Top 100 Music Albums of the 2000s by 
DriftingOrpheus 
- Chart updated: 04/07/2024 14:15
- (Created: 04/03/2020 02:36).
- Chart size: 100 albums.
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In the earliest days of the 21st century, New York City was not only a dominant fulcrum for the arts, it also stood as a mecca for some of the best up-and-coming indie rock artists of the era. Bands such as The Strokes, LCD Soundsystem and the Yeah Yeah Yeahs. If these wonderful acts were assembled at a legendary NYC party, deep in the corner, pensively camouflaging would be Interpol. Always tastefully suited and donning black, Interpol were surely the most brooding and moody of these groups and their music brilliantly reflected the sentiment of a city that they loved but was holding them prisoner. Their crowning achievement was 2002's Turn on the Bright Lights, an introspective compendium of social alienation and the poetic juxtaposition of perception and reality in the city they called home.
Lead singer Paul Banks pulls no punches on third track NYC, claiming, "The subway is a porno, The pavements they are a mess, I know you've supported me for a long time, Somehow I'm not impressed". Lead guitarist Daniel Kessler vigorously drives fifth track Say Hello to the Angels. The breakneck pace is notably apt when uncovering the song's inspiration, unfailing sexual yearning during a rocky relationship. Fan favorite Obstacle 1 is often noted as an anthem for the turn-of-the-century indie revival. It was seemingly influenced by the death of a model that willingly pierced her own throat. The relevance to the narrator is still up for interpretation but lines such as, "But it's different now that I'm poor and aging, I'll never see this face again, And you go stabbing yourself in the neck," imply a distant, one-sided affinity. The darkness only purveys further from there. Playfully titled track Stella Was a Diver and She Was Always Down describes another flesh-centric liaison gone awry due to the title bearer's personal instability. Sam Fogarino's burst-guided drumming creates the sensation that the song itself is slowly descending deeper and deeper into the Hudson. Banks croons, "Bottom of the ocean she dwells, bottom of the ocean she dwells", as he too drifts into the abyss.
The lion's share of the band's attention appeared to revolve around their status as dead ringers for legendary post-punk foursome Joy Division. Interpol, while respecting Joy Division's legacy, dismissed the strategic intention of such comparisons, not content to live in another's shadow or (Shadowplay). While The Strokes and LCD Soundsystem concocted hits that were not out of place at Columbia University parties and the sprawling New York City club scene, Turn on the Bright Lights' target was an entirely different audience. A sector of listeners that felt petrified at the notion of being present at a social soiree or those who desired whole-hearted love in favor of booze-soaked escapades. It's a shame that these days Interpol are perceived to have lost their labels as critical darlings, lost to a new generation sporting deaf ears on which the band's music falls on. Shamefully, they often get lost in the shuffle when commenting about the impact of early 2000's indie rock, swiftly swept to the side by more thematically positive acts that potentially have less provocative things to say. How appropriate of the band to be caught up in such a woebegone story. Hindsight suggests that Interpol just may have been the finest act to grace that era. They certainly released its most polished, brilliantly arranged artifact. You can find it gracing the shelves of a Greenwich Village antique shop.
"I had seven faces
Thought I knew which one to wear
But I'm sick of spending these lonely nights
Training myself not to care"
-NYC
Standout Tracks:
1. Obstacle 1
2. Leif Erikson
3. Stella Was a Diver and She Was Always Down
93.6 [First added to this chart: 04/25/2020]
Lead singer Paul Banks pulls no punches on third track NYC, claiming, "The subway is a porno, The pavements they are a mess, I know you've supported me for a long time, Somehow I'm not impressed". Lead guitarist Daniel Kessler vigorously drives fifth track Say Hello to the Angels. The breakneck pace is notably apt when uncovering the song's inspiration, unfailing sexual yearning during a rocky relationship. Fan favorite Obstacle 1 is often noted as an anthem for the turn-of-the-century indie revival. It was seemingly influenced by the death of a model that willingly pierced her own throat. The relevance to the narrator is still up for interpretation but lines such as, "But it's different now that I'm poor and aging, I'll never see this face again, And you go stabbing yourself in the neck," imply a distant, one-sided affinity. The darkness only purveys further from there. Playfully titled track Stella Was a Diver and She Was Always Down describes another flesh-centric liaison gone awry due to the title bearer's personal instability. Sam Fogarino's burst-guided drumming creates the sensation that the song itself is slowly descending deeper and deeper into the Hudson. Banks croons, "Bottom of the ocean she dwells, bottom of the ocean she dwells", as he too drifts into the abyss.
