The Genius Community’s 100 Best Albums of the 2010s

Once the subject of simultaneous adoration and scorn, Justin Bieber managed to step into adulthood with a genuinely nuanced and introspective pop album. With assistance from the likes of Skrillex and Diplo, Bieber set out to write an album with a central message of hope. By expressing a newfound purpose in his own life, he was able to share that with his fans. The irresistible hooks of tracks like “Sorry,” “What Do U Mean?” and “Love Yourself” balanced with personable lyrics and meaning, allowed Bieber to achieve the seemingly impossible: to be taken seriously as an artist outside of his core teenage fangirl demographic. Bieber was already an entertainment veteran and juggernaut at the age of 21, but Purpose proved to the world that there was more to him than met the eye. —@goodkidkevcity, Kevin Loo

Katy Perry’s quintessential pop record, Teenage Dream is only the second album in history to produce five No. 1 singles on the Billboard Hot 100 chart, and the first by a woman to achieve the feat. The album traded on its unapologetic bubblegum pop appeal, with big, radio-friendly beats courtesy of Max Martin and Dr. Luke sold with Perry’s husky vocal performance.

Anthemic dance tracks like “Last Friday Night (T.G.I.F.)” and “California Gurls” ruled the radio with feather-light, good-time lyrics, while album cuts like “Circle The Drain,” “Hummingbird Heartbeat,” and “Not Like The Movies” address heavier topics like drug abuse, the loneliness of fame, and toxic relationships. Through it all, Perry showcased her vocal range and penchant for catchy, over-the-top pop music. With a massive commercial performance, Teenage Dream would grow to the new barometer of success for major label pop in the 2010s. —@ssaa10dec, Saquib Syed

Justin Vernon’s Bon Iver is the sort of band that functions dually as a musician and transportation vehicle: their discography pulses with an uncanny ability to catapult audiences into strange, contemplative spaces. The band’s second album, the eponymous Bon Iver, is perhaps the best example of this transformative ability. Almost every song title is the name of a city, the album ruminates on its own physical and emotional location before deciding that it prefers an amorphous state of being, unconstrained to a singular theme or time period.

From meditating about childhood on “Michicant” and “Wash.” to chronicling a relationship’s entropy on “Calgary,” Bon Iver is unafraid to enmesh its listeners in a complex net of lyrical narratives and rich soundscapes. Its jazz undertakings, led by Colin Stetson, bring “Minnesota, WI” and its peers to life. Ultimately, the record grapples with the very nature of existence. Appropriately, album closer “Beth/Rest” ends with a resounding statement of ambiguous self-evidence—“This is axiom.” Bon Iver is mythology and reality alike. This is axiom. —@sereinik, Maxwell Zhang

Billie Eilish’s debut was the refreshingly different pop album we needed in 2019, tackling heavy issues like death, drug use, and anxiety without compromising the catchiness of any of its melodies. The album isn’t all serious–Eilish also found ways to remind us she’s still only a teenager. Before the album starts, we hear the then-16-year-old take out her Invisalign, and later, the singer even samples a clip from her favorite TV series, The Office, for the track “my strange addiction.” All of that perfectly pairs with the impressive production of her older brother FINNEAS who knew exactly when to turn up the bass for songs like “bad guy” and when to let Billie’s voice shine through for tracks like “when the party’s over,” which he recorded by carefully layering his sister’s vocals “hundreds and hundreds” of times. Entirely written, recorded, and produced by the sibling duo out of Eilish’s tiny childhood bedroom, it’s no surprise that the album had everyone from Tyler, the Creator to Elton John praising the young star as the next big thing. —@SallySunshine, Cassandra Fantini

From the first track, ScHoolboy Q makes it clear that this is a “Gangsta” record. Whatever else he may be, there’s no denying that ScHoolboy always brings a raucous energy to each and every track. The loud, banging production on this album compliment that perfectly. Meanwhile, singles like “Man of The Year," [“Collard Greens,”(https://genius.com/Schoolboy-q-collard-greens-lyrics) and “Studio” all feature undeniably catchy hooks and intoxicating flows without losing Q’s hard-nosed edge. Although gangsta rap isn’t anything new, Oxymoron provides a refreshing take on the storied genre. —@SupaDupaJay, Jack Diaz

Anyone who listened to Ariana Grande’s early career output already knew she was a vocal powerhouse, and her performance on Dangerous Woman proved to be no exception. What made this album worth the listen wasn’t just her ability to bring the house down with her voice, but the range of emotions put into it. The project finds Grande truly stepping into her own, confidently owning her sexuality on songs like “Dangerous Woman,” “Side to Side” and “Into You.” Meanwhile, the project’s original title track, “Moonlight,” showcases her romantic side. The album’s sound embodies the common elements of modern adult contemporary music, but at the same time manages to be sonically retrospective. Although Grande has been famous since childhood, Dangerous Woman would set her up as one of the decade’s defining pop stars by showcasing her knack for combing knockout vocals with feminist themes and emotional vulnerability. —@KennyTogs, Kenny Togunloju

Top Dawg Entertainment became synonymous with its four Black Hippy MCs in its early years, but out of their shadow rose the label’s fifth signee, Isaiah Rashad. A little-known Chattanooga rapper who had been making waves in his hometown, Rashad dropped his major label debut, Cilvia Demo, on TDE to widespread critical acclaim and buzzing popularity. Standout tracks like “Shot You Down” featuring labelmates Jay Rock and ScHoolboy Q showcased a confident Rashad speaking on conquering his competition while keeping up with his famous peers. Deeper cuts like “Heavenly Father” revealed a different side of Rashad, one struggling with depression and the everyday pressures of life. The project proved he could hold his own within TDE’s star-studded lineup, while its personal subject matter would endear him to listeners despite a sparse output in the years to come. —@Ibmac26

When alt-J’s An Awesome Wave won the 2012 Mercury Prize, awarded annually to the best album in the UK, the album skyrocketed. The band admitted they felt like imposters who just “muddled through it and magicked a Mercury award.” Indeed, An Awesome Wave does feel like a magic trick: alt-J’s deceptively-playful sound sneaks in melancholy lyrics effortlessly. While each song’s meticulously-crafted composition guides the listener, frontman Joe Newman delivers entrancing vocals. Using pop-culture anchors such as Where the Wild Things Are on “Breezeblocks,” Léon: The Professional on “Matilda,” and Last Exit to Brooklyn on “Fitzpleasure” as inspiration, alt-J tackles themes of heartbreak, love, and violence. The eclectic-yet-coherent outcome truly sets alt-J apart from their peers. —@MortalEngine

Complex, delicate, and entrancing, Flying Lotus’ otherworldly 2010 magnum-opus Cosmogramma is in a class of its own. An arcane blend of jazzy live instrumentation, brash hip-hop drums, and glitchy electronic synths, the record transcends genre. Kaleidoscopic yet precise, archaic yet contemporary, Cosmogramma is the soundtrack to an astral projection, floating endlessly within orbitals of vast emptiness, yet trapped within one’s human limits. Lotus described the record’s title as “referring to the study of mapping the universe, heaven, and hell.” FlyLo was inspired to create a particularly heavy record following the deaths of his great-aunt Alice Coltrane and mother Tammy; allegedly, sounds from his mother’s hospital machinery are hidden within the album’s ephemera. A front-to-back triumph of artistry, a true masterwork, Cosmogramma is easily one of the most versatile yet cohesive album experiences of the decade. —@Bismvth, Hazen Ellwood

On Logic’s debut album Under Pressure the Maryland rapper opens up about his upbringing. Under Pressure is a showcase of Logic’s life; his brand-new fame, his self-consciousness, and most importantly, his family. Although Logic’s rapid-fire flow and multisyllabic rhymes are on full-display, what makes this project unique is the autobiographical detail. Logic breaks down growing up in Gaithersburg, MD on tracks like “Gang Related” and “Growing Pains III”—revealing that things aren’t as sweet as they might seem. The sage No I.D. provided a guiding hand as executive producer, while Logic’s in-house producer 6ix handles much of the production. The album explores many dark alleys, it’s ultimately a triumphant project for a guy who worked hard to beat the odds. —@averysperez

Previously an enigmatic fixture of the flourishing Chicago rap scene, Noname finally burst to the forefront in 2016 with her debut mixtape, Telefone. Presented as a series of open-ended phone conversations, the project showcases Noname’s stream-of-consciousness flow and soulful, jazzy production, while exploring themes of growing up, nostalgia, fame, and mortality. It’s a poetic coming-of-age record that contemplates Noname’s past, present, and future through a kaleidoscope lens of irony and whimsy. Noname’s style is almost exclusively introspective, although songs like “Bye Bye Baby” find her telling a heartfelt abortion story based on women real and imagined. After first breaking out with a star turn on Chance the Rapper’s “Lost,” Noname came into her own as an artist with Telefone and had more than just her neighborhood doing the “Diddy Bop” along with her. —@slightly_senile, Ethan R.

After contributing to Tyler, the Creator’s critically acclaimed Flower Boy, Colombian-American singer Kali Uchis stepped out on her own with her debut album, Isolation. Citing Ella Fitzgerald and Billie Holiday as sources of inspiration, Kali combined a throwback visual aesthetic with smokey piano ballads, Latin pop, funk, and more. She ponders a doomed romance on “Flight 22,” escapes toxic relationships on “Killer,” and even articulates socialist politics with “Your Teeth In My Neck.”

