From FKA twigs to Bombay Bicycle Club and Death From Above 1979 to Caribou, Quench Music round up the records that made 2014 

Death From Above 1979 ÔÇô The Physical World┬á

After ten years of hiatus, Sebastien Grainger and Jesse F. Keeler returned with second album, The Physical World, following up to ÔÇÖ04s YouÔÇÖre a Woman, IÔÇÖm a Machine. Not forgetting their once hardcore guise, the opening track of the album ÔÇÿCheap TalkÔÇÖ sets the tone for the next eleven tracks with a solid drum beat, plenty of electronica and a firm selection of riffs; hooky choruses galore and layers upon layers of tuneful noise. The reunification of the duo and their new instalment leaves no room for disappointment to even the oldest of DFA fans.
Loud, fast and short; few songs on the record exceed the three-minute mark, which makes the album an easily accessible compendium of full-frontal musical assault. Well-received after a ten year gap, from the Canadian duo bring no disappointment or unwelcome surprise. ÔÇôDale Evans

Caribou ÔÇô Our Love┬á

Our Love finds Dan SnaithÔÇÖs Caribou combining the psychedelic pop of his early releases with the dance floor workouts of his Daphni side-project. The effervescent ÔÇÿCanÔÇÖt Do Without You,ÔÇÖ shimmering and gorgeous, sets up the theme of the album; love. From the synth-pop break-up ballad of ÔÇÿBack HomeÔÇÖ, to the devotional album closer ÔÇÿYour Love Will Set You Free,ÔÇÖ Snaith still finds room to experiment; from the sampled voices, aggressive drumming and flute loop on ÔÇÿMarsÔÇÖ to the woozy synths that underpin ÔÇÿSecond ChanceÔÇÖ. However cerebral the album may become, it never loses its beating heart; complicated and ambiguous it may be, but that heart is ultimately what makes the album such a subtle triumph. ÔÇôTaliesin Davies

St. Vincent ÔÇô St. Vincent

ItÔÇÖs been one hell of a year for Annie Clark. Her eponymous fourth solo outing oozes jaggedy, obscure chording and serious guitar shred, sludgy effects laced with a voice that could belong to no other. Whilst waxing lyrical on taking out the garbage and masturbating, sheÔÇÖs given us something unorthodox but relatable all in the space of 40 minutes; a clunky European rhythm crossed with twisted, epic guitar lines are slipped beneath an everyday, understated and overall human musical aesthetic. On ÔÇÿDigital WitnessÔÇÖ she states ÔÇÿI want all of your mind,ÔÇÖ but if St. Vincent has proved anything in 2014, itÔÇÖs that she already has all of ours. ÔÇôVeryan Leaper

Zola Jesus ÔÇô Taiga

Heralding Taiga as her first official pop album, Nika Donilova has risen to new heights with her experimental growth as Zola Jesus. Whilst opening track, ‘Taiga’, may have similarities to some of her previous, more gothic projects, pop-heavy lead single ‘Dangerous Days’ lies in stark contrast. Stand out track, ‘Go (Blank Sea)’, is bold, its melodramatic chorus adding to what makes Taiga so sonically cohesive. Amongst consistent haunting vocals, synthesisers and honest songwriting, there are still moments of obvious exploration, breaking up the album periodically. Although her musical transition was likely to cause complaints from some old fans, Taiga proves that Zola Jesus has the ability to successfully execute a pop album and appeal to a mainstream audience without losing the essence of her music. ÔÇôBecky Taylor-Ashfield

Todd Terje ÔÇô ItÔÇÖs Album Time┬á

The legions of disco producer Todd TerjeÔÇÖs fans have been waiting ten long years for an album, and ItÔÇÖs Album Time didnÔÇÖt disappoint. It bounces from funky piano jazz to zingy 60s lounge all the way back to the dance classics that he built his name on. Tracks like ‘Svensk Sas’┬áthat zip along at a ludicrous pace and sound like a pastiche of a Nordic ‘Spanish Flea’ are ToddÔÇÖs way of telling the world that dance music still has a sense of fun. The album calms down as Bryan Ferry provides vocals on ‘Johnny and Mary’, a gorgeous and haunting cover of the Robert Palmer ballad, before it closes off with the timeless anthem ‘Inspector Norse’. Todd Terje was right; it was album time, and as far as weÔÇÖre concerned, it still is. ÔÇôHenry Atkinson

