Category: Review

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Since I was able to listen to a substantial amount of music while quarantining in 2020, I also decided to make a list of my favourite albums of the year! As always, there is a runner up section for albums that did not make the top ten but I thought were worth mentioning. Enjoy!

Runner Ups

Lianne La Havas – Lianne La Havas

What sparkled on her debut, Lianne La Havas zeroed in on for her self-titled sophomore record. Lianne is wholly captivating as her silky-smooth vocals and jazzy songwriting make the record feel like a conversation with a good friend rather than some grandiose presentation. Nothing is overdone, every piece feels like it has just enough to perfectly frame Lianne’s voice and nothing more. Although the instrumentals are often sparse, Lianne uses this to its maximum potential on tracks like “Can’t Fight”, “Paper Thin”, and her stunning cover of Radiohead’s “Weird Fishes”. It is beautiful, soft, and warm, making this record a much-needed pick-me-up for 2020.

Notes on a Conditional Form – the 1975

If you’re not interested in the strange experimentation and overindulgence of the 1975, this record will most likely leave you feeling confused. Despite its polarizing nature, the 1975 comes through with a batch of solid tunes and interesting arrangements that feel more like a journey than a typical album experience. The sounds shift at abrupt intervals, keeping the listener constantly on their toes. Although it fails to reach the soaring heights and urgency of A Brief Inquiry Into Online Relationships, Notes on a Conditional Form still stands out as an interesting, albeit lengthy, addition to the 1975’s discography.

Man On The Moon III: The Chosen – Kid Cudi

It’s safe to say that no one was expecting Kid Cudi to release the finale to the album series he began over a decade ago. It was previously rumoured to drop soon after Man On The Moon II, but was eventually abandoned by Cudi and most expected it to never see the light of day. Needless to mention, there was a lot riding on this record and somehow it managed to live up to the hype. Each track features extremely atmospheric production that seems to sound like the unbelievable cover art. Tracks like “Tequila Shots”, “She Knows This”, “Sad People”, “Lovin’ Me” (featuring none other than Phoebe Bridgers), and fan favourite “The Void” are the best of the bunch and reveal Cudi’s ear for melody and moving lyricism. After a string of polarizing records, it seems like Cudi saved the best for the last of his trilogy. Luckily, this is not the end of Kid Cudi as he has teased a deluxe edition of this record coming in early 2021. I cannot wait to see what else he has in store.

Top Ten

10. Fetch the Bolt Cutters – Fiona Apple

I think it’s safe to say that Fetch the Bolt Cutters is unlike any other record that has come out this past year. It is an achievement that could have only come from Fiona Apple. It is wholly and uniquely her own, never ashamed of its form and style, the most obvious example of this being the stunning opener “I Want You To Love Me” which ends with dolphin-like squeals from Fiona. It is not often that an album is met with instantaneous critical acclaim and hailed as a “classic” but it is undoubtedly deserving of it. On Fetch, Fiona is laser-focused on her personal expression in the #MeToo era. Whether it be highlighting the importance of female empowerment on “Shameika” or addressing the misogynistic silencing of women on “Under the Table”, Fiona unapologetically addresses the common struggles of women in the twenty-first century.

The biggest standout moment on the record comes in the form of the song “For Her” which rapidly changes pace and genre throughout its near three-minute run time and was written in solidarity with Deborah Ramirez and other survivors of sexual assault. Its disorienting structure is no doubt a reflection of the confusion and rage many felt over the tragedies of these women. Yet, through the frantic and blunt pain (“You raped me in the same bed your daughter was born in”), there are moments of hope in Fiona’s angelic vocal harmonies that close out the song. Through stunning poetic lyrism and homemade instrumentals, Fiona rallies support and draws attention to the mistreatment of women, bringing together a supportive community that refuse to be silenced.

9. Ungodly Hour – Chloe x Halle

Until now, Chloe x Halle had really just been a Beyoncé-supported YouTube sensation. In 2020, however, Chloe x Halle had their breakout year with a series of unforgettable performances and award nominations all kicking off with the release of their sophomore album. Ungodly Hour flaunts the sisters’ sheer talent and ear for ear-worm melodies and innovative production. There is never a dull moment on this record despite the subtle nature of a lot of the songs. They seem to creep up and become immediately infectious. Tracks like “Lonely”, “Busy Boy”, “Do It”, and the title track show that Chloe x Halle are not to be messed with. Talents like these only come around once in a while and, although they might be dealing with the worst, most confusing times of their lives, Chloe x Halle have never sounded more heavenly.

8. evermore – Taylor Swift

The praise for folklore was so pervasive it was hard to miss. I mean, who else could drop a critically acclaimed, indie folk record after working exclusively in pop for the last 6 years? It could only be Ms. Swift. However, to me, Taylor’s second surprise record of the year surpassed its subtle sister record. Where folklore was more reserved, evermore let loose to allow Taylor Swift to dive farther into plucky folk (“willow”, “dorothea”, “marjorie”), boot-stomping country (“no body no crime”), lush electronica (“closure”), and indie pop (“gold rush”, “long story short”). But the standouts by far are when all of these genres blend perfectly on the Bon Iver assisted tracks “ivy” and the title track. Folklore was unexplored territory for Swift, but evermore proved she can master even the most uncharted waters.

7. SAWAYAMA – Rina Sawayama

At the beginning of 2020, Rina Sawayama was only on the radar of the most dedicated underground pop connoisseurs. She has since skyrocketed in popularity after the release of her debut album to much-deserved acclaim. SAWAYAMA is a smorgasbord of different genre experiments including metal (“STFU!”), arena rock (“Dynasty”, “Who’s Gonna Save You Now”), experimental pop (“Akasaka Sad”), and theme music (“Paradisin’”, “Snakeskin”). And yet, it somehow maintains a certain cohesion that is no doubt the product of Rina’s uncompromising vision. The album is truly a journey into the Rina’s world and throughout she makes it clear that she is only just getting started.