With production from Thundercat, BADBADNOTGOOD, and more, Isolation established Uchis as an artist unafraid to take stylistic risks that set her apart from the sound of contemporary pop. After all, not many artists are name-dropping French actress Brigitte Bardot alongside Kim Kardashian and Kanye West. It’s a stance that Uchis has defended unapologetically saying, “I think embracing the isolation of that and tasking the risk of making things that doesn’t sound like anything else right now makes music exciting.” —@noufi, Gauthier Chombart

On Big Sean’s third studio album, he finally found the right balance between his braggadocious side that made him a star and the heartfelt lyrics make him endearing. “Blessings” and “I Don’t Fuck With You” show off Sean’s confident attitude while records like “One Man Can Change The World” and “Win Some, Lose Some” show off his more introspective side. Enlisting Jhene Aiko, Chris Brown, and more for features, the rapper combines smooth hooks with his hungry rapping and stands out with his phenomenal wordplay. Dark Sky Paradise was Sean’s biggest commercial and artistic success, with great reviews from fans and critics alike, solidifying Sean as one of the more accomplished rappers of the decade. —@SupaDupaJay, Jack Diaz

“Complex” is not the only good description of Japanese American singer/songwriter Mitski’s fifth studio album, Be the Cowboy. It’s also a creative, lyrical, and ultimately thought provoking effort that pushes boundaries. An indie rocker with a passion for the experimental and abstract, Mitski pours her most creative impulses into this music, creating a peaceful, soothing ambience on songs like “Come Into the Water,” “A Horse Named Cold Air,” and “Blue Light.” She also displays a synth-oriented, danceable sound on “Why Didn’t You Stop Me?,” “Nobody,” and “Washing Machine Heart,” the latter of which explores the depths of her own manic tendencies. In the midst of these dueling musical personalities stands the album’s longest track, “Two Slow Dancers,” a slow-burning ballad that sums up the absolute beauty of Be the Cowboy. —Anonymous

With Sound & Color, Alabama Shakes built on their successful hybrid of blues rock and classic R&B by expanding their musical horizons. Vocalist and guitarist Brittany Howard sounds grittier and more soulful than ever, especially on “Don’t Wanna Fight,” a song examining the struggles in an unhealthy relationship. Meanwhile, the band simmers down a bit for the title track, “Future People,” and “Gimme All Your Love,” which are deep journeys to the innermost corners of soul music. Even more serene is “This Feeling,” a semi-acoustic number that leans on the fine line between sheer balladry and feel-good R&B, with a sense of jubilance and want. “Shoegaze,” meanwhile, is purely uptempo, fuzzed-out rock that touches on the values of friendship. When all put together, Sound & Color is a visceral experience, with plenty of grit and soul to back it up. —Anonymous

The Queens-born, Atlanta-bred Waka Flocka Flame became an unlikely trap visionary when he released his debut album, Flockaveli. Waka picked up the mantle of crunk and helped set the table for what played out the rest of the decade; street oriented Atlanta trap, Chicago drill, and more mosh pits at rap shows. The album spawned twerk worthy hits like “No Hands,” but tore the club up with songs like “Hard in da Paint” and “Grove St. Party.” Most importantly, “Hard in da Paint” put producer Lex Luger—who worked on the majority of the album—on the map. Soon Luger was producing for everyone from Rick Ross to Soulja Boy Tell ‘Em, while a gang of producers were biting the sound he and Waka had developed. Waka is by no means a lyrical MC, but whatever he lacks in technical skill he makes up for with pure id—on every song he’s bursting with intensity, stomping out haters, and combusting with ad-libs. At times the album can feel weighed down by a long list of pedestrian guest verses, but that doesn’t take away from the chaotic feel on nearly every track. Waka never recaptured the momentum that made his first album a success, but even as his hits waned, his influence lived on. —Insanul Ahmed

After the success of her 2014 eponymous album, St. Vincent, also known as Annie Clark, created MASSEDUCTION, a provocative, fascinating release that features some of her best work to date. A departure from the baroque pop and guitar-shredding rock of her previous work, MASSEDUCTION features experimental balladry (“Hang on Me,” “New York”) synth-rock (“Pills,” “Masseduction,”) and even combinations of the two (“Los Ageless”). Clark manages to create a tense yet passionate feel throughout, with Jack Antonoff and Sounwave producing a sound reminiscent of ’80s new wave and synth-pop. Atop this, Clark’s lyricism ranges effortlessly from deeply personal and melancholy (“Happy Birthday, Johnny”) to witty and raunchy(“Savior”). Tempos range from fast-paced (“Sugarboy”) to more subdued (“Slow Disco”). MASSEDUCTIONpulls these different styles together into an excellent album that became the neon-bright crown jewel in a discography filled with gems. —Anonymous

Abrasive, noisy, and borderline psychotic, You Won’t Get What You Want, the fourth studio album from Daughters and their first after an eight year hiatus, is a satisfyingly dark record. Moving towards an industrialized sound, You Won’t Get You Want finds singer Alexis Marshall pairing his eerie vocals with Jonathan Syverson’s odd drum patterns, Nicholas Andrew Sadler’s strange guitar chords, and Samuel Walker’s intriguing bass lines. Songs such as “Satan in the Wait” touch on hatred and extremism, while “City Song” and “Long Roads, No Turns” find the band peaking in their creative, yet chaotic, chemistry between each other. However, at times, songs like “The Reason They Hate Me” sound akin to older, simpler versions of metal. On You Won’t Get What You Want, you’ll find a dissonant statement crafted by the boldest musicians. —Anonymous

Migos finally started getting their just due for helping pioneer the sound of rap in the 2010s after they released Culture. Earlier in their careers, detractors were quick to ridicule the trio for sparking the industry’s interest in the once dormant triplet-flow—some even dubbed them as one-hit wonders for their breakout July 2013 hit “Versace.” But the release of this album’s lead single, “Bad and Boujee” featuring Lil Uzi Vert, changed the trajectory of the group forever. The song was their first No. 1 hit⁠—equal parts catchy and eerie—and highlighted their knack for capturing the cultural zeitgeist through memeable music. Follow-up singles and album cuts like “T-Shirt,” “Get Right Witcha,” and “Slippery,” demonstrated an expansion in the group’s style by diving into a darker and more minimalistic sound. Most importantly, the album only had 13 tracks and clocked in under an hour—a rare feat for a group with a penchant for 20-track, 90 minute projects. The truncated length highlighted Migos’ greatest strength: How well Quavo, Offset, and Takeoff complement one another while retaining their own style and personality⁠—a hallmark of all great hip-hop groups. —@GnarlingtonTX, Alex Wu

Big Fish Theory is an innovative and outward-looking album, diverging from any sound Vince Staples had toyed with before. What makes this album stand out in Vince’s discography is not the rapping per se, but the unique production from the likes of Flume, Sophie and Justin Vernon. Various influences are at play in the project, particularly from European electronic music genres such as UK garage (“Crabs In A Bucket” and “Homage”) and grime (“Yeah Right”). A part of this experimentation can be credited to producer Zack Sekoff, who had spent some time in the UK and explored the music scene there, but that doesn’t mean Big Fish is mimicry. On the contrary, they took established sounds and reimagined them into a distinctively hip-hop vibe. —@Madbrad200, Bradley Marshall

South Korean boy band BTS dropped one of the most lyrically complex and sonically diverse K-pop albums of 2017 with You Never Walk Alone, propelling the group into megastardom. The LP, which incorporated elements of hip-hop, K-pop, EDM, and R&B, was a re-release of the group’s 2016 sophomore effort Wings and drew inspiration from Hermann Hesse’s classic 1919 coming-of-age novel Demian. Similarly to Hesse’s work, songs like “Spring Day” and “Not Today” explored topics like loss, temptation, and growth without falling back on lyrical clichés. And the album didn’t just make a cultural splash in South Korea—debuting at #61 on the Billboard 200, You Never Walk Alone extended the band’s record for most entries from a K-pop group on the U.S. charts. — Leah Degrazia

Inspired by Jay-Z’s The Blueprint, The Pinkprint is designed as a manual for how to make a rap album. The album openers, “All Things Go” and “I Lied,” exhibit a vulnerable and distressed side of Nicki we don’t always get to see; she digs deep to reveal stories about deceased family members, personal heartbreak, and even alludes to having an abortion. The Pinkprint challenges the meaning of being a female in rap, with tracks like “Anaconda” and “Feeling Myself” attempt to reclaim typical rap stereotypes from men. Throughout the record Nicki asserts herself with the hard-as-nails rap style that made her superstar, but she also shows us the human being behind her larger than life image. —@ninetyninedreams

Perspective is a wonderful thing. It allows us to reexamine the past from new angles and gain a better understanding of where the hell we’ve been.That’s exactly what Car Seat Headrest mastermind Will Toledo does with 2018’s Twin Fantasy (Face to Face), a song-for-song re-recording of his 2011 album of the same name. The original chronicles a then-recent college romance and surges forward with the charmingly ramshackle wounded-guitar-dude vibe common to Toledo’s early DIY recordings. The new and improved version is bigger and cleaner, which is all the better to hear Toledo’s lyrics: witty confessions of awkwardness, lust, longing, and uncertainty. On the album-closing title track, Toledo’s revised spoken-word part shows just how far he’s come: “This is the end of the song, and it is just a song. This is a version of me and you that can exist outside of everything else, and if it is just a fantasy, then anything can happen from here.” —Ken Partridge

When the cornrowed, grilled out Post Malone emerged in 2015 with his SoundCloud breakout “White Iverson,” he was dismissed as a gimmick. Now, nearly three years after its release, Post’s 3X platinum debut album Stoney is still sitting in the Top 50 of the Billboard 200, and has been breaking records along the way. Sonically, Stoney blends hip-hop staples (seen on diamond-certified “Congratulations”) with a full range of rock and folk influences on songs like “Feeling Whitney” and “I Fall Apart.” It tells the story of a rising star dealing with depression and heartache, while trying to emulate a flashy hip-hop lifestyle. Sales started off slow, but over the course of more than a year, the album minted a surprising array of hits. In retrospect, it proved to be an effective test case for Post Malone’s genre-blending style, which would take him to the top of the music industry. —@SpeckHelper, Austin Rotter

After Lupe Fiasco released the critically derided Lasers and the lackluster Food & Liquor II: The Great American Rap Album, Pt. 1, many suspected that Lupe’s fractured relationship with Atlantic Records had taken its toll on the Chicago rapper and his best days were behind him. Yet, with Tetsuo & Youth, his last proper studio album on Atlantic, Lupe proved all his doubters wrong by showcasing his deepest musical ambitions and spitting some of his all-time best bars. Rather than shielding away from the high concepts and lyrical density that often turned his projects into puzzles, Lupe doubled down on T&Y. The results may be laborious, but they’re rewarding. Take for example the nearly nine-minute “Mural,” an opus stripped of a hook that relies only on one long, lyrically stunning verse. Or consider the fan theory that the album is actually meant to be listened to backwards. There’s a wide palette of textures and influences on T&Y, a varied and engrossing release that’s become a forgotten gem. —Anonymous

South Korean boy band BIGBANG inspired a whole new generation of K-pop groups with their 2016 genre-defying album MADE, ushering in their signature mash-up sound that has become a staple of the genre’s artists of today. Landmark songs like “BANG BANG BANG,” “FXXK IT,” and “SOBER” showcased the quintent’s versatility in genres like hip-hop, EDM, and soft rock, while songs like, “ZUTTER"” and “BAE BAE” proved the members not only talented performers but also gifted songwriters. Arriving after a two-year hiatus, MADE didn’t just show off the band’s technical prowess and lyrical maturity–it also solidified BIGBANG as international superstars. —@ssaa10dec, Saquib Syed

