Sunday, September 20, 2009

TOP 100 SONGS OF THE 2000's (10-1)

The 2000's are really one of the best eras to be in musically
. Of course both the very wise and the very ignorant will argue against this statement, but no other point in time before this has it been both so easy to create music and share it with the world, and so possible to have it sound like whatever the hell takes your fancy.

I've always described the 2000's as an amalgamation of all of the best parts that have come before it. Whether it's fashion, design or music, all of it cuts and pastes from trends of the 60's, 70's, 80's and (thankfully least of all) the 90's. However due to the wonderful power of hindsight, we can trim off all those ugly fads that took the world by storm when we knew no better, and what we're left with is the best of the best.

And what better way to celebrate the versatility of this great time we live in (creatively at least), than to count down the top 100 songs of the 2000's.


100 - 90
89 - 80
79 - 70
69 - 60
59 - 50
49 - 40
39 - 30
29 - 20
19 - 11



An Honest Mistake - The Bravery

An Honest Mistake is easily the best song in The Bravery's re
pertoire, the indie-dance identity of the song is juxtaposed with a really distorted raw guitar presence that's reminiscent of the previously mentioned sentimentalities of Bloc Party's Banquet. The song itself is apparently about an accidental homosexual experience one of the band members had whilst drunk, and the fallout associated with the event. However the lyrics could be applied to any situation relationship-wise, and that's one of the best draws of it I think. The Bravery haven't really brought anything to the table as good as An Honest Mistake, which is a shame, but with the timeless appeal of this song I'm happy to forgive them.


Gravity's Rainbow - Klaxons

Champions of the emergence of the New Rave genre in 2006, Klaxons provide crazy eclectic sounds and lyrics, harmonised falsetto screaming, a whole lot of noise and most importantly, amazingly catchy party tracks to go wild to. Gravity's Rainbow was one of the best tracks on the incredibly strong 2007 debut, Myths Of The Near Future. Dirty and rough instrumental work provides the backdrop for a rapidly rising feeling of excitement as the verses start, reaching the point of saturation as the chorus kicks in, which sounds like it was specifically designed to be sung by everyone but the band. The completely wacky lyrical work in the verses is not only completely cancelled out, but overcome by the sheer accessibility of the chorus:

Come with me, come with me,
We'll travel to infinity,
Come with me, com
e with me,
We'll travel to infinity,
I'll always be there oh oh,
My Future Love,
I'll always be there for you,
My future love.

A genre of sound created almost entirely for the teenage population (play it for your parents and you'll see what I mean), Gravity's Rainbow, and Klaxons, felt like the new Smashing Pumpkins of our time, an icon for all to rally under and celebrate the foolhardy experimentation of youth.


Mr. Brightside - The Killers

From the opening guitar riff, you're hooked. Mr. Brightside is the best song The Killers have written. The critics seem to think it's Read My Mind from the crime against humanity that was Sam's Town, but they're wrong. Play Mr. Brightside at a party, and everyone goes crazy; the people who listen to nothing but commercial radio, those who obsess about music and have extremely specific tastes, people who don't listen to any music at all and every point in between. The obsession of every single aspect of his ex-lover's new relationship is such a human and flawed quality that the lyrics connect with all listeners even if they haven't experienced it, it's written so plausibly, so honestly that it couldn't be anything less than true. You just can't hate this song, it's amazing in every aspect, it's accessible. memorable, emotional, intelligent and iconic. And I'd be lying if i hadn't acted out every line of the song in a drunken charades-inspired dance routine less than twice.


Pogo - Digitalism

Digitalism have always fought an uphill battle unfortunately. Always under the shadow of Justice's juggernaut of a debut album, Idealism's release, actually
a month before the release of , was never allowed the time to gestate and grow in popularity. Of course I say it worse than it is, Idealism proved to be extremely popular in the right circles, and the critics generally praised the album and band. But the similarities between the two bands, both part of the huge boom in European Indie-Dance music that occured in 2007 meant that hype governed which band was more at the forefront of people's minds. Sure, Digitalism were a great sidekick for Justice, they were a great support act, they had a similar sound and their album was pretty good, but was seen as the better album.

However there was one song that Digitalism had in its arsen
al that always made people sit up and pay attention, Pogo. Pogo always felt like Digitalism's track, separate from all else, incredibly catchy and with a more band-orientated feel, helped by the fact that vocal duties were taken up by one half of the duo. Because of Jens Moelle's decision to sing, rather than employ the talents of a guest musician, the act felt more like band than an electronic act like Justice or Simian Mobile Disco, the presence of a song heavily sampling The Cure's Fire In Cairo gave Digitalism an aesthetic that was more aligned to those who ordinarily wouldn't listen to Electronic music. Pogo was the figurehead of the ideology of indie-rock infused electro that Digitalism wanted to convey. Simple but strong lyrics, an obvious danceability, the all important X-Factor, impossible to describe but instantly recognisable, that lets you know these guys are for real. Pogo is all about partying hard and living life to the fullest, one of the best parts of the song being the simple repetition of the line "We could get so wasted" as the track fades out. The song has the perfect mix of uncomplicated lyrics and a more complex electronic instrumental presence, and this gives it its wide demographic of appeal.