6. Maverick City Vol. 3 – Maverick City Music

Born from their writing camps that unite songwriters from across the globe, Maverick City Vol. 3 is one of the most impressive releases to come out of the Christian music industry in years. Diversity for them is not something they strive for but is woven into the fabric of who they are. Their desire is to bring people of all backgrounds together to share in community and collaboration. Perhaps this is what made the hateful comments they received when standing against the unjust killing of George Floyd sting that much more. These songs are not only products of their deep faith and dependence on God, but are sung through all of the unique pain and joys they have experienced.

There is a sense of authenticity on this record that is not always as present on other releases in a similar vein. Whether they are venturing into traditional ballads (“Promises”, “Lean Back”, “Be Praised”, “God of Midnight”), gospel (“Man of Your Word”, “My Heart Your Home”, “Yahweh”), or folk musings (“Holy Ghost”, “Closer”), simplicity is key to Maverick’s success. Their writing is sharp but some of the most impactful moments are in the repetition of their thoughtful phrases. Instrumentally, the album would seem at home at a campfire or quaint cabin in the woods. Admitting they would be nothing without Jesus, Maverick City Music beautifully illustrates faith-filled community and the simplicity in worship that makes the heart soar.

5. how i’m feeling now – Charli XCX

I seriously do not think anyone other than Charli XCX could create an album in thirty days during a lockdown due to the coronavirus pandemic and have it turn out this good. Not only that, but she found a way to perfectly capture the sentiments of the time. how i’m feeling now truly deserves the title of “the first quarantine album”. From the erratic “pink diamond” to the self-doubt of “detonate” to the yearning of “anthems”, Charli was able to successfully unveil the feelings of being quarantined and coming to terms with life in the current decade better than any artist this year. But it was perhaps the standout single, “forever” that is truly an anthem for our distanced world. The fact that she made this while filming herself to get input from fans in a month’s time only adds to the impressive nature of this project.

4. After Hours – The Weeknd

The Weeknd is perhaps most known for his dark, late night jams about partying, drugs, and other forms of escapism. However, After Hours sees the self-titled “King of the Fall” start to reflect on the effects of his excessive hedonism. Abel cleverly uses retro-synth soundscapes to create a feeling of nostalgia while drawing visual/narrative inspiration from Fear and Loathing in Las Vegas. Somehow he weaves these references through his own self-analysis and eventual breakdown on the final track “Until I Bleed Out”. Abel pulls out his best tricks from his discography on After Hours while making it a momentous commentary on the consequences of hedonism, something that not only applies to Abel but extends outward to all of us. It not only feels like a logical evolution of the Weeknd as a character but of Abel’s entire constructed world.

3. Women in Music Pt. 3 – HAIM

Funnily enough this is the only album on this list that is nominated for Album of the Year at this year’s Grammys. It goes without saying I am rooting for it to win. This is without a doubt the Haim sisters’ best record. The songwriting is sharper, the melodies slicker, and the production more engaging. It is everything one could want from them.

As the title suggests, HAIM use their 16-track record to explore what it’s like being women in the music industry and in the world in the #MeToo era. “Man from The Magazine”, “Los Angeles”, and “3 AM” each deal with the various advances of men in their lives and careers and how this impacts them. Each song not only feels timely but deeply personal and urgent. The implementation of jazzier instrumental mixes only adds to these mature themes.

One of the most interesting things about the album is the inclusion of “Pt. III” at the end of the title shows that, as their third album, it is not only an investigation of their experience for a singular project but ingrained in their existence as artists. Not only are the hooks catchy and memorable but they infuse their work with rare, brash empowerment and truth.

2. Restoration – Lecrae

This. This is the album I always knew Lecrae was capable of making and he exceeded my expectations. Restoration is at once an honest confessional and narrative album about redemption and the struggles of being a Christian and, yet, still being prone to sin. Whereas Anomaly and All Things Work Together felt like collections of well-produced singles, Restoration feels like a hero’s journey to which anyone can relate. It is dark, chaotic, and, simultaneously beautiful.

It opens with the fittingly titled “Restore Me” which acts as the thesis statement and prayer which guides the rest of the experience. Over the album’s 14 tracks, Lecrae unpacks his own past traumas and addictions, struggles with fame, and constant conflict with systemic racism only exacerbated by the senseless murders of George Floyd, Ahmaud Arbery, and Breonna Taylor at the hands of racist police and citizens in the United States last summer. As a result, Lecrae crumbles on tracks like “Drown”, “Deep End”, and “Only Human” which populate all sections of the album, not just the first half. This creates a similar statement to that of Kings Kaleidoscope’s 2016 epic Beyond Control, where one’s redemption story through Christ does not just take place at a single fixed point in time: it is a continual process.

Restoration‘s message is similar to that of Kirk Franklin’s message on Kanye West’s The Life of Pablo: “you can never go too far where you can’t come back home again”. Oddly enough, Franklin shows up here, not to offer a message of reassurance but rather to present a wake-up call of the fleeting nature of life inspired by the deaths of Kobe Bryant, his daughter, and seven others at the beginning of the year. The record at once exerts a timely and timeless message of redemption for all while also presenting a reactionary journey through the chaos of the modern world.

1. Punisher – Phoebe Bridgers

I could go on for ages about this record. For your sake, I will try to keep it relatively short. It has been a long time since I have heard an album that has captured a beautiful simplicity such as the one displayed on Punisher. Phoebe’s songwriting and vocal performance are so incredibly addictive and feel claustrophobically lived-in. The minimal yet haunting production perfectly complements Phoebe’s musing about “love” (“Savior Complex”, “Moon Song”, “Halloween”), God (“Chinese Satellite”), and the apocalypse (“I Know the End”). 

In a year as tumultuous as this one, Punisher feels more like a good cry with a close friend than just another record about the topics above. It just feels like a perfect statement for a such a confusing and difficult time. Phoebe’s honest anecdotes often come as a relief, perhaps best displayed on “Garden Song” where she flirts with the possibility of disposing of the body of her skinhead neighbor who has met an unfortunate end before fantasizing about what her life could look like in the future. But she also doesn’t shy away from orally depicting the tension of the modern age whether it be through her passionate screams on “I Know the End” or her honestly about disassociating from those she disagrees with on “Punisher”. 

