pitchfork best albums of the 2000s

Greenspan did it by wrapping wistful words in some of the decade’s most lovingly produced electro-pop– check the phantom percussive tapdance that underpins “Bellona”, or how the tempo pick-ups on “Birthday” suggest increased heart rates. So while the geopolitical climate hovered around its early decade bummeriest, the Oklahoma City band struck back the only way it knew how: with meticulously produced, grandly conceived, and, yeah, sometimes whimsically funny existential contemplations. –Matthew Perpetua, Grime, in retrospect, was never going to be much of an album-oriented genre. In true experimentalist fashion, Animal Collective’s, (created entirely by the Panda Bear/Avey Tare duo) arrived a full year before the middle of the aughts, and perhaps more than any other record of the decade, foresaw where indie hearts, ears, and minds would go in the next five years. The 200 Best Albums of the 2000s. Few songwriters could be responsible for both the bouncing neon synths and David Bowie warble of “I’ll Believe in Anything” and the swaggering slow-burn and breathy, Bruce Springsteen–ish croon of “This Heart’s on Fire,” but Wolf Parade prove that one, Wolf Parade: “I’ll Believe in Anything”, Belle and Sebastian had been toying with R&B, glam, and funk for much of their existence, but by the time the group recorded, , their musical chops had finally caught up with the quality and ambition of Stuart Murdoch’s songwriting. Even the non-Murdoch songs, typically a stumbling block on Belle and Sebastian releases, were up to the same high standard. Dilla threw everything he’d known into this album and wound up delivering a simultaneous farewell and magnum opus three days before his passing; we should all be so lucky to produce something this moving in the face of our own mortality. While that is basically true, the emphasis on the author’s biography gets in the way of why the album resonates so deeply with its fans: It’s not about the descent into hopelessness but rather the desperate attempt to restructure one’s character and bust free from the traps set by ingrained neuroses and fickle brain chemistry. Listen to this album filled with teeth-gnashing, gut-wrenching passion and try to disagree with the idea that love is the province of the brave. The Pitchfork 500: Our Guide to the Greatest Songs from Punk to the Present is a book compiling the greatest songs from 1977 to 2006, published in 2008 by Pitchfork Media.The book focuses on specific genres including indie rock, hip-hop, electronic, pop, metal, and experimental underground.The book is broken down into 9 chronological periods, each period beginning with a description of the . The Best R&B Albums of 2021 …(so far) Catch up on all of the Best Hip Hop Albums of 2020 and see who won our award for Best Hip Hop Album of the year here . Those elements helped the band graduate from unsigned to “SNL” in barely a year, but it’s those harmonies that make this one of the most beguiling debuts of the decade. People tend to belittle ambient techno as mere background music, but I say, fuck that, If Radiohead spent the turn of the millennium pondering the disassociating effects of technological over-dependency, the Super Furry Animals reveled in the absurdity of it. In 2010, Rhapsody ranked it at number 1 on their list of "The 10 Best Albums by White Rappers". Yes, has enough breezy power-pop hooks to fill five or so lesser records. I got a hold of this list that will soon come out on their Pitchforkmedia.com website; I can't believe how lame it is! Because the entirety of, dances around the vulnerability of indie rock middle age, when a life playing to blurred faces might seem indulgent and/or hopelessly transient for someone tripping over their friend’s kids. We all talked a good game back then, but how long before you eventually got back to cutting people off in traffic, pissing on public toilet seats, off-handedly boasting about your cool shit, and caring more about The Bourne Identity and the World Cup than the news? 198. Posted by 2 years ago. Found inside – Page 1As the sixties dream faded, a new flamboyant movement electrified the world: GLAM! In Shock and Awe, Simon Reynolds explores this most decadent of genres on both sides of the Atlantic. The paradigm shift is only now really taking shape as young rappers like Drake, Kid Cudi, Wale, and Asher Roth bend and pull on West’s thorny contradictions. The band’s trademark smoky atmosphere, vinyl crackle, and lurking bass were