50 Best Albums of the 2010s: 25-11

Again, here's a quick review of how I tried to rank these albums: I graded these holistically, giving (mostly) equal attention to: composition, arrangement, performance, production, innovation, impact, and personal enjoyment. Like all of my music reviews, I probably failed to live up to this impossible task, but I gave it the old college try anyway. Enjoy! (And feel free to check out the bottom half of this list here.)

25.) Dirty Computer - Janelle Monae: Janelle Monae is a straight-up legend, and on this record she cements her status as the new queen of pop. The blend of genres here, from funk to soul to trap to jazz, is astonishing. Each song has a palpable aesthetic resonance - a shimmering, lustrous aura. This is Stevie Wonder, Prince, Madonna, and Lauryn Hill all at once. Like most albums with a political edge, it's occasionally weighed down by trendy platitudes and ideological hubris, but...gosh, the music more than makes up for it. Dirty Computer is a fun, fully realized pop experience. Standout track: "Screwed" is an absolute stunner, with cutthroat lyrics and a middle-finger vibe.

24.) The Storm - ZZ Ward: "Baby, you're my bourbon honey / Baby, you're my Cherry Coke / My mystery man from Montgomery / My favorite licorice rope." These lyrics from the record's seventh track ("Bag of Bones") perfectly encapsulate my feelings about the entire thing. It's an album I didn't know I craved - blistering, bluesy, and beautiful. It's been on endless repeat since the start of summer with no signs of letting up. Get into it. Standout track: Obviously, I've got to go with "Bag of Bones," which is as minimalist as it is effective.

23.) Stranger Heads Prevail - Thank You Scientist: Is it prog? Jazz? Metal? Punk? Well, it's all of the above. This multifaceted album is almost the musical equivalent of abstract art - a haphazardly beautiful splattering of themes, melodies, and genres. The musicianship is top-notch, with some of the best individual performances of the decade. Tom Monda's guitar is practically sublime, and the complex yet groovy drumming of Odin Alvarez hurts my head. Book-ended by slinky-sly Broadway-style pop tunes, everything in between is delightful delirium. Standout track: While I'm tempted to put instrumental powerhouse "Rube Goldberg Variations," my favorite song will always be "Mr. Invisible."

22.) Kids See Ghosts - Kids See Ghosts: This album is the brainchild of a Kanye West/Kid Cudi team-up, which is as fantastically weird as you'd expect. There are echoes of My Beautiful Dark Twisted Fantasy, The Life of Pablo, and even The College Dropout. This is a short record, consisting of only 7 songs - in an era of overblown musical odysseys, this is a relief. But brevity isn't its only success. The psychedelic, disjointed nature of the album gives it a truly unique spot in this decade's hip-hop, moving beyond the trappings of trap and the holdover excesses of bling. Standout track: "4th Dimension" is a funky head-scratcher, and fully displays the idiosyncratic awesomeness of the album.

21.) Quiet World - Native Construct: I'm a proggy guy through and through, so I apologize if it's over-represented on this list. But I can't help it! At its best, the genre is an explosion of talent, with labyrinthine compositions displaying unbelievable musicianship (plus, I've always been a sucker for spontaneous time-signature shifts). While Quiet World has all this and more, its guerrilla-style production anchors it to reality. The grandiose insanity is recorded in such a way that it feels like the best garage band of all time - a juxtaposition I can't help but love. Standout track: The first tune I heard (courtesy of Austin, of course) was the opener, "Mute," and it still holds a special place in my heart.

20.) After Laughter - Paramore: The first time I flipped this thing on, I simply couldn't believe my ears. Imagine Carly Rae Jepsen collaborated with Talking Heads and made a record produced by Paul Simon. Yeah. This is sugary bubblegum afro-pop with an alternative bent, a mighty throwback to some of the 80s best tunes. Everything is fun and funky, with Hayley Williams' electric voice given free reign to command the tone, energy, and melody of each song. I still like Paramore's pop-punk stuff from my college days, but you'd have to be in a coma to not love this new direction. I'm dying to know where they'll go next. Standout track: The lead single, "Hard Times," is still a playlist staple to this day.

19.) Affinity - Haken: Speaking of 80s nostalgia (of which this decade is apparently steeped in), Affinity is an ambitious prog-rock adventure that is as much an homage to classic acts like Rush or Dream Theater as it is musically impressive. Awash with synthesizers and emblazoned by hammy guitar heroism, some spots have a real Stranger Things vibe, which I find adorable. Beyond that, this is balls-to-the-wall rock kick-assery, and if you can stomach the cheese, you'll find it very enjoyable. Standout track: No question, it's the righteously silly "1985," complete with a sizzling keytar solo. You're welcome.

