I started this series out of equal parts awe and exasperation: there’s more music out there than anyone can reasonably sift through and not all of it deserves your time. What began as a rant about excess quickly turned into a treasure hunt and amid the avalanche, I kept finding real gems. Having done the ear-work, I feel compelled to share the best of what I’ve uncovered.
Each post tackles one letter of the alphabet (by artist name). I open with a Top list, usually around twenty picks and based on my preferences but chosen with as open a mind as possible. Next come Worthy Contenders: albums and artists that could easily live on my list or yours. I close with Missed the Mark, calling out records I find unnecessary given how much quality is already on offer. If a favorite of yours lands there, it likely means our sonic compasses point in different directions…and that’s okay.
This project is a logistical beast, so some worthy music will inevitably slip through the cracks. It’s not meant to be exhaustive (just exhausting…lol). I focus on four core genres – Rock, Pop, Soul, and Electronic – and intentionally exclude rap, country, heavy metal, and several sub-genres. I initially tried to include “world” music, but quickly realized that would overextend the scope.
My hope is that these posts serve as a practical guide for curious listeners, part discovery tool, part memory jogger. And if nothing else, I’m having a blast unearthing keepers and building playlists worth replaying.
#20) ARCADE FIRE – Funeral (2004)
Funeral is widescreen indie catharsis with strings, organs, gang vocals, and pounding drums turning private grief into communal sing-alongs.
PROS: A run of towering anthems (“Neighborhood #1 (Tunnels),” “Wake Up,” “Rebellion (Lies)”), cohesive emotional arc, inventive orchestral textures that feel purposeful.
CONS:: Humid/muddy production can blur the mix, mid-tempo surges can feel samey, and the relentless earnestness may grate if you prefer restraint.
BOTTOM LINE: A landmark for its heart-on-sleeve scope and no-skip peaks, even if its sheen and fervor won’t convert every skeptic.
SAMPLE TRACK: Neighborhood #1 (Tunnels)
#19) ALPHAVILLE – Forever Young (1984)
Forever Young is deluxe ’80s synth-pop with Marian Gold’s dramatic tenor riding lush, cinematic keyboards and a triple crown of singles (“Big in Japan,” “Sounds Like a Melody,” and the title track).
PROS: Hook-rich songwriting and surprisingly cohesive sequencing that moves from glitter to wistful grandeur.
CONS: The period gloss (gated drums, glassy synths) can feel dated, some deep cuts don’t match the marquee hits, and a mid-tempo sameness creeps in.
BOTTOM LINE: A near-definitive synth-pop touchstone whose big moments still sparkle.
SAMPLE TRACK: Forever Young
#18) ALT-J – An Awesome Wave (2012)
An Awesome Wave is a debut that makes oddness feel inviting: precision-built arrangements, cymbal-less drum thud, and hushed harmonies click together into headphone candy, with standouts like “Breezeblocks,” “Tessellate,” and “Matilda” proving there are real hooks beneath the quirks.
PROS: Inventive textures, clever dynamics and negative space, seamless sequencing, and a distinctive vocal/lyrical POV that rewards repeat listens.
CONS: Joe Newman’s papery croon and cryptic lyrics can seem mannered, some production choices feel clinical, and the lurching low-end on heavier cuts (“Fitzpleasure”) may divide casual listeners.
BOTTOM LINE: It’s a modern indie classic if you vibe with its precision and puzzle-box charm; merely cool clockwork if you don’t..
SAMPLE TRACK: Breezeblocks
#17) AMY MACDONALD – This Is the Life (2007)
This Is the Life is a brisk, hook-forward folk-rock debut powered by crisp strumming, no-nonsense melodies, and a husky Scottish vocal that reads older (and wiser) than her years.
PROS: Tight songwriting and clean sequencing make it an easy front-to-back spin; the title track, “Mr Rock & Roll,” and “Run” offer instant, re-playable choruses. Production is polished without smothering the band feel.
CONS: The sonic palette is narrow (a lot of mid-tempo strum-and-drive), lyrics favor snapshots over depth, and a few cuts feel interchangeable once the formula locks in.
