Idolator's 15 Favorite Albums of 2015

*Art Angels*’ opening trio of songs present a handy summation of Claire Boucher’s singular appeal. The operatic “Laughing and Not Being Normal” opens before making way for “California”. Ostensibly an irresistible country-twanged foot-tapper and easily the catchiest thing she’s recorded, its lyrics unload a bleak commentary on her industry’s treatment of female stars. Next up: the strident “Scream” featuring Taiwanese rapper Aristophanes and plenty of actual howling. Whether discordant and urgent (“Flesh without Blood”, “Kill V. Maim”) or dazzlingly beautiful (“Easily”, “Pin”), *Art Angels* is a Catherine wheel of ferocious pop invention and Grimes’ grandest achievement.

Like Prince, André 3000, and Marvin Gaye before him, R&B pinup Miguel treats carnal love as a spiritual journey. His third album is a humid mix of new wave, psychedelia, and electro-pop whose moods flip from tender to funny to gloriously X-rated, often in the same song. Foul-mouthed, yes, but he’s also surprisingly well mannered—the rare male R&B singer who compares his private moments to porn one minute (“the valley”) and offers to bring you coffee the next (“Coffee”).

Marina Diamandis has the kind of big, slinky voice that could easily silence a room. But Diamandis—the Welsh singer and instrumentalist behind Marina & The Diamonds—would prefer everyone up and dancing. *Froot*—her third full-length—is a giddy mix of new wave and propulsive electro-pop that feels both woozy and optimistic, like careening through a city at night in the rain. Lyrically, the album serves as an earnest ode to finding satisfaction in unlikely places. “I found what I\'d been looking for in myself,” she proudly announces amid the titanic hooks of “Happy.”

Justin Bieber shows there’s art in resilience on his fourth studio album. After a turbulent 2014, *Purpose* sees the pop prodigy return with his strongest work to date—an atmospheric, introspective set that’s built on smart production and intimate songwriting. From the radiant “What Do You Mean” to the soulful, Skrillex-produced “I’ll Show You,” this is Bieber at his most vulnerable and honest. 

Singer/songwriter Martinez’s colorful personal style and multifaceted gem of a voice made an immediate impact on *Voice* viewers. Her debut album continues the trend, serving up sweetly arch noir pop not unlike that of Lana Del Rey if the latter abandoned hazy hues for candy colors. Martinez uses childhood tropes to symbolically get at adult subject matter—the fractured family of “Dollhouse,” the unfair focus on women\'s looks on “Mrs. Potato Head,” the effects of substance abuse in “Sippy Cup,” and, most importantly, the resilience of the titular “Cry Baby.”

On his third album, which sits comfortably between pomp and humility, Big Sean presents his best and most lucid plea for respect. “All Your Fault” and “Blessings” (featuring Drake and Kanye West) serve as reminders of Sean’s flashy wit and ambition, confirming his elite ​​status among the cool kids.

\"OctaHate” brought instant fame to Ryn Weaver—the track went viral and earned props by everyone from Paramore’s Hayley Williams to UK pop sophisticate Jessie Ware. Weaver’s debut full-length delivers on that song’s glittering promise. With help from Charli XCX, Benny Blanco, Cashmere Cat, and Passion Pit mastermind Michael Angelakos, *The Fool* is a collection of dynamic, self-assured pop. Detailed production makes \"Stay Low” and “Here is Home” pure headphone candy, while highlights like “Pierre” and “Sail On” transition from delicately crafted murmurs to maximalist anthems. Still, Weaver is the most captivating during album’s simplest moments, like the acoustic-guitar-backed elegance of “Traveling Song.”

This debut from brothers Swae Lee and Slim Jimmy, a.k.a. Rae Sremmurd, proves that Southern hip-hop is as bumping and irreverent as ever. This is the soundtrack to delinquency; its roiling low end and chopped-up beats foreground the antics of the devil-may-care protagonists. Whether it\'s praising the local gentlemen\'s club on the Minaj feature \"Throw Sum Mo\" or comparing themselves to Donald Trump, these boys just wanna have fun.