We’re not quite halfway through 2026, but I’m ready to honor the artists who have soundtracked the young year so far. With this list of 10 (plus) albums, I’m lining out the music which has insulated and inspired my movement through the world.
Given that I do a more extensive album list at year’s end, these are listed alphabetically rather than ranked, as some will no doubt stay, some will go and others will trade positions.
Here, then, are my 10 favorite records of the year (so far):
Big Long Sun, “love songs and spiritual recollections” (indie folk)
The British outfit creates songs for the listener whose favorite Beatles tracks were always by George Harrison. These tracks let both light and shadow in, allow themselves to grow grandiose while sizing smaller for the intimate moments.
Gun Outfit, “Process and Reality” (indie/psych rock)
For around 80 minutes, this L.A. band approximates a trip deep into the desert: moments of clarity amid woozy wandering, oases and bleak landscapes, strange creatures and the wild soul of man.
Johnny Blue Skies and the Dark Clouds, “Mutiny After Midnight” (Americana)
Make America Fuk Again. The title of the opening track here is a mission statement, reverberating throughout the latest from Sturgill Simpson and his post-recording-under-my-own-name band. Simpson and Co. wanna turn you on (and, reader, it’ll work) with country undertones, funk overtones and philosophical musings about being hot and horny in the lower 48.
Memorials, “All Clouds Bring Not Rain” (rock)
Perhaps the most hypnotic record of the young year, “All Clouds ...” eavesdrops as collaborators Verity Susman and Matthew Simms create siren songs from the garments of psychedelia, electronic music, jazz, power pop and more.
Mildred, “Fenceline” (indie rock)
This Bay Area quartet plays it cool throughout one of the smartest—and certainly strongest—debuts of the year, delivering tracks that are aloof till they erupt into fits of freaked-out guitars and jam-band grooves, slur into gilded harmonies and delightfully droll punchlines.
Mitski, “Nothing’s About to Happen to Me” (indie rock)
From one of the best opening lyrics in this year (or any), Mitski sets about delivering her most cohesive album in nearly 15 years’ worth of very high musical heights. These songs arrive tender and thoughtful without taking themselves too serious.
Kevin Morby, “Little Wide Open” (folk-rock)
As with Mitski, this is Morby’s most complete album to date after years of great songs. Morby sells each note of his Midwest rhapsody with the requisite musings on living, dying, weather and being weathered.
Isaiah Rashad, “It’s Been Awful” (hip-hop)
Rashad’s first album in five years is a sort of Southern rap opera, textured and tortured with songs that alternately burn slow and vigorous, always returning to a soulful central flame.
Sluice, “Companion” (indie rock)
Justin Morris and his North Carolina outfit had me early on opening track “Beadie,” with lyrics praising personal pop-culture favorites such as The Wire and Joe Pera. Morris and Co. kept me with their Americana-tinged minimalist rock, living somewhere between the best of Bill Callahan and Son Volt.
Vince Staples, “Cry Baby” (hip-hop)
The Golden State rapper twines the best of his state’s hip-hop and rock traditions, delivering a truly original sound on an album pitched perfectly for summer yet housing ideas for all seasons.
Ten more for good measure:
Bill Callahan, “My Days of 58”; Gladie, “No Need to Be Lonely”; Joyce Manor, “I Used to Go to This Bar”; Lime Garden, “Maybe Not Tonight”; Ratboys, “Singin’ to an Empty Chair”; Jill Scott, “To Whom This May Concern”; Suss, “Counting Sunsets”; White Denim, “13”; Wu Lyf, “A Wave That Will Never Break”; Yumi Zouma, “No Love Lost to Kindness”