Favorite Edition Decade 2010-2019
The new decade doesn’t start till the end of of 2020, if you use the modified Julian calendar upon which scientists and the Naval Observatory rely. Pop culture writers are not scientists. Would you consider U2’s debut album a product of the ‘70s? Boy was released in 1980, and it would seem odd to lump it in the decade that gave us disco.
So even though science tells us the albums of 2020 should be counted in this review of the decade, we’ll save them for next decade. Besides, we didn’t give 2010 that accommodation last decade.
- Tokyo Jihen, Sports: This album was a true band effort with songwriting duties spread among members rather than falling entirely on Shiina Ringo’s shoulders. But you couldn’t tell. Tokyo Jihen finally felt like an independent unit here and not just a backing band.
- Jason Isbell, Southeastern: The stark cover with Isbell gazing directly at the camera only hints at the vulnerability contained within the album’s 12 tracks.
- Jarell Perry, Simple Things: I knew about neo-soul, but until I ran across Solange, Frank Ocean and Jarell Perry, I didn’t know the genre had formed its own underground. Sometimes, Perry is a beat or two away from falling into the orbit of Björk. Oddly enough, he reminds me a lot of Utada Hikaru.
- Sturgill Simpson, Sound and Fury: Simpson owned this decade. He started out sounding like a traditionalist, but by decade’s end, he created a body of work incomparable even to itself. All of his albums should be on this list, but I’m choosing his most confounding.
- Solange, A Seat at the Table: You may have Beyoncé.
- Parquet Courts, Wide Awake!: I wish I could sing along with this album, but these lyrics … hot damn!
- John Luther Adams, Become Ocean (Seattle Symphony, Ludovic Morlot): When your award-winning commission inspires Taylor Swift to donate to your organization …
- Kendrick Lamar, To Pimp a Butterfly: The Pulitzer Prize should have gone to this album.
- Lin-Manuel Miranda, Hamilton: The Phantom of the Opera was the last time I was riveted to a cast recording.
- Janelle Monáe, Dirty Computer: I’ve always felt Monáe had a Muzai Moratorium or Shouso Strip inside her. This album comes closest.
- Sleater-Kinney, No Cities to Love: It’s like the decade preceding this album’s release had melted away.
- Eponymous 4, Travis: Yeah, I’m putting my own damn album on this list. I can listen to it without cringing or second guessing it. It almost feels like someone better than myself had made it.
- Sam Smith, The Thrill of It All: Similar to Monáe, I feel Sam Smith has an I Am a Bird Now or a Homogenic in them, waiting to bust out. This album is a step in that direction.
- D’angelo and the Vanguard, Black Messiah: I got pregnant listening to this album, and I’m not even a woman.
- Frank Ocean, channel ORANGE: Become Ocean.
Tags: d'angelo, eponymous 4, favorite edition, frank ocean, janelle monae, jarell perry, jason isbell, john luther adams, kendrick lamar, lin-manuel miranda, parquet courts, sam smith, sleater-kinney, solange, sturgill simpson, tokyo jihen