A Record for Every Year: Favorite Albums of the 2010s
It’s hard to fully comprehend just how much happens in a decade. From technology to global politics to something as simple as slang words, the changes in our culture over just ten years can transform entire generations of people. However, more than anything else, each passing era is defined and remembered by its art, with music being no exception. Despite the rise of digital streaming and social media sparking an awkward period of transition for the music industry, the 2010s introduced the world to endless amounts of fantastic music. With the turn of the decade still within the rear-view mirror, I felt inspired to reflect on the music that left the biggest impression on me over the past ten years, singling out my personal favorite album from each year of the 2010s.
2010: LCD Soundsystem - This is Happening
Originally slated as LCD Soundsystem’s final album, This Is Happening sees the legendary dance-rock band sounding bigger and bolder than ever, with frontman James Murphy delivering his most personal batch of songs to date. While aesthetically similar to their previous album, the critically acclaimed 2007 release Sound of Silver, This Is Happening pulls from a wider array of genres and influences ranging from post-punk to techno to glam rock. It’s an eclectic mix of sounds that gives the album a relatively high barrier of entry, and with the majority of songs spanning well over seven minutes, it’s far from the most accessible listen. But James Murphy is a master at building tension in his songs, making every second count by introducing new musical layers that always feel fresh and exciting. Opening with the now iconic vocal harmonies of “Dance Yrself Clean” and closing with a reprise of the very same harmonies on “Home,” This Is Happening is the sound of something magical coming to an end, with highlights such as the infectiously catchy, disco-tinged grooves of “I Can Change” and the frank deconstruction of the music industry on “You Wanted a Hit” along the way.
(Honorable Mentions: Deerhunter - Halcyon Digest, The National - High Violet)
2011: Wye Oak - Civilian
On the Baltimore duo’s third record, Wye Oak sound completely at home, fusing elements of folk rock, noise, and dream pop into something wholly unique yet undeniably familiar. The band manages to create a rich, airy atmosphere that retains an organic quality with its stripped-back instrumentation, resulting in a sound that feels fittingly grounded in reality. It’s a sound that perfectly complements lead singer Jenn Wasner, accentuating the most haunting qualities of her vocal delivery and allowing her distinct songwriting style to shine. While the aesthetic of Civilian is a cohesive one, the album is incredibly dynamic; tracks like “Holy, Holy” and “Dogs Eyes” see Wye Oak embracing their rock edge with fuzzy, abrasive guitars and soaring crescendos, and other moments such as “Fish” and “Two Small Deaths” highlight the band’s gentler side with precise vocal harmonies and instrumental subtleties. But the true standout track has to be the mysteriously somber “We Were Wealth,” a hazy, delicate ballad whose final two minutes build into one of the most stunning, gorgeous, and harrowing musical moments of the decade.
(Honorable Mentions: The Strokes - Angles, The Decemberists - The King is Dead, Adele - 21)
2012: Japandroids - Celebration Rock
There are few albums from the past decade with a more fitting title than Celebration Rock. With its thunderous guitar riffs, chanted choruses, and even the sounds of fireworks that open and close the record, the Canadian rockers’ sophomore album truly is a celebration of rock music and life itself. Featuring smoother production than their previous releases, the band has never sounded this big and bold, and the way the album develops its rich soundscapes with just a drum kit and a guitar is highly impressive in itself. Every track is filled to the brim with catchy hooks and bursting with raw energy and personality, resulting in a listening experience that feels larger than life. Celebration Rock is visceral, melodic, and incomparably anthemic. It’s a concise package of rock music in its purest form, one that is thoroughly fun from start to finish. In other words, it’s the quintessential hype-up album.
