees are only just at the start of their real journey.

“It's hard not to let a patriotic sense of pride wash over you when listening to By A Thread .” – Ben Doyle

Infamously rowdy Tasmanian purveyors of "world-class" punk Luca Brasi do big things in little time frames on their sophomore LP By A Thread, sticking mostly to a mantra of "three minutes or less" as they rip through powerful arrangements such as Get Sad, See Mates, Here's Looking At You Kid Rock and Borders And Statelines.

Nonetheless, beneath the electric veneer lies a depth of thought and consideration that belies its brash exterior. As bassist/vocalist Tyler Richardson told The Music: “This [record] is really reflective; the first one seems to be flat-out where we were at that time – I guess not much has changed but at the time it was just reckless abandon."

“A swag of new pedals and synths ... has made way for a decidedly more electronic canvas.” – Tyler McLoughlan

Scottish post-rock mainstays Mogwai amp up the electro aspects while drifting fundamentally towards more traditional form with eighth studio full-length Rave Tapes, after heading for darker, more guitar-driven pastures on 2011's Hardcore Will Never Die, But You Will.

The glistening, glitchy, dynamic soundscapes that fall forth from the album's ten tracks create a confluence of sorts of the quintet's previous albums, with themes and elements not seen for years popping up in a manner both nuanced and explicit, helping to make Rave Tapes the band's most rewarding album in almost a decade.

“It's been a long time between releases ... Black + White Noise proves to be well worth [the wait].” – Jazmine O'Sullivan

Perth-bred (via London) African Australian rapper N'fa Jones — best known for his work as frontman of defunct hip-hop ensemble 1200 Techniques — followed up his 2006 debut Cause An Effect in April with the eagerly awaited Black + White Noise.

But, despite the wait, N'fa makes it well worth your time coming out, just as he does in the flesh, even as a support act. From the opening moments of Joy Of The Sun, Mr Jones pulls out all his well-crafted tricks to ensure even those who don't usually dabble in the rap game come out the other side with a smile on their faces.

“The imagery invoked by the title, Sunbathing Animal, perfectly captures the calm insouciance of the Brooklyn-based quartet's third album.” – Steve Bell

The prolific Parquet Courts make their second appearance in the mid-year round-up in as many years, following last year's inventive, rambunctious entry Light Up Gold with the deceptively casual – but still vitally buoyant – Sunbathing Animal.

The follow-up serves to solidify the Splendour In The Grass drawcard's place as one of the most exciting punk-fused garage-rock acts doing the rounds at the moment, as renowned for their wild live shows as they are their brash recorded output.

By the way, "insouciance" is like a casual lack of concern, or indifference. Just in case you didn't know that. Because who does?

“Do It Again offers up an astral journey ... returning us at the end of it all spent but smiling.” – Ben Doyle

All right, granted, it's a mini-album, but at more than half an hour in length, Do It Again — a collaboration between Norwegian electro duo Röyksopp and Swedish singer Robyn — more than qualifies next to some of its peers on this list.

Besides, with a journey in front of you that includes two ten-minute tracks — the epic, breathy Monument and warm-down chamber echoes of The Idle Hour Club — as well as the sassy Sayit and the quirky, nuanced arrangement choices we've come to expect from Röyksopp, how could you possibly say no?

“A good collection of folk/blues and national myths delivered by a man who knows his way around the local biz.” – Liz Giuffre

Ahh, breathe that in, people. You smell that? That is salt-of-the-earth, veteran singer-songwriter Russell Morris and his stellar ode to old-timey Australiana, Van Diemen's Land.

The ARIA Hall Of Famer only just achieved his first Top Ten album last year with Sharkmouth, the first in his Australiana series, and, taking into account the consistent strength of this follow-up, the resurgent muso is already thinking about wrapping up the trilogy when he gets the time. Find the time already (please), we say.

“What she does next may well be more personal but as it stands, her fifth long-player is crying out to be heard live.” – Mac McNaughton

Stylish, indomitable soul chanteuse Sharon Jones and her backing band The Dap Kings made their (understandably) belated return in January with their sixth studio LP, Give The People What They Want, and what a fitting triumph it is.

Sure, it doesn't break any boundaries, necessarily, but it is a thoroughly enjoyable, and rarely dull, set of songs, from opener Retreat! to the evocative finish of Slow Down, Love.

It's prescient, perhaps, that our reviewer noted the album's apparent appropriateness for a live setting — Sharon Jones & The Dap Kings just announced they'll indeed give the people what they want and soon head Down Under to woo us in the flesh.

“Four years since their garage-punk debut ... Straight Arrows have come out with [a] garage-pop winner.” – Hannah Story

“[You] can't really take yourself too seriously if you're having trouble playing your guitar," Straight Arrows' Owen Penglis told The Music recently. "We've gotten better now. You can't take yourself too seriously if you're just onstage making mistakes. I guess people can relate to that – everyone makes mistakes, and we're saying it's cool to fuck up on stage and it's cool to sound shitty.”

The thing is, on their four-years-in-the-making sophomore effort Rising, very little among the album's 13 tracks — not Fruit Of The Forest, not Petrfied, not Changing Colours or pretty much anything in between — approaches the realm of sounding "shitty". It just straight-up four-star rocks.

“There's a bit of everything going on in Sun Structures ... and just enough pop sensibility to keep the whole carriage together.” – Cam Findlay

English psych-rock upstarts Temples are an appropriately named lot, what with the veritable church of worship that's formed at their feet in the lead-up to and consequent wake of their scene-shattering debut LP Sun Structures.

They achieve moments of flawlessness on-stage, and they come pretty damn close on record, too, even if co-founder James Bagshaw is still having a time of coming to grips with the success that was heaped upon them following the bandwagon trailing their debut single, Shelter Song, a couple years back.

Plus: mad hair.

“Terje's playful impulses sail pretty close to the wind at times, but he pulls it off.” – Christopher H James

It's been nigh on a decade since Norwegian DJ Todd Terje started making serious moves outside his home country, and despite its lounge-singer artwork, his incredibly long-awaited debut effort It's Album Time delivers on the promise he's been so steadily making in that time.

There's an absolute glut of hypnotically hip-thrusting hearables on the record, from early earworm Strandbar to the regal Delorean Dynamite and opulent highlight Svensk Saas.

If you're a fan of fun and moustaches, strap in for a good time.

“If there is a typical system on Typical System, it's that Total Control will do whatever the fuck they want – and do it better than most.” – Brendan Telford

Give up on trying find a way to neatly categorise the cacophonous confluence of sound that Total Control bring to the table on latest LP Typical System.

On it, the Melburnian quintet have done an exemplary job of delivering an unrelenting aural assault that utterly shines when it hits obvious peaks such as Flesh War, 2 Less Jacks, Systematic F**k and Expensive Dog.

It's a rewarding listen, not only for the listeners but hopefully for the band themselves, to know that they have so vividly flourished in the face of "flippant" expectations.

“What really propels Warpaint forward ... are Emily Kokal's ambient vocals.” – Hannah Story

Emily Kokal and her compatriots in Warpaint have, in Warpaint, dropped a considered, nuanced set of songs that won serious accolades from more than one among The Music editorial staff.

While it is a great record, it's hardly going to change your mind if you've already made it up — as our reviewer explained, it's not likely to win that many new fans — but the US-based all-lady (not that that matters) indie-rockers are hardly in need of them.

Still, if you're unfamiliar, we'd heartily recommend you at least give it a red-hot try.