The year is approaching the halfway mark, and there's no better time than now to look back on the cream of the music crop. An incredible number of incredible albums have hit the market since January, some finding mainstream acclaim and others cueing up hype from those in the know. Over the past six months, we've kept an open ear and pulled together the 25 albums you should have heard so far in 2014. Listen now, thank us later.

BOOTS, WinterSpringSummerFall

(Independent)

BOOTS is an emerging Internet artist in the same vein as Childish Gambino, but the only difference is that he's gotten a huge cut of interest from Beyoncé and Jay Z. After producing almost all of Beyoncé and signing to Roc Nation, he didn't make too many waves with his debut. Then you dive in and recognize why. His production overshadows his vocals and lyricism. In fact, you could just say the latter two are mere seasoning to a tender, yet well-vetted taste in music. Nevertheless, his story is laid out on the tracks (no pun intended on opener "A Day in the Life of Jordan Asher"), and he's no doubt establishing himself as a cornerstone you won't want to sleep on. — Brendyn Rucker

BROODS, BROODS

(Capitol/Polydor)

It was about time that the Kiwis infiltrated America in full effect. With Lorde's complete 2013 takeover and Kimbra waiting in the wings after her epic appearance on the mega hit "Somebody That I Used to Know," the time for a new outfit from Down Under was well overdue. Brother-sister combo Georgia and Caleb Nott have created BROODS, and it's the perfect ying-yang of synth and pop that helped them land at No. 8 on the New Zealand singles list with "Bridges." Heavy on the piano, these kids have also worked with Joel Little, the mastermind producer behind "Royals." The album is ethereal and wise beyond the years of these teenagers, and hopefully a sign of what's to come. — Liz Culley

Eagulls, Eagulls

(Partisan)

Discontent and DGAF-ness clash on this Leeds band's debut full-length and the result is loud guitars, walloping drums and frontman George Mitchell drilling out words like an angsty detention teen meets his tyrannical headmaster. It's with both an eyeroll and closed eyes—a universal emotional signifier—that Mitchell delivers his lines, which is probably why even when they're bad-mouthing their contemporaries like it's whatever to them, you can tell they actually kind of do care. The comparisons to post-punk heroes Killing Joke and Joy Division are pretty obvious on this record, and sometimes a double take is required in a lineup against Danish band Iceage, but these English blokes lean more towards a pop sensibility, which is why amidst the manic thrashing, I can still pick up a great melody and sing along to it. — Kristen Yoonsoo Kim

Freddie Gibbs & Madlib, Piñata

(Madlib Invazion)

I've praised the gospel of Freddie Gibbs and Madlib's Piñata on this here site before (extra, extra, read all about it), but now that I've had a few months to sit with the album, I've been more able to see the album's potency in the grander scheme of hip-hop's landscape. The LP, formerly known as Cocaine Piñata, is a classic street-to-studio tale, so vividly curated by master of ceremonies Gangsta Gibbs. It takes a rapper to string together rhyming couplets; it takes a true poet to digest the world around him and convey it to an audience on a much more sizeable plane. At that, Madlib does the same with his production, corralling a gang of likeminded samples and sewing them into a dusty tapestry. Apart, they're good; together, unstoppable. Here's to one of, if not the best, rap releases this year. — Steven J. Horowitz

Hundred Waters, The Moon Rang Like a Bell

(OWSLA)

The Los Angeles-via-Gainsville quartet's first album for Skrillex's label dispenses with the acoustic instruments that landed its earlier work in the "folktronica" category. Instead, Nicole Miglis and co. crossbreed Björk with that OVO and that XO, crafting a gorgeous set that's perfect of stargazing and best absorbed in its entirety. Skittering synths and Miglis' stratospheric vocals lift "Cavity" into "Joga" territory, while "Innocent" could start a trip-hop revival all on its own—and that's just five tracks in on an album full of mood music bangers. Bonus: the group's live show is supposed to be an experience all its own, and they're on tour all summer. — Monica Herrera

Isaiah Rashad, Cilvia Demo 

(TDE)

No disrespect to Schoolboy Q, whose Oxymoron deservedly claims another spot on this list, but his label mate's debut is the most hype-satisfying TDE release of 2014. Rashad was basically unknown when hip-hop's hottest label plucked him from Chattanooga last spring, and anticipation around his first official release was on high going into the New Year. Luckily, Cilvia Demo is as confessional and confident as Kendrick's Overly Dedicated was four years ago. Rashad narrates the "problems of a 20-something" with style, depth, melodicism and grit—a combo that can only bode extremely well—while TDE's in-house production crew does some of its best work, from the Aquemini knock of "Webbie Flow" to the country soul of "Heavenly Father." — Monica Herrera

