Top 100 Music Albums of 2016
by 
meccalecca 
- Chart updated: 06/02/2024 15:15
- (Created: 01/11/2016 16:52).
- Chart size: 100 albums.
There are 7 comments for this chart from BestEverAlbums.com members and Top 100 Music Albums of 2016 has an average rating of 89 out of 100 (from 8 votes). Please log in or register to leave a comment or assign a rating.
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[singer-songwriter]
A 70s singer-songwriter with slight lisp sings about his night at a party.
For the past several weeks, I’ve listened almost exclusively to Andy Shauf’s The Party. I first encountered the album in late May when it was released. Upon early listens, it was a charming singer-songwriter record but certainly not an instant favorite. As great records do, it drew me back over and over. And with each return, The Party revealed more and more. Beyond the stunning arrangements which recall something along the lines of classic Bill Fay and Harry Nilsson, it’s Shauf’s storytelling that makes this album such a standout. The interconnected narratives based around his interactions at a house party make for an incredible self-portrait of Andy Shauf. There’s a relatability and genuine warmth to his character. But it’s not just the words but his fantastic delivery and phrasing that has turned this album into an incredible obsession.
Last year, Tobias Jesso Jr masterfully nailed the great sound of 70s singer-songwriter records, but Goon often came across as a bit too saccharine. The Party may work from a similarly familiar musical palette, but ultimately proves to be a far more engaging listen, and appears to be the kind of album that will stick with listeners for a lifetime.
FAVORITE SONGS
Quite Like You, The Magician, Eyes of Them All [First added to this chart: 06/27/2016]
A 70s singer-songwriter with slight lisp sings about his night at a party.
For the past several weeks, I’ve listened almost exclusively to Andy Shauf’s The Party. I first encountered the album in late May when it was released. Upon early listens, it was a charming singer-songwriter record but certainly not an instant favorite. As great records do, it drew me back over and over. And with each return, The Party revealed more and more. Beyond the stunning arrangements which recall something along the lines of classic Bill Fay and Harry Nilsson, it’s Shauf’s storytelling that makes this album such a standout. The interconnected narratives based around his interactions at a house party make for an incredible self-portrait of Andy Shauf. There’s a relatability and genuine warmth to his character. But it’s not just the words but his fantastic delivery and phrasing that has turned this album into an incredible obsession.
Last year, Tobias Jesso Jr masterfully nailed the great sound of 70s singer-songwriter records, but Goon often came across as a bit too saccharine. The Party may work from a similarly familiar musical palette, but ultimately proves to be a far more engaging listen, and appears to be the kind of album that will stick with listeners for a lifetime.
FAVORITE SONGS
Quite Like You, The Magician, Eyes of Them All [First added to this chart: 06/27/2016]
1
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The context is now inseparable from the art. David Bowie’s unexpected death days after the release of Blackstar was a shocking departure from possibly the most immortal of all rock stars. Now understood to be a parting gift from the legend, as a final statement Blackstar has few rivals. Previous album The Next Day was mostly a return to form for Bowie, but felt a bit cold and removed. In contrast, the dark Blackstar finds Bowie as emotive as ever. An artist who often transcended within the guise of alternate personas, the version found here is the real David Bowie. Joined by an excellent supporting cast of avant jazz musicians, they create a world that is both manic and haunting. The feel good pop of a “Modern Love” or “Changes” often associated with Bowie will not be found on Blackstar. It’s an album more akin to the deranged experimental Bowie found on late 70s albums such as Lodger and Heroes. It’s not just incredible because he was giving his all in his final days on earth, but in that this should go down amongst his most perfect of albums. If it’s not on the level of masterpieces Hunky Dory, Ziggy Stardust and Low, it’s really not that far off.
[First added to this chart: 01/15/2016]
Year of Release:
2016
Appears in:
Rank Score:
12,441
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Desolation. Devastation. Pain. Loss. Tragedy.
Favorite Tracks: I Need You; Skeleton Tree; Girl in Amber; Rings of Saturn; Jesus Alone [First added to this chart: 09/24/2016]
Favorite Tracks: I Need You; Skeleton Tree; Girl in Amber; Rings of Saturn; Jesus Alone [First added to this chart: 09/24/2016]
Year of Release:
2016
Appears in:
Rank Score:
4,469
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Seductively touching upon race and identity politics without losing his shit.
Favorite Tracks: With Him; Augustine; Best To You [First added to this chart: 08/12/2016]
Favorite Tracks: With Him; Augustine; Best To You [First added to this chart: 08/12/2016]
Year of Release:
2016
Appears in:
Rank Score:
478
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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Hanging around, passing a joint, and talking about life with a good friend.
