2016 was a year of bittersweet endings and new beginnings in music. While David Bowie and Phife Dawg bid us farewell, Frank Ocean and Radiohead returned from years of silence to fill the void. Career pinnacles sat beside celebrated debuts; fresh inspiration fought in equal measure against the tried and true. At Genius, we were captivated by it all.

Each day, thousands of fans from around the world come to Genius to discuss music and add knowledge to our song pages. Some of our most dedicated and knowledgeable music lovers came together to rank and review the most compelling projects of the year. Contributors voted on an initial poll, spent weeks discussing revisions and replacements, and elected to write about their favorite albums. Here are the Genius Community’s 50 best albums of 2016.

50. Bruno Mars, '24K Magic'

Bruno Mars cemented his place in 2016 with 24K Magic, a nostalgic labor of love that took a full two years to create. Slyly mixing funk and neo-soul influences, the album redelivers Bruno’s player-president-in-resident style to the airwaves with the title track “24K Magic,” and the smooth “Versace on the Floor." True to the sound of Doo Wops & Hooligans and Unorthodox Jukebox, 24K Magic took us back to better times. —Juwan J. Holmes

49. Modern Baseball, 'Holy Ghost'

Modern Baseball’s Holy Ghost is two records in one, but with a running time of less than 30 minutes. On the first side, Jake Ewald writes dense, ornate songs about loss. On the second, songwriting partner Brendan Lukens barks out sing-a-long lyrics inspired by his own struggles with mental illness and substance abuse. The subjects are heavy, but balanced by musical heights and uplifting moments that show that there’s more to emo than pretentious teenage angst. —Vesuvius

48. Local Natives, 'Sunlit Youth'

Local Natives sit on the precipice of greatness. Sunlit Youth builds on the textured soundscapes of Hummingbird while also preserving the joy that defined their début, Gorilla Manor. With its jangling guitar line, “Dark Days" recalls Fleetwood Mac, while the chorus of “Fountain of Youth” is utterly care-free. Later tracks are more ambitious. Taylor Rice’s falsetto bridge at the end of “Coins” contrasts to great effect the thundering guitar riff that opens “Mother Emanuel." There’s also a new political edge to Rice’s lyrics, such as his praise for an “unashamed feminist” on “Masters” and his ongoing long wait for “Mrs President” on “Fountain of Youth." Sunlit Youth is a punchy, dynamic record that signals there are still great things to come from San Francisco’s finest. —Vesuvius

47. Chairlift, 'Moth'

Chairlift’s Moth opened the year with a bombastic, charming work of synthpop. Moth establishes Chairlift as a lyrical tour-de-force; the narrator warps from an operator under a marmelade sky to a biologically active chemical process to a routinely late escapist, and never stops captivating the audience throughout. The album is rough around the edges but hits the mark on a multitude of memorable, asymmetrical tracks. On “Unfinished Business,” Polachek’s warbling voice floats above a determined snare, anguishing about frayed relationships, while on the album opener “Look Up,” she dissects morality. “Moth to the Flame” is synthpop-dancepop fusion at its finest, riding beneath the themes of desire and acceptance that flit above. Chairlift reasserts the power of moths: fragile, ugly, unwanted, but beautiful in their vulnerability and imperfection. —Maxwell Zhang

46. Tycho, 'Epoch'

From humble San Francisco beginnings to world tours and a Grammy nomination, Tycho has had quite a year, thanks to the success of their latest album. The last in a trilogy, Epoch comes full circle. Compiling Boards Of Canada-inspired The Science Of Patterns with the downtempo, guitar-based Dive and the avant rock Awake, Tycho explore how a decade-long project reaches one of its peaks, and create something entirely new in the process. Holding sweeping textures and heavy hard hitters, Epoch presents itself as a darker, more visceral album. Released by surprise just a month after it was finished, the album is characterized by the driving bassline of “Division” and the rhythmic, danceable “Epoch.” It’s not hard to see why it got them their first ever Grammy nomination—Epoch is one of the best and most mature albums Tycho have put out yet. —Aenex

45. BANKS, 'The Altar'

BANKS stepped up to the plate in 2016 and offered the year’s best in the category of ‘dark lipstick jams.’ With witchy vibes and a self-aware eroticism, her lyrics show a woman owning herself and her body in the wake of an unhealthy relationship, confessing her own ugliness as much as her partner’s. The production is lush, creating dreamscapes out of its minor keys, exalting in moments of purposeful dissonance. She may have lost friends and lovers along the way, but on her journey, she gained a host of influences—R&B vocals, hip-hop electronics, orchestral hooks, world instruments—that built up her own vision and strength. The result is awesome in all senses of the word, inspiring fear and reverence in equal measure as she croons to her haters, “Tell ‘em you were mad about the way I grew strong.” —epaulettes

