The 30 Best Albums of the Decade: 11-20

You can view part one of our Best Albums of the Decade feature here.

20. Panic! at the Disco – Vices and Virtues

Vices & Virtues is arguably the greatest comeback story in the history of music. After the departure of half the band (including the main songwriter), Brendon Urie and Spencer Smith resurrected Panic! at The Disco to heights that no one could have ever imagined. Urie mastered the art of playing multiple instruments and writing lyrics, while Smith layered each song with hypnotizing percussion. Vices & Virtues reunited the band with the glamorized pop sound that initially made them famous while forging a sound unique to the two albums that came before it. Without Vices & Virtues, it’s hard to see how Panic! At The Disco would have ever found the footing to absolutely dominate the radio in a time when the medium seems almost defunct. – Kyle Schultz

19. CHVRCHES – The Bones of What You Believe

One can argue the true genesis of the decade’s indie synthpop revival, but there is no denying that The Bones of What You Believe served as the movement’s North Star. While the previous decade was overrun with egrieged boys spewing venom over distorted guitars, vocalist Lauren Mayberry flipped the script for the 2010s, with a buzzsaw of dark, emotive (and catchy) hooks over shimmering synthesizers. The 12 tracks of CHVRCHES’ debut worm their way into your brain from the first listen and set a startlingly high bar for a sound that defined the decade. – Kiel Hauck

18. Twenty One Pilots – Blurryface

After two years of silence following their Fueled By Ramen debut, Vessel, Tyler Joseph and Josh Dun released 2015’s Blurryface. The album is arguably their most popular, and put them on the front of every major music publication. Their catchy refrains and energetic live shows continue to fill up stadiums worldwide, and their outspokenness about mental health awareness has kept the band on the tip of everyone’s tongue throughout the back half of the 2010s. – Nadia Paiva

17. My Chemical Romance – Danger Days: The True Lives of the Fabulous Killjoys

The greatest sin committed by Danger Days is that it faced the monumental task of meeting unprecedented expectations. Taking a massive swing, My Chemical Romance wrote an epic rock fantasy that firmly planted its own distinct sound in the band’s catalog. It doesn’t always stick the landing, such as truly explaining the story concepts that make such a prominent role in the songs and their titles. However, what does work is ambitious, driving, and as catchy as anything the band has ever written. For a band celebrated for music about depression and vampires, Danger Days took us on the adventure the band had always wanted to explore in the first place. – KS

16. letlive. – The Blackest Beautiful

Punk music needed a voice like Jason Aalon Butler’s in the 2010s, and it may have gotten more than it bargained for. The Blackest Beautiful was one of the most ferocious albums of the decade and solidified letlive.’s place among the post-hardcore elite. Across the album’s 11 tracks, we see the promise of a raw, unbridled band coalesce before our very eyes, harnessing an urgency that had been missing in a genre that demands it. That The Blackest Beautiful pushes all if its chips toward its passionate social and political message only solidifies its place as one of the decade’s only punk classics. In hindsight, letlive. may have flown too close to the sun, but this moment of fire was worth it. – KH

15. Paramore – Paramore

The self-titled album was a big comeback for Paramore. Having gone through a rocky cycle with 2009’s Brand New Eyes, the band regrouped and rebranded themselves as a bonafide pop band in 2013.  “Ain’t It Fun” won Best Rock Song at the 57th Grammys, making it the band’s first Grammy award. The album has all of the great things we loved in Paramore’s previous work, but it also paved the way for their 80s-influenced After Laughter. – NP

14. Hellogoodbye – Would it Kill You?

Would It Kill You? subverted all expectations placed on it at release, seamlessly blending modern pop, pop rock and classic pop into a sound unlike anything else in music. Hellogoodbye singer Forrest Kline sounds completely energized, having turned the focus of the music from electronic rock to folk-pop. The songs pulse with energy and sweet emotion, letting the band take chances and push their own boundaries to great effect. The deftly crafted layers of pop music and the blending of genres make this album sound like a true work of art, breathing new life into a band some had already blown off as a one hit wonder. – KS

