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obtusemedia · 5 years ago

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The 50 greatest albums of the 2010s

These 50 albums are the records that stuck with me the most in this past decade. There are albums here that grew on me slowly over time, and others that I instantly clicked with. Some of these records are constantly on repeat; some I only pull off the shelf at a certain time of year, or when I’m in a certain mood.

Regardless of why I love them, these are my 50 favorite albums of the 2010s.

#50: In Colour by Jamie xx (2015)

Instrumental electronic music is really not my thing, but In Colour is one of the few exceptions.

Jamie xx — also a member of indie icons The xx — has said In Colour is meant to evoke the emotions of a night out in London’s nightclubs, but not work as typical dance music that would actually be played in those clubs. That description is dead on.

With the exception of the bouncy Young Thug and Popcaan collab “I Know There’s Gonna Be (Good Times),” which serves as a fun break from the album’s moody atmospheres, none of these songs are danceable. Standouts like “SeeSaw” and “Girl” sound like the half-remembered soundtrack of a blacked-out night, with haunting whispers of vocals throughout. And the more pop-centric, heartbreaking ballads with fellow The xx members Romy and Oliver Sim prove Jamie can write stellar conventional tunes as well.

Best songs: “Loud Places,” “I Know There’s Gonna Be (Good Times)”

#49: Days Are Gone by HAIM (2013)

In their influential debut album Days Are Gone, the Haim sisters fused together ‘70s/’80s radio-friendly pop-rock, early ‘90s pop melodies and a modern Instagram sheen to create a collection of 11 instant indie-pop classics.

The San Fernando Valley-based sisters — Este, Danielle, and Alana — have both the songwriting and instrumental chops necessary to create the closest thing Millennials will get to a Fleetwood Mac album. Each song has approximately 40 hooks, plus some smooth guitar licks, just-funky-enough grooves and analog keyboards to get the job done.

Given that 2013′s pop scene was more about disco throwbacks and Miley Cyrus riding construction equipment, it’s unsurprising yet a bummer that should-be hits like “The Wire” or “Forever” never became mega-smashes. But HAIM’s retro pop sound on Days Are Gone would serve as a playbook for the rest of the 2010s for pop stars seeking an indie edge and more pop-inclined indie artists alike.

Best songs: “The Wire,” “Days Are Gone”

#48: Teens of Style by Car Seat Headrest (2015)

Teens of Style is almost more of a sampler record than a proper album. Released after Car Seat Headrest signed to the legendary indie label Matador, the record consists of select songs from Will Toledo’s low-fi Bandcamp recordings, re-recorded.

But let’s be honest — those Bandcamp albums are rooooough. Toledo could write great tunes, but the sound quality was so bad that the songs sounded like they were recorded with a Game Boy Color. The re-recording was necessary.

The tracks here are still appropriately fuzzy, with Toledo singing them through a distorted vocal filter. But with actual production values, the massive guitars and energetic choruses of grunge bangers like “Times To Die,” “Something Soon,” and “The Drum” come to the surface. And it also features one of Toledo’s best songs, the Pet Sounds-meets-Pavement power ballad “Strangers.” It’s a must-listen for any ‘90s nostalgists or sad bastards.

Best songs: “Strangers,” “Something Soon”

#47: AM by Arctic Monkeys (2013)

This was an interesting experiment that seemed doomed to fail: Taking an aggressively British rock band whose previous formula had gotten stale, and transforming them into slick, swaggering American rock gods. But somehow, AM works. Alex Turner channeled a greasy charm in his winking croon, nearly developing a Western drawl. And although the production is significantly smoother, the Arctic Monkeys didn’t forget how to RAWK — the clanging guitars of “R U Mine?” and “Arabella” will wake you right up.

Yes, AM is one of those Urban Outfitters-core albums that was a favorite amongst suburban faux-hipsters. It’s not nearly as cool as it thinks it is. But it’s still the closest thing the ‘10s have to a classic rock masterpiece.

Best songs: “R U Mine?,” “Do I Wanna Know?”

#46: Charli by Charli XCX (2019)

This decade has seen two versions of London pop visionary Charli XCX: The glitched-out weirdo behind “Vroom Vroom” and “Track 10,″ and the snotty popstar who sang the hook on an Iggy Azalea hit and wrote a bubblegum track for a teen romance. What makes Charli such a fun listen is it’s her only project that masterfully balances her two sides.

Do you prefer radio-friendly hook machine Charli? Here’s some synthy duets with Troye Sivan and Lizzo. If you want the experimental side of Charli, there’s the jagged “Click” and a song that sounds like it samples the THX theme. And the best songs take a little from both of Charli’s strengths (like the two tracks below).

Best songs: “Gone,” “Cross You Out”

#45: Harry Styles by Harry Styles (2017)

When Harry Styles, arguably One Direction’s most beloved member, announced his first solo album, I can’t imagine many fans expected it to be so...dad rock.

Styles’ self-titled debut goes down easy, with its gentle guitars and singer-songwriter odes to love. It’s the kind of record that’s easy to scoff at — the pretty one in a boy band tries his hand at ~serious~ music — but remember, critics didn’t love Paul McCartney’s first couple solo albums either. Harry Styles’ impeccable pop-rock songwriting will cement its legacy,

Best songs: “Sign of the Times,” “Two Ghosts”

#44: Mylo Xyloto by Coldplay (2011)

Mylo Xyloto is unabashedly corny, and that’s what makes it great. You’d expect a Coldplay album to already have a high level of cheese, but Mylo Xyloto takes it to another level. Unlike the similarly poppy A Head Full Of Dreams a few years later, Xyloto’s head-first dive into synths and dance beats is actually memorable. There’s technically a loose connecting story tying the songs together, but all you need to enjoy the album is a love for massive, world-conquering choruses and a love of Chris Martin’s heart-on-sleeve emotions.

Best songs: “Every Teardrop is a Waterfall,” “Charlie Brown”

#43: Everybody Works by Jay Som (2017)

Plenty of great dream-pop albums were released this decade, but none of them feature as many variations on that style as Jay Som’s Everybody Works. All of Oakland singer-songwriter Melina Duterte’s songs are hazy and catchy, but she still manages to dabble in the sounds of grunge (“1 Billion Dogs”), Latin pop (“One More Time, Please”) and even early ‘00s soccer-mom pop (“The Bus Song”). And other than an overly-long closing track, Duterte nails everything she tries. Everybody Works is a little slight, but the music is too hypnotizing to resist.

Best songs: “The Bus Song,” “(BedHead)”

#42: The Suburbs by Arcade Fire (2010)

The Suburbs is an album that seems to sprawl out forever, just like its namesake. And with apologies to The Hold Steady, this album is the closest thing Millennials got to creating a Springsteen classic of their own.

The classic-rock and new-wave influences that Arcade Fire melded create a feeling of both comfort and dread, perfectly encapsulating the feelings of someone trapped in endless housing developments and strip malls. The tension builds and builds, until it all gloriously climaxes with the ‘80s pop throwback “Sprawl II” — a triumphant anthem about feeling trapped. Arcade Fire’s follow-ups to The Suburbs might have dimmed the band’s reputation, but their Grammy-winning masterpiece still holds up.

