1. The Fights – Off Your Horse

Off Your Horse by The Fights

It’s not easy to reintroduce a genre into a music scene. And it’s not easy to do so with such an impact The Fights did in 2014. It wasn’t just the band’s debut Off Your Horse – a masterful 10-track album that put a country spark into a shoegaze/emo-crazed Champaign-Urbana community through a mild-tempered and mostly calm poise – but the band was consistently present month-in and month-out around the town playing shows and showcasing a record that dives to the depths of your heart and shovel out empathetically heart-wrenching emotions. Cole Rabenort’s lyrics carry a discernible weight, unique and fitting to the band’s sneakily powerful sound. The album may be soothing in format but live, The Fights become even more elevated than shown on Off Your Horse – a difficult task after a few listens to the record. But what may be the most impressive part of Off Your Horse is its well-rounded involvement from the band in a genre so easily controlled by a single songwriter. Drummer Dave Pride and guitarist Nicholas Stine’s vocals shine almost even more than Rabenort’s throughout the record, despite the frontman taking the lead through its majority while steel guitarist Clayton Deering’s presence is often the most remembered when The Fights come to mind. The Fights didn’t just put out the best CU record of the year in 2014, they solidified themselves as the best, most complete band in the area. – Sean Neumann

2. The 92s – Television Fuzz

Television Fuzz by The 92s

Champaign rock band The 92s released their anticipated debut full-length album in March. The general tone shies away initially from the band’s two previous EPs, with the opening tracks “Television Fuzz” and “Read My Mind.” The nod to more classic rock is mixed in with the familiar tone fans will remember from their previous work, hopefully expanding the fan base while keeping loyal fans happy. Frontman Dan Durley’s vocals show off one of the year’s most impressive performances on record in CU, often tapping into a vibrato with ease that puts him far out as one of the area’s best frontmen. – Jess Gonzalez

3. Withershins – Mt. Fuji in Blue

MT FUJI IN BLUE by withershins

One thing to be said about Withershins’ Mt. Fuji in Blue is that it’s flawlessly diverse and anything but monotonous. Each song is different and highlights the band’s talented members, putting an intricately crafted spin on Champaign-Urbana’s flagship shoegaze sound. So often artists will come out with records that sound like the same song being played on repeat, but Withershins do a fantastic job of keeping it varied throughout. The album opens with a catchy guitar riff and heart palpitating beat in one of CU’s best songs of the year, “Aquamarine.” Each track takes you on a rollercoaster ride, going from calm ballads to lengthy, high-energy tracks. – Kailey Helgesen

4. Tara Terra – Daughter

Daughter by Tara Terra

Released in August, Tara Terra’s debut record Daughter caused waves in the Champaign-Urbana area. Although they identify themselves as pop-rock, the band expertly dabble in folk sounds throughout the nine-track album. The entire record is hallmarked by frontwoman Emily Otnes’ delightful range in vocals, backed by a talented core featuring Alleya Weibel on violin – one of the record’s most unique features. In “Don’t Call Me Darlin’,” what starts as a soulful ballad becomes an Ingrid Michaelson-like track with a lively tempo and biting lyrics. The seventh track “Shades of Blue” leans toward the album’s folk nature, highlighting Otnes’ vocals but also showcasing instrumental talent framing the piece. The album shows a well-handled transition in Otnes’ stint as a solo artist into her interaction with a full band, flaunting immense promise for Tara Terra’s future in CU. – Lizzie Porter

5. Krelboyne – Linger || The Light Fades

Linger || The Light Fades by Krelboyne

Krelboyne has been the biggest surprise in the Champaign-Urbana music scene since October. Formerly playing together as “Hometown Heavyweights,” the four-piece pop-punk band changed their name and changed the way they approached music. The reborn band’s debut album, Linger || The Light Fades was certainly the most impressive CU records in their genre, but it surpassed expectations to the point of becoming one of the best listens in the scene this year. Whether it’s frontman Tyler Headrick’s classic pop-punk vocals weaving in-and-out of each song, sewing together a smooth, yet aggressive record, or bassist Tyler Alan Day’s throat-scratching screams, Linger || The Light Fades is one of the most complete records CU has seen this year. – Sean Neumann

