Author: Matt Peterson

I’ve always had a strong connection to music – even before I was born.

My parents have told me stories of how my dad would sing to me while my mom was pregnant. Every time he would do so, I would start moving. My mom affectionately says I was dancing.

Though I’ve never played an instrument and can’t sing worth crap, I’ve always loved music. I spend the vast majority of my days listening to music. I follow countless artists. I own dozens of albums and thousands of songs (yes, I still buy albums and singles). It’s an art form that’s always fascinated me. And one that I treasure.

So, naturally, I have some thoughts about the last decade of music.

Now, let me say from the outset, I’ve only very lightly studied musical theory. Like, I’m-only-taking-this-class-’cause-I-need-more-electives lightly.

But what I do know is how music makes me feel, and how lyrics make me think. So I’ll be highlighting my ten favorite albums of the decade that made me think and feel the most.

I should also be upfront about one more thing – the majority of what I listen to is Christian music; mostly because I don’t have to worry about profanity or songs about drugs or butts. So the majority of the records on this list are Christian albums. I’m sure many secular artists released fantastic albums last decade. I just haven’t heard them. (It also doesn’t help that I hate pop music and mainstream rap. But that’s a discussion for another time…)

So with that, let’s begin with some albums that I’d like to give a shoutout to:

We Kept It Alive (EP), Lights Go Down (2015) – If you’re only gonna release five songs, make them as perfect as this EP. Oh what could’ve been…

The Breakdown and the Fall, At the Wayside (2017) – I’ve followed this indie pop punk band for a number of years now, and every one of their releases has gotten better and better. Can’t wait to see where they go from here!

Engine of a Million Plots, Five Iron Frenzy (2013) – Full disclosure: FIF is one of my all-time favorite bands. So of course I’m gonna give their reunion record some love. While the album lacks the patented humor we’ve come to expect from the band, Reese replaces it with truly deep and thought-provoking lyrics that sound straight out of his side project, Brave Saint Saturn. The arrangement of the horns has never sounded better, and the guitar arrangements add a whole new range the band has never had. The group clearly matured a lot during the eight-year breakup.

Between the Pavement and the Stars (EP), Five Iron Frenzy (2015) – A really solid companion piece to Engine of a Million Plots. Most notably, the record features a little experimentation, with a sea shanty and a piano ballad breaking up the otherwise full-on ska-punk record. Lyrically, the record is richly introspective, touching on fear, trust in God, and hatred in the name of God.

Solar, nobigdyl. (2018) – Agonizingly close to making the list. I only heard this for the first time a few weeks ago, but DANG. Dyllie is very quickly becoming one of my favorite rappers in the game.

Christmas, Michael Buble (2012) – If the ghosts of Bing Crosby or Perry Como put out a Christmas record, it would sound like this. Along with the classic-sounding arrangements, Buble mixes it up a bit, with Latin, ‘20s-era swing, blues, and New Orleans jazz arrangements on certain songs. This record just feels like Christmas.

Cinematic, Owl City (2018) – A lyrical return to form. Adam’s most earnest record since All Things Bright and Beautiful. “Be Brave” is one of the most beautiful songs he’s ever put out, which is an incredibly high bar.

F, Kemuri (2015) – Really, really great ska punk.

Crazy Love, Hawk Nelson (2011) – A welcome – though sadly short-lived – return to form, and a great swan song for Jason Dunn.

That’s Christmas to Me / A Pentatonix Christmas / Christmas is Here!, Pentatonix (2014 / 2016 / 2018) – Pentatonix has become a Christmas staple, at least for me. Their covers are incredible, and their talent is off the charts. Honestly, if the other ten albums on here weren’t so great, at least one of their Christmas records would’ve made the list.

Rehab, Lecrae (2010) – A really great record with some of my all-time favorite songs of his.

Rivers in the Wasteland, NEEDTOBREATHE (2014) – The only album on this list that I haven’t listened to all the way through. But I wanted to highlight it because “Difference Maker,” “Brother,” “Wasteland,” and especially “Multiplied” are some of the best songs the group has ever put out.

Title, Meghan Trainor (2015) – A really great melding of modern pop, classic pop, doo-wop, and jazz. I wish she’d go back to this sound.

The End is Where We Begin, Thousand Foot Krutch (2012) – A near-masterpiece to follow their magnum opus. 2009-2012 was a great time to be a TFK fan.

Zion, Hillsong United (2013) – The beginning of their change sonically and lyrically. “Oceans” is massively overplayed, but you can’t deny how powerful it is.

