20. PJ Harvey – Stories from the City, Stories from the Sea

The cover of PJ Harvey’s Stories from the City, Stories from the Sea could have signaled the end of her renowned career and a grim start to the 2000s. Glammed up in a sleek black dress, carrying a gold purse, and wearing sunglasses at night on a blurry New York City street, Harvey looked as if she was stepping into the glossy world of rock clichés. Instead, she delivered an album that had slicker production than its predecessors but was just as personal, intelligent, and brassy as anything she’d done. From the opening growls of “Big Exit” to the whispers of “This Mess We’re In”, her stunning duet with Thom Yorke, Stories proved Harvey is incapable of failure. -Anthony Balderrama

19. LCD Soundsystem – Sound of Silver

With Sound of Silver, LCD Soundsystem and James Murphy crystallized the modern era. A blueprint of influence, from the niche to the mainstream, songs like “All My Friends”, “Someone Great”, “North American Scum”, or “New York I Love You But You’re Bringing Me Down” evoked what it meant to be who you are in this modern day and age. The ironic statements, the clever reference, the awareness of self and life around you, and let us not forget the amazing music. Insanely catchy, extremely danceable, and well crafted, Sound of Silver remains the perfect Hipster album. -Charles Poladian

18. Queens of the Stone Age – Songs for the Deaf

Here’s an album that gave me goosebumps when I first heard it, and it still does to this day. “Song for the Dead” is a force to be reckon with, and no matter how many times you’ve heard them, “No One Knows” and “Go with the Flow” are still as slick as ever. Grohl’s thunder, Oliveri’s scream, and Hommes’ groove made for the heaviest, sexiest, rock record of the decade. -E.N. May

17. Sufjan Stevens- Illinoise

The 50 States concept picked up momentum when Illinois emerged as Sufjan Stevens’ second choice. Stevens penned 22 tracks of magical music, utilizing an accoutrement of instruments and styles, infusing the culture and history of the state into each track. From the haunting piano of “John Wayne Gacy” to “Chicago”s tubular bells, Illinoise was the sound of the state. -Will Hines

16. Kanye West – The College Dropout

Now that Kanye West has become one of pop culture’s most controversial figures, it has become difficult to remind his detractors of the massive impact his debut had on the rap scene. The College Dropout came out at a time when rap’s underground stood in stark contrast to the ghetto fabulous mainstream. West, who described himself as “the first rapper with a Benz and a backpack”, immediately set out to break down the barriers, flipping through his Rolodex to align a guest list of rappers ranging from Ludacris to Talib Kweli.  But what sets Dropout apart are the themes present in West’s lyrics. He strives for the political consciousness of the underground but struggles with the trappings of the good life. The portrait that emerges is one of somebody who has achieved the highest status any rapper can aspire to: a human being. -Michael Denslow

15. Radiohead – In Rainbows

I like to imagine Jonny Greenwood as a mad scientist, at work behind a lab table piled high with all sorts of electronic modulators, computers, effects pedals, and of course, guitars. Thom Yorke, he’s the quirky research supervisor, the guy who makes sure that in the end, the chaos remains somewhat controlled.  The rest of the guys, they’re the much needed assistants.  After years of observation and work with these two, they get what’s going on, and they glue all the pieces together. With In Rainbows, this process has been refined to the point of flawlessness. There’s a sort of impeccable balance between that erratic tinkering and the lush, more organized Yorkian songwriting. But moreover, In Rainbows is a record that sees a band with nowhere new to go, defying the odds and finding yet another distinction of the well-established, yet genre defying Radiohead sound by revisiting their past. It’s by no means a reversion or a muting of their eccentricities, but merely a summation of all the different Radioheads that came before. Because that’s what makes them Radiohead, it’s their ability to do everything all at once, but make it sound so natural that you can hardly trace the ingredients. -Drew Litowitz

14. Vampire Weekend – Vampire Weekend

It’s been a long time since someone made music this fun, and even longer since someone’s made an entire album of said fun music. Vampire Weekend’s debut deserves every glowing accolade it’s received. Not since Talking Heads parted ways has there been a band capable of such dynamic rhythm, smart lyrics, and youthful exhilaration. It takes a seldom-seen kind of musical genius to debut with this level of diverse musical understanding and charm. If this is where they are now, just imagine where they’ll be. -Cap Blackard

