Rocka's Hot 00s Albums (Winter 23) by 
Tha1ChiefRocka 
These are the current top 10 albums for me from the 00s. Mostly newer listens, but some ones that I've liked for awhile.
- Chart updated: 09/17/2024 23:45
- (Created: 01/15/2024 01:24).
- Chart size: 10 albums.
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Year: 2000
Genre: Dark Jazz
This album was a weird blindspot for me for a long time. I've known about other bands in the "dark jazz" genre like The Kilimanjaro Darkjazz Orchestra & The Dale Cooper Quartet, but I had never heard the progenitors; Bohren & Der Club of Gore. Personally, I'd rather have called it "doom jazz" as the lurching pace of the tracks compare more favorably to Doom Metal composition than anything else. However, I understand that it also has its origins in "Dark Ambient", so I guess the nomenclature is accurate enough. Enough about semantics, let's get to the music. If you're not already familiar with it, you may be thinking "what does Dark Jazz sound like?" I have a hard time determining how to explain it myself. Think of Cool Jazz, slow it down even more, and strip away most of the instrumentation leaving drums, keyboard, maybe guitar (treated & textural), and a lone sax. Add some intimate production and depressive atmosphere. There you go.
There's a man in a heavily smoke-filled bar. He's sitting in the corner alone; staring at a crooked knot in the wooden table slats. He looks across to see a woman as lost as he is, but he shifts his eyes to the middle distance. He pushes out any ideas of happiness or companionship. He feels he doesn't deserve it.
This is the soundtrack for the fantasy noir movie in your head. The quiet and still moments that pass slower that most. Listen to this at night walking or driving the city streets. It really does hit different. It sounds cheesy, but this music truly captures that "lonely" feeling better than almost anything else.
I don't really have a favorite track on this, because it sounds all nearly the same. Which could also be a flaw, but, when the vibes are this immaculate, that sameness is a positive. [First added to this chart: 01/20/2024]
Genre: Dark Jazz
This album was a weird blindspot for me for a long time. I've known about other bands in the "dark jazz" genre like The Kilimanjaro Darkjazz Orchestra & The Dale Cooper Quartet, but I had never heard the progenitors; Bohren & Der Club of Gore. Personally, I'd rather have called it "doom jazz" as the lurching pace of the tracks compare more favorably to Doom Metal composition than anything else. However, I understand that it also has its origins in "Dark Ambient", so I guess the nomenclature is accurate enough. Enough about semantics, let's get to the music. If you're not already familiar with it, you may be thinking "what does Dark Jazz sound like?" I have a hard time determining how to explain it myself. Think of Cool Jazz, slow it down even more, and strip away most of the instrumentation leaving drums, keyboard, maybe guitar (treated & textural), and a lone sax. Add some intimate production and depressive atmosphere. There you go.
There's a man in a heavily smoke-filled bar. He's sitting in the corner alone; staring at a crooked knot in the wooden table slats. He looks across to see a woman as lost as he is, but he shifts his eyes to the middle distance. He pushes out any ideas of happiness or companionship. He feels he doesn't deserve it.
This is the soundtrack for the fantasy noir movie in your head. The quiet and still moments that pass slower that most. Listen to this at night walking or driving the city streets. It really does hit different. It sounds cheesy, but this music truly captures that "lonely" feeling better than almost anything else.
I don't really have a favorite track on this, because it sounds all nearly the same. Which could also be a flaw, but, when the vibes are this immaculate, that sameness is a positive. [First added to this chart: 01/20/2024]
2
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Year: 2004
Genre(s): Industrial Rock, Darkwave
Synthpop, Gothic Rock
First question: How was this band not a bigger success?
The Birthday Massacre is a band from London, Ontario. They've been consistently making music since the early 2000s to the present day. They have not achieved a great deal of mainstream success, but they seem to have enjoyed a steady cult following. They also seem to have cultivated a very particular aesthetic and symbology surrounding their own music, which is cool.
This 2004 album from the band which, Hey!, is now 20 years ago, is a great entry into the faux-80s worship subgenre.
Second question: How has this band's music not been on 'Stranger Things'?
The Birthday Massacre (keep wanting to type 'The Birthday Party') take a lot from their obvious influences in The Cure, Depeche Mode, etc. but the production and vibe of this album is, almost to a fault, 00s. It would work great on that show. This album can go from hooks to heaviness and intimacy all in the same track. All while maintaining a cohesive theme and feeling. It never feels too derivative especially when you think of what was going on in the alternative rock space at the time.
And, knowing how successful certain emo groups were in this time period, I'm finding it hard to grasp how this band was not a larger part of that scene. They really would only be on the fringe of that scene anyway, because what they are doing on this album (and the great 2007 followup 'Walking With Strangers') is frankly quite a bit better than what was being released at the time. They sound more fully realized stylistically than a lot of the other groups working in the Emo/Goth space in the 00s. (I know they aren't the same, but emo kind of converted a lot of Goths during this time if I'm not mistaken).