Best songs: “Sprawl II” “Suburban War”

#41: Era Extraña by Neon Indian (2011)

The first sign that Neon Indian wouldn’t be a flash-in-the-pan unlike many of his chillwave peers, Era Extraña is a glitchy new wave pop masterpiece. Tracks like “Halogen (I Could Be A Shadow),” “Hex Girlfriend” and “Suns Irrupt” sound less like traditional synthpop songs than hallucinatory memories, yet they’ll never leave your head. And Texas keyboard wizard Alan Palomo’s biggest crossover hit is also on this album, the burbling gem “Polish Girl.” Jump into any point in the album — it’s likely a stellar tune stuffed with analog synth riffs.

Best songs: “Halogen (I Could Be A Shadow),” “Fallout”

#40: MASSEDUCTION by St. Vincent (2017)

Indie hero St. Vincent made a sharp pivot into pop with MASSEDUCTION, her fifth album and first collaboration with super-producer Jack Antonoff. But given her art-rock leanings, this wasn’t going to be a typical pop album.

MASSEDUCTION is a gonzo record that manages to balance tearjerking ballads like “Happy Birthday, Johnny” and “Slow Disco” with new-wave freakouts like “Fear The Future” and “Sugarboy.” I’d call it one of those pop albums with an undercurrent of darkness under the shiny sheen, but the darkness on this album is more than an undercurrent. Panic is the overwhelming emotion throughout MASSEDUCTION, and Annie Clark was the perfect artist to convey that feeling through her weirdo pop jams.

Best songs: “Los Ageless,” “Happy Birthday, Johnny”

#39: Gossamer by Passion Pit (2012)

Gossamer sounded cutting-edge in 2012, with its warped vocal samples and fizzy synthpop production. Unfortunately, that production has already aged badly less than a decade later.

But that doesn’t mean that Michael Angelakos’ songwriting has suffered with time. His morose, depressed lyrics still sync masterfully with the sugary synthpop that backs them up. And even though Angelakos is writing about dour topics like the Great Recession, bipolar disorder and suicide, he doesn’t forget the hooks. Songs like “Carried Away,” “Cry Like A Ghost” and of course, the big hit “Take A Walk,” could easily slide into Top 40 radio if they weren’t so grim lyrically. And I’m sure once early ‘10s production comes back in vogue in a decade or two, Gossamer will once again sound fresh.

Best songs: “Take A Walk,” “I’ll Be Alright”

#38: Atrocity Exhibition by Danny Brown (2016)

Danny Brown’s music always seemed a little unhinged. But Atrocity Exhibition — one of the decade’s most unique, haunting albums — is a true look into his demented mind. The production is warped and fried, and the Detroit rapper’s inimitable whacked-out flow is pushed to its breaking point. The result is a record that sounds both cartoonishly fun and absolutely terrifying.

Brown’s hedonistic-yet-chaotic lifestyle detailed in Atrocity Exhibition is wildly entertaining to listen to, but it’s not a world you want to live in. It sounds like both dropping acid and getting curb-stomped at the same time. And it’s a sonic achievement I’m not sure Brown will be able to top.

Best songs: “Ain’t It Funny,” “When It Rain”

#37: Born This Way by Lady Gaga (2011)

Listen, I love Gaga. She’s my favorite pop star of all time, point blank. But she only has one perfect album: 2009′s sharp, concise The Fame Monster, which missed the decade cutoff by only two months. Every other record Gaga’s released has at least a few filler tracks. But Born This Way’s highs are so dizzyingly high that it’s impossible to not recognize this album.

Imagine if Gaga kept Born This Way to only 10 tracks or so, cut out the fluff. It would be wall-to-wall early 10s pop masterpieces: “Marry The Night.” “Born This Way.” “You And I.” And of course, “The Edge Of Glory.” And that’s not even counting the many solid deep cuts sprinkled throughout — there’s a biker song about riding goddamn unicorns. How could you hate that?

Born This Way is still an exhausting listen in its full, but that’s partly because it’s so exhilarating that you couldn’t possibly have any energy left afterwards.

Best songs: “The Edge of Glory,” “You And I”

#36: To Pimp a Butterfly by Kendrick Lamar (2015)

Like Gaga, Kendrick Lamar is one of the decade’s great visionaries, but he also tends to overstuff his albums (with one exception, we’ll get to it later). And To Pimp a Butterfly definitely has some filler in its back half. But when Lamar is firing on all cylinders, the album reaches heights that 99% of albums couldn’t even dream of.

The album’s eight-song first half is a stunning masterwork of songs that have wildly different tones and emotions, yet still manage to piece together a running theme of the confusing, troubled black experience in modern America. And even the rougher second half has furious cuts like “Hood Politics” and “The Blacker The Berry.”

I have to give Lamar all the props for having a grand vision with To Pimp a Butterfly. The best albums require a sky-high vision. But, like with Born This Way, if it had been trimmed by three or four songs, it could’ve been top-10 of the decade.

Best songs: “The Blacker The Berry,” “King Kunta”

#35: 1989 by Taylor Swift (2014)

There was a lot of anger when Taylor Swift won the Album Of The Year Grammy for 1989 over To Pimp a Butterfly. But, at the risk of sounding like I have no taste — maybe the Grammys actually got it right?

I know Red is the fan and critic favorite of Swift’s albums, but I’ve always found it to be wildly inconsistent (despite some incredible high points). 1989, meanwhile, doesn’t waste a single second. It’s a perfect pop album, delivering the gargantuan hooks and leaving before it lingers around too long. It’s one of those records where nearly every track could’ve been a hit single. And even if it isn’t Swift’s peak lyrically, it’s certainly her peak in terms of mastering pop music craft and production.

Best songs: “Style,” “Blank Space”

#34: I like it when you sleep, because you are so beautiful yet so unaware of it by The 1975 (2016)

This might be the most frustrating album on the list. On I like it..., a massive leap of a sophomore album from The 1975, there are so many untouchable pop classics: “The Sound.” “Somebody Else.” “Love Me.” “UGH!” “A Change of Heart.” “She’s American.”

But there are also some mind-boggling choices, like adding two lengthy, pointless instrumental interludes and ending the record on a couple of painfully boring acoustic guitar numbers — not The 1975′s strong suit. But the ‘80s retro flair of I like it... is so charming, and its sheer scope so ambitious, that I still find myself returning to the record over and over again. It was the album where The 1975 proved they were more than just pretty British bad boys, but true Millennial pop icons.

Best songs: “Somebody Else,” “A Change of Heart”

#33: They Want My Soul by Spoon (2014)

They Want My Soul is an album by Spoon, the world’s most consistent rock band since 1998. So naturally, it’s good — all Spoon albums are.

But They Want My Soul is a perfect back-to-basics record, returning to that classic crisp, uber-catchy indie rock sound that Spoon perfected in the prior decade. There’s a few new production flourishes, but for the most part, the Austin band just deliver an updated version of the goods. Why fix something that ain’t broken?

