Listed below are the best albums of the 2010s as calculated from their overall rankings in over 58,000 greatest album charts. (Chart last updated: 2 hours ago).
"After half of a year trying to find the best way to describe this album i think I've finally decided. Maturity. Isbell as come so far from his days with DBT that he truly has become a force of nature in the Country genre with this album. My hope is that will it grow in our little BEA community, a...""After half of a year trying to find the best way to describe this album i think I've finally decided. Maturity. Isbell as come so far from his days with DBT that he truly has become a force of nature in the Country genre with this album. My hope is that will it grow in our little BEA community, as I no longer have faith in most of the publics reception to music. Southeastern grabbed after the first listen, now after hundreds more it shakes me. I just put it into my top 50 all time, which by no means is a concrete position, but I cant see it falling out."[+]Reply
"A very pleasant album. The instrumentation is lush and diverse and the melodies are blissful. At times the lyrics are kind of iffy and some songs overstay their welcome a tad, but its forgivable because as a whole this album is a beautiful experience."Reply
"Really really reaaaally enjoying this album right now. While this album does have a fair amount of pop appeal (looking at the production on Big Fish, as well as Rain Come Down as a whole), it manages to very much have its own sound. "Yeah Right" is contagiously energetic and bombastic to no end, ...""Really really reaaaally enjoying this album right now. While this album does have a fair amount of pop appeal (looking at the production on Big Fish, as well as Rain Come Down as a whole), it manages to very much have its own sound. "Yeah Right" is contagiously energetic and bombastic to no end, "Love Can Be" rocked my world with its crisp and slick production the first time I heard it, and Both "Big Fish" and "Bagbak" serve as persistent earworms. On top of all of this, Vince's originality with both his flows his lyrics never fail to hold my attention. Obviously, this album isn't perfect and isn't without its flaws. The album starts to lose steam during "Samo" (though I still like this song) and especially "Party people", and I also wouldn't say that I was a gigantic fan of "Rain Come Down either". Overall, this is possibly my rap AOTY so far.
Best Tracks: Yeah Right, Love Can Be, Big Fish, BagBak, 745
Worst Track: Party People "[+]Reply
"There were a tale of three wise men who each brought gold, frankincense and myrrh. But, none have spoken about the other two very wise men who JUST DROPPED RTJ3, MOTHERFUCKERS"Reply
"I had high expectations for this album and it's even better than I hoped. The jamming nature of opening track Rattlesnake sets up the album allowing the listener to adjust to the microtonal sound and from then on it's a lot of fun. Immediately wanted to listen to it again after first listen."Reply
"For a while, The Money Store was Death Grips' best album. But The Powers That B (TPTB) is really contending for that spot. It's a bit of an unfair competition considering the fact that TPTB's two sides give it great variety. One really interesting pointer is that both sides feature someone who ha...""For a while, The Money Store was Death Grips' best album. But The Powers That B (TPTB) is really contending for that spot. It's a bit of an unfair competition considering the fact that TPTB's two sides give it great variety.
One really interesting pointer is that both sides feature someone who has not directly worked with the band before. On the first part, Niggas on the Moon (NOTM) it's Icelandic singer Bjork. On the second half, Jenny Death (JD) it's guitarist Nick Reinhart of Tera Melos. While all the songs on NOTM feature Bjork's vocals (in fact, it features none of Flatlander's abrasive synths. Replacing that is Bjork's heavily edited vocals), only tracks 3, 4, 7, 8 and 9 feature Nick's guitar.
NOTM is another foray into the experimental side of Death Grips, more or less continuing on from the path they took starting from No Love Deep Web. While not nearly as abrasive and in-your-face as, say, Exmilitary and The Money Store, NOTM is still an entertaining listen, with Zach really pulling of some great drumming in each of the 8 tracks. However, NOTM's variety is, unfortunately, a bit too homogenous. Each track sounds very similar to the last, and none of them have MC Ride's infamous yelled vocals (although several songs hint at it). To put simply, all the songs are far softer and less abrasive. Instead a lot of the real content is in the lyrics, which thankfully are far more understandable due to MC Ride not shouting (this may possibly be the explanation for the lack of his shouted vocals). The songs' themes range from racism (Black Quarterback, Say Hey Kid) and paranoia (Up My Sleeves) to the lifelessness of modern sex (Billy Not Really, Have a Sad Cum, Fuck Me Out) and the idolization of celebrities (Voila). Either way the lyrical content on here is, as always, cryptic but has some sort of meaning behind it.
