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1. "1989," Taylor Swift

She’s no longer the girl next door—Taylor Swift’s glossy, Max Martin-produced “1989” finally departs from country for a mainstream pop aesthetic. Gone are the lengthier anthems “Speak Now” and “Fearless,” as Swift tightly packs hook after hook in an album of radio-friendly melodies. Although Swift’s individual style has trouble standing out—“New Romantics” sounds like Passion Pit, “Wildest Dreams” channels Lana Del Rey, and the tongue-in-cheek single “Blank Space” is every mid-2000s R&B song given the Lorde treatment—her songwriting prowess remains undeniable. Through combined strength of brand image and genuine talent, Swift demonstrates exactly why “1989” has managed to sell over a million physical copies in the age of streaming. —Alan R. Xie

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2. "x," Ed Sheeran

In an age of synthesizers and overproduced, bass-heavy radio singles, English singer-songwriter Ed Sheeran brings back the acoustic ballad in his sophomore album “x.” Standout tracks like “I’m a Mess,” “Bloodstream,” and “Afire Love” showcase the unabashed sentimentality and idiosyncrasy of Sheeran’s songwriting, along with his ability to build a quiet acoustic track towards a grand climax with an innovative and skillful use of the loop pedal. Meanwhile, the album’s overt funk influences—noticeable in singles “Sing” and “Don’t”—demonstrate Sheeran’s musical range as he balances catchy hooks with fast and clever rhymes. —Alan R. Xie

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3. “In The Lonely Hour,” Sam Smith

While critics panned the safe orchestration and cliché lyrics of Sam Smith’s debut “In The Lonely Hour,” Smith’s deft voice overshadows any deficiencies. The British singer displays a versatile register, effortlessly sculpting his voice to match each song’s theme. “Lay Me Down,” a track about yearning for a futile love, reflects this: while Smith begins in crooning speak-sing that muted piano chords sporadically echo, he soon bursts into roaring proclamations—a testament to his voice’s power as an instrument. And while Smith’s melancholic subject matter is an interesting study in and of itself, it is his vocal prowess that ultimately smooths out the album. —Ha D. H. Le

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4. “Ultraviolence,” Lana del Rey

Lana del Rey is the incarnation of the Great American Pop Star, and hating her is tantamount to hating Jackie Kennedy, Marilyn Monroe, and Judy Garland all at the same time. Your feelings about her depend entirely on this. Her second album, “Ultraviolence,” presents a more coherent sound than that of her 2012 breakout, “Born to Die,” winning over many critics who received “Born to Die” coolly. This increased coherence and standout songs—including “Shades of Cool” and the almost sentimentally tender “Old Money”—make “Ultraviolence” one of the most compelling pop albums this year. Lana is still the pop girl to watch over the next few years. —Jude D. Russo

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5. "This Is All Yours," alt-J

Bands that become wildly successful right away often struggle to live up to expectations with their later efforts; alt-J’s sophomore album, “This Is All Yours,” avoids that problem by building on the aesthetic of 2012’s “An Awesome Wave.” From the first Whac-A-Mole-reminiscent chords of the opening track (appropriately entitled “Intro”), it’s clear that the Leeds-based band does not intend to fix anything that ain’t broke. The album wanders through a progression of melancholy synths and echoing vocals; the end result comes out as something you might play to a sleepy person on mescaline. Standout tracks include “Nara,” “Garden of England,” and “Choice Kingdom.” —Lien E. Le