44. Alicia Keys, 'HERE'

Accompanied by a brilliant 22-minute short film about the daily realities of black women, HERE is Alicia Keys' venture into a whole new territory of grit, gospel, soul, and survival. HERE is political and hearty—a departure from her past work—and recalls the likes of Lauryn Hill. Album interludes add spoken conversation to the fiery sung tracks, and together create a cohesive picture of contemporary black life. She celebrates the beauty and power of black women on “She Don’t Really Care_1 Luv,” tripping over a set of eclectic xylophones to deliver her point. From crooning saccharinely on “Blended Family (What You Do For Love)” to depicting urban poverty on “The Gospel” to returning to her gospel roots on reinvention anthem “Pawn It All,” Keys' fusion of themes and musical genres into one collective opera of wonder and honesty is masterful. —Maxwell Zhang

43. Isaiah Rashad, 'The Sun’s Tirade'

“Pop a Xanny, make your problems go away” raps Isaiah Rashad on “Stuck in the Mud.” This simple, yet declarative lyric is a revealing snapshot of The Sun’s Tirade, an album steeped in depression and addiction. Everything from the murky production to Rashad’s molasses-like delivery helps convey a sense of despondency. There are some bright spots: congratulating a friend’s new gig, waking up next to a lover, and reminiscing about happy childhood times. The moments of despair mixed with the moments of hope on Tirade are what make the album so compelling and relatable. Rashad comes off as a regular guy doing his best to overcome his demons. —Reedpanda

42. Sturgill Simpson, 'A Sailor's Guide to Earth'

On his Grammy-nominated third album, Sturgill Simpson delivers powerful highs like “Keep It Between the Lines” that harken back to the sound of Waylon Jennings and saddening lows like “Breaker’s Roar.” He even manages to pull off a Kris Kristofferson-esque cover of Nirvana’s “In Bloom.” Simpson provides an alternative that draws inspiration from classic country, but at the same time pushes the genre into places it’s never been before. —Max Hinrichs

41. Whitney, 'Light Upon the Lake'

Light Upon the Lake is an album that thrives on subtlety. From soothing falsettos to meandering guitar riffs and beautiful horns, Whitney crafted something special: a work of art bathing in an aura of relaxation. Light Upon the Lake often deals with transition: moving on from the past, whether it be positive or negative, and looking forward to a different, yet better future. The title track, especially, deals with this changing phase and the loneliness that accompanies it, evoking images of fire spreading across plains and the sun attempting to break through morning haze as symbols of solitude, precursors to the fear that life might move on without us. However, this fear is nothing in the face of love, a central component to the album. It’s through this catharsis that we learn to love again, and in a year like 2016, it sure was necessary. —channelYELLOW

40. PUP, 'The Dream Is Over'

The Dream Is Over takes its title from a doctor’s advice to Stefan Babcock after he shredded his vocal chords. He didn’t listen. The Canadian skate-punk outlet continued their tour, hated it, and made an incredibly fast-paced record that sounds like they’re blowing off steam. On the opener, “If This Tour Doesn’t Kill You Then I Will," Babcock sings “I can’t wait for your funeral, I don’t wish you were dead, I wish you’d never been born at all.” The record is littered with similarly audacious one-liners, the demon-defying “Familiar Patterns” being a particular highlight. While the fury and laughs are the main attraction, it’s the sad songs that have staying power: “Sleep In The Heat” is about helplessly watching a pet die, while “Pine Point” is a hair-raising memory of an abandoned industrial town. —Vesuvius

39. Mitski, 'Puberty 2'

On the ironically-titled “Happy," Mitski sings “take this heart, I’ll make no more use of it.” Based on Puberty 2, you can’t blame her: that heart’s caused her more than enough anguish. “I Bet On Losing Dogs” is about disappointing sex with disappointing people, while on “Fireworks," Mitski compares chronic depression to a knife in your side that you almost forgot about. The highlight is “Your Best American Girl," on which a multicultural, international woman grapples with her identity. The poetic lyrics are complemented by lo-fi arrangements which combine garage punk and dream-pop, conveying desperation and desolation. Let’s hope Mitski keeps using that powerful heart. —Vesuvius

38. Kano, 'Made In The Manor'

Kano’s fifth album Made In The Manor is the most complete grime project to emerge in quite some long time. Kano explores his life in London in an unpretentious manner that nevertheless verges on the spiritual at times. There’s real emotion here, from memories of good times on “T-Shirt Weather in the Manor” to ruminations on the life of the half-sister he barely knows on “Little Sis." Fraser T Smith produces half the album, and his songs are highlights, playing with grime’s conventions while retaining a distinct sound. “This ain’t no RP cuppa tea music” boasts Kano on opener “Hail," and he’s right. If you’ve dismissed grime before, prepare to eat your words. —Vesuvius