18.) From A Room: Volumes 1 and 2 - Chris Stapleton: Is it cheating to shove two albums into one slot on this list? Eh, maybe. But it's likely that nobody will read it anyway, so who the hell cares? Regardless, I've always been wary of country music, especially anything this side of 1980, but Stapleton is a virtuoso of the genre. Here he weaves authenticity with camp, and genuine emotion with genre tropes. These two records are perfectly comfortable alongside anything Merle Haggard or Dolly Parton ever put out, and if that ain't divine company, than I don't know what is. This is whiskey-drunk in a cheap-motel music, and I love it. Standout track: From Volume 1, it's gotta be the whaling bluster of "I Was Wrong." From Volume 2, it's the haunting lyricism of "Scarecrow in the Garden."

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 the mental image of musical sophistication, without trendy producers or an avant-garde sound. But with Interrobang, they managed to create 36 minutes of nonstop punk, and each of its 10 tracks has legs of its own. I guess what surprised me about this album isn't how catchy it is - and believe me, it is - but how great it all flows together. The arrangements are pulse-pounding, always adding thematic weight to the lyrics (even when this is ironic, like the curiously chipper tune "Heaven"). Sprinkled liberally with delightful harmonies and shredding guitar solos, and you've got the best punk album of the decade. Standout track: I love the razor-wire lyrics and obsidian-black instrumentation of "Bury Me."

16.) 22, A Million - Bon Iver: I once described this album as either "one man's pointless attempt to abandon his humanity" or "a lonesome robot struggling 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? Or is it surreal, jazz-inspired post-pop? 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. Standout track: "715 - CR∑∑KS" is a hauntingly gorgeous vocoder ballad, and is maybe my favorite song of the decade. 

15.) 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 singers bringing old standards to new life. Their awe-inspiring musicality is more than harmony (of which they nonetheless excel), but also how they interpret old songs to make them new again. This music is baptism for the ears, a lush cascade of crystal-clear music that is refreshing, reinvigorating, and remarkable. Standout track: I'm torn between the stripped-down simplicity of "Old Churchyard" or the foot-stomping fun of "Loves Me Like A Rock."

14.) Random Access Memories - Daft Punk: I came to Daft Punk later than most, simply because I never cared for most EDM or house music. My biggest complaints of the genre? Songs are too long, repetitive, are missing melodies, and often lack organic instrumentals. 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 terrific tracks and 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.

13.) Higher Truth - Chris Cornell: This is truly an album of unbelievable warmth, creative melodies, and astonishing musicianship. For fans of Soundgarden and Audioslave, it's no surprise that Cornell's voice is as impressive and timeless as ever before. Thankfully, so is this record. Higher Truth is a mostly acoustic album, with Cornell's powerful voice and evocative lyrics propelling each song to the clouds. This is morning-hike-in-the-mountains music, the perfect soundtrack to dramatic vistas and piercingly blue skies. This is the sound of clarity and meditation, the kind of stuff Eva Cassidy or Marvin Gaye would have made if their lives had been longer. In a storied career of standout projects, I honestly believe this is the best Cornell ever was. Which is even more tragic considering it was his final album. Standout track: There's not a better folk song this decade than "Dead Wishes."

12.) To Pimp A Butterfly - Kendrick Lamar: A foray into the infinite cosmos of rap's potential, To Pimp A Butterfly is a funky and 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 such as "Wesley's Theory," "For Free?" and "The Blacker the Berry" are all weird, wild, and wonderful. The whole thing sounds so fresh and new, you just know that this is something special, a high-water mark for the genre and music in the 2010s. Bringing together such diverse and iconic artists as George Clinton, Thundercat, Dr. Dre, Kamasi Washington, and SZA couldn't have been easy, but it all flows together beautifully. This album is better than good. It is important. Standout track: I'm a simple man, and "King Kunta" just does it for me.

11.) Djesse: Volumes 1 and 2 - Jacob Collier: I've been watching 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 this double album, but is never afraid to throw the spotlight onto other singers, instrumentalists, and collaborators. Djesse is stuffed to the gills with talent, like jazz choir Take 6, guitar legend Steve Vai, and the jazz/pop phenomenon known as the Metropole Orkest. Collier takes an ardently metamodern stance throughout the project, reworking classic songs by The Beatles or Lionel Richie and infusing them with wild chord progressions, high-flying harmonies, and deliberately wacky instrumentals. Jacob Collier is a musician's musician, and he never shies away from digging deep into esoteric arrangements with niche flair. With two more volumes of his Djesse odyssey set for release in the new decade, 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."

50 Best Albums of the 2010s: 50-26

Music is a tricky thing to review. On one hand, it's an objective overview of technical skill - a study in musicianship and sound engineering. On the other hand, it's a subjective experience, bringing with it the beauty of melody, memory, and personal taste. So, to clear the air a little, here's how I attempted to rank/review the "best" albums from 2010-2019: I graded each of these holistically, giving (mostly) equal attention to: composition, arrangement, performance, production, innovation, impact, and personal enjoyment. I'm sure I failed to live up to this impossible task, but I gave it a shot. So sit back and enjoy this list! And, as always, I encourage you to hunt down these titles and explore on your own. Enjoy!

