A sibling post-rock album to GY!BE's F♯A♯∞, Mogwai Young Team is the urban before the decay. Massive buildings of light and activity, streets of moving masses, the life of a city that never sleeps. Bigger than any one of us, Young Team captures a tower of sound and delivers it like a sonic freight train. But deep within, there's a certain beauty to this album. Real human connection, amidst the buzzing and chaos, displaying raw emotion in the clearing. Perhaps out of a restless need for closure, Mogwai finishes on a insurmountable level of noise and feedback that proves to be one of the finest post-rock songs in the entire genre. CONTENDER FOR THE LIST: I would like to see other post-rock heavy hitters on the list before considering this one (Swans, GY!BE, Talk Talk's Laughing Stock), but otherwise my bias is too strong to not add it to the list.

Excellent '90s power pop that I was not privy to until now. It's got the perfect blend of polish and grit, with many great hooks and harmonies to boot. This album is also notable for being produced by famed producer Don Fleming, who effectively shaped the alternative rock and power pop sound of the '90s (save for grunge). Much like the Replacements, the Posies show a lineage of Big Star's influence on power pop. Thoroughly enjoyable, well-produced and well-written. CONTENDER FOR THE LIST: Maybe. The influence of the Posies isn't all that palpable, but the quality of this sort of record and it's contextual bearing makes me wonder if it would be a good fit anyway. I enjoyed it regardless.

While the 1001 list may seem overwhelmed with Bjork already (4 albums plus one from Sugarcubes days!), there are still some frankly outstanding albums that are omitted. For some time I thought it was the consensus that Homogenic was Bjork's album, though it seems to me that public opinion has shifted in favor of Vespertine. Regardless, it's hard not to deny Bjork's artistic vision are truly unique, forward-thinking, and unyielding. While I think I prefer Vespertine from this era of her work, Homogenic is not something to be overlooked. Man, there's just no one else like Bjork. CONTENDER FOR THE LIST: Would require restructuring of the current Bjork entries, but I am partial to having it included.

Some exceptionally slick indie rock from a band that seemingly failed to capitalize on their rising success. Resume includes opening for Neil Young, receiving praise from Liam Gallagher, and getting featured on BBC Radio 1. Despite being the next big thing in UK music, they never really did anything else. It seems like frontman Davey Newington went on to be a session musician for other Welsh artists, which is a shame because his follow-up record would've cemented Boy Azooga as a leader in indie rock. Oh well. CONTENDER FOR THE LIST: Afraid not.

Funny seeing the Burning Hell on here! I was lucky enough to take a university course that was taught by the band's founder Mathias Kom during his time as a PhD candidate. Very nice guy, gave me a good grade. Anyway, onto the album. Despite Kom's lyricism being a little corny and shaped around telling stories (both grand and small), his lines are sharp and the music backs it up nicely. It comes across as a bit quaint, but I also think it can be cute in a way. Simple, fun, riding a line between folksy and poppy. It's nice! CONTENDER FOR THE LIST: Probably not, no.

Canadian art collective Godspeed You! Black Emperor building on the backs of Talk Talk and Swans to create a new, apocalyptic form of post-rock. Using space and dissonance, the group evokes images of empty urban landscape and crumbling society. There are few albums feel more like an auditory experience rather than a collection of songs, and this is one of them. Stretches of somber atmosphere that eventually build to a swelling crescendo that pays off immensely. This is the album that directly inspired 28 Days Later, which isn't hard to believe when you find out that East Hastings made its way into the film. It's an album that feels bigger than you or I. It's a full, complete, honest-to-god work of art and it probably needs to be played at the end of the world or something. CONTENDER FOR THE LIST: Yes, without a doubt.

Shania Twain has a few stellar achievements with this album: best-selling studio album of all time by a solo female artist, best-selling country in the United States, album of the year grammy nomination, and significant influence on other country stars like Carrie Underwood, Faith Hill, and uh...who am I forgetting....oh right, Taylor Swift. To say that this album has an important place in music history would be an understatement, so why is it so often overlooked by music enthusiasts? Well for one thing, it's a country pop album which is basically considered a death sentence. That's not to say country pop is a genre devoid of artistic merit (I love Patsy Cline and the Dixie Chicks), but in the minds of many "enlightened listeners" this is a combination of two genres that are just generally uninteresting. I will not be so dismissive, but that's my theory as to why this didn't make the list. Come On Over is Shania Twain at her most confident, fun, humorous, and straightforward. Giving Gen X women songs like If You Wanna Touch Her, Ask!, That Don't Impress Me Much, and Honey, I'm Home brings a sense of female empowerment with Twain playing around with gender roles. This is especially evident in the killer opening track Man! I Feel Like a Woman! which has every concert-goer with a bedazzled cowboy hat go crazy for the line "Let's go, girls." Are the songs any good? Yeah, most of them are, but they're also not innovating on anything that much. It's a fairly safe country pop album that had enough hits to cement Twain's legacy as THE woman in country. 12 singles over three years, to be exact. CONTENDER FOR THE LIST: Sure, why not.

Avicii broke out as a producer during the early 2010's with his work on the Flo Rida song Good Feeling as well as his own song Levels, both of which were key part of the new wave of EDM-influenced pop music that borrowed heavily from house music and uplifting trance. Avicii would go on to work with several big names in pop such as Coldplay, Madonna, and David Guetta. This gave way for bigger and flashier collaborations that would allow a number of established singers to lend their vocals as features on Stories. Much of Stories is built off the presence of the varying guest features, with Avicii demonstrating his affinity for melodic supersaw hooks and euphoric beat drops. The main takeaway is that most of these songs sound the same with very few standouts, but it's decent for representing the style of pop music that was popular at the time. CONTENDER FOR THE LIST: Probably not.

A warm blanket of an album. Men I Trust takes a page out of Cocteau Twins book and melds it with the slick riffs of jazz guitar. Lush, dreamy songs with subdued vocals and rich production all around. This is a master class in taking a small sound and making the most of it. My god, what an album. Consistently pretty, locked in a groove, song after song. Does it run a little long? Sure, but I can easily forgive that for how sweet it sounds the entire time. We're lucky to have an album like this. CONTENDER FOR THE LIST: Maybe. Men I Trust are excellent in their niche of dreamy bedroom pop but it lacks a wider level of influence, so I hesitate to think they'd be a good for the list.

Mary Chapin Carpenter can be best understood as the "missing link" between Reba McEntire and Shanaia Twain. As country embraced a more pop-friendly sound into the '90s, artists were more inclined to write songs with more hooks. Mary Chapin Carpenter leans into this a little, but her focus is moreso on lyrical themes that reflect on gendered issues. Yes, women of country have always been rather observant about these things, but songs like He Thinks He'll Keep Her and I Feel Lucky show themes of female empowerment that would run through to Twain's success. Nearly as catchy? No, but still makes for some pretty good country all things considered. CONTENDER FOR THE LIST: Not quite. Maybe more of a footnote than anything else.