Favorite Tracks: Admitting the Endorphin Addiction; Insecurity; Check to Check [First added to this chart: 03/28/2016]
Favorite Tracks: Admitting the Endorphin Addiction; Insecurity; Check to Check [First added to this chart: 03/28/2016]
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When all those paranoid delusions become reality, depression sets in.
Favorite Tracks: Ful Stop; Decks Dark; Identikit [First added to this chart: 05/11/2016]
Favorite Tracks: Ful Stop; Decks Dark; Identikit [First added to this chart: 05/11/2016]
Year of Release:
2016
Appears in:
Rank Score:
15,355
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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If Nico put out a politically-driven krautrock record in the 21st century.
Favorite Tracks: Orlando; Disco Glove; No More Parties in the Attic [First added to this chart: 09/15/2016]
Favorite Tracks: Orlando; Disco Glove; No More Parties in the Attic [First added to this chart: 09/15/2016]
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Blood drips from an unknown source within the obsidian chamber
Favorite Tracks: The Great Undressing; Conceptual Romance; Secret Touch [First added to this chart: 10/13/2016]
Favorite Tracks: The Great Undressing; Conceptual Romance; Secret Touch [First added to this chart: 10/13/2016]
Year of Release:
2016
Appears in:
Rank Score:
649
Rank in 2016:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
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[Electronic Art Pop]
An intricately arranged sugar high.
Anna Meredith certainly isn’t the first classically trained composer or musician to crossover to popular music. Many have done it very successfully. Some have taken rather cynical approaches, and really challenged the nature of pop music itself. What makes Varmints such a joy is that Anna Meredith appears to really embrace the approachable nature of pop music while making it more vibrant and exciting. The album has parallels to Sufjan Steven’s Age of Adz, where Stevens strayed from acoustic instrumentation to compose wildly colorful electronic arrangements.
There are, of course, a great many differences as well. Anna Meredith places far less of an emphasis on vocals and lyrics, allowing her arrangements to be the focus. There’s a hell of a lot to soak in, and the range of ideas that Meredith is incorporating into her songs is enough to make your heads spin. Tracks like “Nautilus” and “The Vapours” bring to mind a modern take on Raymond Scott’s remarkable compositions of the 30s (which would go on to soundtrack many Looney Tunes cartoons), while something like “Taken” is more like a cross of Wire’s post-punk and Battles’ jumpy math rock. Meanwhile, “Something Helpful” is an incredibly upbeat pop song combined with a bit of an acid house backdrop reminiscent of 808 State. It’s not just the variation of sounds and styles that makes Varmints such an exciting listen, but also the dynamic nature within each individual track.
Loads of recent albums have done an excellent job of developing a rich textural landscape, only to leave the listener stranded and stationary. Not only does Varmints sound like a futuristic alien universe, but Meredith’s arrangements provide an adventurous rollercoaster ride through it all. [First added to this chart: 04/08/2016]
An intricately arranged sugar high.
Anna Meredith certainly isn’t the first classically trained composer or musician to crossover to popular music. Many have done it very successfully. Some have taken rather cynical approaches, and really challenged the nature of pop music itself. What makes Varmints such a joy is that Anna Meredith appears to really embrace the approachable nature of pop music while making it more vibrant and exciting. The album has parallels to Sufjan Steven’s Age of Adz, where Stevens strayed from acoustic instrumentation to compose wildly colorful electronic arrangements.
There are, of course, a great many differences as well. Anna Meredith places far less of an emphasis on vocals and lyrics, allowing her arrangements to be the focus. There’s a hell of a lot to soak in, and the range of ideas that Meredith is incorporating into her songs is enough to make your heads spin. Tracks like “Nautilus” and “The Vapours” bring to mind a modern take on Raymond Scott’s remarkable compositions of the 30s (which would go on to soundtrack many Looney Tunes cartoons), while something like “Taken” is more like a cross of Wire’s post-punk and Battles’ jumpy math rock. Meanwhile, “Something Helpful” is an incredibly upbeat pop song combined with a bit of an acid house backdrop reminiscent of 808 State. It’s not just the variation of sounds and styles that makes Varmints such an exciting listen, but also the dynamic nature within each individual track.
Loads of recent albums have done an excellent job of developing a rich textural landscape, only to leave the listener stranded and stationary. Not only does Varmints sound like a futuristic alien universe, but Meredith’s arrangements provide an adventurous rollercoaster ride through it all. [First added to this chart: 04/08/2016]
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[Maniacal Aussie rock]
SOUNDS LIKE
A stressed out drunk Australian slurring his grievances
It starts with a noisy 30 second eruption, embraces a brief gasp for breath, and then unloads again. A deep roaring bass and slow smash of the drum kit sets the foundation while the vocals and guitars present an unnerving bit of chaos. As Gareth Liddiard pleas for a free private execution, the furious noise of the guitars could potentially let loose at any given moment. “Private Execution” is a demanding re-introduction to one of Australia’s finest rock bands, and everything that makes them tick.