Home for the Holidays, Darius Rucker (2014) – A really great album that merges country, jazz, and Bing Crosby-esque arrangements. This album more than any other in the last twenty or so years (except maybe Michael Buble’s) harkens back to the classic Christmas recordings of our grandparents’ era. And I love it.

Ilia (EP), Ilia (2014) – A really solid rocker from a promising band who called it quits far too early.

An Airplane Carried Me to Bed, Sky Sailing (2010) – Adam Young’s acoustic project. Basically Owl City with acoustic guitars and piano. What more could you want?

This is Where We Are, Seryn (2011) – An indie filmmaker’s dream. Indie folk music that sounds straight out of the ’60s, and is just begging to be used in an A24 film. A truly fantastic album. Also, a neat little side note: This band is from DFW. Support local music!

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10. New Horizons, Flyleaf (2012)

A masterpiece can be both a blessing and a curse. While it’s great that something you’ve made is so well received, it puts that much more pressure on your next project.

That’s the mountain Flyleaf faced after their 2009 sophomore offering, Memento Mori. While not as critically acclaimed as their stellar self-titled debut, Memento Mori is still a triumph in rock music, concept albums, and Christian music in general. It told a beautiful story with amazing music and rich, deep lyrics. It’s one of the best albums I’ve ever heard. (Undoubtedly in my top 5.)

So how do you follow up something like that? Especially when your lead singer announces just a week before the record’s release that she’s leaving the band?

Well, Flyleaf did what they always did: put out a stellar record.

While not as good as their first two offerings, New Horizons blends the best of their previous efforts into a beautifully merged sound. Every ballad has hints of crushing guitars, and every rock anthem has its quiet moments. And, of course, the lyrics are all beautifully crafted. One in particular that always gets me is from the bridge of “Stand.” The song is a great reminder that the Holy Spirit is with us through everything. Then, the group contemplates during the bridge: “How long did You bleed for us?” That line always gives me chills.

As I interpret the album, the group alternates between calling people to live out their faith, as opposed to just talking a good game, and basking in the awe of God and His creation. The opening track “Fire Fire” beautifully addresses hypocrisy. Lacey Sturm utilizes James 3:6 to perfection, repeating during the bridge, “What you confuse for Glory’s fire is fire from the tongues of liars.” The driving guitars of “Call You Out” harken back to the band’s 2005 debut, and the lyrics are very direct: “I know this language of yours / I used to speak it so well / A fire meant to be pure is not the fire of hell / It is written long before you / Your time’s up now / That’s enough now / Shut up, get out / Truth called you out.”

“Bury Your Heart” talks about the emptiness of a life only concerned with chasing money. Lacey cries out for God’s grace and mercy in “Saving Grace.” It’s a little more generically Christian than I’d like, but it’s still a solid track with really good lyrics. (Flyleaf can even take boring CCM music and make it good.) After arguably the most hard-rocking song the group every put out, “Green Heart,” the record transitions to its perfect, highly emotional finale, “Broken Wings.”

It’s pretty clear Lacey knew that this was her last record with the group. Her voice, while always emotionally charged, feels even more so this time around. Many times, it sounds as if she’s about to burst into tears midsong. Knowing the context of her departure makes songs like “New Horizons,” “Cage on the Ground,” and “Broken Wings” all the more emotional. This record is the perfect closing chapter to a near-perfect trilogy of records.

Standout tracks: “Fire Fire,” “New Horizons,” “Call You Out,” “Cage on the Ground,” “Great Love,” “Bury Your Heart,” “Saving Grace,” “Stand”

9. Of Beauty and Rage, Red (2015)

I should probably be upfront: Red is one of my all time favorite bands. So I’m biased. Now that that’s out of the way…

This was certainly an eventful decade for Red. After their debut and sophomore albums saw unprecedented success in the latter half of the 2000s, the 2010s were primed to be the Redaissance.

Well…

After a solid, but somewhat underwhelming third effort in 2011, Red decided to truly shake things up in 2013 with Release the Panic. Known for being a symphonic rock band, the group made the puzzling decision of almost completely stripping the strings from each track, instead going for a more poppy, synth heavy sound.

Whether it was label pressure to make a safer, more generic record, or the band trying something different artistically, fans clearly weren’t digging the RTP sound.

They tried to course correct with their EP Release the Panic: Recalibrated a year later, with new string arrangements “recalibrating” certain songs from the original record.

It was… fine.

So to say I was nervous about 2015’s Of Beauty and Rage is a massive understatement. Another dud like Release the Panic and I was gonna seriously consider not following one of my all-time favorite bands anymore.

