I thought you hated Paramore so was pleasantly surprised to see Misery Business.
I never really cared for them at the time Riot! came out, but when MB popped up on the soundtrack for a game (I think it was Saints Row 3?) I was like... "****, this was amazing actually"
Zizu
10-03-2021 08:25 AM
Quote:
Originally Posted by Shaun
(Post 11014341)
I never really cared for them at the time Riot! came out, but when MB popped up on the soundtrack for a game (I think it was Saints Row 3?) I was like... "****, this was amazing actually"
I always wonder why people don’t have a gap between the last letter and an ! or a ?
2013's Settle LP was the home to a whole string of massive chart hits that made the year seem an exciting time for house and dance music; there was the breakthrough single "Latch" with Sam Smith, top ten hits "White Noise" and "You & Me", and other star names like Mary J Blige, London Grammar, Jessie Ware and Jamie Woon appeared to create something special. The record really sprang to life, though, thanks to the reworking of Eric Thomas' motivational speaking on this track. The production is immaculate.
The winner of the BBC's annual "Sound Of..." competition is usually someone incredibly safe and white and in the 2010s there were only three that didn't become chart-toppers or festival headliners... they happened to all be black (Michael Kiwanuka and Octavian are the other two... the other 7 are Sam Smith, Ellie Goulding, HAIM, Years & Years, Jack Garratt, Jessie J and Sigrid). But yeah... no racism in the UK :spin2: What's especially frustrating for me is that RAY BLK - demonstrably on this track, but on many others, too - has more heart and soul in her voice than the majority of those other winners combined. This video shines a light on the experience of trans and gay people in Jamaica, and the track is just so breezy and showcases both her singing and rapping.
I haven't checked, but this might be the earliest-released song to make it into this thread... having dropped all the way back in April of the year 2000 :love: The song needs no introduction; it firmly established itself as a garage classic back at a time when your Craig Davids, Artful Dodgers, Mis-Teeqs and So Solid Crews were in full swing - but at the same time it doesn't suffer particularly from that dated feeling that some of its contemporaries might experience; there's an electronic poppy element to it that cements it as an immediate floor-filler, whatever the year.
Narrowing down Gaga's discography to just the two tracks to feature in this list was an arduous effort, given the sheer number of hits and reinventions of herself. One I had to choose, however, wasn't even a single; "Monster" is hidden on her 2009 album The Fame Monster with a cold, slick, metallic production and a dark, cannibalistic lyric.
As I've already said, this list was compiled long before I even knew what a Midnight Sky was, and as such it might feel a little dated... but I picked this track when there were other competitors like Malibu, We Can't Stop and Nothing Breaks Like a Heart on offer, and I am comfortable I made the right choice. Party in the USA is an iconic moment in pop: it's cheesy, it's camp, it's the catchiest thing you'll hear all day and it's one of the most joyous and sing-along-able songs released this century. **** the Star Spangled Banner, this is their national anthem :clap1:
Then again, maybe this is a more appropriate American national anthem. Foster the People came along and disappeared promptly in 2011 with this monolith of a hit that deploys an unmistakable cool. That its lyrics for such a cheery, foot-tapping song are the vows of a high school shooter to terrorise his classmates is remarkable; and the fact that this song endured such longevity despite being pulled from radio stations every time one such tragedy happens, is nothing short of an oddity.
At the height of their fame, Kasabian were one of the UK's most exciting bands to bother the charts; taking Oasis' remnants of Cool Britannia and adjusting them to a more electronic-friendly audience. Their self-titled debut album in 2004 is one of my favourites, and the psychedelic haze about this saw it become an indie classic.
Mensa broke through in 2014 with this monstrously catchy hit that... sadly was never really followed up on. His album came three years later, and it was... bland and forgettable hip hop. Go back to deep house pls x
Before he went straight to the top of the charts with Grace Kelly, Mika dropped this song first and it was an instant shake-up of 2000s pop music. A queer immigrant from the Middle East commanding the charts felt like a real breath of fresh air, and it helped that the cheesy pop he was releasing was golden and full of joy.
