Top 100 Music Albums of the 2010s by 
DriftingOrpheus 
- Chart updated: 04/09/2024 03:45
- (Created: 04/02/2020 03:56).
- Chart size: 100 albums.
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When you think of jazz, what comes to mind? Is it the image of a smokey club amidst the throes of a liquor-soaked evening where men and women who have nothing left to lose congregate bombastically with sullied but exotic instruments that light their path to the night's end? Is it more akin to a visage of a smooth, sagacious individual whose jib is cut in the fashion of someone who's seen and done it all with only the sound of a perfectly crafted note proving enough to catch him off guard? Perhaps your perception of this often misunderstood and under-appreciated genre takes the shape of a dinner party, stiff upper lips or imperceptible elevator music more akin to ambient soundscapes than anything else? However you may frame it, there's one definition that most who have lived and died, scratched and clawed, inhaled and exhaled jazz's rich, fertile terrain can come together on. Jazz, simply put, is religion. In addition to being a way of life, the genre is immaterial, fluid and ever-evolving. Kamasi Washington's approach to jazz is not exactly aligned with your grandfather's retelling of it. That's not to say one is superior to the other. It more plainly proves that this genre, more than any other, reflects the hearts, minds and temperaments of its craftsmen. In the case of Washington, his heart bleeds for a frenetic, emotionally swelling, ancestral tribute version of the eclectic genre, best synthesized on his 2015 aptly-named odyssey, 'The Epic'.
Kamasi Washington has spent his life honing his one-of-a-kind, God-given talent in preparation for a grand statement on the pageantry of jazz, the glory and tribulations of his ancestors and the beauty of music at large. He studied at UCLA, with the focus of his education centered around Ethnomusicology, which would play an integral role in crafting his first, proper label LP in 2015. Additionally, his experiences flanking artists such as Snoop Dogg, Nas, Run the Jewels and most notably, Kendrick Lamar, on his 2015 record 'To Pimp a Butterfly', have allowed the saxophonist to absorb a variety of styles and musical ideas while also contributing to an ocean of outstanding music without most listeners being particularly privy to his contributions. On the mammoth undertaking that is 'The Epic', Washington establishes an unmistakeable, idiosyncratic grandeur and deconstructs and subverts anyone's expectations on what a Jazz record should be. His saxophone glides over the entirety of the nearly three hour journey, shepherding its chapters through frantic bursts of brassy elation and breezy, idyllic, reflectionary traverses. Evidence of the album's supernatural power for vehemence can be found on its introduction. 'Change of the Guard' features a bevy of woodwind fury as Washington's tenor sax sets the stage for a cosmic, interstellar journey of incalculable potency. The record is also distinctive for its use of choral backing, a resource put to glorious effect during 'Askim', which pairs its angelic choir with breakneck but respectful drum passages from Ronald Bruner Jr. and Tony Austin. This is nothing less than hymnal music fit for a final performance at world's end or, perhaps more fittingly, during an ascension into the clouds.