The third installment in a weekly series of five albums produced by Kanye West in Jackson Hole, Wyoming, KIDS SEE GHOSTS finds ‘Ye teaming up with Kid Cudi for a personal, diverse project that fuses rap, psychedelia, gospel, and rock. Kanye builds upon his long working relationship with Kid Cudi, bringing out the best in each others’ styles. [“Freeee (Ghost Town, Pt. 2)”]https://genius.com/Kids-see-ghosts-freeee-ghost-town-pt-2-lyrics) is a worthy sequel to the original track, and it continues the liberation theme. Songs like “Reborn” and “Cudi Montage” find the pair reflecting on religion and mental health. Dropping in the midst of Kanye’s Trump-supporting controversy and not long after Cudi spent time in rehab for depression and suicidal thoughts, KIDS SEE GHOSTS came as a comforting reassurance that two of the decade’s most beloved figures in hip-hop were okay. Finally getting to see their decade-long, up-and-down friendship culminate in such a grand fashion was a storybook moment of gratification. —Anonymous

“Everything has changed,” sings Taylor Swift along with fellow pop titan Ed Sheeran, in an album that hinted at the beginning of her run as an unstoppable pop icon. Red is arguably her most important album because it signified her transition from adolescence to adulthood, it portrays a more mature Swift, in lyrics and sound. “State of Grace” is a track with rock influence and laden with hard-hitting lyrics. “All Too Well” is a fan favorite. Songs like “We Are Never Ever Getting Back Together” and “I Knew You Were Trouble” exemplified the type of song that became so essentially Taylor. Red is a rollercoaster of emotions, stories, and self-reflection, all culminating into an experience that showcases Taylor Swift’s artistry, songwriting prowess, and her ability to capture her audience’s attention through storytelling. —@KennyTogs, Kenny Togunloju

Houston native Travis Scott looked to his hometown for inspiration behind his critically acclaimed, chart topping 2018 album ASTROWORLD. Named after an old amusement park in Houston, this roller coaster ride of an album features relaxed songs like “ASTROTHUNDER,” lyrically minded outings like “HOUSTONFORNICATION,” as well as raging anthems such as “NO BYSTANDERS” and the Drake assisted “SICKO MODE.” ASTROWORLD may have been inspired by Scott’s childhood, but the record itself shows an artist’s sound maturing. —@UnderstandingRap

The world was shocked when the 2011 Grammy for Album of the Year went to a half-dozen Canadian indie rockers largely unknown to mainstream audiences. Despite the reactions, Arcade Fire were “ready to start” the decade with this ambitious return-to-form. A vast concept album about disillusioned youth in the badlands of suburbia, it radiates both youthful optimism and a sense of future dread. The album’s post-punk influences and dramatic lyricism makes it sound apocalyptic, because growing up can often feel like the end of the world. It’s nostalgic, thrilling, and bittersweet. From the dead-mall mountain range in “Sprawl II” to the underground highways of “City With No Children,” the band creates a surrealist landscape that hits close to home for the latchkey kids of yesteryear. While its imagery conjures up a fixed place in time, the messages that make The Suburbs great are truly universal. —@slightly_senile, Ethan R.

Chief Keef, progenitor to the Chicago Drill music scene, delivered a rowdy trap rap classic with his 2012 debut album Finally Rich. Full of “bang bang” adlibs and a rowdy energy, it became a touchstone for modern hip-hop and established then 17-year-old Keef as an inspiration for a new era. The album begins with one of music’s greatest introductions, with fan Jordan Gilty ranting about he’ll beat someone’s ass for talking about sweet about Chief Keef. Older rap fans may have been scarred by Keef’s nihilism (which was overblown in retrospect), but how many artists could inspire a fan to go on a rant like Gilty’s? Keef calcified an anger and angst shared by millions and touched a nerve with his music. He may not have sold the most records, but he certainly is one of the most influential artists of the decade thanks in part to captivating rap as a whole with Finally Rich. —@UnderstandingRap

Shrouded in a heavy synth-and drum-laden veil, Imagine Dragons’ 2012 debut album epitomized pop-rock for the decade. Enabled by its success and accessibility, Night Visions would become unparalleled in the modern era of music as one of the longest-standing records of all time, with break-out single “Radioactive” becoming the most longevous single in history. Their aplomb in fusing clappable pop anthems with notions of triumph and despair quickly led to the band playing arenas, stadiums, and the Grammys. —@Pessoa

Blank Face LP took us to the dark and grim side of ScHoolboy Q’s mind, with tracks like “Kno Ya Wrong” and “By Any Means.” The album offers up a series of serene yet ghastly tracks, produced by the likes of Sounwave, Metro Boomin, Southside, Tyler, The Creator, Cardo, Swizz Beatz and more. Songs like the E-40 assisted “Dope Dealer” and Kanye West assisted “THat Part” kept the energy of Q’s typically bombastic output. The hallmark of Blank Face is its depth—over 72 engrossing minutes ScHoolboy Q shows us the vast range of his talent. —@ZacharyMahabir

Jamie xx produced his band’s first two albums as minimal, moody indie rock. On his 2015 solo debut In Colour,” he chose something different. As its title suggests, In Colour is a multi-hued album, incorporating electronica, UK garage, pop, hip-hop, and R&B across its vibrant spectrum of a tracklist. “Gosh” starts the album with a hardcore rhythm, then adds synth; “I Know There’s Gonna Be (Good Times)” brings together the unlikely team of Jamie, rapper Young Thug, dancehall artist Popcaan, and a sample from The Persuasions. “Loud Places” embeds fellow “The xx” member Romy’s whisper-singing in swells of melody. Rather than sounding random, though, this kaleidoscope of sound, dotted by samples celebrating London’s music scene, forms an extremely cohesive record. The highs never get too high, and the lows never get too low, as if each song reflects a different emotion in the same bittersweet, nostalgic mirror. —@locklyle, Kate S.

The story of hip-hop in the 2010s cannot be properly told without mentioning the role Datpiff played for digital mixtapes. To that point, no mixtape was more popular than 2012’s Dreamchasers 2. To this day, it’s the most downloaded project on Datpiff with close to five million downloads. On the mixtape, Meek’s braggadocios, biting delivery is in full effect as he bursts out tales of struggle, devotion, and success with the help of a litany of A-list guests. From controversy surrounding the juxtaposition of biblical and not-so-biblical imagery on lead single “Amen,” to the Jahlil Beats produced anthem “Burn,” DC2 is cinematic and larger than life. Given Meek’s fall from public good standing following his internet-anointed “L” in the beef with Drake, and subsequent reemergence, it can be easy to forget just how blistering hot MMG was in the early 2010’s. The anticipation of Dreamchasers 2 reached such a fever pitch that the project crashed Datpiff’s servers upon release—a uniquely 2010s accomplishment. —@WriteNProppa

At the turn of the 2010s, grime’s chart success had begun to appear confined to the history books, with the genre’s biggest stars abandoning it in favour of lucrative pop-rap. By 2014, however, seasoned Tottenham MC/producer Skepta was acknowledging his roots in a way that satisfied loyalists and rap fans alike, and found himself at the helm of the genre’s burgeoning return to the mainstream. Revisiting his once-prized Korg Triton synthesizer, Skepta teamed up with younger brother Jme on the nostalgic “That’s Not Me.” Based on a classic Scratchy lyric, it’s frequently cited as a pivotal part of grime’s revival—as is the equally anthemic follow-up “Shutdown.” Konnichiwa simultaneously serves as a medium through which Skepta reflects on turbulent times, including murders and miscarriages, and an opportunity to educate listeners on defining moments in grime’s history, like the Pay As U Go clash sampled on “Lyrics.” It’s an exhibition of groundbreaking international ties forged with Pharrell and A$AP Mob—all without compromising on the sound that brought him where he is today. —@UnBalanced, Luke Ballance

Necromancers of ’70s-era psychedelic rock, Australian band Tame Impala flipped expectations upside-down with the release of their 2015 LP Currents. Their highest-charting and poppiest release to date, Currents sees Tame Impala remarkably sounding as comfortable and confident as ever while diving head-first into uncharted territory. Front to back, the record is packed with pop-rock anthems like “The Less I Know the Better” and synth-pop ballads like “New Person, Same Old Mistakes,” showcasing frontman Kevin Parker’s masterful songwriting in a completely fresh context. Parker described the project as an analysis of human transition, an autobiographical exploration of someone “becoming the kind of person they thought they’d never become.” Influenced by countless personal adversities, Kevin’s abandonment of tradition is as prevalent in his philosophy as it is in the music— Currents triumphantly reminding the listener that yes, Kevin’s changing, but he’s not sacrificing quality. —@Bismvth, Hazen Ellwood

Although it’s missing the anthemic “Life Style”—one of the best singles of 2014—Tha Tour is an essential 2010s project. For all his faults, Birdman remains one of hip-hop’s greatest A&Rs. He proved it again when he masterfully put Young Thug and Rich Homie Quan together at the perfect moment to create pure magic on a full length project. Tha Tour showcased new and exciting styles that endured throughout the 2010’s, helped put producers Wheezy and London on da Track on the map, and inspired countless other collaboration mixtapes. Thugger sounds futuristic, chaotic, and totally original. Quan has an infectious drawl, a keen ear for melody, and most importantly, the ability to balance Thugger’s eccentricities. The outcome of all of this was bangers like “Flava,” “730,” and “Givenchy.” What makes Tha Tour work where other collaborative efforts may have failed is the organic chemistry between its two main protagonists and the lack of any constraints (commercial or otherwise) on their experimentation and creativity. —@NSRE

*SATURATION III represents the last volume of a trilogy that brought up fourteen boys from San Marcos, Texas, to international success. Unlike the first chapter, revolutionary in its extravagance, and the second one, more direct and rap-focused, part three stands out for its experimental nature (on songs like “SISTER / NATION” and “TEAM,” both divided in two rather different parts) and the consequent mix of genres. There are elements of jazz rap, R&B, trap, pop and even dance, on which both the funniest tracks (“STUPID,” “BOOGIE,” “ZIPPER”) and the most touching ones (“JOHNNY,” “LIQUID,” “BLEACH”). As a result, the SATURATION series is not only a curious portrait of contemporary early adulthood, but also an example of the effectiveness of a well-organised and creative DIY production. —@PierFrancescoCosta

Melodrama is an exploration of the highs and lows of young adulthood, filled with all of the emotions its title would suggest. As Lorde herself stated, Melodrama “is about pain, but it’s more so about joy—the process of discovering joy and reclaiming joy. Like crying and dancing in equal parts.” This sophomore offering explores the rush of love and the thrill of parties, but it’s also largely about learning to be alone—on “Hard Feelings/Loveless,” Lorde sings, “I light all the candles/Cut flowers for all my rooms/I care for myself the way I used to care about you.”

