A Decade Of Noise: Our Favorite Albums From 2010-2019 – Part IV

All good things have to come to an end. After Part I, II and III, numeric logic tells us to close our A Decade Of Noise feature with Part IV. This whole process was a lot of work, but since it’s an interesting representation of our team, it was a really fulfilling endeavour. We had a pantheon of great albums, reaching from small, underrated pieces to big mainstream hits.

The last 25 records are now for you to enjoy; I have nothing else to say. Please share your picks and help us spread great art.

-Toni ‘Inter’ Meese

Aromanticism is about as on-the-nose of a title as can be. Moses Sumney’s debut album was 2017’s most enchanting and serene challenge of the conventions of love in music. The singer-songwriter asks a very overlooked question: ‘Am I vital if my heart is idle?’

This is posed in the single “Doomed” and captures much of the vibe of the album; that is, aromanticism itself and dealing with the complexity that surrounds it. We think of love as necessary to the human experience and having these otherworldly beauteous qualities that translate well to musical expression, but what about the people well off without love? Sumney’s disarming falsetto and lovely, layered production shows that the grass really is greener on the other side sometimes. We hear so many things from feathery harps and wind instruments, sparse and jazzy drums, even some guitar from Tosin Abasi and bass from Thundercat (“Lonely World”) dance around poetic lyrics contending with notions of romance, religion, and existence. Refreshingly honest, subversive, and important, Aromanticism is a folky soul/pop album unlike any other. It proves to be just as pervasive as any top-notch love-struck album, but the staying power lies in its ability to flip tropes and indulge difference.

-David Rodriguez

About seven years ago in Russia one of the greatest hardcore albums came into existence. Follow the White Rabbit may have only put out this only album but it is a bona fide masterpiece. It is an extremely refined mix of chaotic hardcore and ambient music coming together as the band puts it, ‘a human fantasy turned into flesh’. This is a work of balance between great prowess and even greater songwriting. Across the fifty-something minutes of Endorphinia we see sonic storytelling meeting face melting abrasion in a maddening dance that is sure to light up fires that have been long extinguished.

The haunting vividness of the soundscapes is only barely matched by the versatility of the band, which itself is only barely matched by the emotional depth of this harrowing yet oddly enlightening journey. While the record is still a gem waiting to be found in a mountain of coal, it always finds its way to those who need it most. Endorphinia, in its riveting display of virtue, has become without a doubt one of the finest albums of this decade and possibly of all time. 2012 may have been prophesied as the end of the world. The world ended as we knew it, and it is now how we know it – with Endorphinia in it.

-Robert Miklos

On numerous winter walks through my humble rural surroundings, Heiress by UK singer-songwriters Novo Amor and Ed Tullett has proven itself to have the same crystalline fragility as the snowflakes that gently, but persistently kept falling around me. That quality is ultimately what makes this album such a wondrously emotive experience: there lies not an ounce of pretense in these eleven lush compositions, just raw emotional availability, waiting for the listener to connect to it.

Both men on their own have proven to be quite capable of writing beautiful, gripping music, but it’s their synergy as collaborators that is especially enviable – everything they touch together willingly transforms into pure songwriting gold. The instrumentation on Heiress is absolutely gorgeous, not to mention how well their voices go together! I’m loath to quote my own review here, but I can’t find any better words than ‘it’s as if they were meant to sing in unison from the beginning of time’ to describe how utterly amazing they sound together. It’s a kind of magic Novo Amor and Ed Tullett tap into when they are in the same room, making music. Songs like “Silvery”, “Cavalry”, “Terraform”, and “Freehand” have an immense staying power, haunting the mind for days, maybe weeks after each listen. Seldom does an album as soft as this one have an impact this profound and powerful, which is why Heiress is a true masterpiece of contemporary folk music.

-Dominik Böhmer

Endlessly replayable and catchy, Thundercat really hit us with his opus with Drunk. The multi-instrumentalist and singer provides warm bass tones, light soul vocals, and other accouterments throughout with the help of friends Flying Lotus, Kendrick Lamar, Louis Cole, and more, but it all comes back to the man – or cat – himself.

