–Joe Colly, If Radiohead spent the turn of the millennium pondering the disassociating effects of technological over-dependency, the Super Furry Animals reveled in the absurdity of it. Pitchfork is the most trusted voice in music. How terribly fitting that a difficult record about the troubles with transition would serve as the swan song for a band gone far too soon. Now that Wikipedia has spoiled all the Easter eggs, Night Ripper still sports brilliantly catchy (Big Boi Breeders), bizarrely virtuoso (Juelz Mangum Airplane), and oddly emotional moments (Biggie John) to tide you over as you squeeze a five-course meal into a piece of gum, Willy Wonka–style. Recorded in a country house near Cape Cod, and featuring a cover photo reminiscent of Edward Hopper’s luminous interiors, Yellow House took the Brooklyn out of the band and made it something more universal. Ad Choices. Pitchfork's Top 200 Albums of the 2000's. Catch up every Saturday with 10 of our best-reviewed albums of the week. Overflowing with Brian Gibson’s airplane-engine bass roar and distorted chants, Brian Chippendale’s punching drums, and a layer of viscous distortion on top, Wonderful Rainbow is an exhausting workout. –Matthew Perpetua, Belle and Sebastian: “The Blues Are Still Blue”, The most-played song in my iTunes has no name: It’s “Untitled,” the opening track from Gas’. –Marc Masters, Listen: Lightning Bolt: “Dracula Mountain”, What a dumb name for this album. Trading youthful exuberance for a resignation that borders on bitterness! It’s not so easy to be this excitable about the crush of the regular. The overall effect is less redundant than generous, making Wonderful Rainbow like a pot of gold at the end of another invigorating sky-ride. Blending exquisite ballast, searching psychonautica, greasy glam, thought-eradicating pummelprog, and bleary spindlerock, Source Tags & Codes operates on a grand scale. Your California Privacy Rights. Mary Lattimore: Silver Ladders. Freddie Gibbs / The … Still, Beck was routinely acclaimed for his clever, scrappy assemblages and committed crooning about the salesgirls at J.C. Penney; when he released Sea Change—an earnest, unfussy breakup record, sung loudly and without affect—it felt like a revelation, or, at the very least, a crack in the façade. At once unassuming and swoon-inducingly gorgeous. “You don’t have to say it again, cuz I heard you the first time,” he mutters petulantly—except he croons the line, letting his shit-eating grin seep into the sound until it turns into a sweet nothing. Even as “Homage” melts your face or “Baudelaire” boogies its way into your brain, you half-expect whatever’s next to fail. Elsewhere the danger is more implied, visible only through such cryptic omens as the birds that sound their warnings on “Things That Scare Me” and “Ghost Wiring.” Yet throughout the album Case stands defiant against the encroaching darkness armed with her wit, compassion, and a voice as big and luminous as the western sky. Getting used! Your California Privacy Rights. Act more stupidly.” That line from “Can’t Tell Me Nothing,” the first single off Kanye West’s third album, has a way of sticking with you after every agitated all-caps blog post or awards-show freakout the man’s responsible for: West knows he’s making a scene, but like it or not, that’s just what he does. –Tom Ewing, The fact that her most explicitly sexual album is also her most submissive might be a bummer to those who got off on Björk-as-huntress power trips of yore. –Eric Harvey, Listen: The New Pornographers: “Sing Me Spanish Techno”, Gloriously sunny and unabashedly synthetic, the Swedish duo the Tough Alliance’s second album conveys a shiver of ecstasy concealing a tremor of fear and loneliness. –Amanda Petrusich, Hot Chip hinted at a keen, Prince-like combination of sex, steel, and neurosis on their debut, Coming on Strong. Even the non-Murdoch songs, typically a stumbling block on Belle and Sebastian releases, were up to the same high standard. Despite all the fuss, the songs—or epics, if you will—feel personal. One day after Pitchfork published their list of the top 100 songs of 2020, they've shared their list of the 50 best albums of the year. Whether pleasuring herself backed by angelic harps and strings on “Sun in My Mouth” or allowing herself pleasure on “Cocoon,” the singer whispers and clicks her way to ecstasy slowly, deliberately. to Four Tet, Kanye West to Joanna Newsom—and the many sides of Radiohead, too—here are the albums who defined the decade As the Plan grind out a frostier, more languorous version of their frenzied groove, Travis Morrison recounts decidedly uncool but entirely relatable reset-button stuff like calling your dad for relationship advice or gnashing your teeth at friends who start pairing off and not returning your records. Music reviews, ratings, news and more. Our new-new-romantic overanxious urbanite narrator of the Dismemberment Plan—let’s call him Travis—seems to have got himself good and heartbroken sometime between 1999’s landmark art-funker Emergency & I and 2001’s Change, and, just like when it happens to you, it weighs on every moment. Our own Nick Mirov said it best, way way back in 2001: “(T)hey no longer sound like the Pixies, Gang of Four, or Wire...they sound like Spoon now.” –David Raposa. The temptation to be a total dick just because you can carries an enormous power, and, was a weapons-grade, vulgar display of that; it was also exactly 36 minutes of the most blisteringly intense pop-misanthropy the decade had to offer, but that’s just Mclusky being better than your band. , what else did a free-associating New Orleans rap star have left to try? Of course, the band’s subsequent, increasingly apolitical albums would show that the Scream’s urban-guerrilla guise