Sonically, the album adapts to each theme with new instrumentation, from upbeat drums and hand-claps on “Green Light” to a minimalistic piano backing on “Liability.” Through all these changes, Lorde’s ability to combine emotional, clever lyrics with masterful melodies shines through, making Melodrama a powerful contemplation on a young woman’s coming-of-age. —@SallySunshine, Cassandra Fantini

Vulnicura is Björk’s most personal album to date. With intense catharsis, she narrates the breakup of a decade long relationship in her self-described “Greek tragedy.” The album is filled with rickety, unstable percussion, wailing strings, and furious bass that cuts through the body. “Family,” Vulnicura’s centerpiece, is a microcosmic triptych of the experience, a crushing confluence of despair and hope where the pain finally relents: “There is a swarm of sound […] and we can get healed by it.” Björk described the album’s virtual reality counterpart as “something people were experiencing on a visceral level,” explaining how “the amount of crying that was done into the headsets convinced me [that I was] on the right track.” Vulnicura is Latin for “wound healing,” and there’s certainly healing in heartbreak. As Björk once said, “It’s so miraculous what [music] can do to you. When you are in a really fucked situation, it’s the only thing that can save you.” —@Anak

Tyler, the Creator’s Flower Boy served as a signifier for the rapper’s artistic growth, as he stepped away from shock value rap and focused on more mature topics. The album tells an overarching story of Tyler’s life in the spotlight, which shows his struggle with loneliness, nostalgia, and his sexual identity. The true beauty in this record shines when Tyler gets introspective, as he explores love and newfound feelings on emotional tracks “See You Again” and “Garden Shed,” while detailing his sadness and insecurities on “November” and “911 / Mr. Lonely.” These focused topics give the album a cohesive feel unlike any previous Tyler project. By using an array of different beats and guest voices, the album still feels as fresh as next season’s sunflowers. —@SupadupaJay, Jack Diaz

Watching Movies With The Sound Off is the late Mac Miller’s magnum opus, giving an honest and open look into the rapper’s life with no filter. While the album isn’t a narrative, Miller made sure that each song had a purpose, which results in no filler tracks and an hour long journey where you never feel compelled to press the skip button. Each song provides an enticingly different view on the world of Mac Miller, but personifying addictions on the track “Objects in the Mirror” and trading verses with his alter ego on “The Star Room” are standouts, as they give the rawest view of the rapper’s dark side. —@SupaDupaJay, Jack Diaz

Playboi Carti was already widely known by the time Die Lit was released in early 2018, thanks to his hit single “Magnolia” from his eponymous debut. In the midst of repetitive mumble rap and trap dominating the charts, Carti stood out from the crowd not by upping his lyrical game, but by further deconstructing his signature style. He conceived Die Lit as album filled with mesmerizing flows and well-crafted beats which also embodies a sense of simplicity that stands as the album’s biggest take-away. Songs like “Shoota” and “Poke It Out” showcase Carti’s ability to achieve blissful catchiness through the simplest of means. Meanwhile, “Lean 4 Real” and “Fell In Luv” create a near-ambient atmosphere, providing a stark contrast with the upbeat, fun nature of “Mileage” or “FlatBed Freestyle.” Throughout the project, Carti utilizes his baby voice, repertoire of ad-libs, and unorthodox flow to create a surprisingly compelling project. —Anonymous

In 2010, Kid Cudi took us on a trip through his psyche with Man on the Moon II: The Legend of Mr. Rager. The concept album, a five-act narrative, begins light with tracks such as the weed anthem “Marijuana,” before turning dark on its climax “Mr. Rager,” and finally comes to a self-reflective ending with “All Along” and “Ghost.” Not reliant on hit singles, the album is characterized by cohesiveness, blunt lyrics, and spacey, sometimes creepy production. Man on the Moon II is intense and palpable, dark and twisted, but above all, personal and sincere. —@JBLO

When Denzel Curry released “CLOUT CO13AIN” as a promotional single for TA13OO, he made it clear that this album would be unlike any project he’s worked on before. The title is fitting, as Zel covers topics ranging from the paranoia and extortion that comes with fame, the current state of music, and the 2016 presidential election. The album is divided into three sections, light, grey, and dark, and as the album progresses, the laid back vibe of “13LACK 13ALLOONZ” and the title track “TA13OO” turn into the rage-driven “PERCZ” and “VENGEANCE,” with Curry addressing both personal and national injustices. Denzel always had the ability to match any beat with pure technical skill through wordplay and rhyme schemes, but on this album he finds his true purpose. —@SupaDupaJay, Jack Diaz

After the release of her well-received debut project Los Ángeles, multi-Grammy nominated Spanish artist ROSALÍA took the music industry by storm with her critically-acclaimed sophomore album, El Mal Querer. Taking inspiration from an anonymous novel titled Flamenca written during the 13th century, the tracklist follows the form of a book, giving a chapter/number from one to 11 for each song. As the singer was attached to her Latin roots as well as the 2000s influence, she decided to mix the genres, creating a new sound, now identified as Flamenco pop or New Flamenco. Telling us a story while singing about life, love and death over electronic instrumentals, Flamenco maracas, trap drums and even motorcycle sounds, she demonstrates her ability to switch styles and lyrics. Backed by the success of her multi-platinum lead single “MALAMENTE,” this album made Rosalía a one of a kind star. —@noufi, Gauthier Chombart

At the beginning of the 2010s, hip-hop needed a new sound. Enter Teflon Don, Rick Ross’ magnum opus that showcased his cinematic lyrics and unmatched ear for beats. The album oscillates between soulful and menacing. Tracks like “I’m Not a Star,” “MC Hammer,” and “B.M.F. (Blowin’ Money Fast)” were certified street anthems. The latter of which helped defined the MMG-era and crystallized the sound of trap that came to define street rap in the 2010s. On the flipside, songs like “Maybach Music III,” “Super High,” and “Aston Martin Music” are chilled out and soulful, with ’70s textures and synths buried in the mix. With Teflon Don, Rick Ross rose from a mere street soldier to the bonafide king, a self-made man who could see it all while slouched in the back of his Maybach. —Anonymousr

Joey Bada$$’s debut mixtape 1999 is one of the most mature, complex, and refreshing takes on golden age East Coast hip-hop. Joey was only four years old in the titular year, yet the atmospheric, lyrically-dense 1999 perfectly reimagines boom-bap nostalgia. Joey crafts a style that’s inspired without sounding derivative, he stays humble while paying homage and showcasing his own clever bars. Whether it’s the hopeful vulnerability of “Waves,” the ravenous social commentary on “Survival Tactics,” or the teenage stoner anthem “Don’t Front,” the record flaunts an ambitious hour-long tracklist with no weak spots. Uniting the “Beast Coast” once again, the Badmon takes rappers who are more “Worried ‘bout the tending fashions rather than ascending passion” to task. —@Bismvth, Hazen Ellwood

Released halfway through the decade, Rodeo is a defining trap record. Building on the experimentation of Owl Pharaoh and Days Before Rodeo, this album finds Travis honing his craft as a curator as he showcases a mixture of Houston’s woozy sound, Atlanta’s rattling trap, and a psychedelic edge that’s all his own. The features are top notch: Travis tapped Future during his legendary mixtape run, Young Thug and Swae Lee right after Barter 6 and SremmLife respectively, Quavo on the cusp of rap-superstardom, a resurgent Weeknd, and a wholly unexpected Justin Bieber. Travis is tempered at times by the downsides and excesses of fame on songs like “90210,” “Pray 4 Love,” and “Antidote," but for the most part, this is a tour de force of rage. —@NSRE

Released when Lorde was only 16, Pure Heroine became a defining album of the 2010s. The record illustrates the chaos of Lorde’s adolescent years, and channels her fears for the future. It’s brimming with intricate details and personal anecdotes, like on fan-favorite track “Ribs,” which touches on her anxiety about growing up while integrating flashbacks from a house party she threw in her early teens. Listeners feel like they’re a part of Lorde’s inner circle, reliving these vibrant memories with her. In the years since its release, Pure Heroine has had a lasting impact on the industry. Lead single “Royals” took a jab at the unrelatable, lavish lifestyles in popular radio songs—an attitude later reflected in the lyrical content of artists like Halsey and Billie Eilish who found mainstream success as part of a new wave of anti-pop pop music. —@VinylZombie_MCR

If You’re Reading This It’s Too Late is a “commercial mixtape” released by Drake on the six-year anniversary of his legendary breakout mixtape So Far Gone. Spanning over 17 tracks, the project includes a sample from a Donkey Kong video game, numerous references to Drake’s hometown of Toronto, lines and taunts directed at his rivals, and a collection of some of the best trap hits of his career. On the hard-hitting opener, “Legend,” Drizzy flaunts his success and brags about his influence over a haunting chorus, while the album closer “6PM In New York” features nothing but a verse stacked with shots at Tyga, Hov and Kanye. IYRTITL may not be labeled an album, but it’s definitely a highlight in Drake’s career. —@ninetyninedreams

Visions, an album Grimes recorded and produced in just a few weeks, managed to fuse her experimental “post-internet” production with eminently listenable pop. The result is an album with a sound uniquely her own. Her ethereal, indistinct falsetto drifts above robotic techno-inspired beats, which might produce dissonance, but instead blends into perfect harmony. Tracks like “Oblivion” showcase Grimes’ writing talent, as she picks out her words from the crystalline haze and sings movingly, about coping with sexual assault.

Meanwhile, she crafts tracks like “Nightmusic” into textured synth soundscapes, strings existential lyrics over club beats on “Be a Body,” and weaves R&B elements into her vocal melodies on songs like “Infinite Love Without Fulfillment.” Visions established that Grimes was not just a tumblr darling, but a versatile pop prodigy. —@locklyle, Kate S.