50.) The Epic - Kamasi Washington: Although this record is far longer than it needs to be (a whopping 2 hours 53 minutes!), this is nonetheless a fine work of jazz. It lives and breathes, swelling with soul and filled to the brim with fascinating arrangements. Standout track: The album's opener, "Change of the Guard," is an operatic jazz odyssey, with a full choir and string section.

49.) The Raven That Refused to Sing (and Other Stories) - Steven Wilson: I am, admittedly, a prog-rock fan. I've always loved intense musicianship, out-of-this-world rhythms with plenty of time-signature changes, and bizarre melodies that seem to go everywhere at once. In a nutshell, this is why I love this album. Standout track: "The Holy Drinker" is spacey, spicy, and simply splendid.

48.) Woodstock - Portugal. The Man: As far as pop is concerned, if you've got the hooks and production, not much else matters. For these reasons alone, Woodstock is more than qualified to be on this list. Listen to the 60s-inspired swing of "Feel It Still" just once and try to argue with me. Standout tracks: The walloping sax-infused hook of "Tidal Wave" and the popcorn percussion of "Rich Friends" are high-water marks for the genre.

47.) HERO - Maren Morris: The perfect combination of summer-haze country, ironic bubblegum snark, and millennial metamodernity - how can you not love Maren Morris? This is the perfect roadtrip album; just roll down the windows, let the summer air tousle your hair, and sing along with your friends. Standout track: "Sugar," with its groovy guitar lick and undeniable sex appeal, epitomizes the versatility of the entire album.

46.) BLACKPINK IN YOUR AREA - BLACKPINK: I'm sure plenty of you will never be fans of K-pop, which is understandable. It can be excessive to a fault, with layer after layer of polish and an almost frenzied structure. But...well, that's kinda why it's so much fun. If you can roll with the gluttonous absurdity of everything, you're left with fun music that slaps harder than anything else around. If you're curious about the genre, start here. Standout tracks: The anthemic synth of "DDU-DU DDU-DU" and the bouncy brilliance of "PLAYING WITH FIRE" made me a rabid fan.

45.) Time in Place - Artifex Pereo: Terrible band name aside (I hate it), this post-hardcore group is incredibly talented, and on Time in Place they really strut their stuff. The busy guitar-work is almost as zany as the percussion, and when you put them together with striking vocals, you have an awesomely pulse-pounding sound. I'm also weirdly obsessed with the album cover...? Not sure why, but there's just something about it I love. Just look at it! So cool, right? Standout track: "Laugh & The World Laughs With You" is an auditory assault with a second-act shift into soulful punk-funk.

44.) Morning Phase - Beck: I've been a fan of Beck since high school, when albums like Guero and Sea Change were never far from my stereo. With Morning Phase, the ever-eclectic Beck spreads a pair of folksy wings and takes flight with warmly lush vocals, resonant strings, and minimalist arrangements. Standout track: "Blue Moon" is definitely my favorite, mostly because of the cool clavinet that springs to life near the end.

43.) Hamilton - The Original Broadway Cast of Hamilton: I'm not 100% sure if including this album is "cheating," (there are plenty of phenomenal Broadway soundtracks that I omitted) but I don't care. This is an impressive achievement in modern music, a hip-hopera that is musically rigorous and emotionally complex. The melodies and motifs sprinkled throughout this sprawling story are wonderfully written and expertly performed. Standout tracks: "My Shot," "Yorktown," and "The World was Wide Enough" will make you rethink rap, musicals, and American history.

42.) The Weather Below - Sister Sparrow and the Dirty Birds: This is a mammoth throwback to the hits of yesteryear, with phenomenal funk and sensual soul. Sister Sparrow herself is a bit like Joss Stone, but without all the pretentious political posturing. The overall sound quality is textured and organic, like what you might hear on an Avett Brothers or Mumford album (which makes sense; producer Ryan Hadlock is known for working with The Lumineers). Standout track: "Every Road" gets my feet tapping every damn time.

41.) Sunhead - Plini: Plini is one of the best guitarists working today, and on Sunhead he's equal parts Steve Vai and Stanley Jordan. This album is a curious little thing - finding funk in metal and making fist-pumping anthems out of smooth jazz. It's weird, but a very good kind of weird. These songs scratch an itch I didn't even know I had. I love it. Here's hoping Plini continues to experiment in the future. Standout track: The yin-yang balance between jazz and metal is perfectly achieved on "Flaneur."

