1. Julien Baker- “Turn Out the Lights”

Granting us with her presence both last spring and this fall in the Pygmalion festival, Julien Baker is far from unheard of in Champaign Urbana. Her Southern roots have remained beside her yet her music, plagued with wretched realities framed in tones and melodies beautiful enough to tear up over and not feel ashamed of it. Baker’s indie-emo style has entranced the music world and proven songs about success, happiness and the brighter side of things to not be what listeners needed most of all in 2017.

“Turn Out the Lights” was an essential sequel to her first album, “Sprained Ankle” which came out in 2015. There’s an extension in the pattern of questions circling around one’s existence and wonderings about what else is out there besides what we see before us on a day to day basis. Baker’s album beats out every other in 2017 because of its unique pairing of melancholy lyrics with a graceful sound which uplifts listeners in its own right. She’s untouched by any pretense of expectation from fame, and her down to earth quality shines through her music.

For those unfamiliar with Baker, her spot at the top may come as a surprise, but once they’ve given the album a listen it’ll unleash a whole new side of self-expression and freedom over emotion that will leave listeners different than they were before.

-Jess Peterson

2. Lorde- “Melodrama”

Lorde’s “Melodrama” comes as the highly anticipated follow up to “Pure Heroine,” the album that cemented her place as a pop prodigy. Upon the release of the first singles “Green Light” and “Liability,” Lorde proved that she was no longer the teenager that created “Pure Heroine,” which was something of an ode to youth and the ability of young people to feel immortal. She is far more vulnerable and prepared to show that side of herself. “Melodrama” is a masterpiece both lyrically and musically.

Now, Lorde is in a new age and she comes ready to give her listeners an incredibly raw take on heartbreak and the loss of self and confusion that sometimes accompanies it. With every track, Lorde invites her listeners to feel everything right alongside of her. Musically, “Melodrama” is like being inside of a perfectly crafted dream. The high energy pop of tracks like “Green Light” and “Homemade Dynamite” fit perfectly with the quiet unplugged sound of “Liability” and “Writer in the Dark.” Despite everything, it’s also rather hopeful. “Melodrama” is about getting past pain – but in order to do that we have to let ourselves feel it first.

-Katie Powers

3. Kendrick Lamar – “DAMN.”

 Easily a top three album on almost everyone’s “best albums of the year” list, Kendrick Lamar outdid himself on his fourth studio album, “DAMN.” It really was one of the only albums this year that lived up to the hype. With “HUMBLE.” peaking as the number one song on the Billboard charts, and “DNA.” at number four, it’s obvious that the songs on this album really are THAT good. The songs are filled with a good balance of bass and trap that make sure people will rap along to the lyrics. As one would expect from Lamar, the lyrics cut deep and have a way of making the listener feel a part of the song. The delivery is also spot on with a balance of rapid expression and slowed down, low tone rap. This album is one of the most impressionable ones I’ve heard in a while and continues to keep me listening eight months after its release.

-Tony Lee

4. Tyler the Creator – “Flower Boy”

You are missing out if you haven’t heard of Tyler the Creator before, or his latest LP “Flower Boy.” In the 2017 installment to Tyler’s music catalog, he brings back his familiar sound in 14 great new tracks. With “Flower Boy,” Tyler brings in a handful of A-list guests, such as Lil Wayne, A$AP Rocky, Jaden Smith, Frank Ocean, and more. Tyler spits out countless killer rhymes and verses filled with his piano, bass, and super deep voice-filled tunes.

“Who Dat Boy” begins with what would be the best way to start a concert, and ends with a dope verse with lines being exchanged by A$AP and Tyler. “911/Mr. Lonely” is also a phenomenal song, filled with lots of smoothness and great beats. Tyler spends much of the album looking for his “95 leo,” and implements cool aesthetic features into songs which include many fictional radio clips of “Golf Radio,” that suggest this is where the album is being played.

Tyler shows his deep-rooted creativity on “Flower Boy,” which implements so many unique musical elements that almost remind me of a Kendrick Lamar album. Tyler’s work only has been improving with each new album, and his latest endeavor has a smooth flow like no other has this far. The album is unified through many songs leading into one another as well, which adds to the artistic element. “Flower Boy” is not an album to be missed, and is one you will have playing for years to come.

