#32 - Phil

T.I.

Trap Muzik

2003

In my eyes, T.I. is the single greatest rapper to ever come out of the South (the only rap artists who rival him are Outkast). A genre of hip-hop that far too often dismisses lyrical importance and simply throws as much bass and snare into its beats as possible, T.I. certainly is an exception to this norm as he consistently produces excellent albums that not only make people dance, but also make them think. And there is no record in his discography that does this more effectively than 2003’s superbly-crafted Trap Muzik.

On T.I.’s second album, he puts his trust in the hands of several famous hip-hop producers. David Banner, one of the most famous southern rap producers ever, provides the record with one of its biggest singles in “Rubber Band Man.” Kanye West – whom I consider the greatest hip-hop producer of all-time – comes through with two songs, including one of my favorites, “Doin’ My Job.” But the greatest work of all comes from DJ Toomp, who produces three of the best songs of T.I.’s career in “Be Easy,” “Bezzle,” and the album’s lead single, “24s.” “24’s” was the first song that really put T.I. on the map, and that alone makes me consider it one of the most important singles in southern hip-hop history: “In a drop-top Chevy with the roof wide open / My partner's looking at me to see if my eyes open / ‘Cause I’ve been drinkin’ and I’ve been smokin’ / And flyin’ down 285, but I’m focused.” T.I. doesn’t care if you judge him for writing songs about being intoxicated and driving… there’s no denying that after this album, he truly is "King of the South." -P.W.

Before listening to Trap Muzik I was only familiar with his more recent album, King. Of the Southern rappers I’ve heard, T.I. is easily my favorite. So, before listening to Trap Muzik, I knew I’d enjoy the production, which is surely my favorite part of the his work. In fact, I find myself concentrating more on the beats than I do T.I. himself. The highlight for me was “Be Easy” with the dampened soul vocals and back-up piano and brass. - Ryan

T.I. has got quite a swagger and the strong Southern production backing him up keeps the tunes thrilling. I had enjoyed "King" when it came out a few years ago, specifically the psych-rap masterpiece "What You Know", but I was unfamiliar with his earlier work. Regardless of the lyrical content (which varies widely, spanning anything from drug deals gone wrong to accepting his father's apology), the sounds hold up here with a punchy production style and a nice ear for melody. - Steve

#32 - Ryan & Steve

Beck

Sea Change

2002

Somber, sullen and without that "Midnite Vultures"-zeal, Beck turns in my favorite record of his career in 2002. This is his fourth album - the ethereal, surreal and downtrodden, "Sea Change". As a high schooler trying to grab my footing on the world, this record was there to comfort and soothe. Created with an amalgam of quiet acoustic guitar, piano and subtle electronic flourishes, Beck has composed a deeply personal, confessional collection of songs.

The tracks here resemble one another in tone and pacing, but with Beck's finely-tuned songwriting craft, he's managed to create a universal atmosphere while still retaining the individual strength of each and every song. A powerful album of subtlety that's greatly enhanced by Nigel Godrich's (of Radiohead & "Mutations" fame) production filling the space with gracious strings and a sophisticated restraint. A gorgeous soundtrack for those grey days inside your mind. -S.R.

One of the most beautiful albums I have ever heard. People often refer to Odelay as Beck’s greatest because it more closely encompasses his overall sound, but Sea Change is the one I almost always turn to. The effects of his vocals make it seem as though the whole time he’s singing the songs to you and just to you, creating an incredibly intimate experience. Highly recommended from this end as well. - Phil

#33 - Phil

Wolf Parade

Apologies to the Queen Mary

2005

During sophomore year of college, Steve and I were roommates in our little box of a dorm room. In many ways it was a wonderful experience, but I think I speak for both of us when I say we were thrilled when the year was over and we moved into our apartment with our OWN bedrooms:). One of my favorite memories, though, was being introduced by Steve to this brand new band from Montreal, Wolf Parade. I had heard him listening to “You Are a Runner and I am My Father’s Son,” the opening track to their debut album Apologies to the Queen Mary, and was immediately hooked to what I felt was a very original and expressive sound.

What particularly grabs me about Wolf Parade is the way their songs move. They are incredibly keen at knowing just how to build their instrumentation with their singers’ vocals to make the emotion and the power of their lyrics come alive fully. “Grounds for Divorce” is a standout in that it’s one of the album’s most upbeat songs, yet it describes the annoying arguments that take place at the end of a relationship quite effectively: “You said you hate the sound of the buses on the ground / You said you hate the way they scrape their brakes all over town / Said, ‘Pretend it’s whales keeping their voices down’ / Such were the grounds for divorce I know.” These “up-beat serious subjects” are a common theme for Wolf Parade, but they never sound artificial or misaligned. I believe the reason for this is due to the passion of their singers’ voices; they allow themselves to completely let go of their reservations and – like their songs’ arrangements – just go with whatever feels right. -P.W.