13. Animal Collective – Merriweather Post-Pavilion

It wasn’t always easy to “get” Animal Collective. In fact, it used to be a pretty difficult feat. Nevertheless, with each subsequent album, the psychedelic connoisseurs brought something new into the mix, making it easier and easier to get a grasp on the ultimate goal of their seemingly sporadic plucking, their earsplitting tweaking, their chaotic screams, their impossibly naïve storytelling. And so finds us face-to-face with that very goal, the 21st century psych-pop masterpiece that is Merriweather Post Pavilion. With its tripped out, liquid drenched, electronic based take on Smiley Smile era Beach Boys pop, Animal Collective connected the dots many people didn’t even see in the first place. In doing so, the guys showed us that they had a twisted plan all along, we just may not have been able to read the blueprints. Whether anybody got it or not, the Baltimore natives unleashed their gorgeous summation of just how beautiful the banality of existence can be in the right context, ushering in an almost entirely new genre of music in the process. -Drew Litowitz

12. Sigur Rós – Ágætis Byrjun

Five Icelanders take dream-rock to its logical conclusion. Pooling from their Nordic heritage, Sigur Rós devised and album so ethereal, dreamlike, and profoundly unique that they put the world in a transcendental state of imagination. Jónsi Birgisson’s cello-bowed guitar work and elfin voice combine to make the first human equivalent of whale song. Top that off with lush, echoing, multi-layered instrumentals and let your consciousness accelerate to places your sleeping mind can only glimpse. From the opening chord of “Svefn-g-englar”, to the triumphant soaring of “Starálfur” and “Olsen Olsen”, and the title track’s lullaby-like grace; Sigur Rós wrapped the new century in a sonic birthing caul, prophesying a destiny of greatness for music in the 21st century. -Cap Blackard

11. OutKast – Stankonia

From the down home dirty south vibe to outer space funk, OutKast’s Stankonia had it all. The album’s an example of pure hip-hop mastery because of its sweet, sweet dichotomy. Big Boi keeps it street (see “We Luv Deez Hoez”) while Andre 3000 talks elephants and humors to the sounds that would cause George Clinton to break out in a case of boogie fever. Not to mention the synthy trumpets and space effects will keep your mind thoroughly blown for days. Plus, if a song like “So Fresh, So Clean” doesn’t get you laid or a jam like “B.O.B.” can’t get you running on the floor, there’s no hope for you. Ever. -Chris Coplan

10. Yeah Yeah Yeahs – A Fever to Tell

In 2003, I’d started to hang out with a crowd who liked to throw dinner parties. During the actual dinner, we’d listen to an assortment of jazz compilations and mixes of world and jazz music. But, as soon as the dishes were cleared, Fever To Tell would quickly drop into the CD player. Produced by the seemingly everywhere Dave Sitek, the Yeah Yeah Yeahs established themselves as hitmakers with this excellent art punk album. Karen O’s riotous swagger, fueled by Brian Chase’s thumping drums and Nick Zinner’s screeching guitar work, hits the ground running from the sublimely wild “Rich” and never looks back. -Adam Kivel

09. Beck – Sea Change

Never was an album title more right. Sea Change was Beck’s way of blowing our minds, and it worked. “Paper Tiger” and “Lonesome Tears” take your breath away with their huge, sweeping, orchestral climaxes. We got Beck’s boldest moves as he sang with poetry, not freestyles, with “Lost Cause” as his platinum moment. With “Golden Age” opening though, it set the stage for a record that was, and still is, absolutely riveting. His reinvention gave a whole new depth to Mr. Hansen, launching him from 90′s slacker hero to music icon for the new millennium. Now six years later, Sea Change serves as a masterpiece in his catalogue, and for the decade. There’s truth to the words, “Let the golden age begin.” Long live Beck. -E.N. May