On Run the Jewels 2, Killer Mike and EI-P’s second album together as Run The Jewels, the duo’s chemistry truly comes into focus over eleven tracks filled with sparse beats, frenetic flows, and a darker, more layered sense of production. Songs such as “Oh My Darling Don’t Cry” and “Close Your Eyes (And Count to Fuck),” the latter of which features Rage Against the Machine’s Zack de la Rocha, reflect the experimental nature of the group. While the chopped samples and breakneck flows dominate most of the music, it’s the foreboding predictions concerning America’s political landscape that are most stunning. —Anonymous

Disclosure burst onto the UK electronic music scene with their 2011 debut EP Carnival and their 2012 follow up The Face. The Surrey-born brothers, Howard and Guy Lawrence, quickly made a name for themselves with their distinct sound, combining unpredictable 2-step garage rhythms with deep house baselines, and Chicago-house inspired sampling techniques. The brothers’ singular take on house music was uniquely well-suited for collaborations with vocalists, who appear all over their debut 2013 album Settle. Sam Smith, AlunaGeorge, and Sasha Keable all make appearances on the album, predating their meteoric rises to stardom. Album singles like “White Noise,” “Latch,” and “You & Me” helped Disclosure break into the top rungs of the UK charts, cementing their status as stars in the contemporary UK dance landscape. By taking the classic house music framework and giving it a modern edge through their innovative blend of cascading arpeggios, retro synths and drum machines, and modern production techniques, Disclosure completely shifted the mainstream dance music of today. If anything, the duo proved that sometimes it takes a softer touch to get people dancing their hardest. —@UnBalanced, Luke Ballance

Nearly a decade after 2004’s groundbreaking Madvillainy with MF Doom, Madlib unexpectedly teamed up with Indiana native Freddie Gibbs. Together, Gibbs and Madlib made a rap classic that took a total of three years to finish. The result was Piñata, a brilliant combination of Madlib’s obscure samples and grimy production with Gibbs’ inventive flows and lyrics about the dope game’s perils. Gibbs, a gifted, nimble rapper, makes every syllable count on menacing tracks like “Deeper,” in which the song’s protagonist grows heartless when his love interest leaves him for a safer environment outside of his dangerous lifestyle as a drug dealer. On mellower excursions like “Robes,” Madlib’s sampling comes to the forefront, causing a duality of both rhyme and rhythm that defines Piñata. —Anonymous

Two decades removed from gangsta rap’s zenith, which spawned albums like Dr. Dre’s The Chronic and Snoop Dogg’s Doggystyle, Compton rapper YG came out with My Krazy Life, an album every bit as funky, engaging, and in-your-face as its influential predecessors. It doesn’t only live in the shadow of West Coast hip-hop’s celebrated past, but its present too. As a concept album that takes place in Compton, California, My Krazy Life functions as a darker counterpart to Kendrick Lamar’s good kid, m.A.A.d. city. While YG isn’t a technician on the mic quite like Kendrick, he had DJ Mustard by his side along with a knack for songwriting detail, and an everyman approach to deliver lines like, “Bank of America account got six figures.” Meanwhile, “Sorry Momma” is a deeply personal, honest apology directed to his mother. He still finds time to gets the parties popping with tracks like “Left, Right” and the Drake-assisted “Who Do You Love?” My Krazy Life is a complete experience, drawing inspiration from older and newer generations to create a West Coast classic. —Anonymous

In a career of left-field stylistic choices, Yeezus still represented a massive departure from Kanye West’s previous works. The Chicago experiments with sounds he had never fully delved into before, like new wave, techno, acid house, and electronic. From the project’s opening track, “On Sight,” it’s clear that Kanye has a lot on his mind. He starts off expressing intense anger and frustration, seemingly to warn the listener of what’s to come later in the album. Kanye shares complex ideas about race and America on songs like “New Slaves” and “Black Skinhead,” showing his lyrical prowess and creativity as he feverishly shares his perspective with the audience. On controversial tracks like “I Am A God,” we hear Kanye’s infamous ego hit new heights as he extols his own musical genius. Yeezus remains one of Kanye’s most controversial albums, but there’s no question it shaped the trajectory of the second half of his career. —@KennyTogs,

Kendrick Lamar’s third full-length is an exercise in dichotomy, with songs like “HUMBLE.,” “PRIDE.,” “LOVE.,” and “LUST.” pulling the listener in opposing directions. DAMN. approaches topics of spirituality and damnation from multiple angles. The piece winds through a semi-autobiographical timeline of events, culminating with a voicemail from Lamar’s cousin Carl Duckworth on “FEAR.” “We are the Israelites, according to the Bible… He’s gonna punish us… for our disobedience,” Carl says, offering a clear decision point.

Kendrick’s most accessible project to date, DAMN. still managed to push conceptual boundaries. It earned him a Pulitzer Prize for Music, the first ever awarded to a rapper and only the third for a black artist since the category’s inception. TDE even released a limited-edition backwards version, confirming fan theories about the project’s dual structure and making Kendrick’s hypothetical death and proverbial message all the more poignant: “Wickedness or weakness?” “You decide… Are we gonna live or die?"—@kingkillmonger, Aaron C. Williams

Bruno’s first studio album, Doo-Wops & Hooligans thrust him into stardom, but it was also his most ambitious work. Mars blends styles of Michael Jackson-esqe pop, R&B, funk, and soul to create a tight, 35-minute story about the enticing elements of love and loss. There’s joyous celebration of passion on “Marry You” and “Just the Way You Are,” but Bruno also showcases the melancholic side of romance on songs like “Grenade” and “Talking To The Moon.” Each song has soulful vocals from Bruno backed by soulful piano-heavy melodies, creating an impeccable sonic balance. The range of emotions throughout the album is the reason it belongs on this list, and another reason why Mars is one of this era’s biggest pop stars. —@SupaDupaJay, Jack Diaz

Taking inspiration from Joy Division, OutKast, and even Nine Inch Nails, Atrocity Exhibition is a landmark achievement in experimental rap albums. On the album, Danny Brown opens up about his struggles with addiction on songs like “Downward Spiral.” and “White Lines”. He creates memorable posse cuts like “Really Doe,” and experiments with faster flows on “When It Rain” and “Today”. Yet there’s an eerie mix of synths (“Tell Me What I Don’t Know”), samples (“Lost”), and other instrumental features that add to the album’s darkness. It all climaxes on “Ain’t It Funny,” a track that sums up Brown’s problems over a deceptively cheery beat. Atrocity Exhibition is an intense peak of experimental rap and of Brown’s entire career. —Anonymous

In 2010, Australian psych-rock outfit Tame Impala began gaining traction on the festival circuit, opening for the likes of MGMT, but it wasn’t until the 2012 that the group truly broke out with the kaleidoscopic Lonerism. All twelve tracks are written, recorded, and self-produced by the multi-instrumentalist and lead singer Kevin Parker, with limited assistance from keyboardist Jay Watson on two album stand-outs: “Apocalypse Dreams” and “Elephant.” The latter, a fan favorite with its dueling synth and guitar solos, would go on to be featured in several commercials and movies after being named “The Hottest Record in the World” by BBC Radio’s Zane Lowe. These accolades only scratched the surface, as Lonerism proceeded to garner a Grammy nomination and universal acclaim, propelling Tame Impala into the global spotlight. —@kingkillmonger, Aaron C. Williams

It’s no surprise that Golden Hour is often heralded as one of the best country albums of the 2010s. Musgraves makes listeners feel like she’s speaking directly to them, thanks to her honesty and attention to detail. These are the qualities that make tracks like “Slow Burn” and “Mother” stand out. Musgraves creates a world of intimate truth that makes Golden Hour her most emotive, personal project to date. She’s also unafraid to blend genres. “High Horse” has an irresistibly danceable beat, while “Oh, What a World” features both traditional country instrumentation and vocoder vocals. Musgraves proves it’s possible for country music to stay authentic while taking listeners on what she calls a “galactic sonic journey.”—@VinylZombie_MCR

J. Cole’s third studio album, 2014 Forest Hills Drive, finds the North Carolina rapper at the peak of his powers, tackling emotions of love, freedom, and happiness. We’re taken back to some of his childhood memories, like having low self-esteem on “‘03 Adolescence” or losing his virginity on “Wet Dreamz.” On other tracks, like “Love Yourz” and “Hello,” Cole reminds us how looks can be deceiving. The album abnegates guest appearances, leaving nothing but Cole’s passionate storytelling and gritty, true-to-self bars at the forefront. After all, the album spawned the infamous “[three times] platinum with no features” meme. —@prodbymalc, Malcolm Trapp

Following their rapid rise from indie success to widespread fame after releasing their first two records, the Columbia graduates of Vampire Weekend released their magnum opus, Modern Vampires of the City. Frontman Ezra Koenig delves into a wide and diverse range of lyrical content, from relationships to world history. On “Step,” Koenig sets a story of dancing with a significant other over slow, piano-driven instrumental. “Worship You” and “Finger Back” touch on Jerusalem and the band members’ Jewish roots. Featuring less of their past afro-pop and preppy styles and more mature lyrical content over a short and concise tracklist, the record showed the Ivy League kids had grown up and were here in the music industry to stay. —@ibmac26

In 2011, almost no one could ignore the lush, bombastic sounds that A$AP Rocky emerged with on LiveLoveA$AP, a mixtape that made more impact than most albums. Rocky’s debut project is essentially a cultural melting pot that merges Houston’s hazy, chopped-and-screwed sonics with themes of Harlem’s urban decay and a penchant for the SoHo fashion scene. The production of Clams Casino, A$AP Ty, and others create an entrancing, ethereal atmosphere that complements Rocky’s charismatic personality. There’s a homage to Bone Thug’s trademark flow on “Palace,” booming 808s on “Bass,” and Southern influences on “Trilla.” Rocky himself gleefully brags about his swag, drug use, and his adoration for beautiful women and clothes while utilizing various eccentric cadences and flows that prove there’s plenty of technique behind the flash. LiveLoveA$AP not only put Rocky and A$AP Mob on the map, but highlighted an inventive new path beyond New York’s traditional boom bap history. —@chanhmatt, Matthew Huynh

