It's one of those albums where, no matter how many times I listen to it, I still can't fully wrap my head around the idea that it was created by humans who walk the same earth as you and I. Even in the six years since, there's hardly been anything like this gem of a record, which still remains criminally overlooked despite Jack Shirley becoming a household name in the punk scene. It ditched the lo-fi indie pop of their early work in favor of abrasive post-hardcore, and it tied together elements of various '90s rock bands -- from Nirvana to Sonic Youth to Weezer to Sunny Day Real Estate -- in a way that felt both like the nostalgia dose you didn't know you needed and the freshest new rock record around. It's the hidden gem of his discography, and the best thing he had released in years. That doesn't mean they're of lesser quality though; Converge just sound a little more settled-in. It didn't have the name recognition that a Sunny Day Real Estate album would've had, or the push that a label (like Sub Pop, who reissued Jeremy's 1996 solo debut Return of the Frog Queen in 2018) could've given it, but that didn't stop it from being on par with most of SDRE's finest work. Instead of building to explosive catharses like the two albums it's bookended by, Dealer saw Foxing exploring post-rock and atmospheric singer/songwriter material, and coming out with music that gradually draws you in rather than hitting you in the face. Punk got a lot more popular in its wake, but none of it really sounded like that album. Every line Jeremy screams on this album feels like it belongs to him as much it belongs to the thousands of kids who yell these songs back in his face at shows. I'm still not entirely sure which of those genres most accurately describes Joyce Manor, but it doesn't really matter and that's kind of the point. It's more dynamic, more atmospheric, and more musically diverse than its predecessor, and it's a much grander sounding album. In Touche Amore's case, you write a record about how hard it is to write when you're happy, and about worrying what your legacy will be in the future. Like forebears The Get Up Kids and The Promise Ring, later-career maturations were great but never captured the hearts of the emo community at large the way the punchy classic album did. For additional information for deaths of musicians and for … Joyce Manor - Never Hungover Again (Epitaph, 2015), 54. Parting the Sea is relentless in the way it offers up classic song after classic song; on one hand, it feels like just yesterday that this album dropped, on the other, I can't believe it's only been eight years. It's All a Dream! It's the best-produced and most gorgeous sounding album the band ever made, and it sets no limits for what it means to be an "American Football album." We received almost 115,000 votes in total. The melodies drilled their way into your subconscious with just one or two listens, and the lyrics struck a balance between funny, conversational, and serious, while usually also being widely relatable. It might never be the future of punk, but it still sounds better than whatever punk became in its wake. We're already starting to see new artists emerge that cite Julien as an influence, and it's not surprising at all. The songs hook you on first listen, and the lyrical depth keeps you hanging around to further explore the emotional weight that they carry. The top 10 (below) might be the least varied here... 10. Similar to Modern Baseball, The Front Bottoms employed enough acoustic guitars and nasally, wordy lyrics to get their fair share of Weakerthans and Mountain Goats comparisons. Best Coast - Crazy For You (Mexican Summer, 2010). 40. Cody was a clear departure from the classic Joyce Manor sound, which is usually a necessary move for bands like Joyce Manor -- straight-ahead punk gets stagnant quickly. The best albums of the 2010s, then, not only define the decade, they chart an artistic rebirth. There isn't really any other band around like this one in any genre, let alone emo. Write an even better record that entirely defies the genre without abandoning what people already love about your band. 22. And with Camp Cope, Georgia has applied that voice and her guitar to Kelly-Dawn Hellmrich's spidery basslines and Sarah Thompson's sturdy drumming to create one of the most singular, powerful punk bands of a generation. Wavves - Afraid of Heights (Ghost Ramp/Warner/Mom + Pop, 2013). Pianos Become the Teeth - Keep You (Epitaph, 2014). Like with the actual Replacements, it was hard for Beach Slang to last forever writing beer-soaked rock and roll songs. And they're one of those bands who create a sound and keep honing it from album to album, getting exponentially better each time. It's the age-old approach that's been winning