Rate 5 stars Rate 4 stars Rate 3 stars Rate 2 stars Rate 1 star . There will be snacks. Sophie — Oil of Every Pearl’s Un-Insides. Any spirit. But Vitalic was almost, , going at his ring-modded synths and acid squelches as if they were his first Sears-catalog guitar. The Weeknd — … . The Mysterious Production of Eggs is the greatest statement to leak out of that world onto a record. The Monkeys initially won freakishly enthusiastic acclaim for their clenched-fist stomp, raucous guitar attack, and sodden attitude on songs like “I Bet You Look Good on the Dancefloor.” But what endures are the weary ballads. Before he would construct dream-pop anthems out of John Hughes’ celluloid teen angst, Anthony Gonzalez (and then-bandmate Nicolas Fromageau) gave us this behemoth of sound. Sure, Banhart picks his tinny guitar gingerly and offers his plain words politely, but he’s just a shepherd delivering a proclamation wrapped in sheep’s clothing: “We’ve known/ We’ve had a choice/ We chose rejoice,” he closes, rejecting everything but the brambly, uncertain path ahead. Deerhoof are a case in point: the Bay Area quartet makes music that’s punk, but pop; noisy but pretty; thoroughly composed, but explosively performed. The band was having a bit of a laugh at its own expense with the self-deprecating album title—this was their seventh record of impossibly thick, slow ambience, and here they expanded their palette of timbres and stretched out over two full CDs to let each piece breathe as deeply as possible. Encapsulating and elevating the best of Destroyer's back catalog, Destroyer's Rubies serves as a potent reminder that the intelligence of Bejar's songs has never obfuscated their emotional weight. The credo opens Devendra Banhart’s first proper and only essential album and immediately delivers attitude and confidence, declaring Banhart’s prerogatives as an individual (beards, sharing, nostalgia, nature) and his aspirations for overcoming the mundane and mute. When the same band released In Rainbows in 2007, many of those same people headed to the internet and paid whatever they wanted, then listened to it on a computer file on their phone. Broken Social Scene, Grizzly Bear, Sufjan Stevens, and Fleet Foxes expanded the indie-rock palette as LCD Soundsystem and Hot Chip made the dancefloor sweat. The Top 200 Albums of the 2000s is a chart from Pitchfork, created in 2009. Can you name the 200 best albums of the 2000s according to Pitchfork? made by Lucasmotarony. The slower-paced, ethereal qualities of “In Church” and “On a White Lake, Near a Green Mountain” hinted at the romance of future M83 tracks. Deerhoof are a case in point: the Bay Area quartet makes music that’s punk, but pop; noisy but pretty; thoroughly composed, but explosively performed. –Joe Tangari, Stars of the Lid: Requiem for Dying Mothers Pt.1, Scarface aficionados might question Facemob’s sole New York-focused Def Jam record as a representative of the artist’s best work. is the greatest statement to leak out of that world onto a record. The songs that follow are guileless and spirited, as equally dependent on wry winks (“This Beard Is for Siobhan”) as uncloaked sentiments (“Autumn’s Child”). Ad Choices. “The modern-day composer refuses to die.” So said your parents’ very own modern-day composer Frank Zappa (quoting Varèse), and though countless haters will try to convince you otherwise, originality is. The band was having a bit of a laugh at its own expense with the self-deprecating album title—this was their seventh record of impossibly thick, slow ambience, and here they expanded their palette of timbres and stretched out over two full CDs to let each piece breathe as deeply as possible. Author: TheWatchtower. caught them at the tipping point between their noisier early days and the comparatively delicate art-pop of all of their records since. The credo opens Devendra Banhart’s first proper and only essential album and immediately delivers attitude and confidence, declaring Banhart’s prerogatives as an individual (beards, sharing, nostalgia, nature) and his aspirations for overcoming the mundane and mute. our partners use cookies to personalize your experience, to show you ads based on your interests, and for measurement and analytics purposes. The slower-paced, ethereal qualities of “In Church” and “On a White Lake, Near a Green Mountain” hinted at the romance of future M83 tracks. It’s thoroughly original, from the gentle lilt of “Sovay” to the tidal rush of “Fake Palindromes,” the eerie murk of “A Nervous Tic Motion of the Head to the Left” and the