One would be remiss without touting the contributions of bass maestro, Thundercat, whose patient diligence acts as the heartbeat for 'The Rhythm Changes', which comes equipped with a lavish lead vocal from Patrice Quinn. As the track swells her vocals begin to soothe as she states, "Daylight seems bright because of night;
It's shade we need so we can see." Kamasi's exploits return to center stage on the deliciously untamed, comparatively chaotic 'Miss Understanding', which quickly forms into a showcase for Washington's saxophone and Thundercat's bass to continuously dance circles around each other. It's another dizzying height for the 'The Epic' and leaves room for contemplation regarding its ability to exist in the first place. The next monolithic instillation comes in the shape of 'The Magnificent Seven', a stirring, towering work that's propelled like a jazz fireball and remains the most baronial entry on the LP. The track comes into focus on the horizon with Thundercat's swaggering bass tones only to proceed to sweep you into zero gravity on a rising tide of choir voices sent skyward by Washington's billowing sax. The keyboard-piano partnership between Cameron Graves and Brandon Coleman never ceases to lag behind the weighty punctuality of the rhythm section as they provide a healthy injection of sprightly luminescence amidst the quickly forming volcano of sonic aggression. 'The Magnificent 7' brandishes a western sheen (not just in name), as its driving momentum recalls horses galloping into town with riders hell bent on making their conclusive stand. These are the kind of harmonies that comprise the entirety of 'The Epic', notes that resonate far beyond the sheet music and into the collective consciousness of all who listen. Its pension for imagery is undefeated, its brush strokes unclouded and it carries an earthly, human spontaneity. Despite the record's modern sensibilities, Washington still finds time to tip his cap to the artisans of yesteryear. His cover of 'Claire de Lune', made famous by Claude Debussy, is just as romantic but seamlessly repackages the piece in a manner that's languid, yet expressive, like an autumn wind through leaves that are destined to change their shade. The labyrinthian LP ends with 'The Message', a final explosion of intention and a rallying cry which ensures that all that came prior is capped with suitable vigor. The track may represent Washington's finest saxophone exhibition as the pulses cascade over one another with considerably ferocity; a manic addendum on previous endeavors.
Whether honoring those who gave their life for equality on 'Malcolm's Theme' or turning in a jazz Rembrandt inspired by 1960's celluloid on 'The Magnificent 7', it's transpicuous to this listener that Kamasi Washington doesn't believe in presenting his illustrious art without carefully affixed ethos. This ethos stems from a decisive adoration for the beauty of jazz, the African American spirit and the inextinguishable fire that burns within each and every human being with hearts that beat with love. Though 'The Epic' is an undeniable championing of innumerable ideas, there are those who will look upon it with skewed gazes, no doubt viewing its cinematic presentation too far flung from the often purist genre sensitivities. No, this is not an attempt to make a commercial jazz record or appeal to a younger generation categorically. 'The Epic' is, however, an acknowledgment of the perseverance of mortal men and the actions, documents and legacy they leave behind. The instructions are to love all, even in the face of scrutiny and danger. Great men and women have chosen to express this universal truth through countless different vessels. Poems, stories, sacrifices and demonstrations dot the course throughout the history of human kindness. Kamasi Washington chooses to transmit this message from an entirely different cosmos, equipped with his Saxophone at the ready, sonically willing and able to provoke change from within and vibrate the very air you breathe.
"Our love, our beauty, our genius
Our work, our triumph, our glory
Won't worry what happened before me
I'm here."
- The Rhythm Changes
Standout Tracks:
1. The Magnificent 7
2. Change of the Guard
3. The Message
95.6 [First added to this chart: 11/25/2021]
Kamasi Washington has spent his life honing his one-of-a-kind, God-given talent in preparation for a grand statement on the pageantry of jazz, the glory and tribulations of his ancestors and the beauty of music at large. He studied at UCLA, with the focus of his education centered around Ethnomusicology, which would play an integral role in crafting his first, proper label LP in 2015. Additionally, his experiences flanking artists such as Snoop Dogg, Nas, Run the Jewels and most notably, Kendrick Lamar, on his 2015 record 'To Pimp a Butterfly', have allowed the saxophonist to absorb a variety of styles and musical ideas while also contributing to an ocean of outstanding music without most listeners being particularly privy to his contributions. On the mammoth undertaking that is 'The Epic', Washington establishes an unmistakeable, idiosyncratic grandeur and deconstructs and subverts anyone's expectations on what a Jazz record should be. His saxophone glides over the entirety of the nearly three hour journey, shepherding its chapters through frantic bursts of brassy elation and breezy, idyllic, reflectionary traverses. Evidence of the album's supernatural power for vehemence can be found on its introduction. 'Change of the Guard' features a bevy of woodwind fury as Washington's tenor sax sets the stage for a cosmic, interstellar journey of incalculable potency. The record is also distinctive for its use of choral backing, a resource put to glorious effect during 'Askim', which pairs its angelic choir with breakneck but respectful drum passages from Ronald Bruner Jr. and Tony Austin. This is nothing less than hymnal music fit for a final performance at world's end or, perhaps more fittingly, during an ascension into the clouds.