But one track in and my fears were put to rest.

Thank GOODNESS the band went back to their roots. The strings were not only back, but back with a vengeance. Gone were the generic synth elements. The cheesy lyrics were replaced with the deep, spiritual-warfare driven lyrics of their previous efforts. The whole album felt cinematic, and a triumphant return to form.

“Impostor” and “Shadow and Soul” see a return of the signature haunting strings that Red is known for. Of easily their most cinematic album yet, these are, in my view, the most cinematic tracks on the record. The strings on these two tracks are absolutely stunning. And Michael Barnes’ voice is as emotional as ever, singing about the internal struggle and temptations of the enemy.

One thing I’ve always appreciated about Red is that they actually treat Satan as a being instead of some mystical force. Songs like “Impostor” speak of an actual being that Michael is struggling against. This makes Satan and his attacks more real to the listener, which I feel is much needed these days.

“Darkest Part” harkens back to previous offerings like “Fight Inside” and “Already Over,” talking about the struggle to live in the light while feeling the temptation of the darkness. “Fight to Forget” and “Falling Sky” follow, and are just dang good rockers.

One thing that surprised me most about the record was the ballads. Red’s ballads are known for being big productions with heavy strings. And while they have those on here, each ballad is different. Where “The Ever” is one of the record’s harder ballads, “Of These Chains” is one of the quietest, most tender songs the band has ever released. Michael beautifully sings about the struggle that spiritual freedom can bring. He’s happy to be free, but also feels some sadness that that sense of familiarity is going to be gone. He struggles with the thought of letting go of every chain that keep him in bondage, even asking God in the chorus “Of these chains / Let this one remain.” It’s a powerful song that beautifully highlights a side of spiritual freedom most people don’t talk about.

Aside from the beautiful instrumental “Ascent,” the record wraps up with “Part That’s Holding On,” one of the most gorgeous songs the band has ever released. Possibly the biggest ballad they’ve ever written (though “Best is Yet to Come” gives it a run for its money), the strings absolutely soar and only add to the emotion in Michael’s voice as he sings about love, loss, and hope. It’s an absolutely beautiful song.

Though their follow-up release Gone trended back to the Release the Panic sound, Of Beauty and Rage was a wonderful release that showed any and all doubters that Red was not only here to stay, but, more importantly, they hadn’t lost their edge. Going into the new decade as a newly-independent band, let’s hope they continue that upward trend.

Standout tracks: “Descent,” “Impostor,” “Shadow and Soul,” “Darkest Part,” “Of These Chains,” “Falling Sky,” “Yours Again,” “The Ever,” “Part That’s Holding On,” “Ascent”

8. Neon Steeple, Crowder (2014)

“Worship music” has become such a muddled, vague, cookie cutter genre. I have a lot of issues with it – who decides what is and isn’t considered “worship music?” – but the main one I’ll talk about here is the lack of originality.

As I’ll address later, many people blame Hillsong Church and its many musical offshoots for introducing monotony, redundancy, and unoriginality to church music. With their use of only one repeated verse, simple, generic chords, and endlessly repeated bridges – usually only consisting of one or two lines – their meteoric rise to the top of Christian music chagrined many music purists.

And, to be fair, they have a point.

That’s why I have such respect for David Crowder. He’s been a pioneer of excellence and originality in worship music for over two decades now, while still creating music that churches feel comfortable performing themselves. He’s figured out how to walk that tightrope – no easy feat.

In his first venture since his legendary David Crowder*Band split, Crowder attempts to both capture the magic DC*B had, while at the same time establishing his own unique voice.

And he friggin’ nailed it.

It takes a lot for me to say a worship album does something original and unique. But Crowder put together something unlike anything I’ve ever heard. DC*B records always had a tinge of bluegrass and southern gospel, particularly in their later releases, but Crowder leans into that sound more than ever before… but with a twist – he mixes EDM music.

Banjos and synthesizers. What a time to be alive.

As weird as folktronica may sound, he actually mixes the two influences exceptionally well, as he explodes out of the gate with “My Beloved.” This song doesn’t ease you into this odd mixture at all. The song opens with Crowder singing the chorus over some banjo, before going full electronica. It’s a musical delight for the listener.

The most well known track off the record is, of course, “Come As You Are,” and it’s not hard to see why. The song is a poignant call to non-Christians – as well as a wonderful reminder to Christians – that Jesus will take you just the way you are. You don’t need to do anything to “fix yourself;” He’ll take you right now. The chorus – particularly the lines “So lay down your burdens / Lay down your shame / All who are broken / Lift up your face” – always gives me chills.