(Honorable Mentions: Cloud Nothings - Attack on Memory, Jack White - Blunderbuss, The Shins - Port of Morrow)
2013: Daft Punk - Random Access Memories
The opening track of Daft Punk’s Random Access Memories, “Give Life Back to Music,” also serves as the album’s mission statement. On their fourth record, the iconic French duo steps away from their traditional house/electronic music roots in favor of an eclectic fusion of funk, pop, rock, and EDM, bringing in a diverse selection of collaborators from all corners of the musical spectrum to make it possible. The result is an album that sounds like a genuine love letter to music as a whole, and it is an absolute joy to listen to. During the long six-year recording process for the record, Daft Punk took heavy inspiration from the aesthetics of the late ’70s and ’80s, presenting them in a sleek, modern package that feels as nostalgic as it does innovative. This is thanks in large part to the very best production of any record from the past ten years, and with the band’s most nuanced songwriting on display with infectious radio singles like “Get Lucky” and “Doin’ It Right” and sprawling electronic voyages like “Giorgio by Moroder,” Random Access Memories is full of polish and charm. It’s the sound of Daft Punk reinventing themselves and pushing the boundaries of pop music.
(Honorable Mentions: Washed Out - Paracosm, CHVRCHES - The Bones of What You Believe)
2014: Run The Jewels - Run The Jewels 2
2014 was an excellent year in the music world, but the second album from Killer Mike and El-P’s collaboration project takes the cake with its near-infinite replayability. Run The Jewels 2 is a fiery ball of anger and aggression that never lowers the intensity, resulting in some of the catchiest rap music of the decade. It should be acknowledged that this album, as great as it is, is absolutely not for everyone; with its coarse sound, extremely graphic lyrics, and old-school flows, the hardcore hip-hop aesthetic that Run The Jewels present on RTJ2 will turn certain listeners off very quickly. But this abrasiveness and pure rage is what breathes so much life into each hook, whether it be the fast-paced bars and action movie-inspired chorus on “Lie, Cheat, Steal” or the glitchy vocal patterns on “Oh My Darling Don’t Cry.” Even more so than the first RTJ record, El-P and Killer Mike feed off of each other with amazing chemistry, elevating each other’s performances to new heights, and with a plethora of dynamic and imaginative beats headlined by the bouncy distorted grooves of “Blockbuster Night, Pt. 1,” El-P solidifies his place as one of the very best producers in hip-hop. RTJ2 is a breath of fresh air for modern rap music and the kind of raw adrenaline rush that only a group like Run The Jewels could deliver.
(Honorable Mentions: The Voidz - Tyranny, Alvvays - Alvvays, Cymbals Eat Guitars - LOSE, Spoon - They Want My Soul, Ariel Pink - pom pom)
2015: Kendrick Lamar - To Pimp a Butterfly
Kendrick Lamar’s magnum opus is a truly immersive musical experience from start to finish. From the instrumental palette to Kendrick’s flows, To Pimp a Butterfly is a seamless fusion of styles from hip-hop’s past, present, and future complete with splashes of jazz, funk, and soul. The way all of these sounds and influences build atop one another so effortlessly is an incredible feat that must be heard to be fully appreciated, and the constant introduction of new ideas keeps things fresh and engaging for its entire 79-minute runtime. Lyrically, To Pimp a Butterfly features Kendrick’s most poetic and evocative bars to date, combining clever wordplay with striking imagery that feels wholly unique and creative. The album addresses themes of racial discrimination, African-American culture, political tension, and mental health from a candid and highly personal angle that gives each song a sense of relevance and realism, and it all culminates in an impactful social commentary that is endlessly thought-provoking. Simply put, To Pimp a Butterfly is one of the most important, innovative, and influential albums of the 21st century.
(Honorable Mentions: Courtney Barnett - Sometimes I Sit and Think, and Sometimes I Just Sit, Father John Misty - I Love You, Honeybear, Sufjan Stevens - Carrie & Lowell)
2016: Car Seat Headrest - Teens of Denial
At the start of the 2010s, Car Seat Headrest was the solo musical project of Will Toledo, a no-name teenager recording his own music in the back of his car. While the recordings were jarringly unpolished and rough around the edges, Toledo still managed to amass a strong cult following of fans who connected with the abrasive angst of his music. So when Car Seat Headrest signed to Matador Records in late 2015, giving the project a large budget and an entire backing band of musicians, Toledo finally had the tools to unlock his full potential. Teens of Denial maintains the raw emotion and lo-fi sound of the project’s earliest DIY releases but presents it all with a smoother coat of paint and a stronger focus, resulting in one of the finest rock albums of this generation. The record is a masterclass in songwriting, with every single melody being expressive and memorable and Will Toledo’s lyrics being more refined, witty, and compelling than ever. From the anthemic shouts of opening track “Fill in the Blank” to the hilariously poignant storytelling on “Drugs with Friends” to the rollercoaster of emotions that is the 11-minute epic “Ballad of the Costa Concordia,” Teens of Denial perfectly captures the essence of the American teenage experience.
