Top 100 Music Albums of the 2010s by 
FlorianJones 
Anything with a write-up was in my top 50 at the end of the decade, in December of 2019.
As of today (June 14, 2022), 6 of those original top 50 have dropped into 51-100. None of them have dropped off the list entirely.
- Chart updated: 06/14/2022 23:15
- (Created: 11/26/2014 05:57).
- Chart size: 100 albums.
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Top Tracks: Desert Island Disk, Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief, True Love Waits
Just over two decades into the most acclaimed career in modern rock, Radiohead created what is undoubtedly the most beautiful album of their career with A Moon Shaped Pool. From the strings of the opening Burn The Witch and the melodic piano of Daydreaming to the choral arrangements of Decks Dark and the flamenco tinged guitar of Desert Island Disk, it’s clear that they are drawing on some of the symphonic influences band member Johnny Greenwood has picked up in his previous decade of scoring films for the likes of Paul Thomas Anderson and Lynne Ramsey. Beyond instrumental beauty, there is also lyrical vulnerability, most directly evident on closing track True Love Waits. The loving ballad, first performed over twenty years earlier, finds a new life here. Sung in the wake of Thom Yorke’s separation from his longtime partner (for whom the song was likely originally written) it carries a melancholy air with it. Never before has Radiohead – a band typically preoccupied with technological alienation – sounded so human. Only a few years removed from its release, revisitation already has the inviting warmth of a hug from a forgotten friend. [First added to this chart: 07/03/2016]
Just over two decades into the most acclaimed career in modern rock, Radiohead created what is undoubtedly the most beautiful album of their career with A Moon Shaped Pool. From the strings of the opening Burn The Witch and the melodic piano of Daydreaming to the choral arrangements of Decks Dark and the flamenco tinged guitar of Desert Island Disk, it’s clear that they are drawing on some of the symphonic influences band member Johnny Greenwood has picked up in his previous decade of scoring films for the likes of Paul Thomas Anderson and Lynne Ramsey. Beyond instrumental beauty, there is also lyrical vulnerability, most directly evident on closing track True Love Waits. The loving ballad, first performed over twenty years earlier, finds a new life here. Sung in the wake of Thom Yorke’s separation from his longtime partner (for whom the song was likely originally written) it carries a melancholy air with it. Never before has Radiohead – a band typically preoccupied with technological alienation – sounded so human. Only a few years removed from its release, revisitation already has the inviting warmth of a hug from a forgotten friend. [First added to this chart: 07/03/2016]
Year of Release:
2016
Appears in:
Rank Score:
17,121
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
272
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Top Tracks: I’m All That I Need / Arroyo Seco / Thumbprint Scar, If You Need To Keep Time On Me, I Should See Memphis
When Fleet Foxes came crashing onto the scene with their self-titled debut during the folk revival boom of the late aughts, they wrote big baroque folk with classic hooks. Their music had an immediacy to it. Nine years later, frontman Robin Pecknold was far less concerned about that immediacy. After a mere two albums propelled Fleet Foxes into the upper echelons of indie rock popularity, the band went silent. Pecknold had other ideas, and other things to do. He spent time attending Columbia, not out of obligation to a career or a degree, but out of an innate desire to learn and progress. Following six years in the interim, Crack Up was ready, and Fleet Foxes no longer sounded as they once did.
Mirroring Robin’s own personal ethos, Crack Up is completely uninterested in getting anywhere quickly. The urgency has been replaced, and on Crack Up more than ever before, Pecknold seems captivated by liminal states. He’s not particularly interested in point A or point B, but the gap that bridges the two. That’s not to say the album is without its spectacular points. Some of the album’s most impactful segments, like the melody that goes along with the line “I was a child in the ivy then, I never knew you, you knew me” are parts I would call the points Pecknold is bridging, but he’s not lingering on those points for very long. As is the case with that moment, some of Robin’s best melodies here get repeated only once or twice, but the album is all the better for that fact. There’s a constant sense of yearning that comes with the territory. Each individual moment tends to find itself cut ever so slightly short to make way for what comes next. The audience wants just a sliver more every time. It’s a strategy that yields an album significantly greater than the sum of its parts – parts that are only loosely defined by the accompanying tracklist. The track titles are a dead giveaway of the album’s amorphous structure. The first track masquerades as three with the title I Am All That I Need / Arroyo Seco / Thumbprint Scar while the subsequent two conjoin with the titles Cassius, – and – Naiads, Cassadies. After having a couple years to live with this album, I still don’t consider it in terms of songs, because they don’t have the distinctive separations that Helplessness Blues or Fleet Foxes did. Here, everything moves in waves (making the album art quite suitable), crashing in and drawing out – like the tides, Crack Up takes time to leave an impact, but give it the opportunity and it will get there. [First added to this chart: 10/24/2017]
When Fleet Foxes came crashing onto the scene with their self-titled debut during the folk revival boom of the late aughts, they wrote big baroque folk with classic hooks. Their music had an immediacy to it. Nine years later, frontman Robin Pecknold was far less concerned about that immediacy. After a mere two albums propelled Fleet Foxes into the upper echelons of indie rock popularity, the band went silent. Pecknold had other ideas, and other things to do. He spent time attending Columbia, not out of obligation to a career or a degree, but out of an innate desire to learn and progress. Following six years in the interim, Crack Up was ready, and Fleet Foxes no longer sounded as they once did.
Mirroring Robin’s own personal ethos, Crack Up is completely uninterested in getting anywhere quickly. The urgency has been replaced, and on Crack Up more than ever before, Pecknold seems captivated by liminal states. He’s not particularly interested in point A or point B, but the gap that bridges the two. That’s not to say the album is without its spectacular points. Some of the album’s most impactful segments, like the melody that goes along with the line “I was a child in the ivy then, I never knew you, you knew me” are parts I would call the points Pecknold is bridging, but he’s not lingering on those points for very long. As is the case with that moment, some of Robin’s best melodies here get repeated only once or twice, but the album is all the better for that fact. There’s a constant sense of yearning that comes with the territory. Each individual moment tends to find itself cut ever so slightly short to make way for what comes next. The audience wants just a sliver more every time. It’s a strategy that yields an album significantly greater than the sum of its parts – parts that are only loosely defined by the accompanying tracklist. The track titles are a dead giveaway of the album’s amorphous structure. The first track masquerades as three with the title I Am All That I Need / Arroyo Seco / Thumbprint Scar while the subsequent two conjoin with the titles Cassius, – and – Naiads, Cassadies. After having a couple years to live with this album, I still don’t consider it in terms of songs, because they don’t have the distinctive separations that Helplessness Blues or Fleet Foxes did. Here, everything moves in waves (making the album art quite suitable), crashing in and drawing out – like the tides, Crack Up takes time to leave an impact, but give it the opportunity and it will get there. [First added to this chart: 10/24/2017]
Year of Release:
2017
Appears in:
Rank Score:
2,815
Rank in 2017:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Top Tracks: Weary, Cranes in the Sky, Junie
It’s not uncommon for gifted artists to find themselves stuck in someone else’s shadow, and it’s likely more common if the artist is a minority in any way. That’s one of the defining subjects of FKA Twigs’ recent Magdalene, and while it wouldn’t be surprising if Solange had similar experiences to Twigs, Solange is also an extreme edge case. Solange Knowles is, of course, the younger sister of Beyoncé Knowles, and that is not an insignificant shadow to live under. I’m not saying that being the sibling of someone already established in the industry is all bad. I’m sure the position comes with some enviable insider connections, but it also comes with expectations. It comes with a whole slew of them, and that can be crippling to someone who doesn’t have the right level of confidence in what they’re doing. I don’t invoke Beyoncé to say that Solange’s A Seat at the Table has anything to do with her sister, or to draw comparison between the two women. No. My point is that, given her circumstances, for Solange to put herself out there required confidence, and confidence is precisely what A Seat at the Table is all about. Solange isn’t subtle about it either. Subtlety can be great, but you must consider the context. Confidence, pride, and self-care aren’t subjects to be subtle about, they’re subjects to be loudly proclaimed – to be shouted from the rooftops. Naturally, this only works if you have the music to back it up, and Solange absolutely does. A Seat at the Table is rich and inviting music. It’s all the best of old school and modern R&B blended together to create a record that feels simultaneously fresh and lived in. Solange doesn’t need to prove herself anymore. Her seat at the table has been earned. [First added to this chart: 06/22/2017]
It’s not uncommon for gifted artists to find themselves stuck in someone else’s shadow, and it’s likely more common if the artist is a minority in any way. That’s one of the defining subjects of FKA Twigs’ recent Magdalene, and while it wouldn’t be surprising if Solange had similar experiences to Twigs, Solange is also an extreme edge case. Solange Knowles is, of course, the younger sister of Beyoncé Knowles, and that is not an insignificant shadow to live under. I’m not saying that being the sibling of someone already established in the industry is all bad. I’m sure the position comes with some enviable insider connections, but it also comes with expectations. It comes with a whole slew of them, and that can be crippling to someone who doesn’t have the right level of confidence in what they’re doing. I don’t invoke Beyoncé to say that Solange’s A Seat at the Table has anything to do with her sister, or to draw comparison between the two women. No. My point is that, given her circumstances, for Solange to put herself out there required confidence, and confidence is precisely what A Seat at the Table is all about. Solange isn’t subtle about it either. Subtlety can be great, but you must consider the context. Confidence, pride, and self-care aren’t subjects to be subtle about, they’re subjects to be loudly proclaimed – to be shouted from the rooftops. Naturally, this only works if you have the music to back it up, and Solange absolutely does. A Seat at the Table is rich and inviting music. It’s all the best of old school and modern R&B blended together to create a record that feels simultaneously fresh and lived in. Solange doesn’t need to prove herself anymore. Her seat at the table has been earned. [First added to this chart: 06/22/2017]
Year of Release:
2016
Appears in:
Rank Score:
1,827
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Top Tracks: Commes Des Garcons, Rushes / Rushes To, Higgs
Much of art history isn’t a story of who did what in the best way possible, but who was in the right place at the right time. Audiences crave the narrative as much as they crave the work. At times I fault myself for perpetuating this. When given the opportunity to pick between writing about why a narrative works and why a specific guitar tone works, I’ll pick the narrative nearly every time. It’s easier. But sometimes picking narrative first comes at the expense of the music. Endless had the narrative. It was Frank Ocean’s triumphant return. He had pushed it back for years, something he wryly joked about with a repeatedly stamped overdue library card. This is the album we watched days worth of woodworking livestream for. That’s where Endless stood upon its August 19th release – for 24 hours. On August 20th, Frank released Blonde, and it took the wind right out of Endless’ sails. Blonde has a longer runtime. Blonde‘s songs are mostly conventional concrete units contrasting with Endless’ ebb and flow of hazy track divisions. Endless was Frank’s final release with Def-Jam records allowing him to go independent with Blonde, fueling hypotheses that Endless was nothing more than a contractual obligation. Endless opened with an Isley Brothers cover and ended with a song that wasn’t Frank’s in any way. Blonde was entirely original. The narrative was stacked against Endless. But Endless is beautiful music. The vocal cuts here are some of the most raw and inviting work we’ve seen from Frank. The flow of Endless is sumptuously smooth. Upon original release as a visual album, it didn’t even have finite track breaks. It’s not made to be mixed into your summer playlist, but experienced on the whole. That really opens up the way an audience listens. Little moments become critical as the listener builds their own track breaks out of the minutiae. Songs like the infectious Commes Des Garcons have a chance to stand in the foreground – an uncommon position for anything with a runtime under a minute. Endless’ looseness doesn’t make it an inferior Blonde. It makes it the perfect companion album, and it’s every bit as worthy of your attention. [First added to this chart: 10/24/2017]
Much of art history isn’t a story of who did what in the best way possible, but who was in the right place at the right time. Audiences crave the narrative as much as they crave the work. At times I fault myself for perpetuating this. When given the opportunity to pick between writing about why a narrative works and why a specific guitar tone works, I’ll pick the narrative nearly every time. It’s easier. But sometimes picking narrative first comes at the expense of the music. Endless had the narrative. It was Frank Ocean’s triumphant return. He had pushed it back for years, something he wryly joked about with a repeatedly stamped overdue library card. This is the album we watched days worth of woodworking livestream for. That’s where Endless stood upon its August 19th release – for 24 hours. On August 20th, Frank released Blonde, and it took the wind right out of Endless’ sails. Blonde has a longer runtime. Blonde‘s songs are mostly conventional concrete units contrasting with Endless’ ebb and flow of hazy track divisions. Endless was Frank’s final release with Def-Jam records allowing him to go independent with Blonde, fueling hypotheses that Endless was nothing more than a contractual obligation. Endless opened with an Isley Brothers cover and ended with a song that wasn’t Frank’s in any way. Blonde was entirely original. The narrative was stacked against Endless. But Endless is beautiful music. The vocal cuts here are some of the most raw and inviting work we’ve seen from Frank. The flow of Endless is sumptuously smooth. Upon original release as a visual album, it didn’t even have finite track breaks. It’s not made to be mixed into your summer playlist, but experienced on the whole. That really opens up the way an audience listens. Little moments become critical as the listener builds their own track breaks out of the minutiae. Songs like the infectious Commes Des Garcons have a chance to stand in the foreground – an uncommon position for anything with a runtime under a minute. Endless’ looseness doesn’t make it an inferior Blonde. It makes it the perfect companion album, and it’s every bit as worthy of your attention. [First added to this chart: 10/24/2017]
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Top Tracks: Tis A Pity She Was A Whore, Sue (Or in a Season of Crime), I Can’t Give Everything Away
There is a perfect narrative surrounding Blackstar. Here is a man, adored by millions, who knew he was dying, but hid it from the world. The writing was on the wall. His last pair of music videos weren’t exactly subtle about the inevitability of his death, but I suppose none of us wanted to see it. Knowing of his own imminent demise, he crafted for his fans a love letter of the highest order: one final album. The album released on his birthday, and he passed two days later. It’s a story worth writing about, and many people did, but to write about Blackstar based solely upon release circumstances is to do the music a great disservice.
Blackstar wouldn’t stand up if it weren’t for the quality of the music. It’s not uncommon for musicians to have a bit of a late career renaissance, but not like this. Blackstar isn’t just the best music Bowie had made in over thirty-five years, It’s the best in that time period by a wide margin, to the point that it rivals many of his seventies albums. What’s more, is that unlike nearly all of his contemporaries, at the age of sixty-eight Bowie was still willing to reinvent himself. Perhaps more than any other musician, David Bowie was known for his chameleonic career, but that doesn’t make it any less thrilling to see someone go to the grave still rife with the spirit of experimentation. Blackstar is a beautiful jazz laden sprawl. Tracks ‘Tis a Pity She Was a Whore and Sue are vibrant bursts of spastic energy with equally emphatic singing from Bowie himself. Girl Loves Me is a great showcase of range featuring one of the most eccentric vocal performances of Bowie’s career coupled with a more subdued and typical late career chorus. Of course, I’d be remiss if I didn’t mention the closing track I Can’t Give Everything Away. It’s not merely Blackstar’s closer, but a swan song for Bowie’s career. Bowie gave everything he could to the world. He couldn’t give everything away, but working right up to the week he died, he sure tried. [First added to this chart: 07/03/2016]
There is a perfect narrative surrounding Blackstar. Here is a man, adored by millions, who knew he was dying, but hid it from the world. The writing was on the wall. His last pair of music videos weren’t exactly subtle about the inevitability of his death, but I suppose none of us wanted to see it. Knowing of his own imminent demise, he crafted for his fans a love letter of the highest order: one final album. The album released on his birthday, and he passed two days later. It’s a story worth writing about, and many people did, but to write about Blackstar based solely upon release circumstances is to do the music a great disservice.
Blackstar wouldn’t stand up if it weren’t for the quality of the music. It’s not uncommon for musicians to have a bit of a late career renaissance, but not like this. Blackstar isn’t just the best music Bowie had made in over thirty-five years, It’s the best in that time period by a wide margin, to the point that it rivals many of his seventies albums. What’s more, is that unlike nearly all of his contemporaries, at the age of sixty-eight Bowie was still willing to reinvent himself. Perhaps more than any other musician, David Bowie was known for his chameleonic career, but that doesn’t make it any less thrilling to see someone go to the grave still rife with the spirit of experimentation. Blackstar is a beautiful jazz laden sprawl. Tracks ‘Tis a Pity She Was a Whore and Sue are vibrant bursts of spastic energy with equally emphatic singing from Bowie himself. Girl Loves Me is a great showcase of range featuring one of the most eccentric vocal performances of Bowie’s career coupled with a more subdued and typical late career chorus. Of course, I’d be remiss if I didn’t mention the closing track I Can’t Give Everything Away. It’s not merely Blackstar’s closer, but a swan song for Bowie’s career. Bowie gave everything he could to the world. He couldn’t give everything away, but working right up to the week he died, he sure tried. [First added to this chart: 07/03/2016]
Year of Release:
2016
Appears in:
Rank Score:
12,597
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Top Tracks: Is Love Forever, Written in Reverse, Got Nuffin
The final record in Spoon’s five album run with Merge records may always find itself in the shadow of its predecessors. Spoon is one of those bands that always found perfection through endless studio tinkering. Yet unlike the Brian Wilsons and Kevin Shields of the world, who spend endless hours piling layer upon layer, when Spoon enter the studio, their fine tuning is all about stripping back. It’s about finding the backbone of the song, whatever it may be – a riff, a hook, a drum fill – and cutting out the rest. It’s about the economy of the song. So when they released Transference, an album where many of the tracks still existed in their demo form, some degree of fan confusion was understandable. But that’s part of what makes Transference so marvelous. It opened their methodology up; it gave us a full view of how their music is built, from start to finish. It also kept the music fresh. The raw nature of Transference hid surprises around every corner – an abrupt ending to Is Love Forever or an atypically sweet ballad in Goodnight Laura. It’s something I myself didn’t fully appreciate until Spoon unloaded a hoard of demos on us for the tenth anniversary of 2005’s Gimme Fiction. Now that I see the beauty in Transference, it’s something I’ll never unsee. [First added to this chart: 12/16/2016]
The final record in Spoon’s five album run with Merge records may always find itself in the shadow of its predecessors. Spoon is one of those bands that always found perfection through endless studio tinkering. Yet unlike the Brian Wilsons and Kevin Shields of the world, who spend endless hours piling layer upon layer, when Spoon enter the studio, their fine tuning is all about stripping back. It’s about finding the backbone of the song, whatever it may be – a riff, a hook, a drum fill – and cutting out the rest. It’s about the economy of the song. So when they released Transference, an album where many of the tracks still existed in their demo form, some degree of fan confusion was understandable. But that’s part of what makes Transference so marvelous. It opened their methodology up; it gave us a full view of how their music is built, from start to finish. It also kept the music fresh. The raw nature of Transference hid surprises around every corner – an abrupt ending to Is Love Forever or an atypically sweet ballad in Goodnight Laura. It’s something I myself didn’t fully appreciate until Spoon unloaded a hoard of demos on us for the tenth anniversary of 2005’s Gimme Fiction. Now that I see the beauty in Transference, it’s something I’ll never unsee. [First added to this chart: 12/16/2016]
Year of Release:
2010
Appears in:
Rank Score:
466
Rank in 2010:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Top Tracks: Svenk Sas, Alfonso Muskedunder, Inspector Norse
It’s impressive how much character Norwegian house producer Terje Olsen can convey without singing a single word. After a decade of working in the background, mostly reimagining the songs of others, Terje was ready to bring a full LP of his own work to the forefront. It was album time indeed. That title, and the accompanying cover, set up a lot of the basis for the character he’s playing here. It’s album time and Terje is here with his debut, but he already has the vibe of a beleaguered old showman, appropriately posed leaning against his grand piano with three cocktails on deck. The music within is as lively and energetic as the colors on the cover, but it carries an established calm to it, like this all comes naturally to Mr. Olsen. It’s a subtle act of playful sophistication. Song titles like the one two punch of Leisure Suit Preben and Preben Goes to Acapulco only serve to further that ambiance. Terje’s inviting you to kick back with him and live in luxury, if only for the hour. [First added to this chart: 04/26/2020]
It’s impressive how much character Norwegian house producer Terje Olsen can convey without singing a single word. After a decade of working in the background, mostly reimagining the songs of others, Terje was ready to bring a full LP of his own work to the forefront. It was album time indeed. That title, and the accompanying cover, set up a lot of the basis for the character he’s playing here. It’s album time and Terje is here with his debut, but he already has the vibe of a beleaguered old showman, appropriately posed leaning against his grand piano with three cocktails on deck. The music within is as lively and energetic as the colors on the cover, but it carries an established calm to it, like this all comes naturally to Mr. Olsen. It’s a subtle act of playful sophistication. Song titles like the one two punch of Leisure Suit Preben and Preben Goes to Acapulco only serve to further that ambiance. Terje’s inviting you to kick back with him and live in luxury, if only for the hour. [First added to this chart: 04/26/2020]
Year of Release:
2014
Appears in:
Rank Score:
1,094
Rank in 2014:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Year of Release:
2018
Appears in:
Rank Score:
1,498
Rank in 2018:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 06/14/2022]
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Top Tracks: Because I’m Me, The Noisy Eater, Live A Lifetime Love
There was no precedent for what an Avalanches album would sound like in 2016. When they put out their debut album Since I Left You back in 2000 the music landscape was an entirely different world. That album is said to contain somewhere between three-thousand to four-thousand distinct samples, a number that just sixteen years later would be an unapproachable nightmare to navigate the minefield of sample clearance laws for. So, while we knew what the Avalanches used to sound like, they would certainly sound different upon the arrival of their hotly anticipated follow-up. And yet, the shift in copyright law seemingly had very little effect on the resultant Wildflower. They still managed to clear some totally bonkers samples (The Sound of Music and The Beatles immediately come to mind) and according to the band, the sample count may be higher here than it was on Since I Left You. No, the largest difference it turns out, is the plentiful array of features. Since I Left You always felt small – not sonically, where it was larger than life, but deep in its very nature. That album was the dedicated work of a small collective of creatives, detached from the rest of the industry in the best possible way, like a time capsule from an alternate reality. Wildflower in contrast, is a community affair. It’s a wild and boisterous shipload of collaborators with The Avalanches at the helm. It inevitably doesn’t have that same otherworldly quality about it, but that’s a good thing. With Since I Left You being the single most unimpeachable classic of the plunderphonics genre it would’ve been an egregious error to attempt recreating its every trait. Wildflower needed to be different to stand up on its own merit, and that’s exactly what it does. Wildflower is an all new Avalanches classic. [First added to this chart: 12/16/2016]
