Top 200 Songs of the Decade: 10–1.



10. Justice - Genesis
Cross 2007
I'll confess; I first heard this song in a TV commercial for an SUV. Still, the song that instant recognition as being a Justice song, even though I'd only heard one Justice song before in my life (D.A.N.C.E.). This song sounds like a contained explosion; it's the sonic equivalent of dropping a bomb in a trash can…huge, dirty, but somehow improbably tight.


9. Cut Copy - Saturdays
Bright Like Neon Love 2004
This has everything I like about Cut Copy; it's overly happy, sweet and utterly dancable. It has all this without the overproduction of their later work. There's so much space between the sounds here. Don't get me wrong, I love songs that are awash with reverb, but sometimes a pop song needs that snappy sound.

8. Ratatat - Seventeen Years
Ratatat 2004

Some songs are as much about introduction as they are about quality. Whether or not Seventeen Years is Ratatat's best is irrelevant; it ushered in for me a completely new kind of music, one with perfect hooks and pure energy.

7. The Field - Everday
From Here We Go Sublime 2007
I had read about The Field a few times before I took the plunge. Most reviews noted A Paw in My Face and Over the Ice as the standout tracks, but I wonder if listeners didn't get taken in by the new sound of the first two tracks. For me, Everday is the standout, with its swirling beeps and glitchy beats pulsating constantly. These continue for seven minutes becoming a hypnotic brain-melter that you could still play on the dance floor. It's prog meets disco, the true intelligent dance music.

6. The Knife - We Share Our Mother's Health
Silent Shout 2006
The song starts with bizarre pulsating sounds before it gloms together into some kind of bizarre bouncing melody. The Knife have a knack for making simply epic songs, songs that in just over four minutes manage to sound all-important and bombastic, and We Share Our Mother's Health is probably the most perfect example of this.

5. LCD Soundsystem - All My Friends
Sound of Silver 2006
Starting a with a jaunty piano chord, which remains unchanged, for the songs seven and a half minutes, All My Friends builds slowly, with each new instrument fading in gradually. The lyrics don't come in until 1:22, James Murphy's plaintive vocals telling a story that almost everyone can understand, with themes of longing and loneliness shining clearly through. Despite that, this song gets me completely excited about life; there's an undercurrent of hope running through the song that sits right in-between the constant drum-beat, bouncing piano and synthesizer wails. Feel free to play this song at the dance party that follows my funeral.

4. Wilco - Jesus, Etc.
Yankee Hotel Foxtrot 2002
It takes a lot for a piece of art—be it a painting, a movie, a TV show, or a song—to make me sad. This song, however, makes the shortlist of items that bring tears to my eyes.

3. Klute - Feroxx
Junk Single 2005
I downloaded this song after really getting into Klute's album No One's Listening Anymore. I was casually listening while doing something else, thinking, "oh this is kind of nice," when at the 1:40 mark, the track takes off with a literal scream and I was beat into submission by the deep bass, tinkling synths and hyper drums.

2. Basement Jaxx - Where's Your Head At?
Rooty 2001

If you imagine the timeline of Basement Jaxx music, starting with Remedy and ending with Crazy Itch Radio (I haven't heard Scars yet), it closely resembles an explosion. Still excellent today, 1999's Red Alert and Rendez-Vu are fairly straightforward club tracks, albeit with more flair. The tracks on 2003's Kish Kash are barely held together, as if the Jaxx had to get out the sonic equivalent of hot glue to keep songs like Good Luck and Right Here's the Spot together. Crazy Itch Radio is seemingly named for its sound, Jaxx had an itch to throw everything on the radio into a pot and it, um, came out crazy.

Rooty from 2001 is the perfect balance between straight-ahead dance music and an explosion of music. Where's Your Head At? feels like it has 50 guest vocalists and Basement Jaxx can barely rein them all in. It's a contained explosion, and one that wouldn't work in the hands of less talented producers. Where's Your Head At? is balanced perfectly between "completely out of control" and "obsessive perfection."

1. The Knife - Heartbeats (single and live version)
Deep Cuts 2003 and Silent Shout: An Audio Visual Experience 2006

The first version of Heartbeats I ever heard was the Jose Gonzalez acoustic version featured in a Sony Bravia commercial. It was a lovely song, and the cover gave no hint of its source material. I did research and found The Knife's Heartbeats, and it instantly blew me away. I wasn't expecting anything like this; I wasn't even expecting this genre. After the initial shock, I was completely floored by the material. At once cold and distant, but emotionally affecting, it was exactly what I had been looking to make in music, something with obvious pop influence, but also human and emotional. The Knife would make a u-turn in sound on Silent Shout, but the main crux of Heartbeats is the heartbeat of Silent Shout, the union of the disaffected and affection.
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