Garage house music legends Masters At Work flip their usual sound into more latin-influenced acid jazz. This gives the duo an excuse to play around with different jazz styles, including straight swing, scat, salsa-jazz, and a solo piano song. Some work better than others, but the album shines brightest when they just do acid jazz. This is likely due to the overlap with their DJ backgrounds which allows them to employ refined production techniques. To the extent of it's influences, Nuyorican Soul feels like a distinctly New York album. It's like a block party where a number of diverse backgrounds come together to celebrate their colorful styles. Overall, perhaps a bit too spotty to be truly excellent, but when it's good it's great. That's gotta be worth something. CONTENDER FOR THE LIST: No, a bit too niche to be representative of Masters At Work's influence.

A raw breakup album that finds ground between the bitterness of Alanis Morissette and the weight of PJ Harvey. DiFranco takes the folk formula and molds it into her own cathartic source of processing her emotions. Also, what a wizard on the guitar! She makes a riff her bitch every time. A willingness to dabble in other genre influences and implement them into her songs makes Dilate an underrated gem of the '90s. CONTENDER FOR THE LIST: Not quite notable for the list, but comes close.

Carried primarily by the opening hit single assisted by Curtis Mayfield, Discosis is more of a Canadian oddity rather than a must-hear album that defined any particular sound of the 2000s. Most of Bran Van 3000's music feels like a proto-LCD Soundsystem that's less focused than it's American counterpart. Also not nearly as fun or interesting. And too long! Woof, lots of things going against this album. CONTENDER FOR THE LIST: Nope.

Perhaps the oldest recordings of both the users' list and the full 1001 list, The Best of The Hot 5 & Hot 7 Recordings bear the gold standard of dixieland jazz. Armstrong is, of course, a legend and absolutely deserving of his flowers, but the genre conventions of dixieland come across as a bit antiquated in comparison to the evergreen stylings of Big Band busters such as Ellington at Newport. These really, post-war jazz towers over even the greatest works of artists like Armstrong, but we have to pay our respects nonetheless. Not only a skilled trumpeter, but a charismatic voice who delivers each song with a certain "cool" factor. If you walk away with any song to appreciate from this album, it should be West End Blues and St. James Infirmary. There are many more bonafide classics in Armstrong's catalogue, but those two are here and they are fantastic displays of musicianship. Don't dawdle. CONTENDER FOR THE LIST: I'm of two minds. While archival compilations are invaluable for appreciating music recordings before the idea of a proper album solidified, it sort of goes against the spirit of the list (which is why In the Wee Small Hours, largely considered to be the first "concept" album, is first on the list). I think if we're to expand the scope of the list's purpose, then yes this should absolutely be on the list. However, as much as I would love to include the Hank Williams 40 Greatest Hits compilation, it also opens a can of worms for what other archival compilations should be considered. So, maybe not.

You've likely heard at least one of these songs on classic rock radio before, probably the Stroke. Squier's big rock sound can be partially attributed to the production of Reinhold Mack, who is also notable for this work with ELO, Queen, and Deep Purple. As far as this brand of '80s rock goes, Don't Say No is pretty safe and a bit bland. Much of the time he sounds like a watered down Led Zeppelin, but in all honesty it's not bad either. Very middle-of-the-road radio rock. And it wraps up before the 40-minute mark so that's a win. CONTENDER FOR THE LIST: No!

It's a damn shame that Chet Baker, the prince of cool, never ended up on the list. If he were, it should either be his first studio album Chet Baker Sings (if only for My Funny Valentine) or this one. Chet lacks his soulful melancholic vocals on this, but makes up for it with a masterclass in instrumental mood. I like to think that Chet was made for early mornings, just as the sun is rising and the streets start to come alive. I'm sold. CONTENDER FOR THE LIST: Absolutely.

Some exceptionally slick indie rock from a band that seemingly failed to capitalize on their rising success. Resume includes opening for Neil Young, receiving praise from Liam Gallagher, and getting featured on BBC Radio 1. Despite being the next big thing in UK music, they never really did anything else. It seems like frontman Davey Newington went on to be a session musician for other Welsh artists, which is a shame because his follow-up record would've cemented Boy Azooga as a leader in indie rock. Oh well. CONTENDER FOR THE LIST: Afraid not.

This sort of AC/DC-clone aussie pub rock revival of the 2000's really only yielded two bands worth mentioning: Airbourne and this one. In truth, neither are worth appraisal because later acts like The Chats and Amyl and the Sniffers more successfully fused the sound with more garage punk energy. Are they a competent band? Sure. Lots of bands can write a few riffs and play a rock beat under it. Is it good? Not really! And 50 minutes on top of that, there's really no need. CONTENDER FOR THE LIST: lol no.

Perhaps most notable for being the most prolific French-language artist of the 21st century, Stromae successfully blended electropop and hip hop in a way that was both stylish and distinctly European. While it only barely broke through to the anglosphere (having charted in Canada and specific US areas), Racine carrée demonstrates that there is a whole other world of popular music outside of the usual English-speaking artists. To that extent, I can easily see why Stromae attained so much success in Western Europe. While incredibly well-made, the music itself didn't quite strike me as anything special. Still worth a consideration for breaking out of the usual US/UK albums. CONTENDER FOR THE LIST: Maybe!

A sibling post-rock album to GY!BE's F♯A♯∞, Mogwai Young Team is the urban before the decay. Massive buildings of light and activity, streets of moving masses, the life of a city that never sleeps. Bigger than any one of us, Young Team captures a tower of sound and delivers it like a sonic freight train. But deep within, there's a certain beauty to this album. Real human connection, amidst the buzzing and chaos, displaying raw emotion in the clearing. Perhaps out of a restless need for closure, Mogwai finishes on a insurmountable level of noise and feedback that proves to be one of the finest post-rock songs in the entire genre. CONTENDER FOR THE LIST: I would like to see other post-rock heavy hitters on the list before considering this one (Swans, GY!BE, Talk Talk's Laughing Stock), but otherwise my bias is too strong to not add it to the list.

Chucklehead built their brand on impressive live shows, but that doesn't always translate very well to the studio. In this case, their brand of jazzy funk rock just sorta washed over me with no one song standing out. Also can't stand the RHCP-style rapping. Not notable in the slightest, but they were fine otherwise. CONTENDER FOR THE LIST: I can't think of a single reason why it should be.

First thing's first, this album was only mixed by King Tubby. The actual music is credited to Augustus Pablo, who had collaborated with Tubby on a number of projects. That said, Tubby's influence behind the board cannot be understated; the genre of dub and modern music as we know it today would sound radically different if it were not for King Tubby. His knowledge of electronics combined with a keen ear for innovative production techniques made him one of the most important figures in all of recorded music. It's so easy to overlook his work but I believe it deserves just as much representation compared to the roots reggae stuff on the list. CONTENDER FOR THE LIST: Yes, without a doubt.

Of all the Dave Matthews Band picks, why the third album? Whatever, I'm sure the user has their reasons. Dave's approach to jazzy alt-rock includes mostly jamming the fuck out of an idea until it reaches a fine terminating point, and then going another 3 minutes to waste your time. They're all fairly talented musicians but I struggle to find much worthwhile in these winding, unfinishable songs. My god, wrap it up. CONTENDER FOR THE LIST: If we're seriously considering DMB (which is debatable) then it should be one of the first two records, not this one.