(Honorable Mentions: A Tribe Called Quest - We Got It from Here... Thank You 4 Your Service, Angel Olsen - MY WOMAN, Radiohead - A Moon Shaped Pool, Jeff Rosenstock - WORRY.)
2017: Grizzly Bear - Painted Ruins
Intricate, polished, and uniquely beautiful, Grizzly Bear's Painted Ruins is indie rock at its most vibrant. The New York four-piece takes their distinctly elaborate style of songwriting to the next level with production that is equally creative, using any and all instruments to form new and intriguing textures of sound. It’s the kind of album that demands to be played with a good pair of headphones and the undivided attention of the listener, the kind that may take more time to get into but is all the more rewarding once it clicks. Compared to their previous album, 2012’s Shields, the overall tone of Painted Ruins is a much moodier one, with moments such as the entrancingly catchy choruses of “Three Rings” and the dense synthesizer ambience of “Systole” standing out as emotional landmarks. When the band does wash away some of the fog, however, they create these delightful pockets of clarity which, more often than not, resolve in beautiful, meticulous chaos. Whether it be the erratic, marching-band-esque percussion on the gorgeous “Four Cypresses” or the jazzy dissonance of “Aquarian,” Grizzly Bear keeps listeners on their toes at all times. Painted Ruins is a marvel in terms of musicianship and precision, ending in an album experience that truly feels like a musical painting.
(Honorable Mentions: Japanese Breakfast - Soft Sounds from Another Planet, Pond - The Weather, Charly Bliss - Guppy, Run The Jewels - Run The Jewels 3, The National - Sleep Well Beast)
2018: MGMT - Little Dark Age
MGMT return to their synthpop roots on their comeback album Little Dark Age, delivering some of the best pop songwriting of the decade. The record is a darker, goth-inspired take on the band’s signature sound, but despite its moodier elements, it never takes itself too seriously, resulting in a memorable listening experience that is equal parts fun and unnerving. Songs like the delightfully eerie title track and the introspective dread portrayed on “When You’re Small” carry more emotional weight than anything MGMT has ever recorded. Others, such as the summer-y ode to friendship “Me and Michael” or the 80’s fitness VHS soundtrack “She Works Out Too Much,” are quite the opposite, serving as bright, sometimes outrageous palate cleansers for the album’s gloomier cuts. It’s a stark contrast that would cripple an album in the hands of most artists, but on Little Dark Age, MGMT pulls it off with style and confidence.
(Honorable Mentions: Parquet Courts - Wide Awake!, Beach House - 7, Snail Mail - Lush, The Voidz - Virtue)
2019: Jay Som - Anak Ko
While working on her second full-length album under the name Jay Som, multi-instrumentalist Melina Duterte knew she wanted to title the record Anak Ko, a Tagalog phrase meaning “my child” which her mother had used to address her during her childhood. It is a title with an inherent sense of intimacy behind it, and that same intimacy permeates every aspect of the album. As was the case on her 2017 album Everybody Works, almost all components of Anak Ko are written and performed by Melina herself and recorded within the confines of her small Los Angeles apartment, creating a cozy atmosphere reflective of the methods used to bring each song to life. However, even more so than her previous works, Anak Ko’s sound has an incredibly warm texture which, especially when complemented by Duterte’s mesmerizing whispery vocal delivery, brings a whole new level of expressiveness to her music. The album achieves quite a lot in its brisk 34-minute duration; its nine tracks contain moments of energetic guitar rock, nuanced acoustic balladry, and just about everything in between, all of which is expertly paced for an endlessly satisfying listen. It’s an irresistible “mood album” and a bedroom pop masterpiece, rounding off the decade on a much needed comforting note.
(Honorable Mentions: Pond - Tasmania, Tyler, the Creator - Igor, Andrew Bird - My Finest Work Yet, Nick Cave and the Bad Seeds - Ghosteen)