Although best known for that inescapable synth hook on 'Kids', MGMT really made their first impact with this single in 2008. I suppose I loved the psychedelic element of the song and its aesthetics so much that I was able to suppress my queerness (and ignore the hotness of the lead singer, apparently, jesus christ I missed this one?!) But... jesus this song defines a wonderful period of time.
Ammi
12-03-2021 08:11 AM
...I’m not sure why but Pumped Up Kicks always makes me think of Drew...:love:...Ray BLK...:lovedup:...
Smithy
12-03-2021 08:20 AM
Quote:
Originally Posted by Zizu
(Post 11014706)
I always wonder why people don’t have a gap between the last letter and an ! or a ?
So it would be Riot ! ... instead of Riot!
See what I mean ? ( see what I mean? )
Sent from my iPhone using Tapatalk Pro
Because that’s **** grammar and wrong
Smithy
12-03-2021 08:21 AM
Omg yes @ monster :dazzler:
Zizu
12-03-2021 09:31 AM
Quote:
Originally Posted by Smithy
(Post 11016072)
Because that’s **** grammar and wrong
I still prefer my way !
:)
Sent from my iPhone using Tapatalk Pro
Zizu
12-03-2021 09:34 AM
The 250 Greatest Songs of the 21st Century [An Arbitrary List, #160-151]
Quote:
Originally Posted by Smithy
(Post 11016073)
Omg yes @ monster :dazzler:
I have no idea what this even means !
Sent from my iPhone using Tapatalk Pro
DouglasS
12-03-2021 09:57 AM
Quote:
Originally Posted by Zizu
(Post 11016093)
I have no idea what this even means !
Sent from my iPhone using Tapatalk Pro
I don’t blame you!
Smithy
12-03-2021 09:59 AM
Quote:
Originally Posted by Zizu
(Post 11016093)
I have no idea what this even means !
Sent from my iPhone using Tapatalk Pro
...it’s one of the songs in the list....
Zizu
12-03-2021 10:07 AM
Quote:
Originally Posted by DouglasS
(Post 11016105)
I don’t blame you!
:)
Sent from my iPhone using Tapatalk Pro
Shaun
12-03-2021 11:03 AM
Quote:
Originally Posted by Ammi
(Post 11016066)
...I’m not sure why but Pumped Up Kicks always makes me think of Drew...:love:...
well he is serving 22 years at Whitemoor for shooting up his local college
The genre-shifting and era-defining music of Crystal Castles is a little overlooked now, perhaps because it's taken as a given, and perhaps because the duo's impact has been dramatically overshadowed by allegations of all kinds of abuse by one against the other... but I remember this song being absolutely huge in 2008 and my sensitive ears found it... completely alien, to put it kindly. Over time I've grown to appreciate it more and more; from Alice Glass' visceral performance on vocals to the manic, 8-bit production trickery.
Hudson Mohawke and Lunice only ever really released one EP as the duo called TNGHT, but they truly shook everything up and really ushered in a wave of new production styles to hip hop. This track was its stand-out; a bombastic, chaotic use of a tuba that's to be worshipped.
A song that grew so big that Cee-Lo and Danger Mouse themselves had to take it off download stores. It was #1 for 9 weeks in the UK and could've been for so much longer, had they not taken that step. It was named the song of the decade by Rolling Stone, and... if you put aside whatever lingering, residual sense of "overplaying" there might be in the recesses of your mind, it's not undeserved. The song is massive in scale and success.
I adored both PGG and the Queen of Denmark albums released by Grant at the turn of the 2010s, so it was difficult to choose just the one song... but I had to settle for the dark, electronic shift from his earlier (more acoustic) sound. In recording this (and the album), he worked and lived a lot in Iceland - and there isn't a greater example of a song that is best visualised with Aurora Borealis.