Best songs: “Do You,” “Rainy Taxi”

#32: House of Balloons by The Weeknd (2011)

Before he started pumping out Michael Jackson pastiches, The Weekend was mysterious and depraved as hell. His introduction to the world, House of Balloons, is still just as haunting and impactful as it was in 2011. Abel Tesfaye’s helium vocals contrast masterfully with his dark lyrics and the nocturnal, grimy production.

House of Balloons is certainly an album that needs to be listened to at certain points of the day/year — listening to it at noon on a sunny July day is just wrong. Wait until it’s nighttime and when the temperature drops — Tesfaye is from Toronto, after all — and embrace the darkness.

Best songs: “House Of Balloons / Glass Table Girls,” “The Party & The After Party”

#31: Soft Sounds From Another Planet by Japanese Breakfast (2017)

Japanese Breakfast — AKA Eugene indie rocker Michelle Zauner — is Oregon’s finest musical project of the century (no, bands that moved to Portland don’t count; sorry Modest Mouse, The Shins and Sleater-Kinney). And Soft Sounds From Another Planet is both her high-water mark and proof that Zauner has the potential to become an all-time indie great.

The songs on Soft Sounds take the classic dream-pop/shoegaze sound and tweak it a bit, fusing it with alt-rock and sci-fi new wave. The album’s centerpiece, “Boyish,” sounds like a gorgeous prom ballad from the ‘50s. But Zauner herself is who brings Japanese Breakfast’s songs to light. Her deeply personal and emotional songwriting strikes a chord, and her flexible vocals cut through the cloudy production like a foglight.

Best songs: “12 Steps,” “The Body Is a Blade”

#30: Run The Jewels 2 by Run The Jewels (2014)

RTJ2 starts with Killer Mike screaming in the studio. That furious, profane and chaotic energy carries throughout RTJ2, an apocalyptic hip-hop masterpiece.

Killer Mike and El-P had no shortage of political targets to spray their anger at with, from corrupt, violent cops to an unjust capitalist system. Songs like “Early” and “Crown” are tragic, paranoid retellings of police brutality that would leave even Fox News viewers sympathetic. But the key to RTJ2 is that Mike and El are still clearly having a blast. When they rip apart their enemies, they do so with glee, and El’s energetic dystopian production was at its peak with this record.

Best songs: “Oh My Darling Don’t Cry,” “Early”

#29: IGOR by Tyler, The Creator (2019)

IGOR is one of those albums that creates its own sonic universe. The blend of fuzzed-out synths, aggro hip-hop and sweet retro soul that Tyler, The Creator cooked up on this album is truly one of a kind.

The former enfant terrible of rap put his raw emotions to use by telling the story of a brutal story of unrequited love. Tyler perfectly captured the rollercoaster of emotions of that scenario, from queasiness to vengeful anger to dejection to finally acceptance. Every second is packed with hooks, ear-grabbing production and the relatable narrative.

Flower Boy might have been the world’s introduction to a more thoughtful Tyler. But IGOR is when that potential was fully realized.

Best songs: “EARFQUAKE,” “A BOY IS A GUN*”

#28: Guppy by Charly Bliss (2017)

What if ‘90s rockers, instead of heroin, were addicted to Pixy Sticks? That’s what Guppy sounds like: Angsty lyrics and crunchy guitars, but all in the service of incredibly energetic and catchy pop-rock songs. Lead singer Eva Hendricks’ piercing, squeaky vocals just add to the rush of excitement each song has — it sounds like a literal child is singing sometimes.

Guppy isn’t going to be for everyone; not every person wants to down a king size bag of Sour Patch Kids in one sitting. But for a fun sugar rush with some legitimate heft, you can’t do much better than Charly Bliss’ electric debut album.

Best songs: “Westermarck,” “Scare U”

#27: Carrie & Lowell by Sufjan Stevens (2015)

On the exact opposite end of the emotional and energy spectrum from Guppy sits Carrie & Lowell. Sufjan Stevens’ acoustic masterpiece is about the death of his mother, and the complicated feelings that arose from that moment. It’s a haunting, dark collection of songs that grapple with Stevens’ relationships with his deceased mother and God.

Fair warning: Carrie & Lowell is insanely sad. If you’re not in the mood for some downer songs, you’ll likely switch it off. But sometimes, we all need a good tear-jerker. And if you squint at it right, it might be the greatest Christian album of all time (that’s a stretch, I realize...but I’m sticking with it).

Best songs: “The Only Thing,” “Fourth of July”

#26: Late Night Feelings by Mark Ronson (2019)

When was the last time that a producer-driven album was this good? Or more miraculously, this cohesive?

Late Night Feelings is exactly what you think it is based on the title: a collection of nocturnal songs about heartbreak. Ronson mostly abandoned his trademark ‘80s and ‘70s retro sounds for a more modern pop sound (for the most part), with each track perfect for a night drive. And he gathered a murderer’s row of female singers and songwriters to accompany him. He got megastars like Miley Cyrus and Camilla Cabello to deliver some of their best-ever work, and gave indie darlings Angel Olsen and Lykki Li massive platforms to work their magic. Late Night Feelings is a blueprint for any other pop producers who want their album to be more than just a grab bag of singles and filler.

Best songs: “True Blue,” “Find U Again”

#25: Bloom by Beach House (2012)

Picking the best Beach House album is like picking the best Skittles flavor — they’re pretty much all great, and there’s not too much difference between any of them. But pound for pound, Bloom is the best Beach House record in my book, delivering as much hazy dreampop goodness as one could handle. More than perhaps any other record the Baltimore duo released, it’s all-killer-no-filler; the perfect bridge between the band’s early guitar-driven sound and their more recent reliance on keyboards. Even the secret closing track is great! But the album’s strongest section is its first four songs, arguably all of which could be a top-10 Beach House song. “Myth” in particular is the moment when it became clear that the duo had established themselves as perhaps dreampop’s greatest act.

Best songs: “Myth,” “Other People”

#24: Take Care by Drake (2011)

Almost all of Drake’s albums are famously overlong and stuffed with filler. Take Care, the Canadian icon’s sad-boy masterpiece, only commits one of those sins: It’s a bit on the long side, but nearly all of the 19 tracks are great.

Take Care is probably best known for the tear-jerkings moments when Drake allowed himself to get aggressively mopey, such as the drunk-dial lament of “Marvins Room,” the mournful R&B of “Doing It Wrong.” But there’s plenty of fiery bangers amongst the tears — who hasn’t used “Lord Knows” or “HYFR” to get hyped? Take Care was the foundation that built Drake’s 2010s empire, and will likely be remembered as his ultimate classic record.

Best songs: “Marvins Room,” “Lord Knows”

#23: Currents by Tame Impala (2015)

If Take Care is the definitive hip-hop sad-boy album of the decade, Currents is certainly its indie rock counterpart. Aussie psych-rock wizard Kevin Parker took Tame Impala into synthier territory on this album, jamming as many '80s Casio riffs as possible next to his guitar grooves. Some Tame Impala fans might have decried the poppier sound on this album at the time, but I believe Currents will go down as Parker’s finest moment.

