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Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/DevendraBanhart" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#DevendraBanhart</a> – Cripple Crow (2005). Inspired by 1960s oddballs like Donovan and the Incredible String Band, Texas-born Devendra Banhart made music that whispered and tumbled far outside the loudness-obsessed bluster of the early 2000s. More melodic and exotic than its predecessor, Rejoicing in the Hands – drawing more upon on the singer’s Venezuelan heritage – Cripple Crow made Banhart a rare folk artist able to woo the mainstream.<a href="https://mstdn.social/tags/GreatFolkAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatFolkAlbums</a>

Great_AlbumsMy review in PopMatters of the album Lookaftering (Expanded) by the folksinger Vashti Bunyan. <a href="https://www.popmatters.com/vashti-bunyan-lookaftering-expanded" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://www.popmatters.com/vashti-bunyan-lookaftering-expanded</a><a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> <a href="https://mstdn.social/tags/FolkMusic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#FolkMusic</a> <a href="https://mstdn.social/tags/VashtiBunyan" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#VashtiBunyan</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/BoardsOfCanada" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#BoardsOfCanada</a> – Geodaddi (2002). The second album by this Scottish duo puts a darker shade over the brothers’ hauntological soundscapes, first popularized on 1998’s Music Has the Right to Children. “Gyroscope” and “Sunshine Recorder” are unsettling plunges into the brothers’ audio dreamscape. Snippets of old documentary narration on “Dandelion” and “Energy Warning” infuse the whole set with the dusty varnish of a half-remembered schoolroom. <a href="https://mstdn.social/tags/GreatElectronicAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatElectronicAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/Air" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Air</a> – The Virgin Suicides (2000). French duo Nicholas Godin and Jean-Benoît Dunckel add so much human warmth and error to their music that it transcends the “electronic” generic tag – traversing organic fields not unlike a modernized Pink Floyd or hipper Supertramp. This soundtrack to Sofia Coppola’s film is a masterwork of controlled energy and sensual atmosphere, managing to sound utterly retro and completely modern at the same time. <a href="https://mstdn.social/tags/GreatPopAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatPopAlbums</a> <a href="https://mstdn.social/tags/VirginSuicides" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#VirginSuicides</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> – <a href="https://mstdn.social/tags/Interpol" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Interpol</a> – Our Love to Admire (2007). These indie rock gloomsters refined their sound ever-so slightly on their third album (the first for a major label). But the dark cinema of Paul Banks and Daniel Kessler’s guitars and Carlos Dengler’s serpentine bass only gain resonance through the lusher arrangements on “Mammoth,” “Pace is the Trick,” and “Rest My Chemistry.” An emotionally-charged band at the height of their powers. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> – <a href="https://mstdn.social/tags/Interpol" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Interpol</a> – Turn on the Bright Lights (2002). The weight of 911 hung heavily on this New York band’s debut, making their retreat into gloomy post-punk (Bauhaus and Joy Division in particular) feel existentially profound. “NYC” has the requisite elegiac tone, but it’s the rockers like “Observation 1,” “PDA,” and “Say Hello to the Angels” where the darkness feels as impenetrable as singer Paul Banks’ cryptic lyrics. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> – <a href="https://mstdn.social/tags/KingsOfLeon" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#KingsOfLeon</a> – Youth & Young Manhood (2003). Plenty of young bands plundered the classic rock canon in the 2000s, but the Followill clan (three brothers and their cousin) understood that it was important to swing and shuffle while punching out the Stones and Allmans riffs. “California Waiting” and “Molly’s Chambers” are standouts on a set so full of promise the Kings’ attempts to slicken-up their sound on later LPs could only disappoint. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> – <a href="https://mstdn.social/tags/DeadMeadow" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#DeadMeadow</a> – Dead Meadow (2000). This Washington, DC trio played stoner rock without the metal connotations that subgenre usually implies. Jason Simon’s fuzzed-out guitar recalls sixties psychedelia as Steve Kille’s bass and Mark Laughlin’s drums clatter along like a two-legged bison. Most of this LP features spazzed-out rock played at varying tempos, but on “Greensky Greenlake” Dead Meadow’s gift for cinematic sublimity hits its stride. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a> <a href="https://mstdn.social/tags/StonerRock" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#StonerRock</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> – <a href="https://mstdn.social/tags/Grandaddy" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Grandaddy</a> – The Sophtware Slump (2000). Grandaddy’s low-key magnum opus sounds like a bizarre collision between Pavement and Pink Floyd – if Stephen Malkmus suddenly made Isaac Asimov his spiritual guru. Main Grandaddy Jason Lytle has a keen ear for pathos in songs about ill-fated robots and confused cosmonauts trying to make solid ground. The mood is a bit like OK Computer, minus the bombast and with a thick glaze of irony. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> – Songs: Ohia – The Magnolia Electric Co. (2003). Absurdly gifted folk-rock geniuses have a habit of flaming out early, and Jason Molina was no exception. Before his death at age 39, he released an expansive catalog of searingly emotional music plumbing the depths of his darkened psyche. This album has Molina fronting a full band, evoking classic Laurel Canyon folk-rock and Bakersfield twang under the same ragged umbrella. “No one makes it out.” <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a> <a href="https://mstdn.social/tags/SongsOhia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#SongsOhia</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/Baroness" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Baroness</a> – Red Album (2007). This Georgia metal band vied with Mastodon for the southern rock metal mantle, allowing a tad more air into the mix with acoustic interludes and a friendlier hard rock rumble (as much Rainbow as Sabbath). Still, John Dyer Baizley roars like a lion through the lurking “Rays on Pinion” and headlong “Wanderlust,” keeping the various evocations of prog rock firmly in service of music (metaphorically) out for blood. <a href="https://mstdn.social/tags/GreatMetalAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatMetalAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/Boris" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Boris</a> – Pink (2005). This Japanese experimental trio denies they are metal, but after the shoegazey opener “Farewell” they crunch and grind as assuredly as any metal band on the planet. Can’s Damo Suzuki haunts bassist Takeshi’s (largely incomprehensible) vocals, while guitarist Wata and drummer Atsuo ooze bile like your favorite hardcore band fed through a meat grinder. Take your survival pills before hitting play. <a href="https://mstdn.social/tags/GreatMetalAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatMetalAlbums</a> <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/Mastodon" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Mastodon</a> – Leviathan (2004). Just two albums in, Atlanta`s Mastodon created an album rightly viewed as a modern metal masterpiece. Based on Moby Dick, the set deep dives the existential dread of Melville’s classic, using bone-shaking riffs and disorienting time signatures to steal the listener’s breath. Songs like the “Seabeast” and “Megalodon” reference classic prog, thrash, and southern rock as they evoke the mystery and terror of the white whale. <a href="https://mstdn.social/tags/GreatMetalAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatMetalAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/Sunn" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Sunn</a> O))) – Monoliths & Dimensions (2009). The kings of drone metal invite a bevy of guests on this triumph of compressed energy and Stygian mood. Lack of drums made the music very strange to the uninitiated, but the jazz-infused closer “Alice” (as in Coltrane) indicates these are artists willing to explore the deepest chasms between genres. Ridiculous or sublime? It’s up to you, but nothing obliterates conventions quite like this astonishing set. <a href="https://mstdn.social/tags/GreatMetalAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatMetalAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/AliceInChains" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#AliceInChains</a> – Black Gives Way to Blue (2009). The death of Layne Staley made this album improbable – let alone as good as it turned out. But Jerry Cantrell was a main architect of the Alice sound, so his leathery guitar riffs – bolstered by Sean Kinney’s sky-wide drums and newcomer William DuVall’s harmonies – evoke the classic Alice drone on “Check My Brain” and “A Looking in View” without any pretense of neglecting the ghosts in the room. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/BlondeRedhead" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#BlondeRedhead</a> – 23 (2007). “Shoegaze” was out of vogue when Blonde Redhead made their strongest albums (this + Misery is a Butterfly) in the mid-2000s. But the group’s melodic instincts were so natural it didn’t matter what genre tunes like “23” and “SW” were tagged with. Now, Blonde Redhead sounds fresher than all the banjo and accordion-wielding rockers who overshadowed them on the first go round. If you like recent Ride and Slowdive, give this a shot. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/Calexico" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Calexico</a> – Feast of Wire (2003). A flair for mariachi textures gave Calexico a leg-up in the crowded spectrum of early 2000s indie rock. Sporting arresting tunes like “Black Heart” and “Across the Wire,” Feast of Wire was Calexico’s best claim to the spirit of Americana. The Tex-Mex horns and psychedelic flourishes (an outtake cover of Love’s “Alone Again Or” killed when I saw them live) allow the music to transcend decades/ genres for wide appeal. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/Incubus" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Incubus</a> – Morning View (2001). Incubus sprang from the rock-rap hybrid trend of the late 90s. By 4th album Morning View the band had settled on a mainstream path that saw tunes like “Wish You Were Here” getting plenty of airplay. Although Toto-like slickness prohibited lasting street cred, Chris Kilmore’s turntablism kept the band’s instincts on a contemporary footing, while Brandon Boyd’s rich vocals lent substance to his heartthrob rizz.<a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - <a href="https://mstdn.social/tags/Mogwai" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Mogwai</a> – Happy Music for Happy People (2003). The ironic title makes Mogwai one of the few “post-rock” megaliths able to laugh at themselves. As the genre dictates, there’s lots of ethereal meandering and washes of guitar bliss on tracks like “Hunted by a Freak” and “Ratts of the Capital.” But Mogwai knows how to strike a melody – like proper Glaswegian rock, even without the lyrics – and the heavy moments keep listeners from drifting into a fog. <a href="https://mstdn.social/tags/GreatRockAlbums" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatRockAlbums</a>

Great_Albums<a href="https://mstdn.social/tags/GreatAlbums2000s" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GreatAlbums2000s</a> - New album survey beginning today <a href="https://mstdn.social/@Great_Albums" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@Great_Albums</a>, covering significant albums of the 2000s decade (2000 - 2009). The first five entries are posted (<a href="https://mstdn.social/tags/TrailOfDead" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#TrailOfDead</a> <a href="https://mstdn.social/tags/Doves" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Doves</a> <a href="https://mstdn.social/tags/Broadcast" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Broadcast</a> and two by <a href="https://mstdn.social/tags/Low" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Low</a>). Many more to come. Post your album suggestions in the comments!

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