This album really took the indie scene by storm. Wolf Parade was the perfect marriage of Modest Mouse and The Arcade Fire and this album was released at just the right time in music history to capture the ears of everyone listening at the time. Spencer Krug’s wavering voice is so appealing, but I think he hasn’t been able to maintain this quality in his vocals over time because of the ridiculous number of other side projects he has (Swan Lake, Handsome Furs, Sunset Rubdown, etc.). There is not a single bad song on this album with highlights like “Modern World,” “Dear Sons and Daughters of Hungry Ghosts,” and “It’s a Curse.” - Ryan

This is a record that is quintessentially collegiate for me. Phil and I would regularly listen to this one together as it was a safe choice we could both enjoy in our small-quartered dorm room. Excellent songwriting and a penchant for subtly stealing from Modest Mouse (even going as far as to have Isaac Brock produce this record) helped catapult this band to fame. I'll always love this record if for nothing else, at least "Modern World" and "I'll Believe in Anything", two anthemic examples of what the indie rock world was precisely loving in 2005. A record of its time. - Steve

#33 - Ryan & Steve

Supersilent

6

2003

The unclassifiable Supersilent. A Norwegian group of four men (Arve Henriksen, Helge Sten, Ståle Storløkken, Jarle Vespestad) who never rehearse or speak of the music, but instead have improvised the entirety of their musical output. Occasionally referred to as a death/free jazz/electronic group, the sounds emanating from this band are otherworldly and without many aural references. The glorious noises contained within "6" are certainly the best place to begin for those unfamiliar with the group as the forms and structures here are as exciting and dynamic as the band ever is.

For an improvised band without the use of overdubs, Supersilent have created some ecstatic and unbelievable moments of musical telepathy. Many of the numbers on "6" sound structured and predetermined, but their label, the illustrious Rune Grammofon and the members themselves have repeatedly assured us, it's all free baby, it's all free.

When this record first came out, it was positioned and pitched by the label as some sort of grandfather post-rock band, a group with a mindset similar to a Sigur Rós or a Godspeed You! Black Emperor. While the sonics here are occasionally ambient and the songs do stretch for miles, this has far more to do with out- & free-jazz than it does with the (occasionally) numbing plod of a self-righteous post-rock group. This is one of the few records in my collection that has actually captured a rare, sincere moment of transcendence amongst musicians. A pure, musical epiphany if there ever was. -S.R.

At first I wasn’t sure if I was going to be able to withstand this very bare, voiceless record from start to finish. I listened to it for the first time driving home from one of my shows late at night, and as the album progressed I found myself feeling completely free from all my worries and uncertainties. It’s an album that I truly believe works best listened to while performing a quiet and solitary activity – like driving late at night – and if this is done I feel confident in saying the listener’s reward will be great. - Phil

#34 - Phil

Drive-by Truckers

Decoration Day

2003

Six years ago, my mom told me about this country band whose CD she had purchased and could not stop listening to called Drive-by Truckers. I said, “Are you serious, Mom? You don’t even like country!” She said, “I know, but I REALLY like this!” Intrigued, I decided to listen to the Truckers’ album she had purchased, Decoration Day. Even before the record was finished, I knew I was listening to something quite special.

The album opens with a slow and very traditional-sounding song called “The Deeper In.” It’s an incredibly powerful ballad about a girl who’s had four children with her father, written in a way that keeps the listener in the dark until the very end: “So you jumped on his bike and rode into the sunset / But the sequel it started with the next morning sun / And the dew on the bike seat and you all a glow / From the love he put in you and a life on the run.” These are the types of stories the Drive-by Truckers gravitate towards – solemn and inescapably hopeless. “My Sweet Annette” describes an affair between the narrator and his fiancé’s best friend that shows sincere empathy for the woman who’s been cheated on. “Sounds Better in the Song” is one of the most affecting songs I’ve ever heard at illustrating the feeling of losing the love of one’s life: “I might as well have slipped that ring on your finger from the window of a van as it drove away…” And the album’s closer, “Loaded Gun in the Closet,” tells the story of a lonely housewife who spends every day going through the motions, waiting for the day when she’ll finally put an end to it all. -P.W.

Unlike Steve, I dig some good ol’ alt-country. I think it’s because I grew up with my parents playing country all the time. While I can’t take the pop country they tend to listen to, twang and Southern folk really take me back to simpler times. I hadn’t heard of Drive-by Truckers until last year with Brighter Than Creation’s Dark, which was a fantastic album if you can make it through the hefty one hour + run-time. In fact, that’s the only complaint I have about these folks: they can’t seem to edit themselves. While I really enjoyed this album, I have a hard time holding the album up as one of the best of the decade. I wouldn’t insult them by calling them a guilty pleasure, but I also tend to only reserve these guys for relaxing after an intense week of classes. - Ryan

I should start this response by saying that I've never had much of an affinity for alt-country. In particular though, the Drive-By Truckers have never clicked for me. One theory I've concocted is that the Drive-By Truckers sound a little more authentic than most alt-country aimed at the indie sect, hell, they even go so far as to directly ape the sounds of Lynard Skynard. And few bands leave a worse taste in my mouth than 'Skynard. - Steve

#34 - Ryan & Steve

Dizzee Rascal

Boy In Da Corner

2003

Dizzee has had a meteoric rise in the UK with this stellar debut. Boy In Da Corner won over a devout following in the UK underground. While he hasn’t been around as long, a friend of mine from London once told me that this album was what made many people claim that he would become the Jay-Z of grime. This definitely surprised me as I wouldn’t say Boy In Da Corner is necessarily that broadly appealing.

It took me several years to start listening to hip hop but when I finally did, this was my favorite record for quite some time. Dizzee may still have some of the swagger not uncommon in rappers, but he also can actually be self-degrading, self-reflective, and just plain goofy. What caught my attention most though, were the harsh, pounding, sharply cut breaks and beats. This was my first exposure to grime and I was stunned at how much it wasn’t focused on being fluid and smooth. Dizzee Rascal doesn’t want to give you a breath. While this is unfortunate given the album is a solid hour long, this may be the greatest endeavor in grime, and it’s from an 18 year old. -R.C.

