The 25 Best Albums of 2015 (So Far)
July. It’s that time of the year when the sun shines bright and hot, the beer suds rise and froth, and the fireworks crack and sparkle. It’s also when we here at Paste pause for a moment to think back at what music made our past six months. Although we’re sure that our lists will change by December, our editors, contributors and interns voted on their favorite records and came up with the best albums of 2015…so far.
25. Donnie Trumpet and the Social Experiment – Surf
For the casual observer, it might seem strange that a red-hot rapper whose second mixtape has attained legendary status, and who has been asked for verses by everyone from Madonna to Justin Bieber, should for his debut album collaborate on a sunny record with a trumpet player and a group of players with influences trending more towards jazz and gospel than hip hop. But for anyone who’s followed Chance the Rapper more closely, it’s no surprise at all that he would jag in his own direction. And what an album that jag took him to—Surf is part Songs in the Key of Life-era Stevie Wonder, part Kirk Franklin, part De La Soul, but feels completely of the moment. There are big-name features here, as well—B.o.B., Busta Rhymes, Erykah Badu, J. Cole, and Janelle Monae—but their appearances feel more like tributes to Chance’s stunning talent and the feelgood hit of the summer that he and his merry band of brothers have delivered. —Michael Dunaway
24. The Lowest Pair – The Sacred Heart Sessions
The Lowest Pair is everything right with Americana today. Kendl Winter and Palmer T. Lee share equal weight in songwriting, singing and yearning, lovely harmonizing. And on The Sacred Heart Sessions, just their sophomore LP (in just 13 months!), this girl-guy, banjo-totin’ duo sings songs of ranging from regret-filled love odes like lead single “Rosie” to barn-blazin’ country pickins like “Fourth Time’s A Charm.” While The Lowest Pair is still way far under the pop music radar, they blew us away at SXSW and we’re hopeful that The Sacred Heart Sessions represents the beginning of what these two have to create and give. —Hilary Saunders
23. Madisen Ward and the Mama Bear – Skeleton Crew
The idea of a mother and son playing music is charming on its own, but when it is as incredible as this debut from Madisen Ward and the Mama Bear, it’s impossible to just not fall head-over-heels in love with it. Madisen Ward’s distinctive timbre is as warm and full-bodied as it is emotive and unforgettable. But it is ultimately Mama Bear’s energetic and technically sound guitar playing and rich, harmonious singing that make this act truly incredible. This is an album that will stay in your vinyl collection for a long, long time. —Amy McCarthy
22. The Lone Bellow – Then Came The Morning
When I heard the gospel-like harmonies at the end of the “Then Came The Morning” back in late December, I knew that The Lone Bellow’s sophomore album would be a stunner. Teaming up with The National’s Aaron Dessner for production duties, Then Came The Morning certainly shows off a slicker side to the folksy Southern trio from Brooklyn. Some experiments on work better than others here, like the particularly stark “Watch Over Us” in which lead guitarist Brian Elmquist sings lead and the brief, and the interlude-like “To The Woods” with its high-strung guitar arpeggios. But the most remarkable thing that this record proves is that when Zach Williams, Kanene Pipkin and Elmquist sing their hearts out together, this band is unstoppable. —Hilary Saunders
21. Tobias Jesso Jr. – Goon
What Tobias Jesso Jr. has delivered is a record that needs no context, that can exist outside of time and place. Jesso, in short, has crafted a masterpiece, with the only connection of real significance being between him and his audience. While the comparisons to Harry Nilsson and John Lennon hold up over the course of the debut, what may be the most surprising is the range that Jesso shows throughout. Goon isn’t all piano ballads; hell, it isn’t all ballads, period. “Crocodile Tears” is a mid-tempo, psych-tinted strut that finds Jesso boo-hoo-hooing his way into unexpected territory. “Leaving L.A.” is something totally different, lounge-y in its instrumental breaks, allowing Jesso freedom to veer from straight-ahead singer/songwriter territory. Throw in the guitar backbones of “The Wait” and “Tell the Truth,” and Goon contains plenty of variety in both tone and arrangement, carefully placed gaps in the ultimate strengths of the album.—Philip Cosores
20. Speedy Ortiz – Foil Deer