Most of those more successful bands had a male lead though. Generally some kind of easily-posterable heart throb. Paramore or Evanescence would be some points of reference, although this band definitely fills it's own niche. If it were a spectrum, then they would be in between those two bands. However, here we have a female vocalist, that is probably one of the strongest points of the band. Paramore or Evanescence would be some points of reference, although this band definitely fills it's own niche. If it were a spectrum, then they would be in between those two bands. Anyways, she's great. Theatrical at times and dynamic. She goes from a kind of spoken word growl-whisper on occasion to clean mainstream alternative vocals in a few tracks. It's a fun juxtaposition. With the spooky synth melodies going over some tracks, it creates a great atmosphere. Lyrically the album has some fun turns of phrase, but it definitely is an album with lyrics for teenagers on it. Nothing wrong with that.
I've had a great time listening to this album and the followup, which is why this spot is reserved for both, as they're remarkably consistent. Take a listen and have some fun. [First added to this chart: 01/20/2024]
Genre(s): Industrial Rock, Darkwave
Synthpop, Gothic Rock
First question: How was this band not a bigger success?
The Birthday Massacre is a band from London, Ontario. They've been consistently making music since the early 2000s to the present day. They have not achieved a great deal of mainstream success, but they seem to have enjoyed a steady cult following. They also seem to have cultivated a very particular aesthetic and symbology surrounding their own music, which is cool.
This 2004 album from the band which, Hey!, is now 20 years ago, is a great entry into the faux-80s worship subgenre.
Second question: How has this band's music not been on 'Stranger Things'?
The Birthday Massacre (keep wanting to type 'The Birthday Party') take a lot from their obvious influences in The Cure, Depeche Mode, etc. but the production and vibe of this album is, almost to a fault, 00s. It would work great on that show. This album can go from hooks to heaviness and intimacy all in the same track. All while maintaining a cohesive theme and feeling. It never feels too derivative especially when you think of what was going on in the alternative rock space at the time.
And, knowing how successful certain emo groups were in this time period, I'm finding it hard to grasp how this band was not a larger part of that scene. They really would only be on the fringe of that scene anyway, because what they are doing on this album (and the great 2007 followup 'Walking With Strangers') is frankly quite a bit better than what was being released at the time. They sound more fully realized stylistically than a lot of the other groups working in the Emo/Goth space in the 00s. (I know they aren't the same, but emo kind of converted a lot of Goths during this time if I'm not mistaken).
Most of those more successful bands had a male lead though. Generally some kind of easily-posterable heart throb. Paramore or Evanescence would be some points of reference, although this band definitely fills it's own niche. If it were a spectrum, then they would be in between those two bands. However, here we have a female vocalist, that is probably one of the strongest points of the band. Paramore or Evanescence would be some points of reference, although this band definitely fills it's own niche. If it were a spectrum, then they would be in between those two bands. Anyways, she's great. Theatrical at times and dynamic. She goes from a kind of spoken word growl-whisper on occasion to clean mainstream alternative vocals in a few tracks. It's a fun juxtaposition. With the spooky synth melodies going over some tracks, it creates a great atmosphere. Lyrically the album has some fun turns of phrase, but it definitely is an album with lyrics for teenagers on it. Nothing wrong with that.
I've had a great time listening to this album and the followup, which is why this spot is reserved for both, as they're remarkably consistent. Take a listen and have some fun. [First added to this chart: 01/20/2024]
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Year: 2002
Genre(s): Pop Rock
Singer-Songwriter, Folk Rock, Soft Rock (according to RYM)
It's never fun when I have to admit that I'm a poser. "George Harrison is my favorite Beatle," I've been heard to say on numerous occasion. And, while it's true I've listened to the bulk of his 70s output, this album somehow eluded me. I've honestly never heard anyone bring this album up in conversation about George, so it was never anywhere on my radar. I feel like I may have heard "Any Road" at some point though, because it sounds super familiar, but that may just be the latent George Harrison/Jeff Lynne songwriting hallmarks. I am ashamed to have never listened to this until a few months ago.
Released nearly 1 year after his passing, Brainwashed is very clearly a great musician's last will and testament. It reflects the quiet Beatle's best qualities, musically, spiritually, or otherwise. There's an urgency in the lyricism on Brainwashed that only comes from a man that has accepted the most difficult of all things to accept. It could also be serving as a clearing of conscience in a final moment.
