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: 3 hours ago).
"The halls of Columbia University birthed Vampire Weekend, a baroque pop outfit with a pension for utilizing world music. They were critically lauded soon after, but in the eyes of those who equate surroundings to people, they were little more than privileged rich boys who gained the favor of thos...""The halls of Columbia University birthed Vampire Weekend, a baroque pop outfit with a pension for utilizing world music. They were critically lauded soon after, but in the eyes of those who equate surroundings to people, they were little more than privileged rich boys who gained the favor of those with power in the industry. The band shrugged such ridiculous claims off and just kept on keeping on. In other words, they kept making some of the best pop music of the decade. Nevermore was their genius more validated than with 2013's Modern Vampires of the City. Sporting a crystalline sheen and drastically more sinister tone, Vampire Weekend concocted its best collection of tracks to date.
Seemingly alternating between uptempo, positively-charged romps and sentimental, breezy ballads, Modern Vampires of the City prioritizes balance far more than the band's prior work. The first landmark comes in the form of third track Step, which twinkles triumphantly leaving Rostam Batmanglij's production as the hallmark of the sweepingly gorgeous cut. The album soon receives an adrenaline shot in the form of Diane Young, a full-gear stomper which emphasizes a desire to live life at its fullest, with no regrets about being rebellious or young for that matter. One of the album's most audacious excursions comes in the form of tenth track Ya Hey. Frontman Ezra Koenig's vocal delivery is in stark contrast to the rest of the album, invoking religious fervor at a subdued pace.
As convention would have it, Modern Vampires of the City is indeed a pop record. It's one that takes risks, nudges away stereotypical classification and entrenches Vampire Weekend as a prominent force in modern music. Provocatively written, skillful executed and exquisitely produced, the album is a testament to the blossoming creativity of a young group on the rise, with much success predicted to follow. The album has a warm quality and has effectively become a comfort piece for me, calling back to better times. It's a record for those with youthful flesh and minds with temperaments far beyond their years.
"Ancestors told me that their girl was better
She's richer than Croesus, she's tougher than leather
I just ignored all the tales of a past life
Stale conversation deserves but a bread knife"
-Step
Standout Tracks:
1. Step
2. Finger Back
3. Don't Lie
99.6"[+]Reply
"This is the kind of album that people will pick up in 50 years time and would have realised they've found a gem. Sounds bland at first but this album has a real magical feel. Like it was recorded in a church in the middle of a forest two hundred years ago."Reply
"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...""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
92.8"[+]Reply
"And just like that my whole world was shaken by one album. One album that completely and totally transfixed every part of me from the physical, to the mental, and the spiritual. This album literally expressed in 1 hour how I feel and all my emotions and thoughts. The music... Well, lets just say ...""And just like that my whole world was shaken by one album. One album that completely and totally transfixed every part of me from the physical, to the mental, and the spiritual. This album literally expressed in 1 hour how I feel and all my emotions and thoughts. The music... Well, lets just say it encapsulates every aspect of what I have been wanting in music for a long time. It has the ambience of all the ambient music I've been into the last year, it has the space and dynamic and contemplative grace of Talk Talk, it has the voice and emotional delivery of 80s era Dylan or Kaputt era Destroyer, also it has the great pop rhythms of Kaputt or mid 80s Kate Bush albums, it has the wise and simple poetic touch that I love finding in music from time to time. This album is the closest thing I can imagine to what the soundtrack of my existence is. It's hopeful, lonely, never gives up, it feels completely immersed in internal emotional struggles, yet it manages to stay composed enough to push along with a knowingness or, at least, a hope that it will all be okay in the end.
This may be my most rambly album note ever. But this is what I wrote as is no edits. I'm in love. This album is life to me. It's exactly what I needed. It has helped me more than you can imagine.