The lion's share of the band's attention appeared to revolve around their status as dead ringers for legendary post-punk foursome Joy Division. Interpol, while respecting Joy Division's legacy, dismissed the strategic intention of such comparisons, not content to live in another's shadow or (Shadowplay). While The Strokes and LCD Soundsystem concocted hits that were not out of place at Columbia University parties and the sprawling New York City club scene, Turn on the Bright Lights' target was an entirely different audience. A sector of listeners that felt petrified at the notion of being present at a social soiree or those who desired whole-hearted love in favor of booze-soaked escapades. It's a shame that these days Interpol are perceived to have lost their labels as critical darlings, lost to a new generation sporting deaf ears on which the band's music falls on. Shamefully, they often get lost in the shuffle when commenting about the impact of early 2000's indie rock, swiftly swept to the side by more thematically positive acts that potentially have less provocative things to say. How appropriate of the band to be caught up in such a woebegone story. Hindsight suggests that Interpol just may have been the finest act to grace that era. They certainly released its most polished, brilliantly arranged artifact. You can find it gracing the shelves of a Greenwich Village antique shop.
"I had seven faces
Thought I knew which one to wear
But I'm sick of spending these lonely nights
Training myself not to care"
-NYC
Standout Tracks:
1. Obstacle 1
2. Leif Erikson
3. Stella Was a Diver and She Was Always Down
93.6 [First added to this chart: 04/25/2020]
Year of Release:
2002
Appears in:
Rank Score:
14,952
Rank in 2002:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
127
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These days, Interpol are a three-piece unit. This is a reality that tends to correlate to their recent dip in critical applause. Their latest two records, El Pintor and Marauder, both feature the absence of longtime bassist Carlos Dengler. Dengler had departed Interpol due to dissension between he and the rest of the band after 2010's self-titled album was released. Despite this change leading to reformed spiritual harmony within the trio, the band lost a sizable fragment of their sonic identity. The ex-bassist's greatest contributions to Interpol come in the form of 2004's sophomore effort, Antics. The record was received favorably by the music press but (ludicrously) didn't obtain the same amount of fanfare as their debut record. Antics is punchier, bleaker and just as addictive as Turn on the Bright Lights. It exhibits an artist unburdened by a gaping hole in their lineup and a quintet feverishly relishing their collective creative prime.
Antics begins by lighting a slow-burning fuse titled Next Exit. A somber, hypnotic opener introducing the listener, reluctantly, to the forthcoming tale of social turbulence. Vocalist Paul Banks remarks, "You've been building up steam, ignited by this fight, so do this thing with me instead of tying on a tight one tonight", calling for bravery in the face of a discouraging, drug-infused descent. The fuse then greets the explosive with second track, Evil. The track is powered by Dengler's intoxicating bassline that cradles the song throughout its duration. The jovial tinge of the track is diversified by Banks' lyrics that conjure the personas of infamous British serial killers Fred and Rosemary West. Spoken from the perspective of the former, Banks chants, "Rosemary, heaven restores you in life, you're coming with me, through the aging, the fearing, the strife." Fourth track, Take You on a Cruise, serves as the centerpiece, fading in slowly like a ship through a dense fog bank. Banks himself has described this as a slight departure from the pathos of the album. He claims, "It has a different tone to the rest of the record for that reason. It’s a tacky seduction story: this guy who may be worldly and well-educated but he’s trying to get laid with a cocktail waitress." The coalescence of the rhythm section in the second half of the track is as majestic as the maritime imagery Banks' poetry frames. This conglomerate plays wonderfully aside Banks chanting, "White Goddess, red Goddess, black Temptress of the sea, you treat me right," calling upon Greek mythology. The finale serves as one of the band's most overlooked cuts. A Time to Be So Small has sonic textures that fashion an appropriate ending for the album with Banks' baritone bathed in reverb as the track floats away. Fogarino's drum hits here have such a fascinating sense of weight that they can be felt within your chest cavity. The song itself is said to be written from the point of view of a crustacean watching a family squabble between a father and son. Go figure. However, aquatic anomaly aside, the lyrics convey a more sinister coloring. The LP ends with Banks proclaiming, "When the cadaverous mob saves its doors for the dead men, you cannot leave," sharpening the threat of death at sea.
Unfortunately for the immensely gifted ensemble, Antics would serve as the band's final full-length classic. Here, the synthesis of emotional tonnage into harmonious elixir is strikingly effortless. Interpol would go on to produce four more above-average, but never legendary albums. As conversed earlier, a portion of it spawned from the crater left by their skillful bass player, but this came long after they'd pumped out their fourth outing. Others would potentially point out that the fracture left behind from the infighting did more damage to the psyche of the band rather than the group's sonic capabilities. Whatever it was, Interpol would never reach these heights again but with that said, not many artists have. A very small sector of the music-making landscape could brandish not one, but two classics to start a recording career. Interpol swam in the deepest of waters with the most fearsome of fauna and emerged remarkably relevant and intact. They've climbed back into their luxury liner with two first-class albums shoveling coal into their furnaces. Interpol has earned the right to go at their own pace now and anything they serve us in the future is a much obliged bonus. The timid, sharply dressed boys from the big city have nothing more to prove.
"If time is my vessel, then learning to love
Might be my way back to sea
The flying, the metal, the turning above
These are just ways to be seen"
-Public Pervert
Standout Tracks:
1. Take You on a Cruise
2. A Time to Be So Small
3. C'mere
90.2 [First added to this chart: 04/25/2020]
Antics begins by lighting a slow-burning fuse titled Next Exit. A somber, hypnotic opener introducing the listener, reluctantly, to the forthcoming tale of social turbulence. Vocalist Paul Banks remarks, "You've been building up steam, ignited by this fight, so do this thing with me instead of tying on a tight one tonight", calling for bravery in the face of a discouraging, drug-infused descent. The fuse then greets the explosive with second track, Evil. The track is powered by Dengler's intoxicating bassline that cradles the song throughout its duration. The jovial tinge of the track is diversified by Banks' lyrics that conjure the personas of infamous British serial killers Fred and Rosemary West. Spoken from the perspective of the former, Banks chants, "Rosemary, heaven restores you in life, you're coming with me, through the aging, the fearing, the strife." Fourth track, Take You on a Cruise, serves as the centerpiece, fading in slowly like a ship through a dense fog bank. Banks himself has described this as a slight departure from the pathos of the album. He claims, "It has a different tone to the rest of the record for that reason. It’s a tacky seduction story: this guy who may be worldly and well-educated but he’s trying to get laid with a cocktail waitress." The coalescence of the rhythm section in the second half of the track is as majestic as the maritime imagery Banks' poetry frames. This conglomerate plays wonderfully aside Banks chanting, "White Goddess, red Goddess, black Temptress of the sea, you treat me right," calling upon Greek mythology. The finale serves as one of the band's most overlooked cuts. A Time to Be So Small has sonic textures that fashion an appropriate ending for the album with Banks' baritone bathed in reverb as the track floats away. Fogarino's drum hits here have such a fascinating sense of weight that they can be felt within your chest cavity. The song itself is said to be written from the point of view of a crustacean watching a family squabble between a father and son. Go figure. However, aquatic anomaly aside, the lyrics convey a more sinister coloring. The LP ends with Banks proclaiming, "When the cadaverous mob saves its doors for the dead men, you cannot leave," sharpening the threat of death at sea.