Although the range of topics and emotions covered on Punisher is vast, the project somehow does not feel like a behemoth on its own and I think that is what makes it so special. Phoebe was somehow able to break these large ideas and feelings into digestible, and frankly, entertaining vignettes which play out like a home movie projected on a wall. Overall, Punisher demonstrates Phoebe’s unparalleled ability to transcend her music and truly connect with her fans in the most beautiful, human way possible.

Thanks for reading!

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If you remember, I made a blog post about what I was looking forward to doing in 2020 and, as you may have guessed, the pandemic put a stop to those plans. For months, we were all stuck at home and isolated from friends and family. During this time, I listened to A LOT of music which is why I wanted to write a feature on my favourite songs of the year! The past year has no doubt been a tumultuous one but the soundtrack was great. Similar to my older top tens, I have added a runner up section which features songs that also deserved recognition but missed out on the top ten. The same rule applies in that there is only one song per artist to make sure that there would be a mix of different genres and artists on the list. Enjoy!

Runner Ups

Dragonball Durag – Thundercat

It’s tempting to write this song off as a joke. I mean, what other song this year has had lyrics as ridiculous as “I may be covered in cat hair but I still smell good” but I think that’s the point. While no doubt being quite instrumentally and vocally well-constructed, Thundercat’s aim is not to take himself too seriously. While he legitimately pines for his love interest in some moments, he frequently injects quirky anecdotal questions and pleas which actually elevate the song beyond a traditional love ballad. He almost seems to undermine the traditional “flexes” different artists use to try to appeal to their love interests by both mentioning his “new whip”, “ice”, “video games”, and “comic books”. Plus, that instrumental is just so dang groovy you can’t help but be swept away. At the end of the day, only Thundercat’s unique vision could produce as equally addictive and ridiculous a song as “Dragonball Durag”.

Hold On (feat. Sheryl Crow, Brandi Carlile, & Natalie Hemby) – Yola & The Highwomen 

As you can probably tell from the list of collaborators and features, this track is a demonstration of country music at its very best. Yola’s southern-bluesy, growly vocals compliment the background harmonies from the other artists so perfectly that it is truly something to behold. The sentiment of the track is also quite special since it’s a comforting, reactionary anthem released in the aftermath of the unjust murders of George Floyd, Ahmaud Arbery, and Breonna Taylor this past summer. The track reminds listeners to hold on the beautiful things in their life and never let go of their passion to push for a better future. Well said, Yola and friends, well said.

Weird Fishes – Lianne La Havas

Okay, it is my time to confess something: I usually detest cover songs. To me, if something was already perfect or close to, it is better to leave it be. I am now happy to say that Lianne La Havas blew my mind this year with the true possibilities of covering another artist’s work. It pained me not to include this song in my top ten because it truly is something special, so consider this placement actually like a 10.5 in my top ten list. It is seriously that good. Lianne’s arrangement gets under your skin and is infectiously silky. Her vocal performance soars over the sparse production before the soaring finale which honestly rivals the original (which, again, I hate to say because Radiohead are also quite special to me !). Lianne is truly one of the most interesting songwriters in music today but this shows she is just as great even when she’s not singing her own material.

Top Ten

10. The Steps – HAIM

From the jangly guitars that kick off the song, you know you are in for a ride. The Haim sisters cooked up quite a special record this year and I think this song perfectly encapsulates the magic they were able to create. It is sassy, yet, personal, showy, and somehow reserved. The sentiment of fighting for what you want and trying to no avail are also extremely relatable even to the best of us. It especially speaks to the wider frustrations of, as their album title suggests, being women in music. On “The Steps”, HAIM show that they’re able to have a lot of fun while also empowering their female counterparts and creating an infectiously catchy tune that packs a punch.

9. forever – Charli XCX

I cannot think of a song that better encapsulates the COVID-era (if we can address it as such). The hook “I’ll love your forever even when we’re not together”, despite being written before quarantine, became the rallying cry for many this year who were experiencing isolation apart from their loved ones. The experimental and gritty production also further expand on Charli’s capabilities in the PC music realm. The auto-tune on her voice in combination with the aforementioned production also create this sweet-and-sour dynamic that resolves in the chorus in such a beautiful way. I think “forever’ proves that we should never refer to Charli as “the boom clap singer” again. She has effectively shown that she is capable of intimately expressing the longings of an entire culture while still being the pop innovator we know and love.

8. BLACK PARADE – Beyoncé

She has gone by many names over the years, including the well-known and deserved “Queen Bey”. On Juneteenth, she proved to us once again why she holds that title. Filled with many empowering quotable lines like “I can’t forget my history is her story”, “Put your fist up in the air, show black love”, and “Rubber bullets bouncin’ off me/Made a picket sign off your picket fence”, Beyoncé effectively empowered black people all over the world while also addressing the injustices, and subsequent protests, of the murders of George Floyd, Ahmaud Arbery, and Breonna Taylor at the hands of racist police officers and citizens.

A further investigative look into the lyrics of the song also reveal the rich African history that Beyoncé has woven into, not only the song, but the related Black is King Disney+ film. This is all in an effort to begin reclaiming the ancestral heritage stolen from black people during the era of colonization and slavery which she first spoke about on her seminal 2016 visual album Lemonade. Beyoncé has once again shown that she is in a league of her own amongst her contemporaries but she will not let this diminish her ability to connect and empower those at the edges of society and reclaim what is hers.

7. My Future – Billie Eilish

Billie Eilish has surprised many in her relatively short career. Whether it be her horror-inspired imagery and lyricism or her left-field production choices, she never fails to shock. However, I found the understated “My Future” to be her most surprising release yet. Instead of relying innovative soundscapes (which are still great), Billie took a jazz-inspired direction for this single which was the perfect showcase for her often overlooked vocals and harmonies. The switch from the soft instrumental at the midway of the track is also just as shocking as it morphs into something completely different in the most beautiful way. Her declaration of excitement for a future that is wholly her own was also unprecedented and some welcome optimism in the chaotic year that was 2020.