Best songs: “The Less I Know The Better,” “Let It Happen”

#22: Take Me Apart by Kelela (2017)

The perfect marriage of off-kilter, nocturnal indie pop and R&B, Take Me Apart is one of the top-tier night-driving albums of the decade. The production, led by indie heavyweights Ariel Reichstaid and Arca, along with Kelela herself, is masterful. It calls back to ‘80s and ‘90s R&B sounds while sounding like an alien transmission. And Kelela is the perfect vocalist for this style, managing to sound both sensual and robotic. Take Me Apart should’ve been a blockbuster hit, but for now, it stands as R&B’s most underrated album of the ‘10s.

Best songs: “LMK,” “Truth or Dare”

#21: Hurry Up, We’re Dreaming by M83 (2011)

You can’t casually listen to Hurry Up, We’re Dreaming. From the second you press play on the majestic opener “Intro,” you have to buckle up for a breathtaking 73-minute experience. Calling M83′s bombastic synthpop/post-rock mix “cinematic” has become a cliché at this point, but there’s no better descriptor for it. Especially when Hurry Up, We’re Dreaming is nearly the length of a feature film. Standouts like “Midnight City,” “Wait,” and “Outro” haven’t lost their luster after years of overplay, and there’s plenty of deep cuts to discover with each listen. Even the frog-themed acid trip is enjoyable! It’s no wonder Anthony Gonzalez followed up this album with the goofy and low-stakes Junk — there was no way he’ll ever be able top the bombastic, nostalgic glory of Hurry Up, We’re Dreaming.

Best songs: “Midnight City,” “Intro”

#20: Norman Fucking Rockwell! by Lana Del Rey (2019)

It’s about damn time that Lana Del Rey, one of the decade’s most iconic and influential figures, started getting some critical acclaim. And it makes sense that the rave reviews started arriving with Norman Fucking Rockwell! this summer. It’s easily her most singer-songwriter-y album, stuffed with clever turns of phrase and devastating lines. NFR is also Lana’s most somber album, with a focus on depression, romantic dissatisfaction and the death of the American Dream. And yet, it ends on a note of tentative hope, mirroring the disposition of many nervous Millennials and Gen Zers. It’s not my favorite album of hers, but undoubtedly, Rockwell is the moment when Lana established herself as a generational icon.

Best songs: “The greatest,” “Mariners Apartment Complex”

#19: Lemonade by Beyoncé (2016)

Some may prefer Beyoncé’s more R&B-focused self-titled surprise album, but I’m always going to point to Lemonade as her towering achievement. Beyoncé created a blueprint for a flawless breakup album here: There’s songs detailing her disbelief at Jay-Z’s affair, a group of fiery kiss-off anthems, some somber ballads about her grief, and finally, a triumphant moment of reconciliation. And throughout the story, Beyoncé masterfully samples a variety of genres, from reggae to hard rock to even country. And just when you think the album ends on a perfect note, Beyoncé tacked on her greatest-ever single, “Formation.” I’m always a sucker for albums that tell a complete story, and Lemonade was an instant classic in that format.

Best songs: “Formation,” “Don’t Hurt Yourself”

#18: Antisocialites by Alvvays (2017)

In contrast to Lemonade, Alvvays’ sophomore record Antisocialites only sticks with one musical style: ghostly, uber-catchy dream pop. It’s like Chromatics, but for the daytime. Good thing the Toronto group are masters of that sound.

Their early-R.E.M.-meets-Beach House vibe was never been better than on Antisocialites, where every song is a melancholy gem. None of the songs are overly ambitious, but that’s not a problem when Alvvays’ simplistic beauty is irresistible regardless.

Best songs: “In Undertow,” “Dreams Tonite”

#17: DAYTONA by Pusha-T (2018)

Virginia hip-hop legend Pusha-T somehow made sounding in his comfort zone sound like the coolest thing in the world with his magnum opus, DAYTONA. At only seven songs and 21 minutes, the record is a textbook example of a tight and focused classic. Push’s coke-dealer bars and Kanye West’s dusty, sample-heavy production fit perfectly. The album at times almost sounds like a nihilistic The College Dropout. Late-era Kanye is nobody’s favorite, but DAYTONA proved that he and Push are still one of hip-hop’s best teams.

Best songs: “If You Know You Know,” “Santeria”

#16: Sometimes I Sit and Think, and Sometimes I Just Sit by Courtney Barnett (2015)

Courtney Barnett cemented herself as one of the finest songwriters of her generation with her debut record, Sometimes I Sit and Think, and Sometimes I Just Sit. Barnett’s dry Aussie wit rarely feels too snarky, she just has a matter-of-fact view of the world that’s refreshing and unique. The album plays like a series of indie rock vignettes, with gloomier songs about coral reef destruction and imposter syndrome balanced out by goofy rock bangers like “Aqua Profunda!,” in which Barnett describes trying to impress a hot woman at the pool and accidentally passing out in the process. Sometimes is a truly fun, one-of-a-kind album that’s a perfect summer road trip listen.

Best songs: “Pedestrian At Best,” “Elevator Operator”

#15: A Brief Inquiry Into Online Relationships by The 1975 (2018)

As much as I adore The 1975′s three albums, all three of them unfortunately have a few fatal flaws. Their self-titled debut is consistent, but never transcendent. Their sophomore album is brilliant — except for the few painfully boring acoustic ballads and instrumental tracks. The Manchester group’s third effort is their closest to perfection, despite one or two pointless numbers (looking at you, “Surrounded By Heads and Bodies”). Matty Healy and co.’s thirst for genre experimentation is rampant here, with songs aping *inhales deeply* Oasis-esque arena rock bombast, wiry post-punk, tropical pop, gospel, cheesy ‘80s synthpop, melodramatic R&B, wonky electronica, and even jazz. And considering they nail all of those efforts, and threw in the generation-defining political anthem “Love It If We Made It” just for kicks...yeah, I’d say this album, and The 1975, are pretty damn incredible.

Best songs: “Love It If We Made It,” “It’s Not Living (If It’s Not With You)”

#14: Clean by Soccer Mommy (2018)

Clean is on the opposite end of the ambition spectrum from The 1975 — it’s mostly standard indie rock and singer-songwriter folk. But what Soccer Mommy, AKA Nashville artist Sophie Allison, did within those narrow confines was magnificent. Allison spent 10 tracks detailing heartbreak, anger and jealousy with spare, relatable lyrics. And the lilting, gorgeous melodies she paired them with on tragically beautiful songs like “Scorpio Rising” and “Wildflowers” could reduce anyone to tears. Clean is both a display of raw potential and a memorable statement in its own right.

Best songs: “Scorpio Rising,” “Cool”

#13: Blonde by Frank Ocean (2016)

I could never get into Channel Orange (besides “Pyramids”... that song goes HARD), but Blonde hypnotized me immediately. Maybe I just prefer Frank Ocean’s weirder side, as Blonde has very few concessions to the radio. It’s an atmospheric trip through Ocean’s mind, and the closest R&B got to dreampop this decade. It doesn’t all work for me— “Futura Free” is a weak closer, and the interludes like “Facebook Story” are pointless — but when whe record on point, it’s the best work of Ocean’s career. If you don’t feel goosebumps when listening to the silky smooth “White Ferrari” or when the harmonies come out at the end of “Self Control,” I’m not sure what to tell you.

