Yeah, I know I'm late to the whole “Top 10 ______ of the Decade” list trend, but 2020 has been a most unusual year, wouldn't you say? I've still got some energy to spare and not many movies to write about and since I find writing about music to be a fun challenge I've decided to take a look at some of the 2010's standout albums. Most of my preferred music comes from past decades and since I didn't listen to nearly enough of last decade's tunes to comment on the music scene as a whole this will simply be my list of personal favourite albums from the 2010's. This list will cover full-length albums released from 2010 to 2019, and will focus mostly on major label stuff. Compilations, remixes, live albums, and film soundtracks don't count.
Honourable mentions: The Great War by Sabaton, Weapon by Skinny Puppy, King Animal by Soundgarden
10. Apocalyptic Love by Slash (2012)
I've written about this album before (April 2016) and mentioned that I thought it was “OK... not great”, but every time I hear Apocalyptic Love I appreciate it just a little bit more than before. Slash's second solo album – the first to feature Myles Kennedy and the Conspirators on every track – sees the man slip into conventional hard rock album trappings as opposed to the jumbled guest star hodgepodge that was the previous album. This second recording is much more focused, better paced, and better written and it gives the guitarist more room to show off his chops. There's your standard hard rocker tunes like “One Last Thrill”, slower moody songs like “Far and Away”, and even a classical-sounding epic, “Anastasia.” Altogether the Slash man released four solo albums in the 2010's but for my money Apocalyptic Love beats them all thanks to its superior variety and pace.
9. Tattoos & Tequila by Vince Neil (2010)
That's right, I've listed a Vince Neil solo album as one of my top 10, and I'm not ashamed to say that I quite enjoy Tattoos & Tequila. It seems like most aging rock stars eventually go the live albums and cover songs route once their sales decline but Vince isn't just going through the motions on this record; this collection of songs delivers more rawness, energy, and fun than almost any other covers album I've heard. The songs range from classic rock staples like Cheap Trick's “He's a Whore” and The Hollies' “Long Cool Woman” to glam metal versions of unexpected gems like Elton John's “The Bitch is Back” and even “Viva Las Vegas” from Elvis. A real highlight comes in the form of “Nobody's Fault” from Aerosmith; it's easily the heaviest song of the bunch and the talk-box guitar solos were a nice touch. However I'd be technically incorrect in saying that Tattoos & Tequila is a full covers album. There are two original songs and they're easily this recording's weakest points, missing the energy and rowdiness found in the rest of the tracks. It makes me wish that Vince Neil did some more covers albums because his selection of some old classics fed through his patented L.A. sleaze-rock approach made Tattoos & Tequila surprisingly fun.
8. 13 by Black Sabbath (2013)
In 2013, the godfathers of heavy metal assembled to record one last collection of original songs and they did not disappoint. Any fan of Black Sabbath's first eight albums will feel at home listening to 13, with its doomy/spooky mood, long, intricate song structures, and excellent pacing. Ozzy's desperate, howled singing would fit neatly into 1978 and Tony Iommi proves that after 44 years he can still crank out heavy-duty riffs that you can't help but bang your head to. There's numerous callbacks to previous Sabbath classics; for example “Zeitgeist” bears undeniable similarity to 1970's “Planet Caravan”, “Live Forever” reminds me a lot of 1972's “Cornucopia”, and the closing track, “Dear Father,” shares many similarities with “Black Sabbath”, the first song from the band's first album. The only thing I can really knock 13 for is the production; the sonic range has been crushed under compression and artificial volume. Of all the albums in all the world, why did this one have to be a casualty of the loudness war? If it weren't for that blemish, 13 would've ranked much higher for me.
7. Collapse Into Now by R.E.M. (2011)
For their final album, alternative rock legends R.E.M. dial back from the hard rocker tone of their previous album, Accelerate (2008), and display a bit more variety in their songs. What we get is a broad sampling of all the styles and moods that the band has done throughout their past. There's songs reminiscent of Life's Rich Pageant (“Mine Smell Like Honey”) and New Adventures in Hi-Fi (“Blue”) and there's even direct lyrical references to at least one song on Accelerate (“Oh My Heart”). Speaking of lyrics, it's clear that this album is about the band coming to terms with the changing world around them while settling comfortably into middle age; more than once a mystified Michael Stipe refers to “the kids today”. Comfortable might be the best word to describe Collapse Into Now, in spite of the band members' talents on full display. It's a great band going out in style, doing what they do best.
6. ...Like Clockwork by Queens of the Stone Age (2013)
With the return of both past band members as well as an eerie – occasionally dreary – mood previously seen on Lullabies to Paralyze (2005) you might think that Josh Homme & Co. are coasting off of their glory days, trying to duplicate past success. This theory couldn't further from the truth. Instead ...Like Clockwork finds the band at a new level of maturity and focus; gone are the drug references and stoner vibes – with the possible exception of the groovy “Smooth Sailing”. What we get instead are lots of guest appearances, some top-notch production, and some tight, to-the-point songwriting. It's an album that's both complex and easily digestible and it easily ranks amongst the band's better works.
