TOP 100 SONGS OF THE 2000's (39-30)

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.

JUMP TO:

100 - 90
89 - 80
79 - 70
69 - 60
59 - 50
49 - 40

--

NUMBER 39


King Without A Crown - Matisyahu

Matisyahu is really quite an interesting character in a era of music where it's quite difficult to stand out against the pack. Of course, the initial novelty of being an American Jewish Reggae musician will draw a crowd, but it's his talent and unique sound that really keep people interested. King Without A Crown is a perfect example of his sound just working almost flawlessly. Uplifting sentimentalities, the almost universal appeal that Reggae seems to possess and strong songwriting make this a great track that anyone can enjoy. There's a relaxing demeanor to it that is just impossible to escape, it really draws you in and makes you feel pretty alright.

NUMBER 38


Hounds Of Love - The Futureheads

Now I know for some reason we're all supposed to pretend Kate Bush actually sounds good, but the fact of the matter is, cover versions of her songs are just infinitely more appealing. Classic examples of this fact include Running Up That Hill covered by Placebo and Hounds Of Love by The Futureheads. Hounds Of Love was definitely a stand out track of 2004, and, I believe, the strongest song The Futureheads have ever released. The layered vocals are a definite stand out of this track, give it a listen and you'll see what I mean.

NUMBER 37


Dirty Business - The Dresden Dolls

Ok, The Dresden Dolls are weirdos, I don't think anyone is debating it either. Frontwoman Amanda Palmer's tattooed on eyebrows are evidence enough to prove the fact. However, despite eccentric methodologies and a decidedly left of center genre choice (dubbed "Dark Cabaret"), The Dresden Dolls are very capable of writing enthralling Pop songs. Well, maybe "Pop" isn't the best term for what Dirty Business is; you definitely wouldn't hear it on mainstream radio, but still, it's hard to ignore its inherent accessibility. Something about the song just stays with you. The lyrics are dark, cynical, sarcastic and ultimately, damn catchy. It sounds like the sort of sound you would be repulsed by but there is more than one example, especially on the 2006 album; Yes, Virginia... where you find yourself singing along to melancholic stories viewed through a sort of "freakish carnival of doom" lens. Dirty Business is a great track, you may dislike it at first but soon enough you'll have it on repeat.

NUMBER 36


Clint Eastwood - Gorillaz

I remember seeing the Clint Eastwood music video for the first time on a Saturday morning on some Pepsi music countdown show. I had never heard anything like it before, and I haven't heard anything like it since. This was back in 2001, I was eleven, and I'm not ashamed to admit that I was obsessed with 5ive (massive contenders for the pole position in the countdown by the way), so for me; Gorillaz just came out of nowhere with this freaky sound and awesome video clip that blew me away. I had no clue who Damon Albarn was, I didn't much care, at that age I was able to suspend disbelief, and saw each of the cartoon band members more as real individuals rather than a well crafted and gimmicky guise for a risky supergroup collaboration effort. Who would have thought merging Hip-Hop and Rap with Blur would have worked so well. The eclectic instrumental work, and the abstract lyrics didn't alienate, they didn't even confuse you, they were just taken for what they were, another character in the rich tapestry of back story Gorillaz were creating.

NUMBER 35


Losing My Edge - LCD Soundsystem

James Murphy's declaration of cool to the world, Losing My Edge is a song close to my heart. I'll be the first to admit it's a major vice of mine to claim "I was there" before everyone else when it comes to music, and that's essentially what this song is about. Of course, James Murphy's allegations may have slightly more weight to them, and delivery is certainly better; with a more appealing nonchalant witty drawl over a relatively simplistic music background to place all the focus on the lyrics. Clocking in at almost eight minutes, LCD Soundsystem have packed the song, from the self-titled debut album, with classic lines such as:

I'm losing my edge,

To the art-school Brooklynites,

In little jackets,

And borrowed nostalgia for the unremembered eighties.

Incredibly cool, timelessly stylish, side-splittingly witty (if you're a wanker like me) and increasingly relevant in the horrible throw-away culture we now all live in.