40.) Schmaltz - Spanish Love Songs: I say this a lot, so here it is again: Thanks, Austin. Schmaltz is the epitome of millennial disillusionment, a dejectedly angsty ode to modern life. The instrumentation and arrangements are raw, delivered with a low-fi punkitude that borders on disheveled. The guitar hooks are fabulous, filling in the melodic gaps left by the gravelly, choked vocals. I'd have loved this album in high school, but I admire it now. It is one of the most emotionally honest albums of the decade, unafraid to stare into the abyss and rage against the dying of the light. Standout track: I really love them all, but the opening track ("Nuevo") sets the album's bleak tone perfectly. To say it's nihilistic is an understatement, but it's somehow enjoyable nonetheless.

39.) Mothership - Dance Gavin Dance: Hearkening back to high school summers of screamo and humble hardcore, Mothership is a bright, bouncy testament to the genre's staying power. The melodies are effervescent, the instrumentation is electric, and Tilian Pearson's vocals are perfect - textured and elastic and emotive. This thing is auditory sunshine, blasting out from your speakers and filling you with light. Standout track: "Chucky vs. the Giant Tortoise" shows off the album's dynamic heart, with an unshakable hook, glittery guitar work, and lyrics that always hit a little too close to home.

38.) Moh Lhean - Why?: This won't be everyone's cup of tea, but for the weirdos in the crowd (especially those with an appetite for indie alt-rock hip hop), you can't go wrong with this record. I've liked Why? for a decade or more, and although this ain't their best album, it is nonetheless one hell of an outing. It's a kaleidoscope of psychedelic hooks, layered instrumentals, and passionately lethargic vocals. Standout track: It's hard to get much better than the unassuming funkiness of "Proactive Evolution."

37.) All Hands - Doomtree: Rap is an especially collaborative genre, and on the appropriately-named All Hands, supergroup Doomtree demolishes the competition with a blistering combination of individual skills. While every member is great, a special shout-out goes to Dessa's liquid-fire flow, which shines brighter than most other rappers this century. Seriously, she's the best. Standout track: Thanks to a driving chorus and several scorching features, "Gray Duck" is one of a kind.

36.) The River & The Thread - Roseanne Cash: This down-to-earth country album is a career highlight for Roseanne Cash, daughter of the Man in Black himself. Her vocals are warm and weathered, which play wonderfully off the record's quaint arrangements. These are high-summer songs - humid, hazy, gentle. And while there are a few tricks up Cash's sleeve, they're never more than you can handle. This is masterful musicianship, competent to the point of invisibility. It is the river, the thread, and everything we enjoy but take for granted. Standout track: "A Feather's Not A Bird" is the best this record gets.

35.) Amber Galactic - The Night Flight Orchestra: This is top-40 prog-rock made with such masterly attention to detail that it feels like it was released sometime during the Carter administration. Which, for me, encases its awesomeness in gold. Bravura guitar heroism, machismo vocals, and dance-floor beats stretch from end to end. For fans of KISS, Heart, or early Rush, this album is required listening. Standout track: A soaring chorus, boisterous rhythm section, and guitar/synth showdown make "Midnight Flyer" one of my most replayed rock tunes of the decade.

34.) Wasa Tusa - IAMDYNAMITE: If Sting downed a bunch of Xanax and decided to make a synth-pop album, it would sound something like this. Wasa Tusa is the epitome of chill, with an infinite array of poppy vocal hooks and groovy instrumentals. While many tracks have a bad habit of running a little long in the tooth, if you're in the right state of mind, it never feels like enough. Standout track: "Feel Real" has some of the richest and most unexpected vocal harmonies ever, and also the deepest of pockets. It's been a playlist staple of mine for years.

33.) Death of a Bachelor - Panic! At the Disco: Oh, so you don't think this list has been "accessible" enough? Well if pop is your poison, then take a healthy hit from Death of a Bachelor. This is one of the biggest albums of the 2010s, and for good reason. It's an extravagant experience, the sound of sticky champagne showers and curtains of golden glitter. Each track is a banger, built exclusively around the insane talent of lead singer Brendon Urie. If you want a good time, this is the record to flip on. Standout track: Although the title tune is terrific, the album's jazzy closer - "Impossible Year" - is a true showstopper.

32.) The Hunter - Mastodon: If there's a single band that still proudly carries the torch of metal, facilitating the end of one era and ushering in a new one, it would have to be Mastodon. It's hard to argue with an album like The Hunter, which thrashes so freakin hard. This thing is all about crunchy guitar riffs, master-blaster drumming, and full-throated vocal intensity. Put this album next to "metal" in the dictionary and call it a day. Standout track: I'm quite fond of the unhinged delirium of "Octopus Has No Friends."

31.) 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 this decade (the multifaceted 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 tangles up with 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, harmonious way. Standout track: It has to be the major single, "Dark Necessities." No doubt.