6. Sweeter (feat. Terrance Martin) – Leon Bridges

Leon Bridges’ “Sweeter” was a heart-wrenching reaction to the senseless killings of George Floyd, Ahmaud Arbery, and Breonna Taylor, and vocalized the subsequent feeling shared by black people all over the world whenever these tragedies occur. His hope for a better future while seemingly stuck in a cycle of violent tragedy because of his skin is truly felt in every infliction of his voice and the passionate yet minimal instrumental. The horn that joins him on the final chorus just accentuates the already somber tone and is utterly tear-inducing. Leon Bridges has always been an exceptional songwriter, but he only surpasses his past achievements on the much-needed “Sweeter”.

5. After Hours – The Weekend

“After Hours” is the centerpiece of the record with the same name. The 6-minute epic has a similar structure to “House of Ballons / Glass Table Girls” where the song’s production drastically changes halfway through the track which I think is purposeful. After Hours is the fulfillment of all of the desires that Abel dove headfirst into on his debut which have now left him unsatisfied and broken. Nowhere is this clearer than on this track. Abel’s passionate “Where are you now when I need you most?” is nothing short of heartbreaking and the droning synths that accentuate this section of the song create this uneasy soundscape which is impossible to escape. It’s addictive and dramatic, making it the best fusion of everything Abel has done up until this moment in time.

4. Restored (feat. 1K Phew, Wande & Hulvey) – Lecrae

I guess it is now time for my second confession of this article: I usually detest deluxe edition tracks. If you had have told me a year ago that I would include a song from a deluxe edition in my top 5 of the next year I would have audibly laughed. And yet, here we are. As much as any of the songs from Lecrae’s Restoration could have filled this spot, “Restored” is a collaboration of epic proportions. It is like the “Forever” of Christian rap and I have not stopped listening to it since it came out. Over the four minutes and change run time, Lecrae and co. reel with personal struggles and addictions, financial issues, God’s providence and grace, and their experience of being restored. It’s timely, deeply personal, and features career best verses from Lecrae and his 116 affiliates (See “Said you had fake faith, you’re starting to race bait”, “I see new dimensions like I’m Rick and Morty”, “Haven’t you noticed when we at our lowest is when our prayer life be having some focus?” and “Honda Civic I know God steerin’, in the Lamborghini I know God steerin’”).

3. Bad Friend – Rina Sawayama

Rina Sawayama has had an unbelievable year. I remember when she premiered “Bad Friend” on BBC Radio 1 weeks before the release of her debut album. The song was an honest confessional and, yet, instantly one of the catchy pop tunes of year. This was already after she had released “XS” and “Comme Des Garçons (Like the Boys)” which both could have been in this place on this list. Instead, Rina’s heart-breaking and lush “Bad Friend” became the magnum opus of the album. The song seemed to take on additional meaning this year with lyrics like “so don’t ask me where I’ve been/Been avoiding everything because I’m a bad friend”. Who hasn’t tried to escape the online world and all the awful events this year and ended up neglecting personal relationships while in quarantine? Even if the song did not obtain a special status because of COVID, it is still a testament to Rina’s ability to dominate the pop genre while curating a beautifully, innovative soundscape.

2. Kyoto – Phoebe Bridgers

This was Phoebe’s year and “Kyoto” could have easily taken the top spot on this list. The airy instrumental with the taut drums and gorgeous horns allow Phoebe’s vocals to dominate every part of this track. The instrumental blend of the song actually feels like a perfect summation of all of her previous musical experiences on her first record, the boygenius EP with Julien Baker and Lucy Dacus, and the Better Oblivion Community Complex project with Conor Oberst. 

Over the course of the song, Phoebe comments on being bored on tour and her subsequent FOMO which evolve into grand reflections on her complicated relationship with her father, watching the sunsets in the suburbs, and other memories from her childhood. It perfectly captures one’s stream of consciousness where the simplest things can trigger a flood of disjointed memories. Overall, the song just reflects Phoebe’s uncanny ear for subtle melody and one-of-a-kind songwriting which somehow feels deeply personal, nostalgic, urgent, and flippant all at once.

1. Me & You Together Song – The 1975

Yes, “If You’re Too Shy (Let Me Know)” could have also occupied this spot. Yes, I know it was the favourite among fans and critics alike from their last album. Personally, I think “Me & You Together” actually captures the true spirit of what makes the 1975 so great. It feels truly nostalgic in a way that only the 1975 can capture. The anecdotal lines about crappy carnivals, changing diapers, and rejected offerings of love are at once comedic and picturesque. It feels like a lived experience that I have never had but fondly remember.

No, this song does not encapsulate the crazy year that has been 2020. It was nice to actually have some space that was untainted by the pandemic. It is cautiously optimistic while not being overly complicated. It’s the 1975 knowing exactly who they are and sticking to what makes them one of the most interesting bands in music right now. 

Thanks for reading!

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Over the past few months, I have been furiously listening to countless records from the past decade to try and finalize my list. As it turns out, there were many spectacular albums in the 2010s and it was unbelievably hard to cut it down to only ten albums. As a result, I have included a runner up section which houses albums that narrowly missed the top ten. The rule I made for the top ten was that there could only be one album per artist to make sure that there would be a mix of different genres and artists on the list. Enjoy!

Runner Ups

1989 – Taylor Swift

What happens when you combine pop powerhouses Max Martin and Jack Antonoff with a high-profile singer/songwriter who wants to transition into pop music? It turns out that the result is exactly what you would expect: pure magic. The story is simple: love and life in New York City. However, the journey through it all is soundtracked immaculately. Whether she’s saying goodbye to the haters on “Shake It Off” or being a “nightmare dressed like a daydream” on “Blank Space”, Taylor Swift has never been more infectious.

