Favorite albums of the past Decade
Look out, massive post.
The 2000s saw the take off of the altnerative hip-hop scene. While much of the ground work was driven by El-P and friends in New York and Jay Dilla and crew in Las Angeles, I believe the most important contributions come from overseas, namely, Gorillaz, Dangermouse, and Tricky. Former Blur frontman and current composer Damon Albarn took advantage when Gorillaz achieved accidental financle success with their self titled album by attempting to move popular culture in a direction he wanted. Serving as Dangermouse's first true production job, he doesn't disappoint, far from it. A good deal of the appeal here lies in Dangermouse's production, its dense over laying and hip-hop drivin beats that persist as a constant audible theme within the album, no matter the style of the song. Dangermouse is so intertangled within the album that at times it can be difficult to discern where Damon's composition ends and Dangermouse's studio work begins. The featuring artist are by no means slacking either, with Ike Turners final performance, beautiful work of a gospel choir, narration by Shaun Ryder, and snapshots of the underground hip-hop scene from artist like Martina Topley-Bird, Roots Manuva, and MF DOOM. This is a near perfect album I'd DARE say.
The cold heart will burst
If mistrusted first
And a calm heart will break
when given a shake
Feist weaves a vocal and lyrical quilt of, again, near perfection on The Reminder. A quilt made with tales of love gone array, a steaming cup of beautiful backing instrumentation, and the warm embrace of the fire that is Feist's voice awaits you as you escape from the rain of tears that dawns your cheek. From the beginning, the album already sets itself up as breakup album with the track "So Sorry," speaking of deep regret and longing for that which can not be reclaimed. The trip doesn't get any easier from there, though the sadness is oddly comforting, most notably on the final track, How My Heart Behaves. The production is surprisingly varied, but always relevant, and held together by the thread of Feist's top notch singing and songwriting, keeping the album from feeling disorganized. All in all, easily amongst my top of last decade, and though Feist is mostly missing in action, I honestly wouldn't mind if she never released another album after this, but would gladly appreciate if she did.
Portishead's return was nothing less than stunning. Able to prove that even the most tired of musicians can stay relevant, the album is easily on par with any of its younger competitors. Beth Gibbons still has the voice of an angel, fragile and reserved, set in stark contradiction to the gritty drum machines. There is no sign of age here. From the simple beauty that is "The Rip" to the driving bewilderment that is We Carry On, Third falls somewhere in between distorted beauty, and beautiful filth. The highlight for me is clearly Small, echoing back to early Pink Floyd, in a more simplistic, pointed way. Dark and brudding, Third is an album worth visting, and revisiting over and over again.
Tiny Vipers is an artist that I've become aquanaut with fairly recently, but has just as quickly stolen a permanent place in my heart with her album Life On Earth. The aptly named album by Seattle based Tiny Vipers discusses much of which we would rather left forgotten. Those tiny moments of depression, loathing, and indifference and captured within the snapshots of our shadows. Occasional ambient guitar effects are sprinkled throughout the album, most notably on “Young God.” She has a great range, and takes use of its every pitch and tone, as seen on the contrast in the verses of Dreamer to the outro. Her lyrics are nothing short of astounding, and this is coming from someone who generally can't even focus on lyrics all together. Though an album that I recommend be taken in small doses, as an overdose of this album can be quite draining, I can assure you.
The best thing released this past decade, hands down. Hospitality by Venetian Snares is easily one of the most exciting musical trips I had ever taken. Begining with Frictional Nevada's glorious synth interlude, quickly jumping back in true VSnares noise form, its a slammer from the get go. It only takes a few notes to remind me of why this EP is ranked so highly. From there Beverly's Potatoe Orchestra featurers 3 minutes of soul exhausting muffled screams, set aside equally painful synths, crafting a surreal and reality impairing experience. The song isn't void of melody and form however, and the melody here, as with every other track on the EP, is easily some of the best stuff Snares has written. Shoot Myself provides a blessed release, releasing your exhaustion, showing off a side rarely seen of Snares, taking a very melodic approach to the song, never bursting at the seems with noise. By now you are so accustomed to having your head blown that you half expect at many of the builds that Snares will let go, but he holds back, creating something unlike most of his other works. The rest is Snare's at his best, crafting Dance music you can't dance too, though it stands easily amongst the best of his works, especially Cabbage.
I've limited this to being my only Snares album, other wise I would likely have 7 more albums written up on this list.
And these are just a few, I could go on and on.