“Lava Lamp” captures the mood and feel of the bygone room decoration, producing a flowing and heartfelt tingler of a song. “Them Changes” shows the funky side of the artist, forming what is probably his most approachable work ever. It’s aural caramel, culminating in a collaboration with the legendary Kenny Loggins and Michael McDonald that I still can’t believe is real (complete with Sonic the Hedgehog sound effects). Don’t even get me started on the wonderful videos made for the latter two tracks. *chef’s kiss*

Drunk also sees Thundercat poke at our dependence on technology, lament on an unhinged visit to Tokyo, and take time to shout out his awesome cat Tron, offering a personality snapshop of the accomplished artist. It’s ridiculous, comically irreverent, and earnest ensuring that while you see Thundercat as a serious musician, you also remember to laugh and enjoy yourself, just as he does.

-David Rodriguez

Forward Escape is so much more than a music album, it is a verifiable sonic experience. David Tipper has been producing these experiences for the best part of nearly 30 years now, yet none quite match up to the wonderful experience you find in Forward Escape. It is a departure from the high-energy breakcore & glitch-hop sounds of his previous records, and explores experimental sounds that are hard to classify, and even harder to unhear.

Forward Escape allows you to soak in a vast array of electronic noises, which somehow feel as organic as they do inorganic. Pops and wibbles sound like raindrops falling on roofs and flowing through gutters, wobbles almost imitate breathing. Right from the off in “Portal Spillage” you’re introduced to the vast layers and sounds that immerse you in the trippy world of Tipper.

His unique approach to sound stands this album alone amongst the competition. Nothing else is as densely packed with noise, yet as calming as Forward Escape, and for that reason, it makes our list. Make sure to dive into this wonderful record, as well as checking out his latest EP’s and new album Jettison Mind Hatch.

-Pete Overell

Well well well. Finally I’m able to write about one of my favorite hip hop records of all the time. Between all the big names, highly influential records and hypes, Jonwayne‘s hidden gem Rap Album Two is about intimacy, friendship, loneliness and just being a young person in the modern, industrialized world.

While telling these relatively mundane stories, Jonwayne gives you the feeling of sitting on an old kitchen table with him, after a harsh night out, just talking about life and all things human. It is humble, yet creative and fun in its presentation, never lifting focus from the essential storytelling. He manages to mesmerize the listener into desperately wanting to hear the end of the story, which is a rare treat amongst rappers. There may be bigger names out there, but not many hip hop artists have reached out to me with their words the way Jonwayne did. Please keep telling me stories, friend.

-Toni ‘Inter’ Meese

After somewhat questionable releases since White Pony, Diamond Eyes reignited the fire that Deftones showed in their earliest records. Bringing back the heavy with a panache that few artists can manage, the record dealt out fistfuls of exceptionally groovy alternative metal. The riffs from the 8-string guitars easily eclipse the majority of tones coming from similar instruments in the decade following the record’s release, and hold up impeccably even ten years down the line.

The powerful and of course emotive vocals from Chino Moreno make the record that bit more special, his high rasps getting you to bang your head, and his angelic cleans getting you to sing along. A key part of the record’s success was its brilliant production, which let the vocals take centre-stage, yet did not stifle the insane guitars or drums at all.

Key examples of this can be seen in the crushingly heavy “You’ve Seen the Butcher” and “Rocket Skates”. In the utterly gorgeous “Sex Tape”, you can feel how the production amplifies the hopeful emotions woven into the fabric of the song, making it that little bit more special on each listen. Lets hope that the next Deftones album can bring back the Diamond Eyes glory to Deftones.

-Pete Overell

What can I say about this album that has not been said a thousand times. This is the pinnacle of progressive capability. Each Tesseract album has its shining moments, but Altered State is constantly in a state of brilliance. From the groovy instrumentals to Ashe O’Hara’s soaring vocals, there is nearly no flaw to be found in the album besides the fact that it ends.

Even from the first act of the album, it is clear just how amazing this record is. The slow build-up that leads into the emotive lyrics and punchy riffs through most tracks is awe-inspiring. The lyrical themes are absolutely top-notch and could easily be some of the best on this massive list. The use of extra instruments and atmospheric tones, such as the saxophone on “Calabi-Yau” are an amazing touch that add character and variety to the record. The energy found on tracks such as “Nocturne” and “Singularity” demand your head to bob along with it.