BOTTOM LINE: Not a reinvention, but a reliably high-yield listen with minimal skips and maximum momentum.
SAMPLE TRACK: Mr. Rock & Roll
#16) ANGIE STONE – Black Diamond (1999)
Black Diamond is a warm, lived-in neo-soul debut with ’70s-leaning keys, unfussy grooves, and Stone’s earthy contralto delivered with grown-woman calm.
PROS: Plush, organic production that favors live-band feel; consistently strong songwriting and sequencing; Stone’s phrasing and harmonies elevate standouts like “No More Rain (In This Cloud)” and “Life Story.”
CONS: M,id-tempo comfort can blur track-to-track dynamics; lyrics prize maturity over bite, so the set rarely surprises; a couple cuts feel sonically redundant.
BOTTOM LINE: Not flashy, but deeply satisfying…the kind of front-to-back soul record that rewards repeat listens with vibe and craft.
SAMPLE TRACK: No More Rain (In This Cloud)
#15) ALEXANDER O’NEAL – Hearsay (1987)
Hearsay is late-’80s Minneapolis R&B at full gloss with Jam & Lewis’s crisp drum machines, sleek synths, and sly party-gossip interludes framing O’Neal’s authoritative baritone.
PROS: A killer singles run (“Fake,” “Criticize,” “Never Knew Love Like This,” “Sunshine”), radio-ready hooks, and a surprisingly cohesive concept that balances strut and slow-jam swoon.
CONS: The interludes can feel gimmicky on repeat plays, the gated-drum/sheen combo dates the sound for ’80s-averse ears, and a couple of mid-album tracks color inside the formula.
BOTTOM LINE: Polished, hook-heavy R&B with personality to spare. If you can ride with the period production, it’s a front-to-back crowd-pleaser.
SAMPLE TRACK; Fake
#14) AUDIOSLAVE – Audioslave (2002)
Audioslave is a heavy, radio-dominating debut where Tom Morello’s sci-fi riff-craft locks with Rage’s rhythm engine while Chris Cornell soars over the top.
PROS: Undeniable anthems (“Cochise,” “Show Me How to Live,” “Like a Stone,” “I Am the Highway”), massive guitar tones, airtight grooves, and Cornell in commanding voice. A cohesive, arena-scale sound that still hits hard.
CONS:: Overlong and mid-tempo heavy, with song formulas that blur together. Lyrics can tilt generic, the mix can feel compressed, and the fusion rarely reaches the political bite of Rage or the oddball adventure of Soundgarden.
BOTTOM LINE: Samey in spots, but the peaks are towering. This is the definitive Audioslave statement because the hooks and performances are simply colossal.
SAMPLE TRACK: Like a Stone
#13) ARCTIC MONKEYS – AM (2013)
AM is a sleek, late-night pivot with hip-hop-sized drums and sub-bass welded to desert-rock riffs,
PROS: Colossal drum/bass groove; airtight singles (“Do I Wanna Know?,” “R U Mine?,” “Why’d You Only Call Me When You’re High?”); clever guitar hooks (“Arabella”), a swooning closer (“I Wanna Be Yours”), and a cohesive, re-playable aesthetic.
CONS:: The gloss can feel calculated; mid-tempo sameness and brick-walled loudness tire the ear; lyrical poses sometimes outpace depth.
BOTTOM LINE: Their most playable set…less scrappy than early records, but the groove-and-hook combo is undeniable.
SAMPLE TRACK: Do I Wanna Know?
#12) ALABAMA SHAKES – Boys & Girls (2012)
Boys & Girls is a ragged, soul-charged debut powered by Brittany Howard’s volcanic vocal and a live-in-the-room band sound.
PROS: Big, repeatable highlights (“Hold On,” “I Found You,” “You Ain’t Alone,” “Be Mine”); gritty guitars, Hammond swells, and roomy drums that favor feel over polish; sequencing that front-loads bangers but keeps the back half sturdy; a refreshing lack of prefab gloss.
CONS: The retro palette feels derivative at times; several mid-tempo shuffles blur together; lyrics tilt toward broad sentiment over detail; and the rough mix can feel boxy on headphones.