Another group of movers and shakers within Germany's evolving krautrock scene, this time with more electronic influences. Cluster's first two albums would be produced by Conny Plank, who would also produce for Kraftwerk and Neu!. Clearly, Plank was cooking up some of best music from Germany. Zuckerzeit has no plank though, as Cluster homed in on the playful electronic music that Kraftwerk would eventually get all the credit for. Not so! These kosmische are worth a listen to at least broaden more horizons beyond the usual krautrock staples. CONTENDER FOR THE LIST: Sure!

Primus sucks. With that out of the way, I can't help but feel Les Claypool's unique approach to funk metal was overlooked on the list. His quirky songwriting and exceptionally proficient bass skills makes Claypool and standout musician in the field of metal. Indeed, metal has come a long way since the progenitors of Black Sabbath and Judas Priest. Evolving to incorporate new influences and ideas, Primus seems content to play with the heavy genre like a cat batting at a cheap toy. It's all a game to them, and I think that's awesome. More artists should be motivated to stretch and redefine genre conventions to make weird, silly music. It's the simple joys of life. CONTENDER FOR THE LIST: Yes yes! God, yes!

Yes, more dub! Another user was kind enough to submit King Tubbys Meets Rockers Uptown, but it would be remiss to not include some of Lee "Scratch" Perry's production work. On one side of the pond, Perry helped produce early Wailers records that would define the sound of roots reggae. On the other side of the pond, the Clash would take inspiration from Perry's work on their first album. So what's the big deal? Chilled out, maximum vibes dub. Production so thick it lives in a haze. Jamaica was the place to be if you wanted to step up your sound in the '70s. This is what it's all about. Catch the rhythm and let is take you away. I'm gone. CONTENDER FOR THE LIST: Oh yeah.

Lyrics that are sharp as a tack for songs that are dull as a dishwasher. At one point one of the vocalists does his best Tom Waits impression over a fairly uninteresting blues-piano number. I am perplexed as to why this band is popular at all. This album sold over a million copies. How! Why. CONTENDER FOR THE LIST: I don't think so.

John Mater, soft rock terrorist, seems content to employ his admittedly impressive guitar skills to make middling music for the masses. He's like U2, except they're sex jams for straight white couples who only do missionary and finish after 5 pumps. I don't care how sweet his hooks are, he's a damn liability to the integrity of popular music. Somebody grab him before he makes another album, dammit! Quick!! CONTENDER FOR THE LIST: We can do without.

Squaring pop music in the 21st century means reconciling its roots with boy bands and girl groups of the '90s. The Spice Girls, N'Sync, and the Backstreet Boys took pop music to the furthest reaches of consumerism by emphasizing the presentation above the music. Hooks ruled everything even if they didn't make sense, choreography was a staple of every song, and a refocus on the teen market as a core demographic. Built on the back of two singles (one energetic dancepop song and one inescapable ballad), Millennium is the peak of this boy band mountain before everyone started going solo in the 2000s. It's loaded with ballads to pad out the runtime because no one gives a fuck about the rest of the album. It closes on a cheesy song about how much the boys love their mothers. "I love you mom" said with the earnestness of someone trying to sell the image of a mama's boy to teen girls so they have something else to swoon over. Are the singles good? Sure, but the rest of the album sure isn't. CONTENDER FOR THE LIST: Tough call! Much like Britney Spears on the actual list, it's difficult to talk about pop music without them. That said, it was never really about the album. So, maybe not.

Why this Bad Religion record instead of their '80s punk records? The band pretty well peaked with No Control so I would've gone with that. Still highly political in a vaguely anti-establishment sense, but slowed down compared to their previous works. I thought skate punk was supposed to be more energetic than this? By this point, Lagwagon and the Offspring were the new torchbearers for the genre as Bad Religion started to show their age a good decade into their career. At this point they would've benefited from some innovation and reimagining their sound rather than continuing to make songs like they did in the '80s but slower. I think there's some interesting stuff on All Good Soldiers with more angular guitars that's reminiscent of the '90s post-hardcore at the time, but they never fully lean into it. Seemingly only picks up in the back half, but by that point I'm not really sold on what they're doing. It's a bummer. CONTENDER FOR THE LIST: No Control is a better pick. Even then, there's enough punk on the list as is.

Funny seeing the Burning Hell on here! I was lucky enough to take a university course that was taught by the band's founder Mathias Kom during his time as a PhD candidate. Very nice guy, gave me a good grade. Anyway, onto the album. Despite Kom's lyricism being a little corny and shaped around telling stories (both grand and small), his lines are sharp and the music backs it up nicely. It comes across as a bit quaint, but I also think it can be cute in a way. Simple, fun, riding a line between folksy and poppy. It's nice! CONTENDER FOR THE LIST: Probably not, no.

Metal in it's largest, most crushing form. The Angelic Process takes long, winding roads that are dense in gloomy atmosphere and mesmerizing sound. In its weight, Weighing Souls With Sand evokes images of a slow death that comes with a large release of brain chemicals, swirling around as life flashes before your eyes. It's a lot! It's also fairly slow, and a bit samey around the edges. I think this droning sort of metal is better executed by the likes of Boris, though I appreciate what this album accomplishes in it's runtime. Perhaps the biggest drawback is the drums, which sound programmed to a point where it distracts from the more natural-sounding guitarwork. An interesting album for sure, but not quite good enough in my eyes. CONTENDER FOR THE LIST: This subgenre of metal is too niche for the list imo, so no.

A well-picked French pop artist to help bridge the gap between Jacques Brel and Christine & the Queens. Riding the synthpop wave of Depeche Mode and New Order, Farmer channels an artistic presentation that delivers an album not dissimilar to Kate Bush's work. Was it pretty good? Yeah! Was it for me? Not really... CONTENDER FOR THE LIST: Only on the pretense that the list should expand on non-English language albums. Otherwise, no.

Romance got a lot of traction in indie music circles last year, so much traction that it found itself on several best-of year-end lists for 2024. And with good reason! Fontaines D.C. shifts away from their usual post-punk sound to channel a more melodic indie rock approach. The result is a lovely expression of complex emotions that's rich in tonal width. With rarely a drop in quality, Romance has proven itself to be a standout rock album for the 21st century. CONTENDER FOR THE LIST: I have a rule that there should be a 5-year wait period before albums are considered for the list, so get back to me in 2030.

A staple of classic rock radio, Bob Seger is sure to deliver a good time with his upbeat pop hooks, a grizzled voice, and some proto-fascist lyrical themes. Built on bluesy riffs, Seger evokes the image of a city that never sleeps, and a man who's just as restless. It's sleek, but not artificial. It's plain and simple rock music. Your dad might like it. CONTENDER FOR THE LIST: Possibly, but do we really need another plain rock album on the list?

Excellent '90s power pop that I was not privy to until now. It's got the perfect blend of polish and grit, with many great hooks and harmonies to boot. This album is also notable for being produced by famed producer Don Fleming, who effectively shaped the alternative rock and power pop sound of the '90s (save for grunge). Much like the Replacements, the Posies show a lineage of Big Star's influence on power pop. Thoroughly enjoyable, well-produced and well-written. CONTENDER FOR THE LIST: Maybe. The influence of the Posies isn't all that palpable, but the quality of this sort of record and it's contextual bearing makes me wonder if it would be a good fit anyway. I enjoyed it regardless.

