Albums of The Decade : 2000 - 2009

I don’t know about you, but I’m sick and tired of seeing television programmes lamenting what a piss poor decade the so-called ‘noughties’ have been. I mean, a decade is just a period of time definable by the fact that it spans exactly ten years, other than that it holds no characteristics before we embark upon it and any failings of the past decade are the direct result of we humans being shit which would be rather a numbing thought. As it happens I don’t agree, nor do I think we’re that bad a species really (with some exceptions) and it’s with that underlying positivity that I shall begin writing this article, one that will identify my favourite record from each of the past ten years. When I started this back in June I had planned on establishing a top ten for every year but if I’m honest I’m not a top ten guy and I found it hard enough picking a best album without then trying to separate the inseparable. My selections are I’m afraid entirely personal despite vague attempts to ensure otherwise, but music is very much a personal matter and in the spirit of interactivity I invite you all to respond to this article below with your highlights from throughout the last ten years of music. Heck, throw in some low-lights if you like, but my new year’s resolution, or new decade’s revolution if you will, is to be positive and so I’m sticking to the sunny side of the street today.

2000

RADIOHEAD | Kid A

First things first – I’m not much of a Radiohead fan. That sounds harsh, but they’re just not a band who have ever captured me, or should I say they hadn’t up until the release of ‘Kid A’ at the start of the new millennium. When I was younger I could just about appreciate the subtle charms and heart-breaking elegance of an ‘OK Computer’ but I was too busy pretending I was a Rock n’ Roll Star to really care what Thom Yorke had to say about the world. That all changed with the release of this outstanding record, probably still my favourite of their collection despite the brilliance of ‘In_Rainbows’, one that starts on the perfect note with the brilliant ‘Everything In It’s Right Place’ before meandering through sounds that encapsulate the bands entire musical belief system. There’s pop and techno here and they stand next to each other without arguing, there are orchestral elements that had only been touched on in the bands’ previous offerings, there are sounds that display indulgence. Some bands sound shit when they try to indulge; Radiohead sound life-affirming. This was a record that took them from quality to legendary, from gentle whisperers of the gospel to a choir full of large women who boom in their every syllable, and yet Oxford’s finest did it without shifting from their strengths. If there’s a better dance tune than ‘Idioteque’ anywhere in existence I implore you to direct me towards it and will until that moment regard you, I’m afraid, as a liar. This record continues to inspire and astonish me and forever that shall remain.

Honourable mentions to the following: At The Drive In | Relationship Of Command, PJ Harvey | Stories From The City, Stories From The Sea, The Avalanches | Since I Left You, D’Angelo | Voodoo, Jurassic 5 | Quality Control.

2001

THE STROKES | Is This It

Without question an album that changed my life and it had to be as 2001 was a right belter of a year musically. When these five rich music school boys appeared on the scene it was like guitar music got a kick up the arse – it was no longer acceptable to have nice riffs without looking like a model and vice versa. To date I have only actively sought to look like one person and that man is Nick Valensi, whose Adidas Nizza trainers cost me a fair few Deutschmark’s on eBay, and that sentence might sum up my appreciation of New York’s finest. With The Strokes, you get the whole package. It would however be folly and downright disrespectful were I to select this album on the strength of its guitarist’s jaw line and indeed the record is an impressive one. Julian Casablancas’ vocal screams cool as he drawls his way through the entire eleven track composition, singing about metropolis life in a way that made you want to get on a plane. He’s supported by a drummer who didn’t come into his own technically until later works but what he does on this record is perfect in its simplicity whilst in Valensi the band surely own the world’s finest 3-note guitar soloist, backed up by the bouncing locks of Albert Hammond Jr. who perfected the suit/converse combo that still leaves me looking like a homosexual tramp. Meanwhile, Nikolai (whose solo work Nickel Eye is a MUST) sits back playing his bass which, when you listen closely, might just be the best bit. It’s just the perfect package this album and they’ve yet to better it – indeed; few will out-do the impact of this band and their first LP release, one that inspired a new breed of musicians, none of whom are as sexy as The Strokes. 