FKA twigs – LP1┬á

Tahliah Barnett began her career appearing in music videos for other artists. Yet, when twigs was born, something more exciting took over. Her debut, LP1, landed last year and showcases her unique vision as an artist; the eerie blend of energetic bass and delicate, often vulnerable lyrics that securing her spots in best album lists-a-plenty. The album is representative of a new future for music, with twigs offering a completely new sound and that cannot be categorised. Stand out tracks ÔÇÿTwo Weeks,ÔÇÖ ÔÇÿPendulumÔÇÖ and ÔÇÿVideo GirlÔÇÖ are experimental, synth heavy and a testament to the strength of her musical talent. ÔÇôZak Maoui

Bombay Bicycle Club ÔÇô So Long, See You Tomorrow

After their longest gap between records yet, much expectation rested on BombayÔÇÖs fourth studio album. But, much like a long crafted sculpture, So Long, See You Tomorrow proved to be their most successful record to date. Combining influences from all over the globe, no one song sounds the same. So Long, See You Tomorrow marks a triumphant peak in the bandÔÇÖs musical evolution, culminating the talents and nuanced taste of each member. Of course, there are the stand out singles such as the jubilant ÔÇÿLunaÔÇÖ and ÔÇÿCarry MeÔÇÖ, but itÔÇÖs the recordÔÇÖs hidden gems that make So LongÔǪ what it is; ÔÇÿHome By NowÔÇÖ combines hip-hop rhythms with the bands distinctive style and finishing on a climatic high, the title track culminates its musical journey. If thereÔÇÖs one album to take away from this year of music, make it So Long, See You Tomorrow. ÔÇôJade Attwood

Run The Jewels ÔÇô RTJ2┬á

Returning in 2014 with Run The Jewels 2, Outkast affiliate Killer Mike and producer El-P expanded on their sound to produce an album that many are declaring the album of the year. The production throughout is booming; gritty trap-influenced beats are laced behind excellent lyricism, with Killer Mike focusing in on the political issues that plague the USA. The guest spots – that appear to be a little off-centre – such as Blink 182ÔÇÖs Travis Barker and Rage Against The MachineÔÇÖs Zach De La Rocha, are superbly executed, falling into the fold without disrupting the chemistry between Killer Mike and El-P. RTJ2 stands as a huge, and completely relevant, middle finger to everything the duo stands against; be it politics or mainstream radio-friendly hip-hop, RTJ doesnÔÇÖt substitute intelligence for angry. ÔÇôJack Boyce

Wild Beasts ÔÇô Present Tense┬á

A scintillating return to form for the Cumbrian moodrockers, Wild Beasts cemented themselves as one of BritainÔÇÖs most consistent indie outfits with their fourth LP, Present Tense. Almost as instantaneously as the spectacularly baritoned┬áHayden Thorpe┬áannounces on lead single ÔÇÿWanderlustÔÇÖ, ÔÇ£DonÔÇÖt confuse me with someone who gives a fuck,ÔÇØ each of Present TenseÔÇÖs ten tracks flows seamlessly into the next. The interchangeable nature of Fleming and co-frontman Hayden ThorpeÔÇÖs vocals are now part and parcel of the ultimate Wild Beasts package and continue to enthuse listeners; while Fleming rasps through synth-laden belters ÔÇÿDaughterÔÇÖ and ÔÇÿNature BoyÔÇÖ, the sweet sensation of ThorpeÔÇÖs tones in tracks such as ÔÇÿMeccaÔÇÖ give the album a two-in-one feel. A fantastic album deserving far more accolades than it was granted. ÔÇôMax Goldbart

SOHN ÔÇô Tremors┬á

Vienna-based, English-born Christopher Taylor – aka SOHN ÔÇô has a lot to offer, as evidenced by the release of his debut Tremors in April of last year. Taylor had already been attracting the attention of numerous big names as a producer, engineering tracks for the likes of BANKS, Lana Del Rey and even 2015ÔÇÖs next-big-thing Kwabs, but Tremors demonstrated a whole new side to his ingenious musicianship. The distorted vocals and ethereal soundscapes flow over the listener with consummate ease, from the harsh drums and sweetly-sampled backbeat of lead single ÔÇÿArtificeÔÇÖ to the opening 30 seconds of ÔÇÿTempestÔÇÖ in which Taylor announces amidst a backdrop of distortion ÔÇ£Oh Lord I got lost along the wayÔÇØ. One of the yearÔÇÖs most experimental LPs and one that oozes natural talent, Tremours indicates a long, successful career is awaiting Christopher Taylor. ÔÇôMax Goldbart

 

