Category Archives: 2010s

What Were the Best Albums of the Twenty-Teens? (Part 7 of 10)

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Here begins part seven of our ten-part review of the critic’s choices for the best 52 albums of 2010-2019! (One for each card in the deck! That wasn’t the reason for choosing the number, though. See further below.)

If you missed the earlier installments, you can read them here:

( Part 1 Part 2 Part 3 Part 4 Part 5 Part 6 )

This is one of three musical blog series I’m doing this year. So go check out the final installment of my overview of the critic’s choices for the 20 best albums of 2020, and my latest monthly review of 2021 new releases as I search for the 21 best albums of 2021.

Okay, now that you’ve read all that, why 52? I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff.

This series will have 10 posts of 5 albums each (or 6 each on the last two) and then a final wrap-up. And with that, let’s get on with Part 7!

Invasion of Privacy (Cardi B, 2018, 6 votes)– Strong bold vocal flow? Check. Self-empowered swagger? Check. Spare, clean, sampling and production full of interesting choices? Check. Tracks that get your head bobbing, and strike a variety of moods? Check. Songs that are about something and show moments of reflection and vulnerability among the swagger? Check. Sometimes the guest stars get a little distracting, but otherwise this is pure gold.

 

Lemonade (Beyonce, 2016, 7 votes)– Her voice, of course, is never less than amazing. But that’s almost the least of the things going on here. Multilayered production, clever and varied musical choices, deeply personal lyrics that tackle the political and the private (sometimes the very private matter of marital infidelity), with equal parts biting humor, anger, and raw vulnerability. It kind of puts every other pop record of the decade on notice for their lack of ambition.

Lonerism (Tame Impala, 2012, 5 votes)– Some years ago, I was driving through the wilds of western New York with my wife when we heard something on the radio so weird and wonderful that we immediately had to know what it was. It turned out to be Tame Impala’s song “Elephant” from this album. I’ve listed to two later Tame Impala albums in this blog series and my 2020 review, and expected them to be amazing based on that song, but was decidedly underwhelmed. It turns out this is the album I was looking for the whole time after all. It’s a (distorted) pitch-perfect neo-psychedelic masterpiece from start to finish.

Lost In The Dream (The War on Drugs, 2014, 4 votes)– It starts off vocally and musically billowy and  golden, but with maybe too smooth a production. And yep, track two is in the same vein, it reminds me of the 80s, and not in a good way, but in a victory of airtight musical package over authenticity/vitality kind of way. I mean, it’s technically very good, there are some flourishes I enjoy, but I don’t really feel anything the whole way through.

LP1 (FKA Twigs, 2014, 4 votes)– I must confess, I’d heard the name, but I had no idea what kind of twig an FKA twig was. So this was all pleasant surprise- the theatrical vocals, air of vulnerability, music based in dance/pop but full of experimental edge and offbeat surprises. Tahliah Debrett Barnett (FKA Twigs is her musical stage name) is an English singer-songwriter, record producer, dancer, and actress, aka she’s overflowing with talent, and all of it is on display here. It never let go of my attention the whole way through.  

And here we close for now, 35 in and 17 to go…

What Were the Best Albums of the Twenty-Teens? (Part 6 of 10)

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We now commence part six of my ten-part review of the critic’s choices for the 52 best albums of 2010-2019- Past the halfway point! (Did I not know Top 50 would be a more typical choice than 52? I did. There is a reason…)

If you need to catch up on the first five installments, you can find them here:

(Part 1 Part 2 Part 3 Part 4 Part 5)

This is one of three musical blog series I’m doing this year. You can, should you so choose, read the final installment of my overview of the critical consensus for the 20 best albums of 2020, and the latest monthly review of 2021 new releases as I search for the best 21 albums of 2021.

So, to return to the open question, can I count to 50? I can! But this is what happened: I took “best of decade” lists from the AV Club, Billboard, Jim DeRogatis, Greg Kot, the New Yorker, New Music Express, Paste, Pitchfork, Rolling Stone, and Vice. For any album that appeared at least once in these lists, I tallied up votes between them. Albums getting 4 votes and up totaled 52, which was close enough to a top 50 that I decided to go with that as a cutoff.

I’m doing 10 posts of 5 albums each (but 6 each on the last two) and then a final wrap-up. Now that you know, let’s get on with Part 6!

Emotion (Carly Rae Jepsen, 2015, 5 votes)– The opening track is very poppy and very fun. And so, it appears, is the rest of it. It reminds me of Taylor Swift, though perhaps a little slicker and less substantive than her work from a comparable time. Really pretty good as dance-oriented pop music goes, and it does sound emblematic of the decade. So in that sense, maybe a signal album, but I’m not quite sure about “best”.

Good Kid, M.A.A.D City (Kendrick Lamar, 2012, 5 votes)– This is the album that put Kendrick Lamar on the critical map, and deservedly so. Musically and vocally, it’s full of choices that put it above the crowd of hip-hop albums. If it stopped there, that would be notable enough, but on top of it there’s actually a structured storyline running throughout, and lyrics that feel searingly honest. It’s an album that observes the toughness of what he grew up in, and shines with a desire to rise above it even as it describes the fear of it dragging him back down.

Golden Hour (Kacey Musgraves, 2018, 6 votes)– A textured country album, definitely often leaning on the obvious/pop side lyrically, but the vocals are earnest enough to sell it. Musically, it’s lush, grounded in pop country, but drawing on dance music, electronic, and indie rock. It’s all very good, and the best moments are great, but I don’t know about it adding up to a “decade’s best”- I have a feeling the best country albums are better than this as a whole, and the best pop albums are too. What she’s done here in bringing together both sides of that equation is still worthy of notice though!

Have One On Me (Joanna Newsom, 2010)– The instrumentation and production is so clever, bringing in layers like the late Beatles. Her voice weaves in and out, soars and dips, sometimes sing-song, sometimes wispy, sometimes powerful. Between all these factors, there’s enough variability in a single song to be almost exhausting, but it holds the attention. And lyrically it’s often kind of trippy, creating a surreal idiosyncratic world of its own in the manner, say, of Kate Bush or Tori Amos. That’s the upside, and it’s very significant. On the downside, it’s hard to keep up over the length of a triple album (runtime comes in at about two hours), and it gets more conventional, and often lower energy, as it goes on. It’s hard to ignore the merits, but I’m not sure it totally succeeds as an album.

    

In Colour (Jamie xx, 2015, 6 votes)– British Dj Jamie xx delivers the kind of electronic dance music album that was maybe more common in the 90s and early 00s- strong beats, cleverly deployed samples, vocal snippets, but somehow structured in a way that makes it still work as a song along somewhat recognizable pop/rock lines. As you know if you’ve been following my three series this year, electronica is not generally my bag, but this variety of it, and how skillfully it’s done, absolutely is!

And there we are, 60% in on our review of the 2010s. What will the remaining 40% reveal? Stay tuned!