A supergroup of the "rock urbano revival" scene in Spain, Extrechinato y Tu continues the trend of placing emphasis on poetic lyrics while maintaining a fairly standard rock sound. Whoever picked this album as a fine appreciation for Spanish popular music, which is completely lacking from the original 1001 list. While certainly straightforward rock music, you can hear hints of Spanish folk music creep into the songwriting. This is emphasized during moments of symphonic brilliance, where the dramatism is cranked up to embolden the poetic delivery. Is the language difference a bit of a barrier? Sure, but the pure passion that comes with an album like this transcends all language. Majestic. CONTENDER FOR THE LIST: If we're expanding beyond primarily english-speaking albums, I don't see why not.

The National's following album High Violet was the one that made the actual 1001 list, but it seems we have a dissenting opinion! Hate to be a bummer, but this sounds a lot like High Violet in my mind. So, I'll just copy and paste what I wrote for that album: While the band is certainly competent and utilizes production techniques that compliment the songs, but something about the National comes across as dull, subdued, dispassionate. Nothing bad on this album, but nothing to rave about either. CONTENDER FOR THE LIST: If only to replace High Violet. We don't need both albums though.

Thee Oh Sees (also known as Orinoka Crash Suite, OCS, Orange County Sound, The Ohsees, Oh Sees, or simple Osees) is a project steered primarily by John Dwyer in his attempt to make wild, off the wall rock music that fuses the textures of psychadelic rock with the energy and simplicity of garage rock. The result is a fuzzed-out, raw rock jams that explore peaks and valleys of energy. As much as I would like to think this album is right up my alley (a more energetic take on King Gizzard from around the same time? Yes please!), the album tends to hold itself back from fully kicking it into high gear and often feels a bit aimless. Which is a shame because this sonic texture combined with precise, total-energy songs would kick immense ass. Oh well. CONTENDER FOR THE LIST: A bit too niche I'm afraid!

While the 1001 list may seem overwhelmed with Bjork already (4 albums plus one from Sugarcubes days!), there are still some frankly outstanding albums that are omitted. For some time I thought it was the consensus that Homogenic was Bjork's album, though it seems to me that public opinion has shifted in favor of Vespertine. Regardless, it's hard not to deny Bjork's artistic vision are truly unique, forward-thinking, and unyielding. While I think I prefer Vespertine from this era of her work, Homogenic is not something to be overlooked. Man, there's just no one else like Bjork. CONTENDER FOR THE LIST: Would require restructuring of the current Bjork entries, but I am partial to having it included.

Cornerstone album for other sensitive white boy bands such as Deftones and Title Fight. In a word, this album is pretty. Every song is drenched in a melancholic longing for something to sooth the dull aches and pains of daily loneliness. Then it cranks some distortion, and the crack of the snare brings you to life. How'd they make something this good, this wonderful? I'm wide awake and dreaming. CONTENDER FOR THE LIST: Unfortunately, the post-2000s selections need some heavy reworking to justify this being on the list. Otherwise, it just doesn't make sense.

Jóhann Jóhannsson, forward-thinking in his compositions, is perhaps best known for his film scores. While he had scored for impressive Hollywood films prior to 2016, he made the biggest splash with the monumental soundtrack to Denis Villeneuve's Arrival. But before all that, he was getting his footing composing for local Icelandic plays. Enter Englabörn: a soft, tender expression of melancholy that effectively utilizes space to emphasize atmosphere. This is Holy Minimalism. While Minimalism would find its spot amongst contemporary classical music in its incredible innovation amongst strict limitations, Holy Minimalism would find favor in Europe in order to make simpler and slower approaches that fostered a reflective quality. Jóhannsson goes a step further on Englabörn by occasionally experimenting with some electronic elements, giving the album a haunted feel like there's a ghost in the machine. An unreal experience that also serves as a nice gateway into more modern classical if one is so inclined (might I suggest Ryuichi Sakamoto 1996?), which is a nice way to also expand the ol' horizons. CONTENDER FOR THE LIST: The original 1001 selectively omitted any classical music because it's sort of a separate beast altogether, although modern classical albums such as this sort of bridge the gap. For now I would say it's not really a good fit, but if the scope of the list ever changes then maybe.

Little Earthquakes, Tori Amos' previous album, made the original 1001 list so I figured that would be enough. That being said, I am not too familiar with Amos' work so maybe she deserves more recognition. First impressions are that this sticks the landing a bit more than Little Earthquakes, though both maintain a certain beauty. The closing track ends on a subtle-yet-weighty note that really encapsulates Amos' songwriting at it's core. I can see why it was recommended! CONTENDER FOR THE LIST: Unsure if it should slot alongside Little Earthquakes or replace it, but for brevity I'll say yes!

Part of la movida madrileña that followed the Francoist regime. In contrast to the socially-conscious approach to rock urbano, artists who were a part of la movida madrileña were more playful and melodic in their approach. La cagaste is no different, with its distinct '80s pop rock run rooted in post-punk production. Are David Summers' vocals much to write home about? No, but the rest of the band carries that weight. Nice bit of fun. CONTENDER FOR THE LIST: Depends on if we expand the scope of the list to include more non-english albums. Given Hombres G's massive popularity in Spain, I don't see why not.

Post-post-punk-revival? Following the decline of the post-punk revival in the early-mid 2000s, bands would dirty up their production a bit with distinct indie rock and noise rock influences. Women and Preoccupations from Canada, later IDLES and Fountains D.C. from across the pond, and Protomartyr from America. While not particularly popular, it would give rise to the more experimental and playful post-punk acts of the 2020s: Squid, Viagra Boys, Stuck, and of course Black Country, New Road. All good bands and artists, all owing some amount of their success to Protomartyr as they helped pave the way for a cool new rock sound. Relatives in Descent is a gritty, focused record that stands on the shoulders of the original post-punk progenitors and glides over the overly sleek sound of the post-punk revival. It relishes in dark, existential themes while reintroducing the "punk" back into "post-punk". Protomartyr maintains a consistent level of quality throughout and redefines the modern age of rock music for years to come. We should give thanks for this album. CONTENDER FOR THE LIST: Yes. Believe it or not, this is a landmark album and we're now far enough removed from its release date to recognize its impact. It should be in the list.

Did the B-52's have a bad album? After the '80s, maybe they did, but in their heyday they seemed to be hitting home run after home run. While Wild Planet doesn't have any immediately identifiable singles like their debut album or Cosmic Thing, there's no denying that the band can pull together a damn fine collection of songs. This is especially true for Private Idaho which coincidentally found itself in the Minecraft movie so maybe that'll put the brainrotted zoomers/genAlphas on some real game. Song rules. Anyway. I think the real takeaway is that the B-52's just had a penchant for fun songs. Even the song about the dog is great. Great energy, vocal delivery, hooks, the whole nine yards. Have a good time. CONTENDER FOR THE LIST: Their self-titled debut already does everything that this album does so there isn't really a need, but I'm also not strictly against the idea.

Big band fusion that seemingly sweeps in instrumental categories at the grammys. My understanding is that this particularly resonated with band kids for its technical proficiency and ensemble cohesiveness. And indeed, it is incredibly impressive jazz work that showcases the finest musicianship and composition imaginable. By that metric alone, it should be a perfect album, right? Well it seems to me like Snarky Puppy exists in somewhat of a vacuum, making music that certainly owes a lot to the great Weather Report (which made the original list) but is effectively a terminating point. It's polished and a bit sterile despite its impressive execution, wherein it lacks a certain amount of personality or grit. Lacking a certain emotional weight or throughline that makes me think of this as a cohesive expression of a certain mood, We Like It Here comes across more as an exercise in music as a form rather than as an art. Hoping for more. CONTENDER FOR THE LIST: Afraid not.