This topped the Australian charts back in 2016 and was a huge hit in America, too, but... never really made an impact over here :( I'm not sure why. It's a slick, rattling production and has one of those vocal lyrics about being "****ed up and missing you" that formed the basis of dance hits from Cheat Codes, Hippie Sabotage and Oliver Heldens through the majority of the 2010s... but, eh. We rarely get things right on the charts.
Looking back on the career - and more specifically the chart domination - of Kesha is difficult since it's tinged with a hue of abuse, misogyny (she was the trashy girl, but LMFAO, Flo Rida and Lil Wayne were seen as party guys) and the misfortune of being all connected to Dr. Luke. Some purists would write off his music entirely, but I feel doing so raises two problems: one - it erases a huge part of pop history, and two - it discredits the work done by the popstars themselves. Kesha's pop appeal was always her own, and she gave a lot of us incredibly happy nights out and euphoric feelings. My favourite such track was "C'Mon", taken from Warrior. It didn't top charts like We R Who We R or Tik Tok, but... jesus what a banger :clap1:
Dubstep brought us a lot of bad music. But filtered down through the best musicians and producers it could actually be listenable, and Katy B went stratospheric with the release of this single in 2010 and followed it up with solid albums. I still hold a soft spot for this above all, though... it was everywhere when I was at university :love:
Folk music as a genre seemed pretty much wrapped and dusted; impossible to expand upon, and pointless to venture into unless appreciating its classics. This was up until 2008, when Bon Iver and Fleet Foxes took it and ran. I'll get to the former later, but Fleet Foxes are just... incredible with building instrumentals and when paired with Robin Pecknold's gorgeous voice the end result is often beautiful. 2008's self-titled album is really flawless from start to finish.
#142 - "Starlight" by The Supermen Lovers and Mani Hoffman
This music video is so deeply embedded in the back of my 2001 MTV and The Box-riddled brain that it is one of the most reliable forms of inducing nostalgia I can imagine. The French just had this endless list of electronic and dance producers during the 2000s and some stayed for decades (Daft Punk, David Guetta)... others produced one-hit-wonders (Stardust, this). What a song.
I will forever have time for Goldfrapp. They've been here since the year 2000 itself, so looking back on their discography encompassed the entire period of time I was looking at for this thread concept... and there was a lot to choose from (in the end I chose two, but we'll get to the other later!) In 2003, Strict Machine came along and stole the dancefloor with an electro-clash epic that can only really be compared to the like of Donna Summer's I Feel Love. It's a gay classic.
The Horrors were pretty big during the 2000s but I didn't really give them the time of day until 2011's album "Skying", from which this is taken. I had sort-of pigeon-holed them as this indie/scene band with a greater emphasis on hairstyles and clothing than music, so this came along and hit me like a brick. The album - and most of theirs, actually - is great from start to finish and full of 80s new wave pop done right.
The Black Eyed Peas were absolutely colossal for a long time; from their breakthrough with "Where is the Love?" to the never-ending summer where "I Gotta Feeling" was top of the charts. Between those two bookends, though, is where most of my favourite singles can be found, and I had a hard time choosing between Don't Phunk With My Heart, Pump It, Mas Que Nada with Sergio Mendes, and this... in the end, this seemed the summer-iest and evoked the most fond memories.
2011's album Zonoscope is a wonderful fusion of traditional glam rock instrumentation and a psychedelic, electronic filter, and the record kicks off with this triple-whammy of amazing club tracks that culminate in this. The song just evokes chill vibes, and an enrapturing warmth.
aka that song that was used to advertise about 40 different companies during the 2010s. Santigold was a lot more relaxed on 2012's Master of My Make-Believe than on the 2008 self-titled album, but both are honestly all-time favourites and full of this fascinating songwriting. I spent most of 2012 and 2013 finding this song a huge, calming presence.