37. Mac Miller, 'The Divine Feminine'

“The Divine Feminine—an album by Mac Miller" is the first thing listeners are treated to on Mac Miller’s most cohesive full-length project to date. While the angelic female voice sets the tone for The Divine Feminine, the lush, polished neo-soul production on standout tracks “Dang!” and “Planet God Damn” add color to the Miller’s sonic painting. Mac’s friends pop in, too, with Anderson .Paak, Kendrick Lamar, and his new squeeze Ariana Grande all providing contributions that work within the album’s theme and sound. —Reedpanda

36. Flume, 'Skin'

Three months before Skin dropped, Flume described the album as “headphone music.” It’s an apt description of the Australian’s second album, which finds him expanding and refining on the sound of his self-titled debut. The drops are cinematic, the beats are smooth, and the album boasts a healthy roster of featured artists, including the likes of Beck, Tove Lo, and Raekwon. From AlunaGeorge’s shimmering vocals on “Innocence” to Vic Mensa’s shouts on “Lose It,” Flume truly combines his collaborators' voices with an eclectic selection of drums and synths. Here’s to hoping his next LP won’t take four more years. —babuc

35. The Game, '1992'

All the elements that make The Game a potent and entertaining artist are present on 1992. The Compton native brings razor sharp lyricism and story-telling to the 1992 L.A. riots, juxtaposing the anarchy of those six days with his own introduction to gang culture. He tells a story of pain and emotional turmoil, that can appeal to all listeners, not just those that experienced a similar upbringing. Full of classic samples like The Wu-Tang Clan’s “C.R.E.A.M” and Grandmaster Flash & The Furious Five’s “The Message,” Game departs from big hooks and mega guest features, putting an emphasis on story-telling and taking the listener on a journey back in time. —Ben Carter

34. Travis Scott, 'Birds In The Trap Sing McKnight'

Birds In The Trap Sing McKnight proves Travis Scott is a visionary who’s able to articulate a complete thought. A cohesive sound helps pace the album, but every song has a variety of flows—Travis hardly ever goes more than eight bars before flipping the delivery. But he’s still more of a composer than a vocalist, so the lyrical burden of the album is handled by a variety of guests. André 3000 and Quavo spit two of the best verses of the year, Kendrick Lamar and 21 Savage take their songs over the top, and The Weeknd, Bryson Tiller, and Cassie add much needed harmony. It’s mostly a party record, but there is a lesson that comes across on songs like “sweet sweet” and “lose.” On the latter, Travis declares: “I got shit to lose, that shit make me nervous/I got shit to lose, gotta keep my cool.” For once, a superstar is watching out for the pitfalls of fame and flying above it. —Incilin

33. Aesop Rock, 'The Impossible Kid'

From gun-toting babies to greasy grimy gopher guts, Aesop Rock has rapped about nearly everything—except himself. But on his latest offering, The Impossible Kid, Aesop gets personal. He raps about his beloved kitten on “Kirby,” his experiences with therapy on “Shrunk,” and his complicated relationship with his brothers on “Blood Sandwich,” all while maintaining his dexterous flow and dense rhymes. The emphasis on personal songwriting—combined with deft production from Aesop himself—made for one of the most compelling rap albums of the year. —Reedpanda

32. Young Thug, ‘JEFFERY’

Young Thug went full-steam ahead this year, offering an album that exhibits memes almost as exquisite as his refined delivery and flow. The album opens with “Wyclef Jean,” a song that melds the reggae influence of Wyclef Jean with Thug’s love for raunchy storytelling. On “Harambe,” he blends his intuitive sense for rhythm with a raspy and rambunctious delivery that makes you want to tear up while you turn up. The 10th track, “pick up the phone,” also appears on Travis Scott’s album Birds In The Trap Sing McKnight, and adds a fitting encore for Thug, Travis, and Quavo, whose chemistry makes us wish the trio would hit the studio and record an entire LP. —B4_Da_Based

31. Tegan and Sara, ‘Love You to Death’

Love You To Death took the mainstream momentum of Tegan and Sara’s first radio hit “Closer” and channeled it into a pop tour de force. Over effervescent ‘80s synth lines, Tegan and Sara display new levels of openness and happiness in their craft, throwing down bangers like LYTD’s lead single, “Boyfriend”—their first where the lesbian duo explicitly address a female love interest. Lyrically, Love You To Death is an album about growing up—taking responsibility for your actions, investing in your relationships, and being honest about what you really want—but triumphant choruses like “you can’t stop desire” make listeners ecstatic to grow with them. —epaulettes

