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).
"This album is very synth-heavy, vocal-light and compressed. It feels extremely insular. There are effects warping the instrumentals creating a clostrophobic mood with the female lead singer's voice desperately chirping amidst tinny dubstep to be free."Reply
"Freaking awesome ! god bless these guys if there is a god. Rob you rock my man ! these guys have been making music since 1969 .. let that sink in. Fantastic and kickass album."Reply
"The spinning circles of dead bodies in the night. The insistent creek in the floor boards powdered with bed crumbs. So subtle yet so disturbed. Haunted, dark and bleak. This album is a work of art while remaining true to purpose of all good music, to be enjoyed. The sparse arrangements of 'Victor...""The spinning circles of dead bodies in the night. The insistent creek in the floor boards powdered with bed crumbs. So subtle yet so disturbed. Haunted, dark and bleak. This album is a work of art while remaining true to purpose of all good music, to be enjoyed. The sparse arrangements of 'Victory Dance' will lead you astray into it's dreary tapestry. This is an album that will have you lost in the woods. When the drums pound alone and the moments of silence... something that stirs the imagination indeed. But even after I say all this... the album has great songwriting. There are moments amongst all this where the need to write a catchy song breaks through. 'Outta My System' a tale of the young at heart meeting the tar and trash of the heart, the constant repetition has you singing along on the first listen! 'Holdin On To Black Metal' also provides light hearted humour amongst it all. Really, it is an achievement to pull that off considering the rest of the album. This one is an abandoned car at the side of the reservoir, left to the elements while the odd light still flickers inside it. The inside strewn with trinkets off the young couple who once claimed it as their own."[+]Reply
"I read an iTunes review of this album where someone complained that Leonard Cohen was so old he was just talking through his songs now. What they must not have realized is that Cohen has always done that. In his younger days he sang a little bit, but since the late 70s, he basically talk-sings hi...""I read an iTunes review of this album where someone complained that Leonard Cohen was so old he was just talking through his songs now. What they must not have realized is that Cohen has always done that. In his younger days he sang a little bit, but since the late 70s, he basically talk-sings his way through songs. This album is no different, it’s exactly what you should expect from a Leonard Cohen album. Lyrically the album is great, Cohen certainly hasn’t lost his poetic touch. Musically the album is decent. Not amazing, but not bad. If you’re a fan of Cohen already, you’ll probably enjoy this album, it’s a lot like the stuff he’s been putting out the past few years. However if you’ve never heard of Leonard Cohen, don’t start with this album. Start with any album of his from the late 60s, early 70s."[+]Reply
"Earlier this week I was blessed with an absolutely crippling case of insomnia and, in my dazed, "can't fucking believe I'm awake at 6am" state, I figured I'd give that darned new Coldplay record a shot. "Ghost Stories" had actually landed pretty nicely on my ears just a few years prior and all, s...""Earlier this week I was blessed with an absolutely crippling case of insomnia and, in my dazed, "can't fucking believe I'm awake at 6am" state, I figured I'd give that darned new Coldplay record a shot. "Ghost Stories" had actually landed pretty nicely on my ears just a few years prior and all, so...why not give it a go? "Experimental" was a claim I was never going to buy: we all knew what this "double album" was going to be before launching in.
...Or did we?
Welp, turns out, we basically did. Everyday Life is not pushing pop-rock-anthem boundaries another band hasn't pushed (and pushed more successfully) before: U2 has been doing this shit since "All that You Can't Leave Behind." That said, after a decade of half-hearted attempts at more straightforward pop, it seems that Martin and co. have finally chosen to (belatedly) acknowledge that their strength lies in tender balladry and chorus-driven anthems. This plays to their advantage. Chris Martin, despite his desire to front a neo-disco outfit, has not lost his superhuman touch with the sentimental: "Orphans", "Old Friends", and "Champion of the World" all pluck heartstrings with greater force than any of the next-best Coldplay tracks of the 2010s (Charlie Brown, Always in My Head...Magic?). Frankly, I don't see much use in delving in to the more traditional highlights: what's to be gained from reminding you that Coldplay is really fucking good at being...Coldplay?
Except that's not really all that happened.
Oh no. Not at all.
No, this record is bizarre, and what's damn bizarre about this record is the borderline-abrasive genre hopping. Let's break down the "Coldplay-not-doing-Coldplay-shit" just for kicks:
Broken (I refuse to capitalize the E, sorry Chris): Straight vocal gospel. Like...played totally, 100% straight. This is, again, right out of the U2 playbook (everyone knows the best version of "I Still Haven't Found..." is the gospel-choir infused cut on Rattle and Hum), but still...that our British boys refrained from breaking into a reverb-addled gospel-hybrid-thing is commendable. Again, though, just...bizarre. Think about this. Then listen to it. It doesn't get any less weird.