Best songs: “Ivy,” “Self Control”

#12: Strange Desire by Bleachers (2014)

Jack Antonoff is likely the decade’s greatest pop producer, producing career-defining masterpieces for multiple artists on this list. But he still left some of his best tunes for himself. Strange Desire, the debut album for his side band, Bleachers, is a gloriously bombastic ‘80s pop fever dream. It sounds like a John Hughes movie soundtrack infused with Pop Rocks.

Antonoff isn’t the world’s greatest singer, but his utter commitment to the cheese of his tunes makes up for that entirely. A more jaded person will probably listen to Strange Desire, shake their head, chuckle and move on. But as a proud cornball, I love this ridiculous, passionate pop album, random Yoko Ono cameos and all.

Best songs: “Rollercoaster,” “Like A River Runs”

#11: Night Time, My Time by Sky Ferreira (2013)

New wave and grunge shouldn’t go together. They’re diametrically opposed: one is bright and quirky, the other is morose and grimy. But in her debut album — and sadly, her only album so far — alt-pop genius Sky Ferreira melded the two genres seamlessly. Ferreira’s vocals and angsty attitude are a natural fit for alt-rock’s clanging guitars and angry lyrics, but she can also play the synthpop diva when needed. And on some of the albums’ best tracks, like “Heavy Metal Heart” and “Ain’t Your Right,” she comes off as a Seattle-friendly revamp of ‘80s stars like Pat Benatar or Joan Jett. It’s truly tragic that Ferreira’s second album has been in development hell, as Night Time, My Time is the kind of assured, rugged debut that signals the start of a brilliant career.

Best songs: “I Blame Myself,” “24 Hours”

#10: Ultraviolence by Lana Del Rey (2014)

Lana Del Rey is certainly one of the 2010s’ defining artists. But which album is her best work? It depends on your taste: the critics seem to prefer the more subdued, songwriter-y Norman Fucking Rockwell! The album with the strongest singles and most striking style is certainly her polarizing debut, Born To Die. And for those who have difficulty sleeping, I’m sure the boring-as-hell Honeymoon helps with that. (There’s also Lust For Life...that one’s fine, I guess.)

But for me, Ultraviolence is still Lana’s pinnacle. From the album-opening psych-rock freak-out “Cruel World” to the tear-inducing melodramatic album closer “The Other Woman,” it’s her most complete album. Her tragic retro California vision is fully realized here, as it explores the dark side of her persona. Even when the music sounds triumphant, like on the James Bond-esque “Shades of Cool” or G-Funk-evoking “West Coast,” there’s a strong undercurrent of misery. And Lana’s haunting vocals sell even the most ridiculous lyrics here. Most artists would sound silly singing “Pretty When I Cry,” but Lana sells the hell out of it.

And if you still don’t get the Cult of Lana after hearing Ultraviolence — well, as she sings on “Brooklyn Baby,” “If you don’t like it, you can beat it.”

Best songs: “Shades of Cool,” “The Other Woman”

#9: Yeezus by Kanye West (2013)

Do you realize how difficult it is for an album to still sound abrasive, shocking and futuristic nearly seven years after its release? I remember a time when “Like A G6″ sounded like the future — now it’s just a goofy early-’10s hit. But I imagine Yeezus, Kanye West’s likely final masterpiece (sorry, Life of Pablo stans), will continue to freak out and delight future generations.

Working with fellow producing legends Rick Rubin (!) and Daft Punk (!!!), West decided to finally embrace how much of Middle America saw him with Yeezus. If crowd-pleasers like My Beautiful Dark Twisted Fantasy and Watch The Throne wouldn’t change some people’s minds, then fine — he was more than happy to play the villain.

Yeezus’ distorted, pitch-black production still sounds fantastic today, and is a perfect fit for the album’s bitter, furious attitude. But despite all of West’s tirades, he still found time to let his humor shine through, giving us scores of funny moments, including his greatest-ever one-liner: “HURRY UP WITH MY DAMN CROISSANTS!!” And even if you missed the Old Kanye, there’s something here for you too: the soulfully profane “Bound 2,″ a crass love letter to Kim Kardashian with a gorgeous chipmunk soul sample.

This album is absolutely not for everybody, but its alienating and combustable nature is what makes Yeezus a masterwork to this day.

Best songs: “New Slaves,” “I Am A God”

#8: MY WOMAN by Angel Olsen (2016)

Angel Olsen, the greatest singer-songwriter of her generation, rarely sits still. Her three best albums all have a sharply different feel: 2014′s Burn Your Fire For No Witness is more traditional, sticking with fuzzy indie rock and hauntingly spare acoustic ballads. Her most recent album, All Mirrors, is the opposite — a maximalist, theatrical outpouring of emotions with a full orchestra on most tracks. But Olsen’s greatest work so far is the album she recorded between those two. If Burn Your Fire is a tad too minimalist, and All Mirrors is a bit too over-the-top, then MY WOMAN fits snugly between those two extremes.

But production is not what makes Olsen a genius, although she typically has good taste in it — it’s her songwriting. MY WOMAN has some of her sharpest pop-leaning tracks in the first half, like the fiery “Shut Up Kiss Me” and country slow-dance “Never Be Mine,” then some sprawling slow-burn ballads in the second half. In particular, “Sister” is a folk-rock rollercoaster that works perfectly for driving on a long trip alone, with the hushed opening gradually turning into an expansive, cinematic climax with an incredible guitar solo. And that song’s lyrics are a relatable document of self-disappointment and resentment.

From Courtney Barnett to Soccer Mommy, the late ‘10s have seen an explosion of insanely talented singer-songwriters. But none had the ambition, scope and operatic vocals of Olsen and MY WOMAN.

Best songs: “Shut Up Kiss Me,” “Sister”

#7: good kid, m.A.A.d. city by Kendrick Lamar (2012)

Arguably the greatest hip-hop concept album of all time, good kid, m.A.A.d. city is still Kendrick Lamar’s most consistent work to date. Lamar, who normally has a problem with overstuffing his records, only has one filler track here — the drowsy “Real” — and everything else either moves his narrative forward in a compelling manner, or it’s an unstoppable banger (or both!).

The storytelling techniques Lamar uses to tell his autobiographical coming-of-age tale in Compton, complete with drugs, gangs and lots of anxiety, are fascinating and clever. Lamar raps as though he’s in that moment, adding in lots of random, world-building details about his life and twisting his voice in various ways to fit the scene. Even the voicemail and audio recording clips aren’t a distraction, but a clever way to add context to his story without dragging things down.

With his elastic flow and the record’s eclectic production, Lamar is able to have the listener feel exactly how he felt in certain teenage moments. From the dreamlike, gauzy high points of “Money Trees” and “Poetic Justice” to the adrenaline-pumping chaos of “m.A.A.d. City” and “The Art of Peer Pressure” to the murky low points of “Swimming Pools” and “Sing About Me, I’m Dying Of Thirst,” he absolutely nails each and every specific emotion.