30. Elzhi, ‘Lead Poison’

The buzz for Lead Poison started back in 2013 when Elzhi crowd-funded the project on Kickstarter. The Detroit MC seemed poised for a 2014 release, but months passed and no updates came, a delay he later attributed to depression. Two years later, the project is finally here. Elzhi clears the air from the jump on “Medicine Man,” acknowledging his flaws and says writing is the cure for all the poison that ailed him. With no hooks in sight on the first four tracks, he wastes no time proving he’s back and hungry. On “Two 16’s,” Elzhi rewards fans who could hardly wait to hear him spit, a trend which he continues throughout the project. This is a rapper’s rap album. —Vuk Aleksić

29. BADBADNOTGOOD, ‘IV’

IV is an apt name for BADBADNOTGOOD’s latest full length project, which introduces the band’s new member. Originally covering songs from the likes of FlyLo and J Dilla, the jazz quartet further explores its own original compositions, each with an electronic tinge. Unlike III, IV features other artists who compliment BBNG’s material well. Charlotte Day Wilson contributes soft, passionate vocals over cinematic tones on “In Your Eyes,” Colin Stetson gives a distorted, roaring sax performance on “Confessions Pt. II,” and Kaytranada provides beats and bass for “Lavender.” Where IV continues the quartet’s journey in solidifying their sound, it’s safe to say that BADBADNOTGOOD are far from what their name describes. —Aenex

28. Glass Animals, ‘How To Be a Human Being’

How To Be A Human Being shows Glass Animals as heavyweight contenders in the new school of musicians. They avoid the sophomore slump by settling in to smooth electronic grooves and allow song writing and melodies to flourish without pigeonholing themselves into any specific genre. Dave Bayley’s lyrics, coupled with a range of innovative sounds, form a distinct narrative inspired by real life events. Glass Animals' pop sensibilities and silky vocals belie a depth that makes How To Be a Human Being an essential 2016 cut. —Ben Carter

27. The Weeknd, ‘Starboy’

Starboy is The Weeknd’s most mature project yet. Culminating his musical influences into one 18-track opus, the Canadian star shows that he can not only make radio hits but also modernize classic sounds and fuse them with the darker wave of pop and R&B that he continues to pioneer. Abel pushes onward, forging a new identity for himself and enlisting help from Daft Punk to bookend the project with the glittering “Starboy” and the bouncy “I Feel It Coming.” On Starboy, Abel continues to reinvent himself and his music, furthering his legacy as the current king of modern pop. —Drew Harvie

26. Shura, ‘Nothing’s Real’

Nothing’s Real was teased as early as 2014, when Shura’s debut single “Touch” was debuted. Two years and one record contract later, Shura managed to turn a couple of successful singles into a gorgeous synthpop record. Though she kickstarted her career by learning production on YouTube, Shura partnered with Sia producer Greg Kurstin for her debut album. Moments of dance-eliciting pop burst from “What’s It Gonna Be?” and “Indecision,” while songs like “What Happened To Us?” and “2Shy” display a more measured, meditative brand of pop music. Lyrically, she tells stories of urban anxieties, namely focusing on the gap between immaturity and full-fledged adulthood. What sounds like an unlikely combination forms one of 2016’s best pop records—an effort that flips between angst and reckless abandon; dancing and brooding; the party and the long walk home. —Conor Herbert

25. Saba, ‘Bucket List Project’

Saba spent the majority of 2015 lacking artistic inspiration after his uncle passed away, but regained his creativity with help from the multi-instrumentalist, Phoelix, and followed up his 2014 mixtape, COMFORTZone, with the soulful Bucket List Project. Saba’s commentary about life in Westside Chicago is tied loosely together by bucket list recitations from friends and fellow artists, whose wishes range from degentrifying neighborhoods to having sex with Kylie Jenner. From the energetic and thoughtful hometown anthem “Westside Bound 3” to his transition to stardom and the road ahead on “California,” it’s evident that Saba has cleared all but the horizon on his path to happiness. Bucket List Project is a representation of this path—it’s reflective and optimistic for the future. —channelYELLOW