Every synth is perfectly placed, every vocal the perfect balance of passion and restraint, and she genuinely sounds like she is having the time of her life. As a result, 1989 could easily be a “greatest hits” record for any other pop artist. Songs like “Style”, “Out of the Woods”, and “All You Had To Do Was Stay” could make even the harshest critics tap their toes. There was a lot of initial hesitation for Swift’s pop crossover, but it is no doubt that the result was absolute pop perfection.

IGOR – Tyler, the Creator

Many will likely remember Flower Boy as their favourite Tyler, the Creator record. However, IGOR is still equally as impressive and finds Tyler’s production skills at their most advanced and cohesive to date. He has a way of never creating the same album twice and IGOR is no exception as it veers pretty far from Tyler’s typical hard-rap style into silkier R&B jams. Yes, the album is a breakup album which can, at times, be an oversaturated market. However, Tyler’s lo-fi and layered approach to this concept is one of the most interesting entrances into the category to date.

The radio-ready pop of “EARFQUAKE” and “I THINK” are immediate draws but more experimental R&B cuts like “A BOY IS A GUN”, “GONE, GONE / THANK YOU”, and “ARE WE STILL FRIENDS” pack more than enough punch to propel the album to an epic finish. IGOR also plays strictly by Tyler’s rules which may be the most interesting part of the record. He makes features from Lil Uzi Vert, Playboi Carti, Solange, slowthai, and Kanye West all sound like another dimension of his established soundscape palette. Tyler may feel like he is the puppet of his love interest but when it comes to music it is clear that he is the puppeteer.

Astoria – Marianas Trench

As a Canadian band, Marianas Trench has long been overlooked by the world at large. In 2011, they were at the height of their career and even started to gain international attention. Suddenly, the lead singer, Josh Ramsay, broke off his engagement, found out his mom had dementia, and ended up in the hospital. This terrible spiral of events caused them to eventually release Astoria four years later. The wait was well worth it.

If you couldn’t already tell from the Goonies-inspired title, the band drew on the music and culture of their childhood to tell of one of the band’s darkest periods. The 17-track magnum opus follows through the emotional pain of Josh’s last four years through the addictive pop of “Burning Up”, heartbreak of “Dearly Departed”, “Wildfire”, and “Forget Me Not”, and the Toto-inspired highlight “Who Do You Love”. The band ventures into uncharted instrumental, vocal, and conceptual territory, with every track striking gold. Complete with sweeping instrumentals, stunning synths, Queen-esque harmonies, and orchestral interludes, Astoria is truly a blockbuster that any true music fan would not want to miss.

Top Ten

10. Golden Hour – Kacey Musgraves

Kacey Musgraves’ old soul brought her success within the country music community fairly quickly. Her plucky guitar and traditional country sound was one that would never go out of style and could continue to be successful. With the release of Golden Hour, Kacey decided to instead become an innovator instead of an imitator by swapping out her old style for techniques common in pop and hip/hop communities.It is no wonder that some found it difficult to view Golden Hour as a country album as Kacey’s vocals seem relatively polished and the ragged, plucky nature of most modern country songs is entirely absent.

Everything seems to shine on the record as Kacey takes an inventive approach to country clichés such as on the songs “High Horse”, “Space Cowboy” and “Velvet Elvis”. She’s not singing about beer, tractors, short skirts, or honky tonks. Instead, Kacey tells the story of her own hardships and loneliness while assuring listeners that “It’ll all be alright”. It’s a relatable and intimate experience that seems to drift through the air like a light breeze on a summer’s day.

Golden Hour marks a mature turning point for Kacey Musgraves and unlocks a world of possibilities for her future sound. Every track is expertly written and produced to a near-perfect degree. She’s never sounded more convincing and beautiful than on songs like “Butterflies”, “Mother”, and “Rainbow”. It’s pristinely polished, bravely innovative, beautifully intimate, all the while showcasing the true possibilities of breaking genre boundaries and making something you believe in.

9. Blonde – Frank Ocean

Frank Ocean received, or rather, commanded everyone’s attention with the release of Channel Orange near the beginning of the decade. From then on, fans were eagerly awaiting his next record, tentatively titled Boys Don’t Cry. After many delays and much disappointment from fans, Frank Ocean returned on one fateful night in August of 2016. He dropped two albums over that weekend, one being the visual album Endless to fulfill his prior commitment to his old label. The other was the critically applauded and experimental Blonde.

On this record, Frank traded out the R&B-pop fusion of “Thinking Bout You” and “Forrest Gump” for postmodern ambience and R&B. The swaying “Nights” follows a similar two part structure to “Pyramids” but seems much more airy and fluid. The stacked instrumentals on songs such as “Pink + White”, “Pretty Sweet”, and “Futura Free” seem to almost drown out Frank Ocean, as if he has become nothing other than another layer in much larger sonic mural. However, songs like “Ivy”, “Solo”, “Self Control”, “White Ferrari”, and “Godspeed” find Frank singing over very minimal production and pack enough emotional punch to make Arnold Schwarzenegger break down.

The album also features guest writing credits and vocals from high profile artists like Paul McCartney and Beyoncé which is a testament to how well-respected Frank is within the music community. Both Channel Orange and Blonde are legendary within their own right but differ so much on almost every level imaginable making Frank Ocean one of the most fascinating artists currently working in music. However, Blonde is truly one-of-a-kind and is a record that will go down in history as a marvel of the imaginative possibilities of recording technology and artistry.

8. To Pimp a Butterfly – Kendrick Lamar

It is no doubt that Kendrick Lamar is one of the greatest artists to emerge during the decade. His poetic style and extremely sophisticated approach to hip/hop and storytelling has gained him a lot of attention, many accolades, and even scholarly courses dedicated to analyzing his works. To Pimp A Butterfly, however, is Kendrick Lamar at his creative peak and even inspired David Bowie for the direction of his final album, Blackstar.

Kendrick Lamar broadens his focus on this record to discuss the construction of the African-American identity, institutionalization, police brutality, and black pride. For an album prominently focused on race, Kendrick draws on typically African-American dominated music styles such as hip/hop, jazz, and R&B. It’s a beautiful culmination of African-American art and influence led by one of hip/hops most imaginative MCs.