-Ben Tschetter

5. SZA- “CTRL”

SZA is the new female leader in the R&B, neo-soul genre. Her debut album “Ctrl” debuted at no. 3 on the Billboard Top 200 in June, and is the perfect mellow soundtrack for the year 2017 has been. You’ve probably heard her on your Spotify playlist or the radio and didn’t realize it. Her current album favorite for many is “Love Galore,” a deep, slow jam that is indicative of that dreamy, alternative R&B sound. Having been featured on Maroon 5’s new album and Lorde’s “Homemade Dynamite” remix, as well as taking the stage on “SNL” this December, SZA is quickly joining the ranks of strong female artists of the mainstream, and her music’s themes certainly go along with this distinction. Check out tracks “Dove’s In The Wind” featuring Kendrick Lamar, “Drew Barrymore,” the first single from her album, and “20 Something” to see why she is on so many of the best of 2017 album picks and being nominated for Best New Artists at the Grammy’s.

-Nessa Steinberg

6. Sylvan Esso – “What Now”

Sylvan Esso’s second album, “What Now,” is quite possibly the antithesis to a “sophomore slump.” The synth-pop duo manage to cover the full emotional spectrum while keeping it concise and catchy. Some of the best dance songs of the year are contained on “What Now,” like “Radio,” the wry take on the need for modern pop to be radio friendly, and how artists are striving to be “slave(s) to the radio.” Its obvious that Sylvan Esso is aware of how their music grips the listener, being as bold to hit the nail on the head with the lyric “I’m the song that  you can’t get out of your head” on “Song.”

But more than that, the album is a declaration of purpose, with the duo honing their musical chemistry to create an album of anthems, with every decision purposeful and executed with a specific vision. The slower tracks are absolutely breathtaking, an experiment in modern pop stretching beyond the convention of the genre that the two members of Sylvan Esso are both simultaneously trying to subvert and embrace.

“What Now” is an almost perfect pop album, and a good indication that the duo’s sonic evolution is not quite done yet.

-Elani Kaufman

7. LCD Soundsystem – “American Dream”

LCD Soundsystem has never shied away from dark themes. It’s the foundation of some of their best songs, and what garners such emotional reactions from fans. During their shows at any given point, there are tears flowing from someone. After James Murphy announced the band was coming back, many fans were angry: it was almost like an invalidation of their sadness for the band’s end, like their grief was all for naught.

With that in mind, if LCD was to come back as more of the same, it wouldn’t have been worth it to come back at all. Luckily, Murphy was able to shake things up in a way that gives hope for the revitalized group. Most of the tracks on “American Dream” retain Murphy’s signature anxiety about aging and falling out of relevance, but pack a punch that only comes with the passage of time. “how do you sleep?” is truly the masterpiece of “American Dream,” with its Detroit techno beat and its giant middle finger to DFA Records co-founder Tim Goldsworthy, showing a new side of Murphy that mixes vulnerability with vindictiveness.

The album’s closing track, “black screen,” is about Murphy’s friend and hero, David Bowie, who supposedly told Murphy to get LCD Soundsystem back together. Bowie’s influence on both Murphy and “American Dream” are apparent, and it’s only fitting that the last track is dedicated to him. “American Dream” is an indication that LCD Soundsystem isn’t out of the game just yet.

-Elani Kaufman

8. King Krule – “The OOZ”

You know how you are ironically attracted to sloths because of their fatigue and constant lethargy? King Krule’s third LP, “The OOZ,” shares similar features with them; it is sluggish, enervating, but hallucinating. However, inside this plodding album is a host of intricately woven genres, from jazz to rock to hip-hop. Blurring many boundaries between many genres, the album asserts that categorizing music according to genres is an old-fashioned way of viewing sound.

Singing in a style bordering on narrating and rapping, Krule’s distinct vocals is another element of the album that serves as a riposte to listeners who like to categorize music by genre. The album transforms incessantly song by song, or even minute by minute, but never sounds out of place. In fact, given that the album reflects Krule’s vulnerable and erratic state, it makes sense why the album has to be so chameleon-like. The way he uses the album’s unpredictability as a prop to connote his vulnerability is so fitting.

-San Kim

9. Vince Staples – “Big Fish Theory”

After establishing himself as one of the central figures in hip-hop, not just a prospective rookie, with the release of “Summertime ’06,” Vince Staples’ influence snowballed in the hip-hop scene. “Big Fish Theory” asserts how the hype around him is not just a one-off but warranted.

“Big Fish Theory” borders on various genres, such club music (Vince Staples himself calls the album “club-banger”) and EDM, which was made possible with Vince Staples’ eclectic team of producers that includes Flume, Jimmy Edgar, and SOPHIE. The album sounds very experimental, unlike popular hip-hop music nowadays. Despite the album’s experimental tendency, Staples wedges in catchy hooks appropriately and satisfies both party people and analytic music pundits.

