Best music of 2015...so far

We're six months into 2015, and it is already shaping up to be one of the best.years. ever. for music. Classic albums in almost every genre are being released on the regular, and even the quiet weeks present some great music for our pleasure.

There have been so many solid releases in just half-a-year, I don't know how the second half can match it, but there are already signs that it could happen – Kanye! Frank Ocean! Tame Impala! Titus Andronicus! Carly Rae Jepsen! Disclosure!

I didn't think it would be this difficult to narrow down my list of the best albums thus far to 25, but that's a great reflection of the year we've had. Here's hoping the rest of the year keeps the streak alive.

Best albums so far (arranged alphabetically)

1. At.Long.Last.A$AP – A$AP Rocky

Rocky gets woozy and weird, and even sings to great effect on "L$D."

2. Coming Home – Leon Bridges

Click here to read my full review. 

3. Kintsugi – Death Cab for Cutie

Click here to read my full review. 

4. What A Terrible World, What A Beautiful World – The Decemberists

Click here to read my full review. 

5. Surf – Donnie Trumpet & The Social Experiment

Click here to read my full review. 

6. If You're Reading This It's Too Late – Drake

Click here to read my full review. 

7. I Don't Like Shit, I Don't Go Outside – Earl Sweatshirt

Easily my favorite album name of the year, if not ever. A lonely, dark and engaging listen. 

8. I Love You, Honeybear – Father John Misty

Click here to read my full review. 

9. Tetsuo & Youth – Lupe Fiasco

Lupe's best album in a long while, it shows his lyrical dexterity and sonic risk-taking. 

10. Goon – Tobias Jesso Jr. 

Click here to read my full review. 

11. To Pimp A Butterfly – Kendrick Lamar

Click here to read my full review. 

12. Strange Trails – Lord Huron

Absolutely lovely apocalyptic folk music, with a serious undercurrent of early rock. 

13. Dreams Worth More than Money – Meek Mill

The most cinematic and escapist hip-hop album of 2015 so far. It also benefits greatly from being buckets of fun.  

14. Wildheart – Miguel

Miguel injects psychedelia into his baby-making soul, and comes up with his most adventurous album yet.  

15. Pageant Material – Kacey Musgraves

Musgraves' second album is quieter than her debut, but no less stellar. Probably the loveliest album of the year. 

16. The Waterfall – My Morning Jacket

Click here to read my full review. 

17. QUARTERBACKS – QUARTERBACKS

Twee-punk done right. An album about love that gets under your skin in 22 minutes flat.

18. Uptown Special – Mark Ronson

My favorite album of the year for night driving. Sounds great with city lights flying by the window. 

19. Ratchet – Shamir

Click here to read my full review. 

20. Summertime '06 – Vince Staples

Click here to read my full review. 

21. Traveler – Chris Stapleton

Could well be the best country album of the year. This guy has a voice that'll just rock you back. 

22. The Epic – Kamasi Washington

The best jazz album I've heard in years. A three-disc monster that fully lives up to the name. 

23. Ivy Tripp – Waxahatchee

Click here to read my full review. 

24. In Colour – Jamie xx

Click here to read my full review. 

25. Second Hand Heart – Dwight Yoakam

Click here to read my full review.

Album of the Week: Tobias Jesso Jr. Goon

You don't hear piano as the lead instrument much these days.

For a while there, Coldplay and Keane were the lead ambassadors of the notion that the piano is still a viable rock instrument, but Coldplay transitioned to the guitar and string sounds championed by U2, and Keane…well, I'm not sure what happened to Keane.

There was a time in the 50s and 60s when the piano was the primary songwriting instrument (hell, it might still be, I'm no musician) for some truly, truly classic songs.

Tobias Jesso Jr. would have fit right in during that era, but on his debut album, Goon, he manages to create music that feels both of its time, and timeless.

Jesso channels a variety of classic rock songwriters on Goon, from Carole King and Harry Nilsson to Jackson Browne and Randy Newman – all writers who were able to produce shimmeringly lovely music from a simple palette. On all but two of the 12 songs on the album, the piano and Jesso's boy-next-door voice are front and center, and he sings with an untrained earnestness that marked so much of the aforementioned artists' best work.

Jesso knows how to push his voice when he wants to – check out the way his comes this close to breaking near the end of "How Could You Babe" as he pleads for understanding from a former flame.

The man is staggeringly capable of writing a hook – "Can We Still Be Friends" has a King piano line that is immediately accessible and infectious, and Jesso pairs it with his best young Paul McCartney plea. "Leaving LA" is another impossibly catchy piano-driven number that quietly builds to a gorgeous choral climax.

"The Wait" and album closer "Tell The Truth" prove that Jesso is as skilled on the guitar as he is on the piano - both are incredibly catchy finger-picked acoustic numbers that sound like they could've come from either Browne or James Taylor in their heydays.

Jesso isn't a complete throwback artist, however, and while he certainly embraces the pop stylings from the 60s, he isn't afraid to bring his own flourishes to the songs.

On "Hollywood" Jesso manages to channel both Newman and Death Cab for Cutie's "Why You'd Want to Live Here" without any of the expected bitterness. It's just him and his piano, singing like he's the only guy in some dive bar on the strip, about to give up on Los Angeles and crawl away. When he brings the horns in at the end of the song, they bleat and blare like they're the first line is his shambling pity parade. There's a little bit of Radiohead in the way the horns cut across Jesso's piano – it's wildly emotive without using any words.

"Crocodile Tears" is hilarious, tongue-in-cheek ode to a ball-breaker who leaves him in ruins that features the best Elton John piano-work this side of Goodbye Yellow Brick Road and the electric guitars are straight out of a George Harrison solo – a little strange at first, but it completely fits the song.

Looking back at what I've written so far, you've probably noticed how much I'm referencing other artists in this piece. This could lead you to think if you're already fans of the source material, there's no need to sample Goon. And that's wrong.

Perhaps the most impressive feat on this simple gem of an album is the way Jesso manages to funnel all these influences through his lovesick worldview. He sounds like the young man he is, wiser than his years, but still dumb enough to keep falling in love with the wrong people. In time – one hopes – he'll learn wisdom, but as Goon ably proves, he's further ahead than most.

Goon is out on True Panther Sounds.