Very impressive debut album. What particularly stands out to me is Dizzee Rascal’s incredible control using his complex beats to accentuate his lyrics as well as drive the mood of his songs. The result is a powerful and varied album that refuses to let the listener ignore it in the background. Highly recommended to anyone looking for a refreshing sound in the world of hip-hop. - Phil

#35 - Phil

Scissor Sisters

Scissor Sisters

2004

Once in a great while, a band comes along with a sound so innovative and fresh that you simply can’t stop listening to them for weeks because everything else on the radio just seems so dull. After I heard the Scissor Sisters’ self-titled debut album for the first time, that’s exactly what I did. This band completely took over the UK music scene with five Top-20 singles in 2004 alone – and would have been way more popular in this country if they were a group of Gossip Girl lookalikes instead of flamboyant gays (although sometimes it’s hard to tell the difference).

The song that first got this band noticed is their cover of Pink Floyd’s “Comfortably Numb.” Coming in third on the album, the track soars with an electronic richness that will make you feel like going out clubbing even if it’s a Sunday morning. It is one of the best cover songs I’ve ever heard. As for the album’s originals, almost every track is sheer pop perfection. Songs like “Take Your Momma” and “Lovers in the Backseat” will test your shrieking vocal power as they are impossible not to sing along to. Ballads like “Mary” and “Return to Oz” show off the group’s versatility while still never relinquishing a bit of their charm. And “Tits on the Radio” is as ridiculously awesome as its name suggests – just a complete lose-your-head dance number right in heart of the album’s core. -P.W.

I can’t tell you how many times I had heard this band’s name back when they were pretty popular around 2004. I knew nothing about them and for some reason I never really bothered to listen. I must thank Phil for putting this on his list. Though they are pretty much a pure disco (?) throw-back band I really enjoyed this whole album. I can’t help but compare them to The Darkness in some ways in that it’s somewhat hard to take them completely seriously. Overall, I enjoyed this one thoroughly. Thanks Phil. I may be playing some of these tunes for a party in the future. - Ryan

More falsetto emerging from Phil's list. Here is a band that I never paid much mind while they were moderately popular. Looking back, this is a party album of throwback '70s tunes, Bee Gee's love and unabashed disco-revival. Definitely the type of record that I'd love in the proper context but would rarely revisit. It has solid tunes and a serious commitment to it's style. An album made for intoxication. - Steve

#35 - Ryan & Steve

Shuttle 358

Frame

2000

Dan Abrams turned a lot of heads with his impressive debut in the world of minimal electronic music with the album Optimal.lp. The very next year, Abrams managed to craft what is quite possibly his masterpiece. In fact, upon its release, several critics did not hesitate to mention Music for Airports by Eno, Selective Ambient Works by Aphex Twin, or various Biosphere records in the same sentence as Shuttle 358’s Frame.

Frame was released on Taylor Deupree’s micro house label, 12k. Amongst several excellent releases on the imprint, Frame still manages to outshine others with its brilliance. As if minimal digital music was already difficult to distinguish from pure ambient music, Abrams blends the breaks the confines of these interrelated styles. Frame is a collection of luscious microtonal soundscapes that is melancholy yet soothing. It is serene and yet never becomes plodding or drawn out. Utilizing synths and various modules, Abrams approaches this music with a focus on sound design as opposed to melodies or structure. After listening to Frame it is clear that bigger and more bombastic is not necessarily better in the world of electronic music (you hear that Aaron Funk?). -R.C.

I would really love to sit down with someone who was crazy about this album and ask them what they loved about it so much….what made it stand out from the other albums in the pack. Personally, I have no idea what would draw one to this album multiple times. It’s so bare and basic that some people would probably have a hard time calling it music, and it doesn’t really go anywhere from track to track. Did I mention that I didn’t care for it much? - Phil

#36 - Phil

50 Cent

The Massacre

2005

Happy Thanksgiving everyone! I’d like to share with you an album I’m truly thankful for – 50 Cent’s The Massacre. When 50 burst onto the music scene in 2003 with his terrific debut Get Rich or Die Tryin’, he became arguably the biggest rapper in the world in a matter of months. His single “In Da Club” completely monopolized the radio stations, as it was one of the greatest debut singles by any rap artist in history. From a commercial standpoint, there was absolutely no way 50 could top Get Rich. But artistically, he had plenty of room to grow. And that’s just what did on his nearly flawless follow-up, The Massacre.

Not since the mid-90s heated East Coast-West Coast rivalry had I heard a rap album that really gave me chills from its intense street themes. On this record, 50 completely dismisses all political correctness and just says whatever he feels like saying. “I’m Supposed to Die Tonight” is an intensely dark recreation of a drive-by shooting; “Get in My Car” is a relentlessly disrespectful song about 50 picking up women; and “Piggy Bank” is four minutes of 50 lyrically taking out every rapper he has beef with while “the money goes into my piggy bank!” Violence, sexism, and cockiness are certainly not novel in the world of hip-hop, but 50 presents them all with such direct confidence that the messages cut deeper into the listener’s body than most. And “Baltimore Love Thing” is poetically the strongest song 50 has ever written; he becomes heroin and speaks directly to the woman who’s addicted to him. It’s brilliant. -P.W.