Liars, Mess

(Mute)

Mess finds the experimental California art rock band taking the surreal synth sound of 2012's WIXIW (Mute) and pushing it in a more propulsive direction as the Kid B sound beds of its predecessor fade into the background to make way for a flurry of drums dancing, kicking and careening their way into a bold and chaotic new future. Where WIXIW was quiet, Mess is loud. Where WIXIW was bleak and somber, Mess is insistent. Where WIXIW begged for attention, Mess demands. Do yourself a favor: Listen to the call and give Mess its due. — Benjamin Meadows-Ingram

LIZ, Just Like You EP

(Mad Decent)

It may not be a full album, but LIZ already has the best pop release of 2014. Nostalgia tunes are in full bloom, particularly when it comes to rap, but rarely does it cross over so well into pop—and it's something the Mad Decent signee does flawlessly. You can tell that LIZ has a full appreciation for '90s R&B-inflected pop—take the herky jerky thump of "Stop Me Cold" or the dreamy "Say U Would"—and she executes it with a masterful skill so rarely accomplished on the first go-around. Ariana Grande might be her only competitor for cranking out the year's best. And for a newcomer with only an EP to her name? That's a damn good start. — Steven J. Horowitz

Lykke Li, I Never Learn

(LL/Atlantic)

There are artists who are more discreet about this kind of stuff, but Lykke Li doesn't beat around the bush. I imagine that for her, songwriting is the greatest form of therapy. I Never Learn is a straight up break-up record—and if it walks into your life at the right time, it can both save you and destroy you. On her debut album six years ago, the Swedish songbird coyly sang, "Having trouble telling how I feel / But I can dance, dance, dance." Oh, how times have changed. There's hardly any trace of the lighthearted indie dance pop we were initially introduced to back then, but if Lykke still thinks she's bad with words, she's probably unaware of the number of people she's made cry with this record. No emotions are held back here; every word is weighted with profound pain. This record's certainly not made for easy listening, but it'll crawl into that dark hole with you until you're ready to come out again. — Kristen Yoonsoo Kim

Mariah Carey, Me. I Am Mariah… The Elusive Chanteuse

(Def Jam)

Mimi has been active in the industry for decades, and as an aging diva who's past the point of 40, it was time to do something that matched her ticking clock. Enter Me. I Am Mariah… The Elusive Chanteuse, an album whose title is as excessive as the woman behind it. In context, this works. Colloquially, she's all over the place, dishing out songs like "Thirsty" and "#Beautiful." But musically, she's in a different strata than before, remaining simultaneously nostalgic without going period piece. It's exactly the right album for the exact right time in her career. A greying Mariah is still a great Mariah, indeed. — Steven J. Horowitz

MØ, No Mythologies to Follow

(Chess Club/RCA Victor)

Her palate is sharper than Lana Del Rey and her stride is softer than Lorde, but MØ is weighty enough to make a dent all the way from Denmark. She boasts an aura of a girl raised in wealth's shadow, while facing the grimace of daily want. Emerging from the rubble is a bitingly melancholic wail, evident at her album's start. It's a welcomed departure from the cliché of 20-something lore, but doesn't lose the heart of it all—carving your own place in the world. If you're ever feeling deep or just want to lie out in the sun all day, this is the album to do it to. — Brendyn Rucker

MS MR, Secondhand ^2: The Remixes

(IAMSOUND/Columbia)

When Myspace hosted MS MR at the Log Cabin last year, I was pretty impressed by their single "Hurricane," but it didn't go much further than that. The remix album, on the other hand, I can fuck with. The first remix off the six-song gem is "Think of You (Wet Remix)" and to be frank, it's just, well, awesome. Renditions of "Fantasy" and "Hurricane" give a more "I have been on Molly all night long sipping champs" vibe and I am totally OK with that. Lead singer Lizzy Plapinger sounds lovely reincarnated as a disco queen. It, frankly, makes you want to drink some champs and party on with this until the wee hours of the night.  — Liz Culley

Nikki Lane, All or Nothin'

(New West Records)

There's no lack of taboo-breaking female country singers these days, which makes Nikki Lane's debut all the more impressive for managing to stand out from a pack of seriously formidable peers. Where Kacey's sound is all Music Row and Angel and Neko veer more into lo-fi alternative, Nikki pulls from outlaw country, surf rock and girl groups for a sound that's like Loretta Lynn got a Nasty Gal makeover. Add to that some sticky songwriting about one-night stands and production polish from Dan Auerbach (who also joins the mic with Lane for "Love's on Fire"), and you've got one more reason why country's talent pool runs the deepest. — Monica Herrera