Childish Gambino┬áÔÇô┬áBecause The Internet

As a former sketch comedian from hit comedies 30 Rock to Community, writer/actor/comedian/rapper Donald Glover, or by his stage name Childish Gambino, ranks among one of the most accomplished performers of this year and this album is definitive proof of that. Boosted by singles ÔÇÿ3005ÔÇÖ, ÔÇÿCrawlÔÇÖ and ÔÇÿTelegraph Ave.ÔÇÖ, Gambino combines his talents to produce a well-polished, well-produced and wellÔǪ frankly, an album like no other. The Internet showcases his lyrical genius and takes it to new heights as he unleashes his most formidable weapon in his arsenal; his wit. Spanning from; pop, underground R&B, club music, and to even psychedelic experimentation, the project is further heightened by GambinoÔÇÖs knowing irony, his gift for hooks, and his visionary theme to even write a screenplay and a short film to accompany the album as promotion! ItÔÇÖs no wonder Because The Internet has been nominated for Best Rap Album at the upcoming 2015 Grammy Awards. -Alex Miarli┬á

 

Real Estate ÔÇô Atlas

Having claimed an aesthetic of understated angst with their sophomore album Days, Real Estate built on this to offer some fresh moments of self-pity on 2014 release Atlas. A sense of sincerity is created through the uncertainty that can be heard in the muted voice and equally modest, open chords of vocalist and guitarist Martin Courtney. Whilst their lyrics remain reliable indie reflections, the music is dramatically cleaner and more mature than previous works. As the tempo slows and ‘The Bend’ wanes into a pained ending, there is a hopeful reprise; the apologetic tone – “I’m just trying to make some sense of it, before I lose another year” – shifts to that of acceptance. Whilst Atlas is not quite the ‘cry into your glass of white wine’ album of 2014, the familiar ache of self-indulgent frustration runs through this standout record of the year. ÔÇôSadia Pineda Hameed

 

Jessie Ware ÔÇô Tough Love

Jessie WareÔÇÖs second album, Tough Love, produces a refined, smooth sound that is performed with subtlety, a delicate balance of emotion positioning her as a genuinely talented pop vocalist. Adding a new dimension to the well-developed pop genre, Jessie creates tracks that revolve around experimentation, the exciting sound engaging with a variety of genres and inducting new listeners into the mix. Moving from the midtempo disco of ÔÇÿWant Your FeelingÔÇÖ to swooning acoustic sound of ÔÇÿSay You Love MeÔÇÖ, Tough Love showcases WareÔÇÖs journey and continuance of developing into an accomplished and respected artist. ÔÇôJess Rayner

East India Youth ÔÇô Total Strife Forever

William DoyleÔÇÖs debut as East India Youth combines his knowledge of the traditional song writing craft with more electronic sounds, composed as part of his interest in bringing depth of emotion to music created on a laptop keyboard. The grand musical landscape of Total Strife Forever spans passages of sparkling electronica on tracks such as ÔÇÿGlitter RecessionÔÇÖ to the more melodic ÔÇÿDripping Down.ÔÇÖ The articulate and smart nature of Total Strife Forever feels distinctly like a digital album, yet the strength lies in the way Doyle plays with convention. The experimentation produces a striking sense of emotion, sending listeners on to a musical journey through an album full of promise and originality. ÔÇôJess Rayner

Taylor Swift ÔÇô 1989┬á

SheÔÇÖs the pop princess the 21^st century has been longing for since Britney hung up her headset for an electric shaver. A bastion of bangers, Taylor Swift owned 2014. We all knew she was capable of fantastic things; ÔÇÿLove StoryÔÇÖ was no one hit wonder and conquering Harry Styles is no mean feat. No, 1989 was far from the surprise success of the year. Its singles swept the charts, defying haters and fakers worldwide, taking down the odd player and ex-lover along its way; its sassy messages and superb synth lines stole hearts and filled dance floors a plenty; its polaroid-style artwork saw sales of Fujifilm Instax Minis reach newfound heights. 2014 was the year that Taylor did it all, and for that we can only thank 1989. -Charlie Mock

Cloud Nothings ÔÇô Here and Nowhere Else┬á

Here and Nowhere Else makes the cut because itÔÇÖs a thermal blast of fresh air. Clocking in at just over 30 minutes, 8 exquisitely crafted songs hurtle unrelentingly to perfect punk rock crescendos without indulgence.┬áThere is a rare joy in the bravery to let ferocious, screaming guitars and tearaway drumming take centre stage. Its beauty lies in the tension between BaldiÔÇÖs anxiousness to control everything ÔÇô his focused mindset that makes perfect pop songs with catchy hooks – and the desire to let go, to let the music pour out as a stream of consciousness. An honest, grungy, punk rock masterpiece that consciously chooses pure energy over an inclination towards self-consciousness: listen through and I defy you not to want to press play again straight away. ÔÇôGareth Kitchen