NUMBER 34


Rebellion (Lies) - The Arcade Fire

Note to all pretentious self-proclaimed Indie girls and boys: the following bands will not appear in this list; Animal Collective, Fleet Foxes, Grizzly Bear, Architecture In Helsinki, Jeff Buckley and any other song by The Arcade Fire bar this one. So don't sit there waiting, sure of the the fact that they haven't been seen in the list yet is because it would be an insult to place them anywhere below the top ten; rather; it would be an insult to the bands that have made it into the my top 100 to place them next to these these hype driven Pitchfork Media lapdogs. Rebellion (Lies) was the only track worth hearing on the universally lauded drink-coaster that is The Arcade Fire's debut album; Funeral. But seriously, what a track it is. With an epic and timeless sound that's perfect for long drives and sing-along sessions, it radiates qualities that make it a track to have your best memories to. The Arcade Fire are a big band, and it certainly sounds like a big band song. It'd be amazing to see live I'd wager, however probably not amazing enough to suffer through a whole set of these guys to see.

NUMBER 33


Paint The Silence - South

Man oh man, what can say about Paint The Silence...

Well for several years, I would listen to it every night before i went to bed without fail, until I literally broke my CD player from playing it on repeat too much. I subsequently broke two more for the same reason. Some songs will always have memories and times attached to them, and this is ultimately a deeply personal experience that is different from person to person. For me, Paint The Silence will always remind me of late summer afternoons, when the sun begins to set, just as it's starting to drop to a barely tolerable temperature and the breeze picks up. You're almost filled with a sense of hope like "Hey, maybe tonight i won't lie in a pool of my own sweat as i shift back and forth in my bed, sleep evading me with every turn!" of course, that was never the case, but for 5:54 I couldn't care less because Summer made Paint The Silence. The two matched each other perfectly and listening to the song in any other season just didn't do it justice. The acoustic guitar, strings and high pitched echoing feedback compliment the swirling drums and simple, almost childlike piano-work while the atmospheric vocals add to the overall soundscape rather than dominate it. It really is the perfect length, and while it serves some songs better to be fleeting affairs, if Paint The Silence was any shorter you'd feel disappointed that it was all over too soon.

NUMBER 32


The Great Escape - We Are Scientists

We Are Scientists are a triple threat, they have the brains, they have the musical ability, and they have the looks. Capable of driving the chicks crazy, writing perfect three minute Indie-Rock songs, and having the comic timing akin to some of the funniest TV shows you have ever seen (think Arrested Development, It's Always Sunny In Philadelphia, 30 Rock, etc.). We Are Scientists are everywhere you wanna be. The Great Escape is a punchy, angular, rapid and catchy track which effectively reflects the mood and tone of the rest of their body of work. Accessible songs about the most relate-able subject matters around; girls, parties and disfunctionality, We Are Scientists are one of those rare bands that never takes themselves too seriously while still delivering the goods. Often, in fact, they err on the side of self deprecation to achieve humorous results, and their website, youtube channel and blogs are all indicative of a couple of guys fucking around and having a good time, not sucked into political Bush-hating bangwagonisms or melancholic suffering artist introspective pieces, We Are Scientists make catchy and intelligent music to dance to.

NUMBER 31


Taper Jean Girl - Kings Of Leon

Taper Jean Girl is Kings Of Leon doing what they do best, Southern Rock influenced Indie anthems with great instrumental work with wide demographic appeal.

NUMBER 30


Blinded By The Lights - The Streets

Blinded By The Lights is a perfect example of what makes Mike Skinner unique. Lazily tossed into the "UK Grime/Hip-Hop" genre, The Streets at their best sound anything but. From his concept album, A Grand Don't Come For Free, Skinner conveys his incredible talent for identifying the nuances of everyday life and converting it into song format with Blinded By The Lights. While more often than not his songs simply involve talking over the top of instrumental work, it's the delivery that makes it so appealing. The electronic repeating synth and the thumping bass drum create a simple backing for the story of unfaithful lovers on a drugged up weekend in a club. Simply discussing the act of waiting for his girlfriend to arrive and the drugs to kick in, Skinner creates a mental image of the situation so vividly in your mind simply by applying it to everyman, summarising in succinct statements the events of the story. There's a unique sadness to Blinded By The Lights that I've yet to find conveyed by any other artist.