There was no precedent for what an Avalanches album would sound like in 2016. When they put out their debut album Since I Left You back in 2000 the music landscape was an entirely different world. That album is said to contain somewhere between three-thousand to four-thousand distinct samples, a number that just sixteen years later would be an unapproachable nightmare to navigate the minefield of sample clearance laws for. So, while we knew what the Avalanches used to sound like, they would certainly sound different upon the arrival of their hotly anticipated follow-up. And yet, the shift in copyright law seemingly had very little effect on the resultant Wildflower. They still managed to clear some totally bonkers samples (The Sound of Music and The Beatles immediately come to mind) and according to the band, the sample count may be higher here than it was on Since I Left You. No, the largest difference it turns out, is the plentiful array of features. Since I Left You always felt small – not sonically, where it was larger than life, but deep in its very nature. That album was the dedicated work of a small collective of creatives, detached from the rest of the industry in the best possible way, like a time capsule from an alternate reality. Wildflower in contrast, is a community affair. It’s a wild and boisterous shipload of collaborators with The Avalanches at the helm. It inevitably doesn’t have that same otherworldly quality about it, but that’s a good thing. With Since I Left You being the single most unimpeachable classic of the plunderphonics genre it would’ve been an egregious error to attempt recreating its every trait. Wildflower needed to be different to stand up on its own merit, and that’s exactly what it does. Wildflower is an all new Avalanches classic. [First added to this chart: 12/16/2016]
Year of Release:
2016
Appears in:
Rank Score:
1,499
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Total albums: 100. Page 4 of 10
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Top 100 Music Albums of the 2010s composition
| Year | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 2010 | 11 | 11% | |
| 2011 | 6 | 6% | |
| 2012 | 7 | 7% | |
| 2013 | 5 | 5% | |
| 2014 | 9 | 9% | |
| 2015 | 15 | 15% | |
| 2016 | 13 | 13% | |
| 2017 | 12 | 12% | |
| 2018 | 7 | 7% | |
| 2019 | 15 | 15% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Kendrick Lamar | 4 | 4% | |
| Frank Ocean | 3 | 3% | |
| Tame Impala | 3 | 3% | |
| Ought | 2 | 2% | |
| Fleet Foxes | 2 | 2% | |
| Spoon | 2 | 2% | |
| LCD Soundsystem | 2 | 2% | |
| Show all | |||
Top 100 Music Albums of the 2010s chart changes
| Biggest climbers |
|---|
| Up 41 from 52nd to 11th Black Up by Shabazz Palaces |
| Up 34 from 82nd to 48th Reflections by Hannah Diamond |
| Up 26 from 99th to 73rd Moth by Chairlift |
| Biggest fallers |
|---|
| Down 35 from 26th to 61st Pom Pom by Ariel Pink |
| Down 28 from 21st to 49th The Age Of Adz by Sufjan Stevens |
| Down 24 from 48th to 72nd Benji by Sun Kil Moon |
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FlorianJones (2020)Top 100 Music Albums of the 2010s ratings
87/100 (from 6 votes)
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N.B. The average rating for this chart will not be reliable as it has been rated very few times.
Showing latest 5 ratings for this chart. | Show all 6 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
 95/100  | 02/17/2018 15:30 |  Davy | | 87/100 |
| 85/100 | 06/28/2017 17:14 | weston | | 87/100 |
| 100/100 | 02/20/2017 19:20 | Seab | | 93/100 |
| 70/100 | 06/01/2015 22:53 |  Applerill | | 75/100 |
| 95/100 | 04/15/2015 13:21 |  andy_hunter | | 88/100 |
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Top 100 Music Albums of the 2010s comments
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85/100
From weston 06/28/2017 17:15
Nice! I agree 2015 was the strongest year so are. And I like the stuff you've thrown at the end.
Helpful? (Log in to vote) | 0 votes (0 helpful | 0 unhelpful)
From 
SaulCortes1992 04/02/2015 20:04
SaulCortes1992 04/02/2015 20:04
Excellent Chart!
Helpful? (Log in to vote) | 0 votes (0 helpful | 0 unhelpful)
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A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :(
We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.