Last week, I posted part one of my Best Albums of the Half Decade list. Today: it’s the more important half!
Don’t forget: this only considers 2010-2014, so Sufjan and S-K will have to wait until December to get their listed praises (this aside excepted). Also: if you would rather read this as “Matt’s Favorite Albums,” you wouldn’t be wrong. I don’t have an averaged poll from a staff of people.
Related to that: what did I leave out? I’m sure I missed something (like that Girls record in 2011). What incredible music should I put on my Decade list in 2019? Is there a good reason to discredit a pick on my list?
Go yell in the comments, or find me on Twitter! I love to see other people excited about music, I want to find more great sounds!
Thanks for reading, and here’s the list!
10. The Unfazed by Dolorean (2011)
“Quiet confidence” is probably an overused trope in music reviews. It feels apt with Dolorean anyway. The songs on The Unfazed never yell, operating in a mid-volume area. Guitars are acoustic, clean, or slightly twangy, pianos are plentiful, and drum fills skitter along without distracting. It’s hard to pin genre exactly here; you could do worse than saying “classic-, folk-, country-rock” and then triangulating. The album takes the best notes of each to form a beautiful whole.
Everything is bound nicely by the earnest tone of bandleader Al James. His smooth voice cuts even the most cynical of ears, and brings you into his storytelling style. There’s enough specificity in his tales to make them come alive, to let them dig under your skin. It’s a shame the band ended after this album. Hopefully we’ll get to hear more from James in the future.
09. The King is Dead by The Decemberists (2011)
Do you like Colin Meloy? Do you like REM-style ringing guitars? If you answered yes to both questions, you already own The King is Dead and love it. It is that combination suggested that makes the album so enjoyable. The Decemberists continue to ply their charming, bookish trade and augment things with a dose of universal guitar delight. Heck, three of the songs even have Peter Buck around to bring his authentic tone.
Douglas Wolk of Rolling Stone called the sound here “rustic,” and I think that’s a perfect descriptor. King feels as close to pure folk as the band had been, pushing away from the prog indulgence of The Hazards of Love. The style is simplified, but not simple and fits the band well.
08. Let England Shake by PJ Harvey (2011)
Anger and nervous disappointment in equal doses form the core of Let England Shake. It’s an anti-war album throughout. It also avoids any sense of pretentious self-interest by being devoutly earnest and musically ambitious.
Haunting moments make England stay long after its 40 minute playtime. “The Glorious Land” opens with the bugle call “Assembly” and then examines the horrors of war atop the militaristic tone. “The Words That Maketh Murder” ends with a twisted reference to “Summertime Blues.” Harvey asks, “What if I take my problem to the United Nations?” It’s done pitifully, as if all options are exhausted and problems never solved. “Bitter Branches” ends with faux-anthemic repetition. “Wave goodbye” is shouted over and over. With closer listening, you realize the waving bitter branches belong to wives of soldiers, spouses of the men sent to die. It’s stark and effective messaging.