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I definitely posted a version of this list a couple years ago, but you know what? I've stumbled upon a handful of artists and albums that have taken a sledgehammer to any preconceived notions I may have had about "my taste in music." So here I am, revising and updating my favorite albums of the 2010s. Many of these were on my original list, but the order has certainly changed, and of course there are some new entries to boot.
As a reminder (allow me to quote myself here): When it comes to music, I often tend to be a formalist. This means that many entries on this list were primarily ranked thanks to excellent songwriting and composition, engaging arrangements, and masterful musicianship. However, I couldn't just cling to all that. So stuff like musical innovation, lyrics, production, cultural impact, and overall listenability were also taken into consideration.
20.) From A Room: Volumes 1 and 2 - Chris Stapleton: Is it cheating to shove two albums into the very first slot on this list? Regardless, I've always been wary of country music, especially anything this side of 1980. But Stapleton is a virtuoso of the genre, and here he weaves authenticity with melodrama, genuine emotion with genre tropes. These two records can easily stand alongside anything Merle Haggard or Dolly Parton ever put out, and if that ain't divine company, I don't know what is. This is whiskey-drunk in a cheap-motel music, and I love it. Standout tracks: From Volume 1, it's gotta be the wailing bluster of "I Was Wrong." From Volume 2, it's the haunting lyricism of "Scarecrow in the Garden."
19.) Lemonade - Beyoncé: When this album exploded unexpectedly onto the scene back in 2016, it seized everyone in its grip and refused to let go for months. On Lemonade, Beyoncé is explosive, imaginative, humble, ferocious, weepy, and everything in between. It's a pop album of epic proportions, with unforgettable melodies and truly standout vocal performances. Musicality and cultural flourishes aside, what I appreciate most about this record is its commitment to variety. In its 45-minute runtime it delivers scintillating soul, hypnotic pop, blistering rap, and unpretentious Texas-style country. With features from artists as diverse as Kendrick Lamar to Jack White, it's clear that Beyoncé worked hard to integrate as many varying styles as she could. This is middle-finger music, with as much bite and bile as the medium can conjure up. Standout tracks: I'm obsessed with the textured production of "Daddy Lessons" and the vocal ferocity of "Don't Hurt Yourself."
18.) Everything Will Be Alright in the End - Weezer: This record not only reaffirms Weezer as a rock & roll mainstay, but also reminds listeners of the humble brilliance that pop-rock as a genre has to offer. This isn't another of Weezer's cringy ploys for popularity (of which there have been many), but isn't simply a rehash of former glory either. Instead, it's a musically diverse outing that pioneers some fresh territory, but doesn't abandon Weezer's trademark style. It's a perfect blend of the old and new, a logical connection of past to present. It has the melodies of Blue, the passion of Pinkerton, the top-40 stylings of Maladroit, and even a dash of Hurley-era goofiness. Oh, and there's also a 3-track instrumental odyssey that closes the record. What's not to like? Standout track: The honey-sweet vocals, greasy guitar solo, and casual time-signature shifts of "Cleopatra" make it one of the band's best.
17.) Interrobang - Bayside: To any music snobs who happen to be here, if you haven't turned your noses up yet, I'm sure you're doing it now. Bayside ain't exactly top of the heap when discussing "musical sophistication," as they're often lacking trendy producers or an avant-garde sound. But with Interrobang, the boys deliver 36 minutes of nonstop punk, and each of its 10 tracks has legs of its own. What surprised me most about this album isn't how catchy it is (which, believe me, it is), but how it all flows together. The arrangements are pulse-pounding, adding thematic weight to the lyrics. Sprinkled liberally with inventive harmonies and shredding guitar solos, and you've got one of the best punk albums of the decade. Standout tracks: I love the razor-wire lyrics and obsidian-black instrumentation of "Bury Me." Oh, and the vocal harmonies of "Heaven" are pure bliss.