The songs are typical George, and probably the closest he ever came to replicating the brilliance of All Things Must Pass. I'm most impressed by the consistency from track to track on this album. I don't feel that any of these songs really miss the mark at all. Especially the slide guitar-heavy middle suite of "Rising Sun", "Marwa Blues", and "Stuck Inside A Cloud". George is playing his ass off on that slide guitar on those tracks. Beautiful & emotional. The closing title track is George giving the world one last warning before he goes. His off-kilter nasal delivery and politicized lyrics sound like a Dylan tribute in his final song. The last few minutes of the track though is reserved for George's Krishna chanting along with his son and others. George understood that spirituality and God were the keys to happiness and satisfaction in a modern world that offers nothing but artifice and consumerism. It's a fitting end for his career, and a great treatise on living a life not controlled by the will of material possession.
Don't make the mistake I did. Go out and listen to this one if you haven't. [First added to this chart: 01/20/2024]
Genre(s): Pop Rock
Singer-Songwriter, Folk Rock, Soft Rock (according to RYM)
It's never fun when I have to admit that I'm a poser. "George Harrison is my favorite Beatle," I've been heard to say on numerous occasion. And, while it's true I've listened to the bulk of his 70s output, this album somehow eluded me. I've honestly never heard anyone bring this album up in conversation about George, so it was never anywhere on my radar. I feel like I may have heard "Any Road" at some point though, because it sounds super familiar, but that may just be the latent George Harrison/Jeff Lynne songwriting hallmarks. I am ashamed to have never listened to this until a few months ago.
Released nearly 1 year after his passing, Brainwashed is very clearly a great musician's last will and testament. It reflects the quiet Beatle's best qualities, musically, spiritually, or otherwise. There's an urgency in the lyricism on Brainwashed that only comes from a man that has accepted the most difficult of all things to accept. It could also be serving as a clearing of conscience in a final moment.
The songs are typical George, and probably the closest he ever came to replicating the brilliance of All Things Must Pass. I'm most impressed by the consistency from track to track on this album. I don't feel that any of these songs really miss the mark at all. Especially the slide guitar-heavy middle suite of "Rising Sun", "Marwa Blues", and "Stuck Inside A Cloud". George is playing his ass off on that slide guitar on those tracks. Beautiful & emotional. The closing title track is George giving the world one last warning before he goes. His off-kilter nasal delivery and politicized lyrics sound like a Dylan tribute in his final song. The last few minutes of the track though is reserved for George's Krishna chanting along with his son and others. George understood that spirituality and God were the keys to happiness and satisfaction in a modern world that offers nothing but artifice and consumerism. It's a fitting end for his career, and a great treatise on living a life not controlled by the will of material possession.
Don't make the mistake I did. Go out and listen to this one if you haven't. [First added to this chart: 01/20/2024]
Year of Release:
2002
Appears in:
Rank Score:
526
Rank in 2002:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
[First added to this chart: 01/20/2024]
Year of Release:
2000
Appears in:
Rank Score:
1,282
Rank in 2000:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
[First added to this chart: 01/20/2024]
Year of Release:
2009
Appears in:
Rank in 2009:
None
Rank in 2000s:
None
Average Rating:
Comments:
Buy album
- #Sponsored
[First added to this chart: 01/20/2024]
Buy album
- #Sponsored
[First added to this chart: 01/20/2024]
Year of Release:
2008
Appears in:
Rank Score:
388
Rank in 2008:
Rank in 2000s:
Overall Rank:
Average Rating:
Comments:
Buy album
- #Sponsored
[First added to this chart: 01/20/2024]
Buy album
- #Sponsored
[First added to this chart: 01/20/2024]
Buy album
- #Sponsored
[First added to this chart: 01/20/2024]
Total albums: 10. Page 1 of 1
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Rocka's Hot 00s Albums (Winter 23) composition
| Year | Albums | % | |
|---|---|---|---|
 |
 |
|
|
| 2000 | 2 | 20% | |
| 2001 | 0 | 0% | |
| 2002 | 3 | 30% | |
| 2003 | 1 | 10% | |
| 2004 | 1 | 10% | |
| 2005 | 0 | 0% | |
| 2006 | 0 | 0% | |
| 2007 | 0 | 0% | |
| 2008 | 1 | 10% | |
| 2009 | 2 | 20% |
| Artist | Albums | % | |
|---|---|---|---|
|
|
 |
|
|
| Max Corbacho | 1 | 10% | |
| Sneaker Pimps | 1 | 10% | |
| No Age | 1 | 10% | |
| Cobalt | 1 | 10% | |
| John Fahey | 1 | 10% | |
| Autumn's Grey Solace | 1 | 10% | |
| Bohren & Der Club Of Gore | 1 | 10% | |
| Show all | |||
Rocka's Hot 00s Albums (Winter 23) chart changes
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A lot of hard work happens in the background to keep BEA running, and it's especially difficult to do this when we can't pay our hosting fees :(
We work very hard to ensure our site is as fast (and FREE!) as possible, and we respect your privacy.