One of the most notable songs on the Story Of The Year’s The Constantincludes the thrash-emo classic, “The Ghost Of You And I.” Containing electronic-rock instrumentation laced with subtle vocal harmonies, this track quickly became a staple of the emo genre at the start of the decade. He's regularly mentioned in the same breath as a lot of the much newer artists on this list (like PUP, whose members all contributed to POST-), and that's pretty impressive for a guy who has been putting music out for over 20 years. was born. Phoebe just has that ability to write songs where the words find clever ways to mirror universal feelings, and the melancholic melodies are the perfect vessel to deliver them with. Even when they'd be on first of three at a big venue, there'd always be a group of people near the front yelling every word. Now, one of their singers has a prolific solo-project-turned-band (Jake Ewald's Slaughter Beach, Dog, which also counts MoBo bassist Ian Farmer as a member) and the other is elusive (Brendan Lukens). This section will be updated periodically throughout the end of the year. Converge - The Dusk In Us (Epitaph, 2017), 75. Jeff Rosenstock - POST- (Polyvinyl, 2018). On the surface, it was a return to their most-loved sound, but it went much deeper than that. Hayley Williams became a more compelling vocalist than ever on this record, and it's got the band's strongest songwriting yet. You Blew It - Abendrot (Triple Crown, 2016), 82. Like WORRY., POST- is ridiculously catchy but never polished, and it takes on the exhausting times it was released into without being overly preachy or political. Now, almost two years later, they still do. The best classical music written for the flute, Tekashi 6ix9ine sentenced to two years in prison, Mark Ronson's manager: Real artists are breaking very big, very fast because there’s a thirst for superstars. They tightened up their sound on 2015's Painted Shut and successfully navigated more ambitious territory than ever on 2018's Bark Your Head Off, Dog, but the raw, humble charm of Get Disowned makes this album remain just as much a gem as it was the day it was quietly released. Atmospheric, slow-burning post-rock and high-speed punk both have a place on this album, sometimes in the same song. Hop Along - Get Disowned (Hot Green, 2012). Gerard Way - Hesitant Alien (Warner/Reprise, 2014), 93. 100 best punk and emo albums of 2010s. And I think it's already safe to say it inspired a lot of people throughout the last seven years to make raw, honest, DIY-minded records of their own. From self-doubt to self-medication, from young love to broken hearts, On the Impossible Past taps into life experiences than can happen just about anywhere, and it does so in such a way where your brain starts to blend your own fuzzy past with the vivid settings in The Menzingers' songs. Converge - All We Love We Leave Behind (Epitaph, 2012). Not unlike The Gaslight Anthem before them, The Menzingers' formula was simple: take the melodic punk of bands like The Bouncing Souls and Rancid, throw in a dash of Springsteen's blue collar heartland rock, and tell the stories you know. "Red" by Taylor Swift topped the list. It came out on Iron Chic guitarist Mike Bruno's small Dead Broke Rekerds, and it didn't really get any typical industry buzz at first, but word spread like crazy on the punk underground and they had people screaming along like crazy at their very first, tiny shows. Single Mothers - Single Mothers EP (Secret Voice, 2011), 80. Nearer My God is Foxing's most experimental album, but Dealer is probably their most "difficult" -- so to speak -- and it's definitely their most consistently gorgeous. It was always obvious this band was destined for a breakthrough, and that was because of how damn near perfect the songs on Get Disowned were. Share. Jeff Rosenstock - WORRY. Let's hope [Untitled] does that for mewithoutYou too. Their 2008 self-titled sophomore album is already a classic in certain circles, but it's a scrappy, flawed classic that's probably destined to remain as niche as it was the day it came out. And musically, Is Survived By was a clear maturation from Parting the Sea. The Front Bottoms - Talon of the Hawk (Bar/None, 2013). In the 2010s, that singer/songwriter was Phoebe Bridgers. Fridmann helped Thursday take their sound in a more atmospheric, more art rock direction, which began on A City by the Light Divided and was completed on 2011's No Devolución, the last album they released before their initial breakup (and still their last album at this point). It was the latest unexpected move in a career that has been full of them. 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. And The Hotelier are one of those bands; each album was a gigantic leap from the past. and "remember when our favorite music sounded like this?" It's exactly what this album does; it celebrates the pure thrill that you can only get from rock and roll. Like other casually groundbreaking bands before them, Joyce Manor were just channelling all the music they loved at once and the results ended up being something entirely fresh. Beach Slang - Who Could Ever Want Anything So Broken? We received almost 115,000 votes in total. They already learned how to write soaring hooks on their debut, but on Goodness, they wove those hooks in with intricate arrangements and inventive song structures. "There’s actually very few people who do what War on Women do, to be honest," said Kathleen Hanna, who sings guest vocals on "YDTMHTL" off War On Women's sophomore album Capture the Flag, and if that kind of praise from a true feminist punk legend isn't enough to sell you on this band, I don't know what will. This year, Phoebe Bridgers has been busy with Better Oblivion Community Center, a new collaborative project with Conor Oberst, and that's a great fit, as Phoebe is kind of the Conor Oberst of her generation. They started out in a scene of bands who proudly wore their influences on their sleeves, but grew and came out with a sound that they can truly call their own. Punk rock is a feeling, and it can't be determined by what bands you tour with or what record label you're on. When Phoebe sang "I have emotional motion sickness / Somebody roll the windows down," she came out with a line as iconic as anything any of the Away Message-era emo bands wrote in the previous decade. And though Parting the Sea sometimes threatens to become too ambitious for its own good, it never does. Hundreds of bands copied it, though none could truly capture its charm... until American Football themselves. It's the kind of album you write when you're going through a rough patch, and the kind of album that thousands of fans will connect to when they're going through their own rough patches. Destruction Unit - Deep Trip (Sacred Bones, 2013), 98. awakebutstillinbed – what people call low self?-?esteem is really just seeing yourself the way that other people see you (Tiny Engines, 2018), 97. Who will be the top artist of the past 10 years? It felt like a breath of fresh air in 2012, when stuff like art rock and psych-pop was still dominating indie rock, and -- along with Cloud Nothings' Attack on Memory -- it helped open the doors for modern indie rock to embrace music that actually rocked. Julien Baker - Sprained Ankle (6131, 2015). Ugly has some of their best hooks, some of their heaviest riffs, and some of their most fiery guitar solos. This is just one person's stab at putting together a list of the ones I felt still resonate the most. 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. Going by the darker vibes of the last Slaughter Beach, Dog album, I wouldn't be surprised if Modern Baseball come back to perfect the maturation they began on Holy Ghost, but I also suspect that You're Gonna Miss It All is gonna be the album that their their fans crave the most. 30. In the '90s, they were going through lineup changes and still figuring out their sound (and striking gold a few times in the process). Eliot singer Katie Crutchfield started Waxhatchee as a solo project just as P.S. Around the same time, the major label deal ended, lineup changes ensued (and Against Me! ), 35. Waxahatchee - Cerulean Salt (Don Giovanni, 2013). That's why it's so interesting that they made an even better album when they dialed all that back. Thursday have spent the past year on a 20th anniversary album where they performed their albums Full Collapse (2001) and War All the Time (2003) in full. EP (Dead Broke, 2014). Minus the Bear - OMNI (Dangerbird, 2010), 52. 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. La Dispute - Wildlife (No Sleep, 2011), 77. It was the last album recorded with the classic lineup of Ben Walsh, Brianna Collins, Adam McIlwee, Dennis Mishko, and Pat Brier -- the latter three of which left the band before its release -- but it opened the doors for Tigers Jaw to reach a bigger audience than ever before. This is just one person's stab at putting together a list of the ones I felt still resonate the most. There were probably at least 100 great punk/emo/etc albums each year during the 2010s. And, in Touche Amore's case, you end up making an album that cements your legacy in the process. The fast-paced Joyce Manor is just one fan fave after another; if Joyce Manor ever release a best-of, they could probably include every song on this LP without turning any heads. He recruited drummer JP Flexner (Ex Friends) and bassist Ed McNulty (Crybaby, NONA) to record them, and Who Would Ever Want Anything So Broken? BrooklynVegan's 100 Best Punk & Emo Albums of the 2010s. 28. That's what The Wonder Years did with No Closer To Heaven, the followup to The Greatest Generation, which pretty much closed the book on the whole "defend pop punk" thing two years prior. 3. LP3 is just as much a dream pop album as it is a post-rock/math rock/emo album. The first half ("~" through "Method Act") qualifies as a song cycle, with each under-two-minute song segueing directly into the next with hardly a moment for lead shouter Jeremy Bolm to take a breath. It's Screaming Females at their most vital, holding absolutely nothing back. Their reunion was never going to be about nostalgia, and they didn't even do one round of dates dedicated to the classics. Albums must have reviews from at least 15 criticsto qualify for inclusion; reissues, compilations, and EPs are excluded. There might not be a more accurately titled album on this list than Celebration Rock. Her debut album Sprained Ankle had just come out a few weeks earlier, and when Julien performed her then-little-known songs from that album, with nothing but her own guitar and voice, she silenced the crowd for her entire set, including hundreds of people who were likely hearing her for the very first time. It's Alright, and beyond, but the peak of their career long remained 2004's Catch For Us The Foxes and 2006's Brother, Sister, two albums that blended art rock and post-hardcore in a way that we really haven't ever heard before or since. It's not just The Wonder Years' best pop punk album, but the best pop punk album of the last decade, so it's not surprising that -- after perfecting the genre -- The Wonder Years started to go in other directions on later albums. The whole thing is just ten songs that clock in at under 20 minutes, with one whiplash-inducing song crashing right into the next, and even after seven and a half years, it never feels predictable or gets old. (SDRE drummer William Goldsmith claims the album exists in the vaults, though bassist Nate Mendel denies the claims.) Kamasi Washington performs a free concert in New York City’s Central Park in June 2016 (photo: Jeff Tamarkin) Their production was never better than it was on this album, and their songwriting was never stronger. Kyle had written some of the best hooks and the best lyricism of his life, and the rest of PBTT had perfected the style of heavy post-rock that they had begun honing on their first two albums (aided by not-so-secret weapon David Haik, one of the most gifted drummers in modern-day post-hardcore). When pop punk exploded into the mainstream in the late '90s and early 2000s, it was often derided by punk fans as a bastardized form of punk music, too far removed from the genre's roots to even deserve the word "punk" in its name. That doesn't mean they're of lesser quality though; Converge just sound a little more settled-in. As long as kids are getting drunk and breaking each other's hearts, there will be a need for songs like this one, and "Constant Headache" remains one of the best. TWIABP were already an established band in the emo scene before making this album, thanks to some well-received EPs and splits, and though it's technically their first full-length, it feels weird to refer to it as a "debut" of something. 20. The Decade in Review: Best Jazz Albums of the 2010s. It took Joyce Manor a little while to catch on outside of niche punk and emo circles, but quality wise, they came out of the gate swinging on their 2011 self-titled debut. 4. The songs hook you on first listen, and the lyrical depth keeps you hanging around to further explore the emotional weight that they carry. 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. The album still has the math rock signifiers that made American Football so unique and so influential, but LP3 succeeds because it isn't trying to recreate any previous American Football album. It's so much more significant than just a stepping stone on the path to Nearer My God, though. It's home to "Picture of a Tree That Doesn't Look Okay," one of the band's earliest (and still best) examples of their ability to fit like seven subgenres of rock music into one song and still come out with something people want to sing along to. In the 2000s, they cemented the lineup of Jacob Bannon, Kurt Ballou, Nate Newton, and Ben Koller, and released classic after classic, from 2001's generation-defining Jane Doe up through 2009's wildly ambitious Axe to Fall. It was a risky move to change things up so drastically, but it worked, and by the time they got around to following that album with Here and Nowhere Else, they had fully settled into their new sound. Title Fight - Floral Green (SideOneDummy, 2012). 10. Every member of this band is a total pro. From the moment you hear Georgia Maq sing, you know it's something special. Touché Amoré - Is Survived By (Deathwish, 2013). Though this list unsurprisingly has more bands than solo artists, emo needs that quiet singer/songwriter, that heartbreaker who gets thousands of people singing every word as if they were their own. - Transgender Dysphoria Blues (Total Treble/Xtra Mile, 2014). And as much as you can draw comparisons to anything from M83 to TV on the Radio to The Blood Brothers to Frank Ocean, Nearer My God doesn't sound like any band other than Foxing. PUP - The Dream Is Over (SideOneDummy, 2016), 61. And I would sort of understand if someone argued that even Bury Me at Makeout Creek isn't really emo, but with its driving guitars and heart-clenching lines like "I want a love that falls as fast as a body from the balcony" and "If your hands need to break more than trinkets in your room / You can lean on my arm as you break my heart," it totally is. Brooklyn Vegan's choice of 100 best emo and punk albums of 2010s includes a whole lot of it found in between Converge and Mitski, meaning "punk" and "emo" is taken as an attitude/philosophy, rather than a genre. Most of Joyce Manor's music prior was rippin', no-frills melodic punk/emo, but for Cody they slowed down, teamed with Elliott Smith producer Rob Schnapf, brought in backing vocals from Nate Ruess and a pre-fame Phoebe Bridgers, and made their most downright gorgeous album to date. 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. Phoebe Bridgers – 'Stranger in the Alps', Divide And Dissolve to "destroy white supremacy" with ambient metal, 'BRASS' by Moor Mother and billy woods "feels like freedom", 'Real Bad Boldy - "direct, coded, and understated", "Masterful delivery and detailed lyricism" on Roc Marciano's 'Mt. It captures true human emotion in its purest form, and it's really not everyday that an album successfully bares it all the way this one does. Titus Andronicus - The Monitor (XL, 2010). Brooklyn Vegan's choice of 100 best emo and punk albums of 2010s includes a whole lot of it found in between Converge and Mitski, meaning "punk" and "emo" is taken as an attitude/philosophy, rather than a genre. 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. As revealed a year earlier on "Hiding" from PBTT's essential 2013 split 7" with Touche Amore, lead screamer Kyle Durfey had been, uh, hiding a great singing voice all along. They kept their hardcore roots intact while writing songs you could sing along to, shredding guitar solos you could play air guitar along to, and pummeling riffs you could bang your head to. Sounding like the emo offspring of Aaliyah Haughton, The Weeknd’s haunting soundscapes are alluring, pushing the boundaries of R&B in ways we hadn’t experienced before. 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