One would be remiss without touting the contributions of bass maestro, Thundercat, whose patient diligence acts as the heartbeat for 'The Rhythm Changes', which comes equipped with a lavish lead vocal from Patrice Quinn. As the track swells her vocals begin to soothe as she states, "Daylight seems bright because of night;
It's shade we need so we can see." Kamasi's exploits return to center stage on the deliciously untamed, comparatively chaotic 'Miss Understanding', which quickly forms into a showcase for Washington's saxophone and Thundercat's bass to continuously dance circles around each other. It's another dizzying height for the 'The Epic' and leaves room for contemplation regarding its ability to exist in the first place. The next monolithic instillation comes in the shape of 'The Magnificent Seven', a stirring, towering work that's propelled like a jazz fireball and remains the most baronial entry on the LP. The track comes into focus on the horizon with Thundercat's swaggering bass tones only to proceed to sweep you into zero gravity on a rising tide of choir voices sent skyward by Washington's billowing sax. The keyboard-piano partnership between Cameron Graves and Brandon Coleman never ceases to lag behind the weighty punctuality of the rhythm section as they provide a healthy injection of sprightly luminescence amidst the quickly forming volcano of sonic aggression. 'The Magnificent 7' brandishes a western sheen (not just in name), as its driving momentum recalls horses galloping into town with riders hell bent on making their conclusive stand. These are the kind of harmonies that comprise the entirety of 'The Epic', notes that resonate far beyond the sheet music and into the collective consciousness of all who listen. Its pension for imagery is undefeated, its brush strokes unclouded and it carries an earthly, human spontaneity. Despite the record's modern sensibilities, Washington still finds time to tip his cap to the artisans of yesteryear. His cover of 'Claire de Lune', made famous by Claude Debussy, is just as romantic but seamlessly repackages the piece in a manner that's languid, yet expressive, like an autumn wind through leaves that are destined to change their shade. The labyrinthian LP ends with 'The Message', a final explosion of intention and a rallying cry which ensures that all that came prior is capped with suitable vigor. The track may represent Washington's finest saxophone exhibition as the pulses cascade over one another with considerably ferocity; a manic addendum on previous endeavors.
Whether honoring those who gave their life for equality on 'Malcolm's Theme' or turning in a jazz Rembrandt inspired by 1960's celluloid on 'The Magnificent 7', it's transpicuous to this listener that Kamasi Washington doesn't believe in presenting his illustrious art without carefully affixed ethos. This ethos stems from a decisive adoration for the beauty of jazz, the African American spirit and the inextinguishable fire that burns within each and every human being with hearts that beat with love. Though 'The Epic' is an undeniable championing of innumerable ideas, there are those who will look upon it with skewed gazes, no doubt viewing its cinematic presentation too far flung from the often purist genre sensitivities. No, this is not an attempt to make a commercial jazz record or appeal to a younger generation categorically. 'The Epic' is, however, an acknowledgment of the perseverance of mortal men and the actions, documents and legacy they leave behind. The instructions are to love all, even in the face of scrutiny and danger. Great men and women have chosen to express this universal truth through countless different vessels. Poems, stories, sacrifices and demonstrations dot the course throughout the history of human kindness. Kamasi Washington chooses to transmit this message from an entirely different cosmos, equipped with his Saxophone at the ready, sonically willing and able to provoke change from within and vibrate the very air you breathe.
"Our love, our beauty, our genius
Our work, our triumph, our glory
Won't worry what happened before me
I'm here."