The Real Thing got picked for the original 1001 list but I suspect that was primarily for the single Epic (what is it? It's it). By my assessment, Angel Dust is the more cohesive and consistent album of the two. Compared to the middling rap and funk metal parts of The Real Thing, Angel Dust incorporates those elements more tastefully into an album that has a nice sheen of polish that really makes Faith No More shine. In essence, it is everything good about alternative metal and has very few weak parts. Those boys really cooked up something scrumptious, eh? CONTEDER FOR THE LIST: Yes. Replace The Real Thing with this.

The Black Parade? You mean My Chemical Romance's magnum opus? An album that defined an angst-riddled generation? The emo album of all time despite being pop punk at best? Yeah that's fine. CONTENDER FOR THE LIST: Yes, you dolt. Yes. Why the fuck would it not be.

Solid Air, I enjoyed. One World, not so much. This album is Martyn's divorce album, featuring Phil Collins on drums who also happens to be going through a divorce. Dudes love getting divorced, it's a known fact. Rich and detailed album of smooth sounds to sooth the soul. Massive really. Am I glad Martyn got divorced? Yes, actually. More men should get divorced and make the most melancholic/bittersweet albums of all time. CONTENDER FOR THE LIST: Replace One World with this, then yes.

Another Fontaines D.C. album from the user list, this time its the debut album from when they sounded more post-punk. Emphasis on punk! The Fall and early Killing Joke has their fingerprints on this album, but with a distinct Irish sound. This is one for the country to be proud of, full of energy and witty lyricism. Maybe some of the best post-punk of that year? Not sure about the rest of the decade though... CONTENDER FOR THE LIST: There is better modern post-punk to select for the list imo. Plus there's another Fontaines D.C. album that makes for a much better selection....

Behold: shitgaze. Following the lo-fi recording production of slacker rock in tandem with the laissez faire approach to performing their songs, shitgaze took these ideas to their logical conclusion. Lo-fi to the point of noise, slacker to the point of incomprehensibility, and a whole barrel of fun. Sometimes its barely comprehendible but in a good way. Sometimes it isn't comprehendible at all but still finds a way to be good. Noise being wielded to such an extreme degree while still being purposefully poppy is such a fascinating thing that I can't help but enjoy it. After a while it all starts to blur together but I think that's part of the appeal. Hulking mass of music that isn't trying to be inaccessible or fucked up. It's just a few musicians having a good time and blasting the volume on everything. CONTENDER FOR THE LIST: Nooo too niche I'm afraid.

The other GY!BE on the user-selected list (for now...). Seemingly builds on everything from their magnificent debut album and manages to hit harder, deeper, and more desolate moments than before. It's also much more monolithic, standing tall at 87 minutes compared to F♯A♯∞'s 63 minutes. Indeed, Lift Yr. Skinny Fists feels more imposing than it's older brother, but executes its intentions in a much more impactful manner. I can't help but think the band felt motivated to give their blood, sweat, and tears into this album after the success of their first. I think this albums makes a strong case for rock music as a proper artform. Dare to approach to obelisk? CONTENDER FOR THE LIST: Either this or F♯A♯∞. Hard for me to pick. You decide!

They Might Be Giants, perhaps best known for the theme song to Malcolm in the Middle, eluded me by way of apathy. I had no real desire to check out these dorks and now they've landed on my front porch. Listened to all 47 minutes top to bottom and not once did it phase me. 18 songs of nothing. It's fine. This is an album for people who were already fans of TMBG. It's an album signalling that at this specific point the band's career, they were on cruise control. I've got nothing else. CONTENDER FOR THE LIST: At least choose a noteworthy TMBG album. Flood has a song that I recognize.

Vox gave it a 0/10 on initial release. If you do too, then you're a coward! Along the same lines as Primus and Mr. Bungle, Cardiacs take a fairly silly approach to rock music in a way that defies conventions in a way that can be slightly off-putting if you're not open to the idea. This album, however, is executed to such a degree that it ascends above every criticism you could meaningfully lob at it. Cracked album. Set your mind free and this is just a fun album top to bottom. No limits. CONTENDER FOR THE LIST: Hard to pin down the legacy of an album like this, especially in the context of progressive rock. While highly acclaimed in more niche music critique circles, I don't think this ever made its way into a broader public consciousness. So, perhaps not.

Both fingers in the socket...!! is a super-charged live punk double album that exemplifies the simple fun of an Oi! band at their best. Oi! being a subgenre of punk that doubled-down on the basics of punk rock with an emphasis on catchiness and singalong choruses. It wasn't shouty enough to be hardcore, fuzzy enough to be garage punk, or clean enough to be pop punk. It it's purest essence, Oi! is just standard punk rock for the new generation. Les sheriff executes this in spades. As much as I love punk music and live punk shows, Les deux doigts dans la prise doesn't quite capture the same feeling that I was hoping for. It's not bad, but it can get pretty samey after a while. Ends on a cracking cover of the Stooges though, which put me in a good mood. Can't knock this too much, I still enjoyed listening. CONTENDER FOR THE LIST. No, but you care to check out more french punk then I recommend Camera Silens, Béton Armé, and Tolbiac's Toads.

Not sure why we're starting at Act IV but here we are. Prog rock in the 21st century sounded a lot different than it did in its golden years of the '70s. Songwriting became more focused on long, winding moments that emphasized theatrical execution rather than jazz-inspired jams. This can be partially attributed to the massive reupholstering of the rock opera thanks to Dream Theater, who leaned heavily into the narrative framing of fanciful stage plays. Combine this with the Trans-Siberian Orchestra's success in wide orchestral arrangements incorporated into rock music, and you have something that resembles The Dear Hunter. Over the course of a decade, bandleader Casey Crescenzo would record a series of albums that told an over-arching story which he had mapped out after being kicked out of his previous band. If this sounds like an overwhelming undertaking, it's because it probably is. This sort of project is more than what can be reasonably accommodated by the scope of modern popular music, so we can only really absorb the thing in fragments. Which is why we're here listening to Act IV instead of the whole Dear Hunter story, because it was much more accessible to do so over the course of the 10 years as the albums were being released one-by-one. So, you just had to be there, I guess. If Act IV is meant to be the best of The Dear Hunter's works, then I'd say that they're pretty good! Lots of polish, well-constructed songs, very pretty overall. It's a very Big album in the sense that it's this sprawling rock opera that wants to tell an epic story with sweeping orchestral parts and a myriad of other rock influences (Beach Boys, ELO, the Decemberists). Which isn't a bad thing because it does all of that fairly well, but it falls short of being something I would be massively into because it's just not to my taste. And that's okay! Not everything is meant for me, and this is bound to resonate with those who enjoy this sort of theatrical romp through progressive rock. Perhaps if you have a Tumblr account, this is something you would enjoy. CONTENDER FOR THE LIST: Too far downstream from other prog rock bands that are not already on the list. Maybe if Dream Theater gets on there.