30.) Inscape - Alexandra Streliski: Classical piano albums might not have mass appeal, but they often echo in the warmest parts of our souls. Inscape is more an incantation than a record, a collection of melodies and performances that find the forgotten pieces of ourselves, reawakening them to the world. It's a sadly sweet work of art, one that is brave, beautiful, and brilliant. Standout track: There are few songs this century as painfully poetic as "Burnout Fugue."

29.) Such Jubilee - Mandolin Orange: I'm a sucker for bluegrass, especially when it's recorded with reverence and respect. This is the sound of an Appalachian sunrise - mist hovering over dewy grass, splinters of sunshine slipping through the trees, the kiss of cold air slowly warming as the earth comes back to life. For me, this record has been on infinite repeat for the past few years; a terrific soundtrack for cooking or grading papers. Standout track: "Daylight" is a humble masterpiece of mountaintop musicianship, especially whenever that divine fiddle gets a-fiddlin.

28.) Malina - Leprous: 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 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.

27.) 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 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. 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.

26.) My Favorite Things - Joey Alexander: Somehow, one of the decade's best jazz albums burst forth from the imagination and ability of a 12-year-old. Joey Alexander is a musical prodigy, and on My Favorite Things he shows off his impressive, eclectic, and incredible skills. He wears his inspirations on his sleeve, particularly Chick Corea and Bill Evans, and by the record's end you'll be slack-jawed and stupefied in awe of his talents. His other albums this decade - Countdown and Eclipse - are also phenomenal. Standout track: To my ears, jazz piano doesn't get any better than the grandiose vision of "Giant Steps."

50 Favorite Songs of the 2010s

For me, the last decade was defined by musical discovery. As a teenager in the 00s, I was tethered to convention - mostly classic rock and jazz, my eyes rolling at pretty much anything else. But my twenties brought so much more to the table. The musical world blossomed in about a hundred different ways, and I suddenly found myself happily wandering through terrain that earlier in life would've been unthinkable. Prog rock and thrash metal, hip hop and K-pop, bluegrass and gospel. They've all opened up to me - musical galaxies swirling overhead. 

Below you'll find my 50 favorite songs released in the last ten years, presented in alphabetical order. For the morbidly curious, make a playlist and dive right in. Enjoy! 