If this album came out in the year that it sounds like it’s from, I may not have noticed. But in 2015, Speedy Ortiz are the only ones picking up Pavement’s stray slack from the mid-1990s, and that’s a good thing. There really should only be one band like this at a time, doing fuzzy, chunky indie rock that you can’t resist looking up the lyrics to. Seriously, who has the audacity to begin a lead single with a line about a “hypnic jerk” and as effortlessly describes herself as “just a ratchet kid”? Sadie Dupuis, that’s who! — Pat Healy
19. Seth Avett & Jessica Lea Mayfield – Seth Avett & Jessica Lea Mayfield Sing Elliott Smith
If the title wasn’t clear enough, Seth Avett & Jessica Lea Mayfield Sing Elliott Smith is an LP in which The Avett Brothers’ Seth Avett and singer Jessica Lea Mayfield came together and covered 12 Elliott Smith tracks coursing the songwriter’s career—from 1994’s Roman Candle to 2004’s posthumous release From A Basement On A Hill. The late Smith has been an inspiration and influence to many a singer/songwriter and, as such, should be honored in a way that pays tribute while also offering an honest interpretation. And although covering another artist will always fundamentally be derivative, that doesn’t necessarily mean it needs to be purely imitative. What Mayfield and Avett have done on this record is at once commemorative of a mutual hero as well as sonically gorgeous, combining the Ohio singer’s angelic vocals with Avett’s bluegrass brass to full effect. The melodies were already stirring, the words haunting and true. If a good cover of one that is less a borrowing of lyrics and melodies and instead a lending of talents and artistic perspective to the songs themselves, then this sparse yet beautiful album is a home run. —Carson Quiros
18. Braids – Deep in the Iris
Breakup records are nothing new. They’re one of the most practiced concoctions in pop music today—but every now and then, one comes along that pushes the art form in new directions. Deep in the Iris, the third album from Montreal trio Braids, is one such album. Rather than continuing the evolution of their former sound—as displayed on 2013’s stark, searing Flourish//Perish—the band instead takes a softer, sunnier approach. While the lyrics are as cutting and introspective as anything you’ll come across, the music is anything but. Departing from jarring arrangements, the band employs warm Björk-esque beats and inviting rhythmic soundscapes as a backdrop to Raphaelle Standell’s stunning vocal work. Deep in the Iris doesn’t so much explore new depths as it does new heights. It isn’t the sound of fracturing, but healing. —Michael Danaher
17. Jamie xx – In Colour
Jamie xx isn’t doing anything new—he pulls from dub reggae and West Coast rap; he cribs minimal house as willfully as he dips into shoegaze; he uses steel drums without irony—and yet In Colour feels as refreshing as the work of someone who knows he’s touched upon territory net yet plied. With his official debut (a full-album remix of Gil Scott-Heron’s last LP that, while an endlessly blissful team-up, served as a partnership nonetheless), Jamie Smith has no apparent goals, no clear concept. But, there is the Burial-esque thwomp-n-creak caterwaul of “Gosh” and the smoky “Loud Places,” a song The xx should’ve penned. There’s “I Know There’s Gonna Be (Good Times),” which is somehow ebullient even with the terrible idea of bringing in Young Thug, and the rhythm and blues of “The Rest Is Noise” in which each is given its effortlessly ecstatic due. In total, In Colour isn’t anything in particular, just an irrefutable example that Jamie xx is more than a producer—he’s a composer and curator, a musician with an ear for optimism, a guy with boundless, Technicolor love to give. —Dom Sinacola
16. Guantanamo Baywatch – Darling… It’s Too Late
If there’s a single word that comes to mind when it comes to Guantanamo Baywatch’s latest endeavor Darling… It’s Too Late, it’s “fun.” The Portland rockers’ third LP was released via Suicide Squeeze Records this past May (peaches-and-cream vinyl notably available), and encompasses youthful mayhem, golden summers and good, ol’ fashioned rock ‘n’ roll. From instrumental tracks and sound effects paying homage to yesterday’s surf rock to dance-inducing lyricism and DIY undertones, the album is as debaucherous as ever, but also represents a new vision for the band—one that’s fully developed, pulling Guantanamo Baywatch away from their pun, and into a category all their own. Just don’t forget your sunscreen.—Brittany Joyce