6. That’s No Moon – Hyperion

Hyperion by That’s No Moon

“Hyperion” means “The High One” in Greek mythology and it’s only fitting for Champaign’s That’s No Moon to name their 2014 release after one of the 12 Titan children. The concept album is a celestial journey that takes listeners through various levels of space exploration and the lonely narrative that stitches the record together. The album’s ability to maintain its theme throughout it’s dance-pop sound is one of its most profound features. The eighth track, “Rings of Saturn” is one of the best songs on the record, sonically melting through as the song builds up to its climax. Rarely does a local concept album maintain such a clear vision throughout a complete 10-tracks, but Hyperion is a sophisticated take on a sound so associated with Hot Topic sale bins. – Elizabeth Morales

7. Bones Jugs N Harmony – Party’s in the Kitchen

With most of their past releases, Bones Jugs N Harmony certainly stressed the “novelty” aspect of their homemade “novelty dance music” genre. With Party’s in the Kitchen, however, the goofy percussionists have recorded a debut record that finds a solidly novel sound, extending beyond the bounds of the ever-comical xylophone slide. While tracks like “Super Pantendo” find the band grooving within a charmingly cheesy steel drum paradise, others like “XXXs” radically differentiate themselves along the lines of offbeat outlaw folk (wherein the outlaw’s gun pops with little more than a flag reading “BANG!”). Most impressively for both the group’s prospective outlook, the opening track “Wiggle Ya Bones” jams like a b-side off of Beck’s early 90s deadbeat croons, a la Mellow Gold. While their message – whatever it may be – is more light-hearted, it proves that Bones Jugs N Harmony haven’t only released one of the best local releases of the year, but also their most progressive album to date. – Austin Gomez

8. Wicked Walls – Wicked Walls

Wicked Walls by Wicked Walls

The self-titled release from former New Ruins co-founder J. Caleb Means dabbles in a contemporary take on shoegaze and dream-pop. The album is a beautiful symphony accompanied by chilling harmonies and dark lyrics. The nostalgic tone of the record has the capability to make you believe it’s set in a different time. It’s a melancholy revival of 90s dream-pop and would have fit seamlessly in any Gregg Araki film or a dark-humor indie film. The standout track – also the opening track – epitomizes the concept of the album (“Daydream”). While the song’s sound is ethereal, what really allows for it to stand out are the lyric’s spiritual references. The track’s ambiguity allows for the listener to interpret the song as they please. Wicked Walls brings a comforting and empathetic tone to such dark sound, bringing about one of the year’s most emotionally touching records in CU. Few albums and artists are able to do that without creating a cliché sound; however, Wicked Wall’s debut highlights their strength and craftsmanship. – Elizabeth Morales

9. Nectar – Nectar

Nectar by Nectar

A consistently active member in the Champaign-Urbana punk scene over the past couple years, Kamila Glowacki’s debut as twee-pop outfit Nectar couldn’t have been stronger. The self-titled, four-song tape is a tightly crafted release, with Glowacki’s charming vocals and fast-paced guitar work making the EP an extremely fun listen. What’s most impressive, though, is how quickly Nectar asserts itself in these four short songs. After just one listen, you know exactly what Nectar is. The EP taps out at only eight minutes long, but with catchy tracks like “Tell-Tale Heart” and “My Room,” Nectar isn’t easily forgotten. – Christine Pallon

10. Slam Dinner – Slam Dinner

Slam Dinner by Slam Dinner

We have seen these guys in plenty of local bands before, but Slam Dinner represents one of the most cohesive efforts from the friends and frequent collaborators. This is a project born out of suburban boredom and Great Plains sprawl. It’s certainly a local release, but its reach is not limited to the space between Windsor Road and 74. The emo Slam Dinner draws from is bigger than CU; while you can listen exclusively for the influence of Braid or American Football, Slam Dinner boasts a creative variety extending beyond its Midwest origins. “Bunsen Burner” witnesses cathartic twinkling and claustrophobic chatter erupt into a caustic rampage against lost youth (“I still get back up/I start over/Hold me tight/because every day I feel older”), before a crash-and-burn conclusion obliterates whatever is left. On “Bury Me In My Black Hoodie,” rhythmic syncopation is paired with sarcastic self-effacement (“I’m a spoiled little shit,” “It’s not introspective/I’m just a lazy asshole”). If this is Slam Dinner’s young-guns-phase, it is clear they are due for bigger and better things yet – perhaps a career in swashbuckling? – Tyler Durgan