- 715 - CR∑∑KS by Bon Iver: This hauntingly gorgeous vocoder composition is the song I didn't know I needed. It might also be my most replayed song on this list. It's an eccentric, emotional ballad that is maybe my favorite song of the decade. Seriously. 
- 1985 by Haken: This is a blood-pounding prog-rock epic with just the right amount of 80s-style cheese, awash with glorious synthesizers and some of the best drumming...ever?  
- Bag of Bones by ZZ Ward: This simple, stunning track fully displays the vocal and lyrical prowess of ZZ Ward. It's a stomp-and-clap jam with soul-blazing intensity. 
- Barton Hollow by The Civil Wars: If there's an award for harmony, then this folk/country tune by The Civil Wars should win it a thousand times over. And somehow, the live version is even better. 
- Betty Phage Goes to Bronxtown by Novallo: I'm not exactly sure what the hell this song is, but I love every manic, wild-eyed second of it. This is auditory adrenaline, so try to hang on. 
- Black Smoke Rising by Greta Van Fleet: Yes, they're Zeppelin knock-offs and uninspired and blah blah blah. I don't care. This song is a wonderfully written, well-performed rock & roll throwback. 
- Blue Moon by Beck: I've always been a fan of Beck, and although he's a master of all genres, I like him best doing folksy acoustic tunes. And this is truly one of his loveliest. 
- Burnout Fugue by Alexandra Streliski: This classical piano piece is achingly beautiful. The perfect soundtrack for midnight walks and broken hearts. 
- Bury a Friend by Billie Eilish: I was mighty skeptical of Eilish for a while, but this was the song that won me over. Its spooky, trance-like vibe is hypnotic and addictive. 
- Chucky vs. The Giant Tortoise by Dance Gavin Dance: This full-throated, drum-blasting, guitar-shredding track is pure post-hardcore awesomeness. Love the lyrics, too. 
- Clean by Big Data (feat. Jamie Lidell): I'm not a huge electropop guy, but Clean is too groovy, too unabashedly fun, for me to care. It's impossible not to fall in love with this song. 
- Cleopatra by Weezer: With honey-sweet vocals, a shockingly busy guitar solo, and some casual time-signature shifts, this is the best Weezer tune (from the best Weezer album) of the decade. 
- Congregation by Foo Fighters: Sonic Highways is my favorite Foo album of all-time, and this song is the best of the best. A perfect arrangement with perfect performances. 
- Daddy Lessons by Beyonce: I honestly could've picked any track from Lemonade, but this is the one that never fails to conjure chills and tears out of thin air. What an impressive, amazing song. 
- Damn Your Eyes by Beth Hart and Joe Bonamassa: The blues might not be a popular genre anymore, but with a voice like Hart's and guitar-work by Bonamassa, it's time for a comeback. 
- Dark Necessities by Red Hot Chili Peppers: The Chili Peppers are my favorite band, and this humble yet funky chart-topper is an exquisite showcase of the band's chemistry and ability. 
- The Dark Sentencer by Coheed and Cambria: In the realm of prog rock, there is no better modern act than Coheed. This is a thunderous, fist-in-the-air anthem that'll set fire to your soul. 
- Dead Wishes by Chris Cornell: Is there a better rock vocalist than Cornell? On this song, his lyrical vulnerability and sheer vocal talent are beyond impressive - they are immaculate. Rest in peace, Chris. 
- Don't You Know by Snarky Puppy (feat. Jacob Collier and Big Ed Lee): Snarky Puppy is the best prog jazz band in existence, and this head-bobbing, toe-tapping jam is their masterpiece. 
- Faith by Ghost: With furious guitars, satanic lyrics, and drums like artillery fire, this is metal music at peak metalness. And that unholy chant during the bridge? Ghastly, groovy, and gargantuan. 
- Feel Real by IAMDYNAMITE: If Sting took a bunch of Xanax and decided to make a synth-pop album, it would sound like this. Textured vocals, unique harmonies, and the deepest of pockets. 
- Fever by Eva Cassidy: An amazing rendition of an amazing song performed by a singularly amazing artist. If you've never heard of Eva Cassidy, start here. You won't be disappointed. 
- Game by Harrison Fjord: What a fun, funky, refreshing little pop tune this is. While it's good across the board, especially the vocals, I'm absolutely enamored with the synth solo near the end. 
- Get Up by clipping (feat. Mariel Jacoda): A rap song that uses the drilling, monotonous buzz of an alarm clock as its foundation? I mean, you'll probably hate it, but I think it's brilliant. 
- Gray Duck by Doomtree: Speaking of hip hop brilliance, Doomtree is probably the best around. From the driving chorus to several blistering features (with none other than Dessa, the queen of flow, stealing the show), this song is one of a kind. 
- Hard Times by Paramore: I never dreamt that Paramore would return with this bubbly, afropop 80's throwback. But you know what? I'm ecstatic they did. This song is sunshine and silly-string. Enjoy. 
- Hideaway by Jacob Collier: Collier, making a rare second appearance on this list, is a musical genius. This is the piece that made me fall in love with his eclectic, eccentric sound. 
- The High Road by Joss Stone: This Broken Bells cover builds upon the modest funk of the original and blooms into the best soul song of the decade. Joss Stone's voice is a miracle. 
- Illuminate by Leprous: From the stuttery syncopation to the mountaintop chorus, this is the track that got me hooked on Leprous. Whether you're a fan of metal or not, you'll probably really dig this. 
- Interrobang by Bayside: My favorite song from 2019 is also the best pop-punk tune of the entire decade. The lyrics are killer, but so are the vocals and instrumentation. 
- Kill This Love by BLACKPINK: Without question - This. Song. Slays. BLACKPINK are the undisputed empresses of K-pop, and this is their royal anthem. Bow down, everyone. 
- Laugh & the World Laughs with You by Artifex Pereo: This post-hardcore beatdown is exhilarating, but the second-act shift into soulful punk-funk is divine. 
- Midnight Flyer by The Night Flight Orchestra: A soaring chorus, boisterous rhythm section, and guitar/synth showdown make this one of the best rock songs in recent memory. 
- Mr. Invisible by Thank You Scientist: You'll find this song at the busy intersection where jazz and rock meet. The sax solo, with its pseudo-bebop feel, is second to none. 
- Mute by Native Construct: Back to prog (sorry), but this piece is wacky and wonderful. With tempo shifts aplenty and some bizarre time signatures, there's plenty here for music nerds to admire. 
- Not Afraid by Eminem: This call-and-response rap song is iconic Eminem - searing lyrics, an unforgettable hook, and spitfire flow. This is one of the first tunes that helped me love hip hop. 
- The Place that I Call Home by The Infamous Stringdusters: I love bluegrass for two reasons - vocal harmonies and insane instrumental solos. Here, you get the epitomes of both. 
- The Revival by The Dear Hunter: The Dear Hunter is my newest favorite band, and while this track might not be their best, it's the first one I ever heard. It's a throwback 50's jam that swings harder than anything else in town. And that bridge? Those vocals? Come on. Perfection. 
- Satellite by David Maxim Micic (feat. Dan Wieten): This is a tour-de-force metal experience with some bravura guitar-work and ballsy, bluesy vocals. 
- Scarecrow in the Garden by Chris Stapleton: A ballad of whiskey and wheat stalks, of sermons and sunsets, this is Stapleton saving country music from its own frivolity. Amen, brother. 
- Screwed by Janelle Monae (feat. Zoe Kravitz): This is Stevie Wonder, Prince, Madonna, and Lauryn Hill all folded into one. It's a shimmering hit with cutthroat lyrics and a middle-finger aura. 
- Sorry Not Sorry by Demi Lovato: The banger to end all bangers, this uproarious pop showstopper slaps harder than anything else in the last ten years. (It's also a ton of fun to drum along to!) I can't get enough of it. 
- Still Feel by half.alive: I discovered this song at the tail-end of a terrible day, and it helped wash all the bad vibes away. It's one-part pop, one-part trap, one-part indie rock, and 100% awesome. 
- Stranger by The New Basement Tapes: This country-western hymn was built around the bones of abandoned Bob Dylan lyrics, but with an exquisite arrangement and a gorgeous guitar solo, it feels like so much more. 
- Strangers by City and Colour: This is the most inconspicuous song on my list, and its nonchalant charm is what makes it so great. I love its understated, underrated pop-rock brilliance. 
- There Will Be Time by Mumford & Sons, Baaba Maal: By joining forces with Senegalese singer Baaba Maal, Mumford & Sons crafted a heavenly, once-in-a-generation chorale - complete with booming African percussion and fiery vocals. 
- This is Gospel by Panic! At the Disco: Everybody shut up, okay? Brendon Urie has the best voice in modern music and this song, which constructs a beautiful rainbow road between punk and pop, is astounding. The stripped-down piano version is equally wonderful. 
- Ultralight Beam by Kanye West: Kanye is a genius, and while I could've included several of his songs on this list ("Monster," "Use This Gospel," anything from Kids See Ghosts), "Ultralight Beam" is an exquisite blend of gospel and rap. From its earth-rumbling choir to Chance the Rapper's fragile vocals, this one has it all. This is a God dream. It is everything. 
- Waiting for the End by Linkin Park: On the other end of the rap spectrum, where the car windows are always down and summer wind tousles your hair, is this upbeat pop tune by Linkin Park. If it doesn't make you smile and sing along, I don't know what will. 
- Welcome to Fabulous Las Vegas by Brandon Flowers: I visited Vegas a lot in the 2010s, and no song captures the battered, lustful, grimy, grand sentiment of the city than this song. With astute lyrics, a perfect country-pop production, and Flowers' melodramatic voice, this tune is peerless. 