BOTTOM LINE: Not a reinvention, but a hugely satisfying, high-energy set whose conviction and hooks make it an easy front-to-back spin.
SAMPLE TRACK: Hold On
#11) AIMEE MANN – Bachelor No. 2 (2000)
Bachelor No. 2 (or, The Last Remains of the Dodo) is a master class in cool, precision-tooled pop: bone-dry wit, scalpel-sharp phrasing, and unfussy arrangements that prioritize songcraft over spectacle.
PROS: Literate, unsentimental writing that lands cleanly (“Red Vines,” “How Am I Different”). Elegant textures that leave air for melodies; sequencing that plays like quiet defiance.
CONS: The mid-tempo, brushed-drum palette can feel monochrome; the vocal reserve keeps an intentional emotional distance; and those craving big dynamic swings or explosive choruses may find it too tasteful by half.
BOTTOM LINE: Not fireworks, but an album that wins on craft, clarity, and replay value.
SAMPLE TRACK; Red Vines
#10) ABC – The Lexicon of Love (1982)
The Lexicon of Love is peak sophisti-pop which delivers a run of killer singles (“The Look of Love,” “Poison Arrow,” “All of My Heart”).
PROS: Immaculate hooks, cinematic arrangements, airtight sequencing, and almost no filler.
CONS: Very ’80s gloss that can feel dated. Arch, theatrical lyrics may seem mannered; and the polish sacrifices some raw “band-in-a-room” energy.
BOTTOM LINE: A near-definitive pop landmark whose style and songcraft still sparkle, even if its shine isn’t for everyone.
SAMPLE TRACK: Poison Arrow
#9) A-HA – Scoundrel Days (1986)
Scoundrel Days trades debut-era bubblegum for sleek, wintry grandeur with ice-glass synths, chiming guitars, and Morten Harket’s soaring tenor carrying songs that feel cinematic rather than cute.
PROS: Sophisticated melodies and atmosphere; dynamic sequencing with real peaks (“Manhattan Skyline,” “I’ve Been Losing You,” “Cry Wolf,” “The Soft Rains of April”); vocals and arrangements that still sound elegant and muscular.
CONS: Glossy ’80s production can date the sound; lyrics lean opaque; and a couple mid-tempo cuts blur together.
BOTTOM LINE: A mature, moody synth-pop standout that proves the band was far more than one megahit.
SAMPLE TRACK: Manhattan Skyline
#8) ALICIA KEYS – Songs in A Minor (2001)
Songs in A Minor introduces a fully formed artist with classical-trained piano woven into neo-soul and hip-hop grooves, topped by a rich contralto and confident songwriting.
PROS: Piano-led arrangements and live-band warmth; standout singles (“Fallin’,” “A Woman’s Worth”) plus a sharp Prince cover; cohesive sequencing and real musicianship that still feel organic.
CONS: A few tracks run long or repeat the same mid-tempo feel; some early-career lyrics read earnest rather than incisive; bits of turn-of-the-millennium production can date the sound.
BOTTOM LINE: A strong, remarkably assured debut with more keepers than skips.
SAMPLE TRACK: A Woman’s Worth
#7) ADELE – 21 (2011)
Adele’s 21 is a break-up blockbuster that marries a once-in-a-generation voice to classic, radio-ready songwriting.
PROS: Towering singles (“Rolling in the Deep,” “Someone Like You,” “Set Fire to the Rain”), clean arrangements that spotlight her phrasing, and sequencing that traces a satisfying anger-to-acceptance arc with very little filler.
CONS: Conservative production can feel safe and samey across the mid-tempos; a few lyrics lean on broad breakup tropes; overplay has dulled some shine.
BOTTOM LINE: Not radical, just ruthlessly effective with big hooks, big emotion, and a remarkably consistent front-to-back listen.
SAMPLE TRACK: Rolling in the Deep
#6) ALANIS MORISSETTE – Jagged Little Pill (1995)
Jagged Little Pill is catharsis turned alt-pop juggernaut with spiky guitars, sticky melodies, and Glen Ballard’s radio-sharp production framing a voice that swings from whisper to primal yell.
PROS: A ridiculous run of singles (“You Oughta Know,” “Hand in My Pocket,” “Ironic,” “You Learn,” “Head Over Feet”), diaristic lyrics that feel raw yet crafted, and a tight sequence with very little filler.
CONS: Mid-’90s guitar gloss can date the sound, some lyrical turns veer into on-the-nose or bratty, and the volume of confession can feel one-note to skeptics.
BOTTOM LINE: An era-defining, front-to-back crowd-pleaser whose emotional directness and hooks still hit.
SAMPLE TRACK: You Learn
#5) ALICE IN CHAINS – Dirt (1992)
Dirt is grunge at its starkest with granite riffs and Layne Staley/Jerry Cantrell harmonies turning addiction and despair into hooky menace.
PROS: Towering songs (“Them Bones,” “Rooster,” “Down in a Hole,” “Would?”), razor-tight riffs with melodic ballast, bone-dry production that keeps everything punchy, and a relentlessly cohesive mood.
CONS: The unblinking bleakness can be exhausting, several mid-tempo grinders blur together, and its early-’90s guitar tones won’t convert the grunge-averse.
BOTTOM LINE: Brutal but magnetic…one of the era’s most cohesive, no-skip heavy records.
SAMPLE TRACK: Would
#4) ANITA BAKER – Rapture (1986)
Rapture is quiet-storm perfection with plush, jazz-brushed arrangements built to cradle Baker’s velvet contralto and a front-to-back flow with zero dead weight.
PROS: Timeless singles (“Sweet Love,” “Caught Up in the Rapture”), warm, organic production with real players, impeccable phrasing and harmony stacks, and elegant songwriting that rewards repeat listens.
CONS: The steady mid-tempo glide can feel uniform, lyrics prize poise over bite, and those allergic to ’80s soft-focus sheen may find it too refined.
BOTTOM LINE: A defining adult-soul classic…subtle, sumptuous, and remarkably re-playable.
SAMPLE TRACK: Caught Up in the Rapture
#3) AMY WINEHOUSE – Back to Black (2006)
Back to Black is a razor-sharp soul revival with brutally candid songwriting and a smoky, elastic vocal.
PROS: Stone-classic singles (“Rehab,” “Back to Black,” “You Know I’m No Good,” “Tears Dry on Their Own”), airtight arrangements with real band feel, hooks for days, and lyrical honesty that cuts without melodrama.
CONS: Retro palette can feel stylistically narrow, a couple tracks ride the same mid-tempo groove.
BOTTOM LINE: Modern soul landmark…concise, hook-rich, and devastatingly human; a true front-to-back no-skip for most listeners.
SAMPLE TRACK: Love is a Losing Game
#2) AALIYAH – Aaliyah (2001)
Aaliyah is future-tense R&B rendered with minimalist confidence framing Aaliyah’s feather-light, exacting vocal on standouts like “We Need a Resolution,” “More Than a Woman,” and “Rock the Boat.”
PROS: Innovative, influential production; cohesive, skip-light sequencing; a cool, modern vocal approach that turned restraint into style.
CONS:: The icy, mid-tempo palette can feel emotionally distant; some tracks blur into mood more than song; and CD-era sprawl dulls a bit of the impact.
BOTTOM LINE: A quietly radical, front-to-back blueprint for 2000s pop-R&B that still sounds modern.
SAMPLE TRACK: More Than a Woman
#1) THE AVALANCHES – Since I Left You (2000)
Since I Left You is a sun-dazed, sample-spliced travelogue with thousands of crate-dug snippets melted into a seamless, buoyant flow that feels both playful and wistful at once.
PROS: Miraculous cohesion for a collage record; warm analog glow; infectious peaks (“Since I Left You,” “Frontier Psychiatrist,” “Live at Dominoes”); and front-to-back sequencing that rewards uninterrupted listening.
CONS:: The “continuous mix” vibe can blur song identity; a few stretches drift into pleasant wallpaper; and the heavy nostalgia filter won’t click for listeners craving conventional vocals or band dynamics.
BOTTOM LINE: A singular, joyfully melancholic landmark of sample-based pop that’s best experienced as one head-phone-on journey.
SAMPLE TRACK: Close to You
That was the A-team. Now here are the “Worthy Contenders” (in no particular order).
AFGHAN WHIGS
PROS: Soul-laced alt-rock with real swagger; Dynamic albums that feel sequenced like films; a strong mid-’90s run with lasting influence.
CONS: Dulli’s cynical narrator POV and thematic darkness aren’t for everyone; some records lean into a uniform mid-tempo churn; post-reunion material doesn’t always hit the visceral highs of the ’93–’96 peak.
BEST ALBUM: Gentlemen (1993)
AZTEC CAMERA
PROS: Roddy Frame’s literate songwriting and effortless melodies; jangly, clean guitar work with sophisticated chords and subtle jazz/folk inflections.
CONS: A tendency toward glossy, adult-contemporary sheen. Frame’s light, boyish vocal won’t convince listeners craving grit; catalog quality is uneven after the debut.
BEST ALBUM: High Land, Hard Rain (1983)
ANGEL OLSEN
PROS: Volcanic, expressive voice that swings from whispery intimacy to full-throttle wail. Albums sequenced with real emotional arcs.
CONS: The intensity and persistent melancholy can feel heavy for casual spins; pacing sometimes drifts into mid-tempo sameness; later widescreen arrangements can feel grandiose to minimalism fans.
BEST ALBUM: Burn Your Fire for No Witness (2014)
ANNIE LENNOX
PROS: Sophisticated, art-pop sensibility carried over from Eurythmics but warmer and more intimate solo.
CONS: Polished, adult-contemporary sheen can seem too pristine for listeners craving grit; occasional emotional distance or grandiosity; later solo output is sporadic and less era-defining than her ’90s peak;
BEST ALBUM: Diva (1992)
ANTHONY HAMILTON
PROS: Grainy, church-bred baritone with instant character; Southern soul that blends gospel warmth, blues grit, and modern R&B. Organic, live-band arrangements that age well.
CONS: Leans hard on mid-tempo ballads, which can feel samey across albums. Lyrics sometimes circle familiar love/struggle tropes; later work rarely hits the cultural impact of his peak.
BEST ALBUM: Comin’ from Where I’m From (2003)
AURORA
PROS: Cinematic Nordic pop that blends icy synths, folk mystique, and earthy percussion; strong sense of atmosphere and dynamics.
CONS: Fairy-tale/elfin aesthetic and earnest delivery can feel theatrical to some; cryptic imagery over clarity at times. Concept-driven later releases can be uneven in pacing.
BEST ALBUM: All My Demons Greeting Me as a Friend (2016)
AVRIL LAVIGNE
PROS: Era-defining pop-punk hooks and a bratty-but-vulnerable vocal tone. Clear, relatable point of view that helped set the template for a generation of pop-rock acts. A knack for concise, punchy song structures.
CONS: Albums can be uneven, with filler around the big singles; reliance on teen-angst tropes and production trends (Auto-Tune sheen, mid-2000s guitar gloss) date parts of the catalog.
BEST ALBUM: Let Go (2002)
ABOVE & BEYOND
PROS: Emotion-forward songwriting that marries trance euphoria to memorable pop-level hooks; top-tier vocal collaborators (Zoë Johnston, Richard Bedford) and lush, widescreen production.
CONS: Sentimentality can tip into cliché for some. Loud, glossy masters can cause ear fatigue; studio albums are occasionally uneven next to their mix comps and live sets.
BEST ALBUM: Group Therapy (2011)
ALAN BRAXE
PROS: French-touch architect with a pristine, melodic filter-disco sound; immaculate drum/bass programming and glassy synths that feel both euphoric and elegant.
CONS: Discography leans on singles/compilations rather than new full-length statements; stylistic lane is narrow (can feel formulaic if you’re not into French-touch aesthetics);
BEST ALBUM: (definitive set): The Upper Cuts
AGENT ORANGE
PROS:: Pioneers of surf-punk with Dick Dale-style twang and spring reverb welded to SoCal skate-punk speed; razor-tight power-trio attack with memorable riffs. Mike Palm’s tuneful bark keeps the songs catchy rather than just brash.
CONS: Catalog is small and uneven after the debut; production can be thin by modern standards; lyrics are more vibe than depth; reissues/tracklist variations can be confusing.
BEST ALBUM:: Living in Darkness (1981)
ANDRA DAY
PROS: Towering, gospel-rooted voice with grit and finesse; blends vintage jazz/soul colors with contemporary R&B. Emotive, socially conscious songwriting.
CONS: Catalog is relatively small; ballad-heavy pacing can feel samey; retro production choices lean towards safe/throwback..
BEST ALBUM: Cheers to the Fall (2015)
AMOS LEE
PROS: Warm, lived-in baritone that sits between folk, soul, and Americana. Tasteful, organic arrangements; sturdy melodies that reward repeat plays; empathetic, everyday-life writing that avoids showiness.
CONS: Often leans mid-tempo and understated, which some hear as “safe”. Lyrics can tilt impressionistic rather than sharply detailed; few true left-turns…he refines more than reinvents.
BEST ALBUM: Mission Bell (2011)
ACE OF BASE
PROS:: Hook-machine Euro-pop with reggae-lite sway; instantly memorable choruses and harmonies; sleek ’90s production that still works on playlists. A ridiculous singles run that defined carefree radio for a few years.
CONS: Lyrics are feather-light; formula can feel repetitive across albums; some dated synth/drum textures; credibility gap with critics, and deep cuts rarely match the singles.
BEST ALBUM:: The Sign (1993)
ALICE SMITH
PROS: Powerhouse, elastic vocal that moves from hushed jazz phrasing to rock-soul belting; genre-blending songs that stitch soul, rock, R&B, and a little cabaret into cinematic arrangements.
CONS:: Small, slow-growing discography with long gaps; occasional over-ornamentation and big crescendos can feel theatrical; a few mid-tempo tracks meander.
BEST ALBUM: For Lovers, Dreamers & Me (2006)
ARIANA GRANDE
PROS: Technically gifted, agile vocalist who can pivot between pop, R&B, and trap-pop. Strong front-to-back singles runs; candid, diaristic writing that connects.
CONS: Albums can lean mid-tempo and glossy, with compression that fatigues; lyrical focus can feel lightweight or repetitive. Production sometimes blurs songs together; enunciation and heavy layering can muddy lines.
BEST ALBUM:: thank u, next (2019)
AVICII
PROS: Melodic instinct for sky-sized hooks; sleek, high-definition production that made progressive house feel pop-savvy; bold genre fusions that broadened dance music’s reach; emotionally uplifting writing that plays as well in headphones as on festival main stages.
CONS: Build-and-drop formulas can feel predictable across tracks; heavy loudness/compression can cause ear fatigue; some fusions read gimmicky to purists.
BEST ALBUM: True (2013)
ARMIN VAN BUUREN
PROS: Standard-bearer for uplifting/progressive trance with big, melodic payoffs; elite DJ/mixer (A State of Trance) who curates and evolves the scene. Pristine production and tasteful vocal features.
CONS:: Build-and-drop formulas can feel predictable; pop-EDM crossovers divide purists; studio LPs can be sprawlier and less cohesive than his mixes; loud mastering can fatigue.
BEST ALBUM: Imagine (2008)
THE ALARM
PROS: Big-chorus, fist-up anthems with chiming guitars, harmonica bite, and rousing gang vocals; earnest protest/positive-action lyrics that translate well live. Tight early run that blends punk urgency with widescreen, U2-adjacent drama.
CONS: Arena-sized earnestness can feel bombastic; ’80s production (gated drums, echo) dates parts of the catalog; overlaps with contemporaries can feel derivative; later releases vary in consistency.
BEST ALBUM: Declaration (1984)
A FLOCK OF SEAGULLS
PROS: Shimmering synth-pop with sci-fi guitars and instantly memorable hooks. Sleek, cinematic production that helped define early-’80s new wave; a run of still-great singles that balance mood and melody.
CONS: Very of-its-era sonics (gated drums, glassy synths); lyrics can be lightweight; vocals are serviceable more than commanding; later albums are inconsistent and the band’s image often eclipsed the songwriting.
BEST ALBUM: A Flock of Seagulls (1982)
ANASTACIA
PROS: Powerhouse belter with a gritty, unmistakable tone; trademark “sprock” blend (soul + pop + rock) yields big, arena-ready choruses; resilient, empowering themes that connect;.
CONS:: Early-2000s glossy production can date parts of the catalog; bombast and key-change drama aren’t for minimalists. Lyrics sometimes lean on empowerment clichés; albums can front-load hits with patchier deep cuts.
BEST ALBUM: Anastacia (2004)
ALICE MERTON
PROS: Punchy, bass-driven alt-pop with crisp, radio-ready production; commanding, agile vocal that sells big hooks; sharp sense of rhythm and economy. Songs hit fast, no bloat.
CONS:: Mid-tempo palette and stomp-clap structures can blur across tracks; lyrics favor slogans over depth. Deeper cuts don’t always match the singles’ spark.
BEST ALBUM: Mint (2019)
AMBER MARK
PROS: Velvety, versatile vocal that slides between R&B, pop, and disco-house. A sleek, modern production and an ear for buoyant hooks and elastic melodies. Thoughtful, affirmational songwriting about identity and growth.
CONS: Mid-tempo polish can blur songs together; lyrics sometimes default to self-help slogans. A few tracks feel like mood pieces more than fully memorable choruses; less risk-taking than peers.
BEST ALBUM: Three Dimensions Deep (2022)
ALEX BUGNON
PROS: Lyrical, song-first pianist with a gorgeous Rhodes/acoustic touch; blends smooth-jazz, quiet-storm R&B, and light funk with tasteful melody lines. Arrangements are clean, romantic, and radio-ready.
CONS: Prioritizes polish over risk and harmonic and dynamic choices can feel safe; many tracks sit in similar mid-tempo lanes; late-’80s/’90s production aesthetics can sound dated to jazz purists.
BEST ALBUM: Love Season (1989)
Before we make our final descent, here’s a video playlist containing many of the musicians listed.
Missed the Mark is where the also-rans live: some miss by inches, others by miles. After everything above, do we really need more?Proceed with caution; consider this your “no lifeguard on duty” sign.
ELECTRONIC—(listed in descending order)
- Aphex Twin (Half the time his tracks are genius, and the other half they sound like your laptop fell down the stairs but somehow kept recording.)
- Autechre
- Amon Tobin
- Axel Boman
- Art of Noise (Less like groundbreaking art and more like your radio got stuck between three stations at once.)
- Alix Perez
- Aux 88 (Like a retro video game soundtrack that forgot to level up past “Press Start.”)
- Ancient Methods
- Alex Reece
- Altern 8
- Artefakt
- A Sunny Day in Glasgow (Sounds like every song was mixed underwater during a fog advisory.)
- Azari & III
- A Split-Second
- A.M.C.
- Audio (dnb)
- Art of Trance
- A-Trak (Half his sets feel like him shouting “look what I can do with turntables!”.)
- Andrea Oliva
- Anz
- Aly & Fila
- Arty (Feels like IKEA dance music…assembly required, personality sold separately.)
- ATB
- Alex M.O.R.P.H.
- Anetha
- Anile
- Annix (Hits harder than a caffeine-addled woodpecker on a metal roof.)
- Activa
- Allen & Envy
- Ashley Wallbridge
- Ahmed Romel
- Alison Wonderland (Bounces between therapy session and bass cannon like a DJ with multiple personalities)
- Allen Watts
- Audiojack (Like waiting for your phone to update…steady, repetitive, and somehow still taking forever.)
- Alpha Omega
- Ayla
- Adriana Lopez (So dark and relentless they make a coal mine seem well-lit.)
- Adventure Club
- Alan Walker
- Afrojack
- Alex Kenji (You’ll swear you’ve been trapped in a sonic Groundhog Day.)
- ATFC
- Alok (Smacks you in the face like an EDM piñata exploding at full volume.)
- Adam Young (Owl City)
- Alex Kunnari
- Alice Deejay
- Anabel Englund
- Amber
- Angel City
- Ali Love
- Amy Douglas (Belts with such disco-diva authority that your houseplants will start doing pelvic thrusts and demanding a mirror ball.)
- Alex Gaudino
- Armine Edge
- Akira Kiteshi
- Akira Complex
- Antiserum (So clinical you might feel fully immunized against melody.)
- AFK
- ATLiens
- Akeos
- Akov (They’ll rattle your cutlery into a percussion section and scare your Wi-Fi back to 3G.)
- Axen
- Aquadrop
- Azide
- Asteroid (You might feel like you’re orbiting the same guitar chord for three light-years without in-flight snacks.)
ROCK—(listed in descending order)
- Ani DiFranco
- Alex G
- Alejandro Escovedo
- The Auteurs
- AC Newman
- Apples in Stereo
- Amanda Shires
- Ass Ponys
- American Aquarium
- Azure Ray
- Anders Osborne
- A House
- All About Eve
- The Antlers
- A Giant Dog
- Augustines
- Autolux
- Albert Hammond Jr.
- Anna Burch
- The Audreys
- Australian Crawl
- Ana Popovic
- Asia
- Atlas Genius
- The Airborne Toxic Event
- Army Navy
- A Great Big Pile of Leaves
- As Tall As Lions
- Adorable
- Amber Run
- Adam Green
- AWOLNATION
- Arcadia
- Andrew W.K.
- Altered Images
- The Adventures
- Austin Lucas
- Albert Cummings
- Ash Grunwald
- Anthony Gomes
- American Hi-Fi
- All-American Rejects
- Alien Ant Farm
- Against the Current
- Angels & Airwaves
- After the Fire
- Aldo Nova
- Alex Band
- Airbourne
- American Pearl
- Ammonia
- Augustana
- Albert Castiglia
- Amplifier Heads
- The Anderson Council
- Another Animal
- Art of Dying
- Act of Defiance
- Acrylics
- A Rocket to the Moon
- American Authors
- Arlie
- Annuals
SOUL—(listed in descending order)
- Ari Lennox
- Ayra Starr
- Angela Winbush
- Amp Fiddler
- Avery Sunshine
- Asa
- Alex Isley
- Amerie
- Aloe Blacc
- Anthony David
- Anderson East
- Algebra Blessett
- After 7
- Aurra
- Aaron Taylor
- Aaron Abernathy
- Arin Ray
- Amy LaVere
- Amy Millan
- Al B. Sure!
- Akon
- Alyson Williams
- Az Yet
- Allure
- Adina Howard
- Adrian Marcel
- Avery Wilson
- Adele Wilding
- Aiyana-Lee
- Adam Hawley
- Alfonso Blackwell
- All-4-One
- Another Bad Creation
POP—(listed in descending order)
- Amaarae
- Allie X
- Annie
- A Camp
- Alessia Cara
- Andrew Belle
- Air Supply
- Aly & AJ
- All Saints
- Alina Baraz
- Agnes
- Ashe
- The Asteroids Galaxy Tour
- Adam Lambert
- Alex Winston
- Amy Shark
- Anna Nalick
- A Great Big World
- Autoheart
- Anna Lunoe
- Ava Max
- AJR
- Alexandra Stan
- Alexandra Burke
- Anne-Marie
- Anna Abreu
- Astrid S
- Arlissa
- Anya Marina
- A Silent Film
- Aidan Bissett
- Alexia
- Alexander Rybak
- Amaal Nuux
- Amanda Lear
- Antonia
- Alesha Dixon
- AJ McLean
- Alexis Jordan
- Ali Gatie
- Alice Chater
- AJ Smith
- Amelia Lily
- Alexa Ray Joel
- Andie Case
- Adore Delano
- Ally Brooke
- Aubrey O’Day
- Ann Lee
- Aqua
- Atomic Kitten
- Alan O’Day
- Aaron Wright
- Ari Abdul
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