For the longest time I despised hip hop so much that I did not even want to consider it music. It wasn’t until 2004 that I finally realized the merit in this world of music in The Mouse and the Mask by Danger Doom and Late Registration by Kanye West. Rap has a rich social history and has developed considerably since its conception. I have come to love the art in experimenting with beats, sampling, cleverly crafting lyrics, and flow. It’s very impressive. However, this is where I need to get on my soap box. Hip hop also has incorporated many steadfast themes the last several years that are simply unfortunate. I alluded to it before, but the sexism, glorification of senseless violence in the name of pride or drugs, and the overall bullshit machismo and homophobia are all trends that still deter me from the music. If there isn’t enough creativity and innovation to outweigh this crap, I have a very difficult time swallowing it. 50 Cent embodies everything about hip hop that I detest. I gave this album it’s fair chance but I just can’t stand this. I’ll take an asshole like Kanye West over this mental midget any day. - Ryan

"The Massacre" begins with a female fan reading her new CD package which states "To all my fans, love 50 Cent. Happy Valentine's Day". Once the CD is popped into the tray, you can hear a slow melody playing on a children's music box and then overtop are sounds of multiple guns firing simultaneously and the blood-curdling wail of a terrified woman. As the firing and screaming eventually cease, we're left with only the sounds of emptied shells falling to the sidewalk. Forget this senseless brutality, I'm done with this shit. - Steve

#36 - Ryan & Steve

Yo La Tengo

And Then Nothing Turned Itself Inside-Out

2000

It took me a while to even give Yo La Tengo a chance. Back in the day when I was just starting to explore independent music, I would buy pretty bland albums like Out of Shadow by Rogue Wave, Room on Fire by The Strokes or Logic Will Break Your Heart by The Stills. Yet, I just couldn’t appreciate some of the pinnacles of indie rock in Sonic Youth or Yo La Tengo. I don’t know if I’ll ever understand why, but when I finally heard And Then Nothing Turned Itself Inside-Out, I instantly regretted not listening sooner.

After I started listening to their back catalog, I envisioned this band as a bunch of music geeks. It’s pretty easy to pick out some of the band’s greatest influences. It’s almost as if Yo La Tengo has been able to pick out the greatest aspects of their favorite bands and seamlessly mesh them together into their own rock anthems and ballads. Most notably, on “Cherry Chapstick” (my favorite song of the album) you can hear some of the greatest experimentation with dissonance and feedback not unlike Sonic Youth. To label the band as a noisy art rock group is selling them short though. This album proves how eclectic they can be. On “Let’s Save Tony Orlando’s House” there is a mesmerizing looped backdrop enhanced by an almost kitschy organ line that might be found on a Sterolab record. Yo La Tengo is able to take these various influences from their respective times and meld them into something that is now culturally relevant here and now without sounding like another throw-back band. -R.C.

I believe that one of the hardest things for songwriters to achieve is to make work that is personal, sincere, affecting…. and never becomes cheesy. Yo La Tengo accomplishes this on And Then Nothing Turned Itself Inside-Out. These songs all have sentiment and deeply-embedded emotions behind them; they’re the type of songs you would love to listen to late at night with a significant other. And they’re arranged in a way where there’s just enough variation in pace to keep you feeling moved rather than bored. An excellent record you’ll love listening to again and again. - Phil

#37 - Phil

Jenny Lewis with the Watson Twins

Rabbit Fur Coat

2006

Jenny Lewis is best known for being the lead singer of one of the biggest indie-turned mainstream bands of the decade, Rilo Kiley. Before the release of her first solo project, Lewis made three albums with Rilo Kiley, with their third, More Adventurous, marking the band’s commercial breakthrough in 2004. I was a fan of More Adventurous, but ultimately was much more drawn to the songs Lewis wrote on the album than the ones her fellow bandmate Blake Sennett either wrote or co-wrote with her. It all made sense once I finally heard her solo debut, Rabbit Fur Coat.

Yes, the album is technically billed as …with the Watson Twins, but these are Lewis’ songs – and she puts her heart into every one of them. “Rise Up with Fists!!” is perhaps the most gorgeous song Lewis has ever written; it’s message to trust in who you are and persevere through life's struggles never gets old: “What are you changing? Who do you think you’re changing? / You can’t change things, we’re all stuck in our ways / It’s like trying to clean the ocean, what do you think you can drain it? / Well it was poison and dry long before you came / But you can wake up under the knife / And you can wake up sounder if you get analyzed / And I better wake up / There but for the grace of God, go I.” This is just one of the eleven beautifully inspirational songs Lewis has conjured up with the Watson twins on Rabbit Fur Coat, and it’s proof that Lewis is indeed one of the most talented singer-songwriters in mainstream music today. -P.W

Eh... I never liked Rilo Kiley. Like other residents of the Barsuk and Saddle Creek Records imprints, Rilo Kiley is a watered down, dull and almost entirely uninteresting indie pop group. I’m convinced that my neighbor in college was only a fan because he was in love with Jenny Lewis. Well, that’s like all the women that like Bright Eyes. It can’t possibly be because of the god-awful music, can it (new Bob Dylan my ass!)? Okay, I’m a little off topic now. While Rabbit Fur Coat is a little more appealing to me because I have a soft spot for alt-country, in the end it has the same effect on me as Rilo Kiley. I ultimately find it utterly disposable. I’d rather listen to Neko Case. - Ryan

This record is pleasant, well-crafted and fans of the style and of Rilo Kiley will certainly eat it all up. I have no direct criticisms as this is a record that typically floats on in the background without a ripple on my radar. Not something I'd endorse nor condemn, what we have here is a 12 song album of pure coffee shop music. - Steve

#37 - Ryan & Steve

Edan

Beauty and the Beat

2005

From the album artwork to the production style to the lyrical content, Beauty and the Beat is an homage to those past that laid the foundation of hip-hop for artists like Edan. Possibly the greatest accomplishment of this album is that is serves its purpose of tribute while simultaneously escaping the trap of novelty and becoming a stellar hip hop record in its own right.