13. Frank Ocean – Blonde

Four years after the release of his jaw-dropping debut album, Channel Orange, Frank Ocean fans had begun to resign themselves to the idea that there may never be a follow-up. But Blonde came suddenly, and excitement quickly transitioned to awe. Blonde is complicated, mesmerizing and intense – the work of an introverted artist meandering through the halls of his past, dangling answers before quickly replacing them with more questions. Psychedelic and smooth, Ocean explores sexuality, social constructs, and inner truth in equal measure, crafting one of the most immersive and ambiguously beautiful records of the decade. – KH

12. Lana Del Rey – Born to Die

This is definitely more of a personal choice for me, because other than the single “Video Games”, this album was underrated when it was released in 2012. I feel like it has become a gateway for a lot of people (and artists who would later claim the term) to a more self aware, grittier side of music that they might not have been drawn to if it wasn’t for tracks like “Off to the Races” or “Summertime Sadness”. This album is also a prime example of perseverance, because even though it’s not Lana Del Rey’s most critically acclaimed album, it didn’t stop her from releasing incredible music later in the decade. – NP

11. Taylor Swift – Red

Taylor Swift was a phenom before the release of Red, but this album opened her up to an entirely new audience. Combining modern pop songs with country proved to be a bridge between genres that fans could easily grasp onto. While Red prepped Swift for her foray into pop music, it also pulled new fans into the genre of country music even if they would have never been interested before. The album captures the feeling of past loves, with all of the happiness and anger that comes with them, and attempts to find meaning between the two. Hiding between genres, Red harnesses the strengths of country, pop, and rock to unite anyone willing with the same emotions. – KS

Posted by Kiel Hauck

Review: Hellogoodbye – S’only Natural

Hellogoodbye has become an indie darling through a daring evolution of synth pop. Hellogoodbye mature each album cycle into something new. However, the risk is that sometimes these projects have mixed results. S’only Natural, the band’s newest album, is an infuriating record that I loved and hated in equal measure for the first two weeks after its release. However, after seeing Hellogoodbye live, I can finally appreciate the album in a way that otherwise may not have been possible.

Hellogoodbye played the Subterranean in Chicago two weeks after the release of S’only Natural. I have seen the group live twice before, and am familiar with the energy of their performances. However, this show lacked the stacked keyboards and intimacy of a ukulele. Instead, a glitzy golden sheet flowed across the stage with the words “Club Forrest” emblazoned on in in bright neon. Singer Forrest Kline strode across the stage in a lounge suit, dancing with a relaxed swagger. That’s the moment that S’only Natural finally clicked.



S’only Natural is a disco record. It is arguably the best instrumentation of Hellogoodbye’s career. The bass lines are extraordinarily melodic (“S’only Natural”). The guitars are restrained, but flesh out a full-bodied sound encouraging the listener to dance. The keyboards take their time and play a more integral, natural element to the music (“Let It Burn”). Additionally, the percussion is relaxed, but rich. While no song finds the frenetic pace of past records, the beats find a healthy balance between dance numbers and somber tones that perfectly match the bass (“Hang Loose”).

Trumpets, violin, and piano also take center stage at key points. Both “Overture” songs, which start and end the album, are primarily gorgeous violin ballads that sound straight out of the 1950’s.

One of the key things about S’only Natural is that it is a full, single piece. Many songs seem to bleed into the next, or end in such a way that it sets up the next perfectly. It keeps the album moving, but also can cause many songs to sound remarkably similar if you’re not paying attention. The music is amazing, but it lacks the variety of past records. It’s not until after the album is already done that you really see the crescendo of the first half and the soft ballads that swell to end the record (“Mysterious You”).

The most off-putting part of the album is singer Forrest Kline. For a singer who is so full of creativity, he takes zero chances with S’only Natural. Every song is sung in the same quiet pitch, with a backing track of himself almost whispering. Each song, I expected him to finally put a bit of effort into his voice, but instead maintains the same tone and quiet drawl. It’s maddening and beautiful at the same time. At times, it almost renders the lyrics useless.