Even with more albums coming from Tesseract since this release, and the return of their original singer Dan Thompkins, they have yet to top this absolute masterpiece. This is an album that will stand tall for years to come.

-Spencer Adams

Pelagial thrust The Ocean into a new realm of musical brilliance, establishing them as a post-metal titan, and opening their catalogue up to new crowds of music fans. Not only did it win over their existing fans, who had come to expect deep concepts blended with contrasting post-metal, but it opened them up to the progressive community so much more than Helio/Anthropocentric did.

The album charts a descent through the oceans many scientific depths, starting at the top, and ending at the very bottom of the seafloor, with the music descending in tone along with it. Lead singer Loic’s voice descended along with it, with the final few tracks oppressive beasts that serve as exceptional album (and live show) closers.

The songs are meticulously crafted, some following traditional structures, others blending progressive & post structures to keep you engaged throughout the albums playtime. “Mesopelagic” is an electrically charged opener, with the chorus ascending into a furious pitch, whilst “Hadopelagic II” contains one of the most wonderful song progressions, drawing out the climax and delivering it with furore at the end. It is hard to imagine this band ever going wrong with any future releases.

-Pete Overell

A band that always manages to produce quality outings managed to outdo themselves with the release of Mass VI. With the Belgian band’s penchant for experimentation and atmosphere, this extreme sludge hit a new high point for the band and the genre. “Children Of The Eye” leads things off by showcasing just how apt Amenra are navigating progressive shifts within a single song and this continues throughout the remaining nine tracks that follow. Their flexibility is their strength and on Mass VI, they play to their strength.

“A Solitary Reign” again showcases the fluid nature of their songs while gliding from melodic to downright terrifying with in a space of a few bars. The melding of the intellectual and technical prowess to make these shifts work is astounding, as is their genuine emotional impact. If one can listen through this album without being impressed or moved, it would be surprising. It should be noted that a celebration of Mass VI is essentially a celebration of the band as a whole. The output on this album is not surprising, but it’s hard to argue that this isn’t their best work to date. Long live Amenra.

-Jake Walters

Do you know the feeling if an album from an unusual, unexpected place hits you like a steamrolller? You can’t understand why something so under-the-radar can be so august, so phenomenal, so hard-hitting in its greatness. When The Swan Thief released II back in 2017, I couldn’t believe it. Literally. I was crawling through several records back then, but the wall of sound combined with the tenderness of the vocal performance glued my mind onto those soundscapes. No way to escape the comfort.

Put on the first track “Aureate” and you will resonate with my words. I’m listening to the track in this very moment, while typing in this text, cursing myself that I can’t do justice to this beauty. If there is a “most-overlooked” album in this decade, I would probably give it away for this. Now excuse me while I bathe in the worlds this one-of-a-kind band created for me. Exclusively for me, at least that’s the vibe they deliver.

-Toni ‘Inter’ Meese

This trilogy of EPs created by Australian guitarist Plini can surely be considered as the pinnacle of the whole “modern instrumental prog-fusion” wave that emerged a few years ago. Over the course of these three mini-albums, Plini managed to create his own, distinctive style of guitar-playing that not only inspired a whole movement of other guitarists, but also took him out of his bedroom and on the stages of this world. It’s been five years already since the last part dropped, but each listen still feels as unique, forward-thinking and fresh as the first one did.

It’s the little things like the reoccurring motifs throughout the trilogy, Plini’s unique way of phrasing or the fact that he ended “Paper Moon” with the heartbeat from the intro of “Heart” that make these EPs stand out and worthy of a place in this list.

-Valentin Bock

One of my top five favourite albums of all time. Sun Kil Moon’s Benji, captures a time in Mark Kozelek’s life that I find to be most compelling, as well as reflective of my own neurosis. Slightly more challenging than his album’s previous, and far less challenging than anything that has come since from Kozelek, Benji feels to me like Sun Kil Moon’s most succinct, and impactful work.

Heart-wrenching, bittersweet Spanish guitar ballads detailing the tragic deaths of family members, the ‘nervous tension’ of waiting for elderly loved ones to die, and the occasional celebration of being middle-aged, Benji leaves few stones unturned in Kozelek’s life history, and present condition. Though an avid listener, and having consumed all of his records, I maintain that Benji is still the pivotal moment in Kozelek’s career, and a defining moment for singer/songwriter music everywhere. I challenge anyone to listen to this album, and not be completely transported into a different world altogether, witness to the painting of the most vivid of pictures. This album was also my introduction into the music of Ben Gibbard, of which I’m eternally grateful.