24. Kendrick Lamar, ‘untitled unmastered.’

Despite the mass appeal and critical success of To Pimp a Butterfly, no one was anticipating a B-side. And yet untitled unmastered. arrived, allowing Kendrick absolute creative freedom. The project is a compilation of rough cuts dating back to 2013, ranging from hard-hitting hip-hop bangers to bouncy bossa nova beats. Kendrick uses this diversity to defy the conflict between the new and old school sides of hip-hop with tracks like “untitled 02 | 06.23.2014.” and “untitled 07 | 2014-2016.” The latter even features a three-minute guitar-accompanied jam session which grew into a full-fledged interlude. With untitled unmastered., Kendrick shows us even his throwaways can contend with the full-fledged albums of his contemporaries. —Vuk Aleksić

23. Hamilton Leithauser + Rostam, ‘I Had a Dream That You Were Mine’

Hamilton Leithauser and Rostam Batmanglij have been important members of bands in years past, but on I Had A Dream You Were Mine, they distance themselves from their comfort zones. Gone are the days of The Walkmen’s garage rock and Vampire Weekend’s Afropop, and in their place is a smorgasbord of folk guitar, slick piano rhythms, and growling saxophones. Leithauser’s voice is as emotive as it was on 2004’s Bows and Arrows, and every lick on every instrument is distinctly Rostam. From the out-of-tune piano on “Sick as a Dog” to the harmonica on “You Ain’t That Young Kid,” the two artists create a unique album that, above all, accomplishes everything Rostam said it would: telling a story on each track. —babuc

22. KAYTRANADA, ‘99.9%’

KAYTRANADA had a big year. He aided in the production of Chance The Rapper’s Coloring Book and Anderson .Paak’s Malibu, but his biggest achievement was his Polaris Music prize-winning debut 99.9%. The album is filled with polyrhythms and fitting guest features, varying from BADBADNOTGOOD to Vic Mensa, that harmoniously meld into the LP. Although the vocal performances from Craig David on “GOT IT GOOD” and Anderson .Paak on “GLOWED UP” showcase some fantastic collaborative potential, the Haitian-Canadian DJ’s genius shines the most when he’s alone, revealing his eye for detail. On 99.9%, Kaytranada is not afraid to take risks in his compositions, resulting in a colorful, funky, and nuanced sound that had us dancing our way through the summer. —Steven Frölke

21. ScHoolboy Q, ‘Blank Face’

ScHoolboy Q’s Blank Face LP is a beautiful, dark fusion of trippy hip-hop and heartbreaking soul. While Q explores the darker side of his mind on the menacing two-parter “Kno Ya Wrong,” songs like “By Any Means” expose Q’s demons. With strong features from the likes of Kendrick Lamar, West, Anderson .Paak, Vince Staples and E-40, ScHoolboy has continued his evolution as one of the most formidable rappers in the game with this brooding LP. —Zachary Mahabir

20. Blood Orange, ‘Freetown Sound’

Devonté Hynes, the mastermind behind Blood Orange, seems to have found his place on his third album Freetown Sound. After moving to New York in 2007, Dev enveloped the city into his sound; an iPhone recording of buskers in Central Park is placed on the intro for “With Him.”

In his most ambitious record yet, he combines these New York influences with ‘80s-inspired drum machines, an array of female vocals (including a feature from Carly Rae Jepson) and a sensibility for catchy pop melodies, creating the ultimate music melting pot. The album takes a lot of twists and turns, sometimes difficult to follow, but always rewarding. Hynes described the album as “listening to [him] thinking for 58 minutes.” —Dominic Salzedo

19. Nick Cave & the Bad Seeds, ‘Skeleton Tree’

Nick Cave has always been fascinated by violence, but on Skeleton Tree he sounds like its purveyor and reluctant recipient. When his son fell to his death, the album was nearly complete, but the bulk of Skeleton Tree could be applied to the horrible tragedy. Opener “Jesus Alone” sucks all comfort from the atmosphere, leaving only Cave’s stark, tortured vocals. He’s behind the glass of deep human emotion, forcing listeners to reflect on their own mortality. Even “Girl In Amber,” a love song of sorts, revels in the dark recesses of Cave’s mind. The emotional toll of the album lingers long after the final song. —Ben Carter

18. clipping., ‘Splendor & Misery’

Experimental noise rap group ​clipping. returned with their second full length LP, Splendor & Misery. Described as an “Afrofuturist, dystopian concept album,” the project follows Cargo 2331, the survivor of a slave uprising on an interstellar cargo ship, who becomes the object of fascination for the ship’s computer, discovers music in its machinery, and eventually drives the ship into the “all black everything.” Splendor & Misery boasts Daveed Diggs' quick, narrative raps against Jonathan Snipes' and William Hutson’s signature stutteringly harsh noise. Their production is transformed into distorted, radioactive hip-hop, featuring sci-fi slave songs from gospel group Take 6 and mysterious, lyrical codes. An intense storytelling of Cargo 2331’s journey through space, Splendor & Misery is clipping.’s most ambitious project to date, rewarding from start to finish. —Aenex