Ravel-quoting bounce of “Skin Is, My.” When it all caves in, Bird will be there to play amidst the rubble, and you should join him if you can. Turning their blandness up to 11 and hoping they’ll blend in enough to be anthemic. is the biggest M83 record, leaving listeners—those poor flattened souls—pancaked in its wake. –Sean Fennessey, Listen: Arctic Monkeys: “I Bet You Look Good on the Dancefloor”, Ben Jacobs had to use words. Team - Thunder, Lightning, Strike, Ghostface Killah - The Pretty Toney Album, http://pitchfork.com/features/staff-lists/7706-the-top-200-albums-of-the-2000s-200-151/, The New York Times: Jon Caramanica's Best Albums of 2020, The Needle Drop's Top 200 Albums of the 2010s, Rolling Stone's 100 Best Albums of the 1990s, Rolling Stone's 500 Greatest Albums of All Time [2020]. Yet as the album became untethered from the physical world, it still remained the benchmark form for artists who aimed to make a lasting statement. See which albums are sitting at the top of this year's charts. Or playing it cool behind the microphone, as if on the off chance someone might hallucinate they have charisma. He cuts the Holden Caulfield figure perfectly, moping around Sheffield and observing the Chav life. Between 2001 and 2003, Andrew Bird doused his Bowl of Fire, moved to a farm, and fell through the stylistic looking glass into a weird world entirely his own. Sufjan Stevens - Illinois. BestEverAlbums.com brings together over 50,000 charts and calculates an overall ranking of the best albums of all time. Not quite as intimate as his earliest records and not quite brash and bombastic like its immediate predecessor. –Joe Colly, , Adam Wiltzie and Brian McBride create a deep pool of drone so heavy that its gravity pulls in sounds around it, swallowing them whole. At times charming, oddly affecting, and certainly promising but understandably something less than life changing. And whether he’s vamping and squiggling like a young eager-to-impress Prince on “When I Come Back Around” or crooning like a heartbroken old soul on the album’s show-stopping closer “Game for Fools,” there’s no mistaking that Multiply is first and foremost a remarkable statement made by a remarkable artist. –Jason Crock, “The modern-day composer refuses to die.” So said your parents’ very own modern-day composer Frank Zappa (quoting Varèse), and though countless haters will try to convince you otherwise, originality is always possible. This might explain why Talkie Walkie slipped by relatively unheralded; with its baroque arrangements, shivery arpeggios, hushed vocals, and meticulous attention to other micro-sized details, Talkie Walkie remains a quiet masterpiece. LCD Soundsystem - Sound of Silver. 14. His peers want to inspire you, but sometimes, you worry Vitalic is trying to kill you. –Brian Howe, Arctic Monkeys: “I Bet You Look Good on the Dancefloor”. Listen to Multiply once and you'll be struck by how reverent it is; listen to it three times and you'll start to notice the microscopic digital artifacts and subtle tweaks that give it personality and pop. to Four Tet, Kanye West to Joanna Newsom—and the many sides of Radiohead, too—here are the albums who defined the decade. by Blinutne Plays Quiz not verified by Sporcle . –Matt LeMay, Listen to Jamie Lidell’s earlier records—his aptly-titled solo debut Muddlin Gear or his Super_Collider work with Cristian Vogel—and you hear a playful yet restless Jack-of-all-trades trying to find his voice. 2009. Their debut album, Thunder, Lightning, Strike, is a hazy blend of nostalgia, evoking that period through a melange of action hero theme songs, early hip-hop (from 1979-82, in particular), and traces of 70s sunshine funk. Over the next decade, the sequencer would become a common sight on rock stages, and a legion of DJs (especially the French) responded in kind by infusing house-music juggernauts with the hyper-distorted wallop of power chords. Michael Gira’s spartan production and strong editing distill the power of Banhart’s vibrato and vision while giving the songs the space such oddball beauties deserve. –Brian Howe, There’s a fine line when it comes to precociousness. It’s thoroughly original, from the gentle lilt of “Sovay” to the tidal rush of “Fake Palindromes,” the eerie murk of “A Nervous Tic Motion of the Head to the Left” and the Ravel-quoting bounce of “Skin Is, My.” When it all caves in, Bird will be there to play amidst the rubble, and you should join him if you can. Simple and elegant, remains the jewel of the nebulous moment it led. But just as Drake was devoted to gentle sounds