this is dudical.

On to part 8 of my 100 best albums of the aughts list.

You can find part 1 here, part 2 here, part 3 here, part 4 here, part 5 here, part 6 here and part 7 here.

	#30 Islands – Arm’s Way (2008) ANTI- Former Unicorn Nick Diamonds gets more poppy and less weird on Arm’s Way, but that’s not a bad thing. Diamonds’ hooks are everywhere: the lyrics tend toward macabre; (“Creeper in my home crawled in through the window/I grabbed the kitchen knife couldn’t stick it in no/Creeper had his own shining in the moonlight“), and best of all, that beloved Unicorn eccentricity is still there.
	#29 The Flaming Lips – Yoshimi Battles the Pink Robots (2002) Warner Bros. The Flaming Lips’ catalogue includes Zaireeka—a 4-disc album intended to be played on four different stereos simultaneously; a front-to-back remake of Dark Side of the Moon; production work for Steve Burns (of Blues Clues fame); years of bizarre costumes and an obsession with robots and UFOs. With the Lips’ love of all-things-weird as context, Yoshimi doesn’t come across as weird for weirdness sake (these songs are seriously good); but Wayne Coyne’s absurdism—as should be expected—is all over it.
	#28 Santogold – Santogold (2008) Downtown Records Santogold (now Santigold)’s debut is a ridiculously catchy, genre-bending mashup of indie-disco, dub and hip-hop (a less in-your-face M.I.A.). Production help includes M.I.A.’s own Diplo and Switch, and Spank Rock makes a guest-appearance on the dub-stepping reggae update, ‘Shove It‘. This record has attitude, but more importantly, it’s a four-on-the-floor dancefloor destroyer.
	#27 Minus The Bear – Menos El Oso (2005) Suicide Squeeze Records Menos El Oso showcases Minus The Bear at their absolute best. Waves of whammy-bar reverb turn every one of these songs into a sun-drenched, boozy jam. Jake Snider’s lyrics are typically day-in-the-life (“A swimming pool with no bodies/Is a problem that we can fix/Dropped his clothes on the chase lounge and asked/’Are you gonna come in?’“), which just adds to Menos El Oso‘s perpetually wasted vibe. The band released an outstanding remix album—titled Interpretaciones Del Oso—as well.
	#26 Witch Hats – Cellulite Soul (2008) In-Fidelity Grungy, debauched, and sloppy as hell; this is Witch Hats. Cellulite Soul—the band’s debut—is a lurching bonfire of post-punk and sneer. Album opener ‘Before I Weigh‘ has the pace of sludge and the sweet, sweet nectar of gloom. The rest of the album is similarly vagrant: ‘Hellhole‘ would make a great backdrop for a prison beating; ‘Doors Film‘ is eight minutes of bad acid.
	#25 New Order – Get Ready (2001) London Eight years after Republic and over 20 years after Ian Curtis’s suicide, New Order finally broke completely free from Joy Division. Get Ready RIPs the band’s post-Joy Division synth-pop palate in favor of crawling, shoegazy distortion. Sumner’s vocals are detached, hypnotic; ‘Crystal‘—New Order’s career apex—is a mind-melting anthem of fragility. Sumner’s lyrics have never been his strongpoint—and they certainly aren’t here either—but that simply doesn’t matter.
	#24 At The Drive-In – Relationship of Command (2000) Grand Royal Records Relationship of Command (At The Drive-In’s final record before splitting into Sparta and The Mars Volta) featured breakneck tempos; split-second time changes; intense, poetry-slam lyrics; and the spastic insanity of Cedric Bixler-Zavala and Omar Rodríguez-López. As PCP-insane as this record is, though, it’s still poppy as fuck. You’d be singing along to mosh-pit anthems like ‘One Armed Scissor‘ and ‘Sleepwalk Capsules‘ even if you were on fire.
	#23 Pidgeon – Might As Well Go Eat Worms (2008) Cloud Recordings A schizophrenic post-Pixies drug den, Might As Well Eat Worms—Pidgeon’s second criminally underrated album—is a brilliant postmodern adaptation of Black Francis/Kim Deal-ish back-and-forth. Its songs constantly evolve and devolve into strange comedowns and out-of-nowhere harmonies; bits and pieces that coil and weave from shrieks to lullabies and back again.
	#22 Blonde Redhead – 23 (2007) 4AD Blonde Redhead’s followup to the startling pop sensibilities of Misery is a Butterfly—23 expands Misery’s Murakami-dreamworld with more death, more gloom and more shoegaze. Makino’s voice is angelic and delicate; and often simply bone-chilling. The highlight of the record, ‘Spring and By Summer Fall‘, is an icy shoegaze anthem that thunders melody and mood; grabs your soul and doesn’t let go.
	#21 The Microphones – The Glow Pt. 2 (2001) K Records As much as I appreciate the prolificacy of Phil Elvrum—one of the more genuine artists you’ll find today—he will probably never come close to matching The Glow Pt. 2. That’s not necessarily a putdown, it’s just that this album is so…perfect. This is a record dripping with raw emotion, gorgeous melodies, haunting themes; and Elvrum is behind every stunning second of it. The Glow Pt. 2 is as close as lo-fi indie rock will ever come to its own SMiLE.

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