- The Rhythm Changes
Standout Tracks:
1. The Magnificent 7
2. Change of the Guard
3. The Message
95.6 [First added to this chart: 11/25/2021]
Year of Release:
2015
Appears in:
Rank Score:
3,057
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
37
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88.4
[First added to this chart: 05/24/2020]
Year of Release:
2015
Appears in:
Rank Score:
2,311
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
Australia's own Kevin Parker is one of modern music's preeminent figures and most forward-thinking creators. His creativity and artistic foresight has helped partially reinvigorate a stagnant rock industry which has seen itself surpassed by hip-hop in recent years. He burst on the scene with 2010's Innerspeaker, a trippy, rainbow-colored interpretation of contemporary psychedelia. His layered, consummate sonic textures earned him widespread acclaim. He then upped the ante on 2012's Lonerism, a richer, more refined collection of the motifs found on Innerspeaker. His vocals channeled John Lennon on tracks like Sun's Coming Up and his guitar-propelled breakdowns were awe-inspiring on tracks like Keep on Lying. Lonerism was even more heavily lauded and alternative rock was ready to crown its newest talisman. Then Kevin did what every great artist does. He made a hard left turn. 2015 marked the arrival of his third studio album, Currents, a record bubbling with pop textures, emphasis on airy synth work and clearer production. He effortlessly repackaged his sound and reinvented his approach as an artist and the endgame resulted in his most luscious, vibrant record to date. Currents is a synth-pop symphony which made fellow genre mates look like neophytes noodling around with Casio keyboards in 6th grade music class.
The record begins emphatically with the anthemic, Let It Happen. The track buzzes into focus as synth walls hiss while fuzzed out beats linger behind. Parker concludes, "All this running around, trying to cover my shadow; an ocean growing inside, all the others seem shallow." The track reaches a midpoint climax where it undergoes stylized skips as string-like synth tones swell concurrently. Let It Happen is just as springy as it is languid, flowing out without any resistance, avoiding any sonic intrusion. It's a shot to the arm that kicks the album into gear and remains one of Parker's finest achievements. Brief interlude, Nangs, acts as a quasi-comedown but while also turning up the thematic dissatisfaction as Parker croons (faintly), "But is there something more than that?" The album resuscitates with third track, The Moment. The song carries more girth as the bass takes a more noticeable role in the fray. It's also marked by an uptick in the quality of its poetry. Parker accepts, "In the end, it's stronger than I know how to be and I can't just spend my whole lifetime wondering; I fell in love with the sound of my heels on the wooden floor; I don't want our footsteps to be silent anymore." The track moves at a breakneck pace despite lasting over four minutes. Another highlight of danceable vitality delivered with punchy intensity. Currents' second masterpiece is unveiled in the form of fourth track, Yes I'm Changing. The song unfurls with spectral delicacy, creating the illusion of lying face up on a raft, drifting down a boundless river. The percussion structure here is caressing but never overbearing and it galvanizes the song with a steady heartbeat. Parker's maturation is evident on the track as he declares, "And I can't always hide away, curse indulgence and despise the fame; there's a world out there and it's calling my name and it's calling yours too." Parker has shed the shackles of his pre-disposition to avoid incorporating new musical ideas and has opted to grow as an artist and a person. He's inviting you to grow with him. Yes I'm Changing then majestically twinkles out of your reach. A beautiful meditation.
