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: These Walls, u, The Blacker the Berry
Every artist strives for excellence. The desire to leave an impact on the world is part of human nature. People want to be remembered. People want to be praised. People want to succeed. Most artists know to temper their expectations. If they can bring joy to themselves and garner an audience large enough to keep a positive balance in their checking account they’ve done enough. With Good Kid M.A.A.D City, Kendrick Lamar achieved more than many ever dream of. That album was a lyrically heady examination of Lamar’s own experience of youth in the often glamorized world of Compton gang life. It landed itself on numerous publications’ year end lists. It debuted at number two on the Billboard 200. It has since gone triple platinum. In every regard, Good Kid M.A.A.D City was a success. Kendrick would be remembered regardless of his follow up, but more than possibly anyone else in music, Kendrick Lamar has ambition. To Pimp a Butterfly is about as blatant a bid for masterpiece status as an album can be. Ideologically dense, with narrative complexity guided by multiple through lines, diverse live instrumentation culled from the whole of African American history, and a seventy-nine-minute runtime, this album wasn’t just meant to be listened to – To Pimp a Butterfly was meant to be analyzed. It’s the kind of album that could have been an overreaching and overzealous embarrassment if Kendrick hadn’t found success in everything he pursued here.
For the instrumentals on To Pimp a Butterfly, Kendrick Lamar has surrounded himself with some of the best talents currently around. We’ve got silky smooth bass from Thundercat and vibrant, technically astounding saxophone from Kamasi Washington. Hearkening back to the classics, To Pimp a Butterfly is rich with jazz, soul, funk, and R&B. Lamar himself floats over it all with ease, deploying a vast array of flows all tailor suited to a specific mood. Even on the distinctly off-kilter and organic jazz of For Free? he spits his verse with incomparable dexterity. This man was born to rap.
Kendrick’s lyricism here is right on the money. This is the kind of work that the word zeitgeist exists to describe. On an individual level, there were albums this decade that spoke more succinctly to my experiences, but no one understood the struggles of the nation as a whole better than Lamar. It was a tempestuous decade of widespread discontentment. The decade’s two U.S. presidents could not have been more fundamentally opposite. Civil unrest is as high as it’s been in decades. Ideologically speaking, the solutions are simple. Care about your fellow man. Treat strangers with respect and understanding. In application, there’s a lot more to it. There are systemic problems holding the nation back – problems that could yet take decades to solve. Lamar examines it all. He tackles these problems with nuance, understanding that often concessions need to be made on both sides of an argument. Nowhere does Kendrick do this better than on pre-release single The Blacker the Berry, in which, after tearing white America a new one, he turns and harps on the hypocrisy of his own community. He knows the legitimacy of African American struggles as much as anyone, but he also knows that for things to improve, everyone is going to have to work for it. With this knowledge, Lamar looks inward. He starts with himself on songs like u, opening up his internal dialogue, struggling with grief and depression as he philosophizes on his own failings as not just a man, but a famous one. His own faults become magnified by the millions of young fans looking to him for guidance. That song is complemented later on by the triumphant and self-confident i, which concludes a redemptive arc carried through the album. Kendrick sets up these kinds of payoffs throughout his work, showcasing a deft understanding of the art of storytelling. [First added to this chart: 03/19/2015]
Every artist strives for excellence. The desire to leave an impact on the world is part of human nature. People want to be remembered. People want to be praised. People want to succeed. Most artists know to temper their expectations. If they can bring joy to themselves and garner an audience large enough to keep a positive balance in their checking account they’ve done enough. With Good Kid M.A.A.D City, Kendrick Lamar achieved more than many ever dream of. That album was a lyrically heady examination of Lamar’s own experience of youth in the often glamorized world of Compton gang life. It landed itself on numerous publications’ year end lists. It debuted at number two on the Billboard 200. It has since gone triple platinum. In every regard, Good Kid M.A.A.D City was a success. Kendrick would be remembered regardless of his follow up, but more than possibly anyone else in music, Kendrick Lamar has ambition. To Pimp a Butterfly is about as blatant a bid for masterpiece status as an album can be. Ideologically dense, with narrative complexity guided by multiple through lines, diverse live instrumentation culled from the whole of African American history, and a seventy-nine-minute runtime, this album wasn’t just meant to be listened to – To Pimp a Butterfly was meant to be analyzed. It’s the kind of album that could have been an overreaching and overzealous embarrassment if Kendrick hadn’t found success in everything he pursued here.