08. The Raconteurs – Consolers of the Lonely

Critics of The Raconteurs’ second full-length album argue that there are two main flaws: it’s too chaotic and it’s too diverse. I would argue that those two characteristics, which of course are true, are actually the album’s two best attributes, and in the end, allow it to be perhaps Jack White’s most crowning achieving to date. It’s not because it’s White’s best album, but because it’s his most balanced and consistent, an effort totally reflective of his ever-changing styles (“The Switch and the Spur”), one-of-a-kind passion (“Five On The Five”), and out of this world musicianship (“Salute Your Solution”). And all this is without mentioning the fact that The Raconteurs’ continue to be White’s most talented supporting cast to date. Ultimately, from top to bottom, Consolers of the Lonely is perfect, an album that remains as musically stimulating, as vocally stellar, as lyrically fascinating, and as down right mind-numbingly captivating in the beginning notes of the ferocious opening title track as it does 55 minutes later on track #14, the bluesy murder mystery known as “Carolina Drama”. This being said, no other selection in our Top 10 will questioned more than this one. If you’re one of those part of that questioning, I suggest you re-evaluate your definition of a great album. -Alex Young

07. The White Stripes – White Blood Cells

While it took until their third effort to get noticed by the public at large, what an effort this stripped down garage rock album was. The LP represents not only a breakthrough for The White Stripes but also for an entire movement of lo-fi/minimalized guitar rock. White Blood Cells is fueled by grandiose rock songs like “Fell In Love With A Girl” and “Dead Leaves and the Dirty Ground”. But their bombastic nature was one half of the equation and the album unleashes tune after tune that, at its very core, is a rapid fire construct that’s technically achievable by any band from the faceless masses but whose energy and eccentricities can only be created by the family White. And the album’s folk and country output (in “We’re Going To Be Friends” and “Hotel Yorba” respectively) paved the way for an onslaught of acts to mix something heavy and something honky-tonk. -Chris Coplan

06. The National- Boxer

Looking back, it seems all too fitting that I first found Boxer on a rainy afternoon in southwestern Poland. The parallels between The National’s fourth full-length and Poland are evident: it’s gloomy and brooding, but the payout for those who take the time to dig deep below the surface will be rewarded tenfold. Alligator was a special record, making the band accessible to the indie masses. Boxer was, in a weird sense, their sophomore release. And any pressure they faced was wiped away with swift, emotionally rich strokes. The songs on Boxer move with a solemn yet weightless touch; it’s the record that elevated The National into everyone’s favorite rainy day band. And there were more than a few of those in Poland. -Joshua Kloke

05. Jay-Z – The Blueprint

In hip hop circles it is commonly accepted that Reasonable Doubt is Jay-Z’s finest album and from a purely creative standpoint it may be. But no album better summed up who Jay-Z is and what his presence meant to rap and pop culture than The Blueprint. Seven years before Young Jeezy equated the election of a black president with his own personal rise, Jay-Z presented the outline (or, um, blueprint) for rags-to-riches success. Throw in sparkling production, a scalding duet with Eminem, and one of the best dis tracks of all time. As if that’s not enough, The Blueprint also introduced the world to a confident young producer named Kanye West, who was responsible for four of the album’s beats. -Michael Denslow

04. Radiohead – Kid A

Kid A was and will always be its own rare breed. It will forever be the record that shocked fans with its inaccessibility, but slowly grew into one of the most cherished albums of a new generation of music lovers. Radiohead would still have made two of the most important contributions to rock music without it, but would they have become the genre defying, shape shifting monsters they are today without their timeless middle finger to the rock world? -Drew Litowitz

03. Wilco – Yankee Hotel Foxtrot

Wilco’s fourth studio album, Yankee Hotel Foxtrot, is the group’s best-selling album and is widely recognized as one of the best albums of 2002. A defining characteristic of Yankee Hotel Foxtrot is the “punch” of every track; the album is under an hour long with 11 tracks, and none are filler. Every song is there on purpose, with a purpose; YHF exemplifies the band’s sound, but with brevity and wit. It is also the band’s most honest release, constructing metaphors and utilizing sound, in addition to music, to address Tweedy’s personal problems with pain pills, migraines, and panic attacks. The relatable nature of the tracks on YHF, and the depth of what lies beneath, makes it Wilco’s most raw, exposed, and appreciated album. -Shayna Hodkin