16.) Family Dinner (Volume 2) - Snarky Puppy: You guys knew I couldn't leave this list devoid of jazz, right? Snarky Puppy is a band that's as surreal as they are sensational, and with this live album they prove themselves to be the best jazz group of the modern era. With rhythms that'll make your head spin, solos that are unhinged yet emotionally impactful, and grooves deep enough to make the dead tap their toes, it's no wonder this record is one of the decade's best. This is technically considered to be "jazz fusion," and the band was not screwing around with the "fusion" part. Here you'll find bebop, math rock, proggy time signatures, and soulful otherworldly folk. Every song is like a different planet, each with its own gravity, geography, and life. If you're a brave musical explorer, ready to probe the final frontier and boldly go where no one has gone before, then this album should be at the top of your list. Standout track: "Don't You Know," featuring Jacob Collier and Big Ed Lee, is the best jazz song of the decade, and one that's been a playlist staple of mine for years. Get into it.
15.) Malina - Leprous: My buddy Austin once described Leprous as "yoga-core," and if that ain't an apt description, I don't know what is. On Malina, a strangely evocative musical landscape is erected and explored. It's tucked somewhere between ethereal mysticism and extravagant savagery - the soundtrack to a fantasy battle between warrior elves and philosopher centaurs. This is a hard album to describe (clearly), but the vocals are otherworldly and the percussion is sublime. If you're daring, give it a go. Standout track: From its stuttery syncopation to a soaring chorus, "Illuminate" is one of the my favorite songs of the decade.
14.) The Marshall Mathers LP 2 - Eminem: I'm just a simple fanboy from southeast Michigan, so take this with a grain of salt: Not only is The Marshall Mathers LP 2 Eminem's best album, but it might be one of the greatest rap statements ever recorded. There's something intangibly awesome about the entire project, from the throwback album cover to its overall vibe of playful pop malevolence. Eminem has never been afraid to court controversy, but here it seems to be imbued with a new sense of purpose. This ain't shock for shock's sake, and although it's easy to get lost in Em's big anthemic hooks, it's more important to dig through each line. This album finds its grace in unexpected moments - a feature, a sample, a chuckle. All in all, this thing is fantastic fun, and was a serious contender for the decade's best rap album. Standout tracks: While chart-toppers like "Rap God" and "The Monster" are tempting choices, I have to go with the songs produced by the legendary Rick Rubin - "Rhyme and Reason" and "So Far..."
13.) Fifteen - The Wailin' Jennys: My dad is famous for saying, "The best instrument of all-time is the human voice. Everything else is just imitation." Thanks to Fifteen by The Wailin' Jennys, I finally understand what he means. This a cappella album has the best vocals of the decade, with three female folk singers breathing new life into old standards. Their awe-inspiring musicality is most evident in their harmonies (which, when I played some tracks for my dad, he would not stop praising). These intertwining vocals emit auditory rainbows, shimmering auras of light and color. This album is baptism for the ears, a lush cascade of sound that is refreshing, reinvigorating, and remarkable. Standout tracks: I'm torn between the stripped-down simplicity of "Old Churchyard" or the foot-stomping fun of "Loves Me Like A Rock."
12.) Random Access Memories - Daft Punk: I came to Daft Punk later than most, simply because I never cared for EDM or house music. My biggest complaints of the genre? Songs are too long and repetitive, they substitute hooks for melodies, and they often lack organic instrumentals. So thank God Random Access Memories was around to change my mind! It's a psychedelic soundscape that opened my eyes and ears to the possibilities of EDM. This is super funky stuff, with 13 terrific tracks all bound together by a consistently engaging production. It is glittery and polished to excess, but that's kinda the point right? This is full unbridled opulence, and it's awesome - it's a laser-light show, a night spent dancing in a fancy, upscale club. Standout track: "Giorgio by Moroder" perfectly epitomizes the album. It is extravagant and ambitious, walking you through a slew of genres that are all expertly written and performed.
11.) Because the Internet - Childish Gambino: Here's yet another record that I was very, very late to discover. And although I didn't know it at the time, it was well worth the wait. Childish Gambino (or Donald Glover, for the uninitiated) is a mad scientist, concocting beats and melodies with unhinged brilliance. If you're new to hip hop, then this probably isn't the best place to start. It's eccentric and eclectic, sometimes to its detriment, and if you're not willing to just throw your hands up and surrender to the sound, you may as well not bother. To put this in jazz terms, think of it like super trippy bebop. Or, if you're more of a rock guy, then this album is experimental prog. Because the Internet has the freeform flow of Miles Davis, paired with the psychedelic surrealism of King Crimson. If you're like me and you love sifting through every bar and every sample that an artist has to offer, then this album is a beautiful mess to sort out. Standout tracks: "3005" demonstrates how impressive and multifaceted Gambino's flow can be, while "II. Worldstar" harmoniously synchronizes lyrics and arrangement.