One of my favorite tracks is “My Sweet Lord.” This quiet, tender ballad features country icon Emmylou Harris, and is such a sweet song of love and worship. The song is almost entirely just a single acoustic guitar and a banjo. Crowder and Harris earnestly ask the Holy Spirit to come walk beside them and remind them that He’s there in the midst of fear. It’s a simple, powerful song that’s meant a lot to me over the last six years.

A couple other tracks that are just a blast are “Hands of Love” and “You Are.” Both feature some delightful banjo, and just put you in a dang good mood!

The deluxe edition of the album closes with a folktronica remix of the Bill Gaither standard “Because He Lives…” featuring Bill Gaither himself! It’s such a fun reimagining, and it’s such a neat treat to have Gaither re-record his most famous tune.

This is far and away the most unique blending of musical styles I’ve ever heard. And to do it to worship music, no less! Crowder’s subsequent releases – though not as good as his debut, in my opinion – have continued to experiment with different styles. He’s a shining light in an industry content with mediocrity. Thank God for David Crowder.

Standout tracks: “My Beloved,” “Come As You Are,” “Hands of Love,” “My Sweet Lord,” “This I Know,” “You Are,” “All This Glory,” “Because He Lives”

7. Anomaly, Lecrae (2014)

This decade was a game changer for the game changer.

Crae’s been a mainstay in Christian hip hop for well over a decade, completely redefining it in his stead. He came into an industry that was sorely lacking in quality talent and blew the doors off it. And after so much hard work and success, the mainstream industry finally began taking notice. “Tell the World” off of Gravity turned heads; Anomaly opened doors.

One of my favorite tracks off the record is the cutting “Welcome to America.” Though it’s not the opening track, it sets the tone for the record, and shows that this is a different Lecrae album. In just three verses, Crae embodies every critique of American culture that people on all sides have. He tells the stories of three different people: a drug dealer in the projects, a veteran returning home, and an immigrant. Each person gives their own powerful perspective of America as they see it. By the end, the song leaves you questioning how you view America, and drives you to get out of your bubble.

“Say I Won’t” is another favorite track. Crae’s never been one to stay inside the box or cave to social pressures, whether they be from the mainstream or Christian realms. He operates in his own way, and takes pride in being himself. He brings another wonderfully authentic person, Andy Mineo – who will have another feature on this list – to encourage people, specifically in the rap game, to be different and themselves, instead of trying to imitate everyone else. Along those lines, “Nuthin’” is another great track where Lecrae calls out mainstream rap for all sounding the same and not being creative or original.

“Dirty Water” is a deep, thought-provoking banger highlighting impoverished communities around the world. (Bet you never thought you’d read that sentence.) And “All I Need is You” is one of his best love songs. The record wraps with the penultimate track, “Broken,” with a feature from my church’s own Kari Jobe, so I’m obviously biased. But it’s a really great track reminding us that none of us are righteous and all of us are broken and in need of a Savior.

For all the great albums Lecrae’s had (before and since), Anomaly is my personal favorite. It feels like his most mature, complete, and thought-provoking release to date. He’s had more provocative releases since, but none, in my opinion, have married thoughtful lyrics with great beats like Anomaly.

Standout tracks: “Welcome to America,” “Say I Won’t,” “Nuthin’,” “Dirty Water,” “All I Need is You,” “Broken”

6. The Beauty Between (EP), Kings Kaleidoscope (2017)

Kings Kaleidoscope could very well save Christian music if we let them.

The ten-piece, multi-instrumental group defies genre, and continues to redefine what worship music truly is. Their first LP was an eclectic worship album, in the more traditional sense. Their second was an experimental record. Between their second and third LPs – the latter of which may or may not be found later on this list – the group put out a hip-hop infused worship EP.

Read that again. Hip-hop infused worship music. This group is incredible.

The group really drives home the hip-hop element by featuring contributions from rappers on four tracks. The first of those tracks is “The Beauty Between,” featuring one of my personal favorites, Andy Mineo. The infectious track is an excellent reminder that whether times are terrible or fantastic, Jesus is always in the middle of it. Musically, it’s one of KK’s more electronic-heavy tracks, but also features funky guitars and even a tuba at one point. (I love this band.)

The next track is one of my all-time favorites. “Alive” is a song of spiritual warfare, written at Satan. Not to him or about him – at him. It reminds him that he has no power over us because we’re under the covering of Christ, and then aggressively reminds him that he’ll never feel the hope, joy, or love that we will because he chose an eternity without God. It’s such a powerful track, and I felt like running through a wall the first time I heard it. Musically, it takes you on a bit of a journey. Beleaf and Braille absolutely murder their verses out of the gate, then the song transitions into some harder guitars before a quiet verse that crescendos into triumphant victory. It’s a standout track, and one of the group’s best.