5. Welcome Oblivion by How to Destroy Angels (2013)
What genre of music of music is HTDA? Electronic rock? Post-industrial? Trip hop? Electronica? Whatever it is, I like it. After listening to every Nine Inch Nails recording I could find I figured I'd move on to Trent Reznor and Atticus Ross' side project featuring Mariqueen Maandig on lead vocals. Welcome Oblivion, the band's only full-length album to date, is dreamier and more mellifluous than your typical NIN recording thanks to Maandig's softer voice and the more melodic textures/arrangements. There are brief moments of drama and urgency and even some of the quieter songs have something going on in the background, like the ominous ringing in “Ice Age” which eventually builds up into a piercing crescendo. But moments like this only add to the sonic texture and aren't just there for the sake of being noisy. All in all, Welcome Oblivion was a pleasant surprise for me. It's a recording that's as soothing as it is hypnotic, perfect for listening through headphones with your eyes shut.
4. Hesitation Marks by Nine Inch Nails (2013)
In true Nine Inch Nails fashion it took five years for the next album to be released, and as always it was worth the wait. In the early/mid-2000's frontman Trent Reznor transitioned from bitter, angst-ridden young man with substance abuse problems to sober, industrious, and progressive artist exploring new themes and evolving his band's sound. The trend continues on NIN's eighth full length album, Hesitation Marks. The word introspective can be used to describe pretty much every NIN record, but this one does it from a more peaceful and mature – sometimes even hopeful – perspective which is unique for this band's discography. Sure, there are songs that are louder and aggressive (“Copy of A”, “In Two”) but there's also some calmer and contemplative ones (“Find My Way”, “Disappointed”). Overall I'd say Hesitation Marks most closely resembles a calmer, more mature, and more varied version of 2005's With Teeth. It's the sound of a band that's grown up.
3. Dystopia by Megadeth (2016)
After two underwhelming albums earlier last decade, Megadeth underwent a lineup change by adding lead guitarist Kiko Loureiro and drummer Chris Adler. Sometimes a little turmoil can do a band some good, as Dystopia is easily one of Megadeth's most energetic and aggressive albums since their glory days (the late 1980's to early 1990's). Fans of this band get exactly what they want: nearly every song hits hard and heavy with a furious level of speed, like in “The Threat is Real” and “Death from Within.” One exception is “Poisonous Shadows” which starts out with machine gun drumming and a chugging guitar riff only to give way to an orchestra and then a piano outro. And it all sounds great thanks to the top-notch production. Some listeners may be turned off by the lyrics' political themes or Dave Mustaine's voice but that's Megadeth for you; you should know what you're getting into by this point. All in all Dystopia sees Megadeth reaffirming itself as one of the Big Four of thrash metal with this menacing and blisteringly fast record guaranteed to please any of its fans. This is a dystopia worth living with.
2. Let England Shake by PJ Harvey (2011)
Let England Shake is easily the most ambitious album PJ Harvey has ever done. After mixing things up on 2007's White Chalk – a spooky piano-driven record where PJ sings in a much higher pitch than normal – the alt-rock legend struck with another starkly different recording. For starters her lyrics explore the themes of her English nationality/heritage and England's relation to the rest of the world – in particular its involvement in the First World War. Several songs are dedicated to the disastrous Gallipoli Campaign as well as the violence and tragedy of war; definitely a step away from Harvey's usual lyrical topics! Further experimentation is heard through her use of background vocals, autoharp, and brass instruments. Combined with the upper register vocals this makes for a soft sounding record – in spite of the often dreary subject matter – accentuated by the spacious production. I guess you could say it mirrors stereotypical British stoicism in masking its own disheartenment and outrage. Such complexity and harmonic grace make Let England Shake a surprising treat in PJ Harvey's catalogue. In fact one could argue that it's her best album to date but considering the strength of some of her previous efforts it wouldn't be an easy argument!
1. The Devil Put Dinosaurs Here by Alice in Chains (2013)
Dang, 2013 sure was a great year for music! By 2018 the new lineup of Alice in Chains had put out just as many full-length albums as the classic lineup and while the current band isn't quite as exciting or captivating as it once was it has still produced some quality recordings. 2009's Black Gives Way to Blue was AIC proving that they still had something to offer and it was quite good, showcasing a heavier, doomier sound. But the “new” band's second album, The Devil Put Dinosaurs Here is where they truly show off their songwriting abilities. The doom and heaviness is still there – “Hollow”, “Phantom Limb”, “Hung on a Hook” – alongside a few catchier rockers – “Breath on a Window”, “Low Ceiling” – and even a few upbeat acoustic-led tunes like “Scalpel” and “Voices”. Needless to say this all makes for a listening experience that's varied and refreshing, bolstered by the glossy production and impeccable pacing which allows the expert instrumentation and the signature spine-tingling vocal harmonies to really shine. The Devil Put Dinosaurs Here is a darkly vivacious listen that goes by faster than its 67 minute length would have you think, perfect for driving to. I can't wait to see what this band does next.