But unlike many concept albums, a majority of good kid’s songs still sound fantastic out of context. “Swimming Pools” may be a song about alcoholism disguised as a party anthem ... but it’s a pretty damn great party anthem. And the triumphant finale, the Dr. Dre-featuring “Compton,” doesn’t have anything to do with the narrative, but it’s still insanely fun.

With good kid, Lamar managed to have his audience eat their veggies while not even knowing it. It’s both incredibly ambitious, yet still restrained just enough to not feel too heavy. You couldn’t ask anything more of a major-label debut.

Best songs: “m.A.A.d city,” “The Art of Peer Pressure”

#6: Modern Vampires of the City by Vampire Weekend (2013)

Modern Vampires of the City bored me when I first heard it. I was so excited for its release, right before my high school graduation. I’d listened to Vampire Weekend’s debut album and their sophomore record, Contra, over and over again, and was thrilled for another collection of peppy, preppy indie rock. That’s not what Vampire Weekend gave us with Modern Vampires.

Their decision to take a more somber and mature tone with Modern Vampires turned out to be the smart one, as the album is a major grower. On first listen, its ballad-heavy tracklist doesn’t grab you, but Ezra Koenig’s contemplative lyrics and Rostam Batmanglij’s stunning production reveal themselves on repeat listens. From the swaying breakup anthem “Hannah Hunt,” to the baroque, vulnerable “Step,” this album is when the two were at their peak creative partnership.

Koenig was about to turn 30 during this album’s writing, and you can tell he felt mortality creeping up. The album’s most blunt song about death, “Don’t Lie,” uses iconography of headstones and ticking clocks to show Koenig’s nervousness on the subject. Faith plays a major thematic role as well. But despite these heavy topics, the band managed to deliver a gorgeous, eminently listenable experience. It’s the prime soundtrack for any anxious 20-something fully entering adulthood.

Best songs: “Hannah Hunt,” “Step”

#5: VEGA INTL. Night School by Neon Indian (2015)

Remember how I said that Tyler, The Creator’s IGOR created a unique world of its own? So does VEGA INTL. Night School. And its neon-drenched, warped ‘80s nostalgia trip is a world I could live in forever.

The magnum opus both of Neon Indian and the entire chillwave movement, VEGA is unlike anything else. Ideally, one listens to it while driving down Los Angeles streets after 9 p.m., when the roads are mostly empty but the heat and the light pollution still fill the air. Neon Indian mastermind Alan Palomo stuffed VEGA with melted synths and off-kilter grooves that sound like a 1986 Jazzercise tape stuck in a microwave. The lyrics don’t mean much, but they convey this winking retro sleaze that Prince mastered back in the day.

But all the quirky production choices in the world don’t make a great record unless you’ve got the tunes to back it up. And Palomo brought the tunes. Every single song here is insanely catchy or has a killer dance beat or both. It’s like Thriller for an alternative dystopic universe — every song could’ve been a single. In fact, the tropical haze of “Annie” predicted a wave of similar-sounding (and worse) pop hits in 2016 and 2017.

It’s a shame Palomo hasn’t been able to follow up VEGA with a new album since 2015. Perhaps he knew he couldn’t top this instant, subgenre-defining masterpiece.

Best songs: “Slumlord,” “Dear Skorpio Magazine”

#4: Emotion by Carly Rae Jepsen (2015)

‘80s nostalgia was all the rage in the 2010s. And with apologies to Bruno Mars, Lady Gaga, Neon Indian, Daft Punk, The 1975 and many more who dabbled in Reagan-era throwbacks, that sound has a modern queen. And her name is Carly Rae Jepsen.

Emotion is such a perfect ‘80s pop album that it might be better than just about every actual ‘80s pop album (except Purple Rain and Thriller – I’m not that contrarian). Each song is deliriously catchy and stuffed with more hooks than should be legal. From the braying sax intro of the legendary album opener “Run Away With Me” to the glittering synths and slap bass of the energetic closer “When I Needed You,” every moment is euphoric.

Of course, we can’t talk about Emotion without discussing that technically, it flopped as far as sales go. Did Jepsen take too long to follow up the mega-smash “Call Me Maybe”? Did the label not promote it enough? Was the public just determined to define the British Columbia singer as a one-hit-wonder? Personally, I think it’s the latter — “Call Me Maybe” just sounds like the kind of goofy novelty song that comes as the singer’s only hit.

But Emotion is a defiant middle finger to anyone to who wants to define Jepsen by one song. At least a third of this album is better than “Call Me Maybe,” and the rest is on the same level. If you love synthpop, and you still haven’t heard Emotion, please do yourself a favor. Spend some time with the defining bubblegum pop album of the 21st century — I promise you won’t be disappointed.

Best songs: “Run Away With Me,” “Your Type”

#3: Melodrama by Lorde (2017)

On the surface, Melodrama and Emotion have a lot in common. Both Lorde and Carly Rae Jepsen took a long time to follow up their gargantuan, decade-defining hits with new albums. Both struggled to get a follow-up hit on their sophomore records (although at least Lorde had a second hit off her debut — remember “Team”?). And these two sophomore records happen to be the best two pop albums of the decade.

But that’s where the similarities end. Just like how “Royals” is an entirely different animal than “Call Me Maybe,” Melodrama is brilliant for very different reasons than Emotion.

In some ways, it makes sense that Melodrama didn’t pump out any hit singles. It’s a whispery, nocturnal concept album that doesn’t sound anything like 2017′s hits. Even the catchier tunes, like “Homemade Dynamite” or “Perfect Places,” have an undercurrent of nihilistic hopelessness to it, and not in the trendy “rich and sad” style that made Lil Uzi Vert and Post Malone stars. It’s more “holy shit, we’re coming of age while the world is burning down and we can’t do a thing about it.”

Earlier, I said Angel Olsen was the best songwriter of the decade. That’s still true, but Lorde is right behind her. Her lyrics are rich with detail and emotional resonance on Melodrama, relatably describing both a breakup and the subsequent partying in an unsuccessful attempt to forget about that breakup. “Liability” might be the decade’s most heartbreaking ballad — and this decade included an entire album about Sufjan Stevens’ dead mom.

“Royals” and Lorde’s debut album, Pure Heroine, showed a lot of promise. But it’s unfortunately all too common for budding pop artists to not meet those expectations. But with Melodrama, Lorde shattered the sky-high expectations she delivered for herself. We thought she could be another solid pop star. It turns out she’s actually the first Gen Z generational icon, and deservedly so.

Best songs: “Green Light,” “Liability”

#2: Teens of Denial by Car Seat Headrest (2016)

Like many Millennials and Gen Zers, I occasionally struggle with depression and anxiety. And although I can’t entirely relate to every moment on the album, there wasn’t a record this decade that encapsulated those emotions better than Teens of Denial, the decade’s greatest indie rock album.

