The Ultimate Guide to Essential Albums of the 2010s by NME

As we enter a new decade, let’s recap some of the best music of the last 10 years.

Summed up by NME, as they went through all the music that we have listened throughout the decade, they found out that the music industry has changed dramatically.
Now here is NME’s greatest albums of the decade:
Arctic Monkeys, ‘AM’ (DOMINO, 2013)
“It became the soundtrack for countless nights out, hook-ups and comedowns in every town and city of this country. It was the album of the decade.”
Lorde, ‘Melodrama’ (REPUBLIC, 2017)
“It was all so raw and real that it felt like it was happening to you, and almost made you long for a break-up so you could burrow down into it and come out as strong, clever, and cool as Lorde.”
Kanye West, ‘Yeezus’ (DEF JAM, 2013)
“Follow-up ‘The Life Of Pablo’ was his great, unfinished folly and ‘Ye’ and ‘Jesus Is King’ sprawling and inconsistent. But ‘Yeezus’ remains futuristic, flawless and impeccable.”
PJ Harvey, ‘Let England Shake’ (ISLAND, 2011)
“Eight albums and almost two decades into her career, we thought we knew who PJ Harvey was: a cult dramatist of interpersonal battles, a glib critical by-word for describing a certain kind of sound (raw, ragey, usually female). But ‘Let England Shake’ reinvented her utterly.”
Kendrick Lamar, ‘good kid, m.A.A.d City’ (TOP DAWG ENTERTAINMENT, 2012)
“Like so much of Lamar’s work to follow, it combined dense lyricism and incredibly intricate delivery (listen to the beautiful tumble of words that unspools on ‘good kid’) with a neat conceit that threaded the whole thing together in an unfussy way.”
The 1975, ‘I Like It When You Sleep, For You Are So Beautiful Yet So Unaware Of It’ (DIRTY HIT, 2016)
“Their crisp, clean iconography has been replicated throughout the pop sphere, rounding out their place as one of the most influential bands of the last 10 years.”
Frank Ocean, ‘Channel Orange’ (DEF JAM, 2012)
“All of the personas are consumed by guilt and vanity while grappling with the acknowledgement that acceptance is hard-won. With ‘Channel Orange’, Frank Ocean announced himself as a generational talent.”
Grimes, ‘Visions’ (4AD, 2012)
“Visions sounds exactly like what it is: an album crafted as a midpoint between R&B and IDM in an insomniac chemical rush by a woman who with equal love for Nine Inch Nails and K-pop.”
Arcade Fire, ‘The Suburbs’ (CITY SLANG, 2010)
“A full decade on, ‘The Suburbs’ endures because it manages to look forwards, backwards, inwards and outwards all at once. It is a record coated in the anxiety of 2010, capturing post-financial crash unease and that sinking feeling that not only is the damage irreversible, but that things are only going to get worse. It bottles the comforting yet ultimately empty glow of nostalgia, but also a sense of dread about the future that now feels more than a little prophetic.”
Lana Del Rey, ‘Born to Die’ (POLYDOR, 2012)
“This was pop music, but nothing like before. Velvety vocals were poised over ferociously eclectic sounds, with trip hop beats and pure, sweet melodies coexisting as if they’d never been apart. ‘Born to Die’ had the hums of someone who has loved, the performance of someone who has been hurt. Lana would purr for validation, and then growl for redemption. Her contradictions made her alluring.”
Source: NME

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