LimeWire Music Blog

 

We’re almost a decade into the aughts or the naughties or whatever you want to call them. The following list of albums helped shape the current landscape of indie rock and defined a young 21st century. Remember when people actually bought records and listened to the radio? Some of these artists even predated the iPod! What would we have done if beloved groups like The Strokes or Interpol had never formed? These records influenced a cavalcade of up-and-coming bands and left an indelible impression on millions of music lovers.

Interpol – Turn on the Bright Lights (2002) Upon listening to the first track, the mainly instrumental “Untitled,” it’s easy to fall head over heels in love with the album and the band. It’s perfect for listening while driving down a foggy and endless stretch of highway at night. “PDA” quickly became a fave Interpol song, especially with the prolonged bridge at the end that crescendoed into oblivion. “NYC” became a post-9/11 elegy to the band’s home city. Sure, Paul Banks’ Ian Curtis-esque baritone and the black clothing were nothing new for a rock band, but just think of all the great bands they’ve influenced since. Interpol set the precedent for brooding bands in a big way.

The Aftermath: In 2004, their sophomore record, Antics, was finally released. By then, the band’s popularity was escalating. Antics was an adequate release, but it lacked the immediacy of Turn On. Interpol’s third record, 2007’s Our Love to Admire, was their major-label debut. It tried to stand out from the rest with its non-black album cover, but a lot of critics felt the songs were more of the same. The music industry has become too saturated with Interpol wannabe bands, but let’s not forget about the original and best. Maybe Interpol’s next record will be something completely different — and if not, well…that’s okay, too.

Bloc Party – Silent Alarm (2005) This UK band appeared on music fans’ radar during the summer of 2004. Pitchfork gave high marks to their debut EP, but when I listened to it, I wasn’t impressed at all. So when Silent Alarm came out in the winter of 2005, the album was filed under “grower,” as it took several listens to fully appreciate its beauty. The first song, “Like Eating Glass,” introduced lead singer’s Kele Okereke’s distinct vocals and lyrics: “It’s so cold in this house.” “Banquet” was an extremely infectious dance track, and the bittersweet “Modern Love” displayed the band’s softer side. Alarm hit the scene during the mid-’00s post-punk British revival, featuring the likes of less enduring bands like the Futureheads and Kaiser Chiefs. Bloc Party would inevitably catapult into the stratosphere.

The Aftermath: Bloc Party gives one of the best live shows on the plane’ thanks to Okereke’s unbridled energy. No matter what happens, they’ll always have that going for them. Unfortunately, their last two albums haven’t made quite the dent Alarm did. With 2007’s follow-up, A Weekend in the City, Bloc Party introduced a more commercial, anthemic sound. The record was panned by critics and a backlash followed. Akin to Alarm, Weekend needed multiple listens to sink in, but this time around, it just didn’t coalesce as well. Last year’s Intimacy was another disappointment. The band’s popularity has skyrocketed so much since their debut, they probably won’t be able to capture that initial magic. But hopefully they’ll at least try.

The Shins – Oh, Inverted World! (2001) Zach Braff ruined this band for everyone. In the movie Garden State, there’s a scene where Braff tells Natalie Portman, “This song will change your life.” That song was “New Slang.” He was correct about it being life-changing, with its jangly melancholy and “what could’ve been” lyrics, but everyone would know who The Shins were because of that soundtrack, not because of their excellent album, Oh, Inverted World!, released three years prior to the movie. Even though Garden State was a poor introduction to the Shins, at least it boosted the band’s exposure. The Shins would never be so esoteric again.

The Aftermath: The Shins have become pretty big since their debut, which not many people initially heard. In 2003, they released the affable Chutes Too Narrow with pop songs “So Says I” and “Gone for Good.” The record helped garner them even more success. 2007’s Wincing the Night Away solidified their popularity as it debuted at #2 on the Billboard charts. Not bad for a group that was fairly unknown a few years prior. Wincing is sort of an uneven record with only a couple of true gems. James Mercer’s poetic lyrics stay intact, but aren’t as heartfelt and raw as Inverted. It’ll be interesting to see what their next record will be like.

The Strokes – Is This It? (2001) This might as well have been it for the group of brash, young, blue-blooded New Yorkers known as The Strokes. Lead singer Julian Casablancas and his band galvanized the NYC rock scene of the early ’00s with their brand of hooky, garage-rock influenced pop songs. Their immediate success enabled a lot of bands to emerge from that scene later on. They broke out at the forefront of all those other “The” bands like The Hives and The Vines, and it was The Strokes that continued to storm the castle. Now-classic tunes “Someday” and “Last Night” were heavily influenced by ’70s rock bands such as Television. Even though the guys didn’t have to struggle like other neo-neophyte bands, they simply had the right mixture of image and sound to make it big.

The Aftermath: With every overnight success story comes the inevitable backlash. Critics scrutinized the band for their less charming follow-ups, Room on Fire and First Impressions of Earth. The former was less commercially successful than their debut, but still held up as a good sophomore record. With Impressions, they ran into a snag instead of hitting their stride. It’s unclear if the Strokes will record another album, as the band members have spent the last few years focusing on their own projects. If Albert Hammond Jr.’s solo work and Fab Moretti’s Little Joy are any indication, they should definitely record another Strokes record. The era of gushing over the Strokes may have passed, but they remain relevant.

Coldplay – Parachutes (2000) Coldplay introduced themselves to America with their first single, “Yellow,” off their debut Parachutes. The song gleamed with its electric guitars and Chris Martin’s lilting vocals. Liking Coldplay back in 2000 (that long ago?) felt unadulterated because those who liked them were into them for their music — not because  it was cool to like them. Parachutes was filled with sweeping gloom and subtle rock anthems. Album opener “Don’t Panic” scorched with urgency and life affirming lyrics, “we live in a beautiful world.” The final track, “Everything’s Not Lost” consoled. The entire album was simply untouchable.

The Aftermath: We all know how much Coldplay has evolved since Parachutes was added into our record collection. Their sophomore release, A Rush of Blood to the Head, was a great sequel to Parachutes. With this record, Coldplay began its ascent to “one of the biggest bands in the world” status. Martin went on to marry Gwyneth and have infamously-named kids Apple and Moses. Coldplay began selling out huge amphitheaters. They just became really sappy, overly accessible, and ubiquitous. Both X & Y and last year’s Viva La Vida had their moments, but those embers from a decade ago have long since died out.

Honorable Mentions: Franz Ferdinand – Franz Ferdinand (2004), The Go! Team – Thunder, Lightning, Strike (2004), The Avalanches – Since I Left You (2000), The Arcade Fire – Funeral (2004), TV on the Radio – Desperate Youth, Bloodthirsty Babes – (2004), The Postal Service – Give Up (2003).