10.) The Getaway - Red Hot Chili Peppers: The Chili Peppers are my all-time favorite band, and while I'm a huge fan of their other album released in the 2010s (the fun and funky I'm With You), there's just something about The Getaway that I can't shake. Maybe it's Chad Smith's smooth percussion and how it lovingly supports Flea's melodic bass. Maybe it's the deliciously wonky lyrics of Anthony Kiedis or the waterfall-phrasing of Josh Klinghoffer's lead guitar. Whatever it is, I love how it all comes together in such a pleasant, unassuming way. It ain't the most impressive rock album of the decade, nor even the best of the Chilis, but it's satisfying in an affable sort of way. If this thing were an article of clothing, it would be a perfectly-tailored corduroy jacket. Warm, comforting, and well-made. This is music for driving with the windows down, for skateboarding down streets etched in neon. Standout track: It has to be the major single, "Dark Necessities," which is the smoothest and slickest these boys have sounded in years.
9.) Djesse: Volumes 1 and 2 - Jacob Collier: I've been following Jacob Collier's career for years, starting with a song called "Hideaway" from 2016. He is the torchbearer for modern jazz, blending funk, folk, pop, and bebop together into some new-yet-old style that is entirely his own. With a warbly baritone voice, Collier croons his heart out on these albums, but is never afraid to share the spotlight with other artists and collaborators. Yes, Djesse is stuffed to the gills with additional talent, like jazz choir Take 6, guitar legend Steve Vai, and the jazz/pop phenomenon known as the Metropole Orkest. Here, Collier adopts an ardently metamodern posture, reworking classic songs by The Beatles or Lionel Richie and infusing them with wild chord progressions, high-flying harmonies, and deliberately unusual instrumentals. Collier is a musician's musician, and he never shies away from digging into esoteric arrangements with a niche flair. With two more volumes of his Djesse odyssey releasing in the 2020s, I'm excited to see what he'll come up with next. Standout track: For Volume 1, it's "All Night Long." For Volume 2, it's "Make Me Cry."
8.) Affinity - Haken: The 2010s were a decade inexplicably infatuated with the 80s, and Affinity certainly fits this bill. It's an ambitious prog-rock adventure that is definitely an homage to classic acts like Rush or Dream Theater - but it also has a sound all its own, one that is ambitious and impressive. Awash with synthesizers and emblazoned by hammy guitar heroism, Haken absolutely murders each track. Some spots have a real Stranger Things vibe, which I find adorable, but beyond that, this is balls-to-the-wall rock kick-assery. If you can stomach the cheese, you'll find it very enjoyable. There's a puzzle-box quality to this album, with melodies and motifs interlocking like perfectly symmetrical machinery. Standout track: No question, it's the righteously silly "1985," complete with digitized drums and a sizzling keytar solo. You're welcome.
7.) 22, A Million - Bon Iver: I once described the sound of this album as either "an artist's attempt to abandon his humanity" or "a lonesome robot's struggle to be human." Somehow, these statements are both true and both false. Why? Well, give this thing a listen and you'll understand. 22, A Million defies categorization. Is it the middle ground between electronica and folk? Is it surreal, jazz-inspired post-pop? Or is it a different genre altogether, like a new species discovered on some long-lost island? I don't know. Thankfully, I don't have to categorize it to enjoy it. This is one hell of a musical statement, oozing with trippy imagery and sparse psychedelia. Admittedly, this thing has a unique appeal, and some folks might call it weird, or peculiar, or perhaps even unlistenable. But for the contrarians among us, especially those with a taste for the eccentric, then this thing is absolutely stunning. Standout track: "715 - CR∑∑KS" is a hauntingly gorgeous vocoder ballad, and is maybe my favorite song of the decade.