Building on cynical and explicit lyrics as with his previous albums, Staples presents his emotional status as honestly as possible. In most of the album, he explores the contradictions in his rap-star life and the persistent gloom that keeps making him feel on edge, despite his successful career. He spits spitefully, “how I’m supposed to have a good time when death and destruction’s all I see?” on “Party People.” All in all, “Big Fish Theory” is a crude reminder that life will continue to be hard no matter what you have achieved. 

-San Kim

10. Khalid – “American Teen”

Rounding out buzz’s top 10 Best Albums of 2017 is Khalid’s “American Teen.” Though a newcomer to the scene and only 19 years old, Khalid’s debut with “American Teen” has landed him three Grammy nominations, alongside a fourth nomination with rapper Logic and singer Alessia Cara for their collective single, “1-800-273-8255.” Throughout the album, the singer lays down rich vocals over the R&B tracks, infused with laid-back synth and electronic layering.

“American Teen” is a forerunning album for new wave R&B artists, pushing the way R&B is produced and listened to. Beside guiding forces such as Frank Ocean and Drake, Khalid’s R&B has taken a fresh and sultry step between rap, R&B, and pop. The work as a whole is a young, sing-song salute to today’s high school woes, love, and identity. A staple in summer playlists around the US, the album’s hit song, “Location” plays on text and social media flirting, as Khalid tries to meet up with a girl in real life.

While remaining accessible and relatable for most listeners, the album taps into more mature sounds, as seen in “Therapy,” exposing a darker side of Khalid’s psyche through fluttered and warped vocals, and exploring the need for help from a significant other. “American Teen” encompasses the millennial journey in contemporary America and Khalid’s representation of youthful progression in the R&B industry.

-Emily Pease

11. Sam Smith – “The Thrill of it All”

Sam Smith’s “The Thrill of It All” encapsulates every element of a feel-good album. Full of lyrics that express feelings of happiness, pain, power, and more, each song starts with rhythms that immediately draw you in and only grow from there.

The sound heard throughout Smith’s career is evident here. Each track has a hearty base that alone helps to develop the emotion conveyed in each song. The choirs featured in the background of various songs help to push each song into a different, soulful sound than heard in Smith’s previous releases. Many of the tracks featured on “The Thrill of It All” are full of messages about relationships and Smith’s own experiences. The emotion conveyed and the stories told are full of vulnerability and are of a nature that many can relate to.

Aside from the musicality alone, Smith’s voice offers the most to the album. His soothing tones can melt your heart and make you feel empowered at the same time. The passion clearly pops through each lyric and makes you want to belt along. Although many of the topics on “The Thrill of It All” are mellow, the rhythms bring up the energy in each song on the album. The acapella ending of “Baby, You Make Me Crazy” or the snapping in “Too Good At Goodbyes” make you want to sing and clap along with the powerful voices.

“The Thrill of It All” is perfect to listen to in a variety of situations. Whether you want to cry along to a sad song or jam along to something empowering, there is a track on the album for you to listen to.

-Shelbi Voss

12. St. Vincent – “Masseduction”

St. Vincent’s fifth full-length release and all red “MASSEDUCTION” rolls in at spot number 12 with a whole lot of sex, drugs, and rock n’ roll. Annie Clark, the forerunner of the one woman group, paired with Jack Antonoff to produce an album filled to the brim with unashamed and upfront tracks about sexuality, relationships, self-deprecating habits, accumulating fame, as well as death.

A distinct step into the realm of pop, Clark leaves some of her cult-favorite tricks and complex guitar licks in favor of crushing disco uptempo beats and sneering synths. The album’s strong robotic pop sound contrasts well with Clark’s themes, while still offering stripped-naked, mortal songs such as “Slow Disco,” where Clark slow dances with a ghost.

This extreme vulnerability shows itself earlier in the album on “Happy Birthday, Johnny,” which throws listeners into a soft and deeply personal conversation with mystery figure Johnny. Though seemingly incohesive, the slow-churned ballads match well with the pop-driven, techno sped songs that tackle gigantic commentary on the superstar lifestyle. The in-your-face subtlety on “Pills” captures the android-like side of Clark’s music matched by her indie-rock guitar leads, all while ruminating on the habits of modern society. “MASSEDUCTION” is a monster that creeps beyond the threshold of comfort in the limelight of stardom.

-Emily Pease

13. Jay-Z – “4:44”

In the music industry’s incessantly changing climate, few musicians are able to hang on and continue their musical career. Among many music genres, most people will agree that hip-hop is the genre most susceptible to trend-shifting.