-Sam Lawson

Shoegaze has seen a major resurgence in relevance, interest and creativity in the 2010s. Inspired by the old greats like Slowdive, Ride, etc., and bringing in ideas from outside genres, a new wave of bands has brought new vitality to this beloved but long-dormant staple of early 90s indie rock. Among these, few have had an impact comparable to that of Nothing; especially their sophomore release Tired of Tomorrow which has garnered them a lot of respect among fans and critics alike.

Melodies drenched in tender melancholy thrown against massive walls of dreamy noise is the name of the game on Tired of Tomorrow. What sets Nothing apart from other bands trying their hands at this base formula is the heavenly vocal performance by guitarists Dominic Palermo and Brandon Setta; their voices gel almost unfairly well, producing vocal melodies and harmonies of astounding quality. The band’s instrumental and compositional prowess isn’t anything to sneeze at either, though – songs like “Fever Queen”, “Vertigo Flowers”, “A.C.D. (Abcessive Compulsive Disorder)”, and “Eaten by Worms” are a testament to that, juggling with elements of grunge, shoegaze, noise rock, and dream pop to great effect. Blissfully drowning in your own sorrows has seldom sounded better than it does on Tired of Tomorrow, trust me.

-Dominik Böhmer

Not many albums start with an acapella part, but when they do it’s something really special. Maps Of Non-Existent Places, the debut album by Canadian experimental rockers Thank You Scientist is one of these special albums. A colorful record that really delivers many great musical moments throughout its playtime. The special thing about it, apart from the mature songwriting, is its instrumentation. Including violin, cello, trumpet, trombone, sitar, and saxophone among guitars, bass and drums, Thank You Scientist really created a very unique sound.

Thank You Scientist combine their great progressive rock moments with groovy jazz parts, funk, Bossanova, metal and also electronic elements. The guitars deliver some heaviness, while the trumpet and violin often take the lead melodies that are occasionally in oriental sounding scales. “My Famed Disappearing Act” is one of the heaviest songs on this record and is more guitar-driven than others. In any case, the instrumentation is well designed and creates a pushing drive.

One of these songs that really stand for the music of this album is “Blood On The Radio”. It’s incredibly dancy, while it also sounds like absolutely losing your mind to the enormous amount of things going on in this track. It meanders from gypsy tunes to funk, 80’s progressive rock to contemporary prog metal, while always bringing in a huge symphonic side to their music. On top of all the crazy instrumentals there’s still the angelic and powerful voice of singer Salvatore Morrano that really smooths the sound of Maps Of Non-Existent Places.

-Rodney Fuchs

This decade saw San Franciscans Deafhaven supply the world with an idiosyncratic, almost doomed-to-fail blend of rock subgenres, in what ultimately, and almost phenomenally, went on to become a resounding success. Echoing sentiments of post-rock, black metal, shoegaze, ambient, harsh noise, neo-classical (sort of) and drone, Sunbather‘s core themes, motifs and identity is somehow kept completely intact. Moreover, it becomes a genre all of its own, and a ‘critics album’. One, mind you, that has yet been appropriated or copied accurately, since.

Bringing such an extreme style of heavy metal into the mainstream, thanks to it’s all-encompassing nature, the album falters at no moment in its ability to demand attention. Music fans all over the world sat confused, shaking their heads, convinced inexorably, that before that moment, they weren’t fans of heavy music. In it’s damaged beauty, Sunbather contributed to the damning wave of “study and relaxation” music that swept the world, with the popularisation and subsequent youth culture surrounding antidepressant and benzodiazepine drugs such as xanax and codeine cough syrup. Though nothing to be proud of, it is irremovable as now being part of the album’s identity. Even people in dissociative states are still filled with rage. Perhaps more so than others.  Those people too, need a soundtrack.

–Sam Lawson

I don’t think there has ever been an album that has completely taken me by surprise as much as Crooks UK’s debut LP Are We All the Same Distance Apart. I stumbled upon it randomly while watching music videos on YouTube. The lead single “A Few Peaceful Days” was a shot of adrenaline mixed with emotional lyrics and themes. After hearing the single, I dove headfirst into the record and lost myself in it.

