Top 100 Albums of the 2010s Decade: A-Z
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CONTRIBUTIONS BY: Shaunice Ajiwe, Ross Aronow, Dan Fare, Julie Fosco, Emily Janeczek, Hannah Kay, Holden Linton, Caitlin McGeehan, Elliza O’Grady, AnnaMarie Otor, Cole Roberts, Lily Sanders, Tim Shermer, and Dylan Stevens
Our Web Department took some time to collaboratively decide what we considered some of the best albums of this decade as it comes to a close. Below are our top 100 picks in A-Z format, as a ranking system would have sent the department into a war-like spiral.
- A Brief Inquiry Into Online Relationships by The 1975 (2018)
The album could have been just three hours of “Love It If We Made It” and I would have been happy. Every album from this band is more and more experimental but it still always feels like The 1975 — and it is always depressingly beautiful. Some of the songs had to grow on me like “TOOTIMETOOTIME,” but once they stick, they stick like grits. — Shaunice - A Crow Looked At Me by Mount Eerie (2017)
This album is seriously one of the saddest albums I have ever listened to. It can be a hard album to get through just because of how emotional it makes the listener. The work was made shortly after Phil Elverum’s wife passed away, recorded in the room she died in, and recorded with her instruments. — Holden - A Winged Victory For The Sullen by A Winged Victory For The Sullen (2011)
Their self titled album feels like a highly regarded, fleeting moment. There is an ephemeral quality to the music that invites you to listen multiple times, and it makes that known on the final track, “All Farewells Are Sudden.” I have cherished memories of listening to this album in high school, watching the songs endlessly roll over my brain. — Cole - After Laughter by Paramore (2017)
Paramore came back stronger than ever after a four year hiatus with After Laughter. It is an album full of tropical, happy sounds and some extremely dark lyrics. It is an album that shows the band’s growth and maturity, which their fans were also experiencing at the same time. — Emily
After yet another change in the emo outfit’s lineup that saw the departure of longtime member and bassist Jeremy Davis and the return of founding member and drummer Zac Farro, scene staples Paramore took to pen and studio to begin coping with and healing from past and fresh traumas as a three-piece. A vast departure from the sound they had the last time Farro sat behind the drum kit, After Laughter is a bright, grooving nosedive into the depths of frontwoman Hayley Williams’ misery, and it’s utterly brilliant and addictive. Every single track on Paramore’s 5th full-length LP invites you to dance until you cry – or realize you’ve actually been crying for a while now, and just haven’t noticed. Ultimately, After Laughter shows that emo never died – it grew up, and is just better at hiding how sad it is now. — Hannah - Alvvays by Alvvays (2014)
The nostalgic 2014 debut from Canadian quartet Alvvays captured a sound that was easy on the ears of college kids and Gen X moms alike. Molly Rankin shows an incredible gift for melody, lyricism, and ‘80s influences like the Cranberries with soon-to-be rock standard “Marry Me, Archie” and other equally intricate reflections on modern life and love. — Tim - AM by Arctic Monkeys (2013)
This alternative album reflects the struggle for love and loneliness we are all forced to overcome. Dropping in 2013, the guitar and deep vocals of AM was there for many lonely souls throughout these rough times throughout the decade. — Elliza
Another album that culturally defines its era. — Julie - Anti by Rihanna (2016)
Anti might not be the best all-around album of the decade, but individual tracks like “Love On The Brain” and “Sex With Me” have made an impact. The album marks Rihanna’s divergence from a more refined pop sound. Plus, Anti might be the last album we get from RiRi… — Lily
This album is by far the most underrated album of the entire decade. Rihanna broke her own barriers and released a genre of music that was unlike any of her previous sound. This album is an introspective masterpiece from beginning to end. — Julie - Atrocity Exhibition by Danny Brown (2016)
An absolutely mind-bending release that still lets up to this day. The whole album feels like a bad drug trip filled with wacky beats that rappers would have dared to rap on. A very important hip hop release and definitely Brown’s peak. — Holden
Danny Brown starts the album off with his idiosyncratic delivery, which is incredibly disorienting. Chaotic, loud, and anxiety-inducing songs hit the listener for 46 straight minutes…exactly how I like my hip hop. — Dan - Badlands by Halsey (2015)
To Halsey, the Badlands are the destination of her music: a whole new world she created. She roots herself in the alternative genre as she details her past lovers in “Colors” and “Strange Love” and big-scale issues of fame and monotony in “Castle” and “Gasoline.” Her voice is extremely versatile, even in her current releases, which spurs from this album. Each track is so different from the last, with synth-pop production in every song, yet each lets listeners into a new aspect or story she has to tell– a new journey into the Badlands. — Caitlin - The Balcony by Catfish and the Bottlemen (2014)
It is hard to think of a debut album from an indie rock piece from this decade that was as much of a joyride as this one from start to finish. Despite the mixed reviews on the work upon its release, it is difficult to think of Catfish and The Bottlemen without remembering this distinct era of their career. Five years later, “Tyrants” is still the best song for them to end a show with. — AnnaMarie - Bankrupt! by Phoenix (2013)