Allow me to walk you through the history of American punk music for a moment. In the '80s, hardcore punk took over as the prevailing form of punk as it focuses on a faster and more aggressive approach to the genre. By the '90s, metallic hardcore (metalcore) gained traction with downtuned guitars, double-kick drumming, and the occasional half-time breakdowns. This culminates into melodic metalcore in the 2000s, which blended cleaner vocal parts and melodic guitar riffs with the pre-existing framework of metalcore. Punk sure has come a long way, eh? Killswitch Engage helped to popularize this genre in part thanks to full support from their label Roadrunner records. The band successfully balanced their heavy mosh-style riffs with tender melodic moments that contrasted nicely throughout the album. Based on interviews with the band, it's clear that they know their influences intimately well and pulled from each with a distinct ear for how it would mold their own sound. Very nice! Unfortunately, this would also be the band that launched a thousand mediocre clones. Melodic metalcore became the new standard for metal in the 2000s with bands like As I Lay Dying and Bullet For My Valentine helping to bring about the era of mall metal. Fucking sucks. I can't hate Killswitch too much because this album is actually pretty good, but everything that came after makes me wish this album never came to be. CONTENDER FOR THE LIST: Given it's popularity, maybe! I wouldn't scoff at the idea.

Hard to talk about rock music of the 2000s without at least mentioning Silent Alarm. NME album of the year, nominated for a mercury music prize, and well-received by critics across the board. In the wave of post-punk revival, Bloc Party blended the rhythmic energy that was expected from the genre with a more reflective and wide soundscape. You never hit a low point with this album, which is a testament to the band's consistency. Unfortunately, this consistency would never carry over into future albums as they seemingly peaked with their debut. Oh well! CONTENDER FOR THE LIST: Yes! Oh my god yes!

Exactly what it says on the tin. Punk-informed indie rock from a powerhouse trio. Doesn't let up from start to finish, with fantastic vocal+guitar-work from frontwoman Marissa Paternoster, backed perfectly by the rhythm section. Every song feels fresh and exciting to listen to. This is what rock n roll is all about baybee. CONTENDER FOR THE LIST: Probably a bit too niche to slot in for 2010s rock, but still a great album.

A bit of 2010s indie rock from Australia. Melbourne's underground scene seemingly embraced this sort of sound in reaction to the cock rock likes of Airbourne and Koritni. Although not initially a part of the scene, Courtney Barnett would become a pivotal artist in popularizing the sound. A good songwriter by all accounts, but nothing too special about the songs themselves. Still, a pleasant listen all-around. CONTENDER FOR THE LIST: Perhaps? Seems a bit niche but could help boost some Australian representation in the face of 7 different Nick Cave albums.

Corny '80s synthpop. Foolish Beat was the number 1 hit single, but if you asked me to guess which song on the album was the big hit then I wouldn't have been able to tell you. They all sound so equally generic that I don't think I would ever come back to this album or it's songs. The polished production, the nothing hooks, the midtempo ballads and love songs, they're all conducive to a very safe pop album. CONTENDER FOR THE LIST: Please no.

I wasn't too impressed with Beautiful Freak on the original list, so how does Daisies Of The Galaxy fare in comparison? It fairs okay. E is a somewhat compelling songwriter, but his compositions aren't really for me. I definitely enjoyed this more than Beautiful Freak, but not did more to grab my attention. CONTENDER FOR THE LIST: Beautiful Freak is the more relevant Eels album, by my measure. And I don't think we need more than one Eels album on the list.

The original list only selected a couple albums to represent grime, so let's give it a another chance. Home Sweet Home was the reason for Kano's breakout success, and it's mostly alright. I don't know if it's just a cultural incompatibility issue or something but I don't fully feel UK rap like the American counterparts. Some songs better than others, but when the album is over an hour I tend to have less patience. Anyway it's fine. The Black Sabbath sample was pretty sweet though. CONTENDER FOR THE LIST: Maybe! I'd like to see some drill represented so maybe UK drill would be a better option than another grime album.

Experimental metal that occasionally wants nothing to do with metal and does Balkan folk music or classical or dubstep instead. There's a certain amount of appeal that this sort of eclectic approach to metal can bring, but it can end up translating to a less-focused, messy album. Savage Sinusoid seems intent on doing so much in it's fair runtime that it makes me wonder if something could be added to tie it all together and a nice neat bow. The closing track feels like a nice send-off, but just barely covers what I'm looking for in an album like this. Could do with some revisions. CONTENDER FOR THE LIST: There's a few preceding experimental metal bands I would include before Igorrr, so probably not.

Not a single Blink album on the original list, which is a damn shame. Pop punk legends who helped modernize the genre for the 21st century along side Green Day (not on the list) and the Offspring (on the list), Blink-182 began by borrowing heavily from skate punk conventions and eventually rounding out the corners with more unique songwriting approaches. Their 2003 self-titled is notable for having a more serious and alternative sound compared to their previous goofy albums. While still fairly pop-punk, this album doesn't shy away from moments that slow things down and play around with other styles. All Of This has clear goth rock influence, Stockholm Syndrome sees the band dipping their toes into modern post-hardcore, and the smash hit I Miss You (WHERE ARE YOUUUU) incorporates strings for a more resonate emotional climax. The end result is a band that sounds fully-realized, matured, and at their peak right before tensions led the band to break up. Too bad. CONTENDER FOR THE LIST: Without a doubt.

For as long as there has been popular culture, there have been motivated "progressive" Christians who joined the bandwagon to try and capitalize on the trends with proselytizing in mind. Despite rejecting the box that radio and labels have put them in, Switchfoot has the markings of a Christian rock band. Are they singing about Jesus? No, but their corny inspirational-style lyrics are certainly rooted in the "nondenominational" Christian framework. It was only with this album that the band pivoted from the then-popular power pop of the '90s to the then-popular post-grunge radio rock of the 2000s. This proved to be a rousing success because they had at least one radio hit that I'd heard prior (Meant to Live) and more album sales than they'd ever seen. Indeed, Switchfoot had broken outside of the usual CCM market into the mainstream and decidedly made it everyone else's issue. They would also become a staple for certain Christian groups across American who deemed them cool and popular enough to get the youth on board with Jesus. Christians can rock too! The album is fine. Nothing too groundbreaking here: the singles are good and the others not so much. Occasionally feels like I'm getting a lame lecture, but also occasionally has riffs so you take the good with the bad. CONTENDER FOR THE LIST: It's either this, Flyleaf, or Skillet for the token CCM pick. I wouldn't allow any more than that.

Some brilliant soul songs. Lady Marmalade is the big hit but I was never keen on that song. The others, however, are all wonderful displays of musicianship that reflect the best of '70s music. Powerful voices, deep grooves, tight ensembles. What more could you want? CONTENDER FOR THE LIST: Given their success, legacy and influence, I would say yes absolutely throw this on the list.

Ænima and Lateralus have both already been suggested, so might as well round out the trio eh? Although they debuted with Opiate in 1992 and quickly followed up with Undertow in 1993, it wasn't until their 1996 record Ænima that Tool found their signature alt-prog metal sound. Then they really took off. 10,000 Days sees the band mellowing out their sound to something more rock than metal. Still heavy in many ways, this album creates many winding guitar and bass passages that are dense in technical proficiency but light in substance. By the end of the album you might recognize that Tool only has the one trick up their sleeve: noodle around with scales while trying to find a riff that sticks, and build around that with atmosphere and tight drumming. The most competent songs in this run seemed to be Rosetta Stoned and The Pot, while others managed to be little more than filler. To their credit, the scales they play do sound nice. Too bad it ends on a low note with a throwaway ambient instrumental that leaves us hanging for the last 5 minutes. Not much of a final impression. CONTENDER FOR THE LIST: I would only choose one Tool album, and it wouldn't be this one.