Honourable mentions to the following: Bob Dylan | Love And Theft, Jay-Z | The Blueprint, Bjórk | Vespertine, Radiohead | Amnesiac, Ryan Adams | Gold, Nick Cave and the Bad Seeds | No More Shall We Part.

2002

THE LIBERTINES | Up the Bracket

Forget the supermodel girlfriends, forget the drugs and the drama; The Libertines were quite simply an exceptional band. It’s unfortunate that Peter became so self-involved, just as it’s unfortunate that this nation prefers to pull down instead of to praise. But back in 2002 before all that nonsense these were just four men from London – a youthful looking lanky thing, his handsome wingman, a not-too-fussed bassist (typical) and a black drummer. I don’t mean to involve race, but in 2002 the fact that The Libertines had a black drummer was just another way in which they were different to the others. I’m actually getting a little emotional reliving this album, one that starts with ‘Vertigo’, a raucous two minute punk song that advertised quickly the bands simple charms; the double-vocal, the fast-twitch guitar hooks and unrelenting drums to back them up. Off the back of it ‘Death on the Stairs’ promises to provide a breather before picking up pace before one of my favourites, the dirty ‘Horrorshow’, takes its turn. It’s breathless and energetic, brash and bold, but the components are all thoroughly deserving and well though of – this album isn’t as shambolic as it appears to be, make no mistake. I could talk about every song and I firmly believe there are no weak-links, but the highlights include pop-tastic ‘Time For Heroes’ and the one that had us all sticking two fingers in the air, ‘I Get Along’. For whatever reason this band never caught on as well as they should’ve, despite the most energetic live performance I’ve ever had the pleasure of witnessing, and with their subsequent failings all-too famous people will tell me I’m wrong to put this as the record of 2002.

Fuck ‘em.

Honourable mentions to the following: Interpol | Turn on the Bright Lights, Beck | Sea Change, Doves | The Last Broadcast, The Vines | Highly Evolved, The Flaming Lips | Yoshimi Battles the Pink Robots, Spoon | Kill The Moonlight, Broken Social Scene | You Forgot It In People.

2003

THE WHITE STRIPES | Elephant

I must admit, 2003 was a year I thought I could’ve easily left out. If I had it my way, I’d pretend ‘Turn on the Bright Lights’ was released in 03 and write the full length article it so deserves. So I searched and I scratched my weary head until it finally dawned on me – Elephant is the best of The White Stripes’ albums, and if it can’t win a yearly prize there’s something very wrong with the judge and, being as that judge is me, well it chose itself. Jack and Meg always had the mystique, the questions that surrounded their relationship responsible for much of that, but in Jack White half of this band must be considered a musical God of their time. His subsequent works with The Raconteurs as well as countless contributions with other artists prove as much. But back to this record, this was the one that really put them on the global map and that’s not to underestimate the impact of its predecessor White Blood Cells, but right from the first deep note of ‘Seven Nation Army’ you knew they meant business. That song might well be the biggest on the album and certainly remains the most identifiable, but it’s supported by a cast that includes my favourite song of theirs ‘The Hardest Button to Button’, the blues-infested ‘Ball and Biscuit’ and the rock n’ roll purity of ‘Black Math’. At their best The White Stripes transcend genres and excite, live they cut an enormous figure that far outweighs the fact there are only two of them, and on ‘Elephant’ they fill in all the gaps of their previous records. Granted, 2003 wasn’t the best of years musically, but Detroit’s finest certainly deserve their place on this list.

Honourable mentions to the following: Outkast  | Speakerboxxx/The Love Below, The Postal Service  | Give Up, Yeah Yeah Yeahs  | Fever to Tell, The Strokes| Room on Fire, Radiohead | Hail to the Thief, Kings of Leon | Youth and Young Manhood, The Mars Volta | De-loused in Comatorium.