Kendrick uses the practice of pimping as a metaphor for the treatment of African-Americans throughout history. He also uses the idea of a cocooned caterpillar and a butterfly to talk about self-image and institutionalization within black communities. The wit and relevancy of each of Kendrick’s verses on this record is a work of literary genius. Tracks like “These Walls”, “u”, “For Sale (Interlude)”, “How Much A Dollar Cost”, and “Complexion (A Zulu Love)”, “i”, and “Mortal Man” demonstrate this to a degree unparalleled by any of his contemporaries.

Additionally, Kendrick does not bow to genre pressures and focuses more on substance and concept than making every track a “head-banger”. The impact of the content hits a lot harder than many of the beats on the record as a result which is extremely inventive and interesting to follow. To Pimp A Butterfly finds Kendrick Lamar at the top of his game with respect to every aspect of the record and is no doubt one of the most relevant and inventive records to be released within the last 20 years.

7. The Life of Pablo – Kanye West

Not many artists could make an album like The Life of Pablo work. If anyone could though, it would be Kanye West. On the surface, The Life of Pablo feels very much like the rough, unfinished cover art and perhaps that’s the beauty of it. The stunning “Ultralight Beam” and instant earworms like “Father Stretch My Hands Pt. 1”, “Famous”, “Waves”, and “Fade” are immediate crowd pleasers. But some of the deeper cuts like “FML”, “Real Friends”, and “Saint Pablo” really propel the album through the narrative Kanye has constructed, or rather, lived.

This album is one of contradictions and juxtaposition. As an illustration, there are features from both Chris Brown and Rihanna which, considering Chris’ past abuse of Rihanna, would be in quite poor taste on any other album. Yet, on The Life of Pablo it seems right at home. The controversial Taylor Swift lyric and the lyric about bleached – well – y’know all follow the gospel-infused opening track “Ultralight Beam” which features a prayer for those who feel they’ve “gone too far” from none other than Kirk Franklin. This constant imbalance between the spiritual and secular has not only been extremely popular in gospel music throughout its history but also within Kanye’s own life.

Kanye’s honesty and braggadocious persona create a dazzling and autobiographical experience. By the time the second half of the record comes around it’s no surprise that Kanye is struggling with his identity, faith, and family, as expressed by tracks like “Real Friends” and “Wolves”. It is clear that although Kanye wants to focus on the highlights and perks of the fame and women in his life, he cannot move past the feeling that he is stuck in a fantasy much darker than he ever imagined. Musically, Pablo features a multitude of samples, artists, and production styles. For example, “No More Parties in LA” has more of a vintage rap feel which contrasts with the gospel feel of the first two tracks and the experimental nature of “FML”.

Overall, The Life of Pablo is very hard to discuss in such few words as this. It is an album that is quite literally always evolving as Kanye continued uploading new versions of the songs after the album’s initial release. It is a sprawling journey through multiple genres and stories, until Kanye’s facade cracks on the stunning finale “Saint Pablo” which finds Kanye wrestling once again with his faith and family. The Pablo referred to in the title is the Biblical figure Paul, who was converted to Christianity after initially oppressing Christians. Once described as “a gospel album with a lot of swearing” The Life of Pablo may not be the gospel revival that would come later in Kanye’s career, but it is an essential first step.

6. Lemonade – Beyoncé

The sparse, vocal-heavy opening track “Pray You Catch Me” makes it clear: this is no ordinary Beyoncé record, or record in general. This is a journey. Over the albums twelve tracks, Beyoncé discusses jealousy, infidelity, anger, heartbreak, and finally healing, restoration, and forgiveness. Oh, and if that wasn’t enough there’s the truck-rattling Black Lives Matter anthem ‘Formation’ to top it all off at the end. However, this is not Sasha Fierce or the flawless persona from her self-titled album. This is the journey of one of the most buzzworthy artists of the decade at one of her darkest moments. Beyoncé has never been more vulnerable and yet it seems that in her weakness, she has also never been stronger.

The music itself expresses her internal strife as it hops between numerous genres such as reggae, rock, country, pop, hip/hop, and more. Beyoncé not only experiments in this uncharted territory but effortless nails every one and, dare I say, even improves on some. The heartbreaking ‘Sandcastles’, explosive ‘Don’t Hurt Yourself’, and the thumping ‘Daddy Lessons’ are among the albums many highlights. Everything Beyoncé does on this record comes with a twist, one only Queen Bey herself could add to the “lemons” she’d been handed.

Perhaps what is most impressive about this album though was its ability to dominate the conversation in 2016, a year already full of critically acclaimed releases from the likes of Frank Ocean, her sister Solange, and Kanye West. It was Lemonade’s year and everyone knew it. That’s what made Adele’s acknowledgement of this even more bittersweet when she had beat Beyoncé at the subsequent Grammy awards for Album of the Year. Nevertheless,Lemonade will continue to dominate the conversation and forever be remembered as a groundbreaking moment in musical history.

5. A Seat at the Table – Solange

Beyoncé always seemed to outshine her sister. She was in a massively popular girl group and became one of the biggest popstars on the planet. Solange, on the other hand, was involved in an infamous elevator incident with her sister’s husband which was more publicized than her entire career up to that point. However, the release of A Seat at the Table would change everything.

Not only is A Seat at the Table an important record conceptually but it often relies on minimalistic production and simple melodies to sustain all 21 tracks. This pays off in a way that only Solange could orchestrate. Whether she’s talking about self-care, lost loves, or her struggles as an African-American woman in modern day America, she does so with exceptional grace. Sonically, the record is very cohesive. Every track seamlessly transitions into the next making it more of an experience than a compilation of songs. It is clear that Solange’s knowledge as an artist goes far beyond songwriting as every aspect of the record is utterly flawless.