After multiple listens over several weeks, I still had no opinion of this album. It was fun and boring, vibrant and bland at the same time. Which is why it seemed so odd to watch Forrest confidently strut in front of the mic stand. There was far more energy here than anything on the album. Opening the set with album closer “Honeymoon (Forever)”, Kline crooned over the soft taps of the snare and a keyboard, “I will come away with you / You look like you know what to do / Missing both your shoes, disheveled and amused / I’m in love with you”. Gliding over the gold blanket, the lounge jacket buttoned tight, the soft nature of his voice made absolute sense. Even during faster, poppier songs when the percussion and keyboards picked up volume to a staggering pitch, such as “Put It Out”, Kline simply crooned. “You were the autumn that bathed me in gold / And I’m a fool that thinks you were a flame I could hold”.

Almost the entire setlist of the live show was from S’only Natural, with only a few select favorites and fan requests from other albums peppered throughout. By night’s end, S’only Natural finally made sense to me. The instrumentation was the true star of this record. While the band’s music evolved over past records, Kline’s voice and lyrics always seemed to take center stage. This album is a jam. It wants you to dance. It wants anyone listening to be able to sing along with minimal effort. The confidence to play mostly new songs live plays straight into the album’s strength. And while past albums became poppier, S’only Natural looks back at the classic sounds and styles that influenced today’s music. The result is a romantic blend of current dance beats and crooner swing.

S’only Natural is an anomaly of an album. It’s soft, restrained and bursting with energy all at once. Though the lyrics are catchy, they’re a device to bring more attention to the music itself. This era of the band is just as progressive as it is classical. The mountainous bass lines eventually give way to gentle ballads that culminate in a rich album that forces listeners to discover the band’s music in a completely new way. S’only Natural isn’t an album for everyone, but it rewards anyone willing to put in the effort.


by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and realized Forrest Kline was standing behind him watching the opening band. When Kyle introduced himself to Forrest, he said, “We’ve actually met before in Columbus. You grabbed my nipples [because I complimented Joseph Morro instead of you].” Forrest looked shocked, took a drink and then danced away into the crowd. He is literally the best people.


Hellogoodbye and Vacationer: An intimate evening with indie’s best pop


Seeing Hellogoodbye perform was a labor of love. On stage, they rock out with every instrument they can get their hands on and aren’t afraid to remix their classic songs if need be. For every ounce of positivity they threw out into the crowd, it was thrown right back for a night filled with dancing and fun banter.

Hellogoodbye and openers Vacationer and Heavenly Beat aren’t trying to be rock stars, they just want to make a memorable experience for anyone willing to call themselves a fan.

The show in Chicago was the first night of a tour crossing the country and into Canada. Whatever energy lay in store for the rest of the tour, each band brought their all to the opening night. Everything was enhanced by an intricate set of monitor set pieces behind the band (framing drummer Michael Garzon) that light up and play specifically timed video to match the beat of the songs. For an indie band of their size, it’s an impressively sized back drop.

Hellogoodbye is surprisingly intricate on stage. While the stage hands set up the instruments and equipment, you just begin counting the amount of instruments on stage: guitars, bass, ukulele, mandolin, egg shakers, tambourine, maracas, three keyboards and singer Forrest Kline’s fancy new mustache.

Watching each be taken to task was fascinating, from the fact that this is the only band that can rock out on a ukulele like a champ, to the subtle twists and turns of the synth to make the keys sound just right.



The set opened with “When We First Met”, the single that relaunched their career after fading from the public eye while leaving Drive-Thru Records. The crowd immediately began singing along and wouldn’t stop for the remainder of the show.

Those nearest the stage tended to just bob heads and jam, while those with a bit more room further out on the floor began dancing in pockets that never stopped. Midway through staple “Oh, It Is Love”, Kline noticed a couple slow dancing near the back and began messing with the beat and pace just to see if the guy dancing could keep it going.

One of the highlights of the set was during the recent single “(Everything Is) Debatable” was when all three keyboards were used at the same time for a majority of the song, backed only by guitar and drum.

The band gave proper celebration to the night as well, popping a bottle of champagne for the launch of the tour as well as Michael Garzon’s birthday at the onset of their encore. The band talked to the crowd between songs, something that many bands forego, but made the band all that much more accessible and was a real connection to the crowd.