2004

HOPE OF THE STATES | The Lost Riots

This is my article and I’ll bloody well do what I like, yeah? So this is controversial and many readers will not be familiar with this album but that makes its inclusion even better – of all the albums I pick I hope you are inclined to go and get hold of this wonderful record, for it should not be allowed to be lost in the dark shelves of your local record shop. Hope of the States are, or rather were, a six-strong alternative/progressive/indie act who attempted to combine the obvious strengths of Godspeed You! Black Emperor and Mogwai into something more approachable and on ‘The Lost Riots’ they absolutely nailed it. Opening with the haunting instrumental ‘The Black Amnesias’ and moving seamlessly into ‘Enemies/Friends’, the video for which should be sought, Sam Herlihy and co darkly meander through minor chords to create provocative music with strong but simple undertones. Sam’s voice is weak and narrow but perfect for the message portrayed – the band make songs about hope and yearning and the fragility of man, and they sound like they mean every word sung and every note struck. ‘George Washington’ sees the band at their most accessible whilst ‘Nehemiah’ is anthemic, but by far the most unbelievable song on an awesome album is ‘Black Dollar Bills’ which builds slowly before crashing into light then breaking down, falling into pieces and pulling you up and down with it whilst you listen. I can’t speak highly enough of this record and it’s a shame that their follow-up ‘Left’ didn’t match these lofty heights but for ‘The Lost Riots’ I will forever be grateful to Hope of the States, a band I miss terribly.

Honourable mentions to the following: Brian Wilson | Smile, Kanye West | The College Dropout, Sufjan Stevens | Seven Swans, Boy In Da Corner | Dizzee Rascal, The Futureheads | The Futureheads, The Shins | Chutes Too Narrow, Patti Smith | Trampin’, Secret Machines | Now Here Is Nowhere

2005

THE ARCADE FIRE | Funeral

I am happy to admit this probably should’ve gone to Kanye West, whose ‘Late Registration’ is an excellent hip-hop record, one of the best of the decade in its category and certainly a strong challenger for best of 2005. However, Kanye West is a right idiot. To my knowledge, The Arcade Fire are not idiots. Kids – not being an idiot can get you somewhere in life, so take off the plastic glasses that neither help improve your reading nor block out the sun and get back to your homework, pronto. So, Funeral. My sister bought me this record as a farewell gift when I started university and so it’s her I have to thank for introducing me to a fabulous band, whose sense of theatrical timing is rarely bettered. ‘Tunnels’ is a euphoric start to the album and it’s supported by neighbour (see what I did?) ‘Laika’, a far more simplistic alternative and yet one that manages to sneak in an accordion of sorts. This is as lo-fi as they get for generally they sound like they’re playing in the Royal Albert Hall; they’re grandstand and gigantic and, on this record at least, they just don’t disappoint. ‘Une Aneé Sans Lumiere’ sees the band at their most low-key and it’s suitably dark and heartbreaking, whilst ‘Wake Up’ was brilliant even before Where The Wild Things are ran it as their most appropriate soundtrack. However, the song I thank this band for the most is yet to be mentioned, it’s the song that closed almost every night I spent in Nottingham’s once-excellent Cookie Club (people in Nottingham are too cool for indie now, they like rubbish – fact) and the song I speak of is, of course, Rebellion (Lies). Epic in every sense and a five-minute journey through the bands multiple attributes, this song was born to accompany the sun on its journey to the other side of the planet and if you don’t like it I don’t like you.

Honourable mentions to the following: Sufjan Stevens | Illinois, Arular | M.I.A, Kanye West | Late Registration, Bright Eyes | I’m Wide Awake, It’s Morning, LCD Soundsystem | LCD Soundsystem, My Morning Jacket | Z, Antony & The Johnsons | I Am A Bird Now, Bloc Party | Silent Alarm.