6.) To Pimp A Butterfly - Kendrick Lamar: A funky foray into the farthest reaches of rap's cosmos, To Pimp A Butterfly is a fantastically freeing musical odyssey. If you appreciate the avant-garde, especially when it comes in such agreeable packaging, then this should be high on your list. Songs like "Wesley's Theory," "For Free?" and "The Blacker the Berry" are all weird, wild, and wonderful. The whole thing is both pioneering and experimental, somehow juggling influences as varied as P-Funk and Jimi Hendrix, while also exploring new, raw soundscapes. This is a high-water mark for the genre and music in the 2010s, often cited as one of the best albums of the millenium. And for good reason! Bringing together such diverse and iconic artists as George Clinton, Thundercat, Dr. Dre, Kamasi Washington, and SZA couldn't have been easy, but much like the rhythmic stylings of Kendrick himself, it all flows together beautifully. This album is better than good. It is utterly essential. Standout track: I'm a simple man, and "King Kunta" just does it for me.
5.) Sonic Highways - Foo Fighters: Foo Fighters are simultaneously one of the most overrated and underrated rock bands ever. In one camp, you have hardcore fans who hold up the group as saviors of modern music and the torchbearers of everything badass. In the other camp, you have snobby music elitists who ignore the humble competence and enduring musicianship of the band altogether. Both camps have their points, yet there's no denying the mythic scope and peerless execution of 2014's Sonic Highways. It's an ambitious project, one that spanned the country and included a host of famous collaborations, from Zac Brown to Gary Clark, Jr. This is the Foo at their most sophisticated, with organic productions and sumptuous songwriting. The album has a slew of memorable moments, like the slow-burn of "Something From Nothing," the minimalist guitar solo in "Outside," and the one-two punch of slinky "Subterranean" with the righteous "I Am A River." This is the best Foo album, and a watershed moment in modern rock & roll. Standout track: My wife and I love every second of "Congregation."
4.) The Afterman - Coheed and Cambria: Regardless of how intricate the music or masterful the performance, prog-rock is often too esoteric, mathematical, and alienating for most listeners. Thankfully, The Afterman is as emotionally grounded as it is musically impressive. There are a smattering of radio-friendly ditties to keep casual listeners engaged, but mostly? This is a bold, unapologetic effort. Guitar heroism abounds, the rhythm section is pure thunder, and those vocals? Frontman Claudio Sanchez might be an acquired taste, but he's effortlessly emotive. The "Key Entity Extraction" series alone is enough to make you a hardcore fan of Coheed's sweeping story and unique vision. Standout tracks: While a few of my friends love the cinematic grandiosity of "Gravity's Union," the down-to-earth concreteness of "The Hard Sell" just tickles my brain in all the right ways. I also think the bustling percussion of "Evagria the Faithful" is as groovy as prog could ever get. Awesome stuff.
3.) WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? - Billie Eilish: Full disclosure? The first time I listened to this album, I thought it was vaguely interesting garbage. I didn't understand the hype, and I was somewhat irritated by the breathy vocals and spooky instrumentation. But then, slowly, something weird happened. Without realizing it, I found myself gravitating back to it again and again and again. Before long, I'd listened to the entire record almost a dozen times, and I'd somehow been transformed into not only a fan of Eilish, but an admirer of her style. The vocals I once found breathy and limp, I now find intimate and unique. Instead of hearing a cringy Halloweenish production, I now hear inventive synths and unexpected percussion. This album is an ocean at midnight, glittering beneath a pale and distant moon. It is beautiful and foreboding, deeper than you expect and teeming with life. It's certainly not everyone's cup of tea, but if you listen with an open mind, you'll be surprised by what you find. Standout track: Yes, all the hits are bangers (can anyone even argue with "Bad Guy" or "Bury A Friend"?), but my all-time favorite has to be the knock-down-drag-out bravado of "You Should See Me in a Crown."