Phoenix has never made a bad album, but Bankrupt! reaches new heights. It is only 40 minutes of songs that are all amazing for completely different reasons, while still sounding like Phoenix. They can do so much with the electronic side of alternative music and it shows. — Shaunice - Because The Internet by Childish Gambino (2013)
This album brings feelings of nostalgia to listeners about the early years of the decade. It confronts the superficiality of the internet and party life that Gambino experienced, making one look at the superficiality in our own lives. It combines instrumental sounds and rap beats, making this album popular among people who enjoy different genres. — Elliza - Being So Normal by Peach Pit (2018)
This is the first full album that Peach Pit has produced, and they really broke out of their shell here from their EP, Sweet FA, from 2018. This album’s upbeat guitar riffs and melodic vocals make it a key album for the end of the decade. — Elliza - Better Oblivion Community Center by Better Oblivion Community Center (2019)
In a collaboration for the ages, singer-songwriter Phoebe Bridgers and Conor Oberst of Bright Eyes penned ten stunning folk-rock songs in what was perhaps 2019’s most honest and fulfilling release, characterized by spacious guitar playing and haunting unison melodies. It’s safe to say Bridgers was one of 2010s music’s main characters, while Oberst was at his most prolific in years and decades past. Three cheers for whoever’s idea it was to combine these two immense talents. — Tim - Black Up by Shabazz Palaces (2011)
Super underrated album and definitely an album that I cannot get enough of. The idea of Ishmael Butler of Digable Planets taking an experimental, otherworldly artistic route with this album was a bold move. The beats are insane, and there is absolutely nothing like it – it is truly its own thing. — Holden - Blackstar by David Bowie (2015)
Blackstar was Bowie’s goodbye to his fans and the world, as he was dying from liver cancer and the album was released just two days before his death. Most artists from Bowie’s time are not able to create new content that strays away from their past sounds, but Bowie was never like most artists and continued to surprise fans until his last breath. Blackstar has a softer, more contemporary sound than his other albums, and is extremely cryptic at some points. Bowie knew he was going to die while recording this album, and he still ended up turning his death into something beautiful to keep his legacy alive. — Emily
This record, to me, felt like a perfect culmination of everything Bowie has done. It’s easy for an artist to play it safe as they get older, but this just showed that Bowie was still experimenting and making the art that he wanted to make. — Ross - Blonde by Frank Ocean (2016)
Frank took his time with this album for a good reason. The album is beautiful, experimental, and easily a modern day classic. — Dylan
This album personally changed the way I would listen to music for the rest of my life. Frank touches on love, depression, and the innocence of childhood in this work. Blonde is more of visual art than an album. — Julie - Blurryface by Twenty One Pilots (2015)
This is the album that finally gave Twenty One Pilots the recognition they deserve. Putting genres like hip hop, reggae, techno, and rock onto one album isn’t supposed to work, but somehow they found a way to go above and beyond with it. Blurryface is another album that tells a story from start to finish that earned them two Grammy noms (one of them becoming a win) in 2016. — Emily - The Bones of What You Believe by CHVRCHES
CHVRCHES have become a staple in the alternative-electropop scene, and their debut LP is the reason why. The Scottish three-piece burst onto the scene with a record packed to the brim with Martin Doherty and Iain Cook displaying absolute mastery behind the scenes with their use of synths, and complemented by Lauren Mayberry’s light, airy, iconic vocals. While every track is a beautiful creation in its own right, The Bones of What You Believe is a record that will surely stand the test of time, if only for “The Mother We Share” alone. — Hannah - Born This Way by Lady Gaga (2011)
This almost goes without saying, but this is one of the most iconic albums of the decade. People will probably always associate the 10s with Lady Gaga’s Born this Way. — Julie - Born To Die by Lana Del Rey (2012)
Born to Die invented a new sub-genre of pop, “whisper pop.” This is one of the most iconic albums of the decade and has influenced plenty of great artists to this day. — Julie - Broken Bells by Broken Bells (2010)
When asked what who the artist was that most profoundly shaped the sound of the alternative scene in the 2010’s, it’s unlikely that casual listeners would single out the dreamy-sounding collaboration between producer Danger Mouse and The Shins frontman James Mercer, known together as Broken Bells. Their debut, self-titled LP features an array of beautifully produced and performed tracks, with standouts being the lead single “The High Road” and the closing track “The Mall and Misery.” Though it was released at the very beginning of the decade, Broken Bells stands as one of, if not the absolute, best alternative records of the decade. — Hannah - Channel Orange by Frank Ocean (2012)
Ocean’s debut album is more than just a groovy collection of R&B tunes. Each song on Channel Orange tells a unique story in a way that is truly unparalleled. — Lily