10 Best Films of 2019

* Honorable Mentions: Crawl, IT Chapter 2, Joker, Parasite, Shazam! Star Wars - Episode IX: The Rise of Skywalker

10.) Midsommar: Gorgeously shot, impeccably acted, and perfectly paced, this modern horror classic is easily one of the most impressive films of the year. If you can stomach the pre-credits sequence, which is brutal beyond belief, you'll find the rest of the movie very rewarding. While I don't like it as much as other movies with a similar vibe (2018's The Ritual, 2013's The Sacrament), it is nonetheless a gorgeous, horrifying trip.

9.) Knives Out: Oh, Rian Johnson. While most people hate him for "ruining" Star Wars or love him for "saving" it, this re-imagined whodunit is probably the furthest he could get from a galaxy far, far away. And you know what? It might be his finest outing as a writer/director yet. With the best cast of the year and as many plot twists as you can cram into a dusty mansion, Knives Out is fresh and fabulous. The best part? Everyone seems like they're having so much fun, which radiates out to the viewer. You can't help but smile, and while the credits are rolling, you'll giggle and reflect back on what a wild ride you just experienced.

8.) Ford v Ferrari: Every year, a filmmaker has the guts to make a movie that is, well, just a movie. There's nothing particularly unique, or pioneering, or sensational about the finished product - no lines around the block to enter the theater, no op-eds pondering how it will shape future cinema. And you know what? I love these movies. There's something timeless about a well-told story, and with Ford v Ferrari, that's exactly what you get. It's a no-frills sports drama with some wonderful cinematography, editing, and performances. To demand anything more would be greedy.

7.) The Lighthouse: If you're interested in cinema of the surreal, something that barely has a plot and oodles of ambiguity, then The Lighthouse is a psychological horror movie for you. It's a little David Lynch, a little Stanley Kubrick, and by the end, you'll be gasping for air and wondering what in the hell you just watched. Filmed in stunning black and white, the cinematography almost lulls you in with its beauty and precision. But don't let your guard down - this thing has teeth, and it's more than happy to chomp down on the unsuspecting viewer.

