The Best Albums of the Year (So Far..)

As a way of kicking off the expansion of 'Jon On Film', I thought I'd take a moment to appreciate just what a good year for music it's been so far in the year. Though Taylor Swift's "1989" is still ruling the charts months after its release (will it really be the successor to Adele's "21" in terms of sales and impact? It sure looks that way), there have been plenty of great albums by artists that may not come close to Swift's pop domination, but definitely match it for musical quality.

So far in the year, we've seen releases from acts such like Mariah Carey, Drake, Madonna, newcomers like Fifth Harmony and comebacks from the likes of Hilary Duff. With so much music flooding the market, just what should you be listening to?

Don't worry, I've got you covered.


"FROOT", Marina and the Diamonds

After her primed 'breakthrough', electro-pop concept album "Electra Heart" didn't live up to the high expectations set by her label's promotional campaign and the team behind it (Katy Perry and Rihanna hit makers Dr. Luke and Stargate), it was clear the singer/songwriter needed to go back to the drawing board. The result is Diamandis' best, most cohesive work to date. "FROOT" possesses the witty lyricism of her debut, "The Family Jewels", the catchy production of its follow-up, and execution to establish it as a step forward.

Written and produced by Diamandis herself (there's only one other producer credited on the LP, containing 12 track), instead of the team she had behind "Electra Heart", this album is proof that less is definitely more. Sure, there are big ideas and themes concerning humanity ('Savages'), but nothing about this album is too wanting, or works too hard to demand your attention. On the contrary, it's a very understated project. The opener, "Happy", is raw ballad featuring nothing but Diamandis' operatic vocal range and a piano. Where "Electra Heart" saw her inhabiting female archetypes as part of a concept. "FROOT" is solely Marina's story; for the first time, Diamandis seems confident in her own shoes.

In an industry overcrowded with colorful, kooky wannabe acts from the likes of Katy Perry and Lady Gaga, Diamandis has stopped trying to inhabit characters, stepped back, and found the voice the sets her apart from the rest of the crowd: her own, and boy is it beautiful.

***Favorite Tracks: "Happy", "Froot", "I'm A Ruin", "Can't Pin Me Down"***

"Pageant Material"- Kacey Musgraves

When Kacey Musgraves released her major label debut, "Same Trailer Different Park" back in 2013, she was hailed as the next Miranda Lambert, Carrie Underwood, and even the "Kendrick Lamar of Country music" by publications like Pitchfork. She took home two Grammy's, including Best Country Album. All the makings of the next big thing.

As a young female country singer/songwriter, comparisons to Taylor Swift were inescapable. However, where Swift was buoyed to success by pop-crossovers like "Love Story" and "You Belong With Me", Musgraves is pure Country, and her sophomore effort "Pageant Material" is evident that she's content with keeping a profile much smaller than Swift's.

By no means is this a knock; "Pageant Material" may not reach the highs of "Same Trailer Different Park", but it doesn't have to, and Musgraves, again, is completely content with not living up to the high expectations thrusted upon her. But where the album may not reach the high bar its predecessor set, it features sharper writing, and an even better knack for storytelling that has always set Musgraves apart from the pack. She paints a pretty vivid picture, and the small scale production and the beautifully understated vocals keep in time with the album's overarching theme of staying true to yourself. Though the album is unmistakably a Country record, it shrugs off the irritating conventions that make Country so hard to get into. Musgraves' sheer honesty makes "Pageant Material" more relatable, and listenable than just about anything in the Top 40 landscape. And even if you're not a 'Dime Store Cowgirl', there's nothing here that'll keep you from embracing "Pageant Material" with open arms.

***Favorite Tracks: "Dime Store Cowgirl", "Somebody to Love", "Miserable", "Fine"***

"To Pimp A Butterfly"- Kendrick Lamar

What is there to say about Kendrick Lamar's incredible follow up to the equally incredible "Good Kid, M.A.A.D City" that hasn't already been said? Already heralded as one of the best new rappers by critics and listeners alike, where else was there to go but up? And Lamar delivers on every single promise made on previous work, while managing to innovate his sound at the same time.