Beauty and the Beat was one of my first hip-hop records and I was immediately enthralled with the rapper/producer. Edan has an unequivocally commanding voice that spits lyrics with an exacting flow. However, it’s the production of Beauty and the Beat that I absolutely love. Instead of emulating the “old-school” he simply references it with crackling beats, harsh breaks and added psychedelic flourishes. I believe the proper way to listen to this record is actually on a cassette blasting through a boom-box held over your shoulder. -R.C.

Here’s my take on this album: the beats are original and interesting, Edan’s flow, as well as his guests, is fluid and easy to understand, and the album as a whole feels quite cohesive. So why don’t I love it? I think it’s because nothing about the lyrics really grabs me; like many old-school rap artists, Edan doesn’t really say anything poignant with his lyrics. It feels more just like lyrical “gymnastics” where he simply rhymes as many words as he can to sound cool. But for those who really like this old-school style, definitely check it out. - Phil

#38 - Phil

Clipse

Lord Willin'

2002

Seven years ago, brothers Pusha T and Malice – together known as Clipse – released their debut rap album Lord Willin’ off the Neptunes’ brand new label, Star Trak. The album was received pretty well critically, but Clipse weren’t able to attain the kind of commercial success they and the Neptunes hoped for. I didn’t purchase my first Clipse album until 2006’s Hell Hath No Fury, a spectacularly well-produced album that was hailed as a masterpiece by XXL magazine. For me, the record was solid but minimally affecting; despite the Neptunes’ phenomenal production I was not a big fan of Clipse’s lyrics or even most of the songs in general. All that changed when I finally heard Pusha T and Malice’s masterful debut from four years earlier.

An adjective that’s very commonly used in hip-hop circles is “hungry.” It’s a measurement of a rapper’s effort to bring all of their skills to the table; in theory the “hungrier” an MC is the greater work he or she will produce. I can honestly say that Lord Willin’ is one of the hungriest rap albums I’ve ever heard. Both Pusha T and Malice sound like they’ve been waiting for years for the chance to show off their skills to the world; every track brings a level of youthful energy that few artists can match. And while the Neptunes’ production may not quite reach the heights of HHNF, it’s still incredibly solid; frontman Pharrell Williams does an excellent job of knowing when to provide his voice and take the songs’ beats to new directions. What makes this album such a classic for me, though, is Clipse’s brutal honesty and grittiness with where they came from – just listen to their coke-infested single below and you’ll know just what I mean. -P.W.

As I’ve said in previous comments, I have a difficult time getting into hardcore gangsta rap. That’s why I was surprised when I loved Hell Hath No Fury so much. Clipse may not initially come off as the most intelligent rap duo when superficially listening to their music, but when I listen more closely they always impress me with how clever their lyrics can be. While I still have a difficult time identifying with the culture of this kind of rap, the swift yet cool production style always grabs me. - Ryan

The grittiness of Clipse has always been alluring to me since I first heard "Hell Hath No Fury". This debut, produced by the Neptunes, puts that record into perspective for me. While "Hell Hath No Fury" is a honed masterpiece of dirt and cocaine, "Lord Willin'" suffers a little from some of the clean synth-based production. All in all though, I was terribly impressed with this debut, certainly a record that I shall be revisiting in the future. Thanks for this one Phil. - Steve

#38 - Ryan & Steve

Panda Bear

Person Pitch

2007

Canonized only two years after it's conception and with good reason, Panda Bear (of Animal Collective), with his second solo album, helped spark a flurry of home recorders creating lush, looped based pop music. And in the wake of Animal Collective's monumental "Merriweather Post Pavilion", Noah Lennox's creative trajectory makes all the more sense. On "Person Pitch" Lennox creates a whirling, psychedelic summery pop album that brought more than a few nods to Brian Wilson. Which safely lead to the towering electronics and looped beat construction of "Merriweather..."

The talk of the record is always about "Bros". It's a terrific track and certainly a centerpiece for the record, but I wanted to mention "Ponytail" as it's one of the more affecting. A simple and direct final track with Panda Bear's own precocious profundity: "when my soul starts growing / I get so hungry / and I wish it never / never would / never would stop growing". -S.R.

This album has nice moments… it also has some flaws… but mostly it just plays it really, really safe. By far the standout track to me is “Comfy in Nautica,” a fantastic opener that sounds like the best church choir you’ve ever heard. The third track, “Bros,” is irritatingly long – there’s nothing in the song’s last six minutes that the listener doesn’t get in its first six. Overall, it’s an album that I see as very pleasant... but not very daring. - Phil

#39 - Phil

Franz Ferdinand

Franz Ferdinand

2004

2004 had a lot of great singles: Britney Spears’ “Toxic,” Kanye West’s “Jesus Walks,” Modest Mouse’s “Float On,” and Jay-Z’s “99 Problems” – just to name a few. But the one that stood above them all came from this unknown band from Glasgow. Franz Ferdinand’s “Take Me Out” – the lead single off their self-titled debut album – is the kind of song that survives for generations. Ridiculously catchy hooks? Check. Outrageously memorable guitar riffs? Oh you betcha. It doesn’t even matter that I have no idea what the song’s about; I knew all the words by heart the third time I heard it and can sing along with them just as easily today. “Take Me Out” is, without question, one of the decade’s three greatest singles.