music nerds over since Pet Sounds -- experimentalism with an underlying pop song, making for something that's too weird for the radio to ever touch but as catchy as anything they do play. Home is a less focused album than its even better followup Goodness, but even on this album, Christian Holden and the rest of the band successfully found a strong, unique voice. Nothing else gives you that heart-racing feeling of a singer scream-singing in the upper register to the point of nearly cracking their voice, while the band's rhythm section furiously pounds away. The more fine-tuned lyricism was the perfect fit for Cody's warm production, jangling guitars, and forays outside of punk like on the Phoebe Bridgers-aided acoustic song "Do You Really Want To Not Get Better?" 2020 would be their last year as an active band, The World Is A Beautiful Place And I Am No Longer Afraid To Die, RELIVE IT: The 2019 Coney Island Mermaid Parade in pics, This Week’s Livestreams (Phoebe Bridgers, The Hives, A$AP Mob, more), Podcast News: Chris Rock talks to Serch, Gethard does NJ, The Bronx frontma…, Built to Spill side project share David Bowie cover from ‘Unoriginal Artist…, 19 New Metal & Hardcore Songs Out This Week, Liz Phair features on new cover album from Pete Yorn (listen to “Here Comes…. For all the flak that mid-2000s emo gets, the one thing you can't deny is that when you do want that sound, nothing else works. Some bands get off to a rough start, but Beach Slang captured lightning in a bottle for their first four-song EP, and it's still the best thing they've ever done. On Attack on Memory, you can hear the hunger and intent of a band who knows they're about to shake up their whole career; Here and Nowhere Else was like a victory lap for how well it worked out. Before Mitski became one of the most iconic, definitive indie rock artists of the 2010s, she self-released a couple then-little-known albums and then had her first breakthrough with Bury Me At Makeout Creek, which came out on LVL UP's Double Double Whammy label and quickly led to Mitski becoming a regular in indie/punk circles. After Foxing released their crowdpleasing 2013 debut The Albatross but before they released 2018's genre-defying art rock magnum opus Nearer My God, they put out Dealer, the most meditative album in their discography thus far. Some of the decade's best punk records were very visible on a large scale, and many of the others took a little more digging, but they were there. "It's a lifeless life, with no fixed address to give / but you're not mine to die for anymore, so I must live," Brian King shouts as the drums drop out of penultimate song "The House That Heaven Built," and it's among the most life-affirming sendoffs put to tape this decade. The 200 Best Albums of the 2010s. These are the kinds of songs that can really mean a lot if they find you at a rough point in your life. Gouge Away - Burnt Sugar (Deathwish, 2018), 67. If history keeps repeating itself, they'll probably reunite one of these days, and maybe they'll even write another album. Turnstile - Time & Space (Roadrunner, 2018). to Four Tet, Kanye West to Joanna Newsom—and the many sides of Radiohead, too—here are the albums who defined the decade Pitchfork And when Title Fight diverged from their punk past for arty songs like "Numb, But I Still Feel It," "Lefty," and the album's Hum-like centerpiece "Head in the Ceiling Fan," it became overwhelmingly clear that this was a band who had already transcended the boundaries of punk and emo. 12. It was the latest unexpected move in a career that has been full of them. That's why it's so interesting that they made an even better album when they dialed all that back. Here and Nowhere Else had its differences too, though. 1/13/2015. It's the rare reunion album that you quickly forget is a "reunion album," because it so naturally and quickly became an essential part of this band's already-fruitful discography. ... Take a look at the 50 best albums from 2010-2019. It's exactly what this album does; it celebrates the pure thrill that you can only get from rock and roll. The instrumentation is as dramatic as the songs' content, but not overly so. They're just as much an indie rock or a post-rock band, and they're likely to dabble in anything from folk to metal to hardcore to chamber pop to spoken word to "covering" John Cage. For 2006's A City by the Light Divided, they ended their relationship with producer Sal Villanueva (who helmed their first three albums) and started one with Flaming Lips collaborator Dave Fridmann. Deafheaven may be black metal and Touche may be hardcore, but both combined melody and aggression in ways that were similar more often than they were different.) It often tackles Laura's coming-out and gender transition head on, while