2.) The Life of Pablo - Kanye West: {Quick note before we get started: I'm someone who approaches art with a "death of the artist" mindset, which means I try to distinguish between who the artist is, and what s/he creates. Kanye's antisemitism is appalling, yet I still think much of his music is phenomenal. And if you still listen to Michael Jackson, or read Alice Walker, or wear a Michael Vick jersey, then you already subscribe to this view, too. And when diagnosed mental illness is involved? Well, it certainly ain't an excuse, but one would be foolish to ignore it. All I'm saying is, please consider your glass house before you start chucking stones.}
If Childish Gambino's Because the Internet is like the original Star Wars (stick with me here), then The Life of Pablo is The Empire Strikes Back. It takes everything that made its predecessor great and somehow improves upon it. I honestly don't know how Kanye was able to pull it off, but holy hot damn, does this thing deliver. It's astonishing. And while Mr. West put out plenty of incredible material during the 2010s (My Beautiful Dark Twisted Fantasy and Kids See Ghosts come to mind), TLOP outdoes them all. And even better? It seems effortless!
Again, we're really diving into the avant-garde deep-end, so if you're interested in non-traditional songwriting and idiosyncratic productions, then this is definitely for you. Samples somehow morph from moments to motifs to melodies; vocals mutate into synths and percussion; lyrics that should offend or at least annoy are somehow palatable, and at times even profound. There are echoes of Kanye's past - the vocal melody on "Waves" would find company alongside anything from 808's and Heartbreak, the humorous hubris of "I Love Kanye" sounds straight out of The College Dropout. But Kanye is also foreshadowing his future, too - the neon production of "Fade" could have come from Donda, while "Ultralight Beam" has gospel roots strong enough to render Jesus is King basically irrelevant.
But whether you love Kanye or hate him, whether you think he's a genius or a thundering idiot, the bizarre beauty of TLOP is undeniable. More fun than To Pimp A Butterfly, more emotionally resonant than Because the Internet, more psychedelic than The Marshall Mathers LP 2, it is unquestionably my favorite hip hop album of the last decade. Standout tracks: You might suffer thematic whiplash, but the first 3 songs - "Ultralight Beam," "Father Stretch My Hands, Pt. 1," and "Pt. 2" are a microcosm of the heartfelt hilarity and surreal songwriting of the entire record.
1.) Act V: Hymns with the Devil in Confessional - The Dear Hunter: Okay okay okay, I know what you guys are thinking. Who the hell is The Dear Hunter, and why are they number one? Well, to anyone not in the know, The Dear Hunter is a prog-rock/pop band that's been around for almost two decades. Most of their lifespan has been dedicated to an ornate, grandiose rock opera told in 6 acts. The story chronicles one man's life as he grapples with love, tragedy, and war. Is it pretentious? Oh, you betcha. But is it impressive? Does it actually work? Thankfully, the answer to both of these questions is absolutely.
Although I was tempted to put the equally awesome Act IV: Rebirth in Reprise on this list, it just doesn't strike me like Act V does. The subtitle is Hymns with the Devil in Confessional, a phrase that holds all the pageantry, mysticism, and elegance of the album itself. For fans of arthouse pop acts like Father John Misty or Sufjan Stevens, this will definitely tick a few of your boxes. But this album isn't as delicate or listless as those - it's also home to some seriously impressive high-concept songwriting, stuff that'll leave fans of Coheed & Cambria or Rush satisfied.
All things told, Act V is the epitome of why I loved music in the 2010s. It's the apex of metamodernity, paying respect to what has come before and pioneering innovative new ground. From a technical perspective, all the specs are spot-on, from the warm production to engaging musicianship. And the individual songs themselves? Sublime. You want pop? Check out the hauntingly beautiful "The Moon/Awake." You want folk? How about the power-pop ballad "Melpomene." How about swing? You've got the raunchy swagger of "The Revival" and the sly "Mr. Usher." You'd rather have something with a bit more edge, something punky? "Gloria" and "The March" ought to do the trick. All these genres coalesce into a single satisfying vision. Plenty of modern artists don't have a distinct identity or direction. Well, The Dear Hunter has more than enough to go around. And here? They revel in it.
Honestly, this entire album is exquisite - dusky and delightful, glittery and glum, divine yet devilish. I listen to the whole thing probably once a week. Seriously. It is my favorite album of the 2010s, and one of my favorites ever recorded. I strongly encourage you to check it out. Standout tracks? How about the whole damn thing. You're welcome.