Fifth track, Eventually, journals a deteriorating relationship, characterized by peaks and valleys, both in metaphor and musicality. Eventually launches with authoritative guitar thwacks that contrast the more despondent moments of sound where Parker elegizes, "Wish I could turn you back into a stranger; 'cause if I was never in your life, you wouldn't have to change it." The back half is markedly wondrous as a fizzing synth alternates between both audio channels signifying a situation spiraling out of control. Parker's creative visions have never been more realized and clearly communicated. Sixth track, Gossip, splits the album in two as it transports the listener through osmosis with an aqueous production style. Shortly after, The Less I Know the Better gives us the most clearly-defined pop song on the record. Its tempo is consistent, carrying DNA from The Moment in terms of its percussive principles. Failing romantic relations once again take center stage as Parker laments his inclusion within a love triangle. He details, "I was doing fine without ya till I saw your face, now I can't erase; giving in to all his bullshit, is this what you want; is this who you are?" The song is reinforced by a boisterous guitar riff that forms a rib cage in which to encase the emotional synth chimes. It's both melancholic and madcap in equal measure. Past Life represents the only outright miss on the album, incorporating a distorted spoken word piece awash with Parker's epic, yet marooned synth explosions. Past Life seems more like an unpolished proposition rather than a finished track. It slightly disturbs the flow of the LP but what's shaky for Kevin Parker is another artist's treasure. Disciples starts as a short burst of lo-fi funk, a concept that calls back to the guitar-driven work of Innerspeaker. The song then clears, carving a path for Parker's crystalline vocals. The track is surely a microcosm for the artistic motivations presented on the album.
Ten spot, Cause I'm a Man, is a dissertation that outlines the deficiencies that plague the male sex. Kevin provides his strongest vocal outing on the track, howling apologetically as he slices through his electric ozone. He croons, "Cause I'm a man, woman; don't always think before I do; cause I'm a man, woman; that's the only answer I've got for you." It stands as one of the most implicit moments of humor on Currents. Reality in Motion follows and reclaims your attention harboring all things zealous. It's another example of Parker's gravitational pull to the percussive on the LP as an infectious drum texture spirals throughout. Love/Paranoia is another doleful anecdote à la Eventually. Conclusively, Parker pledges a return to form instead of flying the white flag as he did on Eventually. The second half of the track hovers with an icy synth backing reminiscent of early New Order. The swan song, New Person, Same Old Mistakes, is a bonafide belter as chest felt bass swaggers proudly. Parker seems to uncork the might of his arsenal on the track, as it represents the most ambitious cut since Let It Happen. Kevin celebrates, "Finally taking flight; I know you don't think it's right; I know that you think it's fake; maybe fake's what I like." At the finale, a synth bridge seems to progress inversely before the Aussie puts an end to it with the bombastic refrain. It's a sublime way to conclude the cosmic record.
With Currents, Kevin Parker didn't just craft top notch pop music, he rearranged its pieces in order to shape something superior altogether. Currents represents pop's future and all the things the genre could be if properly upheaved. The fledgeling genius knows that the only way to create change is from within, and he's certainly set a precedent with his third LP by looking within himself and pushing multiple boundaries. By transversing electronic soundscapes, turning over new leaves while reflecting on old ones, Parker has emphatically expanded his reach and influence. His much-awaited follow up, 2020's The Slow Rush is another feather in his cap but 2015's Currents is his chef-d'oeuvre. It's an LP that assuredly livens up any college party while simultaneously prompting its guests to contemplate their ever-murky futures.
"Man, I know that it's hard to digest,
But maybe your story ain't so different from the rest,
And I know it seems wrong to accept
But you've got your demons, and she's got her regrets."