Car Seat Headrest frontman/songwriter Will Toledo’s lyrics are painfully personal and embarrassing. It’s not entirely clear if these lyrics are based on his experiences or if he’s just an insightful storyteller, but Teens of Denial is powerful either way. The album’s loose narrative is about a guy who is not only depressed, but is surrounded by a world that seemingly heightens his depression at every step.

This is most bluntly shown on the roaring, angsty opening track “Fill In The Blank” — where the chorus is literally someone telling him, “You have no right to be depressed/you haven’t tried hard enough to like it” — as well as the snarky faux-campfire singalong “Drugs With Friends,” where a bad trip results in the protagonist realizing he’s terrified of his peers and then he imagines Jesus himself casting shame upon him. But half the time, the protagonist brings his problems upon himself, most notably with getting a DUI in the epic, U2-meets-Nirvana arena-grunge anthem “Drunk Drivers/Killer Whales.”

Much of the record is Toledo (or his character) wallowing in sadness, which admittedly doesn’t sound like a great time. But like Toledo’s predecessor in Seattle angsty rock, Kurt Cobain, these songs of profound sadness are told via some incredibly catchy, singable (and moshable!) tunes. And Toledo’s vocals are perfect for this style of music, as his voice is both off-kilter and shredded, but still genuinely melodic when the song requires it.

Teens of Denial is an unforgettable experience, something that has to be listened to from start to finish. You might enjoy it more if you find its themes relatable, but the songwriting and ‘90s retro rock sounds are so incredible that almost anyone could find it irresistible if they’re willing to get angsty for an hour.

Best songs: “Drunk Drivers/Killer Whales,” “Destroyed By Hippie Powers”

#1: My Beautiful Dark Twisted Fantasy by Kanye West (2010)

The first words sung in My Beautiful Dark Twisted Fantasy are, “Can we get much higher?” The answer is no. This album is the peak not only of Kanye West’s confusing career; not only of the decade; but of the entire genre of hip-hop.

My Beautiful Dark Twisted Fantasy is one of those all-time classic untouchable albums that will soon be required listening for any budding music nerd, up there with Sgt. Pepper, Born To Run, Purple Rain, OK Computer and The Blueprint. To name it as my favorite album of the 2010s is a painfully obvious, and possibly even dull pick. Pitchfork, which gave the album an insanely rare 10/10 upon release, had it at #2 on their decade-end list — possibly to be cheeky, possibly as retribution for West’s recent heinous actions.

Kanye West is an extremely flawed man, as we all know. I don’t need to recap his wrongdoings. But in some ways, his numerous mistakes just make Dark Twisted Fantasy even more resonant today. The album is partly about Kanye being a deeply troubled person, being aware of that, and yet being unable to change that no matter how hard he tries. He didn’t embrace his megalomaniacal tendencies like on Yeezus, but instead the album feels like an anguished cry for help. The three-minute autotune outro to the album’s breathtaking centerpiece, “Runaway,” literally sounds like that. And even the brag-rap bangers, like “Monster,” “So Appalled” and “Hell of a Life” have a menace to them.

Dark Twisted Fantasy is West at the full extent of his powers. Every single one of his strengths is amplified here. His lyrics, always a little corny and random, are entertainingly and quotably so. He brought out magical performances from guest stars, from Rick Ross’ smooth-as-hell verse on “Devil In A New Dress” to Nicki Minaj’s unhinged, career-best performance on “Monster.” There’s never been better production on a hip-hop album — impressive, considering the record jumps from style to style frequently.

But most importantly, Dark Twisted Fantasy is insanely ambitious. West had a vision, he exiled himself to Hawaii with his team, and he put his nose to the grindstone. It was when his music was the only thing he cared about — not his shoes, not the Kardashians, not Donald Trump. And that dedication was rewarded with a true masterpiece. West will never get any higher than this. And arguably, nor will music in the 21st century.

Best songs: “Runaway,” “Gorgeous”

#best albums of 2010s #rock #hip hop #pop #indie

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deadcactuswalking · 6 years ago

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REVIEWING THE CHARTS: 10th March 2019

Top 10

We have the same #1 from last week, specifically “Someone You Loved” by Lewis Capaldi, hanging onto the top this week for a second stint at the top.

“Giant” by Calvin Harris and Rag ‘n’ Bone Man is also not moving at number-two.

Mabel is up two spots to number-three with “Don’t Call Me Up”.

Ariana Grande’s “break up with your girlfriend, i’m bored” is currently at number-four, down one position from last week.

There’s another song from Ariana down only one space from last week at number-five, this one being “7 rings”. Both of these tracks aren’t falling fast enough, by the way.

The most interesting story of this week in pop music is the return of the Jonas Brothers and their impact on the charts. In the US, they debuted at #1, which kind of perplexes me to be completely honest, but they’re also at number-six here, so there must be some hole in the public’s consumption of music worldwide that the Jonas bros are filling I suppose. If you’re interested in stats, their last charting song in the top 40 here was in 2008, with “Burnin’ Up”, and this is actually their highest charting song ever in the UK, being their fourth top 40 but first ever top 10. Congratulations... I guess?

“Dancing with a Stranger” by Sam Smith and Normani is down a spot to number-seven.

Tom Walker’s “Just You and I” is up two spaces to number-eight.

P!nk’s “Walk Me Home” surprisingly doesn’t falter off the debut despite lack of a video, only dropping a single space to number-nine.

Oh, and NSG’s “Options” featuring Tion Wayne is down three spots to #10.

Climbers

We have exactly two, both in the top 20. “Please Me” by Cardi B and Bruno Mars moves up seven positions probably thanks to the video, to #13, whilst YNW Melly enjoys his first ever top 20 hit whilst incarcerated and on trial for double murder, as “Murder on My Mind” slips up 11 spaces to #20.

Fallers

We have a lot more of these, although it’s still relatively dry in this area too. “Wow.” by Post Malone continues its gradual fall, down five to #19, “Going Bad” by Meek Mill and Drake is down seven to #23, joining “Advice” by Cadet and Deno Driz down six to #24, “Kitchen Kings” by D-Block Europe is down seven to #26, “Shotgun” by George Ezra is down five to #31, “thank u, next” by Ariana Grande is down six to #36, and that’s it, it seems.

Dropouts

Thanks to streaming cuts, two long-running chart hits have dropped out as they always do because of these arbitrary UK chart rules: “Play” by Jax Jones featuring Years & Years is out from #22 and “Lost Without You” by Freya Ridings is out from #25. Otherwise, we just have a few natural dropouts, with “Promises” by Calvin Harris and Sam Smith dropping out from the return last week at #37, “Undecided” by Chris Brown dropping out from #38 (Good riddance) and the sad loss of “Black” by Dave from #40, although there’s no questioning it’ll rebound at a much higher position once the album impacts – which, by the way, you should check out. It’s called PSYCHODRAMA and it’s fantastic.

Returning Entries

“Leave a Light On” by Tom Walker is back at #37. Please go away.