Arabesque: It's been a few weeks, so we're used to it now...but...the Kuti family is playing on a Coldplay track. The Kuti family is playing on a Coldplay track and it's not a fucking gimmick. Gimmick-be-damned, "Arabesque" is a poorly-named heavy hitter of a song, the centerpiece of "Everyday Life", and blessed with thick-ass electric piano, horns galore, and Martin successfully writing the "we're all one" message Bono hasn't been able to string together in years. The only downside to this number is how it brings the degrees of separation between Kuti and the Chainsmokers down to one.
When I Need a Friend: I'm fucking losing my mind. Is this fucking real? Chris Martin singing with a church choir (like, traditional church choir) over found-sounds? Do I even need to talk about this? It's fucking great. Fuck. Fuck.
Èkó: Joni-esque guitar. Flower-child folk-music. They just keep hitting us with this shit, huh? It's well executed, too! I've lost the ability to speak critically about what's going on here; all I know is that the sounds aren't weird, it's just weird to hear them coming from Coldplay. It might be even weirder that it's actually good.
Cry Cry Cry: Chris Martin and the Coldtones. How long has Martin been into doo-wop and why is it just now manifesting in his musical direction? It's hard to imagine this track translating to a Coldplay show (not that they'll be playing any on an international level, I suppose), but it almost feels like I'm being toyed with at this point. "Bet you didn't know I like Dion, assholes"- Chris Martin, 2019
بني آدم: Why is this baroque piano piece on the record? Because Chris Martin is already richer than god, that's why.
What a bold, anti-commercial move from a band I had written off as selling-out harder than Tekashi69 in court. I'm not sure that this genre-hopping approach served the record's flow particularly well, but it might've been the only way the Coldplay family could challenge the ever-growing perception of the band as a brand rather than...well, a band.
How did "Cry Cry Cry" end up being good. Fuck."[+]Reply
"There existed an addiction to blood has fantastic flow and really builds on its atmosphere. The sound design is really interesting particular on the background noise based "Run For Your Life:. Unfortunately what really prevents the album from succeeding is the hollowness of the beats. There comes...""There existed an addiction to blood has fantastic flow and really builds on its atmosphere. The sound design is really interesting particular on the background noise based "Run For Your Life:. Unfortunately what really prevents the album from succeeding is the hollowness of the beats. There comes a part in many of the songs were you are waiting for the beat to kick in but it never does. "[+]Reply
"Nothing particularly special here, but if you're looking to groove to some old school soul, this is a go to album. Imo some of the tracks felt a little empty, but overall it was decent. 7/10 Fav Tracks: Brown Skin Girl, Shine, Twistin' & Groovin', River"Reply
"This album has entered my Overall list at the expense of Burial’s EPs on their own which gives me room to add other deserving albums. I want to highlight Kindred and Truant/Rough Sleeper as the 2 EPs on this compilation that tower above the others. They have so much to offer the avid, immersive l...""This album has entered my Overall list at the expense of Burial’s EPs on their own which gives me room to add other deserving albums. I want to highlight Kindred and Truant/Rough Sleeper as the 2 EPs on this compilation that tower above the others. They have so much to offer the avid, immersive listener of electronic music. They really do seem to tell a story, but not the same story. There is always a new story floating throughout with each new listen.
As the English writer Mark Fisher so evocatively puts it;
“Burial's London is a wounded city, populated by ecstasy casualties on day release from psychiatric units, disappointed lovers on night buses, parents who can't quite bring themselves to sell their Rave 12 inches at a carboot sale, all of them with haunted looks on their faces, but also haunting their interpassively nihilistic kids with the thought that things weren't always like this. It is like walking into the abandoned spaces once carnivalised by Raves and finding them returned to depopulated dereliction. Muted air horns flare like the ghosts of Raves past. Broken glass cracks underfoot. MDMA flashbacks bring London to unlife in the way that hallucinogens brought demons crawling out of the subways in Jacob’s Ladder’s New York. Audio hallucinations transform the city’s rhythms into inorganic beings, more dejected than malign. You see faces in the clouds and hear voices in the crackle. What you momentarily thought was muffled bass turns out only to be the rumbling of tube trains”.
Some of the purely ambient tracks kick off this album which makes for a long intro to the subtle beats of my preferred tracks and prevent the album from being a top 10 contender for me but the quality of the second half makes it a definite contender."[+]Reply