and downbeat moods, Boris are obsessively committed to fuzzy riffs and heavy rhythms, whether deployed in long, shivering drones or fiery, chugging blasts. marks a subtle refinement of Smith’s songwriting skills. It comes to mind that their relentless commitment to subtlety sets them apart, as does their masterful hand with tone. Blood Visions is a crossover in the best sense of the term, stealing the raucous energy and attitude of punk, the melodies of power pop, and the rough ingenuity of bedroom recording. All rights reserved. Between 2001 and 2003, Andrew Bird doused his Bowl of Fire, moved to a farm, and fell through the stylistic looking glass into a weird world entirely his own. We Love Life picked up where This Is Hardcore left off, shaking off the hangover to face whatever comes next. Music reviews, ratings, news and more. Drake — If You’re Reading This It’s Too Late. He wrote about temp labor, old vinyl, amino acids, and, oh yeah, girls. ... Can you name the 200 best albums of the 2000s according to Pitchfork? Whenever Lidell makes a not-so-subtle gesture towards his R&B forefathers, he does so with a healthy amount of polite disrespect—, is seasoned with enough electronic chicanery seamlessly integrated into the mix to remind folks that the record was in fact sharing discography space with equally individual talents like Aphex Twin and Squarepusher. But with this surer footing came deeper expeditions into the timeless gestural language of big-C Classic rock, making, one of Smith’s most accessible and enjoyable records. Apple O’ caught them at the tipping point between their noisier early days and the comparatively delicate art-pop of all of their records since. , and he’s found it: As Mark Pytlik notes in his Pitchfork write-up of the album, is most definitely reverential to its antecedents, and they’re often worn proudly on the sleeve of each track. © 2018 Condé Nast. –Joe Tangari, If New Weird America had actually existed, “This Is the Way” would have been its national anthem. If New Weird America had actually existed, “This Is the Way” would have been its national anthem. D'Angelo - Voodoo. Like many of the best bands of the decade (Animal Collective, LCD Soundsystem, the Knife), Deerhoof makes immediately identifiable music with seemingly scores of imitators—yet, nobody else has managed to produce anything quite like “Sealed With a Kiss,” or the Ravel-esque “The Forbidden Fruits.” If musical hybrids fell like low-hanging fruit in the ’00s, Apple O’ was a ripe, early masterpiece. But listen to the entire album in one long, rapturous sitting, and it’s hard to imagine it being made by anyone but Boris. Sheets upon sheets of plucked and bowed violin are joined by his singular whistle and painterly voice to frame homicidal personal ads, tales of children’s brains measured for defects, and musings on the long odds of biology. The album list omits Ariel Pink, who received Best New Music a handful of times throughout the decade, including a 9.0 for 2010's Before Today, which was #9 on Pitchfork… Consequence of Sound's Top 100 Albums Ever. Crafty and clever as his earlier works were, he had more to say this time, and so he started writing pop songs—intricate and busy songs that balanced on a hair his OCD and his ADHD, but songs that were catchy and wondrous as well. What spirit? slipped by relatively unheralded; with its baroque arrangements, shivery arpeggios, hushed vocals, and meticulous attention to other micro-sized details, , another occasionally maligned Nigel Godrich production, this is an acquired taste that impresses in slow drips rather than showy bursts. There’s joy in every byte of his tunes: the joy of gazing at girls, and gazing at light-emitting diodes, and telling the world how glorious they both are. ( 2003) LCD Soundsystem – Losing My Edge ( 2002) Jay-Z – 99 Problems ( 2003) The Knife – Heartbeats ( 2002) The Rapture – House of Jealous Lovers ( 2002) Pitchfork Music Festival Chicago; ... the early 2000s. So even as technology continues to advance—and we perhaps gain the ability to beam music directly into our brainstems—these are the 200 albums from the 2000s that we will still have on repeat. Throughout The Tired Sounds, dissonance is doled out in small portions, perfectly coloring the sculpted fields of sound. What is so unique about The Fix is that, from a macro view, it doesn’t sound anything like a 2002-era corporate New York rap record, despite Kanye West’s perfect soul basslines and Neptunes guest production spots; Scarface’s lyrics are unchanged, the same stories from the