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.
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14. (23) 
9
9
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Top Tracks: We Know Who U R, Jubilee Street, Higgs Boson Blues
The recent release of Nick Cave & The Bad Seeds’ Ghosteen is said to be the conclusion of a trilogy, a trilogy that started six years ago with Push The Sky Away. Treating albums as a trilogy is an intriguing concept – a concept that feels both cinematic and literary. Those traits are fitting for Cave, a renaissance man most well known for music, who also has extensive experience in cinema and literature. To a degree, the trilogy was derailed after tragedy befell Cave’s family, leaving the ghost of his late son hanging over the Skeleton Tree and Ghosteen. Push The Sky Away is a predominantly bleak affair (most Bad Seeds albums are), but in comparison to its successors, it feels almost playful. Cave has an incomparable knack for making profound statements that on initial glance read as a joke, and that’s on full display in Push The Sky Away. Nick Cave always sounds divorced from time, so when he pulls in such distinctly contemporary reference points as Wikipedia or Hannah Montana, it catches the listener off guard. It’s almost unnerving, and it feels like the only response is to laugh a little. There’s no one else that can do this the way Cave can.
What slight hint of levity there is on Push The Sky Away is understandably lost on the other albums in the trilogy, but they still feel connected by their aesthetic similarities. Each of these three albums is progressively more minimal than the last. The extremes this is taken to on Ghosteen seem logical given the spoken word nature of Cave’s grieving, but that path was set long before he had reason to grieve. The nine songs on Push The Sky Away have flourishes here and there, but in each case, the song is driven by a steady and unwavering backbone right from the start. These very skeletal foundations are slow, and often quiet, but heavy with inertia. It feels as though they’re backed by the unstoppable weight of a freight train. It takes confidence to leave something like that alone. It’d be an easy thing to underestimate, but building too much on top would quickly degrade the structural elegance. Cave delivers these simple pieces with aplomb. Once again, he makes work unlike anyone else, because he is unlike anyone else. [First added to this chart: 06/22/2017]
The recent release of Nick Cave & The Bad Seeds’ Ghosteen is said to be the conclusion of a trilogy, a trilogy that started six years ago with Push The Sky Away. Treating albums as a trilogy is an intriguing concept – a concept that feels both cinematic and literary. Those traits are fitting for Cave, a renaissance man most well known for music, who also has extensive experience in cinema and literature. To a degree, the trilogy was derailed after tragedy befell Cave’s family, leaving the ghost of his late son hanging over the Skeleton Tree and Ghosteen. Push The Sky Away is a predominantly bleak affair (most Bad Seeds albums are), but in comparison to its successors, it feels almost playful. Cave has an incomparable knack for making profound statements that on initial glance read as a joke, and that’s on full display in Push The Sky Away. Nick Cave always sounds divorced from time, so when he pulls in such distinctly contemporary reference points as Wikipedia or Hannah Montana, it catches the listener off guard. It’s almost unnerving, and it feels like the only response is to laugh a little. There’s no one else that can do this the way Cave can.
What slight hint of levity there is on Push The Sky Away is understandably lost on the other albums in the trilogy, but they still feel connected by their aesthetic similarities. Each of these three albums is progressively more minimal than the last. The extremes this is taken to on Ghosteen seem logical given the spoken word nature of Cave’s grieving, but that path was set long before he had reason to grieve. The nine songs on Push The Sky Away have flourishes here and there, but in each case, the song is driven by a steady and unwavering backbone right from the start. These very skeletal foundations are slow, and often quiet, but heavy with inertia. It feels as though they’re backed by the unstoppable weight of a freight train. It takes confidence to leave something like that alone. It’d be an easy thing to underestimate, but building too much on top would quickly degrade the structural elegance. Cave delivers these simple pieces with aplomb. Once again, he makes work unlike anyone else, because he is unlike anyone else. [First added to this chart: 06/22/2017]
Year of Release:
2013
Appears in:
Rank Score:
2,725
Rank in 2013:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
34
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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: Step, Diane Young, Hannah Hunt
According to a study conducted in 2015, millennials are collectively less religious than all recorded preceding American generations. Born in ‘84 and ‘83, the four men comprising Vampire Weekend are seniors of this generation that (according to most sources) spans roughly from them to me, and upon the release of Modern Vampires of the City, all four were on the verge of entering their thirties. Here in lie the two central conceits of said album: losing touch with religion and losing touch with youth.