was as much a fleeting phase as the acid-house love-in of 1991’s Screamedelica and the Rolling Stones jones of 1994’s Give Up But Don’t Give Out. –Marc Hogan, Listen: Jens Lekman: “The Opposite of Hallelujah”, Before Vordul and Vast Aire broke through, underground hip-hop maintained a line between scientific abstract battlers and real-talk street-rap practitioners—it was a fine one, but few outside Shaolin made a habit of crossing it. Change does emo a few better by eschewing melodrama (well, mostly) for the real heartbreak of heartbreak: how very mundane it gets, feeling like shit about somebody. Most of what was good about electroclash!) Press play and the first sound you hear is a siren-like blare of an open E string announcing with all the subtlety of Funkmaster Flex that SHIT’S ABOUT TO GO DOWN. Leithauser, his warm rasp making him come across like a more emotionally unstable young Rod Stewart, lurches from messy confrontations to moments of disarming empathy, and on “The Rat,” he lays himself completely bare, pleading for recognition with an abandon that is still startling, as his normally bleary-eyed bar-rock band explodes into catharsis all around him. Taken all at once, Rubies is decadent, mapping a haute couture class system of well-off hipster intellectuals, idle painters, subcultural demigods, and of course, the beautiful women always just out of reach; Bejar further cuts his observations with tweedy references to Ezra Pound, Tchaikovsky, the Incredible String Band, and Greek mythology. Pitchfork is the most trusted voice in music. CN Entertainment. Projection! –Philip Sherburne, We keep our wise-ass friends for basically two reasons: Some are really nice guys once you get to know them, and some are just jerks who say a lot of funny shit. It’s because it shows Marshall at her best (especially on standout tracks like “Names” and “He War”), when she’s able to be both vulnerable and confident at the same time. by mattys_heelies Plays Quiz not verified by Sporcle . Fairy tale parables of animal liberation and lessons learned through sadness and family illustrate, in the end, the urge only to beat boundaries. does emo a few better by eschewing melodrama (well, mostly) for the real heartbreak of heartbreak: how very mundane it gets, feeling like shit about somebody. An exegesis on routine, lovemaking, dancing, boredom, and the ever-eroding sense of the new in the world– “like a monkey with a miniature cymbal”– this is the band fully formed. The 50 Best Albums of 2020. Never mind the lost album sales; the abundance of leaked demos, YouTubed concert footage, and radio-session webcasts at our disposal has ultimately served to take the mystery out of the artist’s evolutionary process—it’s increasingly difficult to be surprised by a band’s new direction when we’ve been riding shotgun the whole time. Andy Falkous and Steve Albini have made it clear where they fall, so it’s no surprise they teamed up on Do Dallas—the richest depository of quotable malevolence this side of Hell Hath No Fury. drafts an East Coast heavyweight like Just Blaze for two of the album’s greatest tracks (“King Back,” “I’m Talkin’ to You”), it’s not a cynical post-regional stardom grab; it’s just another form of banger for him to tear to pieces. So this album, judged by the usual standards of dance mixes—consistency, progression, structure, revelation—is deliberately terrible. And knowing it! “Boy From School” marked a trembling sense of vulnerability, without sacrificing groove. –Amanda Petrusich. Pharrell Williams and Chad Hugo in their prime had that effect. Few songwriters could be responsible for both the bouncing neon synths and David Bowie warble of “I’ll Believe in Anything” and the swaggering slow-burn and breathy, Bruce Springsteen–ish croon of “This Heart’s on Fire,” but Wolf Parade prove that one band certainly could be. –Sean Fennessey, ...And You Will Know Us by the Trail of Dead. All we needed was someone to step up and act as filter to the unstoppable torrent of pop music bursting our cognitive dams, saving us the time of listening to 500 songs sequentially and giving us the best parts in an overlapping and interlocking efficiency! Lyra Pramuk: Fountain. It’s a pit full of sweaty bodies so overloaded with good vibes that their smell has gone from sour to sweet. Stagnation! A list of Pitchfork's best music of the 2000s. But it’s “Over and Over” that reveals most. Ghostface Killah – The Pretty Toney Album ; Clipse – Lord Willin' Bloc Party – Silent Alarm ; Lightning Bolt – Wonderful Rainbow ; Destroyer – Destroyer's Rubies ; Girl Talk – Night Ripper ; Deerhunter – Cryptograms ; Air France – No Way Down ; Wu-Tang Clan – The W ; DJ/rupture – Uproot With the Neptunes as their guardian angels, the Virginia duo did more than just talk dope deals. See which albums are sitting at the top of this year's charts. What’s truly amazing about the artistic evolution of Tony Starks is how he’s managed to become a wise, world-weary vet without turning into a bitter old crank, pining futilely for the return of some utterly extinct Golden Age. –Tom Breihan, Before there were a thousand articles about the “Montreal scene” or a string of side projects by the band’s busy members, there was simply Wolf Parade’s debut, an unabashedly open-hearted collection of offbeat instrumentation—yes, that is a Theremin on “Same Ghost Every Night”—and timeless melodies delivered by the group’s dueling shivery frontmen. And they don’t leave, either, so you feed every detail through your memory machine until all they ever seem to say is goodbye, and they’re gone. People tend to belittle ambient techno as mere background music, but I say, fuck that, Pop is a soundtrack for living. Ad Choices. 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