South Side of Houston, the same engagement with the same drug game, the same unyielding honesty and unwillingness to sacrifice ideals. At least here Cave's missteps occur when his reach exceeds his grasp, and the songs that fail manage to do so dramatically rather than boringly. After an awkward stage that lasted more than a decade, Pulp emerged in the 1990s as the oversexed life of the party. A list of Pitchfork's best music of the 2000s. Michael Gira’s spartan production and strong editing distill the power of Banhart’s vibrato and vision while giving the songs the space such oddball beauties deserve. Born of an unlikely convergence of time, place, and circumstance, The Disintegration Loops has lost none of its overwhelming beauty in the intervening years. Last week, Pitchfork counted down its Top 200 albums of the 2000s as voted on by the Web site's staff. So the sounds, hypnotic and magnificently textured in their own right, were literally falling apart and vanishing into the air as the pieces progressed, resulting in music that feels heavy with sadness and loss even as it feels spectral and weightless. But, as on the rest of, , Boris takes that inspiration and burns it away, leaving a trail of smoke rings that clearly spell the band’s name. Perfume Genius — No Shape. –Dominique Leone, Listen to any random track from Akuma No Uta, and many influences pop to mind—Earth, Motörhead, Stooges, Blue Öyster Cult, Fushitsusha. There is little hope on offer here, but plenty of silvery, well-executed riffs. Sheets upon sheets of plucked and bowed violin are joined by his singular whistle and painterly voice to frame homicidal personal ads, tales of children’s brains measured for defects, and musings on the long odds of biology. The material on this site may not be reproduced, distributed, transmitted, cached or otherwise used, except with prior written permission of Condé Nast. Over the next decade, the sequencer would become a common sight on rock stages, and a legion of DJs (especially the French) responded in kind by infusing house-music juggernauts with the hyper-distorted wallop of power chords. We're taking the top 50 songs from Pitchfork's top 500 tracks of the 2000s list and putting them head to head in one of the highest quality and competitive rates we've had yet. It is one of the most quintessentially American records imaginable. –Joe Tangari. As opening trifectas go, though, they don’t come much lovelier than “Venus,” “Cherry Blossom Girl,” and “Run.” –Mark Pytlik, Having completed the transition from acoustic bedroom folk to intricately orchestrated Beatlesque pop with 1998’s, , Elliott Smith took a more understated approach with 2000’s. –Chris Dahlen, The world ends not with a bang or a whimper, but with a party. Deeply cynical, shockingly self-aware 19-year-olds? “When the Sun Goes Down” is scarily well-written—the type of song that sounds a million years old the moment it begins. Grammy Award. Arctic Monkeys’ Alex Turner is the exception that proves the rule. Kind of a downer. –David Raposa. avg. –Marc Masters. In their crowded field, it's hard to say exactly what makes Stars of the Lid so special. –Grayson Currin, Listen: Devendra Banhart: “This Is the Way”, The world won’t listen. He started to sing (and sister Becky pitched in). Reatard (née Jay Lindsey) uses everything at his disposal to make symphonies of the simplest parts: an impassioned yelp, an acoustic guitar, flying-V riffs, bitter (and occasionally violent) lyrics. Outkast - Stankonia. From M.I.A. A true sleeper phenomenon, Jay Reatard’s breakout record is still creeping up on critics and fans well after its release. The album’s centerpiece, the swaying 12-minute jam “Naki Kyoku,” actually begins in a reflective mood not far from Drake’s melancholia. The Body's story is just vague and gruesome enough to be weirdly terrifying, totally Orwellian, and grander, louder, and more electrifying than anything the Thermals have spit out before. Preteen geniuses? NME's Highest Rated Albums of 2000. Cardi B — Invasion of Privacy. Robyn — Honey. Pitchfork is the most trusted voice in music. indirectly echo the sumptuous opening of Schubert’s String Quintet in C Major, one of the most ethereal pieces of music ever written. –David Raposa, Listen: Jamie Lidell: “When I Come Back Around”, Before he would construct dream-pop anthems out of John Hughes’ celluloid teen angst, Anthony Gonzalez (and then-bandmate Nicolas Fromageau) gave us this behemoth of sound. This is a solid, intelligent album that a lot of people will love-- one that'll slot onto