Influenced by spoken word poetry, funk and jazz, Lamar and his team of producers (just about everyone from Pharrell to Dr. Dre) have constructed yet another masterpiece that is no less as thought provoking or as listenable as his other albums. But what sets this album apart from the others is not only its grand scope, but just how cinematic it feels, and just because it's not as appealing to Top 40 radio doesn't make it any less listenable. On the contrary, Lamar's shift from ear-grabbing hooks to thought provoking lyricism and imagery are actually more effective. It's not just an album one would enjoy listening to, it's an album you, and everyone else should be listening to. With the marketplace being flooded with pretenders from the likes of Iggy Azalea, Macklemore and Eminem, it's refreshing to actually hear the voice of a genuine rap artist. This is his masterpiece, in a discography filled compelling, masterfully crafted work, and he's only just getting started

***Favorite Tracks: "Wesley's Theory", "These Walls", "How Much A Dollar Cost", "i"***

"How Big, How Blue, How Beautiful"- Florence + the Machine

Florence Welch has a voice, and a stage presence unlike any other musical act currently working today. When it was announced last week that she would be replacing  Foo Fighters frontman Dave Grohl at Glastonbury, I sighed. If there was one thing Welch was put on Earth to do, it was to perform, and though I won't be there to see it firsthand, I'll get a kick out of the Youtube coverage that's sure to come from her performance. Seriously, the MTV Unplugged set is nothing short of incredible, and the group's first two LP's are eclectic, wild and wholly listenable.

"How Big, How Blue, How Beautiful" is the first LP since 2012's "Ceremonials". Where "Ceremonials" was an epic, grandiose step forward for the band, it was missing something that their debut, the scrappy breakthrough "Lungs", possessed. And in a way, Welch and co. take a step back from the path carved by their bold sophomore effort, and journey down a different path altogether with this new album.

This is the most stripped down Florence has ever sounded; no longer relying on the thundering drums and the grand operatics that dominated her previous releases, here she lets her voice do the heavy lifting. Even on the grander tracks like 'What Kind of Man', 'Third Eye' and the album's title track, it's Welch's incredible vocal prowess that serves as the album's main instrument. Welch has hinted at subtlety before, but songs like 'Never Let Me Go' still retained the group's signature instrumental epicness. Here, the quiet moments (the standout 'St. Jude') really pack a punch without hitting you over the head with booming production.

"How Big, How Blue, How Beautiful" is easily the group's best offering, because it's where Welch's innovative personality shines the brightest; Welch is still able to belt out emotional depth without relying on bells and whistles.

*** Favorite Tracks: "How Big, How Blue, How Beautiful", "Queen of Peace", "Third Eye", "St. Jude"

"Breathe In. Breathe Out"- Hilary Duff

The fact that Lizzie McGuire herself was able to craft a perfect pop album should come as no surprise to anyone. If you say you didn't own a copy of her multiplatinum smash "Metamorphosis", you're lying to yourself. And though Duff's follow-ups never quite lived up to the promise of that particular record, I have a feeling it had more to do with the team behind her than Duff herself. If you remember the criminally underrated "Dignity", then you know that Duff sounded the best when she stayed true to herself. She couldn't stay apart of the Disney brand forever, and hinted at becoming America's answer to Kylie Minogue with gems such as 'With Love' and 'Play With Fire'. Alas, poor promotion by her label prevented it from taking off in the way it deserved, and so Duff entered an 8 year hiatus from music.

But she's back, and after a series of false starts (last year's meh 'Chasing the Sun' and the undervalued 'All About You') Duff served us the should be song of the Summer 'Sparks', co-written by 'Talking Body' hit maker Tove Lo no less. Terrible music video aside, 'Sparks' is a hell of a song, perfectly encapsulating great pop music: a catchy hook, with great whistle repetition and a smooth beat. It goes down smoother than your favorite refreshing Summer beverage.

The LP the song is packaged in is just as shimmery and easy to swallow. Duff's no Ariana Grande, but her voice has never sounded better than it does here. The album is tightly produced; it's a cohesive set of pop gems that doesn't establish any new foundations in the realm of pop, but never strives to, and that's where Duff excels. She's no innovator, but she's smart about what she does best, and who she works with (in addition to Tove Lo, Duff requested the likes of Ed Sheeran, to great results). "Breathe In. Breathe Out" is one of the most smartly concocted albums in recent history, and proves that even being away for several years, Duff is a lot smarter about the land of pop music than a lot of her peers.

***Favorite Tracks: "Sparks", "Confetti", "Breathe In. Breathe Out", "Tattoo"***

"Carrie & Lowell"- Sufjan Stevens

Titled after Stevens' mother and his stepfather, "Carrie & Lowell" is the crowning achievement in a discography filled with incredible work. The album is an autobiography of sorts, each song serving as a piece in the story behind his heartbreak concerning his mother. A bipolar schizophrenic who also battled substance abuse and Stomach Cancer (which she died from in 2012), Carrie's impact on Stevens was unmistakable.

