For the third year in running, The Young Folks music staff has compiled a list of our Top 50 favorite albums of the year. As with last year, the list was compiled through the votes of our music staff, plus the editors of other sections. Writers were asked to compile a list of their Top 25 favorite albums of the year, which were then compiled into our list.
First, here are some albums our staff loved, but did not make our Top 50
Honorable Mentions
Angélique Kidjo – Remain in Light
Beach House – 7
BTS – Love Yourself: Tear
Ceramic Dog – YRU Still Here?
Charlie Puth – Voicenotes
Flatbush Zombies – Vacation in Hell
Idles – Joy as an Act of Resistance
John Hopkins – Singularity
Kim Petras – Turn off the Light
Lena Raine – Celeste soundtrack
Lori McKenna – The Tree
Low – Double Negative
mewithoutYou – Untitled
OHMME – Parts
Playboy Carti – Die Lit
Public Service Broadcasting – White Star Liner EP
Rosalía – El mal querer
Sarah Davachi – Let Night Come On Bells End The Day
Sleep – The Sciences
Suede – The Blue Hour
Tropical Fuck Storm – Laughing Death in Meatspace
U.S. Girls – In a Poem Unlimited
Wussy – Getting Better
YUNGBLUD – 21st Century Liability
Please use the box below – and on the top of all other pages – to navigate through the list.
50-41 | 40-31 | 30-21 | 20-11 | 10-1
50. The Good, The Bad & The Queen – Merrie Land
You know that feeling you get when you’ve just finished reading a horrendous newspaper article, and you glance out the window, hoping to see a blue sky, but your view is relentlessly cloudy and grey? Damon Albarn sure does—and thankfully, he’s written yet another beautiful album to guide us through it. In Merrie Land, he joins forces with legendary collaborators Paul Simonon, Simon Tong, and Tony Allen once more, bringing us his most cohesive, thematically intense release in years. Much of the album was written as a reaction to Brexit and the associated political upheaval, but chances are, you’ll be able to identify with its unease no matter where you live. Albarn and Co. use a variety of musical styles to weave theatrical tales about society’s failings: the reggae-inspired “The Truce of Twilight” would blend well with a Clash album or Gorillaz’ Plastic Beach, while “The Great Fire” has a dark carnival vibe with Demon Days-esque background vocals. The album is best listened to alongside its accompanying videos, which show each track being performed by eerie, yet somehow stately puppets—a creative choice that makes sense given Albarn’s penchant for the theatrical. – Brittany Menjivar
49. Empress Of – Us
With Us, Lorely Rodriguez has crafted a short and oh-so-sweet electronic-dance-pop record that is supremely satisfying from track one. The first five songs in particular waste no time at all in building earworms with seductive and energetic beats, starting with “Everything To Me,” co-written and performed by another artist on this list, Devonté Hynes, to the slow, bilingual burn of “Trust Me Baby” into the ecstatic “Love for Me” and “I Don’t Even Smoke Weed,” which is one of the most straightforward and unexpected titles of the year, but also a song with a great, wordless hook. The second half of the album slows just a bit, but it doesn’t contain any filler. In just 10 songs, Empress Of created a joyful and essential pop album of 2018. – Beth Winchester
48. JPEGMAFIA – Veteran
Veteran is one of those records that will hit you right away. JPEGMAFIA, or as he refers to himself “The Left-Wing Hades”, put out an album that is both a biting critique on anyone that he sees fit. Peggy has become numb to societies many faux embellishments and postering pseudo-intellectuals. All throughout Veteran, it’s clear that he is frustrated at how the world is turning out. He’s angry, and this album is his way of letting out that raw emotion. Peggy’s guttural and unfiltered energy lead to Veteran being one of the most intense rap albums of the past few years. No one is safe from his vexation; music critics and even The Smiths’ own Morrissey get a bar or two. His unique production only furthers this, as Peggy works in different genres like noise and experimental electronics. These elements are what make Veteran a tour de force within the landscape of rap. More importantly, it introduced us to JPEGMAFIA, who is quickly becoming one of rap’s most refreshing and welcome additions. – Mark Wesley
47. Let’s Eat Grandma – I’m All Ears
After their, er, more challenging debut I, Gemini, it’s pretty shocking to hear Let’s Eat Grandma’s follow-up contain something as straightforward as the crystal perfect “It’s Not Just Me,” a totally by-the-book bit of indie synth pop, especially when it immediately follows SOPHIE’s other writing credit, the temple-thwacking “Hot Pink.” Playing with that duality is what makes I’m All Ears a real breakthrough, with the tender “Ava” sandwiched between two tennish minute messes, and “Falling Into Me” falling from one mode to the other. – Joey Daniewicz
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46. Sheck Wes – MUDBOY