Where “4:44” by Jay-Z shines the most is how it challenges all current hip-hop trends. In the reign of mumble rap, trap, and money swag, Jay-Z waves aside all the trends simply by being himself. It is undeniable that the beats and his signature high-tone rapping in the album can sound crude or even outdated in comparison to the current cutting-edge hip-hop. Nevertheless, with “4:44,” the rap veteran weighs in on the current hip-hop scene, and his presence is felt strongly.

As crude as it is, the album is a very personal one. On “4:44” which is dedicated to his wife Beyonce, Jay-Z narrates and regrets his wrongdoings, voluntarily nullifying his reputation he strove to build throughout his career. On “Kill Jay-Z,” Jay-Z disguises himself as Shawn Carter (Jay-Z’s real name) to criticize his rap stardom contradictions. No matter how incongruous “4:44” is to the current trends, it is still able to strike the right chord with all hip-hop fans.

-San Kim

14. Lana Del Rey – “Lust for Life”

From an initial glance at the album cover, a follower of Lana Del Rey could see that “Lust for Life” was going to be a very different album from her previous works. Instead, of her usual apathy, Del Rey is smiling. The title track “Lust for Life” and the lead single “Love” show that Lana Del Rey is in a different place with this album. Instead of her usual references to her dark emotional state and toxic relationships, many tracks on this album suggest that she is happy with where she is and is more grounded in herself.

This album is also her most political. Tracks like “Coachella – Woodstock in My Mind” and “When the World was at War We Kept Dancing” come as a response to the current state of the world and point out the absurdity of life among a brutal political landscape. Unlike Del Rey’s previous albums, “Lust for Life” features a variety of high profile musical collaborations with artists such as the The Weeknd, Stevie Nicks, and A$AP Rocky. The decision to include so many features feels like a further departure from her previous works that put Del Rey in a state of emotional isolation. Still much of Del Rey’s vintage style that her fans have come to expect are present on “Lust for Life.” Above all, “Lust for Life” proves that Lana Del Rey’s music – including the narrative and feelings behind it- has a far wider range than her past work might have suggested. Let’s see what she does next.

-Katie Powers

15. Harry Styles -“Harry Styles”

As a member of one of the most popular boy bands maybe ever, I can only imagine what it would feel like to embark on one’s first solo project. Harry Styles, the One Direction heartthrob, took a massive leap from the catchy pop anthems of his boy band days to the melancholic sound of his self-titled solo album. Despite the qualms you may have about listening to a former boy band member, you definitely have to give Styles credit where it’s due. While it may be hard to separate the singer and songwriter from his past, Styles’ recent album draws from an array of classic rock influences from David Bowie to Mick Jagger of the Rolling Stones. It’s definitely unexpected and it not only showcases Harry’s immense talent but his maturation as an artist as well.

Standout soulful tracks, “Two Ghosts” and “Sign of the Times” are particularly emotional and feel oddly genuine and real coming from such a widely successful pop star. It’s a true testament to his development of a uniquely personal
sound that attempts to connect with old – and new – fans. But, Styles’ more upbeat and guitar-driven tracks like “Kiwi” and “Carolina” are where the artist really shines. His classic rock influences are in full effect, but the sound is all his own. “Harry Styles” the album is raw and emotive, and the singer is brazen and deliberate in his abilities.

While it may not be an especially cohesive album as the singer is still attempting to define his sound, it is an album that music-lovers can appreciate for its intelligent musicianship and remarkable vocals.

-Lizzie Jedrasek

16. Grizzly Bear – “Painted Ruins”

At the 16th spot on our list of top 20 albums of the year, Grizzly Bear represents all those indie groups attempting to stand out in the music world, but have yet to make a noteworthy dent. We get a lot of the same sounds on their album “Painted Ruins,” there are the slow, drawn-out backbeats and the somber tones painted by the lyrics that require a listener to lean in if she really wants to hear what’s going on.

This is paired with more upbeat tracks on the album such as “Glass Hillside” and “Mourning Sound,” both who come in at a faster speed and hold as much relevance, if not more, as the songs deliberately drawn out with intricacies interrupted by the occasional silence. Grizzly Bear manages to put listeners in a trance while being more memorable than something one would just play in the background but sits right on the brink of requiring one’s attention and managing to keep their audience engaged.

The album is precisely named and will take one away to times in the past, as a prelude to the ultimate image of what’s been left behind.

-Jess Peterson

17. Bjork – “Utopia”

Ever since The Beatles’ created the first concept album ever, “Sgt. Pepper’s Lonely Hearts Club Band,” the artform has been a medium for musicians to deliver an extended and more substantiated statement. It is sad to see how albums are knocked off their perch as the most consumed format of music is by singles. Nowadays, the music industry is populated with singles that often fall far short in representing the artists’ ideas.