17. Joey Purp, ‘iiiDrops’

Four years after his last solo project The Purple Tape, Joey Purp made a showstopping return with iiiDrops. With illustrious instrumentation and lyricism worthy of applause, “Morning Sex” sets a high bar for the album while “Girls@” adds a dose of flirtatiousness. In a moment of nostalgia, “Cornerstore” places Joey Purp’s knack for reviving his childhood memories on an ethereal Thelonious Martin instrumental, while Saba and theMIND put Chicago’s vast array of talent on display for the world to see. But iiiDrops saves the best for last, as Joey Purp and Vic Mensa claim victory over their contemporaries on “Winners Circle.” With “Escape,” Joey takes a victory lap, reminding us why he might just be the next artist from Chicago to take the world by storm: “I’m in the bigger business, I’m focused on the bigger picture/I’ve sold crack, I’ll be damned if I can’t sell a rap.” —B4_Da_BASED

16. Rihanna, ‘Anti’

After Unapologetic, Rihanna had the world eagerly waiting for her next project. Four years later, we received ANTI and it’s her most refined and personal album yet. With a writing credit on every track, it’s clear from the start that this is Rih’s vision of how her music should be and she wants us to come along for the ride. For every chart-topping song like “Work” and “Needed Me,” there are moving vocal performances and heartfelt lyrics, like on “Love On The Brain” and “Never Ending.” However, it’s in the little things where ANTI shines the most. The epic “Higher,” the sexy “Yeah, I Said It,” and the intoxicating “James Joint” are such delights that the only downside is that they’re way too short. Rih’s latest project is where we find her at her most comfortable and most creative. —Roy Henriquez

15. Solange, ‘A Seat At The Table’

Long past her days of filling in for Destiny’s Child, Solange Knowles has become the Solo Star she dreamed of on her latest album. A Seat at the Table was eight years in the making, covering a large portion of the 30-year-old’s life—breakdowns, divorce, marriage, and “Fuck the Industry” venting included. She retains her emotional, vivid lyrics and stark independence on tracks like “Don’t Wish Me Well,” while claiming her heritage on highlights like “Mad.” Add in messages from hip-hop family members (Q-Tip, Lil Wayne, Kelly Rowland, and Master P, among others) and listeners can see Solange’s first step to fulfilling a destiny of her own, with the world behind her. —Juwan J. Holmes

14. Car Seat Headrest, ‘Teens of Denial’

As Will Toledo’s voice shines through the instrumentation just one minute into the album, it becomes apparent that Teens of Denial is no ordinary Car Seat Headrest album. Backed by a full band for the first time, Toledo sheds the last remnants of his lo-fi roots, allowing his voice to pierce through the instrumentation like never before. He’s never shied away from being an open book in his music, but by letting his unhindered voice shine through, he’s taken the next step and given his music life. From the fiery, anthemic “Fill in the Blank” to the painfully relatable epic “The Ballad of Costa Concordia,” Will manages the perfect marriage of dynamic songwriting and brutally honest lyricism. After signing to Matador Records in 2015, Toledo signaled to the world that he’s more than just a kid from Bandcamp. With Teens of Denial, he proved it. —channelYELLOW

13. James Blake, ‘The Colour In Anything’

Capping off James Blake’s remarkable year, The Colour in Anything is a heartbreaking, lonely time capsule. A 17-track monolith of sparse production, Anything serves to discomfort the listener and comfort Blake. More than anything, the record disturbs—the production on “Points” and “Love Me In Whatever Way” evoke an eerie feeling of nothingness. Empty space, Blake proves, is just as powerful as sound. Blake is more profoundly lonely than on his past records, but remarkably retains elements of optimism. He drenches “f.o.r.e.v.e.r” in a bittersweet sense of joy, a coating of musical honey. He captivates on the Bon Iver duet “I Need a Forest Fire” with a hopeful melody and layered vocals. As the dense album comes to a close, Blake leaves us challenged, unsatisfied, and most of all, uncertain. —Maxwell Zhang

12. Radiohead, ‘A Moon Shaped Pool’

“This is a low flying panic attack,” enigmatic frontman Thom Yorke croons on the opening track of A Moon Shaped Pool, Radiohead’s spectacular return from a five year hiatus. Over the course of the 52-minute project, Yorke travels the depths of his emotions, emerging with a sense of despair and hopelessness. On ballads like “Present Tense,” he laments “As my world comes crashing down, I’ll be dancing, freaking out,” over the soothing, bossa nova–inspired guitar rhythm. A Moon Shaped Pool is possibly Radiohead’s most strikingly beautiful album, combining piano, acoustic guitar, and extraterrestrial strings to create an apocalyptic soundscape that exquisitely complements Yorke’s haunting vocals. However, don’t let his soothing tone fool you—as Yorke himself warns, the truth isn’t always what it seems. —John Adamson