At one point, someone from the balcony shouted “What city are you from?” Forrest gave a long winded explanation as to every city he’d ever lived in before he and the other members suggested more questions she could ask him, such as “What’s your social security number? What was the name of your first grade teacher?” (Answer: ‘Miss Moddy who had big boobies’)

If there is a critique of the band, it’s the knowledgeable straying away from their older material that made them famous to begin with. Only three songs prior to the release of Would It Kill You? Made it to the set list, including two in the encore.



Co-headliner Vacationers took the stage with a flurry of California synth pop. The newest venture of Kenny Vasoli, Vacationers isn’t the most unique sound he’s created, but Goddamn they’re fun. The band jammed throughout their set, blasting the crowd with the snap of crisp pop and Vasoli’s signature wailing and lyrics.

Vasoli’s expertise in the craft was apparent, as the band was clearly a step above most in their specific genre of pop, but stayed low, never overplaying themselves to seem more than just a band that loves playing catchy songs.

Vacationers didn’t have nearly as many instruments to toy with, but with a xylophone on stage and keyboards to back the gentle guitars, they jumped from loud pop to soft jams that made the audience sway. Between songs, Vasoli kept the audience up to date with the small issues their equipment seemed to be having. It was funny to see someone who has been a major name in the scene for at least a decade casually looking out at a crowd and announcing, “First night”, with a shrug before tampering with his keyboard.

If the rest of their tour carries half the energy that the opening night held, this is a memorable pairing of indie pop. It was one of the most intimate shows I’ve ever seen, in that each band took time between songs to really talk with their fans, even if it was brief. It felt so much more real than the typical little speeches or vague asides bands tend to say between songs.

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vacationer 1



by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and yells at the rain on occasion. He also wants to play you in FIFA.

Review: Hellogoodbye – Everything Is Debatable


Hellogoodbye have returned with their third album, Everything is Debatable. The record is a continuation of their last CD, Would It Kill You? with the bouncing pop of acoustic guitars, but with a revival of the synth that was a signature sound for the band through their first few releases.

Though the synth makes a noticeable return, it’s toned down to mesh with the acoustic guitar rather than overpower the songs like it did on Zombies! Aliens! Vampires! Dinosaurs!. What results is a sophisticated sound resonating throughout each track with the soft pop that the band has been writing for the last few years and the techno beats of a Sonic the Hedgehog game.

Everything is Debatable is the slowest and jazziest album Hellogoodbye have put out. The frantic pop of past songs like “Finding Something to Do” is toned down to create a much more stabilized atmosphere. Each song is more of a jam created to make people dance more than anything. There’s also a wonderful piece spanning three tracks where each song bleeds into the next starting at midway through the album.

Forrest Kline’s lyrics hold true to the album’s title, as he frequently contradicts his opinion throughout the writing. In the opening track “And Everything Becomes a Blur”, he sings, “Of all the friends you made along the way / Every single one will pass away”, then in the next verse sings, “All the friends you made along the way / Every single one is here to stay”. Nothing monumental, but it’s a nice swing through thought that often comes into conflict with itself without feeling ambiguous or pointless. Although the lyrics sometimes debate themselves verse by verse, it adds a bit of variety to an otherwise standard but catchy pop song.

Title track “(Everything is) Debatable”is an 80’s style dance song, and one of the more upbeat tracks on the album. It includes an deep baseline reminiscent of the Super Nintendo game Chrono Trigger. “Summer of the Lily Pond” is a slow jazz track that begins a three song set that bleeds each track together into one piece and includes several muted trumpets and what appears to be a baritone sax. What will be a a fan favorite live, “The Magic Hour” has Kline swooning like Buddy Holly over popping xylophone synth.

Everything Is Debatable is easily one of the best releases from Hellogoodbye and cements their acoustic pop style as what they were meant to play. Although the synth and techno has made a return, it has been refined so that it isn’t the focus of the music. Instead, it helps to fuel a dance album that doesn’t take itself too seriously and manages to stay away from feeling generic. Hellogoodbye have found their style and a maturity necessary to keep a band known for pop songs from relevant.


by Kyle Schultz

kyle_catKyle Schultz is the Senior Editor at It’s All Dead and has worked as a gaming journalist at Structure Gaming. He lives in Chicago and yells at the rain on occasion. He also wants to play you in FIFA.