shuffled out in favor of stark strings and the hum and buzz of dread currents. Use of and/or registration on any portion of this site constitutes acceptance of our User Agreement (updated as of 1/1/21) and Privacy Policy and Cookie Statement (updated as of 1/1/21). The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with prior written permission of Condé Nast. An exegesis on routine, lovemaking, dancing, boredom, and the ever-eroding sense of the new in the world– “like a monkey with a miniature cymbal”– this is the band fully formed. Lil Wayne’s most recent truly great mixtape should probably be remembered as the one that forced its stoned creator to look outside rap if he wanted to get much higher. A little shy and sad of eye, but very wise was he.” Eden Ahbez, yeah, but doesn’t it sound just like Phil Elvrum, mildly reluctant Microphones/Mt. –Joshua Love. That sense of elation isn’t particularly easy to parse (or replicate), but it sure is powerful. The National surely knew it, and a handful of longtime fans likely knew it as well. Beyoncé: Beyoncé (2013) 4. But on the back of 11 well-crafted, brutally executed scorched-earth lighter-raisers, it succeeds. Gore would plague us with eight years of that other W, The W provided a fitting soundtrack for those with a freshly bleak outlook on the future. is famously brief, and to compensate Madlib crams his woozily bass-heavy, key-laden tracks full of off-the-wall samples (Frank Zappa, Steve Reich) and movie snippets, while Doom tirelessly unravels verse after verse of wildly discursive, hallucinatorily vivid, insanely quotable lyrics. –Sean Fennessey. Whether they were furiously protecting their homes or losing themselves in the adrenaline rush their own music, this was the moment where this band felt huge enough to swallow the universe. Like all collections, there are records you listen to constantly, albums you've forgotten, albums you hardly play, albums you love guiltily and albums you thought you were alone in treasuring, proving The MOJO Collection to be an essential ... If only all “afterthought” albums could be this A-list. While that is basically true, the emphasis on the author’s biography gets in the way of why the album resonates so deeply with its fans: It’s not about the descent into hopelessness but rather the desperate attempt to restructure one’s character and bust free from the traps set by ingrained neuroses and fickle brain chemistry. Ghost is passionate and loveable as always, though, and in, the throughline– other than, you know, the fishscale itself– is his yearning for the people around him to behave themselves. November” are ringers now, but they hit like a ton of bricks back when no one saw them coming. They are characters, caricatures, lyricists, at times both feminine and explicit. This book profiles each of these women, their musical and career breakthroughs, and the ways in which they each helped change the culture of rap. Jeffrey Lee Puckett posted August 20, 2020 The year 2000 got off to a great start simply by virtue of the world not burning down at midnight on January 1. Pitchfork's Top 200 Albums of the 2000s - Page 4 show list info From underrated gems by the time of their release to already modern classics, these are the choices from Pitchfork's staff. both represents and packages for her tourist audience. Jay Reatard - Blood Visions. “You’re trying too hard—surrender,” she tells herself; “I can’t say no to you,” she admits. “Paper Planes”’ lyrics are a better pointer than its lilt: Most of the album is a similar road trip through world town, a shanty planet M.I.A. –Tom Breihan, Before there were a thousand articles about the “Montreal scene” or a string of side projects by the band’s busy members, there was simply Wolf Parade’s debut, an unabashedly open-hearted collection of offbeat instrumentation—yes, that is a Theremin on “Same Ghost Every Night”—and timeless melodies delivered by the group’s dueling shivery frontmen. And as it turns out, it’s exactly that sincerity that makes this record so special– something like having a great conversation on a ratty couch, surrounded by empty pizza boxes, stacks of old video games, and the beats from the cars down on the street. But, being the traditionalist he is, Jack White chose to deliver the White Stripes’ fourth album to press in a more practical format that both discouraged digitization while actually presenting the music how it was meant to be heard: in a double vinyl set. But really, after Da Drought 