11. Anderson .Paak, ‘Malibu’

Although Malibu isn’t Anderson .Paak’s debut, the labor and care he put into it brought his music to a much wider audience. While there are dance tracks, like “Come Down” and the ScHoolboy Q-assisted “Am I Wrong,” this album is all about Breezy’s rough life and eventual success. He narrates his tough childhood on the opening cut, while on “Carry Me” he describes his transition into the life of a struggling musician. The L.A. native managed to keep a positive outlook and overcome everything. Anderson said that he was sitting on certain songs for years, waiting for a brighter spotlight. Not bad for an LP recorded with a dented mic on a Mac mini. —Vuk Aleksić

10. The Avalanches, ‘Wildflower’

Wildflower had huge shoes to fill, and while at first listen it sounds like an attempt to recapture the magic of The Avalanches’ 2001 record Since I Left You, it’s actually a much tighter project. Using sounds they “plundered” from a staggering amount of sources, the band has created a brilliant summer record. Despite enjoying unprecedented worldwide hype, Wildflower, released in the middle of winter in their home country of Australia, is the perfect soundtrack for traversing the sunburnt country. It’s a set and forget album, able to enhance a quick jaunt down the New South Wales coast or entertain during a long desert crossing.—Ben Carter

9. Bon Iver, ‘22, A Million’

Folk isn’t a genre that most artists experiment with but Justin Vernon goes all the way, resulting in a truly innovative, textured, and challenging album. 22, A Million feels like the perfect outcome of years of experimenting with voice manipulation, ranging from Radiohead’s intriguing “Kid A” to Kanye West’s minimalistic Yeezus and James Blake’s beautiful “Lindisfarne.” The record relies on stacked vocals and retuned synths, and is the product of some unique hardware invented by Vernon’s engineer Chris Messina. These influences are mastered on highlights “715 – CRΣΣKS” and “29 #Strafford APTS.” Above all, 22, A Million is a personal record that invites the listener to dig deep into its meaning. When aware of Vernon’s belief in duality, the album takes on a different tone: the seemingly random song titles become more logical every listen, and the frightening opening words “It might be over soon” become hopeful.—Steven Frölke

8. Noname, ‘Telefone’

After Noname’s stellar appearances on Chance The Rapper’s Acid Rap and Mick Jenkins' The Water[s], the world was anxious to see what was next for this Chicago artist. Telefone was in the making for three full years, during which Noname gathered a group of rising Chicago stars, namely Saba, Phoelix and Cam O’bi. At the end of a 10 track tape, which is as emotionally confusing as it is enjoyable, it’s almost impossible to pick a favorite song because nothing and everything stands out. Telefone intertwines opposites, touching on happiness and depression, nostalgia and hope, and life and death, the latter of which is perhaps the album’s most prevailing and complex theme. The project is an embodiment of life’s intricacies—here, Noname shows us that nothing is as simple as it seems. —ZayWopStan

7. Kanye West, ‘The Life of Pablo’

For some, The Life Of Pablo will be remembered for its uncharacteristic rollout and the controversy surrounding it. However, looking past the evolving album’s innovative release, Pablo is chock-full with some of Kanye’s best work. “Ultralight Beam,” with its backing choir and standout Chance The Rapper verse, sees Kanye take on a composer role, letting others shine through. Songs like “FML” and “Real Friends” showcase Kanye’s honesty, as he strips back any pretense and conveys genuine emotion. Ye is perhaps the most revealing on “Saint Pablo,” the latest addition to the album, where he raps, “Check Instagram comments to crowdsource my self-esteem.” Despite its messiness, the albums ensures the listening experience is never dull. From the gospel sounds on the opening two tracks, to the “Panda” sample directly after, and even “I Love Kanye” into the upbeat “Waves,” ‘Ye forces the listener to keep up with his ever-changing sound and experimental nature. —Drew Harvie

6. A Tribe Called Quest, ‘We Got It from Here…Thank You 4 Your Service’

What started as a comeback album for the legendary A Tribe Called Quest quickly became somewhat of a tribute album to the late Phife Dawg. With features from Andre 3000, Kendrick Lamar, Kanye West and Elton John, We Got It from Here… Thank You 4 Your Service may be the most necessary album of this past year. With socially relevant lyrics on songs like “We The People….” and intensely real stories like the ones told on “Kids…,” this album is the perfect testament to Tribe’s legacy and a love letter to their most dedicated fans. —Zachary Mahabir

