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The results are in! St. Vincent's self-titled album was by far the most popular record in our listener poll for the best music of 2014. On this week's show, we count down the Top 25.

Talia Schlanger hosts World Cafe, which is distributed by NPR and produced by WXPN, the public radio service of the University of Pennsylvania. She got her start in broadcasting at the CBC, Canada's national public broadcaster. She hosted CBC Radio 2 Weekend Mornings on radio and was the on-camera host for two seasons of the television series CBC Music: Backstage, as well as several prime-time music TV specials for CBC, including the Quietest Concert Ever: On Fundy's Ocean Floor. Schlanger also guest hosted various flagship shows on CBC Radio One, including As It Happens, Day 6 and Because News. Schlanger also won a Canadian Screen Award as a producer for CBC Music Presents: The Beetle Roadtrip Sessions, a cross-country rock 'n' roll road trip.

Middle Brother is a trio formed by members of other bands: Deer Tick, Dawes and Delta Spirit. Critic Ken Tucker says the group's new self-titled album reaches across decades of rock, folk and country music.

Mary Lou Williams taught herself how to play the piano and performed in public by the time she was six. She composed for the New York Philharmonic, arranged for Duke Ellington, and modernized her style as one of the few "stride" pianists. 1927-1940 tracks this boogie woogie master's musical development as a young woman.

Mary Lou Williams was not only present for nearly every development in jazz music — she was influential to most of them. In her compositions, arrangements, piano playing, and teaching, she constantly advanced jazz music.

Visceral yet dreamy, the band's third album plumbs ever deeper into droning psychedelia. Moon Duo's influences are easy to spot, but the music feels like part of a continuum rather than a pastiche.

Foxygen's Shaun Fleming aspires to a '70s ideal that rolls up sugarcoated bubblegum glam, soul balladry, Francophone pop and echoes of the Brill Building.

Shadowed by death and encased in digital production, the duo's fourth and final album is nonetheless warm and beautiful, and by no means mired in gloom.

The Virginia metal band's third album transcends era and genre, thanks to the group's ear for deceptively infectious songwriting — not to mention Dorthia Cottrell's gutsy, hypnotic voice.

The band, known for its glorious guitar noise, opts for a synthesizer-driven sound.