So what’s the rest of the album like? I’m glad you asked! Franz Ferdinand is one contagiously-thrilling party record – there’s not an ounce of dullness at any point in its duration. A track that’s always stood out for me is “The Dark of the Matinee.” It immediately follows “Take Me Out” and is one of the album’s most interesting songs lyrically. On it, lead singer Alex Kapronos is attempting to convince his significant other to leave their traditional lifestyle and follow him to the exciting world of entertainment, which he calls the dark of the matinee: “Find me and follow me through corridors, refectories, and files / You must follow, leave this academic factory / You will find me in the matinee, the dark of the matinee / It’s better in the matinee, the dark of the matinee is mine / Yes it’s mine!” You weren’t kidding, Alex. -P.W.

Back in high school I was so proud that I was familiar with the Franz Ferdinand album months before their excellent single, “Take Me Out” took the radio-waves by storm. As I said in a previous comment, I attribute much of the indie rock transition into the mainstream to the doing of Franz Ferdinand (and others). Therefore, I like to bestow some importance to them. I definitely listened to the album repeatedly for months. Unfortunately, they’ve been largely ignored after this great record. It was fun to revisit. - Ryan

So I was in a cover band in high school (with fellow Rolling Forker / keyboard wizard Ryan Carr) and in a moment of surprising zeitgeist we ended up covering "Take Me Out". It's an absurdly catchy single from one of the dancey post-punk revival records that caused the indie mainstream to revisit Gang of Four. So going back to this record, it's still a very strong set of songs, but I simply can't remove it from those awkward moments onstage. While the post-punk trend fizzled after '04, this debut is still the best place to revisit those sounds. - Steve

#39 - Ryan & Steve

Paavoharju

Yhä Hämärää

2005

Of all the records on the list, this one is surely from the most unlikeliest of groups. Paavoharju is a Finnish group of ascetic born-again Christians attempting to recreate their "inner landscapes". What we have here is a deeply ethereal collection of washes, folk chants, ghostly ephemeral noises and far-away synth/piano lines. It's a thrilling listen as no one quite sounds like Paavoharju's inspired concoctions.

Released on the commonly brilliant Fonal label in 2005, Paavoharju have created a purely unique aesthetic experience citing anything from Sigur Rós' glacial-scapes all the way to the organic drone of William Basinski. That of course is not to say that this record is devoid of pop numbers. "Valo Tihkuu Kaiken Läpi" bounces along with a playful synth line and female vocals, eventually ending with a half-time drone/wash of the initial melodies. Then we find ourselves with the deconstructed pop of "Ilmaa Virtaa" which begins with a modest structure that is then repeated and looped and misaligned and looped and repeated until it barely resembles the pop tune it began as. A record of quiet, personal transcendence. -S.R.

Have you ever heard an interesting, untraditional musical score in a film that you thought, “Man, I’d love to have a whole album of that!” Unfortunately, a whole album of that music oftentimes isn’t able to sustain itself as well as it did in those few minutes it was present in the movie. This is a lot like what I think of this album – cool, interesting sound – but ultimately gets a bit old when one listens to it as an entire record. - Phil

#40 - Phil

Fiona Apple

Extraordinary Machine

2005

It’s fitting that Fiona Apple’s magnificent third album Extraordinary Machine was released by Epic Records because the process of bringing it all together was truly an epic milestone. Her producer Jon Brion and she began working on the record in 2002, and the album was set to be released in 2003 before the label chose to delay it without explanation. Rumors surrounding the album gained steam, as there was speculation that perhaps Brion’s work with Apple lacked the “commercial appeal” Epic Records wanted. Whatever the case, Apple eventually re-recorded many of the tracks on the album with other producers before Extraordinary Machine was finally released to the public in fall of 2005.

All I can say is whatever Epic told Apple to do… it worked! These 12 songs are effectively arranged in a way that invites listeners into Apple’s bare emotional state. One of the only Brion-produced songs that remains is the album’s opening title track, which contains perhaps the perfect line to sum up what Apple’s all about: “I still only travel by foot, and by foot it’s a slow climb / But I’m good at being uncomfortable so I can’t stop changing all the time.” From here the album takes some dark turns, as if Apple’s a character in some trippy Spike Jonze flick. “Get Him Back” shows Apple releasing his inner-bitchiness with gangsta-rap-like ferocity. “Tymps (The Sick in the Head Song),” will greatly appeal to fans of Apple’s earlier work for its mix of foreign instrumentation. And “Oh Well,” is a heartbreaking ballad about being emotionally torn down by a loved one: “When I was looking with calm affection / You were searching out my imperfections.” It’s the track that makes me realize this album really is something extraordinary. -P.W.