The tension continues on “Tamad Shud”, which has a dance pop vibe in the type of way Deerhoof does it. Less dense and threatening than the lead track, it unassumingly becomes more and more demanding as the pace gradually increases, and open space constricts.
A shift occurs with “Then They Came For Me”. It begins minimally, relieving some of the preceding tensions. Over the plodding bass and drums, Liddiard sounds relatively relaxed and reflective. Waves of guitars sweep through occasionally. Over the course of the song, that sense of relaxation gives way to frustration. Everything comes crashing together, no longer speaking with predictability.
It gives way to scorned ballad, “To Think I Once Loved You,” a genuinely biting tale of broken heartedness. Opening with a transitional electronic hum, “Tailwind” follows with further contemplation. It’s an exploration of the aftermath of prior devastation. The song ends with an odd little aching piano and organ.
“Boredom” restores the energy, delivering the closest thing to an infectious Drones pop song. It’s virtually new jack swing, highlighted by Liddiard’s paranoid political rants. On “Sometimes” Fiona Kitschin takes the lead, singing the dreamy ballad about witness protection. Liddiard returns to front the powerful finale “Shut Down SETI” which builds its way towards a loud cataclysmic end.
Following their tremendous 2013 release I See Seaweed, The Drones sound even more ambitious on Feelin Kinda Free. Gareth Liddiard remains a central focus with his volatile vocal presence which often commands with an air of “Shut the fuck up! I’ve got something to say!” And he does have something to say. Liddiard holds nothing back, setting sight on his targets and then unloading with the unhinged attack that makes The Drones such a rare presence. While it’s not the conventional fast paced three chord rock we often think of with punk, this is punk rock as it should be. The Drones are dynamic, noisy, impassioned, and threatening in all of the right ways.
FAVORITE SONGS
Boredom, Shut Down SETI, Tailwind [First added to this chart: 03/22/2016]
SOUNDS LIKE
A stressed out drunk Australian slurring his grievances
It starts with a noisy 30 second eruption, embraces a brief gasp for breath, and then unloads again. A deep roaring bass and slow smash of the drum kit sets the foundation while the vocals and guitars present an unnerving bit of chaos. As Gareth Liddiard pleas for a free private execution, the furious noise of the guitars could potentially let loose at any given moment. “Private Execution” is a demanding re-introduction to one of Australia’s finest rock bands, and everything that makes them tick.
The tension continues on “Tamad Shud”, which has a dance pop vibe in the type of way Deerhoof does it. Less dense and threatening than the lead track, it unassumingly becomes more and more demanding as the pace gradually increases, and open space constricts.
A shift occurs with “Then They Came For Me”. It begins minimally, relieving some of the preceding tensions. Over the plodding bass and drums, Liddiard sounds relatively relaxed and reflective. Waves of guitars sweep through occasionally. Over the course of the song, that sense of relaxation gives way to frustration. Everything comes crashing together, no longer speaking with predictability.
It gives way to scorned ballad, “To Think I Once Loved You,” a genuinely biting tale of broken heartedness. Opening with a transitional electronic hum, “Tailwind” follows with further contemplation. It’s an exploration of the aftermath of prior devastation. The song ends with an odd little aching piano and organ.
“Boredom” restores the energy, delivering the closest thing to an infectious Drones pop song. It’s virtually new jack swing, highlighted by Liddiard’s paranoid political rants. On “Sometimes” Fiona Kitschin takes the lead, singing the dreamy ballad about witness protection. Liddiard returns to front the powerful finale “Shut Down SETI” which builds its way towards a loud cataclysmic end.
Following their tremendous 2013 release I See Seaweed, The Drones sound even more ambitious on Feelin Kinda Free. Gareth Liddiard remains a central focus with his volatile vocal presence which often commands with an air of “Shut the fuck up! I’ve got something to say!” And he does have something to say. Liddiard holds nothing back, setting sight on his targets and then unloading with the unhinged attack that makes The Drones such a rare presence. While it’s not the conventional fast paced three chord rock we often think of with punk, this is punk rock as it should be. The Drones are dynamic, noisy, impassioned, and threatening in all of the right ways.