Such is the global impact that Beyonce has made that I am writing this knowing full well that I've probably chosen the wrong two tracks to represent her. Since her poppier breakthrough and domination she's turned a hell of a lot more political, and taken control of critics as well as the masses in the process. 2016's Lemonade was full of incredible highs, but for me the standout was this: propelled by a marching drumbeat and Kendrick's incredible guest verse, it's one of the most powerful and stunning tracks released this millennium.
For a long time, the Go! Team were a Brighton unit full of incredibly exciting, multicultural, experimental music and had this output that was like nothing else being released. 2004 saw their debut Thunder, Lightning, Strike unleashed, and it's jam-packed with so many standouts... but I had to settle for this one. I think this song was featured on one of the LittleBigPlanet games, and I don't know a better suited form of media for it to marry up with: it's relentlessly optimistic, imaginative and creative.
If I were to take this a little less seriously, I could very convincingly make a case for each and every of the Booty Luv singles to make their way into this countdown... but in the end I spared you from staring too long at God and narrowed it down to one. I am known for worshipping their altar, and will be until the day I die. Their pop was... so, so good.
Jack Antonoff has become one of the most powerful producers and songwriters today thanks to his work on Taylor Swift's recent albums, Lana Del Rey's Norman ****ing Rockwell, Lorde's Melodrama, St Vincent's Masseduction and The Chicks' Gaslighter (amongst others)... but he's also the frontman for the littler-known Bleachers. In 2017, they released this single - with background vocals from Lorde herself - and it's still something I'm trying to unpack... it's so, so breathtaking and climactic. "You steal the air out of my lungs, you make me feel it" indeed :love:
Swedish band Caesar's Palace had to change their name thanks to a little bit of a threat from the Las Vegas casino, but to even get on the radar of a giant business you'd have to release a one-hit-wonder so phenomenal... and in 2003 they did! Jerk It Out made its way onto the FIFA 2004 soundtrack and became the favourite song of pretty much every football-loving teenager at the time, with one of the most catchy and unique hooks in rock of all time.
They'd already cemented themselves as giants of UK electronic music in the 90s, but they had the kindness in them to dominate the 2000s as well, with this being their biggest hit of the decade. The song is a banger in every sense: hip hop giant Q-Tip guests as vocalist and keeps it lyrically tight, but I'd be lying if I said the track's main draw wasn't the reworking of an obscure Moroccan song's strings.
Shaun
16-03-2021 12:01 PM
130-121:
Spoiler:
#130 - "Last Friday Night (T.G.I.F.)" by Katy Perry
Katy Perry's domination of pop music lasted for a solid 5 years at least, and at its height was 2010's Teenage Dream album. It gave us Firework, it gave us California Gurls, it gave us Teenage Dream and E.T. It was an album so big it required a re-release two years later with further singles to keep the momentum going. But the real highlight was this song... this glorious, irreverent nonsense that is jam-packed with The Hangover montage lyrics and a sax solo from Kenny G (in the video at least; not on recording). A lot of her singles from that period of time have endured because of their feelgood factor, and inspirational messages (Roar, Firework, etc.) but is there a song more joyous than this? I'd love to hear it.
Few would've believed back in 2000 that in a sea of popstars like Britney, Beyonce, Christina, Mariah and, um, Michelle Branch, it would be P!nk that is still capable of making the singles charts in 2021. The lady has shown an incredible staying power and whilst a lot of that is down to releasing the most boring pop music imaginable and the same album cycle (big **** YOU lead single, followed by 3 NO COME BACK ILY ballads!) since 2006, a lot of it has indeed been fantastic. The majority of it is buried back in the 2000s though, and my favourite song of hers is Who Knew, a gorgeous strings-epic from her I'm Not Dead! record. A lot of her songs can feel vague and general, but the emotional weight behind this (the song is about the death of a friend of hers to drugs) still gives me goosebumps from time to time.