One more track I want to highlight is “Safe Retreat.” I was going through a really rough season not long ago. In the midst of it, I found the live EP of this album, and this track became my anthem. When I felt like God didn’t see me or care about what I was going through, this song came into my life at the perfect time. Its lyrics vividly paint a picture of a Father scooping us up and holding us close to His heart, comforting us when life has hurt us. Braille’s verse is absolutely incredible, particularly when talking about coming to the Lord in prayer: “God already knows my longing, my yearning, my groaning, my burning, my scars, and my hurting.” It’s a fantastic reminder that Jesus always understands what we’re going through, no matter what. Other lines that still hit me are “None of this is wasted” and “When the storms clouds fly, ‘til they pass me by, I’ll hide in Your safe retreat.” Every time I hear this song, I find myself thinking “yes, and amen” by the end.

While it’s a stellar record, it’s not perfect. “Sometimes Phoenix” isn’t my favorite song of theirs. I could also do without the three interludes. But one sub-par track out of seven (if you don’t count the interludes) is a pretty strong offering. From infectious tracks like “The Beauty Between” and “Sticks and Stones,” to deep, powerful tracks like “Alive” and “Safe Retreat,” Kings Kaleidoscope is like a fine wine – they get better with each release. And this one is not to be missed.

But it’s not their best… (That, boys and girls, is called foreshadowing.)

Standout tracks: “The Beauty Between,” “Alive,” “Safe Retreat,” “Sticks and Stones,” “Rain”

5. Mansion, NF (2015)

Authenticity is sorely lacking in most Christian art, especially music.

Record labels choose to forego anything raw, personal, or genuine for generic inoffensiveness, repeating the same tropes and cliches that have been done thousands of times in order to sell more records. (Don’t be misled – Christian record labels are all about their bottom line. Being “Christian” doesn’t change that.)

That’s what makes NF so incredibly refreshing. And why he’s become a crossover phenomenon.

The hard-hitting rapper burst on the scene in 2015 after years of building an underground following. He was an immediate success with Christian audiences because he spoke about his flaws, his hurt, and his baggage with refreshingly unflinching honesty. There’s something so potent about someone’s uncensored testimony.

He gained further exposure in the mainstream hip-hop scene after his 2017 single “Let You Down” when triple platinum. Things haven’t been the same for him since.

Aside from his incredible talent, the trait that makes NF stand out from other rappers – Christian or mainstream – is his insane work ethic. NF’s discography in the last five years makes every other artist look lazy. Of the four records he’s released in five years, his 2015 debut still strikes me as his strongest, most consistent album.

I remember where I was when I first heard “Intro.” It wasn’t the first NF track I’d heard. His radio single “I’ll Keep On” drove me to listen to more of his stuff. “Intro” is the polar opposite of that track. And I remember sitting in silence after the song was over, in complete disbelief at what I’d heard. I immediately knew that NF was the future of Christian rap.

“Mansion” is the perfect companion piece to “Intro.” Where “Intro” highlights his fast-paced delivery and ingenious writing, “Mansion” is slower, emotional track that gives the listener a Spark-notes version of his testimony. A physically abusive father, a mother who O.D.’d, depression, trust issues, fear, insecurity, mental health struggles. He touches on all these with astonishing honesty. It’s one of the most incredible songs I’ve ever heard.

The album would be flirting with #1, but a weaker second half keeps it in the middle of the pack. Now, a weaker NF track is still better than most rappers’ best tracks. But songs like “Turn the Music Up” and “Motivated,” while good, aren’t as strong as the rest of the record. But that doesn’t detract from other highlights like “Paralyzed” and “Notepad.”

The closing two tracks are noticeably different from the rest of the record. As I mentioned, the first NF track I ever heard was “I’ll Keep On,” on, of all places, Air1. The song is probably the most uplifting track he’s put out to date. Amid all his struggles, fear, and insecurities, NF realizes that his strength comes from God, which keeps him going every day. It’s a really great track for anyone going through a rough time. I personally feel like it should’ve been the finale of the record, especially since “Can You Hold Me” is such a stark contrast to the previous track. It’s a darker, more emotional track, where NF begs for the loving embrace of God in the midst of loneliness. It’s a great track, and Britt Nicole’s vocals are fantastic (as always), but I feel like it would’ve worked better if it and “I’ll Keep On” had been flipped. But it doesn’t detract from the enjoyment of the track at all, so what do I know.