TOP 100 SONGS OF THE 2000's (59-50)

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

--

NUMBER 59


Maybe - N*E*R*D

Pharrell Williams and Chad Hugo's band project set out to sound like Rock, infused with elements of Hip-Hop/Rap, Funk, Electronic, Pop and all points in between. Maybe was an instant stand-out from the second album, Fly Or Die, featuring a surprisingly heartfelt direction, covering the degeneration of a relationship and its long-lasting effects. When I first heard it, I was instantly hooked, I then subsequently played it on repeat, exclusively, for roughly 7 months or so, putting it on every mix CD i burnt that year. Other tracks would be swapped and removed, better songs came and went, but Maybe was perennial. The decidedly simple instrumental identity of the song, with marching band drums, uncomplicated piano and a memorable, but unobtrusive guitar riff; helped put the focus on Pharrell's ambiguous faux-rap quasi sung vocals, and the meaning behind them.

NUMBER 58


The Hardest Button To Button - The White Stripes

Elephant is the one of the best albums from The White Stripes. There's at least four or five songs from it that I could easily replace with The Hardest Button To Button on this list, with one pretty obvious track coming to mind. But the reason why The Hardest Button To Button won out for me was basically because of the music video. Both songs are incredibly strong, and although while it could be quite successfully argued that Seven Nation Army was more iconic, the stop-motion video for The Hardest Button To Button stuck in my mind from first viewing. Directed by the same man who created the famous Lego-animation music video for Fell In Love With A Girl; Michael Gondry returned to direct The Hardest Button To Button, which featured no less than 80 identical Bass Drums and Fender Amps.

NUMBER 57


Such Great Heights - The Postal Service

The hugely successful collaboration between Death Cab For Cutie's Ben Gibbard and the guy nobody knows from Dntel spawned a heap of great tracks for those waiting for Transatlanticism's October release in 2003. Reflective of an electronic spin on the best years of Gibbard's musical career (rather than the rubbish ones of today), every track on The Postal Service's debut, Give Up, was well thought out and catchy. Yanking the heartstrings out of everyone's chests was the lead single, Such Great Heights, which was a message to a lover far from home that's being missed terribly by their significant other. One of the best moments of this song is unbearable headache the opening electronic blips give you when you listen to this track with quality headphones and the volume cranked up to 11.

NUMBER 56


If You Got The Money - Jamie T

Sounding like a strangely compelling mix of The Kooks and Bob Marley, Jamie T fell into the shortlived resurgence of a genre of indie music generally from South London called "Thamesbeat". If You Got The Money was the lead single from his impressive debut album, Panic Prevention. Featuring only an acoustic guitar and a reggae style rap combined with bubbly, carefree lyrics, it was essentially the most effortlessly feel-good song to come out of 2007. You just can't help but sing along, even if you can't keep up.

NUMBER 55


Paris - Friendly Fires

Paris was the second single from the 2008 eponymous debut LP by Friendly Fires. With Electro-Rock sensibilities, and covering the common desire to live in one of the greatest culture capitals of the world; it's no wonder this song was a huge hit in the UK and around the world in slightly more indie circles. The simplicity of the idea behind the song, and the core lyrics of the song; "One day we're going to live in Paris, I promise, I'm on it." is its key to success, taking a concept that's so universally appealing and summing it up so succinctly ensured the promise, and the song itself, became instantly accessible. A highlight of the track is the inspiring and uplifting instrumental fade-out of coming in with about 50 seconds left of the song. It really creates this euphoric state of mind that drives home the message of the song that anything's possible.

NUMBER 54


California Waiting - Kings Of Leon

Contrary to the popular belief of their recently gained tweenage fanbase, Kings Of Leon had a successful music career and three albums previous to the massive release of Only By The Night. During this time they released a slew of standout tracks that really complimented the Alternative Guitar-Band movement co-led by The Strokes, TV On The Radio and similar bands. California Waiting was one such track, with the idiosyncratic catchy southern vibe that is strangely absent from all their recent work. The sing-along chorus is the undeniable hook of this song, and it's clear pretty quickly that this is one of the best California-related songs to be released in the 2000's.

NUMBER 53


Mind's Eye - Wolfmother

Australian Classic Rock revivalists Wolfmother are one of those bands that grow on you. For a very long time I really despised their sound, the endless and numerous guitar solos, and the cat-strangling vocals of Andrew Stockdale. As of late I have warmed up to them, but Mind's Eye was always a track that sounded like the very best of the band; what they could achieve if they went less Led Zeppelin and more Pink Floyd. Suitably epic, and ultimately unique within the rest of the self-titled debut album, the psychedelic keyboard solo two thirds in is a definite high-point of the song.