Ought, More Than Any Other Day 

(Constellation)

Nihilistic art-punk out of Montreal sounds like it could go either way on paper, but on this record, it comes close to a revelation. This lyric from "Habit," a wrecking ball of a ballad that arrives early in Ought's debut album, sums up the band's ethos best: "This song… that song… act like you feel it, but it doesn't heal you and it doesn't make you smile." Over atonal clatter, frontman Tim Beeler goes on a backbreaking quest to make you feel feelings, veering from postmodern misery to glassy-eyed hope in consecutive breaths, wringing maximum intensity from his lyrics, and channeling everyone from Byrne to Corgan and in between. These guys play like life depends on it because deep down, they believe that's still possible. — Monica Herrera

Plastikman, EX

(Mute/BMG)

When Richie Hawtin announced he'd be performing at the Guggenheim in New York City, it appeared to be an interesting one-off and a way to bring his more abstract productions to an arty crowd that would at least be open-minded to the whole experiment, even if they didn't fall in love with it. Eight months later comes the announcement that a new Plastikman album was on the way, the first in over a decade, and shortly after came the news that the Guggenheim set was actually a test run of the new material. The genius of the Plastikman catalog has always been Hawtin's ability to stretch so many different moods and emotions out of the Roland TB-303, a synthesizer with an instantly identifiable(and even somewhat monotonous) sound. While EX is unmistakably Plastikman, there's a layer of melody that the previous albums have never had. While this may have been done to cater to the Guggenheim crowd, it's an added touch that even the most seasoned listener will appreciate. — Lee Mills

Real Estate, Atlas

(Domino)

Sometimes great records don't have particularly interesting stories. There's nothing really worthy of note about New Jersey band Real Estate's LP Atlas, except that it's just really damn good. Lined up against the rest of these essential records of 2014, it's probably the most modest of them all. Atlas doesn't really have a standout track (though people do love that single "Talking Backwards"), nor does it suck you in with an immediately flashy hook; it just stays at a constant high from start to finish. Putting on this album always brings me bliss, as each song drifts seamlessly into the next. The best part of it is, it gets better with each listen. — Kristen Yoonsoo Kim

The Roots, …and then you shoot your cousin

(Def Jam)

The Roots, man. Their catalog and collabalog are both stacked. They've gained some notable mention from their gig with Jimmy Fallon, but make no mistake—they're icons. This album is quieter and more experimental than their other projects, and with good reason. It's heavily introspective and drips with a spiritual consciousness that would make Kendrick Lamar salivate. The Roots have aimed their dialogue at the brute trauma of life, attaining a pristine fearlessness from consistent sacrifice. That's exactly what this project is about—fearless sacrifice. Granted, that's a little heavy for casual listening, so this is something you should definitely take in after a fat rip. — Brendyn Rucker

Schoolboy Q, Oxymoron

(TDE/Interscope)

Schoolboy's major label debut took two years to make (or to at least get a release date), but it didn't disappoint, even if it didn't quite live up to the sky-high expectations for TDE's second Interscope release. But while Oxymoron is no GKMC (nor—to its credit—does it strive to be), it is a West Coast thumper that knocks with a fresh, woozy take on the sound of the streets, with personality to spare. This is an album that shines brightest at its darkest moments—"Gangsta," "What They Want," "Break the Bank," "Fuck LA" are all incredible and incredibly Schoolboy Q. And the brilliant nightmare "Prescription/Oxymoron" that sits at the album's heart just may be the most complicated—and most accomplished—rap song of the year. So far. — Benjamin Meadows-Ingram

Sharon Jones and the Dap Kings, Give the People What They Want 

(Daptone)

Thank God we have artists like Sharon Jones still making records, touring all over the globe and keeping us on our toes. Capturing the essence of classic funk music, throwing on a Sharon Jones record is the closest thing I have to living in the '70s. Give the People What They Want is a straightforward soul album. "Stranger to My Happiness" and "We Get Along" glide us into a mood fit for cleaning the house or drinking wine, chatting about gossip with an old buddy. If it ain't broke, don't fix it—Sharon Jones has nailed down her formula and we should be thankful that she doesn't stray far from her comfort zone.  — Liz Culley

SOHN, Tremors 

(4D, Aesop)

