25 Essential Albums: 2000-2010
In a decade defined by political polarization, two controversial wars abroad, a crippling economic recession, and other domestic and global ailments, a generation synthesized despite being trapped in a figurative whirlwind. This generation, although perhaps slighted by history for being born in turbulent times, should thank Madam Fate for providing it with a stellar soundtrack to make this journey through time less painful. Below is a list of twenty-five albums between 2000 and 2010 that I feel are essential. Essential, although dangerously essentialist theoretically (no pun intended), I feel is a safer adjective for any list than the commonly used “best,” a term that disguises its subjectivity paradoxically with a false appearance of objectivity.
1.) Electric Wizard- Dopethrone (Southern Lord Records, 2000)
Released in 2000, Electric Wizard’s third album proved to be a crowning achievement. One of the last records to feature the three original members, Dopethrone merged Sabbath-style hooks with the heaviness of Eyehategod and Sleep to create a confrontational and atmospheric sound. Tracks such as “Funeralopolis,” “Barbarian,” and “I, Witchfinder” made this album an instant classic and treated listeners to a trip that is still continuing. Hail the wizard.
2.) Tragedy- Vengeance (Tragedy Records, 2002)
As the United States began its invasion of Iraq, the youth of America watched as another generation was coerced into war in an intensely unstable region of the world. Although nationalism was at its apex at this time, freedom fries didn’t stop Tragedy (featuring members of His Hero is Gone) from unleashing possibly the best punk album of the decade. Combining the ferocity of Disclose with the atmosphere of their former band, Tragedy emphatically stated that punk rock would not die in the new millennium. Vengeance fused melody with aggression and intelligently challenged the consumerist, materialistic, sadistic, and bloodthirsty environment that spawned it. Very few albums, regardless of the decades they were made in, are as powerful and substantive as this.
3.) Isis- Oceanic (Escape Artist Records, 2002)
Boston’s Isis released Oceanic in 2002 and brought their unique brand of ambient metal to the masses. The maturation of Aaron Turner’s songwriting is easily identifiable on this record that blended the heaviness of the band’s early material with a distinguishable post-rock influence. Although their next release (2004s Panopticon) sent them on a national tour with Tool, Oceanic displays a band discovering and experimenting with a sound that challenged essentialist ideals of heavy music.
4.) Pig Destroyer- Prowler in the Yard (Relapse Records, 2001)
Perhaps the quickest way to introduce your jaw to the floor is to let Pig Destroyer’s Prowler in the Yard rape your virgin ears. Twenty-two songs, an 8-track in Scott Hull’s basement, and some drugs were all it took for this Virginia band to change grindcore forever. Lyrically, J.R. Hayes sacrificed the politically-charged slogans that defined the band’s early releases for surrealist prose never before seen in the genre. A noticeable thrash metal influence underlies the album as well, foreshadowing the band’s progression throughout the decade. From the eerily uncomfortable intro “Jennifer” onward, this album’s atmosphere is paradoxically beautiful and morbid.
5.) Tear it Up- Just Can’t Stand It (Deranged Records, 2001)
Out of the ashes of Dead Nation came Tear it Up, a hardcore quintet from New Brunswick, NJ that merged the hooks and ascetic of early Black Flag with the ferocity of 90s powerviolence to create a plethora of memorable, confrontational, and angst-ridden tracks. Just Can’t Stand It accomplishes what very few records of its kind can by inspiring the listener despite its negative and pessimistic demeanor. Well played and carefully crafted outbursts define this record that I recommend for any fan of punk or hardcore.
6.) Converge- Jane Doe (2001, Equal Vision Records)
Always innovative and unpredictable, Converge ushered in the new decade with Jane Doe, an album that reminded listeners why Converge is among the most celebrated bands in independent music. Jacob Bannon’s distorted howls comfortably accommodate the chaotic (and noticeably more metallic) sonic assault. Many moshed, legs were broken, metalcore would reign supreme for what appeared to be an eternity, and Converge solidified their place as legends in their own time.