Now everyone please go listen to this album if you haven't already!"[+]Reply
"Overhyped, overrated, underrated, ignored, I'd like to point out that all MEANS NOTHING. Just go on YouTube or whatever and listen to some tracks and make up your own mind. I heard about this from Pitchforks glowing review. And then I listened to some stuff, and it sounded amazing. Then I bought ...""Overhyped, overrated, underrated, ignored, I'd like to point out that all MEANS NOTHING. Just go on YouTube or whatever and listen to some tracks and make up your own mind. I heard about this from Pitchforks glowing review. And then I listened to some stuff, and it sounded amazing. Then I bought the album and I listened to it several times. I've decided it is masterful. It's smooth and flows and all the elements of the album mingle incredibly. "Bad Religion" and "Thinking about you" are some stand outs, but again the whole record is fabulous. Huge fan! It just hits that good spot musically where it all makes sense. If you wanna hear a badass modern incarnation of Stevie and Marvin, this dude is great for that. But really he is his own man and his own style and this record can stand in its own 2 feet. Best album of year that I've heard and only in my opinion."[+]Reply
""I was raised up believing I was somehow unique / Like a snowflake distinct among snowflakes, unique in each way you can see / And now after some thinking, I'd say I'd rather be / A functioning cog in some great machinery serving something beyond me." So begins this album's fantastic title track,..."""I was raised up believing I was somehow unique / Like a snowflake distinct among snowflakes, unique in each way you can see / And now after some thinking, I'd say I'd rather be / A functioning cog in some great machinery serving something beyond me." So begins this album's fantastic title track, a song that may sum up the peculiar situation of the millenial generation. I'm not a millenial, but to a degree I think we can all identify with that final sentiment: that our culture rewards individual achievement when what really delivers meaningful happiness is a sense that we're part of something larger than ourselves. I've never seen Fleet Foxes live, and I'm not sure if I ever will with the band on indefinite hiatus, but I'd like to sing that song at the top of my lungs in a room full of people."[+]Reply
"This is an interesting album. It is considerably different in tone than For Emma, Forever Ago. I actually had never heard of Bon Iver prior to seeing them featured on a cover of the Rolling Stone. I think I had heard of Justin Vernon though prior and the article had mentioned him working with Kan...""This is an interesting album. It is considerably different in tone than For Emma, Forever Ago. I actually had never heard of Bon Iver prior to seeing them featured on a cover of the Rolling Stone. I think I had heard of Justin Vernon though prior and the article had mentioned him working with Kanye, so that made me interested after seeing that.
Gave a listen and Perth to me was an outstanding opener. I also got a chance to see them in concert and being five feet away from the speaker on this song was an awesome experience and really made me appreciate it even more haha. Minnesota, WI is another good song. I like the funky opening. A big problem though I have with the album is 1) A lot of it is hard to understand lyrically and I think that's the point. It is supposed to move you more through music. The lyrics are just a passenger on this album in the vehicle the music. And 2) Some of the lyrics like wtf do they mean. You need a theasaurus for some of it.
In Minnesota, WI one of the lines is like Armour let it through borne the arboretic truth you kept posing...what's that mean? lol But some songs are beautiful with their words particularly Perth and Holocene. Holocene is one of the best songs I've ever heard. Might be a weird comparison but this to me is kind of like a indie folk version of Chrstopher Cross's song Sailing. Both are very soothing songs and hypnotic in their sound and make you appreciate living.
The middle of the album is not fascinating and slows down a lot. Songs start to sound the same. Towers is good. I think it's about a relationship Justin had in college. Hinnom, TX, Wash. and Michicant probably the weakeest songs on the album. Calgary is by far Bon Iver's most underrated song and in looking at their catalog that could be the one that's most underappreciated. It's a good song especially when it picks up in the end. Lisbon, OH is a nice instrumenatal piece. It's a quiet song like you're walking in a downtown of some small town late at night. Vernon does a good job with the instrumental tracks. Team from For Emma is phenomonal and one of the best instrumental tracks I've heard.
Lastly, the album closes with Beth/Rest, which is very hit or miss to listeners. I love it. It's got a very late 80's sound to it and I tend to like that kind of music. It reminds me of Bruce Hornsby and the song in theme actually reminds me a lot of his closing song the Red Plains on the Way it is. Lyrically, again it's a very tough song to decipher, but I think the ultimate message is that the memories you have with people will always be there, even if you're no longer in contact with the person.