This album is a commentary on the life that surrounded Frank Ocean at the time. It is poetry and it is produced wonderfully. — Julie - Crack-Up by Fleet Foxes (2017)
The anticipation I had for this album made me love it even more. 6 years after Helplessness Blues, Fleet Foxes were able to make another perfectly written album with even better harmonies than the last one. — Ross - Crumbling by Mid-Air Thief (2019)
The textures and soundscapes created on this record are extremely creative and unique. It really doesn’t sound like anything I’ve ever heard in my life. — Ross - Ctrl by SZA (2017)
SZA chronologically describes her vulnerabilities and fears in Ctrl. This album is like reading a deeply relatable book. — Julie - Currents by Tame Impala (2015)
Like Lonerism, production on this album is fantastic. But what makes it even cooler is that all of the production is totally different from Lonerism. Kevin Parker has crafted a totally different drum sound and bass tone than before. It has super tight, punchy grooves and some of my favorite bass lines ever. — Ross
This is Tame Impala’s third album, dropping in 2015. It gained the band widespread popularity, again with their psychedelic sounds and upbeat, flowing songs. “The Less I Know The Better” exploded over the decade, making it their most popular single from the album and their discography over the decade. — Elliza - DAMN. by Kendrick Lamar (2017)
By far the most important social commentary in the decade. Kendrick Lamar is a philosopher and a poet in this album. — Julie - Death of a Bachelor by Panic! At The Disco (2016)
This album drips in nostalgia, dropping 4 years ago in 2016. Using samples from much older songs in several tracks, and reflective lyrics of the past year, it makes this Panic! At the Disco album perfect for reminiscing on the decade. — Elliza - Depression Cherry by Beach House (2015)
Ethereal dream pop has never sounded this lush. Bittersweet yet soothing lyrics over mellow electronic instrumentals. fall… back… in… to… place… — Dan - Die Lit by Playboi Carti (2018)
It’s just an undeniably infectious, fun, catchy, and very well produced album all the way through (aside from “Poke It Out”). This doesn’t feel like an album that Carti and Pierre made because he just needs something to show for himself, it feels like real effort was put into making sure every song on the album had a right to be there amongst all the other hits. — Shaunice - Digital Druglord by blackbear (2017)
Digital Druglord is a seamless connection between rap and pop. The rhythmic pop-like hooks complement the underlying trap beats to create a balance of singing and rapping. The production on this album is mesmerizing, with the perfect level of tuning on blackbear’s voice, but distinct beats that still meld together. On each track, blackbear details what he describes as his “catastrophic” 2016 in “wish u the best.” Multiple lyrics allude to addiction and overall struggle, producing certain hard-hitting lyrics that evolve with each listen. “Digital Druglord” is a kind of album that defines an era in each listener’s life, and can be repeated to reflect on that era. — Caitlin - Distraction by Bear Hands
Distraction is an album that deserved so, so much more than it got. In a year packed with impressive alternative releases, Bear Hands managed to garner attention with the lead single “Giants” (which still holds up as an insanely good song), but seemed to fade back out of the spotlight as quickly as they came. Distraction is an LP always worth visiting over and over again, as tracks like “The Bug” and “Agora” should have helped propel Bear Hands into lasting scene stardom like they deserve. — Hannah - The Epic by Kamasi Washington (2015)
A sonic exploration on par with Coltrane’s most important records, tenor saxophonist Kamasi Washington’s 2015 triple album and Brainfeeder debut represented more than just an increasingly lively West Coast jazz scene—Washington also played on Kendrick Lamar’s To Pimp a Butterfly the same year and Flying Lotus’sYou’re Dead! in 2014. Nearly 3 hours, not a second wasted. — Tim - Exmilitary by Death Grips (2011)
Death Grip’s debut mixtape is an auditory masterpiece. The project’s use of obscure samples and explosive energy shook up the underground experimental hip-hop scene. The iconic tape laid the floor down for a truly groundbreaking band to build on top of and eventually explode. — Dylan - Faces by Mac Miller (2014)
In between record deals, Mac Miller was able to create a beautiful free mixtape that was unapologetically him. With no huge features or over-production, the project served as a window into the mind of an artist struggling with fame and addiction. The tape has its share of emotional highs and lows, but was a very refreshing project that still to this day seems to be the purest form of Mac ever put to music. — Dylan - FOUR by One Direction (2014)
Was it really the 2010s without mentioning 1D? Don’t think so! In terms of musical diversity, FOUR is the indisputable winner of 1D’s five album discography. Each song on the album is distinctly different from the one before it, yet they all carry a mature sound. The band dipped into different genres with the upbeat, guitar-centric “No Control” and “Change Your Ticket,” while keeping a hold on their roots with the “Night Changes” ballad. With this album, it seems as though 1D had cracked their code to breaking away from the boyband bubble and into timeless contemporary pop. — Caitlin - Freewave 3 by Lucki (2019)
Lucki’s Freewave 3 was the Valentine’s Day gift we didn’t know we needed. The album’s themes perfectly mixed braggadocio with reluctant vulnerability, and is packed from top to bottom with unforgettable instrumentals. The album became a shining star in a discography already filled with classics. — Dylan - The Front Bottoms by The Front Bottoms (2011)
The 2010’s have been an iconic decade for emo and pop-punk, and, of course, before something can become iconic, it needs to have a defining moment. This defining moment for the emo genre came with the release of The Front Bottoms’ self-titled LP in the beginning of the decade, a release which has inspired countless acts to come and pushed the New Jersey group into a long-lasting career. Frontman Brian Sella’s confessional, conversational style of singing is on display at its finest here, and tracks like “Flashlight” and “Swimming Pool” have been and will remain scene staples for years to come. — Hannah - Hamilton by The Original Broadway Cast of Hamilton (2015)
Hamilton changed everything for Broadway and future musicals. Lin-Manuel Miranda’s storytelling through the hip hop inspired music about one of America’s founding fathers set the bar higher than ever before for other musical composers, and it will probably be a long time before another musical even comes close to that bar. — Emily - Handwritten by Shawn Mendes (2015)
Mendes’ debut album also produced his first hit– “Stitches”– but it has a lot more to offer. Each track explores his vocal range deeper than the last, since it is the least refined and polished of his three albums. Yet this gives “Handwritten” its charm. It is a rather relaxing album- something to wind down to- which makes it so repeatable. Despite this, it keeps listeners’ interest with the bursting chorus of “I Don’t Even Know Your Name,” and comfort in “A Little Too Much.” With “Kid in Love” and its lax drum beats, Mendes is self-aware that he’s young and may just be a kid in love, despite writing most of this album about the feeling. Equally as admirable, Mendes doesn’t take himself too seriously in his songwriting, which can’t be said about his later works. Concept-wise, the album may be immature, but lyrically and musically, it is one of his higher peaks. — Caitlin - I Don’t Like Sh*t, I Don’t Go Outside by Earl Sweatshirt (2015)
Earl’s 2015 album was an abrupt change from the wide-eyed and high pitched kid his audience had become accustomed to. Although his music has always had depressing themes, songs like “Grief” and “DNA” were an auditory punch in the gut. Luckily, Earl is in a much better place now, but his 2015 project will live forever as a perfect view into the mind of a struggling young artist. — Dylan - Landmark by Hippo Campus (2017)
Landmark is a perfect upbeat, alternative listen, with a mix of dance songs and songs for relaxing at home. This album reflects the different moods we have all been faced with throughout this decade. — Elliza - Learning by Perfume Genius (2015)
Perfume Genius released his first album on Myspace expecting no one to give it the time of day. The songs on Learning feel like solipsistic lullabies personalized for the listener. Perfume Genius’s artistic evolution is unparalleled but Learning is a great foray into his lush, skeletal catalog. — Cole - The Life of Pablo by Kanye West (2016)
Regardless of its fumbled release, The Life Of Pablo has aged into a masterpiece. Tracks like “Ultralight Beam” and “Father Stretch My Hands” are still in heavy rotation to this day. — Dylan
Kanye’s sample-heavy production featuring some of hip hop’s modern greats. I love how Kanye’s spontaneous personality manifests in how each song goes in a different direction. I can’t get enough of any song on here. Yes, including “Siiiiiiiiilver Surffffeeeeer Intermission.” — Dan - Listen & Forgive by Transit (2011)
This decade was insanely important for the revival of pop-punk, with Midwest emo and pop-punk dominating the latter half. However, perhaps the greatest pop-punk effort was released right at the beginning of the 2010s by Transit – and it deserves to be recognized as such. Listen & Forgive is atmospheric and yearning, with frontman Joe Boynton’s unique vocals adding warmth and depth to every shimmering track. It is a record that shaped pop-punk in the years to come, and now serves as a memorial to the life and talent of the late guitarist Tim Landers – may he rest easy. — Hannah - Lonerism by Tame Impala (2012)
I think the music on this record perfectly gives off the vibes it aims to unlike any other album. It has some of the best guitar riffs and drum sounds I’ve ever heard and it is my favorite album ever. — Ross
This is Tame Impala’s second album of the decade, dropping in 2012. The psychedelic sounds and repetitive guitar create a versatile tone that was enjoyable throughout the whole decade that could be played when needing to get work done or kick back with friends. This album is notable for these feelings listeners have when the album is played. — Elliza - Lotta Sea Lice by Courtney Barnett & Kurt Vile (2017)
As solo recording artists, both Courtney Barnett and Kurt Vile had a decade as prolific as it was impressive, while also establishing themselves among the most exciting live acts in their respective hemispheres. On Lotta Sea Lice, the intersection of Barnett and Vile’s musical styles feels nothing short of completely natural, reaching into sonic territory that likely would have remained uncharted by either of them without the other. The album of sunny duets that included a reworking of CB’s “Out of the Woodwork” came just a year before the release of Barnett’s Tell Me How You Really Feel and Vile’s Bottle It In, both highlights of 2018 in their own right. — Tim - Love Gloom by Night Riots (2016)
Night Riots are a band on the verge of “Breaking Free” of their (relatively) underground status – and their debut LP Love Gloom is what continues to propel them forward. The aptly named record is a dive into the atmospheric, moody, and gloomy side of alternative music and it’s beautifully crafted in every way possible. Every member of the Californian outfit is insanely talented in their own right, but together they make a special kind of magic that shines brightest on Love Gloom. — Hannah - Love Letters by Metronomy (2013)
Indie pop as a genre defines some really great bands but Metronomy is one of the coolest, cleanest, cutest, funkiest, most talented, brilliant, never the same, totally unique ones out there. All their albums are amazing, especially the most recent 4 ones (literally). Love Letters just happens to be the one with the most songs that I go stupid over. — Shaunice - Lovely Little Lonely by The Maine (2017)
Almost all of my favorite songs by The Maine are on this album, and I have been a fan of them for nine years. This is my go-to album when I want to feel happy and carefree. It also contains their most-streamed song on Spotify and one of my personal favorites, “Black Butterflies and Deja Vu.” — Emily - Lush by Snail Mail (2018)
The mind fails to recall the last time a 19-year-old hit a full-length-debut home run in the same way that Baltimore’s Lindsey Jordan did with 2018’s Lush. “Heat Wave,” “Speaking Terms,” and the album’s other 8 tracks fuse rich production with brilliant riffs and introspective lyrics in a way that resonated uniquely with Gen Z audiences. Jordan has not only mastered the specific art of writing a good pop song, but also thoughtfully assembling a record in a way that is truly captivating to the most casual and critical ears. — Tim - Mania by Fall Out Boy (2018)
In the almost seven years since Fall Out Boy reunited in 2013, they’ve released three new LPs, a remix album, a grungy EP, and have a second greatest hits record on the way. Of all of these, Mania stands as a monument to the Chicago four-piece finally hitting their stride post-hiatus, and breaking away from the pack at a dead sprint. It is slick, tightly produced, and perhaps one of the best records Fall Out Boy has put forth period. — Hannah - Melodrama by Lorde (2017)
Like Paramore, Lorde came back from a hiatus and destroyed us all with a beautiful new album. Personally some of my favorite albums are ones that tell stories from beginning to end, and that is exactly what Lorde does with this album. As Slant’s Sal Cinquemani put it, it’s “cathartic, dramatic, and everything else you could want an album called Melodrama to be.” — Emily - Melophobia by Cage The Elephant (2013)
This album is a fun adventure from beginning to end. It’s a genuinely beautiful and nostalgic album. — Julie
Cage the Elephant has had many popular alternative hits throughout the decade. This album includes several of these, such as “Come a Little Closer” and “Cigarette Daydreams.” The album is also notable because of its fluctuation in tempo and vocals between songs, making each one unpredictable. — Elliza - Mista Thug Isolation by Lil Ugly Mane (2012)
Another album with an internet cult following, it took the idea of Memphis Rap and made it super addicting. This is definitely one of those albums that grow on you with its funny and thuggish feeling. — Holden - Modern Vampires of the City by Vampire Weekend (2013)
Vampire Weekend is a foundational marker of moody pretentious indie music, of course, but Modern Vampires of the City is some of their best work past their iconicism. Sure there are the undeniable hits like “Diane Young,” “Hannah Hunt,” and “Ya Hey” but the album masterfully balances fervent upbeatness and turtleneck gloominess on top of the bops. All hits, no skips. — Shaunice - The Money Store by Death Grips (2012)
Really one of the most forward thinking musical releases in a long time. It is a grand execution of dark, visceral, and some times funky industrial music. It makes for an amazing landmark record that will go on to influence many other artists. — Holden
A brooding rollercoaster of an album that pushed hip hop into a more experimental direction. I don’t know who to focus on: the raw and chaotic drummer, the aggressive vocalist, or the mechanical sounds coming from the keyboardist. Absolutely bonkers. — Dan - My Beautiful Dark Twisted Fantasy by Kanye West (2010)
MBDTF is objectively the most influential album of the decade. The hip-hop/rap genre would forever be changed after its release. Kanye sampled songs from many other genres and completely changed the structure of mainstream music. — Julie - MY WOMAN by Angel Olsen (2016)
A follow-up to Olsen’s major-label debut Burn Your Fire for No Witness, 2016’s MY WOMAN was easily the most complete album to date by one of the 21st century’s most complete musicians. A one-of-a-kind voice and eclectic melodic influences are on display from start to finish; “Sister” in particular showcases Olsen’s immeasurable skill as a guitarist and arranger. — Tim - Nonagon Infinity by King Gizzard and the Lizard Wizard (2016)
Dirty and psychedelic garage rock with everything to love about this band on a single record: goofy lyrics, an inventive concept that ties the album together, and a strong heavy metal and prog rock influence. This is the record that really brought these guys into the well-deserved spotlight. — Dan - Otherness by Kindness (2014)
Kindness is a close friend and collaborator of artists we all know and love like Robyn and Kelela and Blood Orange, so why wasn’t this underrated masterpiece being handed out to babies at birth? E v e r y song is so good and aesthetically pleasing its no wonder indie-pop heavyweights are in love with Kindness. When you listen all the way through don’t get stuck at “For The Young” no matter how mind-bogglingly amazing it is, power through and give the whole thing a try. — Shaunice - Passive With Desire by Choir Boy (2016)
Choir Boy’s Passive With Desire uses pastiche eighties textures and angelic falsetto vocals to make a delicately entrancing statement. Each song on the album has its own distinct vibe, but together they make a bold cohesive experience. — Cole - Peripheral Vision by Turnover (2015)
Turnover were ahead of their time with this album. They jumped from the pop punk Turnover to the indie Turnover, and they certainly did not fall with that jump. The album brings a “let’s drive around with all of the windows down in the middle of the night while we’re sad,” vibe to the table, and each time I listen to it, I feel like I can find something new to love about it. — Emily - Powers That B by Death Grips (2015)
The Powers That B is one of the heaviest albums Death Grips has ever released, and that’s a big statement. Each song in the album’s first half contains a sample from the Icelandic singer Björk, and it works perfectly. The second half shifts into a less electronic and more guitar driven tracks, all incredible nonetheless. — Dylan - Public Strain by Women (2010)
Women’s 2010 release Public Strain set the precedent for the entire decade, yet barely gets the recognition it deserves. Public Strain feels like an iconoclastic combination of The Beach Boys and My Bloody Valentine all whilst having its own idiosyncratic musical vocabulary. The songs tread a fine line of being very intricate but remaining undoubtedly catchy. — Cole - Pure Comedy by Father John Misty (2017)
This album feels like watching a movie. It’s very cool how he is able to use production and arrangement to help tell all of these stories. — Ross - Random Access Memories by Daft Punk (2013)
House legends Daft Punk return to deliver soulful electronic funk with the help of Pharrell, Panda Bear, Nile Rodgers, among others. Fun songs that still get anyone dancing years after the release. — Dan - Rodeo by Travis Scott (2015)
Travis Scott’s Rodeo was filled to the brim with slaps. From the sentimental “Oh My Dis Side” to the triumphant “Apple Pie,” Travis transports the audience into his world to experience his story for themselves. — Dylan - SATURATION II by BROCKHAMPTON (2017)
I mean come on, it’s literally BROCKHAMPTON. What’s not to like about a trilogy of albums from an experimental alternative rapping queer boyband? But on top of that they really show their skills in rapping, artistry, production, and emotional vulnerability in the second installation of the SATURATION series. — Shaunice - SATURATION III by BROCKHAMPTON (2017)
This album was BROCKHAMPTON’s third album of 2017 alone. The diverse rap group brings their individual personalities to the songs and sounds of this album, making it their most notable of the trilogy. — Elliza - So The Flies Don’t Come by Milo and Kenny Segal (2016)
This album holds such a warm place in my heart, considering that I would wake up to this philosophical masterpiece every day for 3 months straight. This album is super addicting, with its spiritual lyrics and soft lo-fi beats. Milo has a sound with this album (Thanks to Kenny Segal) and it’s definitely an album I’m super thankful for. — Holden - Some Rap Songs by Earl Sweatshirt (2018)
Earl’s 2018 album seems to serve as the final chapter in this part of his young career. With themes of rebirth and redemption, the album comes off as a victory lap for a man who has obviously been through a lot already. The unique style and ruggedness Earl exhibits on this album is refreshing and leaves audiences eager to see where he goes next. — Dylan
Earl did a complete 180 artistically and made this experimental and abstract hip hop masterpiece that will definitely go on to inspire many abstract rappers. The album comes with a lot of baggage and just about every lyric from this album is super memorable. — Holden - Sound & Color by Alabama Shakes (2015)
Athens, Georgia products Alabama Shakes realized their full genre-bending potential on 2015 sophomore record Sound & Color, which went to the bank primarily on bandleader Brittany Howard’s jaw-dropping vocal ability and the exploration of an astoundingly wide range of musical styles: the Shakes are just as fluent in the blues as they are in the world of spacious, synthesizer-driven pop. Sound & Color could remain their swan song as Howard’s first solo album Jaime was released a few months ago to widespread acclaim, and could hint at a more prolonged hiatus for the band. — Tim
Front runner Brittany Howard’s soulful voice is unparalleled in this 2015 release. Sound and Color is genre defying and mystical. — Lily - Sounds Good Feels Good by 5 Seconds of Summer (2015)
5 Seconds of Summer’s sophomore album is an experiment in defining the band’s sound gone right. The album solidifies 5SOS’ place in between pop-punk and pop with the guitar-heavy anthems as the first tracks (“Permanent Vacation”), and the exploration of the uncertainty the members feel personally woven into the lyrics. Nostalgic ballads re-imagined through a pop-punk lens make up the rest of the album, with interludes to create a flow, such as the conclusion of “Waste the Night.” A few hard-hitting songs like “Castaway” are sprinkled throughout the ending tracks in order to complete a cohesive, repeatable album. — Caitlin - Strange Desire by Bleachers (2014)
Jack Antonoff produced a notably iconic album, successfully soundtracking the lives of indie kids for the perfect summer road trip. Whether it was through anthem songs such as “Rollercoaster,” and “I Wanna Get Better,” or the more calm moments in “Reckless Love,” and “Wake Me,” he created a nearly euphoric symphony of hits. — AnnaMarie - Take Me Home by One Direction (2012)
Hear me out, Take Me Home is a perfect pop boy band album. There’s a wonderful balance of bubblegum-pop songs that make whoever listens to it dance mindlessly like no one is watching, and the typical boy band ballads that made their fanbase feel like 1D was singing directly to them. This album represents One Direction in their prime, and there hasn’t been a more powerful boy band since, although BTS is getting pretty close. — Emily - Technology by Don Broco (2018)
Technology is a record that deserves essays written about it. It is so tightly, deliberately produced and crafted, with each track offering a new treasure each time it’s spun. “Greatness” and “Everybody” feature potentially the best uses of cowbell in modern rock music, and the small details in tracks like “Pretty” and “Stay Ignorant” are testaments to how much love and care the Bedford, UK rock outfit put into the record. Technology is the third full-length LP put out by Don Broco, and it also stands as the one that has finally been getting them the attention and respect they deserve – and also as their absolute finest. — Hannah - Teen Dream by Beach House (2010)
All of these songs are written so well, and would be amazing if they were stripped down to just piano or guitar and vocals. Producing them into spacey, dream pop songs makes them even better. — Ross - Those Who Throw Objects At Crocodiles Will Be Asked To Retrieve Them by Bruno Pernadas (2016)
A neo-psych jazz concoction with a hint of exotic lounge music. Relaxing and soothing, but still musically stimulating. Fans of Stereolab and/or Yo La Tengo, please listen to this at once!! — Dan - To Be Kind by Swans (2014)
Combining elements of drone, post-rock, and no wave is something Swans have been honing to perfection for a while. To Be Kind is the deeply disturbing and hypnotic apex of their efforts. — Dan
This album became one of Swans’ more visceral releases in years. The record still lets up and the pacing of the record (that by the way goes on for 2 hours) is phenomenal. The album feels very weary but also is just very surreal and sometimes loud. — Holden - To Pimp a Butterfly by Kendrick Lamar (2015)
Possibly the most timely rap album ever released, Kendrick Lamar’s career masterpiece was heavily influenced by jazz and more dated hip-hop. If it hadn’t already been accomplished by Good Kid, M.A.A.D. City, To Pimp a Butterfly definitely cements Kendrick as the decade’s most important rapper. The distinct style of beats and guest artists to appear on the record isn’t the only thing it should be noted for—Kendrick is also at his most technically impressive, using rhythm and space in ways that only he could. — Tim
We are blessed to live in the time this album was released. Poetic and politically aware hip hop with a jazzy and funky flair. Lamar doesn’t waste a second of Butterfly’s 78-minute runtime, even on repeated listens. — Dan
Definitely one of the most important releases of the decade. Kendrick took a different and unexpected route from Good Kid, M.A.A.D. City, with jazzier beats and lyrics filled of truth. The album feels like a story and it’s hard for me to listen to just songs alone from this album — it’s a whole experience. — Holden
This album was so different than anything else that was coming out at the time. And although it has some great features, it feels like Kendrick is able to really carry this album himself and proves himself as one of the most talented people making music right now. — Ross - Torches by Foster The People (2011)
Released right around the beginning of the decade, Foster the People set the precedent for what modern indie pop would sound like for the years to come. While “Pumped Up Kicks” thrust them into mainstream stardom, followup singles (like “Call it What You Want” and “Helena Beat”) and b-sides (“Life on the Nickel,” “Warrant”) are what keep the record alive and relevant, and are proof that Foster The People were geniuses from the start and crafted an immaculate debut record. — Hannah - Traveller by Chris Stapleton (2015)
Chris Stapleton is one of the most underrated singers in the world right now. On the album, you can hear the old school country influences, blues and soul influences, and it’s a genuine country album, not the typical “pretty girls, cornfields, big trucks, and beer” country music that is being put out. The raw lyrics mixed with Stapleton’s raw and gravely voice have the ability to take you to another dimension while listening to his music. — Emily - Tranquility Base Hotel and Casino by Arctic Monkeys (2018)
This album is the definition of all hits, no skips. I still get mad when I think about how this album got paid DUST because everyone wanted AM part two – well guess what, 2013 is over and so is that leather jacket cigarette smoking “R U Mine?” era of Arctic Monkeys. Embrace this suave story-telling, piano lounge, intergalactic, David Bowie-esque wave of Alex Turner because this album is so amazing to listen to al the way through. — Shaunice - Trilogy by The Weeknd (2012)
With his release of Trilogy, The Weeknd brought ominous R&B into the mainstream. Songs like “Loft Music” and “Wicked Games” give the listener a glimpse into Abel’s life of total debauchery, a radical musical journey. — Lily - Trouble Will Find Me by The National (2013)
I know it’s sad white guy indie music, but this album is truly a classic that’s full of bops that make me want to scream/cry in the shower about a girlfriend I never had who left me because of my non-existent drinking problem. It’s just that good and consistent at putting you in a full-blown mood without ever feeling cheesy or needlessly gloomy. — Shaunice - Turn Blue by The Black Keys (2014)
The Black Keys exploded in the early years of the decade, where they made most of their music until “Let’s Rock” dropped this year. Prior, Turn Blue was their most recent album, full of feelings of love and long guitar solos, making it perfect for relaxing. It represents a key alternative band at the beginning of the decade. — Elliza - Twin Fantasy by Car Seat Headrest (2018)
I think it’s so cool how this whole album shows how songs can change over time. It is very cool to hear well written songs that I know well with higher-quality production and the changes that were made in the 8 years since their first release. — Ross - Valtari by Sigur Rós (2012)
Sigur Rós’s album Valtari is a collection of cinematically saturnine pieces of music. The albums isolated vibe is mirrored perfectly by the album cover. — Cole - Veteran by JPEGMAFIA (2018)
JPEGMAFIA’s 2018 album Veteran challenged everything we know about hip-hop today. Mixing catchy melodies and industrial production with aggressive, politically charged lyrics was an abrasive match made in heaven. Sadly, Peggy has alluded to never making another Veteran-esque album again, but luckily it has shown to have incredible mileage and will surely stand the test of time. — Dylan - The Weather by Pond (2017)
This is another album where production really makes it for me. Everything was recorded and mixed in such a way that the energy from the sessions come through perfectly. — Ross - Wellness by Last Dinosaurs (2015)
Last Dinosaurs truly solidified their talent in the indie pop scene with their sophomore album. Clocking in at 37 minutes, my only complaint is that it was not long enough. Not only is each track unique to their carefully constructed sound, but the demos to match that the band uploaded on Youtube following its release present interesting perspective changes between their initial ideas and the eventual end product. — AnnaMarie - Wide Awake! by Parquet Courts (2018)
One of 2018’s most compelling releases, Wide Awake! is the culmination of a highly prolific decade for Brooklyn psych/punk rockers Parquet Courts. The album’s front side makes a point of tackling political themes (“Violence,” “Before the Water Gets Too High”), channeling the Clash and Ramones at times, while Side 2 makes more time for personal musings. Witty and high-energy as always. — Tim
The true revival of the post-punk Wire and Gang of Four left behind, with political lyrics shouted incoherently over gritty guitars and drums… gotta love it!! Danger Mouse’s touch of modern production keeps the sound fresh. — Dan - You Don’t Get What You Want by Daughters (2018)
What an audibly grotesque record that just makes you want to rip someone’s jaw off their face. This record is just filled with raw anger and passion. The album doesn’t feel like it has a fake edge to it, it feels like a genuinely creepy record. — Holden - Your Queen Is A Reptile by Sons of Kemet (2018)
It’s a great intro to experimental jazz, despite how loud, abrasive, in your face, and complex it is. For all those qualities it fascinates the listener and is almost a red herring to bring you to the real star of the album: how good these musicians are at their instruments. You can really hear the inspiration from afrobeat and stars from the height of American jazz music. — Shaunice - + by Ed Sheeran (2011)
+ produced the staple 2010s hit “The A Team,” but has multiple timeless tracks–comfort songs that sound exactly the same on the fiftieth listen as they did on the first. Each song’s drum beats and rhythms allude to Sheeran’s beatboxing ability that culminates in “The City” and “You Need Me, I Don’t Need You.” Yet he also delivers the expected slow love song or two. Although his performances consist of just him and his acoustic guitar, this album provides a little more rhythm than the typical singer-songwriter guitar-strumming, and serves as a foreshadowing precursor to his later works, such as X. — Caitlin - II by Unknown Mortal Orchestra (2013)
New Zealand’s Unknown Mortal Orchestra have consistently been on the cutting edge of psychedelia in all of its forms and fusions that have been ushered in by the 2010s. II is maybe the clearest example of this in their discography, refusing to be confined to a single sound while making reference to an array of other styles past and present. “Secret Xtians” is the closest thing to a perfect closing track. — Tim - The 1975 by The 1975 (2013)
Lead singer, Matty Healy’s voice is off-kilter with indistinguishable diction, but in the best way possible; it has to be with a whopping 39 songs on the album’s deluxe version. This album has been categorized as ‘synth rock’ because of tracks like “Heart Out,” but the lead singles like the jazzy “Girls” speak differently. This self-titled album is a step towards defining The 1975’s sound, which the band themselves has proved to be impossible, even with their more recent releases. They stand for variety in their tracklist, with upbeat earworms, instrumental interludes and darker-themed songs to form an album for all occasions and emotions. — Caitlin - 21 by Adele (2011)
Adele changed the game of music with 21. Her voice and powerful lyrics at such a young age was something I don’t think anyone was prepared for. Almost 10 years later, “Someone Like You” can come on and everyone will start belting it out. It’s a timeless album. — Emily