Although a landmark album for both Blink and the pop punk genre at large, Enema of the State is primarily defined by it's singles. And they're good singles too! The catchiness of All the Small Things, the wit of What's My Age Again, the surprising depth of Adam's Song, all make this album the powerhouse that it is. The rest of the tracklist feels like it doesn't quite reach the same heights, lacking in either hooks or fresh ideas or anything else. Most egregious is Travis Barker's incessant need to do the most drum flourishes on any given song, which makes me think he's too preoccupied with his own talent to just play the damn song with a simple beat. Whatever. CONTENDER FOR THE LIST: As important as this album is, I might prefer to go with their self-titled instead.

Iconic, if only for the album cover. Seemingly a part of many record collections, Herb Alpert and his Tijuana Brass band had the sound of easy listening that everyone wanted to hear. From my position, these are some fine instrumental arrangements that are incredibly expressive. Even if its a bit corny at times, the band does a good job at swinging these tunes. What more could you want? CONTENDER FOR THE LIST: Sure, throw it on there.

Ska from Mexico! While the original list certainly dabbles in the 2 Tone era of ska, I was surprised to find no trace of any third-wave ska. No Doubt, Operation Ivy, and Streetlight Manifesto would all make bespoke choices, but I'm equally as happy to check out something from somewhere outside the US or UK. Maldita Vecindad are a key band for the alternative latin rock sphere, and are perhaps the best to ever do it. Their unique approach to ska music by taking root in traditional Mexican songwriting makes them more than an excellent band, but a party band. These guys elevate the genre and make it their own in a tight 36-minute romp. Primo. CONTENDER FOR THE LIST: 100% yes.

Assigned torchbearers of the microgenre hyperpop, 100 gecs carries on the stylistic niche of PB Music's production in overblown bass, pitch-shifted vocals, and a glossy finish that also relishes in glitchy moments. Combined with a pop-led songwriting approach and you get 100 gecs. Their debut LP, 1000 gecs, seemingly blew up the whole thing before flaming out quickly. In comparison, 10,000 gecs is a rock-infused last hurrah before the duo moves on to whatever else they think sounds cool. Nothing about this is really "pure" hyperpop, as it blends a lot of different genres of rock (nu metal, ska punk, power pop) without taking themselves too seriously. It's low-brow dadaist music for the new generation with relatively shorter attention spans, which tracks given the 26-minute runtime. You listen to this and get dazzled by the moving sounds and then move on to the next thing. But in that moment, it was marvelous. CONTENDER FOR THE LIST: No, 1000 gecs is the better choice imo.

Jack Johnson, the guy that did the song from the Curious George movie, built his career on feel-good folksy tunes that is emphasized by fun acoustic guitar flourishes. Songs are sunny, lovely, and care-free. Why is that? Probably because he grew up in Hawaii and spent his college years in Santa Barbara, California. All this guy has known is good weather, good vibes, mellow tidings. That might be an unfair assessment of Johnson, but his music reflects a pretty simple life with rounded corners; no edge. That's not to say that all music should have "edge", but it does communicate a lot about where the music comes from. Doesn't do much for me, but a pleasant enough listen. CONTENDER FOR THE LIST: Doesn't quite stand out enough for me to seriously consider it.

The Hip can only be described as Canadian rock royalty, cemented by the unofficial canonization of Gord Downie after his death in 2017. Cancon laws made it so that classic rock radio loved these guys more than any station south of the border, but initial sales in Canada made it clear that we loved them too. Given their fantastic rock-oriented songwriting that would place the band as viable contemporaries next to the likes of the Smashing Pumpkins, Guided By Voices, and the Pixies, it stands to me as music's biggest "what if": What if the Tragically Hip achieved crossover success in the US? How would we be talking about them today? What would modern rock look like in the new millennium? While the American rock acts embraced slacker rock and grunge-influenced sounds, the Hip maintained a strong energy that borrowed more from the roots rock of John Fogerty and '70s Rolling Stones (see Exile on Main St.). Listening to this I can't help but get a little emotional. Fully Completely is an album that feels uniquely, wholly, beautifully Canadian. It's a celebration but also a frank display of sentimentality, earnest is every way. CONTENDER FOR THE LIST: I'm biased but yes, absolutely.

At the turn of the millennium, post-hardcore had seen a shift into the likes of emo stylings that would keep things fresh. Further, more progressive approaches to post-hardcore songwriting would come to define a new sound for the genre. Pieces of each culminate in the final ingredient of post-y2k post-hardcore: electronica. Enter Enter Shikari (lol), who helped to pioneer the relatively niche subgenre of electronicore by employing a liberal use of trance synthesizers in their other metalcore-style of post-hardcore. The result is inventive-yet-underwhelming. Lacks a lot of hard-hitting moments that would otherwise define a post-hc record. The only instance that comes to mind is the into to Sorry You're Not A Winner, which loses steam by the time it gets to the chorus. I will say the last three three tracks do a nice fake-out with the Adieu sounding like it would close the album before doing the ACTUAL final songs. Haha nice. CONTENDER FOR THE LIST: Electronicore is a bit too niche to deserve a spot on the list but if it were 2002 albums? Sure why not.

Studying music composition in college, Toby Driver took what he learned and applied it with a metal style in mind. Kayo Dot, forming out of the dissolution of Driver's previous band, took chamber orchestration and fused it with stretches of atmospheric metal. The result is a thing of beauty, ascending beyond what is simply "metal" or even "rock" music, in a similar nature to Godspeed You! Black Emperor. With such a distinct dynamic range and forward-thinking approach to composing music, it seems like Kayo Dot is in a league of their own. That's not to say they're without criticism, as the 5 songs occasionally drag on a bit in their runtime, but I certainly enjoyed seeing how each movement progressed. Ascended music. CONTENDER FOR THE LIST: Perhaps, if the list was willing to dip into more avant-garde metal. Otherwise, probably not a good fit.

An unlikely pick, but a welcome one. Pulling from the old American folk traditions that predate the recording industry, Valerie June's Americana is soulful as it is true. Her appreciation for the classics gives this record a warm sound that runs deep in the beautiful history of American music. This is helped in part by Dan Auerbach of the Black Keys, whose production style carries over from his garage rock band to this folksy solo artist. The result is something that certainly carries a similar personality to the Black Keys' recordings, but is occasionally held back by choices that causes the songs here to sound to fuzzed out and sharp. It's especially apparent on You Can't Be Told, which is practically a Black Keys song with June's vocals. In my opinion, this detracts from the album as I much prefer the less rock-oriented sound in favor of a more traditional blues sound. Damn you, Auerbach! Not all bad of course. The last two tracks, Shotgun and On My Way, are perhaps June at her best. Simple, hauntingly beautiful songs. CONTENDER FOR THE LIST: Doesn't seem influential or noteworthy enough for inclusion, but a nice listen nontheless!

