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.
There are 2 comments for this chart from BestEverAlbums.com members and Top 100 Music Albums of the 2010s has an average rating of 87 out of 100 (from 6 votes). Please log in or register to leave a comment or assign a rating.
View the complete list of 53,000 charts on BestEverAlbums.com from The Charts page.
This chart is currently filtered to only show albums from Canada. (Remove this filter)
Buy album
- #Sponsored
Top Tracks: The Suburbs, We Used to Wait, Sprawl II
I was born in 1995. The aughts were my formative years – the years from before my memories to the start of high school – but they are only one half of the formative years. Too young to have any clue what I was doing, and too naive to even care that I was clueless. Those were the years in which my surroundings were impressed upon me. The twenty-tens are the years in which I started consciously deciding who I am and impressing myself upon my surroundings. I formed my own tastes in the arts. I entered the workforce. I got a college diploma. I got married. I hardly feel I qualify as an adult, but broadly speaking, I grew up.
I grew up with The Suburbs at my side. Since I own four physical copies of this album (long story), I mean that quite literally, but The Suburbs isn’t just an album I grew up with. This album is about growing up. It’s about being an average kid in your average North American suburb. It’s about learning who you are. It’s about having goals and aspirations. It’s about failing at some of those goals and succeeding at others. It’s about struggling to find your footing as an adult. It’s about looking past what other people think and focusing on what matters to you. It’s about looking to the future with equal parts optimism and pessimism. It’s about feeling nostalgic for your youth. It’s about living with regrets of missed opportunities and forgotten relationships. It’s about how, even with all that you know now, you wouldn’t change a thing about your past. The Suburbs is also a gorgeously constructed piece of music. This album was created with pacing and atmosphere in mind. It isn’t a short album, but it never overstays its welcome. Arcade Fire finds the perfect balance between moments as disparate as the anthemic chorus of Sprawl II and the melancholic balladry of Wasted Hours. The orchestration is full-bodied, sweeping, and cinematic without ever feeling overwrought. The Suburbs is a perfect album, and a crowning achievement not just for the band, but for this era of independent music. [First added to this chart: 01/20/2015]
I was born in 1995. The aughts were my formative years – the years from before my memories to the start of high school – but they are only one half of the formative years. Too young to have any clue what I was doing, and too naive to even care that I was clueless. Those were the years in which my surroundings were impressed upon me. The twenty-tens are the years in which I started consciously deciding who I am and impressing myself upon my surroundings. I formed my own tastes in the arts. I entered the workforce. I got a college diploma. I got married. I hardly feel I qualify as an adult, but broadly speaking, I grew up.
I grew up with The Suburbs at my side. Since I own four physical copies of this album (long story), I mean that quite literally, but The Suburbs isn’t just an album I grew up with. This album is about growing up. It’s about being an average kid in your average North American suburb. It’s about learning who you are. It’s about having goals and aspirations. It’s about failing at some of those goals and succeeding at others. It’s about struggling to find your footing as an adult. It’s about looking past what other people think and focusing on what matters to you. It’s about looking to the future with equal parts optimism and pessimism. It’s about feeling nostalgic for your youth. It’s about living with regrets of missed opportunities and forgotten relationships. It’s about how, even with all that you know now, you wouldn’t change a thing about your past. The Suburbs is also a gorgeously constructed piece of music. This album was created with pacing and atmosphere in mind. It isn’t a short album, but it never overstays its welcome. Arcade Fire finds the perfect balance between moments as disparate as the anthemic chorus of Sprawl II and the melancholic balladry of Wasted Hours. The orchestration is full-bodied, sweeping, and cinematic without ever feeling overwrought. The Suburbs is a perfect album, and a crowning achievement not just for the band, but for this era of independent music. [First added to this chart: 01/20/2015]
Year of Release:
2010
Appears in:
Rank Score:
22,192
Rank in 2010:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
253
Buy album
- #Sponsored
Top Tracks: Today More Than Any Other Day, Habit, Around Again
Ought exemplifies everything punk rock does best. The rhythm section drives the songs along with a propulsive vigor. Guitars crunch and shimmer with clever interplay and searing riffs. The music is energetic and bright, but they know exactly how and when to undercut it with violinist Tim Keen’s dissonant drone. They build from a crawl to an anthem on Today More Than Any Other Day. They lose the song to noise entirely only to snap back into place in an instant on Pleasant Heart. On Around Again they abruptly hit the brakes for a trademark vocal aside then dive back in to an entirely different groove. It’s this energy that keeps the audience perpetually on their toes, and perhaps nothing carries this impact as well as vocalist Tim Darcy’s lyrics. Equal parts humorous, profound, and mundane, Darcy is always bringing something fresh to the table. Pseudo-title track Today More Than Any Other Day, culminates in a conclusion that we’re all the same. As defeatist as that sounds, it’s quite the opposite in the hands of Ought. The statement is a celebration of equality. We all deal with the same shit. We run errands, we struggle with choosing which milk to buy, and we get excited by the small victories. It’s typical of Darcy to present even these little things in a way that’s empowering. No matter how strange and abysmal things can be, he places us in control. We steer our own lives. It’s the way punk should be. We’re not rebelling against the system because they’ve ruined everything. We’re rebelling because we won’t let them. [First added to this chart: 09/11/2015]
Ought exemplifies everything punk rock does best. The rhythm section drives the songs along with a propulsive vigor. Guitars crunch and shimmer with clever interplay and searing riffs. The music is energetic and bright, but they know exactly how and when to undercut it with violinist Tim Keen’s dissonant drone. They build from a crawl to an anthem on Today More Than Any Other Day. They lose the song to noise entirely only to snap back into place in an instant on Pleasant Heart. On Around Again they abruptly hit the brakes for a trademark vocal aside then dive back in to an entirely different groove. It’s this energy that keeps the audience perpetually on their toes, and perhaps nothing carries this impact as well as vocalist Tim Darcy’s lyrics. Equal parts humorous, profound, and mundane, Darcy is always bringing something fresh to the table. Pseudo-title track Today More Than Any Other Day, culminates in a conclusion that we’re all the same. As defeatist as that sounds, it’s quite the opposite in the hands of Ought. The statement is a celebration of equality. We all deal with the same shit. We run errands, we struggle with choosing which milk to buy, and we get excited by the small victories. It’s typical of Darcy to present even these little things in a way that’s empowering. No matter how strange and abysmal things can be, he places us in control. We steer our own lives. It’s the way punk should be. We’re not rebelling against the system because they’ve ruined everything. We’re rebelling because we won’t let them. [First added to this chart: 09/11/2015]
Year of Release:
2014
Appears in:
Rank Score:
896
Rank in 2014:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
Top Tracks: Savage Night at The Opera, Suicide Demo for Kara Walker, Kaputt
2011 was the year of revivalism. Painting with broad strokes, that’s a negative statement. Revivalism is typically derivative. It often presents itself in the form of rehashed concepts with utter disregard for originality. Yet, using those same broad strokes, many of the year’s best works were revivalist. Part of what sets Kaputt apart is that it’s not entirely clear what’s being revived. We’ve got almost as much saxophone as we do vocals from frontman Dan Bejar. A few minutes into Savage Night Night at the Opera, we’re treated to a short but sleek guitar solo. We’ve got backup singers sounding like the girl groups of 1960s Detroit. Downtown gives us a taste of the kind of swelling synths that brought fame to New Order. Song for America sports an adult easy listening drum beat with pride. Suicide Demo for Kara Walker opens with a charmingly beautiful flute solo. Resting at the album’s heart is a well selected title track where all these features coalesce into a swirling amalgam of everything Dan Bejar so clearly loves. On paper, Kaputt is all over the map. Bejar’s borrowing from everything sumptuous and smooth with no regard for time or place of origin, yet somehow, everything feels entirely at home. Even aspects almost doomed to feeling kitsch are elevated by Bejar’s unyielding sincerity. At the end of it all is Bay of Pigs (detail). Functioning as a deconstruction of what’s at play on the rest of the album, this nearly twelve-minute statement builds itself up from a meandering start to a bombastic conclusion, for not only the song, but the entire album. [First added to this chart: 09/11/2015]
2011 was the year of revivalism. Painting with broad strokes, that’s a negative statement. Revivalism is typically derivative. It often presents itself in the form of rehashed concepts with utter disregard for originality. Yet, using those same broad strokes, many of the year’s best works were revivalist. Part of what sets Kaputt apart is that it’s not entirely clear what’s being revived. We’ve got almost as much saxophone as we do vocals from frontman Dan Bejar. A few minutes into Savage Night Night at the Opera, we’re treated to a short but sleek guitar solo. We’ve got backup singers sounding like the girl groups of 1960s Detroit. Downtown gives us a taste of the kind of swelling synths that brought fame to New Order. Song for America sports an adult easy listening drum beat with pride. Suicide Demo for Kara Walker opens with a charmingly beautiful flute solo. Resting at the album’s heart is a well selected title track where all these features coalesce into a swirling amalgam of everything Dan Bejar so clearly loves. On paper, Kaputt is all over the map. Bejar’s borrowing from everything sumptuous and smooth with no regard for time or place of origin, yet somehow, everything feels entirely at home. Even aspects almost doomed to feeling kitsch are elevated by Bejar’s unyielding sincerity. At the end of it all is Bay of Pigs (detail). Functioning as a deconstruction of what’s at play on the rest of the album, this nearly twelve-minute statement builds itself up from a meandering start to a bombastic conclusion, for not only the song, but the entire album. [First added to this chart: 09/11/2015]
Year of Release:
2011
Appears in:
Rank Score:
3,801
Rank in 2011:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
Top Tracks: Black Refraction, Stigmata II, Stab Variation
Sound is the most inherently abstract of all art forms. Typically, music makes efforts to reduce that abstraction. The human voice forms speech. Instruments create a distinctly identifiable range of sounds. Songs are mapped out through segments in the form of verses, choruses, bridges, breaks, interludes, intros, and outros. These traits ground music by creating comfort in the recognizable, but that isn’t the modus operandi of Tim Hecker, whose career is evidence of a man in constant pursuit of the abstract. In Hecker’s own words, his aesthetic choices on Virgins were done in pursuit of “…making music that is out of time, out of tune and out of phase.” These are choices that paint a soundscape of flittering ephemeral beauty. One of abstraction’s weightiest challenges, is the question of completion. I once sat for what must have been half an hour in New York’s Metropolitan Museum of Art observing a single canvas by painter Cy Twombly, admiring the deliberate nature of each stroke. I found myself questioning how someone could commit so resolutely to the completion of such a work. Which stroke was the first, and which stroke the last? How could something this inconcise feel so whole? Virgins leads me to pose those same questions. With little in the way of conventional framework, Hecker made a work so chaotic and sporadic, that it’s remarkable how refined it sounds. These fragments teeter between two opposing pitfalls – incomplete and overwrought – never succumbing to either. The result is an album of transcendent beauty, tethered to neither time nor space. [First added to this chart: 04/26/2020]
Sound is the most inherently abstract of all art forms. Typically, music makes efforts to reduce that abstraction. The human voice forms speech. Instruments create a distinctly identifiable range of sounds. Songs are mapped out through segments in the form of verses, choruses, bridges, breaks, interludes, intros, and outros. These traits ground music by creating comfort in the recognizable, but that isn’t the modus operandi of Tim Hecker, whose career is evidence of a man in constant pursuit of the abstract. In Hecker’s own words, his aesthetic choices on Virgins were done in pursuit of “…making music that is out of time, out of tune and out of phase.” These are choices that paint a soundscape of flittering ephemeral beauty. One of abstraction’s weightiest challenges, is the question of completion. I once sat for what must have been half an hour in New York’s Metropolitan Museum of Art observing a single canvas by painter Cy Twombly, admiring the deliberate nature of each stroke. I found myself questioning how someone could commit so resolutely to the completion of such a work. Which stroke was the first, and which stroke the last? How could something this inconcise feel so whole? Virgins leads me to pose those same questions. With little in the way of conventional framework, Hecker made a work so chaotic and sporadic, that it’s remarkable how refined it sounds. These fragments teeter between two opposing pitfalls – incomplete and overwrought – never succumbing to either. The result is an album of transcendent beauty, tethered to neither time nor space. [First added to this chart: 04/26/2020]
Year of Release:
2013
Appears in:
Rank Score:
1,205
Rank in 2013:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
Top Tracks: Kill v Maim, Artangels, Realiti
Several months before the release of Art Angels, Claire Boucher (AKA Grimes) released a statement denouncing her old music. That was the vantage point from which I discussed the album when I reflected upon it at the year’s end. I ran with the assumption that Claire always wanted to make pop but felt stifled by an indie label that wasn’t built around promoting such music. Critics often deride a populist approach, arguing about some loss of creative integrity, yet here stood Claire making both her poppiest and most honest work yet. I stand by the points I made. Art Angels is still refined, catchy as hell, and as inventive as anything she has done – but then in comes Claire, ready to mess with my established headcanon. Four years later, and now she supposedly hates Art Angels too. In the press cycle anticipating Miss_Anthropocene, Claire flippantly labeled Art Angels “a stain on [her] life.” Looking back, she sees it not much more than a genre exercise. I heartily disagree with her new take, but that’s not what’s important here. Artists can’t look at their own work without heavy bias, so having strange opinions is normal. It isn’t important for Claire to like what she has done; what’s important is that she likes what she’s doing. Claire should feel that she’s always at her peak. This is what imbues everything she does, good or bad, with confidence. It’s why Art Angels feels so impassioned. Claire will always be changing her sound, but hopefully, she’ll never lose that confidence. [First added to this chart: 11/14/2015]
Several months before the release of Art Angels, Claire Boucher (AKA Grimes) released a statement denouncing her old music. That was the vantage point from which I discussed the album when I reflected upon it at the year’s end. I ran with the assumption that Claire always wanted to make pop but felt stifled by an indie label that wasn’t built around promoting such music. Critics often deride a populist approach, arguing about some loss of creative integrity, yet here stood Claire making both her poppiest and most honest work yet. I stand by the points I made. Art Angels is still refined, catchy as hell, and as inventive as anything she has done – but then in comes Claire, ready to mess with my established headcanon. Four years later, and now she supposedly hates Art Angels too. In the press cycle anticipating Miss_Anthropocene, Claire flippantly labeled Art Angels “a stain on [her] life.” Looking back, she sees it not much more than a genre exercise. I heartily disagree with her new take, but that’s not what’s important here. Artists can’t look at their own work without heavy bias, so having strange opinions is normal. It isn’t important for Claire to like what she has done; what’s important is that she likes what she’s doing. Claire should feel that she’s always at her peak. This is what imbues everything she does, good or bad, with confidence. It’s why Art Angels feels so impassioned. Claire will always be changing her sound, but hopefully, she’ll never lose that confidence. [First added to this chart: 11/14/2015]
Year of Release:
2015
Appears in:
Rank Score:
4,180
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
Top Tracks: Penal Colony, China Steps, Locust Valley
On Public Strain, Women really refined the sounds that have made post-punk great in the past, while simultaneously laying the groundwork for much of what the genre would see for the rest of the decade. There are sharp and angular riffs most prominent on songs like Heat Distraction and Eyesore. Narrow with the Hall showcases the band’s proclivity for burying otherwise poppy bits like the irrefutably infectious bassline behind a wall of abrasive feedback. Then there are subdued and almost dreamy ramblings on Penal Colony and Venice Lockjaw. There are perfect contrasts at play here. Take as an example, the decision to follow the frenzied cacophony of Drag Open up with Locust Valley – the most refined and approachable track on the album – where Women take everything that they do best and sand off the more jarring edges. What’s most surprising about Public Strain is how reserved of an affair it is. You won’t find the searing howls of Preoccupations, the spastic effervescence of Ought, or the rumbling noise of Protomartyr. On Public Strain, Women are calmer than their contemporaries, but it’s that calm that makes them feel so collected and self-assured. With that confidence, the listener feels that Women have nothing to prove. They know exactly what they’re doing. [First added to this chart: 07/03/2016]
On Public Strain, Women really refined the sounds that have made post-punk great in the past, while simultaneously laying the groundwork for much of what the genre would see for the rest of the decade. There are sharp and angular riffs most prominent on songs like Heat Distraction and Eyesore. Narrow with the Hall showcases the band’s proclivity for burying otherwise poppy bits like the irrefutably infectious bassline behind a wall of abrasive feedback. Then there are subdued and almost dreamy ramblings on Penal Colony and Venice Lockjaw. There are perfect contrasts at play here. Take as an example, the decision to follow the frenzied cacophony of Drag Open up with Locust Valley – the most refined and approachable track on the album – where Women take everything that they do best and sand off the more jarring edges. What’s most surprising about Public Strain is how reserved of an affair it is. You won’t find the searing howls of Preoccupations, the spastic effervescence of Ought, or the rumbling noise of Protomartyr. On Public Strain, Women are calmer than their contemporaries, but it’s that calm that makes them feel so collected and self-assured. With that confidence, the listener feels that Women have nothing to prove. They know exactly what they’re doing. [First added to this chart: 07/03/2016]
Year of Release:
2010
Appears in:
Rank Score:
563
Rank in 2010:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
Top Tracks: Men for Miles, The Combo, Beautiful Blue Sky
Full disclosure: I didn’t write about these albums in list order. It wasn’t even close. I started with A Moon Shaped Pool, and I’ve ended up here. I always wrote about whatever felt natural to write about next. Sometimes that meant lumping similar albums together, and other times the exact opposite. It has all been a matter of inspiration. Top 50 album of the decade isn’t an inconsequential level of praise, so obviously all these records inspire me, but it can be hard to pin down why. That’s an important thing to note. Sometimes we tend to think that criticism drains the enjoyment out of art, as if critics hold off on judgement until taking in an entire work, at which point they nitpick through to decide what it’s worth. I doubt anyone out there actually consumes art in this way. Art consumption is about instinctive reaction. To this end, criticism is not a task for understanding if I like something, but why I like it. Critical evaluation can fine tune that gut impression, but it’s unlikely to cause a sea change of opinion.
Sun Coming Down is one of those albums where I don’t have much to say to justify my preference. I’m not completely empty here. Arriving just a year after Ought’s debut, Sun Coming Down succeeds on the same strengths the band showed on that record. Unfortunately, in the context of this list, I’ve already voiced my feelings on what makes Ought excel. There’s not much new to say on my second Ought summary, but sometimes that’s okay. In the end, even the most well-versed critics will have preferences and biases they can’t explain. What’s important is that art speaks to us. Ought speaks to me. [First added to this chart: 11/14/2015]
Full disclosure: I didn’t write about these albums in list order. It wasn’t even close. I started with A Moon Shaped Pool, and I’ve ended up here. I always wrote about whatever felt natural to write about next. Sometimes that meant lumping similar albums together, and other times the exact opposite. It has all been a matter of inspiration. Top 50 album of the decade isn’t an inconsequential level of praise, so obviously all these records inspire me, but it can be hard to pin down why. That’s an important thing to note. Sometimes we tend to think that criticism drains the enjoyment out of art, as if critics hold off on judgement until taking in an entire work, at which point they nitpick through to decide what it’s worth. I doubt anyone out there actually consumes art in this way. Art consumption is about instinctive reaction. To this end, criticism is not a task for understanding if I like something, but why I like it. Critical evaluation can fine tune that gut impression, but it’s unlikely to cause a sea change of opinion.
Sun Coming Down is one of those albums where I don’t have much to say to justify my preference. I’m not completely empty here. Arriving just a year after Ought’s debut, Sun Coming Down succeeds on the same strengths the band showed on that record. Unfortunately, in the context of this list, I’ve already voiced my feelings on what makes Ought excel. There’s not much new to say on my second Ought summary, but sometimes that’s okay. In the end, even the most well-versed critics will have preferences and biases they can’t explain. What’s important is that art speaks to us. Ought speaks to me. [First added to this chart: 11/14/2015]
Buy album
- #Sponsored
Top Tracks: March of Progress, Bunker Buster, Death
There are seven tracks on Viet Cong. For those counting, that ties it with David Bowie’s final opus Blackstar for fewest tracks in an album on this list. Although, neither of those two albums hold the position of shortest runtime, which goes to Earl Sweatshirt’s sub twenty-five minute Some Rap Songs. Earl benefits from brevity, cutting songs off as soon as his verse is up. That’s how he fits fifteen tracks into such a concise record. Preoccupations operates best by doing the complete opposite, yet still achieving similar results. On both records, change comes when you least expect it. For Earl, those changes are track divisions. For Preoccupations, they’re merely shifts within the track, and the longer they push a track out, the more powerful it gets. They can take a riff or a beat and explore every facet of it. What happens when the bassline drops out? How about introducing a synth here? Can we speed it up or slow it down?
March of Progress, Viet Cong’s centerpiece, develops linearly. It opens with three repetitious minutes of booming drums. It’s cold and foreboding with an impenetrable static hum. When the full band appear, the production finds a distinct clarity, but the song still slowly churns. Vocalist Matt Flegel sounds grizzled and downtrodden, delivering lines as though they were a funereal chant. March of Progress’ third act pushes the clarity further. The pace quickens. Guitars begin to shimmer and glisten. Matt’s singing is melodic and impassioned. For a minute there, they’re almost making a pop song. The eleven-minute closer Death is more sporadic. Here the segments rise and fall, with no telling where Preoccupations will push next. There’s still a general trend of upward movement as the band pushes towards the album’s sudden and explosive climax, but there are also detours and fakeouts. It’s an unpredictable chaos, that in some of their live performances can be pushed upwards of twenty minutes. We’re fast approaching Viet Cong’s five-year anniversary, but there are still moments here as spontaneous and exhilarating as ever. [First added to this chart: 09/11/2015]
There are seven tracks on Viet Cong. For those counting, that ties it with David Bowie’s final opus Blackstar for fewest tracks in an album on this list. Although, neither of those two albums hold the position of shortest runtime, which goes to Earl Sweatshirt’s sub twenty-five minute Some Rap Songs. Earl benefits from brevity, cutting songs off as soon as his verse is up. That’s how he fits fifteen tracks into such a concise record. Preoccupations operates best by doing the complete opposite, yet still achieving similar results. On both records, change comes when you least expect it. For Earl, those changes are track divisions. For Preoccupations, they’re merely shifts within the track, and the longer they push a track out, the more powerful it gets. They can take a riff or a beat and explore every facet of it. What happens when the bassline drops out? How about introducing a synth here? Can we speed it up or slow it down?
March of Progress, Viet Cong’s centerpiece, develops linearly. It opens with three repetitious minutes of booming drums. It’s cold and foreboding with an impenetrable static hum. When the full band appear, the production finds a distinct clarity, but the song still slowly churns. Vocalist Matt Flegel sounds grizzled and downtrodden, delivering lines as though they were a funereal chant. March of Progress’ third act pushes the clarity further. The pace quickens. Guitars begin to shimmer and glisten. Matt’s singing is melodic and impassioned. For a minute there, they’re almost making a pop song. The eleven-minute closer Death is more sporadic. Here the segments rise and fall, with no telling where Preoccupations will push next. There’s still a general trend of upward movement as the band pushes towards the album’s sudden and explosive climax, but there are also detours and fakeouts. It’s an unpredictable chaos, that in some of their live performances can be pushed upwards of twenty minutes. We’re fast approaching Viet Cong’s five-year anniversary, but there are still moments here as spontaneous and exhilarating as ever. [First added to this chart: 09/11/2015]
Year of Release:
2015
Appears in:
Rank Score:
1,450
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
[First added to this chart: 09/11/2015]
Year of Release:
2015
Appears in:
Rank Score:
551
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
[First added to this chart: 09/11/2015]
Year of Release:
2015
Appears in:
Rank Score:
3,551
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Total albums: 13. Page 1 of 2
Don't agree with this chart? Create your own from the My Charts page!
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% | |
| Bon Iver | 2 | 2% | |
| Deerhunter | 2 | 2% | |
| Sufjan Stevens | 2 | 2% | |
| Various Artists | 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 |
Top 100 Music Albums of the 2010s similar charts
- Top 100 Music Albums of the 2010s by
AvalancheGrips (2022) - Top 100 Music Albums of the 2010s by jdizzle123456 (2024)
- Top 100 Music Albums of the 2010s by
Mattdup279 (2020) - Top 100 Music Albums of the 2010s by LosWochos (2020)
- Top 100 Music Albums of the 2010s by
Chicken4Sale (2020) - Top 100 Music Albums of the 2010s by iamthewalrus (2022)
- Top 100 Music Albums of the 2010s by TheNowhereGuy (2020)
- The 200 Best Albums of the 2010s by Pitchfork (2019)
- Top 100 Music Albums of the 2010s by
Montpejo (2024) - Top 100 Music Albums of the 2010s by benfitzuk (2020)
Top 100 Music Albums of the 2010s similarity to your chart(s)
Not a member? Registering is quick, easy and FREE!
Why register?
Join a passionate community of over 50,000 music fans.- Create & share your own charts.
- Have your say in the overall rankings.
- Post comments in the forums and vote on polls.
- Comment on or rate any album, artist, track or chart.
- Discover new music & improve your music collection.
- Customise the overall chart using a variety of different filters & metrics.
- Create a wishlist of albums.
- Help maintain the BEA database.
- Earn member points and gain access to increasing levels of functionality!
- ... And lots more!
Register now - it only takes a moment!
Other decade charts by FlorianJones
Top 50 Music Albums of the 2020s by FlorianJones (2022)Top 80 Music Albums of the 2000s by
FlorianJones (2017)Top 26 Music Albums of the 1990s by
FlorianJones (2020)Top 30 Music Albums of the 1980s by
FlorianJones (2020)Top 30 Music Albums of the 1970s by
FlorianJones (2020)Top 100 Music Albums of the 2010s ratings
87/100 (from 6 votes)
where:
av = trimmed mean average rating an item has currently received.
n = number of ratings an item has currently received.
m = minimum number of ratings required for an item to appear in a 'top-rated' chart (currently 10).
AV = the site mean average rating.
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 |
Please log in or register if you want to be able to leave a rating
Top 100 Music Albums of the 2010s favourites
Please log in or register if you want to be able to add a favourite
Top 100 Music Albums of the 2010s comments
Showing all 2 comments |
Most Helpful First | Newest First | Maximum Rated First |
Longest Comments First
(Only showing comments with -2 votes or higher. You can alter this threshold from your profile page. Manage Profile)
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)
Please log in or register if you want to be able to add a comment
Your feedback for Top 100 Music Albums of the 2010s
Let us know what you think of this chart by adding a comment or assigning a rating below!
If you enjoy our site, please consider supporting us by sparing a few seconds to disable your ad blocker.
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.
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.