The interludes throughout the album also provide more interesting windows into the African-American experience during segregation and the present day. Not only are they entertaining and informative, they feel essential to the album’s success by tying every aspect of Solange’s story to her identity and heritage. At one point, one of the featured guests denounces “reverse racism” by providing such a simplistic explanation of why black pride is integral to society that a child could understand. This conversation should not have to be had in our society and yet it has never been more important. It is a true testament as to why we need more diverse voices in Hollywood and the music industry. Solange successfully commands an exceptionally moving album lyrically and instrumentally and spreads love and empowerment to black communities throughout the world in a way that has never felt more authentic and relevant.

4. Beyond Control – Kings Kaleidoscope

“But still this faith I hold/is my reality” is the bold proclamation that comes within the final minutes of this album. And when it does come, it feels as if it’s been ripped right from midst of an intensely personal and difficult journey. Although the Christian hope in Jesus is at the center of this album, it’s not all sunny skies and rainbows. Tracks such as “Most of It”, “Gone”, and the cleverly titled “Lost?” all follow along on Kings’ faith journey of learning to be okay with what they cannot control and gaining dominance over their fears. However, this all occurs before their breakdown at the end of the album revealing that this is no hero’s journey but instead one of continual wrestling, praising, pain, and growth.

Instrumentally, the album follows a rather optimistically jazzy flow, with hints of subtle samples and layers throughout for the first half. The interlude titled “Friendship” is just the band messing around with melodies in the studio capturing the kindred spirit that lies behind most of the tracks. In the second half of the album, the band falls into more stripped back sonic textures as they wrestle more with their fears and insecurities. Even the closing song “Trackless Sea” is rather mellow until a rather chaotic praise snippet bursts forth after a brief moment of silence revealing their cycle of emotions and return to praise.

Still, it is an album that deals with pain as much as it does praise such as on the controversial track A Prayer which features the line “where the fear is f—-ing violent” taken from the lead singer’s journal while suffering with severe anxiety. The industrial instrumentals sound as if they’re scraping along the ground, weary from a long battle. In the same breath it asks “Jesus where are you?/Am I still beside you?” while affirming and finding comfort in His death and resurrection. Kings Kaleidoscope prove time and time again that they are not afraid of the tough questions but at the same time are okay with not knowing all the answers. It is a uniquely human album that delights in the trials and triumphs of faith and the human condition, all the while accepting that it is truly beyond our control.

3. Coloring Book – Chance the Rapper

It has been said that good things always happen in threes. For Chance the Rapper, this meant three beloved mixtapes, the Holy Spirit, and his iconic three hats to commemorate all of this. Coloring Book marks the third entry in his mixtape trilogy and swept Chance into the mainstream. The success of this mixtape even caused the Grammys to change their qualification policy to allow albums exclusively available on streaming platforms to be able to be nominated for awards. Perhaps it was poetic that this allowed Chance to also win three Grammys for Coloring Book.

But Chance would attribute this much luck and success also to God as Coloring Book finds him boldly expressing his faith across a plethora of expertly produced and addictive gospel beats. Coloring Book practically perfected the gospel-rap fusion that had been started by artists like Kirk Franklin and Kanye West. Every single song feels as if it’s been lived in and grown for a significant period of time. Take the mellow “Summer Friends” a tribute to those relationships that only exist for a short period in one’s life. The Francis and the Lights feature is perfect, Chance’s verses are witty and feel like a confessional instead of a rap. Even Jeremih’s feature blends perfectly into the sonic landscape of the song. Each track follows this pattern of expertly selected guest vocals, fitting verses from Chance, and joyous instrumentals.

He talks about his family, his faith, and his friends with a level of optimism that is unheard of. With the world seeming so dark at times, this record shines like a light. It would be impossible to not burst out in a grin while hearing tracks like “All We Got”, “No Problem”, “Angels”, and “Finish Line/Drown”. The fact that this record is only a “mixtape” is also stunning. No wonder Chance sings “it seems like blessings keep falling in my lap” because Coloring Book feels heaven-sent.

2. A Brief Inquiry Into Online Relationships – The 1975

To think that at the beginning of the decade The 1975 had not even released their debut album is mind boggling. Their progress from small indie band to politically-charged, arena rock icons has been a fascinating journey to follow. While their first two albums seemed to overstay their welcome, A Brief Inquiry Into Online Relationships feels shockingly relevant and mature.

The instrumental, sonic, and lyrical styles have not changed but have been injected with more substance and wisdom than on their previous efforts. Every track is addictive and seems carefully chosen. Even the partially ambient detours à la “The Man Who Married a Robot/Love Theme” and “How To Draw/Petrichor” both fill necessary holes in the album’s narrative while being some of the most beautiful moments on the whole record. The paranoid and spastic nature of “Give Yourself a Try”, “I Like America and America Likes Me”, and “Love It If We Made It” is infectious and highlight the fears that many hold with our access to such a vast amount of information, good and bad. But the thought put into this record goes far beyond the vocal performance and instrumental landscapes. “It’s Not Living (If It’s Not With You)”, “Be My Mistake”, and “I Always Wanna Die (Sometimes)” all shed a strikingly honest and personal light on drug addiction, infidelity, and suicide respectively. Each song seems to showcase another new example of how technology is mediating our relationships with both things and people.

It is a message that has previously been explored by various artists throughout music history, most famously Radiohead. However, The 1975 take it to the next level by using modern recording technology like auto tune to showcase the mechanization of our humanity and even use a gospel number to discuss our fears of being sincere with one another. The message is not only one that is continually important but also one that is necessary for anyone alive right now.

1. Melodrama – Lorde

Clocking in at 11 tracks and just over 40 minutes, Melodrama is a testament to every great thing about pop music. In the time between this album and Pure Heroine, Lorde had grown up, won a Grammy, and lost a significant relationship. The highs and lows of her experience are showcased here and form the basis of the record. So yes, Melodrama is a breakup album. It is a coming-of-age album. It is a pop album. But it is also so much more than that.

The opener “Green Light” is a peculiar track as it violently switches from minimalistic opening chords to a proper pop song courtesy of Jack Antonoff. The tone grows darker with the whisper-pop and heavy synth vibes from “Sober” and “Homemade Dynamite”. Suddenly it clicks: the album is set at a house party. What better place for a teenager to contemplate their life?