This is an absolutely stellar record, and one that I think was a game changer. Since Mansion, we’ve seen more Christian rappers than ever before be transparent and talk about more practical issues, as opposed to just theology. (Not that that’s not important, but it also helps to talk about other things.) Where most Christian artists are frustratingly vague about their struggles, NF is an open book – something we as a body should all aspire to be.

Standout tracks: “Intro,” “Mansion,” “Wait,” “Wake Up,” “Face It,” “Paralyzed,” “I’ll Keep On,” “Can You Hold Me”

4. All Things Bright and Beautiful, Owl City (2011)

Owl City is one of my favorite artists. I think Adam Young is one of the most creative minds in music today. His first two major label records were utter masterpieces – this being the latter of those releases.

The thing that initially drew me to Owl City – other than “Fireflies” being an absolute BOP – was the fact that, at least at the time, no two of Adam’s songs sounded the same. That talent is on display here, as he makes full use of his creative powers, creating eleven songs that are unique not just to themselves, but from anything else on the radio at the time… or since, for that matter.

Adam’s music just puts me in a great mood. His dreamscape lyrics take you to another world where there aren’t any problems and everything is wonderful. His music is very sweet and earnest. Songs like “The Real World,” “Alligator Sky,” and “Plant Life” don’t make much lyrical sense or provide a ton of depth. But dang it, they’re musical masterpieces.

One song that I absolutely love is “Honey and the Bee.” His duet with Breanne Duren in Ocean Eyes was a match made in heaven, so I was ecstatic to hear them together again. (I wish he would bring her back, as this was her last appearance on one of his records.) This song is such an adorable love song that, similar to “Bird and the Worm,” highlights the perfect match Adam and Breanne are, like honey and a bee. This is the kind of song I’d want to have played at my wedding.

Other than the title of the album, “Angels” and especially “Galaxies” are the first time Adam’s faith was on display. “Angels” reminds us that we’re never really alone, and “Galaxies” takes awe in God’s creation, while reminding the listener where our hope is found.

This is a stellar record full of unique and original songs. Unfortunately, Adam’s creative freedom would be restricted after this record, for reasons I understand but still vehemently disagree with. There’s truly no one like Adam Young. No one has the creative capacity that he has. This record is an absolute masterpiece.

Standout tracks: “The Real World,” “Deer in the Headlights,” “Angels,” “Dreams Don’t Turn to Dust,” “Honey and the Bee,” “Galaxies,” “Hospital Flowers,” “Alligator Sky,” “Plant Life”

3. I: The Arrow (EP), Andy Mineo (2018)

The 2010s were the decade of deconstruction.

Whether it be political events, hypocrisy in the church, or personal struggles, it seems like Evangelicals have been deconstructing their faith at a record level. While that can be an incredibly difficult season of life and can oftentimes come from a place of hurt or distrust, it can lead to newfound vigor, passion, and zeal for Christ. (I can say this with confidence as I myself came out of one of those seasons about a year ago. But that’s another story for another time.)

If anyone had reason to feel at the top of their game, Andy Mineo did. His breakout hit “You Can’t Stop Me” went gold, he was in high demand at churches and other Christian events, and had quickly moved to the top of the Christian hip hop scene.

But not even he was immune to deconstruction.

His excellent two-part EP came during that season. He’s stated that he wanted to write something in the midst of that season, not on the other side. That’s an incredibly risky feet in the Christian music industry. Many radio stations, churches, and Evangelicals Fundamentalists don’t want to hear any semblance of doubt. As one reviewer excellently put it in his review of Rend Collective’s debut, “instead of expressing who we are before the Lord, we end up hiding our faults, struggles, and issues under masks of praise.” That was in reference to “worship” music, but the idea rings true in all genres of Christian music. ‘Cause, ya know, no one in Scripture ever had doubts…

That idea is what makes The Arrow such an astounding achievement of vulnerability. In my opinion, the best song Andy’s put out to date – though “I Don’t Need You” is dang close – is “Clarity.” You can hear that wrestling and frustration all throughout the song, as he not only reassesses what he truly believes, but desperately searches for clarity and truth. He also perfectly utilizes clips from an interview with A Wrinkle in Time author Madeline L’Engle, who touches on the positives of spiritual doubt. It beautifully compliments the theme of the song. Lyrically, this song is perfection. I could highlight nearly every line in this masterpiece, but some of the ones that stick out the most are: “Built my life on this / Half my adult life unlearning lies that I heard in a dumb sermon,” “Rather have a tribe than unity, so you and me divide,” “Lost / All my faith in white Jesus,” and “All I, all I want is clarity, clarity / ‘Cause all of my heroes are frauds, just like me / They’re just like,me / So let every man be a liar / Let only God be true / And all of your heroes are frauds, just like you.” Just incredible.