Rachel Stevens is an artist that only ever found success in the UK an Europe. Seemingly none of her hits crossed over to America, supported by the fact that I had never heard of her nor her hit singles. So, what's the fuss all about! Stevens was originally part of the teen pop group S Club, which I'm guessing was an attempt to do a mixed-gender girl group or boy band. They had a few number 1 hits in the UK. It was actually a different member, Paul Cattermole, who initially left the group for his old metal band, but S Club soon disbanded after. With solo prospects in view, Stevens signed a record deal and had modest success with her first album. Come And Get It is the follow-up. While it received near-widespread critical success, it neither sold nor charted particularly well. Which is a shame because it's a perfectly good pop album! Nice production (albeit dated), solid hooks, and Stevens is a....serviceable vehicle for these songs. I suppose that's the issue, isn't it? I have no doubt that Rachel Stevens is a competent singer, dancer, and all-around looker for this role. But she lacks a certain "it" factor, eh? Just something that makes her stand apart from all the other pop girls at the time. Looking back, there is something there that is worth considering in the larger genre of pop music. but maybe not for all of music. CONTENDER FOR THE LIST: Not quite as impactful as I would've assumed, so no.

A true-blue American success story about a small-town Missouri girl who persevered against the rocky waters of the music industry and rose to fame as the Next Big Thing in pop music. This can be attributed, in part, to being paired with producer Dan Nigro who had previously worked with the great Carly Rae Jepsen, Caroline Polachek, and Sky Ferreira. While working with both Roan and Olivia Rodrigo around the same time, the two women became acquainted as a result of their mutual work with Nigro. Fast forward to the successful launch of Rodrigo's career proceeding her stint as a Disney star and she ends up selecting Roan as the opening act for the first leg of her Guts tour. With a couple hundred thousand sets of eyes on Roan a few months after the release of The Rise and Fall of a Midwest Princess, her legacy was solidified. Midwest Princess is a certified Pop album that runs the gambit: dancepop, pop rock, singer-songwriter light pop, maybe even a little Eilish-style alt-pop. Some upbeat energy tracks, some slower ballads, some radio tracks that you keep seem to escape (looking at you, Pink Pony Club). There's an undeniable star power radiating from the studio tracks alone, but Roan obviously shines brightest on stage with camp-led looks and attitude for days. She's a fireball personality with the songs to match so that's another huge plus. Basically a million words can be written about this pop princess who is clearly more than a flash in the pan. So here's the skinny: some great songs, some good, and some that painfully sound like filler. At a reasonable 49 minutes, you can still cut three of the less-notable tracks and land on an admirable 40-minute album that almost certainly flows better. Backside loses steam bad so it needs a revision imo. Overall still really good! I think this album and Roan in general will remain in the public pop consciousness for years to come and we'll be talking about how much of a splash she made. Lasting impact though? Remains to be seen...let's hope she sticks the landing on her sophomore album. CONTENDER FOR THE LIST: Barring the 5-year rule I would implement to reduce recency bias, I would probably add this one to the list yes.

Pitchfork gave this a 9.4/10. Critical reception across the board is seemingly positive as well. Kind of anthemic rock for millennials who just started drinking regularly and may or may not be developing a substance dependency. This is an album I, unfortunately, failed to connect with. In lieu of anything insightful, I pulled a quote from tumblr, who pulled a quote Jack Kerouac's 1957 novel On The Road: "Boys and girls in America have such a sad time together; sophistication demands that they submit to sex immediately without proper preliminary talk. Not courting talk--real straight talk about soulds, for life is holy and every moment is precious." CONTENDER FOR THE LIST: I don't think so? Someone else make the decision for me.

British pub rock for yer ears. Hard not to draw comparisons to the oft-cited Elvis Costello on the original list. This record aptly displays how punk stylings crept its way into power pop, with the energy and attitude giving Squeezing Out Sparks a nice kick in the ass. Such a straightforward and succinct rock landed itself a spot on the Rolling Stone's 500 greatest albums of all-time list, twice! Truth is that it's a stellar rock album with practically no filler. I could take or leave the one ballad that's there, but the rest is superb. Rarely do we get an album that doesn't waste a minute of runtime like this one. Well done! CONTENDER FOR THE LIST: Y'know what, replace one of the Costello albums with this and you've got something going.

Sprawling, beautiful, fantastical music. Truly, this is the elevated form of popular music. Drawing heavily from classical arrangements, this folk album dances in the sky like leaves being whisked away by the wind. Is it a little overlong? Perhaps, but the core of this album is too good to overlook. It can easily be enjoyed with a break in the middle, but I found the entire single sitting to be a treat. Magnificent sound. CONTENDER FOR THE LIST: Yes, easily.

Late '80s post-punk that feels somewhat far removed from the post-punk of the rest of the decade. The only comparison I can draw is U2 and even that feels superficial. Has some good moments but otherwise doesn't quite leave much of an impression on me. CONTENDER FOR THE LIST: There are other UK post-punk records that I would select before this one.

Synthpop of the adolescent internet age. The rise of social networks and the ease at which the mp3 could be shared allowed for new underground artists to emerge. This is especially true for the electronica genre, which saw cracked versions of FL studio and circuit-bent electronics being used to craft the new sound of blogging millennials. To this end, Crystal Castles is haunted, tripped-out world of bloopy synths over crunchy beats that redefines what pop music can be. Do not be fooled, this is still pop music at it's core; defining moments on this album are riddled with danceable beats and sweet hooks. The caveat is that it's all drenched in unconventional production. Begone, overly polished and perfect production! Crystal Castles champions dissonance, grime, and *gasp* Noise!!!! What a treat. You never really know what this album will turn up next. It's bold and brash while still maintaining a root in rhythms that make you want to move. Unyielding in all the best ways, I found myself enamored for the entire runtime. I would be remiss not to mention the dark cloud that looms over this duo's legacy: singer-songwriter of the group Alice Glass came forward in 2017 to reveal the abuse that Ethan Kath had subject her to. This ultimately culminated in a Sex Crimes investigation carried out by the Toronto Police, though I couldn't find any sources that confirmed how that resolved. Either way, it's a case where one would need to mentally divorce the music from the musicians in order to fully enjoy the piece. I would still recommend giving it a full listen, but the circumstances surrounding this album are something that leaves a bitter taste. CONTENDER FOR THE LIST: 100% yes. The broader landscape of underground music owes more than you know to this album.

Known best for his gentle melancholic approach to folsky indie, Bon Iver is someone who I've been aware of for a while but never felt motivated to fully listen to. Perhaps a spotlight is deserved given his prolific resume as of 2025: credits with Kanye West, James Blake, Travis Scott, and most notable Taylor Swift. Obviously he has the attention of everyone else, so let's see what the big deal is. What a tender collection of songs. There's a certain stillness to much of this album that makes Justin Vernon's vocals feel like occasional breezes through the sustained instruments. Within sonic soundscapes of hazy memories represented through pastoral imagery (the album art), Bon Iver finds beauty in a lot of complicated feelings. The closing track finds a nice balance between the soothing padded synths of the '80s and the classic slide guitar of yesteryear country in order to get across his longing most effectively. Wonderful compositions all-around. CONTENDER FOR THE LIST: No doubt in my mind it should be there.