FAVORITE SONGS
Boredom, Shut Down SETI, Tailwind [First added to this chart: 03/22/2016]
Total albums: 100. Page 1 of 10
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Top 100 Music Albums of 2016 composition
| Artist | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| Alex Cameron | 1 | 1% | |
| Blue House | 1 | 1% | |
| Weezer | 1 | 1% | |
| Exploded View | 1 | 1% | |
| Ghastly City Sleep | 1 | 1% | |
| Haley Bonar | 1 | 1% | |
| Throws | 1 | 1% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
55 | 55% | |
 |
16 | 16% | |
 |
8 | 8% | |
 |
6 | 6% | |
 |
4 | 4% | |
 |
3 | 3% | |
 |
1 | 1% | |
| Show all | |||
Top 100 Music Albums of 2016 chart changes
| Biggest climbers |
|---|
 Up 20 from 40th to 20thUntitled Unmastered. by Kendrick Lamar |
| Up 13 from 38th to 25th Girlz With Gunz by Chimurenga Renaissance |
| Up 9 from 26th to 17th The Impossible Kid by Aesop Rock |
| Biggest fallers |
|---|
| Down 20 from 4th to 24th Requiem by Goat (SE) |
| Down 10 from 11th to 21st Pearls To Swine by Adam Torres |
| Down 4 from 3rd to 7th Exploded View by Exploded View |
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Other year charts by meccalecca
(from the 2010s)| Title | Source | Type | Published | Country |
|---|---|---|---|---|
| Top 100 Music Albums of 2019 | meccalecca | 2019 year chart | 2024 | |
| Top 50 Music Albums of 2018 | meccalecca | 2018 year chart | 2024 | |
| Top 50 Music Albums of 2017 | meccalecca | 2017 year chart | 2024 | |
| Top 100 Music Albums of 2016 | meccalecca | 2016 year chart | 2024 | |
| Top 100 Music Albums of 2015 | meccalecca | 2015 year chart | 2024 | |
| Top 100 Music Albums of 2014 | meccalecca | 2014 year chart | 2024 | |
| Top 100 Music Albums of 2013 | meccalecca | 2013 year chart | 2024 | |
| Top 100 Music Albums of 2012 | meccalecca | 2012 year chart | 2024 | |
| Top 100 Music Albums of 2011 | meccalecca | 2011 year chart | 2024 | |
| Top 100 Music Albums of 2010 | meccalecca | 2010 year chart | 2024 | |
Top 100 Music Albums of 2016 ratings
89/100 (from 8 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 8 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
 100/100  | 08/19/2018 14:17 |  Repo | | 100/100 |
| 90/100 | 12/27/2016 02:46 |  phantom1305 | | 92/100 |
| 85/100 | 10/05/2016 07:02 | Juneof44 | | 83/100 |
| 100/100 | 09/15/2016 17:41 |  craola | | 96/100 |
| 100/100 | 09/08/2016 20:39 |  RockyRaccoon | | 90/100 |
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Top 100 Music Albums of 2016 comments
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100/100
From craola 05/28/2020 19:13
craola 05/28/2020 19:13
this introduced me to the incredible exploded view.
#252430 | Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
100/100
From Repo 08/19/2018 14:17
Repo 08/19/2018 14:17
Exploded View are ruling my world rn! :)
#219846 | Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
From meccalecca 09/15/2016 18:26
meccalecca 09/15/2016 18:26
I guess I need to start adding more notes
#175037 | Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
100/100
From craola 09/15/2016 17:42
craola 09/15/2016 17:42
had to add a couple of these to my queueueue aftr readng your notes on 'em.
#175035 | Helpful? (Log in to vote) | 0 votes (0 helpful | 0 unhelpful)
100/100
From RockyRaccoon 09/08/2016 20:39
RockyRaccoon 09/08/2016 20:39
Love the notes on here and a lot of great selections. Tons to check out too. Very cool!
#174563 | Helpful? (Log in to vote) | +1 votes (1 helpful | 0 unhelpful)
From 
cestuneblague 06/05/2016 06:27
cestuneblague 06/05/2016 06:27
That Eddi Front was excellent, def intrested in checking out more from here, great chart!
#167888 | Helpful? (Log in to vote) | 0 votes (0 helpful | 0 unhelpful)
From meccalecca 04/11/2016 23:20
meccalecca 04/11/2016 23:20
Thanks! Yeah that Namychylak album is great. Still really trying to digest it. Love the mix of styles with the Tinariwen guys doing their thing. Definitely plan on checking out more soon.
Glad you dig the Moken record. He's a really friendly guy too!
#163651 | Helpful? (Log in to vote) | 0 votes (0 helpful | 0 unhelpful)
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| Best Artists of 2007 | |
|---|---|
| 1. Radiohead | |
| 2. LCD Soundsystem | |
| 3. Bon Iver | |
| 4. The National | |
| 5. Arcade Fire | |
| 6. Arctic Monkeys | |
| 7. MGMT | |
| 8. Burial | |
| 9. Kanye West | |
| 10. Porcupine Tree | |
| 11. Animal Collective | |
| 12. Panda Bear | |
| 13. of Montreal | |
| 14. Spoon | |
| 15. The Shins | |
| 16. M.I.A. | |
| 17. Wilco | |
| 18. Justice (FR) | |
| 19. Modest Mouse | |
| 20. Eddie Vedder |