NEW ARRIVALS

#34 – “Don’t Feel Like Crying” – Sigrid

Produced by Oscar Holter – Currently charting at #15 in Scotland

So, I like Sigrid quite a bit, actually. I had a really negative reaction to “Strangers” more than a year ago when it first debuted on the charts but that opinion has waned with time, although it’s still probably one of the worst she’s released, especially on the album Sucker Punch, which I admit I haven’t finished but contains some pretty great UK synthpop, especially the title track, which is awesome and I’m quite sad that didn’t turn out to be the hit from the record, but instead we’ve got the second top 40 hit from young Norwegian singer and BBC’s “Sound of 2018”, which seems to be the token break-up hit on the record (Although there’s probably more songs on the topic throughout), and honestly, it’s pretty epic. I love the orchestral strings that start the track off, they step the fine line between classical-tinged and more electronic sounds by having that synth harmonising with it and the unnatural sound of the slick, polished pop song. The chorus, despite a somewhat concerning falsetto, is catchy and anthemic, and especially in the second verse, it’s such an effective kiss-off, despite being really clean and inoffensive. Similarly to “Sucker Punch”, it’s just Sigrid doing what she knows best: singing some cool synthpop songs (With a rock edge that I appreciate) that she only co-wrote, with enough indie cred in the interesting vocal mannerisms and 808s to seep through what I would usually see as manufactured and boring. Yeah, this is pretty good, even though I feel it could be improved by being less repetitive and more developed, since it’s two and a half minutes long and I feel it needs a proper bridge instead of an admittedly weak post-chorus. Next.

#32 – “Bally” – Swarmz featuring Tion Wayne

Produced by DABEATFREAKZ

Apparently this is a returning entry according to the BBC, and so is “Don’t Feel Like Crying”, but they also think Swae Lee isn’t on “Sunflower” with Post Malone so you know, it’s not exactly like they’re the most reliable in their top 40 countdowns they have available on their Radio One website. Anyway, this is Swarmz, a UK rapper from the same irk as all the faux-reggae-influenced British hip hop artists that break through nearly every week now, sometimes twice, with a slightly bigger name as a feature, in this case Tion Wayne, who also features on a top 10 hit right now by NSG (Making this his second top 40 hit and obviously Swarmz’s first). It sounds really similar to “Options” actually, with a blunt piano-lead beat, almost reggaeton or dancehall percussion as well as a deep 808 drowning out everything else, except, in this case, the piano is completely or at least partially off-beat for the intro and outro due to how washed out the percussion and claps are. The mix is okay, but Swarmz’s autotune especially is pretty muddy, with the multi-layering making the song especially cluttered but I do love his verse and chorus actually, since he has so much charisma and he’s pretty funny and exciting due to his happy delivery despite dark lyrics about shooting people. Maybe it’s because of the BlocBoy JB level of stuttering in the hook or his elongated syllables, but something about this dude is hilarious. Tion Wayne is okay here too (I especially like his pre-chorus), and the beat is decent enough for both of them once it really gets started, so to be honest, I can’t really complain about this one too much, it has a cool almost afrobeat swing to it and I quite like it. Maybe it’s just because I’ve heard so much of this trash that any slightly better forms of this style of British hip hop amazes me, but at least I’ve started to see the reason for this co-existing with people like Dave and people like Loyle Carner; there is some quality to be found in faux-dancehall-gangsta-rap, sometimes.

#18 – “How it Is” – Roddy Ricch, Yxng Bane and Chip featuring the Plug

Produced by SpeakerBangerz

Okay, let’s name off everyone here, starting with probably the most well-known. Yxng Bane is perhaps the most recognisable here as he’s a rapper from East London who is one of the few of the rappers in this style who know how to have a pop sensibility and still be decent, but honestly when he charts his songs are painfully and pathetically bad. His song “Vroom” is probably even worse than I dubbed it in retrospect. This is his fourth Top 40 hit and second top 20. Chip is definitely the artist with the biggest (And probably best) discography here, and can be seen as more of a legacy act in recent years, being one of the few UK rappers to have connections with the US hip-hop scene that aren’t forced, probably because he used to be on T.I.’s record label. He’s collaborated with people like Emeli Sandé, Chris Brown, Trey Songz, Keri Hilson, Stormzy, Elton John and even Big Shaq (No, the last two are not on the same track, although that would be interesting to say the least), and 16 UK Top 40s under his belt, including 10 Top 20s and a number-one hit, although this is his first hit since 2013. Roddy Ricch is an American rapper heavily affiliated with Meek Mill and somehow Marshmello, who seems to be gaining buzz for his trap-rap mixtapes recently. This is his first ever charting song in the UK. The Plug is seemingly a collective that pulls everything together, we’ve seen another collaboration between UK and US rappers initiated by the Plug end up on the chart before, making this their second hit. The song itself isn’t as interesting as any of these backstories if you’re wondering, its piano melody is nice and I like the ambience it builds until Roddy Ricch comes in with the beat and drowns out whatever was there, sounding like a slightly less watered-down version of Young Thug than, say, Lil Baby, but still a shameless rip-off with not near enough quirkiness to make it work. Chip’s verse is mixed awfully and he sounds pretty bad with that autotune anyway. I may as well add that every single verse goes on for a few too many bars to make this song in any way tolerable, and that it’s nearly five freaking minutes, with only three verses but an incessant repetition of the hook. Yxng Bane doesn’t add anything but for once he doesn’t really subtract anything. I actually kind of like the distorted vocals he pulls off. Otherwise, this is gutter trash. Let’s talk about the Jonas Brothers.

#6 – “Sucker” – Jonas Brothers

Produced by Frank Dukes and Louis Bell – Currently charting at #1 in the US and Canada

I’ve never heard a Jonas Brothers song before this, and I’m frankly not going to bother researching a Disney-grown boy band that probably didn’t even make interesting enough music to commentate on despite most probable lack of quality. I have heard some stuff they’ve done outside of this project, with Nick Jonas having two boring solo hits that aren’t much to speak of, Joe Jonas being the frontman of the band DNCE, who had two excellent hits over here, with “Cake by the Ocean” and the funky Nicki Minaj featuring “Kissing Strangers”, and not going to lie, has probably aged the best out of the brothers, musically and in appearance. Sorry, I’ll try to keep it professional – Kevin Jonas, well, I’m sure he existed too, but he didn’t really make music, he just went into either acting or off the face of the Earth until they made their return. Well, I can’t really discern their voices from each other, but I can tell that the shaky falsetto comes from Nick, and the bland, dime-a-dozen production comes from producers Frank Dukes and Louis Bell, both of which known for their aggressively pointless and emotionless, manufactured instrumentals, especially the guitars here, which are so watery and gross. I like the melodies here and I’d be lying to say it wasn’t catchy, especially the whistling in the post-chorus, but there’s nothing really of interest to speak of here, other than the striking similarity to “Feel it Still” by Portugal. The Man, and in response, I see it, but I don’t care.

Conclusion

Not much here was outright bad except the obvious stinker, so Worst of the Week goes to the Plug, Roddy Ricch, Yxng Bane and Chip for “How it Is”, while Best of the Week probably goes to Sigrid for “Don’t Feel Like Crying”, although I feel like I should mention that I do like “Bally”, so Honourable Mention goes to Swarmz and Tion Wayne for making British faux-dancehall hip hop interesting for a brief three minutes. See you next time!

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