-New Person/Same Old Mistakes
Standout Tracks:
1. Let It Happen
2. Yes I'm Changing
3. New Person/Same Old Mistakes
88.3 [First added to this chart: 04/25/2020]
The record begins emphatically with the anthemic, Let It Happen. The track buzzes into focus as synth walls hiss while fuzzed out beats linger behind. Parker concludes, "All this running around, trying to cover my shadow; an ocean growing inside, all the others seem shallow." The track reaches a midpoint climax where it undergoes stylized skips as string-like synth tones swell concurrently. Let It Happen is just as springy as it is languid, flowing out without any resistance, avoiding any sonic intrusion. It's a shot to the arm that kicks the album into gear and remains one of Parker's finest achievements. Brief interlude, Nangs, acts as a quasi-comedown but while also turning up the thematic dissatisfaction as Parker croons (faintly), "But is there something more than that?" The album resuscitates with third track, The Moment. The song carries more girth as the bass takes a more noticeable role in the fray. It's also marked by an uptick in the quality of its poetry. Parker accepts, "In the end, it's stronger than I know how to be and I can't just spend my whole lifetime wondering; I fell in love with the sound of my heels on the wooden floor; I don't want our footsteps to be silent anymore." The track moves at a breakneck pace despite lasting over four minutes. Another highlight of danceable vitality delivered with punchy intensity. Currents' second masterpiece is unveiled in the form of fourth track, Yes I'm Changing. The song unfurls with spectral delicacy, creating the illusion of lying face up on a raft, drifting down a boundless river. The percussion structure here is caressing but never overbearing and it galvanizes the song with a steady heartbeat. Parker's maturation is evident on the track as he declares, "And I can't always hide away, curse indulgence and despise the fame; there's a world out there and it's calling my name and it's calling yours too." Parker has shed the shackles of his pre-disposition to avoid incorporating new musical ideas and has opted to grow as an artist and a person. He's inviting you to grow with him. Yes I'm Changing then majestically twinkles out of your reach. A beautiful meditation.
Fifth track, Eventually, journals a deteriorating relationship, characterized by peaks and valleys, both in metaphor and musicality. Eventually launches with authoritative guitar thwacks that contrast the more despondent moments of sound where Parker elegizes, "Wish I could turn you back into a stranger; 'cause if I was never in your life, you wouldn't have to change it." The back half is markedly wondrous as a fizzing synth alternates between both audio channels signifying a situation spiraling out of control. Parker's creative visions have never been more realized and clearly communicated. Sixth track, Gossip, splits the album in two as it transports the listener through osmosis with an aqueous production style. Shortly after, The Less I Know the Better gives us the most clearly-defined pop song on the record. Its tempo is consistent, carrying DNA from The Moment in terms of its percussive principles. Failing romantic relations once again take center stage as Parker laments his inclusion within a love triangle. He details, "I was doing fine without ya till I saw your face, now I can't erase; giving in to all his bullshit, is this what you want; is this who you are?" The song is reinforced by a boisterous guitar riff that forms a rib cage in which to encase the emotional synth chimes. It's both melancholic and madcap in equal measure. Past Life represents the only outright miss on the album, incorporating a distorted spoken word piece awash with Parker's epic, yet marooned synth explosions. Past Life seems more like an unpolished proposition rather than a finished track. It slightly disturbs the flow of the LP but what's shaky for Kevin Parker is another artist's treasure. Disciples starts as a short burst of lo-fi funk, a concept that calls back to the guitar-driven work of Innerspeaker. The song then clears, carving a path for Parker's crystalline vocals. The track is surely a microcosm for the artistic motivations presented on the album.
Ten spot, Cause I'm a Man, is a dissertation that outlines the deficiencies that plague the male sex. Kevin provides his strongest vocal outing on the track, howling apologetically as he slices through his electric ozone. He croons, "Cause I'm a man, woman; don't always think before I do; cause I'm a man, woman; that's the only answer I've got for you." It stands as one of the most implicit moments of humor on Currents. Reality in Motion follows and reclaims your attention harboring all things zealous. It's another example of Parker's gravitational pull to the percussive on the LP as an infectious drum texture spirals throughout. Love/Paranoia is another doleful anecdote à la Eventually. Conclusively, Parker pledges a return to form instead of flying the white flag as he did on Eventually. The second half of the track hovers with an icy synth backing reminiscent of early New Order. The swan song, New Person, Same Old Mistakes, is a bonafide belter as chest felt bass swaggers proudly. Parker seems to uncork the might of his arsenal on the track, as it represents the most ambitious cut since Let It Happen. Kevin celebrates, "Finally taking flight; I know you don't think it's right; I know that you think it's fake; maybe fake's what I like." At the finale, a synth bridge seems to progress inversely before the Aussie puts an end to it with the bombastic refrain. It's a sublime way to conclude the cosmic record.