Though clearly left broken by the various episodes of abandonment (referenced in 'Should Have Known Better'), Stevens also explores themes of forgiveness and rebirth, most poignantly referenced in the anecdotes about trips he would take with both his mother and stepfather. A spectrum of emotions are explored throughout the album's very tight 11 track duration, taking him on a journey as he manages to come to terms with the emotional void Carrie's continued absence, and now death, left. There's not a skippable moment here, doing so would eliminate a very intricate piece of the story Steven's soft voice and heartbreakingly quiet instrumentals manage to weave.

In a lot of ways, "Carrie & Lowell" is a concept album, but it's almost an anti-concept album. So often do artists hide behind characters and big ideas to tell a story or drive home a point over the LP's duration, and oftentimes it's effective. Here, Stevens is playing himself, and the 'concept' is one man's journey from grief, to some sort of quasi-happiness, his journey; not quite forgiving his not always present mother, but making peace with who she was, and how much she meant to him. By the end of the album, Stevens has reached a place of bliss, and whether it's momentary or static, it's honest, poignant, and unforgettable.

***Favorite Tracks: "Death with Dignity", "Fourth of July", "The Only Thing", "Blue Buckets of Gold"***

"If You're Reading This It's Too Late"- Drake

The evolution of Drake has been something to watch. "Thank Me Later" did a great job at establishing just who Drake is, in which he embraced the blue print set by Kanye West's "808's & Heartbreak". With "Take Care", Drake capitalized on his shot to stardom and delved deeper into themes of heartbreak and family, something that reached a crescendo with 2013's "Nothing Was the Same".

It was expected that Drake's next project would be his heavily anticipated "Views From the 6", but without prior announcement, he dropped "If You're Reading This It's Too Late" instead. It shot straight to number one and broke Spotify streaming records. The release was instantly plagued with rumors about being a way to close out his deal with Cash Money, something Drake doesn't shy away from discussing on the album ("Brand new Beretta, can't wait to let it go/ Walk up in my label like 'Where the check, though?"). There's also digs at label mate Tyga ("You need to act your age and not your girl's age") and Kendrick Lamar ("They gon' say your name on them airwaves/ They gon hit you after like it's only rap."

But for all of the digs and label drama, Drake has never sounded more assured or confident than he does here; There are similarities to the Drake we first heard on 'Best I Ever Had', but the Drake preceding over this project is an artist coming into his own, as he asserts on 'No Tellin': "Please don't speak to me like I'm that Drake from four years ago." It might be the freedom that the mixtape style release gives him, or it might just be that again, he's evolving. Where his previous albums told us of his greatness, this is the first album that shows it to us.

***Favorite Tracks: "Energy", "10 Bands", "Know Yourself", "6PM In New York"***

"Wildheart"- Miguel

"Too proper for the black kids/ Too black for the Mexicans/ Too square to be hood." The lyric from 'what's normal anyway,' may refer to Miguel's loneliness stemming from his biracial heritage, but it addresses a much larger theme for the R&B singer: identity.

After a label change, he released the critically acclaimed "Kaleidoscope Dream", which had critics comparing him to the likes of Prince and Marvin Gaye. '#Beautiful', the collaboration with Mariah Carey, gave the singer more chart success and exposure. But it's his latest release, "Wildheart", that will really solidify him as one of the greats. Just from listening to the album in its entirety, it's clear that Miguel is someone that truly understands R&B. Every song sounds undeniably like his own, and like nothing else being produced today. Rather than following a particular trend, he stays true to himself, and even throws in unexpected twists and turns in the form of electric guitars and a Lenny Kravitz collaboration.

And that's really the greatest part of the album: its production. Not to knock the expert songwriting or vocal performance, but the cohesive instrumentals make for a sensual listening experience, one as enjoyable as the album's theme of carnal pleasures. This is yet another album that is light on radio friendly music, but Miguel sounds less concerned with lighting up the radios and more concerned with delivering upon his early promise. And boy, does he deliver.

***Favorite Tracks: "Hollywood Dreams",  "leaves", "face the sun (ft. Lenny Kravitz), "Simple Things"***

Honorable Mentions:

• "I Love You, Honeybear"- Father John Misty
• "AT.LONG.LAST.A$AP"- A$AP Rocky 
• "In Colour"- Jamie xx
• "Reflection"- Fifth Harmony 
• "Jackie"- Ciara