2006

BOB DYLAN | Modern Times

All hail the King and step forward Robert Zimmerman, a.k.a Bob Dylan, one of the finest song-smiths of all time. It says much that you could probably find a space for Dylan in a similar article about every decade from the 60’s onwards but he is top of the list for 2006 on merit not on past victories; Modern Times is a fantastic album. Comparing this with classics like ‘Blonde on Blonde’ or ‘Highway 61: Revisited’ would be unfair to the artist and quite simply unrealistic, as he well put it the times they are a-changin’ and with them so does music, but any man who can make a record like this some four decades after he came to prominence has to go down as a genius. ‘Modern Times’ is a commanding and profound piece of work, different to many of his albums in that its message is one of sinister hatred for what his country has become. It documents the journey from the past to the present in a cutting way and exercises all of the skills gained in the 30 studio albums that preceded it as Dylan delivers his customary drawl with that edge of experience and wisdom he has developed throughout his career. In terms of highlights, each song offers plenty but opener ‘Thunder on the Mountain’ is particularly enlightening and surprising in content whilst both ‘When the Deal Goes Down’ and ‘Beyond the Horizon’ are lyrically brilliant, typically poetic and as fresh as anything you’ll hear this year. Bob Dylan and his band continue on their never ending tour and if they’re still playing songs from ‘Modern Times’, well that’s just one more reason to pay a fortune to catch it.

Honourable mentions to the following: Joanna Newsom | Ys, The Decembrists | The Crane Wife, Arctic Monkeys | Whatever People Say I Am, That’s What I’m Not, Cat Power | Greatest, Cold War Kids | Robbers & Cowards, Amy Winehouse | Back to Black, Broken Social Scene | Broken Social Scene.

2007

THE NATIONAL | Boxer

This is the album that gently eased The National into the global musical market – they weren’t propelled nor did they explode, they just crept into view and that’s probably how they’d want it. Their fourth full-length offering, ‘Boxer’ is alike other albums featured in this list in that it acts as the bands coming of age, their realisation of brilliance that followed unbridled potential. Where predecessor ‘Alligator’ was superb yet slightly disjointed, a collection of songs rather than a collective, this masterpiece feels like it’s been carefully sculpted through hours of dedication and attention to detail. As ever, Berninger’s baritone managed not to pull down the subtle sweetness of melody that has always defined the band, yet still somehow retaining the emotion that the words require. The National aren’t particularly literary; they don’t engage in too much metaphor and nor to they skirt around subjects, instead they use their ability to create drama in song whilst singing about things that seem mundane but are actually fundamental to our existence – relationships, social life, our jobs, anything that makes a human revolve can be the focus of this excellent band’s music. On ‘Boxer’, that fact is painted with a delicately elaborate brush, with ‘Fake Empire’ impressing most lead by a three-chord piano and accentuated by an almost orchestral quality; subtle introduction of sounds building towards the last thirty seconds, in which the vocal retracts to allow the emotion of melody to pour over the closing stages. And that’s just one song; ‘Apartment Story’ is almost as upbeat as they get here and the repetitive nature of the drum is perfect for it, ‘Green Gloves’ resonates with this particular writer whilst if you can find me a more deeply beautiful end to a record than that found here courtesy of ‘Ada’ and ‘Gospel’ then you’ve done exceedingly well. If you hadn’t guessed it already, I am head over heels in love with this record, and forever that shall remain true.

Honourable mentions to the following: Jamie T | Panic Prevention, M.I.A | Kala, Radiohead | In_Rainbows, Burial | Untrue, LCD Soundsystem | Sound of Silver, Battles | Mirrored, Klaxons | Myths of the Near Future, Animal Collective | Strawberry Jam, Kanye West | Graduation.