That vulnerability isn’t limited to his relationship with God. The incredible “Family Photo” highlights Andy’s strained relationship with his father, framed around his wedding day, which his father skipped. The song paints a perfect picture: Andy anxiously anticipating his father, trying to stay focused on his bride while being distracted with the possibility of him showing up, coming to the realization that he won’t show, and angrily pouring out his feeling to him (in his mind, as we all do). He does an excellent job of making the listener first empathize with the situation, then sympathize with how he feels. In particular, the line “I hate the fact I still love you” always gives me chills. Just a stellar track.

“Anxiety” is a great track, and “I Ain’t Done” SLAPS, though it’s a little more boastful than I’d like. The record closes with “…Lost,” a wonderfully introspective song where Andy reflects on his deconstructions and how he’s grown from it. The song starts with a callback to “Clarity” before throwing in the excellent line “Traded fear of being nothing for being a replacement.” He also references his debut EP Never Land when he paints a picture of his faith progression: “I was so high, though I’d never land / Now, I wanna come down / We just hit some turbulence, but if I let go now / How far will I fall? / I can’t see at all.” The song takes a triumphant turn in the second and final verse, as Andy puts it all in perspective: “So, betcha if I never had a pain / Betcha that I never would pray / Trust Him even when I don’t see / That’s the definition of faith / I know I’ve got a problem with control / Arrow gotta fly, let it go / You never said I wouldn’t go through it / You just said I wouldn’t be alone.” He’s deconstructing his faith, yes, but in the end, he’s coming through the other side with more fervor and zeal than ever before.

Andy’s other two releases since this EP – II: The Sword (EP) and his Work in Progress mixtape – have further given him the reputation as one of the most transparent Christian rappers today. This release was a game changer for him. He went from the guy with that banger “You Can’t Stop Me” who had fun and joked around, to someone using his art as therapy. He became even more relatable just by being himself. I think we’re going to look back on his discography and see this release as a landmark moment in his career.

Bravo, Andy. Keeping being yourself. Keep respecting your opinion.

Standout tracks: Literally every track. But especially “Clarity,” “Family Photo,” and “…Lost”

2. Zeal, Kings Kaleidoscope (2019)

Creativity. As I’ve touched on, it’s a sadly foreign concept in Christian music. Which is great for people who are fine with the status quo, but is incredibly frustrating for people who want something more from their music. (It’s not like Jesus was creative or anything.)

In a dull, bland landscape of cookie cutter Christian music, Kings Kaleidoscope is a shining exception.

Now, they’re definitely an acquired taste. Heck, it wasn’t until my third try that I fell in love with them.

And let me tell you, I fell HARD.

No two songs in KK’s entire discography sound the same. Three LPs, three studio EPs, five live EPs. No two songs sound the same.

That incredible feat continues in my personal favorite of their trio of LPs, Zeal. 

I don’t know if it was an intentional, artistic choice, but I’ve always viewed the record as a concept album about someone deconstructing their faith and coming out on the other side with more zeal and confidence than ever. (I’m actually working on a screenplay based around this record. So if Chad Gardner is reading this… hit me up, man. I’ve got ideassssss.)

The album starts with harder tracks that both musically and lyrically sound as if they come from a place of frustration and disillusionment with American “Evangelical” culture. But the artist acknowledges that he’s not exempt from this frustration. “Hero Over My Head” features a great line: “I’ve been starving in the garden hiding garbage in my heart. Is it too late?” This is more or less the inciting sentiment that sets him on his journey of spiritual reflection, deconstruction, and, ultimately, awakening.

There’s a turning point with “Aimless Knight.” The lyrics are both reflective and exasperated. The artist is tired of striving for naught. He’s come to a place where he realizes that the only way forward is by surrendering everything to the Holy Spirit. The final minute and a half of the song, the music almost stops completely, save for a lone guitar. The artist sings a prayer of surrender, ending with “Settle my spirit. Spirit, abide in me.”

From then on, the rest of the record is pure joy. The stunning three-movement song “The Rush” documents the joy of finding your faith again. “Oxygen” reminds the listener that life doesn’t get easier just because you’ve given the Holy Spirit control of your life, but that it does give you peace in the wandering. And “A Little Bit of Faith” is a joyful song told from the perspective of Christ, as He takes pleasure in His son returning to Him with more zeal than ever before.