Kelly - Van She

Van She have this incredible talent of spanning a whole plethora of sounds and genres in their music whilst still maintain both the feel of a Van She song, and m
ore importantly, the undeniable quality. Kelly sounds like the perfect mix of 80's New Wave tributes and modern day New Wave sensibilities. The best thing about Kelly is that it's perfect for any mood or time. It's got a heartfelt melody to it, but a driving force that keeps the tempo up and maintains an interesting and catchy feel for the whole song. The chorus' anthem-like lyrics and the poppy synths, the simple bass and guitar of the verses juxtaposed against, and the overall feel-good mentality of the track as a whole give it a great appeal. One of the most light and carefree tracks the band has created, and one of the most convincing reasons for the argument that they are really something special.


Face To Face - Daft Punk

One of the more obscure tracks from Daft Punk's second
album, Face To Face never really got the attention it deserved. The lengthy intro lures you into a false sense of security, sounding like Face To Face will be a capable instrumental track and nothing more. Then the vocals come in. To say Face To Face is well written would be an understatement. The vocals, sung by Todd Edwards rather than Romanthony or Robots From The Future, sound both fitting yet unique within the album. The lyrics perfectly summarise a failed relationship, and the reasons involved. It's clear Edwards' voice is perfect for the soul-infused electro identity of the track, and the way its sung, with such passion and vigor, that gives every line lasting meaning and impact. The jittery cut up backing vocals and instrumental work is really interesting, and again, quite unique against the rest of the album. It really feels like Daft Punk were saving best for last with Face To Face, being the second last track right before the epic closer Too Long. Face To Face is easily my favourite Daft Punk track to date.


Flux - Bloc Party

Flux was Bloc Party trying to prove to the world that they were a band capable of anything. Born out of Kele Okereke's fear of being pigeonholed into any one sound or genre, Flux sounded like nothing Bloc Party had done before it. Casting away the introspective, overly emotional sentimentality of A Weekend In The City, and the raw angular identity of Silent Alarm, Flux took a decidedly electronic path. With Okereke's vocals auto-tuned and synths and drum machines replacing the traditional instrumental set up the band was used to, Bloc Party were determined to push themselves, kicking and screaming, into greatness. And in my opinion, that's entirely what they did. There are still nuances of the song I am still only picking up on now as i write this summary, all the layers and effects creating a perfect cacophony of electronic brilliance that seems so unlikely for a band that had never even attempted this type of sound before.

The best thing about Flux is that it has an emotional core that Bloc Party are so well known for, but the mindless enjoyment and club-suited sound of the song not only doesn't suffer, but compliments it perfectly. For me, Flux sounds like the painful realisation of a failed relationship occuring in the parallel universe of the night, on a chaotic dancefloor, surrounded by
people but never having felt more alone. It sounds like the sonic representation of laser shows and smoke machines, strobe lights and disco balls. Flux is the higher state of mind you reach when you have no clue where you are or what you're doing, when your brain is racing a hundred miles an hour and not functioning at all simultaneously. Flux is Bloc Party proving they are going places, and you're coming along for the ride.


Weak Become Heroes - The Streets

Weak Become Heroes was one of the first tracks I heard from The Streets and it still remains my all time favourite. With an effortless style that can only come from a perfect simplicity, Weak Become Heroes uses a simple piano loop over a electronic club beat that never seems to get old, and Mike Skinner's trademark speak-rapping, with observations and phrases so obvious a
nd genuine you wonder why nobody else had thought of them first. The lyrics themselves deal with Skinner's first experience with Ecstasy; the mindless euphoria and the blindly optimistic view of the world that comes with it. Everyone is your best friend, every plan is flawless and genius, every aspect of life, undiscovered until this moment, is beautiful in its inherent existence. I've never taken the drug and even I feel like I know exactly what its like from Skinner's methodical depiction. Weak Become Heroes has this chill lounge feel to it that is so hard to perfect but instantly amazing when conveyed correctly. Even if you think aren't a fan of The Streets' sound, Weak Become Heroes will prove you wrong.


Signs - Bloc Party

Signs is the most beautiful and serene song I have ever heard. I could describe why, but it wouldn't do it justice. Just listen to it.


All My Friends - LCD Soundsystem

All My Friends is the closest thing to a perfect song I hav
e heard in my life, not just this decade. The slowly building grandeur of the first 1:20 might be a turn off for some, but don't let it make you give up on the best song you will hear in a long time. All My Friends feels like the title track from the endless ups and downs of that is the album of your life. As cliche as that sounds, there really is no other way to describe it.

The repetition of the instrumental work throughout the track is a perfect metaphor for the passage of time, the lyrics deal with regret and mistakes, with the innocence and wonder lost as we get older. But most importantly, the importance of the person we are and the path we choose to get there.

People tend to associate different songs with heartbreak, love, parties and friendship, but All My Friends applies to all of them. I can think of a line from the song to relate to every important thing that has happened in my life recently. One that always sticks for me relates to the feelings i started to have when high school finally ended, like my life and friends were completely changed and there was no way back to those times in life when we didn't have the burden of responsibility.

You spend the first five years trying to get with the plan,
And the next five years trying to be with your friends again.

All My Friends is one of those songs that just sticks with you from the moment you hear it. Epic and timeless in its execution, genre defying, emotionally riveting and lengthy while still holding your interest. It feels like James Murphy wanted to create a song that would last and mean something for decades, not just months or years. I believe he succeeded in doing so.

1 comment:

  1. dude seriously. ur top 10 is fucking gay literally. you must be gay to like this shit its fucking horrible.