02. Arcade Fire – Funeral

Though Funeral itself might mourn the loss of innocent youth, listening to it uplifts and upsets in equal parts. Hearing Funeral is like reliving a childhood you never even lived in the first place. It’s like seeing flashbacks to the hardships of growing up, crying about them, and suddenly realizing that it was all just a gloriously crafted dream. Win Butler’s imagery and narratives are so universal it’s frightening. From the second the album’s bright piano notes combine with Butler’s angst-ridden cries, you can feel it. You want to build a tunnel, you remember your bedrooms and your parents bedrooms. Then after you’re well acquainted with how beautiful it all is, Butler will throw a line at you so rich with naïve imagery that the smile your mouth forms almost stings: “When daddy comes home, you always start a fight/ So the neighbors can dance/ In the police/ Disco lights/ Now the neighbors can dance.” The record presents an ambitious art-rock framework that feels familiar, simply because we wish indie rock had always been this grand, this heartfelt. This is the record that rock music had been waiting for, without ever even knowing it. It came out of virtually nowhere and birthed one of the most treasured bands of the burgeoning 21st century. The subject matter combines with an arsenal of instrumentation to form a grouping of songs that are impossibly poignant, miserable, and blissful all at once. And man, what an impossibility it is. -Drew Litowitz

01. The Strokes – Is This It [UK]

Try and remember what you were listening to pre-2001. It probably wasn’t too much garage rock, or even indie rock for that matter. There’s a reason for that. Before The Strokes hit the scene with their breakthrough single “Last Nite”, there was little to no reason for anyone to be interested in garage rock, save for those lucky enough to live in Detroit. But the summer of ’01 changed everything… and fast. Almost overnight, teenagers everywhere found recluse in the balmy glaze of New York City’s hottest band, trading in their skater clothes for denim and leather jackets. They flocked to The Strokes, and every band that rolled out after ‘em: Everyone from The White Stripes to The Hives, Black Rebel Motorcycle Club to Kings of Leon.

And, eight years later, you still can’t help but marvel at Is This It. It’s just so damn perfect. There isn’t a song here that’s not worth writing a 1,000 words over. While the US got stiffed (“When It Started” over “New York City Cops” to keep the band politically correct at the time, e.g. 9/11), the UK edition, which actually sports the band’s originally intended album cover, is a diamond to this day. “Hard To Explain” chugs at a simple yet epic pace that still bleeds into spunky indie rock efforts today, while “Someday” captures the idealistic, youthful mentality of being young, dumb, and lost in love. The main reason this all works is because The Strokes recognize where they want to go and what they want to do. In fact, this might be the most realized and assured debut in the catalog of rock ‘n’ roll. Not once does a song falter, not once does the sound seem inconsistent, and never does it date itself.

Of course, their videos might. Hell, when “Last Nite” made the rounds on MTV’s late night video blocks (what a relic, huh?), anyone could have thought The Strokes were some lost band of yesteryear, making a comeback via “found footage” or “renewed interest.” Just take a look at the clip again. Between the dusty, bright set to Julian Casablancas’ zoned out expressions, these guys looked like a product of the ’70s or extras on “that” FOX show. However, sonically, their tunes amounted to straight up honest-to-god rock ‘n’ roll, the kind of stuff that took no liberties in being anything but that. As a result, they brought about a genre that wound up dominating the decade: indie rock (even if they weren’t a part of it). Following Is This It, new and smaller acts surfaced left and right, wearing their influences on their sleeves and putting their hearts in the lyrics, all without the modern rock mentality that acts like Staind, Green Day, and even the Foo Fighters carried. There was still an image being sold, but something changed. That something is hard to pinpoint — it really is — but Is This It is a direct example of it (and hands down the first of the new millennium).

And at the end of the day, it’s a diamond album, too.

-Michael Roffman

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TAGGED AS: Animal Collective, Arcade Fire, Beck, Jay-Z, Kanye West, LCD Soundsystem, OutKast, PJ Harvey, Queens of the Stone Age, Radiohead, Sigur Ros, Sufjan Stevens, The National, The Raconteurs, The Strokes, The White Stripes, Vampire Weekend, Wilco, Yeah Yeah Yeahs