Unfortunately for the immensely gifted ensemble, Antics would serve as the band's final full-length classic. Here, the synthesis of emotional tonnage into harmonious elixir is strikingly effortless. Interpol would go on to produce four more above-average, but never legendary albums. As conversed earlier, a portion of it spawned from the crater left by their skillful bass player, but this came long after they'd pumped out their fourth outing. Others would potentially point out that the fracture left behind from the infighting did more damage to the psyche of the band rather than the group's sonic capabilities. Whatever it was, Interpol would never reach these heights again but with that said, not many artists have. A very small sector of the music-making landscape could brandish not one, but two classics to start a recording career. Interpol swam in the deepest of waters with the most fearsome of fauna and emerged remarkably relevant and intact. They've climbed back into their luxury liner with two first-class albums shoveling coal into their furnaces. Interpol has earned the right to go at their own pace now and anything they serve us in the future is a much obliged bonus. The timid, sharply dressed boys from the big city have nothing more to prove.
"If time is my vessel, then learning to love
Might be my way back to sea
The flying, the metal, the turning above
These are just ways to be seen"
-Public Pervert
Standout Tracks:
1. Take You on a Cruise
2. A Time to Be So Small
3. C'mere
90.2 [First added to this chart: 04/25/2020]
Year of Release:
2004
Appears in:
Rank Score:
3,545
Rank in 2004:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
75.5
[First added to this chart: 05/21/2020]
Year of Release:
2007
Appears in:
Rank Score:
1,385
Rank in 2007:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Total albums: 3. Page 1 of 1
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Top 100 Music Albums of the 2000s composition
| Year | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 2000 | 10 | 10% | |
| 2001 | 12 | 12% | |
| 2002 | 7 | 7% | |
| 2003 | 11 | 11% | |
| 2004 | 11 | 11% | |
| 2005 | 8 | 8% | |
| 2006 | 7 | 7% | |
| 2007 | 17 | 17% | |
| 2008 | 9 | 9% | |
| 2009 | 7 | 7% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Cancerslug | 11 | 11% | |
| Radiohead | 5 | 5% | |
| The National | 4 | 4% | |
| Angels Of Light | 4 | 4% | |
| Deerhunter | 4 | 4% | |
| Blitzkid | 4 | 4% | |
| Björk | 3 | 3% | |
| Show all | |||
| Country | Albums | % | |
|---|---|---|---|
|
|
|
|
|
| |
63 | 63% | |
 |
17 | 17% | |
 |
5 | 5% | |
 |
3 | 3% | |
 |
3 | 3% | |
 |
3 | 3% | |
 |
2 | 2% | |
| Show all | |||
Top 100 Music Albums of the 2000s chart changes
| Biggest climbers |
|---|
| Up 1 from 86th to 85th Akron/Family & Angels Of Light by Akron/Family & Angels Of Light |
| Biggest fallers |
|---|
| Down 1 from 85th to 86th We Sing Of Only Blood Or Love by Dax Riggs |
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DriftingOrpheus (2024)Top 100 Music Albums of the 2000s ratings
88/100 (from 3 votes)
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Showing all 3 ratings for this chart.
| Rating | Date updated | Member | Chart ratings | Avg. chart rating |
|---|---|---|---|---|
 90/100  | 07/20/2021 15:02 |  Larcx13 | | 86/100 |
| 100/100 | 04/28/2021 19:07 |  Rhyner | | 99/100 |
| 100/100 | 11/04/2020 06:32 | DJENNY | | 100/100 |
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