It's not for everyone, but I'm a fan of this album. It's a very soothing album and Vernon does a good job depicting place and time in his songs. This is the album that made me a fan of Vernon's. Bon Iver's future kind of looks up in the air now, but I'm looking forward to the rest of Vernon's career. "[+]Reply
"I compare Arctic Monkeys to a cute, funny, (maybe a trouble making) kid, who then grew into an ugly, awkward teen. This album is Arctic Monkeys emergence from the awkward phase, and into a good looking adult. My favorite album of theirs is still "Whatever people..." I like "Favourite..." a little...""I compare Arctic Monkeys to a cute, funny, (maybe a trouble making) kid, who then grew into an ugly, awkward teen. This album is Arctic Monkeys emergence from the awkward phase, and into a good looking adult.
My favorite album of theirs is still "Whatever people..." I like "Favourite..." a little less, and I flat didn't care for the two that followed.
My initial impression of AM was disappointment that they were never again gonna be those catchy, reckless, trouble making kids like in "whatever.." Then I realized that they just grew up.
This is definitely their second best album, but its good in none of the ways that their debut was.
I wouldn't have thought that Arctic Monkeys would be a band who could grow and evolve, but they most certainly have and it's pretty damn good.
"[+]Reply
"This album just doesn't do it for me. Most of it comes across as just weak disco (Lose Yourself To Dance) overblown and trying too hard (Touch) or just outright dull (Within, The Game Of Love) Get Lucky is an exception, pulling off retro disco to great effect and making one of the best pop single...""This album just doesn't do it for me. Most of it comes across as just weak disco (Lose Yourself To Dance) overblown and trying too hard (Touch) or just outright dull (Within, The Game Of Love) Get Lucky is an exception, pulling off retro disco to great effect and making one of the best pop singles of the year, Giorgio By Moroder is legitimately amazing and works far better than Touch. Instant Crush is also pretty great synthpop, though I'm not sure I'd go as far as some have said that it's the best thing Julian Casablancas has ever worked on. Contact is alright but overrated, it's so obviously trying to be this amazing, epic ending that it's kinda funny. Overall, pretty disappointing, stick with Discovery."[+]Reply
"I’m not going to fight it. I’m addicted to the sparkling, candy colored songs of Beach House. Beach House go full-on arena-sized for this album. Launching the grandeur of the Cocteau Twins straight to the upper rafters. I completely give in to its waves of Cure and Loveless-era MBV guitars washin...""I’m not going to fight it. I’m addicted to the sparkling, candy colored songs of Beach House. Beach House go full-on arena-sized for this album. Launching the grandeur of the Cocteau Twins straight to the upper rafters. I completely give in to its waves of Cure and Loveless-era MBV guitars washing over me. I’m no longer Tilly. I'm just a rag doll. Letting myself drift effortlessly wherever the waves take me. These are the songs I play to beat back the doldrums when they’re nipping at my heels. To kick them off and instead reach to the heavens and sing and shout that I can still make it despite it all.
Grade: A. This is Beach House at their poppiest. And pop is a surprisingly good fit for them. I still prefer their sound when it’s little rougher around the edges and the guitar cuts a little bit more deeply such as on Thank Your Lucky Stars. But, it’s still essential Beach House and definitely one of the best dream pop albums of the last decade. "[+]Reply
DriftingOrpheus | Helpful? (Log in to vote) | +6 votes (6 helpful | 0 unhelpful)
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mayonaise93 | Helpful? (Log in to vote) | +13 votes (13 helpful | 0 unhelpful)
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Mercury | Helpful? (Log in to vote) | +13 votes (15 helpful | 2 unhelpful)
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buzzdainer | Helpful? (Log in to vote) | +8 votes (8 helpful | 0 unhelpful)
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samistake2ice | Helpful? (Log in to vote) | +12 votes (13 helpful | 1 unhelpful)
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alelsupreme | Helpful? (Log in to vote) | +10 votes (16 helpful | 6 unhelpful)
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Repo | Helpful? (Log in to vote) | +12 votes (12 helpful | 0 unhelpful)
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