English musician Christopher Taylor is a triple threat, toggling between singing, songwriting and producing for himself and the likes of up-and-comers BANKS and Kwabs. Living in Vienna, SOHN released his debut album, Tremors, in April and I was immediately was hooked. A seamless blend of synth pop, R&B and thoughtful lyrics, Tremors utilizes space and time within its songs, allowing for its beats to do the talking when necessary—a skill that is often ignored. I wish I could say that there are tracks to skip on this record, but it's just not true. The entire record is solid. I threw on "The Wheel" while driving in the rain to Malibu one Sunday afternoon and instantly began to daydream of every single breakup I had ever suffered with a bit of romanticism, for the first time, ever. This album is the fucking jam. — Liz Culley

St. Vincent, St. Vincent

(Loma Vista/Republic)

It's rare in this day and age that a musician is not labeled as the new so-and-so or the modern-day answer to whatever or whoever came before its time. But thinking about whom St. Vincent may be channeling draws blanks. I mean, David Byrne, I guess, but surely we needn't be so lazy? Now with her lavender-streaked platinum fro, no one has ever quite sounded or looked like Annie Clark. (The steez with which she shreds on guitar is certainly inimitable, too.) Clark's latest self-titled record is her most masterful yet, as it showcases all her out-of-this-world weirdness without quite leaving the solar system altogether. She still knows how to churn out addictive hooks and beautiful melodies—and that there is the genius of St. Vincent. — Kristen Yoonsoo Kim

SZA, Z

(TDE)

When it was first announced in August that TDE (home to a roster of raptastic rap acts like Kendrick Lamar, Schoolboy Q and more) had signed its first lady, it was easy to dismiss the news as a sign that Top Dawg was following the all-too-familiar rap route of building a stable of acts simply to say that it had built a stable. Fortunately for everyone, TDE isn't yesterday's rap label. Instead, it has spent 2014 breaking its next act (Schoolboy Q) while releasing two solid full-lengths to establish both SZA and fellow "newest member of TDE" Isaiah Rashad. TDE isn't here to posture; it's here to identify talent, develop artists and make the music that the fans want to hear. Z fulfills that promise with a 10-song collection announcing the arrival of a singer rooted in Badu-isms, draped in the Internet and—in records like the Madonna-with-bangles-romp "Julia" and the LDR-like-noir "Green Mile"—unafraid to flex the reach of a pop star in the works. — Benjamin Meadows-Ingram

Todd Terje, It's Album Time

(Olsen Records)

Whether he's reworking disco classics or penning summer jams, Todd Terje's retrofitted dance music hits a sort of ubiquitous sweet spot that almost anyone can get behind—you don't have to be a raver to throw on any of his feel-good anthems and start dancing. His full-length debut, It's Album Time, is no different. Draped in a sheen of glittery synthesizers, this unmistakably '80s pastiche will make you want to bust out your finest Marty McFly bubble vest and floor it to 88 on your Delorean so you can party like its 1988. Speaking of Deloreans, "Delorean Dynamite" is just one of the many absolute bangers on It's Album Time, including "Oh Joy," "Inspector Norse" and "Strandbar." But we also get to hear Terje's take on the slow jam, highlighted by "Johnny and Mary," his fantastic collaboration with Bryan Ferry. For the first time, we hear that the full breadth of the Norwegian's talents as a producer whose knack for the big hit extends beyond the dance floor. — Lee Mills

tUnE-yAdrDs, Nikki Nack

(4AD)

The idiosyncratic pop of Merill Garbus' tUne-yArDs project has always teetered on the edge of accessibility—if she got any weirdershe'd sound less like an avant garde indie starlet and more like an esoteric art school student. New to her fourth studio album is the incorporation of Haitian drumming; it's this mildly tribal flair that ties the whole thing together and keeps Nikki Nack from floating off into outer space. The album's two singles to date, "Water Fountain" and "Wait for a Minute," are unsurprisingly the easiest songs to digest and a good entry point before you listen to the whole thing in its entirety. However, a deeper dive will reveal quirky oddities like "Left Behind" and "Stop That Man." It may take multiple listens for the music to truly resonate with you, but once it clicks, Nikki Nack will reveal itself to be a wholly unique and enjoyable experience. — Lee Mills

Ty Dolla $ign, Beach House EP

(Pu$haz Ink/Taylor Gang/Atlantic)

After two amazing mixtapes, Beach House and Beach House 2, Ty's first proper retail release is an EP that whets the appetite for his debut album, Free TC, slated to drop later this year. Throughout, the L.A. native proves to be more ratchet than most rappers, and focuses on singing about partying, getting money and sleeping with your girlfriend. But even when the subject matter is this crass, his smooth voice, playful nature and incredible melodies still get you hooked. Case in point: Look at all the women singing "These Hoes Ain't Loyal." — Toshitaka Kondo