Every song that follows is a new dimension of heartbreak that draws you close and rips you open. The production is beautiful and cohesive, each track oozing into one another while still feeling intimate. It is clear that Lorde has never been in more command of her craft. By the time “Perfect Places” rolls around, Lorde has felt deep pain and regret, acknowledged her romanticism of the past, and realized her true self-worth. She is now free to return to the party while remembering that nothing is ever truly perfect in this life.

This album does not succeed by having a large persona or grandiose production. Rather, it retreats into the corners of your brain and feels like a heartfelt letter from a close friend. Lorde puts her entire soul into every breathy note and synth and focuses more on the quality than the quantity. Emotions are amplified and every track sticks the landing. Her journey back to being whole is one that is melodramatic but captures the deeply human truths about self-image, growing up, getting your heart broken, and putting the pieces back together again.

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5 min read – Characters: 6521

Over the past decade, there has been a multitude of fantastic songs which made it extremely difficult to narrow the list down to only ten! Because of this, I have added a runner up section which features songs that also deserved recognition but missed out on the top ten. The rule I made for the top ten was that there could only be one song per artist to make sure that there would be a mix of different genres and artists on the list. Enjoy!

Runner Ups

Love on the Brain – Rihanna

Who would’ve ever thought Rihanna would release a retro, doo-wop love song? As it turns out, her extremely passionate and expressive vocals over the vintage chords created one of the best songs in her entire catalogue.

Thinkin Bout You – Frank Ocean

Before this, Frank Ocean was just another member of the rap collective Odd Future. “Thinkin Bout You” showed off Frank’s impressive range and revealed his show-stopping songwriting to the world.

Royals – Lorde

“Royals” was meant to be a song given out for free but ended up winning Song of the Year at the Grammys. On this song, Max Martin told Lorde to switch the chorus and the prechorus. Thankfully, she didn’t listen and ended up defying the traditional song structure of pop music to give listeners a taste of her unique approach to songwriting and storytelling.

Top Ten

10. No Tears Left to Cry – Ariana Grande

After the attack at her show in Manchester, Ariana Grande took a much-needed hiatus. Her triumphant comeback was marked by the release of “No Tears Left to Cry” which combined Ariana’s angelic vocals with a beautiful, heavenly soundscape. Instead of being stuck in regret, depression, and fear, she chose to look past those things and encourage the legions of fans who still believed in her.

9. Run Away With Me – Carly Rae Jepsen

It would be a shame for Carly Rae Jepsen to be remembered only for her diamond hit “Call Me Maybe”. “Run Away With Me” allowed her refined abilities as a pop songwriter to take center stage. Complete with blazing saxophones and a gargantuan chorus, “Run Away With Me” is four minutes of pure pop bliss.

8. Love On Top – Beyoncé

If Beyoncé has not convinced you by the end of this song that she is one of the most talented performers of this generation then you need to hit replay. The multiple key changes, flawless vocals runs, and fitting instrumentals are a testament to how Beyoncé takes every aspect of her music to the max.

7. Summer Friends – Chance the Rapper ft. Jeremih & Francis and the Lights

This song is absolutely gorgeous as each element successfully communicates Chance’s nostalgia and desire to return to the summer. His verses are some of his best yet and the soundscape created by Francis and the Lights’ vocals, synths, and other various textures that would fit in at an arcade feel like the audio equivalent of watching a sunset.

6. A Prayer – Kings Kaleidoscope

The controversy surrounding this song almost overshadowed its greatness. Almost. It sounds tortured, rough, and raw before breaking out into a response to the lead singer’s questions of God during his severe anxiety. The passionate “I love you” near the end is one of the few musical moments that never fails to send chills down the spine.

5. Teenage Dream – Katy Perry

When I think of the quintessential 2010s pop song, “Teenage Dream” always comes to mind. The minimalistic instrumentals of the verses seem fitting before the immaculately constructed and sugar sweet hook. At the time, this song and the album of the same name dominated the radio and will continue to be a truly iconic moment in pop history.

4. All Too Well – Taylor Swift

For every gigantic hit single, there are many other songs in Taylor’s discography that reveal her talent and versatility as a songwriter. “All Too Well” is one of those songs. The song itself feels more like a scrapbook than a ballad and walks the listener through the history of a relationship. It focuses on the little moments such as a lost scarf, dancing in the kitchen, and running red lights which make the song feel lived-in rather than fabricated for profit. It’s raw and breathtakingly beautiful.

3. Track 10 – Charli XCX

The production choices alone on this song are constantly surprising and perplexing. The song at its core would be good enough to go toe-to-toe with whatever Max Martin has worked on this decade. But Charli is not interested in a good melody, she wants to manufacture an entire sonic soundscape. This song seems to constantly evolve throughout its 5 minutes runtime and is unlike any other song out there. The chaotic synths, swirling distortion, and pitch-shifted vocals create an atmosphere that showcases how far ahead Charli is among her contemporaries.

2. All of the Lights – Kanye West

It would be foolish to think that, despite his many controversies, Kanye West has not had an enormous impact on the sounds of this decade. “All of the Lights” finds Kanye at an all time high in terms of production, flow, and creative decisions. His choice to involve Rihanna, Fergie, and Elton John (among others) on the track would seem fantastical to most other artists but all of their contributions blend so well into the atmosphere Kanye has created. Upon its release, it showcased the mountainous possibilities for rap music and inspired countless artists for years to come.

1. Love It If We Made It – The 1975

When selecting which song would be number one of the decade the choice to me was fairly obvious. The ideal choice would be one that captured the true spirit of the decade and featured a memorable vocal performance, flawless instrumentals, and impactful lyrics. There is no other song I can think of that not only fulfills these criteria but exceeds them at every turn. The instrumental layers and subtle harmonies on the chorus make for one of the most beautifully anthemic musical moments of all time. Lyrically the song focuses on the sheer amount of good and bad information/news that we are presented with while hoping we’ll “make it” through the challenges left by the failures of modernity. It’s thoughtful, challenging, and unbelievably euphoric.

Thanks for reading!