I’m not much of a believer in The Binary Theory espoused after the launch of In Rainbows last year. The idea was:
“Ten years after OK Computer shocked the world, Radiohead released In Rainbows on October 10 (10/10). It had 10 tracks. Consider that In Rainbows was meant to complement OK Computer, musically, lyrically, and in structure. We found that the two albums can be knit together beautifully. By combining the tracks to form one playlist, 01 and 10, we have a remarkable listening experience. The transitions between the songs are astounding, and it appears that this was done purposefully.”
It’s a fun puzzle/conspiracy that may or may not be true but check out Flick’s great take on it all over at Puddlegum
In a remarkably tenuous connection, and in keeping with the 10 theme: There are 10 months left in the 10th year of the new century. It’s been a truly remarkable decade for music (in both music and business). I’ve listened to more music in the past 10 years than I had in the previous 20. So I have one question:
What are the 10 Best Albums you’ve heard in the last 10 years and why?
There’s only one rule – the album has to have been released between Jan 1st 2000 & Jan 31st 2009. I’ll be posting about one of mine, in no particular order, every month until the big ’10. Feel free to do that same – breaking it up into manageable chunks is a great way to make sure you make the right choices.
At least it’ll get the jump on the deluge of “best of decade” lists that’ll be hitting the interwebs around October-time 🙂
1. You Forgot It In People by Broken Social Scene
(All Links Are For Spotify – Just Click To Listen)
Music isn’t owned by the creators of it. Jeff Tweedy once said “There’s no way Elvis could’ve known what effect “Heartbreak Hotel” would have on people – that it would become the soundtrack to weddings, breakups, car crashes, births and deaths”. Music is owned by fans and fans alone – musicians write and record and the listener applies the context – how that album will affect his/her life in the years to come and what memories, bitter or sweet, it will reconjure.
YFIIP marks a lot of firsts for me – my first years in California, my first days in the music business, my first, honest-to-goodness feeling of discovering music so earth-shatteringly amazing that I had to tell each and everyone of my friends, and my first experience of each and everyone of them thanking me for telling them about Broken Social Scene’s best album to date. A review of the album was also the first thing I read on a then-little-known website called Pitchfork.
And although it wasn’t the first time I’d seen a fantastic live show, Broken Social Scene at Bimbo’s 365 in San Francisco in 2004 drew a line in the sand, a high-water mark for shows that the hundreds of shows since have come close to but never surpassed.
When additional members of the already 7-strong band casually strolled on stage with trumpet, trombone and sax in hand, mid way through “Pacific Theme”, and calmly raised their horns to their lips for the song’s climax, nothing was the same for me in music ever again. It may sound like hyperbole, but it’s the gods-honest-truth.
Where to start with an album this good? The delicious crunch and swirl and Pavement-esque noise of KC Accidental? The going-nowhere Rio sway of Looks Just Like The Sun? How about the deliciously unexpected, effeminate tones of Emily Haynes in Anthem for a 17 Year Old Girl, which is almost a lullaby until she swoons “bleaching your teeth/smiling flash/talking trash/under my window” like some twisted Juliet.
And YFIIP was also my first introduction to one Leslie Feist: beginning a love affair with her “Let It Die” album. It wasn’t till years later that I heard the song that would come to define the band and Feist for me – the “Redux” of Lover’s Spit that appeared on 2008’s “The Reminder”.
It’s a simple question – What’s the best album you’ve heard in the last 10 years and why? Simple for me because this album is head-and-shoulders above just about everything else.