2008

BON IVER | For Emma, Forever Ago

A very, very tough year and no albums that provoke me as much as some mentioned, but a worthy winner nevertheless in Bon Iver’s ‘For Emma, Forever Ago’, a delightful record packed full emotion and every ounce of it genuine. Justin Vernon is the man behind the name and in it is amazing that he created this gem on his own in a Wisconsin shed. I’ve never been to Wisconsin, but I’m not aware of any magical sheds, so credit to him for this heartfelt record written on the back of, predictably, a split from Emma. The music within though is anything but predictable and meticulously placed, each note complimenting another and not a single sound wasted. I am not even close to the realm of Bon Iver in my music creating but I know the pitfalls of solo work all too well, one of them being the temptation to over-indulge, to layer the music until it becomes hazy and tired and its original message is lost. Bon Iver, it seems, has no problem with such a problem. ‘For Emma, Forever Ago’ is a nine-track work of art and whilst I may have haphazardly discarded its potential to provoke, there is no doubt many a tear will have been shed whilst listening to this album, many of them courtesy of its creator. Highlights include opener ‘Flume’ whilst ‘Creature Fear’ will make your heart bleed for the lost love of the man behind this excellent and understated piece of simple beauty. It says much that I nominated this ahead of some of the excellent albums below, partly because those below grabbed headlines whilst this one perhaps did little more than ease the troubled heart of Justin Vernon. 

Honourable mentions to the following: Kings of Leon | Only By The Times, Elbow | The Seldom Seen Kid, Vampire Weekend | Vampire Weekend, MGMT | Oracular Spectacular, TV On The Radio | Dear Science, Fleet Foxes | Fleet Foxes, The Gaslight Anthem | The ’59 Sound, Portishead | Third.

2009

PASSION PIT | Manners

My thoughts on Passion Pit and their album ‘Manners’ are well documented on this website already but lets go again, shall we? This album got a ten, as would all of those deemed worthy of winning their year, and though the real test of an album is often its longevity I see no reason why this won’t sound as good in a decade’s time. Michael Angelakos and co poured their every drop of energy into creating an album packed with dance-floor filler indie/electro/pop numbers, whilst still managing to make their lyrics and delivery engaging and thought-provoking. Largely a collection of love songs in a simple manner of speaking, this isn’t a record that feels stale or one dimensional, indeed it’d be impossible to draw that conclusion from these 11 hits, each with its own delightful hook. If Passion Pit have a flaw it’s definitely in their titling, fortunately ‘Cuddle Fuddle’ from their EP ‘Chunk of Change’ didn’t feature here, but whilst their careful attention for detail might be lost in their titles the same cannot be said of the songs themselves. Melodically this band are astonishing and dynamic and in a similar way to The Strokes almost a decade before them they’ve opened the door for a new breed of band and allowed computers to be a genuine instrument. ‘The Reeling’ is a deserved radio hit, ‘Sleepyhead’ is mind-blowing and ‘Make Light’ is the perfect start to a near perfect debut album. It remains to be seen whether the band can follow this up, but they may not need to – this album stands out in a strong year and that it is a debut only sets it further apart.

Honourable mentions to the following: Wild Beasts | Two Dancers, Animal Collective | Merriweather Post Pavilion, The XX | XX, Grizzy Bear | Veckatimest, Jay-Z | The Blueprint 3, St. Vincent | Actor, The Horrors | Primary Colours, Girls | Album, Metric | Fantasies, Camera Obscura | My Maudlin Career, Florence and the Machine | Lungs.

There you go. That’s it. I’m exhausted, you’re exhausted, but I feel strangely satisfied and it has been a lot of fun reliving some albums. You may notice by the way that my short term memory impresses more than its long term counterpart and so the list of nearly-records increases with each passing year. Sorry about that. 

I love music, don’t you? Makes me want to be 18 again mind you, dreaming of being one of these humans I so clearly and so dearly revere. Still, as Celebrity Big Brother has somehow just worked its way onto my television I’ll remind myself of how it can so quickly go wrong. Whilst I’m on the subject, I must apologise for omitting Dane Bowers from calculations so carelessly. 

With love, I hope you enjoyed this as much as I did writing it and hope on behalf of all of us the next decade is as fruitful as the last and that the planet still exists at the end of it. Toodle-pip.

XX.

Words: Benjamin Coley

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