5. Chance the Rapper, ‘Coloring Book’

Chance The Rapper’s new album shows his growth from being Lil Chano From 79th to the new face of Chicago. That coupled with him becoming a new father is something he fully embraces on Coloring Book. Whether he’s warning record labels on the standout track “No Problem,” or recognizing the bad side of his fame on “All Night,” everything Chance does is filled with the kind of joy that forces you to smile and sing along with him. And all of this comes with his trademark consciousness of more serious issues like gun violence. With seven Grammy nominations on his resume, it’s safe to say that Chance really did a Good Ass Job! —Roy Henriquez

4. David Bowie, ‘Blackstar’

Blackstar is spellbinding. Lesser artists use free jazz as a way of seeming important, but Bowie embraces it wholeheartedly, going beyond exploration to create a dark, mesmerizing album. Commentary on the album has been heavily shaded by Bowie’s death two days after its release. Yes, mortality looms large, but it’s as much about identity or even sex on a handful of tracks. Sometimes they’re mournful, and sometimes they’re already in heaven, but they’re also enjoying life and embracing contradiction. Bowie’s braggadocios streak rears its head on the title track, where he boasts, “You’re a flash in the pan, I’m the great ‘I Am’.” The most beautiful moment comes on “Dollar Days,” when Bowie invokes a nostalgic image of the home he will never see again, before dismissing it as “nothing to me.” The resulting album fully deserves its place amongst Bowie’s finest works. —Vesuviusi

3. Danny Brown, ‘Atrocity Exhibition’

Deep inside Danny Brown beats the heart of a hip-hop formalist. Fortunately, it pumps chemically enhanced blood to one of the sickest, sharpest, strangest brains in the game. On Atrocity Exhibition, the Motor City motormouth re-ups with longtime producer Paul White and delivers a thematic sequel to 2011’s XXX. Musically, it’s a harsh, clattering LP about fame, sex, drugs, mental illness, and the struggle to hold it all together—or “dance in the water and not get wet.” The album is named for a Joy Division song about man’s fascination with suffering and grotesquery, and while Brown clearly relates to that group’s doomed singer, Ian Curtis, he’s too juiced up to sound suicidal himself. Despite his frantic cartoon-coyote flow, Brown is well equipped for the fraught world he and White reflect with this music. If life is a museum of horrors, frenzied bangers like “Ain’t It Funny” make killer audio guides. —Ken Partridge

2. Beyoncé, ‘Lemonade’

With Lemonade, the most popular, polished, and careful icon—Beyonce—changed the game once again. This time, it wasn’t a digital drop, it was a spellbindingly complete piece of art that combined music, image, and poetry to engage with, challenge, and ultimately transform everything we thought we knew about this woman and artist. We can never totally separate Lemonade the album from those 65 minutes on April 23rd, and especially the first 30 when millions of people gathered together to wonder if this television special would also serve as a divorce announcement. We laugh about that now but think of how bold it is for any woman, and especially Beyoncé, to use their art to express the vulnerability of “Pray You Catch Me” and glorious female rage of “Hold Up” and “Don’t Hurt Yourself.”

But what makes Lemonade great is Beyoncé’s ability to hook us with intimacy and then expand into something much bigger. “Formation” and “Freedom” pair explicitly political calls to action with the woozy bounce of Mike WiLL Made It and the most stirring Just Blaze anthem we’ve had in years. “All Night” takes the infectious brass line from Outkast’s “SpottieOttieDopaliscious” to suggest that any pain, personal or political, can be healed as long as we’re willing to face it. —Elizabeth Milch

1. Frank Ocean, ‘Blonde’

Just a day after he dropped his visual album Endless, the final curtain of Frank Ocean’s elaborate album rollout was raised. The strength of his album Blonde lies in its ability to keep the elusive Mr. Ocean at center stage. Although the likes of Kendrick Lamar and Beyoncé make appearances, they are kept to the sidelines. Drum beats are used sparingly, allowing Frank’s voice to soar from acoustic ballads to tales of drug-induced romances, all tied together with his trademark poetic songwriting and a sense of nostalgia. But in no way is Blonde stuck in the past. It’s experimental to its core, challenging the listener at every turn: pitched-up voices on opener “Nikes,” a discordant orchestra in “Pretty Sweet,” and a breathless interlude from André 3000 on “Solo (Reprise)” all flow smoothly into each other to create an album which is both captivating and beautiful. Ocean has returned from a four-year absence to confirm himself as one of the greatest writers, singers, and artists of his generation. —Dominic Salzedo