also working in an ode to a dead friend ("Dead Friend") and one of the greatest punk rock fuck-yous of the decade ("Black Me Out"). The solo albums were less ska and more indie rock, so naturally that helped gain Jeff a little more attention from music critics than he had ever gotten before, but I don't think any of that matters much to Jeff, his band, or his core fanbase. Some of these songs are so short that they don't even bother with verses and choruses; they just move from point A to point B and then it's on to the next one. Gerard Way - Hesitant Alien (Warner/Reprise, 2014), 93. Every song on the album feels like it could've been a hit, and even if the production makes this album much more indie rock than a lot of the decade's indie/punk crossover, I'd be willing to bet Billie Joe Armstrong and Mark Hoppus wish they wrote choruses this perfect this decade. Now, Julien regularly headlines bigger rooms than the one we saw her open for EL VY in (as a solo artist and as a member of boygenius with Phoebe Bridgers and Lucy Dacus), and it's all because of the doors Sprained Ankle opened. The Hotelier - Goodness (Tiny Engines, 2016). Weatherbox - Flies In All Directions (Triple Crown, 2014), 99. (Emo 101: Just because a band's debut album is whiny pop punk, doesn't mean they won't release some tremendous art rock record in like five years.) Last update: January 4, 2020 These albums have the highest Metascores out of all new albums released from 2010-19. It's impassioned, cathartic, and flawless in its execution. [Untitled] to Brother, Sister is sort of like Sonic Youth's Murray Street to Goo. La Dispute - Rooms of the House (Better Living, 2014). They're the kind of instant-classic songs that would silence a room if they were performed on nothing but an acoustic guitar (as Tigers Jaw have done), but which sounded even better when they were arranged and produced (by Will Yip) the way they were on Charmer. Tigers Jaw took a similar approach with 2017's very good Spin, but with Adam, Ben, Brianna, and Pat all singing on Charmer, it remains the definitive document of this band's career (so far, at least). From the moment you hear Georgia Maq sing, you know it's something special. A huge leap forward from the band's more lo-fi 2008 debut The Airing of Grievances, The Monitor saw Titus embracing hard-hitting punk, Springsteenian heartland rock, and ambitious song cycles, and coming out with a punk concept record that tied the civil war to modern-day life and also really fucking rocked. They of course weren't the first punk band to ever try out cleaner sounds and slower tempos, but what's so impressive about Cody is that Joyce Manor managed to branch out from their signature sound while still sounding entirely like themselves. And War On Women back up their very strong messages with very strong writing. And with On the Impossible Past, The Menzingers wrote a record so instantly classic that it rivaled all of those aforementioned forebears, and it still does. Hayley's depressing lyrics were masked with bright, sugary melodies and infectious rhythms, which is often a trick that helps secure longevity, as it did for this album. Hundreds of bands copied it, though none could truly capture its charm... until American Football themselves. Well, it turned out this wasn't either. ), 35. Geoff Rickly's singing voice was never better than it was on this album, and the band's arrangements -- which made more prominent use of Andrew Everding's keyboards than any previous album -- were at their most ambitious and at their most precise. They've gone through tons of lineup changes (James is the only remaining original member), and their last album was a mostly-solo album where James did stripped-down versions of past Beach Slang songs. Sorry was nasty as all hell, but when "Drown with the Monster" opens Deep Fantasy with its low, thundering power chord riff, you know you're in for a different beast entirely. Title Fight emerged as a melodic hardcore band indebted to Lifetime, Kid Dynamite, etc, and they ended up as leaders of the punk/shoegaze crossover movement that a lot of fellow punk bands latched onto in the mid-to-late 2010s. More important than any of that, though, is how influential this album has become and how well it's held up. Charmer could've ended up as Tigers Jaw's last album, but instead it proved to be a new beginning. 45. The 2010s "emo revival" coaxed just about every major '90s emo band out of hibernation, though one of the most influential of them all, Sunny Day Real Estate, only scratched the surface of a comeback. And when the cleaner vocals put Kyle's lyrics more in the forefront than ever, it also made it even more clear how strong a lyricist he had become. 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