When Sheck Wes’ “Mo Bamba” exploded into America’s consciousness this fall, it was unexpected in every sense of the word—the song, a freestyle completed in only 20 minutes, was rapped by an unknown kid from Harlem and hyped up a largely unknown basketball player; had no radio or label promotion to speak of; and had been released over a year prior. Moreover, the song was unexpected because it was utterly incredible, great enough to elevate Sheck Wes from a rapper struggling to get his foot in the door into one of the most talked-about prospects of 2018. The album that followed, MUDBOY, was equally unexpected. Filled with reckless, deceptively simple raps detailing Wes’ coming-of-age in Milwaukee, Harlem, and Senegal, his debut both thrills sonically—every song, from the amped-up “Live Sheck Wes” to the eerie “Fuck Everybody,” is tailor-made to be screamed by moshing fans—and lyrically, as he delves into his own origin myth and the struggles he faced as an Islamic black boy growing up in the projects. MUDBOY not only meets the expectations set by “Mo Bamba” but exceeds them; in the process, it heralds the arrival of one of rap’s brightest new stars. – Drew Norman
45. Dream Wife – Dream Wife
“Dream Wife for life!” That’s one of many rallying refrains on “F.U.U.,” the grand finale to Dream Wife’s self-titled debut. Presumptuous of the band to assume you’ll be screaming their name by the end of the album? Not when the music is this good. These British punk goddesses are indeed a dream come true for all the fired-up young women who want music that fearlessly embraces the female experience but don’t find themselves identifying with the bedroom pop darlings who have recently risen to fame. The girls are fierce and relentless on “Somebody,” where they fight against objectification, and “Act Your Age,” where they refuse to be patronized. At the same time, they’re unafraid to show their vulnerability and sweetness—on “Hey Heartbreaker,” they talk about fancying the wrong man, and on “Kids,” they celebrate friendships that stand strong even as both parties evolve. All in all, listening to Dream Wife is like going to a super-fun sleepover where you share secrets and talk about the revolution while painting your nails red. – Brittany Menjivar
44. Superchunk – What a Time to Be Alive
Like Parquet Courts, these are decent leftist punks who have felt compelled towards violence by recent political events. Except they’re older and, amazingly, less forgiving than Parquet Courts. I think this is a less mature record than Wide Awake! – it’s got no ‘Tenderness’. But there’s no denying the power of its thrash, and how its aural and lyrical depiction of the terrible nihilism that underpins the Trump movement perfectly encapsulates the despairing current moment. They can’t believe they were so stupid to miss the real ‘Reagan Youth’ uprising in the 80s. So they make sure they won’t make the same mistake twice, and confront the current crop of nihilists head-on with some of the most bracing guitar music of the year. – Oliver Hollander
43. CHVRCHES – Love is Dead
Something more exciting than seeing a new band debut is watching a new band grow into something greater. The Scottish synth-pop trio CHVRCHES have been one of the most consistent bands of the decade and their third album continues their roll towards becoming one of alternative rock’s finest acts. Their longest endeavor to date is also their most synth-heavy as the production by Greg Kurstin and Steve Mac makes for the thickest and biggest music of the band’s career. The sonic structure of “Get Out” and “Never Say Die” call for handclaps and pumping fists in stadiums. And for someone with such a delicate voice, frontwoman Lauren Mayberry sounds like a tidal wave on the microphone. As far as CHVRCHES go, sky’s the limit for them. – Jon Winkler
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42. The Beths – Future Me Hates Me
The New Zealand foursome’s first full-length release doesn’t initially appear to be an album that would stand out from other indie debuts. There are so many every year and often these young bands tend to sound the same in their infancy, but The Beths are different. Their songs are immediately accessible and catchy, with the influences of surf rock and classic group harmonies shining through in the choruses that are built for sing-alongs in the car on a sunny day. Future Me Hates Me is the rare album that, upon first listen, already feels familiar to you, as if it is, in fact, your tenth listen. It’s a self-assured, fun, breezy listen that includes a necessary, grounding dose of relatable weariness and cynicism (see: the title track and “You Wouldn’t Like Me”). It’s a very promising start to a still-young band’s career. – Beth Winchester
41. The Aces – When My Heart Felt Volcanic
This quartet has somewhat quietly created one of the catchiest indie-pop albums of the year. With a confectionery sugary sweetness that permeates the tone of the music with an edge by women whose anger and disenchantment bleed behind the bubble gum sheath. Not to say there’s no fun to be had and songs such as “Volcanic Love” make a great argument for this genre mixing group to get their moment in the spotlight. – Allyson Johnson
Up next: 40-31
50-41 | 40-31 | 30-21 | 20-11 | 10-1
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