No-one does heartbreak quite like Adele. Few artists could deliver a song like “Set Fire to the Rain” with Adele’s emotional power yet simultaneously be able to dive into the grief-stricken depths of “Someone Like You” or “Turning Tables.” Adele manages both, providing a cohesive and compelling 11 tracks. But unlike its sentimental and introspective predecessor, 19, 21 oozes self-assurance from the opening lines of “Rolling in the Deep.” Adele still makes room for her more vulnerable side. “Don’t You Remember” sees her admit her own faults (“I know I have a fickle heart and bitterness / A wandering eye and heaviness in my hand,”) while she elsewhere elegantly transforms The Cure’s upbeat “Lovesong” into a sorrowful lament. 21 is an emotionally intense album that launched Adele into unprecedented superstardom, quickly becoming one of the most popular and acclaimed albums of the century. —@Irrelevant_Cabbage, Jake Rowley

When brothers Slim Jxmmi and Swae Lee dropped their debut album, 2015’s SremmLife, their unique mixture of party-starting raps were still viewed with skepticism. But as the decade went on, it was clear there’s no denying the infectious energy they bring to every song. The once homeless rap duo, which started out as Dem Outta ST8 Boyz throwing parties in abandoned houses, had unlocked more than “The Swag,” but a winning formula that works on every track on the album. Singles like “No Flex Zone,” “No Type,” and the Nicki Minaj and Young Thug-assisted “Throw Sum Mo” combined melodic vocals from Swae and hardcore verses from Slim with heavy hitting beats produced by their mentor and label founder Mike WiLL Made-It. As the album’s hits kept coming (“Come Get Her,” “This Could Be Us,” “Up Like Trump”), Rae Sremmurd negated any one-hit wonder discussion and set themselves (and Mike WiLL) up as party captains for the latter half of the decade. —@noufi, Gauthier Chombart

Two years removed from Take Care, Drake took a left turn with Nothing Was the Same, an album that features a mix of soulful pop (like “Hold On, We’re Going Home”) and the trap minimalism of songs like “Worst Behavior” and “Started From The Bottom.” Nothing Was the Same covers everything from Drake’s rise to fame to his creative influence (“Wu-Tang Forever”) and toxic relationships (“Connect”). He furiously guns down competition on the vicious opening track, “Tuscan Leather,” then changes pace on “Furthest Thing,” a soft, lighthearted song where he examines the true meaning of conflict. This is exemplified by the clash of both playful and solemn moods. In fact, it’s conflict that makes Nothing Was the Same stand out. —Anonymous

After the signature French house of their first three albums, Daft Punk created Random Access Memories, a stark departure from their earlier work, as well as a musical masterpiece that effortlessly explores multiple genres. “Doin’ It Right” is a throwback to their earlier days, while “Get Lucky,” the album’s biggest hit, is something entirely new, trading the mechanized rhythms of classic drum machines for the loose feeling of ’70s funk. Meanwhile, “Giorgio By Moroder” is a monologue that details the evolution and history of dance music, delivered by the genre pioneer himself, Giorgio Moroder. He’s backed by a thumping, disco-influenced beat and meandering bassline reminiscent of the legendary producer’s classic work. Daft Punk then explores a more somber, piano-based territory on songs like “Within,” a slow-burning ballad with vocoder-processed vocals that inquire about one’s true nature. When put together, Random Access Memories plays out like a greatest-hits set, both entertaining and diverse. —Anonymous

Carly Rae Jepsen’s third studio album, EMOTION solidified her unique place in pop music. EMOTION drew from the signature new-wave pop sound of the 1980s, combining it with modern alternative production. Jepsen enlisted the help of songwriters like Sia and members of pop-rock bands like HAIM and The Zolas to perfect the sound of the album. Throughout the project, Jepsen established herself as an adult contemporary artist and keeps the teen crush sound of her earlier work at arm’s length. While being rooted in bubblegum pop, the lyrical content on cuts like “All That,” “LA Hallucinations,” “Making the Most of the Night” and “Warm Blood,” manage to tackle darker themes like intimacy, self-doubt, depression and love. Through this album, Jepsen garnered a cult following because of the unexpected brilliance of an artist often dismissed as a “one-hit wonder.” —@ssaa10dec, Saquib Syed

Young Thug’s Barter 6 is an essential trap project and a cheat sheet for the new school of hip-hop. Thugger had been perfecting his craft on 2011’s I Came From Nothing and 2013’s 1017 Thug, but Barter 6 delivers a more complete package—even if no one project could contain all of his eccentricities. The project is loaded with essential cuts from one of the decade’s most important rappers; the indelible flows on “Halftime,” the celebratory “Check,” and the hypnotic “With That.” Barter 6 may not have seemed like a game changer upon release, but Thugger’s undeniable influence on just about every rapper out today stems from the accomplish of this album. —@UnderstandingRap

Nearly a decade and a half after the groundbreaking neo soul of Voodoo, D’Angelo was still perfecting his third album, and it seemed as if the world was about to lose patience. Thankfully, D’Angelo and the Vanguard, the latter being a backing band of sorts, delivered with Black Messiah, a soul opus experimenting with guttural guitar playing (“1000 Deaths”), soulful psychedelia (“Prayer”), and increasingly political lyrics (“The Charade”). Overall, D’Angelo’s core sound remains the same; “Really Love,” “Betray My Heart,” and “Another Life” are soulful crowd-pleasers with romantic themes that are common throughout the rest of D’Angelo’s discography. Yet, holistically, the album is a whole new venture, with D’Angelo testing the waters of his vocal abilities alongside Questlove’s stark drumming. In the long run, Black Messiah is a bold, brash work, complemented by its impressive artistry and musicianship; it is the closest thing to a modern-day Sign O’ the Times. —Anonymous

Transcending hip-hop’s lyrical and sonic boundaries, Death Grips’ debut has gained a unique critical and cult following since its release. Aesthetically, The Money Store is harrowing and claustrophobic; there’s zero room for air as Ride snarls about brutal, nihilistic criminal ideals, like a frenzied anti-hero in an anarchic, dystopian society. Right from “Get Got,” Ride delves headfirst into mental illness, disorder, and an array of disorienting themes that never let up. Meanwhile, Andy Morin’s instrumental flourishes synthesize the sample-heavy tributation of the group’s previous mixtape Exmilitary with revolutionary, forward-thinking production drawing inspiration from sources as disparate as harsh noise and purist pop rock. Combined with Zach Hill’s animalistic, hectic drumming, it’s a challenging but deeply rewarding and varied listening experience. The heavy alarm sounds and blown-out percussion of “The Fever” sit in direct contrast to the bouncy, pleasant groove of “I’ve Seen Footage,” perhaps still the trio’s most accessible song seven years later. Although each of the Sacramento group’s follow-ups would present something completely innovative to their discography, it’s almost impossible to match the impact and dynamic, innovative sounds that The Money Store carried. —@chanhmatt, Matthew Huynh

Following the release of 1998’s The Love Movement, A Tribe Called Quest were considered defunct, and even more so after founding member Phife Dawg passed away in 2016. Yet the same year of Phife’s untimely death, Tribe managed to release their final studio album, the eclectic We got it from Here… Thank You 4 Your service. Even Jarobi, who remained absent from the group after Tribe’s debut album, makes a grand return, bringing a slew of well-known guests to boot. “We the People….” is an all-out attack on corruption and hate, while “Enough!!” is a serene, mellow song examining sexual relationships juxtaposed with one’s profession. “The Space Program,” meanwhile, is a near-six-minute epitome of Tribe’s legacy. The record is a worthy and sentimental final return to form from one of rap’s all-time great groups. —Anonymous

Tyler, The Creator has come a long way from the shock-rap of 2009’s Bastard. Ten years later, Tyler created IGOR, his most consistent work yet. Building upon the soulfulness that made albums like Flower Boy successful, Tyler puts more emphasis on singing rather than his rapping. He even adds synths and keyboards to the mix, and makes danceable tracks like “I THINK” and “WHAT’S GOOD.” Lyrically, IGOR is a concept album (à la The Love Below) that deals with a love triangle involving Tyler, Igor, and Tyler’s ex-girlfriend, ending tragically for Tyler after Igor leaves him for Tyler’s ex on (“GONE, GONE/THANK YOU”). Tyler even collaborates with Playboi Carti who delivers a near-unintelligible but beloved verse on “EARFQUAKE.” IGOR is Tyler’s masterwork, shedding the skin of a shock rap in favor of an emotional album with pop leanings for which he’s unexpectedly well-suited. —Anonymous

“Sometimes love is not enough, and the road gets tough,” Del Rey croons on the opening track of her 2012 debut, Born to Die. That statement is the theme throughout the record, which tackles toxic relationships with a brooding elegance. In addition to her own experiences, Del Rey draws from external stories like Vladimir Nabokov’s controversial 1955 novel Lolita, which influenced the song of the same name, as well as “Off to the Races.” These allusions give more dimension to the reality she builds, as well as emphasizing the twisted nature of her relationships. The album compels listeners to pity Del Rey, as she touches on her inner turmoil and her dependence on unreliable people, a struggle that continued to evolve throughout her discography. She also plays with an Americana motif, and her idealization of the United States mirrors her glorification of the dark times in her life. Altogether, Del Rey weaves an intricate picture of a distressed woman searching for something genuine in a dishonest world. Although viewed with some derision upon release, the album helped lay the groundwork for Lana Del Rey as an artist who eschewed “empowerment pop” in favor of examining women’s lives through the lens of relationships with men. —@VinylZombie_MCR

Because the Internet is more than an album. It’s a multimedia experience, complete with a short film, an art show, an outfit, and a 73-page screenplay. Recorded over four months in Chris Bosh’s LA mansion, the project is a foreboding examination of the information era and how it has affected daily social interactions.

On this album, the lines are blurred between Donald Glover and Childish Gambino, as well as Bino’s in-universe persona, “The Boy.” With songs ranging from brooding, dystopian electronica to the lush R&B-pop found on his later works, Glover and collaborator Ludwig Göransson craft a unique world through production alone. Despite its conceptual nature, the project birthed some classic cuts, including the braggadocious “Sweatpants”—which features some of the best bar for bar rapping of Gambino’s career—and the bouncy earworm, “3005.” This exploration of paranoia, fidelity, identity, isolation and death in the digital age is one that resonates deeply with a new generation whose native language is the internet. —@slightly_senile, Ethan R.

