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100 Best Albums of the 2000s

100 Best Albums of the 2000s

Radiohead Kid A

Radiohead's Kid A

All through the last decade, you’d find a lot of people insisting that the album was dead, a victim of the MP3, the iPod and a la carte downloading. But that never happened. If anything, artists doubled down on the format, resulting in a renaissance of long form artistic statements from a wide range of artists. This list of the decade’s 100 best albums includes the work of rock revivalists (the Strokes, the White Stripes), dance floor visionaries (M.I.A., LCD Soundsystem), hip-hop icons (Jay-Z, Eminem, Kanye West) and old standbys like Bruce Springsteen, Bob Dylan and U2, who reinvented their sound without losing touch with what made them living legends. This list is not just an argument in favor of the enduring appeal of the album format, but a compelling case that some of the best music of all time came out between 2000 and 2009.


The New Pornographers, ‘Electric Version’

This oddball indie-rock all-star team is one of those "only in the 2000s" stories. A.C. Newman, brilliant Vancouver songwriter and hard-luck veteran of the Nineties rock boom, retreats to his bedroom and writes a bunch of songs that would have been perfect AM-gold radio nuggets in the Seventies. He picks up a band to join him, including country vixen Neko Case and literary balladeer Dan Bejar. Then, to everyone's shock, the band becomes a hit, and just keeps getting better. This sophomore album is full of cheery guitars, loopy keyboards, and sly pop ditties like "The Laws Have Changed."

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Sufjan Stevens, ‘Illinois’

The literary indie-folk poet only got two discs into his threatened project of recording an album about every state in the union – but his ode to the Land of Lincoln is an American classic nonetheless. On songs like "Out of Egypt" and "Chicago," Stevens set wax-winged melodies atop delicately droning avant-classical compositions deeply indebted to Steven Reich and Philip Glass, and he balanced those sweeping moments with simple, acoustic benedictions – from "Decatur," a waltz-time cheer for our greatest president, to "Casimir Polaski Day," a meditation on religious faith in the darkest of hours that might serve for non-believers as a metaphor for keeping your head up in the decade of 9/11 and George W. Bush.

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Sufjan Stevens Covers R.E.M.'s 'The One I Love'


Yo La Tengo, ‘And Then Nothing Turned Itself Inside Out’

On their most intimate, sonically rich album, the cutest couple in indie rock found a sweet spot between the elegant noise-guitar hum of 1993's Painful and the bedheaded grooviness of 1997's I Can Hear the Heart Beating As One. Whether a gorgeous dance-pop tune inspired by a Simpsons episode ("Let's Save Tony Orlando's House"), recalling a dance-floor meet-cute over slow-dissolve guitar echo and a Latin-tinged rhythm ("The Last Days of Disco") or shyly covering a Seventies R&B chestnut (George McCrea's "You Can Have It All)," Ira Kaplan and Georgia Hubley's private revelations inspired scores of frumpy lovebirds to set aside their issues of the Believer and hit the futon.  

Rolling Stone's Original 2000 Review

Rolling Stone's 100 Best Albums of the Nineties: Yo La Tengo's 'I Can Hear the Heart Beating as One'


Sigur Ros, ‘()’

Definitely not one for the Miley fans — over an hour of Icelandic psychedelia, with eight untitled tracks sung in an imaginary language the band made up themselves. But in any language, Sigur Rós created a stunningly widescreen work of beauty. Singer-guitarist Jónsi Thor Birgisson bowed his axe for an ungodly level of reverb, yet the mood was peaceful, fleshing out the slow-motion melodies with piano, church organ, and the female string quartet Amiina. In the 12-minute climax "Untitled #8" (also known as "Poppaglio," or "The Pop Song"), you can hear the almost telepathic communication between the musicians, as Birgisson brings the guitar thunder.

Sigur Ros Debut Solo Projects in a Church

Sigur Ros Just As Loud and Beautiful Despite Stripped-Down Approach

Sigur Ros' Gorgeous Noise Brings Audience to Tears in NYC


Arcade Fire, ‘Neon Bible’

Arcade Fire followed up their breakthrough 2004 debut with Neon Bible, a set of songs that pushed the dour, bombastic sound to a darker, more baroque extreme. Though many of the tracks, such as "Intervention" and "Black Wave/Bad Vibrations," are fixated on a noble, Job-like suffering, the group never shy away from cathartic crescendos, with the Springsteen-esque "Keep the Car Running" and the charging "No Cars Go" reaching the most ecstatic heights of their career to date.

Rolling Stone's Original 2007 Review

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