NUMBER 52


Daydreamin' - Lupe Fiasco

Sampling a cover of a cover of a cover, Daydreamin' is one of Lupe Fiasco's most interesting works lyrically. Literally about a giant robot rampaging through a city, piloted by a daydreaming Lupe, and featuring the passionate, soulful vocals of Jill Scott, its a very memorable track. Reflective of Lupe's tendency to favour melody and lyrical structure over shameless self-promotion and ego massaging, Daydreamin', like most of Fiasco's work, really does stand out against the over-saturated Hip-Hop/Rap genre this decade.

NUMBER 51


Apply Some Pressure - Maxïmo Park

Fast paced indie rock from UK Post-Punk Revival band Maxïmo Park. One of the best tracks from their first, and best album, A Certain Trigger. The constant change in tempo, Paul Smith's iconic vocals and the angular guitar work creates an incredibly compelling package from start to finish.

NUMBER 50


Shadowland - Youth Group

Ok, I'm man enough to admit when I'm wrong (when there's no escaping it at least). I was positive that Youth Group were going to be huge. I really was. Not because of the initially interesting, but ultimately infuriating cover of Alphaville's Forever Young. But because of the main single from their second album; Shadowland. Great melody, a punchy, repeating drum line, strong vocals with abstract lyrics. The overall sound of the song had a sort of timeless quality that borrowed from retro teenage anthems of decades gone, the single cover followed suit, and about a hundred or so plays in it still hadn't lost its appeal. This song was the start of something, you can just feel it when you hear it, when you slowly learn the lyrics and feel the urge to sing along, by the way it makes you feel when you hear it on a lazy summer afternoon. While Forever Young was eternal in name only, Shadowland really feels like a link to long lost times of youth where days could last an age and limitless free-time was taken for granted. Youth Group found a way to bottle and mass produce nostalgia in song format.

Unfortunately it turns out Shadowland was the band's only encounter with greatness. And while it was always amazing live, the rest of their show was really pretty bland, the quality of Shadowland was more hurting than helping, really driving home the fact that they didn't have much else worth hearing. Apparently they are up to their fourth album now but you probably wouldn't even know it. It's a real shame that they couldn't keep a good thing going, but even though they understandably fade into obscurity, it would be a real shame if Shadowland disappeared forever with them.

TOP 100 SONGS OF THE 2000's (79-70)

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

--

NUMBER 79


Streets On Fire - Lupe Fiasco

Lupe Fiasco is one of those artists that tends to get thrown into a group of rappers that he really doesn't belong to. While others are content to cover the undeniably important issues of how the "bitches" love them, or the extent to which they are "fo' real", Lupe's work has always possessed a bit more depth. Streets On Fire is a really good example of this, a down-tempo and atmospheric orchestral track, with a undercurrent of electronic and percussion elements. Lupe raps about a horrible calamity that has befallen society; whether this be a fictional future event or a commentary on the current state of corruption in the world is left up to how you wish to interpret the song. Either way, as soon as the song begins you can just hear how much quality is in the song compared to most Hip-Hop, the whole album follows suit as well.

NUMBER 78


Always Like This - Bombay Bicycle Club

British Indie band Bombay Bicycle Club released their exceptional debut album earlier this year, sounding like an amalgamation of most of the best Indie bands you can think of, but with a unique quality to both their sound and songwriting that separates them from the rest. Always Like This is the second single from I Had The Blues But I Shook Them Loose, which was produced by Jim Abbiss, the man responsible for both the Arctic Monkeys' and Kasabian's debut LPs, as well as Australian band Van She's exceptional first album, V.

NUMBER 77


Heartbreaker - Metronomy

Sounding like a fantastic combination of The Wombats, Klaxons, and Friendly Fires, Metronomy's lead single from their second album, Nights Out, is definitely a keeper. While instrumentally quite abstract and eclectic, the vocals have accessible indie qualities, singing of love lost, and the pain of a recent break-up. It's interesting to note how Metronomy have developed as a band, with their first album being completely instrumental, and relatively unknown, their new style has been welcomed with open arms by both critics and fans alike.