That being said, there are still a lot of artists who prefer producing music in an album. Among numerous musicians who released albums in the year of 2017, Björk stands out the most.

In “Utopia,” co-produced with her close partner Arca, Björk explores in her regained inner peace after the flurry of emotional pains caused by her break with her long-time lover Matthew Barney. It is amazing how she reminisces about the break-up with aplomb, amidst the press’ fuss over her custody war with Matthew Barney. She even pokes fun at her conflict with Barney on “Sue Me,” yowling “Sue me, sue me, sue me, all you want.”

By large, “Utopia” is Björk’s personal and unfiltered statement of how she is holding up. Picking up from where she left off in her previous album “Vulnicura” which presents her emotional suffering, Björk assures her fan that she is doing okay, and demonstrates how albums are better than singles.

-San Kim

18. Father John Misty  – “Pure Comedy”

Father John Misty released his third album, “Pure Comedy,” in the beginning of this year and has found great success since. Father John Misty’s classic folk sound is better than ever on this new album, with a soft and mellow vibe throughout all the tracks. His distinct voice stands out on each track, with catchy melodies that are all unique yet somewhat similar.

What stood out to me in this album was the interesting choice of titles for each track; “Things That Would Have Been Helpful To Know Before The Revolution” and “So I’m Growing Old on Magic Mountain” are definitely unique titles that stand out among others. The album literally starts with a bang with “Pure Comedy” as intense instrumentals open the track and create an exciting first impression.

The track mellows out, however, and sets the mood for the rest of it. Father John Misty creates a beautiful sound in “Birdie,” a soothing song that would be perfect to fall asleep to or study to. The album ends with pleasing orchestra-like instrumentals in “In Twenty Years or So,” the perfect way to end a great experience like “Pure Comedy.”

-Molly Hughes

19. Migos – “Culture”

“Culture” is peppered with ad-libs that add some zing to each song of the album. For example, on “Slippery,” Migos’ mumbles “skrrt skrrt” which gives the track more momentum. As catchy as they are, their ad-libs might sound too easy to pull off and warrant haters. Stop questioning their skills, and let us just admit that the Migos have a keen eye for creating catchy hooks.

Aside from their seemingly effortless hooks, it is obvious why Migos is not liked by everyone; especially when, one of their members, Offset, had been incarcerated for violating his probation. However, it is not just Migos; it is every rapper’s mission to constantly confront haters. And how do rappers challenge their haters? By producing a solid album like Migos did with “Culture.”

The album revolves around money swag, lavish parties, toneless hooks, and trap beats. On the other hand, the album also shows Migos contemplating their ghetto existence and black identity, making for the album’s depth and diversity. Basically, the album embodies all trends existent in current hip-hop music. However, Migos’ matured musical depth and deft rap skills demonstrate they are not just a rap group preoccupied with pursuing the trends. Actually, with “Culture,” Migos has become one of the forerunners in setting the culture of contemporary hip-hop.

-San Kim

20. Taylor Swift  – “Reputation”

The long-awaited sixth studio album from Taylor Swift following “1989” definitely had big shoes to fill. In “Look What You Made Me Do,” Swift famously professed that the old Taylor was dead. In fact, weeks before the announcement of “Reputation” it really did seem like Swift was ‘dead’ as she gradually receded from social media, eventually deleting her Facebook and Twitter profile pics and even her entire archive of Instagram photos. In this symbolic move away from her very public life, Swift started taking control of her image – and her much-anticipated comeback.

If you can get over “1989,” what is arguably Swift’s greatest work, you can begin to appreciate “Reputation” for the most honest and real album of her career. If “1989” was her official leap into pop, “Reputation” solidifies Swift as a defining pop artist of our generation. In tracks like “This is Why We Can’t Have Nice Things” and “I Did Something Bad,” Swift addresses her offending celebrity feuds, but she also addresses her own character and years of being manipulated by the media. She takes back her image and her music throughout “Reputation,” and that’s something the old Taylor would never have done.

But, this album isn’t just about her public life, it’s also one of the most intimate looks into Swift’s personal life and her internal struggles. “Call it What You Want” and “Delicate” are romantic, which we’ve come to expect from Taylor, yet they also express anxiety over her public image and what that means for her personal relationships. If every Swift album represents her development as an artist and a person, “Reputation” is the culminating album in which Taylor finally takes control of her art and her character.

-Lizzie Jedrasek