For the instrumentals on To Pimp a Butterfly, Kendrick Lamar has surrounded himself with some of the best talents currently around. We’ve got silky smooth bass from Thundercat and vibrant, technically astounding saxophone from Kamasi Washington. Hearkening back to the classics, To Pimp a Butterfly is rich with jazz, soul, funk, and R&B. Lamar himself floats over it all with ease, deploying a vast array of flows all tailor suited to a specific mood. Even on the distinctly off-kilter and organic jazz of For Free? he spits his verse with incomparable dexterity. This man was born to rap.
Kendrick’s lyricism here is right on the money. This is the kind of work that the word zeitgeist exists to describe. On an individual level, there were albums this decade that spoke more succinctly to my experiences, but no one understood the struggles of the nation as a whole better than Lamar. It was a tempestuous decade of widespread discontentment. The decade’s two U.S. presidents could not have been more fundamentally opposite. Civil unrest is as high as it’s been in decades. Ideologically speaking, the solutions are simple. Care about your fellow man. Treat strangers with respect and understanding. In application, there’s a lot more to it. There are systemic problems holding the nation back – problems that could yet take decades to solve. Lamar examines it all. He tackles these problems with nuance, understanding that often concessions need to be made on both sides of an argument. Nowhere does Kendrick do this better than on pre-release single The Blacker the Berry, in which, after tearing white America a new one, he turns and harps on the hypocrisy of his own community. He knows the legitimacy of African American struggles as much as anyone, but he also knows that for things to improve, everyone is going to have to work for it. With this knowledge, Lamar looks inward. He starts with himself on songs like u, opening up his internal dialogue, struggling with grief and depression as he philosophizes on his own failings as not just a man, but a famous one. His own faults become magnified by the millions of young fans looking to him for guidance. That song is complemented later on by the triumphant and self-confident i, which concludes a redemptive arc carried through the album. Kendrick sets up these kinds of payoffs throughout his work, showcasing a deft understanding of the art of storytelling. [First added to this chart: 03/19/2015]
Year of Release:
2015
Appears in:
Rank Score:
37,240
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
364
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Top Tracks: Death with Dignity, Should Have Known Better, The Only Thing
When Sufjan first released samples from Carrie & Lowell, people pegged it as a return to his folk roots largely left behind on 2010’s electro-spaz-out The Age of Adz. That couldn’t have possibly been more reductive. This album is anything but a step backwards for Sufjan. While it is true that on the surface this sounds most like a return to 2004’s quietly magnificent Seven Swans, in his works from that era, Sufjan frequently veiled emotion behind biblical allegories such as The Transfiguration, or historical accounts like John Wayne Gacy Jr. Here, Sufjan doesn’t completely forego that tendency (hello John My Beloved) but he certainly cuts back. Carrie & Lowell takes its name from Sufjan’s stepfather and his recently deceased mother; a mother who abandoned him as a child due to her struggles with substance abuse and schizophrenia. As the description would suggest, this album is Sufjan at his most vulnerable. It’s the most sincere and utterly beautiful album Stevens has penned in a career defined by beauty and sincerity. [First added to this chart: 03/19/2015]
When Sufjan first released samples from Carrie & Lowell, people pegged it as a return to his folk roots largely left behind on 2010’s electro-spaz-out The Age of Adz. That couldn’t have possibly been more reductive. This album is anything but a step backwards for Sufjan. While it is true that on the surface this sounds most like a return to 2004’s quietly magnificent Seven Swans, in his works from that era, Sufjan frequently veiled emotion behind biblical allegories such as The Transfiguration, or historical accounts like John Wayne Gacy Jr. Here, Sufjan doesn’t completely forego that tendency (hello John My Beloved) but he certainly cuts back. Carrie & Lowell takes its name from Sufjan’s stepfather and his recently deceased mother; a mother who abandoned him as a child due to her struggles with substance abuse and schizophrenia. As the description would suggest, this album is Sufjan at his most vulnerable. It’s the most sincere and utterly beautiful album Stevens has penned in a career defined by beauty and sincerity. [First added to this chart: 03/19/2015]
Year of Release:
2015
Appears in:
Rank Score:
18,266
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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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:
4,184
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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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]
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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:
1,451
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 09/11/2015]
Year of Release:
2015
Appears in:
Rank Score:
552
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Buy album
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[First added to this chart: 11/14/2015]
Year of Release:
2015
Appears in:
Rank Score:
508
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 04/26/2020]
Year of Release:
2015
Appears in:
Rank Score:
1,235
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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[First added to this chart: 07/18/2015]
Year of Release:
2015
Appears in:
Rank Score:
3,057
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Total albums: 15. Page 1 of 2
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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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| 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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SaulCortes1992 04/02/2015 20:04
SaulCortes1992 04/02/2015 20:04
Excellent Chart!
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