Even from the first few seconds, the album is packed with energy. There are moments of very high highs, such as in “Dear Reader” and the title track; but there are also very low points such as with “May Be” and “Windy Little Town”. These emotional rollercoasters help the album from becoming stale and repetitive. The lyrics are deep and poignant, while some really pull at the heartstrings. There is a lot more to this record beyond the surface, and you are rewarded for really experiencing it.

It is unfortunate to know that there may not be anymore music coming from the band, at least in the foreseeable future. Even with that, though, what they have left behind is amazing in every way. It has been in my top album list for years now, and I don’t see that changing any time soon.

–Spencer Adams

Sometimes, you just need a little lofi in your life. The Brave Little Abacus might be nothing special on paper, but damn, give this album a listen. It’s more than you would ever imagine.

The greatness about this record is clearly the freedom it takes while merging genres like indie, midwest emo, math rock, and garage rock, using unusual way of presenting the music sound-wise and the expressiveness of the vocal performance. As the last release of their short runtime, Just Got Back From the Discomfort—We’re Alright is a zeitgeist-y reflection of the band’s influences, channeling a very ’90s-esque mood. During the pantheon of sometimes goofy, sometimes incredibly mature and delicate songs, they showcase a fascinating contrast between extravagance and introspection, coloring their weirdness with sophisticated songwriting. This may not the easiest record to get into, but it’s beyond worth it.

–Toni ‘Inter’ Meese

The Pineapple Thief has been doing their thing for a long time. Their twelfth album Dissolution is an absolute gem. Dissolution is TPT’s second offering with the legendary Gavin Harrison on drums. Coming from a drummer with a Gavin Harrison obsession, his addition makes a huge impact in the band. Dissolution is a very gloomy concept album taking aim on how humans have become addicted to technology. Musically is matches the dark lyrical theme.

There is a lot of dissonance as well as beautiful moments where it drops down to just piano and acoustic guitar. The comparison to Porcupine Tree will always be around, especially with the addition of Gavin Harrison. Along with Harrison’s distinct musical attack on the skins, vocalist and guitarist Bruce Soord does sound a lot like Steven Wilson as well. Since we won’t ever have any new Porcupine Tree, I am all in when it comes to TPT. The highlights are on the record are “Threatening War” and “White Mist”, the latter being an eleven minute opus that brings Dissolution to it’s peak. Though it was just recently released near the end of the decade, this record will be great for many years to come.

–John Westbay

The defining musical moment of 2018, a bizarre year in my life regardless of this, but made far more bizarre and disorienting by my hearing this record. After 10 years of stasis, Nick Sadler and company have returned with a punishing, anguished soundtrack for the collective cognitive dissonance, disparity and desperation of our society as it so tenuously stands atop bent legs.

In an interview with Sadler earlier this year, he told me, “If you want something to sound terrifying, it has to have a dose of reality to it”. It seems that this was the mission statement when vocalist Alexis Marshall penned his now iconic lyrics. Violent regurgitations of disappointment, echo like hollow-point rounds in a shopping mall, with divisive power, both intrusive and unexpected, but above all: terrifying. Even down to the album’s title, paired with its bold cover imagery, You Won’t Get What You Want is sending a clear message. A razor-sharp, succinct reminder that comfort is not a human right. YWGWYW bided it’s time, patiently waiting in the wings in quiet contemplation. In the last agonal breaths of this decade, riddled as it was with alienation and social division, Daughters leave us with a bleak reminder that there is a grey cloud behind every silver lining.

–Sam Lawson

Hailing from France, Hypno5e are already a household name in the metal underground. This is due in no small part to how their second album turned out. Acid Mist Tomorrow is more than anyone would’ve expected from the band at the moment. It is a thrashy, dissonant riff-oriented blend of post-metal that alternates with ethereal acoustic passages gliding from mad screams to soothing vocal harmonies. This combination was a winning one since not many have gone near something like this but also because of the highly cinematic approach.