With Currents, Kevin Parker didn't just craft top notch pop music, he rearranged its pieces in order to shape something superior altogether. Currents represents pop's future and all the things the genre could be if properly upheaved. The fledgeling genius knows that the only way to create change is from within, and he's certainly set a precedent with his third LP by looking within himself and pushing multiple boundaries. By transversing electronic soundscapes, turning over new leaves while reflecting on old ones, Parker has emphatically expanded his reach and influence. His much-awaited follow up, 2020's The Slow Rush is another feather in his cap but 2015's Currents is his chef-d'oeuvre. It's an LP that assuredly livens up any college party while simultaneously prompting its guests to contemplate their ever-murky futures.
"Man, I know that it's hard to digest,
But maybe your story ain't so different from the rest,
And I know it seems wrong to accept
But you've got your demons, and she's got her regrets."
-New Person/Same Old Mistakes
Standout Tracks:
1. Let It Happen
2. Yes I'm Changing
3. New Person/Same Old Mistakes
88.3 [First added to this chart: 04/25/2020]
Year of Release:
2015
Appears in:
Rank Score:
10,577
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
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87
[First added to this chart: 07/21/2022]
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86.2
[First added to this chart: 04/28/2020]
Year of Release:
2015
Appears in:
Rank Score:
2,814
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
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86.1
[First added to this chart: 04/25/2020]
Year of Release:
2015
Appears in:
Rank Score:
18,266
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
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86
[First added to this chart: 04/25/2020]
Year of Release:
2015
Appears in:
Rank Score:
37,240
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
85.8
[First added to this chart: 04/28/2020]
Year of Release:
2015
Appears in:
Rank Score:
2,316
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
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84.8
[First added to this chart: 01/15/2022]
Year of Release:
2015
Appears in:
Rank Score:
1,412
Rank in 2015:
Rank in 2010s:
Overall Rank:
Average Rating:
Comments:
Buy album
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84
[First added to this chart: 04/26/2020]
Year of Release:
2015
Appears in:
Rank Score:
570
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 | 15 | 15% | |
| 2011 | 10 | 10% | |
| 2012 | 9 | 9% | |
| 2013 | 12 | 12% | |
| 2014 | 7 | 7% | |
| 2015 | 15 | 15% | |
| 2016 | 11 | 11% | |
| 2017 | 6 | 6% | |
| 2018 | 7 | 7% | |
| 2019 | 8 | 8% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Swans | 8 | 8% | |
| Deerhunter | 4 | 4% | |
| The National | 4 | 4% | |
| Beach House | 4 | 4% | |
| Kanye West | 3 | 3% | |
| Vampire Weekend | 3 | 3% | |
| Tame Impala | 3 | 3% | |
| Show all | |||
Top 100 Music Albums of the 2010s chart changes
| Biggest climbers |
|---|
| Up 1 from 91st to 90th The Gate by Swans |
| Up 1 from 90th to 89th Leaving Meaning. by Swans |
| Up 1 from 89th to 88th Apparitional by Blitzkid |
| Biggest fallers |
|---|
| Down 8 from 83rd to 91st Father Of The Bride by Vampire Weekend |
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DriftingOrpheus (2024)Top 100 Music Albums of the 2010s ratings
90/100 (from 5 votes)
where:
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N.B. The average rating for this chart will not be reliable as it has been rated very few times.
Showing all 5 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
 100/100  | 10/08/2021 13:17 | tanman089 | | 100/100 |
| 100/100 | 07/20/2021 15:01 |  Larcx13 | | 86/100 |
| 100/100 | 04/28/2021 19:06 |  Rhyner | | 99/100 |
| 100/100 | 11/08/2020 23:16 | DJENNY | | 100/100 |
| 95/100 | 10/22/2020 01:20 | leniad | | 85/100 |
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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 |