One could easily argue that any and all of Kings Kaleidoscope’s releases are masterpieces. But I feel this is what all their previous releases have been building toward. This is their magnum opus. The band, through both Chad’s incredible lyrics and fantastic arrangements, documents the life of a Believer from disillusionment, to searching for meaning, to a deep joy and zeal for Christ on the other side.

The Christian walk in thirteen tracks. Simply astounding.

Standout tracks: “The Coma,” “Hero Over My Head,” “Naked Feet and Holy Fire,” “Backwards,” “About to Break,” “Aimless Knight,” “Same Blood,” “The Rush,” “Oxygen,” “A Little Bit of Faith”

1. Empires / Of Dirt and Grace: Live from the Land, Hillsong United (2015 / 2016)

Everyone has an opinion of Hillsong and its different offshoots. A lot of people love them, (erroneously) proclaiming them the innovators of modern worship music. Others can’t stand them, citing repetitive melodies and derivative lyrics. Both camps make excellent points. I’ve always been a fan of Hillsong United, but I admit that looking back, their older material isn’t as strong as I remember it.

It seems as if Hillsong Church, and the members of United specifically, took the criticism to heart, because this decade has seen a great progression in innovation and creativity for the group.

The band mostly traded in big, arena sounds for smaller, intimate, studio records, starting with 2011’s Aftermath. While it sounded much like their older material, you could tell that something different was happening with the group. This was only heightened with the synth-heavy, atmospheric Zion two years later, the standout track, of course, being “Oceans (Where Feet Meet Fail).” But if you listen to the rest of the record, there are some very creative songs both sonically and lyrically that took the group to places they’d never gone before.

It’s with this background that the group released their highly-anticipated follow up in 2015. And what we got was nothing short of extraordinary.

Leading up to its release, everyone wondered if the group could duplicate the unprecedented success of “Oceans.” In fact, everyone was quick to call “Touch the Sky” the next “Oceans,” and – unfairly, in my opinion – compare the two tracks.

But to just compare these two tracks and look at Empires as Zion: Part 2 is to do the album a great disservice.

An issue I and many others have with modern worship music is that many songs seem like all the same one-liners from previous popular songs put to a simple, repetitive beat. The lyrics are meant to be inoffensive and the music a placebo feeling to fool the listener into thinking heaven has come to earth.

Empires is different because it makes you think. It’s poetic. The lyrics are written from past experiences, hurts, and time spent in the presence of God. It’s a highly personal record.

The lyrics also pull heavily from the psalms. The group makes an effort to proclaim their worship in new and innovative ways.

Two of my favorite tracks are excellent examples of this. “Prince of Peace” frames salvation as a storm that takes over the heart, with Christ leading the charge. And “Heart Like Heaven” takes delight in the fact that all we can offer God is a broken heart… and that’s all He ever wants.

I chose to also include the live acoustic companion record, Of Dirt and Grace, released the following year. Recorded entirely outdoors in different areas of Israel, the group could have very easily just recorded the same songs with no changes in order to make a buck.

But that’s not what Hillsong United does.

They chose to rearrange nearly every song, going so far as to completely change the tempo of a couple songs. It breathes new life into every track and makes each song new all over again. I’m not usually a fan of live albums, but this is a fantastic exception. There are certain tracks where I prefer the Empires version, and others where I prefer the live version. And that’s an incredible testament to the band’s creativity.

Side note: You should also watch the accompanying film. It’s gorgeously shot and beautifully edited. It’s one of my favorite “concert films.”

This ain’t your parents’ Hillsong United. Heck, it’s not even my generation’s Hillsong United. And I think we as a church are all better off for it.

Standout tracks: Every track, but especially “Heart Like Heaven,” “Captain,” “Street Called Mercy,” “Prince of Peace,” “When I Lost My Heart to You (Hallelujah),” “Touch the Sky,” “Here Now (Madness)”

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So there ya go. It was so much harder than I thought to narrow this list down to ten. There were so many great albums that cut through the bullcrap that dominated the charts. Hopefully Christian music can continue this trend of honesty and transparency in music, and inspire a new generation of artists to express themselves creatively in new and different ways. And hopefully mainstream artists will go back to the creatively expressive days of the ‘60s and ‘70s.

I’d love to hear some of y’all’s favorites from the ‘10s! Drop a (respectful) comment, and let’s talk about it!

And be on the lookout for more 10 of ‘10(s) coming soon!

Here’s a prize for reading all the way to the end.