On January 10, 2016, the musical world was shaken to its core. A legend had died after keeping his struggles with liver cancer behind closed doors. It’s important to remember this crucial piece of context when evaluating Blackstar, the album Bowie released just two days earlier, as it’s riddled with lyrics detailing his deteriorating condition. From the Major Tom imagery in the title track’s video to the harmonica melody in “I Can’t Give Everything Away,” which calls back to 1977’s “A New Career in a New Town,” Blackstar feels very obviously like a farewell album. It covers various styles he explored throughout his career, including acid jazz, synthpop, and hard rock. However, this is far from shallow fan service, as the dissonant saxophones of “’Tis a Pity She Was a Whore,” the bizarre Nadsat usage on “Girl Loves Me,” and the painful beauty of “Dollar Days” come together to create arguably Bowie’s most accomplished and unsettling work since 1977’s Low. —@Irrelevant_Cabbage, Jake Rowley

As big as she had been before, 1989 ushered in an awe-inspiring new era of Taylor Swift dominance. Somehow, 1989 manages to make pop dominance feel like both a comeback and something new—Swift explored new ways to tell her stories and challenged the media’s sexist view of her on songs like “Blank Space” and “Shake It Off,” certified eight and nine times platinum, respectively. Aside from its sheer magnitude and success, where 1989 truly shines is its honest, raw lyrics. On songs like “Out of the Woods,” “I Wish You Would,” and the Imogen Heap-assisted “Clean,” she veils heartbreaking, anxiety-filled stories with impeccable pop production; the tracks may go down easy but they also have depth. Swift’s ability to stay true to her songwriting roots while still creating something unlike any of her previous projects earned 1989 the Album of the Year Grammy and made her into the irreplaceable pop titan we’ve known in the years since. —@VinylZombie_MCR

In 2011, then-unknown rapper Danny Brown signed to Fool’s Gold and dropped XXX, one of the decade’s most groundbreaking projects. With a title that both alludes to Brown’s age and the hedonistic debauchery found throughout, XXX has an odd mix of analog synths, minimalist beats, and Brown’s abrasive rapping. Brown showcases his high-pitched, quirky style of rhyming throughout.

Prior to XXX, Brown was by all means a quality MC. But on XXX, he became something else entirely. On the one hand, he’s a rapper’s rapper—able to skate through a song like the Bob James-sampling “Pac Blood” with grace and still blurt laugh out loud quotables like “Stank pussy smelling like Cool Ranch Doritos” on “Monopoly.” On the other hand, he’s an avant-garde artist, exposing the decay of a once-great metropolis like Detroit on “Fields” or confessing his innermost fear of failure on the riveting album closer “30.” That dichotomy is what makes this a compelling listening, and Brown an artist of singular statue. —Anonymous

Following his debut 2014 album Venice, singer/rapper Anderson .Paak broke out with his sophomore effort, Malibu. Stand-out tracks like “Am I Wrong” (featuring ScHoolboy Q) and “Come Down” established Anderson’s willingness to defy genres and take risks. Album opener “The Bird” takes the listener back to a simpler time, with its smooth Motown-sound, while album closer “The Dreamer” sums up his approach to music with a quote from a 1960s surfer documentary about the city of Malibu: “I enjoy some of the old and I enjoy the new. If I can find a balance between it, that’s where I find my satisfaction.” —@kingkillmonger, Aaron C. Williams

Returning from a five-year musical hiatus, Janelle Monáe finally shed her alter egos to reveal a more vulnerable self-portrait while taking the opportunity to reckon with, reclaim, and redefine her intersectional identity. Monáe explores everything from queerness (“Make Me Feel”) to femininity (“Pynk”), to the Black experience (“Crazy, Classic, Life”) and the American experience as a whole (“Americans”). Featuring an eclectic roster of guests including Brian Wilson, Grimes, Stevie Wonder and even her late mentor Prince, Dirty Computer is a triumphantly sex-positive sci-fi R&B-pop-funk record that proves Monáe could earn more mainstream recognition without sacrificing political or emotional depth. —@slightly_senile, Ethan R.

On 4:44, JAY-Z reminisces on some of his most personal experiences, combining them with classic soul samples and socially conscious lyrics. A mere 10 tracks and 36 minutes, JAY teamed up with veteran producer No I.D. to create the tightest album of his illustrious career. The album may be brief, but the content is deep.

On tracks like “The Story of O.J.,” Jay touches on racism. “Caught Their Eyes” informs listeners on the value of being aware of your surroundings while ruminating on vultures fighting for control of Prince’s estate. The title track is a sincere apology to Jay’s wife, Beyoncé, for his infidelity, a topic Bey also explored on Lemonade. “Family Feud,” on the other hand, is a stark dissection of the separation between the older and newer generation of hip-hop. Fans and critics were quick to dub this one of Jay’s most mature albums, but the real achievement is that this late in his career, he managed to make one of his most vital as well. —Anonymous

Daytona is a feat of concision. Pusha T delivers luxurious, dynamic bars for just over 21 minutes and they all leave a mark. The first release from the now-famous “Wyoming Sessions,” Daytona sees Kanye West step back into the role of producer, composing lavish beats which merge seamlessly with Pusha T’s deadeye delivery. Daytona does not shy away from controversy, it embraces it. “Infrared” reignited the infamous Drake beef, while “What Would Meek Do?” features Kanye addressing his slew of polarizing tracks and comments from 2018. Still, this is Pusha’s show through and through, a culmination of his nearly two decades in the game. This wasn’t for everybody, it was only for those who know. —@d4d2d0

The Weeknd’s hedonistic and nihilistic lyrics, combined with his sensual vocals, over the atmospheric, dark production made House of Balloons one of the most unique R&B projects of the decade. HoB introduced us to the XO nightlife, which mainly consists of three things: drugs, sex, and combining the two. At the time of its release, no one knew who Abel Tesfaye was or what he looked like, which created the template for the “mysterious” internet artist persona others would try to emulate. The project sampled indie rock bands like Beach House and dream pop acts like Cocteau Twins alongside R&B royalty Aaliyah, bringing a newfound hipster aesthetic that’s now commonplace. The first line you hear on the mixtape is, “You don’t know what’s in store, but you know what you’re here for.” While he’s actually talking to a woman, he’s indirectly talking to listeners because you really never know what’s in store with his music but you know you want to be high for it. —@tomsarram

With DS2, Future sketched the blueprint for the morose, lean-infused trap that slowly seeped its way into the culture of the 2010’s like cough-syrup into Sprite. Though technically a sequel to his 2011 mixtape, Dirty Sprite and DS2 have little in common besides their titles. In 2011, Future was still finding his signature sound. It wasn’t until a series of personal crises that he changed tack, releasing Monster, Beast Mode and 56 Nights back-to-back-to-back and capping off his run with DS2.

Rapping over glossy, woozy production courtesy of Metro Boomin and Southside (whom DS2 helped turn into stars), most of the album finds Future checking off the usual topics of sex, money, drugs, and designer clothes. However, his consumption comes off as more of a chore than a joy, and his demons lurk just beneath the surface of the album’s hedonistic lifestyle. The album features early career-defining tracks like “Thought It Was A Drought” and “Fuck Up Some Commas,” and even helped lay the foundation for What A Time to Be Alive with the Drake-assisted “Where Ya At.” Although Future would reach greater commercial heights, DS2 helped him fully realize his drugged-out trap star persona. —@NSRE

Watch The Throne is an album of epic proportions, taking the talents of two of the most famous figures in hip-hop history and giving them the opportunity to go bar for bar over 12 songs. Singles like “Niggas In Paris” and “Otis” were bonafide hits with high-flying energy, while album cuts like “No Church In The Wild,” and “Gotta Have It” featured endless quotables. Although ‘Ye and Jay are at their most confident when delivering braggadocios, luxury raps, their excess is often undercut by their take on how American plutocracy often leaves Black America behind. The two rappers set a new standard for collaborative hip-hop projects in the process, which every future dual-artist release would be judged against. —@SupaDupaJay, Jack Diaz

After the buzz surrounding his debut mixtape, nostalgia, ULTRA, Frank Ocean upgraded his songwriting and musicality for his timeless debut album channel ORANGE. A diverse melting pot of R&B, hip-hop, and rock, channel ORANGE shows Ocean firing on all cylinders, as he explores themes of essential longing on“Thinkin Bout You,” and “Forrest Gump”), the numbing effect of wealth on “Sweet Life” and “Super Rich Kids”), and sex on “Monks” and “Pink Matter”).

The album’s centerpiece is a combination of all those themes; the nearly 10 minute long “Pyramids” ranges from corrosive space-funk on one half, to modern-day club on the other half, all while providing an unflinching documentation on the ancient history and unfortunate degradation of black women. channel ORANGE is a soul-baring work, rendering heartfelt emotion and complex artistry, while representing Ocean as the person he truly is throughout. —Anonymous

It is apt that Beyoncé’s fifth album bears her own name. A masterclass in musical identity and a game-changing visual tour-de-force, Beyoncé is a record that catapulted the artist from a legend to an industry-defining cultural icon. Created by a new mother soaking in her womanhood and individualism, the eponymous record narrates challenges with sexuality, gender, self-image, and loss as its artist redefines herself.

Slinky “Partition” and passionate “Rocket” see a Beyoncé immersed in an unabashed, more mature form of sexuality. “Jealous” and “Heaven” see her peel back the layers of her psyche. “Haunted” delivers a prayer-like mantra on the working class grind. “***Flawless” provides one of the most mainstream explicit declarations of feminism in a post-third wave world.

Beyoncé is alternative R&B and social influence at its finest, and it is only elevated by its accompanying surprise “visual album,” a suite of unique, independent videos for each track of the record from a host of talented filmmakers, setting a new industry standard for album production. Self-titled finds Beyoncé in touch with her own ethos, and the results are an unforgettable record that really did stop the world. —@sereinik, Maxwell Zhang

Subtitled “A Short Film By Kendrick Lamar,” good kid, m.A.A.d city is an escapade of remarkable memoir-raps that provide a glimpse into the harsh realities of Compton. Lamar’s major-label debut is written in “the vein of a Tarantino movie,” where every song flows together, and it stars a 17-year-old Kendrick as he chronicles a day in his life. Production inspired by West Coast great Dr. Dre blends with hard-hitting lyrics that read like scenes from Boyz n the Hood.

We even see distinct, recurring characters, like the femme fatale, Sherane, on “Sherane a.k.a Master Splinter’s Daughter” and “Poetic Justice.” The album culminates in the fate-defining, 12 minute climax, “Sing About Me, I’m Dying of Thirst,” where Lamar cathartically gives up street life following the death of a friend. Kendrick was influenced by Compton’s first superstars, who birthed West Coast hip-hop, but with good kid, m.A.A.d city he reinvents it, spawning one of the greatest rap albums of this decade. —”Now everybody serenade the new faith of Kendrick Lamar.” —@xMerlyn

Uncompromising and sonically lush A Seat at the Table is Solange’s deep catharsis. As the title suggests, the album is principally concerned with space. On “Don’t Touch My Hair” Solange demands that the curious respect her personal space, while she considers how black bodies navigate white spaces on “Where Do We Go).” The project is punctuated by cinematic interludes that trace the story of Master P’s ascension in a crowded and corrosive music landscape, an idea emblematic of the black experience.

Perhaps more importantly, the album functions as a pretense-free discursive space for synthesizing pain and trauma. On the thematic centre, “Mad,” Solange muses on a persistent rage that is frequently dismissed as female hysteria by those who are complicit in the very injustices that elicit it. In the closing lines of a prose poem that follows the album, Solange writes, “We belong. We belong. We belong. We built this.” A Seat at the Table is a necessary and unabashed affirmation of modern black womanhood in all its glory and nastiness. —@MamasUzi

This mixtape turned Chance the Rapper from a little known artist to a star. While some of the exposure can be attributed to his features from Childish Gambino and Ab-Soul, it’s the social commentary and boundary-pushing genre blending that make the album stand out. Chance uses elements of house, soul, dance, gospel, and hip-hop to create a diverse mix that helps him capture the essence of Chicago. The subject matter switches throughout the album, from stoner anthems like “Smoke Again” to the uplifting hit “Juice” to the socially introspective “Acid Rain.” Chance makes sure to cover the highs and lows of living in the Windy City in an album that truly feels like a journey. —@SupaDupaJay, Jack Diaz

On her 2017 debut album, Ctrl, SZA tells a coming-of-age story of love, lust, betrayal, envy, and everything in-between. The album opens with “Supermodel,” a story of both insecurity and pettiness, while the album’s closing track, “20 Something,” is a reflection of self-acceptance, vulnerability, and hope. Between these tracks, boundaries are pushed and norms are tested, specifically on songs like “Doves in the Wind” where she challenges men to pursue more than sex and “The Weekend,” where a woman flips the script on a man who thinks he is playing her.

Though SZA tells stories through her own lens, the transcending journey finds common ground with listeners of all ages, races, genders, and backgrounds. SZA told Genius: “I have no control, there is no such thing as control. I’m chasing control. I’m craving control. I’m losing control…And the truth is, sometimes you just have to let go.” Ctrl not only magnifies SZA’s place as first lady of TDE, but also as one of the most important voices of the decade. —@DemetriusAKAMasterSplintersNephew, Jake Wernick

In 2014, leading up to the release of ANTI, Rihanna parted ways with Def Jam and signed to Jay-Z’s Roc Nation label, citing a desire to do “whatever” she wanted artistically. So when ANTI finally dropped two years later, the world was more than ready to see what this creative control would look like–and Rih did not disappoint. Instead of giving us more of what she’d already mastered time and time again–standalone bangers destined to take over pop radio–the Barbados native released her most cohesive and mature work to date.

Seamlessly transitioning between genres she’d never really tapped into before, the tracks delved deep into topics like sex, drugs, and relationships. The project’s lead single [“Work”] is an ode to the dancehall sound she grew up with, while standout cuts like “Same Ol’ Mistakes,” cover a Tame Impala song, and the whiskey-soaked “Higher” see her diving into genres like psych-pop and neo-soul with ease. On “Love on the Brain,” Rihanna gives us her own spin on doo-wop, showcasing the raspy soulfulness of her voice in a way we’ve never heard before. ANTI served as proof that Rihanna is way more than just a pop hitmaker–she’s whatever she wants to be. —@Chancelorr, Chase Williams

At the dawn of the 2010s, Drake emerged with the potential to be the future of rap. He had all the talent, charisma, and co-signs he’d need and he quickly established himself as a hitmaker with So Far Gone and Thank Me Later. With Take Care, he proved he was more than just a chart topper. Drake fleshed out his musical vision, creating a successful hybrid of pop, R&B, and rap for an album that practically defined the sound of the new decade and established Toronto as a hip-hop hub.

Rather than take all his cues from idols like Kanye West or JAY-Z, Drizzy went for their spot and honed his own brand. He ruminates on the ups and downs of fame, failed relationships, and despondency with lyrics that sound like they’re all written to be the perfect social media caption. It’s not just Drake who hit his stride, producer 40 flexes his muscles as well, expanding on the icy soundscape they’d previously established. There’s a melancholy feel throughout, but there are upbeat moments on songs like “Headlines” and “HYFR,” which are defined by their braggadocio. On the Rick Ross collaboration “Lord Knows,” Drake hits back at haters who poke fun at his past but not his music before confidently declaring, “I changed rap forever.” He went on to run rap for another decade, but even in 2011, his claim was impossible to deny. —Anonymous

After cementing her mythos on 2013’s eponymous Beyoncé, the world wondered what could possibly follow. Three years later, Beyoncé responded with Lemonade, a monolithic art piece that continues to transform audiences. An intimate marriage of visuals, poetic forms, and genre-bending music, Lemonade confronts its listeners with a compelling candor, radical in an era of artifice and construction.

Beyoncé navigates a complex emotional landscape on the record, varying from rage on tracks like, “Don’t Hurt Yourself” to mourning on the track, “SANDCASTLES” to unapologetic “FORMATION” on “FORWARD,” while also getting assists from heavy hitters like Kendrick Lamar on “FREEDOM.” Genre loyalties dissolve as “DADDY LESSONS” flirts with country roots and “LOVE DROUGHT” soaks into electronica.

At times meditative and other times outspoken, the record reveals a Beyoncé under immense pain and one with an unflinching power. It occupies the definition of artistry so comfortably because it does not hesitate in the face of vulnerability. Its final image features, appropriately, Beyoncé beckoning to an unknown audience: She invites you, one more time, into her world to reconsider what it means to love, to hurt, to forgive, and to exist as a woman, wife, mother, and human. —@sereinik, Maxwell Zhang

What can be said about the generational talent Frank Ocean, that hasn’t been said already? The recluse artist tortured fans for four years after the release of channel ORANGE, teasing release dates before pump faking with Endless and finally releasing Blonde the day after. But the wait was worth it.

With this record, Ocean became a genre unto himself. He experimented with uncommon sonic effects, droning instrumentals, and unpredictable song patterns. Only a few songs on Blonde feature any kind of conventional song structure—they just float in the air before morphing into something else entirely. Ocean can sing like an angel, yet chooses to distort and contort his voice in every which way. He’s got a great ear for melody, but he often eschews hooks.

The opening track, “Nikes,” features Ocean crooning over a dreamy, luscious synthesizer-driven instrumental, and uses his lyrics to pit his love and desire for a significant other against their materialistic, surface level character. The album apexes with “Nights,” a track that features a dramatic instrumental switch at the exact half point of the record’s playtime. During the first half of the track, Ocean sings about past relationships and Hurricane Katrina ravaging his hometown, while on the second, darker half of the track shows Ocean’s vulnerability in trying to cope with these life events. Ocean had already established himself as a talented singer, songwriter, and producer, Blonde showcased his unfiltered ambition. The album didn’t yield many smash Billboard hits, yet it cemented him as a generational artist in touch with the millennial zeitgeist. —@ibmac26

It would be a daunting task to follow-up an instant classic like good kid, m.A.A.d. city. Kendrick Lamar was not only up for the challenge, but he exceeded expectations with To Pimp a Butterfly, cementing his place among the GOATs in the process. Conceptually, TPAB is a veritable treasure trove of Easter eggs. Each track bleeds into the next, connected by a spoken-word poem that continues unfolding throughout—climaxing with album closer “Mortal Man,” where it’s revealed that Kendrick has been reading the poem to 2Pac.

As the album’s title suggests, Kendrick explores themes of exploitation and self-doubt. While good kid found Kendrick battling through the trials and tribulations of adolescence on the mean streets of Compton, TPAB is much more internalized, largely taking place in the mind of a newly minted star. Kendrick fights demons of resentment, depression, and survivor’s guilt before finding solace in ideas of respect, forgiveness, and unification.

It’s all too fitting that tracks like “Alright,” became a BlackLivesMatter anthem—the core question hanging over this album is what exactly is a black man’s life (and art) worth in America? It’s a heady question, with no easy answers, but Kendrick approaches it with honesty and introspection. Kendrick’s ability to self-reflect and show us exactly what’s in the mirror is what makes To Pimp a Butterfly one of the greatest albums of all time. —@kingkillmonger, Aaron C. Williams

After Kanye interrupted Taylor Swift’s VMA award speech in 2009, he was cast as a pop culture villain and decided to go into exile to reflect. Forced to confront the question of whether he was a misunderstood genius, or a monster, he would return a year later to accept that the answer is both. West created his magnum opus, My Beautiful Dark Twisted Fantasy. The project was a deep dive into hedonism, ego, sexual exploitation, and the consequences that come with fame.

In some ways, MBDTF functions as Kanye’s Chronic, as he coaxes all time great performances out of nearly every one of his guests. Kid Cudi delivers an infectious hook on the psychedelic “Gorgeous,” JAY-Z & Pusha-T deliver bars of altruistic excellence on “So Appalled,” Rick Ross delivers one of his all time best verses on “Devil In A New Dress.” Meanwhile, Kanye throws everyone from Elton John to Fergie at us with “All Of The Lights.” But it’s Nicki Minaj who steals the spotlight with the most iconic verses of the decade on “Monster.” The star-studded features list gives it the feeling of a group project with West at the helm, a “vibes curator” role that would later be inhabited by artists from Drake to Travis Scott and Kid Cudi—but none of whom would match Kanye’s gold standard of excellence.

The album may be best summarized by the minimalist and eerie “Runaway,” where Kanye West admits his imperfections but acknowledges those same characteristics make him who he is. He may be known for making outlandish comments in interviews, but when Kanye told Zane Lowe, “I showed people that I understand how to make perfect…Dark Fantasy can be considered to be perfect,” he wasn’t being hyperbolic. MBDTF set West apart from his contemporaries, helping to push music forward throughout the 2010s. The album opens with the question, “Can we get much higher?” As it turns out, maybe we can’t. —@Izeezus, Isaiah Chauhan