Laced with old movie samples, highly philosophical lyrics, and live shows with an intense cinematic setting, we now obtain the end recipe for success. Acid Mist Tomorrow isn’t just the culmination of these influences and elements into one neat package, but it is also the distilled artistic essence of the band members. It emerges on the other side as not only a memorable trip but as a living breathing testament to artistic virtue. Acid Mist Tomorrow reverberates with intensity even today and in all likelihood, tomorrow, and for a long time to come.

–Robert Miklos

What. An. Album. The debut full-length of the ever-impressive London prog outfit The Physics House Band left an impression on many of us that lasted well into 2019. Mercury Fountain is a watershed moment for modern progressive music, exemplary in performance, structure, and writing.

The band, then a trio, seemed very interested in forming a true audio experience. Weaving psychedelic nuance into their already highly diverse expression of progressive rock and light fusion gave this album a signature sound that I honestly hadn’t heard before. The anxious synth lines of “Calypso” complement the meaty guitar riffs later in “Surrogate Head”, which all play into the cradling hands of “A Thousand Small Spaces” with its zen-like soundscapes. The whole album pulses and undulates all around you, encapsulating you in a way that rivals early works of The Mars Volta, a comparison that’s borderline blasphemous for a prog fan like me.

The Physics House Band have the prog world in the palm of their hands. While I don’t doubt for a second that their craft takes grueling effort and time to master to such a degree, it’s hard not to witness them – jaw descended onto the ground in bewilderment – and think they make it look easy.

–David Rodriguez

The progressive scene in Australia has gained a lot of momentum over the last ten years, and Caligula’s Horse are no small part of this growth. Their third outing builds on many of the experimentation laid by their previous two full-length outings and the result is one of the finest examples in the realm of clean prog metal currently on the market.

Often with concepts albums under the prog umbrella there is a sense of melodrama that is associated with the lofty compositions and thematic framing. In Contact subverts this with very humanized perspectives and a stripped emotive lense. You’ll find all manner of technically impressive moments on the record, but none feel implemented for the sake of displaying musical prowess. There is no hesitation to pull back into more traditional or pop oriented segments. A special mention to the stellar guitar work from Sam Vallen, having some truly standout moments throughout the album.

What truly justifies this inclusion on the list though, is the tenth and final track on the record. “Graves” is truly something special, a monumental achievement in emotional storytelling through music, and one that has the ability to resonate on many levels. The fact that there are nine other standout tracks here only solidifies its position.

–Tyler Caldas

Death Grips’s The Money Store was released as the experimental hip hop group’s first studio album. And yes, it is entirely appropriate that it came out the same year the world was supposed to end, because this album ended the world I knew, and created a whole new one in its wake.

The Sacramento-based trio gets an odd rep of being overtly too aggressive and brazenly hostile ‘for no reason’, but honestly, that’s just based upon generalizations of loud, fast music, and albeit highly untrue. Also, I doubt the band gives a single owl’s hoot over how people perceive them. The Money Store not only made it okay to speak out against corruption via an overall message of trying destroy how capitalism and money rule the world, but also brought in an undoubtedly necessary element of what can happen to one’s mental state when we let societal constructs take over. It is, as both a literal and figurative work, the alpha and omega of what it means to live in the twenty-first century, modern stage of a first-world existence. The birth of Death Grips brought along with it a conversation that is still going on right now, and The Money Store only just chipped away at the surface of what can only be described as the beginning of a musical revolution.

-Natalie Dominguez

Though one of two records released by weird-kids-in-the-corner Radiohead since 2010, A Moon Shaped Pool is often cited as the comeback album that Kings of Limbs should have been. Harnessing the band’s digital experimentation, and more conventional rock songwriting in what is arguably the most disciplined way yet. Inspired by the tragic events surrounding the departure and subsequent death of singer Thom Yorke’s wife, Rachel Owen, the album carries with it a ghost-like quality. The songs sound haunted and lived in.

Many cuts from the album had been heard throughout the band’s live performances for many years before it’s release, namely closing track “True Love Waits”. Written at the time Yorke met his then-girlfriend Owen, intended originally to be a prophetic love song for her, albeit unconventional. Through the years, the band tried to include the track on each one of their studio albums, never finding the right space. In the wake of their divorce, the song finally made it onto an album. A beautiful, all-encompassing and quintessential album for alternative music.

-Sam Lawson

Thanks for being part of that journey. Thanks to the whole EIN team. Thanks for scrolling.