Gotta love Fiona Apple’s voice. While I never listened to her much, I’m not completely sure why because every time do listen, I really enjoy myself. Before listening to Extraordinary Machine I heard about her record label, Epic, withholding it because they didn’t think it would sell because it was so “weird.” I was fascinated that a pop-rock artist from the 90s with a single like “Criminal” would take a risk in the 00’s. When I hear Extraordinary Machine, I was underwhelmed by its “weirdness” but it was nonetheless surprisingly different for Fiona Apple. Thumbs up from me. - Ryan

This album reminds me of Sunshine Anderson’s song “Heard It All Before” – although it’s nice-sounding and accessible, there’s nothing here I haven’t heard before from about 20 other singer-songwriters. I can tolerate familiar sounds if the lyrics are particularly interesting, but this record's lyrics are as bland as flavorless oatmeal: “As he went on and on / It wasn't the outside world I could see / Just the filthy pane / That I was lookin' through” – this is about the extent of what Fiona poetically offers. A major disappointment. - Steve

#40 - Ryan & Steve

Jay-Z

The Blueprint

2001

While I don’t believe Hova made the best hip-hop album of the decade, The Blueprint is canonized at the young age of eight for good reason. Despite the sine-wave nature of Jay-Z’s career, this record laid the foundation for his throne as the king of hip-hop.

I may be pretty critical of the lyrical content of mainstream hip-hop, and have a difficult time identifying with the rappers themselves, but on The Blueprint, Jay-Z’s vocal delivery glides with an immeasurable amount of cool. His decision to trust in the then up-and-coming producer Kanye West was an excellent decision as well. There’s really not much else I can say about The Blueprint. At the beginning of the decade I detested the genre of rap and I think it’s saying something that The Blueprint was one of the albums that changed my outlook on hip-hop. -R.C.

To quote Mr. Carter: “What more can I say?!” The Blueprint is the greatest work from the greatest rapper of all-time. The beats are top-notch from start to finish, and Jay’s flow and lyrics are at an all-time high. I can’t say enough about the influence this album has had over me as a musician and the continual inspiration I feel every time I hear it. - Phil

#41 - Phil

Wilco

A Ghost is Born

2004

Arguably the biggest band working right now from my current home city of Chicago, Wilco broke into the mainstream music scene following the release of their fourth album, Yankee Hotel Foxtrot. The album received near-unanimous praise and – as we’ve seen already a couple times on this list – there was little chance they were going to be able to sustain that level of praise much longer. Amazingly, they were able follow up YHF with an album nearly as great in A Ghost is Born.

This is an album that takes multiple listens before one can begin to accurately assess it. The reason for this is due to Wilco’s unorthodox choices in how they handle their songs’ themes as well as their lengths. On the brilliant third track, “Spiders (Kidsmoke),” lead singer Jeff Tweedy makes fun of white-collar businessmen over 11 minutes of sensational guitar lines that are among the best of the band’s career. This, however, is a giant contrast to a track such as “Hummingbird” which finds Tweedy telling a simple story about a man climbing a mountain to forget his past love in barely over three minutes time. At first I was slightly put off by these various tones and lengths, but as time passed I grew to love the album’s range and versatility in these areas. It’s as if Wilco has no limitations about which direction they wish to go from song to song; they simply take on whatever they choose to with a completely unharnessed force. -P.W.

If I may be so bold, A Ghost is Born is possibly Wilco’s best album. Yes, Yankee Hotel Foxtrot is fantastic, but A Ghost is Born is obscenely underrated and glossed over far too often. Appropriately, this album does have a ghost-like quality in the shadow of its predecessor with more experimenting with dissonance, longer freak-out sessions, and a more restrained and soft-spoken Jeff Tweedy. This album exceeds anything Tweedy has done with Billy Bragg, Uncle Tupelo or Golden Fog. This album is awesome. - Ryan

Tweedy and the gang get weird after the breakout, instant-classic "Yankee Hotel Foxtrot". They threw it all together here on a record that resembles its predecessor, but also includes a 10 minute motorik-fueled jam "Spiders (Kidsmoke)" and even a mediocre drone piece, "Less Than You Think". While the straight-forward Wilco tunes here don't ever reach the heights of "Yankee...", it's still a solid set of songs with some much appreciated experimentalism. - Steve

#41 - Ryan & Steve

Why?

Alopecia

2008

I remember partway through '08 I was on the phone with Sir Carr babbling and complaining that I was finding myself without many 2008 albums that were truly resonating with me. Within a manner of hours I had stumbled upon "Alopecia". This is a record of the nether-worlds, bringing to light those 3 a.m. moments of bewildered transcendence with Yoni Wolf sounding like the book-thumping crazy on the street.

"If I remain lost and die on a cross / at least I wasn't born in a manger / I can sense somewhere right now I'm being prayed for / seems like I always arrive on the same shore". Even with such a lyrical heaviness, the music here is what especially shines. A subtle merging of beat-oriented electronic flourishes alongside a plethora of atypical beat-making acoustic instruments. The sound here has a plodding seriousness only aiding the gravitas of the half-baked rhymes. The best fusion of rap and rock since, well, uh nü-metal? This record won't let me think straight. -S.R.

This band is truly groundbreaking. As I listen to this record I am floored by the group’s versatility. From track to track, they sound like anything from The Decemberists to The Streets to The Shins to Atmosphere. And I hate to say this but I think this band’s lyrics are more interesting than all of those talented artists. The imagery the lead singer uses is so stark that it would actually be difficult to hear this record in the background and not be distracted by its lyrics. Mainstream music needs this band to break through to push the industry forward! - Phil

#42 - Phil

Nas

God's Son

2002

Much like Liz Phair, Nas began his career in the early 90s with a universally-praised debut, Illmatic. Although he was crowned the greatest lyricist of all-time in many hip-hop circles, his career never sustained the same level of acclaim in the years that followed. Along with Jay-Z and Biggie, I consider Nas to be one of my greatest influences for inspiring me to write rap music. And the introspection and vulnerability that drew me so much to him originally has never been more present than on his sixth album, God’s Son.