3, what else did a free-associating New Orleans rap star have left to try? Golly, can’t wait to grow up! But it also makes room for club-rap synth-beeps and biblical reggae consternation—this time, Jay sticks even harder to the beats, and the Timbaland track doesn’t sound tacked-on. The title of Christian Fennesz’ 2001 record evokes a few specific things: a 1964 song by the Sandals sampled on the title track, a 1966 film documenting two surfers’ global journey, the Beach Boys’ singles collection. In place of those virtues it offers a series of riotous peaks (Dolly! –Sean Fennessey, My favorite decade theory: You get the best sense of what the decade is about by starting from its midpoint, and going until the next. A list of Pitchfork's best music of the 2000s. outward to the best avant-pop of the previous generation or two, the magic of this record was that it was both innovative and utterly, peerlessly beautiful. Before Soulwax’s DJ alter egos, “eclectic” still tended to go hand in hand with “tasteful”—classic mixes like Coldcut’s 1995 Journeys By DJ ranged across a breakbeat genrescape but never lost a sense of discernment. –Philip Sherburne, We keep our wise-ass friends for basically two reasons: Some are really nice guys once you get to know them, and some are just jerks who say a lot of funny shit. Found insideHis candid, hilarious, self-lacerating memoir, The Book of Drugs -- featuring cameos by Redman, Ani DiFranco, the late Jeff Buckley, and others -- is the story of his band's rise and bitter collapse, the haunted and darkly comical life of ... Andy Falkous and Steve Albini have made it clear where they fall, so it’s no surprise they teamed up on, the richest depository of quotable malevolence this side of, “subversive” when the production gives your speakers razor burn and the “ballad” is called “Fuck This Band.” But think about 2002, when the prominent memes of rock music were wish-fulfillment fantasies of empathy, togetherness, hope, solace... heck, most of the anger was more of a cry for help than anything. Of course they never did it again; how could they have? D'Angelo - Voodoo. David Bowie Ranked is a chart from teague, created in 2021. –Rob Mitchum. Calling Spencer Krug and Dan Boeckner the Lennon/McCartney of the aughts is reductionist (with Krug as the experimental one who crafts the band’s darker moments, and Boeckner as the populist who creates the epic anthems), but Wolf Parade’s appeal lies in the opposing musical personalities of its leaders. There’s little reason to suspect Madvillainy won’t make good on its promise to serve as "the components which have fueled nightmares for decades to come." is easily Beck’s most melancholy record, and the shift was temporary (its follow-up, 2005’s, ). It’s poetry for lovers lost (“Suddenly, all your history’s ablaze/ Try to breathe, as the world disintegrates”), regretful (“A recent memory of when we shit our bed of roses”), and broken (“tangled up in the flesh of a girl”). This list of the decade's 100 best albums includes the work of rock revivalists (the Strokes, the White Stripes), dance floor visionaries (M.I.A., LCD Soundsystem) … Catch up every Saturday with 10 of our best-reviewed albums of the week. The 200 Best Albums of the 1960s. Grime, in retrospect, was never going to be much of an album-oriented genre. Listening back to, it seems just a trick of history that she wasn’t already– surely our memories deceive us, and “Boyz” was 2007’s summer jam, just like “Jimmy” ruled that spring with its Bollywood disco vamps? But Vespertine’s docile tranquility offers its own form of strength. Despite the artist’s indie CV, Robyn is classic pop: of-the-moment beats and endlessly replayable melodies, “Chappelle’s Show” and Shangri-Las, Missy Elliott and Madonna, Snoop Dogg and Prince, relatable feelings expressed clearly and distinctively and you can dance to ’em, available at a retailer near you via Universal. Lil Wayne’s most recent truly great mixtape should probably be remembered as the one that forced its stoned creator to look outside rap if he wanted to get much higher. Of course they never did it again; how could they have? Create your own list of music and share it with the world. –Mark Pytlik. But even accounting for the record’s nods towards mutant funk, the Jaxx warped their style into something even grander and crazier on this sophomore excursion. The band would go on to release a string of similarly catchy records, but, is their most charmingly character-driven piece. Deeply middle class, musically ambitious but never alienating, emotionally naked: This was not the stuff of pre-2002 hip-hop. –Sean Fennessey, ...And You Will Know Us by the Trail of Dead. An especially dedicated travel guide to his home state, Stevens finds room for Ypsi and Yoopers, the 84 Tigers and Henry Ford, the People Mover, and, most importantly, people– the broken-hearted unemployed of “The Upper Peninsula”, the children of divorce in “Romulus”. But the groups they’d come up with were vanishing and the path forward for a band in their position wasn’t exactly clear. A throbbing, slipshod, impenetrably thick collection of lo-fi punk-rock performed by two lanky dudes in hi-tops, is ecstatic and gloomy and propulsive, and listening to it– all 30, glorious minutes of looped samples and unintelligible lyrics– is enough to make a girl want to kick down doors. Music reviews, ratings, news and more. It’s a cheeky record too: Early in the record they give us “Pulk/Pull”, easily the most out-there vocal track to appear on a Radiohead record, while “Glasshouse”’s oft-quoted line about “someone listening in” is as politically unnerved as it is artistically self-aware. –Stephen M. Deusner, is often pegged as a record about Kevin Barnes’ struggle with depression and the temporary dissolution of his marriage. In Rainbows, though, remains a shiny, untroubled thing, an architectural marvel with requisite balances between light/dark, simple/complicated and utilitarian/vanguard intact. With albums from Elvis Presley, Frank Sinatra, Miles Davis, The Rolling Stones, Bob Dylan, The Sex Pistols, ACDC, Ray Price, the Beach Boys, Sonic Youth, P J Harvey, Jack White, Green Day, Christina Aguilera, and the latest from David Bowie ... A throbbing, slipshod, impenetrably thick collection of lo-fi punk-rock performed by two lanky dudes in hi-tops, Nouns is ecstatic and gloomy and propulsive, and listening to it– all 30, glorious minutes of looped samples and unintelligible lyrics– is enough to make a girl want to kick down doors. Or: I love this record out of a deeply embedded respect and admiration for things I do not understand and which also, incidentally, creep me the hell out? Daft Punk grabbed the #3 spot on Pitchfork's list of the Top 200 albums of the 2000s . –Marc Hogan, Listen: The Flaming Lips: “Do You Realize? Ruffling their polished yacht-rock around the edges by applying measured doses of Strokes-esque rock guitar, compromised none of the preternatural pop songcraft wizardry of, , but traded in a litany of odd old touches– palm-muted guitar, disingenuous blue-eyed soul– to arrangements that actually sounded like the guys were having, . From underrated gems by the time of their release to already modern classics, these are the choices from … Or: I love this record out of a deeply embedded respect and admiration for things I do not understand and which also, incidentally, creep me the hell out? Disenchanted with the virtues of perpetual coolness, these ear-to-ear studio geeks let their square flag fly in the form of their 10th album’s primped acoustic guitars, drippy synths, rounded bass, and mass licensing exposure. An electric jungle lurks in the crevices of “Silence”. Even if Sal Paradise hadn’t cracked about boys and girls’ sad times together, the Hold Steady would still be writing the same sad songs about them. But it wasn’t until the group toured with opener Clap Your Hands Say Yeah! But like most pop icons, it’s taste, maybe more than talent, that puts him over. Recorded in a country house near Cape Cod, and featuring a cover photo reminiscent of Edward Hopper’s luminous interiors, took the Brooklyn out of the band and made it something more universal. –Tom Breihan, Before there were a thousand articles about the “Montreal scene” or a string of side projects by the band’s busy members, there was simply Wolf Parade’s debut, an unabashedly open-hearted collection of offbeat instrumentation—yes, that is a Theremin on “Same Ghost Every Night”—and timeless melodies delivered by the group’s dueling shivery frontmen. Http: //www.acclaimedmusic.net/ heartbreak feels real, and uncontainable—that’s oddly timeless the end is! It weighs on every moment, this is bedrock for a given artist– we them... To you, ” she tells herself ; “I can’t say no you! Dead seemed to exist on the receiving end of the 2010s, a work of face-palms. Often derided as amateurish which 50 are new to this edition best 50 albums of all time,! 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