7.) Limp Wrist- 2001 LP (Lengua Armada Discos, 2001)
Just as Crudos existed as a window that allowed individuals to peer into the lives of Latinos domestically and abroad, Martin Sorrendeguy’s Limp Wrist project challenged the conventions of hardcore culture by exclaiming the presence of a gay subculture within punk. The codes of conduct and norms concerning gender, sexuality, and identity within the national and hardcore cultures respectively were examined and slain in twenty-two minutes. This all gay straight edge powerhouse sacrificed sensitivity for aggression while superb songwriting made even the most homophobic of hardcore fans jump into the circle pit. They’re here, they’re queer, and don’t knock this record until you try it.
8.) Leftover Crack- Fuck World Trade (Alternative Tentacles, 2004)
After leaving Hellcat Records following the censorship of their album “Shoot the Kids at School,” Leftover Crack released this album under Jello Biafra’s Alternative Tentacles label. A new label meant a new artistic freedom and a resurgence of the band’s experimentation. Punk, ska, and metal converge on this record that contains longer songs, a myriad of instruments, and a noticeable sense of inspiration. Lyrically, Leftover Crack assaulted an administration for its invasive distortion of civil liberties, aggressive and destructive foreign policy, and exacerbation of a conservative ideology that intensified social unrest, systematic racism, and economic decay under capitalist dictatorial control. For its time, it was a necessary testament and soon it became an instant classic.
9.) Backstabbers Inc.- Bare as Bones (Blackmarket Activities, 2003)
New Hampshire’s Backstabbers Incorporated literally came out of nowhere in 2003 with “Bare as Bones,” one of the most hostile records ever and certainly the most qualitative release that Blackmarket Activities has ever offered. Diatribes on the overreaching influence of the corporate media make the atmosphere tense before the listener is pummeled by a well concocted hardcore / punk / metal / grindcore hybrid.
10.) Kylesa- Kylesa (Prank, 2002)
Although many bands blended metal with punk during this decade, Savannah, Georgia’s Kylesa seemingly set themselves apart from their peers by combining carefully crafted songs with qualitative production. The result was an album that set Kylesa on a path toward success and greater artistic experimentation.
11.) Slayer- God Hates Us All (Def-American, 2001)
Released on the day that initiated the destruction and turbulence that defined the decade, Slayer’s God Hates us All appeared to be more of an omen than a record. While Metallica was busy protecting their wealth from advancements in technology and Megadeth was making songs for professional wrestlers, Slayer returned to prominence by releasing an album that sacrificed not one shred of integrity or ferocity for commercial success. Another generation would bow to Slayer, I pity the first that doesn’t have the opportunity.
12.) From Ashes Rise- Nightmares (Jade Tree, 2003)
Melodic, honest, well-crafted, beautiful, dark, impeccably produced, often imitated, not yet duplicated.
13.) Jesu- Jesu (Hydra Head, 2004)
2001 may have seen the death of Godflesh, but soon after Justin Broderick returned with Jesu, whose self-titled 2004 release on Hydra Head ushered in a new beginning for one of the most significant musicians of his time. Ambience and a dark atmosphere define this first release, signifying a departure from Godflesh sonically and ascetically that makes this record not only significant historically but infinitely interesting.
14.) Mastodon- Remission (Relapse, 2002)
One of the finest metal albums released in a very long time, “Remission” introduced Mastodon’s brand of heavy music to a wider audience than many thought possible. Dynamic songwriting and truly awe-inspiring musicianship (especially the play of drummer Brann Dailor) helped turn Mastodon into a metallic force that stormed through the decade with disregard for what record labels had planned for them. Although I still believe their finest hour has yet to come, I at least can acknowledge the majesty of their early success.
15.) Boris- Amplifier Worship (Southern Lord / Mangrove 2003)
Japan’s Boris changed the scope of rock music with this release in 2003. Part rock, part doom, partly indescribable, the album remains the only Boris release other than “Smile” to feature vocals on every track. Stellar riffs atop a psychedelic atmosphere challenged my perception of how heavy music could be played.
16.) Sun0)))- Black One (Southern Lord, 2005)
Sunn0)))’s dark atmospheric style of music has come to define the style of drone. Either worshiped or despised for their unique blend of music, this band challenged the listener more than ever with “Black One” and soon after became infamous. One aspect of this album that always impressed me personally was the fact that the vocals were recorded inside of a coffin to intensify the album’s manic vocal delivery. Beat that Darkthrone.
17.) Eyehategod- Confederacy of Ruined Lives (Century Media, 2000)
After barely surviving the 90s, Eyehategod ushered in the new century with perhaps their best sounding album to date. Although not as revolutionary as their earlier work, “Confederacy of Ruined Lives” continued the band’s tradition of sonic nihilism and a disturbingly surrealist ascetic. This album marked the beginning of a challenging decade for the band that included overdoses, arrests, and a devastating hurricane. Their survival is figuratively an act of spiteful rebellion.
18.) Cold World- Dedicated to Babies who Came Feet First (Deathwish, 2008)
Inspired by Biohazard, Mobb Deep, Cro-Mags, and probably a plethora of other mysterious influences, Cold World put Wilkes-Barre, PA on the musical map in 2008 with “Dedicated to Babies who Came Feet First.” An eagerly anticipated release, Cold World displayed powerful musicianship and demonstrated how to allow unique influences arise naturally on tape. This was in no small part due to the impeccable production of Billy Graziadei (Biohazard), who encapsulated Cold World’s sound perfectly. The album’s deeply personal lyrics, if relatable, will turn any song into an instant anthem. Despite your opinion on the direction hardcore music should be headed in, the product that Cold World presented in 2008 is undeniably eclectic.
19.) Floor- Floor (No Idea, 2001)
Wonderfully heavy, Floor’s 2001 output became an instant classic in various music circles. Often labeled “doom pop,” Steve Brooks’ beautiful voice disguises the album’s mischievously dark lyrical content. Topped with a collection of some of the best riffs ever recorded, this album has stood the test of time to the surprise of none.
20.) Terror- Lowest of the Low (Bridge Nine Records, 2003)
Put on this list for Ryan Helton, R.I.P
21.) Dying Fetus- Destroy the Opposition (Relapse, 2000)
This album revived a stagnant genre of music with its musicianship and lyrical substance. Few records redefine their genres, but thankfully Dying Fetus made death metal interesting, even if only for a short while.
22.) Infest- No Man’s Slave (Deep Six, 2002)
Yes children, I know the music was recorded in 1995, however the vocals were recorded and the album was officially released in 2002, when Infest’s voice was desperately necessary. No metal, no songs about “the crew,” no superficial image, just intense music for an intense period of time. Some of us took note, but I wish more of us had.
23.) At the Drive In- Relationship of Command (Grand Royal / Fearless, 2000)
Rick Rubin + At the Drive In = Classic album. Own it nerds.
24.) Insect Warfare- World Extermination (625 Thrash, 2007)
They seemed to disappear as quickly as they arrived, but Insect Warfare’s first and only full-length release is already recognized as a classic piece of grindcore. Listen and hear why.
25.) Fucked Up- Hidden World (Jade Tree, 2006)
I am of the opinion that Fucked Up is one of the most significant independent musical acts of the last twenty-five years. To say that this band is substantive, creative, and innovative would certainly be an understatement. After spending most of the decade releasing e.ps on Deranged Records (all of which could make any list individually), the Toronto quintet finally released a full-length album in 2006. Like the best post-modern architecture, Fucked Up used old patterns and new techniques to quote the past ironically, causing dissonance between the past and present, and related a double-coded message to the listener that encapsulated the paradox that is life.
-Joe