indie-crossover CD racks right beside the debuts from Interpol, Franz Ferdinand, and the Futureheads. –Joe Tangari. He finally arrives there on the majestic closer, “Sunrise,” a rousing farewell for one of the most original bands of the last 30 years. –Jayson Greene, Listen: Bonnie “Prince” Billy: “Love Comes to Me”, After an awkward stage that lasted more than a decade, Pulp emerged in the 1990s as the oversexed life of the party. But with this surer footing came deeper expeditions into the timeless gestural language of big-C Classic rock, making Figure 8 one of Smith’s most accessible and enjoyable records. A list of the top albums of the year from Pitchfork (2000s). The lyrical gravitas of religious iconography and damn-the-man slogans gave the Portland pop-punk band renewed purpose, but it could have been just more hot air if it wasn’t married to such incendiary riffs, sexy, throbbing basslines, and urgent, earnest melodies. The Cold Vein is like a musical negative, an inverse reflection of hip-hop history, full of everything DJ's cast aside, from Sega sound effects to electro-industrialism, gear-work grooves malfunctioning, synthesizers belching, a menagerie of digitalia. left off, shaking off the hangover to face whatever comes next. Animal Collective and Joanna Newsom let their freak flags fly to stunning effect. Adding another layer of poignancy, the distressed tapes were transferred to digital around the time of September 11, and the Brooklyn-based Basinski created a DVD version of the project, setting the crumbling music to a static video he shot of smoldering Lower Manhattan, an image also used for the CD covers. 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). He finally arrives there on the majestic closer, “Sunrise,” a rousing farewell for one of the most original bands of the last 30 years. Check out Pitchfork's Year End List. On their seventh album, Pulp have pulled off yet another remarkable reinvention of their sound and outlook, while simultaneously making their most organic album since their full-length debut, It, was released almost two decades ago. Most recent protest music is pedantic and plodding, but with the Thermals’ joyously sloppy delivery and imaginative (and not-so-literal) storytelling, they revitalized the genre for a new generation. possible. Adding another layer of poignancy, the distressed tapes were transferred to digital around the time of September 11, and the Brooklyn-based Basinski created a DVD version of the project, setting the crumbling music to a static video he shot of smoldering Lower Manhattan, an image also used for the CD covers. –Mark Richardson, The solemn strings that open “Love Comes to Me”—the first track on The Letting Go—indirectly echo the sumptuous opening of Schubert’s String Quintet in C Major, one of the most ethereal pieces of music ever written. Drained of tension, suffused with wisdom and bottomless sadness, and graced by weary resignation, The Letting Go feels like the calm certainty of someone who has glimpsed the beyond. Whenever Lidell makes a not-so-subtle gesture towards his R&B forefathers, he does so with a healthy amount of polite disrespect—Multiply is seasoned with enough electronic chicanery seamlessly integrated into the mix to remind folks that the record was in fact sharing discography space with equally individual talents like Aphex Twin and Squarepusher. Rolling Stone 500 Greatest Albums of All Time. –Rebecca Raber, Listen: The Thermals: “Here’s Your Future”, Scarface aficionados might question Facemob’s sole New York-focused Def Jam record as a representative of the artist’s best work. That was the best bit: Now he could sing about girls and crushes and love. Or playing it cool behind the microphone, as if on the off chance someone might hallucinate they have charisma. But just as Drake was devoted to gentle sounds and downbeat moods, Boris are obsessively committed to fuzzy riffs and heavy rhythms, whether deployed in long, shivering drones or fiery, chugging blasts. is notable for its confidence and its discipline—neither of which is a particularly flashy trait. Despite that standing, their carefully manicured and occasionally over-polite music tends to be respected by critics rather than revered. But Vitalic was almost punk, going at his ring-modded synths and acid squelches as if they were his first Sears-catalog guitar. 15. The end result is impossible to categorize, which in modern times of rampant pigeonholing might just be one of the best compliments you could give.

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