For starters, this album allowed for the release of Nas’ greatest single to date: “Made You Look.” A true anthem in every sense of the word, Nas spits some of the cockiest rhymes of his career, perfectly encompassed by its chorus: “They shootin’! – Aw, I made you look / You a slave to a page in my rhyme book!” Ironically, this cockiness is hardly present on the record’s other tracks. “I Can” is a tremendously inspirational song in which Nas samples Beethoven’s “Für Elise” to tell young children to believe they can be whatever they want to be in life. “Thugz Mansion (N.Y.)” beautifully describes a place in the ghetto where people go to clear their mind from life’s worries. And perhaps my favorite track on the record is “Dance,” which finds Nas talking to his late mother one last time: “Jesus finally got his bride, Mommy, dance with ‘em / And you've been my guide threw all the trouble I faced / They playing our song, 'The Lifebeat,' my hand on your waist / I grab your other hand and try not to step on your toes / Spin you around with my eyes closed / Dreaming I could have one more dance with you, Mama.” -P.W.

I definitely see why Phil likes this album so much. Nas is a great story teller and his lyrics are powerful. You can tell this is a personal record for Nas as he touches on a lot of sensitive subjects like the death of his mother. This albums shows more of a sense of maturity that I can’t really put my finger on. Unfortunately for me, I felt the production was nothing to write home about, which made it difficult for me to stay engaged for the whole 57 minutes. - Ryan

A dark and inspired set of songs for Nas that touches base with bleak concepts ranging from the loss of faith to the loss of life. A narrow focus, but Nas has the talent and lyrical prowess to pull it all off with delicate sincerity. With all of his talent, though, it's just too bad that it also comes with a terrible inconsistency. But for our purposes, we still have "Illmatic" and "God's Son". - Steve

#42 - Ryan & Steve

Ultralyd

Conditions for a Piece of Music

2007

This is the third record put out by Ultralyd and is their first on the Rune Grammofon imprint. Prior to this release, this Norwegian outfit was primarily dedicated to pure improvisation. However, after losing their founding member, Frode Gjerstad, the band has dramatically mutated into an organism that has mastered their art-form of musical fusion in a very unique Norwegian scene.

Norway may be known for its notorious black metal shenanigans, but the far more interesting artists at work are those like Ultralyd that craft their music with an amalgamation of jazz, improvisation, and even metal. Ultralyd, however, operates with a more controlled chaos unlike similar artists such as MoHa! and Conditions for a Piece of Music is driven onward with a funk-like beat, creating an interesting juxtaposition with the various metal stylings of the album. While their third album is not purely improvisation like their cleverly named, Chromosome Gun, one wonders if the more composed songs on their third album have an improvised foundation. While listening to Conditions for a Piece of Music, I still get lost in its control and restraint trying to distinguish between methodical calculation and extemporization. -R.C.

I would LOVE to watch someone do an interpretative dance to this album! The instrumentation is so many things – scary, exciting, uncomfortable… – that what one person gets out of it could be completely different than someone else. For me personally, I feel similar listening to this album as I do when listening to Dark Side of the Moon by Pink Floyd. Maybe I should see if this record synchronizes with The Wizard of Oz! - Phil

#43 - Phil

The White Stripes

De Stijl

2000

At the start of this decade, this hokey due from Detroit was an unknown to the mainstream music population. They had released their self-titled debut in 1999, but had yet to establish a following in any significant way. That all changed with the release of De Stijl, a record I first heard about three ago when I started to uncover the early works of my favorite band of all time.

What makes De Stijl such a cult classic among Stripes’ fans is its extremely low-fidelity approach. This record – production wise – sounds like something a couple of dedicated high school kids could churn out in their basement. But the songs are so rich in their simplicity and come together as well as any collection of songs The White Stripes have ever written that it doesn’t matter; you’re still rocking out just as hard as anything you’ve heard from the band since! The album’s first two tracks – “You’re Pretty Good Looking (For a Girl)” and “Hello Operator” – are two of the catchiest songs of The White Stripes’ career. Their garage-band feel serves as the perfect appetizer what’s to come on the album’s remainder. Their cover of Son House’s “Death Letter” – one of lead singer Jack White’s greatest influences – is only four and a half minutes long but so rock-out perfect it could last for ten minutes if it wanted to. Tracks such as “Sister, Do You Know My Name?” and “A Boy’s Best Friend” carry such drugged-out sounds they could have been released during the early 90s grunge era. And “Jumble Jumble” will have you sweating from banging your head so hard despite being less than two minutes in length. -P.W.

I began listening to The White Stripes with the release of Elephant and knew little to nothing about their three previous albums before seeing Phil’s top albums of the decade. With all of the lame White Stripes offshoots like The Raconteurs and The Dead Weather, I was worried the early White Stripes output might be more like this bland blues rock revival. While it is less eclectic than albums like Icky Thump and Get Behind Me Satan, De Stijl is certainly not bland. I particularly enjoyed “Death Letter” because I had just listened to the original by Son House the day before. Another reason to love The White Stripes. - Ryan

A brilliant second record that proves the Stripes have had this swagger and this talent since the beginning. A consistent band with an ever-evolving vision, "De Stijl" catches them earlier enough on that straight blues-based garage was still their status quo. This thing is excellent front-to-back and certainly indicative of the great things to come. - Steve