JD, the much hyped second half, is quite literally the culmination of everything they've done. From the extremely loud, harsh and unforgiving I Break Mirrors With My Face in the United States to the almost ballad-like instrumentation of On GP (which stands for On General Principle by the way. It has absolutely nothing to do with their previous album Government Plates), this side has far more variety and content than the 32 minute NOTM (JD is 50 minutes, in comparison). It opens with the I Break Mirrors With My Face in the United States, which as I described earlier, is extremely loud, harsh and unforgiving. It features MC Ride's infamous yelled vocals, something which was completely absent from NOTM. The track is so quickly paced and short that despite how much there is going on, it goes by in a flash, as if it never happened. Then we get Inanimate Sensation, which is probably the most progressive song Death Grips has ever written. Although following the old "verse-chorus-verse" structure, each verse is drastically different from the other. The track opens with a chorus of voices ascending pitch. It's quite difficult to explain, really. The first verse is your average Death Grips verse, opening with the line "IN-ANIMATE SEN-SUH-A-TION", in MC Rides typical yelled rapping style. Then we get the chorus "BLOWNOUT, BASE", which leads to the second verse, which is rapped entirely in MC Ride's whispering voice, with the exception of the line "I'M NOT WITH YOU". Then we have the chorus again, and we move on to the third verse, which is rapped entirely with MC Ride's shouted vocals pitch shifted down. The third chorus continues with these pitch shifted vocals, and we have the fourth verse, where MC Ride makes multiple references to classic rock and popular music in general. Then we have the chorus again, and we have a miniature fifth verse which is quite similar to the first verse. And then we finally end with the chorus. Either way the entire 6 minute experience is extremely thrilling. The next song is Turned Off, which really does sound like a nu metal piece. Thankfully, it isn't terrible, in fact it's one of the best songs on the album. Then we have Why a Bitch Gotta Lie?, which follows the same nu metal style that Turned Off had. Although this song is less accessible than Turned Off due to the strange digital manipulation on MC Ride's vocals, it's actually pretty good once you get used to it. Then Pss Pss plays, a song about the lifelessness of sex. This song, quite interestingly, also references Have a Sad Cum early on. After that we get the title track, which is easily the loudest, sludgiest, heaviest, and most brutal thing Death Grips has ever put out. It's quite the experience, and really is quite indescribable. Then it's Beyond Alive, which would probably be my least favorite track on here if not for the final track (I'll get to that one later). It retains the nu metal style from tracks 3 and 4 but simply does not have the same magic that the aforementioned tracks have. Then we have Centuries of Damn, which, while good, has nothing too special about it to make it stand out. After this we have On GP, which in my opinion is one of the best tracks on JD as a whole, alongside Inanimate Sensation. Nick's guitar is extremely prominent on this track, and he really adds on to Flatlander's sound. It's also probably the closest Death Grips will be to a ballad or anything of the sort. The track glitches into the final (and most disappointing) track, Death Grips 2.0. From its name you'd expect some sort of amazing and revolutionary piece that will mark a complete change in Death Grips' style. But unfortunately, it isn't. It's just a repetitive instrumental track which was stretched out for way too long.
Either way, the LP is abso-fucking-lutely phenomenal, perhaps even better than 2012's critically acclaimed The Money Store. Only time will tell if Death Grips can continue their streak of amazing albums. "[+]Reply
"Now, at last, an indie sensibility is turning into a movement. This (not the repetitive "An Awesome Wave") is the document. Featuring warm foothills, female rebels, and duels. Above all, "love is the warmest color""Reply
"Without a doubt, one of the most sonically exciting releases all year. This is an album that feels tactile, yet otherworldly in the same breath. Not to mention that the songwriting manages to be concise, without sacrificing versatility. No Shape is a bright (though not Too Bright), uplifting work...""Without a doubt, one of the most sonically exciting releases all year. This is an album that feels tactile, yet otherworldly in the same breath. Not to mention that the songwriting manages to be concise, without sacrificing versatility. No Shape is a bright (though not Too Bright), uplifting work of pure brilliance. Perhaps the back half sags ever so slightly, but this is, in my mind, the best work Perfume Genius has done."[+]Reply