Friend of the show Kevin Schwitters weighs in on his Top 10 Albums of the last decade. Boom!
When I first heard Saves the Day, I felt their music was melodramatic, annoying, and obsolete. Some of my friends in college had taken a liking to their second album, Through Being Cool, which irritated me; I had no reason to listen to a band with such naive, predictable, and emotionally obvious songs. When Stay What You Are came out, I, again, had a small army of friends singing the band’s praises. Around the third time I heard “Freakish,” I stopped my complaining and bought my own copy of the album. Almost a full decade later, I still listen to this album once every couple months. The hooks, melodies, lyrics, and guitar riffs are still melodramatic, annoying, and predictable, but I am, thankfully, no longer missing out on all the fun.9. tie: Wilco-Yankee Hotel Foxtrot / Promise Ring-Wood/Water
I went to see Jeff Tweedy play solo at the Abbey Pub shortly after Yankee Hotel Foxtrot was recorded, so my first impression of many of those songs came from that performance. When I finally heard the album, several months before its actual release, I was disappointed. What happened to all the lush textures and instant hooks from Summerteeth? The album was so frustrating, in fact, that I kept listening to it—over and over and over. After a few months, I realized that the album sacrificed none of the haunting emptiness of the show at Abbey, but added SO much more.
I finally purchased the album, on its official street date, along with Promise Ring’s Wood/Water, which was released on the same day. I spent a great deal of time listening to both albums, discovering the many quirks and value buried beneath the expectations I had for each band. Both of these midwestern bands occupied a special place in my heart, and both of these records saw a band challenging themselves and their fans.
One of these records was a successful gamble, helping the band gain more fans and fame; the other, a polarizing, rarely cited, and misunderstood artifact, that likely contributed to the band’s demise. My mom owns one of these albums. You probably don’t have to guess which is which, but I have fond memories of driving around in my car and letting the beauty of each of these records unfold.
8. Belle and Sebastian-Dear Catastrophe Waitress
By 2003, I had written this band off. I was wrong; this album is impeccable. I think they have my attention forever now. Had “Your Cover’s Blown” been included on this album, Dear Catastrophe Waitress would be closer to the top of the list.
7.Beck-Sea Change
I hate to wish this upon anyone, and I know this isn’t an original sentiment, but sometimes I think I might be happier if all my favorite artists were in a constant state of romantic disrepair. A break-up certainly helped Beck on this album. Beyond the moving depictions of loneliness, regret, and bitterness on Sea Change, however, lies some of Beck’s most thoughtful song-craft. The production is similarly attentive and captivating. It’s difficult to compare this album to his early touchstones, but I know none of his other work from the 2000s stacks up to Sea Change.
6. The Shins- Oh, Inverted World
This music sounds like it was made by aliens. Although I enjoy all of their albums, the quirky self-production gives Oh, Inverted World an edge over their two follow-ups. This record was perfect for lonely winter drives, or sitting at home in candlelight. Yeah, I know that sounds cheesy, but James Mercer found more mood, atmosphere, and character in his basement with some free software than he has ever been able to find in fancy studios with producers. Some groups are more intriguing before they learn to sound like a band, and that is certainly the case with The Shins.
5. Radiohead- In Rainbows
I do love Kid A, and feel a little strange about choosing the newest of Radiohead’s four impressive albums of the decade, but I think it’s a best album. In Rainbows has more depth than Kid A or Amnesiac, and is far more elegant than Hail to the Thief. Plus, the album captures a variety of tones and moods without sounding inconsistent or scatterbrained. In my opinion, it took Radiohead a decade to properly follow-up Ok Computer, and it might be a while before they can do it again. Let’s enjoy.
4.Arcade Fire- Funeral
When I first heard this album, I didn’t think I was hearing a band who would be selling out giant venues, appearing on SNL, and garnering attention of Davids (Bowie and Byrne). I did know that Funeral was the most stunning debut I had heard in a long time. This album has a rare kind of magic. Funeral didn’t leave my car for months. How does Merge keep doing it!
3. Ken Stringfellow-Touched
Ken Stringfellow is not only a founding member of one of my favorite bands, The Posies, but also a sideman for both R.E.M. and the current incarnation of Big Star. To put it mildly, he is a member of no less than three of my all-time favorite groups. If I ever meet him, however, I would be most interested in asking about Touched. This is not only his best solo work, but also stands up against anything by The Posies. I can’t explain why his lyrics are so fascinating to me, or how it is that they sometimes make me cringe in a GOOD way, but the appeal of the music is easy—haunting and beautiful instrumentation, tasteful production, and a unique melodic palette.
2. The Wrens-The Meadowlands
Apparently, this album was a pain to make. It shows, but not because of perfectionist production values or complex song arrangement; the tunes and production are loose, jilted, and unpredictable. Each song is filled with charm and atmosphere. The Meadowlands is one of those albums that gives me a new favorite song every ten listens or so. By now, every song on the album has been my favorite at some point. This band, especially on this album, embodies what I love most about rock music—regular guys making wonderful noise.
1. Idlewild-100 Broken Windows
This album has stayed in my regular rotation for almost ten years. Sure, Idlewild have since become more competent musicians, and thoughtful songwriters, but 100 Broken Windows is full of ideas and energy that can only be captured once in a band’s career. It has the surprises and impatience of early Superchunk, the mysteriousness of ‘80s R.E.M., and a bit of the The Smiths’ wit. I can’t think of any album, from any decade, that makes me wish I was in the band more than this one, and I think it’s because 100 Broken Windows is a perfect balance of some of my favorite music. I have been searching for another record like this since 2000 and I am not sure I will ever find one.
—-Kevin Schwitters