With each passing generation, church attendance decreases, but spirituality has held at remarkably similar levels. It isn’t God that has fallen out of favor; it is the organization. Rostam Batmanglij and Ezra Koenig, the band’s main songwriting duo, are respectively of Iranian and Jewish heritage, but grew up in the United States. Needless to say, their relationship with the Abrahamic religions is a complex one. These three branches stem from the same tree, yet they frequently engage in war with one another. On Modern Vampires of the City, Ezra confronts that disconnect – the disconnect of a God that is at once loving and merciful, yet vengeful and destructive. He has a desire for belief but struggles to reconcile that with the God portrayed in scriptural passages. “Through the fire and through the flames. You won’t even say your name. Only ‘I am that I am.’ But who could ever live that way?” Why doesn’t God announce more clearly who He is? Why doesn’t He provide definitive proof? God asks more of his believers than Ezra feels capable of giving. Throughout Modern Vampires of the City, Ezra namedrops denominational specifics like the Dies Irae or The Dome of the Rock. The blend of references is fine tuned to the band’s background, but his struggle with faith is a universal experience.
Faith seeks to explain the afterlife and is thus inextricably tied to the fear of death. Understandably then, mortality looms over Modern Vampires of the City. Don’t Lie and Hudson invoke the tick of a clock to signify death’s slow but steady approach. Energetic single Diane Young embraces a tongue in cheek ‘live fast die young’ ideology that gets flipped on its head for the album concluding Young Lion. That song is a single phrase repeated four times “You take your time, young lion.” There’s no need for these four men to rush through life. Take your time to find success in your pursuits. Give your experiences space. Death is inevitable. There’s no use in fretting over it. [First added to this chart: 01/20/2015]
According to a study conducted in 2015, millennials are collectively less religious than all recorded preceding American generations. Born in ‘84 and ‘83, the four men comprising Vampire Weekend are seniors of this generation that (according to most sources) spans roughly from them to me, and upon the release of Modern Vampires of the City, all four were on the verge of entering their thirties. Here in lie the two central conceits of said album: losing touch with religion and losing touch with youth.
With each passing generation, church attendance decreases, but spirituality has held at remarkably similar levels. It isn’t God that has fallen out of favor; it is the organization. Rostam Batmanglij and Ezra Koenig, the band’s main songwriting duo, are respectively of Iranian and Jewish heritage, but grew up in the United States. Needless to say, their relationship with the Abrahamic religions is a complex one. These three branches stem from the same tree, yet they frequently engage in war with one another. On Modern Vampires of the City, Ezra confronts that disconnect – the disconnect of a God that is at once loving and merciful, yet vengeful and destructive. He has a desire for belief but struggles to reconcile that with the God portrayed in scriptural passages. “Through the fire and through the flames. You won’t even say your name. Only ‘I am that I am.’ But who could ever live that way?” Why doesn’t God announce more clearly who He is? Why doesn’t He provide definitive proof? God asks more of his believers than Ezra feels capable of giving. Throughout Modern Vampires of the City, Ezra namedrops denominational specifics like the Dies Irae or The Dome of the Rock. The blend of references is fine tuned to the band’s background, but his struggle with faith is a universal experience.
Faith seeks to explain the afterlife and is thus inextricably tied to the fear of death. Understandably then, mortality looms over Modern Vampires of the City. Don’t Lie and Hudson invoke the tick of a clock to signify death’s slow but steady approach. Energetic single Diane Young embraces a tongue in cheek ‘live fast die young’ ideology that gets flipped on its head for the album concluding Young Lion. That song is a single phrase repeated four times “You take your time, young lion.” There’s no need for these four men to rush through life. Take your time to find success in your pursuits. Give your experiences space. Death is inevitable. There’s no use in fretting over it. [First added to this chart: 01/20/2015]
Year of Release:
2013
Appears in:
Rank Score:
12,083
Rank in 2013:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
[First added to this chart: 06/14/2022]
Year of Release:
2013
Appears in:
Rank Score:
8,309
Rank in 2013:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
[First added to this chart: 11/14/2015]
Year of Release:
2013
Appears in:
Rank Score:
879
Rank in 2013:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Total albums: 5. Page 1 of 1
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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% | |
| Tyler, The Creator | 2 | 2% | |
| Car Seat Headrest | 2 | 2% | |
| Nick Cave & The Bad Seeds | 2 | 2% | |
| Vince Staples | 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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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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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.
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From 
SaulCortes1992 04/02/2015 20:04
SaulCortes1992 04/02/2015 20:04
Excellent Chart!
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| Best Ever Artists | |
|---|---|
| 1. The Beatles | |
| 2. Radiohead | |
| 3. Pink Floyd | |
| 4. David Bowie | |
| 5. Bob Dylan | |
| 6. Led Zeppelin | |
| 7. The Rolling Stones | |
| 8. Arcade Fire | |
| 9. The Velvet Underground | |
| 10. Kendrick Lamar | |
| 11. Nirvana | |
| 12. Neil Young | |
| 13. The Smiths | |
| 14. Miles Davis | |
| 15. The Beach Boys | |
| 16. Kanye West | |
| 17. Pixies | |
| 18. R.E.M. | |
| 19. Jimi Hendrix | |
| 20. Bruce Springsteen |