6.) Ready or Not: The less I say about this, the better. Just know that it's a black comedy with some of the funniest film moments of 2019. The writing is as sharp and lethal as an ax blade (it's a crime that it wasn't nominated). The entire cast is great, but newcomer Samara Weaving steals the show as our embattled, emboldened protagonist. You root for her the whole way through, and her impressive range, not to mention her spot-on comedic timing, is the perfect anchor to the movie's ever-escalating ridiculousness. Trust me - don't watch the trailer, don't read a synopsis. Just dive in. You'll have a blast.

5.) Ad Astra: Unfortunately, thanks to a pretty dull trailer and uninspired marketing, Ad Astra was one of the most overlooked movies of 2019. But I can assure you, it's worth a look. If you're on the hunt for a movie with pop sensibilities yet meaty ideas, then give it a watch. Starring Brad Pitt, this sci-fi gem is simultaneously action-packed and quietly contemplative, it's both a nifty little thriller and a ponderous meditation on humanity. But I think the movie's strongest quality is the tonal shift near the end of the third act. Without spoiling anything, it goes from being a nihilistic technological nightmare to a celebration of love and humanity, which is one whopper of a prestige. Good stuff.

4.) Avengers: Endgame: Okay, here are the facts: This is a 3-hour superhero blockbuster, it's the highest grossing movie of all-time, it's the penultimate entry in a ludicrous (and lucrative) 23-movie series, and it has a cast of dozens of A-list stars. That this thing works at all is a miracle unto itself. But Endgame does more than just "work." Instead it's a deeply affecting, cathartic, action-packed extravaganza with dizzying highs and catastrophic lows. It's the cinematic equivalent of a speedball, and if you don't spend the entire runtime laughing, sobbing, or fist-pumping out of sheer elation, then check your pulse - you might be clinically dead. And that third act? Has there ever been a more perfectly executed action sequence in all of cinema? Honorable mentions should go to standout performances by Robert Downey Jr, Chris Hemsworth, and Scarlett Johansson - these three carry the movie, and are the three biggest reasons it all works so damn well. And it does.

3.) Once Upon A Time in Hollywood: For the record, I am admittedly a Tarantino stan. He has yet to make a movie that I haven't liked, and I'm still smitten with his quirky dialogue and over-the-top gore. That being said, I think Once Upon A Time in Hollywood is an absolute stunner - nostalgic yet inventive, bleak yet hopeful, a true story yet a modern fairy tale. It's a cinematic oxymoron, and somehow every aspect of the film is a success. There are complaints that it moves too slow, that there are a few too many scenes of people just driving around the valley, but I like all that. In an era when our attention spans are ever-shrinking and movie action is ever-intensifying, it's nice to see a film unfold like a novel. This is a sly, slinky flick, and with its hazy California vibe, you'll be hopelessly seduced. It might not be what you're expecting, but with Tarantino at the helm, that's par for the course. So sit back, relax, and surrender to the experience. It's a great one.

2.) 1917: I went into this movie expecting nothing and came out of it having felt like I'd experienced, I dunno, everything? Heroism, horror, loyalty, love, wrath, redemption - it's all there in this, the best war movie of the decade. Directed to perfection by Sam Mendes (of American Beauty and Skyfall fame), this WWI thriller is filmed in such a way that it looks like a single uninterrupted shot from beginning to end. A neat trick, but if that was all the movie had going for it, it would be mighty dull. Thankfully, this isn't the case. 1917 is a powerhouse film, one that made me cry half a dozen times before the credits started to roll, when I proceeded to cry even more. It's this quality - the melding of genuine emotion, artistry, and technical achievement - that makes for a perfect movie. And that's just what this is - so perfect, in fact, that it's almost my favorite movie of the year. Almost.

1.) Doctor Sleep: It's a bummer that no one saw this film, because it's absolutely perfect. Doctor Sleep, the sequel to 1980's The Shining (and based on the book of the same name by Stephen King), is an elegantly dreadful thriller - as lovely and lethal as Colorado snow. It somehow balances King's human touch with Kubrick's alien dread, finding in the middle a unique vision that is beautiful, emotional, and riveting. This is a little less like a horror movie and more like a dark fantasy epic - and a peerless one, at that. The visionary behind the camera is Michael Flanagan, the man responsible for Netflix's smash series The Haunting of Hill House. He brings a lot of the qualities of his show to this film, making it equal parts horrifying, tragic, and exciting.

Yet above all, this is a quiet film, and if you sit still and let it in, you'll find yourself magnetized to the screen. At the heart of the story is Ewan McGregor in one of his finest roles, embodying everything great about the movie in his performance. He is beaten down and unassuming, yet resilient and, above all else, empathetic. This is a deeply felt film, one populated by real people in a cold, terrifying world. You feel every fallen tear drop, every twist of the knife. This is popcorn cinema as emotional and subtle as it can possibly be. It's way more than just a sequel or just a Stephen King movie. It is art. It is spectacular. It is the best film of 2019.