NUMBER 76


Uncle Sam Goddamn - Brother Ali

Brother Ali is a White Albino rapper from the United States, but you wouldn't be able to tell from his voice. Fitting in a niche of alternative American Hip-Hop shared with the likes of Atmosphere, Ali often raps about race and politics, giving off a Motown vibe in a big way. Uncle Sam Goddamn is a very critical appraisal of America and capitalist society in a larger sense. While it's incredibly common for bands to attack American society these days, it often comes across as pretentious and forced. Not so with Uncle Sam Goddamn, Ali's message really sounds like it comes from his heart and soul. So much so that he's run into sponsorship issues with a large unnamed corporation because of his "anti-patriotism".

NUMBER 75


Tessellate - Tokyo Police Club

Tessellate is the lead single from Tokyo Police Club's debut album, Elephant Shell. Mixing both Garage and Indie Rock into a very appealing package, and vocally sounding almost like a mix of Placebo and The Decemberists, Tokyo Police Club have a rather unique sound. Often writing about strange subject matters, including but not restricted to the inevitable Robot Uprising, apparently slated for the year 2009 some time (better get a move on), TPC offset strange lyrics with an incredibly punchy and succinct sound. Tessellate is no different.

NUMBER 74


All I Need - Radiohead

Radiohead need no introduction, widely believed to be one of the greatest bands operating at the moment, Thom Yorke tends to set as many trends as he breaks, not content to stagnate in any particular sound or genre. All I Need is from the latest album, In Rainbows, which Radiohead famously offered up for digital download for whatever you felt was worth paying. All I Need is one of the best songs on the album, and ranks pretty highly against their entire back catalogue as well. Down-tempo and filled with longing, a love letter to an unattainable object of affection.

NUMBER 73


Ride - The Vines

From The Vines' outstanding second album, continuing down the same road Get Free paved; filled with angst, noise, and youthful self expression, Ride is a two and half minute rock anthem that helped ensure The Vines' position as one of the greatest bands of the 2000's.

NUMBER 72


Something To Talk About - Badly Drawn Boy

Often incorrectly referred to as "About A Boy", Something To Talk About featured prominently in the only good Hugh Grant film ever made, which was actually called About A Boy. This acoustic and heartwarming track was definitely one of the highlights of the 2000's, accessible and memorable, Badly Drawn Boy essentially wrote a perfect indie-pop song.

NUMBER 71


Nothing But Green Lights - Tom Vek

If nothing else, you have to appreciate Tom Vek's incredible amount of style. Everything about this song is dripping in cool, with a funk infused electronic backbone, Nothing But Green Lights was probably one of the greatest songs nobody heard in 2005. Simple and and well executed lyrics wrap the whole thing up into an incredibly stylish package.

NUMBER 70


Changes - Van She

Van She are in my opinion, the greatest thing to come out of Australia in the last couple of years. Their debut album, mixing New-Wave, Indie, Rock, Electronic and all points in between was almost perfect, with every track having it's own identity and impossible quality that didn't wane throughout the whole twelve tracks. Changes is a catchy-as-fuck indie-scenester's wet dream, great; if somewhat hard to understand lyrics, handclaps and "whoa-ohs"; it has everything.


More tomorrow.

TOP 100 SONGS OF THE 2000's (89-80)

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

--

NUMBER 89


Crazy - Gnarls Barkley

Gnarls Barkley, the combination of Cee-Loo Green and Danger Mouse, has been one of the most successful projects of the 2000's so far. Crazy, their breakthrough single, served to characterise their unique sound, a modern spin on Soul and Funk, infused with a strong instrumental focus. Crazy took the world by storm, catapulting Gnarls Barkley into stardom. The music video is well worth a look as well for anyone with even a passing interest in graphic design or motion graphics.

NUMBER 88


How Near How Far - ...And You Will Know Us By The Trail Of Dead

...And You Will Know Us By The Trail Of Dead seem to receive consistent 10/10s from Pitchfork Media when it comes to album reviews. I never really understood what the draw was for a lot of their work, most of it came across to me as noisy, unrefined and entirely too long. That all changed when I heard How Near How Far, I really couldn't get enough of it and many years on it's still of those tracks I never skip when party shuffle throws it my way.

NUMBER 87


A-Punk - Vampire Weekend

Angular, brash, and strangely tribal, A-Punk is definitely the strongest song in Vampire Weekend's repertoire, and their most popular song to date. The upbeat tempo and fast-paced delivery of the lyrics achieves that rare quality of being a rock song that possesses real danceability. At only just over 2 minutes long, A-Punk is a kinetic and shortlived, but ultimately memorable affair.

NUMBER 86


Embrace - PNAU

I think part of the reason Embrace worked so well is that PNAU had the genius idea of crafting a truly awful album around it. After hearing most of the unintelligent, poorly arranged and ultimately jarring LP before reaching the epic dancefloor-filler, we can really come to appreciate how amazing this track really is. Although it has suffered from overplay to the nth degree, Embrace captured everyone's hearts and helped vocalist Pip Brown boost the hype for her upcoming solo project, Ladyhawke.

NUMBER 85


Space And The Woods - Late Of The Pier

The Gary Numan-esque debut single from Late Of The Pier was definitely one of the most interesting releases of 2007. Sounding like a crazy eclectic variation of Numan's Cars, and crafting its character around the highly popular Nu-Rave genre and scene made popular by Klaxons; Space And The Woods ended up being Late Of The Pier at their most restrained. Fantasy Black Channel took the Trippy-Electro-Rave sound established by the song to a whole new level.

NUMBER 84


Half Full Glass Of Wine - Tame Impala

Tame Impala are one of the latest in a series of exceptional talent coming out of Australia at the moment, along with Cut Copy, Van She, The Presets and many others, all of whom appear to by flying the Modular flag. Something about that label knows quality when it hears it, and these guys are no different. Sounding like a psychedelic flashback to the 60's and 70's, Tame Impala really do stand out against most music you will hear these days. Half Full Glass Of Wine is a furious plan hatched against an unfaithful lover, laced with both loathing and longing, concocted from too many nights spent waiting alone.

NUMBER 83


I'm Not Alone - Calvin Harris

Possibly the most inspired Calvin Harris effort to date, I'm Not Alone starts slow and sombre, then explodes into a 90's trance throwback synth line that will have you hooked from the first listen. Sing-along lyrics and catchy instrumental work, rapidly becoming somewhat of a Harris trademark, are definitely here. This is the sort of pop music everyone should be listening to.

NUMBER 82


Believe - The Chemical Brothers

The Chemical Brothers have become a name synonymous with exceptionally crafted electronic music. With an incredibly long resume of superstar collaborations, chart topping hits and nigh universal acclaim, their reputation very much precedes them. Believe is a dark and brooding club track featuring guest vocals from none other than Bloc Party's Kele Okereke. The lyrics repeat over and over until they are drilled into your head in the very best way possible, and it's left up to the viewer whether they want to find the music video hilarious or frightening. All of it makes for a very memorable and intriguing concoction.

NUMBER 81


C'mon C'mon - The Von Bondies

The incredibly addictive and ingeniously short indie hit from The Von Bondies wrenches from you your complete attention for a mere two minutes and thirteen seconds, then leaves as abruptly as it burst forth. And then you hit repeat for the 30th time and the whole process starts all over again. That's the amazing thing about C'mon C'mon, it's like an old childhood friend you haven't seen in days, months or even years, as soon as you meet it again you just pick up right where you left off.

NUMBER 80


Club Foot - Kasabian

In every time capsule buried in 2004 for future generations to uncover, you will find an MP3 of Club Foot. So strong was the opening riff, so riveting the backing vocal chant and so adaptable to any EA Sports video game tracklist was the song that you'd have a better chance winning the lottery than meeting a person who hadn't yet heard it. One of the strongest examples of Indie-Dance/Stadium Rock fusion this decade.


More Tomorrow.

TOP 100 SONGS OF THE 2000's (100 - 90)

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.

--

NUMBER 100


Mariella - Kate Nash

English singer-songwriter Kate Nash took us all by surprise with her debut album, Made Of Bricks in 2007. A less abrasive incarnation of Lily Allen's sonic identity, Nash provided snappy songwriting with bubbly melodies, with Mariella most representative of the idiosyncrasies of her style. So cheerful and accessible I defy anyone (bar my mother, who against all reason, refuses to give her a chance) to not find something about Kate Nash to like.

NUMBER 99


Evil - Interpol

Post-Punk revivalists Interpol have one of the most recognisable sounds of the 00's, thanks in no small part to Paul Banks' iconic vocals, and their huge commercial successes, especially in the UK. Evil ranks up there as one of their best songs, whether it's the driving bassline that takes center stage throughout the song, or both the quality and accessibility of the of the lyrical work, Interpol really got it right.

NUMBER 98


Fix Up, Look Sharp - Dizzee Rascal

When I first heard this song, I wasn't familiar with the UK Grime scene at all. It was both shocking and strangely compelling, whether it was the almost unintelligible rapping of Rascal, or the stripped down Crunky background beat, consisting of only drums and female backing vocalists, something about this song made me want to keep listening. Dizzee Rascal has this talent of making a niche genre sound so accessible, whether it's because of the huge name collaborations he is often a part of or a natural talent to do so, the man's genius; while not outwardly obvious, really begins to sink in as each new single comes out and blows your mind.

NUMBER 97


Ordinary - Red Riders

One of the more recent songs to make it into the list, Ordinary channels the 80's New Wave sensibilities shared by bands such as The Cure (more specifically their early work) and the straight up indie rock that is so popular these days, especially in Australian bands, to create the timeless sound of love lost and failed relationships. Something about this song just puts you in a good mood. It really feels like the sonic representation of youth, all its flaws and potential, wrapped up into a neat 3 minute package.

NUMBER 96


I Believe - Simian Mobile Disco

The iconic synth line draws you in, Simon Lord's vocals keep you there. This track, from Simian Mobile Disco's debut album, really shows you why these 3 guys formed a band (Simian) way back when in the first place. Of all the collaborations on the album, I Believe works best. Everything gels together and it all just sounds like it was meant to be. Catchy, compelling, intelligent and put plainly, really fucking stylish; I don't think i'm the only one hoping for another Simon Lord collaboration from Simian Mobile soon.

NUMBER 95


Take Your Mama - Scissor Sisters

Easily the best Scissor Sisters song, before the tragic "I Don't Feel Like Dancin'" stage which is probably best not spoken about. The combination of acoustic guitar, piano, and of course, the falsetto glam rock stylings of Jake Shears is clearly a winning one.

NUMBER 94


We Used To Vacation - Cold War Kids

Cold War Kids generated a hell of a lot of hype in 2006, retreating back into obscurity almost as quickly. However while they were at the top they gave us one hell of an interesting album. We Used To Vacation, as song about parental alcoholism tearing a family apart, was definitely a stand out track, displaying the strengths of the band and their overall appeal; Blues and Soul infused Piano Rock and a pessimistic outlook on life.

NUMBER 93


Alice Practice - Crystal Castles

A recent conversation with a friend essentially summed up Alice Glass' frontwoman qualities. He said to me "she really sounds like she's in pain the whole time" and it's basically the best way to describe the duo. Nobody could ever accuse Glass of not giving every word screamed less than 130% of herself, and the Chip Tune beats provided by Ethan Kath really serve to create one of the strangest sounds you may have heard this decade. Whenever I listen to Alice Practice i feel an immense sense of dread and impending doom, it's not a happy feeling but by christ it's powerful.

NUMBER 92


The Spaces Between - Expatriate

Expatriate were a New Wave Sydney band now based in Germany, and their style was one highly reflective of the sounds of bands such as Depeche Mode and The Cure. Listening to The Spaces Between sounds like a trip in a time capsule straight back to the best sounds of the 80's.

NUMBER 91


Lazy Eye - Silversun Pickups

Silversun Pickups are the closest you will ever get to the greatness of The Smashing Pumpkins in the 90's; today. Borrowing heavily from the grungy yet expansive and beautiful sounds of classics such as The Pumpkins' 1979, Lazy Eye, is one of those songs you really have to hear. The explosion of emotion roughly halfway through is one of my favourite moments in 2006.

NUMBER 90

Over And Over - Hot Chip

The repetition of this song is both it's strongest aspect and the most alienating part of it. You'll either really love the cacophony of sound and simplistic sing-a-long lyrics, repeated over and over, as it were, or you will loathe it. I'll admit i'm not the biggest fan of Hot Chip, but this is easily one of their strongest efforts, and definitely deserves its place in this list.


So that's the first 10, come back tomorrow for 89-80. The list will be updated each day until number 1 is reached.