I've grown enamoured with Shura's soft, sensual electropop since 2014, with the release of this video of a diverse cast of actors making out. She's since goe and released three stellar albums, but when push came to shove I couldn't look past this early cut. Wonderful stuff :love:
St. Vincent is someone who I had bookmarked as a little too pretentious and escapable for my tastes, but that flipped back in 2017 with the release of MASSEDUCTION. This ballad, penned as a death of a relationship had already touched me before she went and revealed it was also about the death and mourning of David Bowie, so that just ramped up a few more levels in the "god bless this woman" stakes.
#126 - "Perfect (Exceeder)" by Mason vs. Princess Superstar
The 2000s were awash with a whole bunch of reworkings of 80s pop bangers into contemporary club/electroclash anthems and it was a daunting task, going back through all of the singles and floorfillers that I remember from my "being 16 year old and still trying to get into nightclubs" days (there were, surprisingly, more successful ones than not)... but in spite of that vast mass of Eric Prydz, David Guetta, Fedde le Grand, Armand van Helden, Alex Gaudino and Bob Sinclar, it was this that stuck out with the most pizazz. Combining the production of Mason's Exceeder with the tongue-in-cheek, no-****s-given vocals of Princess Superstar (best known then for her iconic Bad Babysitter single) was a masterstroke... promptly given your typical scantily-clad music video :love: a cultural reset.
The song's been out for almost five years now and still feels fresh and like a smack in the face with desperate sadness. The song is a breakup epic, powered along by this chorus that is simultaneously dancey and inducing wailing hysteria. The constant refrain of "I no longer revolve around you" feels both mournful and triumphant.
A song that became synonymous with the hugely popular film (500) Days of Summer but was already wonderful in its own right. I've adored Regina Spektor for a long time - so much so that there's another of her songs to come - and there's just such a unique, energetic arrangement of the track here that keeps you second guessing. It feels like a ballad, but it's far more folksy and beguiling. My heart honestly swells every time she does that drawn out falsetto on "living in a den of thieves".
I always believed that Will Young would've been a perfect candidate for a Bond theme, but it never happened... so he took the typical themes of a Bond movie and put them in this music video instead. I'm not picking this for the video, though; the song itself is so ludicrously gorgeous. His voice is honey here, but the composition is its main draw, swelling at every perfect moment with strings and falling back to that simple piano chord.
When I put the list together I had planned to talk about how she was one of the most exciting new producers and artists to keep looking forward to, but that's obviously now been tragically ripped away. She really changed pop music and gave a fresh lease of life to the genre; inspiring and collaborating with the likes of Charli XCX, Shygirl, Let's Eat Grandma and Kim Petras... but aside from her signature sound, she really stole hearts and brought an inestimable visibility to trans women everywhere; thriving as one of the most respected producers in the world whilst showcasing her identity in this video. Her death really stings.
I've loved Eurovision since I was about 11 years old (just not to the extent that I am willing to find stream links for the semi-finals of the Norwegian song selection process). I ummed and ahhed over which song to put highest from the years of competitions this century, and in the end I felt this - the winner from 2003 - was the perfect embodiment of what the competition is all about. Showcasing other cultures (the Turkish really changed what would be a "stereotypical" entry for years to come with this) and allowing an unapologetic, feisty woman to steal the show. This song is just absolute fire, and I don't know if there'll ever be another winner like it. **** your Loreens and your Conchitas.
Braden
16-03-2021 01:15 PM
Sertab Erener winning with Everyway That I Can changed Eurovision's trajectory in becoming the contest we know and love to this day. It could've been Dana International, but then we had that phase from 1999 to 2002 where the acts were more pop-based and fun, but the contest was still taken a bit too seriously.
Also, I love your work, hope you win, but I do have to defend Paris Hilton and say that the 'STOP BEING POOR' t-shirt is photoshopped :joker:
