The 50 Best Britpop Albums of All Time. The Top 500 Tracks of the 2000s (Pitchfork, 2009) The Top 50 Music Videos of the 2000s (Pitchfork, 2009) Weblinks. All were British. There’s smooth swagger on “GQ on the EQ” and gentle sweetness with “For When Yr Just Happy To Be Alive” slamming up against frenetic compositions like “Punkshit” and “Two Fingers in the Air Anarchy Style.” As for the scene in question, titling the second song “Luke Vibert Can Kiss My Indie-Punk Whiteboy Ass” and throwing in samples from CB4, among other sources, creates its own perverse salute. Late capitalism continues its gallop toward oblivion, and full-time work is still draining out of the U.S. and UK with only the hellish gig economy to replace it. Art that sets out to disgruntle the powers that be always carries the risk of reinscribing the oppressions it tries to unsettle. Are you listening to your heartbeat as projected through a megaphone? Is it an inherent property of certain genres, or more about a mode of listening to any and all music? “What use is music that revolves only around having ‘chops’ and being ‘good’? Still there’s something about Fitton’s handiwork here that strikes a different set of nerves: He never pretends to be post-human like the former, and he never sets about conjuring that lost sense of childhood innocence like the latter. But the rampaging breakbeats, screeching-siren vocals, and double-barreled guitar and keyboard riffs of Voodoo-U were less funny and more frightening. Maßstab 1:5 collects some earlier EPs and augments them, landing on the edges of the IDM scene largely due to a squiggle factor and textural vagueness not commonly associated with Voigt. And its reverberations have yet to dim. Here Throbbing Gristle made confrontational, acerbic, and often disgusting music feel, to some, like home. –Ned Raggett, Listen: Kid606: “Two Fingers in the Air Anarchy Style”, Blectum from Blechdom’s impulsive, glitchy electronic music is simultaneously challenging and unpretentious—fun, even. And while its peak has long since passed, IDM’s half-lives echo on around us still, often in the unlikeliest of places: avant-R&B tunes like Travis Scott’s “Goosebumps,” tracks like “Real Friends” on The Life of Pablo, even moments on “The Young Pope” soundtrack. Indeed, standouts like “The Crablouse” (a paean to the orgasmic prowess of pubic lice) and the explicitly witchy title track lent the demonic urgency of a summoning ritual to music for people who just really wanted to fuck other people in black mesh tops and vinyl pants. Artists. Play on Spotify. –Marc Weidenbaum. The trio’s debut album, The Money Store, was a coup for drummer Zach Hill, instrumentalist Andy Morin, and vocalist Stefan Burnett (aka MC Ride), who convinced L.A. Reid to sign their psychotic, scuzzy breaks to Sony. Its first pressing was a 7-inch single by the iconic drag queen Divine. Your California Privacy Rights. Because of its gently ebbing synths and hip-hop undertones, detractors might argue that Tides owes an obvious debt to Boards of Canada’s Music Has the Right to Children—but Zahn’s innovations are significant enough that they don’t quite resemble anything else. Of course, industrial music also became a home to a torrent of straight male anger. –Mark Pytlik. 3: The Chosen 62. Flag this list: Mr_1337 > lists > 100 Greatest Albums of All Time . “Text,” the absolute highlight, is mystifyingly only available on the original 2000 compact disc. crystallized them. But even without that history, his 1998 debut album as Bola puts him in the upper echelons of ’90s electronic music. Combined with Zahn’s knack for plaintive, keening melodies and Tides’ succinct run time, that inventiveness makes for a low-key gem that’s still as functional and as evocative today as it ever was. –Sean T. Collins. Film. Catalog No. The L.A. trio features an experimental music PhD (William Hutson), a film composer (Jonathan Snipes), and a Tony-winning Hamilton star (Daveed Diggs); on this album, they also fold in a gospel choir, who deliver a fresh Nine Inch Nails-style grandeur to the group’s bleak sound. That’s creaky by dance standards, yet youthful for institutional art music—in other words, the juncture suited her perfectly. ELM, as Warp dubbed it—IDM, as it came to be known—was private and introspective, rather than public and collective. The music that comprises Heartbeat, their debut album, spans multiple genres—minimalist techno, spacey synth-pop, stretches of eerie ambience—while maintaining a rough, corroded edge. The two stages of IDM correlate roughly with a shift in mood. Industrial came out of a dark period whose shadow might never really ebb away. Have a masochistic little chuckle at his expense. For people who were considered to be abject and disposable, cast outside the standard narrative of a heteronormative life, industrial music supplied an abrasive and volatile voice. Germany’s Uwe Zahn made a handful of IDM-leaning records as Arovane, but none were as satisfying or as perfectly formed as this 2000 album. No record of the era better embodies this find-a-machine-and-freak-it ethos than Islets in Pink Polypropylene, the otherworldly debut by British producer Anthony Manning. And he should know, since he basically invented the genre three years earlier with his album Discreet Music. The opening night marked the first performance from Coum’s ad hoc house band Throbbing Gristle, whose vocalist Genesis P-Orridge sang about castrating men and cutting the fetuses out of their pregnant wives. Comprising both group efforts and solo compositions from all four members of the band, D.o.A. This list is presented in reverse order, matching the presentation on the Pitchfork website. 44.5k members in the ambientmusic community. Yet as chaotic and dense as her feedback grows, Chardiet’s a composer in full control of the world she creates: “Crawling on Bruised Knees,” for instance, isn’t about supplication. In the late ’80s and early ’90s, as industrial got packaged for the mainstream by Nine Inch Nails, it ended up breeding with the synthpop from which it once stood so resolutely apart. –Matthew Schnipper, The revolution will not be televised because Death Grips just kicked in your TV screen and screamed “I’ve seen footage!” in your face. 2:46 0:30. 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