Best Albums of 2016 (So Far): Critics' Picks

J Balvin's ability to craft irresistible tracks with catchy lyrics is reinforced on his new album Energía. The collection of upbeat reggaeton tempos ("Pierde los modales" ft. Daddy Yankee), rap beats ("Veneno") and acoustic ballads ("No hay título") on the LP -- produced by his Medellín-based team Sky, Bull Nene and Mosty -- solidify the chart-topping artist as a versatile singer who isn't afraid to tap different genres and explore an array of emotions with his music. A favorite on the album is "Safari" featuring Pharrell and BIA. And yes, Balvin got Pharrell to sing in Spanish on the reggaeton track. – Griselda Flores 

It's appropriate that Views is the project that finally produced Drake's first solo No. 1 hit on the Billboard Hot 100: His fourth studio album (not counting mixtapes) is a true culmination of everything the prolific artist has worked toward since graduating from Degrassi to hip-hop. It's got his best beats, his best lyrics and -- most appropriately for the heart-on-his-sleeve artist -- his best revelations (look no further than the album's opening line: "All my 'let's just be friends' are friends I don't have anymore"). It also has more hits where "One Dance" came from -- we're looking at you, "Too Good" featuring Rihanna. – Katie Atkinson 

Making its world debut on HBO in April, Beyonce's latest visual album Lemonade was poetic justice for both women of color and those who have experienced infidelity from their partners. Calling on a cast of visionaries for the short film and the 12-track offering (her collaborators included poet Warsan Shire, Kendrick Lamar, James Blake and The Weeknd), the leader of the Beyhive puts forth her most vulnerable work, which marked her sixth No. 1 on the Billboard 200. Standout cuts on the album include "Sorry" (which features a twerking Serena Williams in the video), "Hold Up" and the K. Dot-assisted "Freedom."  - Adelle Platon

The no-fucks-given rule always applies with Rihanna, and her seventh studio effort Anti is no exception. Led by the infectious Drake-assisted jam "Work," the set spotlights the bad gal's sultry side especially on come-hither tracks like "Sex With Me," "Yeah, I Said It" and "Kiss It Better." No need for Rih's drug of choice ("I'd rather be smoking weed," she sings on "James Joint") to get high off this LP. - Adelle Platon

Drenched in West Coast gangsta rap, YG's Still Brazy is a cinematic view into the Compton rapper's life following a studio shooting by an unknown gunman. It's not difficult to bop along to California-based joints like "Don't Come To L.A.", "Twist My Fingaz" and the Drake and Kamaiyah collaboration "Why You Always Hatin?" The grand finale comes with a trio of politically-charged tracks: the anti-Trump "FDT" featuring Nipsey Hussle, the minority power anthem "Blacks & Browns" and the police brutality-inspired "Police Get Away Wit Murder." - Adelle Platon

Following a path laid out by Sam Smith, Ellie Goulding and Adele, Garratt was the winner of both the BBC Sound of 2016 poll and the Brit Awards' Critics' Choice Award. With Phase, it's easy to see why. His penchant for combining wobbly rhythms, drum loops and yearning falsetto builds upon trends set by Lorde, James Bay and Ed Sheeran, but it's Garratt's ability to get dirty that separates him from the pack. Whether he's allowing his gritty voice to break and crack, or navigating a cacophony into a synthy dreamscape, the British multi-instrumentalist shows the beauty in distortion. – Patrick Crowley

While other artists shudder at the thought of being labeled a sellout, Sia celebrated the moniker -- and turned it into a concept album. And after six deeply personal, heart-wrenching albums, who's to blame her? While it may be jarring to hear her over a drum-heavy dance track intended for Shakira ("Move Your Body"), that's sort of the point. – Patrick Crowley

Suuns has, by holding back, found the way forward for stale old rock n' roll. The brilliant Hold/Still is defined by tension, an elegant restraint that seems fueled by a very relatable anxiety; it captures an uncertain moment (now) and offers only its translation. The Canadian four-piece seem to be telegraphing from a grey moon that's nearly out of air -- just enough left for one last shout. – Andrew Flanagan 

"Oh beautiful, comfortable body... I let myself sink into it." Cross Record -- the two-piece of Emily Cross and Dan Duszynski -- has made an album that's delicate and celebratory, pummeling and elegiac, celebrating the stink and the muck of being a human being, and the elemental possibilities that follow acceptance of the fact that we're all walking around in different models of the same vehicle. There are no special snowflakes, and that's just fine. – Andrew Flanagan 

Past albums from Antony & the Johnsons have been introspective affairs, but on Hopelessness, Anohni emerges from inward-gazing chrysalis with a harrowing wake-up call for the world, delivered with beautiful synths, dancefloor-worthy beats, bottomless empathy and a voice that seeps into your soul. Whether she's begging to be drone bombed or ironically cheering on the destruction of the planet through climate change, Anohni is the truth you don't want to hear but can't turn away from. – Joe Lynch

If an introspective cowboy (is there any other kind?) had to pick one album to see them over the plain in one piece, Into the Light would be it. It's a near-perfect, beautiful distillation of various American forms -- Appalachia, mournful Memphis, blues and meandering folk -- down to their elemental spines, upon which Anderson, who plays every instrument on the album, builds a body all her own. – Andrew Flanagan 

"My music wants to be a physical force," the artist Nils Frahm told The Guardian. What he and his contemporaries -- among them Olafur Arnolds, Jon Hopkins, Floating Points, Johan Johannson, Stephon Alexander and Rioux -- are doing with their sounds, all different but of a piece, is retrofitting, reverse engineering the past. With nonkeen, a side project from Frahm featuring longtime friends Frederic Gmeiner and Sepp Singwald, Frahm kicks his shoes off a bit, but loses none of his characteristic gravity. Some would see it as a miracle if poetry was suddenly part of the wider cultural discussion, if Charles Simic was in Vanity Fair. Frahm and company are doing exactly that. – Andrew Flanagan 

M83 meets California sunshine by way of the Beach Boys. You can push play on The Boxer Rebellion and listen from start to finish without skipping a song. Bonus: This nicely doubles as the perfect "I need to chill out after my day from hell" soundtrack. – Everett Brothers

Close your eyes and pick a track, you'll pretty much land on her next hit single here. From "I Won't Let You Down" to "Better" and "Hopeless Romantic," there are easily five singles to come from Thank You. Meghan Trainor is a force. – Everett Brothers

Bellion's debut studio album is ambitious -- layered beats! guitar solos! gospel choirs! -- but somehow, it all works. The songwriter, who has penned hits for Rihanna, Eminem and Jason Derulo, steps into the spotlight with his unique mix of elaborate wordplay and candid honesty ("you're the reason I'm alone and masturbate," he croons nonchalantly on "All Time Low"). The album culminates with "Hand of God," which borrows hooks and beats from throughout the album and mashes them up into a theatrical medley that wouldn't be out of place closing a Broadway musical. – Patrick Crowley

Vienna's Sam Irl -- not a play on the Internet acronym, just his name -- has made a record that joyfully plays with the straight-face-emoji so easily applied to house music. Raw Land is a cat amongst the pigeons --- if they were all claymation and poolside on vacation. – Andrew Flanagan 

Chance's greatest accomplishment with Coloring Book comes when he deliberately colors outside the lines drawn by his previous releases. Though each song exists within his own sonic universe of warm production and complementary horns, he delves into trap, R&B, gospel and dance music, flitting around with a confidence that comes with creative freedom. Along the way, he pulls in a sultry Justin Bieber hook, guest spots from Future, Lil Yachty, Young Thug and 2 Chainz, and somehow got his hands on the best Lil Wayne verse in years. But the best thing about Coloring Book may be that if you asked 14 different people for their favorite song on the project, there's a strong possibility you'd get 14 different answers. – Dan Rys 

These days, Kanye West is many things: visionary artist, celebrated producer, high-end fashion designer, father of two, Kardashian husband, divisive human, delirious egoist, Taylor Swift enemy. Amidst the whirlwind stands Pablo, his latest schizophrenic, never-quite-finished masterpiece that moves (sometimes seamlessly, sometimes with the grace of a bull in a china shop) between Yeezus-esque iron and gorgeous gospel soul. There are cringe-worthy moments, to be sure -- no one needs reminding of that Swift lyric, much less the painfully uncreative bleached asshole line -- but the highs of "Ultralight Beam," "Waves" and "30 Hours," just to name a few, outshine the flaws. It's ever-evolving and never quite perfect, which makes it the perfect Kanye West album. – Dan Rys

By the time Future dropped Purple Reign this January, he had completed his eye-popping run from mainstream disappointment to the hottest rapper in the game across five projects in less than two years. In short, he had a right to be cocky. Which is what made Purple Reign so great. While it has its share of drug-soaked bangers spilling confidence by the double-cup-load, it's arguably the most conflicted and emotionally devastated Future has been on record. The angst and struggle of "Perkys Calling" leading directly into the brooding, helpless closing title track is a one-two punch, while "Inside the Mattress" deserves to stand alongside "Commas" and "March Madness" as among the best in his mixtape catalog.  – Dan Rys

There are plenty of great vocalists in R&B and soul today, but there are few (if you'll excuse the phrase) that have the breathtaking range that Gallant does, made all the more stunning by how quickly he can harness and unleash it on tracks such as "Talking to Myself" and "Weight In Gold." But that alone isn't what makes Ology one of the best albums of the year. Once the novelty of the falsetto dies down, listeners are left to dig into what is actually a surprisingly diverse album that offers up more on every listen. Take the jazzy "Miyazaki," for instance, or the brooding "Shotgun" with its handclaps and shimmering guitars. The only thing better than listening to this album is seeing Gallant hit every note live. – Dan Rys

If you're drifting through your twenties looking for some meaning to latch on to, you'd be smart to use this Brooklyn singer-songwriter's latest album as inspiration. Puberty 2 may have garnered more critical acclaim than any punk or indie rock record to come out this year, and for good reason. Mitski ponders unfulfilling hookups, mixed-race identity in white America, and the ominous onset of adulthood across 11 tracks that range from fuzzed-out girl group fare to twinkling dream pop. Hear Mitski chat about the whole thing on a recent episode of Billboard's Alt In Our Stars podcast. – Chris Payne

The rip-roaring sophomore album from these Toronto punks opens with a song about how much they hate each other's guts -- something that might happen if you play 450 shows in two years to support your first record. But they're on good terms now and the hissy fits have only left the hooks catchier, the licks tighter and the shout-along chants more… shouty. This is the sound of an upstart band finding its footing in the pit, and upping the ante on every count. – Chris Payne

The breakout Aussie producer’s sophomore album repeatedly walks between worlds, pairing radio anthems “Never Be Like You” ft. Kai and “Say It” ft. Tove Lo with more experimental offerings like “Wall Fuck” and “When Everything Was New." The sixteen-track LP paints a sonic portrait of an artist in transition, balancing hitmaking and innovating with admirable poise. - Matt Medved

On her third album, Ariana Grande gives us a start-to-finish victory. "Into You" is a propulsive dance delight, "Leave Me Lonely" is a surprisingly vital Macy Gray duet and "Knew Better/Forever Boy" shows an emotional maturity and musical ambition beyond most of her pop peers. But even on tracks that function as filler, Grande imbues her vocals with a playful quality akin to early Madonna -- "Bad Decisions" could be forgettable on its own merits, but she makes it a standout. – Joe Lynch

With bro country backlash in full effect thanks to revivalists like Chris Stapleton and Kacey Musgraves, Nashville is poised to crossover into the critical mainstream -- and Maren Morris is exactly the kind of artist they're banking on to take them there. The 26-year-old Music City local makes her debut with Hero, a fresh take on the beachy pop-country that Sheryl Crow brought to the top of the charts in the early '00s. Morris had considerable success with her first two road-centric anthems, "My Church" and "80's Mercedes," but the album has plenty to offer those not highway-bound. "Rich" and "Sugar" kick off the album with sturdy metaphors and sturdier grooves, while the rest ranges from slide guitars ("I Could Use A Love Song") to what's practically countrified R&B ("How It's Done" has an intro straight off some Soulection DJ's SoundCloud). The sand-between-your-toes sound ties it all together in an irresistible package -- sunny, but with just enough grit to keep things interesting. – Natalie Weiner

When Bowie's jazzy art rock masterpiece dropped in early 2016, few but him knew it was a swan song. But calling Blackstar one of the year's best isn't posthumous eulogizing -- it's inventive without being obtuse, and relevant to 2016 without pandering. All things considered, it's probably the finest LP from the last quarter century of his catalog. – Joe Lynch

In between 2013's Build Me Up from Bones and new record Undercurrent, Sarah Jarosz moved to New York City and graduated from the New England Conservatory of Music. There's a deeper maturity that underscores Jarosz's writing, and musically her songs have never been lusher, from the arresting moodiness of "House of Mercy" to the sweet, singsong "Take Another Turn." Collaborators Luke Reynolds (Guster), Aoife O'Donovan, Parker Millsap and more pull assists, but it's all unmistakably Jarosz, and she sounds better than ever. – Kevin Rutherford 

2016 finds rappers revealing their secrets -- well, at least the flattering ones. Revealing a "process" has long been a shortcut to artistic credibility (after all, what goes in must come out!), as Kanye proved with his work-in-progress The Life of Pablo. Kendrick took a quieter route to letting fans a couple inches inside the studio with his rarities-styled compilation untitled unmastered. But Kendrick, seemingly, has little to hide: the blueprints and castoffs from To Pimp a Butterfly, arguably the most discussed album of 2015, provide the dark, dreamlike experience of the final product with a smidge less solemnity. Kendrick and his crew of L.A. experimentalists show their range with bossa nova and trap and funk and jazz, but the fiery refrains of the original aren't lost to the genre-agnostic fray. Instead, we hear their source via a three-minute riff direct from the studio, tacked on the end of track 7. Kendrick screams, laughs, croons and raps untethered by anything except Thundercat's lone bassline, making it abundantly clear that fans have far more to look forward to than whatever's lingering on Lamar's hard drive. – Natalie Weiner

One of country music's prized songwriters, Brandy Clark continues to hoard her best material for her own records. Producer Jay Joyce adds gravity on tracks like the blistering "Girl Next Door," but it's Clark's intimate, illustrative storytelling that shines through no matter the tempo, highlighting characters you'll root for ("Three Kids No Husband") and pity ("Homecoming Queen"). – Kevin Rutherford 

The seven-man troupe from Zapata, Texas, demonstrates yet again why they're not your run of the mill norteño band. With a mix of country feel, rock n' roll guitars and norteño accordion and beats, Highway is a risky album. It's layered, complex, and sometimes outright disturbing -- "En La Obscuridad" devolves into an instrumental, emotional outpouring, and the poignant "Dia 730" is the story of a young wannabe model who disappears in Ciudad Juarez. But Intocable also inserts its dose of humor in the danceable "Quiereme (Amame)"and the more middle of the ground "Arrepentido." With meaty guitars and Ricky Muñoz's fine guitar chops, Intocable's Highway raises the bar for this most popular of regional Mexican genres. – Leila Cobo 

Rolled out in dramatic fashion with wiped social media accounts and quirky video clips, Radiohead’s ninth studio album proved worth the five-year wait. Nihilistic opener “Burn the Witch” sets the tone for the immersive eleven-track outing, which culminates in an ethereal rendition of long-time live favorite “True Love Waits." - Matt Medved

Becky Black and Maya Miller's newest record as The Pack A.D. captures the best possibilities of a two-piece rock band, a configuration that requires of lot of its participants all at once; hooks on hooks on adaptable vocal chords on playful rhythm on knowing when to see yourself out the door. – Andrew Flanagan 

Released on XL Recordings in May, Kaytranada’s brilliantly diverse debut LP has emerged as one of the year’s most refreshing releases. Boasting a colorful cast of collaborators that includes Anderson .Paak, Vic Mensa, AlunaGeorge and Craig David, the album marks a fitting first chapter in the career of one of electronic music’s most exciting rising talents. - Matt Medved