After twelve months of listening to every key release (and a few weeks of intense stereo-focused arguments), Gigwise has compiled our annual 50 Best Albums Of The Year.

Read 40-31 below including some Washington punk, the last act to play Earl's Court and "the most forward thinking electronica album in 2015."

Compiled by Andy Morris, Andrew Trendell, Ed Keeble, Alexandra Pollard and Elliot Mitchell.    

“The backlash may now be in full swing but let’s not forget that Royal Blood remained the biggest thing to happen to British guitar music this festival season. The duo’s debut is powerful, pulverising stuff: sledgehammer riffs and strangely familiar rock chords that managed to even impress the likes of Lars Ulrich. Not perhaps the most sophisticated record on this list but if you’re hearing ‘Little Monster’ cranked loud, you won’t care.” (AM)

“Everyone keeps describing this as ‘pop punk’, but that undersells its charms considerably. A taught 12 tracks worthy of Blondie and Cheap Trick, there’s not an ounce of fat on the whole thing and cult Wahsington punk figure Mary Timony has never sounded more badass. Put it this way: if Haim put out ‘How You Got That Girl’ it would be number one.” (AM)

“Bombay Bicycle Club have repeatedly pushed themselves into different directions throughout their career, but So Long, See You Tomorrow felt like the record they always intended on making. The warm, intimate moments that resonated on their more recent work sits comfortably alongside the indie intensity that filled their debut, giving this record a somewhat 'Greatest Hits' aura as soon as it came out. A perfect culmination of their creative career to date, this record proved that Bombay Bicycle Club are without doubt one of Britain's best bands touring today.” (EM)

“Bridging the gap between metal, goth-pop, electro and industrial insanity, the debut full length from Deftones' Chino Moreno's side-project is among his finest work. This is the standard that Nine Inch Nails should be aiming for, but this record exceeds on every level. Considering it's five new songs pegged onto remastered versions of tracks from previous releases, it flows with a surprising consistency and beautiful but brutal brilliance.” (AT) 

“To say this album is funky is an understatement. Undeniably a pop album, it is rammed to the rafters with horns, cowbells and pianos, but also a theme that explores love and loneliness. There is a deceptive sparseness hidden just beneath the surface that renders the experience a slow burning one. Give it repeat listens to get the most out of it - you won’t be disappointed.” (EK) 

“Saccharine without being overbearing, Alvvays won the hearts of many this year with their joyous yet intricate pop sound. Bringing layers of emotional undertow to optimistic melodies and huge choruses, their self titled debut found the perfect middle ground between sweetness and depth, proving they weren't just a band with one hit about marriage, and instead a future force to be reckoned with.” (EM)

“After 10 years away, DFA 1979 needed a reason to come back, a sense of purpose - and they've certainly found it. Their immaculate debut You're A Woman, I'm A Machine, paved the way for legions of two-piece copyists, but their long-awaited second effort more than proves that no one does quite like these guys. Still containing the violent intensity of their debut, The Physical Word carries their sound to a more widescreen arena, with a greater knack for a monolithic chorus. May it move your feet and melt your face.” (AT)

“There’s a distinct nostalgia for Sixties pop in the former Rilo Kiley frontwoman’s third solo offering. With The Voyager, Lewis proves herself, once again, to be the master of nestling raw, pained lyrics behind bright, shiny music.” (AP)

"This is arguably the most forward thinking electronica album in 2014. Producer Ross Tones plays with the notions of tension and release, creating brave songs that contrast grating discordance with beautiful melody. Novel use of field recordings and synths creates sounds that are uncanny and take the listener on one hell of a journey, even if it is a dark one at times." (EK)

“‘I'm not broken any more,’ Van Etten told Gigwise when we interviewed her before her astounding set at Primavera Sound 2014 - with this album acting as a stream-of-conscious catharsis of the day-to-day trouble of modern life. Tramp, one of the best albums of 2012, was a heart-wrenching accomplishment of elegiac grandeur, marrying immense grit with a soaring soulfulness to make for a moving body of work. Are We There, is only more raw and devastating - an exquisite exercise in melancholy soulful indie with a wicked charm, exquisite banter and magnificent presence.” (AT)

Read the rest of our albums of the year countdown below